Category: Blog

Kama Sutra, Writing Submissions, FREE Erotica “The Spice of Life,” by Jake Furie Lapin

Enjoy the view: but promise to come back, more information below.


And now for some Newsletter-Exclusive Hot Gossip: in January we’re re-opening our call for MILDLY EROTIC VERSE, for an expanded second edition of the anthology, and in March we’ll be looking for poems about THE HUMAN BODY. You heard it here first!

* * *


* If you missed our Mildly Erotic Verse event at the Freud Museum a couple of weeks ago, you can listen to it hereKirsten Irving, Ruth Wiggins and Stephen Sexton all read beautifully and shared some fascinating thoughts about poetry and eroticism.

Jamie McGarry is getting married for real next week! Jamie is the publishing prodigy who runs Valley Press, which is ‘engaged’ to the Emma Press (hence the shared blog), and it is tremendously heartening that he approaches romance in the same way as he does publishing: bravely, passionately and with conviction. Congratulations to Jamie and Laura! You can read Jamie’s latest newsletter here.

* Congratulations also to Rachel Piercey and Anja Konig, for being joined not in holy matrimony but in category of prize-winning poets in the Troubadour Poetry Prize.


The Spice of life by Jake Furie Lapin
will be FREE between the 23-27 Dec..


The Spice of life by Jake Furie Lapin
will be FREE between the 23-27 Dec..

Tonight-Dec 16-The Erotic Literary Salon-Live-Happy Chanukah-Fire in the Bedroom: Why Jews Have the Hottest Sex Lives

Tonight – Reverend Dr. Beverly Dale featured presenter. Press Release says it all.

Free video end of blog.


Tonight is also the first night of Chanukah. Found this wonderful video -

Fire in the Bedroom: Why Jews Have the Hottest Sex Lives

Tuesday-Dec 16-The Erotic Literary Salon-Live, FREE Documentaries, Dancing Outside The Box

David Block, a legally blind documentary producer/director and freelance journalist, reads occasionally at the Salon. He would read more often, but recently he has been attending Temple to receive a Master’s Degree in Journalism.

Profile of David Block, Documentary Filmmaker, Journalist, and Writer

Intro: David Block is a legally blind award winning filmmaker and journalist who has worked in this business for over 20 years. Read his story to find out how a person with limited vision can succeed in this highly visual craft.

David Block on the set reading a notebookThe Story: I am David Block, a freelance journalist, a documentary producer/director and ghost writer. What I do career-wise on any given day depends entirely on what I’m working on or who I have to interview. There are some days when I have little to do and others when I’m incredibly busy as tasks vary from assignment to assignment. A good example is The Penn Relays. Every April I cover this competition, which is one of the world’s greatest track events. It is the oldest and largest track and field competition in the United States, hosted annually since 1895 by the University of Pennsylvania. Before, during and after this well known event I’m heavily focused on interviewing specific track stars.

Legendary comedian and entertainer, Bill Cosby, is a huge fan of this event and is very supportive. He attends more often than not, helps out and participates in some of the events. When he is there, I try to catch him for an interview. Then when I go home, I have to get certain track coaches on the phone to verify their athletes’ finishing times and places before writing up the story.

On days I’m making a documentary, the days that my crew and I shoot are quite hectic. My interview questions have to be polished and I have to make sure that we have the right equipment to shoot. I arrange for the crew to meet at a specific spot and time so we can travel together to where we are filming. After shooting the documentary, some of my days are long and hard because using the raw footage from the shoot, I have to transcribe every word the interviewees uttered. I do this so I will know what shots and quotes will work well in the film and what shots and quotes should not be considered.

Unlike with many jobs, my work days are unpredictable. Sometimes, I’m too busy to sneeze and other times I can sleep late. Since I am always on the move you could say that I have a mobile office. Most of my work is either done interviewing people in person, on the phone or while out shooting the documentaries.

Producing/directing, interviewing for articles and ghostwriting are very different kinds of work even though they all involve a lot of the same skills such as good interpersonal abilities and writing. These different assignments require a somewhat different way of interacting with the individuals with whom I’ll be working. When I write articles, I have to get an editor’s permission to write the story on spec. From the time I get the editor’s permission until I submit the article, I’m on my own. I try to have little contact with the editor who gave me the green light to write the piece. Editors are busy people and I fear that calling them too much could hurt my chances of continuing a working relationship. Therefore, I don’t really try to know the editor on a personal level, only professionally. My key objective is to get my story published not to make friends.

Filmmaking is a different story. I don’t put ads in the paper looking for crew members. I only hire people I either know or have heard about from individuals I trust. This effort is done through networking. When I find someone I think I can work well with I’ll interview them, learn about their past work experiences and get to know them a little. Just the opposite of how I would interact with an editor.

Being a ghost writer involves only the person who hired me. As with the editors I work for, while working for the person I’m writing for, I try not to strike up friendships because that might interfere with our work. It is better to maintain a professional stance.

Unlike someone who went out, found a job and now shows up at work from 9 to 5 knowing what they will be doing every day, I am out looking for assignments all the time. As a freelance writer, I approach editors with many story ideas. If they like them, they’ll hire me. As a ghost writer, people have come to me and hired me. These were people who knew my work and trusted me to tell their story. When it comes to making documentaries, I keep a list of people I have interviewed for articles and may go back to them to ask if I can include them in my film.

Sometimes making a documentary or working with a specific person on a film can lead to making yet another documentary and another job for someone. Here’s how it works. When I made my roller derby film, I truly liked working with my sound person. I knew that her friend was a good camera person and production manager, so I approached both her and her friend to work with me on my next film, which was about wheelchair users dancing with fully able bodied people. Had I not worked with the sound person on my roller derby film, I would have hired neither of them to work with me on my wheelchair dance film.

David Block holding a ball, teaching children to play goalballAnother example is when I made my documentary about goalball, a sport that blind people play, making that film caused me to want to document other sports blind people play. And that led to another documentary, which was about blind athletes, not just goalball. So you can see that ideas are connected and feed off of each other.

Writing articles can lead me to make a documentary about the same subject. I covered the 10K race Brian’s Run, for Runner’s World Magazine for nearly 10 years before deciding to make a documentary about the race. Because of my network that was created during this time period, it was easy for me to get the potential subjects to allow me to interview them because they already knew me. They believed I would turn out a good film and I did.

When I interview people, the only thing I use is a tape recorder. It’s simple and ensures accuracy of the conversation and translation when I write the article. A recorder is convenient, easy to transport and keeps me from having to type everything on a note taker while listening and talking. When I write my articles or do prep work for my documentaries, I enlarge the font size on my computer for easier viewing. If I have to read a lot of material about a potential interviewee, I do this using speech output on Zoom Text. Basically, these are the only accommodations I use to do my job.

Although I dislike transcribing interviews from recordings because it is tedious, transcribing is essential when I write articles because it prevents me from misquoting anyone and is a documentation of what was said by whom. Sometimes a person may say that I misquoted them, but then when I show them the transcript and play back the interview the only position they can take is to agree that such and such a thing was said.

For documentaries, I have to write out the time codes. By doing this I know, for instance, that a bad line was at 5 minutes 23 seconds to 5 minutes 28 seconds tape 5 and I will know not to refer back to that segment. If someone gives me a good quote such as, “At roller derby practice we jump over each other” and I want to use that sound bite, I’d have to know where it was located. Doing that, I would know that the best jump shot would be (hypothetically) tape 1 12:02 – 12:05. I don’t like logging or transcribing because the tasks are long and endless. However, I know that it needs to be done in order for me to have a good finished product. Doing the tedious work is worth getting to see my articles in print and my documentaries shown on the screen in front of audiences. This is the part of my job I love, it’s the reward. It makes doing the parts of my job I don’t necessarily enjoy worthwhile.

David Block receiving an awardSome of my films have a distributor while I do the work with others using different methods to raise awareness of the films. Approaching schools and public/special needs groups about purchasing them is one way, submitting them to be screened at film festivals and disability conferences is another way. Facebook is also a good way of publicizing my work. When people go there, they can see some of my documentaries for free. This has not prevented me from selling copies of them. To summarize, my work gets to the public through a distributor, TV, film festivals, disability conferences, social media and my website.

If you want to make a film, avoid falling in love with any of your footage. That is a common mistake novices make. The same goes for writing. You can’t fall in love with your words. What might sound good to you could sound awful to other people so be prepared to listen to feedback and make changes as you go.

To do well in a career like mine, a person has to truly want to be a journalist or documentary producer. To succeed, you can’t let people discourage you. Even with a good education don’t expect to get rich. Sometimes, I’ve made decent money, but not often enough. My love of the work is greater than my concern about how much I get paid. That’s why I’ve been in these particular fields for over 20 years. I love my craft. Choose well when it comes to deciding what you want to do and you’ll love yours too.


Culture Unplugged a free documentary website, where you can find some of David’s work and at youtube.

Tonight-Dec 13 – “Flash” With Lorenzo “Rennie” Harris And Michael Sakamoto

I was honored to have witnessed “Flash” an intense, brilliant dance performance last night. It reminded me of how some attendees share their sex memoirs at the Salon, receiving confirmation from the audience and healing in the process. Rennie spoke about his piece after the performance and mentioned the same effect. There is a video of the piece at link, but honestly it doesn’t come close to what I experienced last night.


Review in The Philadelphia Tribune


“Flash”: Moving Convo Across Cultures

Bobbi Booker Tribune Staff Writer

Imagine, if you may, a “conversation” between two dancers — both of distinctly different backgrounds — who are merging styles of their artform for a 45-minute performance. This weekend, Philly’s own dance icon Rennie Harris will join choreographer Michael Sakamoto with their dance theater duet, “Flash.”

This “conversation,” if you may, started years ago on campus at UCLA, where Sakamoto was pursuing his Ph.D. and Harris was teaching. Having studied both hip-hop and Harris as a part of his graduate research, Sakamoto began the dialogue. The more their rapport grew, the more the artists realized the commonalities not only between their dance forms, but between their own lives. The piece features Harris and Sakamoto using their respective disciplines, hip-hop and Butoh, to juxtapose cultural backgrounds (Japanese-American and African-American), personalities and struggles for self-acceptance in the midst of crisis.

“This is the performance I’ve been waiting my whole career to do,” said Sakamoto.

Both hip-hop and Butoh were born from marginalized, urban subcultures, each using a philosophical approach to building cultural identity through dance. Specifically, Butoh rose out of an occupied, post-WWII Tokyo in the late 1950s as a way for dancers to grapple with their rapidly westernizing culture. Characterized by grotesque imagery, absurd environments and hyper-controlled movement, Butoh is a hybrid between dance and theater.

“When you see old-school Butoh dancers,” said Sakamoto, “they are performing their self-perceived chaos.”

Before he was an innovator in contemporary Butoh, Sakamoto was a Asian-American kid, growing up in L.A., popping and locking to the sound of James Brown. He launched his performance career in 1994 as a soloist in the Rachel Rosenthal Company. Today, Butoh serves as the philosophical foundation of all of his works.

Hip-hop emerged from African-American and Latino communities in the late 1960s as what Harris considers a contemporary indigenous form — one expressing universal themes that extend beyond race, class and religion. In 1992, Harris founded Rennie Harris Puremovement, a hip-hop dance company dedicated to preserving and disseminating hip-hop culture through workshops, classes, lectures, residencies and public performances. The North Philadelphia native’s most famous works (e.g., “Rome and Jewels,” “Facing Mekka”) have garnered him international recognition and countless accolades, including three Bessie Awards, two Black Theater Alvin Ailey Awards and a Herb Alpert award. Harris started teaching hip-hop at the age of 15 with the Smithsonian Institution, and as a part of his efforts to educate the world about hip-hop, he passes on his historical knowledge of the dance through performances all over the world.

Although hip-hop hit the world in a big way in the 1980s, in an earlier interview Harris pointed to a very early film clip where “I saw cats in the 1800s doing the same thing we’re doing right now.”

Harris continued: “People confuse the youth culture and the urban culture. I’m almost 50 years old, and I’m a hip-hop dancer. It’s not a youth thing.”

Attendees of “Flash” can expect to experience an element of spontaneity, based on the dancers’ shared prerogative. Though the general structure of the show is static, their movements are completely impulsive, creating a true sense of a dialogue between them. According to Sakamoto, “[Rennie and I] work really well together because we both approach performance as structured improvisation.”

Through hip-hop, Butoh, and the shared experience of the two dancers, attendees will come to understand crisis, as Michael Sakamoto put it, “is an opportunity for change.”

“Flash” featuring Harris and Sakamoto comes to the Painted Bride Art Center, 230 Vine St., Saturday and Sunday at 8 p.m. For ticket information, call (215) 925-9914 or log onto to purchase.

Tonight, last performance in Philadelphia at the Painted Bride.