By the 1950s, in the United States, it had become rare for women to go into their wedding nights not knowing what to expect. But the open discussion of sex as pleasure, and descriptions of sexual practices and techniques, was revolutionary. There were practices which, perhaps, some had heard of. But many adults did not know for sure whether they were realities, or fantasies found only in pornographic books.
The Kinsey report revealed that these practices were, at the very least, surprisingly frequent. These other books asserted, in the words of a 1980 book by Dr. Irene Kassorla, that Nice Girls Do — And Now You Can Too.
Contraception
As birth control became widely accessible, men and women began to have more choice in the matter of having children than ever before. The 1916 invention of thin, disposable latex condoms for men led to widespread affordable condoms by the 1930s; the demise of the Comstock laws in 1936 set the stage for promotion of available effective contraceptives such as the diaphragm and cervical cap; the 1960s introduction of the IUD and oral contraceptives for women gave a sense of freedom from barrier contraception. The opposition of Churches (e.g. Humanae vitae) led to parallel movements of secularization and exile from religion. Women gained much greater access to birth control in the “girls world” decision in 1965, in the 1960s and 1970s the birth control movement advocated for the legalization of abortion and large scale education campaigns about contraception by governments.
Free love
Beginning in San Francisco in the mid-1960s, a new culture of "free love" emerged, with thousands of young people becoming "hippies", inspired by Indian culture, who preached the power of love and the beauty of sex as part of ordinary life. This is part of a counterculture that continues to exist. By the 1970s, it was socially acceptable for colleges to permit co-ed housing.
Free love continued in different forms throughout the 1970s and into the early 1980s, but its more assertive manifestations ended abruptly (or at least disappeared from public view) in the mid-1980s when the public first became aware of AIDS, a deadly sexually-transmitted disease.
Explicit sex on screen and stage
Swedish filmmakers like Ingmar Bergman and Vilgot Sjöman contributed to sexual liberation with sexually themed films that challenged conservative international standards. The 1951 film Hon dansade en sommar (She Danced One Summer AKA One Summer of Happiness) (directed by Arne Mattsson) starring Ulla Jacobsson and Folke Sundquist was notable in this regard for depicting explicit nudity, including nude bathing in a lake. .
This film, as well as Bergman's Sommaren med Monika (The Summer with Monika, 1951) and Tystnaden (The Silence, 1963), caused an international uproar, not least in the United States, where the films were charged with violating standards of decency. Vilgot Sjöman's film I Am Curious (Yellow), also created waves of international outcry, but it was very popular in the United States. Another of his films, 491, highlighted homosexuality among other things. Kärlekens språk (The Language of Love) was an informative documentary about sex and sexual techniques that featured the first real act of sex in a mainstream film, and inevitably it caused intense debate around the world.
From these films the concept (or catchphrase) of "Swedish sin" (licentiousness and seductive nudity) developed, even though Swedish society in the 1950s was still fairly conservative regarding sex, and the international concept of Swedish sexuality was and is largely exaggerated. The image of "hot love and cold people" emerged. Sexual liberalism was seen as part of the modernization process that, by breaking down traditional borders, would lead to the emancipation of natural forces and desires. These films caused debate there as well. The films eventually progressed the public's attitude toward sex, especially in Sweden and other northern European countries, which today tend to be more sexually liberal than others. In Sweden and nearby countries at the time, these films, by virtue of being made by directors who had established themselves as leading names in their generation, helped delegitimize the idea of habitually demanding that films should avoid overtly sexual subject matter. It proved hard to question the seriousness of purpose of Bergman, Sjöman and others, and in their wake a consciously permissive and questioning attitude to sex, nudity and "difficult" subject matter in film - and on TV - became the new standard framework.
Explicit sex on screen and frontal nudity of men and women on stage became acceptable in many Western countries, as the twentieth century drew towards its close. Special places of entertainment offering striptease and lap dancing proliferated, and limits to 'acceptable' dress in pop/rock music and at discotheques and live music festivals, especially open-air festivals ever since the flower-power generation and Woodstock (1969), became very vague, both among performers and in the audiences or attendee crowd. The rich use of cross dressing and androgynous attributes and clothes in rock and pop stage costumes and even references to this in song lyrics, to express sexual, fashion or literary themes is also notable, from the Velvet Underground (in Lou Reed's lyrics) and the glam rock wave and onward. All of this persists in the early 21st century.
The famous Playboy Bunnies set a trend. Men came to be entertained by topless women at night-clubs which also hosted "peep shows". In many Western countries, nudity is used as a part of artistic or erotic performance, such as in nude body painting, sex show, striptease, Neo-Burlesque, and in adult-only public events like Folsom Street Fair, Nudes-A-Poppin', Fantasy Fest, etc.
Normalization of pornography
Sexual character is closely linked with developments in technology, and the somewhat more open and commercial circulation of pornography was a new phenomenon at the time of the sexual revolution. Pornography operated as a form of “cultural critique” insofar as it transgresses societal conventions. Manuel Castells claims that the online communities, which emerged (from the 1980s) around early bulletin board systems originated from the ranks of those who had been part of the counterculture movements and alternative way of life emerging out of the sexual revolution.
Lynn Hunt points out that early modern “pornography” (18th century) is marked by a “preponderance of female narrators”, that the women were portrayed as independent, determined, financially successful (though not always socially successful and recognized) and scornful of the new ideals of female virtue and domesticity, and not objectifications of women’s bodies as many view pornography today. The sexual revolution was not unprecedented in identifying sex as a site of political potential and social culture. It was suggested during the sexual revolution that the interchangeability of bodies within pornography had radical implications for gender differences and that they could lose their meaning or at least redefine the meaning of gender roles and norms. Porn had portrayed sexual activity honestly and bluntly in fiction, on stage and in movies. It could reinforce the crudest stereotypes of sex roles, standards of beauty, and power dynamics or educate about human desire.
In 1971 Playboy stopped airbrushing pubic hair out of its centerfold picture spreads; this new addition caused the magazine to hit its all-time peak circulation of more than seven million copies in 1972 and men started having more choices when it came to magazines.
In 1972 Deep Throat became a popular movie for heterosexual couples. The movie played all over America and was the first porn movie to earn a gross of a million dollars.