The Sporadic Beaver

Taking it Personally

July 1, 2014

Tags: Hustler, Back Issues, Larry Flynt, Michael Lee Nirenberg, Bill Nirenberg, Al Goldstein, Carl Ruderman, High Society, Screw, Swank Publications, Penthouse, Michael Musto, Gail Dines, Supreme Court, Beaver Street, pornography

I tend to write about movies that have a direct, personal connection either to my life or my books--see About Cherry, Magic Trip, and Chapter 27--and the latest such film to fall into this category is the generically titled Back Issues, a documentary about Hustler magazine. (Why not just call it Hustler?)

I enjoyed Back Issues in part because it adds an additional dimension to much of what I write about in Beaver Street. And Beaver Street, with its tales of High Society publisher Carl Ruderman trying to pattern his magazine after Hustler, only to end up as Hustler’s "Asshole of the Month," adds an additional dimension to Back Issues.

But the primary reason I’m writing about the film is because Bill Nirenberg, whom I used to work with at Swank Publications—the company at the center of Beaver Street—is at the center of Back Issues. Before landing at Swank, Bill was an art director at Hustler during its glory days, from the mid-1970s to the mid-1980s, and watching the film with two of my former colleagues filled me with the disorienting sense of being back at Swank and listening to Bill regale us with his Hustler and Larry Flynt stories. Bill’s demeanor, his tone, his vibe, as well as the stories themselves are exactly as I remember them.

Capturing somebody on film just as they are in life is not an easy thing to do. But the reason Bill comes across so realistically—in fact the reason this film exists at all—is because his son, Michael Lee Nirenberg, directed it. And because of the intimate connection between subject and filmmaker, Michael was able to gain access to all the key Hustler players, including the often-inaccessible Flynt, as well as former editors Paul Krassner and Allan MacDonell, whose memoir, Prisoner of X, covers the same time period as I do in Beaver Street.

Michael also managed to unearth a number of documents that illustrate some of the most notable moments in the history of a polarizing magazine whose impact on American popular culture was profound. The most outrageous document is an audiotape of Flynt ranting at the Supreme Court justices, in 1983, when they were considering a libel case that Penthouse publisher Bob Guccione’s girlfriend, Kathy Keeton, had brought against Hustler. The language Flynt uses, a series of gratuitously racist and sexist slurs, is so inflammatory it transcends the realm of mere obscenity and serves as a sublime demonstration of a man rendered paraplegic by an would-be assassin’s bullet, who now thinks he has nothing to lose, speaking the truth (as he sees it) to power.

Among the people Michael speaks to who didn’t actually work for Hustler but still offer valuable insights about the mag, its founder, and the porn biz are Screw magazine publisher Al Goldstein, who is at death’s door and giving what would be his last interview; writer Michael Musto, who does an excellent job of explaining how the Internet destroyed the porn magazine business; and professional anti-porn activist Gail Dines, who, uncharacteristically, comes across as a sane person.

But it’s the segments where Michael interviews his father, who’s now retired from the porn biz, that give the film a homey, intimate feel, which is unusual (if not unheard of) for a documentary that covers this kind of gritty and often offensive material. This intimacy also helps to make Back Issues an essential document for anybody who wants to understand not only Hustler’s place in the history of modern porn, but how, in the late 20th century, pornography was able to supplant rock ’n’ roll as the premier symbol of American pop culture.

Erich von Pauli: Superstar

April 5, 2013

Tags: Paul Slimak, Erich von Pauli, Henry Dorfman, Beaver Street, For Adults Only, Michael Musto, Village Voice, Agnes Herrmann, Bloomsday

Actually, his name is Paul Slimak, but in Beaver Street I call him Henry Dorfman. He's my officemate, the managing editor of For Adults Only magazine, and an actor who, as I say in the book, "was suddenly getting one high-profile gig after another, invariably being cast as a pervert, a lowlife, or a Nazi." In his capsule bio for the Ensemble Theatre of Cleveland, where, beginning April 19, he'll be playing James "Jimmy Tomorrow" Cameron in Eugene O'Neill's The Iceman Cometh, it says that he's also skilled in playing "weirdos, psychos, slimeballs, and scumbags."

As regular visitors to this Website know, Slimak, in the guise of his own comic creation, Erich von Pauli, a degenerate fugitive from the Third Reich, has made a series of promotional videos for Beaver Street, one of which Michael Musto wrote about in The Village Voice.

I’m pleased to report that Slimak’s acting talents will now be on display nationwide, beginning today, when the thriller Tomorrow You’re Gone, starring Michelle Monaghan, Willem Dafoe, and Stephen Dorff, opens in theatres and will be available On Demand. An exclusive clip of Slimak playing a slimeball opposite Dorff is available here.

In other news, negotiations are underway to bring Slimak and his wife, Agnes Herrmann, who plays Diana Clerkenwell in the von Pauli videos, to New York for Bloomsday on Beaver Street. Stay tuned for more details.

We interrupt this correspondence to bring you a special seal of approval…

May 26, 2011

Tags: Erotic Review, Beaver Street, Vanity Fair, Village Voice, Michael Musto, David Comfort, Seattle Post-Intelligencer, Jamie Maclean, pornography

Yesterday I noticed that the Erotic Review, the “posh” and literate British magazine that had already given Beaver Street an outstanding review had also slapped on their “Hot Pick” seal of approval. I guess this is kind of like the Good Housekeeping seal of approval… but different. In any case, this seemed like a good time to reflect upon a few of the encouraging signs that have shown themselves to Beaver Street over the past few months.

1. Beaver Street was a “Hot Type” selection in Vanity Fair UK, which is a pretty classy seal of approval, too.

2. Village Voice columnist Michael Musto called Beaver Street “Entertaining, insightful, and hot.” And he was amused by one of the promo videos, too.

3. David Comfort, writing for the Seattle Post-Intelligencer, called Beaver Street “riveting” and said that I’d invented a new genre, “a confessional for-adults-only romantic comedy with a rare, thoughtful twist.”

4. Jamie Maclean, editor of the Erotic Review, said, “Beaver Street captures the aroma of pornography, bottles it, and gives it so much class you could put it up there with Dior or Chanel.”

Tomorrow we shall return to our regularly scheduled correspondence.