Part 6: 1981-1984

Following the dissolution of her relationship with Ken in 1980, her make-up artist, who eventually became her new manager, befriended Seka. He started by moving her to his home-city of Chicago, which was to become her adopted home for the next twenty years.

His plan was to transform her into the world’s sleekest, most chic porn star. “He taught me a lot about fashion, make-up, how to carry myself. Outwardly I learnt a lot.” 

Originally things went well for Seka. “My career was flourishing… and I was enjoying all the lush sounds and sights that a fabulous city like Chicago can offer… I was making lots of money and having lots of fun.” 

Within a year, however, she realized that her new manager was cheating her financially. When she attempted to terminate their business relationship, he sued her. She sued him back and the affair resulted in a drawn out legal battle that eventually ended in an out-of-court settlement. “From that point on my heart was hardened against agents – two strikes and you're out with me. I didn't need a third brick to fall on my head.”

After 1981 Seka’s career began to slow down and her movies became few and far between. Nevertheless, her popularity continued to grow, as did her status within the porn industry. She remembers being called before the Edwin Meese and Senate Sub-committee on First Amendment Rights: “Congress was cracking down on the adult film industry. It was just as well that I had left the West Coast. Nevertheless, I was called to testify in Washington, D.C., in front of Edwin Meese and a Senate subcommittee. I told Meese I thought he was a fuckin’ idiot. I didn’t use those exact words – I had handled enough of these people to avoid that kind of mistake – but I did address him as ‘Eddie.’ My lawyer kicked me under the table. Naturally, this made the wire services. I was just glad to have my say.”

Fellow porn actress and feminist Veronica Vera also testified that day. “Seka is already in the row reserved for witnesses. She has opted for the grey business suit and a blue silk blouse. She looks beautiful.” Chairman Senator Arlen Spector's first question to Seka was: “What kind of films do you make?” According to Veronica, Seka gave an extremely professional performance, replying: “Adult films. I am an actress. When I am offered a part, I read the script and if I think the script is suitable for me - if I think it will be good for my career - I do the part.” 

During the proceedings the issue of child pornography arose. “Seka... tells the story of her reaction to a request from a nine year old boy for her photograph. Senator Spector is very interested in this story. He has heard much testimony about how adult material is very easily available to children. Seka explains that she wrote a gentle letter to the boy's mother so that she could handle the situation with her son. Her account is evidence that people in adult entertainment are concerned with their responsibilities.”

Seka also began appearing on numerous television and radio talk shows, such as The Oprah Winfrey Show, Larry King Live, Howard Stern, Saturday Night Live, The Today Show, Sally Jesse Raphael, Donahue, Thick of the Night and Montel Williams. Jerry Butler remembers appearing on one such talk show with her called 303, hosted by Chuck Henry. “Seka and I had another nasty go-around when she told Chuck how much she enjoyed working in porn; money was no object, she said. I interrupted, ‘Oh really? Then why is your fee $15,000 to $30,000 per movie?’ Seka smiled at me, not knowing what to say… I wasn't looking to attack her, but let's not glamorise an unglamorous business.”

Regardless of Jerry Butler's disagreements with Seka, she had by now become the public face of porn for the media. She was profiled or interviewed by numerous magazines and newspapers, including Playboy, Esquire, Vanity Fair, The Wall Street Journal, USA Today and The Village Voice. She also began writing a column exclusively for Club Magazine, a job she would continue for almost ten years.

In order to capitalize on her popularity Seka began a mail-order business, with a clientele reaching 90,000 at its peak. She would sell, among other things, used underwear, custom Polaroids, custom videocassettes, cigarette lighters, key chains and mugs.

By then Seka had decided to change her image, and began to take speech lessons. “It’s hard enough having men take you seriously when you're platinum-haired, voluptuous and a porno star, but even harder when you say ‘git’ instead of ‘get’.” She also decided to have silicon implants: “I wanted them to stay where they were and had them fixed to stay there rather than going south.”

Having split with her previous agent Seka now managed herself, with the assistance of six lawyers, several accountants and a public relations agent. She guarded her public image to the point of obsession – even refusing to have her photograph taken unless the dark brown roots of her hair had been re-dyed. But she also promoted herself with skill and business acumen. Dave Hoekstra, a media writer for the Chicago Sun-Times later recalled visiting her backstage at the Admiral theatre. “She asked me if I wanted a picture with her. I said ‘yes’, and she took off her robe and put her arm around me and someone snapped a picture. She was buck-naked. I was so embarrassed. But I still have that picture to this day. She sure knows how to work the press.”

Another time, one of her attorneys, David Schippers, took her to a Chicago White Sox luncheon. “The guys at the table were ogling her, looking down the front of her dress like high school kids. I was there with my secretary and we were laughing ourselves sick at the sight of these idiotic men. She seemed to enjoy it and yet she was a little bit embarrassed.” 

Through savvy management and good public relations, Seka was able to announce in 1985 that “I haven’t had a new film out in five years but they still pay me very, very well for my magazine pictures.” At this point she was making an average of $250,000 a year from her film residuals, Club magazine contract and mail-order business.

During the early eighties Seka also started working as a stripper. “I wasn’t particularly interested in joining my predecessors on the runway; to be honest, I’d prefer to lie on a beach all day. But the offers just got higher and higher. As did my price - at one point I named an outrageous fee, convinced the bidders would leave for the hinterlands. To my shock and amazement, a resounding ‘yes’ was the response. I thought, ‘Runway here I come!’… Although my employers desired a twenty-minute show, I said, ‘You're getting three songs.’ Naturally, I had fabulous costumes - over $60,000 worth. They’re still packed away; ready to be reclaimed at a moment’s notice. But let’s be honest here – I’m way past wanting to compete with the 18-year- olds working the joints. My show travelled around the country and into Canada. I would appear onstage in a huge purple cape, back to the audience. A spotlight shone on my name, spelled out in my handwriting on the back of the cape in silver, glittery letters. S- E- K- A, it said. Then I would turn around in time to the music; the inside of the cape was filled with lights. That particular costume had a high collar, and was inspired by the Evil Queen from ‘Snow White’. I had a rain outfit where the umbrella lights up - I used that for ‘It’s Raining Men.’ After each show, I did Polaroids at $10 a pop. The stripping, as much as I had dreaded it, was fun.”