Tag Archives: Lea Lexis

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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Borrowing a Little from Bach

by Rich Moreland, February 2013

A final word about the making of this film: the movie is a collaborative project, as I have mentioned previously. Performers Lea Lexis and Brooklyn Lee contributed to the script with Lexis doing the make-up and acting as co-producer for the scenes shot in Budapest. Here is a look at the last episode, “Es ist Vollbracht!”

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The alliance of Father Zoltan and Adriana is in place in the final episode. Their first task is to dispense with the Amira issue. In a scene that is reminiscent of the final chapter in Pauline Reage’s the Story of O, Amira enters a room wearing a mask, the kind found at costume balls. Zoltan is in the background chanting in German.

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“Es ist vollbracht” is heard. The phrase comes from Bach’s St. John Passion and references Christ’s final dying words on the cross. “It is accomplished, what comfort for all suffering souls.” Will Amira return to the living and finally see the sun?

IMG_9563Ritual highlights the scene. Before the ceremony begins, a male blood slave is presented for Adriana’s inspection. Zoltan’s chanting continues as Adriana removes Amira’s mask. Her fangs come out to let the viewer know this is a vampire inspired rite. The act is an unveiling, recalling the Jewish practice of recognizing death. Amira will now grow old and die as a human when the ceremony is completed.

Adriana rips off Amira’s talisman, a circle of green stone she wears around her neck. The type of stone is not clear, but it is emerald-like which carries a water reference. The water motif appears throughout the film as would be expected. It is the symbol of life and rebirth. Shortly the holy water of the church and will play a role in this scene. Incidentally, a talisman is invested with power by its creator. To remove it ends its ability to protect the wearer.

Amira is impassive and in a trance-like state. Manuel supports her from behind as she bends over on top of a platform, her face against the cloth cover, her buttocks raised.

Waiting

Waiting

Adriana’s fangs tell us that we will see the passing of a vampire’s existence in a rite conducted by a vampire.

A satanic guttural voice over is heard. Manuel puts a glass tube shaped like a dildo into Amira’s anus through which holy water will be poured.

Preparation

Steeling the Will to Endure the Pain

With each new application of the water, Amira screams and howls in agony. Like a rite of passage, the water flows into the canal of immortality as it exists in the vampire world. Amira’s site of much sexual satisfaction is now purified of its vampire longing and lust.

Zoltan drives his red crucifix into Amira’s rectum to seal the deal. It is done. Adriana turns to the priest and gives him a kiss.

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The scene shifts to a countryside inn. Morning is breaking and Manuel and Amira are together.

The Lovers

The Lovers

The sex scene in this version is much tamer than others in the film for now we see a love story. At one point Manuel takes Amir to the huge window that looks eastward, bathing her in sunlight. As a reminder that the past is just that, or so the viewer is led to believe, Amira slides down below the window sill with the back of her head against the wall. In a replay of her encounter with Zoltan in front of the Victory Column, she orally satisfies her lover.

The golden angel on the column is replaced with the rising sun.

The Princess sees the Sun

The Princess sees the Sun

The sex continues and is a reminder of the gentler kind found in couples’ porn. Amira has equality with Manuel. Her body is not used for the pleasure of vampires, but enjoys its own pleasuring. The room continually brightens as the sun streams in. All is well, right?

Not quite, because there is a shocker to come before this film is finished. How did Amira became a vampire? What of the conspiracy? Where does Vlad fit into the story’s larger reality now that Adriana has freed Amira? Will the vampires pursue the lovers in an act of revenge? You will have to see for yourself.

To borrow a little from Bach, I’ve accomplished my task. The rest is up to you.

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Before departing from this tale, a brief salutation to the women who make this adult film a real treat. Evil Angel relied on European talent for the most part and the overseas pool of performers is well stocked. By the way, I’ve heard from some girls in the biz that the glam shots are sometimes the toughest to do.

Kudos to this group.

Ivana Sugar, Lea Lexis, Sandra Romain, Brooklyn Lee, and the Buddha

Ivana Sugar, Lea Lexis, Sandra Romain, Brooklyn Lee, and the Buddha

In the recent Adut Entertainment Expo in Las Vegas, the film was represented by Brooklyn and Lea.

Getting Ready for the Awards CeremonyPhoto courtesy of AVN

Getting Ready for the Awards Ceremony
Photo courtesy of AVN

 

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Practicing Sadomasochism

By Rich Moreland

This is the first in a series of reviews of Evil Angel’s Voracious, an awarding winning adult film divided into ten episodes. The following is the opening narrative titled, “Learn to Control Yourself.” The other installments will appear soon.  All photos in this series are courtesy of Evil Angel.

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Soft A

If he were writing today, how would Bram Stoker describe Jonathan Harker’s encounter with the female vampires in Dracula’s Transylvania castle? Harker arrives to facilitate a real estate transaction for the count and finds his life turned inside out when he is assaulted by Dracula’s brides.  Stoker’s only option in his classic 1898 novel is the reader’s imagination. Sexually repressed Victorians were unable to abide the details.

But now all is revealed in John Stagliano’s Voracious, a modern version of vampires, sex, love, and conspiracy.

Manuel Batiste, played by porn icon, Manuel Ferrara, visits a hillside home facing the Pacific.  He’s a potential buyer of this for sale property that carries some external wear.Episode1_031

With the last vestiges of twilight vanishing into darkness, Manuel enters the home and immediately sees a statue of a satyr ravishing a young woman whose back is arched in ecstasy. Remember that image, it’s highly charged and is the ticket to get the viewer through a three-way sexual joyride that is worth every penny spent on this film.

Amira, played by the super sexy Brooklyn Lee, appears seemingly out of nowhere to apologize for being late. Stagilano dresses her in a skin-tight outfit that shapes her derriere into a desirable commodity, a trait of a John Stagliano film. As a matter of fact, the Stagliano stamp is all over this production.

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Manuel is an anthropologist and Amira is a fan of his writing. He learns that Amira and a friend, Adrianna (Romania actress Lea Lexis) have been house-sitting for quite some time. The absent owner is in Europe. Amira directs Manuel to go upstairs and look around. He starts up the steps; she pulls out her cell phone.

“Yeah, he’s what we’re looking for,” she tells the other party, her eyes a conflation of lust and evil. Oh, Jonathan Harker, were Dracula’s brides as hot as these two?

Arriving in the master bedroom, Manuel discovers the owner is a collector and most of the artifacts will remain with the property, including a mounted piranha with sharp teeth. Yes, vampires do love the big bite and prianha are the pit bulls of the water.ep1Picture 7

Manuel comments on a wall hanging that displays protruding buttocks. Brazilian, he suggests. Amira mentions an academic article Manuel wrote on a nocturnal tribe in Brazil that “stayed up all night practicing sadomasochism,” she recalls with a seductive eagerness in her voice. Manuel tells her the information came from a local priest. She wants to know if the man of God exaggerated the part about the orgies.

“I don’t know,” Manuel answers, seemingly lost in the direction of the conversation.

“Someone should be practicing sadomasochism at night,” Amira suggests and looks at him with a leering wantonness.

Later, this story will have a priest of its own and he will certainly not frown on orgies.

The scholarly Manuel goes into another room that has a stretching area typical of ballet studios. A shiny wood floor and a wooden bar attached horizontally to the wall dominant one wall. Above the bar is a painting of a woman, head thrown back like the statue downstairs, hair wildly tossed in the throes of ecstasy. Her navel is prominent: the center of the world, the site of birth and rebirth, a rejection of death.  Her hips are broad in a goddess-like sexual expression found in ancient cultures.

The painting will lord over the pure rough sex that is soon to take place.

The omnipresent Adrianna suddenly appears out of nowhere, bending over in a stretch that puts hand on ankles. IMG_8607

She looks at Manuel through her legs, a world turned upside down. Adriana experiences the scene for what it is: a reverse reality, everlasting life in a demonic existence that will stalk Manuel.

Standing in front of an expansive mirror common to ballet studios, the anthropologist sees his reflection and the painting and bar opposite the mirror. He is the only person in the room. As if unable to see clearly, Manuel takes off his glasses and cleans them.

Amira apologizes for the out-of-order lights in the rest of the house, deflecting Manuel’s concerns by commenting that he looks older than the picture on his book’s dust jacket.

“Well, don’t we all get older?” he says. Not in the world vampires, my friend.

Amira drops her eyes and takes his left hand. Visions of the ensuing sex flash across the screen with the haste of an ethereal vampire. Their left-handed clasp becomes more sensual; her fingers knead into his hand as their grip tightens. The left hand in most cultures is related to the functions (pleasures for Freud devotees) of the human anus, a precursor in this case of what will satisfy these undead women.

Amira stares at Manuel with a stalking lust, he’s clearly bewildered. They kiss wantonly, initiating the roller coaster ride of fantasy and reality that is to swirl through a huge sexual orgy.

Adrianna swiftly jumps Manuel; vampires move with lightning speed. Amira circles them on all fours like a lioness preparing her prey.

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Bram Stoker never would have imagined his brides of Dracula would be resurrected in this way.

The sex scene to follow goes full circle. At the beginning the girls use Manuel as a conduit for their sexual pleasure. They dominate him. Later, the power exchange shifts when Manuel gives the orders.  There is breath play as the throat is a continuing image in the orgy. The oral sex is sloppy with copious amounts of saliva dripping and running throughout, an interesting visual contrast to the sleek, sparkling floor of the studio and the minimalist furniture in it.

One moment in the scene is noteworthy because of a cinematic counterpoint that happens later. Manuel is sitting slightly raised above the floor; Adriana is kneeling on the seat of a chair so that her buttocks are positioned in front of his face. Amira climbs behind him on the back of the low standing chair he occupies and reaches for Adrianna’s face. The latter arches her back (remember the satyr?) thrusting her breasts upward. The two women are kissing, positioned above Manuel.  The imagery is the flower of female sexual totality. These vampires lust for Manuel and triumphant over him while enjoying each other equally.

Episode1_057Incidentally, on the back of Manuel’s chair are large brass balls. Amira’s particular penchant for oral play is appropriately nuanced with these images as she positions herself to reach out to Adriana.

During this encounter, Manuel glances to his left into the mirror. He sees himself alone, masturbating. This is fantasy sex with its own unreality, or is it?

Later, the women will kneel in front of and behind Manuel to simultaneously satisfy him orally. This is the reversal of the above scene and the earlier power exchange. Cinematically, Stagliano divides this frame into thirds, as he did the other image, centralizing the sex.

As the orgy of oral and anal sex continues, at one point Adirana is in a cowgirl position and Manuel grabs her breasts, squeezing them in a form of breast bondage, almost lifting her vertically. As she throws her head back, recollections of the nocturnal tribe move into play.

When the scene finishes by circling back to the beginning, the fangs come out. Amira moves to kiss Manuel who is lying on a couch, almost unconscious. He is a double puncture away from immortality, an offering to the ancient succubus of the night.

We will later discover there is a shortage of men in this crazy conspiratorial vampire world.

“What the fuck are you doing?” Adriana shouts.

Amira growls in Adriana’s face, her fangs sharpened. Manuel is languishing in his trance.

Adriana grabs Amira’s throat, taking over the scene. She throws a suddenly alert Manuel his clothes and tells him to get out. He is swift about it.

The viewer may feel the same way, but who can resist the salacious anticipation of what’s to come. The seduction of the second episode is already beginning

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