Susan Smith Bio
Susan Smith is an American actress, glamour and nude model. She was born on January 14, 1959, in Beloit, Wisconsin. Playboy named her its September 1981 Playmate at 22. Her appearance came during Playboy's polished, high-production 1980s period.
Smith has natural breasts, blue eyes and blond hair. Her measurements are 36-24-36.
Raised on a dairy farm, Smith carried a plainspoken steadiness into a very public life. She decamped for Las Vegas and—through a series of raucous, era-appropriate nightclub stunts including wet‑T‑shirt contests—came to the attention of photographers who would place her images in national circulation.
Her first appearance for the magazine came in a February 1979 pictorial titled "The Girls of Las Vegas," and the centerfold that followed was shot by Ken Marcus alongside Robert Scott Hooper. Those shoots emphasized an unpretentious, athletic look rather than coy studio portraiture, a choice of styling that matched the pageant‑and‑performance world she briefly inhabited.
Playboy also inserted her into one of its stranger pop‑culture fringes: the February 1982 issue staged an intergender wrestling match in which she faced Andy Kaufman for a tongue‑in‑cheek “intergender championship of the world.” Though the bout’s outcome was part gag—Kaufman was theatrically declared the victor—the episode read as a crossover between magazine spectacle and the period’s stunt‑driven comedy and wrestling circuits. Smith’s occasional work as a ring announcer for the WWF broadened that same public persona beyond the pages.
Small acting turns followed, with brief parts in cult‑leaning features such as the horror slasher Don't Go in the House and the adult comedy Working Girls, credits that kept her name circulating beyond editorial spreads. In time she stepped away from regular public life, founding and operating a construction business in the Southwest. The combination of nightclub beginnings, splashy magazine shoots, an oddball moment with a comic‑wrestling celebrity, and a later trade‑based livelihood makes Smith’s arc one of the more conversationally varied entries in the archive—proof that the paths from centerfold to quiet, practical work can be unexpectedly direct.
