Book Review: PORNLAND by Gail Dines. A Tragical Mystery Tour Through Porn Hell

PORNLAND How Porn Has Hijacked Our Sexuality by Gail Dines is a well-written examination of Internet porn that is both educational and alarming.  What Dines describes in grisly detail are sexual aberrations that most of us couldn’t imagine.

The book is well-researched and impeccably footnoted.  As a professor of sociology and women’s studies, Dines has examined porn for over 20 years.

Her main concern is that Internet pornography has jaded our nation’s men. According to Dines, young boys are “catapulted into a never-ending universe of ravaged anuses, distended vaginas and semen-smeared faces.”  “When men turn to porn to experience sexual arousal and orgasm, they come away with a lot more than just an ejaculation because the stories seep into the very core of their sexual identity.”

So, how did this sordid state of affairs come about? Dines gives a step-by-step progression.  The following, in order of appearance, are the items she tackles.

Dines begins by pointing to those ancient skin-mags Playboy, Penthouse and Hustler. She states that these relatively innocuous (compared to the stomach-churning stuff she describes later in PORNLAND) publications opened the floodgates to the tidal wave of smut that she says we are now drowning in.

Regarding Playboy, Dines passes along significant information about 83-year-old Hugh Hefner’s sex life: “…Hefner would have unprotected sex with a number of women, one after another, but regardless of how many women he penetrated, he could orgasm only by masturbating to pornography.”  (Hey, Gail, give the guy a break.  He’s 83!) Her reason for including this intimate detail, I believe, is to augment her description of how porn has affected men.

She laments “reality” shows such as Girls Gone Wild that further the “porning of our culture.”  Dines writes  “…the young woman’s behavior is frozen in time on tape; they can’t take it back, hide it or deny that they did it.” “Ellen started college with the hope of being a business major but after the tape of her having sex with her friend was shown at a frat party during the first semester, she dropped out of school…Tricia told me that ‘my life will never be the same.  I had so many plans and look at me now, a dropout with no future.'” (I feel that Dines should place more blame on our judgmental society for saddling these young women with such opprobrium.  But saying that might run counter to her theme of how our culture blithely accepts porn’s leadership in creating sexual “new normals.”)

As an example of porn’s degradation of its actresses, Dines offers up Jenna Jameson.  This porn queen is introduced with an anonymous blog post as having breasts “‘scarred from having her breast implants removed…her face looks like it collapsed…It’s a good thing she retired because this is one old slut that needs to be put down.'”  After that opening, PORNLAND recounts Jameson being gang-raped as a teenager and being so desperate to land her first gig that she “removed her braces with a pair of pliers.”

Dines says, “Before Jameson there was no woman in porn who had a lifestyle that was in any way desirable.”

Has this author who has studied porn so closely never heard of Nina Hartley?  Nina’s lifestyle, while unconventional (having both a husband and a wife), was–and presumably still is–happy and…desirable.  (Neglecting to mention Hartley in a book covering porn is like writing about 1920s baseball and leaving out Babe Ruth.)

Though Dines has studied modern porn intensely, her knowledge of porn’s distant history might be lacking: In addition to neglecting to mention Nina Hartley, she states that The Devil in Miss Jones was directed by Greg Dark (DMJ was directed by Gerard Damiano, who also helmed Deep Throat).

Supporting her claim that mainstream television celebrates porn, Dines laments that on Rita Crosby: Live and Direct, where she appeared with Vivid Entertainment’s Steve Hirsch, he got 50 minutes, while she only got 10. (The reason, of course, is that Vivid is a big-time player in porn. She isn’t.)

Dines decries porn’s widening influence by listing companies that, she claims, are mainstreaming porn.  Among them are media giants Time Warner Cable, Cox Communications, Comcast, DirecTV and Rupert Murdoch’s EchoStar Communications Corporation.  She lists the hotel chains Holiday Inn, Marriot, Hilton, Sheraton, Radisson, and Hyatt.  Her list of smut supporters even includes Microsoft.

In the second half of PORNLAND, Dines carves into the real meat (sorry) of the book when she details that outer limit of Internet porn known as “gonzo (wall-to-wall sex, no story).”

(I’ll admit I wasn’t up to date on gonzo. SKINFLICKS describes the porn world circa 1970-1999.  Beyond that era, I haven’t kept up. [Nothing makes you tire of porn faster than shooting it.]  For a retired old-time producer like me, PORNLAND provided an education–and a Cook’s tour for perverts seeking the grossest stuff imaginable.)

It’s no surprise that weirdos wield websites.  For small investments, slavering psychopaths worldwide can put their fevered fantasies out there, safe from American prosecutors who can’t reach them. (As First Amendment attorney Clyde DeWitt said, “Technology is the worst enemy of the censor.”)

In examining the most degrading of these sites, Dines inevitably falls into the conundrum that most anti-porn scribes do: giving these “entrepreneurs” free advertising, such as…

Defloration.com. proves that their girls are real virgins by “stretching open a vagina so the user can get a clear view of the internal genitalia, which depicts, the site claims, an ‘intact hymen.'”  This tissue is then “‘stretched and ruptured by an erect penis…$38 a month…”

She blames the 2002 Supreme Court decision allowing women over 18 to portray teens under that age for precipitating a rash of PCP (Pseudo Child Porn) sites like ultrateenlist.com., a website that features “Pissing Teens, Drunk Teens, Teen Anal Sluts, Asian Teens…”  Dines also provides graphic descriptions of such sites as SoloTeenGirls.net, MySexyDaughter.com and TeenDirtBags.com.

Reviewing the Internet-taught techniques of seducing young girls, the author turns to one of her favorite villains: sadistic producer/actor Max Hardcore.  Dines describes how, in Cherry Poppers, volume 10, Hardcore, who spent two years in prison for his rough-sex videos, “seasons” a young girl.  Dines includes the testimony of FBI child porn expert Ken Lanning, who vouches for the accuracy of Hardcore’s methods. Dines adds “…and man [sic] watching him may find pointers on how to season a child.”

When Dines confronts the dichotomy of men who desire sex only with adult women, yet are attracted to child porn, this social scientist is at her best.  She accurately describes the process of desensitization: the rapidly developing boredom that forces the pornophile to seek ever more bizarre thrills.  (In SKINFLICKS, I quote UCLA psychologist Neil Malamuth who said “Our research shows that every time there is a satiation of themes, people to some degree lose their ability to be aroused by it.  Therefore, newer themes are introduced, breaking new taboos.”)

As bored viewers become disgusted with the phony moans and fake orgasms of professional porn stars, they yearn to see women in the throes of real emotions.  And nothing is more real than pain.

Here, PORNLAND dives into the sewers of sleaze. The examples below include text from their websites.

  • assplundering.com: “‘bitches wouldn’t be able to walk for a week after the utter anal demolishing.'”
  • ghettogaggers.com: (Two white men rape a black woman.) “‘…we destroy ghetto hoes, and it be showin’ like a mutha fukka!'”
  • britishbukkakebabes.com: (In bukkake porn, a group of men ejaculate on a woman’s face. Though it seems legally daring, this genre of porn was actually created to conform to Japanese law, which forbade showing genital penetration.)  “‘…you’re guaranteed to get off when you see their dripping faces full of cum.'”
  • gagmethenfuckme.com: “‘We make them gag till their makeup starts running, and then they get all other holes sore–vaginal, anal, double penetrations, anything brutal involving a cock and an orifice.'”

Having seen “many Max Hardcore movies,” Dines presents the gloating sadist’s boast: “‘I also created the technique of cuming in a girl’s ass, having her squeeze it out into a glass, and then chuck the load down…I started pissing down their throats several times during a scene, often causing them to vomit uncontrollably while still reaming their throats.'”

Ye gods. And Dines makes a living studying this stuff.  (I hope she doesn’t become like Sargent Lloyd Martin of the LAPD Administrative Vice detail who became so obsessed with child porn that he kept a garage filled with it–just to show people how evil it was. As related in SKINFLICKS, the LAPD eventually fired him.)

Perhaps Dines’ ongoing studies of gonzo porn influenced her writing style. Here’s how she describes Caucasian male fans of the popular genre of black men screwing white women: “As the white man unzips, he steps out of the socially constructed cage of whiteness and into a thoroughly debauched world of huge, semen-filled black penises out to rip, tear, pummel, and hammer white women into the utter subordination of becoming a fuckee.”

Then there’s Dines’ correlating the film King Kong with the white man’s myth of black sexuality, calling the movie, “…the most dramatic rendering of black masculinity that this country had ever seen…”

Gosh. When I saw King Kong as a kid, I thought he was just an over-sized ape.

I would venture to say that when you study extremes of pornography for years on end, you begin to see its influence everywhere.  You become like someone who buys a yellow VW Cabriolet and suddenly starts noticing all these yellow VW Cabriolets on the road.

Dines writes,“We are so steeped in the pornographic mindset that it is difficult to imagine what a world without porn would look like.  It is affecting our girls and boys, as both are growing up with porn encoded into their gender and sexual identities.”

As examples of porn’s influence, Dines writes, “Whether it be thongs peeping out of low-slung jeans, revealing their ‘tramp stamp (a lower back tattoo just above the butt crack),’ their waxed pubic area, or their desire to give the best blow job ever to the latest hookup, young women and girls, it seems, are increasingly celebrating their ’empowering’ sexual freedom by trying to look and act the part of a porn star.”

I disagree.  I think they’re just expressing themselves as sexual beings.  We’ve come a long way from the Hays Office prudery that ruled Hollywood from 1930 to the mid-’60s.  And rightly so.

But Dines is correct about the need to somehow regulate the most extreme elements of the Internet. Left totally unchecked, the final step in pornographers’ race to be the most outre would be to emulate the Roman Coliseum and toss maidens to lions.

So, ultimately, what does Dines recommend?  She’s too savvy to slide down the Dworkin/MacKinnon slope of trying to ban pornography.  Instead, she invites readers to access her website stoppornculture.org, where two slide shows can be obtained for free.  Her aim is to unite people in a grassroots movement to battle porn’s excesses.

In the book’s concluding paragraph, Dines writes, “As long as we have porn, we will never be seen as full human beings deserving of all the rights that men have…in a just society, there is no room for porn.”

Hmm.  I Googled (or rather “Norton Safe Searched”) “Countries where women have the most equality.”  Answer: Iceland, Norway, Finland and Sweden.  (In Sweden, child porn was legal from 1971 to 1980.  Recently, a Swedish man was convicted of “aggravated child pornography [shackled children being raped].”  His sentence? Only one year in prison.)  In these Scandinavian countries, porn is freely available–though Iceland has a strong movement to ban the the most extreme “gonzos,” such as those described in PORNLAND.

Next, I Norton Safe Searched “Countries that stop Internet porn.” Answers: Bahrain, China, Iran, Kuwait, North Korea, Oman, Saudi Arabia, Qatar.   Hardly bastions of female equality.  And all pornography is illegal in Saudi Arabia, Iran and Pakistan.

Despite my differences with parts of PORNLAND, I believe that this is an important, educational and grimly entertaining book.  For anyone seeking an information-rich look at the “brave new world” of Internet pornography, without having to access its grand guignol of websites, I highly recommend PORNLAND: How Porn Has Hijacked Our Sexuality.

Next:  While doing my own research, I came across a strange fact. The European country with the highest rate of rape is Sweden.  That doesn’t sound like the Sweden I enjoyed visiting, where sexual freedom under the midnight sun kept Swedish men happy.  But there is a demographic development in Sweden that has become a growing crisis.

Next post: Sweden Raped

 

 

 

 

 

 

 

 

 

 

 

 

 

Lords, Lies and Videotape Part 10: Ho’-ray for Hollywood

How do you make the transition from porn stardom to a so-called “legitimate” acting career?

You do it by posing as a poor, abused child, victimized by evil pornographers.

As Ron Jeremy wrote in Adult Video News: “Isn’t it nice that such a sweet kid can make so many career moves, make so much money, beat her IRS rap, her fake passport felony rap, and at the same time bury an entire industry! Only in Hollywood!”

Below is the conclusion of SKINFLICKS, Chapter 12: The Goddess.

To Jeremy and others with ambitions in the non-porn film world, the most grating result of the Lords affair was how it opened Hollywood to her. No longer was Traci a scarlet woman too steeped in shame for the wholesome sponsors of American television and silver screen. Now she was an innocent, a child-victim.

As usual, Traci played her role well. “At that age, you don’t really understand what you’re doing,” she said. “You don’t really understand the consequences.” She claimed that producers kept her stoned on drugs and her agent got most of the money she made.

Hollywood bought her act. Aaron Spelling was reported to have paid $100,000 for the rights to her life story. Traci appeared in the TV series’ Wiseguy, MacGyver, and Married with Children. She starred in the sci-fi / horror film Not of This World. She got roles in the feature films Fast Food, Shock ’em Dead, A Time to Die, Raw Nerve, The Object of Desire, Laser Moon and the John Waters comedies Nutty Nut and Cry Baby–which AVN editor Gene Ross called “a poetically apt title.”

To the industry that made her show biz success possible, Traci showed no gratitude. Instead she made the most damaging claim of all: that those she had worked for knew she was a minor.

“She tells us that she was told to just get some kind of I. D.,” D.A. Reiner said. “And that was done with more a wink and a nod than any serious effort to determine what her real age was.” Was this allegation true?

With the strict penalties–forfeiture of assets, long prison terms and six figure fines–for using underaged models, pornographers run like hell from those whose age is questionable.

In the wake of the Lords mess, young-looking starlets Nikki Charm, Ali Moore and Kristara Barrington were ostracized upon the first hints of rumors that they too were underaged.

The positive long-term effect of the Lords crisis was the increased awareness within the industry that porn video’s lure of quick riches attracted sexually precocious kids. As minors, immune to prosecution, they had nothing to lose if discovered.

Pornographers could lose everything. Contending that knowledge of Traci’s age was irrelevant, Federal attorneys initiated felony prosecutions. The adult movie industry braced for battle.

x x x x x x

By the early 1980s, a bond of good faith had formed between L.A. legal authorities and sex moviemakers who’d agreed to refrain from depicting rape, scatology, hardcore S and M, bestiality, use of minors and the depiction of minors by adult performers.

Consequently, when the Lords bombshell exploded, L.A. authorities gave the adult industry a chance to escape prosecution by immediately removing all Lords products from commercial circulation. To the amazement of police and prosecutors, the gargantuan task was completed almost overnight.

Government prosecutors went ahead with their test cases, under the Federal child pornography statutes. Agent South and producers Ronald Kantor and Rupert McNee won acquittals, but the Government got a conviction against Ruby Gottesman of Xcitement Video.

Then Gottesman’s conviction was overturned, and the statute that allowed conviction without proof that the defendant knew the performer was underaged was ruled unconstitutional. The Government appealed.

In the 1990 United States v. Thomas case, the Ninth Circuit Court had ruled that even if a defendant thought that the performer in question was of legal age, the Government could obtain a conviction.

Finally, on November 29, 1994, the U.S. Supreme Court upheld the constitutionality of the Federal child porn law, while ruling that prosecutors must prove defendants had prior knowledge that a performer in question was underaged. The industry breathed a collective sigh of relief–but Rubin Gottesman didn’t; his conviction was upheld. The prosecution had presented evidence that Gottesman had sold hardcore Lords tapes to an undercover L.A. vice cop in 1987, by which time Lords’ former underaged status had become common industry knowledge.

There have been at least two more underaged actresses since the Traci Lords affair. I videotaped one of them.

Flushed with the afterglow of her sizzling debut in a Blacks and Blondes loop, a cute newcomer named Gigi (porn name Penny Nichols) gushed that she could now afford a $1500 pearlescent paint job with burgundy pinstripes for the ’69 Chevelle she’d just bought. Then she let it slip that her big concern now was passing her driver’s test.

Gigi’s mother complained to police that the girl was only 16 years old. On March 9, 1987, charges were filed against Jerome Tanner and agent Reb Sawitz. The veteran agent produced copies of a birth certificate and temporary driver’s license, which showed Gigi’s age as 19, exonerating Sawitz and Tanner under California law.

An underaged model scandal almost on the scale of the Traci Lords affair erupted in 1991, when Diane Stewart, a Canadian girl with the porn name Alexandria Quinn, appeared in over 70 videos before her 18th birthday.

Once again, tapes and magazines were frantically yanked from the market. Once again, real-appearing fake IDs precluded California prosecutions. And, once again, the industry had proven vulnerable to the deceit of a beautiful teenager.

x x x x x x

The Traci Lords scandal and the Government’s “War on Porn” did for sex movies what controversy always does. Adult tape sales soared from a wholesale value of $350 million in 1985 to almost $450 million in ’86. (With the uproar dying down in ’87, sales fell to $390 million.) It must have rankled the members of the Meese Commission to read Jerome Tanner’s taunting, “We need another report like that one.”

The industry needed another Traci Lords too–a legal one. With the entrenched copycat ethic, it was only natural to find a clone.

“She’s a deadringer for Traci Lords,” said Jack Michaelson of Cinderella Distributing. “Barbii has the fabled Traci pout down to perfection. Everybody’s crazy about her look.”

Barbii even spoke like Traci: “I’m a perfectionist and I don’t feel comfortable looking at myself.” In less than two months, out came Introducing Barbii, Lusty Desires, Backdoor to Hollywood, Barbii’s Way, and Spend the Holidays with Barbii. Penthouse lined her up for four different spreads.

Barbii’s wasn’t the only nouveau pout. In 1987 it seemed like half the new adult video boxcovers fixed the customer with a petulant stare and the best bottom lip the cover model could manage. One actress–whose career was brief–even called herself “Staci Lords.”

The industry’s love-hate affair with Traci continued.

Surfacing a half-year after the scandal erupted was the only hardcore Traci Lords movie made after she’d turned eighteen. It was that phantom Paris production Lords and Dell had denied shooting.

Released by Caballero Distributing, the sardonically titled Traci I Love You provoked calls for a boycott, but instead became the best selling and renting adult tape of 1987. “When a statuesque French blonde named Monique uses her mouth to shove a black dildo into Traci,” wrote reviewer Thomas McMahon, “it seems like old times.”

That old warhorse Honi Webber galloped back into battle with her High Times Video release Traci’s Big Trick, which “tells the whole truth for the first time…from high school to Penthouse to her agent’s office.” Lords, played by Jaqueline Lorians, is shown having sex with “Guy Sadler” (Sy Adler) and with Honi Webber–played by slim Sharon Mitchell in a bit of casting against type.

In Traci Who?, “it’s 1991 and President Meese wants to outlaw pornography,” went Peter Keating’s December ’86 AVN review. “Traci Who? may be the only title on the adult market to exist simply so that someone could get a dig in on that wretched turncoat Traci Lords.”

The rancor lasted for years. When Lords promoted her exercise tape at the 1988 VSDA Show, AVN quoted an “industry director” as saying, “I’m surprised she wasn’t met with a chorus of Uzis.”

When I last saw Tom Byron, he was at a 1989 trade show, looking for work behind the cameras, not in front of them.

“What’s Traci up to these days?” I asked him.
Byron shrugged. “Who the hell cares?”

# # #

 

The “Smut Glut” Part 2: Scams

As the porn video industry plunged into depression in the late ‘80s and early ‘90s because of too many titles clogging the market, shooting new movies became too expensive to be profitable. Still, porn companies had to keep cranking out releases to keep their cash flow numbers up.  The solution? Cheat.

(Passages from SKINFLICKS are in italics.)

Desperate manufacturers pumped out “wraparounds (new footage ‘wrapped around’ old)” and compilations—if you had three or more scenes of an obscure model named Connie Lingus, you released The Best of Connie Lingus.  Some simply retitled old movies, put them in new boxes, and sent them out as brand new releases.  AVN called companies such as Limelight Releasing, notorious for retitling old product, “pariahs, predators and scum.”  

Hollywood Video’s Seka’s Teenage Diary boasted of “exclusive, never-seen-before footage of the platinum blonde beauty when she was just a teenager.”  VCR’s The Lost Episodes of Seka was also hyped as “never-before-seen on video.”  Both titles used footage from 1978 shows released by now-defunct Scorpio Etc.  Desperate for a cheap new Superior Video title, I, too, was guilty of using old footage.

The premise of The Reincarnation of Don Juan was that Don Juan, languishing in Hell, would be allowed into Heaven if he does a good deed for womankind, whom he had so cavalierly used in his lifetime. His task is to return to Earth and give a woman an orgasm.  The catch is that he is reincarnated as a flea.
    That story angle allowed me to disguise recognizable sex scenes by surrounding bodies with “flames of Hell” created by my “little black box” effects generator. I used change-of-camera-position travel over floors, rugs and ground as the flea’s point-of-view shots.  And I had a good excuse for lots of gynecological close-ups, as the flea narrates his frustrations with the logistics of his task.
    You can fool some of the people some of the time: a reviewer for Adam Film World’s Adult Video Guide wrote, “Lots of plusses here: storyline, sex, camerawork, editing—it all comes together…”   But savvy viewers and distributors screamed in outrage, and I never tried the “old footage” scam again.

Running out of title names for their onslaught of new releases, producers took to ripping off Hollywood.   Among the gems filling a page in SKINFLICKS  were Gonad the Barbarian, Jane Bond Meets Thunderballs, Ramb-OHH!  and the incomparable Yank My Doodle, It’s a Dandy. There were also Sister Dearest, Daddy Dearest and Mommy Queerest.

Walt Disney Productions sued Ventura Video, fearing the public would confuse the hardcore In and Out in Beverly Hills with Disney’s Down and Out in same.

Pornographers are always worried that their competitors would beat them to something new—such as exploiting a hot new girl before they had a chance to overuse her.  “I shot this picture with Shanna McCullough called Ecstacy.” Spinelli told me. “So just when I released it, this schmuck (Lawrence T. Cole of Now Showing) releases this cheap piece of shit under me called Xtacy—spelled with an ‘X’—with Shanna on the box. All I could move was 1500 pieces.”  Spinelli swore he’d never again mention the name of a title…until it was ready to hit the street.  Years later I was doing sound for Spinelli and asked him the name of the movie we were making.  Spinelli replied, “Number 1027.”

Then there were the “Debbie” debacles.  After the sequels to the original hit reached Mark Curtis’s Debbie Does Dallas IV, producers branched out with Debbie Goes to College, Debbie Does ‘Em All, and Night of the Living Debbies.  Bob Vosse directed Debbie Duz Dishes, and Spinelli couldn’t resist And I Do Windows Too…Richard Aldrich announced in AVN his plans for Bang the Debbie Slowly.  Wanting their own “Debbie” title to cover as much porn turf as possible, Essex Video called their 1987 release Debbie Does the Devil in Dallas.

As sales numbers continued to drop like dead Debbies, pornographers resorted to gimmicks. An order of any size for Caballero’s Stiff Competition came with an exploding penis slinky in a can…Twenty lucky people pulled out their Beverly Hills Copulator cassettes and found a gift certificate for “the dream date of a lifetime with Traci Lords.”  Howard Farber of Video-X-Pix complained that things had gone too far when he was offered cassette boxes that were supposed to contain human pubic hair.

Unable to market his legal-aged videos profitably, my mob-connected, ex-employer Tony Romano toed the borderline of child porn with Little Kimmi Johnson. The giggly, coltish Kimmi’s disclaimer that she is really 19 years old and merely “re-living” on videotape the adventures and fantasies of her girlhood didn’t stop police agencies from busting the tape.  Scenes of the gamine in parochial plaid skirts and bobby sox, seducing her science teacher, her mother’s boyfriend and the mother herself clearly violated the L. A. ordinance against depicting underaged sex.  With no other companies willing to risk competing in this “market,” Kimmi did well enough for the daring Romano to bring out “her kid sister,” Little Muffy Johnson.

With cutthroat competition came casualties.  When the elephants fight, goes a business saying, the ants get stomped.  Yet, as elephants crashed to the ground, enterprising ants crawled over them.  The “Smut Glut” Part 3: The Victors and the Vanquished will tell why some fell, while others didn’t, and how “ants” exploited outlier niche markets featuring such “specialties” as gang-bangs, transsexuals, midgets, enemas, and the female posterior.