The Other Hollywood (18 page)

JAMIE GILLIS
:
What gets me off most of all is to find something that somebody likes. I like pleasing women. It’s partially a submissive thing and partially a power thing.

People used to joke that Serena and I were sort of like I’d met my match or she’d met her match. Both of us could be dominant or submissive. One time she left a rose and a whip on the pillow—a little of each, you know?

FRED LINCOLN
:
Jamie would get pissed off with Serena and start doing things to her, then another girl would come out and take care of Jamie, then he would tie ’em up and hoist ’em upside down, then they would—I mean, we’d do anything we want. It was so wonderful.

BILL MARGOLD (FORMER PORNOGRAPHER)
:
Jamie and Serena were perfectly matched. They were in love—but they were also in mutual awe and mutual idolization of each other. So they played the S and M game very, very well.

SERENA
:
Would I say that I loved Jamie? Madly. I gave Jamie everything. If Jamie had come to me and said, “Hey, bitch, I want to piss on you. I want to shit on your face,” would I like it? Sure I would—not from every man, but because he’s Jamie and because that’s part of it. This all stems back to, “Daddy didn’t give me enough love.” I hope I will always have that need, that drive to create.

JAMIE GILLIS
:
Once I wiped Serena’s makeup off on the toilet just for a hot scene. It was like, “You filthy little whore. Dirty girl…”

She said, “Well, you know, my father would have done something like that….”

SERENA
:
When I was fourteen my mother fell in love with this man who had just gotten back from Vietnam. She wanted him as a son, if she couldn’t have him as a lover.

My mother was going through menopause, I was going through puberty, and the guy was middle-aged. He lived around the corner, and we just fucked and fucked. I spent most of my time there; it was all right with mom, as long as I brought him over once in a while.

Once, during our lovemaking, he talked me into letting go and letting it happen. Once I stopped thinking about it, I could have orgasms.

FRED LINCOLN
:
Jamie and Serena’s shows were just Friday and Saturday nights at midnight—so we wouldn’t get busted.

SERENA
:
Jamie and I also sometimes switch roles three or four times during lovemaking. We’ll tease each other over our cappuccino, with our looks, with our bedroom eyes. Maybe I’ll stroke my tit in the restaurant. Then we go home and we completely try to ignore it. Then I put on whatever I find sexy—it may be my fuck-me, high-heel sandals and my hot pants, or a negligee—and dance around the room or get out the whip or whatever.

Then I usually totally ignore Jamie. Like last night, I just was looking out the window—while he was fucking me. I was talking to everybody that went by, waving and half crawling out the window, trying to get away from him. Walking around the room, and he’s still in me.

He was calling me a bitch, a cunt, a lot of verbal exchange. There’s a lot of that with Jamie. And I’m just ignoring him with my body, like, “Get away from me, fuck head. You
worm
!”

He loves that, but the next step may be that he tears himself out of me, slaps me across the face, throws me across the bed and rapes the shit out of me. And if we break out of that, we probably look each other in the eye and give each other a real sweet kiss and become lovers.

NEW YORK CITY/MIAMI
1976–1977

TIM CONNELLY
:
I shot my first loop for Jason Russell—Tina Russell’s husband—at Adventure Studios, Gerard Damiano’s film studio in Astoria, Queens. Helen Madigan warned me that Jason was kind of crazy—and he was an asshole on the set, you know, barking at me. And then in the first scene—the first loop I shot—I came on Helen’s face.

I came right in her eye. Blam! My first scene, and Jason starts yelling at me while I’m coming, “Fuck! What are you doing? Not in her fucking eye!”

I’m like, “Oh, fuck.”

Helen was laughing, you know? I mean, where was I
supposed
to come? It wasn’t like it was something I’d ever done before, you know? I mean, if a girl’s giving me head and I’m gonna come, I’m gonna come in her mouth—not on her
face
.

FRED LINCOLN
:
Once Jason Russell started making money and directing, he was not so nice to Tina. And she adored him. She did everything for Jason. Tina never cared who he fucked, but Jason abandoned Tina when he fell in love with Jean Jennings.

This is hard for me because I introduced Jean to Jason. I met Jean Jennings in Florida when Sean Cunningham did some movie down there. We had gotten this director named Brad Talbot, who used to do spaghetti Westerns, and he wrote this supposed spectacular hard-core movie called
Full Moon Murders.

TIM CONNELLY
:
Jason was furious with me. He didn’t want me to do another loop. But someone—it wasn’t Gerard Damiano; I think it was one of the guys on the crew—talked Jason into letting Helen and me do another loop.

I said, “Look, I know you said on her face, but I’ll get the next one right….”

And the next one was fine—I came about four inches lower.

Jason was like, “Okay….”

FRED LINCOLN
:
So Sean brought me down to Miami to work on
Full Moon Murders,
and they brought Harry Reems down there, too. When we got there, nobody could fuck but me and Harry. All the other guys couldn’t get it up. So Sean was like, “My God, I’ve got a really nice script here. I’ve got yachts and airplanes. I’ve got houses with pools and shit. What am I going to do?”

I said, “Just make it arty. You know, we’re here, and you’ve already spent all the money. Let’s just do it.”

Now, Jean Jennings came to us through Lenny Camp. He’s the guy who gave us the girls. He knew all the girls; he was probably giving them all Quaaludes and fucking them all. And he liked them young—they were all underage.

SHARON MITCHELL
:
People were surprised that girls started in porn when they were underage, but I wasn’t surprised because I started underage, you know? I starred in my first feature,
Joy,
when I was seventeen, but I had to wait two years for it to come out. So in the meantime I did loops and stripped.

FRED LINCOLN
:
I was nice to Jean Jennings during the filming. I mean, she was sweet: a beautiful, blond kid. And I guess Lenny Camp got jealous and told Sean, “This guy Freddie Lincoln better stop talkin’ to this girl, or I’m pullin’ all my girls off your movie!”

So Sean came to me and said, “I don’t know what to say….”

I said, “Hey, don’t worry about it. I won’t go near her.”

But what Lenny did was the worst thing you could possibly do—because now Jean wanted to know, “Why was I ignoring her? Why aren’t we flirting anymore? What happened? Am I losing it?”

You know, you’re talking about a kid who’s just discovering her sexuality. And all of a sudden, someone’s not fallin’ for it; holy shit! That destroyed her.

BILL KELLY
:
Lenny Camp used to photograph probably thousands of girls between the ages of fifteen and eighteen or nineteen, and he sampled the merchandise on frequent occasions—even with the young ones.

FRED LINCOLN
:
When Sean told me what Lenny told him, I said, “Okay, fine. I’m not saying another fucking word. But when I leave Florida, that little girl is coming with me.”

Sean said, “Ha, ha, ha.”

I said, “You want to know something, Sean? When it comes to women, there isn’t anything I can’t do, and I don’t give a shit who they are.”

SHARON MITCHELL
:
I was very impatient as a young porno star. When
Joy
finally came out, I got a taste of what it was like to watch myself on the silver screen and see my pussy sixteen feet high—like it should be.

There was a theater in my neighborhood called the Variety Photoplays on Third Avenue and Thirteenth Street that attracted the raincoat crowd—like the Fourty-second Street theaters where the drunk black guys talk back to the movie. You know, this wasn’t a “couples theater”—they used to run second-or third-run porn movies along with rock and roll features. It probably had something to do with “community standards”—so the theater wouldn’t get busted.

So there was actually a bill that read, “Sharon Mitchell/Jimi Hendrix.”

FRED LINCOLN
:
Where did Lenny Camp find them in Miami? Are you kidding me? Thousands and thousands of kids go to Lauderdale and Miami every year. Jean was different—I mean, she lived there, but she was running away from home. And then she, you know, bumped into Lenny Camp.

She was a pretty cool little girl. God, she was so sexy. So beautiful.

SHARON MITCHELL
:
When I was in theaters and watching my movies, I liked the way I looked; I liked everything about it. So I went over to the Variety, and there I was—on-screen—giving John Leslie a blow job.

I was watching myself and looking over at the front or second row, and there was an older gentleman masturbating to me giving John Leslie head on-screen. And in the movie, John was playing an older man.

So as I was watching this older guy jerking off to me, the idea occurred to me, “What if I actually crawled up and started sucking this guy’s dick? That would really be a turn-on!”

He looked like a clean guy—a nice guy. So I was scooting over one seat to the next, jumping across the aisle, watching him masturbate to me. Finally, I crawled up to him and started sucking his dick.

FRED LINCOLN
:
When we finished the movie, I took Jean Jennings and another of Lenny Camp’s girls back to New York with me. He didn’t like losing this girl—the only one who had a brain in his whole fucking stable.

So back in New York, we’re having a birthday party for Jean at Bernard’s, and she asked, “Could you buy me a drink?”

I said, “A
drink
? What are you talking about? Are you
underage
? You’re underage!
Shit
!”

SHARON MITCHELL
:
I was trying to duplicate the pace of the blow job on-screen with the actual blow job I was giving this old guy. He didn’t look
down for a while; he probably thought I was a guy because hustlers would give blow jobs in there for five dollars. And he probably wasn’t gay; he was just there to get off.

So he didn’t look down for a while, but when he did, he looked up at the screen, then looked down again, then up again—and then he went “Ugghhh!” and grabbed his fucking chest!

I went, “Oh,
fuck
!”

He was gasping, and he fell over. He was having a heart attack! So I ran and got one of the gay ushers, and they called 911, and the paramedics came and took him out. As they were carrying him out, he gasped to me in this tiny whisper, “Thank you.”

FRED LINCOLN
:
With Jean, you know, this was child pornography, and I wasn’t into that. We thought these were legitimate girls. I had no idea how old she was. I guess it would all have come back to Lenny Camp, though, because he was the guy that would furnish their fake IDs.

SHARON MITCHELL
:
I don’t know whether the guy lived or died, ha, ha, ha. But I think I certainly gave him a great exit—if he did die.

FRED LINCOLN
:
Do you know what the fuck could’ve happened if they knew Jean Jennings was underage? She could’ve destroyed us all: Sean, everybody.

Lemme tell you something. If ever anybody fucking deserved to get nailed for kiddie porn, it was Lenny Camp. He was a real scumbag.

BILL KELLY
:
I think I first got on to Lenny Camp in 1969. He was taking sexually oriented pictures of juveniles then. I got him with Donald Birdy the first time for income tax evasion about twenty years ago. He went away for it, for just a period of months.

Lenny had two angels—guys that financed him. One was Ben Tobin, one of the richest men in South Florida—there’s a foundation named after him. He was a real big real estate owner. The other was Harold Chaskin, another multimillionaire.

FRED LINCOLN
:
Jason Russell fell in love with Jean Jennings, and you know what? He became a jerk, not a prick. Everybody fell in love with her. I fell in love with her when I first met her.

Vinnie Rossi just went absolutely ape-shit. He followed me around like a puppy and said, “I’ll give you money! Anything!”

I said, “She’s not like that. She only does it with people she likes.”

Vinnie was a dog. You know, he loved her so much. And Jean used to just laugh at him.

BILL KELLY
:
Ben Tobin and Harold Chaskin used to like young girls, and Lenny Camp used to supply them with the merchandise—some of whom I’ve inter
viewed. But not one of them was ever cooperative, until I finally got one that was working as a secretary—a good-looking chick, Zaris Soltan. She was seventeen going on forty—and she talked about getting in a hot tub with them.

LENNY CAMP
:
Why do I think Zaris Soltan agreed to cooperate with Bill Kelly? Come on, get serious. Get
serious
! Those guys, once they—this was all bullshit; it’s all Bill Kelly bullshit! They threaten them! They do the good guy/bad guy deal, you know? They do all kinds of stuff. Every lawyer I’ve ever talked with has told me, “You are no match for the FBI. That’s all there is to it. You can’t win.”

BILL KELLY
:
Zaris Soltan got in a hot tub with three eighteen-year-old girls and was photographed by Lenny Camp in the apartment of Harold Chaskin in a condo in Hollywood Beach named the Quadromain.

LENNY CAMP
:
I had all these IDs of Zaris’s and tons of pictures of her. But the thing was that so many things disappeared, so many things that—I didn’t know that Kelly had a key to my place, and he walked in and out, you know, just like I did. Negatives and pictures disappeared—I used to have people fill out long application forms, to find out what they did, and what they wanted to do, and what their background was, and stuff like that. But little did I know that it would just be fodder for Kelly—to harass these people for days and weeks and months.

Bill Kelly called me the Pied Piper of porn? Well, he was the Pied Piper of shit!

BILL KELLY
:
We got the pictures, we got the statement, we got an indictment against Lenny Camp, and he got fifteen years for taking pictures of a seventeen-year-old girl in a sexual situation, which constitutes child pornography.

He served five-and-a-half.

FRED LINCOLN
:
When I met Jean she was high on Quaaludes. That was what that prick Lenny used to do—get all them girls strung out. That way they’d do what he told them.

How old was Jean when I met her? I don’t know. Jean was almost six feet tall, and she was the most beautiful creature! Who the hell ever knew she was a little kid?

When I brought Jean up to New York, she said, “I don’t want to make any movies.”

I said, “Fine. I don’t care.”

TIM CONNELLY
:
Jean Jennings was total white fucking trash from Florida. She was underage;
hot
. Cute. Sexy. Young. Blond. Tight body. Unbelievably perfect—except that once you heard her talk it was all over. She was
just dumb and ignorant—like a sixty-five-year-old woman living in a trailer in Gainesville, Florida. It was a big turnoff—except for a guy like Jason Russell.

FRED LINCOLN
:
This other girl I brought up from Florida and I made a home movie together when we got back to New York. Just for fun because this guy did this incredible script. There were supposed to be other people in the movie, but then the guy who was making it changed the script—and then it was the two of us. I’m like, “Come on, you expect us to carry a fuckin’ big ass movie with just the two of us?”

And he did, and he made money on it.

And then Jean Jennings went to Italy. That was cool with me. Did it break my heart? No, it was fine. I mean, I never get jealous. I probably just went to Bernard’s.

SHARON MITCHELL
:
Bernard’s was a theater district bar where we would all hang out. One of the owners of the Melody owned Bernard’s, so all the porn stars flocked there. And there were always these neat, new kind of stripper girls coming in, plus the Times Square theater crowd, and all these porn people, and agents, and directors. Freddie Lincoln was there, Annie Sprinkle, Tiffany Clark, myself, Jamie Gillis, Marc Stevens, Tim Connelly, Helen Madigan, C. J. Laing. It became
the
hangout for the porn scene.

TIM CONNELLY
:
Helen told me to meet her at Bernard’s, across the street from the Melody Burlesque. She told me to get whatever I wanted to eat or drink, and when she came over, she’d take care of the bill. So I was getting into that whole musician/stripper thing—she’s paying all the bills, and I’m the trophy stud.