Anatomy of an Adult Film
Sunset Thomas and R. Richard
Published by World Audience, Inc.
303 Park Avenue South, Suite 1440
New York, NY 10010-3657
Phone (646) 620-7406; Fax (646) 620-7406
ISBN 978-1-935444-20-6
Edited by Kyle David Torke
Cover design and layout by Christopher Taylor
$20.00
© 2009, R. Richard and Sunset Thomas
Copyright notice: All work contained within is the sole copyright of its authors, 2009, and may not be reproduced without consent.
World Audience (www.worldaudience.org) is a global consortium of artists and writers, producing quality books and the journal audience, and The audience Review. Our periodicals and books are edited by M. Stefan Strozier and assistant editors.
Table of Contents
Prologue………………………………………………….………5
Introduction: Anatomy of an Adult Film…………………....…….7
Chapter 1: Orientation and History…………………….………..14
Chapter 2: Where Do They Come From?……………..…………19
Chapter 3: Contact………………………………………………36
Chapter 4: The Crew…………………………………………….50
Chapter 5: The Location…………………………....……………59
Chapter 6: The Debut of Double Dynamite……………………..64
Chapter 7: A Girl/Girl Scene…………...………………….…….73
Chapter 8: Gangbang…………………………………....……….85
Chapter 9: The Photo Shoot……………………………...…….101
Chapter 10: The Signing……………………………………..…114
Chapter 11: Texas Lightnin's Photo Shoot………………...……126
Chapter 12: Double D And Texas Lightnin' Dance………….…139
Chapter 13: The Big Party…………………………………...….154
Chapter 14: The Brothel………………………………..………170
Author Biographies……………………………………….……186
PROLOGUE
Most folks don’t believe my life story—when I tell them over drinks or by the pool—with just the facts. I’m too smart, too pretty: the facts just don’t seem to square.
But me, I’ve been a porn star, a prostitute, a pawn, and a king. Whoopsie, that’s Old Blue Eyes! I’m not plagiarizing his song, but I’m singing a similar tune.
The truth is, I’m just a simple girl from the little town of Sikeston, Missouri. I’m the youngest of eleven my Momma raised to be strong, proud, and sassy.
I never graduated from High School, but I reckon I had the good fortune of what they call here in Vegas “Kismet.” See, the breaks just fell my way.
Larry Flynt took a liking to me, and from my first shoot with him, all I had to do was act naturally—not really acting at all. I became a contract girl in the porn industry, an HBO television star, a Penthouse Pet, and a XXX-Hall of Famer—baby, I’ve seen it all and done more!
My story is something of a campfire tale. A little bit of fiction mixed in the stew of a life story.
Anatomy of an Adult Film is a partnership between me and R. Richard, who approached me with the idea some months back. He’s an established writer of erotic fiction, and the concept of detailing my life alongside the components necessary to get me on the screen was very appealing.
Writing this book has been an exercise of changing the names to protect the guilty. The truth can be told, but only like a song or a piece of art—embellished and sometimes reinvented.
Creating characters—especially Double Dynamite and Texas Lightnin’—was akin to getting to play dress up—the entire process has just been a blast. I wear the costumes as well as I take them off.
I’m so honored and thankful to my dear friends Larry Flynt, Ron Jeremy, Nina Hartley, and Axel Braun for giving me shout outs on the back cover.
So sit back while we take you behind the scenes of porn sets, brothels, and strip clubs.
It’s a steamy ride, so don’t be afraid to dog-ear a page while you set the book aside and give in to the urge to fuck, diddle, or stroke—I won’t hesitate, and you shouldn’t either!
—Sunset Thomas
Introduction
Anatomy of an Adult Film
You watch an adult film. You see sexy girls, hung guys, and spicy action.
How does all the glamour, all the sexiness, all the beautiful people come about?
The Anatomy of an Adult Film will take you on a journey through the adult film industry from the hiring of talent to the creation of a script, from securing exotic locations to massaging the personalities who are working together.
Let's analyze what you see in an adult film.
First, the film has to be shot somewhere. The somewhere is called a shooting location. Because the days of one guy with a camcorder recording his friends in flagrante delicto in a motel room are pretty much in the past, someone has to arrange for a shooting location. The director, usually, is responsible for finding interior and exterior settings for the film’s action.
The director is the boss of an adult film set, and he's (the director is usually male) responsible for everything about the shooting of the film in addition to secondary activities like buying sunscreen or tipping the caterers who deliver pastries and fresh fruit. We'll see how a director sets up the shooting of an adult film and then follow the process in depth. Did you ever want to tell a girl to take all her clothes off and have sex? Directors get to ask beautiful women and men to undress every day, but that titillating moment is only one of many ways the director engages the film-making process.
In most modern adult films, the director has a script. The script tells who has sex with whom and how and even why—they may be slight, but there are motives in adult films, too.
The director then has to hire performers to have the sex.
The director almost always hires the female lead first. She’s the sun around which the entire movie orbits.
So, perhaps the director just calls up a girl star and makes her an offer to perform in an adult film? No, hiring a female lead is not nearly that simple.
The director has to hire a girl who will work well with the script. He also has to find the best girl he can within the budget the producer gives him. The process of selecting the girl star is a delicate one and is just one reason the director earns his pay.
Then, the director has to find the right performers to work with the star. The performers are going to have sex with the girl star and probably with each other, so there has to be chemistry between the performers. The process of selecting the performers is quite complicated and is another reason the director earns his pay.
Once the actors are hired, the director has to find the right crew to shoot the film. The selection of the crew is almost as important as the selection of the performers. The members of the crew have to function well together and have to be capable of working at the speed of an adult film—staging, filming, and editing with an absolute minimum of screw ups. The process of selecting the crew is a key to the shooting of an adult film. In a mainstream Hollywood film, a scene can be re-shot until they get it right. In the adult film industry, what the crew gets the first time is pretty much what an audience sees. (Once a guy shoots his wad, it's not going to happen again right away, regardless of what you might hear around the locker room).
After an investigation of shooting sites, we consider the cast. Where do the female stars come from? Why do they do what they do and how do they do what they do?
Adult film actresses come from small towns, big towns, and in-between towns. They're sometimes the girls who got thrown out of school for stripping in the boys’ locker room or posting inappropriate pictures on Facebook. They're sometimes the girls who couldn't get dates because they weren’t willing to send semi-nude photos of themselves over the cell phone. They're the girls who were cheerleaders and sometimes wallflowers. They're the girls who were honor students and flunk outs. They're the girls whose marriages failed and the girls who were never married. They just might be one of the girls you sat next to in a high school class.
Are they just any girl? Hardly. An adult film star needs to have a face like a mainstream Hollywood film star. An adult film star also needs to have a body that turns heads when she walks on the beach in a bikini. The girl also needs to either like sex or be able to turn in an Academy Award performance in each sex scene.
Why does a young woman become a star (or for that matter just a performer) in an adult film? The process that leads her to start in the adult film industry normally begins with her discovery that there's no real-world market for a high school essay on The Merchant of Venice—that, for her, the skills she learned in high school might not generate as much profit as is necessary to live well. A bit of careful self analysis leads the young woman to recognize she has been sitting on her assets all along—that her money-makers fill out nice jeans and stretch the front of t-shirts.
The girl needs money to eat and to sleep under a roof. She casts about for a way to make money with the talents nature provided her.
Many adult film actresses get their start in topless or nude dancing. Let's assume a girl tries topless dancing and she discovers she attracts a solid clientele and makes some money. She then quickly discovers that nude dancing pays a lot better than topless dancing. However, not all girls who can handle topless dancing can handle nude dancing. The girl who does follow the money discovers (usually from the other performers) that she can make even more money as an adult film actress—the money on the pole is good, but the money in front of the camera is even better. Nude dancers almost always have to fuck customers. So, the transition from nude dancer fucking guys in the back room to adult film actress screwing under the lights with a crew watching is simple, right?
Wrong! The transition from fucking a guy in the “privacy” of a strip club back room (there's a guy watching in case the customer gets out of control) to fucking a guy on camera is a major one. Even the girls who eventually make it to star status often have initial difficulties with fucking on camera. (In a later chapter, you'll get to follow a real, if slightly fictionalized to protect the guilty, adult film girl star though the process).
A young woman goes through stages on the way to becoming an adult film performer. Some of the stages may involve other girls as well as the guys she screws for money to supplement her income. However, it's difficult to imagine a girl becoming an adult film star unless she enjoys sex.
An adult film star has to lie on a bed (or couch or floor or pool deck chair or copier machine) and have sex in front of a camera with one or more boys and/or girls. If the performance is going to be credible, the girl either has to enjoy the sex or be a talented actress. Most of the girls like sex.
The novice adult film star quickly becomes a talented sexual athlete. She knows the moves (or the director tells her the moves) or learns the moves (and she has a trained sex partner to help her learn the moves). However, she still has to project enjoyment of the sex act for the audience. (No projection means no, or very few, sales of an adult film—most men have wives or bored girlfriends who can play the part of a disinterested partner).
What is the girl adult film star feeling during on-camera sex? In a later chapter, we'll follow a girl adult film star through several sex scenes and get a good idea of what the girl is thinking as you watch her act. Of course, not all girls have the same thoughts, so we get to follow two different girls through several sex scenes. You’ll be surprised to discover the range of emotions the girls experience.
Do all adult film girl stars go from dancing to adult films?
No. Another path is from nude model to adult film actress. Remember, the girl adult film star has to have the kind of face and body most girls dream about. So does a successful nude model.
Because she's already nude in front of the camera, the step from nude model to adult film actress must be a simple one, right?
Wrong! The nude model poses and projects while the camera takes a picture. She then moves to another pose and waits for the next shot. The process is entirely different—once the actress is in front of a video camera, there are no pauses between poses. Nudity isn’t the problem: projecting enjoyment during a sex scene is the most difficult new maneuver to master. We'll follow the transition from still to action photography and action in a later chapter.
We have spent some time discussing a girl adult film star. What about the women who work in adult films, but aren't stars?
The young, gorgeous women who work in adult films are referred to as “working girls”. They appear in the films to earn money. The girl adult film star earns more than the working girls. The working girls would like to move up the food chain and become adult film stars.
We have now considered the girls who can cope with having sex in front of the video camera. The girls learn to fuck and engage other girls. Now we have to consider the matter of variety. The viewers would soon get tired of just watching a girl adult film star fucking a guy in front of the video camera.
One, rather simple, step in the path to becoming an adult film star is the use of different sexual positions. However, flipping front to back is just one small trick to adding spice to an adult film.
Another step includes adding angles and orifices: blow jobs and anal sex.
The blow job quickly becomes a favorite with many girl adult film performers. They can earn their money without having to have a larger, heavier male on top of them. Oral sex saves wear and tear on the girl's body. Of course, the actress does have to take the guy's cum in her face (called the “money shot,”) but many girls feel the trade off is worth the mess.
Anal sex is not a favorite job for many girl adult film stars. On the plus side, a girl tends to get the most intense orgasms with anal penetration. However, a lot of preparation is required, and the girls who don't normally perform anal sex find themselves sore after an anal sex scene.
Perhaps we can never get enough of the girls, but where do the adult film guys come from? Where, like busty and sexy women, can directors find fit, handsome, and endowed young men?
Some of them are struggling actors who need to pay the rent. Some are guys who just follow a girlfriend who gets into adult films. However, once they get into adult films, many men discover, to their chagrin, that they don't make the same money the girls do.
The adult film guys don't make the same money as the girls; however, they have to perform a job that's in some ways more difficult than what the girls have to do. When it's time for a scene, the guy has to get wood (an erection) NOW! When it's time to finish a scene, the guy has to come NOW! It's difficult to tell if a girl adult film star is faking (those who fake don't last long), but a guy can't fake an erection, nor can he fake coming.
And the crew filming the action can’t fake it, either. Where do the grips and cameramen and sound engineers come from? Why do they do what they do, and how do they do what they do?
We have already talked about the director, who runs the whole adult film production.
Now, let's look at the camera operator. Camera Operator has to be a great job: you get to watch sexy girls fuck right in front of you, and you get paid for making the action clear and exciting!
Actually, watching sexy girls fuck right in front of you isn't the skill a camera operator gets paid for. The camera operator records a fast moving scene that happens exactly once. The camera operator has to keep the scene on camera, tilt the camera, pan the camera left or right, zoom the camera in or out. If the camera operator misses a key angle or flubs the recording in any way, it's a major disaster. The performers have worked themselves up to project the best sex they can, and the camera operator lost the moment. Now the scene has to be re-shot, and the performers have to again prepare themselves. If the adult film camera operator screws up very often, that camera operator starts filling out applications at the Clown Burger Barn!
Discovering the camera operator’s job is a little more complicated then it seems might not be surprising, but you’ll be surprised to learn that the simple job of “the grip” isn’t so simple. A grip moves the lights around. Of course, the grip must position the light so there are no shadows. Unless, of course, the director wants some shadows for artistic effect—then the grip has to move the lights to get the desired effect. Also, a grip has to set up scaffolding if the director wants an overhead shot. A grip does a lot of heavy work that has to be done just right and quickly.
What about the job of make-up artist? Just make-up a pretty girl and then sit back and relax, right?
Wrong! The job of make-up artist is so critical that girl adult stars who are under contract have their choice of make-up artist written into their contract.
Why is the make-up artist job so difficult? The make-up artist usually makes up the girl adult star and the working girls as well. A few minutes after making up a girl adult film star, the girl is back. She has cum in her face and her hair. She has to be made up for the next scene and NOW!
Isn't there an easy job, somewhere in the adult film industry? So far, it seems jobs in the adult film industry are more difficult than outsiders imagined. Well, yes, there's one easy job. And the job is easier and more enjoyable still if you really understand how things work in the adult film industry. The job is that of viewer.
If you want to be an educated viewer of adult films, just sit back and follow us! It’s time for our behind the scenes visit to the Anatomy of an Adult Film!
Chapter 1
Orientation and History
Adult films are motion pictures, including both film media and video media motion pictures, with the purpose of promoting sexual arousal in the viewer. Adult films usually feature explicit depictions of sexual activity (hardcore) or simulated depictions of sexual activity (softcore).
Adult films first appeared shortly after the creation of the motion picture, back in the early 1900s. The original adult films were simply film versions of pornographic still pictures.
Modern adult films began to appear in the late 1940s. The early films were shot mostly using the newly available home movie camera. Standard 8, which used a strip of 16 millimeter wide film that was only exposed down one half during shooting, was the most common film used in early cameras. The film had twice the number of perforations as film for 16 mm cameras, and the frames were half as high and half as wide as 16 mm frames. Once the first half had been exposed, the film was removed and placed back in the camera to expose the frames on the other side. Once the film was developed, it was spliced down the middle and the ends attached, giving 50-foot (15 meters) of Standard 8 film from a spool of 25-foot (7.6 meters) of 16 mm film. 16 mm cameras, mechanically similar to the smaller format models, were also used in home movie making but were more expensive and were more usually the tools of professional film-makers.
The early motion picture cameras had no sound recording capability, and the early adult films typically had no sound.
The early films were typically called “stag films” or “blue movies” and were sold under the counter and usually shown at all male events.
The early films were very primitive and typically consisted of a woman, usually a street prostitute, and a male actor, who often wore a mask. The two would usually be filmed in a hotel/motel room, and the usual action was straight, missionary position, vaginal sex. Sometimes the action was filmed in a private home, and a popular theme was a masked burglar who would climb in through a bedroom window and ravish a woman sleeping contentedly. The woman and the man were as anonymous as practical because the prevailing mores of the time regarded such performers as deviants.
Customer complaints about the early films often revolved around the unattractive appearance of the performers. There was a strong demand for better looking performers, and typically the major demand was for more attractive women.
Films with more attractive women began to appear. Of course, more attractive women could command higher pay, and the cost of the films went up. The origins of a porn economy emerged as adult films began to compete for viewership with increasingly more attractive actors.
As the 1950s began, the films became a bit more imaginative. A famous 1951 film, Smart Alec, starring the famous stripper Candy Barr, is an example. In Smart Alec, a traveling businessman meets a beautiful young girl (Barr) by a motel swimming pool and picks her up. They then go to his room for drinks and sex. The man screws Candy Barr, and then he wants to have her suck his cock. Candy Barr refuses, but then calls a girlfriend who comes to the room and sucks the man's cock.
Smart Alec was a black and white film of some 20 minutes in length. It was one of the most widely viewed adult films of the early 1950s. Despite the use of Candy Barr in the film, Smart Alec was generally sold under the counter and available only in private viewings.
In the 1960s, some attitudes toward the adult film began to change. European films like I Am Curious (Yellow) (1969) and Kärlekens Språk (1969) were sexually explicit, but were presented as documentaries, which made their legal status uncertain.
In 1969, Denmark became the first country to legalize hardcore adult films.
Also in the 1960s, a new film format, Super 8, became available along with the introduction of battery operated, electric movie cameras. The new film had a larger frame print on the same width of film stock and came in a cassette. The cassette simplified changeover and the development process. The Super 8 cameras also had the capacity to record sound, although the sound recording was of mediocre quality. The new Super 8 cameras used more plastic and less metal. They were produced in greater numbers, and the costs of production came down. As the cost of production came down, so did the price of the cameras. The new Super 8 cameras became quite popular.
The Super 8 camera was superior in nearly every way when compared to the earlier Standard 8 camera. However, within the next decade, the Super 8 camera had to compete with the new video cameras.
In a short time, most adult films were being produced with the new video cameras.
In the 1970s, new laws permitted the rise of adult movie theaters in the United States and many other countries.
In response, there was a wave of new, adult films often of feature film length. Notable films of the era included Deep Throat (1972), starring Linda Lovelace, Behind The Green Door (1972), starring Marilyn Chambers, The Devil In Miss Jones (1973), starring Georgina Spelvin, The Opening of Misty Beethoven (1975), starring Constance Money, and Debbie Does Dallas (1978), starring Bambi Woods and Christie Ford.
Suddenly, adult film actors had names! Also, the new wave of adult films had real plots.
With the arrival of the home video cassette recorder in the late 1970s, the adult film industry experienced massive growth and spawned adult stars like Christy Canyon, Ginger Lynn, Seka, and Traci Lords. In addition to the ladies, the men now had names. Ron Jeremy and John C. Holmes were two of the most famous.
It was now practical to watch adult films in the comfort and privacy of one's own home. In addition, there were many, many choices. Adult films now often featured specific fantasies and fetishes. Also, the development of a “zoom” feature allowed viewers to zoom in on details of the adult film activities.
A major change in the production of adult films was the camcorder. The camcorder allowed easy recording of video and sound images. The camcorder made production of adult films a great deal easier for both professionals and amateurs.
Initially, camcorders recorded analog images on tape. There were two main recording formats, Sony's Betamax and VHS. VHS eventually became the standard recording format, perhaps in part because the adult video industry chose the VHS system instead of the technically superior Betamax system.
The year 1987 saw an important legal case in the U.S. The result of California Republic Versus Freeman resulted in the legalization of hardcore adult films. In a twist of fate, the prosecution of Harold Freeman by the State of California was initially planned as the first in a series of legal cases that would have effectively outlawed the production of hardcore adult films.
Two technologies became available in the 1990s and changed pornographic films.
The Digital Video Disc (DVD) offered better quality picture and sound than the analog VHS tapes. The new DVD technology was quickly used by Hollywood film makers and just as quickly used by adult film-makers. The DVD could hold more than a typical adult film and allowed the viewer to chose multiple versions of scenes or even additional scenes that were not part of the original release. An early example of such technology was Devil in the Flesh (1998), starring Rose McGowan.
The Internet completely changed the distribution of pornography. Instead of the consumer having to go to an adult bookstore or having to buy through the mail and wait, the consumer could view either pictures or films on their home computer screens. The consumer could also download pictures or films for later viewing.
The 1990s brought a new wave of adult film stars. They included Jenna Jameson, Ashlyn Gere, Asia Carrera, Raquel Darrian, Tera Patrick, Brianna Banks, Stacy Valentine, Jill Kelly, and Silvia Saint among the girls and Peter North and Rocco Siffredi among the boys. With the new wave of adult films came the adult film director. Viv Thomas (lesbian films), Paul Thomas (AVN Award winner), Andrew Blake (bondage, fetish, and lesbian) and Antonio Adamo (elaborate costumes, exotic locations) are some of the better known directors.
In 1998, the Danish, Oscar-nominated film production company Zentropa became the world's first mainstream film company to openly produce hardcore adult films. The first was Constance (1998) (AVN awards).
In 1999, the Danish TV-channel Kanal Københaven began to broadcast hardcore films at night, uncoded and freely available to any TV viewer in the Copenhagen area.
In the new millennium, the US Playboy® channel began to show uncensored hardcore footage—with some omissions. Late night films starting at 11PM Eastern time in the US are uncut hardcore films, except that scenes of anal sex are edited out.
In the UK, attitudes toward censorship have become more relaxed. It's now legal to make or to perform in pornographic films in the UK. Films with sexually explicit content have been shown on national TV, starting in 2005, with Channel 4's showing of Lars von Trier's The Idiots (1998).
The new millennium brought a new wave of adult film stars. They included Sunset Thomas, Nina Hartley, Penny Flame, and Bree Olson among the girls and Nick Manning and Max Hardcore among the boys. Directors included Axel Braun (D-Spot Confidential, Compulsion) and Michael Ninn (Fetish Circus, Meet Brea Bennet).
Chapter 2
Where Do They Come From?
A number of important ingredients go into the making of an adult film, but none is more essential to a project’s success than the performers. The actors put on the show; everything else from sound engineering to editing merely allows the show to be recorded and broadcast.
Where do the performers come from?
Everywhere!
Let's start with the young women.
A girl comes to, let's say, Los Angeles from a small community in Texas. She has little money and may be running away from an abusive home or abusive marriage. She has to have a job to support herself and her dreams of becoming an actress. She gets a copy of the Los Angeles Times and rummages through the want ads.
The girl spots a want ad for an architect. She has all of the qualifications except for the matter of drafting experience, a college education, relevant corporate experience, and any natural talent for architecture. Nope!
The girl spots a want ad for a chemical engineer. She has all of the qualifications except for the matter of a high school degree, any relevant knowledge of chemistry, college courses in chemistry or engineering, a college education, or knowledge of what test tubes really do. Nope!
The girl then spots a want ad for a nude dancer. She thinks on the matter and does a check list. Tits? Check! Pussy? Check! Hot looking? I sure as hell snared quite a few boys back home, check! Dancing? I can shake what I got, check!
The girl sees that the ad is for a place out on the Sunset Strip in Los Angeles.
The girl hops on a bus and rides out to the Sunset Strip, a mile and a half stretch of Sunset Boulevard just outside of the Los Angeles city limits; the land was originally an unincorporated area under the jurisdiction of the County of Los Angeles. The Sunset Strip is now a part of West Hollywood, a separate city from Los Angeles, and extends from West Hollywood's eastern border with Hollywood, at Crescent Heights Boulevard, to its western border with Beverly Hills, at Doheny Drive. The Sunset Strip is not and never has been a part of Los Angeles. However, even most people who live in Los Angeles are not aware of the fact, including our protagonist looking for her first job.
She finds The Pussy Palace and struts in to talk to the manager.
The manager is, once again, short of girls to dance nude for his customers. He checks out the scared looking girl in front of him and does his check list. Tits? Check! Pussy? Check! Hot looking? Okay. He asks the girl, “You ever dance nude before?”
The girl, thinking quickly, says, “Yeah. At 'The Joint,' that's what they called it back home, 'The Joint,' before the police shut it down.”
The manager has heard her line before. However, he's desperate (the manager thinks the name of the place he works in should be The Revolving Door because of the way the girls come and go), and it appears that the girl in front of him can walk and chew gum at the same time. So he says, “Show me some ID.” (The manager is six feet four inches tall, an ex pro football player, and still weighs 300 fairly muscular pounds. If you want to reduce him to an angry, quivering pile of fear, just say, “Look, buddy, you have an underage girl working here”).
The girl produces the required ID.
The manager says, “So far, so good. Gotta see ya dance.” The manager then leads the girl to his office and says, “Okay, show me some nude dancing.”
The girl may not have any nude dancing experience, but experience she's got. She doesn't look around for the ladies dressing room; she takes her clothes off and then shakes her ass and tits for the manager.
The manager then tells her, “Okay, kid. I'll try you. You show the customers what they want, we keep you on. You don't, we don't.” The manager then explains the very low pay and the tips the girl can get. The manager then explains what the girl is expected to do.
(There are stories about nude dancing places on the Sunset Strip where the girls don't fuck customers in the back room for an exorbitant fee. However, all of those stories start out with, “Once upon a time ...”).
The manager says, “I gotta find out if you can give the customer guys their money's worth. Over on the couch.”
The girl swallows and then goes over, still nude, and sits on the couch.
The manager strips and displays a slightly protruding belly and a definitely protruding cock. He rolls on a condom and then turns to face the girl and says, “You wet and ready?”
The girl swallows hard and says, “Yeah, I'm kind of excited.”
The manager walks over and kneels on a mat he throws in front of the couch. He then places the girl's legs over his shoulders and eases his cock into her pussy. He begins to stroke, getting a little deeper with each thrust. He says, “You're nice and tight, the guys will like that.”
The girl is excited, but also very embarrassed. She has never had a boy talk to her while he was fucking her. She has nothing to say, so she just moans for the man.
The manager keeps stroking until he speeds up and then comes, grunting as he shoots his cum into the condom. He then gets up and tells the girl, “You were okay. Now get dressed.” He disappears into a bathroom off his office.
The girl, in a sort of state of semi shock, gets up from the couch and starts to dress, fearful that someone may come into the office. She's trembling so much that she takes a bit more time than usual.
The manager returns. He says, “Okay, the customer always wears a condom. You damn well better move under him. The customer don't pay for no dead meat here.”
The manager then turns the new girl over to one of the established dancers, Shakin' Sally.
SS then explains the setup and that the new girl will dance her god-damn scheduled shifts with no excuses. She also explains the tip policy in somewhat more detail than the manager did. She then asks, “What's your stage name?”
The new girl says, “Texas Lightnin’, I guess.”
SS says, “Okay, you sure as hell sound like Texas.”
Now, SS has talked with Texas Lightnin’, and Texas Lightnin’ is a competitor because she'll now be dancing for tips and trips to the back room. However, because The Pussy Palace is on the Sunset Strip, there are lots of guys with tips and lots of guys who want to see the back room. SS also sees Texas Lightnin’ as another girl in the dancing rotation so that SS can get a little more break between her own dance sets. Rest is good.
Texas Lightnin’ dances that night and does okay. The Pussy Palace has a dance format. Texas Lightnin’ comes out wearing a baby doll nightie. She dances her first dance in the baby doll, trying not to think about what's happening. At the end of the first number, she removes the baby doll top and then dances in just panties. It's not too bad for Texas Lightnin’. Her step father was always trying to catch her topless or naked, and he sometimes saw her topless. Texas Lightnin’ just concentrates on the dancing, and she's actually surprised when the second number ends. Texas Lightnin’ then slides off her panties, and she's nude on the stage. Texas Lightnin’ nearly panics, but starts dancing as soon as she hears the first note of the music. The simple action of dancing carries her through her first nude in public act, and she finishes to a bit of applause from the boys. She scoops up her baby doll stuff and struts off stage.
Breeze waits for her. Breeze says, “You need to look at the guys in the audience. Make eye contact. Get a guy interested and then work him for a trip to the back room. You looked like you were in a trance out there.”
Texas Lightnin’ listens to Breeze and then tries to do what she's told during her second set. She makes eye contact a few times, and, sure enough, one of the boys wants a back room trip.
Texas Lightnin’ walks back to the room and tells herself, “It's just like another hot date, only this time I get paid.”
Texas Lightnin’ gets to the room first, but the guy isn't too far behind. Texas Lightnin’ tells him, “You gotta use a condom, house rules.”
The guy begins to fumble off his clothes.
Texas Lightnin’ realizes, “Hell, he's even more scared than I am. This is gonna work!”
Texas Lightnin’ waits until the guy rolls on the Pussy Palace supplied condom, and then she jumps on the bed and tells the boy, “Come here and fuck me right now!”
The boy joins her on the bed and then mounts Texas Lightnin’.
The boy isn't all that large, either physically or as far as cock size. He starts too fast and Texas Lightnin’ encourages him to even more effort. The guy responds, and Texas Lightnin’ can feel him speed up and then begin to pump his cum into the condom.
Texas Lightnin’ makes all the right sounds and, shortly, she has finished her first whore fuck. She then tells the boy how good he was and how he dominated her. To Texas Lightnin’s surprise, the boy even gives her a tip.
Texas Lightnin’ is “new meat,” and the guys who come into The Pussy Palace like new meat. Texas Lightnin’ does all right with the tips and also does all right with the back room.
Fairly quickly, the job of dancing nude on the stage becomes just that, a job. It takes more time to get used to, but the idea of taking a guy into the back and fucking him also becomes just a routine job.
Texas Lightnin’ is smart enough to do her share of the work and dance her shifts when she's not in the back room with a customer. Texas Lightnin’ gets along with the other girls, and she settles in as one of the regular dancers at The Pussy Palace.
Now Texas Lightnin’ finds herself in a sort of unusual situation. From the day her tits started to pop out, Texas Lightnin’ always had a boyfriend back home in Texas. However, she gets guys every night at The Pussy Palace, and she doesn't really need to put up with shit from a guy when she gets home from work.
There are several girls at The Pussy Palace who seem to have a lot more than just casual interest in Texas Lightnin’. Now Texas Lightnin’ has no real experience with that kind of girl. However, one day, she asks one of the girls, “Breeze, where did you get that dress?”
Breeze tells her the name of the shop.
Texas Lightnin’ says, “I been there. But they want a lot of money for the stuff they sell.”
Breeze says, “Yeah, but I got something goin' on the side, and I can afford a few nice things.”
Texas Lightnin’ says, “It must be nice to be able to make extra money.”
Breeze says, “You could, too, if you're interested.”
Texas Lightnin’ asks, “Yeah, and what do I have to do for the extra money?”
Breeze says, “Same thing you do in the back room here, only in front of a camera.”
Texas Lightnin’ says, “Oh, I couldn't. What if somebody back home recognized me?”
Breeze asks, “You plannin' to go back home?”
Texas Lightnin’ looks a bit embarrassed and says, “Well, not too likely. However, if I do, my step father will be glad to see me. Either that or he has a banana stuffed down the front of his pants.”
Breeze says, “Yeah, a lot of the girls here have that sort of problem. So, if you're not goin' back, why worry if someone back there recognizes you?”
Texas Lightnin’ says, “No reason, I guess. It just seems like people would recognize me and point as I walk down the street.”
Breeze says, “Do guys who come in here recognize you and point as you walk down the street?”
Texas Lightnin’ says, “Well, no. But that's different.”
Breeze asks, “How different?”
Texas Lightnin’ says, “Well, I guess not all that different. However, when I take a guy into the back room, it’s just me and him, not the whole damn world.”
Breeze asks, “What about Freddy?”
Texas Lightnin’ blushes and says, “Oh, yeah. I forgot about Freddy. Freddy has to watch in case there's trouble.”
Breeze says, “And some other guy when Freddy has to go to the bathroom or whatever.”
Texas Lightnin’ pauses and says, “Yeah, I didn't think about that. So, I'm already doing it in front of an audience. All I have to do is do it in front of a bigger audience.”
Breeze says, “In front of a bigger audience and for a lot bigger pay.”
Texas Lightnin’ pauses and asks, “How much bigger pay?”
Breeze says, “Oh, about ten times what you get paid for a back room visit here. However, you do have to pay your agent 15%.”
Texas Lightnin’ says, “Then, I gotta have an agent?”
Breeze says, “Yep, that's how the studio gets in touch with you. However, the agent is worth it because he finds you work.”
Texas Lightnin’ asks, “Then you got an agent?”
Breeze says, “Of course. You can use the same guy, if you like.”
Texas Lightnin’ asks, “What do I need?”
Breeze, “A driver’s license and a Social Security card.”
Texas Lightnin's face falls, “I got a Social Security card. I hadda have one to work here. However, I can't drive.”
Breeze laughs and says, “You don't hafta drive. The good old California Department of Motor Vehicles will issue you an ID card that's just like a driver's license, except you can't use it to drive.”
A week later, a very nervous Texas Lightnin’ sits across a desk from Warren.
Warren says, “Just relax, Texas, I'll take care of everything.”
Texas Lightnin’ says, “Okay. It's my first time.”
Warren says, “No worries. Your professional name is Texas Lightnin,' you live in L.A. Are you willing to relocate?”
Texas Lightnin’ says, “No, I have a job here in L.A.”
Warren asks, “Height, weight, and measurements? You need to be truthful here.”
Texas Lightnin’ says, “I'm five feet seven inches tall, 125 pounds, 36D-24-36.”
Warren says, “Definitely blonde, for real?”
Texas Lightnin’ says, ““Definitely blonde and for real, also blue eyes.”
Warren asks, “How about we sign you up for photography and video?”
Texas Lightnin’ says, “I've never really posed and never been in a video.”
Warren asks, “You got pictures?”
Texas Lightnin’ hands the man a portfolio and says, “These are what they took for me at The Pussy Palace, but didn't use.”
Warren scans the photos and says, “The camera likes you, and these photos are definitely gonna help.”
Texas Lightnin’ says, “You know that I have no experience—at least not in front of a camera.”
Warren says, “We'll list you as a novice. I don't take many novices, but since you were recommended by Breeze, I figured that you would be the kind of girl I want in my stable. I'll put you down for Art Nude, Soft Fetish, Magazine, and boy/girl. How about girl/girl?”
Texas Lightnin’ asks, “What's soft fetish?”
Warren says, “Lingerie, mainly lacy stuff, garter belts, stockings, that sort of thing.”
Texas Lightnin’ says, “I have never done girl/girl.”
Warren asks, “Blow job, anal?”
Texas Lightnin’ says, “Well, I have done a few blow jobs. I don't wanna do anal.”
Warren says, “The more things you do, the more I can get you jobs. We'll let you work in gradually.”
Texas Lightnin’ asks, “That's all I have to do?”
Warren says, “Since they discovered AIDS back in the 1980s, adult film performers have to be tested for HIV. You have to get tested, or you don't work. If you don't pass the test, then you don't work. You have to have your blood work cleared and documented by a recognized medical facility. Go to AIM, they're the best. They have a website, and you can find a nearby facility. Oh, you also have to have a current driver’s license and a Social Security card.”
Texas Lightnin’ says, “I showed them to the girl at the front desk. She made copies.”
Warren says, “Okay, but you have to have them with you when you go for any adult film work.”
Texas Lightnin’ says, “That's what Breeze told me.”
The interview ends with Warren promising to get back to Texas Lightnin’ when he has work for her.
Texas Lightnin’ goes back to The Pussy Palace that night and talks with Breeze.
Breeze asks, “Well, how did it go?”
Texas Lightnin’ says, “It went pretty good. Warren is an okay guy, and he signed me up.”
Breeze says, “Yes, Warren is an okay guy. He's a guy who takes only star quality girls. Some of the agents will take nothing girls, and it brings down the star quality girls. What did he sign you up for?
Texas Lightnin’ says, “Photo stuff, boy/girl, and blow jobs.
Breeze says, “No girl/girl and no anal?
Texas Lightnin’ says, “I really wouldn't feel comfortable doing girl/girl, and I'm never gonna feel comfortable doing anal.”
Breeze says, “Remember, when you first got here, you didn't wanna do blow jobs.”
Texas Lightnin’ says, “It seemed a little gross, but sucking a cock sure beats having some guy lie on top of me after a hard night of dancing.”
Breeze smiles and says, “You're up!”
Texas Lightnin’ dances out onto the stage and begins the nightly search for a guy who wants a back room visit. She sways, she bumps. She wiggles, she grinds. Somewhere in the process, she can see a guy talking to the waitress. Gonna be a back room visit!
Texas Lightnin’ gets to the room to find the guy waiting for her. Texas Lightnin’ tells him, “You gotta use a condom.”
The guy says, “Yeah, I know. I been here before. Wow, do you look hot.”
Texas Lightnin’ says, “Only the best for the guys who come to The Pussy Palace.”
Texas Lightnin’ waits until the guy rolls on the Pussy Palace supplied condom and then she jumps on the bed and tells the guy, “I'm really feeling hot tonight. You caught me at just the right time. Come here for the ride of your life!”
The guy joins Texas Lightnin’ on the bed and then mounts her.
The guy is a bit larger than average, but his cock is much larger than average. He shoves it into Texas Lightnin’s pussy.
Texas Lightnin’ can feel the big meat slide into her, and she relaxes her internal muscles a bit to let the big thing inside her. She's glad that she used her fingers on her pussy to get herself excited and lubed before she came into the back. A cock the size of the current one would have been a disaster for her first time.
The guy not only has a big cock, he knows how to use it. He works deep into Texas Lightnin’, until he has his full length inside her, and his balls slap her ass at the end of each stroke. He also manages to vary the angle of his stroke a bit with each thrust.
Okay, Texas Lightnin’ is a bit excited, but business is business. Texas Lightnin’ begins to use her internal muscles and to buck her hips back against the guy's stroke. The effect is exactly what Texas Lightnin’ wants, and she can feel the guy speeding up.
The guy gets into the short rows and then grunts as he shoots his cum into the Pussy Palace required condom.
Texas Lightnin’ can feel the guy run up to climax, and she starts to make the right sounds, ending with a little scream of passion, as is her normal procedure. She has finished yet another whore fuck. She then tells the guy how good he was and how he dominated her. However, there's no tip for Texas Lightnin’ this time.
The rest of the night is pretty much routine. Texas Lightnin’ dances her sets and even gets another back room visit.
The next day, Texas Lightnin’ gets a call. The woman who calls wants Texas Lightnin’ to model some fancy lingerie for a photo shoot. Texas Lightnin’ is really excited. An assignment from Warren, and she doesn't even have to get nude to earn the money.
Texas Lightnin’ makes an appointment for her next day off, and she goes to the place the woman told her. The place is a trashy lingerie store, but definitely upscale. Texas Lightnin’ walks in and asks for the name she's been given.
The woman who runs the place comes out and leads Texas Lightnin’ into the back. There's a room, set up as a photo studio. The woman shows Texas Lightnin’ some lingerie, laid on a table. She then tells Texas Lightnin’ what she wants to see first.
It's immediately obvious to Texas Lightnin’ that she's already in what passes for the “ladies dressing room”. What the hell: she's nude in front of dozens of guys each night at The Pussy Palace. Texas Lightnin’ strips and puts on the first lingerie set.
The photo shoot seems to go well. The woman knows what she wants and even poses Texas Lightnin’ to get exactly the right position.
It seems to Texas Lightnin’ that the woman might be getting a bit too close, but she doesn't want to screw up her very first photo shoot.
The photo shoot gets Texas Lightnin’ barer and barer. Finally, the woman has Texas Lightnin’ dressed in a plunge bra, garter belt, panties, and nylons. The woman then asks Texas Lightnin’ to remove the panties and hold them so that the camera can record the details.
What the hell: Texas Lightnin’ is nude at work most of the time, so why should she be shy here?
The woman then comes to Texas Lightnin’ and says, “Now, we need to show you as if you have just climaxed for the man the lingerie attracted.” With that, the woman drops to her knees and begins to lick Texas Lightnin’s pussy.
Texas Lightnin’ is taken by surprise. She has never had sex with a woman, and the attack of the woman is a real shock. The woman has a grip on the garter belt that Texas Lightnin’ wears, and Texas Lightnin’ is at first afraid that she'll tear the garter belt.
After a short time, Texas Lightnin’ is so involved with getting her pussy eaten that she's unable to do anything other than stand and breathe in ecstasy.
The woman is obviously an expert at eating pussy, and she quickly brings Texas Lightnin’ to climax. After the climax, the woman then gets a couple more shots of Texas Lightnin’, and then she says, “That should do it.”
Texas Lightnin’ finds herself standing in front of the camera, not knowing exactly what to do.
The woman says, “You can get dressed now.”
Texas Lightnin’ gets dressed and is told that her pay will come from her agent. Texas Lightnin’ then sort of staggers from the lingerie place and walks down the Sunset Strip. Confused thoughts whirl in her head. Is she a lesbian? If not, why did she climax hard for a woman? Why did the woman lick her pussy?
Texas Lightnin’ finds a quiet spot and thinks things out. I can enjoy being fucked by a man, even if it's supposedly just my job, she thinks. Hell, I can even climax for a man, at least from time to time. So, I'm not just a lesbian, if I'm a lesbian. Okay, I climaxed for the bitch. Why did she do it? Was it just for the picture? Not too likely. Did I get set up, maybe by Warren? Maybe by Breeze? Hell, maybe by Warren and Breeze. If I did get set up, it has to be to expand the list of things I'll do in Warren's website. I guess I can stand to have my pussy eaten by some bitch, but I'm not gonna eat some bitch's pussy. If they wanna play games, Texas Lightnin’ can play games as good as anybody.
Texas Lightnin’ then catches a bus out to the beach. It's the first time she's seen the beach, and she just strolls along, looking at the people. She then walks back a ways before realizing how long it's been since she's eaten. She finds a fast food place that has a salad. Then she takes the bus back home.
As Texas Lightnin’ walks into The Pussy Palace, Breeze greets her at the front door.
Breeze asks, “Well, how did it go?”
Texas Lightnin’ very casually says, “Pretty well. I went to the place, and the woman there took pictures of me in lingerie. I got busy after that, but I'll call Warren as soon as I can.”
Breeze asks, “Did anything unusual happen?”
Texas Lightnin’ very casually asks, “What do you mean by unusual?”
Breeze says, “Well, the woman who owns the lingerie shop is a raging lesbian. Did she try anything?”
Texas Lightnin’, again very casually, says, “She did the same thing to me that Billy Roy did to me back home. Only Billy Roy damn sure didn't take any pictures.”
Breeze says, “Then you've had your pussy eaten before?”
Texas Lightnin’ asks, “Why do you say that?”
Breeze asks, “Okay, did you get your pussy eaten?”
Texas Lightnin’ says, “Breeze, you know what happened. Why are you asking me?”
Breeze says, “Okay, Warren wanted you to have a little girl/girl experience. To let you have more work opportunities.”
Texas Lightnin’ says, “Well, if Warren wants some bitch to eat my pussy, no problem. However, I'm not going to return the favor.”
Breeze says, “With all the cock you get here, I would think that a little pussy might be nice for a change.”
Texas Lightnin’ says, “I've got a little pussy here. A tight one.”
Breeze is obviously not too pleased with Texas Lightnin’s answer, but she doesn't say anything.
In a couple of weeks, Texas Lightnin’ gets a call from Warren. He says, “Texas Lightnin’, I've got a video shoot for you. One thing, though. It's a boy/girl scene, and the guy is a black man. Any problem?”
Texas Lightnin’ says, “Warren, sometimes I get a black guy down at The Pussy Palace. The cock may be black, but the money is green, same as always.”
Warren says, “I just wondered, you being from Texas and all.”
Texas Lightnin’ says, “Back in my home town, they woulda lynched the guy. Thank goodness, we aint back in my home town.”
Warren says, “Okay, you and the black guy come in from off stage, already nude. You just roll on the bed. He joins you, and you fuck his brains out. End of scene.”
Texas Lightnin’ asks, “Missionary?”
Warren says, “Yeah. You're both at a party and both drunk.”
Texas Lightnin’ asks, “Does he use a condom?”
Warren says, “This is an adult film. No condom.”
Texas Lightnin’ says, “Okay, but down at The Pussy Palace, the guys always use a condom.”
Warren says, “Yeah, but they can't blood test the customers there. In the adult film game, we test.”
Texas Lightnin’ says, “Okay, where and when?”
Warren tells her, and Texas Lightnin’ writes the information down. Warren says, “Remember, you show up, and you show up on time.”
Texas Lightnin’ says, “Yes, Warren. They tend to emphasize that down at The Pussy Palace.”
On the specified day and even a tiny bit early, Texas Lightnin’ is at the shooting location. It's just a house. Texas Lightnin’ goes to the door and knocks.
A guy opens the door and says, “Oh, yeah, the new girl.”
Texas Lightnin’ goes in and meets the director.
The director seems pleased that Texas Lightnin’ is on time. The director then introduces her to the black guy who's to share the scene.
The black guy talks to Texas Lightnin’ for a bit. There's no hint of him trying to pick her up. It’s just business. He does want Texas Lightnin’ to get nude, to get ready for the scene.
There's no sign of a dressing room, just an empty room with clothes piled here and there.
Texas Lightnin’ is wearing just a dress and panties. She takes them off.
There's a make-up lady, and she wants to do very little work on Texas Lightnin’s face. She then says, “Okay, honey, you're ready to go.”
Texas Lightnin’ then wanders back to the shooting set.
There's a boy and a girl fucking on a bed. No one seems to pay much attention to them, except the director and the camera crew.
The black guy comes over and tells Texas Lightnin’, “We're next. Are you ready?”
Texas Lightnin’ tells him, “No, but I will be.” She then begins to finger her own pussy.
The black guy, who's also nude says, “They said it was your first time?”
Texas Lightnin’ says, “First time in front of a camera. I work at The Pussy Palace.”
The black guy just nods.
The director then tells Texas Lightnin’ and the black guy to get ready.
When they get the signal, Texas Lightnin’ and the black guy kind of sidle into the room with the black guy caressing Texas Lightnin’s tits. The black guy French kisses her, and then she gets on the bed. The black guy rolls on the bed, making damn sure that the camera gets a good side view of his erect cock. The black guy then mounts Texas Lightnin’. The guy is in excellent physical shape, and he strokes strongly into Texas Lightnin’s pussy.