Joe Eszterhas' book "American Rhapsody" falls into the latter category, and with some gusto. Indeed, there's nothing really new here; it's just a rhapsodic rendition (appropriate to the title) of how the president uses women as "holes" -- as Eszterhas puts it. The worst the "Clinton haters" (as normal people came to be called) ever said about Clinton is not merely conceded by Eszterhas but ecstatically repeated.
The theme of the Hollywood set's enthusiasm for the horndog is summarized by Jann Wenner, editor of Rolling Stone magazine ("the rock 'n' roll bible"), who reported back to the troops after spending time with Clinton on the campaign trail: "He's one of us."
"Us" was rock 'n' roll and -- as Eszterhas explains: "Rock 'n' roll was ... Otis Redding running down a fire escape as an irate husband shot at him from a window above ... Chuck Berry videotaping himself as he urinated on a hooker ... Little Richard getting a backstage blow job as the curtain went up from the groupie whom Buddy Holly was doing doggy-style at the same time ... the Stones passing that catatonic naked blonde over their heads in 'Cocksucker Blues.'"
Charming. I don't think I needed to know that, but at least now I understand what the feminists are so mad about.
Anyway, the rock 'n' roll president, according to Eszterhas, "was using women's bodies still, the way he and we had callously and selfishly used one another's bodies in the '60s. The point was a pair of lips, a pair of tits, a nice ass. The point was skin, flesh, meat. The point was a hole."
While that's a fine summary of the Clinton legacy, for those of us who have "moved on," this book could not be more tedious. If you thought it was bad enough to live through the Clinton administration when it was happening, re-reading the country's lowest moments in tribute form is not a good mood-enhancer. (In the one new story Eszterhas brings to the table, let me just say, Sharon Stone will not be pleased to discover she is the subject of Hollywood's first piss-and-tell.)
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