Adult film star icon Amber Lynn®️ has had an incredible career which first piqued this author’s interest in 1984’s Girls of the Night as the curly-haired blonde nymphet next door that 21-year-olds dream about. Based in Los Angeles and Las Vegas, Lynn is currently co-authoring her autobiography with Emmy-Award-winning author Geoffrey Mark known for his books “The Lucy Book: A Complete Guide to Her Five Decades on Television” and “First Lady of Song: Ella Fitzgerald for the Record”. Lynn’s radio show Rock’N’SeXXXy Uncensored ran eight successful seasons in Los Angeles and Las Vegas and is available at Rock-N-SeXXXy-Uncensored.com. In season 2 of The Kominsky Method, she was also featured as Michael Douglas’s character Sandy Kominsky’s fantasy girl in a hilarious dream sequence. Lynn was recently featured in Vanity Fair about her role in the Larry Flynt for President film and still produces adult content for her vast fan base. I had the pleasure to sit down with Amber and interview her while getting her makeup and hair done for our photoshoot. We had a wonderful afternoon together, reminiscing about the past, present, and future.
STRIPLV: So, it’s crazy, Amber. I was a big fan of yours back when you first started. And I met you in Windsor, Canada. You were doing a dance feature. LYNN: You looked familiar the minute I got out of the car, and I’m a Virgo, so I have that weird kind of thing where I remember people or things forever. It’s really weird—Windsor at The Million Dollar. STRIPLV: Probably around 1984. When did you start dancing? LYNN: Probably a little later than that, but when we did, we went full-on gangbusters. STRIPLV: Who used to book your dance gigs? LYNN: What ended up happening and what is really funny about it is the owner of Mints in Niagara Falls, Canada, had come to L.A. to book Ginger Lynn and me as a duo act. And it was right at the time when Ginger had decided that she was going to quit adult and go mainstream. She got this Hollywood agent who said you have to quit the whole thing. So, they offered us a lot of money; it was a lot of money, it was like fifty grand. STRIPLV: That’s a lot of money! LYNN: Back then?! Even now, it is for a feature show at a strip club. What happened was the owner came down to meet us, and Ginger called me up and said, “I am not going to do the gig because I’m going mainstream, and my agent told me I have to leave adult behind.” I go, “What are you going to do?” And she said, “I am going to be a mainstream actress.” I said, “Ginger, what do you think you are going to do to win an Academy Award?” And she goes, “You’ll see I am going to win an Academy Award one day.” I said, “They don’t give girls that suck cock on film Academy Awards.” This was the kind of relationship that I had with her back then. She was like, you’ll see, you’ll see. And of course, she went on to do the whole dance with Charlie Sheen and the whole nine yards. Anyway, I was going to cancel the gig, and they were like no, no, we are going build a whole show around you. I had never danced before. I came from Orange County before I did adult. I was a model since I was a little kid. I graduated from John Robert Powers in the town square in Anaheim Hills, the same modeling school Jaclyn Smith and Farrah Faucet had gone to. It was very prestigious, and I had done modeling for Sears and Roebuck catalogs, Wild West Jeans, and stuff like that. I got to be about 16, and they saw that I wasn’t going to grow any taller. I am only five foot six and three-quarters which is a hair under the five foot seven minimum. I used to go to the junior high school playground and just hang from those monkey bars because my brother would say it will stretch your body. So before gigs, I would go hang from those things so that I could be tall. And, I just didn’t grow. I started to fill out, and I didn’t have much boobs, but I started having this little body on me. So, I started doing hot body contests. My brother Buck was like eight or nine years older than me, and he used to work as a doorman at Anaheim Stadium for concerts and also at one of the clubs. They had hot body contests there back in the day. They were like wet t-shirt contests. You know you walk into the middle of the room with a short t-shirt on, and they would throw ice water at you out of a bucket. And then you would dance around. You know the first prize was like five hundred dollars. Second was like three-fifty. We were from Orange County that was a lot of money then. So I started doing those, and my brother was the security guy, and since I was so like just a little bit younger than the other girls, I didn’t have these boobs like I do now, but I would win these contests. You know, and then I would give my brother a cut. Give the guys a cut at the door, and then I would leave. I had this fake I.D. They would be like, you better check the I.D., but it would be my brother who was checking the I.D. STRIPLV: You were like, what sixteen? LYNN: Yeah, and you had to be like twenty-one to enter the bar. I remember Stephen Hicks was the first photographer I met, and he used to go to these hot body contests shooting the contest. And I used to go down to the Orange County raceway, and I would stand next to the winning cars, and you would get like twenty bucks a car. And we did all that we did whatever. And he approached me one day and said, “I want to shoot you for Penthouse.” I was like, “Penthouse? You want to shoot me for Penthouse?” And I said, “No, I’m a model.” And then we started getting into punk rock and coming into L.A. to see bands we went to like everybody Y&T, Motley Crew; you know all that. And I was going to the Rainbow afterward. And finally, I run back into Stephen Hicks, and that same week, he was shooting me. STRIPLV: What made you decide that you wanted to shoot for Penthouse? LYNN: To be honest with you. My little brother used to do bicycle stunts, and they did it in pools and stuff like that. You know Orange County skateboarder kids. And he did a stunt and went right over the handlebars of his bike and knocked out his front teeth. We needed to get reconstructive surgery for him. So Stephen had reapproached me and said, just let me shoot you on spec, and if you don’t like it, you don’t have to do. So almost immediately in unison, I also met Clive McClain at The Rainbow after one of the shows I was at. He had Althea Flynt with him. They were in the back booth, and they were like, “Would you like to have a drink with us?” Althea asked me if I had ever thought about nude modeling?” I was like, “Well, I am shooting with Stephen Hicks for Penthouse, and Althea was like, “Penthouse? You don’t want to be in that piece of garbage. Their photos are awful. They make you look so old and tired. You want to be in Hustler.” I had never seen a Hustler. Clive was this very charming English guy. Everyone knew Clive back in the day, and he was a great guy. He ended up being one of my best friends. Althea was working on this magazine, and they were going to head down to The Dome to interview The Police, you know Sting for the magazine. She was like, “Why don’t you think about it, and in the meantime, why don’t you join us tonight?” Up pulls this long black limo; it said “Think Pink” on the license plate because that was Althea’s car Larry sent her everywhere in. I had no idea who I was dealing with. No idea who I was sitting with. The band was so in awe of her. They were so honored to be in The Rage Magazine and blah blah blah. I was like, wow, these people are special. I mean, The Police are like falling all over themselves to be interviewed by these people. And we sat, and they drank Champagne, and I was like, wow, I want to be a part of this crew. I was into punk rock as a kid and music and all that. That was it after that they were like, “Oh, why don’t you come up to the office next week, and we will show you our model studio, and you can see exactly what it looks like, and if you don’t like it, you don’t have to do it. And that was how Hustler did everything. So I went up to the Hustler studio. At the time, Dennis Hopper was directing a pictorial for Larry. So I go to the studio for a go-see and some test shots with Clive, and there is Dennis Hopper. So it was like, oh my god. It’s Dennis Hopper, and I was like freaking out because these are like people that you recognize immediately. I couldn’t believe it. So they had the makeup artist put me in makeup upstairs, and Clive did some spec shoots on me. He was like, “This is what Hustler looks like.”, and I was like, “Ah! Ah!” I was like, “You want me to do that?” I remember the first time I did a pink shot; I just closed my eyes. Clive goes, “Get that look off your face.” Because every time I did it, I’d think, what am I doing? STRIPLV: What made you take the leap from magazines to films? LYNN: I did magazines for a while. I had no intention of ever shooting an adult film. Because back then, you could go on the road as a Penthouse Pet, and you could make tons of money as a feature entertainer. STRIPLV: Had you ever seen a porno movie at this point? LYNN: No, I hadn’t really watched them. It wasn’t like I was against it. Once I decided I was going to do all of it. I wanted to make money on this. I just saw it as a business opportunity. Once I met Larry Flynt, he came to the first set I was on because he was doing something in the same studio with Dennis Hopper. Clive was shooting me on another location and in rolls Larry Flynt in this gold wheelchair. Once I met him, he talked about the first amendment, free speech, what it’s about, what we are fighting for; I was like onboard. STRIPLV: So did you enjoy doing it, performing in the films? LYNN: Yeah, I loved it. We got spoiled rotten back then. There was only a handful of performers back then, and it was Traci Lords, myself, Ginger Lynn, Christie Canyon, and a couple of others. Nina Hartley, there was like a handful. You could count the majors on one hand. STRIPLV: Tell me about the first time you did cocaine. LYNN: The first time I did it was when I got into the adult business. I met Bobby Hollander. Back in the 80s, everybody freebased. The first time I did, it was with Shauna Grant, and the next day I wound up on the set of his film. I was already going boy/girl softcore magazine shoots without penetration, but I hadn’t done an entire hardcore scene with penetration. The first time I freebased, I was like, “Wow.” It made me very sexual. I wasn’t high on the actual set of the movie, but I was up all night the night before getting high. Almost immediately, I met John Leslie, Jamie Gillis, and Paul Thomas. These guys were beautiful, and they were great actors, and they believed in their craft. When you did films with them, you couldn’t be getting high. There were scripts and crews, and I worked on some of the biggest movies happening back then. I did a film with John Leslie, and he said, “Amber, you’re just wonderful, but I’m in a relationship with the love of my life, but I’m going to introduce you to my friend Jamie Gillis.” Jamie had just been in Night Hawks with Stallone, and he was a Shakespearian actor, and I was in awe of him. Then we started dating. My career all just kind of rolled out from there. STRIPLV: What was it about cocaine that made it your drug of choice? LYNN: Well, I didn’t do it all the time, but when I did it. It was the ‘80s. We would shoot these big movies for 3-5 days, and then when we were done, we would party. We were family. We would all hang out and party together. It was like a big wrap party. Then we would shoot another movie and do the same thing. It wasn’t really a problem until it was a problem. STRIPLV: So when did it become a problem. What you’re describing is how it was in the ‘80s. LYNN: When I went to Canada to dance and feature, I didn’t do cocaine at all because I didn’t have access to it. I was there for about four years, and I didn’t do it then. When I got back to the states, my brother was partying, so I started using again, and the minute I sat down to party again, it was a problem. But when I would go on the road, I would quit for a year or two years at a time. STRIPLV: Did drinking trigger it for you? LYNN: No, I loved throwing parties with wine and stuff. STRIPLV: Do you drink now? LYNN: No, I quit when I got clean. I got arrested in Ventura County. When I got pulled over, I had just dropped off my girlfriend, and she had forgotten her purse in my car. I had slept, but I had been up all night partying, so I still had drugs in my system. When I got pulled over, they checked her bag, and she had paraphernalia in her purse. I got arrested and was doing topless Polaroid’s at the police stations with the officers. I’m like thinking; I’m cool, let me go. They’re like, “No, can’t let you go. I got two years, or I could plead guilty and go to rehab for ninety days. I chose the latter. It was time to just get clean. That was 21 years ago. I just celebrated my 21st anniversary of being clean and sober. STRIPLV: Congratulations. That’s incredible. LYNN: Thank you. STRIPLV: OK, let’s change subjects. This will seem out of left field after what we’ve been discussing. To me, you were always known for giving the best blow jobs, so tell us how you go about giving a good blowjob. LYNN: You know, I think that has always come natural umm when I started when I got into the adult business. I was not sexually experienced. So due to my early relationships in the business with Jamie and people like that, I immediately was uninhibited. I was also most of the time given the option if you like it, you like it. If you don’t, you don’t have to. So there were certain things that I wasn’t comfortable with that I knew other people were. Like Nina Hartley was really into swinging, I was not into that. I didn’t like that idea. I wanted to be with a smaller group, if any. So one of the things that I learned very quickly is that men love and appreciate a really awesome blowjob. And if you have a sexual partner, and you know early in my movies, obviously, I learned that if you show up for your co-star, it will only make the scene better. So back in the day, they used to have fluff girls. And I’d be like, you don’t need a fluff girl, I’ll do it. Now very rarely, like when we were doing a re-do of Behind The Green Door, they’d be like, no, we don’t want you to mess up your lipstick. I don’t want you to mess up your makeup; I want you to be perfect for this scene. But that’s why we started to devise the plan that would be shooting the scene backwards. This means that the makeup is perfect, all the dialog is done, and then you turn back because, for me, it’s almost like doing a dance. It’s always different every time, and it’s what I am feeling at the moment and how I am connecting with the person that I am having sex with. With sex, I am not in my acting mode unless I have to be in character. I try to make it as personally connected to the person that I am with as possible. And, I think most actors do that. Even in mainstream films. When I did 52 Pickup, John Glover was like, “You give the best head I’ve ever seen. How do you do that?” And people are amazed by that. Because it’s like when I watch you, it just turns me on. I said I think that is because what you are seeing is that I’m enjoying giving the blowjob as much as the person that is receiving it. I think what a lot of men experience and women too. I think this is what many men don’t realize is that it does go both ways. I’ve had a relationship with somebody who wasn’t really into eating pussy. He just wasn’t into it. He would do it, but you could tell that he was doing it because he thought it was just part of his duties. Like, don’t bother. You want to take it out of their mouth. And be like stop. You know because if you are not enjoying what you are doing and then it shows. So with blowjobs is like you just have to relax. The key thing with sex is to be with somebody who makes you feel good and comfortable to be around. I see it a lot today because sex is changed in the industry, and it has become very aggressive. People will say to me, “Why don’t you do this or do that?” And I’ll go, “Because it doesn’t make me feel good or like I want to come.” Like I don’t want to slap my pussy you know what I mean? I don’t want to smack my tits. Because it hurts, why would you want me to give you a blowjob if I was going to drag my teeth across the head of it? Some people might be into that, but for the most part, it’s about making somebody feel good. And when you do that, it brings out your natural enthusiasm and eagerness to please the person you are with. And so it’s just natural. The only thing I would say is to make sure you don’t have cotton mouth when you are giving somebody a blowjob and watch your teeth. But also don’t do it after you’ve been to the dentist because if they’ve got you on Novocain or something, you will probably be like biting them. (Laughing) But pay attention, and you know the other thing too is when you are having sex with somebody, one of the things that I have noticed in real life is people don’t have a conversation about sex. They just start kind of doing it, and I think that’s what makes it a little bit herkie jerky sometimes. Even if you are uncomfortable to like open up to the person and say what makes you feel good? How can I make you feel good? No, I really want to make you feel good. What do you like? Don’t be afraid to tell me. And you will see people just relax. You know what I am saying because we are so busy making sure that we don’t look fat or whatever is going on at that moment. When you can just relax and be in that moment and go, wow, that feels good. Like touch my ass or touch my whatever. It changes everything. Making sure that you feel comfortable about it and just enjoy the ride. Especially with blowjobs because a lot of people don’t like being deep-throated. Some people love it. If you grab it and squeeze it and shove it down your throat. For some people, that can be way too aggressive. If you were to give somebody head in real life like what they see on film, they will lose their hard-on. Because for a film you have to do things in a way that’s for the camera. In real life, you are doing it for each other it’s a completely different thing. So, you don’t have to cheat to the camera. I’ve always said that male performers earn their money, and for years male performers didn’t get paid much. Some did, but most male performers didn’t get the top dollar and the top billing like the females. They have the most physical stress. They have to keep the hard-on. It feels like, lately, the sex has gotten so aggressive. There are so many times on set that the talent feels the need to just jump up on me and start going, and I’m like, “Hey, slow down.” I remember I was having a flirtation with someone very famous; I won’t say who it is, and they were like things were going well. They were wanting to date me. And they’re like, I don’t have a problem with the fact that you are a pornstar. I just don’t know if I can handle this much woman sexually. It’s not about the fact that you did fuck films. It’s the fact that I don’t know if I can handle that much woman. But they’re like, but when I am around you, you’re so normal and down to earth. That I don’t know how to do it. He was used to fame in his own right. But he said the sex fame is different. There is a whole different thing to it. And you know what’s really funny in dealing with actors that I’ve worked with, mainstream actors always say that to me. They do love scenes. They just don’t do penetration. Anyway, as far as blowjobs go, it’s sort of like a thing; enjoy the ride. Let yourself relax. You know, feel out your partner. See what they are responding to. Every guy likes a different blowjob. I said it in After Porn Ends, “How do you like your blowjob?” I ask everybody that. Before I have sex with somebody, how do you like your blowjob? You know, they were like, “That is the funniest thing I’ve ever heard.” I go, “Well, I appreciate it if someone says to me. “How do you like me to eat your pussy?” You know if you can say how many times have you sat there while someone was going down on you? “God, I wish they would just go a little to the left; I could come right now.” But you are too shy to say it. I’m sorry (Laughter). Did I get off track? STRIPLV: No, that was great. (Laughing)