Rereleased as a midnight film, it screened around the country for six years, helping spur the popularity of reggae in the United States. While the midnight-movie potential of certain films was recognized only some time after they opened, a number during this period were distributed to take advantage of the market from the beginning—in 1973, for instance, "Broken Goddess", "Dragula", "The White Whore and the Bit Player", and "Elevator Girls in Bondage" (as well as "Pink Flamingos") had their New York premieres at midnight screenings. In 1974, midnight opener "Flesh Gordon" evidenced how the phenomenon lent itself to flirtations with pornography. Around this time, the black comedy "Harold and Maude" (1971) became the first major Hollywood studio movie of the era to develop a substantial cult audience of repeat viewers; though apparently it was not picked up by much of the midnight movie circuit during the 1970s, it subsequently became a late show staple as the phenomenon turned more to camp revivals. The midnight screening phenomenon was spreading around the country. In Milwaukee, it began in May 1974, spurred by the sales manager of a local radio station who had already successfully sponsored such screenings in St. Louis. By the following February, four Milwaukee theaters were regularly showing midnight films, and the Marcus chain, the owner of one, had brought the concept to its theaters in four other Midwestern cities. "Films that feature rock concerts draw big", "Boxoffice" reported, "as do those dealing with outer space and fantasy". The trade paper noted one popular midnight film by name: "Alice's Restaurant" (1969), a comedy with political overtones starring folk singer Arlo Guthrie. On the midnight following April Fool's Day 1976, "The Rocky Horror Picture Show", which had flopped on initial release the year before, opened at the Waverly Theater, a leading midnight movie venue in New York's Greenwich Village. Midnight screenings of the film soon became a national sensation, amassing a cult following all over the United States. Every Friday and Saturday night, audience members would talk back to the screen, dress up as characters in the film, and act out scenes complete with props. Where the social aspect had always been a part of the midnight movie's attraction, with "Rocky Horror" in an exaggerated way it became "the" attraction. By summer 1979, the film was playing on weekend midnights in twenty-odd suburban theaters in the New York region alone; 20th Century Fox had approximately two hundred prints of the movie in circulation for midnight shows around the country.