Traci Lords Biography
Traci Elizabeth Lords born Nora Louise Kuzma and who is populary known as Traci Lords, is an American actress, singer, model, writer, producer, and director.
She was born on May 7, 1968 in Steubenville, Ohio, to Louis and Patricia Kuzma. In September 1982, she began attending the Redondo Union High School in Redondo Beach, California.
Traci Lords Age
She was born on May 7, 1968.
Traci Lords Sister
Lords has one elder sister, Lorraine, and two younger sisters, Rachel and Grace.
Traci Lords Husband
Traci Lords was in affairs with many guys and married three men in her life. She first married to an American actor Brook Yeaton on 1990 to 1995. Later, Lords married for a second time to Ryan Granger on 1999 but the relationship was too short, and they split up on 2000. On 23rd Feb 2002 Lords married to actor/producer, Jeff Gruenewald with whom she has one child, Joseph Gunnar Lee born on 7th October 2007. The couple is currently living together in Los Angeles, California.
Traci Lords Net Worth
She has an estimated net worth of $7 million.
Traci Lords Measurements
Height in feet:5’7″/170cm
In February 1984, she answered a newspaper advertisement for Jim South’s World Modeling Talent Agency. Hayes drove her to the agency posing as her stepfather . She began working as a nude model after signing a contract, and appeared in magazines such as Velvet, Juggs, and Club. During August, when she was selected to model for Penthouse magazine’s 15th anniversary issue, Lords was asked to choose a stage name. She chose Traci, one of the popular names she had longed for growing up and Lords, after the actor Jack Lord, since she was a fan of the television series Hawaii Five-O, in which he portrayed the character of Steve McGarrett. After some of her schoolmates recognized her in the Velvet magazine pictorial, she quit high school at age 15 and entered the sex industry, where education was irrelevant.
Lords made the first of her many illegal movies during October 1984, when she appeared in What Gets Me Hot! alongside Tom Byron, who later became her boyfriend off-screen. At first she only appeared in a non-sex role, but was later replaced with a hardcore scene. In her next movie, Those Young Girls, she appeared in a sex role alongside Harry Reems and Ginger Lynn. After appearing at age 16 with John Leslie in the porno parody of the movie Splash, Talk Dirty to Me Part III, which won the AVN Award for the best movie, Lords was hailed as the “Princess of Porn” . She became one of the highest-paid porno actresses of that time, earning more than $1,000 a day.
Besides her work in porn, she also appeared in the music video for “Gimme Gimme Good Lovin'” by the heavy metal band Helix. Lords continued making more movies until the autumn of 1985, when she tried to quit the industry at age 17 but she returned a few months later. Afterwards, she met Stuart Dell, who became her boyfriend, manager, and business partner. They formed the Traci Lords Company. Dell and Lords made a distribution deal with Sy Adler, an industry veteran who ran Vantage International, that they would produce three movies for the company. During March, the first TLC feature, Traci Takes Tokyo, was released. The second, Beverly Hills Copulator, was released afterwards, and the third movie, Screamer, (Eddie Dzial) was shelved.
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Three weeks after Lords’ 18th birthday, in late May 1986,authorities discovered she had been underage when she appeared in the porn movies. She had lied to law enforcement, photographers, producers, directors, co-workers, and the general public for two years. The owners of her movie agency and X-Citement Video, Inc. were arrested. She was taken into protective custody and hired high-profile lawyer Leslie Abramson. District attorney’s investigators searched Lords’ Redondo Beach home as well as the Sun Valley offices of Vantage International Productions on July 10, and the Sherman Oaks offices of modeling agent Jim South. South and other industry officials said that Lords, who was seeking employment, provided a California driver’s license, a U.S. passport, and a birth certificate, which stated that her name was Kristie Nussman and claimed she was born on November 17, 1962.
Traci Lords I Love You
The only movie legally available in the United States after the authorities requested that all the movies short by her previously as an underage, was Traci, I Love You, filmed in Cannes, France, only two days after her 18th birthday. She sold her rights to Traci, I Love You during early 1987 for over $100,000. This action resulted in claims that she herself had tipped off the authorities to gain immunity from prosecution, while being the only one to profit from the movie. Lords denies this notion in her autobiography and says she was reluctant to sell the rights, since at that time she was trying to become a mainstream actress, and wanted no older movies still available. “Traci, I Love You” was the last porn film that featured Traci Lords. Lords was offered enormous sums of money to continue in porn, but she declined the requests.
Leslie Jay, spokeswoman for Penthouse publisher Bob Guccione, also said Lords showed identification indicating that she was older than 18 before the illicit photos for the September 1984 issue were taken . When investigators used Lords’ fake birth certificate and fake state identification cards to locate the real Kristie Nussman, Nussman said that her birth certificate had been stolen a few years earlier and that an impostor had apparently forged her name on official forms. Two adults who knew Lords, but who requested anonymity, said they saw her picture in the adult magazine Velvet during July 1984, and telephoned the district attorney’s office to inform authorities that she was underage, but that an investigator told them, “There isn’t anything we can do about it.”
Lords decided to concentrate on acting after spending several months in therapy. She enrolled at the Lee Strasberg Theatre and Film Institute, where she studied method acting for three months. After completing the acting classes , Lords placed an advertisement in The Hollywood Reporter looking for representation. She was contacted by Fred Westheimer and although the agency declined to officially represent her, he decided to send her out on a few auditions. As a result, she was offered a guest role in an episode of the television series Wiseguy. She met the director Jim Wynorski, shortly afterwards, who was directing the remake of Roger Corman’s 1957 sci-fi classic Not of This Earth. He immediately cast Lords into the lead role of Nadine Story, and Not of This Earth (1988) became her first mainstream film debut since her departure from the adult film industry.
Although the film failed at the box office, it did well in video sales, and, based on that success, Lords was offered to appear in Wynorski’s next film, The Haunting of Morella (1989). However, Lords turned down the offer due to the requirement of having a nude scene, since she was trying to establish herself as a serious actress. She also signed with a modeling agency under her birth name Nora Kuzma and appeared on two covers of Joe Weider’s magazine Muscle & Fitness. Around that time, Lords became a spokesperson for Children of the Night, an organization for runaways and abused children, and was planning to release a book titled Out of the Blue: The Traci Lords Story.
Traci Lords Cry Baby
John Waters auditioned her in March 1989, for his teenage comedy musical Cry-Baby (1990). She won the role and appeared in the film alongside Johnny Depp and Ricki Lake. The film was a critical and commercial success, and her portrayal of the rebellious teenager Wanda Woodward established her as a legitimate actress. She met the property master Brook Yeaton, whom she began dating while on the set of the film. The couple married in September 1990 in Baltimore, Maryland. In June 1990, the exercise video Warm up with Traci Lords was released. Directed and produced by her former boyfriend and business partner Stewart Dell, the video had been filmed in early 1988. As Lords wrote in her autobiography, she was unsatisfied with the final version of the video. An extended version was reissued in 1993 under the title Traci Lords: Advanced Jazzthetics.
Lords decided to emphasize her career as a recording artist in 1992. She first got signed to a development deal with Capitol Records. After meeting with Rodney Bingenheimer at a birthday party, she was recommended to Jeff Jacklin, who hired her to record the song “Love Never Dies” for the movie Pet Sematary Two (1992). The producer of the soundtrack, Gary Kurfirst, signed Lords to his company Radioactive Records. She was later featured on the songs “Little Baby Nothing” by Manic Street Preachers and “Somebody to Love” by Ramones. During 1993, Lords was cast in the television adaptation of Stephen King’s novel The Tommyknockers.
Lords began working on her debut album during the spring of 1994. The company arranged her to fly to London and meet with producer Tom Bailey. After finishing her recording with Bailey, Lords was introduced to producer Ben Watkins of Juno Reactor with whom she recorded more techno-influenced songs. She later met Mike Edwards, the main singer of the band Jesus Jones. Around the same time, Lords was cast in the television series Roseanne, appearing in three episodes. During January 1995, Lords appeared in four episodes of the television series Melrose Place, where she played the part of Rikki Abbott. Her debut studio album, 1000 Fires, was released on February 28, 1995.
It received generally positive reviews and the lead single “Control” peaked at number two on the Billboard Hot Dance Club Songs. An instrumental version of “Control” was remixed and released on the soundtrack to Mortal Kombat (1995), which was certified double platinum by the Recording Industry Association of America (RIAA). The album’s second single, “Fallen Angel”, was also successful in charts, peaking at number eleven on Hot Dance Club Songs. The Paul Oakenfold remix of the song was included on the soundtrack of the movie Virtuosity (1995), in which Lords had a cameo appearance. After the release of the album, Lords embarked on a small tour performing as a DJ, mostly in Miami nightclubs. On August 12, 1995, she was the opening act of the Lollapalooza after party, Enit Festival, alongside Moby, Sven Väth, DJ Keoki and Single Cell Orchestra.
She has appeared in dozens of films and television shows from Roger Corman’s Not Of This Earth, Cry Baby, Blade, Zack & Miri Make a Porno to Excision; from Melrose Place, Roseanne, Will & Grace and Gilmore Girls to series regular roles on NBC’s Profiler and Syfy’s First Wave.
Her autobiography Traci Lords Underneath it All (HarperCollins) was a NY Times Bestseller and has been optioned for a miniseries. Her pioneering techno album 1000 Fires (Radioactive/MCA) topped the Billboard Dance Chart and was featured on both the Mortal Combat and Virtuosity soundtracks. Her directorial debut, Sweet Pea was produced under the auspices of the renowned Fox Searchlab. She has recently launched the fashion line Traci Lords for Couture for Every Body.
Traci Lords Bikini
Traci Lords Instagram
Traci Lords Twitter
Traci Lords Movies – Traci Lords Filmography – Traci Lords Films
- Not of This Earth
- Fast Food
- Shock ‘Em Dead
- Raw Nerve
- A Time to Die
- The Nutt House
- Intent to Kill
- Laser Moon
- Desperate Crimes
- Plughead Rewired: Circuitry Man II
- Serial Mom
- Blood Money
- Boogie Boy
- Me and Will
- The Killing Club
- Chump Change
- Full Blast
- Certain Guys
- Black Mask 2: City of Masks
- Novel Romance
- Crazy Eights
- The Chosen One
- Your Name Here
- Zack and Miri Make a Porno
- I Hope They Serve Beer in Hell
- Princess of Mars
- Here & Now
- Au Pair, Kansas
- Devil May Call
- Sharkansas Women’s Prison Massacre
- Nightmare Nurse
- Swedish Dicks
Traci Lords – Video
Traci Lords Interview
Traci Lords on “Swedish Dicks,” Keanu
Updated On: 20th August 2018
Traci Lords is everywhere! A onetime porn actor who went on to study at the Lee Strasberg Theater Institute, Traci has made films (including Cry-Baby), done TV work, created music, and collaborated with Pinup Girl Clothing for her Couture For Every Body line. Even better, she’s currently co-starring in Swedish Dicks on Pop TV, and told me about all of the above.
Interviewer: Hi, Traci. You’re on TV!
Traci: Season 2 premiered in July. It’s a comedy about two Swedish detectives, with these great actors that are a lot of fun to be with. Peter Stormare and Johan Glans play these Swedish detectives who come to L.A. to fight crime and they open a detective agency. I’m a PI [private investigator], and I fancy myself the best in town. We’re rivals. It’s a romp that’s kind of Fargo meets John Waters. There have been so many love letters to L.A., with beautiful cinematography. You think about L.A. Confidential and what have you, and this is sort of the opposite. It shows the underbelly of L.A. This whole other quirky, weird take on L.A., which adds to the landscape of the show.
Interviewer: Did you do scenes with Keanu Reeves?
Traci: Yeah, I had fun working with him. He’s in and out of the show. I think he did three this season. He’s really good in it.
Interviewer: Would you say the business has been good to you in the last bunch of years?
Traci: The business has been amazing to me for the last 30 years. I have no complaints. I’ve been doing really good stuff and have tremendous experiences and the opportunity to do a lot of different things. It’s been a great creative process. I’ve gotten to wear a lot of hats. I did an amazing, fun comedy film that’s on the film festival circuit. It’s been really sort of like frosting.
Interviewer: Do you credit yourself for reinventing yourself or did people help you do that?
Traci: I don’t particularly see it as reinventing myself. We all have different phases of our lives, and mine is my career. It’s gone in all different directions. That’s a human thing. We always try to learn new things. It’s incredible—the business has taken me all over the world.
Interviewer: Do you feel that under Trump, we are living in a puritanical, hypocritical country?
Traci: I feel there’s a lot of negative energy on this planet right now and it’s not a Republican thing, it’s not a Democratic thing, it’s an American thing. I think the truth will always come out. I tend to be an optimist and think this is a terrible moment in history and it will pass. I want to believe that, I need to believe that. It’s a really dark, dark time right now.
Interviewer: Are you the kind of person who’s in touch with her feelings and says so or are you passive-aggressive?
Interviewer: A little psychoanalysis here. I’m one of those people who don’t always articulate what I’m feeling right away in a situation. Do you connect with your emotions and state them right off the bat?
Traci: I don’t think so. I play those roles. Jane in Swedish Dicks is very much like that. She’s funny and off the cuff, that’s part of her comedy. Part of what makes her so fun to watch is that she’ll tell it like it is. I’m honest, but I‘m not an unkind person. I don’t say things to be unkind. At the same time, I’m not a doormat, not someone who lets people walk over me or backs down when I think something is wrong. I wouldn’t say I’m any one thing, I’m many things. I’m complicated. People are, especially women.
Interviewer: So true. You have a big LGBTQ fan base.
Traci: They certainly have my support and love. One of the most iconic roles I ever played was because of John Waters. It was just the 30th anniversary of Hairspray. I wasn’t in it, but it’s my favorite John Waters movie.
Interviewer: Cry-Baby is quite old, too.
Traci: It started a lot of careers, it did some great stuff. It was Johnny Depp’s first leading role in a film. He had that James Dean thing going on, and he was so great in that movie. It’s so diverse. Kids are discovering it. I’m going to Camp John Waters at Club Getaway.
Interviewer: I hate camping. I hate the outdoors and insects.
Traci: Me too! Who wants to be in the middle of the woods?
Interviewer: But it’ll be great with John. That’s the only way I’d consider it. [She wholeheartedly agrees.] Is there anything you’d like to do in acting that you haven’t done?
Traci: Absolutely. I feel like I’m just now hitting it. I’m ready now. I have the work behind me to play the really good roles—the D.A., the judge, some powerful CEOs. That’s next. I’m ready for my Fargo roles now. Who doesn’t like to play the delicious bad guy? I love that, and the world needs to laugh right now, but I also want to play some delicious roles. I’m getting ready to do The Tale of Two Sisters, a 1940s film noir short about twin sisters, one more famous than the other. There’s murder and intrigue. I play both roles.
Interviewer: Amazing! Sounds a little like What Ever Happened to Baby Jane? And I hear you’re working with singer Adam Barta.
Traci: We’ve been writing together and we’re looking to create some stuff, but we haven’t recorded anything yet. I’m looking to create a lot of different things and see what sticks.
Three Identical Strangers
A beautiful if challenging art film, Jeremy Zagar’s We the Animals—based on the novel by Justin Torres—is a visceral coming of age story about three young brothers in upstate New York, all getting mixed signals from their volatile parents. The film eschews narrative for mood and incident, as the boys cluster together (“Body heat, body heat”) and try to make sense out of their alternately warring and loving ma (Sheila Vand) and pa (Raúl Castillo).
Jonah (Evan Rosado), the youngest, has to deal with moments of abandonment by pa, which contrast with ma’s desire to make sure he never grows up, and that has him fleeing into escapism, sometimes expressed via animated sequences. [SPOILER ALERT] When Jonah’s sensitivity leads to him want to kiss a boy, it all becomes queer, I mean clear. This film isn’t for everyone, but its power is in its artistic flourishes and individual vision.
Beep Beep, Toot Toot
After seeing Pretty Woman: The Musical, I visited backstage with my old friends Andy Karl and Orfeh, the husband and wife who are stellar in the show. (He’s Edward, the rich corporate raider whose heart has broken down, and she’s Kit, the sassy mentor to the streetwalker that he makes over and falls for.) Neither Edward nor Vivian (the pretty woman played by Samantha Barks) kisses anyone on the mouth—both for fear of intimacy—but they eventually learn how to do so, while singing Bryan Adams songs.
Andy and Orfeh have amassed so many credits, I always call them “the Lunt and Fontanne of musical theater.” They’ve previously shared the same Broadway stage in two other musical adaptations of movies— Saturday Night Fever (1999) and Legally Blonde (2007)—and though they don’t have scenes together in Pretty Woman, they do come together for the curtain call. People following this musical from its inception told me that they brought back a cut song—“Freedom”—for Andy when he came into the show, and also that a pony riding bit (you have to see it) was Andy’s idea.
The resulting Pretty Woman: The Musical is a slick Cinderella story that’s a little bit like Annie with hookers, and there’s also a hint of My Fair Lady there. In fact, I almost expected Vivian to sing “I Could Have Danced All Night” after she’s all gussied up and brought to a gala. Someday, I might mount a Broadway musical about a sex worker who’s actually fine with what they do. In the meantime, people—like Vivian—want the fairy tale.
The Boys in the Band
Gettin’ the Band Back Together inauspiciously starts with producer-book co-writer Ken Davenport warming up the audience with a speech where he says the show was created based on real-life interviews. (I guess sort of like A Chorus Line, except that’s a Pulitzer-winning musical that endures.) The night I attended, Davenport remembered being in a band and asked if anyone in the audience had been too. And as he blabbed, I prayed this kind of speech doesn’t start a trend. (Imagine a producer-co-writer taking the stage to say, “Welcome to The Band’s Visit! Anyone here ever find themselves stranded in a town in Israel?”) At least Davenport’s alleged audience interaction led to a payoff, which I won’t reveal here.
But let me reveal that the show is a sort of Full Monty meets School of Rock/Rock of Ages hybrid that’s about a stockbroker named Mitch (Mitchell Jarvis) who’s turned 40, lost his job, and is wondering if he should have pursued his old rock and roll dreams after all. Moving back in with mom (a likeable Marilu Henner) in New Jersey, he realizes that his old nemesis, Tygen (Brandon Williams), is going to foreclose on their house—yes, his old nemesis happens to own all the real estate in town—prompting a repeat of the county’s Battle of the Bands, whereby both guys will go at each other, mic in hand.
The nemesis also happens to be dating single mom Dani (Kelli Barrett), who is Mitch’s old high school crush, and one he starts to obsess on again! Are you gagging? Throw in an Indian American dermatologist with an arranged bride; an aspiring-actor cop who’s falling for the lady cop he works with; some cougar action involving mom and Mitch’s best friend; a faux-hip-hop white kid (“We’s in jail”); and an Orthodox Jewish wedding, and you’ve got a show that doesn’t lack for amiability, but which is too often bland, has some jokes that don’t land, and boasts a rap version of “Hava Nagila” that is possibly the worst number ever on a Broadway stage. (I’ll defend the “Garlic” song from Dance of the Vampires to my death.)
Act Two becomes more aggressively silly and therefore more enjoyable (Ryan Duncan is fun as an angsty lounge singer, and so is Rob Marnell as Aerosmith’s blithe Joe Perry) and they even mock the plot’s predictability for a second before returning to that predictability. What’s more, there’s a drag moment and an all too quick same-sex smooch. But generally, this show—directed by John Rando and choreographed by Chris Bailey—belongs in certain parts of New Jersey. At least I got some Rice Krispies treats from Marilu Henner when she came down the aisle to hand them out during intermission. Yes, they make her do that!