Today, Rosh Hashanah, the first day of Jewish New Year, 5772, is one of the two Jewish holidays I acknowledge. My wife and I will go down to the Hudson River with some stale bread and, according to tradition, cast our sins upon the water. Usually the seagulls eat the bread. "What a relief," I'll then say. "They didn’t turn black." The birds, that is.
I like the Jewish New Year because I feel as if I’m getting a second chance to re-live the year designated in the last two digits—’72 in this case. Yes, it’s the ’70s again, and 1972 was an especially interesting year. The energy of the ’60s was still very much alive, and having recently transformed myself into a radical hippie, I’d become an editor on Observation Post, the “alternative” student newspaper at the City College of New York, where the remnants of the SDS and Weather Underground had fused with an emerging punk sensibility.
It’s been a long time since I’ve felt that kind of energy. But I felt it yesterday when I went down to Liberty Square, where the Occupy Wall Street demonstrators have set up camp. Galvanized by both ridicule in the mainstream media and a cop’s unprovoked pepper-spray attack on a woman demonstrator the other day, the motley gathering veritably exuded the Spirit of 1968 (5729). “There’s something happening here/What it is ain’t exactly clear…” is the way Buffalo Springfield put it in those electrifying days.
The demonstrators’ energy was focused around a tribal drum circle on the Broadway side of the park. People were pounding out an infectious rhythm on drums, cymbals, and garbage cans. They were playing tubas, trumpets, and washboards. And they were dancing, while a few yards away, on Broadway, a chorus line of demonstrators held up signs demanding economic and social justice. It was uplifting, hopeful, and magical in a way that’s difficult to quantify, but obvious to anybody who was there.
And take my word for it—these people aren’t going anywhere. Because most of them have nothing to lose and nowhere better to go. They’re serious, angry, unemployed, and dug in for the long haul. Ignore them at your peril.
Happy New Year, Wall Street.
The Weekly Blague
'72
Fat Sex
In the twilight of my career as a porn editor, when the market for print magazines was collapsing in the face of free Internet smut, my esteemed publisher told me to produce two fetish magazines that were the antithesis of what turned me on personally.
As a porno professional, I’d learned to take such assignments in stride. After all, I’d just spent a dozen years editing mags like D-Cup, Stacked, and Bra Busters, which, as the names imply, are devoted to gargantuan breasts. Though my preference is for a slim, well-toned female body, I had no trouble with this assignment. I dare say I even learned to appreciate such oversize appendages, especially when they were beautifully photographed and attached to a gorgeous woman.
This was not the case with Plump & Pink and Buf. Though the former, whose models tended towards more-than-a-little chubby, was tolerable, the latter took me into a world I barely knew existed. Buf models were often 500-700 pounds, were photographed in a purposely amateurish way that tended to exaggerate their least attractive qualities, and they participated in a fetish in which their partners grew sexually aroused by feeding them things like fried chicken and chocolate cake, and watching them grow fatter.
Though the magazine sold well, putting it together made me physically ill.
I mention this now because of a recently published book called Big Big Love: A Sex and Relationships Guide for People of Size (and Those Who Love Them), by Hanne Blank. Though I’ve not read it and have no intention of doing so, the book sounds like a pep talk for fat people and people who enjoy having sex with them. And Blank, apparently, explores the line between fat admiration and fat fetishism, which sounds like the same line that divided Plump & Pink from Buf.
This is all well and good, as there are a lot of people out there, fat and skinny, who are deeply interested in having sex with the overweight. Some of them might be reading this blog. So, if you’re one of them, here’s a link to an interview with Ms. Blank.
Enjoy! Just don’t ask me to edit your favorite magazine.
The Indictment of Carl Ruderman
Carl Ruderman, the anonymous publisher of High Society magazine, posed an entirely different problem. The “Invisible Man of Smut,” as Al Goldstein called him, hid behind figurehead publisher Gloria Leonard and went to great lengths to keep his name out of the media, at least in connection with anything having to do with porn. In fact, as I said in Beaver Street, “an internet or library search for any connection between pornography and Carl Ruderman produces little that’s concrete or substantiated.”
Well, that’s changed since the book was published. In the past year, much that connects Carl Ruderman to pornography has been popping up on the internet. One example that I wrote about a few months ago was an article in the New York Observer that bore the headline, “Porn’s ‘Invisible Man’ Prices His Condos at $13.5 M.”
Yesterday, I found something even juicer: the Justice Department’s 1987 appeal of the dismissal of an indictment against Ruderman for “various federal obscenity crimes in connection with the operation of a ‘dial it’ telephone service whereby persons could call a New York City telephone number and listen to a sexually suggestive, pre-recorded message.”
You can read the entire document by clicking here.
I’ve posted this link for my own reference and as a service to any future researchers who want to cast more light on a man who revolutionized the porn industry but has, for the most part, managed to escape being credited (or indicted) for what he did. Read More
Springtime for Beaver in America
I received word from Headpress the other day that Beaver Street: A History of Modern Pornography will be published in trade paperback in the United States on March 23, 2012. It will also be available as an e-book in all formats, including Kindle.
Beaver People, start your countdown! It's only six months to springtime.
I’m especially excited about the Kindle edition. Over the past few months, Kindle (and other e-readers) has reached a tipping point in New York. Not only do I see more and more of them on the subway, but when I tell people about Beaver Street, their first question is often, “Is it available on Kindle?” Indeed, people have told me that they will only buy a book if it is available on Kindle. (Yes, I know, you love your Kindles.)
I’m also aware that a certain segment of the reading public prefer not to be seen on subways and buses reading a book titled Beaver Street. Well, with an e-book, nobody can see what you’re reading. But please, promise me, when strangers inquire why you’re laughing out loud, you’ll tell them it’s because you’re reading Beaver Street.
Okay, then, I’ve got six months to prepare for the big day. All I can tell you at this point is that I'm going to have a publication party in an appropriately sleazy bar on Beaver Street, in downtown Manhattan. You’re all invited.
On Raves and Hatchet Jobs
The best lesson I've learned about reviews since the publication of Nowhere Man in 2000 is that a vicious review will sell as many books as a rave review. And, God knows, I've gotten enough of both to speak with authority on the subject. In fact, since Nowhere Man was published in Italy this week, two more reviews of the book have been posted--a five-star rave on Amazon Italy (in Italian) and a one-star hatchet job on Amazon Germany (in English). These critiques serve as a microcosm of what Nowhere Man has been subjected to for the past 11 years.
What I find fascinating about such divergent opinions is that the reviewers appear to be talking about two entirely different books. It’s a perfect illustration of the Oscar Wilde quote from the preface to The Picture of Dorian Gray: “Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself.”
Antony, the Italian reviewer, described Nowhere Man as an “excellent” book, and a narrative that “portrays a rock star as very sensitive and vulnerable.” He also said that the author and Paolo Palmieri, the translator, “have made John Lennon one of us,” and that it’s “a book to always have on hand, and occasionally to open and read a few lines to understand the simplicity” of life.
Dulce Erdt, the German reviewer, however, said that Nowhere Man is “confusing” and “revolting,” lacks “sensitivity” and “respect,” paints a “too negative” portrait of Lennon, and then insists, “We all know that John Lennon was not a ‘nowhere’ man, why is this author trying to tell the world the contrary?”
The other good lesson I learned about reviews is to never argue with critics, especially ignorant ones, like Dulce Erdt. But sometimes their ignorance is just too overwhelming to ignore. Which is why I will take this opportunity to point out to Fraulein Erdt that some of us are aware that Lennon’s song “Nowhere Man” is autobiographical. In other words, I didn’t have to tell the world about Lennon’s “Nowhere Man” status. He beat me to it by 34 years.
Take a Sad Song and Make it Better
If you've read Beaver Street (or Nowhere Man for that matter) then you know that my interests range far beyond pornography and rock 'n' roll, into such areas as the rule of law and government corruption. And though I don't know enough about the Troy Davis case to render an informed opinion about his guilt or innocence, I do know enough about capital punishment to say with assurance that it's a barbaric, racist, and deeply flawed practice, and that the United States is the only country in the industrialized Western World that executes prisoners.
Last night, the state of Georgia, in the name of the American people, executed Troy Davis by lethal injection for a murder he was found guilty of committing 22 years ago. I won’t go into any detail here about the hundreds of thousands of people, including many staunchly in favor of capital punishment, who had grave doubts about Davis’s guilt. You can read about it on the Internet if you want to know more.
But I did watch the drama play out on TV, as the Supreme Court considered, then denied, a last-minute stay of execution. Then I heard the news that Davis went to his death proclaiming his innocence.
It sickened me and made me ashamed to be an American.
That’s all I have to say for now about this case in particular, or capital punishment in general. But I would like to share with you the above video, “Song for Troy Davis,” by Nellie McKay.
This Just In…
Having had my John Lennon bio published this week in Italy, and hopeful that Beaver Street, which is about pornography and politics, will soon follow suit, I've been keeping an eye on any news of sex and politics to emerge from the declining Roman Empire. I found this:
Porn star Cicciolina (real name Ilona Staller), who made her hardcore debut in 1983 in a film titled Il telefono rosso (The Red Telephone), starred in 40 more XXX-rated movies, and was then elected to the Italian Parliament in 1987 and served one five-year term, has ignited a bitter uproar in her adopted country.
The Hungarian-born former MP, who was once married to artist Jeff Koons, and offered to have sex with Osama bin Laden if he’d renounce terrorism, will turn 60 in November and begin collecting a taxpayer-funded lifetime pension of more than $53,000 a year.
Though this is a standard pension for any one-term MP, ordinary Italians are furious, as they believe Cicciolina did nothing while in office except attempt to pass a dozen sex-related bills, such as one to set up “love parks and hotels.”
Parliament, meanwhile, recently passed an austerity package, and politicians—while they continue to collect an annual salary and expense package totaling more than $335,000—are now asking the rest of the country to make painful sacrifices to prevent a Greek-style financial crisis.
Cicciolina, however, feels she earned her pension and is as proud of her government work as she is of her sex work.
A Few Words About a Headpress Book I Didn't Write and an Author Who Isn't Me
There's no question that this blog can often seem self-obsessed, but, really, if I don't promote my work, who is going to promote it? That's just the nature of the book business, where it's every author for himself. And in city like New York, where everybody is self-obsessed, and the book-publishing industry is not exactly known for its generosity of spirit, it's a survival strategy.
Which brings us to my fellow New Yorker Shade Rupe, author of the Headpress book Dark Stars Rising. Shade, whom I’ve spoken to on the phone and occasionally communicate with on Facebook, but have never actually met, has managed to get my attention on two occasions this past month. The first time was when I was buying tickets to see Tree of Life at the Sunshine Cinema on East Houston Street. There was Dark Stars Rising on display in the box office—the first time I’d ever seen a book of any kind on sale in a movie box office. “Well done,” I thought, happy to see the Headpress logo in such an unexpected place.
The second time was yesterday, when I saw Dark Stars Rising in the window of Shakespeare’s, the independent bookstore on Broadway, in Greenwich Village. Having never looked at the book, I went inside to check it out, and was greeted by a Dark Stars Rising poster hanging on the wall, near the entrance. But the book was sold out, except for the copy in the window, which a clerk retrieved for me. I didn’t have time to thumb through all 568 pages, but I did read part of Shade’s interview with Divine, which was compelling.
So, Shakespeare’s, what are you waiting for? Order more copies of Dark Stars Rising. There’s money to be made! And again, well done Shade and Headpress. Can’t wait to see what happens when Beaver Street lands on these shores in 2012.
Translator Rising
As Yoko Ono would be inclined to point out, yesterday, on the 18th day of the 9th month, the first article about the impending publication of Nowhere Man: Gli ultimi giorni di John Lennon (Coniglio) appeared in the Italian press. And what's extraordinary about this story, that ran in Il Tirreno, is that the book's translator (and my Italian Avatar), Paolo Palmieri, is mentioned in the headline, which roughly translates as "John Lennon's Diaries Translated by Palmieri."
Never before have I seen a translator featured so prominently in an article about Nowhere Man. But in this case the credit is well deserved—without Paolo, there would be no Italian edition.
This is really a story about a local boy who’s made good. The article says that Paolo’s translation of this international bestseller, born of Lennon’s personal diaries, has brought merit to his hometown of Piombino.
Paolo says his translation is “an act of love for a musician who I’ve always loved,” and that he’d dreamed of going to New York to meet the ex-Beatle, but Lennon was murdered before he could make the trip.
Already on sale in some bookstores, Nowhere Man’s “official” publication day is September 22.
The Body-Punishing Sex of Gail Dines
At first glance, Gail Dines, author of Pornland: How Porn Has Hijacked Our Sexuality, appears to be a more rational version of the late Andrea Dworkin, who believed that watching porn led to rape, and that sexual intercourse was the equivalent of rape.
But I've found that after watching Dines debate Ron Jeremy; watching a few of her lectures on YouTube (in one she calls Vanity Fair magazine "pornography"); and reading a couple of her articles, my sympathy for her point of view is rapidly diminishing, even though I tend to agree with some of what she says. (Yes, some pornography is abusive and disgusting.) It simply grows tiresome to listen to a woman whose favorite phrase, repeated ad nauseum, is "body-punishing sex."
An article by Dines, “Time to Start Telling the Truth About the Porn Industry,” posted on the Australian Broadcasting Company’s Website, offers a concise summary of her views. In the piece, Dines takes on the authors of the Australian Porn Report, whom, she says, want to “sanitize porn as a bit of harmless fun” and “seem willfully detached from the realities of how porn functions as a global industry and as a storytelling device.”
In other words, these Australian “academics, public intellectuals, and plain old pornographers” disagree with Dines’s suggestion that, according to her research, the most popular porn sites display a “mind-numbing repetition” of “gagging, slapping, verbal abuse, hair-pulling, pounding anal sex, women smeared in semen, sore anuses and vaginas, distended mouths, and exhausted, depleted, and shell-shocked women.”
Or, to put it simply, “body-punishing sex.”
Lennon, Italian Style
I didn't know John Lennon had any Italian in him until I saw the cover of Nowhere Man: Gli ultimi giorni di John Lennon, which, I'm told, goes on sale in bookstores throughout Italy today. It is, of course, the cigarette in Lennon's hand that somehow gives him that Italian look. And as far as I know, it's the only cover of any Lennon bio in any language that shows him smoking.
The book should soon be available on the Internet, as well, but in a land where Kindle doesn’t exist, the real Nowhere Man action, I’m told, is going to be in le librerie of Rome, Milan, and… Piombino.
Yes, Piombino, a picturesque Tuscan city on a promontory jutting into the Mediterranean, where on a clear day you can see Elba. This is where my translator and Italian Avatar, Paolo Palmieri, lives. I’ve been there, and there’s a lot of Beatles energy in this town.
One place you can feel it is in Il Pinguino café on Piazza Della Costituzione. The owner, Simone, a published poet whose last name escapes me, has decorated the walls of his café with photos of the Beatles. When he heard that I’d written Nowhere Man, he recited for me—with Paolo supplying a simultaneous translation—a poem he’d written about the night Lennon was murdered, “The Last Tolls of Your Footsteps.”
So, if you find yourself in Piombino, perhaps stopping off there on your way to Elba or Sardinia, why not head over to Il Pinguino and say ciao to Simone. He might read you a poem. And, oh yeah, check out the wall in his Beatles room. I hear my picture’s hanging there, too.
Act Naturally
The good people of The Sleazoid Podcast wouldn't be the first to suggest that Beaver Street is a movie that needs to be made. R.C. Baker, of The Village Voice, said in his Amazon review, "Vivid and funny, Beaver Street moves at a cinematic pace, a period piece that picks up the story of modern porn where Boogie Nights leaves off." And, of course, I, too, have entertained such big-screen fantasies, musing over the possibility of Martin Scorsese directing (Who does sleazy and gritty better?), Justin Timberlake portraying a younger me, and Paul Slimak, whom I call Henry Dorfman in the book, playing himself. (Check out Slimak's work in the Beaver Street promotional video, above.)
Whether or not a filmmaker comes along and snaps up the rights to Beaver Street is obviously beyond my control, and I’m not about to max out my credit cards producing the movie myself. But with Beaver Street scheduled to be published in the US sometime in 2012 and Nowhere Man about to undergo an Italian Renaissance, I’m feeling unusually optimistic.
So, I’m putting the idea out there, my daily message in a bottle: Come on, Hollywood, let’s make Beaver Street, the movie. If it ain’t a natural, I don’t know what is.
Message in a Bottle
Posting on this blog often strikes me as the cyber-equivalent of sending out messages in bottles. I cast my words upon the great ocean of the Internet, and who knows who's going to see them. And if somebody does see them, who knows how they're going to react or if they're going to react at all.
And though The Daily Beaver and Beaver Street itself have been consistently provoking positive reactions from all levels of the culture, highbrow to lowbrow, it still comes as a surprise each time it happens.
It happened again yesterday. The Sleazoid Podcast, which I was unfamiliar with, had some rather kind things to say about Beaver Street. If you click on this link, you can hear them beginning about 18 minutes into the show.
The host, Mike Ashcraft, having read a Beaver Street review, now wants to read the book because it was written by the author of the John Lennon bio Nowhere Man, and because “It’s an expose completely blowing the lid off the adult industry.” So he ordered it from Amazon—apparently from one of the marketplace sellers, as it hasn’t yet been published here.
“Beaver Street?” said Ashcraft’s co-host. “It sounds like a movie we all need to make.”
I couldn’t agree more.
Ashcraft has already invited me to come on The Sleazoid Podcast and talk about Beaver Street. Dear readers, I am so ready to talk.
When Academics Attack (Each Other)
I got a taste of this kind of scholarly brutality when I sent to the so-called anonymous professor who once edited Swank magazine (I call him “Jack”) the H-Net review comparing Beaver Street to Whitney Strub’s Perversion for Profit. (Jack had previously weighed in with his opinion about Beaver Street.)
At the time I sent it to him, I was still not aware that a revised version of the essay, by Patrick Glen, PhD candidate at the University of Sheffield, had been published on H-Net, and I lightheartedly suggested that “Jack” had written it himself, on a sojourn to England.
Here is the anonymous professor’s response to “Free Speech and Competitively Priced Smut: Pornography in the United States,” an essay that I thought was brilliant, and that another reader has lauded as “the first scholarly paper to refer to the ‘insertion of fifteen billiard balls into a man’s anus followed by an elbow-deep fist-fucking.’”
Hey Bob,
I may have been a bit slow in responding to this for a reason—it is a gargantuan pile of silliness. First, from the spelling and punctuation, it is safe to assume the review is from the UK (or perhaps Oz.) Second, its possibly valiant attempt to merge a post-mod theoretical study (meaning it is largely improvised according to political need) and your authentic and gritty memoirs is sad and strained. I wouldn’t be the first to compare the former to a type of mental masturbation that aligns reality with the titillating prospect of a “reasonable” theoretical outcome, no matter how outrageously this interferes with perceived facts. I’m afraid I don’t have the energy or inclination to respond more fully, but I’ll add that the stylistic errors throughout attest to a desire to put the message before the medium, to the certain detriment of both.
Frankly I enjoyed best Sonja’s comment—“I’m one of those women that worked as an art director for D-Cup. I assure you I am a feminist.”—which simply blew apart the absurd posing of both the “academic” study and the review itself. Pfft.
Jack
PS—I’d probably give him a C-. He’s fairly articulate, though makes stylistic errors that a grad student should not. (Was there no editor?) The main problem is that his approach is simply wrong-headed—it follows a construct that is largely improvisational and therefore less than useful. He does (perhaps by accident) make some useful observations.
Do we have a genuine, take-no-prisoners academic controversy brewing? One can hope. Read More
91111
A Dirty Book with Universal Appeal?
As I prepare for Beaver Street's inevitable US publication sometime in 2012, it has come to my attention that the book has achieved an unusual cultural hat trick, so to speak.
The highbrow critics (H-Net) like Beaver Street.
The middlebrow critics (Vanity Fair, The Village Voice, the Seattle Post-Intelligencer) like Beaver Street.
The lowbrow critics (Bizarre) like Beaver Street.
And if you add the sex critics (Erotic Review) and the chorus of professional, semi-professional, and amateur critics on Amazon US and UK who have weighed in with unanimous five-star reviews… well, one might be tempted to argue that Beaver Street is a dirty book with universal appeal.
But one would be best advised to hold his or her tongue until Traci Lords, the right-wing media, and others with delicate sensibilities render their opinions.
The Renaissance of Nowhere Man
Last week my Italian translator, Paolo Palmieri, informed me that he had in his hands five printed copies of the Italian edition of Nowhere Man: Gli ultimi giorni di John Lennon, and that the book would be on sale in Italy in a few weeks. Could there be a more appropriate country for a Nowhere Man Renaissance?
My literary relationship with Paolo began three years ago, when I received an e-mail from a stranger in Tuscany who’d read an English language edition of Nowhere Man. “Why,” he asked, “is there no Italian edition?”
“Good question,” I replied.
Paolo took it upon himself to find a publisher—Coniglio—and then translate the book. For the first time I’ve had an opportunity to work closely with a translator, and clarify, over the course of about a thousand e-mails, the countless words and passages that would have otherwise been lost or obscured in translation, which Paolo then explained in footnotes—the first foreign language edition to do so. This translation, in short, is a labor of love.
Now that the book exists, Paolo is going to give readings, talk about it to the media, blog about it, tweet about it, and promote it in any way he can think of. Which makes him a lot more than my translator. He is my Italian Avatar.
It’s been more than 11 years since the original hardcover edition of Nowhere Man was published in the United States. Can we all just agree now that the book is a classic?
About That Scholarly Analysis
The essay, titled "Free Speech and Competitively Priced Smut: Pornography in the United States," by Patrick Glen of The University of Sheffield, and published on the humanities and social sciences site H-Net, seems to have persuaded certain people, who were leery or dismissive of Beaver Street because of its subject matter, to reconsider the book's merits.
Their thinking seems to be: If a scholar, in an academic paper, is describing Beaver Street as “thought provoking,” “vivid,” and “a rich account,” etc., perhaps it’s more than a dirty book. Perhaps it’s even a book worth reading.
But my favorite reaction to the essay comes from an old friend who plays a small but crucial role in Beaver Street. On page 146, he informs me that while I was incommunicado in the mountains of Idaho, trying to forget about what I did for a living, Traci Lords had confessed to being underage for her entire porno career.
Here’s what he said in his e-mail:
Congratulations, Bob. Not only is the analysis flattering, but you are now responsible for the first scholarly paper to refer to the “insertion of fifteen billiard balls into a man’s anus followed by an elbow-deep fist-fucking.”
I hope that no federal funding went to pay for this paper; you might end up being named in a tirade by Eric Cantor on the floor of Congress and will have to defend yourself in the presidential election.
To which I replied:
No need to worry about Cantor. The paper is a product of the British university system. Someone should alert the Queen. Read More
An Open Letter to Carl Ruderman
Hey, Carl, Bob Rosen here. How've you been? I know it's been a while since you gave the order to fire me from High Society for "giving the magazine a bad name"--27 years to be exact. But no hard feelings, really. I was glad to be out of there, and you gave me some priceless material for Beaver Street. Thanks for that!
In any case, I’m writing to tell you about a Google search that brought somebody in India, of all places, to this blog a couple of days ago.
You can usually see where visitors to the site are located, and the search terms they used to find whatever they were looking for. Well, this particular query is a doozy.
Here it is, and it’s an exact quote:
“carl ruderman” fraud or launder or embezzle or crime or smuggle or ofac or judgment or jail or rico or terror or corruption or felony or trafficking or drugs or bribe or sanctions or extradite or subpoena or laundering
Wow! Talk about giving a magazine a bad name!
(OFAC, incidentally, is the Office of Foreign Assets Control in the Treasury Department. I had to look it up.)
So, Carl, enjoy your holiday weekend, and feel free to write anytime.
Yours truly,
Bob Rosen
PS—I’ll be sure to let you know when Beaver Street is being published in the US. If you come to the pub party, I’ll give you a free autographed book. You deserve one. Read More
The Sleazeball Six
In Beaver Street I call Nixon, Meese, Keating, and Agnew (aka Dick, Ed, Chuck, and Spiro) the "Fab 4" disgraced anti-porn warriors of the 20th Century. But in writing about Texas governor, presidential candidate, and former porn monger Rick Perry the other day, it occurred to me that I should add to the group Alberto Gonzales, Bush's attorney general, a 21st century anti-porn warrior who resigned in disgrace before Congress could formally threaten to impeach him for lying under oath. So, with Al in tow, that would make the group the DC 5 (as in District of Columbia, not Dave Clark). But it's really hard to not include Perry himself in the group. Though not a declared anti-porn warrior, he is ignorant, misguided, and morally bankrupt—in short, everything a certain segment of the population is looking for in a president. And as a conservative, evangelical Republican who once invested in Movie Gallery, a video rental chain that specialized in hardcore pornography, that makes him hypocritical and sleazy, too. And it gives me license to call this supergroup The Sleazeball Six, which is both fitting and catchy.
Read MoreMystery Solved! Source of "Beaver Street" Review Found!
Well, I’ll drink to that. And while I’m at it, I’ll post a blurb on my homepage.
Click here to read the review on H-Net. Read More
Rick Perry: Republican Porn Monger for President
One of the political oddities I discuss at length in Beaver Street is the fact that the biggest crooks cry "Ban pornography!" the loudest. And for some reason, which I'll leave open to interpretation, the most corrupt, ban-pornography-crying politicians are invariably conservative Republicans. The five grotesque examples I cite are: President Richard Nixon, Vice President Spiro Agnew, Attorney General Edwin Meese, Attorney General Alberto Gonzales, and banker Charles Keating. All of them declared war on porn. Then all of them were forced to resign from office in disgrace to avoid prosecution or impeachment, except for Keating, who was sent to jail for racketeering and fraud.
Which brings us to the curious case of Texas Governor Rick Perry, an ultra-conservative Republican and evangelical Christian who does not believe in evolution, global warming, or separation of church and state. Perry is running for president, but has never spoken out against pornography, like most of the other Republican presidential candidates, notably Michele Bachmann, who wants to ban it altogether.
The apparent reason Perry has never declared war on porn is because he once trafficked in pornography. According to Salon and numerous other sites, the Texas governor owned between $5,000 and $10,000 in stock in Movie Gallery, a Blockbuster-like video rental chain that was known for its wide selection of XXX titles, and was the target of the American Family Association, a socially conservative group that recently helped Perry organize a prayer rally to save America from Obama. The AFA had once described the Movie Gallery’s product line as “hundreds of these hard, nasty-looking videos that were extremely graphic.”
Among the titles that Movie Gallery carried were: Teens with Tits Vol. 1, Teen Power Vol. 4, Teens Never Say No, Big Tit Brotha Lovers 6, and Bisexual Barebacking Vol. 1.
If I’m not mistaken, I ran positive reviews of most of these videos when I was editor of D-Cup. Who knew that I was helping Rick Perry make money?
An Encyclopedic Knowledge of Applied Obscenity Laws
The review, which apparently ran (or is about to run) in an academic journal, is important because it shows that Beaver Street, condemned by some as “smut,” is being taken seriously in academic circles, which is something I was hoping for but hardly counting on. And, of course, the critic, whoever he or she is, totally gets what I did in the book: “By combining memoir and historical account Rosen constructs a vivid impression of how the pornography industry worked and the tensions imposed on the individuals involved, describing a reality that was shocking and mundane in equal measure.”
I couldn’t have said it better myself.
For those of you who don’t have the time to plow through the review’s densely written 1,869 words, I’ve taken the liberty of condensing it, Reader’s Digest style, to a few salient points.
· Rosen … describes the pressure and paranoia of being under the surveillance of the anti-pornography crusaders and maintaining sales whilst satisfying both publishers’ requirements and readers’ tastes. A sixties counter-culture participant of the kind that later pornography opponents feared, Rosen celebrates the subversive potential of the medium.
· Some of Rosen’s protagonists inspire sadness as they are exploited, alienated from society, experience feelings of shame and some rather unhappy personal lives … [T]his results in a rich account that adds considerable depth and texture to any understanding of how the pornography industry worked.
· With his encyclopedic knowledge of applied obscenity laws, Rosen details how he and his counterparts tried to provide their readers with the “smut” they demanded.
· The stigma surrounding pornography attracted an eccentric milieu as those intoxicated with wealth and sex mingled with social outsiders. Rosen captures them evocatively, the good and bad, which is a handy reminder that the book is as much of a literary as it is a conventional historical account.
· Rosen adds further confusion to the reading of gender and partial confluences of feminist and New Right politics with his account of the Traci Lords scandal … This wider issue in pornography is energised by Rosen as he describes the panic to remove every image of Lords from the D-Cups office to prevent accusations of child pornography.
· Overall both Strub and Rosen have written thought provoking and entertaining histories of modern United States pornography. Neither revel in smut—as the readers of Stag may have done—yet, neither are they coy, thus enabling the reader to gain a solid understanding of a large part of the print, film and now web-based pornographic media and its socio-political context.
· Readers of more “vanilla” tendencies may be put off by graphic descriptions of hard core pornographic scenes, such as [Rosen’s] account of the “insertion of fifteen billiard balls into a man’s anus followed by an elbow-deep fist-fucking”. Rosen’s candour is not simply aimed to titillate, but to inform about pornographic publishing using its own idiom. What both Rosen and Strub convey is how pornography comes into contact with greater narratives of obscenity, permissiveness, sexuality and gender. It is apparent from their accounts how pornography is a vital and rich subject for analyzing a range of social pressures and competing narratives. Read More
"Quasi-Feminist Tropes"? I Love It!
Whitney Strub. Perversion for Profit: The Politics of Pornography and the Rise of the New Right. New York: Columbia University Press, 2011. 382 pp. $32.50 (cloth), ISBN 978-0-231-14886-3; ISBN 978-0-231-52015-7.
Robert Rosen. Beaver Street: A History of Modern Pornography. London: Headpress, 2010. 256 pp. $20.00, ISBN 1900486768; ISBN 978-1900486767
Perversion for Profit and Beaver Street contribute to understanding the negotiations and social fault lines that pornography brought into acute focus in the twentieth century United States. Whitney Strub’s Perversion for Profit describes and analyzes the cat and mouse battle between the mostly prudish, incrementally more aligned to the New Right, defenders of public morality and a pornography industry whose more unwholesome proclivities and economic successes provoked controversy. In some cases this clash led to legal action and tested the limits of the right to free speech. Robert Rosen’s Beaver Street is a less conventional history. Rosen edited, wrote and, on one occasion, featured in pornography in a career spanning sixteen years. By combining memoir and historical account Rosen constructs a vivid impression of how the pornography industry worked and the tensions imposed on the individuals involved, describing a reality that was shocking and mundane in equal measure. The two books complement each other, providing an absorbing discussion of both permissible social mores and obscenity in the context of interpretations of the First Amendment of the United States Constitution.
Strub offers a meta-textual analysis from the voluminous and lively body of literature surrounding pornography and pieces together the skirmishes prompted by pornography and obscenity focusing upon campaign groups, politicians, judges, lawyers, pornographers and the general population. Strub’s analysis has some parallels to other works on censorship by Paul Boyer, Nicola Beisel, Andrea Freidman and Leigh Ann Wheeler.(i) Nevertheless, it extends the project and local focus that Andrea Freidman, for example, explored in her work on obscenity in pre-war New York. Perversion for Profit stands out by concentrating in great detail and scope on a period in which pornography proved a cultural mainstay and a political issue. Strub’s inclusion of the local battles in which obscenity proceedings emanate before eventually reaching the Supreme Court underlines the key friction between local and national law-making is key to the book’s success. By showing these frictions Strub helps contextualize the change from the rather polite opposition to pornography posed by the relatively moderate Citizens for Decent Literature to the Communist scaremongering of the New Right or the outraged moralist New Christian Right.
Rosen, on the other hand, provides an account of his personal experience interspersed with a wider history of pornography. He describes the pressure and paranoia of being under the surveillance of the anti-pornography crusaders and maintaining sales whilst satisfying both publishers’ requirements and readers’ tastes. A sixties counter-culture participant of the kind that later pornography opponents feared, Rosen celebrates the subversive potential of the medium. Nonetheless, he admits that his kind of pornographer was outnumbered by those who were simply sexually precocious, cash-strapped writers (for instance Mario Puzo) or capitalists allured by the financial rewards of selling sex. The precariousness of the industry is apparent in Rosen’s account. He describes magazines folding, participants finding more mainstream occupations and editors developing cocaine habits. The dark side of pornography is also not obscured. Some of Rosen’s protagonists inspire sadness as they are exploited, alienated from society, experience feelings of shame and some rather unhappy personal lives. Together, this results in a rich account that adds considerable depth and texture to any understanding of how the pornography industry worked as a sector of the print media, particularly in regard to the uniquely intense outside scrutiny it received.
Perversion for Profit takes the reader through the ruptures in the modern anti-porn movement. Following the Second World War, pornography was restricted under the law. Simultaneously, a liberal legal interpretation of free speech predominated, positing that censorship was anathema to American values. As the production of pornography on an industrial scale became more viable, the number and circulation of magazines increased; higher sales were prompted by more and more brazen and titillating pictures. In response, as Strub argues in chapter three, an organized antiporn movement emerged. In 1963 Citizens for Decent Literature released the documentary Perversion for Profit which focused upon “the extent of the pornography racket and the different types of pornography”. This was coupled with the emergence of local chapters of the group which put pressure on local authorities to prevent obscene literature in the community. Strub’s explanation of the way in which the First Amendment was tested by national and state legislatures when creating and applying obscenity laws is impressive. In the latter half of the book he explores the way in which the First Amendment debate intensified and became politicised by the New Right and New Christian Right. This qualitative change in the antiporn movement was in some ways mirrored in the more outré pornography that began to be produced at the same time, allowed by, as Strub argues, the permissive social changes of the sixties and seventies. However the internal vicissitudes of the pornography industry and its magazines are naturally better explained by Rosen.
Rosen’s account fits the general narrative that Strub proposes. For instance, Rosen recalls being the subject of an early seventies obscenity dispute as the editor of City College’s student newspaper Observation Post following the publication of a cartoon that depicted a nun masturbating with a crucifix. This cartoon was debated in the United States Senate by Republican James Buckley and led to a cunning bill that circumnavigated the hegemony of liberal free speech laws by cutting the funding for student papers. A few years later as a result of sustained unemployment and a job offer, Rosen was working for pornographic titles High Society (followed by Stag then D-Cups) and again irking the moral purists. Interestingly Rosen discusses the daily precautions taken to prevent obscenity accusation, the placement of strategic blue dots, the politics of “split beaver” and the adjustments made to magazines to satisfy stricter Canadian obscenity laws. With his encyclopedic knowledge of applied obscenity laws, Rosen details how he and his counterparts tried to provide their readers with the “smut” they demanded. The completion of this finely balanced task is interspersed with anecdotes of censorious threats and colorful colleagues both in front of and behind the camera. The stigma surrounding pornography attracted an eccentric milieu as those intoxicated with wealth and sex mingled with social outsiders. Rosen captures them evocatively, the good and bad, which is a handy reminder that the book is as much of a literary as it is a conventional historical account.
Although Strub’s book is thoroughly engaging throughout, his focus upon reactions to modern pornography by American feminists is particularly thought provoking. It resists the often-held assumption that feminists are categorically opposed to the medium and its frequent explicit sexism. Strub is insightful when analysing the marriage of convenience between anti-pornography feminists such as Angela Dworkin and the vehemently anti-feminist New Right. Strub argues that Dworkin and the New Right’s dalliance was due to American liberalism’s failure to provide a space for a debate on sexual politics. In fact, many feminists sought to protect society from censorship and, as Strub shows, were thus compelled to defend pornography despite its failings. Rosen further complicates interpretations of gender politics—which seem inextricable from pornography—by giving instances in which strong women have worked in porn as actors or magazine staff. Indeed, it is important to take into account that these women were not feminists and have often been subject to disapproval from feminists; even feminists who support women in pornography’s inalienable right to free speech have remained uncomfortable with their submission to misogyny. Also instances of advancement within pornography do not disguise how few women were in positions of real power in the porn industry, or that women who become porn actors were often discarded decades before their male counterparts. The exploitation of women is an issue that historians of pornography cannot ignore and which could be explored more in both texts.
Rosen adds further confusion to the reading of gender and partial confluences of feminist and New Right politics with his account of the Traci Lords scandal. Lords was a highly successful porn actor who in 1986 admitted to having acquired a false driver’s license and passport when she was fifteen in order to appear in pornographic films and photographs. Rosen relates how Lords deployed quasi-feminist tropes to justify her advancement in the maleficent pornography industry and in response to her personal narrative of exploitation by older men in the industry and relatives. Nevertheless, the New Right responded by espousing a rhetoric that focused upon child protection and child pornography. This is slightly incongruent with Strub’s conceptualisation of a marriage of convenience, as in Rosen’s account and this instance, both rhetorical language from the New Right and Lords’ peculiar brand of self-defined feminism seem to share aims, but remain separate. Nevertheless, the strategy acrued the right considerable political capital and had significant legal ramifications for the magazines. Ronald Reagan added the ‘Traci Lords amendments’ that Rosen argues were superfluous and craven changes to the already robust Child Protection Act of 1984. Lords eventually parlayed her infamy into a moderately successful non-pornographic film career. This wider issue in pornography is energised by Rosen as he describes the panic to remove every image of Lords from the D-Cups office to prevent accusations of child pornography. The Lords affair shows how coupled with Strub, both texts work to problematize the reading of gender, and narratives of liberalism and conservatism that compete for control. Albeit it is important to note that Strub is somewhat unconvinced about Rosen’s implicit assumption that pornography can be a tool for the advancement of women.
Overall both Strub and Rosen have written thought provoking and entertaining histories of modern United States pornography. Neither revel in smut—as the readers of Stag may have done—yet, neither are they coy, thus enabling the reader to gain a solid understanding of a large part of the print, film and now web-based pornographic media and its socio-political context. Rosen’s lack of squeamishness may be off-putting for some. Readers of more “vanilla” tendencies may be put off by graphic descriptions of hard core pornographic scenes, such as his account of the “insertion of fifteen billiard balls into a man’s anus followed by an elbow-deep fist-fucking”.(ii) Rosen’s candour is not simply aimed to titillate, but to inform about pornographic publishing using its own idiom. What both Rosen and Strub convey is how pornography comes into contact with greater narratives of obscenity, permissiveness, sexuality and gender. It is apparent from their accounts how pornography is a vital and rich subject for analyzing a range of social pressures and competing narratives.
________________________________
i Paul Boyer, Purity in Print: The Vice-Society Movement and Book Censorship in America (New York: Charles Screibner’s Sons, 1968); Nicola Beisel, Imperiled Innocents: Anthony Comstock and Family Reproduction in Victorian America (Princeton, NJ: Princeton University Press, 1997); Andrea Freidman, Prurient Interests: Gender, Democracy, and Obscenity in New York City, 1909-1945 (New York: Colombia University Press, 2000);Leigh Ann Wheeler, Against Obscenity: Reform and the Politics of Womanhood (Baltimore: John Hopkins University Press, 2004).
ii Robert Rosen, Beaver Street, p. 56. Read More
Hey, Man, You Really Gotta Read Beaver Street
The Great Porno Debate between Ron Jeremy (Porno good!) and Gail Dines (Porno bad!).
Now I've came across this video review of Dines's book Pornland, by writer and musician Jordan Owen.
Owens is articulate, and Dines really gets under his skin. His commentary is provocative.
Beaver Street: Well researched, Smartly Written, Surprisingly Funny
Beaver Street's first brush with notoriety occurred nine years ago, when The New York Times ran an article partially inspired by an embryonic Beaver Street manuscript. "A Demimonde in Twilight" profiled a number of literate porn writers surviving in New York City in the declining days of magazine publishing. Two of those writers, "Izzy Singer" and "Maria Bellanari," are major characters in Beaver Street. (They went by different names in the article.) The story also discussed the connection between magazines like Stag and Swank, writers like Mario Puzo and Bruce Jay Friedman, and Marvel Comics, a "secret history" that I explore at length in Beaver Street.
It was written by Matthew Flamm, a journalist who’s been instrumental in bringing attention to my work. In 1999, Flamm was the first one to write about my John Lennon bio, Nowhere Man. His item in Entertainment Weekly sparked a conflagration of media coverage that put Nowhere Man on best-seller lists in five countries.
Flamm has at last read the published version of Beaver Street, and has posted his distinctly New York-flavored review on Amazon. I will quote it in its entirety below:
Robert Rosen’s Beaver Street is both an absorbing memoir of a writer's struggle to make a living and a brief history of pornography as it grew from a mom and pop business into the industrial giant it is today. But this well researched, smartly written, surprisingly funny book is also a one of a kind tour through a fast-disappearing underbelly of American popular culture. Rosen, a pre-gentrification New Yorker, fell into porn when it still held a certain countercultural allure. His cast of characters includes hapless, aspiring artists, shrewd businessmen (and businesswomen), all-out neurotics, sexual desperados, and conniving egomaniacs. Kind of a cross section of a broken down IRT local train circa 1980. Beaver Street shows us an alternative Grub Street, one that many of us never knew existed.
Yossarian Taught Here
Two biographies of Joseph Heller, my creative writing professor at the City College of New York, have recently been published. I've read excerpts of one, Just One Catch, by Tracy Daugherty, a straightforward chronicle of Heller's life. I've read extensive commentary on the other, Yossarian Slept Here, a memoir by Heller's daughter, Erica Heller.
Memories have been aroused.
Heller, who died in 1999, is best known as the author of the satirical, semi-autobiographical World War II novel, Catch-22, whose iconic protagonist, Air Force Captain John Yossarian, thinks people are trying to kill him, and does not want to fly any more bombing missions. I’ve read the book about 25 times.
When I was Heller’s student, he was finishing his second novel, the semi-autobiographical Something Happened. Thirteen years had passed since Catch-22 was published. Expectations were high, and Heller, to say the least, was stressed out.
City College, in the 1970s, was an extraordinary place to be—because the school was tuition free, and the English department had assembled an all-star collection of professors that, in addition to Heller, included Kurt Vonnegut (Slaughterhouse Five), William Burroughs (Naked Lunch), Francine du Plessix Gray (At Home with the Marquis de Sade), and Anthony Burgess (A Clockwork Orange), who taught a course in Ulysses.
I was ecstatic to have the opportunity to take a fiction-writing course with one of my literary heroes. And I was so encouraged by the results my first semester with Heller (B+), that I signed on for a more advanced course the following semester.
This is what I remember about Joe Heller:
He dressed casually, usually in jeans and a canvas shirt, except for the time he had a meeting with his agent. That day he wore a gray flannel suit.
He always had a wooden gum-stimulator sticking out of his mouth.
“All agents are pricks,” he said.
“You can’t live on royalties,” he said.
He considered Catch-22 to be one of the ten greatest books of the 20th century.
He considered James Michener (Tales of the South Pacific) and Leon Uris (Mila 18) to be hacks.
He forbade us to write detective stories or stories about the supernatural.
His conception of how to structure a short story was inflexible: Beginning. Middle. Climax. End.
He also taught me two valuable lessons about writing: Condense! Condense! Condense! And have a thick skin.
It’s this last lesson—an unintentional one, I suspect—that brings me to the scene in Erica Heller’s memoir, where she discovers that she’s been portrayed in Something Happened as a person “so barren of hope that I find myself grieving silently alongside her, as though at an empty coffin or grave in which her future is lying dead already.”
She asked her father how he could have written such a thing about her.
“What makes you think you’re interesting enough to write about?” Heller replied.
That is also an apt description of the “heartless” (as she calls him) Joe Heller I remember from City College. Because in that second semester, he critiqued my stories so brutally, I still find it too painful to read all his comments.
“This story goes bad on page one and gets progressively worse,” one critique began. He then proceeded to detail the story’s disintegration, line by line, in red pencil, in scathingly accurate detail.
In a meeting, I asked him what I was doing wrong, and why he liked my stories the previous semester.
“You were just lucky last semester,” he said.
I was 20 years old. I wanted nothing more than to be a writer. And I was devastated. But I did, indeed, recover and learn to develop a thick skin. Professionally, it’s the best lesson I’ve ever learned.
I wonder what Heller would have had to say about Nowhere Man and Beaver Street. Barring communication by séance, I guess I’ll never find out.
The Great Porno Debate: Ron Jeremy vs. Gail Dines
The most frightening thing about last night's debate between Ron Jeremy and Gail Dines, on The Joy Behar Show, is that the porn star who's appeared in nearly two thousand XXX-rated movies, and the anti-porn author of Pornland both sounded more sane than any of the Republican presidential candidates did in their debate last week.
I hardly agree with everything Gail Dines says. She has, for example, classified Vanity Fair magazine as pornography. But she clearly does a lot of research—she said on the show that she gets her information from Adult Video News—and unlike, say, the late Andrea Dworkin, she traffics in facts and presents them in a non-hysterical way.
The heart of Dines’s “porn is bad” argument is that the bulk of smut you find on the Internet is “body-punishing cruel sex, women being gagged by penises, women being penetrated by four men,” and that watching this kind of thing affects how men relate to women.
Jeremy, of course, disagrees. Citing a study in Scientific American magazine, he said that porn is not harmful and that “fifty percent of all porn is produced and directed by women.”
Dines said that the porn women produce is even “more violent.”
The debate, an abbreviated version of which you can watch by clicking on the above photo, was civilized. Though there was one amusingly petulant moment, which doesn’t appear in the edited video. Jeremy kept referring to Dines as “this lady.”
“I am not ‘this lady,’” said Dines, interrupting. “I am Gail Dines!”
Bottom line: If Jeremy or Dines were to run for president (Dines can’t because she was born in England), I’d vote for either one of them before I’d vote for Michele Bachmann or Rick Perry.
The Fire Next Time
The entire city was in lockdown. Concrete barricades manned by heavily armed riot police and military—it was hard to tell them apart—sprung up overnight, on virtually every street corner in Midtown Manhattan. Chinook helicopters thumped overhead. At the first hint of trouble, the police carried out mass arrests, swooping in with plastic netting, and rounding up anybody who happened to be in the wrong place at the wrong time. Stores and restaurants closed. Streets were deserted. Anybody who could leave town did. It wasn’t fun. It wasn’t good for business (as our mayor had advertised). It wasn’t anything but ugly.
Which is why most sensible New Yorkers breathed a sigh of relief when London was chosen for the 2012 Olympics. The convention lasted only four days. The Olympics will go on for 17 days. Word to the wise: Get the fuck out of London if you can. Go to Spain. Or, better yet, tell them to go away. You’re London. You don’t need the Olympics. Read More
Loot This Book
I read Abbie Hoffman's Steal This Book in high school. Hoffman, co-founder of the Yippies, proclaimed that it was immoral to not steal from the American Empire, and he explained how to get pretty much everything for free (or close to it). I found the book so inspiring that I embarked on an extended career of using subway slugs, making free long-distance phone calls, and acquiring free record albums and books through the mail. My life of liberating things from the "pigs" lasted through graduate school, and the only lesson, an arrest for subway slug use, taught me was to be more cautious.
I mention Hoffman’s book now because of a letter I read in The New York Times the other day describing the rioting and looting at a shopping mall in England. “Rampaging mobs had broken into virtually every shop there, stealing everything from designer clothing to electronics,” wrote Arnold Grossman of Denver, Colorado, though he failed to identify the city in which this took place. “One store stood alone, however, its windows intact and its goods untouched.”
It was a bookstore.
How utterly dispiriting that British rioters, who also looted such things as bottled water and trash cans, didn’t find it worth their while to steal books. I suppose they could have preferred reading e-books on Amazon’s Kindle, but I somehow doubt it.
More likely, book lovers tend to be shoplifters rather than looters, and shoplifting books is, indeed, a serious problem in the US and UK. Publisher’s Weekly, in fact, has compiled a list of the top five most stolen books in the US: anything by Charles Bukowski, anything by William Burroughs, On the Road by Jack Kerouac, The New York Trilogy by Paul Auster, and anything by Martin Amis.
And the Guardian has compiled a list of the most stolen books in the UK: London A-Z, Lonely Planet Europe, The Guv’nor by Lenny McLean, Tintin and Asterix, and Harry Potter by JK Rowling.
Number six on this list, incidentally, is Steal This Book. So perhaps there is some hope for the UK after all.