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Season 1 Episode 03 | Becoming Mr. Playboy
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00:00By the winter of 1955, America was rapidly changing.
00:13The polio vaccine was officially approved by the FDA.
00:21A small burger joint called McDonald's held its grand opening in Illinois.
00:27Disneyland is a delight for all youngsters.
00:30Walt Disney opened his first theme park in Anaheim, California.
00:38And in Chicago, we were still making waves at Playboy.
00:44In the years since we started taking our own photos,
00:48we've begun adding playful elements to our photo shoots.
00:52Hiding things like a tie or a set of golf clubs
00:57to imply that a man was just off camera
01:01and giving our readers something to look for.
01:09Thanks to our concept of the girl next door,
01:12we're going to be able to do it.
01:13We're going to be able to do it.
01:14Readership had exploded from 70,000 copies a month in our first issue
01:19to 500,000 a month by the end of the year.
01:23And with annual sales reaching $3 million,
01:26I saw an opportunity to take Playboy even further
01:32by going after a source of revenue we'd barely tapped into.
01:38Advertising.
01:39After World War II, Americans got back to work,
01:54and the economy was booming.
01:55Suddenly, people had cash to spend on luxuries like cars, TVs,
02:07and new appliances, and they spent a lot.
02:12So major companies began putting massive amounts of money,
02:15over $5 billion a year, into promoting their products.
02:19It was the golden age of advertising.
02:33For most magazines, advertising is the largest source of revenue,
02:38and advertisers choose where to advertise
02:41based on the audience, the price, and the environment.
02:49But Playboy had a different approach.
02:58We were always, even in the very beginning,
03:00when we needed the money, very, very tough in terms of advertising policy.
03:03I knew, for starters, that if we accepted the kinds of advertising
03:06that appeared in the pulp magazines,
03:08I would never be able to turn a magazine with nudes in it
03:12into a class publication.
03:15I only wanted to run high-class ads,
03:17ones that would suit our features and articles.
03:22My dad was very thoughtful about who he wanted to advertise in the magazine,
03:27because he cared more about reputation
03:29than he did actually about the cash on the table.
03:32He didn't want to be in business with people
03:34that didn't actually believe in the brand.
03:38But now, with sales of Playboy at an all-time high,
03:41I knew it was time to start going after the big-name brands that I wanted.
03:49Hefter, here.
03:51Okay, stall them in five minutes, then bring them up to the studio.
03:54Okay.
03:56Got Victor to meet me on the second floor.
03:58Now.
04:02After months of tracking down potential advertisers,
04:04we finally got the attention of one of the most exclusive brands in town.
04:09All I had to do was convince them to work with us.
04:17Every little movement,
04:21every little thing you do,
04:23is it sleight of hand that commands my heart to love you?
04:33Every little movement,
04:37every little movement.
04:39I'd like you to meet Vince Tajiri,
04:53uh, photo department head, Art Paul, art director,
04:58and this is Victor Lowndes, head of promotions.
05:00Welcome to Playboy.
05:02Thanks very much.
05:04Uh, Hef, this is Bob from the Diners Club.
05:07I'm so sorry to keep you waiting.
05:09You, Hefner.
05:14In 1955, the first independent charge card in the world
05:19was introduced in America.
05:20It was called Diners Club.
05:25This was before American Express, Visa,
05:28or MasterCard were in the credit business.
05:31And Diners Club members could use their cards
05:33at some of the best restaurants in the world.
05:36The card was revolutionary.
05:40And I had a plan to get it into our magazine.
05:47What do you think of the studio?
05:50Everything looks great.
05:52As you may know,
05:53Gannett here was, uh,
05:55the first playmate we photographed ourselves.
05:58Photographing our own models has seen a real spike in readership.
06:01When they see your ad on our pages,
06:04I'm predicting they'll choose to spend their money
06:07using a Diners Club card.
06:15All it took was one look from Janet,
06:17and Diners Club was in.
06:23These advertising guys didn't want to talk advertising.
06:26They wanted to ask about the playmates.
06:28They were fascinated by it.
06:30And we were able to take advantage of that.
06:34Why don't you come to my office?
06:35We'll talk some numbers.
06:36Sellers?
06:39Bye, Janet.
06:44With Diners Club on board,
06:45it wasn't long before other big names followed.
06:50And soon, Playboy was featuring ads from Marlboro,
06:55Chanel, Imperial Whiskey,
06:58and Budweiser.
07:01When we went to see people like Anheuser-Busch,
07:04we could say to them,
07:06look, you've got to be in this magazine.
07:08This magazine reaches more college men
07:10who are the next generation's leaders.
07:15That was very influential.
07:19Our new stream of revenue was enough
07:21to keep the business running comfortably.
07:23Meaning I could stay focused
07:28on the creative side of things.
07:33She looks amazing, Vince.
07:36It's a shame they can't be this big in the magazine.
07:41Let's put this up on the board, Vince.
07:51Charlene had a point.
07:53I don't know.
07:55Here in the office,
07:56the photographs felt more lifelike.
07:59We started out with these great proofs,
08:01but then we had to shrink them down
08:03to fit in our magazine.
08:07I knew there had to be a way
08:09to give our readers a better experience.
08:17I mean, what are our options here?
08:18They have once a bigger photo.
08:20So, tabloid, am I right?
08:22Are you talking about making the entire magazine
08:25twice as big?
08:26That means everything costs twice as much.
08:27What's wrong with that?
08:28We've spent three years building a bond
08:30without readers, right?
08:32They like the magazine the way it is.
08:33Think about the ad sales.
08:34Bigger ads.
08:35More money.
08:36Elden, problem solved.
08:37Look, don't get mad at me
08:38because I'm the only one here
08:39willing to tell the truth.
08:40Don't get mad at me for calling bullshit.
08:41We'll just fold it.
08:55Yeah.
08:55Ladies and gentlemen, the Playboy centerfold.
09:10Love and affection
09:13In March of 1956, we put out our first issue ever
09:17with a fold-out centerfold, featuring model Marion Stafford.
09:26The first Playboy centerfold I ever saw
09:29was probably in fourth grade at a friend's house.
09:32And it's not just opening the cover.
09:35That centerfold, that fold-out is that tactile experience
09:39of opening something and revealing something.
09:43It just seemed like you were opening a door
09:45to a whole other world.
09:51It wasn't life-size, but you have no idea how many times
09:54I made love to that centerfold.
09:56It took me there.
09:57It visually took me there.
10:00I thought that that girl was right there in front of me.
10:03The larger centerfolds were an instant hit with readers
10:06and quickly became synonymous with our brand.
10:10To this day, when people hear the word centerfold,
10:13they immediately think of Playboy.
10:21Sales and subscriptions skyrocketed.
10:25And in December 1956, we hit a milestone.
10:31When our third anniversary issue sold over a million copies.
10:36And after just three years,
10:39Playboy was the number one men's lifestyle magazine in America.
10:43We had beaten out Esquire, the magazine that three years earlier
10:47had refused to give me a $5 raise.
10:59We were doing so well, I needed to bring on someone
11:02who could focus on the business side of the magazine.
11:07So I turned to an old friend who knew me better than any of the other guys.
11:12Bob Pruce.
11:13Heff always had someone that he relied on to be the business head.
11:26In the early years, it was Bob Pruce, who'd been his college roommate.
11:33Demand for the magazine was rising every month,
11:35and our staff could barely keep up.
11:40If we were going to sustain the quality our readers expected from us,
11:44we not only needed to add more staff,
11:46but we also needed some place to put them.
11:59But we didn't just move to a new office.
12:01This time, we got our own building.
12:11Four stories, 30,000 square feet.
12:15Plenty of space for our newly expanded staff.
12:18Now, over 100 people.
12:26We spent a quarter million dollars to renovate it top to bottom.
12:31It might have been a little indulgent,
12:33but I wanted my team to have the very best.
12:48We're in my executive offices now on top of the Playboy building.
12:54It's quite late at night, and my working hours are kind of strange ones.
12:58I usually begin work about 1.30 or 2 in the afternoon.
13:01I get in half a day that way with the staff,
13:03and things are quite hectic here during the day with conferences
13:07and various calls and things to attend to,
13:10layouts, editorial matters, etc.
13:12Then I go into the second half of my day in the evening,
13:15and that's a little quieter. There's nobody else here to bother me.
13:20It works out pretty well that way.
13:26At this point, I pretty much lived in the office full-time.
13:30But while my business was growing, so was my family.
13:35In the midst of our mounting success,
13:38Millie gave birth to our second child, a boy named David.
13:41But with the magazine taking up all of my time,
13:47I'll be the first to admit I wasn't acting like the type of father or husband my family needed.
13:54My father wasn't around a lot when my brother and I were growing up,
13:57but we would spend Christmas and birthdays with him.
14:01So I always thought of him in hindsight as kind of like a favorite uncle,
14:05someone you were related to who you knew loved you,
14:07but didn't really know who your friends were or how your grades were going.
14:14It was 24-7 for him, which is why he did not really have a family life,
14:21even though he was married and had two children.
14:24But he was working night and day.
14:26And that was true for decades.
14:39With success came attention.
14:44And in January of 57, I was invited to profile Playboy on an entirely new platform for me.
14:50One that was quickly becoming an American obsession.
14:56Television.
14:58In 1957, television was taking the country by storm.
15:03And with only three networks to choose from, CBS, NBC, and ABC,
15:10roughly a third of the country might be tuned into one program.
15:14Good evening, I'm Mike Wallace. The show is Nightbeat.
15:17Mike Wallace's Nightbeat was a popular talk show known for addressing controversial topics.
15:25And I thought it would be the perfect opportunity to spread Playboy's message.
15:33But I had never appeared on TV before.
15:36And I'd be lying if I said I wasn't nervous.
15:40I knew that Nightbeat was a very hot show in New York.
15:44A show that was getting a lot of reaction.
15:46I also knew that it was a tough show and that he was asking tough questions.
15:50And I had done very few interviews, even for print in those days,
15:54because it was the very early days of the magazine.
15:56A little under four years ago, a junior copywriter in Esquire magazine's promotion department
16:01quit in a huff after he was refused a five dollar raise.
16:06And that refusal turned out to be one of the worst decisions ever made at Esquire,
16:09because the name of that copywriter was Hugh Hefner.
16:12He is now the editor in Playboy magazine, which claims to have put Esquire right out of first place.
16:21Hugh, we checked this month's issue and found 20 pictures of girls in various stages of undress.
16:27Now, sir, what's the kick that you get out of it?
16:32At the time that Playboy started, and this was one of the big reasons for beginning the book,
16:37we felt there was no magazine doing a really successful job of entertaining the audience that we're trying to hit.
16:45Well, let's not hide behind altruistic motives, Hugh.
16:49Chicago magazine quoted you to the effect that sex will always be a primary ingredient of the magazine.
16:54Isn't that really what you're selling, kind of a high class, dirty book?
17:01Um, well, I don't, uh, I'd make a pretty, uh, strong case in the feeling that the magazine,
17:10as far as we're concerned, does not overemphasize sex at all.
17:13You think that this really reflects the tastes and the standards of young male America?
17:20Truthfully?
17:20Truthfully, without any reservation, yes.
17:25When I first did my interview with Hugh Hefner, I wasn't just playing devil's advocate with him.
17:31I thought that he was about to subvert the republic with some of the stuff that he was putting in Playboy magazine.
17:37What he was doing basically was, I thought, vaguely pornographic,
17:41vaguely obscene, and he was putting a nice cover on it by finding interesting intellectual stuff
17:49to lend a little class to what was essentially a trifle tawdry.
17:54When I look at the tape, I see a very nervous kid who didn't have his act together and was searching
18:02for words. Mike didn't take me very seriously. He said in between segments of the show that he
18:08figured I'd be doing something else in five years. And, uh, I was hurt by that. But, uh, because it
18:14suggested to me that he didn't think I was sincere.
18:29Mike Wallace had torn me apart on national television.
18:33And all I could think was that by appearing on the show unprepared, I had done Playboy more harm than good.
18:46Part and parcel of being in the public eye is people are going to have something to say about you.
18:51You can either let it bother you, or if you are on the right side, just speak the truth.
19:01I had to do something. I needed to make it clear that I was making a magazine for a sophisticated audience.
19:09The first initial dream was to try to package the sort of magazine for a young urban man that I would
19:15enjoy if I was a reader. And the perception didn't go much further than that.
19:23Once that began, a time came when I really began to see the possibilities of living the life.
19:38If I was going to change people's opinion of Playboy, I had to put myself in the spotlight.
19:43And show the public that I wasn't just some creep peddling sex. I was the epitome of a modern gentleman.
19:57Taking inspiration from famous figures like Frank Sinatra and characters like James Bond,
20:06I changed my look.
20:07I started dressing sharper. And I even added a new accessory to my image. A pipe.
20:23For the first time, my photo was prominently featured in the pages of Playboy.
20:29Paired with an article detailing my interests, fashion sense, musical taste,
20:37and my rise to success.
20:42He invented the character and then became the character.
20:45I think in a lot of ways he was surprised how many American men responded to that
20:51and wanted to engage in a lifestyle on that level.
20:55In 1959, I was even asked to appear in an ad from a Chicago Mercedes dealership, promoting their 300 SL convertible.
21:08In Chicago, Hefner was almost immediately the biggest celebrity in town.
21:14But that spread quickly to the rest of the country.
21:21For the next two years, I started giving interviews to any publication that would have me.
21:27And little by little, I started gaining national notoriety.
21:31I literally became a different person.
21:37And I think that the commitment in terms of changing my lifestyle, that wasn't so tough.
21:42It was already a fascination with Playboy as a phenomenon.
21:45It was just a matter of sort of taking off the Clark Kent outfit and putting on the cloak and flying out the window.
21:50With my star on the rise, all kinds of new business opportunities were on the table for me.
22:14And in 1959, the most intriguing was from a local television producer from Chicago named James McGinn.
22:27I want to make a variety show.
22:30Special guests, celebrity performance, playmates, dressed of course.
22:36Who did you have in mind to host?
22:39You.
22:42You're Mr. Playboy.
22:44At the end of the 50s, variety shows like The Tonight Show, Sid Caesar's Show of Shows,
23:03and The Ed Sullivan Show were pulling in massive ratings.
23:07I realized if Playboy could capture even a small percentage of those viewers,
23:19we could extend our brand far beyond just the magazine.
23:24I think the motivation for pursuing television was that it offered another platform to share the brand philosophy.
23:34But even with the backing of a Chicago TV station, I knew we faced tough competition.
23:44If we were going to succeed, we needed to come up with a concept that would really set us apart.
23:51Playboy magazine was always about presenting a fantasy lifestyle, beautiful women, high-end design, and the latest in American culture.
24:10I wanted to bring that experience to a television audience, and just like that, Playboy's Penthouse was born.
24:23The concept of Playboy's Penthouse was the magazine come to life.
24:28It was a show that was taking place in Heff's living room, and Heff was the host of the party.
24:37The show was going to be a huge undertaking, so I asked the entire staff of the magazine to pitch in,
24:44including one of our newest hires, Dick Rosenzweig.
24:48I began working for Playboy in 1958.
24:54I was hired as an advertising trainee.
24:57But then Eldon came to me and asked me to be the production and syndication manager of this new television show.
25:04Nobody really in our company was qualified to do that, but we all chipped in, as we did in those days,
25:10and did double and triple duty.
25:12We may have had an amateur staff and a tiny budget,
25:23but Playboy's growing reputation allowed us to lock in an incredible show lineup.
25:31Stand-up comedian Lenny Bruce,
25:34best-selling author Rona Jaffe,
25:371958 Playmate of the Month, Joyce Nazari,
25:41and my personal favorites, jazz legends Ella Fitzgerald and Nat King Cole.
25:47I used jazz throughout the 50s as a major element in the magazine.
25:54That music spoke to me and contained those dreams that I identified with so much.
26:04We had our lineup complete, but with just days before we aired,
26:09we got word that broadcasters in the South were threatening to pull our show.
26:17You have to understand, this was the late 1950s, a time of racial segregation and growing racist sentiments in the South.
26:25In 1959, this is four years after Montgomery Boycott, a woman locked up for sitting on the front of a bus and paid the same fair as white people.
26:37In that same season, rice workers were killed trying to register people to vote,
26:43and had to beg the Department of Justice and FBI to intervene during that very ugly transition from slavery to Jim Crow to desegregation.
26:54It was a very violent season of fear and polarization.
27:00Protests on both sides were breaking out across the country.
27:05And with our program planning to show white and black people socializing,
27:10southern television stations were outraged.
27:12So either we pull Nat and Nala, or they pull us.
27:18Pretty much.
27:20Look, gentlemen, we cannot afford to lose the South.
27:23It's half our audience.
27:25The stations have all the power.
27:26Fuck the stations.
27:28It's censorship. Nat King calls stays, and so does everyone else.
27:32We're making the show I want to make. If the South pulls us, they pull us.
27:38We start taping tomorrow night.
27:39But people who were not old enough to be around back then and see those Playboy shows
27:49would probably see nothing wrong with them.
27:52Why not have black artists and black musicians and black comedians and black guests?
28:00But in the 50s, that was very much a red flag to certain people,
28:06and even stations in certain parts of this country.
28:11And Hefner's intentional ability to break that barrier was really a public service on his part,
28:18and rather daring.
28:20On October 24, 1959, we premiered our first episode of Playboy's Penthouse.
28:39And sadly, the southern stations stuck to their guns and refused to air it.
28:44But we had made something I was truly proud of.
28:54I'll admit I was nervous to be the front man on a brand new television show,
28:58but I was excited to see my vision on TV.
29:06Hello there.
29:08Glad you could join us this evening.
29:10I'm Hugh Hefner, editor-publisher of Playboy magazine, and your host.
29:14This is Playboy's Penthouse.
29:16Come on in and meet some of our guests.
29:18Well, here we have Eleanor Bradley and Miss Joyce Nazari, two of our most popular playmates,
29:26and Lenny Bruce, foremost exponent of sick humor and...
29:31Oh!
29:32Isn't that sick?
29:34Oh, boy, the champagne is really making my nose bubbly, Uncle.
29:40Nat, what a surprise.
29:43Great, I'm very pleased you could come for this evening.
29:45Come on in.
29:46I was proud to feature Nat King Cole and Ella Fitzgerald as two of our first guests.
29:53Back here.
29:53Nat, this is Speck.
29:54I see Speckorski.
29:58They represented the best in American jazz.
30:03And our show wouldn't have been complete without them.
30:07These were very talented professionals in their line of work, jazz.
30:12And Hefner has always felt that it was right and proper to have the most talented and interesting people on this show.
30:23It's great having you with us, Ella. A real pleasure, as always.
30:27The group is here, and I wonder if you'd sing a song for us.
30:30Well, we can try.
30:32It was so cleverly filmed and photographed because it was a subjective camera.
30:37You were the audience walking in to that penthouse.
30:42You were watching them. You felt like you were there with them. And that's when I think Hef
30:47started being a kind of living, breathing, visual interpretation of that man that you're reading about.
30:55It was exactly what I had envisioned. It was hip, fun, and thanks to our featured playmates,
31:03it was also sexy. I saw it as a chance for Playboy to become bigger than just a magazine.
31:08Bring another drink.
31:12But without the South, there was no guarantee that we'd pull in enough viewers to keep the show on the air.
31:18And there were a few people who had the courage of their conviction to be standing with us.
31:24Heaven's money and reputation was on the line. He identified unequivocally
31:28social justice and for the civil rights movement of that time.
31:48The ratings data came in and I wanted you to hear it from me first.
31:55Is it good or bad?
31:59They want to make a 26-week commitment.
32:03Really?
32:03Yeah. They're even asking about a second season.
32:06A second. Congratulations, Mr. Playboy.
32:11Even without the South, the response was better than I had expected.
32:18The civil rights movement has a particularly profound effect
32:21on the younger generation and on those who want to see themselves as hip and cool.
32:28It is no longer cool and hip to be racist.
32:31And Hugh Hefner latches onto that notion. He feels it.
32:39Papers across the country were talking about us.
32:43The show was a hit.
32:44And we went on to book even bigger names.
32:51If he does that again, I'll punch him a shot in the mouth.
32:55Sammy Davis was a big visitor, as was Tony Bennett.
32:59Tony's going to wail a little bit.
33:00He was a great friend of Playboy, Cy Coleman.
33:05So it was just a litany of who the cream of the crop was in entertainment at that time.
33:11The success of Playboy's Penthouse only solidified our status as the top-selling
33:25men's magazine in the country.
33:27We had a guaranteed circulation of over a million copies per month.
33:36And I was now running a company worth over 20 million dollars.
33:40Hef invents the idea of The Modern Bachelor without really knowing if that person actually exists,
33:55other than that.
33:57Hef invents the idea of The Modern Bachelor without really knowing if that person actually exists,
34:01other than himself, and to tell you the truth, he wasn't even that person.
34:14He was married and living in Chicago.
34:16We'll break for just a minute. We'll be right back.
34:21I wasn't seeing him that much.
34:23We would do the holidays, the family days together, but we weren't acting together as a couple.
34:31He lived his own life.
34:33He didn't do it to be cruel.
34:35It hurt, but it wasn't a deliberate cruelness.
34:39I always respected him, and I think he always respected me.
34:42I think we recognized that we're dissimilar. We were dissimilar.
34:46And what I wanted, if I were in a marriage, what I wanted from it is something he couldn't give me.
34:53And what I wanted, if I wanted to do it, if I wanted to do it, if I wanted to do it, if I wanted to do it, if I wanted to do it, if I wanted to do it, if I wanted to do it.
35:06After a decade of marriage, Millie and I decided that the best thing for both of us was a divorce.
35:23I believed initially that marriage would be the answer to my romantic dreams, and it wasn't.
35:38And I think that that hurt and disappointment led me in another direction.
35:48Now that I was on my own, nothing was stopping me from fully embracing the Playboy lifestyle.
36:03So I did what every guy in his 30s dreams of doing.
36:10I bought a bachelor pad.
36:12The four-story, 40-bedroom house was in the heart of Chicago.
36:26I dropped $400,000, or about 3.2 million today.
36:31And if you think that sounds like a lot, I spent another 10 times that on renovations.
36:43And let me tell you, it was worth every penny.
36:49The main room is, of course, my favorite.
36:55It has a woodwork in it and a size and magnificence that you rarely find in America today.
37:04It looks more as though it belongs on an English countryside than in the heart of Chicago's near north side.
37:08The hi-fi here in the middle of the room was custom-built for the house.
37:19Now down below the main room, we have the swimming pool.
37:23It's kind of like walking into a part of Acapulco, I guess you might say.
37:27There are palm trees there and a waterfall.
37:29You gotta find a little way
37:34Hef had a pool in his living room, but Hef didn't swim.
37:38Hef had the finest wine, but he doesn't drink.
37:41He's the greatest host ever.
37:44It was about other people's pleasure for other people to enjoy.
37:49In addition to housing Chicago's only private indoor swimming pool,
37:54my mansion was fitted with the latest technology.
37:58Plus a bowling alley, hidden walkways, a movie theater, and a full catering kitchen.
38:10This house in Chicago was amazing.
38:12Me and Peter Boyle, we started looking all around the place and we found ourselves
38:17in a swimming pool on the second floor.
38:20And there was this one place where you slid down a pole and you got into this
38:24pillowed room that had a glass front and it was the pool.
38:32But the most legendary room of all was my master bedroom.
38:36I designed it to look like something out of a Bond movie.
38:40And the centerpiece was a circular rotating bed.
38:44And the point of this, of course, is not simply a merry-go-round.
38:47It's really turned the room itself into four separate living sections so that I can have it
38:52facing the hi-fi area, facing the TV over here, or for the work surface, or the fireplace.
38:59I transformed the mansion into a bachelor's paradise.
39:05And in December of 1961, I published a 10-page spread in the magazine.
39:14That gave my readers an inside look.
39:16Every decision that my dad made was about fostering the brand.
39:22So the mansion in Chicago was a reflection of the brand's values, which were his values.
39:29It was a place where you could have a really good time, but still find an intellectual conversation
39:34if you wanted to. It was an adult playground.
39:37With the introduction of the mansion, that literally got out from behind the desk.
39:47And then it was party time.
40:02What had started out as my home
40:04had now become the hottest spot in Chicago.
40:12I spent money and invested money in the future of this magazine and company and this dream
40:19in a way that made no kind of business sense.
40:25All reason and logic were gone, and everything I touched turned into gold.
40:34I was living the life I had always dreamed of.
40:52And I'd finally become the ultimate bachelor.
40:56He was living the life I had, making my life.
40:57He was living the life I had, and I'd be living the life I had.
41:00He was living the life I had, and he was living the life I had.
41:05He was living the life I had.
41:06Every little movement, every motion of your hips.
41:12I feel the compulsion
41:17to pull you
41:18to my sweet lips
41:21Is it a black
41:24magic spell
41:26you put me under
41:28This miracle moment
41:32Never let it end
41:37Every little movement
41:40Is beyond improvement
41:44You are the magician
41:48I've been wishing
41:50for forever
41:53Every little movement
41:56Every little movement
42:10To make sure
42:12I want to receive
42:14The way I found
42:15Can be something
42:16I can
42:19I can
42:21It's easier to
42:22I got somewhere
42:22It's easier to
42:24have a
42:25There you are
42:26Nothing
42:27Quite
42:28You
42:29Somewhere
42:30I can
42:30To get
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