The Rialto Report

Years ago, I first saw the 1970s adult film Barbara Broadcast [https://www.imdb.com/title/tt0075726/reference/?ref_=nm_flmg_job_1_cdt_t_20] (1977) on the big screen, and it made a big impression. In the film, there’s a scene which shows a man standing behind an industrial kitchen worktable, a shirtless, mustached piece of beefcake that was Wade Nichols [https://www.imdb.com/name/nm0629754/]. Rugged yet pretty. Lean, toned, and handsome. He looked like the Marlboro man from the distant plains, if that cowboy had inexplicably turned up in New York and started moonlighting as a Manhattan sous-chef. He had the appearance of a man in love, or a rather a man in lust, most likely with himself. He was the perfect embodiment of the era, that made you wonder if you were to look up ‘1970s America’ in the dictionary, there could well be a picture of Wade Nichols there. I immediately wanted to know more. It turned out he’d been a prolific actor in many adult films over a four-year period in the late 1970s, much loved and much missed. Slowly over the years, I found other details, but often they were in the form of conflicting rumors. Though he’d been the leading man in many straight sex films, he was supposedly gay, or maybe bisexual? Some remembered him better as the lead actor of a popular TV soap opera, while others said he was a big disco recording star who’d come close to being one of the original Village People. And then there was the question of how he’d died: it had been reported that he shot himself in 1985, but others insisted he was a victim of AIDS. I was hooked on finding more. But because it was before the internet age, I had no way of finding out much about him. So, years ago, I started to track down anyone who had known him, from his family, to acquaintances from the New York club, bar, and disco scene, adult film actors and directors, music and television industry friends, and many more, to try and find who he really was. I ended up writing an article for The Rialto Report with the information I learned. But my interest didn’t end then, and I continued to track down, reach out, and contact anyone with memories of him. This is Wade Nichols’ story –  in podcast form. This podcast is 50 minutes long. Wade Nichols [https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-Wade-Nichols-04.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-Wade-Nichols-04.jpg ———————————————————————————————————– Why is that so many of the movies we first saw as teenagers remain important and enduring to us for the rest of our lives? Same thing for the music and books that we discovered back then. And, why does it become rarer that we have that same deep connection to films we discover as we grow older? Psychologists have suggested it’s because our teen years coincide with the period referred to as “the emergence of the stable and enduring self.” Basically, the thinking is that this period, occurring between the ages of 12 and 22, is the time when you become you. As a result, the experiences that contribute to this process become uncommonly, and disproportionately, important to you throughout the rest of your life. This is because they didn’t just contribute to the development of your self-image; they are part of your self-image. In other words, these experiences and memories become an integral part of your sense of self. Ok, ok, so much for the theory, but what does that have to do with the life of an adult film actor who died 40 years ago? The answer is that today’s story is personal. Well, all the stories that I cover are personal in some way, but this one is perhaps even more so than the rest. When I first saw the 1977 adult film ‘Barbara Broadcast’ as a teenager, I knew nothing about the male lead, Wade Nichols, but he made an impression on my teenage self. I know, I shouldn’t have been in the porn theater in the first place. Wholly inappropriate, too young, etc. and so on. I get it. But I was there, and I watched it. And I liked the film. And yes, just like some of the other films I discovered then, it stayed with me in a strangely meaningful way. It’s part of the reason I wanted to find and tell the stories that I share on The Rialto Report, I think. It became part of understanding that moment as a teen when I sat wide-eyed in a theater. Perhaps part of the memory that had created that sense of self all those years ago. * 1. FREEPORT, NY (1950S): The first information to know is that ‘Wade Nichols’ was really a fictional character, existing only for the sex film screen. Wade’s real name was Dennis Posa. He was of Italian heritage – a fact that he was proud of. I found out that Dennis’ father originally came from Casamassima, a small town in southern Italy. That was the first surprise to me in this story, because the summer before I saw ‘Barbara Broadcast’ all those years ago, I’d actually visited Casamassima as a young boy. I remember it being a tiny, picturesque place, notable mainly because it was called ‘The Blue Town’. That name dated back to the 1600s when a ship arrived in the nearby port of Bari bringing sailors who’d all been infected with the plague. They came ashore, and all hell broke loose. In a short time over 20,000 locals had died in the epidemic. In response, the most powerful Duke in the town ordered all of the buildings, monuments, and churches to be painted with quicklime mixed with sulphate copper. These chemicals slowed the spread of the plague from infected corpses by accelerating the decomposition of the bodies and thereby reducing the bacteria – and these chemicals were bright blue in color, meaning that the town literally turned blue overnight. It was a story that Dennis would tell over the years – joking that it was ironic that one of the biggest stars of blue movies had, in effect, come from the Blue Town. After moving to America, Dennis’ father grew up in an Italian neighborhood of the Bronx. He was a popular kid and a small-time rogue, and he ran around with a bunch of minor league hoodlums and gamblers, getting in and out of trouble all the time. He hung out in jazz clubs where his friend, the noted jazz musician Johnny Guarnieri, headlined on piano with his band. Dennis’ mother was dating Johnny’s bass player, but when she met Dennis’ father, it was love at first sight – or something like that. They hooked up and got hitched the following year. Dennis’ father was 26, his mother was 20. Once he was married, Dennis’ father felt he had to go straight, so the newlywed couple did the sensible thing and moved out to the commuter town of Freeport, NY, thirty miles east of Manhattan, on the south shore of Long Island. They rented an apartment, and his father got a job as a florist, while his mother worked in the children’s section of the local library.  And there they started a family – two boys, Richard and then Dennis, who was born in 1946. A quick word about Freeport: it was a great place be in the summer, a popular and vibrant spot where people from Manhattan flocked to vacation, but the rest of the year, it was a little different – an anonymous, depressed, forgotten, and empty place – which made it pretty grim for residents. I tracked down Dennis’ brother, Richard. Richard is a quiet-spoken friendly man, with a bemused but huge affection for his younger brother, and he was happy to share memories of their childhood. He fondly remembered their first years which he described as happy and good. Their father was a good-looking man and he was initially caring towards the boys. After a while though, something snapped: overnight, he seemed to lose interest in the family, and started to disappear for weeks at a time. When he returned, he’d fight with his wife – and sometimes get verbally abusive to the boys too. Wade Nichols [https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-20360207063949.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-20360207063949.jpg It transpired that a big part of his problem was his gambling, and he regularly squandered the money that was meant for the family’s food. Richard remembered that Friday was the weekly food shop day, but often his father would just take the money and not return home. When this happened, it was usually because he’d fallen behind with bookies, and needed the cash to settle his debts. On one occasion, the family found out that the bookies were threatening to break his legs if he didn’t pay up… so they helped him out and covered the debt for him. But he never paid them back, so the family joked that next time, they were going to be the ones breaking his legs. Richard remembers that it all seems amusing now, but at the time, it had a destabilizing effect on them. It wasn’t a happy childhood any more, he said, and at times, home life became pretty uncomfortable. Dennis was the more daring of the two, and one time he decided he was going to go through their father’s affairs – where he found $8,000 worth of racing stubs. Bear in mind, in those days their father’s annual salary was only $5,000 a year, so this was a huge amount to be betting. Dennis wanted to confront him, and the brothers discussed it but, in the end, decided against the idea. The boys weren’t the only ones suffering: the family problems took a toll on the boys’ mother as well. Just when the boys needed her the most, she became agoraphobic and withdrawn, afraid of leaving the apartment. As a result of all this, neither boy were close to either parent, and initially, they weren’t particularly close to each other either. For a start, the two brothers were very different. Richard was studious, into reading, mathematics, and school work. Dennis liked artistic pursuits, preferring to draw, paint pictures, and make things, developing an interest in carpentry. But physically, there was no getting away from each other. The family apartment was small, and they shared a tiny room throughout their childhood years. What they did have in common was a passion for their pets, and as kids they always had dogs and cats. Both boys were also keen members of the rifle team in High School – though their love for animals meant they had no interest in hunting. While I was getting a sense of Dennis, I wanted to understand what he was like as a boy. What was his character like, I asked Richard? Did he have friends, and was he popular? Richard remembered that Dennis was initially quiet socially, but went through a sudden change when he was 13 or 14 – coincidentally when he had his tonsils taken out. Overnight, Dennis came out of his shell, becoming more energetic and outgoing, even something of an extrovert sometimes. One aspect of Dennis didn’t change however – and that was his taste in music which stayed with him throughout his life. For a kid who came of age during the 1960s, at the tail end of rock n’ roll and amid the onset of Beatlemania, Dennis’s interest was unusual. He inherited his parent’s musical passion – which meant jazz, from traditional forms like Louis Armstrong to newer artists like Miles Davis and Dave Brubeck. “He would spend hours with his head next to the gramophone listening to jazz records,” one school friend remembered. I asked Richard if he still had any pictures of Dennis from his teen years, and Richard sent me a selection. I was taken aback by what I saw. I was used to seeing Dennis from his adult films, looking sexual and virile, or from his music career where he embodied confident disco chic, or from his time in soap operas where he projected control and confidence. But these teenage black and white pictures were from a different period entirely, and showed someone I didn’t recognize. A geeky teenager with a crew cut, cross-eyed with unfashionable eye glasses, half-smiling self-consciously. Later, I came across an interview that Dennis gave where he admitted as much: “I wasn’t very attractive as a young kid,” he said. “I was a loner so it was tough.” Wade Nichols [https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-Wade-03.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-Wade-03.jpg I asked Richard about whether Dennis dated. Richard replied: “He didn’t date in High School, but I didn’t think much about it either. It just wasn’t something that we talked about. I do remember he used to look at the pictures of women in Playboy magazines – but that seemed normal… all of the boys did that. I certainly didn’t get a sense that Dennis’ sexuality was different from the rest of the boys.” And so a geeky jazz-loving, animal-adoring, and gun-collecting Dennis graduated high school in 1964, an initially quiet then outgoing kid, who’d had a difficult home life. His last year book entry read, “Clever, quiet, and profound, Dennis will spread much goodwill abroad as a member of the Peace Corps.” * 2. PHILADELPHIA (LATE 1960S) Dennis didn’t seem to have a rebellious streak, but he did have a good number of reasons to leave home and start his own life with his own identity. Whatever plans he may have had to join the Peace Corps were abandoned in favor of heading a couple of hours south to Philadelphia to the city’s College of Art where he enrolled in a degree course studying pottery and design. I tracked down several college friends, and they told me that he was a happy and popular member of their circle. Some remembered he dated a couple of girls, taking one of them back to Freeport to meet the family. I was intrigued, and so pressed them on this, but none of them remember much more about his sexuality. It was while he was a student in Philadelphia, that Dennis became interested in acting. In a later interview, Dennis said it started with a friend who had worked on the Beatles’ films. This person was making an avant-garde, short film called ‘For One Only’, and he wanted Dennis for the lead role. The film was made though apparently never released, but it was a turning point, and Dennis became hooked on acting after that. He started auditioning, one early success being for a 1966 traveling production of Euripides’ ‘The Trojan Women’. After a couple of years in college in Philly, Dennis dropped out. Friends of his still disagree as to why: some say that it was money issues, others say that he wanted to pursue acting in a more concerted manner. Whatever the reason, over the next couple of years, Dennis appeared in a number of low budget theatrical productions in the area, while sustaining himself by picking up carpentry or construction work. It was the start of the typical life of a struggling actor. But what of his future adult film career which was still almost ten years away? Were there any signs, any clues as to what was in his future? A few friends recall that when he was short of money, Dennis did nude modeling nude for still-life art classes at the college. I also found an interview where he later claimed that he appeared in a few ‘nudie-cutie loops’ while in Philadelphia. In this interview, Dennis said: “Some guy named Edwards got me into them – for money – good money in those days. I got $60. It was fine. Art students are notoriously poor. They were the old morality stag films… black socks, boxer shorts… but that was not really porno then. A lot of time we just stood and bounced around. There was very little story, no sound, and they were sold under the counter.” It’s a possible story, I suppose, but it seems unlikely given there is little other evidence and we’re talking about 1966 in Philadelphia. Certainly none have ever come to light. But it was during this period that Dennis told the first of his friends that he thought he was gay. The female friends I spoke to weren’t surprised – though a few of them expressed disappointment: “He was such a gentle, sweet man,” one them, called Sylvia, said. “A lot of us had a secret crush on him, but deep down we always wondered.” Dennis came out to his mother and father on one of his trips home to Freeport. This is how his brother Richard remembers the occasion: “In 1968, Dennis told our parents about his sexuality. He didn’t tell me at the time – I learned about it from a cousin. I don’t know much about these things, but my impression was that Dennis was bi-sexual.” I asked Richard how his parents took the news. “Not that well,” he said. “My mother was squeamish about sex anyway, so she didn’t talk about it with anyone. As for my father, he told other people that he was heartbroken. That was difficult for Dennis. So I guess it was difficult for all of them.” Not long after this, Dennis’ father was diagnosed with lung cancer. He’d been a heavy smoker all his life, and by the time he was in his 40s, he had emphysema and was in bad physical shape. When he became sick, it hit Dennis hard, and he started going back to Freeport every week to see him. His father died shortly afterwards in his mid-50s. Wade Nichols [https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-Wade-01.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-Wade-01.jpg * 3. MOVE TO NEW YORK In 1968, Dennis moved to New York. He took an apartment at 25 East 38th St, which he’d keep for the rest of his life. It was a fifth-floor walk-up, a small rent-controlled place, and he paid $75 a month. It was basically a studio with a skylight and a tiny kitchen. There was a bedroom but Dennis used that as his art studio, and he slept on a pull-out sofa in the main room. It was an old building – when he took up the floorboards to lay down new flooring, he found newspapers that dated back to World War One. It was cramped, but Dennis loved it and was proud of his new space. Most of all Dennis loved New York – and was in awe of the opportunities it provided. He got into motorcycles, got one of his own, and went everywhere on it… no distance was too short or too long. But his main priority was to see if he could make it as an actor so he set about auditioning for theater parts. Some of his friends commented that he had talent, but all were in agreement that his temperament was not suited to constant auditions. He hated learning a scene, schlepping across town, delivering it to a group of supercilious theater execs, and then never hearing from them again. One friend commented that he thought Dennis lacked the resilient temperament needed to be a successful actor: “He was a gentle soul, a little vulnerable, and he was easily bruised by setbacks,” he said. Nevertheless, Dennis persisted, and in 1969, Dennis replied to an ad in the Village Voice for an off-off Broadway play called ‘The Sound of a Different Drummer’ that was looking for actors to take part in ‘a counter-culture experience’. The heading read: “Do you Dig Being Naked in the World? Love Boys Love Girls? Participate in the Ultimate EMBRACE! Get Bread for Doing Your Thing in Our HIT SHOW”. Dennis auditioned and got the part. He claimed later that at first, he had no idea what it was all about and was attracted simply because it was a regular, paid acting gig. This was the era of sexually frank musicals like ‘Hair’ and ‘Oh Calcutta,’ and Dennis embraced the new environment enthusiastically. He appeared in it for several months, but then disaster struck: one night he collapsed onstage and was rushed to hospital with acute appendicitis. This health incident, though not life-threatening, would have a lasting impact on Dennis’ acting career. I spoke to Jon Bletz, a friend of Dennis, who remembered: “It took Dennis some time to recover physically from that, but when he returned to the theater, his part in the play had been given to someone else. Dennis was really upset and discouraged, and so he decided to jack in the whole acting thing. He was already pissed by how much you had to struggle for acting jobs… with little guarantee you were going to get anywhere.” So Dennis gave up on his thespian dream, and decided it was time to get a full-time 9-5 job. He was hired by Jiffy Simplicity, a company that made dress-making patterns for women. Wade Nichols [https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-Jiffy-01.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-Jiffy-01.jpg But the change in his employment wasn’t the only change in Dennis’ life. According to Dennis’ friend, Jon Bletz, after the disappointment of trying to be an actor, for a time, Dennis seemed to become more jaded and cynical. He responded by hitting the New York gay bar scene hard. As Jon expressed it, “It was like “nothing is gonna get in my way now.”” His first favorite bar was The Eagle’s Nest on 22nd St down by the West Side Highway, and Dennis would head over there every night on his motorcycle. The Eagle’s Nest was one of the legendary gay clubs in New York. It had been a longshoreman’s tavern that opened in 1931, but, prompted by the Stonewall riots in 1969 and the sudden growth of the city’s gay culture, the tavern’s owners painted the walls black and converted it into a gay bar in 1970. Not just any gay bar either: The Eagle’s Nest became the most popular gathering point for the leather-clad S&M crowd and biker groups, eventually spawning copycat clubs across the country. Dennis’ friend, Mark Martinez, remembered the scene well: “The Eagle’s Nest was the best leather bar,” he recalled. “It was isolated in a quiet, dark area by the water, and it reeked of menace and thrill. The place itself was hot and sweaty and exciting. Dennis was there all the time, and I hung with him. He was a beautiful man, and sexually voracious. It was difficult not to love him.” Another friend, Errol Jones, also remembers Dennis in this period. “For years, I ran into Dennis all over town. He seemed to be at every gay club,” he laughed. “You couldn’t miss him. For a start, he was good looking. And secondly, he was… well… willing and enthusiastic.” During this time, Dennis also had his first steady male partner. In early 1969, he’d met Skip St James. Dennis was 26 at the time, Skip was in his early 20s. Skip remembers first seeing Dennis in different bars, and he’d just stand there and stare, finding Dennis absolutely beautiful. Skip says that Dennis chased him around for a year or so, but Skip was always with somebody else. And then one day, they finally hooked up, became a couple, and were together for the next four years. Skip moved into Dennis’ tiny studio apartment on East 38th St – and Skip remembered they weren’t the only people who enjoyed the space… “I remember every Wednesday afternoon, he’d give his apartment to this woman who was married,” he said. “I think she was someone he worked with at Simplicity. Anyway, every week, she’d go there and have sex with her boyfriend. Obviously, we’d have to make ourselves scarce for a couple of hours. But that just seemed very New York back then.” For the first time, Dennis was in a steady relationship and living with his partner. But that didn’t stop him from enjoying the New York night life – as Skip remembers: “Dennis was very sexual. All the time. Sex was number one for him, and always on his mind.” Not just that, but friends remember that Dennis was always focused on his physical appearance. Skip recalls: “I remember wearing tackaberry buckles. Dennis insisted on wearing them, and he bought me one. He showed me how you’d hang your keys from left to right. I was new to all this. He was a showman more than anything else.” Needless to say, their relationship was not exclusive. As Skip remembers, “Dennis insisted it wasn’t exclusive. We had space for other relationships – either individually or together.  He was very into three-ways, orgies, and cruising, and he loved leather bars. He liked to watch too. As far as sex would go, he was not a top. He was a bottom. In fact, his big thing was being on the receiving end – and getting fist-fucked.” This being the early 1970s, safe sex, well… it wasn’t really a thing. As Mark Martinez says: “Needless to say, Dennis didn’t use condoms. None of us did. Why would you? We expected to live forever.” Skip confirms this: “Dennis was never safe with sex at all. Once we went to Puerto Rico, and we went to the old part of town where there were all these shacks. I forget what the place is called. It’s supposed to be dangerous. We walked down there. I remember him screwing this Puerto Rican kid in broad daylight.” Another of Dennis favorite hang-outs was ‘The Barn’, a popular gay bar in the Village at 216 Waverly Place. The Barn was a hub that attracted a large crowd – and it had the added attraction of having back rooms. Skip still remembers ‘The Barn’ scene well: “We’d often go back there, always looking for a three-way.” Errol Jones again: “I remember seeing him come out from the restrooms in one place that was renowned for glory holes. So I approached him, and he was friendly. I suggested we go back to my place, but he gestured for me to join him in the back of this club. It was an area I rarely went because it was so dark. But he led me back there, and… well, it’s a happy memory.” For Dennis, it seemed that the only way to get rid of temptation was to yield to it. Wade Nichols [https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-1974-Dennis-Posa-01.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-1974-Dennis-Posa-01.jpg * What I found interesting about Dennis’ early life was the transformation from a quiet, reserved kid on Long Island, happy in his own company and interested in painting and carpentry, to the outgoing, sexually-liberated party guy in Manhattan. But the real paradox with Dennis was that by day, his New York life was still straight and unassuming. Though most of his friends were people from the bar and club scene, everyone else I spoke to was keen to emphasize his gentleness and kindness, and his love of animals. He still worked as an artist at Simplicity Pattern Company on Madison Avenue, just around the corner from the apartment: it seemed ironic to me that this regular in S&M gay bars spent his days drawing dress patterns for the American housewife. Skip remembers that Dennis was taking his carpentry seriously too, building wall to wall bookshelves and cabinets for their apartment, and spent time drawing with charcoals and painting with oils. And when he wasn’t trawling the bars – without or without Skip – Dennis could be found at any of New York’s jazz clubs. The 1970s was a vibrant period for jazz in the city, with several legendary venues like Village Vanguard, Birdland, and Blue Note hosting many of the greats in their autumn years as well as new emerging artists. Dennis was a jazz fan boy, always hanging around the stage doors after the shows so that he could meet his idols. His large collection of vintage 78s was growing – his preference was 1920s jazz – and he idolized Ella Fitzgerald, Nina Simone, and Sarah Vaughan. He told Skip that he his secret dream was to be a torch singer. He started collecting antique firearms – particularly black powder guns, which had been the primary type of firearm for centuries before the development of smokeless powder and cartridge-based guns, and flintlock firearms. He became a registered gun owner and kept his collection in a cabinet in his apartment that he built. Dennis life seemed to be hedonistic and happy, but in the back of his mind, he had unfinished business. He still had the acting bug, and hadn’t completely given up on the idea of performing one day. Sure, he got the occasional part in no-budget off-off Broadway plays, but friends remember that it was generally unsatisfying to him. From time to time picked up the occasional modeling job, and one such gig was for a popular local gay magazine called ‘Michael’s Thing’ which was a pocket guide to entertainment around town. Ads for bath houses, porn theaters, escorts, and lots of sex… that sort of thing. Dennis appeared in a pictorial on his motorcycle on a bridge over the pool at the Ice Palace at Cherry Grove on Fire Island. His circle of friends loved the mock serious-looking poses, and Dennis took their affectionate ribbing in good humor. The modeling may seem to be a small part of his life, but according to his friends, it was a little more important to Dennis. And that was because Dennis took his looks very seriously. One friend compared him to Oscar Wilde’s character, Dorian Gray, saying, “We all care what we look like, but Dennis took it to another level. He was obsessed with his appearance and freaked out about getting old.” As Oscar Wilde wrote: “Youth is the only thing worth having.” Wade Nichols [https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-Wade-Nichols-02.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-Wade-Nichols-02.jpg Skip agreed, saying, “Dennis’ looks meant everything to him. He had a good body. He was just naturally trim, not muscular by any means. He was Italian so he was hairy. I never even knew until late in our relationship that he used to meticulously trim all his chest hair down. In short, he was insecure, and he could be self-absorbed. I don’t mean that he was shallow. He wasn’t by any means, but he took great care of his appearance, and he could be vain.” Another friend from the early days, Jon Bletz, remembered, “Dennis never met a mirror that he didn’t like. He was always stopping to look at himself, and ask whether his cheekbones were sharp or if his nose was elegant enough. It was as if he feared that he’d be loved less, or worse still, ignored, if he were to let himself go – so he became obsessive about his looks.” In 1973, Dennis and Skip split. “We had a good time, but most things come to an end, right?” is how Skip remembers it. “In some ways, I consider him the love of my life, even now.” Part of the reason for the break up was that Dennis had started a relationship with Joey Alan Phipps. Joey was an aspiring actor and sometime model for gay photo layouts, and was 11 years younger than Dennis. Joey Phipps [https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-Joey-Phipps-01.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-Joey-Phipps-01.jpg I found pictures of Joey and was struck by his youthful appearance. Even when he was older, he looked like a perennial teenager, the sort of cheeky, smiling kid you’d see on the Partridge Family TV show. According to Skip, Joey was a roommate of one their best friends: “Joey was a cute kid, and Dennis’ preference was blond Twinkies,” Skip said. “He did date a young black guy once for a short time, but mainly it was blonde Twinkies. I was a blonde Twinkie. Joey was a blonde Twink.” Dennis’ friend Mark Martinez remembers the time well: “Dennis was head over heels about Joey,” he recalls. “At first, we all figured it was just a physical thing, but pretty soon, Skip moved out and Joey moved in, and he and Dennis became inseparable.” * 4. ADULT FILMS In 1974, Dennis decided to quit his day job in the Simplicity office. He was intent on making his living through his carpentry. Friends remember how he was proud of the idea of making a living simply by using his hands. There was something primordial about it, he said. He placed ads in local newspapers and picked up a series of freelance jobs making cabinets, beds, or tables for people furnishing their Manhattan apartments. It wasn’t a huge amount of income, but he was doing what he loved and everyone I spoke to remembers that he seemed genuinely happy. In reality though, Dennis had two other sources of income – and these were two activities that he kept quiet about. The first of these was that he’d started posing for photo sets for gay-oriented companies like Target Studio. A few years ago, I tracked down Jim French, an artist, photographer, and publisher, who’s best known for his alter ego, Rip Colt, and his association with Colt Studio that he founded in 1967 which he turned into one of the most successful gay porn companies in the country. Jim also had a sideline painting portraits that were used as album art for Columbia Records, for singers like Barbra Streisand, Frank Sinatra, and Johnny Mathis – and over the years, Dennis had seen Jim at jazz clubs around town, but it wasn’t until he turned up at Jim’s offices to try out for some modeling work that he realized who Jim was. The audition was a success: Jim was taken by Dennis and offered him work immediately. Jim was older than Dennis – there was a 14 year age difference between them – but their similar interests – jazz, art, design – meant they quickly became friends. Jim told me that they also bonded because he too had worked as an illustrator and artist on Madison Avenue, just like Dennis, except that it’d been a few years earlier and Jim had designed textiles not dress patterns. Jim remembered: “Dennis was one of my favorite models from the time. Always willing, professional, and easy to work with… and he had a great look. It was easy to take great pictures of him.” Colt [https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-triad-pose.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-triad-pose.jpg Jim also remembered that Dennis had another way of earning money too: “It was an open secret that Dennis ran a personal ad in the Village Voice,” he said. “I’m not sure of exactly what the ad was for – but it was for services that were sexual in nature.” The story that Dennis was a sex worker – or more specifically, an escort or prostitute – is something that various people I spoke to remembered. Carter Stevens, an adult film director, who later became close to Dennis, said that he’d described himself as a ‘call-boy’ before he got into films. Jamie Gillis, the adult film actor went further: “He was fag hooker,” laughed Jamie. “He told me plenty of stories about fucking aging queens on the Upper East Side.” And Dennis’ old friend, Mark Martinez, remembers running into Dennis coming out of a restaurant one day with a distinguished older man on his arm – and studiously avoiding eye contact with anyone who might know him. Dennis later told him that the man was a “client” who was “very generous” to him. Then again, several other friends I spoke to insist that Dennis also had clients that were female. Dennis would just joke that it was no big deal, just regular ‘Midnight Cowboy’ kinda work, he said. Wade Nichols [https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-Wade-Nichols-05.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-Wade-Nichols-05.jpg In 1975, Dennis appeared in his first adult film, a gay porn movie by the director David Durston called ‘Boy ‘Napped’. For this movie, Dennis adopted the name Wade Nichols, created from his middle name and his father’s first name. Durston was one of the first people I spoke to about Dennis, and he still remembered him fondly, describing him as a gift to porn films, being great looking and having an incredible body that looked like he worked out every day – even though Dennis’ brother Richard insists that Dennis never really did any sports. Dennis’ co-star on the film was Jamie Gillis, who was a veteran in the business even back then. Jamie remembered his own beginnings as a period when he’d had performance difficulties, so he was surprised when this newcomer was seemingly so at home on a sex film set: “Dennis told me it was his first experience,” Jamie said. “And it’s not a natural environment. But he was very relaxed. I remember thinking how natural he looked around the other guys in sexual situations. I thought, Here’s a guy who’s not a stranger to having sex in front of an audience… Dennis could perform sexually, and act well.” Wade Nichols [https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-Wade-Nichols-01-1.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-Wade-Nichols-01-1.jpg It seems that at first Dennis just considered Boy-napped to be just a quick way to make some extra cash, but it was a success and he enjoyed it. He figured this could be an opportunity to make some more money with other films, and perhaps establish his own carpentry studio where he could make custom furniture. He found the first adult film parts through an agent called Dorothy Palmer, a tough old broad, straight out of central casting, who operated out of a small, cluttered office near the theater district. Dorothy was notorious for not telling her actors that a role being offered was in a pornographic film, instead leaving it for them to find out for themselves when they turned up on set and find they were expected to do a little more than just recite lines. This left a lot of actors with red faces and indignant reactions. That clearly wasn’t a problem for Dennis, and his acting ability, good looks, and sexual reliability quickly made him a hot commodity – and he was soon appearing in films such as Jailbait and Virgin Dreams. One early admirer was aspiring actor/director David Davidson, who fell for Dennis – much to the annoyance of David’s beard girlfriend, Erica Eaton. Davidson cast Dennis in two of his films, Summer of Laura and Call Me Angel, Sir, in the hope that it would win him favors with the newcomer. The problem was that Erica was also the producer of both films and she wasn’t impressed, which made the shoot of both movies rather problematic. Dennis, calm and unruffled as always, was amused by the love triangle, and enjoyed David’s favors on the side when Erica was away. Looking at Dennis in these early films is like looking at early silent films, in that directors hadn’t accounted for the fact that he could really act and so typically used him as a physical stereotype. But even so, Dennis shines – smoldering intensity, an immaculate porno ‘stache, and pronounced Fire Island tan-lines. The men’s magazines sat up and took notice, eager to profile the new star, and wrote breathlessly about visiting him in his beloved midtown apartment. This from Rustler: “Wade Nichols is special. The handsomest and most talented of this breed of super-men. Perhaps he is the last of the true matinee idols. Right now, he is content, building furniture, traveling and making erotic films. The Clark Gable of Porn was hanging a chandelier when we visited his hand-built (decorated, at least) Manhattan apartment.” Wade Nichols [https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-8-77-HeShe-01.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-8-77-HeShe-01.jpg Or how about this from Skin Biz: “Young, energetic, good-looking and bold. He comes to the door wearing a tight work shirt and faded blue jeans with a navy-blue handkerchief flapping from his back left pocket. His Manhattan apartment in a 5-storied brownstone is eclectically hip. The flavor is rustic, offset by a burning wood fireplace, beautifully shuttered windows and cabinets which he made himself. A motorcycle helmet, sitting on the floor, accompanies his Honda 550 garaged down the street. His telephone rings nonstop until he finally hooks it to his answering machine. His name is Wade Nichols, one of today’s swinging 32-year-old bachelors, but with one exception. While most men only dream about their sexual fantasies, this man indulges in them… on screen.” Dennis was fast becoming a star in straight porn films, which raises the question that is perhaps discussed more than any other when it comes to Dennis – and that is his sexual orientation. Everything that I had heard about him from friends and contacts – at least since his school days – was that he was exclusively interested in men, and had an active, varied, not to mention voracious sex life on the New York gay scene. Yet when it came to sex work – and this goes for the adult films and his escorting – people who knew him remember that he didn’t seem to have a preference between men or women. Many described him as simply being a gay man who was so sexual that he could perform with anyone. But occasionally, I did speak to someone who disagreed – and one of those was Jim French, the photographer at Colt and Target. “Dennis was this rare phenomenon,” Jim said, “in that he appealed to women just as much as he appealed to men. I always thought he was bi-sexual.” Fellow actor Jamie Gillis was impressed: “I knew he could act, but I was still surprised to see that he started turning up in straight films after Boy-napped. I figured that he was a guy who wasn’t interested in having sex with women… but he was just as natural in the straight films too.” Perhaps the most surprised person was Skip, Dennis’ previous partner from the early 1970s: “When I found out that he was making adult films, I was surprised,” Skip remembered. “Not surprised that he was doing porn, but that he was making straight porn… he never had relationships with women. He wasn’t bisexual in any way.” And then the sex magazines started to come across his gay films and his photo spreads for Target Studio, and they asked him about his orientation. Dennis was smart enough to know that future work as a hetero porn star probably depended on him taking a firm position, so he went out of his way in interviews to deny that there was anything to it: “I’m NOT by nature a guy who fucks guys,” he insisted. “I’m embarrassed by it. I only did it because I got five hundred bucks for two days work.” By 1977, Dennis adult film career was in full swing, and he was appearing in movies by the more notable New York directors such as Gerard Damiano, Radley Metzger, Carter Stevens, and the Amero brothers. Wade Nichols [https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-5-78-Mr-03.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-5-78-Mr-03.jpg As his star rose, something else was happening: Dennis’ mainstream acting aspirations seemed to be receding. Perhaps it was because his acting itch was being scratched, but it was unusual: the mythical cross-over from X-rated to regular films was the holy grail to most of the actors in porn. Even today, when I speak to the pioneers from the early years, they still talk about the forlorn hopes they once had that their sex film success might pave the way into a successful TV or feature film career. Dennis appeared to be different. In interviews, he insisted that he was content making porn, and had no desire to do anything else: “I have no pretensions of becoming a star,” he said. “I already tried legitimate acting and wasn’t making any money. Acting is a tough business. You can spend your whole life going to every casting call and only wind up with small character parts or walk-ons when you’re 80 years old. As an actor in these adult films, I do my best making them good. I’m serious about my work, but not about myself where I believe I’m going to be a star.” I asked his friends about whether this was true and most agreed, saying that one of the reasons for this was that Dennis was always a person who valued his privacy. He liked that that he was able to be a genuine star in the X-rated world, yet remain unknown outside of it at the same time. The adult film industry at the time was a strange beast: on the one hand, it had its own star system, awards, and media, and you could be idolized and admired in that world. Yet outside of that, it was also relatively anonymous – which was exactly what Dennis wanted. From speaking to the various people that Dennis knew in the 1970s, it was clear that Dennis liked to compartmentalize the different parts of his life. He had his family, then there were the adult filmmakers and actors, the gay bar and club scene, his music friends in jazz clubs, the antique gun club members, his clients – both for his carpentry work and his escorting, and there was his partner, Joey. He liked having different personas for different people – often contradictory ones: Here was a loner who enjoyed collecting guns by himself, but was the popular center of attention in social gatherings. He was devoted to his partner Joey, but make sex films and did sex work on the side. He was gay, but was a big star in straight sex movies. He was the epitome of cool, but was also an old-fashioned nerd, his favorite films being ‘Casablanca’ or ‘Captain Blood’, and the only music he listened to were 1920s jazz records. And everyone loved him and said he was thoughtful, kind, and gentle, but they also found him enigmatic and wished they could know him better. Dennis was also afraid of the two worlds colliding, and possibly facing public shame as result. He admitted this in an interview saying, “I have a fear of doing modelling jobs and having them find out a month or two later who I am and what I am doing in this business.” And then there was his family – his mother and brother who had moved down to live in Richmond, Virginia. Dennis visited them regularly. Richard remembers one visit: “Dennis came down, and asked me whether I’d ever been to the Lee Art Theater, which was the local adult film cinema there. I thought it was a strange question and I wondered why he asked it. Later, he told me he appeared in adult films, and I realized that his films had been playing in that theater and that he’d been on all the posters. My mother found out about it at the same time. I know she wasn’t too happy about it but she just didn’t say anything. That’s what she was like.” Richard had been curious when Dennis told him about the X-rated films, and he asked Dennis how he could have sex in front of other people. Dennis said that the nude modeling that he’d done at art school had got him used to it. In the meantime, the movies kept getting bigger. In 1978, Dennis starred in the lead role of Armand Weston’s ‘Take Off’. If any sex film can be described as almost autobiographical of its star, perhaps ‘Take Off’ was it. More intricately plotted that most porn features, it is loosely based on Oscar Wilde’s ‘The Picture of Dorian Gray’ telling the story of Darrin Blue (played by Dennis), a handsome but vain man who is obsessed with remaining eternally young – in his case, by keeping a stag film hidden in his attic. It was a high budget movie involving much of the business’ best talent – both in front of and behind the camera. Dennis received $2,000 for his role, declaring it the biggest, most beautiful porn film ever. And then there was ‘Barbara Broadcast’ – and the scene that introduced me to Dennis. If you’ve seen the film, you’ll already know what I’m talking about. It’s the restaurant kitchen scene. Two actors – Wade Nichols and the incredible C.J. Laing. No dialogue. No music. And no sex either – at least not for the first, and best, part of the scene. Just the industrial kitchen metal clanging in the stifling heat of a New York restaurant kitchen in summer. A restless and curious woman descends a staircase into the sweaty bowels of the building. She happens upon the kitchen. She wanders among the anonymous cooking staff but is invisible to all of them. And then she sees Him, shirtless and sweaty. She circles him smiling. He spots her, and returns her glance with an incredulous, amused gaze. The only noise is the sound of cooking pots banging against each other. These two are at the center of the universe, oblivious to the irrelevant world that circles them. She spies a large metal mixing bowl on the floor. An idea flashes across her mind. She laughs, and kicks the bowl, positioning it beneath her parted legs. She looks back at him, giggling manically. He smiles, his eyes narrowing quizzically like the hero of a low-rent spaghetti western. She starts to crouch over the bowl. The realization of what she might be about to do slowly dawns on him. Years later I spoke to the film’s director, Radley Metzger. He told me he felt dizzy when directing this scene. Barbara Broadcast [https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-vlcsnap-2017-06-21-22h28m49s517.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-vlcsnap-2017-06-21-22h28m49s517.jpg Barbara Broadcast [https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-vlcsnap-2017-06-21-22h34m15s375.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-vlcsnap-2017-06-21-22h34m15s375.jpg In 1978, Dennis traveled to California and Hawaii to appear in one of his last X-rated films, ‘Love You.’ The film was directed by former Hollywood actor and now director, John Derek, perhaps more famous for his marriages to Ursula Andress, Linda Evans, and, Bo Derek. The film featured a small cast, comprising of just Annette Haven, Leslie Bovee, Eric Edwards, and Dennis. John’s wife at the time, 22-year-old Bo Derek, was closely involved in the production – and became its biggest cheerleader when it was made: “‘Love You’ is sexy and erotic,” she told newspaper reporters. “The picture has very explicit sex scenes. It shows everything. It’s the first beautiful erotic, hard core film ever made. I showed it to 600 women libbers in a NOW meeting and they liked it. They said it was not degrading to women. The picture is about love, and you don’t play around with that.” Years later, Eric Edwards’s main memory of the movie was a nude wrestling match between him and Dennis – which he remembers because John Derek insisted they film it again and again. Eric said, “Dennis was a nice guy. Very respectful. We all liked him. But shooting that wrestling scene seemed to last forever, and John Derek seemed fascinated by it. I wondered if he was gay – which seemed unlikely because Bo was there at his side, watching all the time.” Within a couple of years, Dennis had become one of the biggest stars in the adult industry. He’d earned enough money to make himself self-sufficient, which allowed him to pursue his passions independently. For most people in the adult film industry, this represented success. What Dennis didn’t know was that it was just the beginning. * Tune in next time for the concluding part of ‘Wade Nichols: Like an Eagle.’ * Wade Nichols [https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-20360207063922.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/06/RR-20360207063922.jpg The post Wade Nichols: ‘Like an Eagle’ – His Untold Story Part 1: The Early Years – Podcast 152 [https://www.therialtoreport.com/2025/06/08/wade-nichols-2/] appeared first on The Rialto Report [https://www.therialtoreport.com].

Who was the original actor cast in the lead role of the golden age blockbuster, The Devil in Miss Jones [https://www.therialtoreport.com/2015/09/19/devil-in-miss-jones/] (1973)? Not Georgina Spelvin [https://www.therialtoreport.com/2013/05/19/georgina-spelvin/], the talented doyenne of adult films who starred in many pre-video era features, first in New York then in California, and who was the eventual star of the film as ‘Miss Jones.’ No, Gerard Damiano first chose another actress, Sue Flaken [https://www.imdb.com/name/nm0280936/], to fill the role, only to change his mind at the last minute. The movie went on to become one of the biggest hits of the era, making Spelvin one of the most famous of the first generation of porn stars. The sliding doors moment changed Georgina Spelvin’s life forever. But what of Sue Flaken, who was instead relegated to a minor, non-speaking part in the film? Who was she, why did she miss out on the life-changing role, and what happened to her afterwards? The answer includes supporting involvement for Allen Ginsberg, Tommy Lee Jones, Georgina Spelvin, Harry Everett Smith, Al Gore, the Chelsea Hotel, Joe Sarno, Terry Southern, industrial quantities of hallucinogenic drugs, and much more. This is the untold story of ‘Sue Flaken.’ This podcast is 35 minutes long. ——————————————————————————————————————————- sliding doors /ˈslīdiNG dôrs/ plural noun definition: a seemingly insignificant moment that has a profound and lasting impact on a person’s life or the trajectory of a relationship. These moments, while often unnoticed, can dramatically alter the course of events and significantly affect future outcomes. * What if Franz Ferdinand hadn’t been shot, and the event that triggered World War I hadn’t happened? What if young Adolf Hitler hadn’t been rejected twice from the Academy of Fine Arts in Vienna, and instead had gone on to became an artist instead of pursuing politics? Butterfly-effect inflection points which, if they had turned out differently, might have caused a different world. Or another example, only less consequential perhaps: what if Gerard Damiano [https://www.therialtoreport.com/2022/01/16/gerard-damiano/] hadn’t decided at the last moment to promote Georgina Spelvin [https://www.therialtoreport.com/2013/05/19/georgina-spelvin/] from her role as the cook for the cast and crew on The Devil in Miss Jones [https://www.therialtoreport.com/2015/09/19/devil-in-miss-jones/] (1973) and instead given her the starring role? The story is oft-told: Damiano was shooting the follow-up to Deep Throat [https://www.therialtoreport.com/deep-throat-50/] (1972) in a converted apple-packing plant in Milanville, Pennsylvania, and needed someone to provide craft services for the long-weekend location shoot. He offered the job to Chele Graham, an ex-Broadway chorus girl who’d featured in stage productions such as ‘Cabaret’, ‘Guys and Dolls’, and ‘Sweet Charity’ before being timed-out by her age – she was a near-ancient 36 by the time of ‘Miss Jones’. Chele accepted the catering job, needing the money for a film collective that she and her lover were setting up in lower Manhattan. Damiano had already hired someone for the all-important lead role of Miss Jones – a newcomer named Ronnie, an actress he was raving about – but by the time production started, Chele had become Georgina Spelvin and assumed the role of Miss Jones, instantly creating one of the more memorable characters in adult film history – as was borne out by the contemporary critics. Roger Ebert wrote in the Chicago Sun-Times, “‘The Devil in Miss Jones’ is good primarily because of the performance of Georgina Spelvin in the title role. Miss Spelvin, who has become the Linda Lovelace of the literate, is something of a legend. There burns in her soul the spark of an artist, and she is not only the best, but possibly the only actress in the hardcore field.” Addison Verrill writing in Variety wondered, “If Marlon Brando can be praised for giving his almost-all in ‘Last Tango in Paris,’ one wonders what the reaction will be to ‘Miss Jones’ lead Georgina Spelvin? Though she lacks the specific sexpertise of Linda Lovelace and she’s no conventional beauty, her performance is so naked it seems a massive invasion of privacy.” So the sliding doors of history closed shut, Georgina was unexpectedly immortalized as an improbable sex star, and Damiano had another sex film hit. History is often written by the protagonists, but truth is most often found in silence and the quiet places. Everyone else has told their story about the film, so what about Ronnie, the original Miss Jones? When Georgina was catapulted into A-lister sex-film stardom for the next decade, Ronnie disappeared without a trace. She became a parenthesis in a footnote to the appendix of adult film history. Who was she, and what happened to the original Miss Jones? Devil in Miss Jones [https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-Snip20250421_3.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-Snip20250421_3.jpg * Gerry Damiano had rated Ronnie highly: “She’s really a dynamo,” he said to Harry Reems, the movie’s male lead, who wrote about her in his autobiography, ‘Here Comes Harry Reems’ (1975). Gerry continued, “She’s voluptuous, she’s got a wild afro-cut, and an ass that just won’t quit. Ronnie was enthusiastic about being given the Miss Jones role too: “I can fuck and suck better than any woman doing this shit,” Harry said that she told everybody. But the reason that Georgina took her place has been a mystery for decades. In fact, there are three versions on record. Firstly, in her autobiography, Georgina claimed that her getting the part was all a happy accident: she’d been meeting with Damiano to discuss the food: “We discuss how to feed 17 people for three days on $500. An actor arrives to read for the part of Abaca. Gerry asks if I would mind reading the part of Miss Jones with him since I’m just sitting there.” She remembered that Damiano was so impressed with her read-through, that he offered her the part. Harry Reems’ recollection was different, claiming Georgina was only given the lead role when Ronnie was diagnosed with a dental issue two days before the production started: ‘“How’s Ronnie going to do blow jobs with an impacted wisdom tooth?” I asked Gerry. Good question. Gerry threw in the dental floss. Ronnie was out and Georgina Spelvin was in.” The last version comes from fellow ‘Miss Jones’ actor, Marc Stevens – aka Mr. 10½ on account of the supposed length of his furious fescue. Marc remembers the last-minute change the most prosaically in his memoir: “(The film’s production had) the usual whining, ego-tripping, and petulance endemic to film. Ronnie decided, all of a sudden, she didn’t want the starring role. (Instead) she wound up blowing me in another scene.” It’s true. Whatever issues Ronnie had with motivation – or her teeth – she did in fact appear in ‘Miss Jones’, in a smaller, sex-only role, partnering with Georgina Spelvin to give head to Marc Stevens. She appeared in the credits as ‘Sue Flaken.’ It remains among the only feature film footage of Ronnie, and she’s an electric presence. (She appears as ‘Terri Easterni [https://www.imdb.com/name/nm2797809/]‘ in The Birds and the Beads [https://www.imdb.com/title/tt0180532/reference/?ref_=nm_flmg_job_1_cdt_t_1] (1973), and supposedly made brief appearances in two other X-rated films: Lloyd Kaufman [https://www.imdb.com/name/nm0442207/]’s The New Comers [https://www.imdb.com/title/tt0144463/reference/?ref_=nm_knf_t_2] (1973) (tagline: “The First X-rated Musical!”) and the one-day wonder, Sweet and Sour [https://www.iafd.com/title.rme/id=524f3335-f319-40fa-82b9-e6ee6bb72b2e] (1974), but both are virtually unfindable today.) In ‘Miss Jones’, she’s filmed in a single spaghetti-western-style close-up. Her face is framed by a thicket of coal-black curls, and punctuated by roundly incredulous eyes to which an immaculately-applied smokey-eye contrasts with Georgina’s 1970s porno-blue eye shadow. Ronnie smiles a lot, showing off detergent-white teeth like a suburban neighborhood picket fence. Sexually, Ronnie steals the scene, performing enthusiastically, selfishly even. Her sequence exists within the film to show Miss Jones making up for having been a virgin for too long – but, just like Ronnie’s unknown life, the scene exists in its own microcosm, unconnected to anything that precedes or follows it. And then Ronnie disappears behind the sliding doors, and is never seen again. Sue Flaken [https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-1973-Devil-In-Miss-Jones-0056.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-1973-Devil-In-Miss-Jones-0056.jpg Sue Flaken [https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-1973-Devil-In-Miss-Jones-0050.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-1973-Devil-In-Miss-Jones-0050.jpg Sue Flaken [https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-1973-Devil-In-Miss-Jones-0038.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-1973-Devil-In-Miss-Jones-0038.jpgSue Flaken (left), and Georgina Spelvin, in ‘The Devil in Miss Jones’ (1973) * Whenever I met people who’d been present on set with Ronnie for those few short days – people like Gerry Damiano, Georgina Spelvin, Harry Reems [https://www.therialtoreport.com/2022/04/17/harry-reems-3/], Levi Richards [https://www.therialtoreport.com/2018/08/26/levi-richards/], and others – I always made a point of asking about her. Remarkably, given that they’d all known her for such a short period several decades earlier, everyone still had a memory or two concerning her. And many of their memories were the same: Ronnie was beautiful, exciting, but unpredictable, wild, feral even. She wasn’t part of their usual repertory group of performers, but rather teetered around the edge, maverick and unpredictable. No one had any idea what her second name was. Then I met Jason Russell [https://www.imdb.com/name/nm0751220/], former husband of New York’s first porno star, Tina Russell [https://www.therialtoreport.com/2016/08/21/tina-russell/], and sometime adult film actor himself. I interviewed him in his Florida home towards the end of his life, when his world-weary, tobacco-stained cynicism betrayed his every statement. “Ever hear about ‘Rabid Ronnie’?” he non-sequitured with a jaded sigh at the end of the day. I perked up. You mean the Ronnie who was in ‘The Devil in Miss Jones’? Jason mumbled back, “Yep, that one. She was a trip. Whacko. Insane. I wrote about her in Tina’s book. Only worked with her once. It was on the set of Joe Sarno [https://www.imdb.com/name/nm0765430/]’s Sleepyhead [https://www.imdb.com/title/tt0128536/reference/?ref_=nm_flmg_job_1_cdt_t_10] (1973). Crazy chick. Fierce. Almost killed the whole film.” I pulled out a copy of ‘Porno Star’ (1973), Tina Russell’s autobiography that Jason had ghost-written, and found the description of events. “Halfway through the first day, one female member (Ronnie) of the cast announced, “I’m tripping my brains out!” She proceeded to flip out to the point where she caused herself and many others a lot of pain, and cost the budget at least $2,500 to $3,000. We had to find a replacement for her role overnight, and re-shoot with the new girl all that we had managed to shoot the first day. This was only the second time that such a situation had occurred in the three years that we have been working in the business. We all went home with grueling tension headaches.” What happened exactly, I asked? “Acid, I’m guessing. She dropped a tab, and she was gone. She lost her mind. She was like a wild horse. Flared nostrils and violent eyes.” Did you ever come across her after that? “Nooo. She vanished. She’ll be long dead now, I’m sure. She was an acid casualty, you know? People were experimenting with drugs a lot back then. They’ve always done that. But we didn’t knew the limits, so we were guinea pigs for some of the newer drugs. And some people paid the price. I guess Ronnie was one. I still think about her some times, and wonder about how she ended her days.” Sue Flaken [https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-Sleepyhead-01.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-Sleepyhead-01.jpg * The film that Jason mentioned, ‘Sleepyhead’, was Joe Sarno’s first as an explicit sex film director after a prolific decade making films that managed to insert tense erotica into humdrum black and white existential kitchen-sink dramas. When I heard Jason’s story, Joe was still alive and we were friendly. I called him, and he remembered Ronnie and the ‘Sleepyhead’ incident well. Joe recalled he’d been wary of the newly-formed X-rated acting fraternity, and decided he needed to hear them all read before casting any of them. So he held an old-fashioned open-call audition in his apartment, and Ronnie turned up. Good actors in porn in the early 1970s were as scarce as a polyester suit without a wide collar, and Ronnie immediately stood out to him as a talent. She was attractive too, firecracker small, with an impish grin. Joe was impressed and took Ronnie aside. They hit it off, and she distractedly told him she’d attended all the prestigious acting schools in the city, and was now fielding a number of promising theater offers. Joe was skeptical of her claims but offered her a principal role in his plot-driven narrative, and Ronnie accepted gratefully. Two weeks later, the Ronnie who turned up for the first day on set was a different character: “She seemed drunk, stumbling around and acting unsteady. Her make-up was a mess and she clearly wasn’t prepared for the day’s shoot. So I sat her down and waited to see if she got any better – but it just got worst. I’ve never understood drug-taking so I was bewildered when she started hallucinating and arguing angrily with invisible people who weren’t there. I was worried about her sanity. We tried shooting a few scenes with her and made some progress, but then she got out of control and I had to let her go. We started again next day – this time without her.” A few months after I spoke to Joe, he was clearing out cabinets in his apartment and came across a collection of old paperwork and ephemera relating to his career: scripts, actor resumes, and stills. In amongst the ancient history was a familiar face. It was Ronnie’s headshot – with her full name and performing experience. Her address, albeit several decades old, was also shown: The Chelsea Hotel [https://en.wikipedia.org/wiki/Hotel_Chelsea], New York City. Sue Flaken [https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-ronne_copy.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-ronne_copy.jpgSue Flaken’s headshot * My first call to Ronnie wasn’t a positive one. At first, I couldn’t even figure out why I should call her. There were plenty of other people whose film experiences were more significant and meaningful, so why Ronnie? Then one day, her headshot fell out of a file in front of me and so I decided to act on impulse. Another sliding door moment perhaps. I found a phone number for her online. She was no longer living at the Chelsea, having seemingly married and moved down to Florida many years before. I called and introduced myself, and gave a reason for my interest. You know: the usual waffle we’ve all approached complete strangers with – you start by asking about acting in a famous pornographic film decades earlier, you throw in a reference to a potentially mind-altering mushroom-mind-trip that people still remember, and close by telling them about a recently-discovered headshot lying long-forgotten in a drawer. In other words, a pretty standard opener. I heard a sigh at the other end of the line before a tired voice: “And so… the call I’ve always expected but forever feared is happening right now,” she said with resignation. Silence, followed by more waffle from the caller, this time the predominant theme being backtracking, reversal, and retraction. Ronnie sighed again. “I like your English accent,” she offered eventually. I explained I was intrigued with knowing more about her early life and her brief involvement in adult film. “And what is going to happen to the information?” she asked. It didn’t have to go anywhere, I said. This was a just curious inquiry about a small part of her life. “I don’t want it told,” Ronnie said. “It’s not something I share with people. Even with those who are close to me.” I left my email address in case she changed her mind – and the conversation ended. A few months later, I received an email from her: “I’ve wrestled with the idea of sharing details from my life. I felt that they were too private to share with you. Hence, the hesitation and late response. But I have come to realize that your heart and spirit are in the right place, and therefore I wish to help you. “But know this: the only reason I’m telling you is that you are anonymous and therefore I don’t feel it will have any effect on my life. You’ll be like a canyon that I whisper into. The sounds will disappear with the wind and leave no trace.” So we started talking. “What is it you want to know?” she asked. Chelsea Hotel [https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-Chelsea_Hotel.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-Chelsea_Hotel.jpgThe Chelsea Hotel, New York City * Ronnie’s life started in 1947 – born in a Manhattan hospital, raised in East Rockaway on Long Island, and by her teen years becoming a self-described Jewish American Princess. Her father was heavily involved in community theatre, and occasionally ventured into film, once appearing in a movie with Kim Novak. Ronnie caught the performing bug from an early age and joined every stage production she could find. For as long as she could remember, she wanted to be a famous movie star. Dad took note and enrolled her in elocution lessons followed by acting schools in the city throughout her high school years. Ronnie showed talent, and was granted a place at the Stella Adler Studio where she studied for several years. Opportunities started to spring up that were as exciting as they were varied: she modeled for Spiegel’s Catalogue, she was hired as a singer in a Harry Belafonte show that premiered at a Brooklyn night club, she did skits on stage with Bette Midler, took acrobatic dance lessons with Joe Price, the legendary director of the Dance Master Association, she did voiceover work with Chuck McCann, and found time to briefly date both preeminent teen idols of the time, Paul Anka and Frankie Avalon. As some of the work was in Hollywood, she got a local manager in California, attorney Jimmy Talbort, who also managed Redd Foxx, but Ronnie’s main interest was in live theatre, preferring drama plus the occasional comedy. In 1966, she embarked on a Theater Studies degree at Queen’s College, at the same time she was attending the Herbert Berghof Acting Studio. She started dating her high school boyfriend, a smart Long Island kid named Jimmy who got accepted into Harvard. Ronnie visited him often and hung out with his two roommates, Al and Tommy Lee. They’d later become future politico, Al Gore, and ‘Fugitive’ actor, Tommy Lee Jones. The four of them formed an inseparable group for a short while. Ronnie spoke proudly about her young life, still amazed that the people she mixed with would become such successful professionals in various roles. “We had the world at our feet,” she smiled. * And then the craziness began. To quote Ronnie quoting Charles Dickens, “It was the best of times, it was the worst of times”. It started in 1969, after graduating Queens College, when she moved to Manhattan to pursue an acting career. I asked how serious she’d been about acting? It was always my intention and interest to act. In retrospect, I realized later that it was more of an interest than an intention. I’d been fortunate. Up until then, everything had been handed to me on a plate. I had a lot of acting offers and I thought life was easy. But I started to let people down. What does that mean? I wasn’t a serious person. I was a wild child. Your teen years don’t strike me as having been crazy. So… was there a turning point? Yeah. I met Harry Smith [https://en.wikipedia.org/wiki/Harry_Everett_Smith]. Harry Everett Smith, the artist and poet? (laughs) Yes, though he was more than just an artist-poet. He was crazy, an eccentric, larger-than-life persona who’d been one of the most prominent figures of the Beat Generation scene in New York. He made underground films, was an early hippie and a spiritual guru, he put out records, collected esoteric objects… and he collected people too. Harry Smith [https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-Harry-Smith-01.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-Harry-Smith-01.jpgHarry Everett Smith Drugs were important for him as well, weren’t they? He was heavily into anything mind-expanding, and he loved the creative possibilities of hallucinations. And you knew him well? Very. At first, I was a member of Harry’s ‘tribe’. Then we became close and we spent a lot of time together. He lived in the Chelsea Hotel, and after a while I moved in with him. We lived together in the legendary Room 731. I got caught up in all the craziness that surrounded him. And that included the drugs and the mind-trips. What was the Chelsea like at the time? People romanticize it now because so many famous artists, singers, and writers lived there. And it’s true, people like Patti Smith, Mapplethorpe, Hendrix, and Bob Dylan were there when I was there, so that was exciting. But in reality, it was also an insane asylum for incorrigible drug addicts. Sadly, I fit right in. I became a big druggie. A major drug user… How so? I spent all my time experimenting with drugs. Hallucinogenics: LSD, mushrooms, acid, peyote. I did it all. All the time, too. I think I must have dropped about 500 tabs of LSD that first year. As I say, I never make the same mistake twice: I make it six or seven times, just to be sure. How were you supporting yourself? I survived off very little. Harry didn’t have much money, but he was so well-known that even when he couldn’t pay his rent, the Chelsea management couldn’t touch him or throw him out. His notoriety also meant that the best drugs came our way too. Did you mix with the other Beats? Oh sure, it was a close group. Harry’s best friend was Allen Ginsberg [https://en.wikipedia.org/wiki/Allen_Ginsberg], so we spent a lot of time with him. Through them both, I got to know Gregory Corso [https://en.wikipedia.org/wiki/Gregory_Corso], the poet. Gregory lived in the Chelsea too, so I’d sometimes take refuge in his place when it got too much with Harry. The problem was that Greg struggled with alcohol and drugs as well – because he was so lonely and damaged. It was a loving, talented, but strange and dysfunctional gang. Sue Flaken [https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-Allen_Ginsberg_26_Gregory_Corso2C_New_York_City2C_May_1985-1.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-Allen_Ginsberg_26_Gregory_Corso2C_New_York_City2C_May_1985-1.jpgAllen Ginsberg, Gregory Corso What was it like being on the inside of their group? On the one hand, I was excited. These were men whose works I had read and whose philosophy and thought I had admired. And all of sudden, I was there, listening to them, learning, and being part of their lives. But then there was a melancholic desperation to them as well. Why so? They were older than people I’d hang out with – Harry was about 25 years older than me, Gregory was, maybe, 15 years older. By the late 1960s, they were men without a time. They’d preceded the whole hippie thing: in fact, their philosophy had, in part, led to the hippies, and they were revered by the young counter-culture – but now they also felt old and marginalized. So they doubled down, and became more into drugs and drink. Were you doing much theater during these years? As much as my drugged-out state would allow…. I did plays all over town, many of them small, experimental productions for no money, and I continued my acting training at the La Mama Plexus workshop. That was a notoriously difficult, taxing, emotional process… even if you were in control of your faculties. And I was spiraling… How long did you live at the Chelsea? I got my own room there after a while. I became involved with another writer, Terry Southern [https://en.wikipedia.org/wiki/Terry_Southern]. He’d written a racy book, Candy [https://en.wikipedia.org/wiki/Candy_(Southern_and_Hoffenberg_novel)] (1958), and then became a screenwriter of a bunch of counter-culture films…   Dr Strangelove (1964), Barbarella (1968), Easy Rider (1969), and others. What was he like when you knew him? He was basically an alcoholic and an amphetamine user, and was becoming less reliable as a result… which meant he was less in-demand with filmmakers and so he had money problems. We partied hard. In 1970, Southern wrote a novel, Blue Movie [https://en.wikipedia.org/wiki/Blue_Movie_(novel)], about the production of a high-budget pornographic film which starred major movie actors. Yeah, he was fascinated with sex films. Obsessed. He talked about them all the time. When the first sex films started appearing in theaters – I mean real sex – he took me off to a Times Square cinema, and we went to see one. He watched them all the time. I dunno, perhaps he normalized the whole idea for me. ‘Blue Movie’ was the result of his interest, but it was a flop and didn’t sell well. It was a shame, because he was an incredible talent. Stanley Kubrick loved his work. Terry Southern [https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-Terry-Southern-01.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-Terry-Southern-01.jpgTerry Southern (left), with Rip Torn * If Ronnie spoke about being a casualty of the 1960s drug culture, the 1970s were the brutal hangover where life really went downhill for her. I asked her about whether ‘The Devil in Miss Jones’ was her first direct experience of working in the adult film industry. At first, she brushed off the questions blaming drugs and a poor memory. I have a very scant recollection of my days in the porn industry. At that time, I was still using LSD heavily, and that creates these large black… blank periods in my memory. Do you remember if it was your first sex film experience? I have a feeling that it was not. Whether I had made a feature, or two, or whether I just some of those individual scenes that were shot on a hand-held portable camera, I’m not sure. I think I did something before ‘Miss Jones.’ Sue Flaken [https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-1973-Birds-and-Beads-0002.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-1973-Birds-and-Beads-0002.jpg Sue Flaken [https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-1973-Birds-and-Beads-0005.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-1973-Birds-and-Beads-0005.jpgRonnie in ‘The Birds and the Beads’ (1973) – where the same head shot is shown on the table. Ronnie is credited as ‘Terri Easterni’ – a reference to boyfriend, Terry Southern What do you remember about the ‘Miss Jones’ shoot? I recall Gerard Damiano, the director. He was kindly and paternal – and serious too. I think that I was supposed to play the lead, but something changed at the last minute. I don’t recall what it was. One story was that a problem with a wisdom tooth? I have no recollection of that. Do you remember the scene that you did with Georgina Spelvin? Hardly. I do know that on set we improvised a lot, and I remember helping Gerry set up a scene or two by sketching out detailed improv scenarios. I was used to doing that at the Stella Adler Studio so that was straight forward. Do you remember anyone else from the production? I recall Georgina as being an older, matter-of-fact, no-nonsense broad. I remember Harry, the lead in the film. I think I worked with him in a few films. It’s a blur. I also recall a beautiful petite French girl that I acted with. Who would that be? Did you remember being aware of the commercial success of ‘Miss Jones’? Only much later. A few years later in fact. I had no idea what the name of the movie was when I made it, but it dawned on me much later.  I was horrified when I realized. I’ve still never seen it. Did anyone ever recognize you from your appearance in it? Not that I’m aware of… Do remember appearing in any other adult films? I vividly recall a director named Joe Sarno who I worked for. He lured me in by insisting that his films were soft porn, not hard porn. He liked me, so he gave me a prominent acting role. I liked him too. On the first day, we were shooting a scene and I was wearing a white fur coat with black spots. I was tripping on LSD. A really heavy trip. Long story short, I cost Joe at least a full day’s shoot because of something I did. What was that? It’s painful to remember. I did the sex scene, and I had fur all over my face. Then I took some of the white substance… use your imagination… and I smeared it all over the camera lens. I didn’t know what I was doing. I was hysterical. That didn’t go down well… Do you remember Joe’s reaction? Joe was the nicest, most down-to-earth person. I had great fondness for him. He took me aside and told me that I did not belong on a porno set. He said that I was a nice Jewish girl, and had too much class to be in this environment. He told me to go home and think seriously about what he said. And what was your reaction? I did what he told me to. And I don’t believe that I ever graced a porn set again. Sue Flaken [https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-DMJ-03.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/04/RR-DMJ-03.jpg * The most painful part of Ronnie’s life came after the X-rated films. As she tells it, she was still living at the Chelsea Hotel, struggling to find work, and dealing with increasingly severe addictions. With dwindling options, she was kicked out of the residence, and resorted to couch-surfing at the apartments of people she barely knew. Eventually she turned to escorting and dealing drugs. It was a dangerous combination. If she wasn’t risking her life being beaten up by johns or drug gangs, she was getting into trouble with the law. She suffered physically, was arrested on a semi-regular basis, and was banged up for weeks in prison, but somehow managed to avoid lengthy jail sentences. Ronnie’s discomfort talking about it was plain: “Short story, I turned to sugar daddies and more dealing. I still have a hard time sharing many of the shady experiences from my past. They’re both shameful and immoral. I was raising holy hell. Those were the bad old days for sure.” Remarkably she still acted on occasion, mainly in theatrical productions but sometimes in bit parts in movies such as ‘Lords of Flatbush,’ (1974) notable for early starring roles for Sylvester Stallone and Henry Winkler. The film earned her SAG membership, but it was too late: “Much to my regret, I had to accept it just wasn’t in the cards for me. The promise I had shown had evaporated – and together with it, all the opportunities, hope, and dreams. I was lost.” It came to a head when Ronnie experienced a complete breakdown, both physical and emotional, followed by period of mental illness. Recognizing that she needed a complete change to save her life, she moved to Florida and trained as a teacher, gaining a doctorate from the Union Institute & University, an organization was based out of Cincinnati, Ohio. She married, and resumed a limited acting career finding work in commercials and training videos for bodies like the Miami Police Force. Her resume’ at the time described her as being available for look-a-like work too – for anyone wanting a Sophia Loren, Marlo Thomas, Isabel Allende, Judge Judy, Bobby Gentry, Barbra Streisand, and Marsha Clark. She became a Certified Drama Teacher, school counselor, and motivational speaker who spoke about her first-hand experience with drug addiction, mental illness, and recovery: “I truly have gone through a complete transformation in my life. It was a time that I was not proud of,” she repeated to me. * I kept in touch with Ronnie ever since our first calls. We’d exchange emails, holiday cards, and invitations to visit each other.  Mostly we’d talk about what was going on in the world or in our lives. Sometimes she asked random questions about people in the adult film industry: “How is Harry Reems? How does he feel about the films he made?” She’d ask about Joe Sarno. “Where does Joe live now? Is he happy? Please give him my love if you speak with him again. And, most of all, thank him for getting me out of the porn business.” Occasionally, we returned to talking about the details of her early life, and we pondered the vagaries of existence. The various sliding door moments that could have completely changed the way her life turned out. And she still couldn’t fathom just how her life would’ve been different if she had been ‘Miss Jones.’ Once she called me and asked me about the plot of ‘The Devil in Miss Jones’: “It’s about a woman who lived her life as an innocent virgin, but she wants to have a second go-round before she goes to hell – is that right?” Yes, I replied. The tagline of the film was ‘If you have to go to hell, go for a reason.’ Ronnie replied: “I’m the opposite of her then. I’d like a do-over where I don’t do all the crazy things.” * Every so often, I asked her if she’d be interested in talking more publicly about her life experience in adult film? Could I write an article about her life, for example? The answer was always the same: “I am so ashamed of it all. It’s embarrassing. And no one would be interested anyway.” I assured her she had nothing to feel guilty about, and that she’d lived more interesting lives than a room full of other people. “Wait until I die,” she’d laugh. “Then I really don’t care what you do.” Are you serious, I asked? “Yes,” she said. “Wait until then. After that… well… my life has to have counted for something, it has to have had some meaning. It wasn’t just a serious of sliding door moments, right?” And then she’d sign off her emails in the same way she always did: “Life is good. You must take care. Ronnie.” * Ronnie passed away in February 2025. * The post Sue Flaken’s Sliding Doors – The Mystery of the Original Miss Jones – Podcast 151 [https://www.therialtoreport.com/2025/04/27/sue-flaken/] appeared first on The Rialto Report [https://www.therialtoreport.com].

In the first part of our interview with Susan Hart [https://www.imdb.com/name/nm0366539/], we heard about Sue’s early years in 1970s Los Angeles, growing up in a strict Catholic family, running away from home when she was 15, and becoming involved in a bad relationship. She escaped – into the army of all places, before finding a different kind of home, of sorts, as a prolific performer in the early adult video industry. But what is unusual and remarkable about her story is that Susan is willing to tell it at all. As you will hear in this concluding episode, Susan left Los Angeles in the late 1980s and pursued a professional career, living in constant fear of being confronted by her past. When we contacted her, we had no idea that it would bring out many of her worst fears. This is Sue’s story. You can hear the first part of our interview with Susan Hart here [https://www.therialtoreport.com/2025/03/09/susan-hart/]. This podcast is 60 minutes long. —————————————————————————————————————————————- SUSAN HART: ADULT INDUSTRY PHOTOS Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-77.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-77.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-70.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-70.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-68.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-68.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-60.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-60.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-55.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-55.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-57.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-57.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-53.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-53.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-54.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-54.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-51-1.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-51-1.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-46.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-46.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-38.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-38.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-37.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-37.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-31.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-31.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-22.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-22.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-14.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR-Susan-Hart-14.jpg * The post Susan Hart – Confidences and Confidence, Part 2: Podcast 150 [https://www.therialtoreport.com/2025/03/16/susan-hart-2/] appeared first on The Rialto Report [https://www.therialtoreport.com].

Perhaps one of the less obvious aspects of The Rialto Report is that it may lead to the impression that people involved in the adult industry forty or fifty years ago are all pretty comfortable talking about their pasts and have led serene lives, free of incident, since they stopped making sex films. After all, our podcasts and interviews are filled with people talking pretty openly about their experiences. In fact, quite the opposite is normally the case. You see, the truth is that the majority of people we approach – actors, directors, producers – are usually rather keen to not go public with their memories. And that’s understandable: despite the length of time that’s passed since their images and names were splashed across posters and theater screens, the reality is there is still a very real stigma in current day America for something they did all those years ago. The result is that, sadly, these voices are largely absent from the selection of oral histories that we present in The Rialto Report. So all that begs the question: why on earth did Susan Hart [https://www.imdb.com/name/nm0366539/] agree to an interview? You see, Susan was a prolific actress in the California video explosion of the mid 1980s. She appeared in a hundred or so movies and countless spreads in men’s magazines. She had an interesting backstory too: a Latina from Los Angeles, the product of a Catholic upbringing, she joined the Army to break free. Then, she became an adult film performer and later was approached to take part in a sting operation against the sex film business. She was pretty, happy-looking, popular, and we always wondered about her. So we sent her a letter. Little did we realize that she’d spent the last 40 years terrified that her past would catch up with her, and that her biggest nightmare was someone like us contacting her and asking her to reveal who she was, and is. But we spoke, and Sue agreed to tell all – including exploring how she feels about it today. She still can’t quite understand why she did adult films, but we hope she’s happy about this interview. This podcast is 60 minutes long. —————————————————————————————————————————————- SUSAN HART: PERSONAL PHOTOS Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Girl-6.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Girl-6.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Girl-2.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Girl-2.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Kid-Baseball.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Kid-Baseball.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Pre-Teen-Bikili.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Pre-Teen-Bikili.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-5.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-5.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Army-2.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Army-2.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-4.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-4.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-Lakeside-3.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-Lakeside-3.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-Lakeside-2.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-Lakeside-2.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-Bike.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-Bike.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-Beach.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-Beach.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-6.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-6.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-Lake-Small-Animal.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-Lake-Small-Animal.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-2.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-2.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-Fancy-Dress.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-Fancy-Dress.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-Baseball-Cap.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-Baseball-Cap.jpg   Susan Hart [https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-Teased-Hair.jpg]https://www.therialtoreport.com/wp-content/uploads/2025/03/RR_Sue-Young-Woman-Teased-Hair.jpg * The post Susan Hart – Confidences and Confidence, Part 1: Podcast 149 [https://www.therialtoreport.com/2025/03/09/susan-hart/] appeared first on The Rialto Report [https://www.therialtoreport.com].

Previously on Chasing Butterflies – Stories of Cubans in Exploitation-Era Florida: After Dolores Carlos [https://www.therialtoreport.com/2024/10/13/dolores-carlos/]’ retirement from acting in South Florida nudie films in the late 1960s, she still remained close to her circle of Cuban filmmaker friends, and none more so than José Prieto [https://www.therialtoreport.com/2024/10/27/jose-prieto/], Greg Sandor [https://www.imdb.com/name/nm0762075/], and Rafael Remy [https://www.imdb.com/name/nm1394747/]. They would still meet regularly, and all three took an active interest in her daughter Marcy [https://www.therialtoreport.com/2024/11/03/marcy-bichette/]’s well-being. From time to time, they would joke about the fortune teller that the three men had consulted when they escaped from Cuba. Greg Sandor had moved out the California and had indeed found the money and respect that had been predicted for him. Similarly, José Prieto had found a degree of fame and notoriety following the success and outcry that followed the release of films he made, such as Shanty Tramp [https://www.imdb.com/title/tt0060968/reference/] (1967) and Savages from Hell [https://www.imdb.com/title/tt0063554/reference/] (1968). The only exception to the mystic’s forecast was Rafael Remy: he’d fared well and was not seeing the trouble and strife that had been foreseen in his future. Rafael had lived a lower profile existence but with more regular work than his two friends: due in part to his jack-of-all-trades skill-set and willingness to get involved in anything, he was always in demand. He was a cameraman, editor, lighting, gaffer, soundman, and production manager who was cheap and could always be relied on to deliver a decent job. But as the 1960s turned into the 70s, the film business was changing: the innocent exploitation films that had greeted them when they arrived from Cuba were giving way to more explicit sex movies whose legality was questionable, and Rafael was suddenly being offered an altogether different kind of job. Over the last twenty years, I’ve tracked down and spoken to many people involved in the Florida film business of the 1960s and 1970s. Their overlapping personal histories reveal an untold chapter of adult film history – and the hidden role that Cubans played in shaping it. These are some of their stories. This is the concluding episode of Chasing Butterflies, Part 4: Rafael Remy’s story. You can listen to the Prologue: Dolores Carlos’ story [https://www.therialtoreport.com/2024/10/13/dolores-carlos/] here, [https://www.therialtoreport.com/2024/10/13/dolores-carlos/] Part 1: Manuel Conde’s story [https://www.therialtoreport.com/2024/10/20/manuel-conde/], Part 2: José Prieto’s story [https://www.therialtoreport.com/2024/10/27/jose-prieto/], Part 3: Marcy Bichette’s story [https://www.therialtoreport.com/2024/11/03/marcy-bichette/]. With thanks to John Minson, Tom Flynn, Ronald Ziegler [https://www.imdb.com/name/nm0956140/], Leroy Griffith [https://www.imdb.com/name/nm0341563/], Veronica Acosta, Marcy Bichette [https://www.imdb.com/name/nm0080961/], Mikey Bichette, Lousie ‘Bunny’ Downe [https://www.imdb.com/name/nm0235905/], Mitch Poulos [https://www.imdb.com/name/nm0693677/], Sheldon Schermer [https://www.imdb.com/name/nm0771088/], Ray Aranha [https://www.imdb.com/name/nm0033068/], Manny Samaniego, Barry Bennett [https://m.imdb.com/name/nm2692189/?ref_=tt_ov_st_1], Randy Grinter [https://www.imdb.com/name/nm0342492/], Herb Jeffries [https://www.imdb.com/name/nm0420370/], Tempest Storm [https://www.imdb.com/name/nm0832626/], Chester Phebus [https://www.imdb.com/name/nm0679705/], Michael Bowen, Norman Senfeld [https://www.imdb.com/name/nm0784231/], Richard Falcone [https://www.imdb.com/name/nm0265968/], Lynne O’Neill [https://www.imdb.com/name/nm8591608/], Something Weird Video [https://www.somethingweird.com], and many anonymous families and friends who have offered recollections, large and small, over the years. This podcast is 45 minutes long. * 1.    RAFAEL REMY, THE FORTUNE-TELLER’S PREDICTION – AND EMILE HARVARD In the late 1960s, Rafael received a called from someone called Emile Allan Harvard [https://www.imdb.com/name/nm0692374/]. In a strong Eastern European accent, Harvard explained that he was new to Florida and was looking for a film man: someone who knew how to put a movie together, someone who knew where to find actors, crew, locations, and equipment. Harvard had heard that Rafael could be the man to assist him, and that Rafael was a man with expertise who’d built an extensive network of contacts in the years since he’d arrived penniless from Cuba. But Rafael was wary: he asked around about this new arrival in the state, but could find no one who knew anything about Harvard. Rafael was right to be cautious: Harvard was a mysterious hustler with an unusual history. Emile Harvard was a Romanian Jew, who’d started his adult life in 1930s Bucharest training to be a cameraman. And then in the build-up to World War 2, Harvard became a spy for the British. It was a volatile period in Romania as the country’s fascist dictatorship was aligned to Nazi Germany and the government was suppressing any opposition by force. Despite the dangers, Harvard loved the subterfuge. He was given a cover profession to conceal his espionage activity which was to be a newsreel cameraman for British Movietone News. He used these media credentials to gain access to key government sites and report on them to his British paymasters. It was a perilous assignment, but one he performed with alacrity. Romania was a key supplier of the oil for the Nazi war effort and so he also gathered information on the refineries and transport routes. Then he captured footage of Romanian military operations, like airfields and supply depots. But Harvard never seemed happy doing the same activity for long, and soon he was suggesting ways that he could sabotage Nazi efforts. His motivation was less born out of deeply-held ideological convictions, but rather out of a love of excitement and intrigue. A later acquaintance described Harvard as “an enigma, rather than a real person, a shady, shape-shifting person with many identities, a man who you felt you could never truly know.” The useful life of a spy is a limited one – and in 1943, his cover was blown when Harvard apparently blabbed to someone he shouldn’t have and was reported to the authorities. Life In Romania was suddenly impossible for him so his British employers moved him to Tel Aviv, a city then in British-administered Mandatory Palestine, where he got married and had a daughter, Esther. When the war ended, Harvard obtained Israeli citizenship before moving to Canada, first Montreal, then Toronto, where he started a career as a TV producer and director. He formed several small-time companies, including Harvard Productions, ostensibly to make television series for the American market. His wartime activity may have been over, but in truth Harvard still enjoyed living a partly fictional life, and with each career move, he inflated the achievements on his resumé which he generously shared with the press. He frequently spoke about working for MGM for twelve years, producing content for NBC, CBS, and Pathé, and having a successful career in Hollywood – none of which was true. Emile Harvard [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-Snip20240912_2.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-Snip20240912_2.jpg A few years later, without any major credits to his name, Harvard decided on a radical change of direction: after a vacation to see his brother in Miami, Florida in 1960, he was inspired to announce that Harvard Productions was planning a Florida-themed club in Toronto to be called ‘Oceans 11’, after the Rat Pack movie that had hit the cinemas that year. It was to be an exclusive, high-end, rich-members-only place, which he described as a “health and entertainment” club. The Florida theme meant palm trees, a glass sun-roof, a 500-seat restaurant, nightly entertainment, and a swimming pool with a state-of-the-art wave machine – all to be housed on the top three floors of a Toronto office building. “It will be just like Miami Beach,” Harvard told the newspapers, who lapped up the project with excitement filling pages of breathless newsprint. It was ambition on a grand scale, the kind that comes from someone with a big imagination, not to mention someone whose own money is not at stake. Sure enough, the project failed when it was the funding failed to materialize, and so for Emile Harvard and Harvard Productions, it was back to square one. Emile Harvard [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1960-06-25-National_Post_Sat__Jun_25__1960_1.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1960-06-25-National_Post_Sat__Jun_25__1960_1.jpg Just like the wartime spy Harvard had been, the next years were spent donning various different identities and promoting different business schemes. Some seemed serious, others were harebrained. They included hawking time-share properties, selling Jacuzzis, and offering dubious healthcare products (“at last a cure from embarrassing itching!” read the copy for one innovative cream.) Perhaps part of his success came from his appearance: Harvard was a tall, distinguished, and earnest-looking man who projected intelligent seriousness. But in 1967, Harvard was in the news again, this time posing as a doctor, prescribing Belltone hearing aids, and persuading pensioners to sign up for exorbitantly-priced payment plans. He was arrested and charged for his involvement in the fraudulent scheme. Each time he was embroiled in a scandal, Emile Harvard somehow managed to wriggle out, and re-emerge a year or two later involved in another dodgy deal. The irony was that he was never afraid of the media. Quite the opposite: he was first in line to give newspapers interviews and quotes, just as long as they spelt his name correctly. * 2.    EMILE HARVARD AND ‘FEAR OF LOVE’ (1970) And so, in the late 1960s, on the lam from his latest scam, Harvard turned up in Miami, in his early 50s, with his wife and two teenage children. This time he decided to return to his first love – filmmaking. A cursory glance at the local theater scene in South Florida convinced him that he needed to speak with the most powerful and influential player in town – and that was Leroy Griffith [https://en.wikipedia.org/wiki/Leroy_Griffith]. Rafael Remy [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1973-02-21-The_Miami_News_1973_02_21_1.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1973-02-21-The_Miami_News_1973_02_21_1.jpg Griffith’s theater business had come a long way since he moved to Miami in the early 1960s and bought the Paris Theater staging burlesque shows with Tempest Storm [https://en.wikipedia.org/wiki/Tempest_Storm] before meeting Dolores and moving into the sexploitation movie business with men like Manuel Conde [https://www.therialtoreport.com/2024/10/20/manuel-conde/]. By the early 1970s, Griffith’s empire had grown to 12 adult theaters, including the Paris, Roxy, and Gayety theaters, and 15 adult book stores in the area, and he claimed to have produced 30 softcore adult films too. By now, Griffith was a well-known figure in Miami, though he was at pains to point out, in an interview in 1969, that he made films that specialized in ‘nudity’ and not ‘exploitation.’ ‘Exploitation’, he explained carefully, referred to “torture, fetishes, and lesbianism”, subjects that he just wouldn’t touch. Leroy Griffith [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1969-02-24-The_Miami_News_Mon__Feb_24__1969_.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1969-02-24-The_Miami_News_Mon__Feb_24__1969_.jpg Griffith was intrigued by Emile Harvard: here was an older, seemingly sophisticated European, who boasted of a successful Hollywood career and wanted to make films for him to exhibit. Griffith told Harvard to speak to José Prieto and Rafael Remy, two men who would give him a crash course download in Florida low-budget filmmaking. So Harvard did, and came away impressed with both the Cubans’ experience. But Harvard explained he wanted to make a different kind of flick. He didn’t want to join the crowded field of slasher films, biker movies, or nudie-cuties: he wanted his films to go further and push the envelope. In short, he wanted to put sex up onscreen. Real sex, sex that happened before your very eyes. Harvard formed a company, set up a small office, and offered José and Rafael in-house jobs working on his upcoming sex film projects. José was unsure. He didn’t seek film work as much as Rafael, happy to pick up temp jobs outside of the movie business when he needed money and wait for movies that interested him. He also wasn’t sure about making more explicit sex films. They were still illegal, right? He’d had enough of hiding and fleeing from government interest, and now he preferred to keep his head down and enjoy a quiet life. But Rafael felt differently. This could be a new income stream: the films would be cheap, so there would be more of them. That would mean more regular and reliable paychecks. He was in, and he persuaded José to give it a try as well. In early 1970, Harvard – using the nom de porn of ‘Emilio Portici’ – made their first feature, Fear of Love [https://www.imdb.com/title/tt0164585/reference/] (1970). Harvard directed, José shot it, and Rafael, the production manager, corralled the available Cuban film crew from Calle Ocho to help out. It was a cash-in imitation of a recent sex documentary called Man and Wife [https://www.imdb.com/title/tt0066055/reference/] (1969) which had been hugely successful. ‘Fear of Love’ was a similarly pseudo-instructional tale of marital problems caused by sexual woes that are resolved by a marriage counselor – and it too played well in Leroy Griffith’s adult theaters. Rafael Remy [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-Fear-Of-Love-02.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-Fear-Of-Love-02.jpg * 3.    ‘FEAR OF LOVE’ – THE LIVE SHOW Leroy Griffith took note of the film’s success, and had an idea: he had a string of former burlesque theaters, so he suggested that Harvard convert the movie into a risqué live performance piece. Griffith even promised he’d finance a theatrical run on the stage at the Roxy, one of his Miami theaters. Fear of Love [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1970-09-30-The_Miami_News_1970_09_30_25.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1970-09-30-The_Miami_News_1970_09_30_25.jpg Harvard liked the idea, and the stage show opened in September 1970, advertised as “an educational drama in two acts.” The cast included one Barry Bennett [https://www.imdb.com/name/nm2692189/?ref_=tt_rv_t0], a fresh-faced 25-year-old New Yorker, in the central lead role of the sex counselor. Barry had studied acting at college, and Harvard had taken a shine to the kid, offering him the chance to star in movies soon to be made by his newly-formed company. Barry had just proposed to his girlfriend, and wasn’t sure that sex movies were for him, but he jumped at the chance to have a starring role in this high-profile stage production. One of the first people in line to see ‘Fear of Love’ onstage at the Roxy was the Miami Beach mayor. He wasn’t impressed. He reacted by writing a letter to the Dade County Grand Jury declaring that the play showed “live complete nudity, simulated sexual intercourse, and homosexuality among females.” As if that wasn’t bad enough, it also had an “extremely thin plot.” At first, it seemed that the play’s run would be allowed to continue as a Miami Beach Municipal Judge ruled that it was not obscene. But then the performance was busted, and Leroy Griffith and six cast members were arrested when they left the stage. They were ordered to get dressed, and taken to Miami Beach police station where bonds were set at $2,500 each. Griffith was booked for operating a building of lewdness, and the actors for lewd and lascivious conduct. Barry Bennett was arrested, even though he was the only actor who didn’t take off his clothes, and he was charged with participating in an obscene performance. Rafael Remy [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1970-09-24-The_Miami_Herald_1970_09_24_54.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1970-09-24-The_Miami_Herald_1970_09_24_54.jpg Rafael Remy [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1970-10-06-The_Miami_Herald_1970_10_06_22.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1970-10-06-The_Miami_Herald_1970_10_06_22.jpg The performance resumed two days later, whereupon the vice squad burst in – and arrested everyone all over again. Griffith protested loudly as he was led away, “People are being robbed out on the street, and yet you guys are in here?!” To which the arresting officer replied: “I think that people are getting robbed every time they watch this performance.” The result of the legal kerfuffle were two 30-day jail sentences and a $600 fine for Griffith, $300 fines for the naked cast members, and a $150 fine for Barry Bennett. When I spoke with Barry years later, he remembered that it was a serious moment for the cast. They were facing jail sentences for simply acting on stage. In October 1970, Leroy Griffith reluctantly took the play off the schedule, and his theater returned to playing adult films. As a sidenote: Griffith was getting beaten up from all sides. In 1971, he stopped showing adult films in some of his theaters so that he could exhibit the feature film ‘Che!’ (1969) starring Omar Sharif. It was an intentionally noncommittal version of the Cuban revolution that recounted Che Guevara’s transformation from doctor to political revolutionary in Fidel Castro’s coup. The movie greatly displeased many of the Cubans in Miami, especially those in the filmmaking community who’d worked on Griffith productions – and they retaliated in force. There were bomb threats, physical violence, and even an incident when a Cuban turned up at Griffith’s office brandishing a gun. It was all too much for the theater owner, and so Griffith decided to go back to the safer activity of exhibiting sex films. * 4.    ‘FEAR OF LOVE’ – ON TOUR! Meanwhile, Emile Harvard wasn’t entirely disappointed at the controversy caused by the ‘Fear of Love’ production: he’d arrived in Miami with a splash, made some money, and was now ready for the next step. Griffith and Harvard felt there was more mileage to be obtained from the stage play so they convinced Jack Cione [https://www.pbs.org/video/long-story-short-leslie-wilcox-long-story-short-jack-cione/], owner of the Forbidden City Theater in Honolulu to put on ‘Fear of Love’ in a two-week run starting January 7th, 1971. Harvard flew over to Hawaii, and took some of the same actors from the Florida production, including Barry Bennett. Rafael Remy [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-Snip20240912_13.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-Snip20240912_13.jpg Harvard was smart enough to know he had to play up the play’s socially redeeming features, so he gave interviews in Hawaii claiming that “a group of eight psychiatrists came to see the show and they said they were sorry it couldn’t have been seen on-stage 30 years ago – as it would have saved a lot of marriages.” But Harvard wanted to have his cake and eat it: when ‘Fear of Love’ opened, billed as “direct from Miami Beach”, it was also described as “a graphically nude work” and “the most shocking we’ve seen.” The campaign worked: ‘Fear of Love’ was a sell-out twice a day for its engagement. It was reviewed in the local newspapers as “a two-act play, seven actors, serio-comic dialogue, and a lot of simulated sex,” and the TV news ran several features on it. From Hawaii, Harvard took the play to San Francisco when it had a run at the Basin Street West Theater. Harvard heard that the local cops had been tipped off about the play’s run in Hawaii, and they were primed to bust it – so he tweaked the title, calling it ‘For the Love of Love’ in an attempt to throw them off the scent. It was a good idea, but the police were wise to his tricks and the play was busted on opening night, and three of the cast were cited for obscenity. The theater manager panicked and canceled the rest of engagement. Harvard was undeterred and just moved it down the road to the Encore Theater, where it opened in April 1971. Harvard downplayed the hiccup, maintaining that the Basin Street Theater shows had just been rehearsals intended for a private audience. Rafael Remy [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-Snip20240912_4.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-Snip20240912_4.jpg Once again, Harvard granted interviews to the local newspapers, such as the San Francisco Chronicle, and once again he exaggerated the success of the play, saying that it had played for two months in Miami, seven weeks in Honolulu, and would transfer to Washington DC next. Now he boasted his own experience included “33 years of Hollywood and 122 major feature-length productions, eight television series, awards from the Vatican and the Edinburgh Festival, and a track record that included working with Universal, Paramount, and 20th Century Fox.” He claimed the reason he used a fake name ‘Emilio Portici’ was not because his stage play was pornographic, but rather because he was in the middle of “negotiating a major deal with MGM” and didn’t want to jeopardize it. All the bluster and boasting worked: the stage show was a hit again, and additional midnight performances were added to the twice-an-evening offering. Rafael Remy [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1971-01-09-Honolulu_Star_Advertiser_1971_01_09_17.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1971-01-09-Honolulu_Star_Advertiser_1971_01_09_17.jpg At the end of the San Francisco run, Harvard decided to retire the play: it had had a good run, but it was expensive to produce, flying and accommodating his actors and crew, and paying for potential legal fees to defend lawsuits. He decided to focus his efforts and money on his fledgling film studio. In mid-1971, he returned to Miami, and dedicated himself to his new activity: making sex films. * 5.    RAFAEL REMY AND EMILE HARVARD – THE MIAMI XXX FACTORY So you may be wondering what this all has to do with Rafael Remy. After all, this is meant to be his story. When Harvard got back to South Florida, he called Rafael, now his go-to film man, and explained the plan – and he wanted Rafael to be his right-hand man. His business model was simple: with the help of Leroy Griffith, Harvard would finance and produce sex features and shorts that he would send to labs up in New York for processing where they would then be distributed to theaters across the country. Harvard set up a studio at 1238 North Miami Avenue, and formed an inner circle of trusted associates that would deliver an inexpensive, rinse-and-repeat formula that would maximize profits. This small group consisted of Rafael, who would also be production manager, main cameraman, and editor; Jack Birch [https://www.imdb.com/name/nm0083262/], a pockmark-faced wannabe actor who had aspirations to be a Jack Palance-style on-screen heavy, and Jack’s girlfriend Carol Kyzer [https://www.imdb.com/name/nm0175485/], a quiet, blonde, part-time model who’d done topless layouts for Bunny Yeager; Brad Grinter [https://www.imdb.com/name/nm0342489/?ref_=nm_pdt_pa], a veteran of the horror film scene in Florida who had just made Flesh Feast [https://www.imdb.com/title/tt0065727/reference/] (1970), a terrible movie whose one claim to fame was its star, 1940s bombshell Veronica Lake; Brad’s son Randy [https://www.imdb.com/name/nm0342492/], a 22-year-old who would be Rafael’s assistant; Harvard’s daughter, Esther [https://www.imdb.com/name/nm6467284/], who was given the job of office manager; and finally there was Barry Bennett, the young actor who would take the lead performing role in the films. Carol Connors [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-IMG_9462.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-IMG_9462.jpgCarol Kyzer, photographed by Bunny Yeager Barry had an additional role – and a critically important one: he was the one who’d take the films to the labs in New York to get the film stock processed and the prints cut. It was a risky assignment: the U.S. Supreme Court still hadn’t come up with an agreed-upon definition of obscenity and so interstate transportation of pornography was a dicey proposition with offenders facing years of imprisonment. But Barry wanted the extra cash that Harvard promised him – so he figured he could deal with the dangers. Due to the potential illegality of what they were all doing, most of the group took different names to mask their involvement: Harvard reverted to his ‘Emilio Portici’ identity, Rafael Remy became ‘Roberto Raphael’ – if he had a credit at all, Brad and Randy Grinter used any name – just as long as it wasn’t theirs, and most of the time it wasn’t, Jack Birch had a variety of Western-macho names like ‘Jack Colt’ or ‘Michael Powers’, Carol Kyzer became ‘Carol Connors’, a name that she would use for the next decade, and Barry Bennett took the name ‘Marc Brock.’ Harvard would be the nominal director of the films, but in practice, he would share the responsibility with Rafael. Rafael Remy [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1971-02-15-The_Miami_Herald_1971_02_15_47.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1971-02-15-The_Miami_Herald_1971_02_15_47.jpg For the next three years, Harvard’s studio churned out sex films on a regular basis: titles like Penny Wise [https://www.imdb.com/title/tt0254674/reference/] (1970), The Good Fairy [https://www.imdb.com/title/tt0261713/reference/] (1970), The Eighteen Carat Virgin [https://www.imdb.com/title/tt0164557/reference/] (1971), Mary Jane [https://www.imdb.com/title/tt0143624/reference/] (1972), Your Neighborhood Doc [https://www.imdb.com/title/tt0154015/reference/] (1972), School Teachers Weekend Vacation [https://www.imdb.com/title/tt0127802/reference/] (1972), and Female Stud Service [https://www.imdb.com/title/tt0276957/reference/] (1972). Most of them were made according to a template loosely agreed with Leroy Griffith: each feature film would be roughly 65 minutes long, and would cost less than $15,000. Most were shot in Harvard’s small studio at 1238 North Miami Avenue, though they would occasionally venture out into fancy houses like a Coconut Grove mansion belonging to a friend of Harvard, Sepy Dobronyi. Rafael Remy [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-Snip20241109_3.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-Snip20241109_3.jpg Rafael Remy [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-Mary-Jane-01.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-Mary-Jane-01.jpg Nearly all of them starred Barry Bennett, who, as ‘Marc Brock’, quickly became Florida’s leading male porno star. He wasn’t the most charismatic performer you’d ever seen but he could be relied upon to use his improv and comedy skills to fill the holes in the scripts. Many of the movies also featured Jack and Carol, who soon became a married couple. All the films did ok but none were spectacular. Rafael worked hard behind the scenes, and nearly all of the crews consisted of his old Cuban friends, including José Prieto who came onboard for an occasional job. Randy Grinter remembers Rafael telling him that the softcore sex film business In Florida had been built by Cubans, and now it was Cubans who were responsible for the hard-core films too. And then in 1972, Deep Throat [https://www.therialtoreport.com/deep-throat-50/] became a national smash-hit: it had cost $25,000 and had made several millions for the New York mob that distributed it. It was essentially a New York film: the financing came from the Brooklyn-based Peraino family, and the director, stars, and crew were mostly New York-based. But Emile Harvard didn’t view it that way: ‘Deep Throat’ was shot in Miami, making ample use of the exteriors and locations that he normally used like Sepy Dobronyi’s pad, and two of his featured players, Jack and Carol, both had roles in it. For someone who had labored for the previous two years to make money in the business, Deep Throat’s wild success felt a kick in the teeth to Harvard. He was mad and resolved to get even. Crew members who worked with him remember him shouting, in his thick eastern European accent, about the fact that the success should have been his. Harvard reacted swiftly, increasing production, widening his distribution, and expanding his business: the least he could do was to cash in on the new bigger market that ‘Deep Throat’ had created. * 6.    XXX, AFTER ‘DEEP THROAT’ (1973) Emile Harvard and Leroy Griffith were strange bed-fellows, but their relationship was symbiotic and so they had regular contact about the sex film market – and how to exploit it. For example, Griffith suggested ripping off ‘Deep Throat’ by making a movie called Dear Throat [https://www.imdb.com/title/tt0135361/reference/] (1973) saying that people would see the ads in the newspapers but not realize that they were two different films with similar names. Harvard obliged, making a cheap knockoff starring, who else?, Marc Brock and Carol Connors. It was blatant plagiarism, and so Harvard used a different name for the film – P. Arthur Murphy [https://www.imdb.com/name/nm5741702/?ref_=tt_rv] – fearing reprisals from the mob owners of ‘Deep Throat.’ It was one of an increasing number of different identities he started to use, as the legal heat increased around adult films. Thirty years after the war in which he’d hidden his identity to work undercover, Harvard still seemed incapable of living a simple life as himself. Rafael Remy [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-Dear-Throat-01.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-Dear-Throat-01.jpg Not that he’d grown afraid of publicity: Harvard gave a number of interviews to newspapers and magazines. In one of them, he used the name ‘Bruno’ – much to the amusement of the Cuban crews. One interview quoted ‘Bruno’ (“in a guttural European accent”) as someone who “used to be big in Hollywood” and that he was “only turning out this stuff between engagements.” The reporter was even invited to Harvard’s studio where he reported that all the technicians were Cuban, and that “Bruno’s studio contains, as scenery, an office desk, a couch, and a bed: the three essentials for a porno movie.” While he was there, Bruno warned him not to speak loudly as he was making a “quality movie” and the actors “are very sensitive about what they have to do.” Harvard may have been unhappy about missing out on the ‘Deep Throat’ deep cash, but he was still doing pretty well – a fact that was evident to many of the Cuban crew, as one of them remembered: “Emile was a very different guy to us Cubans, but he liked us and always had work for us. He paid by the hour in cash at the end of each day, but we never hung out with him or anything like that. And we could all see that he was making big money.” It was true: Harvard made no attempt to hide a pretty luxurious lifestyle – he lived on Palm Island, a man-made development, situated between the city of Miami and its glamorous suburb of Miami Beach. The area was famous for its celebrity residents, and neighbors had included gangsters Al Capone and Meyer Lansky, and the non-gangster, TV presenter Barbara Walters. Harvard drove to work every day from his large house in a new cherry-red Buick Centurion, and often talked about eating at Miami’s finest restaurants. It may have irritated some of the Cubans who worked for Harvard, but Rafael Remy was happy. As Harvard’s number two, he was faithful to a fault, despite the difference in the money they were earning. Rafael had become the glue who held everything together and he kept people happy. He ran a tight ship, making sure they had a right-sized team for every shoot, choosing actors and crew carefully, and making sure everyone was paid. In 1973, Harvard confided in Rafael that he felt fatigued. Worse he’d started feeling pain in his joints and bones. He figured he was just getting old – he’d recently turned 60 – and said he wanted to take a step back and delegate more of the filmmaking to the others, like Rafael himself, Marc Brock, and Jack Birch. When I spoke to Brock many years later, he remembered the change in how Harvard operated: “Emile was a control freak, and then all of a sudden, he handed the reins over to the rest of us, and so we started to alternate the directing duties.” * 7.    ‘DADDY’S RICH’ (1973) – AND THE (NEXT) CUBAN REBELLION In October 1973, Harvard got Marc Brock to shoot his latest film, Daddy’s Rich [https://www.imdb.com/title/tt2266703/reference/]. Marc was a reliable sex performer, having appeared in most of Harvard’s features and loops, but the Cubans on the crew knew he was a sloppy operator, being regularly picked up by the cops for petty misdemeanors like shoplifting, a small stash of weed, and minor DUIs. Marc put together a rough budget for the movie, but it was higher than normal. The film wasn’t materially different from the rest of Harvard’s efforts, but somehow Marc convinced a distracted Harvard that he needed more money this time. For a start, there were ten crew members – more than double the normal number – and there was an inflated cast of nine. Then there was the location: Marc arranged with Sepy Dobronyi that they would shoot most it in the same Coconut Grove house where ‘Deep Throat’ had been shot the previous year. Rafael argued with Marc that there was no need for the exterior location, but Marc was adamant. And then Marc withheld payment from the Cuban crew after the first day. Harvard had always treated everyone fairly and so the crew were suspicious Marc promised that everyone would be paid the following day, but the Cubans were unconvinced, a clash erupted, and they nearly came to blows. Rafael Remy [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-Snip20241108_2.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-Snip20241108_2.jpgSepy Dobronyi’s house, venue for the filming of ‘Deep Throat’ (1972)… and ‘Daddy’s Rich’ (1973) One of the crew that I spoke to years later remembered what happened next: “One of the guys, a grip on the shoot, took exception at Marc Brock after that – big time,” he said. “This grip was a new guy, and he was a hothead who liked to overreact. Next day, when the grip didn’t show, I called him up, and he just said, ‘Fuck Brock’. When I told him to do the right thing and come to the set, he threatened to call the cops and tell them about the shoot. We didn’t really believe him but we kept an eye out for the police that day.” Sure enough, halfway through filming, Rafael noticed a cop car slowly coming up the road towards the house. He shouted in Spanish “Get the hell out of here now!”, and the crew scrambled their equipment together, much to the confusion of the semi-clad actors. Remarkably all eight crew on set that day made it out over the rear hedge, and down the lane, where they jumped into cars and fled the scene. They left Marc with Stan, his assistant director, as well as six actors, in the house – who were all arrested. Marc and Stan were charged with manufacturing obscene material, while the actors were charged with lewd and lascivious behavior, and indecent exposure. Sepy Dobronyi, the owner of the house, wasn’t helpful, making a statement to the newspapers that he was playing tennis at a nearby park at the time – and that the actors had broken into his home at which point his house guests had called the police. Rafael Remy [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1973-10-31-Tampa_Bay_Times_Wed__Oct_31__1973_.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1973-10-31-Tampa_Bay_Times_Wed__Oct_31__1973_.jpg Harvard, fearful of negative publicity for his business, called Leroy Griffith for help. Griffith snapped into action dispatching his main attorney, Alan Weinstein, to the precinct. Weinstein had been getting Griffith out of scrapes for years, including helping out when ‘Fear of Love’ had been shut down. Weinstein got everyone out of jail – and threw in an indignant statement to the press: “The police had no right to be on the premises,” he said. “There were more cops involved in arresting people taking pictures than there are on a murder case. Someone’s priorities are out of whack.” The arrests caused a mini-media storm in the Miami newspapers, and for a few months, Harvard had to curb back his movie production schedule. Harvard blamed Marc Brock: he’d once viewed Brock as a protégé and an investment for the future, and so he’d ignored Marc’s legal indiscretions because he was essential in transporting the films up to the labs in New York, as well as being a reliable performer in front of the camera, but Harvard had had his fingers burned by this. When Harvard looked into the finances of the film and saw that Marc had been using the inflated budget to line his own pockets, pilfering money for himself, he called Marc and told him he was fired. * 8.    TROUBLE IN WONDERLAND By 1974, it seemed that the immediate hardcore boom after ‘Deep Throat’ was starting to subside, and some of the players who’d been involved were looking to go legit – or at least, go more legit than being underground producers of hardcore smut. Leroy Griffith still played Harvard’s XXX films in his theaters as a cash cow source of income, but he was branching out in other directions. For one thing, he decided to revive the burlesque variety shows that he’d pioneered in Miami in the 1960s, this time opening a big production, ‘Hello Burlesque’ in Miami Beach with strippers, comedians, and music acts. Leroy Griffith [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1974-11-15-The_Miami_News_1974_11_15_26.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1974-11-15-The_Miami_News_1974_11_15_26.jpg Harvard was looking to diversify too. He’d acquired theaters of his own, including the Cameo at 1445 Washington Ave, and when he and Rafael Remy had to put their sex films on hiatus, they decided to make a different kind of film. Or as Harvard bellowed one day, “Let’s make a serious movie!” Harvard’s daughter, Esther, had written a sensitive script called ‘Of Gentle Heart’ about an escaped convict who befriends a young boy. It was originally intended as a touching character study, but when Harvard got his hands on it, he couldn’t help himself. His exploitation instincts returned, and he renamed it Fugitive Killer (aka Fugitive Women) [https://www.imdb.com/title/tt0137624/reference/] (1974). Rafael was on hand as always to oversee the production. When the film was released, after a gentle opening on a wholesome and bucolic farm, it turned into a rape and murder exploitation film. Marketed with the catchphrase, “Once he started, he couldn’t stop! If he didn’t rape you, he killed you,” the film was a bizarre mess, and despite being distributed by Harry Novak’s Boxoffice International Pictures, Inc., it failed to raise much interest. Fugitive Women [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1975-12-12-Clarion_Ledger_Fri__Dec_12__1975_.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1975-12-12-Clarion_Ledger_Fri__Dec_12__1975_.jpg It turned out that the film’s lack of success was the least of Harvard’s concerns. They say that bad news comes in threes, and it was certainly true for Harvard in 1974. He’d already scaled back his sex film production as a result of the bust of ‘Daddy’s Rich’, when he lost his son, Roy, who died after a short illness. Then, Harvard received an explanation for the fatigue and pain he’d been experiencing: he was diagnosed with bone cancer. He began treatment immediately, and told Rafael they had to put all filmmaking on hold. Another surprise awaited him though. In April 1975, the FBI turned up at his front door to arrest him: they’d been tipped off by a source that Harvard had been transporting pornographic films between Miami and New York. Two films were specified in the indictment: ‘Valley of the Nymphs’ and ‘Ball and Chain’, which were described by the FBI spokesperson as “really raunchy stuff.” Harvard faced five felony charges relating to “substantive conspiracy counts of interstate transportation of obscene matter,” two of which carried penalties of five years in prison. Arrest warrants were issued for three other people: two of them were Harvard’s New York associates, Charles Abrams and Sidney Levine, who had taken delivery of the films over the years when Marc Brock smuggled them into the city. Both Abrams and Levine were taken into custody. But the final arrest warrant was for Rafael Remy – except that Rafael got away. Somehow, after Harvard was arrested, he got word to Remy and told the Cuban of his arrest. Remy drove straight to Miami airport and left the country, flying to Santo Domingo in the Dominican Republic, to avoid the Feds catching up with him. What nobody realized – not Harvard nor Rafael – was that the FBI source, the person who had alerted the authorities to Harvard’s pornography operation, was actually Marc Brock. After Brock had been arrested on the set of ‘Daddy’s Rich’ – and then fired by Harvard, he’d panicked. He already had a string of minor arrests to his name, and now feared that this time the judge would throw the book at him. So Brock decided to get his revenge on Harvard, and bought some protection for himself, by spilling the beans on how Harvard’s sex film business worked. Brock laid out how he personally shipped films to the New York labs, where prints were struck and shipped to theaters across the country. In return for singing, Brock was granted immunity from prosecution. Three months later, Remy tried to slip back into Miami. He didn’t want to involve family, so he needed someone to stay with. Of all the people he could have contacted, he called Marc Brock, unaware that Brock was working with the FBI. And so, when Remy landed at Miami airport, they were waiting for him. An additional charge of fleeing arrest was added to Rafael’s woes. Rafael Remy [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1975-07-11-The_Miami_News_1975_07_11_5.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1975-07-11-The_Miami_News_1975_07_11_5.jpg As for Harvard, he was understandably nervous: he was the ringleader and owner of the business, the man controlling all the moving parts, and the mastermind behind the operation. So he did what he always did when he was in a bind: he hustled. Harvard told the Judge that his bone cancer was terminal, and that jail time would be dangerous to his health. He said that the real criminals were actually the two aging New Yorkers, Abrams and Levine. They were the ones who distributed the films far and wide, whereas he was just a cog in the machinery. In short, Harvard pleaded guilty and offered to testify for the government. The Judge consented, and Harvard was set free. [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1975-11-19-The_Miami_News_1975_11_19_5.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-1975-11-19-The_Miami_News_1975_11_19_5.jpg After a life of bluffs, double bluffs, and downright lies, this time Emile Harvard was telling the truth about his health. His bone cancer quickly got worse, and in 1976, his health deteriorated. He died that August. Rafael Remy was eventually let off when the charges against him were dropped. Marcy Bichette, the daughter of his old friend Dolores Carlos, had put on a rock show to raise some money for his legal costs which made the ordeal easier. Marcy Bichette [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR2-mem_000037.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR2-mem_000037.jpgMarcy Bichette But he was now in his early 50s, and he’d had enough. Within the previous two decades, he’d gone from having a promising career in films in Cuba, working on global productions like ‘The Old Man and the Sea’ (1958) and ‘Our Man in Havana’ (1959) to fleeing Cuba to escape Castro’s revolution, and ultimately making a home in Florida sex films – all the way from the softcore tease days to now being arrested for hardcore films. He often joked that he couldn’t escape the fortune teller’s prediction that had foretold trouble and strife for him, but he consoled himself that he’d lived a full life. Now he wanted the easy life. * 9.    AFTERMATH And so, the late 1970s marked more or less the end of the roads for the band of Cuban filmmakers who had revolutionized sex filmmaking in Florida. Dolores Carlos was living a quiet life still working in the bank, married, and with a new family. Her daughter Marcy toured with her band Bitter Sweet, until, by 1981, when the travel and late nights became too much. She’d been on the road for years, hadn’t had a break, and the lounge scene was dying. Marcy was 30, and figured it was time to accept that the acting and music dreams were over. She found a place in Miami not far from Dolores, and they remained close seeing each other often. Later on, they would go see Marcy’s step-brother, Dante Bichette [https://en.wikipedia.org/wiki/Dante_Bichette], play baseball when his team came to Florida. Dante was an outfielder for various teams, and was a four-time All-Star and contender for the Most Valuable Player Award in Major League Baseball. Dolores Carlos [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR2-mem_000026.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR2-mem_000026.jpgMarcy and Dolores, early 1990s Marcy got work as a bartender, giving much of her spare time – and money – to local animal rescue centers. In 1983 she got married. The guy developed a drug problem, and though she stuck around for three years, his habit effectively ended the marriage. They divorced, and she never saw him again. Dolores Carlos [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR3-mem_000029.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR3-mem_000029.jpgDolores and Marcy, mid 1990s From time to time, Dolores hosted reunions for the old Cuban gang, and they’d get together and swap stories. Gradually the reunions became fewer and less well-attended as one-by-one the various friends died. K. Gordon Murray, the exploitation film man, known for re-dubbing and re-releasing foreign fairy tale films for U.S. audiences, and who’d been the first person who had trusted Dolores as a potential filmmaker, ended up getting into trouble with the Internal Revenue Service. They seized his films and took them out of circulation. Murray protested his innocence, but the case dragged and, in 1979, before it could come to a conclusion, he died of a heart attack. As for Manuel Conde, after leaving Florida in the 1960s, he settled in California where he embarked on another stage of his sex film career by producing and directing hits such as The Danish Connection (1974), Deep Jaws (1976), and The All-American Woman (1976). By the early 1990s he’d developed dementia and he died in 1992. José Prieto and Raphael Remy, the two inseparable Cuban friends who’d escaped their homeland after Castro’s takeover, both passed – Raphael, relatively young at 60 years of age, in 1984, while Prieto died an old man, two decades later. In 1996, Dolores became sick and was diagnosed with cancer. The first person she told was Marcy. Marcy was heartbroken, but she immediately called each family member to tell them the news. At first the signs were good, and doctors hoped they had caught everything in time, but it was a false hope. It was a painful, drawn-out process, and Marcy did everything she could to make it easy for her mother. The family rallied – one family member admitted they all pulled together for Marcy’s sake as much as anyone else – but it was to no avail. Dolores died in January 1997. She was 66. Dolores Carlos [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR2-mem_000029.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR2-mem_000029.jpgMarcy and Dolores, mid 1990s * 10.    ENDGAME In 1999, Marcy married her boyfriend, Tom Flynn. They’d met a few years before, and their first date was going to midnight mass with Tom’s mom. They become inseparable: Marcy had found the relationship she’d always wanted. She stopped bartending so she wasn’t out at night and could spend more time with Tom. She took up a new career – perhaps the one to which she was best suited of all: she became a pet stylist and groomer. Marcy Bichette [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR3-mem_000061.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR3-mem_000061.jpgMarcy, dog groomer Tom had proposed to her at the Hollywood Beach Hotel in Miami. The venue was significant: Tom’s parents had met there when they’d both been employed by the hotel years before. Not only that but it was also where Tom had been conceived when his folks had taken refuge in one of the rooms during Hurricane Diana, a fierce tropical storm back in 1960. The hurricane happened to hit Miami the night of Marcy’s tenth birthday. So it made sense that their wedding took place there as well. Marcy Bichette [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-mem_000006.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR-mem_000006.jpgMarcy and Tom, wedding day Marcy and Tom spent the next two decades happily married in South Florida. Tom knew a little about Marcy’s films, and sometimes asked about her past but she didn’t talk about it much. The present and the future were more important to her. Marcy did appear in another film, ‘Marley and Me’ (2007) with Owen Wilson, where she had a fleeting, blink-and-you’ll-miss-it walk on part. And then three years ago, Marcy was diagnosed with colon cancer, the same that Dolores had. Marcy passed away in May 2021 at the age of 70. She was cremated and her ashes scattered at, where else, Hollywood Beach Hotel, where she and Tom had got engaged and married. I took Tom out for dinner recently and told him some of the stories I’d learned about Marcy, her mother Dolores, and the people they’d known and worked with. He was surprised to find out about it all, and shook his head in sad happiness hearing stories about her. Most of all though, he just missed Marcy. “I always wonder what I did in a previous life to deserve her,” he said. “I must’ve done something right somewhere along the way. She was a good person, and she was chasing butterflies to the very end.” Marcy Bichette [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR3-mem_000015.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR3-mem_000015.jpgMarcy and Tom * POSTSCRIPT The United States has always been a nation of immigrants – some of whom, like the Cubans in this series arrived in the country fleeing from adversity. The vast majority have helped drive business creation, fuel innovation, and fill essential workforce needs, all core principles of American values. Their stories are often overlooked, but worse, all too often they’ve been maligned and mistreated. I’m an immigrant, and at the naturalization ceremony, the presiding officer will tell you that now you have become an American, the most important thing you can do is to hold onto where you’ve come from: the culture, the customs, the food, and the way of life. If you can do that, you’re told, you’ll be preserving what truly makes America great. You’ll be keeping this a nation that is welcoming of differences, diversity, and inclusion. People like Dolores Carlos, Manuel Conde, José Prieto, and Rafael Remy who came to this country, and chased butterflies of their own. * Marcy Bichette [https://www.therialtoreport.com/wp-content/uploads/2024/11/RR2-mem_000095.jpg]https://www.therialtoreport.com/wp-content/uploads/2024/11/RR2-mem_000095.jpgMarcy * The post Chasing Butterflies: Stories of Cubans in Exploitation-Era Florida – Part 4, Rafael Remy’s Story – Podcast 148 [https://www.therialtoreport.com/2024/11/10/rafael-remy/] appeared first on The Rialto Report [https://www.therialtoreport.com].