PLAYBOY

ENTERTAINMENT FOR MEN

PLAYBOY

OCTOBER . 50 cents

ISSUE /.

( Ж”
OV "NAY
TA (yo jf
YOUR 1959 "94
JAZZ POLI М
BALLOT 4

RUSSELL

SIMS,

PURDY

BEAUMONT AND FRIEND

IREE POPULAR PLAYBOY PERENNIALS take
care of the fiction. this month, and two
of them break a long-term type-casting
thereby. Contributing Editor Ken Purdy
onetime wazir of True and Argosy, has
become known to diggers of this journal
as an automotive authority and writer
of sapient articles on. the Rolls-Royce,
the Corvette, the complete sports. car
stable and the late Marquis de Portago.
In this issue, he takes his first PLAYBOY
bow as a storyteller with ап impelling
lead yarn of revenge and counter-revenge,
The 51 Tones of Green.

Executive Editor Ray Russell was the
d member of our now hundred-plus
zation, joined up in early 51 when
still being edited from

ui
org
the magazine w

our publisher's apartment. He has odd

qua ons Гог a PLAYBOY editor
bores him. as do all sports, he prefers ira-
ditional decor over contemporary, doesn't
dress Ivy, doesn't drive а саг, doesn't
smoke and (as you can sec) doesn't shave.
On the plus side, he drinks copiously,
cats omnivorously, molests women, pas-
tely loves films and theatre, has
nd edited most of PLAyBoy's
highly popular fiction and has written
surgical satires of Ameri ss culture
that have caused Paddy Chayefsky to
call hi talented writer," Abe Bur-
rows to call him "a very fresh mind" and
other вілувоў readers to call him "rare
al jewel” and even "Ameri-
саз est living satirist.” Going
AWOL from his satire post this month,

ty has sculpted а work of straight, if
sardonic. fiction about m director
faced with disgrace and d Montage.

Charles Beaumont completes the trio
of perennials. Though his past contribu-
lions to PLAVROY number ап суеп 10, he
has been absent from our pages fo
while, due to (1) а justcompleted. novel
on a controversial theme, which will be
published early next. year: (2) the script
for a film, Queen of Outer Space, which
stars Zsa Zsa Gabor and which he did.
with Ben Hecht, for a lark: (3) a collec-
tion of his more macabre stories, entitled
Yonder, which The Los Angeles Times

sion
chosen

called “a perfect introduction to one of
the best short-story writers іп America
today”; (4) a racing anthology, out soon,
called Omnibus of Speed: and (5) a wip
to Europe. With these projects now out
of the way, Chuck is busy writing more
stories for rravsov. The first of these is
the cerie Perchance to Dream, here

This October issue is graced by the
unique presence of two Playmates, Мага
Corday and Pat Shechan, contrasting
beauties who seductively symbolize the
ities of red and white wine. The en-
joyment of wine is gone into morc liter-
ally, too, in The Verities of Vino, an
indispensable guide to the grape.

The Pros of Paris explores prohibited
prostitution in the City of Light a dozen
years after it was outlawed; the author
am Boal, who may be remembered
for having penned our piece on sex-for-
sale-in-London, The Girls of Shepherd
Market (мілувоў, Jan 1957). A new
Las Vegas pleasure palace has imported
the entire Lido show of Parisian fame
ad rravmoy's photographers were on
hand to record the event for this Gallic-
flavored issu

Power tactician John Howard Sims
lays down the ground rules for corporate
conniving in his article, Executive Chess,
ector of the Workshop,
m for Federal Administration,
University College, University of Chi
cago; is on the faculty of the U of C's
Industrial Relations Center; has written
for the Harvard Business Review with
Dr. Norman Н. Martin, with whom he is
also readying a book on power tacties
for Harper and Brothers. As а sideline,
Sims has coached corporation execs and
Congressional candidates in public
king use of a handy kn
technique g
mispent youth in whic
ner stock.”

stormed in su
This being October, you'll also find

lot, to be checked, clipped and mailed
with your choices for the sidemen, sing-

ers and skipper for the Playboy All-
Jazz Band of 1959.

DEAR PLAYBOY

ЕЁ} лоов:5з ғ.лүвоү MAGAZINE . 232 E. ОНО ST., CHICAGO 1

THE GREATEST

Occasionally an issue of rrAYnov comes
out that is, to те, a total dud. Usually
such issues abound in "angry-young-man"
and "ivy-leaguestyle" which

articles,
leave me completely cold. But your July

issue was the hi-fi, ultra-sonic, 24- t
99-and-14/ 1009;-pure GREATEST! From
the varied assortment of cheesecake,

Playmate Ahlstrand included, through
the sidesplitting humor of quipster
Berman aud the rib-tickling philosophies
and foibles of the cactuspussed Ira
ternity, to the really gripping fiction,
cover to cover [Шу PLAYBOY gets my
vote for the most entertaining to date.
Stephen E. Thontas
Philadelphia, Pennsylvania

Mad to write to congratulate you on
the best rrAvsov this усаг, Steve Barr's
The Devil to Pay was tremendous, Phil
Smith's The Sweet Sadness was great,
Linné Ahlstrand was fabulous, the pic
torial on Agnés Laurent was the most
апа... oh hell, the whole thing was
with it, man

Bob Mauceli
Phi Mu Delta Fraternity
Troy, New York

KURNITZ
The Little World of Harry Kurnitz:
reat, just great! Especially loved the
95 pulls in a five-pull zone" g
Mike LeBern
Hartford, Connecticut

In your sketch of Harry Kurnitz, it is
stated that he wrote the film The Happy
Road. Far from it! He did only a
“polish.” "The original story and screen-
play were written by Joseph Morhaim
and Arthur Julian, The script was sold
by them to Desilu Productions, who, in
turn, sold it to Gene Kelly. It was then
that Mr. Kurnitz was employed for the
aforesaid "polish."

Vicky Kelrich
Beverly Hills,

California

Harry Kurnitz, І take it, owns most of
the available PLavnoy stock, else why so
much space for hit

James М. Kleckner
Brooklyn, New York

ILLINOIS

SUPER SATIRE
Just finished reading your July issue
joyed every bit of it, but most of all
the satire New Garb for the New Leisure
by M. Ramus and Age of the Chest by
Richard Armour. This last one was
downright hilarious. Methinks if more
of this earth's inhabitants would sit down.
with rrAvsov and read it, the whole
darned world would be filled with a lot
of happier individuals.
Mrs. Charlotte Wilkenhen
Burbank, California

Enjoyed thoroughly Mr. Armour's
satire, Age of the Chest. Perhaps the
essay was personally agreeable because 1
am a member of that post-Piltdown
breed of men possessing a pectoris ma-
joris that's minor and less chest. foliage
than decrabgrassed Suburbia. More
Armour!

Barry N. Fink
Washington, D.C.

SKINDIVERS
Read with gripping interest T. К.
Brown's The Skindiver and the Lady in
your July issue. Being a skindiver my-
self, І was naturally concerned with those
“compression” problems. But the могу
ripped off at such а good расе. І dis-
missed those minor technical matters,
Intend to sec that all my skindiving
friends read this issue.
William E. Elder
Los Angeles, California

I believe the author is mistaken about
there being sufficient drift at 30 feet to
disturb the lady's swim suit but he is
quite right about the fins.

Jean Lindow
Aguas Buenas, Puerto Rico

STEREO
1 have been a hi-fi fan for quite a few

years, but am considering chucking the
whole business and putting in a stereo
system. Where can I get information on
the subject?

Robert Rygg

White Bear Lake, Minnesota
20. Bob.

See p

NO LEERING ALLOWED
PLAyuoy, Гуе noticed (
lyzed the magazine

nd I've ana-

PLAYBOY, OCTODER, 1936, VOL. з. NO. 10, PUBLISHED MONTHLY BY нин
оно ST., CHICAGO 11, HL. ENTERED AS SECOND CLASS MATTER AUGUST З. 1955 АТ THE POST OFFICE AT CHICAGO. IL
19. PRINTED IN U.S.A. CONTENTS CoPrmicHTED © 1958 BY нын PUBLISHING €O.. INC,

THE ACT OF MARCH з.

LISHING CO., INC., PLAYBOY BUILDING, 232 E.
UNDER
susscm-

TIONS: ін THE U.S.. ITS POSSESSIONS, THE PAN AMERICAN UNION AND CANADA, 314 FOR THREE YEARS, $1! FOR TWO YEARS,
зе FOR ONE YEAR, ELSEWHERE ADD $3 FER YEAR FOR FOREIGN POSTAGE ALLOW зо DAYS FOR NEW SUBSCRIPTIONS KAD RENEWALS.
CHANGE аг ADDRESS: SEND BOTH OLD AND KEW ADDRESSES AND ALLOW зо DAYS FOR CHANGE. ADVERTISING: MAIN ADVERTISING
OFFICE. HOWARD LEDEREN, EASTERN MANAGER, 720 FIFTH AVE., NEW YORK, M. Y.. сї 5-2620; WESTERN ADVERTISING OFFICE,

232 ғ. onto sr.
ANGELES, CAL

CHICAGO 18. ILL., Mi 2-000; LOS ANGELES REPRESENTATIVE, FRED С. CRAWFORD, #12 5. SERRANO AVE.. LOS
DU 4.7332. SAN FRANCISCO REPRESENTATIVE. А. 5. BABCOCK. ECS MARKET ST. SAM FRANCISCO, CAL.. YU 72-3954,

MY SIN

...а most

provocative perfume !

iene) LANVIN

the bat Faris бә to offer

PLAYBOY

PARIS

BELTS

іп the new "'Vista-dome" package

CHOOSE YOUR BUCKLE

А man’s idea of sportswear

This is real inspira-
tion,styledby"'Paris"*
who, like you, loves
the unusual. The belt
is rugged Steerhide.
The buckle is created
with finely-tooled
sport designs—
bowling,fishing,
golf—“Personal-
ity-styled” for
the man who
wants to be a bit of a
sport, 1—$2.50.

quite а bit}, hay some ргепу good — and
even important — fiction: Herbert Gold,
etal, Playmates aside, І think PLAYBOY
does a good job of stimulating young
imaginations and providing sophisticated
material for boredom-prone people. And,
as Гус said. PLAYBOY even be dis
cussed intelligently іп а college class-
room, once it’s made clear that the ob-
5 to learn, not to leer.
. Bellman
State Polytechnic

LAZY LINNE
Congratulat
in using Linné
July Playmate Я
George W. McCormick, Jr.

Baltimore, Maryland.

I challenge Miss Ablstrand to a game
ol strip chess. Is she game? Му first move
is РЪКА

Richard Pell

Pittsburgh, Pennsylvania

reader of your magazine
nd I think your lazy Pl:
mate is the best yet.

Walter Roach
Norwalk, California

Linné Ahlstrand is
she and Мау Prot of 1
be on

inating — could
he Young Lions

Ed Purvis
Philadelphia, Pennsylvania
No, Ed, but we agree there is а defi-
nite resemblance.

How do you pronounce Linné?
Jim Eckel
Madison,

Rhymes with matince.

Wisconsin

BERMAN
Lets have much more of Shelley Ber-
man. He's a riot.
Bernie |. Crowell
Dartmouth, Nova Scotia

The pictures and layout were great,
the editing discreet. Even J laughed. 1
do, however. object strenuously to pages
35 through Any performer wi
you that né is one heck of
to follow. She's probably the lov
Playmate I've ever seen in PLayso
yourself — after. Linné. why should any
one want to look at Ве

Shelley Bei
Hollywood,

SWEET & SOUR SADNESS
Philip Lee Smith's The Sweet Sadness
was labeled “fiction” but could have
passed for fact. He just about wrote
word for word what happened when 1
and three friends were in Havana last
Christmas. It was fabulous.
George Orlove
Washington, D.C.

Califor

ўр pi

Photo from Hi-Fi Music ol Home (Morch, 1958)

LOUIS ARMSTRONG ІМ HIS
DEN, EDITING TAPE

{Моге his AR-2 loudspecker сі the left]

Where natural, musical quali-
ty is required, without pseudo-
hi-fi exaggerations, AR-2 speaker
systems are a logical choice,
They are used in recording
studios, in broadcast stations,
and in the homes of leading
figures of the musical world—
including Louis Armstrong above,
and John Hammond, director

of the Newport Jazz Festival.

AR speaker systems, because
of their patented acoustic
suspension design, must use
small cabinets. These small
enclosures mean an advance
rather than a compromise in
quality, particularly of the
bass range.

AR-2's are $89 to $102,
depending on cabinet finish;
AR-1's are $172 to $194.
Literature is available

for the asking.

Dept. Р

ACOUSTIC RESEARCH, INC.
24 Thorndike St. Cambridge 41, Ма

1 say, how much Xavier de Montepin
can you become? Or, in your own lan-
guage, how corny can you get?

Arturo Martinez Caceres
"Tlalpan, Mexico

Suggested retiding for The Sweet Sad-
ness — Puberty and the Projected Day-
dream.

Barrie Jackson
Dash Point, Washington

Philip Lec Smith's The Sweet Sadness
is pure tripe, reminding me of nothing
хо much аз the nonsense perpetrated by
the late О. О. McIntyre. PLAYBOY'S ap-
peal has lain in its sophistication, but a
few more phonies like this Smith lad
y make it back-of-the-barn мий,
ither realism nor humor to rc-

deem it.

F. R. Paxton
New York, New York

OUR OBSERVANT READERS

In reference to Gahan Wilson's car-
toon in your July issue: if the caption is
uttered by the electronic br the car-

Anything else, boss?”

the scientist. the cartoon takes on an en-
tirely different (and frightening) mean-
ing. My question is: who is the speaker?
Mark Richman
Philadelphia, Pennsylvania
The one with the open mouth. Turn
іп your rabbit cuff links, Richman!

THE TENDERIZED TRAP

Re: The Not So Tender Trap. The
very thought of considering men the vic-
tims in cases of illegitimate birth is ow
rageous! Your statistics showing a pater-
nity suit for every third illegitimate birth
would indicate that one-third of our un-
wed mothers can't make Papa own up.
Really, someone must have fathered these
babies! It does take two! Nine s out
of 10, it's the lusty he-man who i єз
the action. However, should conception
occur, the gentleman is no longer lusty
— now he's pure as the driven snow, and

д “ыў

e
(1

YOUNG MAN Capable Of Putting
Some Color Into Big Business

Big business comes in two colors,
black and red . . . and no arguing
about this, black is the better choice.
Our man thinks it's about fime to add
new color to that dull world of black
figures. This is the way he'll do it:
combine navy and brown to come up
with a rich new shade, dark olive.
Execute it in a good piece of worsted
ас [etl осу сс
young man who's been signaled out
as having some life to Мт. More
difference: the Cricketer Trimlines
tailoring, shoulders that put you on
your own, the newly short coat, the
pleatless trousers. And no worrying
about the figures, either. This suit
$59.95, others as low as $50. The
correct sportcoats, $35 to $45.

Are you this man? If so, write for
the name of nearest Cricketeer store.

&
Cricketeer
200 Fifth Avenue, New York City

GREG. US. РАТ. OFFICE

PLAYBOY

KAYWOODIE

Campus Со!

completes
your ;

college
wardrobe

To add the final touch — the
all male touch — select one or
two pipes from Kaywoodie's
special Campus Collection.
Each has an individual
modern flair. Each is distin-
guished by its rare, im-
ported Kaywoodie briar —
cut from the very heart
of the burl. And the Kay-
woodie cloverleaf loudly
proclaims you are smok-
ing the finest pipe in
the world.

*

Gift Suggestions:
Send 256 for color Cata-
log Вз of Kaywoodie
styles, $3.95 to $2,500.

KAYWOODIE PIPES, INC.,
NEW YORK 22, N.Y.

Campus
Yacht
$3.95

KAYWOODI

accents the male look

realizes upon thinking it over that it
was actually she who seduced him. Nor
is he manly — he's scared stiff and will
evade his responsibility at all costs. Thus
he self-righteously produces hordes of
witnesses to testify that the girl in ques-
tion is promiscuous, if not an outand-
out prostitute. These witnesses are, of
course, friends of his, who may or may
not have even met the girl, nobly coming
to the defense ol their innocent, wronged
companion. Ł think it's so inspi
way you men cling together in
need! True, the wrong man might get
tagged once in а while — but this would
not be so if unwed mothers weren't regu-
larly left holding the bag. Мом women
nd girls know this, and we accept it as
onc of the facts of life. But I, for one,
can't take it when you start raving about
the plight of the poor, defenseless male!
Margaret Aslund
Los Angeles, California
Stop shouting and get back to your
Ladies Home Journal.

THE FLY
Just saw the film version of your сх-
citing and unusual novelette, The Fly.
The selection of this story to be repro
duced as a movie not only commends its
author, but even more, it confirms my
opinion that the outstanding stories іп
your magazine deserve wide recognition.
Stu Zimmerman
Ladue, Missouri

THAT BLONDE

Who is the cute little blonde that
keeps showing up in your What Sort of
Man Reads Playboy? advertisements? She

has appeared so often that І suspect

she is а stall membe:
W. С. Clopton

Newington, Connecticut

Her name is Mary Ann LaJoie and she

used to work for the magazine; now she

is one of Chicago's top models and ap-

pears in all of the pLayuoy reader ads.

JIMMY MUNDY

Опа Mundy Flight LN 3475

NEAL НЕРТІ
Pardon My Doo-Wah
Neal Hefti and his orchestra LN 3481

PHIL WOODS QUARTET

Warm Woods LN 3436

JIMMY McPARTLAND'S ALL-STARS

“The Music Мал" Goes Dixieland LN 3463

RUBY BRAFF’S ALL-STARS

Braff! LN 3377

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PLAYBOY

AFTER HOURS

Визе it із now а collector's item, we

hereby reprint a want ad from the
July 14th issuc of the Minneapolis Morn-
ing Tribune:

320 RAND TOWER
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From time to time the staid Antiquar-
ian Bookman allows itself a dry quip at
some remove from olde tomes. Current
samples; “Difference between а depres-
sion and а recession — Back іп the
Thirties we were asked to buy apples;
now it's automobiles We didn't
mind the slogan ‘You auto buy now’ but,
fair ning, the shoe industry is pre-
paring a campaign, ‘You shoc'd buy

А at the bar of the Oak Room
at the Plaza, one adman to another: "So
after lunch we figured what the hell,
мете up against an all-day problem —
let's Miltown it this afternoon and work
on it tomorrow."

А Jewish show busincss friend of ours
cooks up musical revues for the Catskill
borscht circuit, and though we usually
avoid humor related to any particular
nationality or religious group, we think
rLAYmov readers will enjoy bis latest
cogitations and accept them in the spirit

of good fun in which they arc intended:
scems our pal plans on tailoring certain
existing shows for his special audiences,
like Knish Me, Kate; Separate. Bagels;
The Goy Friend; Matzo Do About Noth-
ing; Back to Meshugganah; and, of
course, The Student Bliniz; with such
beloved songs as New York, New York,
It's а Halavah Town; With a Little Bit
of Lox; Rock-a-bye Your Baby with a
Shixih Melody and others.

In a rage to fill up some of its still-
empty office space, Gotham's newish
Seagram House has decided to chuck its
booze-branded handle and call itself
simply 5 Park Avenuc. We don't
know whether this will serve to attract
a rash of teetotaling tenants, but we do
know that most of the employees will
continuc to call those small shimmcring
pools out front “Chasers

We'd long admired the Karman Ghia
that neat Italian body on a Volks chassis
which looks so smart and handy for the
city, and we stopped at our local Volks
showroom the other day to view it.
vs (to salesman): Very pretty — but being
a bit over six feet, is it roomy enough?
SALESMAN: Yep.

15; OK to climb in?

SALESMAN: Nope.
us: Not to drive,
on for size.
SALESMAN: Nope.
us: You mean nobody's allowed to sit in
it? Ey prospective buyer?

SALESMAN: That's right.

us: Look here — most dealers offer dem-
onstration drives. How do you expect to
sell a саг if people can't even try the
seats?

SALESMAN: I don't sell cars, І take orders.
You want to order one, I'll take your
name. Eight-month ж; Up to you.

ist to sit in it, try it

Incidentally, no trade-ins; don't want
them and don't need them. Anything else?

As we left the premises, it occurred
to us that we'd witnessed the reductio ad
absurdum of the soft sell.

Gendarmes of Cook County (which in-
cludes Chicago and suburbs) are having
trouble getting convictions for strippers
who undo their stuff more than the
permits. Whenever the troopers pinch
the girls for dancing naked in Cicero
or Calumet City, the ecdysiasts simply
tell the judge their G-strings broke just
before the cops walked in. It gets acquit-
tals, too.

This month, we applaud the im:
tion апа ingenuity which keep us con-
stantly amazed by Hollywood. Reason:
Los Angeles’ station KFWB, which an-
nounces itself as having earned that
city's biggest radio audience with COL-
OR RADIO (caps are theirs). They
don't say what it is, but who cares; we're
looking forward to the first station that
goes a step further and offers INVISI-
BLE TELEVISION (caps are ours).

BOOKS

A lot of the cats who dug On the Road
the most are likely to be bugged by
Jack Kerouac’s latest, The Dharma Bums
(Viking, $3.95). For Mr. К. has discov-
ered Zen Buddhism, and his book is a
kind of hipster hosanna to the quest for
nirvana. Ray Smith, the Lfigure,
after bumming around the country
delighted to discover on Frisco’s North
Beach the self-styled “Dharma Bums" or
“Zen Lunatics,” whose Path to Enlight-
enment is conveniently strewn with wild

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Bondi Reader R1.0 - Playboy - Issue 510 - Oct 1, 1958

Select an article to read

nude ritual

parties and a dubbed
“yabyum,” which would have made Bud-
dha glad he had all those arms. He tcams
up with nympholeptic (go look it up)
Japhy Ryder, their leader, ап outdoor-
indoor type who climbs mountains like
a goat, and women likewise. Though
Ray has rejected sex (“ "Pretty girls make
was my saying"), he senses in
Japhy a genuine thirst for higher truth,
and during long treks into the Sierras
they bat around concepts of dharma and
karma, sutra and satori, interlarded with
hip-talk, until at last, he takes а fire-
watcher's job on Desolation Peak, like
Japhy before him — and there finds God.
1 have fallen in love with you, God.
"Take care of us all. . . .”) Well, this is
quite a switch for the Beat Generation's
major mouthpiece and somehow it
docsn't quite ring true. Kerouac's gen-
uinc talent gives it moments of convic-
ton but mostly it has the incongruity
of, say, a jam session in а lamasery. It
could happen but you doubt it.
.

The Most of Perelman (Simon & Schuster,
55.05) is, as you might have expected, a
rib-tickling potpourri of well over 100
pieces by the master, including all of
Westward Ha! and a couple of chapters
from The Swiss Family Perelman, If you
think there's no fun left in a visit to
the dentist, read S. J's Nothing But the
Tooth and the description of his cuspid's
last stand. In speedy succession, he lam-
poons Hollywood, Russian novels, Broad-
way, foreign travel, Spicy Detective Sto-
and the smuggling of tourists into
film studios — with all the acerb wit you'd
expect from the maharaja of the mot.

Charles Mergendahl's new novel, The
Bramble Bush (Putnam, $3.95), is а prime
example of what might be called Peyton
Placer-mining: sifting the gold out of
them thar swills, Again we have the
tight-knit New England community (on
Cape Cod this time) seemingly living in
rock-ribbed righteousness — until our
author cracks the vencer and reveals the
venery. Whereupon we discover that
there's incest, perversion, and
plain and fancy adultery among these
outwardly upright citizens than you can
shake Grace Mctalious at. Hardly any-
one is untainted, [rom the editor, enjoy-
ing his peculiar pleasure in the attic, to
the attorney who can’t get over his
adolescent fixation on his sister. Between
times, we get the sad, sad story of the
local medico, who loves his best friend's
wife, gets her with child, knocks hubby
off with an overdose of morphine (he
was dying anyhow), stands trial, is ac
quitted, and marries the gal—only to
find that she, too, is moribund. Ah well,
you can’t blame a guy for trying. Nor
can you blame Mr. Mergendahl for try-
ing to cash in on what seems like a ready-

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made market. But he lacks Mrs. Metali-
ous’ fun-loving zest for this sluice-of-life
stuff, and while it may be curl-up bait
for the peephole set, others may find they
can’t put іс down — fast enough,

That indefatigable and perennial an-
thologist, our own A. C. Spectorsky, has
a new fat, handsome tome coming out
this month—The College Years (Haw-
thorn, $7.95). The title is a rather literal
one: the best writings available in Eng-
lish today—and dating back some
centuries — were culled for stories,
anecdotes, philosophizing, essays and de-
scriptions concerning every facet of col-
legiate life (undergrad, postgrad, ex-
tracurricular, faculty and like that) with
a view to presenting a rounded and
entertaining portrait of those formative,
critical, happy (and sometimes very sad)
years on campus. Emphasis is on Ameri-
can schools, but there’s such variegated
foreign material as ancient and bawdy
drinking songs, straight-faced admoni-
tions to students about fornication and
gambling, town-and-gown riots at an-
cient Oxford, and other goodies. Lots
of pix, too, including a John Held,
Junior, section on the Twenties. PLAYBOY
readers will find our own Herb Gold
represented by his fine, sensitive story of
fraternity life, The Right Kind of Pride,
reprinted from these pages. All in all, a
nifty ріку for grads — past, present and
future,

FILMS

Don't let the title scare you off: The
Fiend Who Walked the West is neither a
routine sagebrusher nor a horror quickie
but a taut Western resetting of that
classic crime chiller of the late Forties,
Kiss of Death, which introduced Richard
Widmark to the screen as a giggling,
psychopathic murderer. In the present
version, ophic Robert Evans plays the
Widmark role. Serving a short term in
an Army prison for pouring booze into
an Indian girl whom he later attacked
and gaily tortured to death, Evans be-
comes chummy with ccllmate Hugh
O'Brian, an upstanding type, who was
apprehended in a nice clean bank rob-
bery (his part of the loot was to pay for
medical aid for his ailing, pregnant
wife, ѕее?). When Evans insinuates that
Mrs. O'Brian may be shacking up with
a sugar daddy while her spouse is doing
time, Mr. O'Brian thrashes him soundly.
The pummeled psycho, who has a loath-
ing for being touched, swears a vendetta
and upon his release from prison forces
O'Brian's bedridden wife into a mis-
carriage, picks up the stashed-away funds,
does in an clderly, avaricious woman
with an arrow and dispatches her con-

For her, tonight's high note is our hero's finesse at combining
the greatest of ease with the utmost of dash. The lines of his
jacket are as clean as a perfect high "C"! The tailoring is
testimony to infinite skill. Fabries? Chosen from the world's
great looms. The curtain's going up now on new ideas from
After Six at all stores where smart ideas start.

А wide range in stylee—from Ivy to distinctive
Avant Garde. Details include such refinements
as hacking pockets, velvet collars,

detachable velvet and satin sleeve cuffs. From $45.00
to $125.00. Prices slightly higher
West of the Rockies and in Canada.

‘White for Free Dress Charl Booklet by BERT BACHARACH, foremost aulhorily on men's fashions. AFTER SIX FORMALS, Dept. P-10, PHILA. З, PA.

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AEROSOL SHAVE

niving son with a shot in the back — all
with loving care and a great deal of
gusto. At this point, O'Brian — а5 the
nearest acquaintance of the unbalanced.
assassin — is given a provisional release
to collect evidence that will convict
Evans and send him to the gallows. The
catand-mouse affair that follows is
played for every bit of tension director
Gordon Douglas could muster. He's
mustered a heap.

Indisereet із Norman Krasna's. careful
ng of his play Kind Sir, laid in
London's Maylair instead of New York
— which for some reason makes the prac-
tically weightless vehicle psychologically
more acceptable. It is the story of how
an American banker-diplomat (Cary
Grant) falls in love with an English
actress (Ingrid Bergman) but stoutly
maintains he can't ever wed her because
he is already irrevocably hitched. Pre-
sumably they live in sin (one never can
be sure about these subjective surmises),
but anyway they have good times going
to the ballet, the Royal Naval College's
Painted Hall and the Garrick Club, giv-
ing one another expensive presents (she
gives him a left-hand violin, he buys her
a Duke's yacht so she can go sailing),
and acting sometimes like a pair of
happy adolescents, When she discovers
he's not married she's thoroughly
peeved and some very funny antics en-
sue, Grant and Miss Bergman comple-
ment one another superbly and get
strong support from Phyllis Calvert and
Cecil Parker as the actress’ sister and
brother-in-law, Direction by Stanley
Donen (who also produced) keeps things
moving in a cheery, sprightly way, which
is exactly what Krasna wanted.

What comes close to saving the film
version of Norman Mailer's The Naked
and the Dead from being a run-ol-the-kill
Let's Go Get Us Some Japs opera is Aldo
Ray's unilinear, uncompromisingly evil
performance as Sergeant Croft, one of
the foulest, most fa (ung тиз іп
modern fiction. Aldo's platoon does get
plenty of Japs, hurling hand grenades
four or five hundred yards and not pro-
testing very vehemently their
sadistic Sarge murders prisoners in cold
blood, later collecting their gold tecth.
A bit of political philosophy is inserted
by Raymond Massey as a jackass general
who argues with his aide (Cliff Robert-
son) about the virtues of absolute power
and who sends Robertson on a mission
with Aldo’s boys to get him knocked off
for his insolence. The screenplay, by
Denis and Terry Sanders, is pretty hack,
considering the gutsy mater they were
working from, and Raoul Walsh's direc-
tion is imaginative enough when the
platoon is in action but somehow stifled
at other times. Robert Gist is fine as a

when

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PLAYBOY

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cynical, tobacco-spitting СІ, nightclub
comic Joey Bishop is effective as religion-
sensitive Private Roth and the kiddies
will enjoy seeing all those Japs blown up.
Lili St. Cyr and Barbara Nichols are
dragged in briefly by their left heels —
for the newspaper ads, apparently, be-
cause they sure don't propel the action.

Director Vincente Minnelli sets a pep-
py pace їп the uproarious The Reluctant
Debutante, which takes place in London
during the coming-out season. This is the
painful time when society's well-to-do
thrust their callow daughters at panting
young men at myriad balls and parties
but worry like hell after midnight lest the
misses’ hot young blue blood plus all
this proximity will get them into trouble.
Besides, for the papas there are weeks on
end of daily hangovers and no sleep.
Rex Harrison plays bewildered, helpless
Lord Jimmy Broadbent whose daughter
(Sandra Dee), just arrived from Amer-
ica, must undergo this ordeal. Pert,
resourceful Kay Kendall is his wife and
Sandra's stepmother, They plan to marry
the kid off to someone classy like Guards-
man David Fenner (Peter Myers), but
Sandra, bored by cotillions and creeps,
likes American drummer David Parkson
(John Saxon). The duplication of Davids
causes an enormous mixup, with the
near-hysterical lord and lady finally act-
ing as voyeurs in their own home to
protect their chee-yild from the assault
of the drummer. The aforementioned
people and Angela Lansbury (asa pushy
mother) are all pretty funny, but Har-
rison and Myers are simply superb; the
script, adapted by William Douglas
Home from his Broadway play, affords
these gilted performers one fat oppor-
tunity after another; and the result is a
very funny picture.

O Lordy, what a beating those two
boys take trying to escape the Georgia
sheriff, his posse and their ravening
hounds in Stanley Kramer's stark, blunt,
tense The Defiant Ones. One is black, one
white. Tony Curt nose-puttied and
ear-thickened to play John "Joker"
Jackson, a tough, bitter Southerner, is
shackled by four feet of chain (the
caprice of a warden with a sense of
humor) to Sidney Poitier as Noah Cullen,
a tough, resentful colored man, but with
a nobility of character Curtis can't dig.
Escaping in the rain from a crashed
prison truck, the pair of felons gallop
in tandem through the wilderness, buffet
across а fierce river, claw out of a slimy
pit, nearly get lynched, slog through
swamps, sprint heartbreakingly after а
train. Even though their desperate team-
work has an inspirational quality, both
wear their hostility—toward society and
toward the opposite color—so close to the

even Pan
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BUDDY COLLETTE'S
“SWINGING

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surface that they mutually hate while
they help. Respite from flight is offered
by a widowed farm woman who gives
them tools to bang off the bracelets and
dallies briefly with the fevered Curtis.
Then, chained by respect rather than
links, they go to their inevitable end.
A gripping chase story that is somewhat
allegorical but decently free of overt
preachments.

THEATRE

"The rush for seats is in full swing for
the 1958-59 Broadway season, and we
suggest you scramble for your ducats
right now. Which shows? Well, we've
spent several salubrious hours peering
into our crystal martini pitcher and have
come up with these hardy specimens that
should be worth your attention:

By way of musicals, keep an eye out
for Harold J. Rome's melodious retake
of Destry Rides Again, with Andy Griffith
and Gwen Verdon in the saddle; Rodgers
and Hammerstein's The Flower Drum Song,
their adaptation of С. Y. Lee's novel on

an Francisco's Chinatown; drama critic
Walter Kerr's Goldilocks, for which he is
writing the book and lyrics along with
his frau, Jean Kerr; Arthur Laurent's
adaptation of the work of another Lee—
Gypsy, A Memoir—set to star Ethel Mer-
man: a song-and-dance version of the
old S. №. Behrman play, Sereno; the Sean
O'Casey classic, Juno and the Paycock,
wired for sound by Marc Blitzstein for
Shirley Booth and Melvyn Douglas. Also,
watch for Abe Burrows’ musical adapta-
tion of Pride and Prejudice, which might be
starring Sydney Chaplin and The Spirit Is
Willing, which could see Greer Garson
and Van Johnson poltergeisting about
in this musical version of the Robert
Sherwood movie, The Ghost Goes West.
Vicki Baum's Grand Hotel is off to a
musical remake, At the Grand, with Paul
Muni, but a West Coast try-out indicates
it needs a major overhaul. Similarly, al-
though Audrey Hepburn is the Oxford
enchantress іп a musical to«lo based on
Max Beerbohin's Zvleika Dobson fantasy,
last year's London run was small shakes,
and the show still needs more than a
star to make it twinkle.

‘The straight plays come by the gross,
and this is an attempt to spot the spec
: who could miss with Eugene
O'Neill's A Touch of the Poet, with a cast
headed by Eric Portman and Helen
Hayes? Тһе Old Friends is Irwin Shaw's
aptation of a Marcel Achard Paris hit,
Patate, with Tom Ewell donning а
French accent; Howard "Teichman's The
Girls in 509 sounds like a romp because it
will return Imogene Coca and Dorothy
Gish to the boards; and Drink to Me Only
is recommended only because George
Abbott is directing. The Pleasure of His Com-

2
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CHRIS, AT THE TOP OF HER CRAFT, IN AN
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pony, written by Taylor and
Cornelia Otis Skinner, will include the
latter in the cast with Charles Ru;
and Walter Abel. under Cyril Ritchard’s
direction. The Men in the Dog бий,
Hume Cronyn and Jessica 1
weird package the pair have already
proven in summer stock. And consider
these: The Disenchanted, Budd Schulberg
and Harvey Breitt's dramatization of
the fading years of Е. Scott Fitzgerald's
short life; an asyeruntitled play by
Arthur Miller. which may star his wile;
Anatomy of a Murder, a courtroom nai
biter taken from the bestselling nove
and Paddy Chayefsky's fantasy The Dybuk
from Woodhaven.

A half dozen more plays may stem
from the native heath, and come as ап
unexpected pleasure. But some of the
best will come from over the wave
the Old Vic in a Bard repertoire which
will include Hamler, Twelfth ht and
Henry V. There will also be Lo Plume de
Ma Тате, a French review which hit
mightily in London; Benn Levy's The
Rope of the Belt, the reprise of a Greek
legend ng Constance imming:
and Duel of the Angels, Christopher Fry's
iambic version of another ravishment,
Giraudoux's The Rape of Lucrece.

With such a fat and sassy set of im-
ports, plus some of the most pungent
and provocative American writing
around, the coming season might well
be a rouser.

DINING-DRINKING

Chicago's jumping jazz cellar, The
Cloister (900 IN. Rush), has undergone a
real gone face-lift, including more than
the handsome new pinc-pancled decor.
There's been a change in the entertain-
ment policy, too: in addition
swinging small combo sounds
Cloister boasts two of the sw
the Ramsey Lewis and Eddie Ні
trios), the club has added jazz-ori
vocalists and comedians, the
Lurlean Hunter and Lenny

to the

Bruce.
Lurlean sings with a refreshingly clean

ad vital г of pipes and Lenny offers
-ош, sicksicksick style of humor

that we personally саг enjoy many times
over, and have. The Cloister remains a
friendly place where show and club peo-
ple gather (including the girls) when
earlier Near North Side spots arc shut-
tered. Skip and Shelly, two of the young-
est and nicest hosts іп Windycitysville,
are оп hand to welcome as before, and
it is a scene you will not want to miss.
The new Cloister promises to be one of
the most exciting spots in town. Open
till four in the А.м., five on Saturdays:
shows at 10, 12 and 2; no food to get in
the way of the drinks.

PERFECT
SETTING FOR
THE SOUND
OF

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SARAH VAUGHAN
AT THE
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RECORDINGS

Dakota Staton is the singer they're all
gabbing about in the East, and in an in-
creasing number of points West. On an
LP called im the Night (Capitol T1003)
she sings on six of a dozen tracks by
George Shearing's Quintet. The gal has
a fabulously flexible voice that can be
deep and decisive (Blues in My Heart),
rock'n'roll raucous (Confessin’ the
Blues) or boudoir-tender (The Thrill Is
Gone). Her intonation isn't perfect, and
there's none of the suave Chris Connor
brand of hipness here, but we recom-
mend а listen. The instrumental num-
bers show off some of the best Shearing
ad on his own tune Easy,
George sounds downright funky, in con
trast to his customary smooth approach
to jazz.

Don't Take Your Love from Me (Capitol
T1002) features а nice, open, schmaltzy
trumpet and is unabashedly calculated
for low-lights, late-hour Jistening. The
horn belongs to Bobby Hackett but the
tunes and treatments belong to the ages:
fiddles йау, saxes sway, and a background
chorus и Oooooooos and Ahhhhhhhs
off in the distance. Over it all вай
Bobby's voluptuous tones. The tunes—
pretty things such as Moonlight Sere-
nade, Street of Dreams, A Handful of
Stars — ате “magically spun into a shim-
mering musical web,” like it says on the
liner notes, and who are we to give them
the lie?

.

If you dig classical piano played with
verve and precision, Andor Foldes is
your man; his talents are beautifully dis
played on Mozart's Piano Concerto No. 21
іп С Mojor, Piano Concerto No. 17 in б Mojor
(Decca DL 9973) which he performs with
the Berlin. Philharmonic under itz
Lehmann. ‘the first concerto is richly
symphonic, the second із gracefully
happy: their pairing іп an unusually
sonorous recording makes high good lis-
tening sense.

Litle Jimmy Rushing ond the Big Brass
(Columbia CL 1152) spotlights such old-
fashioned virtues as а solid, steady beat
and consistent tonality underlining the
brassy blues bawling of the ex-Basie
vocal vet. Coleman Hawkins, Buck Clay-
ton, Nat Pierce and other soloists spell
Mr. Five by Five in a dozen old favorite
including a new version of his early
Harvard Blues. These sides never stop
swinging.

The hip regulars at Chicago's Cloister
Inn haye had pretty much of a lock on
the music of the Ramsey Lewis Trio
which headquarters there; now the rest
of the world can hear what all the rav-
ing has been about: Volume НІ of Romsey
Lewis and His Gentle-Men (Argo 627) gives

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us a gencrous sampling of the work of
these young and talented musicians who
play with controlled fire and an infecti-
ous way of building pace throughout a
number. Best bets, by us, are Z Get a
Kick Out of You, which features drum-
mer Red Holt carressing the skins with
his finger tips, М Ain't Necessarily So,
starring bassist Eldee Young, and espe-
cially Seven Valleys, a five-and-a-half-
minute hunk of evocative music com-
posed for the trio by Fred Katz.

The two men who started all the show-
azz pother two years ago with
Му Fair Lady collaboration, André
Previn and Shelly Manne, are reunited
as Andrés trio (with bassist Red Mit-
chell as а powerful third) tackles the
score of бізі (Contemporary C 3548).
André recently said: “І do so much writ-
ing for large orchestras at the MGM
studios that it is a great rclicf for me to
be able to think in terms of a [ree-whecl-
ing small group. Besides, what Shelly
docs on drums is equivalent to 12 men."
Amen on both counts. Highlight is the
frenctically swinging treatment of It's a
Bore and never did a performance Гай
more dramatically to live up to its title.

Earworthy as all get-out is a fantastic
platter called Sing а Song of Basie (ABC-
Paramount 223), by Dave Lambert and
His Singers. These are vocal versions of
10 of the Counts best records (Ev'ry
Day, Down for the Count, Fiesta in Blue,
etc.) in which not just the band parts,
but the entire original records have been
fitted with words, down to the last note
of the last ad-lib solo. It’s an ingenious
job, and all the more amazing in that
the dozen or more voices you hear actu-
ally belong to but three people doing a
marathon multi-track job. One of them
is Jon Hendricks, who sat up ай у
writing the lyrics; a second is Annic
Ross; and Lambert is the third. АП right,
so we'll stick our neck out: this is as wild
and wonderful a set of sounds as we've
heard thus far this year.

Four records, now, for onc elegant
evening of icgated listening, each
disc a minor classic of its kind, all quite
diflerent in mood and style, all ипге-
servedly recommended: West Coast Waiters
{Atlantic 1268) features Conte Candoli
and Lou Levy; Nothing But the Blues (Verve
8252) lets Herb Ellis freewheel against
a starring quartet background (Roy
Eldridge, Stan Getz, Ray Brown, Stan
Levey); Red Plays the Blues (RCA-Victor
1729) features the Red One known as
Norvo, of course; Burnished Brass (Capitol
1038) is rich, lush, dreamy stuff played
by George Shearing with a brass choir
behind him.

Four sidefuls of Stan the Man Еге-

pave ама moat але, ағы.

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berg, culled from his late-lamented radio
series, are offered іп the nwo-platter al-
bum The Best of the Ston Freberg Shows
(Capitol WBO 1035). We liked the in-
terviews with The Abominable Snow-
man and fortune cookie writer Albert Т.
Wong, the hi-fi lectures Бу Herman
Horne, and the decontaminated-for-
radio version of a famed song, Elderly
Man River, among others. There are too
many takeoffs on commercials (ominous-
ly presaging Freberg's subsequent defec-
tion to the enemy camp of advertising)
and some arid stretches (notably an
overweight Vegas satire called Incident
at Los Voraces), but you don't catch us
carping. Just laughing.

We've already commented on the
mysterious ways of the recording indus-
шу, on how — having evolved a brilliant
technological improvement (stereo) —
they launched it by feeding us demon-
stration samplers, pop organ packages,
and noisy agglomerations of sound el-
fects. Apparently, most of the industry
was convinced that stereophiles were
unmusical electronics addicts — to us, а
dubious assumption. It took tapes
months to get off this kick; sterco rec-
ords (despite some laggard labels) seem
to have profited from tape experience
— as the following indicate.

In the jazz department you can now
hear on stereo disc (varying іп stereo
effectiveness from so-so to brilliant)
these records previously recommended
here in monaural versions: Chet Baker &
Crew (World Pacific 1004), Juonite Holl
Sings the Blues (Counterpoint 556), The
Gerry Mulligon Songbook Volume 1 (World
Pacific 1001)... And in the classics, ап
absolute honey of a find for Vivaldi re-
vivalists: Four Bossoon Concertos (Vox
ST-PL 10.740) with Virginio Bianchi
bassooning away beautifully, abetted by
Gli Accademici di Milano, a pretty sen-
sational combo, comparable to the now
familiar J Solisti di Zagreb. Vivaldi
wrote 38 concerti for bassoon —an in-
strument previously employed largely
for comic effects; if these four are any
guide, we hope soon to hear the other 34.

s

In our estimation, tapes on the whole
still edge out discs for sterco fidelity;
two worth your attention and your hard-
earned scratch: Sobicos Plays Flamenco
(Elcktra 2015 C), М. A. Mozart: Two
Concertos for French Horn ond Orchestra (Bos-
ton 7-5 BN), lucidly and brilliantly per
formed by James Stagliano backed by
the Zimbler Sinfonietta. If you have а
separate “loudness,” “presence” or
tour” control, you might want to use it
to attenuate the middles a bit to bring
that fine French horn into closer conso-
nance with the hard-working sidemen.

STEREO

““Мо longer a promise

but а performance"

IRVING KOLODIN
Saturday Review
June 28, 1958

MANTOVANI

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what's what with the two-tracks—tapes and discs

LL GOD's CHILLUN got two ears, іп con-

sequence of which, they all want
stercophonic records and record playing
equipment — with justification. The first
stereo discs came out midsummer last,
and, while most were rather tame (and
not really very stereophonic), others were
quite breath-takingly good. Why, Kirsten
Flagstad and her sister Valkyries plotted
against old one-cyed Wotan and, by
George, there they stood, real as the
Rhine, on a rock ledge across the end of
the living room. And, when they had
gone: lo, the Dukes of Dixieland, their
funny hats almost visible, Then, Donald
Byrd's exospheric noodlings on the trum-
pet hit you right between the cars.

Despite all the excitement and expect-
ancy, however, at the time of this writing
the cagey attitude of the aware sterco-
phile is one of (to coin a couple of
phrases) watchful ting and careful
listening. To cite just one reason: last
June the first good magnetic stereo pick
up cartridge (Fairchild) came on the
market at $80. A month later it was
priced at 550. By the time you read this,
it may be down to $30, and will proba-
bly perform better than it did at 580.

On the other hand, you don't have to
wait to tool up for stereo; in fact, some
canny heads think it's foolish to do so.
since improvements in the art will be
forthcoming for years. Two courses are
open to you: either consider your new
stereo gear a “limited-life” investment
(like anything else you buy and use up),
or get the best that’s available now and
trade it in when something new you
can't resist comes on the market. We
recommend the second course; most com-
petent component dealers have regular
trade-in departments which will give
you a fair shake on your outmoded or
inadequate stuif toward the purchase
of the latest. It's much like the sensible
practice of turning in the old сат.

We would 1 to caution you about
one important matter, however. espe-
cially if you're smitten with the thought
of adding stereo disc to the rest of your
the best
you can get of components which һауе
mechanical roles to fulfill — changer,
turntable, stylus. pickup cartridge. pick-
up arm, сіс. Inadequate preamp ог
speakers can yield inferior music, but
t's the moving parts 1 can ruin your
valuable records. In this connection, bc
sure to invest the meager stipend ге-
quired to buy a stylus pressure gauge

clectronic music sources. Buy

or scale— and check the stylus force
fairly olten, not only to protect records
but to get sterco fidelity, lor which cor-
rect force is critical.

A few things are clear. Stereo discs
are now competitive in quality with
tapes, and their prices have settled at the
55/56 level. a good bit lower than most
tapes. That quality, however, varies al-
most wildly, and even the best stereo
discs will still get scratchy after a [ew
dozen spinnings, even though you use
the top tone arm and cartridge available,
Record makers have been duplicating
their efforts on stereo master tapes for
nearly three years now. By Christmas,
they will have at least a thousand stereo
discs on dealers’ shelves, some of them
newly pressed and spectacularly success-
с heard some beauties from
Angel. Cook, Audio Fidelity,
nd London), some of them
early, experimental and downright rau-
cus. Moral: don’t plunk down cash for
anything you can’t listen to first, or that
is not well reviewed by a critic you trust.

Sterco playback equipment also began
tumbling forth last summer, and no mat
ter what you read in the ads, you still
need these basic components to get stereo
sounds out of your stereo discs: (1) a
turntable, or record changer, with a
stereo tone arm and cartridge; (2) two
power amplifiers, оп the same cha
separate; (3) a double preamplifier with
controls for balancing the two separate
recording grooves on your sterco discs;
(4) two separate speaker systems and en-
closures. “Che variations and combina-
tions of this gear are almost infinitc, and.
a lot of the equipment you've scen be
fore (maybe even own) now comes all
dressed up in a new set of semantics.
Stereophony, for instance, demands
nothing much new in the way of power
amplifiers. If you're a purist, you'll want
nothing less than two separate
30-watt amps with a Fisher 400 stereo
preamp control unit. И you're a little
more down to earth, and don't own a rig
yet, you'll probably want to get опе of
the several combination. amplifier-pre-
amplifier sets (two separate amplifiers
and a complete sterco preamp on one
chassis). Among the best and most versa-
tile of these is the Bell 3030, trim, com-
pact, lightweight, good looking and
moderately priced. You can use it in a
variety of ways: (1) as a complete stereo
power source incorporating two separate
lo-watt amplifiers for all your stereo

жі? 2

STEREO-1000 SERIES

THE GERRY MULLIGAN

SONGBOOK Volume One
Stereo-1001

THE SWING'S TO TV

The Shank-Cooper Orch.
Stereo-1002

SOUTH PACIFIC IN HI-FI

Chico Hamilton Quintet
Stereo-1003

CHET BAKER & CREW

with Phil Urso Stereo-1004

WORLD @ О)
PACIF
елес М 4

TRUE HI-FI
BEGINS

WITH

SS

Sonotone.

STEREO
PHONO CARTRIDGES

БО manufacturers of over 417
Phonograph models specify
SONOTONE.

When you buy or modernize
your record player, insist on
Sonotone Ceramic Phonograph
Cartridges.

очна лал)

needs, both tape and disc; (2) as а com-
plete 30-watt monaural amplifier that will
feed juice into single or sterco speaker sys-
tems; (3) as а 30-watt monaural amplifier
with complete stereo preamplifier ar-
ranged to convert an existing amplifier
to stereo. Right up on a level with the
Bell are the new H. H. Scott 229 combi-
nation 40-watt, the Newcomb 3D12 com-
bination 25-watt model, the Harm:
Kardon A224 combination 24-watt and
the Bogen DB212 combination 24-watt.
Other worthy manufacturers, Fisher,
Altec-Lansing, Heath, Dynaco, Sher-
wood, Pilot, Grommes, have for you now
a variety of amplifiers which should help
fill your needs, whether you want to
start from scratch or build from what
you already own. Your power requi
ments for the second channel of your
stereo, by the way, are not quite so
exigent as they were for your mono-
phonic rig. Stereo sound, nobody knows
why, seems louder and fuller at lower
volume levels than its monophonic
equivalent. So when you buy, remember
that low distortion. becomes more im-
portant than h wattage.

Where the grcatest confusion reigns is
in the area of the preamplifier or con-
trol unit, and this is not the maker's
fault at all. Magnetic pickups, whether
monaural or stereophonic, need preamps.
Crystal or ceramic pickups don't. In the
monophonic hi-fi era just past, magnetics
dominated the scene. In the stereo cra,
the ceramic seems to be making а come-
back. For example, the CBS-Columbia
cartridge competes very well, thank you,
with any of the stereo magnetics at this
writing, and the Electro-Voice is almost
as good. And Mr. Paul Weathers, the
perfectionist protagonist of the “weight-
less" cartridge in monophonic days, has
come out with a ceramic that is а verita-
ble (517.50) dream that tracks at two
grams, though he expects to surpass it
with his Weathers FM stereo cartridge
that tracks at one gram. But there's no
doubt that wide-range piezoelectric ce-
ramics have one big drawback: they’

other makers of magnetic pickups аге
proceeding into the market with some
show of confidence. ОГ course, both mag-
netics and ceramics will play ейһег
monaural or stereo discs without damage.
It's probably safe for you to buy either
variety, with our nod still going to the
magnetics. Ceramics are a little cheaper
and less dwable, but if you're that con-
cerned about cash, perhaps you shouldn't
be plunging into stereo yet.

At the time of this survey, approxi-
mately a dozen stereo preamp control
units (to be used with two separate, con-
trolless amps) had appeared on shop
counters, Best among the batch are the
fine Fisher 400 (16 input jacks, complete
equalization and loudness contour con-

BILLY
ECKSTINE'S
“IMAGINATION”

BILLY
EXCITES
YOUR
IMAGINATION!

The big, big voice of
Mr. В. and the robust
style of а man who has
achieved a definitive
sound in jazz. Acoustically
flawless, of course. Billy
sings, "Imaginatioi
"Love Is Just Around

the Corner”, “That's All",
and other favorites.

|
BILLY ECKSTINE’S

IMAGINATION Э
а

ЕМАНСҮ

SERIES
MG36129

THE WORLD'S LEADING
JAZZ GROUP i л new і» THE
MODERN JAZZ QUARTET

Тһе Modern Jazz Quartet Plays One Never Knows,
Orignal Film Score tor No Sun in Venice by John Lewin

NO SUN IN VENICE 1284

А BEAUTIFUL, EXCITING FILM SCORE
WRITTEN BY THE MJQ'S MUSICAL DIRECTOR,
JOHN LEWIS NO SUN IN VENICE IS THE
LATEST IN A SERIES OF MUSICAL TRIUMPHS
FOR THIS DISTINGUISHED GROUP. OTHER
LP'S by THE MOOERN JAZZ QUARTET: 1265
THE MODERN JAZZ QUARTET / 1247 AT MUSIC
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SOUL/1242 BALLADS AND BLUES. WRITE
FOR COMPLETE CATALOGUE: ATLANTIC REC-
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ATLANTIC RECORDS K)

21

PLAYBOY

PUTS YOu IN THE
MIDDLE OF THE
MUSIC WITH

STEREOVOX
RECORDS

You'll be surrounded by beoutiful scunds...ond
you won't want to escopel Stereovox records woke
up your oon...se! your pulse o-pounding іп time
with their exciting thythms...overwhelm you with
their lorge-as-life sound! Enjoy the finest steroo-
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from every fountoin...the music flows around yout

MIDNIGHT IN ROME Wolter Borocchi, piono, ос-

componied by Gionni Monese ond His Orchestro
ST—VX 25.770

every seat's a general's chair...
at this "command perlormanco "t

WEST POINT CADET GLEE CLUB SINGS—THE ARMY
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stereo sits you in the middle choir
of this "borber shop" quartel!

WEST POINT CADET QUARTET “58 SINGS—

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"The Song fs You"... through the mogic of stereo!
GEORGE FEYER AND HIS ORCHESTRA PLAYS
JEROME KERN ST—VX 25.500

"Night and Бау”... ол? stereo, toot
GEORGE FEYER ANO HIS ORCHESTRA PLAYS COLE
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shut your eyes, ond you're in Old Vienno.
оз the music woltzes around you!

LEHAR IN STEREO Victor Hruby ond his Vienne:
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mountains о the felt of you-..mountains to the

right of you. ..stereo sound all around you!

YODEL IN HI-FI. Мегісімізе Tichy with the Two Rudis
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put on your lederhosen...
ond enjoy mountain airs in stereo!

DIE ENGELKINDER FROM TYROL ST—VX 25.650
АП STEREOVOX records ore
free aluminum foil contain
quolity—onother VOX first!
All these seles
monaural records. Wi
catalogs, speci

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kaged іп stat
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s оге озо ovoileble on Vox
to Dept. P for complet
8 "Stereo" ог '"Monourol

trols, one-knob channel volume-balance
control), the Lafayette LT-30 stereo
preamp, AltecLansings 445A sterco
preamp, Pilot's SP-210 stereo preamp,
Madison Fielding’s Master Control Con-
sole and Eico's HFB5 sterco preamp.
Some of these have special features, like
switches to transpose the left and right
channels from speaker to speaker, which
will remain a useful facility for about a
year, until recording procedures аге
standardized. One feature more vital
than uniform, by the way, is ganged vol-
ume controls, which can govern your
twin speakers up and down in unison.

Not forgotten cither is the gendeman
listener who now owns a fine monaural

ad wants to convert it to both stereo
records and tapes. You still have to go
өш and buy your second amp and
speaker, plus a tape machine (sorry,
there’s no way of escaping that), and
then you go out and get either Н. Н.
Scott's Stereo-Daptor, Altec-Lansing's 540
Master Stereo Control, Marantz’ Model
6 Stereo Adaptor or Bogen's STA Stereo
Adaptor. These little inexpensive jobs
(from $12 to $25) control your two sepa-
rate amplifiers and preamplifiers from
one central point; the master volume
control adjusts the volume levels of both
channels simultaneously; and a special
switching arrangement lets you play
straight stereo, reversed-speakers stereo,
or channels your monaural material
through both amplifiers and speakers at
the same time. Nice gadget. І
Kardon has come up with a pri
idea (the AX20) for the guy who wants
to convert; dual sterco preamps with one
20-watt amplifier that you plug into your
existing amplifier and, voila, all is m;
ready for stereo, with your controls on
one handy chassis.

Тһе onset of stereo discs has glad-
dened the manufacturers of precision
turntables and — in. gencral — saddened
the folks in the record changer business,
who had spent ycars translating all their
lateral motor vibration into vertical
vibration, which the new stereo pickups
reproduce fully and faithfully as а b
rattling roar. However, at least
makers (Glaser-Steers, Collaro, Webcor,
Garrard and Miracord) had remodeled
their changers as early as July, and others
are quickly following Suit. Your old
record changer, incidentally, is іп most
cases too rough for stereo pickup car-
tridges, whose styli have to be compliant
(unreinforced) vertically as well as later-
ally: they can't take much drop impact.
Since yowll probably have to purchase
а new machine, why not make it the
best there is: а Rek-O-Kut turntable
coupled with a Shure Brothers stereo
arm and cartridge. И you still want a
changer, be sure that it's one of the new
rcady-for-stereo models.

With loudspeakers, the story is almost
exactly the same as with power ampli-

PLAYBOY IS

12

Just
before Christmas
& beautiful full-color
Playmate Christmas card
signed in your name an-
nounces your gift. Next comes
the handsome Holiday Issue
in а festive wrapper to begin
your gift. PLAYBOY is а
year-long reminder of
your Christmas
thoughtfulness.

Then each
month throughout the
year, your friends will be

entertained by the finest in
masculine fiction, sophisti-
cated cartoons, articles on
food and drink, jazz and
fashion, full-color pic-
torial features, and
party jokes.

You save money
with PLAYBOY’s new,
low holiday rates—$6 for
the first one year PLAYBOY
subscription (this may be
your own, new or renewal,
or a gift); only $4 for each
additional PLAYBOY
gift subscription
you give.

СІУЕ
FOR.CHRISTMAS

AND,YOU. GIVE
ve MANY GIETS! _

{ à а.
additional "m Yost ens:

$4. NS

= тагу

ORDER my папа,
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CHRISTMAS аб. топе, statv. сну. zone. atate.
ENTE а RENEW my own subscripti
GIFTS радая A PEAD E Kiew аа
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CHICAGO 11, ILLINOIS gitt card trom азы or on a вараг

fiers: if you already own а monaural гір,
it is simply a question of adding a unit
that is sonically compatible with what
you have already. И you don't own а
monaural rig, and want to start in with
stereo afresh, then why don't you start
at the top and get the James B. Lansing
Ranger-Paragon stereo speaker arrange-
ment. It's somewhat of a behemoth (106”
wide) and it is not inexpensive (51830)
but it is james b. dandy soundwise. J. B.
Lansing offers other sweet and more
compact setups, as do such reputable
speaker manufacturers as Wharldale,
Altec-Lansing, Jensen, Acoustic Research,
Electro-Voice, University, Bozak, Steph-
ens and JansZen. The way to choose your
speakers, not surprisingly, is by ear (your
own), and the place to do it is in your
own living room. If you're starting from
scratch, there is a wealth of stuff from
which to choose, and most of it these
days, to be brief and charitable, works
gratifyingly well. One of the more in-
genious gimmicks is a Jensen combina-
tion wherein the paired treble and mid-
range speakers are on swivels, so that you
may change your angle of sterco-direc-
tional separation according to what rec-
ord you are playing and where you
happen to be sitting in the room. Stereo
has heightened the popularity of small
speaker units and Acoustic Research's
AR-I and AR-2 аге in urgent demand
everywhere (for good reasons).

As stereo discs and tapes go out in in-
creasing numbers to radio stations, there
will be, naturally, more and more stereo
broadcasts — опе channel on FM, the
other on AM. Nearly all the new tuners
show cognizance of this. To wit, you can
tune the AM and FM bands separately
and play them, through your dual ampli-
fiers and speakers, together. The watch-
word is: don't buy a tuner with only one
tuning knob if you're stereo-minded. It's
obsolete. Among the better independent-
ly tunable AM-FM receivers now avail-
able are Bogen's ST662, Madison Field-
ing's 330, ian-Kardon's T-224, Н. Н.
Scott's 330-C.
inore | 7% Plush and pretty packaged sets, which

T қ. you merely have to plug іп to play stereo
feminine ш discs and гарез (plus monaural fare as
toa well, of coursc), are being seen more
frequently, and we've heard several top
notchers. Quite naturally, those of you
who now own a monaural rig made up
ol component parts will go out and buy
the additional components needed to
complete your stereo arrangement. But
those of you who own no sound sys-
tem now, and are real anxious to get
the dual sounds in your digs in one swell
foop, might well give the package sets а
close listen. The best of the bunch that
we've heard are made by Columbia and
RCA (they соте in a wide price range,
up to $2500) and— no surprise this—
the more loot you're willing to drop, the

PLAYBOY

makes а woman

VAIMANT

се” Э

3.50 to 100.00 plus tox

24

better the set will sound. One cautionary
word on the package: make sure that it
includes two separate speaker cabinets.
One of the most expensive outfits we've
heard sports two speaker systems that
are permanently mounted on both sides
of the equipment cabinet, and cannot be
judiciously placed in your living room
where they might deliver optimal sounds.

Some component manufacturers (Elec-
tro-Voice, Heath and Pilot, among oth-
ers) have gone іп for offering "package"
rigs in handsome hardwood enclosures
that [eature whatever components the
manufacturer makes and rounding out
the set with other brands. Thus, an
Electro-Voice "package" contains ЕМ
speakers, amplifiers and FM tuner, a
Rek-O-Kut turntable and arm, plus a
Pentron tape deck. The sounds it gives
off are generally fine and a cut or two
above most non-component packages.

Tape, despite the seven-league steps
taken by stereo discs, still maintains its
position as the purist's sound medium.
To our ears, the best 7Y4-inch-per-second
stereo tapes still sound better than discs
— but they cost a lot more. Four-track
334-i.p.s. tape (on playback, tracks one
and three run past the tape heads, then
you reverse the reel and tracks two and
four do their job; no need to rewind,
either) is coming on the market and its
advantages are obvious: exactly four
times as much music can be recorded and
no time is lost in rewinding; but as of
this writing, it seems lower in fi than
cither 7у5:.р.з. tape or sterco discs. Its
price ($4.95 for 22 minutes, on up to
$9.95 for 60 solid minutes) makes it al-
most competitive with discs, and it will
definitely have a future once the sound
bugs are gotten out, as they certainly will
be. RCA has marketed the 334-i.p.
in a handy plastic magazine саг!
that contains two spools, the tape, per-
manent threading and slots in the cover
to show you the position of the tape.
Thus far, only RCA has marketed tape
machines that will take the cartridges
(these machines will take only cartridges,
not conventional reels), but it seems
likely that the industry will adopt the
RCA plan (RCA has furnished all the
equipment companies with complete
electrical and mechanical design data
on their four-track tapes and cartridges
royalty free). Whatever you do, make
sure that any tape machine you buy
today has facilities for both 74: and
334-i.p.s. playback speeds (shades of the
334-45 r.p.m. war of the LPs!). The new-
est Ampex models, of course, provide for
this, as do the handsome, husky Bell and
Pentron machines. With the Bell and
the Ampex, you can even record stereo-
phonically, and what disc machine can
make that statement?

CONTENTS FOR THE MEN'S ENTERTAINMENT MAGAZINE

PLAYBILL pcs 2
DEAR PLAYBOY. 3
PLAYBOY AFTER HOURS 9
THE STEREO SCENE—modern living = ==
THE 51 TONES ОҒ GREEN—fictlon .. KEN PURDY 26
THE PROS OF РАВІ5--агіісіе. ............ А SAM BOAL 30
PERCHANCE ТО DREAM—fiction.... — —.CHARIES BEAUMONT 35
NEVER DARKEN MY DOOR AGAIN—humor. PHIL INTERLANDI 36
MAN OF АРРАІВ5--аНіге . . FREDERIC А. BIRMINGHAM 39
THE VERITIES OF VINO-—modern living - я 42
LE ROUGE ET LE BLANC--playboy" ymates of the month. 45
PLAYBOY'S PARTY JOKES—humor. 2. 54
NINE CASES IN POINT—accoutrements _ - BLAKE RUTHERFORD 56
MONTAGE—fiction... - RAY RUSSELL 59
LES GIRLS, LES GIRLS, LES GIRLS—pictorlal - — — OD
EXECUTIVE CHESS—article. JOHN HOWARD SIMS 69
MY LADY NICOTINE—ribald classic - 74
THE 1959 PLAYBOY JAZZ POlL—|azz 75
PLAYBOY'S INTERNATIONAL DATEBOOK—travel PATRICK CHASE 96
HUGH м. HEENER editor and publisher
А. С. SPECTORSKY associate publisher and advertising director
RAY RUSSELL executive editor ARTHUR PAUL art direclor
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VICTOR LOWNES m promotion director — jou MASTRO production manager

ELDON SELLERS special projects PHILIP С. MILLER circulation manager

KEN PURDY ДЫР editor; FREDERIC A. BIRMINGHAM fashion directos
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PATRICK CHASE travel editor; LEONARD FEATHER jazz editor; ARLENE коюн Ry
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AOSAV'Id

Udo

vol. 5, no. 10 — october, 1958

26

OU REMEMBER when Epstein's Adam was shown a few years ago," Palmer said.
Y “ране who had never been in a gallery before mobbed the place to see it. And
when the Whitney had that Larry Rivers portrait of a man and his wife, nude in
front of a crumpled bed — I've forgotten who they were. I knew at the time — the same
thing happened. The place was crawling with art-lovers who didn't know the differ-
ence between a Peterdi etching and a Picasso oil, wandering through the rooms trying
to look interested and wondering where it was. You remember?"

"I wasn't going to galleries then," Buccieri said. "And what is the difference be-
tween a Peterdi and a Picasso. in your view?"

"You look at a Peterdi print and you realize you couldn't do anything like that in
10 years of trying," Palmer said. “But you see some Picassos and you wonder if you
couldn't do better with five dollars’ worth of paint and some shirt cardboards. "That's
the way it is with me, anyway, shoot me in the morning for it, I don't care. But any-
way, I have to tell you that Tascha’s will be mobbed today, a fire-sale crowd. I'm sorry
you couldn't have come with me to the opening and seen it in peace and quiet."

"I don't mind," Buccieri said. "I want to see it anyway, because I know Hell-
bourne." `

“Sure,” Palmer said. “Did you hear what Dorothy Kilgallen said yesterday? She
said that the current definition of an East Side square is somebody who doesn't know
who Ruth Mornay had in mind when she painted Portrait Lighted from Below."

They turned off Park Avenue onto 57th, moving in the sweet warmth of the kind
of day New York knows once or twice in a good year. The clock over the sidewalk in
front of the IBM building was reaching for three.

‘They came to Tascha’s and went in. Bunched up against the walls in thick clusters
were the viewers — serious, intent, their faces carefully masked in the uniform atti-
tudes of detachment of people afraid that either enthusiasm or distaste will betray
them.

“This whole show is Walter Bareiss'," Palmer said. “It’s one of the best collections
of contemporaries. I could show you some things, but there's no point with this mob
milling around. We might as well go right upstairs."

They moved through, leaving а wake of soft “Excuse mes" and "Sorrys" behind
them. They came to the big street-front room on the second floor and stood in the
doorway and there it was. There were 50 people in the room, most of them staring
silently. You could hear the mufiled sibilance of their breathing, the rustling of their
clothes, and now and again someone would speak. and the words would rise in the
air like bubbles and pop softly: “Astounding.” "My God, how she must have hated
him." “No, I don't like it. It's awful, it’s a horror."

They stood in the doorway. ‘The painting was a big one; it had been hung fairly

fiction By KEN PURDY ў ПІ (
daddy-o giveth апа daddy-o taketh away: ([
accursed be the name of daddy-o (

„нда m^ Son dicc ON

PLAYBOY

28

high, and they could see it clearly. The
dominant color was green: someone had
counted 51 tones of green on the canvas.
There was much gray. too. It was a por-
trait of a man seated at a desk in an office
— nothing more, at first glance. But this
was no common man, no common desk
or office, and minute by minute as they
looked they began to feel their skins
crawl and squirm. The (асе was as old as
a mummy's but bright with the rosiness
of youth on the surface, and green in the
pendulous folds of flesh. And it was all
pendulous. His ear lobes dangled loose-
ly, his lips hung like a Ubangi matron's
might if someone wrenched out her
expanding wooden plug. The desk at
which he sat was old, old weather-beaten
wood, worm-holed, graysurfaced, but,
again, green in the little sinuous valleys
in the eroded grain. its top was a
witches-cupboard of shapeless objects
that slowly assumed form as they stared:
a stack of paperthin human bodies,
flattened as in a steel mill, weighted
with neat piles of gold and silver coins;
pencils capped with tiny ivory skulls in
place of erasers; a deep-framed painting,
lying flat, was the ashtray, and a wet-
ended cigar lay in it, hot ash burning
into the pigment. A brass desk clock,
corroded green, faced outward on the
desk, It had no hands. The young-old
face of the fat man behind the desk
smiled, a smile of infinite guile and
infinite satiety. The intent of the artist
was clear as gin: this was ап octoge-
пагіап who brought to the implacable
pursuit of evil the drive and the strength
of a 20-year-old.

Behind him the wall was covered with
paintings, frame to frame. They were
all hung upside down, and draped across
them was a string of paper-doll cutouts,
hand joining hand, perhaps alternate
men and women, but it was hard to tell,
since they, like the miniatures on the
desk, had been steant-roller-flattened. In
the foreground was the figure that had
brought the crowds: a nude girl crouched
in the kneehole of the desk, and one of
the man's feet, bunion-bulging in an
impossibly shimy shoe, dug negligently
into her at the waist.

"Aside from the detail, the imagina-
tion, the palette," Palmer said softly,
"you must look at the composition. Look
anywhere on the canvas and you'll find
a line that leads you straight to his face,
and it will take your eye across one
separate detail, only one. Start any-
where on the canvas, you'll see this will
happen every time. Everything leads to
his face, and. yet every single object in
the painting stands out with almost
equal force. If it's like anything, it's like
an Albright, but she makes most Al-
brights look like something by Rosa
Bonheur."

“It’s unbelievable,” Buccieri зай
an assassination,"

Palmer shrugged. "She didn't like
him," he said. "She really did not like
the man."

"I've had enough," Buccieri said. "I'll
come back, but for now I've had it all.”

They came to the street again, and
Buccieri blinked in the bright sunlight.
"Thanks for suggesting we come over,"
he told Palmer. “It'll give me night-
mares, but I wouldn't have missed it.
You know, I hope І don't see. Hell-
bourne soon. 1 think 1 might go pale.
1 might gag."

They walked across town to the Plaza
and sat in a window overlooking the
park.

"I'm glad you didn't tell me before,
at lunch,” Buccieri said, “but now that
Туе seen the painting . . .”

"Oh, you had to see the painting
first,” Palmer said. He called a waiter.
“Scotch and water?" he asked Buccieri.

“Sure.”

“The way it began,” Palmer said,
“Ruth Mornay started painting when
she was about 18. She's about 30 now,
so that would be 12, 13 years ago, when
she was in school. She had money, and
she painted only for kicks. І met her
when she was about 21, a strange, wispy
kind of girl, not beautiful but sometimes
strangely pretty, so that you almost
thought she was beautiful. She did have
a nice body, very nice, clear, paper-white
skin, black hair, blue-black, She was
shy as hell, moody, neurotic to the bone.
She might not say anything for hours,
and then she'd get on such a talking
jag you wanted to shine a light in her
eye and see if she'd been taking some-
thing in the arm. A virginal air, Ruth
had, and yet if you bored her long
enough, or offended her persistently
enough, she might turn to you and say
softly, ‘Look, Mother, why don’t you
run over to the zoo and stuff yourself
+ -=you know, The girl had a rich,
varied imagination.

“She ran around for a couple of years
after college and then, out of boredom,
I suppose, she got a job in an ad agency
art department — Boswell and Perkins,
they were big at the time, She stuck it
out there a couple of years, and during
that time she didn't paint at all. She
was having an affair with one of the v.p.s
and one night the fellow took her to a
party at the Metropolitan, and that was
the night it happened. That was the
night she met Hellbourne.

“She told me the whole story herself.
I was very fond of Ruth then — 1 still
am—we used to go out together every
couple of weeks and oftener than that
Ға drop in to see her for a drink or
whatever. She said she first noticed the
old goat when he was all the way across
the room, He was staring; you've prob-
ably seen him do it, it’s his patent. He
lays his eyes on a girl as if they were
arms 12 feet long, and he'll do it for an

hour if he feels like it. Somebody comes
over to talk to him, he'll reach out and
move them aside so as not to lose sight
of the girl. You've scen him do it, every-
body has.

"So he was giving Ruthie the treat-
ment, and she thought it was pretty
funny at first, but after а while she be-
gan to sweat a little; and about then
some character took her arm and led her
over to the old s.o.b. and introduced
them. One of his macs, of course — Hell-
bourne wouldn't walk to the elevator
without a pimp in attendance.

"She'd about decided to spit in his
суе, but when she heard his name of
course she folded up halfway, and then
he apologized for staring at her, told her
he couldn't help himself. ‘My dcar, һе
said, ‘when you're as old as I am, and
you think you've seen all the beauty the
world holds, and then something utterly
lovely presents itself to you — you stare.
Out of surprise, you see, out of sheer
wonder and surprise. І know, I know.
You're thinking that I'm a fossilized old
liar, that you're not beautiful. And
you're right. You're not, in the common
way. There are a dozen women in this
room prettier than you are, but they
look like magazine covers in a row on
a newsstand, and you, you look like a
Watteau portrait seen through a wisp
of fog, Yours is the infinite beauty that
is half hidden. Tell me instantly, who
are you, and what do you do?

“Tm nobody, Ruth told him, ‘and
I do very little."

“'1 see, Hellbourne said, ‘and what
did you used to do?

““І used to paint,’ Ruth said.

"'Ah, now everything is explained,’
Hellbourne said. 'You're an artist, and
that’s what I saw. You know, my dear,
Ive lived and worked with artists for
50 years, and І can sense the aura that
is true beauty, the beauty that derives
only from the creation of beauty, Where
аге your paintings? Where are they at
this moment?

"Ruth wanted to belicve that he was
parroting the time-tested line of an old,
crinkled-face гоме, but my God, why
should he be throwing her a curve? To
her he looked 117 years old if he was a
minute, his prostate not even a memory
any more; too, she knew who he was,
and what: a thing that might be said to
be by Berenson out of Duveen, a colos-
sus standing over the whole world of
art, and she was intrigued. So she said
she kept the few things she had saved
at her apartment, and next thing she
knew one of his stooges was whistling
up the Rolls-Royce and away they went.

"Ruth had an enchanting little apart-
ment in the East 60s; she gavc the
old beast some coffee and showed him
her paintings. He seemed to be enthu-
siastic. Perhaps he really was. І had

(continued on page 81)

"I'm perfectly willing to play for those stakes, old boy, but hadn't
you better ask your wife first?"

29

ТПЕ РКО5 ОК РАЕІ5

article ву sam вом. love for sale in the city of light

A ROUND DOZEN years ago, France, a country whose interest in sex — and whose tolerance of its various aspects — can
only be described as titanic, gravely decided, after appropriate public discussion. to do away with two areas of sexual
activity. First was the French house of prostitution, which throughout the years had become so enwreathed with
story and song that it had become an institution. Second was the licensing of prostitutes. Laws were duly passed
and some people cheered and some wept; others shrugged their shoulders and wondered whether c'est, indeed, la vie.

But for our purposes, it will be helpful to explore briefly the conditions, both economic and moral, which induced
the traditionally tolerant and worldly French to abruptly try to prohibit something.

The French houses of prostitution. particu ned world-wide fame because they provided con-
siderably more than girls, just as Fri staurants provide considerably more than calories. The houses of, say
Berlin or Hong Kong or Istanbul were factories: the French houses were studios. The large ones had dance bands
(the famous Sphinx. in Paris had two). p ars, intimate little theatres for showing intimate little movies and,
in general, all the relaxed atmosphere of a swank club rather than a business establishment. A gentleman could
walk into the Sphinx, for instance. and be greeted by a handsome hostess. The man could sit down at a ni

Stunning Jacqueline Renaud is а top-
priced Paris courtesan who looks like a
high fashion model. She has her hair
done at the best coiffeurs, purchases her
hats at the most exclusive chapellerie,
bought her sleek Mercedes 190SL (left)
all by herself. She also maintains her
own frilly apartment (but rarely uses it
for business) and dotes on her parakeet
Fou-Fou (above and right), who likes to
perch on Jacqueline’s pretty head while
she arranges her evening “date.” It’s
likely to cost the customer as much as
$100 plus dinner at a posh Paris restau-
rant (below), then a visit to the theatre
before retiring to his hotel for the night.

Ма

Below, 22-year-old Adrienne hos been a Paris pro for а
year, dislikes working the streets, prefers to make her
contacts in one of the little bars along the Rue Caumartin.
She is a warm, well-bred girl who wants to save enough
money to open a little shop of her own, get married
and raise a family. She charges $20 per client and will
either accompany him to his hotel (for an hour or so)
or guide him to one of the transient hotels nearby.
Adrienne, like the other girls, has a steady clientele and
vsually takes care of from two to four men in an evening.
She likes American men because they are heavy tippers.

Below, blonde, ponytailed Simone alsa chooses to work
from а bor, frankly faces up to the fact thot she can
earn more selling her favors than in any other оссурс-
tion. Her dream is to latch on to a wealthy sugar-daddy.

PHOTOGRAPHED IN PARIS
FOR PLAYBOY BY HERMAN LEONARD

topped table and be served by a waiter or he could belly up
to the 50-foot bar. The prices would be only slightly higher
than in his corner bistro. There would be an accordionist
strolling up and down the bar, pumping out the tunes—
Madelon, Valentina, Boum! — which have almost magically
become the very theme songs of Paris’ wondrous heart. The
girls would mingle easily with the prospective clients, but
there was no aggressiveness, no salesmanship. The costumes
they wore were somewhat startling: all the girls were nude
from the waist up, although some of them wore shorty
jackets made of some gossamer fabric. Some of the girls
wore flowing, Grecian-style skirts; some wore short, Apache-
like skirts slit up the side, and some wore slacks, as tight on
their behinds as a second skin.

A girl would ask a man to buy her a drink but he wa
under no obligation to do so. Or she might ask him to dance;
and if he had eyes for her they would go to the dance hall,
which was furnished with dazzling appointments: liquid
music, scarlet drapes and the velvety girls.

Of course it was a business and of course it was a tease
and of course the girls were the merchandise, but these
things were obscured by the general nonsordid air of the
place. The French house was (continued overleaf)

Babette (left) looks more like а col-
lege coed than a pro, prefers to cus-
tomer-hunt along the leafy lanes of
the Bois de Boulogne or among the
bookstalls of the Seine with a friend
(right). She is from a northern prov-
ince, tells her parents she is now
а nurse, which gives her a handy
excuse (sitting up with a sick friend)
whenever they visit. At night (below),
Babette takes on а sophisticoted look.

Like all Paris tapins and cocottes, Babette takes her men to one of the small hotels that line the side streets, where a room
can be readily had sans baggage, registering or a side glance from the worldly concierge (who must be slipped $2 in ad-
уапсе by the customer). Inside the room, Babette adjusts a curl (below, left) while she slips out of her clothes, then
requests her petit cadeau (3000 francs, ог $7) from the gentleman before getting down to the business at hand.

PLAYBOY

34

famous because it was fun.

The French attitude toward these
establishments, as indicated above, was
one of easy tolerance. They were as
much a part of the Paris panorama as
the Seine or the Eiffel Tower. But this
attitude changed and a principal agent
of this change — and this is one of the
most incredible aspects of the whole
picture — was the Communist. party.

After the Second World War, the Com-
munists were extremely powerful in
France and they seized on the open, legal
houses of prostitution as a political issue.
Тһе Communists contended that legal
houses placed the French government in
the position of holding a certain amount
of women in degrading bondage. They
cried for equality of the sexes and for
freedom for the girls. The fact that this
position completely baffled the girls
themselves didn't matter.

The issue was raised again and again
in the Chamber of Deputies and when
put this way it was very difficult for a
deputy, no matter how sophisticated һе
might be, to resist the pressure. An
American congressman could hardly be
expected ta put up a fiery resistance to
Mother's Day. The law was passed.

The closings were somewhat senti-
mental. (In late March of this year, just
before the Japanese houses of prostitu-
tion were “officially” closed, the Jap-
anese police, similarly sentimental, took
films of the houses and the red-light
districts in Japan to preserve them for
posterity.) Farewell parties were held,
tears were shed and it took nearly two
years to get the houses shut down; since
the closings were delayed so frequently
it was something like the final grand tour
of an opera star. However, they were
finally closed. It was expected officially
that the girls, now liberated from their
vile slavery, would eagerly seek jobs as
clerks or models or waitresses.

Anyone past the age of 10 could have
anticipated what would happen. The
girls did not take jobs as waitresses. They
simply took to the streets, like the girls
of any other metropolis. But the Paris
girls — being individuali as the
French notably аге — did it a little dif-
ferently. They went to various areas,
largely according to the price they
charged. After a time these areas broke
down into four principal districts.

The lowest-priced girls — $5 and under
— filtered down into a small area around
the Boulevard de Sébastopol. The next
group — $7-$10 — took to the streets
around the Opera and the Madeleine.
"Ehe highest-priced — 515-520 and up—
strolled the famous Champs-Elysées and
its side streets. The fourth group. which
had no price range, was made up of the
semi-professionals who gravitated onto
Pa Left Bank. This latter group had
no fixed fee because the price could be
anything from a dinner to a vacation at

Cannes. They were generally young and
frolicsome, accepting moncy more as а
gift than as a payment.

Thus, a dozen years after the law
damped down, the world’s oldest pro-
fession continues in the City of Light.
The entire machinery of French law has
not succeeded, as joyfully anticipated, in
driving the prostitute to a virtuous life
hoeing a garden outside Bordeaux. They
are still there, the pretty СіѕеПеѕ, the
Michelles, the Gabrielles, the Georgettes.
And where does one find these girls?

It isn't hard. It isnt hard and it's
kind of fun. Let us examine the region
around the Place de l'Opéra, one of the
favorite haunts of the chicks.

The girls here—the $7-orso girls —
may, in pleasant weather, мто the
streets, in which case they will talk to
you. But mostly they hang around in
bars. In Paris, bars — though not restau-
rants— аге often. unnamed. You will
refer to Antoine's or Pierre's or Marie's,
but there will be no sign on the outside
to tell you what the name of the place
is. This is of no importance. Almost any
of the streets around the Opera, or the
Madeleine, has these little bars. The
Rue Halevy, the Chaussée d'Antin, the
Rue Bordreau, the Boulevard des Capu-
cines, the Rue Danielle Casanova — the
latter name seems theatrically appro-
priate.

The bars are small. They are dark.
‘They are cozily intimate, You pick your
bar and walk in, order a drink. The
bartender — it may be a woman — will
start a conversation with you, perhaps
about the weather, and you will say that
you are a foreigner and you will offer
to buy a drink for the cute little trick
three bar stools away from you and the
bartender will say, “Ah, Georgette! Ah,
oui, monsieur. Georgette, elle est trés
mignonne, trés," and presently Geor-
веце will be sitting beside you.

She will probably have a rough com-
mand of English, at least enough to keep
a conversation moving. She will be in
no hurry. She will be impressed because
you are ап American. Propaganda to
the contrary, most of this world is im-
pressed by Americans. She will consume
her drink — it be an apéritif and
will cost you about 506. You will suggest
a second drink, which she will take, not
particularly because she wants the drink
but because the little bar, which she
uses without charge as a place of assigna-
tion, expects her to order the drink.

She will then suggest a little walk, you
will ask her price and she will name it.
1f you were a Frenchman you would
argue about it; but since you are not,
you will agree — only a few dollars are
involved, anyway. So you will walk away
with Georgette.

The procedure is much the same on
the Champs-Elysées, except that while
the bars around the Opera are small and

dark, the bars on the Champs-Elysées
tend to be somewhat more chromium
and mirror. If they didn't have sidewalk
cafés, some of them could be almost
Hollywood. Except that the bars of
Hollywood lack one thing, and that is
the girls of the Champs-Elysées.

The Champsflysées, though only a
couple of miles long, from the Place de
la Concorde to the Place de l'Étoile, is
very probably the prettiest street in the
world. It seems proper that inhabiting
it are very probably the prettiest girls in
the world. They don't have the healthy,
orange-juice look of Amcrican girls and
they don't have the horsy elegance of
the British beauties and they don't have
the pouting. alinost sullen attractiveness
of the girls in Rome. They have their
own typical Champs-Elysées sheen.

These girls will — like the girls of the
Opera — sometimes pace the strects, but
mostly they will sit in the cafés of the
streets off the Champs-Élysées. There is
the Rue Pierre Charron, the Rue Mar-
beuf, the Rue de Colisée and the cele-
brated Rue de Berri, well known to
Americans because it is here, at number
21, that the New York Herald Tribune
publishes its Paris edition.

The procedure is absurdly simple.
You see your girl, you ask the майег if
mademoiselle would like a drink and
she would, mais certainement, monsieur,
and she has it, either at your table or
hers, and she will act the immemorial
part of the French cocotte — probably
a little more adroitly than the less ex-
pensive girls of the Opera — апа then
you will have your girl. If you meet her
early in the evening, it is possible that
she will have dinner with you— it will
be in a comparatively flossy place and
it will cost about $15— апд then you
will go to her hotel, or she will come
to yours.

Since the girls of the Champs-Elys¢es
are the most charmingly conspicuous, it
might be interesting to examine a few
of them. There is, for instance, Janine,
an extremely mobile girl who bears the
nickname La Croix Rouge — The Red
Cross. The nickname is inevitable, one
supposes, since she plies her trade, in
and around the Champs-Elysées, in ап
ambulance. She declines to use the hotel
rooms the other girls use: she drives her
own hotel. She finds her man, drives
him to a side street, tumbles into the
back with him and that's that. The Red
Cross is extremely popular: she is pretty
and moreover with her the man can save
the cost of the hotel room. Furthermore,
she is immune from police action. There
is a Paris law which makes it illegal to
use a residence for “immoral” purposes;
but the city fathers did not anticipate
Janine, and thus it is not illegal to use
a vehicle for similar high jinks.

‘Then there is Michelle. Michelle pa-

(continued on page 38)

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fiction By CHARLES BEAUMONT

ghosts and demons do exist
—if you think about them
long and hard enough

PERCHANCE
TO DREAM

“PLEASE SIT DOWN," the psychiatrist said,
indicating a somewhat worn leather
couch.

Automatically, Hall sat down. In-
stinctively, he leaned back. Dizziness
flooded through him, his eyelids fell like
sash weights, the blackness сапе...

He jumped up quickly and slapped
his right cheek, then he slapped his left
cheek, hard. “I'm sorry, doctor,” he said.

The psychiatrist, who was tall and
young and not in the least Viennese,
nodded. “You prefer to stand?” he
asked, gently.

“Prefer?” Hall threw his head back
and laughed. "That's good," he said.
“Prefer!”

“I'm afraid I don't quite understand.”

“Neither do I, doctor.” He pinched
the flesh of his left hand until it hurt.

ant to tell me about
." It's silly, he thought. You
(continued on page 87)

35

Т WORLD of the magazine cartoonist
includes more than its share of clichés
— the missionary in the cannibal's pot,
the young man proposing in the parlor
on one knee, the secretary taking dicta-
tion on the boss' lap, the castaway on an
island no bigger than a pitchers mound
— these have been asked to produce not
one, but many hundreds of smiles from
readers through the years. The late Sam
Cobean of The New Yorker particularly
enjoyed reworking such tired situations
and finding in them still another chuckle
no one else guessed was there. Many of
Cobcan's funniest cartoons were actually
spoofs of the clichés themselves. His most
famous involved characters mentally un-
dressing one another, but he also had
some fun with the unfecling father who
turns a disgraced daughter away from
his door on a stormy night. He even
drew up a scries of panels depicting
daughter, suitably disgraced іп the
spring, waiting patiently through the
summer and fall for just the right cold
winter's night before bundling up junior
for the doorstep scene. PLAYBOY car-
toonist Phil Interlandi picks up matters
where Cobean left them, drawing still
more humorous situations from the same
old doorstep, dad and daughter, and
even getting mom and the chauffeur
into the act for good mcasure.

Never Darken My Door Again

cartoonist interlandi
finds fresh humor

in a cartoon cliché

2 “Where to
next, mother?”

37

PLAYBOY

PROS OF PARIS (continued from page 34)

trols the Champs-Elysées not in an
ambulance but in a gleaming white
Citroén. Michelle, who is now 22, came
to Paris when she was 16 from a farm
in northern France. She promptly real-
ized she could never own a white
Citroën slaving away as a shop girl, so
she fell into her present livelihood. At
$10 or $15 a client, Michelle makes
about $250 a weck—a staggering for-
tune in France.

Then there is Françoise, who is 24.
She was born in the south of France and
five years ago she took her vacation on
the nearby Riviera. There she met a
man from Paris to whom she gave her
noticeably pretty self. In return he gave
her his card and promised to help her
if she ever came to Paris. Frangoise
waited a proper two weeks and then
appeared on his doorstep. She lived with
him, but Francoise knows her men, and
before he could toss her over for another
girl, she walked out on him and added
herself to the girls of the Champs-
Élysées. Outwardly, Françoise appears
frivolous, capricious, almost foolish. But
she's about as foolish as a tiger. She
presumably has the first franc she ever
earned. (She earns about 20,000 of them
а night, or about $45.) She wants to get
married, but not to one of the men who
comprise her clientele. She wants to
marry a farmer in her native Provence,
buy а farm and settle down to raising
a family. She figures that $20,000 will
buy a satisfactory farm; she has already
saved $8000.

Another streamlined girl is Gabrielle
Dupont, a blonde with a ponytail. She
works the bars in the Rue Caumartin,
just off the Champs-Elysées. She, unlike
most of the other girls, was born in
Paris. Gabrielle carries herself with some
hauteur, attitude arising out of the
fact that one time she got $75. When
asked why she got so much, her reply
was made with a charming lack of
modesty.

"Just try me, monsieur she said.
“Just try me.”

But probably more typical of the girls
is Giselle Monteil. Giselle is an impish
little brunette of 23. She came to Paris
from a city in central France and got a
job as a secretary for 518 a week. That
isn't much, even in Paris; and when she
met a man and fell in love with him
three years ago she promptly and grate-
fully moved in with him. At this point,
a technicality of French law seized
Giselle, as it has scized thousands of
French girls.

Under French law, а man may use а
contraceptive because it is regarded as
a disease prevention device. But a
woman in France may not legally buy
Or possess a contraceptive. And though
the French are lax in their enforcement

of many laws, they are rigid on this one.
А Frenchwoman who travels can, of
course, get one in Belgium or England,
but working girls such as Giselle don't
travel. So the old, old story happened
again: Giselle got pregnant. She couldn't
aflord an abortion so she had the baby
and then the second chapter of the old,
old story happened: her boyfriend left
her. Now Giselle had two mouths to
feed and who would take care of the
baby if she had to work? So she farmed
the baby out and hastened to the
Champs-Élysées. This is not a sob story
nor does Giselle regard it as such.

“I am a girl" she says, with Gallic
realism, "and girls have babies."

Because of her looks and her ріхіс
charm, which completely liquefies men,
Giselle was an instant success. She made
more in a меек than she could have
made in four months at her old job. She
has a pleasant apartment with a nurse
to watch the baby when she is out. She
has clothes, she can take a vacation
the country and she can go to the movies
whenever she wishes, a luxury most
French girls, all of whom are movie
could never afford.

Giselle, like most of the other girls,
doesn't work hours; she works dates. She
starts out about seven and tries to have
four of them (she calls each one a
"rendezvous") before midnight. Some-
times, if the weather is bad, she won't
get them, but mostly she will, and at
$12 and up per rendezvous, she nets
something more than $800 a week.

Sometimes Giselle will walk the streets
looking for clients, but often she will
simply work the sidewalk cafés. She
comces in, sits alone at a table and orders
a coffee — she doesn't drink much, even
on a rendezvous, because Giselle sincere-
ly regards herself as bien élevée — well
brought up—and іп France well-
brought-up girls don't drink. Then she
waits, her soft, beautiful brown eyes
surveying the scene. Often a man will
send a drink to her, which she accepts
with a smile. Then he joins her. Some-

єз, if she sces a likely prospect, she
will go up to him and ask for a light.
This is hardly а novel approach, but
it works.

Giselle is particularly partial to Amer-
icans, not solely because they pay more
(they do) but because she likes to talk
about America and especially about
American film stars. She was shrewd
enough to learn fairly fluent English,
which she speaks with a piquant accent,
precisely that of Fifi, the French maid
in the bedroom farce. She enchants her
American clients, always carrying a small
English-French and French-English dic-
tionary. and flies into gales of laughter
when she translates something awk-
wardly.

Giselle, like many Europeans, thinks

that all Americans are on intimate per-
sonal terms with film stars. Her current
flip is William Holden and she invaria-
bly asks her Americans about him.
Beel “Olden,” she will say. “You
know heem?" Astonishingly enough, a lot
of the Americans say they do, under the
impression that this will impress her.
They arc right — it does, and it of course
serves to strengthen her conviction that
all Americans have lunch with Monroe,
cocktails with airy Соораіт” and
dinner with Dictrich.

After talking with her client for a
while — 10 minutes perhaps — and estab-
lishing a price, Giselle will walk her
“rendezvous” to а nearby hotel which will
cost the man an additional $3 or $4.
They will not register. The room will
І and clean. After about half an
the rendezvous shows no signs
of terminating, there will be a discreet
tap on the door and Giselle will answer.
The voice will say, “Je m'excuse, made-
moiselle. On vous appelle"—"Excuse me,
miss. Someone is calling you." Unless

the client is willing to pay an additional
85 or so, Gisclle considers the romance
at an end. Giselle, since she is a polite
and well-broughtup girl, will apologize
n but she
б busi-

for this untimely interrupt
will also explain that bu:
ness. And because she is ра
will ask her client would he please
а lite something — 50€ or a dollar — for
the maid. Giselle will shake her client's
hand outside the hotel, smile her gay
smile and, if he is ап Ame
knows William Holden, she
"Say hello to Beel ‘Olden for Giselle,
yes?" and then she will walk back to the
Champs-Elysées and she will order an-
other coffec, and she will again wait, her
soft, beautiful brown eyes again survey-
ing the scene.

Тһе languid luxury of the Champs-
Музёсз is one thing; the atmosphere
surrounding the Sébastopol area is quite
different. The Champs-Elysées girls are
out of a ball ‘bastopol girls аге out
of an old-time Apache dance. For the
most part, they don't bother with bars.
They stand їп the doorways of the
strects, their lips crimson with lipstick
and their dresses as tight as their skin.
They are noisily competitive and physi-
cal, often grabbing potential clients by
the arms. And if one girl succeeds in
nailing a customer, the nearby girls set
up a fierce clamor, pointing out that
the successful one is racked with disease,
burdened by extreme old age and ab-
solutely unskilled in bedroom arts.

The Sébastopol girls aren't as pretty
as the uptown girls nor do they have the
Dior clothes and the white Citroéns, but
they have one thing that their customers
seem to like, and that is vivacity. They
chatter in their doorways like sparrows

(continued overleaf)

WE'VE ALL SEEN IT: a group of well-dressed
people suddenly become aware of the еп-
trance of a man on whom attention im-
mediately focuses. He is not only well-
dressed, he has an air of distinction, of
poise and commanding presence, He is
obviously a man of affairs, in all the best
senses of the phrase. Chances are, he's
ing a suit like the one shown here.
tailored specifically for the fellow who's
arrived, who is dressed right for those
occasions which call for a touch of formal
elegance. It із а ready-made suit with
custom touches (by Cardinal. around
$120). The jacket needs but two buttons,

and tapers away in a trim cut at the bot
tom. It's а shade shorter than jackets
have been, too, but a bit of shaping at
the waist retains the very easy. relaxed
line; it tactfully avoids the too-tight, but-
toned-to-the-teeth impression left by ex-
treme Ivy. Shoulders are a smidgen
wider, sleeves taper and there is no
breast pocket or buttonhole. Lapels arc
slim and pointed; trousers are slender,
cuffless and pleatless, without that belt in
the back. Atop the noggin? The very
British, very classic black bowler (don't
say derby), slated for a sure comeback
this fall. By Dobbs; $15.

шин menm ee

|

ОЕ
AFFAIRS

Gllire ву FREDERIC A. BIRMINGHAM

for going places, he plays his strong suit and tops it with a bowler

PLAYBOY

PROS OF PARIS (continued from page 38)

in a tree, They make comments on every
man who passes — and if he doesn't stop,
the comments get rather gamy.

There are those who sometimes get
damply sentimental over prostitutes —
the old wheeze about the heart of gold
beating under the tough exterior — and
in the case of the Sébastopol girls, it is
sometimes true. Lots of them аге senti-
mental, just as sentimental as а candy-
box cover, and lots of them do have
hearts of gold. One shop in the Sébasto-
pol area does a brisk trade in hand-
colored, Valentine-like postcards which
the girls mail to each other and which
they hang up in profusion in their
rooms. These are the girls whose ama-
tory tragedies are so consistently cele-
brated in the torchy songs of such
singers as Edith Piaf and Juliette Greco.

Across the river, the winding Seine,
in the little bistros and downstairs boites
—literally, boxes— of St. Germaine,
frolic another class of Paris girls, the
semi-pros, These are girls in their teens
or early twenties who are out for kicks,
and sex is one of their kicks. They may
wind up on the Champs-Elysées as full-
time girls or they may wind up in a
Paris suburb as prim housewives and
mothers, but in the meantime they're
having a ball.

They hang around the jazz joints —
all of them within a stone's throw of
the famed café Les Deux Magots — and
they belong to a rather self-consciously
arty group. The girls often wear their
hair long, they often wear slacks and
men's shirts — a horror in France — and
they are, or think they are, infinitely
more sophisticated than any other girls.

Some of them even have daytime jobs,
but mostly they drift. They move from
one boyfriend to another almost aim-
lessly, reserving the right, of course, to
have other boyfriends — ог customers —
in the process. They invariably live with
some man — or men — but part of their
free-living arrangement is that they are
at liberty to do what they want where
they want when they want. A man in
Paris can, almost without trying, seek
out one of these girls in a dark, smoky
boite and take her home with him. She
may stay а long time or she may run off
the next day. She may stay overnight
for nothing or she may demand some
money, but if she does, it won't be much.
Sex to her is part of self-expression.

Oddly enough, these gamines are fer-
vently pro-American, and not for finan-
cial reasons. Frenchmen are everywhere;
the American boyfriend is а prestige
item. He is foreign, exotic, groovy. He
will typically have more money, of
course, but these girls are not in the
business for money. If they were, they'd
move uptown. They like the Americans
because they're not Frenchmen. The

Frenchman smiles; the American laughs.
The Frenchmen are old; all Americans
are young.

It is for this reason that an American
can probably have more fun with these
girls than with the others. They are more
American in spirit than the other girls.
They are the girls of the Frangoise Sagan
novels. They are experimenting, not
only with sex but with life, and ex-
perimentation demands diversification,
These chicks may well have a French
boyfriend; they may well want an
American one as well.

These boites, with their amateur girls,
all sprang from the original one, La
Rose Rouge, which is still in existence.
They are all below street level, all smoky
with the acrid smell of French cigarettes
(and sometimes marijuana), all seem to
be lit with red lights, which may or may
not have significance, and all have some
sort of jazz combo blasting through
the smoke.

"The girls here are not as crisply busi-
nesslike as the girls оп the Champs-
Élysées. They often come in pairs, sit
at tables апа май to be picked up — or
at least get spoken to and maybe offered
a drink. If they like your looks they will
sometimes come to your table, but typi-
cally you go to theirs. You can be ab-
solutely certain that if a girl is sitting
alone, or with a girlfriend, she is amen-
able to casual conversation and — if she
likes you —to conversation. somewhat
less casual.

You don't discuss money with them;
if they want money they'll say so. They
might take money from one man and
absolutely refuse it from another. This
is principally their social life, not their
economic one. They would certainly
prefer a weekend somewhere outside
Paris to an outright cash payment and
a weekend with one of these girls-who
will know her way around—can be
something unforgettable. These are the
girls with the ponytails, the girls who
scorn bras or panties, the girls with the
sweaters and skirts, the girls with the can-
vas sneakers, Lorraine, of the smoky Бойе,
is not only free living. She can be free.

As indicated above, the French were
unable by law to put the prostitutes out
of business. They appeared, at first, to
have put the house of prostitution out
of business; but in the past few years
that, too, has reappeared, though it must
be admitted, not on so widespread a
scale as 12 years ago. The houses are
new and each customer is carefully
screened before he is admitted — if he is
admitted at all. The girls working in
them are rather part-time girls, part-
time pros.

The French do not have the same
opinion on sex as other Western Euro-
pean countries and their attitude is re-

flected in the attitude of the new girls
in the new houses. They do not regard
taking money for sexual favors as im-
moral, any more than they regard posing
nude in the Folies-Bergére as immoral.
These things are part of life.

The new girls are models, actresses,
artists. Some are married. They work in
the new houses to supplement their in-
come. And they supplement it hand-
somely. They can get $50, or even more,
and they appear to be worth the price.
They are all professional beauties. They
are trained charmers. They are well
spoken, calm, even languid, in the best
tradition of the French courtesan,

They ply their part-time trade in
apartments off the Champs-Elysées,
apartments always furnished in satiny
French luxury. No ponytails here, ог
canvas sneakers. And по vin ordinaire.
The guest is served champagne, if that's
what he wants, or whiskey. Some of the
new places, the modern ones, cater to
wealthy men on their way home from
the offices or banks or publishing houses,
even serve pre-dinner hors d'oeuvres,
wheeled in by a maid. A phonograph
will be playing, and a customer may. if
he wishes, have a pre-boudoir dance.

There won't be many girls working
in these new houses; perhaps а half
dozen — which is nothing of course to
the 50 or so who used to work in the
big, old houses. There will be no
naughty movies — the famed cinema bleu
— of the old houses, nor will there be
any sex circuses, as there used to be. And
though their business is being undressed,
the girls will be highly dressed — by
Lanvin, Balenciaga, some in London
tweeds, which to certain Frenchwomen
are the very apex of chic.

Like their sisters in the boites, these
girls are not here primarily for moncy,
although that is certainly a considera-
tion. They are here for kicks and they
are also here to find a rich man with
whom they can make an arrangement,
perhaps even a marital one, A customer
who falls for one of these glossy chicks
might very well keep her; he might even
marty her. Or he might finance a play
for her, or make arrangements with a
well-connected film producer for а
screen test. In this sense these new places
are well-organized, decorous casting
couches. The phonograph plays, the
champagne bubbles, the girls smile and
love is made.

The street or café girls or the girls
of the boites аге of course not hidden,
the houses are, more or less. But for a
reasonably presentable man there is по
problem. A thousand francs or so — less
than $3 — pressed into the hand of your
hotel doorman will produce precise ad-
dresses, plus a phone call to the house
identifying you before your arrival.

So there it is: the girls of Paris 12

(concluded on page 58)

ү дч
il С) p 22 A 2.
ИШ ша = m” ПРА

“ГЇ tell you why I hate this island — I'm a leg man.”

x
N
+

PLAYBOY

42

a guide

OME MONTHS ACO, we told you all you
S needed to know about spirits and
distillates in order to set up and enjoy
а complete gentleman's bar. Here and
now, we propose to do the same for wine,
its selection, its storage and its service.

When we say “all you need to know"
we mean just that; there is a wealth of
wonderful lore surrounding wine, there

Correct service by the thoughtful

host

to the pleasures and protocol of the grape

are huge and handsome tomes on its his-
tory and origins, there are poems and
pictures celebrating its delights. Anyone
who delved into vinology would find a
lifetime of charming and fascinating
reading before him, to say nothing of
happy hours of tasting and sipping. col-
lecting and savoring — and more hours
of arcane talk with his fellow experts,

much of it designed for vinous One-up-
manship. Pleasurable as all this may be.
however, it's not essential to the graceful
and happy enjoyment of wine as а regu-
lar part of your well-rounded life. What
follows is—though it won't go far to-
ward turning you into a wine snob,
than which there’s nothing much more
objectionable. (Note: later on in these

requires the stemmed glassware shown here. left to right: goblet for

the deep reds, such as burgundy or chianti; the hollow-stem champagne (though the champagne flute is considered equally
good); the small glass for port; its companion for sherry; the slender-stemmed, medium-bowled glass for hock or ries-
ling; for rosé and the lighter reds а smoller version of the red-wine gloss; the tall and groceful glass for the whites.

ТНЕ
VERITIES
ОЕ

VINO

Four hollow-stem chompagnes, stacked, one
bottleof champagne ond a steady hand form
a festive fountain for four, with each glass
brim full of bubbly and nary а drop spilled.

PHOTOGRAPHY BY MORTON SHAPIRO—GLASSWARE BY WEST VIRGINIA AND IMPERIAL

Тһе vinophile’s
accessorles

for service

pages, we'll take up the matter of domestic versus
imported wines. Ав a preliminary concession to
the adherents of the foreign product, and for
greater clarity, we'll capitalize the initial letters
of the imports — thus; Chablis — and not generic
types or domestic equivalents or counterparts —
thus: California chablis.)

There are four principal classifications of
wines: table wines (chianti, rosé, riesling, rhine,
etc), sparkling wines (champagne, sparkling
burgundy), apéritif and dessert wines (sherry,
рогі, еіс), aromatized wines (sweet and dry
vermouth, ctc.).

What makes wines red or white? Contrary to
popular belief, the color of the grape has noth-
ing to do with it. White is made by pressing the
grapes and drawing off the j
by pressing the grapes and allowing the juice to
ferment for a while in contact with the skins.
Rosé is, as you'd expect, an in-between process:
contact of juice and pressed sl is limited.

Sparkling wines are those which undergo a
second fermentation in the bottle. Fortified
wines have their alcoholic content upped by the
addition of grape brandy, which also makes
them sweeter.

Your wine drinking should pretty much fol-
low the standard procedures; that is, chilled
white with fish, seafood, and the lighter meats
and poultry; red wines at room temperature
with red meat and strongly flavored foods; sweet
wines and champagne with desserts (though
champagne may be served with most any food,
as may rosé), and port, sherry, etc., to be drunk
alone. either before or after the collation. Room
temperature, by the way, does not mean the
thermometer reading in Death Valley at high
noon — 70-odd degrees is about right. By the
same token, chilled doesn't mcan so cold there's
no taste, though champagne should be very
well iced,

It's our belie! that the average young guy can
go quietly nuts trying to figure out (or learn)
whats what in wine nomenclature, The multi-
tude of chateaux and the meaning of chateau
bottling. estate bottling. monopoles, etc., the
confusion arising from such facts as that Chateau
Margaux Claret, which comes from Medoc, is a
Bordeaux, all tend to discourage the man who
has even a few other (continued on page 91)

The storage story calls for closet- and cupboard-
sized racks to which one may odd as occosion
requires. From the top down: a wood and metal
job holds 15 bottles; $4.95. A wheeled rack in
brass, ideal for с champagne party, for in-
stance; $19.75. Twenty-bottle rack of metal
comes knocked down and assembles easily;
$4.95. The traditional honeycomb-pattern rack
in galvanized sheet metal; $17.95. Тһе wicker
caddy is $2.50; in front of it is a chrome do-it-
all decapper; $4.95. Left foreground: the doo-
hickey stuck in the cork is a champogne tap that
penetrates the cork to form a spigot which can
be closed to retain sparkle; $4.95. То its right, a
no-break-'um corkscrew; $5.95. The three hand-
some decanters cre handmade by Erickson,
are yours, left to right, for $11.50, $10, $12.

LE ROUGE pictorial
ET with women and wine, it’s simply a matter of taste

LE BLANC

'ONNOISSEURS OF THE GRAPE tend to be
somewhat fickle in their attachments —
оп опе occasion, they may be susceptible
to the rich headiness of the red wines;
at another time, they may scorn these
and turn to the graceful translucency of
the whites. Deep-purple port or the
blondest of blonde chablis — the choice
of one over another is dependent upon
the time, the mood, the circumstances.
And so it is with women. One occasion
may cry for the companionship of a
flaxen-tressed damozel who sparkles and
bubbles like fine champagne; another
may demand the presence of a darker
beauty with auburn locks, a lady as
suluy and seething as a rich mulled
burgundy. Chacun, as they say, д son
goût.
The varied virtues of the vine are

covered clsewhere in this issue. Uncovered in
this month's center section, and providing a
provocative parallel to le rouge et le blanc of
your wine cellar, are West Coast beauties Mara
Corday and Pat Sheehan. They share a distinc-
tive honor, unprecedented in PLAYBov history.
They have become the first two Playmates ever
to occupy the same issue of the magazine. We
don't know about you, but we can't remember
the last time we've scen a lovelier pair of ladies
back-to-back. Some fellows of rather narrow
tastes may favor one to the exclusion of the
other. But the truc playboy, a connoisseur of
1 want to savor the

both wine and women, wi
unique qualities of both.

ў

m "
арба.

МІ55 OCTOBER PLAYBOY'S PLAYMATE OF THE MONTH

Delightful dilemma: which shall it be—the deep rich "rouge" wormth of Маго
Corday (above) or the light, bright “blonc” becuty of Pct Sheehan (below)? LY |

PLAYBOY

54

PLAYBOY'S PARTY JOKES

Two sexy young starlets were sipping
stingers at Chasen’s, in Hollywood.

“You remember that backless, front-
less, sideless evening gown I wore to the
view last week?" asked the first.
said her friend, "it was a sen-

sation."
“I just found out it's a belt.”

May 1 be of help, sir?" asked the im-
eccably attired, haughty salesman in the
foreign car showroom.

“Yep,” said the casually dressed and
obviously self-made man of means. “Му
girlfriend isn't fceling well. Wha'cha got
in the way of a get-well car?”

Our Unabashed Dictionary defines gold
digger as а human gimme pig.

1 have seven children and I've just found
out my husband has never really loved
те," said the distraught woman to her
lawyer.

“There, there, my dear,” said the at-
torney. "Just imagine the fix you'd be
in today if he had.”

The good doctor had been an inspira-
tion to the jungle natives. He had cured
their sick and taught them the religious
and moral values of his own England.
He was loved and respected by every
native in the village, but on this par-
ticular afternoon the chief was obviously
troubled as he entered the doctor's hut.

"You live among my people long time
now,” said the chief. “You tell us not
right for man and girl to be close to-
gether before marriage and we believe
what you say. This morning white child
born to woman in village. You only

white man in jungle. What I tell my
people?"

The doctor smiled and led the chief
to a window. "My son," he said, "I
won't attempt to give you a full scientific
explanation for the phenomenon known
as an albino. But look at the flock of
sheep upon that hill. Every one is snow
white except one. The white baby born
10 the woman in your village means
nothing more or less than that one black
sheep in the white flock. It is simply one
of nature's mysterious accidents.”

The black chief became embarrassed
and looked at his feet. "OK, doc," he
said. "You no tell — I no tell.”

We just heard about ап unhappy
musician who worked hard on a new ar-
rangement, and then his wife decided
not to leave town after all.

K
go

one

Psychoanalysis is а lot of bunk
imbiber said to his bar companion.

“Why do you say that?”

"Туе been undergoing analysis for six
months and today my analyst tells me
I'm in love with my umbrella! Have you
ever heard anything so ridiculous?”

"Thats pretty crazy,” agreed the
friend.

“І would say that we certainly hold а
sincere affection for each other. But
love? Ridiculous!”

A none-too-likable, middle-aged office
gal of our acquaintance has announced
that she much prefers the business world
to marriage. “In my younger days.” she
boasts, "I could have married any man
I pleased.
“Obv:

of ours,
—————

Heard any good ones lately? Send your
favorites to Party Jokes Editor, PLAYBOY,
232 E. Ohio Si., Chicago 11, Ill, and
earn an easy $25.00 for each joke used.
In case of duplicates, payment goes to
first received. Jokes cannot be returned.

usly,” observes а waggish friend
she never pleased anyone.”

ТРА да

=
—

d^ —
мозайк

Ы

м”

ғ

“Really, Alice Mae, don't you think yow're making just

55

a little too much out of this whole thing?"

ANY А WELL-DRESSED MAN clobbers

the good impression he makes in his
office by departing therefrom with impor-
tant papers crammed in a crumpled ma-
nila envelope or poking out of his jacket.
Many а wellturned-out young exec
totes his blueprints or presentations
(or even a flask of 15-year-old Scotch)
in an antique contrivance which resem-
bles a cross between doc's black satchel
and a carpetbag. And otherwise good
guys we know have the bad habit of lug-
ging age-wrinkled brief cases all gucked

up with straps and buckles, like а руз
trench coat in a B movie. Wrong, all
wrong. And pointless. For today's prop-
erly accoutred man of business has avail-
able a wide and wonderful variety of
correct, trim, tasteful brief and attaché
cases—the very slender ones that are
legal-brief size, the fitted ones, the accor-
dionsided expandables that double as
overnighters—in а king's choice of leath-
ers and linings. There's no excuse for
not dumping your ancient model, and
picking up a new one. We rest our case.

accoutrements By Blake Rutherford

NINE
CASES
IN POINT

ELS
gm

ALL. TN

—~

/

CREASMAN

From conference toble's left, the open ond shut coses include Rexbilt's 17" top-grain cowhide ottaché job, slim ond sleek; $20. Finnigon,
Ltd.'s London-made combinotion attaché with occordion file cose on the side, top-groin cowhide with richly pebbled finish and red morocco
lining; $95. Heinrich, Hermonn & Weiss" luxurious, lightweight black cowhide attaché cose with red morocco file folders inside; 550. Rex-
bilt’s 16" professionol portfolio in suntan cowhide finished extra soft спа plicble; inside fittings cccommodote pens and popers in leother
comportments; $30. Dopp's dondy top-grain cowhide attoché case with removable accordion file tucked inside; also a divider board that
doubles as a desk; $47.50. Rexbilt's Yugoslavian-crafted 16" zippered pigskin soft-sided brief with outside Не cose; $35. Rexbill's sump-
tuous genuine clligotor brief case with three divided sections inside and a new stoy-open frame; $300. Norris’ English-mode coach hide
attaché cose with red skiver lining and seporote file cose inside; $75. Rexbilt’s sturdily stitched cowhide brief case, with two portitions i
and а removoble brief cose with indexed portitions that fits іп an outside zippered pocket; $45. АШ cases ore lockoble, sport brass hordwore.

PLAYBOY

PROS OF PARIS (continued from page 40)

years after they were supposed to have
vanished.

What is the official French government
view of this situation?

Any government, municipal ог па-
tional, when concerned with the prob-
lem of the prostitute, falls into a state
of utter confusion. The Tokyo police,
as noted above, bans the houses and then
itself makes films of them. Agitated mid-
dle-class voices arise constantly іп Eng-
land protesting against the streetwalkers
in Piccadilly, who are sometimes so thick
that it takes a Sherman tank to get
through them, but the matter never
arises in the House of Commons. In
New York the callgirl, regarded by la-
dies clubs as a terrifying threat to the
Republic, is virtually immune from po-
lice action.

In Paris there is the same confusion,
but it is a gentle confusion. The French
passed a law they hoped would banish
the prostitute when it banished the
houses. After a year or so they discov-
ered they had not banished her at all;
they had merely placed her beyond their
control. In the houses, the girls were
available for medical examination and
certification. Now they weren't. The sta-
tistics on venereal disease shot up.

The police then set up a kind of
medical inspection system, with vaguely
defined powers— vague in the sense
that no one seems to know just what
authority the police have over the girls.
Under this system, a known prostitute
За term which is vague in itself — is
obliged to submit herself every week
(although sometimes it is every month)
to a medical examination. If she doesn’t,
she can be arrested (although sometimes
she can't) and forced to submit to ех-
amination. If it is discovered she is ill,
she can be forced (but not always) to
remain in a hospital until she is cured.

"Тһе French government thus finds it-
self in a curious situation: with опе hand
it takes measures designed to wipe out
the prostitute and with the other hand
it takes measures designed to cure her so
she can continue to operate in a busi-
ness it is pledged to exterminate. It is
like a man standing in a cloudburst say-
ing, “It's not raining but ГЇЇ use this
umbrella to keep dry."

The principal medical inspection cen-
ter is Saint Lazare, a former, and highly
Paris prison. There each day
the girls arrive, some in Jaguars, some
in taxis, some on foot. Anyone can watch
them enter the prison. If they pass in-
spection, their health cards are signed
and they are free. The officials at Saint
Lazare daim their service is highly
efficient. They claim that of the 2000-
odd girls who are registered there, less
than 1% have any venereal disease. They
claim that with unregistered girls the

proportion is from 10% to 11%. This
may well be true — it could also well be
true that there is a Santa Claus. No one
knows for sure.

No one, apparently, can even tell how
many girls there are in Paris. One Paris
paper, in a series of stories of a rather sen-
sational nature not long ago, put the fig-
ure at 25,000. But early last winter the
Paris paper Le Monde, which is about as
frivolous as The New York Times, in а
scries of six front-page articles оп the
subject, put the number at 5000, al-
though Le Monde was careful to hedge
by admitting it was a guess.

It might be somehow possible to count
the girls on the Right Bank, but it is
absolutely impossible to count the girls
on the Left Bank, those semi-profes-
sionals who haunt the intellectual cafés.
In French slang they are called the
"short nails" as opposed to their more
elegant counterparts on the Champs-
Élysées, the “long nails.”

‘The situation is a muddled one. The
police have almost nothing to say. Yet
when Le Nef, a highly sober monthly
magazine, recently ran a lengthy story
of the girls of Paris, it accompanied the
article with a series of questions ad-
dressed to М. Genebrier, Paris’ Chief of
Police. It was an astonishing feat of
journalism, exactly as if an American
magazine were to ask a series of ques-
tions of New York City's Police Com-
missioner about the girls of New York.

What is even more astonishing is that
Monsieur Genebrier answered the ques-
tions, His answers appear to be fair, and
he takes a pretty pessimistic view of the
situation. The Chief put the number of
girls in Paris in 1957 at 5460 as against
4600 12 years ago, though he did not
explain how he came to such a precise
figure as 5160. The Chief thought there
might be as many as 6000 clandestins,
or semi-pros.

This reporter talked, off the record,
to one police official who is in charge
of the regulation—loose as it is—of
the girls.

"Monsieur," he said, "it is very diffi-
cult. For the French to legislate against
love and for them then to ask me, a
Frenchman, to enforce an anti-love law
—" He paused. “І will explain.”

He leaned back in his chair, his hand-
some and highly un-coplike face wearing
the barest of smiles. He was obviously
pleased to explain to a foreigner what
he perhaps couldn't ever have explained
to а Frenchman.

“Monsieur,” he went on, “you will un-
derstand that there is no law in France
which prevents a man from being with
a woman. There is, furthermore, no law
which restrains а woman from taking a
gift — either a dinner, or а week's rent,
or, for that matter, a new Cadillac —

from a man.

"]f you meet a pretty girl on the
Champs-Élysées after you leave me and
take her to your hotel, am I to follow
you and burst in on you and arrest the
girl? She would laugh at me and say.
"Monsieur cop, please drop dead. It is
true that I met this man at a café and
it is true that I came back to his hotel
and it is true that I am in bed with him,
as you can see, with nothing on. But,
monsieur,cop, I love this American реп.
Ueman and he loves me and he is taking
me back with him to Chicago as his
wife’ And she would look at you and
she would say, 'Isn't that true, little
cabbage? and probably you would say
"Yes; but even if you said 'No, she
could insist that you promised to marry
her. 1 would then leave you two, since
you were busy, and come back to this
ofice and feel a fool, which I would
have been."

When asked about the plight of girls
like Giselle he sighed.

"Ah, monsieur," he said. "You arc a
sentimental man, but you are sentimen-
tal about the wrong things. You think
your Giselle is unhappy with her lot,
but І assure you most sincerely she is
not. You are a stranger to me, mon-
sieur, but I shall nevertheless Бе frank.
If you think your little Gisele would
be happier working in a factory, mak-
ing shirts, rather than in the streets off
the Champs-Élysées, making love, you
n error.
he issue, monsieur, is not one of
law; it is one of life. There will always
be men and thus there will always be
our little Giselles, our little poules" —
onc of the French slang words for the
girls which means chick. "We French
Чо not regard our girls as some kind of
monsters. We rather like having them
around. There is, since the girls took to
the streets, а new word for them. It
is tapin and it comes from the tap, tap,
tap of their heels on the sidewalks. It is
a fine word for them."

1 rose to go and the official shook my
hand.

"By the way," he said, as I opened
the door, "if you decide to see your
little Giselle again and go to her hotel,
don't forget to register. Not to register,
ah, that is against the law,"

J saw Giselle just before I left Paris
and I told her І was flying to America.

"America," she said warmly. She
turned her soft, beautiful brown eyes on
mc. "Perhaps, later, someday I come to
America." She smiled in her gay way.
"Monsieur, you see Весі ‘Olden when
you 'ome?"

"Of course,” I said.

“Oh, monsieur," she cried. "You say
‘ello to ‘im from Giselle, oui?"

"Sure," 1 said. "Sure, Giselle."

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НАТ DEFINITIVE AND WEIGHTY WORK,
T ;ollectivist Cinema, by S. Polichev,
Hero of Culture, is going into a new
revised edition. The revision will con-
sist of a deletion. The deletion will be
the name, and all mention, of a certain
persona now decidedly non grata.

The sudden decision to publish a new
edition was made after the recent pre-
miere of Robespierre at the People's
Cinema. But perhaps that is not the
best place to start. Perhaps the best
place to start is the
of an Honored Artist and three-time
recipient of the Vashilov Award, one
week before the premiere.

It is nine of a
powdering of snow is in the air. Thi
Honored Artist can see it through hi
window as he sips his breakfast tea.

ugh the apartment is chilly (there
not much left to the heat by the time
m of

disorganization. riot of photographs

id drawings on the walls, the file cabi-
nets piled high with old magazine:

books lying open on tables, on c
(continued on page 66)

MONTAGE

to die with meaning, that
was the trick—but an enemy

stood in the way

fiction By RAY RUSSELL

LES GIRLS, LES GIRLS, LES GIRLS

THE Lipo (rhymes with libido) has been
"le plus beau spectacle de cabaret du
monde" ever since 1929 when impre-
sario Léon Volterra bought himself an
outsize underground room smack in the
middle of Paris Champs-Elysées, and
duked it up with a swimming pi

Turkish bath and the Frenchiest of
Frenchy floorshows. In the mid-Forties,
a couple of other made the place
over to look like a Venetian banquet
hall, added an ice rink and a panoramic

lovely ladies of the lido, unveiled in vegas

stage with a rising floor, and entrusted
the managership of the gigantic joint
(seats 1000 рореуей customers) to
shrewd, inventive Picrre Louis-Guérin,
who coproduces the lavish Lido e
travaganzas with René Fraday. Tourists,
o have been flocking to the place for
nigh onto three decades, have declared
it absolutely the most fabulous gir] show
in all the world, though one American
laconically likened it to “Radio City
Music Hall—with booze and bosoms.”

Now Lonis-Guérin and Fraday have
packed up their "beau spectacle" and
moved it to Nevada, А., to become
the dazzling drawing card for the open-
ing of the new Stardust Hotcl in Las
Vegi a faithful replica of
the Paris production, boasts a cast of
60, a five-part stage bigger than a basket-
ball court, a swimming tank, fireworks
and (most important) girls, girls, girls,
beautiful and bare, who — in the words
of Variety — "make cleavage obsolete.”

pictorial

Below, French filly Reuby Bruce, billed
as "Mademoiselle Lido," exercises both
torso and tonsils іп an introductory
song. Appreciative American audiences
like to follow her charming lines closely.

Original Paris production (opposite) drew raves from usually blosé French,
was brought over intact to the U.S., where it is currently ап S.R.O. smash at
las Vegas’ 1065-room Stardust Hotel, newest resort palace on the Strip.
Above, show gets off to a stunning start as les beautés du Lido, naw right
at home at the desert spa, cavort onstage with their gentlemen admirateurs.

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PLAYBOY

Feathers, fireworks, spangles, nets, mir-
rors, sequins, rain, snow, stereophonic
sound, six movable stage sections, a con-
vertible ice rink and о swimming pool
combine with a winsome assortment of
unfettered femininity to dazzle the eye.

The Lido de Poris troupe is made up of
60 European performers, including sing-
ers, dancers, manikins and the famed
Bluebell Girls. The young ladies һай
from Englond, Belgium, Italy, Holland,
Denmark and Sweden as well as France.

In the sequence entitled The Street of Desire, Lido luminary
Reuby Bruce portrays a lody of the evening who plies her
age-old trade in front of а conveniently open window.
Her impatient, impassioned consort is enocted by dancer
Buddy Bryan. Outside the love nest, sailors and girls
take in the technique of the pleasure-preoccupied pair.

Sexy skit, The Antique Bath (above), spotlights near-nude
maiden and her equally unclothed admirer in a stylized
dance. Mixing of lightly clad members of both sexes, no nov-
elty to Europeans, is an innovation in U.S. Right, burgeoning
babes and bursting rockets signal fini to an exciting evening.

PLAYBOY

66

M 0 NTA ( Ё (continued from page 59)

on the floor — it all adds up to a pleas-
ant little nook from which to watch the
fat snowflakes wander sluggishly to the
ground. I must do something beautiful
with snow sometime, he tells himself.
But when? By this time next week I will
be in disgrace. I may even be dead.

He sighs. On the floor near him is an
old copy of the Cultural Review. He
picks it up and flips the thin pages of
closely printed criticism until he comes
upon an article signed by Mikhail
Borisov, recipient of the Tchevkin
Medal. His eyes skim several paragraphs,
then stop upon his own name:

", . . Alexei Gorodin, on the other
hand, continues to follow the dictates
of his own caprice. This might be laud-
able if his caprice were in any way con-
siderate of the people's welfare. Your
reviewer begs leave to ask, Is it? His
latest film, Heliogabalus, seemed (to
your reviewer at least) to portray that
Roman emperor as the sole cause of the
Empire's partial disintegration under
his reign. If this interpretation was not
stated in so many words, it was strongly
implied by the emphasis оп this profli-
gate’s personal life, Was there in this
film a single hint that the Roman Em-
pire was the victim not of one man but
of its own decadent structure? Was
there any feeling at all of social con-
sciousness? Was there, in short, any-
thing in this film but a useless intro-
spective portrait of a degenerate mind?"

Gorodin skips a good deal of the
article — because he has read it many
times before, because it is ротроиз and
stupid, because the print is small and
his eyes are old — and concentrates on
the last lethal paragraph:

"We expect such overly personal films
from the capitalist directors, We have a
right to expect from our own directors
а greater sense of collective realism.
There was a time when Gorodin made
films of meaning to the people: films
depicting the achievements of such nota-
bles аз» Vasilyev, the great builder of
roads; Murochenko, the biophysiologist;
Churovkin, the inventor of the incan-
descent lamp. And only ingrates will
ever forget his brilliant version of The
Scarlet Pimpernel, wherein he threw
new light on that royalist ‘hero’ who
smuggled justly-condemned aristocrats
out of revolutionary France: Gorodin
made him stand unveiled, in full relief,
as an obstructor of the people's justice,
a villainous counterrevolutionary cynic.
But of.recent years, Gorodin's art be-
comes more and more removed from
our interests and our problems, more
and more formalistic — and, hence, less
and less constructive, less and less a
contribution to the ideological vitality
of our society. Far be it from your re-
viewer to accuse Honored Artist Alexci

Gorodin of counter-revolutionary tend-
encies, but surely the time has come
when we can at least ask the question,
15 there a need for such a worker in our
society? Your reviewer begs leave to
doubt it."

Mikhail, Mikhail, drones Gorodin to
himself, what are you doing? Do you
know what you are doing? His eyes turn
upward: the photographs of old friends,
old colleagues, old students look down
upon him from the wall. One of the
faces — dark-eyed, tight of mouth — is
that of a young student of directing
who had once been a pupil of Gorodin's
and who had displayed a certain amount
of talent. Talent enough to make a
couple of rather interesting. if deriva-
tive, films. То the master, the photo-
graph's inscription reads, with reverence
and esteem. Your pupil, Mikhail Borisov.

Mikhail, says Gorodin, you do know
what you're doing, don't you? You can-
not bear to work in my shadow, to be
thought of as a minor talent, an echo of
your master. That is why you sulk and
seethe; that is why you scratch away
with a pen, making words when you
should be making film. Oh Mikhail, why
should you hate me? I am an old man,
with maybe one more film left in me,
if that. Let nature take its inexorable
course and before long I will not be
here to cast that shadow.

Gorodin, of later years, had begun
talking aloud to himself when alone —
talking in a strangled mumble and
throwing his arms about in sudden em-
phatic gestures. Now, he slides into this
without quite knowing it. "Mikhail," he
says to the picture, "you are a terrible
fellow. You know you marked me for
extinction in this article! Gorodin
waves the magazine under the photo-
graphic Mikhail's nose. "In your next
one, you intend to finish off the job, eh?
Why, Mikhail, if a harmless biography
like Heliogabalus could inspire you to
write such a relentless condemnation оГ
your old teacher, how will you receive
my new film when it is premiered for
you journalists at the People's Cinema
next week?" Gorodin smiles sardonically
(we must remember he has been an
actor in his time): "You know, Mikhail,
there are sequences in Robespierre —
well one at least— whercin the title
character is depicted as anything but the
savior of the French people." Gorodin
chuckles. "What will you have to say
about that, eh? You will howl for my
blood. And those who otherwise would
not have seen anything dangerous in the
film will look upon it with new eyes.
Your eyes, dear boy. Then what? Arrest.
Interrogation. Public confession. Igno-
minious death, perhaps. At any rate, a
name stricken from the memory of man.
That is your plan, is it not?”

Gorodin rises and walks slowly to the
window. Не no longer sees the snow —
only the ghostly reflection of his own
face. The face of compromise, he tells
himself: am I any better than Mikhail,
really? Mikhail is ап invidious party
mouthpiece kis
. And what am 1? A sitter on
fences; a maker of equivocal films that
are neither flesh nor fowl; a frightened
old man hanging on to life by sufo-
cating his work in a blanket of ‘collective
realism. Another kind of mouthpiece,
no more . . ." He presses his forehead to
the cool glass. “... And a fool, іп the
bargain. A fool not to have created my
masterpiece before this. А fool not to
have made one grand, denunciating film
before my death."

His dream of a film on Galileo mold-
ers in his files — thick folders, bulging
with notes, sketches, even dialog for the
great project. What а film it could bel
And what а part for Mischa (his eyes
travel to a portrait of a heroically hewn
actor), what opportunities for Nikki (he
looks with affection at his favorite cam-
сгатап'е self-portrait), Then he sees
once more the photograph between these
— To the master — and his eyes cloud.
Because of Mikhail Borisov, hc has been
аігаід to attempt the Galileo film, afraid
the powers, prodded by Borisov, would
see beneath its thin anti-clerical vencer
and find a story all too familiar to them
— the story of a man forced under threat
of torture to deny his beliefs, a story
centuries old that was being repeated
every day in the sealed chambers of the
secret police. Such a film would be some-
thing to set the minds of the audience
working . .

"Something to die for. Not Robes-
pierre. There is nothing truly incen-
diary in Robespierre. Only а blood-
hound like Mikhail is capable of sniffing
out the few kernels of truth in that
mass of pap. To die because of Robes-
pierre — that would be a useless death,
But to die for a film that could stir slug-
gish minds...”

Gorodin passes his hand over his face.
To dic for the Galileo. That would
have meaning. "But 1 will die for
Robespierre and my death will be as
hollow a mockery as my life."

He looks again at the portrait of
Borisov. How easy things would be,
Mikhail, without your interference. Not
only would Robespierre go unsuspected,
but perhaps even the Galileo would
have enough showings to do some good
before it was found out. But there will
be no Galileo. And all because of you.

"It is either you or 1, Mikhail," says
Gorodin sadly. "It comes to that."

To enter the projection booth at the
People's Cinema is forbidden to all but
the projectionist, the theatre manager,

(continued on page 79)

“Thank you, miss. Will that be all?”

хоялыта

68

article By JOHN HOWARD SIMS

power plays and potent
ploys for upward strivers

on the business scene

executive chess

TWO YOUNG MEN sit sipping their рге-
luncheon cocktails. They are about of
an age. they are dressed much alike. The
meals they order won't vary much onc
from the other. At the office they sit in
adjoining cubbyholes, they share а sec
retary. they call each other by their first
names —and yet they are tacit enemies
in almost mortal combat. Ten years from
now. they both know. one of them will
have the private corner office, the five
figure income, the duplex town house
or the home in the suburbs. the wife
warm and socially secure іп mink. One
of them will live in confidence and self.
respect, the other one wil! go to bed to
lie silent and awake, prey to the gnaw
ings of fear and failure. One will lose,
and one will win.

If it all sounds like something from
contemporary fiction — books. movies,
ГУ — that’s because the last few years
have seen the creation of a new image
of the American executive - a schemer.
a politician, а manipulator of men. a
Machiavelli in a J. Press suit. The board
room has become his court of intrigue.
the conference table his battlefield. Here
he wages the war of personality. jockeys
for status, strives for upward mobility,
may devote more time to the techniques
of interofhce guerilla warfare than (о the
business which 5 his

Such а portrait reflects one of the
prime concerns of modern corporate
leaders: the state of human, or inhuman.
relations within the executive hier-

archies, For the giant corporations want
to put an end to the growing rate of
mental breakdown and conniving among
its elite. “If we allow ourselves to cut
our own throats,” warns one company
president, “if we don't channel our am-
bitions, develop loyal managerial talent
and firmly control interothee conflict.
11 sap our own strength

"Which," he adds in an aside, "w
sorely need to kick hell out of our com
petitors.”

So, at the annual expense of millions.
armies of human relations experts arc
swarming over guinea-pig executives.
both junior and senior — examining.
nalyzing. correlating — all with the ex-
press purpose of understanding апа
controlling the executive. ‘The means,
discovered after the smoke from. the
IBM machines had cleared away, is con
tained in one ringing word: coopera:
tion. What is needed, say the experts,
is the unflinching employment of demo-
cratic techniques of leadership. inevitably
involving group participation, possibly
followed by a game of patty-cake. Man
agement must be democratized, an at-
mosphere of middle- and upper-echelon
Togetherness should benignly prevail
wherein superior and subordinate mect
as equals. Jock arms and whistle while
they work jointly for the common good.

To the chagrin of the human relations
experts who came up with this solution,
the саппіст executives. have gratefully
grabbed the advice and accepted the

69

PLAYBOY

70

suggested techniques as a strikingly subtle
method of gaining power and manipu-
lating men. The brighter execs have re-
membered a quote from George Orwell's
satire Animal Farm: "All animals are
created equal, but some animals are
created more equal than others." Chuck-
ling, the big-business Bonapartes pro-
ceed to swallow more and more territory
and trample over more and more men
— by playing the game as directed, with
just a few extra flourishes.

The contribution of the pseudo-
panacea by the "experts" was predict-
able. It is a symptom of the day. We live
in an era of group-worship and the
melonheads on all sides continue to
interpret democracy as nothing more
than equalitarianism. Because leadership.
— forthright, imaginative — implies su-
periority, it is automatically suspect as
being antidemocratic. As psychiatrist
Harry Stack Sullivan wrote, we live in
an age of disparagement, the motto of
which is, “If І am a molchill, then, by
God, there shall be no mountains."

It is just this attitude that has allowed
a lot of Americans to delude themselves
into denying that differences in power
exist at all. In such a cloistered climate,
the refusal to consider the cxercise of
power and the struggle for it as natural,
legitimate functions of the business
executive (or the school principal, or
the state senator. or the scientist) is no
surprise, After all, the diverse and in-
tricate structure of modern business (or
the school system, or the government,
or the laboratory) demands organization
and direction of its parts. Ergo, it de-
mands organizers and directors.

And they must be of a special breed.
The exec on the way up the ladder
must, of course, not only exercise con-
trol over the physical means of produc-
tion — but over men. The important im-
plications of this were explored by the
author with Dr. Norman H. Martin in
the Harvard Business Revie Knowl-
edge. rcason and technical know-how
will not suflice as methods of control,
i y to the arts of. persuasion
inducement, of tactics and ma-
neuver, of all that is involved in inter-
personal relationships. Power cannot be
given; it must be won, And the tech-
niques and skills of winning it аге, at
the same time, the methods of employ-
ing it as a medium of control. This
represents the political function of the
power-holder."

With the acceptance of these corpo-
rate facts of life, it's about time Business
stopped wringing its hands and fecling
shocked and guilty over the strivings of
executives to get, exercise and increase
power. It should rather first concern it-
self with hou it is done — the techniques
and tactics, the maneuvers employed to
gain and exercise power — and secondly
with the "bad" or "good" ends for which

such practices may be uscd, ends which
have their source not in the techniques
themselves, but in the men who use
them.

Cagey execs who have been around
know full well that getting power is not
simply a matter of the inevitable rise of
the "best qualified." Nor is it, as the
envious would insist, a matter of dumb
luck, except possibly in the case of the
boss' son succecding to the office with the
Bigelow on the floor. Тһе seasoned
exec is aware that his job is a brutal
one: it requires dedication, imagination
and skill, almost around the clock. He
also knows the headaches involved in
maintaining a position of power опсс it
has been achieved.

Though the intrigues апа techniques
of the executive are endlessly subtle and
intricate, a look at the six basic execu-
tive ploys common to effectiveness in all
areas of activity will provide us an index
of action in the game of Executive
Ches:

THE CREATION OF ALLIANCES. Like the
man says, “It's not what you know, but
who you know.” A business organization
—any business organization — is. made
up of a series of sponsor-protégé rela-
tionships. The fellow on the way up —
the mol protégé — digs the fact that
his rate of advancement depends heavily
on these relationships. The sponsoring
exec — the one who already owns a key
to the private washroom — reaps benefits
too: he's got a loyal and protective
subordinate who serves as a communica-
tion system through which the exec can
sense the political pulse of the ограпі-
zation.

In the establishing of such mutually
beneficial alliances, the psychological
process of upward identification is in-
volved. The successful protégé is one
who takes his superior as a model. He
grows closer to him in tastes, interests,
values, philosophy. In a sense he strives
to become like him, to become one with
him. In this way he prepares himself for
upward mobility, he is Ready When
Called. At the same time, he has escaped
intellectual commitment to, and emo-
tional involvement in, that level of so-
ciety he wishes to leave.

The sophisticated protégé is aware
that what he is socially will partially
determine his "promotability." His pref-
erence for golf or bowling, bridge or
canasta, Vivaldi or Rachmaninoff, all
help his superiors judge whether he
“fits,” if he is “one of them" — considera-
tions at least as important as his ability
to do the actual work.

Increasingly, the company wants to
know the young executive's wife, it
wants to observe the couple together
охет cocktails at the club or dinner іп
the home; for in such situations the in-
tangible of “das” is most clearly
marked. The small behaviors and atti-

tudes by which the promising executive
is located in the hierarchy that.is social
class cannot be simulated, but emanate
from his being a member of the class.
And it is through identification with
his superiors, with the class to which
they belong, that the aspirant executive
becomes a member of that class, and
thus eligible for promotion.

The ambitious young executive may
concentrate hardest on alliances with
his superiors, but he does not confine
himself to them. He may have fruitful
alliances on his own level, and on levels
beneath him. For example, two or more
young men may band together for com-
mon protection and advancement, split-
ting apart only when they have gone so
high that they are forced into conflict
with each other. ‘hey may demonstrate
remarkable loyalty to cach other for a
long time. Until one of them dicd a few
years ago, two of the country's Icading
book-publishing cxecutives were com-
paratively young men who had allied
themselves in their first $45-a-weck jobs.
Each served as an extension of the other,
in information-gathering, in alliance-
making, in working; and thc reaction of
each of them to attack on the other was
instant and brutal. One was an upward-
striver, specializing in alliances with his
superiors; the other, whose work-per-
formance was more striking, concen-
trated on alliances on his own level апа
below. Object: information. It was rare
that а top policy decision, however
secret, was longer than 24 hours in com-
ing to them, from onc area or the other.
Thus their own. plans were always in
stream with the organization's, and their
progress was commensurately rapid.

The dog-eat-dog motif of business life
today may appear to have been over-
emphasized in some popular treatments,
but any young executive will know a
good deal of the scamy side of things
long before he movcs into the corner
office with the liquor cabinet in the
wall. The seduction of the boss’ secre-
tary has opened many a gate for ambi-
tion. The risks are great, but so are the
rewards. Many a competitor has been
taken out of play by the judicious usc
of carbon paper: memoranda of mild
rebuke, inquiry or surprise at a task
undone are addressed to the victim but
he never receives them because only the
carbons are sent to his superiors and the
originals are destroyed as soon as typed.
The boss soon begins to wonder if he
has not, perhaps, overestimated some-
one. Satirist Shepherd Mcad wrought
wry humor out of this and related ploys
in How to Succeed in Business Without
Really Trying, and he did it without
exaggerating overmuch — without really
trying, one might say. A refusal to pro-
duce corroborative information in con-
ference is also common and wickedly

(continued overleaf)

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PLAYBOY

72

executive chess (continued from page 70)

effective: Executive Jones, woefully
watching his brain child take a beating
from his superiors in conclave assembled,
turns to Smith, who had privately
promised to support him. Says Smith:
"Seems а kind of oddball idea to me. І
don't think I like it.”

FLEXIBILITY. The clever executive
strives to maintain his flexibility. De-
cisiveness in action is balanced by cau-
tion in future commitment. He has
minimum and maximum goals, and
alternative courses of action ready to
carry him toward those goals. And if
forces beyond his control block him, he
is able to retreat. without loss of face.

An oil company executive, just before
the recession and war threats assumed
full stature, urged an elaborate program
of expansion in the Near East. He ap-
peared to have staked his professional
future on it, and when economic and
political conditions made it not only
inadvisable but impossible, his rivals іп
management sat back happily апа
waited for him to squirm. He came up
immediately with a fully worked-out
program for new-product research, ideal
for a battened-down economy. He'd had
it in reserve all the time.

"Тһе same flexibility shows itself in the
executive's interpersonal relationships.
His alliances with those above him are
marked by limited loyalty and attach-
ment. He does not want his career to
depend entirely on опе man, for no one
is indispensable, not even the boss. For
the same reasons, he provides himself
with interindustry connections, so that
he will be able to move elsewhere should
it become advisable or necessary.

THE TECHNIQUE OF DELAYED TIMING.
No matter how powerful an executive,
there are times when he is urged to do
things he doesn't want to do. The will
of his colleagues and subordinates, the
demands of his superiors, the political
pressures of his enemies may set up a
total of forces which the executive dare
not ignore. If he yields, he relinquishes
his authority; if he refuses, he risks offer-
ing dangerous offense. The clever execu-
tive masters such situations by dclayed
timing. He takes the matter under ad-
ment, he studies in det: he
plans for it, he discovers difficulties that
must be overcome and possible conse-
quences that must be taken into account;
he is always in the process of doing
something but he never quite does it.
He cannot be accused of negligence, but
the undesirable program dies on the

When it's possible, the really master-
ful executive takes full charge of a
scheme to which he is in opposition, if
it shows any likelihood of succeeding in
spite of him. Ап advertising dircctor

found his company taken over by the
young son of the founder, and the boy's
first idea was that the major product of
the house should be radically reoriented
to appeal exclusively to women. It had
two major drawbacks from the adman's
viewpoint: it was a Jousy idea; perhaps
more importantly, it emanated from а
threatening source — but there was no
simple arguing against it, for that very
reason. So the ad director simply took it
over, not enthusiastically, but willingly,
for “investigation and implementation.”
He hired a leading — and very expensive
— firm of market analysts to make sur-
veys. He engaged researchers to look
into similar policy-switches in the past.
He kept the thing going for nearly ninc
months. By that time the unimplemented
proposal had consumed a depressing
amount of moncy and time—as the
adman had hinted it might. The boy
president discovered he had other irons
in the fire, and was willing to listen to
reason.

THE GRAPEVINE, The trend among
"experts" in industrial relations is to
urge that the channels of communica-
tion be opened wide. The theory is that
subordinates should be aware of what is
going оп in mana ient — and
versa, If everyone knows everything, the
argument goes, destructive scuttlebutt
will be killed. The skillful executive,
however, realizes that knowledge is in-
deed power. and as such he is not eager
to relinquish it. He finds it to his ad-
vantage to withhold information, tem-
porarily or permanently. He determines
who gets to know what, and when.

This often involves using the grape-
vine, the informal communication sys-
tem built into every office, like its elec-
trical system. For example, а vice-presi-
dent may be concerned by the increasing
tardiness of his executive staff. The start-
ing hour of the work day has been
progressively pushed back from 9:30 to
10 o'clock. The freedom accorded execu-
tive status has been abused. The vice-
president must pull his men into the
office earlier, but he must do it in such
a fashion that they will not lose face.
115 easy: he tells his secretary that he is
thinking of setting up a spot-check on
morning arrival times. He can be sure
that she will gab it to the other зесте-
taries before three hours have passed,
and they in turn will loyally tell their
bosses, the tardy executives. They will
be more prompt in the future, and they
will still have retained their conviction
that they are self-regulating.

The grapevine is a two-way street. A
good secretary сап produce incredible
amounts of information once she has
been trained. Two things are necessary:
she has to be taught to tell her employer

everything she hears, without attempting
to evaluate it, and she has to be made
completely loyal. The loyalty is easy. АЙ
it takes is kindness, consideration (don't
dictate any letters at 4:30 in the аһег-
noon, don’t ask her to do your shopping
on her noon hour, etc.) and on top of
that, a mild course of straight courting
—but omitting the last step, no matter
what the temptation.

THE EXECUTIVE AS GROUP LEADER. The
successful executive uses the group to
further his own ends, but he does not
allow it to use him. He never relin-
quishes his authority, and he concen-
trates on resisting the powerful psycho-
logical phenomenon of group pull,
wherein the group takes on a life of its
own, becoming more important than
any of its individual members, includ-
ing the leader. The successful executive
does not "go along with the gang." For
example, he will take advice, but only
when he asks for it, and he will not
allow it to be forced upon him. And
he is wary as to how he asks for it, Не
does not innocently ask, "Well, what do
you think ought to be done?" He knows
that men are likely to interpret such an
approach as a delegation of power, and
to answer it with decision rather than
counsel.

THE EXECUTIVE AS PERFORMER. Some
executives can walk into a staff meeting
and dominate it from the start. They
are at ease, they speak well, they win
the arguments. Others, equally or even
more capable, are less fluent and conse-
quently lose themselves and their ideas
in self-conscious mumbling and throat-
clearing.

There are men who have an innate
drama of course. But the ex-
pert executive is not merely naturally
eloquent, he is artfully eloquent. Не
thinks of communication as much morc
than just а means of conveying ideas;
he thinks of it as a tool that can arouse,
convince and produce. He knows that
communication is an art, and therefore
that it requires the substitution of the
deliberate, the conscious, the planned,
for the spontaneous. He knows the ef-
fect he wants to produce, and he de-
termines in advance what he will do to
produce this effect. Once his choice is
made, he rehearses his presentation so
that it will appear natural. The advan-
tage is his: he has mapped what to
most of his associates is ап uncharted
piece of ground,

Тһе practice of maneuver and intrigue
in these major areas, the utilization of
these principles, demands а certain type
of man.

A description of the successful execu-
tive must begin by emph; g his high
level of drive. The executive who wants

(concluded on page 81)

THEN ANOTHER PART OF ME SAID:
“REMEMBER YOUR WIFE —
TWO KIDS TO FEED -
HOME IN THE SUBURBS —”

$0 ONE PART OF HE SAD : AND THE OTHER PART OF ME SAID:
“ІМ STASNATING! Т ONCE "WASHING MACHINE
HAD SOME DREAMS! WHATS COLOR TV

HAPPENED То MY ИРЕ?” REPAIRS IW THE ATTIC —^

PS 2 6405
50 ONE PART OF МЕ SAID: “ THEN THE 56 PART OF ME SAID:
“ITS WRONG TO SPEND SEVEN “УСОРЕ JUST PENT UP -
HOURS A DAY AT WHAT І HATE! бо OVT AND DRINK-
ITS NOT FAIR! ITS WRONG!” BLOW OFF SOME STEAM- “
Js

FONE NLDA TAKNE CARE 1 KNEW 1 HAD TO

OF THE KIDS- MAKING DINNER -
WANTING UP FOR ME 50 COME HOME/
PATIENTLY. 1

ANO THATS WHY
І 5066Ер УбО.

73

OME RS AGO, 2 young soldier named

Francois, after serving his term of duty,
returned to his native village near Poi-
tiers to live. He promptly fell in love
with a girl from one of the best families,
which was not at all surprising as Nan-
ette, for so the lass was called, had the
sauciest little nose in the world and a
figure so shapely that many a young
man's heart beat faster at the sight of
her. Indeed her large brown eyes could
appear so inviting as to make a man
dizzy with delight, and Francois was no
exception.

Since the soldier was а handsome ro-
bust fellow, blessed with a merry dispo-
sition and a fine pipe on which he puffed
proudly, the lass understandably lost
her heart to him in turn. Their decision
to marry was soon reached.

But marriage was not always a matter
of romantic choice in the small villages
near Poitiers, especially if one came from
2 good family. And so it was with some
trepidation that Nanette went to ask
the consent of her parents.

“Ah, so it is Francois!" said her father.
“І remember him well" That ample-
proportioned paterfamilias, a rich wine
merchant named Gaspere, leaned back
in his comfortable chair and stroked his
chin reflectively. “Of course you realize
that his family does not have our stand-
ing."

"I love him!" cried Nanette.

"Yes, yes," the father agrced hastily.

"You may invite him to dinner to-
morrow evening," said the mother, a still
attractive and very neat woman, who
had been sitting quietly by the window
knitting. Her tight-lipped expression was
softened by the mildness of her tone
and gave some cause for hope.

Francois appeared at the appointed
time and was in every way at his best.
His clothes were immaculate, his boots
glistened, and he was as friendly and
mannerly as one can imagine. But alas!
Immediately after the dinner he lit his
pipe, blowing great clouds of acrid smoke

across the room. It was a fortunate
thing that the two young people soon
left to attend a village dance or else
there is no telling how the evening might
have ended.

When Nanette returned home later
that night, her parents were waiting up
for her. й

"Daughter," Gaspere said slowly, “іп
many respects your Francois has turned
ош to be a finc young man. But he has
also become a veritable chimneyl" He
coughed in retrospect. "Before І give
my consent, he must give up his smok-
ing!"

‘And I,” the mother added sharply,
"am in complete accord with your
father."

So there the matter rested.

‘The following day Nanette unhappily
related to her lover what her parents
had said. At first Francois seemed appre-
hensive, but by the time she finished he
had relaxed and even begun to chuckle.

“What are we to do?" she cried.

“Do not fear, little pigeon," he smiled,
and kissed her lightly. “If that is all they
ask, we shall soon be man and wife.”

"But what will you do?" she queried,
puzzled.

"Naturally І will do as they ask. Who
knows"—and his eyes twinkled mischiev-
ously — "perhaps one day they will even,
of their own volition, restore the privi-
lege of smoking to те!"

And Francois forthwith gave up his
beloved pipe.

Several months later the marriage took
place. The day after the wedding, the
mother visited her daughter to see if
all was well.

"How do you сеї, daughter?” she

iscrable!" replied the girl, almost
in tears, “Last night he did not even
touch me!"

The mother was perturbed but sought
to hide her feelings.

“No doubt he was tired,” she com-
forted. “He is a strapping fellow and I

am sure things will go better tonight.”

And she returned home.

‘The next morning the anxious mother
went again to see her daughter. She
noted with dismay that Nanette's pretty
face was drawn and haggard.

"How did it go, my daughter?" she
inquired worriedly.

"Oh, Mother! I cannot sleep for des-
pair! Francois still has not touched me."
Her voice shook with emotion. "When
we retired, he held my hand gently for
a moment, looked into my eyes and
then . . , then he said, ‘Good night, my
lovely pigeon,” and went to sleep!" She
burst into tears. "He never stirred the
whole night and І... I could not sleep
a wink!”

“Wait! I shall talk with him myself,
this stripling!”

And the mother sought out her new
son-in-law.

"Wicked rogue!" she cried. “Do you
consider my daughter so ugly that you
cannot bear to touch her?"

"Most certainly not!" Francois smiled
sheepishly, "I love her very much. But
since І am no longer permitted to smoke,
1 have not the strength of a worm and
am good for nothing."

‘The mother returned to her daughter.

“Nanette,” she said firmly, “here is a
sou. Buy some tobacco for your hus-
Бала.”

Greatly surprised, the lass did as she
was bid.

"The sun had hardly risen when the
mother was at the home of her offspring.

“Well, my little one," she asked
eagerly, "how was Francois last night?"

"Oh, Мата! He was wonderful! More
wonderful every time!”

"Tiens!" cried the mother. "Here are
10 sous. Go quickly. For five sous buy
more tobacco for your husband, and for
the other five . . . buy some for your
father!"

— Translated by William Н. Schad

іт-т-------........1....................... CUT ALONG THIS LINE

LEADER
(Please check one.)

С] Ray Anthony

O Count Basie

O Les Brown

0 Ralph Burns

O Les Elgart

O Duke Ellington
O Gil Evans
Maynard Ferguson
Jerry Fielding
Dizzy Gillespie
Benny Goodman
"Ted Heath

Neal Hefti
Woody Herman
Harry James
Quincy Jones
Stan Kenton
Elliot Lawrence
Billy May
Howard McGhee
Ray McKinley
Herb Pomeroy
Johnny Richards
Nelson Riddle
Shorty Rogers
Pete Rugolo

па оооооооопоооооаоооо

TRUMPET
(Please check four.)
D Nat Adderley
O Cat Anderson

07 Louis Armstrong
П Chet Baker

© Wilbur Bascomb
O Ruby Braff
Donald Byrd
Conte Candoli
Pete Candoli
Buddy Childers
Buck Clayton
Dick Collins
Miles Davis
Wild Bill Davison
Kenny Dorham
Harry Edison
Roy Eldridge
Don Elliott.

Don Fagerquist
Art Farmer
Maynard Ferguson
Dizzy Gillespie
Conrad Gozzo
Bobby Hackett
Harry James
Thad Jones
Howard McGhee
Lee Morgan

Joe Newman
Sam Noto

Shorty Rogers
Bob Scobey
Charlie Shavers
Jack Sheldon
Charles Teagarden
O Clark Terry

пппппппппппппапппппппппппапппапп

vote for your favorites
for the third playboy
all-star jazz band

YOU'VE BEEN DIGGING the sounds all year
through — at the most popular jazz spots,
at the festivals, on radio and television,
on your own hi-fi rig. Now it's time to
pick your favorites for the 1959 Playboy
All-Star Jazz Band. This is a way you
have of saying thank you to the jazz
musicians who pleased and entertained
you most during the past 12 months.
This is far and away the biggest popu-
larity poll conducted in jazz— the only
one outside the music trade — апа win-
ning a place among the Playboy All-
Stars is considered а major honor by
the musi themselves. The jazzmen
who win be awarded thé prized
sterling silver Playboy Jazz Medal. They
will also appear in the third Playboy
Jazz All-Stars LP album, a product of
intra-industry cooperation among the
nation’s major recording companies.
Го help make this third annual poll
the biggest and most successful yet,
everyone who votes in it will be given a

Nick Travis
] Stu Williamson

оооо оо

TROMBONE
(Please check four.)

Fred Assunto
Milt Bernhart
Eddie Bert

Bob Brookmeyer
George Brunis
O Bobby Burgess
0 Jimmy Cleveland
© Wilbur De Paris
П Vic Dickenson
0 Bob Enevoldsen
Carl Fontana

Al Gray

Benny Green
Urbie Green
Herbie Harper
Bill Harris

J. J- Johnson
Jimmy Knepper
Abe Lincoln
Turk Murphy
Kid Ory
Tommy Pederson
D Benny Powell
0 Frank Rosolino
E] Jack Teagarden

ooo000

пппппппппапп

ГІ Kai Winding
O Britt Woodman
E] Truminy Young
n
pema
o

п

ALTO SAX
(Please check two.)

Cannonball Adderley
Al Belletto

Earl Bostic
Benny Carter
Ornette Coleman
Paul Desmond
Lou Donaldson
Herb Geller

Gigi Gryce
Johnny Hodges
Lee Konitz
Charlie Mariano
Hal McKusick
Jackie McLean
Lennie Niehaus
П Art Pepper

[1 Bud Shank

O Zoot Sims

O Willie Smith

ГІ Sonny Stitt

O Phil Woods
ААЦ,

о. 15

ппппппппапппппгпп

chance to win а copy of the first Playboy
Jazz All-Stars album. One hundred read-
ers will be chosen at random from among
the jazz ballots and will receive the hand-
some twin-LP album featuring the win-
ners of the first annual. poll. It doesn't
matter how you vote — sending in your
ballot makes you eligible to win an
album. Read the instructions that fol-
low and get your own jazz ballot in the
mail today.

1. Your four-page jazz ballot appears
below. A Nominating Board composed
of winners of last year's poll, jazz editors,

romoters and representatives of the ma-
jor recording companies have nominated
the jazz artists they consider to be the дам;
most outstanding of the year and this
may serve as an aid in your voting. How-
ever, you may vote for any living artist
in the jazz field.

2. The artists are divided into cate-
gories, composing the 1959 Playboy АП-
Star Jazz Band, and in some categories
you are allowed to vote for more than
one musician (eg. trumpet, trombone)
because a band normally includes more
than one of that instrument. Be careful
to cast the proper number of votes, as
too many in any onc category will dis-
qualify all your votes іп that category.

3. If you wish to vote for an artist
who has been nominated, simply place

--------------------------------------- CUI ALONG THIS LINE -----------------.-.---------------------.

TENOR SAX
(Please check two.)

BARITONE SAX
(Please check one.)

O Art Pepper
O Pee Wee Russell

O Bud Powell
D André Previn

O Georgie Auld O Pepper Adams O Tony Scott O George Shearing

О АІ Cohn П Danny Bank O Mike Simpson 0 Horace Silver

O George Coleman O Ernie Caceres 0 Bill Smith D Billy Taylor

0 John Coltrane 0 Harry Carney Б Bob Wilber El Lennie Tristano

O Bob Cooper О Al Cohn О Sol Yaged O Claude Williamson

П Bud Freeman O Jimmy Giuffre B O Teddy Wilson

O Stan Getz E] Lars Gullin B

П Jimmy Giuffre D Frank Morreli Gyr

П Paul Gonsalves 0 Gerry Mulligan ПЕР one) GUITAR

0 John Griffin O Cecil Payne П Count Basie (Please check one.)

Б Coleman Hawkins O Tony Scott D. Dave Brubeck O Laurindo Almeida

O Шіпоіз Jacquet O Bud Shank ГЇ Barbara Carroll O Irving Ashby

O Yusef Lateef 0 Jack Washington D Cy Coleman O George Barnes

O Warne Marsh Bü D) Duke Ellington O Billy Bauer

O Eddie Miller D Bill Evans O Kenny Burrell

O Hank Mobley iRise у д 0 Eddie Condon

Ej Jack Montrote (аса) O Red Garland П Bo Diddley

[5н Моне O Barney Bigard O Enroll Garner П Herb Ellis

E Vido Musso O Buddy Collette D) Hampton Hawes О Tal Farlow

[p vn O Buddy DeFranco O Eddie Heywood O Freddie Green

ED ill сына O Pete Fountain О Earl Hines П Jim Hall

EI Flip Phillips O Jimmy Giuffre O Ahmad Jamal 0 Barney Kessel

зору Rollins O Benny Goodman 0 Hank Jones O Mundell Lowe

0206. Sims 0 Edmond Hall O Billy Kyle П Oscar Moore

O Sonny Stitt С Jimmy Hamilton O Lou Levy L] Les Paul

B] rrr eps O Woody Herman О John Lewis О Joe Puma

E] Lucky Thompson. O Peanuts Ниско O Dick Marx 0 Jimmy Raney

O Charlie Ventura П Rolf Kuhn DJ Marian McPartland O Howard Roberts

EO рне 0 John LaPorta O Thelonious Monk П Sal Salvador

|Н Lester Young; O Matty Matlock D Phineas Newborn, Jr. Johnny Smith

n П Hal McKusick O Bernard Peiffer O George Van Eps
в D П Sam Most E] Oscar Peterson п

ап X in the box before his name; if you
wish to vote for an artist who has not
been nominated, write his name in at
the bottom of the category and place an
X in the box before it.

4. For leader, choose the man you
feel has done the most outstanding job
of leading a big jazz band (eight or
more pieces) in the past ycar; in each
category, pick the musicians you feel
have been the most outstanding in jazz
in the past I2 months.

. Please note that there are four
pages to the ballot. Vote for your favor-
ites on all four of them, or usc a reason-
able facsimile. Print your correct name
and address on the last page; you are
allowed to cast only one completc ballot
in the poll and that must carry your
correct name and address or your votes
will not be counted. These are also nec-
essary if you аге to be included in the
drawing for the 100 free Playboy Jazz
All-Stars albums.

6. Cut your four-page ballot along
the dotted lines and mail to PLAYBOY
JAzz тогі, 232 E. Ohio Street, Chicago
11, Ilinois. Ballots must be postmarked
before midnight, November Ist, 1958, in
order to be counted, so get yours in the
mail at once. "The winners of the third
annual Playboy Jazz Poll will be an-
nounced in the February issue.

|o

oom сака аа eoe ЫЕ ск лалы ALONO THIS LINE т-не ы os са

BASS O Wilbur Ware MISC. INSTRUMENT О Cy Тоці, bass trumpet
(Please check one.) Г] Gene Wright (Please check one.) П Art Van Damme, accordion
O Norman Bates n Sidney Bechet, soprano sax Г] Frank Wess, flute
П Joe Benjamin Larry Bunker, vibes Dn
O Ray Brown DRUMS Candido, bongo
O Monty Budwig (Please check one.) Buddy Collette, flute MALE VOCALIST

O Paul Chambers Ray Bauduc Bob Cooper, oboe (Please check one.)

Howard Rumsey
Eddie Safranski
Arvell Shaw
Carson Smith
Slam Stewart
Leroy Vinnegar

Charlie Persip O Bud Shank, flute 0 Johnnie Ray
Buddy Rich D) Jimmy Smith, organ 0 Jimmy Rushing
Max Roach О Stuff Smith, violin Bobby Short
Art Taylor O Jean “Toots” Thielemans, [ Frank Sinatra
Sam Woodyard harmonica D) Jack Teagarden
O Cal Tjader, vibes O Mel Tormé 77

п

о

іш

n

іш [m]

E] Curtis Counce O Louis Bellson 0 Don Elliott, vibes ё O David Allen
E] Israel Crosby DO Art Blakey mellophone ГІ Louis Armstrong
O George Duvivier 0 Candido O Victor Feldman, vibes D Chet Baker
O Johnny Frigo O Kenny Clarke © Johnny Frigo, violin O Harry Belafonte
D Squire Gersh D Cozy Cole O Terry Gibbs, vibes O Топу Bennett
O Bob Haggart О Barrett Deems D John Graas, French horn О Pat Boone
O John Hawksworth O Nick Fatool O Lionel Hampton, vibes O Nat “King” Cole
E] Percy Heath O Chuck Flores D Paul Horn, flute 0 Perry Como
O Mort Herbert O Chico Hamilton O Milt Jackson, vibes O Bing Crosby
O Milt Hinton D J.C. Heard O Pete Jolly, accordion П Vic Damone
O Chubby Jackson П Lex Humphries O Fred Katz, cello 0 Sammy Davis, Jr.
O Clarence Jones LJ Osie Johnson O Moe Koffman, flute L] Fats Domino
п Teddy Kotick Jo Jones D Frank Lacy, soprano sax O Frank D'Rone
O Scotty LaFaro D Philly Joe Jones O Yusef Lateef, flute O Billy Eckstine
O Wendell Marshall Ej Gene Krupa O Herbie Mann, flute O Buddy Greco
D Charlie Mingus O Don Lamond O Buddy Montgomery, vibes — [] Clancy Hayes
П Red Mitchell E] Stan Levey 0 Sam Most, flute 0 Jon Hendricks
L] Joe Mondragon О Mel Lewis П Red Norvo, vibes П АІ Hibbler
O Monk Montgomery O Shelly Manne D Tito Puente, timbales 0 Frankie Laine
O George Morrow EJ Joe Morello O Shorty Rogers, Fliigelhorn | [Г] Steve Lawrence
E] Oscar Pettiford Г] Sonny Payne О Joe Rushton, bass sax O Johnny Mathis
n п
n п
п [m]
о Oo
o 5
Пп п

78

O Joe Turner
O Joe Williams
n

FEMALE VOCALIST
(Please check one.)

Ernestine Anderson

Claire Austin

Pearl Bailey

June Christy

Chris Connor

Doris Рау

Frances Faye

Ella Fitzgerald

Eydie Gormé

Pat Healy

Billie Holiday

Lena Horne

Lurlean Hunter

Ma ia Jackson

Beverly Kelly

Eartha Kitt

Peggy Lee

Abbey Lincoln

Julie London

Mary Ann McCall

Carmen McRae

Mabel Mercer

Jaye Р. Morgan

Anita O'Day

Patti Page

Lucy Reed

Ann Richards

Annie Ross

О Felicia Sanders

пппппппппппппппппппгппппппппп

Dinah Shore
Кесіу Smith

Jeri Southern

Jo Stafford

Kay Starr

Dakota Staton

Pat Suzuki

Sylvia Syms

Sarah Vaughan
Dinah Washington
Margaret Whiting
D) Lee Wiley

oo0000000000

o

INSTRUMENTAL COMBO
(Please check one.)

Louis Armstrong All-Stars

Australian Jazz Quintet

Chet Baker Quintet

Dave Brubeck Quartet

Barbara Carroll Trio

Cy Coleman Trio

Buddy Collette Quartet

Miles Davis Sextet

Buddy DeFranco Quartet

Dukes of Dixieland

Errol) Garner Trio

Stan Getz Quintet

Jimmy Сішіге Trio

Chico Hamilton Quintet

Eddie Higgins Trio

Ahmad Jamal Trio

Jazz Messengers

7. J- Johnson Quintet

Gene Krupa Quartet

ппппппппппгпппппппгп

O Ramsey Lewis Trio
Lighthouse All-Stars

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npggoogpgogggaagagaagagdgaic

Shelly Manne
Mastersounds
Marian MePa:

Charlie Mingus Quintet

Mitchell-Ruff

Modern Jazz Quartet
Thelonious Monk Quartet

Gerry Mulliga

Red Norvo Quintet
Oscar Peterson Trio
Max Roach Quintet
horty Rogers’ С
Sal Salvador Quartet

Bob Scobey's

Tonv Scott Quintet
) Bud Shank Quartet

George Shea
Horace Silver

String Jazz Quartet.
Billy Tavlor Trio
Cal Tjader Quartet

Art Van Dam
"Teddy Wilson
Каі Winding

NOMINATING BOARD: Chet Baker, Bob
Brookmeyer, Dave Brubeck, Four Fresh-
men, Dizzy Gillespie, Coleman Hawkins,
J.J. Johnson, Stan Kenton, Shelly Manne,
Shorty Rogers, Bud Shank, Kai Winding;
George Avakian; Joe Glaser, Associated
Booking Corp.; Bill Simon, Billboard;
Rudi Meyer, Birdland; Frank Holzfiend,
The Blue Note; Don Gold, Down Beat;
Bob Schwartz, КЕМІ»; Elaine Lorillard,
Newport Jazz Festival; John Mehegan,
New York Herald Tribune; Leonard
Feather, rLAYBov; Creed ‘Taylor, ABC-
Paramount; Dave Usher, Argo; Nesu
Ertegun, Atlantic; Sidney Frey, Audio
Fidelity; Cal Lampley, Irving Townsend,
Columbia; David Stuart, Contemporary;
Marvin P. Holtzman, Decca; Lester
Koenig, Good Time Robert Shad
Mercury; Robert S. W tock, Presti
Fred Reynolds, RCA Victor; Bill Grau

Jr, Riverside; Luigi Creatore, Hugo
Peretti, Roulette: George Wein, Story-

ville; Norman Granz, Verve; Ben Rosner,
Vik; Richard Bock, World Pacific.

ee nn CUT ALONG THIS LINE --------------------2.....-...........

VOCAL GROUP
(Please check one.)

and His Меп [O Andrews Sisters
D Axidentals
rüand Trio — [j Al Belletto Sextet
D Blue Stars
Duo D) Cadillacs
DO Jackie Cain & Roy Kral
D Ebon-Knights
an Quartet D] Four Freshmen
0 Four Grads
D Four Lads
О Hi-Lo's
O Honey Dreamers
sm D) Mary Kaye
Frisco Band O ķi
ШЕ)
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(continued from page 66)
the cleaning woman and Alexei Goro-
din. Gorodin, make no mistake, is not
officially permitted to enter, but there
is something about Gorodin most people
find difficult to resist. A man, after all.
who can calm the tantrum of a beautiful
leading actress one minute and coax
something resembling a performance
from a simple Turkmenian peasant the
next minute; such a тап has, as they
say, a way with him. Gorodin has charm,
he has persuasiveness. Gorodin has, too,
three Vashilov Awards pinned promi-
nently to his lapel, and these carry much
weight with people like projectionists;
measurably more weight than, say,
chevkin Medals, which everyone knows
re passed out like coasters at a party.

When an Honored Artist like Com-
rade Gorodin comes up to a girl's pro-
jection booth, well, you know, there's
someti little special in that. It
doesn't happen every day. And when he
smiles, and makes a hearty joke that is
only slightly seditious, and pinches your
cheek, and calls you pretty, and offers
rette which you must decline
because of fire regulations, what are you
going to do — toss him out on his rump?
And when a man like that, who is a
great man in his field (they say such men
are proud and haughty — this may have
been true before the glorious people's
revolution, but I do not think it is true
these days; it is certainly not true of
Comrade Gorodin), when a тап like
that becomes suddenly very humble and
he looks you right in the eye and his
voice gets very low and level and soft
and he tells you that it is not really the
directors, not the actors, not the writers
or cameramen or scenic designers or
cutters that make films possible for the
masses, but, rather, the projectionists,
that army of unseen, unsung workers
who keep the reels turning and the arcs
burning , . . well . . . what harm does
it do to let him stay in the booth? Its
not as if it were a regular showing — the
premiere proper is tomorrow night—
tonight is only the press showing, a run-
through for that small scattering of
critics down there on
Vuljashvily, Borisov, The
theatre is empty otherwise. Who will
know? And it is his film. after all. A
good film, too. And it helps one’s appre-
ciation of to have the director who
made it right there with one, pointing
out little things. Those mob scenes that
look so spontancous—did vou know
they are planned and rehearsed again
and again, chorcographed like a ballet
at the Bolshoi? And mon
know about th Montage
did he call it? — that phenomenon which
occurs when previously unrelated shots
are joined together. The montage in

the main floor,
and so on.

is film is flawlessly timed, the transi-
tions knife-like, the relationships mean-
ingful. the contrasts dramatic. That's
what he said. This film is called Robes-
pierre and there is this wonderful scene
where he (Robespierre) is arguing with
this heavy-set man named Danton.

Danton says: “So even Camille Des-
moulins must go to the guillotine,
despot! For what crime? Do you know
what I think of you? This" He spits
right into the other man's face and
there is a sudden close-up of Robespierre,
spittle hanging on his cheek.

"Lam the law in France,” Robespierre
says calmly. "Not you. Not Desmoulins.

“Апа not the French people?" asl
Danton.

Robespierre answers him as the cam-
era stays motionless, studying Danton's
ragerigid face while Robespierre speaks
expressionlessly: “The people are igno-
rant sheep. You ask Desmoulins’ crime?
Не is guilty — that is his crime; guilty
of incurring my displeasure. 1t suits my
convenience to say ‘He is an enemy of
the people and must die.’ If you thought
to upbraid me, make те repentant,
behold me weep for him —then I am
sorry to disappoint you. Please go now.
1 ат busy.” There is another close-up
of Robespierre, wiping the spittle from
his face. Fade-out. It's а wonderful
scene.

Comrade Gorodin must have thought
so, too, because he leaned forward and
watched it very closely. He didn’t say
a word. He seemed to be following every
movement of the characters, every syl-
lable they spoke. He seemed very intent
upon studying it; almost worried: but
when it was over he leaned back and
smiled and winked at me and offered
те a cigarette апа... усі... why
should І refuse a man like that and
maybe risk offending him? So 1 take
one and we both smoke and it is a very
good cigarette.

Soon the film is over. The critics
downstairs leave to write their reviews.
1 get ready to lock up. But Comrade
Gorodin looks worried again and І ask

g is wrong. He says that
one scene between Robespierre and
Danton disturbs him. It is not quite
ght, he says. Then he sighs. The pre-
miere is tomorrow and there is no time
to correct it. And yet, he says, it is a
shame because all the scene needs is a
litle cutting. The equipment he needs
is right in the booth. Perhaps . . .2 Here,
of course, I must be firm. It is time to
lock up. I must go home. I have a
family. He smiles, and asks me the name
of my husband and the names and ages
of my children, and he makes a little
joke about marital relations that is only
slightly naughty, and he offers me an-
other cigarette and he says I should
take the whole pack and he says he has
almost a full carton of them at his apart-

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ment and if I will be so kind as to give
him my address he will be happy to
send them to me since the doctor has
told him to cut down on his smoking
and thcy will only go stale anyway.
Well, before you know it Comrade
Gorodin has his coat off and his sleeves
rolled up and he is cutting the film.

What are you going to do with a man
like that?

"If any doubts have been entertained
regarding Alexei Gorodin's beliefs, such
doubts may now be replaced with solid
certainty. One scene in his new film
opening tonight at the People's Cinema
is especially shocking. It is а conversa-
tion between Robespierre апа Danton
concerning the impending execution of
the counter-revolutionary deputy, Des-
moulins. Robespierre’s attitude as it is
depicted in this scene is atrocious, his
motives despicable. The Gorodin inter-
pretation of this personage is a di:
cal perversion of his true character . . .

Gorodin folds the newest issue of the
Cultural Review and puts it in his
pocket. What а fortunate choice of
words, Mikhail, he says to himself: for-
tunate for me — I could not have chosen
them better myself. There is a smile on
his lips as he ambles into the People's
Cinema and watches his film from the
back row. Іп the boxes, the highest pow.
ers sit in official uniform, Gorodin wai
for the big scene between Robespierre
and Danton.

"So even Camille Desmoulins must go
to the guillotine,” Danton says but does
not spit.

"He is guilty. He is an enemy of the
people and must die. Behold me weep
for him.” With his hand, Robespierre
wipes away what seems to be a tear,

Gorodin leaves the theatre, goes home
and sleeps soundly.

The next morning, after a late break-
fast, he picks up his telephone and calls
the offices of the Cultural Review.

“Comrade Borisov, please.”

“Who?” asks the switchboard operator.

“Mikhail Borisov. If he is not there,
perhaps you can tell me where І may
reach —"“

"I am sorry, Comrade. That name is
not familiar to me. You must have the
wrong number." Immediately, she breaks
the connection.

Gorodin hangs up for a moment, then
calls another number. Soon he is saying,
“Nikki? І wonder if we could get to-
gether soon, perhaps this afternoon? I'd
like to get started оп something. Well,
it's а big project and we really should
begin mapping it out as soon as possible
... Fine... Yes, but I left early; were
you there? It went well, I think ... No,
І never bother to read reviews — what
did he have to say this time?"

executive chess

(continued [rom page 72)
and gets power is literally а power-
house. He can't afford the luxury of
having bad days, but performs con-
stantly at peak level. His energy is not
only mobilized, but sharply focused.
He has a set of clear-cut goals, and he
moves toward them with а singleness of
purpose which rejects all extraneous in-
terests as wasteful expenditures of time
and energy. This is not to say that he
із monomaniacal. The women іп his
life, children, friends, outside interests
all have their legitimate claims. But he
takes the phrase "on the job" literally,
and he takes another maxim seriously,
to: "Out of sight, out of mind." His
life is, in a sense, a planned series of
rooms, and upon entering onc he is care-
ful to close the door to the others be-
hind him.

Perhaps the single most distinguishing
characteristic of the successful executive
is his ability to look at a man imper-
sonally. He realizes u effective rela-
tionships with colleagues and subordi-
nates require sensitivity to their indi-
vidual needs, and even demand a cer-
tain degree of intimacy; but he never
becomes emotionally involved to the
t of allowing his personal feelings
act either as a basis Гог or a deterrent
action,

The executive possesses a well-defined
selfstructure. He knows who he is,
where he's going, and he believes in
both his personality and his goal. He
can control others because he controls
himscH. He thinks for himself, speaks
for himself, and is for himself.

"This is the personality which сап
best employ the tactics and mancuvers
that make up the game of Executive
Chess. The rewards аге power, prestige
and property. But there is a price to pay
for such profits: the necessity to be ever
vigilant and on guard, the denial of
every impulse to full trust of others.
And then there are the severe li
tions on the executive's emotional life:
his friends cannot be freely chosen.
Subordinates must remain subordinate,
colleagues remain competitors. Intimacy
is always potentially dangerous. And to
all this we may add the probability of
ulcers.

Whether the rewards of the executive
role justify the price is a relative mat-
ter: the decision must be a personal one-
In the same way, the economic and per-

sonal ends to which the executive may
employ his power and its accompanying
instrumentality of maneuver and tech-

by the ideology of the society w

which he operates. It is here that refer-
ences to “good” and “bad” business prac-
tices are relevant: the ends to which
power is put. But it is a pathetic joke

to object to poli
indeed, their neutrality is proven by the
utterly opposed moral ends for which
they have been used.

We have suggested that there is a
correlation between the ability to em-
ploy political maneuvers successfully
and a particular personality structure.
Does this mean that the successful execu-
буе is a "born" executive, a “natural”
leader. that he practices these techniques
intuitively?

The answer is not simple. Talent,
flair, gilt — all atural endowments”
— аге terms which are applied to abili-
ties which are not quite understood,
the supposition being that those who
possess Шет don't quite understand them
either, and that they act out of instinct
rather than on the basis оГ knowledge.

То some extent this is undoubtedly
true. Executives sometimes speak ol
feeling their мау. and are occasionally
surprised by an analysis of what they
have unknowingly done. But this is ex-
ceptional. The successful executive puts
his faith in intelligence and hard work.
There are no substitutes for strategies
that are a result of deliberate calcula-
tion. Business politics is as much 2
science as it is an art, and consequently
the skills of its execution are acquired
through application. The politically able
executive is very much aware of what
he’s doing. In the playing of Executive
Chess, as in any game which sets one
man's wits against another, the gifted
amateur buckles under the conscious
control that is the mark of the profes-

sional.
Ba

the 01 tones

(continued from page 28)
been, when I had first seen Ruthie’s
things. J think the girl had talent. She
was almost totally unschooled, unless
you can count a few semesters of ‘art at
college, but it didn't matter — she had
what we so properly call a gift. That is,
she could do things she hadn't been
taught to do, things she had no right to
know how to do. That is talent, that's
the gift, the free gift from God ог
whatever. Im not saying that Ruthie's
talent was of the first order, it certainly
wasn't, but it was real and Hellbourne
surely spotted it instantly and cata-
loged it precisely.

“Му dear,’ he said, ‘I am going to
do great things for you. You will hear
from me.’ He kissed her hand and he
left her.

“The next day his chauffeur brought
a note. She must come to lunch. Have
you ever seen his place? І suppose it's
the loveliest town house in New York.
There is nothing in it— from the door-
knobs, looted out of a doge's palace іп
Venice, to the English slates on the roof
—that is not perfection, and of course
there isn't a museum in the world that
would not covet the art in that house.
The one time І was there І counted
three Van Goghs alone. There are two
dining rooms, a big one on the second
floor and a small one on the floor
above, next to Hellbourne’s sitting room,
which is next to his bedroom, They
lunched 4 deux in the smaller room.
When І saw Ruth that night she was
floating three feet in the air. She was,
she told me, going to be the best-known

on jury duty!”

81

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contemporary artist in the world.
Matthias Hellbourne had promised hei
Notice she didn't say the best artist in
the world, but the best known. That,
І suppose, was the fatal flaw in the gir
fortune she was born with and fame was
all she wanted. And I was astounded to
find that she wanted it very badly —
tounded because she had never
showed that particular devil's hunger
before. Sull, ad been there. She told
me that all her life she had desperately
wanted to be sought alter, to be known,
to be famous, That was the word she
used, over and over: famous. Nothing
so unusual about that, of course, but
when I asked her why, then, she hadn't

ion that most people so hungry for
n usually show — she said she
ht it was because she so piteously
craved to be famous: she associated d
work with the image of years ol waiting
for reward, and she couldn't bear to
nt, she would

the reward not only in
around the corner, she was going to

ight, but just

work, and work hard. Hellbourne had
told her that she must paint like mad,
she must produce a show. and quickly.
She was going to quit her job, drop
everything, and paint.

"In а way І was glad for her, because
I liked Ruth a great deal really, and І
wanted to sce good things happen to her.
But I thought she ought to have a road
map, and F told her a few things about
Hellbourne. It was of no use. Nothing І
said made any impression. І told her
that he was, among artists, the most
hated man alive; that he bad ruined
more talents and broken more hearts
and stolen more money than any other
dealer in history. She finally had to
believe me, as to the facts, but even
conviction made no difference to her

“Я I were beautiful, if I were Suzy
Parker, or somebody like that, she said,
‘I might take it all seriously. But
Matthias Hellbourne isn't going to do
all this for me out of lust for my lily-
white body. I'm sure he had hundreds
of women, literally hundreds, y
when
me that now, when he's 75 or whatever,
he's embarking on an elaborate cam-
paign for my seduction. It doesn't mak
sense. No. I believe what he says: he
thinks I have talent and he wants to
help me. Why not? What else is there
left for him in life? He is famous, he
has money, he has everything but the
ability to create. То help someone like
me, that's a form of creation, and that's
his kick, I'm sure it is.”

“Td advise you to plan for the un-
likely eventuality anyway, 1 told her.
“Supposing he does proposition you, then
what?

“She thought about it for a minute.
“If he doesn't do it too soon . . . she

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said. ‘Look, Pete, I wouldn't say this to
anybody but you . . . I think there's at
least a possibility that the dear old goat
is in love with те”

“ "You're absolutely out of your mind,’
I told her. ‘You're gone, you've lost
touch with reality.’

"'No, I'm serious. It’s a possibility.
And if he's sincere, if he rea does
begin to do the things he says he'll do
for me, well, I'll go to bed with him if
he wants me to. I don't think it would
be the greatest experience a girl could
have, but ГЇЇ do it. Actually there prob-
ably wouldn't be much more to it than
holding his hand until he went to sleep."

* ‘Don't bet on that,’ I told her. "This
is an unusual man."

“A couple of weeks went by and in
that time І had begun to hear things.
One or two people told me that Hell-
bourne had something up his sleeve.
There was a line іп one of the columns:
"Matthias Hellbourne's intimates hear
that the great man has discovered an-
other artist — female, this time, and
fabulously talented."

"I wcnt around to see Ruthie one night.
She'd been painting, all right. She was
finishing а canvas every two days, she
told me. What was the stult like? Well,
it was pretty bad. It couldn't be alto-
gether bad, she had too much talent for
that, but it was empty, it was dull, there
was no emotion in it. The best of it was
merely slick, smooth, technically clever;
the worst was awful, She stood there
chewing on the end of a brush, watch-
ing me. We were in her dining room,
she'd ripped the furniture out of it and
made a studio, and it looked as if she'd
bought Arthur Brown out of paints and
canvas, things were piled їп mounds.
Her smock was stiff with paint, she was
wan and tired, and her eyes, they were
a greeny color, really did seem to burn
in the white skin stretched tight over
her cheekbones. She had her hair pulled
up tight. She’ tiny little thing, you
know. She looked scared, and before І
could say anything, she said, "Pete, don't
tell me it's bad or І won't be able to
go on, and I've got to go on."

“What the hell, I thought, let the girl
have her ride. I'm not going to play
deus ex machina, for all I know Hell-
bourne can sell her on this stuff. So I
tricd to be detached. Not bad, I told
her, not bad, and what I could legiti-
mately praise 1 praised: a few bright
touches, the fact that she had produced
so much in such a short time, and so оп.
She was relieved, she kissed me and
made me a drink.

“You can't imagine how hard I'm
working, Pete,’ she said. “І get up in the
morning, I don't even dress, I have
some coffee and a piece of toast and 1
begin to work, Every day. Sundays.’

“What does the great man say about
these paintings? I asked.

“I haven't let him see anything усі,

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Ruth said. "When I have 15 good pieces
finished, then I'll show him."

“бо what elsc is new with him? I
said. "We bad a little mind-bet going,
remember?

“She clasped her hands together on
her chest and shrugged, a sort of dismal,
hopcless gesture. “І lost that bet, shc
said. "A weck to the day after I met
him, I lost it. I didn't put up any great
fight. I told you I wasnt going to put
up a fight."

““бо how was it? I said.

“I lost the second bct, too,’ she said.
“Г should have learned by now not to
bet with you. He didn't want his hand.
held, Pete. As you said, an unusual
man.'

“Morc; I sait

“ ‘No, no more,’ Ruth said. “І wouldn't
tell even you, and Lord knows I'd tell
you anything. Anyway, it was just that
once, and the next time — hc took it for
granted the next time, of course — I just
told him no, and it's been no ever since.’

“He takes that?’ І said. “He's still
going to make you famous?

"'Nothing has changed in him, she
said. "Absolutely not a thing. The phone
s, the notes, the flowers keep com-
ing; I sce him every other day at least,
and half the time I'm with him he
spends trying to get me in bed again.
He brings me clippings — Paris papers,
art magazines in London, їп Vienna,
Berlin, Коше; it's fantastic, the things
hc can do, I'll show you thc clippings.
Every important сүйіс in the world is
waiting for my show. Oh, and he got
me a dealer of my own, Hotchkiss.
Hotchkiss І showed these paintings to,
and he thinks they're sensational, won-
derful. He raved for hours. Пе says he'll
get me fabulous prices. So all I have to
do, you see, is work, just work and work
and work. Matthias says I must have 40
canvases for the show. Jt scems like a
lot, but it isn't, not the way I’m going."

‘She pushed me out after that. І went
away baffied. I walked around town for
hour, trying to make some sense out
of it. I gave up, finally. I wondered if I
really knew good paintings when I saw
them. 1 must have been wasting my time
for the last 20 years, І thought. Maybe
Fd lost touch with the trends, What
else could I think? If Hellbourne had
merely wanted the girl, well, he'd had
her, why didn't he drop her? Не hadn't
dropped her, so cither he knew, [rom
Hotchkiss, that Ruthie's stuff was really
great — I had assumed that Hotchkiss
merely told her what Hellbourne had
ordered him to—or else she was right,
and he was in love with her. I couldr
buy it. He'd never loved anybody in
his life except his mother, and you could
get a contrary opinion even оп that.

“І spent a couple of months in Japan
that winter, and while I have no doubt
that the writ of Matthias Hellbourne
runs even that far, I was out of touch.

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1 can't read суеп kata-kana. І wrote to
Ruth a couple of times, but she didn't
answer. I put that down to the pressure
of her work. When I came back, toward
spring, I phoned her first thing, couldn't
get an answer. I asked my partner if her
show had come off.

““Му God, Ве s
been away, haven't you?
hen he told me. Ruthie had had
her show, in an unimportant little
gallery оп 72nd Street. It had been a
disaster. Every firstline critic їп town
had appeared, but after they saw
Ruthies paintings not many had both-
ered to write reviews. Of the ranking
New York men only Akie Jensen gavc
her a notice, and wl he said was ѕса
fying. He was brutal, unforgiving, de-
structive, Even in the junk Ruthie had
ground out for the show he had been
able to see her talent, and he called her
everything but a charlatan for doing
what she had done with and to it.
And Matthias Hellbourne? He һай
appeared nowhere on the scene, my
partner said, either before or alter.

“I kept on Ruthie’s phone until I
got her, late the next day. Her voice
was quiet and flat. She said 1 could come
over, so І picked up a bottle of sherry
and jumped into a cab. I was in a hurry.
I suppose I expected to find a wreck,
the poor girl in despair, drowning in a
sca of cigarette butts and coffec cups.
Nothing of the kind. She pale, and
thinner than I'd remembered her, but
that was all. And the dining-room fur-

ішке was back. There wasn't an сах
in sight We opened the sherry and
drank without saying much. І was glad
to sec her.

“CI suppose you've had time to catch
up with the outstanding events of your
absence,’ she said finally.

“Ча a way, 1 said. “І read Akie
Jensen."

““Ас first I did really want to kill
him, Ruthie said. ‘Now I've got my
sense of balance back. Akie's all right."

"'Where was the great man?’ І sa
"That's what Z don't understand. There's
a lot I don't understand. Why an insig-
nificant gallery on 72nd, for instance?

“Ruthie stretched her legs out in front
of her, rocking her feet on her heels to
bang her toes together, and dumbly held
out her glass for more wine. Ч don't
really believe that Matthias did what 1
know he did,’ she said. ‘Nobody could
be that monsterish. There must be some
other explanation.’

" "That I doubt,’ I said.

“The pattern didn't vary a bit right
up to three days before the show
opened, Ruth said. "That night he came
up here with a bottle of champagne in
a silver bucket of ice — you know him,
he wouldn't put you to the trouble of
aking out a couple of trays of ісе cubes
— and we sat around while he told me
how adorable I was, and how talented,

"you've really

and how desperately he wanted to go to
bed with me that very minute. 1 said
по, just as 1 had been saying no for
weeks on end. I was absolutely con-
inced that it all a set piece, this
yen of his. I admit Га been surprised
when he propositioned me the first time,
and surprised again, when I got in bed
with him, but I still couldn't believe
he meant half what he said every day.
And of course 1 knew, and so did any-
body who could тсай Cholly Knicker-
bocker, that he was зесіпр three or four
other girls. Can you imagine, that old
goat, 77 years old, trying to run a harem?

“ ‘Anyway, І patted him on the head
and sent him home. Just before һе lelt,
he said, “1 guess you really mean по,
don't you, Miss Mornay?” The "Miss
jarred me a little but I made some gag,
told him I didn’t know if І really meant
no or no no at all, and that was that.
The next day 1 picked up a paper and
there was his picture, at Idlewild climb-
ing into a plane for Rome.

“СІ called Hotchkiss. It was а sur-
prise to him, he said. But by the way,
he had bad news for me. It would Бе
impossible to open my show at Dreyfus
& Dreyfus. Something had come up.
However, he 1 been able to make an
arrangement with the Smith Gallery,
and һе was sure Га like it almost as
well

“I didn't say anything, or argue with
hin, Pete. 1 just hung up. I knew І was
dead. Daddy-o had spoken. Daddy-o
giveth, and Daddy-o taketh away.

“*As for what the critics said about
my work, they меге right. Akie Jensen
in particular was right. Talent and no
work. Ruthie Mornay, girl idiot. When
I showed Matthias the first 15 paintings,
you know, he said they were wonderful
1 know now that they were nothing at
all, just junk, but how could I know
then? How could J deny Matthias Hell-
bourne, when no one in the world
would even question his judgment on a
ра To deny him, Га have had to
know his motives, and only someone
with a mind like his could have known
his motives, and is there a mind like
that in the world?’

“Have you seen him since?’ I asked.

"'I talked to him. Не was back in
New York 10 days after my opening. He
called me. He was sorry to hear the
opening had gone badly, he said. Dis-
tressed was the word he used. He said
it was particularly unfortunate in that
things need not have turned out that
way. I knew what he meant. It all came
clear then: To say no to him was bad
enough, but to go to bed with him once,
and then never again—that was the
mortal sin.

“It was a short conversation. He just
wanted to give me another turn of the
knife. I found myself hating him. J told
him that I was solacing myself with a
new lover who wouldn't let me sleep

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more than three hours a night — it hap-
pened to be true — and I said, “I wish
1 bad met you belore you became im-
potent, Matthias." Men who hunt have
told me that sometimes you can hear a
bullet hit an animal, and І heard that
one hit Matthias. We haven't spoken
since, naturally."

“І poured some more sherry. І wasn't
surprised. Hellhourne had done worse
things. Back in the Thirties he sup-
ported Tomas Mobar for two ycars,
kept him sober, and took every painting
he did in all that time. Then һе cut him
loose, sent him back to the bottle and
waited for him to die. When he'd been
dead a lew years Hellbourne pressed
the button and began the build-up. He
made over $200,000 on Mobar. So what
he did to Ruthie wasn't unusual. For
him, it was an easy, short-term project.
ly would have made her famous,
intings or good, but she didn't
have enough sense to go along with him,
or not a strong enough stomach, so he
smashed her.

“СІ see you've stopped painting, I
to Ruthie.

"She shrugged, looking up at me,
lost in a big black chair. "Why not?
she said. “І couldn't show а painting on
a fence in Greenwich Village today.
And that isn't all. I know now that I'm
no good. Іта no painter. It's as I said
to Matthias the night І met him: I'm
nobody and I do усту little."

"You're wrong,’ I told her. ‘You still
have what you had when you met him,
and that was a lot."

" "Fake me to dinner,’ she s;
lers not talk about it any morc.

“That's the story," Palm а. “Epi-
sode in the early life of Ruthie Mornay.”

“How long ago was all this?" Buccieri

Spring of 55," Palmer said.

“Well, obviously she did start paint-
ing again."

"She went to France. She used to write
to me once in a while, and she said she
was painting,” Palmer told him, "but
I th she worked all that time just
on Portrait Lighted from Below. Next
time you scc it, look closely in the
bottom right-hand corner and you'll sce
a Roman numeral VI. The sixth vi
sion, 1 think that means. She did it over
five times, in other words. She didn't
want to leave anything out.

"So she had the last word after all,”
Buccieri said. "She turned out a great
painting, and the idea for it she got
from Hellbournc. Everybody in town's
talking about her now. She has it made,
hasn't she?”

“Not really,” Palmer said. He looked
around the dark oak room, filling with
the five o'clock crowd. "Most of us are
sheep, you know. Everybody in this room
is a sheep, 1 imagine: mostly пісе
enough people, hustling а little. uying
to make a dollar, get a girl to bed, do

a little work. If they don't make out,
well, they can have a drink, take a deep
breath, forget Hellbourne is по
sheep. He's a killer. He doesn't forget
much, When Ruthie finished the paint-
ing she sent it to a little shop in the
805 for framing. Hellbourne found out
about it almost immediately, and he
managed to buy it. It wasn’t for sale,
but he bought it. I can guess how, of
course, so сап you. One little twist of
the arm. Anyway, Ruthie's framer told
her he thought she wanted him to sell
it. Hellbourne’s stooge, whoever he was,
gave him $1000 for it. The picture dis-
appeared. Ruth was back in New York
by that time.”

"But it’s at Tascha’s now,’
said.

"Thats right, and Walter Bareiss
owns it, One Saturday, just after closing.
it showed up in Dreyfus’ window, Just
Portrait and nothing сїзє. It stayed
there one full weck, with a price tag on
it. Unheard of, you know, a price tag
in Dreyfus window. Bareiss bought it
on the Monday, but he couldn't have
it until the following Saturday. It had
to stay in the window І for the full weel

“What was the price on it?” Buccieri
asked.

hirty-seven fifty. Thirty-seven dol
lars, fifty cents."

"My God!" Buccicri said. “Га have
thought Hellbourne would have burned
іс”

Buccieri

"Never. Don't be silly, he knew she'd
just paint it over again. No, he was
establishing the going price for Mor-
nays, that's all.”

"They stood on the steps of the Plaza.
The soft sun, westering, hung over the
buildings across the park, indigo-edged
in the failing light. A pretty colored
girl, her back to the stone wall border-
ing the far sidewalk, lifted her arms
with infinite grace to a boy's shoulders
and held him away. At the corner of
Filth Avenue а cop's whistle blew and
a tire screeched. A limousine pulled up
to the curb, A boy, a man, a something
in its twenties popped out, all in black,
narrow-cuffed and svelte. He bent to
look into the car, he spoke to a woman
crouched in the corner like an ancient
painted bear, “Sweetheart!” he said.
"ГЇЇ call you the very first thing in the
morning.” He romped up the steps, опе
white hand flickering at his throat.

“I'm going back tomorrow and see it
again," Buccieri said.

"You do that," Palmer said.

“га like to meet Ruth Mornay some-
time," Buccieri said.

A cab pulled in and
down the steps toward i

"Shell be away for а while," he said.
“Maybe by the fall shell be well
enough." He жауса from the cab, and
slammed the door.

almer started

TO DREAM

(continued [rom page 35)
can't help me. No one can. I'm alone!
"Forget it," he said and started for the
door.

The psychiatrist said," Wait a minute.”
His voice friendly, concerned. but
not patronizing. "Running away won't
do you much good, will it"

Hall hesitated.

“Forgive the cliché. Actually, running
away is often the best answer. But I
don't know yet that yours is that sort of
problem.

"Did Doctor Jackson tell you about
mer

"No. He said he was sending you over,
but һе thought vou'd do a better job on
the details. I only know that your name
is Plu Hall, you're 31, and you haven't
been able to sleep for a long time.”

"Yes. A long ите...” To be exact,
72 hours, Hall thought, glancing at the
clock. Seventy-two horrible hours .. -

The psychiatrist tapped out a ciga-

rette, "Aren't you ——” he began.
God, yes. I'm the tiredest man
rth! 1 could sleep forever. But that's
just it, you see: 1 would. Га never wake
ир.

"Plcase," the psychiatrist said.

Hall bit his lip. There wasn't, he sup-
posed, much point to it. But, alter all,
what else was there for him to do?
would he go? "You mind if I

"Stand on your head, if you like."

“ОК. ГІІ take one of your cigarettes."
He drew the smoke into his lungs and
walked over to the window. Fourteen
floors below, the toy people and the toy
cus moved. He watched them апа
thought, this guy's all right. Sharp. In-
tclligent. Nothing like what 1 expected.
Who can say — maybe it'll do some good.
“I'm not sure where to begin."

“It doesn’t matter. The beginning
might be casier for you.”

Hall shook his head,
beginning, he thought. V
a thing?

“Just take it easy.”

Alter a lengthy pause, Hall said: “І
first found out about the power of the
human mind when І w 10. Close to
that time, anyway. There was a tapestry
in my bedroom. It was a great big thing,
the size of a rug, with fringe on the
edges, It showed a group of soldiers —
Napoleonic soldiers — оп horses. They
were at the brink of some kind of cliff,
and the first horse was reared up. My
mother told me something. She told me
that if І stared at the tapestry long
enough, the horses would start to move.
They'd go right over the cliff, she said.
I wied it, but nothing happened. She
said, "You've got to take time. You've
got to think about it.’ So, every night,
belore I went to bed, Га sit up and stare

iolently. ‘The
ав there such

at that damn tapestry. And, finally, it
happened. Over they went, all the horses,
all the men, over the edge of the cliff...”
Hall stubbed out the cigarette and be-
gan to pace. “Scared hell out of me,” he
said. "When I looked again, they were
all back. It got to be a game with me.
Later om, І tried it with pictures in
magazines, and pretty soon І was able to
move locomotives and send balloons fly-
ing and make dogs open their mouths:
everything, anything І wanted.

He paused, ran а hand through his
Not too unusual, you're think-
g,” he said. "Every kid docs i
standing in a closet and shining
light through your finger, or sew

the heel of your palm . . . common
stuf?”

The psychiatrist shrugged.

“There was a difference," Hall зай
“One day it got out of control. І was
looking at a coloring book. One of the
pictures showed a knight and a dragon
fighting. For fun I decided to make the
knight drop his lance. He did. The
dragon started after him, breathing fire.
In another second the dragon’s mouth
was open and he was getting ready to
cat the knight. I blinked and shook my
head, like always, only—nothing hap-
pened. 1 mean, the picture didn't ‘go
back." Not even when 1 closed the book
and opened it again. But 1 didn't think

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too much about it, even then.”

He walked to the desk and took an-
other cigarette. It slipped from his
hands,

“You've been on dexedrine,” the psy-
chiatrist said, watching as Hall tried to
pick up the cigarette.

EYES

"How many grains a дау

“Thirty, 35, 1 don't know.

"Potent. Knocks out your coordi-
mation. I suppose Dr. Jackson warned
you.”

“Yes, he warned me.
“Well, let's get along. What happened
Nothing.” Hall allowed the psychia-
trist to light his cigarette. “For a while,
I forgot about the ‘game’ almost com-
pletely. "Then, when I turned 13, І got

К. Rheumatic heart ——”

The psychiauist leaned forward and
frowned. "And Jackson let you have
35 —

"Don't interrupt!" He decided not to
mention that he had gotten the drug
from his aunt, that Doctor Jackson knew
nothing about it. “I had to stay in bed
а lot. No activity; might kill me. So I
read books and listened to the radio.
One night I heard a ghost story. Her-
mit's Cave it was called. All about a
man who gets drowned and comes back
to haunt his wife. My parents were gone,
at a movie. І was alone. And І kept
thinking about that story, imagining the
ghost. Maybe, І thought to myself, he's
in that closet. І knew he "t; І knew
there wasn't any such t ghost,
ly. But there was a little part of my
mind that kept saying, 'Look at the
closet. Watch the door. He's in there,
Philip, and he's going to come ош. І
picked up a book and tried to read, but
1 couldn't help glancing at the closet
door. It was open a crack. Everything
dark behind it. Everything dark and
quiet."

"And the door moved."

“That's right.”

You understand that there's nothing
terribly unusual in anything you've said
so far?”

“I know," Hall said. "Jt was my im-
agination. It was, and I realized it even
then. But — І got just as scared. Just
scared as il a ghost actually had opened
that door! And that's the whole point.
The mind, doctor. It's everything. И you
think you have a pain in your arm and
there's по physical reason for it, you
don't hurt any less . . . My mother died
because she thought she liad a dis-
ease, The autopsy showed malnutrition,
nothing else. But she died just the
same!”

“I won't dispute the point.”

“All right. I just don't want you to
tell me it's all in my mind. I know it is.”

“Go on.”

“They told me Га never really get
well, Га have to take it easy the rest of

thi

шу Ше. Because of the heart. No strenu-
ous exercise, no stairs, no long walks.
No shocks. Shock produces excessive
adrenaline, they said. Bad. So that's the
way it was. When I got out of school, 1
grabbed a soft desk job. Unexciting:
numbers, adding mumbers, thats all.
Things went OK for a few years. Then
it started again. І read about where some
woman got into her car at night and
happened to check for something in the
back seat and found a man hidden there.
Waiting. lt stuck with me; І started
dreaming about it. So every night, when
І got into my car, I automatically patted
the rear seat and floorboards. It satisfied
me for a while, until I started thinking,
“What if I forgot to check?’ Or, ‘What if
there's something back there that isn't
human? I had to drive across Laurel
Canyon to get home, and you know how
twisty that stretch is; 30-, 50-foot drops,
straight down. Га get this feeling half
way across. "There's someone . . . some-
thing ... in the back of the саг!” Hidden,
in darkness. Fat and shiny. ГЇЇ look in
the rearview mirror and ГІІ see his
hands ready to circle my throat...
Again, doctor: understand me. Г knew
it was my imagination. 1 had no doubt
at all that the back seat was empty —
hell, 1 kept the car locked and І doubl
checked! But, І told myself, you keep
thinking this way, Hall, and you'll see
those hands. Itll be reflection, or
somebody's headlights, or nothing at all
—but you'll see them! Finally, one night,
1 did sce them! The car lurched a couple
of times and went down the embank-
ment.”

The psychiatrist said, “Wait a min-
ute,” rose, and switched the tape on a

small machine.
"I knew how powerful the mind was,
then," Hall continued. “І knew that

ghosts and demons did exist, they did, if
you only thought about them long
enough and hard enough. Alter all, onc
of them almost killed me!" He pressed
the lighted end of the cigarette against
his flesh; the fog lifted instantly. "Doctor
Jackson told те afterward that one
more serious shock like that would finish
me. And then's when I started having
the dream."

‘There was a silence in the room, com-
pounded of distant automobile horns,
the ticking of the ship’s-wheel clock, the
insectival tapping of the receptionist's
typewriter, Hall's own tortured breath-
ing.

"They say dreams last only a couple
of seconds," he said. "I don't know
whether thats true or not. It doesn't
matter. They seem to last longer. Some-
times I've dreamed a whole lifetime;
sometimes generations have passed. Once
in a while, time stops completely; it’s а
frozen moment, lasting forever. When І
was a kid 1 saw the Flash Gordon serials,
you remember? І loved them, and when
the last episode was over, I went home

and started dreaming тоге. Each night,
another episode. They were vivid, too,
and І remembered them when І woke
up. I even wrote them down, to make
sure 1 wouldn't forget. Crazy?”

said the psychiatrist.

did, anyway. The same thing hap-
pened with the Oz books and the Bur-
roughs books. I'd keep them going. But
after the age of 15, or so, I didn't dream
much. Only once in a while. Then, a
week ago ——" Hall stopped talking. Не
asked the location of the bathroom and
went there and splashed cold water on
his face. Then he returned and stood by
the window.

“А weck ago?" the psychiatrist said,
flipping the tape machine back on.

“I went to bed around 11:30. 1 wasn't
too tired, but І needed the rest, on ас
count of my hi Right away the
dream started. | was walking along
Venice Pier. It was close to midnight.
The place was crowded, people every-
where; you know the kind they used to
get there. Sailors, dumpy-looking dames,
Kids in leather jackets. The pitchmen
were going through their routines. You
could hear the roller coasters thundering
along the tracks, the people inside the
roller coasters, screaming; you could
hear the bells and the guns cracking and
the crazy songs they play on calliopes.
And, away, the ocean, moving.
Everything was bright and gaudy and
cheap. I walked for a while, stepping on
gum and candy apples, wondering why
1 was there." Hall's eyes were closed. Не
opened them quickly and rubbed them.
“Halfway to the end, passing the penny
arcade, І saw a girl. She was about 22 or
23. White dress, very thin and tight
and a funny little white hat. Her legs
were bare, nicely muscled and tan. She
was alone. І stopped and watched her
and I remember thinking, 'She must
have a boyfriend. He must be here
somewhere.” But she didn't seem to be
waiting for anyone, or looking. Un-
consciously, I began to follow her. At a
distance.

“She walked past a couple of con-
cessions, then she stopped at one called
The Whip and strolled in and went
for a ride. The air was hot. It caught
her dress as she went around and sent it
whirling. It didn't bother her at all. She
just held onto the bar and closed her
eyes, and—I don't know, a kind of
ecstasy seemed to come over her. She
began to laugh. A high-pitched, musical

sound. I stood by the fence and watched.

her. wondering why such a beautiful girl
should be laughing in a cheap carnival
ride, in the middle of the night, all by
herself. Then my hands froze on the
fence, because suddenly I saw that she
was looking at me. Every time the car
would whip around, she'd be looking.
And there was something in her eyes,
something that said, Don’t go away,
don't leave, don't move . . . The ride

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stopped and she got out and walked
over to me. As naturaly as if we'd
known each other for years, she put
her arm in mine, and said, "We've been
expecting you, Mr. Hall’ Her voice
was deep and soft, and her face, close
up, was even more beautiful than it had
scemed. Full, rich lips, a little wet;
flashing eyes; a warm gleam to her flesh.
I didn't answer. She laughed again апа
tugged at my sleeve. ‘Come on, darling,’
she said. "We haven't much time.’ And
we walked, almost running, to The Silver
Flash — а roller coaster, the highest on
the pier. I knew I shouldn't go on it
because of my heart condition, but she
wouldn't listen. She said І had to, for
her. So we bought our tickets and got
into the first seat of the саг...”

Hall held his breath for a moment,
then let it out, slowly. As he relived the
cpisode, he found that it was easier to
stay awake. Much easier.

“That,” he said, “was the end of the
first dream. І woke up sweating and
trembling, and thought about it most of
the day, wondering where it had all
come from. I'd only been to Venice Pier
once in my life, with my mother. Years
ago. But that night, just as itd hap-
pened with the serials, the dream picked
up exactly where it had left off. We were
settling into the seat. Rough leather,
cracked and peeling, I recall. The grab-
bar iron, painted black, the paint
rubbed away in the center.

“I tried to get out, thinking, ‘Now's
the time to do it; do it now or you'll
be too late!’ But the girl held me, and
whispered to me. We'd be together, she
said. Close together, If Га do this one
thing for her, she'd belong to me.
‘Please! Please!’ she begged. Then the
car started. A little jerk; the kids b
ginning to yell and scr the clack-
clack of the chain pulling up; and up,
slowly, too late now, too late for any-
thing, up the steep wooden МІ...

*A third of the way to the top, with
her holding me, pressing herself s
me, I woke up again. Next night, we
went up a little farther, Next night, a
little farther. Foot by foot, slowly, up
the hill. At the halfway point, the girl
began kissing me. And laughing. "Look
down!’ she told me. ‘Look down, Philip!"
And I did and saw little people and
little cars and everything tiny and un-
real.

“Finally we were within a few fect of
the crest. The night was black and the
wind was fasi d cold now, and І was
so scared, so scared that І couldn't move.
Ihe girl laughed louder than ever, and
a strange expression came into her
eyes. І remembered. then how no one
else had noticed her. How the ticket-
taker had taken the two stubs and
looked around questioningly.

“Who are you?’ I screamed. And she
said, ‘Don't you know?" And she stood
up and pulled the grab-bar out of my

hands. I Jeaned forward to get i

“Then we reached the top. And I saw
her face and 1 knew what she was going
to do, instantly: 1 knew. I tried to get
back into the seat, but I felt her hands
on me then and I hcard her voice, laugh-
ing, high, laughing and shricking with
delight, and —^

Hall smashed his fist against the wall,
stopped and waited for calm to return.

When it did, he said, "Thats the
whole thing, doctor Now you know
why I don't dare to go to slecp. When I
do — and ГИ have to, eventually; І real-
ize that! — the dream will go on. And
my heart won't take і

The psychiatrist pressed a button on
his desk.

“Whoever she is" Hall went оп,
"she'll push те. And ГІ fall. Hundreds
of feet. ГІІ see the cement rushing up
in а blur to тесі me and ГІІ feel the
first horrible pain of contact ——”
There was a click.

The office door opened.

А girl walked in.
"Miss Thomas," the
n, "I'd like you to —
Philip Hall screamed. He stared at
the girl in the white nurse’s uniform
and took a step backward. “Oh, Christ!
No!”

“Mr. Hall,
Thomas,”
No," Hall cried. "It's her. It is! And
І know who she is now, God save me! І
know who she is

‘The girl in the white uniform took а
tentative step into the room.

Hall screamed again, threw his hands
over his face, turned and tried to run.

A voice called, "Stop Віт!”

sychiatrist be-

this is my receptionist,

M

Hall felt the sharp pain of the sill

nst his knee, realized in one hideous
moment what was happening. Blindly
he reached out, grasping. But it was too
late. As if drawn by a giant force, he
tumbled through the open window, out
into the cold clear air.

“Наш”

АП the way down, all the long and
endless way down past the 13 floors to the
gray, unyielding, hard concrete, his mind
worked; and his сусу never closed . . .

“Pin afraid he's dead," the psychiatrist
id, removing his fingers from Hall's
wrist.

The girl in the white uniform made
a little gasping sound. “But,” she said,
“only a minute ago, I saw him, and he
was ——"

“I know. It’s funny; when he came in,
1 told him to sit down. He did. And in
less than two seconds he was asleep. Then
he gave that yell you heard апд...”

“Heart attack?”

"Yes" The psychiatrist rubbed his
check thoughtfully. “Well,” he said. “I
guess there are worse ways to go. At
Icast he died peacefully

VERITIES OF VINO

(continued from page 44)
interests to occupy his mind. The whole
matter of vintages, too, can cause frus-
trated annoyance—if it doesn’t bore
onc into turning away at once. It's far
easicr —and perfectly adequate — to re-
member merely this: the best French
reds and whites are deemed by most
connoisseurs to be the best in the
world; German whites from the Rhine
and Moselle districts have a unique,
fruity fragrance; Italian wines tend to
be hearty and earthy: Spain is famed
for its sherry, and Portugal for its port.
Any wine merchant worthy of the name
— and most liquor storcs— сап provide
you with a vintage chart showing thc
gradings of a variety of wines by vin-
tages, the years in which the grapes were
picked and the wines Jaid down. Most
of them, too, have handy leaflets which
are capsulc guides to thc major wines of
Europe and America, and their various
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can't substitute for tasting.

Best bet — И you're а novice or have
only a small and random collection of
wines at homc — is to start right out now
with the laying down of a basic wine
cellar. This will equip you to serve your-
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can then expand on your basic cellar to
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gourmets selection. Suggestions for all
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domestic wines excell over imports not
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We know one chap who made a sort
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domestics; for special occasions, the fin-
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friends on opposite sides of the contro-
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both; yet in our estimation his notion's
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pean Rosé, Rhine and Chablis rated a
bie abead of the domestic. But far be it
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foreign label and appellation, and the
knowledge that what onc is drinking has
tradition and prestige going for it. If
price is no object (domestics average
very roughly less than half the cost of
imports) and if you are sure the wine
you're getting is the best of its kind
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Apropos the imports: some of the best
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wip) don't travel well; and age alone is
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production on а henger-equipped,
0

Negative,

do nicely.
Sepia print on 12” x 18" black ond
gold tray. $5.50 ppd-

No COD's, please. Sotisfaction ossured.

a Жағу ае

510 Bellevue Theatre Bldg., Upper Montclair, Н. 1.

Catalog

ucts of these vineyards are the cham-
pagnes, pressed, blended and bottled in
St. Louis.

The New York State wines, especially
the champagnes, are also well recom-
mended. Ít is interesting to know that
they alone come from indigenous grapes
— the California grapes are all imported
vines introduced to the new soil. The
New York wines are from grapes found
on the scene, which accounts for the
“foxy” flavor — fresh and wild — which is
their characteristi

АП of which is interesting and im-
portant to know, but since we want to
get you started with your wine cellar so
that you can sip your way to expertise,
well postpone further pointers to give
you the three groupings mentioned. The
sooner you get launched. the better.

Remember, these are suggestions; espe-
cially in the matter of domestic versus
imports, you can allow variations within
types, provided you haye the advice of
а reliable dealer. Prices аге approximate.

THE MINIMUM CELLAR
(18 bottles, under $50)

2 Champagne (French) $14.00
3 Red (Burgundy or Bordeaux) 7.50
3 White (Alsatian, Rhine or
Moselle) 8.25
3 Rosé (French, Italian or
Portugucsc) 6.00
3 California Red 3.75
3 New York White 4.50.
1 Sherry — Spanish 3.00
ТИЕ MODEST CELLAR
(36 bottles, under $100)
3 Champagne (French) $21.00
3 Red Bordeaux 7.50
3 Red Burgundy 7.50
3 Red Italian 525

3 White Bordeaux (Graves or
Sauternes) 8.25
3 White Burgundy (Chablis or

Pouilly Fuisse) 9.00
3 White (Alsatian, Rhine or
Moselle) 8.25
Rosé (French, Italian or
Portuguese) 6.00
аШогпіа Red 3.75
alifornia White 4.50
New York White 4.50
Sherry (Spanish — Dry) 3.00
Sherry (Spanish — Medium
or Sweet) 4.00
Рогі 3.00
THE MUNIFICENT CELLAR
(112 bottles, under $100)
6 Champagne (French) $42.00
6 Champagne (American) 24.00
1 Sparkling Red Burgundy 20.00
4 Sparkling White (German
or Italian) 20.00
6 Red Bordeaux — Regional 15.00
6 Red Bordeaux — Chateau
bottled 24.00
6 Red Burgundy — Beaujolais 14.00

6 Red Burgundy — Estate bottled 30.00

[

Grandiloquent garb for the sporting зеі. Unique and
imaginative leisure apparel, hand tailored from subtly
blended swatches of the finest men's woolen custom
‘suitings. Each garment distinctively different, Toreador
pants, $30, Bermuda shorts, $25; full-length slacks
(not shown) $35; beret and ivy cap, $5.50 each. All
items available in men's and women's sizes. Allow two
weeks for custom tailoring and shipping on all items.
Satisfaction guaranteed. No C.O.D.s please. Send check
or money order to:

Barney's Custom Tailoring
2203 Grand Avenue z Waukegan, 1111

T

direct from the
British manufacturer

—no middlemen's
profitse

Toilored by Sartor, manu-
focturers of Britain's finest
rainwear. Impeccably cul In
quality all-woo! gabardino,
Toinproofed and London
shrunk. Fully lined, Roomy
saglan shoulders.

You will rate this $50 value,
ог we happily refund your
money AND import duty.

Меазе send your height
(5919657, weight, chest
measurement (32° (о 467,
choice of fawn, grey, lovat,

navy; with check or money
order for $25 (Ihe postman
collocts $4.95 import duty)

to:
SARTOR (Dept. P)
Sartor House
Manchester 8, England
or to our U.S. Repre-
sentatives: The Sambi
Со. (Dept. P.), P.O.
Box 213, Minneapolis
40, Minnesota.

$29.95
POST FREE

BRITISH ALL-WOOL GABARDINE RAINCOA

How much do you know
about the new stereo
record? For the full
story, in simple easy-
to-understand terms
read “It Takes Two
To Stereo" by Walter
О. Stanton. For your
free: copy, write to
Dept. H108

PICKERING & CO., INC.
Sunnyside Blvd., Plainview, New York

93

PLAYBOY

94

barbary banter
ARE YOU A "NIGHT PEOPLE”?

We are, that's why we stay open until six
in the morning. Some people don't really
begin to swing until the wee small hours,
and they're people we wouldn't miss know-
ing. Over there in the toreadors are three
hostesses from The Gaslight Club— Jerry,
Pat and Gladys. And that fellow talking
to them, that's Owen Trayner, he's a night
people. (There’s a camaraderie among
night people that makes talk easy—even
among strangers.) The handsome dark-
haired fellow who's doing so much table hop-
ping? That's Herb Lyon—all columnists
are night people. Herb wrote about us just
after we opened, “*... Barbary Room is an
overnight click. The celebs have already
made it their ayem oasis." It's true, we
guess, but they're really not celebrities іп
the later hours—they're just our wonder-
ful night people, like that little brunette
joking with the two out-of-towners at the
next table. Night people dig late hours,
good food and good talk. Are you a night
people?

barbary
room

1255 М. STATE ST.
CHICAGO ы

WIN А FIAT 600

by giving us the cleverest
slogan when you purchase your

WARM-UP JACKET

Crash parties in style as a delinquent
member of the American Free Loader's
Society. Fleece-lined quality white соі-
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Money-back guaranteed! Send check or
money order. Postage prepaid.

HOODED JACKET

RULES OF THE CONTEST SS хі $575
1. Send іп your slogan й

pedet азе ark sure с
One entry with each. pur- Smt 5075

2. Ай entries become prop- Entries will be
erty of the Stylark Com- judged on originality,
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З. Contest ends midnight, ness of thought.

January 31. 19 їп сазе of a tie

4. Онег not vali
where prohibited.

STYLARK COMPANY

314 St. Charles St., Dept. Р.І. St. Levis 2, Mo.

duplicate prizes will
be awarded.

t Red Italian 5.00
n 11.00
1 16.00
1

Pouilly Fuisse) 12.00
1 White Burgundy — Estate

bottled 16.00
1 White Alsatian (Rieslin,

or Gewucrz T
4 White Moselle
t White Rhine
4 White Italian
6 Red
6 California White

Rosé

New York White

Sherry. (Spanish — Dry)
2 Sherry (Spanish — Mediu

or Sweet) 8.00
2 Port 6.00
2 Madeira 7.00

Use will determine the rate and kind
of your replacements. For further guid
ance: a bottle of wine (24 ounces) serves
three to four; a half bottle serves two.
If you average one dinner party а мсек,
two large partes a month, and drink
wine with meals, your annual needs
should be well covered by 10 cases.

In the matter of storage: it's unlikely
you Jive in a manor house with its own
vaults providing ideal conditions
z of wine,

wine
for the maturation and keepi
but vou should do the best you can to
approximate these conditions, Avoid sun
light, strive for evenness of temperature
(perhaps of greater importance, even,
than coolness — which is highly desir
able) and pick a closet or cupboard
where the wine can rest; that is, away
from slamming doors апа from other
stored gear to which there must be daily
access. Place white wines (which are most
delicate) in the coolest spot (probably
closest to the floor), burgundies above
Ше whites, bordeaux on top. Never
store bottles standing; as soon as you
get them home, lay them on their sides
so that the entire cork stays wet, which
will prevent its crumbling and keep the
seal airtight.

Before we get to the serving of wine,
a word about your glassware is in order.
On pages 42-43 you'll see pictured seven
“basic” wine glasses. We put that word
basic in quotes because, though it may
strike some as heretical, we зау you
don't have to e that much variety:
іо sizes ol мету one somewhat
smaller than the other, plus champagne
glasses апа identical small stemware [or
port and sherry, will do the trick. If you
doubt us, bear in mind that the
international authority, André 1.. Simon
(author of a gorgeous and fascinating
tome called The Noble Grapes and the
Great Wines of France), designed one
all-purpose wine glass for the august
Wine and Food Society. But two or morc
es are а bit less spartan and add to the
pleasure of wine «гіш Wine glasses,

--.IDEFTiest moor
this

side of heather
COACH HOUSE

874 NO. WABASH
CHICAGO

DANTE'S INFERNO
57 W. HURON ST.
CHICAGO

black orchid

now...

e jonathan
winters
starts oct. 10...
e erin
o’brien
chicago, ill.

rush & ontorio MO 4-6666

DOO" TF OP УА

T

5 STEAK ROOM €
Ix "EYE-OF-THE-BEEF" and CHARCOAL BROILED STEAKS Н
BELDEN-STRATFORD HOTEL &

тер

я 7

d teft the УЗ”, ster IMN,

ма Se ft
a

Cloister Inn

900 М. RUSH STREET, CHICAGO

DIXIELAND JAZZ

it's зо different

339 BOURBON ST., NEW ORLEANS

SOONER

(on | LATER

Wi

EVERYBODY
SHOWS UP
AT
ART ADLER'S

TRADE WINDS

OPEN UNTIL 6 AM/CHICAGO

good grief! isn't that
the ART ADLER over the:

TURK MURPHY’S

SAN FRANCISCO JAZZ BAND
2215 Powell St., San Francisco

ARTHA SCHLAMME THEO BIKEL ODETTA|
JOSH WHITE JO MAPES GLEN YARBOROUGI
BOB GIBSON MARILYN CHILD BIG BIL’
BROONZY SAM GARY GATEWAY SINGER
WILL HOLT PAUL CLAYTON STAN WILSO!
ICARMENCITA TORRES BROWNIE MCGHEE
Ер MCCURDY SHELLY BERMAN FREDDY!
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of course, come in a bewildering variety
of sizes, shapes and decorations. Our ad-
vice: shun the fancy, seek delicacy, good
line. and above all, clarity; you want to
see your wine as well as savor it. For the
same reason, avoid colors. Never serve
wine in a glass with a flared lip, which
dissipates its aroma: as a matter of fact.
a slight incurving is desirable. You can
go for broke on glassware and crystal
you сап also get excellent. handmade
domestic glassware very reasonably.

Serving of wine comes next. This із.
too often, the realm of the rampant
pinkie finger and it shouldn't be. A
few simple rules will suffice to assure
that your serving is clegant and thought-
ful, rather than gaudy and fancy, and
that your wine will be given its best
opportunity to please

The day of the 14-course dinner, each
“progress” with its special wine, is over
The usual practice calls for one or two
wines with each meal. If it's one, it
makes good sense to observe the old rule
concerning red or white (with the main
course determining the choice) for the
simple reason that a hearty roast becf,
for example, would clobber the delicate
flavor of sauterne, whereas a burgundy
would survive, and complement the
meat. Conversely, the burgundy would
overwhelm a delicate pompano. If you
are serving more than one wine, it’s a
good notion to progress from dry to
sweet, from light to heavy, from young
to old. Not because that's a rule, but
because experience suggests this is the
road to greater enjoyment.

You may serve from the bottle or from
a decanter, Some authoriti frown on
decanting, some favor it. (We know one
connoisseur who not only decants his
vintage reds but filters thern, too; claims
this is the surest way to clarify them and
aerate them at the same time) The
scdiment in imports is their pedigree,
but it tastes like hell, so if you don't
decant, then pour with care and stop
the moment you suspect the sediment's
roiled the clear wine. And try not to
disturb wines en route from cellar to
table and while drawing the cork.

In serving, pour a bit of wine into
your own glass first, sample it, then if
you're satisfied with it, fill the glasses
of your guests (half to two-thirds full)
and then your own. Pour slowly, to
avoid backwash, and stop at the first
sign of sediment.

Chill your whites and rosés a few
hours before serving. Bring your reds to
the serving room an hour or so before
they're to be used, draw the cork, let
them get to the temperature of the room
gradually — unless it's a hot room; too-
warm red wine is as unpalatable as too-
cold.

"Wine, says Christopher Morley,
“opens the heart, warms the shy poct
hidden in the cage of the ribs.”

CHEZ PAREE

610 N. Foirbonks Ct,
Chicago, Ш.

Starts Thursday September 25

NAT
“KING” COLE
Extra Added Attraction
HENNY
& YOUNGMAN
> CHEZ PAREE ADORABLES
(022

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RESERVATIONS. PHONE DELAWARE

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east of
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ERNST COURT

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Chicago, ІІ.

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95

PLAYBOY

96

PLAYBOY
READER SERVICE

Janet Pilgrim can tell you where
you can buy any of the
interesting items you see
featured or advertised in
PLAYBOY. Use the Index of
Advertisers and coupon below.

INDEX OF ADVERTISERS

ADVERTISER PAGE
O ABC-Paramount Records. 18
O Acoustic Research Speaker Systems... 4
D After Six Formal Wear............-11
D Altec Lansing Sterco Systems. 8
D Atlantic Records,

D Byford "08" Socks. ....

Campus Casual Company. .
O Champale Malt Liquor.

Columbia LP Record Club. .
O Columbia Бесөгёа..........

D Columbia Record Accessories. 15
U Cricketcer Clothing...... 5

Domino The: „зуун дБ
O Duotone Needles. ........ 16
О Epie Records. . 6
О Frye Jet Boots. 92

Forbes Hill... tiae и

Heuth Hi-Fi Kits 18
D Himalaya Knitwear. 18
Home Brew. 5 18
D Jensen Sterco Speakers... 20

О Kaywoodie Pipes... жиз И
Kings Men Grooming Aids
L'Aimant by Coty... . .
D Jumes B. Lansing Sterco Systems.
C) Chester Laurie Clothing.
О Linctt Clothing гай
С London Records ККК С

D Medico Filter Р%рез.......... 89
O Mercury Records ..M, 16, 21
My Sin by Lanvii .3
Мор зага каена в
О Paris Belts 2 REED
О Phonola НЕ{Ёї............... 12
П RCA Victor Records...-.. u
D Roulette Records... .....- 10
J; Both, T a ROO.

Sir Walter Raleigh Pipe Tobacco. ...17
D Sonotone Stereo Phono Cartridges. . -21

Stylark Сопіраву......... 94
Usher's Scotch Whisky... -~ 10
Varsity Shop Flasks & Cunteens.....88
Village Squire, The......... 91
C] Vox Records. 3 . 22
Hiram Walker ив С
CJ World Pacific Кесогдв.............21

Check boxes above for information regard-
ing advertisers. Use these lines for informa-
tion about other featured merchandise.

MOUNDE. 2700

JS BEES o a a се
Онуд 222772 Бе.

PLAYBOY READER SERVICE
232 E. Ohio Street, Chicago 11, Ill.

PLAYBOY'S INTERNATIONAL DATEBOOK

BY PATRICK CHASE

ADVENTURESOME SCHUSSERS anxious to
glim and test firsthand the features of
the 49th state аге іп Гог а treat. Aside
from the sadly overlooked ski regions of
ich are great, you'll discover
that Alaska in winter is a romantically
knocked-out place: where clse
watch the northern lights flami
crackling over a moon-blued snow field,
аке of the dog-sled taxi that de-
livers you from thc airport to Fort Yukon
after a low-level hop there in a ski-
equipped bush plane? And Arctic Valley,
near Anchorage, is now thoroughly cos-
mopolitan, much patronized by, among
others, Scandinavian and French airline
crews on layovers from transpolar flights.
Which makes us think of blazing fires,
hot tom and jerries and those luscious
stewardesses looking for things to do.
ttle sets you back

Round trip from 5
5165 by air.

For sopping up the sunshine sans
snow, one of our favorite romping spots
is Jamaica's Tower Isle Hotel at Ocho
Rios. Sitting in the sun оп the fashion-

able north coast, Tower isle is соп:
ently crisscrossed by crisp trade winds, is
perched elegantly on the shore of the
dazzlingly blue Caribbean and offers
what is probably the grandest grub on
the island (including breakfast on your
private patio). Other amenities abound,
too: skindiving, sailing, tennis, golf
nearby, three bars, pool and cabanas,
free-port shopping, deep-sea fishing, ctc.
"Fell manager Don Bardowell that you're
а pal of the magazine, and he'll sce
you're given a special nod. KLM Royal
Dutch Airlines flies you royally to King

ston town (from either Miami or New
York) and we recommend you motor
up to the hotel, a two-hour drive through
lush and lovely mountain greenery.

At home, the formal fox-hunting sea-
son kicks off at Thanksgiving in Southern
Pines, Tryon and Sedgefield, in North
Carolina. Fear not-you needn't be a
member of the hunt clubs to join the
sport; visitors are wclcome to follow the
baying hounds—across green fields and
into the autumn-tinted woods—with а
gallant field of riders coursing over
fences and sunken stream beds, It's brisk,
colorful sport, and you can take it all in
as an automobile-borne "hilltopper"

without adding to the $12 to $24 per
day cost ol luxury hotel accommodations
(American plan); if you ride to hounds,
p lec

$15 to $20 will cover the cost of
and horse hire lor a day's sport. ‘Ther
superb golf at all three of the resorts,
too, and the hunt country is ideal (ог
Icisurely hacking as well as for vigorous
pursuit of the fox. Or, if your own
frcezer's low on game. grab the gun case
and make for Currituck Sound and Mat-
tamuskeet Lake and the Outer Banks
in North Carolina, for wild duck and
Canada geese taking their case on these
coastal marshlands on their tedious flight
south. Lodges such as River Forest Manor
offer room and three squares, plus guides,
pooches and blinds, for $19 a da

For further information on any of the
above, wrile to Janet Pilgrim, Playboy
Reader Service, 232 E. Ohio St., Chicago

11, Illinois.

NEXT MONTH:

SINATRA—THE MAN AND THE УОІСЕ

BARDOT- BB AT HER MOST PROVOCATIVE

SILVERSTEIN— SHEL AMONG THE SWITZERS

FERLINGHETTI

SYNTHESIZED AND SATIRIZED

WALKER? mes
^ 4 R'S
A P m ч

1 м
а па

WALKER'S

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этизєнт к, жиек

Something old (the bourbon). Something new
(the bottles). The old: Walker's DeLuxe straight bourbon aged

7 years in cask. The new: Pint and half-pint flasks—curved, with

Jigger Top. Handsome new labels, too. No bourbon anywhere is more
deluxe than Walker's DeLuxe!

STRAIGHT BOURBON WHISKEY • 1 YEARS OLD - 86 Е PROOF » HIRAM WALKER & SONS INC, PEORIA, ILL

T OF MAN READS PLAYBOY?

ESQUIRE THEATRE— CHICAGO

А young man who is apt to make his move by taking in a movie, the гілувоу reader is very big at the box office.
Facts: According to the leading independent magazine survey, a larger percentage of PrAvBov men attend the
movies each week than the male readers of any other magazine. rrAYBov's readers buy more than 1,625,000 movie
tickets every month. And it is this same taste for good entertainment that has given pLaynoy more than double
the newsstand circulation of any other 50f-or-over magazine in the world. (Source: 1958 Consumer Magazine

Report by Daniel F. Starch & Stafl, August 1958.)

PLAYBOY ADVERTISING DEPARTMENT . 232 E. Ohio St, Chicago, MI 2-1000 - 720 Fifth Ave, New York, CI 5-2620