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PLAYBOY 


ABOUT 
PURDY 


Leonara 
Bernstein 
lays 


тшш PERCY FAIS eil 
THEME FROM 
"A SUMMER PLACE" 


BOUQUET 


A Great Broadway Hitl 


10. Complete 
score. "The 
Sweet ШЕ and 
gaiety of the 
Broadway musi- 
cal hit glow in 


America's No. 1 Vocalist 


MORE J 


PING PONG 
PERCUSSION 


‘SYMPHONIES No, 4 and 5 


ат 


STRAUSS 


f ul ^ Tcnaikovsky: 
ROY HAMILTON [| носете RU 
; во ТА VAL SE 5d 
x Ж 
Ў 
€» | ANDRE WOSTELANET 
CHOPIN 355 BENIN 
The 24 Preludes ры s 


[c 
'LEVELAND ORCH-S7ELL| 


B. The inimitable 
Mathis sings Let 
it Rain, Stairway 
to the Sea, Flame 
of Love, Ye 


GOLDEN VIBES 
LIONEL HAMPTOR 


with reeds and rhythm 


ES IN 
DEPTH 


AN INTRODUCTION 
“TO COLUMBIA 
STEREDPHONIC SOUND 
لا‎ 


"NEW WORLD" 
BYMPHONY NO. 6 
CLEVELAND ORCH. 
Em 


fount такс vouk Guns TO Ne 
RUN SOFTLY, BLUE RIVER 
PLUS 10 OTHERS 


THE CLEVELAND ORCHESTRA 
GEORGE SIEL CONDUCTOR 


Tight Fine. 


Л] 


ROGER A DORIS DAY 
a 
шй CIS 
ORE NET OLLYWOOD 


A Classical Best-Seller for 


TCHAIKOVSKY: 
1812 Overture 


Cepriccio Italien 


EILEEN FARRELL | нат ТТТ 
PUCCINI ARIAS | 9 


F 


BurTeRFLy 
tasonème 


№; 
KIND OF BLUE 


..... best-selling records from Columbia 
and many other great labels! 


Now — for the first time — COLUMBIA RECORD CLUB 


offers new members a wide ch 


NY 5 


in REGULAR HIGH-FIDELITY 


OF THESE 53.98 TO 
$6.98 LONG-PLAYING 
12" RECORDS 


е of records from many labels 


FOR ONLY 


97 


STEREO 


if you join the Club now and agree to purchase as few as 5 selections from the more than 200 to be offered in the coming 12 months 


а convenient method of acquiring, systematically 
and with expert guidance, a record library of the music 
you enjoy most—at great savings! 


HERE'S THE MOST EXCITING OFFER EVER MADE to new members 
of the Columbia Record Club . an offer that enables you to 
acquire a superb record library — in regular high-fidelity OR 
stereo-fidelity — at truly remarkable savings! 

All 52 of the records shown here are now available in both 
regular high-fidelity and stereo (except No. 9 — Listening in 
Depth — stereo only). As a new member, you may have ANY 5 
of these records — in your choice of regular high-fidelity OR 
stereo — ALL 5 for only $1.97 
AND JUST LOOK AT THE SELECTION YOU NOW HAVE TO CHOOSE 
FROM . .. 52 records — from Columbia AND many other great 
labels! That's right, you not only have a choice of the best-selling 
albums by Columbia's own great artists — but also the most pop- 
ular albums by favorite stars from many other record companies! 

The selection shown here is typical of the wide range cf re- 
corded entertainment offered to members each end every month 
So whether you prefer classical or popular music, Broadway hits 
ог jazz... . you're always sure of finding just the records you want, 


TO RECEIVE YOUR 5 RECORDS FOR $1.97 — mail the postage-free 
reply card provided. Be sure to indicate whether you want your 
5 records (and all future selections) in regular high-fidelity or 
stereo. Also indicate which Club Division best suits your musical 
taste: Classical; Listening and Dancing; Broadway, Movies, Tele- 
vision and Musical Comedies; Jazz 


HOW THE CLUB OPERATES: Each month the Club's staff of music 
experts selects outstanding records from every field of music 
These selections are fully described in the Club's entertaining 
music Magazine, which you receive free each month. 


You may accept the monthly selection for your Division . . . 
or take any of the other records offered in the Magazine, from 
all Divisions . . . or take NO record in any particular month. 

Your only membership obligation is to purchase 5 selections 
from the more than 200 records to be offered in the coming 12 
months. Thereafter, you have no further obligation to buy addi- 
tional records, and you may discontinue membership at any time. 
FREE BONUS RECORDS GIVEN REGULARLY. If you wish to continue 
as a member after purchasirg five records, you will receive — 
FREE — a bonus record cf your choice for every two additional 
records you buy — a 50% dividend. 

The records уси want are mailed and Lilled tc you at the 
regular list price of $3.98 (Classical $4.98; occasional Original 
Gast recordings somewhat higher), plus а small mailing and han- 
dling charge. Stereo records are $1.00 more. 


MAIL THE POSTAGE-FREE CARD to receive 5 records for $1.97. 


NOTE: Stereo records must be played only on a stereo record 
player. If you do not now own one, by all means continue to 
acquire regular high-fidelity records: They will play superbly on 


Your present phonograph, and will sound even more brilliant on 
а stereo phonograph if you purchase one in the future. 


More than 1,250,000 families now enjoy 
the music program of 


COLUMBIA RECORD CLUB 


TERRE HAUTE, INDIANA 


Each month members 
have awide choice 
of records from every 
field of music 

- - featuring favorite 
recording stars 
like these... 


LOUIS ARMSTRONG 

BROOK BENTON 

THE BROTHERS FOUR 

DAVE BRUBECK 

DAVID CARROLL 

JOHNNY CASH 

RAY CONNIFF 

MILES DAVIS. 

FRANK DeVOL 

DUKE ELLINGTON 

PHILIPPE ENTREMONT 

THE FOUR LADS 

ERROLL GARNER 

ROY HAMILTON 

THE HARMONICATS. 

THE HI-LO'S. 

MAHALIA JACKSON 

ANDRE KOSTELANETZ, 

FRANKIE LAINE 

NORMAN LUBOFF 

MORMON TABER- 
NACLE CHOIR 

GERRY MULLIGAN 

BOB NEWHART 

EUGENE ORMANDY 

PATTI PAGE 

MARTY ROBBINS 

ISAAC STERN 

SARAH VAUGHAN 

BRUNO WALTER 

JONATHAN WINTERS 

.. cand many, 

many others! 


6 ""Coluribla 


THE PLATTERS 


Ca 


MITCH MILLER 


JOHNNY MATHIS 


* 


3 


ROGER WILLIAMS 


OORIS OAY 


EET zA 


SHELLEY BERMAN 


We э 
= 2 
PERCY FAITH bs 


LEONARO BERNSTEIN 


ELLA FITZGERALD. 
@ “Epic,” Ф Marcas Reg, © Columbia Record Club, Inc., 1901 


PLAYBOY 


Winning glances that lead toromance(s). 
are easy to come by if you go buy 
‘Vaseline’ Hair Tonic...made specially 
for men who use water with their hair 


how to win by a head 


happen to your hair (and to women) 
when you use ‘Vaseline’ Hair Tonic. 
Reason: it is 100% pure, light groom- 
ing oil—it replaces oil that water re- 


i i i " ү 7 ‘boner ne Conti 
tonic. You know how water dries out moves. ‘Vaseline’ Hair Tonic won’t Jai Do teri y 
your hair. Well, alcohol and hair evaporate —will remain clear and clean. rd 


creams evaporate, too—leave a sticky 
residue besides. Reason: they are only 
part grooming oil. But wonderfulthings 


So if you want to get a head (female), 
head for any store where'Vaseline' Hair 
Tonic is sold. Just a little does a lot! 


pope 


ITS CLEAR у Л 
IT'S CLEAN IT'S 
1 "NASELINE! I$ A REGISTERED TRADEMARK OF CHISEBROUGH-FONO'S INC 


OHIO ST, , CHICAGO 11, ILL. SECOND CLASS POSTAGE PAID AT CHICAGO, ILLINOIS. SUBSCRIPTIONS: IN THE U $., $8 FOR ONE YEAR. 


PLAYBILL 


THE POWER OF MIND OVER MIND has fascinated man since time immemorial. 
The modern word we use for the scientific application of this psychic 
phenomenon is hypnoi public awareness of this 
still little-known and less-understood power; in fact. as our lead article 
makes clear, it is much misunderstood — as a result of its being deemed 
by the medical and psychiatric professions too arcane and potent to be 
shared with the layman, and its theatric exploitation as mumbo-jumbo 


ism. There is а grow 


i n concern 
куло adduce. This month, Ken Purdy, a long-time 
of the subject, lets in the light of knowledge where darkness has prevailed. 
We believe hypnotism has never enjoyed such thorough explication nor 
such complete clearing ol the controver r surrounding it. 
Few commentators are better equipped to talk of matters monci 
than J. Paul Getty, whose lucid polemic in this issue. Money and Con- 
formity, is the first of a series of analytical articles by him probing men, 
money and values in society today. Getty, now a vigorous sixty-eight, was 
а roustabout in the Oklahoma oil fields іп 1914, soon began wildcatting 
for himself. By 1917. he was a millionaire. Today, he owns a couple ol 
oil companies, ft plant, a sting of hotels. property in Iran, 
Turkey, Italy, k, England (as well as in the U.S), more than а 
million tons’ worth of tankers, and one half of the "Neutral Zone" oil 
п in the Persian Gulf, Gettv is generally acknowled: 
the richest man in America and, probably, the entire world. 
of his wealth range up to seven billion. Thats dollars, not pl 
Ме reputation as a collector of 
thropist, and an iconoclastic nonconformist in business 
icently moustachioed Bernard Wolfe went through Yale in the 
midThirties hell-bent on becoming a psychiatrist On graduating, he 
kicked th 1 in order to take on d 
news recl staler, war correspondent, magazine editor, novelist, TV scribe 
and. most recently, Hollywood scriptwriter. He heads up this month's 
fiction roster with Come On Out, Daddy, а tautly wrought tale of a writer 
torn between personal integrity and the temptation to wield corrupting 
power in attaining the goal. ‘of his passion. Herb Gold's also on hand in 
1, a happy, 
nd wanted 


nc ng its true 


у student 


ry 


nted — 


п guy who knew what his girl wa 
it, too, but on his own itinerant terms. 

February is the time for all good cats to huddle over our Jazz Poll 
results. In this issue, climaxing our filth annual plebiscite. we list your 
choices for our ar dream band, and those jazzmen deemed most 
notable by last y our All-Stars’ АП Stars — 
plus a sapient vear-in-retrospect summary for di 

Another scene we know you'll want to di 
photo-and-text pacan to those d 
ous gals of Gotham. Call him beat, sick, dyspeptic, bizarre, far-out, 

sane. wild. kookie, insalubrious or, as his fans would have it, 
the funniest new cartoonists to come along in a long while. He's Howard 
Shoemaker and you've seen some of his cartoons in recent issue 
who's ly with rLaynoy, wended his wacky way to us 

TV ап director, ad agency art chief and freelance designer. The 
twenty nine-year-old Omaha resident blows blues on an alto sax, races 
his Porsche Speedster for inspiration — of which he had a plenitude when 
he concocted his first fulllength feature, Goodbye, Cruel World! 
morbiferously risible treatise on occupational suicide. 

Saying goodbye to a cruel world for different reasons are some of the 
howlingest Broadway flopperoos ever to bomb on the theatrical boards, 
here bid a nottoofond adieu in The Voice of the Turkey, penned by 
novelist-playwrightpLaynoyite Al Morgan. You'll be taking no gamble in 
perusing Bes! Bets in Gaming Gear, a choice selection of games and other 
divertisements to enliven any bachelor pad. And when the games end. take 
Thomas Mario's advice and turn yourself into The Midnight Chef, with 
the knowhow to assuage witching-hour appetites. A feast for the eyes is 
February Playmate Barbara Ann Lawford. We focused on Barby in a ski 
setting and we're confident she'll thaw male hearts for miles around. Now, 
light the fire, pour yourself three fingerfuls, plop down in your most сот. 
fortable chair, and take in the rest of what we aver is a fun-packed issue. 


one of 


fter stints 


MORGAN 


SHOEMAKER 


уо]. 8, no. 2 — february, 1961 


PLAYBOY. 


Gotham’s Girls P. 


Hypnosis Unveiled Р. 38 


Poll Winners. 


Goming Geor P. 48 


OENERAL OFFICES, FLATHOY BUILDING, 232 E. оно 
STREET, CHICAGO 18, ILLINOIS. RETURN POSTAGE MUST 
GRAPHS SUBMITTED IF THEY ARE TO DE RETURNED AND 
MATERIALS, CONTENTS COPYRIGHTED © 1961 BY нык PUD- 
WicLE OR IN PART WITHOUT WRITTEN PERMISSION FRON 
AND PLACES IN THE FICTION AND SfMI.FICTION 1н THIS 
COINCIDENTAL. CREDITS: P. 39, 48-50, зз. 62-63, 75 
BHOWSTEIN 13). SILL CLAXTON (#1, FRANK WOLFE (5), 
вов PARENT (3), DENNIS STOCK, TORBEN CHRISTIAN. 
JERRY YULSMAN (13). SHER WEISBURD (8). RAY 
BERNIE FRIEDMAN. FRANK WOLFE. TORY CLARKE. FRANK 
кєл. HUGH BELL, DAVID HURN, CURT GUNTHER, THE 
LYRICS FROM “TIN ACAPULCO, - REPRINTED ON PAGE B7 
GORDON AND HARRY WARREN FOR THE TWENTIETH CEN 


TUMT-FOL MUSICAL PICTURE “DIAMOND HGASESHOR: 
AND ARE COPYRIGHTED 1545 BY TWENTIETH CENTURY 


ARE CONTROLLED BY TRIANGLE MUSIC CORP., K.Y.. нт. 


CONTENTS FOR THE MEN'S ENTERTAINMENT MAGAZINE 


PLAYBILL. _ Я = 5 
DEAR PLAYROY 7чу 
PLAYBOY AFTER HOURS... 21 
THE PLAYBOY ADVISOR... “ылыс 37 


£ KEN PURDY 38 
BERNARD WOLFE 44 
4. PAUL GETTY 47 


HYPNOS|S—artie! 


COME ON OUT, DADDY—fiction 
MONEY AND CONFORMITY—orlicle _ Я 
BEST BETS IN GAMING GEAR—modern 


THAT SWEET SINNER AND TRAVELING I—fiction HERBERT GOLD 53 


THE MIDNIGHT CHEF—food __ THOMAS MARIO 54 
HOWARD SHOEMAKER 56 
RAY RUSSELL 59 


AL MORGAN 61 


GOODBYE, CRUEL WORLD!—cartoons ...... 
THE ROOM—fii 


THE VOICE OF THE TURKEY—articl 
THINGS YOU CHECK—attire 
THE MEANINGFUL RELATIONSHIP—satire 


JULES FEIFFER 65 


WAXING WARM—playboy’s playmate of the month. - 66 
PLAYBOY'S PARTY JOKES—humor. ae T 72 
iis LEONARD FEATHER 75 
IT'S JUNE IN FEBRUARY—resorl wear... ROBERT L GREEN 85 


THE GIRLS OF NEW YORK—pictorial essay — —— 88 


THE 1961 PLAYBOY ALL-STARS—jazz 


TO HEAR IS TO OBEY—ri 


ald classic 
RABEIT IN A TRAP—fiction MARTIN DE LEON 98 


PLAYBOY'S INTERNATIONAL DATEBOOK—travel.. ..... PATRICK CHASE 136 


HUGH M. 


мек editor and publisher 


A. C. SPE 


RSKY associate publisher and editorial director 


ARTHUR PAUL art director 


JACK J. kesir managing editor VINCENT т. A Jm piclure editor 


DON GOLD associate editor REID AUSTIN associate art director 


VICTOR LOWNES Ш promotion director Jon 


$ MASTRO production manager 


ELDON SELL 


s special projecis HOWARD W. LEDERER advertising director 


ROBERT s. PREUSS business manager and circulation director 


REN PURDY, WALTER GOODMAN contributing editors; SHELDON WAX asociate editor: 
RONERT L GREEN fashion director; BLAKE RUTHERFORD fashion editor; THOMAS MARIO 
food & drink editor; PATRICK CHASE travel editor; LEONARD FEATHER jazz editor; 
ARLENE BOURAS сору editor; JOSEPH н. PACZEK assistant art director; ELLEN PACZEK алі 
assistant; BEV CHAMBERLAIN assistant picture edilor; DON BRONSTEIN, POMPEO POSAR 
Staff photographers; FERN A. иклктт1. production assistant; ANSON MOUNT college 
bureau; WNSY DUNN public relations manager; тико FREDERICK personnel director: 
JANET PILGRIM reader service; WALTER J. MOWARTH subscription fulfillment manager 


Start of a perfect day —Just set it in motion, throw out your cares, and fall in love 
with the road and all outdoors . . . because you drive the alert and responsive MGA 
1600’, it doesn't drive you. This is the fastest, safest pleasure machine ever to wear the 


Octagon, the most prideful in looks and actions. A big-hearted engine, sure-footed road- 
ability, obedient controls and fade-free disc brakes make driving an affair of the heart. A test 
drive will reveal why this is the best known symbol of what a sports car should be. Your 
BMC dealer can arrange a perfect day for it. Is it a date? 


Going abroad? Have a BMC car meet 
you on arrival. Write for details. 


e A product of The British Motor Corporation, Ltd., makers of Austin, Austin Heale 


(^ Represented in the United States by Hambro Automotive Corp., Dept. H-2, 27 W. 571 


MG and Morris cars. 
St., New York 19, N. Y. 


PLAYBOY 


TWENTY-FIVE OUTSTANDING 


Just for self-appraisal: CHECK THOSE YOU 
BUT FAILED TO... THROUGH OVERSIGHT 


L] à 


431. THE RISE AND 
FALL OF THE THIRD 
REICH by wiam 1 
sumen, (Retail price 


$10) 


186. HAWAII by James 
л MICHESER. (Retail 
price $6.95) 


THE — 
CONSTANT 
IMAGE 


. THE CONSTANT 
E by marcia pw- 
(Retail price 


ттн WHEELER 


$3.95) 


394. THE LONGEST 
DAY һу constuius RYAN 
Mlustrated. (Retail 
price $4.95) 


400. THIS 15 MY GOD. 
by mermas хоцк, (Re- 
tail price $3.95) 


113. ANATOMY OF A 
MURDER (у возеят TRA- 
von, (Retail price $4.50) 


187. THE DARKNESS 
AND THE DAWN by 
тиомаз n сезтн. (Re~ 
tail price $3.95) 


198. THE LEOPARD by 
GIISEPPE DI LAMPEDUSA 
(Retail price $4.50) 


104. ADVISE AND 
CONSENT by alten 
puny. (Retail price 
$5.73) 


413. THE GOOD YEARS 
by warren Lown. Hllus- 
tented, (Retail price 
$4.95) 


108. ACT ONE by moss 
nart, (Retail price $5) 


1р1. EXODUS by tron 126. THE AFFLUENT 

ums. (Retail price — SOCIETY by jonx KEN- 

$130) кети смди. (Retail 
price $5) 


L wc sak 
Е С TRUSTEE 
em É TOOLROOM 
about ر‎ 


ommulitsi | 


114. WHAT WE MUST 
KNOW ABOUT COM- 
MUNISM by nanny and мун, 


193. TRUSTEE FROM 

THE TOOLROOM by 
surr. (Retail 

похлво ovessrmrer. (Re- price $3.95) 

tail price $3.95) 


[1 


416. BORN FREE Dy Joy 
apasisox. Ilustrated 
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marran LER 


435. TO KILL A MOCK- 
INGBIRD by ARPER Lee 
(Retail price $3.95) 


Politics 
Upheaval! 


420. THE POLITICS OF 
UPHEAVAL by лктноя 
m. SCHLESINCER, JR 
of The Age of 
f. (Retail price 


GOOD SENSE FOR 1961 


F YOUR SELF-CHECK reveals that you 

have been missing the books you 
promise yourself to read because of 
irritating overbusyness, there is a 
simple way to break this bad habit: 
membership in the Book-of-the- 
Month Club. During the coming 
year, at least 200 books—which will 
surely be as interesting and impor- 
tant as those shown here—will be 
made available to members at the 
special members’ price which, on 
the average, is 20% below the pub- 
lisher’s regular retail price. 


405. DR. SCHWEITZER 
OF LAMBARENE by 
копмам cousiss. Hus- 
(Retail price 


* Your only obligation in the 
trial membership suggested here is 
to buy as few as three of these two 


E 


430. THE CHILD BUYER 433. TIMES THREE by 
by jons verse, (Re: вити MCEISLEY, (Re- 
tail price $4) tail price $5) 


191. GRANT MOVES 102. DOCTOR ZHIVA- 
SOUTH by wwucr cat СО by повіз PASTER- 
тох. (Retail price $650) клк. (Retail price $5) 


hundred books, in addition to the 
three you choose from these pages. 
The latter will be sent to you im- 
mediately, and you will be billed one 
dollar for each of them (plus a small 
charge for postage and handling). 


Ж If you continue after the trial 
membership, with every second 
Club choice you buy you will re- 
ceive a valuable Book-Dividend 
averaging around $6.50 in retail 
value. Since the inauguration of this 
profit-sharing plan, $255,000,000 
worth of books (retail value) has 
been earned and received as Book- 
Dividends. Isn’t it good sense, for 
1961, at least to make this trial, and 
get back into the habit of book- 
reading? 


ү 
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a09. 


с.т. ssow. (Retail price 


$450) 


AFFAIR 
ense [ ] 


THE 


THE AFFAIR Dy 


YOU MAY CHOOSE 


ANY THREE 
FOR $] EACH 


IN A SHORT TRIAL MEMBERSHIP IN THE 
Book-of-the-Month Club 


...if you agree to buy as few as three additional 
books from the Club during the coming year 


BOOK-OF-THE-MONTH CLUB, Inc. А762 
345 Hudson Street, New York 14, N. Y. 


Please enroll me as а member of th 
of-the-Month Club® and send the th 


boxes at right, billing me $3.00 (plus postage 
to purchase at least 
three additional monthly Sclections-or Alter- 
pates—during the first year | am а member. 
T have the right to cancel my membership any 
time after buying three Club choices (i 

tion to those included in this introducto: 
fer). The price will never be more than 
publisher's price, and frequa 

my third purchase, if 1 continue 
ceive a Book-Dividend* with 
Selection—or  Alternate-l 
charge is added to cover posta 
expenses.) PLEASE NOTE: A Double Selection- 
ог a set of, books offered to members at a sp 
cial combined price-is counted as a single 
book in reckoning Book-Dividend credit and 
in fulfilling the membership obligation to buy. 
three Club choices. 


INDICATE BY NUMBER IN BOXES BELOW 
THE THREE BOOKS YOU WANT 


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Address. 


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"Iradcinark Reg. U. S. Pat. Ой. und їл Canada. 


9 


1RAY CHARLES: GENIUS + SOUL = 
JAZZ. The leader of the "SOUL Move- 
ment". Impulse/A-2. 

24. J. JOHNSON & KAI WINDING: THE 
GREAT KAI & JJ— Brand New... Swing: 
ing Together Again. Featuring Bill 
Evans (Courtesy Riverside Records), 
Paul Chambers, Tommy Williams, Roy 
Haynes, Art Taylor. Impul 


STEREO $5.08 


THE NEW WAVE IN JAZZ 
FEEL IT ON 


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The purpose of IMPULSE is as simple — and as complex 
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very crest of their art. IMPULSE artists are the great, 
adventurous leaders: Ray Charles, who is the Soul 
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of the New Wave in jazz... and Kai Winding, leader 
of the incredible trombone choir. And this IMPULSE 
promises: inspired performances given every advanced 
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IMPULSE records are available now. Go and get them. 


MONAURAL $4.08 Ё 


RAY CHARLES 


J.J. JOHNSON & 
KAI WINDING 


GIL EVANS 
KAI WINDING 


3 GIL EVANS: OUT OF THE COOL — the 
Gil Evans Orchestra. Newest concepts 
in contemporary jazz by the leader of 
the New Wave. Impulse/ A-4. 


4 KAI WINDING: THE INCREDIBLE KAI 
WINDING TROMBONES. Impulse/A-3. 


RECORDS 


a product of 
Am-Par Record Corp., 
1501 Broadway, NY 36 


DEAR PLAYBOY 


E] appress PLAYBOY MAGAZINI 


PLAYBOY PANEL 

November's panel on Narcotics and 
the Jazz Musician was interesting and 
informative. I was particularly fasci- 
nated by the material on police tactics 
and in the panel's agreement that addic- 
n should be handled by doctors rather 
Шап cops. 


Alfred R. Lindesmith 
Department of Sociology 
Indiana University 
Bloomington, Indiana 


I found the article on Narcotics and 
the Jazz Musician unique, one of the 
most interesting 1 have read on the sub- 
ject. The opportunity to hear leading 
musicians discuss their experiences and 
thinking about addiction was a rare 
teat and extremely enlightening. As 
Director of the National Institute of 
Mental Health's Center on Drug Ad 
diction, and as a psychologist treating 
addicts privately, 1 found the ideas ex- 
pressed. well-informed. 

Leon Brill 

National Institute of Mental Health 

New York, New Yoi 


We would like to correct the state- 
ment made by Dr. Winick regarding 
Buddy DeFranco, whom we represent. 
Buddy said he was unable to form a 
sixteen- or seventeen-piece band because 
he was not able to get enough musicians 
without utilizing any who used nar- 


votis. At no time did he state that he 
was unable to form a trio because of 
this problem. 

Ed Hilson 

The Jack Hampton Agency 


Beverly Hills, California 


Sincerest congratulations on Narcotics 
and the Jazz Musician. Your feature will 
do a great deal of good both here and in 
other parts of the world, where jazz musi 
cians are constantly striving to copy such 
people as Diz, Duke and Shelly Manne. 
Their blunt disavowal of narcotics makes 
timely reading, and Duke's inclusion of 
eheads” needed saying, too. 
teve Race 
Jazz News 
London, Eng 


and 


Е - 232 E. OHIO ST., CHICAGO 11, ILLINOIS 


I thought the panel hit the nail on the 
head by saying, even though somewhat 
indirectly, that jazz has no necessary г 
lationship to addiction. Addiction can 
happen to anyone and, as Mr. Cohe 
pointed out, happens to musicians less 
frequently than to doctors and members 
of several other occupations. The maj 
factor in addiction seems to be ava 
ity — those who can get it casily are 
more likely to use it. 

Howard 5. Becker 
Kansas City, Missouri 


Addiction, as your panelists indicate, 
is a social disease and its transmittal 
agent is the user. Addiction rates are ce 
tainly less than exposure rates. Young 
fans ol musicians and other celebrities 


seek to emulate and in other ways iden- 


tily themselves with their heroes. This is 
where a real danger exists. The elfect on 
immature audiences can be very de- 


structive. 


c D. Brown, Director 
Psychiatric Social Service 
Deparuncar of Hospitals 
New York, New York 


T do mot think that the article Nar 
cotics and the Jazz Musician has much 
value. The musicians who were in a 
position to give a factual basis for di 
cussion virtually deny the existence of 
the problem. In any event, they do not 
give any insight into the matter. It was 
not. therefore, possible to bring about 
an intelligent discussion. 

John M. Murt 
Chief Justice 
Court of Special Sessions 
New York, New York 


sh 


HARPY-ING 

Harpy, in your November issue, prob- 
ably appeals to sadists and other sexual 
perverts. 1 can't go along with your 
move in the direction of certain other 
so-called men's magazines that confuse 
sadism with masculini 


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11 


PLAYBOY 


For those who love live musie? 


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12 


Tune in "Special Report" Saturday afternoons immediately following the Metropolitan Opera broadcast. 


Harpy is unquestionably the best fic- 
tion carried by PLAYsoY this year, or in 
any year since my subscription began. 

Rand Rintoul 
Arnprior, On 


io 


What can I say except my mouth is 
dry as cotton and my body iced with 
horror. 

Mrs. Laura Floody 
ifornia 


heim, 


TALKING PICTURES 
I read Ben Hecht's November article 
on Hollywood and was vastly amused 
and interested. by his reminiscences of 
the old days. His is a magic pen and a 
fine, agile mind. We worked. together 
many years ago and I recall the collabor- 
ation — and our friendship — with pride 
and pleasure. This article is a splendid 
example of his talent for never being 
dull — a state of being with which he was 
and is always justifiably intolerant 
Douglas Fairbanks 
Kensington, England 


Ben Hecht’s article left me with the 
pleasant feeling of having attended a 
darn good movie. 

Jason Maddock 
St. Louis, Missouri 


If Ben Hecht is going to write fiction 
he should use fictitious names, 
David Kopf 


Tujunga, California 


As vou are well aware by this time, 
Ben Hecht's article created quite a furor 
here in Los Angeles. Mr. Hecht may or 
may not be correct about Paul Bern's 
death being murder, but he should have 
gone one step further and told the truth 
about Jean Harlow. MGM was so afraid 
that the scandal of Bern's death would 
ruin her career, thev stopped produc 
tion of Red Dust (the film she was mak- 
ing at the time) and were going to oust 
her from the studio. 

Leslie Harrison 
Hollywood, California 


Congratulations on your excellent 
coverage last October of the activities of 
The Second Gity in Chicago. You are 
helping to bring proper attention to 
one of the most fascinating entertain- 
ment forms ever devised. Г know this 
art form like the back of my hand, since 
it was with many of these same people in 
a similar group a few years back that 
had an opportunity of developing my 
ft. It is only a matter of time before 


б 
the eight superb actors and actresses of 
this group will be recognized as impor 
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Shelley Berman 
New York, № 


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14 


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Bacardi Party 


turns up at 


playboy 
colony 
in Mexico 


From Mexico City comes word that Texas 
playboys have introduced the Bacardi Party 
to the American colony there, amid great 
acclaim. 

On Friday nights, the fun-loving Ameri- 
canos gather “to drink, to sing, and to 
await the faithful rains.” A galón of 
Bacardi and a bevy of mixers are kept at 
arms reach. What a way to end the week 
and start the weekend! 

What is a Bacardi Party? The guests 
bring Bacardi and the host supplies the 
mixings —аѕ тапу as he can dream up! 
Fun. So have a Bacardi Party—soon. (And 
write and tell us about it.) 


ШШШ 


* D PERS 
Limelitere. 


Sophi. 


Lino STEREO 


New! Folk songs 
for moderns by 
the Limeliters! 


icated, topical, earthy, often hilarious. 


The Limeliters brighten the folk music world with 


unprecedented variety. Everyone is applauding the driving 


style of these rousing new folknik hipsters! You will too! 


Living Stereo or Monaural Hi- 


i RCAVICIOR 


Tolerant fellow and world-waveler 
that La always tended to ad 
ather than scorn your loyal, hard 
and slightly pathetic efforts to 
present your home town, Chicago, as a 
serious rival (in the realm ol sophisti- 
cation) of New York, San Francisco, 
London, Paris, Rome, This 
may impress those who have never been 
to C nd/or those who have 
never been to New York, San Francisco. 
London, „ Rome, Antibes, etc. — 
but it merely produces а hoarse, coarse 
chuckle from the rest of us. Your latest 
effort along these lines is The Second 
City, and it is here, О Hog Butcher to 
the World, that the woolen undies are 
plainly visible under the Bermuda 


Antibes, etc 


shorts. Then there is the matter of onc 
of the 


in your 
ated 


purported mummers 
auqua, des 
ne Troobnicl 
forsooth! Now, 


come 


born with a name like that, he would 
long since have changed it to some- 
thing really hip, like, say, "Avram Da- 
vidson." No, no, my provincial friends; 
the truth of the 1 in fact, that 
the whole char ouen up in 
the PLAYBOY offices on glamorous, so- 
phisticated East Ohio Street. 

Avram Davidson 

New York, New York 


ODES TO JUNE 
Regarding Miss Wilkinson and her 
vember nee, when we compa 
her measurements with the standard 
ones, we find that she has astonish 
small waist and hip measurements. As 
far as any other comment I might make, 
I can only say "Wow!" 
Joseph A. Coleman, M.D. 
President, Maiden Form 
Brassiere Co. 
New York, New York 


nely 


We feel it is an insult both to your 
readers and The Bosom to devote only 
two pages to her. 

Joel R. Jacobson 
Steven М. Loft 
University of Cincinnati 
Cincinnati, Ohio 


How did you ever expect to cover 

such a large subject in that limited space? 
Willard. Schwartz 

Fort Wayne, Indiana 


PLAYBOY CLUBBED 
Wellearned pride is a dignified man- 
tle, when quietly worn. But the 
ness of your playboy cult ma 
heard, and it is gettin; bit odious. 
Keep your weather eye on yourself. Such 
a low relative humility indicates you're 
not likely to Drop one subscriber. 
James A. С. Thom 
Indianapolis, Indiana 


T introduce th gou the болк балег of the INTERNATIONAL COLLECTORS LIBRARY 


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AROUND THE WORLD IN BD DAYS 
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THE TRAVELS OF MARCO POLO 
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‘ARUNDEL — Kenne! 
СОМЕ WITH THE 


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THE HOUSE OF THE SEVEN GABLES 
iel Hawthorne 


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THE LAST DAYS OF POMPEII 
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PLAYBOY 


16 


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Jorr AND 
atly enjoyed. reading James Dun 
s Lel Joy Be Confined in the Octo. 
ber issue. It is an excellent bit of satire 
and I shall probably quote it onc of 
these days when I get around 
discussing sex puritanism in America. 
Albert Ellis. Ph.D. 
New York, New York 


James Dunning is all wrong. Does he 
realize what would happen to the Гай 
sex if men treated us like women again? 
We'd have to retreat to the kitchen 
where we belong and there'd be no time 
to exploit sex or rule the roosters, Good 
old days — phooey! 

Roberta. Fox 
South. Gate, California 


COVERING BE 
I followed the directions in Bar Bets 
on how to make a hexagon out of six 
similar coins in three moves perfectly 
and then made my bet. My bar com 
panion counter-bet me that he could do 
it in two moves. Well, ever loyal to 
rraynoy, I made the bet, and lost. 
Here's how he did it: 
Given arrangement: 


®®® 


First move: 


Second move: 


(ORO) 
I finally recouped my losses with the 
dollar-catching bit. 
Mark S. Ellentuck 
Bradley Beach, New Jersey 


The only article in your November 
issue I didn't was the one on bar 
bets. Two days alter 1 received your 
magazine, 1 had to go to a convention 
in London, where, by your bar bets, I 
won me a hangover that will last for the 
next three days. 

Karl Josef Freiherr von Ketteler 
Lippstadt, Germany 


THE BOOK OF TONY 
My reaction to Ken VC E s Шз Book 
1 ne 
Noise 


as I had 
(March 1 
of Green (October 1958): absolutely su- 
perb! The really frightening thing about 
these storics— more credit to Purdy — 
is that I am desperately afraid 1 know 
cach of the protagonists. 

1 па Bartley 

New York, New York 


ifty One Tones 


Ken Purdys latest yarn proves what 
I've been telling other writers for years 


Playboy Tours were designed by PLAYBOY's 
globe-trotting editors to give leisure-minded 
young men and women something really 
different in vacation travel . . . the distinctive 
PLAYBOY touch that has set a standard for 
unique and tasteful good times, 


Wherever уси go on a Playboy Tour you will 
be cordially welcomed as an invited guest. 
With a PLAYBOY staff member as your host 
you will enjoy a heady behind-the-scenes 
atmosphore . . . including invitations from 
local celebrities, clubs and gourmet restau- 
rants. There will be private yachts, villas, 
estates, sports сагв... and so much more 
that conventional tours will seem, by com- 
Parison, about as thrilling as a bus ride. 


Best of all, you will be traveling with a fun- 
loving group of young men and women who 
will share your interests and enthusiasm for 
enjoying a gay, carefree holiday. 


16 and 23 day tours to the most fabulous 
Continental playgrounds. Paris, Nice, 
Monaco, Rome, Lucerne, London, etc., 
$1225 to $1440'—all expenses—including 
round-trip jot from New York. 


S and 15 day tours with the undeniably 
magic touch of PLAYBOY, Mexico City, 
Taxco, Acapulco, etc,, from $254 to $397" 
—plus air fare to Mexico. 


9 glorious days on the Riviera of the 
Western Hemisphere ... Montego Bay 
and Ocho Rios . . . skin-diving, yachting, 
water-skiing, all included in tour price. 
$345* including air fare from Miami. 


18 day tours on “the most beautiful isles 
anchored in any sea." Enjoy outerisland 
cruising and all the delights of Honolulu, 
only $414 to $633'—plus air fare. 


—23 days 
—23 days 


16 days 
“Prices subject to change without notice 


MAIL COUPON AT RIGHT TODAY OR SEE YOUR 
LOCAL TRAVEL AGENT 


PLAYBOY's Travel Department has always 
maintained that whether you are week-end- 
ing in Acapulco or off for a Continental ca- 
price, the small extra cost of “doing it right" 
pays huge dividends of enjoyment. . „апа 
PLAYBOY does it right. Furthermore, 
PLAYBOY magazine has enormous impact 
wherever it goes. When we broached the 
idea of Playboy Tours, doors were literally 
flung open for ив... doors that were, and 
remain, closed to other tour groups. In fact, 
selecting from the invitations we received 
proved to be one of our most trying (though 
enjoyable) tasks. 

And now, Playboy Tours are ready . . . ready 
to give you the greatest vacation ever... 
wherever you choose to go. 


SEND IN THE COUPON BELOW 
FOR ALL THE EXCITING DETAILS 


GENTLEMEN, 


YES, | AM INTERESTED IN JOINING ONE OF THE PLAYBOY TOUR 
GROUPS. PLEASE SEND ME: COMPLETE INFORMATION ON THE 
TOUR INCLUDING ALL SPECIAL FEATURES. 


NAME, 


(please print) 
ADDRESS 


CITY. ZONE. STATE. 


PLAYBOY 


Cuervo Tequila Margarita, That Is 
Forget that topped drive, 


wert f that missed putt — with 
cote | CUERVO TEQUILA. 
don | 


consoling, satisfying. 
‘Tequila, favorite of pelota- 
playing Aztec nobles, today 
brings delight to cocktail- 
wise American aficionados. 
Tequila is pleasurable. 
CUERVO Tequila is 

incomparable. 


ice, Serva iro solt-rimmed glasa, 


JOSE 
CUERVO 
TEQUILA 


YOUNG'S MARKET CO., LOS ANGELES, AL 


poor Ken's one of the most h 

writers around. He just 

dull story or even a blah 
Mur 
Great Neck, New York 


I read Ken Purdys story with interest. 
I think it is excellently written, but 
then I am prejudiced. 1 consider him 
not only the foremost automotive writer 
in this country, but an exceptional 
writer of stories such as this one. 

W. F. Robinow 

mler-Benz of North America 
York, New York 


Ne 


The Book of Tony is the best damn 
story I've read in y 
James С. La Marre 

Peugeot, Inc. 


New York, New York 
JONI 
My husband and I enjoy your maga- 


zine tremendously. May I our No- 
vember Playmate is a refreshing change 
from the usual voluptuous but vapid 
offering. Here's a girl with character in 
her face. 


Mrs. Louis H. Fisher 
Forest Hills. New York 


Your November issue starring Joni 
Mattis has infatuared an alarming num 
ber of students, and a Joni Mattis Fan 
Club is being formed 

Danny March 
Penn State University 
State College, Pennsylvania 


Joni Mattis is, without a doubt, the 
most beautiful Playmate to date. 
Stanley Lubin 

nn Arbor, Michi 


PEN PALS 
Thanks to George Johnson for his bit 

of nostalgia Take Pen in Hand in the 
October issue. I was beginning to think 
I was the only one in this preoccupied 
mass of humanity that disliked using a 
ballpoint pen. Glad to find someone 
who shares my sentiments 

Howard Little 

Camp Connell, С 


ornia 


You are not alone in your interest in 
fountain pens. The Fountain Pen and 
Mechanical Pencil Manufact 
ciation figures for 1959 show an esti- 
mated fountain pen volume, at factory 
exclusive of tax, amounting to 
We are confident these sales 
will go even higher. 

Rouleau, Advertising and 
handising Manager 

W. A. Shealfer Pen Co. 

Fort Madison, Iowa 


S Asso- 


prices 


LUNCH-COUNTER ENCOUNTER 
We found the humor on page 130 of 
your November issue neither enjoyable 


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THE 
NEWEST 
SOUNDS 


EVERYBODY'S GIRL IRMA 
IRMA LA DOUCE їз a wayward 
but good-hearted little Paris girl, 
the heroine of a smash Broadway 
musical of the same name. The 
show is a kind of French “Guys 
and Dolls," brash but adorable, 
full of beguiling songs. Fresh off 
the New York stage in an Original 
Cast Recording. 

IRMA LA DOUCE / ORIGINAL BROAO- 
WAY CAST /OL 050/08 2025" 


"SIN ANO SOUL” 

OSCAR BROWN is a stunning 
рові-асіог, a composar-philoso- 
pher. He swings a classic fable, 
writes а powerful work song, re- 
enacts the slave auctioneer's 
shocking chant. It's all a uniquely 
startling blond of folk song and 
jazz styles. 


SIN ANO SOUL/OSOAR BROWN/ 
OL 1677/68 t377* 


ZR i 
МАПАЦА JACKSON 2.7 


1 Believe po cw 
x СЄ 


“| BELIEVE" 

MAHALIA JACKSON'S voice is an 
instrument of glory, revealed in ап 
inspired new collection, “| Be- 
lieve.” Norman Rockwell's album 
cover painting mirrors her dovo- 
tion. 


4 BELIEVE/ MAHALIA JACKSON / 
CX 149/08 взмә” 


n 


THE B.M.0.C. 
THE BROTHERS FOUR, who left 
Washington University to join the 
fraternity of folk song best-sellers, 
now represent tho B.M.O.C. (Best 
Music On/Off Campus). 
B.M.O.C.^ 


SOEST MUSIO ON/OFF CAMPUS/THE 
BROTHERS FOUR/CL 1578/C8 8378* 


LOVE SONGS REVISITED 
RAY CONNIFF, his Orchestra and 
Chorus remind you that fondest 
memories are made of songs like 
"Му Foolish Heart," "Only You" 
and "Love Letters in the Sand." 
CONNIFF'S ingratiating arrange- 
ments Көөр these favoritos unfad- 
ingly bright. 

MEMORIES ARE MADE OF THIS/RAY 
CONNIFF/CL 1674/CS 8374" 


FAIR "CAMELOT" 

Lerner and Loewe, the magicians 
who conjured up “Му Fair Lady,” 
cast an even lovelier spell with 
their latest musical triumph, 
“CAMELOT,” It's a happy mixture 
of old English legend and en- 
chanted пем melodies, presented 
by Richard Burton, Julie Andrews 
and the entire Broadway Original 
Cast. 

CAMELOT / ORIGINAL CAST RECORO- 
ING/KOL без/ ков 203° ТАРЕ: 
тов 100 @-TRACK) OQ S44 (4-TRACK) 


There are other splendid sounds 
of "CAMELOT" too. PERCY 
FAITH arranges and conducts a 
suave instrumental version of the 
scoro. 

MUSIC FROM LERNER AND LOEWE’S 


CAMELOT / PERCY FAITH AND HIS 
ORCHESTRA / CL 1570 / сз 8870" 


Расе 


А КЕД 
Preis ОЛЕШ 


Pianist ANDRE PREVIN and his 
with the tunes. 


ANDRE PREVIN/CL 1609/ CS 8309* 


JACK DOUGLAS’ 
BROTHER'S BROTHER 
JACK DOUGLAS, the “My Brother 
Was an Only Child" fellow, is a 
sabre-toothed comic. He was cap- 
tured (by a tape recorder) one 
typically riotous evening in a New 
York nightclub (the Bon Soir), 
complete with deadpan delivery 
and dolighted audionco. 


JACK DOUGLAS/AT THE BON SOIR/ 
CL 1667/C8 вз5ї* 


33 singles: A happy new 
note. Many of your favorite 
singers and their songs 

now available too on neat 
7-inch single records at 
your favorite speed — 33. 


THE QUINTET 
OF THE YEAR 


It’s an historie occasion when the 
spirited DAVE BRUBECK QUAR- 
TET is joined by a singing voice 
=the sturdy baritone oi JIMMY 
RUSHING. The resulting Quintet 
produces a rousing jazz "col 
laboration. 


THE DAVE BRUBECK QUARTET FEA- 
TURING JIMMY RUSHING CL 1558/ 
CS sass 


"STEREO 


yours on 
COLUMBIA 
RECORDS 
® 


© "зити", © Marcas Ren. Printed U.S. A 


19 


PLAYBOY 


20 


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nor creative, 
staff has decre: 
definitely feel a 


nd our respect for your 
sed tremendously. We 
printed apology is neces 
that it will 


sary. but doubt sincerely 

repair the damage already inflicted. 

Bigotry has no place in a publication. 
Larry Tepper 


Steve Heald 

Lon Zimmerman 

Syracuse, New York 

Those who seek out bigotry and find 

it where none exists, play into the hands 
of bigots. pLaynoy, and cartoonist Shoe- 
maker, were lampooning those who de- 
ny anyone service at a lunch counter (or 
anywhere else, for that matier) оп the 
basis of shin color, The А 
think, uses the sharp tool of wit to point 
up one of the ludicrous inconsistencies 
of bigotry. 


cartoon, 


PARADISE REGAINED 

November's Acapulco piece was really 
the gr 
of the four months I spent there last 
year living on the beach next to the 
El Presidente Hotel. 1 must correct 
something. The shot labeled “greeting 
the sun on û neardeserted beach" would 
have made more sense as "the sunset.” 
But 1 really loved it all, from Las Brisas 
Hilton to Rio Rita's. Keep up the good 
work. 


st. It brought back memories 


Sylvia Boccker 


Denver, Colorado 


Your article gave а very real. picture 
of Acapulco. There is one correction 
we'd like to make, however: our shop is 
named La Nao, instead of La Noa as 
reported. Note to playboys: We always 
have beer and rum drinks on ice in the 
back room for the end in relaxed shop 
ping. 

Frank Longoria, Jr. 
Acapulco, Mexico 


What timing! As I was enplaning for 
Acapulco, I picked up a November issue 
with its article on the Riviera of the 
Americas. The reporting was truly ac- 
curate and broad eno 
guide to the area. Thank vou for mak- 
ing my trip rLavnoy perfect. 

т. Justin Altshuler 
West Newton, Massachusetts 


h to serve as a 


Your take-out on Acapulco was very 
descriptive and complete. In 
words, it was the most. Who needs a 
travel agency when we have pLaynoy? 

Robert Tucker 

Jim. Crocker 

Philip Collins 

Kal 


For new and exciting de 


other 


700, Michigan 


elopments on 
the PLAYBOY travel front, check Playboy's 
International Datebook, page 136. 


JACKIE WILSON 


m 


я 
‚кы 


The singer who creates the hits, “A 
отоп, A Lever, A Friend,” “Nighi 
All My Love,” many others. 

BL 54059 BL 754059 (Stereo) 


та 
E 


MR. NEW ORLEANS, PETE FOUNTAIN, 
meets MR. HONKY TONK, BIG TINY 
LITTLE. A fobulovs musicel perley. . 
a natural for stereo. 

СВІ S7334 CRL757334 (Stereo) 


HAUGHTY 
YAUGRTY 
HAUGHTY 


TERESA 
BREWER 


For everyone who digs on old song 
sung young. You might enjoy singing. 
along. 


CRL 57329 CRL 757329 (Stereo) 


Songs in o romantic mood by the 
McGuire Sisters... for every him and 
her who's ever been in love. 

CRL 57337 CRL 757937 (Stereo) 


LISTENING 
BEGINS WITH 
TOP TALENT ON 


CORAL 


RECORDS 


Ps 5 
#ййшу of Decca Record 


КАЛУУ? 


RECORDS 


PLAYBOY AFTER HOURS 


s if you didn't know, thirty days hath 

September, April, June and Novem- 
ber, while all the rest have thirty-one — 
except February. Why February? Blame 
Caesar Augustus, who robbed February 
to enlarge his name-month of August. 
Now, we're content to let dead Cacsars 
lie, but, as Mark Antony pointed out, 
we're not wood or stones, and we can't 
help being touched by the remarkable ac- 
complishments ol little February. Here's 
the mouth in which the ground hog 
chooses to come out (he might just as 
easily have chosen March). Here's the 
month without which Washington and 
Lincoln would have had nothing to be 
born in, the month that gave us Charles 
Dickens and Jimmy Durante, Babe Ruth 
and Adlai Stevenson, Gloria Vanderbilt 
and Gypsy Rose Lee, Elizabeth Tay 
lor and Kim Novak. Think what addi 
tional genius, talent and pulchritude 
February might have created had she 
gotten the two or three days that were 
coming to her. But there she's been stand- 
ing for centuries, smaller than all the 
rest, braving the fiercest weather of the 
year, with few friends to her name, which 
comes, incidentally, from a Sabine word 
meaning cleanliness. Now, at long last, 
a chap we've heard from is organizing a 
society to right the injustice. The 
Friends of February, he tells us, will 
crusade to get back all the days stolen 
from their favorite month down through 
the ages — roughly, two days а year for 
the past two thousand years. After he 
has rounded up these many lost weck- 
ends, our man proposes bunching them 
into one long month, each day of which 
will recur upwards of one hundred and 
forty times before the next day appears. 
Offhand, it sounds OK. While a stretch 
of a hundred and forty ground-hog days 
might begin to pall towerd its end, we 
look forward expectantly to those weeks 


and weeks of nothing but St. Valentine 
Days. OF course, as your accountant will 
point ont, there may be some strain in 
meeting fistof-the-month bills one hun 
dred and forty February firsts in а row, 
but remember, after this trying period 
we'll all have а breathing space of more 
than ten years before March 1 rolls 
around 


According to a report by Columnist 
Terry Tumer in the Chicago Daily News 
television guide, a new form of video 
fare may usurp Gunsmoke’s place in the 
hearts of viewers. Describing it (with the 
misguided aid of a linotype operator), 

urner noted: “It’s my guess that WGN's 
program that night, Scat Huni, drew a 
higher rating than any of the network 
shows. 


he spirit is willing, but the flesh is 
weak" was one of the phrases fed into 

n electric computer during recent c 
periments in uanslation by machine. 
The computer dutifully translated it 
into Russian, but when a translator put 
it back into English it came out: “The 
liquor good, but the meat ha 
gone bad. 


Euphoria is here and nirvana is just 
around the corner, some of the big pha 
maceutical houses would have us bc- 
lieve. The descriptive literature sent to 
doctors by опе drug company had this 
to зау about one of its pills, which 
seems to transcend simple tranquility. 

he drug will be widely useful, its maker 
s. in relieving distress marked by 
- . discouragement and pessimism, tear- 
fulness and depression, anxiety, nervous 
fears and phobias, irritability, excitabil 
ity and agitation, sensations of weakness 
and exh y and loss 
of interest, and overeating.” Reminds us 


ustion ... 


of a game some of the agency folks were 
playing awhile back, in which they 
thought up patent medicines for neu- 
тойс ills, and the accompanying ad cam- 
paigns. There was, for instance, “IQ — 
‘The Gum For The Dumb." “Fight That 
Death Wish!" went another. "Take 
NecroSeltzer!” Then there were Schizo- 
Tabs ("Just pop one into your mouth 
whenever you fecl your personality split- 
ing") and another that cautioned, 
Don't take other people's things . . . 
take gentle, fastacting Klepto Bismol!" 
Perhaps someone will come up with a 
cure for a disease newly discovered by 
Buddy Hackett — anti-acrophobia — the 
fear of not being high. 

The Rock Island (Minois) Argus, re- 
porting the adventures of what can only 
be a child prodigy: "Stanley E. Knudson, 
8, of 410 49th St, Moline, w fined 
$100 for fornication, $25 for discharging 
a firearm in the city and $25 for dis 
turbing the peace 


Variety's Abel Green, after pondering 
the “efficiency” of the efficiency experts, 
circulated among his cronies the kind of 
report а time-and-motion-study 
might turn in after a visit to the Salz- 
burg Music Festival: "For considerable 
periods, the four oboe players had noth- 
ing to do. The numbers should be rc- 
duced and the work spread evenly over 
the whole of the concert, thus climinat- 
ing peaks of activity. . . . There seems 
to be too much repetition of some musi- 
cal passages. No useful purpose is served 
by repeating on the horns a passage 
which has already been handled by the 
strings. .. . All the twelve first violins 
were playing identical notes. This seems 
unnecessary duplication. . . . The con- 
ductor agrees generally with these recom- 


man 


mendations, but expresses the opinion 


21 


PLAYBOY 


22 


DAWN 


Soft sunlight shades that give added fashion emphasis 
to your Spring ensemble. Subtle elegant all-silk 
foulards—young man's favorite. $2.50 


Other Wembley Ties to $5.00 at fine stores everywhere. 


Wembley 


Only Wembley 
has the A 
COLOR GUIDE 
for correct 
match with 

suits and 
jackets. 

Look for 
Wembley! 


that there might be some falling off in 
box-office receipts. In that unlikely event, 
it should be possible to close sections of 
the auditorium entirely, with a conse- 
quential saying of overhead expense. 
+++ If worse came to worst, the whole 
thing could be abandoned, and the pub- 
lic could go to the Bayreuth Festival 
instead.” 


RECORDINGS 


“Genius” has become a two-bit word 
in the lexicon of the liner-note literati; 
it is tossed with wild abandon and equal 
fervor at Wanda Landowska and Law- 
rence Welk. We have no quarrel with 
the approbation, however, when it's 
plied to Gerry Mulligan, the poet lau- 
reate of the baritone sax. The Genivs of 
Gerry. Mulligan (Pacific Jazz) is a meaning- 
ful chronicle of the years (1952-1957) of 
з ascendancy to the ranks of 
2 greats. It includes a number of 
previously unreleased items and a re- 
examination of several by-now historic 
efforts. One facet of Mulligan’s genius is 
his ability to attract and inspire such 
lights as Chet Baker, Bob Brookmeyer, 
Chico Hamilton, Red Mitchell, Lee 
Konitz, ct al. They are sprinkled lib- 
erally throughout the time-tested Mulli- 
gantuan memorabilia, including Get 
Happy (59), Bernie's Tunc (52), 1 Can't 
Believe That You're in Love with Me 
53) and Polka Dots and Moonbeams 
(54). Through it all, the incandescent 
Mulligan horn reigns supreme. 


We are spilling no beans when we 
that Paul Weston and Jo Stafford (his 
frau) have achieved the pinnacle of pa- 
thetic perfection as Jonathon & Dorlene 
Edwards іп Poris (Columbia). Their first 
offering, The Piano Artistry of Jonathan 
Edwards, was a masterpiece of multiple 
clinkers, horrendous arpeggios, and Hat- 
ted fifths, sixths, sevenths and cighths, 
with Jo singing like Carmen Lombardo 
on an off night, and Paul Weston's 
piano sounding as though he were p 
ing it with his feet. Now, that in 
effort seems positively mnellifluous by 
comparison. Paris recovered magnifi- 
cently from the German occupation; we 
defy it to do the samc aftcr Jonathan 
and Darlene's merciless а "There is 
devastating artistry involved in the mur- 
der of La Vie en Rose, April in Paris, 
Paris in the Spring and Mademoiselle 
de Paris; it is extremely difficult, for c: 
ample, for Jo Stafford, with her near- 
perfect pitch, to sing so consistently off 
key. But, with steely nerve and ear of 
tin, she carries it off beautifully. Put us 
down as charter members of the musical. 


masochists club for whom the Weston” 


dissonance lends enchantment. + 
Nino ot Newport (Colpix), etched during D l S K 
this past summer's abbreviated festivi- 


ties, is an attractive sounding of Miss 


Simone's musical depths. With a rhythm А i allasi 5 
a es qlee ray Me pT ] Dusty olive tones in all silk foulards, especially 
and sings her way through a dite designed to go with Spring's new black-olive and 

full of ballads, blues and stomp tunes putty shade suits . . . another of the fashion-color 


delivered with a contagious gusto and a 
highly communicable sensitivity. Miss 
Simone's voice, rough-hewn around the 
edges, always seems on the verge of a Э M 
cracking but never docs. Instead, 

takes to varying tempi with an astonish [0 em b | et 
ing ease and adaptability worthy of a wet eer a chon tuve 

far more experienced hand. The change 
of pace is particularly delightful as Nina 
and friends go from the poignant Porgy 
(the Jimmy McHugh Dorothy Fields 
version) to the trip-hammer Little Liza 
Jane. 


ideas that never stop coming from Wembley. $2.50 


Former Sid Caesar sidekick Сап 
Reiner plays straight man for TV cor 
edy writer Mel Brooks on 2,000 Years wi 
Coil Reiner and Mel Brooks (World Pacific), 
a set of satiric dialogs recorded before a 
studio audience. Interviewer Reiner 
pursues Brooks in a slew of setting 
from coffechouse to Argentine jungle 
to psychiatrist's office to Army base, 
with Brooks playing the various inte 
viewees. As the headshrinker confronted. 
with a twisted chick who spends her days 
shredding paper, Brooks advises, "Go 
out and meet people. Go то a socia 
function." As folk singer Charlie Grape. 
he chants Twenty-Two Men Fell Down 
and Broke Their Knee. In the disgi 
of singingrape Fabiola, whose latest 
platter sold seventeen million copies, 
Brooks defines his succesful crooning 
style: “It’s dirty, man." The best mo- 
ments, however, occur during Reiner's 
interrogation of a two-thousand-ycar-old 
Brooks. Says the latter: “I'll be two 
thousand on October sixteenth . . . I 
ever touch fried food . . . I have 
over forty-two thousand children and 
not one comes to visit me. How they 
forget a fatherl . . . Let ‘em be happy, 
but they could send a note, 
name the "greatest thing т 
vised,” Brooks responds with “< 
Wrap." And when Reiner pleads for the 
old-timer’s philosophy, the ancient re 
plies, “Keep a smile on your face and 
stay out of small Tta Not all 


Photography; Jacques Simson 


n cars.’ 


the tries, most of which scem to һе ad 
io 


lib, hit the mark, but Brooks, a cu 
combination of Irwin Corey and Sid 
Cacsar, has enough lively moments. to 
sustain matters. Lively is the w 
for much of the cayorting of British 
Peter Sellers on The Best of Sellers (А! 
Juggling situations and dialec Only Wembley has the COLOR 
the film comic lampoons the sto GUIDE® for correct match 
cal speech, a radio panel discussion, a | With suits and jackets. 

production of My Fair Lady in India | Look for Wembley! { 


‚оо, 


PLAYBOY 


24 


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ALOHA 
ALWAYS IN NY HEART 
AMERICAN PATROL 
ANGEL CHILD 


THE LAMPLIGHTER'S 
SERENADE 
LET'S DANCE 
LITTLE BROWN JUG 


BABY ME LOVE WITH A CAPITAL "YOU" 
BLESS YOU MAKE BELIEVE 
BLUE MOON MELANCHOLY BABY 
Jea. Ares 12 Veen 24. 12 pop vee en 9. Ортеке П, tae S BLUE MOON a MELANCHOLY BABY | 
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GLEN ISLAND SPECIAL 
HERE WE GO AGAIN 
THE HOP. 

1 CAN'T СЕТ STARTED 


1 GUESS I'LL HAVE TO 
CHANGE MY PLAN 


IMAGINATION 
INTRODUCTION TO A WALTZ 
IT MUST BE JELLY 
JAPANESE SANDMAN 
JUST A LITTLE BIT SOUTH 
OF NORTH CAROLINA 
KING PORTER STOMP 
LADY BE СООР 


esee 


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SLEEPY TOWN TRAIN 
SLIP HORN JIVE 
STOMPING AT THE SAVOY 
STRING OF PEARLS 
SUN VALLEY JUMP 
SWEET ELOISE 
THERE'LL BE SOME 

CHANGES MADE 
TWENTY-FOUR ROBBERS 
UNDER A BLANKET OF BLUE 
WEEKEND OF A 
PRIVATE SECRETARY 
WHAT'S THE MATTER WITH ME 
WISHING WILL MAKE IT SO 
WONDERFUL ONE 


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25 


PLAYBOY 


26 


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(in which the heroine is a Bombay Un- 
touchable who becomes Touchable 
nine-year-old pop singer, the hoary 
movie travelog (Balham —Gateway to 
the South) in the m 
the folk-song rage rock^n"roll 
trepreneur. In the latter, Sellers p 
The Major, discoverer of Clint 
gh, Nat Lush and The Fleshpots 
During am interview with a staid lady 
of the press, The Major introduces his 
current cretin, Twitt Conway. When 
the lady asks Twitt, “Are you fond of 
Shakespeare?" the hip-wwitcher replies, 
“We're just good friends.” Sellers wraps 
up his first LP with a track tagged Peter 
Sellers Sings George Gershwin. That's 
exactly what he does. He sings, “ч 
Gershwin." 


Alter undergoing the emotion: 
of hearing Sviatos! 
debut with the Chicago Symphony Or- 
chestra (under Erich Leinsdorf), and 
concurring in the audience's thrilled 
ovation, we wondered to what di 
we'd been influenced. by mass reaction 
to his readily apparent technical bri 
liance. Brahms Piano Concerto Number 2 in 
B-Flat (Victor) gave us the opportunity to 
hear that part of the concert over ар; 
We did so three times, over a long wi 
end, and compared Richter's recording 
with two other readings, those by Rubin- 
їп and Serkin, both of which are of 
hest excellence. Yet Richter, on 
ng, seems — incredibly — to have 
topped these acknowledged masters. B 


comprehension of the com- 
poser's whether delicacy or lyri 
cism is called for, or power, or fantastic 
virtuosity — as in the second movement, 
designated. allegro appassionato, which 
Brahins, with wicked humor, described 
in a letter as "a little wisp of a scherzo. 
‘The fact that the transcription was ac- 
complished under difficult circumstances 
n record time is interesting but beside 
the point; the finished. product, which. 
js what counts, m; d as the major 
ecording of this ntic masterpiece. 


Shelly Manne & His Men ot the Black Howk 
(Contemporary) is an ambitious four-vol- 
ng of a date the group played 
n Francisco's famed modern jazz 
. Only Volumes 1 and 2 have 
sed to date, but let us be 
teful for the tasty hal-loaf proffered. 
The men on hand are bassist Monty 
Budwig, trumpeter Joe Gordon, Richie 
Kamuca on tenor, and Victor Feldman, 
abandoning: his vibes here for the less 
exotic 88s, From Volume 15 opening 
bars, it becomes excitingly apparent that 
the on-the-sccne atmosphere has put a 
most salutary glow on the proceed- 
ings. Summertime, Frank Rosolino's jazz 
waltz Blue Daniel, Benny Golson's Step 


Lightly, Charlie Mariano's Vamp's Blues 
and the Burke-Haggart classic What’s 
New are taken up tenderly and not put 
down until each musician has had time 
to elaborate fully on the subject before 
m. Vamp's Blues, in particular, is а 
stunning set of variations on a bı 
theme. Kamuca's e 
unearthly quality about it that will raise 
the hackles at the nape of your neck, 
Gordon's larger-than-life trumpet is a 
tower of strength throughout, and Bud- 
s work is а thing of somber 
ну. The two uptempo items, Tadd 
neron’s Our Delight and the surpr 
ingly quick-paced Poinciana, display 
joie de vive positively hyperthyroid lor 
the late, late hour at which they were 
recorde 


ended solo has an 


wig's bı 


Before 1958, nomadic Miriam Ma- 
keba roamed through Rhodesia, the 
Belgian Congo and South Africa, sing- 
g with a group known as The Black 
Manhattan Brothers, In ‘58 she departed 
her Johannesburg home for London: 
from there she headed for America, to 
bring her unique repertoire to U.S. 
audiences. A wideranging sample of 
that repertoire is now available on her 
debut disc, Miriam Makeba (Victor). As- 
sisted by the Belafonte Folk Singers 
(Harry's one of her boosters) and guitar- 
ist Perry Lopez, Miss Makeba offers — 
h pointed simpl and charm— 
Jikele Maweni, warrior's retreat 
song; Unhome, ment; Nomeva, 
a Xosa love song; Iya Guduza, а lightly 
flowing Zulu relrain, and assorted folk 
melodies from Africa, Indonesia, Aus 
tria and way down yonder in New 
s (House of the Rising Sun). 
most appealing on The Click Song. 
wedding tune punctuated by 
clipped clicking sounds native to her 
Хо tribal everythi 
tries, she cli 


DINING-DRINKING 


Basin Street East (137 East 48th), one of 
ew York's top Jazz and Joke rooms, is 
n by Ralph Watkins, who won his 
ipresario’s spur 
Street and at the New York E 
Watkins is a firm bel i 
entertainment and he 
the old Paramount Theatre extrava- 
ganzas left off. BSE's shows major in 
music, but there's often a top comic as 
an added attraction — Mort Sahl has 
1 its podium to deliver his unique 
nd of social and political funditry: 
Don Rickles, in his first New York ap- 
nce, insulted everything that 
wasn't nailed down; and Lenny Bruce 
dumped some ars 
bowl this Cl 


ust 


the voices 


FOUR FRESHMEN 

Freshman arithmetic: 4 Freshmen + 10 
years with Capitol =12 incomparable 
selections. Fools Rush In; My 

Funny Valentine; It's Only A 

Paper Moon; If | Knew Then; 
Getting Sentimental Over You; 

It Happens Every Spring; Dream; 

But Beautiful; etc. The boys play 
their own backing. (сут 1465 


swingin’ session!!! 


X 


A 


DAKOTA 
IDAIKOJHAÎ 
DAKOTA 


O DAKOTA 
Old Ones—and new ones, that 
тау be tomorrow's standards! 
The Masquerade Is Over; If! 
Love Again; 9 more. (5)Т 1400 


á 


D FRANK CORDELL 
Intoxicating arrangements for 
every taste. Get Happy; April In 
Paris; Sing For Your Supper; 
Summertime; 8 тоге. (Syr 102 


т 


О BROADWAY "1 

Make sure you know the scorel 
A collection of hits from the 
four most sparkling shows now 
playing on Broadway. (ST 1480 


POURCELS PAST s) 


FRANK POURGEL Eo 15 ORCHESTRA 


O FRANCK POURCEL 
Soft lighls and soft shades of 
romance. Laura; Night And Day; 
Petite Fleur; Misty; more with 
famed Pourcel finesse. (бт 10260 


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There's no secret in this 

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Something To Me. Result? 


Perfection | syw 1491 


dene 


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O GREAT SMASH HITS 
A volume of pop music history! 
Sonos and stars that sold ten 
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Sürring Paso del Regimiento; 
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SAWYER'S, INC. Portland, Oregon 


comics may offer a change of pace, but 
on-beat musicians are still the main 
event. The bandstand has supported the 
sounds of George Shearing, Herbie 
Mann, Erroll Garner, Neal Hefti, Chris 
Connor, Peggy Lee, and the man who 
asin Strect East on the enter 
Benny Goodman. The 
future looks just as bright, with Quincy 
Jones and Georgie Auld, return trips 


for В. С. and Peggy Lee, and a spring 
outing for Ela on the agenda. The 
show, when we caught it, featured 
Charlie Barnet, Billy Eckstine and 


Rickles, and was a wildly typical pot- 
pourri. Though the room holds 350, 
it is surprisinely intimate. The decor 
picks up on the Basin Strcet tag, with 
New Orleans touches that include weep- 
ing willows and stained-glass windows. 
Acoustically, the music comes through 
with plenty of drive and presence, but 
with none of the carspliting quality 
found in many jazz dens. The kitchen 
delivers a variety of dinner and late- 
evening morsels, with Far East fare fill- 
ing most of the menu and the customers: 
beer and booze go for $1.50 per. The 
no cover or minimum, but there is а 
Music Charge” of three dollars per 
person, which entitles you to just sit 
and listen to your ears’ content. The bar 
offers its hospitality for a tvo-drink 
minimum. Shaw time, during the week, 
is at ni nd midnight, 
extra stanza at two лм. on Fridays and 
Saturdays. Sundays, all is still. 


with an 


FILMS 


Ingmar Bergman's admirers tend to 
introduce their praise with apologies. 
Apologies, then, on his behalf for the 
lack of thematic clari d consistent 
dramatic tension in his newest film, The 
ing. But, let us add at once, this 
retelling of a Fourteenth Century Swed- 
ish legend is a work of superior photog- 
raphy and act like The Seventh Seal, 
remarkable medieval tex- 
and— Bergman to the core—it 
pples with serious questions of moral 
ity and faith. An innocent girl is raped 
and murdered: when her body is lifted. 
Irom the spot. a spring bursts forth. 
Admittedly, the picture moves slowly up 
to the murder and the father's bloody 
revenge — while Bergman, as usual, goes 
about racking up a set of symbols. (For 
instance, the chicf rapist is mute; his 
tongue has been cut out for a crime. 
Presumably this symbolizes that vindic- 
ve society has deprived him of the 
normal means of asking for love.) Still, 
no other contemporary director can so 
alvanize all the techniques of 
and cutting room to hurl a fi 
torch into the spiritual 


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only briefly, providing a shadowy elimpse 
of a mysterious beyond, but it does flare. 
Anyone who is willing to abide an oc- 
casional longueur for the opportunity 
10 spend an hour and a half in the com- 
pany of a poet and visionary will want 
to see this film. 


The Wackiest Ship in the Army is much 
its title. Sparked by Jack 
ar-perfect performance, it 
а movie doesn't really need 
new gags, it only needs to put over the 
old ones. Pedants will doubtless trace 
the pedigree of this spoof of the services 
to some of the war jokes of Aristophanes. 
What of it? Suppose we have lost count 
of the number of times we've scen peo 
ple bump their heads standing up sud- 
denly in а stateroom? Or earnest young 
men c out unheroic asignmenc? 


brighter th 


Lemmon's n 
proves th 


g of Lemmon. The story. tightly di 
rected by Richard Murphy. deals with 

Savy lieutenant who is assigned to 
decrepit sailingship through 
enemy waters from Australia to New 
Guinea with а crew that has never been 
under canvas before. There is a final 
shoot-out with the Japanese and, believe 
it or not, the young Japanese officer 
who temporarily captures the sailors is 
a UCLA grad who speaks idiomatic 
American. No, the authors haven't omit- 
ted a thing — except to explain the word 
“Army” in the title. The film deals єх 
clusively with the Navy. 


The Facts of Life is а funny picture about 
а husband and а a's wife who 
have loathed each other for years, are 
thrown together for a couple of days, 
and fall in love. This Bob Hope-Lucille 
Ball vehicle, however, can't be said to 
prove that philandering is fun. For one 
А aspiring adulterers аге un- 
comfortable а good deal of the time. 
For another, sin never quite gets a fair 
chance to state its case; he and she are 
headed for the hay, but dhey are saved, 
for their respective marriages and. your 
neighborhood theatre, by a series of cen- 
sororienied accidents. Stll, they do 
come close enough. for comedy. Hope 
timing is up to par. and Miss Ball, tha 
deceptively wry comedienne, comes on 
looking like a full-blown, slightly gag 
chrysanthemum. This Norman Panama 
Melvin Frank production is the best 
Hope picture in а long time — and that 
is meant as somewhat more than faint 
praise. 


other т 


Sophia Loren is in A Breath of Scandal, 
and that ought to be information enough 
lor апу male. Is there a more beautiful 
woman alive? Not doll and not girl: we 
said woman. It is painful to report that 


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in this film she is so miscast and so 
abominably directed (by old-timer 
Michael Curtiz) that she gives her worst 
performance to date. Nor is she helped 
by а script which is a brutally ravished 
Molnar play (Olympia) — hardly one of 
the Magyar master’s best to begin w 
Miss Loren, as a Viennese aristocrat 
of Franz Josef's era, is wooed by a semi- 
animated bottle of hair-oil named John 
Gavin. Her father (Maurice Chevalier, 
of all people) has arranged а marria 
for her with a С 
well, that’s enough of that. It's а walt 
in lead boots, redeemed only by the 
chance to see Miss Loren, wasp-waisted 
and décolleté, in some wonderful fin de 
siécle clothes. 


rman prince and . . . 


One snip of the scissors would make 
Exodus a superb picture. The first hall 
of this threc-and-a-half-hour film is over- 
whelmingly true and moving. Its hard 
not to be moved by the story of the six 
hundred and eleven battered Jewish 
refugees who resolve to die of hunger 
оп board ship in a Cyprus harbor if they 
are not permitted to sail to Palestine. 
The converging forces of the Jews 
Twentieth Century history arc «сс 
tively personified by Paul Newman, the 
Palestinian who leads the exodu 
Richardson, the British gene 
ing a private conflict between duty and 
fecling; Eva Marie Saint, ап Americ 
widow who tries to stay aloof from the 
affair: and Sal. Mineo, a young survivor 
of Auschwitz, But then the hungerstri 
ends, the ship reaches Palestine 
whole thing becomes just another Techni 
color action show. The herocs become 
too heroic, the prison break too patently 
cinematic, and the Israeli-Arab conflict 
takes on tinges of a Near-Eastern. West- 
em. Leon Uris’ bestselling novel held 
millions because its third-rate prose and 
corny contrivances had an underpinning 
of terrible truth. For the first part of 
this film, screenwriter Dalton Trumbo 
and director Ouo Preminger have cut 
through the rubbish to thrust those 
truths at us; in the second half Uris un- 
fortunately overcomes them 


ACTS AND 
ENTERTAINMENTS 


Bill Henderson, who did surprisingly 
well for a new vocalist in pLaynoy’s fifth 
annual Jazz Poll (see page 134 of this 
issuc), put in an appearance recently at 
the Playboy Club Library in the Windy 
City, and it was there we caught him. 
Bill is a visual singer. When he rocks 
with the likes of Bye Bye Blackbird, he 
rocks. From the extra-thick horn-rimmed 
glasses (a trademark) tight on down to 
his thin-soled shoes, Henderson is all 
wrapped up in his work. As a matter of 


fact, we had the fecling that if the 
sound were cut aff, rhe audience would 
still get a charge from Bill's frenetic ac 
tivities. This is not to slough off Hen- 
deron's vocal talents. His voice, in 
timbre and phrasing, has а modicum of 
Ray Charles in it, but with almost none 
of Charles raw edge, a finesse which 
stands him in good stead when he's 
balladecring. Love Locked Out and the 
first chorus of I’ve Got You Under My 
Skin were beautifully showcased. But 
Henderson's r 


n appeal lies rooted in 
the up-tempo items in his songbook. His 
opener, Old Black Magic,and Hallelujah. 
1 Love Her So (the Ray Charles swinger) 
turned the Library into a camp meet 
The Blackbird signoff was a ра 
arly effective way of leaving things 
at their peak, and Henderson very pro- 
fcssionally knew when to strike the set. 
His fist LP, incidentally, Bill Hender- 
son (Vec Jay) contains, 
of the tunes menti 
vat Rodgers and Hart 
y Valentine and It Never Entered 
Aly Mind, which almost never had it so 
good. For a recent arrival, Henderson 
has undance of vocal and visual 
re; he should go far and fast. 


ticu 


ballads, 


THEATRE 


The Unsinkable Molly Brown is based 
loosely on the lusty, gusty times of onc 
Molly Tobin, an Irish chambermaid 
who married Johnny “Leadville” Brown 
and his silver mines around the turn of 
the century, made a grand play for so- 
cial recognition and culture, and cli 
maxed her career by getting off the 
sinking Titanic with her feet dry, Mere- 
dith Willson has written another ver- 
хийе score counterpointed in Ameri- 
cana. He offers a rowdy drinking chorus. 
Belly Up to the Bar, Boys, and mutes 
his brasses for such ballads as /f 1 Knew 
and Dolce Far Niente. Director. Dore 
Schary does a nimble job of pacing 
Molly's social climbing Irom a Missouri 
shack and a Colorado saloon to thc 
exalted manses of Denver (where she is 
royally snubbed) and the gilded salons 
of Paris and Monte Carlo (where the 
impoverished nobility recogn 
thing when they sce it). But itis Tammy 
Grimes, timate actress turned song: 
and-dancer, who gives this unsinkable 
Molly her life preserver. Somewhere be- 
tween the gamin in homespun and the 
mmy 
iurns beautiful before your eyes. And 
when she sings, the enchantment is com- 
plete. Not that the girl has any kind of 
voice you have ever heard before. It is 
strictly her own, gravel-harsh and shrill- 
sweet, but it does wonders for Willson's 
score. Baritone Harve Presnell helps 


e а good 


lunar... 
and lovely! 


Toni Harper, swinging siren of the Sixties, sings 


‚ liquid tone. And never with greater 


with a pearl; 
effect than here, where she serenades the night. 
With romantic ballads like “In the Still of the Night" and 
“Night after Night,” Toni puts you right into a moonlit mood! 


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mightily as a hulking Johnny, and the 
nd dancing, in general, 
. But only the tomboyish 
is irresistible. At the Winter 

v and 50th Street, NYC. 


Whiting down Allen Drury's fat. 
Pulitzer Prize-winning novel, Advise ond 
Consent, to stage size was a muscular job 


— and here and there the rough edges 
show. 


But the overall result is a vivid, 
report on knife-wielding 
ition’ capital. Loring Mandel's 
ion sticks to the main theme 
novel — a “White House 
* liberals and. 
“good” reactionaries over a. Presidential 
appointment for Secretary of State. On 
one side is The President of the U.S. 
(Judson Laire manipulator who is 
determined to have a man named Hunt- 
ington (Staats Cotsworth) for the job. It 
has been proved that Hunti 
under oath when he denied a one-time 
affiliation with a Communist group, but 
the President still sees him as the strong 
man needed to deal with a Russia that 
has just landed a rocketload of men on 
the moon. Stringing along with the boss 
are his loyal Majority Leader (Chester 
Morris), opportunist Senator Van Acker 
man (Kevin McCarthy), as well as а 
sorted party hacks, Lined up a 
formidable faction. are. elder states 
Onin Knox (Ed Begley): guileful, South- 
ern-drawling, venom-ongued | Senator 
Scab Cooley (Henry Jones): and dedi- 
cated Senator Brig Anderson. (Richard 
Kiley) who holds the information that 
n quash Huntington’s appointment. A 
s comes when Мап Ackerman uncov- 
long-forgotten incident of homo- 
itv in young Anderson's wartime 


hoyant, 


of the 
free-for-all between 


SCAU; 


past. All these roles аге forcefully en- 
acted, and Director Franklin. Schaffner 
keeps an inordinate number of con- 
мапу shifting scenes moving with the 
fluidity of а motion picture. The cli 
muctic hassle on the Senate floor is a 
capsule masterpiece of stag t. Advise 


and Consent m 
ism and pe 
ing theatr 
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under the lighted Christmas tree. Daly's 
зот is relieved by the arrival of war- 
time buddy Robert Webber, with Bar- 
bara Baxley, his Texas bride — but only 
for a moment. The honeymooners are 
in worse emotional shape than he is. 
apparently happened on 
night together at The Old 
Man River Motel —or, rather, nothing 


Bride and groom separately explain 
their situation to Daly, and he in turn 
unburdens the story of his five-year mar- 
ge to the wallflower daughter of his 
althy employ a result of all this 


mutual soulbaring the play is notably 
short on action, but it is fascinating to 


Williams, that master- 
cl the kinks of the two thi 
marriages. compound some elementary 
psychology with explosively funny dia- 
log, balance a bawdy bull session on sex 
with moments of genuine tenderness, 
and finally nudge his characters into the 
solution of their problems — the marital 
bed. At the Helen Hayes, 210 West 46th 
Street, NYC. 


watch 
un 


A Teste of Honey 
youn 


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adult. A t idoned by her 
floozie of up with a 
lor out of sheer loneliness, be- 
gnant, is abandoned when his 
and adopts а wispy homo- 
sexual to take care of her and the house 
while she cheerfully awaits the hours of 
labor. Delaney’s people have 
guts and courage; their humor is out of 
the alleys and the music halls. Directed 
by Tony Richardson and George De 
vine, the cast performs with sensitivity 
and force: Angela Lansbury as the 
blowsy blonde mother, Nigel Davenport 
as her lush lover, Billy Dee Williams 
the Negro sailor, and Andrew Ray as 
y godfather. But most of all, 
Honey is a personal triumph for Joa 
Plowright as the girl with a heavy 
of mischief to bear. Miss Plowright is 
one of the finest young 
either side of the ocean, and Shelag| 
Delaney's play benefits immensely from 
her services. At the Lyceum, 149 West 
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BOOKS 


The reader need only glance at the 
opening pages of John Updike's second 
novel, Rabbit, Run (Knopf, $4), to be in 
impressed by the depth and range of 
this twenty-cightyear-old writer's talents, 


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but like much of his earlier work, his 
new book is oddly disappointing. In a 
sense, Updike's trouble is that he sim- 
ply sces too much. In Rabbit, Run, for 
instance, he describes a small-town Penn- 
sylvania neighborhood at dawn, the 
smell of the interior of а new car, the 
sound of a basketball against a bac 
board. the sensations of sexual inter- 
course, and even the taste of semen — 
like sca water, says Updike, throi 
thoughts of a young prostitute — so 
graphically that, st, nothing is left 
to the readers imagination. Reading 
this novel is a little like watching а 
faultless acrobat: you admire his skill, 
vet after a while you wish the damn 
show would get over with. And it's the 
stylistic acrobatics you have to depend 
n to carry you along. for the plot isn't 
much. Harry “Rabbit” Angstrom, а 
twentysix-year-old ex-high school bas 
ketball star, tires of his job and his 
marriage: on an impulse, he abandons 
his pregnant, semi-alcoholic wife and 
two-year-old son and takes up w 
plump prostitute. Updike turns the in- 
articulate Rabbit into a species of mys 
ic, a man who can be happy only out- 
side the conventions of morality and 
ponsibility. The prostitute becomes а 
updated Molly Bloom. In fact, one in- 
terior monolog, in which she is remem- 
bering a high school sexual experience, 
sounds like an Americanized version of 
the final pages of Ulysses: “Boy, there 
wasn't any fancy business then, you 
didn't even need to take off your clothes, 
just а little rubbing through the cloth 
mouths sting of the onion on 
ers you'd just had at the 
diner and the car heater ticking as it 
cooled, through all the cloth, evervt 
off they'd 
much, it must have been just the idea 
of you” Some years ago, in reviewing 
one of those big war novels, British 
critic V. S. Pritchett called the author a 
bore. A bore, said Pritchett, is not the 
man who is stupid or dull, but rather 


"the man who tells you everything." 
Mr. Pritchett, meet Mr. Updike 
As PLavnoy’s readers have had ample 


opportunity to sce for themselves, Р. G. 
Wodehouse is one of the funniest write 
The Most of P. б. Wodehouse (Simon 
and Schuster, $6.50) is а six-hundred 
andsixtvsix-page guide to ап idyllic 
world, populated by Eggs, Beans, Crum- 
pets, blighted females, Aunts, Lord Ems. 
worth, Bertie Wooster, and — let us re 
joice — Jeeves, hero, psychia 
man and valet-ex mach 
Master guarantees an average of thre 
gullaws per page is not casy to explain, 
especially since his plots ooze simplicity 
and his characters — save for the sage 
Jeeves — do likewise. It may have some- 


thing to do with the fact that he writes 
an English sentence with a style few 


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writers. comic or serious, can match, 
misquotes Latin tags with side-splitting 
inaccuracy and can turn any figure of 
speech into a belly laugh. Not the sort 
of book that can be read calmly in а 
public place, The Most of P. б. Wode- 
house is а volume to give your best 
enemy, if you want him to die laughing 


Lonesome Traveler (McGraw-Hill, 
Jack Kerouac's first book of non-fiction, 
їз an autobiographical portrait of the 
Kerouac cakes us with 
п Pedro to the 
an hobo jungle, with side 
trips to Mexico, Westem Europe and 
North Africa. His escapade with a gun. 
toting shipmate is picaresque, and his 
adventures with the peyote set in Mexico 
are definitely nor on the Ame 
press list of tourist attractions, Kerouac 
сап evoke with equal effectiveness the 
oilslick stink of San Pedro and the сх 
plosion of color in à Van Gogh — the 
"joy ved m iness he rioted in, in 
that church. hy The images are all 
there — the. only trouble is, they come 


саз Ex. 


Kerouac calls this book 
hut for most readers, it will 
of digging to make this Road a poem. 


Pomp ond Circumstance (Doubled: 
51.50), а first novel by a promising Brit- 
ish writer, has to do with the pother 
produced at a South Seas outpostof- 
Empire by the sudden announcement 
that Their Majesties are coming to visit. 
The imminence of so much eminence 
makes the Blimps of both sexes choke 
on their crumpets. With remarkable 
success for a first-novelist, the author has 
climbed into the psyche of a distinetly 
U planters wile, and tells the whole 
thing through her l's. Besides involving 
her up to her tiara (a small one) in the 
preparations for The Visit, he compli- 
her 1 nd his plot, by having 
ange a design-for-loving whereby 
the island's Lothario can entertain. his 
inamorata without her spouse catching 
on. Although both enterprises end in 
disaster (the love allair is broken up by 
chicken рох and a pair of Lesbians, 
while the water pageant planned for 
The Royal Co 
lity dance, is typhooned out), i 
all veddy brittle in the tell 
are plenty of chuckles, if few yoks. This 
man has a way with a phrase (the natives 
sex “ winsome disregard. 
Sik a dett 
posh people in plush su 
a йай log is his ace, 
and he might do well to turn his talents 
to the stage, say drawing-room comedy. 
He's a writer to watch — and if you want 
to watch him, go see Our Man in Ha- 
vana. He's the chap with the umbrella. 


THE PLAYBOY ADVISOR 


Wc been dating a girl who is a 


matter. she's 
musically, she’s the hippest; she digs 
art, and she's up on all the latest and. 
greatest literature. But — and what a but 
—shes the world's worst dresser. Her 
clothes look like rejects from a D.A.R. 
ale. She's got the dough; just 
now-how and doesn’t particu- 
е. But 1 do. Where do I go from 
= К. U., Boston, Massachusetts. 

A girl so bright and knowing is un- 
doubtedly looking frumpy for a reason. 
Chances ате she’s over-reacting to some 
form of insecurity, so don't. put her 
down; devote time to building her up. 
Tell her she'd be a walking dream in a 
form-fitting sheath you spotted in a store 
window. Offer to tag along on her next 
shopping tour; begin it with cocktails 
and lunch, to assure the rapport that 
will make your clothes preferences heard. 
hen trying-on time arrives. All she may 
need to shift from sloppy slacks to sen- 
suous silks is your attention. Finally, why 
don’t you take the spirited approach and 
consider the young lady's drag rags а 
personal challenze to get her out of 
them as early and ах often as possible? 


Every time a Broadway play or musi- 
cal opens as a big smash, all the tickets 
for months ahead are gone. 1 read the 
first-night reviews, but even the next 
day it seems too late to get good seats 
right away, Is there any way to tell 
lvance when a show is going to be a 
hiv — T. D, Newark, New J 

You can usually buy the theatrical 
weekly “Variety” on newsstands in most 
metropolitan areas. “Variety” reviews 
shows when they are tried out in Phila- 
delphia, New Haven, etc., and its esti- 
males are indicative of whether there’s a 
winner on the way. This may not always 
be of help, however, as benefits and the- 
ште clubs quite often have the inside 
track on seats for the best shows during 
their opening months. You might start 
using a reputable ticket broker on a 
regular basis for all your ticket pur- 
chases, so that when vou do want seals 
for an early performance of a hit show, 
he'll be happy to help you. 


an ounce and a pony an 
a half, or is it the other way 
d? — M. S., Cleveland, Ohio. 

the other way around: in the 
world of drinking, a pony's a one-ounce 
measure; a jigger’s an ounce and a half. 


Please tet me know correct procedure 
he following: I've always thought 
a gentleman never shakes hands 


with a lady unless the latter proffers her 
hand first, but recently I've seen this 
rule broken. And, is hand-kissing strictly 
Continental or is it done on our shores, 
too?—S. C., Blacksburg, Virginia. 

The handbook on shaking contains 
this rule of thumb: do whatever is most 
comfortable for both parties. If it's an 
older woman, she may cling to social 
graces of another era and leave the mitt 
pumping to the men, Never make the 
first move, but if the lady in question 
makes a meaningful gesture, be quick to 
respond; no one enjoys being left with 
an arm in a state of suspended anima- 
поп. And just because the recipient of 
your handshake is a female, don’t be 
afraid to make it a firm clasp (but not a 
bone-crusher); a dead fish still feels like 
а dead fish no matter what the gender 
on the receiving end. Hand-kissing is 
another matter entirely, It is not a pub- 
lic greeting on these shores. There is an 
exception; if а European татіса 
woman extends her hand with the obvi- 
ous expectation of having il kissed, you 
should be prepared to do the courteous 
thing, to wit: take her fingers lightly in 
yours, bow slightly, and just touch the 
back of her hand with your lips. 


W would like to take out this secretary 
1 my office. My associates tell me that 
making dates where you do business is 
ess. How do you feel about it? 
Ft. Madison, Wisconsin. 

We feel this way: if the girl works in 
your department, stick strictly to busi- 
ness; if she’s in another department, 
maybe, but use exireme caution if you 
are one who finds it difficult to dise 
tangle himself when an affair has ended. 
As а rule of thumb, it is always best to 
avoid liaisons with anyone with whom 
you must be in continuous contact. 


Mi, bachelor apartment js stereo- 
equipped. 1 must admit immodestly 
that the f ne trafic is heavy. Usu- 
ally, we mix a few drinks and I put some 


music on the rig and, well, one thing 


I 


leads to another, My problem is th 
don't own any complete LPs that аге firs 
rate mood builders. Several tracks may 
be just right, but the record ma 
seem to feel variety's а virtue (which it 
may be, under other circumstances), so a 
mood track is often followed by up- 
tempo and jump stuff that puts me right. 
back at the starting line. Either that, or 
I have to pop up every few minutes to 
hunt for a fresh sound. This, too, does 
more toward mashing the mood than the 
music docs toward building it up. 
Should I just let the records keep play- 
ing after my favorite mood-sustaining 


specials are over, or continue with w 
I'm doing, or what? — Н. W., New York, 
New York. 

Neither. Get yourself a tape deck and 
tape your lempting trachs in sequence. 
Since you're obviously more interested in 
background music than in the highest 
of fi for undistracted listening, use the 
3% or T inches-per-second speed, which 
should give you enough fidelity to suit 
your divided attention and enough time 
to unfreeze any woman. As an alterna- 
tive, pick up copies of discs designed 
for those cozy hours. On the pop vocal 
side, try Frank Sinatra's “Only the Lone- 
ly,” “Мо One Cares" or “In the Wee 
Small Hours" (all on Capitol), Peggy 
Lee's “Pretty Eyes" (Capitol) and Julie 
London's “Avound Midnight” (Liberty). 
On the pop instrumental slant, sample 
the Jackie Gleason ork sides (Capitol) — 
several with the glowing trumpet of 
Bobby Hackett featured — or the Paul 
Weston discs, including “Music for 
Dreaming” and “Music for Romancing” 
(Capitol). For classical backgrounds, se- 
lect the interpretation of your choice 
from these aides d'amour: Ravel's “La 
Valse” and “Pavanne pour un Infante 
defunte,” and Samuel Barber's “Adagio 
for Strings.” For late-mght quiet jazz, 
hear a ballad set by trumpeter Chet 
Baker, simply titled “Chet” (Riverside), 
a balladic tour by trumpeter Roy Eld- 
ridge and strings, “That Warm Feel- 
ing” (Verve) and guitarist Johnny Smith's 
“Easy Listening” (Roost). Head for your 
tecord shop—to collect them, and oth- 
ers like them, for those long, long en- 
chanted evenings of reaping the fruits 
of your forethought. 


There seem to be a lot of preparations 
оп the market now which promise to 
give you a sun-tanned look when used 
like shaving lotion. How do they work? 
—R. M. S, San Diego, California. 
Chemists have isolaicd the enzyme 
that makes an apple turn brown when 
it is cut open and exposed to air. This 
is Ihe principle of the tanning lotions, 
They don’t work for everyone. Some 
people. after using them, look like an 
apple which has been cut open and 
exposed lo air. 


ae 


All reasonable questions— from jash- 
ion, food and drink, hi-fi and sports cars 
to dating dilemmas, taste and etiquette 
ll be personally answered if the 
writer includes a stamped, self-addressed 
envelope, Send all letters to The Playboy 
Advisor, Playboy Building, 232 E. Ohio 
Street, Chicago 11, Mlinois. The most 
provocative, pertinent queries will be 
presented on this page cach month. 


37 


38 


І. ALL THESE ACTIONS. there is one common denominator: 

A conservative, well-to-do gentleman in his fifties. a deacon in his church, suddenly stands up before 
a group of friends, begins to jitterbug like a teenager, stands on his head. crows like a rooster, strips to 
the waist, runs around on all fours barking like a dog and in general makes a fool of himself. 

A young woman who has just had a thyroidectomy without chemical anesthesia sits up on the oper- 
ating table and asks for a glass of orange juice. Medical men in the surgical theatre, knowing the terrible 
post-operative throat pain characteristic of the so-called goiter operation, stare with incredulity as the girl 
drinks ten ounces of orange juice with obvious enjoyment. She then hops off the table and walks to the door. 

Sitting in a bar оп a Saturday night around midnight. smoking a cigarette, a man of thirty-two laughs 
merrily, explaining that it's his best friend's sixth birthday party and that he's amused because Tommy 
Martindale has just let а ball of ice-cream slide off his plate into his lap. Asked what day it is, he says it’s 
August 7, 1934, a Tuesday, and that the time is 4 n the afternoon. If he were asked to sign his name he 
would put it down in the scrawl of a child. If he were given psychological tests, his score would be approxi- 
mately that of a six-year-old 

The attractive young hostess of a weekend house party comes into the living room, where her guests 
have gathered for cocktails. Completely naked, she asks for a drink, and asks her friends how they like her 
new dress. 

An obviously intelligent gentleman of sixty is seated on a couch in the lounge of his club. A friend asks 
if he would like to have lunch. “I can't just now, I’m alraid," he says. “They won't allow polar bears in 
the dining room. you know.” He ma stroking and petting motions in the air beside him. "You needn't 
be afraid," he says to his friend. “This is the only really tame polar bear in the world." 

The common denominator? Hypnosis. In each case the person cited was in hypnotic trance. 

What is hypnosis No one Кы 

What can it do? Says J. B. S. Haldane, famous British scientist: "Anyone who has seen even a 
example of the power of hypnosis and suggestion must realize that the face of the world and the possibili 
of existence will be totally altered when we can control their effects and standardize their application . . .” 

Who can be hypnotized? Something between eighty and ninety-tive percent of the population, excluding 
the very young. the feeble-minded, and some — but by no means all — of the insane. 

There has been, of late. a great stir about hypnosis. One might think that the phenomenon had been 
discovered yesterday, instead of two or three thousand years ago, A year ago the American Medical Associa- 
tion solemnly announced that hypnosis was a legitimate aid in certain aspects of medical practice, childbirth, 
for example. The A.M.A. was about three years behind the British Medical Association, and their common 
position was amusing, considering the fact that an ordinary newspaper cliché of the middle and late 18005 
in England was this, added to the announcement that Mrs. So-and-So had been delivered of a child: 
“Painlessly. in Mesmeric trance.” 
important in medicine long before the birth of Christ, which means that hypnosis is 
older than chemical anesthesia, older than asepsis; it is older than the bacterial theory of disease, vaccines, 
viruses. vitamins, older than psychoanalysis and such chemical agents as the tranquilizers. Ancient Fgypt 
had “sleep-temple: gods” who cured. The 
temples later spread to Greece and to 

Hypnosis did not thrive under the Christians, except as a means, selfinduced, by which some of the 
ndured the torments inflicted by their enemies. During the Dark Ages anyone known to be capable 
in danger of being burned as a witch, Science began to revive in the middle 
of the Eighteenth Century (the last witch-burning of record was in Scotland in 1727) and renewed interest 
in the phenomenon we now know as hypnosis inevitably accompanied the revival. 

Friedrich Anton Mesmer. who lived from 1734 to 1815, and who made his nam: 
with hypnotic effect. was roughly treated by the medically orthodox of his day, He was formally condemned, 
and his judges included Benjamin Franklin, Mesmer believed that the human body was a living magnet, 
and threw off gaseous or fluid magnetism in waves. He believed that disruption of the orderly flow of these 
waves caused disease, and he tried, by sweeping manual “passes” to redirect this low, By bringing the subject 
toconcentrate on him (his appearance and manner were dramatic and compelling), Mesmer induced hypnosis. 
Many of his patients claimed to have been cured of illness and some of them no doubt were right. Dr. Mesmer 


h the ill repaired. to be put into trance and visited by 
a Minor 


martyrs 
of entering а tranc ate wa 


root-word synonymous 


article Ву KENPURDY the remarkable and rarely printed facts about this phenomenal 


psychic power and its relationship to persuasion, advertising, crime and world politics 


HYPNOSIS 


HYPNOSIS (5) : 


became popular. He could not handle individ: that came to him, and so he developed a 
mode of treatment common among psychotherapists today: group therapy. Mesmer gathered his clients 
around tubs filled with iron filings, or around trees which he said he had caused to sop up the vital mag- 
netism. The French Academy of Medicine found this startling and investigation was ordered. with the 
United States Ambassador, Mr, Franklin, included in the panel which ultimately denounced Mesmer and 
drove him from Paris. 

In addition to his name and the institution of group therapy, Mesmer bequeathed something else: the 
hand-wavings, passes, finger-snappings of the stage hypnotist. These dramatic trappings derive straight from 
Mesmer's magnetic wave theory; they are not necessary or even useful in hypnosis, but their dramatic value 


ally all the cas 


has endeared them to the stage performer, and they'll be used as long as the stage hypnotist is with us. That 
neland stage hypnosis has been illegal since 1952. Similar laws will probably 
powers are more clearly understood. 


may not be a long time. In 
be enacted here once the phenomenon and its 

Mesmer didn't call it hypnosis, and he didn't know how to 
conceived to be the magnetic principle in which he believed so strongly. (Some of his patients could "see" 
the waves. We know now that they could also have been made to "see" Hannibal or Caesar, and to discuss 
the use of infantry with them.) In 1781 a pupil of E the Marans de Puysegur, accidentally induced 
a hypnotic somnambulism in a shepherd boy. That is to say, he put the boy into so deep a trance that he 
behaved as а sleep-walker. He could move about, answer mu ms, obey instructions, but retained no recol- 
lection of events after he had been brought out of the trance. The phenomenon was still not known as 
hypnosis. That name, from the Greek “hypnos” or sleep, was first used by the English physician James 
Braid, who worked in the middle of the Nineteenth Cent Braid also originated the scination™ tech 
nique of hypnotic induction, the use of a glittering or whirling object to. hold the subject s attention. The 
spirally-marked spinning disks currently av ailable from mail. -order houses had their origin with James Braid, 
who was banned from British medical practice for his pains. 

Hypnosis is full of paradox, and so it is hardly curious that although the word means “sleep” and 
although the person in hypnotic trance appears to be asleep (he often “wakes up” yawning, stretching and 
refreshed), the state actually has nothing whatever to do with sleep. The standard induction formula used 
by nearly all hypnotists involves the repeated suggestion, “You are very sleepy, you are very tired, you are 
going into a deep. deep sleep . .." When the subject responds by closing his eyes, nodding, allowing his 
head to fall loosely forward. he is not asleep, however. He is wide awake, But he has accepted as fact the 
suggestion that he is asleep. He believes that he is asleep. In a deeper trance, he would accept the suggestion 
that he was Khrushchev. He would believe that he was Khrushchev and would try to act like Khrushchev 
But he ts not Khrushchev. Nor is he asleep. 

If hypnosis isn’t related to sleep, what is it? No one knows exactly. Warren's Dictionary of Psychology 
delines hypnosis as “An artificially induced шше... which is characterized by heightened suggestibility, as 
а result of which certain sensory, motor and memory abnormalities may be induced more readily than in 
the normal state.” Clark L. Hull, in 1933, linked hypnotism with the phenomenon of habit formation 
Andrew Salter, a New York psychologist, in What Is Hypnosis? (Farrar, Straus and Cudahy, 1955), suggested 
that hypnosis is a form of reflex conditioning (the phenomenon demonstrated by Pavlov in which a dog, 
fed when a bell rings, will later salivate without seeing food, when the bell is rung). Bernard Gindes, author 
of New Concepts of Hypnosis (Julian Press, Inc., 1952), says, “A subject will only enact a suggestion which 
has been enforced by actual previous experience, either in reality, imagination, dream or fantasy. Events 
in his lile prior to the hypnotic sessions have conditioned him to react accordi 

Whatever hypnosis is, it works. Its value in medicine and in psychotherapy is only now, for the first time, 
truly being appreciated. Its power, for good or evil, in the influencing of men’s minds, in advertising, in 
politics, in the execution of criminal acts, in the avoidance of detection of those acts, in warfare, and in the 
continuing struggle for men's minds, the world over, is now only vaguely understood or guessed at. 

In grandfather's day, when the Svengali- Trilby story was so popular, it was widely believed that a 
hypnotist could seize control of an innocent's “will” and thrust her under his domination without her 
knowiedge or consent; and that under the hypnotic spell she would do as he wished her to do, no matter 
what the moral or ethical barriers in the wa 

When scientific interest in hypnosis incre; 
could be hypnotized against his will. A hypnotic 
moral or ethical principles. 

Grandpa was more nearly right. These are the facts: (1) If you can be hypnotized at all, you can be 
hypnotized without your consent, without your cooperation, and in some cases despite your strongest efforts 


olate the phenomenon from w he 


g to a certain pattern." 


d in the 1930s, the reverse rule was laid down: No one 
subject could not be made to do anything counter to his 


to prevent it; (2) Under hypnosis, you сап be made to take actions that are violations of your moral and 
ethical principles. 

The question of violating one's moral or ethical principles under hypnosis is a complex one, as we 
shall see. For example, most nineteen-year-old girls would be ипм ng to undress before an audience of 
fifty men. The society in which we live teaches that to do so would be to behave immorally and unethically. 
Asked to undress thus publicly, a girl under hypnosis will almost always react typically: she will either 
spontaneously come out of the hypnotic trance, or she will go into hysteria. Thus she appears to demon- 
strate the thesis that a hypnotic subject will not violate his moral concepts. 

However. if the hypnotist’s purpose is merely to cause the girl to disrobe, and never mind the psychologi- 
cal niceties, he can do so easily. He has only to suggest to her that she is alone; that the month is July and 
the day unbearably warm: that there is a cool shower running in a corner of the room; that she wishes to 
undress so as to stand under this shower. She will promptly do so, whether there are fifty men in the au- 
dience or five thousand. As George Н. Estabrooks put the matter: “There are two ways to kill a cat. One 
is to mess him up with a club. The other is to persuade him that chloroform is good for fleas 

Incidentally, the girl may know that she is undressing against her will, but be unable to stop doing so. 
She may be very angry. but impotent. Afterward, when she been “awakened,” she may vividly express her 
anger. The church deacon earlier referred to, who was made to stand on his head, run around on all fours 
barking like a dog, and generally make an ass of himself, knew everything that he was doing, but was power- 
less to stop himself; however, when he was brought out of the trance, he promptly punched the hypnotist 
in the mouth. The clever hypnotist need run no such risk, however, since any really good subject can be 
told to forget everything that has happened during the hypnotic trance, and afterward he will remember 
nothing of what occurred. 

Most commonly recognized hypnosis takes place with the subjects consent. Certainly in the medical and 
psychotherapeutic use of hypnosis, it is a cooperative enterprise between the operator and the subject. 
However, a subject need not be cooperative in order to be put into a hypnotic trance; indeed, a trance can 
be induced without the subject's even being aware that he is being hypnotized. A good subject can be hyp- 
notized in a split second, with nothing more than the snap of the fingers and the suggestion, “Sleep!” A 
subject who has never been hypnotized before may be put into a trance through any number of disguised 
techniques. He can be lulled into a trance through the use of a monotonous sleep-inducing tone of v 
without ever realizing what is going on. He can be invited to watch someone else hypnotized, unaware 
that he himself is the operator's intended subject. Subtle or disguised forms of hypnotic induction exist 
in everyday life, in persuasion and salesmanship, advertising, politics, crime, its prosecution and defense, and 
the power that dictators hold over the masses. 

‘There аге many techniques for inducing hypno: 


ination” tech- 


‚ Perhaps the commonest is the * 


nique, in which the subject is asked to concentrate on a bright coin, a mote of sunshine on the wall, the 
-frame. A pendulum may be used, or a mechanically spun object. (The Russians, who 


corner of a pictur 
have shown great interest in hypnosis since World War H, have achieved hypnosis by spinning the subject, 
as in a dentists chair.) F. L. Marcuse of Washington Stare University cites the fact that some churches offer 
a hypnotic environment, with set ritual, darkness, somber music, an eye-fixation point aloft, monotonous 
and repetitious chanting, meditation, restrictions of movement, 

Purpose of the fascination technique is not to “tire the senses,” which would be impossible in the few 
minutes that is usual, but to misdirect the subjects attention, as a mother misdirects her child's by show- 
ing him a toy and simultaneously pushing a spoonful of cereal into his mouth, The hypnotist, by inducing 
the subject to concentrate upon one object. simply removes extrancous and diverting material from his 
mind and clears the way for the suggestic You are tired. Your eyclids are heavy and they will close. 
They will close and you will be unable to prevent them from closing . . ." And so on. If the subject accepts 
the suggestion that he is tired, and it is easy for him to do so if he is stretched out on a couch or relaxed in a 
soft chair, it will be casier for him to accept the suggestion that his eyelids are heavy. It will then be even 
casicr for him to believe that they are closing, and so on until, after a time, he may be convinced that he has 
spent the morning with his Cabinet in the White House as President of the United States, or in some dis- 
tant eastern castle as a sultan surrounded by his harem of one hundred beautiful slave girls. He will believe 
this absolutely, and it is one of the minor dangers of “pi 
stand that the subject is often fanatic in his hypnoti 
violence if they are challenged. 

Almost anyone can hypnotize and it takes no more than half an hour to learn how. However, hypnotism 
can definitely be dangerous in the hands of an unqualified amateur, and while some of the dangers are ob- 
vious, some are quite subtle. "The widely-held belief that a hypnotist may be unable to awaken a subject from 


hypnosis that few amateur operators under- 


ally induced beliefs, and may go into uncontrolled 


4l 


PLAYBOY 


42 


trance is without validity. If a subject 
is leh in a hypnotic trance, he will 
eventually fall into a normal sleep and 
awaken naturally. This process may re- 
quire a few minutes or several hours, 
depending on the individual. However, 
a hypnotic subject may scriously injure 
himself or those around him, if he is 
given improper suggestions by an а 
teur hypnotist. There is real danger 
of harm caused by great physical exer 
tion suggested by the hypnotist; a part 
of the body ured without the 
subject's realizing it, if hypnotically-in- 
duced anesthesia has been used. There 
tal heart at- 
tacks caused by hypnotically induced 
hallucination, and in the hands of the 
unscrupulous. hypnosis 
sidious. 

The greatest danger that the amateur 
hypnotist must guard against is the tend- 
ency to think of hypnosis аза g: 
which the subject is only "pla 
along.” This tendency to underestima 
the power of the hypnotic sugges 
сап often have disastrous results. An 
amateur hypnotist of our acquaintance, 
who had learned how to hypnotize just 
the week before, tokl a good subject 
that when she awoke she 
vampire. He imagined that she would 
flap her arms and imitate one of Bela 
Lugosi’ Instead the pretty 
liule thing looked calmly around the 
room and then without a word sprang 
ely at the hypnotist and bit h 
severely on the face, trying very eir- 
nestly to get at his throat. 

In another case, à good subject was 
given an imaginary, or hallucinated, dog 
on a hallucinated leash and told th 
the dos, a C Dane. was pulling too 
hard to be held. The people who were 


ап be truly in- 


e in 


would be a 


Sava 


watching the amateur performance 
laughed as the man was pulled help- 
lesly out of the house and into the 


sucet Before he could be stopped, he 
had been struck 
ing automobile. 

Almost everyone can be hypnotized, 
but only one peron in five is a natural 
somnambulist, a subject who cn be 
taken into a deep trance, a trance i 
which hallucination. г 
and other extreme hypnotic phenom- 
can be developed, However, with 
practice, about sixty-five percent of those 
who сап be hypnotized at all can rea 
the deep-trance state. 

There is a marked tendency 
subject to wish to please an ора 
and it is i 
wheth 


nd killed by а pass- 


ression. 


anc 


somctimes сий to 


judy; 
a subject is in as deep a trance 
as he appears, or is simulating in orde 
to satisfy his wish to please. This rap- 
port, as it is called, between hypnotist 
and subject is also apparent in the ac- 
ceptance of suggestion. ‘The subject may 


hear many voices in the room, while in 


trance, and be aware of everything th 
is going on around him, but he pays 
tention only to the operator and re- 
sponds only to his suggestions. It is also 
difficult even for a skilled operator to 
bring a subject out of a trance induced 
by someone cle, though as we men 
tioned earlier, a subject left in a trance 
1 eventually fall into а normal sleep, 
from which he will awaken normally. 


Because ol this rapport, this strong 
tendency to please the operator, and the 
really remarkable ability of some sub- 
jects to sense what the operator wants 


carefully controlled ex- 
have produced 

the subject 
the operator expects, and 
es his best to give it to him, many of 
the early experiments on the question 
of whether or not a subject would go 
шайы his moral convictions suggested 
that he would not, simply because that 
was the result the ope 
Professor Fstabrooks, in his book Hy, 
notism (Dutton, 1957), pointed out this 
problem in a series of experimen 
the question of muscular strength i 
nosis, conducted first by М. 
at Johns Hopkins and later by P. 
Young at Harvard. with completely con- 
flicting results. Estabrooks notes that the 
contradiction in results "was undoubt- 
edly due to the attitude of the hypnotists. 
The good subject cooperates in wonder: 


of them, many 
per i 
contlicting 
sense 


е 


оп 
һур- 
Nicholson 


ful fashion. Nicholson's subjects realized 
that they were supposed to show an in- 
crease in muscular strength and did so. 
The opposite applied to Young's ex- 
periments. Our work in hypnotism must 
ways be carried out with this fact in 
mind, that the subject tends to give 
what is expected.” These conflicts are 
specially true in the experimentation 
with moral and ethical judgments under 
Here, more than. anywhere 
judices. 
which the subject is able to sense to à 
really remarkable degree. 

While almost everyone 
tized, people vary marked! 
of the trance that can be casily induced. 
Why? Шу knows. Being а 
xd or bad hypnotic subject has noth 
ing to do with “will-power” except in 
the very broadest sense, and very little 
to do with intelligence, although per- 
sons of extremely low LQ. are most 
difficult to hypnotize. 1t is a matter of 
being able to clear one's mind. concen- 
trate and accept suggestion at the sub- 
conscious level, and some people are 
much better at this than others. Some 
re so good, in fact, that they can be put 
into a trance with or without their per 
mission, on the subtlest of cues. by the 
hypnotist’s clearing his throat. touching 
his key word. by any 
ticular sight, sound, smell or othe 
ulus t has been n as a cue befor 
hand. 


n be hypno- 
in the depth 


No one r 


г, or by a 


Some hypnotists hz 
of their voices for clients. 
patient is upset because his doctor has 
gone to Europe for a month. The pa 
is afraid that he will not he able to con- 
trol a certain pain or habit without help. 
Under such circumstances, the doctor 
might give the man a recording. It will 
be almost as elficacious as his presence 
would be. If the man's wile, curious 
puts the record on a player, she may in- 

ily go into а trance, and if the 
uutomatically repeats, she may go 
into a still deeper trance. 
Since people vary so greatly in their 
bility to be hypnotized, is there any 
y of telling a good subject from а bad 
onc? Not by appea! 
versation, no. The good hypnoti 
ject does not fall into any particu 
category ol physique or personality. 
However, there are simple tests which 
will reveal those individuals who make 
the best hypnotic subjects. In the most 
common of these, the prospective sub- 
ject is asked to stand upright and the 
operator stands behind him. then slowh 
draws his hands back past the subject, 
saying, “As 1 draw my hands back past 
you, you will feel a strange force pulli 
you backward toward me. You are going 
to fall back into my arms, but I will be 
here to catch you. You feel this strange 
force pulling you backward. You are 
falling, falling, fal Falling back 
back, back, back After this has been 
repeated several times. the subject, if he 
is a good one, will accept the suggestion 
and fall backward. Iu a similar test of 
susceptibility, the fingers are interlaced 
and squeezed tightly together. The oper 
ator then infor the subject that his 
hands are locked so tightly together tha 
he will be ble to pull them apart. А 
good subject will be unable to separate 
the fing 

The facts of greatest interest about 
hypnosis 


volunta 


record 


E 


nce or casu: 


be induced in t of our popu 
la for one. Two, the fact th; 

anyone can hypnotize alter only a few 
minutes of instruction and, three, the 
fact that we know almost nothing about 
the potential — for good and evil —of 


this strange phenomenon. 

Just what can h 
some of the simply induced 
mon phenor possible under hypno 
sis. In the lightest trance. it is possible 
10 lock a subject so firmly in one place 
that if ten thousand dollars is placed on 
the floor in front of him, and he is told 


ypnosis do? Here arc 
d com- 


able to move. The house could be set 


aflame and unless the subject were re- 
leased by the operator, he would di 


the fi 
gestion 


nailed to his chair by the “sug 
that he could not leave it. Hyp- 
(continued on page 74) 


“Tue had my eye on you for some time, Miss Simpson, and I'm 
promoting уои to where I can get my hands on you, too.” 


44 


like the man said: power corrupts, 
absolute power corrupts absolutely 


HE WOULD SAY, "HOLLYWOOD A PRISON? What town isn't — for the ones who need walls? I've been in 
a lot of places and I've never been arrested except for speeding.” " 
His friends kept at him. Some of them had worked for the movies and they saw corruption 
waiting for Gordon Rengs, novelist; sloth, emotional flabbiness, moral shrinkage, a watering-down 
of values. He was bound, they said, like all tweedy westerers this too late day, all who looked to 
the far coastal spaces for boons that were now nowhere, to wind up hooked on over-zoned Pacific 


9 


fiction Ву Bernard Wolfe 


Palisades and overpriced Malibu surf. According to them, money, yearly doses of it handed over 
smilingly every third Friday, would become the monkey, no, the trumpeting elephant on his back. 

"They worried about him because, no matter how much ground he had covered in his travels, 
he had not in the emotional sense been around much: his head had for years been filled with himself 
and his work. In Hollywood, they warned, his spirit would in the end have no more pickup than 
his Jag, his vision would soar no higher than his picture-window house in the Laurel Canyon hills, 


PLAYBOY 


his imagination would end where his 
tufted wall-to-wall carpets ended. As for 
his integrity, it would be grown over 
with the toadstools of compromise and 
the lichens of main-chanciness. 

For those who promised him the full 
inventory of collapse under the guise 
of wishing him well, Gordon Rengs had 
a ready reply: 

"I've reached forty. Гуе written nine 
novels about the Things that ultimately 
count, I've sounded the most reverber- 
ant tocsins, cried a thousand full-lunged 
wolfs—and nobody's listened. The 
most successful of my books sold a little 
over six thousand copies. Not that I'm 
painting myself as the prophet in his 
own country, that’s a disgusting kind of 
self-softness. All the same, I feel like a 
man mumbling to himself and begin- 
ning to look a little silly. Discriminating 
music lovers may enjoy the sound of 
my thin and reedy whistling in the dark 
but as for me, I want for once in my 
life, just for the crash of it, to make an 
all-out symphonic noise, a well-under- 
written and mass-funneled shout. That's 
what you can do in the movies: shout 
centrally, rather than whisper around 
the edges. You don't say much, true, but 
you say it loud and wide, sometimes 
even in full color. Thats not my rea- 
son for going, of course. It's a minor 
bonus I'm expecting. The main thing 
is that they're offering me two thousand 
dollars a week to do this Charlemagne 
picture, almost as much money as a 
publisher would advance to me for a 
book, more than I've made overall on 
some of my books. With my savings I 
can go off and write more books. Don't 
talk to me about corruption, please. 
If you were corrupted out there you 
must have opened yourselves wide to it. 
You know the one thing I'm terrified 
of now? The creeping dry rot that comes 
with one decade after another of worry- 
ing about the rent and the groceries. 
That's a corruption too. Where does 
legitimate dedication end and plain self- 
abuse begin? I'm going out there to 
subsidize my serious work to come; by 
subsidizing my stomach, which has a 
history and a need too." 

His triends inquired whether he was 
going West to be nice to his vital organs 
or for the chance to make an all-out 
noise? One or the other, they said. No 
having it both ways. 

He found that there was carping in 
this, a quibble he didn’t need. He packed 
his scuffed canvas bags, sublet his Village 
walk-up, and took the early-morning jet 
for L.A. 

Letters from him began to arrive in 
New York, Written on studio stationery 
and paid for by the studio at the rate, 
roughly, of fifty dollars a letter—he 
took about an hour on each and he was 
making exactly fifty dollars an hour — 
they were filled with a kind of trium- 


phant Ltold-you-so: 

“All is lovely past words. The biggest 
thing is the sense of physical well-being 
you get out here — I'd forgotten how the 
body, too, can chirp. I'm living in a clean- 
lined, beam-ceilinged, — pool-adjoincd 
apartment above the Strip, one with a 
private Japanese-style patio; I wake up 
to the chatter of birds, I open my eyes to 
see the blooming rose and gardenia 
bushes outside my windows, the spread- 
ing banana tree. Each morning I drink 
a pint of freshly squeezed orange juice, 
swim five lengths in the pool, get in my 
red Alfa-Romeo and drive to work 
through show-stopping Laurel Canyon — 
thinking of you slaves fighting your way 
into the sooty "F' train! Conditions at 
the writers’ building are plush, plush. 
My office is a fine large room complete 
with air conditioner, leather sofa, horsy- 
doggy hunt prints, electric typewriter, 
and thc world's most efficient secretary 
just one push of a button away, not to 
mention the admirable grassy hill slant- 
ing up and away from my window. The 
fellow in the next office is Jamie Beheen, 
the Anglo-Irish playwright, who's out 
here doing the story of Noah — delight- 
ful man. (Jamie, I mean: though I have 
nothing against Noah.) I was taken with 
my producer the first time we met; he 
said, "My philosophy is very simple, 
movies should be about rich people.” He’s 
absolutely right, of course, philosopher or 
no, he understands the Lowest Common 
Denominator of fantasy. My assign- 
ment’s coming along. As you know, 
they're going in for Biblical and histori- 
cal stories this усаг, that's why they're 
up on Charlemagne, who was very rich. 
(Noah was low on cash but, as Jamie 
points out, he had an impressive amount 
of livestock.) By the way, you may be 
interested in the reason they picked me 
for the Charlemagne job. They'd been 
given to understand that my last book 
was a psychoanalytic study of a young 
man in rebellion against his father and 
they want to give this same slant to the 
young Charlemagne. Their assumption, 
naturally, is that I'm an expert on said 
slant. I didn't tell them that Га never 
written a book remotely like the one 
they'd heard about; I understand the 
nature of fantasy too. Neither did 1 let 
them know that my head is a total 
vacuum as regards Charlemagne and 
his father (Pepin the Short, I gather 
from the Encyclopaedia Britannica). 
When I proposed that I spend a week 
or two doing research, to brush up on 
the subject, my producer was categori- 
cally against it on the quite valid 
grounds that my job is not to draw a 
historically accurate portrait of Charle- 
magne but simply to make him like 
Tony Curtis, whom they're hoping to 
line up for the lead, So I am turning 
Charlemagne, about whom I know abso- 
lutely nothing, into Tony Curtis (and 


Pepin the Short, entirely on my own 
initiative, since he hasn’t been cast yet, 
into Claude Rains), a delightful finger 
exercise at which I spend five or six 
hours a week—they expect ten pages 
from you cach Friday, and I'm used to 
turning out that much copy, and much 
more difficult copy at that, in a day. 
"There's an interesting script girl on the 
lot named Marian Huddlesfield, she's 
been telling me about the effects of 
lysurgic acid, LSD, the stuff that induces 
a lovely schizophrenia. More about her 
later, she's making me a pair of sandals. 
Can this be corruption? Can overpaid 
vacations corrode the soul? I feel too 
good.” 

Later be wrote in a less exclamatory 
vein: 

“I will grant you there are some un- 
usual types out here. Been seeing Mari- 
an Huddlesheld — had her to the Be- 
heens’ а couple times — once to dinner 
at the Aware Inn ('organic foods: fruits 
and vegetables that haven't been sprayed 
with insecticides or chemically fertilized, 
meats from non-injected animals) — even 
spent an evening at her Yoga medita- 
tion center (crossed legs, minimum 
breathing, etc.). She has a sweep of 
enthusiasms: she's a vegetarian, bas- 
ically a fruitarian, she's interested in 
Yoga techniques for controlling the 
bodily functions, she knows Krishna- 
murti by heart, she goes to poctry-read- 
to-jazz sessions, she combs and rolls her 
own reefers and bakes marijuana brown- 
ies, she takes a negative attitude toward 
what she calls negative thoughts (among 
them anger and desire: self-serving, self- 
featuring), she also disapproves of in- 
secticides and artificial fertilizers, she 
reads pamphlets on astrology and Bahai, 
she makes her own candles and sandals 
and is enthusiastic about all handiwork 
crafts, she used to live with a modern 
jazz bass player who has a habit and 
a Zen library, she collects interesting 
nuts and roots and leaves to Scotch-tape 
to her walls and ceiling, she’s a volun- 
teer subject in some experiments being 
conducted by a UCLA psychiatrist into 
the effects of certain hallucinogenic roots 
and molds (peyote, mescaline, LSD, all 
that). Simply the nuttiness brought out 
by the Southern California sun? "There's 
тоо much of this everywhichway ferment 
out here to be dismissed that cavalicrly. 
Where there's so much space the mind 
too stretches, yeasts up. I suspend judg- 
ment and try to understand. It may be 
a mass lurching but it's an exploration 
too. Possibilities of the organism are 
being brought ош. What worries me 
about Marian is that she took a nasty 
spill when she was riding her bike a 
couple weeks ago up in Beverly Glen 
and ripped open the palm of her left 
hand on a wire fence. She's got a gaping 
hole there that refuses to heal, maybe, 

(continued on page 106) 


how and why organization man defeats his 


own ambitions for success and wealth 


article BY J. PAUL GETTY 
NOT LONG AGO, I met a young business 
коре who might well have served 


the prototype for the entire breed 


ot case-hardened conformist "organi- 
zation men" one finds in ever-increas- 
ing numbers in the business world 


today. His clothes, manners, speech, attitudes —and ideas — were all studied stereotypes. It was obvious that he 
believed conformity was essential for success in his career, but he complained that he wasn't getting ahead fast 
enough and asked me if I could offer any advice. 

“How can I achieve success and wealth in business?” he asked earnestly. "How can I make a million 
dollars?" 

“1 can't give you any sure-fire formulas," I replied, "but I'm certain of one thing. You'll go much further 
if you stop trying to look and act and think like everyone else on Madison Avenue or Wacker Drive or Wil- 
shire Boulevard. Try being a nonconformist for a change. Be an individualist — and an individual. You'll be 
amazed at how much faster you'll ‘get ahead.’ " 

I rather doubt if what I said made much impression on the young man. I fear he was far too dedicated a 
disciple of that curious present-day hyperorthodoxy, the Cult of Conformity, to heed my heretical counsel. I’m 
sure he will spend the rest of his life aping and parroting the things he believes, or has been led to believe, are 
"right" and safe. He'll conform to petty, arbitrary codes and conventions, desperately trying to prove himself 
stable and reliable — but he will only demonstrate that he is unimaginative, unenterprising and mediocre. 

‘The success and wealth for which men such as this yearn will always elude them. They will remain minor 
executives, shuffled and shunted from one corporate pigeonhole to another, throughout their entire business 
careers. 

I pretend to be neither sage nor savant. Nor would I care to set myself up as an arbiter of anyone's mores 
or beliefs. But I do think that I know something about business and the business world. In my opinion, no one 
can possibly achieve any real and lasting success or “get rich" in business by being a conformist. 

A businessman who wants to be successful cannot afford to imitate others or to squeeze his thoughts and 
actions into trite and shopworn molds. Не must be very much of an individualist who can think and act inde- 
pendently. He must be an original, imaginative, resourceful and entirely scl£reliant entrepreneur. If I may be 
permitted the analogy, he must be a creative artist rather than merely an artisan of business. 

The successful businessman's nonconformity is most generally — and most obviously — evident in the manner 
and methods of his business operations and activities. These will be unorthodox in the sense that they are radically 
unlike those of his hidebound, less imaginative — and less successful — associates or competitors. Often, his innate 
impatience with the futility of superficial conventions and dogma of all kinds will manifest itself in varying degrees 
of personal eccentricity. 

Everyone knows about the late John D. Rockefeller, Sr.’s idiosyncratic habit of handing out shiny new dimes 
wherever he went. Howard Hughes is noted for his penchant for wearing tennis-sneakers and open-throated shirts. 
Bernard Baruch holds his most important business conferences on park benches. These are only three among the 
many multimillionaires who made their fortunes by giving their individualism free rein and who never worried 
if their nonconformity showed in their private lives. 

Now, 1 would hardly suggest that adoption of some slightly eccentric habit of dress or manner is in itself suff- 
cient to catapult a man to the top of a corporate management pyramid or make him rich overnight. I do, however, 
steadfastly maintain that few — if any — people who insist on squeezing themselves into stereotyped molds will 
ever get very far on the road to success. 

I find it disheartening that so many young businessmen today conform blindly and rigidly to patterns they 
believe some nebulous majority has decreed are prerequisites for approval by society and for success in business. 
In this, they fall prey to a fundamental fallacy: the notion that the majority is automatically and invariably right. 
Such is hardly the case. The majority is by no means omniscient just because it is the majority. In fact, I've found 
that the line which divides majority opinion from mass hysteria is often so fine as to be virtually invisible. This 
holds as true in business as it does in any other aspect of human activity. That the majority of businessmen thinks 
this or that, does not necessarily guarantee the validity of its opinions. The majority often has a tendency to plod 
slowly or to mill around helplessly. The nonconformist businessman who follows his own counsel, ignoring the 
cries of the pack, often reaps fantastic rewards. There are classic examples galore — (continued on page 52) 


47 


modern living 


how to have 
a hoyle of a good 
time at home 


IN OUR BOOK, at-home games of chance 
and skill easily cop the second-best spot 
when it comes to urban indoor enter- 
tainment, Gaming and all its gleaming 
gear can be as gemütlich as all get-out 
when you're t éte with some capti- 
vating creature who's game for games, 
or entertaining a coed crowd around 
the mesmeric blur of a whirring roulette 
wheel or settling down for a brisk 
guys-only evening of poker, complete 
with good Scotch and panatelas. By all 
odds there's nothing that makes win- 
ning — or even dropping a few bucks — 
more pleasurable than firs te gaming 
accoutrements. A well-turned pair of 
dice, a masterfully-carved chessman, a 
diamond-bright poker chip—all add 
immeasurably to the give and take of 
the evening, no matter how large or 
small the group уоште cuneum 
The Brunswick pocket billiard table 
features live rubber cushions, gullyball- 
receivers, ball storage rack, adjustable 
leveling devices, paired folding legs, 
burn-resistant rails; with balls and four 
cues; $275. On table, left to right: The 
Education of a Poker Player by Herbert 
O. Yardley, $4, Scarne on Cards, $5, Gor- 

New Contract Bridge Complete, 
$5, The Roman Glub System of Distri- 
butional Bidding, $3.50, The New 
Complete Hoyle, $4, Scarne on Dice, 
$10. French-made 18-inch Bakelite 
roulette wheel and multi-colored all- 
wool felt layout, by Abercrombie & 
Fitch; $60. Rotating brass little-neck dice 
cage on wood base, by Baron; $35. Set 
of giant ivory poker dice, by Alfred 
Dunhill; $28.50. Felt-lined circular dice 
tray, by Baron; $8. Counter game dice 
cup of dark top-grain cowhide, heavy 
leather tip rim, cushion bottom, ribbed 
rubber inside, by Mason; $7.50. Red 
perfect-ring eyespot dice, precision 
hand-finished, by Mason; $1.50. Tan 
cowhide poker dice cup, by Baron; $5. 
Below table, left to right: backgammon 
set in carrying case with 30 Catalin men, 
by Pacific; $30. Lockable leatherette 
game chest contains roulette wheel and 
layout, checkers, chess, dominoes, chips, 
cards, cribbage, dice and cup, by A&F; 
$50. 42-inch maple-walnut dice stick, 
by Baron; $9. Green domino set in wal- 
nut case with sliding cover; $13. 22-inch 
roulette wheel of hand-rubbed woods, 
by Mason; $650. Green poker chip case 
(holders swing out when center knob 
is turned), 300 chips, by A&F; $21. 


(concluded overleaf) 


best bets 


in gaming gear 


Тор to bottom and left to right: leather poker chip case has three stoined and lacquered removable gumwood chip trays with 
brass knobs, compartment under trays for cards, pencils and score pads, with 300 chips, by Baron; $14. Spatulo-hondled 
poker chip ond playing card holder in heavy bross and red leather, by Alfred Dunhill; $45. Set of 100 proof-ccin poker 
chips in mahogany dispenser; the U.S. proof coins are imbedded in lucite ond increase in value each yeor, by Louis 
Fox; $160. Pocket-size finished-wood game chest has dominoes, chess and checker set, winks, dice, with brass hinges 
and closure, by Alfred Dunhill; $25. Precision sprung felt-boHomed German silver card dealing box, two-deck capacity, 
by Mason; $55. Autobridge set for learning or improving your game; $3. Card shuffler, by Johnson; $6. Two decks of PLAYBOY 
playing cards, $2.50. Felt-lined wolnut dice cup with sterling silver initials, by Thomas-Young; $9. Gold mechanical pencil 
with hollow back holds five small poker dice, by Alfred Dunhill; $6. Austrian-mode plostic-cooted giant playing cards, by 
Rosenfeld; $5. Green leather gin-rummy scorepod is magnetized to hold gold-plated mechanical pencil, by Alfred Dunhik; 
$5. Green, perfect ring-eye spot dice, by Mason; $1.50. Tan pigskin gome cup with poker dice, golf game, 100 chips, made 
in England; $22.50. These items rest on an eight-player poker table of oil-polished Honduras mohogany ond green leatherette, 
with sturdy folding legs and a chip trough, drinking glass holder, and ashtray compartment for each player, by Baron; $95. 


PLAYBOY 


52 


MONEY (continued from page 47) 


some of the most dramatic ones dating 
from the Depression. 

The Rockefellers began building 
Rockefeller Center, the largest pri- 
vately-owned business and entertain- 
ment complex in the United States— 
and possibly the entire world — in 1931, 
during the depths of the Depression. 
Most American businessmen considered 
the project an insane one. They con- 
formed to the prevailing opinion which 
held that the nation's economy was in 
ruins and prophesied that the giant sky- 
scrapers would remain untenanted shells 
for decades. “Rockefeller Center will be 
the world’s biggest White Elephant,” 
they predicted. “The Rockefellers are 
throwing their money down a bottom- 
less drain.” 

Nonetheless, the Rockefellers went 
ahead with their plans and built the 
great Center. They reaped large profits 
from the project — and proved that they 
were right, and that the majority was 
dead wrong. 

Conrad Hilton started buying and 
building hotels when most other hotel- 
iers were eagerly scanning all available 
horizons for prospective buyers on 
whom they could unload their proper- 
ties. There is certainly no need to go 
into details about nonconformist Con- 
rad Hilton's phenomenal success. 

I, myself, began buying stocks during 
the Depression, when shares were selling 
at bargain-basement prices and “every- 
one" believed they would fall even 
lower. "You're making a tremendous 
mistake, Paul," many of my friends and 
business associates warned me grimly. 
“This is no time to buy. You'll only 
bankrupt yourself.” 

The conformists were selling out, 
dumping their stocks on the market for 
whatever they would bring. Their one 
thought was to "salvage" what they 
could before the ultimate economic 
catastrophe so freely predicted by "thc 
majority” took place. 

Nevertheless, I continued to buy 
stocks. The results? Many shares I 
bought during the 1930s are now worth 
a hundred —and more —times what I 
paid for them. One particular issue in 
which I purchased sizable blocks has 
netted те no less than 45009, profit 
through the years. 

No, I'm not boasting nor claiming 
that I was endowed with any unique 
powers of economic clairvoyance. There 
were other businessmen and investors 
who did the same—and profited ac- 
cordingly. But we were the exceptions, 
the nonconformists who refused to be 
carried along by the wave of dismal 
pessimism then the vogue with the 
majority. 

‘The truly successful businessman is 
essentially a dissenter, a rebel who is 


seldom if ever satisfied with the status 
quo. He creates his success and wealth 
by constantly secking—and often find- 
ing— new and better ways to do and 
make things. 

The list of those who have achieved 
great success by refusing to accept and 
follow established patterns is a long one. 
Jt spans two centuries of American his- 
tory and runs the alphabetical gamut 
from John Jacob Astor to William 
Zeckendorf. These men relied on those 
four qualities already enumerated: 
their own imagination, originality, in- 
dividualism and initiative. They made 
good — while the rock-ribbed conform- 
ists remained by the wayside. 

"These conformists simply do not real- 
ize that only the least able and efficient 
among them derive any benefit from the 
dubious blessings of conformism. The 
best men are inevitably dragged down to 
the insipid levels at which the second- 
raters — the prigs, pedants, precisians and 
procrastinators — set the pace. The craze 
for conformity is having its effect on our 
entire civilization — and, the way I see it. 
the effect is far from a salubrious one. It 
isn't a very long step from a conformist 
society to a regimented society. Although. 
it would take longer to create an Orwel- 
lian nightmare through voluntary sur- 
render of individuality — and thus of in- 
dependence — than through totalitarian 
edict, the results would be very much the 
same. In some respects, a society in which 
the members reach a universal level in 
which they are anonymous drones by 
choice is even more frightening than one 
in which they are forced to be so against 
their will. When human beings relin- 
quish their individuality and identity of 
their own volition, they are also relin- 
quishing their claim to being human. 

In business, the mystique of conform- 
ity is ѕарріп the dynamic individualism 
that is the most priceless quality an 
executive or businessman can possibly 
possess. It has produced the lifeless, card- 
board-cutout figure of the organization 
man who tries vainly to hide his fears, 
lack of confidence and incompetence be- 
hind the stylized facades of conformity. 

‘The conformist is not born. He is 
made. 1 believe the brainwashing process 
begins in the schools and colleges. Many 
teachers and professors seem hell-bent on 
imbuing their students with a desire to 
achieve "security" above all — and at all 
costs, Beyond this, high school and uni- 
versity curricula are frequently designed 
to turn out nothing but “speci: 
with circumscribed knowledge and inter- 
ests. The theory seems to be that ac- 
countants should only be accountants, 
traffic managers should only be traffic 
managers, and so on ad nauseam. There 
doesn't appear to be much effort made 
to produce young men who have a grasp 


of the overall business picture and who 
will assume the responsibilities of lead- 
ership. Countless otherwise intelligent 
young men leave the universities where 
they have received over-specialized educa- 
tions and then disappear into the admin- 
istrative rabbit warrens of over-organized 
corporations, 

To be sure, there are many other pres- 
sures that force the young man of today 
to be a conformist. Hc is bombarded 
from all sides by arguments that he must. 
tailor himself, literally and figuratively, 
to fit the current crew-cut image, which 
means that he must be just like everyone 
else. He does not understand that the 
arguments are those of the almost-weres 
and never-will-bes who want him as com- 
pany to share the misery of their frustra- 
tions and failures. Heaven help the man 
who dares to be different in thought or 
action. Any deviation from the mediocre 
norm, he is told, will brand him a 
Bohemian or a Bolshevik, a crank or a 
crackpot — а man who is unpredictable 
and thus unreliable. 

This, of course, is sheer nonsense. Any 
man who allows his individuality to as- 
sett itself constructively will soon rise to 
the top. He will be the man who is most 
likely to succeed. But the brainwashing 
continues throughout many a man’s ca- 
reer, The women in his life frequently 
do their part to keep him in his con- 
formist’s strait jacket. Mothers, fiancées 
and wives are particularly prone to be 
arch-conservatives who consider a weekly 
paycheck a bird in hand to be guarded, 
cherished and protected — and never mind 
what valuable тата avis may be nesting 
in the nearby bushes. Wives have a habit 
of raising harrowing spectres to deter a 
husband who might wish to risk his safe, 
secure job and seek fulfillment and 
wealth via imaginative and enterprising 
action. “You've got a good future with 
the Totter and Plod Company,” they 
wail. “Don’t risk it by doing anything 
rash. Remember all the bills and pay- 
ments we have to meet — and we simply 
must get a new car this year!” 

Consequently, the full-flowering con- 
formist organization man takes the 8:36 
train every weekday morning and hopes 
that in a few years he'll be moved far 
enough up the ladder so that he can ride 
the 9:03 with the middle-bracket execu- 
tives. The businessman conformist is the 
Caspar Milquetoast of the present era. 
His future is not very bright. His con- 
formist’s rut will grow ever deeper until, 
at last, it becomes the grave for the 
hopes, ambitions and chances he might 
have once had for achieving wealth and 
success. The confirmed organization man 
spends his business career bogged down 
in a morass of procedural rules, multi- 
copy memoranda and endless committee 
mectings in which he and men who are 
his carbon copies come up with hack- 

(concluded on page 135) 


THAT SWEET SINNER AND TRAVELING | 


fiction By HERBERT GOLD 
eros itinerant was not her dream of bliss 


HERE WE GO AGAIN. I, Dale Dubble, was quarreling with a friend named Evie 
about whether or not she was going to let me. Her eyes said zeronaught at me. 
My eyes said mute-boyish-appeal at her. Her eyes said back-of-my-hand-to-you 
and her mouth said, “Hang it up, Dale.” 

Because I had gone away and left her, don't you know? Surely you all out 
there in Readershipland have encountered the like. That old lorn female logic 
leads to that nagging old female blues which I expressed so well 

You done gone away and left me, 
You done gone away and left me, 
So I ain't a-gonna let you. 
© DALE DUBBLE 
as played by the State Jazz Symphony of Moscow, with hot electric violins 
and all the other primitive instruments of the true primitive ragtime brought 
up the river from Azerbaijan. They invented it straight from me. I had com- 
posed it in honor of Evie, but under the cultural exchange program it was 
stolen Бу Honored Artist of the Republic Bash Shmulkov, the foremost Sovietski 
rock'n'roll composer. (Later he was eliminated as part of the Summit failure.) 

Anyway, not many rock-'n-roll composers can say that. Say what? you ask. 
You didn't understand me? Well, part of my life's work was stolen by the 
Russkies, who actually invented rock-n'-roll. of course, only they called it 
Bloose. And the first song they stole was the one I wrote for Sweet Evie, with 
the dimples on her knees and the stern calculation on her cerebral cortex, who 
was not always а nag. Got me now? I always went away on these trips, in order 
to get away from her, and then I'd come back from these trips, in order to get 
close to her, and then she wouldn't let me. Would, not, let, me. I would snuggle 
and she would desnuggle me. I would entangle and she would disentangle. And 
in my absence, she studied judo. 

All clear? 1 sort of loved her, but I liked even better to flee — get clear — untie 
myself up after being tied down. Poor Dale. Poor Evie. Lucky Dale and Evie. 
We are now leaving political commentary and the Russians far behind. We are 
getting down to brass Evie, a trim little band chick who had gone straight and 
taken up junior miss modeling. She had given up singing into a mike for 
pouting into a camera. Being a sweet songstress had worn her down. "Cause if 
you go with a band,” she explained, “you have to let the whole goddamn outfit 
make out. Not just the agent and the leader, but the sidemen, too. And the 
advance man. And the club owners. Bunch of hoods — no delicacy." 

“So how big a band you with?” I asked her when we first met, already jealous. 
(Already I knew she was my aimless heart's hot desiring, O Evie baby, sweet 
sinner o’ mine.) "Tell me, how big a band?” 

She cast down her eyes shyly and slyly and reassured me. “Modern jazz,” she 
said. “It was only а small combo.” 

“That's refreshing,” I said. 

Her mouth went into its full repertory of snarls, lips curling to beat the band, 
and she looked old, maybe eighteen. (She was actually twenty-two.) "But it's 
I mean a drag, pal. So now I'm modeling.” 

“How big an agency you with?” I asked snidely. 

“Well, this week my picture is in Life, and what they got? Eight million 
subscribers?” 

Ouch, went my heart. 

"But all they get is my picture and their fantasy life, Buster. And as for 
you — 1 keep pure now, you got to if you want to stay a junior miss. 

I loved her at this moment with no perceptible desire to flee her entangle- 
ments. She smelled like Blue Grass. She tinkled when she walked — charm 
bracelets. And then there was her delicate Millie Perkins mug with its shell 
ears and rosy-pink tongue. “How do you happen to look so young with all you 
went through?” 

“Well,” she answered, clear-eyed, fresh, hoping to be discovered for a TV 
commercial, “what I did with the band, it was very nourishing, no matter 
what you say." 

Now you get the flashback, bashback picture. She had minerals and proteins 
and hormones galore, and lots of wheat germ for breakfast with me. She had 
this pert little white face with large, heavily lashed eyes and a small but frm 


PLAYBOY 


mouth with small but firm teeth. Her 
cheeks were on the round side for a 
model—an old-fashioned young face. 
There was long straight hair and curse 
me for a sentimental fool if she didn’t 
sometimes wear bangs. Yes, bangs. I 
can’t help it; she was beautiful in bangs. 
After we'd come out of the shower, 
they'd be all wetted down. I'm a senti- 
mental fool, curse it, and I like to take 
a shower with an old-fashioned girl with 
(and who) bangs. My mother taught me 
always to try to have at least one shower 
a day. It makes a fellow acceptable in 
those difficult situations of modern life 
of today. 

Let's leave my mother and the Rus- 
sians. Gladly. 

We'll get to Evie’s almost immoral 
combination of slimness and fullness 
later, but in the meantime, who could 
resist her? Not you, not me. When it 
comes to winsome, tricksome, squirm- 
some and toothsome little girls, we are 
all sentimental fools with low ability 
to resist. And I had a start on her, so 
1 didn't. 

But I'm an odd type too. I did disc- 
jockey endeavor-type profession for 
years, and made out fine as a jocka- 
rooney, and wrote minor hits on the side, 
stealing a bar or two here and there and 
writing my own story into the song: 

Oh baby І miss you, 

Oh baby I miss you, 

Then baby why'd I ever go away? 

© DALE DUBBLE 
Because every great hit has got to tell 
a story, you know? T hat's a rule to great 
songwriting: 

But now I'm back baby, 

But now Гт back baby, 

And I sure am golly-wise glad. 

© DALE DUBBLE 

In all modesty, I think Y had something 
to contribute. My own little touch. 
Namely, no blushes before the banality, 
no cringing before the cliché. Nope. 1 
was brave. Of course, 1 didn’t have to 
apologize to anybody but my tax lawyer, 
and what did he care about echo cham- 
bers? Zero-naught, friends. 

‘Then payola put me out of the disc- 
jockey business and I had to depend 
entirely on my composing. It’s not that 
I was a dishonest disc jockey; it's only 
that I was greedy. I used to hate myself 
sometimes in the morning, because I 
heard of guys who got more from the 
record companies than me. 

But finally the station fired me, and 
that was the end of one of my finest 
careers. I invited Bert Alcatraz, owner of 
the station, to mect Evie baby, hoping 
that he would have mercy on me, but 
he only looked at her with his cold 
thirtysecond stare, took the cigar out 
of his mouth, killed it in the soil around 
the cactus on my coffee table, and said, 
“You'll never starve, Dale.” So I was 


thrown on my musical and lyrical re- 
sources. I was certainly not going to 
peddle Evie— though I appreciated 
Bert's fatherly concern for my future. 
It didn’t seem right somehow. She meant 
too much to me. She was, I mean, im- 
portant. Even when I was running for 
my freedom. 

As you can see, I too have a story to 
tell, a sad city story about that man who 
wants a girl and gets her and doesn’t 
want her and leaves her and wants the 
gitl again and maybe gets her and goes 
away again and tries and she says no 
because she knows if she says yes he'll 
leave her and so he says please and she 
says . . . There is also the tense economic 
drama of being a rich songwriter. And 
the family complication; my name isn't 
really Dale Dubble. I've changed my 
mame, as the saying goes, in order to 
protect the guilty. 

Namely, me and Evie baby. 

I wanted to make out again. Oh man. 
When you don’t want to, you really 
don't; but when you do, it even hurts 
to look at the lady cab driver. And my 
sweet sinner girl Evie was no lady cab 
driver. She had that skinny lankness that 
junior miss models develop from so many 
vitamin pills and not enough mashed 
potatoes, but she must have swallowed 
a hormone pill which put jiggle and 
jump where there is customarily only 
matched foam rubber. (Am I giving 
away trade secrets? Truth! I'm crazy for 
truth! That's the only reason for writing 
my life's story! Most models are flat- 
chested!) Once I even knew a girl who 
wore falsies on her hips. She was just 
like straight up and down and around. 
And rump falsics, you ever find that? 
You just stick around the dreamy-eyed 
Audrey Hepburn, Millie Perkins types 
long enough, you'll see everything, by 
which I mean: nothing, nada, niente, 
rien, scrawnysville. But Evie, on the 
other hand. Oh Evie. She had rampant 
flesh and hobs and jobs and jiggles and 
juts and pinnacles of it, rampantsville. 
And that lank badminton-playing lithe- 
ness I like. Mies van der Rohe engineer- 
ing with Romanesque abutments. 

So you see the predick I was in. She 
could fix me by not fixing me. 

Which she proceeded to do. “Nyet!” 
she said (but don't think I'm going to 
start discussing politics again). She had 
taken a post-grad, junior miss course in 
Russian with a translator from the U.N. 
“At this summit, Buster, NO!” 

“Aw honey, you remember me,” I 
said. 

She did, alas. Her nose quivered with 
remembrance of thingamajigs past. That 
was the trouble. All too well. Thad made 
her quiver, she had made me quiver; 1 
had departed on my voyage to Cuba, 
where I saw Castro on the telly and 

(continued on page 114) 


bewitching fare for 
the witching hour 


FOR THOSE OF Us who burn the candle, 
there can be no doubt about which 
meal of the day yields the greatest 
pleasure. It's the one consumed round 
midnight, for that's the time of night 
when the glow of the city's lights is at its 
softest, when two hearts are at their 
tenderest, and, often, when kindred 
souls are at their hungriest. No forlorn 
sandwich will do at the witching hour, 
nor will a noisy nightery yield the inti- 
mate gratification of appetites you can 
more artfully attain chez vous. What 
you and the lady deserve are great soft 
mounds of scrambled eggs, glossy with 
the sweet butter in which they cooked, 
accompanied by hot anchovy toast. Or, 
if that's not to your taste, try crisp oyster 
fritters dunked in a rich rémoulade 
sauce accompanied by a capacious carafe 
of freshlybrewed coffee. Bridge buffs 
who've been in close communion with 
several rounds of highballs know that, 
as the wee small hours approach, the 
only intelligent bid is curried Jobster or 
steak sandwiches. As any civilized cityite 
will attest, the proper time for a theatre 
party to assuage its hunger pangs is 
after the show, not before. (Cocktails 
and copious canapés make better sense 
before an cightthirty curtain than a 
hurried early repast.) As midnight draws 
nigh in the snug confines of your own 
digs, you and the group, or you and 
your solitary guest, start your post-per- 
formance post mortems fortified by fresh 
sausage cakes with crisp dill pickles or 
slowly melting mozzarella cheese with 
Canadian bacon and chunks of fresh 
French bread. This is fare worthy of the 
midnight chef. 

Undoubtedly the easiest way to sound 
the supper bell is to phone the nearest 
delicatessen for a platter of assorted 
cold cuts. Now, cold sliced brisket of 
corned beef and sliced smoked ox tongue 
need no defense; they need only sour 
rye bread, some fresh sweet butter and 
a jar of mild mustard. But there's a 
twofold drawback to this opportunist 
kind of supper. First, cold cuts in mid- 
winter aren't (continued on page 58) 


the 
midnight 
chef 


food sy THOMAS MARIO 


urs 


“goodbye, 
cruel 
world!" 


sick humorist shoemaker offers several variations 


PLAYBOY 


midnight chef (continued from page 54) 


the grandest answer to midnight munch- 
ing. Second, the delly-delivered delights 
lack originality, individuality and deny 
you a splendid opportunity to display 
gracious and masterful hostmanship. 

In today's servantless apartments the 
midnight chef must choose his menu 
wisely. He doesn't want to become the 
disappearing host, caught in the trap of 
his own last-minute labors. He wants to 
serve something distinctive without 
working all day in order to make it 
seem effortless. 

There are two main types of late-night 
meals. There's the elaborate smorgas- 
bord spread in which a fantastic assort- 
ment of fish, seafood, salads and meats 
is displayed to the delight of all. Most 
of it is taken from cans or frozen-food 
shelves or is bought at a fancy food 
shop. Then there's the one-dish supper 
designed for intimate dining. It should 
consist of а single hot course, a tossed 
green salad, dessert and coffee. 

Recipes that sound deceptively simple 
are seldom what they seem. Lobster 
newburg, а typical old-school supper 
dish — and a delicious one — is a case in 
point. The average cookbook says, “take 
a quart of diced cooked lobster . . .” 
Anyone who's "taken" a quart of diced 
cooked lobster, starting from scratch, 
soon finds out that the ordeal of buy- 
ing and cooking live northern lobsters, 
cutting and cracking the shells, goug- 
ing out the meat, disposing of the 
mountain of debris and finally slicing 
and chilling the meat can consume sev- 
eral hours. But there's no real reason 
why you should be daunted in your de- 
sire to serve lobster newburg, or other 
lobster dishes. If you need fresh north- 
em lobsters for a sauce dish, the only 
civilized way to buy them is freshly 
boiled and split at the fish dealer's store, 
a convenience that's happily becoming 
more and more widespread. If the lob- 
ster is served in a tangy devil sauce or 
in a hot Indian curry (as in the formula 
below), frozen lobster tails work out 
beautifully. 

If you've been tempted to try a new 
recipe but feel somewhat uneasy about 
handling some of its features, it’s always 
а good idea to conduct your own preview 
staged on a snowy Sunday afternoon 
with a favored companion as chef's aide- 
de-cuisine. That way, you can find out 
how long it takes to poach the mush- 
rooms, mince the fresh thyme or carry 
out any of the other instructions that 
sometimes create such endless ado. If 
the final dish turns out to be a successful 
bit of kitchen magic, you won't mind 
savoring it twice. 

Most nocturnal feasts are easier if 
they're accomplished in two stages. All 
preliminary buying, baking, sautéing or 


simmering should be done long before 
the evening sun goes down, and we 
Suggest you deputize a lot of these chores 
to а competent part-time housemaid. (In 
addition, she can buy, wash and pick 
over salad greens, drain them well, and 
put them in the crisper of the fridge — 
all ready for the master host to toss up 
a masterful salad complete with his own 
special dressing.) With some dishes, part 
of the work should be done the day be- 
fore, for flavor ripening and blending in 
the refrigerator. Then when appetites 
reach the wildcat stage, the last-minute 
gratinee or sizzling can be performed at 
the chafing dish, the electric skillet or 
the oven without delay. 

After the main course is applauded, 
an alluring dessert is the best encore. If 
it’s a fine babka or pecan ring or apple 
strudel, it should be placed in the oven 
until it's cozily warm before serving. If 
it's a cheesecake or a bow] of fresh straw- 
berries Romanoff, it should be bitingly 
cold. A platter of cheese — at room tem- 
perature — and a large bowl of fruit are 
perfect complements, too, to any mid- 
night repast. Ripe Spanish melons, 
honey-sweet Bosc pears, Delicious apples, 
German tilsiter cheese, crumbly stilton 
or soft, ripe brie or camembert — the 
list is endless. 

Endless, too, are the joys of midnight 
feasting. For inspiration, try the follow- 
ing culinary delights, all sufficient for 
a quartet of hungry night raiders: 


OYSTER FRITTERS 


61-ог. can oysters, well drained 

1 cup cold water 

1 packet instant chicken bouillon 

Y4 teaspoon salt 

14 teaspoon pepper 

Dash cayenne pepper 

8 tablespoons butter 

3 eggs 

1 cup all-purpose flour 

Y4 teaspoon baking powder 

2 tablespoons minced green pepper 

2 tablespoons minced onion 

Salad oil 

Sift together the flour and baking 
powder. In a small heavy saucepan, over 
a low flame, bring the water, chicken 
bouillon, salt, pepper and cayenne pep- 
per to a boil. Add the butter. Let it 
melt, Remove the pan from the flame. 
Add the flour mixture all at once. It 
will be hard to handle, but stir well un- 
til a smooth mixture is formed. Add, 
one by one, the unbeaten eggs, stirring 
well until the eggs are blended into the 
batter. Add the oysters, green pepper 
and onion, mixing well. Place the mix- 
ture, covered, in the refrigerator until 
serving time. When ready to make frit- 
ters, heat oil to a depth of 14 inch in a 
heavy frying pan or in an electric skillet 
set at 870°. Drop by large tablespoons 


imo pan. Sauté until brown on both 
sides. Drain on absorbent paper. With 
oyster fritters serve cold rémoulade 
sauce. 


REMOULADE SAUCE 


1 cup mayonnaise 
М cup sour cream 
2 tablespoons finely minced sour 
pickle 
tablespoon finely minced parsley 
teaspoons finely chopped capers 
teaspoon finely chopped fresh cher- 
vil or 4 teaspoon dried chervil 

2 teaspoons anchovy paste 

1 teaspoon Dijon mustard 

Combine all ingredients in a mixing 
bowl. Stir well. Chill until serving time. 


ene 


MUSHROOMS AND WAFFLES WITH MARSALA 


1 Ib. fresh button mushrooms 

2 tablespoons butter 

1 tablespoon salad oil 

Juice of 14 lemon 

Salt, white pepper 

101-02. can cream of mushroom soup 

14 cup dry marsala wine or dry sherry 

14 cup light cream 

2 tablespoons grated parmesan cheese 

% Ib. sliced bacon 

4 portions frozen waffles 

Wash mushrooms well in cold water. 
In a large heavy saucepan heat the but- 
ter and salad oil until butter melts. Add 
mushrooms and lemon juice. Sprinkle 
with salt and white pepper. Sauté, 
keeping the pan covered, until mush- 
rooms are tender. Add the undiluted 
mushroom soup, marsala wine, cream 
and parmesan cheese, Stir well to make 
a smooth sauce. Simmer slowly 15 min- 
utes. While mushrooms arc simmering, 
sauté the bacon or bake it in a shallow 
pan until crisp. Heat the frozen waffles, 
following directions on package. Place a 
portion of waffles on each serving plate. 
Spoon the mushrooms over the waffles. 
Place the bacon on top. White beau- 
jolais 1959 will be perfect with this dish. 


FRESH SAUSAGE CAKES WITH AFPLE 


These аде designed for two burger 
sandwiches on buns per person. They 
should be accompanied with crisp dill 
pickles or imported senfgurken, a sauce- 
boat of catsup spiked with Tabasco and 
mugs of cold beer. 

1 tablespoon butter 

¥ cup finely chopped apple 

X4 cup finely minced onion 

M, teaspoon finely minced garlic 

% cup dry white wine 

1 Ib. seasoned sausage meat 

1 egg, well beaten 

Y4 cup bread crumbs 

И cup light cream 

Melt the butter in a small saucepan. 
Add the apple, onion and garlic. Sauté 
slowly until onion turns yellow. Add the 
white wine. Cook until wine almost 

(concluded on page 116) 


Ce AWOKE with the Tingle Tooth- 
foam song racing through his head. 
Tingle, he realized, must have bought 
last night's Sleepcoo time. He frowned 
at the Sleepcoo speaker in the wall next 
to his pillow. Then he stared at the 
ceiling: it was still blank. Must be pretty 
early, he told himself. As the Coffizz 
slogan slowly faded in on the ceiling, he 
averted his eyes and got out of bed. He 
avoided looking at the printed messages 
on the sheets, the pillowcases, the blan- 
kets, his robe, and the innersoles of his 
slippers. As his feet touched the floor, 
the TV set went on. It would go off, 
automatically, at ten р.м. Crane was per- 
fectly free to switch channels, but he 
saw no point in that. 

In the bathroom, he turned on the 
light and the TV's audio was immedi- 
ately piped in to him. He switched the 
light off and performed his first morning 
ritual in the dark. But he needed light 
in order to shave, and as he turned it 
on again, the audio resumed. As he 
shaved, the mirror flickered instantane- 
ously once every three seconds. It was 
not cnough to disturb his shaving, but 
Crane found himself suddenly thinking 
of the rich warm goodness of the Cof- 
fizz competitor, Teatang. A few mo- 
ments later, he was reading the ads for 
Now, the gentle instant laxative, and 
Stop, the bourbonflavored parcgoric, 
which were printed on alternating sheets 
of the bathroom tissue. 

As he was dressing, the phone rang. 
He let it ring. He knew what he would 
hear if he picked it up: “Good morning! 
Have you had your Krakkeroonies yet? 
Packed with protein and —” Or, may- 
be, “Why wait for the draft? Enlist now 
in the service of your choice and cash 
in on the following enlistee benefits —” 

r: "Feeling under the weather? Coro- 
nary disease kills four out of буе! The 
early symptoms are —' 

On the other hand, it could be an im- 
portant personal call. He picked up the 
phone and said hello. “Hello yourself,” 
answered a husky, insinuating feminine 
voice. “Bob?” 

axes 

“Bob Crane?” 

“Yes, who's this?” 

“My name's Judy. I know you, but 
you don't know me. Have you felt logy 
lately, out of sorts —" Не put down 
the phone. That settled it. He pulled а 
crumpled slip of paper from his desk 
drawer. There was an address on it. 
Hitherto, he had been hesitant about 
following up this lead. But this morn- 
ing he felt decisive. He left his apart- 
ment and hailed a cab. 

The back of the cab's front seat im- 
mediately went on and he found him- 
self watching the Juice-O-Vescent Break- 
fast Hour. He opened a newspaper the 


last passenger had left behind. His eyes 
managed to slide over the four-color 
Glitterink ads with their oblique homo- 
sexual, sadistic, masochistic, incestuous 
and autoerotic symbols, and he tried to 
concentrate on a news story about the 
initiating of another government hous- 
ing program, but his attempts to ignore 
the Breeze Deodorant ads printed yel- 
low-on-white between the lines were 
fruitless. The cab reached its destina- 
tion. Crane paid the driver with a bill 
bearing a picture of Abraham Lincoln 
on one side and a picture of a naked 
woman bathing with Smoothie Soap on 
the other. He entered a rather run-down 
frame building, found the correct door, 
and pressed the doorbell. He could hear, 
inside the flat, the sound of an old- 
fashioned buzzer, not a chime playing 
the EetMeet or Jetfly or Krispy Kola 
jingles. Hope filled him. 

А slattern answered the door, regarded 
him suspiciously. and asked, "Yeah?" 

"I—uh— Mrs. Ferman? I got your 
name from a friend, Bill Seavers? I un- 
derstand you—” his voice dropped low 
“— rent rooms.” 

“Get outta here; you wanna get me 
in trouble? I'm a private citizen, a re- 
spectable —" 

"ГП, Il рау. I have a good job. 
1” 


How much?" 

“Two hundred? That's twice what I’m 
paying at the housing project.” 

“Come on in.” Inside, the woman 
locked, bolted and chained the door. 
“One room," she said. “Toilet and 
shower down the hall, you share it with 
two others. Get rid of your own gar- 
bage. Provide your own heat in the 
winter. You want hot water, it's fifty 
extra. No cooking in the rooms. No 
guests. Three months’ rent in advance, 
cash." 

“TH take it,” Crane said quickly; then 
added, “I can turn off the TV?” 

“There ain't no TV. No phone 
neither.” 

“No all-night Slecpcoo next to the 
bed? No sublims in the mirrors? No Pro- 
jecto in the ceiling or walls?” 

“None of that stuff.” 

Crane smiled. He counted out the 
rent into her dirty hand. “When can I 
move in?” 

She shrugged. "Any time. Here's the 
key. Fourth floor, front. There ain't no 
elevator.” 

Crane left, still smiling, the key 
clutched in his hand. 

Mrs. Ferman picked up the phone and 
dialed a number. “Hello?” she said. 
“Ferman reporting. We have a new one, 
male, about thirty.” 

“Fine, thank you,” answered a voice. 
“Begin treatment at once, Dr. Ferman.” 


CHRISTIANSEN 


fiction By RAY RUSSELL 


ROOM 


for rent: 
very special lodgings 
Jor a 


very special purpose 


PLAYBOY 


“It looks like we can't expect much in the way 
of benign guidance." 


on broadway, there's no business lake no business 


article Ву AL MORGAN 


BROADWAY'S SUCCESS WORSHIPERS are among the major social hazards of our time. "They all have total 
recall, unlimited wind and are not above grabbing you by the lapels to cut off your circulation and 
your escape. I've been backed against innumerable grand pianos at uncountable parties and told in 
great detail about the opening nights of South Pacific, Ghosts, Show Boat, and a succession of 
Hamlets. 1 know the precise second Ethel Merman belted out I’ve Got Rhythm for the first time, 
how many people yelled bravo when Walter Huston, wearing a peg leg as Peter Stuyvesant, talked his 
way through September Song and how many members of Actors’ Equity José Ferrer killed with his 
sword in Cyrano. I've been Sothern-and-Marlowed, Barrymored, Lillian Russelled and Gertrude Law- 
renced to death. 

In self-defense, I've become a Turkey Worshiper. Instead of getting a glaze over my eyes when the 
bore bears down on me at a party, I counterattack. 

“Did you happen to be in New Haven for the tryout of The Light in 1919?” I ask. “How much did 
they pay you to see The Ladder?” “Do you happen to know offhand the all-time record for the shortest 
run on Broadway?” 

What started as a defense became a religion. Once you hear the siren call of the voice of the turkey, 
you can’t be bothered with such pallid theatrical fare as the smash hit. Now if you'll just make yourself 
comfortable against that piano and lean your lapels forward a bit, I'll show you what I mean. 

The late Oscar Hammerstein II may have become wealthy and famous for such shows as South 
Pacific, Oklahoma! and The King and I, but I'm sure nothing that happened to him in his career can 
stack up against a night in Connecticut in 1919 when his first play, The Light, opened its tryout tour. 
The play never got any further than that tryout date at the Shubert in New Haven. The local critic 
summed it up with these words, “Its christening robes may well suffice as a shroud for a deadly dull 
play." Taking the hint, the producer, Arthur Hammerstein (Oscar W's uncle) dosed it a couple of 
nights later, but not before it qualified for The Turkey Hall of Fame. On opening night, midway in 
the second act, The Light got its first and only laugh. The heroine, played by Vivienne Osborne, faced 
stage front and said, “Everything seems to be falling down around me.” As she delivered the line, her 
panties slipped and fell to the stage. Mr. Hammerstein never got a bigger laugh in his life nor had 
any angrier leading lady. 

"The King of The Flops, the longest turkey run in the history of the theatre, was a drama by 
J. Frank Davis called The Ladder. It opened at the Mansfield in 1926. It lost $750,000 and ran for a 
year and a half on Broadway, rolling up an astounding total of 789 performances. The Ladder dealt 
with reincarnation and its lone backer was Texas oil tycoon Edgar B. Davis (no relation to the play- 
wright). Mr. Davis, who was reputed to have made ten thousand dollars a day — every day — from his 
oil wells, was a big reincarnation buff and felt the message of the play was something every American 
should be exposed to, even if it took his last drop of oil. The Ladder opened to a completely unani- 
mous set of critical pans, but, despite them, Mr. Davis kept it running throughout the 1926 season. At 
the end of the year the play was $200,000 in the red. On Christmas Day, the oil tycoon-producer called 
a press conference. His news gladdened the hearts of his cast (at least). He announced that in addition 
to a collection of staggering Christmas presents, he was giving them a ten-week guarantee of employ- 
ment. His Christmas present to the theatre-going public was even more unusual. He announced that 
starting with that evening’s performance no admission charge would be made for The Ladder. The 
theatre-going public didn't respond to Mr. Davis’ generosity. There were nights when the cast outnum- 
bered the audience, but the ten-week guarantees were renewed again and again and The Ladder ran 
another full year, without a penny coming into the box office, losing its producer another $500,000. The 
show finally closed on Broadway at the end of the 1927 season. Mr. Davis went back to Texas and his 
oil wells. But life, even at ten thousand dollars a day, got dull, and he headed back East in 1928 and 
reopened the show in Boston. The reviews were just as bad but the price was just as right. Bostonians 
stayed away with even more determination than the New York audiences, and in desperation (Mr. 
Davis felt it was only a question of time before T'he Ladder caught on) Davis sent agents into Scollay 
Square to round up and recruit playgoers. Bums were paid up to (continued on page 64) 


61 


"Your costs, gentlemen?" Answering the 
Bunny's courteous query, the guy on the 
left is about to check his light-gray $со!- 
tish lamb's-wool semi-fitted town coat in 
a herringbone pattern, with fly front, peok 
lapels, set-in sleeves and flop pockets, by 
Malcolm Kenneth; $150. His next offering 
will be his heather-olive Shetland wool 
mufller, by Cisco; $5. Bunny already holds 
his medium-gray, smooth felt hat with a 
small tapered crown, narrow brim, hand- 
felted edge, and black band, by Knox; $20. 
His next-in-line confrere is more formally 
togged in а black woo! worsted chester- 
field town coat with the classic velvet 
collar, fly front and flap pockets, by Barry 
Walt; $100. His black velvet-textured fur 
felt hat sports а red feather ornament ond 
black band, by Dobbs; $20. The patterned 
white silk muffler reverses to black vicuno, 
by Sulka; $45. His pull-on gloves ore 
black South American cabrettc with nylon 
sidewalls, wrist elastic, by Daniel Hays; 
$6.50. The rapier-thin hond-finished Itolion 
nylon umbrella has a block stitched leather 
handle, by Continental; $17. Young mon on 
the wayup and on way out) isdapperindeed 
in an olive hand-loomed Irish cheviot 
double-breasted соо! with natural shoul- 
ders, three flop lop-seamed packets, leather 
buttons and full satin lining, by Duncan 
Reed; $85. His muffler is a multi-calored 
Italian silk mosaic square, by Peacock, Ltd. 
$15. Gloves are a cedor-color split pi 

skin with hand-stitched band, palm vent, by 
Hansen; $5. About to go on his noggin: 
a black-olive English-style smooth felt 
fedora with a raw-edge brim, by Dobbs; $12. 


attire 


he checkroom at Chicago's Play- 
boy Key Club is the setting 


for an off-and-on romance involving 
the handsome outerwear you see at 
your right; and a fashionable layaway 
plan it is, The doakroom Bunnies 
attentively in attendance have testi- 
fied of late that what's coming off at 
the club is taking up a lot less spa 
than it used to, and there are good 
reasons for the trend: coats (both 
top- and over- ), hats, gloves, mulllers, 
umbrellas and attaché cases have all 
been Metrecaled down to a slim, 
trim, decidedly elegant look that was 
unknown just a short while аро. 

The town-attuned topcoat takes on 
three distinct looks, and there's at 
least one that's particularly right for 
you, no matter what your choice of 
suit—Ivy, Continental or British 
Lounge. Your (concluded on page 105) 


PLAYBOY 


ВЕБЕ GF TEE TO 


seventy five cents a head to come in out 
of the cold Boston winter and warm 
themselves while being exposed to the 
playwright’s cheering message about re- 
incarnation. 

The runner-up for the honor of hav- 
ing the smallest boxoffice take of all 
time was a play called The Field of 
Ermine, which graced the Broadway 
season of 1934. The purists among the 
Turkey Worshipers contend that it de- 
serves the championship, since The 
Ladder really wasn't trying. One mati- 
nee during the painfully brief run of 
The Field of Ermine, the box-office 
treasurer discovered that he had sold 
exactly one seat for the performance, a 
balcony seat at a dollar and a half. Free 
tickets were hastily spread around bus 
terminals, hotel lobbies and given away 
at local newsstands as a bonus to every 
purchaser of an evening newspaper. Ву 
curtain time that afternoon, there were 
exactly forty-one customers in the house, 
forty on the cuff and the one lone pay- 
ing customer, a lady, sitting in her seat 
in the balcony. Before the curtain rose, 
the stage manager made a speech, in- 
viting all the members of the audience 
to move down into the first two rows 
so that the actors wouldn't feel lone- 
some. All the freeloaders obliged. The 
lady with the paid-for ticket refused to 
move. She said she'd only paid for a 
balcony seat and she didn't feel it was 
honest for her to move downstairs into 
the orchestra. 

‘The swectestsmelling flop in history 
was a drama that opened at the Cort 
Theatre on December 8, 1945. It was 
called The French Touch, was directed 
by French cinema great René Clair, 
written by Joseph Field and Edward 
Chodorov and included in its cast such 
stalwarts as Brian Aherne, Arlene Fran- 
cis and Jerome Thor. Despite this array 
of talent, The French Touch might 
have gone down in theatrical history as 
just another casualty and hardly worth 
the attention of a True Turkey Wor- 
shiper. There was, however, one added 
factor that lifted the play out of the 
run-of-the-mill failure class. It was 
angeled by a perfume manufacturer. 
He (or his press agent—or both) de- 
cided a Broadway opening night was a 
perfect opportunity to hustle his prod- 
uct as well as the drama. Gallons of his 
perfume were trucked in from the fac- 
tory. “This will be a monumental eve- 
ning in the theatre,” he is said to have 
remarked (то his press agent or wife — 
or both). "Tonight a play will assault 
all the senses . . . including the sense 
of smell." 

The playbills were perfumed and 
carried down the aisle by usherettes who 
had been given a generous supply of 
the stuff and told where to put it. Fif- 


KEW (continued from page 61) 


teen minutes before the first-nighters 
were admitted to the theatre, buckets of 
perfume were poured into the theatre's 
ventilating system. The first arrivals 
found the perfumescented air a wel- 
come change from the usual theatre 
smell, a compound of the deodorant in 
the rest rooms and the carbon monoxide 
of passing automobiles. It added a fes- 
tive, expensive note to the occasion. At 
fi Until curtain time, the Smell-O- 
Vision-type stunt was an unqualified 
success. First-nighters searched through 
their programs for the name of the 
smell that they were being assaulted 
with, 

Then the curtain rose on the first 
scene of the play. The perfume, trapped 
by the curtain in the auditorium, came 
billowing across the footlights in waves 
and hit the unsuspecting actors in the 
face. “We dropped like flies,” one of the 
members of the cast told me. “By the 
middle of the second act, three mem- 
bers of the cast had vomited, all the 
dressing-room windows were wide open 
and still that perfume came rolling 
across the footlights at us like fog." 

By the beginning of the third act, the 
perfume began to affect the audience. 
"The heavy air made them drowsy and 
one by one the actors noticed heads 
nodding and falling forward. According 
to one self-appointed authority, by the 
final curtain a good third of the mem- 
bers of the audience were sound asleep. 
A last-minute attempt to save the situ- 
ation by turning off the heating unit 
was only moderately successful. By that 
time the Cort Theatre had become sat- 
urated with the scent and all it really 
accomplished was to add the threat of 
pneumonia to the threat of suffocation. 

The French Touch lasted a total of 
thirty-three sweet-smelling performances, 
and the last vestige of the opening-night 
perfume was still billowing across the 
footlights on dosing night. Male mem- 
bers of the cast stopped going into the 
rougher bars until they again smelled 
like themselves. Actresses in The French 
Touch, even today, develop an imme- 
diate headache when they arrive at a 
party and discover that one of the other 
guests is wearing that perfume. 

The unluckiest flop of them all was 
a play called Ragged Army which was 
scheduled to open on February 26, 1934, 
at the Selwyn Theatre. Snow began 
falling on the morning of the twenty- 
sixth and continued through the day 
and into the night. It developed into 
one of the worst blizzards in New York's 
history. At curtain time on that opening 
night, four customers (all related to 
members of the company) turned up 
wearing hip boots. Since these four had 
already seen the show at a dress rehearsal 
and not a single critic braved the 


weather, the opening was postponed a 
week. By the time the second opening 
night rolled around, the snow had 
cleared off the streets, the weather bu- 
reau forecast clear skies and the pro- 
ducers began to congratulate themselves 
on the fortunate circumstances that had 
given them an extra week of rehearsal 
to sharpen up their cast. That morning, 
the snow began falling. It snowed on in- 
to the afternoon and by nightfall the 
town was snowbound again, At curtain 
time, three of the four people who had 
braved the elements the first time showed 
up. The fourth had been sent to the 
hospital with a case of pneumonia he'd 
picked up going to the first opening. The 
theatre staff, armed with free tickets, went 
out into the street to recruit first-night- 
ers. They managed to round up a gang 
of Sanitation Department men armed 
with shovels, who were on their way 
home after a stint of snow removal. 
‘They checked their shovels with the hat- 
check girl and settled themselves down 
in the first row. 

Ragged Army opened. It was its first 
and only performance. It closed the 
next day, а flop that had been seen only 
by three hardy friends of the cast and a 
snow-removal gang, and had never been 
reviewed by a critic. 

It must be admitted that the Thirties 
were fertile ground for students of flops. 
‘The failure of a play was not, then, the 
monumental disaster it is today, where 
theatrical productions have budgets 
(850,000 to $75,000 for straight plays, as 
much as $400,000 for a musical) that in 
the past might have financed the army 
and navy of a medium-sized Balkan mon- 
archy. The Thirties in America were 
the last stand of the shoestring pro- 
ducers, and the all-time champ in the 
field of putting on a play for the least 
amount of money must be a man named 
Theron Bamberger. In April of 1933 
he opened a play called Man Bites Dog 
on the smallest shoestring in theatrical 
history. The entire cost of the produc- 
Чоп was $2400. His cast received what 
was then the Equity minimum of $25 a 
week. There was no rehearsal pay in 
1933, so his actors didn’t really cost him 
a dime until opening night. Bamberger 
found a hungry stage designer who 
worked for $100. He then found an old 
set that resembled the one his designer 
had in mind, and on his drawing board 
rebuilt it and painted it for a total out- 
lay of $400. Two costumes were rented. 
Аз producer, he had a rent-free office at 
the theatre. He is reported to have used 
it as a hotel room, The show had no 
accountant and no lawyer. The play ran 
for seven performances and lost its en- 
tire investment. In a poll of critics at 
the end of the 1933 season, Man Bites 
Dog was consistent right to the very end. 
The critics rated the plays of the year 

(concluded on page 122) 


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[haue tell us skiing orig- 
inated not among weekending rev- 
elers at Aspen or Sun Valley, 

but among the frosty-bearded 
hordes of Stone Age Europe. It 
has since become a many- 
splendored art form, blending 
agility, grace — and the informal 
social graces of the ski lodge. 
Sleekly garbed for the slopes or 
beguilingly peeled in a rustic re- 
treat, eighteen-year-old Barbara Ann 
Lawford can boast a many- 
splendored art form all her own. We 
found our adventurous Playmate 
in California, in a Sherman Oaks 
sport shop, buying gear for her 
very first ski trip. Naturally, 

we invited ourself along. At 

the ski lodge, Barby took to 

her room, got out of her traveling 
clothes and decided to wax 

her skis — as you can see for 
yourself in this month's сус- 

filling gatefold — before donning 
stretch pants and parka. During 
the fun-filled weekend, we coaxed 
Barbara into returning with us to 
PLAYBOY headquarters in Chicago 
where this beautiful snow bunny is 
presently brightening the lives of 
members as another kind of bunny, 
complete with rabbit ears and 
cottontail, at the Playboy Key Club 
on Chicago’s Near North Side. 


Barbara browses for the wooly wherewithol to help keep 
her worm through the exciting doys, and nights, cheod. 


WAXING 
WM 


saucy snow bunny 
adds sparkle 
to the ski season 


MISS FEBRUARY mavsov's pavmare or me monr 


With the exhilaration of the afternoon still glowing on her cheeks, Borby relaxes in the spell of the heorth primevol with a spicy grog. 


PLAYBOY'S PARTY JOKES 


After the profes 
five-footer on the р 
sued for divorce. 


al golfer made a 
ctice green, his wife 


W hocver it was who first called women 
the fair sex didn’t know much about 
justice. 


Our Unabashed Dictionary defines: 


Bachelor as а man who thinks seriously 
about marriage. 


Continence as mind over what matters. 
Falsies as hidden persuaders. 


Happy married couple as a husband out 
with another man’s wife. 


Maiden aunt as а girl who never had 
sense cnough to say uncle. 


Proposal as a proposition that lost its 
nerve. 


of wife or 


Shotgun wedding as a cas 
death. 


Vicious circle as a wedding ring. 


A rather naive young man named Les- 
ter had recently reached manhood, and 
had no idea why he was continuously 
nervous and tense. He went to sce his 
doctor. The M.D. was not in but his 
nurse was, a red-headed vixen who wore 
her uniform so tight that Lester’s jitters 
noticeably increased. She asked him 
what was wrong and he told her, She 
eyed him appraisingly. 

“That's easy to fix,” 


she said. “Come 


with mc." She led Lester into a small 
mination room, and there relieved 
tensions. 
s preparing to leave, she said, 
bc twenty dollar" And 
quite satisfied, Lester pleased to pay. 
Several weeks went by, and Lester 
found the same unrest growing in him 
again. He returned to the doctor's 
office and this time the doctor was in. 
He listened to Lester's symptoms, then 
wrote out a prescription on a piece of 
per and handed it to him 
“This is for tranquilizers,” the doctor 
said. “You can have it filled downstairs. 
That will be five dollars, please. 
Lester looked at the small piece of 
paper for а few moments, then looked 
up at the doctor and said, “If it’s all the 
same to you, doc, I'd just as soon have 
the twenty-dollar treatment.' 


The popular girl is the one who has been 
weighed in the balance and found 
wanton. 


Charlie was taking his out-of-town pal, 
George, for a stroll through the city. 
They were admiring the scenery, when 
George observed: 

“Say, will you look at that good-look- 
ing girl over there. She's smiling at us. 
Do vou know her?" 

"Oh, ycs: Betty — twenty dollars." 
‘And who's that brunette with her? 
„ she’s really stacked!" 

Yep: Dolores — forty dollars. 

“Ah, but look what's comin 
what I call really first class! 

That's Gloria — eighty dollar 

“My God,” cried George, "aren't 
there any nice, respectable girls in this 
town?” 

‘Of course,” Charlie answered. “But 
you couldn't afford their rates!” 


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


“For heaven's sake, Miriam, what if I had been someone else?" 


73 


н 
е 
m 
Li 
Li 
ы 
LI 


74 


HYPNOSIS continued from page 42) 


nosis can produce a case of stuttering 
so severe that a man cannot pronounce 
his own name; similarly a trained hyp- 
notist can cure many cases of stuttering 
that are psychosomatic in origin. 

All of the senses can become hyper- 
acute under hypnosis. Vision, hearing, 
smell, taste and touch may all improve 
to a remarkable degree. Consider this 
experiment, for example. A subject is 
shown a series of plain white cards and 
told, as he sorts through them, that one 
is a photograph of his mother. He is 
asked if he recognizes it. 

"Of course,” the subject replies. 

“Will you recognize it if I show it to 
you again?” 

“Certainly.” 

The operator makes a small mark on 
the back of the card so that he will be 
able to recognize it himself, He then 
shuffles the cards and hands them to the 
subject, asking him to pick out his 
mother's photograph, which the subject 
promptly does. This remarkable feat is 
possible because the subjects visual 
hyper-acuity picks out microscopic flaws 
and irregularities on the face of the one 
card on which he has been told his 
mothers photograph appears. He can, 
of course, pick out this card again and 
again. 

Many experiments have been done to 
demonstrate hypnotic subjects’ aware- 
ness of time-factors. Many good subjects 
can calculate time to the second: put a 
subject into trance and tell him to 
awake in exactly four hours and thirty- 
four minutes, and he may well do just 
that. One explanation of this phenom- 
enon is that the subject may be able 
to tell the exact time by subconsciously 
counting the tickings of his watch, or 
someone else's; or by counting his own 
pulse or heartbeat. 

Some of the commonest of hypnotic 
feats demonstrate the complete decep- 
tion of the senses. Sweet oranges can be 
turned into lemons that make the sub- 
ject pucker uncontrollably; spirits of 
ammonia may smell like Chanel No. 5; 
water becomes whiskey and causes drunk- 
enness. The arms, the legs or the whole 
body will accept anesthesia, and there 
will be no feeling of pain when pins 
are stuck into the subject at random, or 
when fire and electrical shocks are ap- 
plied. On the other hand, a subject can 
be told that a pencil is a burning cig- 
arette and when it is placed on the skin 
a blister may form. 

Blistering of the skin and hypnotic- 
allyinduced bleeding and other such 
phenomena are of special interest be- 
cause they demonstrate one of the most 
remarkable aspects of hypnosis. An oper- 
ator can take control of a good subject's 
secondary or involuntary nervous sys- 
tem and thus put under control body 


functions which are normally involun- 
tary. Blood pressure and body temper- 
ature can be raised and lowered at will, 
the heartbeat increased or slowed, the 
pupils of the eyes made to dilate at will 
(as in-experiments with the conditioned 
reflex) and, of course, all pain can be 
eliminated by the simple expedient of 
blocking the nerves that send the mes- 
sage of pain to the brain. The ability 
of hypnosis to block pain is currently 
attracting the most attention from the 
medical profession, because of its value 
in childbirth and dentistry. It is really 
one of the least remarkable of the many 
incredible powers of hypnosis. 

Тһе Indian fakirs who have amazed 
Western man for centuries with their 
ability to walk on hot coals, pierce their 
bodies with swords, go into death-like 
catalepsy and fast for long periods of 
time are practicing auto-hypnosis, and 
any good hypnotic subject could do the 
same if he cared to, or, rather, if his 
hypnotist cared to have him care to. 

Alter digesting the notion of control 
over the involuntary muscles and the 
autonomic nervous system through hyp- 
notic suggestion, hallucinations and 
delusions seem like rather tame stuff. 
It is possible to create almost any kind 
of hallucination or delusion with a good 
subject and to make it stick indefinitely 
through posthypnotic suggestion, after 
the subject has been brought out of the 
trance. The pretty young hostess who 
walked nude into the living room to 
greet her guests and asked them how 
they liked her new dress was under a 
hypnotically-imposed hallucination; she 
really saw the dress and couldn't under- 
stand the shocked reaction of her 
friends. A simple and effective hallu- 
cination that stage hypnotists often use 
is to tell а subject that when he awakes, 
he will be completely naked; or that he 
will be clothed and everyone else, includ- 
ing the hypnotist, will be completely 
naked. The results are almost always 
hilarious, because the subject really be- 
lieves what he has been told. For instance 
one subject, a girl told that she was 
nude, awoke and covered her face. 

Hallucinations can sometimes back- 
fire. A rather high-strung and sensitive 
subject was told that one member of 
a group at a party had left the room, 
and when she awoke, he would not be 
there. He had not left, of course, but 
when the subject was brought out of 
the trance, she could no longer see him. 
He walked directly in front of her and 
she looked right through him at the 
others in the room with whom she was 
conversing. For her, this fellow was 
simply not there. Then the operator 
asked the subject if she would like some 
champagne and she indicated she would. 
He joked about having a rather unique 


and lazy man's means of getting it, 
whereupon the fellow the subject could 
not see poured a glass of champagne 
and started to bring it to her. The sub- 
ject saw the champagne bottle and the 
glass, but nothing else, and she became 
hysterical. The subject was unable to 
view the situation objectively, or real- 
ize that it was part of a hypnotic 
trance (as many subjects can, even while 
actually viewing the hallucinations) and 
so seeing the glass and bottle hovering 
in mid-air severely frightened her. 

The polar bear that accompanied the 
шап at the club was a hallucination, 
of course, and it is just as easy to make 
things appear for a good subject as it 
is to make them disappear. Estabrooks 
comments on a pet bear that he created 
as a hallucination which became some- 
thing of a pest after a while. In the 
beginning, Professor Estabrooks was 
able to produce the hallucination at will 
and he got a kick out of materializing 
it for himself in the corner of a room 
during a bridge game and remarking, 
“Why there's my bear! He looks hun- 
gry.” After a while, the bear began ap- 
pearing on its own, without being sum- 
moned, and it got into the habit of 
following him home at night, and ap- 
pearing unexpectedly under the bed or 
peering through a window. Even though 
Estabrooks knew very well that it was 
a hypnotic hallucination, it was also a 
thoroughly real bear to him in appear- 
ance and it became a bit unnerving, 
and so he finally had it removed from 
his subconscious, but it took three or 
four long sessions to accomplish the job. 

"The reaction of the young girl to her 
invisible friend and the professor to his 
bear indicate a couple of important 
facts about һурп‹ you can never be 
certain what reaction you are going to 
get under hypnosis, because each sug- 
gestion is viewed not in the abstract, 
but in the light of the experience and 
personal background of the subject. 
Thus the young lady was extremely 
frightened by the friend she could not 
see, but the professor was amused by 
his polar bear, which he knew to be a 
hypnotic hallucination. The professor 
was amused, that is, up to а point, 
which establishes ап important second 
consideration: there is a danger in hyp- 
nosis of establishing in the subject's 
mind some idea, hallucination, or con- 
fict that may stay on without the hypno- 
tist’s or the subjects being immediately 
aware of it, and crop up later to cause 
trouble for the subject. In the case cited, 
Dr. Estabrooks knew exactly what the 
big bear was, but another Jess learned 
subject, pitted against some idea or con- 
flict much vaguer than a bear, im 
planted in the subconscious through 
hypnosis, might have a real problem. 
Thats why it is most important that 

(continued on page 122) 


7222, By LEONARD FEATHER 


STARS 


a look at the current jazz scene and the winners of the fifth annual playboy poll 


STAN KENTON, leader 


LOUIS ARMSTRONG, second trumpet 


| JONAH JONES, fourth trumpet 


MILES DAVIS, first trumpet and all-stars’ instrumental combo 
mL 7 


DUKE ELLINGTON, all-stars’ leader DIZZY GILLESPIE, third trumpet and all-stars’ trumpet 


INS in the world of jazz, as the newspapers saw it, was the Year of 
Contention, with riots at Newport and other bashes. Jazz fans could see beyond 
that. More concerned with new chords than with discord, they saw it as the Year 
of Invention. 

There were new uses of jazz. John Lewis The Comedy, described as "a jaz 
entertainment" integrating the Modern Jazz Quartet and a group of ballet dancers, 
was premiered in Paris. Gunther Schuller, eloquent spokesman for a “third music,” 
was active as composer and conductor from Manhattan to Monterey. Duke Elling 

(text continued on page 81) 


JACK TEAGARDEN, fourth trombone 


GERRY MULLIGAN, baritone sax and all-stars’ baritone sax 


BOB BROOKMEYER, third trombone KAI WINDING, second trombone 


STAN GETZ, first tenor sax and all-stars’ tenor sax 


COLEMAN HAWKINS, second tenor sax J. J. JOHNSON, first trombone and all-stars’ trombone 


PAUL DESMOND, first alto sax 


CANNONBALL ADDERLEY, second alto sax and all-stars’ alto sax 


SHELLY MANNE, drums 
BARNEY KESSEL, guitar and all-stars’ guitar BUDDY DE FRANCO, all-stars’ clarinet 


RAY BROWN, bass and all-stars’ bass 


PHILLY JOE JONES, all-stars’ drums 


DAVE BRUBECK, piano BENNY GOODMAN, clarinet 


ton huddled with Tchaikovsky and came up with the nuttiest of Nutcracker Suites, 
then, comparably inspired by Steinbeck, gave Suite Thursday a Monterey festival 
premiere. Count Basie, celebrating his silver jubilee as a leader, tried something 
new in the form of a Kansas City Suite penned for him by Benny Carter. 

"There were new ways of playing jazz and oddball instruments on which to play 
it. Ornette Coleman and his plastic alto saxophone with partner Don Cherry blow- 
ing sawed-off trumpet, after making a stormy landing on the jazz runwa i 


DAVE BRUBECK QUARTET, instrumental combo 


OSCAR PETERSON, all-stars’ piano 


FRANK SINATRA, male vocalist and all-stars’ male vocalist 


produced the most. argued-about sounds since 
Dizy and Bird invaded 52nd Street and 
added the word “bebop” to hip parlance in 
1944. In Chicago, a saxophonist named Ro- 
land Kirk found he could play three coinci- 
dent solos — one line in three-part harmony 
— by blowing simultaneously on a tenor sax, 
a manzello (an ancient Italian instrument 
related to the soprano saxophone) and a 
strich (related to an alto saxophone, but 
straight rather than curved), thus automati- 
cally electing himself Mr. Miscellaneous In- 
strument of the Year. 

There were also new places to play jazz: 
Madison Square Garden drew 29,135 fans in 
two nights for its first jazz festival, spon- 


PLAYBOY 


sored by the New York Daily News. 
And there was the café-espresso-with- 
jazz boom that is still building. 

‘The intercontinental percgrinations 
continued, Eastbound, flutist Herbie 
Mann and his Dixieland-cum-Afro-Cu- 
ban combo went through the jungles by 
bus and rail, concertizing in behalf of 
the State Department in sixteen African 
countries. (As we went to press, Louis 
Armstrong was garnering wild approval 
on a State Department tour through the 
Congo.) Among the westward trekkers: 
King Rama IX of Thailand (born, like 
his idol Johnny Hodges, in Cambridge, 
Massachusetts) made а state visit to the 
US. and waged a twoclarinet battle 
with Benny Goodman at Governor 
Nelson Rockefeller's estate. Guitarist 
Attila Zoller, from Visegrad, Hungary, 
cooked in Los Angeles as a member of 
the Chico Hamilton Quintet, while Joc 
Zawinul, a fine modern pianist from 
Vienna, spent the year as Dinah Wash- 
ington's accompanist. 

Along with the new sounds and new 
sites, a heavy air of verbal and physical 
strife battered the global jazz scene. 
First, there was the unforgettable fracas 
at Newport, where a group of far-outsters 
(one observer called them “the dissident 
dissonants”) attempted to compete with 
the original festival. A second festival 
was wrecked when a bunch of British 
hooligans gave a crash course in piano- 
smashing, scaffolding-demolition and in- 
cendiarism on the estate of Lord 
Montague during his Beaulieu festival. 
Only a month later the statistics showed 
a hundred and one policemen, twenty- 
eight firemen and seventeen arrests 
when Ray Charles no-show at a Port- 
land, Oregon, ballroom induced a new 
brouhaha. 

These incidents may not kill the fes- 
tivals, but they've done a good deal to 
de-bloom the rose for many potential 
jazz promoters. Properly policed, jazz 
festivals can create new interest in the 
music. But it's more than a matter of 
law. Many towns can't accommodate the 
jazz festival throngs. Newport couldn't. 
And French Lick, Indiana, canceled its 
festival rather than risk another New- 
port rebellion (fortunately for jazz an 
Indianapolis promoter picked up the 
talent tab, tossed the affair in his town 
and, without a single brawl, did well). 
More festivals in major cities, à la 
PLAYBOY's Chicago Stadium wingding a 
year ago, is one answer; with plenty of 
room in which to roam, crowds don't 
get unruly. The New York Daily News 
festival in Madison Square Garden, in- 
corporating some of PLAYBOY's innova- 
tions (including the revolving stage), 
was a happy scene. A jazz festival may 
now be too much for Newport to han- 
dle, but, obviously, it's not a strain for 
New York or Chicago, The urban an- 
swer may be the best. 


Thanks to the presence of Ornette 
Coleman, festival furor wasn't the only 
sign of conflict in jazz. Coleman's brave 
new sound fascinated some hippies and 
frightened others. But this much seemed 
sure: Coleman has found a new road to 
travel, is not just another Charlie Parker 
ventriloquist's dummy, and seems to be 
a composer of some skill and originality. 
Beyond these points there were violently 
partisan views. 

Other new stars of the year were less 
controversial but no less welcome on the 
scene. When the Mastersounds quintet 
broke up, Monk (bass) and Buddy (vibes- 
piano) Montgomery joined forces with 
guitarist- brother Wes in a new combo 
that soon became the critics’ darling. 
Art Farmer and Benny Golson formed 
their Jazztet and made rapid headway; 
pianist Ray Bryant, under John Ham- 
mond’s wing at Columbia Records, was 
surprised to find himself on the best- 
seller lists with his Little Susie single. 
Cannonball Adderleys newly formed 
quintet made strides, musically and 
commercially, The “Nutty Squirrels” 
(Sascha Burland and Don Elliott), with 
their chipmunkish soupedup voices, 
proved that jazzplushumor can sell. 

"Funk" and "soul" were the passwords 
of the year. Horace Silver had started 
the roots revival back in 1953, with The 
Preacher (based on Show Me the Way 
to Go Home)—a reversion to basic, 
gospel-influenced themes played with a 
nco-bop jazz feel. By 1960 funk had be- 
come fad, and record companies out- 
souled one another proclaiming that 
their products had soul. Even the West 
Coast veered away from the cool school 
toward a more aggressive, earthier sound. 

Оп the big-band scene the excitement 
whirled around arranger Quincy Jones, 
who spent the first nine months of the 
year in Europe, where he played concerts 
(including Continental tours with Nat 
Cole and the Platters), cut some LPs for 
Mercury and finally got the crew back 
to the U.S. intact in September, ready to 
gas Manhattan's Basin Street East set — 
which it did. 

Gerry Mulligan completed a long tour 
of duty as an actor in Hollywood, a 
small role in The Rat Race, a bigger one 
in The Subterraneans, and a better part, 
revealing him as an admirable actor, in 
Bells Are Ringing opposite his in- 
amorata, Judy Holliday. Films finished, 
he winged East, formed a romping 
thirteen-piece band and toured the U.S. 
and Europe under the Norman Granz 
banner, and recorded for Verve. 

Speaking of The Subterrancans re- 
minds us that one of jazzdom's most 
ambitious artists in 1960 was another 
musician seen and heard in that picture, 
André Previn. During the year this 
young genius won his second con- 
secutive Oscar, for Porgy and Bess— 
the year before it was for Gigi; gassed 


English and Continental listeners dur- 
ing a combined honeymoon and busi- 
ness trip and continued to build his 
dual reputation as a topselling jazz and 
pop recording artist. 

One of the bluer notes of the year 
was tolled on the nightclub circuit. The 
final curtain at Chicago's Blue Note, 
the padlocking of Fack’s in San Fran- 
cisco and the destruction by fire of the 
Colonial Tavern in Toronto left pre- 
cious few spots outside New York City 
where a big-name, big-money group 
could get a gig. Some small compensa- 
tion could be found in the growth of 
the coffeehouses. Flourishing from Cum- 
mington Street in Boston to Sunset 
Boulevard in Flick City, they made ex- 
tensive use of jazmen, although the 
bread was thin. On a much more luxuri- 
ant level, the launching of the Interna- 
tional Playboy Clubs augured well for 
the placing of intimate jazz in appro- 
priate surroundings. 

А mumber of casualties made news. 
Oscar Pettiford, perennial runnerup to 
Ray Brown in our annual poll. died at 
the age of thirtyseven in Copenhagen, 
where he had been working with Stan 
Getz. The name of venerable trumpeter 
Lee Collins was added to the list of lost. 
New Orleans pioneers. Other departures 
from the jazz scene: early Chicagosstyle 
darinetist Bud Jacobson, New York 
clarinetist Prince Robinson and, 
Mexico City, composer Fabian André. 

On the celluloid side of the street one 
event had all the others walking in the 
shade. Jazz on a Summer's Day, filmed at 
the 1958 Newport festa but not released 
until 1960, finally showed how a jazz 
film can and should be made — the way 
Hollywood has never done it, without 
hip jargon, boy-digs-girl plots or any of 
the previously inevitable trappings. 

Perhaps the most important trend of 
the year was the move toward good pro- 
graming on FM radio. In San Fran- 
cisco, two all-jazz FM stations, aptly 
dubbed KJAZ and KHIP, are on the 
air about eighteen hours a day. The 
latter also docs live-jazz remotes from 
the Black Hawk, Jazz Workshop and 
other area spots. Two other local FM 
stations have several hours of jazz a week. 
In New York, WNCN last spring started 
a policy of thirty-five hours a week, the 
regular jocks including Cannonball’ Ad- 
derley and a posse of critics, this writer 
among them. Sleepy Stein's all-jazz 
KNOB in Los Angeles is in its third 
year; other FM outlets like WHAT in 
Philadelphia and WNIB, WCLM and 
WXFM in Chicago have found audi- 
ences for jazz timeslots. 

AM radio came to life, shocked out of 
its rock-n-roll complacency early in the 
year by the payola scandal. If they 
didn't go overboard for Mingus or 

(continued on page 129) 


resort wear By ROBERT 1. GREEN 


february 


“NOW IS THE WINTER of our discontent made glorious sum- 
mer," said Shakespeare, digging the sleepy greensward 
of England's Kent. These days, of course, England's 
Kent is not the only goal for those who need a holiday 
from hoarfrost. Toward Cannes or Coronado, Nice or 
Nagpur, Sorrento or Santa Barbara, Barbados or Biar- 
ritz, St. Croix or St. Tropez, frostbitten flocks flee southward 
to the sandy, sun-soaked sanctuaries of every continent 
on earth, anxious to shed "winter's weeds outworn" for 
the greatlooking, comfortable duds of carnival. And this 


Happy chap in a hoppy resort wear combination: imported 

print cotton batik jacket, by Gordon-Ford, $38; olive 
Bermuda shorts, Orlon-cotton wash-and-wear, plain 
front, extension waistband, by Anthony Gesture, $10; 
cotton jersey tennis shirt, by RFD-McGregor, $11. 


year, the trappings of sweet idleness take 
on the colors of an early-blooming tropi- 
cal flower, with a burst of uninhibited 
plumage in men's resort wear that prom- 
ises to get the mating season off to a 
flying start. Whether you're the type who 
likes to greet dawn the rosy-fingered with 
a splash in the salubrious surf, or pre- 
fers to loll in the hammock till the sun's 
zenith, the hip habiliments of 1961's 
resort wear will have you swinging 
just right. 
In the briny deep department, you 
can go to any lengths you desire in your 
choice of wet wear: from knits with 
zippered calfs that begin at the ankle to 


Striped for action on beach or boardwalk, 
our winter vacationers choose duds as 
good-looking as they are comfortable. 
The lad at left, arms akimbo in a clean-lined 
horizontalstriped cotton knit ensemble: 
five-button shirt with white furled col- 
lar, elasticized waistband, and cool three- 
quarter-length sleeves, $9; and match- 
ing square-rigged trunks, $6, both by 
Catalina. Guy at right, strutting in a dap- 
фет calypso outfit: vertical-striped cotton 
shirt jacket with top pocket, air-cooled 
сшашау side vents, and solid-color Con- 
tinental collar, by Marlboro, $5; and 
spotless white washable trousers of Arnel 
and cotton in a subtle oxford weave 
complete with belt loops and quarter-cut 
pockets, no pleats, tailored for the slim 

athletic look by Gordon-Ford, $12. 


scooped-out (and far-out) bikinis that 
start and stop just this side of the law. 
Our taste runs firmly between these two 
extremes, and we recommend you be а 
more conservative aquanaut with 
swim trunks that come to the top of the 
thigh, in classic gingham checks, hound's- 
tooth, paisleys, geometric prints, 
solid shades, or a Fourth of July of bright 
and wide stripings. Knitwear is in for 
a big push this resort season, cut in 
mid-thigh Jamaican lengths, knee-top- 
ping Bermuda lengths, and a multitude 
of in-betweens that should serve your 
(concluded on page 121) 


At left, the bongo-beating beachophile 
two-steps in a V-necked cotton sweater 
of antique gold bouclé, sumptuously 
knitted with heather-twisted yarn, by 
Rabhor, $10; and jaunty Jamaican- 
length shorts in a dusky mottled pat- 
tern of Dacron and cotton wash-and- 
wear with plain front, side tabs and 
extension waistband, by Mayhofj of 
Baltimore, $11. At right, а bronzed 
beachcomber takes a midday snooze 
and looks great in the lush lumines- 
cence of his tastefully startling dark 
orange, bluegreen and olive canopy- 
striped cotton hopsacking shirt 
jacket with five-button front and but- 
ton side tabs, $9; and matching zip- 
fit brief with vent legs, extension waist- 
band and convenient coin pocket, $6, 
both tailored by Jantzen. 


Ало адве mir armor a 


ave, « 


ALLAN PHILLIPS 


87 


with bergdorf ads, 
block-long cads, 
beatnik pads, 


success-lit gotham 


draws the bright and 


NEW YORK HAS MORE GIRLS than any 
other city in the land. It probably 
has more of just about everything — 
and consequently so do they. It is the 
temple of communications and the 
image makers, the vault of high 
finance, the haven of live theatre, 
the clothes closet of fashion, the 
nation's link with Europe by planc 
and by boat — and every one of these 
activities in which it excels brims 
with girls: career girls and clericals, 
callgirls and floozies, shop girls and 
waitresses, mannequins and mimes. 

Heterogeneous they may be — un- 


E 


Midtown Manhattan's nighttime magic, unlike any ather in 
the world, forms a glittering backdrop for Gatham model 
Chris James, far left, a former Miss Subways. Left: shuttling 
between ad agencies, artists’ and photographers’ rep 
Barbara de Vorzan sports prime Mad Ave status symbol, 
an oversized portfolio. The luscious interior decaration in 
T-Bird, top, is stage neophyte Judith Share. Indoor-outdoor 
girl Eve Howell, above, an aftime madel, sometime TV 
actress, pastimes сп city's bridol paths and golf links. 
Secretary-receptianist for an exclusive custom tailar, Boston- 
bam Audrey della Russo, below, is about ta dig the sounds 
of Birdland, ane of New York's coolest jazz nighteries. 


assistant. Car- and couch-bome movie hopeful Bridget #оМапа'з big break was role of fifteen-year-old, of all things, in The Fugitive Kind. 


Celebrity-frequented Bowl-A-Bite restaurant is off-hours haven for secretary Gail Mascawitz. Below: ane-time junior madel Audrey Bingham 
"retired" twa years ago, returned recently as high-fashion mannequin, supplies her own Jag and poadle far early-in-the-morning shooting. 


Deirdre Evons, children's book author, 
odds own scenery to Washington 
Squore's greenery. Showgirls Dodi Lynn, 
foreground, ond Tanyo Colette typify 
the Lotin Quorter's statuesque lovelies. 


like the girls of such one-industry 
towns as Hollywood and Vegas — 
but they do share attributes 
which make them in certain rec- 
ognizable ways more alike than 
they are different. Among these 
are their quality and mettle — ev- 
idences that they’ve found elbow 
room in the country’s most com- 
petitive milieu; the fact that, 
in proportion to the girls of most 
other cities, virtually none of 
them live with their families; the 
undeniable fact that they share 
an exhilarating sense of playing 
in the big league, where average 
intelligence, average ambition, 
average ability and average looks 
scarcely stand a chance. Indom- 
itable, articulate, well-groomed, 
wheeling-and-dealing, and appar- 
ently innumerable, they converge 
on an island of 14,272 tightly 
packed acres—all seeking free- 
dom, status, individuality, fame 

and fortune. 
Swept into a maelstrom of 
(continued on page 94) 


Clockwise from noon on this page: city girls in pursuit of glamor, culture and rent money. 
Dana Lee works for Lanvin, pitches cosmetics in a midtown department store. Actress-singer- 
dancer Sigyn Lund, busy prepping а nightclub act, performed in three Broadway shows. 
Bluegrass-bred gamin Elizabeth Chips loves the serious theatre and aspires to a Broadway 
career. Outside Lord & Taylar's, model Darlene Jaman, left, talks shop with close friend and 
On-her-way dress designer Neuma Agins. The Bizarre, a favorite Village espresso hangout, 
shelters Danish pastry known as Kris. Clipboard-foting Sandy Kane assists at WOR-TV. 


Upper left: daughter of famed ballerina Alicia Alonso ond оп 
excellent dancer in her awn right, Louro Alonso is o fetching 
Gayaesque beauty. Eye-catching Aussie Pot Winters, lop, wos а 
secretary Dawn Under, made the New York scene a scant six 


months ago. The pouse that refreshes—five o'clock cocktail fime 
for roommates Judy Hecht, left, and Sydnie Mischel ot Fifth 
Avenve's Тар of ће Six's; Judy's in the publishing dodge, Sydnie's 
с PR gal. Busy madel Pam Perry pases for top photographer 
Peter Basch, drives her own motor scaoter betwixt assignments. 


Natives and newtomers vie for the Islond's gold rings of success. 
Top, | to r: Brooklyn College coed Joan Rozell models, nurtures 
acting aspirations. Well-curved (41-22-36) comedienne-mimic 
Joy Harmon does a devastating take-off on Morilyn Monroe; her 
abundant talents have been displayed on Broodway (Make a 
Million) and TV (Steve Allen, Jackie Gleason, Garry Moore 
shows). Ex-Georgia schoolmarm Peggy Spring, far right, has 
since taught school in Brooklyn. Below, 1 to r: Sadler's Wells 
alumna Sondro Francis starred in Eng films, frequents 
cricket motches on Randalls Island. Fashion modeling by eornest 
artist Ann Celles helps pay for paints and o studio in Manhat- 
tan's old Chelseo district. Lois Holloron pretties up public trons- 
portation when she heads for her receptionists job in Rocke- 
feller Center's office labyrinth. Bottom, | to r: sultry German- 
born actress Laya Raki commutes to Europe for с variety of 
movie roles. Balancing her books beoutifully is Fay Rosen, an 
undergrad at New York University's Washington Square campus. 


= 


twelve million private hopes and 
fears, swimming for dear life, and 
loving every minute of it, they are 
unique products of the time and the 
city in which they live—like the 
dothes they wear, the apartments 
they live in, the vehicles they ride in, 
the places they work, and the goals 
they pursue. Like the city itself, they 
are as kaleidoscopic in mind, heart 
and body, in means and ends, as the 
countless commercial, artistic and 
intellectual tributaries which com- 
mingle in the exciting and terrifying 
wilderness once innocently known as 
New Amsterdam, 

From Texas and Ohio, Sweden 
and Germany, North Dakota and 
South Carolina, even from legendary 
Brooklyn, they pour into Manhattan 
by the thousands every year, chic as 

(continued on page 117) 


дойдута 


told Cynthia, if she wants to smoke, smoke in 


front of us; if she wants to drink, drink in front of us; if .. .” 


always 


"We've 


Ribald Classic 


A tale from the Hitopadesa of ancient India 


A STORY Is TOLD of a certa 
ruled a city and who strong and 
id in the flower of 
nhood. One day as he made 
v through the city, his eyes en- 
countered a vision of loveliness named 
Lavanyavati, the wife of a merchant's 
son, a greedy young man known as 
Charundatta. At that instant, the prince 
was transfixed by the arrows of the god 
of love, and the lady was herself 
wounded by darts from the same bow 
Even so, she refused all invitations from 
the prince and answered his messengers 
in the negative. “Although I would like 
nothing better than to pleasure His 
Majesty,” she told them, “I cannot. My 
husband's word will ever be my law. To 
hear is to obey him.” 

When the messengers reported this to 
the prince, he was in despair. "I am un- 
done." he cried, “unless my love can be 
fulfilled." 

“The only answer," said his favorite 
slav to make her husband bring her 
to you. 
hat is out of the question,” sighed 


n prince who 


full 


TO HEAR 
Is TO 
OBEY 


the prince. 
“Nothing i 
laughed the slav 
Following the slave's advice, the prince 
appointed Charund al 
and had him wait upon him personally 
showing him great hono a few. 
weeks of this, he called Charundatta and 
: “I have sworn a vow to the goddess 
iri and 1 must keep it. I have vowed 
to entertain cach night, here in my 
chambers, a. beautiful woman, so as to 
learn to overcome temptation. І com 
mission you to conduct one to me here 
cach evening for the space of a full 
month. Begin tonight. 
rundatta at once departed and 
rned with a very beautiful woman, 
dressed in almost-transparent veils. He 
hid behind a curtain to sce how she 
would fare with the prince, whose amor- 
ous nature he greatly suspected. He was 
proved wrong, however, for the prince 
without so much as touching the lady, 
bowed low to her, conducted her to his 
favorite couch, conversed with her in 


out of the question. 


even tones, and sent her home laden 
with gilts of sandalwood, jewels and 
costly perfumes. 

This was repeated on the following 
ight, with a different beauty, On the 
third night, Charundatta, desirous of ob- 
taining for himself some of the princely 


presents, conducted his wife to the royal 
chambers, say 
“Harken, Lavanyavati, and harken 


well. Do whatever the prince tells you. 
Sit where he seats you. Speak of what he 
wishes to speak. Whatever you do. 
matter what it may be, you do with my 
full consent. Garry out my commands 
and you will depart with fine gilts.” 
hear is to obey,” murmured 
Lavanyavati. 

At this, the merchant's son introduced 
his wife to the waiting prince and те 
tired. The prince smiled at her. "Come 
with me to my favorite couch." he said. 

“To hear is to obey," laughed Lava 
yavat 


— Retold by J. A. Gato 


97 


NT EXACTLY r1i1g P.M. THE SQUAD CAR FROM SECOND DISTRICT pulled up to the Green Street entrance of Robertson, 
Schwab and Miller. The big store had been closed since 9:30 that night, a matter of one hour and forty-four min 
utes. The alarm from Argus Protection Service had been phoned into Second District at 11:12, which meant that 
the police had got to the scene in just two minutes. 

Fast as they were, Bracken, the Argus man, had been faster. He had already spot-checked the show windows 
and doors on both Green and Fifth streets, on which the store fronted. It is only fair to point out, however, that 
the Argus office was on the second floor of the building directly opposite the store and that Bracken had only had 
to run down one fight of stairs and out the door to have a view of the entire facade of the store on both its inter- 
secting streets. Further, the squad car had had to cope with the traffic after an exuzeinning night game and had 
lost time. 

Bracken waited at the door. When the squad car had rounded the corner and growled almost to a stop, he 
turned and inserted his pass key into the door lock. As officers Dravchuk and Martin came up to him he pulled 
the door open and simultaneously reported. "Window display down the street's all smashed up and the g 
cracked. Whoever did it is still in there. Better be careful.” 

He edged into the opening, followed by the policemen, both of whom had drawn revolvers. They were in а 
darkened vestibule. Ahead of them a dimly lit passageway ran straight until it dissolved in darkness at some dis- 
tant point іп the store. 

Dravchuk pulled open one of the inner doors; the three men flowed quickly through and spread out to take 
positions behind pillars and showcases, straining for any hint of movement or sound. There was none. Quietly 
they moved, cach in his own aisle, toward the interior of the store. When they came opposite the pair of stairways 
with the escalator between them, Martin pointed. 

“The lights are on in the basement,” he whispered. Suddenly, shockingly, from above them, scream after 
pierced the stillness of the store. Without hesitation the two policemen separated. Dravchuk took one stairway, 
Martin the other; Bracken felt his way up the escalator. On the second floor, near the far wall, two figures were 

visible in the dim red light that marked a fire escape. They were 
struggling on the floor. а side aisle, Martin and Dravchuk 


ran toward them. Holding his flashlight at arm's length to his 
RA В B [Т side, Bracken flicked on the switch. The figures were a man and 
a woman. The man looked up, startled. He got swiltly to his feet, 
pulling the woman up with him. When the three men reached 
them he had her right arm twisted behind her back and his lelt 


hand over her mouth, to quiet the screams that were still comi 
from her on every breath. When she saw the two policemen she fell sud- 


denly silent and buckled at the knees. The man had to grab her around the waist to keep her from 
hitting the floor. 

"You gave me à rt there," he said in a confident but rather breathless voice, "Didn't know 
you were here already." He lowered the woman to the floor. Bracken shined the light full in her 


face. The eyes were dark, wide open and unsecing. Blonde hair was lashed to her checks and fore- 
head with a paste of tears and sweat. Lipstick was smeared all around her mouth. 

“Toughest one 1 ever handled,” the man said. “Been playing tag with her all over the store. 
She lifted a pair of gloves in Children's Clothing and 1 put the arm on her, but she slipped me 
right alter closing time. So I was stuck. Had to stay in and dig her out or she'd lay low and hit the 
street after store opening in the morning. Almost got her when she broke the show window — 

that's what sent in the alarm. But she got away and I didn't 
ull she made а break for the fire escape." 


‘The prospect of dragging a half-conscious woman out to the squad 
T ‚ coping with her during the ride to Second District, and th ў 
ВА Ю ing her into ше station house appealed t0 neither Dravchuk по 
Martin. Martin. pecred into the gloom and tried to orient himself. 
Isn't the shoe department near here? Let's get her back on her feet 


before we take her in." It took the three men to maneuver her the short 

distance and prop her in a chair, head against a pillar, feet on a fitting stool. 
“АП right, sister," ordered Dravchuk, “can the act ‘cause it won't do you a bit of good.” Bracken put his face 
close to hers for a moment and then looked up at the man. “How rough did you have to get with her: 
"Well" the man said, "she went wild when I grabbed her — biting, hollering. You saw us there on 
the floor. But E wouldn't say 1 was rough on her at all. Just enough to subdue her." He laughed. “But I guess 


what really subdued her was the sight of you guys with the uniforms and the artillery. 


Some two hours before. the blonde hair had been tied neatly back in a ponytail and the blouse and skirt had 
shown little wilting after the heat of the day. 
Her eye found the clock over the bank of elevators and she was shocked to realize that it was 9 


5 т.м. Robert- 


the darkness was sanctuary to the hunted girl; 
in the light there would be no escape fiction ay marv verzon 


PLAYBOY 


100 


son, Schwab and Miller closed at 9:3 
on lay nights and she had only five 
minutes for the job she had come down- 
town to do. 

ried through aisles where a 
women had been clustered 
thickly about the racks and tables, but 
now had melted away. When she got to 
Tots’ Wear the situation. looked un- 
promising. The lone saleswoman was 
holding a tiny party frock at arm's length 
before a meditative customer, fluffing the 
skirt and perking the over-precious pi 
satin bow. 

\ pair of gloves. T 
pair of white cotton gloves for Sally 
Ellen to wear to the party tomorrow. 
ally Ellen was four and Dii 
ple was four and Dinzh lived in the big 
apartment house with the doorman 
ound the corner on the Avenue. They 
played together in the park when Dinah 
came home from nursery school, and one 
day a letter came for Sally Ellen that had 

pink-and-blue cherub on the first page 
with the printed words “You're invited!” 
and gave the details of time, date and 
place. 

Only the gloves were needed. She had 
set her heart on Sally Ellen's wearing 
white gloves. Her eyes swept the Tots 
Wear Department. There they were. She 
hurried to the counter. Some adorable 
string gloves in white. Would Dinah's 
mother think them too sophisticated for 
a four-year-old? A problem. She decided 
to risk it. 
loves in hand, she turned toward the 
corner of the department where the sales- 
woman was holding court. The party 
frock had changed hands and she knew 

would take time to close the sale. 
Over the loudspeaker system came the 
sound of chimes followed by a soft [em- 
inine voice intoning, regretful The 
store is now closed. The store is now 
closed." With the gloves in her hand she 
reached into her tote bag for her purse. 
Suddenly her way was blocked by a 
wll man in a wrinkled cord suit and 
panama hat. He took hold of her fore- 
arm firmly while it was still in the bag. 

“Cn I see what you have in your 
id, please?” His voice was deep and 
tly breathless, as if he had just fin- 
ished some mild exercise. 

She withdrew her hand from the bag 
па showed him the gloves. He took 
them from her, “Come this way with me, 
please,” he said. 

She fell into 
started matchi 
the aisle. He's 


him 


мер beside 
g his long str 
floorwalker oi 


some- 


thing, she thought. He's helping to con- 
an lock up the 


dude the sale so they 

store and go home. 
But they were walki у 

of Tots’ Wear. Then it came to her, Her 

mouth fell open. "Wait a minute. You 

don't think ——" 

Just come along quietly," he said. 


"You are under arrest. Don't make trou 
ble.” 

Arrest! She had never been arrested 
before. It. paralyzed her mind. Side by 
side, like any married couple in shop 
ping harness, they marched the length of 
the store. A flight of stairs brought them 
down to the main Поог and for a few 
feet they mingled with the crowd Ilow- 
ing to the doors. Then the hand on her 
arm steered her abruptly through а cu 
tained doorway and along a short, unca 
peted corridor, at the end of which а 
ss door was lettered PROTECTION. He 
opened it and motioned her in. 

A switch snapped and light from a 
green-shaded lamp spilled over the edges 
of a flat-top desk and illuminated а tiny 
room taken up largely by the desk 
swivel chai 
desk, and sideways to it, stood a straight- 
backed chair on which were piled several 
small items of merchandise. The re- 
maining floor space held a welkused 
typewriter on a roller table and a filing 
cabinct cluttered with more such items. 

An electric clock hung on the wall, 
showing 9:33. The price tag was still 
icd to the power cord: $7.98. Foolishly 
she wondered how the store went about 
selling itself a clock. 


id a 


. On the other side of the 


He moved around the desk but 
changed his mind before sitting in thc 


ir and came b: 


swivel d 
the items on the other dh 
them on top of those on the fi 
net. He took the tote 
placed it in the center of the desk top; 
motioned her to the chair he h 


to gather up 
ir. He piled 


glanced at the clock; and finally 
in the swivel chair, still holding the 
gloves. 


t down. 
She did. Fhe tote bag was between 
them. He moved it aside and the light 
from the shaded lamp reflected upward 
from the desk top in his chin topped by 
a full, moist mouth, deep-cleft upper lip, 
ind a nose that tapered abruptly from 
cavernous nostrils. He was around forty. 
His eyes were buried deep in the shadows 
under the brim of the Panama Bh His 
face had a waxen cast and, like wax left 
too long in the heat, it seemed to have 
soltened and shifted ever so slightly. 

Holding the gloves between thumb 
and forefinger he let them dangle 
way between them. “You stole these,” he 
stated, “and we are going to put you in 
jail.” 

She caught her breath sharply and 
her sobs rather than 
speech. “I didn't. I didn’t. 1 was reach- 
ing lor my purse to pay for them. 

He shook his head. “The judge would 
Jaugh at you. You had the gloves in your 
bag. 

She said in quick, fluttery sobs, “Let 
me go. Take my mone 
money but let me go. I ha 


words сате in 


loves. Let mc 


I didn't steal the 
home." 

“АП right," he said. "Take it easy." 
His voice became factual. “The store has 
a policy, of course, as to what it docs 
with shoplifters. When we catch them, 
we pull them in. We listen to everything: 
they have to say about how they weren't 
stealing — and, miss, all of them were 
just about to pay for what they had 
stowed away — and then we inform them 
that we intend to turn them over to the 
police. Unless they make it unnecessary 
Here he stopped. 

She was staring at him, holdin 


her sobs with the hand over her mouth. 


"How?" she brought out. 

Unexpectedly, he grinned. “A confes- 
sion," he 1. “A confession, signed, 
itnessed and delivered. We explain to 
you that, if you ever show your face i 
in, we will use your con- 
fession to put you in jail. If you leave 
us alone, we leave you alone.” 

“But 4 couldn't do that!” she 
Confess to something I didn’ 
would never do that! 

“In that case," he said, “we hav o- 
lutely no alternative but to prosecute.” 
He stood up. "Now you just think about 
it. I'm going out to check around a bit. 
You just sit here and figure out how you 
want to play it — the police station right 
now or a nice little document in our files, 
where itll stay forever if you behave 
yourself. And don't make a break for it. 
That would be stupid. 

He left the room. She sat there alone 
and in terror, and tried to assess her pre- 
dicament. The police or a false confes- 
ion. What chance would she ve with 
the police? She had never been in а 
on nor a court of law. Was he 
ing the truth about how the con- 
fession would not be used? She burst into 
tears and got her handkerchief from her 
bag. She knew, long before he returned, 
that she was going to sign the confession. 
ites, 
sank back in the s 1 chair, and looked 
at the clock. “Ten oh three," he said. 
"Have you made up your mind?” 

“I'I sign a confession,” she whispered, 
“if you will let me go." 

“Very good,” he said. “1 
along that you were a sensible gi 
pulled open a drawer of the desk. 
€ good news for vou. You won't 
о write it all out. We have a form 
that you can use. Merely fill in the blanks 

nd sign at the bottom. 

He laid it before her. Through bleared 
eyes she read phrases: .. . took the arli- 
cles described below . . . intended to 
deprive and defraud . .. knew that they 
did not belong to me .. articles so taken 
by me were as follows. 

"Here's а pen,” the man said. 

Below the text, in the space provided 
under Articles, she wrote, “1 pr. chil- 


ped. 
do? 1 


He came back in about fifteen тай 


thor 


“Would you care to step outside, get into a cab, go over 
to my place and repeat that?” 


101 


PLAYBOY 


102 


dren's cotton gloves," and under У. 


lu 


“$1.98.” She dated the document and 
signed it, and he took it and the pen 
from hei 


"You didn't fill in the top ран 
said. "Never mind, ГЇЇ do it. What 
your full namez" His voice was a quick 
and breathless rumble, She told him. 

"Where do you live?” She told him 
that. Slowly he wrote it in. "And you 
committed the felony at about 9:95 pw 
Slowly he wrote the figure. He took a 
ruled yellow pad from the desk drawe! 
“There are other facts the store will wish 
to have on file. How old are you?” 

She felt that her ordeal was ahnost 
over now, and had her voice back under 
control. “Twenty-four. 

"Are you married?” 

"No. Yes... I mean... 

“Well, are you or aren't you?” 

. My husband left me a 
couple of years ago.” 

“Any children? 

Yes. I have а 


little girl. Her x 


job?" 
“Yes. Fm an ofice n 
had any uouble bef — 
"How much do you mike 
She hesitated then stam- 
mered, “Ninety-five dollars a week. It's 
ridiculous to think I would steal a two- 
dol g 


nager. I never 


moment; 


low much of your salary do you 


save?" 


чу to save about fifteen dollars a 
week.” 

"How much do vou spend on alcoholic 
be s per week?” 

She bridled. “Aren't these questions 
getting pretty personal? I can't sce where 
it's anybody's busine: 

“Just answer the question, please. 

“As it happens,” she said stiffly, "I 
don't drink." 

“Are you addicted to the use of nar- 
cotio?” 

“Really!” 

With amazement she saw him write 
down her answer: "Really" He went 
k over it, retracing the letters. Ap- 
ently still not satished, he placed an 
exclamation point after the word, roll- 
ng the pen slowly between his fing 
g down so that the point sank 
visibly into the pad. 

“And, sin 


Ж 


“have 
other men 


you 


him. The blood drained 
her face, then flooded back in a 
deep flush that seemed to make her eyes 
flash. 

“Let me put it another way,” the man 
said: and now he was grinning broadly. 
"Of course а pretty chick like you gets 
round. The store wants to know 
whether you get a kick from making love 


toa stranger. 

Anger gave her speech. “I will cer- 
tainly report this to the manager tomor- 
row,” she said, her face flaming. “You 
have no call to get vulgar. If the ques- 
tions are over, let me out of her: 

He leaned back in the swivel chair and 
looked again at the cloci 
He tapped the fingertips of his two 
hands against h other over his belly. 

I can't" he said. "All the doors arc 
locked.” 

“Then get a key. 

“I don't know where there's a key. 

“Then call the watchman.” 

“There isn't any watchin: 

“Then call somebody else. 

“There isn't anybody else. 

“What do you mean, there isn’t — 
She was on her feet, holding onto the 
desk. 

He picked up her thread. “Everybody's 
gone. Jt takes fifty minutes to close the 
store, Last one left about four minutes 
ago.” 

She made an efort to keep things neat 

and orderly. “Then you must be the 
watchman. 
"hey don't have a watchman. They 
don't need one. The whole place is 
wired. Anybody tries to break in — or out 
— the cops'll be here in no time. 

She took a step backward. "What do 
you mean. they don't have а watchman? 
Who's "they z^ 

“The store. The people who run the 
Store." He was still tapping his fingerti 
together 

Her next question came after а long 
pause, “What do you do here? You work 
for the store, don't you 

"I used to.” 

She made one final effort. “You mean 
you're a detective with the police de- 
partmene” 

His grin became 

“Then you didn't really arrest me? 
You — you couldn't! 

^I made it look good, didn't R” 

Suddenly his giggles filled the tiny 
room. She heard in them, quite unmis 
takably, the sound of madness pleased 
with itself. Aghas, she 
nst the door. Gr у 
subsided: but still, while he spok 
interrupted himself. She listened, her 
eyes bright with fear 
I got me a job here. A job as а por- 
ter!” Hiccup of laughter. “Me, a porter! 
You should have seen me with a mop. 
t, I cleaned it— Receiving and 
Accounts Receivable, Unit 
Control Office, Corsets and Brassieres, 
Intimate Apparel, all the dressing rooms. 
You can't name a place I didn't dean. I 
know this store inside out. 1 know more 
about it than the people who own 
Prolonged squeals of relish. “I plan 
the whole thing. I just been waitin 
the woman. Not any woman. The right 
woman. 1 followed you tonight for an 


hour. Then I tagged you. You were the 
piece I wanted. 
He sat up straight in the chair now 
and put his hands on its arms, as if about. 
- Не ran his tongue along his full 
upper lip. This small gesture was what 
set her off. She screamed. But he did not 
risc. He sat there, grinning at her. 
We're all alone in di ig Store, rab- 
bit," he said. “There's no way out of it. 
We have it all to ourselves. And do vou 
know what I'm going to do to you in 
a few minutes? In some aisle. first, and 
then in Home Furnishings, on a bed, and 
then in the president's office, on that 
couch of his?’ 
She knew. 
she whispered. Behind her 
her hand groped for the door knob. Не 
saw what she was doing. He made no 
motion to rise. "I know every nook and 
cranny of this store," he said. “You can't 
hide from me. 1 can find you anywher 
He sprang up from the chair, 
there was an urgent, heated, hu 
quality 
he cried. 
With a 


darkness of the department store from 
which all h m presence had been 
withdrawn until the next day's dawn. 
She burst through the curtained door- 
way and crashed into the counter across 
the aisle, which ran at right angles. 
Gasping with fear, she stumbled off to 
her left through the blackness. After 
dozen steps the floor dropped from be- 
neath her feet and she avoided plunging 
headlong only because her flail 
caught a handrail 10 which she cli 
le her fect righted themselves on 
unseen stairway. She felt her way dow 
the steps and when she reached the bot- 
tom her outstretched hands found walls 
nd a door that led her into the 
ment floor 
ота some distant point a single light 
cast a wan glow on the ce 


base- 


р: y seemed to stretch straight 
and clear. She began to run and covered 
a distance that might have been thirty 
feet or a hundred feet when she tripped 
and went sprawling to the floor. 

She lay where she fell, listenii 
the pound 
raucous breathing were at first all she 
could hear. Then she heard footsteps, 
quick, shortpaced, and businesslike 
‘They scemed to come from in front 
ather than the direction from which she 
had fled, and she had no id 
Remembering her own high-heeled 
shoes, she drew them off and waited. lis- 
tening as the steps slowed and came to. 
a halt. 

Suddenly he called out her given 
name. 
1 knew you'd be in the basement, be- 


a how far 


cause either way you ran you'd fall down 
the stairs. So 1 took my time." He was 
matter-of-fact, filling her in with infor- 
mation he knew she'd want. 

She lay still, fighting to keep her gasps 
down. 

“I don't want to do it here in the 
basement. I got a spot on the sucet floor, 
ight on the main aisle near Cosmetics. 
Must be a thousand women go by it 
every day.” 

She waited a moment more, then got 
to her knees and crept off in what she 
thought was the opposite direction, But 
the rustle of her dress must have reached 
his ear, because he called her name ag 
and she heard his footsteps coming in 
her direction. Panic urged her to fle 
fe: commanded caution. Her hand 
groped desperately for some clue and 
found а waisthigh object that she judged 
to be a showcase. She worked her w 
down its length until it ended. She 
rounded the corner, sank to the floor 
behind it, and tricd to shrink. 

In a moment the footsteps passed 
down the aisle beside her. In another 
moment she heard a thud, then a tinkle, 
nd finally the brittle cry of glass dis- 
integrating in thousands of fragments on 
impact with a hard surface. 

After a brief while he called out her 
пате again. "That was a display table,” 
he announced to the dark. 

Silence. 

“I know how worried you must be 
1 maybe I cut myself” Giggle 
Silence. 

You're not a rabbit, you're а pigeon. 
1 didn't think there was anybody who 
didn't know how the arrest is always 
made outside the store. 

Silence. 

"Aren't you going to run, rabbit? It's 
no fun to catch you if you don't run." 


Silence. 
UEM make in," he said with final- 
ity. Tm to turn the lights оп.” 


п her 
а little 


The terror that now welled up 
was the same she had know 
girl when her father had. punished her 
by locking her in the cellar. Only her 
father had said with similar finality, 
“I'm going to turn the lights out. 

She crouched, ready for renewed fli 
her hand outstretched. It found the 
showcase, and, hanging from it om a 
hook, the familiar form of a telephone. 
lt was several seconds, during which she 
used the phone to support her weight, 
before she realized its possible signifi- 
ance. 

OL course! The store was full of 
phones. Any one of them was a link with 
the outside. Help was only minutes 
away. Ever so slowly, so that no slightest 
dick might betray her, she lifted the 
phone and brought it to her ear. 

The phone was dead. 

Automatically her other hand found 
the hook and jiggled it Nothing hap- 


ight, 


pened. She jiggled it some more, fran- 
tically. 

A burst of laughter echoed through 
the basement. “Number plee-uz,” he sang 
in falsetto. "Number plec-uz.” More 
laughter, and his normal voice again. 
“A hundred phones in this store and 
all of them dead.” And suddenly light 
flooded everything. 

Behind the counter in darkness was 
sanctuary; in the light it would be a 
trap without escape. Stooping, head be- 
low the top of the showcase, she pecred 
nto the aisle. To the right, not fifteen 
feet away, lay the overturned table in 
its bed of shattered glass. To the left 
the aisle ran straight between counters 
and tables of chinaware, glassware, pots 
and pans until it brought up against a 
wall lined with glass shelves. Directly 
across from her was another showcase, 
“The Perfect Wedding Gift. Set of 8, 
87.95." The sign was propped against a 
feltlined box of steak knives, cach pol- 
ished blade agleam from point to bolster 
They were behind glass. To break 
would bring him on the run. 

She fought hard against the tempta 
tion to raise her head above the counter 
tops for a quick look over the rest of 
the floor. Still crouching, she stole down 
the line of counters toward the far wall, 
marshaling unsuspected resources of 
courage for the perilous passage of the 
intersecting aisles. 

At the end of her aisle her eye traveled 
along the shel-lined wall and found а 
doorway over which hung a sign that 
read LADIES’ LOUNGE. Relief swept over 
her. If she ran for it she could get to 
that traditional safety before he could. 
Almost at once her hope drained from 
her. The rules, she knew quite well, had 
ended. And at the instant of 


steps behind her and saw him coming 
toward her. She fled down the n 
passage toward the middle of the store. 
He was gaining fast when dead ahead 
of her she saw the escalator, Without 
speed she Hung herself onto 
the steps. She dug her stockinged feet 
nto the steelribbed weadboards and, 
ping the rubber handrails on either 
side of the stairway, half ran and half 
pulled herself upward. She missed her 
step once and came down hard with her 
shin on the toothed edge of the riser, 
feeling the sharp bite of metal into her 
flesh. But now she had learned that mov- 
ing stairs at rest are not like any other 
stairs. The treads are almost twice as 
deep, and to negotiate them quickly one 
must fling oneself forward as well as 
upward in a kind of ice skaters lope. 
This she did, quickening her pace as she 
From behind her 
came sounds of stumbling and cursing: 
it seemed that she was doing the better 
job of learning the lesson of the mox- 
ing stairs. 

At the top, she plunged into the dark 


mastered the 


rhythm. 


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103 


PLAYBOY 


104 


hess of the first floor, and like a rat in 
a maze fled down unscen aisles, stum- 
bling. falling, picking herself up, run- 
ning again. She no longer knew whether 
she was running from danger or toward 
it, but she knew that she must keep 


Га 
She drove hard against an obstruction 
with her head and onc shoulder. and as 
she slid to the floor, dazed, her hand 
grasped the edge of a partly open door. 
She worked her way through the open- 
ing and drew the door shut behind her. 
Immediately she was entangled in a mass 
of coarse-woven hangings and she fought 
them with her remaining strength, rip- 
ping and clawing, until she had struggled 
free. There was dim light in the place, 
d now suddenly the glare of sunl 
ded her. 

Squinting, she 


w that she was on a. 
sun-drenched beach, gay with giant um- 
brellas, cartwheel hats of straw, and 
canvas chairs in bright reds, greens and 
Happy children, beautiful women 


nd robust men glowed with sun-tanned 


blues. 


health in gaudy swimsuits and beach 
robes. Fach face was shining with mı 
bliss. 


Close by she saw a little girl about 
Sully Ellen's age sitting with pail and 
shovel. Even as she looked, the child 
toppled slowly toward her until she h 
the sind and her head сате apart from 
body. It rolled over once before it 
y still, smiling into the cloudless sky. 

She realized that she was in a show 
window. 

She went to the glass and leaned her 
forehead against it; then cupped her 
hands around her eyes to shield them 
from the gl behind her and to over- 
come the mirror effect. Outside was the 
street with an apparently endless line of 
Hundreds of people to give her aid! 
As she watched, the cars before her be- 
п to slow down: moved faster a : 
twitched forward and slowed; came to 
rest. Red light. 

Directly opposite her, the light from 
her window picked out a hardtop idling 
in the line nearest the curb. The face of 
the driver was hidden by his 
its elbow on the open window, his hı 
grasping the rain gutter. She rapped on 
the window, sharply with her knuckles, 
a short burst that bounced like 
shots and terrified her by the noise it 
ide. 

The arm 
move. 

She rapped on the glass again, harder 
and longer. The arm dropped, revealing 
face in profile. The face swept a casual 
glance from one end of her window to 
the othe: 1d turned back to stare 
through its windshield. Then, a double 
take, it came around a second time and 
looked straight at hei 

So th: 


ca 


m, resi 


п the car window made no 


s where g from, she 


ad im his eyes. 
Help m 
Must be a window trimmer. 


у ing windows. 

Call the police! 

Probably some advertising stunt to 
catch the cars going home from the game. 
A long blast from a horn behind him 
apped his head back to the windshield 
and the discovery that the cars in front 
of him had moved silently on. His car 
lurched forward and the cars behind him 
picked up speed. In a moment they were 
flashing by. 

She drew back from the window and 
shifted her focus from the street outside 
to the sheet of glass itself. You fool, she 
thought. It's nothing but glass. Break it 
ad vou сап walk out of here in а sec 
ond. She raised. both fists and brought 
them with all her strength in a wide arc 
from behind her head against the win- 
dow. Nothing happened. She turned and 
пей her eyes over the 
group behind her. The smi 
the little blonde girl lay a few feet away. 
She picked it up and was so disappointed 
by its incongruous lightness that she let 
Tall again. She turned back to the win- 
dow and began to pound on it. She had 
no clear idea whether the entire wall of 
glass might crash into the street or only 
enough of it for her to crawl through. 
Neither happened. After six or seven 
blows she sensed that sh no longer 


against а pul ne. 
The huge window was buckling in and 
out, In terror lest the window shatter 
on an inward pub and inundate 
her, she stepped back 

She felt desperation climbing up her 
trunk. The noise she was making would 
surely attract her pursuer. Her ише 
running out. She grabbed a plaid ice 
bucket that was planted in the sand. It 
had an empty boule in it and it 
heavy. She hurled it with all her strength 
at the window. The crash was followed 
from the window as a crack 
appeared. from ceiling to floor. And in 
that instant. the lights went out. 

The tension in her had been almost 
too much. Now, in the shocking dar 
ness, it broke her down. There rose 
through her a wave of what she knew to 
be hysteria. It engulfed her at once. Her 
head went light: her mind scattered. АП 
around her were shadowy figures, men- 
acing in the shifting light from the street. 

АП right.” she blurted, "which one 
of you turned out the light?" She 
smothered it, and laughed agai 
pitched whinny. 

A longer, blood-curdling giggle 
swered her. “L did," his voice said. “I 
knew the lights went off automatically 
at eleven. I been watching you for the 
past five minutes, You ready now, rab- 
bit?" 

She saw his dim outline in the next 


y past the ob- 
les between them. She stumbled to- 
sard the door; fell: fought the curtain 
again: found her way to the handle: fell 
again, into the aisle; picked herself up 
and ran blindly into a flight of stairs to 
the second floor. Moaning, sobbing, she 
d her she heard 
s he too freed 
himself of the window. Then, strangel 
as she crept upstairs on hands and knees, 
all was silence. 

Was she alone on the second floor? 
Was she safe again. for a while? It seemed 
so. Except that she could not keep the 
sounds from coming out of her, to ad- 
vertize her whereabouts — sob: ps. 
little cries. She tried to stifle them but 
they were beyond her control. She lay 
down on the floor and held both hands 
over her mouth. The sounds came 
through her nose. Help me, help me, ran 
through her mind. She could not keep 
the sounds back. 

She could not wait either. She stood 
up and her eye was caught by a red glow 
at the very far end of the aisle. Wracked 
beyond endurance, out of control, she 
membered what she had learned in 
Red Light-Fire Exit. Never 


Stooping, holding her hand over her 
mouth, she scuttled toward the red light. 
There was not a sound in any part of the 
store. Where was he? At the last cross 
aisle she paused and listened again. Not 
а sound. Ahead of her, ten feet aw. 
was the heavy metal door to the fire 
escape. She put her head out and looked 
m both directions. The way was clear! 
She was safe! 

She stumbled to the door, heaved it 
open, and plunged into the night. 

He was standing on the fire escape. 
He grabbed her with one arm and 
reached out with die other to hold the 
door ope 
face, not si from hers, 
hunger about to be gratified. She was 
struck dumb by this miscarriage of her 
great and last hope, He dragged her back 
aside. 

And now he did not giggle. Now th 
the chase was over he was hard, pu 
poseful, and arrogant, “Hello, rabbit 
he said. "Do you realize what 1 did just 
now? I locked. myself outside the store! 
I knew vou were upstairs, I knew vou 
would see the fire door, | knew you 
would go for it, I knew the door wasn't 
ed to the alar 
would come to me! | knew I had my 
little rabbit." And only then did he 
low himself a low chuckle. 

She screamed. She did not stop scream- 
ing when his uncompromising mass, ex- 
uding heat and damp, crushed her to the 
floor while his full, moist mouth sought 
to attach itself to hers with eager suck- 
ing sounds. 


п system, J knew you 


Bracken looked at the half-conscious 


woman in the chair, and then at the tall 
‚ who seemed to be holding himself 
much as possible in the shadows. 
Been doing protection work long?" he 
asked. casually. 

"Oh. off and on." 

"Who broke you in? On Protection, 
1 mean 

A pause. “Jonsen did. Mr. Jack Jon- 
sen. He broke me in. He's head of Pr 
tection here, you know.” 

“Yes.” Bracken said dryly, "T know. 
‘Think he did a good job of showing you 
the 
"The man was emphatic. “He's the best 
a the bw Say, listen” — changing 
the subject — "I'm. pretty bushed. Why 
don't you fellows take her in and TI 
хо home and get some sleep and check 
with vou in the morning?” 
ed the main aisle 
d this. His way was blocked by 
Dravchuk and Martin, who showed no 
inclination to move, and he was deciding 
whether to try walking around them 
when Bracken spoke, "Wish we could, 
but somebody's got to sign the complaint 
or the boys here won't book her. Jonsen 


nes: 


g tow: 


told von about signing complaints, 
didn't he” 
"Oh. sure. T just thought you could 


lock her up for the night and I'd come 
down in the morning.” 

“WN just a few minutes at the 
station house and then you can get your 
sleep.” Pause. “You say you tackled her 
on the fire escape?” 

“No,” the man said. "I got her right 
where you saw us. On the fiveyard line, 
He managed to produce 


al 


laugh. 
Well,” Bracken said. He leaned down 
to the woman in the chair, who reached 
nd gripped his forearm. "Miss, can 
you come with us now? You're among 
friends. We want to get you to a doctor. 

The woman stared at him with eyes 
to which comprehension was returning. 
The man threw a glance at the polic 
men's two d at the 
fire door, now thirty yards away 
] ought to call home, let my wile know 
why Em late. IIl just duck down the fire 
escape to the phone booth in the | 
ing lot and meet. you in about two mi 
utes at the squad са 

Bracken not even bother to answer 
him. “Keep an eye on that fellow,” he 
said in a matter-of-fact voice to the police 
officers. "He's Ike. The window isn't 
wired, The fire door is wired. Any real 
protection man would know t 
lets shove off.” There were thre 
lights burning, and they threw 


out 


wn revolvers and 


good 
deal of light. In it they could see the 
man lick his lips and they could see his 


frightened сусу, rather like those of a 
rabbit in a trap. 


things you check 


(continued from page 62) 
decision in a coat may be the alw 
correct, slightly-fitted, semi-chesterlicld 
classic with is natural shoulders, fly 
front, flap pockets, and notched or semi- 
peaked lapels. Or. if you prefer, there's 
the nattily casual British Warmer. Th 
double-breasted stand-by is a good 
ion bet in either its original military 
shade of pinkish tan or in recently i 
troduced olive, blue, gray or brown. Or 
you тау favor the traditional fitted d 
coat in dark gray or brown luxury fab- 
Tics. Slightly longer than knee length, it 
sets off rich suitings extremely well. 
Peaked or semi-peaked lapels (just a 
shade wider this year than last), button- 
through front, and patch or angled 
pockets are distinguishing characteristi 
of this breed. 

When casualness is the keynote, there 
is another coterie of coats from which to 
choose —notched-collar raglans to be 
worn with Ivy and conser 
double-breasted polo coats 
wear, the modified ulster for 
and foul, and the Britishinspired 
macaan that’s the perfect cover-up for 
sports jacket and slacks. 

The guy with a head on his shoulders 


ive suits, 
for sports 


nce styles have better, 
nd the assortment of models, colors and 
trims is more varied now than a sea- 
о. Most of the new models feature 
ler silhouette. This whitded-down 
shape, becoming to most everyone, is the 
result of proportionately lower crow 
The new-breed felts actually have more 


“Is there room for one 


brim than is at first apparent, an optical 

illusion created by taking a moderately 

full brim and giving it а deep roll. This 

is particularly suited to the fellow with 
full face. 

Black is still the big color in dress hats 
Covert shades trimmed with black bands 
and brim-edge-bound with gabardines 
are an innovation worth noting. The 
contrasting color trims are showing up 
on smooth felts, new silk finishes, multi 
hucd mixtures, seratch finishes and soft, 
suedelike felis, as luxurious 
velours. 

In gloves, theres a whole fistful 
of fresh Continental ideas. Olive, an- 
tique brown and vicuna are supple- 
enting the classic browns, tans, grays 
and bla ht leath- 
ers include buttersoft capeskins, split 
pigskins and new reverse lambskins. Back 
vents, shorter lengths, off-center decora- 
tion, embossed or latticework effects a 
interesting on-hand additions. The in- 
side story is told in elasticized culls, and 
foam or pile linings. Smart and. practi- 
cal, too, are the stretch gloves with 
nca sidewalls. 

Along with the classic 
plaids, today's well-mulllered. m. 
fresh and wide choice for dress wear — 
pure silks in neat as well as bold pat- 
terns, regal cashmeres, and reversibles 


well as 


ts and woven 


n has а 


that switch from pattern to plain, wool 


to silk, color to color. And speaking of 
color, the muffler works well as a bold. 
accent against a topcoats so tones 


Check them out carefully to make sure 
that the things you check garner admir- 
ing glances from the hat-check chick. 


more?” 


105 


PLAYBOY 


106 


Qe e.t, 9.0, 


as а doctor friend of mine suggests, be- 
cause of а protein deficiency due to ber 
vegetarian diet; but she's going to an 
osteopathic surgeon who approves her 
cating habits and is sure everything will 
be all ri specially if she increases 
her daily consumption of pi-muts (rich 
in proteins). I would be happier if she 
wore а bandage over the hole but she 
is opposed to bandages on the theory 
every part of the body, most par- 
ularly the damaged parts, should have 
chance to breathe freely. She and her 
friends say they are getting at a new 
апа more fundamental г ү and claim 
to have had full glimpses of it under 
LSD; not to be brushed aside, no really 
intense groping is. You don't have to 
be cultist about it, just open-minded. 
People out here are beginning to take 
this lysurgic acid seriously now that 
Cary Grant has stated in public that he 
has been using it under his psychiatrist's 
direction and that it’s made л new man 
of him. Call this a failure of nerve if 


you want. It may be an opening of 
Of course, Marian 
should cover up her stigmata. I feel 


stirrings and awakenings. Marian has 
put my name on the list of volunteers 
for the UCLA experiments. 
Five weeks alter his arrival Gordon 
Rengs stopped writing to his friends 
together. Not because of Ma 
dlesfield. He had met Wi 
Sproulle. 


It came about this way. On a certain 
"Tuesday mon ten-fifteen, Gordon 
arrived at the s building. As 
usual, Jamie Beheen came over to his 
office; as usual, they had morning tea 
prepared for them by their secretari 
Ihis day the ceremony was particu 
pleasant because Gordon’s secretary had 
brought in some homemade pecan buns 
sty, though not 
Huddlesfield's pot 


n 
write 


s Магі 


as heady, 
cakes. 

“Tve something to do tonight," Jamie 
id, "and I wonder if you'd be inter- 
ested, Gordon? There's an all-Negro 
ical being done in town, somewhe! 
in the Negro district. My New York 
agent has wired me that the man who. 


wrote and produced and directed the 
thing is said to be quite talented, and 


she'd like me to see it and send her a 
рогі I've got two extra tickets for 
tonight— would vou and Marian like 
to come along with me and my w 

Gordon called Marian. She said it 
sounded like fun. She liked Neg 
because they were very Zen. That night 
they all had. drinks (Marian had 
juice) at the Beheens’, a fine Japan 
modern house high up on Sunset Plaza 
Drive, well above the smog level; then, 
close to cight, they sct out for the 


ocs 


(continued from page 46) 


theatre. Tt was a small place just off 
Western Avenue, a converted warchouse 
or garage. The writer producer-director, 
a soft-spoken man named Mitchell Bas- 
coyne, was more than pleased to sce 
them. He had been told that Jamie 
Beheen was scouting, in a sense, for his 
New York agent, with whom Bascoyne 
wanted very much to sign. There were 
four seats reserved for the Beheen party 
in the first row. 

‘This was a little theatre in every sense 
of the word. It had no elevated stage; 
the performers simply came through a 
side door and took up positions оп the 
floor immediately in front of the first 
row. There were fifty people in the cast 
nd hardly more than thirty in the 
audience he house lights went down. 
the spots over the playing arca came ир; 
the dancers came high-stepping out in 
a sort of Haitian cakewalk and the show, 
n extravaganza having to do with a 
highly musical election campaign in a 
bbean island town, was on. Marian 
slipped her hand into Gordon's but he 
did not caress it with his fingers; it 
the one with the open wound. 

Almost [rom the first scene, a Mardi 
Gras fiesta featuring several barefoot 
girls with bunches of bananas on their 
heads, Gordon was tensely aware of the 
girl the leftmost position in the 
chorus. She handled herself gracefully 
enough and sang with a sweet hus 
contralto, but it was not her talents that 
held him. She could hardly be more 
than twenty-two; as against the more 
polished. Is in the cast she carried. 
herself. wi most awkward, end- 
pertness, а held-in 7 
air, as though she might 
joment jump away from her 


at any 
assigned role and burst out laughing. 


Though short, she was beautifully built, 
with well-fleshed thighs, ample hips, a 
fine prideful jut to the rear and high, 
perfect breasts, She was creamy in com- 
plexion, a beginner brown, and the 
shiny, jet-black, perfectly straight bangs 
that framed her wide, thrustchecked 
face made her look almost ntal. 
Absurdly, but marvelously, her eyes 
were a cool blue. 

She was special. Gordon could not 
look away. Often she was standing inch- 
es from hi ıl tempta 
reach out for that generous, curvy body 
that was made to be taken hold of. 
Early in the performance she became 
aware of him and began to look his 
way, checking to sce il his eyes were 
still on her. 

After a while he worked up enough 
courage to smile at her. At first, though 
with what seemed an effort, she kept 
her face at rest; then she began to smile 
back, in little darting movements of the 
full lips. She delightful dimples. 


п, it was a 


Holding Marian's hand with just his 
fingertips. to avoid touching the wound, 
Gordon began to feel а bubbling ex- 
citement. This was the first absolutely 
unplanned, unprogramed gush of en- 
nced toward any 
ince coming to Hollywood. And 
there seemed to be a response in her. 
He could not be absolutely sure, but 
weren't there signs? Glancings, dim- 
plings? 

When the girl was not on stage he 
studied the program in the dim light, 
hoping to locate her name in the cast 
listings. But there were six girls in the 
chorus: Maxine Frettengille, Georgianna 
Balsam, Teri White, Wilhelmina Sproulle, 
Bettina Rouse, Babette Fortunata: no 
way to single out anybody's name from 
such a roster. How to make contact with 
this girl? 

With Marian and the Behecns along, 
he could hardly excuse himself after the 
show and go trotting olf backstage — 
which might be awkward anyhow, since 
the girl could be married (though there 
were no rings on her fingers) or tied up 
with one of i the young men in the cast. 
But if she had been returning his lool 
if some interest had really been sparked 
in her, she just might come out in the 
lobby after the show to give him an 
opportunity to speak to her. It was a 
long shot, but one worth exploring. 

Luckily, there was good reason to 
linger out front: Jamie had to chat with 
Mitchell Bascoyne. While the two men 
were exchanging plea 
stood to one side with Ma 
the doors. 

In a matter of minutes the girl came 
ош. 

She looked directly at Gordon as she 
advanced slowly down the lobby. She 
was wearing skin-tight toreador pants of 
electric orange, their stretched material 
was alive with taut ripplings as the full 
bold muscles of her 0 
walked slowly, del y 
walk, then made a tum toward 
ing lot alongside the building 
appeared into the dark there. 
In another moment she came 
sight again, sauntering back to th 
theatre. All the while she looked directly 
and deliberately at Gordo 

He waited until she was a few feet 
t him. Then he left Marian and 
ked rapidly over to her, catching her 
as she was nearing the door 
He would not have felt free to go 
ter her if there had been anything 
serious between him and Marian. There 
n't, Sometimes they met for dinner 
Or to sce a movie or a play, that was 
in between meetings they both 
understood they were free agents. If on 
this or that night she stayed at his place, 
or he at hers, she did not take this as a 
tment оп cither side. Gordon 
(he had told him herself) that 


di: 


into 


about it: 


from time to time the bass player with 
the habit, the one she bad lived with, 
саше to spend the night with her; she 
enjoyed talking with him about Zen and 
the twelve-tone scale. She said herself, 
with the casualness she believed everyone. 
should have about personal strivings, 
that she did not have a strong physical 
urge and was more interested in the 
spiritual side, in purging herself of toxic 
acids and the negative thoughts they 
gave vise to. Though she was perfectly 
rself for the pleasure 
оГ men she liked, she was against any 
spirit of possessiveness in them or herself 
— the idea of private property as applicd 
wl цу she took to be the most 
negative thought of all. She was ready 
to be enjoyed but she would not be 
claimed. She hated the idea of people 
plastering noarespassins signs over each 
other, it disrupted the true placidities 
and prevented the higher concentrations. 

The girl had stopped at the door and 
was looking at Gordon expectantly. 
put his hand lightly on her fore 

“I liked the show," he said. "Particu- 
larly you. I thought you were fine.” 

“Well, then, thanks,” she said in her 
vibrant voice, and dimpled marvelously. 

“1 wonder,” in. He was about 
to ask what her name was, and give her 
his, then approach the possibility of 
their having lunch together — but there 
back and Jamie’s voice 
“Well, Gordon, are you 
about ready to go?” With Jamie was his 
wife, behind them, Marian, looking 
placid. 

So he had to answer her encour 
smile with a hasty, ambiguous tw 
his own lips, with a little humorous lift 
of the shoulders, and go off with his 
party. He si 
was a Maxine, а Georgianna, a Betti 
or what. 

Driving through the mounta 


morning, Gordon found himself 


was sayin 


had no 


as next 
think- 
ing about this lile dancer. There was, 
he could not help feeling, something 
thetic about her, about all the actors 
in the show, They were obviously people 
who worked dining the day as busboys, 
waiters, clerks, cashiers, stenographers, 
beauticians: if, in addition, they were 
ready and willing to spend six tough 
nights а week performing before a hand- 
ful of spectators [or somethi 
than Equity minimum, there had to be 
a big thirst in them. In all their heated 
minds, certainly, were shimmering im- 
ages of Lena Horne, Sammy Davis, Jr 
Harry Belafonte; how could vou point 
the many ds of 
Lenas and Sammies and Harries who'd 
fallen by the wayside, not always because 
of deficient talents? Why should Negro 
rical hopefuls be any more subject 
to dissuasion than whites? The show- 
business bug ignored color lines and was 


impe 10 common sense; it wa 


g суеп less 


out to them thousa 


vious 


imply а double misfortune when it took 
up its obsession-breeding quarters in a 
Negro because, while it was color-b! 
movie and television producers were not. 
But Hollywood was a dream world. Here 
they made, and lived, dreams about rich, 
and therefore free, people. Negroes 
became as dreamy as the rest. They 
dreamed of themselves being rich enough 
to be free, or free enough to be rich, 
free-rich, very white. 

Gordon knew why these thoughts 
were running through his mind. 
was determined to meet this nameless 
1— the picture of those solid thighs 
nd unskimped bosoms was not to be 
shaken loc nd sud- 
denly, for the first time he, 
Gordon Rengs, lone-woll novelist with 
э institutional connections in this 
world, was smack in the center of show 
business and immediately entifiable 
with alb its institutions. He knew that 
il he could arrange to meet this girl she 
would sec him, not as the isolate he was, 
the bystander, but as an important man 
in a key position at a major studio — 
and the bug in her would begin its solt 
shoe. Certainly he did not want to make 
ny headway here, or anywhere, on the 
basis of a grotesque mistake about who 
he was he would not have this or any 
girl sleep with him in the expectation 
that he could do things for her. He 
knew very well that he was still, rich 
Charlemagnes to the contrary, the two 
grand a week notwithstanding. the 
writer of serious books that nobody read, 
а man without connections, and he 1 
to hold to his identity. it had been won 
too hard. The main reason he had taken 
up the nowand-then relationship with 
Marian Huddlesheld was that she was 
not after anything from him, she mercly 
offered herself on а plain redwood plat- 
ter, hand-carved, garnished with pi-nuts, 
while she went on thinking undisturb- 
edly of Zen precepts, inner unities, un- 
sprayed tomatoes. 

That morning, over tea. 
cheen, "Jamie — there was a 
J in that show last night, I don't 
know her name. I'd like to get in touch 
with her and to do that I've got to call 
the theatr s no other way. You 
must tell m armass vou if 
1 pursue this? 
“Pursue away, my boy," Jamie said. 
“If it's that little trick you were talking 
to in the lobby, I thought she was quite 
a fetching thing myself, May the rice 
go to the swift —and if you carry it off, 
bring her to dinner one night." 

So Gordon called the theatre. The 
т who answered the phone identified 
himself as Mitchell Bascoyne; apparent- 
ly he ran the box office too. 

“This is Gordon Rengs," Gordon be- 
as with Jamie Beheen's party 
at your theatre last night 
“Yes, truly, Mr. Rengs" 


d 


mind — 


n his life, 


Jordon said 


to 


3 


Mitchell 


Bascoyne said. "I remember you well 
and it's nice to hear your voice.” 
“Nice to hear yours. I enjoyed your 
show, Mr. Buscoyne. We all did." Gor- 
don cleared his throat. “Mr. Bascoyne. 
"There's a girl in your chorus — Td like 
much 


t0 know her name, she's 
ather buxom, with a wide fice 


naples, her voice is a deep 


"You mean." the softly neutral voice 
il, “the girl you spoke some words to 
in the lobby?" It was a carefully factual 
statement; you could read cither accusa- 
tion or congratulation into it, anyd 

you wanted. 
Thats the onc. 1 couldn't tell from 
the program what her name was...” 
Wilhelmina Sproulle. Yes, that would 
be Wilhelmina.” A pause. “Mr. Rengs — 
may I ask — what, just for purposes of 
i on with 


8 


with Jami 
nt, so Jamie was important to hi 
He was asking: did Gordon figure in 
s picture in such а way as to 
ke him important too? If there was 
to be any bartering over this Ме. 
mina —Bascoyne was not closing any 
doors on any possibilities prematurely 
— the stakes had to be defined . . 7 

Mr. Bascoyne,” 
his voice a litte, "Fm а f 
Beheen's, that's absolutely all. We're 
both writers here at the studio. we 
happen to share olfices in the writers’ 
building, we don't work together, we're 
simply friends, but Miss Sproulle im- 
pressed me last t and 1 was wor 
Пеппа..." 
Will you allow me to put in another 
ict. ourselves 


ordon said, raising 
iend of Mr. 


you might term professional? 

Well put. There was the crux of it, 
of course. And here now was the big 
temptation: not to Jay it on the linc 
but to throw out sneaky, standard lure: 
Gordon wanted aboye all to remain їп 
tact. He wanted this girl but he cherished 
his sense of himself too. He knew quite 
clearly that he was the peripheral writer 
of peripheral books, the man way over 
to one side, not in any sense a good 
contc . . 

“Let me make this very clear, Mr. B 
соупе. I'm not a Hollywood writer, not 
ilv. I'm а novelist, you wouldn't 
have heard of me, I live in New York, 
Fm out here on my first movie assign- 
ment, I don't mean to зау... The best 
way to put it, Mr. Bascoyne, is this — 
I'm not in a position to do anything 
anybody, I don't carry any we 
movie industry, my interest 
Sproulle is a personal u 
contact her and take her 
thought, if I could reach her, with your 


їп Miss 


107 


PLAYBOY 


108 


I might ask her to lunch 
the commiss; м 

At this point Gordon dicked his teeth 
together. He could not believe that this 
last statement had соте [rom his 
mouth. Lunch, yes, lunch was a fine ide 
— but why at the studio commissary? 
The lure, the pitch. the сотеоп, after 
# He was suddenly despising himself 
for having added those four strategy- 
ated words that exploded his sense 
of self and stood all his down-the-line 
i on their heads. 
al, Mr. Rengs?” The v. 
May I ask your 
ng in that, please?’ 

Bascoyne — I thought. Wilhel- 
па Sproulle was а very attractive 
young lady. I'd like to know her better. 
If you will be good enough to put me 
in touch with her, I'd like very much 
to take her to lunch — at any place that's 
convenient for her." Gordon immediate- 
ly felt better for having gotten that 
phrase out. “Would you ask her to call 
me at my office? ГЇЇ be here all day. 

"I will communicate the message, Mr. 
Rengs." There was another pause. Then, 
with something that was no longer hope 
but a nostalgia for hope long gone 
Rengs—do I follow your meaning — 
you share some offices with Mr. Beheen? 
Your connection with him is, you're in 
the same offices with him, that’s the 
whole extent of it? I was wondering, if 
you're from New York, if by any chance 
you have an agent back there, I know 
Mr. Beheen has an agent . . . 

It had to be said once more, still more 
unequivocally: 

1 have an agent in New York, ves, but 
it's not Mr. Beheen's. I've never met his 
agent, I don't have anything to do with 
her, but if you can manage to get wor 
to Miss Sproulle . . ." 

he message will be conveyed, Mr. 
Rengs. The young lady will be informed, 
and thank you for your interest . . . 

When he hung up, Gordon had the 
sweaty fecling that he had come close to 
the ordeal by fire. He knew for the first 
time the full meaning of temptation, the 
devious ways in which sharp memories 
of thighs and dimples can make the 
tongue spring from its true tracks and 
juggle plain truths. But, except for those 
four upstart words, he hadn't faltered, 
he had stuck to his course and his con- 
cept of himself. He was not proud, ex- 
actly. He simply had the sense that he 
had survived, that his head was still 
above water. 

Exactly seventeen. minutes later his 
secretary buzzed him to say that а Miss 
Wilhelmina Sproulle was on the line. 
He reached energetically for the phone. 
Did Miss Sproulle remember him? Sure 
did. She'd the messa 
lunch, his wanting to invite her to 


€ was 


gotten about 


lunch? Oh, right. Mr. Bascoyne П ex- 
plained the whole deal. She would ас 
cept the invitation? Why, why not, 


sounded like a cool idea, most any time 
and any place, why didn't he name 
Well, he'd like to do it tomorrow, Thurs 
day, and about the place, why didn't 
she pick a restaurant near where she 
worked, he assumed she worked some- 
where, he could easily drive over? Well, 
Mitch, Mr. Bascoyne, he had been say- 
ing something about lunch at the com- 
missary, she had а car, she could easily 
make it? Good enough, the commissary, 
he'd leave an auto pass at the main gate 
for her, why didn't she come to his oF 
fice say about twelve-thirty? Twelve- 
thirty, fine. Wonderful, and he'd be 
looking forward to it. All right, then, 
deal, fine, cool, she'd be looking for 
ward to, twelve-thirty it was, Thursday, 
his office. 


Il her accessories, linen shoes, floppy 
1 h gloves, wide leather belt, were 
white with tiny. pale blue polka dots, 
and her very tight dress, choked to an 
impossible slimness at the waist, was 
pastel blue; from these unexclamatory 
background colors her bronze limbs and 
exposed chest sprang like patina*d ob- 
jects of art; the generous haunches 
soared, the only partly captured breasts 
ballooned. And above all this delicious 
suggestion of momentarily arrested ex- 
of stop-frame heave, there 
under the wavy-brimmed hat, were the 
working dimples and the wide, wide and 
laughing eyes of blue — she was a vision 
of Hollywood form-exaggerating chic, 
she was sensational. 

As soon as they took their seats in the 
crowded commis: —where, from the 
moment of their entrance, Gordon was 
itchily aware of all the eyes turning their 
way —she began, unaccountably, to call 
him dadd 

“Daddy,” 
daddy.” 

At first he thou һ the casy 
ice of twenty-two, she was m: 
t comment about the difference 
their ages; he was already a little sensi- 
tive about that. But she wasn't even 
looking at him. Her eyes were directed 
across the room and her words wcre 
remed exclan 


t, me: 


she said. "Oh, 


he said. 


"And, 


daddy, there's, there's Rock 
Hudson.” 

“Right.” 

"Look over that way, daddy. There. 
James Stewart.” 

“I see him." 

Jamie Beheen sat down to chat for a 
moment He was very happy to sce 
Miss Sproulle, very happy indeed. What 
movie was he on? Well, it was the story 


of Noah, more exactly, а story of Nouh, 
in it Noah was to be portrayed as a sort 
of exalted veterinarian, it was one pos- 
sible approach. No, Noah, this Noah at 
least, didn't have any daughters, there 
weren't any daughter parts, and no, 
while he didn't know this for an abso- 
lute fact he was pretty sure there weren't 
any young-girl parts open, shooti 
due to start quite soon, the major cast- 
ing had been done. But it was a genuine 
pleasure to sce 
was even more attractive 
on. 1f she wanted to see how they went 
about making a movie һе would be very 
рру, as soon as shooting began, to 
have her visit the set as his guest. 
Whether or not Gordon happened to be 
free on th L What was 
she is Noah a vet- 
eran of? The animal kingdom, he sup- 
posed. Or the shipwright’ union, he 
very possibly organized it. In any case, 
he was delighted to be able to have a 
few words with Miss Sproulle. She 
looked well and happy and it was grati- 
fying to feast the eyes on her once more. 
He would most particularly relish seeing 
her again, whether or not Mr. Rengs 
could make it. 

“The comer,” 
had gone, "scc 
daddy. Jeff Chandle: 
"Sure," Gordon said. 
"Oh, daddy. Oh, daddy. Cary Grant.” 
“That's who it is." If there had been 
ny point to it he would have added that 
Cary Grant was taking LSD and reported 
good results. 

“All in one room," she said almost in 
a whisper. Meaning: а room she was i 
A room м nd she do- 
ing the viewing. All the rich, rich peo- 
ple and she, seam-busting Wilhelmina 
proulle, in the middle and therefore 
almost free, if not yet rich 

*] want to Expl: in something, wil 
helmina,” he said. “They're all wor 
here, some im television, some in the 
movies. It’s д big studio, | don't know 
any of them. I don't 
around here except for a couple of 
writers who work in the same building: 
with me. The thing I'm working on, this 
doesn't have anything to do 
"s not in production 
all, they won't get around to makin 
it until months after I'm gone. It's about. 
Charlemagne, you know, a king of olden 


Шаг 


she said 
there 


when Jamie 
the corner, 


now anybody 


med Charle- 
t, I don't 
to be in it, that's 


know who's goir not 
my end of things 

He suppressed the impulse to add: 
Charlemagne, who was very rich. 

She said wholeheartedly, “Cary Grant. 
Too much.” 

"Yes. He cats here 
Ive never met him." 


Il the time but 


“Now, smile.” 


PLAYBOY 


110 


n Huddlesfield stopped by to 
shake hands. She wanted Wilhelmina to 
know, she assumed it w; 1 right to call 
her Wilhelmina, how good it was to sce 
helmina was a fine-looking per- 
son with positive thoughts, she, Marian, 
ing eyes, and it 
Ihelmina to know that 
n, had lots of good friends 
who were colored, some of the best and 
most intelligent vegetarians she knew 
were colored, and she wasn’t just saying 
that about having good friends who were 
Negroes, it came out under LSD, 
lysurgic acid, this new chemical that 
helped you to think and see right, under 
LSD she, Marian, felt important and 
rock-bottom unities with other people. 
felt a warm closeness with others, and 
often, more often than not, they were 
Negroes, many Negroes come to her in 
her bright visions. She felt, too, she 
should remind Gordon that his name 
was down on the doctor's list for LSD, 
she'd been around to the doctor’s for a 
dose last weekend and he'd said Gordon 
would be hearing from him about an 
appointment very soon. Meantime, Gor- 
don wouldn't forget this Saturday, she 
hoped, they had this d 
the Gashouse in Venice West to hear 
this authority on Zen lecture on Aldous 
Huxley and the gates of perception. It 
was a privilege to see Miss Sproulle, what 
nonsense, she didn't mean to cool it with 
formality, to see Wilhehnina. If Wil- 
helmina wanted to drop over to her 
place some even 
Gordon I the number, the 
long talk about LSD and thing 

Marian left. For two or three minutes 
Wilhelmina was quiet. Then she said, 
“That's a thing, all right, to be ca 
every day in the same place with С 
тип. Right here, where everything is. 
Daddy, vou must have the good life.” 


could tell by her unsec 
nterest W 


might 
she, Ма 


о out to 


te to 


ng, why. call any time, 


ге almost by accident, you might 

Just to do this one picture. 
I go back to New York. That's 
ive. Mostly I sit in my apart- 
t in New York and write books. 
novels, you wouldn't have heard about 
them, they're not read. very widely . . 

"You meet all kinds of people when 
you're in the movies,” she 
pleased conviction. “АП the big ones. 

She was lovely, her dimples danced 
foomotes to her serene blue eyes, and 
there was no way to get it established in 
aming head that a man might be 
1 this business just passing through. an 
outsider, a nonentity by program. There 
s no room in that head for the con- 
cept of a truly unconnected man. She 
could not imagine a world without con- 
nections because all her dreams werc of 
connections and her entire life w: 
rooted in her dreams. 

“The way it could 


id with 


appen," she said, 


almost as though pointing out vital facts 
that he had overlooked, “you could write 
this movie about Charles the Main and 
then they could get, say, Cary Grant to 
play him.” 

She was intent on building this kind 
of packaging dream around him, her one 
connection with the world of the con- 
nected ones. The implication in her 
words was clear—he could get Cary 
Grant to play Charle! c, he, Gordon 
Rengs, personally, as casily as Jamie 
Beh could get Cary Grant to play 
Noah. АП he, Gordon, һай to do was 
cross the dream room and ask the 
People who ate in the same 
room with Cary Grant were very rich. 
"They were all, finally, Cary Grant. 


And she was lovely, she was lovely. Her 
pastel blue dress was astonishingly tight 
and low-cut. Her breasts were past be- 


lief, the only riches not yet signed over 
to the richest men of this rich world. 

He got her to talk about herself. She 
was twenty-one, she worked as an electro- 
apy technician in a massage institute, 
she was taking singing and dancing les- 
so, she went on Tuesdays to an 


s run by a New York fellow 
with a bright red beard who'd come out 


of Actors’ Studio, she believed the times 
were ripening for another and bigger 
Lena Horne, she felt the race lines were 
being broken down fast, there would be 
wide chances for the talented ones of her 
generation in television and the movics, 
things were trending ths 
didn't have to go back to th 
institute today, she'd taken the day off 
to go shopping in Beverly Hills for this 
sharp new dress and things, she'd wanted 
to look right for her first visit to a st 
io, she was free as a bird this afternoon, 
what did he have in min 
It was too nice a day to work, he 
thought. They could run down to Mali- 
bu, do some swimming and get the sun, 
y'd have two good hc 
was a writer in his building who lived 
out in Malibu, he'd gone to Palm Spri 
for a few days and left the key to h 
place with Gordon. 
That sounded cool 
him. What about her c 
Fase. They'd go in his M 
this was а day for an open Y 
leave her car here at the studio and pick 
it up tonight. Hed make arrangements 
so they would let him in the back gate 
alter hours. 
She was with i 


» there, there 


daddy. А 


s. daddy. 


They helped themselves to swim suits 
at the beach house and hurried down to 
the waters edge. She was something for 
the eyes to gourmandize on, this honey- 
colored Juno from the electrotherapy 
room: childishly slim at waist, knee, 
ankle, elbow, wrist, touching frailties at 
the vital junctures, and lush, lush, every- 


where else, leavening in calves, thighs. 
bosoms, a study in burnished abun- 
dances. Somehow, in his swirling 
thoughts, she was becoming confused 
with the roses and gardenias and banana 
trees and Laure! Canyons of this luxur 
ating Hollywood; all the objects of gen- 
erous curves and lovely colors, all the 
things in bloom that had called his body 
into a singing wakefulness, she was all 
of them, lying there dark апа lavishly 
shaped against the sands, her breasts 
fearlessly in bloom, her blooming thighs 
rubbing tightly, slowly, one against the 
other. 

“A gang of stars live in Malibu, don't 
they,” she said. It was a statement of 
movie-magazine fact rather th 
tion. 

He ran his finger the length of her 
forearm, down the soft folds radiating 
from the armpit, along her side. 

1 guess so," he said. “The only one I 
know out this way is my writer friend, 
Ivan, the fellow who owns this house.” 
She looked back appreciatively at the 
structure with its ¢ ig overhangs, an 
odd-angled sweep of glass and. redwood 
beams, cantilevered out over the dune: 
and resting on sturdy stilts, 
have some crazy parties 
she said. “Lots of parties 
with gone drinks and all the celebritie: 

He let his finger go softly over the 
bluetinted seam of her full and out- 
turned. upper lip. 

“Well,” he said, “I've been to a couple 
of Ivan's parties. Cary Grant wasn't 
there.” 

“Гуе olten wondered," she 

about how you write up a p 
movie play. 1 mean, do you think of 
some one particular actor first and then 
write the words for that actor, like, or 
do you put down the words first and then 
find the right actor to play the part?” 

He let his palm go over the firm rises 
of her upper leg, then closed his fingers 
on the fine lean place under the knee, 
the relief of hollow there, framed with 
- No open wounds on this per- 
fect body, no stigmata, this was an un- 
marred bloom of a bod 

“There's no опе rule 
times you do it one м 
other. The 


he said. "Some- 
netimes the 
ctor I'm supposed to have 
a mind for this Charlemagne script. is 
Tony Curtis, I'm writing all the people 
like Tony Сині 

He was startled to hear this last sen- 
tence come from his mouth; it was self- 
mockery of a sort he had not permitted 
himself since coming to Hollywood, pre- 
ely the kind of snide, self-nibbli 
joke his friends back in New York were 
fond of making, the kind he alwa 

little sore at. Had he said this to i 
press her or just to let her know, in the 
form of a joke, that there could be no 
part in his movie for her? But obviously 


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Wilhelmina Sproulle was not the sort to 
be deterred by the threat of competition. 
She could imagine herself winning a part 
away from Tony Curtis too; ambition 
here could stretch that far, along with 
imagination, along with appetite 

Well," she said, “Curtis can't do all 
the parts. You'll have to get other peo 
ple, all kinds, II bet a whole gang of 
them.” 

He was playing with the tie-strings of 
her bikini halter, his fingers aching with 
the need to hold her completely, fi 
and suddenly he was full of a E 
letting some of it out: 

“Wilhelmina Sproulle, the movies are 
on the other side of the moon, never 
mind the movies, you're a jewel, the 
you're made, you're a marvel. I don 
know if vou can understand this but for 
a long time, for years and years, І was 
living above my neck, drowning in m 
self, mired in me, my head full of proj- 
ects and words, and J don't know. out 
1 feel the rest of 

its because 
re sprouts so fast and in so 
ious, thei such г of 
living stuffs." Both his hands were on 
the halter now, making their urgent 
nd you're all the green a 
things. You're the 
tion of all the want. Oh, you're worth 
ng, Wilhelmina Sproule. 
She looked straight up at him, into 
, with her wide, clear eyes; there was 
absolute unafraid candor and straight 
ss in their deep blue as she dimpled 
just a little and said, “Well, sure, let's 
go in the house, daddy." 
went up the steps quickly. his 
m tight around her shoulder, hers rest- 
g easily on his hip. He was irritatingly 
re of the absurdity їп a man like 
s of everythin 
ing paperec 
ge, someone 
lightyears away from his aims, his focuses 
= but he didn't саге, At this explosive 
point he was not afraid of being absurd. 
His want was as big as his consciousness 
and his conscience, blotting out all the 
wantdamping thoughts. He needed the 
full feel of her for the only kind of con 
centration and validation that counted 
now. 

As soon аз they were 
n he 
of her, as though with enough pressure 
he could merge their bodies through the 
barriers of bathing suit and skin. She 
let herself go inst him, all her length. 
She could not help but feel the wild and 
sping excitement in him 
£ led her head 
сайту, ^I guess 1 got to 

They were the most 
he had ever heard from a woman's lips. 

He was exasperated with himself for 
letting these words burn him so. Because 


here, 
me 


т 


side the living 
hed for her. took hold of 


and said 
yu some." 


The slack that slims and 
puts the accent on leanness. 
From the trim continental 
waistband with adjustable 
side buttons, Tabs are 
neatly narrowed to the cuff. 
See Tabs in several differ- 
ent models...in a vast 
range of light-toned fabrics. 
From $11.95 to $20...at 
fine stores everywhere. 


SAN DIEGO 12, CALIFORNIA 


111 


PLAYBOY 


112 


she had said them coolly — and in this 
coolness was the real source of their ex- 
citement. 


"Yes," he said. 
"Daddy," she said, thinking hard, 
"didn't they have all kinds of people in 


those olden courts? Didn't the kings and 
big ones get all different kinds of people 
around them?" 

So she was announcing a moment of 
barter: herself. all of her, for a place 
near Charlemagne's throne and within 
mera range. But he was not a trader. 
There were parts of him he would not 
sell, no matter what the offered price. 

"Lets talk about it later," he said. 
“Come with me now. 
No, listen, daddy," she said. "I can 
act, you know? They say good. good 
about me, my teacher in acting 


use when I do my improvisations. I'm 
ready, I can do real good 
ably very talented,” he 
d, his voice unsteady, his fingers work- 
ing at the ties of her halter: but the 
strings were firmly knotted, they would 
not come apart. “But, listen to me, lovely 
Wilhelmina, it’s not so easy. Any young 
actress has to struggle, maybe for ye 
Irs a thousand times tougher for you. It's 
not your fault but that’s the way i 
‘There just aren't any parts for you. 
There couldn't be anything for you in 
my picture because there wer 
girls like you around Charlemagne. We'll 
talk about it later, Wilhelmina. If you 
can think of anything I can really do for 
you, you just have to name it, I'll do it. 
You think it over and let me know. We'll 
go into it another time. Come on, now.” 

Around the edges of his bubbling 
thoughts he felt a certain pride: he was 
being spectacularly invited to throw out 
the lures and he had not thrown, not 
much. She was doing almost all the 
throwing. 

But she went on in her quiet. steady 
way: "You're the writer, daddy. You 
could write in most any part you had 
a mind to. If you made up some part 
that E could play E would do it real good, 
daddy, that's no hype. It doesn't have to 
be a girl like me, daddy, It сап be any 
kind of a girl, I can play all the kinds, 
they say at acting class I'm very, very 
versatile.” 

And there it was: she had reached the 
point in her thirst where she had totally 
forgotten that she was a Negro. 
therefore next to unemployable; 
forgotten it, or had dismissed it as a 
roadblock to her ambition and there- 
fore irrelevant. The color of her skin, 
be 


not been 


ng one attribute she had 
able to use in acting class, she had 
dropped from her list of attributes. She 
had fallen into the worst prison of all — 
the rosy idea that there are no prisons, 
or that the ones that do exist are flimsy 
enough to be broken through by dis- 


missing negative thoughts and signing 
up for Method instruction. For the self- 
appointed rich, no walls too thick for 
tumbling. In this town of rich people, 
you could be anything you wanted. That 
was the definition of this democratic 
land and that was the definition of the 
acting talent. She was a good American 
and a good actress and so, obviously, she 
could play any Cary Grant part that any 
writer would be so good as to write in 
for her. Gordon Rengs happened to be 
the only functioning movie writer she 
knew. It therefore fell to him to write a 
part for her, any Cary Grant part, so 
that she could begin to function as an 
actress who could play anything. There 
would be rewards in it for him, big ones, 
mmediately collectable. But they were 
not to be collected without the allim- 
portant down payment. It was up to him 
to arange for her to play Pepin the 
Short, or Claude ins, or cither of the 
snails that came aboard the Ark — the 
male or the f 
open, name i 
career town and she had her way to 
с. Writers would come and writers 
er was а constant 
and therefore the touchstone of her de- 
cisions as to how she would squander her 
person. If she had to give him some, he 
was expected first to give her some. The 
street of dreams was a two-way street, 
Until he made his move she was immoy 
able; she stood perfectly still, resis 
the efforts of his hands to urge her to- 
ward the bedroom. 

Her soft masses were alive against him, 
jutting with promise, It was hard for 
him to breathe. 

“АП right” he ly, hearing 
the words coming from far off and shud- 
dering from head to foot at the sound; 
she no doubt took this quiver for a fur- 
ther surge of passion but he knew what 
П the revulsion he could or 
would feel in t life. “All right, Wil- 
helmina. Let me see what I can do. Maybe 
1 can work up some part that would fit 
you. I'll look over the script tomorrow 


would go but her c 


it was, 


and see where I can work you in. When 
1 get the part in shape ГИ speak to the 
director and arrange a reading. ГЇЇ rec- 


ommend you strongly for the part, I 
know what you can do, I've seen your 
work, I'm sure you can handle any role,” 
He had come all the way awake in this 
hot California, his ncrve-ends were reach- 
hing for the boons and bounties 
of wakefulness. "Come with me, Wilhel- 
mina, Come on, let's go. Right now.” 

She leaned away from him. She looked 
straight at him again, a study in dimples, 
сс full of warmth, and said, "You 
>w T'm going to give you some, daddy, 
you know 

She had found her rightful place along- 
side Charles the Main, or thought she 
bad, she had lured him into dropping 
all the fake lures, and she now walked 


ing. 


with pride and gratitude into the next 
тооп 

He went along behind her, arms 
curved around her, body concave to her 
delicious convexities, hands flat against 
her bare middle bold with promise: he 
knew that he was not on the sidelines 
ny more, he was in the thick of it, a 
charter member of all institutions. a true 
belonger, a man connected with every- 
thing. 

As the halter came away he thought: 


just a stranger passing through, and 
arrested all the sume. The fine. bloom- 


ing body came into sight and he told 
himself: arrested for speeding in thi: 
suange town, held without bail. 

His friends in New York had not 
heard from him in weeks. Suddenly one 
of them gota peculiar, murky note which 
said, among other things: 

“There’s space. And its cluttered. 
Weeks ago I went swimmii Malibu 
with a girl named Wilh Imina Sproulle. 
She'd left her car at the studio: late that 
night we drove over to pick it up. Some- 
how or other I got lost after we went 
through the night gate and we wound 
up in the back lot, an arca I hadn't seen 
before. A turn in the road and suddenly 
we were surrounded by the debris of all 
the enterprises and all the institutions: 
Swiss chalets, Lower East Side tenements, 
Civil War stockades, a Hopi Indian 
camp site, a Burmese pagoda, à Victorian 
room, a section of the Roman cata- 
combs, asorted gambling casinos and 
torture chambers, several frontier sa- 
loons, a portion of Grand Central sta- 
tion, a space-probe site 
complete with missile, next to it a 
moldering sta xcu E nd 


launching 


there in this landscape BuU en 
and ends — Noah's Ark, built full-scale. I 
couldn't help myself, I had to climb 
aboard with my partner Wilhelmina. We 
stood on the narrow deck, surrounded by 
the ghosts of the animals in paired ter- 
ror, I could hear their hot breaths, they 
echoed my own. I drew Wilhelmina to 
me and kissed her heartily. id softly 
to her, "We'll get through it. These 
waters too shall recede.” She wanted to 
know what kind of oldtimey boat 
was; I explained that they were getting 
ready to shoot the exteriors for Jamie 
Beheen's picture out here. She was ex- 
cited about the whole thing because, as 
she remembers it, all sorts of creatures, 
all without exception, one lady and one 
gent from cach of the species, wer 
taken on board this Ark, which meant а 
holocaust of parts, a whole gar 
would be opening up. Just that 

noon, at lunch in the commissary, J 
had told her the Noah picture was al 
ready cast, but she knew there was som 
thing in it for her, she just knew it. 
Couldn't I talk to Jamie and fix it for 
her? She knew 1 was a big man out here 


so what was I doing pretending to be a 
nobody? She wanted her daddy to come 
on out in the open, stop hiding his im- 
portant self, be the Cary Grant he so 
clearly is. So I came on out. I. promised 
to do what I could to get her located on 
the Ark. (A few hours before, Fd prom- 
ised to set her up in Charlemagne's 
court, possibly as Pepin the Short.) I 
didn't have the heart to tell her there 
wasn’t any part for her on the Ark, 
either. How you keep telling an- 
other living being that there are no parts 
for her anywhere in the world, that the 
whole damn stage is closed tight against 
her, that she's got to or swim in this 
special-clfects flood without benefit of 
Ark? Besides, she had just made а pres- 
ent of hersclf to me, her daddy, under 
the impression that I was a very big man, 
a real Cary Grant who was somehow 
reluctant to come all the way out. I for- 
got to tell you, Wilhelmina Sproulle is а 
colored girl, a beautiful one. I've stopped 
seeing her because she expects me to get 
her set up with Charlemagne and I can't 
give her any progress reports. Jamie 
Beheen, though, Jamie's changed his 
tack with her. Не now believes he can 
find a place for her on the Ark in some 
capacity, maybe as stewardess. He's been 
auditioning her all weck. She's out at 


same beach house I've got keys to, the 
owner, a fellow named Ivan, is out of 
town auditioning some carhop or other 
in Palm Springs.) I won't be seeing Wil- 
helmina any more but I suppose there'll 
be other Wilhelminas. They come in 
assorted colors out here. This may not 
be a selling out, friend, It may amount 
to nothing more than joining the hu- 
man race. When you make your applica- 
tion this late you've got a holocaust of 
catching up to do, a whole gang of 
catching ир...” 

The man who received this letter was 
disturbed by its tone. He tried to put in 
a long-distance call to Hollywood but 
Gordon Rengs was not home. At that 
precise moment he was stretched out on 
an oversized Japanese-style couch in a 
Beverly Glen cottage, kissing Mari 
Huddlesfcld, who was saying placidly 
into his lips, "I've never told you this 
before but you have the odor of corrup- 
tion on your breath, Gordon." He asked 
her what she meant, She explained that 
meat eaters have a Iot of то! matter 
in their systems, all sorts of toxic mate- 
rials and mucus-producing elements, and 
so carry the odor of corruption on their 
breaths, as against vegetarians and 
fruitarians, who are free of mucus and 
sweet-smelling, like babies. 

Gordon did not take offense. He knew 
perfectly well that Marian had not 
meant anything by this, she was merely 
conveying the evidence of her nostrils. 


take offense at anything, he was keyed- 


р, in tune with himself and the out- 
this morning, quite early, he and 
Marian had both had a dosage of 
lysurgic acid at the UCLA hallucino- 
genesis research center, they were now 
in the eleventh hour of exaltation and 
felt themselves literally bursting with 
love for all the lush, beautifully pat- 
terned, vividly colored forms that came 
from all directions as feasts for their 
wide, ready eyes. In all things, even in 
each other, they saw enticements and 
gifts. Marian was prepared to love and 
accept him regardless of the quality of 
his breath, and he was in the mood to 
hold her Jovingly to him no matter what 
she thought of his diet and his ways. 

He held her Jaccrated palm close to 
his eyes. He studied the open gash with 
close attention, with absorption, love. 
Deep in the glisteningly pink, gray-edged 
i г of the wound was an ancient 
craft, Noah's proud aworthy Ark, 
and two by two the ls were march- 
ing up the gangplank into the hold, into 
the bright-tinted, welcoming flesh. Gor- 
don saw himself marching in the stately 
procession, hand in hand with Wilhel- 
mina Sproulle. Decp into the warm and 
comforting flesh they walked, to the com- 
fort of living stuff, to the depths of inner- 


most hot flesh. Was this a prison, this 
warm, walled place they were going into? 
They were all meat eaters, they wanted 
only to ride out the storm so they could 
cat their meat again, two by two. Gordon 
walked into the steamy, cushy interior 
of Marian Huddlesfield's palm, deep in- 
to the secrets of her centers, hand in 
hand with Wilhelmina Sproulle, for 
whom he had finally come out, feeling 
warmed, groping along the damp soft 
walls of pink flesh, pulling the moist 
pink folds shut over his head, thinking 
that when prisons were pink and damp, 
slimed deliciously, you could walk in 
and feel good, very good, if you were a 
meat cater you could cat your way along 
and not worry too much about the qual- 
ity of your breath. 

Mariam Huddlesfield began to say 
something in her relaxed and accepting 
way, something about the dangers of 
mucus over-production in chronic meat 
caters, the stampede of toxic materials. 
He leaned over to kiss the yawning 
stigma in her palm, a prison he could 
make his headquarters in, a meal he 
could gorge himself on, a place where 
he belonged at last, 


“Oh, for heaven’s sake, Fenner — let 
the chips fall where they тау!” 


113 


PLAYBOY 


114 


SWEET SINNER 


wrotc my income tax song: 

It is I mean blue in the sky, 

It is Т mean blue in the sky, 

Oh what's to become of you and I? 

© DALE DUBbLE 

It scored enough out of the Nat Cole 
recording to pay my tax for last year, 
but I got a bumch of letters from English 
teachers saying, “You and me! You and 
me, crud!" But I couldn't oblige be- 
cause I had my heart set on a rhyme, 
dig? Only later did Evie baby, smart girl, 
inform I that me could have said: It is 
I mean blue in the sea /Repeat/ What's 
to become of you and me? 

n't think of it that way,” I pro- 
"I was lying on my back and 
looking at the sky, and that’s artistic 
integrity, honey baby." 

"I should have been with you," she 
commented. "You'd have been more 
grammatical. And not so much on your 
back." 

But she knew how I like to travel 
alone. Adventure, adventure, is what I 
search. Sometimes I find it. It's no worse 
than a bad cold. 

She added: “You can say that again 

"What? What? I wasn't talking. I was 
thinking.” 

“I noticed,” she said. “ 
talk too much." 

She was one for suggesting a silent 
record on the juke box — that type. She 
was meditative frequently. When she 
orgied, she orgied; and when she was 
an intellect junior miss with heavy 
horn rims and her copy of Zen Archery, 
well, she was horrid. In such moods she 
made me feel like a baboon, when the 
fact is, I'm one of the most sensitive and 
intelligent rock-n-roll composers on up- 
per Broadway. (I also do a little Country 
and Western to keep my Roots, I was 
Lorn in the Bronx.) 

Now after my trip. we sprawled out 
on the rug, meditative, getting reac 
quainted with each other through the 
medium of resentful silence. 1 sulked. 
brooded. "It's wonderful to see an 
old friend again," I said. 

"Great idea for a song," she grunted. 

1 gloomed. She pouted. I pulled а 
string off my sock. (It's better to singe it; 
otherwise you can unravel right up to 
your belt.) She combed her long glossy 
hair and brushed her bangs with her 
hand. We waited to cut each other down. 
Ain't young love grand? 

“Your neck is brown,” she said. 

"Nature's Man Tan," I said. 

She looked at her watch. "Nine 
o'clock," she murmured thoughtfully. “I 
thought you were going to take me to 
dinner. 

Nice place you got here,” I said, 
examining her apartment with sudden 
nterest. She lived on Charles Street in 
the Village, with a fireplace, а carpet 
(her great extravagance: a beautiful 
golden French antique it was), and her 


ually you 


(continued from page 51) 


calcula 


ng ways. 
You know the place by heart,” she 
snapped. 

A small victory. I wanted her to re- 
mind me, and incidentally herself, of 
those Sunday afternoons we had spent 
together. She had served me breakfast, 
and then we had gone to the movies. 
Break! at five o'clock, and then just 
a few minutes of daylight before eve- 
ning and the soothing dark of a double- 
feature horror show, wii 
ing sex at home afterward. 1 would goose 
her down Charles Street. Oooh, nasty! 
she would cry, and we would have a late 
supper, with me pleasanily jittery after 
too much coffee and love. And the 
smoky Manhattan evening cradling us 
And the dim dreaminess of the V Mage 
all about us. And that Italian violinist 
beating his wife again next door. Yes, 
I wanted her to remember that I knew 
her apartment very well. “There might 
be a movie оп the telly,” I said. “You 
could just scramble us up some eggs, 
honey.” 

“Take me to dinner,” she said. “It’s 
ten after nine." 

“TU run down to the liquor store 
and we could have eggs scrambled with 
e. 

In five more minutes І go 
Whelan’s for a club sandwich." 
Aw, honey. 
Four minutes and ten seconds. 
“Come on now." I reached for her. 
""Ten seconds." 

You are cruel, you know: 

Pause, Sniffing the cruel air. Squiggle 
of cruel nose. Cock of cruel head. Retard. 
of crucl ankle. 

"Bong. Three minutes," she said. 

I took her out to Sammy's off Eighth 
Avenue, a favorite Nashvillestyle rock- 
n-roll hangout. We had chopped liver, 
knoedlock soup, Rumanian roast with 
n order of chitterlings on the side, and. 
sent out for a pair of fortune cookies 
for dessert. My fortune said: Keep trying, 
for what else is there? Her fortune said: 
A nervous man with contact lenses has 
come back into your life. 

Actually, as you may have suspected, 
this was a put-up job by my secret agents, 
namely, me. Sometimes my left hand, 
which plays pretty good barrel-house 
piano, hardly knows what my right hand, 
which puts in the contacts, is doing. (I 
had to look good for television. Dick 
Clark looks good; why shouldn't 1?) 
Anyway, when Evie went to the Ladies’ 
to cock her grenade or whatever she 
was planning to use for protection 
against me — I had forced her agreement 
to return to her apartment to watch a 
really important television spectacular — 
really important to me, that is, since I 
wanted to get in . . . Anyway, while 
Evie was there, oiling up her brass 
knuckles, I performed a quick illicit 
operation on the fortune cookies. They 


lone to 


had originally borne rather discreet 
messages: Fortune Cookie Bakers Local 
31, A.F.L-C.I.O. and Mao Tse-tung is a 
lousy poet. Since the strips of paper were 
narrow and strong, I filed them in my 
jacket pocket to be used as emergency 
dental floss. 

Then, for additional priming, I de- 
cided to spend another couple bucks 
on a quick visit to a Bazouki joint down 
on Eighth Avenue in the Thirties, Hell, 
I wasn't in a hurry. I was just desperate. 
You know those Bazouki place? I mean 
those Greek bar-restaurants where you 
eat stuffed grape leaves and tormented 
lamb and they play those hopped-up 
strings and wires, that wild Near Eastern 
music, followed by a of educational 
belly dancing. Actually, it's pretty darn 
cute, since the girl sits on the bandstand, 
dressed like an осе chick, nodding in 
time to the music, wearing a tan ga 
dine suit. Then she excuses hersclf into 
a closet for a moment, and when she 
emerges she is wearing the classical flow- 
ing diaphanous robes of which Sappho 

ang, also brassiere and panties, which 
Sappho never mentioned; but she re- 
moves all these items in due course, 
while dancing the genuine, frenzied, 
ripple-nipple, happy-pappy belly dance. 
A few stray striptease bumps and grinds 
help her to popularize this primitive 
folk art. While she works, weaving in 
and out among the tables, educating us 
in anthropology and the glory that was 
Greece, the plump and happy male 
Greeks shower her with dollar bills, 
thrust them between her bosom, and 
general make spendthrift pests of ther 
selves. This evening the wild goatherd 
Peloponnesian folk melody happened to 
be adapted from the Limelight theme, 
by Charlie Chaplin. 

"You know.” I musicologically ex- 
plained to Evie over a couple glasses 
of Mavrodaphne wine, "the one that 
goes — 

"Aren't you going to miss your spec- 
" she asked. 
I have anything to say about 
it" I winked broadly, catching an eye- 
lash. Evie rushed me to the bar mirror 
and extracted it while I squeaked with 
pain, and also missed the climax of the 
belly dance, where the lady (yeah! she 
of the tan gabardine suit!) got down 
on her back and scrubbed the floor with 
it, with only a small glass brooch and a 
few dollar bills between her and a sum- 
mons from the Commissioner of Police, 

I returned to my table in time to see 
her dimpled buttocks removing them- 
selves into the closet where hung her 
Ohrbach's gabardine. Evie clapped her 
little hands together and said, "Good. 
show, chaps.” 
Well,” I said, 
news broadcast.’ 

Sure enough, the orchestra had it: 
break, the belly dancing was over, and 
they turned on the telly. Now I wouldn't 
get a lash in my eye, no, not me. "Isn't 


now let's catch the 


commented Evie, watching 
а senator declare how the administration 
doing its best in every way to support 
world peace, justice and freedom for all. 
‘Shouldn't we go to your place?” I 
asked, agreeing with the senator. 

“We got the news h she said. 

"But I want to watch the late show.” 

“OK for the late show,” said Evie 
baby, “but not for the late late show. I 
told you how I feel about you now, since 
you left me that last time.’ 

"How was that, honey?” 
It can be summed up in one wi 
she commented, checking her lipstick in 
a cute little mirror contained on a ring. 
Some girls wear diamonds, some mirror 
Well, 1 bought it for her once іп a nov- 
«ну shop in Mexico City — once when I 
was having a little vacation from her — 
but she used it without appr 

“Well,” I asked in suspense, “wha 
the word?” 
‘One word which sums it up for you. 
"What is it?” 
he blotted her li 
“This: Bug off!” 

Rather primly I retorted, “That’s two 
words.’ 
‘ot how I pronounce it," she said. 

But I would try and try again, and 
urged her to pack up. If she let me past 
her door, I would try still a third time. 

She let me past her door. She had 
promised me a farewell glimpse of Cl 
nel 9. She may have been overconfident, 
but she let me past her door. “Hooray! 
I shouted, and then frowned. “I'm 
sorry, Evie, it just feels good to have a 
long talk with you. 

“Maybe І should have left that hair 
in your eye,” she said. 

We sat down by the fire and I asked 
her to be reasonable. She took that to be 


and smiled. 


a question about why she didn't build a 
fire, She explained patiently that it was 
m enough without a fire, and besides, 
ays cheated as a fire-builder by 


wood instead of 
ng. 1 leered and 


on the 
from kind! 


buildi: 
took out my lenses. She understood that 
this was meant to kindle her. She said 
that I was too oily. I fluttered my eyes, 


hurt. She offered to make me some hot 
chocolate to console me for her unkind 
words. I demanded cognac instead. She 
poured for both of us. I waited until she 
1 finished her snifter, talking rapidly 
p he that she was 
inking nervously, and then I fell into 
a hurt silence. J had not put a paw upon. 
her in over fifteen minutes. She won- 
dered if 1 were sick. 

All this is known as “The Battle of 
the Se " Over this or similar battle- 
fields is strewn the wreckage of a million 
evenings. "Where will it all end?” I 
sked. 

“Where?” 
I pointed to my anatomy. I pointed 
to her anatom: 

"Not" said Evie, "not if help comes 
when I scream. And if it doesn't, I'll 


from noticin, 


stick my finger in your eye 
in your — 

"Don't be lewd. Think of the future — 
the sweet child I'll marry someday.” 

“Me?” 

“Some innocent thing.” 

“By that time,” she 1 v, "Ill 
be innocent enough for Humbert Hum- 
bert. I'm getting more innocent by the 
hour.” Horn-rimmed glasses from her 
purse. Her sweet fingers hooking them 
behind her swect cars. “Do you think 
they can do the tue story in the mov 
Lolita, I mean?" 

I refused to speak. She was not going 
to distract me with a discussion of mass. 
culture, АН Ameri fights this battle. 
“Aw,” 1 Evie as I sat mute, “you has 
hurtie feelings, you sad-eyed hood?” 

I said nothing. She might talk herself 
into a trap. I shifted my posture in order 
to get ready to be a пар if she talked 
herself into one. 

“You sneaky thug,” she commented. 
“You monster with lobster claws. You 
five-year-plan of а man. 

I sighed, "Yes" I admitted, "I can 
think of only one thing when Fm with 
you, Evie.” 

Now let me tell you that women want 
to be respected and all that, it's true; but 
most of all they want to be respected for 
their female charm, which is the peculiar 
property of women. Sometimes they cin 
get insulted if they think you are merely 
brutally interested in their virtue (the 
negation of), but in this case, since 1 had 
already paid tribute to Evie's virtue 
(negated it) in the past, 


па my knee 


ing in my retu 
fire died out (1 had finally built one w 
oil). The lights were tumed low (she 
snapped the switch). “Bash,” she said, 
nd I leaped for her. 
Pow. 1 was on my back. Evi 
lessons. It turned out that she was using 
the word "Bash" mot as an imperative 
verb but merely © name of 
Bash Shmulkov, the Soviet composer 
who had swiped my song. "Next time 
hear me out,” she remarked, putting 
mercurochrome on the back of my head. 
Slight scalp cuts and abrasions. My hair 
would cover the scar. "As I was saying, 
I like what Bash did with that hot clec- 
uified violin. The Moussorgsky touch. 
Couldn't you work in a bit of Mous- 
sorgsky for Nat Cole's next. record?" 
"Ouch," I said. "When | comb my 
hair I'll break the scab. His А & R man 
wouldn't allow it. Ain't got that swing, 
so it don't mean a thing. Aw, come on, 
Evie, you owe it to me. 
Having beaten me to a pulp, morally, 
spiritually and  dermatologically, she 
was beginn There was 
still something left of me. I у 
financially. She cocked her head 
cd the backs of my h 
gripped the rug for support. Occasionally 
she may have sadistic impulses of revenge 
for my flightiness, but she way not a 


ow out for the dollar. No. Not Evie 
baby. It was not money at all. Jt was 
merely the eternal battle for corporate 
control. This room was her Executive 
Suite — the place of sweet execution. 

I could sense the struggle within her. 
On the one hand, tenderness. On the 
other, revenge. On the one hand, sala- 
ciousness. On the other, schemes. On 
the one hand, the good comfort of her 
rug near the fire and the lateness of 
the hour and the convenience of my 
devoted heart. On the other hand, she 
wanted to wash her hi 

‘That decided her. 

She said in a wee sn 
rendering pl 
but tomorrow, honcy 

As you can each readily deduce from 
your own troubles in love, that meant 
that I had won — and tonight. I said 
bravely, "OK," and leaned forward to 
give her an abstract farewell kiss in order 
to seal our bargain, Now she could allow 


nd ripe 
murmurs, 
n composer's 
this time b. 
thread drawn sweetly 
through my body, and when it was drawn 
out, | was unstrung (© DALE рими). 

Dot dot dot. The clock struck two, 
with its face to the wall, blushing. 

“Aw honey,” Evie 
you'd wait till tomorrow. 

“It was bigger than both of us,” I 
murmured hoarsely, sprawled by her side 
near the fireplace. With my fad 
strength I pulled a slipcover off a chair 
to cover us. I wanted to sleep, blessed 
resto! sleep. She wanted to talk. 1 
tried to sleep. She talked. I pretended 
I was asleep. With her elbow she jabbed 
me awake to talk to her. 

"Listen, honey!" she said. "I remem 
ber once my daddy tried to t 
to fish and my mother—now listen, 
Dale — " 

Now what I want to know is: Can't 
a man spend a quiet Sunday evening 
at rest without being bothered all the 
time by a girl? I began to dream with 
sentimental nostalgia of a long trip. 
лу from importunating ladies like this 
here Evie baby honey. How could 1 
break the news to her? Difficult. She had 
let me, and so there 1 was again, asking 
permission to leave. 

She let me, like 1 say, 

Oh she let me, like I say, 

When is there a Pan Ат flight 

a-going away? © pare рими 

I was moving on. Martinique sounded 
interesting and far away. But after one 


promises, and th 
first name again 
I felt the silken 


of these returns, айй that little rabbit 
quiver on the tip of Evie's nose, vou 
will find me really absent, Buster. 


it won't be 


I sincerely hope 
until the time after next. 


115 


PLAYBOY 


116 


midnight chef (continued pon page 58) 


evaporates. In a mixing bowl combine 
the saus: meat, egg. bread crumbs, 
cream and apple mixture. Mix very 
well Shape into patties 14 inch thick. 
Sauté the patties, placing them in a cold 
illet and cool 
to 14 minutes or until patties are well 
browned on both sides. Discard fat in 
pan from time to time during sautéing. 
Serve on toasted hamburger buns. 


wed sl 


ing slowly 12 


CURRIED ROCK LOBSTER 
1 1b. frozen lobster tails 

2 tablespoons butter 

J4 cup finely minced onion 

14 teaspoon finely minced garlic 
1 tablespoon curry powder 

1 teaspoon ground cumin 

I cup light cream 

6 ozs. cream cheese 

2 tablespoons dry sherry 

1 packet instant chicken bouillon 
Salt, monosodium glut 
Cook the frozen lobster ls, follow- 
directions on the package. When 
cool, remove it from the shells 
and cut into dice about 14 inch thick. 
Melt the butter in a heavy saucepan. 
Add onion and garlic. Sauté slowly un- 
til onion turns yellow. Stir in the curry 
powder and cumin. Add light cream 
Bring up to the boiling point but do not 
boil. Add cream cheese, broken into 
small pieces. Cook slowly, stirring fre- 
quently, until cheese is completely 
melted. Add lobster and sherry. Simmer 
until lobster is heated through. Add in- 
stant chicken bouillon. Add salt and 
monosodium glutamate to taste. Serve 
with white or wild rice, 


STEAK SANDWICHES, SMOTHERED ONIONS 


4 boneless shell steaks, 8 ozs. each 
2 large Spanish onions 


1 medium-size green pepper 

3 tablespoons butter 

2 teaspoons meat extract 

уд cup dry red wine 

2 tablespoons brandy 

Salt, pepper, cayenne pepper 

4 center slices round Italian bread 

Cut cach onion in f through the 
stem end. Then cut crosswise into thin- 
nest possible slices. Cut green pepper in 
half. Remove stem end and seeds. Cut 
pepper into thinnest possible эш 
Melt the butter in a heavy saucep 
over a low flame. Add the onion and 
green pepper. Sauté slowly, stirring fre- 
quently, until onions are a deep yellow, 
not brown. Add micat extract and m 
well. Add wine. Simmer until wine is 
reduced to half its original quantity. 
Add the brandy. Do not blaze, Add salt 
amd pepper to taste and a dash of са 
enne. Keep the onions warm until serv 
ing time. Slash the fat end of cach steak 
in two or three places to prevent curling. 
Heat a heavy frying pan with no added 
fat, or heat an electric skillet set at 390°. 
Panbroil the steaks until medium brown 
on both sides. Sprinkle with salt and 
pepper. While the st р: 
ing, toast the bread. (The single la 
slices of Italian bread are convenient 
for open steak sandwiches. Eight slices 
of regular white bread toasted may be 
used in place of the lalian bread. A 
preheated broiler is the fastest way of 
toasting the large slices.) Place toast on 
serving plates. Brush with butter if de- 
sired. Place steaks on toast. Top with 
smothered onions. Complement it with 
a bottle of sturdy California cabernet. 


SCRAMBLED EGGS WITH ANCHOVY TOAST 
6 ozs. sweet butter 

2 teaspoons anchovy paste 

2 teaspoons minced chives 


“This is the most unusual last meal Гое ever seen.” 


Y teaspoon lemon juice 
8 eggs 
Salt, white pepper 

8 slices white bread 

Let 3 ozs, butter stand at room tem- 
perature until it is soft enough to spread 
easily. Mix this butter with the anchov 
paste, chives апа lemon juice. Place in 
the refrigerator until needed. Preheat 
the broiler in order to toast the bread 
when needed. Beat the eggs thoroughly. 
Season them generously with salt and 
pepper. In а large skillet over a low 
flame (or in a chafing dish over hot 
water) melt half the remaining butter. 
Add the eggs. Stir frequently until eggs 
begin to set. Add the remainder of the 
butter, bit by bit, and continue to cook 
the eggs until done. Toast the bread. 
Spread each picce with anchovy butter. 
Cut the toast diagonally. Stack it or over- 
lap it around eggs on platter or servi 
dishes. 


SKEWERED MOZZARFLLA 
WITH CANADIAN BACON 


(For this vou'll need four skewers ap- 
proximately 12 inches long. Although 
this dish is baked, not broiled, the skew- 
ers are necessary to keep the morsels of 
food lined up in appetizing portions. 
Food on the skewers may һе slid off 
onto serving dishes beforehand or may 
be disengaged piece by picce at the 
table.) 

12 ozs. sliced Canadian bacon (28 

slices) 

12 ozs. mozzarella cheese 

12 slices long French bread, Y4 inch 
k 
12 slices raw tomato, %4 inch thick 
4 cup salad oil 
2 Boz. cans tomato sauce 


Grated parmesan cheese 
Paprika 

Salad oil 

You'll need 28 pieces of cheese to 


equal the number of slices of bacon. Gut 
the cheese into one-inch squares about 
Y inch thick. Fold a slice of Canadian 
bacon around cach picce of cheese. 
Press the bacon firmly to hold the cheese 
in place. Cut cach piece of tomato and. 
each piece of bread in half. Heat the oil 
n a large skillet. Brown bread on both 
sides. Be prepared to tum bread quickly 
if necessary to avoid burning. It should 
be merely light brown. On cach skewer 
thread alternate pieces of bacon wrapped 
around the mozzarella, bread and 
ato. Begin and end with the bacon. 
ach skewer in a shallow baking 
pan or shallow earthenware casserole. 
Be sure the folded top of each piece of 
bacon is up. Pour tomato sauce over 
each skewer. Sprinkle generously with 
parmesan cheese. Sprinkle lightly with 
lad oil. Preheat the oven 


on top. Serve immediately while burn- 
ing hot, and warm the cockles of all 


hearts. 
[у] 


GIRLS OF NEW YORK 


Paris mannequins, and hell-bent on carv- 

ing out in the commercial and residential 
world a niche to which they cling with 
a tenacity unrivaled by the women of 
any other city, large or small. Theirs is a 
restless and unabating quest for Room at 
the Top: a name in lights or block Iet- 
ters on some marquee, penthouse register, 
office door or marriage license. A few 
thousand more — nurtured like mutation 
orchids in the hothouse of New York's 
high society—already have it made. 
Their only remaining task— often а 
difficult one —is the addition of an- 
ther hyphen to their patrician sur- 
names, along with another string of 
zeros on the credit side of their well-fed 
bank balances. 

With few exceptions, the girls are 
d п to New York by the siren call of 
the symbol-manipulators. They unsus- 
pectingly enter a kingdom in which 
words and pictures transcend and often 
place the things they represent. Like 
Moslems to Mecca, Urey come nourish- 
ing the dream that Manhattan is the 
home of all that is new, meaningful and 
good in art, music and literature; in 
theatre and "live" television; in food, 
fashion and decor; and even in love. It 
doesn't take them long, however — ha 
pily involved in she mech 
chosen crafts to adapt th 
the specifications of the commercial 
world. Art, music and literature become 
metamorphosed to layout. jingle and 
copy. Theatre and live television they 
find to be a maelstrom of hard-boiled 
economics, of spot sales, Nielsen charts, 
costperthousand and run-of-show con- 
tracts. They find themselves caught up in 
a headlong and heady competition with 
a hundred or more experienced. gladi- 
s for every part on Broadway, 
every secretarial and reception 
every position of humble or 
fluence —and most of all, for every 
able male. They find themselves 
torn by an ambivalence that is peculiar 
to New Yorkers: the [i of isolation 
and the fear of contact. Aswirl in a sea 
s consumption, rapid transit and 
seeking humanity, they feel the lone 
liness and anonymity of а onedine list- 
ing in the 1800-page М. tele- 
phone directory. And so they feel the 
need of companionship — particularly 
male — with an intensity that approaches 
desperation. But. Manhattan — beneath 
its slick façade — is also a world of fero- 
cious struggle to succeed; а world of 
sickness, brutality and perversion that 
seems to stalk every subway platform 
and Кепей side street. And so the 
girls of New York tend to wear a shell 
of understandable withdrawal — how- 
ever fragile — that draws them away from 
the very contacts they so passionately re- 
quire, and constantly seek. 


atr 


attan 


(continued from page 94) 


If the newcomer can weather this 
early period of strain, and most of them 
have the meule to do it, she will find 
herscl a functioning part of any one 
of a hundred microcosmic milieus — de- 
pending on her predil — which 
coexist, separately but equally, in the 
patchwork quilt of profesional, residen- 
‚ artistic and intellectual commu- 
nities that constitute the 1214-mile 
stretch of high-rent real estate known 
as Manh 

She will discover а w of life only 
slightly less zestful, variegated and ur- 
bane than the impossible daydream she 
once envisioned. The very immensity 
of the city which initially imbued her 
with a sense of anonymity will now be- 
slow upon her a р and an elbow 
room for farout self-expression that 
would have gotten her jailed or dis- 
East Overshoe. 
te home 
ppily, not to 
Ihe particular in- 
group of which she becomes a member 
will be determined by the alacrity with 
which she fulfills three fundamental 
needs: a well-paid, preferably stimulat- 
ing job; a well-located, preferably charm- 
ing apartment; and a coterie of well- 
heeled, preferably hed young men, 
"The most easily ned of these goals. 
‚ of couse, suitable employment. One 
riffle through the Help Wanted pages of 
The New York Times will tiull 
with come-ons like, "Receptionist, 
tiful, and 
stars, lots of excitement and no pres- 
sure, $70"; or "Secretary — right hand to 
young PR exec go right to top with 
him, $100." To be su 
sounding jobs a 
ous perches on the ladder to recogni- 
tion. But with a hipness remarkable 
even for her resourceful sex, the New 
York girl parlays that perch for all it's 
worth. A showroom secretary in the g 
ment district often winds up doubling as 

lingerie model before her first d 
the job is over. What she does on her 
first night, of course, is up to her, and 
to the well-heeled out-of-town buyers 
who happen to catch her debut. 

The girl in bobby socks and club 
jacket who graduated from Lincoln High 
in Brooklyn last year and now commutes 
in a black sheath from a West Fourth 
reet walk-up to a receptionist's desk at 

lway booking agency, can catch 
the eye — and. maybe even the coattails 
— of the Great and Near-Great whose 
autographs she wouldn't have been able 
to beg. borrow or steal a year before. Or 
take the twenty-one-year-old journalism 
major from the University of Texas who 
sidles into a research job in the story 
deparunent of some TV-packaging em- 
porium on Madison. With any luck, 
she'll be a production assistant by the 


ns 


about. 


write home 


able to meet celebs movie 


re, these romantic- 


е no more than precari- 


d producer's wife—or at le: 
Т Friday, Saturday and Sunday. 


with her sights trained on a secretarial 
job at Vogue — where even the recep- 
tionists, fully aware of their 5 


employees of publishing’s most “in 


magazine for upthrusting carcer girls, 
look and dress exactly like the ghostly 
mannequins pictured in its ly 
proper pages. Big-eyed, angular and 
mysterious-looking, she fits the image 
to her 32A cup. But finally, unable 
to master the peculiar speech im 
pediment that Vogue seems to require 
of all its functionaries —an accent that 
sounds not unlike Katharine Hepburn 
talking with a dime between her teeth — 
she becomes the eleventh-floor recep- 
tionist at Look — where she gets to mect 
а lot more eligible men anyway. 
Between 666 Fifth and 45 Wall Street, 
there are thousands of jobs like these, 
thousands of bright girls filling them, 
and thousands more waiting in line for 
them to get married or canned. The 
courageous New York male, standing on 
the sidewalk between twelve and one be- 
fore any one of a hundred commercial 
lodestones in the mid-town area, will be 
joyously inundated in a gurgling flood- 
tide of female forms issuing from every 
available aperture. They come from pub- 
houses, ай agencies, literary and 
1 offices, dental clinics, life in- 
ns, brokerage houses, network 
publicity departments, fancy Park Av- 
enue corpo! z 
high-priced women's shops — each with 
its own set of specialized preoccupa- 
tions and int isons, 
Wraithlike and Rubensesque, meek 
and mighty, U and non-U, they are all 
about to perform the convulsive New 
York riti known as Grabbing Lunch. 
The intrepid observer can follow them 
into the chintzdraped recesses of that 
watercress victory garden known as 
SchraffUs; onto the leatherette toad- 
stools of Chock Full O'Nuts— that mon- 
ument to the discoverer of cream cheese 
on date-and-nut bread; into the mad- 
deningly efficient and faceless imper- 
sonality of the Brass Rail at Fifth and 
Forty-third; even into the clattering 
charybdis of plastic ways, gushing spig- 
ots and peckaboo snapping windows 
known as Horn and Hardart's. In. twit- 
tering phalanxes large and small, they 
march to countless drugstore counters, 
sidestrect delicatessens and glor 
charcoal pits—of wh 
Heaven, next door to 
the once-chic progenitor. A few renc- 
gades, incognito behind their sunglasses, 
even skulk into one of those ubiquitous 
short-order temples of fluorescence called 
Riker’s. The lucky and, resourceful ones, 
of course, will have shanghaied some 


theatri 
surance fi 


amural 


icd 
kh Hamburger 


117 


PLAYEOY 


118 


ardent junior executive or upstart copy 
writer — it doesn't really matter which, 
as long as he dresses the part and pays 
the freight — into the more refined and 
digestible atmosphere of Michael's Pub 
or Louis and Armand’s— both hangouts 
for ad men, TV-radio execs and their 
е Hacks. An hour later, loins 
girded, the girls will all stream back into 
their cubbyholes for the last hard Jap in 
the race for five o'clock. 
A few hundred yards west, beyond the 
dividing line of Fifth Avenue. stretch 
the sooty vastnesses of ап entirely differ- 
nt world of New York girls: those in- 
volved directly or indirectly, humbly or 
ifluentially, in the pursuit of Thespis. 
Broadway ingenue, TV extra, operatic 
E NETA pavement- pounding 
hopeful—all crisscross and intermingle 
in an evercircling pavan of hope and 
ak. Е she sings, dances, 
docs impressions, and measures 36-22-36, 
the girl with designs on showbiz courts 
the spectre of disenchantment every 
у. The supply of willing and largely 
able talent — even in the capital of year- 
round theatre; of a hundred hits and 
misses on and off Broad: ; of countless 
intimate but short-lived revues; of scores 
ightclub and theatrical stage shows 
nply exceeds the demand. 

Not long ago, chorus lines pranced 
endlessly on dozens of weekly TV serie 
and live television gobbled up acts, act 
ors and actresses as fast as they could 
get an AFTRA card. Today, the eager 
girls who would display face, figure and 
maybe even a little talent must send out 
their press glossies with a list of credits 
pasted to the back, cataloging every- 
thing from ап off-screen bark in a Mother 
Hubbard Dog Food commercial and a six- 
week stand as The Other Woman on a 
daytime soaper, to a brief but glorious 
tenure as Miss Rubber Goods at a na- 
tional druggists’ convention. For better 
or worse, richer or poorer, they are 
wedded to this life, and they wouldn't 
change it for the world. The d 
The Big Break continues to shimmer 
mistily before their carefully-penciled 
cycs—and the dream comes true just 
often enough to keep them coming bad 
for more. 

Amid this whirl, more languorous and 
ly less talented, moves the long- 
stemmed beauty whose theatric function 
— on nightclub floor or musical stage — 
5 to just stand there in fihny costumes 
and towering ostrich plumes and look 
superb while the smaller, bouncier types 
exert themselves in the chorus line. The 
combination of breath-taking beauty 
and heroic stature demanded of the 
showgirl by the entrepreneurs of such 
spangled boites as the Copa and the 
Latin Quarter has produced a small but 
exclusive species of glittering Amazon — 
and a spe stuage-door char! 
don't mind the climb. The girl's hours 
may be long, but she can sleep as late as 


of 


she likes — even in splendor, if she's not 
too particular where she wakes up. Her 
audience is a checkered cross-section of 
joy-buzzing conventioneers, the expense- 
account set, the sporting fraternity, and 
assorted others of more dubious pur- 
suits. But whatever the clientele de- 
mands in worldly appetites, it makes up 
for in worldly goods. 

Like a thin veneer of pancake make- 
up spread across the face of the city, the 
models of New York peddle their per- 
shable but portable wares on the fringes 
of all the major industries, from the lin- 
gerie showrooms in the Seventh Avenue 
garment district to the glass-brick fash- 
ion studios on upper Madison. Thanks 
to the whim and bounty of nature, they 
the various parts of their 


into a living which sometimes 
outstrips that of their well-padded em- 
ployers. Adorning the faces and figures 
of the several thousand-strong legion of 
New York models who pace the city's 
canyons armed ошу with a hatbox, are 
the perfectly formed noses, ears, 
lips, hair, neck, shoulders, arms, hands, 
breasts, hips, legs 
every reader and viewer of the medusa- 
headed mass media. Whether she models 
the skins of furbearing animals im- 
ported from Saskatchewan at great ex- 


na 
York model herself 
achieving the same kind of ide 
recognition as her less narcissistic but 
more intellectual sisters. More than опе 
Ohio lass has arrived in tow 
with visions of a Suzy P. 


ture at no expense at all, the New 
imagines 


to be 


consumed 


in the salon section of 
photography magazine. So the dream 
survives, and the girls keep po: 
swaddled and unswaddled, unshak 
in the conviction that they will finally 
reach high enough to grab the Golden 
Apple. The amazing thing is that so 
many of them actually do. 

Woven along with the other ш! 
and obvious threads into the fabric that 
clothes the girl of New York, of course, 
is a somewhat warped woof of comme 

ial sex. Aside trom the wretched chip- 
pies who stalk the Times Square jungle 
with their opalescent pumps and tran: 
parent plastic purses, it is rather difti- 
cult to spot a professional. She is c: 
pensively, often tastefully, coiffed and 
gowned, well-mannered and sometimes 
college-educated — а custom-made prod- 
uct for the slick metropolitan market, 
Some of these metered courtesans even 
hold jobs of status and respectability 
during their “off” hours. New Yorkers 
sull chuckle about the schoolteacher 
who lectured by day and lechered by 
night. Not infrequently these same New 


Yorkers pick up their morning tabloid 
to learn that the lovely girl next door 
who lends them ice cubes has been 
slapped into the cooler herself. The 
majority of the city's higher-bracketed 
houris—impelled by the same status 
drive as their legitimate sisters — have 
cd to the tony East Side town 
es, despite iron-clad references de- 
manded by many wised-up real estate 
agents. So the tumbrils sometimes roll 
down even the tree-lined mid-town side 
sucets off Park and Madison, as some 
unfrocked off Broadway stand-in or free 
lance photographer's model is hauled off 
to Night Court 

s to. modern communications, 
New York his outgrown its need for 


gravi 


hou 


Ivet brothels. The impersor 
phone answering services now do most 
of the work. There are twelve pages of 
answering services in the Manhattan 
classified, among them those which spe- 
lize in callgirls. The newly-arrived 
visitor, unversed in the pursuit and ap- 
prehension of amateur talent, can find 
out which answering services simply by 
crossing with silver the outstretched 
palm of a likely-looking servitor im al- 
most any of. New York's better transient 
hotels — the better the hotel, the better 
the service, in most cases. The customer 
has only to leave name, number and 
reference; the twenty- or thirty-minute 
t that follows will be climaxed by 
et knock at the door, and an 


wa 
a dis 


introduction to а companion so charm- 
ing, 


well-dressed and lovely looking 
he'll find it difficult to remember 
the commercial basis for the friendship. 
The fare is almost always the same: 520 
a trick, $100 a night — no checks, no big 
bills, no credit cards. 

In an atmosphere of permissiveness 


rivaled only by the sloceyed capitals 


of Europe, in a town where the Bi 
Break is often a long time coming, it 
ng that many of the no- 
tickeeno-trickee set have drifted into 
the business — just as in Hollywood — 
from the swirling periphery of show- 
business and the modeling world. It's 
not always for keeps, and if it is—well, 
n articulate, affluent town like New 
York can provide plenty of rat 
tions, and compensations. 
The vast majority of New York gi 
of course, guard their amateur stand 
with th 
champs. 
take part in all the events, but a certain 
homage —if only in name— must be 
paid to the ingrained shibboleths of 
their low. middle- or upper-brow up- 
- Most of them beat this path 
Ш the way to the altar. But quite a 
few girls in their mid-twenties — too old. 
to go steady, too young to throw in the 
towel — turn toward an informal liaison 
requiring no change in status, known 
locally as An Arrangement. It is a grati- 


ng 
avidity of Olympic decathlon 
They are perfectly willing to 


gly simple situation for both parties 
and, though it may not be the rcaliza 
tion of a Rona Jaffe dream for the best 
of everything, it's still a fairly enjoyable 
and possibly even constructive prelimi- 
nary to the main event. 

Wherever she comes from, in what- 
ever bastion of fashion, finance or com- 
munications she chooses to spend her 
daytime hours, the New York girl fits 
her domestic needs as well to the speci- 
fications of her master plan. The newly 
arrived chick often tarries briefly the 
Barbizon or the Allerton — two Females 
Only mid-town hostelries. These forbid- 
ding fortresses are monuments to the 
vulnerability of their inmates—and to 
the resourcefulness of the determined 
males who continually attempt, some- 
times with exhilarating success, to in- 
vade the sanctuary by masquerading as 
doctors and TV repair men. The girl 
who really wants to join the swim takes 
the hint carly and strikes out on her 
own. 
If she's smart — and she usually is, or 
she wouldn't have come to New York 
in the first place —she will latch onto 
some quaint one-and-a-half in а con- 
verted brownstone, preferably within 
walking distance of her job. Brooklyn 
Heights —a San Francisco-like literary 
and artistic ghetto across the East River. 
from the Battery — is certainly pictur- 
esque, but it’s still Brooklyn. Jackson 
Heights. out in Queens, is less expensive 
than Manhattan, but only airline stew- 
ardesses live there — and. they're never 
home. 

‘The Manhattan girl, like the city i 
self, seems to be in a constant state of 
imminent or actual flux — poised for 
the hoped-for jump around the corner 
to a better neighborhood. The competi- 
tion for a roomy, welllocated and pref- 
erably inexpensive apartment is as keen 
for the plum jobs and peachy men. 
The rents are the highest in the world, 
but the New York girl soon learns to 
accept lofty land values as the price she 
has to pay for the excitement and ad- 
venture of the world’s cosmopolitan 
capital. What she might have declined 
to use as a clothes closet back in Duluth, 
she will unprotestingly move into com- 
plete with hot plate in New York. Or she 
may choose the alternative of doubling 
and tripling up with a gaggle of similarly 
inclined girlfriends. Three hundred 
dams will buy some fairly lush and 
spacious digs, һу New York standards, 
and divided by three, the girls can afford 
it. For the roving bachelor, the alterna- 
tive is a happy one in either case: privacy 
with a solo flat-dwellcr, or the infinite de- 
lights of blind-dating and roomm: 
switching with girls who split the rent. 

The acceptable neighborhoods are 
rather clearly defined: the middle East 
Side, roughly from the new Kips Bay Park 
development to Seventy-ninth Street; the 
vicinity of lower Central Park West, 


e- 


along with its wider and more h 
trafficked side streets — especially in the 
resurgent area around the Coliseum; 
Greenwich Village. The Fast Side girls 
build their nests in such storied purlicus 
as Murray Hill and Turtle 
those with sufficient risk capital even 
make man and Sutton Place 
scenes. They pay high-ceilinged rents for 
low-ceilinged pads with air-condition- 
ing, wall-to-wall carpets and a glimpse 
of the river — secure in the knowledge 
that an address in the East Fifties, Six- 
ties and Seventies bespeaks a girl of 
means as well as substance. The really 
"in" places for dining, drinking and 
just being seen are all concentrated 
within a brownstonc's throw, and it's а 
short jog to the vortex of their own par- 
ticular daily free-for-all: Lex, Park, 
Madison and Fifth. 

The girls of lower Central Park West 
and its environs choose to sleep as well 
as work on the West Side, commuting 
north by bus, IND or Seventh Avenue 
subway from their downtown haunts in 
the twilight world of show business. 
"T heir flats — often forested with the com- 
fortably unfashionable Grand Rapids 
brica-brac that comes with all furnished 
apartments, astir with the amiable but 
shedding presence of а small, 
htcyed poodle called Mitzi, strewn 
with the artifacts of their various muses 
(dogcared scripts, paperback Shake- 
speares, leotards, ballet slippers, cans of 
half-used cosmetics) — tend to take on 
cither a kind of snug Midwestern charm, 
or a murky nostalgia reminiscent of 
Mis  Havisham's shuttered drawing 
room in Great Expectations. But the 
rents are really quite low, and the 
world’s most sophisticated village green 
— Central Park —is quite near. If they 
can stick it out until 1962, they may 
even be able to lean out of their win- 
dows and catch the faint strains of the 
New York Philharmonic from the nearby 
Lincoln Center of the Performing Arts, 
a futuristic cultural nucleus now under 
construction. 

The girls of the Village are, by and 
large, a breed of gentle rebel who choose 
to live in cold-water walk-ups which 
abound with sweet potato vines and 
avocado pits planted in mason jar 
bristle with decor that is a strangely 
charming mixture of pre-Columbian, 
Second Avenue Baroque, Macy's Basc- 
ment Foam Rubber City. More 
than likely, there is also a recorder, a 
bongo drum and a Siamese cat who an 
swers to a name like Praxiteles or 
Shrdlu. There are others, less insistent 
on preserving their “identity,” 
afford a doorman. hot water and a self 
service clevator in Washington Square 
Village, or one of those other faceless 
steel-and-glass beehives that continue to 
encroach upon the ble brown 
stones and hallowed cobblestones of the 
Mineta Lanes and Washington Muses 


and 


" who can 


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PLAYBOY 


120 


so treasured by tearful Villagers. Fiercely 
individual or not, many of the Village 
girls are a crossbreed of uptown non- 
conformists, who prefer the lingering 
charm of the city’s old quarter to the 
us of its new one, Others are a 
downtown intellectual and artistic cadre 
of off-Broadway hangers-on, female 
tists and their models, d black- 
stockinged, almond-cyed purveyors of 


e an articulate, rd.working. fun- 
loving, self-willed and eminently realis- 
tic species of blossom who usually 
dains the garish colors of the bi 
community with whom they live chec! 
by-bearded-jowl. 

Night plunges the New York girl into 
a multifarious social context somewhat 
more relaxed but no less knowing and 
demanding than her day- 

Every arca of the city has its charac- 
teristic cocktail hangouts catering to 
every stratum. But it’s not as casy after 
dark to trace the girls to any particular 
set of them, for night brings with it a kind 
of musical chairs of societal 
tional milieus — with everybody playing 
In the heartland of communication: 
the evening's preliminary joustings are 
conducted in such places as Michael's 
Pub, suddenly transformed by nightfall 
to a favorite of the fashion models, 
who are apt to arrive in full fig, feathers 
ruffling. The Ad Lib, the Barberry 
Room and Absinthe House, so recently 
а scene of businessmen’s lunches and 
TV press interviews, now offer solace to 
the high priests of communication and 
erstwhile vestal virgins. In these 
way stations between the rigors 
of the day and the pleasures of the 
night, it is an unwriuen law that the 
tional drinkafter-work need not 
be carried beyond seven—though the 
door, as at the U.N., is always left open 
for negotiation. 

Whatever bargains are struck, 
streets soon begin to cater 
only now with the feet of those seeking 
food, culture, entert and com- 
pany— from the spiked heels of West 
Forty-sixth to the alligator pumps of East 
Filty-seventh, from the sucde mukluks of 
Sheridan Square to the sequined evening. 
slippers of the Plaza and the Sherry 
Netherland —all converging singly or 
otherwise on a thousand and one temples 
of Lucullus. 

Lucullus usually — but not 
comes first for the New York girl. Cer- 
tainly no woman in the world has the 
chance to tantalize her palate so voluptu 
ously. From pité maison to coupe mar- 
ron, from beef bourguignon to veal 
Florentine, from brown ale to green tur- 
Ue soup, from kasha to popovers, from 
rijsttafel to zabaglione, from bouilla- 
buisse marseillaie to matzo-ball soup. 
from saltimbocca to moo goo gai pan, 


the 


inment 


nchiki to gu ‚ New York 
rains delicacies of every shape. size. tem- 
perature, consistency and phy: 
from the world's biggest. best and most 
expensive cornucopia of plenty. 

Duly fed, the girls now turn to Thes- 
pis, who appears in New York in more 
guises — theatre. movies, opera. concerts 
(classic, jazz and folk), stage shows, night- 
club acts, live LV — than anywhere else 
the world. Keenly hoping for an es- 
cort to get them there before their girl- 
friends, they dig Tennessee and Bren- 
Чап, Mike and Elaine, Eugene and 
Bernard, Магу and Ethel, Kathryn and. 
Helen, Paddy and Gore, Dick and Os 
Tammy and Rex, Jason and Sir Larry — 
profoundly gratified, if not by the brittle 
badinage, at least by the reassuring 
knowledge that they are in the Presence 
of Greatness. When they've used up 
Broadway, they can always recapture at 
least lc reflection of its suffusing 
nd sometimes a bright one — 
Sean, Bertolt and the rest of 
ng down at the Cherry Lane, the 
Circle in the Square, the Sullivan Street 
, ог one of the other diminu- 
ical dens that dot lower 
Manhattan like gopher holes. 

Other girls, hearing the sound of dif- 
ferent drummers, pay homage to Wagner 
at the Met, Cary Grant at Radio City, 
Bernstein at Garnegic Hall, Peter Sellers 
at the Sutton, Mort Sahl at Basin Street 
East, Mabel Mercer at the Knights of 
the Roundtable Room, Tallis at. the 
Tele pciety, Zutty Singleton at 
the Metropole, Jack Paar at Rockefeller 
Center, Miles Davis at the Village Van- 
guard, Irvin (World's Foremost Author- 
i ey at the Blue Angel, satirical 


the Upstairs at the 
sophisticated is at the 
at the Upstairs, Herbie 


Darin at the Copa, Thelonious Monk 
tthe Jazz Gallery. 
¢ of the compactness of the city 
All its overlapping enclaves, New 
girls lking girls. They walk 
to lunch. 7 k to shop. They walk 
with dates. They walk their dogs. They 
often walk to work, and sometimes even 
to walk. They march resolutely 
der aimlessly. They stride ga- 
zellelike and pantherlike. They ankle, 
amble, ramble, rove, stroll, weave and 
waddle. They trek and u 
swagger, scurry and fo 
gallivant, pad, pussyfoot and 
enade- They dogtrot, hobnail, heel 
toe, shanksmare and pound the pa 
nent. They sidle and saunter, sw 
swivel. They jog 
sideslip, tack in the wind and scull with 
the tide. They migrate, emigrate, per- 
igrinate, and some say even somna 
Tate. АП of which makes chance acqua 
ance that much less chancey. 
Whether bedecked in plumage plucked 
from the racks of high fashion's omnip- 


пр, stalk and 
nee, gad and 

prom- 
nd- 


accoutred in 


otent arbiters of taste, 
the bush-l afteri 
down shangrilas across the wide East 


River, or caparisoned in the hemp. 
thongs, eye shadow and monk's cloth of 


the Bleecker Street irregulars, the Ni 
York girl is an irresistible lodestone for 
uncounted thousands of male pilgrims 
to the girdered minarets of the Unfor- 
bidden City. 

Conjure up her composite and the 
ge emerges а brilliant blur. Tt is her 
infinite variety that puts the spice i 
Manhattan's life. There are the Gittel 
Moscas playing two for the see 
woebegone dr 
There are the di € Sister 
leen types, winsomely resolute in th 
quest for men and success, not always i 
that order. There are the girls upstairs 
willing to scratch a seven-year itch, amt 
the girls downstairs with an itch of thei 
own. There are the too-articulate coeds 
from Finch, Barnard and Hunter, with 
money from home, a check full of sass, 
and a well-turned rump. And there are 
the home-grown debutantes, modish to a 
fare-thee-well, who dally in the art 
putter in the social sciences, hostess at 
Junior League brunches, ride with the 
hounds on weekends, caper to the other 
side of the tracks on weeknights, but, 
t is said, never go to the West Side 
except en route to Europe. 

Whoever she is, wherever she comes 
from, and wherever she's going, the New 
York girl stands apart — with one foot 
slightly ahead of the other — from. the 
rest of her sex. Is it her versatility, her 
shrewdnes, her self-sufficiency, her 
worldliness, her ambition, her attractive- 
ness? Yes but more. She is a creature 
uniquely attuned to the city in which 
she lives, loves and labors. She enacts 
her role against a shifting panorama of 
coexisting danger and excitement, glory 
and infamy. restlessly groping in a thou 
sand different directions for the dreams 


re are just around the corner. 

She breathes the heady air of a towi 

where, if she can sta board the whirl- 
be able to grab. 


show with the world’s best money for her 
run. For the male who climbs aboard 
10 ride the pink horse with her, the 
ad satisfactions are equally ex- 
ating. But more meaningful, and 
perhaps more surprising, is the discovery 
of tenderness, sensibility and compassion 
beneath the lacquered facade of hipness 
and hauteur. She may not be anybody's 
idea of The Girl Next Door, but then 
The Girl Next Door isn't anybody's idea 
of her either. And that, as they say, is 
what 


it's june in february (continued from page 87) 


every wish. At pool- or beachside, the 
Warmer deserves your attention: with a 
bright new selection of terrycloth cardi- 
gans, solid and striped denim shirt jack- 
ets, the imaginative sun-worshiper will 
be able то create а variety of coordinates 
to supplement his wardrobe of light- 
Ли sweaters and sweat sh 

Whether he digs the golf and-tennis 
gambit, or ts to take the chill 
out of early mornings and late evenings 
as an idle spectator, the winter way- 
er can harvest а crop of new resort 
sweaters that is bright and breezy, woven 
of porous fibers that both warm and 
ventilate. The textures are soft, the col- 
ors rich to look upon. Desert tones of 
st and camel are very right, with high 
пре and yellow accenting 
the earthy hues. Olives and golds will 
be making their presence felt, too. 

Once the exclusive property of bold 


s. 


dandies, patterned slacks have become a 
classic part of the male resort ward- 
robe. Thi ar they will be bigger than. 
ever, but not their patterns. Brash, 
blatant | nd checks are out. The 
tasteful will wear patterned 


slacks th subtle and subdued, to 
harmonize with one of his handsome 
solid-color sports coats. And he will be 
wise enough to use them, however muted 
in tone, not as a replacement for his 
solid and simple-striped slacks, but as a 
knowing complement to them. 

Twills should be given attention, too 
— poplin, tropical, worsted, gabardin 
mohair, and the ubiquitous washand- 
wear fibe h pack well and u 
light. Seers — cool, crisp and com- 
Tortable— will be back on the scene 
with prodigious varieties of new color 
atments and pattern р . Let's 
not forget, however, amidst this profu- 


b 
whether teamed up with the impeccable 
navy blazer, the batik jacket or the in- 
formal tted or cotton shirt for beach 
or golf course. 

If you're aware of the importance of 
stripes you're dressed in perfect taste. 
In walk and sweaters, shirts 
and slacks, blazers and sports coats, 
Stripes are taking over- wide stripes, 
narrow stripes, boater stripes, candy 
stripes, multi-colored Continental stripes. 
You name the fabric— wool, cotton, 
silk, denim, nd you can 
find it done up niftily in stripes. 

iks are taking the place of madras 
in the affections of jacket, walk short, 
sport shirt and swim trunk designers. In 
odd jackets and blazers, c: ly, batiks 
of every persuasion will provide the 
favorite new motif of the season — from 
circular patterns and diamond-shaped 
allovers to abstract designs in vertical 
and horizontal stripes, Though they 


shorts 


seersucker — 


come in both light and dark grounds, 
the dark-ground batik for sports coats is 
the one we give the nod to. (You can 
expect to see the same motif crop up 
soon in neckwear and cummerbunds.) 
Even this year’s resort hat— the 
pudent but practical palmetto straw 
and the newer тайа crushable straw — 
will be accented by bands of batik. 

No matter if your taste runs to terry- 
cloth or watered silk, vou can r 
cr the waterfront through jud 
binations of tops and bottoms that mix 
and match. One pair of solid walk shorts, 
Tor instance, will combine equally well 
with a batik print or madras plaid 
blazer, a bold-suriped shirt jacket, or a 
contrasting monochrome cardigan. A 
second pair of shorts — this one a Bi 
ish-look glen plaid or district ched 
can be used interchangeably with a pi 
triped cotton shirt, a simple-patterned 
separate jacket, or a classic knit pull- 
over. The same applies to sweaters and 
swim suits, shirts and shorts, hats and 


jackets. All you have to remember is to 
combine plain and fancy, dark and 
Tight, sleek and nubby — and not to em- 
barrass any ensemble with too n 
riches of pattern or color. 

But before you close your Val-pack. 
remember to leave room for one more 
dispensable item. Whatever else you 
leave behind, you must pack a suit of 
Гот ner clothes. However free- 
form the afternoon's protocol at an in- 
creasing number of resorts, 
demands an equal degree of obei 
to tradition. The conservative can tote 
adard 
cvening 


ural-shoulder, 


ped edges in trop 
worsted or elegant silk mohair, But 
black is the color whichever way you 
turn. On the islands and the ci 
ships, white still makes ional 
appearance, but it's a losing battle. The 
colored dinner jacket — from maroon to 
mustard — has been given the deep six 
along with the filigrced dinner shirt. 


occ 


“Well, here's the way I see the ad: we could have 
the cartoonist draw one oj those silly Madison 
Avenue types with the pinched-in ivy league look, 
the trick mustache, the little-bitty knot in the 
knitted tie, the big heavy horn-rimmed cheaters, 
the stupid crew-cul, and the goofy vest.” 


PLAYBOY 


122 


сүз реа, Бети 
VOICE GF THE TURKEY 
(continued from page 61) 
in order of worth. Man Biles Dog 
wound up in 150th place. There were 
150 plays produced on Broadway that 


Probably the only show 
history that. nev closing пі 
was а loud, raucous would-be successor 
to the hit Sailer Beware, which opened 
ш the Lyceum Theatre on January 18, 
1933. It was called Battleship Gertie 
nd starred Bui Meredith. The 
critics liked it and the cast settled in for 
а long run. After the first matinee (the 
day after it opened), the f arrived 
with a bill of particulars that charged it 
with being, among other things, obscene 
and inflammatory. He ordered the show. 
closed and close it did t its second 
performance without the usual formal- 
ity of notice, bad reviews or a closing 
night. 

Го a real flop buff, the night of nights 
was December 25, 1933, when a рі 
tiled No Mother ta Guide Her opened 
ata theatre on West 48th Street for the 
shortest run in Broadway history. In 
terms of caste among the Turkey Wor- 
shipers, being one of the handful of 
people in the audience that night was a 
litle like being a sport fan who saw 
Babe Ruth hit chat sixtieth home run 
1927 or helped Jack Dempsey back 
into the ring when Luis Firpo knocked 
him into the laps of the ringsiders. 

No Mother to Guide Hey was billed 
an old-fashioned melodrama — h 
the villain, beer and pretzels and fals 
mustaches distributed to the audience." 
It had one rather important 
that no other beer-and 
before or since, could cla 
by t of midgets. 
Lester Al Smith, carr 
midget mo 
atre. The 
i 
wi 


nation 
wdust. drayma, 
n. It was acted. 
The producer, 
ed the wall-to-wall 
out throughout the the- 
usherettes were midgets. A 
пу bar in the basement of the theatr 
presided over by a thirty-four-inch 
render who dispensed tiny hot dogs 


and small botdes of beer. The manage- 
ment of the President Theatre (now 
part of Leone's restaurant) turned a deaf 
car to the producers plea to change 
the name of his playhouse to The 
t Theatre. He agreed, after a 
lengthy argument, to make the change 
on the night the play celebrated its 
hundredth perform, g seen a 
dress rehearsal, he wasn't worried about 
putting up а new marquee. One of the 
backers (he had a ten-percent interest 
in the play, the touring company rights 
and the movie rights, Тог a three hun- 
dred-dollar investment) was Harry 
Golden the time the desk clerk in 
the Forest Hotel across the strect from 
the theatre. Golden gave free opening; 
night tickets to hotel residents who paid 
their bill on time, and when he com- 
plained to the producer that of the 
scventysix  firstnighters, more than 
forty of them were in on passes he'd 
issued, he was told that word of mouth 
and rave reviews would fill the house to 
capacity for subsequent performances. 

The thirtysix paying customers got 
more than their money's worth. In ad 
dition to the drama, they were treated, 
between acts, to feats of daring by wire- 
walkers (midgets), and sang songs pro- 
jected on lantern slides led by a midget 
torch singer. A small orchestra in the 
pit (midgets) alternated Hearts and 
Flowers and Humoresque throughout 
the melodrama 

During the course of the third act, 
one of the male members of the cast 
objected to being upst у iny 
leading lady. He hauled off and kicked 
her in the ankle. This led to a general 
riot among the pintsized actors that 
ended with all of them leaving the 
stage, putting on their hats and coats 
and walking out of the theatre. No 
Mother to Guide Her at that moment 
won an enduring place Гог itself in the 
record books: Broadway’s shortest run, 
three fourths of a performance. 


"I told you not to name it thai!” 


HYPNOSIS 


(continued from page 71) 
nyone practicing hypnosis of any kind 
make certain he "clears" the subject of 
cach and every suggestion made to him. 
whether or not the suggesti 
upon. The greatest danger of parlor 
hypnosis, where no ill is intended, lies 
in not taking hypnosis seriously enough. 
Delusions are very different from hal- 
lucinations and, as we shall sec, they 
can be quite important in the reku 
ship between hypnosis and crime. When 
the gentleman in his club petted his 
polar bear, that was a false sense im 
pression, a hallucin But when the 
church deacon rushed around on all 
fours, barking like a dog, that was a 
false belief, ion. If we tell a sub- 
ject that he ncoln, he will 
be President Lincoln. And if we give 
him a copy of the Gettysburg. Address, 
he will read it with all d 
tion and regard that we would have a 
right to expect [rom а man in his pos 
tion, at that historic moment. If we tell 
а good subject that he is Frank Sinatra 
nd ask hi he will 
be delighted to do it and he will prob- 
ably do a fair job of it, since most of 
us can сату something of a tune if 
we're not nervous or embarrassed. "The 
hypnotic subject, of course, is not nerv- 
ous or embarrassed in the slightest. Why 
should he be? He is Frank Sinatra, If 
we tell the subject that he is Van Cli- 
burn, hypnotism will not give him the 
ability to play the piano, if he could 
not play it before, but he will sit down 
and try to “fake it” in the real sense of 
that phrase. 
It is characte: 


n was acted 


dignity, emo 


1 to sing us а song, 


istic of the good subject 


in post hypnotic suggestion. that he will 
defend his assigned position, however 


stence and 
ntly 


absurd it may be, with pe 
cunning, sometimes appar 
tively selecting the one fe 
defense, Estabrooks tells of a man give 
the delusion that he was God. An Ox- 
ford professor said to him, “I have not 
the least doubt that you are C “her 
is something I would like to ask you 
God. 1 have always been baffled by the 
dogma of the Immaculate Conception. 
1 am unable to understand it. Now, 
since you thought it up. Pm sure you 

i The man in the 
post-hypnotic state looked at the pro- 
lessor with a calm and level gaze. He 


istinc- 


sible line of 


Estabrooks desc subject who 
is told that he has been to Utica that 
fternoon between four and six and 
that he visited а r; 
while there he saw the Presid 
United States pass through the station 
on his way to the Hotel Utica 
subject, upon being awakened, insists 
this is true and that he really did 
spend the afternoon in Utica, despite all 


attempts to show him it is ridiculous. 
Now the next step: "You saw the Presi 
dent pass through the station, Then you 
went into the taproom. There you 
overheard two men disc g a plot to 
assassinate him that evening as he 
boarded the train for New York City. 
Here are the pictures of the two mi 
Be sure you remember them, for you 
will see them again tonight at the Utica 
tion.” Once again a delusion, or false 
belief, mixed with hallucinations and a 
post-hypnotic suggestion, and one which 
gs very unpleasant for 
two innocent men in Utica. The appli- 
cation of this form of hypnosis in the 
fixing of false witnesses for real crimes 
is obvious. And it would be foolish to 
asume that while this example of as- 
the President was only а 
exper 
are not using hypnotism to 
witnesses for themselves, cover cri 
and avoid justice. 

‘The thirty-two-ycar-old man in the bar, 
who seemed to be enjoying a si 
old's birthday party, was undergoing 
common but fascinating hypnotic phe- 
nomenon known as regression. Under 
hypnosis, it is casy to pick out all man- 
ner of memories that have been lost to 
the conscious mind, but are still hidden 
deep in the subconscious, where hypno- 
sis moves with case. But regression is 
ctually something more than that. 
огу, 
inambulant subject 


Rather than simple islands of пм 
n the son 


n regress 


live so completely 
n earlier time in his life, that he cam 
remember all manner of the smallest 
details, describe where he is, who else 
is there, what clothing they are wearing, 
etc. He will be able to report every gift 
that he received on his sixth birthday, 
who sits about him in class at school, 
his teacher's name, and any number of 
other facts that have long vanished 
from his conscious memory. One subject 
of our acquaintance, a young woman, 
had lost her mother in carly childhood, 
nd having been raised in am institu 
tion, had never seen a photograph of 
the mother, and so had no idea what 
she looked like. In a deep hypnotic 
trance, she was regressed to her carly 
childhood, was able to describe com- 
pletely the home in which she lived, 
and both of her parents who lived there. 
Before she was brought out of the trance, 
the subject was told she would remem- 
ber everything that had occurred, and 
so, today, she has a clear mental picture 
of her mother. The memory was there 
all the time, of course, buried in the 
subjects subconscious, but through hyp- 
notie г 


sression it was possible to bring 
the mental image out conscious 
memory. In hypnotic regression а sub- 
ject may write approximately as he 
wrote at the age to which he has been 
regressed, and the handwriting will 


d 


change markedly at fifteen, and ten. and 
again at six when it becomes a child- 
ish scrawl; if given. psychologic s 
the subject's score will often approxi- 
mate also the аре to which he has been 
regressed. 

Hypnotic regression ends where mem- 
ory ends and the talk of recalling “other 
lives" à la Bridey Murphy, is nonsense. 
Although the subject may sincerely be- 
lieve he is remembering another life, 
he is simply pulling something unusual 
out of his own past experience that he 
cannot consciously account for. A classic 

ns a woman of quite ordi- 
nary educational background who re- 
cited ancient Greek in a trance, Her per- 
foi nce could have been turned into a 
Bridey Murphy case if anyone had cared 
to, with the implicition that the woman 
had actually lived in ancient Greece 
another life, But ultimately it was dis- 
covered that the woman had, as а child 
of three or four, been taken by her 
mother to the home of a professor who 
s in the habit of walking 
declaiming in Greek. 
1 remembered a great d 
what she had heard. It may be that сус: 
word of à quarrel that you overheard 
between a policeman and a streetcar 
motorr 
in your subconscious. The more emo- 
tionally meaningful the carly incident, 
the more likely it is to be buried deep 
within your mind, perhaps complete and 
intact. Hypnosis can release the dormant 
tr; pt. 

Post-hypnotic suggestion is a thought 


сазе conc 


n when you were four. is stored 


implanted during a trance that is 
acted upon or becomes real after the 
subject has been brought out of hyp- 


nosis and seems normal again, in every 
way. The posthypnotic suggestion can 
include hallucinations, delusions, in 
fact anything we can achieve in a hyp- 
notic trance: yet the subject will seem 
to be completely Iree of any hypnotic 
influence and normal in every way, ini- 
mediately before and alter the post- 
hypnotic suggestion is acted upon. What 
is more, the posthypnotic suggestion 
may be activated a short time alter the 
trance has ended, or a long later. 
There have been cases of posthypnotic 
suggestions that lasted for years. Some 
examples of simple, typical posthyp- 
notic suggestion: The subject is told, 
while in a deep trance, that sometime 
ter he awakens the operator will re- 
mark about the weather. The subject 
will then have an uncontrollable urge 
to smoke a cigarette; when the oper- 
ator remarks that it is getting 
lite, the subject will throw the cigarette 
down, announcing that it le. The 
subject is then told that he will remem- 
ber nothing whatever of these instruc- 
tions, and he is brought out of the 
trance. Everything goes along normally 
until the operator remarks about the 
weather, and the subject reacts to the 


her 


is si 


subconscious cue and as 
ette. The subject has absolutely no ide 
that he is on a post hypnotic 
suggestion and will laugh at the idea. 
if anyone suggests that there is a ri 
ship between the remark about 
weather and his picking up rette. 
Why did he pick up a cigarette at that 
particular moment? Why, because he 
felt like smoking, of course. And why 
did he throw it down, when the op 
ator remarked that it was getting late? 
Because the cigarette was stale, and for 
no other rcason, he will stoutly insist. 
Auto-suggestion, or sel-hypnosis, can. 
with practice, be achieved by 
capable of being hypnotized 
it is possible to achieve anything under 
selfhypnosis that cin be achieved in 
hypnosis produced by another, this is 
obviously an of very great poten 
tial, since it means that а great many 
of us, with relatively litte effort, can 
successfully maintain controls over our 


the 


selves to а degree previously undreamed 
of. Would you like to be able to cut off 
headaches and other pains at will? Actor 


C nt, who became intrigued with 
the subject of hypnosis some years ago. 
can, He can anesthetize any part of h 
body at will, simply by thinking the 
pain away. Would you like to be able 
to concentrate for hours on end on a 
‚ without being distracted? 
Would you like to break 
that bad habit that has the best of you 
nail.biting? If not too deep- 
rooted, hypnosis cin take care of it, but 
there are some other considerations in 
the forced cure of bad habits that we 
may wish to consider, and will touch on 
in a discussion of the medical uses of 

hypnosis. а few paragraphs hence. 
Nevertheless, auto-suggestion supplie 
a potentially remarkable control. over 
including even one’s sex life. 
npotency 


For a good deal of sexi 
really j 
ter, and with 
beck and call, y 
over the body in which you 

There are dangers to 
too, of course. The pain that you ar 
arily take away may be there 
warning ol something more 
pet bear that plagued Dr 
was produced by autosugsestion 
lor a time it was under 


problem of mind over mat- 
tion at your 
real control 


а 
ious. The 
Estabrooks 
and 
wonderful 
control, but it got out of hand, which 


is the problem with a 
lucing is the 
in autosuggestion tha 
lead to disassociation. 
subject should be able to guide his own 
treatment and become the master of his 
own personality, but it may just as read: 
ily encourage a tendency to disassociate 
oneself from reality in the development 
of neurotic waits. In the application of 
hypnosis to any kind of problem, it is 
important to have the cool objectivity of 
the professional. And autosuggestion is 


ions. Th 


In theory, the 


123 


PLAYBO!Y 


124 


most meaningful when 
professional as an aid to whatev 
is being accomplished for the subject by 
hypnosis. Auto-suggestion can be of con- 
siderable value im aiding and abetting 
the breaking of a bad habit or the im- 
provement of some condition for which 
hypnosis has been prescribed. 

In medicine hypnosis can be used as 
amesthesia for procedures ranging from 
the preparation of dental caries for fill- 
to childbirth and amputation. (Es- 
daile reported amputations under. hyp- 
1845.) It is necessary 
est to the patient that he 
can feel nothing in his left leg. He ac- 
cepts this su on as fact. He now 
cannot feel anything in his left leg. He 
is told that he cannot hear any sound at 
all save the sound of the hypnotist’s 
voice. He becomes deaf to extraneous 
sound. He will not react to a shotgun 
fired in the room, and so he lies there 


taught by a 
else 


nosi 
only 


serene, obli i0 the whine of the 
surgical saw- 
Less spectacularly but not les efi- 


ciently, hypnosis is useful aument 
of any illness of psychosomatic origin, a 
gory including some of the most per- 
sistent and painful m s. It has been 
frequently demonst peptic ul- 
cers will respond to hypnotic treatment: 
so will chron is and colitis, some 
asthmas, mi: 
and other circulatory difficulties, certain 
cases of hives and eczema and sexual 
ieidity 
the male. 5 : 
durance may be possible in a normally 
potent male who is also adept at auto- 
hypnosis. There would seem to be v 
1 possibilities for the use of hypnosis 
in supplying the often very important. 
ill to live,” which n be missing i 
some patients recovering from serious 
physical illness or accident. Hypnosis 
may also prove valuable as a means of 
oiding the serious secondary effects in 
ases, caused by shock. 

The alteration of habit patterns by 
hypnosis is comparatively so easy that 
anyone who attempts, for example. to 
stop smoking by another means is prob- 
ably indulging in an absurdity. Ration- 
ing, smoking by the clock, the use of 
socalled "will power" and other such 
primitive devices equate poorly with the 
hypnotic subject's conviction that he 
loathes tobacco and would not put a 
match to it for a million dollars. The 
suggestion will need periodic reinforce- 
ment, of course, but it will take the 
addict over the dificult first few weeks 
as nothing else will 

The only real problem which exists in 
the elimination of bad habits through 
hypnotism is that these may be only 
compulsive symptoms of a more serious 
disorder, and removing the symptoms 
will not solve the problem. Psychother: 
pists like to tell the tale of the patient 
who went to а hypnotist to cure his nail- 


biting and w: 
hypnotist m 
rettes repu 


s now a chain-smoker. The 
lc the very sight of ci 

sive to the subject, but he 
returned in a few months with a seri 
drinking problem. The hypnotist wi 
decided not to make alcohol rep 
which might have pushed the subject 
over the edge to a serious mental di 
order, but led him instead back to 
biting, which seemed the least of several 
evils, The story is probably too pat to be 
true, but it points up a real truth: if the 
habit is a superficial one. hypnosis can 
cure it with no unwelcome secondary 
effects; if it is actually a release for com- 
pulsive or neurotic tensions, then bot- 
ting it up may be the worst thing to do. 
In that case it's better to leave the hibit 


alone and go after the root of the 
problem 

Hypnosis will probably make its 
heaviest contribution t0 medical 


ence in the field of psychotherapy, once 
the resistance of the orthodox Freudians 
and Jungians, now crumbling, is finally 
overcome. On the face of it, hypnosis 
would appear to be а weapon of enor- 
mous utility in the analyst's armorarium. 
The basic purpose of the Freudian ther- 
apy is to bring the patient to an unde 
standing of himself by helping him to 
dredge up from Ше subconscious, and. 
examine, in the light of certain set prin- 
ciples, the various traumatic incidents 
in his life that have disturbed him. The 
process is often 


absurdly extended — 
analyses running from буе to seven 
rs are commonplace — because the pa- 
tient has simple mechanical difficulty in 
recalling, and often because he does not 
want to recall painful incident. 
Analysands, as the customers are dubbed 
in the trade, have spent six months and 
$3000 in discovering that at the age of 
four they happened upon their parents 
in the carnal act. Under hypnosis the 
ame discove ght have required a 
very short time. It is casier for the pa- 
tient to recall painful happenings under 
hypnosis than. under standard therapy. 
In standard therapy his resistance may 
completely overcome the effort and the 
therapy may end in failure. 

Orthodox. analysts argue that Freud 
d hypnosis, and dropped it. So he 
did. He stated that he did so becausc 
cures wrought by hypnosis were tem- 
porary. the induction process was labori 
ous, that it was limited in scope, and 
that there was an undesirable element 
behind" it. Says Marcuse: “Relapse 
sickness h becn shown to be more 
or less frequent with hypnotherapy than 
with other therapies . . . hypnotic induc- 
tion is neither more nor less laborious 
than other forms of therapy . . . the 
objection concerning applicability of 
hypnosis contains sure of truth. 
However, no claim is made that ther- 


ito 


neve 


те; 


ару is accomplished by hypnosis 
alone . . . 
Ihe mysterious clement "behind" 


hypnosis may be explained in Freud's 
autobiography. A woman patient, com- 
ing out of hypnosis, embraced Freud as 
one of his servants entered the room. 
Freud was seriously embarrassed. A 
modest man. Freud could not account 
for the woman's behavior on the basis 
of his ow al appeal, so he ascribed 
it to hypnosis, and apparently became 
convinced that hvpnosis was somehow 
ssociated with the libido. There is no 
greement on this point, but it appears 
to have been one of the reasons Freud 
bandoned hypnotherapy. 

Some analysts maintain. that the suf- 
fering and struggle of the analysand in 
his effort to haul traumatic material out 
of his subconscious are important to the 
treatment. This appears to be ol a piece 
h the centuries held belief that it was 
evil to alleviate the suffering of a woman 

1 childbirth, since obviously God had 
ordained it. Orthodox analysts argue 
further that to break through the pa- 
tients defenses quickly may upset him. 
It is not necessary in hypnosis to break 
through quickly: the therapist can take 
what pace he thinks best. Nor is deep 


an 


hypnosis necessary. Says Milton Kline: 
"Many highly complex and subte 
changes im psychological functions can 


be brought abe 
hypnotic states.” 

The lightest possible hypnotic state 
may be that induced by contemporary 
American advertisin; 
George Washington Hill of American 
Tobacco may have been the first really 
to understand the potential of the 
hypnotic concept in advertising. Belore 
Hill, and Albert Lasker, the 
giant who founded Lord ‘Thomas. 
American advertising tended to resem- 


it by extremely light 


before 


ble British advertising. There was a 
hatin-hand air about it. “Glow. Choco- 
lues are GOOD Chocolates,” it said, 
amiably. George Wash Hill knew 


that а company that advertised in that 
fashion would never find it necessary to 
build steamships with which to rush 
cacao-beans to the factory. A pote 
that fashion 


customer addressed in 
might buy Glotz Chocolates, but he 
might also buy Glumley Chocolates. 


There had to be a better way. 

There was, of c The beuer wa 
was to grab the prospect by his sh 
front and say, “G is C and C is G and 
G is C and C is С and Glow is Choco- 
lute and Chocolate is Glow" and do 
this over and over again until the pros- 
pect was so conditioned that whe 
he thought of chocolate, im whatever 


ver 


form, he would inevitably think of 
Glow. 
Seize the prospect's attention. Ма 


him concentrate. Repeat the instruc 
tion. Do it i nd nd then 
in. Hypnotize him. 

Some people thought that George 
Washington Hill's advertising was not 
cihciently planned because some of it 


ain ain, 


ating. It was meant to bc irritat- 
"This was onc solution to the prob- 
lem of getting the subject's attention 
огу hypnosis. the subject will- 

the operator his attention. 
the middle of a 


ingly give 
Seizing his attention 
workaday world is another matter. Sup 


pose y to work and your 
car radio is on. r commercial 
theme comes up—a catchy tune, loud 
and very repetitious. Then the an- 
nouncer gives his pitch: “Glotz! Glotz! 


slow! Gopher Glow, AllAlabam full- 
back, says, "I GO for Glou!” " The repe- 
titious theme music comes up again. You 
catch yourself listening to it. You shake 
yourself and turn your attention again 
to the road. You don’t know it, but 
you've been taken to the edge of a light 
hypnotic trance. Big Brother Glotz has 

Imost hooked you. Next time, maybe 
he will. 

When Harold Ross, late editor of The 
New Yorker, embarked on а successful 
one-man fight to prevent canned adver 
tising commercials from being broadcast 
n New York's Grand Central Station, 


he wasn't trying merely to protect the 
He 


tired commuter from 
considered that he was fighti 
sault. albeit small one, but 
nonetheless. on our basic freedoms. If 
man flips on а radio, he expects to be sold 
something. He has his guard up. People 
milling around way station form 
the apty-mamed “captive audience" — 
the huckster's delight 

lio or TV commercial that ap- 
an's conscious mind through 
ales techniques, at а time 
when he is morc or less paying attention 
nd consciously prepared to receive such 
a pitch, is not open to criticism here. 
But the “captive audience” in New 
Yorks Grand Central Station. presum- 
ably had other things on its mind, and 
so the 
directly to the subconscious in much the 
same way that the hypnotist gives sug- 
gestions to a subject while misdirecting 
hi s patter or the 
ning of a shiny object. In the same 
‚ extremely repetitious, monotonous 
radio апа television commercials dull 
the active conscious mind that exercises 
free choice and permits the message to 
reach the unguarded subconscious. where 
fi choice does not exist. In this re- 
gard. the radio or television audience is 
being conditioned to buy Glotz Choco- 
es by the repetition of sounds, both 
musical and verbal. in much the same 
way Pavlov’s dog was conditioned to 
salivate at the sound of a bell in the 
classic experiment on the conditioned 
reflex. (The conditioned reflex and 
hypnosis are actually separate manifes- 
ations of the same phenomenon.) 

any authorities are openly fright- 
ened of "subliminal" advertising — ad- 
vertising in which, typically, a ge 
is Mashed on a television or movie 


commercials could be beamed 


attention with soothii 


mess 


screen so quickly that i 
below the level of consciousne: 
eye receives the image, but for so short 
time that it is recorded only by the 
subconscious. Through this m 
would be possible to build up in 
dividual such a passion for А 
Chocolates that he would throw a brick 
through a candy store window to get a 
box of them — and. afterward. be quite 
unable to explain why he had done so. 

Mass hypnosis, in the laboratory sense, 
is demonstratably possible on both radio 
and television (an ideal medium — sup- 
plying. as it does, both visual and verbal 
stimuli), and the British Broadcasting 
ompany has banned hypnotic demon- 
strations on British TV and radio. 
Formal experiments have shown that a 
competent operator could put а major 
number of a typical listening or viewing 
audience into a trance — without their 
consent, or even their knowledge. This 
huckster’s dream could make frightening 
fact out of Gahan Wilson's fanciful car- 
тооп in last June's rrAynov, depicting a 
bugeyed shopper in a supermart load- 
ing up her cart with breakfast cereal 


Glow 


under the hypnotic influence of a sign 
g two gigantic eyes and the words 


bea 
Cri And what 
would work for Madison Avenue would 
also work for the politician and tomor- 
row’s demagog 

Hypnosis is all around us, like the air 
we breathe. Its power to influence us 
staggers the imagination, and so it is 
imperative that we understand it. If the 
pen is mightier than the sword, hypnosis 
у very well be mightier than the 
H-bomb. 

Using today's techniques, no operator 
could hope for one-hundred-percent 
effectiveness in a random audience. But 
he might expect eight out of ten to be 
drawn into a light trance and two of 
that number to fall o the deepest, 
somnambulant state. Those only lightly 
hypnotized the first time would be more 
nd deeply hypnotized the next. 
police state in which the 
ment controlled all means of com 
cation, hypnotic messages could be 
beamed at the masses via televi 
that the random audience of ten be 
à million, ten million, or one hu 
million and two hundred thoi 
two million or twenty million, 
eventually most of the popu 
could be virtually enslaved, responding 


will bw 


fou 


and. 


on subconscious levels to 


government- 


ally controlled subliminal cues, without. 
freedom of selection or choice. One has 
only to witness the compulsive directness 
with which a good subject acts out a 
posthypnotic suggestion to realize how 
helpless he or she is in the hands of the 
operator. The subject may even be i 
formed beforehand that he has been 
given this post-hypnotic suggestion and 
he told to resist the suggestion if he 

and still be totally unable to resist 


it when the сис is given. Such a sub- 
ject appears perfectly normal before 
the post-hypnotic cue. Having failed to 
resist it, the subject may describe after- 
wards having “blicked out,” while he 
executed the posthypnotic suggestion 
In a somewhat lighter trance, the subject 
successfully avoid executing the 
suggestion for a while, only to be even- 
ly driven to it some time later. 
tabrooks offers an excellent example 
of this compulsive quality in a post 
hypnotic suggestion. He told a subject 
in a trance that sometime after he had 
been awakened the doctor would use а 
key word, after which the subject was to 
go to a desk in the office, pick up the 
deck of cards there, and remove from it 
the асс of spades, giving it to the doc 
When the subject’ awakened, he 
announced that he remembered the in- 
uctions and that he would fight the 
pulse to carry them out. The operator 
offered the сис word, but the subject 
successfully resisted the urge to get the 
card, or so it seemed. The experiment 
over, Dr. Estabrooks purposely failed to 
ion from the subject's 

subconscious. The following day the 
subject called the doctor on the phone 
He had been unable to study that eve- 
ning, he student at the 
ersity where Fstabrooks was teach. 
ing), nor could he sleep. He was unable 
to put the card from his mind. Would 
the doctor please mect him at the doc 
tor’s office, so that the subject could take 
the ace of spades from the deck and 
give it to him, and so free himself from 
the compulsion that was so strong that 
he was unable to concentrate on any 
thing else. And mot until the subject 
n the proper card from the deck 

паса it to Estabrooks did he feel, 
he later described it, "set free. 
Would it be possible for a political 
candidate to beam hypnotic messages at 
the public via network TV which would 
virtually guarantee his victory on clec 
tion day? Yes. if he were allowed to. 
inly would. And in a one-party 

in which the state controlled 
there would be no one to 


may 


If hypnosis exists 
force, for good or evil, why do we read 
so very little about it and why is most 
of what we do read limited to the less 
sensational medical applications of the 
phenomenon? Quite simply because hyp- 
nosis has been, lor so long a time. in 
disrepute that few experts in the field 
of human behavior know very much 
about it. It has existed, in America es 
pecially, as an interesting psychological 
oddity the far-reaching implications of 
which have received almost no attention 
from the modern scientific world. Few 
laws have been passed to control its use 
and yet, as we shall see, its possibilit 
in the execution of crimes and the avoid- 
ance of detection and successful prose 


s such а mighty 


PLAYBOY 


126 


cution are frightening to contemplate. 
“It is probably correct to say that little 
is known about hypnosis, compared 
with what will ultimately be discov- 
ered,” says Andrew Salter. “The pos 
tion today may be analogous with the 
discovery of the Roentgen ray, or X ray. 
The full potential of hypnosis for good 
not known to us, nor is the full dan- 
In all matters involving hypnosis 
I counsel conservatism and caution. 

Some of the political potential inher- 
ent in hypnosis has already been demon- 
strated by Adolf Hitler. When a hun- 
dred thousand Germans, their faces up- 
turned in the light of smoking torches, 
screamed аз one Sieg Heil!” 
we һай а very real example of mass hyp- 
nosis. It took more than an elaborate 
hypnotic trance to lead the German 
nation down the bloody roid of world 
conquest, of couse, but Hitler had many 
strings to his bow for he was not. as 
m L. Shirer has so painstakingly 
pointed out, a madman, but an authen- 
tic political genius, who supplied many 


ger. 


seemingly legitimate rationalizations to 
his followers for their incredible acis of 
їтосйу and aggres evertheless, 


the hypnotic influ 
affecting both th 


clearly ther 
nation and many of 
those most closely associated. with him. 

In the lite Thirties, Charles Lind 
hergh returned from а trip to Germany, 
during which he was decorated by Field. 
Marshal Goering, to tell the American 
people that we would be foolish to bı 
come involved in à Second World W; 
because the Luftwaife was invincible in 
the air and would beat England to its 
knees in short order if an outbreak oc 
curred. This was ап unpopular noti 
from so highly regarded ап 
can, and Life magazine published 
а story wherein а stage hypnotist dem- 
onstrated how Goering might have hyp- 
otized Lindbergh during the moment in 
which he pinned the medal on him, th 
suggestion being that Lindbergh was 
then enacting a posthypnotic sugg 
tion. This is the stuff that Sunday-sup- 
plement features are made of, and it 
as much more reasonable to assume 


sc 
that Lindbergh was so impressed by the 
German war machine in the late Thir- 
ties, contrasted to the ill-prepared E 
lish and Americans. that he sincerely 
believed we would lose a war. But wi 
ever the facis, the hypnosis theory was 
theoretically possible; it could have 
happened. 

The same stage hypnotist who got his 
me in the papers with the Lindbergh- 
Goering story popped up again some 
twentyodd years later. He was widely 
quoted in the press after both of the In- 
gemar Johansson-Floyd Patterson fights 
suggesting that Johansson had beca in a 
hypnotic trance during both 
There is no question but what hypnosis 
have a conside effect on an 
athlete's prowess: can 


bouts. 


сап 


ers stamina, make him imm 
tigue and pain, and remove 
an opponent. Whether ог not hypnosis 
d any part in the two heayywei 
pionship fights must remain con- 
jecture. The Johansson camp stoutly de 
nied it, and if hypnosis ed, it is 
clear from the outcome of the second 
match that not even a deep hypnotic 
tance can make а real champ out of a 
But those who 
nd believe the 


was u 


second-rate contender. 


viewed the second bout 
hypnotic theory point out that Johans- 
son stumbled as though in a daze when 
he first entered the that he wore 
а supercilious smile throughout the fight 
while being thoroughly and brutally 
aten by Patterson, and that when he 
wis knocked out it took an extraordi- 
narily long time for him to awaken. 

Hypnosis can hz 
їсс on the participants in many sports, 
especially those 
or endurance, that it is difficult to im- 
agine that it has not been used, and 
widely. And it ample of how 
little we understand the phenomenon, 
that while most sporting events have 
rules, and even state and federal laws, 
governing the use of drugs, no such 
regulations have been set down control- 
ling the use of hypnotism, which can 

y of the bodily 
And even if laws were enacted, 
how could they be enforced? You can 
discover the use of drugs on а suspect 
spo ticipamt through chemical 
analysis, but how do you test for а post- 
hypnotic suggestion? 

If a football team is losing at half- 
time and instead of the customary pep- 
talk from the coach they are put into a 
hypnotic trance and told that they will 
go out in the second half and play as 
they have never played before, they will 
go out in the second half and play as 
they have never played before. There 
is the very real danger, of course, that 
some may play beyond their physical 
endu themselves serious 
harm. Under hypnosis, a fullback could 
even be made to play on a broken leg, 
il it would hold him up. Dodger pitche 
Don Newcombe's carver was endangered 
by his irrational fear of airplanes, Four 
visits to à. hypnotist made him indilici- 
ent to the possibility of a crash 

Consider such Olympic sports as 
weightlifting, Here technique is impor- 
tant, certainly, but much less so than 
it iy in. say, fencing. And the expendi 
tune of sheer € is absolutely vital 
The ability to force the musculi 
accept two more pounds of tension has 
won world championships. (Under hyp 


produce 


same 


ince and do 


ergy 


ure 10 


nosis, a girl weighing 110 pounds сап 
make her abdominal muscles so iron- 
hard that a twenty pound granite rock 


can be placed on her and broken with 
ten pound sledge. She may sulle 
internal injury, but she will not know it 


nt out of the une) 
en the correct posi 


A weightlifter g 
hypnotic suggestion would be able to 
lift а maximum possible weight wh 
normally, he might quit five pounds 
short of his potential, convinced that 
he had absolutely extended himself. 
sider the mile run. Great milers 
judge their performances by опе big 
yardstick: If, one step past the tape, 
they are in a state of collapse, they have 
run a well-paced race, I, on the othe 
hand, they have enough energy left over 
to step off the track onto the grass of 
the infield, they've goofed. That much 
energy would have cut а split.hundredth 
of a second off their time, and that’s 
where it should have been expended. 
Under hypnosis a runner could drive 
himself to the outer limits of his ability. 
If hypnosis is used in sport. it will be 
little publicized, vou may be sure, and 
not by the winners It has been su 
gested that the Russians, who pretty 
thoroughly trounced us in the Olym- 
pics. used hypnosis to do it. Perhaps. 
We don't know that they did. We do 
know the other factors in their success: 
country full of healthy people 
a system that searches for athletic 
talent, trains it, pays it well, honors it 
it wins and disgraces it if it loses. 
The use of hypnosis by Soviet athletes 
would be consistent with present US. 
S.R. attitudes. Hypnosis is an i 
. and the Russians clearly 
understand that in the racc for world 
domination, victory will go to that 
country that makes best use of its im 
acllectual resources. There are those who 
believe Pavlov may have been the most 
important Russian who ever lived. Just 
how far Russian scientists have curried 
his first experiments in the conditioned 
reflex, delved into habit formation, hyp- 
nosis and related human behavior. по 
one knows for sure. We do know that 
Russia has placed a heavy emphasis on 
the sciences dealing with 1 
body, and the relationship between the 
two, especially since the end of World 
War П. The more they understand the 
human animal, how he thinks, acts and 
the better equipped they are ло 
nd control the world. without 
to fi to do it. It 
watching his 


mind 


reacts 
conquer 
ever havin: 


the 
controlling of men's minds, help one 
man 10 run faster than another, or en- 
able à man to kill another and never be 
found out. 

The old folksaying, "murder will 
out," probably has as little basis in fact 
as the old election saw about the state 
of Maine. The only murders that “out” 
are the murders that prove unsuccessful. 
Most criminologists, while they are dis 
indined to say so for publication, be- 
lieve that the number of undetected 


murders in thc United States runs into 


many thousands. Poison alone must ac- 
count for hundreds. After all, the 
autopsy is a rarity in most jurisdictions, 


and in some Southern states any sudden 
death that isn't caused by something as 
obvious as а cut throat cam be certified 
as “heart failure.” If this ts true, con- 
sider the possibilities in hypnosis, par- 
ticularly in the light of the incredible 
nation-wide ignorance of the phenome 
non, ignorance that allowed a Chicago 
judge, for example, to refer to hypnosi 

and this only a few months ago, as 
“hocus-pocus”! 

How can hypnosis kill? Dr. Est 
brooks’ remark about the cat is pertinent: 
“Persuade him that chloroform is good 
” Killing n would be cas 
ondition 


ier. The only 


necessary pi 
nded victim be a good 
hypnotic subject. If this is the case, then 
as the old folk-saying gocs, he's dead 
One way out of fifty: The hypnotist 
picks a suitable moment and hypnoi 
his subject. Deep in a trance, the sul 
ject is given this post-hypnotic sugges- 
tion wo weeks from tonight, on 
April 17, at midnight, you will go to 
the roof of your apartment buildi 
You will stand on the parapet on the 
river side of the building. You will feel 
nine feet tall You will feel stronger 
than you have ever felt in your life. You 
will feel more agile than you have ever 
felt in your life, You will jump from 
your roof to the roof next door. It will 
be easy for you. Tt won't even take much 
eflort, it will be so easy for you. When 
you get 10 the other roof you will turn 
ound and jump back, Now, when I 
count to three you will wake up, and 
you will feel calm and rested and con- 
tent. You will remember nothing of 
what I have said, absolutely nothing, 
until the night of April 17!" And so on. 
At midnight on April 17 the victim will 
jump from his roof, but he won't qu 
make it to the other roof, because it's 
twenty-five feet awav. 

If your intended victim isn’t a good 
subject then you can get someone to do 
the job who is. Pick him for his low 
moral character, so that a wellanotivated 
illing won't upset his ethical standards 
too much, then put him into а шансе 
and condition hi into ferocious 
hatred for the intended victim. This 
would be child's play for any competent 
hypnotist. Next, the hypnotist sets up a 
time-andancthod chart for the 
gives him a posthypnotic suggestion, 
and, to be on the sale side, arranges to 
be in London when the kill is done. 
If you can't find a low moral type for 
the job (for whom murder presents no 
moral conflict), or if you have two spe- 
cific people in mind that you wish to 
eliminate at one time, you simply ap- 
proach the one you know to be the good 
hypnotic subject and introduce the kill- 
ing in a disguised manner: a poison 


urderer, 


that the chosen killer does not know is 
poison, a gun that the killer believes to 
be a toy (and a. pre-established situation 
in which he is to use it, which you 
may wish to plan for broad daylight be- 
fore se ses) or a posthyp- 
notic that turns the 
victim that must 
be killed by even the most moral and 
ethically upstanding of persons. Natur- 
ally, you wipe all memory of the hyp- 
notic suggestion from the chosen kille 
conscious memory, but there are risks in- 
volved in this one just the same, beca 
provides for the killer's being around 
for some little while after the deed has 
been done, The risk is greater the more 
sophisticated the environment of the 
crime, For example, this gambit failed 
in Denmark recently, tripping up an 
amateur hypnotist named Neilson. Neil- 
son had given one Hardrup а posthyp: 
otic suggestion to murder a third man. 
Hardrup duly killed him as instructed, 
but was caught. His operatorsubject 
relationship with Neilson was known. 
An international authority on hypnosis, 
Dr. P. J. Reiter, was the State's chief 
witness. Neilson got the maximum 
penalty under Danish law. life in 
prison. Hardrup, who had actually com- 
mitted the murde iven а two- 
ycar sentence. It is depressing to h 
to admit that so enlightened a view as 
this would probably not prevail any- 
where in the United States 

Another method: А gives B а post 


e 


was 


hypnotic suggestion to this effect: “On 
Wednesday at ten o'clock you will go to 
the airport and pick up a suitcase, using 
a lockerticket which I will give you. 
You will then go to the Trans-Amcrican 
Airlines counter and. pick up a 
my name for Fl 
You will board the planc at 10:15 and 
you will immediately fall into a deep 
sleep. You will sleep soundly 
for the next six hours . . .” 

In fact, B will sleep for longer than 
six hours, or at least he will never wake 
up, because the bag he picks up at the 
airport contains twenty-seven blocks of 
Gelignite, a dock and a detonating 
paratus. Three hours after the plane 
takes off, A will be offi 

75 wife collects an impressive 
ance 
he has repa 
donym, and they live it up forever. 

Wild? It is, except for the end, e: у 
what authorities believe happened in the 
case of William Allen Taylor of T; 
Flori who boarded a National 
lines plane List year using the name of 
a friend and acquaintance, Robert. Ver- 
non Spears. The plane blew up over the 
Gulf of Mexico with Taylor aboard and 
the FBI caught up with Spcars in Phoc- 
nix, Arizona. The only evidence tending 
to show that hypnosis was used was a 
jatement by Taylor's wife that she knew 
Spears was it hypnotist. 

Тоо complicated? A good hypnotic 
subject сап be made to Kill himself. 


and resifu 


ed 


“Well, my goodness —is Christmas over already?” 


127 


PLAYBOY 


128 


How's this for an Ellery Queen puzzler? 
Supposing a dentist is in love with a ра 

tient's wife. The dentist is a hypnotist, 
as many are today, and uses hypnosis to 
produce anesthesia on the patient in- 
volved. Supposing the patient drives 
home from work every ni 
a lightly-fenced precipice, a bri 
abutment, a big tree, or whatever. The 
dentist merely tells him that the next 
time he comes to a certain place on the 
road, а clearly-defined and casily-recog- 
nizable place, he will suddenly spin the 
wheel to the right. Nothing to 


ste 
it, really. 

OI course the problem may be com- 
plicated if the matter comes to the at- 
tention of the increasing number of law 
enforcement officers who are studying 
hypnosi mental ignorance 
is still the rule, there will usually be, in 
y sizable police department, at least 
attering of knowl- 
d he can be 


While тот 


one man who has а sm 
edge 


bout hypnosis, 


One clearly demonstrable valu 
hypnosi lity to aid recollect 
Using groups of trained officers, 


that their 
bility to recall pertinent facts will be 
increased by hypnosis. The method is 
this: A group of police officers, listening 
to a lecture on hypnosis, аге suddenly 
startled by the apparent commission of 
murder under their eyes. Perhaps 
п staggers into the room, scri 
ing “Help me! ked man 
pears in the doorway, shoots her and 
runs. Before things get out of hand — 


test" 


wom: 


one demonstrator, forgetting that de- 
tectives are always armed, even if you 
can't see their pistols, nearly lost au 


actor — the men are told that they have 


seen a faked incident and are asked im- 
mediately to write down everything 
they can remember about it. Their 


counts will vary notably. 
put under hypnosis and 
what they remember. Almost invariably 
their recollection of det will 
what seems an astounding improvement 
Actually it is “astounding” only to those 
who don't know that the mind stores in 


Next, they are 
sked to tell 


the subconscious every impression it 
ev 


Some attempts to use this principle 
ve gone awry, however. One such case 
s a Chicago prosecution for kidnap- 
go in which an air- 
man had 
mapped her. Her ide was 
positive, bur at the trial it developed 
that Paul Newey, chief investigator for 
the State's Attorney, had twice put the 
stewardess into trance to aid her recol- 
lection. It was in this case that the pr 
siding judge, Thomas E. Kluczynsk 
characterized hypnosis as “hocus-pocus.” 
"The jury returned а non-guilty verdict. 

The potential of hypnosis in legal 
practice, on both sides of the courtroom, 
is fantastic. Supposing you commit m: 
ughter with an automobile and are 
picked up only because one headlight 
lens on your is broken. You tell the 
police that you broke the headlight in 
parking and scream for your lawyer, who 
arrives promptly and is closeted with 
a small roo: Aware of the 
ave taken the 
ning a lawyer who is 
adept in hypnosis. The lawyer (not too 
ethical, this one, and full of hope that 
the room is not bugged). 
puts you 
your mind all recollection of the inci- 
dent of your hitting the old man cross- 
ing the street. You now know that you 
did No amount of squad- 
room rough stuff will change your mind. 
You may be best advised to stay away 
from such hypnotic drugs as sodium 


ping a few months 
line hostess testified that a 


ication 


‘ds of existence, you 


precaution of reta 


not do it. 


amytal and other so-called “truth 
serums" but you сап confidently volun- 
teer to take a “lie-detector” test. Year 


ago, the writer stood off two of the best 
polygraph operators in the New York 
City Police Department for an hour and 
a half, completely confi them, by 
using only the shallowest trance state. 

To be on the safe side, your friendly 
barrister can provide a couple of solid 
witnesses. They'll be solid, all right, be- 
cause they'll be convinced, through 
hypnotic suggestion, that they were 
playing pinochle with vou twenty miles 
away [rom the scene of the crime. For 


"I can't figure how we got on it in the first place.” 


additional insurance, when the matter 
comes to trial, your lawyer can a 
himself of the probability thar amc 
the twelve people in the box there will 
be at least two superior hypnotic sub- 


jects, genuine somnambulists, on whom 
he can work to guarantee, at the very 


worst, a hung jury. 

Warfare is of course crime raised to 
the Nth power, and the name, rank and 
nationality of the first officer to ponder 
the use of hypnosis in warfare is known 
to no опе, That it has been so used, and 
for a very long time, is certain. Its most 
attractive utility is obvious: in the tra 
ing of secret agents. An agent whose only 
protection against torture is a poison 
vial sewn to the lapel of his coat may be 
а very brave man, but he will not be a 
wholly effective agent. But supposing he 
fully trained in hypnosis? Sup- 
posing there have been implanted in 
him the strongest possible post-hypnotic 
suggestions buttressing the “coverstory” 
without which no agent is ever sent out 
on an important assignment? Now he 
really does believe that he is not Agent 
518, he is M. Paul-Henri Delour, wine 


has beer 


merchant. His knowledge of wines is 
encyclopedic. His recollection of de 
is astounding. And, most of all, his 


mental agility and resourcefulness are 
superb because he is wholly serene. 
He is not a captured enemy agent, sub- 
ject to the death penalty. He is M. 
Delour, wine merchant. He knows he 

so he is tranquil and serene, he sho 
none of the nervousnes and tension 
that so often betray the spy to a clever 
counteragent. He will not fall into 
of the uaps that have brought death to 
y underground operators — and 


s 


so m 
some of them are fiendishly clever. 

One extremely resourceful Ger 
agent, picked up behind Allied 
during the Ваше of the Bulge was abso- 
Jutely "clean." There wasn wace of 
inst h 


ce m, 
stupid, semi-literate 
sant. But one of inter- 
rogators, a man of long experience, 
sensed that there was something, some- 
where, that did not ring quite true. He 
decided to attack the suspect's statement 
that he spoke no German. He 
many approaches, such as having 
man watched ca 
а sudden turmoil 
ridor, with cries of 
German. There was not 
to this mbit or a half 


less in his role as 
Belgian pea 


the 
n his cell while 
ed in the cor- 
re! Fire!" in 
flick 


of re- 


action dozen 
others. 

Finally, he had the man brought be- 
fore him. He asked him many questions 
in Flemish. He ed. He dropped to 
his desk the sheaf of papers he'd been 
holding. He looked up at the prisoner 
and smiled and said. in German, “Ob- 
viously, you're cent. You can go 
now.” The man smiled ‚ and had 


half-turned to the door before he caught 
himself — too late. 

А hypnosis-trained 
have been so trapped because he would 
have given himself a suggestion that he 
had forgotten how to speak German — 
and he would have forgotten. 

Much more complicited usa 
possible, Estabrooks points out the pos- 
sibility of setting up actually varying 
personalities in one man, so that on one 
layer he would be truly a dedicated 
Communist, for inst and on an- 
other layer uuly а dedicated. anti-Com- 
munis. Such an agent would be tre- 
mendously effective in the circumstances 
for which he had been trained. 

“Brainwashing” is a relatively new 
wrinkle in warfare and international 
skullduggery and its relationship to hyp 
nosis is obvious. Actually, brainwashing 
indudes rational appeals, reflex condi- 
tioning and hypnosis all at the same 
time, practiced under ideal circum- 
stances, with an opportunity for endless 
The world witnessed the re 
sults in Stalin's time, when many old 
line Russian Bolsheviks stood up and 
denounced themselves and were led away 
to die for crimes everyone knew they 
amitted. With the political 
nforced concentration, the 
have the ideal human 


gent could not 


nce, 


repetition. 


id not cd 


pri 
Communists 
guinea pig for their experiments in re- 


nds. Here is the proof, 
if further proof is needed, that the Ru 
sians have indeed developed Pavlov's 
simple conditioned reflex to a highly 
sophisticated art. Men of many stripcs 
and backgrounds have borne false wit- 
ness against themselves in open court in 
Moscow, without the aid of drugs or 
physi torture, and been taken out 
and shot. It is torture of a far more 
jous kind that dulls the conscious 
enters the subconsciou 
pe 
the 


mind and thei 
where no will to resist е 
and 


ists, to sha 
tes of 


remold to the 


If these things are possible with hyp- 
nosis as it is rather crudely practiced 
today, what must tomorrow hold, since 
we must assume that advances in this 
technology will be made? Hypnosis is an 
old art in history, but very young in the 
light of the brief time that has passed 
since men began to seriously study it 

Hypnosis offers man а means of influ- 
encing and controlling both himself and 
those around him, to a degree only now 
aguely hinted at. It is imperative that 
we draw the dark curtain of supersti- 
tion and disrepute away and study most 
seriously hypnosis апа its implications 
as they affect the behavior of mankind. 
There is a very great need Гог legisla- 
оп, for controls, and most of all, for 
greater public understanding. Hypnosis 
offers too 
evil, to be left any lon 


vat a power, for good or 
er in the shadows. 


PLAYBOY ALL-STARS 


(continued from page 84) 
Monk, at least the djs seemed to be 
scheduling more Ella and less Fabian. 

Television, except for a couple of fine 
shows оп CBS’ Robert Herridge Theatre 
(one with Miles and Gil Evans, another 
with Ben Webster and Ahmad Jamal) 
was quiescent. The use of semijazz 
scores om cops-‘n'-robbers stanzas con- 
tinued, but jazz spectaculars and big 
loot sponsors just couldn't see cach 
other. Happ acts as Lambert, 
Hendricks and Ross, rarely seen on TV, 
could still be dug on Playboy's Pent- 
house 

A more durable form of jazz subsidy 
appeared on the academic level. By late 
1960 it had become clear that the tend- 
ency to treat jazz as a subject for study 
was no passing fad. The jazz dinic at 
the University of Indiana expanded its 
courses from one to two weeks, with 
Stan Kenton, Russ Garcia, Conte Can- 
doli et al. on the faculty. Oscar Peter- 
son, Ray Brown, Ed Thigpen and some 
academically-minded cronies in Toronto 
started а series of four-month courses in 
jaz playing апа writing at their Ad- 
nced School of Contemporary Music 
in Toronto. Twenty-six groups com- 
peted at Notre Dame in the second an- 
nual Collegiate Jazz Festival. Dave Bru- 
beck and Paul Desmond were among the 
judges at an Intercollegiate Jazz Fest 
val held at Georgetown U in Washing- 
ton, D.C. Iowa State Teachers College 
held its twelfth annual Dimensions in 
Jazz concerts. 

Having perused Billboard's files and 
checked these findings with other re 
liable sources, we've come up with six 
of the top jazz sellers of the year. Alpha- 
betically, they are: Cannonball Adderley 
with Quintet in San Francisco on River 
side: Miles Davis with Kind of Blue and 
Sketches of Spain on Columbia; Pete 
Fountains New Orleans оп Coral: 
Ahmad Jamal with the continued suc 
cess of At the Pershing as well as Al the 
Penthouse on Argo: Henry Mancini 
with the deathless Peter Gunn and Mr. 
Lucky of TV on RCA Victor; George 
Shearing with White Satin on Capitol. 
riavsoYs own third LP package, The 
Playboy Jazz All-Stars, 
featuring three 12” ¢ 
all the winners of the previous poll, in- 
cluding recorded highlights from The 
Playboy Jazz Festival, sold more copies 
than the first two rrAYno. jazz volumes 


v, such 


Volume Three, 


combined 

As the year drew to a close, 
and PrAYsovrcading jazz buffs alike 
were again asked to name the artists 
who had impresed them most during 
the previous twelve months The win 
ners of the rrAvmov readers’ poll. the 
biggest popularity contest in jazzdom— 
and bigger this year than ever before — 
each took a place of honor on the maga- 


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PLAYBOY 


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zines dre the 1961 
Playboy All-Star Jazz Band. The jazz 
stus themselves, winners in last ycar 
poll. were asked to choose their own 
Favorite in each category for our Playboy 
All-Stars honors. In some cases the mu- 
sicians and the readers choices were 
identical: in other cases, they differed 
radically, АП the winners will receive 
the coveted sterling silver Playboy Jazz 
Medal. 

The jazz artists who won medals in 
last year's contest and were thus eligible 
to vote in this year’s All-Stars’ All-Stirs 
balloting were: Louis Armstrong, Chet 
Baker Bostic, Bob 
Ray Brown, Dave Brubeck. Miles Da 


Brookmeyer, 


Buddy DeFranco, Paul Desmond, Duke 
Ellington, Ella Fivgerald, the Four 
Fieshmen, Stan Getz, Dizzy Gillespie, 


Benny Goodman, Lionel На 
man Hawkins, Milt Jackson. | 
son, Stan Kenton, Barney. Kessel, Shelly 
Manne, the Modern. Jazz Quar 
Mulligan, 
den and Kai Winding. 

ALLSTARS ALL-STAR 
still outran 
ton placed ahead of Basie for the 
musicians own choice of the outstand- 

g bandleader of the year the second 
row; together Ellington. and 
ed a majority of their fellow 
п те 


проп, Cole 


. J. John- 


A Duke 
а Count among jazz royalty, 


LEADE 


in third BERT An odd wick of fate 
tied two veterans, Evans and Kei 
(both born in 1919), for fourth place, 
while similarly linking two youngsters 
right after them, Jones (1933) and Mulli- 
gan (1927), in sixth place. 1. Duke Elling- 
ton; 2. Count Basie; 3. Maynard. Fergu- 
4. G i, on; б. 
Quincy Jones, Gerry 

ALLSTARS’ ALLSTAR TRUMPET: A 1960 
LP by Dizzy Gillespie, titled The Great- 
est Trumpet of Them All, proved a 
truism as Dizzy took this crown for the 
second tin Miles Davis was а 
second again as a favorite with his fel 
low jazzmen, and, interesting to note, 
Davis’ original idol, Clark Terry, w 
finalist this year, placing in fourth pos 


non 


son 


close 


Чоп after Art Farmer, which dropped 
Satchmo down a position. 1. Dizzy Gilles- 
pie; 2. 3. Art Farmer; 4 


- Louis Armstrong, Roy 


Eldridge. 
ALL-STARS" AL 


STAR TROMBONE: The 
fist three musicians’ choices— J. Je 
Brookmeyer and Teagarden — аге also 
members of the readers’ All па. 
but Kai Winding, who hus managed to 
win a place of honor five times in 


in the reader Б 
with the musicians this year. 
Fuller, a youngster heard in carly 1960 


with the Jazztet, moved up into fourth 
place, however, 1. J. J. Johnson; 2. Bob 
Brookmeyer; 3. Jack Teagarden; 4. Cur- 


tis Fulles Urbie Green, Bill Harris. 


ALL-STARS" AR ALTO sax: The 
candid Cannonball calls won out over 
the delicate Desmond tones that earned 
Paul first place "s poll, as 
well as both yems’ readers’ polls. The 
controversial Ornette Coleman found 
himself in fourth place, a possible prel- 
ude to still stronger showin in the 
future. 1. Cannonball Adderley; 2. Sonny 
titt: 3. Paul Desmond; 4. Ornette Cole- 
; 5. Lee Konitz. 

ALL-STARS) ALLSTAR TENOR SAN: А vic- 
tory im absentia (he spent the entire 
year in Europe) showed the firmness of 
the Getz grip as St nedal 
from fellow musicians for the second 
year. On the other hand, Sonny Rollins’ 
year in complete retirement toppled 
him from the top five. Zoot Sims’ felici- 
tous teamwork with Al Cohn and Luter 
with Mulligan lifted him from filth to 
second place. 1, Stan Getz; 2. Zoot Sinis; 
3. John Coltrane; +. Ben Webster; 5. 
Coleman Hawkins. 

ALLSTARS) ALLSTAR BARITONE 
category, lor readers and mu 
remains Gerry's private b: y 
h only two other baritone men in 
existence as lar as musicians arc con- 
cerned; the fourth and filth spots re- 
in blank. 1. Gerry Wulligem; 2. Harry 
3. Pepper Adamı: 
ALLSTARS’ ALLSTAR CLARINET: Benny 
oodman returned to [ullscale activity 
п 1960, jumped up from the Iourth spot 
and almost took the silver medallion 
away hom DeFranco. Buddy, however, 
wound up w lal, while 
Tony Scott replaced Peanuts Hucko as 
a finalist in the top five. 1. Buddy DeFranco; 
2. Benny Goodman; 3. Jimmy Giullre; 
4. Jimmy H Tony Scott. 

ALLSTARS ALLSTAR pano: Out of the 
due to his running legal 
with Colnnbia Records, Erroll 
fell [rom first to third place with 


1 won a silver 


SAX: 


h his second пи 


Lou; 5 


LP limelight. 
battle 


fellow jazz artists, while Peterson 
scored resoundingly, caring more 
points than Gamer and second place 


Evans combined. 1. Oscar Peterson; >. Bill 


Evans; 3. 4. Dave Bru- 
beck; 5. Horace Silver. 
ALLSTARS ALL-STAR GUITAR; The im- 


movable Barney Kessel was again Tol- 
lowed by Jun Hall, but Val Е 
1 retirement, dropped out, while Wes 
Montgomery, who did not place lust 
finished. third. 1. 


low, now 


yea Barney Kessel; 2. 
Jim Hall; Montgomery; 4. 
Kenny Burrell; 


ALLSTAR: problem 
at all for Ray The Peterson 
Trio's magnificent suing man has now 
won himself eight rLayuoy victories — 
five from the readers, three. from. mu- 
sicians — which means that he has 
picked up all the marbles in every 
praynoy poll. This year, the АШ 
musicis him more points than 
the other four finalists combined. 1. Ray 
Paul Chambers; 3. 


Brown. 


Brown; 2. 


Duvivier; 4. Milt Hinton; 5. Red Mit- 
chell. 

ALL-STARS’ ALLSTAR DRUMS: Philly Joe, 
most edged out Shelly Manne last 
year, finally made it this time in a tou 
two-way contest with Art Blakey, Mulli- 
gan's West Coast stick expert, Mel Lewis. 
was a surprise recipient of the third spot 
as Shelly slipped to fourth, while Buddy 
Rich and Max Roach disappeared en- 
tively from the top five listings, leaving 
filth place to Brubeck’s Joe Morello. 1 
Philly Joe Jones; 2. Art Blakey; 3. Mel 
Lewis; 4. Shelly Manne; 5. Joe Morello. 

ALL-STARS” ANEQUS IN- 
smuss: This year. Milt Jackson re 
d more votes from his fellow mu- 
ns than almost anyone else nomi- 
nated in their balloting. Dom Elliott 
remained in second place. Victor Feld- 
man, who tied him List year, slipped to 
fifth. Gibbs, Hampton and Stuff Smith 


who а 


are all newcomers to this category. 1. 
Milt Jackson, vibes; 2. Don Elliott, vibes 
and mellophone; 3. Terry Gibbs, vibes; 
4. Lionel Hampton, vibes; 5. Vic Feld- 
E vibes, Stull Smith, violin 
ALL-STARS’ ALLSTAR MALE VOCALIST: 
No significant changes here. Sinatra’s 


r lease on PLAYROY'S VO- 

seems unlikely to be 

able future. 1. Frank 
Nat “Ki 


ninety-nine 
cal penthouse 
broken in the forcse 
Sinatra; 2. Joe Williams; 


Cole; 4. Ray Charles; 5. David Allen. 
ALL-STARS’ ALLSTAR FEMALE VOCALIST: 
Ella Mack-the-Knifed her way to the 


top by a fantastic margin, earning more 
musicians’ votes than anyone else in any 
category. Though the divine Sarah took 
second place once again, the rest of the 
votes were scattered, with a four-way t 
for fifth place. 1. Elle Firzgereld 
3. Dinah Washington 
. Helen Humes, Lurlean. Hunte: 
ckson, Teddi 
ALL-STARS’ ALL-STAR INSTRUMENTAL COM- 
Miles Davis moved [rom second to 
first place, easing John Lewis" M JQ down 
to second. Brubeck and Peterson held 
onto their 1960 slots, while Cannonball, 
whose quintet was newly formed at the 
time of List year's. poll, appeared in th 
top five for the first time Y. Miles Dev 
Quintet; 2. Modern Jazz Quartet; 3. Daye 
Brubeck 4. Oscar Peterson 
Trio, 5. Car l Adderley Quintet. 
ALLSTARS” ALLSTAR VOCAL 
gh they took it from the 
Пе more than a qu: 
bert, Hendricks and Ross managed to 
win the musicians’ balloting for the 
second straight year. Except for the Four 
Freshmen, the other vocal groups who 
placed are newcomers to the top five in 
this category. 1. Lambert, Hendricks and Ross; 
2. Hi-Lo's; 3. Four Freshmen; 4. King 
Sisters, Mills Brothers; б. Andy and the 
Sisters, Jackie Gain and Roy Kral. 
More readers cast their ballots in the 
1 Playboy Jazz Poll than in 
s inception, but the 1961 
All-Star Jazz Band was little 


nonb: 


Playboy 


“Would you mind leaving a bit early tonight, Gerald? 
My press agent wants me burglarized and raped in 
lime for the morning edition.” 


131 


PLAYBOY 


132 


changed from last y 
gation. A place in this utopian jazz 
ensemble, once won, is given up about 
readily as a seat on the Stock Exchange 
Loval readers and new-found fans joined 
forces to keep almost all the members 
in their 1960 places. However, there were 
some changes at the top of the various 
sections, some positions were held only 
after а real struggle, and there was con- 
siderable moving about in the positions 


car's mythical aggre- 


directly below the winners’ cirde. 
Stan Kenton, all dynamic six-feet- 
for aches of him, towered over the 


competition to remain chosen leader of 
the All-Stars for the fifth straight year. 
Count Basic managed to move up from 
third place into second place, dropping 
Duke Ellington down to third. Miles 
Davis, Louis Armstrong. Dizzy Gillespi 
again appeared i s the tr 


that order 
umphant tiumvirate of trumpets, but 
the fourth winning chair found а "new" 
man playing in the Playboy All-Star 
brass section, as swing-era stylist Jonah 
Jones, in his fifticth vear, captured the 
honors. Italy-based Chet Baker lost his 
place among the Playboy All-Stars for 
the first time in the five years the poll 
1 п existence. dropping all the 
К sixth place, while Maynard Fer 
guson moved up seventh to filth, 
d Art Farmer, in his first flush of 
me as mbed from ninth 
to seventh. Filling out the brass section 
was the same firmlyset trombone four- 


5 been 


ay to 


some that has now won five vears in a 
row: J. J. Kai Winding, Brookmeyer 
and Teagarden. 


Bossmanship paid olf. too, for Cannon- 
ball Adderley, moved up from 
fourth to second place, and а silver 
medal, just behind top man, Paul Des- 
mond, of the Dave Brubeck Quartet. 
Cannonball's shot dropped Earl Bostic 
out of the winners’ circle, to third. Or- 
nete Coleman, plastic saxophone in 
hand, blew his way from twenty-fifth 
place in last year’s poll to sixth in '61. 

What they heard on LPs was enough 
to convince readers that Danish resident 


who 


Stan. Getz still belongs in the winning 
sax section, with Coleman Hawkins, 
Gerry Mulligan and Benny Goodman 


still ed by his side as members of 
the reed dream team. On tenor, John 
Coltrane moved up from sixth to third 
place, just outside the chosen few, and 
on clarinet, Pete Fountain moved from 
fifth to second. 

The piano bench, always one of the 
hotly-contested. the 
reader poll, tumed out to be in doubt 
until the very end of the balloting. But 
by the November I cutoff date, Dave 
Brubeck had moved into the top posi- 
tion, recapturing the spot he lost to 
oll two years ago. and Garner had 
collected enough votes to hold onto sec- 
ond place; Ahmad Jamal was third, but 
with very few votes separating the top 
three. 


seats in 


AYBOY 


Barney Kessel, the annual gı 
ner, had a surprise runner-up in. Chet 
Atkins, а part-time jazzman, whose Nash 
ville All-Stars have had quite a bit of air 
play lately. Chet did по better than a 
tie for twenty-ifth. place last year. The 
excellent Charlie Byrd, seventh їп 1960, 
rose to fourth place in the readers’ pop- 
ularly poll. Ray Brown was the first 
bass man, as usual, but СІ 
surprised us by leapi 
second position, while Paul C| 
amassed enough additional votes to move 
up from sixth place to third. If Oscar 
Pettiford had lived, hi would 


votes 


have placed him їп fourth position. 

(Artists deceased. belore our publication 

date are not shown in the results.) 
Shelly M 


une, the West. Cons 
g top honors in th 
poll, but had no c 
iting out the opposition for the fifth 
time in а row when the readers cast 
their votes for skin man of the 
Playboy All-Star Jazz Band. Lon 
favorite Gene Krupa remained in second 
place, and Brubeck’s brilliant Joe Mo- 
rello moved up from fourth to third. Art 
Blakey moved up from eighth. position 
to fourth, and Philly Joe Jones, the 
musicians’ choice as outstanding dram- 
mer of the year, placed ninth with read- 
ers. Lionel Hampton hammered out a 
victory on his vibes for the fifth year 
ina row under the Miscellaneous Instru- 
ment category, followed again by Ше 
musicians" favorite, Milt Jackson. Miles 
Davis’ popularity on any sort of horn 
gave him sixth place for his Flügelhorn, 
1 instrument for which he was not even 
nominated а у 

Until “The Voice 
or stick strictly to acti 


1961 


шо. 
decides to retire. 
g. there seems to 


be litle chance of his being displaced 
п the Male Vocalist department, but a 
number of relative newcomers were 


scrambl 
Si 


ng for the positions just below 
ta. Johnny Mathis, with song styl- 
s that become more sweet and 
with each new bestselling LP. 
held omo the second-place posi 
moved into two years ago. An extremely 
popular r & b singer for the last hali- 
dozen years, Ray Charles moved from 
n so into third 
place (two years ago be could not gather 
enough votes to even find a place in the 
1059 listings), Bobby Darin, Hesh out at 
his teens and his dedication to rock^n'- 
roll, me now with (like 
Charles) а smash and 
bestselling LPs, as Darin at the 
Copa; he’s moved up from sixth place a 
year ago into fourth. Bobby, too. 
nowhere to be found in the final listings 
two years ago. With all this scrambling 
for attention 
tively new ıt “King” Cole 
has dropped in position from fourth to 
hth, while actually receiving a 
number of votes than а year ago. Jon 
Hendricks, of Lambert, Hendricks and 


ter bigger gi 


was 


the reli 


vocalists, 


arger 


Ross, moved up impressively to tenth 
position, following: his first nomination 
in the Male Vocalist category, Frank 
D'Rone, still one of the best new vocal- 


ists around. although relatively un- 
known, rated nearly the same as last 
year, while amassing nearly one third 
me votes, Bill Henderson. who re- 
cently triumphed at The Playboy Club 
in Chicago. is another up-coming jazz 


alist to keep an eye on; he copped 
rs Down Beat jazz poll award as 
an outstand; new vocal talent. 

Ella Fiugerald is, of course. 
placcable in her top spot 
in his: but directly and distantly below 
the First Lady of Song are a number of 
talented chirpers who are very close to- 
gether in the ratings. June Christy s 
has second place, a spot she’s held since 
ng of the rLavnoy poll five 
years ago. Right behind her this year. and 
just a handful of votes off the pace, is 
Julie London, replacing Dakota Staton 
in the third-place spot. Peggy Lee has 
moved up from eighth position to fourth. 
Nina Simone, almost entirely unknown 
until less than moved 
from ninth up to fifth, tr 
with Keely Smith. 

Dave Brubeck won top Instrumenta 
Combo honors in the readers’ poll for 
the fifth year in a row. Despite Ahmad 
I's strong showing on piano, he was 
unable то hold onto the second spot: the 
MJQ коиш, t, dropping the Jamal 
nd x Miles Davis 


two yeas ago, 


g for Vocal Grup TOS 

upset: а rousing vic- 
onal Lambert, Hen- 
put 
ingements of 
H & R's 
ned them 


The voti 
something of an 
tory for the sens 
dricks and 
words to the big 
Basie and others. 
appeal to fellow-mu 
a victory in the AILSt 
ment a year ago, and again (but | 
narrower margin) in 1961, their 
victory in the readers’ balloting was es 
pecially impressive when you conside 
that they relegated to supporting posi- 
tions such firm popular favorites as The 
ton Trio (second again), the Fou 
shmen (down from first to third) and 


own 


who 


Ross, 


first. 


Followi ion of the Dun: 
dreds of thousands of votes cast in this. 
biggest of all jazz polls, with the names 
of the jazzmen who won a place on the 
1061 Playboy All-Star Jazz Band set in 

а In some categories, there аге 
two or more winners to make up the 
complement of a fullscale jazz orches- 
tra. Artists receiving less than one hun- 
dred votes are not listed; in categories 
where two choices were allowed, those 
receiving less than two hundred votes 
¢ not listed; in categories where four 
votes were allowed, no one with under 
four hundred votes iy listed. 


LEADER 


T. Stan Kenton .- 
2 Count Basie . 
3. Duke Ellington 

Нету Mancini ... 
5. Ray Сопіт 
6 Maynard Ferguson 
7. Gil Evans 
8. Gerry Mull 
ппу Goodman . 
Riddle . 
Quincy Jo 
12. Pete Rugolo 
13. Dizzy. Gillespie. 
14. Lionel Hampton . 
15. Shorty Rogers 
"Ted Hea 
Les Flgart 
Ray Anthony . 
Michel LeGrand . 
Les Brow 
Woody Herman 
22, Billy M: 
23. Harry Ја 


TRUMPET 


т. Miles Davis ... 
2. Louis 
3. Dizzy Gillespie 

4. Jonah Jones 
Maynard Ferguson 


y Rogers 
Bobby Hackett .. 
Nat Adderley - 
Harry Jame 
Billy Buuerfield . 
3. Ray Anthony 
14. Red Nichols 


18. Conte Candoli . . 
Lee Morgan 

Cat Anderson. .... 
Bob Scobey 

. Buck Clayton 
Charlie Shavers 
Wild Bill Davison. 
Kenny Dorham 
а 


Don Fagerquist . 
31. Joe Newman .. 
AL Hirt .- 
. Blue Mitchell 
Frank Asunto ~ 


TROMNONE, 


1. J. J. Johnson. 
п. Kei Winding 

3. Bob Brookmeyer 
4. Jack Teagarden . 
5. Buddy Morrow. . 
6. Frank Rosoli 
7. Urbie 
8. Turk Murphy . 
9. Truammy Young. 
Kid Ory 

Curtis Fuller 
Slide Hai 
. Jimmy Cleveland . 


Green 


Armstrong ... 


--. 5,530 


. 2881 


1.365 
1297 
1985 
ШЕ 
1097 


1879 


. Carl Fontana 


. J. C. Higginbotham. . 


. Wilbu 


. Bobby Burgess . 


cn 


. Benny 


Juli 


. Bud Shank ..... 
. Joh 


. Sonny 
ET 


. Pete 
. Charlie Mariano .. 


. Al Belletto ... 


Benny Green ..... 
Milt Bernhart. 


Bill Harris 
Tyree Glenn. 
De P 
Fred Assunto 
Vie Dickenson . 


Abe Lincoln 


Quentin Jackson 
;onrad Janis 

Lawrence Brow 
Kent Larsen .. 
ттау McEacl 
Jimmy Knepper 
Powcll 

Lou McGari 
ob Enevolds 
» Prie 
Britt Wood: 


ALTO SAX 


Paul Desmond -. 


arl Bostic 


/ Hodges 
Ornette Coleman 
Art Pepper . 

itt 
Lee Konitz ... 
Zoot Sims ..... 
ny Carter 
Nichaus 
Brown . 


Lou Donaldso 
ackie McLean 
ames Mood: 


b Geller . 
i Сусе... 
Willie Smith . 


Hymie Shertzer .. 
Gene Qu 
Hal McKusick .. . 
Jerome. Richardson. 


TENOR SAX. 


Stan Getz 


1.944 


- 12,280 
Cannonball Adderley.7,876 


220 
216 


- 10,258 
- 5,633 


Coleman Hawkins - 


John Colt 
onny Rol 


ne 


Jimmy Giuffre 
Zoot Sims 
Paul Gon 
Bud Freen 
сое Auld 


. Dave Pell 


Benny Golson 


Sonny Stitt -. 
Ben Webster 
o Musso 


ooper . 
Taylor 

Richie Kamuca . 
Bill Perkins . 
p Phillips ... 
mes Moody . 


. 5,077 


AUCE 
. Bob 


3,116 
878 


1,020 
991 
903 
БЕП 
880 
875 
763 
683 
637 
538 


‚ Jack Montrose .. 


. Pee Wee Russ 


. Sol Yaged 


. Les McCann. 


«f Lateef 
Buddy Tate . 
Jimmy Heath 
ddie Miller ...... 


Hank Mobley ....... 


Gene Ammons 
nk Wess 
John Griffin 
Bobby Jaspa 


Bill Holman . 


Paul Quinichette. 
Lucky Thompson 


BARITONE SAX 


Bud Shank . 
Pepper Adams . 
Hany ( 
Al Cohn 
Jimmy C 
Tony Scott... 


Lars Gullin ... 
Cecil Payne ... 
Charles Fowlkcs . 
icks 


сла 


Buddy DeFranco 


. Woody Herman ..... 


lony Scott 
Buddy Coll 
Art Pepper .... 
Matty Matlock 
Jimmy Han 
Sam Most .... 


Paul Horn | ..... 
Edmond Н 


Barney В 
Bill Smith 

Peanuts Hucko 
Jerry Fuller 
George Lew 


PIANO 


Dave Brubeck .... 
Erroll Garner . 


. Ahmad Jamal .... 


Andrė Previn- 
George Shear 
lonious Mou 
Oscar Peterson 

Horace Silver . 
Duke Ellington 
Count Basie 
John Lewis .... 
Ramsey Lewis 

Bill Evans ..... 
Teddy Wilson 


. Eddie Heywood . 
. Nina Simone 
. Red G 


тапа 
Wynton Kc 


Earl “Fatha 
Ray Bryant 
Mose Alliso 
Bob Darch . 
Don Shirley ... 


Billy 
Bobby Timmons . 
- Lennie Tristano 
. Bud Powell 

. Hampton Hawes . 
Pete Jolly 


GUITAR. 


Burney Kessel 
Chet Atkins 
- Eddie Condo 


7. Laurindo Almeida 
Wes Montgomery . 
ке Burrell 
Herb Elis .. 
. Les Pau 

I Salvador 

. Jim I A 
. Mundell Lowe .. 
George Van Eps. - 
Freddie Gr 
Топу Mottola . 
. Tal Farlow ..... 
. Joe Jones... 
Oscar Moore . 
Al Viola ..:... 


"mm 


12} 


Chuck Wayne ... 
. John 


m 


Ray Brown ......... 
. Charlie Mingus . 
Paul Chamb 
- Leroy Vinnegar . 
. Percy Heath .... 
ли Bates .. 
7. Red Mitchell .... 
Chubby Jackson . 
. Israel Crosby ....... 
. Buddy Clark 
Arvell Shaw 
Eddie Safranski .. 
Gene Wright ....... 
Milt Hinte 
. Bob Нардан. 
. Don Bagley 
m Joi TEE 
Monk Montgomery 
Slam Ste 
El Dee Young 
How 1 Rum: 
McKibbo 
Joe Benj 
24. Seouy Lak 
e Jones 2 
Hender 
Hawksworth.... 
rge Duvivier ..... 
99. Joe Mondrago a 
30. Johnny Frigo ........ 
Jimmy Woode ....... 
Bill Crow 
Wendell. Marshall 
George Morrow 
Richard Davis .... 
Curtis Counce 
36. Carson Smith -~ 
38. Mort. Herbert 
39. Doug Watkins .. 


on 
MI 


989 
ШИ 


› 


133 


PLAYBOY 


134 


T. Shelly Manne 
Э. Gene Krupa ......... 3506 
3. Joe Morello 


DRUMS - Moe Koffman, flute... 
. Milt Buckner, organ. . 
- Victor Feldman, vibes. 
21. Је: icle- 

mans, harmonica 


4, Art Blakey 


5. Chico F 1,803 . John Graas, 

6. Cozy Cole . 1.053 French Worn ....... 

7. Max Roach . 1417 | 97 

8. Buddy A 1294 | »s. 
Philly Joc Jones...... 1258 French horn . 

10. Jo Jones 639 | 29. Joe Ven 

11. Louis Bel i 619 | 30. Peter Appleya 
Sonny Payne . ‚ 445 Steve Lacy, soprano sax 
Candido os) Buddy Montgomery, 

к . 207 vibes .. 


5. Vernell Fournier 33. Joe Ru: 


ton, bass sax 


am Woodyard 219 | 34. Clark Terry, 
17. Stan Levey .... 219 Fhigelhorn ..... 


18. Joc Dodge . 
19. M. 


A Lhigpén........- 129 " 
T. Frank Sinati 
24. Red Holt . 126] y TERIS, CU 
25. Louis Hayes ........, 125] § Rav G 
36. George Weuling ..... 17] | 


2. Milt Jackson, vibes 


3 


4. Herbie Ma 


6. Miles Davi 


. Stull Smith, 
- Cy Toull, bass trumpet 


Ray Bauduc MALE YOCALISE 


. Bobby I 


De 4... Belafonte .... 


King" Cole 
Sammy Davis, 
Jon Hendricks... 
Frank D'Ronc . 
. Mose Allison - 
. Louis Armstrong . 
Brook Benton 
Jimm 


- Lionel Hampton, vibes 6,535 


Tjader, vibes. .... 9. 
n. ше. 
. Red Norvo, vibes... 


Fliigethorn 


7. Candido, bongo .. 16. Tony Bennett р 
8. Don Elliott, 17. Fats Domino. . 

ibes & mellophone. 786 | 15. Buddy Greco .. 
9. Terry Gibbs, vibes... 785 | 19. David Allen ... 

10. Bud Shank, flute-..... 750 | 90. AI Hibbler 3 
11. Art Van Damme, 21. Andy Williams ..-... 
accordion . ++ 729 | 92. Bill Henderson .. 

Shorty Rogers, 23. Bing Crosby м 
Flügelhorm ........ 103 | 24 Billy F d 
13. Jimmy Smith, organ.. 701 | 25 млепсе ...... 
11. Buddy Collette, flute.. 464 | 95. Perry Como 
1 Wess, flute. . - Frankie Laine ....... 
16. Yusef Lateef, flute. Mark Murphy ....... 
17. Shirley Scott, organ... Pat Boone ~ 8 
18. Fred. Katz, cello . . Vic Damone " 
19. Bob Cooper, oboe .... - Roy Hamilton ....... 
E A 


. James Moody, flute 


ny Witherspoon... 


FEMALE VOCALIST 


1. Elle Fitzgerald - 
2. June Christy 


Dakota Staton 
h Vaughan 
hris Connor ... 
Keely Smit 
ODay . 
Day . 

h Washington ... 
Gormé ... 
hie Ross .. 
Mahalia Jackson 
Par Suzuki х 
. Pearl Bailey .... 
18. Lena Horne . 
19. Jaye Р. Morg 


mestine Anderson. 
EG 


Reese . 


INSTRUMENTAL COMBO 


. Dave Brubeck Quartet 5,892 


3. Ahmad Jamal Trio 
4. Miles Da 


1 
2 Modern Jazz Quartet. 
" 
1. 


Quintet... 


Armstrong 
All-Stars 


8. Dukes of Di: nd 
9. Jonah Jones Quartet. . 
10. Art Blakey and the 
Jazz Messe 
Н. Art Farmer. B 
olson Jazztet .. 
. Ramsey Lewis Tri 
Erroll Garner. Tri 
André Previn 
and his Pal 


16. Oscar Peterson Trio. 
17. J. J. Johnson Sextet. 


2320 
2301 
2485 
1858 


19298 


99 


. Chico На 


оп 
Quintet : 
Horace Silver Qu 
Australian Jazz 
Quintet eee 
Cal Tjader Quartet. . 
Red Nichols 
Five Pennies ....... 
Thelonious Monk 
Quartet 


- Kai Winding Septet... 


25. Ornette Coleman 


. Chet Baker Qı 


- Four Lad 


. Cadi 


Quartet |... sue 


Gene Krupa Qu 
Shorty Rogers’ 


. Art Van Damme 


Firehouse Five plus 2. 
Dizzy Gillespie Quintet 


nd . MU 
orvo Quintet. . . 


Red 
Bob Scobey's Frisco 


Band . 
Wilbur De Paris Sextet 


VOCAL GROUP 


Lambert, Hendricks & 
Ross . 

Kingston Trio 

Four Freshmen . 


y Stone Four. 
Mills Brothers .. 
Mary Kaye Trio. ..... 
Jackie Gain & Roy Kral 
Weavers ..... 


‘Guire Sisters ... 


Modernaires 
John LaSalle Qi 
‘our Preps 

Brothers Four ..... 
identals 
Gateway Singers 


tet. 


265 


234 


163 
149 
M6 
no 


137 
131 


nz 
106 


639 
493 
413 


339 


305 


MONEY („сао page 52) 


neyed answers to whatever problems arc 
placed before them. He worries and frets 
about things that are trivial and super- 
ficial — even unto wearing what someone 
tells him is the “proper” garb for an 
executive in his salary bracket and to 

ing his split-level house in what some 
ny realtor convinces him is ап "ex- 


es’ subdiv 

Such a man defeats his own purpose. 
He remains a sccond-string player on 
he somewhat sophomorically likes 
all "the team" instead of becoming 
the captain or star player on the squad. 
He misses the limitless opportunities 
which today present themselves to the 
imaginative individualist. 

But he really doesn’t care. "| want 
security,” he declares. “I want to know 
that my job is safe and that I'll get my 
regular raises у ions with 
pay and a good pensian when I retire 
This, unhappily, seems to sum up too 
ny young men's ambitions. It is а con- 
ness and cowardice. 

There is a dearth of young executives 
who are willing to stick their necks out, 
to ert themselves and fight for what 
they think is nd best even if they 
have to pound on the corporation presi- 


Tru 


with his superiors may sometimes risk his 
job in the process, but а firm that will 
fire a man merely because he has the 


courage of his convictions is not onc for 
which a really good executive would care 
to work in the first place. And. if he is 
a good executive, he will quickly get a 
better job in the event he is fired — you 
may be sure of that, You can also be sure 
that the confor 
from the norm will stay in the lower — 
or at best middle — echelons in any firm 
for which he works. He will not reach 
the top or get rich by merely seeking to 
second guess his superiors The man who 


it who neve 


dares vary 


will win success is the in who is mark. 
«Шу different from the others around 
He has new ideas and can visualize 


fresh approaches to problems. He has 
the ability — and the will — to think and 
act on his own, not il he is 
damned or derided by “the majority” for 
his nonconformist ideas and action 

Among other things, the man who 
would be successful in business today 
must ignore the popular conformist la- 
ments about those factors which sup- 
posedly inhibit bus make it 
impossible" for businessmen to get rich. 
‘hese include the classic bugbears of 


caring 


ss and 


"confiscatory taxation, creeping social- 
ism, over-priced labor" and the "Com- 


munist tl " These are favorite alibis 
for incompetent conformists who must 
nd excuses to explain away their failure 
to accomplish more than they have. 

The excuses are lame. They will not 


stand up under even the most cursory 
examination. 

No one can deny that 
very high — but I don't 


now of a 
well-managed business that has been 


a single 


taxed out of existence. Nor am 1 able to 
go along with the oft propounded theory 
are making it impossible 
for business firms to expand. Bu: 
has burgconed throughout most pi 
tax years — and the expansion continu 
One need only glance over the pu 
lished Facts and figures that tell the stor 
of the current expansion programs bein 
carried out by companies all over the 
country to realize that. The versatile and 


imaginative nonconformists in business 
are being neither throttled nor held 
back by high taxes. (The personal in- 


come earners is another 
matter entirely. outside the purview of 
this article.) 

Labor costs? The honest demands 
made by honest labor unions are — more 
often than not—reasonable and justi 
fied. The worker wants a share of the 
wealth he helps to create — and he's jolly 
well entitled to it. After all, the Ame 
сап worker is the Americun business- 
man's best customer. The businessman 
would be hard put to sell his products 
the worker did not have the money with 
which to buy them. 

As for socialism, it may be creepi 
but it doesn't look to me that it has 
crept very far, The vast mu y of 
American businesses are pr 
— and there is no sign that thc situ 
will change in even the most dimly fore 
seeable future. 1 might add that I've 
often observed that the bu men 
who how! loudest about “creeping social- 
ism" are the first to clamor for govern- 
ment contracts—an apparent paradox 
which speaks volumes. 

‘Then, there is the “Communist threat." 
Unquestionably, this is a. very real and 
serious menace, The Communists openly 
boast they are fighting а no-quarter cco- 
nomic war against the Free World. T 
nterprise system can meet the g 
challenge only if its businessmen 
imaginative and forceful enough to de 
vise ever newer, better and more ehr 
cient ways of producing more and better 
goods and services at lower costs. The 
economic war will not be won by timid 
souls who ding to outmoded concepts 
апа methods. In my estimation, the 
ania for conformity сап do the Free 
[d's cause more harm than a dozen 
ita Khrushchev 

The point I'm trying to make with all 
this is that the broken-record complaints 
and alibis given by the tradition-bound 
to explain why they can’t succeed 
entirely without value. The real reasons 
men fail in this era of unprecedented 


fre 


prosperity and opportunity are that they 


are afraid — ог inept or downright 


competent — and pay far more attention 
to what the other fellows are doing than 
to their own affairs. 

The men who will make their marks 
in commerce, industry and finance are 
the ones with freewheeling imaginations 
and strong, highly individualistic person 
alities Such men may not care whether 
their hair is crew-cut or in a pompadou 
and they may prefer chess to golf — 
they will see and seize the opportu 
around them. Their minds unfettered by 
the stultilying mystiques of organization- 
man conformity, they will be the ones 
to devise new concepts by means of 
which production and sales may be in- 
creased. They will develop new products 
nd cut costs—to increase profits and 
build their own fortunes. These eco- 
nomic free-think re the individuals 
who create new businesses and revitalize 
and expand old ones. They rely on their 
own judgment rather than on surveys, 
studies and comm ps They 
refer to no manuals of procedural rules, 
for they know that every business situa- 
tion is different from the next and that 
no thousand volumes could ever contain 
enough rules to cover all contingencies 

The successful businessman is no n 
row specialist. He knows and under- 
stands all aspects of his business. He can 


єз 


spot a production bottleneck as quickly 
s he с; 


am an accounting error, rectify а 
sales campaign 
as a flaw in personnel procurement 
methods. The successful. busin 
а leader — who solicits opinion 
vice from his subordinates, but mi 
the final decisions, gives the orders 
assumes the responsibility for whatever 
happens. I've said it before, and 1 say it 
aguin: There is а fantastic demand for 
such men in business today— both as 
top executives and as owners and opera- 
tors of their own businesses. There is 
ample room for them ir s of 
business endeavor 

The resourceful and aggressive man 
who wants to get rich will find the field 
wide open. The Millionaires Club has 
a solid-gold membership card waiting for 


1 catego 


him. It's his. provided he is willing to 
heed ict upon his im ion, re- 
lying on his own abilities and judgment 


rather than conforming to patterns and 
practices established by others. 

The nonconformist — the leader and 
tor — has an excellent chance to 
ctae his fortune in the business world. 
He can wear a green toga instead of a 
gray Паппе! suit, drink yak's milk rather 
than martinis, drive a Kibit stead of 
a Cadillac and vote the straight Vegetar- 
ian Ticket — and none of it will make the 
slightest difference. Ability and achieve- 
ment are bona fides no one dares ques- 
tion, no matter how unconventional the 
man who presents them. 


135 


PLAYBOY 


PLAYBOY 
READER SERVICE 


Write to Janet Pilgrim for the 
answers to your shopping 
questions. She will provide you 
with the name of a retail store 
in or near your city where you 
can buy any of the specialized 
items advertised or editorially 
featured in PLAYBOY. For 
example, where-to-buy 
information is available for the 
merchandise of the advertisers 
in this issue listed below. 


rard Ri 
undig-M 
Consoles . 
Heathkit St 
Consoles . 
je Fleece Sock: 


rord Players. .......32 
jestic Stereo 


Ma 


McGregor Spor 
MGA 


1600" 
Tape 
ft Boats - B 
Strombsrg-Carlson Components 
Sylvania Sun Gun... 
Wembley Tics . 


Recorders 


Use these lines for informati 
about other featured merchandise. 


Miss Pilgrim will be happy to 
v of your other 


and drink, hi-fi, ete, If your 
question involves items you saw 
in PLAYBOY, please specify 

page number and issue of the 
magazine as well as a brief 
description of the items 

when you write, 


PLAYBOY READER SERVICE 
282 E. Obio Street, Chicago 11, TII, 


[13 vrs. for 514 (Save $7.60) 


O 1 yr. tor $6 (Save $1.20) 
Li payment enclosed  [] bill later 
TO 
name 
address 
city zone State 


Mail vo PLAYBOY 
232 E. Ohio Street, Chicago 11, Illinois 
026 


PLAYBOY’S INTERNATIONAL DATEBOOK 


BY PATRICK CHASE 


ane Yptrors OF PLAYBOY proudly an 
nounce the founding of Playboy Tours, 
new concept in sophisticated voyag 
and another major step (like our 
lestival and key clubs) in making the 
good rrAYmov life available to readers. 

Starting this April, will 
offer luxury trips to Europe, Mexico, 
Jamaica, Hawaii and other glamor out- 
posts round the globe. АП will be red- 
carpet tours with itineraries completely 


in keeping with the praynoy zest for the 
adventurously unusual. the tastefully 
urbane. Each tour will be assembled 


with a sage eye for membe 
congeniality of interests a 

The first Playboy Tour jets off p 
Europe from. New York, Chicago and 
Los Angeles April 29, to be followed by 
fifteen others, ng almost every 
week, with the last one scheduled to de- 
part October 7. Most of the tours will 
run twenty-three days and include six 
countries for $1440 (from New York). 

A typical European tour will start in 
England with five days in London, and 
a jolly good show of theatreing, 
estate hopping and 
sampling, move on to four da: 
followed by a two-day stay in М 
an excursion to a priv 
Cap d'Antibes. Then a visit to Monte 
nd on for five days savoring 
other four days will be spent 
nd, with luxury digs at the 
stock Lake Lucerne. 
activities checked off on our 
dipboard indude: а л. session in a 
Parisian Left Bank artists studio, din- 


«lubbi 


ner ata private Roman villa, vis 
Italian motion picture studio. 
on Switzerland's Lake Lucerne, back- 
stage visits at London's famed theatres. 

The Jamaican tours will be as ro- 
mantically he a rum swiz- 
Де on а palm-fringed beach — nine days 
at swank Mont and exotic Ocho 
Rios encompassing all the goodies we 
described in our Jamaica takeout 
(rLAvmov, January 1960) and more, at 
this most elegant Caribbean resort. Cost, 
including air fare (round trip) from 
Miami, $345. 

PLAYBOY's Mexican sojourn comes 
brightly wrapped in a nine- or fifteen- 
day  ficsta-filled package. with Mexico 
City and. Acapulco jor stopovers. 
For a good idea of the very special fun 
that’s planned, sec Playboy On the Town 
in Acapulco (in our November issue). 
Tour prices start at $420 for nine 
including air fare from Chicago. 

A tempting fifteen-day tour to Ha 
that will take in Oahu and the оше 
islands is in the advanced plan 
stage. Cost: from $414 to $633 plus 
farc from San. Francisco 

Whether you choose a j 
or an ери 
or Hav 
PLAYBOY staff member will be on h 
all proceeds with s 


s to an 
achting 


dy a brew a 


further write lo 


Chicago 


For 
Playboy Tours, 232 E. Ohio St., 


informalion, 


11, Illinois. 


NEXT MONTH: 


“THE ILLUSTRATED WOMAN"—NEW FICTION BY RAY BRADBURY 


MARLON BRANDO—THE TRAGIC METAMORPHOSIS FROM ACTOR TO 


MOVIE STAR 


FERRARI—MOTORDOM'S MAGNIFICENT MACHINE BY KEN PURDY 


PLUS A PICTORIAL ON “THE NUDE WAVE IN HOLLYWOOD” AND NEW 
ARTICLES AND SATIRE BY BEN HECHT, BARNABY CONRAD, RAY 
RUSSELL, JULES FEIFFER AND MORE “TEEVEE JEEBIES” BY 


SHEL SILVERSTEIN 


Making the blue-glass test is а very 
intriguing game. To play it, all you 
need are three blue glasses numbered 
1, 2, 3—three different brands of 
teh whisky—and a pretty girl to 
act as umpire. Actually, the pretty 
girl, while very delightful, is not es- 
sential. A friend or a waiter at your 
club orata restaurant can bea stand-in, 
The idea is very simple. It is to en- 
able you to judge impartially which 
Scotch is your favorite. The three 
brands of Scotch are served in identi- 
cally the same way (with soda, water 
or on the rocks) in the blue glasses, so 
that alllook alike and you will not know 
which glass contains which brand. 
Be sure one brand of Scotch is Old 
Smuggler. The other two can be any 


brands you like. Sip cach judiciously. 
Compare the flavor thoughtfully. Then 
decide which brand Я 


you like best, 

Which Scotch will 
you pick? Frankly, we 
don’t know. But we 
do know that among 
men who have made 
the bluc-glass test, 
Guy find that their 

cotch is Old 


125th ANNIVERSARY 


Smug ber: 


She Fashionable Scóteh _ 


86 PROOF BLENDED SCOTCH WHISKY 
IMPORTED BY W. A. TAYLOR & CO., N. Y.N, 
SOLE DISTRIBUTORS FOR THE U.S.A. 


Special Offer: Set of ou 
glasses etched with numerals 1, 2, 

to glasses used by 

Ideal for enjoying S. 

Send 81 per se 


P. О. Box 364, | 


make 
the 

blue-glas 

test 


JUMBO HEE JACKET—Jersey knit e to SCOTT APPAREL FOAM. $19.95. TEMPEST LIMBER JACKET Cobblestone knit bonded to SCOTT APPAREL E FOAM, B 95 
“р” 


...McGREGOR LIMBER JACKETS 


With Princeton's Bonded Astrotex? fabrics—McGregor’s great new knits bend with you, 
stretch with you, follow your every move without bunching or binding. Lightweight laminated 
SCOTT APPAREL FOAM insulation keeps you com- 


fortable, no matter how high or low temperatures get. u 
Swing through spring with the greatest of ease... ina 


new McGregor Limber Jacket! 


Апо boy-sted, boy-priced. Made in Canada, too. McGregor-Doniger Inc., New York 19, N.Y.
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