Quantcast
Channel:
Viewing all 1097 articles
Browse latest View live

Needles and Trains: An Interview with Irvine Welsh

$
0
0

Irvine welsh on music, writing, and updating his trainspotting lads.

Irvine Welsh broke through big-time with the publication of Trainspotting in 1993. The book shocked readers with its raw depiction of young, working-class Scottish friends shooting heroin and searching for kicks in an oppressive, Thatcher-era U.K. When the 1996 movie came out, Republican presidential candidate Bob Dole accused it of glorifying drug use and celebrating moral depravity. Twenty-five years, 15 books, and five movie adaptions later, the Edinburgh-raised Welsh is still doing his thing. His new novel, Dead Men’s Trousers, which revisits the Trainspotting crew as middle-aged men, is as power-packed as his debut.

Penthouse talked to Welsh about his literary career, his punk bands, and his new book.

You began as a musician, right?

It wasn’t much, really. Just a lot of fucking around. With the punk scene in London, everybody wanted to be in a band. It was just kids playing instruments and writing songs and making noise. I got involved because I was interested in music, but there wasn’t a lot going on in Edinburgh. Not a lot of people interested in making music. A bunch of people who were pretty much the same as me. We were on the scene. We used to congregate around these bars. Scotland was just like any other place.

I started off playing guitar and kind of sang, but I wasn’t a good guitarist and I wasn’t a good singer. I switched to bass and I wasn’t a good bass player. If we had a good drummer, I could never keep time with him. It’s like if you play soccer. I’m the kind of guy that wants to play in the World Cup. I don’t want to play in the pub league. As a musician, I wanted to play in the Hollywood Bowl.

I came to the conclusion that if you wanted to make an impact, you have to be good at it. I always wanted to do something artistic and make that impact. The music was for pure enjoyment, but it wasn’t reaching anybody. In a way, it was just about trying to imitate the music that I liked. Eventually I switched to writing, and here we are. The creativity was there — I was just trying to find the right vehicle for me.

What made you leave Edinburgh in 1978?

We heard about the punk scene in London and I finally went down there. Meeting people, going to gigs, doing stuff together. I was in a couple of punk bands with a couple of friends. I was always fucked up and got kicked out of a lot of bands. It was because of that that I never really played music professionally. I could never quite get it to come out how I wanted it to.

I was lucky because my auntie was down there. She doted on me. It was like a second home for me. I was spoiled in a way. It wasn’t like I was living on the mean streets of London, squatting and the like. It gave me a way to go out and get involved with the bands. It was always a collaboration, and I was always the person that people wanted to collaborate with. I had a lot of ideas. I wasn’t very capable musically, but my ideas were strong. I used to write ballads. It was stories set to music. That was how I became a writer. Writing ballads and eventually getting rid of the music.

What did music mean to you back then?

When you grow up in Scotland, it’s a very political culture. Music is such an emotional thing. It made me want to express myself. That’s why I started playing in bands in the first place, and eventually started writing. Music is about beautiful songs and these amazing principles. It goes through this whole range of human emotions. It reflects on the cultural ideas and beauty of the people who are making it. That is very important, in my point of view.

It’s interesting, because technology now takes away a lot of these things, and that kind of takes the barriers down. You can have concepts and ideas and make them a reality. It’s so much easier to realize your ideas and get them out there than it was back when I wanted to do it. If I was a kid now, I probably would be involved in something like that because of the technology.

Do you have a favorite artist?

David Bowie is obviously the main influence for my generation. What he did is make a road map of what’s cool. It wasn’t just entertainment and good music — he really kind of liberated us all. He got me into the Velvet Underground and Iggy Pop. He got me into soul and more. He shared his enthusiasm. By sharing his life experiences in his music, he defined what my generation and culture has become. He influenced punk rock and performance rock — even Lady Gaga and Madonna and all that. He’s a huge influence on me and who I am.

“David Bowie is obviously the main influence for my generation. What he did is make a road map of what’s cool. It wasn’t just entertainment and good music — he really kind of liberated us all.”

Can you talk about the role of music in your books?

I try to replicate how music sounds in my writing — with the characters and how they interact with others. The characters kind of come alive through the music. I have playlists for certain characters. In my writing, I always wanted to have the impact music had on me. Particularly in the early days. The characters make all kinds of references to music in these books. I would make playlists and play these songs as I wrote, and it really helped to bring it all together.

What’s it been like to branch out into musicals and plays?

I did a musical called Blackpool with Vic Godard of the band Subway Sect, and also Creatives with [composer] Laurence Mark Wythe in Chicago. It’s just fantastic to condense the ideas that you have into a musical. Nobody can be an expert in every art, but the idea is kind of independent of form. When you realize the idea can take shape and flourish as a film, a novel, a play, or even a musical, it’s amazing. If you can find someone to collaborate with that can help you to bring that idea to life, it’s great.

The nature of your books has made you a literary rock star. Ever feel pressure to live up to the hype?

Everybody wants to get fucked up with me. They give me drugs and drinks all the time. When I go out to the clubs, everybody always wants to party with me. When I was younger it was awesome, but then I got a bit fed up with it. It’s always nice to be asked to party and the like, but sometimes you don’t feel up to it.

What are you most proud of in your career?

I think when I look back, it’s about meeting people. When you’re under a lot of pressure, you don’t always come across as good as you can. It’s very rare that I’ve acted like a total asshole. That’s the thing I’m most proud of. It’s quite easy to be standoffish or whatever, but I’ve always tried to make time for people. And in my position, it’s not always easy to do that. I didn’t always deal with that so well, but I’ve gotten a lot better. These are the things that stick with you, and these are the things that define who you are.

Any regrets in life or professionally?

Not really, no. I don’t regret the things I’ve done, but sometimes it’s the things that I haven’t done. There are places I haven’t traveled to and stuff of that nature. Certain things that I would have liked to get involved in. But other than that, I don’t really have any regrets. I’m not the kind of guy that’s big on that. You can only be the way you are. I don’t consciously try to get attention with comments and whatnot. I just fire things out, and that’s the way it comes out.

What music are you listening to today?

I started DJing again. I listen to a lot of techno and house. It’s a weird thing — most of the guys into DJing house music are older. All these old-school house parties, it’s kind of crazy. It’s nice to do that again. I’m usually one of those guys at the club listening to the music all night.

Who’s your favorite Trainspotting character?

I think maybe Spud or Tommy, because they’re basically good guys. Renton is probably okay, a decent guy. Sick Boy is very self-centered, egotistical, and manipulative. Begbie in his own way is as well.

“It’s very rare that I’ve acted like a total asshole. That’s the thing I’m most proud of. It’s quite easy to be standoffish or whatever, but I’ve always tried to make time for people.”

How do you keep all the story and character timelines straight with your overlapping books?

I’ve had the same editor for a long time. He knows a lot of my stuff very well and he’ll tell me, “Well, this guy actually died.” It becomes like the Marvel Universe. You see characters basically as tools to do their job. You think, Oh, I want to write this around this theme, and I’ve got my toolbox that can help me do this. Sometimes you forge new tools and then you have to bring the other ones back, but you do create a universe and you have to be aware of what’s going on in it.

As soon as I finish a book, I’ve forgotten it in a month. I’m not really thinking about anything I’ve done previously, so sometimes I may get a little memory jog: Well, this guy’s been in this book. I’ll probably go back to the book and find out what happened to him. It’s just trying to remember and trying to sort of patch up where you’ve seen this character before, who their associates are, and relying on that as well to have some knowledge of it.

How did it feel to make the Trainspotting guys middle-aged?

I think you will see these guys changed. If Trainspotting was about friendship and betrayal, then Dead Men’s Trousers is kind of a redemption thing. They’re looking back on their lives, not necessarily with regret, but looking back at the mistakes they made and trying to get some kind of resolution, some kind of redemption. They’re still very optimistic in a certain way, but it doesn’t quite work out the way they really want it to. The book has matured in a lot of ways — I’m much more mature and responsible now — but these guys aren’t quite that way. If people are mature, it gets a bit boring. They’re more persons of their own vanities and vices.

The post Needles and Trains: An Interview with Irvine Welsh appeared first on Penthouse Magazine.


Burt Reynolds, Super Stud

$
0
0

A look back at the actor’s 1972 Penthouse interview.

The death of Burt Reynolds on September 6 marked the end of an era, not only in American film but American masculinity. Since then, countless tributes have commemorated the actor’s legacy, but we decided to go back — way back — to the interview Reynolds did for this magazine in 1972, conducted by radio personality Fred Robbins, a close friend of the actor. At the time, Reynolds was appearing in the play The Rainmaker, and Deliverance had just hit theaters (though here there’s hardly mention of the film, which became a huge hit, and is still considered one of the best action movies of all time). Reynolds had also been guest hosting The Tonight Show for Johnny Carson, and, most notably, Cosmopolitan just published the now infamous photo of the actor lying naked on a bear skin rug.

Penthouse’s nine-page exposé painted a portrait of Reynolds, then 36, that people may no longer recognize — candid, virile, and full of confidence and excitement for a career that was about to explode. Here are our favorite naughty bits.

If the enthusiasm of the audience during your current tour of The Rainmaker is anything to go by, you seem to have experienced a new surge of popularity following your nude centerfold in Cosmopolitan.

Helen Gurley Brown is certainly the best business woman in the world. She printed 400,000 extra copies. Hell, if she’d known what was going to happen, she’d have printed two million extra copies. The reason it sold is that women have a lot better sense of humor than men give them credit for, and they’re tired of coming home and looking at Penthouse and Playboy pictures with all that cleavage and having the husband say, “Why the hell don’t you look like that, Martha?” — after they’ve had eight babies, you know. So it was a chance to take something and stick it in the husbands’ ears. Jesus, to be a part of that was a terrific fun thing. But it could have been a disaster. I could be playing to empty theaters right now.

A lot of women were disappointed that they didn’t see the whole thing.

Yeah. I got a lot of that, too. But I judged it by the way I judge photographs of women — to me, the sexiest thing is something that leaves a little to the imagination. Plus the fact that I wanted to be funny. And I’ve never found anything funny about a man’s cock.

Were you asked in the beginning to do it completely nude?

We tried both ways. They took a million pictures, and I’m sure, right now, in the underground in New York, there’s a lot of pictures circulating of me with everything hanging out. It was a cold day. I’m sorry they got those.

One female reaction was that the picture wasn’t exciting because it’s a soft picture — no athletic motion, with muscles stretched taut.

You and I both know that what turns you on may not turn me on, etc. I’m sure that’s just as true with women. A lot of women are turned on by fat chubby little guys. A lot of women are turned on by jocks. Very few are turned on by the Charles Atlas muscle-bound egg-shaped guy — mostly because most of them are so busy working on their bods, they never have time to work on their personalities. I think it’s sexier if it’s a face you recognize because then you fantasize all kinds of things. Open a magazine, and there’s Ursula Andress or Raquel Welch or somebody in her underwear — you think, “Gee, that’s terrific. Never saw her in her underwear before.” And then you can conjure up all kinds of things. Probably the most stimulating thing to guys is to see somebody who doesn’t do that kind of thing ordinarily, I would think. If I see Raquel, I’m really not that turned-on, but if I open up a magazine and see Carol Burnett — that would turn me on. If a woman thinks she’s sexy, she is.

Were you surprised by the wild letters you got?

I didn’t expect to get thousands… I also got thousands saying it was fun and terrific, and “I’m glad you did it and my whole family loves you, and my grandmother loves you and my husband loves you” — you know I even got one from a chick who’s on a roller derby team and has it in her locker. The freaks’ letters were what you would imagine some guy with a raincoat beating off would write to some chick — downright sex letters: “I want to fuck your brains out,” etc. Where do you go from there?… A lot of them sent Polaroids of themselves in the nude. One girl from Canada sent me pubic hair wrapped in wax paper.

Wasn’t there one who papered her wall with the centerfold?

Yeah, she called up from Chicago and asked for, I guess, 500 magazines. It ended up costing her $700. She papered her entire bedroom with them… I had a funny experience a few years ago with two girls named Franny and Zoey, still very good friends of mine, whom I ended up in the sack with after a telethon… I mentioned this sort of casually on the Tonight Show and I had a lot of letters signed “Franny and Zoey,” with photographs, too.

How many letters contained pubic hair?

Just the one. If it was ever mentioned on the air, I’m sure there’d be lots of bald broads.

You’ve been called the No. 1 sex symbol — Super Stud. Have you tried to analyze why you appeal to women?

First of all, I don’t think it’s true that I’m Super Stud. But I thank you. If I had to analyze why I think [women] are attracted to me, I would have to say it’s because most of them say to me, “I really don’t want to go to bed with that Cosmopolitan thing, I want to go to bed with you. You look sexy with your clothes on. I love your crazy personality.” I think it’s a related kind of attitude that women are attracted to.

The Playboy image of what a man should be I send up constantly. I mean, having a bunny decal on his glass says to me he ain’t gonna make out at all. If you have to go around saying “I am a stud,” then you ain’t. I think women are attracted to a guy who doesn’t wear big belt buckles and talk with a deep voice and smoke Marlboros and say, “I’m tough.” They want a guy who is going to treat them like a lady, and is going to respect them, and who likes women.

If it wasn’t you right now, which other guy would you say would fill the [sex symbol] image?

There are a lot of guys who would qualify, but who happen to be married, which makes it very difficult for them to go on a show and say the things that I say. Not that being married can stop you from being a sex symbol, because Paul Newman is married and he certainly is a sex symbol. Clint Eastwood, I think, probably could be because he has a tremendous sense of humor, as very few people know, mostly because Clint is a kind of recluse and prefers it that way. He’s a great-looking guy, a very physical guy — but he also happens to be very happily married and has just had a second baby.

Does it ever worry you that you might meet a chick who has seen the Cosmo thing and has fantasized all kinds of expectations that you’re now expected to live up to?

I’ve never worried about something like that. It’s probably one of the plusses for going out with starlets. They’re hoping for a three-star rating, so they [screw] your brains out. Knowing Hollywood, the way it is — everybody thinks everybody knows what everybody else is doing, so God knows you don’t want to be called a bad lay. If some chick had fantasized something about me, I think she would be terrific in the sack, just by the mere fact that she had fantasized about it.

How do you react toward the nudism trend in general?

I am not turned-on, quite honestly, by the nude look. To me, there is still nothing more sexy than a great-looking broad in underwear. Also, I like to see a chick fully dressed but in one of those blouses where you can just see the nipples. That’s very sexy, but not if she’s got size 48s and the nipple is right around her bellybutton…

As far as society is concerned — society is going to go as far as we let it go. You can get some very nice, polite people in a room… and all of a sudden these people turn into animals. I don’t want to be involved in a situation where every night you go to somebody’s house and jump everybody’s bones. That’s not my idea of a lot of fun. I enjoy the hunt.

Are we in the U.S. catching up with other countries in permissiveness?

No, we’re not anywhere near Denmark in terms of pornography — nor Amsterdam, which is one of the most beautiful cities in the world, but has a great red-light district. If we had a great red-light district in New York it would make it possible to walk down Sixth Avenue without getting tripped every other store. I think we’ve got to be able to have pornography in one specified section of town. A lot of freaks run over there and get those magazines, run home and jack off, and then they don’t attack anybody. It seems to me that that would release a little pressure.

There has been pornography around ever since I can remember — playing cards and those funny little Dick Tracy magazines. The problem is that it’s done in such bad taste. I think you can just about do anything, if you do it with taste. If you walk down a street with your kid and there’s some broad holding her tits in a guy’s mouth, that’s not too cool. Your kid’s nine years old and he says: “What is she feeding him, Daddy?” Why not have a store where it just says what it is on the outside and that’s all, and all the goods are hidden inside?

Similar to the shops in Hamburg, Germany — which are like markets, and you can go in and buy whatever you want with no sweat?

And the women don’t give you that funny look when you buy them, either. “What would you like, sir? 19-inch vibrator? Wonderful.”

What’s the sexiest thing you’ve ever done?

Probably the sexiest moment I’ve ever had was when I met a lady I’ve never seen since. I was on a ship, on a cruise, to Ensenada — and no one was paying any attention to her, probably because she had the biggest breasts I’ve ever seen in my life. They were so big that they intimidated everyone. Also, she had a belligerent attitude to everyone. She was about six feet tall — incredible-looking broad… She was reading something like Milton’s Paradise Lost, sitting on this sun deck, and I happened to look over at her, and she dropped her leg, and she had no underwear on. She was reading this very heady book but looking over the top of the book at me… So I walked over and sat down and said: “Any woman that looks like you and has a body like yours has heard every line that’s ever been said, so I’m just going to say it straight out… I want to fuck your brains out.” She said: “What took you so long?” And she closed the book and we left and we never came out of that room for 48 hours. I never saw her again but that is one of the things in my life that I’ll remember always. She was a teacher at a college, but she wouldn’t tell me which one. In the room she said: “Look, I don’t want to know your name. I don’t want you to know mine. This is strictly physical.” And of course, it ended up not being, because we talked about so many things, got into so many areas. I’ve often wondered if she ever sees me on television.

You’re a Penthouse subscriber, aren’t you? What do you like about it?

It’s much more honest than Playboy. It is a magazine totally devoted to studs, and it doesn’t try to be anything else. It has a fun kind of crazy, English sense of humor about it — which I think is the best sense of humor in the world. They were the first ones to have pubic hair, and it was so ridiculous not to before. I personally don’t think it’s as sexy as seeing pubic hair behind a pair of pants, but that is my own fetish. I just found the magazine to be… pardon the pun, beautifully laid out. Penthouse girls just look like they think their bodies are so beautiful… I don’t know whether the photographer happens to be a freak like me, or just happens to get the right girls, but that’s the right idea.

The post Burt Reynolds, Super Stud appeared first on Penthouse Magazine.

Travel Tips: Up and Away

$
0
0

Winter Escapes in Spain

As the dreary winter months creep closer, the idea of a sunny escape becomes that much more appealing. Instead of taking the obvious vacation to Florida or Hawaii this year, how about traveling to the land of Picasso and Penélope Cruz? Spain has more to offer than most places you could visit, and whether you’re after somewhere to park your ass with a stack of books or see a place in its entirety from behind the wheel of a rental car, here are some of the finest hotels you can stay if you’re heading anywhere between Gijón and Gibraltar.

El Palauet, Barcelona

The Catalonian capital is one of the most famous cities in the world, and prompts eye-rolling in just about anyone with a friend who visits, when they return home claiming their new favorite city is “Bah-theh-low-nah.” But just ignore this and treat yourself to a few days of R&R at El Palauet.

Housed within an art nouveau building constructed in 1906, El Palauet features a rooftop spa that overlooks the vast city, and each suite is assigned its own personal assistant, so that you can take the brainwork out of your trip and hand the reins over to a local who knows the mean streets and can happily set you on your way, no matter what you’re after.

Rooms start at around $600 per night. elpaulet.com

Belmond La Residencia, Mallorca

For the ultimate middle finger to the outside world, turn your cell phone off and travel to an island. There are several to choose from, but Mallorca is undisputedly one of the lushest spots to let your winter woes melt away.

It’s reported that the nightstands at Belmond La Residencia don’t have adjacent power outlets, so you can’t charge your phone next to your bed (in other words, let the damn thing go dead and get some sleep). If this is the kind of vibe you’re seeking, then look no further. This place is more like a small village than a hotel, with just about every amenity you can imagine (including daily treats delivered to your room, which you may not be inclined to leave). Get one of the staff to give you a tour when you arrive, because it’s that kind of place.

Rooms start at around $500 per night. belmond.com

Hotel Londres Y De Inglaterra, San Sebastian

A visit to Basque Country will blow you away with its beauty any time of the year. While the weather can be temperamental, one look at the spectacular coastline backed by mountains and it’s easy to forgive an afternoon shower. Plus, you can always hit a café and drink large amounts of wine like Jake in Ernest Hemingway’s The Sun Also Rises.

Hotel Londres puts its best foot forward not trying to be anything more than old-school luxury in one of the most stunning settings imaginable, smack-dab on San Sebastian beach, where Europeans go to escape the more popular vacation destinations. Eschew fancy spa treatments, kick off your shoes, and enjoy the laid-back atmosphere, matched only by the unparalleled service.

Rooms start at around $160 per night. hlondres.com

The post Travel Tips: Up and Away appeared first on Penthouse Magazine.

Generation Xanax

$
0
0

How America’s benzo habit has reshaped pop culture.

Fifty million prescriptions for alprazolam — Xanax’s generic name — were filled in the U.S. in 2013, making it the most prescribed psychiatric medication in the country. Prescriptions were rising by nearly 10 percent a year back then, with no indication of slowing down, so 2018 numbers are presumably much higher. And judging by how quickly a casual complaint about an upcoming transatlantic flight is met these days by an offer of a couple of “Xans” to smooth out the trip, there are untold legions of additional Americans taking it off-prescription for at least semi-legitimate reasons. Xanax belongs to America’s most popular family of mood-altering drugs, called benzodiazepines. Even if you only count users with prescriptions, benzos are more popular than MDMA, LSD, heroin, and meth.

It’s impossible for a drug to permeate a society that thoroughly without leaving a mark on its culture, and the popularity of benzodiazepines — Klonopin, Valium, and Ativan are the other top antianxiety meds in this drug family — among America’s creative class has only amplified its impact. Four decades after Xanax first hit the market, this particular benzo surrounds us completely, a primary element in our cultural atmosphere.

The drugs we take have been defining the aesthetics of our times since the dawn of pop culture. Back during the Jazz Age, when radio and records came within reach of the working-class, weed-smoking big band leaders became our first rock stars. Psychedelics gave the sixties their Day-Glo vividness. The hard-edged gloss that got wrapped around nearly every cultural product created during the eighties was so clearly derived from massive piles of cocaine it’s become a cliché. The style of the nineties was shaped by “heroin chic” and Ecstasy-fueled rave visuals.

The past decade was all about weed, as marijuana began to get legalized and Adult Swim-style stoner humor took over the mainstream. But this decade’s been about benzos. Deeper into our century, when people look back at the media we’re making and consuming today, they’ll see the influence of benzodiazepines as clearly as we see coke residue on Reagan-era cultural artifacts. As more of us get on benzos, the dominant cultural aesthetic is getting softer, gentler, and more compatible with the cozy benzo high. Opiates get more press, but in truth we’re living in the Age of Xanax, this drug being the most popular antianxiety med in a world where anxiety has become the dominant mental state.

How we got here is clear enough. Our brains’ insatiable hunger for information drove us to connect them to fat data-pipelines and we gorged on the ceaseless flow. Then we required increasingly more extreme stuff — from esoteric porn genres to hyperpolarized culture war propaganda — in order to get a response from our fried-out dopamine receptors. Like any addict who’s drifted into the ugly side of a bender, we’re reaching for tranquilizers to take the edge off, only we’re doing it collectively, as an entire nation.

Everyone on this planet right now is fucking crazy. Life under Trump is a nightmare state of doom just over the horizon for anyone on any part of the political spectrum, whether it’s liberals freaking out over the executive branch’s relentless attacks on civil rights or conservative MAGA types constantly on frantic guard against the deep-state coup attempt or an invasion by MS-13 that they’ve been told are inevitable.

War, the economy, the environment, hackers, and the general sense that we’ve already crossed some invisible line on a path toward destruction have us all perpetually on edge, and since we can’t seem to turn off the endless news-feed of everything bad happening in the world, we feel anxiety all the time. The human mind can only handle so much negative stimulation without medication, or else it falls apart entirely.

Opiates are brutally effective at reducing that agitation, but they cloud the mind. And in a hyperstratified society like ours, creative elites want a better class of drugs than the working-class. According to the prejudices of the day, opioids are for Appalachian Trump voters — expendable, blue-collar hillbillies fueling small-town drug economies with workers’ comp checks.

Benzos, on the other hand, are a more refined downer, designed to cure a more cerebral affliction — a brain that can’t stop working. There’s a not-so-subtle hint of a brag in the way a lot of people in the creative class discuss their anxiety, and the way they medicate it, implying that their real problem is that they’re literally just too smart for their own good.

And since benzodiazepines give the illusion of acting on the mind and not the body, with its icky, working-class associations, it’s easy to ignore the fact that they’re highly addictive and extremely dangerous when mixed with the most common intoxicants, such as alcohol.

But the main thing is that they work. They really, really work.

Inside our brains we have millions of receptors for a neurotransmitter called gamma-aminobutyric acid, or GABA, which, among other roles, regulates the neurons in our brains and central nervous system, reducing their activity when we get too stressed. If something lights up our primitive fight-or-flight response — a loud noise, a traumatic memory, an article about climate change — GABA can apply the brakes and slow things down so we don’t cross over into full-blown panic. Benzodiazepines work by flooding our GABA receptors and binding them all together, telling sweet lies to our nervous system that everything’s fine, that there’s nothing to worry about after all.

Benzos feel like the blissful first fraction of a second after an orgasm, stretched out into hours.

That state of anxiety-free grace — a feeling of complete all-rightness — is what we spend our whole lives chasing. Reducing the amount of stress the world inflicts on us, whether it’s financial or emotional or societal, dictates so much of our behavior, from recreational pursuits, self-improvement regimens, and self-medicating, to career choices, relationship choices, and devotion to domestic sheltering. Popping a Xanax gets you there without the work, and not only much quicker than through non-chemical means, but deeper into the state of chill. I can say from personal experience that a month’s worth of daily meditation can’t hold a candle to the worry-negating effects of .5 milligrams of alprazolam.

Benzos make you feel like you’re floating in a warm bubble bath the size of an ocean. They feel like the blissful first fraction of a second after an orgasm, stretched out into hours. They feel like an off-switch for the part of your brain that gives a shit, allowing you to float above the world as aloof and unbothered as a cloud.

When I’m anxious, the inside of my head feels like a crowded rush-hour subway platform, with different worries elbowing their way to the front of the pack and yelling for my attention. On Xanax, it feels like I’m the only person in a Greek and Roman museum wing, walking in pristine silence, surrounded by nothing but air and light and marble, smooth and serene. After feeling crushed by anxiety, it’s like being weightless. That sensation alone would be enough to get hooked on, even if it wasn’t one of the most dangerously addictive chemical compounds we’ve ever invented.

The Xanax aesthetic is a way of externalizing that sensation of absolute detached mental tranquility. It’s an utterly unbothered style, without the haziness that comes with more stoner-y perspectives. Benzos clear the mind rather than cloud it (at least when you take them on their own), so their vibe is soft but crystalline, uncluttered and unchaotic. It is, above all other things, intensely comfy.

The current popularity of muted pastel colors — from album covers to hair dye — is part of the benzo look, whether they’re used as fields of flat tones to create a perfectly placid mood, or combined in soft ombré gradients to add the suggestion of languorous movement and the floaty, bubble bath sensation of a brain awash in friendly neurotransmitters.

Pastels fit nicely with the trend of dressing softly. The rise of benzo use in the U.S. has corresponded with a steep decline in anything approaching formal attire. T-shirts and sneakers are now acceptable in settings that only recently demanded suits and ties, including weddings and funerals. By calling sweats and sneakers “athleisure” wear, and making them more expensive, we’ve been able to justify bringing the fleecy comfort of homebound self-care days into our everyday public lives. The more tranquilizers we consume as a nation, the more we’re starting to dress like the zonked-out, sweat-suited residents of a psych ward.

Orderly minimalism is another major visual component of the style. Things in tidy rows and columns can soothe the parts of our brains that flare up in people with anxiety, particularly those with obsessive-compulsive disorder. For people with OCD, the feeling of a benzo flooding your GABA receptors gives the same sensation of just-rightness that you get from indulging whatever organizational kink you feel compelled by.

So it’s no surprise that advertising has become increasingly tidy, as well as flat, minimalist, and pastel in recent years, particularly in advertising aimed at urban creative professionals and those who aspire to an urban creative lifestyle. In the past, ads fought loudly for our attention, but in a world where overstimulation has become the norm, serenity has become a valuable product. If people are willing to shell out good money for inner peace — the meditation app Headspace is currently worth about a quarter of a billion dollars — giving consumers even a small taste of calm during their commute or while they’re overstimulating themselves on the internet is like giving them an expensive gift.

And if that sensation maybe reminds them of the tranquil feeling they get from having a benzo in their system — or even happens to vibe with the wave they’re on from the Klonopin that they popped first thing that morning — that wouldn’t be bad either.

Which is why New York City subways and Instagram are so plastered with ads showing reasonably hip, youngish city dwellers resting peacefully on their backs in tidy arrangements against tonal color-on-color backgrounds. Whether the product is retro-inspired eyeglasses or memory foam mattresses or pills for erectile dysfunction doesn’t matter at this point. This kind of starkly serene late-capitalist still life has taken on a life of its own as a visual genre. There isn’t a contemporary artist working who’s doing a better job of capturing our current moment’s distinctive blend of hyperconsumerism and tranquilized shellshock.

For people with OCD, the feeling of a benzo flooding your gaba receptors gives the same sensation of just-rightness that you get from indulging whatever organizational kink you feel compelled by.

Musicians have responded to benzos with a push into sonic softness. Despite the tumultuous state of the world, angry music is out of style. Today’s most relevant pop artists aren’t raging against the machine, but creating cozy sonic nooks where listeners can hide out and forget about the machine altogether. Drums have become muted, singing has become more whispery, and loud electric guitars have almost entirely disappeared from the Top 40.

But unlike the warm soft rock of the Quaalude-heavy seventies, the artists whose work has spread the most easily and organically into the zeitgeist today are cool and more than a little aloof.

Kanye West’s album 808s & Heartbreak — whose sense of detached loss should be familiar to anyone who’s dealt with the death of a family member through a veil of pills — gave pop and hip-hop its first taste of benzo cool. Frank Ocean has become one of the most important performers of his generation singing about intense emotions held at arm’s length, in the way that benzos allow you to observe your own feelings as if they were happening to someone else. Lana Del Rey’s cult icon status comes from her ability to channel a cryptic, otherworldly glamor inspired by the sensation of being “Xanned” halfway into another plane of existence.

But no one has made art more openly indebted to benzodiazepines than today’s young rappers. And what their art says about them says a lot about the dark turn that the Xanax boom has taken.

Rappers have been at the leading edge of Xanax’s cultural takeover from the beginning. Back when the rest of the pop world was still high on Molly and Obama-era optimism, Southern mixtape rappers like Lil Wayne, Gucci Mane, and Future promoted Xanax as part of a world-obliterating pharmaceutical cocktail, mixed in with Vicodin, Percocet, and prescription cough syrup containing codeine and promethazine.

Sometime just after the beginning of the decade, a pack of young, independent hip-hop artists emerged through free platforms like SoundCloud and YouTube with a sound that opened up the ratcheting rhythms and dialed-back tempos of Southern hip-hop to a breezier atmosphere. Rappers like A$AP Rocky, Lil B, Main Attrakionz, and Yung Lean shook off the suffocating darkness of hip-hop’s lean-sipping years with dreamy flows over weightless beats that were more New Age than boom-bap. Fittingly, the style earned itself the name “cloud rap.”

This new breed of hip-hop phenoms made music that had the same spacey, lighter-than-air feel of a benzo high, and it didn’t take much critical guesswork to make the connection. Yung Lean rapped about his Xanax habit before it landed him in the hospital. The scene’s spiritual leader, A$AP Yams, who, among other things, helped curate its aesthetic on his cult-popular Tumblr account, had Xanax bars tattooed on his arms next to the words “Black Out,” and eventually died from mixing it with the codeine-based lean (aka sizzurp or purple drank). Cloud-rap-adjacent artists like Travis Scott, Earl Sweatshirt, and Danny Brown talked openly about popping benzos for both business and pleasure.

Cloud rap was a relatively niche phenomenon that happened mostly underground and online, but a wave of musicians that it inspired have spent the past few years upending the rap game and making inroads deep into the mainstream.

So-called “SoundCloud rappers” like Lil Uzi Vert, 6ix9ine, Smokepurpp, Kodak Black, and XXXTentacion have scandalized the hip-hop world by embracing unorthodox influences like emo, and scandalized the pop world by attracting massive teen fan bases to their Instagrammed rock star lifestyles, which frequently feature reckless levels of benzo intoxication (not to mention face tattoos and sexual abuse allegations).

This strain of hip-hop occupies a remarkably similar place on the pop landscape as alternative rock did back in the nineties — a semi-official sound of alienated youth that’s managed to sneak past pop’s old guard and get its hand on the wheel of the zeitgeist. It’s dominating the pop charts, setting the stylistic agenda that even superstars are following, and giving the media a field day with outrageous, headline-making behavior. It’s like Nirvana multiplied by the dozens, which makes it fitting that so many of them have adopted Kurt Cobain’s uniform of ripped jeans, chin-length dyed hair, and cat’s-eye sunglasses.

The major sonic difference between this new soundtrack for dissatisfied teens and nineties alternative rock is mostly a matter of volume. Where Cobain and his peers got their angst out through loud, distorted guitars and guttural screams, Xanax rap is spacey, quieter, and cool to the touch. The beats shuffle more than they bang, laced with twinkling synthesizers and softly susurrating white noise, and the vocals tend to be delivered in a dissociated melodic mumble.

When this almost abstractly chill sound is paired with the genre’s lyrical fixation on despair and death, the results can be profoundly unsettling. It would be one thing to hear a kid in his early twenties scream, “Push me to the edge/ all my friends are dead” — we have a template for that kind of thing, and rage feels like a natural reaction to desperation. Hearing Lil Uzi Vert slurring it with an aura of absolute benzo-inspired detachment — sounding like he’s tranquilized beyond the point of being physically able to give a fuck about whether he lives or dies — leaves you shaken.

Xanax rap invokes a feeling of genuine nihilism that makes Gen X’s rebellious phase look like a tantrum. And Xanax rappers’ behavior backs it up. To anyone who knows how benzos work — how easy it is to take too many, how wrong things can go when you mix them with other substances, how effortlessly you can end up hooked on them — the level of benzo abuse that these kids engage in is jaw-dropping.

So is their age. When Lil Pump hit a million followers on Instagram, he celebrated with a cake shaped like a giant Xanax bar, and did the same two months later when he turned 17. Lil Xan was still below the legal drinking age when he began his come-up with an image centered around continuous pill popping. (He’s since publicly sworn off alprazolam, and has repeatedly talked about changing his stage name, although he hasn’t followed through yet.) Lil Peep, who’d collected the most “voice of a generation” accolades of anyone in the cadre, died from overdosing on fentanyl and alprazolam when he was only 21.

Today’s most relevant pop artists aren’t raging against the machine but creating cozy sonic nooks where listeners can forget about the machine altogether.

Music has always been the art form with the closest relationship to drug culture, uniquely able to both reflect trends in getting high and to influence them. It’s impossible to imagine Sgt. Pepper’s being made without LSD; it’s just as impossible to imagine LSD becoming as mainstream as it did without Sgt. Pepper’s. (TV and movies are occasionally able to capture an era’s druggy identity — you can feel benzos in Atlanta’s bemused detachment, Big Little Lies’ dissociated trauma, and the all-too-relatable robots in Westworld, Blade Runner 2049, and Ex Machina — but their size and budget constraints make it difficult.) But social media, blindingly fast-moving, infinitely mutable, and by now as much a conduit for aesthetics as information, could be taking over.

Most of the look and feel of this era of anxiety and panic barely held in check by massive amounts of tranquilizers first originated on Tumblr, the social media platform that only minimally blipped on the mainstream’s radar but which reshaped youth culture in ways that are only just now making themselves apparent. Tumblr is where much of the Xanax rap trend got started. It’s where the cult of Lana Del Rey grew its deepest roots. And it’s the birthplace of vaporwave, an obscure internet trend that’s had a disproportionately large influence on pop culture.

The term “vaporwave” has been used to denote both a musical genre and a visual style, but it’s better understood as an aesthetic reaction to an environment of nonstop overstimulation — the endless scrolling content of a Tumblr dashboard, for example. Vaporwave’s fixation on vintage synthesizers and computer graphics extends from a nostalgia for a time where it was still possible to think of technology as an unalloyed good. Its austere compositions and staticky lo-fi distortion reflect the sensation of interacting with the world through a screen — a side effect of both internet overuse and benzo highs.

These days, social-media styles can slide frictionlessly into mainstream design, and bits of the vaporwave vocabulary have propagated throughout pop culture. For instance, classical marble sculptures have been a favorite visual motif of vaporwave artists, their emotive expressions carved out of cold stone standing in nicely for either the blank dissociative state of a panic attack, or at least simple digital-age alienation.

Within a short time of the classical sculpture craze starting on Tumblr, there were classical sculptures everywhere, on electropop album covers, Urban Outfitters graphic tees, and luxury clothing ads. It’s true that designers have returned again and again to classical art throughout the years, and it’s also true that it’s very easy to slap a cutout photo of a marble bust on top of a gradient and call it design, but there’s more of a resonance in those images right now than familiarity and corner-cutting can explain. (Apparently these days we just prefer seeing faces carved from marble than ones made from flesh.)

Social media has provided a way for our growing culture-wide weakness for benzos to find an artistic outlet. It’s also been a way for the drug culture to aestheticize its Xanax kick.

Despite their best efforts at policing, Instagram and Snapchat are full of shadowy users advertising benzos and other substances in tightly framed close-up photos of pills and powders in high-contrast white and blue and pink. Drug dealers have been using social media platforms as ersatz e-commerce sites for years, which isn’t too surprising if you know how adaptable drug dealers have been to the changing digital economy.

What is surprising is that benzo users have adopted the same techniques to document the drugs that they’re consuming, not selling, and that they outnumber dealers by a wide margin. Benzo users and abusers are finding each other on social media to share advice, support, and dealer hookups, and also to simply document their habits in photos, digital collages, and journal-like captions.

The term “vaporwave” has been used to denote both a musical genre and a visual style, but it’s better understood as a reaction to nonstop overstimulation.

And of course, the content — or art, or whatever you want to call it — that they’re creating around their benzo habits lends itself easily to vaporwave and other benzo-inspired aesthetics, resulting in moody, stylized images where pills and selfies and digital artifacts coexist side by side, blurring together content, identity, and antianxiety drugs in dizzying ways. Their attempts to find a chemical escape hatch from the constant churn of our digitally tethered lives becomes even more fuel for the machine. It’s no wonder they feel like they need Xanax to keep their heads straight.

Pharmaceutical companies have spent much of the past century developing new ways to stroke our GABA receptors and make our anxiety-riddled lives bearable, and each time they come up with a new one it tends to follow the same narrative arc. First they’re prescribed to the acutely ill, and then to more or less anyone who asks. Eventually they’re everywhere, and used with increasing abandon, until enough people decide that it’s a problem and they’re restricted or banned entirely. Whether they’re called barbiturates or Quaaludes or Librium or Valium, we’ve gone through the same cycle over and over again.

Considering the apparent uptick in celebrity deaths involving benzodiazepines over the past few years, and the increasing danger of recreational abuse now that unethical dealers are passing off fentanyl as Xanax bars, it feels like we should be nearing the end of peak Xanax. At some point we’re going to have to reckon with our culture-wide benzo habit. We can’t go on like this any more than we could go on drinking and smoking like we did in the Eisenhower days.

Then again, who knows? Maybe we can. The things that are driving us to swallow tranquilizers by the truckload don’t seem to be going away anytime soon. There don’t seem to be very many people these days who aren’t walking around under the constant weight of some colossal existential worry, whether it’s the possibility of civilizational collapse or just making rent. There’s a growing feeling that things are spinning too far, too fast, for anyone to control anymore. And the easiest way — sometimes the only way — to get rid of that fear is with a little white bar. It’s possible the Age of Xanax is just getting started.

Art by Molly Soda

The post Generation Xanax appeared first on Penthouse Magazine.

December 2018 Pet of the Month Alina Lopez

$
0
0

Penthouse Magazine December 2018Height: 5’6″
Measurements: 32C-28-37
Bio: Penthouse Pet of the Month December 2018
Hometown: Seattle, Washington

Elephant in the room: You have the longest, greatest tongue in the business.
My tongue has definitely taken me to new places in my career! I’ve shot scenes specifically written to show off my tongue and they have all beenso fun!

Do you have any hidden talents?
I’m a show-off. None of my talents are a secret!

Where is your favorite place to escape to when you feel like you’re going to snap?
My happy place is near water. Whether it’s the ocean or a lake or even a backyard pool. Water is calming to me.

Are you a good cook?
I love to cook! I grew up with homemade meals, mostly Mexican dishes that my mom made. My favorite dish to cook is layered nachos. Not that impressive, I just love to eat them!

We give you $20,000 today, but you have to spend it by tomorrow. What do you do?
I would use it as a down payment on a house!

What’s the most attractive trait in a man?
Confidence and assertiveness.

Least attractive?
Unintelligence.

What’s the most important accomplishment of your life so far?
Gaining and maintaining my independence.

How do you like to relax?
I love yoga, swimming, and spending time with my family.

Fuck, Marry, Kill: Pop Star Edition. GO!
I’d fuck Bill Dess, marry Alina Baraz, and I wouldn’t kill anybody. Ha!

Alina Lopez Alina Lopez Pet of the Month Alina Lopez Alina Lopez December 2018 Pet of the Month

See Alina Lopez

The post December 2018 Pet of the Month Alina Lopez appeared first on Penthouse Magazine.

Mr. Bad Faith

$
0
0

After sabotaging the career of Guardians of the Galaxy director James Gunn, the right-wing internet celebrity is planning to quit social media. Is he serious about starting a new career, or is this just the latest troll in his career of media manipulation? I went to Disneyland with him to find out.

He had a wine glass in one hand and an iPhone in the other. Right-wing internet celebrity Mike Cernovich was soaking in the hot tub at his Orange County, California, home. One of his hired hands—Cernovich calls them “weaponized autistics”—had dug up director James Gunn’s racist tweets. In a few months, Cernovich was planning to premiere the documentary Hoaxed, his cinematic debut, which predictably covers “fake news,” and he worried mainstream reporters would comb through his own old tweets.

To combat potential attacks, Cernovich says he had put out a $10,000 bounty targeting tweets more offensive than his, written by someone more famous than him. He had already bushwhacked several high-profile men—among them, MSNBC pundit Sam Seder, fired then rehired after Cernovich misrepresented Seder’s old tweets about pedophilia, and longtime Michigan congressman John Conyers, who resigned in November 2017 after Cernovich fed BuzzFeed documents alleging Conyers sexually harassed his employees—but Cernovich needed someone huge. Gunn could fit the bill.

But the racial stuff won’t go anywhere, Cernovich recalls thinking. In his hot tub, he ran Twitter searches for “James Gunn” alongside words like “pedo,” “pedophile,” and “baby.” Bingo. Among a bunch of old, politically incorrect tweets, Gunn had tweeted, “For the record I’m against rape and baby eating in real life (unless you’re really, really hungry).” Gunn had also tweeted, “I’m doing a big Hollywood adaptation of The Giving Tree with a happy ending—the tree grows back and gives the kid a blowjob.” And there was this, too: “Three men and a baby they have sex with.” Gunn had typed the tweets when he worked for the edgy media company Troma Entertainment, but if Cernovich took them out of context, these tweets would sound worse than Cernovich’s old tweets denying the existence of date rape. He’d found his winning strategy.

Later that evening, Cernovich shared his plan with his wife Shauna.

“But this guy is a big deal,” Shauna replied, according to the couple’s recollections. “Please lay the fuck off. This is a high-target scalp. I don’t want to deal with this guy!”

“He’s just a blue checkmark,” Cernovich countered.

“Marvel fans are insane!”

Shauna pointed out that Gunn had spearheaded the Guardians of the Galaxy franchise, which had grossed over $1.5 billion—news to Cernovich. He deliberated, then smirked.

“Nope,” Cernovich said. “I’m all-in.”

Disney owned Marvel, and in May the company’s television network, ABC, had fired conservative comedian Roseanne Barr from her eponymous sitcom for tweeting, “Muslim brotherhood & planet of the apes has a baby=VJ.” Barr was referencing former president Obama’s African-American advisor Valerie Jarrett. Cernovich reasoned the company would can Gunn, or else face boycotts from Fox News and Rush Limbaugh—serious repercussions for a corporation with a family-friendly brand, and whose theme parks partially rely on Midwestern tourists. On July 19, Cernovich circulated Gunn’s old tweets. The next day, Disney fired the director. A $152 billion company had caved to a right-wing, vest-wearing Orange County dad who built his celebrity, such as it was, via the internet.

The Gunn story was covered by everyone from the New York Times to Fox News (which, by the way, had banned Cernovich for his offensive tweets), but the scandal turned out to suck for the Cernovichs. Mike claims he was doxxed, his home address and other information revealed, by comic book nerds. When we get together at a coffee joint near their home this past Columbus Day, the couple still appear shaken.

“I’m now more sympathetic to feminists who get rape threats,” Cernovich says, balancing his one-year-old daughter on his lap. “There are crazy people on the internet, and it’s not fun when they go after you.”

As his daughter watches cartoons on an iPhone, Cernovich hops to his laptop. Shauna, several months pregnant, dressed in a maternity onesie, sits across from them, eating an egg croissant sandwich.

“My daughter’s a daddy’s girl,” Shauna remarks.

Cernovich gestures at his child, then says, “I don’t bully people on the internet anymore!”

That would depend on your definition of bullying. Although he once tweeted statements like, “I went from libertarian to alt-right after realizing tolerance only went one way and diversity is code for genocide,” Cernovich asserts he has avoided getting banned from Twitter, unlike Alex Jones, because he recently has refrained from targeting women or people of color. He says he made an exception for MSNBC anchor Joy Reid because, years ago, she had written homophobic blog posts. (Reid denied writing the articles, at one point suggesting time-travelers had hacked her website.) For Shauna’s part, out of concern for her family and life with Cernovich, she prays her husband will one day fuck up online.

“I hope Mike gets banned from every social media platform,” Shauna says.

“[In action movies] the hitman is retiring,” Cernovich replies, “and then he’s given one more mission, and he’s sucked in. That’s where I am.”

After he releases Hoaxed, Cernovich promises to quit. This documentary, between its rapid editing and dramatic music, resembles predictable right-wing fare, like Dinesh D’Souza’s cinematic propaganda and the flop Democrats by African-American Trump supporters Diamond and Silk. While Hoaxed features appearances from conservative media regulars, like “Dilbert” creator Scott Adams, it also includes feminists. Toward the end of the film, Cernovich hints that he himself has propagated fake news, before pivoting away from a full-blown confession. It’s his swan song to internet fame. Or maybe, Cernovich says, he may produce one more movie. “My job is to help people,” he adds.

It’s impossible to trust anything Cernovich says. In the age of Trump, he has epitomized the concept of “bad faith actors”—media personalities who sully others’ reputations while expressing false outrage. During our conversation, Cernovich admits he has lied to reporters about receiving $50,000 a month in alimony from his ex-wife. Then he tells me he received $1.5 million in a divorce settlement. The only thing he stays consistent about is the source of his methods—a fact that he likely promotes to aggravate his opponents.

“[Reporters ask], ‘Dude, what’s your trick?’” Cernovich says. “I learned it from reporters. I learned it from them!” He points to the liberal nonprofit Media Matters, which exists to find dirt on conservative media organizations, and Andrew Kaczynski, aka “KFile,” formerly of BuzzFeed and now with CNN. Kaczynski helped build his career doxxing Democrat Anthony Weiner’s sexting partner, Sydney Leathers, and recirculating controversial statements made by Rand Paul and Mitt Romney.

Since Donald Trump entered the Oval Office, the online liberal activism group Sleeping Giants has taken this to the next level, successfully targeting companies that have paid to advertise on conservative media outlets.

“The left wrote the rules,” Cernovich says. “I’m just holding them to their own rules. I would be happy to call a truce, but they never would.” Cernovich points to liberals who still have jobs after scandals, like MSNBC’s Reid, NBC’s Brian Williams, who lied about events he saw as a war reporter, and ESPN’s perennial naughty tweeter Keith Olbermann.

“Mike Cernovich’s greatest accomplishment is that he’s turned everyone on Twitter into Mike Cernovich,” says Jon Levine, media critic for The Wrap. “Everything is weaponized, context is dead, apologies are not taken at face value but used as a scalp to encourage more trolling. This behavior is prevalent on all corners of English-language Twitter. Those who rightly criticize his bad faith are often guilty of the same behavior.”

Cernovich didn’t always care about politics. After attending Pepperdine law school, the 40-year-old Kewanee, Illinois, native wrote a legal blog in the mid-2000s. He wanted to earn a living as a writer, but who reads legal blogs? He rebranded himself as a pickup-artist guru after his 2011 divorce, dispensing advice on a website called Danger and Play. It spawned a self-published book and meetups with fans, where Cernovich taught men dating techniques. During 2015’s lead-up to the presidential election, Cernovich pivoted to Trumpism because he thought, The guy’s gonna win.

“Then people started arguing with me,” Cernovich says. “I got sucked into it and here I am.”

“Do you regret it?” I ask.

“Absolutely. My life was great. If I could go back to a blog that 30,000 people read, I would go back to it. It was a great life. [What’s happened since] has raised my profile, but not in a way that’s fun for me.”

As we speak, Cernovich is tweeting about how Christopher Columbus was a “Stalin-like murderer.” Shauna, of Persian descent, says her husband wanted to alienate the racists who had gravitated toward him. Cernovich may just be manipulating the media and segments of the public again to reposition himself. The right-wing online ecosystem where Cernovich blossomed has shifted since Trump took office. Alex Jones has been booted from all social media platforms. Breitbart’s traffic has cratered. And although her previous stunts went viral, Laura Loomer, after melting down during Twitter CEO Jack Dorsey’s September 2018 appearance before a Congressional committee, failed to break through the Trump-dominated news cycle.

Cernovich’s enterprise nearly collapsed in the wake of “Pizzagate.” Late in the 2016 presidential campaign, he helped promote a wild conspiracy theory alleging that Hillary Clinton and other liberals operated a child-sex ring beneath Washington, D.C.’s Comet Ping Pong pizzeria. After a random Pizzagate believer drove to the nation’s capital from North Carolina and shot up the restaurant with an assault rifle in December 2016, Cernovich claimed his boosting of the nutty conspiracy was just “hashtag surfing”—tweeting with the Pizzagate hashtag to promote himself.

Nobody believed this. The machine he’d built was foundering. And then Cernovich changed the narrative surrounding himself in November 2017 by leaking to BuzzFeed documents alleging Conyers had sexually harassed employees. After verifying the information, BuzzFeed published an explosive, widely circulated story. John Conyers resigned. The media went into a tizzy, wondering how the Pizzagate conspiracy blogger had received information so powerful it helped end the 52-year career of a Democratic congressional lion.

“That’s story arc!” Cernovich says. “It became a different story line—‘Oh shit people talk to him.’ Everyone’s in a movie of their own creation. You have to be in the mind-set of, ‘What’s my story line?’ You’re a character in a Tom Wolfe novel. What would this character in a Tom Wolfe novel do? He’d be a journalist.”

Referencing a 2017 book on the Trump-Steve Bannon partnership, Cernovich continues, “The reason I leaked it to BuzzFeed was because I read Devil’s Bargain, and Bannon said he would leak to the New York Times. I think [BuzzFeed News editor-in-chief] Ben Smith is the only person in media I respect. He understands media—or new media anyway.”

Says The Wrap’s Jon Levine, “Things like James Gunn or [Cernovich’s] involvement with the John Conyers story showed that he could still move the needle on national news in ways most of the others around him can’t.”

After my breakfast with the Cernovich family, we drive to Disneyland for a visual reminder of the scale pertaining to one of his top takedowns. Shauna, who holds a Disneyland annual pass, jokes, “I’m Orange County, ride or die!” Around 6 P.M., her husband stops outside California Adventure and gazes at the hulking orange and silver tower housing the Guardians of the Galaxy ride.

“Crazy that a dad from Orange County took down a franchise that big,” I say.

“It looks like a cool ride!”

Earlier, waiting in line outside the park, Cernovich revealed he had experienced a revelation. To promote Hoaxed, he planned to apologize for Pizzagate. He’s thinking of saying something like, “I never really thought it through.” He would issue the apology around the time of the film’s release.

“Is that a genuine apology?” I ask.

“Nothing is genuine in this world.”

Mike Cernovich’s Most Notorious Hoaxes

Like a cheesy pop star, Mike Cernovich has reinvented his media persona multiple times. Whenever the role has grown too controversial, he has distanced himself, hoaxing his audience into believing he was never involved in his previous hoax. Here’s a timeline of his most notorious roles and disavowals.

Pickup Artist or Men’s Rights Activist?

Cernovich first came to prominence teaching dweebs how to get laid on a blog called Danger and Play. Whereas books like The Game and other pickup-artist guides recommended negging, Cernovich posted advice that read like Men’s Rights activist Reddit threads. “Choking works because it’s a show of dominance,” he wrote. “Women only want to have consensual sex with men they know could rape them.” His current stance? He was writing a satiric Fifty Shades of Grey for straight men and only deleted his blog because he knew liberals would take his words out of context.

 Proud Boy or Fellow Traveler?

Cernovich told me associating with white nationalists is “really retarded,” but at his Night for Freedom Party (aka “Mike Cernovich’s Deploraball”) in January 2017, Proud Boys and Vice Media founder Gavin McInnes gave a speech, saying, “If going outside tonight and beating the shit out of radicals means I’m a radical, then I’m a revolutionary.”

Pizzagate Conspiracist or “Hashtag Surfer”?

Near the end of the 2016 election, right-wing Twitter celebrities began promoting a theory that Hillary Clinton operated a child-sex ring beneath Washington, D.C.’s Comet Ping Pong pizza joint. “Pizzagate is not going away, this story will be huge!” Cernovich tweeted. A few months later, a conspiracy believer shot up the restaurant. At which point, Cernovich denied ever promoting the theory, claiming he was just hashtag surfing. “Hashtag surfing,” he explains, “is where if there’s a big trending hashtag, you just post what you want. Just like when it’s International Men’s Day, and women tweet with the hashtag, they’re not supporting International Men’s Day—they’re promoting their message.”

BuzzFeed Source or Media Hoaxer?

After the Comet Ping Pong shooting, Pizzagate conspiracy theorists were forced underground. But in November 2017, Cernovich fed BuzzFeed legitimate documents alleging longtime Democratic congressman John Conyers had sexually harassed female employees. By providing legit material to a news outlet, Cernovich says he was hoping to manipulate journalists into thinking, “Oh shit, what happens if the Pizzagate guy has actual stories?” Cernovich was right that BuzzFeed couldn’t resist the bait, and he’s flourished ever since.

Moral Crusader or Opportunist?

Cernovich sees pedophiles everywhere. After his BuzzFeed rebound, Cernovich published Disney director James Gunn’s old jokes about pedophilia. A few months earlier, Disney had canned conservative comedian Roseanne Barr for an offensive tweet. The corporation caved after Cernovich’s maneuver, firing Gunn from the third segment of the billion-dollar Guardians of the Galaxy franchise. “I was bringing awareness to the international pedophile crisis,” says the man who once gave tips on choking women. Or, as he later says, he was just holding the left to their rules. If the left would stop dragging up conservatives’ past, Cernovich claims he would call a truce. Who knows if that’s true?

The post Mr. Bad Faith appeared first on Penthouse Magazine.

HOT LIST: THE NEW PURITANS OF AMERICA

$
0
0

Today in America, puritanical rituals are back with a vengeance.

Since Donald Trump floated down his golden escalator screaming about Mexican rapists, the left and right have prioritized a public pillaging of people’s histories and reputations, often with scant concern for little things like evidence, due process, truth, and reality. The left and right may not agree on any given policy, but they both have concluded that public shaming is the way to get things done.

The phrase “New Puritans” has made a few select appearances in the past 40-plus years, with its meaning and application varying. Texas senator Barbara Jordan used it while keynoting the 1976 Democratic National Convention. British trends forecaster Jim Murphy used it a decade ago to describe a shift in British young people away from hyper-consumerism and indulgence. Over at the right-wing conspiracy site Infowars, the phrase has been used to tar progressives as free-speech-hating, censorious inquisitors.

What does New Puritan mean to us? It means a person aching to brand others with a twenty-first-century scarlet letter meant to invite ridicule, hatred, and shunning. They span the ideological spectrum, these New Puritans. They might not share a common political identity, but they like to denounce. They like to punish. They slip quickly into overreaction, throttling up into hysteria. They’re intolerant. They work to incite mobs. Their angry finger-pointing can be self-interested, advancing their own agenda, building their brand. And though they’ve chosen shaming as a method, they’re often shameless themselves.

Here’s our Penthouse list of the top, most obnoxious New Puritans in America, ranked in order of power.

President Donald Trump

America’s Whiny Little Bitch-in-Chief sits in the most powerful office on the planet, yet he spends half his time crying victim because My Life on the D-List star Kathy Griffin mocked him, the “failing” New York Times exposed his tax shenanigans and multimillion-dollar handouts from his dad, and, like, five trans people wanted to serve in the military. All this from the man who coined the nicknames “Sloppy” Steve Bannon, “Crazy” Jim Acosta, “Little Rocket Man” Kim Jong Un, “Pocahontas” Elizabeth Warren, “Crooked” Hillary, “Sleepy” Joe Biden, “Fake Tears” Chuck Schumer, “Low IQ” Maxine Waters, “Low Energy” Jeb, “Horseface” Stormy Daniels, and “Dumbest Man on Television” Don “Sour” Lemon. If he didn’t remind you on a daily basis, you’d have no clue this thin-skinned bully was president.

Roger Goodell

The NFL commissioner earns over $31 million a year, fourteen times more than his players who endure lifelong injuries. You’d think Goodell would respect his meal tickets, but when Colin Kaepernick kneeled, Goodell falsely accused him of attacking the flag when the quarterback was actually protesting the oppression of black Americans. Goodell went on to paint Kaepernick as unpatriotic. But there’s a reason the First Amendment is No. 1 in the Bill of Rights before other important laws, like the right to bear arms and right to privacy: There’s nothing more patriotic than exercising your free speech.

Brett Kavanaugh

A classic pampered crybaby, the judge claimed Democratic senators investigated a sexual assault allegation against himas revenge for “the Clintons,” who are currently out of office somewhere in the woods taking old-people medicine. His language escalating, he warned that the actions of these senators would sow “the wind for decades to come,” and America would reap the whirlwind. Kavanaugh went on, like Justice Clarence Thomas, to darkly insinuate that his experience during the hearing wouldn’t be forgotten when it came time for him to rule on cases pushed by liberals in the future. Despite media revelations into his behavior, his accuser’s compelling testimony, and protests from women on the left, Kavanaugh was sworn into the Supreme Court. To quell any rumors that he would vote to overturn Roe vs. Wade, Kavanaugh did a little virtue signaling and hired four female clerks to work for him, but he remains the second whiniest little bitch in Washington, D.C.

Michael Avenatti

In the past year, Penthouse Pet of the Century Stormy Daniels’s bald, just-below-average-height attorney has complained that Trump’s former lawyer Michael Cohen worked to silence Daniels, complained about Fox News host Tucker Carlson nicknaming him “Creepy Porn Lawyer,” and called Trump a “bully.” He’s also blocked journalists on Twitter, threatened to sue The Daily Caller, called Carlson a “pig,” attacked female CNN journalist and author S. E. Cupp and Senator Susan Collins, and tweeted #basta at anyone he wishes would shut up and get out of his way. He says he’s running for the 2020 Democratic presidential nominee as the “liberal” Donald Trump, and he’s right: same tactics, different targets, and just as fucking annoying.  

Kirsten Gillibrand

New York senator Kirsten Gillibrand has called for criminal justice reform, but she rallied other senators to demand Sen. Al Franken resign over sexual harassment allegations without an investigation of the claims, which involved kissing and touching, along with the much-seen photo of the comedian pretending to fondle the breasts of Leeann Tweeden during a 2006 USO tour they shared. In the face of the mob and public pressure, he resigned, but the questions remain unanswered. Some liberals blame Gillibrand for her undemocratic, knee-jerk reaction. Franken is now also in the woods with the Clintons.

Alex Jones

Despite having the net worth of a top-tier Victoria’s Secret model, InfoWars mogul Alex Jones is not happy with America. After years of spewing crazy conspiracy theories and so-called insider government information about chemtrails, Jones was recently booted from all social media platforms. Twitter initially let Jones stay in the game, but then big ol’ dumb-dumb flew from Texas to Washington, D.C., to scream in Twitter CEO Jack Dorsey’s face. A brilliant move that predictably backfired. Instead of admitting his own faults—and that he may, just may, have taken it a bit too far when he claimed the government was turning frogs gay from estrogen—Jones has whelped like a puppy dog. And all this has happened as he’s refused to apologize for calling the Sandy Hook mass-shooting a hoax and encouraging his fans to attack the parents of the victims. Like his daddy Donald Trump, Jones cries victim while monetizing one of the biggest bully pulpits on the web. But hey, not even Jack Dorsey can stop him from selling a Patriot Pantry Pizza Kit for $97.46!

Nicole Cliffe

A wealthy man’s born-again Christian, feminist spouse, Cliffe leads a very unchristian life. In between spending her husband’s money and taking selfies in her muumuus, this Utah writer-editor has mobilized her 100,000 Twitter followers to attack writer Katie Roiphe over an essay that Cliffe had not read, accused a stranger of being transphobic and “obsessed” with trans women, and helped convince the New York Review of Books to fire editor Ian Buruma because he published an essay by Jian Ghomeshi, a Canadian radio host who was accused of sexual assault and acquitted in court. Why does this relatively unknown former blogger have so much power in American letters? How did this mean mommy mobilize such a powerful shame mob? 

Laura Loomer

You probably hadn’t heard about this rightwing pundit until she chained herself to the Twitter office doors in protest, but “Looms,” as her friends call her, has interrupted a congressional hearing while holding a pink selfie stick, run around Manhattan yelling at women in hijabs, and whined after she was banned from Lyft and Uber for tweeting, “Someone needs to create a non-Islamic form of @uber or @lyft because I never want to support another Islamic immigrant driver.” Whenever she posts a video of herself screaming at a member of the U.S. government while they’re walking to get a bagel, she hashtags the event #LOOMERED. Unfortunately, this douche is a U.S. citizen, because otherwise we would love to get her deported. She’s offically banned from Twitter, which is basically deportation for an internet addict like her. 

Rose McGowan and Asia Argento

After they both alleged they’d been sexually assaulted by Harvey Weinstein, these two 1990s actresses anointed themselves the face of #MeToo. Like Siamese twins, Rosacea—as The Stranger columnist Katie Herzog calls McGowan and Argento—posed for any photo op where they could pump their fists, denied accused men due process, and rallied their #RoseArmy to shame feminists who rejected #BelieveWomen. But this August, the New York Times dropped a bombshell revealing that Argento had allegedly sexually assaulted 17-year-old actor Jimmy Bennett and paid him $380,000 to keep his mouth shut about it. (Like Weinstein, she denied the allegations.) Feel betrayed by the revelation, McGowan issued a statement accusing Argento of having received unsolicited nude pics of Bennett since he was 12. Lawsuit threats followed, McGowan apologized and called #MeToo “bullshit,” and Rosacea was no more. Needless to say, the frenemies’ witch hunts live on. Girl power!

Art by Thomas Warming

The post HOT LIST: THE NEW PURITANS OF AMERICA appeared first on Penthouse Magazine.

The Elements of Scandal

$
0
0

 

Why Some Scandals Dominate the News and Others Fade Away.

Accusations against Harvey Weinstein—famously thanked more than God in Oscar acceptance speeches—have led to a socio-sexual reorganization without modern precedent. Whereas before a simple denial or apology would have been enough to allow a man to return to public life relatively unscathed, now there are real consequences for accusations of mistreating women.

Donald Trump, who was accused by 19 women of varying degrees of sexual misconduct, is almost assuredly the cause of this moment of reckoning. Horizontal action is the name for a concept that can be seen in oppressive authoritarian regimes. If people realize they can’t do anything about criminals in positions of major power—like a dictator—they begin to redirect their anger and sense of injustice toward those in their own lives. Since Trump was elected president, American women have been angrier than ever. Thus, #MeToo—started in 2006 by activist Taran Burke as a movement seeking “empowerment through empathy” among women of color who have survived sexual abuse—was reinvigorated by celebrity feminists.

#MeToo scandals are a lot like snowflakes. Some dissolve quickly on wagging tongues and others join their fellows, gathering mass and momentum until they wipe out an entire village. Just like snowflakes, no two are exactly alike. But the difference is seemingly at random. Why do some fade away and others gain momentum?

Enter the Elements of Scandal. This comprehensive, scientific, and completely accurate theory can predict with 100 percent surety whether public accusations will ruin a man’s reputation. Note: The man’s reputation will almost certainly be ruined by any accusation, but this system will allow us to figure out exactly how ruined that reputation will be.

Here are the categories in which you can score:

  1. Multiple Accusers (MA): One allegation is usually all it takes, but when more people get into the mix is when things get really real. Al Franken might have been able to survive a single allegation of groping a woman, but definitely could not survive the steady drip-drip-drip of allegations after Leeann Tweeden came forward with her initial allegation.
  2. Famous Accusers (FA): The Harvey Weinstein scandal really only took off after some of his most famous alleged victims—Ashley Judd and Rose McGowan among them—told their stories. The reason this is key is that we are conditioned to believe famous people and because famous people are seen as having less to gain by coming forward with their stories. They’re already famous, the thinking goes, so they don’t have the traditionally ascribed motivation to women coming forward: That they’re only in it for the fame.
  3. Perceived Hypocrisy (PH): These scandals have been particularly bad when it seems like the man has taken strong feminist positions in the past. Obviously nobody was going onstage in mid-2017 saying, “I think rape is actually good, and I’m proud to say that I would totally do it.” But especially bad are the people that had previously made names as feminist champions, like Aziz Ansari.
  4. Strong Imagery (SI): Matt Lauer seems like a run-of-the-mill creepy boss. Sure, he liked to bang interns and put people in uncomfortable situations with insistent advances. That’s bad, and it’s obviously bad to do when young women are trying to learn how to work in television. But the thing that made his scandal really pop was the now-infamous button that closed and locked his office door. Of course, it’s now common knowledge that every executive office at NBC had that button and that it didn’t lock the door from the inside, but people hear “rape button” and something breaks in their brains.
  5. Leaving a Trail (LT): There’s nothing people love more than playing detective. Whenever a celebrity is accused, the first move is always to comb through their past work to find hints or clues that the accused celebrity had a guilty conscience and was trying to tell us all along—through their art. This happened to Louis CK. Louie dealt explicitly with non-consensual masturbation in the “Pamela” arc and with consent in several other episodes. His I Love You, Daddy was recast as a sick attempt by Louis to explore his deviant fetishes, while we all paid money for the privilege.
  6. Open Secret (OS): If people are telling jokes about your accusations before they appear in the New Yorker, then you have an Open Secret. Think about Seth Meyers’ joke about Harvey Weinstein at the Oscars, or the Family Guy joke about Stewie running naked through a mall yelling that he had just escaped from Kevin Spacey’s basement.
  7. Cover Up (CO): Any effort made by the celebrity to stop people finding out about his alleged crimes means that the Cover Up multiplier comes into play. Think about Harvey Weinstein hiring ex-Israeli intelligence through Black Cube to spy on potential accusers. Creepy, right? The old saw is true: The cover up is (almost) always worse than the crime.

Confused? Don’t be! We will walk you through some scandals and show you how all of these categories apply.

Harvey Weinstein: 7 Harveys

There’s a reason Harvey is the one to kick-start the #MeToo movement. He was exacting with the filmmakers that worked for him and held himself to equally high standards when it came to becoming the most notorious alleged sexual predator in modern American history. Weinstein hit all seven categories about as hard as it’s possible to hit them: MA, Weinstein ended up with more than 80 accusers when all was said and done; FA, the New York Times’s initial report started with an accusation by Ashley Judd and he was later accused of misconduct by Uma Thurman, Penélope Cruz, Gwyneth Paltrow, Rose McGowan, and others; PH, Weinstein won humanitarian awards and was an outspoken advocate for Hillary Clinton; SI, we are left with the indelible image of Weinstein chasing actresses around the Beverly Hills Peninsula Hotel wearing only a towel; LT, on-the-record stories of Weinstein’s anger were legion, though often presented as indicative of his exacting standards; OS, “Congratulations,” Seth Meyers joked while presenting the list of Best Actress nominees at the 2013 Oscars, “you five ladies no longer have to pretend to be attracted to Harvey Weinstein.”; CO, when you hire something called Black Cube to investigate your accusers, and that comes out, you are fucked. Weinstein was such a perfect spark to light the tinderbox of public allegations because he hit every category possible. Congratulations on your win, Mr. Weinstein.

James Toback: 2 Harveys

Why did director and writer James Toback not reach the same heights of scandal as did Weinstein? The answer is simple: He didn’t score nearly as many points. Though Toback was accused by 310 women of misconduct (MA) and featured Selma Blair, Rachel McAdams, and Julianne Moore among his accusers (FA), he didn’t leave as much of a lasting impression. There was no PH, his alleged MO was seemingly standardly creepy casting-couch fare, so there wasn’t any SI and he didn’t go to nearly the same lengths as did Weinstein to cover up his alleged crimes. So although he was debatably four times as prolific a creeper as Weinstein, we mostly forget about him in the story of the #MeToo year.

Louis CK: 6 Harveys

My wish for you is that you one day love anything as much as Louis CK allegedly loved beating off in front of uncomfortable women. Though Louis’ alleged crimes are orders of magnitude less severe than Harvey Weinstein’s, he’s often mentioned in the same sentence. Why? Well, because Louis scored a shocking 6 Harveys. The first reports about him included five women, notching him an MA. Though none of them were famous, they described Louis masturbating, which he often pantomimed in his comedy, scoring him an SI. He presented himself as a champion of women, including an executive producer credit on feminist comedy series Better Things and Tig Notaro’s Amazon series—PH. He also scored in LT and OS, with constant references to semi-consensual situations in his comedy and writing career. His manager, Dave Becky, reportedly threatened legal action against some of his accusers, which counts in the CO category.

Aziz Ansari: 1 Harvey

There’s a reason that this is often described as a tipping point in the #MeToo movement—he only scores a couple of Harveys. Feminists were upset at his perceived hypocrisy, but he only ever had one accuser and seemed to immediately take responsibility both in texts to her and after the allegations surfaced. It was easy to dismiss Ansari’s behavior as a one-time mistake, and he didn’t really lose any gigs. His name pops up in these discussions because the allegations are such a flash point, but he will definitely be able to bounce back. 

Matt Lauer: 5 Harveys

Lauer earned his place on this list because of alleged long-running predatory behavior at NBC. Though there seemed to be little in the way of a cover up, Lauer’s case checked boxes for SI, PH, MA, LT, and OS. The “rape button,” though it turned out to be a normal feature of NBC executive offices, left such a strong impression that his office was straight up demolished rather than gotten a new occupant. Video also surfaced of Katie Couric telling Andy Cohen on Watch What Happens Live that Lauer would regularly pinch her ass. Lauer scored hypocrite points for grilling Bill O’Reilly on-air about sexual harassment, all while allegedly doing much the same himself.

Asia Argento: 4 Harveys

The list’s only dual entry comes as Argento became both the accuser and the accused during the #MeToo moment. She accused Weinstein of raping her, though acknowledging they subsequently had a long consensual sexual relationship. She took her place at the vanguard of the #MeToo movement until August, when the New York Times published news of a settlement she had reached with her own accuser, Jimmy Bennett, who said she had sex with him when he was just 17 and she was 37. Argento met Bennett when he was 7 and they filmed The Heart is Deceitful Above All Things, which she also directed and helped write—that’s LT, especially since he plays his mother in the movie. Her major PH was buttressed by the SI of a photograph of the pair in bed on the night of the alleged assault. The $380,000 payment to Bennett in exchange for copyright of the image qualifies her for CO. That’s a 4-Harvey total, which puts her in the middle of the pack of #MeToo celebs. 

Kevin Spacey: 4 Harveys

Though the fall from grace was swift and severe, Spacey’s scandal wasn’t as spectacular as some of the others on this list. His FA, Anthony Rapp, accused him of attempted sexual assault when Rapp was just 14. Subsequently, the Old Vic theater in London received 20 additional complaints of sexual misconduct (MA). Spacey’s statement, which focused mainly on the actor’s closeted gay sexuality, was close enough to PH that it only fanned the flames.

Design by Camile Mariet

The post The Elements of Scandal appeared first on Penthouse Magazine.


Hard To Peg

$
0
0

Four directors whose work defies easy political labels.

Its inability to attract big-name celebrity star power is one of the few areas where the Republican Party has consistently lagged behind the Democrats. Where the left gets to claim support from Oprah Winfrey, Ben Stiller, Leonardo DiCaprio, Matt Damon, George Clooney, and Brad Pitt—basically anyone spoofed in Team America: World Police as a liberal member of the “Film Actors Guild”—the right has to make do with straight-to-streaming stars like Kevin Sorbo and Antonio Sabato Jr., past-their-prime conservative converts like James Woods and Jon Voight, and off-their-meds outliers like Roseanne and Kanye West.

Directors, however, especially the ones who’ve been navigating the Hollywood system for decades, often have a funny way of defying easy categorization. All kinds of big-time filmmakers who have probably never voted for a GOP candidate in their life have—sometimes accidentally—made movies with messages that Republicans adore. (Ron Howard, for instance, may be a self-proclaimed Democrat, but he’s also the guy who adapted not one but three Dan Brown novels for the big screen.)

Here are four other prime examples of directors who have managed to straddle both sides of the culture wars.

CLINT EASTWOOD

Eastwood is undeniably one of the right’s biggest pop-culture icons. “Go ahead…make my day”—a garbled version of a line Eastwood spoke in 1983’s Sudden Impact—has been adopted by supporters of “stand your ground” statutes, and even President Reagan quoted it as a way of underlining his plans to veto any and all Congressional attempts to increase taxes. The 88-year-old director denounced Barack Obama from the stage at the 2012 Republic National Convention, and favored John McCain during his 2008 presidential bid.

But Eastwood’s on-screen politics are harder to pin down. Critic Pauline Kael famously denounced the Dirty Harry series as fascist. On the other hand, his biographer Richard Schickel claims the film Eastwood felt the greatest personal attachment to was his 1980 flop Bronco Billy, in which he plays the manager of a traveling circus troupe that serves as a shelter for ex-convicts, hippies, army deserters, and other conservative undesirables. He’s made movies that prop up the myth of the Old West gunslinger (The Good, The Bad and the Ugly), but many others, like Unforgiven, ruthlessly tear that myth down.

He’ll make Flags of Our Fathers, which honors the patriotic men of the U.S. Marine Corps, then just three months later, he’ll turn around and release Letters From Iwo Jima, which compassionately presents the perspective of the Japanese enemy on the same events. It’s not surprising that one of the best critical takes on Eastwood’s work is titled Persistence of Double Vision.

STEVEN SPIELBERG

Spielberg is one of Hollywood’s most high-powered Democrat fund-raisers, and has taken on a long string of film projects that promote solid liberal values. Few fiction films portray the horrors of fascism and anti-Semitism more vividly than Schindler’s List, while Amistad and Lincoln document two of the nation’s most significant early civil-rights battles and The Post celebrates the press’s role in helping expose the lies of the Nixon administration. Even the less overtly political Minority Report smuggles in a warning about the dangers of government surveillance run amok.

At the same time, it’s no accident that Spielberg enjoyed his greatest commercial success during the 1980s. Between the childlike affection he shows for middle-class suburbia (E.T.) and his politically uncomplicated nostalgia for the 1940s (Raiders of the Lost Ark)—not to mention his immense commercial success—he was the perfect Reagan-era filmmaker. Saving Private Ryan did more to cement the notion of “the greatest generation” than any other work of art. When Trump promises to “make America great again,” this is the image he’s evoking.

OLIVER STONE

Part East Coast preppie, part Purple Heart-awarded Vietnam vet, and part drugged-up 1970s dropout freak, Oliver Stone assembled one of the more singular filmographies of the eighties and nineties, churning out bold and ambitious “epic visions of America” at an insane clip of more than a film per year. He was here to tell moviegoers, often at lengths of three-plus hours, that the Vietnam war was a tragedy (Platoon, Born on the Fourth of July), that the government is lying to you (JFK, Nixon), that corporate greed is undermining the nation (Wall Street), and that, yes, Jim Morrison is one of the great poets of the twentieth century (The Doors).

Lately, though, Stone’s stances on world events have softened. People expecting World Trade Center to be another stew of conspiracy theories and hallucinatory imagery instead got a surprisingly low-key tribute to the bravery of the 9/11 first responders. People hoping W. would give George W. Bush one last kick in the pants before he left office instead got a sympathetic take on a simple man bullied around by a stern father and a heartless vice president. Nowadays, Stone seems content jetting around the world conducting equally credulous interviews with Fidel Castro and Vladimir Putin.

BRAD BIRD

Was Walt Disney a Nazi? Maybe not technically, although he certainly seemed to harbor plenty of Nazi sympathies. Similarly, Pixar auteur Brad Bird (The Incredibles, Ratatouille) might not technically be an Objectivist, but he does have an odd way of using colorful stories about superhero families and talking rats to express ideas straight out of the Ayn Rand playbook.

In Bird’s world, society consists of people with extraordinary talent, and people who need to get out of those people’s way (or assist them, even if that means putting up with your city being regularly reduced to rubble or allowing a rat to live under your chef’s hat and control you like a marionette). His live-action 2015 film Tomorrowland, in which the world’s most imaginative scientists and dreamers secretly attempt to build an ideal society in an alternate dimension, is a whimsical riff on Rand’s novel Atlas Shrugged. That said, if we absolutely have to place our trust in some superhuman entity, Bird has created candidates even a liberal could warm to, from the giant robot in The Iron Giant to Tom Cruise’s even more indestructible government superagent in Mission Impossible: Ghost Protocol.

The post Hard To Peg appeared first on Penthouse Magazine.

Meet the New War, Same As the Old War

$
0
0

Music Perspective On America’s Cultural Head-Butting.

Pity the rookie combatants in today’s culture wars. It can’t be easy to join a battle that’s been waged since before they were born and to think it’s new. I’m talking about free-speech warriors in neatly pressed Fred Perrys and un-scuffed boots, collecting their “blocked by” Twitter designations like medals, and howling their God-given right to make rape “jokes.”

All the young dudes hoping history will judge the videogames they play to be as cool as rock ’n’ roll—a cohort of guys who, when they’re no longer young, seconds from sliding toward the great apolitical beyond, will—like dying Confederate soldiers picturing their mothers’ faces—envision Eminem himself laying a cooling hand upon their wrinkled foreheads.

As a veteran of the music-culture wars, I remember Tipper Gore’s denunciation of both the Dead Kennedys and Prince back in the eighties. It was alarming. Moreover, I’ve been engaging in lengthy arguments in defense of some sketchy black metal since the 1990s. I like to think, then, that my take on these rookies—the boys who are proud—has more behind it than the jerk of a knee.

If you’ve never heard of Hollywood’s Hays Code (puritanical censorship of movie sexuality), or Fredric Wertham’s 1954 book Seduction of the Innocent (comic books create juvenile delinquents, it argued), or the hysteria about jazz (“It’s the music of drug-using Negroes!”), followed by hysteria about rock ’n’ roll, disco, porn, punk, Dungeons & Dragons, heavy metal, hip-hop, and more, then yes, it must seem like we’re living in very combative times indeed. And we are! But not more so than any other. It only feels that way if you’re a person who really, really wants to wear that Burzum shirt onstage, or thinks that any episode past the second one of the new Roseanne was funny.

Maybe we’re at war, maybe we’re not. Far be it from me to diminish anyone’s heroic narrative. But this idea that cultural clashing has our country doomed? C’mon, it took almost 200 years for Rome to fall. Unless America peaked in 1812 (and unless you think Tchaikovsky’s famous overture was about the British burning the White House, when it was about Napoleon in Russia), we should be okay at least until the end of Radiohead’s album cycle.

I have perspective—and not because I’m a nerd. While I wear glasses and have weird breath, I’m not really smart enough to be a proper nerd. I’m using the broader, original definition of the word, the one that means being good at science and math, as opposed to being a guy who worships mass-media franchises like Star Wars so much he’ll send death threats about casting. But I’m nerdy enough to have a passing interest in the last hundred years of popular culture and, baby, let me tell you, it was turbulent.

Comedian Lenny Bruce and crooner Frank Sinatra (pre-Republican version) both got fucked with. There were laws against dancing that are still on the books. Weird as it may seem in a world where all moms have terrible tattoos, I remember a time when a mohawk and ripped shirt could get you beaten to within an inch of your life. What made it especially wild was that, for the most part, the culture wars were fought by artists, African-Americans, and gays on one side, and organized religion and the truncheon-wielding state on the other.

It wasn’t until the disco backlash—where rockers and long-hairs across the country, forgetting that Little Richard himself once sang about anal sex, waged a record-burning war on the infernal blackness and gayness of this glittery dance music—that sectors of the general population took the initiative. But by 1985, Tipper Gore and the Parents Music Resource Center had restored the gnashing of teeth and pulling of hair about bumping-uglies content in art to its rightful, bureaucratic place: Washington, D.C.

In the 1990s, with the advent of the term “political correctness,” we witnessed harbingers of today’s culture wars. Fugazi and their ilk bummed out thousands of punks by demanding they do less shoving of strangers at their shows. That the prerogative to take a running jump from a stage prior to crashing on someone’s head would be seen as a cultural imperative might arguably be considered fucking insane, but then again, “go my own way” non-neighborliness, “don’t tread on me” politics, and, for that matter, states’ rights, are as much a part of the American identity as the Freedom March.

That strain of solipsistic individualism won the frontier West, and pointing out the human cost to this expansion is pure sissydom, they argue, so you can understand why so many young men hated Bikini Kill. It’s like those bitches hated fun.

Somehow, despite the reign of PC terror, Nu Metal and VICE still happened, so maybe, just maybe, the dour cultural killjoys weren’t as powerful as some put-upon dudes thought. Or maybe the “culture wars” are not, in fact, wars; they’re just culture. Nobody wins or loses and the sides overlap. It’s just the push and pull and cyclical noise we all make together.

In fairness, I should acknowledge that friends and peers of a more—cough—libertarian bent make an (occasionally) potent argument that, in the year of our Lord 2018, leftists have taken over the government’s role as art- and freedom-haters. They argue that not everything has to be political, and that uptight, indoctrinated squares are constantly rallying their online mobs to crush any art or opinions that stray from (cultural Marxist) orthodoxy.

I don’t disagree that perpetual outrage can be a hell of a drug, and of course some people really are just puritans—in the thirties, they’d have been Stalinists—but I just can’t muster the rhetorical reach to equate hard-rock band Black Pussy losing shows in Portland because of their name with, say, President George W. Bush denouncing Ice-T’s band Body Count for “Cop Killer.” The difference in power dynamics is just too vast.

It maybe doesn’t help that some of the most strident voices railing against social-justice warriors are people like Brett Kavanaugh’s conservative crony Mark Judge, a sometime music writer, who, while denouncing a fellow music writer’s argument against cultural appropriation, bizarrely referenced Sonic Youth’s novelty side-project, Ciccone Youth.

As with most situations in our time of degraded discourse, it’s the dummies and dullards who get the most clicks, so it’s easy enough to find examples of pure inanity on both sides (yes, I can think of examples of said dummies on my side of the fracas, but I’m not going to name them because they’re hella embarrassing).

But idiots on both sides is not the same as “very fine people on both sides.” While I like a bit of nuance now and again, if your beef is in exact accordance with that of the state—in other words, you view your opponents as mouthy, marginalized miscreants shitting in capitalism’s punchbowl—you’re perhaps not the free-speech underdog you imagine yourself to be.

It’s been a rough few months for those staring back at me from across the field of cultural combat. Two bands not exactly noted for their liberal uptightness, Texas thrashers Power Trip and New York hatecore pioneers Sheer Terror, have both publicly stated that Proud Boys are not welcome at their shows. I don’t imagine it’s fun when musicians you’ve delusionally decided share your worldview want nothing to do with your eternal crybabyness. Culture war is hell when metalheads and skinheads both agree that you’re too evil to live and too corny to kill.

At least the alt-right can take some comfort in the fact that the army, police, and every branch of government is in their corner. It must be nice to know that, in this grand clash of civilizations, this Custer’s Last Stand against dark-skinned Star Wars cast additions—not to mention rappers who decry your use of the N-word even though they use it, and comic book-ruining feminazi hordes—your President Dad has a shit-ton of guns and will wait outside the show in case you get picked on in the mosh pit.

A comfort, for sure, but one that hardly makes for a sexy T-shirt.

 

The post Meet the New War, Same As the Old War appeared first on Penthouse Magazine.

What A Dead Pimp Can Teach America About Forgiveness

$
0
0

Dennis Hof left behind a complicated legacy—and a map to lead us out of the culture wars.

After the larger-than-life owner of the Moonlite Bunny Ranch died, his whores asked, “What would Dennis want us to do?” Alice Little, America’s highest-earning legal prostitute, concluded he would want her to charge a john be her funeral date. When I wondered what Dennis would want me to do, I concluded he would want me to write. Dennis loved free press as much as pussy.

I first met him in 2015. To promote his memoir, The Art of The Pimp, Dennis had invited me to live at the Bunny Ranch for a week. When I arrived, the night madam led me to a room that had three fireplaces, vertical blinds, and a view of a wooden porch shaped like Ron Jeremy’s penis. I woke up to the sound of a hooker blasting Lana Del Rey’s “Born to Die.” Dennis’s first words to me that morning: “Heigh ho, heigh ho, it’s off to work we go!” His fantasyland seemed like a parody of a parody of a brothel.

I was skeptical of Dennis—press releases like “PROSTITUTES FOR RON PAUL” prepared me for a man who spoke in sound-bites—but over Heidi Fleiss Veggie Burgers at the Bunny Ranch restaurant, Dennis confessed his public image was a facade. For instance, he always held a cigar in photos, but actually never smoked. Larry Flynt had told him, “Never let them take your picture without a cigar.” When Dennis lied, he winked. He told the truth even when he fibbed. He was not a Hugh Hefner, who claimed Playboy’s nude pictorials were art, superior to pornography. Dennis learned radical honesty reading Flynt’s Hustler, Al Goldstein’s Screw, and Bob Guccione’s Penthouse, the canon of smut.

As a working-class boy in Arizona, Dennis loved dirty magazines and idolized big-breasted blondes with nasty attitudes. The legend goes Marilyn Monroe kissed an eight-year-old Dennis on the cheek at the Arizona State Fair, inciting his first erection. In his memoir, Dennis writes, “Marilyn Monroe has just sealed my fate. To this day, I can’t resist a glammed-up blonde, especially if she’s got red lips.”  Marilyn was a kind creature, whereas Dennis’s mother scared him. She dominated his weak father; masturbation was Dennis’s respite. When he grew up, Dennis swore he would control his own fate. He was thinking he’d own gas stations.

The public only met Dennis when the 52-year-old brought his brothels into American homes via the HBO reality show Cathouse. Dennis bought the Bunny Ranch in 1993, at age 47. This purchase marked the start of his fourth career.

Throughout his teen years, Dennis worked at a gas station. After he knocked up Shirley, his high school sweetheart and first wife, he began managing the pump, saving every paycheck. He leased a decaying gas station in the late sixties, and by 1971, he was the owner of five filling stations. During the seventies and eighties, Dennis reinvested in three different businesses: a towing company, a parking garage, and a time-share sales operation.

He was miserable. According to The Art of the Pimp, Dennis craved more sex. He paged through porn rags like a law student studying for the bar exam, claiming his wife could not keep up with his sex drive. Driving to and from his companies, he passed the Moonlite Ranch. Listening to his gut one day, Dennis swerved into the parking lot.

Inside the run-down, century-old brothel, Dennis experienced a courtesan for the first time. Lounging in her bedroom, post orgasm, he realized he was inside one of the fantasies he had read about in Hustler, Screw, and Penthouse. He also realized he was a dog. And in a brothel, he could embrace his canine instincts. “It’s good to be called a dog,” he told me. “It means you’re man’s best friend.”

America’s least judgmental man was born.

Over the next decade, Dennis kept returning to the Moonlite Ranch. He met sex legends, like Andy Kaufman and Bob Zmuda, and listened to them discuss press stunts and their wildest sexual sojourns. In his memoir, Dennis describes topping them all when he showed up at the Moonlite Ranch with his own dad. Most would gag at the thought of bringing their old man to a whorehouse, but Dennis knew his dad had spent years dreaming of a roll in the hay with someone other than his grouchy wife. He wanted to fulfill his pop’s fantasy. This was Dennis. He accepted—and celebrated—each individual at their basest core.

Many baby boomers digested Hustler, Screw, and Penthouse, and occasionally fucked hookers. They all dreamed of living the lives of porn titans, but Dennis is perhaps the only man who, in middle age, decided to join the sex trade and surround himself with dozens of sexy, curvy women.

When he bought the Moonlite Ranch, and rebranded the bordello Dennis Hof’s World-Famous Moonlite Bunny Ranch, he claimed to have spent half a million dollars renovating the place, installing red velvet couches and new bedrooms. Dennis wanted to reach the “sex legend” heights of his idols. He wanted to be the Walt Disney of brothels.

As the Bunny Ranch’s new owner, he changed the rules. Whereas before hookers lived in “lockdown,” banned from leaving the brothel, he let them roam free. The women set their own prices and could now fuck women. At weekly tea time, Dennis lectured the girls on what men wanted and taught a new sales system. A visitor rang a bell, sounding an alarm through the brothel. In their red pumps, hookers clicked down the halls, forming a lineup. They introduced themselves. The man picked his girl. While she led him on a tour of the brothel, the other girls ran into designated spots. If the man lost interest in his first pick, a woman was standing there ready to intercept.

Whereas other pimps hid their techniques and avoided media, Dennis bragged about the mechanics of his operation to the press. He staged elaborate press stunts, like hiring John Wayne Bobbitt as a greeter after his wife Lorena chopped off his cock. On Cathouse, Dennis normalized lineups and sex workers. Feminists compared his methods to a chicken farmer, but as Madam Lydia, one of his employees, pointed out, the lineups decreased women’s emotional labor, as they didn’t have to constantly engage in elaborate, interpersonal seduction-of-customer contests with each other. Dennis’s innovations led to higher sales, and by the end of his life, he had bought the majority of Nevada’s brothels.

Dennis was a shrewd businessman, but he was imperfect. He took half a girl’s earnings—too much—and has been accused of getting violent with some employees. (He denied all accusations.)

Many girls loved him. After his death, hookers tweeted about how he visited them in prison and rehab. When a competing brothel fired a pregnant hooker, he hired her. In the parlor, he rubbed her belly, jokingly calling the fetus “Dennis Jr.”

Perhaps Dennis’s controlling tendencies stemmed from his love of hookers. “Women. Jesus. What a gift!” he writes in his memoir. I watched one blonde lie to him about leaving town to visit her grandmother, then never return. Dennis fell into a funk. “I teach the tricks how to trick, then I get tricked by my own tricks’ tricks,” he said. Dennis hated to see hookers go. He rarely left his brothels, and I believe it was because he was scared of the heartbreak out there in the big, vast world. Walt Disney was only safe at Disneyland; Dennis was only secure at his brothels.

When she got out of prison, Heidi Fleiss, the notorious “Hollywood Madam,” was shocked at Dennis’s taste in women. Where she traded in sophisticated, well-educated escorts—girls who could blow you, then discuss the latest issue of the Economist—Dennis sold girls straight out of Hustler. How could he make money? Fleiss visited and watched as one trucker after another paid for a trick. New-money men came in hordes. Most brothel owners cater to business tycoons. Dennis believed everyone deserved to live their fantasies. He realized there was also a lot to be made off of horny average Joes.

Men paid to live inside Dennis’s world, but Dennis liked to please everyone. The weekend the Washington Post published President Trump’s “Grab ‘em by the pussy” tape, I attended Dennis’s birthday party. I looked up at the brothel’s neon sign and saw my name beside those of Flavor Flav, Joey Buttafuoco, and Ron Jeremy. Dennis wanted everyone to feel like a king. And he had a gift for boosting your morale when you needed it.

I experienced this firsthand last fall when I was doxxed after BuzzFeed leaked an email where I called a woman fat. Vice fired me. I lost childhood friends and family members over the bad joke. Dennis called and told me to stay in the Bunny Ranch for a bit. He asked no questions. He was just concerned about my safety. To make me feel better on my arrival, Dennis instructed fifty hookers to scream, “FUCK VICE!”

I later learned that a media executive visited the Bunny Ranch after she was fired, knowing she’d be feeling better by the time she left, thanks to Dennis. Heidi Fleiss came to call Dennis her “most loyal friend.”

A lot of people claim they “don’t give a fuck” about what others say, but Dennis truly did not give a shit. And he would never allow the negative opinions of others to influence the way he thought about someone. He’d make up his own mind.

With Dennis’s death, Flynt, Fleiss, and Ron Jeremy are America’s remaining sex celebrities. A rich sensibility—tongue-in-cheek humor, shamelessness, complete embrace of sex, media pizzazz—is endangered. Many view this attitude as an outdated, heterosexual one, but in Dennis, what the sensibility really embodied at its core was an acceptance of everyone for who they were—even those society deemed pariahs.

I know some of his friends were shocked that Dennis invited Joe Arpaio, former sheriff of Arizona’s Maricopa County, an immigration firebrand who ran a tent prison, to his final birthday party and political rally in mid-October. At first I was offended, too, but I can’t say I was surprised. Joe was probably nice to Dennis, and America’s pimp took him for who he was in the moment

As America’s culture war rages on, we could take a hint from Dennis Hof. In the age of Trump, many talk about the importance of empathy and mindfulness, but we just lost the most thoughtful man in America.

Working Girls Remember Their Pimp

Since Dennis Hof died, feminists, Christians, and sex-trafficking hysterics have disparaged his name. But few have heard from the women who tricked in his bordellos. In advance of Dennis’s memorial, Penthouse asked some of his favorite working girls to pen tributes to the man they called “Daddy D.” May he rest in love.

“It saddens me that even in death, Dennis continues to be maligned as a villain or memorialized as a caricature. He was neither. Much has been made of his sexual relationships with the women who referred to him as “Daddy”—his detractors view it as evidence that Dennis saw women as objects—but as his platonic, lefty feminist protégé, I feel morally obligated to dispute this perception. The man I knew wanted to close the gender pay gap, supported LGBTQ rights, and identified as a free-thinking atheist. Even when we disagreed, we never exchanged unkind words. He was genuinely the most pleasant man I’ve known.”

                  —Lydia Faithfull, former madam at the Alien Cathouse

“I met Dennis in 2014 when I began researching his brothels as part of my doctoral work. He was the only brothel owner who opened his doors to me and encouraged my research. I will always be grateful for the opportunities that followed, but I am most grateful for the bond we developed. Dennis served multiple roles in my life: boss, mentor, friend, motivational speaker, and role model. His faith in me helped me have faith in myself. Dennis changed my life for the better, and I will miss him every single day.” 
                  —Christina Parreira, UNLV Sociology PhD candidate and former working girl at Love Ranch Vegas and Alien Cathouse

Dennis was so much more than just a boss—he was a friend, a mentor, and a role model. He revolutionized the legal sex-work industry, taking us out of the shadows and into the limelight. His legacy of empowering women to be successful on their own terms will continue on, though we will miss him terribly.
                  —Alice Little, highest-earning working girl at the Moonlite Bunny Ranch

“Dennis was a great businessman and completely transformed the legal brothels in Nevada. I had known him for seven years, and during that time, he taught me the value of hard work and confidence. All Dennis wanted from his brothel employees was for them to succeed and to be their best, most confident selves. He was truly the legal brothel industry’s champion. His legacy will be remembered as one of bravery and extreme success.”

                  —Ruby Rae, working girl at the Moonlite Bunny Ranch

Photography by Amy Lombard

The post What A Dead Pimp Can Teach America About Forgiveness appeared first on Penthouse Magazine.

Crush: Dr. Debra Soh

$
0
0

Meet our Culture Wars crush, Dr. Debra Soh. 

Debra Soh, a 28-year old Canadian neuroscientist and sex researcher, saw her public profile climb last May when she was included in a New York Times article highlighting a group of bold, dogma-challenging intellectuals, academics, scientists, and cultural commentators. Titled “Meet the Renegades of the Dark Web,” the piece, by Bari Weiss, became a culture-wars lightning rod, bashed and saluted on social media.

Along with Soh, the rebels included Jordan Peterson, Sam Harris, and Christina Hoff Sommers. Joe Rogan, on the strength of his interview podcast, and comedian Dave Rubin, thanks to his free-thinking YouTube channel, also made the roster.

“If you produce findings that the public doesn’t like, you can lose your job,” Soh told Weiss, referring to today’s walking-on-eggshells environment for researchers, not least in her charged field, sexology.

And with the politics of gender and sexuality even more fraught in academia, Soh decided to leave life as a university researcher to write and speak freely, using her expertise to counter perspectives that might fit some ideological agenda but are not supported by science.

Today Soh writes about sexuality, biological differences between men and women, free speech, political correctness, and more, contributing to an impressive range of publications, from North American newspapers to Harper’s, Scientific American, and Playboy.

“I’ve stopped censoring myself,” she tells Penthouse. “I used to worry that things I say might alienate some people, but I’ve realized I can’t live like that. We should be able to speak about facts and the truth without fear of being punished for it.”

Recently, Soh has criticized the way coverage of topics such as gender differences and transgenderism has been politicized, leading to non-scientific viewpoints. In her columns, in conversations with Rogan and Rubin on their hugely popular shows, and elsewhere, Soh has also exposed weaknesses in the assumptions and operations of corporate and academic diversity policies, such as those in place at Google and Harvard University.

Addressing the politics surrounding transgenderism, Soh says, “There is a long history of transgender activists going after sex researchers if a scientist produces findings that activists don’t like. I left academia [so] I could defend what the science says, particularly about children who are gender-dysphoric [who feel they were born in the wrong body]. The majority of these kids will outgrow their feelings by puberty, which is considered a controversial subject in today’s climate.”

“I take a lot of pride in having been a sex researcher,” Soh adds. “My colleagues should be able to do their work without having to deal with activists’ bullying and intimidation.”

Besides hosting her own popular podcast, Wrongspeak, alongside Toronto author, editor, lawyer and ex-engineer Jonathan Kay, Soh is developing new projects for 2019, but her lips are sealed. Meanwhile, she’ll continue to expose the way political correctness and academic leftism is interfering with scientific progress and cogent debate.

Despite being regularly attacked by activists on Twitter, Soh feels optimistic.

“I see a backlash to political correctness coming,” she says. “We saw it with the 2016 election, and I see more on the way, because people are understandably fed up.”

 

The post Crush: Dr. Debra Soh appeared first on Penthouse Magazine.

Hip-Hop Pop

$
0
0

How the rap industry shook up a flat soda brand. 

Everyone has a dream. Even advertisers. If you’re a budding copywriter, chances are you dream of one day writing a campaign as attention-grabbing at Nike’s recent surprise spot featuring Colin Kaepernick. Another of those industry big dogs is Coca-Cola and its beverage empire, and every year scores of new, hungry graduates try to land jobs there.

But in 1991, during one of the company’s routine recruitment sessions, an MBA student named Darryl Cobbin turned heads when he told recruiters he wasn’t all that interested in the Coca-Cola account. No, Cobbin had his sights on one of the brand’s less-glamorous products: Sprite.

Why? Well, partly because of the challenge. At the time, Sprite was responsible for just three percent of Coca-Cola’s overall sales. It was still lugging around outdated terminology like “lymon” (a clunky portmanteau combining “lemon” and “lime”), and its primary market was mothers and young children. Cobbin wanted to change that, and in a big way. He wanted Sprite to go after teenagers, one of the most mainstream and highly coveted demographics out there, by aligning it with the values and aesthetics of hip-hop.

And that’s the other reason Sprite actually made sense for Cobbin’s vision. It was one of the few brands that was willing to dip its toe in the waters of rap, with past commercials featuring Kurtis Blow, Heavy D, and Kid ’n Play. These efforts had proven successful in African-American and Latino communities, at least relative to their modest budgets. Cobbin was betting there was plenty more where that came from. He got the job.

It might have seemed like an odd pairing. After all, there wasn’t any inherent connection between lemon-lime soda and hip-hop. But Cobbin figured out early on that they did share a vocabulary: descriptors like crisp, clean, cool, and especially clear, which meant, as author Dan Charnas puts it, “No additives, no bullshit.” Suddenly, a lane emerged. If a soda could be said to be keeping it real, well, Sprite had as good a claim as any. Cobbin brought the concept to the agency that handled the Sprite account, who gave him back a three-line slogan: Image is nothing. Thirst is everything. Obey your thirst. From there, everything changed.

The “Obey Your Thirst” campaign debuted in early 1994 and immediately took off like a rocket, as Cobbin and his collaborator Reginald Jolley, a creative at Burrell Communications in Chicago, came up with a series of commercials featuring rappers like Pete Rock, Large Professor, and Common, which faithfully represented hip-hop culture in a way that had never been seen before in mainstream advertising. Rap fans clamored to tape the commercials off the TV so they could re-watch them again and again. Magazines like The Source were effusive, too. By the end of the year, Sprite’s sales had leapt nine percent, and for the next two years it would be the fastest-growing soda brand in the country.

The campaign worked in part because Cobbin saw the future before any of his peers did. He knew that hip-hop in the early ’90s was no longer a niche genre—it was the new pop music. “Just as the lemon-lime soda wasn’t going to stay in its lane but rather compete directly with colas, hip-hop would be matched against pop music on its own terms,” writes Charnas in his book The Big Payback. “Both Sprite and hip-hop would win. Not by crossing over. But by taking over.”

In the following years, Cobbin and Jolley went even further. They brought in Nas and AZ to recreate the famous stoop rap from Wild Style, the pioneering hip-hop film. They even convinced their corporate higher-ups to approve an ambitious, five-part, anime-style commercial where rappers from across the U.S. came together to form a new version of the super robot Voltron and defeat the evil King Zarkon—a nod to the Asian pop culture that was in turn influencing groups like the Wu-Tang Clan. A parallel campaign, “Grant Hill Drinks Sprite,” built around the affable NBA player, gave the soda further in-roads into black culture.

Which is pretty much how we got to now. These days, Sprite commercials still regularly feature rappers like Drake and Lil Yachty, as well as current A-list athletes like LeBron James (playing a baseball pitcher named “Big Taste,” for some reason). While no longer the official soda of the NBA, Sprite was still ranked on Forbes’s “World’s Most Valuable Brands” list in 2015, with an estimated value of more than $6 billion. Not bad for a humble lymon.

The post Hip-Hop Pop appeared first on Penthouse Magazine.

Salem 2.0

$
0
0

The Return of the Religious Right to the Public Square.

I recently picked up a paperback by a New York Times journalist in a bookshop and read the following on the back cover: “A major metropolitan newspaper announces that half of its new employees will have to be women and the other half members of minority groups. At a Milwaukee school district, ‘inappropriate staring’ has been labeled a form of sexual harassment, punishable by dismissal. And a proposed new American history syllabus features such topics as ‘Why I Am Not Thankful for Thanksgiving,’ ‘Once Upon A Genocide,’ and ‘George Washington: Speculator in Native Lands.’” It went on to describe these incidents as representative of a new, puritanical, left-wing movement that’s sweeping contemporary America. The author—Richard Bernstein—has labeled this crusade “the Inquisition.”

Oh no, I thought. That’s exactly the book I want to write. For the last nine months, I’ve been collecting stories like these, from the two white women who were forced to shut down their business selling burritos out of a food truck in Portland after they were accused of “cultural appropriation,” to the editor of a prestigious New York magazine who was fired for publishing an article by a Canadian radio host, a man charged with sexual assault and then acquitted on all counts.

I even have a title: Salem 2.0.

But here was a journalist ­who got there before me. Damn him.

Then I took a closer look. The book, called Dictatorship of Virtue, had been published in 1995. It was 23 years old. I was relieved, obviously, but also a bit puzzled: Had the liberal left really been this batshit-crazy for decades? Were the “Social Justice Warriors” who had appeared since the election of Donald Trump—“the Resistance”—just the latest troops in a culture war dating back to the Reagan era? Was the Great Awokening (another title I’ve been thinking about) just a cyclical recurrence of political correctness? Would I have to call my book Salem 3.0 instead? That didn’t have quite the same ring to it.

I returned to my writer’s desk feeling a bit disheartened, but after some reflection I began to perk up. There’s no question that the current moment in American culture—and across the Anglosphere more generally—is firmly embedded in an anti-Western, anti-bourgeois ideology that stretches back decades. But it’s also true that something’s happened in the past few years to turbocharge this movement and it’s gathered such momentum we seem to be on the verge of a tipping point.

Put it another way: It’s as if the discontent that had been rumbling away among left-wing intellectuals for years has suddenly exploded into a cacophonous rage. A regressive political philosophy fueled by guilt, self-loathing, and resentment that used to be confined to Ivy League universities, Hollywood liberals, and the fringes of the Democratic Party has gone viral and infected millions of people in the U.S., Britain, Canada, Australia, and New Zealand.

If you’re a white heterosexual male, look out.

The mob already came for me, incidentally. At the beginning of the year, I was appointed to the board of a regulatory body in the U.K., and as soon as it was announced an army of hashtag activists started trawling through my social media history to find evidence that I wasn’t a fit person to serve as a member of this august public institution.

No one had ever heard of it before I was appointed, my role was incredibly minor, and there was no salary attached, but the fact that I’d been appointed by a conservative prime minister meant there was an opportunity to score some political points. It didn’t take the online metal-detectorists long to strike gold.

Ten years ago, I was a judge on a food reality-show with the Indian supermodel Padma Lakshmi, and I’d composed a handful of tweets late at night salivating over her boobs. There were some other, equally sophomoric comments about the breasts of other celebrities. Not exactly Harvey Weinstein territory, but it didn’t stop me being targeted by #MeToo activists. An outrage mob sprung up on Twitter, baying for my blood. According to them, I embodied everything that was wrong with the British establishment: male, pale, and stale. A message was relayed from the prime minister’s office that it might be in everyone’s best interests if I stood down. I duly obliged and, shortly afterward, I was stripped of my honorary fellowship from the University of Buckingham, kicked off the boards of two charities, and had to resign from my full-time job.

That’s what gave me the idea for the book, obviously, but the fact that I was skewered by a twitchfork mob doesn’t mean I’m wrong. This latest manifestation of political activism is different from earlier versions by an order of magnitude.

For one thing, there’s the sheer, muddle-headed, Bizarro World nuttiness of it. We’re told that “hate speech” is a great evil, unless you’re advocating the hatred of men (a recent column in the Washington Post was headlined “Why can’t we hate men?”), which is absolutely fine. According to a recent poll of “woke” academics and policy experts, the United States is the tenth most dangerous country in the world for women—far more dangerous than Iran, even though Iranian women caught not wearing the full hijab by the religious police are routinely sentenced to 74 lashes. All men are “privileged”—we’re just supposed to accept that without question—in spite of the fact that 75 percent of the suicides reported in the U.K. in 2016 were men, 79 percent of homicide victims across the world are men, 93 percent of prison inmates in the U.S. are men94 percent of Americans killed in industrial accidents are men, and 99.9 percent of soldiers killed in combat are men.

And, of course, all white people are “privileged” as well, including the victims of the opioid epidemic, known as “the White Death” because the majority of the 72,000 people estimated to have died from drug overdoses in 2017 were white, and in spite of the fact that poor white boys do worse in school than any other ethnic group, there are fewer white births than deaths in a majority of U.S. states, American black women have higher college attendance rates than white men, and college-educated black women have higher incomes than college-educated white women. For the Social Justice Warrior on the left, it’s as if reality itself is a social construct, not just race and gender.

Then there’s the insidious way in which Maoist intolerance of those who dissent from progressive orthodoxy has embedded itself in company policies, bureaucratic procedures, and legal systems. I’m not just talking about the punishment meted out to James Damore, the Google employee who dared to question the company’s diversity and inclusion policy. He was fired for creating a “hostile work environment”—a decision that was rubber-stamped by the National Labor Relations Board. (So much for the First Amendment.)

I’m also thinking of the change to the Canadian Human Rights Act and Criminal Code which makes it a misdemeanor, punishable by law, if you refuse to use a trans person’s preferred gender pronoun. Jordan Peterson warned us about that last year and, of course, was immediately accused of “helping to foster a climate for hate to thrive” by trans activists, left-wing academics, and labor unions.

Twenty-five years ago, we had the “Antioch Rules,” which made it an offense at Antioch College for a man to engage in a sexual encounter without receiving “affirmative consent” at every stage of the seduction process. But that was regarded by most people at the time as an example of political correctness gone mad and parodied on Saturday Night Live. Today, following President Obama’s supercharging of Title IX, the “Antioch Rules” apply in virtually every American university, and hundreds of young men have been branded “rapists” by kangaroo courts and kicked out of college for failing to observe this absurd protocol. One poor guy was found guilty of “rape” because he couldn’t remember whether he’d asked for permission to remove his girlfriend’s belt, even though they’d dated for over a year after that initial encounter.

In Britain, there’s been a massive uptick in “hate crimes”—a new category of criminal offense created in 2007, not by an Act of Parliament, but by a group of unelected officials. If you say or write something that another person is offended by, and that person thinks you’re motivated by hostility or prejudice toward them based on a personal characteristic, you’re guilty of a “hate crime.” Doesn’t matter whether that is in fact your motive, all that counts is that the offended person perceives it to be.

At present, there are five “protected characteristics”—disability, race, religion, sexual orientation, and transgender identity—but the British government is thinking of adding “gender” to the list and outlawing “misogyny.” Given that some feminists think climate change is caused by “misogyny,” God knows who will end up in the dock. The executive board of British Petroleum? Earlier this year, a comedy writer called Graham Linehan was given a “verbal harassment warning” by the West Yorkshire Police for “deadnaming” a trans activists on Twitter—i.e., using her original male name, rather than her new chosen name.

I could go on. Scarcely a day passes without a “cishet” white male being “called out” on Twitter for some thought crime or other. A twitchfork mob immediately forms up and within days, sometimes hours, the guy is tossed to the wolves. Recent examples include Kevin Williamson, who was hired then fired by The Atlantic after some intemperate remarks about abortion were dug up; Allessandro Strumia, a theoretical physicist at CERN who was immediately suspended and placed under “investigation” after he challenged the feminist dogma about why more women don’t do physics; and Stephen Galloway, a creative writing professor who lost his job at the University of British Columbia after he was falsely accused of rape by a disgruntled ex-girlfriend.

Still don’t believe me? A Harvard University survey conducted two years ago found that 51 percent of Americans between the ages of 18 and 29 do not support capitalism, compared to 42 percent who said they support it. That’s up four percentage points from a 2011 Pew survey where already 47 percent of the same age-group held a negative view of capitalism.

So what accounts for this explosion in ultra-liberal attitudes? How did political correctness metastasize?

One possibility, not to be lightly dismissed, is that the world has become a much more unfair place in the past few years. Of course people are protesting more—there’s more to protest about. But is that true?

The answer is no. Take racism, for instance. By almost every measure, racism is declining in the United States. In 1967, when miscegenation laws were repealed, three percent of all newlyweds were married to someone of a different race. In 2015, that number had risen to 17 percent. Next time some placard-carrying millennial tells you that all white Americans are racist, point out that more than one in ten white newlyweds have married a person of a different race.

Economically, African-American men have never been doing better. According to a recent report by the American Enterprise Institute, 57 percent of black Americans now belong to the upper or middle class, compared to just 38 percent in 1960. The share of black men in poverty, by contrast, has fallen from 41 percent in 1960 to 18 percent today. It’s the same story for Hispanic-Americans—55 percent belong to the upper or middle class—and Asian-Americans (73 percent). Police shootings? According to the Harvard economist Roland Fryer, blacks are no more likely to be shot by police officers than whites.

When comparing different countries, one way of measuring the level of racism is to ask whether people in that country would object if a person of another race moved in next-door. By that metric, the U.S., Britain, Canada, Australia, and New Zealand are among the least racist countries in the world. Less than five percent of Britons said they would object, compared to more than 40 percent of Indians and Jordanians.

What about homophobia? Again, all the survey data suggests attitudes toward homosexuals across the Anglosphere have never been more liberal. For instance, just 35 percent of Americans were in favor of gay marriage in 2001. By 2017, that number had grown to 62 percent. Ditto for the U.K., where the number approving same-sex marriage has climbed from 17 percent in 1983 to 64 percent by 2016.

Gender? Contrary to the views of gender studies professors, the fairer sex have never had it so good. In the U.S., women comprise over 56 percent of students at college, while in the U.K., 40,000 more women than men enrolled at universities this fall.

As for the so-called “rape epidemic” on American college campuses, it’s a myth. Sexual assaults of female college students in the U.S. dropped by more than half between 1997 and 2013, and in the same period young women in college were less likely to be assaulted than those who weren’t in college.

The gender pay gap? Once you control for the fact that women are more interested in lower-paying jobs than men (only nine percent of nurses are male), are more likely to take time out to start a family, and have a higher preference for part-time work, the gap disappears. Gender studies professors will tell you different, of course, but a recent survey found that they are paid, on average, $15,000 a year more than male professors in STEM subjects.

Okay, you might say. Maybe those lucky enough to live in the West are doing all right. But what about the less fortunate? No one would question that capitalism is wreaking a terrible toll on the developing world, would they? Well, yes, they would. Since 1990, more than a billion people across the planet have been lifted out of extreme poverty—113 million of them in a single year (2013)—thanks to the free enterprise system. The people millennials should be feeling sorry for are the citizens of the people’s republic of Venezuela. When Hugo Chavez came to power in 1998, 40 percent of Venezuelan households were living in poverty. Last year, that figure had climbed to 82 percent.

When you look at the data, there is less for liberals to protest about than there has been at any point in the past 50 years. So why have they gone crazy? What gives?

According to Greg Lukianoff and Jonathan Haidt (a First Amendment lawyer and social psychologist, respectively), who’ve made a study of the anti-free speech culture on American campuses, the reason for this sea change is because today’s students and recent college graduates have been raised by overprotective, liberal parents and spend too much time on the internet. These digital natives believe the world is divided between good people and evil people, are impervious to reason once they’ve made up their mind about someone, and think the best way to deal with that person is to push them out of the body politic as if they are a pollutant or a pathogen. Not literally, but metaphorically, by “no-platforming” them, heckling them, ordering them to “check their privilege,” and, if necessary, “calling them out” on social media, i.e., publicly shaming them.

In their new book The Coddling of the American Mind, Lukianoff and Haidt note that millennials couch their objections to these “bad people” in psychological rather than ideological terms. Thus, the reason they don’t want conservatives like Ben Shapiro and Ann Coulter appearing on campus is not because they disagree with their political views, but because they “trigger” them or make them feel “unsafe.” Most people would take these claims with a pinch of salt, suspecting that students are weaponizing their mental health in order to push their liberal agenda. But Lukianoff and Haidt take them seriously. They believe there is something actually wrong with young Americans: They are far more psychologically fragile than they should be, thanks to the bubbles and echo chambers they’ve spent their lives in, and cannot cope with conflict or challenge. The solution, then, is to get them to toughen up—or, at least, persuade them that engaging with someone holding different views won’t cause them lasting psychological harm.

One problem with this analysis is that it fails to account for why these authoritarian Young Turks skew left rather than right. After all, if their main concern is to avoid the anxiety they believe arises out of viewpoint diversity, wouldn’t any political creed serve as well as any other provided everyone signs up to it? Why have they embraced the teachings of Karl Marx and Michel Foucault rather than Edmund Burke and Friedrich Hayek? Lukianoff and Haidt have an answer to this. It’s because their professors are overwhelmingly left-wing.

The expert on political bias in the American academy is the political scientist Stanley Rothman. According to him, the proportion of U.S. professors describing themselves as right-wing declined from 34 percent in 1984 to 15 percent in 1999, and those describing themselves as left-wing increased from 39 percent to 72 percent in the same period. And the shift has continued—accelerated, even—in the last two decades. According to a study carried out by Econ Journal Watch in 2016, which looked at the voter registration of faculty members at 40 leading American universities in the fields of economics, history, law, psychology, and journalism/communications, Democrats outnumber Republicans by 11.5 to one on average. In psychology, the ratio is 17.4 to one; in history, it’s 33.5 to one. A more recent study of 51 of the top-ranked 66 liberal arts colleges by Mitchell Langbert, carried out in 2018, found that 39 percent of them had no Republican staff on their faculties at all.

“The political registration in most of the remaining 61 percent, with a few important exceptions, is slightly more than zero percent but nevertheless absurdly skewed against Republican affiliation and in favor of Democratic affiliation,” writes Langbert. “Thus, 78.2 percent of the academic departments in my sample have either zero Republicans, or so few as to make no difference.”

Whether Lukianoff and Haidt are correct in their core analysis, this extraordinary political imbalance in American universities must have played a part in radicalizing the generation that has come of age in the new millennium. And the same pattern emerges in other parts of the Anglosphere. In the U.K., for instance, those academics saying they would vote for right-of-center parties declined from 35 percent in 1964 to 11 percent in 2011, and those saying they’d vote for left-of-center parties increased from 64 percent in 1964 to 77 percent in 2015.

Other factors are surely at play, too. One thing that used to act as a firebreak on the spread of radical, socialist ideas was the distinction between the regressive left and the progressive left. Moderate liberals have generally treated hard-left political activists with caution, knowing that in the twentieth century, communist regimes were responsible for something like 100 million unnecessary deaths. But the line between the progressive and regressive left has always been quite fuzzy, and it’s become blurrier still since the election of Donald Trump in 2016. That event—and to a lesser extent the electoral success of right-wing populist movements across Europe, including Brexit—has polarized party politics and enabled the regressive left to capture large swathes of the moderate left.

In addition, the melding of hard-left dogma with postmodernism—what Jordan Peterson calls “postmodern Neo-Marxism”—has helped with its rapid spread in the last few years, even though that phenomenon dates back to the 1960s. It’s almost as if a group of cultural terrorists had been perfecting a virus in a lab for 50 years and then waited for just the right moment to release it.

Many progressive liberals have ended up feeling like apostates just because they have remained true to their original values, while all around them friends and allies have shifted leftwards. Some of them—such as the former Evergreen State College professor Bret Weinstein, who was hounded off campus by baseball-bat wielding thugs—have ended up as leading lights of what’s been called the Intellectual Dark Web.

         Another theory, this one propounded by the African-American intellectual John McWhorter, is that the phenomenon of “wokeness” is a new, secular religion, and one reason it has grown so fast is because traditional, organized religions have experienced a steep decline in recent years. That would explain why Social Justice Warriors expect you to take so much of what they say on faith and why they treat those who challenge them as apostates—evildoers, motivated by venal self-interest—rather than worthy intellectual opponents.

         It also fits with their fondness for reciting bits of dogma as if they were liturgical incantations, like the protestors at Middlebury College who responded to a speech by the conservative political scientist Charles Murray by chanting the following catechism in unison: “Science has always been used to legitimize racism, sexism, classism, transphobia, ableism, and homophobia, all veiled as rational and fact, and supported by the government and state. In this world today, there is little that is true ‘fact’.” Finally, it explains why straight white males who want to be accepted into the church of political correctness have to confess to being racist—the woke version of original sin.

         So what can you do, particularly if a mob is gathering outside your home chanting “Time’s up”? (I literally had a pack of jackals on my doorstep, although, to be fair, they were all journalists.) A ray of hope was provided by a recent report for an organization called More in Common which divided Americans into seven camps: Devoted Conservatives, Traditional Conservatives, Moderates, Politically Disengaged, Passive Liberals, Traditional Liberals, and Progressive Activists. According to the report, only people in the last category are members of Team Woke. They may shout the loudest, and, in doing so, persuade the rest of us that they’re far more numerous than they are, but in fact they only constitute eight percent of American adults. By contrast, 80 percent of people polled by the report’s authors agreed with the statement “political correctness is a problem in our country.” Social Justice Warriors, it turns out, are in a tiny minority.

         The answer, then, is for the “frustrated majority”—that’s how we’re referred to in this report—to stop kowtowing to these self-appointed commissars of the public square and start standing up to them. The reason they have such unprecedented power at this moment in our culture and can cast into the outer darkness anyone who dissents from their sacred beliefs is because we’ve allowed them to have it. To quote the phrase that empowered the British people to vote to leave the European Union, it’s time to “take back control.”

Okay, where’s my typewriter? Time to get going on Salem 2.0.

The post Salem 2.0 appeared first on Penthouse Magazine.

Women of the Gun

$
0
0

How the Internet Is Reshaping the Gun-Rights Landscape

With flawlessly manicured dark-red fingernails, @Kayotickat’s thumb softly grazes the steel frame of a single-action Browning 1911-22 pistol. It’s an archaic gun with a tobacco-colored grip, yet it looks vogue in her hand. The close-up photo, posted on Instagram, gets its charge from a traditionally phallic pose (a gripped pistol) feminized by Kayotickat’s dangerous flirtation, like the femme fatale handling a cold piece of twentieth-century engineering.

This juxtaposition is the future of gun advertising for younger Americans raised on the internet—those millions who don’t read gun magazines and never visit a newspaper stand (if they even know where to find one). Instagram is where you’ll also find a photo showing an attractive young woman in a floral-print skirt that she’s lifted to reveal her thigh—and the Sig Sauer P238 holstered tightly to it.

The Sig appears in several photos taken by shooting-range safety officer Lisa Brianne, who executes yoga positions with the pistol, uses the gun as a lingerie prop, and holsters it on over her patriotic leggings—all while using hashtags like #GunPorn. These images are politically provocative. Brianne’s sexualizing her relationship with her firearm. She’s inviting you into her bedroom to play with her gun. And she’s how I’m familiar with the Sig.

Peruse the latest issues of gearhead-focused gun magazines and you’ll find an austere, industrial, mostly sexless aesthetic. The masculine-feminine power dynamics of gun culture are muted in publications like American Handgunner, which favor centerfolds showing stand-alone firearms and their accessories (though a recent rise in concealed-carry permits secured by women has produced the occasional photo of a midriff-baring woman holstering a Glock).

There have been vivid exceptions to this hardware-centric approach, like the photos of syndicated radio host and Second Amendment activist Dana Loesch in a black dress and goth ankle boots, wielding her AR-15 in the pages of Guns & Ammo in 2015. Loesch was the first woman to appear on the cover in 54 years. But this is not the norm.

Glossy gun magazines cater to their most reliable demographic—traditionalists in flyover country who view guns as a self-defense power tools or recreational toys. Loesch, a right-wing vamp wearing Alexander Wang, simultaneously appeals to both Midwestern moms and heavy-metal fanboys. She’s a cultural bump stock in a movement that’s inspired conservative women to transform into gimlet-eyed Bond girls. These dark, icy, and chic spitfire dames are the future of Second Amendment activism.

Trinity Merrill is one of the millennials redefining the “gun gaze” on Instagram. She’s a plucky Second Amendment activist who poses in front of the flag and models for pro-military brands like Warrior Flasks. She frequents shooting ranges in Ozark, Missouri, on “Tactical Tuesdays,” wearing cutoff denim shorts with sponsored safety glasses and earplugs. She’s a gun-rights pinup girl, happy to scandalize those liberals who view guns with prejudice and paranoia.

Defiant women like Merrill, who has 125,000 followers on Instagram, are featured on wildly popular Instagram channels like @bassbucksandbabes, @pretty_girls_with_guns, and @country_bombshells.  The bombshells account boasts 273,000 followers, an apparel line, and an endless stream of photographed conservative amazons who lift weights and comfortably handle the dead carcasses of big game.

Joining Merrill in contributing to this increasingly influential universe of girls-with-guns online imagery is the expert archer and outdoor enthusiast Katie Van Slyke, a gun-holster model who can be seen on Freedom Holsters Instagram page with a teal Glock 42 holstered safely near her crotch, an image accompanied by the hashtag “Glock Porn.”

The pose is an act of social rebellion. One like it was widely mocked by liberals in March when Fox News’s Tomi Lahren posted a photo of herself with a 9MM tucked into her leggings. “Not Your Average Gun Girl,” read the hashtag. In the case of Lahren, a blonde conservative woman with a prominent media profile, she would have known how much flak the image would receive—and was ready to revel in the outrage.

Kirsten Joy Weiss commands the most-watched female guns channel on YouTube. While just as physically striking as Tomi Lahren, Weiss is more of a gun gaze’s Ronda Rousey. She’s a gifted trick shooter and multi-title champion whose videos—like a YouTube Annie Oakley—show the sporting side of firearm partisanship. Weiss is a woman able to outshoot most of her male competition. Rather than flirting with gun rights like Lahren, Weiss is demonstrating her prowess as a sharpshooter—the best argument to counter the liberal bias against Americans who engage in shooting sports.

Images from @bassbucksandbabes

Instagram, the digital playpen of the prized millennial demographic, is the unintentional industry-leader of gun porn. There’s no data on what sort of impact these photos have. The vagaries of gun statistics in the U.S., especially on the internet, make them increasingly irrelevant, but we know that more women are engaging with firearms. We know that more women are frequenting shooting ranges, and acquiring those concealed-carry permits. We also know that more woman are photographing themselves in defiant poses with their firearms.

For the libidinous American male, these images offer a voyeuristic fetish stapled on top of fine-print that’s far more important—the conservative woman’s newly adopted role as defenders of adventurist masculinity.

Social media is where these Second Amendment bodyguards boldly talk back to the anti-gun feminists of millennial media. Social media is where Jackie, who defies feminist homogeneity, has an apparel sponsor, and can be seen holding an AK-47 in each hand, wearing a “Right 2A Bears Arms” T-shirt in front of a big fucking truck. Don’t look for the mainstream media to tell her story.

Fierce feminists like Tara, a glamorous and “savage” U.S. Marine who extinguishes the fiction of unattractive female soldiers, are part of a DIY network of women ignored by liberal media outlets because, goes the argument, they are “complicit” in a culture alarmists contend produces mass shootings. This is the same poor logic that blamed first-person-shooter games and Marilyn Manson for Columbine.

While liberal puritans treat masculine, gun-themed pastimes as acts of terror, conservative women run them like credit cards exchanging in cultural currency.

Valerie Serbu, aka @50calval, the self-described “heiress” to the Serbu Firearms fortune, confidently plays with her sensuality behind colossal, magazine-fed, semi-automatic rifles (or homemade flamethrowers) that not only amuse men on YouTube, but sell them guns.

Serbu’s ALS ice-bucket challenge video showed her firing a machine gun in a pink bikini. Her @50calval account is as much of a middle-finger to bourgeois liberalism as a satirical YouTube video of teenager Carly LaCroix, a southerner who hilariously mocked a male New York Daily News reporter after he claimed to experience PTSD upon firing an AR-15.

The gun gaze is not exclusive to U.S. gun culture. In Japan, airsoft hobbyists like Isis Osushi take stirring fashion photos at “shooting cafes,” cosplaying as Milla Jovovich and blending gaming culture with toy guns, creating their own, slightly nerdier Nintendo-gun gaze. The Russian Federation uses the gaze as a recruitment tool in the form of cosplaying soldier Elena Deligioz, whose 62,000 Instragram followers are drawn to the glam photos of her in full combat gear, or napping under an arsenal of machine guns. Deligioz is alluring because she’s the ultimate betrayal of everything we believe in—the gun gaze equivalent of infidelity.

In America, where the gun gaze began with cowgirls like Oakley and pistol-packin’ Hollywood molls like Peggy Cummins (Cummins starred in 1949’s Gun Crazy, robbing banks with her boyfriend, always itching to pull the trigger), the gaze now produces the effect of seeing Doris Day wearing an ammo belt, instead of a stitched apron. It slays domesticity with playbacks to images like the character of Sarah Connor from Terminator 2, posing with a cigarette dangling from her lip—the M16 assault rifle acting as an extension of her take-no-shit personality.

Today’s women of the gun are unapologetic, never compromising sex appeal for gender-neutrality or blindfolded misandry. They take something masculine and phallic and rub rouge all over it, pumping it full of roaring estrogen. The new gun gaze isn’t the bikinied, machine-gun babes from the 1980s VHS tapes. It’s a defiant throwback to first-wave feminism, but far more rebellious, where conservative women are taking ownership of the male gaze, instead of being wrecked by it.

The post Women of the Gun appeared first on Penthouse Magazine.


Class Time For Johns

$
0
0

Making Men Pay The Price—The “Stop-Demand” Approach To Prostitution

I’m in Brazos County, Texas, in a roadside motel room colored by the soft light of Bowhunter on the TV and a collection of police-issue iPhones.

“I know what the eggplant emoji is,” says one of the detectives in the twin-bed room, referring to an oft-used sexting symbol, “but do we know if the prosecutors will take it as an agreement for sex?”

As we wait, they give me a chance to write my own guesses on the operation whiteboard: the number of johns they’ll bust today, and of those busted, how many will cry, possess drugs, carry unlicensed guns, and have outstanding warrants. But before I finish, I’m interrupted by cheering plain-clothed officers. Bowhunter’s Mike Carney has nailed a musk ox in the heart.

 “He’s coming,” crackles a police radio moments later, and the room comes alive.

I follow the officer in charge, Sergeant Paul Mahoney, into the bathroom, where he and his largest officer strap on their gun holsters and select a pair of handcuffs from a neat row. Two other detectives wait silently behind the hotel-room door, which is soon opened by a female cop, a tiny, bird-like woman in jeans and ill-suiting makeup, looking vaguely like the blurry online photo they posted offering her sexual services.

“Come in,” she says with a huge smile. The john puts his second foot inside the room and is jumped on and cuffed by four police officers.

Within seconds, I hear one of the officers mutter, “Fuck, he’s pissed himself.”

The other johns arrested that day would yell and struggle, or holler that they weren’t going to fight, but Fernando stands quietly as the cops search his pockets, his fear spreading across the front of his work trousers.

Gene, the male cop Fernando had been unwittingly sexting with, asks him why he’d been so stupid. In response, Fernando says softly, “I got to live with what happened,” his wet pants sticking to his legs. He goes on to calmly, politely answer questions about his wife, two jobs, and two toddlers back home.

Pissing himself will be the first in a series of humiliations for Fernando, and thousands of guys like him caught in john stings around the country. His mug shot, name, and engagement in “sex crimes” are splashed on the local news that evening, and will live on the internet forever. Fernando is the another casualty in the war on sex, the fallout from a moral panic that is destroying lives in order to save them.

A week after Fernando’s arrest, I’m in a church basement in downtown Waco, Texas, with 11 more johns busted while attempting to procure sex. They avoid each other’s gaze, just as they avoid, even more carefully, the eyes of the man standing before them.

“This won’t be a hug-athon,” says Brett Mills, coordinator of an anti-prostitution program—a “john school”—to a field of lowered baseball caps. “We’re kind, but we’re not faint of heart.”

Mills has been running this john school—a mandatory education program for men convicted of first-time solicitation offenses—since 2014, part of the Jesus Said Love (JSL) not-for-profit organization he runs with his wife Emily.

Mills reads out the class rules: sleepers and phone checkers get one warning before being asked to leave. Same goes for anyone drunk, high, or late. Mills then instructs the johns to “own their story” by sharing how they were arrested, but without protesting their innocence.

Each john had to pay $525 for the privilege of attending this class, part of their misdemeanor charge for online solicitation of a prostitute. They were arrested during multiple police stings across several Texas counties. Of the johns in the room, seven are Latino and one is Asian; all eight are blue-collar workers. The three white guys are active-duty military personnel.

Brett Mills commands the room, smoothly shifting from cool youth-group leader to drill sergeant. Speaking forcefully, he says, “There are eight women in our [JSL] office right now that have been perpetrated on by guys like you!” JSL is primarily focused on helping “janes” leave the commercial sex industry, and its john schools, which teach that women should not be bought and sold, have become a core part of that mission. It doesn’t hurt that these schools have become a lucrative business and attract significant political support. 

Unable to shrink any further inside himself, Tanner is called on to share his story. He’s a tall, thin, 24-year-old from suburban Dallas. While others fidget and down energy drinks, Tanner only clenches his fists around the sides of his T-shirt, his eyelids at half-mast.

“I just wanted to talk to a female face before being stuck in a box,” he says of the day he was arrested, mere hours before he was due to be deployed overseas. “I tried to call and got a text back. I thought it was weird, but I just wanted to see a woman. Then these two guys are comin’ at me. I tried to fight back; they didn’t ID as cops. There was no video or audio surveillance—it all seems kind of sketchy to me.”

Mills asks the johns who had their mug shots posted on local TV news. They all raise their hands. “And on Facebook, everyone saw it on Facebook,” Tanner adds quietly.

“I don’t give a fuck about your face on the news, I care about these women!” Mills barks, telling me later that he calls these “front-end alignment moments.”

If Mills had his way, the class would cost twenty times more so that the johns would feel the true weight of their crime. The average DUI costs in excess of $10,000 when impounding, fines, court, and attorney fees are taken into account. Even then, Mills says, the crimes are not equivalent: driving drunk is nothing like trying to buy a human being.

“And don’t tell me that legalization is the way to go,” he adds. “The only one who wins there are the regulators, ‘cause they get the money. Go to a bar and meet someone!”

Before we break for lunch, we meet Sheronda and Jackie, two of JSL’s presenters, who share stories and information. Some of what they relate is shocking. Sheronda used to rob johns, we learn. She ran away from home after being sexually abused by her stepfather, and later used to pose as a prostitute and make off with would-be johns’ money and cars.

Jackie is a state health-department nurse, and wheels out a projector for a stomach-churning slideshow of the worst effects of untreated STDs in men and women. She offers free swabbings to the johns as they filter outside. Several of them complain they’ve lost their appetite for lunch.

A number of the guys share cigarettes and laughs, but I notice Tanner walking anxiously around the parking lot, painfully alone. He doesn’t want to talk about what happened, but soon the words rush out anyway. “I just want it all behind me,” he says. “I hope that this is the end.”

Tanner was arrested with 30 others in a sting at a motel near the Fort Hood military base. Local media ran his mug shot and a report that he was found in possession of a knife, six lengths of rope, duct tape, and a body bag. He told deputies he brought the rope to the room because he had a bonding fetish. The other items were found in his car later.

“There was no investigation,” Tanner says. “The sheriff told the media that I was a serial killer.”

Not long after talking to Tanner, I arrive at the Waco office of the McLennan County sheriff, Parnell McNamara. I’m there to talk to him and his human-trafficking team. Sheriff McNamara greets me with a hug and asks if I want anything to drink. Within minutes, I’m being shown a media highlight-reel of the sheriff’s greatest law-enforcement triumphs. When we’re done, he asks me to pose for photos with his collection of Tommy submachine guns, and hands me an autographed photo and merchandise promoting his reelection campaign, all of which carries the slogan, “Parnell’s Posse: 2020 Vision.”

“Some of these guys should have been shot,” the sheriff tells me. “Johns are the root of the evil, creating the demand. It’s a big effort—the pimps, the johns, the molesters are all in it together.” Sheriff McNamara pauses and asks me to write down the following quote: “Child molesters should be tied to a post and horse-whipped every day.”

Moving on to a gateway theory of what johns involves themselves in, Sheriff McNamara argues that soliciting women is like the marijuana of sex. “I think prostitution leads to child molestation,” he continues. “[Johns] get bored and escalate to something weirder, kinkier.”

*        *        *

Sheriff McNamara describes himself as a lawman who “just inherited the job.” His family on his father’s side had been Waco law-enforcement mainstays going all the way back to 1902. His office is a shrine to three generations of the badge—one cabinet alone holds 17 framed photographs and seven guns beneath a scales of justice.

He’s is something of a Waco legend, Parnell McNamara. That’s what happens when you do things like form a posse of old-school lawmen to track down a thief dumb enough to steal a horse belonging your daughter. That much-publicized event took place in 1996. More recently, the 70-year-old sheriff was cited as the inspiration for Jeff Bridges’ character Marcus Hamilton in the 2016 Academy Award-nominated film Hell Or High Water. Bridges plays an ornery U.S. marshal not ready to face mandatory retirement at age 57—which is exactly what happened to McNamara after 30-plus years as a Texas deputy marshall.

“You gotta get the right-lookin’ hat,” McNamara told Bridges, who shadowed the Stetson-loving sheriff to prepare for his role. “If you get a stupid hat, you’ll wind up lookin’ like Howdy Doody.”

To seal their friendship, McNamara “put him in the posse,” making Bridges an honorary deputy sheriff, before travelling with the actor to the Oscars, an experience he recalls almost as fondly as he recounts tales of his law-enforcement career.

McNamara hasn’t visited the Jesus Said Love john school, but says of Brett Mills and his wife: “[They’re] good, good people, and it’s a wonderful program they have. There’s a place for them, at least as an attempt to straighten people out.”

*        *        *

It’s debatable, though, whether john schools—or “stop-demand programs” as they are sometimes called—have any effect beyond humiliation. The first program of its kind was launched in 1981, in Grand Rapids, Michigan, followed by subsequent competing models, one developed by Minneapolis therapist Steve Sawyer, and another, higher-profile model pioneered by former San Francisco sex worker Norma Hotaling.

“Norma was extremely shrewd as an advocate,” says Michael Shively, an independent researcher who has evaluated john schools extensively for the Justice Department. Norma Hotaling developed a close working relationship with Kamala Harris, then California’s district attorney, now a U.S. senator, and considered one of the leading contenders for the 2020 Democratic presidential nomination.

“Ideologically, john schools are all over the map,” Shively says. “Well under half have any sort of faith-based element. One of their partners is often a charitable organization or something that is really survivor-focused.”

In 2011, Texas passed a state law allowing any county or city to create a john school as an alternative to fines or incarceration. As with drunk driving, it is the local prosecutor’s decision whether attendance at a john school is required under their misdemeanor charge.

“It’s the Wild West, totally unregulated,” Shively remarks. “It is almost impossible to find out whether they work, and there is almost no accountability. The criminal justice system is heavily discretionary—there’s a lot of latitude on restitution versus punishment.”

Shame is driving so much of this activity. Convicted johns live with the very real possibility of losing their jobs and families, and so they rarely fight their cases in court, unable to bear the cost and desperate to put the event behind them. Of course, many of them stand trial regardless on the evening’s news, and their shame lives in perpetuity online.

There are roughly 50 john schools in existence nationwide, although it’s difficult to say precisely how many are fully operational at any given time. Like other startups, the ”moral entrepreneurs” behind these schools have to contend with the flow of supply and demand. Without a doubt, though, it can be a money-maker—fees paid by johns to attend are seen as a key component of the restorative justice philosophy that underpins the movement. And perhaps it goes without saying that it helps if stop-demand operators are backed by local politicians and law enforcement. 

Jesus Said Love is a charity financed solely by private donations and revenues from its monthly john school. The year it started the program, revenue jumped from $12,000 to $370,000. Now it has averages around $500,000 a year. JSL’s annual fund-raising weekend getaway, Wild Torch, is attended by a who’s who of local business leaders, church leaders, and political figures, including Sheriff McNamara.

“Marketing is a strength of ours,” says Brett Mills in JSL’s Waco office, a converted warehouse decorated with chic lamps, lounges, and cowhide rugs in every room. “We’re in talks to do a corporate program. A local company approached us after their foreman was arrested in a sting. It had affected their business.”

If Mills likes to be the balls of the operation, then his wife Emily is the heart. She felt called to work with women in the sex industry 15 years ago or so. She now spends much of her time organizing gift-bag runs to Texas strip clubs (which are hubs for prostitution), providing women with high-quality toiletries as well as resources if they want to leave the business of sex.

“I believe we’re divine beings, not for sale. But it doesn’t matter in secular terms, and I get that,” she says. “Sex is a $3.2 billion-dollar industry—look at the economics, look at whose backs it’s built on. This country fought a war over slavery as economics. Is that why we’re not doing anything? Is it just about money and white-male power?”

Waco is on the I-35 between Austin and Dallas, well within the “Texas Triangle,” which Emily and her husband, along with other activists fighting human trafficking, say is one of the nation’s hot spots for modern slavery. Using the carefully formed language of social justice, advocates avoid talk of borders and illegals, but the Triangle discussion retains a charge in the current political conditions.

“The mortality rate for trafficking victims is seven years from entry—usually through suicide, violence, and drugs,” Emily says, using a frequently-cited but false statistic. “People don’t realize that they are victims. We tell them that they are a walking miracle. The victims have to learn to say that they are victims.”

Brett Mills adds: “Our philosophy is that we can’t condemn. Holding up a bloody fetus is shaming, and it’s weird. We treat people with kindness no matter how awful they are to women so that we can get in their ear.”

Jessica Sicora, head of training at Unbound Waco, told me that they believed the incoming Republican district attorney, Barry Johnson, is “going to be a good asset,” and “has the right attitude, but needs more education to be accurate.”

Sicora gave a 45-minute presentation on human trafficking at Waco’s Jesus Said Love john school. “I was on the phone last week with a director of the governor’s demand-decrease unit,” she told the johns. “They are sitting, waiting, to get a strong enough case to make  what you did a felony. It hasn’t yet happened in our state, but everyone wants to make it happen. Scaring the hell out of buyers is the best way we can end this industry.”

When I ask her after class about her claim that Texas wants to change first-time solicitation charges from a misdemeanor to a felony, Sicora said she was “just spitballing.”

Demand Abolition, another organization fighting human trafficking, is looking to work this felony angle on a national scale. The group’s founder, Dallas native Suwanee Hunt, is a leading Democratic figure, who has raised millions for anti-prostitution activities and programs, including john schools in 11 American cities.

Remarkably, the Texas Department of Family and Protective Services lists the contact details of no fewer than 30 different anti-human-trafficking organizations operating in their state—and that’s without including Jesus Said Love or Demand Abolition.

“There is [sex]-trafficking going on, no question about it—but the stats have been grossly exaggerated, particularly in the United States,” says Alison Bass, a West Virginia University journalism professor and author of Getting Screwed: Sex Workers and the Law.

Bass recently uncovered financial ties between prosecutor’s offices and Demand Abolition’s multi-city anti-trafficking initiative, CEASE (Cities Empowered Against Sexual Exploitation). In Seattle, the group provided almost $200,000 in funding to the King County prosecutor’s office over four years. In return, law enforcement carried out regular john stings, and the prosecutors framed the activities of those johns as sex-trafficking.

“If we want to look after women, we need to put our resources into social services resources and housing, not into having them arrested,” Bass says, adding that sex work can often provide a living wage—which can’t always be said for women working in restaurants or cleaning houses, particularly in big cities.

“Everyone says they’re going after the big guys, as they should be, but it’s the small fish that are being targeted—both the sex workers and the clients themselves,” Bass explains.

Ayesha, a 30-year-old sex worker who has been working the Texas Triangle for 15 years, says she was recently arrested for the first time. “I got caught in a sting in Dallas,” she tells me. “They didn’t want to let me go. It was the FBI’s human-trafficking squad. They were trying to make me say that I was a victim. I’m like, look at me, check my demeanor—I don’t look like I’m being forced.”

A Texas native, she ran away from home at 14 because she didn’t get on with her grandmother, who became Ayesha’s caretaker after her parents were both incarcerated for low-level drug offences.

“I’m done,” she remarks. “It’s not how it used to be—stress-free—with the police and all.  And there’s a lot of violence, there’s girls getting raped—those are the guys they should go hard on.”

Ayesha counts a former sheriff among her mostly older, white clientele, but points to mug shots of her colleagues and clients to illustrate who is actually being arrested. For her, full legalization of sex is the only way forward—not least because fucking is only a small part of her work. “A lot of my guys can’t perform,” she says. Many of them just want company, as Tanner said he did.

The operation that nabbed Tanner shows that beyond not-for-profit organization pushing anti-prostitution policies nationwide, local law enforcement agencies are reaching out across jurisdictional borders to crack down on commercial sex.

Stings are increasingly focused on johns rather than janes, usually by police posting ads on foreign websites that were set up in the wake of the U.S. government shutting down Backpage, the major online sex-advertising site.

Tanner’s arrest—and subsequent trial by television—was part of a Bell County show-and-tell operation, an on-the-job training exercise for officers from other counties. Sergeant Mahoney, whom I accompanied on a sting that day in Braze County, was there.

“We arrested a lot of johns that day, but I remember Tanner,” he says. “I was on surveillance. I saw that he had put his big bowie knife on his hip. They dunked him pretty hard ‘cause they knew about this knife.”

“He was a squirrelly dude,” Mahoney continues. “I remember after they arrested him, he wouldn’t tell them his name, wouldn’t say he was buyin’. Maybe he wasn’t going to kidnap her. I don’t know.”

Sheriff McNamara was jubilant after Tanner’s bust, telling local papers, “I’m so proud of Bell County for jumping on the bandwagon.” The Bell County Sheriff’s Department had learned everything they knew from McNamara’s McLennan County team, which began conducting stings as a part of the first “Johns Suppression Initiative” in 2014.

Speaking to cameras at the end of the initiative, McNamara used the phrase “weird sickos,” which was picked up nationally, and a law-and-order star was born. Today, he invites television crews to his many busts, and has been working on his catchphrases. During our chat, he appears to riff on Tolstoy when I ask him why people buy sex: “There are all sorts of excuses, like unhappy homes. But there’s no excuse for someone like that.”

In 2015, buoyed by the effectiveness of cross-county prostitution busts, McNamara started another posse of a kind, called FAST—Fugitive, Apprehension, and Special Tasks. What he calls his “personal SEAL team” is “runnin’ and gunnin’ day and night,” powered by homeland security clearances that allow them more or less free rein to conduct operations all over the country.

The FAST unit spends much of its time chasing down pimps. Their work has taken them all the way to Las Vegas and New York City. Recently, they tracked down a Waco brothel owner in Dallas.  

A 90-minute drive from Waco, the Big D, though no Austin in terms of its politics, is less deep-red than most other parts of the state. Republicans such as Sheriff McNamara see the city as a blot on the moral landscape of Texas, a place where pimps, prostitutes, and illegals run the streets and threaten old-fashioned values.

The day had barely broken over the city, but Kimberly Duran didn’t care. She was too busy administering a wake-up call to 13 johns, her voice stronger than any coffee. Duran is the program clinician at the Dallas County District Attorney’s Office, and waking johns up is part of her job.

“I wanna fuck you up for your next buy,” she begins. “I know some of you will go back, but I hope I’ve fucked you up.”

If the church-basement john school was airless, this place just feels grim. We’re next door to the morgue in a row of dull bureaucratic buildings.

“Dallas is a mess, the john class is terrible,” Brett Mills had warned me. “Theirs is $250 on a Saturday with a payment plan. There shouldn’t be no payment plan—and johns should have to take a day off [from work].”

The johns are a familiar bunch—four African-American and nine Latino, with some of the men wearing factory uniforms. I see a lot of tattoo sleeves. Their stories are notably similar, too, most involving this basic scenario: They were at a gas station and a pretty girl offered her services for $20, and wouldn’t take no for an answer.

Fifty-something Joe, a soldier turned trucker, says his bust was entrapment. A detective from the human-trafficking unit, who is there to answer questions, begs to differ, saying it is only entrapment if the female cop put a gun to his head, demanding he comply. To which Joe replies, “No, that’s a fucking robbery!”

Duran softens a little, and says that she wants the johns to think of the day as a behavioral therapy session. Her class presenters lack the TED-talk snappiness of the ones in Waco. It isn’t quite the hug-athon Brett had prepared me for—it’s just incredibly boring.

The Dallas school mostly mirrored Waco’s program in terms of instructional agenda until the end of the session. That’s when three white guys from Sex Addicts Anonymous—all named Brian—take the johns through how the 12-step program saved their lives.

“We’re not here for addiction, we don’t need treatment,” Luis, 43, protests. Adding his own comment, Joe shouts, “The treatment was when I came in here and paid $250!” Everyone laughs except the Brians.

After the laughter dies down, Duran tells the johns, “You know, the governor is trying to get y’all on the sex-offender registry.” At this point, the Brians leave, but the johns stay behind to ask questions, including whether they would be able to see their kids if they were to be put on this registry.

Duran didn’t say that for rhetorical effect. Earlier this year, Texas governor Greg Abbott began an anti-prostitution law and order campaign, saying that “anyone who commits these crimes should be behind bars.” Under his proposal, “sex criminals” would be incarcerated and forced to register as sex offenders upon their release, while the minimum age for workers at sexually oriented businesses like strip clubs would be raised from 18 to 21.

“We’ve seen a lot of bills introduced in line with the end-demand philosophy, which also prop up civil forfeiture, and this is already a really sketchy business, and technically illegal in the United States,” says Christa Daring, executive director of the Sex Workers Outreach Program, founded in the Bay Area in 2003. In civil forfeiture, the government takes possession of property suspected to be part of a crime. Adds Daring:

“Legislation we’re seeing being introduced could result in people having their cars seized if they [don’t] pay their john-school fines of only $250.”

It’s clear to me that police operations are targeting a certain type of john. In 2012, Rachel Lovell of DePaul University studied mug shots taken by the Chicago Police Department in the preceding two years. Lovell found that almost all of their stings took place in poor, African-American neighborhoods, targeting clients of street-based sex workers. Over 85 percent of the men arrested were African-American or Latino.

Luis, who objected to one of the john-school Brians telling him he was a sex addict, agrees. “I grew up in south Dallas,” he tells me. “I know it’s where they do most of their surveillance and stings. Prostitution is more discreet in higher-class neighborhoods, but it goes on. There’s just more palms being greased.”

To escape having to sit through another STD horror show, I made my excuses at the Dallas john school, and went for a drive to clear my head. As I traveled the city streets, my thoughts kept circling back to the realization that end-demand policies and programs like the ones I’d witnessed in recent days appeared to be the next big thing in law and order.

Moral panic takes many forms, and sex is its current obsession. With marijuana legalization, the prison industry can no longer rely on weed-smokers to fill their cells, so it’s looking to sex offenders—and that’s the classification johns will increasingly be tagged with—to pick up the slack.

Right now, there’s not much public outcry over this. But the fact is, people are having their lives turned upside down for doing things like unwittingly sexting cops. John-school alumnus Tanner is effectively in hiding, jobless and living with his parents, understandably struggling after being publicly branded a would-be serial killer.

Meanwhile, Brett Mills is searching for a repentant john to round out his school’s curriculum. That is, an ex-john repentant enough to join his JSL team. There is no one better equipped to counsel the sex-addicted than a former addict, and the number of jobs that sex addicts are welcome to apply for are few. The only option, then, is for humiliated johns to turn pro—to become part of the system that destroyed them.

*The names of johns have been changed.

 

The post Class Time For Johns appeared first on Penthouse Magazine.

SUBTEXT IS EVERYTHING

$
0
0

You Let Me Down: One Guy’s Arguments Against What We Were Taught To Believe

CASE: THE ENGLISH LANGUAGE

“Why don’t they do what they say/ Say what you mean”—The Fixx, from their song One Thing Leads to Another (the only tune of theirs I’ve ever heard, but it’s a damn goodie!)

Before we get into this month’s topic, I have a bit of bad news, good and decent Penthouse subscribers: I am bidding thee farewell….

Well, I’ll still be writing stuff for this glorious porno mag, I’m just done with this column. After all, how much can one guy rant about hating practices, persuasions, and people? By my calculations: about thirteen months.

Over the last year or so, I’ve used these pages to air my gripes with marriage, voting, sensitivity, merit, and a bunch of other subjects that I hope my opinions on had readers thinking, Interesting point, and not, What an asshole. To be fair, it was probably a little of both.

But since my fear of being repetitive far outweighs my respect for commitment, I’m bringing this thing to an end. Anyway, enough with the salutations. I was never very adept at expressing sentiment. Let’s get back to my speciality: bitching and moaning.

As stated, this column has a always focused on the broader cultural ideas and concepts. But since this is the final entry to “You Let Me Down,” I wanted to try something different. For this piece, I’m shifting my focus from the surface to the subtext.

Subtext. I don’t think the term has ever been more relevant than here and now. When it comes to our favorite modern-day way to talk to one another—text messages, email, and social media; you know, the types of discussion where you don’t have to hear another person’s pesky voice—subtext is swinging harder than ever. But I don’t think many of us are recognizing it.

The proper definition of the word is “an underlying and often distinct theme in a piece of writing or conversation.” Current methods of conversation are, almost exclusively, executed through writing, and there is a theme: We’re completely full of shit! We don’t mean what we say and we don’t say what we mean.

So, I took it upon myself to take some of this digital-age jargon and translate it into what I think the users of it are actually saying. Below you’ll find a list of phrases, words, and hashtags that we casually throw around on a daily, sometimes hourly, basis. Underneath each is their subtext and, of course, the two are quite different. But as they say, “The devil is in the details.” And if you ask me, what you’re about to read is a list of truly iniquitous language.

INTERNET LANGUAGE TRANSLATOR:

“You’re my new fave.”

Translation: You haven’t offended me yet, but it’s only a matter of time.

 

“I love you soooooooo much.”

Translation: I like you but also think you’re too dumb to recognize empty flattery.

 

“Definitely.”

Translation: This will probably only happen over my dead body.

 

“#Woke”

Translation: My opinion is fact and your facts are opinions.

 

“I’m gonna do me.”

Translation: Fuck you and everything you stand for, now get the fuck outta my way.

 

“#Winning”

Translation: If I don’t distract myself with constantly keeping score I might cry.

 

“Living my best life.”

Translation: Something amazing happened to me today and I’d like to rub your lousy nose in it.

 

“#Amazing.”

Translation: This was fine.

 

“You’re being aggressive.”

Translation: I don’t agree with what you’re saying but I can’t think of a counterargument.

 

“#Blessed”

Translation: I’m trying to come off as spiritual because saying “I’m so lucky” sounds gross.

 

“Respect my boundaries.”

Translation: Please speak only in a fashion that I am accustomed to and fully approve of.

 

“I can’t even…”

Translation: Why isn’t the entire universe catering strictly to my sole wants and needs?

 

“#NoFilter”

Translation: Be jealous of how pretty I am or at least my sickening level of self-esteem.

 

“LOL”

Translation: Your attempt at humor has been recognized, even though it didn’t even cause me to smirk.

 

“Can’t wait!”

Translation: Honestly, I have nothing better going on.

 

“#Cancelled”

Translation: I like to pretend people are TV shows and I’m a TV executive and I get to put a stop to them if I feel like it.

 

And finally…

 

“I’m a conservative.”

Translation: I need you to listen to me while also not paying attention to what I’m actually saying yet still acting as if you did and totally agree with it.

 

“I’m a liberal.”

Translation: I should warn you, despite my claims of being centered and level-headed, I’m extremely prone to explosive temper tantrums.

 

The translations of those last two expressions carry the most weight for me. I appreciate the ones that proceeded them, but, outside of scorning emotions, they’re basically harmless. The way this concept applies to conservatives and liberals is the red flag.

As we continue to decay into a nation of church parents and teenagers—one group hollering, “Because I said so!” and the other reacting purely with emotion—it’s apparent our words carry less and less meaning with every passing day.

We continue to warp and misuse our words, mostly out of spite, while remaining split in two, right down the middle, everybody screaming, nobody considering the gray area. The thick-headed elders don’t get “these kids today” and these kids are too spoiled and bratty to stop and listen. Your only hope to be a rational spectator. That way you’ll more likely be prepared to run for the hills and take cover when the shit hits the fan.

It’s one thing to lose faith in our institutions, corporations, and beliefs, but once hope is lost for language, the end’s around the corner. So don’t get involved. You’re better off becoming a weird, grizzled hill person. It probably won’t be so bad out there in the bush.

As for me? I’m an untrusting man in what I consider to be an untrustworthy world. As this chaos ensues, I won’t be too disappointed, just thankful that a long practice of anti-optimism has me not witnessing the fall of what I once thought to be great, but the exposure of the mess I always knew it to be. Its subtext, if you will.

I’ve always thought everything sucked. But who cares? Because I decided long before thirteen months ago that You Let Me Down.

The post SUBTEXT IS EVERYTHING appeared first on Penthouse Magazine.

Dad of the Moment: Jordan Peterson

$
0
0

Spoiler Alert: North America’s best-selling author and most talked about academic Jordan Peterson happens to also be a great dad.

I was recently labelled “fash”—that’s English hipster speak for “fascist”—because I “liked” a few of Jordan Peterson’s tweets.

For those who have been living under a rock the last year, Peterson is the 56-year-old Canadian psychology professor turned overnight political sensation when his YouTube video about Bill C-16 made waves throughout the media.

Peterson was rallying against new Canadian legislation (which has since become a law) that said anyone who does not call a trans person by their preferred pronoun could be legally punished. Peterson objected to the bill on free-speech grounds.

Cold, dry, and deeply Canadian, Peterson and his argument enraged transgender activists and progressive lefties who called for his resignation and stormed the University of Toronto campus, accusing him of every thought-crime they could think of.

Their attempts at silencing Peterson backfired—big time. Almost instantly, he became a North American political sensation. The New Yorker profiled him, a much-discussed New York Times article featured him as part of the Intellectual Dark Web, and Peterson soon found himself debating politics, religion, and culture with public intellectuals like Ben Shapiro, Sam Harris, Dave Rubin, and Camille Paglia. He also famously jousted about workplace feminism with English TV reporter Cathy Newman in a 30-minute interview so potent it has attracted more than eight million YouTube views.

Peterson’s latest book, 12 Rules for Life: An Anecdote to Chaos, is a best-seller and sent him on a sold-out world book tour. Young men have flocked to Peterson and his message of love, independence, and personal responsibility. Still, the left sees him as an evil, sexist, transphobic monster hiding under the guise of free speech to push his “fash,” “alt-right” ideas. The best part about most of Peterson’s critics is that they are too dumb and lazy to read his book before barking their criticisms.

Because if they did read 12 Rules for Life or bothered to listen to some in-depth interviews with the man, they would see that Peterson isn’t some tyrannical right-wing pundit—he’s a classic liberal, a Canadian from the rural prairies, a teacher, a scholar, and a family man who loves his kids so much he gave up eating everything but meat and greens to help his daughter with her potentially fatal autoimmune disorder.

Like a great father, Peterson doesn’t want to give you a fish. He wants to teach you to fish, so you can eat fish forever. Then he wants you to know what could happen if you fish too often and understand the consequences your potential overfishing could have on the world.

12 Rules for Life is a self-help book for young men that promotes a conscious, respectful version of masculinity, one reinforcing universal truths such as “we are not equal in ability or outcome, and never will be,” and “your misery is the weapon you brandish in your hatred for those who rose upward while you waited and sank.” In today’s ultra-PC climate, notions like this have been lost and replaced with identity-politics groupthink and victim terminology, so Canada’s greatest dad has been a breath of fresh air.

Peterson wants young people to take responsibility for themselves as individuals, to become informed about the world, and to create meaning in life so that they can be fulfilled and contribute positively to society. If that’s what fascism means to the kids today, then I guess, yes, I’m a “fash.” I’m a big, fat fascist. Thanks, Dad!

The post Dad of the Moment: Jordan Peterson appeared first on Penthouse Magazine.

January 2019 Pet of the Month Jisel Lynn

$
0
0

Penthouse 2019 January FebruaryPenthouse Pet Of The Month January 2019

Hometown: Miami, Florida

Dividing your time between Toronto and Florida is a crazy combination. What’s the story?
It’s a bit crazy, but I actually love being able to experience both cities on a regular basis. I’ve lived in Florida most of my life and I was looking for a change. A good friend of mine lives in Toronto, so I decided to give it a try. Maybe I’ll stay in Toronto on a more permanent basis in the future? Who knows.

Which parts of you are more Canadian than American?
I would definitely say I’m more American in my ways and habits, but I think my politeness is Canadian. They are all so nice.

How did you get into modeling?
Growing up, I always participated in pageants, and as I got older I wanted to build on that passion, being in front of the camera and so on. So I started with bikini modeling, and things took off from there.

What makes you a total camera whore?
I love being by myself while in front of the camera. It’s almost, like, a freeing feeling. You can feel gorgeous and sexy while flirting with the camera. I love to see how that translates into a final photo or video.

What were you like in high school?
I wasn’t a part of the super-cool crowd, but I had my tight group of friends. I was a bit of a nerd in a way.

What are three things you can’t live without?
My dogs, my phone, and coffee!

What has been your biggest fail?
I wouldn’t say it’s a fail, because I’m back to working on it, but I’m completing my MBA. Hopefully I’ll be done soon.

Biggest win?
Getting out of a toxic relationship.

What was the best part of your shoot today?
Everything was amazing, but I would have to say the best thing was just how fun it was getting to know Holly Randall and the crew.

Jisel Lynn 01 Jisel Lynn 02 Jisel Lynn 03 Jisel Lynn 04

Jisel Lynn

The post January 2019 Pet of the Month Jisel Lynn appeared first on Penthouse Magazine.

February 2019 Pet of the Month Anna Lisa Wagner

$
0
0

Penthouse 2019 January FebruaryPenthouse Pet Of The Month February 2019

Height: 6′
Measurements: 32DD-24-34
Hometown: Scottsdale, Arizona 

How did you get into modeling? 
I started when I was a teenager. I was scouted at a concert.

What was the concert? 
It was the first American Idol tour, with Kelly Clarkson, which is hilarious. I have been really tall for my age my whole life, so when I was 14 years old, I was about 5’8″. The agent came up to me, gave me their card, and told me they thought I would do really well as a model. When I got home, I told my mother about it and she was encouraging. She had modeled herself. So I did it. A year later, I signed with Ford Models.

Who did you get your long stems from? 
My father is German, and my mother is Yugoslavian. I was actually born in Buchholz, Germany, but we moved to Arizona when I was little, so I feel 100 percent American.

What was your first modeling gig? 
It was just after I had been signed. I had to go to L.A. to shoot my portfolio with this great female photographer. I was all baby-faced. It was my first legitimate shoot. I was the coolest kid in school for a week.

What would you have done if you hadn’t been scouted? 
I am very creative, and I need that kind of outlet. I started watercolor and oil painting when I was six years old. I probably would have stuck with that, had I not gotten into boys when I turned 13.

Do you still paint? 
Sometimes, but not that often. I do a lot of photography, though. Most of my energy is spent on modeling, but I shoot a lot of my own work and set up my own trips. I do a newsletter, and I collaborate with the photographers who shoot me, and I usually send out some cool uncensored stuff, as well as other things, like special polaroids for sale or links to the work of the photographer who shot me. It’s inclusive and interactive. I’ll do playlists as well, which is fun.

Do you remember your first nude shoot? 
It was topless, not totally nude. I was working with a photographer friend who had shot this book I did. We were doing a fun editorial and I was wearing a fur cape. He asked if I would be comfortable throwing the cape out of the way and he would take a shot like that. I had nothing underneath. I’ve always been very comfortable with my body and open. When I saw how the shoot turned out and the difference it made in the spread, the creativity, I loved it. I have always been drawn to fine art, black and white nudes, so I hopped right in. I find it liberating and empowering. It’s so much fun to see myself in a way I should be seen, as a strong, independent woman.

 

Anna Lisa Wagner Anna Lisa Wagner Anna Lisa Wagner Anna Lisa Wagner

Anna Lisa Wagner

The post February 2019 Pet of the Month Anna Lisa Wagner appeared first on Penthouse Magazine.

Viewing all 1097 articles
Browse latest View live