It was one of those moments which seems frozen in time! My mind was filled with thoughts and emotions I’d never before encountered as I prepared for that once in a lifetime event…
I lay, stark naked, on a bed covered with white satin sheets, my legs spread wide, surrounded by blazing lights, camera cranes, boom mikes and a dozen or more technicians. This was the set of the movie Sex World and even by X-rated standards in 1977, it was an expensive and lavish production.
I felt a strange feeling of exhilaration mixed with trepidation. To everyone on the set, it was just another scene. Yet the most profound thought occurred to me as [my director’s] words echoed in my mind, “Decide carefully, once it’s on film, it can never be erased.”
Was this experience written into my life’s contract this time around and why? Was it preordained or, finding myself at a major crossroad in my life, had I taken a detour from my destiny’s path? Had I just rewritten the script of my life?
An excerpt from: ‘My First Time—On Film’ by Kay Parker
Kay Parker not only rewrote the script of her life when she exploded onto the X-rated screen, she also refined adult cinema. Kay, probably best known for her performance in Taboo, the infamous film in which she plays a mother who has an affair with her own son, brought her unique combination of elegance, sophistication, and intense sexual heat to every role she played. Born to a navy family in Birmingham, England, during World War II, Kay was raised on a tiny island in the Mediterranean. In 1968 she stepped off a Greyhound bus into the peace and love generation in San Francisco, with no idea what juicy adventures were to come.
BC: Tell me, how does a British hippie chick, raised from the age of four on the isle of Malta, running an India Imports store in the late 1960s in Marin County, become a porn legend?
KP: [Laughing.] I realized that I had a passion for the theater. It’s funny how one thing leads to another. I had an “old man” who was a musician and one of his friends was an acting teacher. I joined up with the acting teacher’s little improvisational group, and I sank everything into it. I was in heaven; I’d finally come out of my shell. Towards the end of that year, I met John Leslie. How we met is a sacred secret between the two of us, but suffice it to say that it was John who introduced me to “the business.” At first I didn’t know that he was a porno star, but I began to put two and two together. When he called me one day and said, “How would you like an opportunity to get in front of the camera?” I intuitively knew it was a porno film. I was slightly aghast and shocked…and, of course, I was secretly intrigued. So, I went along and met the director,
Robert McCallum, an attractive all- American guy with a wife and a little son. I wondered, “Where are the guys with the cigars and pinkie rings and chest hair, the sleazoids?” This was the first time I had been on a film set, so I was totally taken in. I ended up doing the part, my first
acting part in front of the camera.
The film was called V, The Hot One. It was an X-rated version of Belle du Jour. Annette Haven played the wife of a well-to-do businessman. She’s bored, so she goes off and hooks on the side. I played the owner of the brothel she goes to. It was a straight role, no sex. Within a couple of weeks, John called me again. This time he wanted me to meet Anthony (aka Sam) Spinelli. Sam was making a really big-budget film called Sex World.
BC: How big was a big budget back then?
KP: Huge, $235,000. Sex World was a fourteen-day shoot with a second unit! This was 1976, and the market had really been created for X-rated films. When I went for the interview, I didn’t realize that it was for a sex role. When Sam told me that there had to be sex, I told him that I was not sure I could do it. I was totally split down the center. One part of me felt like I was in a Victorian blouse all buttoned up to the neck and the other part of me was already unbuttoning my blouse, ready to cast off my shackles and get free. Of course, I did the role. It was an amazing experience.
BC: How so?
KP: Because it was a real film. We shot on this huge soundstage where legitimate movies were shot. Here I was—this kid who months before had no aspirations of working in films—suddenly on a movie set. So, it was real trip.
BC: In your first on-camera experience, was there really no distinction between a sex film and a straight film?
KP: No, not really. The only difference was that one shot hardcore, and the other didn’t. In Sex World, my particular sex part was with a robot! The film was a take-off on Westworld with Yul Brynner. It was about a place where people go to fulfill their fantasies. Naturally, in our version, they were sexual fantasies.
BC: Since you’d had such a good time on your first movie, it makes sense that you’d want to do more.
KP: In those days, if somebody new arrived on the scene and they were good, word got around really fast. And I was fresh out of an acting class, so I was really serious about my acting. Plus I was a little older
than the usual nineteen- and twenty-year-olds—I was thirty by that time. So, I could play the more mature roles—there was a real need for that.
BC: How many films did you make in the nine years you were in the business?
KP: Only fifty, which is nothing compared to most actresses.
BC: That’s still quite a few. Did you ever do loops and all the little kinky stuff?
KP: No, I never did any of that. Right at the beginning, Sam—he was great—said, “Be choosy about what you do.” And I took that to heart. That’s kind of who I am, anyway. I was never in it for the sex. I was
really never in it for the money, either. When I first got into the business, I had a job and it was pretty lucrative. But I loved acting and making movies.
BC: When people talk about your porn career, they always mention your elegance and class.
KP: Perhaps part of that has to do with my British air. I think the other part of it is my ‘prude.” I used to call myself the prude of porn. I set really hard-and-fast parameters around what I would and wouldn’t perform. I would not perform kinky sex; I would not perform with sex toys and I wouldn’t do a lot of stuff.
BC: Did you ever try to do mainstream films?
KP: When I moved to Los Angeles in 1977, 1 tried to do the Hollywood thing. I worked as a waitress and tried to find a legitimate agent. All I got out of that was a really bad taste for agents! If they knew that you had done X-rated, you were automatically typecast…even though by that time, I had a few clips and I could prove that I could act! There was so much hypocrisy in mainstream Hollywood and so many double-entendres. I compared that with my experience in the X-rated industry and thought, ‘Well, there’s none of that there.”
BC: It was more honest?
KP: Very honest. All the cards were on the table. No one was really trying to get into anyone else’s knickers!
BC: Unlike the straight scene in Hollywood.
KP: Absolutely. So, I stuck with X- rated. A few movies later, I was approached by Kirby Stevens to do Taboo. And that really turned everything around. Taboo became an instantaneous hit. It stayed number one for a long time, and now it’s become a classic. It was a low budget film, yet there was something about it. Of course, the theme of incest hits the Oedipal nerve with most guys. To this day, I still get letters from young men about that movie, and they all talk about the scene where I seduce my son, the gorgeous Mike Ranger. To me, the scene in Taboo had a very mystical quality, a real passion.
BC: What do you mean by real passion?
KP: When there are absolutely no holds barred, the concentration is total and the energy is pure. Those are the moments when spiritual intervention can happen. I believe that Spirit used me in the making of that movie.
BC: Did you feel that at the time?
KP: Yes. There was definitely a presence, a very strong energy, on that movie. I believe that because of that, and although people are seeing hardcore sex, there is a special quality that comes through in that scene. And I believe that’s ultimately what everybody is talking about who writes to me.
BC: I hear you have done a lot of spiritual work, including research into your past lives. How many have you found?
KP: I have had one hundred eighty- two lives. And I have a lot of them logged.
BC: Cool! Were you a sex worker in any of them?
KP: The ones I have discovered are mostly temple priestesses and mother superiors—and a lot of sexual suppression.
BC: Really?
KP: Although I am conscious of at least one geisha lifetime. And I just found one the other day in which I was a courtesan.
BC: So, why do you think you were in the sex industry in this lifetime?
KP: When we look at past lives, we think about what in the past created a need in the present for certain experiences. It would really, logically follow that in the past I would have been more repressed than anything else. There is also the concept of karmic payback. For instance, I know I had one lifetime where I was a Middle Eastern pasha, a real sexual deviate.
BC: Oh, my!
KP: And another lifetime in which I used one particular long-term friend of mine as my sex slave. Beyond that, the stuff that I have really been working on for the last decade since I left the business is more about my own worthiness in terms of being a “spiritual” person.
I find that a great many people in the healing arts have to work through a lot of unworthiness…and ultimately, sexual shame…because we’ve all had lifetimes where we have been so sexually repressed. For me, the focus of this lifetime has been about really stepping into my fullest, most absolute power as a woman. I’m almost there! The last ten years have been about learning and training and honing my telepathic abilities and learning that it’s safe to tell the truth. Because there were so many lifetimes where I got killed for speaking the truth.
BC: I know what you mean. I stopped looking at my past lives for a while because it was too painful. I was constantly being burned at the stake or otherwise executed by inquisitors. I am amazed at the number of lifetimes you are aware of. Have you written them down?
KP: I’m writing a book. It’s called An Autobiography That Spans Six Thousand Years. I’m just now looking for a publisher. A big theme of the book is my ten years in porno, but the main theme is my own personal journey. The porn career is a very relevant part, but it’s not an exploitation book. To teach what I am here to teach, I have to go way beyond porno—way beyond. I have to go into past lives and I have to look to the bigger picture of the times we are living in. The planet is getting ready to go through major changes; human consciousness is going through a major evolutionary thrust right now. Everything as we know it is changing. I cannot simply confine myself to porn. This is not snobbery, it’s just that I recognize the power of who I am, and it goes way beyond my porno personality.
BC: What do you think of the sex industry today?
KP: I don’t want to judge unfairly, but what I sense of it…it’s all videos with wall-to-wall sex. There are a few people out there making a quality product, but the industry has become so huge and there is so much greed. There is gross irresponsibility in terms of the messages that are being presented. There is nothing more beautiful than sex between two individuals who really love each other, but for me, sex has to include love. There is far too much wasted energy in sexual activity and, for the most part, that is what I see the adult industry promoting today.
BC: I think there are a lot of people in the sex industry these days—Candida Royalle, Veronica Hart, Sharon Mitchell and Annie Sprinkle come to mind—who’d agree with you and are working to change things.
KP: Very true! I remember doing a talk show in Sacramento with Juliet Anderson and Annette Haven. There was a group of college girls in the audience and you could just feel them getting ready to really blast us for doing porn. I waited until the right moment and I asked them, “Why do you suppose we are sitting here today? We are not being paid for this. We are here because we care and we want to make a difference. We want to see love and caring and good story lines and educational plots in adult movies. We care. Basically, we are sex healers.”
BC: Speaking of your healing work, let’s talk about your incredible Inter- net project, www.starsourcediscovery.com.
KP: The Web site has been a long time in the making. My partners, Aaron, Rebel, and I have spent the past two and one-half years putting together and refining all this information about the monumental evolutionary movement that is in progress right now. We have tried to do it as
impeccably as we can, spiritually speaking. It’s a one-hundred-page document that talks a lot about what we call our star origins. Six million people on the planet right now (maybe more at this point) are star beings, souls who had origins on other planets.
BC: So, not everyone on earth is a star being?
KP: No, but at least six million of us are. My work is to assist other star beings to identify their origins and to help them discover their mission in this lifetime.
BC: Wow! What about all the people who are not star beings? Can you help them?
KP: Absolutely! Even if you haven’t experienced life before coming to this planet, you have a soul imprint which/who guides and leads you. We all have guides. We are all evolving and it’s possible for non-star beings to evolve just as quickly. It all has to do with choice and willingness to grow.
BC: What messages do your guides give you about where sexuality is going in the future?
KP: In order to evolve, we have to purify our bodies. We need to heal and to lift out of our old wounds. If we are having unconscious sex, we are not doing that. If there is a message I am getting about sexuality perse, it’s “Make sure it’s pure.” Meaning, make sure your sex is health, that you’re healthy, that the other person is healthy and that sex is a heartfelt, healthy, conscious exchange. Sex is definitely moving more toward tantra. If our sexuality is not more conscious, if our sexuality is not tantric in essence, then we are doing ourselves aa great disservice, and it will be to the detriment of our physical being, our physical health and welfare. If there was a message that AIDS came to give us, it was that. And things are shifting. Gordon Michael Scallion, one of my favorite prophets of this time, said that as soon as we have made this shift, AIDS is going to disappear, because we will all collectedly be more conscious.