Source: Protecting Adult Welfare Foundation (PAW)
By: William Margold
25 years ago…lightning struck the Adult Entertainment Industry when a supremely alluring Southern California sun-baked young lady stood before me wearing only what Mother Nature had blessed her with—in my relatively unkempt third floor office of Reb: Sunset International at 6912 Hollywood Blvd (right across the street from the Chinese Theatre)—her carnal confidence radiating with a glow that seared my senses.
I was caught slightly off guard by her presence, and I tried to compensate for my mental discomfort by quickly nicknaming her ”The Blonde Panther.”
That seemed to make her happy.
Her name was Amber Lynn.
And she would become ”A Legend.”
Over the past quarter century, I have had the pleasure of witnessing the radiant Ms. Lynn climb the lusty ladder of X-rated entertainment success as she made her masturbatory mark on sex screens of every size, and on the dance circuit throughout the North American continent, bringing her special form of animalistic eroticism to all those who dared to wet daydream about handling her heat.
And to this day I must admit that I am still ”scared to even dare.” But I most certainly admire her.
And that admiration grew to the rarefied level reserved for those whom I have called ”heroes”—during the past few weeks—as I have been a witness and marginal participant to her masterminding an explicit adult production called We are the World XXX.
When Amber discovered that a highly respected and very popular X-rated film director named Henri Pachard was in a state of seriously declining health, she decided to reach out to the industry that he had given so much to for well over 30 years, in the hope that now it would give something back to him.
And I was among the first that she called, and through the Protecting Adult Welfare Foundation (www.pawfoundation.org)—a non-profit group that I created back in 1994 for just this type of humanitarian activity—I, in turn, reached out to people from all areas of the adult entertainment industry, and found many of them quite willing to ”volunteer their services”—and to climb aboard what I was calling ”Amber’s Ark” as it set sail on a sea of goodwill.
And so they came one by one to become paired up in front of the camera, or to work as part of the creative team headed by Ms. Jane Waters, behind the camera.
And their names included such historical hardcore luminaries as Georgina Spelvin, Ron Jeremy, Porsche Lynn, John Stagliano, Randy Spears, Stephanie Swift, Cara Lott, Brad Armstrong, and Ona Zee as well as such relative newcomers to the skin screen scene as Manuel Ferrera, Anita Cannibal, Jada Fire, Holly and Troy Halston, Kandi Hart, and Moxxie Maddron, plus an entire orgy full of eager performers—all of whom rose and writhed to the moment when called upon to do so.
And at the helm, directing all of the tie-together sequences, which included placing me as the Historian (a title that I’ve painfully acquired with the passing, at the end of 2004, of my great friend Jim Holliday) between an angelic Spelvin and a devilish Jeremy as they amusingly argued over the current state of the ”sindustry”—before I finally tossed the hedonistic ball to very special guest star—Hustler’s Larry Flynt—was the magnificent Amber, steadfastly determined to make that sure that her vision of the overall concept was going to be realized, so that her friend Henri Pachard could rest a little bit easier.
And so when Mr. Pachard visited the set on the second day of the shoot, and those who adored him surrounded him, I have never been prouder to be part of what I call ”The Family of X.”
