Robert Rosen

Ever since YouTube achieved global dominance, book trailers have become de rigueur for every author, from Nobel laureates, like Mario Vargas Llosa, to self-published scribblers who give away their e-books on Amazon.

A well-done trailer can create awareness that a book exists and can attract media attention, which can lead to… more media attention, which can be helpful if you've written a book that's worth reading.

The Pornographer’s Daughter, by Kristin Battista-Frazee, is a memoir that vividly depicts the trauma and chaos of growing up with a father who was a sex-club owner and a major distributor of Deep Throat, the fellatio flick that changed everything.

To promote The Pornographer’s Daughter—and her September 26 panel discussion about pornography’s impact on pop culture (in which I’ll be participating), at the Strand, in New York City—Kristin has released the above trailer, starring David Koechner, best known as Todd Packer on The Office and Champ Kind in Anchorman and Anchorman 2.

Koechner plays two roles in the trailer: himself and a character named Gerald “T-Bones” Tibbons, an obnoxious reporter who interviews Kristen about The Pornographer’s Daughter even though he hasn’t read it and thinks it’s a filthy book, like Fifty Shades of Grey.

Kristin holds her own against both incarnations of this bona fide comic heavyweight. And maybe the trailer will persuade you to venture out to the Strand to see our porn panel, which also includes Eric Danville, author of The Complete Linda Lovelace, and will be moderated by Dr. Belisa Vranich, author of the self-help book Get a Grip.

In the meantime, for your edification, please contrast and compare The Pornographer’s Daughter trailer with my own trailer, below, Erich von Pauli on Beaver Street: Episode 1—there are four episodes altogether—starring Paul Slimak as renegade Nazi Erich von Pauli. Shot on a budget of approximately £1, a few months before Beaver Street was published in the U.K., the video features Agnes Herrmann’s voiceover and Mary Lyn Maiscott’s performance of the Beaver Street theme song (with apologies to Ray Davies and the Kinks).

Gerald Tibbons, meet Erich von Pauli. Long may you run.

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The Strand might be the best bookstore in New York City, if not in the entire country. It's been around for 87 years, the last 57 at its current location, at 828 Broadway, on the corner of 12th Street.

Despite the digital upheaval now roiling the book world, the store continues to flourish and remains the go-to performance space for such literary luminaries as Patti Smith and Junot Diaz.

I've spent many entertaining hours browsing the Strand's aisles, in search of reasonably priced out-of-print books. And whenever the pile of books on my coffee table gets out of control, the Strand is where I go to convert them to pocket change.

These are among the reasons why I’m delighted to have been invited to participate, on Friday, September 26, from 7-8 PM, in a launch event at the Strand for The Pornographer’s Daughter, a memoir by Kristin Battista-Frazee, whose father achieved notoriety in the 1970s when he went from being a respectable Philadelphia stockbroker to a major distributor of Deep Throat, the dirty movie that changed everything.

Here’s my mini-review of Kristin’s book:

An honest and unadorned depiction of what it’s like to grow up in a house where hardcore pornography and live sex shows pay the bills. Set in a twilight zone somewhere between All in the Family and The Sopranos, the cast features a father facing federal obscenity charges in Memphis, a mother washing down Nembutal with shots of Wild Turkey, and a daughter taking it all in with the eye of a budding journalist. It’s miraculous that Battista-Frazee was able to persuade her family to tell her in such unsparing detail what went down when she was a child. The most surprising plot twist, however, is that Battista-Frazee emerged from the chaos and trauma to lead a shockingly normal, middle-class life.

Deep Throat expert Eric Danville, author of The Complete Linda Lovelace, will join us for a free-wheeling panel discussion about porn’s impact on American pop culture, moderated by Dr. Belisa Vranich, author of Get a Grip.

If you’d like to attend the event in the third floor Rare Book Room, please buy The Pornographer’s Daughter or a $15 Strand gift card, which is good toward the purchase of Beaver Street or any other book in the store.

There will be wine. Read More 

You know that Beaver Street review, by Peter Landau, on Goodreads, that I posted about yesterday? Well, today it's migrated to Fleshbot. So, if you neglected to read it yesterday, please read it today on Fleshbot. They have much better pictures than Goodreads, just in case you need a little more incentive to click here now.

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I should pay more attention to Goodreads because people often post reviews of my books on the site, and I'm one of those authors who not only reads his reviews, but also likes to engage with his critics.

Last night I found two positive Beaver Street reviews. The first one, by Peter Landau, the writer who conducted the epic interview with me that ran last month on Fleshbot, describes me "as a Virgil to the reader's Dante on tour of a business that grew to define pop culture in America." In his thoughtful analysis, Landau calls the book "a fun and informative trek through a lost world," meaning that the profitable and dynamic magazine world that I depict in Beaver Street has long ago ceased to exist. He gives the book five out of five stars.

Thank you, Peter.

The other review, by Mike McPadden, is notable because the writer “vividly” remembers “the naked nun photo scandal of 1979,” which I describe in an early Beaver Street chapter about editing Observation Post, an underground newspaper at the City College of New York. (Actually, the “nun” went well beyond being naked, but I suspect that Goodreads is subject to censorship, and McPadden prudently restrained his language.) Overall, McPadden calls the book “breezy” and “funny” and recommends Beaver Street “skinthusiastically.”

Thank you, Mike. And keep those reviews coming.

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I've done a lot of interviews since Beaver Street was published, but the 5,000-word epic, conducted by Peter Landau, that was posted on Fleshbot today is one of the most comprehensive and far ranging.

If you haven't read Beaver Street yet, our conversation serves as a fine introduction to both the book and to my entire career, in and out of porn. It's also a very nice birthday present. I'll say no more and simply ask you to click here and enjoy.

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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. Read More 

It took a year and a half, but my interview that ran in the print edition of the December 2012 issue of StorErotica, a glossy trade mag for sex-shop owners, has finally found its way online. The print edition was unusual; it was two issues in one, featuring two “front” covers--one on the front and the other on the back. In the online version, which is now available as a downloadable PDF, the second issue begins with the front cover on page 27; my interview begins on page 46.

I was in good form the day I spoke to StorErotica, and the interview is one of my better efforts. I hit all the right notes, I think, especially if you happen to own a store that sells adult novelties. The article also features some photos of me and a couple of porn stars, including Traci Topps, and a great half-page shot taken by Marcia Resnick. So, if you haven’t already seen this interview—and if you’re not in the sex-shop business you probably haven’t—I invite you to check it out. StorErotica and I were on the same wavelength, and they were indeed able to fully appreciate the myriad charms of Beaver Street: A History of Modern Pornography.

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That I've used pseudonyms for many of the "characters" who populate Beaver Street was an unavoidable concession to the fact that I was writing about real people, and it would have had a negative impact upon their lives to be portrayed as pornographers or former pornographers. One of those characters is "Pam Katz," and soon after Beaver Street was published, due to a variety of factors, it no longer was necessary to disguise her identity. She is Joyce Snyder, best known as the writer and producer of Raw Talent, parts I-III, classic XXX films from the 1980s that have recently been rediscovered by such sites as The Rialto Report and The Projection Booth, where you can listen to an interview with Joyce.

What Joyce has to say about making these films while she was working for Swank Publications should be of special interest to anybody who’s read Beaver Street. “Pam Katz” comes to life, veritably stepping out of the book.

The other people interviewed are the film’s director Larry Revene and its star, Jerry Butler.

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Important update: This interview is no longer available.

No need to even leave this website to listen to my interview with Alia Janine, which was originally posted on OnMilwaukee.com. Just click on the player. Next thing you know, you'll be hearing Alia sing the theme from Rawhide. Apparently , if you live in Milwaukee, this song has nothing to do with cowboys and everything to do with Rosen. Read More 

Important update: The Scatterbrains Podcast interview is no longer available.

 

Yes, I'm aware that The Sporadic Beaver has been more sporadic than usual lately, but I've been unusually busy with life, literature, and work. I will, however, break my silence with this bit of news: My Scatterbrains Podcast interview with former porn star and Milwaukee native Alia Janine is now live on OnMilwaukee.com, that city's premier arts and entertainment Website.

Alia, whose X-rated talents cannot be overstated, has developed (so to speak) into a first-rate interviewer. It’s her ability to put her subject at ease, and make an in-depth interrogation seem like a friendly chat that sets Alia apart in this competitive journalistic arena. Some of the people she’s previously interviewed include porn star Belle Knox, actor Joe Reitman, and comedian Gareth Reynolds. They’re all archived on OnMilwaukee.com.

Alia and I cover a lot of ground in a half hour, but mostly we talk about Beaver Street, deconstructing everything from the invention of free phone-sex at High Society magazine (which marked the dawn of the Age of Modern Pornography), to the Traci Lords scandal, to Edwin Meese, the rabidly anti-porn attorney general who was driven from office under a cloud of corruption.

And please stay tuned to The Sporadic Beaver for more big news. Read More 

"If Surrealism leans towards the pornographic, then outright pornographers find kindred subversives in the Surrealists--as with long-time pornographer Robert Rosen who claimed to embrace the idea 'that pornography and transgressive art could be one and the same.'" --from an untitled paper on pornography and surrealism, submitted to the English and Film department at the University of Exeter, U.K., and posted anonymously online

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One of the best ways I know of to not enjoy a good book is to read it under deadline pressure with the intention of writing a review. And two of the greatest sins a reviewer or critic (as some reviewers prefer to call themselves) can commit is to review a book that he or she has only skimmed, or to review a book that he or she has contributed to, and then pretend to critique it objectively.

This, then, is not a review; it's an acknowledgement of a new book.

There’s a lot of material in Cut Up!’s 394 pages—poems, prose, artwork—that I look forward to lingering over and processing at my leisure. Then I may come to understand fully what Joe Ambrose and A.D. Hitchen have assembled in this anthology of cut-up-technique writings. Also, I’ve written the introduction to Hitchen’s “Split-Beaver” poems, which are drawn from my book Beaver Street: A History of Modern Pornography.

A bit of essential history: One way to perform the cut-up technique, popularized by William Burroughs a half-century ago, is to take a complete text (like Beaver Street), cut it into pieces with one word or a few words on each piece, and then rearrange the pieces into a new text. Another way is a “Third Mind” collaboration, pioneered by Burroughs and poet Brion Gysin; the author combines words cut from a text with his own words. Cut Up! (Oneiros Books) features both techniques, and includes works from well-known writers, like Allen Ginsberg (“Notes on Claude Pélieu”).

Many of the contributing authors are names I’ve become familiar with through social media. Among these dedicated practitioners of this avant-garde art form are: Kenji Siratori (“The Worst Deadly Bank Account Number in the History of the Universe”), Christopher Nosnibor (“Flickering images: life-size shadow-puppetry”), Gary J. Shipley (excerpt from Spook Nutrition), Niall Rasputin (“disgraceful blade”), Muckle Jane (“Recipes”), Cal Leckie (“Micro-Verse”), and Lucius Rofocale (“Ne/urantia: Close Encounters of the Third Mind”). Billy Chainsaw and D M Mitchell contributed artwork.

A word of caution to those with delicate sensibilities: Phrases such as “corpse fetish pussy gangbang” (which I’ve cut from Siratori’s “Phishingera”) occur with frequency.

More adventurous readers, however, may argue that they do not occur frequently enough.

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The news is all over Twitter and Facebook, but has yet to penetrate the mainstream media: Gloria Leonard, a popular adult film actress of the 1970s, and the former figurehead publisher of High Society magazine, passed away last night, in Hawaii, after suffering a massive stroke. She was 73.

Leonard, whom I'd met on numerous occasions when I worked at High Society in the 1980s, was a skillful public relations professional who was instrumental in selling "free phone sex"--the first fusion of erotica and computers--to America. As I say in Beaver Street, she presented High Society to the media as "visionary corporation" run by "a media-savvy porn star/publisher who was now making millions of dollars with phone sex, an explosive new business that hadn't existed two months earlier." And the media bought into it with a vengeance.

Leonard made tens of millions of dollars for the real publisher, Carl Ruderman, who, terrified of being publicly identified as a pornographer, “hid behind her skirt,” as Hustler publisher Larry Flynt put it.

Leonard, however, was no fan of Beaver Street, and vehemently objected to her portrayal in the book as a “figurehead” publisher. She threatened to sue me unless I told the story the way she wanted it told. It was a forceful PR gambit that, unfortunately for Leonard, failed. I didn’t change a word and she didn’t sue. Still, it saddened me to find myself in an adversarial relationship with somebody I’d once admired.

Leonard has many fans and admirers in the adult entertainment business, and I’ve no doubt that they’re feeling her loss deeply. To them, and to her family, I extend my condolences. Read More 

I've always believed that the pornography industry is a microcosm of the capitalist system, and that looking at capitalism through a pornographic lens is a legitimate way to gain insight into that system. One purpose of my book Beaver Street: A History of Modern Pornography is to offer such insights in an entertaining and humorous manner. And with the exception of one critic, a former pornographer who dismissed the book as "smut," most readers and critics "got it," as the pull quotes on this page and my home page attest.

In November, I wrote about a college textbook, published by Palgrave Macmillan, titled The Ethics and Politics of Pornography, by David Edward Rose. The book had come to my attention because it references Beaver Street in a chapter called "'I Can’t Do It by Myself!': Social Ethics and Pornography." But I didn't know exactly what the book said; I only knew that I was listed in the index atop French philosopher Jean-Jacques Rousseau.

I’ve since received a copy of the book, which I plan to write about at length in a future posting, along with another textbook, also published by Palgrave Macmillan, titled Pornographic Art and the Aesthetics of Pornography, edited by Hans Maes. But for now I’d like to share with you what The Ethics and Politics of Pornography says about Beaver Street.

The reference is on page 214, in a section about capitalism called “The real enemy,” and it comes from my chapter about working at High Society magazine in the early 1980s.

“The aim of capitalism is not to make good art,” Rose writes. “Nor good products. It is not interested in the product per se, but only in the product as a means to satisfy other desires, as capital in motion. As one insider in the industry astutely observed, ‘The product, as well as my job, was anything but transgressive; it was corporate moneymaking at its most cynical, conservative, and tightly controlled. It wasn’t even about sex; it was about using sex to separate people from their money.’”

And that is indeed a spot-on description of what it was like to work in Carl Ruderman’s smut factory, a place where the most exploitative face of modern capitalism was on display daily. Read More 

In honor of Al Goldstein, who passed away today at 77, here's an excerpt from the "Natural-Born Pornographers" chapter of Beaver Street. Names of all non-public figures have been changed.

***

Soon after I took over as FAO's managing editor, my good friend Georgina Kelly landed a 'prestigious' $15,000-per-year part-time position at Screw as an associate editor whose responsibilities included finding whores for publisher Al Goldstein and helping Goldstein's managing editor, Howard Nussbaum, put out the paper every two weeks. Kelly was thrilled about the job because people inside and outside the industry feared and respected Screw more than any other pornographic publication, including Hustler. Screw's utter audacity in the face of possible lawsuits and the quality of its prose were the principal reasons for this. Chip Goodman, for one, lived in mortal terror that Screw would run more stories written by former employees about his cocaine habit. Other people of a certain ilk shared a well-founded dread of waking up to find themselves the subject of one of the crudely constructed photo collages that ran in almost every issue. These collages generally consisted of huge penises penetrating the orifices and ejaculating on the faces of whatever high-profile decency advocates, aspiring censors, and porno competitors Goldstein had a hankering to infuriate. As of late, the objects of his rage included President Ronald Reagan, First Lady Nancy Reagan, Attorney General Edwin Meese, 'moral majority' leader Jerry Falwell, the Reverend Pat Robertson, radical feminists Andrea Dworkin and Catharine MacKinnon, and Iran's Ayatollah Khomeini.

Unlike most people in the porn biz, who thought it prudent to seek employment elsewhere, Kelly wasn’t troubled by Goldstein’s fanatical commitment to the First Amendment, or by the daily bomb threats from assorted psychos and religious fanatics, or by the fact that the entire staff had been marked for assassination by a fundamentalist Islamic death squad after publishing ‘The Dirty Parts of the Koran’ in an April Fool’s issue. On the contrary, she was delighted to have finally latched onto a corporation that offered so much opportunity for advancement.

What made Screw great, Kelly explained, was that ‘Al’ understood his audience perfectly—because he was his own perfect audience. He knew that only a handful of readers bought Screw for the political satire or for the celebrity interviews he threw in when he could get them—like the one in 1972 in which Jack Nicholson admitted that he’d “jacked off to Screw.” The real readers—the ones who’d kept Goldstein in business since November 1968—were the desperately horny men who bought Screw for the hooker ads and the detailed guides to peep shows, whorehouses, and swinger clubs. It was universally acknowledged that Screw was the best and most reliable place to find out where to get laid, blown, jacked off, or lap-danced in the New York metropolitan area.

And that’s the way it had been since Goldstein, with an initial investment of $300, published his first issue, on the day after Richard Nixon was elected president, and then watched the tabloid explode on newsstands with a Beatles-like intensity that forever changed the way America perceived pornography. Now, after nearly two decades of hate mail, death threats, obscenity busts, high-profile publicity, and lawsuits, Screw had become an icon of American sleaze culture, the magazine that people loved to hate, even if they’d never seen it. Goldstein himself, who grew up in Williamsburg, Brooklyn, in the forties and fifties dreaming about “tasting pussy” (and thinking he never would), had become a despised and admired gadfly smut-publisher who was tasting a lion’s share of pussy—and now had Georgina Kelly on staff, in part to ensure that he never went without pussy again.

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On February 17, 2011, I conducted my first Beaver Street interview. Sean Moncrieff, host of the Moncrieff show, on NewsTalk radio, Ireland, was the man asking the questions, and we got into some heavy duty stuff--capitalism, exploitation, and the psychological effects of working in the pornography, both in front of the camera and behind it. But Moncrieff also found the title of the book delightful, and was quite taken with the names of some of the superhero-like porn stars I'd written about--Deena Duo, Pandora Peaks, and Busty Dusty, for example. His favorite, however, was Auntie Climax, so named by Izzy Singer, the man who acted as my guide through the world of XXX.

I’ve posted the interview on SoundCloud. Moncrieff and I cover a lot of ground in 15 minutes. Give it a listen.

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I've always felt confident that sooner or later academia would embrace Beaver Street and the book would find its way onto required reading lists for any number of sociology, history, and gender studies courses. My confidence was not misplaced.

Soon after its publication in the U.K., in 2011, a glowing review of Beaver Street, titled "Free Speech and Competitively Priced Smut: Pornography in the United States," appeared on H-Net, a site devoted to the humanities and social sciences. Written by Patrick Glen, a PhD candidate at the University of Sheffield, it compared Beaver Street to Perversion for Profit, by Rutgers professor Whitney Strub, who essentially covered the same material I did, though from an academic perspective.

“Shocking… evocative… entertaining… A rich account that adds considerable depth and texture to any understanding of how the pornography industry worked,” was the blurb I took from Glen’s critique.

Then, a few months ago, I became aware of The Pornologist, the website of Peter Kenneth Alilunas, a PhD candidate at the University of Michigan. On his “Essential Reading” list, Alilunas had placed Beaver Street #1, and as it turned out, his PhD dissertation, Smutty Little Movies: The Creation and Regulation of Adult Video, 1976-1986, contained numerous references to the book.

Now, to complete the academic hat trick, a book recently published by Palgrave Macmillan, The Ethics and Politics of Pornography, by David Edward Rose, references Beaver Street in chapter six, “‘I Can’t Do It by Myself!’: Social Ethics and Pornography.”

I don’t know what it says, exactly, as I’m not about to buy a textbook that lists for $105, even if I am in it. But Rose, a lecturer in philosophy at Newcastle University, in the U.K., who, according to his bio, specializes in “Hegelian ethics and counter-enlightenment thought and their application to contemporary moral and political issues,” sounds like a serious fellow. And like The Ethics and Politics of Pornography, Beaver Street also raises “a host of moral and political concerns” about “coercion, exploitation, harm, freedom of expression and the promulgation of sexist attitudes.” Which, apparently, is why it continues to make academic inroads.

And it’s always nice to see my name in an index, atop French philosopher Jean-Jacques Rousseau. I’m sure he, too, had a few things to say about smut.

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I was hoping to post on The Sporadic Beaver at least once a week, but it seems eight days have slipped by since my last transmission. That's because things have been happening. I will review some of the highlights.

· Mary Lyn Maiscott's well-received Linda Ronstadt interview was posted Monday on the Vanity Fair website. She was worried that "Linda," as we now call her in the Maiscott-Rosen household, talked too much about singing--something she can no longer do because of Parkinson's disease.

“That’s like interviewing Picasso and saying that he talked too much about painting,” I told her.

The reason I think the interview went so well is that Linda, in the course of promoting her new memoir, Simple Dreams, has probably spoken to hundreds of interviewers, the majority of whom did not read the book and asked her the same canned questions over and over. Not only did Mary Lyn read the book, but she, too, is a singer, and when I listened to the recording of the interview, I got the sense that I was listening not to a journalist interrogate a rock star, but rather to two singers having a heart-to-heart conversation.

· I don’t remember what provoked me to listen, from beginning to end, to The Velvet Underground & Nico last week. But for some reason, I did. So, when I heard the news Sunday that Lou Reed had died, it was both eerie and shocking. (He was, after all, a fellow New Yorker and a Brooklyn native who was born at the same hospital I was born—Beth-El, now Brookdale.) Stranger still was what I found out about Velvet Underground drummer Maureen Tucker as I was Googling various Velvet Underground things while listening to the album: Tucker, a member of one of the coolest rock bands ever, is now a Tea Party supporter! You can read all about her politics in this interview that ran in the St. Louis Riverfront Times. (And I will, at some point today, listen to Lou Reed’s eerily appropriate “Halloween Parade,” which happens to pass by my house.)

· Since its U.S. publication 18 months ago, Beaver Street sales can at best be described as a steady drip… drip… drip… But this week, for reasons unknown, that drip turned into a mild flurry, sending the book to its highest point on Amazon, and keeping it there for six days. In no way can this compare to the explosive sales that, from 2000-2003, propelled Nowhere Man onto bestseller lists in five countries. But it is a hopeful sign, and in the ravaged economy of 2013, that’s about all you can ask for.

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Jenna Jameson -- WHACKED OUT ... Live TV Segment Cut Short Over Bizarre Behavior

In Beaver Street I say that Jenna Jameson may be the first porno billionaire. After watching this video, I've changed my mind.

On the other hand, her book Sugar is doing very well. Maybe I should show up trashed for my next interview.

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The image on the right is the flyer for the next event at the 2A bar, 25 Avenue A, in the East Village, where Eric Danville, Lainie Speiser, and I have been coordinating a series of readings for the past few months. The theme for Tuesday night, September 17, is politics--specifically sexual and gender politics.

In celebration of this theme, I'll be reading the section from Beaver Street that ties together Lyndon Johnson's Presidential Commission on Obscenity and Pornography, Richard Nixon, Billy Graham, Charles H. Keating, Deep Throat, and Watergate. All in about 1,300 words.

Whitney Strub, an assistant professor of history at Rutgers University, will be reading from his first book, Perversion for Profit (Columbia University Press), which was just released in paperback, and which covers material that’s almost identical to what I cover in Beaver Street. (You can read a review comparing the two books here.) The title is a reference to an anti-porn film produced by banker and convicted felon Charles H. Keating, who might have described Strub as a “permissive professor dedicated to a position of complete moral anarchy.” Our kind of educator, in other words.

J. C. Malone, a take-no-prisoners political columnist for Listin Diario, in the Dominican Republic, will read one of his columns, posible en español. Translation will be provided. Here’s a link to a recent Malone dispatch from the Bronx.

Malone’s daughter Gloria Malone, who writes for Teen Mom NYC, will read “I Was a Teenage Mother,” her Op Ed piece that ran in The New York Times.

Other performers include Lainie, who will read from Election, by Tom Percotta, adult film star Britney Shannon, actor David Healy, and actor Peter Loureiro.

It promises to be a provocative and enlightening evening, and we hope to see you there. Admission is free and the event runs from 8:00-10:00 P.M.

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It's been nearly seven weeks since I last posted here, and the ninth day of the ninth month (see Nowhere Man) seems like an auspicious day to declare an end to summer hours. Regular readers of what used to be The Daily Beaver will notice the name change. I'm now calling this blog The Sporadic Beaver, which means that I'm no longer going to post Monday-Friday, but will make the effort to post at least once every week.

A lot has been going on since July 24:

· I’ve given the complete Bobby in Naziland manuscript to the Mistress of Syntax, who has read the entire thing. I’ve since been working on corrections and rewrites.

· The Beaver Street Kindle edition was re-released on Amazon U.S. and Canada, and last week it was the #1 “Hot New Release” in pop culture books in the U.S., and the #2 “Hot New Release” in art books, behind Gertrude Stein’s The World Is Round, in Canada. This is my first #1 anything in the U.S. since September 2000, when Nowhere Man was riding high on numerous bestseller lists.

· In other Amazon news, the secretive company has made the Kindle edition of Beaver Street unavailable in the U.K., telling me that they “don’t have the rights to sell it.” This is what Amazon U.S. told me last year about the print edition of the book—before the threat of a public protest against Amazon censorship persuaded them to make the book available. Perhaps the Brits will sort this one out, though they’ve given no indication that they’re capable of doing so.

· I’ve been kicking back in Machiasport, Maine; Saint Andrews, New Brunswick; and Greenacres, Florida, doing my best not to think about Amazon or any of the other routine aggravations that the publishing industry is so good at generating.

· Eric Danville, Lainie Speiser, and I have been preparing for our next group reading on Tuesday, September 17, at 8:00 P.M., at the 2A bar in the East Village. The theme is politics, and I’ll be reading from the Lockhart Commission/Deep Throat/Watergate section of Beaver Street. Stay tuned for more info, and in the meantime, you can listen to Eric talk about Deep Throat on The Rialto Report.

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If I believed in astrology, I'd attribute the events of the past couple of days to the fact that, on July 23, the zodiac moved into Leo, the sign under which I was born. But since I don't believe in astrology I'll have to attribute these events to the fact that for more than two years I've been talking nonstop about Beaver Street to anybody who'll listen.

This morning, an article on CNBC about the U.K.'s Internet pornography ban, "No Porn Please, We're British," by Chris Morris, mentions Beaver Street. Morris asked me what I thought would happen now that anybody in England who wants to look at X-rated material on his computer will be asked by their ISP to verify his age and confirm that he wants to watch smut.

“Obviously people are not going to want to do that,” I said. “People just don’t want to come out in public and say ‘I want to look at porn.’ A lot of people who do look at porn are inhibited, shy people.”

And in response to Prime Minister David Cameron’s statement that online porn is “corroding childhood,” I added, “If kids want to look at pornography, they usually figure out how to do it.”

That’s the first time I’ve ever given a PM a piece of my mind.

Then, last night, at the 2A bar in the East Village—along with Eric Danville, author of The Complete Linda Lovelace; adult actress Brittany Andrews; Bobby Black, senior editor of High Times, and actor Jeffrey Emerson—I celebrated Hunter Thompson’s birthday (he was born July 18, under the sign of Cancer) by reading from “Mein Kar,” a Thompson parody about a Mercedes-Benz road test that I wrote for D-Cup magazine, and the opening pages of Fear and Loathing in Las Vegas, which inspired the parody.

A huge thanks to everybody who came out to see us, and especially to Eric and Lainie Speiser, who put the event together!

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John Mozzer was an information technology specialist who'd received security clearance from the National Security Agency. But in his secret life, one that he lived from 1978 to 1995, he was Alan Adrian, a pornographic actor who appeared in 67 XXX-rated movies, including such classics as A Taste of Money, Inside Little Oral Annie, Maid in Manhattan, Babylon Blue, Oriental Techniques in Pain and Pleasure, Centerfold Fever, and The Devil in Miss Jones II.

Now retired and living in L.A., Mozzer tends to an extensive archive of material related to the porn industry. He also knows many of the characters from Beaver Street, and he recently posted a review of the book on Amazon. I think the review serves as a perfect example of the kind of dialogue that I'd hoped Beaver Street would spark, and which I'd encourage people to continue.

This is what Mozzer had to say:

A Fascinating Read

My original reason for reading Beaver Street: A History of Modern Pornography is that my world overlapped with author Robert Rosen’s world during the 1980s. I worked as an adult film actor (under the name Alan Adrian or Spike), a representative for magazine distributing and printing companies that profited by serving the porn industry, and a freelance writer and photographer for some of Rosen’s colleagues.

It’s a shame that names have to be changed in non-fiction books like Beaver Street. I was hoping to recognize the colleagues whose names were changed by Rosen. But that didn’t happen. I suspect this means it will be all the more difficult for future writers on this topic to figure out who’s who.

To my surprise, in Chapter 4, Rosen describes Carl Ruderman, the person with the money behind High Society, as very involved with its day-to-day operation. Furthermore, his anecdotes about working for High Society came across as very credible. I found myself feeling, “I’m sure these things really happened.” Nevertheless, I think caution is in order, because Rosen’s stint at High Society is a small fraction of the magazine’s life, and the situation may have changed over time. After finishing Chapter 4, I decided the extent to which Ruderman involved himself with the day-to-day operation of High Society, over the long run, remains an open question.

Years ago, I heard about the murder of editor Bill Bottiggi. But I never knew about the circumstances leading up to the murder, as Rosen describes it. I find Rosen’s account very disconcerting. After all these years, I have to reconsider placing Bottiggi in the “all good” and “nice guy” category in my head. Initially, I believed Rosen’s account. Later, I found myself not wanting to believe it, and longing for accounts by other people who knew Bottiggi.

Rosen presents strong arguments against society for allowing Traci Lords to get away with hoodwinking the porn industry. In fact, his arguments made me very, very pissed off at her.

Beaver Street was truly a book that I couldn’t put down. I learned tons of stuff that I didn’t know. You don’t need to have been involved with the porn industry, like myself, in order to enjoy the book. You don’t even have to be involved with researching the subject. Beaver Street is a fascinating book to read. Read More 

I'll be posting here sporadically over the course of the summer. So go enjoy yourselves, read a good book, and don’t forget to use sunscreen.

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The following review, written by "Another Former Porn Worker," appeared on Amazon yesterday. It speaks for itself.

Your book was amazing! I downloaded it to my Kindle and could NOT put it down last night. You perfectly capture the atmosphere of the office, that slight paranoia, tinged with smarminess, with the forced insistence that everything around here is perfectly normal. I too worked in the industry, though far more recently, but it seems nothing has changed.

Your assessment of Carl Ruderman is priceless. I, too, have sat in front of that exquisite Victorian desk, surrounded by his priceless artifacts that invariably feature naked women or abstract genitalia, patiently waiting my turn for him to say, “...And Ms. XXXX, what good news do you have for me today?” From your description of him, I could hear his voice leap from the page. I could see him as I saw him in his office at 801 Second Avenue, a bit more shriveled version than the one you saw, but in that same beautifully cut, tasteful gray pinstripe suit, pocket square, and genteel sneer.

Also, in the short time I was there, I know the company was sued multiple times. Weirdly, it was never mentioned at the meetings. It was simply like it didn’t matter. Also, by the time I got there, the porn down on the lower floor was never mentioned. Ever. People on the 19th floor did NOT speak to any of the people down there. I only knew about them because I had skills he needed for both floors.

I loved the part about “the founder.” After he lost the lease on the 19th floor and we were moved to the far less glamorous 11th floor, that bust was placed directly outside my door, so it would stare at me day in, day out. It was rumored that there was a camera in it, but that was probably just conjecture.

He was elderly by the time I worked for him, yet he was insistent on never dying. He kept a personal chef with him at the office, a woman he paid far less than she was worth, peanuts really. She would prepare his daily vitamins and medications, dozens in all, and his breakfast and lunch in the office’s formal dining room. All upper management was expected to attend, but as a woman and a low-level techie I was fortunately denied that privilege.

I liked your Maria. It explains his current secretary while I was there. She was a mid-fiftyish battleaxe of a hag who would agree with him if he said the sky was green, and spent much of her time repeating back anything he said in different words as if she had just thought of that. She, and the other woman before her, trained themselves to expect and indulge his every whim. The woman before at least seemed to see the humor in the situation, as Maria seemed to. I would have been stoned all the time, too.

There was a whole host of crazy characters there who, like me, had no other options at the time, and those of us who got out sometimes get together and talk about it, because no one else would ever believe us. They are a crazy bunch, but those who survived, many are people I really like, cause as you and Maria were, we were witness to a legend being written. Like you, I walked out of that office with no job but that “incredible lightness of being.”

All in all, you reminded me that despite everything, Carl Ruderman has charisma. A sly, slithering sort of charisma, but charisma just the same. I can’t even say I dislike him. He is the sort of man who will do anything for money, and it seems that he did.

In the end, those of us that got tangled up in it have one hell of a story to tell at cocktail parties.

Marvelous work! Read More 

"People become porn stars because they're good at it; because they have no other options; because they have nothing to lose; and because they're desperate, either economically or emotionally or both." --Robert Rosen, from Beaver Street: A History of Modern Pornography

"It made it harder for people to stay in that mindset of porn stars as people who don't have other options because they're too emotionally damaged or stupid to do something else." --Stoya, the porn star, telling the Village Voice why she prefers to post her thoughts directly on the Internet rather than talk to the press.

I’d never heard of Stoya until I read the cover story in last week’s Village Voice. The article, “Pop Star of Porn,” by Amanda Hess, tells how Stoya, 26-year-old star of such X-rated videos as Stoya: Web Whore, has become the toast of the New York art world, perhaps because of her “Snow White beauty,” the mathematical perfection of her face and body, and her even more famous boyfriend, porn star James Deen.

I find it interesting (though not especially surprising) that when I was looking the other way, the line between XXX celebrity and non-XXX celebrity seems to have vanished completely. But even more interesting, I thought, was how Stoya’s above quote echoed what I wrote in Beaver Street, and might have even been a response to it.

Stoya does not want you to think that people become porn stars because they have no other options or because they’re emotionally damaged. And she holds herself up as a shining example of a porn star who has options and is not emotionally damaged.

Fair enough. Stoya is the exception that proves the rule. Though I wonder what, exactly, she’s planning to do when she’s no longer under contract to Digital Playground and her celebrity is no longer based on how well she performs sex acts on video or in live shows. A handful of success stories come to mind: Danni Ashe (Internet millionaire), Jenna Jameson (best-selling author), Ginger Lynn and Christy Canyon (radio personalities).

And I’m sure there are a few more potential Stoyas out there—intelligent, beautiful, emotionally together women with a wide array of options who see hardcore porno as a good career move. But my quote, about economically and emotionally desperate people without options, is based on what I learned from conducting approximately 200 in-depth interviews with porn stars, erotic performers, and nude models, many of whom were intelligent, witty, and articulate.

Stories of sexual abuse, incest, and loss of virginity through rape were common. The porn stars I spoke with, over a 16-year period, were people scarred by emotional trauma, with little education, who were usually driven into porn by economic desperation. If they had options, it was a choice between a minimum wage job at McDonald’s, Burger King, or Wendy’s.

So yes, what Stoya has accomplished is remarkable. But, I think it would be best for the rest of the world to hold on to the mindset of “porn stars as people who don’t have other options because they’re too emotionally damaged.” Because it’s true, even if Stoya doesn’t want you to believe it.

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Readers of Beaver Street should be familiar with Sonja Wagner, whom I described in the book as my "dyslexic, spliff-smoking freelance art director," and whom I gave some of the best lines, such as the one on pages 123-124, when she asks our esteemed publisher, Chip Goodman, "Is something wrong, Chip, dear? Didn't Bobby and I put enough incest into your filthy little book?"

If you haven't read Beaver Street, then you can read about some of Wagner's erotic artwork on this blog.

Last night, over a couple of shots of vodka in her studio, Wagner got into talking about Ruby Leggs, a character she created more than 30 years ago, and in that time has produced dozens of Ruby paintings, mostly documenting her curious New York City life. Now Wagner has decided that she wants to publish the complete Ruby Leggs story in a book.

So she asked me to answer the following question: Who is Ruby Leggs?

I’ll give it a shot.

At her most basic, Ruby is three pairs: a pair of full, scarlet lips mounted on a pair of long, shapely legs, who’s always wearing a pair of high heels. Though lacking a head, arms, and a torso, she still manages to radiate erotic heat. This, then, makes Ruby a fetishist’s delight, a woman reduced to two body parts and a fashion accessory. In the above painting, Ruby is arousing a subway car full of men who ogle her through the peepholes they’ve cut in their newspapers. But the title of the painting, “No One Ever Looks at Me Anymore,” shows that Ruby is also a naïf on the loose in the big city, a creature unaware of her erotic power.

And New York is full of women like that, which makes Ruby Leggs somehow real, a recognizable character, somebody you’d like to meet, sit down with at a cafe, and over a couple of drinks ask her about herself. Because you know, behind those perfect red lips and white teeth, Ruby Leggs has a tongue, and she can do a lot of things with it, including tell you herself who she is, if she’s so inclined.

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On pages 37-38 of Beaver Street, I tell the story of the first time a porn magazine assigned me to go to the set of a XXX movie and write an article about it. High Society, where I was working as an editor, was the magazine that sent me. Adventure Studios, in Corona, Queens, was the location. The film--it was an actual film, not a video--was Succulence, starring Kelly Nichols, Rhonda Jo Petty, Little Oral Annie, and (of course) Ron Jeremy.

It was October 10, 1983. I know this because as I was interviewing porn stars in the Sewer Club, as the green room was called, Cardinal Cooke's funeral was being broadcast live on the TV playing there, and a quick Internet search just provided me with the date.

The article I wrote, “The Making of a Fuck Flick,” was published, uncredited, in the June 1984 issue of High Society, five months after the publisher, Carl Ruderman, fired me for calling HS a “porno mag” in the New York Post. (According to Ruderman, the only acceptable term for what we produced at his smut factory was “adult entertainment.”)

“The Making of a Fuck Flick” is an incredibly sleazy article where I describe such things as the mechanics of filming a “dogfuck,” and quote porn stars saying things like, “To sit with a camera up your twat all day—this is not normal.”

So, when Gene Gregorits, author of Dog Days, told me he was looking for “an essay, a story, an article, or an interview regarding the lowest of the low in NYC between 1975 and 1995” for the book he’s now putting together, Necropolis Now: New York Scum Culture, I sent him “The Making of a Fuck Flick.” “This seems to fit your criteria,” I said, and Gregorits agreed.

If all goes according to plan, the book should be out before the end of the year.

Look for it. Read More 

I began working seriously on the novel I now call Bobby in Naziland in May 2008. I had little idea of what, exactly, I was writing. All I knew was that it was time to begin another book, and there was something about the Brooklyn neighborhood of Flatbush, in the mid-20th century, that was worth exploring.

I'd touched on it in the opening pages of Beaver Street, the book I'd recently finished writing (though had not yet sold), describing the goings-on in my father's candy store, on Church Avenue, in 1961. Also, I'd just finished reading The Fortress of Solitude, by Jonathan Lethem, a novel that takes place in an adjacent Brooklyn neighborhood, about ten years later. It gave me ideas.

So, I began the agonizing process of figuring out what my new book was going to be, and I saw it evolve from hundreds of pages of notes, fragments, anecdotes, and ideas, to a possible memoir, to the novel that it finally became, and that I think I’m now in the process of fine-tuning.

Over the past five years, I’ve shown what I’m working on to nobody, not even to my wife, the Mistress of Syntax, who’s also my editor. Because I read the book out loud as I’m working on it (I need to hear in my ear what it sounds like), and have spoken about it to people who’ve asked, my editor had some idea of the wide-ranging subject matter. But she’d never overheard more than a sentence or two at any one time, because I tend to work only when I’m alone.

With the second annual Bloomsday on Beaver Street looming, on June 16, I knew it was time to pick the selection I’m going to read that night, and to finally read it out loud to my editor. That’s what I did this weekend; I read to her the opening pages of chapter one, “The Goyim and the Jews.” I’m pleased to report that she laughed twice, and said, when I finished reading, “It’s good, but I thought it was going to be more solemn.”

Bobby in Naziland is not a solemn book. And if you think the Mistress of Syntax goes easy on me because I happen to be married to her, you’re sadly mistaken. Quite the opposite, actually. Her editing process is uncompromising, her demands for factual accuracy unrelenting, and the proof is in the quality of my previous two books. The Mistress of Syntax is not a title the wife wears lightly. Her “It’s good” is a five-star rave.

To say that Mary Lyn’s reaction filled me with a sense of profound relief would be a gross understatement. But if the pages passed muster with her, it gives me enough confidence to go forward and read Bobby in Naziland (along with a selction from Beaver Street) to a larger audience on Bloomsday.

I hope you’ll be there to listen.

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Having written a book about the history of pornography, set mostly in New York City between 1974-1987, I take an abiding interest in all things having to do with the history of porn in New York. Recently, I've discovered a site called The Rialto Report, run by a man with a British accent who calls himself Ashley West and occasionally Benson Hurst, and who shares my abiding interest in the Golden Age of New York's adult industry.

Named for the now-closed Rialto Theatre on 42nd Street, the site has posted a series of podcast interviews with porn people from New York's past. Last night I listened to the interview with Carter Stevens, an actor, director, and producer, probably best known for a film called Lickity-Split. Though I didn't write about him in Beaver Street, he's one of those pornographers whose name you heard time and again if you worked in X; he was everywhere in the 70s and 80s.

The interview is over an hour, and Stevens, with his tough-guy voice, goes into great detail about New York in the days of Plato’s Retreat, Bernard’s, Jamie Gillis, Bobby Astor, Sharon Mitchell, and his ex-wife, Baby Doe.

As I write this, I’m listening to the provocative interview with Annie Sprinkle—she talks about rape and feminism. Sprinkle was a unique (to say the least) New York character whom I worked with when I was managing editor of Stag in the 1980s, and whom I did write about in Beaver Street. (I discuss Annie and some of her freaky predilections in this video clip from my interview with Kendra Holliday.)

Also interviewed on The Rialto Report are porn stars Jennifer Welles, George Payne, and Jeffrey Hurst, filmmaker John Amero, and photographer Barbara Nitke.

This is a rapidly expanding site, and a great resource well worth checking out.

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