::::::::::::::::: Dita Von Teese: Fetish Icon :::::::::::::::::

Posted in Burlesque, Dita Von Teese, fetish, Fetish Model: Dita, Permanent Obscurity, Richard Perez with tags , , on March 19, 2011 by allperez
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Dita Von Teese, FETISH, no. 12, 2000, Hawk International Publications, Permanent Obscurity by Richard Perez, PermanentObscurity.com

What I love about Dita Von Teese as a model is her ability and interest to reference the past—particularly American cultural history as it relates to the sexploitation/fetish era, which means both burlesque and what was then, in the 1950s, labeled as “bizarre,” now simply called fetish. 

Marquis, No. 18, Dita Von Teese, , Permanent Obscurity by Richard Perez, PermanentObscurity.com

Most often she’s still referred to as a burlesque performer because the term “burlesque” in post-porn America has taken on a soft, even sweet, connotation; while “fetish”— still being associated with some form of mental illness, possibly Devil worship, in the minds of some—summons all sorts of mass market disapproval. 

Dita Von Teese in corset, nicely laced. , Permanent Obscurity by Richard Perez, PermanentObscurity.com

 

But for anyone familiar with the history of sexploitation/fetish artifacts, it’s obvious to see where her real talent lies.

REFLECTIONS, volume 17, number 1, 1994, , Permanent Obscurity by Richard Perez, PermanentObscurity.com

Make no mistake, Dita IS a fetishist: take note of her waistline, which should make clear that she indulges in some form of body modification as might be suggested in the book, MODERN PRIMITIVES, a landmark noted for igniting the ink and piercing subculture of the 1990s, which has long since broken into the mainstream.

Hustler’s TABOO, Vol. 1, No. 4, October 1998, , Permanent Obscurity by Richard Perez, PermanentObscurity.com

Dita , PLAYBOY, 2002, , Permanent Obscurity by Richard Perez, PermanentObscurity.com

Heather Renee Sweet aka Dita Von Teese, , Permanent Obscurity by Richard Perez, PermanentObscurity.com

As most people know, Dita (aka Heather Renee Sweet) studied set and costume design in college and began her career by referencing the founding fetish queen: Bettie Page.

Dita Von Teese channeling Bettie Page, , Permanent Obscurity by Richard Perez, PermanentObscurity.com

Like Bettie, Dita had to earn a living, so she did cheesecake work, often sporting a retro hairdo for mainstream photo shoots. But, like Bettie’s “Dark Angel” incarnation, it’s the more mysterious, vaguely European influenced fetish art that remains of greater interest to me—rooted, as it is, in some dark psychosexual truth, which is as natural as night is to day, the moon is to the sun and which underscores the more feral (and least understood) impulses of human sexuality.

Here’s my recently updated personal collection of Dita Von Teese sexploitation/fetish artifacts, which includes several DVDs. To see Dita perform in some early videos she did for Marquis is a real treat; she’s tranquil, charismatic and mesmerizing to watch: truly a graceful, centered and beautiful Dark Angel.

Fetish 101, Dita Von Teese, , Permanent Obscurity by Richard Perez, PermanentObscurity.com 

 

© 2011 Richard Perez

More Dita from my private collection:
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Support this author by purchasing his work: here
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“Richard Perez has the ears of the angels—lend him yours.”
—Barry Gifford, author: WILD AT HEART
PERDITA DURANGO

“Perez’s is an exciting talent and his work goes far beyond most of what is published today.”
—Henry Flesh, author: MICHAEL and the Lambda Literary Award-winner,
MASSAGE

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
PERMANENT OBSCURITY: Or A Cautionary Tale Of Two Girls And Their Misadventures With Drugs, Pornography And Death:  by Richard Perez, Perez Richard : PermanentObcurity.com : PERMANENT OBSCURITY: Or A Cautionary Tale Of Two Girls And Their Misadventures With Drugs, Pornography And Death:  by Richard Perez, Perez Richard : PermanentObcurity.com : PERMANENT OBSCURITY: Or A Cautionary Tale Of Two Girls And Their Misadventures With Drugs, Pornography And Death:  by Richard Perez, Perez Richard : PermanentObcurity.com
Yours at ——–> AMAZON!

PERMANENT OBSCURITY: Or a Cautionary Tale of Two Girls and Their Misadventures with Drugs, Pornography and Death by Dolores Santana (as told to Richard Perez)

IS THIS NOVEL RIGHT FOR YOU?

Buy PERMANENT OBSCURITY now!

PERMANENT OBSCURITY: what is it?

Buy now Worldwide >> PERMANENT OBSCURITY available here

Permanent Obscurity:  Or A Cautionary Tale
Of Two Girls
And Their Misadventures
With Drugs, Pornography
And Death

by
Dolores Santana
(as told to Richard Perez) 

***********************************

Charles Bukowski’s WOMEN : Re-examined by Richard Perez

Posted in book reviews, desperation and longing, life, romantic outlaws, sexploitation, writing with tags , on March 12, 2011 by allperez

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Henry Chinaski, c’est Bukowski lui-même, un écrivain alcoolique et grand amateur de femmes.

Alone With Everybody
by Charles Bukowski

The flesh covers the bone
and they put a mind
in there and
sometimes a soul,
and the women break
vases against the walls
and the men drink too
much
and nobody finds the
one
but keep
looking
crawling in and out
of beds.
flesh covers
the bone and the
flesh searches
for more than
flesh.

there’s no chance
at all:
we are all trapped
by a singular
fate.

nobody ever finds
the one.

the city dumps fill
the junkyards fill
the madhouses fill
the hospitals fill
the graveyards fill

nothing else
fills.

 

“Maybe I should have slammed her? How did a man know what to do? Generally, I decided, it was better to wait, if you had any feeling for the individual. If you hated her right off, it was better to fuck her right off; if you didn’t, it was better to wait, then fuck her and hate her later on.”
—  from WOMEN (pg. 189)

Yeah, I know that’s terrible. But, man, it’s also funny and brutally honest, and in a way it underscores the best thing about Bukowski’s 3rd (and arguably second best) novel, WOMEN, the book where Bukowski bluntly set out to prove he was a male chauvinist pig — or possibly the most truthful author around.


I just happily finished re-reading it (for maybe the 4th or 5th time — over I don’t know how many years), and I still can’t decide if it’s a romantic comedy (he does end up with the “chaste” girl by the end); or a coming-of-age story (he does learn about sex, as if for the first time; with the character of Lydia teaching him all about the working parts of a vagina and how to eat pussy); or if it’s a sexploitation romp. (The sexual scenes occur every 5 or 10 pages and are depicted very deliberately, highlighting the graphic elements in a way that would make Chuck Palahniuk blush.) Here’s one of my favorites:
“The night wore on. Then I looked around and Valerie and Bobby were gone. I walked into the bedroom and there was Valerie on the bed, naked except for her spiked high heels. Her body was firm and lean.
Bobby was still dressed and was sucking Valerie’s breasts, going from one to the other. Her nipples stood tall.
Bobby looked up at me. “Hey, old man, I’ve heard you brag about how you eat pussy. How’s this?”
Bobby ducked down and spread Valerie’s legs. Her cunt hairs were long and twisted and tangled. Bobby went down there and licked the clit. He was pretty good but he lacked spirit.
“Wait a minute, Bobby, you’re not doing it right. Let me show you.”
I got down there. I began far back and worked toward it. Then I got there. Valerie responded. Too much so. She wrapped her legs around my head and I couldn’t breathe. My ears were pressed flat. I pulled my head out of there.
“O.K., Bobby, you see?”
Bobby didn’t answer.
—  from WOMEN (pg. 255)
It’s true that Bukowski exaggerated the details of his life. And as he says when another character asks him, “What’s fiction?” He answers (pg. 197): “Fiction is an improvement on life.”
And having read his biography by Howard Sounes (LOCKED IN THE ARMS OF A CRAZY LIFE), it’s apparent that he not only exaggerates the amount of sex, but also the amount he was paid for poetry readings (his real-life minimum was $25.00 … whereas in the book he’s frequently offered 15 or 20 times that amount).


Stylistically, this time around, I could see a lot of John Fante (which Bukowski always admitted to, as in one of portion of the book where he spells out his name and favorite works [“F-A-N-T-E. Ask the Dust. Wait Until Spring, Bandini” –pg. 200]) — and also A LOT of Ernest Hemingway, especially the Ernest Hemingway of THE SUN ALSO RISES (the Paris Hemingway) and A MOVEABLE FEAST.


One thing I also noticed this time around is that Bukowski has a special knack for closing a chapter or section in the simplest way possible; this is actually harder than it seems, and it’s something that drives me crazy when I’m writing. I mean, when you’re designing a scene, you’re also trying to anticipate a way to make it as brief as possible, to conclude it. You want to get the scene done and tie it up with seeming effortlessness. Bukowski is excellent at this, concluding chapters precisely and even with a poem-like rhythm:
“Katherine walked into the boarding tunnel and was gone.
I walked back to the parking lot, got in the Volks, thinking, I’ve still got this. What the hell, I haven’t lost everything.
It started.”
—  from WOMEN (pg. 107) 

Here’s another example:

“I phoned Cecelia back that night, and I phoned her again the next night, and once more after that, and then I stopped phoning.”
—  from WOMEN (pg. 172)

Another example.

“Goodnight, Cecelia,” I said.
I pulled her to me. She was naked. Jesus, I thought. We kissed. She kissed very well. It was a long, hot one. We finished.
“Cecelia?”
“Yes?”
“I’ll fuck you some other time.”
I rolled over and went to sleep.
—  from WOMEN (pg. 175) {… yeah, I know that’s cold, but it’s also cruel-funny.}

Some might argue that, structurally, WOMEN is weaker than POST OFFICE or HAM ON RYE, and I would agree to some extent with that. Structurally, the book isn’t an “integrated” whole, but episodic — with events stacking up like layers in a cake.

In other words, the female characters in this novel enter and leave, enter and leave, enter and leave, as Bukowski “works and works and works,” and rarely seems able to “make it” or come, inevitably blaming his alcohol intake. And, of course, the women in this novel are mighty demanding, which adds to the comedy, the slapstick humor of the book, as in this scene with Lydia:

“What the hell good are you then?”
“Well, I can fry eggs and do magic tricks.”
“Don’t be funny. I’m asking you, what the hell good are you?”
“The leg will heal. If it doesn’t they’ll cut it off. Be patient.”
“If you hadn’t been drunk you wouldn’t have fallen and cut your leg. It’s always the bottle!”
“It’s not always the bottle, Lydia. We fuck about 4 times a week. For my age that’s pretty good.”
“Sometimes I think you don’t even enjoy it.”
“Lydia, sex isn’t everything! You are obsessed. For Christ’s sake, give it a rest.”
“A rest until your leg heals? How am I going to make it meanwhile?”
“I’ll play Scrabble with you.”
Lydia screamed. The car began to swerve all over the street. “YOU SON-OF-A-BITCH! I’LL KILL YOU!”
She crossed the double yellow line at high speed, directly into oncoming traffic. Horns sounded and cars scattered. We drove on against the flow of traffic, cars approaching us peeling off to the left and right. Then just as abruptly Lydia swerved back across the double line into the lane we had vacated.”
—  from WOMEN (pg. 91)

 

>>> (Lydia totally reminds me of an Eric Stanton femme.) <<<


SOME FAVORITE BOOK QUOTES:

“That night she drank half a bottle of red wine, good red wine, and she was sad and quiet. I knew she was connecting me with racetrack people and the boxing crowd, and it was true, I was with them, I was one of them. Katherine knew that there was something about me that was not wholesome in the sense of wholesome is as wholesome does. I was drawn to all the wrong things: I liked to drink, I was lazy, I didn’t have a god, politics, ideas, ideals. I was settled into nothingness; a kind of non-being, and I accepted it. It didn’t make for an interesting person. I didn’t want to be interesting, it was too hard. What I wanted was only a soft, hazy space to live in, and to be left alone. On the other hand, when I got drunk I screamed, went crazy, got all out of hand. One kind of behavior didn’t fit the other. I didn’t care.”
—  from WOMEN (pg. 104)
 

“It was, finally, for everyone, a matter of waiting. You waited and you waited — for the hospital, the doctor, the plumber, the madhouse, the jail, papa death himself. First the signal was red, then the signal was green. The citizens of the world ate food and watched t.v. and worried about their job or their lack of same, while they waited.”
—  from WOMEN (pg. 213) {See the poetry there? It’s hidden in prose form but I’ll break it down to create a whole new Bukowski poem … to be included in a future collection of verse maybe. Haha.}

It was, finally,
for everyone,
a matter of waiting.

You waited and you waited —

for the hospital,
the doctor,
the plumber,
the madhouse,
the jail,
papa death himself.

First the signal was red,
then the signal was green.

The citizens of the world
ate food and watched t.v.
and worried about their job
or their lack of same,

while they waited.

 

—————
Now the fictional women and their real life counterparts:


Lydia Vance =  Linda King … (Oh man, she’s my favorite crazy mama character. She makes for the best scenes in the book because she’s the best matched against Chinaski (Bukowski).

Tammie = Pamela Miller, aka “Cupcakes” (– a reference to her big ole’ D-cup boobs) A cruel, loony character in the book, my second favorite … She also appears in BORN INTO THIS, the documentary film on Bukowski.

Arlene = Georgia Peckham-Krellner — gal pal of Tammie (or Cupcakes)

Bobby and Valerie = Brad and Tina Darby (of the pussy-eating scene quoted above — pg. 255)

Sara = Linda Lee Bukowski … the “good” girl Bukowski ended up with.

Dee Dee  = Liza Williams  (a sad character in the book … she deserved better. She’s also in BORN INTO THIS … talking about Bukowski’s “purple onion”)


Tanya = Amber O’Neal  … the last woman in the book. (check out the “extras” on BORN INTO THIS, for her side of what happened between them.)



Cecelia = Ruth Wantling (with William Wantling, “William Keesing” in the novel)
“Cecelia sat and watched us drink. I could see that I repulsed her. I ate meat. I had no god. I liked to fuck. Nature didn’t interest me. I never voted. I liked wars. Outer space bored me. Baseball bored me. History bored me. Zoos bored me.”
—  from WOMEN (pg. 182)

——————————————————————————
The 1970s, I think, was definitely Bukowski’s best decade — creatively. All his novels + poetry books from this time are worth reading & re-reading.

— POST OFFICE (1971) … novel.
— MOCKINGBIRD WITH ME LUCK (1972) … poems.
— SOUTH OF NO NORTH (1973) … short stories.
— BURNING IN WATER, DROWNING IN FLAME (1974) … poems.
— FACTOTUM (1975) … novel.
— LOVE IS A DOG FROM HELL (1975) … poems.
— WOMEN (1978) … novel.
— PLAY THE PIANO DRUNK (1979) … poems — a great book at that.


—————

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
PERMANENT OBSCURITY: Or a Cautionary Tale of Two Girls
and Their Misadventures with Drugs, Pornography and Death by Dolores Santana
(as told to Richard Perez)

Richard Perez’s PERMANENT OBSCURITY on Amazon


Yours Now!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

IS THIS EXPLOITATION NOVEL RIGHT FOR YOU?

PERMANENT OBSCURITY: what is it?

Buy now Worldwide >> PERMANENT OBSCURITY available here

Permanent Obscurity:  Or A Cautionary Tale
Of Two Girls
And Their Misadventures
With Drugs, Pornography
And Death

by
Dolores Santana
(as told to Richard Perez)

***********************************
~~~~~~~~~~~~~~~: About the Author:
Initially published small literary magazines, Richard Perez has also written for The New York Times (a newspaper he doesn’t read.) His first novel, The Losers’ Club (aka: The Losers’ Club: Complete Restored Edition) has three foreign translations to date: Korean, Turkish, Italian. PERMANENT OBSCURITY: or a Cautionary Tale of Two Girls and Their Misadventures with Drugs, Pornography, and Death — his second novel — also reflects his infatuation with bohemia and willful nonconformists.

:~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~:


Russ Meyer, All American Outsider Filmmaker & Father of Sexploitation Cinema

Posted in Burlesque, Faster Pussycat Kill Kill, femdom, fetish, Grindhouse, Lorna, psychosexual films, sexploitation, Tura Satana on February 6, 2011 by allperez
Russ Meyer : Faster Pussycat! Kill! Kill! PermanentObscurity.com

Russ Meyer : Beyond The Valley Of The Dolls, PermanentObscurity.com

Russ Meyer, you gotta love him. When you’re talking about true outsider artists or demented “auteurs” in American film culture, he’s near the top. No question about it. This is because he not only directed movies his own way, he also cast, produced, shot, edited and distributed them (and to this day his family still owns all the film rights)! Maybe the only person in film history you can compare him to—in terms of complete ownership and control and productive individualism—is John Cassavetes.

Russ Meyer, of course, was a sexploitation filmmaker. That was his medium—and how he chose to express his creativity. So his films are always deeply rooted in sexuality—some might say twisted sexuality (as if there might be any other kind) — the battle between the sexes, issues of masculinity—or the lack of it (as in Lorna, Common Law Cabin, even Beyond the Valley of the Dolls). Often dissatisfied, uncontrollable, if not overbearing, women were at the center of some disruption. The male terror of being ineffectual, upended, cuckolded, and shamed often loomed large. In Russ Meyer films, amply endowed (and often over-sexualized) actresses were cast as the stars. The men—regardless of how large they were, or how hard they tried assert their manhood—always seemed to be diminished, to be rendered helpless in the presence of these haughty, intimidating females.

Russ Meyer : Faster Pussycat! Kill! Kill! PermanentObscurity.com

His first success, The Immoral Mr. Teas (1959), launched a subculture—a sexploitation subgenre—”nudie-cuties.” And soon other filmmakers and producers would join in, contributing their own variations (while also cashing in), including Hershel Gordon Lewis, David F. Friedman, and Doris Wishman. Sexploitation cinema would find its strongest auteur in Russ Meyer, whose films were always gorgeously shot and energetically (some might say kinetically) edited. As artifacts of cinematography his films could be appreciated as museum-worthy art—and his films have had retrospectives at institutions like M.O.M.A. in New York City.

Nearly all of his films were self-produced and self-financed. This is important in understanding the creative bubble that Russ Meyer lived in and the eccentricity of his work. He was an outsider and operated far from mainstream Hollywood and the European art film leanings of NYC. After the success of The Immoral Mr. Teas (which was shot for 24K and would gross over 150K), he was able to bankroll his own projects with little outside interference.

Now was this a blessing or a curse, artistically? Some might suggest that living in a state where no one challenges creative decisions is not always the optimal situation. Great artistry, it might be argued, often emerges through give and take, through conflict and creative friction —sometimes even from negotiating compromise. A strong independent producer—just like a committed book editor—can help in contributing a fresh, outside perspective in shaping and defining a project—allowing for a work of narrative art to be the truest manifestation of itself. The fantasy of a lone, inspired genius taking dictation from God, producing fully mature and polished first drafts—is mostly that: a fantasy.

Russ Meyer’s narratives are not always the most linear and coherent. Even he was honest enough to admit to that. Writing and structure were not his strong suit. And he often employed a number of screenwriters to contribute to his films while he busied himself with the look of the movie. The most famous of these writers, of course, was tabloid film critic, Roger Ebert.
Russ Meyer and Roger Ebert : PermanentObscurity.com

Ebert (often using a pseudonym, so as not be associated with films that were rated X) and Meyer would actually work on four of his most over-the-top projects—each more progressively demented—Beyond The Valley of The Dolls (1970), Up! (1976), Who Killed Bambi? (1977; never completed), and Beneath the Valley of the Ultra-Vixens (1979).
Russ Meyer : Beyond The Valley Of The Dolls, PermanentObscurity.com

In his life, Russ Meyer had the opportunity to produce two studio films (both for 20th Century Fox), which included Beyond The Valley of The Dolls and the rarely seen The Seven Minutes (1971). After that he was no longer welcome by studio heads who openly disparaged their association with Meyer, this pornographer-cum-pervert (while, of course, perfectly happy to collect any cash he made for the studio.)

Was Russ Meyer a pervert? He would admit to such in an interview with John Waters, saying it was “easier” just to answer yes to that question. Was Russ Meyer a pornographer? Not by post-’70s sex film standards: he never made a true porno.

Russ Meyer : Supervixens : PermanentObscurity.com

The era of commercially viable “sexploitation” came to a close after the first real XXX feature appeared in 1971 with Howard Ziehm’s Mona. The final nail in the coffin for ’60s-style sexploitation was the surreal success of Deep Throat, which signaled in the “porn chic” era. And while many sexploitation filmmakers—including Radley Metzger, Doris Wishman, Roberta Findlay—slid into hardcore, Russ Meyer resisted, even though he could’ve made huge money. In some ways—much like other sexploitation figures of his day, most notable fetish artist Eric Stanton—he was a product of a different time, emerging from the era of burlesque, where larger-than-life voluptuous women and the “tease”—as well as the unspoken “promise” of sexual pleasures to come—played a big part.
Russ Meyer : Vixen: PermanentObscurity.com
Russ Meyer : Lorna : Mudhoney : PermanentObscurity.com

Russ Meyer : The Russ Meyer Collection : PermanentObscurity.com

Russ Meyer : Blacksnake! PermanentObscurity.com
Also of Interest:
Bad Girl Cinema!

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

PERMANENT OBSCURITY: Or A Cautionary Tale Of Two Girls And Their Misadventures With Drugs, Pornography And Death:  by Richard Perez, Perez Richard : PermanentObcurity.com : PERMANENT OBSCURITY: Or A Cautionary Tale Of Two Girls And Their Misadventures With Drugs, Pornography And Death:  by Richard Perez, Perez Richard : PermanentObcurity.com : PERMANENT OBSCURITY: Or A Cautionary Tale Of Two Girls And Their Misadventures With Drugs, Pornography And Death:  by Richard Perez, Perez Richard : PermanentObcurity.com
Yours at ——–> AMAZON!

PERMANENT OBSCURITY: Or a Cautionary Tale of Two Girls and Their Misadventures with Drugs, Pornography and Death by Dolores Santana (as told to Richard Perez)
IS THIS NOVEL RIGHT FOR YOU?
Buy PERMANENT OBSCURITY now!
PERMANENT OBSCURITY: what is it?
Permanent Obscurity:  Or A Cautionary Tale
Of Two Girls
And Their Misadventures
With Drugs, Pornography
And Death
by
Dolores Santana

(as told to Richard Perez)

***********************************

14 Contributions of Charles Bukowski (among others)

Posted in Permanent Obscurity with tags , on November 17, 2010 by allperez

 

1. Gave a voice to the uneducated “common” man.
2. Gave license for the “big emotion” usually associated with the vulgarity of the lower classes.
3. Made failure and rejection an acceptable subject for serious literary fiction.
4. Showed the soul-crushing effects of menial labor on the human spirit in a way no writer before him
ever did.
5. Challenged the stupidity of the “American Dream.”
6. Challenged the notion of the sanctity of “work” vs. true personal freedom.
7. Illustrated the endless pettiness and incurable selfishness of humanity.
8. Demonstrated that an author didn’t need a literary education to tell the truth.
9. Cut away literary pretension and the standard for sanitizing polish in American literary prose.
10. Championed rawness in fiction as a virtue.
11. Rejected classical form in poetry.
12. Exposed the elitist nature and artistic pretensions of magazines of “serious” literary fiction.
13. Championed the outsider above all else.
14. Was the poet of loneliness.

 

Here’s “flophouse” (pg. 107 in RUN WITH THE HUNTED, pg. 101 in THE LAST NIGHT OF THE EARTH POEMS)

you haven’t lived
until you’ve been in a
flophouse
with nothing but one
light bulb
and 56 men
squeezed together
on cots
with everybody
snoring
at once
and some of those
snores
so
deep and
gross and
unbelievable-
dark
snotty
gross
subhuman
wheezings
from hell
itself.

your mind
almost breaks
under those
death-like
sounds

and the
intermingling
odors:
hard
unwashed socks
pissed and
shitted
underwear

and over it all
slowly circulating
air
much like that
emanating from
uncovered
garbage
cans.

and those
bodies
in the dark

fat and
thin
and
bent

some
legless
armless

some
mindless

and worst of
all:
the total
absence of
hope

it shrouds
them
covers them
totally.

it’s not
bearable.

you get
up

go out

walk the
streets

up and
down
sidewalks

past buildings

around the
corner

and back
up
the same
street

thinking

those men
were all
children
once

what has happened
to
them?

and what has
happened
to
me?

it’s dark
and cold
out
here.


 

 

 

 

 

 

 

 

 

 

————————————————————-

PERMANENT OBSCURITY by Richard Perez

Richard Perez’s PERMANENT OBSCURITY on Amazon

“Ready-made for Russ Meyer—assuming, that is, if Meyer was around and still at his peak.”
Josh Alan Friedman, author: TALES OF TIMES SQUARE, WHEN SEX WAS DIRTY

“The American Baise-Moi!”
Lynn Breedlove, author: GODSPEED

PERMANENT OBSCURITY: Or a Cautionary Tale of Two Girls
and Their Misadventures with Drugs, Pornography and Death by Dolores Santana
(as told to Richard Perez)

* A youthful bohemian satire,
* a story of alienated nonconformists,
* a “girls on the lam” story,
* a sexploitation and S/M romp,
* a spoof of cult celebrity and “true-life” tabloid sensationalism:

PERMANENT OBSCURITY:

Inspired by the underground sexploitation films of the 1960s, this bold updating of the “roughie” subgenre and lampoon of auteur filmmaking largely takes place in New York City’s East Village (circa the Bush era), and it chronicles the rise and fall of a unique and intense relationship. Dolores and Serena, two chemically dependent, down-and-out artists set out to take control of their lives by making a fetish-noir/femdom movie. Of course, things don’t exactly turn out as planned.

~~~~~~~~~~~~~~~~~:

PERMANENT OBSCURITY by Richard Perez

“Richard Perez has the ears of the angels—lend him yours.”
Barry Gifford, author: WILD AT HEART, PERDITA DURANGO

“Perez’s is an exciting talent and his work goes far beyond most of what is published today.”
Henry Flesh, author: MICHAEL and the Lambda Literary Award-winner, MASSAGE

~~~~~~~~~~~~~~~~~:

PERMANENT OBSCURITY:
PART 1 – “The Kinky Hook”
PART 2 – “Strange Hungers”
PART 3 – “No Man’s Land”

This trade paperback contains all 3 “episodes” or books also available separately from Amazon.

Notebook” for the novel –> PermanentObscurity.com
See my vintage magazine/book collection RIGHT NOW ——-> RichardPerez.net

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
PERMANENT OBSCURITY: Or a Cautionary Tale of Two Girls
and Their Misadventures with Drugs, Pornography and Death by Dolores Santana
(as told to Richard Perez)Richard Perez’s PERMANENT OBSCURITY on Amazon
Yours Now!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
IS THIS EXPLOITATION NOVEL RIGHT FOR YOU?

“Notebook” for the novel –> http://permanentobscurity.com/

I need to emphasize that PERMANENT OBSCURITY is not “erotica,” although it has BDSM overtones (leaning toward so-called “femdom”). It’s really a dark comedy about bohemia and the difficulty of relationships (female/male and female/female) and finally the big question for anyone in the arts (or in the tabloid media): sudden fame vs. permanent anonymity. The style of the novel is inspired by ’60s over-the-top sexploition films like those of Russ Meyer (FASTER PUSSYCAT KILL KILL, BEYOND THE VALLEY OF THE DOLLS) and those Something Weird Videos, like A SWEET SICKNESS and BAD GIRLS GO TO HELL [so-called “cautionary tales”]) — updated to the Bush era (circa 2006).

PERMANENT OBSCURITY: Or a Cautionary Tale of Two Girls and Their Misadventures with Drugs, Pornography and Death by Dolores Santana (as told to Richard Perez)
Written in the 3 parts:

PERMANENT OBSCURITY: PART 1 – THE KINKY HOOK
Whereupon we are introduced to Dolores and Serena and their kinky shenanigans.

PERMANENT OBSCURITY: PART 2 – STRANGE HUNGERS
Whereupon Dolores and Serena grapple with relationship/sexuality issues, life-threatening drug dealers, irreversible money woes. Culminating in a desperate attempt at making a so-called “femdom” film.

PERMANENT OBSCURITY: PART 3 – NO MAN’S LAND
Whereupon Dolores and Serena find themselves in a place not expected. Namely, hell.

PERMANENT OBSCURITY: Or a Cautionary Tale of Two Girls and Their Misadventures with Drugs, Pornography and Death by Dolores Santana (as told to Richard Perez)

¤*.¸¸.·´¨`°*» PERMANENT OBSCURITY: the title and where it came from –> http://permanentobscurity.com/perm-obsc-origins-title.htm

¤*.¸¸.·´¨`°*» The subversive power of sexploitation:
pre-porn era sexploitation and its influence —
http://permanentobscurity.com/perm-obsc-sexploitation-1.htm

¤*.¸¸.·´¨`°*» BAD GIRL CINEMA (and its influence on the novel):
http://permanentobscurity.com/perm-obsc-origins-badgirls.htm

Buy now from AMAZON (U.S.) >> http://www.amazon.com/Permanent-Obscurity-Cautionary-Misadventures-Pornography/dp/0971341540

¤*.¸¸.·´¨`°*» To purchase (foreign countries): http://permanentobscurity.com/perm-obsc-buy.htm

~~~~~~~~~~~~~~~: About the Author:

 

Initially published small literary magazines, Richard Perez has also written for The New York Times (a newspaper he doesn’t read.) His first novel, The Losers’ Club (aka: The Losers’ Club: Complete Restored Edition) has three foreign translations to date: Korean, Turkish, Italian. PERMANENT OBSCURITY: or a Cautionary Tale of Two Girls and Their Misadventures with Drugs, Pornography, and Death — his second novel — also reflects his infatuation with bohemia and willful nonconformists.

 

:~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~:

MelvilleHouse book review of my “Bad Girls” Cautionary Tale. Yikes.

Posted in book reviews, Permanent Obscurity, Richard Perez, writing on November 14, 2010 by allperez

NO EXIT. A Review of Permanent Obscurity: A Novel by Richard Perez

http://melvillehousebooks.com/no-exit-a-review-of-permanent-obscurity-a-novel-by-richard-perez/

Book Review By Robert Mead

Permanent Obscurity

Permanent Obscurity plays out like an existential BDSM sex farce written by Jean Paul Sartre. At the center of this black comedy is Dolores and Serena, two bickering, self-deluded wannabe artists. Dolores, our quasi-teenage narrator, rages about society and how she’s oppressed while puffing away nonstop from her weed pipe; Serena, a self-absorbed beauty, can’t be bothered to work for a living so she puts out Craigslist ads for slaves who provide her with the adoration and attention she craves as a failed singer and performer. One such “slave,” who becomes an important character in the book, is a man referred to as “Baby,” a self-sacrificing little saint who can’t stop from bending over backwards for Serena, even though it’s clear she’s moved on to others, including a new male servant who might better serve her purposes. Appropriated slave #2 is a failed writer by the name of “Dick,” who may or may not stand in for the author himself, Richard Perez.

Dizzy yet? There’s more. Raymond, Dolores’s brow-beaten 40ish boyfriend, can’t seem to stop apologizing for an infidelity while Dolores makes sure she rubs his nose it, since she’s carrying his child. Like Baby, Raymond seems like another lost and haunted soul. The give-and-take (apologizing and Dolores’ refusal to accept an apology), comprises the romantic comedy subplot and is a running joke in the book.

Dolores and Serena take to living on the run, after it becomes clear that drug dealers (more and more piling up, appear as the story goes on) are closing in. Along the way, Serena has progressed from fetish model to would-be dominatrix-headliner in a film that Dolores and she attempt to make. The BDSM movie — or the attempt to produce it — becomes more or less the central plot of second act of the book. And page after page, Dolores and Serena find new ways of fouling things up, until the climatic event itself (the actual sex movie shoot) turns into another disastrous reversal. And suddenly Dolores and Serena find themselves as murderers. This is the existential part of the tale, like a trap door opening up in the story, plunging the girls into the third act of the novel, “No Man’s Land,” in which they’re made to finally deal with the consequences of their dissolute lives.

This is a long and heady story told from the meandering point of view of a pothead, Dolores. And appropriately enough, it meanders but never becomes dull. In the beginning of the novel, Dolores and Serena almost seem like tabloid caricatures, which may or not be a side effect of Dolores telling the story. But as the story progresses, the characterizations deepen. The dialog also becomes heavy with urban slang as Dolores’ re-telling sinks into flashback and more or less stays in flashback, until the end of the novel when we’re jolted back to the beginning and we fully understand the meaning of the opening quote of the book and how it relates to “Permanent Obscurity.”

This is a wild and entertaining novel, rough in spots, but ambitious in it’s own gritty, low-rent kind of way. But not for everyone with its non-mainstream BDSM sexual content, staggering drug use, and heavy foul language. Dolores, our narrator, and her best friend Serena would best be categorized as anti-heroes, certainly not role models.

Available from Amazon.

Full title of this novel: PERMANENT OBSCURITY: Or a Cautionary Tale of Two Girls and Their Misadventures with Drugs, Pornography and Death by Dolores Santana (as told to Richard Perez)

[Book Review by Robert Mead]

————————————————————-

PERMANENT OBSCURITY by Richard Perez

Richard Perez’s PERMANENT OBSCURITY on Amazon 

“Ready-made for Russ Meyer—assuming, that is, if Meyer was around and still at his peak.”
Josh Alan Friedman, author: TALES OF TIMES SQUARE, WHEN SEX WAS DIRTY

“The American Baise-Moi!”
Lynn Breedlove, author: GODSPEED

PERMANENT OBSCURITY: Or a Cautionary Tale of Two Girls
and Their Misadventures with Drugs, Pornography and Death by Dolores Santana
(as told to Richard Perez)

* A youthful bohemian satire,
* a story of alienated nonconformists,
* a “girls on the lam” story,
* a sexploitation and S/M romp,
* a spoof of cult celebrity and “true-life” tabloid sensationalism:

PERMANENT OBSCURITY:

Inspired by the underground sexploitation films of the 1960s, this bold updating of the “roughie” subgenre and lampoon of auteur filmmaking largely takes place in New York City’s East Village (circa the Bush era), and it chronicles the rise and fall of a unique and intense relationship. Dolores and Serena, two chemically dependent, down-and-out artists set out to take control of their lives by making a fetish-noir/femdom movie. Of course, things don’t exactly turn out as planned.

~~~~~~~~~~~~~~~~~:

PERMANENT OBSCURITY by Richard Perez

“Richard Perez has the ears of the angels—lend him yours.”
Barry Gifford, author: WILD AT HEART, PERDITA DURANGO

“Perez’s is an exciting talent and his work goes far beyond most of what is published today.”
Henry Flesh, author: MICHAEL and the Lambda Literary Award-winner, MASSAGE

~~~~~~~~~~~~~~~~~:

PERMANENT OBSCURITY:
PART 1 – “The Kinky Hook”
PART 2 – “Strange Hungers”
PART 3 – “No Man’s Land”

This trade paperback contains all 3 “episodes” or books also available separately from Amazon.

Notebook” for the novel –> PermanentObscurity.com
See my vintage magazine/book collection RIGHT NOW ——-> RichardPerez.net

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
PERMANENT OBSCURITY: Or a Cautionary Tale of Two Girls
and Their Misadventures with Drugs, Pornography and Death by Dolores Santana
(as told to Richard Perez) 

Richard Perez’s PERMANENT OBSCURITY on Amazon

Yours Now!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
IS THIS EXPLOITATION NOVEL RIGHT FOR YOU? 

“Notebook” for the novel –> http://permanentobscurity.com/

I need to emphasize that PERMANENT OBSCURITY is not “erotica,” although it has BDSM overtones (leaning toward so-called “femdom”). It’s really a dark comedy about bohemia and the difficulty of relationships (female/male and female/female) and finally the big question for anyone in the arts (or in the tabloid media): sudden fame vs. permanent anonymity. The style of the novel is inspired by ’60s over-the-top sexploition films like those of Russ Meyer (FASTER PUSSYCAT KILL KILL, BEYOND THE VALLEY OF THE DOLLS) and those Something Weird Videos, like A SWEET SICKNESS and BAD GIRLS GO TO HELL [so-called “cautionary tales”]) — updated to the Bush era (circa 2006).

PERMANENT OBSCURITY: Or a Cautionary Tale of Two Girls and Their Misadventures with Drugs, Pornography and Death by Dolores Santana (as told to Richard Perez)
Written in the 3 parts:

PERMANENT OBSCURITY: PART 1 – THE KINKY HOOK
Whereupon we are introduced to Dolores and Serena and their kinky shenanigans.

PERMANENT OBSCURITY: PART 2 – STRANGE HUNGERS
Whereupon Dolores and Serena grapple with relationship/sexuality issues, life-threatening drug dealers, irreversible money woes. Culminating in a desperate attempt at making a so-called “femdom” film.

PERMANENT OBSCURITY: PART 3 – NO MAN’S LAND
Whereupon Dolores and Serena find themselves in a place not expected. Namely, hell.

PERMANENT OBSCURITY: Or a Cautionary Tale of Two Girls and Their Misadventures with Drugs, Pornography and Death by Dolores Santana (as told to Richard Perez)

¤*.¸¸.·´¨`°*» PERMANENT OBSCURITY: the title and where it came from –> http://permanentobscurity.com/perm-obsc-origins-title.htm

¤*.¸¸.·´¨`°*» The subversive power of sexploitation:
pre-porn era sexploitation and its influence —
http://permanentobscurity.com/perm-obsc-sexploitation-1.htm

¤*.¸¸.·´¨`°*» BAD GIRL CINEMA (and its influence on the novel):
http://permanentobscurity.com/perm-obsc-origins-badgirls.htm

Buy now from AMAZON (U.S.) >> http://www.amazon.com/Permanent-Obscurity-Cautionary-Misadventures-Pornography/dp/0971341540

¤*.¸¸.·´¨`°*» To purchase (foreign countries): http://permanentobscurity.com/perm-obsc-buy.htm

~~~~~~~~~~~~~~~: About the Author:

 

Initially published small literary magazines, Richard Perez has also written for The New York Times (a newspaper he doesn’t read.) His first novel, The Losers’ Club (aka: The Losers’ Club: Complete Restored Edition) has three foreign translations to date: Korean, Turkish, Italian. PERMANENT OBSCURITY: or a Cautionary Tale of Two Girls and Their Misadventures with Drugs, Pornography, and Death — his second novel — also reflects his infatuation with bohemia and willful nonconformists.

 

:~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~:

“Girl In Trouble” A Cautionary Tale

Posted in "girl in trouble", 42nd Street, cautionary tales, psychosexual films, sexploitation, sexploitation noir on October 24, 2010 by allperez

Fascinates me that a sexploitation film as small as “Girl In Trouble” would get a novelization. But such were the 1960s. The book version is dated 1964. And like many “cautionary tales” of its day, it delves into the dark side of sexploitation, the stark tabloid side. Usually about a downward spiral, suggesting: “Don’t Let This Happen To You!” Here’s a scan of the beginning of the book:

“I WAS sixteen years old before I realized that I was pretty. Then I counted it a blessing, the magic key that would unlock the doors of my prison — set me free to enjoy the glamor and excitement I had only read about. By the time I was eighteen, I knew the key had only unlocked Pandora’s box. Oh, there was excitement enough. And, I suppose, a certain amount of glamor. But these were paid for in full measures of pain, heartbreak and degradation….”

The film appears as the first in the Something Weird “Teen Turmoil” Triple feature. File under 1960s sexploitation > roughie.

 

Here’s the awesome trailer. As with many exploitation teasers it’s better than the actual film, which is awkwardly cobbled together. Love the helmet hairdos though. And, in the case of this movie, the main character’s do gets bigger the deeper she sinks “into depravity” — her hair height becoming a barometer of her downward spiral.

From “Girl In Trouble” ~ good girl gone bad. Way bad, if we’re to judge by the height of her hair. A cautionary tale, for sure.

 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

 

PERMANENT OBSCURITY: Or a Cautionary Tale of Two Girls
and Their Misadventures with Drugs, Pornography and Death by Dolores Santana
(as told to Richard Perez) 

Richard Perez’s PERMANENT OBSCURITY on Amazon

Yours Now!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

IS THIS EXPLOITATION NOVEL RIGHT FOR YOU?

“Notebook” for the novel –> http://permanentobscurity.com/

I need to emphasize that PERMANENT OBSCURITY is not “erotica,” although it has BDSM overtones (leaning toward so-called “femdom”). It’s really a dark comedy about bohemia and the difficulty of relationships (female/male and female/female) and finally the big question for anyone in the arts (or in the tabloid media): sudden fame vs. permanent anonymity. The style of the novel is inspired by ’60s over-the-top sexploition films like those of Russ Meyer (FASTER PUSSYCAT KILL KILL, BEYOND THE VALLEY OF THE DOLLS) and those Something Weird Videos, like A SWEET SICKNESS and BAD GIRLS GO TO HELL [so-called “cautionary tales”]) — updated to the Bush era (circa 2006).

PERMANENT OBSCURITY: Or a Cautionary Tale of Two Girls and Their Misadventures with Drugs, Pornography and Death by Dolores Santana (as told to Richard Perez)
Written in the 3 parts:

PERMANENT OBSCURITY: PART 1 – THE KINKY HOOK
Whereupon we are introduced to Dolores and Serena and their kinky shenanigans.

PERMANENT OBSCURITY: PART 2 – STRANGE HUNGERS
Whereupon Dolores and Serena grapple with relationship/sexuality issues, life-threatening drug dealers, irreversible money woes. Culminating in a desperate attempt at making a so-called “femdom” film.

PERMANENT OBSCURITY: PART 3 – NO MAN’S LAND
Whereupon Dolores and Serena find themselves in a place not expected. Namely, hell.

PERMANENT OBSCURITY: Or a Cautionary Tale of Two Girls and Their Misadventures with Drugs, Pornography and Death by Dolores Santana (as told to Richard Perez)

¤*.¸¸.·´¨`°*» PERMANENT OBSCURITY: the title and where it came from –> http://permanentobscurity.com/perm-obsc-origins-title.htm

¤*.¸¸.·´¨`°*» The subversive power of sexploitation:
pre-porn era sexploitation and its influence —
http://permanentobscurity.com/perm-obsc-sexploitation-1.htm

¤*.¸¸.·´¨`°*» BAD GIRL CINEMA (and its influence on the novel):
http://permanentobscurity.com/perm-obsc-origins-badgirls.htm

Buy now from AMAZON (U.S.) >> http://www.amazon.com/Permanent-Obscurity-Cautionary-Misadventures-Pornography/dp/0971341540

¤*.¸¸.·´¨`°*» To purchase (foreign countries): http://permanentobscurity.com/perm-obsc-buy.htm

~~~~~~~~~~~~~~~: About the Author:

 

Initially published small literary magazines, Richard Perez has also written for The New York Times (a newspaper he doesn’t read.) His first novel, The Losers’ Club (aka: The Losers’ Club: Complete Restored Edition) has three foreign translations to date: Korean, Turkish, Italian. PERMANENT OBSCURITY: or a Cautionary Tale of Two Girls and Their Misadventures with Drugs, Pornography, and Death — his second novel — also reflects his infatuation with bohemia and willful nonconformists.

 

:~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~:

When it comes to artifacts connected to the process of making art: Has the digital age ruined everything?

Posted in digital age on October 10, 2010 by allperez

Friend of mine and I were having this discussion: has the digital age annihilated priceless artifacts for future generations? Here’s what I’m talking about:

1) photography. Once upon a time each print was special — or at least unique. Now digital photos are instantly manipulated, altered in photoshop, and reshaped, thus diminishing them in value. Who cares about a digital photo print? The magic is gone. And photos themselves are nothing special, the province of any 6 year old with a toy cell phone.

2) books. 2010 will be remembered as the year ebooks finally took over. There’s no denying it: the days of printed books are over. Amazon Kindle ebooks are offering authors 70% royalties! No investment since uploading and listing is free. Egad. That’s it! Kiss paperbacks goodbye! In the age of today’s news = old news — who will bother “printing” anything?

3) CGI has put Hollywood stunt people out of work! Car crashes used to be cool to watch ’cause you knew there were brave people in those cars, crashing them. When a person was seen falling from a building, someone was actually FALLING FROM A BUILDING. When somebody was on fire — they were really ON FIRE! Nowadays, special effects don’t mean squat! It’s animation that requires absolutely zero personal risk!

4) DVDs and CDs are already history and, with downloadable media, kiss cover art bye-bye! Forget LP jacket covers — no more jewel case art or interesting liner notes either. You get nothing — no frills! Zip! Gone the way of lobby cards: no time for any of that.

5) And now, dear people, comes the saddest of all for me personally. Emails have long replaced letters and beautiful letter writing. Remember the anticipation of getting a letter in the mailbox, wondering who it was, ripping open the letter and seeing pages and pages of carefully composed words? Remember being impressed that someone TOOK THE TIME to compose a letter? And remember thinking: should I read it now — or save it for later? — maybe to enjoy in bed, in my pajamas? Remember reading and re-reading those tender words, marveling at the patience, appreciating the effort? Remember love letters that went on on on, gushing and gushing, dripping with emotion and melancholy and longing? Remember even smelling the pages? Wondering if you could smell the perfume or cologne of that other soul? Emails have ruined the legacy of personal letters, which (with certain literary types) were often an author’s best work (i.e. Henry Miller). No more collected correspondence between brilliant, passionate authors. No more books like LETTERS TO A YOUNG POET. Rilke’s words, as emails, would have gone straight into the waste-bin of oblivion.

What do you think? What’s your opinion? (“Share” this post on your page if you like.)

{By the way, I tried to post this little blog directly on FACEBOOK, but it said: “Your status update is too long. The maximum status length is 420 characters, but it is 2371 characters long.” Grrrr … the digital age!}

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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