Sex and the City by Candace Bushnell Read Free Book Online

to live on the East Side."

A MODELIZER GLOSSARY
    Thing = a model
    Civilian = women who are not models
    "We talk about it all the time, how hard it is to go back to civilians," says George. "You never meet them or make an
    "It's easier to get a model into bed than it is to get a civilian with a career to put out," says Sandy. Sandy's an actor with brilliant green eyes. "Civilians, they want stuff from guys."

THINGS DISSECTED
    Thursday night at Barolo. Mark Baker, the restaurateur and promoter, is throwing one of his special parties. Here's how it works: The promoters have a relationship with the agencies. The agencies know the promoters are
    "safe"—i.e., they're going to take care of their girls, entertain them. In turn, the promoters need the modelizers to take the girls out. The promoters don't always have the money to take the girls out to dinner. The modelizers do.
    Someone's got to feed them. The modelizer meets someone like Mr. Roque.
    Mr. Roque wants girls. The modelizers want girls and they also want to hang out with Mr. Roque. Everyone is happy.
    Outside, on this Thursday night, there's pandemonium on the sidewalk.
    People pushing, trying to get the attention of a tall, mean-looking guy who could be part oriental, part Italian. Inside, the place is jammed. Everyone is dancing, everyone is tall and beautiful.
    You talk to a girl with a fake European accent. Then a girl from Tennessee who just returned from a trip back home. "I was wearing bellbottoms and platform shoes, and my old boyfriend said, 'Carol Anne, what the hell are you wearing?' And I said, 'Get with it, honey. This is New York.'"
    Jack slides by and starts talking.
    "Even if they're dumb, models are very manipulative. You can split them into three types. One: The new girls in town. They're usually really young—
    sixteen, seventeen. They go out a lot. They might not work that much, they want something to do, they need to meet people, like photographers. Two: The girls who work a lot. They're a little older, twenty-one and up, they've been in the business for five years. They
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    And three: The supermodels. They're looking for a big-time guy who can do something for them. They're all obsessed with money, maybe because their careers are insecure. They won't even look at a guy who has less than twenty or thirty mil. Plus, they have the 'big girl' complex: They won't hang out with any girl who's not a top model, and they ignore other models or bitch about them."
    You go down to the bathroom with Jack and hang out in the men's room.
    "By the time they get to be twenty-one, these girls have tons of baggage," says Jack. "They have a history: Children. Guys they've slept with. Guys you don't like. Most of them come from broken homes or fucked-up backgrounds.
    They're beautiful, but in the end, they don't do anything for you. They're young. They're uneducated. They have no values, you know? I prefer the older ones. You have to find one without baggage, and I'm on the search."
    GET ONE, GET THEM ALL "The trick is to get one big girl—like a Hunter Reno or a Janna Rhodes," says George. "These are girls who have done covers in Europe. If you get one, you can get them all. At a nightclub, you pay attention to the older girls. They always want to go home early because they have to get up and work. You walk them out to a cab, being a gentleman, then you go back in and attack the young ones,"
    "These girls just want to be comfortable," says Mr. Felske. "They're so young. They're just finding their way in a grownup world. They're not fully developed, and they meet these guys who know all the tricks. How hard can it be?"
    Back in the loft, Barkley opens a bottle of Coke and sits on a stool in the middle of the room. "You think, Who's prettier than a model. But they're not so smart, they're flakey and fucked up, they're a lot looser than you think. It's way