Friday, September 30, 2022

The Catalan Natacha Today

It is interesting news to hear that the Natacha Rambova documentary I worked on with the Mallorcan producers will be shown today in such a beautiful setting in Spain.

The producers of this documentary requested a great deal of material from Michael Morris' archive which I shared with them over the two years they were working on this film. I was also interviewed and sent video additions to my interview which they requested. 

I chose not to appear personally in the film for the following reason. 

Just before Michael Morris passed away in 2016,  Ms. Maria Salome contributed her entire collection of photographs and Rambova archival materials to him for his book, Beyond Valentino...She was also interviewed for this documentary. Some things occurred between the production crew and Ms. Salome which she took exception with. 

I was informed about this from the English gentleman William James, who discovered Ms. Salome and who wrote the fine article on Rambova and the Spanish Civil War included in Beyond Valentino. He said Ms. Salome wanted nothing to do with or any affiliation at all with the project and this put her contribution of her Rambova collection to Michael in jeopardy. 

I dearly wanted to finalize the Mallorcan materials and I chose to maintain a loyalty to Ms. Salome at the time. I believe Michael would have done the same and considered the historical content priority over a personal appearance. 

Nevertheless the producers included a wonderful acknowledgment of my book Astral Affairs Rambova and credited Michael and I, etc.

This said, for the record I take a certain exception with their inclusion of a local Mallorcan... who with no documentation or much argument at all... disputes Michael's telling of Natacha's reason for and details of her exile to France during the war. 

The events as Michael reported them in Madam Valentino were told to him by Natacha's family, her cousin Ann... and it was odd the documentary's producers chose to tamper with that. But all in all I was happy to participate despite the ups and downs. And it is great to see respectful, quality films about Rambova being made. 

Thursday, September 29, 2022

Their Aesthetic

The aesthetic of Rudolph Valentino and Natacha Rambova in a visual thread, for your enjoyment. 

Costume Design rendered by Natacha Rambova

Natacha Rambova's jewelry and passport which she left with Maria Salome's parents in Mallorca when she fled to France. 

"The Happy Lovers", by Gustav Courbet, 1844.

Here's to more light, love and laughter. 💓

Wednesday, September 28, 2022

Revival Craze Income

I wrote about the 1938 revival of Rudolph Valentino's films in Affairs Valentino – Special Edition, pp. 227-228. I referenced this in the book to point out that Jean Valentino, then having inherited the estate, reaped substantial reward from Rudolph's films. ($10,000 a week box office returns by today's exchange rate would be $193,600.00 a week) The most popular and highest grossing of Rudy's revival films was The Son of the Sheik and I share this article (below) from the day. 

By 1938, there was a new generation of movie goers and its an intriguing aspect of Valentino's life and afterlife to contemplate his effect of that first generation. Were the audiences filling the theaters in 1938 to see The Son of the Sheik young people or their parents? 

I own a copy of the 1938 Life magazine (shown in the image below) which I will find here and also share. I paid $50.00 for it many years ago and probably got ripped off. But I had to have it and it was a rainy San Francisco day, in a comic book shop and there it was...I would have paid a lot more actually. I know copies of that issue are not rare at all but hey... I have mine. 

My original interest in the revival of Rudy's films was in pursuit of the documentation and truth about the settlement of the estate and subsequent income issues. It was then I came across the profits for the Valentino estate/Jean from the revival in 1938. Obviously those distributing the films in 1938 would have taken their percentages, but as desperate as Alberto tried to make it all look financially.. they were not counting pennies in 1938.

*podcast is recorded, and solutions being set up to ensure a safe place for the fascinating comments you send in to this blog. I do not share the residue of the hater's bombardments here because it is never wise to acknowledge a child throwing a tantrum. At least in my experience. 

Tuesday, September 27, 2022

Everyone is Noticing

I just found these two little screenshot clips and had to share. Because while "they"... including Mr. Simon Constable, continue to mock us for not being mentioned on their forums saying it is because our books have no merit.. they do this (see below). Do they believe no one is noticing? I think it is real obvious why our books do not get mentioned there. i.e.

I had to wonder when I read this just now what they fear? If our books were nothing but garbage as they try to tell people, then what is the big deal? And if someone told me not to read a book, I would buy it in a heart beat. 

This warning from this awful young man passed to a forum follower... had to do with our publication of the English translation of the French Valentino biography by Jeanne De Recqueville. Renato translated it with my assistance and we felt it was an important book to make available to an English speaking audience. Here is why.

For a long time "they", spearheaded by Mr. Simon Constable alleged that in De Recqueville's book, there was proof Valentino was gay. I knew this was a complete lie and in fact DeRecqueville delved into the subject definitively proving Valentino was not gay. Why did I know that?

Because I read the book back in 2003. Michael Morris told me Ms. DeRecqueville's book was worth reading despite it being in French. I took his advice and I add the book is used as a reference in every Valentino biography since De Recqueville's publication. 

With Mr. Simon Constable spreading innuendo implying De Recqueville was a source to support the gay hoax,  it was then we felt... a translation needs to happen. And it did. 

So Mr. Simon Constable was instrumental in having that book out in another language so people could fact check what he was saying. It was as simple as that. He was obviously not pleased being thus exposed and targets his fury at us by spreading more defamation and lies about us on his Facebook page. 

My initial response would be to inform Mr. Simon Constable and his followers who might have read that... that we do not steal. 

And to translate a book is not "appropriating it for profit" and this is just Mr. Simon Constable implying through innuendo that we are disreputable people. 

And for the record, we bought the cover image which is cited thusly in the translation of the book: 

"The image on the front cover of this book is reproduced with permission from Picture Lux, The Hollywood Archive, Alamy Stock Photo, 1921 Paramount Pictures from The Sheik."

So Mr. Simon Constable's blatant smear of our good names online is defamation. I say this according to the definition provided to us by the judge who handed down the verdict in my victorious lawsuit v. David Bret.. and I would hope everyone reading sh*t like this about Renato and I from this tight little group of cyber defamers...would be as furious as we are when we see it. 

We need a retraction on that last warning Mr. Constable put out there. And thank you to whomever you are who asked him about the book only to have that spit back at them. I say run for the exits. 

I call Simon Constable out and ask him why he fears our books so very, very much that he would lie and defame us like this online? Makes me really... not wonder. 

More Regarding My Frank E. Campbell's Visit

 * I wrote the following some time around 2004:

Finding the Sarcophagus of Rudolph Valentino

The interview had all the elements of a scene right out of an Alfred Hitchcock movie: a Peter Lorre look-alike mortician turned archivist; tastefully blacked out mortuary windows and air sickeningly sweet with a mother lode of fresh blooms awaiting the morning’s funeral. In search of details on Rudolph Valentino’s death I had traveled a long way for the interview. So in spite of the macabre setting and the fact that the gracious archivist was far too welcoming for my comfort, I forged on. Perhaps my uneasiness was due to the chilling fact he was employed by a vast corporation proudly billing themselves as the “world’s largest death-care provider.”

At some point during the interview I was asked if I’d ever heard of Valentino’s second coffin. The archivist explained it had long been rumored within the funeral business that an outer casket encased Valentino’s coffin on the train ride from New York to Los Angeles. I said I knew nothing about an outer casket and asked why such a case would have been used. He told me that in order to transport a corpse across state lines, coffins were required by Federal law to be encased in a sarcophagus or shipping case. Urban legend had it that Valentino’s shipping case had been custom made for the journey and was believed to still be in existence. Unfortunately the archivist had no idea where the case was located but said he would make a few phone calls to see what he could find out.

For a little while after that interview I had no clue my piqued interest in Valentino’s shipping case had sparked the imaginations of several morticians and inspired a covert operation to capitalize on the missing shipping case. But within the next few weeks the intrigue surrounding the location of the case and the identity of the owner became so intense I began to wonder if I would ever see it. The archivist called me several times to update me on the status of the search for the case. He also asked me what I thought the cash value of such a piece could be. Smelling the rat, I told him I didn’t have the slightest idea of its monetary value or interest in anything but its history. He assured me he was close to locating the case and its owner. Believing him I prepared to move as soon as I was given any go ahead. I assumed I would make a quick trip to wherever, snap a few pictures and have my story. Instead I soon landed squarely in the middle of heady negotiations for the sale of the shipping case and risked my neck for a glimpse of Rudy’s mythical sarcophagus.

About a month after the interview I opened an e-mail from “the world’s largest death-care provider” to see photographs of a metal coffin loading onto the screen. While the images were downloading I received a call from the archivist with news that this was indeed Valentino’s shipping case. Furthermore he’d found the owner and secured permission for me see the hidden treasure. I told him I thought the piece should be authenticated by an expert and once again asked him for the owner’s contact information. With this he said he would get back to me and hung up. I would have to be content with nothing more than the thrilling photographs for a while longer as the recovery of the photographs did not immediately result in permission to see the case first hand.

Access to the actual case was complicated as the archivist made his power play to position himself as the only broker in any possible deal the shipping case’s owner might make. Granting new meaning to the word cagey, he brainstormed an elaborate but thinly constructed system of communication to guarantee his role. I was asked not to call him at work, to only call a second contact he put me in touch with, to use only this cell number and that e-mail, etc. and was never given the owner’s name. As he began his methodical and territorial watch over the artifact the welcoming host who greeted me in his mortuary office a few months earlier morphed into double agent OO-archivist.

He informed me the owner had decided it was high time to sell the shipping case. But the archivist had run into a snag by telling a few too many of his cronies about his exciting development. With the revelation of the case’s impending sale everyone along his growing chain of contacts soon began scheming for their cut of the sale. The archivist was thoroughly dismayed at this turn of events and lamented to me about it over the phone. He was so distressed and paranoid at the deteriorating status of his gambit I could almost hear the sweat beading on his forehead.

Ignoring the cloak and dagger, I called the cell phone of mystery contact two and was at long last given an address where I could view the case. I quickly scheduled travel arrangements and hopped a plane. Within a few hours I had landed, rented a car at the airport and was following my usually unreliable MapQuest directions to the designated address.

Par for the course in this shipping case caper the address was that of a mortuary situated deep in some primo skid row real estate. It was the kind of neighborhood no prudent soul would dare cross without a police escort. Nevertheless it was easy to imagine a time when the establishment could have been surrounded by a more Mayberry-like backdrop. But on the morning of my appointment the streets were alive and humming with meandering prostitutes, homeless campers, and wild-eyed, ranting desperados.

Having arrived a few minutes early I made a quick dash into a nearby MacDonalds for a sorely needed cup of coffee. No predictable Micky Dee safe zone was to be found that sunny morning. After noticing that several of the tables had been burned black in an apparently substantial blaze and that the disheveled, armed guard posted in front of the counter was swaying, I made what I hoped would be a subtle retreat to my rental car. I failed miserably only to be followed through the parking lot by a squirrley eyed teenager. At this point I made the executive decision to spend the remaining few minutes before my private viewing of Rudolph Valentino’s long lost shipping case sipping my coffee in the safety of the rental car driving around the block.

While I was dodging jay-walking crack addicts, inside the mortuary the bronze and copper casket was being dragged out of its warehouse storage for the first time in seventy seven years. Like a great vessel run aground the case was so cumbersome it took three mortuary workers to heft the unwieldy bark onto a mortuary gurney. They had their orders to have the neglected relic on display in one of the mortuary’s private chapels by nine o’clock sharp. Just before the hour they wheeled the shipping case into the small sanctuary, lifted off the heavy cover and propped it against the wall.

It was up to the floor mortician that morning to oversee the arrangements in each of the mortuary chapels and it was during his inspection of the shipping case installation that he noticed an inscription on the casket’s tarnished lid. After retrieving a can of brass polish from his office he began to wipe away the years of neglect. The inscription read, “Rudolph Guglielmi, Rudolph Valentino, Born May 6, 1895 Died August 23, 1926.” The mortician found the inscription curious because his name also happened to be Rudolph.

Mortician Rudy had just finished his brass polishing when I arrived. He escorted me into the side chapel off the lobby where the gurney had been parked in front of several rows of church pews. After months of anticipation, I paused to appreciate the point blank impact of the moment. The e-mailed photographs had done it no justice.

The case was in extraordinary condition, masterfully constructed and appeared to have been completely hand made. The delicate beads of solder were so expertly placed I was sure some jeweler in 1926 must have labored an eternity in its execution. In his best professional whisper mortician Rudy left the chapel telling me to take my time. He didn’t seem sure why I was there and probably wondered why I would come so far to sit in a church pew paying my respects to an empty casket.

I was there to document the objet d'art and as soon as he departed I got down to work. The case was mine to investigate and inspect from all angles so I set up my tripod and took a quick twenty or thirty photographs. I brushed my hand along its dusty interior and examined the detailed tooling of the handles. Scratch marks from the transport of Valentino’s interior coffin were still evident. The mortician had polished the cover of the case to a brilliant shine and I noticed Guglielmi had been misspelled.

Staring into the long metal box it was hard not to visualize its cargo of long ago. It was in this case Rudy’s lifeless body jostled along the rails on his last ride home to California. I felt no subtle twinge at that thought and at the evidence before me of the brutal honesty of Valentino’s death. And after months of negotiating access to view the shipping case I was suddenly gripped by the desire to pack up my briefcase and camera and get as far away as I could from the grisly find.

I stopped by Mortician Rudy’s office on my way out to shake his hand and thank him for his time. Before I left I decided to have a stab at it and asked him directly if he could give me the owner’s name. Apparently he had not been briefed on the subterfuge preventing me from knowing the identity of the case’s owner. For with no hesitation he jotted down the man’s name and phone number. I thanked him again, dashed back to the rental car, and headed off to the airport and home.

When I placed the call to the case’s owner, he granted me a stilted interview but was slightly confused as to how I got his number and assumed I was an interested buyer. I finally had the story and photographs but it would be awhile longer before I could make any graceful exit from the thorny subject of the shipping case.

Like any other artifact pertaining to Rudolph Valentino, from the moment the case was uncovered its cash value increased with each passing day. I attempted to avoid the line of fire by refusing phone calls and repeatedly saying I had no knowledge or further interest in the case. But the negotiations originated by the archivist continued to complicate as his fellow morticians and serious collectors contemplated forking over a small fortune for the funereal jewel. When last I heard the archivist was hopelessly mired in the deal that had “gone south”. By then I had long since backed out any role in the fracas, thankfully with my story intact.

When I downloaded the photographs of the shipping case, my fifteen year old daughter brought one thing to my attention. To my practical eye she pointed out what appeared to be a circular reflection over the casket. For the past few years she has been fascinated by and an avid student of spectral photography. After reviewing the mortuary photographs she issued her expert analysis and declared the perfect orb drifting in the space above Valentino’s shipping case definitive evidence of ghostly presence. Not wholeheartedly believing her claim, I kept an open mind but secretly found the whole idea appealing. Ghost or no ghost, as far as I was concerned leaning into Valentino’s open sarcophagus was the disturbing end to an utterly disquieting tale.

I since initiated the shipping case’s authentication by an expert and it has been verified through photographs of Valentino’s body as it was unloaded at the train station in Los Angeles. According to records I uncovered during the case’s verification its original cost was $900. This would be about $9000 today. Two other charges were added to the original cost of the shipping case; a mechanic was paid fifteen dollars to solder the base and an engraver was paid 25$ to misspell Rudy’s name on the cover.

The unexpected appearance of this artifact confirms there are still treasures to be found and new stories to be told about Rudolph Valentino which reveal a trail not quite cold. I share the sentiment of the expert who validated the shipping case and agree it should find its way into a Hollywood Forever Cemetery showroom to be viewed by the public. It is more likely that it has already been secreted away with the rest of Rudy’s earthly residue and held in a private collection.

Monday, September 26, 2022

What If

Comments are off for a while so I can finish the podcast. Thanks all for understanding. I am prouder than ever right now about my trip way back when to Campbells. Someone pointed out to me that if someone thinks I forged the documents, it must mean what I discovered was so sensational they refused to believe it. So there you go. It worked out. 

The sarcophagus caused some problems but I bowed out of that and learned a valuable lesson. But all in all it was a profitable trip and I met up with family there and had a great time in the "Big Apple". Meanwhile some more of my Instagram graphics with a nod to Campbells. 

Sunday, September 25, 2022

Putting It Into Perspective

I think of all the documents I photographed in Campbell's this one (below) was the most surprising. It has been and still is often reported George Ullman did not pay for Valentino's funeral, that he left the bill unpaid, etc. Well this is the documented fact; he paid it in full in two payments. The first payment on August 26, 1926 was for $10,000.00 and he paid the balance of $1,087.10 in ten days.

To put this into perspective; according to, the exchange rate for one U.S. Dollar from 1926 to 2022 is times $15.58. This means that Valentino's Campbells' bill today would have been $172,737. 01.

S. George Ullman paid the bill and this document proved that. Many of the Campbells' documents are included in Affairs Valentino with more posted on our website:  

Saturday, September 24, 2022


I have written the story of my visit to Campbell's Funeral Home in 2003 in our books and we recorded a podcast about it which focuses on my discovery of Valentino's sarcophagus. The day I spent at Campbell's was extraordinary because they had all of their records and documents out for me and let me photograph it all. The minute I naively announced my findings publicly, the door was sealed shut and I was told only the family could see the records from then on.

But their scrapbook belonged entirely to them and they gave me permission to use the images I had of that. I often wonder what happened to the scrapbook and I made a few inquiries about having it restored and preserved in a museum. A loose end I guess but retrieving the Campbell's documents and the shipping case was one of the more spectacular discoveries in all my twenty-two years of Valentino research.  

You can see the thickness of the book which was not all Valentino clippings. But it was a valuable document and I hope it survived the collector's inevitable raids. Incidentally, the story of this photograph is told in our podcast titled, "Rudolph Valentino's Last Picture & More". (Found here:)

Friday, September 23, 2022

Red Satin Shoes

Renato came across this image below recently and I find it captivating in its graphic color treatment. This was published in March 1923 as the Mineralava Tour began, so we find Natacha Rambova in costume. I did learn while researching Norma that Natacha wore red satin shoes for the performances.

I believe that the most valuable Mineralava archive would be Norma Niblock's incredible collection. What a remarkable preservation of photographs and artifacts. She was extremely proud of her win and this is evident in the care she took to safeguard her memories. I shared most of it in the book, but what a collection. 

Voila! Natacha Rambova set to cross the country and dance the tango with her love Rudolph. Thanks to Renato for catching this one!


Another Tree Falls in the Woods

Another file (below) of unread villainy demonstrating the power of Affairs Valentino. If my book was not so important they would not give a sh*t. 


Thursday, September 22, 2022

An "A" in Penmanship for Rudolph

 Yesterday I posted images to prove that the calling card given to Federico Betran Masses by Rudolph Valentino and Natacha Rambova was written by Natacha. It was not a major point but I mentioned it because Natacha's handwriting is very recognizable, as is Valentino's. 

One of the points I made was that an Italian would never write a "7" as Natacha wrote on the little card. I share below an excerpt from one of Valentino's "Letters to Bruno" to show his Italian "7".

I have lamented many times over the state of the "Letters to Bruno" as imo they are extremely valuable artifacts relating to his accurate history. In The Rudolph Valentino Case Files, I shared the story and images of one of the letters a young Valentino wrote to his friend Bruno. I only learned about it from a follower on Instagram who contacted me to say they bought it.

I was stunned. This was someone who made Valentino collages and I was fearful that was a plan. And this person had no idea what the letter said and knew nothing about its history. We translated it, told them about the history and they agreed to allow us to share it in the book. But the plan imo is this... that the collector who owns these artifacts sends those that prove Valentino was having sex with women into oblivion as fast as possible. It is, imo an act of profound destruction of Valentino's truth. 

Because in the letters Valentino tells his friend he has contracted something from the "signorini" or street walkers. All of these artifacts belong in a museum to be cared for by professional curators and conservators. And this stands as one of the most distressing aspects of researching Valentino... the hoarding, secreting and straight up destruction of artifacts.

They accuse me every single day of what they do. But their accusations are in fact just their confessions. 

A Tiny Point in Time

In response to Tracy Terhune's alleged claim that Rudolph and not Natacha wrote the addresses on the calling card for Beltran Masses (see previous post)... I share the following.

Hardly possible that I am bothering with this but it is so obvious I can not let this pass. In the first image we have a sample of Natacha's handwriting, her signature. Her handwriting is very swoopy if you will and distinct. The address and the signature are written by the same hand. I have isolated the combination of "a - n" and "a - m" as an example. 

And in this image below I compare the handwriting and academic script of Valentino (the passage below) to the card written by Natacha (above). Absolutely not the same hand at all. And fyi to Mr. Terhune, no Italian would ever write a "7" like that. It would have the slash through it. A no brainer and although it seemed important to Mr. Terhune to come out with some statement of authority on this tiny point in time....he is wrong. Natacha wrote the card. So there you go. You would have to be blind to think these (below) were written by the same hand. 

Wednesday, September 21, 2022

Hooray for Hollywood

A friend of mine once sent me images from the materials provided at an exhibition of the art of Federico Beltrán Masses in London. Beltrán Masses and Rudolph Valentino were friends and in January of 1926, we find Rudolph aspiring to be an artist and studying painting with Federico. I have told their story in Affairs Valentino and previously on this blog. Here I share some of the images from the exhibition and thank my friend for their generosity. I have excerpted some of the narrative from the exhibition materials.

The program:

The most interesting image to me is the business or calling card given to Beltrán-Masses when he first met Rudy and Natacha. It is definitely Natacha's handwriting and a great artifact.

The other detail which deserves note are the gifts Rudolph gave to Federico when he left Los Angeles: an engraved silver pen and a little dog named “Hollywood”.

*Translation from the French inscription: "Here, Hollywood, the dog Valentino gave to me."

It is worth Googling the art of Federico Beltran-Masses to realize why there is no wonder Natacha and Rudy befriended this great artist.

A Refresh

Something to cleanse the palate; the collection of photographs owned by Señora Maria Salome,  Natacha Rambova's god daughter in Palma, Mallorca. 

Tuesday, September 20, 2022

Some "Unadulterated Evil"

I think I have the leading candidate for the opening passage in a book I have been writing about the attacks on Affairs Valentino which I have titled, "Die, Evelyn Zumaya Die". This is a small excerpt of the longer comment sent in by Mr. Bret. I have to advise him that driving that much hate around all day long... well could cause an accident. Cuidado. Perhaps his mentor and best buddy, Tracy Terhune will post this on his blog. 

I apologize to my readers for soiling this blog with such useless muck... but in regards to our conversation about Dark Lover (see previous post), I think this is (below) precisely what Ms. Leider  was working to avoid:

"I curse you, Evelyn Zumaya, for all that you have done to us. May your worthless soul be condemned to the bowels of the blackest of hells. May every day of what remains of your worthless life be filled with the most abominable misery, pain and anguish. May the end to your worthless life be prolonged and agonising, that you might reflect on your two decades of unadulterated evil.

And before you and that fat, dirty-looking, equally homophobic excuse for a husband start screaming “defamation” and “threats” from the roof of your homophobic junk shop, get this into your thick, demented skull.


And now, you vexatious wretch, try suing me again. That scraggy arse of yours will be dragged through the courts so fast, it will catch fire."

I did sue David Bret for defamation and won handily. See:

So Here It Goes

For the past twenty years I have been beaten over the head by a book, the book? Dark Lover by Emily Leider. It is a unique and rather ugly story for me concerning Ms. Leider's Valentino biography. It is nothing personal and does not have much to do with what is inside the book, good or bad, false or accurate... it is that Dark Lover has been weaponized against me from day one; Dark Lover was published in 2003 and Affairs Valentino in 2011.

I have stated some opinions here and there and made my comments on the book, but how could I possibly be objective when it is used to bully me?

I believe “they”/haters, embraced Dark Lover because Ms. Leider pandered to the ambiguity angle regarding Valentino's sexuality. Because I did not pander, and I came out exposing the situation and those culpable... Dark Lover, as their sacred tome, was hurled up side my head with years of insults... cruel comparisons and plenty of snide demeaning of Affairs Valentino. It was and still is god awful and abusive behavior and even in reading this, I am sure they are working up their balls of spit for me... how dare I criticize the sacred tome?

I have been asked a few times if I am planning to vet Dark Lover. I will probably never do a full review because I do not have the steam any more. I have Michael Morris' copy with his notes in the margins and that, for me, is the sacred tome.

Today I respond to Ms. Leider's page 271.

She writes about Rudy and Natacha's trip to Paris and the welcoming they received from the director of the Théâtre des Champs-Élysées, Jacques Hébertot. She states as fact that there has been “speculation” that Hébertot's hospitality was because he “happened to be” a homosexual and then poses the question, was he planning a play on Rudy?

First of all, I believe Jacques Hébertot did not “happen to be” homosexual. He was homosexual. She makes it sound like an accident happened or he won some prize. Imo you are or you are not homosexual.

Her source for that “speculation” about Hébertot was David Bret. After posing her question, she proceeds to laboriously repeat his hysterical claim that way back when, barely-known French actor, Roger Normand had a one night stand or some such thing with Jacques Hébertot. And it was then Hébertot told Roger Normand that Valentino was gay, etc etc. And then Roger Normand told David Bret. I am not sure why Normand was spending time in Bret's home town far from Paris and I have seen no proof Bret ever knew Normand. Bret has never produced a snippet of proof for that and I claim that his claim is not a source, it is fiction.

Bret gives a time frame of Normand and Hébertot's tell-all about Valentino night together as being 1940. As Roger Normand was born in May of 1926, he would have been fourteen. Is Bret advocating child abuse in Dream of Desire?

So the “speculation” Ms. Leider reports on and which I question...was by Bret and only Bret. It was a part of his great hoax.

Moving on, I address Ms. Leider's implication that Hébertot's motivation in hosting Rudy and Natacha Valentino was sexual gratification. Imo this belittles this great man to a high degree. But the "speculation" spawned by David Bret's cheesy hoax was enticing enough to devote a few more pages to his authoritative lies and the innuendo rolls on. 

Jacques Hébertot, Rudolph Valentino, Rolf de Maré , Natacha Rambova, René Clair, etc....these were exceptional artists and professionals at the pinnacle of their respective fields. I think they welcomed and enjoyed a great deal other motivations in life than just sex.

True or not, it appears that for those hoping against hope David Bret is not lying and Valentino was actually gay... this was a great launch of innuendo on that issue in Dark Lover. Even as Ms. Leider goes on disputing Bret's claims, to a degree, she includes them and for that... Bret worships Dark Lover. It is one of his favored weapons to use against me.

Jacques Hébertot deserves more than a wink, wink, nod, nod in the Valentino history... and is it not a bit like emptying a feather pillow in the room? Then saying... oh let me pick up a few of these feathers to look good. But fact is there will always be a feather there from now on.

I also find it a homophobic stereotype to always portray homosexuals as sexually motivated... I think art, creativity, and for Hébertot the connections were their inspirations. He made connections to form theater groups, ballet troupes, and in the adjacent Comédie des Champs-Élysées and Studio des Champs-Élysées, he made an important contribution to the renewal of the French cultural scene. He had so very much more to him than maneuvering people into superficial sexual situations.

Sourcing Bret guaranteed Ms. Leider, she would not face what I faced for calling the Porn Fiction Writer, a porn fiction writer.

Dark Lover, whether Ms. Leider knows it or not, is their weapon and has been for 19 years.

Let's see how many times they can send in comments and use the phrase, “Gold Standard” in what will assuredly be a wide array of insults. So here it goes.

Saturday, September 17, 2022


After reading the comments about Daydreams and Natacha's involvement in the writing of the poetry, I went back and read this letter in The True Rudolph Valentino by Baltasar Cué. This is one of the letters Rudolph Valentino gave to Cué to use in writing what was to be a true autobiography.

In the letter I excerpt, Natacha writes to Rudolph about the poems and includes a story she feels would be inspirational. As the anecdote she shares is lengthy, I will only share the opening of the letter. As I said, until I read this letter I believed Rudolph did not write the poems. I was impressed to learn he did; if not all of them... some or most.

From page 82, Natacha writes to her "beloved"...


I received your poems last night. According to what I telegraphed you today, I think they are good. Actually, very good and to be commended even if they lack in that something in which you shine.

With them, we should go far; so it seems better to wait, another eight or ten days, for a few others with better themes in order to present them as advantageously as possible. "The Fickle Boat" is really splendid, but the others, although good, are not extraordinary enough to serve as samples.

We need some with more fantastical imagination, some passionate, some whose value lies more in the plot and others which are more oriental. Do not forget the idea which the public has formed of you and which should guide us; this being the unusual and something useful for a few out of the ordinary illustrations.

This volume must be very rare and exceptional as well as appealing to the general public. Do you remember the story which I once told you; the one about women-orchids? I think it would serve to make a fascinating poem with a wonderful opportunity for an unconventional illustration....”

Natacha then proceeds to share her story of the women-orchids. I find her advice about the project insightful and loving. It was a good time for them as a collaborating couple and the Cué letters are so very valuable for this reason.

As always thank you to Renato for giving us this translation.

Below another Instagram graphic from a few years back... the collaborating couple hit the high seas! 

Friday, September 16, 2022

Re: "Delicious Solace..."

I do not recall who sent this to me long ago, but I found it relevant to the recent mention of Daydreams and Valentino. I am not so convinced he wrote the following letter because it sounds like a neatly composed promotion for the book, but its fun to have and who knows... maybe he did.  

 More of my Instagram graphics to share:

Thursday, September 15, 2022

"Really the Deadest Town..."

I found this favorite gem today (see below) in which Rudolph Valentino explains Hollywood's bad reputation to a British journalist. According to Valentino, Hollywood was a city of people who were registered as actors, etc. by trade, when in reality they were not. I guess the logic was to follow that this explained the number of arrests and criminal activity by many “actors”.

At the time, thousands of people were headed to Hollywood to find their fortunes in the movies. Their optimism in claiming the profession of actor prematurely was somewhat understandable. What is that expression, “Fake it til' you make it?” I guess this is what Valentino was referring to.

And his comment that Hollywood was the “quietest and really deadest” town he knows is a stretch. Maybe that is why he preferred London and Paris and New York to the wild, wild west.

Silence is Golden

 All unopened and forever.

Wednesday, September 14, 2022

Sources, Sources & More Sources

In response to that blatant confession recently made here in a comment about the diabolical effort to prevent Affairs Valentino from being in “general circulation”, I share more of my sources. How unbelievable that people who allege to devote their lives to Valentino (mainstreamers) would do anything but embrace the sources and the book. 

The book includes the first accounts of the Ullman family and the sharing of George Ullman's archive, the godfather Frank Mennillo's story and archive, and is the first book to source the one thousand pages of court records, etc., and all referenced to some forty pages of endnotes. In the next edition I will include even more.

I share here my source for some of the stories of Foxlair estate, and reprint two pages of the Foxlair family history which is included in Michael Morris' archive. I was honored to be granted legal custody of his archive and can reproduce these as excerpted. I have watermarked them to protect them in some measure.

Most of the history is a detailed account of Foxlair itself, the purchase of the land, the biographical story of Richard Hudnut, the development of the property and the mechanics of running the place over the years. I found it difficult to learn the entire estate was eventually burned to the ground... even the “Big House” as it was called.

The nearby village of North Creek which plays into the story still looks very remote and rural.,_New_York

Here below two pages from the family history I sourced where Valentino's arrival in the summer of 1922 is recounted.

I think it wise for those raging against me, my dear husband and our work... who absurdly try to prevent our work from being read... to study the sources I referenced in Affairs Valentino and understand narrative nonfiction as a genre which I embrace; incorporating the data gathered from years of my research into an enjoyable read.

Narrative nonfiction is by definition: The genre of narrative nonfiction requires heavy research, thorough exploration, and an aim to entertain while also sharing a true, compelling story.”

And no Mr. Terhune, book-burner Martin et al... it is not “pure fiction”. 

Late Evening is Always the Sweetest

Ciao. Ciao. La sera inoltrata è sempre la più dolce. Renato working hard. Its very Italian to be baroque like Renato and cover the walls. He is a talented curator and thankfully super organized. There seems to be some scuttlebutt that Renato is gravely ill. As you can see he is hale and hearty and doing real well. I say those spies should check their sources on that one. 

Tuesday, September 13, 2022

Must Have Been a Favorite

Well aren't I the glutton for punishment to keep the comments on and post another image of Natacha. Yikes... duck and cover I guess. Those who are dutifully participating in the blood sport of defaming us day in and day out...really hate anything I post about Natacha. They especially lurched into hate mode seeing the previous image I posted of Natacha with the iconic little lion cub Zela.

I wanted to post this second shot taken of Ms. Natacha and baby cub Zela and could not find it the other day. So found. All in all Zela had a good life and I am sure Rudy and Natacha rescued her from a life of performing in some cruel circus. 

But I noticed in this image Natacha is wearing the same knit dress she wore when she and Rudy married in Mexicali. It must have been a favorite. 

I also came across this (see below) randomly and thought it apropos. The more they howl about Affairs Valentino, the bigger it gets. You just can't keep a good book down... And yes there might be another revision. 😀👌

A word to Mr. Tracy Ryan Terhune

After a solid ten years of torturing us, bragging about deceiving my Affairs Valentino web traffic into finding your insane images, endorsing Bret and Martin's outrageous defamation of us and on a blog you still run under the title of my book (cheesy redirect there)... you demand I remove the one image I made of you holding images you used to bully me.

Your reaction in light of the reality is imo beyond thin-skinned, Mr. Terhune... but hey now I have it in writing.

As you posted so succinctly:

So there you go... walk suing me. Done and done. 

Monday, September 12, 2022

Re: Truthiness

Among the other one and a half million ugly things I was called this past week by the “Valentino Enthusiasts” as they are now calling themselves... was that Renato and I “build ourselves up” by “tearing others down”. Of course I will respond to that.

This is but a continuance of the awful online behavior of those people accusing us of such things. But pardon me for being too proud, in my opinion Renato and I are two of the nicest people you could ever meet. We are hospitable and loving people, kind, grateful and young at heart I think. We do not need to “build ourselves up” and we do not “tear people down”... we just tell the truth.

I did not “tear” Alberto Valentino down by sharing the meticulous court records which told his story. He tore himself down. It is all true.

I did not “tear” Lou Mahoney down by sharing his involvement in the story of the missing page of Valentino's will. It is all true.

I did not “tear” Rudolph Valentino down by saying he suffered from syphilis. He was the first to share that. His family the second so that was somewhat old news by the time we waded in. It is all true.

I could go on and on and on and on, but I think I made my point. Those people spreading the wicked, outrageous lies about us only manifest their own tragic, personal projections. And it applies in this insult too because nothing tells the world who you really are faster than behavior online.

Renato and I have never, would never and need never “tear” anyone down to build ourselves up. We are confident and content and absolutely not insecure people. And anyone even projecting such a concept reveals a great deal of insecurity about themselves. How sad to realize they spend their lives in an unhappy mindset like that.

Below a few comments from the “Enthusiasts” as examples of their recent “work” in the name of Rudolph Valentino... I now have 1210 of their consistently gross comments which I have rejected and this does not include those I deleted. Here are some typical ones in which they do a fine job of "tearing" themselves down I think. 

Anonymous has left a new comment on your post "Seems More to the Point to Me":

"We are praying fervently for you to drop dead."

Anonymous has left a new comment on your post "Seems More to the Point to Me":

"Something else that you have forged. You are a nasty, vituperative, evil, homophobic, slimy, dishonest, vomitable wretch of an excuse for a human being. The day that you breathe your last will be one of great rejoicing in the Valentino world. And when that happens, there'll be less people in the church mourning you than there are in this picture that you have stolen."

Anonymous has left a new comment on your post "Fan Mail From Some Flounder":

"Maybe you think you know who I am, seeing as your brain is helter-skelter. Maybe you wont. Why don't you put your money where your ugly mouth is...go to the cops, have all our computers seized and analyzed, then we can prove that it's you making all these responses to yourselves, and sue the shit out of you. That little pink homophobic palace you squat in with your multilingual grandpa could be sold (no one would want to live where your bones have been) and the money given to an AIDS charity to compensate for all the homophobic hate you've puked over the last 20 years."

Anonymous has left a new comment on your post "Late in Life Snippets":

"It will me much appreciated by hundreds of people when you are living in real squalor, courtesy of a coupling between The Good Lord and Satan, aka beneath six feet of earth so that you'll finally shut up whining the same whine about the same people day after day."