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Monday, March 7, 2005

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Mike Ramone - AVN Editor In Chief

Tim Connelly used to have that title along with that of AVN publisher. Paul Fishbein is AVN president. I understand that Tim is in charge of budgeting and hiring and that while Paul kicked himself upstairs, he's still active on the editorial side with Tim and Mike (who was initially unhappy when Tim came on board). Tim and Paul are the public faces of AVN.

Eon McKai Interviewed On Nerve.com

How did you become involved with VCA?

VCA have traditionally been a filmmakers' porn company, and they really needed a new line of product. They had the Dark Brothers, Antonio Pasolini and Veronica Hart, who was a big mentor of mine; I spent a lot of time on her sets. So it was a good match. I'm not sure if they have a full understanding of what I'm bringing them yet. Basically, I'm really making movies for me and my friends. People who like Suicide Girls, people who like Burning Angel. VCA are shooting for hardcore raincoaters, whereas I really know who my audience is. I'm actually in contact with them from my website.

Vanessa Blue Unleashes Fem-Dom Vision on Hustler

Dan Miller writes for AVN.com:

"Most of us are made to feel inferior or not as important as the guy, and I let the girl know from the makeup chair that she's the most important thing," Blue said. ". I happen to be getting pretty lucky with picking the right girls. Most of us have a lot of pent-up sexual energy that we're not allowed to let go of. I try to get the girls to let go of that sexual energy. If she has the energy, I try to let the girl do more of the f---ing than the guy. We make it very pro pussy."

She continued, "I will never shoot a scene where the girl is in anything less than a position of power. There is enough product like that already."

Forbes Says Vivid Is Going Public

Here's an excerpt from the article: "Hirsch, who controls 33% of Vivid's equity, split the proceeds of the sale with two partners."

So who are Steve's two partners? I only know of David James. Vivid's public face Bill Asher must have an ownership position.

Deep Throat Numbers Real

Directors of the Inside Deep Throat Documentary, Fenton Bailey & Randy Barbato, wrote the following letter to the LA Times:

Michael Hiltzik's reluctance to believe our research that a little film like "Deep Throat", www.xxxdeepthroat.com could generate $600 million in revenue is understandable. But as the Deep Throat of Watergate fame said, "Follow the money":

Banning a film didn't mean that theaters didn't show it or that people didn't go to see it. Quite the reverse; they flocked to the theaters in droves. What's more, because it was banned and because it was a hot ticket, theater owners across the country (Denver, Houston, Milwaukee, etc.) charged $5 a ticket, more than double the average price. On special occasions - after a police raid in Atlanta, for example - prices soared to $10.

No wonder an FBI field report (obtained by us under the Freedom of Information Act) shows that two theaters were generating a gross of $100,000 a week from "Deep Throat."

And though Variety tracked domestic grosses from "Deep Throat" during the first few years of its release, its box-office chart reflected a sample of no more than five theaters. Yet various sources, including the New York Times, claimed that the film played in more than 70 U.S. cities within six months of release.

So with twice the screenings, four times the ticket price and at least 10 times the number of screens, we feel that $110 million is a conservative estimate of the domestic box-office take enjoyed by "Deep Throat" since its release.

But wait, there's more. "Deep Throat" was licensed to at least 75 foreign territories for theatrical release. Even if we were to take a conservative figure of just more than $1 million per territory, that's $80 million.

It's fair, as well, to add $26.5 million for skimming, shenanigans and lapses of accounting both in the U.S. and overseas. And then there's video and DVD.

We know that by 1995 more than 3 million VHS cassettes of "Deep Throat" had been sold. Hiltzik is right that VHS players were expensive in the late '70s and early '80s, but that didn't deter people from buying them. And it wasn't just VCRs that were expensive; tapes were too.

When "Deep Throat" was first released on video in 1977, the average price was about $180. Arrow Productions, the current distributor of the film, estimates that half the copies sold at this premium price. Thereafter the price drifted down to the $60 mark, which is the average retail price Arrow calculated for the sale of the other 1.5 million units. That brought total video revenue of $360 million until 1995.

On top of that, there's rental income. Variety reported that by 1994, VHS rentals from "Deep Throat" had made $20 million. So that's $380 million, not even counting the last 10 years in DVD and video sales and rentals. Currently, Arrow Productions sells on average about 15,000 "Deep Throat" DVDs a year, generating almost $5 million over the last decade.

So by adding our box-office total of $216.5 million to our DVD and video sales of $385 million, we get a grand total of more than $600 million (a total that excludes all the hotel pay-per-view delivery that is currently the lifeblood of the adult entertainment business).

Yes, it's quite possible that $600 million is indeed "baloney." But that's because the true figure is probably even higher than that.

I wrote a similar letter to Michael Hiltzik when his article came out. He didn't bother respond. I guess he's above all that.

Blacks and Jews

Josh Alan Friedman: A Life Obsessed With Negroes.

I got a DVD of this feature-length documentary by first-time director Kevin Page. The film is on the festival circuit hoping to get picked up for broader distribution.

Josh Alan in his Screw days Josh today on Times Square Smut Peddler Al Goldstein, Jim Buckley, founders of Screw magazine Screw Screw Screw Josh Alan Raven De La Croix Josh, Raven on Midnight Blue Raven De La Croix Josh's wife Peggy Bennett Peggy Bennett Tales of Times Square Josh interviewed about his book in 1986 on Channel 11 in NYC Josh with a guy now on CNN Josh Alan in 1986

The film begins with Josh on the modern 42nd Street and Broadway in Manhattan. He says the word "Jews" rhymes with more words than any other word in the dictionary yet it is very rarely used in pop music.

Josh says he started writing for Screw in the summer of 1976. His first published story was headlined "Schtupping A Spic."

Standing on Times Square today, Josh says "it's all Japanese. It's all Disneyfied... It's retailtainment. That's the new pornography of Times Square."

Josh: "I would've been 21. My first publication came out. It was the only time my mother threw me out of the apartment and I went forlornly dejected down to Times Square with a Royal typewriter and a suitcase. I found myself a $5 flophouse [on 47th Street off Eighth Avenue]. I was thinking, this is where I belong. I went out late at night to the newsstand and copped a copy of Screw. And found my story [November 22, 1976 issue] that I had submitted months before. I was on cloud nine. I might've even killed myself if it wasn't for seeing my first published piece in Screw.

"Screw was started in 1968 by two renegade hippies -- Al Goldstein and Jim Buckley."

Jim appears in the 1971 film Mysteries of the Orgasm:

This is the first (and still the most) explicit appearance of an erect penis in a non-porn feature movie. Jim Buckley, the editor of Screw magazine, appears as himself getting a plaster mold made of his penis by sculptress Nancy Godfrey. He first takes off his pants and lies on the couch. Nancy then starts giving him a handjob until he achieves a full erection (telling him to close his eyes and think of something sexual). She then wraps his erect penis in plastic and applies the plaster. This is followed by a shot showing the mold being opened and the emergence of a copy of his penis made out of red plastic (which would make a very good weapon). The whole scene lasted around five minutes and left nothing to the imagination.

Josh: "It was the first underground sex newspaper of New York to show everything. Al Goldstein but a paid heavy price...but in his footsteps came the whole porn industry.

"The last thing I wanted to do was to write for Screw fulltime. I'd already been published in Penthouse and New York magazine. I had this lofty feeling that I was going up in the world. But I was broke and needed a job badly. Screw offered me one [in 1980], beginning as associate editor. I took the job reluctantly. I felt depressed. I wanted to work at Saturday Night Live. I had been going to their meetings that year. There were a few people there trying to get me a job as a writer.

"My pieces would get picked up in Gent and Cavalier magazine because their editors were afraid to go into these places. I soon found out that going inside these sawdust floor scumatoriums was safer on the inside than it was on the street."

There's an excerpt from Al Goldstein's show Midnight Blue:

Josh: "Headling at the Melody Burlesque this week is Raven de la Croix. [Photos of Raven.] She ran off to live with bikers, to make X films. She's had a recording career.

"You've worked a lot on the Canadian circuit."

Raven: "That's where I started. After I had starred in my first film [Up!], I was in the music business as a record promoter before then, I was asked by Creative Directions, a California company, to write a screenplay [about strippers]. They liked my flair in writing, so they handed me a project.

"I got a phone call at the same time asking me to headline in Canada. I had never taken off my clothes in front of anybody... Then I figured I'd combinate the two, getting the material on strippers by performing in places and interviewing the girls and getting firsthand experience so I could write the star character in from a real point of view."

According to IMDB.com, Raven was born Lynn Christie Anna De La Croix on August 24, 1947.

Has worked as an actress, a stripper, a writer and a psychic. Is 3/4th Cherokee and French Indian.

Measurements: 42DD at the time of her burlesque career, now a 38D after reduction procedures. (Source: Celebrity Sleuth magazine)

Raven appeared in the 1976 Russ Meyer film Up! along with Kitten Natividad.

Josh replies to my question: "Of course I banged Raven, and thought she was totally charming, terrific, sincere and innocent."

Josh grew to love working at Screw. He met his wife and his best friend there -- Richard Jaccoma. "I quit smoking there. We all did.

"With a Screw press pass, I was able to get backstage anywhere and get treated like a prince in these Mob arenas.

"Most people assume that I left New York after [Tales of Times Square] was published because the Mob was after me. The Mob was not after me. They were not very pleased with the book."

Josh's brother Drew does not appear in the film. He doesn't like being interviewed, especially on camera.

"Drew hasn't seen the documentary," emails Josh. "Didn't come to my book/documentary party in New York last Dec. (He's a recluse way out in the mountains of Pennsylvania). It's possible he won't ever bother to see it, unless it goes to HBO or one of the cable stations. I talk to him about once a year."

Josh: "Our comic books were an attack on celebrity. It's a sickness throughout our culture."

Cartoonist Robert Crumb called Drew Friedman the "Robert Crumb of the '80s.

"Drew and I lived [the race question] in a way that few people have.

"Somebody coined us 'investigative cartoonists.'

"The sensation of laughing and being frightened is my favorite emotion entertainmentwise.

"Every time we had a comic strip, it seemed that a few months SCTV had a similar sketch with the same sort of non-sequitir style we had.

"Everybody thought it was Drew. I always felt like I didn't get any credit. He was the star. I would've liked to have kept doing comic strips.

"Drew had no interest in movies based on our cartoons. He believed in the anti-celebrity message. I would've loved to have done a Friedman Brothers movie but he didn't. That's why we broke up."

Josh's mom Ginger: "I wanted to be a professional artist too but I had children, one after the other after the other. I had done a lot of modeling. When you're constantly pregnant, you can't go out and audition. So I gave it all up. I've written three acting books. I've been teaching acting for quite a while."

Josh was an out-of-control kid. Drew was sedentary.

Josh wears sunglasses in the documentary, even at night. I thought he was a poseur, but he writes: "The sunglasses are prescription, more comfortable than regular glasses, and can't see well without 'em."

Josh: "As far as success goes, the parallel ends right there because he's had best-selling books, hit plays and hit movies. I ain't had that. I've had cult success. When my father was this age [48], he'd already hit the best-seller list and had a hit play and I'm still shlepping along. I think about that sometimes."

Bruce Jay Friedman: "My aspirations were to be a serious writer. I kept a strict separation between the magazines [Men, Man, For Men Only, True Action] and my 'serious work.'

"Our books had the name without the game. 'Nympho' was the word we'd use whenever sales were slow. They weren't terribly sexy but there was a little promise of it. Gradually they got nakeder and nakeder.

"I didn't write any of those stories. I was preserving that time to do something you could argue was better.

"If I had been working at Time/Life, writing Time/Life stories, I doubt seriously whether I could've written fiction. The records show that few people from Time/Life over these many years have ever done the kind of thing that I do, that Mario [Puzo] did, and George Fox did and so many others [who worked for these men's magazines]."

I see an article in one of Bruce's magazines entitled "A Gentleman's Guide To Girl Pinching." It was by the late A. C. Spectorsky.

Ginger Friedman: "We were very social. We were out at Elaine's every night. It was terrible. I should've been a better mother. I just wanted to go out and have fun. So did Bruce. He wrote every night. We saw every Broadway show. We saw every off-Broadway show. Every movie. Parties."

Bruce: "I don't think anybody in the history of Hollywood had more fun than I had. Every time I got out there I felt like I was turned loose in an adult candy store."

Josh's parents say they would've preferred him to write for The New Yorker rather than Screw. "I suppose I should've been upset, but I really wasn't," says Bruce.

Adam Parfrey writes in his superb 2003 book It's A Man's World:

Speaking to the several extant writers and editors of the men's adventure magazine genre, I was surprised by how little they were aware that their publications put across themes that might be interpreted as being racist, misogynist, imperialist, or any other postmodern academic construct today.

"That was the way things were," said Bruce Jay Friedman, editor of several Man's Management Publications. "We didn't think twice about it."

Most scribes laboring for Martin Goodman's Magazine Management firm and other repositories of adventure magazines spoke of feeling like well-compensated slaves of a very particular style ["man triumphant] that was not their own.

This was not the style with which editor Bruce Jay Friedman felt most comfortable, and when editing publications for Martin Goodman he unsuccessfully tried to talk him out of running advertisements for trusses, an ad signalling the magazine's target audience: blue-collar yahoos. It would be years before he could raise his head at industry cocktail parties, when his acclaimed examples of "black humor fiction" were seen as appropriate material for a hipper, more monied crowd.

Bruce Jay Friedman writes in It's A Man's World:

Would-be masturbators were made to settle for a few lubricious crumbs. "Throw 'em a few hot words," was Martin Goodman's edict when a nervous editors uggested heating things up a bit for sales. These were along the lines of "heaving breasts," "long shapely legs," "a flash of pink panties." It may be that a "dark triangle" or two slipped by, but I rather doubt it. In the pictorial division, each magazine ran a set of pictures of young women in bathing suits throwing haughty looks over their shoulders. The famed Magazine Management retoucher was Murray Shapiro, whose coveted job it was to airbrush out nipple aerolas and pubic hair strands on photos of cheesecake models who had been careless during shooting sessions. There is no record that a single areola or strand ever slipped past his eagle eye and made its way to the newsstand. (From the look Stag took on in the late '70s, one gathers that Shapiro had undergone a wild career change, spending his hours dabbing back in strands quite similar to the ones he spent so much time erasing.)

Josh turns to his mother: "You didn't want me to name my album 'Blacks and Jews.'"

Ginger: "I was afraid for you. I was afraid somebody would come after you.

"I had a relationship for several years with a wonderful black man who the boys loved."

There's a ridiculous video of Josh wearing his sunglasses, a yarmulke and a prayer shawl playing his guitar and singing his song Blacks and Jews at Temple Shearith Israel before 8-12th graders.

Josh: "I had no awareness of Jewishness when I was a kid. My father was bar mitzvahed and grew up in a whole different era when anti-Semitism was prominent in America. I thought 'Jew' was just a dirty word you call someone. I thought it just meant 'you sonofabitch,' or 'you bastard.' I had no Jewish consciousness other than the showbusiness consciousness."

Bruce: "In the 1950s, there weren't any people with Jewish names who had careers as writers. You changed your name. Irwin Shaw wasn't Irwin Shaw. There were a few. Henry Roth. A lot of them wrote that early book and went out to Hollywood."

Josh talks about the story he wrote in highschool -- "Black Cracker" -- about his experience as the only white kid at an all-black school in Glen Cove, Long Island. "To this day I haven't gotten a solid answer from my parents about what I was doing there."

Ginger: "You caused a lot of trouble in that school, not them. You were a bad boy. I didn't want to send you there. Dad and I fought about that. He said, I thought you were a liberal. I said, yes, I am, but I don't want my kids to go to that school..."

Bruce: "I was lax about it and irresponsible. It was probably a bitch. It was an era when men took care of the big picture... and women took care of the small stuff like where you send your kids to school."

Josh: "I didn't know I was white until I was ten years old.

"Drew went to the school for two years."

Bruce shakes his head. "I didn't realize that."

Josh: "I've been obsessed with negroes ever since."

Bruce: "I had a powerful civil rights conscience. I kept pretending that there were two-or-three other semi-white kids... There was something morally wrong with switching on that basis."

Josh: "I seem to recall that the first time Drew got beat up there, dad said, 'Get my kid the hell out of that shvartze school.' All of a sudden you weren't a liberal."

Ginger: "Of course. Once we saw that your lives were in danger..."

Josh eventually published the story Black Cracker in Penthouse in 1978. A young black female editor quit in protest.

Josh: "I'm constantly living in the past in my head. I have my own vision of New York. I don't like the world the way it is right now so I live in a fantasy world of my own imagining that I'm in New York 50 years ago.

"I saw a reflection of [Josh's family's life] coming out in my father's work on stage and in fiction... My father kept a strict definition of what he did as fiction but it didn't always read that way. Likewise, Chloe will see that her father wrote books with titles like When Sex Was Dirty. You just can't worry about what your parents or children will think about the controversy of your work or you will be frozen."

At the end of the documentary, Josh returns to Glen Cove and finds out that the most memorable blacks he went to school with were dead from narcotics.

At the end of the film, Josh reads for 17-minutes from his unpublished unfinished novel Black Cracker. He may turn it into a memoir a la Angela's Ashes.

Blacks and Jews

Josh Alan Friedman: A Life Obsessed With Negroes.

I got a DVD of this feature-length documentary by first-time director Kevin Page. The film is on the festival circuit hoping to get picked up for broader distribution.

Josh Alan in his Screw days Josh today on Times Square Smut Peddler Al Goldstein, Jim Buckley, founders of Screw magazine Screw Screw Screw Josh Alan Raven De La Croix Josh, Raven on Midnight Blue Raven De La Croix Josh's wife Peggy Bennett Peggy Bennett Tales of Times Square Josh interviewed about his book in 1986 on Channel 11 in NYC Josh with a guy now on CNN Josh Alan in 1986

The film begins with Josh on the modern 42nd Street and Broadway in Manhattan. He says the word "Jews" rhymes with more words than any other word in the dictionary yet it is very rarely used in pop music.

Josh says he started writing for Screw in the summer of 1976. His first published story was headlined "Schtupping A Spic."

Josh emails: "I didn't title it "Schtupping A Spic," they did, and I lost a close Puerto Rican friend because of that."

Standing on Times Square today, Josh says "it's all Japanese. It's all Disneyfied... It's retailtainment. That's the new pornography of Times Square."

Josh: "I would've been 21. My first publication came out. It was the only time my mother threw me out of the apartment and I went forlornly dejected down to Times Square with a Royal typewriter and a suitcase. I found myself a $5 flophouse [on 47th Street off Eighth Avenue]. I was thinking, this is where I belong. I went out late at night to the newsstand and copped a copy of Screw. And found my story [November 22, 1976 issue] that I had submitted months before. I was on cloud nine. I might've even killed myself if it wasn't for seeing my first published piece in Screw.

"Screw was started in 1968 by two renegade hippies -- Al Goldstein and Jim Buckley."

Jim appears in the 1971 film Mysteries of the Orgasm:

This is the first (and still the most) explicit appearance of an erect penis in a non-porn feature movie. Jim Buckley, the editor of Screw magazine, appears as himself getting a plaster mold made of his penis by sculptress Nancy Godfrey. He first takes off his pants and lies on the couch. Nancy then starts giving him a handjob until he achieves a full erection (telling him to close his eyes and think of something sexual). She then wraps his erect penis in plastic and applies the plaster. This is followed by a shot showing the mold being opened and the emergence of a copy of his penis made out of red plastic (which would make a very good weapon). The whole scene lasted around five minutes and left nothing to the imagination.

Josh: "It was the first underground sex newspaper of New York to show everything. Al Goldstein but a paid heavy price...but in his footsteps came the whole porn industry.

"The last thing I wanted to do was to write for Screw fulltime. I'd already been published in Penthouse and New York magazine. I had this lofty feeling that I was going up in the world. But I was broke and needed a job badly. Screw offered me one, beginning as associate editor. I took the job reluctantly. I felt depressed. I wanted to work at Saturday Night Live. I had been going to their meetings that year. There were a few people there trying to get me a job as a writer.

"My pieces would get picked up in Gent and Cavalier magazine because their editors were afraid to go into these places. I soon found out that going inside these sawdust floor scumatoriums was safer on the inside than it was on the street."

There's an excerpt from Al Goldstein's show Midnight Blue:

Josh: "Headling at the Melody Burlesque this week is Raven de la Croix. [Photos of Raven.] She ran off to live with bikers, to make X films. She's had a recording career.

"You've worked a lot on the Canadian circuit."

Raven: "That's where I started. After I had starred in my first film [Up!], I was in the music business as a record promoter before then, I was asked by Creative Directions, a California company, to write a screenplay [about strippers]. They liked my flair in writing, so they handed me a project.

"I got a phone call at the same time asking me to headline in Canada. I had never taken off my clothes in front of anybody... Then I figured I'd combinate the two, getting the material on strippers by performing in places and interviewing the girls and getting firsthand experience so I could write the star character in from a real point of view."

According to IMDB.com, Raven was born Lynn Christie Anna De La Croix on August 24, 1947.

Has worked as an actress, a stripper, a writer and a psychic. Is 3/4th Cherokee and French Indian.

Measurements: 42DD at the time of her burlesque career, now a 38D after reduction procedures. (Source: Celebrity Sleuth magazine)

Raven appeared in the 1976 Russ Meyer film Up! along with Kitten Natividad.

Josh replies to my question: "Of course I banged Raven, and thought she was totally charming, terrific, sincere and innocent."

Josh grew to love working at Screw. He met his wife and his best friend there -- Richard Jaccoma. "I quit smoking there. We all did.

"With a Screw press pass, I was able to get backstage anywhere and get treated like a prince in these Mob arenas.

"Most people assume that I left New York after [Tales of Times Square] was published because the Mob was after me. The Mob was not after me. They were not very pleased with the book."

Josh's brother Drew does not appear in the film. He doesn't like being interviewed, especially on camera.

Josh: "Our comic books were an attack on celebrity. It's a sickness throughout our culture."

Cartoonist Robert Crumb called Drew Friedman the "Robert Crumb of the '80s.

"Drew and I lived [the race question] in a way that few people have.

"Somebody coined us 'investigative cartoonists.'

"The sensation of laughing and being frightened is my favorite emotion entertainmentwise.

"Every time we had a comic strip, it seemed that a few months SCTV had a similar sketch with the same sort of non-sequitir style we had.

"Everybody thought it was Drew. I always felt like I didn't get any credit. He was the star. I would've liked to have kept doing comic strips.

"Drew had no interest in movies based on our cartoons. He believed in the anti-celebrity message. I would've loved to have done a Friedman Brothers movie but he didn't. That's why we broke up."

Josh's mom Ginger: "I wanted to be a professional artist too but I had children, one after the other after the other. I had done a lot of modeling. When you're constantly pregnant, you can't go out and audition. So I gave it all up. I've written three acting books. I've been teaching acting for quite a while."

Josh was an out-of-control kid. Drew was sedentary.

Josh wears sunglasses in the documentary, even at night. I thought he was a poseur, but he writes: "The sunglasses are prescription, more comfortable than regular glasses, and can't see well without 'em."

Josh: "As far as success goes, the parallel ends right there because he's had best-selling books, hit plays and hit movies. I ain't had that. I've had cult success. When my father was this age [48], he'd already hit the best-seller list and had a hit play and I'm still shlepping along. I think about that sometimes."

Bruce Jay Friedman: "My aspirations were to be a serious writer. I kept a strict separation between the magazines [Men, Man, For Men Only, True Action] and my 'serious work.'

"Our books had the name without the game. 'Nympho' was the word we'd use whenever sales were slow. They weren't terribly sexy but there was a little promise of it. Gradually they got nakeder and nakeder.

"I didn't write any of those stories. I was preserving that time to do something you could argue was better.

"If I had been working at Time/Life, writing Time/Life stories, I doubt seriously whether I could've written fiction. The records show that few people from Time/Life over these many years have ever done the kind of thing that I do, that Mario [Puzo] did, and George Fox did and so many others [who worked for these men's magazines]."

I see an article in one of Bruce's magazines entitled "A Gentleman's Guide To Girl Pinching." It was by the late A. C. Spectorsky.

Ginger Friedman: "We were very social. We were out at Elaine's every night. It was terrible. I should've been a better mother. I just wanted to go out and have fun. So did Bruce. He wrote every night. We saw every Broadway show. We saw every off-Broadway show. Every movie. Parties."

Bruce: "I don't think anybody in the history of Hollywood had more fun than I had. Every time I got out there I felt like I was turned loose in an adult candy store."

Josh's parents say they would've preferred him to write for The New Yorker rather than Screw. "I suppose I should've been upset, but I really wasn't," says Bruce.

Adam Parfrey writes in his superb 2003 book It's A Man's World:

Speaking to the several extant writers and editors of the men's adventure magazine genre, I was surprised by how little they were aware that their publications put across themes that might be interpreted as being racist, misogynist, imperialist, or any other postmodern academic construct today.

"That was the way things were," said Bruce Jay Friedman, editor of several Man's Management Publications. "We didn't think twice about it."

Most scribes laboring for Martin Goodman's Magazine Management firm and other repositories of adventure magazines spoke of feeling like well-compensated slaves of a very particular style ["man triumphant] that was not their own.

This was not the style with which editor Bruce Jay Friedman felt most comfortable, and when editing publications for Martin Goodman he unsuccessfully tried to talk him out of running advertisements for trusses, an ad signalling the magazine's target audience: blue-collar yahoos. It would be years before he could raise his head at industry cocktail parties, when his acclaimed examples of "black humor fiction" were seen as appropriate material for a hipper, more monied crowd.

Bruce Jay Friedman writes in It's A Man's World:

Would-be masturbators were made to settle for a few lubricious crumbs. "Throw 'em a few hot words," was Martin Goodman's edict when a nervous editors uggested heating things up a bit for sales. These were along the lines of "heaving breasts," "long shapely legs," "a flash of pink panties." It may be that a "dark triangle" or two slipped by, but I rather doubt it. In the pictorial division, each magazine ran a set of pictures of young women in bathing suits throwing haughty looks over their shoulders. The famed Magazine Management retoucher was Murray Shapiro, whose coveted job it was to airbrush out nipple aerolas and pubic hair strands on photos of cheesecake models who had been careless during shooting sessions. There is no record that a single areola or strand ever slipped past his eagle eye and made its way to the newsstand. (From the look Stag took on in the late '70s, one gathers that Shapiro had undergone a wild career change, spending his hours dabbing back in strands quite similar to the ones he spent so much time erasing.)

Josh turns to his mother: "You didn't want me to name my album 'Blacks and Jews.'"

Ginger: "I was afraid for you. I was afraid somebody would come after you.

"I had a relationship for several years with a wonderful black man who the boys loved."

There's a ridiculous video of Josh wearing his sunglasses, a yarmulke and a prayer shawl playing his guitar and singing his song Blacks and Jews at Temple Shearith Israel before 8-12th graders.

Josh: "I had no awareness of Jewishness when I was a kid. My father was bar mitzvahed and grew up in a whole different era when anti-Semitism was prominent in America. I thought 'Jew' was just a dirty word you call someone. I thought it just meant 'you sonofabitch,' or 'you bastard.' I had no Jewish consciousness other than the showbusiness consciousness."

Bruce: "In the 1950s, there weren't any people with Jewish names who had careers as writers. You changed your name. Irwin Shaw wasn't Irwin Shaw. There were a few. Henry Roth. A lot of them wrote that early book and went out to Hollywood."

Josh talks about the story he wrote in highschool -- "Black Cracker" -- about his experience as the only white kid at an all-black school in Glen Cove, Long Island. "To this day I haven't gotten a solid answer from my parents about what I was doing there."

Ginger: "You caused a lot of trouble in that school, not them. You were a bad boy. I didn't want to send you there. Dad and I fought about that. He said, I thought you were a liberal. I said, yes, I am, but I don't want my kids to go to that school..."

Bruce: "I was lax about it and irresponsible. It was probably a bitch. It was an era when men took care of the big picture... and women took care of the small stuff like where you send your kids to school."

Josh: "I didn't know I was white until I was ten years old.

"Drew went to the school for two years."

Bruce shakes his head. "I didn't realize that."

Josh: "I've been obsessed with negroes ever since."

Bruce: "I had a powerful civil rights conscience. I kept pretending that there were two-or-three other semi-white kids... There was something morally wrong with switching on that basis."

Josh: "I seem to recall that the first time Drew got beat up there, dad said, 'Get my kid the hell out of that shvartze school.' All of a sudden you weren't a liberal."

Ginger: "Of course. Once we saw that your lives were in danger..."

Josh eventually published the story Black Cracker in Penthouse in 1978. A young black female editor quit in protest.

Josh: "I'm constantly living in the past in my head. I have my own vision of New York. I don't like the world the way it is right now so I live in a fantasy world of my own imagining that I'm in New York 50 years ago.

"I saw a reflection of [Josh's family's life] coming out in my father's work on stage and in fiction... My father kept a strict definition of what he did as fiction but it didn't always read that way. Likewise, Chloe will see that her father wrote books with titles like When Sex Was Dirty. You just can't worry about what your parents or children will think about the controversy of your work or you will be frozen."

In the film's final act, Josh reads for 17-minutes (about the time he was almost lynched at age eight by the family and friends of his classmates) from his unpublished unfinished novel Black Cracker. He may turn it into a memoir a la Angela's Ashes.

Josh emails: "I definitely was when I was about 8. However, the book chapter is more a composite of numerous trips to "the colored section." Impossible to relate incidents from 40 years ago exactly as they happened because the imagination plays tricks and you dream about it over the decades. That's why I want to present it as a novel."

At the end of the documentary, Josh returns to Glen Cove and finds out that the black kids he went to school with are either dead or in prison. Nobody remembers him.

I am not racist, but Indian programmers are assholes

Kard63 writes on GFY: "I suppose they have different manners over there. Maybe I have just been unlucky. I've never had people vanish in the middle of a discussion and not get back with me for 5 days."

Vendot writes:

Thats sad to hear - ive worked with tons of Indian programmers and found them to be hardworking, polite and very keen to please. Internet connections over there are CRAP (seriously crap) and they tend to drop the line every few minutes so its possible that this is what happened. I think it happens more when theyre using an instant messenger service from my experience. That said, ive noticed that some of my indian programmers have a different "protocal" whereby netiquette is concerned and maybe its just a cultural difference. As regards hating the white man........ that is not true either. They love "da white man" and infact they highly respect europeans and americans. Remember that India is formerly a British colony and still has massive influences over there. A lot of GFY folk seem to think that India is just beggars, sand dunes and desert. Which just aint true - the kids listen to western music (metallica is huge over there), wear designer labels, use mobile phones and frequent McDonalds/Kfc etc etc on a regular basis. They have more or less everything we have over there (except for nice internet connections).

Penthouse Supports Our Troops

I noticed on the cover of the April issue of Penthouse a yellow ribbon which reads, "Support our troops."

When I opened the magazine and started looking at the photos of naked chicks, I felt positively patriotic.

Gil Reavill, author of the new book Smut: A Sex-Industry Insider (and Concerned Father) Says Enough is Enough, interviews MrSkin:

McBride's mother, who works part-time on the Website from her home in Arizona, is a "skintern"; the 30 other employees in his "skinpire" are "skinployees."

Mr Skin: "Probably the rarest we have is a Melanie Griffith movie that she did when she was around 19 years old. It's a 1977 Israeli movie called Ha-Gan, which means "the garden." She's full-frontal nude practically throughout the movie.

"Another great one is Barbara Bach, Ringo Starr's wife. She did an Italian movie, Ecco Noi Per Esempio [1977], and she's full-frontal nude in it. Lindsay Wagner was the Bionic Woman. She did a movie called Two People with Peter Fonda in the early seventies... We also have pics of Brigitte Bardot's first nude scene, when she was 18 years old.

"Probably the number one example [of an actress who has gone nude and should not have] is Jessica Tandy when she was 85 years old, in a movie called Camilla [1994]."

TheEroticReview has a full-page ad on the last page. "Will she?"

Former Korn Guitarist Baptized in the Jordan River

KIBBUTZ KINNERET, Israel (March 6) - Ex-metal guitarist Brian "Head" Welch was baptized Saturday in the Jordan river, just weeks after quitting his band, drug habits and rock-and-roll lifestyle for religion.

Welch, a founding member of the multi-platinum metal band Korn, joined some 20 other white-robed Christian pilgrims from a Bakersfield, California, church who were immersed by their pastor, Ron Vietti, in the cool, gray waters near the shore.

Skeeter Kerkove Dishes About Crystal Ray

Skeeter writes on ADT:

Crystal Ray called me about one month ago! She has a 19 year old boyfriend who doesn't want her doing porn. He does not have a job, they lived with his mom for a while. He will only let her "turn tricks", when they need money for speed and cannot hustle the speed any other way. Crystal Ray was a great girl! A true whore, porn star and slut. Often on my sets, she would have sex off camera before her scene and after her scene. Hopefully she will return to take some more dick deep in her ass! As far as the other girls, I do not even know who they are. Crystal Ray has been to jail a couple of times, however she was only in there for a week at a time.

Mayor Of Chatsworth writes:

Ander Page left the biz in mid 2003, and got married and had a kid. She and Filipina porn chick, Loni, were good friends. IMHO, Ander was one of the hottest girl who ever did porn.

Melody Maxx wasn't in the biz very long, just long enough to get a nose job, buy a car, clothes, etc. I too heard she and her boyfriend opened a clothing store on Melrose. I don't think she really liked doing porn much.

Austyn Moore Interview

I speak by phone Saturday night, March 5, with the new Adam & Eve contract girl.

I've seen her a couple of times at the AVN show in Las Vegas.

Duke: "When you were a girl, what did you want to be when you grew up?"

Austyn: "I wanted to be an elementary school teacher. When I graduated from high school, and went to college, I studied for elementary education. Then I decided that I couldn't handle that many kids at one time.

"I got my college degree in science. Everybody was disappointed because everybody expected me to be a teacher. Now they don't expect me to be this either. You can never tell.

"I was a dental hygienist for a few years."

Duke: "What kind of student were you in highschool and college?"

Austyn: "I was a really good student. In highschool, I graduated with a 3.3 GPA and in college with a 3.8. My SAT score was not good. In the 1100s. I only took it one time. Afterwards, I said, I am never taking that again. Thank G-d I got accepted [to college] on that. The majority of my score was math. My English score was horrible. Forget this s---!"

Duke: "Were you a cheerleader?"

Austyn: "I was. From being a child through middleschool to highschool. I was captain of the cheerleading squad one year and I was the fly girl because I was so little -- the one they throw up in the air and then drop on the floor.

"I'm 100 pounds and 5' tall. I measure 34C-24-34. No implants. I'm all natural. I've never been altered in any way."

Austyn has one tattoo - a dolphin on her right bottom cheek. She has a belly button piercing. "I would never get another tattoo. I barely survived the one on my back."

Duke: "How old were you when you lost your virginity?"

Austyn: "I was 14. It's always awkward the first time, but once I started, I never stopped."

Duke: "How many guys did you sleep with in highschool?"

Austyn: "About five. I was more into school and sports. I ran track."

Duke: "In college?"

Austyn: "I started experimenting more. The whole girl thing."

Duke: "Did you ever sleep with two guys at once?"

Austyn: "Definitely. And a couple of girls. The whole thing. Very exciting stuff."

Duke: "How did you get into porn?"

Austyn: "I started a web site three years ago -- www.AustynMoore.net. It went from there. Taking pictures. Doing amateur stuff on my website. Then I started doing videos just for my website. In December of 2004, I was on the cover of Hustler. Then it evolved a lot after that. I've always been very sexual and into people watching me have sex.

"I went to AVN a few years and checked it out. This year I was at the Hustler booth signing my magazine. The year before that, I was just walking around, trying to network and meet people."

Duke: "When are you shooting your first movie for Adam & Eve?"

Austyn: "I'm not sure. I think they're working on scripts and stuff."

Duke: "Why did you choose Adam & Eve?""

Austyn: "I like what their company stands for. They are very couples-oriented. Every time I've met with them, they're all business-oriented. I'm friends with Carmen Luvana. She has only great things to say about them."

Austyn quit working as a dental hygienist six months ago. She says all her family and friends know about her web site and they support her.

Duke: "What do you want out of life?"

Austyn: "Peace and happiness. I want to have an awesome career."

Duke: "Do you want to get married and have kids one day?"

Austyn: "Possibly. I don't have any baby itches at this point."

Duke: "How do you spend your spare time?"

Austyn: "I enjoy going to the gym, shopping, hanging out with my friends and family."

Duke: "Do you like to read?"

Austyn: "No. I like to read People magazine but reading books? Not really."

Austyn moved to Los Angeles in January.

Duke: "Do you get recognized?"

Austyn: "Funny that you asked me that. Yesterday I was walking my dog and somebody recognized me. They walked by me, four guys, and they're like, 'I think that's Austyn.'

"I was on the phone with my mom. I turned around and went, 'ohmygosh.' They said, 'Austyn, Austyn, that was a beautiful cover.' I said thank you.

"What the hell was that? I felt like Julia Roberts for a minute.

"That was cool. It makes you feel good.

"LA is a lot different from where I'm from [Florida]. I like it here. The only thing I don't like is that everybody likes to blow their horn all the time. That drives me crazy.

"I like the busyness of LA. I love the weather. Your hair always looks great. There's no humidity."

Duke: "What does humidity do to your hair?"

Austyn: "It makes your hair puff up. It doesn't lay straight like it does here. You have to be a Florida girl to know that.

"LA keeps you going. It's so hopping. Boom, boom, boom. I'm always doing something. I always want to check something out. It's young and everybody's beautiful. They take care of themselves. It's a city full of beautiful people.

"I owned a home in Florida. Now I live in a small apartment. I have a lot less cleaning to do."

Luke Literary Salon

Some friends of mine had such a good time with my diverse group of friends at my August 19, LA Press Club party for two of my books, that they want to start a regular Luke literary salon. If you want to come, email Luke (what you do for a living, what you read, etc).

I'm not organizing this because I am not an organizer. I'm an observer. But I can get you in if you're cool. Or if you're hot.

I want to keep the jerks out. One bore can ruin the evening for 100 good people.

I envision a gathering where I (or the author) give some 5-10 minute comic riff on a selected book and then leave the rest of the time for shmoozing. Or I might have a guest that I would interview and insult for 20 minutes.

I want to raise the intellectual level of discourse in Los Angeles just like I did with my Nick Gillespie interview.

Voice of Reason: Why the Left and Right Are Wrong

One of my favorite talkshow hosts of all time is Ronn Owens of KGO radio in San Francisco. In 2004, he published this book. It's mediocre. I don't think it will stand the test of time. But I find his comments here important:

I have found that arch-conservative Republicans have a great deal of concern for the individual, but don't seem to care about the group. One on one, they come across as caring, decent, even fun people, even as they support issues that either take away our rights or otherwise work to the disadvantage of large bodies of people.

A typical right-wing Republican sees a poor little Black kid panhandling in front of the Capitol. He's likely to stop, pull out his wallet, hand the kid a buck...then promptly vote against a bill that would fund a Head Start program or affordable housing for minorities.

Radical liberal Democrats, on the other hand, are very passionate when it comes to the group, but can't be bothered with the individual.

Senator Orrin Hatch is about as right-wing as you can possibly get. I watch this man whenever I talk to him, and I'm always impressed by how he deals with others and the genuine attention he pays to what you have to say. He is one of the nicest people you ever want to meet.

On the far left side, Representative Barney Frank comes off like someone who really cares about the group as a whole... Yet when you try to talk to him on a personal level, when you sit and watch him get ready to be interviewed, he comes across as really arrogant. He's pompous, he screams at people, he's just unpleasant to be around.

Pat Buchanan is another classic extreme... And yet on a personal level, he's terrific. You sit down for an interview...you joke and shmooze...

Ralph Nader...is the quintessential champion of the underdog. And yet when you first sit down with him one on one, it's as if he doesn't even know you exist.

By and large, extreme conservative Republicans are more pleasant to be around.

My Girlfriend Was An Escort

John writes:

Dear Prudence, I've fallen hard for a wonderful woman, but the more I've gotten to know her, the more things she's told me about her past-disturbing things. She's a single mother and had a hard time with work. When we met, she told me that she'd always been a secretary (which is what she does now). Then she later admitted that for a year she worked as a stripper. Now she's confessed that for another year she worked as an "escort"-and though she claims she was a real escort, namely escorting men to dinner and such, I know, as everyone does, that "escort" simply means "prostitute." I like her but don't think I can get past that. I also don't want to hurt her. Should I forgive and (try to) forget, or should I concoct an excuse to get out? Help!

Prudence responds:

For the record, some of the so-called society A-listers were launched, shall we say, as very upper-end call girls. (A current society page regular was known, years ago, as "Mimi From Geneva.") Taking an educated guess, in your case Prudie would say that the relationship has been irredeemably tarnished.

Having a blog is like putting a banana in front of the Google Gorilla

PornHero writes on GFY:

This is what you are doing when you build and maintain a blog:

Feeding time for google - nice, nutrious baby formula (your blog):

My moneymaking tip of the day.

1. Install blog script on server.

2. Pick a niche.

3. Make it a habit of making regular entries. That's the key. If you decide to wait before starting a blog, this will be you a few months from now when you find out how much traffic your buddy gets from the Google gorilla.

Director Tony T Leaves Anabolic

From ADT:

Young gun director Tony T. wants out of his contract with Anabolic Video Productions. And Anabolic says they are going to grant him his wish.

Director Chico "Wanker" Wang writes:

I trained the guy how to shoot camera, I gave him his first shot as a performer, I watched his first videos, I shot the majority of his first video, I was responsible for a huge portion of his income last year, loaned him a s---load of money, babysat alot of his scenes, created a website for him, got listings on TGPs and affiliates out of my own time and money, my set location was free for him, I listened patiently to his uncontrollable mouth, and he repaid me by doing some seriously devious s---.

Oh and for the record, the 'editor' who supposedly erased his tapes was Evil Angel editor John O 76 who has a superlative reputation and a close personal friend of mine. We actually started in the business about the same time. It wouldn't surprise me based on the surveillance tapes if 'someone' erased the tapes and then tried to blame the editor. No problem. The timelines are there and all you have to do is digitize the tapes back in and the movie will be cut. I'm sure the boys at Evil Angel will attest to his impeccable reputation and character.

In addition, I was the only director at Anabolic/Diabolic willing to hire him as a performer. I now officially will shoot Mouth 2 Mouth #2.

Not to worry about Anabolic/Diabolic. It is my contention as it always has been that the best directors are perverted editors or perverts with alot of experience in the edit bay. I have a funny feeling they'll be shooting a s---load of Internet content for me just to get their practice started. And other directors will come in to pick up the pace.

Best of luck to the guy. We were once good friends. I treated him like a kid brother and tried to guide him along. He had keys to my location house and office. But street rules apply. Let's put it this way, if he were in, let's say, the Mob, he'd be buried under Jets stadium right now. I won't even acknowledge who 'he' is.

Tony T responds:

First of all, there are a lot people that hate me on this site and I don't why. Nonetheless I am here to clear the air on some things that have been going on between Wanker Wang, Anabolic, Diabolic and myself. AVN.com opted not to put the entire story up and that is why I am here. The reason that I am leaving Anabolic and Diabolic is not only to make more money, but to avoid any further problems with people I do get not along with on a personal level.

Picman wrote on this site, "He's still primarily a performer, and as far as I know, not exclusive to Anabolic in that capacity. If he's hurting for money, then either he's lazy or other directors just don't want to use him."

Picman couldn't be more wrong! I am not hurting for money and for those who know me personally, lazy is something that I am not! I was and still am making the majority of my money through performing. While I was directing for AVP and DVP, I had no time to do much of anything else besides direct. A director that shoots for them not only has to shoot, but sit through the entire editing process as well as give his input on box covers etc. Given the amount time it takes for each movie to get done versus the money I make per movie, it was not a smart move for me to continue directing for them. I came to this business to make money and that is what I am trying to do.

Now, lets get to Ricky D... he wrote: "His words and actions speak for themselves. If Chico wants, he can detail the truths in this situation from a rational standpoint. I won't say anything because he did not personally attack me on AdultFYI.com or AVN.com. I don't know why this has to be up online, but, there's nothing that can be done at this point other than get someone with sensibility to clear the air."

What are you talking about?! This situation has nothing to do with you, but if you want to get involved you can. The truth is that you and Wanker are just as unhappy there as I was. It was Wanker making plans to leave the company and take a team of people with him. You being his little bitch, followed his footsteps and are now stuck at that company with Wanker. Everybody close to you and Wanker that aren't even involved with AVP and DVP knew that Wanker and Co. were planning to leave and make moves on the side. Now that you decided to stay with him, not only does Wanker look like a bitch whose word means nothing, but you like his puppy who follows him even when he is wrong. And if you have anything else to add, please do so. Keep in mind that this is a "truthful" conversation and bulls--- never prevails!

Now, lets get to Mr. Chico Wang, Wanker, Voltron, or whatever you want to call yourself today. You wrote a lot of bulls--- and now I will break it down.... Wanker wrote: "...Also for the record, the guy began shooting about 4 months ago and could've shot two movies a month and landed the residual deal within 6 months if he kept the pace up..., I was responsible for a huge portion of his income last year, loaned him a s---load of money, babysat a lot of his scenes, created a website for him, got listings on TGPs and affiliates out of my own time and money, my set location was free for him, I listened patiently to his uncontrollable mouth, and he repaid me by doing some seriously devious s---."

Responsible for a huge portion of my income! Name what you did for me or hooked me up with! A couple of gigs that never worked out because you never got off your ass to get it done because you were too busy talking s--- about people in the industry from behind your computer. Yeah, thanks for the hook up bro! But lets get this right, you needed me around! All those "free locations" came with free performances in your movies. The facts don't lie, go check the footage from every movie you've put out in the last year! So don't come at me like I owe you anything because I don't owe you s---! And how do come up with 6 months? I had to shoot 10 movies per company before I got a dollar from my product. That's 20 movies not only to shoot, but also get released. I still have movies on the shelf and lets see how long it takes for them to get out. They were done 2 months ago and still haven't come out. So your number of 6 months is more like 16 months! Bulls--- aside, lets tell everyone why you attack people on the net....because you want to be their friend! The way you get their attention is by attacking them because before you attack, they had no idea who the f--- you are! After that, you follow with your famous apology "sorry man, I was drunk and just typing some s---". You did it with Jules Jordan when you were trying to get into Evil Angel when they wouldn't consider you. We all know how much you "hated" John Strong from your posts in the past, now you are trying to get an internet deal with him and are all 'buddy, buddy' with the dude! (You are just a two-faced bitch!) Try to call me a liar and I have more "truthful" details to say. You can't hide from the truth because your puppy was right, "words and actions speak for themselves"! I should have listened to Gregg, the owner of Diabolic, when he told me "Tony, watch out for your boy Wanker, he will tell you everything you want to hear and when the time comes to act upon it, he'll leave you high and dry!" I know you and your bitch Ricky remember that conversation!

You say you built me a site. I paid for every scene in the site and when we were supposed to launch a year and half ago, you f---ed it up the same way you did Erik Everhard's, Mike John's and Jon Dough's sites. You delayed in hopes to keep everybody at your mercy thinking we will always need your help and the s--- backfired in your face. If you think I'm lying, I mentioned these names because they will tell you same thing! Wanker is full of false promises and his word means s---!

And for the record, you didn't help me to get a gig at Anabolic and Diabolic. You taught me how to shoot but you wouldn't even go and just show the owners what I shot for you. You looked at me as a threat instead of a friend who had your back until all of this s--- went down! The only person who I owe anything to is Sue, not you Wanker! She is the one who took my footage up to the owners and got me my gig at Anabolic. You even bad-mouthed me to to the owner of Diabolic and he took your word when I first started. That is why my first movie was "Face f---ed #1" for Anabolic Video. After he saw the sales numbers and how great my movie was doing, he came at me with a deal to shoot for Diabolic. He said the reason he waited was because you were bad-mouthing me and telling him not to f--- with me on a business level and just treat me like every other performer who feels they can direct. Now, the owner of Diabolic is on my jock so hard that he sends my movies to his other company Zero Tolerance, and tells them to copy my style! An example of this is what they are going to try and do with Mick Blue. They are trying to jack my camera style in Balls Deep #8 and even had a press release in AVN Magazine last month to act like they invented the style. Let that dude try and imitate my style, but we all know that you can't f--- with "the original"!

As far as people not acknowledging me at Anabolic and Diabolic because of what you told them about me, they all know the truth about you and what you were up to. You sold everyone out to keep your job and now you are GREGG'S BITCH! He and everyone else at AVP and DVP know the truth about you and really just want to slap the s--- out of you! That is also why you are trying to create a team of directors out of the only people you have left, Ricky D. and John Hendrickson (your 2 Bitches!). And for the record, Hendrickson is an editor who came from Evil Angel because he was trying to get a gig there and they told him "No!". Nobody wants to work with you because nobody has respect for you Wanker! You have no friends and nowhere elseto go and that is why you staying!

Wanker, these are all facts and not hearsay! If you try to say that I am lying, you know that I know a whole lot more about you and I won't hesitate to say it! Good luck BITCH!

Mutt writes on GFY:

So You Wanna Be A Big Shot Gonzo Porn Director?

Here's the brutal reality of shooting for the top gonzo porn studios. Tony T directs for Anabolic, one of the top selling gonzo studios in the biz. A TGP submitter makes more than these guys. According to Tony, his deal was to make movies with $23,000 budgets. "After ten movies from each company, you start getting a dollar a tape after the eleventh movie. For the first ten movies you don't make anything on them. But you have to wait six months until you start getting your dollar a tape; and the only money you make is whatever is left over from the budget. But you can look at my movies and tell from each scene how much was being spent, everyone's rate. All our scenes are three on one, two on one. The girls charge $1500, $1600. There's agency fees, locations, makeup. Each guy is $600, $700. I've made movies taking money out of my pocket. Balls deep. They cannot say I did anything bad for the company."

Asia Carrera Gives Birth

From AsiaCarrera.com:

Meet Catalina Lemmon, born 3/4/05 at 11:17am after 62 hours of labor (I labored for 54 hrs at home before I gave up and went to the hospital - yes, it was hell, but no one can say I didn't try my best!). She weighed in at a hefty 8lbs 10oz and 21 in. long! As you can see, she's got an amazing thatch of dark hair that the nurses styled into a little mohawk with a pink ribbon.