Anna Lee, Part 3: Behind the Scenes

by Rich Moreland, April, 2014

This is a brief look at a part of the Behind the Scenes interviews in The Sexual Liberation of Anna Lee.

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Prevalent in adult DVDs is a “Behind the Scenes” segment in which the camera makes impromptu visits with the cast. Fairly standard in its make-up, the backstage lens catches porn performers in their casual moments and is typically filled with small talk and clowning around.

On the Anna Lee set, director Jacky St. James chats informally with three of her stars about the film’s theme, repressed sexuality, examining the issue with a seriousness not usually found in BTS fare. The director, who also authored the script, offers insights into childhood upbringing as a factor in sexual attitudes.

Maddy O’Reilly

An A-list Spiegler girl, Maddy O’Reilly resides at the upper end of the adult industry food chain. Despite her true porn star status, Maddy confesses that her adolescence was similar to that of Anna’s character: sexually reticent physically, but intensely sexual mentally.

Because anything unforeseen could happen, Jacky asks Maddy if she had any concerns about being tied up and blindfolded. Maddy confesses she was definitely a “little nervous” and had “butterflies.” Her arousal level was sky high; she was “heated” and  “sweaty” before the sequence was filmed. But, Maddy adds, getting anxious before shooting sex scenes is normal for her.

“Why are you shy and nervous about sex?” Jacky inquires.

“I’m from a very conservative background,” Maddy says. Her childhood was shaped by the religious community in which she lived. There were “churches on every corner,” Maddy remembers, and going to church “three times a week” was an expectation that defined the norm in her Bible-Belt hometown.

Jacky, Steven St. Croix, and Eddie surround a shy, conservative southern girl. Photo Courtesy of Jeff Koga

Jacky, Steven St. Croix, and Eddie surround a once shy, church-going girl.
Photo Courtesy of Jeff Koga

Maddy’s mother taught her daughter that the simplest physical contact could be misinterpreted as unacceptably sexual and therefore verboten. “Hugging someone was considered loose and not classy,” Maddy says with an innocent smile that bespeaks a small town upbringing and emphasizes once again that church attendance beyond the usual Sunday services reinforced her rural culture’s moral ethos.

“Being hit so hard with a religious background,” Maddy says, caused her to escape the southern backwater atmosphere of her childhood. The result? Porn became Maddy’s personal “liberation.” Entering the adult film business allowed her “to break free” to do sexual things she thought about but didn’t “have the guts” to do in her adolescent years.

Life is “very vanilla back home,” Maddy comments matter-of-factly. “People don’t talk about sex, ever.”

Jacky remarks that being in a sexually driven business must have been a big change for Maddy considering her upbringing.

“Absolutely,” the North Carolina native says. “Because it was so conservative, I wanted to go the complete opposite of that!” Maddy O’Reilly laughs and throws out her arms for emphasis.

“My mom and I never talked about sex until I was performing in the business,” she exclaims. The situation is different today, Maddy’s mother now believes it’s fine to discuss the once forbidden with her daughter. One has to wonder if others in Maddy’s hometown might succumb to their unspoken curiosity and also enjoy some small talk with her.

The Cast of Anna Lee. Photo Courtesy of Eddie Powell

The Cast of Anna Lee.
Photo Courtesy of Eddie Powell

By the way, Maddy O’Reilly’s favorite thing in Anna Lee was being tied up, especially in the St. Andrew’s cross scene where she was “liberated by everyone in the cast.” Jacky asks about Anna’s assignment in which she let other people “worship” her and how that felt from an actress’s point of view. Emphasizing that her co-stars were some of her favorite performers in the industry, Maddy insists that “not knowing” what each was going to do to her was exciting. That’s a stimulating aspect of doing bondage work I’ve heard from other performers, though for the record, not everyone adjusts to the blindfold as easily as Maddy appears to do.

Maddy loved the hot wax but cautions interested viewers to not experiment with real candles. There are special products made for that type of BDSM play. And for the curious, the twenty-four-year-old did orgasm when Johnny Castle skillfully applied the vibrator to her.

Look closely for hot wax residue. Photo Courtesy of Jeff Koga

Hot wax residue.
Photo Courtesy of Jeff Koga

Finally, Maddy giggiles about breaking the handcuffs in her scene with Xander Corvus. Because she usually gets “very romancy roles,” the psychological mood and rough and tumble sex of Anna Lee was a welcome change for her.

Maddy and Xander in the final scene. Photo Courtesy of Eddie Powell

Maddy and Xander in the final scene.
Photo Courtesy of Eddie Powell

For the record, Anna Lee has forged Maddy O’Reilly into a star any feature director should take into account casting his or her next film. Hopefully her hometown North Carolinians won’t hold that against their native daughter!

Jessa Rhodes and Steven St. Croix

In their Behind the Scenes segment, Jessa Rhodes and Steven St. Croix discuss another aspect of Anna Lee, their scene of fantasy sex with an older man. In the film it’s the therapist, Gaige, and the young staffer, Elize. Jessa comments on the “daddy” fantasy it represents and she speaks from experience. That’s “my thing,” she says, though until recently she thought it was “so wrong.”

Steven, a veteran of years in the business, believes the “daddy” issue is “a sublet of the authority figure fantasy,” like a policeman or a teacher. Jessa agrees, “It’s definitely an authority thing for me.”

At this point, Steven offers that his co-star’s fantasy (fetish?) may be a result of her background. Jessa was raised in a very religious home.

“What religion?” Jacky St. James inquires.

“Christian,” the A-lister responds, but offers no information beyond that. Growing up in an environment similar to Maddy O’Reilly’s, Jessa’s exposure to adult material “on a scale of one to ten was in the negative zone. I was in a bubble,” she chuckles.

Joking about masturbating at age eleven, the twenty-one-year-old was unsure of what she had just done, anxieties typical of an adolescent discovering her sexuality. “Did I do something wrong?” she asked herself at the time. “I felt bad.”

Jessa Rhodes Photo by Bill Knight

Jessa Rhodes
Photo by Bill Knight

Recovery from doubt was swift and the native Oregonian entered the adult industry at nineteen, quickly discovering that it’s “a healthy thing to live out your fantasies.” Though Jessa adds that some people don’t want their “dark side” to be seen by others, she assures them it is alright if they do.

Of course, performers in the adult industry can act out their fantasies in a safe environment, an advantage a non-industry person may not have.

Jessa Rhodes eventually realized what most people in business quietly understand. She can separate her “sexual self” from her “day-to-day person” because “it’s ok to be those two different beings.”

It’s an affirmation I’ve heard from several performers. In fact, an adult actor’s life off the set is more mundane that most people think.

Some years ago, an industry PR person mentioned to me that the public often assumes porn stars have unending rounds of partying and sex, burning the proverbial candle at both ends. Not in her experience, she said. Their lives are very ordinary. When I first began writing in the business, a prominent performer let me in on the secret about blogs and other social media that are a vital part of a porn star’s lifeline to her fans. “Sometimes we just make this stuff up,” she said. It’s what people want to read and believe.

A director I know put it best. The set is just about all the sex industry people have the time and energy for, he said, explaining that most performers go home to a typically uneventful American household. Take care of day-to-day needs and go to bed early.

Tomorrow becomes, as a performer friend of mine said, “just another day at work.” Porn is a business, after all.

 

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Anna Lee, Part 2: A Mind Equally as Sexy as Her Body

by Rich Moreland, April, 2014

This is the second part of my review of The Sexual Liberation of Anna Lee.

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anna lee, boxcover back

“I don’t want to lose myself in someone else, I want to find myself in them.”

Anna Lee wonders if everyone wears a mask, hiding and fearing who they are. She craves sex and its emotional connections, but her body refuses to cooperate with her libido.

Receiving a vibrator to unfetter her sexual anxiety, Anna listens as Gaige explains that sexuality is often shamed by a distressed past. Don’t let the “baggage of your childhood stifle your adulthood,” he says. “You can create the kind of sexual identity that you want.”

He arranges a task for Anna that will presage her interactions with Emmett. Gaige introduces a smuttily dressed female staff member to Anna, who is asked to describe the girl. Responding to Gaige’s insistence that her “imagination is a powerful sexual tool,” Anna believes the young woman, Elize, to be “seductive and tempting.” Of course, the exercise persuades Anna to unconsciously project herself into Elize and serves as a transition to the next sex scene. In a fantasy sequence inside Anna’s mind, the staffers have a delightful frolic enhanced by Elize’s nicely tatted body.

Jessa Rhodes as Elize Photo Courtesy of Eddie Powell

Jessa Rhodes as Elize
Photo Courtesy of Eddie Powell

When the pop shot lands on Elize’s tummy, Anna’s reverie passes and she turns her attention to Gaige who wants more insight into the image presented by his assistant.

“She never leaves him satisfied, she always gets what she wants,” Anna says.

In her imagination, does Anna secretly identify with Elize’s sluttiness?

Maybe. A smiling Elize verifies Anna’s intuitions. “You’re good at reading other people’s turn-ons, or maybe you’re talking about your own.”

 

Up to now those softly spoken, yet boldly confident, words might have borne some embarrassment. But change is happening and Anna is preparing her own sexual future.

Eyes Open and a Closed Heart

Anna checks in with her video diary. Her confidence is growing and she announces that her attitudes are shifting. She confesses Emmett scares her, though not in a bad way because she is attracted to him. Letting him know is the fault line that could doom everything, however. In reality, Anna is intimidated by her own desires because her shield, the little girl whose sexual needs were terrorized by an uptight mother, is melting away.

An unforeseen development blindsides everything. Anna and Emmett are thrown into a boiling cauldron of honesty brought on by a hot seat exercise.

This pivotal episode is not to be missed. The camera frames the chair (hot seat) from the therapist’s view. A position change occurs when the camera’s perspective moves behind the head of the person on display. In this location, the camera illustrates the hot seat’s overwhelming presence and the divide it creates between patient and therapist. It is a cinematographic master stroke that sends just the right message at just the right time.

The hot seat is a Gestalt therapeutic intervention and allows participants (usually in a group setting) to spontaneously assess the person sitting before them, no holds barred. Each participant in the exercise takes their turn in front of the others. The conversation is stripped of pretenses and exposed to a glaring frankness that can enlighten, heal, or harm. When Emmett evaluates Anna, what he says is meaningless, devoid of feeling, merely polite and shallow. Hoping to move this exercise forward, an exasperated Gaige sends Emmett to the chair to replace Anna.

What follows is the most dramatic scene in the film and Maddy O’Reilly’s finest moment as an actress. In a revealing dialogue she indicts Emmett.

“He fucks with his eyes open and his heart closed.”

If understatement can blow up a room, it happens right here because Anna’s heart is blooming like all the flowers on all the paintings in all the rooms of this film. Emmett crushes her with sarcasm and the viewer reacts with disgust. Superb. Adult film does not get better than this.

The Paddle

Emmett and Anna are now assigned a series of tasks together to to expose vulnerabilities and erase anxieties, the ingredients of sexual repression. Upon completion, trust will replace fear. Or, at least that’s the plan.

At first their connections are hesitant, but gradually they, like the flowers, begin to unfold with color and warmth. But the tender buds of their relationship are fragile.  Anna is ready for sex, she wants to be spanked and penetrated while Emmett is suffering through a cosmic blizzard of dissonance between his inner feelings and his self-protective demeanor.

Three scenes are worth an extra look as the pair negotiates their improbable odyssey. In the first, they are told to write a message on each others’ bare backs. Anna chooses green paint, Emmett orange, a watered down red. She’s good to go, he’s still holding back though his resolve is weakening.

Another scene is cleverly shot and has too much meaning to recount here. Blindfolded, Anna and Emmett must stimulate their erotic senses and experience each other through taste. Between them is a small table; they are sitting in equally small chairs. Childlike and cooperative, Anna takes Emmett’s index finger in her mouth and sucks it with obvious double meaning. Of course, he can’t resist looking because he always has his eyes open, though he sees very little.

Her psyche is breaking through to Emmett, but time is now a factor. The gigantic clock on the shelf above them is headed for eight. Four hours left. Is it the terminal hour of midnight, or an awakening to a new day?

Anna's Hope? Photo Courtesy of Eddie Powell

Wasted Desire?
Photo Courtesy of Eddie Powell

The last of the scenes mentioned here takes place in a room with three sides, an arena of sorts, empty of furniture. Anna and Emmett put their bodies before each other; they strip down, everything exposed. Anna’s observation? Emmett is well endowed.

Will it ever happen, she thinks, or is it wasted desire?

Notice the shelves on opposite sides of the central window. Two equally-sized bowls are paired on each shelf above the ever present prints of flowers in full bloom. Sexual openness is never more evident.

Later, Anna is surprised by a note left outside her door. It’s from Emmett and accompanies a gift he has given her. “This might come in handy when you get out of here,” it reads. She picks up a paddle, a little kinkiness that puts her fantasies one step closer to reality. But if they involve Emmett, likely they will evaporate into the misty abyss of her imagination.

In an abrupt turn of events, Emmett decides Variel and its techniques are not for him. The exercises and tasks did their job, of course, Emmett had to confront what he always knew: caring lays bare vulnerabilities that challenge trust. Anna reached into his soul and pulled out what he refused to accept about himself.

Leaving Anna a note, Emmett slips away.

Later, Anna is further stunned when Gaige explains it is also time for her to leave. Except for one last farewell experience, her therapy is over.

In preparing her for a task that will come with a bondage stage and the staff on hand, Gaige instructs Anna to knockdown that last barrier, “Allow yourself to be pleasured by another.”

The Final Task. Elize, Gaige, Anna, Whitney, and Michael. Photo Courtesy of Jeff Koga

The Final Task. Elize, Gaige, Anna, Whitney, and Michael.
Photo Courtesy of Jeff Koga

Sensuality arrives with a St. Andrew’s cross to which Anna is bound. Blindfolded, she experiences hot wax, among other tastes and touches, a brief flogging, and the application of a vibrator. Appreciate Anna’s anxiety concerning trust in this scene. Strapped in position, her hands are clenched fists. Letting go is never easy.

As the staff participates in this last exercise, they surround and caress Anna bringing the Statue of Five to life, its intertwining arms and hearts symbolizing her triumph. With Whitney and Gaige her surrogate parents, the statue becomes Anna’s new family. Once again in their mixture of images, Jacky St. James and Eddie Powell produce an unforgettable moment. Originally Anna may have been the statue’s smallest person, but now she transitions into the largest, overwhelming the scene with arms stretched on the cross. Honored by those who care about her, Anna has grown up sensuous and sexy and ready to move on. This is Anna’s rebirth as it was foretold in her bedroom at Variel before she took her first step to enlightenment.

Treatment over. Time to go home. Photo Courtesy of Jeff Koga

Treatment over. Time to go home.
Photo Courtesy of Jeff Koga

Though Maddy O’Reilly has filmed for Kink.com in San Francisco and is familiar with the heavy duty BDSM scene, her character in Anna Lee is for viewers who want to see the fetish and its intimacy in bondage sequences that are less intimidating. Anyone thinking about some BDSM in their private lives will be intrigued by Maddy and Natalia Starr’s earlier performance as Marielle.

When Anna returns home, the statue goes with her to her bedroom, watching over, comforting, and encouraging her . . . for this is not the end of the story. To experience its crashing climax in which Anna realizes her mind is equally as sexy as her body, see it for yourself.

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The Liberation of Anna Lee follows in the footsteps of the other Jacky St. James/Eddie Powell BDSM classic, The Submission of Emma Marx. Both films are part of the emerging Submission Pornography genre. Like Emma Marx, Anna Lee positions itself in the feminist pornography camp. Anna seeks her pleasures and acts on her own desires with affirmation thrown in along the way. Women who want to experiment with a BDSM component in their personal lives and on their own terms, should see both productions. For couples who enjoy a highly charged sexual atmosphere to go with their romance, the films are a must. For information on the DVDs go here.

The Cinematographer and the Director. Another Triumph. Photo Courtesy of Jeff Koga

The Cinematographer and the Director. Another Triumph.
Photo Courtesy of Jeff Koga

A final comment is appropriate. Too often in porn, sex scenes are shot in a rote manner that kills off any interest beyond male self-pleasuring. With Eddie Powell’s inventive eye and deft camera movement, the viewer is engaged in sex as art, a key dividing line separating an anatomy lesson from the ageless expression of lovers consuming each other. Add Jacky St. James’ flair for selecting the right actors to fit her scripts and her ability to bring out the best in them, and the 2014 adult film awards have an undeniable candidate for their various honors.

 

 

 

 

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Anna Lee, Part 1: Too Real for You, Huh?

by Rich Moreland, April, 2014

A story with character development is rare in a film business that cranks out thousands of shoots a year. That said, The Sexual Liberation of Anna Lee is a truly an exception to traditional adult fare. With a bigger budget and more time, New Sensations might have turned this gem into an indie film marketable in legitimate Hollywood, sans the hardcore, of course. If this reviewer used stars to rate film, then Anna Lee would be a five-star knockout.

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anna lee boxcover
Sexual hang-ups and the psychology of their destruction is the theme of a New Sensations romance titled The Sexual Liberation of Anna Lee, another superb collaboration by writer/director, Jacky St. James, and cinematographer, Eddie Powell.

Maddy O’Reilly is Anna Lee, a young woman raised by a sexually inhibited single mother who insisted her adolescent daughter cultivate chastity. Budding into young womanhood, Anna has reached her exasperation point. Turning to Dr. Sabato, (a cameo appearance by Jacky St. James), Anna learns of a clinic, Variel House, whose unorthodox methods combat the emotional and sexual paralysis caused by repressed desires.

During her stay, Anna meets a fellow patient, Emmett (Xander Corvus) whose sarcasm and surliness conceal a fear of women as claimants to his erotic sensibilities. While Anna pursues emotional connections to her sexual awakening, Emmett is evasively headed in the opposite direction, preferring his fornications to be nameless and faceless.

India Summer as Whitney Savage Photo Courtesy of Eddie Powell

India Summer as Whitney Savage
Photo Courtesy of Eddie Powell

The clinic is run by a brother and sister team, Gaige and Whitney Savage, whose intuitive techniques sometimes reflect their surname. Played by Steven St. Croix and India Summer, the pair holds the narrative together with outstanding performances and solid dialogue delivery. The viewer homes in on their every word, following the logic of their treatment and the warmth with which they deliver both advice and action.

The Statue of Five

A St. James/Powell film exists on three levels, creating a sumptuous feast for a reviewer. First is the story which is closely linked to the second, its theme and motifs. Of course, the final level is the sex, filmed by Powell in a way that keeps the camera interacting with the lovers. More on that later.

St. James and Powell love to plant images and symbols, turning their films into artistic statements. The Sexual Liberation of Anna Lee has a sentinel to watch over Anna’s quest and protect her spirit: a modern art statue of five figures positioned in a circle with arms intertwining each other. The figures are of different sizes with the smallest embraced by the others. When Anna checks into her room at the clinic, Whitney places the figure on the far right side of the shelf behind the bed. Four candles already occupy the shelf space away from the figure to the far left. Coincidentally, a night stand contains two smaller candles apart from the others, one with a capped top and the other an open one. Symbolic on two levels, these candle are male and female with emotions hidden and open.

The bedroom explains the film. Four people staff the clinic, Whitney and her brother, and their two helpers, Michael (Johnny Castle) and Elize (Jessa Rhodes). There are two patients in residence, Anna and Emmett, who are apart from them as shown in the arrangement of the two smaller candles. But, the Statue of Five is the key to the narrative because the staffers will sexually interact with each other on some level during Anna’s treatment, then welcome her into the circle with her final task.

The sex scenes are crafted to move with the narrative. Each one is carefully placed within the storyline and indicates where Anna and Emmett are psychologically in their treatment. Appreciate the flow of the scenes, especially Eddie Powell’s ability to move his lens around lovers as they kiss and caress, then pull away and float back when the penetration begins. The statue’s encircling intimacy metaphorically comes to life as the sex plays out on the screen.

For Anna,  disentanglement from her past and her sexual rebirth is a work in progress, an opening up that intensifies as the story moves toward its conclusion. Sexual awakening appears in repeated images throughout the film. Various pictures of flowers in bloom, the stuff of Freud and Victorian dream analysis, dominate the rooms.

Pure Vanilla

Anna is informed that she must keep a video journal of her stay and is cautioned not to interact with Emmett. A fair warning, indeed, because he will eventually emerge as confusion and apprehension for her, a sexual time bomb that might derail her therapy.

Maddy O'Reilly and Xander Corvus Photo Courtesy of Eddie Powell

Trouble Ahead?
Photo Courtesy of Eddie Powell

Anna’s treatment requires that she complete a series of tasks with Whitney presenting the first. It’s tactile, focused on the male anatomy, and a reminder of behavioral desensitization and relaxation techniques. This is Anna’s initial dip into the churning waters of her own sexual doubts, longings, and anxieties. Little wonder there is a small figure of Buddha on the table when she experiences maleness through her imagination. Stay calm and absorb the present.

The first sex scene emerges from this task and involves Whitney and Michael. Blindfolded, Anna kneels in front Michael and under Whitney’s guidance experiences his manhood with light touches. For the record, this part of the scene is shot with a sensitivity that is a welcome departure from much of today’s gonzo porn in which female talent eagerly open their mouths to stuff themselves, gagging on an all-you-can-eat buffet.

The sex scene is run-of-the-mill vanilla, but appropriate for where Anna is at the moment because she is instructed to relax and listen. India Summer’s mature sexual nature carries the scene beautifully; she and Johnny have chemistry. The shoot lines up the standard series of sex acts and ends with a pop that is not a facial. As is Eddie Powell’s habit, both bodies are framed equally and, in this case, he cuts into the action with darkened silhouetted images as Anna would see the lovers in her mind. It’s a warm-up for our repressed heroine.

Maddy O'Reilly Photo Courtesy of Eddie Powell

Maddy O’Reilly
Photo Courtesy of Eddie Powell

By the way, Maddy O’Reilly is perfectly cast as Anna. She begins with a school girl innocence, conservative in dress and manner and reticent about what is happening around her. Maddy is huggable with a girl-next-door prettiness and a hint of naiveté that is foreign to the normal expectations of a porn performer. As Anna, Maddy must open up as story progresses, take on a more exotic look until Anna’s acceptance of her body (as illustrated in a nude stairwell scene) completes her transformation. By the film’s conclusion, the viewer is joyously invested in Anna, the proof of a superior film and Maddy’s acting talent.

When Anna inadvertently meets Emmett, he sticks in her consciousness. Later when she is taught to self-pleasure (the best is the shower scene with lighting that accentuates Anna’s curves and Maddy O’Reilly’s eroticism), visions of him drive her mind’s eye. He will haunt Anna’s dreams, both day and night, forging a bond with her imagination that is unknown to Emmett until it’s many layers are peeled away in a deepening narrative.

Anna’s next task is to ditch her conservative appearance. A closet filled with party clothes and “do me” heels is at her service. In a fabulously shot meeting, Anna and Whitney face each other reflected in two oval mirrors on the wall beside them. Reality and image are combined in the manner of traditional cameos framed in small portraitures, gifts to lovers a century ago. Ann is told, “If you dress the part, you’ll feel the part.”

Anna Lee is now positioned to break from the past and escape the admonitions that shamed her childhood. Whitney encourages Anna to live the moment, like the frozen presence of cameos in the mirrors, and not over think and analyze every situation. Another quick peek into Anna’s bedroom reveals a hint of things to come and an image easily unnoticed at first. Over the shelf is a painting of woman with her nude back to the artist. A guidepost, she is leaning to the right in the direction of the Statue of Five.

Emmett Photo Courtesy of Eddie Powell

Emmett
Photo Courtesy of Eddie Powell

Anonymity

The narrative switches to Emmett. He talks of a girl he hires to provide him with kinky pleasures.

“Do you always pay for sex,” Whitney asks.

“Yeah, every time,” he responds with off-putting flippancy.

Emmett describes the hired girl as the camera cuts away to the masked Marielle (Natalia Starr), tied to a bed. Emmett says she’s a body (a prostitute?) to use with no identity and no feeling on his part.

Mariele awaits Emmett Photo Courtesy of Jeff Koga

Mariele awaits Emmett
Photo Courtesy of Jeff Koga

Unseen, Anna slowly approaches the conversation, eavesdropping made easy because the door to the therapy room is open.

“She craves that stranger fuck just as much as I do,” Emmett says of Marielle, swearing that he will never get lost in another person. Has Anna often faced the same demon for a different reason, a psychological paralysis her body imposes upon her?

The sex between Emmett and Marielle is a visual romp for male domination fans. He rips away her fishnet outfit and they play rough and tumble with hard driving thrusts. Emmett’s detached expression during Marielle’s oral work sells the atmosphere of their mutual disinterest  in each other. Though anal and a facial might seem appropriate here, any hint of further degradation is avoided. Not surprising, because Jacky St. James wants her films to be couples oriented and many women don’t get excited about anal penetration or cum stinging their eyes regardless of their partners’ attitudes.

Natalia Starr as Marielle Photo courtesy of Eddie Powell

Natalia Starr as Marielle
Photo Courtesy of Eddie Powell

Later when Marielle checks the envelope, she starts to remove her mask.

“Don’t do that,” he says.

“Why not?”

“I don’t need to see your face.”

“Too real for you, huh?” Marielle answers haughtily and leaves, dropping her mask in the hallway.

 

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Ludovic Goubet: Pornography is Seldom Erotic

by Rich Moreland, March 2014

My thanks to Ludovic Goubet for his permission to examine a portion of his work. The reader is directed to Ludovic’s website for the information sources and samples of his photography referenced in this article.

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Europeans are far less sexually intimidated than Americans. To put it another way, across the pond dissonance over sexual expression and the prevailing sociocultural ethos is minimally pervasive by comparison. Statesiders tend to run for the cover of social propriety when the erotic trickles into consciousness. Consider Miley Cyrus’s twerking, Janet Jackson’s nipple, and Britney Spears’ lip lock with Madonna. These pop idols quickly became pariahs endangering small town wholesomeness with their careless frivolities. In American entertainment, sexual expression is never quite able to scoot around the salacious image.

With this thought in mind, meet Ludovic Goubet, a self-described ArtVenturer whose photographic style drifts in and among the whims of the female form. Though “artist” describes Ludovic, “visionary” is better suited. He captures a sexuality that is eroticism dancing on the edge of the hardcore. His women celebrate their sensuality with a personal expression that forestalls the explicit.

Currently living in his native Paris, Ludovic remembers his father provided him with a camera when he was a troubled nineteen-year-old. A few shots of a girl he met followed, but the cost of photography was prohibitive for a youth with limited means. Besides, other issues were elbowing their way into Ludvic’s self-contained world. The young Frenchman had an urge to wander with a love for music always in tow. Martinique, Spain, and the Canary Islands marked the beginning. Eventually jazz and the blues were destined for a rendezvous that would take him to Tuscaloosa, Alabama, and a club called The Chukker that once hosted the Rolling Stones and Jimi Hendrix.

In those burning early years, sound and vision possessed Ludovic, churning a mind that would later mature into visual expression. At this time in his journeys, youthful adventures occupied center stage; photography was a moment in the past, its return at least a decade away.

Malthilde

Malthide Photo courtesy of Ludovic Goubet

Malthilde
Photo courtesy of Ludovic Goubet

A Gothic German name, Malthilde melds the sacred feminine with Freya, the goddess of love, fertility, sexuality, and war. The essence of male awakening, she is the relentless hormonal push spurring boys to seek their manhood, the primal urge that weaves virility with a self-absorbed passion to exploit sexuality for personal satisfaction.  Lessons of praise and honor are yet to be learned.

Malthilde is female presence. She is the fiery red haired Bouddica, the Iceni queen rebelling against the Romans, and the gentle grace of Lady Godiva, Anglo-Saxon noblewoman protesting oppression with her infamous ride. The ancient Greeks believed that Eros and aggression are animated opposites, complements of each other. Ludovic’s Malthilde embraces both.

Malthilde and Waves Photo Courtesy of Ludovic Goubet

Orgasm
Photo Courtesy of Ludovic Goubet

Like so much of erotic art, Malthilde is archetypal. With reminders of Aphrodite emerging from the sea, Ludovic’s camera glimpses this goddess caressed by an orgasmic surf and later captures her with a lover, their sexuality playful and powerful, not degenerate.

Wilderness Photo by Ludovic Goubet

Wilderness
Photo courtesy of Ludovic Goubet

Perhaps the most powerful image also defines the  archetype. Malthilde is the wilderness, the peaceful return to nature that comforts the human spirit in a modern world often torn with strife and little understood. Magically contradictory to an ever fickle commercialized and cosmopolitan standard of beauty, Malthilde is timeless and breathless, natural and unshaven, red tresses her signature.

Enzo

Ludovic returned to photography upon meeting his second wife. The year was 1998 and his new “soulmate,” as he describes his women, was a triathlete. Lithe bodies are the energy of triathlon and the artist’s wife was at the front of that line. Her passion for the sport is typical of its devotees and Ludovic summarizes what all lovers of triathletes know, “triathlon junkie” is an addiction of its own. Her “incredible body” and “splendid nakedness,” fired his enthusiasm, as did the practicality of low cost digital photography.

The model Enzo appears on his website under the title Madonna and Child. She represents the next stage in the growth of masculine appreciation for the female form. Like Malthide, Enzo is red haired, but with the cropped look of an athlete.

Enzo and Child. Photo Courtesy of Ludovic Goubet

Enzo and Child
Photo Courtesy of Ludovic Goubet

She represents transition, revealing what a young mother means to her lover. Her gaze piques a lust for the reproducing woman he can guard and possess. Made all the more alluring with an athlete’s grace and nipples of arousal, Enzo holds her baby and prioritizes the moment. “I have a child to look after,” she whispers, “perhaps later.”

In 2004 ugliness reared when Ludovic’s marriage collapsed. Dysfunctional times followed. A return to the primordial dominates Ludovic’s art, revealing that Malthilde, unlike Enzo, never grows old. Even as a man approaches middle age and wedding rings corral wanderings, his reveries cavort with the phantoms of his youth.

With the years comes the need to create a story of the self. Ludovic metaphorically uses his camera to explore his own. “Most people say that I have a great respect for the way I show the woman’s body,” he relates in an interview for Taschen Publications. “I also like to tell a story with my photos, and I put the models in a situation where they have the feeling that they can be themselves with confidence.”

Most of his models are strictly amateurs, he says, and he finds them in the haunts of Parisian night clubs and the city’s fetish underground where a powerful eroticism owns the night.  Reflecting a past filled with meanderings and excursions, Ludovic also uses the internet in his search. What persuades a model to shoot for him is the desire to entice the camera, Ludovic says, because money is a commodity he lacks.

The unconventional is a perfect fit for a primitive sexuality that roils the mind and forever promises to renew the aging body. Presently much of Ludovic’s work traverses the variances of the BDSM culture Paris nurtures. Bondage and discipline is the new invigorating frontier because the erotic forever nudges capricious desires to act out a respectful maliciousness. Remember Eros.

Yet, a question lingers. Is Ludovic Goubet erotic or pornographic?

Pornography is Seldom Erotic

“I think that the erotic can be pornography, but pornography is seldom erotic,” Ludovic comments in his Taschen interview. There are boundaries, he insists, which keep pornography at bay. The Malthilde collection illustrates his point. Porn lacks imagination, he declares, does not respect a woman’s body, and entertains individuals (males, we assume) who “see sex as a violent way of affirming themselves.”

Though his assertions will spark debate, Ludovic concedes that all porn is not undesirable, referencing the “Porn Art” of adult filmmaker Andrew Blake as a powerful example. In his own work, Ludovic insists on parameters. The “‘moral limits’” of his models dictate the scope of his vision. Though his subjects control the content of their shoots, Ludovic never forgets that the definition of art covers countless expressions of what is sexual.

Interlinking. Photo Courtesy of Goubet Ludovic

The Interlocking and Surrender of a Mature Sexuality
Photo Courtesy of Ludovic Goubet

In examining his web portfolio, pay particular attention to the swirling and consuming that enlivens the erotic between and among lovers. The images avoid perfection because for lovers that is impossible. Total desire is never sated or singularly focused.

Rather, Ludovic’s camera captures the faces and eyes that thirst for eternal surrender but confess that the human condition can never deliver unfettered happiness. There is a hint of retreat into internal chambers where doors can be gently closed, protecting the hearts within, while a yearning to push them open remains.

The viewer is left with a sensuousness that is not pornographic, an accomplishment that welcomes the sexually charged fragility of the Malthide portfolio. The playfulness of her lover stamps out pure thoughts of the explicit where penetration, not expression, is the goal.

Fantasy

In his interview with Lemague.net, Ludovic explains his reliance on fantasy. He describes the photograph as “timeless and magical moments” and praises the photographer of nudes, suggesting such an artist is “most feared” because of his power over those who encounter his work. Perhaps envy might be added to his thought.

Ludovic responds to an often posed question, does photography create the fantasy or does the fantasy shape the photography?

Malthilde as Fantasy Photo Courtesy of Ludovic Goubet

Malthilde as Fantasy
Photo Courtesy of Ludovic Goubet

“I fantasize hugely before encountering a model,” he states, a proclivity he characterizes as “dreamy and utopian.” For aspiring artists, Ludovic offers an irreplaceable affirmation, “fantasy is just a premonition of what can be achieved if you give yourself the means.”

Of course, there is one more thought, albeit a tad provocative. Ludovic is honest: shooting nudes is a fantasy in itself. And he has another pleasure, “the company of beautiful women” who sometimes tell him “their secrets.”

But the connections decidedly narrow because nothing happens beyond that. “[D]o not believe that things are going on between my models and me,” he says. Admitting that some people may want to grab a camera for that excitement, it’s an imaginative scenario Ludovic has overcome and “learned not to have.”

“[I]t’s a fantasy the photo has calmed,” he declares.

*          *          *          *          *

The Artist Photo Courtesy of Ludovic Goubet

ArtVenturer
Photo Courtesy of Ludovic Goubet

Ludovic Goubet is a life varied and well-lived with spikes of emotional explosions and steep letdowns. Not unexpected because difficult times, often self-imposed and marked with detox, are the legendary temperament of artists. Ludovic’s talent is multileveled and his photographic eye unsurpassed.  Asked how he would like to be remembered, the Parisian is direct and uncomplicated, “As a great lover, a good musician, the most diversified photographer, [and] a decent father.”

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Thirty Hours

by Rich Moreland, February 2014

Southern_Hospita_525c65e2f0d49

Southern Hospitality is a B. Skow film about accommodatin’ love and marriage hillbilly style, Appalachian sociability fueled by homemade liquor and outfoxin’ the law. Jon Jo (Evan Stone) is a landowner of little note who collects female property he passes off as wives. As the movie opens, he’s marrying mate number three, “Small” (Alex Chance). After the informal ceremony, JJ gives his newest wife over to his other honeys, a somewhat disenchanted “Large” (Ash Hollywood) and a bored “Medium” (Dillion Harper). They’ll warm her up in a classic Girlfriends Films all-girl scene before Jon Jo collects his husbandly due, her virginity. At least, that’s the plan. It’s the second part that gets mucked up.

Unbeknownst to this happy group is the arrival of the Fuggs, a lawless family of Mama (Darla Crane) and her three sons: Tiny (Richie Calhoun), Teeny (Billy Glide), and Mighty (Tommy Pistol).

Jon Jo consumes too much moonshine to keep his thinking cap on so Mama and the boys squat on his land, set up a still, and percolate trouble.

In the meantime, Tiny and Medium fall in love (after she sneaks peeks of him in the shower) and hide out to avoid family entanglements. Suddenly, lightning strikes. Ash and Small go searching for Medium and Small falls victim to sexual assault from the leftover Fuggs.

The rest of the story is about revenge and final reconciliation with all the Hillbilly grace one film can muster. Bodies are buried and plans changed in an entertaining tale that is carried to its success by two performers, Ash Hollywood and Alex Chance.

A throuoghly enjoyable film, Southern Hospitality is brimming with B. Skow ingredients: good acting, humor, a dark side typical of Skow, and a heavy dose of social satire.

The Voiceover

Let’s take a further look at the film through a discussion with B. Skow, one of Porn Valley’s directing elite.

B. Skow Photo courtesy of Bill Knight

B. Skow
Photo courtesy of Bill Knight

Southern Hospitality survives and moves forward through the voiceover narrative. Ash Hollywood is the chronicler and as an actress faces formidable tasks. She must convince the audience her character, Large, is coming into her own as the story progresses and do it with a southern drawl that sells the tale.

In talking about Ash, Skow reminds everyone that his films are “just like Hollywood” where good actors (he mentions Meryl Streep and George Clooney) are going to create winning roles.

“There are certain people that perform,” the director says. “Ash is just a great performer [and] she has an interesting look.”

Commenting that Ash had “so much dialogue” along with the voiceover, Skow describes hours of one-on-one directing that were “relaxing” rather than tedious and, from a director’s standpoint, creatively challenging. “You can really work with an actor to give you what you need,” he says, adding in this case it was the dialogue that made the story convincing. “We were in the room for hours with her [Ash] trying to get that stuff down. It was so hard to keep the accent [going].”

Ash Hollywood Photo courtesy of Rick Garcia and AVN

Ash Hollywood
Photo courtesy of Rick Garcia and AVN

B. Skow affirms that despite the demands and hard work, the film was completed on time. “You know, I had thirty hours to do that movie,” he says.

Ash Hollywood also plays the one character that develops during the film. She is the movie’s central focus. In the end she stands up to Jon Jo and leads the final getaway, completing her empowerment image.

Loved the Part

Asked about Alex Chance, Skow says, she “has a specific look in her.” She’s “young, cheery, great girl” and a good actress.

Alex is perfectly cast as the innocent third wife whose future, according the rules of Hillbilly Haven, is shattered when she’s molested and penetrated in a modified gang bang with Teeny and Mighty. Her sadness and hopelessness at the loss of her virginity is powerfully portrayed as the film moves toward its climax. If Ash Holloway is the narrative’s driving force, Alex Chance is the emotional glue that holds the story together.

B. Skow describes what he loves about the native Virginian.

“In the movie she really held the accent, really loved the part,” he says. Alex appreciates being in a feature, he notes, a circumstance not always true of other performers.

Alex Chance Photo courtesy of Rick Garcia and AVN

Alex Chance
Photo courtesy of Rick Garcia and AVN

“Some girls come on the set and make their money, got their underwear in a zip lock bag,” Skow begins. “Then you have an Alex Chance who comes in. She’s printed out the script not only for herself, but in case someone else needs it. She highlights her lines.”

He remembers Alex telling him she watched a media presentation to get the accent down.

For her efforts, the buxom lass gets the highest of compliments. “She appreciates the business,” Skow explains. “There are certain people who accept what we do and appreciate it and enjoy it.”

Pausing in a reflective moment, B. Skow compliments Girlfriends for giving him “full freedom” to explore his creative mind. In this case, Alex Chance accommodated his fantasy.

“The way she took the cum shot on her face,” he says, was important. “Instead of [the typical] porno where you’re doing a scene like that [and] all of a sudden the girl jumps up and rubs the cum on her face and smiles,” he declares, Alex made the shoot “more realistic.”

Working with Alex Chance was rewarding because Skow wanted to film the scene as it would happen naturally, or as he suggests, unimpeded. Many directors look for chemistry first among performers, but that’s not always what motivates B. Skow. It’s the scene as it is embedded in the feature that counts. In the case of Southern Hospitality, “everyone understood it and did it,” he says.

In fact, sexual connections among performers may not always be good for a feature, he insists. “During the fucking, chemistry should be there, they need it,” Skow admits, but “they also need to remember what they’re doing. You need to be able to get them into a character.”

He returns to Alex Chance, describing what she faced as an actress. “You’re in a situation [the molestation] with two dirty hillbillies who haven’t bathed, you’re not swallowing their cum and enjoying it. You’re letting it hit your face because you’re scared of being slapped.”

“In my head I want to see how that girl’s going to react in that moment,” Skow says. He wanted a realistic response from Alex. He was not disappointed. “She was awesome!” he says.

Our Way

Southern Hospitality has good sex. For the viewer who wants to sit back and enjoy a scene, Richie Calhoun and Dillion Harper are a “can’t miss.” For fans of older woman/younger woman, the predator theme that Girlfriends values so highly, Darla Crane and Ash Hollywood fill the bill.

But it’s the satire and social commentary that makes this version of Hillbilly Haven a winner.

When Large tries to explain to Mama Fugg how the wives of Jon Jo are arranged in a familial way, Mama responds, “No offense girly, but ain’t you a little too far from Utah to have such an arrangement?”

Large defends the Hillbilly ethos. “We ain’t Mormons or nothin’. We have our way of livin’.” The implication that “our way” is somewhere in Kentucky makes this Appalachian social zinger too good to miss.

B. Skow does not deny part of his work is satire. “I wouldn’t want to generalize,” he begins, but “I definitely have that in me, I’ve always had that weird way of looking at what I like. I’m very observant and my mind goes into very unusual places.”

Is he politically correct? Perhaps not and he doesn’t see that as an issue.

“I think it’s fun to be comfortable and do things where people are going to be like, ‘Oh my God,’” he says. Then in a  moment of social commentary, Skow observes, “We’re in a time when people are putting everything about themselves everywhere.”

Personally, it’s not something he can do. “I’m not comfortable with it,” he says, “it would take me a half hour to write a sentence on twitter. I have nothing to say about myself.”

Geniuses often don’t, their art is their expression.

But the implication is clear. When putting yourself out there for all to see, political correctness is difficult to maintain.

Perhaps that is B. Skow’s message in Southern Hospitality, a hilariously dark and funny film that is a satirical gem.

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The Personification of Allure

by Rich Moreland, February 2014

One performer’s dominating presence is felt within the pulse of the Adult Entertainment Expo. From the media room to the halls around the convention, Chanel Preston moves from one interview to another, corralled by PR reps, cameras, microphones, and journalists of every ilk. She’s stunningly gorgeous, an energized sex machine and a Spiegler girl, not to mention the co-host of this year’s Awards Show. The demand on her time and attention far outstrips any girl at this festival. But there is much more to the native Alaskan than a resume.

“Sexual Goddess,” a well-worn mythical title, is how Chanel is identified in a press release. I’ve been around porn girls for a few years now and no one has really impressed me as a goddess. That’s not a term to throw around casually.

But it fits Chanel Preston.

Chanel before the Awards Show Photo by Bill Knight

Chanel on the Red Carpet
Photo by Bill Knight

Goddesses’ have charisma, that special something that defines a woman who lights up a room with an emotional blaze that slays a million moths. Marilyn Monroe had charisma and so does Madonna. Chanel Preston, her looks, her personality and her professionalism, competes at the highest goddess level. She is the personification of an allure and magnetism that intimidates, hypnotizes, and arouses.

Crazy and Intense Adrenaline Things

After chatting in passing over a two-day period, Chanel and I finally sit down for a formal interview. Her energy drives our conversation. This 5’8” beauty thrives in an unforgiving industry that marches over the career carcasses of once star struck girls who figured anyone with a love for sex can’t miss in porn.

We talk about her film work in the BDSM genre. Chanel explains that it [BDSM] is not a part of her personal life but she does take what she learns in porn home with her and part of that is an affection for bondage play.

Talking in the media room Photo by Bill Knight

Talking in the media room
Photo by Bill Knight

“I love power play, I like switches,” Chanel says, in describing the dynamics of BDSM. She talks about having chemistry with some play partners and if it is just right, “I’m more than willing to be tied up,” she admits through a devilish smile. Chanel has her fun, of course, but BDSM “as a performance” is what excites her.

“I get off on doing really crazy and intense adrenaline things” Chanel says. “So for me, that’s like getting gang banged, I love doing that.”

This health club devotee films frequently for Kink.com in roles that are divided between submission and dominance, but admits she’s more submissive in her personal life especially if the guy is emotionally important to her.

“I do like dominant men,” she says, but prefers a bit of flexibility in their demeanor.

“I like it when a guy knows when to step back and I kind of take over a little bit,” though taking over is entirely relative.

“That doesn’t mean I have to take control over him,” Chanel declares, “that’s where the power play comes in, that back and forth.” She adds, “It makes me feel like the guy is comfortable with me and he can let go and he’s comfortable with himself.”

Maybe the best sexual lesson Chanel Preston offers everyone is being at ease and secure with yourself and your partner. It’s quite possible, in her mind, that the BDSM film genre sends this message better than any other. In fact, a youthful Chanel reinforced her belief in gender equality when she joined the wrestling team in high school.

Being told that she couldn’t became a challenge that she could.

The End of “Fifty”

The word at this year’s convention is Fifty Shades of Grey is now old news. The BDSM phenomenon is over, at least from a money-making point of view, and the likelihood the industry will increasingly invest in bondage films is not high.

As a BDSM insider, Chanel Preston references a movie she and I both know, Smash Pictures’ Bound by Desire series. The film is a “Shades of Grey type of movie where the focus wasn’t specifically on the domination but was testing the viewer’s boundaries,” she says. The idea is to use the “storyline” as an introduction to BDSM for the casual viewer.

It’s “for women who haven’t done [bondage] before but are kind of curious about it. They like the idea of it, but they don’t necessarily want to see it hardcore,” this former stripper says.

A fun moment in Bound by Desire Photo courtesy of Smash Pictures

A fun moment in Bound by Desire
Photo courtesy of Smash Pictures

I mention performers who shoot at San Francisco’s Kink.com where the BDSM landscape is true to the lifestyle and suggest that when shooting a bondage movie for anyone else it must seem pretty tame for a performer.

Chanel laughs, pointing out that “to us, it does feel really silly, but if I had no experience with it, maybe it wouldn’t,” a recognition that everyone’s tastes are different.

“But because I’ve had so much experience with it, it’s a little goofy.”  She laughs.

But isn’t sex supposed to be fun?

Porn as Art

As we move through our interview, I ask Chanel Preston about porn as art (it is, she says) and porn performers as artists (they are, is her response). She describes working with different director types, some of whom stick closely to the script and others who get more creative.

“You can tell when you work with [a director] to what degree they feel like they are an artist,” Chanel says. “For some it’s a true creation and they have an actual passion for it [and] for getting their vision to the viewer.”

Mentally sorting through some of the directors I know, I cannot disagree.

I’m left with one more thought.

My guess is that Chanel Preston is going to expand upon her own directing ideas in time and hopefully write a few scripts. Porn fans can rest assured that it will all be accomplished with merriment and lots of exhaustive sex to push every assortment of envelopes a little further.

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I am NOT a Prostitute and I am NOT a Whore

by Rich Moreland, February 2014

This is the second installment of my interviews with the girls of Digital Playground at this year’s Adult Entertainment Expo.

*                    *                    *                    *                    *

Thursday, January 16

The singular most divisive issue in porn is escorting. Some girls prefer not to talk about it, some get indignant when it is brought up, and others acknowledge it in passing. No one claims to know exactly how many adult models are escorting; I’ve heard guesstimates from about half to everybody. My feeling is that over half is correct, but “everybody” is not. There are performers who definitely do not escort.

Looking for some upfront answers in my Digital Playground interviews, I decide to weave my way into escorting through a discussion of Measure B, the new ordinance that requires condom use in filming. Some California districts, most particularly the city of Los Angeles, are dealing with implementation now. This legal dictate is considered so onerous that rumors of the industry’s move to Nevada are always in the wind. A not so awful alternative, some porn people have quietly observed. The lower cost of living and affordable property values complement an already attractive desert welcome mat that features Nevada’s legitimate brothel industry.

Before delving into the safer sex issue, one more point needs mentioning. The Digital girls choose not to shoot the high risk behaviors that pervade much of porn today. As a group, they avoid anal, double penetrations, gang bangs and heavy fetish, particularly BDSM. Though no one said it directly, this fact may influence their views on safer sex. To put it bluntly, advocating condoms is much easier if a well-endowed manhood isn’t headed into a girl’s backside for extended hard work. In other words, most models who do anal will quickly complain that condoms are abrasive.

Lastly, adult film performers are a closed and tested community. Currently, the fourteen-day test is evolving as the standard. Before a shoot begins, paperwork is checked all around to make certain everyone’s blood work is updated. In theory, if everyone kept their sexual activity within the performer community, condom use would be redundant and superfluous.

Just Me Being Responsible

Though she fully understands the safer sex push, Jesse Jane personally doesn’t like condoms.

“I can’t have sex with a condom. It hurts, I don’t like it, it doesn’t feel good and I’m not going to wear one and make my performance horrible,” she says with conviction. Then Jesse dips into the political cauldron by adding that condom use is a matter of choice, a personal freedom she has a right to exercise. But the film vet tempers the idea of choice with an added layer of protection. She works with the “same people” year after year and considers herself to be very fortunate to do so.

A cautious Selena Rose supports condoms. “We are very sexually active people,” she states, mentioning that she prefers her partners get tested the same day she does. In fact the Miami resident offers that if a medical person, such as a nurse, were on set the day of shooting, everyone could be tested “real quick,” thus closing the window between testing and shooting.

Selena Rose Photo by Bill Knight

Selena Rose
Photo by Bill Knight

This idea gets my attention though I know many companies would balk at the extra expense.

The careless off set activities of “unprofessional” people unfortunately endangers everyone, Jessa Rhodes says.

“I’ve never had an STD in my life,” the twenty-year-old says, “so it’s not hard to stay safe.” She is vigilance personified. “I stay in tune with who fucks who, whose been doing what, and what they do in their private life.” Though it may sound like snooping or gossiping, it’s Jessa’s most efficient way to “know if something is questionable.” If it is, “I don’t do it,” she says. After all, it’s her health that is on the line.

Civilians (non-industry people) may intellectually understand the risks performers take, but they often don’t emotionally. It’s not their livelihood that’s under the gun. What’s more, a director once told me porn performers sometimes think civilians are cleaner than industry people, as odd as that sounds. The idea is nonsensical. There are no guidelines for civilians to get tested should they party with a porn star.

Lay on Your Back for Money

Jesse Jane sadly admits that ninety percent of the porn industry escorts and many of the escorts are men. She illustrates the logic of paydays beyond the set for those girls who escort. “I’m already having sex for money so why not make some extra cash and nobody knows I‘m doing it,” she says. But the Texas native brings up a darker scenario, the part that “sucks.” “More power to you,” she says to girls who hook, “if you are comfortable having sex with strangers” because the possibilities of bad things happening multiply. There’s always a risk the “john” is a weirdo or a misogynist and getting beaten up or killed is a tragedy that should never happen, Jesse says, and she feels for girls who put themselves that that situation.

Incidentally, Jesse words are scenarios. She personally does not, and has never, escorted.

Jesse Jane Photo by Bill Knight

Jesse Jane
Photo by Bill Knight

At this point Jesse reminds her co-workers that being careful should be a given. “We risk our life working with each other and trusting [that] everybody in our industry [will] take care of themselves,” she says. In short, “we are taken care of because we take care of ourselves.”

Her statement is a hope, an encouragement, and a thank you.

Jesse adds a final thought. Hinting that condoms should be a part of escorting, she references HIV, “You have the responsibility to keep yourself clean before you risk somebody else’s life in this industry.”

Selena Rose and Jessa Rhodes are upfront that they do not escort. Condoms should be a given in escorting, Selena says, because a civilian, unless he is a boyfriend, is not that important to a girl. So, she asks, “why would you risk yourself like that? To me it kind of shows that you don’t love yourself.”

Jessa Rhodes Photo by Bill Knight

Jessa Rhodes
Photo by Bill Knight

Jessa is unforgiving and possesses a commanding presence that easily backs down her critics.

“I don’t escort, I don’t hook and I don’t agree with the girls that do,” she says. Speaking of performers who are out the night before and come to work the next day, Jessa is equally as adamant. “I don’t know who you fucked last night and I don’t approve of it and I don’t agree with it!”

She is appalled at the lack of responsibility and professionalism among some of her fellow performers. “If you want to go lay on your back for money go do it, but this is a business. I make movies and entertain people for a living. I am not a prostitute and I am not a whore.”

Obviously, condoms are an absolute necessity in escorting, Jessa implies, because girls who hook on the side put everyone at risk for infection. She does, however,

Jessa Rhodes has porn street smarts. Her boyfriend is in the business and has undoubtedly offered her a veteran’s wisdom. But Jessa has learned to assert herself, to stand her ground. A large contributor to her well-balanced approach is her mother who home schooled her. “My momma raised me right,” she says.

I ask if she knows Dana DeArmond who also lacks formal education but has forged an iconic career in the business. “I do!” Jessa’s face lights up. “I firmly believe that knowledge is something you can get for yourself if you read and you experience life. That is the best education you can get.”

*                    *                    *                     *                    *

Though I have no solid evidence to reach definite conclusions about any of the Digital girls, there are indications where they are now in their careers. Selena Rose has the advantage of living away from the LA hotbed of rumors, parties, and agents who are not always licensed, flying in for business when she is booked. And of course, Jesse Jane is quickly reaching legend status and has over a decade (a lifetime in porn years) to guide her decision making. To reinvigorate her mental health,  she can spend time away in the southwest.

In branding her name and pushing her career forward, each of the Digital girls demonstrates that success in porn requires an empowerment not always found in the civilian world.

I wish them well.

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A Matter of Respect

by Rich Moreland, January 2014

During this year’s Adult Entertainment Expo (AEE), I interviewed four girls who represent one of the industry’s leading companies, Digital Playground.  An unexpected opportunity opened up and as you shall see, there is more to porn than money.

*                    *                    *                    *                    *

Thursday, January 16

The Digital Playground booth is ready for its fans. A few media types hang around, including my photographer Bill and me, awaiting Digital’s PR person who is moving things along with precision. Likewise, Digital’s stars are arriving to get their interview and signing schedules.

In truth, the convention is a hectic four-day affair in which everyone’s time is limited and under high demand. With warm smiles all around, girls meet industry people and fans, do media interviews, and attend promotions and parties without letting platform heels and fatigue get in the way.

Today’s interviews begin with eleven-year vet, Jesse Jane, whose southwestern roots are integral to her friendliness. Jesse is a contract girl (she shoots exclusively for Digital Playground) and has built a reputation as a woman who works tirelessly to brand her name. Next is twenty-three year old Selena Rose, also a contract girl. Selena lives in Miami, flying west once a month to do scenes. She did her first porn shoot at nineteen. Rikki Six, who currently maintains her residence in Southern California, entered porn in 2012 at age twenty-one and is not a contract girl. Finally, the youngest of the group, Jessa Rhodes, is twenty and a native Oregonian now residing in Southern California. She’s been in the industry for a year and a half and has does not currently have a contract with Digital.

The first issue (the topic of this post) raises the question of respect. Porn girls are valued as commodities in the business, but do they feel respected? The second, safer sex and its relationship to escorting, an undeniable form of prostitution, stirs up divisive opinions within the industry. What responsibilities do performers have for each other? This subject is covered in the next installment of the interviews.

Women Drive This Industry

Jesse Jane Photo by Bill Knight

Jesse Jane
Photo by Bill Knight

With an understated tone, Jesse Jane declares that porn moguls “obviously value us as performers” because “we’re the ones that make the industry . . . women drive this industry.” Directors, producers, company owners “know they need us,” she adds, because women cultivate the fan base (the market) to create the revenue stream. Unfortunately, there are some men in porn who “think women can’t run a business or be a businesswoman,” Jesse points out. Having sex is “all we are good for” in their view, she says, quickly admitting that’s very true in the case of some girls. “But there are quite of few of us who know how to run this industry,” Jesse declares with a smidgen of self-satisfaction.

A daughter of the military lifestyle, Jesse Jane has survived over a decade in a tough profession. She is well-schooled in how to brand her name, something many girls have no interest in doing because their goal is “the fast cash,” she says. Making porn into a career or a business is not on their radar.

Jesse offers a dose of reality for all porn girls. Have a plan because the future can be uncertain.

“If you are not going to save your money and make something out of it, [there are consequences]. Once you step into this career path it’s hard to do something else,” she warns. “You’re labeled.”

Like the famous logo of World War II’s Rosie the Riveter flexing her biceps, Jesse Jane’s final comment is a powerful statement. “The guys need to acknowledge that there are some of us girls that know how to run this industry inside and out.” In fact, the Oklahoma resident suggests, “technically” women are already doing it and some men” just don’t see it because they’re so arrogant.”

Selena Rose sees respect as an expression, or reward, of individual effort. “I am respected,” she says emphatically, citing her “high standards” which dictate how she presents herself in the industry. “I make sure that everybody treats me well because I treat others the way that I would like to be treated.”

Selena Rose Photo by Bill Knight

Selena Rose
Photo by Bill Knight

I press Selena to extend her thoughts on respect to broader society. In doing so, she nears what Bobbi Starr calls the “stereotype trap” that porn girls industry-wide create for themselves. It’s a self-limiting personal view that perpetuates, and is perpetuated by, the porn girl image.

Selena says, “You know, me as a porn star, of course males respect me less but I don’t go out being like super slutty and skanky and making myself look trashy.” She understands what she needs to do for success and with Digital Playground she has placed herself in the right situation to make it work. “I try my best to make men treat me well,” Selena says.

Rikki Six is straightforward on the respect issue. Yes, she’s seen a lack of respect for girls “from time to time” and decides it is best not to name names or recount situations. I ask if she has ever felt disrespected within the industry. Not really is her response, but she does feel typecast, referring to the scenes she shoots. “They always give me the same script, so they think of me like that person [someone who is not very smart],”she says. Does level of smartness determine respect?

Rikki Six Photo by Bill Knight

Rikki Six
Photo by Bill Knight

Playing a part can perpetuate an image that may be far from reality. Even in Hollywood, actresses tire of typecasting because it can assume a life of its own. As for her typecast role, nothing about Rikki leads me to regard her that way. In fact, though she may not be a wordsmith, she impresses me as thoughtful with a hint of  adorable shyness.

If Selena and Rikki are still negotiating the parameters of respect, Jessa Rhodes is taking command of it.

“Women in this industry like myself who fight for their rate and for what they will and will not do and don’t take shit” Jessa says, “are making a difference.” “Ultimately the women [in the porn business] have the power, they just don’t know it,” she announces in a fist-pounding manner. These are validating words I’ve heard from porn’s self-identified feminist veterans Nina Hartley, Dana DeArmond, and Bobbi Starr, and the youthful newcomer, Tasha Reign.

Jessa Rhodes Photo by Bill Knight

Jessa Rhodes
Photo by Bill Knight

Self-assured and alive with energy, Jessa Rhodes has an interview presence seen in a select few performers (Chanel Preston and Bobbi Starr come to mind). Explaining that she personally stays away from situations where she might be disrespected, Jessa has “a very short list” of people to work with. Only men who appreciate and value her make the cut.

Looking beyond her own personal empowerment, Jessa Rhodes is adamant about women controlling the business. She exclaims, “I wouldn’t say that this business is run by men at all. Vagina rules!”

I Can be in Control

During our conversations, the topic of agents arose. Are they good for the girls and the industry?

Though Jessa Rhodes does not have a positive view of agents (“agents have fucked up this business completely”), she points out there are a couple of good ones. But overall there is too much “tugging and pulling” to please a middleman who is generating a girls’ work. She’s opted to become independent because she is “strong willed and opinionated” and “better off without having  a middleman in-between trying to make everyone happy.” Now she is solely responsible for her job satisfaction.

Jesse Jane has little to say about agents. “They’re in it for themselves,” she comments. “Nobody has your back in this industry, you look out for yourself.”

After some soul-searching, Rikki Six views free agency (working without an agent) as the tonic she needs. “Just recently I left my agency so I’m booking myself now so I can be in control of my career. My name is a brand and it’s a business. I wanted to be in control more . . . control only the things I wanted to do, not what someone told me to do.”

Sounds very much like Jessa’s proclamation that women can call their own shots and place themselves in front of the camera on their own terms.

Selena Rose talks of past experiences with agents, leaving the impression she does not currently have one. This does not mean the Floridian disdains licensed reps. Reflecting the voices of respected feminist veterans mentioned above, Selena reveals the wisdom of a girl whose been around the block. Listen to her advice for new girls.

Hopeful starlets need to get real representation because pimps or recruiters can pass themselves off as agents and a girl “could end up doing things she doesn’t want to do.” If a girl opts to sign with an agency, make certain of its quality, she warns. Selena’s red flags shoot skyward if certain precautions are not observed. A newbie must make sure she is safe and doing what she wants to do, Selena points out, because once the agent contract is signed, a girl can be pressured into uncomfortable situations. “You got to do this if you want more work,” is typical agentspeak.

Though this Latina beauty reminds every porn performer, “you don’t have to do anything,” the message doesn’t always hit home. Girls come into the industry “young and naïve,” Selena Rose says, and think, “I have to do this” to get hired again.

When that happens choices evaporate; girls become discouraged. Maybe that is part of the stereotype trap Bobbi Starr sees so often.

*          *          *          *          *

The second installment of our discussions will involve safer sex and escorting.

 [Special thanks is extended to Christopher Ruth of FineAssMarketing (FAM) and Jeanette Li of Digital Playground for setting up the interviews. They were conducted on Thursday, January 16, 2014.]

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The Dark Lord of Pinup

by Rich Moreland, January 2014

                                                                                                                                                  The is the second post about the Vegas Convention. To read about this year’s “Legends of Erotica” which featured the induction of Evil Angel’s Christian         Mann into that hall of fame, go to AINews.com and check out my column on the event.

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The days of pornographers hustling video tape and print material as their sole income source are way behind us. Today’s adult purveyors are expanding into other revenue builders. Evil Angel’s John Stagliano, arguably the most innovative man in the adult business, introduced me to his new line of clothing at this year’s AEE.

Called “Evil Apparel by Armando Huerta,” the clothing features erotic art printed on casual wear (t-shirts, leggings) using a process called sublimation which “keeps all the details of the art,” fashion designer Lea Lexis says. “It will never fade or crack, like other prints.”

Lea and Evil Apparel Photo by Bill Knight

Lea and Evil Apparel
Photo by Bill Knight

The former Romanian gymnast insists that “clothing itself is art, now we’re putting art on clothing.” Though the Evil Angel brand is everyday attire, the customer is wearing something “unique and interesting,” she says.

A partnership between Lea Lexis and John Stagliano led to a start-up company to produce artistic clothing. Previously she had done a bit of design work for the porn mogul. This project is much more substantial. “He pushes me to be more creative, I admire him so much,” Lexis says. She regards Stagliano as a true inspiration, a legend who “manages to upstage everybody.”

For readers who are unfamiliar with the world of filmed pornography, Lea Lexis uses her gymnastics background to twist and frame her body for the camera. She is a adult actress whose work in Evil Angel’s “Voracious” series is widely recognized.

Artist Armando Huerta carries the descriptor, “The Dark Lord of Pinup,” having worked over twenty years producing exclusive art for collectors. Huerta’s creations are quite familiar to John Stagliano. They have appeared in Evil Angel’s publication “Buttman Magazine” for about fifteen years.

Armando shows off his work Photo by Bill Knight Photo by Bill Knight

Armando shows off his work
Photo by Bill Knight

Though he began with pinups, Huerta has evolved into an erotic artist with some of his work being explicit. “Total nudity, spreads, butt holes, penetration,” is how he describes that aspect of his work.

Armando Huerta moved to America from his native Mexico after putting together collections of his work and marketing them in the States. His talent ultimately developed into a career and his first US show was at the AVN convention eleven years ago. Despite success, Huerta had professional decisions to make. This is America after all, arguably one of the most religiously prudish countries on the planet.

“My first paintings were pretty explicit and that helped me a lot because people were amazed that an artist had the guts to produce that kind of material,” Huerta says. Of course, some opinions urged him to become more conservative and stick with the Bettie Page type of art. Moving in that direction prompted client reactions that surprised him, Huerta remembers. “What are you doing? We don’t want this,” became a collective response. So, he decided to travel the middle road, “some explicit, some conservative.”

Bobbi Starr, former Evil Angel director, once said to me that no mother wants her daughter taking off her clothes for a pornographer. But what about an artist whose work contains a pornographic flavor, what are mom’s thoughts? Armando Huerta explains his fortunate situation.

“I come from Mexico and we don’t really care about anything,” Huerta says, referring to his erotic art creations. “In my culture if my mother is proud of me, I really don’t care about anything [else],” he adds with a smile.

He mentions America’s entrenched religious attitudes that tend to drive our culture. But in his case, Armando Huerta never had any “frustrations” about the art he produces.

A true visionary, Huerta explains he is not into his creations to make money, but does not deny money will come his way if his art is appreciated.

“The money is a consequence of what you do,” he says.

The Latino artist has five color books, large format, sixty to sixty-five pages, and three sketches books for purchase. Visit armandohuerta.com for details.

I turn to Lea Lexis for some final words about the official launch of Evil Apparel by Armando Huerta. The clothing has generated interest at the adult convention and is scheduled for the fashion portion of The Magic Show, an upcoming mainstream convention in Las Vegas, she says. The testing stage will be history and the marketing campaign will be underway.

Expression tells the story of a rising business success Photo by Bill Knight

Expression tells the story of a rising business success
Photo by Bill Knight

The clothing can be purchased online at EvilApparel.com. Eventually the products will be available in retail sex stores. “Our styles are unique,” Lexis says with a smile.

We discuss for a moment the meaning of “high end” when it comes to the apparel market and my photographer Bill offers that the Evil Angel clothing targets a special market, “wearable art aficionados.” That is hardly the first time “aficionado” has been used to describe an Evil Angel customer, I imagine.

Chatting with John, clothing on display in the background. Photo by Bill Knight

Chatting with John, clothing on display in the background.
Photo by Bill Knight

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Smarter and More Elegant

by Rich Moreland, January 2014

This is the first in a series of posts about my most recent trip to the Adult Entertainment Expo (AEE) in Las Vegas.

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Wednesday January 15

Moderator Lynn Comella of the University of Nevada, Las Vegas begins the discussion with how porn is framed on campuses today. The genre, she  states, is a mixture of sex education courses, academic research, and the opposing views of feminist porn supporters and anti-porn specialists.

At this years’ Adult Entertainment Expo (AEE), the opening day of seminars features “Porn Goes to College,” a discussion showcasing how pornography can be examined positively and why it often is not. The Hard Rock Hotel’s Festival Hall is hosting the panel. The room is packed; some attendees stand.

Three women represent the industry, Jessica Drake of Wicked Pictures, Tasha Reign of Reign Productions, and Courtney Trouble of TROUBLEfilms. From the academic side, Constance Penley of the University of California at Santa Barbara and Canadian student Tanesha Darby of York University, fill out the five seats.

Constance Penley, Jessica Drake, Tenasha Darby, Tasha Riegn and Courtney Trouble (The suspenders belong to writer Mark Kernes one of the best in the business) Photo by Bill Knight

Constance Penley, Jessica Drake, Tanesha Darby, Tasha Reign and Courtney Trouble
(The suspenders belong to AVN writer Mark Kernes one of the best in the business)
Photo by Bill Knight

The first round of thought and opinion reflects the premise generally expressed in current porn conferences: there is value in studying porn because it is a part of popular culture.

Big Ole Sex Education Class

Professor Penley mentions her course is the “class that keeps on teaching.” She uses guest lecturers to help students situate themselves with pornography. From her hands on experience, Penley explains that industry people tend to be “nicer, more open, smarter and more elegant” than those who come to campus with an anti-porn agenda. As a historian and journalist, I’m on board with Professor Penley. Too often anti-porn spokespersons display a malevolent “chip-on-the-shoulder” annoyance, approaching porn with an unassailable monologue of moral reductionism. In other words porn is bad, any fool can see that. As a result, discussion is unnecessary.

The Professor and the Porn Star Photo by Bill Knight

The Professor and the Porn Star
Photo by Bill Knight

Jessica Drake and Tasha Reign, who is finishing her degree at UCLA, agree that porn on campus tends to consolidate into a handful of issues: consent, women and violence, date rape and alcohol, and discussions on sexual activity in general. The agenda eventually drifts into negativism with many students admitting they do not have a true understanding of sexuality, particularly their own. Drake believes these are valid concerns because peer pressure exists to watch porn. When she is invited to speak to classes, Drake wants her status as a porn performer to be educational. “I want to be that type of resource,” Drake says, informing students who may not understand sexuality’s cornucopia of possibilities. “Ask me anything,” she tells them and they do.

Her role as an educator is important, Jessica Drake believes, because porn often represents unrealistic expectations of what sex is all about.

Tasha Reign likens adult performers to a minority group whose behavior is seen through a public lens mired in the negative. “The adult business as a minority group” needs to be addressed, she believes, and colleges offer the right atmosphere. Attitudes toward porn people are similar to those that marginalize blacks and gays, Reign says. Understanding what it is like to be in porn needs expanding. Because the camera tends to objectify performers, students become misinformed about them and the sexual activity they see on film. Adult entertainers aren’t perceived as real people.

Courtney Trouble addresses queers and sexual minorities because her film company focuses on queer porn, a “subgenre of alt porn.” For Trouble, gender studies groups are important because queer people in college “feel different” and a revelation occurs when they see themselves positively for the first time. Later she adds that her art celebrates sexual minorities, “transpeople, transwomen, and transbodies,” shaping a favorable or constructive view of lifestyles easily dismissed by broader society.

Jessica Drake supports Trouble’s assertion. Everyone wants to be reassured of their normality, she says. “Yes, you are ok” is her affirming message.

Constance Penley understands all of these concerns and that’s exactly why her course turns into “a big ole sex education class,” she says with humor. The students can’t stop asking questions.

Created with a Conscience

A college student states her case, porn listens Photo by Bill Knight

A college student states her case, porn listens
Photo by Bill Knight

Canadian Tanesha Darby brings in the student view. A concern she has is “the body being sexualized,” and this can be troubling for young people many of whom are still learning about their sexuality.

Responses to Darby highlight an assumption: porn is an umbrella term that collects all the negative aspects of sexuality. Tasha Reign summarizes the misrepresentation. Sex is painted with a broad brush, sweeping over porn with a conflation of sex work and sexual abuse. Professor Penley weighs in with the porn myths that perpetuate themselves: child porn, violent porn, snuff porn.

Discussion moved to academic course disclaimers informing students of possible negatives they might encounter in the class. Though such statements seem appropriate and college administrators use them as a cushion against public pressure, Jessica Drake mentions they are just another version of shaming that prompts some students to avoid such classes.

Perhaps the best solution is Constance Penley’s. She has no course disclaimer and sees no reason for one.

In defense of porn, there is a difference between the good and bad variety. Courtney Trouble notes that selling porn in today’s social media age is no easy matter. Consumers will buy porn if they know the conditions under which it was made. If they believe performers are treated fairly and consent is upfront in filming, dollars will be spent. There is more to be gained if porn is created with a conscience. Porn offers “opportunities of reach out to people,” Trouble says. Porn is “inflicting change” in our culture, she adds. Perhaps breaking barriers, might be more appropriate.

The maven of queer porn, Courtney Trouble Photo by Bill Knight

The maven of queer porn, Courtney Trouble
Photo by Bill Knight

Tasha Reign could not agree more. “My videos are sex positive,” she says, “I’m a feminist.”

Certainly not the sex-negative kind, I assure you.

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