Tag Archives: the Smut Den

by Rich Moreland, November 2013

This is the second installment of my visit to dogfart/fabulouscash.com studio in LA.

Billy Watson has a system that gets the talent in and out quickly with everyone paid when they leave. As mentioned in Part 1, his editor Doron takes care of the green screen when the model arrives and is finished with the make-up chair.

The stills are next and run according to the scripted scene Billy composes beforehand. This photographed walk-through takes place on the set and gives the talent a chance to get to know each other and talk about what they like to do on camera. A common issue for the girls is a man’s size, Billy says. Reservations about length and thickness are sometimes voiced; consequently, a model’s degree of discomfort is something no shooter wants to dismiss out of hand.

Most girls are accommodating, though privately they sometimes remark on how the average-sized guy is more to their liking.

During the stills Big Wire stands behind a partition that passes for a wall in an adult bookstore and projects his manhood through a hole in it (nicely cushioned with duct tape to prevent unwanted abrasions). Next to him are baby wipes, paper towels, and various plastic containers with lubes and other products. On the other side, Andy is browsing the store’s DVD collection. Under Billy’s direction she begins to fantasize, strips down, and bingo, Big Wire’s endowment is right in front of her. When it’s shot the sequence will be oral and doggie. It’s quick and uncomplicated.

Over a fifteen minute interval, Billy gets all he needs pre-pop shot. Andy gets dressed and a break is taken. She touches up her face and drifts over to the roll-up door for a cigarette and casual conversation with Big Wire.

Doron takes a few minutes for the behind-the-scenes segment during this down time. He emcees and films while  Andy talks to the camera.

Show time brings down the roll-up. Darkness settles in except where flood lights channel all brightness on the talent. Andy sails through the script rehearsed in the stills, self-stimulating before taking in Big Wire’s endowment.

Andy San Dimas’s professionalism shines when the action picks up. She knows how to entice the camera to produce the titillation that sells her image. Gloryhole is gonzo porn. The camera is never more than a couple of feet from Andy and within inches of her face when close-ups are needed.

Breaks are frequent. Billy repositions Andy, talking to her all the while. After stripping off her panties for the penetration segment, Andy takes a moment to fluff up and tease her pubic hair. Asked later if bush is back and she says it is for her. Shaving is abrasive and irritating.

Rear entry sex requires Andy to contort her body, then she is on her knees for the pop. With her facial still dripping, Andy slowly gets dressed and is directed to have a look of self-consciousness  and embarrassment which she pulls off flawlessly. She walks toward the camera as if to exit the store.

While the ejaculate is still fresh, the post-pop stills are taken.

Something I notice reveals that seasoned porn performers can operate on automatic pilot. When Andy is on her knees working on Big Wire, she instinctively reaches up to put her hands on his hips but is stopped by the wall. She lets her hands slide down the barrier easily and naturally just as a runway model who stumbles slightly and recovers without missing a step.

Madelyn Monroe

The scene wrapped up, Andy comes over to where I’m standing and cleans up with a baby wipe. We chat about nothing in particular and I head over to the make-up area with her. Later our community back east comes up and I promise to take her to her favorite local restaurant the next time she is in town.

Madelyn Monroe is in and needs to get into her pornie outfit and have her make-up applied. It’s an interview opportunity I can’t miss.

The bubbly blonde (color of the day) hails from Seattle. Madelyn started as a teen, dropped out of the business and now visits Billy occasionally. She’s back to shooting, but very selectively, sort of unretired without committing to work.

As I always do, I want to know who Madelyn has shot for (Brazzers and Hustler are mentioned) and if she has visited the BDSM giant, Kink.com, in San Francisco (no). What’s her preference (boy/girl) and does she do anal. “No” is the reply but a later online check reveals one anal shoot, so I assume she means not any more or perhaps she’s one and done. Girl/girl scenes are also not on her agenda.

Madelyn got into porn through modelmayhem and suicidegirls. The now twenty-one-year-old did not have sex until she was seventeen, and only then after overly imbibing. A move to California and filming for mofos.com brought her into the business. But all did not go well. She had “bad days,” Madelyn says, “that’s why I quit.” She’s now a free agent, preferring to work without agency affiliation.

Madelyn exemplifies whatever definition we give to work ethic. She’s on time and responsible, I find out from Billy. Madelyn also has an unforgettable personality, there’s not an ounce of sullenness or unhappiness in her. Who would not want her on the set?

It’s time to head over to watch this sweetheart work. Madelyn is doing conventional boy/girl: missionary and doggie with a bit of crotch rubbing thrown in, not to mention the money maker, oral. What makes it fall together? Madelyn, pure and simple, her energy sells this day.

Perfect Girl-Next-Door

Madelyn Monroe plays strictly to the camera in true gonzo fashion. She is an effortless performer, or so it seems. She actually works very hard to make her performance appear natural, spontaneous, and fluid. The well-shaped cutie seduces the viewer with conversation and when the penetrations take place (mish on the Ottoman and doggie on the floor) she turns into a screamer, punctuated with quick gasps and moans. Her volume literally bounces off the set’s partitions. The moment a break occurs, Madelyn’s demeanor shifts instantly as her male co-star withdraws from her open legs and backs away. Forever smiling, she is now relaxed and quiet, awaiting more direction. Madelyn’s telltale vocal cords are on hold and anxious to get started again. The often illusionary real orgasm is part of the porn fantasy.

Madelyn Monroe turns ecstasy into a slutty word. Billy understands the power of expression and focuses much attention on Madelyn’s face during the sex. Meanwhile, her male talent is the perfect example of a stunt dick. He’s virtually invisible and later says that is just how he likes it. In one position during the shoot, the camera is looking over his right shoulder directly down at Madelyn laboring away on her knees. The POV angle is to encourage the viewer to “feel” Madelyn’s performance. Her male co-star’s face is obscured by an extension from the main part of the camera while Billy’s chin is practically resting on his shoulder. His eyes are closed much of the time and I suspect, as Big Wire commented earlier, he’s in his own fantasy of sexual delight, dissociated from this moment.

The men on this day work frequently for Billy; all are local talent. Big Wire comes in a few times per month and would like more. Later when I locate Madelyn’s co-star (Billy later identifies him as Mr. POV) sitting in solitude on a darkened set away from everyone, he stresses his anonymity. He’s performed since 2001 and has been with Billy for four years. He “works around my schedule,” Mr. POV says. There is a second male in Madelyn’s shoot who steps in at the end to add to her facial. Rob Banks affirms what the other guys have said, it’s tough to find bookings and a call from Billy is always welcome.

In our brief conversation, Rob shares his thoughts on my question about his role in the shoot. Neither of us can figure it out and laugh a bit. My observation about the male talent is they are reliable, wait patiently, and do exactly what they are paid to do. They never have problems maintaining “wood” which may be natural or chemically assisted. I can’t say definitively because I don’t ask.

Billy does the behind the scenes with Madelyn immediately after her shoot. Still kneeling in front of the ottoman where Billy sits, she jokes that she didn’t want her eyes to sting (later she complains ever so slightly when she checks for redness). They discuss her ability to tell what a guy ate that day from the taste of his ejaculate and how she has no dating life. Mirroring Billy’s reaction, I find that hard to believe. Madelyn is the perfect girl-next-door with a hidden hell-bent-for-leather eagerness to please.

Back in the make-up room Madelyn’s puckish dimples continue to glow. She’s got an impishness that reminds me of the neighborhood lass who teases the boys then jumps behind the garage with one of them. Mischief is written all over her even after she changes out of her porno heels and short skirt into sweats. Oh yes, her shoot was condom-only. Let’s hear it for safer sex.

That’s My Day

The Smut Den is one of the easiest going workplaces I’ve ever experienced. Everyone is joking, Andy and Madelyn walk around in various states of undress (very common in porn), Doron continues his editing while Billy gets out the checkbook. Maggie wanders around, a cross between bored and slightly humored.

The Smut Den verifies what I have always thought about the adult business. The people who make porn are as everyday as the rest of us, perhaps more so.

Twenty-three-year-old porn veteran Gracie Glam stops by to pick up Andy and I introduce myself. After Gracie strips off some of her duds, Billy takes a few minutes to do some quick polaroids for his private collection. In the meantime I discover that I’ve missed an email from Tara Lynn Foxx about dinner. I’m sure she would have stopped by the Smut Den as she is a veteran of blacksonblondes and like everyone else, loves Billy Watson. The hour is later than the former college instructor had planned so everyone is gathering up their stuff.

“That’s my day,” he says, as we head out. Billy will join us for a few steps at least. Maggie needs a walk.