Corporate Red Tape on My Mouth and the Punk Art Porn Allstars

I see it as, not only a given, but maybe even a goal that things I enjoy in a fringe environment will be picked up by the larger society. The problems come when the overculture, in the process of co-opting something cool, tries to destroy the naturally existing subculture and the people most dedicated to that culture, in order to replace it all with something more easily managed and controlled. The problems come when the marketing shifts from spin to bald-faced lies. The problems come when no one appreciates art without a backstory and the market becomes used to the perfection of fake backstory. It seems like modern press is often more comfortable presenting a tidy and wholly false PR tall tale than presenting something real and true. Part of the reason for this is that modern audiences are often more comfortable reading tidy and wholly false PR tall tales. Real life tends to be more complicated and harder to get your head around.

I could like Avril Lavigne if she were presented as essentially a cute blonde actress in a larger movie. Instead, her managers insult everyone’s intelligence by getting a stylist to put Avril in a Guns N’ Roses T-shirt and having her publicist tell the world the actress is inspired by David Bowie (but neglecting to tell the girl playing the precocious punk songstress role that Bowie does not rhyme with Maui.) Just try and find music magazine press presenting anything remotely true about the teamwork creation of Avril Lavigne. I don’t know if the magazines fear lack of access to stars their audiences want to read about or if they fear legal reprisals or if it is all just some sort of gentlemen’s agreement, but certain specific pieces of truth have more trouble getting out there as overculture chews up subculture.

I’ve been debating with myself whether or not to mention what got edited out of the most recent interview Eros Zine did with yours truly. I appreciate what Eros Zine does for a variety of scenes and I adore EZ’s editor Thomas Roche who did the interview. And I very much appreciate the support (and fun times!) both have given to both me and Blue Blood over the years. I’ve decided to mention part of what was expurgated because I feel like this one small piece was important. Before I do, however, I want to make it very clear that publications such as Rolling Stone and the LA Weekly, with presumably larger legal budgets, have also cut pieces about the world of supposed altporn apparently due to legal concerns. So it is not unusual that Eros Zine’s legal department insisted on cutting a number of comments. (I promised Thomas I would be clear that it was legal and not editorial who required the cuts.) Journalists always want to know my opinion about adult video and the so-called altporn sites I’m supposed to consider competitive. But apparently what I have to say is just too dangerous to actually print.

Assuming that Eros Zine’s lawyers are essentially sensible, I just want to post for posterity the portion which was cut which contained shoutouts to people who deserve some credit. The rest can remain on the cutting room floor for now.

Some of the directors who might object to the current shameless pretension that punk art porn was just invented are Gregory Dark, David Aaron Clark, Nick Zedd, Justice Howard, Michael Ninn, Antonio Passolini, Stephen Sayadian, Richard Kern, and I’m really just scratching the surface with that list. (VCA and Vivid will be trying to get them all under exclusive contract by this time tomorrow. If they want to thank me for the suggestions, they can send checks payable to Blue Blood at 8033 Sunset Blvd #4500, West Hollywood, CA 90046. Or show me some quality product. Screeners are accepted at that address as well. My mind is open and I’m still a journalist.)

I worried about being potentially helpful to outsider corporations by giving shoutouts to people who deserve them, but I decided that I wanted to take the high road because I think it makes one a better person to give credit where it is due. Unfortunately, the legal folks worried about my commentary on my concerns about said corporations using my shoutouts as free consulting.

The biggest challenge of having sort of imperialist types come into a community is, not just to keep them from pushing out the native peoples, but also to keep the native peoples from simply becoming assimilated by the invaders. I’m certainly not immune, although I guess I’ve got more of a rebel/revolutionary mentality than many. I don’t think anyone is immune. (I just came from visiting a Native American art history museum, so please forgive the analogies.) I’m not personally what anyone would consider left wing and I definitely don’t believe cashing a check from a large corporation is intrinsically bad.

Full disclosure: Hustler owns VCA. I’ve not only worked for Hustler, but I’ve stated in public and in writing on numerous occasions that I felt they were the best of the big adult publishing houses, all of which I have done projects for. Vivid does not, to the best of my knowledge, do magazines, so I’ve never worked with them, but there are plenty of photos floating around the net featuring yours truly drinking and eating with with people who work at both Hustler and Vivid. I really like some of those people and think they are good folks.

I’m not sure precisely where one ought to draw the line, but I definitely think it should be drawn before invaders get to assume control of our opportunities, re-write history, and take away our language. There is nothing wrong with doing a lucrative gig for a large corporation. So much the better if the gig is something fun and interesting. But there really ought to be some wiggle room between accepting some money and accepting total annihilation of one’s self-actualization, culture, and ideals. I guess I’m just an optimist.

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Posted by Amelia G on October 29, 2006. Filed under Blue Blood. You can follow any responses to this entry through the RSS 2.0. You can leave a response or trackback to this entry