I’ve always loved movies, especially the films I grew up with in the 1970s. I was seduced by their gritty realism, social commentary, complex characters, and a more honest portrayal of the human condition. And I was fan of that generation of film stars too: always surprising, sometimes conflicted figures, artists more than the celebrities that we have today. Movie genres seemed less important to me, so when I first saw Wade Nichols in an adult film on the big screen, it had just as big effect on me as, say, seeing Brando in ‘The Godfather’, De Niro in ‘Taxi Driver,’ or that fish thing in ‘Jaws.’ Ever since then, it feels that Wade Nichols has always been a part of my life, never far away from my thoughts. I’ve sometimes found myself wondering what it would’ve been like if Wade Nichol’s career had continued into the mainstream. Wade Nichols is Indiana Jones in ‘Raiders of the Lost Ark,’ perhaps. Or how about John McLane in ‘Die Hard.’ Mr. Miyagi in ‘The Karate Kid.’ Ok, scrub that last one. The point is that he captured my imagination in a way that was just as powerful as many of the recognized greats, and so I wondered about the possible twists and turns of his life that were prevented by his death. Years ago, I turned my attention to finding who he really was, and perhaps also, why he’d remained important to me ever since my teenage years. That disproportionate impact of an early moment in your life that is instrumental in creating your adult sense of self. This is Wade Nichols: ‘Like An Eagle’ – His Untold Story. This is Part 2. Parental Advisory Warning for those not familiar with The Rialto Report: this podcast episode contains disco music. This may be disturbing for younger listeners who may wish to switch off. As for the rest of you, clear a space on the dance floor and let’s get down. This podcast is 42 minutes long. ————————————————————————————————————————————– In 1975, Donna Summer was a little-known American singer who’d been living in Germany for eight years where she’d appeared in stage musicals. One day, she was playing around with a single lyric, ‘Love to Love You Baby,’ which she sang to an Italian musician and record producer, Giorgio Moroder. He liked the hook, and came back a few days later, having turned it into a three-minute disco song. He suggested to Donna they record it together. She wasn’t sure about the idea, mainly because the whole thing that Giorgio had come up with just sounded so damn sexual. In the end, she agreed to sing it as a demo which they could give to someone else. So she did, but the trouble was that her erotic moans and groans so impressed everyone who heard it that, they decided to release it as a Donna Summer single anyway, and ‘Love to Love You’ went on to become a small-time hit in Europe. Fast forward a few weeks, and a tape of the song found its way to Neil Bogart, who was the president of Casablanca Records in the U.S. He listened, liked it, and decided to play it at a party at his home the same night. Next day, Bogart got Moroder on the phone. There was a problem with the song, he said: at the party, he’d started playing the song and approached a girl, but by the time he’d started speaking to her, the three-minute single had come to an end. So he had to run back to the tape deck, rewind it, and start playing it again before resuming his pick-up lines with the girl. Just as he got to the stage of propositioning her, the damn song ended again. Same drill: rewind the tape, and start it over again. A few minutes later, he was at the point of asking the girl to join him in the bedroom when, you guessed it, the song finished once more. So, as Bogart protested to Moroder, “How is this meant to work?” Giorgio threw the question back to him: “How long do you need to meet a girl, chat her up, seal the deal, take her to the boudoir, and do the deed?” he asked. Bogart paused, doing the sexual math in his head: “I reckon sixteen minutes should be enough,” he said. And so, sure enough, Moroder and Donna Summer made a recording of the song that lasted just over 16 minutes, and released that version in the U.S. In fact, it took up the entire first side of the album of the same name. But it worked, and the single hit number one on the Dance chart and became one of the great disco songs of all time. I once read that a group of scientists estimated than 1.5 million babies had been conceived to that 16-minute record. The time was right for music and explicit sex to be combined. And so who was better placed to take advantage than Dennis Parker? * 1976 Let’s go back to 1976. They say when a man makes plans, God laughs. Certainly, Dennis’ life was nothing like he’d planned, but he had few complaints. For a start, he was now a movie star, adored and lusted over by men and women, earning reasonable money for his screen appearances in X-rated movies, and regularly interviewed in magazines who fawned over his acting talent, not to mention his smooth 1970s good looks. Every couple of months, Dennis would get a call from someone on the adult film scene offering him another porn job. He’d always happily accept, turn up and do the business – which usually meant reciting lines with casual, effortless cool, having sex with the latest starlet, and then leaving with a few hundred dollars cash in hand. Most porn film jobs took a matter of hours, usually over a day or two, though sometimes there’d be an ambitious project where an aspiring sex-film Francis Ford Coppola wannabe had raised enough money to make a movie they were convinced would be the mythical mainstream cross-over success. Films like ‘Blonde Ambition,’ ‘Punk Rock,’ ‘Honeymoon Haven,’ and ‘Maraschino Cherry’ came and went with Dennis calmly enhancing them all and impressing fellow performers and fans alike. By now, he’d jacked in his office day job, which meant that he had more time to devote to his art, carpentry, motorbike, jazz record collection, and his partner, a young actor/model, Joey Phipps, who he adored and doted on. They lived a quiet life in Dennis’ tiny apartment, punctuated by wild nights out in Manhattan sex clubs. Ah the gay clubs of the 70s: Dennis came out when he was in college and spent the next decade in New York’s darkest, horniest and most outrageous corners. Their names are all you need to know. The Eagles Nest, the Anvil, the Ramrod, and the Toilet. It was the era of poppers, gloryholes, and anonymous hook-ups in sweaty backrooms. As if that wasn’t enough, Dennis also had a sideline as a male escort for wealthy clients who responded to his weekly ad for personal services. It was extra cash, and his friends told me about how he enjoyed meeting different people and making them happy. In short, Dennis’ was a normal life in which almost everything was abnormal. And then it all changed. He met a Frenchman, a music producer who’d recently moved to New York and was starting to enjoy huge international success writing and producing disco hits. He had an impish, youthful face with a chipmunk smile. His name was Jacques Morali. * The Birth of Disco Jacques Morali was born in 1947, the year before Dennis, in Casablanca, French Morocco, to a Moroccan Jewish family. According to legend, he had a fiercely protective upbringing, and there are stories that he was dressed as a girl by his mother when he was growing up. When he was 13, his family moved to France, where Jacques became a musical prodigy, gifted at playing different instruments, and writing songs in any style. He wasn’t afraid to be different: he was original, flamboyant, and gay. He was also outgoing, outrageous, and gregarious, and seemed to know everyone on the music scene in Paris. By the end of the 1960s, he was in demand, writing music for orchestras, for the Crazy Horse cabaret and strip club, and for himself in his bid to launch a career as a solo artist. And because of his knack for writing instant melodies, he was also writing and producing songs for others. An example Is an early single, a long-forgotten song called ‘Viva Zapata’ for a long-forgotten artist called ‘Clint Farwood’ which gives you an example of the hallmarks of his developing style. Upbeat, check. Cheesy, check. Annoyingly catchy, you bet. But Jacques, just like his music, was restless and always changing, and he was constantly looking for the next big idea. He was also impatient, demanding, and dissatisfied with the level of his success in France, so he started to look to America as being where he could really hit the big time. In the early 1970s, he discovered the music that was coming out of a studio in Philadelphia called Sigma Sound where the Philadelphia International Records label were recording a streak of hit singles. Songs like the O’Jays’ ‘Love Train,’ recorded at Sigma Sound, which hit number one in 1972. As strange as it sounds, Jacques Morali wasn’t the only prominent music producer and songwriter in Paris at the time who came from a Moroccan Jewish family in Casablanca, Morocco – and the other one was Henri Belolo. Given their similar backgrounds, it was natural they gravitated to each other. Henri was ten years older than Jacques: he was also a talented musician, but he differed in that he was also a highly successful entrepreneur: Henri had already set up his own record label and music publishing company, imported and promoted records into France, as well as organized concerts in Paris by the likes of James Brown and the Bee Gees. And, just like Jacques, Henri was eyeing the music scene in America. In 1973, Henri traveled to New York and set up a record company called Can’t Stop Productions to establish a presence in the U.S. music market. During his trip, he went down to Philadelphia to see friends, and that’s w
