Tag Archives: Casey Calvert

Hilarious Dads: A Review of Jacky St. James’ Father’s Day

by Rich Moreland, July 2014

In a classic stag of yesteryear, the main character is the butt of a joke that centers on an early version of the glory hole. On the other side of a farmer’s fence, the buffoon thinks he is copulating with a hottie he can’t see, but he’s in for a surprise. Three young women control the fun, substituting a goat for one of their own. It’s comedic porn in its purest form.

Comedy is the key difference between Jacky St. James’ Our Father (reviewed here) and Father’s Day, an amusing set of tales in which the clumsy step dad is seduced by his sexually aggressive stepdaughter.

father's day 10

The dads are hilarious. In the first episode, Evan Stone is a cheesy disco era throwback with an unbuttoned shirt, lengthy unkept hair, and a medallion. The second segment features a self-indulgent Hollywood agent (Steven St. Croix) who “seduces” his career seeking stepdaughter, but is clueless to the real deception. A shy and warmhearted Mark Wood is led by his stepdaughter through sex with a tender touch. Lastly, step dad Alec Knight is so embarrassed by his stepdaughter’s nonchalant poker face that the smiles keep coming along with her, of course.

These shoots are no nonsense porn unburdened by troublesome issues of real family sex. That’s their magic. Mom is never around and rarely mentioned; this is just a bit of fun.

That Would be Tragic

Casey Calvert is home for summer vacation and mentions that her stepfather always tried to be “cool with the kids.” Once she found this embarrassing, but now grown up, her affection for him has matured.

While cleaning Casey’s room, Evan Stone finds a small object sitting on the bed stand. Remembering his younger days, he immediately thinks drugs and confronts his stepdaughter. Suppressing giggles, Casey casually mentions it’s an “anal plug.”

Casey and Evan Photo courtesy of Eddie Powell

Casey and Evan.
Photo courtesy of Eddie Powell

In an amusing exchange, Evan admits that in his time unless a man was gay, he would rarely have anal sex. “Your mother thinks it’s disgusting,” he says.

“Well, I don’t,” Casey responds and raises her miniskirt to reveal another toy inserted in her backdoor.

With tongue firmly planted in cheek, she says, “You can’t die without ever experiencing anal sax. That would be tragic.”

With pants quickly unzipped, dad is in for a treat.

Other than carrying on a dirty talk monologue, Evan Stone’s character steps aside because the shoot is all about Casey Calvert’s provocative and exotic look. Porn is a menagerie of female body types and the sultry Casey’s is smooth, pure, and perfect.

With her characteristic “bang me hard” frown, she deep throats, loves rough sex and choking, and alternates seamlessly between anal and vaginal penetration. Her reverse cowgirl is the best shot in the entire film. By the way, don’t miss Casey’s turquoise heart-shaped ear studs, appropriately tacky for the sophomoric college girl look.

Of course, a St. James motif is in every scene. Notice the three-pronged candle stand. The center candle rises above the other two, just as anal dominates oral and vaginal when Casey gets down to work.

Jacky St. James’ casting is close to perfect. Evan is the right look for this scene and Casey Calvert is worth the price of the DVD.

The ear studs and a hot frowning Casey. Photo courtesy of Digital Sin

The ear studs and a hot frowning Casey.
Photo courtesy of Digital Sin

Incredibly Naive?

“I guess you could say I nailed the part,” Remy La Croix thinks after doing her step dad Steven.

This episode borrows an old stag theme, the casting couch. Remy is a Hollywood hopeful and stepfather Steven a big deal agent who wants to play her in the finest Tinseltown tradition.

Eying his “incredibly naive stepdaughter,” the self-assured Steven fully intends to use his power to satisfy his carnal desires.

First, he must get her to ditch her hula hoop and “girl next door” look. (Remy La Croix is more than an award-winning porn performer, she’s an accomplished hula hoop artist and dancer.)

Dad, daughter and the hula hoop Photo courtesy of Eddie Powell

Dad, daughter and the hula hoop.
Photo courtesy of Eddie Powell

The high comedy of this episode occurs in the bathroom where Steven’s freshening up routine is sensational . Set for the kill, he kisses a photo of himself hanging on a hook beside a towel.

Later, Steven puts his hands on Remy’s hips, drawing her close to him. “What are you doing?” she protests weakly before demonstrating how much she wants the part and, co-incidentally, how well she is playing a part. As the supposed “victim” of his power play, Remy’s drama skills rival Steven’s bathroom antics.

The diminutive veteran’s sweetness and natural body highlight this segment. Steven and Remy have an overflowing mutual chemistry that underscores their teamwork.

Remy and Steven. Photo courtesy of Digital Sin and Jacky St. James

Remy and Steven.
Photo courtesy of Digital Sin and Jacky St. James

Like other scenes in Father’s Day, this vague familial set up is overtly covered in a porn overlay. The plot line tends to scoot away, though in her usual manner, Jacky St. James drops in a reminder that it is still relevant. In the background are two items of note on a shelf: a pair of trophies (who really wins one for their deception?) and a modern sculpture of two s-shaped figures, one looming over the other. The flowing motion of the art work relfects the Remy/Steven sexual Show.

Incidentally, Eddie Powell’s cinematic trademark—facial close-ups—eroticizes the sex no matter what the shoot demands. Remy La Croix knows how to balance enticement and innocence with subtle expressions.

After the pop, Remy’s voice over reveals a humorous little twist that begs the question of whose lusts are fulfilled. Her wry smile tells all.

The Unbroken String

For anyone who fantasized about making the grade with the blonde cheerleader type will love newcomer Lucy Tyler.

Having attended a sorority gathering with step dad Mark Wood, Lucy wants an after-date payoff. He walks into her bedroom with a few cut flowers as a “thank you” and she seizes the opportunity, pulling his tie to give him a kiss.

Thinking sex with an older man may disgust her, Mark is hesitant. But Lucy tosses aside his concerns along with the flowers. She has an unbroken string of dates with sex afterwards, she says, and she’s not about to stop now.

Mark and Lucy Photo courtesy of Digital Sin and Jacky St. James

Mark and Lucy.
Photo courtesy of Digital Sin and Jacky St. James

Behind her cute, huggable demeanor, Lucy Tyler hides a lusty appetite that feasts where it likes. Though the sex is fairly standard (oral, doggie, mish), Lucy’s smiles create a lighter atmosphere than Casey’s wicked sensuality and Remy’s manufactured naivete.

In a chair beside the bed is a mysterious pair of black platform heels pointed toward the action. Why?

At the end when Lucy and Mark are cuddling like lovers, she says in a voice over this was the day she “slept with her mom’s husband.” The phrasing is odd. Perhaps she doesn’t think of Mark as a father because he is a recent addition to a family she is growing out of, thus the slutty shoes, a mother-daughter commonality positioned to spy on a blossoming affair.

You Should Just Look

The final vignette features a down-to-earth Dillion Harper who disrobes bit by bit in front of her stepfather Alec. The game is strip poker and Dillion manages to lose repeatedly. As her nakedness takes over the tale, Alec psychologically backs away, fighting temptation in the name of preserving family dignity.

A little discomfort now has a payoff later! Photo courtesy of Digital Sin and Jacky St. James

A little discomfort now has a payoff later!
Photo courtesy of Digital Sin and Jacky St. James

He wants to know if she is bluffing him (what do you think?) only to get “Are you flirting with me?” from Dillion. At the height of the merriment, her boobs are staring at dad. “You should just look,” she says, before losing the last hand.

Once the panties are gone, they sit across from each other with mischievous stares.

The camera shifts immediately to the sex and Dillion’s slurpy, bubbly oral is her calling card. She’s as nasty as they come (pun intended) and her eagerness absorbs Alec’s manhood. Because she passes for barely legal, Dillion is perfect for the stepdaughter role.

Dillion enjoying dad. Photo courtesy of Digital Sin and Jacky St. James

Dillion riding dad.
Photo courtesy of Digital Sin and Jacky St. James

This segment has a couple of shooting moments the others pass over. There is good male to female oral and Dillion gets a partial facial, a Jacky St. James concession because most feminist filmmakers prefer to avoid them.

 

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In the modern era of adult film, the array of fetishes can overwhelm the viewer. Sometimes just straight up sex, charming and not overly gonzo, is a treat.

Of course, the performers are the linchpins of memorable shoots, no matter the subject.

Casey Calvert, a girl who cares and gives her best in every scene. Photo by Eddie Powell

Casey Calvert, a girl who cares and gives her best in every scene.
Photo by Eddie Powell

In the Behind the Scenes segment, Lucy Tyler references the industry’s earlier days when talent would sometime look bored and disinterested. Her remarks brought to mind 1990s director Greg Dark who tired of the business for a variety of reasons, one of which was the attitude of the starlets. In his mind, they showed up for the money, had sex with a “fuck buddy,” and left with no thought of how their performance turned out.

Today the art of porn is challenging such attitudes. Performers, and the directors who bring them together, take pride in their work in a business that is moving closer to mainstream culture. Nowhere is that more evident than in the films of Jacky St. James whose fans can be certain there is no ennui on her sets. In an industry that can get trapped in its reliance on sameness, a St. James shoot has hardworking talent that imbues every scene with a fresh outlook.

Father’s Day stands as evidence.

 

 

 

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A Suspension of Disbelief

by Rich Moreland, July 2014

Written and directed by Jacky St. James and filmed by Eddie Powell, Our Father is part of Digital Sin’s Tabu Tales series . This is the first of a two part review of the DVD.

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Our Father, a series of four vignettes about stepfather/daughter relationships, plays with the incest theme, a taboo familiar to commercial pornography but not frequently filmed.

father, our 1Jacky St. James and Eddie Power offer up titillating sexual encounters that are a mix of seasoned performers and new entrants into the business. The older man role features four outstanding veteran actors: Steven St. Croix, Alex Knight, Ryan McLane, and John Strong; the younger woman is played by Penny Pax, recent arrivals Dakota Skye and Carter Cruise, and newcomer Ava Taylor.

Of course, a taboo that hints of incest survives on a secret. Because daughter and dad are willing co-conspirators, so to speak, the stepfather must not allow his sexual escapade to bring down his marriage. And, neither sex mate wants to upset an attractive arrangement beneficial to both. The result is a “don’t tell mom” collusion that flavors the forbidden intimacy.

But why does a porn film about pseudo incest work when the idea is “gross,” as Penny admits in her BTS (Behind the Scenes) segment? The explanation lies in a literary mechanism that convinces the imagination to allow a story, in print or film, to come alive: the willful suspension of disbelief.

Coined by British writer Samuel Taylor Coleridge, suspension of disbelief is the reader’s (or viewer’s) desire to go along with the improbable for the sake of the story at hand. Logic and the limitations of realism are ditched (sacrificed?) in the name of entertainment. In other words, we can go down the rabbit hole with Alice and delight in the ride.

In Our Father, when the brief plot line of each vignette is established, the viewer engages the story as just that, a story. Disbelief suspension excuses any feelings that the episode is disgusting because it isn’t realistic or likely, at least in an ordered society as we know it. To think about it another way, the burden of disbelief lies with the audience, the filmmaker is merely the persuader who constructs the narrative to finesse the viewer’s imagination, recognizing that what works for some may not work for all.

Transition Moment

The idea is simple enough, but porn offers an interesting twist, something St. James and Powell skillfully employ. At the “transition moment,” the viewer reverses his or her expectation and, consequently, the reason for watching the film. The spectator now settles in for a porn movie in which the sex moves center stage and the larger reality of the performers as step relatives, established in the suspension stage, is set aside. For the duration of the film, a deliberate suspension of disbelief is no longer needed. Now it’s people having sex and they could be anybody. The scene survives on the performer’s skills and their attractiveness, the heart and soul of a porn shoot.

In fact, despite a brief wrap-up following the pop shot, the viewer is finished with this encounter and disposes of the characters’ final comments that are necessary to package the episode. The segment’s actual conclusion is an old porn standby dating to the stag film, the camera moves to fade out.

Notice that mom is mentioned in passing but never appears. As a result, she doesn’t mess up the arrangement and does not have to be dealt with as a real figure. Guilt is assuaged all around because the wife/mother character remains ethereal; in fact, she is non-existent. The viewer can relish the sex and once it’s finished who cares if anyone—family, friends, neighbors, or co-workers—really finds out.

Incidentally, an old stag component—the third party—can be added without skipping a beat. Perhaps an aunt, a cousin, or a neighbor happens onto the scene. No worries because a suspension of disbelief reappears to adjust the storyline, then it’s onto the sex especially if the third person jumps right in.

The transition moment is a clever artistic device St. James understands. Without its placement in the script and animated in the directing, an uncomfortable viewer may feel “grossed out” and set the movie aside.

Daddy Theme

Madison Young Photo courtesy of Jiz Lee

Madison Young
Photo courtesy of Jiz Lee

On another level, there is the Daddy theme that requires no willful suspension of disbelief, but can involve suspension of another kind that is not the subject of this review. Sexually submissive filmmaker Madison Young’s recent book by the same name discusses the many levels of “Daddy” that operate in the sexual arena, particularly BDSM. It involves the need to please and yield control in a loving relationship that fills a void and stimulates desire within both parties.

St. James’ script hints at the Daddy idea, actual relationships some younger women seek with older men that, incidentally, are not unusual within the porn community. For example, twenty-one-year-old Jessa Rhodes admits in the BTS for The Sexual Liberation of Anna Lee that the Daddy complex is her “thing,” though at one point she thought is was “so wrong.” Porn superstar and BDSM devotee Casey Calvert has always preferred older men, her personal long-term relationship is well into his forties.

Casey Calvert Photo courtesy of Twisty's

Casey Calvert
Photo courtesy of Twisty’s

In other words, age differences do not always require a disbelief suspension but may beg for sociological, cultural, or psychological exploration. Are Madison, Jessa, and Casey playing out a Freudian scenario, a father fixation within a their sexual make-up, or do they simply have a natural attraction for an older man? Or, are they flaunting a society that insists sexual relationships have a narrow age acceptance, unlike generations past? Hard to say, perhaps their real life lovers simply indicate that sexually one size does not fit all.

If porn performers are widely accepting of age difference, then a twenty-something girl having on-screen sex with a man twice her age comes with no qualms or sense of impropriety.

Possibly then, willful suspension of disbelief in incest themes may be easier than at first it seems.

It Feels so Good!

There is an added component. The Daddy/Babygirl or Brat paradigm is not uncommon in the BDSM community where Madison and Casey flourish and Penny Pax often resides. In Our Father, Dakota says to Ryan as the foreplay heats up, “Please fuck me, Daddy.” In her spanking scene with Steven, Carter recalls this dynamic when she responds to his pronouncement that she’s a “manipulative little brat” with “I want my daddy to spank me.” This is language that is the lifeblood of BDSM age play.

Jacky with the cute and cuddly Penny Pax. Photo courtesy of Jeff Koga

Jacky with the cute and cuddly Penny Pax.
Photo courtesy of Jeff Koga

The fetish community’s Daddy/Babygirl dynamic carries over to non-BDSM porn with the power exchange. In the first episode of Our Father, dad’s pride in his daughter and her sexual performance is part of that energy. Penny says to Alex at one point, “It feels so good,” and wants to know if he’s enjoying himself in a hoped for verification that they are sharing the moment. Sitting on the younger side of the age dynamic, Penny wants to please, complimenting Alex with “Daddy, you fuck me so good.” In the case of Carter and Steven, the daughter plays the power card in the beginning to get what she wants, the dominating father figure who’ll pay her bills, then allows the power interchange to reverse course to reside in his command over her.

In truth, power exchange is found in all sexual relationships. The playing field is never level and Eddie Powell’s brilliant cinematography captures this imbalance by focusing on faces and expressions. In traditional porn, pleasure is individualized, just as it is for the viewer who uses the film to “get off.” Unfortunately, that can disconnect performers from each other in gonzo type shoots that mute their abilities as actors. Eddie Powell never lets that happen. His close-ups move the eroticism along with a sensuality that complements the hardcore penetration.

Unlike porn romances, parodies, or BDSM fetishes, the art of making an incest-oriented movie is to assure the viewer that he or she can become a voyeur for voyeur’s sake once the story line is established then silenced via a transition. In other words, to appreciate the sex show for what it is, the sexual situation along with the characters’ attitudes and desires must be muted. The taboo may lurk in the back of the mind, but the viewer knows that the director and the performers are in on the game.

*          *          *          *          *

In the part two of this review, each vignette will be examined with their respective transition moments noted.

 

 

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Is That Something You Can Live With?

by Rich Moreland, July 2014

Proud Parents is B Skow at his cleverest, a parody of porn history and a history of porn told tongue-in-cheek. Skow presents an inside look at adult film with a movie within a movie that entertains a question every parent faces.

GFF proud big boxcover

The sex scenes are top notch with three standout women, India Summer, Lily LeBeau, and the incomparable Casey Calvert. There’s enough nastiness in that trio to guarantee the success of any adult film.

The movie opens with Stan (Steven St. Croix) and Marge (India Summer) being interviewed by an unseen film director (B Skow). After meeting on a porn set—it was “love at first thrust,” Stan says—they married in 1982. Porn has brought Stan and Marge a comfortable home with a swimming pool they never use and enough money to pay for their daughter’s elite education.

Though their conversation has the casual appearance of a BTS (Behind the Scenes) segment that is common in today’s DVDs, Stan and Marge are actually talking with the documentary filmmaker who is following their daughter Casey (Casey Calvert). Unbeknown to her parents, she plans to enter the business and is set to do her first shoot.

Skow establishes the tone for the film when it’s revealed that Casey grew up around porn. Despite the opportunities the business has provided them, Stan and Marge are adamantly opposed to Casey following in their footsteps.

The Happy Family. Photo courtesy of Girlfriends Films

The Happy Family.
Photo courtesy of Girlfriends Films

Jamie Gillis, the rough-sex porn icon of 1980s and 1990s—the era of the VCR and white nose powder all around—is offhandedly mentioned. When Stan and Marge move into the film’s first sex scene at the request of the documentary filmmaker, the legendary Marilyn Chambers’ oral skills on Gillis in Insatiable II (1984) are recalled. Marge drops her head over the bedside for Stan’s pleasure in a salute to Chambers. At film’s end, Casey Calvert will offer another round of the same.

A Garage Studio

When Casey shows up for her first shoot in garage studio (the American dream often starts in a garage), Skow presents a hilarious 1980s moment. A dude named Leonard bops in wearing a tacky two piece outfit that thankfully is locked away in pop culture’s disco past. In this uncredited cameo, Richie Calhoun tries vainly to produce wood for his scene with Casey. It’s hopeless, of course, because he’s really the late John Holmes, cokehead extraordinaire, whose droopiness couldn’t respond to the best oral efforts of Marilyn Chambers in Up and Coming (1983).

Casey moves in to handle the casting couch on her own. Photo courtesy of Girlfriends Films

Casey moves in to handle the casting couch on her own.
Photo courtesy of Girlfriends Films

1980s cheesiness is not all rotten apples, however. When Casey’s identity is accidentally exposed, the garage director, Jean Kreem (Scott Lyons) is ready to drop her like an overheated halogen lamp. To save the day she reverses the casting couch schtick (they are on a couch, literally). She sucks him off. All the while Jean takes on a bizarre, wild-eyed look. Remember the fantasies of 1980s filmmaker, Rinse Dream (aka F. X. Pope), whose Night Dreams I, II, and III (1981, ’89, ’91) are avant-garde classics to this day?

The garage has a green screen and in an all-too-short segment, Casey’s friend Franny (Aiden Ashley) has a brief fling with porn newcomer, Keisha Grey. It’s steamy, but nothing like Franny and Casey’s earlier scene for the documentary guy.

Challenging Casey’s career decision, the director suggests that sex for money is different from loving sex. Casey’s answer is to have a good grind with her friend in his presence. Beyond the finger banging and oral with a scissors wrap-up, what makes the Casey/Franny scene top quality is their slutty demeanor. In warming up for her best sex, Casey’s eyes narrow with a wantonness that is deviously framed in a puckered brow. It’s the Casey Calvert erotic trademark. Like a cat ready to strike, Casey draws back a little before feasting on her lover with a smuttiness that redefines salacious. On the other hand, Aiden is demure and dreamy, but when the action starts is as aggressive as Casey.

Aiden Ashley Photo source unknown

Aiden Ashley
Photo source unknown

“Does that answer your question?” Casey says, finishing up with Franny.

To add an exclamation point to her performance, Casey crawls across the bed toward the director and as the camera focuses on her chest and neck, muffled slurping is heard. Remember a teenaged Traci Lord’s rep for doing everyone on the set?

Gonzo Implanted in a Feature

B Skow shoots the garage sequences in the reality TV mode popularized in porn with John Stagliano’s Buttman series. By the 1990s, gonzo, as the style came to be known, was appropriated for all-sex productions. Close-ups of anal and oral thrusting moved to the front of the line. Skow pays tribute to Stagliano with over-the-shoulder POV shots, including Franny’s tongue on Keisha’s crotch. The final sexcapade between Casey and Kurt Lockwood ends with a splashy facial (Casey is careful to keep her eyes closed), gonzo to the core.

Skow’s camera moves about in Stagliano style, not always removing objects around the cluttered garage. With sex scenes hastily set up in an amateurish way, Proud Parents seems like an off-the-cuff production. In truth, it’s a carefully crafted tribute to porn in the new century, gonzo implanted in a feature.

The Threesome. Photo courtesy of Girlfriends Films

The threesome with the strap-on attachment at hand.
Photo courtesy of Girlfriends Films

An eventual three-way between Stan, Marge, and Casey’s friend Zooey (Lily LaBeau) is superb, proving that Skow’s sex scenes are rich and diverse. During Zooey’s oral work on Stan, cameras drift in and out of picture adding moments of delightful confusion. In one part of the sequence, Stan holds the camera that is shooting Zooey’s efforts and a crewman’s foot is spotted momentarily.

This is porn set reality. Things and people get in the way inadvertently and because of limited budgets, retakes don’t happen and editing doesn’t cover it all. Proud Parents is a commentary on how movies are made.

There is much in the threesome to be appreciated, though one shot stands out. Skow moves his camera above the action when Stan doggies Marge, Marge munches Zooey, and she kisses Stan. Later when Zooey moves to the floor, a cameraman hands Marge a strap-on. Priceless.

Zooey and Marge warming up. Photo courtesy of Girlfriends Films

Zooey and Marge warming up.
Photo courtesy of Girlfriends Films

Raised in the Wild

Shoot cancelled, a disappointed Casey comes home reluctant to deal with her parents. The documentary director persuades her to give it a try, saying, “They raised a horse in the wild and they don’t expect it wants to run?”

When Casey finds a note her parents are out, her agent, Mark Spiegler, calls with a booking (Casey Calvert is a highly regarded Spiegler girl, by the way). Excited, the determined neophyte returns to the garage to be surprised by her parents and her old babysitter, their good friend Kurt (Kurt Lockwood), who refused to do Casey in the earlier scrapped scene.

Everything is a go now. Before they start, Kurt mentions the reality of a porn career. “Every day on the set, you’re going to do something you regret,” he says to Casey. “Question is, is that something you can live with?”

Like loving parents supporting their child’s first game, play, party, what have you, Marge and Stan are there to videotape the launch of Casey’s career. In hot sex with Kurt there is a standing sixty-nine, Casey positions her head upside down in front of his crotch in the best of gonzo acrobatics.

Oh yes, like Marge and Marilyn Chambers before her, Casey drops her head over the couch to fellate Kurt again. Stan later comes in to pause the action for the stills. In a reverse anal cowgirl, Casey seduces his camera with her signature expression, eyes of determined pleasure, as he clicks away.

“She’s going to have a great career,” Kurt says.

Who, then, are the Proud Parents in this film? Don’t be deceived by the obvious, because there is a twist to come. In a porn movie about making a porn movie with an embedded documentary film to drive the story, possibilities abound.

*           *           *           *           *

Not long ago, I talked with B Skow about the comeback of the feature, a vehicle that he admires and is able to supplement with gonzo elements that satisfy a modern audience.

Though the DVD does not sustain the popularity of the video tape when that was a viewer’s only option, it survives with verve because people want to own things, he says, “they want to have it somewhere.”

“If you make something interesting, there’s a crowd [for it],” Skow believes. The crowd does not have to be huge, it just needs to exist.

Girlfriends Films’ award-winning boy/girl director proves his point with each of his productions. Proud Parents sold out in two weeks of its release, unheard of in today’s market. But it is no wonder, B Skow has built a following with films he rightly considers art.

When I asked about Casey Calvert, Skow’s praise is effusive. “She’s one of the top,” he exclaims, “a girl that loves what she does.”

Casey Calvert. Photo courtesy of Casey Calvert

“Loves what she does.”
Photo courtesy of Casey Calvert

Casey Calvert treats Skow with similar enthusiasm.

“B Skow is very easy to work with. He pretty much lets us do whatever ideas we have,” she comments. He avoids over directing the sex scenes “unless he needs something super specific.” When I inquire about shooting with Kurt Lockwood, Casey references their creativity. “Skow sets up three cameras and just lets us do our thing,” she explains, “Kurt and I made up that last scene as we went.”

Though we don’t get into the MILF aspect of the film, Casey praises my favorite mature couple in porn.

“I LOVE India. Steven has played my dad in multiple movies, but we have never had sex. I like him. He’s very professional and a good actor,” she beams.

No doubt India and Steven have similar praise for Casey. There is a reason why these top tier performers appear on the boxcover; it’s all about competency, responsibility, and a personal pride in their work.

 

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A Spark of Activism

by Rich Moreland, July 2014

In her recent Huffington Post article “Why I Don’t Want Condoms: A Porn Performer’s Perspective,” Casey Calvert explains the irony of AB 1576, the condom legislation that will alter California’s porn production landscape should it become law. Casey argues that the bill would lessen her sexual well-being at work because its provisions are less rigorous than the current industry requirements. At present, she points out, the Free Speech Coalition’s Performer Availability Scheduling Services (PASS) updates an actor’s status and protects everyone by identifying those who are not cleared to shoot. The system is based on a fourteen-day protocol that tests for seven infections including HIV, gonorrhea, and Chlamydia.

Casey goes on to discuss the realities of condom use. The downside of lengthy penetrations can negatively affect female talent’s availability if condoms are required, a fact apparently ignored by Michael Weinstein and the AIDS Health Foundation. Friction creates soreness and irritated vaginal and anal corridors can limit a girl’s work schedule.

In her argument, Casey repeats what everyone connected with the business fears if AB 1576 becomes a legal reality. Some companies will go underground to avoid compliance while others will depart for friendlier confines (Las Vegas heading the list), or go out of business altogether.

Self-Explanatory Photo Courtesy of Casey Calver

Self-Explanatory!
Photo courtesy of Casey Calvert

It’s not so much what Casey has to say that is the attention-getter. Rather, it is what her article reveals about performers that could spell changes for the future.

Michael Weinstein’s machinations aimed at curtailing adult film production is a call to action. He has pushed to the industry to the wall and there are hints that moving forward in a political way is more than just a discussion board topic. The testimony against AB 1576 in Sacramento is an indication of what porn people can do when they demonstrate a modicum of organization.

Some performers with sex-positive feminist leanings—Casey, Nina Hartley, Tasha Reign, Jiz Lee, Chanel Preston, and Lorelei Lee to name a few—have never shied away from their political opinions. Now we have the addition of a delegation that recently visited the Compton offices of Assemblyman Isadore Hall, the bill’s sponsor. Led by Nina Hartley, the group, which included Alex Chance, Anikka Albright, Mia Li, and Charli Piper, made the performer case against AB 1576 to a staff aide representing Hall. The account of their appearance can be found here.

Performers are learning that activism is possible in an industry unaccustomed to touting its political side beyond the work of the Free Speech Coalition (FSC).

Incidentally, should AB 1576 become law, the studios may be forced to regard performers as employees rather than independent contractors. If defined as employees, porn talent would then have organizational options. How much of a political voice they can muster may determine outcomes that are beneficial to them.

Organization demands leadership and its vital components, intelligence and commitment. Performers are exploring that scenario now with a new entity, the Adult Performer Advocacy Committee (APAC). Using education as its tool, APAC has established worthy goals that include the creation of a safe, professional work environment and a knowledgeable, respected performer.

Will APAC consider a more formal direction in giving porn talent a greater voice? The discussion has come up before. Industry vets will remember performer, director, and producer Ona Zee and her support for unionization some years ago.

Of course, talk of formal organization is problematic in an industry that tends toward libertarianism; porn performers value their unwavering independence and in the end, APAC may amount to nothing. But the specter of Sacramento, with its rules and regs, now looms over everyone and unless there is a dramatic shift in direction, the future is going to demand greater political involvement.

With a law on the books enacted under the auspices of AB 1576, would not performers be better off with a strong organization that would exclusively represent them? How, for example, is the law to be enforced on the set, who takes the blame if condoms are ignored, and how would workman’s comp issues be handled?

Nina Hartley, who believes organization is a good thing, once told me in a moment of frustration that performers lack an institutional memory about the business. They often assume that the way things are now in adult film is the way they have always been. Some performers do seem to get it, however. Like the outspoken Casey Calvert, they can become powerful activists if they choose to explore that possibility.

Here’s an example of the attitude needed for success. Casey says in her article that if studios “stay in California and flaunt the law,” AB 1576 will result in unsafe working conditions. Underground production is the easiest way out and sets up a scenario in which testing protocol evaporates and a host of problems can arise, endangering everyone.

“We self-regulate very well right now, but that’s bound to fall apart if we have to do it in secret. I’m not going to work if I don’t feel safe,” she declares.

What a feisty Casey does not say is she’ll leave the industry and she is adamant that she’ll not shoot underground. The Florida native and others will fight for all porn performers and their spirit of activism, evident in Sacramento’s legislative halls and in online articles and social media, will take up residence in APAC.

Positive changes begin with a spark, an attitude, and almost always a fed-up person. Remember Norma Rae and Erin Brockovich? Porn women are just as gutsy.

*          *          *          *          *

Postscript

At the hearing from left to right, Sid, Owen Gray, Jiz Lee, Chanel Preston, Casey Calvert, and Lorelei Lee Photo courtesy of Casey Calvert

Performers making a statement by attending the hearing. From left to right:  Sid, Owen Gray, Jiz Lee, Chanel Preston, Casey Calvert, and Lorelei Lee
Photo courtesy of Casey Calvert

On the day of the Senate hearing, Casey and others from the industry appeared in the chamber to offer their views. Though each person was recognized, Casey reports, only designated speakers were allowed to make statements. The FSC’s Diane Duke and Kink.com-based performer and director Lorelei Lee presented arguments against the bill; the remaining interested parties were allowed a brief individual moment.

“We all got a chance to go up to the microphone, but all we were allowed to say was our name and that we oppose,” Casey states. As for the other side, “There were some people there to support the bill, but not as many as we had,” she adds. “The oddest one was Jessie Rodgers, who was literally in tears because she got herpes on set.”

Casey later mentions that herpes is “fairly common” in the industry and is often considered a “nothing disease” whose danger is hyped by drug companies. “It can’t hurt you at all,” she says and questions why Jessie was so over-the-top about it.

Former performers Sophia Delgado and Cameron Bay endorsed the bill along with Jessie Rogers, whose personal view on AB 1576 and the industry abuses she perceives harms all porn talent can be found here.

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All the Attributes

by Rich Moreland, June, 2014

The last two weeks of May are a welcome lull, a “tweener” period. Spring semester is wrapped up and first session summer school is a few days away. This year I’m taking the time to reorganize my at home office and that means sorting through interview transcriptions, unreviewed DVDs, and collected articles on industry issues like piracy, condoms, and the decline in revenues.

Among this year’s accumulated material is a bevy of photos from the 2014 Adult Entertainment Expo (AEE). When I came across a treasured shot of Penny Pax and Casey Calvert, it reminded me that I had planned some work on Casey that has sat undone. Sometimes things slip away until rediscovery cries out for rectification.

Here’s the photo.

Penny and Casey

Penny and Casey.

Preconceived Notions
Porn girls are as varied as sexual fantasies and fetishes allow. Most are friendly, some a bit wacky, and others standoffish, but all share a common feeling: stigmatization.

Being in adult film is not a convenient path to success. Prejudicial feelings are everywhere, as I can personally attest.

Students who have inquired about my industry connections occasionally ask how I feel about keeping company with unsavory people whose universe tilts far away from what society considers the accepted norm. Not surprisingly, the word “prostitute” often comes up in the same breath with porn performers.

My response is terse. Put away the broad brush and remember that familiarity breeds acceptance, and acceptance often alters the definitions we concoct to satisfy our prejudices. In other words, it’s easy to denigrate people about whom we have preconceived notions, until you actually get to know them.

Decades ago, my first summer job was in the farming country of Maryland’s Lower Eastern Shore, a region that, at the time, would fit comfortably in Faulkner’s Mississippi. The local school district was clutching the fading days of racial segregation, resisting federal law with delay after delay. As a result, my understanding of African Americans was limited to what a community preached to its young . . . until a sunny June morning when I reported for my first day of work.

Based solely on my skin color, I immediately became a teenaged foreman of impoverished black laborers who had little education and no future. By summer’s end, the racial biases programmed into me from childhood were running on vapors.

Returning to school that fall, I made two new friends and learned another lesson about differences. Myra and Tony were Jewish and practically invisible in the student body. My Bible-thumping evangelical grandfather, who never understood school integration because he was convinced black kids were happy “being with their own kind,” often made Judaism sound like a disease.

Today those memories bubble up when I encounter attitudes about social issues in our modern society, filmed pornography and those who make it being of particular concern to me now.

A Late Lunch
For the record, I regard everyone in the adult business as a professional contact. Some are more friendly and helpful than others, and I admit that I depend on them to get a story here and there.

A Rare Beauty Photo courtesy of Scott Church

A Rare Beauty.
Photo courtesy of Scott Church

Casey Calvert is one and knowing her is a privilege. Focused on what she wants, this rare beauty is intelligent, always courteous, and remarkably honest. The University of Florida grad is at the top of my “most respected” porn people list.

At this year’s AEE, Casey found some time for a late lunch after she spent most of the day greeting her fans. It was the convention’s final session and she had a long evening in front of her. Let me point out that Casey didn’t have to do this and it was evident that she was tired.

In a crowded, noisy restaurant that heightened fatigue, Casey was gracious. She loves her work, she said, and hopes to be in the industry for years to come. The dark-haired sweetheart appreciates those who support her because a perfect performance for every booking is her goal. Drugs, laziness, and irresponsibility, sometimes rumored to infect models, have no role in Casey’s professional life.

When Casey headed back to her room to prepare for the awards show, my heart went out to her. She was limping slightly. Girls sport platform heels that must wreak havoc on their feet and Casey’s were certainly feeling the “pinch” of too much floor time.

To offer assistance, I carried some of her stuff then bade farewell.

You Know What You’re Going to Get
Earlier in the day, I talked with a director who specializes in online porn. Billy Watson shoots for the Dogfart Network (twenty-plus interracial sites) out of his own studio in LA.

Over coffee, our conversation turned to Casey.

Billy Watson in LA. Photo courtesy of Bill Knight

Billy Watson in LA.
Photo courtesy of Bill Knight

Billy recalled his first meeting with the twenty-four-year old. Her agent, the famed Mark Spiegler, alerted him Casey was coming to town.

“She was a Florida based fetish model,” Billy said. “Mark spoke highly of her from the get go and he was absolutely right.”

Casey has shot for Billy several times, BlacksonBlondes and CuckholdSessions among her top performances. What impressed him from the outset was her professionalism.

“She had all the attributes you can give to a Spiegler girl. They show up early [and] ready to work. They understand that it is a show and they are there to perform at their highest level. When you book a Spiegler girl, you know what you are going to get.”

For a shooter that’s more important than it may seem.

“[A Spiegler girl] is not going to be on drugs or whacked out,” Billy continued. “They don’t have bad days. You never have to send them home. There is never drama, there is never emotion. They just come ready to work. Casey has never had a bad day on my set.”

Casey for BlacksonBlondes. Photo courtesy of Dogfart Network

Casey with Prince Yashua for BlacksonBlondes.
Photo courtesy of the Dogfart Network

“In fact,” he said, pausing in mid-thought, ” I was just thinking the other day I would love to have her on my set for another round.”

“Hold on a second,” he said.

Billy’s crew was taking a break with us and turning in the direction of one of his guys, Billy shouted over the Hard Rock Hotel din.

“Hey, Tony, I need to book Casey some more.”

Finishing our coffee, I commented I was having lunch with the 2014 New Starlet nominee later and Billy asked that I mention he wants to call her soon.

*          *          *          *          *

Las Vegas, 2014, and a story penned by a once Southern Baptist about a Jewish girl from the Old South who does interracial porn. My, hasn’t the world changed since my younger days in farm country.

And in this case, much for the better.

 

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Because We Want To

by Rich Moreland, April 2014

The Belle Knox story has sparked renewed interest in who shoots porn and why they do it. The Duke freshman is all the rage, touting the idea that porn girls can be educated and make smart self-empowered decisions.

While many of her Duke classmates have luxuriated in sanctimoniously skewering Belle, the media is marketing her with gusto. The New York Daily News, the Los Angeles Times, Time Magazine, Howard Stern, TMZ, and an upcoming online reality show, “The Sex Factor,” are part of the seemingly endless Belle Knox saga.

I’m guilty of same, by the way, my column in Adult Industry News posted when the story first broke is available here for anyone inclined to read one more article about her.

Belle Knox Photo source unknown

Belle Knox
Photo source unknown

Make no mistake, I wish Belle the best and I’ll probably run into her sometime at an industry event. Regardless of where she goes from here, we need to remember Belle is a teenager who has come under tremendous scrutiny at a time in life when most girls are trying to figure out their own sexuality and where they want to go with it. In fact, there are some in the adult industry who believe that filming anyone under twenty-one needs to be reconsidered. Perhaps Belle shouldn’t even be on a porn set in the first place.

Nevertheless, before the Belle Knox media hangover sets in, a dose of porn reality is needed. It has arrived via Casey Calvert, whose blog post about Belle speaks volumes.

Magna Cum Laude

I have an immense respect for Casey. She entered porn in her early twenties with a maturity that supported her love of anything sexual. A two-year veteran of the industry (a lifetime by porn standards), her intelligence and on-screen performances are unsurpassed. If every girl in the industry had Casey’s work ethic accompanied by her professional responsibility, the industry would run like clockwork. Just ask any cinematographer or director who has hired her.

Casey Calvert Photo courtesy of Naughty America

Casey Calvert
Photo courtesy of Naughty America

Casey is always honest and in response to the hype around Belle Knox, she presents a cogent analysis of what the public lacks: an understanding of why people perform in the industry. Porn myths abound because it’s obvious that no one would really want to have sex on film unless they were psychologically broken, financially desperate, hooked on drugs, or too lazy to get a real job, right?

In her essay “Porn Stars R Stupid,” Casey points out that  in the popular mind, a middle class and educated Belle Knox is surely a porn anomaly. But in reality, that is a gross misperception. Having a college degree is not unusual in the adult film universe, she says, and there are smart women in the industry who espouse sex-positive feminism’s politics of pleasure.

Casey is bothered by the same question that concerned me when I first read the April 14 Huffington Post article in which Belle said she would not do porn unless she was paid. Questions about her claim to feminism and empowerment arose. Is a girl’s sense of having choices and acting on them driven by money?

A University of Florida graduate, Casey relates that she recently faced the same issue during a presentation at the University of Toronto. “‘If money were no object, do you love your job enough to continue doing it?'” she hypothetically asks, correctly suggesting Belle’s response would be “no.”

“Because Belle is seen as the voice of our profession, her answer implies that all of us are here solely for financial reasons,” Casey writes. “But that is not the case at all.”

Casey concedes that indeed “a few” performers have a history of drug use, sexual abuse, and financial need that drives their participation in the industry. She also mentions that some models are simply not very bright and porn provides a decent income that demands little intellectual output. I could not agree more.

Explaining that her career brings her immense satisfaction, the Florida native is openly sexual and loves the choices she has. No justification or rationalization needed. Casey likes who she is and is satisfied with who she is.

For the record, Casey Calvert’s magna cum laude degree offered her graduate school and career options, but the sexual kept its hold on her and she followed her bliss.

In the meantime, Belle makes it perfectly clear that lawyering is in her future; once her education is finished, so is porn. It’s the old tale of a means to an end.

Magna Cum Laude Photo source unknown

Magna Cum Laude
Photo courtesy of Twistys

When I think of the A-list porn stars I have met—Penny Pax, Chanel Preston, Dana DeArmond, Jesse Jane, and Tasha Reign come to mind immediately—Casey’s words ring true. These women are in charge of their careers and committed to the industry.

Have doubts? Listen to what they have to say. Tasha Reign defines her porn shoots as an atmosphere of “free happy sex,” while Chanel says with a smile, “I love getting gangbanged.”

Casey Calvert stands squarely with these superstars because she is the consummate adult film professional: smart, reliable, a hard worker, fair with her opinions, and gloriously sexual.

This sultry brunette speaks for a community of entertainers when she says,

“Many of us do porn because we want to.”

 

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Just a Dirty Girl

by Rich Moreland, January 2013

thumb_Bad-Les-front

A reluctant burglar, phone sex, a murder and a girl who prefers to knit sounds like a super plot any Hollywood writer would love.

These explosive elements are part of four vignettes Girlfriends Films (GFF) has turned into a steamy little number called “Bad Lesbian” and it’s worth a good look.

Waiting in the Shadows

In the first narrative, Dillion Harper is the thief who’d rather not and Cassandra Nix is her partner who resorts to cheap tricks to keep the lovely bandit’s body close to hers. Pretending she’s been knocked round after getting nabbed purloining, Cassandra convinces her reluctant pal to soothe her wounds.

In short order, she turns the tables on a surprised and sympathetic Dillion.

Cassandra Nix and Dillion Harper Photo courtesy of Girlfriends Films

Cassandra Nix and Dillion Harper
Photo courtesy of Girlfriends Films

 “If you hadn’t left me there, this wouldn’t have happened,” Cassandra says. It seems Dillion ran and now it’s time for another trip, the one over guilt.

To preserve their mutual thieving agreement, Cassandra waxes tender. After the kiss, the sex is underway.

In classic GFF manner, the predator takes over and “runs the fuck,” as the old saying goes. There is a smidgen of revenge in Cassandra’s plan. She grabs Dillion’s hair and grinds her crotch against the weaker girl’s face and playfully slaps the sweet little brunette, a statement of who is in control. The tatted Cassandra Nix is a veteran of Kink.com. It’s all been done to her and now it’s a lesson in rough love for Dillion.

Crime and dominating sex is also the theme of the fourth and final vignette. Natalie Heart is the abused and desperate daughter; Allie Haze, her new found tomboi friend. Allie’s switchblade dispenses with the inappropriately horny dad while the compliant Natalie waits in the shadows.

Natalie Heart and Allie Haze Photo courtesy of Girlfriends Films

Natalie Heart and Allie Haze
Photo courtesy of Girlfriends Films

“There’s no turning back,” the street tough Allie tells Natalie, who hides her timidity behind a smile. A double meaning is in play here because Allie will possess the meek brunette for her own pleasure. Natalie’s choices are non-existent.

After the carcass is hidden away, Allie toys with Natalie’s sultry body. There’s lots of oral and finger banging, characteristic of each episode in the four-part package. Allie’s macho aggressiveness and Natalie’s natural assets add to the real attraction of this vignette: two emotional loners who have stumbled onto each other. When the scene concludes, the viewer is left wanting more.

Changing Plans

If parts one and four have a somber tone, two and three are lighter. When the predator girl is not at first obvious, the viewer needs only to find the boots. The pleasingly tatted Ash Holloway, the phone sex girl, wears them in the second narrative. This vignette is a charmer of opposites. Ash is the sexually charged college dropout and Kiera Winters the nerdy girl who is studying her life away.

Kiera spots Ash taking a call in her family’s backyard and investigates. The punkish looking blonde explains the walls in her house are “paper thin” and she wants to keep her $30-a-call gig from her mother. Kiera is curious and Ash suggests she change her plans, at least for the day.

“You’re about to spend four to six years of your young adult life buried in books,” Ash declares. “Have you ever done anything crazy?” Then she tells Kiera there is more fun to be had than just talking filthy on the phone.

Kiera Winters and Ash Holloway Photo courtesy of Girlfriends Films

Kiera Winters and Ash Holloway
Photo courtesy of Girlfriends Films

Kiera is game and this petite Bobbi Starr look alike sells this narrative. Girl-on-girl sex has a huge male audience and GFF fans will place themselves into the scene and consume the diminutive brunette. She is that sweet.

The episode has terrific girl/girl chemistry. Their mutual oral is superb. During the sex, Ash finger bangs Kiera and reinforces their dalliance with a smutty “Deep down, you’re just a dirty girl.”

Narrative three between adopted daughters is the hottest of the DVD. For sheer sexiness, Bailey Blue and Casey Calvert are hard to beat (though both take their share of blows at Kink.com, pun intended) Bailey is the aggressor (spot the boots) and the very submissive Casey is the girl who knits.

Casey is trying to maintain a self-imposed celibacy but her “sister” persuades the gorgeous brunette to drop the knitting needle and go out on the town. Later when the sex begins Casey’s facial expressions unveil the hesitancy she feels. Using her eyes to frame her emotions, the AVN nominee for starlet of the year (include Dillion Harper in that elite group, by the way) is outstanding in roles in which she plays the reluctant, unsure girl.

Bailey Blue and Casey Calvert Photo courtesy of Girlfriends Films

Bailey Blue and Casey Calvert
Photo courtesy of Girlfriends Films

Bailey portrays the spunky sibling to a tee. Their sex is hot and mutual without an aggressor, produced by two actresses who are building solid careers.

One more observation on Bailey and Casey, their scene has the highest degree of verisimilitude. In other words, two adopted daughters sexually involved with each other are quite believable in today’s world of blended families. As a result, the acting is carefully crafted to authenticate the situation. Bailey is appropriately petulant and Casey’s frail resistance tells the story. Kudos to both performers.

*          *          *          *          *

In the pairings of each story, the performers create natural connections, a linchpin of Girlfriends Films. The power differences of actual lovers won’t work without real sex and reasons for the girls to dive into each other. In each episode, the girls are opposites of some variety, at first communicating their differences before yielding to the mutual chemistry that brings the contradictions together and initiates their erotic play.

The qualities of a Dan O’Connell production elevate porn to art. He uses three crew people and in most scenes, two major camera angles. Bodies are framed equally from there, minimizing the anatomy lesson of gonzo porn. Effective editing mixes shots that are sexual but not always graphic. The result is a sensuality characteristic of mainstream film with high priced talent.

This kind of movie magic doesn’t happen without planning and a carefully managed on set experience. Few studios do that better than GFF.

 

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