The Playboy Interview: Late-Night Talkers by Editors of Playboy Magazine

By Editors of Playboy Magazine

In regards to the sequence: In mid-1962, Playboy founder Hugh Hefner was once given a partial transcript of an interview with Miles Davis. It lined jazz, after all, however it additionally incorporated Davis’s ruminations on race, politics and tradition. interested, Hef despatched the writer—future Pulitzer Prize–winning writer Alex Haley, an unknown on the time—back to glean much more opinion and perception from Davis. The ensuing alternate, released within the September 1962 factor, grew to become the 1st authentic Playboy Interview and kicked off a notable run of public inquisition that keeps today—and that has featured almost about each cultural titan of the previous part century.
To have fun the interview’s fiftieth anniversary, the editors of Playboy have assembled thirteen compilations of the magazine’s such a lot (in)famous interviews—from colossal mouths and wild males to activities gods and literary mavericks. here's our choice of 12 interviews with the main enticing night hosts.

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Esta experiencia se potencia en nuestro encuentro con la caja electrónica en lugares como galerías, consultorios, medios de transporte, fachadas de edificios, microcomputadoras. Nos informan del clima, del tráfico, del último novio o marido de _]-Lo, y nos hacen el análisis del conflicto de Oriente Medio. «Sin de- jar de estar inscritos en la memoria nacional, los consumidores populares son capaces de leer las citas de un imaginario multilocalizado que la televisión y la publicidad agrupan» (García Canclini, 1995: 51).

El rol del público es actuar o representar las emociones requeridas. »), frustraCÍÓII (<<¡Al'll'1l`ll››) y COI'1f0I`i'l'1lCl Cl (<<1SÍÍÍÍl››). Star system: el espectáculo existe en la medida en que tiene sus celebridades, sus estrellas, sus héroes que lo actúan. En televisión, por ejemplo, la «vedetización» de la figura del entrevistador o conductor está por encima del entrevistado, de los contenidos y de la realidacl. Fragmentariedad: todo espectáculo está hecho de pedazos cuya continuidad sólo es efectista; abundan los tiempos cortos, las emociones rápidas, las narrativas clip, la saturación de efectos, la sobredimensión de la imagen y el estilo.

Bogotá: Naraere 13, Marzo-Mayo, pp. 33-47. Rey, Germán (2002): Las recae de ia crcirara. Comentario a Encuesta Nacional de Cultura. Bogotá: Ministerio de Cultura. Rincón, Omar y Estrella, Mauricio (2000). Teieeiritía: paaralia e identidad. Quito: FES. Sarlo, Beatriz. «Estética y política: la escena massmediática». ) (198 8). ' ¿ar rrrceear ƒerrear ¿É la crciiara peiirica. Mon- tevideo: Puntosu t. Vattimo, Gianni (1994). La recicciaa' rraropareare. Barcelona: Paidós. PÉl 1 42 _ Narraüvas medlatieas .

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