How "sex tips for girls" are ruining sex

Is letting someone lick Nutella off your nipples really so different from ‘lie back and think of England’? Or are they just different ways of going through the motions?

Have you ever seen anyone having sex? And we mean actual sex, where at least one of the participants has cellulite, and oral more often produces jaw ache than cataclysmic mutual orgasms. One of us once caught a neighbour in the act. We say ‘caught’, but the circumstances surrounding the scene imply that our witnessing of said act was entirely intentional. We’re talking kitchen table, curtains wide open, house lit up like Blackpool pleasure beach - a delicately staged performance, in other words, as opposed to an accidental act of voyeurism on our part. The couple wanted us to see their Tuesday night session by the colander. And boy, did we all see.

The word ‘performance’ is key here. The randy couple living opposite knew that everyone was watching them getting jiggy with it in their kitchen, and behaved accordingly. Thus the (un?)fortunate inhabitants of a particular street in Finsbury Park were treated to the full shebang: hair grabbing, theatrical moaning, arse gyrating - the kitchen table received the humping of its life. In fact, the female part of this magical experience behaved with such enthusiasm that it really can’t have been necessary for the male to be there at all.

Anyone with a shred of sexual experience (and we’re talking the kind of rudimentary knowledge that can easily be gained from a quick teenage fumble behind the youth club bins) can distinguish spontaneous shagging from amateur dramatics: we all know the difference, whether we like it or not.

And as much as a well-planned - and expertly executed - carnal production may well do it for the Finsbury Park exhibitionists as well as a fair few others in the world, it’s not quite as convenient as a night in with a hot chocolate and a cheeky finger. Truth be told, the fingering over a warm beverage is way more spontaneous as well. So why is it that nowadays, we are increasingly encouraged to adopt the theatricality of porn and incorporate it into (‘improve’) our own sex lives?

Women’s magazines are especially to blame in this regard. They tell us, weekly and in slightly different ways, that the way to spice up our love lives is through role play, lap dancing, and double-ended plastic dildos. ‘Make his fantasy become reality!’ they scream - for it is, more often than not, his fantasy, or so we’re told.

How beneficial all this play-acting is to men remains something of a mystery - and nine times out of ten, they would probably find the truth behind the reason you introduced a seven-foot pole to the bedroom horribly disconcerting. After all, Harry wasn’t overjoyed by Sally’s demonstrably fake public orgasm; even last generation’s men were baffled by the things that women did to ‘spice up their sex lives’ without actually enjoying themselves any more than they previously did.

A couple of issues ago, a confused young man wrote in to Cosmopolitan, questioning their sex tip culture. ‘What’s wrong with a bit of a oral sex and then the missionary position?’ he asked, which turned out to be the equivalent of walking in on a pride of feasting hyenas and asking why they don’t give vegetarianism a try. He was told by the ‘professionals’ on the magazine’s sex tips panel, in no uncertain terms, that he would have to work harder should he want to truly please a woman.

The reply to his perfectly innocent question was an unequivocal ‘that’s just not good enough’. Poor lamb. Just for the record, Brett, 21, from St Albans (or whatever your name was): we’re with you. Cunnilingus followed by sex seems like a thoroughly enjoyable Tuesday evening activity - if everyone’s still cumming, don’t tear yourself apart that it was due to your tongue rather than the latest vibrating cock ring.

There’s a crucial difference between encouraging sexual experimentation amongst women as a form of empowerment, and telling us that we should be re-enacting a strip club in our bedrooms every night. The former involves an element of truth-seeking, of body confidence building and laying positive foundations for relationships in the future - what is it that I want, and, equally, what doesn’t work for me at all? – while the latter is basically a group of mainly female journalists trying desperately to second guess what men want.

Much of the so-called information that they sell is derived from pornography, fatally ignoring the distinction between porn’s fantasy land and Real Life Sex that men (and women) actually want to partake in. The unbelievable element is one of the things that draws an avid viewer to porn, just as we accept that chick lit fairytales are unrealistic and the likelihood of a Batman-style vigilante popping up to save Stoke Newington from mobile phone snatchers is sadly quite low.

In other words, a solid dollop of common sense will tell you that watching porn and shagging someone you really fancy are two very different activities. It’s when someone tries to blur the two that the whole thing becomes unnatural, staged, and frankly confusing for all involved. Sex becomes pre-meditated, an activity planned with military precision: ‘I need you to be at home on time this evening, because we’re doing spanking.’ And how many plastic implements do you need, really, when we’ve all been blessed with perfectly adequate genitalia for the act?

That’s not to say that donning a wig and pretending to be strangers who have just met doesn’t do it for some people every now and then. It’s when the assumption that it does it for everyone, all the time - that every sexual encounter should be mediated by pornographic shenanigans, and as such needs to be calculated, arranged, and ultimately worried about - that it starts to look less like freedom and more like a sexual circus. Before you know it, you’re hanging upside down from a trapeze every Monday after work and looking at your watch out the corner of your eye while he tries to kick start your ‘squirty flower’. It just sounds like so much effort.

Perhaps it was inevitable that sex would become just another form of labour, that we would all begin to bandy around phrases like ‘erotic capital’, and that our most intimate of activities would come to be defined through consumption and performance. But if enjoying each other’s bodies at a leisurely pace when you’re just plain knackered is seen as a bit of a sexual failure, it feels like we might have taken a wrong turn somewhere on the way to Liberation Town and ended up at Surrealville.

Because really, is letting someone lick Nutella off your nipples really so different nowadays from ‘lie back and think of England’? Or are they just different ways of going through the motions?

Cosmopolitan promises to destroy "sex myths".

Rhiannon Lucy Cosslett and Holly Baxter are co-founders and editors of online magazine, The Vagenda.

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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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