Blue Blood hottie April Flores is on the cover of the new issue of Bizarre. This is her second time gracing the cover of Bizarre. Only a few women, such as Masuimi Max, Bianca Beauchamp, and Aria Giovanni have been on the cover of Bizarre more than once, so April Flores is in a pretty exclusive club there.

Last month, you saw the video of the Topco April Flores Toy art show curated by Carlos Batts.

Photographer Martin Perreault shot this April Flores Bizarre cover as well.

April Flores is also starting work on designing a plus size sexy clothing line. She always has something going on.

Congrats to April Flores for making the cover of Bizarre yet again. Blue Blood girls are covergirls.

A few years back, a number of members of Blue Blood sites started writing in to say someone was making dolls of various Blue Blood hotties. As I recall, Mistress Domiana and Fetus de Milo were two where there were specific dolls folks felt were based on photos Forrest Black and I had shot of them. Maybe there were other girls; it didn’t seem at all significant at the time, and the Bratz have changed enough over time that the Jury in their recent court battle (more on this soon, even though it is not technically a sex trial) asked whether they could find for the plaintiff in the first generation Bratz and against for later ones. To the best of my knowledge, neither I, nor Forrest Black, nor anyone I’ve photographed has ever met any of the brass at MGA Entertainment, the company who launched Bratz as their primary toy line in either 2001 or 2002, depending on who you ask. I guess MGA Entertainment is headquartered in Van Nuys, which is at last geographically close to Hollywood, if not culturally. So who knows.

Blue Blood hottie April Flores got in her prototype this week from Topco. The prototype is of the Wild Fire Celebrity Series Voluptuous CyberSkin Pussy. So that appears to be working out, but I’ve never really found a ton of business value in that type of merch, so I never gave much thought as to whether Bratz were or were not inspired by Gothic Sluts or whatever.

Some folks who did give it a lot of thought and were positive Bratz owed them an intellectual property debt were at the doll manufacturing and marketing powerhouse Mattell, home of Barbie. Now we could start comparing Barbie and Bratz. We could discuss how generations use fashion to define themselves. We could hear opinions from parents who feel Barbie (which they played with) is classic and wholesome and Bratz (which their kids want to play with) just teaches little girls to be whores. We could go into the radical feminist view that both Barbie and Bratz give girls unrealistic ideas of what a woman’s body will and should be like, setting the stage for adult eating disorders, antidepressant abuse, promiscuous sex, and excessive submission to the patriarchy.

Those might all be valid views, but the case, presided over U.S. District Judge Stephen G. Larson, this week was not, as many people supposed, about the ways Bratz is or is not similar to Barbie. The Bratz concept was developed by someone while he was working under exclusive contract for Mattel. His exclusive contract specifically stated that all such creations devised while in their employ were property of Mattel. This is a pretty common type of agreement for development teams. The idea is to prevent someone, especially someone with tons of access to proprietary info, from cashing their future competitor’s checks, while coming up with what they intend to market as a hipper and more current version of their employer’s product. Basically, this type of employment contract is explicitly to prevent precisely what the Bratz creator did.

So Judge Stephen G. Larson found in favor of Mattel. Mattel and MGA Entertainment have a couple of months now to decide whether to make Bratz and perhaps MGA a Mattel subsidiary, sell Bratz to MGA, license Bratz to MGA, or force MGA and all wholesalers and retailers to return any remaining My Hip Little Hoochie Barbies Bratz and then stack them up in the parking lot at 16380 Roscoe Blvd., pour newly less expensive gasoline on the clubby doll pile, and light it up.

These might all be valid courses of action.

Interview with Deathrace director Paul W. S. Anderson

Interview with Jason Statham

So, after knowing each other for nearly a decade, and working together on multiple projects, over many years, I finally finally got to meet Scott Owens of EroticBPM fame in person! We once almost met in the flesh when he got stuck at LAX on a layover, but I’d just finished being somewhere one good friend of mine was attempting to sleep with the husband of another good friend of mine and having to give a police report on some psycho who was incoherently threatening me outside a nightclub for firing a girl she just met and barely knew but had a crush on or something. So anyway, I didn’t think I’d be at my charming best when I got to LAX, which also happens to be my least favorite California airport.

Anyway, Forrest Black, who is in charge of the look and feel of all Blue Blood sites, and I visited Portland and stayed with Scott and his charmingly negative head coder Antisocial and his beautiful bride (who, in a flash of small world, turned out to be a model from some of the earliest naughty sets I published from photographer Tom Hunscher.) We had an amazingly good time just hanging out in their gargantuan Pacific NW headquarters with them and their three very cute and almost disturbingly friendly and well-adjusted cats.

We also got to see old friends from our DC stomping grounds. We shot new stuff of the always fun Voltaire and of Rachel Face. Rachel has a new clothing line and we shot that, as well as a whole passel of new hotties. Parts of the trip were really bizarrely and gratuitously stressful, but most of it was really super nice. Portland is so beautiful and the air is so clean and we got to go up on the volcano which is the largest within city limits in the USA.

But the point I really must make here is that, when I wanted to connect to the internet from EroticBPM HQ, one of the networks was named Quark. I asked Anti if this was after the software, the TV show, or the actual thing. Having a background in particle physics, he didn’t mean the software or the show, but I told him I was going to pull his Dork Card for being unfamiliar with the show. Rather than having to resort to such extreme measures, modern technology allows me to share the show with you all.

I first saw Quark on the US Military television stations while living in Germany, on either ACTA I or ACTA II I believe. Basically, the Department of Defense at least used to provide American television channels to US servicemen and diplomats abroad. I wasn’t really allowed to watch TV, so I didn’t see much, but I did catch some re-runs of a sort of Star Trek spoof called Quark which struck me as absolutely hilarious at the time. I admit it doesn’t really stand the test of time and might seem a little, err, dumb now. Anyway, without further ado, I present Quark for your viewing pleasure and personal edification:

To a current sensibility, the BBC’s Hyperdrive is really probably a better bet.

It’s kind of funny that I love love love the aesthetic of the new Captivity movie, yet I’m kinda not cool with the subject matter. I’m not too comfortable with it being censored either, though.

I know people have been complaining, since before I was born, about violence in movies being okay, while sexuality is censored. But I have to say, why is it that if someone puts their cock in a beautiful woman’s mouth, the movie is probably going to get an X and thus limited distro and thus limited financing and production values? But dismember the same woman slowly and the discussion becomes R or NC-17? Is it really okay to broadcast horrors, the likes of which most people will never ever see in person, to seventeen-year-olds, but healthy sexuality, of a sort most people will experience, takes another year of maturing for audiences to be able to handle it? What kind of a society are we going to have when we show teenagers torture porn like Hostel before we let them see, if you can forgive me for invoking normalcy, normal sex?

Full disclosure: Obviously, you all can’t have missed the advertisements Captivity bought on a number sites I work on, including this one. And, yes, if you went to the premiere party at Los Angeles meat market Privilege, you probably spotted around half a dozen hotties you recognized from BlueBlood.com, along with various other contributors.

It bums me out, on a number of levels, that the premiere party was billed as ground-breakingly outrageous and nasty. This seems to show a simultaneous lack of respect for the performers and desire to profit from them. Although the cigarette smoke-stained off-white interior of Privilege generally plays host to more vanilla smutsters, Los Angeles has seen tattooed hotties doing BDSM once or twice before. In point of fact, the club is essentially a tent erected by where the Coconut Teazer nightclub used to stand. So that very location has probably been host to more than its share of tattooed hotties with fetish gear over the years. The most ground-breaking aspect was probably that it is unusual for a movie to not screen at its own premiere.

Anyway, both the MPAA, which rates movies, and a variety of watchdog groups have objected to Captivity’s presentation well before they started planning a premiere. After Dark Films pulled thirty of their billboards from Los Angeles and more than fourteen hundred taxi cab adverts, the creative for which featured the slogan “Capture, Confinement, Torture, Termination.” over very beautiful stylized photos of a very small portion of a scene involving a woman. I can’t emphasize enough how great the color scheme of those advertisements was. Meanwhile, the MPAA jerked the movie company around on when the film was even going to be rated. After Dark Films co-founder Courtney Solomon claims the MPAA rigmarole with Captivity is just about the MPAA maintaining their position of power. “They needed a whipping boy. They’re not about protecting parents or kids. They’re about keeping their power in Hollywood.” The upshot of this was that a schedule May 18 release date became a July 13 release date. While releasing a horror flick on Friday the 13th is always nifty, any organization which can keep audiences away from a product is scary. And not scary in an entertaining way, scary in a bad way.

A quick history lesson: The Motion Picture Association of America was founded in 1922 as a trade association. Although the initial industry concerns it dealt with had more to do with copyright and contract standardization, over the years, it has become almost synonymous with the ratings system it devised. Many industries choose to police themselves, partly out of decency, and partly out of a desire to take care of it internally before outsiders do it for them. So the MPAA ratings board determines whether a movie will receive wide release as a PG flick or the financial death knell of an NC-17. Representatives of the six major studios sit on the board. These studios includes Disney, Fox, Paramount, Sony, Universal, and Warner Brothers.

Now, the opening weekend gross for Captivity was only a bit over a million bucks, which is pretty terrible for a major studio release and brought the movie in at a ranking of #12 for domestic releases that weekend. In all fairness, the flicks Captivity was beaten out by were Harry Potter and the Order of the Phoenix, Transformers, Ratatouille, Live Free or Die Hard, License to Wed, 1408, Evan Almighty, Knocked Up, Sicko, Ocean’s Thirteen, and Fantastic Four: Rise of the Silver Surfer. Had the movie been able to open as planned, if the MPAA had not hung them up, then it might have been able to do better against the movies opening that weekend. Although a $1.4 mill opening is lackluster for any theatrical release, especially a heavily advertised one, had Captivity opened May 18 with the same total, it would have ranked #8. Then again, maybe it would have gotten its ass kicked by Shrek and Spider-Man, just like everybody else.

Part of the difficulty I have parsing out my feelings on the brouhaha is that it is difficult to figure out whether an After Dark Films release counts as a major motion picture or a plucky little guy trying to make it. Captivity is “co-released” by Lionsgate, but Lionsgate leaves all the responsibility for potentially problematic promo on After Dark’s doorstep. I’m not sure what “co-releasing” means exactly, but Lionsgate has a market capitalization of one point three five billion dollars and an estimated four hundred full time employees. Which I would not categorize as small or independent. I think it is important to note that the distro on a partner-produced movie like Captivity is a microscopic portion of the business of a behemoth like Lionsgate, which is responsible for very enjoyable and successful projects such as the Academy-award-nominated The Cooler and innovative DVD packaging and distribution for projects ranging from cutting edge fare like Weeds to cult classics like King of New York. Then again, if you inflicted the Care Bears movie on your kids, that is partly Lionsgate’s responsibility too.

According to the New York Times, Courtney Solomon, who put himself on the map by optioning Dungeons & Dragons and parlaying that into a much-lambasted directorial turn, “persuaded the director of Captivity, Roland Joffé, the much-honored filmmaker behind The Mission and The Killing Fields, to undertake reshoots. These added explicit torture, including a so-called “milkshake” scene that involves body parts and a blender, to a picture that was largely psychological in its thrust when After Dark acquired the rights to it.” Both to the New York Times and in other media outlet, Solomon chortles about what a freakshow his premiere is going to be and how upset he hopes women’s groups get about his movie. The National Organization for Women said, on the record, that they were not going to protest to give him press.

So, having delved into the issues involved, here is my summary take on it. First, if After Dark Films is looking for a modern audience for their movies, it is a bit antiquated to act like BDSM and tattoos are outrageous fringe culture. I’m sick of this sort of marginalizing nonsense from people who would like to make a dollar off of my scene. Secondly, because of the major studio makeup of the MPAA, I feel it can’t really be objective. I like having ratings on things as a viewing guide, but I dislike the way the ratings system leads to unwarranted limitations on distribution and I particularly dislike the way the current rating system encourages violence against women in place of human sexuality. It will be a chilly day in Hellywood before I deliberately view torture porn like Captivity, but I don’t think a project like that should have its success determined by whether or not its producers can convince a half dozen really biased businesspeople that violence against women is appropriate viewing for teens. Thirdly, although I kind of liked the Captivity billboards, I was personally revolted by the Saw signage at the San Diego Comic Con and I think movie producers, and everyone really, should pay attention to what they put in an advertisement people will not be able to avoid. I do not want strangers telling me what I can see in my media. I deeply believe that that becomes a slippery slope to total destruction of the free speech rights granted to all Americans by the First Amendment, but I also do not want strangers forcing me, or forcing children, to see things they do not wish to see or should not see. This means that adverts, in public places, for potentially upsetting products, should be honest about what the products are, without ramming the product down the throats of the unwilling.

I admit that, although I loved Elisha Cuthbert’s performance and character in the surprisingly awesome The Girl Next Door, I loathed her Kim Bauer character she played on 24. I thought about kicking off this article with a joke about how I thought Kiefer Sutherland’s Jack Bauer should have just let her be kept captive and tortured. Heck, that was probably the inspiration for Captivity. For me to want to watch that, however, it would really have to be one of the dungeons on Fucking Machines, where the action is consensual and female pleasure might actually be involved too.

In March of 2003 I wrote an opening editorial for the late lamented Swag magazine project. The editorial was about how a lot of freaks internalize the negativity the larger society has for them. It was about how punk was supposed to promise the allure of a classless society. It was about how we shouldn’t hammer ourselves down because we deserve the rewards of the larger society, at least as much as anyone. The mere existence of this editorial is ironic in so many ways. I have no idea how many people read this the first time around, though, so I’d like to share it online now.

You should also definitely read the piece on Swag, by my old school, zine explosion compatriot Scott Hefflon, which ran first in Lollipop in print, and is now reprinted on Lollipop online. Part of what Scott had to say about the content Forrest Black and I and our pals created was, “It’s really surprising how rarely you find something unique in these “alternative” times. So many things still tow the line, the line is just called something else . . . So yeah, on the surface, Swag could look like a Gothic fashion mag. Lots of scantily-clad vixens, most of them models for one of the sites under the Blue Blood umbrella, but seeing as Amelia G and Forrest Black are top-notch Goth/fetish photographers and have great taste in hotties as well as the few bits of clothing the models wear, that’s far from a bad thing . . . What makes Swag cool is what doesn’t become clear right at first. Style . . . It was fun, I learned a couple things, and there was no nostagia back-in-my-day shit or mindless bashing of how everything sucks now and everyone’s a sell-out. No, it was well-researched bashing – funny, but not hatefully hipster ironic – and it read like something I’d write, or something one of my friends’d write. I wanna buy the writer a drink and see what they say next. That’s good writing, right? Hell, I even read Amelia G’s one-pager about buying a fuckin’ car. Sure, I know she can write and all, but who the hell care what car she bought and why and what it means to her? By the end of her story, I did. Who knew? It was a little tough to read cuz the text was one column across the entire page, but I read the whole thing, liked it, and I wanna buy Amelia G a drink to see what else she has to say. (OK, maybe I just wanna get her drunk. Heh.) . . . All in all, a damn fine publication, and one quite unlike anything else out there. And it’s got layers, baby, cuz these are not stupid fuckin’ posers spouting hipster slogans, parroting some review they just read and passing it off as their own wit. There’s eye candy, there’s smart, attitude-laced editorial (without being needlessly vicious), and there’s coverage of topics you didn’t know you were interested in until you found yourself absorbed in the piece.” Go to Lollipop and check out the whole feature on Swag there.

And now for the promised editorial:

I admit that sometimes I get discouraged with my subculture lifestyle. I think to myself that I started down this path by choice and maybe it is not too late to change direction. I think that, now that I have finally paid off my student loans and gotten my brain out of hock, maybe I should go back to school. Maybe business school could beat the importance of money into my head. Maybe I should become an attorney like my father. Maybe, at a bare minimum, I should steer my photography and writing towards more mainstream subjects.

There are a variety of things which will make me spin out into the headspace where I think such things. Inconsistent friends pretty much top the list. We’ve all known people who were our friends one day and the next they were blabbing our confidences or talking trash and then the next day they thought they could just be pals again. I’m not talking about plastic Los Angeles fair weather friends. Those are honest in their fashion and all you have to do to keep them pleasant is to keep doing well. I’m talking about alterna-identified people who have such deep-seated unhappiness about where they are at that they strike out at those closest to them because they just feel upset and are sure it must be somebody else’s fault. One of my pet peeves is cool counterculture girls who get to a certain age and start obsessing on how classy they are.

I became the sort of person I am today partly because my parents raised me to be without prejudice of class, color, or religion. On the face of it, one might think that bringing a child up to be genuinely colorblind was a very virtuous act. I believe it was. Of course those are the values I was brought up with, so I am biased. But it certainly contributes to my sense of alienation because some of the artificial things that other people use to identify supposedly kindred spirits just don’t apply for me.

One of the things which first attracted me to the counterculture was the lack of class boundaries. It was up to the individual what impression to make. You could be cool whether your parents were rich or poor, educated or illiterate, prominent in the community or living in another country. The lack of boundaries also meant a rich cross-pollination of ideas because everyone had a different background and there was not a this-is-the-way-it-has-always-been mentality.

Okay, over time, I have realized that there is one hidebound idea which really bothers me but which is endemic to subcultures. There is the notion that freaks should not be successful. This self-defeating sentiment can be found throughout most of the counterculture, whatever the specific affiliation of the people involved might be – Gothic, punk, deathrock, rockabilly, fetish, hippie, altrock, etc. No matter what I believe intellectually, my inner punk rocker believes that, on some level, success equals oppression. No matter how hard you work for it. On some level, like any minority, I have internalized the prejudice of the mainstream. I’ve been told that my weird hair and my perceived sexuality and my leather jacket all mean I do not deserve to be successful.

Well, the point here is to tell my inner punk rocker that there are rewards for being cool. Being able to express yourself with your appearance and being able to enjoy unique cool stuff are important rewards for taking the road less traveled.

And I deserve those rewards. And so do you.