Michael Levine, 26, decided in 1976 to cash in on his 10-year-old hobby of collecting autographs by compiling a sort of almanac of the inaccessible. The result is How to Reach Anyone Who's Anyone (Price/Stern/Sloan, $4.95). The tome includes the mailing addresses of 3,200 notables from Paul McCartney to Nadia Comaneci, Idi Amin to David Rockefeller. Writing the book took less than a year and was easier than getting it published. "I have more rejection slips than hairs on my head," he says. And then there was the problem of keeping track of the subjects, whom Levine calls "the most transient, mobile people on earth." The top mail getter, according to Levine, is Bo Derek; she receives 50,000 pieces a week at 1888 Century Park E., Suite 1400, Los Angeles, CA. Levine grew up in New Jersey, son of a clothes-designer father and artist mother, attended Rutgers for three months, but dropped out to become a concert promoter. Levine and his wife, Darlene, moved in 1976 to L.A., where he began a local TV guide. His book, meanwhile, has sold 30,000 copies, and Levine plans a revised edition each year. "It's a constant updating process," he says. "Six months from now there'll be a new Bo Derek, and we'll want her in the book."
Lourdes Lopez, 22, is the fastest rising star of the New York City Ballet and a good bet to be its next hot soloist come November when Kay Mazzo goes on maternity leave. Lopez has been proclaimed "the new Alicia Alonso" by dancer-choreographer Peter Martins, who cast her in his recent work, Sonate di Scarlatti. Like Alonso, the leggy, raven-haired Lopez is a native of Cuba. She came to the U.S. at the age of 2, when her father, an accountant who had served in Batista's army, and his wife fled the Castro regime. Lourdes began studying ballet in Miami as a way of strengthening her legs at a time when she was pigeon-toed, flat-footed and wearing orthopedic shoes. Therapy turned into a passion. When she was 11, Lourdes won a summer scholarship to New York's School of American Ballet, directed by George Balanchine. Three years later she became a full-time student there and was soon elevated by Balanchine to apprentice with the company. She went through a three-year period of career stagnation—"I wasn't taking the initiative," she recalls—but eventually began concentrating on the techniques of her favorite dancers, Mazzo and Patricia McBride. "I'm working hard now," she concedes, "and I'm seeing results."