As you know, the last time “post-apocalyptic” and “voluptuous” were used in the same sentence was when the Bogue Chitto High School for the Fat mounted a stage version of Blade Runner.
But today I received the covers of two upcoming movies by eminent pornographers Carlos Batts and Maria Beatty, who are releasing their Voluptuous Biker Babes and Post-Apocalyptic Cowgirls this week.
Batts, whose muse is his wife, the zaftig and incendiary April Flores, and Beatty, whose noir lesbian fare is shot everywhere from L.A. to Tucson to France, have remarkably similar styles when you think about it. Bodies become art objects rather than merely surfaces for fluid spray. After their movies I am left thinking, “Did I just watch a porn movie?”
Perhaps to combat this not-unreasonable concern, here is another image from Voluptuous Biker Babes. That’s Otto Bauer underneath Audrey Hollander, keeping her from flying off into space.
Beatty employed longtime friend Lydia Lunch to provide the soundtrack for Cowgirls. Lunch is a post-apocalyptic Renaissance artist herself, having worked with everyone from Richard Kern to Thurston Moore to Exene Cervenka.
Lunch has ridden the porn pendulum from the ortho-feminist “porn is degrading to women” past Zero to “No pornography exploits women,” (she said). “It exploits men. It’s the men that are made to look stupid, silly and ridiculous, chasing after the golden elixir. Women look beautiful, do what they wanna do and get paid for it.”
As there are (probably) no men in Post-Apocalyptic Cowgirls, we’ll see if anyone looks foolish chasing the golden elixir.
Batts and Co. will be signing copies of Voluptuous Biker Babes tonight from 7-10 at Book Soup on Sunset Blvd.
Previously on Porn Valley Observed: Location, location, location; Beating up Amber Rayne at the American Hotel; After the Kiss Attack, there is only silence
See also: Bleu Productions, Carlos Batts
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