Jenna the sex goddess

The world's top porn star tells some of her secrets. Second of two parts.

Topics: Sex, Pornography, Love and Sex,

Jenna the sex goddess

“What do you do when you’re not feeling sexy, when you have your period?” Louisa asked.

“You want to know the secret?” replied Jenna.

“I really do,” said Louisa, guessing, “A diaphragm?”

“You take a sea sponge from your makeup, and you wet it just a tiny bit,” disclosed Jenna. “And you roll it up, and you stick it in there, and it keeps you from bleeding.”

“How do guys stay hard for one to three hours?” I blurted out.

“Viagra,” Jenna said. “It gets them all flushed, and their dicks won’t go down for hours.”

“Guys will get a reputation for having a wood problem, and girls don’t want to work with them,” she continued. “But they’ll say, ‘I want to work with Jenna because she’ll actually kiss me and touch me, and it’s hot.’ When there’s a connection, when you see a guy and a girl with their bodies against each other, that’s hot. I don’t find a dick going in a pussy hot. When I see a guy on top of a girl and his movement, that’s what I find hot.”

“But you have to show the other shots,” said Louisa.

“Yeah,” said Jenna, “because that’s what the guys are spanking to.”

So the actual fucking scenes didn’t do much for these women. And Jenna didn’t really like making them: “A lot of times with the boy-girl stuff — where you don’t actually see the penetration — it’s not really in, just because of the soreness.”

But oral sex was another matter. Feminist legal scholar Catherine MacKinnon once asked, “Even if she can form words, who listens to a woman with a penis in her mouth?” That night I found at least one answer: other women who like to have penises in their mouths.

Louisa kicked things off: “Was it ‘The Wicked One’ where you were stranded in a car and you ended up in that house?”

“No, that was ‘The Kiss’ — that was a hot movie,” said Jenna. “That blow job with Peter North was awesome, wasn’t it? That come shot was like, ‘Wassup?’”

“What makes a good blow job?” Christina and I asked simultaneously.

“When the camera captures how much I’m loving it,” said Jenna. “When you can see the look in my eye, you know, and he’s just got a really big dick and it looks really good.”



“Totally,” said Louisa, “and you’re working it.” For the first time that night, I had to shift in my seat and cross my legs.

“It was just really hot,” continued Jenna, reminiscing about the scene. “He had me on a leash, and it was really nasty, and in the come shot it was like he dumped four buckets on me — whoosh! It’s the hands and spit and movement.”

Four buckets? A leash? The spit I understood — Jenna’s signature move, which leaves lesser practitioners slurping clumsily, involves lubricating a penis by dribbling saliva on it. “It feels better when there’s more spit; it makes my mouth water,” Jenna laughed. “I should trademark it — Jenna Lube! Jenna Juice!”

“It’s all about the hands,” said Louisa.

“And the variety,” said Christina.

“And your tongue on it,” said Jenna.

“Mm-hmm,” they all agreed.

“And where are your eyes?” I asked. I couldn’t help it; I’m a hopeless romantic.

“Right up at him,” said Jenna.

“Yeah, I love that,” cooed Louisa, who seemed to be doing a little seat shifting of her own.

“Like I love it, like you’re really loving it,” said Jenna, blithely veering into second person. I stopped trying not to stare. “And I’m moaning and telling him that I like it.”

Fortunately, dinner came before I did. We settled into watching “Dreamquest,” which is sort of a cross between “Legend” and “Cum One Cum All” and features Jenna traipsing through an alternate world of fairies and evil queens and trolls. (Promo blurb: “She came to save Fantasy.”)

With a budget of $250,000, “Dreamquest” is one of the most expensive porn movies ever made. (Such flicks typically cost $10,000 to $20,000.) Its producer, Wicked Pictures, spent that much cash to keep itself and Jenna squarely in the vanguard of high production values — using film instead of video, physically attractive stars, halfway intelligible story lines, non-throwaway sets — in order to lure an audience of couples and straight women.

“In the beginning, I really didn’t think about it, though I was never going to be in some gonzo movie shot with a High-8,” Jenna explained. “But I had watched movies before I got into the industry that were very stylized, with beautiful women in beautiful houses, but where the sex wasn’t so hot. So I thought, “Man, what if they had girls in there that enjoyed what they were doing and looked like they were really fucking, and were still beautiful. It would be huge. And that’s what I wanted to do.”

Unbelievably enough for anyone used to encountering porn as sweat socks and moaning on cheesy bedspreads — like, um, me — none of this was lost on its intended audience during our screening of “Dreamquest.”

“Some of this is really pretty,” Christina said. “It’s not like you’re just in a bedroom somewhere.”

“I love all the houses you guys shoot in,” said Louisa. “The costumes are great. And with women, you definitely can’t just get into the sex. There’s more of a story line.”

“We all need foreplay in everything we do,” concluded Jenna’s pal Tracy.

From the deft little move where she uses both hands to flick her hair from the back to the front of her shoulders during conversation to her willingness to be fucked by multiple candelabra on camera, Jenna obviously loves attention. But even she found it hard to watch herself in hardcore scenes. Whenever “Dreamquest” was about to shift from dialogue to sex, she started humming a “ch-wocka-wocka”-goofy porn-music soundtrack. And she kept up a running, fairly desexualized commentary about technical difficulties and bloopers.

“You have to make sure your toes are pointed,” she said at one point. “Do you see the position she’s in? It makes it hard when you’re bent into awkward positions. You always have to open out to the camera.”

Which isn’t to say we didn’t get all the details we wanted. (Louisa: “Now, are you actually like –” Jenna: “Munching box?” Louisa: “Yeah.” Jenna: “Yeah.”) There was even a moment where Jenna, comparing herself with a pierced costar, lifted her top to show her right breast, where she usually wears a small barbell, thus providing me with a personal money shot.

“I don’t do anal,” Jenna proclaimed during one penetrating scene. “I do it at home, but not on camera. I gotta save something for my baby.” She paused. “And I want to wait until someone wants to give me an extreme amount of money. Or I’ll do it for my own company and make all the money myself.”

“This is funny, because I always end up fisting chicks,” she said at the start of another scene. “My hands are so small — they’re smaller than most penises — so it’s pretty easy to go in, and if they’re saying, ‘Give me more,’ I’m just like, ‘OK!’ But they can’t show that — it’s illegal. So they always yell at me, ‘Thumbs out! Thumbs out!’”

It was midnight, and it was over. I walked Jenna and Tracy to their car, into which they hopped with brief goodbye handshakes. I came back upstairs and cleared the living room of sushi, cerveza and cigarettes, carefully preserving one ultrathin, barely smoked and lipstick-smeared Capri for posterity.

“Two thousand dollars for a 15-minute tape,” said Christina. “Who’s taking advantage of who?” She had grown somewhat restless — however glossy the production, sitting through a close examination of a porn film’s interstitial scenes without any potential at all for diddling can get to be a drag. But she was impressed. “That little girl is going to change her entire industry.”

Louisa’s mind was elsewhere. “I wanted a hug,” she said. “Not because I wanted a hug from Jenna Jameson, but just because she was very quick to say goodbye. Things got very businesslike at the end, after I had just seen this woman violated every which way possible.”

“But,” Louisa added, “she probably thinks everybody wants something from her. A hug’s probably too much of her, too personal.”

Why do women who like porn love Jenna? Because she loves them — from precisely the distance that keeps men wanting her.

Peter Keating is a writer in New York.

More Related Stories

Featured Slide Shows

  • Share on Twitter
  • Share on Facebook
  • 1 of 11
  • Close
  • Fullscreen
  • Thumbnails

    Ten spectacular graphic novels from 2014

    Beautiful Darkness by Fabien Vehlmann & Kerascoët
    Kerascoët's lovely, delicate pen-and-watercolor art -- all intricate botanicals, big eyes and flowing hair -- gives this fairy story a deceptively pretty finish. You find out quickly, however, that these are the heartless and heedless fairies of folk legend, not the sentimental sprites beloved by the Victorians and Disney fans. A host of tiny hominid creatures must learn to survive in the forest after fleeing their former home -- a little girl who lies dead in the woods. The main character, Aurora, tries to organize the group into a community, but most of her cohort is too capricious, lazy and selfish to participate for long. There's no real moral to this story, which is refreshing in itself, beyond the perpetual lessons that life is hard and you have to be careful whom you trust. Never has ugly truth been given a prettier face.

    Ten spectacular graphic novels from 2014

    Climate Changed: A Personal Journey Through the Science by Philippe Squarzoni
    Squarzoni is a French cartoonist who makes nonfiction graphic novels about contemporary issues and politics. While finishing up a book about France under Jacques Chirac, he realized that when it came to environmental policy, he didn't know what he was talking about. "Climate Changed" is the result of his efforts to understand what has been happening to the planet, a striking combination of memoir and data that ruminates on a notoriously elusive, difficult and even imponderable subject. Panels of talking heads dispensing information (or Squarzoni discussing the issues with his partner) are juxtaposed with detailed and meticulous yet lyrical scenes from the author's childhood, the countryside where he takes a holiday and a visit to New York. He uses his own unreachable past as a way to grasp the imminent transformation of the Earth. The result is both enlightening and unexpectedly moving.

    Ten spectacular graphic novels from 2014

    Here by Richard McGuire
    A six-page version of this innovative work by a regular contributor to the New Yorker first appeared in RAW magazine 25 years ago. Each two-page spread depicts a single place, sometimes occupied by a corner of a room, over the course of 4 billion years. The oldest image is a blur of pink and purple gases; others depict hazmat-suited explorers from 300 years in the future. Inset images show the changing decor and inhabitants of the house throughout its existence: family photos, quarrels, kids in Halloween costumes, a woman reading a book, a cat walking across the floor. The cumulative effect is serene and ravishing, an intimation of the immensity of time and the wonder embodied in the humblest things.

    Ten spectacular graphic novels from 2014

    Kill My Mother by Jules Feiffer
    The legendary Pulitzer Prize-winning cartoonist delivers his debut graphic novel at 85, a deliriously over-the-top blend of classic movie noir and melodrama that roams from chiaroscuro Bay City to Hollywood to a USO gig in the Pacific theater of World War II. There's a burnt-out drunk of a private eye, but the story is soon commandeered by a multigenerational collection of ferocious women, including a mysterious chanteuse who never speaks, a radio comedy writer who makes a childhood friend the butt of a hit series and a ruthless dame intent on making her whiny coward of a husband into a star. There are disguises, musical numbers and plenty of gunfights, but the drawing is the main attraction. Nobody convey's bodies in motion more thrillingly than Feiffer, whether they're dancing, running or duking it out. The kid has promise.

    Ten spectacular graphic novels from 2014

    The Motherless Oven by Rob Davis
    This is a weird one, but in the nervy surreal way that word-playful novels like "A Clockwork Orange" or "Ulysses" are weird. The main character, a teenage schoolboy named Scarper Lee, lives in a world where it rains knives and people make their own parents, contraptions that can be anything from a tiny figurine stashable in a pocket to biomorphic boiler-like entities that seem to have escaped from Dr. Seuss' nightmares. Their homes are crammed with gadgets they call gods and instead of TV they watch a hulu-hoop-size wheel of repeating images that changes with the day of the week. They also know their own "death day," and Scarper's is coming up fast. Maybe that's why he runs off with the new girl at school, a real troublemaker, and the obscurely dysfunctional Castro, whose mother is a cageful of talking parakeets. A solid towline of teenage angst holds this manically inventive vision together, and proves that some graphic novels can rival the text-only kind at their own game.

    Ten spectacular graphic novels from 2014

    NOBROW 9: It's Oh So Quiet
    For each issue, the anthology magazine put out by this adventurous U.K.-based publisher of independent graphic design, illustration and comics gives 45 artists a four-color palette and a theme. In the ninth issue, the theme is silence, and the results are magnificent and full of surprises. The comics, each told in images only, range from atmospheric to trippy to jokey to melancholy to epic to creepy. But the two-page illustrations are even more powerful, even if it's not always easy to see how they pertain to the overall concept of silence. Well, except perhaps for the fact that so many of them left me utterly dumbstruck with visual delight.

    Ten spectacular graphic novels from 2014

    Over Easy by Mimi Pond
    When Pond was a broke art student in the 1970s, she took a job at a neighborhood breakfast spot in Oakland, a place with good food, splendid coffee and an endlessly entertaining crew of short-order cooks, waitresses, dishwashers and regular customers. This graphic memoir, influenced by the work of Pond's friend, Alison Bechdel, captures the funky ethos of the time, when hippies, punks and disco aficionados mingled in a Bay Area at the height of its eccentricity. The staff of the Imperial Cafe were forever swapping wisecracks and hopping in and out of each other's beds, which makes them more or less like every restaurant team in history. There's an intoxicating esprit de corps to a well-run everyday joint like the Imperial Cafe, and never has the delight in being part of it been more winningly portrayed.

    Ten spectacular graphic novels from 2014

    The Shadow Hero by Gene Luen Yang and Sonny Liew
    You don't have to be a superhero fan to be utterly charmed by Yang and Liew's revival of a little-known character created in the 1940s by the cartoonist Chu Hing. This version of the Green Turtle, however, is rich in characterization, comedy and luscious period detail from the Chinatown of "San Incendio" (a ringer for San Francisco). Hank, son of a mild-mannered grocer, would like to follow in his father's footsteps, but his restless mother (the book's best character and drawn with masterful nuance by Liew) has other ideas after her thrilling encounter with a superhero. Yang's story effortlessly folds pathos into humor without stooping to either slapstick or cheap "darkness." This is that rare tribute that far surpasses the thing it celebrates.

    Ten spectacular graphic novels from 2014

    Shoplifter by Michael Cho
    Corinna Park, former English major, works, unhappily, in a Toronto advertising agency. When the dissatisfaction of the past five years begins to oppress her, she lets off steam by pilfering magazines from a local convenience store. Cho's moody character study is as much about city life as it is about Corinna. He depicts her falling asleep in front of the TV in her condo, brooding on the subway, roaming the crowded streets after a budding romance goes awry. Like a great short story, this is a simple tale of a young woman figuring out how to get her life back, but if feels as if it contains so much of contemporary existence -- its comforts, its loneliness, its self-deceptions -- suspended in wintery amber.

    Ten spectacular graphic novels from 2014

    Through the Woods by Emily Carroll
    This collection of archetypal horror, fairy and ghost stories, all about young girls, comes lushly decked in Carroll's inky black, snowy white and blood-scarlet art. A young bride hears her predecessor's bones singing from under the floorboards, two friends make the mistake of pretending to summon the spirits of the dead, a family of orphaned siblings disappears one by one into the winter nights. Carroll's color-saturated images can be jagged, ornate and gruesome, but she also knows how to chill with absence, shadows and a single staring eye. Literary readers who cherish the work of Kelly Link or the late Angela Carter's collection, "The Bloody Chamber," will adore the violent beauty on these pages.

  • Recent Slide Shows

Comments

0 Comments

Comment Preview

Your name will appear as username ( settings | log out )

You may use these HTML tags and attributes: <a href=""> <b> <em> <strong> <i> <blockquote>