Below is the Unedited version of
Eric Kroll's Foreword for my new book
L.A. Bondage:
Dave Naz Is A Pervert But So Am I And So Are You.
by Eric Kroll
Dave Naz wouldn’t hurt a flea. Or would he? Can you trust someone that enters a restaurant and immediately goes and washes his hands. Yet, I’ve seen him bury his face in his girlfriend’s ass, in his mother’s backyard. And he has that demonic grin and glint in his eye when he tells me that this other girl likes to be strangled while fucked. This is important information, but it’s his pleasure in doing it and that his face turns red, that I know I am with someone I can trust.
I started jerking off to Dave’s work when Fresh came out. The girls were the right age and though they weren’t wearing heels, hose and gloves to the elbow…there was an innocence I wanted to fuck.
Dave became my best friend when I moved to LA and we would meet once a week at expensive restaurants and he’d show me what he had shot. Sometimes he’d have a barbecue at his house in Laurel Canyon and I’d get drunk with Lillian and watch her go doe eyed and sleepy or drink with Kim and watch her long legs weave messages in the night air, by the side of his house. These were Dave’s friends and these were the women he photographed.
The models stood there in his camera frame, vulnerable, available, and trusting. I was worried some of them might wet themselves, they were SO trusting. Then he told me he was shooting these same tenderfoot girls in bondage. Humm, I thought. That’s something I’ve always been interested in. Then he asked me to write this, and being a true journalist, I insisted I watch him shoot.
He told me to meet him at his mother’s place in Beverly Hills. What better place to shoot bondage then in your mother’s backyard. Thank God her neighbor was his grandmother!
I neglected to mention one very important aspect of Dave’s photography… bondage or otherwise. He’s fallen in love with a beautiful woman named Ashley Blue and she doesn’t take any shit, bound or otherwise. Thank goodness she’s a porn star because very few women understand perverts as she does. Dave’s a pervert like Charles Bukowski, Henry Miller, and Hans Belmer were perverts.
When I arrived the rigger, Damon Pierce, had laid out his purple rope, next to his natural Japanese hemp rope and the model, Ori, looked sassy and made up in a way I like. Damon also is an exceptional make-up artist.
Dave shoots like he’s dodging bullets. Like a prey mantise, his long legs fold so he can get low to the ground or leans way to the left or right like a Marvel Comic character. He’s wearing Descendents Vans and Cargo pants and he’s moving as she’s being decorated with rope. He is being very caring and tender as the beauty gets bound.
This is healthy bondage. Outdoors in daylight. The fading sunlite is as binding to the shoot as is the rope. “We should move over here”. He’s looking at the light on the tree as much as the light on her pert nipples. He’s considerate and its consensual and I know he’s going to feed her when its done.
“You know one of the first porn mags I ever bought was a bondage magazine”, Dave declares. “these girls wore wigs and they were trying to be all anonymous. I remember they were tied to a chair. They had great expressions”.
Ori, who by now can’t move her arms because they are expertly bound behind her back, says (talking about Dave who is moving with his Leica, shooting real film), “I think you like to see a little bit of pain.” I realize she can’t resist my clumsy advances so I begin to tickle her. Dave says “I think uncomfortable looks good. I think that visually works. I don’t want to see someone miserable or in pain”.
I nod my head in agreement and try and squeeze her left nipple. She squirms away, saying “I think it feels good to be tied. It’s a lot similar to…the same person whose doing the make-up is doing the tying- the tying feels just like another application of make-up.”
When Dave started shooting the girl, she was fully clothed and then bound in rope and then the clothes starting coming off, courtesy of Damon’s talented hands, while Ori was still bound in rope. I asked Dave why she didn’t start out naked and Dave interrupted his shooting to remark “It’s called art, man”, smiling as he bent low to put her pussy mixed, with rope, in the foreground of his view finder.
The sun has gone below the horizon and its suddenly turned cooler and Dave is concerned for his model and suggests we stop.
Damon methodically releases the now naked girl. She gets dressed as Dave packs up his equipment and I recall her nipples getting hard in profile. We retire to the kitchen. On the way in, I notice in the livingroom a softcore newsstand panty mag. After a few minutes Dave disappears and returns with his handsome mom. We make conversation as I think about my own inability to tell my mom anything about my photography. Two days hence he’ll take his mom and his grandmother to Fairfax avenue in Los Angeles, to the Todd Browning Gallery where they are showing Dave Naz’s photographs including one of Ashley Blue, In the photo, she’s standing there naked, baby bare, without guilt or guile.
The night of the opening I watched Dave and Ori holding hands and laughing. He, featured in LA Weekly as one of the cool people of LA and she, female performer of the year 2004. I thought… I wonder how Dave would direct Damon to bind Ashley to the mid century chair stuck in the corner of the gallery.
Ah, to be young, beautiful and bound. Better yet, to be young beautiful and bound for Dave Naz’s camera.
Dave’s bondage photos make me feel horny and it’s getting near light.
Even the crack of dawn better be careful around me.
