When the Wind in the Willows and I parted company, I moved in with the last drummer that was in the band, Gil Fields. He was a strange-looking guy with a great big Afro and startling blue eyes. He was completely bonkers but an incredible drummer, a prodigy who had been playing drums since he was four years old. I gave up my apartment on St. Mark’s Place and decided to get rid of everything and just have one suitcase of belongings and a tamboura and a tiny TV that my mother had given me. I moved into Gil’s place at 52 East First Street. I needed a job and it was Gil who suggested I try to get a job at Max’s Kansas City. He said, “Well it’s this place where everybody hangs out, Max’s, have you heard of it?” “No.” “Well it’s up on Park Avenue South right near Union Square.” I had never really worked as a waitress before, except in a diner in New Jersey when I was in high school. But the owner, Mickey Ruskin, gave me a job.
The very first time I did heroin was with Gil. He was nervous and hyperthyroid and excitable—he was a wreck. If ever there was anybody that needed heroin, it was Gil. I remember his tapping out this tiny little line of gray powder. And we snorted it up. And I felt a kind of rush I’d never felt before. And I thought, Oh, this is so nice, so relaxing, aah, I don’t have to think about things, and it was so delicious and delightful. For those times when I wanted to blank out parts of my life or when I was dealing with some depression, there was nothing better than heroin. Nothing.
Max’s Kansas City was the place to be seen. That was another fabulous time in New York, no end of creativity and characters, and most of downtown seemed to wind up in Max’s. I worked the four-till-midnight shift and other times seven thirty until it closed. James Rado and Gerome Ragni would be in the back room every afternoon, writing the musical Hair. Little by little, as the day turned into night, the crowd got wilder and freakier. Andy Warhol would always come in with his people and take over the back room. I saw Gerard Malanga and Ultraviolet, who had been Salvador Dalí’s lover and was now a Warhol superstar; Viva, another Warhol superstar; Candy Darling, a stunning transgender actress; the flamboyant Jackie Curtis; Taylor Mead; Eric Emerson; Holly Woodlawn; and so many others. Whatever you were doing, you couldn’t help but stop and stare at Candy. Edie Sedgwick was around sometimes, and Jane Forth, another of the Factory’s It Girls.
There were Hollywood stars too—James Coburn; Jane Fonda. And rock stars—Steve Winwood; Jimi Hendrix; Janis Joplin, who was lovely and a big tipper. So many of them. I served dinner to Jefferson Airplane two days before they left for Woodstock.
And then there was Mr. Miles Davis. He sat back against the banquette along the outside wall upstairs, like a black king. No way he could have known this little white waitress was a musician too—and maybe she didn’t know either at that point . . .
Why did they seat him in my section—not the one at the end of the earth but the one on the other side of the moon? The section that overlooked what often became the stage, late at night. The tables against the wall were slightly raised on a low step-up platform. He came there with a stunning white woman, a blonde as I remember.
I came up to their table in my little black miniskirt, my black apron, and my T-shirt, with my long hippie hair au naturel—limping from a terribly infected foot injury. The blister and my slashed Achilles were so painful I had to wear these clunky backless sandals which were absurd for work, but I was young enough that it didn’t matter.
Would they care for drinks? She spoke, he was silent, still as a dead calm, statuesque with his ebony skin shining softly in the dim red light of the upstairs back room. He had his own light, glowing, shimmering, alive with his thoughts. Would they like to eat? He remained silent while she ordered for both of them. I don’t know if he ate his dinner. I couldn’t bring myself to watch him chew, but I did see him bend forward as if to take a bite of his steak.
At about this time, it started to get busy and I had to keep limping along—and couldn’t indulge in watching Miles having dinner on a two-top, upstairs at Max’s. Why the hell they sat him up there, I’ll never know.
All these people, all doing in their own way what I had dreamed of doing and had come here to do—and I was waiting on them. It was frustrating but helpful in a way, because I was on shaky ground back then, probably hypersensitive to criticism, and I guess it helped toughen me up. It was hard work physically and some days were rougher than others, but I think it was one of the best times of my life, all in all. Very colorful.
But Max’s was about more than just bringing people food or cocktails; it was all such a big flirtation, such a scene. Everybody who went there was checking out everybody else. One night, I did Eric Emerson, upstairs at Max’s, in the phone booth. My one-hour stand with a master of the game. Eric was one of the Warhol superstars and he was just striking—a musician in a muscular dancer’s body. After watching him dance and bound in one leap across the stage at the Electric Circus, Warhol cast him in Chelsea Girls. I was one of many who had flings with Eric. He was a piece of human art. He had such intense energy and fearlessness and he had more children than he could keep track of. He was also pretty stoned out.
Everybody on the scene did drugs. That’s how it was back then, part of your social life, part of the creative process, chic and fun and really just there. No one thought about the consequences; I can’t remember if any of us even knew the consequences. It may sound strange when you’re talking about drugs, but it was a more innocent time. They weren’t doing scientific studies and setting up methadone clinics; if you wanted to do drugs you did drugs and if you got hung up or got sick, you were on your own. Curiosity was a big factor too—drugs were another new experience to check out.
There was this man who came into Max’s one time—it was late afternoon—Jerry Dorf. He was an older guy, very handsome, and there were all these pretty girls around him. He was flirting with me like mad. So, we got to talking and I think I was complaining about working at Max’s, so he said, “Well, why don’t you come with me to California? You can stay at my house in Bel Air.” Ha! Another man who wants me to drop everything and go with him to California. “Oh no,” I said, “I’m not so sure about that.” At that time I had a sitar and I was studying a bit with my teacher, Dr. Singh. But Jerry and I started fooling around. He was loaded. He bought me some clothes from Gucci. “You have to dress well to travel,” he said.
I quit my job at Max’s abruptly—which Mickey Ruskin never forgave me for; he was very pissed at me because by that point I had become one of his better waitresses—and I went with Jerry. I stayed in his house, but I never felt comfortable. It wasn’t even a month, but it seemed like forever. Then Jerry’s girlfriend found out that I was living there. She had run away with a rock band, the Flying Burrito Brothers, and was living with them in the desert, but now came running home. So I got moved over into the Hotel Bel-Air. It was nice, but I was lonely. I know a lot of people in Los Angeles today, but I knew no one then. So I said to Jerry, “Put me on a plane, I want to go home.” When I was back, I got back with Gil and I went to Max’s and asked Mickey for a job. “No way,” he said. So that’s when I became a Playboy bunny.
Years before, my mom and dad had had a friend, Mr. Whipple, a businessman, really handsome, who traveled a lot and who would regale us with all these wild stories about the places he had been to. He talked about the Playboy Clubs and painted this wonderful picture of the bunnies and how exotic it was. It sounded so showbizzy. That’s when it was implanted in my mind. So I decided to try out to be a bunny. It was quite a procedure. First you met with the Bunny Mother—she was a Chinese woman named J. D., very businesslike; she’d been there for a long time. After you were interviewed you came back for another interview with the executives and you did a series of meetings. You didn’t ever have to put on the costume; they looked at you and they could see immediately if you were going to make it or not. Then you went into a training period for a couple of weeks—and there was a lot of training involved. You had to learn about all the drinks, all of the cocktails, how to carry the tray, exactly how to do the service. Their whole thing was very involved.
Being a bunny was not at all like what you might think. It was hard work, harder than at Max’s, and the clients