Tales of Times Square: Expanded Edition by Josh Alan Friedman Page A

lovely Susaye London in her ninth month of pregnancy, taking on the obstetrician and black hospital attendant. Joys of Erotica presented stripper Veri Knotty with a four-foot co-star in “Anal Dwarf.” But even the less frequent S&M material, or obscure rape loop, acted out its psychodrama bloodlessly, or with little authority.
    Most standard loops portrayed suck and fuck. America’s favorite “fourteen-inch” son, John Holmes, starred in 150 Swedish Erotica loops alone, ubiquitous in the Square, while Vanessa Del Rio popped up in every other booth, with Seka gaining.
    Any public traces of highly illegal kiddie porn disappeared for good by the mid-1970s from Times Square. But the kook loops remained in the rear ends of several scumatoriums. A dive called Exotic Circus, at 140 West 42nd, contained familiar Swedish Erotica loops up front, but those with the courage to walk to the back found loops of menstruation-vampires, bowel movements unloading, girls fucking horses, Great Danes getting their peckers sucked. The slicker Peepland, former locale of Hubert’s Museum, opened in January 1978, its downstairs sanctum harboring a hundred blue assembly-line booths. Here were strange and unnatural acts from German distributors, a Disneyland in hell, as quoted from show-cards: “Two wild girls shove live eels up snatch and asshole!”; “Fish-fucking!”; “Farmboy fucks cow”; “Man fucks a hen”; “Woman sticks arm up cow’s ass!”; “Man licks 400-lb. pig’s asshole!”; “Girl takes on dog, horse, and pig simultaneously.” Though these were supposedly novelty loops, a browsing patron might just have easily spotted a wad plopped across the screen of “Two Nuns and a Donkey” as he would in a John Holmes loop, romantic by comparison. “Mice Torture” depicted two men pumping live mice through a tube that was inserted up a bound woman’s vage—before the viewer could get hot over the mice, the two guys started blowing each other. In retrospect, none of these poor animals ever fucked their way to the top, becoming the first Lassie, Flipper, or Mighty Mouse of porn.
    Times Square’s “Live Nude Girls” surfaced at 109 West 42nd in 1972. Customers gazed through a mail slot, and the girls raced into bikinis during police raids. Around the corner at the Paradise on Sixth Avenue, one flight over the 11-11 bookstore, attractive models rotated on a platform, spreading their legs so wide, gents in the curtained stalls could almost see China. This, at a time when mere pubic hair had hardly surfaced on news-stands. Both peeps smelled like subway urinals and were short-lived.
    The peeps had glass partitions dividing the Live Nude Girls from the voyeurs, whose hot breath smeared across the windows like that of rabid paupers at a toy store window. The girls reciprocated by smudging their flanks against the cloudy divider. In mid-1978, these glass partitions shrewdly began to disappear, one by one, as vice-squad policies seemed to relax with Mayor Beame’s retirement. Stores hung OPEN WINDOW signs over the newly christened booths, which offered an “even closer view” of Live Nude Girls. Naturally, the course of human nature drew these two opposite species together—the cages were finally opened. The girls began to offer quick feels for a dollar, and as customers grew more demanding, tit-sucking and cunt-lapping soon became routine. Within months, all peep stall windows throughout the Square were removed. The crowds were as never before. Bathrooms opened at the Pussycat and Adulterama where customers gargled afterward.
    Show World’s peeps had metal risers that were like guillotines—previously, girls could lift up the shade. Girls commonly got caught halfway through the windows. “Guy’d give ‘em ten dollars for a blowjob,” remembers chief engineer Roger K., who rescued dozens. “They’d go through the booth, hang there, the shade would come down, they would get pinched. You couldn’t reverse the type of