Robert Rosen

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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As this cruelest month winds down, I find myself thinking seriously about what, exactly, is going to happen, on June 16, at the second annual Bloomsday on Beaver Street event, at the Killarney Rose, in downtown Manhattan. Last year was easy. My book had recently been published in the U.S., and Bloomsday was a book launch party celebrating not only Beaver Street, but other literary works, like James Joyce's Ulysses, that had once been branded pornographic and banned.

This year, I'm expanding the theme to include other authors whose works lend themselves to what is actually being celebrated on June 16, the day that Ulysses takes place. On that day, in 1904, Joyce had his first date with his wife-to-be, Nora Barnacle, and to put it in the most explicit terms, she gave him an epic handjob.

This much is definite:

Eric Danville will be reading from his book The Complete Linda Lovelace, which he’s now revising, and will re-release in September to coincide with the release of Lovelace, starring Amanda Seyfried as the deep-throat artist. I suspect that Danville will read, among other things, a zombie story he’s working on titled “Dead Throat.”

Lainie Speiser, author of many books about sex, will read from her latest work, Confessions of the Hundred Hottest Porn Stars.

There will be porn stars present. Musicians will perform. Byron Nilsson will MC, read, and sing.

I will again be reading from Beaver Street, this time a historical (rather than a personal) passage. And I will also, for the first time in public, read from my novel-in-progress, Bobby in Naziland, for which I offer no apologies to James Joyce for the subtitle, “A Portrait of the Author as a Young Jew.” He would have understood.

Mark your calendars now, and stayed tuned for more news about additional performers.

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The reaction to Antony Hitchin's poems, drawn from Beaver Street, using the cut-up technique William Burroughs popularized, has been so positive, I'm going to end the blogweek with one more.

"Meat Doll Misanthrope," like "Discharge," which I posted yesterday, is what Burroughs described as a "Third Mind" collaboration. Hitchen combined his own words with words cut from Beaver Street. But unlike "Discharge," which was mostly Beaver Street, "Meat Doll Misanthrope" is about half Beaver Street, half Hitchin.

And if you really want to know which half is which, you’ll just have to read the book.

Meat Doll Misanthrope

misanthrope pixel memoir
dinosaur Christ proxy body
mimicking skin
dialectical face mouth peers
through fuck fingers
the sound of god splitting
open ----------------------------------------------
flaming silhouettes
candy store messiah
mouth-fuck fetishes
the remnants of your space dead television flesh
your channel wired webwork tissue reek of wet pubics

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I said yesterday in my posting about "Bukkake Thatcher," one of the poems Antony Hitchen had sliced from the heart of Beaver Street using the cut-up technique popularized by William Burroughs, that he'd "compressed into a few sentences the emotions expressed in a large swath of the book." But I think it would be more accurate to explain the technique this way: Hitchin has pulled from Beaver Street the most provocative words and phrases, and by arranging them in a new way, he's captured the emotional tone of the entire book.

The title of the poem below, "Discharge," is cut from a legal document quoted in the Traci Lords chapter. Other words are taken from chapters titled "High Society" and "I Found My Job in The New York Times." Hitchen also includes some of his own words not found in the book, like "muzzle," "filter," "autonomy," and "flush," making this what he'd call a "Third Mind" collaboration, which is the title of a cut-up work by Burroughs and Brion Gysin.

Here, then, for your reading pleasure, I give you the latest and freshest filet of Beaver:

Discharge

DIY abortion vacuum / video boxes sizzling jailbait celebrity skin/ subscription hooker etiquette women masturbating mutilated bodies/ nymphomaniacs spread pussies – muzzle sloppy
she fills a paper cup of deep-pile pussy discharge
AIDs tuberculosis trickle-down
economics/ bubonic rejection glare of subway slug/
drifting overhead chrome /beyond sleep filter fringes – spurting flush autonomy nothing death

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The ignorance of the American media never ceases to dazzle, and it was on full display last week when Margaret Thatcher died. As soon as the news broke, the commentators on the cable show I was watching began describing Thatcher as a great prime minister loved by all, a veritable saint like her good friend Ronald Reagan.

This didn't exactly jive with what I remembered about the reign of the so-called Iron Lady. In her own country, she was at best divisive and at worst despised. There were riots in Liverpool, an unnecessary war in the Falklands, and an ongoing economic catastrophe that led to massive unemployment.

It’s this last point that I discuss in Beaver Street. Just as Ronald Reagan’s policies gave the world “free” phone sex, which transformed the porn industry from an underground phenomenon to a mainstream financial behemoth, Thatcher’s policies were instrumental in making D-Cup magazine a success.

It was soon after I began editing the magazine, in 1986, that, as I say in Beaver Street, I started making regular trips to London with fists full of cash to “persuade the nubile spawn of Margaret Thatcher’s economically ravaged England to reveal their fleshly charms.”

I explain how British photographers were placing ads in newspapers “inviting young women to come to London to audition as topless ‘Page 3’ girls,” and how Thatcher’s economic initiatives had driven “unemployed and underemployed students, nurses, housewives, and secretaries” to descend “locust-like upon the city because they believed that flashing their boobs in ‘respectable’ family newspapers was the first step on the road to becoming a big movie star or a famous lingerie model.”

On one trip, in late 1987, soon after the stock market crash, I witnessed hundreds of young women line up in a London warehouse that had been converted to a makeshift photography studio. One after another, they took off all or some of their clothes, as a photographer snapped test shots. And within weeks, thanks to Lady Thatcher, dozens of these women, having been told that they weren’t quite right for Page 3, had decided that “rather than go back to the night shift in a Liverpool fish-and-chips joint,” they’d make the leap to hardcore porn videos.

It’s this scenario that inspired “Bukkake Thatcher,” the latest poem Antony Hitchin has drawn from Beaver Street. (I’m running it today to commemorate Thatcher’s funeral, and I’ve kept the British spellings in her honor.) Using the cut-up technique, Hitchin has compressed into a few sentences the emotions expressed in a large swath of the book. And if you don’t know what bukkake means, go ask somebody who does.

Bukkake Thatcher

Penthouse Enron brain pictorial pulp lust bad writing on the wall for economically ravaged post-industrial America. Proficiently kink or fetish the young porn nymphos veritable antithesis.

Soulless ungloved stardom – cummer cyberspace mouse-click contraband epidemic of a vibrator cabal – whose picture appeared virus legislators syndicated war on drugs.

Weapon – she was FBI cold – a moneymaker sting exploitation violating possession. Nonstop traumatic gonzo bukkake ethical violations – anilingus handheld through Margaret Thatcher’s erections – Pentecostal Watergate conspirators’ congress fibre-optic aureoles of will.

Forevermore hairball – cherry pop Iran-contra – gold standard regurgitated anal sex two-headed monster naked in a bathtub representing French and Swedish markets. Cro-Magnon church savage mass-mailing academic paedophile backbone measured to Traci Lords Nixon search.

Warrant zealots anti-porn bible on TV – black on milk cartons hole of substance abuse grotesque – erotic – strictly mechanical – a vestigial camera insertion testimony to sleazy nubile spawn of fuck-and-suck-athon. Alzheimer's mouth shut manufacturing synchronicity god CIA Meese report.

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If you haven't read Beaver Street, the cut-up poem below, "Phoenix Pussy," by Antony Hitchin (he could have just as easily called it "Dallas Cunnilingus"), may seem like nothing more than pure filth, mindless graffiti splattered across a wall, a chaotic assortment of dirty and emotionally charged words and images that doesn't seem to say anything but is somehow disturbing.

However, if you've read Beaver Street (or if you wrote it) "Phoenix Pussy" is like a hallucinogenic summary of key parts of the book. The poem runs through my head like a psychedelic movie: Beaver Street on acid.

To deconstruct (or perhaps reconstruct): Taken out of context, the phrase “Jesus jacked off,” may seem to the uninitiated like gratuitous blasphemy. But if you’ve read the book, then you know that the words are “cut” from a scene on page 120, in which I’m working with another editor to put together a style sheet for our “grossly underpaid” freelance porn writers. The complete sentence is, “People are permitted to cry ‘Oh, Jesus!’ in the midst of orgasm, but gratuitous blasphemy, like ‘Jesus jacked off behind the tree,’ is unacceptable, even in U.S.-only sections.”

So, without further ado, I give you “Phoenix Pussy,” the second poem in our continuing series of poems cut from Beaver Street: A History of Modern Pornography.

Phoenix Pussy

Cum towering bestiality and hardcore movies
divas deep anilingus
oh her partners biblical dozen double suckers with insertion behemoth!
Jesus jacked off rubbing up beavers – twat fist-fucking nymphos carved on chronic criminal wave –hookers scrapbooks hysteria militant intercourse
freaky he-she’s phoenix pussy playing reverse-cowgirl-style mindless ten-inch cocks five dollar swastika holding the
fuck-sluts enterprise statue bare-breasted erection
ungodly Dallas cunnilingus free torture mamas excretion gushing
absenteeism piss-drinking key justice fellatio nymphomaniacs

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Antony Hitchin, a British writer, is the author of Messages To Central Control. The book is an example of the "cut-up" technique, pioneered by the Dadaists in the 1920s and popularized by William Burroughs in the 1950s and '60s. One way to perform the technique is to take a complete text, cut it into pieces with one word or a few words on each piece, and then rearrange the pieces into a new text.

Hitchin recently wrote to me to say that he was "experimenting with cutting up Beaver Street in various ways" and calling the project "Split Beaver." He wanted to know if I was okay with this. I told him I was delighted, and that he should feel free to fillet my Beaver as he saw fit.

This morning he sent me the first results of his experiment. “Interestingly,” he wrote, “I was talking to [Edward S. Robinson], author of the academic text Shift-Linguals, who’s something of an authority on cut-up and postmodern literature in general, and he believes this is a first, to his knowledge—no other authors have officially sanctioned (or embraced) a literary ‘remix’ of their work.”

To which I say: It’s cool! It’s hip-hop! And in the future, I will take my Beaver raw, or “tartare,” as they call it in the finest restaurants.

Below, I give you the first “poem” cut completely from Beaver Street. Allow me to put the first word, which you’ll find on page 75, in context. (The rest you can find on your own.) “It must have been quite a shock for young Jason, who’d never publicly acknowledged the seamier side of his heritage, to see his esteemed grandfather described in the Times as a skinflint and a sadist.”

Split Beaver

Skinflint load sucks black cock – mafia micrometer pentagon enema sphincter frenzy. Entry castoffs two group suck and incest. Pseudonyms quim triangle buxom rendered syntax!

All resistance of her bodies writhing in a jack off with Jill sadist flotsam manner of human. Lunch meat anal pussy refugees – a home-decorating big-budget blizzard commingling gash vision. Lesbian sleazeball fornication – the fortunate pilgrim clippings – he lubed sperm-drenched Mary of a lost lingering presence. Stream of warm anal sent Gestapo officers with speculum fitness lit-clit scratch-and-sniff.

My airbrushed ferocious four-legged cock with teeth teasing underage girl – chief circular daisy jerk-off with ayatollah daughter. In her greased ports – hypochondriac gaping slit shot and sprinkle of machines – Mormon homicidal sperm parts of the Koran – waiting fuck virgins

Hardcore criminal penalties dirty slithering up her bridal health and homophobia gang rape puckered anus.

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Monday, April 11, 1983, 9:30 a.m.: I showed up for work in a suit, unaware that I was stepping into ground zero of a new age of pornographic wealth and joining a revolution that was changing the face of commercial erotica--as well as society itself. I did not grasp the profound, and far-reaching, implications of phone sex. All I knew was that I'd feigned enthusiasm during the interview and now I had a job, which I was determined to keep because my economic survival depended upon it. Having studied an issue of High Society over the weekend, I understood that the job was going to require a strong stomach, not to mention a few minor adjustments in my moral code. But I thought it was a small price to pay for a steady paycheck.

This is the first paragraph of Beaver Street's "High Society" chapter. The most shocking thing about it is the date. Thirty years have passed since I walked through the door of that magazine to begin my first permanent, full-time job, and embark on a career in pornography that would continue into 1999. Also, 30 years have passed since the dawn of the Age of Modern Pornography--"free phone sex" being the first fusion of erotica and computers.

These two anniversaries bring to mind the time I was 14 years old, and first heard that lyric on Sgt. Pepper. “Twenty years ago” sounded like an eternity in 1967. In 2013, 30 years feels as if it could have been, oh, I don’t know, 2010, maybe.

I really don’t have much more to say about this anniversary or High Society magazine. In fact, everything I have to say about High Society, I already said in Beaver Street. So, I’m going to celebrate by doing what I always do—working on another book. If you feel the need to celebrate, the best way to do that would be to read one of my books and join me in psychic communion. I’ll feel your energy. I always do.

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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.

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A bit of news for my American readers who've been waiting patiently for the better part of a month to order a copy of Beaver Street from Amazon: The book is back in stock, and it should remain so for some time. I have it on good authority that, after much cajoling, the Internet monolith has ordered a substantial quantity.

As for my U.K. readers, who have made Beaver Street a permanent fixture on Amazon's list of bestselling pornography biographies, which includes such heavy hitters as Jenna Jameson: The book is sold out (again) but should be back in stock in 7-10 days. Thank you for your patience. Your business is important to us.

And for those of you who are still wondering why you should read a book like Beaver Street, allow me to share with you the accolade that Headpress passed on to me the other day, from Clive Davies, author of Spinegrinder: The Movies Most Critics Won’t Write About, which will be released in July: “I just finished reading Beaver Street. What a great book! One of the most illuminating things [Headpress has] ever put out, I think. Has there been any talk of making a documentary based on it, I wonder? I can just imagine it as a loose, anecdotal, fun movie, maybe animated in the vein of The Kid Stays in the Picture or American: The Bill Hicks Story.”

Good idea, Clive. Anybody got a little seed money? Read More 

The War on Pornography is an ongoing effort, dating back to the dawn of recorded history, to cleanse the world of smut. It's an unwinnable war waged by radical religious groups and radical political groups of both the right and left wings. It's a subject I explore in Beaver Street, writing at length about the Meese Commission and their use of underage porn star Traci Lords as a pawn in a sting operation designed to bring down the porno industry in America. And it's a subject I've written about extensively on this blog, detailing porn star Missy Manners' relationship with anti-porn Senator Orrin Hatch, of Utah, and more recently deconstructing anti-porn activist Gail Dines and her efforts to have actors who perform in S&M videos charged with war crimes.

The War on Pornography is a crusade marinated in hypocrisy, corruption, and absurdity that never stops providing me with material, and the other day it provided a little more: Morality in Media (MIM), an interfaith religious group dedicated to the elimination of pornography and obscenity in American life, is best known for their "Dirty Dozen" list, which contains the names of individuals, corporations, and government agencies who, in MIM's estimation, are the "12 top enablers of our country's pornography pandemic." Among those names are such entities as Comcast, Facebook, Google, Twitter, Hilton Hotels, and the Department of Defense--because the Pentagon allows porn mags to be sold at commissaries.

MIM has just selected a new #1, the dirtiest of the Dirty Dozen: Attorney General Eric Holder. Why? Because Holder, they say, “refuses to enforce existing federal obscenity laws against hardcore adult pornography” and “has initiated zero new obscenity cases” since he’s been in office.

One of the points I make in Beaver Street is that “the biggest crooks cry ban pornography the loudest.” The examples I cite—Richard Nixon, Spiro Agnew, Edwin Meese, Charles Keating, and Alberto Gonzales—either had to resign their offices in disgrace to avoid criminal prosecution or, in the case of Keating, went to prison after being convicted of multiple felonies.

Which makes me think that, unlike, say, Attorney General Edwin Meese, who, in the midst of fighting his War on Porn, was busy committing crimes ranging from influence peddling to suborning perjury, Eric Holder might actually be a paragon of moral rectitude. Which, I think, is what most Americans would want their attorney general to be.

I can only congratulate Eric Holder for being #1. Read More 

Maybe you're celebrating Maundy Thursday, but I'm celebrating the first anniversary of the U.S. publication of Beaver Street: A History of Modern Pornography, an event marked by a responsive reading of a review by Byron Nilsson, on a site called Words and Music, which ran one year ago today.

And quite a year it's been! The good news about Beaver Street, one year down the road, is that it's sold out on Amazon. Again. The bad news about Beaver Street, one year down the road, is that it's sold out on Amazon. Again.

I’m not about to complain about a book selling out repeatedly. I will only say that when the book does sell out, as it’s been doing the past two months, I’d be happier if Amazon got it back in stock more quickly or kept more copies in stock so it didn’t sell out as often.

And I will express gratitude for the fact that one year after its U.S. publication (and two years after its U.K. publication) critics continue to write about Beaver Street and people continue to buy it.

And finally, I will extend an open invitation to all readers to come to the Killarney Rose on Beaver Street on June 16 for the Second Annual Bloomsday on Beaver Street celebration. The Very Reverend Byron Nilsson will be presiding, and he thinks I know how to “make words dance.” He said so in his review. I will be doing my best to make those words dance in public.

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Traci Lords, child-porn-star-turned-minor-Hollywood-starlet, is back in the news. The other day, as the lurid trial of two Steubenville, Ohio teenagers charged with rape was ongoing, Lords told Piers Morgan the story of how, when she was ten years old and living in Steubenville--or "Stupidville" as she said everybody there calls it--her teenage boyfriend raped her. This is typical of the kind of stuff that's always happened in Steubenville, she said.

Lords, whom I describe in Beaver Street as an ambitious juvenile delinquent who, in the 1980s, using a fraudulent passport and driver's license, systematically sought work in the porn industry, has built her "legitimate" career on playing the victim--a story that the courts dismissed more than 25 years ago, either dropping the charges against or acquitting everybody who'd worked with Lords and was then arrested for child exploitation. Nobody, they said, could have known that she was a minor. (The only exception was the president of a video company who'd foolishly sold 50 Lords tapes to an undercover vice cop after it was known that she was underage.)

But because her tale of teenage sexual victimization makes such good copy, the media has always treated Lords without skepticism, and their reaction to her “confession” on Piers Morgan is a case in point. Saying that the “former porn actress” had “come forward” to make a “shocking claim,” they seemed unaware that this is a story Lords has been peddling for the better part of 25 years, singing about her rape, in 1995, in a song titled “Father’s Field,” and writing about it, in 2003, in her less-than-revealing memoir.

The only thing of genuine interest about Lords’ latest media foray, which was designed to promote her latest song, is how, at age 44, she’s still angry about everything’s that’s happened to her. It was anger that fueled her porno career, her music career, and her writing career. And if Lords is to be believed, the root cause of all that anger is that long-ago rape. Which is a story worth telling, possibly one that some people might find helpful, and definitely one that deserves to be told honestly. Read More 

By the time you click on the graphic to the left, "10 Sexy Photos from the History of Pornography" may very well have dropped out of the top 10 of the "Most Popular Blog Stories" in LA Weekly. But that's the ephemeral nature of the Internet. What's "hot" now is not going to be hot 10 seconds from now. Whatever the case, with all the tweeting and Facebooking, Beaver Street has had a good run in LA this week, and if there's one city where it should have had a good run, it's LA. The piece, posted Wednesday morning, led to an immediate sellout of the book on Amazon, which is the first time that's happened.

Meanwhile, over in Chicago, my Nowhere Man interview with Bryan "Shu" Schuessler was streamed Sunday afternoon on Core of Destruction Radio. As it was being streamed, I had a lot of fun on the chat board with Lizard Messiah, the guy who runs the Website. We talked about John Lennon, Beaver Street, Jim Morrison, and conspiracy theories. Lizard was unfamiliar with Lennon's first solo album, Plastic Ono Band, but when the interview ended, he played two cuts from the LP, Mother and Working Class Hero. Very cool. (If you missed the interview it's available as a free download here.)

Goatserpent, a Core of Destruction DJ, also logged onto the chat board for a while. I noticed on his profile page that under “Favorite Books” he lists “early 90s issues of Swank.” Hey, Goat, you ought to pick up a copy of Beaver Street. I worked for Swank in the early 90s.

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Media exposure is the oxygen that keeps books alive, and this week Beaver Street and Nowhere Man both got a nice infusion of it. Between the Beaver Street pictorial in LA Weekly--trending #1 last time I checked--and the Nowhere Man interview on Shu-Izmz (which will be streamed this Sunday on Core of Destruction Radio), I can unconditionally call this a good media week. Since it's Friday, it's snowing in New York City, and the Mistress of Syntax has taken a day off from work, my inclination is to end this post right here and go out and play in the snow.

I'll follow my inclination. See you next week!

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Thanks to LA Weekly, I've learned a new acronym: NSFW. It means "Not Safe For Work." That's how the paper has labeled their extraordinary Beaver Street pictorial, "10 Sexy Photos From the History of Pornography."

The spread brings to life much of what I write about in Beaver Street: A History of Modern Pornography--like High Society magazine. Ironically, if you toiled for that esteemed publication in the 1980s, NSFW had an entirely different meaning: Employees were forbidden to read The New York Times, or any other newspaper, without special permission. Instead, the publisher demanded that everybody spend as much time as possible reading (and stealing ideas from) competing porno mags, especially Hustler, which he considered the "bible" of beaver books.

In the likely event that you don’t work in an alternate X-rated universe, then NSFW is indeed the correct designation for the Weekly’s Beaver Street spread. So, read it when you get home, and take a trip down the memory lane of 20th century men’s mags. It’s a world that’s fast disappearing.

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Sometimes things happen as they should, even in the world of book publishing. What I'm referring to is the idea that if somebody reads one of your books and likes it, they might seek out another one of your books. Though I'm sure this has happened to me on numerous occasions, I rarely hear about it, as the average reader tends not to communicate with the authors he reads.

But this time I heard about it. Bryan "Shu" Schuessler, who runs the culture site Shu-izmz, read Beaver Street, ran a rave review, interviewed me on his radio show, and then read my John Lennon bio, Nowhere Man, not because he had any interest in Lennon or the Beatles, but because he liked my writing style and Nowhere Man has a number of true crime elements, which fascinate him. Up went another rave review, and last night we recorded another radio interview, which Shu will post sometimes this week and which will be available for download as a podcast.

For the most part, we talked about the background of Nowhere Man—how I came into possession of Lennon’s diaries, how I transcribed them, how they were stolen from me, how I recreated them from memory, and how it took me 18 years to find a publisher for a book that’s now considered an underground classic.

In the course of our conversation, Shu said something about Nowhere Man that I’d never heard before—that’s it’s a good book for people with attention deficit disorder because it has short chapters. To which I say, “Hey, ADD people, welcome aboard. Hope you like my book.”

And as our conversation ended, I said to Shu, “Thank you. It’s folks like you who keep folks like me going.”

“We’ve got to support those whose talents and endeavors we enjoy,” Shu replied.

Couldn’t have said it better myself.

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The Daily Beaver is a thing unto itself that usually has nothing to do with anything else I'm currently writing. It's a promotional tool, a warm-up exercise, a place to occasionally let off steam, and a daily challenge. But one thing I don't do with these blog posts is spend a lot of time rewriting them. What you're reading is a first draft. Maybe I've read it through twice and made some minor changes before posting it. The whole process takes less than an hour.

My books, on the other hand, are probably a fifteenth draft that I've been working on and thinking about for years. They've been critiqued by editors, vetted by lawyers, and subjected to professional copy-editing. I'd hope the difference is apparent to even the casual reader.

I think if blogs existed in the 1970s, I’d have been a more effective blogger than I am today. And by “effective,” I mean that my postings would have gotten more hits and more comments. Because blogging is a better medium for inexperienced amateurs than it is for polished professionals, especially those who put their best work into books.

In the 1970s, I thought writing was easy. Which is to say, I didn’t know what I was doing. I was unpolished, unguarded, I had nothing to lose, and I said all kinds of outrageous things (usually about sex) without understanding the impact it would have on the people who read it. I’d not yet developed a filter, and drew little distinction between what I thought, what I said, and what I wrote. I didn’t understand how easy it was to offend people. I put down on paper whatever was in my head, and then, with little editing, published it in Observation Post, the so-called alternative newspaper at City College. And, boy, did I ever get a reaction… and comments. (See Beaver Street, Chapter 1, “How I Became a Pornographer.”)

I’ve learned a lot in the ensuing decades. For example, I now know that writing well is hard; that it’s not a good idea to publish many of the things I say privately; and that it’s a terrible idea to publish everything that crosses my mind, no matter how many hits and comments it might provoke. There are certain people I’d prefer not to offend. In other words, I’ve learned the art of restraint, which is the opposite of what people are looking for on the Internet.

So, if you want total abandon—at least the kind of total abandon that’s not going to get me sued—then you’ll just have to read my books. In fact, I think I’ll work on one now.

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A final look back at some of my favorite posts, selected at random, from The Daily Beaver on its third anniversary. Then, on new blogging frontiers.

Godfather of Grunge Meets Godmother of Punk (June 7, 2012)
A report from the BEA.

Bernie on Beaver Street (June 19, 2012)
This is what happens when a celebrity vigilante shows up at a book launch party.

My Book Promotion Philosophy (Sept. 6, 2012)
Why I’ll talk to anyone who wants to talk to me about my books.

Distinguishing Characteristics (Sept. 11, 2012)
A guest post from Mary Lyn Maiscott on the anniversary of 9/11.

Google Is God (Oct. 18, 2012)
What do you do when you don’t like the way a powerful monopoly is treating you? Nothing you can do. Read More 

This week I've been celebrating the third anniversary of The Daily Beaver with a look back at the ten most popular posts and a selection of some of my personal favorites. As I was putting together Volume II of my personal faves this morning, it reminded me that anniversaries also serve a practical purpose: They are a time to take stock, evaluate, put things in perspective--to see what's come out of this three year frenzy of writing, promotion, and travel. So, once again, here's a random selection of blog posts that caught my eye.

The Business of Smut: Critique #2 (June 15, 2011)
A review of "Hard Core," by Natasha Vargas-Cooper, one of the articles Slate selected as an example of great writing about the porn industry.

The Real Life of a Beaver Street Character (July 15, 2011)
Izzy Singer steps out of Beaver Street to publish a shocking pornographic e-book.

Still on the Bus (Aug. 4, 2011)
A review of Magic Trip: Ken Kesey’s Search for a Cool Place, and a tribute to my friend John Babbs, who passed away last year. I ran this photo essay on my other blog, Maiscott & Rosen, because you can't run multiple photos on The Daily Beaver.

Yossarian Taught Here (Aug. 18, 2011)
A memoir by Joseph Heller’s daughter, Erica, prompted me to jot down some of my own memories of Joseph Heller, author of Catch 22, and one of my creative writing professors at City College.

The Trials of Traci Lords (Jan. 10, 2013)
A further exploration of one of the main subjects of Beaver Street: At age 44, the once underage porn superstar seems to have stopped complaining about being “exploited.” Instead, Lords complains that people won’t let her forget her X-rated teenage exploits.

Tomorrow, Volume III Read More 

Yesterday, to celebrate this blog's third anniversary, I ran Volume I of my most popular posts since The Daily Beaver's inception. Today I bring you Volume II, my five greatest hits of all time. And they're all related to pornography.

5. The Great Porno Debate: Ron Jeremy vs. Gail Dines (Aug. 17, 2011)
Let's just say that my opinion has evolved since I wrote this piece.

4. The Marvel Comics Porno Connection (June 29, 2011)
This video of Stan Lee explaining his partnership with Jack Kirby provides additional insight into one of the central themes of Beaver Street.

3. The Christy & Ginger Show (Apr. 24, 2012)
Big surprise: People love Christy Canyon and Ginger Lynn. But who knew they had a radio show, You Porn? And who knew I’d be their very special guest one day? (Note to anybody with Sirius XM Radio: I’d love a recording of my appearance on the show, air date May 10, 2012.)

2. About Cherry (Sept. 18, 2012)
I called About Cherry, starring Ashley Hinshaw, James Franco, and Lili Taylor, the best film about the porn industry since Boogie Nights. Mainstream critics hated it.

1. 21 Facts About Porn Star Missy Manners (June 20, 2011)
There’s an enormous amount of interest in “Republican porn star” Missy Manners (real name Elisa Florez), former aide to anti-porn senator Orrin Hatch of Utah and former girlfriend of Artie Mitchell. Read More 

I launched this blog three years ago, on February 10, 2010, with the announcement that my John Lennon biography, Nowhere Man, was going to be published in Italy. Since then, there's been a lot of water under the bridge--the publication of three editions of Beaver Street, a UK and a US promotional tour, various battles with mega-conglomerates, and an assortment of earthquakes, hurricanes, and blizzards. As this past week has brought an influx of new readers to the Daily Beaver, I thought this might be a good time to look back on the 10 most popular blog postings--my greatest hits--which I'll run in two parts, beginning today with 10 through 6. And by "popular," I mean the individual posts that have gotten the most total hits over the years.

10. New York Calling to the Riot Zone (Aug. 11, 2011)
A meditation on the London riots from the comfort of my New York living room.

9. The Tea Party Congressman and the Porn King (Feb. 14, 2012)
An investigative report detailing Swank publisher Lou Perretta’s campaign contributions to ultra-conservative congressman Scott Garrett.

8. Fat Sex (Sept. 28, 2011)
An essay on some of the problems I had editing magazines like Plump & Pink and Buf.

7. The Unfinished Life of John Lennon (Jan. 3, 2011)
A piece I wrote for the Mexican newsweekly Proceso, on the 30th anniversary of John Lennon’s murder, in its original English.

6. Memoirs of a Pornographer (May 13, 2011)
Editor Jamie Maclean’s rave review of Beaver Street for the British sex journal Erotic Review.

Tomorrow, Volume II

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"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." --from Beaver Street by Robert Rosen

The happy warriors of Facebook's Stop Porn Culture page have accused me of self-aggrandizement and other far more serious crimes. The self-aggrandizement charge, unlike such charges as being in favor of violence against women and being a "bourgeois revisionist and apologist for the system that oppresses millions of people around the world," might even contain a grain of truth. So, call me "Chairman Bob," and let's get on with it.

The online debate, Chairwoman Dines and her Happy Warriors vs. Chairman Bob, is heating up. Fortunately, the Warriors have disobeyed Chairwoman Dines’s edict: “Please do not engage with Rosen. He is white noise and our job is to close down the industry, not have fights with the wannabees.” And the Warriors, in their insubordination, have made a number of interesting points. I’d like to respond to all of them, but to do so in one blog post is impossible. So, this could go on for some time. (Note to Chairwoman Dines: What is it, exactly, you think I wannabe?)

First, a bit of background: Gail Dines came to my attention about two years ago, when Beaver Street was published in the UK. Her book, Pornland, was listed under Amazon’s “Customers Who Bought This Item Also Bought” feature. I did a little research and found Dines to be a more palatable version of the late Andrea “AllSexIsRape” Dworkin. I agreed with much of what Dines said. A lot of porn is degrading—to women and men. I can’t stand watching it, either. It has nothing to do with sex or eroticism. But I don’t think that that’s the case with all pornography—a major point on which Dines disagrees.

The more I learned about Dines, the more I came to dislike her point of view. For example, in one of her lectures that I watched on YouTube, she called Vanity Fair “pornography.” Though she didn’t explain why, I assume it’s because they’ve run photos of topless women and women posing in lingerie. But to categorize Vanity Fair as porn is as absurd as calling for porn stars who participate in S&M videos to be prosecuted for war crimes. And to equate Vanity Fair with degrading X-rated videos is counterproductive. You’re going to lose people, like me, who might be inclined to agree with you.

It’s Dines’s stridency and unwillingness to consider any opinion other than her own that ultimately turned me against her. She says, for example, that if you’re not in favor of eliminating all pornography, then you’re in favor of violence against women—another absurd and counterproductive charge.

Has Dines ever spoken to any of the porn stars she wants to free from bondage? If she did, then she’d know that porn stars don’t want to be freed; that they went into porn due to lack of economic opportunity; that they think that porn is the best job they’ve ever had; that before porn, the best they could do was a minimum-wage job at Burger King.

Is Dines offering porn stars economic opportunity? A college education? Or is she a “bourgeois” professor sitting in an ivory tower at an overpriced private college, who only rails about the evils of pornography but has no real understanding of why people go into it or what it would take to get them out? Is Dines aware that porn stars see her as an ignorant woman who wants to take away their livelihoods and offer them nothing in return?

To be continued…

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"Robert Rosen, author of Beaver Street, and occasional contributor to this FB page just wrote a rather juvenile piece on me on his blog. The pornographers and their cronies are so interesting because they have no concept of activism for social change. They assume that we are all like them in our desire to 'monetize' everything we do. This is a typical capitalist thinking that can't conceive of a world where people act on the desire to make lives better for others." --Gail Dines, author of Pornland

The above quote, along with a link to my blog post, Gail Dines's Symbiotic XXX Embrace, appeared the other day in the Facebook group Stop Porn Culture. It resulted in a little online dustup.

To recap: I’d written, in part, about Dines’s suggestion, in a column on Counterpunch.org, that Kink.com, a production company specializing in S&M videos, was in violation of international laws prohibiting torture. Apparently unable to distinguish between professional actors being paid to make S&M videos, and CIA agents torturing prisoners at black sites, she said that both the actors and agents had committed war crimes and should be brought to justice.

The inherent absurdity of this argument led me to suggest that Dines is more interested in selling books than she is in achieving her stated goal of eradicating pornography. Because if she ever succeeds in achieving the impossible—eliminating porn—then she’ll be putting herself out of business. And the anti-porn biz is a good and lucrative business, indeed. Just ask Traci Lords.

In any case, I think Dines’s statement at the top of this post deserves a response, and I’ll begin with her grammatically disjointed charge that I’m a “typical capitalist” who assumes that everybody wants to “monetize everything.”

If by “typical capitalist” Dines means that I have attempted to make my living as a writer, editor, and occasional teacher in a capitalist society—a society where I sell my time and work for money—then she is correct. And God help capitalism if I’m typical.

But I also took this charge to mean that Dines does not monetize her time and work, that she must be a socialist, a communist, or even an anarchist, whose purpose in life is to get out word to as many people as possible about the evils of pornography. I therefore assumed that her book must be available as a free download, and that Wheelock College, in Boston, where Dines is a professor of sociology and women’s studies, must be free tuition.

Imagine my surprise when I discovered that Pornland is selling for the standard Kindle price of $9.99, and that tuition plus room and board for four years at Wheelock will cost an undergraduate about $175,000—a fee that strikes me as a form of capitalism as pure and exploitative as pornography. It brought to mind an image of one of Dines’s students, in the year 2038, still struggling to pay off her student loan, and thinking fondly of Professor Dines and all that useful information she taught her about “body-punishing sex.” It even occurred to me that this imaginary student might have, at some point in her career, turned to the porn industry to earn a little extra money to pay off that crushing debt.

But enough about capitalism for now. Let’s turn, for a moment, to the charge of “juvenile.” Funny word, juvenile. If I didn’t know the meaning, and had to figure it out based only on how radical feminists have used it to describe my work, I might conclude that juvenile means “people who write in a humorous or satiric manner about the porn industry and its detractors.” Because the only other person who has described my work as “juvenile” is a radical-feminist book reviewer who, in order to trash Beaver Street, made up things about the book that are demonstrably false, and then based her opinions on those misrepresentations. She said, for example, that I “excluded female pornographers entirely” from the book, when, in fact, there are more than dozen women pornographers in Beaver Street, five of whom are major characters.

But this post is about the absurdity of Gail Dines, not the absurdity of radical feminist critics who have reviewed my work in a less than honest manner. And though I’d love to continue in this vein, it’s getting late, and there are more books to be written. So, I’ll have to continue on another day. But I will leave you with one last thought: If my work has pissed off porn kings (such as Lou Perretta) and radical feminists alike, I must be doing something right. Could it be that I’m telling the truth?

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One of the odd things about the Beaver Street promotional campaign, which has been ongoing for two years, is that despite the coverage the book has garnered all over the cultural spectrum, in such places as Vanity Fair, Bizarre magazine, an academic site called H-Net, The Village Voice, Erotic Review, and Little Shoppe of Horrors (to name but a few), there hasn't been one review in any of the men's magazines that I write about in Beaver Street.

I suppose the primary reason for this lack of coverage is that Lou Perretta, who now owns two of the titles at the heart of the book, Swank and High Society, as well as every other porn mag except for Playboy, Penthouse, and Hustler, is upset that I've blogged about the abysmal working conditions at his company and his campaign contributions to Scott Garrett, the Tea Party icon who represents New Jersey’s 5th congressional district. Perretta, apparently, has forbidden his merry staff, under penalty of termination, to so much as mention Beaver Street in or out of the office.

And I suppose that Playboy and Penthouse are not especially interested in books of any kind, and that Hustler doesn’t write about books unless Larry Flynt wrote them—though I’d think that Flynt would have gotten a kick out of my stories about his former rival, ex-High Society publisher Carl Ruderman.

Well, I’m pleased to report that a magazine read by everybody who’s anybody in adult entertainment has published a brilliant Beaver Street review in their February issue, which features a cover story about the “30 must-read books on the history of X.”

Adult Video News (AVN) has been called “the Billboard magazine of the porn industry.” It’s the mag that the mainstream media turn to when they need reliable information about smut. The review, “Walk on the Wild Side,” written by AVN editor Sharan Street, calls Beaver Street “brutally honest,” “compelling,” and says that it’s “a fascinating exploration of the common ground shared by [comic books] and pornographic magazines.” Street (Sharan, not Beaver) also does an excellent job of pulling out just the right quotes to give the reader a good sense of the book’s overall flavor.

I’d urge you all to read AVN’s review of Beaver Street. It made my day. Read More 

Writers do not live by royalties alone, and if I've been thinking about work lately, it's because I’ve been looking for more of it. And I'm not just talking about writing work. Over the course of my working life, I've had an unusually diverse array of jobs.

I was about seven the first time I got paid for "real" work--making change for newspapers in my father's candy store, and I did such a good job he soon promoted me to soda jerk. If you think there's no skill involved in making egg creams, you're wrong. You need to use just the right amount of chocolate syrup, just the right amount of milk, and you have to squirt the seltzer in the glass at just the right angle and with just the right amount of force, so the head is neither too foamy nor not foamy enough. It's like drawing a perfect pint of Guinness, and it's an art I'd mastered by the time I was eight.

Since those days, which I discuss in the Beaver Street Prologue, my jobs have included, in no particular order: cab driver, Wall Street messenger, Good Humor man, art auction-house worker, envelope stuffer, drugstore delivery boy (wasn’t everybody?), produce-stand worker, clerical worker (various offices), election inspector, assistant air conditioner repairman and electrical worker, Pinkerton industrial spy (one day), camp waiter, camp counselor, swimming pool supply store worker, and porn movie extra. Then there was my brief agriculture phase: fruit picker (apples and pears), field hand, and poultry worker. And finally there are the things I’ve done and continue to do in my field: author, editor, reporter, critic, essayist, ghostwriter, speechwriter, advertising copywriter, and writing tutor.

I’ve always been open to doing just about anything, and I’ve gotten two books out of it. Both Nowhere Man and Beaver Street are the result of jobs I was willing to accept—editor/ghostwriter and pornographer.

As the astute critic John Branch has pointed out in his Beaver Street review: “From the outset, then, and through the remainder of the book, it’s mostly in terms of work that Rosen experienced the field of pornography.”

That’s because I’ve always found fascinating the concept of one person paying another to do something.

Anybody need any apples picked? I’ve got experience.

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Janet Hardy, whose latest book, Girlfag, I wrote about the other week, told me about this Internet "thing" that's currently making the rounds among authors. It sounded like fun, especially the question about casting the movie version of your book. So, I did it.

It's called "The Next Big Thing" and here's how it works: I post and promote a blog entry that answers ten questions about a work in progress. I then "tag" five authors who answer the questions in their own post and tag me along with five other authors. And so on.

Here are the questions and my answers.

1) What is the working title of your book?
I’m calling Beaver Street: A History of Modern Pornography a work in progress because foreign rights and film rights remain untapped, and I’m putting as much effort into promoting Beaver Street as I am into writing my next book, Bobby in Naziland.

2) Where did the idea for the book come from?
From working as an editor of “men’s sophisticate” magazines (as they’re euphemistically called) for 16 years and realizing from my first day on the job at High Society, in 1983, that I was witnessing something extraordinary: the dawn of the age of digital, or modern, pornography.

3) What genre does it fall under?
I call Beaver Street an investigative memoir, meaning it’s a combination of investigative reporting and autobiography.

4) Which actors would you choose to play your characters in a movie rendition?
An incomplete cast in order of appearance:
Bobby Paradise: Garrett Hedlund
Joe Angleini: James Franco
Maria Bellanari: Michelle Pfeiffer
Ellen Badner: Janeane Garofalo
Carl Ruderman: Gary Oldman
Irwin Fast: William Shatner
Chip Goodman: Wallace Shawn
Susan Netter: Jane Lynch
Ralph Rubinstein: Shia LaBeouf
Izzy Singer: Paul Giametti
Henry Dorfman: Paul Slimak
Arnold Shapiro: Steve Carell
Pamela Katz: Scarlett Johansson
Sonja Wagner: Sigourney Weaver
Annie Sprinkle: Kat Dennings
Georgina Kelly: Courtney Love
Georgette Kelly: Ashley Hinshaw
Bill Bottiggi: Jackie Earle Haley
Al Goldstein: Byron Nilsson
Ron Jeremy: Himself
Buck Henry: Himself
Roberta Goodman: Agnes Herrmann

5) What is the one sentence synopsis of your book?
An investigative memoir about pornography in the age of the computer, from the birth of phone sex to the skin mag in cyberspace.

6) Will your book be self-published or represented by an agency?
After two agents failed to sell Beaver Street, I sold it myself to Headpress, a London-based indie.

7) How long did it take you to write the first draft?
About three years.

8) What other books would you compare this story to within your genre?
Tropic of Capricorn by Henry Miller. Beaver Street has been called “a Tropic of Capricorn for the digital age.”

9) Who or what inspired you to write this book?
My experiences working in the pornography industry.

10) What else about your book might pique the reader’s interest?
The political angle: the fact that historically, the biggest crooks have always cried, “Ban pornography!” the loudest, and that the four greatest anti-porn warriors of the 20th century—Richard Nixon, Spiro Agnew, Edwin Meese, and Charles Keating—are either convicted felons or where forced to resign their offices in disgrace or face criminal prosecution.

And here are the five authors I’m tagging: Irv O. Neil, Eric Danville, David Comfort, Joe Diamond, and Antony Hitchin.

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Anniversaries are useful things when it comes to promoting books, and many books are published to coincide with particular anniversaries--because there's always an upsurge in media attention, especially when those anniversaries have round numbers. November of this year, for example, is (shockingly) the 50th anniversary of the JFK assassination. Beginning in the fall, you can look for a flurry of expensively produced volumes about John Kennedy, and don't expect to be able to pick up a newspaper or magazine--assuming you still physically pick up printed matter--without reading some kind of article about the latest book, TV show, or commemoration.

I've been conscious of the importance of anniversaries since Nowhere Man was published right before the 20th anniversary of John Lennon's murder. There's no question that the media attention surrounding that event was instrumental in putting the book on best-seller lists. Ever since, I've been seeking out anniversaries anywhere I can find them.

There are plenty of Beaver Street anniversaries to celebrate, though for the most part the media tend to overlook them—even though they are events of genuine historical significance. 2011, for example, was the 25th anniversary of the Meese Commission on Pornography and the Traci Lords scandal. I don’t recall hearing anything about either one of those events. In fact, Edwin Meese, arguably the most corrupt attorney general in the history of the United States, has managed to squirm back into the news, his corruption unmentioned as he mouths off about ways to impeach Obama. And this month, January 2013, is the 30th anniversary of free phone-sex, the first fusion of erotica and computers, and the beginning of the Age of Modern Pornography. Please clue me in if you’re aware of any commemorations. And while you’re at it, please join me in spirit on April 11 to celebrate the day, 30 years ago, that I began working in XXX. (Yikes!)

Amid all these anniversaries, there’s one personal anniversary that somehow escaped my attention: On January 12, 2011, Beaver Street was mentioned in the media for the first time, in the February UK edition of Vanity Fair, the one with Justin Bieber on the cover. This is significant because here it is, two years down the road, and Beaver Street continues to garner media attention. How rare is it that people are still talking about a book two years after publication? Trust me, it’s rare. And it is cause for celebration. You are cordially invited to join me in spirit as I toast to my ongoing promotional campaign. Read More 

These three photos ran with my interview in the print edition of StorErotica (December 2012). They do a nice job of encapsulating the final years of my career as an editor of adult magazines. I've come to call this my "Prisoner of Porn" phase--the post-modern sweatshop chapter of my X-rated odyssey, when I was beginning to wonder if I was ever going to make it out of the business alive.

The photo on the left was taken in California, in 1998, where I'd gone to direct a series of shoots for Plump & Pink magazine. The model, whose name escapes me, was a P&P covergirl. Fittingly, I seem to look like a cross between Aleksandr Solzhenitsyn and Allen Ginsberg.

The middle shot, taken in the same California studio, is the photo that I used on page one of Beaver Street, and which I explain in detail in the Prologue. If you’d like to know why I’m wearing a headband and heart-shaped sunglasses and sitting between two models who are about to pose for a shoot for Shaved magazine, please click here.

The photo on the right was taken in my office in Paramus, NJ. The model, who appears to be sitting in my lap, is none other than Traci Topps as you’ve probably never seen her before--in her street clothes.

The complete interview will soon be available online.

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The last time I heard anything of interest about Traci Lords, whose tale of alleged exploitation is one of the centerpieces of Beaver Street, was in August 2011. Lords had taken to Twitter to complain about how a certain online mega-conglomerate was unwittingly selling vintage issues of men's magazines containing pictures of her when she was underage. Lords, then 43, was still refusing to take any responsibility for what she'd done from 1984-1986.

Now Traci Lords, age 44½, is back, busy promoting her new album, titled (with no sense of irony) M2F2 or Music To Fuck To. She recently spoke to the Huffington Post about it, and they asked her the obligatory question about her porn career. Here's a condensed version of what she said:

“When I was doing porn… at 15 I was really wanting to take my sexual power back. Doing porn was my way of saying, ‘No, I’m going to fuck you’… I made those decisions [to do porn] when I was really young. The bigger bummer of it is that I feel like it’s something I’ve been on trial for all my life.”

The first part of this statement is similar to what she said in a passage in her memoir that I described in Beaver Street as the only 86 true words about her porn career in the book. But what makes this quote even remotely interesting is what Lords doesn’t say. Twenty-six years after the fact, she appears to have stopped complaining about being exploited. Instead, she’s chosen to complain about being put on trail for her entire life for that porn career.

Is it possible that Lords still doesn’t understand that that’s the price you pay for becoming an underage porn superstar and then blaming your success on the “vicious” people who “victimized” you by paying you thousands of dollars per day for the privilege of taking your picture? Has she forgotten that many of her former employers really were put on trial in a court of law, and found not guilty of all charges?

Judging by the evidence, she doesn’t understand and has, conveniently, forgotten. Just as in her memoir she’d also forgotten everything of interest. Read More