The Pink Ladies Social Club – An Oral History

There’s a lot of talk of unions nowadays. Workers at mega companies like Amazon and Starbucks are banding together to demand better working conditions and benefits. In 2023, the United Auto Workers staged an extended strike and came away with wage increases of over 25%. And the almost five month Hollywood writer’s strike that brought the film industry to its knees last year resulted in improved pay as well as protections against AI and other technologies threatening to replace writers with robots.

But rewind a little over 35 years and take a look at the adult film industry, and you’ll find a group called the Pink Ladies Social Club. Founded by adult stars Porsche Lynn, Angel Kelly, Nina Hartley, and Jeanna Fine, the group’s stated mission started in the following way:

The Pink Ladies Social Club (P.L.S.C.) is a formal organization for women active in the adult film business. The Club is being formed to provide an overall supportive basis for its members. It has become clear to several of us over time that some type of networking association would be very helpful in promoting the well-being of women affiliated with adult films.

So was the Pink Ladies Social Club an aspiring union in disguise? Was it a real club, or a marketing tactic employed by a group of savvy women looking to raise their industry profiles? And was it a unique coalition in the adult industry, or the latest take on an established tradition of collective support and action?

In this Rialto Report, we share memories of the Pink Ladies Social Club from the group’s founders and original members. We also publish a selection of the original Pink Ladies newsletters, preserved by industry writer and photographer Raven Touchstone, aka Penny Antine.

With special thanks to Penny Antine, Porsche Lynn, Angel Kelly, and Cathy Gigante-Brown.

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The Pink Ladies Social Club: Porsche Lynn, founding member

We came up with the idea for the Pink Ladies one night when Angel Kelly, Jeanna Fine, Nina Hartley and I were out at dinner. The four of us would often hang out – we were old souls together and of course Angel and I were friends from back in Michigan.

Porsche Lynn & Angel Kelly

Angel and I gravitated to Nina because she was intelligent, and she could talk about a lot of different topics. And Jeanna Fine was just a down-to-earth girl – a real New York girl. She would tell you the truth right to your face – just super.

So we went out together a lot, like to dinner after a long day of shooting. Remember there weren’t many of us in the industry in the late 1980s – it was maybe 100… tops. 

So we were talking that night in December 1987. We were discussing the AIDS crisis. When we’d first start hearing about it, a lot of people thought… it’s never going to affect us. Sure, we were working in the sex industry, but we weren’t gay men. That’s all first heard about it. We just didn’t know what the heck was going on. 

Then they started to implement more wide-scale testing. At dinner that night, Nina said, “I think we should have a union to protect performer health and well-being.” She was a union girl, like a Norma Rae.

I said, “Nina, that’s never gonna fly with producers like Sidney Niekerk and Reuben Sturman. It’s got to be disguised as a support group, not a union.”

The Pink Ladies Social Club: Angel Kelly, founding member

Porsche, Nina, Jeanna – all four of us were very close. And we all wanted to bring girls in the industry together. Women like Britt Morgan, Megan Leigh, Amber Lynn… we wanted to bring everyone close, and not be divided.

We met regularly. We would meet for lunch. One time we rented a suite by the airport that had a jacuzzi, and all the girls came. My God, they talked about that day in the business forever! Nobody was allowed to take part unless they were part of the group.

Nina Hartley, Porsche Lynn, Angel Kelly

The Pink Ladies Social Club: Cathy Tavel, early member

I was invited to join the Pink Ladies by Angel Kelly because she and I were really close starting from the first time we met. And then Angel and Porsche founded the Pink Ladies together. 

Angel called me one night and said they’d started a support group for women in the industry. She said it was a group for women from. all walks of the business, from performers to writers. We women in the industry were on the fringes of society. So this meant belonging to something. And it was really a great group of women. Back then, I think women were so much more supportive of each other. In those days, the women I met in the industry lifted each other up.

So I thought it was a great idea. Even though I was on the east coast, and it was more of a west coast thing, I still got my membership card and my button. And I loved my membership card – it has a silhouette of a woman on there that looked like a combination of Angel and Porsche. Big hair!

Founding statement of the Pink Ladies Social Club

The Pink Ladies Social Club ( P.L.S.C.) is a formal organization for women active in the adult film business. The Club is being formed to provide an overall supportive basis for its members. It has become clear to several of us over time that some type of networking association would be very helpful in promotion the well-being of women affiliated with adult films.

The organization will involve itself in many different activities. Some of the more obvious are:

• Hold regular get-togethers for the purpose of frank discussions and socializing
• Help set up and facilitate physical support projects; hygiene education and testing information, making available and recommending counseling facilities for emotional or physical problems
• Serving as a valuable resource for information about out-of-town employment such as dancing and personal appearances
• Provision of information on legal aid

The P.L.S.C. will also sponsor a publication, perhaps along the lines of a newsletter.

The P.L.S.C. would also like to look into the possibilities of pursuing an advocate’s role in defending and promoting the interest of the industry as well as its members. We know that we are the faces that the public sees, and some of us would like to be involved in a speakers bureau allowing our representatives to be available to speak to the media as well as any other appropriate public forum.

At this time, it should be noted that the P.L.S.C. exists primarily as an organization of four core founding members: Porsche Lynn, Angel Kelly, Jeanna Fine and Nina Hartley. These people will be responsible for compiling a formal organization structure (by-laws, constitution, etc.). 

Finally, the P.L.S.C. seeks to present itself as an organization which will promote professionalism in the adult video business. It should be noted that the P.L.S.C. has no adversary intentions toward anyone in or connected to the adult film business. We look forward to a long, cordial and healthy relationship with our colleagues in this industry.

Let’s all work together!

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Porsche Lynn

After that first night at dinner when Nina first floated the idea, the four of us kept talking about it. At one point, we mentioned the idea to Annie Sprinkle and Candida Royale and they were like, “Yeah, we had Club 90 in New York back in the day, you guys should think about doing something like that on the west coast.” 

From there, it formed pretty organically. And the four of us co-created the group. One day, we were talking about what to call the group and Angel said, “Let’s call it the ‘Pink Ladies’ like in Happy Days. We can all get pink jackets.” The name was tongue in cheek.

Once we decided we were definitely doing it, we made the Pink Ladies into a proper organization. We incorporated, we established a DBA, we opened a business checking account, we got a post office box. We were serious about it.

At first we built the membership through word of mouth. We’d spread the word on sets, at industry events, whenever we socialized. We were all in Vegas for the AVN shows. We were in Chicago together for the CES shows. We were at all the award shows. And it became a thing – people would see us and say, “Oh, there’s the Pink Ladies.” [laughs]

Before we joined the adult business, both Nina and I had been nurses. Nina remained really focused on the health and wellness of women in the industry. Our position was, “AIDS is out there, we’re all just as susceptible to it as anyone, and even a proper hooker is using a condom. At the very least, we should be testing.”

We all thought AIDS was going to blow the lid off the adult business. If we didn’t handle it well, there wasn’t going to be a business – and if we didn’t handle it really well, we were gonna have more problems than just not having a business! Sharon Mitchell, who was a member of the Pink Ladies, was also a part of fighting the AIDS crisis. We were very supportive of what she did. I know a lot of people badmouthed her, but I don’t have anything bad to say about Mitch. She was always great with all of us – and the talent, she put them first. 

Nina Hartley & Sharon Mitchell

Once John Holmes came out with HIV, everybody was saying, “Oh, okay, what are we gonna do?” They wanted our opinions about how we were gonna do this? People started to take the Pink Ladies seriously – they would ask for us to be at meetings and they’d ask for our input: “Hey, what do you think we should do about this? Do you think everybody should be tested? Do you think we should just go to condoms only?” I’m not saying that they always took our advice and adhered to it, but at least they were willing to invite us to the table. Adult Video News, the Free Speech Coalition – they came to us.

Outside of health topics like AIDS, we also wanted to fight against some of the darker things we witnessed in the business. We were concerned about how the talent was treated. We were concerned about the way that talent was being coerced into doing things that they didn’t really want to do. Like, “This girl is three months pregnant, maybe she shouldn’t be doing a double penetration today…”

There was nothing that we couldn’t talk to each other about, whether it was something on a set or something that was happening to us personally or with our families or our partners. Having such an open, expansive space to be able to talk about anything was amazing. You don’t have that with a lot of people. We actually manifested something. We were at the front-end of many things that we saw coming down, and so we were able to say, “Wow, this is just not right. We need to address this.”

Mostly it meant that each one of us had to stand up for ourselves no matter where we were. If we were dancing on the road, if we were on a porn set, or we were signing autographs somewhere: we had to have the courage, the guts, the self worth to say, “No, that’s not acceptable to me. You can’t just reach over and stick your tongue down my throat ’cause I’m a porn star. That’s not acceptable.”

Nina Hartley & Pink Ladies member Barbara Dare

Angel Kelly

Forming the Pink Ladies had a bit to do with the unpleasantries we experienced in the business. You go to a set – they want to get four scenes out of you in one day. Are you kidding me? Two scenes are plentiful when you give your best and do your best. And no, I’m not fixing to do a scene with 21 guys.

Also the directors at the time, they wanted to divide you – like Vivid. You know, I never made anything for Vivid – not because I got to say no, but he [Steve Hirsch] didn’t want me to. He had a thing about black girls – well, except for Heather [Hunter]. But we didn’t want us girls to look down on the next girl. We were all as big a star as the next girl if we present ourselves in such a way, and run ourselves as professionals. We would meet and just be women. Not girls – we were women. We would share different clubs that we appeared at… what’s a good club in this or that place? What’s a good rate to ask each owner for?

And we also talked a lot about health. That was Nina’s specialty. We encouraged the girls to get checked out all the time, and to use the sponges for their protection. Even though it was the time of AIDS… to tell you the truth, I never used a rubber in a scene. But I always had a sponge in. And yes I did have to go to the Emergency Room twice to have it removed.

So we would meet up. And then Porsche got into writing a newsletter.

Porsche Lynn

As for the newsletter, I did a lot of the work but a lot of other people also contributed to it.

In the beginning, we put out the newsletter every other month. And once you start saying you’re gonna publish a newsletter six times a year, it was like, “Oh my God, who’s gonna write it this time?”

We really needed content so we were happy to take it from wherever we could. We only took it from females. And then there were writers. Like Cathy Tavel, who was a writer on the scene and around a lot.

Cathy Tavel

I forgot what our membership dues were, but we did have dues. I think it was 10 bucks a year or something like that. And after a while the newsletter had these little ads. I remember one from Polaroid. Lord knows, Polaroid made a lot of money off the girls during those days, doing the Polaroids at Show World and other dance venues.

Nina Hartley

Porsche Lynn

We had Chi Chi LaRue write the gossip column. Chi Chi was very much on the scene and kind of the first drag queen in porn. Me, Nina, and Angel were really good friends with Chi Chi. And she always did a gossip thing, like a Joan Rivers. She would do that at award shows – where she’d grab you on the red carpet and be like, “Okay, what’s the hottest gossip of the night?”

One time I told her, “I don’t know, I’ve been too busy buying some coke in the back” and Chi Chi said, “Oh that’s great gossip, girl!” [laughter] Everybody trusted Chi Chi. So people would dish all their gossip to her and think they were doing it off the record. And I’d be like, “Don’t tell that bitch anything you don’t want out there, cause it’s gonna go in the newsletter!”

Members got the newsletter as part of their membership dues. But we let other people, like fans, order the newsletters so we could get the word out and make some extra money. We knew we had make some money off it because we were putting our own money into it. And it was like, okay, enough is enough. Because even printing paper at the time was not cheap. I think we charged people $20 for the newsletter subscription. And they’d send us $20 in the snail mail – I mean, who does that today?!

We had a PO Box where people would send their dues and anything else they wanted us to include in the newsletter. A sweet little guy owned the mailbox place. He was always there and when Angel or I would go to pick up the mail. He would say, “Oh my God, I’m so glad you got here – because there are five guys waiting to see if the Pink Ladies show up to pick up their mail today.”

Angel, Jeanna, and I were all in L.A. so we took turns making copies, stapling the newsletter, stuffing envelopes. Nina was up in San Francisco, so she’d supply content. And then we’d have other contributors send writing in.

Cathy Tavel

I wrote for the Pink Ladies newsletter because I just loved the idea of the club. They didn’t pay for the writing or anything, but I loved the idea of writing for my porn sisters. The Pink Ladies gave us validity. I really liked that and so I wrote for them.

Among the women in the industry, I think we were respected and we respected each other. I didn’t see any of the type of petty stuff that you can see among some of the women in the industry today. We had this sistership that was really strong.

I remember one of the other newsletter contributors was Dorothy Feola. Dorothy was an academic feminist writer who wrote for publications like EIDOS, which stood for Everyone Is Doing Outrageous Sex. Dorothy became good friends with Angel. Angel would go to her house with Jeannie Pepper, and Dorothy would make them pasta dinners. Dorothy was really interested in Angel and her career. I remember at one point I was working on a book of interviews with women from the industry ,and Dorothy asked if I was going to include any black actresses. She definitely saw herself as an advocate.

Angel Kelly & Dorothy Feola

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Pink Lady Social Club Newsletters

Date unknown
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February 1988
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October 1988
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March 1989
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June 1989
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October 1989
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Porsche Lynn

At first, some people thought the Pink Ladies was “just for the big stars.” A lot of the female performers said, “Well, I don’t look like Nina Hartley, so I can’t be in the Pink Ladies.” Okay, so you don’t look like Nina Hartley, but we accepted everyone. All races, all cultures, all religious backgrounds. We accepted everyone who was in the industry.

I remember Bill Margold was dating Viper at the time. I went over to his apartment one day to pick something up from him – and Viper was there. She told me she was sad not to be welcome in the club. I told her the Pink Ladies was for all women performing in adult films. All you had to do was to show up when we had a dinner or an event. Everybody was welcome. That was healing for her because she had always felt ostracized by women.

We wanted to support every performer. Because nobody can look you in the face and say, “I know what it’s like to be a porn star” unless you’ve done it. You lay in a stairway with no clothes on and some guy is fucking you, and you’ve got another guy with a mic two inches from your face, and another guy with a light two inches from your pussy. Nobody knows what that’s like unless you’ve done it.

There’s a camaraderie. And then there’s practical help. Like, here’s what to do when you’re having your period and you’ve got to make a movie. Here’s what to look out for when you go to Calgary to dance so you don’t get screwed. Stay away from this club or that club, because they bounce checks all the time.

Angel, Jeanne, Nina, and I were always the four women at the core of the club – we did all the real work including filing our taxes. But we did have a lot of other performers join. I think at our height we had about 100 members which was just about every woman performing in films at the time. And we had about 200 additional people signed up for the newsletter.

Angel Kelly

The club was together when Megan [Leigh] took her life. It was the most horrific thing because Megan was so lovely. I loved to cuddle with her. And she introduced me to some incredible people in her life. But then… there was her mother, and later on I found out that she was really the problem. Megan really tried very, very hard to please her mother and family, but she could not get that love back.

Megan Leigh

Sometimes I think back to when we would go places and get together – she was always the life of the party. We’d all have so much fun. Yes, she was doing stuff. Sure she was. Most of us were. But we looked out for each other. You know, we weren’t loose canons. What happened to her was just so tragic.

I remember when I found out about it, I was so messed up. A few weeks later we all got together at Porsche’s house with a whole bunch of balloons. We prayed, and we released those balloons. We kept asking ourselves, why were we not there? to help her. We wanted to be there for each other so something like this would never happen.

That was part of the whole thing about the Pink Ladies. Some of us had parents. Some of us didn’t have parents, or at least no connection to our families. But we were a family. We all made lots and lots of money for that business. All those companies. Lots of money. But we had each other. And we could do things and enjoy life together. And so it was a support system.

But we still don’t know why Megan didn’t call. Britt Morgan was very, very close to her. Megan hurt Brit so much. It was an absolute shock. The next day I tried to find the details of what had happened: how she was in her house – her house, her bedroom, in her bed, and why she shot herself. I was really trying to picture all of that. Afterwards, her mother buried her in a wooden box. Are you kidding me? Megan was like a princess. She loved to live like a princess. She was glamorous. We didn’t want her to be treated that way after she was gone.

Cathy Tavel

I was sad for Porsche that she was in New York dancing at Show World when Megan Leigh committed suicide. She was crushed – and she was far away from her Pink Ladies. And Megan’s mother didn’t include anyone from the industry in anything she did for Megan after he death, which wasn’t much anyway.

Porsche and Robin Byrd quickly organized a memorial for Megan. The guy who owned Show World owned the whole freaking building. He let Porsche and Robin hold a gathering in Megan’s honor in the penthouse apartment on the 10th floor and up on the roof. A bunch of people from the industry came like Rick Savage and Scott Baker. I was there, and Dorothy Feola came. And Jerry Butler wrote a poem for Megan that I still have.

Closeness Too Late

by Jerry Butler

Where have you gone, Megan Leigh?
You leave me baffled in wilderness,
But am I?
For I really see.
I mourn you today.
Endlessly.
I have been in you
But at times,
I wanted to be into you.
You touched me more emotionally.
Your parting scares me
For you found the courage
Of what others decide to live
And suffer.

Jerry Butler

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Porsche Lynn

Megan Leigh was the first girl we lost. When Megan died, I was at Show World in New York. A couple of the big managers came into my dressing room after I finished a set and said we need to talk to you. They said they just got word that Megan Leigh had taken her own life – shot herself. Robin [Byrd] was there with me when so we cried on each other’s shoulders.

It was devastating. We were very, very close with Megan. She was one of the early Pink Ladies members. She started as a dancer at the O’Farrell Theater, and she came up through the ranks like Nina, Angel, and me. Megan was like our little sister.

We knew she was in a bad place. We knew that she had battled some drug issues. But we also knew that she was on her way to the other side of the drugs. But often once you get sober, living a sober life sometimes doesn’t hold the charge and excitement that the drug did. All of us reached out – Britt, Angel, me – we had all reached out to Megan a day or two before she took her life. We knew that her relationship with her mother was volatile. We really felt that she needed to get away from her mother.

After it happened, each one of us said, “I told Megan to call me if she was ever in this bad of a place.” Most of us had never been through a suicide. But I’d been through it with my father. I knew what it feels like when someone close to you takes their own life. Also it was hard for me as a nurse because the way she shot herself. If her mother had just transported her immediately to a hospital, Megan most likely would have lived. But because her mother started artificial resuscitation on a gunshot wound above the heart, and she basically drowned Megan in her own blood.

When I got back to L.A. from New York, I basically took all the drugs that I had in my house, flushed them down the toilet, and said, “I am so freakin’ done. I’ve gotta deal with my demons – if I don’t, I’m gonna wind up taking my life just like Megan.”

We had a rash of suicides after that. Alex Jordan hung herself. And then Savannah shot herself. We were just so grateful that we had a group we could lean on and ask “Wow, how the fuck did this happen? How did we get here?” To get to a place where this person, our friend, was so distraught that the only solution they thought they had was to take themselves out.

Savannah

And that was one of the main things the Pink Ladies was fighting against. All the producers and the video companies thought we were trying to create a union, but I decided I didn’t have any fucking desire to have a union. All we wanted to do was help each other so we didn’t lose any more friends. We kept losing them, and it was a really hard battle.

At that time in porn, you got your 15 minutes of fame. And I always counseled the women to get your 15 minutes of fame, enjoy every second of it, live it to the max, but know that that’s it. Accept that you’re always going to be famous. Once you’re Seka, you’re always gonna be Seka. But you’re not going to carry that level of your 15 minutes of fame for the next ten years. It’s just not gonna be there.

I think a lot of those people, both male and female, could not navigate what happened after that initial 15 minutes of fame was done. They couldn’t see that they still had value, they were still gonna work. But you gotta stand on your own, and you’ve gotta know that you’re not gonna be the first girl that they’re gonna call now. ‘Cause you’re gonna be down on the list. And there’s gonna be a new girl that’s gonna come in that’s gonna be younger and hotter and do more sex for less money. And I think that that is a big portion of why we had so many suicides. When your inner value depends on what others value you at, you’re on a very dangerous slope. And it’s challenging to do that in a business that’s all based on your looks. You’ve gotta have your own inner value and your own inner worth.

Angel Kelly

The Pink Ladies went on to make Sorority Pink (1989). We put twelve top stars in it. Bill Margold did that with us and was able to sell that to VCA. It was fabulous, and we loved it. To show the rest of the industry it can be done: “we know you don’t want it, but it can be done.

We had a good time. We did the twelve girl daisy chain. And after that, of course, everybody wanted to do it but we did it first – I want it marked down we did it first!

Porsche Lynn

A lot of the producers and distributors were concerned about the Pink Ladies at first: some people truly were scared that we were organizing and starting a union. We were definitely making a statement that we women are not just fodder that you’re throwing out there, we’re human beings, we have emotions. I know there were lots of ripples in the matrix when we showed up. Reuben [Sturman] was definitely one of those that was concerned. And I was like, “No, Reuben, that’s not a union – it’s just a support group.” [chuckle]

Sidney [Neikirk, head of Cal Vista] was also worried at first, but he came around, and in fact he put up money for the Pink Ladies to produce our two adult films, Sorority Pink I and II. He not only put up the money, but he had the faith in us to actually produce the movies. That was a lot of faith, handing over $30,000 to four porn stars to produce a movie and then produce another one. $30,000 was a lot of money back then.

Sidney was a good guy. It meant a lot that he put his faith in us. Just being called into his office with the big mahogany desk and marble top floor, and I’m a little kid from Michigan, and I thought, “Wow, okay, somebody is taking me seriously.” I have to grow up and take responsibility for what’s happening here. Being taken seriously was a good thing!

Clip from Pink Ladies production ‘Sorority Pink’

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Porsche Lynn

The Pink Ladies had a lot of meaning for me at the time. I was going through a lot of changes. I was not under contract anymore – mostly by choice. Lenny [Burtman] and I parted ways amicably. But it also had to do with the Harold Freeman case becuase now we were legally able to shoot in L.A. county again. There was no need for the big extravagant trips to Europe anymore.

So I was kind of reinventing myself. And this was a whole different world than being under that protected umbrella that I was under for a couple of years. And I realized, “Wow, there’s a lot of girls getting in the business, maybe they don’t know what they’re doing and could use some help.”

I’m really proud of what we did with the Pink Ladies. I’m proud of the mission, I’m proud of the fact that women were supporting women, especially in porn which can make you feel I’m not skinny enough, I’m not white enough, I’m not young enough. And so to take that narrative and to turn it around and go, “Yeah, you are enough. You are totally enough. And united we stand or divided they conquer.”

And the business needed us as much as we needed them. It definitely was of mutual benefit and welfare. They started to take us more seriously and I think realized that, “Hey, they’re not just all a bunch of stupid porn stars. They actually are intelligent and have value to give to this business. They can motivate people. They can spur activism in people.”

Even the media started taking us seriously. Maury Povich reached out. Nina went on Oprah. We went on the Geraldo Rivera show. We presented ourselves seriously – we didn’t go on in stripper clothes. I went on Maury Povich rocking an Armani suit. And I think viewers felt, “Wow, they can actually sit there in a suit and intelligently communicate about what they do.” It started to change the narrative quite a bit.

You’ve got to remember, not only was the media against us at times, but so were some of the feminists. People like Andrea Dworkin were part of an anti-porn crusade. They were out there eviscerating us, saying you can’t be pro-women and sell your body. But I was like it’s my body. I get to decide what happens to my body. I decide everything I do in every movie. Nobody forces me to do anything, let alone a man telling me what I’m gonna do or what I’m not gonna do.

That was a big narrative to try to change. And, of course, everybody wanted that. All the adult film producers, the distributors – everybody wanted that narrative change because these people were trying to take down porn. The industry needed to be taken seriously. And what better way to take the industry seriously than if you see these women coming out and saying, “No, I’m an actual intelligent woman. And I’m telling you that this is my decision. Nobody is forcing me – I am using my free will to do.”

All-in-all, the Pink Ladies probably lasted almost 10 years. It probably ended around 1995 when Bill Margold started PAW which was more of a broad spectrum group for everybody. By then, a lot of us had gone our separate ways and we’re moving into other careers, so it fell by the wayside.

There wasn’t any big falling out. If you put Angel, Jeanna, Nina, and I in a room right now, I know we would just pick up where we left off. We haven’t all really talked in a bit, but I know we could sit down and carry on a conversation for hours.

But when the Pink Ladies were active, we definitely held a space for women for quite a while. And, yeah, and we were probably way ahead of our time in some ways.

It was a great time, a great memory, a great part of our lives. I think all of us are proud of what we did.

Porsche Lynn, Jeanna Fine, & Angel Kelly

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