VIDEO ARCADE
Situated on the ground floor upon entrance to Show World, the video arcade underwent several incarnations between 1974 and 1998. Originally the arcade consisted of (24) film peep show booths that lined both sides of a narrow corridor and extended into an ‘L’ shape. Each booth was equipped with what was essentially a coin-operated nickelodeon that allowed apportioned viewing of designated ‘sound movies’; the construction of the booth and closing door of which were modernized by owner Richard Basciano. Initially these ‘peeps’ operated with the insertion of a quarter, with a panel adjacent to each booth that displayed the title and content of each film for easy selection. Each booth projected triple X-rated 8mm films which were referred to as ‘loops’, and offered ‘previews’ of films which could be bought in the book store. Each booth was also furnished with a stool which provided some degree of comfort to the customer; but proved somewhat cumbersome over time (especially when it came to decontamination) and was later replaced with a portable bench built into the booth that conveniently folded when not in use. These peep projection booths served a specific function: the patron could view the films in privacy indefinitely with multiple coin insertions, and if necessary ‘get off’; and upon exit of booth, evade disgrace.
Around 1980, patrons upon entrance to Show World were greeted by (2) cashiers stationed at counters displaying stacks of octagonal coins; the Show World ‘token’. Introduced by management, the non-redeemable designer token was the latest innovation by ‘Richie’, and could only be used within a Show World establishment. Purchase of (4) of these 25 cent tokens for one dollar was the price of admission to Show World and could be utilized in either the video arcade, the live peeps upstairs, or practical use toward the purchase of novelty items sold in the book store. John Colasanti, former Show World operative: ‘Richie wanted to keep anyone that didn’t have a dollar in their pocket OUT.’
‘At the very end of the arcade was what we called ‘the stick’; a desk with a microphone attached to it. ‘Fat Jimmy’ from Harlem was stationed there, with very bad pock-marked skin; behind him was a manager’s office. Other Show World managers during that period were: Morris (Pat) Denbin, and Clem De’ llessio.’
‘In the beginning on the ground floor at the end of the arcade, there were (6) ‘One-on-One’ booths for the Live Girls, alongside the film booths. In the One-on-One’s, the girl was separated from the customer by a full length glass within the booth. She would ‘control the time’ with her customer with a venetian blind. But ultimately management had to keep tabs on her, in case she got carried away conversing too much. Again Richie improvised further with the booth mechanicals, so the girl didn’t have to control anything.’
‘The films shown in the peep booths were 8mm and Super 8, with the average person spending $6 in tokens per booth. They were not quality films; they were cheaply made, in studios. They films were thin and on reels set up with projectors that coincided with tokens. In fact they used to break so often that customers would complain. Mechanics were in Show World round the clock; they would have to go in there with a spool and ‘splice’ the film (they treated the film chemically, and put it back on the spool). The peep booths previewed ‘loops’ that were sold in the bookstore (in white boxes; they weren’t packaged). The films were always a ‘preview’; which is how they got away with it legally.’
Everything changed with the advent of the VCR and videocassette, which was introduced in 1981. John Colasanti: ‘The most popular porn movies were actually originally in the Betamax format, but the Beta were expensive. At the time the Betamax videotape was much smaller than a VHS tape and much sharper, and was becoming widely accepted. However, the manufacturers of the videocassettes reached a decision to go with the VHS format; it was easier and cheaper to produce, and they could produce them faster. So they transferred the Beta to VHS. Suddenly the VHS tape went worldwide, which facilitated the transition; the Beta became obsolete, and the consumer naturally adapted to the trend of the time.’