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Operakallaren, of Stockholm, Sweden, welcomes you
with Jansson's Temptation and Canadian Club

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PLAYBILL our BOND bomb-
shell (Secret Agent
36-24-35) keeping you cunningly cov-
ered on our November cover presages
ten-page tikeout on James Bond's Girls,
an eye popping pictorial rundown of the
ladies who make the cinematic 07's
screen life a thing of beauties. Accom-
panying text is by Richard Maibaum,
scriptwriter for all of the Bond Hicks.
The on-screen recipient of the gi

alter cgo and what is now his not-
so-private life in this month's exclusive
Playboy Interview.

Frederic Morton, author of our lead
fiction, Etta at Night, and the best-selling
biography The Rothschilds, filled us in
on the origins of Ela at Night: “Some
time ago, T went to Kitbühel—a glori-
ous Alpine village with ideal ski slopes
and snow, and fabulous scenery—to try
to perfect my skiing skill. 1 had heard
that it was a favorite winter resort for
Navi bigwigs during the years of Hitlers
ascendancy, but there were other aspects

of the place of which I was unaware un-
til I'd met some of the regulars and some
of the visitors and ski

instructors. and
d been a guest more than one
ronial Schloss. Thus I discovered the
covert complexity and crosscurrents of
this overtly wholesome community: out
of these discoveries grew this stor

Two years after the assassination of
President Kennedy, John Clellon Holmes,
in The Silence of Oswald, examines the
influences that molded the character of
the assassin. Oswald will be part of a
book (as will last August's prize-winning
Revolution Below the Belt) that Holmes
describes as combin of
the Beat years and ru the
current scene.”

The Messrs. Knight and Alpert, our
knowledgeable chroniclers of movicdom's
morals and mores, offer Part VI of The
History of Sex in Cinema. The project
assuming epic proportions, still hasn't
stayed these couriers from their appoint
ed rounds: Arthur. Knight has just com:
pleted a stint as coordinator of special
events for the New York Film Festival
held at Manhattan's Lincoln Center; he
also wrote a series of hourlong TV shows
—IWayne and Shuster Take an Affection-
ate Look at... —that make use of
old aving already run i
Canada, they are slated for an. Americam
debut shorti Hollis Alpert, just re
turned from Europe and Israel, where
he soaked up background for a projected
novel, reports on the Promised Land:
“In Israel, few of our A n maga
zines were known to the locals. But
PLAYBOY? Instant communication! On
taxi driver said to me: "We now have a
Tel Aviv Hilton—why not a Tel Aviv
Playboy Clubz ^ Alpert has another
book project pending which his pub.
lisher insists be kept "Top Secret. Hollis,
through scaled lips, did manage to mur-
mur “sociological study . . . women.

ovie clips. F

PURDY

MOKION

BROWN

HOLMES

Joyce Denebrink, a bright young thi
who knows a putdown when she reads
One, spent many months researching
Barbed Wires, a mirthful collection. of
telegrams which should appeal to those
who dig doing things with dispatch
Barbed Wires, of which this issue’s barbs
are a select sampling, will be published
n book form by Simon & Schuster before
the end of the ye

Norman Spinrad, one of pLavsov's
younger contributors (he's 24), claims
he's the only person in the world to have
made a living drawing feet (he did it
Tor a custom-sandal shop). Spinrad makes
his bow with Deathwatch, a slice of
science-fictional life guaranteed to set
your hair on end. He will have his first
novel, a sci-fi opus titled The Solaríans,
published next. year.

Fiscal wizard J. Paul Getty, our Con-

g Editor, Business and Finance,
has, over the years, put together one ol
the world’s foremost private art collec
tions, Mr. Getty, in Creative Collecting,
speaks sapiently of the enduring rewards
and the techniques of acquiring works of

nd living with them. Creative Col
lecting, expanded to book length, will be
published shortly by Hawthorn.

T. K. Brown Itoo long-time no-see
in these pages—sent in this issue's whim-
sically screwy story, The Goblin of Cur-
tery Sink, from the Canary Islands, just
one of his stopovers in a completely un-
planned globe-girdling jaunt with no
particular termination date. An erstw
motelier and scuba teacher in the Florida
Keys, the multilingual T.K. is now
hauskeeping in Germany (where he had
been a Wa terpreter), taking his

vester in the vine-
ds of Burgundy. Goblin was penned
between times, after a sojourn in the
English countryside. "I constantly "think"
stories," he says, “so the places I go and
the characters | encounter are all grist
for my typewriter.” Which explains the
locale and dramatis personae of Goblin
if not its American hero.

PLAYBOY'S noted automotive authorit
W. Purdy, once more casts a dis-
eye over motordom’s current
products in The Playboy Cais—1966, and
comes up with a selection deemed proper
for our demanding readership. Ken, no
man to let a typewriter lic fallow, is busy
writing the texts for a pair of picture
hooks, one foreign, one domestic. The
former, Die Neue Matadore, to be pub-
lished in Switzerland next month, is
being done in conjunction with the
nent German photographer Horst
Baumann. The second book, titled The
Harrah Collection, on the thousand:
some-odd awomobiles owned by Nevad.
club mogul Bill Harrah, will feature the
photographs of Tom Burnside and will
be published by Litde, Brown.

The above, plus an imposin
ctceteras, add up to a gle:
powered November issue |
extra-cost goodies. But se

Jed with no.
for yourself

vol. 12, no. 11—november, 1965

PLAYBOY.

CONTENTS FOR THE MEN'S ENTERTAINMENT MAGAZINE

PLAYBILL ie 3

DEAR PLAYBOY. »*

PLAYBOY AFTER HOURS. 25

THE PLAYBOY ADVISOR. 59

PLAYBOY'S INTERNATIONAL DATEBOOK —travel PATRICK CHASE 63

THE PLAYBOY FORUM 65

THE PLAYBOY PHILOSOPHY — editorial HUGH M. HEFNER 69

PLAYBOY INTERVIEW: SEAN CONNERY—candid conversation 75

ETTA AT NIGHT—fiction m FREDERIC MORTON 86

THE NUDE LOOK—pictorial 90

THE SILENCE OF OSWALD —articlo JOHN CLELLON HOLMES 101

NAME YOUR POISON—humor . RAY RUSSELL 103

EEE AFTER THE FALL—oattire/gear ROBERT L. GREEN 104
THE GOBLIN OF CURTERY SINK —fiction T. K. BROWN m 108

CREATIVE COLLECTING —erticle J. PAUL GETTY 111

PAT PENDING— playboy's playmate of the manth n2

PLAYBOY'S PARTY JOKES —humor. 18

DEATHWATCH—fiction - NORMAN SPINRAD 121

THE PLAYBOY CARS—1966—modern living. KEN W. PURDY 122

AN ANGEL OF MERCY —fiction. DAVID ELY 130

JAMES BOND'S GIRLS—pictorial essay RICHARD MAIBAUM 132

A SCAMP AND HIS BAGPIPES BOLD —ribeld classic MASUCCIO 143

Nude Look PLAYBOY'S PREVIEW OF PRESENTS PERFECT— gifts. 145
: WORD PLAY—satire ROBERT CAROLA 148

THE HISTORY OF SEX IN CINEMA
BARBED WIRES—humor..... a5 mie

jele ARTHUR KNIGHT ord HOLLIS ALPERT 150
JOYCE DENEBRINK 185

HUGH M. HE

& editor and. publisher
^. €. SPEGTOUSKY associate publisher and editorial director

Augnek PAUL arl director

Smoshed Synonyms

GENERAL OFFICES: PLAYGOY SUNLDING, 232 ©
Omo Simge. Chicco. ILLINOIS 69611, RETURN
nos AnD PHOIOGIAPM SUBMITTED IF THEY ARE

JACK J- kesse managing editor VINCENT T. Tajıirt picture editor

D Kis eel cand MATERIALS SSRIS RES SHELDON WAN senior cdilor; PETER. ANDREWS, FRANK DE BLOIS, MURRAY FISHER,
SUL MANTE WESKOUED, NOFWING MAY OE REPRINTED NAT LEHRMAN, WILLIAM MACKLE associate editors; ROBERT L. GREEN fashion
IN WHOLE OR IN PART WITHOUT WRITTEN PER. director; DAVID TANLOR associate fashion editor; tuomas mawo food & drink
ML LLA TUA POPLE AMD PLATES 18 THE FICTION editor: vatRIcK CHASE travel editor: 4. VAUL eeriv. contribuliug. editor, busines
AND SEMIFICIION IN THIS WAGAZINE AND ANY è finance; CHARLES BEAUMONT. RICHARD CEHMAN, KEN W. PURDY contributing
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OY BUILDING. a32 E. OMI ST., CHICAGO. IEL assos moust public affairs man

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MICK person!

And it starts at the Sign of the Pub

Uncork a flask of Pub Cologne. If you hear tankards clash and songs turn
bawdy, if the torches flare and the innkeeper locks up his daughter for the
night...it's because you've been into the Pub and unloosed the lusty life.

Introducing the lively new driving machines:

Listen to the roar of the '66 Comets. Sedans, hardtops, convertibles, wagons.
They're bigger, wider, up to 8 inches For a sample of Comet's style,
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DEAR PLAYBOY

KJ) ADDRESS PLAYBOY MAGAZINE + 232 E. OHIO ST., CHICAGO, ILLINOIS 60611

KLAN MAIL
Mr. Shelton and the Ku Kluy Klan are
subjects of discussion and concern at th
time, and 1 found your interview to be
both interesting and informative
Senator Thomas J. Dodd
United States Se
Wash

‘The August interview with Klan Wiz
ard of Ooze Robert Shelton was a fas
cinating exercise in political paranoia, Of
course, it is vital for us to know what this
twisted man thinks, if only because he
reveals the nameless hobgoblins that
throng the mental attics of so many
Americans. Perhaps most intriguing was
the noncommunication between your in-
terviewer and Mr. Wizard, rather like a
bad telephone connection. in which nei

ther party can hear the other. A more
perfect demonstration of the dosed mind
could not be imagined. Unfortunately,

this creature is no figment; Mr. Charlie
is for real.

If these were merely the frothings of a
disordered brain, the imterview would be
worthy of footnoting as a case history in
a journal of abnormal psychology; sadly
The Wizard has a lot of company in his
dark tower, and the score of his little ora-
torio is recited daily by road-company
paformers from Anniston 10 Anaheim,
It is casy to see why he fears Mental
Health, since he scems in such dire need
of its minismations, but it would be a
mistake to laugh and then forget. After
Buchenwald, a lot of people remembered
Mein Kampf. Nobody laughed

Thomas J. Cummins
Oakland, California

Thank you for the superb interview
with that mos distinguished public
figure, Robby Shelton. As it was without
doubt one of the most hysterically funny
things I have ever read in your magazine,
perhaps it would have been better placed
in your Playboy's Party Jokes section.

William V. Kerri

I noted with some distaste that in your
imterview with Robert Shelton you were
apparently uying to equate the John
Birch Society with the Ku Klux Kl.
Nothing, of course, could be further from
the truth. In a major address t0 members
ven recently in C:

of the societ

nia, Mr. Tom Anderson, one of the mem-
bers of the board of the J. B. $., stated
that the society felt that one of the major
threats to America was, in fact, the K.K.K.
1 hope you will make mention of this fact
so that no false impressions will remain.
David T. Wylli
South San Francisco,

Californ;

I was greatly shocked and disillusioned
by the interview with Robert Shelton, Tt
was quite apparent that PLAYBOY was de-
liberately trying to ridicule the Klan.
George W. Steffner
Jamaica, New York

More than likely Pm about to cut my
own throat or endanger my future in the
South as a potential educator and jour-
nalis. (Iam a 21-year-old senior at Troy,
a history major with a minor in journal-
ism, and will be editor of the campus
newspaper, The Tropolitun, ihis fall.)
But after reading the August Playboy
Interview with Robert Shelton, I have to
voice my opinion, no maner what the
consequence.

I cannot believe that a man of Mr
Shelton’s (E use the term "Mr" out of re-
spect for his age and nothing more) al-
leged power can exist in the "land of the
fice.” I was brought up to believe that
everyone had the right to say what he
wished or t0 vote the way he wished in
Ameis According to Ma. Shelton, the
good old U.S. is only for white, ge
tile, Protestant, native-born Americans.
What does he wam to do with the
others thus disenfranchised? Are they to
be exterminated or just deported?

Bruce Lawrence Hibel
Troy State College
Troy, Alal

You have downgraded a great Ame
can. The Honorable Robert Shelton, Im-
perial Wizard of the United Klans of
America, is one of the greatest Americans
of the 20th Century. I have read most of
the interviews in rravnov and I find that
you have done a serious injustice to both
Mr. Shelton and the United Klans of
America. You are like many people and
politicians who see only the bad side of
the Klan and not its purpose of pre
serving the white race.

A Loyal Amer
Atlanta, G

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PLAYBOY

He owns $210 skis
and $25 Swiss gloves,
yet he wears $7.98 Lee-Prest Leesures.

Judge Lee Classics by the company they keep... not the price tag.
Skiers are canny about clothes, on and off the slopes. So they wouldn't
think of wearing anything but Lee Classic slacks. The trim, sawy look. The
no-nonsense tailoring. And the new permanent press that always makes
these slacks look like they just came back from the cleaner's. Sharply
creased...not a wrinkle in sight. Never need ironing. Lee-
Prest Classics, shown in Lee Poly Ply Plus fabric, 65% Dacron
polyester and 35% cotton. In Sand, Olive and Black. Other
Leesures from $4.98 to $7.98. And they all rate “expert.”

p J A& d =
H. D. Lee Company, Ine., Kansas City 41, Ma.

Saxon Protestant
My ancestors came 10 this
country on the Mayflower. I would not
mind if my sister married a Negro, but il
she married Robert Shchon T think 1
would like to have her shot

John. Proudfoot

Redondo Beach, California

T hope your many readers do not think
that Robert Shehon’s views necessarily
represent the views of the majority ol
Alabamians. Pt disturbs me to meet
people from other paris of the nation
and immediately be labeled a racist sim-
ply because D live in Alibama. Just be
cause one lives in his state does not
mean that he accepts the views of Shel
ton, Wa

lace, and various other
minded people who also live here, Every
day bam in contact with many people
who, like myself. are TS
cept Negroes in this university, in thea
ters, re . ec. amd | want the
people of this i 10 realize this act. E
firmly believe that the majority of people
in this state who are under 25 [cel as 1 do.
and when this generatio
tion in the government and other
of control in this state, it will be totally
different from the Alabama of today

A University of Alabama Student

Tuscaloosa, Alabam

row

tikes its posi

While reading the very interestin
teview with Mr. Shelton in the August
issue of PLAYBOY. l c
ment on page HI attributed. to your
interviewer that just imt tue and l
med to set the record straight. He said

«+ nor did he have anything to do with
the desegregation of the Air Nation
Guard.” When 1 was Chiel of Satt for
the Air Guard in Arizon: the late “40s,
a Negro friend of mine called my attei
tion to the fact that there were no Negro
members of either the Air National
Guard or the Ground Guard. E immedi-
ately discussed this with the Adjutant
General, whom 1 found to be completely
opposed to letti wn rhe racc bars
He told me. however. that if 1 wanted to
desegregate the Air Guard T could do it
on my responsibility. Orders were issued
10 a squadron th
lisement would end. immediately. Very
shortly thereafter, 1 resigned my post be
cause of my entry imo national politics
so to be perfectly frank with vou. I do not
know how successfully this order to end
discrimination actually turned out

Barry. Goldwater
Scousdale, Arizona

Our interviewer's source vay Vhe New
Republic (August 22, 164) which ve
ported the following: “Goldwater flew
as a transport pilot during World War
Two and came out of the War a lieuten
ant colonel. When Arizona organized its
post-War National Guard he was ojlered
and accepted the post of stal) air officer

discrim

ation imn en

Theres a
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why most
people

who enjoy
malt liquor
drink
Country
Club.

Taste 1t.

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10 organize the Air Guard. H was his job
to interview and sereen Wartime pilots
and ground crewmen for places in the
new organization and arrange [or ur
movies and the use of airfields.

“In 1947 there was a staj] meeting at
which problems having to do with the
location of buildings for the Air Guard
were discussed, Goldwater was at. the
meeting. No was Frank Fraser, then in
spector general and executive. ofer. of
the Arizona National Guard, Fraser re
«alls Goldwater said, ‘We will be called
on to provide spaces for not only
but other minorities.

“This is the sum total of discoverable
evidence to sustain Goldwater's claim of
having “integrated the Air Guard. Fraser
says flatly that ‘never did (Goldwater)
interject anything fa
able’ to integration. There ave no docu-
ments on file with the National Guard to
show him us ordering or advocating inte-
gration. Nothing appeared in the news
papers at the time about him asking
integration of the Guard."

Negroes

vorable or unfavor

GAY SAY
Bravo! Hefner strikes again
PLAYBOY first. n speaking of Silverstein
on Fire Island in your August issue. New
er in any magazine have | seen this sub-
ject weated with wit and understanding
d a total absence of moralizing. Shel
has depicted us just as we Il of
our little oddities. Most of all, it would
appear from this feature that homosexu:
are human also, in spite of the difference.
We, 100, have our problems the same as
“straight people. with the added one of
keeping a secret that may wreck our
careers if disclosed. Your little offering
helped break some of the tension that
this crazy life imposes
F..F.
Fort Wayne, Indiana

Another

c. with

Mr. Silverstein’s Fire Island. f
was a witty and humorous piece of satire.
but also quite misleading. Cherry Grove is
entirely as you pormrayed it, but to brand
an entire island resort as a Lag spot is to
do a great injustice 10 hundreds. of
straight, fun-loving Americans who seek
the respite of drunkenness and del
its 25 miles of shore line. 1

ich.

ery upo
suggest you set Mr. Silverstein “straight.”
and inform him he would be treated 10 a
more pleasing experience were he 10 take
1 dillerenr ferry on his next visit
Walon R- Winder
Philadelphia, Pennsylvai

Shel Silverstein found Cherry Grove
ien

populated by semitransestite, w
scorning. cinehunting, shockseckin
istloving homosexuals. Such visions
might be approached from at least two

directions: amusement at his censoring
techniques or wonder at his condescend
ing manner. €
to question his objectivity.

hi even go so [ar as

Exhibitionistic and apparently bizarre
behavior (whether it be the Shriner's
taseled fez or the Lesbian's Tshirt)
might be found within all groups of per
sons, but. in à t. PLAYBOY readers:

ny eve
have had suficient experience 10 recog-
nize the extremes reflected by Silverstein.

We see the Silverstein f

ure as a pro
jection of today’s so-called liberal mande
that regards the homosexual as a notso-
dangerous Martian. This i a decided
improvement from the past, which found
emperors convinced we caused. eth-
quakes and the good people of Salem
sure we consorted with the Devil, and
even Irom the milder view of Lutheran
Carproy that the consequences af homo-
sexual acty were: “Famine, pestilence,
Saracens, Hoods, and very fat, voracious
field mice.” Improvement or not, it con-
tinues 10 ignore the homosexual's iden-
tiy as a citizen and continues to require
seemingly conformist behavior
What we as a society need most of all
in sex is to stop making an obsessive fuss
ibout it and simply enjoy it. In so doing
we will be able to permit others to do the
same and heterosexuals and homosexuals
both will have made the immense pro
res of winding
where we began
Clark. P. Polak
Executive Secretary
Janus Society of Ai
Philadelphia, Pennsylvania

up somewhere near

rica

I want to congratulate Shel Silverstein
on his cartoons about Fire Island. Alter I
read them. however, a sudden realization
ame over me: When à man
life knowing that any minute he can lose
his job if his boss finds out. when he is
unable to work in jobs requiring a securi-
ty clearance. when he can't work for civil
service, when he has to listen to a lor of
wisecracks about his people and cant
speak up. when his parents throw him
our of the house
tells how he eut up a guy for proposition
ing him. when his roommate gets beaten
up and can't go to the cops be
theyll laugh. when hes old and ugly
and nobody gives a damn, when his
lover catches the clap. being queer is not
funny.

nes through

when his bes. buddy

Robert. Koch

Corte Madera, California

Your August issuc features
view with the head of the K. K

“fan” feature on homosexuals. One won-

ders which mind is sicker, the hate-filled
My. Shelton or the person who finds hu-
mor in the tragedy of sexual perversion.
Perhaps Mr
God-given talents 10 a home for brain-
damaged children. Your readers ought to
get real kicks out of that
Thomas J. Mullen. Jr.
Short Hills, New Jersey
Considering the fact. that vivvnov. has
been spoofing heterosexual sex for a

Silverstcin should rake his

PRICES SLIGNTLY-HSGHER WESTOF THE ROCKIES

By MORE T

74 PERSI
IS DANGERL
AND UNLAWI

MAROLD E
Commiss

Deparimeni of Buildings
City of New York

Some people like to be different. They grow their own herbs. They have their own kilns.
Things like that.
So for then we makea plaid maincoat, But it'satilla London Fog
at heart. Same exclusive blend of water-repellent materials,
same classic London Fog styling, same permanently attached
Bachelor Buttons. In fact, we have to admit that everything about
oun plaidas th aarne as oteplain, Except thatitatin ds out Benin

check. About.

London Fog*

Baltimore 11,Md.

PLAYBOY

the perfect cocktail-suits

When you're escorting the most beautiful woman in the world and
dinner is strictly “luxe”, let ‘Botany’ 500 come to the aid of your party.
Skeneri ii heshima ering degance of black mohair or tha desp
richness of a burnished-blue basket weave. They're unequaled for meet-
ing every distinguished occasion, business or pleasure. The fabrics are
custom-woven and reflect it handsomely. The craftsmanship is a
blend of Daro quality and value that’ puts pride where itibelongs- an
your possession. Get one and celebrate. Black mohair suits, $85, blue
basket weave suits, $79.95. Linings Sanitized® treated for hygienic freshness.

TAILORED BY IY SOC
IN TAPERED -TRIM DESIGN

For free booklet, "Secrets of Tapered-Trim'*, and name of neare:
Phila, 3, Pa, (e subsidiary of Botany Industr

"Botany 500 dealer, just write: H. Daroff, 2300 Walnut St.
her im the West. Now availati in Canada. Pero and Australia,

Prices slightly h

dozen years, it might be argued that simi-
lar treatment of the homosexual side of
things was actually overdue. Silverstein’s
feature is, in truth, anything but an ex
pression of bigotry, for clearly, one of the
best antidotes for irrational and suppres-
sive attitudes on anything

from homo
sexuality to racial equality is humor.

FERRARI FOREVER
Funny how, after
Mans, Rheims and Targa Florio. C.
Shelby (August On the Scene) still clai
his overpowered, ugly parodies can beat
Enzo Fenarís masterpiece. No doubt
this typical Texan loves to match his
sevenditer-plus unpredictable hybrids
against beautiful machines with hall the
displacement—and be soundly, thorough-
ly and masterfully beaten.
Arturo Martinez Caceres
Mexico City, Mexico
As the August issue hit the newsstands,
Carrol! Shelby’s Cobras did, indeed,
wrest the World Manufacturers’ Cham-
pionship away from Enzo Ferrari.

SURFDOM
The sport of surfing has been put in a
bad light all over the country through
such things as the Beach Party movies
and the incident concerning the Star of
India and Murph the Surf. Your so-called
Little Annie Fanny satire in the July
issue didn't help the problem.
ire you that your interest in surf
g is appreciated, and that the satire
was enjoyed by those of us here who are
in the position to know what really goes
on at surfing beaches and who can see the
humor in a sitire such as this. But how
do you think this satire is going to allect
rhe city-council yo-yos of some beach
town that was thinking of banning surf-
ing from its beaches and only needed
something at which to point?
Corky Carroll
Hobie Surfboards
Dana Point, California

LULU LANNIE
To lovely August Playmate Miss Lan-
nie Balcom I give the highest toast. for
the other day a friend and 1 were cru
g down a hot Texas highway when we
were halted by a highway patrolman, It
was not hard to tell that he was not in
the best of moods. As he looked inside
our auto, he saw nothing but the
geous Playmate smiling out from your
magazine. ‘This rapidly altered. his out
look, for instead of geuing a speeding
and loudanuffler ticket, we received
only a warning. lt is not recommended
that one admire the Playmates while
driving, but they sure can give a guy a
lift when he gets where he's going.
Robert Bockholt
Rio Bravo, Mexico

You
often,

ust look in your back yard more
nce Lannie Balcom is bener-

homely little lamp.

Great gift idea.
Take you,

for instance,
wouldn't you like
to get a Tensor
for Christmas?

There are good reasons why so
many people want a “homely little
lamp" for Christmas.

The best reason of allis that bright
light was never this handy befor
the equivalent of a 200-watt conven-
tional desk lamp, right on the spot
where you need it, in places where
you simply couldn't conveniently get
bright light before.

Tensor stands cozily by your bed-
side to direct light on your book,
not in your spouse's eyes. Comes in
close for desk work, for sewing with-
out squinting, for manicuring, mak-
ing up, hobbying. Stands in the
smallest spot, bends every which
way to be where you need it—for

Tensor lamps from $t

5 to $19.95. (Li
and specielly stores everywi

painting, jig-saw puz-
zling, tinkering, piano play-
ing, lost button hunting.

Tensor gives the whitest, brightest
light you'll find indoors—shows colors
better than any fluorescent or ordi-

concentrated in a controlled beam for
your own personal use. What a
pleasure!

Take Tensor anywhere, all around
the house, and all over the map (it
folds to pocket-size for traveling...
and what motel ever had a proper
reading light?)

You'll find that Tensor is homely
for a reason. For instance, that's a
square, honest base because it houses
a square, honest transformer. (It also
gives the lamp a very steady stance.)
"The original Tensor transformer in-
side is a minor engineering miracle
that makes Tensor 25% brighter.
That awkward-looking arm articu-

ime Model 5975 shown, $17.50.) At di
UL and CSA epproved. Tensor Corp., Brooklyn, New York 11207

lates just like the human arm, to let
you direct the light more easily.
We've thrown in a swivel head, Hi-Lo
switch, keyhole slot for wall mount-

ing...even an extra-long cord.
Need another reason? The Tensor
Lifetime Model 5975 (shown) carries

a Lifetime Guarantee for repair
replacement through any of our 80
service centers throughout the coun-
try. Can there be anything more tell-
ing than that?

You know that little twinge of
pleasure you get when you've given
a really nice gift? Give Tensors, and
bask in the pleasure of Mother, Dad,
wife, husband, brother, sister, secre-
tary, roommate, boss or buddy.

Only be sure you choose Tensor, the
homely little lamp. It's the finest
high-intensity lamp you can buy.

asnbensor

INVENTOR OF THE HIGH-INTENSITY LAMP

PLAYBOY

ORD JEtF

WEATERS

THE 19TH HOLE
Casually Correct 100% Australian Wool. $20.00. At All Fine Stores.

looking and more shapely d
Playmates found through. vour efforts in
going to the far corners of the world.

Gary Van Antwerp

Tulsa, Oklahoma

SEX IN CINEMA

The History of Sex in Cinema is the
best writing and thinking on the subject
to date. The articles arc nor only enter
taining and refreshing, they also are com
prehensive and provoking. Mr. Knight
and Mr. Alpert enjoy more than an ex
hed position as movie reviewers. They
ve a profound respect for the cinema

They are professionally acquainted with

the many elements involved in the crafi
of creating a movie, They see, feel and
understand a movie in contest with its
times. The idea of sex in the cinema is
something many people “say” they de
plore. The fact is that sex is one of the
basic elements in movies—as it is in life
isell. To write a History of Sex in Cine
ma, the authors were required to have
knowledge and experience in (1) sex. (2)
the cinema and (3) a concept of history

Mr. Knight and Mr. Alpert qualify on all
counts.

Richard Brooks

Pax Films, Inc

Hollywood, California

SMOKER
Mr. Tvler’s article in the
was a masterpiece. of long-winded non
sense, if you accept its original premise
Nothing at all is wrong with the con
sumption of tobacco, No essayist in the
world would atempt to champion his
cause by pointing out only the duliness
and folly of some of its past adversaries,
And sp of folly, what about some
of the ridiculous claims we see and hear
through the massmedia advertising ol
the tobacco companies? If something
needs 10 be said for tobacco, let's wait for
that “considerable body of informed
opinion" Mr. Tyler mentioned to. ex
press itself. Meanwhile, lers all recline
and browse through our copy of the Sur

gust issue

geon General's report and see. whether
smoking is really worth it.
James Cox

Sana Monica, California

AVAST THERE

LeRoy Neiman’s paintings of the
Giraglia race on pages 110 and HI of the
August 1965 PLAvwoY are interesting, to
say the least: however, the captions un
der these paintings leave much to be de
sired. For instance: “A husky member of
the foredeck crew helps sway up a run
ning backstay.” The foregoing sounds
alty, bur one doesn’t sway up a back
y. unless perhaps he wishes to climb
it. And furthermore, if he is a member
of the foredeck crew, let's keep him
there, not aft setting up backstays. The
real gem, though, is the "stil breeze and

sta

she fell
'neath the spell
of his seven seas

lj Away in
Manger, 12 In all

2035. Wight Betore
Xmas, AIL Want For
Xmas is My Twa Front
Teeth, 12 in all

2113. My Man, Where.
1s The Wonder. 1 Can

ie Won
See It, Sn
Walch over Me, elc.

What 1 ear,
of Christmas, etc.

ROGER MILLER
DANG ME

‘JOHNNY RIVERS.
ere We à Go ia Agat

CHUG-A-LUG 10 nore

ALLEY CAT-
GREEN ONIONS|

esl

Three Favorits Sonatas "ns
ue das

MARE WELS
MESS
sore
EN
ee

top stars performing all of your Christmas favor
well as great music for year-round listening pleasure!
By joining the Club now, you may have ANY 4 of the
records shown on these two pages — ALL 4 for only
996! What's more, we'll also give you the handy
adjustable record rack shown above FREE.

RECE CORDS FOR ONLY 99¢ — simpl
fill in and mail the postage-paid card provided. ‘be
‘sure to indicate whether you want your four records

Dearest Santa,
Hear What 1 Hear”
12 Xmas songs in all

owes
Wie Bo A dy

T in
Wi. Fest, ete

1967. Silent Mint,
16, D

JOHNNY HORTONS
GREATEST HITS

CHRISTMAS PARTY
FRANKIE YANKOVIC.

land all future selections) in regular high-fidelity or
stereo. Also indicate the type of music in which you
are mainly interested: Classical; Listening and Danc-
ing; Broadway and Hollywood; Country and Western;
Teen Hits; Jazz.

THE RATES: 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.

if you join the Club now . . . and
agree to purchase as few as four se-
lections in the next 12 months, from
the mere than 1000 to be offered

a ——

THE GREATEST OF

EUGENE ORMANDY

This brass-finished rack
adjusts to your needs
holds from one to
records securely .
flat when not in use!

2074. viet Mg

THE DAE CLAP IVE
COAST TO COAST

BOBBY VINTONS
GREATEST HITS

MARY MA,
THE SOUND

FERRANTE & TEICHER
Tte People's Choice.

You may accept the monthly selection for the field
of music in which you are mainly interested . . . or
take any of the wide variety of other records offered
=... of take NO record in any particular month. Your
only obligation is to accept as few as four records
from the more than 1000 to be offered in the Club
Magazine during the coming year . . . and you may
discontinue membership at any time thereafter.

The records you want are mailed and billed to you
at the new low Club price of $3.79 (Classical $475;

ROGER WILLIAMS.
cater tart wine

PAUL REVERE
£ THE RAIDERS

pe ec

2064-2065. Two Record Set (Counts
Selections.) Beethoven's
Brahms" Double Concerto

of Quiet Stars, How
Insensitive, 10 more.

FRED WARING
TO YOU FOREVER.
po

GOLDFINGER
PE

1806. Also: You Do
Something To Me. The
Neareess Di You, eie-

1896 alse: Crying.
Vm ortis, "Mana,
Blue Angel, etc.

Te Concertos
€ Wajar Trio

MORE BIG FOLE KITS
Tk
ECCO

Philippe
intremunt.
nel
YE. Mamoresaue,
Nocturne, Romance;
Mazurka, 9 others

" 2005. Also: M 1
Could Find Someone,

‘Bumble Bee, etc.

(CES mae.
‘maz. mso: 1 Re-
member April, Spring
Te Here, ete

1903. Also: in The
Chapel in the Moon-
light, ete.

JDHHAY CASH |
‘ORANGE BLOSSOM
SPECIAL,

Sim m
cil varus
wee Ed
Ws SONGEDOK

eno tr
E

[, ^. CAIOLA
By ture ron covers

occasional Original Cest recordings and special al-
bums somewhat higher), plus a small mailing and
handling charge. Stereo records are $1.00 more.

SAVING S-RE If you do wish
to continue membership after fulfilling your enroll-
ment agreement, you need buy only four records a
year to remain a member in good standing. Further-
more, you will be eligible for the Club's bonus-record
plan ... which enables you to get the records
want for as little as $2.39 each (plus a small mailing

JACK JONES
FI EE
ai Vas

ON BROADWAY

charge)! So the Club represents your best buy in
records for as long as you remain a member!

NOTE: Stereo records must be played only on a stereo
cords marked wi

record player. Æ Ri
have been elect

str Gey |
'd fer sters

More than 1,500,000 families now belong
to the world's largest record club

PLAYBOY

Et tu, Brut?

Bold new
Brut

for men.

By Fabergé.

For cfter shave, after shower,
after anything! Brut.

fascebbing tide going in opposite direc
tions." there is no tide the Med-
iterranean, Currents, ves, Tide, no.
W. M. Samuels
Corona del Mar

Califo

1 don't often differ with my favorite
inspi im :
couple of poims in the August issue dar
1 find jarring, On page Hl. under
sketch of a husky youth hauling down o
what appears to be a permanent backstay
of nylon linc—most unlikely material Tor
any ob course—the on line
reads: “A husky member of the foredeck
crew helps sway up a running backstay.
Well, backstays don't run 1o the fore-
deck, mates, they run aft: and theyre
ly set, not “swayed up.” with big
s. Some of the real gold-pkaters set
ing more scope

wine. but there

tioni

leve:
them with winches. allow
lor adjustment.

Norton
muda

Henceforth we'll keep our foredeck
crew where it belongs; our salt fre
avereage caption writer has been sent in
chains to the brig. Our nautical diction
ary permits “sway up” pretty wide scape
as a method for getting tension on a linc
but does not apply it to backstays; onr
caption writer will be spared lashes but
sequived to empty the bilge with a tea
spoon. The last coherent thing he said
bejore being. dragged below was. “How
was I lo know there iere no Hides in the
Mediterrancan—Tve been chained to my
desk while LeRoy Newman lives the lile
op a Man at His Leine"

and

DIGS HIS DIGS

Granted that the digs shown in A Play:
boy Pad: Manhattan Tower (August) are
worthy of note; 1 think my pad makes
Pete Turner's look like a busterminal
men's room. Any time. PLAYBOY wants to
send a photographer around. just drop
ne or, better. yet, phone.

Fred Armstron;
Los Augeles, California

We just might do that, Jor vLaywov's
editors are looking [or interesting innova-
Lions in apartment, home and office de
sign and decor to feature in future issues.
To receive serious consideration, readers
should. send. snapshots and. descriptions
of the place they think deserves to be
included in our “Playboy Pad” series,
emphasizing the most unusual and inter-
esting features, Submissions from interior
devorators and. architects are as welcome
as from those actually dwelling in the
digs; the only requirement is that the
places described must alveady have been
built, furnished and lived in. The pads
that reflect the taste and sophistication of
PLAYBOY most successfully will be gwen
editorial and full-color pictorial cos
in this publication.

erage

Here's where you can see,
drive, and buy the G.T. 350

ALABAMA
‘Adamson Ford, Inc.
1922 Second Avenue, South, Birmingham.
ARIZONA

7
CALIFORNIA
McCoy Ford.
320 N. Los Angeles, Anaheim
Hayward Motors
5501 Mission Boulevard, Hayward
Mel Burns, Inc
2200 Long Beach Rivd., Long Beach
Mi-Performance Motors, Inc.
1150 South La Brea Avenue, Los Angeles 19
Warren Anderson, lec.
3410 Eighth Stre
Downtown Motors. Inc.

1300 Eye Street, Sacramento

Galpin Motors, Inc

€27 San Femando Road, San Fernando

S's C Motors, Inc

2001 Market St., San Francisco
COLORADO

Courtesy Motors, Inc.

3537 S. Broadway, Englewood
FLORIDA

Ray unt Ford, Inc

740 Volusia Avenue, Daytona Beach

Lynch Davidson Motore, Inc

724 Hogan Street, Jacksonville

1. D. Ball Ferd. Inc.

9000 N.W. 7th Avenue, Miami

Bul Currie Ford, Inc

3214 Adamo Drive, Tampa
nawan

Honolulu Auto Center, fac

1450 5. Berelania, Honolulu
ILLINOIS

Milo Brooke, Inc

5005 W. Madison Street, Chicago 44

Jack Loitus Ford

300 East Ogden Avenue. Kinséale

Sexton Fore Sales. Inc

1122 5th Avenue, Moline
INDIANA.

Mehrnary Ford. Ine

1351 West 11th St. Gary

Jerry Alderman Ford Sales. Inc

5500 No. Keystone Ave., Indianapolis 20
[1

Sth s Wapie street, W. Des Moines
KANSAS

Turner Ford, Inc.

1226 East Douglas, Wichita
LOUISIANA

Dich Bohn Ford. Inc.

1900 Franklin Street. Gretna
MARYLAND

Archway Motors, Inc

SI0-520 North Hilton Sireet, Baltimore 29
MASSACHUSETTS

Marr Hetor Company, tec.

Gold Star Boulevard, Worcester
MICHIGAN

Walt Hichey Ford, tne.

13500 Fort Streei, Southgate
MINNESOTA.

Herb Toustey Ford, Inc

Huy 61 & County Rd., East, White Bear Lake
MISSOURI

Riesmeyer Motor Company

201 Highway 68, Crestwood

Broadway Motors, Inc

3401 Broadway. kansas City
NEW JERSEY

Berry Motors, Inc

375 State Hwy, Route I7. Paramus
NEW YORK

Gotham Ford. tne

570 West 2nd Street, New York City

Nagle Ford, Inc.

2900 Monrce Avenue, Rochester

Reynards Motors, Inc.

1439 Erve Boulevard, East, Syracuse

Larsen Fore, Inc.

BO Westchester Avenue, White Plains
NORTH CAROLINA

Young Motor Co.

Cor. Stonewall & Brevard St., Charlotte.
orio

Fulle: Ford. Inc.

2035 Reading Road, Cincinnati

The Marshall Molor

6200 Mayfield Read. Mayfield Heights

Brondes Mator Sales, Inc

5717 Secor Road. Toledo
ONCAHOMA

Dub Richardson Ford
3815 North May, Oklahoma City
EGON

Mary Tonkin Fore.
1313 N E. 122nd Avenue, Portland 16
PENNSYLVANIA

one

Inc.
treel, Mckeespert
Alvin A. Swenson, lnc
3950 Kensington Avenue, Philadelphia
RHODE ISLAND.
‘Yates Ford Sales, Inc.
777 Taunton Avenue. East Providence
TENNESSEE
Ron's Ford Sales
145 Kingsport Highway, Bristol
Hertl Motor Company, inc.
295 Union Avenue, Memphis
Crown For. Inc.
307 Fast Thompson Lane, Nashville.
KAS

Horn Williams Motor Co.
TOY N. Pearl Street, Dalias
Gene Hamon Ford
1031 Sixth Street, North, Texas Cily
UTAH

Bennett Motor Company
47 West 6th, South, Salt Lake Cily
VIRGINIA
Bowcitcn Fora, i.
11076 Warwick Boulevard, Newport News
Koons Ford, Inc.
1051 East Broad Street, Falls church

How fo
make an
Italian cry

| e

Tell him ihe fantastic Shelby G.T. 350 is America's answer to all those terrible-tempered
Italian sports cars. Then show him. Bred by Cobra, powered by Ford, designed by
Commendatore Carroll Shelby...the G.T. 350 is a car that sounds like a car and goes with
all the spirit and speed of a competitor. The engine starts as a brute force Ford 289 and
then the Commendatore goes to work... four-barrel carburation, high rise aluminum mani-
fold and a hand built tuned exhaust system...the end result is 306 horses. The “four on
the floor" is a fully synchronized Sebring close ratio transmission that shifts like butter
and grabs like a vise. The entire G.T. 350 suspension is computer designed...front anti-roll
bar, competition shock absorbers, front disc brakes, torque controlled rear axle. And she
sits (goes) on 130 mph Goodyear Blue Dot tires. For excitement add the new rear quarter
panel windows and sleek rear brake air scoops. Price? $4428 plus taxes and transpor-
tation. Get behind that racing steering wheel. Pinch it and she really goes. Bono vita!!!

SHELBY G.T. 350

PLAYBOY

If she was made for diamonds she w

PURE SPRAY DE CORDAY

1 A
EP

"FAME

= de CORDAY

PLAYBOY

Tite inte or simple sentence structure
is that the subject come at the begin-
of the sentence and the rest of the
sentence be taken up with what is said
bour the subject. The same rule ought
10 apply to a discussion of chastity, but
the Fact is that when we even mention
the term, the first idea that comes to
mind is that it has something to do with
sex. We begin here by reminding you
that sex is a strong and sometimes dis-
turbing power or force in a man's. life,
and that like any other power or force,
it cam cause a lot of trouble unless it is
controlled. Chast
and is defined simply
unlawful sex. activity.

Contrary (o what ye
thinking, these seutentious sentiments
neither in a Victorian
primer nor in a high school sex manual
In fact, they are an excerpt. from a re-
amuniqué seut by Second Army
ulquarters to our troops in the field.
Called a "character. guidance briefing,”
this homily directed at
“Commanders, Class 1 Installations and
Activities: Commanders, Class H Instal-
ions: Cor yy Generals, XX. and.
PUS Corps: and Senior

y is the control of sex

as ‘abstention from

"re probably

immar

homely

l
X

Army
Army Advisors"—3 group hardly in need

ionary tales or
y lesson that
n:

of grammar lessons, cau
the improbable etymo
followed the preceding quot
Chastity is corectly described as a
virtue. Virtue from ihe Latin
word virtus (pronounced. veer-tus) mem-
ing ‘strength,’ The root of the word vir-
tus is vir (pronounced veer), which is the
Latin word for ‘man. So virtue, which is
strength, is associated even from the de
ivation of the word with man. When we
say, for ins that a man ds ‘virile,’
as strong, manly char-
muscle, and he has
character. Chastity is a virtue, an inner
manly strength, and as such properly be-
lougs in the character of a man.” Q, E. D.
Chastity equals virility—perhaps the
most awesome prodigy of ciutological
gymnastics since Aristotle's Analytics,

comes

AFTER HOURS

Officials at. England's. Ascot race track.
report that among the items leh behind
by fans after a day's races were a half full
box of tranquilizers and a Bible book
marked at Psalm 22, which begins: “My
God. my God, why hast thou forsaken
me?”

Unacconntably ignored by the public
prints was a UPI wire, d'uclined Farragut
Stue Park, Idaho. that began: “Animals
are attracting the major share of attention
at the fourth international Girl Scout
Senior Roundup here. "Ehe animals are
two dozen specimens of wildlife native to
the Idaho woods, where this fathering of
9000 teenage girls is being held.”

We ave reliably informed, and feel we
should report without comment, that the
ladies rest room on the first floor of the
Harvard Club in New York City contains
nwo me as.

Bing s take note: A classified
ad in the Albany Knicherbocker News not
long ago offered "'63 Sunbeam Alpine,
wile or car must go. 51400 either one.

We've been informed by an
peachable but anonymous source in one
of Madison Avenue’s bigger ad i
that a gogetting new department. head
recently assembled his underlings for
pep talk.

"From now on,” he exhorted, "I want
to see you men hitting the deck im that
Omaha

it executives were forthwith
to forgo such decades: luxuries as the
three-hour martini lunh unless spe-
cifically authorized by the department
head. A Spartan sandwich at the local
quickand«dirty and back to the front

lines was 10 be the battle order of the
day. As a result, our spy reports, on
any given lunch hour when the cle

vator stops ar the executive floor of the
agency, a phalanx of snarling. grizzled,
tougl-looking guys—collars opened, t
askew, hair uncombed, pencils behind

cars—clambers aboard and rides 10 the
ground floor, where they pile out into
the lobby and stride purposefully
through the doors and down the street
into a nearby Automat. Looking neither
right nor left. they march past the auto-
matic change maker, past the gleaming
rows of cncellophaned Iemon meringues,
past the $5-cent businessman. specials
and out through the back door. They
then skulk down a dimly lit alley and
ino the service entrance of one of New
York's more elegant East Side restau-
rants where they spruce up in the men's
room. then find iced martinis waiting at
their regular tables.

Above and Beyond the Call of. Duty
Department, Death, Where Is Thy Sting
Division: Extolli Peter Sellers’ consid-
erable contribution to the merriment of
What's New, Pussyeal?, Variety reported
“Despite the fact that the film was Sellers
fist since suffering a fatal heart attack in
Hollywood in the spring of 1964, the star
worked overtime throughout the produc-
tion, not only as actor but as writer.

Our congratulations to Car
ternal Affairs Minister Paul Martin for
his outspoken stimd on the question of
external aid in a statement to the To
romo press; "Don't quote me as say
ing that we will or we should ince
our extemal aid. That would be my
opinion if I had an opinion. but as a
member of my government E don’t have
an opinion."

asc

We were poii
adequacy of I

dly reminded of the in
ge as a means of com
munication when a restaurateur friend
of ours told us of an imerview he had
conducted wih a young lady who was
applying for a job as waitress in his esrb:
lishment. He was attempting to impress
upon her the importance of providing
his customers with an Old World amos
phere which would complement the
Continental preparation of the cuisir
"When you work for me, young lady.” he
explained, “it's not enough just t0 wait

PLAYBOY

100 years
behind ——

In the face of greatly increased demand for pipes, Kaywoodie simply

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on tables. All my clientele expect the
finest im French service with their
meals" With that, the girl boled [rom
er seat and llounced to the door. saying.
Or yo informa mister, I
1 woman with two children."
Rock Around Wall Street: A heads up
Massachusetts publisher, knowing a wend
when he sees onc, has just brought out a
Teenagers’ Guide to the Stock Market.

mari

Herewith some samples of a spri
new word game we've uneuthed. What
do you call a very small cocktail:
(answers a martiny) -a sherill’s mas.
co (a passecat) an

gumeni bc
tween squirrels? (a squarrel) . . . a place
to buy extinct reptiles? (a dinostore) .

at boat for givailes? (a givalt) 1 lizards
datcbook? (a calamander) . . . a hairpiece
Tor roms: (a. polliwig E

monkey? @ chimp:
G. O. P. politician? (a Republican) .
an amphibious bird. that writes. under
water? (a ballpoint penguin)... shrimp
dealer? (a prawnbroker) à spaceman
who flunked his physical? (an

inept

no) .. oa aming cy
li ~.. a nervous an

- instruments for slicimg apples? (ap
plesaws) .. a wire that brings bad news

m) imitation

nique furni

(cheapendale) . . . a foolish folk
2 (a hootnmny) an esami
tion of a car after a collision? (autotopsy)
++. a piece of cloth used 10 mullle à

sneeze? (a handkerchoof) a silin

condition on house plins? (philode

dri) . 2o. candy«oated. depressints
(elumxlrops) .... flour used in making aph
vodisiac cookies? (libidough) and à

gurl who gets turned on by classical music:
(symphomaniac)

Incidental Intelligence: Aurora, onc
of the berterselling brands of toile
suc. iy manufactured by the American
Can Company.

BOOKS

Ti is frequently said that James Bald
win writes much bener essays than
fiction, and his new collection of short
stories, Going te Meet the Man (Dial
firms this opinion. Does this indicate,
as many critics daim, that the strüsgk
within Baldwin between the artist and
the spokesman may never. he resolved:
That the tender anger, the delicatc
gony in Baldwins tormented essays must
inevitably become abstract and tileless iu
his fiction? On the basis of this collection
alone, the answer is yes. Baldwin's favorite
themes appear in the stories: the inabil-
ity of those who would live not to suffer
as we in which we escape or
endure or go under: brothers and. sons
and lovers; blucs and hymns and jazz
ad it all, the conviction that all

con

the w:

and beh

all unique. 7
dl Tike open wounds in his essays,
his fiction they too often scem like
textbook illustrations of those wounds, al-
most as if Baldwin knows too much about
suffering to allow himself to re-create that
suffering in his characters. What is so
painful in his essays becomes in his
fiction an agony contained. a misery con
stricted. One feels that Baldwin cheats his
ble. In the
first story, for instance, a young N
boy, forbidden to play in the street, sr
downstairs while his mother isn't lool
gets into a fight and receives a cut on his
forehead. In an essay. Baldwin would
movingly persuade us that one has a
choice between aloofnes and life, be-
tween withdrawal and scars. But the story
pw diminishes this truth by impris
g it within a metaphor. The gr
of fiction gi
they discover truth
creation. But to our
have left litle for the
Perhaps Baldwin
ch to write fictio

t
e one the sense that
the very process of
tion's shi we
egro to “discov-
mply knows 100

lers with the feeling
1 he is putting things in, not finding

out, But his personal tragedy, that
role as spokes
work for our salvation, For
n is at his best when he addresse:
ety directly. reminding us of
do not know we know, and in
guished grace of his vision, forcing
tion with suffe:

th
thi
his art

Stephen Poner has now applied his
theories of Gamesmanship and Lifeman
ship to the field of love, and given us it
handy litte manual called Anti-Woo:
Gombits for Nontovers (McC
which is so amusing that the
fail 10 notice that the advice lurking be
hind the laughs is often more useful th
a tracklul of sober manuals on sex r
tions. Potter is not by im
sex, love or the
woo, but is opposed to those forms of it
which lead the unsuspecting | parties
dewy-e

^d into disastrous or boring en

tunglements, “We have nowhere said
ibat r-

en and women should never m
Poner explains. “We believe ihat in
certain circumstances such unions should
exist between. consenting adults.” Cau-
tion is the keynote. A man must learn to
recognize the wrong woman at once—lor
instance. when he surveys the girls at a
p “Suppose one
of hot black velvet with a trace of dust
round the shoulders, reminding vou of
being forced to st your great aunt's
dining room when you were longing to
Or it is just some
legs—her. feet
m to be assembled from
three different jigsaw puzzles In such

is dressed à sort

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circumstances, the man must have an es
cape gambit: “I myself have been m
ing increasing use lately of "Excuse me,
but I'm not supposed to stand.’ For this
purpose, I need, and have, a stick. It is im-
portant that the girl should not attempt
to follow you to the chair toward which
you pretend to be maneuvering.” Potter,
a fair-minded gent, also gives “Warnings
for Women": “Watch his eye . . - Watch
to see that when he is looking at you he is
looking at you. Remember dut by a
slight shift of focus, the loving glance can
turn into an absent stare over your lelt
shoulder.” For these who are trapped by
Pouer offers
nglement Techniques," such as
“noble” letters of rejection to women, eg.
“Lam a man who loves too much. | am
danger of losing my sell-respect . .."
Of comse, Pouer understands that
some situations are hopelew: “Extreme
cases do not interest us. It is generally ac
cepted that couples who shout at cach
other at the top of their voices all day
and night cun never under any circum-
stances be persuaded to separate." Por
ters woomanship might just save the
intelligent wooer from the claws of the
wrong wooce.

In They Both Were Naked (Doublc-
day), a novel, Philip Wylie calls himself
by the name of Philip Wylie: and Iate in
the course of that long work he says, “L
have published many books. I have some
thi af a following. My readers are iu-
terested in me, what E think. how I feel.
what I do. believe, repudiate, admire,
scorn. hope. loathe, and the like." AIL of
which may be true, but to judge from the
evidence at hand, Wylie’ follow must
be a remarkably pertinacious crew if they
can retain an interest in what he thinks
or feels, neither of which is very pro-
found; in what he repudiates, which is in
this case plot and character develop
ment in what he scorns, which is grace
of style. What his faithful fans got this
time is a highly discursive account of
how Philip Wylie. author, goes to San
Francisco to address a symposium of the
International Federation. of Biotech)
cians. how he meets en route one Ludie
Phyfe, an old school chum now rich and
wildly successful, and how he comes to
write a book on the life and works of his
childhood friend. But the more he stud
s Phyfe, who had been a virtuous if
gish Lid, the more he senses that the
n has become a hypocrite; and finally
on learning that Phyfe has been caught
by his som in sexual congress with the
son's neurotic wile, Wylie burns the
book and goes back home to Miami
There are a number of other people
floating about. but what they are up to is
seldom clear. Almost the only thing that
is cl Wylie’s wish that the reader dis-
like Ludie Phyfe as much as he does. But
If to critic
that in a book

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The Untoppabla!

y naher o Te West.

where people are always saying how
much they admire Generation of Vipers
—it is hard not to feel some respect for
the man. It is even harder when onc
calls that Phyfe is allowed to ask the nov
el's most. pertinent. question: "Damn it,
Phil! How do you get the courage to ex
ourself in books the way you've

pose
doni

By his own count, Arthur C. Clark
the world’s second most. prolific author
of science fiction and science nonfiction
(the first is Isaac Asimov), has written
alone or in collaboration 34 books, In
Voices from the Sky (Harper Row)—a
collection of two dozen assorted essays,
magazine articles, technical reports.
speeches and introductions 10 other
people's public:tions—Clarke has synthe-
sized number $5. Two main themes recur
in the collection—the spiritual and intel
lectual challenge space fight poses for
mankind and the concept of orbiting
communications satellites (comsats). In
a article wryly titled How 1 Lost a Bil-
lion Dollars in My Spare Time, Clarke
details the way he originated the idea of
conisat. system way
nd promptly sold it 10 a
azine for $40. Unf inately
hard-bound immortality to every last
The ever ran through his
typewrite ke buries such imteresti
items im the overall heap. Further
more, since these articles have be
printed evidently without cditing Y
ideas are mentioned over and over. cach
time as if they were brand new, each time
almost the same words, We get the
xe sensation of a writer consistently
ig himself. And vet, as those
AYROY'S

a commercial glo

back

who have followed his work in
es can attest, Clarke's clarity of. writ

his ability to transform. facts imo
near poetry. and the vigor of his out-
bursts against military men and scientists
who sce space as either a new field for
warfare or a spot for ma
ments which could destroy m

raynoy)—these reward the
iding through even so undiscri

work of ficti
out that to write a
must have a few. In The peces (Si
mon & Schuster), Levin tackles the criti
| moral question of the century. the
and responsibility for the sl
of 6,000,000 Jews during World
Two. His story is slight, merely
s in. Ata castle

pot to

carry his profundi
doubt in Germany are held nine famous
political prisoners (
though. Levin is coy
stle in the final days of the War comes
a new commander, one Kraus, bringing
with him an even more impo i

oner, the Jewish former pr

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PLAYBOY

LOO n E | same: nation. Kraus’ orders are never
E quite clear. Perhaps the ex-premier is a
hostage to be bartered for the Nazis own
Ircedom—though the possibility of a last

ditch sta

ad ap

inst the rapidly on
ly in Krus
s is the notion of murdering every

coming Allies is consta
mind,

one in

This. at any rate, is the log
Risoiksmr ical moment for all parties concerned to

commence heated philosophical discus:
sion! Kraus. please understand, is no

— CA Ade
Handsewhis) / N ordinary lieutenant colonel. Into this un
ed =

dergradaate seminar in Ethics I Levin
has dumped a thinly disguised version of
Obersturmbannfihrer Eichmann.— him
self. Here, truly, is an artistic challc
to probe the deepest workings of such a

*Hand Sewn Forepart
creature's consciousness, to dig to the
roots of the Nazi mentality. But Levin's

Style No. X637

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other styles cent, befuddled, finally loutish. The
from $24.95 author's contempt for the fellow is under

Your favorite
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styling. Superbly soft and

standable, but when Kraus gei
flagrante with a Polish hous
gleefully bounds about on all fours,

. we are consc

nesing a mockery of the very tragedy

flexible with pavement- Levin intends to dignify. Where Levin's

softening cushioned innersoles. novelistic equipment was more than ade
Handsome . . . rugged . . . comfortable. quate for a shallow psychological melo
drama like Compulsion. here, like his

At Fine Stores Everywhere - own min Kraus, he is in over his head.

FRENCH SHRINER * 443 ALBANY ST. e BOSTON, MASS. 02118 What lurks behind the locked door of

the Actors Studio? A — Frankensteinian

laboratory in which Lee Strasberg molds
w material into Marlon Brandos? Rob
ert H. Hethmon. director of the Univer
sity of Wisconsins Center for Theate
Research, has found owt. Revelation!
Strasberg has turned over to him (ape
recordings of his Actors Unit c
sions, dating back to 1955. Hethmon has
edited the tapes, inserted his own com-
ments, written an admiring introduction

Fe UU Soe GS MILs Wns oO Ws OUT Le DOO SOL

ss ses

wb pasted it all together into a book
ied. Strosberg at the Actors Studio (Vik
ing). No revelation! The book promises
much more than it presents. As a text
book for actors, it is doubtless valu
able; for people close to the Studio, it is
an album of memories; for the outsider
it is mainly a curio. It has builtin prob

lems: Since the sessions are private, let
ters of the alphabet are substituted for
names of members, which is not only
confusing, but at times ridiculous. Siras-
berg blows up at actress HH. but not
knowing her name, and having no pic
ler has no
up Suas.
on — almost ans

ture of her performing, the re
point of reference. Covering
bergs wacks, Hed
through the alphabet twice.
only once when Strasberg velers to his
daughter Susan by name rather i
ighter, aciress PP.” Furthermore,
compilation of tapes. the book

rprises us

“my

suffers from imprecise spoken. Lingiage
needless repetitions and a lack. of clear
CHAMPALE is America's Original Sparkling Malt Liquor. y / Re uiam U chronology. Yet it does have some value:
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denounces, sat
praises, encourages, jokes and inspires.”
He comes through as a man of total dedi

nd clarity of purpose. Strasberg
says he wants actors to (rust. themselves
even if it means falling on one's face, to
themselves even at the expense of
] embarrassment, to relax, to ex

izes, worries, advises,

cation

person
plore, to dare. The Method? It is not a

system, says the m. 1 only tries to
show the actor the path to be followed
how he goes about finding what only he
can find and what, even when he ha
found it, cannot be repeated the ne
time, but must be the next time found
n" The Actors Studio Theater gets
only bricf mention by Hethmon. who is
as much in awe of it as he is of Strasberg,
In his introduction, Hethmon quotes
Strasberg quoting Goethe: "The actor's
carcer develops in public, but his art de
velops in private." Unfortunately. this
book docs not violate that privacy.

When a bricklayer or a bookkeeper is
out of work, he goes job hunting. But
when a management man is toppled, he
enters the high-class executive placement
market. The elements of the dillerence
e set forth The Executive Job Mar-
ket (McGraw-Hill), by Auren Uris, a
compendium of do's and don'ts and a
guide to status restoration. It tells of the
custom. firms that tailor the executive's
résumé of experience or “ticket,” scout
out the most promising territory. pre-
pare him for the crucial interviews, and
provide psychotherapy for the trauma-
tized executive ego. Uris, who was once
gement game himself. is con
he dispenses his balm while
exploring the problems of the job-hunt
ing executive—junior. middling or sen
ior. He is so convincing, in fact, that
his tossed-salad similes pass almost w
noticed: "The plain fact is that the aver
age executive becomes like a lamb in the
jungle when he leaves the snug harbor
of his company and steps out into the
ployment arena." Since the job-hunt
ing executive does not need. E. B. White
at this critical moment in life, no matter
A. Unis delivers the practical goods. He
reveals the methods of “body snatchers,”
who pirate executives and deliver them
alive and enriched to another coveting
employer. He tells of the “bloodsuck
who. for a fee, counsel the execu

e
tive but don't place him, and the “flesh
peddlers,” or employment agencies.
Moreover, he provides a chuch of. brass
ks tips: Avoid the temptation to make
out with the receptionist. while waiti
to sce the head man—a fatal move if
backfires. Never reject a money offer out
id—use it as a platform from which
to negotiate. Don't harp om vour past
mphs—explain what you cin do for
cular company. And avoid
falsehood if possible—many preemploy-
ment investigations even snoop into can.
didate’ love lives. Uvis’ profession
optimism leads him to take a somewhat

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bullish view of the decline of industry
bias against minority groups, but ar least
he's on the side of an angelic trend. Al-
tog

man who has just been humbled by dis-
missal or feels that the next nest may

have downier feathers

Through the years, Steve Allen has
been an oasis of imelligence on TV
More, he has manifested a sincere inter
est in yir

ther, a useful handbook for the big

to get his viewers to unscrew
their minds Irom entertainment long
enough to entertain a thought or two
about the three-dimensional world on
their side of the tube. As one would i
agine, his prominence in liberal causes
us has carned him a con.

and orga
tinuous flow of mail from all sections of
the right wing. In Letter fo a Conservative

(Doubleday). he frames his response. Al
len started collecting his credentials for
such a book in a home abounding in
anti Semitic literature. He read the stull
eagerly, he tells us, and was not un
fected by it, With the Chicago Tribune
as the only newspaper to make its way
into the house, he was carly convinced
that “Communists, socialists and Roose
velt liberals were all the same." Having
managed 10 overcome this carly misedu
cation, he goes about the job of reply
ing to his far-right correspondents with
knowledge and amiability. He examines
those who incessantly call lor “freedom”
without ever del a g of
the word or evidencing any concern for
the people in the country who so ob-
viously lack the tangible freedoms that
are their rights He observes that the
National Review calls for us to. break
down the Berlin Wall—but offers no sug.
gestions for what to do if soldiers begin
shooting at us while we're at it. He
reminds us that Goldwater proclaimed
“total victory over communism” as his
theme, but never specified whether this
was to be accomplished with the bomb,
without the bomb. with armies, or with
what. Its an eminently well-meant exer:
cise, but Allen's tone, patient and under-
standing, seems to be addressed to the
little old lady in sneakers and her high
school-graduate son. We cannot quarrel
with the showman's expert appraisal of
who his audience is and how best to
reach it, but it is too bad that he appar
ently felt it would be unwise or u
use a little sophistication and humor on
his readers. Thats. Allen's strong suit,
after all. Without it, this dish, the
doubtless nutritious, is lacking in flavor.

the mear

We have had faith for some time that
beneath the padding and the 100 percent
pure beef of the professional foorball
player resides n being. There
hasn't been an ance of supporting
evidence, however, and so we warmly
welcome the appearance of Football and
the ingle Men (Doubleday) by Paul
Hornung with Al Silverman. Without
inspirational rhetoric or the jargon of

under $8.00

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TUA.
7 al

C)
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Chesterfield People:

They like a mild smoke, but just
don't like filters. (How about you?)

Es 4 LE
Lloyd Van Vorce heads carpentry at new home sites in California Henry Silver is a retail druggist

+;
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M». MONS
e (CIGARETTES
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Gai / ..— [la ae im
Naomi Hatfield writes a fashion column in Minnesota Chesterfield People get the taste that

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FULL OF WONDERFUL SURPRISES

WHEN YOU GIVE PLAYBOY, its a
Santa's sack filled to the brim with everything
that's fun and fabulous. It’s 12 lavish issues a
year generously seasoned with features that men
really appreciate—like those of June Coch-
ran, PLAYBOY’s 1963 Playmate of the Year
(shown in full color at the left). And “how
sweet it is” to know that you've taken the
grind out of giving—have sent a gift that
every man is happy to receive. Introduce your
friends to the good life—to good reading, good
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them to PLAYBOY. And what better time to
do it than during the bright mood of the
holiday season?

IT’S A PACKAGE OF PLEASURE
EACH MONTH OF THE YEAR. Start-
ing with the double-size $1.25 January Holiday
Issue through the merry December Christmas
Issue (also $1.25), your gift crackles with mas-
culinity from bold and bracing fiction and non-
fiction to the fairest of femmes:

m full, book-length novel by Vladimir Nabokov
Wi portfolio of the world’s brightest new stars
m Playmate Reviews, the most beautiful girls in
the world in full color

Bi penetrating interviews with renowned and
distinguished personalities of our times

Bi getting-away-from-itall vacation spas from
Tahiti to the Tetons

li the eloquent, entertaining contributions and sparkling
commentary of writers like Henry Miller; Malcolm Mug-
geridge; the late, great Robert Ruark; Mortimer J. Adler;
Bennett Cerf; Herbert Gold; and James Jones

Ili food and drink, choice cartoons and mirthful humor
W clothes that bring masculine flair to men's fashion
m PLAYBOY:'s special jazz issue with a first-time Hall of

Fame for jazzdom's greats

THE SPECIAL BEAUTY
OF THE SEASON. Just
before Santa puts his XK-E in
gear, PLAYBOY's Playmate of
the Year, joyful Jo Collins, comes
calling with an announcement of
your gift via the handsome card
you see here. And this full-color
greeting will be signed just as you
direct. Or, we can send you the
card, unsigned, if you prefer to
make the grand gesture, a more
personal presentation yourself.

MAKE YOUR PRESENTS KNOWN. Send in
your PLAYBOY gift order now and save your energy
for celebrations, fetes and galas, Giving PLAYBOY is
casy—and YOU SAVE MONEY, too. Spccial Holiday
Gift Rates: $8 for your first l-year gift (save $2.00 over
newsstand price) and only $6 for each additional 1-year
gift (save a full $4.00). We'll hold the fill úill after January
Ist if you wish. And Merry Christmas!

SAY PLAYBOY 232 East Ohio, Chicago, Illinois 60611 | MY NAME —

THE WORD. BM" ee Mt
"PLAYBOY c SHE Tiene nD cis. Say, NH
Y E E: Please complete:

FOR m E e iip poe C ENTER OR [-] RENEW my own subscription.

CHRISTMAS” Rift card from: ". z (Renewals begin when present subscription expires.)
FIRST ONE-YEAR GIFT $8 Ft ok A -— | Al pts are new subscriptions.
(please print) | £ Some gifts are renewals

Gaye $2.00 ber aaa ey Ri Total subscriptions ordered —
err P USE SMS [ie itn. co — enclosed. C1 Bill me later.

(Save $4.00 Over Newsstand Price) gift card from: “—

| Enter additional subscriptions on separate sheet of paper.

PLAYBOY

ry, this admi
peudo autobiography shows us pro foot

Dals Golden Boy as à man who had the

fortune to find carly in lile that he was

very good at two things—foothall and

girland has been devoting himsell t0

A them with enormous success ever since

j Ax] Silverman blocks neatly for. Hornung’s
1^ 5 ey , hi points of his carcer.
en S For the grownups hour: — from his triumphs in high school, when
a LAM ELT po E he was named number-one football play

a in Kentucky, to his triumphis at Notre

pressa. ble specimen of

romp among ihe h

Dame, where he was voted the. prestig

The Beefeater martini (Wessi tium
is a sublime : 1 become pro football's Most Valuable
trumpet call-

why not sound
it tonight?

BEEFEATER
BEEFEATER.

the various incid nosily involving
Excellence doubly safeguarded

chicks. who, he s. are. powerfully
tracted to hi he is good.
looking and. famous and such a pleasure
10 be with) whieh have gotten him into
varying degrees of hot water. On the
oher hand. he does not oppress us with
the hardships he has had (0 overcome (the
toughest problem of his lile was deciding
which college's hospitality to accept for
Jour yews), with rhapsodies to his true
love (he has had quite à number of true
loves and hopes to have just as many
more) or with his aspirations for the fu
iure (he is enjoying himsel! immensely

and plans to g
‘94 PROOF « 100% GRAIN NEUTRAL SPIRITS + FROM ENGLAND BY KOBRANO. N.Y. debt to both Hornu

i this relreshing example of popular
raphy sans popular bushwa

Until recent yews, American jazz
criticism has been more e
with informal social history than with
able analysis of rhe music

HE'S TRYIN

TO TELL po i ME
US SOMETHING... | Sine cns Site bom tec
E HANES PISA |a dez dus crim m dem
BAN-LON? ue der cuc eerie
SOCKS ARE cat resto ia ‘he a d
GUARANTEED chapters on Louis Armstrong, E rl Hines,

S separate
Bix Beiderbecke, uns. Fats

E TO STAY UP! Waller and. James P. Jobnyon, Jack Tea
: E garden, Fletcher Henderson and. Don
Re Besie Smith $
— m. f At the end of each there is an astutely
Pus AEN CON seeks ase made for Selected bibliography. and. discography

the tops in staying-up power and comfort. Particularly valuable is Had
Plus 4's come in casual, dress and sports evaluation of Earl Hines (sec this month's
styles. Money back if you aren't. pleased. Recordings). whose. pervasive influence
has been previously underestimated. The
anecdotes. ine revealing. The distant
lor example, astonishes Eddie
lon with a shrewd evaluation of
Jow the hell did you find that
Reaton e $]- po Condon d led. “I get around,”
Plus 4 Bix replied, ‘The intellectual beneath the
clown in Fats Waller is disclosed, the man

ock's re

anes-Milis Sales Corp. High Point, N.C

GEE x:
IT’S A TROMBLEE IN BLUE CHAMBRAY
WITH UNREGIMENTED STRIPES! xxx

HAMBRA Y, that fine shirting, is named for Cambrai in France where it was first woven.

One wonders how they found the time. Consider just these introductory words from the
Encyclopedia Britannica (14th Ed.; Brain to Castin) : * “Fortified by Charlemagne, (Cambrai)
was captured and pillaged by the Normans in 870, and besieged by the Hungarians in 953.
During the 10th, 11th, and 12th centuries it was the scene of frequent hostilities between the
bishop and the citizens? Nor was the news much cheerier during the next 800 years. * Until
now. Here in unfortified, unpillaged, unhostile Quakertown, Eagle Shirtmakers are using a
specially woven chambray to make Tromblees. * A Tromblee, as we know, is a button-down
shirt with a button-down pocket. This one comes in Collar Worker Blue with or without stripes
of yellow, red, or white; about *7.00 where Eagle Shirts are sold. If you don't know where that
is, besiege Miss Afllerbach at the address below. Better write first.

riu E

PLAYBOY

HAVE A
LITTLE BRANDY

M RENWESST aC

tocnAc

A friend in need—that's Hennessy!
Your own flask of Hennessy will
come in handy any time, for any
occasion.

This popular, economical small size
perfect for sporting events, pic-
nics, and outings... makes an ideal
traveling companion tucked away
in your briefcase or suitcase,

So have a little Hennessy handy—
it's the most popular cognac brandy
in America.

HENNESSY

COGNAC BRANDY
84 & BO Proot - Schieffelin & Co., New York

For tho man with drive,
“Tournament” by Dunhill,
of course.

After Shave and Cologne
in gilt box, $7.00.
Also individually boxed.
At fine stores everywhere.

who enjoyed talking about Beethoven,
Shakespeare and Plato. And there is the
juaman’s credo as proclaimed by Pee Wee
Russell: “If you miss, vou miss. If you get
lucky, you get lucky—but you take a
ve gor to get lost once in
wi Masters of the Twenties
is worth the time of any jazz partisan,
from the postgraduate to those just start-
to find out how much there is to hear.

pLaynoy readers will remember (could
they forget?) Lenny Bruce's autobiogra-
phy, How to Talk Dirty ond Influence People
(Playboy Pres). which was serialized
in these pages. Now it’s in hard covers,
updated and expanded. The self chars
ter s a central fact tits
author: Bruce is unique. There are comics
who are social satirists, others who are
blue but boffo, others who are expert ex-
temporizers, but just when you're about
10 say that no comic but Bruce combines
all these tients, you rc
isn’t a comic—not in anything like the
usual sense of the word. He works clubs
and makes people Laugh (those who don’t
walk out), but this is almost an accident:
He works clubs because there's just no
other place to do what he does. Try to
him on TV. His g ng
oll the top of his head, using some
bis he remembers but always shakii
them up, adding and expa espond-
ing 10 the particular situation he's in and
improvising. His book reproduces tapes
ol his “performances.” They provoke wild
dau.
lose someth
hear them at the moment they

ion reve:

zc that Bruce

ig is to

hier at the world, although they do

because we don't actually
re bein;
made. The story takes Bruce from his im-
probable childhood, through the
World War Two, his n o a strip
per, his various dodges to make a dollar,
then his break into showbiz and his run
ins with the law on obscenity and drug
g
story

to it than that! How
blowtorch appear

often docs
who—on stage or in print—can sca
stupiditics ne time that he frac-
tures us with g:

out

t the sa
2

RECORDINGS

Frank Sinatra takes on a new role as a
musical spokesman for the geriatric set
With September of My Years (Reprise). The
tide tune sets the tone for the album
which includes Hello, Young Lovers, Last
ght When We Were Young, This Is
premi an to the
ars, September. Song. 7
rangements by conductor Gordon
Jenkins, and the mellow Sinatra pipes are

he ar.

If you can't decide what to
get him for Christmas, let Jiffies
add to your confusion.

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PLAYBOY

Just the ticket
for the
Martini Man ———

Tickets on the aisle for opening night. Crisp Gilbey’s Gin for his martinis.
Because Gilbey’s exclusive London Dry formula creates unique gin crisp-
ness—makes martinis snappier. Try Gilbey’s. It’s just the ticket for your

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perfect for the materi
have a universal appes

The result will

The rich composing talents of Matt
pur forth on Dave
Brubeck Quartet / Angel Eyes (Columbia).
In addition 10 the classic title lilt, there
halfdozen other. goodies, ranging
a ihe constantly played. Everything
Happens to Me to the never-played Little
Man with a Candy Cigar. Known or un-
known, Matt's melodies are treated with
the utmost respect by Brubeck, Desmond,
et al.

Semmy's Back on Broadway (Repris
although Sammy Davis always does

by the Apples show tunes, they
ys reciprocate in kind. In f.
the first two items on the LP, A Wonder-
ful Day Like Today and Take the Mo-
ple to discourage the listener
but by all mea
ne across such gems
as Sunrise, Sunset, A Room Without
Windows and People. These, alone, arc
worth the price of admision.

as do.

More Blues and the Abstract Truth / Oliver
Nekon (Impulse!) has the gifted
composer operating outside his usual
large-band context, but what the troops
Tack in quantity they make up in quality
Ben Webst ». Phil Woods
ad Pepper mong thase who
respond rousingly to the Nelson charts.
As the album's title indicates, the mood
is indigo but it is far from melancholy.
The blues vocal style—are adn bly
attended to on The Wizardry of Ox Smith
capitol). This LP debut. for Osborne
th is an impressive one. With sensi
tive instrumental support that features
the trumpet of the ubiquitous Thad
Mr. Smith gets gullylow in high
Our favorites: Midnight Special
and Careless Love.

Slow and casy is the pace on Neney
Wilson / Gentle Is My Love (Capitol). Miss
Wilson's ng ways have never bi
more apparent than on such love hr
as My One and Only Love, More,
Ifter Time aud If Ever 4 Would Leave
You. Add another chapter to the Nancy
Wilson success story.

The
this past
hold. Altho

Earl “Farha” Hines
wondrous to be-
nist has never left
the jazz scene, his work for a long time
has been in al limbo. Everybody
knew he was there but nobody cared very
much about it. Bur times, happily, have
changed, Three LPs are on hand to pro-
vide Hines with impeccable credenti;
On “ferhe (Columbia) he's with h

: The Reol Earl Hines (Focus) has his
mented by tenor man Budd

Act like youve always worn
a Worsted-Tex:

You'll get used to being a leader
after a while.

It's easy. The first time you show up at the country club in your Worsted-Tex “Separables"—everyone will spot you as a leader. Who else
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Linings Senitized? treated for hygienic freshness

PLAYBOY

something
fresh!

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put into a pipe

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blends this bouquet of flavor with its
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Try Bowl of Roses for your next pipe-
ful. Start something fresh/. ..she'll like
it almost as much as you do.

Another fine product
48 of United States Tobacco Company

Johnson: while Up fo Date with Earl Hines

the wacks, and Budd Johnson added on
others, Hines forte is taking a stand-
ard (there is only one original tune in
the lot) and coaxing it, coddling it, em
bellishing it and enhancing it until it be
comes his personal property

Monne—That's Gershwin! / The Shelly Manne
Quintet and Big Bend (Capitol
cious enterprise Tor a jazz g
it includes. such seldom pli
Gershwin memorabilia as By Strauss and
The Real American Folk Song along w
Classical excerpts (Prelude Number T
d Theme [rom Concerto in E). M.
«I his Men turn them all into €
1s. On hand are the quintet’s Conte
indoli. Frank Strozier. Russ Freeman
«d Monty Budwig and a host of welkin
ringing West Coast jazzi

The Wonderful World of Antonio Corlos
r Bros) has the composer

up generous help
ings of all three. Nelson Riddle supplies
the simpatico orchestral accompaniment
as Jobim caresses a dozen of his Brazil-
based ballads. High points of his whisper-
soft vocalizing—Agua de Beber and A
Felicidade.

Joaquin Rodrigo Interpreta Sus Obras
(Odeon). now available in this country,
is a splendid album, recorded in Spain,
of the illustrious Spanish composer-
pianist interpreti roup of his works.
He proves to be a masterful performer.
Presented here are Cuatro Danzas de Es
pana, A L'Ombre de Torre Bermeja, hall
a dozen short pieces, and his Gran Mar
cha de Los Subsecrelavios,

composition
for four hands in which he is joined by
Victoria Camhi de Rodrigo.

Jon Hendricks Recorded in Person ot the
Trident (Smash) indicates that Jon can do
very well for himself, thank v
solo singer. Backed by a thr
rhythm section, Hendricks tackles stand
ards, jazz classics and several of hi
concoctions. Among those on |
Watermelon Man, Old Folks,
Stockings and the vener
What's Become of Sally.

Fine reissues of theater and movie ma

eat hand, For a study in con
trasts, dig Fronk Sinatra Sings the Select Cole
Porter (Capitol) and Ethel Merman
Cole Porter (JJC) Miss Merman's I
not quite that, since four songs from the
Fields Schwartz 1939 musical, Stars in
Your Eyes, are included. The Merman
modus operandi is to aim for the last
row in the balcony. Sinatra, of course,
has different ideas. all of which are ex
pressed admirably in a dozen Porter tone
pocms—lrom the opening I've Got You

Shiny
ble 1 Wonder

Your outlook is definitely active in
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breast pockets, he-man shirttails,
navy anchor buttons in a warm blend

of fine melton fabrics. Navy, Bur-
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at your favorite store or write Dept. D

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PLAYBOY

does it

Nice and easy. That's the best part about these
Minolta automatic cameras. You don't have to
know anything about f/stops, parallax correction
or shutter speeds. Yet you're always sure of bright,
sharp color or black-and-white slides or snapshots.

Minolta Hi-matic 7 So automatic it almost
thinks for itself. Works manually and semi-auto-
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$56 plus case.

See Minolta cameras at your dealer or write for
colorful brochures: Minolta Corporation, 200 Park
Avenue South, New York, N.Y. 10003, Dept. D11.

Minolta

the name quality made famous

Under My Skin to the infectious closer,
From This Moment On. If you survive
the title, you'll enjoy The Young, the Beau-
titul, the Incomperably Talented Beatrice Lillie
Sings the Young Noel Coward, the Young Ar-
thur Schwartz ond the Young Howard Dietz
(JJC). The Goward ditties are from 1939s

"Lio Music. Dietz and Schwartz are
wed by a trio of tunes from At
Home Abroad amd Flying Colors. To
praise Bea's nonpareil
would, we fear, be gildi
neial failure, Rodgers and Hammer
stein’s Allegro (Victor) still lives through
its marvelous melodies—A Fellow Needs
irl, So Far, You Ave Ne Away and
the rambunctious The Gentleman Is a
Dope. The original cast, heard on the
reissue, includes L Kirk and
mary Dickey. Movie sound t
Division—have been re-etched via Jazz
on which Miles
ckground music
for Frantic ator to the Scaffold

France) ey's J
gers deliver the musical message for The
Women Disappear. The Davis tracks (ten
of them) are, for the most part. somber
mood pieces beautifully — delineated.
The Jazz Messengers also handle thc
chores [or Les Lieisens Dangereuses (Fon
tana), an LP highlighted by the trumpet
work of Lee Morgan.

Anna

on the Screen. (Font;
Davis. perlon

7 Messen

DINING-DRINKING

The Jockey Club, 3 plush retreat on the
first floor of Washington, D.C.'s,
husctts

9100 M Avenue

Hotel

at
along the cit a
s just a portfolio's throw awa
the White House and the State De

diplomatic celebrities commingle with
some of the fir Te ise of
the Club's cosmopolitan clientele, the fare

we sampled Crépes à
food concoction i

la Jacques, a sea-
1a piquant cream sauce,
and Artichoke Filled with Purée of Oys-
ters, which sounds forbidding but taste:

superb. Soup is not the strong part of
but it is more

The Jockey's bill of fare,
than adequate. A rich Cr
is the best in the house.

Chef Claude Bouchet stakes
deserved international reputat
extensive selection of entrees. Among the
ties are a rich Tournedos Rossini
ich the tend is served with a
heady mixture of mushroom sauce and.
foie gras, baby pheasant with wild rice
and Long Island Duckling à l'Orange. As
befits a quality ant near the
id, The Jockey Club is proper
nghold of seafood. Fresh live
trout and lobster from the Clubs own
ocean-water tink and a superbly delicate
Dover sole are memorable. In addition to
the standard dinner menu, the Club runs

For the man
who plays
to win,
whatever his game.

Jaquer

Jaguar from Yardley

The invincible new scent. After-shave
and cologne combined, $3.50. Soap on
a rope, $2.50. Gift soap, box of 3, $3.00.

Get personal, Santa. Give

personalized Zet2oiate

Please personalize a dozen Titleists
($14.85 doz., including leather-like
gift box) with these names:

NAME
(Please print. Up to 18 letters)

Send everything to:

NAME

cim. STATE ZIP.

1 enclose $ ($14.85 doz.).
Please credit sale to my golf pro

Club.

ACUSHNET

Acushnet Process Sales Co.
New Bedford, Mass. Dept. P

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k

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© mas, manea as

a full complement of fish, fowl and mear
spécialités du jour that remains uniform-
Iv excellent. Vegetables, which only a
handful of restaurants do properly. are
a justifiab'e pride of the kitchen. The
immense dessert menu is a trencherman's
delight. Our favorites are bananas Iam-
beed and a wickedly rich serving of fresh
strawberries Romanotl in brandy, Maitre
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that provides swift and expert. servic
The warm decor of ark woods and
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3 rw... dinner 6 to 11 vat, The
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for

MOVIES

In Derling—a well-written, finely made
film about the sex lile of a gorgeous girl—
Julie Christie, who was the swinger i
Billy Liar. is a London model who
would like to be good and who is not
really bad: she just has nothing to hold
onto, except men. She was married
highbrow TV in-
terviewer-writer (Dirk Bogarde) who
is married and familied: they start plav-
ing house. He is serious it; she
would like to be. But when she gets
bored (he. spends his sp: ne work-
ing on a novel instead of novelties)
she takes up with a big PR man (Lau
rence Harvey). One Ming leads to anoth.
d before the opus is over, she is
married to a middleaged Talian prince
in a Florentine. palazzo, with seven ste
children and a quirk for Dirk. She flies
hack w London and geis, in more than
e way. her comeuppance. As a story. it
steams along: ‘The people are people. the
dialog is daggery. rhe camerawork is
wild. the direction by Jobu Schlesinger
(A Kind of Loving and Billy Liar) is full
ol servile touches. The trouble is that
the film is suppos a
and as a comment on the moral
our times. irs either wo heavy or too
thin, Shors such as a closeup of a fat
woman picking meat our of a sandwich
while a charity speaker talks about world
hunger are a bit fatuous: and the orgies.
as usta, seem too well organized. Miss
Chrisie is g Hook:
Harvey is suitably sleek. Bogarde
class. Darling isn't as deep as it v
out. but irs a fast two hours

yor then mects

e d

What those
have Is rou ! con
Laurel ond Herdy's Loughing 20s is another
anthology film by Robert G. Youngson,
specialist in the species, and it packs a
0 of comedy that makes it seem as if
the decade whizzed by on a lofty level of

ring Twenties must
at ds sile

You're an executive trainee.
Yov're pretty bright. But so are
the others. And the boss doesn't
have a daughter. So how are

you going to get ahead?

Put your gray flannels away and wear this
Cricketee: jece striped worsted suit.
That's right, stripes. Not the kind you see in
t old George Raft mov But these:
very subtle (call them ban
you want an idea of how
are), yet very noticeable. And wear the vest
Vests are important this year. About $70.00.
Oh, yes. Bosses” secretaries make good allies.

PRESIDENT

That old piece of advice
still holds water when
it comes to office politics.

Some days it pays to wear
u gray flannel suit

hen you oversleep and Stripes, stripes, stripes? Yes!
ant to get noticed.

CRICKETEER’ |

At most knowledgeable stores. Or write Cricketer, 1290 Ave. of the Americas, N.Y. and get your free "Clothesmanship" Back-to-Campus Wardrobe Gui

PLAYBOY

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the whole world sounds life

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by America’s new voice of Love, Jack Jones. Trae Love, Embraceable Y ou,
Young At Heart, And I Love Her and other warm-hearted melodies

Even if you're only slightly sentimental, you'll love it.

Some guys have it. Some guys never will.
Black Label After Shave, Spray Deodorant, Bath Talc. A buck each.

lunacy that rarely der down, or up
There's everything you'd. expect—from
the pies in the puss 10 the pants on the
pavemen

6E high spirits and deep seriousness that's
missing from moden imitations. Young
son begins with briel film bios of the p:
then neatly stitches some. side-stitching
sequences from a number of L and H
howlers. Two of their long episodes are
ballets of bofis: In. one, Ollie and Stan
are housebuilders who bring down the

but it’s all done with a blend

house: in the other. they are escaped cons
who steal some clothes, but. Stan's pants
are 100 Linge. Ollic's too small. They iry
to find a place to change and, after many
mishaps, they step into a small c
der a buildi

y in the proces of being
built. The cabin is an elevator that. takes
them to the top of the skyscraper skele
ton—and the result is a masterpiece of
mimed madness. [all adds up to More
What about L and H in the Thirties?
Those operetta p:

there, Youngson-

odios? Don't just stand
^t going!

Alain Delon, the French star, has just
made his first American picture, Once a
Thiet, and if no one pays attention,
maybe it will go away. h's about this
Haliam-born fellow (Delon), now living in
San Francisco with an American. wile
(Aun Margret) and. small daughter; he
used 10 be crooked bur has gone siraight
There's an S.F- detective (Van. Hellin),
Delon be

also Italian, who's out to g
cause of a bullet wound in his past
(where it dins). The heros brother
(Jack. Palance), a hotshot hood, wants
him to come back for one more heist, and
after harassi by Hetlin, Delon suc
cambs. Things zo wrong: there's a double
cross, and the other rotten yeggs kidnap
Delon’s child. so he has to ask Hellin to
help. There's a finale on Fisherman's
Wharf that’s fishier than a cugo of two
week-old cad. Delon’s body may have
been in California, but he left his talent
in France. Ann-Margret, as an emotional
actress, has luscious ley Hellin is no
longer a very moving nd Jack
Palance, who spent the last few years in
rope, maybe shouldn't have come back.
The beginning promises a hip flick
about farout hipsters, but it soon dis
solves into a Thirties Warner Bros. throb
ber about how crime doesn't pay anyone
except the folks whe make films about
how crime doesn’t pay

an,

Sidney Lumet achieves his directorial
peak im a World War IL whizzer called
The Hill. Us set in a British military pris
on in North Afri,
steep pyramid built in the middle of the
camp. up and down which prisoners are
forced to van in fall kit and battled!
under the blazing punishme
To this camp comes à new batch headed
by Sean Connery (see this month's
Playboy Interview) as a Scottish sergeant
major broken and sentenced for socking

: the hill itself is a

sun-

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- 55

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1 stop watch

2 time out stop watch

3 doctor's watch

4 yachting timer
5 tachometer

6 aviator's watch

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8 skin diver's watch

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CHRONOMASTER

by CROTON
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an officer, and Ossie Davis, the American
Negro actor, playing a West Indian sol-
dier sentenced for stcali key. The
way this pair buck the tyrimny and tor
wre of die camp and force a showdown
is the cruel core of the plot. Mon
way there are some crisp characteriza
tions, some ringa«ling writing. some
black-and-white photography (by Oswald
Morris) that makes the sun seem to sear
the skull, The prime performance is by

the

Harry Andrews as the sergeant) major
who really runs the place. tough and
smart but mostly tough. (The scene. in

which he faces down
prisoners is a smash.) Connery shows
that he’s capable of more than. being
bouled in Bond, and Davis is tops. par
The
film raises the issue of what to do about

crowd of protest
i

ticularly when he blows his top.

discipline when you're dea with
tough men in a tough situation, and it
doesn’t come near settling it: but, helped
by Thelma Conncli's editing, Sidney Lu
met has rendered Ray Righy's screenplay

into a real scorcher

Patricia Gozzi—a name you're going to
and more—is the teen
aged French actress who kept Sundays
and Cybele Irom seeming silly by means
of her astonishing talem. She's now
doing the thing. even more aston

hear about morc

same

ishingly. for Rapture. The plot is a crock
of sensitivity, bat Miss G.
She lives on the Brit

S just great
coast with her

widowed father. a retired judge, aud
their hotpants maid. Patricia, despised
by her dad. rakes refuge in her Fantasy

so deeply that he tells her she's going to
end up on the nearby funny farm. She
builds a scarecrow for their garden and

talks to him as iE. he were ative

escaped. murderer steals the

\ young
SCIFCCEOWS.

clothes. and the girl reus. him—almost
seriously—as her creation come to lile.
The o'd j because of conscience

in their
d.

about his past. hides the boy
house. When ihe boy makes the m:
the girl nearly kills her, Then the
and the boy begin an affair, ru
and come back t0 the—ol course-

finish. Director John Guillermin has
made the most of the coast—the gray
light. the rocks and waves, the gulls. the
lonely house and the winds. Composer
Georges (Jules aml Jim) Delerue scores
Gimnel

tragic

Lindblom, of Ingmar
van's company (she was the siren in
The Silence). is ihe maid, and then some.
Dean Stockwell the lad. is still: Melvyn
Douglas grunts and grulfs a lot as Pa. It is
Patricia all the way. Her belief in the
scarecrow. keeps the film from flying, off
her pasion and make her
quite juvenile sex life lovely: her tenor

tenderness

and happiness are those qualities in cs
sence, At 15, Miss Gozzi is a natural
1E you cross In Harm's Way with Fail
Safe, what do yon get? Answer: Very lit-
Ue—and that little is callcd The Bedford

“Love at first whiff” *

You
CAN SMELL
OTHER SCENTS...
THE DIFFERENCE
IS THAT YOU.
EXPERIENCE
LENEL
FOR
MEN
IT ADDS so

MUCH TO YOUR
MASCULINE ASSURANCE
«IT I$ CALLED “THE
SCENT OF SUCCESS"

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307 SEVENTH AVENUE NEW YORK, NEW YORK

Incident. Made from Mark Rascovich's
novel, it’s the story of a present-day Ahab
—a U.S. naval commander (Richard

Widmark)—and his particular white
whale, Red sub. Widmark's ship,
U.S.S. Bedford, patrols the seas be-

tween Greenland. and. Iceland, and de-
tects a sub insi the three-mile limit off
Greenland. He asks Washington for per-
mission to force it to surface. Permission
denied. (And we're all supposed to share
his shock; what can they be thinking of
back there, not giving him a chance to
help start World War H0?) He trails the
sub to open waters, but the plot gets
foggy. Why won't the sub surface out
there? And why won't Widmark let it?
And why does he arm his rocket torpe
does? At the crucial moment a jittery en-
ign presses the button and blows up the
sub, but the sub launched its own tor-
pedoes when it read the attack and Wid-
mark refuses to evade them. (Sort of like
paying for Moscow with New York in
Fail-Safe.) The script is not only fuzzy
and faded. but padded. Widmark is
more an aging juvenile delinquent than
an old sca dog. This is the first directorial
job by James B. Harris. and anyone who
can get bad. performances out of Martin
Balsam (ship's doctor) and Sidney Poitier
(correspondent) should be legally barred
from the trade,

life Upside Down is a first film, written
and directed by a young Frenchman
named Alain Jessua, and the only descrip-
tion for it is work of art. Literally, it’s just
a case history of a crack-up, a schizo re-
vealing that he is a schizo, but that’s like
saying that Macbeth is a murder story
This crack up is chronicled from within,
by the man himself, and the actions we
angement, hie sees as
young, lives in Paris
model whom he eventually mar
ries; and the story simply shows how he
drifts out of touch—with his job, his girl,
love, sex, friendship. family—like a boat
drifting away (rom shore. But the horror
is that the fellow in the boat feels hap-
pier and happier. The first sign comes
carly in the film, when he says “Excuse
me” to his girl and some friends in a café,
gets up—we think it's to phone or some-
thing—and just goes over to a pinball
machine and starts to play, oblivious of
the others, Little by litle this fellow,
who looks so nice and normal, becomes
more and more remote: His girl. who
thinks his disappearances mean that he
has another dame, tries the gas bit, then
leaves him. Charles Denner, star of the
neglected Landru. is superb as the young
man who seals himself into a solo world,
l Anna Gaylor is mice as the girl.
Jacques Robin's camerawork is exacily
right, but it is Jessua, perceptive and
poetic, who has made this a fine and un-

forgettable film.

sce as increasing de
solutions to life. He
with

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Try it tonight. |
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the others are not rare
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WHEREVER PARTICULAR
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THE PLAYBOY ADVISOR

Wc been dating a young lady who lives
in a girls’ residence. Since 1 live with my
parents, the only place we can be alone
is in a motel or hotel. However, she gets
qu

flustered by the deception involved,
and is particularly annoyed that 1 falsi-

fy a “Mr. and Mrs.” in the registration
book. What do you recommend?—
D. H. M., Van Nuys, California.

Falsifying your name in a hotel regis-

Jer ds not only unsavory, but illegal
When you check in, lake separate rooms
under your own names. What you do
afterward. is nobody's business but your
own. It may cost a little more money,

but is worth it,

WW iitever possessed my grandfather

10 wear spats—F. M. L. Memphis,

Tennessee:
The answer

to your question goes
back a couple of centuries. When an
18th Century gentleman paid court to a
lady. his single-horsepower sports model
left his legs exposed to the spatter of
mud and rain. Consequently, he wore on
vach ankle a leather protector called a
“spatterdash.” As longer trousers evolved
in the 19th Century, spatterdashes be-
came shorter and were made of cloth. By
1900, better
methods of
the need jor
they remained, with the shortened name
spats,” as elegant items of fashion.

roads and more modern
transportation eliminated

these accoutermenis, but

Bam a 20-year-old university coed whose
lack of feminine self-confidence can
be traced directly to. the fact that I
am disturbingly llatchesed. My boy
friend adds to my insecurities every time
he renews his subscription to PLaynoy,
and I find myself growing more and
more resentful of those girls who have
n outsight surplus of what I sà desper-
itely need. He has never brought up the
matter during the entire time we've dat
ed, but 1 fear that he is just being kind.
Is this likely to alter our long-range plans
and, if so, should I tke steps to try to
increase my bust size before it's too late?
—Miss P. F., East g Michigan.

Too late [or what? We're sure that, by
now, your boyfriend has discovered
many other salient qualities on which to
vange his feelings about you. Keep devel
oping these and forget about your bust.
If you can't, discuss with your physician
the several types of bust-enlarging opera-
tions that have been perfected.

By there a way 1 can protect my camera
from moisture and heat while it is stored
in the trunk of my car?—L. D. F., Wake-
feld, Massachusetts.

Heat won't. bother your camera, al-

though it does tend to deteriorate film
So, if you leave the instrument in your
trimk—unloaded—all. you'll need is a
packet of crystals (silica. gel, obtainable
at uny photosupply store) placed near
your equipment to absorb moisture

Whi docs “bouled in bond." as used
on whiskey labels, mean?—R. L. R
Harvey, Ilinois.

When you pick up a greenstamped
rontainer bearing the inscription “bot
ed in bond.” you've got a straight
whiskey (usually bourbon) that was pro
duced by a single distillery, aged for at
least four years under Govermment sur
veillance, and bottled at 100 proof. AL
though the inscription doesn't guarantee
a good whiskey (the revenuers who super
vise the aging are nol concerned about
quality), you'll find that most bottled-in
bonds are the best of bourbons. For a
compara evaluation of all
Proofs Positive" (PLAYBOY

hard
liquors, see
May 1965).

Bam currently a college student and,
after graduation, plan to take an adminis
tative position in local government
here in Southern California. For many
years I have used motorcycles as a means
ol transportation and pleasure and would
like to continue to do so. My question
is this: H I should elect to use this means
of transportation for going to and from
work, will I be subject to any criticism
that could allea my professional future?
—]J. E. S. San Diego, California
Definitely not. Have no fears about
yom "image"
increasingly
transportation.

on a motorcycle; it's an
fashionable method of

atoruunitely, in the past we have
been subjected t0 irrational morality
handed down to us by the unenlight
cned, d-Victorian. moralists of the old.
er jon. Finally, we have come to
reason. As college girls we have decided
that by remaining virgins, we are doing
We've come
to the conclusion that morals have little
to do with sex and we want to explore
what other friends have told us is the
most exciting thing in the world. We ap
peal to you to offer comments and ad
to our each finding
telligent lover who would help
lives more complete. Please
tell us il we could be reasonably sure
that a good relationship would not be
ruined by seme nincompoop who still
holds mid-Viciorian views.—Miisses 5. W
and R. K, Trenton, New Jerscy.

We think you're approaching the ques
aid. Since most nincom poops

ourselves a

reat injustice.

vice perta
sincere,
make our

tion bac

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PLAYBOY

don't wear signs announcing their status,
we suggest you first go to ihe trouble of
finding someone you can care about and
trust; then let the association develop
naturally with sex a part, albeit a very
important part, of the total relationship.
The amoral approach to sex suggested

in your letter will more likely get you a
painful memory than a memorable ex-
perience,

a sports car?—J.M., New
York, New Yor

ft depends upon whether you're talk-
ing about racing or street use. The strict
definition of a sports car is that of the
Fédération. Internationale de l'Automo-
bile. which lays down that, for purposes
of international competition, a sports
cay may have an engine of any size, and
weigh anything up to 2000 kilos (1400
pounds) must have 7 centimeters of
ground clearance, be able to turn inside
parallel lines 13.5. meters apart, have à
self-starter. four-wheel brakes, two seats of
equal dimension, doors, windshield and
wiper, mudguards, a hardtop or a hood,
luggage space for a trunk 65 x 40 x 20 cen-
limeters, rearview mirror, silencer, horn
and [our wheels all of the same size. With-
in these regulations, it is perfectly possible
to construct a macchina that will do 200
miles an hour and that is about as prac-
lical for everyday use as an 80-ton tank
with radar gun control, Still, it will le-
gally be a sports car, A more practicable
definition, and one generally accepted
for other than official racing purposes is
this: A sports car is a high-performance
automobile capable of transporting at
least two people and their luggage in
reasonable comfort and also suitable for
road competition use.

g of taking a monthlong
jon, and would

my va
now where I might find the best
atmosphere in terms of fast slopes, r
sonable prices and amiable feminine
companionship. I hear that Aspen is the
place to go. How about i@—L.B.,
Chicago, Illinois.

Aspen is certainly a good place to go.
But there are many other excellent ski
resorts where the slopes and snow bun-
nies are equally fast. See pLaywoy's No
vember 1963 article “Skiing U.S. A." for
a comprehensive rundown.

WI, tover and 1 have been living to-
gether for two years and 1 have rece:
l a baby. We are very much i
but have never bothered with the for-
mality of getting married, the

man happy. and the love goes out. I feel
that I am doing a good job now and I
don't want anything to spoil it. My

problem is with the mental attitude of
my child. Do you think it is unwise to
lin this environment? I feel
that if he is taught a good sense of val-
ues and realizes the important things of
lile, he will grow up to understand.
Am I wrong?—Miss A.F.H., Evanston
Hlinois.

lj you can bring up your child to un-
derstand the unconventional nature of
your relationship, you may never have
any trouble. You must face the fact,
however, that children. are notoriously
unable to comprehend why they are iso-
lated from their peers and deemed.
"dilferent"—as your child will undoubt-
edly be if you do not conceal the nature
of your arrangement. You can avoid this
by pretending to be married, but since,
judging by your letter, you intend mak-
ing your relationship permanent, what's
the point of dissembling? We think that
the harm you fear from being wed will
be far less than that which you and
your child may suffer from either honest-
ly flaunting your nonconformity or de-
ceptisely hiding it. Incidentally, we don't
agree that marriage necessarily demeans
love. Bad marriages are made by incom-
patible partners, not by wedding

enses.

Wen 1 was overseas with the Air
Force, I met a Jap whom I'd
love to bring over here—for keeps. Trou-
ble is. T live in small town and I'm
wor
cle won't accept
—B. K.. Lineboro. Maryland.

We suggest you get away from your
small town and plan on living and work-
ing im a large city such as New York,
Chicago, Los Angeles or San Francisco,
where interracial marriages are generally
accepted.

proper for a divorced m;
fer his wedding band to the
v of his right hand?—].

Seattle, Washington

After one has undone the ties that
bind. it's time to retire the ring, not
chang

e fingers.

r college ii
B a "nic

girl and, in a
while, I was asked. by her mother. to
move in with their family. Then her
mother, who is widowed, started taking
an interest in me and I began to take
her out. She was more fu
ghier ever was! Since then, 1 have
gone away to another school in another
However, the mother still re

isa

strong interest in me. My problem is: I
could get a good deal of financial benefit
by continuing. my this

, or else I could.

woman out in the ope

break this off completely and make
new beginning. The question is which is
better; the woman obviously enjoys hav-
ing a man around the house and the ar
rangement might have benefits for both
parties. Bur there is a big age difference
^d this could cause disruptions in the
family. chiefy beween mother and
hier. Besides, 1 still kind of like the
ger one. who is ignorant of our re-
ship. Since I enjoy the ez
I would not mind living with an older
an. How do you think the daughter
would take it—H. $
Amiss. So would we.

CŒ ouid you please seule a dispute I've
been having with a friend of mine, cou-
cerning tab collars as opposed to button
downs? Is one collar more "in^ for formal
wear? Is it appropriate to wi tab-
collar shirt on semiformal occasions?
—L. L., Piusburgh, Pennsylvania.

Both tab collars and buttondowns are
very much in style, and equally accept-
able for most business and social wear.
But tabs, as well as the traditional plain
collar, ave considered more appropriate
for formal and semiformal occasions. For
further tips on collar styles, refer to
Fashion Director Robert L. Green's
“From Collar to Cuffs” in the February
1963 PLAYBOY.

W have heard that there is a club—a very
loose and inform club—international
in scope and composed of persons whose
intelligence tests our to the genius level.
Its sole purpose, as I understand it, is to
provide members with a mailing list of
other members. Would it be possible for
you to inform me whether the club still
exists, and, if so, where it may be contact-
ed?—T. I. L.. Westwood, California.

You're veferving 10 Mensa, Internation-
al, an. organization founded in England
and composed of persons whose intel-
gence is rated in the top two percent.
Mensa has many purposes besides pro-
viding mailing lists to its members, Re-
gional and local groups conduct forums,
engage in charitable work and publish
newsletters or journals. If you'd like ta
join, send three dollars 1o American
Mensa Selection Agency, Box its
Gravesend Station, Brooklyn, New York
Arrangements will be made for you to
lake the screening test, and you'll be
gwen a detailed report on the results,

All reasonable questions—from fash-
ion, food and drink, hi-fi and sports cars
to dating dilemmas, taste and etiquette
—will 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, Ilinois 60611. The most
provocative, pertinent queries will be
presented on these pages cach month,

If you know another way to use
4711 Cologne, please write.

Back in the 1700's, somebody decided 4711 was a cure-
all for anything that happened to your skin. (They even
called it “miracle water" because it felt so good.)

Then, in the 1800's, some sensitive gentleman decided
4711 was a refreshing substitute for a shower (since
showers in those days were not very easy to come by).

Which brings us to the present.

It doesn't take a highly sensitive man to recognize the
value of keeping 4711 around today. When something
comes up and you don't have time to shower, there's
nothing like 4711's clean, invigorating scent to cool you off
in a hurry.

Most men use it as an after-shave. Because they like the
scent, and it makes their faces tingle.

Since 4711 is a refreshant cologne (not a perfumed
cologne) there are dozens of ways to use it. We think we
know them all. But if you can think of another, let us know.

We promise to give in gracefully.

The House of 4711

‘Sole Distobulor: Colonia, ne, 4) Eset 4370 St. Mew Yor, N-Y. 10017- 6L

"No doubt about it, Watson, this scotch.
is definitely Old Rarity."

“Old Rarity, you say.”
“Observe the clear amber color. Neither smoky nor peaty. It’s vibrantly clear.”
“Clear, you say.”

“Sniff the aroma. Obviously the barley was

roasted over slow peat fires in invigoratingly brisk sea air

at a distillery off the west coast of Scotland. The isle of Islay, I'd say."
**Islay, you say.”

"But the telltale substantiation, Watson, is in the tasting.
This superlative blend of rare old whiskies
is obviously the work of a Master Blender."

“Mmmm.”

"One thing more, Watson, which makes my deductions incontrovertible.
Look over there by the bookcase and tell me what you see.”

**By Jove! A bottle of Old Rarity
Scotch. And a holiday gift package
of fashionable houndstooth design!"

Imported by Jules Berman & Assoc., Inc., Beverly Hills, Calif. Sole Distributor for U. , Blended Scotch Whisky 86.6 Proof

PLAYBOY'S INTERNATIONAL DATEBOOK

BY PATRICK CHASE

THIS JANUARY, if you can't decide be-
tween skiing on the slopes or on the surf,

combine both with a vacation at the
pleasure capital of the Middle East, Bei-
rut. Though its shore is washed by the

pon's c

m Mediter Le f
city is only two hours by car from snow-
packed mountains, Here, among the
famed 6000-yearold Biblical cedars, are a
number of modern and luxurious winter
resorts: The Cedars, Laklouk, Faraya,
Sannin and Dahr cl Baidar. The c
and elegance of French-speaking high
society adds chic to the atmosphere.
Back in the rich bedlam of Beirut's
waffc, you'll want to stay at the deluxe
St. George's Hotel, surrounded almost
entirely by the waters of the bay in
which St. George allegedly slew the
ragon. The hotels recent moderniza
tion induded bars in every suite and
phones in every bathroom, to meet the

rÍ

high-living demands of visiting sheiks.
Sightseeing locu the local

mosques : rkets, bright with color
and clangor, augmented by a cir trip to
2500-year-old Baalbek. You can Iunch at
the Palmyra Hotel, then drive on to
famed Damascus. ro Byblos with its
Me ts, and up the coast to
Tripoli, where a dervish monastery has
n preserved. Across the border, visit
enormous Crusader fortress, the
k des Chevaliers.
Intown sports include weekly horsc
ing at the Hippodrome, golf and ten-
but your main activity will focus on
the cabana-bright beaches around St
George's Bay, and the gambling at the
splendid Casino du Liban at Mamelteim
(ust outside town). There is excellent
night life at most of the better hotels (in
cluding floor shows at the boites in the
Commodore and Alcazar), as well as at
L'Elephant Noir, Lido, Mansour and
other night clubs. A prowling male can
choose from it cornucopia of compliant
B- mong the bars along the Rue de
Phenicie and Avenue des Francais—Le
Tabou, the Keyhole or the Rock In, for
example—and others stretching clear into
the city’s wide-open red light district.
Although we normally avoid organ
ized tours, an occasional one comes along
with something special to recommend it.
It's not too late to join the limited nun
ber of American sportsmen participat
n exclusive one-week st
ditions in the heart of
ambord country (100 miles from Par-
is). Between now and the end of Decem-
her, weekly flights Ieave Saturdays, with
tour members going straight to one of
P dlėgantisimo | hotel—the Ritz,
Georges V or Crillon. After initiation

imo the Chambord Hunt Club, the
group travels to the Chambord country
on Monday, and then spends four days
shoot h shoot capped by a gour-
met dinner and sumptuous accommod;
tions in a palatial French manor hou
On the final Saturday, the Club arranges
for the participants to follow, either on
horse or by cir, one of the oldest sta

meets of the French nobility. The Club
was founded with the cooperation ol
some of the great French families, and
members are entitled to shoot on their
magnificent estates. Among them are the
demesnes of the Marquis d'Harcourt and
his Château de Saint Eusoge; the Comte

Robert de |i Rochefoucauld and his
Cháteau de Pont Chevron: the Baron del
Marmol and his Domaine de Bois-

Vigne. The tab, covering everything ex
cept transatlantic transportation, is 59200
(5633 for your playn if you'd like to
have her play lady of the manor while

you lord it over the antlered stags of
Chambord).

You know about the fabulous skiir
Switzerland and. Austria, but for an ex-

citing postschussing
overlook West
versi

weekend plus, don't
Berlin—which. offers. d
orable than a tour
along the dramatic wall. During. Janu-
ary, the city swings with Kultur high and
low. including concerts at the new Phil-
harmonic Hall. opera and ballet in the
new Deurche Oper, classical drama at
the Schiller. experimental theat
Freie Volksbuehne a
ut such ea wige Lampe. Jazz
is the specialty at the noisy cellar place
Badewanne. At the campy Balhaus Res
featuring, a stage show and
"dancing water" fountains, telephones
nd message “hues are found on each
table. If you spot a comely Fräulein lan-
guishing nearby. you can use them to in-
vite her to join you, with the odds better
th that shell. accept.

The Bedin Hilton is new among the
deluxe hotels. but we prefer the smaller
yet luxurious Bristol Hotel Kempinski.
They've both within easy reach of one of
'urope's great restaurants—the celebrity
speckled Ritz, wh silk. scroll
menus listing a choice of Arabian, Chi-
nese, Japanese, Korean, Indian and Rus-
n foods. If you're a venison addict,
dine at the Aben on Kurfurstendamm.
To top your visit off, try Berlin's answer
to the Eifel Tower, the Funkturm, fea.
ng a good restaurant with a panoram-
ic view of the city at the 180-foot level.

For further information on any of the
above, write to Playboy Reader Sero-
106,232 E. Ohio SL, Chicago, HL 60611.

ns more

ets as

spect:

eve

h offers

WHO KNOWS
WHAT THE DAY WILL BRING

WHEN YOU START WITH
MAX FACTOR FOR GENTLEMEN

AFTER SHAVE LOTION. PRE-FLECTRIC SHAVE LOTION,
GENTLEMEN'S COLOGNE AND DEODORANT COLOGNE

'They helped
start a revolution

If you think these men look like revolution-
aries—you’re right. Around the turn of the
century they were among the band of rugged
individualists who changed Milwaukee's—and
the world's—minds about beer.

You might say these Schlitz beer makers
were the forefathers of what we know today
as “Real gusto in a great light beer.”

And if you think brewing a great beer like
Schlitz is a laughing matter, look at the
picture again.

(You should have seen how they looked
before the photographer said ‘‘Smile.’’)

Today the gang at Schlitz looks nice and
friendly, but they can still get mighty per-
snikity where real gusto is concerned.

Get next toa glass of today's

Schlitz and see for yourself.

Schlitz—the Beer that made
Milwaukee Famous...simply
because it tastes so good.

THE PLAYBOY FORUM

an interchange of ideas between reader and editor
on subjects raised by “the playboy philosophy"

MARSHA, THE ENORMOUS MOTHER

I've just read Donald Ziperstein’s let-
ter in the July Forum describing his
complaint to NBC about censoring the
Carson show, and quoting the reply he
received. from Carl M. Watson. m Jan-
wary | complained on exactly the same
grounds as Mr. Ziperstein, and although
1 addressed it “Head Nit Wit, Dept. of
Continuity Acceptance, NBC, Dear M
J received a reply from a Mr. Wa
son. A chronic grouser on matters of prin-
ciple, 1 keep a manila folder of carbons
and replies labeled serak Ur,
and upon referring 10 that, [oi
Watson's letter to me. E checked, because
the letter you quoted sounded. awfully
Familiar.

It was identical, right down i10 my
“spirited rejection" of their endeavors,
amd my “healthy opinion."

May wc
that Ziperstein and Samson are nor
alone, and have a multitude of friends
who protest in such numbers to NBC
about censorship that Mr. Watson has
had to devise form leuer X-43B7? to an.
swer the some complaint?

g of censorship. I hadu't seen
PLAYBOY at my favorite supermarket here
for some time, and assumed it had been
selling out before I got there. (Fm. not
deprived. gentlemen, 1 can. purchase it
elsewhere) But upon mentioning it (0 a
clerk, 1 was told they quit carrying it be-
causc of complaints from Marsha, the
Enormous Mother, who didn't want son-
ny (hers or anyone else's) to find out
what half the human race looks like (as if
didn't already know). One won
how many sonnys of the supern
mommas will run, at momm
implied suggestion, from the horrible
ol sex and women, to sex and men;
or, by l taught by momma's à
tudes that the whole idea is dirty
grow up to be able to express themselves
sexually only by peeping, or assault, or
other distortions ol. the aral s

Tell me, rravnov, what is a. fair esti-
mate of the ov Hl score in 1965. A4
(Anno Big Frater, or Anno Big
the case n be)? Who's ahead?
Samson.
Falls, Iowa.

Have hope, Patricia. From all the evi-
dence available to us, sanity in sexual
matters is currently becoming fashion-
able and the sickies are on the run.

perhaps reasonably assume

Spe

LA VOIX DE L'EXPÉRIENCE

1 am so happy with my subscription to
PLaynoy, and new D am again à la page,
thanks to Thana Courtney (ah, Mon-
tina!) Although I didn’t come in until
the May issue, L am getting the drilt
through the Forum.

You see, when D came here as a war
bride in 1921. 1 landed in a brouhaha of
censorship and screams of anguish. Ac
cording to the dictates of woman
sullrage and the single standard, every-
body had to be a virgin until mar
Some people thought ibat it w
take and everybody took to reading
books, Havelock Ellis could be bought
under the counter (all tee volumes).
Then came Judge Lindsey and trial mar-
riage. Then came Dr. Van de Velde, that
marvelous Dutchman who put cunni-
lingus within reach of everybody and
really semed the ball rolling, so to speak.
But, even so. all this book learning
didn't seem 10 get us anywhere. Sex is
like a game of tennis—you can read
about it all you want, but that. doesn't

make you a good plaver. You have to get
on the comnis. with a good
The

out there
teacher, in order to learn anythin
French say thar a woman is like a vic
give a violin to a monkey and what have
you? Certainly not beautiful music. So,
the French poppa. who is a
son, will see to it that when his son js
about 16, he will meet a good instructress
(one of poppa's former mistresses) and
karn how. Then, sonny will become
l'amant de coeur of à kept w or two
(no money involved) and by the time he
gets married he will know how to
deflower a virgin without making her
hate him for the rest of her life. Marriage
is well planned, the girl is in love, the
is gentle and. patient, everything is
ful and she is grateful forever after
2o barring accidents.
and 1 read books and
d's friends. and. while
the wives found it impératif. 10 tell. me
that their husbands wouldn't look at an
other woman, the husbands, those
friends of my husband, would corner me
behind doors, would push me into d
corners and the back seats of à
biles and they would tell me how good
they were and that they could make it
lost a whole hour! It was a litle fright
ening, like an endurance test. 1 was not
athletic and T didit like little messes, so
for the next 20 years there was a lot of

gical per-

No slide
projector

ever looked
like this
before...

It's the dramatically
successful Sawyer's.
Shows 100 slides non-stop
with new circular tray.
Takes regular trays, too.
Can even show up to

40 slides automatically
without a tray.

Shows 35mm slides, Super
Slides, and slides from
instant cartridge cameras.
No other projector, at
any price, does so much,
so well.

From less than 555.
Deluxe Rotomati
Slide Projector shown,
less than 5113.

PLAYBOY

pushing going on which,
dwindled and died out. Now,
tor, | am amused to sce that a
breaking loose again. Henry Miller came
along with what could be called Sex and
the FourLetter Word. Now ‘Thana
Courtney and the Church are getting
to the act. Think of the day when coi
tus interruptus was damned from the
pulpit and. Dorothy Parker had a canary
she called Onan because he wasted his
seed!

I am sure that the day is nea

when

| be invited to compete in

on the parallel bars!
So, as ever, de gustibus nom est
disputandum.
Congratulations.
Olga F. Gannon
Gardena, Calilornia
We agree that theres no disputing
tastes, Olga, but we'd like to add, from
our own college Latin, Nil Mlegitim
Carborundum—" Don't. let the bastards

get you down!”

MYXOMATOSIS
There is one aspect of your great cam-
paign that strikes me as being particu
ly sick and in direct contradiction of the
sexual frankness and natural attitudes
you advocate: I refer to the Bunnies.
You alford the already frustrated. “all
talk and no action". American. male
other place where he can pies his sex-
val fantasies without ^s where
he can vicarious
viously isn't gettin;
the hypocritical college. cherrie
If, instead of compounding the prob-
lem in this manner, these ogling, slurp-
g gentlemen were out doing whatever
it is they think about when a Bunny hops
by, the world would be a healthier place
As for the strict regulations for Bun.
nies, the “look but don't touch” arrange-
ment is financially and legally necessary:
but isn't it sad that you are being the
“home away from mom” for all the finks
you seek 10 liberate?

Jane Hart
Atlanta, Georgia
There is nothing cither sick or anti-
sexual about our “look but don't touch”
policy regarding the Bunnies of The
Playboy Club. 11 is neither possible nor
desirable—in even the most permissive
of socielies—to have every source of
sexual stimulation and fantasy a source
of sexual gratification, too. And what
this suppressed society needs is more
such positive, attractive, heterosexual,
healthy sex images, nol less. For, con-
trary to what your letter suggests, these
images encourage related. palterns of
personal sex behavior rather than acting
as a substitute for ihem. On the other
hand, a society that attempts to suppress
all outward. displays and tributes to sex
becomes increasingly perverted, impo-
tent and frigid.

GIVE AND TAKE

I would like to congratulate Dick Frech
(The Playboy Forum, June 1965) on one
of the most mature and well-thought-out
discourses on sexual mores and self-
imposed standards I have ever read. Hav-
g long been an advocate of freedom of
sexual expression, I was most gratified to
find that there is someone else who feels
very nearly the same way I do about the

is becoming more accepted and
acceptable to society, it would seem to be
the wisest thing to recognize sex Tor what

more accurately the act of love,

a mixture of give and take, with the
taking being a purely secondary concern.
If, on the other hand, the experience is
merely for gratification, there are always
those who have a similar hunger and who
thus facilitate the fulfilling of immediate
desires with their own urgencies. Even in
this case, satisfaction may be drawn from
the knowledge that one was the instru-
ment of another's release and satisfac-
tion,

A. Rodway
University of Mary!
College Park, Mary

DOWN THE GARDEN PATH

The letter from Dick Frech of Casper,
Wyoming, in your June Forum was a
pleasant surprise to me and to several of
my friends—pleasant because it contained
a great deal of well-expresed uth, and
surprising because when one has found so
few males with similar attitudes in a
supposedly sophisticated metropolis, one
doesn't expect them to turn up in outof-
theway places like Casper, Wyoming.

Mr. Frech, however, writes from the
male (albeit enlightened) point of view,
and lays perhaps too much of the blame
Tor the double stundard on the male half
of the population. His "casual rout" is
certainly offender, but the “sweet
young things” also insist on upholdin
the double standard even as they defy it

"There is many a girl who indulges in
premarital sex with a gentleman” who
doesn't think less of her for doing so. But
having established a nice basis for a sex-

I relationship outside of marriage, our
notso-hypothetical hauls out the
double standard and plants it like a wall
between herself and the relaxed, uninhib-
ited sexual relationship she cl
wants.

When she suffers her first pangs of guilt
over her late actions, she is incapable of
keeping them to herself. She “confesses”
to her girllriends that she has fallen,
while heaving nostalgic sighs for her lost
virginity. She lies in the dark beside her
sleepy lover and laments her downfall

ms sh

tions—a morbid fear of pregnancy. For
five or six days a month she torments the
unhappy guy with this bleak prospect,

alternately extracting promises of fidelity
from him and detailing the horrified rcac-
tions she can expect from her parents, his
parents, her friends, his friends, their par-
ents’ friends, and society in general, whe
her suspicions are confirmed.

Beyond this, she preserves her
cence” in a thousand subtler,
ways. She will not make love with the
lights on. She will not undress with the
lights on. She either insists that all sex be
of the standard variety, or, if her lover
succeeds in persuading her to ny new
techniques, she wails about it afterward,
no matter how much she enjoyed it. She
talks continually, in hushed, horrified
tones, about the indiscretions of her
friends, making it clem that
shocked to discover that her
friends could do such things. In general,
she goes about looking like death; her
voice, as she asks the bewildered guy over
and over whether he "still respects her,”
is the voice of doom.

It doesn’t take her long to convince her
enlightened counterpart that she did fall,
and that when she fell she landed with a
dull thud on his peace of mind. And
when he extracts himself from this |
ful situation, as ably he must for h
sanity's sake, she adds her voice to socic-
ty's wail about men au
ng them aside and striding pu
on toward newer, greener pastur
heroine is not sick, or pregnant, or ruined
in any way that society can see by looking

ne—

ing wome

at her, but she is ruined just the
with he

she ruined herself
mouth. There probably person
town who doesn't know exactly what she
has done, and when and where and with
whom,

Furthermore, she will tell her subse-
quent boyfriends about her fall from
grace, thus giving them the same slant on
her actions that she has herself, Frequent
ly she decides that, as long as she has fall
and there is no hope of a climb back
up into the light, she might as well enjoy
the darkness; so she goes out and, with
mile of one who has suf-
is resigned to lile’s wounds,
sleeps with anybody who happens by
Naturally, by the time she's slept with five
or six of the “great lovers” in town (who
tell of every conquest ro anyone who will
list known for miles around as
and then, strangely enough,
ant her." Men
are a cruel, heartless bunch, aren't they?

There is a lot more to this question of
sex—to have or to have noi—
€ willing 10 admit. A girl who
doesn't want to engage in premar
should on no account do so, and, contrary
to popular opinion, the men in her life

n't going to stop dating her for refus
ing. Oh, one or two of them may, but if
their attitude is that shallow, she's better
thout them. The rest may keep up a
tense of pushing her toward it, but

she is firm in her den
up eventually.

A girl who does want prem:
should be sure she wants it, and sw
ever she holds sacred. that she will
not torment her mate later on f
suading" her. (She cannor be pers
she makes her own decisions.) She ought
10 examine her reasons for wanting the
and be sure that her own condition-
ig and need Tor society's approval aren't
going to keep her from ever really enjoy-
ing it. She ought to ask herself whether
she really has the independence to carry
it off graccfully—il she doesn’t, she mis
as well forget it

We women insist on equ
field imaginable, yer if in this particul
field a man treats one of us as an inel
gent human being capable of deciding
what she wants, we all scream Hike foxes
We have minds of our own, we say—but
if we do, how cin we be led down the
garden path so easily? The
can't, We go willingly and unthinkingly
for all the wrong reasons and without any
foresight. and then we weep when. be
cause of our own bad judgment, we have
reason to be sorry afterward,

Candace Carroll
shiugton. D. C.

. they will give

lity in every

nswer is, we

THE SEX GAME
Many praises for Dick Frech’s letter in
the June Forum. It concerns a problem

that has been woefully neglected: self
ated morality. Many young Ameri
cm mals today seek — prefabricited

morality and. consequently. choose either
a very liberal standard. or the society
accepted Victorian code. The lippant ac
ceprance of any one moral code is totally
unreasonable and immarure, AlL too few
young men try to consider what is actual
ly right for both themselves and society.

Specifically I am speaking of our your
geu ds. In this group there
1 to be many who have an intellectual
apathy when faced. with the problems ol
the double standard versus anything else
Consequently, since Victorians are cu
rently on the way out. va mbes of
“liberals” now surge upon. today's wom:
hood in search of the “great lay.” To
many of these men sex is truly the game
war that M ply described. A
large number of these young intellectuals
praise the Philosophy, bur "
tually read it aud. fewer live by it.

\ prevailing attitude among those who
ave constantly on the make is thar the girl
player in the sex game is to be regarded
ly as a vagina on wheels, or else as a
mother image and ne'er the ww:
shall meet! The philosophy of the four
Fs (find "em, feel “em, etc.) seems to be
te popular with some of the under-21
amature mules today.

While it is true diat the ulialiberal at-
titude may be right for some individuals.
as a general code for all it is pedan
narrow-minded and unrealistic. Any one

sta

ch so

Jew have

apply only to persons of a
certain psychological make-up. for moral-
ity must stare within the individual aud
conform 10 his own. personality

The intelligent person must seriously
evaluate what is worth while in relations
with his fellow men and women

Here on this campus there are pitifully

few men who know enough about birth
control to salely engage in a continu,

sexual affair. and many got their best
technique dewons by reading Candy.
Reputtions are wholesale among the
bragyarts, and rhe fraternities iss of

"dates. do

that ae highly prized. Of
course, not all men are so irresponsible.
but there are still many “liberals” who
propagare the apathy. unreliability and
selfishness that can make sex a bad expe-
rience rather than the mutually satisfying
relationship that it should be. T hope th
The Playboy Philosophy will continue to
be an en ide in the right
directic

Jack Bell
University of Maryland
College Park, Maryland

VARIETY IS THE SPICE OF SEX
What Hefner is saving basically is that
sex needn't be all mariage. It would
seem, however, that. neither should
iage be all sex. As our society becomes
more permissive, sex will become a less
nd less important. part of marriage. AL
ready it is clear that we need des pro
creation, rather than more, il the specie
is to be preserved. Such th
interests and. affection are far more. im
portant than sexual attraction as bases
for a lasting mart And here the am-
biguity comes in. Granted that adultery
is immoral iP it involves the betrayal of
the faith and fidelity thar bind the m
hers of a marriage together; but
exclusivity necessarily a part of f
fidelity? Need it be a part of ma
IL as you say, modem contraceptives
provide a simple, inexpensive, effective
answer to (he problem of unwanted
pregnancy, why must the al con-
ct involve a promise of sexual exclu-
?oDivested of he unnecessary and
often istic romanticism — with
which it is commonly connected, miu
is simply an agreement by two peo-
ple. who like cach other he
live together. When marital infidelity
results it is probably because
of v n agreement—but why
the agree
Tt would seem that people who are so
enlightened as 10 engage iu uncommit
ted sex before mariage should be con
sistent enough. 10. continue. their sexual
edom during marriage. Lawrence Lip.
ton in The Erotic Revolution cites nu-
merous instances of married people who
have the good sense 10 agree 10 a little
ual variety while continuing to live
together and enjoy each other's compa-
ny. “Variety is the spice of life.” and that
(continued en. page 161}

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THE PLAYBOY PHILOSOPHY

the twenty-third part of a statement in which playboy's editor-publisher spells out —
for friends and critics alike—our guiding principles and editorial credo

THE PLAYBOY PHILOsOPHY is sometimes
referred to by its critics as little more
than a rationalization, apology or promo-

tion for this publication. But the basic
beliefs. about society that
been expounding in this series of edi-
torials were well established long before
we published the first issue of PLAYBOY.

Early in 1948, as an undergraduate at
the University of Illinois, we made what
proved 10 be a prophetic comment in a
campus magazine that we edited, en-
titled Shaft. We wrote:

The other day I thumbing,
through what may be 1948's most impor-
tant book—Sexual Behavior in the Hu-
man Male by Alfred C. Kinsey, professor
This
800-page volume is the first thorough ex-
amination of American sexual behavior
the result of nine years of
ich Dr. Kinsey and his
rly 12.000
lering this evidence,

our we have

was

of zoology at Indiana Univer

and attitudes-
study, during w
asoci:

men
one cin only conclude that if America

es interviewed ne

After co

laws were rigidly enforced, a majority ol

our male population would be jailed as
sex. offenders.

What about college men? Well, as a
group, they are less promiscuous
the average [for the entire] male popu
tion. They do indulge in more experi-
ences with the girl they intend n
however. (E don't know how you
ing out, but my girl doesn’t believe in
surveys.) We're waiting impatiently for
the female study

“On a serious note--Dr. Kinsey's book
disturbs me. Not because I. consider the
American people overly immoral, but
because this study makes obvious the
lack of understanding realistic
thinking that have gone into the forma
tion of our sex standards s. Our
moral pretenses [und] our hypocrisy on
matters of sex have led to incalculable
frustration, delinquency and unhappi-
ness. One of these days I'm going to do
torial on the subject. b how
we'll leave it to the sociology classes and
bull. sessions."

Some 15 ye
doing "an editor
we begin this

than

and

ane

s later, we gor around to
Lon the subjea”—and

23rd installment, a

editorial By Hugh M. Hefner

clusion to the series is nowhere in sight.
OUR COLLEGE VIEW OF SEX

Just how far our ideas about the social
and sexual ills of society had already de-
veloped is even more dearly indicated
by a term paper that we prepared for a
course in social pathology during a qu
ter of postgraduate study at Northwest
crn in the spring of 1950. That paper
reads exactly like somet
have written just a few months
installment of The Playboy Philosophy
In the introduction to that student t
tise, we stated:

"Alfred. Kinsey's
wal behavior sta

go as an

first volume on sex
tistically substantiates
what many in the field have suspected
for some time—there is a scrious gap be-
tween man’s professed beliefs and his
tions. This becomes more disturbing
when one realizes that much of this hy-
pocrisy has been legislated into t
mes of the various states. If strictly and
successfully enforced, these laws would
send close t0 90 percent of our male
population to prison with sentences
ranging from a few months to lile.
‘IE law is to function. properly, man
must respect it and believe, for the most
part, that it is right and just. A wide
ce between behavior and the |
ates that something is amiss.

varia
ind

something—either the legislation
ction—needs adjusting, Tt is import
therefore, 10 give careful consid

blem now that suitable st
is finally available.
per attempts a beginning by
ing together Kinsey's findings and
the appropriate sex legislation existing
in the 48 states and ihe District of
Columbia. A second part [of the paper]
is devoted to a comparison of the state
stannes themselves. and then some per-
observations are made and con
dusions drawn . .
Our sociology professor was impressed
with the report, but not with the person
al observations at the end of it—he was
mpressed with the latter, in fact,
that he actually graded, the paper twice,
giving it an A for the research, which he
reduced to a B-plus, because (as he was

sonal

so un

good enough 10 explain in à note at
tached) hie could not agree with or
cept the conclusions. Our conclusions
garding U. S. sex laws were the same in
that 1950 college treatise as those we are
now expressing in Philosophy; we wrote:

“This study has indicated the vast
differences that exist in the handling of
sex behavior from one state to another.
The realization that two citizens can
commit exactly the same act in diffe
parts of the counuy, and one be i
cent of any wrongdoing, while the other
is guilty of a serious crime and cligible
for a lengthy prison sentence, is disturb

ng. Most would agree that some sort of
standardization [of U.S. sex statutes] is
needed. But when we begin contemplat-

g the nature of this standardization,
opinions dilfer ly as the laws we
would standardize. "Though few will
deny that the discrepancies noted be
tween sexual behavior and (he hiw
present a serious problem, most will
have their ow: idi
for these discrepancies and suggestions
as to what should be done about them
These are this writer's,

"Following the 16th Century Refor
mation, democratic government was con-
ceived of as a separation of church and.
state. The state was to provide security
and order

idual explanations

but morally man was t0 be
free—fiee to choose his own church, to
speak his own mind, 10 read and write
what he pleased, to go where he pleased
and do what he pleased, just as long as
he did not violate the right of others to
se same freedoms. The United
States was founded on this concept. We
now. possess freedom of religion, speech
press, assembly, association, property and
sullrage to an impressive degree. Our gov
ernment has legislated to keep open and
advance the channels of social and eco-
nomic opportunity. But what about sex?

“Somewhere the sex be-
came separated from the other freedoms.
Man comprehended the relativity of reli-
gion and the importance of allowi
every other man to worship his own god
in his own way: and he comprehended
the relativity of ideas. permitting. cach
person to speak and write his own
thoughts, no mater how
bur somewhere along the
failed 10 comprehend the re

PLAYBOY

sexual behavior, and demanded—with
legal force as a club—that all obey a sin-
gle sexual standard. All deviation be-
Came a sin and against nature! Why?!
“Why docs tolerance turn to intoler-
ance, rationality to irrationality, when
man contemplates the subject of sex?
Why does Webster's New Collegiate Dic-
tionary define masturbation as “self-pollu
ton? Why do the learned lawmakers
become so emotional in their legislation
that they define every kind of noncoi
sex he abominable and de
testable crime against nature.’? Why are
excellent literary works — sometimes
banned as obscene? Why is it still
against the law in some states 1 circu.
late information regarding birth con-
trol and venereal disease? To answ
questions, we must consider the ve
ginnings of human culture.
“Earliest man, fearful in a world he
did not understand, created many gods
to serve as both protection and explana-
n. Almost from the beg
took on a sacred connotation
act became a part of the religious rit
of many precivilized groups, and
genitals a sacred symbol .. .
"The coming of Christianity did
lessen the importance of sex
it merely altered its value. Se

s sodomy—'

not
n religion,
ceased to
be something sacred and became some.
thing evil. The spiritual side of man was

considered to be in opposition to the
physical, the sensual. the carnal. Because
arge families were economically advan-
tageous, sexual intercourse within ma
riage was tolerated—but tolerated. only.
Sex play and pleasure were supposed to
be kept to a minimum, even within the
bonds of matrimony: procreation was

the only moral purpose for the sex act
and celibacy was considered a great
Virtue, All sexual relations outside of

m ge. and all deviations whe
creation was impossible [in or out of wed
lock]. were considered mortal sins.
“Because of the close
existed beween church and crown in
the Old World, religious codes were
reinforced by secular statutes. In Ameri
we separated the powers of church
state, bur religious antisexu
had so thoroughly infilirated secul:
ety that sex suppression wä
| the Jaws of our land.
“Our sexual

pro-

ssociation that

herit is predicated
more on ignorance and superstition than
on reason: our sex laws are one of the
esults of that heritage. These statutes
. for the most part. an improper in-
ngement of personal freedom and in-
consistent with the best interests of the
nd secular society as
. In the formation of new,
ion, it is essen.
tial, I think, to differentiate between
those laws that truly protect and serve
the members of a free society, and those
y attempt to restrict the indi
vidual to a particular religious-moral

a whole. .

code of conduct, to which he im;
may not personally subscribe. Under the
former, 1 would include legislation
si rape and, to a lesser degree, stat-
utory rape, incest and. public indecency
{eshibitionism]. AIL other sex offenses

discussed in this paper (fornication,
aduhery, lewd cohabitation, prostitu-
tion, and the variety of noncoital acis
— both hererosesual and homosexual
induded under sodomy and perver
sion statutes} belong in the second
category ~ -

Considering the critical reaction these

conclusions elicited from our Northwest
ern professor in 1950, we were especially
pleased when, in 1956, a proposed Mod.
el Penal Code was published. by The
American Law Institute which endorsed

eliminating from the criminal law
sexual practices nor involving force.
lul corruption of minors or public
ollense." We felt further. vindicated
when the first state 10 revise its sex st

utes along these lines was our own Ii
nois, And we confes to an additional
sense of satisfaction when we found

Northwestern among the more than 50
colleges and universities across the U. S.
to which we were invited 10 speak this
year on our favorite subject: The

Playboy Philosophy.
THE PROPER PURPOSE OF SEX LAWS

Our student paper on "Sex Behavior
and the U.S. Law” seems as pertinent to
us in 1965 vhen we researched
nd wrote it a decade and a half ago. for
these irrational and suppressive statutes
resist reason and have changed very little
the intervening years. We have con-
sidered and contrasted contempo
U.S. sex statutes and activity in earlier
installments of The Playboy Philosophy
(rtAvmov, February, April. September.
1064): in the next few issues, we intend
to conclude our current discussion of the
subject with specific recommendations
for new sex legislation that we consider
to be consistent with a free, enlightened
comtemporary civilization such as that

intended as the goal of American
democracy.

Our concept of a proper penal code
for sexual behavior is based on the be

lief that, in a free society, the state is in
tended to be the servant of man rather
than his master; it is supposed 10
sist the citizen, not suppress him. Some
U.S. sex laws protect the individual
member of society; many mi ely
suppres and. persecute him.

A MAGISTRATE'S VIEW

Morris Ploscowe, director the
American Bar Association Commission
on Organized Crime, former judge of the

Magistrate's Court of the City of New
York, Adjunct Associate Professor of Law
at New York University, states, in his
book Sex and the Law: "A rational code
of sex offense laws is long overdue in this

country. Sex olfense legislation. presently
on the books is largely unenforccible
and much of this legislation docs a
deal more harm than good. There are a
number of fundamental reasons for this.
In the first place, the prohibitions im
posed by these laws are far too inclusive
covering far 100 many arcas of sexual be
havior. These laws make potential crim
inals of most of the adolescent and adult
population, in that they proscribe every
conceivable sexual aer except a normal
act of coitus between à man and a wont
an who arc married 10 cach other or an
act of solitary masturbation... . Few
branches of the knw lave shown such a
wide divergence between. actual human
behavior and stared legal. norms.

A SOCIOLOGIST'S VIEW

Dr. Alfred Kinsey wrote, in Sexual
havior in the Human Female: “The cux
rent sex laws are unenforced and are
unenforceable because they are too com
pletely out of accord with the realities ol
human behavior, and because they at
tempt too much in the way of social
control, Such a high proportion of the fe
males and males in our population is in
volved in sexual activities which are
prohibited by the law of most of the
states of the Union, that it is inconceiv
able that the present Taws could be ad.
ministered in any fashion that ee
remotely approached systematic and con
plete enforcement. . . . The consequently
capricious enforcement which these laws
how receive offers am opportunity [or
maladministration, for police and politi
cab graft. and for blackmail which is
regularly imposed both by underworld
groups and by the police themselves.

A SUPREME COURT VIEW

Certain kinds of sex behavior—unwel

come acts of sexual aggression, violence,
coercion amd exploitation —unquestion
ably warrant. public concern and control:

but there Iso an area of private me
rality that cannot be infringed upon by
the state, if the in 1 members of
society—and our itseli—are to
free.

viel
society

t U.S. Supreme
decision declaring Connecticut's
anticomraceptive law unconstitutior
“The right to privacy is a funda
personal right” said Justice Goldbe
emanating from the totality of the cc
scheme under which we live”
Writing the majority opinion, Justice
William O. Douglas asked, "Would we
allow the police to search the sacred. pre
cines of marital bedrooms for telliale
signs of the use of contraceptive
y

idea is repulsive . . .

It is worse than repulsive. I

sonal freedom is to. have
whatever, then surely mi

i must be per
mined freedom in the most personal of

all human acts. If a citizen's home is con-

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PLAYBOY

sidered his castle, who has the authority
d. into the most pri-
? And what do our un
alienable rights to life, liberty and the
pursuit of happiness really mean, if they
Tail to include the right to use the most
intimate parts of our own bodies?

In his concurring opinion to the Co
necticut contraception decision, Justice
Goldberg quoted renowned former Su-
preme Court Justice Brandeis, who com-
prchensively summarized the principles
underlying the Constitution’s guarantees
ob privacy, sexual and otherwise,
follows: “The makers of our Constitution
undertook to secure conditions favorable
to the pursuit of happiness. They r
ognized the significance of man's spiritual
nature, of his feclings and of his intellect
They knew that only a part of the pai
pleasure, and satisfactions of life are to
be found in material things. They sought
to protect Americans in their beliefs,
their thoughts, their emotions and their
sensations. They conferred as against the
Government, the right to be let alone—
the most comprehensive of rights and
the right most valued by civilized men.

A POET'S VIEW

vate pla

Beat poet Allen Ginsberg made thi
offbeat, but powerful, plea for sexua
freedom, in an open letter devoted to
the subject, published in Eros:

“Are there re
regulating so
as sex? Cun it be possible that State govts
(mostly full of everybody knows selfseck
ng, politicians) have been dictating, where
& when we can sleep with our friends?
Conceivable that local townships & city
supervisors supervise people's ejacula-
tions of semen? Now this is really a bit
thick.

“The simple fact is we're victims of a
umptuous vulgar persecution, our
private skin and genitals don't be-
long to us. Power groups going under
ihe respectable. name of "Government
have the brazen hutspuli to tell us who
n be intimate with whom, whom we
1 play with, what position & if we may
nove our bodies this way and that, as if
our bodies were not our own PRIVATE
PROPERTY. Where docs any politictan
get off controlling other men’s penises?
How can a bunch of hairdressers, ambi
tious lawyers & used car dealers that call
themselves Municipal Government GET
telling women to whom the
even been introduced what these
can do with their vaginas?

a tickle

wome

“Are our stalwart stttesmen going to
make us stand in the corner and re
one thousind times I WILL

NOT HAVE AN UNAUTHORIZED
ORGASM?

“The plain fact is
shrewd SEX FIENDS inude their
hands underneath our pants 1 bloom-
nd these filthy hands (one set of
after another) have been

this bunch of

ers,
politicians’

touching us without invitation in our
private parts as far back as we can re-
member. And that is MASS RAPE, the
vilest kind of sexual perversion practiced
on this planet. Done in the name of Vir
tuous Social Order to make it sound re-
specable, inevitable, natural, only a
matter of course, absolutely necessary,
dearies, quite proper for you, harrumph.

“Not only mass sexual rape, but also
mass brainwash, you be unconscious that
some Other Power outside you has taken
olf with your sex life, it’s the Law, & they
got cops & revolvers to prove it..."

A RELIGIOUS VIEW

In addition to the progressively more
permissive viewpoint being expressed by
men of science, law and literature. the
customarily conservative clergy are alio
voicing more liberal views on the sub-
ject of sex and sex legislation.

Early this year, nearly 1000 Protestant
theologians and divinity students gathered
at Divinity School to discuss
“the new morality and is significance
for the church.” Tune magazine reported
in its "Religion" section: "The 20th Cen-
tury's sexual revolution directly challenges
sic teach

ltery. Se

church thinkers now ‘new
morality’ to take account. of these facts
of life. What they propose
based on love rather than law, in w
the ultimate criterion for right
wrong is not divine command but the
individual's subjective perception of
what is good for himself and his neigh-
bor in cach given situation. . . . Inevita-
bly the speakers reached no definitive
conclusions, but they generally agreed
that in some respects the new morality is
a healthy advance, as a genuine effort to
take literally St. Paul's teachings that
through Christ ‘we are delivered. from
the law; “Lists of cans and cannots are
meaningless.” said Princeton's Paul Ram-
sey. Yale's Protestant chaplain, the Rev.
William Sloane Collin. similarly ap-
proved the new morality’s concept of
"guideposts' rather than ‘hitching posts."
... Joseph Fletcher of the Episcopal
Theological School in Cambridge
thought that no sexual relationship
should be absolutely condemned by the
church. . . . The core proposition of the
new morality, argued Fletcher. is that
‘there is only one thing which is always
good regardless of circumstances, and
that is neighborly concern, social re-
sponsibility, agape—which is a divine
imperative.

In the recent hearings held by the New
York State legislature to consider the ad-
visability of liberalizing their sex laws, the
spokesman for the New York Protestant
Episcopal Diocese testified in favor of re
pealing those statutes that make a crime
of sex acis “privately and discreetly en-
aged in between competent and consent-
ing adults.” Unfortunately, the Rom

Catholic spokesman took the opposite
view

U.S. Catholics are generally more con
scrvative in their views on sexual freedom
than Protestants, even though American
puritanism was originally a Protestant
phenomenon. But there are some liberal
Catholic leaders in the United. States.
too, such as Cardinal Cushing of Boston,
who recently stated, "Catholics do not
need the support of civil law to be faith
ful to their own religious convictions and
they do not seek to impose by law them
moral views on other members of so.
ciety... . It does not seem reasonable to
me to forbid in civil law a practice that
n be considered a mauer of private
morality...”

The contemporary English clergy are,
generally, more outspokenly liberal in
their observations on the sexual revolu-
tion than. Amcrican churchmen. In cor
menting on the similarly restrictive sex
statutes of England (American jurispru
dence is derived primarily from English
common law), the Mor
Council of the Anglican Church recently
stated,

“It is not the function of the state and
the law to constitute themselves guard-
ians of private ity, and thus to deal
h sin, as such, which belongs to the
province of the church. On the oth
hand, it is the duty of the state to pun
ish crimes, and it may properly take cog
nizance of, and define as criminal, those
sins which also consutute offenses
against public morality.

THE LAW INSTITUTE'S VIEW

How are we to define the private
moral behavior that is properly outside
the province of the state in a free socie
ty? It is our conviction that society
should consider as private, to be left to
the derermination of the individual, all
nonpublic sexual acts between consent
ing adults.

The august association of distin
guished judges, lawyers, legal experts
and educators who comprise The Ar
can Law Institute made that same recom
mendation as a part of their proposed
Model Penal Code, published early m
1956, with the explanation

2 No har secular
of the community is involved in atypical
practice in private between conse
ing adult partners ..— [and] there is the
fundamental question of the protection
ich every individual is enotled
against state interference in his personal
allairs when he is not hurting others.

THE WOLFENDEN VIEW

A similar recommendation was made
in England shortly thereafter, when the
famous Wolfenden Report was presented
to the British Parliament in September
1957 by a committee drawn from the
clergy, medicine, sociology, psychiatr

(continued on page 159)

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PLAYBOY INTERVIEW: SEAN CONNERY

a candid conversation with james bond's acerbic alter ego

The Bahamas have long been a favor-
ite yetreat for vacationing cosmopolites
in search of a sunny sanctuary from the
tumult of 20th Century city life. Those
hapless hundreds who made the mistake
of going to the islands last March, April
or May, however, might well have
wished they'd stayed at home, for the
tiny archipelago was in a state of siege—
occupied by an invading army of news-
paper reporters, magazine writers and
photographers from nearly every major
publication in America, England, Eu-
rope, Canada, Australia and Japan; TV
camera crews from ABC. NBC and
B.B.C; silk-suited press agents and swim-
suited starlets; bit players, extras, make-
up men, cinematographers, script girls, set
designers, electricians and assorted hang-
erson. The white beaches were festooned
with cables and bristling with sound
booms; the surf was aswarm with masked
men in orange scuba suits armed with
spear guns. Moored offshore were a
small fleet of futuristic two-man subma-
vines and a huge, sleek, 95-mile-an-howr
hydrofoil camouflaged in the shell of a
luxury yacht. And the Olympic-size swim-
ming pool of a nearby home was stocked
with a school of tiger sharks.

AL the eye of this storm, surrounded
most of the time by an adoring mob of
200 or more gaping tourists just beyond
camera range, and visibly annoyed by all
the adulation, was the man responsible
Jor it all: Sean Connery, a sinewy, satur-
nine, 54-year-old Scotsman better known

to the world's moviegoers as James Bond,
Jan Flemings indestructible superspy.
Connery was there to fiim “Thun-
derball,” a spectacular $5,500,000 produc-
tion (set for world premiere next month)
that promises to be the biggest of the
celebrated Bond flicks. The first thice—
“Dr. No," "From Russia with Love” and
Goldfinger’ —have already been seen by
100,000,000 people; earned more than
375,000,000; spawned a spate of copycat
spy movies and TV series; promoted a
plethora of Bond-bred 007 products
ranging from toothpaste, T-shirts, trench
coats and golf clubs to nightgowns, at-
taché cases, bedspreads. toiletries and
even a toy transistor radio that turns
into a rifle at the touch of a button. And
together with the Fleming bo
which some 60,000,000 copies h
sold in 11 languages—they've inspired a
rash of scholurly treatises purporting to
assess the sexual and sociological impli-
cations of “the Bond syndrome.” They
have also brought world-wide fame and

considerable fortune to their leading
man. Both, however, were slow in
coming.

In many ways the antithesis of his ur-
bane. Eton-bred screen self, Connery is
an earthy sort who prefers beer to brat
blane de blanc, poker ta chemin de fer.
Son of an Edinburgh millworker, he left
school at 13 to cam his keep, mostly
from hand to mouth, as a dvayhorse
driver, coffin polisher, lifeguard, seaman,
artist's model, welterweight boxer, print-

er's apprentice and finally as chorus boy
in a yoad-com pany production of “South
Pacific —at $35 a week. His. provincial
head turned by “all that casy money,”
Connery thought better of an offer to ex-
ert himself as a professional soccer play-
er and forthwith decided to carve out a
career in show business, After months of
earnest drama study, he began to find
himself in demand for bit parts, then
featured roles and finally leads in Shake-
spearcan repertory theater (as Macbeth
and Holspur, among others) and in Lon-
don telly plays (including the starring
role in “Requiem for a Heavyweight”).
Making the movie grade at 26, he was
signed by 20th Century-Fox—only to lan-
guish inconspicuously in a series of for-
gettable films that culminated with a
walk-on in “The Longest Day.

Then, in 1981, he got a call. from
a pair of American movie producers,
Albert Broccoli and Harry Saltzman,
10 drop by their London office for a job
interview. He went. Though he was still
a relative unknown, the two men were
sold on the spol by his "cocksure animal
magnetism” and decided then and there
to gamble $1,000,000 on his power to
project that quality from the screen. as
Ihe star of a property called “Dr. No.”
H turned out to be a wise investment.
Within three weeks after the picture
opened, Connery was recening several
thousand jan letters a week, and James
Bond, the character he played with such
sardonic self-assurauce, was well on his

“I don't think there's anything wrong
about hitting a woman—although 1 don't
recommend doing it in the same way
you'd hit a man. If a woman is a bitch,
or hysterical, or bloody minded, I'd doit.”

“I want all I can get. 1 think Im entitled
to it. 1 have no false modesty about it. 1
don't believe in this stuff about starving
in a garrel or being satisfied with artistic
appreciation alone.”

“With his clothing and his cars and his
wine and his women, Bond is a kind of
present-day survival kit. Men would like
to imitate him—or at least his success—
and women are excited by him.”

PLAYBOY

way to becoming an international folk
hero. Then came “From Russia. with
Love.” an even bigger hit, and finally the
blockbuster “Goldfinger,” which escalated
the Bond boom into the box-office bonan-
za of the decade—and its protagonist not
only into a jirst-magnitude superstar but
also, in the opinion of many jemale fans,
the vwigning masculine sex symbol of the
moines.

There's only one flaw in the plot of
this storybook saga of success: The subject
doesn't like his vole. Connery has acquit-
ted himself creditably enough in two
non-Bond pictures since the O07 sexies
slated (“Marnie and “Woman of
Straw”), and the cries have been lavish
in their praise for his performance in
“The Hill" his latest film (reviewed in
this issue); but his public identification
as Bond is so complete that the name of
the character he plays is better known
than his, and his face—not the one de-
scribed. by Fleming—is the one m avrov
used as a model for the illustrations that
accompanied our exclusive prepublica-
lion serializations of the last three Bond
books. Contracted to make two more 007
spylarks after “Thunderball” (Qn. Her
Majesty's Secret Service” and. probably
“You Only Live Twice"—both of them
prepublished in vLaywoy). Connery is
ambivalent about his on-screen alter ego:
though he told one reporter recently that
“Bond's been good to me. so I shouldn't
knock hin. he confessed that he's “fed
up to here with the whole Bond bit.”

In the hope of finding out move about
the man behind the image, we ap-
proached his press representatives in
London with our request for an. exclu-
swe interview. Our chances of getting to
see him were none toa good, they said.
for Connery has become increasing
Inctant, ii the damorous months since
“Goldfinger,” to talk to the press about
Bond—or about anything else. for that
matter, After a two-week wait, we re-
peated our request in a note addressed.
to his home, a former convent in a west
London suburb where he lives with his
wife, actress Diane Cilento, and their
two children. He called us the next day
and invited us to share a pint at a local
pub. We did, and found him at first al-
most as reticent as reputed. But he be-
gan to unbend after a few more brews,
and before long was talking to us more
freely, frankly and fully than he ever has
before [or publication. A few weeks later
we joined him between scenes during the
filming of “Thunderball” in the Baha-
mas, where we sat on set and completed
our conversations—iwhich had dwelled at
length on the very subject we'd been
warned he wouldn't discuss: James Bond.

PLAYBOY: How do you account for the
phenomenal success of the Bond books
and fil:
CONNERY: Well, timing had a lot to do
with it. Bond came on the scene after the

at a time when people were fed up
id drab times and uti!
ty clothes and a predominately gray col-
or in life. Along comes this character
who cuts right through all that like a
very hot knife through butter, with his
clothing and his cars and his wine and
his women. Bond, you sec, is a kind of
presentday survival kit, Men would like
to imitate him—or at least his success—
and women are excited by him.
PLAYBOY. Would you like to imitate him
yoursell?

CONNERY: His redeeming features, T sup-
His

self-con
ol decision, his
through till the

pose.

ability to Gury on
end and to surviv
There's so much social welfare tod
thar people have forgotten what it is 10
make their own decisions rather than to
leave them to others. So Bond is a
welcome change.

PLAYBOY: Have you acquired
ice you began playing him?
CONNERY: I like to think T acquired them
before Bond. Bur I am much more
perienced as a film actor: that's for sure.
And I do play golf now. which T never
did before. E started afier Dr. No. not so
much heeause Bond and Fleming were

ny of these

golfers, but because I couldn't play foot-
ball as much as I used to. and golf is a
game you play until you're 00.

PLAYBOY: Do you share any of Bond's
other sporting
CONNERY: Well. I gamble
de fer, however: poker mostly, which T
played hard when | was touring in
South Pacific. And. like Bond. Fm fond
of swimming. but on the surface, AN
this stuff underwater with boules of
oxygen strapped to one's back in Thim-
derball doesn’t thrill me t0 bits. T have a
fear of sharks and barracudas,
have no hesitation at all in admitting it
I's not that Tm allergic to them—it
just plain fear.

PLAYBOY: Do you have any expertise, as
Bond has, with guns and cars?

CONNERY: Well. I've driven competition
nd T've had experience with guns,
because D was an armorer in the navy.
But I know nothing about espion
sniperscopes and that so
had 10 be seized on. in play
agent like Bond, were certain immediates
such as dress, physical ability, humor,
coolness in dangerous situations . . .
PLAYBOY: And masterfulness with women?
CONNERY: Well. yes. Fve had a certain
amount of experience in that field. T
suppose. But Tve never been a woman-
izer, as Fleming called Bond. Of course
one never loses the appetite or apprecia-
tion for a pretty girl. even though one
docs not indulge it. 1 still like the com-
pany of women—but then, T like the
company of men, too. They offer a
erent sort of fun, of course. But I do
not have a retrospective appetite for the
women in my past.

"t chemin

There are critics of Fleming
who eaim that Bond's appeal is based

solely on sex, sadism and snobbery; yet
his defender, most notably Kingsley
Amis. find Be repository of such
admirable qu toughness, loyalty

and perseverance. How do you sce him?
CONNERY: He is really a mixture of all
that the defenders and the attackers say
he is. When I spoke about. Bond with

Fleming. he said that when the charac
ter was conceived, Bond was a very sim-

ple, straightforward, blunt instrument of
the police force, a functionary who would
arry out his job rather doggedly. But
he also had a lot of idiosyncrasies

were considered snobbish—such as
for special wines, et cetera. But i
you tke Bond in the si that he
constantly involved with, you sce that
rd, high, unusual league

that he pl . Therefore he is quite
ight in having all his senses satisficd —
be it ses, wine, food or clothes—

because the job, and he with it, may ter-
minate at any minute. Bur the virtues
that Amis mentioi honesty—
re there, too. Bo
ried women, for
that level. he
PLAYBOY: Do you thi
CONNERY: Bond is de
adistic adversaries wl
wild schemes to destroy, maim or
late him. He must retaliate in
otherwise it’s who's kidding who.
PLAYBOY: How do you feel about rough-
g up a Woman, as Bond sometimes has
10 do?

CONNERY: | don't think there is
particularly wrong about hitting à
though 1 don't reco
it in the same way that you'd hit a man.
An openhanded slap is justified—if all
other alternatives fil and there has been
plenty of warning, If a wo is a
bitch, or hyste L or bloody-minded
continually, then I'd do it. I think a
man has to be slightly advanced, ahead
of the woman, I really do—by virtue of
the way a man is built, if nothing else:
But I wouldnt call myself sadistic. E
think one of the appeals that Bond has
for women, however. is that he is deci-
sive, uel even. By their nature women
aren't decisive——“Shall I wear this? Shall

instance.
comes out rathe

Judged on
well.
k he's sadistic?
ing with rather
o dream up pretty

wom

1 wear that?"—and along comes a man
who is absolutely sure of everything and
he's a godsend. And, of course, Bond is

never in love with a girl and that helps.
He alw: does what he wants, and
women like that, [t explains why so

many women are crazy about men who
don't give a rap for them.

PLAYBOY: Do you think it’s OK to tell a
woman you love her in order to get her
mio bed?

CONNERY: You can say something, but
that doesn’t necessarily mean it is so. 1
think. before me along there
was always physical contact and physical
satisfaction, There may be things said

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PLAYBOY

afterward just as there are things said be-
fore. But the action came first—then the
word.
PLAYBOY: Do women find you more at-
tractive since you started playing Bond?
CONNERY- | suppose they do. because
they're bound to mix up the man with
the image. I get a lot of pretty strange
leners from women saying all sorts of
things. 1 just hand them over to my sec
retary for a formal acknowledgment. If
1 actually started to bel
an the way Bond does. she'd run like a
Jack rabbit—or send for the police.
PLAYBOY- This brings up a point raised
by many of Fleming's critics: While
conceding that Bonds adventures
emertaining. they denounce him as a
caricature. of sex appeal. and his erotic
exploits as impossibly farfetched. Do
you feel that’s valid?
CONNERY: No. I don't.
cern for an actor or a writer is not be
lievability but the removal of time, a
I sce it. Because I really think the only
occasions you really are enjoying your-
self. being happy. swinging, as they say.
are when you don't know what time it
is—when you're totally absorbed in a
play. a film or a party and you don't
know what time it is or how long it
has been going on: then you'll usually
find there is contentment and happi
ness. When an artist can suspend time
like that for an audience. he has suc
ceeded. It doesn't really matter. E think,
whether it is "believable" or not. The
believability comes afterward: or it
doesnt. If you want to question it after.
ward, that’s up to you. But the writer's
and the actor's job is t0 remove time—
yowre still in the book or the
That's exactly what Fleming
achieved for millions of readers: and
that’s what I've tried to achieve in the
Bond films
PLAYBOY: Despite your success in the role,
as you probably know, several critics
thought that you were miscast as Bond.
What are your feelings?
CONNERY: Before 1 gor the part, I might
have agreed with them. If you had
ay cuti ctor who would be
the sort of man to cast as Bond. an Eton.
bred. Englishman, the last person into
the box would have been me, a working:
class Scotsman. And 1 didn’t particularly
have the face for i t 16 I looked 30,
although I was never really aware of age
until 1 was in my 20s. When I was acting
with Lana Turner I realized suddenly 1
was 28—and I'm even more aware ol
Time and age now than ] was then. Bur
today my fice is accepted as Bond, and
that’s how it should be.
PLAYBOY: What was your first reaction
when you were offered the role?
CONNERY: Well, alter I got over my sur-
prise and really bega it, I
didn't want to do it, because T could see
that properly made, it would have to be
the first of a series and 1 wasn't sure I

The main cow

10 consider

wanted to get involved in that and. the
contract that would go with it. Contracts
choke you, and E wanted to be free.
PLAYB2Y: Why did you accept the role,
then—for the mone!
CONNERY: Not entirely. I could see th;
properly made, this would be a start—a
marvelous opening. But 1 must admit in
all honesty that 1 didn't think it would
take off as it did, although it had the in-
gredients of success: sex. n, and so
forth, The only thin king, 1
thought, was humor, and luckily the di-
rector, Terence Young, agreed with me
that it would be right 10 give it
flavor, another dimension, by injecting
humor, but at the same time to play it
absolutely straight and realistically.
PLAYBOY: Did you do any research on
Bond before vou made Dr. No?
CONNERY: Not really. 1 had read Live
and Let Die a few years befor
met Fleming a couple of ti
had discussed Bond: but
PLAYBOY: W

nother

CONNERY: He had great energy and curi-
osity and he was a marvelous man to
talk to and have a drink with because of
the many wide interests he had, What
made him a success and caused all the

convoversy was that his writing was
such good journalism. He always con-
wived extraordinary situations and ar-
ranged extravagant meetings for his
characters, and he always knew his facts.
He was always madly accurate, and this
derived from his curiosity. When he was

discussing anything, like how a tr
worked or a machine or a permuta
at bridge, there was a brain at work
an enormous amount ol research
volved; it wasn't just a lor of drivel he
was talking. That's what [admired most
about him—his energy and his curiosity

PLAYBOY: In any case, Dr. No turned out
to be a hit, and you found yourself u
der contract for a series—exactly what

you said you wanted to avoid.
CONNERY: Yes—-but it allows me to make
other films, and I have only two more
Bonds to do.

PLAYBOY: Which ones?

CONNERY: On Her Majesty's Secret Seru-
ice and possibly You Only Live Twice.
They would like to start On Her Majes-
ly’s Secret Service in Switzerland
ry. but I'm not sure PI be
time and I don't want to rush it, a
though they say the snow will be at its
best then. I'm not going to rush any
thing anymore.

PLAYBOY: We'll be looking forward to
both. films—especially since we were for-
tunate enough to serialize both books
exclusively prior 10 their hardcover pub

lication. Do you think the success of the

free

series will continue to snowball?
CONNERY: Well, ivs healthy market
and it has been maintained because

cach succeeding film has got bigger and
the gimmicks trickier. But we have to be

careful where we go next. bectuse 1
think with Thunderball we've reached
the limit as far as size and gimn re
concerned. In Thunderball we bave
Bond underwater for about 10 percent
of the rime, and there is a love scene un
derwater, and attacks by aquaparas
from the sky, and two-man submarines
under the sca, and Bond is menaced by

ieks

sharks. Instead of the Ason Martin
we have a hydrofoil disguised as a cabin
er, and Bond escapes with sell-

propelling jet set attached to his back.
So all the gimmicks now have been
And they are expecred. What
needed now is a change of course —mo
attention to character and better dialog.
PLAYBOY: As you know, there is a rival
Bond film in the works—Casino Royale,
to be made by another company
which someone else is expected to play
Bond. What are your feelings about that?
CONNERY: Actually, Fd find it interesting
10 sce what someone clse does with it
Lots of people could play him. No r
son at all why they shouldit.

PLAYBOY: Still, you are the one identified
as Bond in the public mind. Aren
concerned about being typecast?
CONNERY: Let me stvaighten you out c
this. The problem in interviews of th
son is to get across the fact, without
breaking your arse, that one is not
Bond, that one was functioning reason
ably well before Bond, aud that one
ning to function reasonably well affer
e are a lot of things I did
Bond—like playing the classics on

done.

befor
stage—that don't seem to get publicized:

So you sec, this Bond image is a prob-
way and a bit of a bore, but
one has just got to live with it.
PLAYBOY: Have you been happy with the
non Bond films you've made?

CONNERY: Marnie—with. certain reserva
tions, ves. But I wasnt all that thrilled
of Straw. although the
problems were my own. I'd been work
ing nonstop for goodness knows how
long and trying to suggest rew
while making another film, which is al
s deadly. It was an experience: but I
won't make that mist
PLAYBOY: How about. The Hill
pleased with your perfor
CONNERY: That's the first
since the Bond films that Fve had. any
time to prepare, to. get all the ins and
ows of what I was going to do worked
out with the director and producer in
advance, 10. find ow if we were all on
the same track. Then we went oll like
Gang Busters and shot the film under
time, and it was exciting all the way
down the line. Even belore being
shown, The Hill has succeeded for me,
because P was concerned and fully
volved in the making of it. The next
stage is how it is exploited and received,
and that I have absolutely no control
by die time The Hill is out, 1
shall be involved. in Thunderball. You

lem

with Woman

ncc in it?
time, truly.

over;

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PLAYBOY

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get detached: a film is like a young bird
that has flown from its nest; once out,
it's up to the bird to fly around or to
Tall on its When Woman of Straw
was shot down, I wasn’t entirely sur-
prised, But whatever happens to The
Hill, it will not detract from wha
think about it.

PLAYBOY. Do you think your boxoffice
drawing power as Bond had anything to
do with your getting the lead in The
Hill

CONNERY: Ii. had everything to do with
it, of course. As a matter of fact, it
might not have been made at all except
for Bond. Irs a marvelous movie with
lots of good actors in it, but it's the sort
of film that might have been considered
a noncommercial arthouse property
without my name on it. This gave the
producers financial freedom, a vein to
make it. Thanks to Bond, I find myself
now in a bracket with just a few other
actors and actresses who, if they put
their names to a contract, it means the
finances will come in.
PLAYBOY: Speaking of
vems you've become onc of the h
paid stus in the world. As
wgman's son, are. you
new-found
CONNERY: €
I think
modes
stuli

ces, in two

ng all this

y at all D can get.
led to it. T have no false
about it. 1 don't

But that doesn’t mean that I will do
nything just for money. I gave up a
rin EL Cid to act for 25 pounds a
xd no living expenses in a Piran-
dello play at Oxlord. But as far as this
series is concerned. after the next two,
the only condition for maki y
would be onc million dollars plus a per-
centage of the gross.

PLAYBOY: What were you paid for Dr.
No?

CONNERY: Six thousand pounds [516.
PLAYBOY: We're told you're now gi
half a million dollars per picture.
CONNERY: | never ask anybody what they
n and I don't tell anybody what 1
n.

PLAYBOY: But that figure of ha
lion wouldn't be too far off the ma
CONNERY: No, not really.
PLAYBOY: Despite this lofty income,
you're said to be rather tight with your
money. "True or false?

CONNERY: I'm not stingy, but Em careful
with it. I don't throw my money
round, because money gives you power
nd freedom to operate as you want. I
have respect for its value, because I
know how hard it is to earn and to
keep. I come from a background. where
there was little money and we had to be
content with what there was. One
doesn't forget a past like u
PLAYBOY: How do you spend your new-
d wealth?

Qo].
ting

rk?

fou

Well, I bought a secondhand
Jaguar, and 1 bought the house 1 now
live in, with about an acre of land: bur
T don't invest in land, and E don't have
a lot of servants just a secretary and à
nanny for the children. Old habits die
hard. Even today, when I have a big
rant, l'm still conscious
ding is equal to
week. D just can't
n the bill
y sh. But ]
still prefer the feel of real moncy to a
checkbook, And Em still the sort of fel
low who h; hr left on in a
room when no one is there.

PLAYBOY: Do you have an extensive
wardrobe?

CONNERY: I think I've got seven or eight
suits now: I took them all from the films
— plus a couple 1 bought aw!
moment of weakness. Something cime
over me and 1 went out one day and
spent 300 pounds [S840] on two su
PLAYBOY: Did you ever imagine, when
you were hooling in the chorus line of
South Pacific in London, that you'd
someday be able to buy a 5400 suit?
CONNERY: Never—but 1 was never in any
sort of despondence or living like a mal.
nutritional artist in a basement. 1 knew
I'd make it sooner or Later, one way or
another. 1 think every actor has the seed
of knowing he will be successful,
PLAYBOY: AL one time vou considered
becoming a professional football player
instead of an actor. What decided. you
igainst it?

CONNERY: Mainly because 1 was already
in South Pacific when 1 got this oler to
sign up as a pro footballer. I really want
ed to accept. because Fd always loved
the game. But 1 stopped to assess it, and
T asked myself, well, whats the length of
a footballer’s career? When a top-class
player is 30 he's over the hill. So I decid.
ed to become dl. because |
wanted something that would last, and
fun. Fd no experience
ini even been on à

es t0 sec

n actor i

whatever and h;
but it turned out to be one
t moves.

with F

bica

PLAYBOY: Yet the bi
didnt come for nine years, until y
were 31. Were you beginning to wonder
whether you'd made the wrong choice?
CONNERY: No, | never doubied that the
break would come eventually. 1 was
quite late in deciding 10 become
actor, vou see—áround nd most
people by that time have already had a
few years at their job, or contemplat
it. So I didn’t expect it soon. Everythin
I've done has had to be accomplished in
my own cycle, my own time, on my own
behalf, and with my own sweat.
PLaYBoY: How did you become so self
reliant?

CONNERY: My background was harsh.
One's parents left one free to make or
own way. When 1 was nine my mother
caught oking and she said, "Don

Jet your father find out, because if hc
does he'll beat you so hard he'll break
your bottom.” From the time I started
working at 13. 1 always paid my share of
the rent, and the attitude at home was
the prevalent one in Scotkand—you make
your own bed and so you have to lie on
it. D didn’t ask for advice and 1 didn't
get it. I had (0 make it on my own or
nor at all.

PLAYBOY: Would you have preferred it
otherwise

CONNER
motivation is the great thin
ing in pre:

so smooth-rumiing, so
one is deprived of initiative, lured into a
false sense of security. In the days before
the War
many people simply put in an appear-
ance every morning at the factory al
though they knew there was no chance
of work. Sheeplike, they felt they just
had to go. Today everything's handed to
them on a platter: They know they can

Absolutely not. This sort of
that’s lack.
intday society. Everything is

tainable, that

with high unemployment

get work and enough food, and soci
alized medicine has taken the worry out
of being ill. If there is a m

nutrition of
nd I think.
pilicted. The only com.
owl find today is the conllict

any kind in this country
there is—it's self
petition

between. those few who try to correct a
wrong, and the majority who hope it
will just cure itself in the end
PLAYBOY: We take it you number yourself
among the former group.

CONNERY: I like to think so

PLAYBOY: According to your critics, this
spirit of competition, in your case, some
times takes the form of verbal and
physical conflict. ‘They siy you have a
penchant for abusive arguments. and
even fisthights with those who take excep:
tion to your views.

CONNERY: Not really. I'm 1
man, and 1 don't go in for fighting.
PLAYBOY: How about your reputation for
rudeness and. belligerence?

CONNERY: | know they say that, but what
am I supposed to do about
people E am rude and aggressive, but 1
think they provoke about 50 percent ol
it by their attitude to me. 1 like getting

n a violent

? To some

along with people, but 1 don't believe in
bending over backward to be nice, just
10 show they're wrong
g a press agent to write heart
searching stories about how different I

about me, or in
hir

am from the boor they believe me to be
I cannot go round with a welcome mat
hanging round my neck

PLAYBOY: Some publicity men claim that
during the making of a film you tend to

be short-tempered and highhanded.

Connery: Look, during my working day
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film, The
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second, because otherwise what really
counts sullers. But one gets lumbered. In
the middle of a big sequence of
Goldfinger, the publicity man brought

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on a French magazine lady and left me
with her. First of all, she asked what the
film was called. I told her. Then what
part was I playing. I told her. Then she
asked who was starring opposite me. I
said a very famous German actor, Gert
Frobe. “Well r heard of her,”
she said, and with that T just blew up
and walked oll the set: so 1 suppose lm
considered. very rude by that person.
Well, | consider her disrespectful and
incompetent, and both are definite
If someone treats me rudely or dishon-
estly, you sec, I rep for an
eye. But given the chance, 1 try t0 treat
everyone, man or woman I would
like to be weated myself.

PLAYBOY: And how is tl
CONNERY: Honestly, openly and simply.
But without being too Machiavellian
about it, you have to acknowledge that
there is no future in turning the other
check if somebody does.the dirty on you
and sends you down the river after
you've been straight with them. You
can't be straight with them next tim
you have to do something about it.
PLAYBOY: What?

CONNERY: Straighten them out.
PLAYBOY: How?

CONNERY: I! possible, by argument—even
at the expense of being thought rude
and belligerent.

PLAYBOY: You complained once that too
much attention was given to personal
popularity—that life wasn’t just one long
popularity contest. Was that a rationali-
zation for being generally disliked?
CONNERY: Ever since the introduction of
psychoanalysis there have been too many
terms to excuse behavior and phrases
at can be Hipped off to explain every-
ing. People who are aware of the dan-
gers of this, who see through the phrases,
as they see through the pomposity and
hypocrisy around them, are obviously
not going to win any popularity polls.
All those—whether they be actors, writ
ers, painters or social reformers—who
don't conform to the normal, accepted
patiern of society always come in for a
bit of a beating.

PLAYBOY: What's your reaction when you
hear comments such as "Connery may be
fine as Bond, but he's not really much of
actor apart from that"?

CONNERY: I haven't met anyone who ac-
tually said that to me, because it would
certainly not be a very bright thing to
do, and if they did say it to me, M'd—you
know—straighten them out. But they do
tend to sort of judge me only on Bond.
PLAYBOY: "They?

CONNERY: Moviegoers—well, perhaps not
in Britain, because people here can fol-
low everything that one does, becaw
the film studios, TV and theater are all
in one town, and the press is national
PLAYBOY: Is the fan mail you get from
America. primarily about. Dond?
CONNERY: Yes, but I got some nice letters
also about Marnie, the Hitchcock fi

Ive ney

where I played an American, I think oue
of the reasons they accept me over there
is that most of the younger British actors
today, like Finney and O'Toole and me.
e more organic, down-to-carth actors
than previous generations. In America
and Canada and places like that,
they are still breaking through, they ap
preciate and accept organic acting more
readily and enthusiastically. In. America
there is much more feel for realism than
in Europe, where there is still a concep

where

tion of an actor as being somehow di-
vorced from real life, and in Britain.
where acting is still ofen associated

more with being statuesque and striki
poses and dedaiming with lyrical voices.
I'm more interested m things that appeal
to me and what 1 think D have a contact
with. But 1 can still appreciate classical
ting—like Olivier's Othello.

PLAYBOY: Do you feel you have any limi
tations as an acior?

CONNERY: I have never thought that way
PLAYBOY: Haven't you any personal or

professional doubts at all about yoursell?

normal allorment of tr
course. If they're. professional, 1 discuss
them with the director: if they're per
sonal, E may take them home to Diane,
but more often, I just keep them bottled
up inside me and dont tell anyone
about them. Or T may listen to. advice
from friends, but after sifting it. I usual
ly do what I thought was right in the
first place

PLAYBOY: Are you alraid of anything?
CONNERY: Besides sharks and barracudas,
you mean?

PLAYBOY: Yes.

CONNERY: Being in an absolutely vulner
able position and not being able to do
anything about it. Like you read in the
Waraime trials in Germany about
troops of Jews filing into the gas cham
bers and being utterly helpless to do
anything about it. Then you are really
ilnerable. Even with the gladiators in
Rome there was a chance you could pull
it off, but in Germany there was just a
horrific total vulnerabil
how I would rc to that.

PLAYBOY: Do you Icel vulnerable profes
sionally?

CONNERY: Not really, If things weren't
coming my way, l'd move on.
PLAYBOY: To what?

CONNERY: Who can say? Wherever my
feet led me.

PLAYBOY: Have you always been this w
CONNERY: It’s a national characteristic of
the Scots; they're all over the world—in
shipbuilding, engineering, shipping.
ing, journalism. Coming out of my own
rather grim and gray
everything had a sense of newness and
discovery about it. Yet my brother is still
a plasterer in Edinburgh, and all the
people T went to school with are still
doing the same jobs.

I don't know

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PLAYBOY: Do you still have this wander-
lust?

CONNERY: Very much so. With their far-
flung locations, the Bond films help 10
c it. But to give you an idea how
the hunger as, 1 was in bed with
the flu on a Friday morning in London
about three. years ago and T got a tele
phone call and I was chatting away for
about 20 minutes before I realized it was
Toronto on the line. My first thought
was, "My God, I hope he hasn't reversed
the charges!” Then he said, "We're
doing Macbeth on Monday. Would you
What, this Mon-
plane and
al cultural. thing
nd there's not a lot of mone
it"—which seems
I was to get $500 or so for it. $
“Give me and enough
money to live on while I'm there so |
don't have to steal food," and he said all
ht and would I get the plane th
moon. ; as. in bed at 1
in the morning with flu and I. jumped
up and said to myself, "Chi
I do first?” The first thing
So I sat down and r
suddenly r
was mon

I reread it over and

impatient
nd I'm always trying to find
wht way much too soon—cutti
d trying to get the details right
and missing the main points of the play.
PLAYBOY: Do you less demanding
to act for the ser
CONNERY: ny ways, yes; I've had
probably greater success at it with less
effort. It's much easier, of course, for an
actor to play the same part—Bond—four

es than to create a new part cach

by nature
the
into it

reen?

When you're not working—

cither in a film or a play—how do you

spend your time?

CONNERY: Well, | read a great deal. Be-

tween jobs I've read the whole of Shake-
e amd Ibsen and Pirandello and

Proust, which scemed to go on for
are just too much. At
og. And

ever; 12 volumes
the moment Tr
I've been goi

too: 1 still play football; I pl.
deal of golf, and I like to do tl
my hands like lifting bar bells and carry
ing my own clubs on the golf course,
which I always do.
PLAYBOY: Didn't you
could only be a Scots
ting a small b.
would drive a
CONNERY: | did,
and very chara

loner's game. 1 think it
inston Churchill who said it's a rather
exciting game but they made such

iy once that golf
ntion, for hit-
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bloody awful tools to do it w
PLAYBOY: Do you find the game relaxing
or taxing?

CONNERY: | find it tei
but I'm really getting t0 the best stage

ibly frust

my golf game now: Fm really getting
near. Five or six times I've broken 80
and at last I know what Em doing and I
get a tremendous sense of achievement
and enjoyment out of it. T think it is one
of the most important games in the

world. 1 don't think Fd go quite round
the bend without it,
dicted 1 would—but T want to play
every day T cin. As a matter of fact, Fd
like to have a go at the pro circuit. It's a
bit late to try it now, but T'd like t0 just
for the hell of it. Of course, I1 haven't
the time for it.

PLAYBOY: If your time were entirely your
own, how cle would vou spend it?

us someone pr

CONNERY: Writing a bit, T think—short
stories and. poetry.

PLAYBOY: Have you ever done any
befor

CONNERY: Quite a lot, actually. Most of
the stuff Tve done was written when T
was on tour with South Pacific when I
first decided to be an actor—just ideas
nd images and how one felt and what
impres They were usually wi
ten late at night, and in the light of day
they seemed a bit alarming. E destroyed
ite a lot of it. Very few people have
whats lef; but. it's considered
pretty fair stulf.
PLAYBOY: Do you have any other exstra-

"l onc.

curricular talents?
CONNERY: Well, I'm fairly handy around
the house. When D was having my

hered before moving in
two winters ago, the workmen tried to
flannel me by saying that they couldn
do this or that job because of the weath
er. They didn't know that I've worked
in building—with plasterers and carpen-
ters and clectricians—and 1 know that
line of work pretty well. So 1 drew up a
list of the things I knew could be done
each day, and 1 supervised them like a
foreman to see that they got it done.
PLAYBOY: Are you a jack of any other
trades?

CONNERY: Well, I can harness horses and
herd them. And I can cook. I like cook-
ing for a lot of people or just two—
Diane and myself. But not just for six or
seven.

PLAYBOY: Do you have any specialty?
CONNERY: Yes—oulash à la Connery.
Would you like the recipe?

PLAYBOY: All right.

CONNERY: Well, for three or four people
with some left over, I take a pound of
the best beef and do it in olive
garlic for half an hour in a pot with a
lid on it, so that all the juice is drained
away from it, and while that's going on 1
finely chop onions and carrots aud have
fresh tom: s and tinned tomatoes all
ready. Then I fry the carrots and the or
ions im butter, aud once the steak has

present. home

n hour in

been cooking for about half
the pot. E take it out and dice it up into
squares—one- or two-inch squares—and
then roll it in Hour, salt, pepper and sea
soning. and line the bottom of the bowl
or stone dish. Then I cover all the meat
with the onions and the carrots and the
tomato—Iresh and tinned—and the oil
that’s left over in the juice that’s been
taken from the meat I pour over the top
I then add a tube of Italian tomato
purée, and top it all off with either good
stock or boiled water, and bake it in the
oven for three hours at medium heat.
IVs superb.

PLAYBOY: Where did you le: ll this?
CONNERY: In boy service in the navy,
when I was 10; we used to have to do
our owi gl
self when I kept my own flat in London.
L used to make a big dish of soup that
would last me five or six days, so when T
came in at night I could always take
some and heat it up. Ti wasn't very good,
but it was cheap and plentiful.
PLAYBOY: Do you have to watch your
weight?

CONNERY: I don't really keep any check
on it. I know what I am now. because we
were doing a scene in a health farm for
Thunderball and there were weights
and scales around. I'm l4 stone, 5
pounds [201 pounds]. It seems to stay
preuy constant
PLAYBOY: Do you drink:
CONNERY: Beer at lunch. if I'm filming,
because wine makes you doze off in the
afternoon. But I like good wine and
champague—doesn't everyone? But I am
not à connoisseur like Bond.

PLAYBOY: How do you keep in shape?
CONNERY: Football, golf and swinw
if possible. My metabolic system
10 burn up what I don't need. so I don't
have any sort of problem.

PLAYBOY: Do vou practice judo or karate?
io, but if I'm shown à move
a routine D can usually follow it
PLAYBOY: Harold Sakata, who played
Golding anservant Oddjob, seemed
to be a tremendously powerful man.
Was he as strong as he looked?
Tremendously so. He knows
and judo and wrestling and
weight lifting. With it all, though, he is
a very sweet man, very gentle.
PLAYBOY: Did you use a double in your
fight with him?

CONNERY: No. Th are doubles, but J
usually do my own stunts—and all thc
fight sequences, except for that fall. on
one's back on the rails in Russia. Bob
Shaw. [who played the blond srECTRE as-
sasin] and I did mox of that scene
ourselves.

PLAYBOY: Was Thunderball
strenuous picture to make? In a recent
Look article, you were quoted a g
that you sulfered everything from “the
trots to leprosy” during the filming.
CONNERY: They've got that wrong. It
wasn't on Thunderball in the Bahamas,

con Iso cooked for my.

equally

is si

|, where
combined

but during The Hill
Spanish tummy and the h
to lay me out.

PLAYBOY: At this point in your carcer, as
you pause between Thunderball and On
Her Majesty's Secret Service, do you fecl
that the Bond boom, apart from making
you rich and famous, has changed you as
à man or as an actor in any fundamental
way?

ways have

o, l'm what T
been: a Scot, a bit introspective: T don't
tell lies and T prefer straight deali
don't lose my temper often, except
compeience—my own or other
when I play golf badly. But T
lose my temper at wor
there P have a head like ice. D have
learned to rely on mysell and. tw keep
my own counsel—since I started earning
at 13. Like all Celts, 1 have my moods,
ind Fm not particularly generous. with
them. I rather like to keep them to
myself; but if people want 10 infringe
on a mood they are welcome 10 any part
of it. I suppose you could say I am more
invovert than extrovert. The extrovert
side is in my work

PLAYBOY: As a nonextrovert, does it make
you uncomfortable to be the object of so
much press and
public adulation?

CONNERY: To be quite honest, yes. E find
th: me tends 10 turn one from an ac
tor and a human being into a piece of
merchandise, a public institution, Well,
1 intend to undergo that metamor.
This is why 1 fight so tenaciously
10 protect my privacy. to keep interviews
like this onc to an absolute minimum, to
fend off prying photographers who want
to follow me around and publicize my
every step and breath, The absolute
sanctum sanctorum is my home, which is
d will continue to be only for me, my
wife, my family and my friends. 1 do nor
and shall not have business tings
there or acquaintances or journalists.
When I work, I work my full stint, bat]
must insist that my private life remi
my own, I don't think that’s too much
to ask,

PLAYBOY. One last question: Since you
seem to consider stardom, at best, a
mixed blessing. how long do you think
you'll want to remain in movies and in
the public eye?

CONNERY: I have no idea how II feel or
what FH be like or what TH be doing
even five years from now. I'm eternal
concerned with the present. Tve been
working my arse into the ground for 21
years and Fm just coming up for air
now. I find there arc two sorts of people
in the world: those who live under
shell and just wait for their pensions.
and those who move around and keep
their eyes open. I have always moved
round and kept my eyes open—and
been prepared to raise my middle finger
at the world. E always will.

never
if I have a row

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ETTA AT NIGHT

fiction BY FREDERIC MORTON

as a writer, he knew she considered him just one more
trophy, but he vowed to penetrate this glittering girl's
facade, which seemed to hide a devastating secret

11's NOT OFTEN that D resent beauty an, but I resented it in
tta Fleger-Hollma wd. please don’t forget the hyphen. She was
bout 30, mein hostess of that rivy Kitzbühel weekend: she moved
na black ski-pantsand-sweater outfit which, without trying or stretch-
ag at all hard, defined lazy grade-A curves: her cheekbones were the
kind that don't ripen so sensuously until a woman is beyond her 20s;
her blue eyes hit yours at a direct le; she
had the loose black mane and haphazard bangs that usually go with
ag face but which here added up to a total effect that was

id yet. noncommittal ar

a very yoi

povingly close 10 excellent

Why annoying? D dont re
like
Perhaps it was the h

because she looked

ally kno
n expensive doll with a grat

Perhap
s NOT

Ok SALE sign on her

which wa

a good deal every which way and
tals were

ng-fresh from the ski slopes, led us to

obviously had
sull glinti
our rooms.

Or maybe it was the anders that gor me. There were anders every-

t been combed since the morning: snow cry

g in it as she, stir

where in the chalet. Ordinary young stag antlers in the hall down-
; bigger antlers in the corridors; and real showpieces where you
had more leisure in which to admire them: in the dining room a 16-
pointer shot by a Prince Hohenlohe at the Flegers! Bavarian shoot; in

sta

the den, horns of rare huge ibex assassin
Schwarzenberg and Liechtenstein. And
least one giant 18-pointer struck down by a Hapsburg while he w:
guest at a Fleger estate, Every trophy w laque
thar identified killer, victim and the place of the ing, and all these
mannerly murders added up to a message: Sir, you are in the presence
of old, big, importani money-
But it wasn't just all those hor

d by heraldic names like
cach of the bedrooms at
a

marked by an ivory pl

1 had been through some many-
tlered weekends before. No, it was the absent-minded case with
wet the hyphen),
as she pointed it out.

which my very pretty hostess, Etta Fleger-Hollmann
owned all that wealth. She threw it away ev
from the white Siberi:

She tossed oll a quick tou:

tiger b

ight in by
a Fleger uncle and now brightening the floor before her bedroom
fireplace, to those silver stirr ven to a Fleger by the Kaiser him-

self, She was so efficient and perfunctory about it all, didn't even
bother with the ritual complaints about the-trouble-of-keeping-up-
the place for-the-mere-six-weeks-in-the- year one-curuseit.

No, I had the feclir
gum wad out of that well shaped mouth

that at any moment she might take a chewing-

i mouth whose upper lip was

just a shade too short, so th
and pretty reverie)—take out the gum
ay of the Hapsburg antlers or on any of the three servants c
long the carpets or, for that maner, even on S
or make no mistake, we were trophies, too, the trophies of that
particular weekend, and 1 felt she cared no more, no less about us than

it remained open in some preoccupied
t any moment and smear it on

ying

n and me.

“I cornered her in the corridor as she brushed past, without

make-up, barely out of the sauna, looking like a wet blue-eyed madonna .. . It
was a measure of her veneer that she managed not to lose a fraction

of her composure at this awkward ambush of mine?

PLAYBOY

bout the several hundred other displays
the house.

“This is our artists’ floor, gentlemen,”
she said with her Oxonian rath
German English, smiling a slender si
And sure enough, there were just two
s on thi tic floor: one with
the door and a sky-
light in the ceiling—Slim’s; the other
with a quill on the door and a modern
Olivetti typewriter built into an old o
en tible—mine. Here we were bagged
and tagged for the weekend, The Artist
id The Writer.

"Ist it a Slim said. He had ar
ranged the weekend and was proprietary
bout it.

Dinner cighüsh?
Hollmann, and 1 saw
three ice crystals remained still unmelted
in the black thats how fast and
proficient her welcome had been

As I unpacked, I realized another
thing that was bothe me. The d

said Etta Fh
as she left th;

id
iim

deadly. They had kept on enriching the
decor steadily through the unpleasant
nes. Lt intrigued me so much that I
burst in on Slim. shaving,
Whats the Fleger racket again?” I
asked.

“Santa Maria! Slim said. "You don't
know? Woolens. Any time a German
buys a sweater, the Flegers get richer.
Been like that for forty years.

The Wehrmacht must have bought a

“And her old
was the first post War Heinie with a
te plane.”

"hey didn't have any d
trouble afterward?"

"Not a thing," Slim said. "Nada. Sce,
the Flegers had a cop-out Jew. How do
vou like your room

Fine.” D said. “A what?

“Some Jewish kid they were hiding.
fed him koshe: of, right
ough the War. That Jewish cat te
tified his head off in Forty-six. The Fleg-
ers keep coming up with things like
that.”

Kosher?” 1 said.

"E tell you,” Slim said, “the Flegers
do something. they swing. And the kid
retarded, too, the Kind the Nazis
would have killed right off the bat.

"You mean they kept him all those
years as a kind of i
‘Still do. He's working for them in
Munich or something. You know there's
a sauna on the first floor? Only one in
Kitzbühel."

“No kidding,” I said and went back to
shave myself.

azification

rance?

That evening I did an odd thing. I
had no idea how they dressed for dinner

and felt no desire to ask. So I put on a
dark-brown shirt, a black bow tie and my
brown tweed jacket, which added up to a
sort of beatnik tuxedo and was therefore
sure to be wrong. The chalet was so
infallible, it could use a little fault.
Bur I couldn't make my point. When I
came down, there was no black-tie deco-
rum to violate. Slim had decked himself
out in a Tyrolean Joden suit. The others
were in formal aprèsski, meaning vicuna

sweaters knotted around Puccishirted
shoulders. and mein hostess Fira Fleger-
Hollmann was the same as before, minus

the ice crystals, plus a flawless, careless,
mutterably genuine string of
The same slender smile bert he
she introduced me. It made m
tuxedo look an fait, th
ly profound
tural Columnist of the Big-Time News
Weekly. Voila, | was more of a trophy
than ever. | neatly matched Slim, who
had just become the great pop muralist
of our time

There were only six of us. a small
but mutually accomplished menu. 1 was
erved up to a. bluehaired. old. literary
princess who w ing Restoration
comedy into G ) and who was just
dying to hear from me whether it was
true that Henry Miller was writing a
novel about underground movies. Slim's
neighbor was France's leading lady pub-
lisher of art books, who, it turned out,
had once been very clase to Picasso: she
and Slim were, in a word, perfect grist
ch other's mill, Mein hostess’ part-
was a handsome young man with a
calfskin face, named Matthias, the down-
hill champion of Austria.

The funny thing is, 1 immediately
sensed that, contrary to what you'd as-
sume, there was nothing between Eta
and the champ. In fact, I felt there was
nothing between her and the rest of us.
That is, she did pat Matthias on his
arms, which were bare because his shirt
sleeves were turned up at the elbows;
glacierbrowned, golden-hai
presented the way a wo
socko décollerage. She patted the décol
ler muscles iid Matthias was
kept by
Is in Kitzbühel, they went to bed
ly because Matthias had to be up at

tards.

and

t for waining—at which there was
iehiter: just a me the
Gothic. saltcel mind. anyone
to bc witty tonight, even if every

body were George Bernard Shaw Fd still
write a devastating column about the
dreary level of Kitzbühel conversation
—more lighter: and just as she said,
pointing to Slim, that she was so happy
c him for a guest while she was still
position to feed him—alter her hus-
1 got through paying him for the
ningroom mural he'd do next yca
they would only be able to afford pret-
zek for dinner—and lots of laughter.
Oh, she did all that, ribbed us flatter-

gly, ple:
tance of his m

hbor, chitchatted in that

Oxonian English, but wasnt
all. I mean, so much was held. back u
der the bangs. She withdrew once she

had set the mechanics of the dinner par
ty going, rewound it now and then with

apt remark, but on the whole averted
herself into a direction that baflled.
Sometimes, though, 1 caught her as she

few obsti-
ad wied to
gs. as if she'd

absent-mindedly got hold of
nate hairs on her forehead
smooth them daw:
just seen herself ble mirror,
seen herself and some other equally in-
visible presence. She smoothed the bangs
down hard while her short upper lip
opened even farther and a tiny, pe
versely virginal tongue peeked out with
the effort—then intercepted my glance
and offered me dessert.

And that rankled, man, E wanted her
to really sce me. I wanted that darling of
forume to really pay attention. 1 suspect-
ed she had nev

nt to ask you,
stand you knew Hitler in person

half his forearm, and the princess foun

dered in the midst of an André Gide

cdot. But she wasn't rattled.

Oh yes, once 1 had to give him a

bunch of roses when I was a litle gi
How was that monster?” the pi

ting me. I expected him to sive me
candy.”
"Oh na” Slim said. “Th 100

e me candy!”

“He did give me an inscribed copy of
Mein Kampf." mein hostess said.

“This is worth a great price now,” the
mp said.
ext day E uaded
tograph of the Duke of Windsor," sai
Eua, and there was great laughter and
brandy and then they all went out to the
night piste
lim had told me in advance about the
night piste. The Fleger estne included
acreage that curved from their own ice
ink upward, up some 2000 feet toward
the Kinzbühler Horn peak. Slim tossed.
back the curt of the observation
window and showed it to me. | saw
fine desc blindingly floodlighted
yellow, a sptash so brilliant. th
punged the rest of the mount:

Gringo,” Stim said, the only pri
vate night piste in the world.”

At the Flegers’ you apparently had a
quick run down benwcen after-dinner

for

alo a healthier and much more
ous thing than being pushed into
iy pool I zed that ve
had not really done the Alps unless vou
(continued on page 180)

TE, AST
O F

SI EN

M
Oi

TIEN EP i
SS | oak | foro,

E inetd A
it

| E

Above: Streel-length lace dress, sans stip, for dining at home à deux, from
Bloomingdale's (N.¥.C.), $50; linen porthole playsuit, by Sportwhirl, $36.

a playboy's-eye view
of those show-me feminine
fashions that have been designed
with the male in mind

The Nude Look (July 1960). it was ma
as a show of pent-up male indignation over. post War
f

iine fashions, Fed up with the eors of inter
wk

national couturiers and female fashion n

sex out of milady's styles, we added a touch of tra

parency to their more famons c

jons—the “trapeze

"sack." “balloon,” et al.—in onder to shed some light

that had unfortunately remained

on those facts of li

hidden for so long. We didnt suspect that our parody
pictorial would prove so prophetic so soon, but when
the first topless bathing suits hit the beaches last vear

we joined the rest of ma

nd in hailing the advent

ion. This c

of an age of limitless revel ning holiday

season, when men of vision go giling the girls, there

will be an eye-arresting array of ensembles to choose

from. as evidenced by this ten-page unveiling of the

latest in ladies" see-throughables

|
|
|
"
t
4

Eee

Above: For the best in stem-lo-slern suntans next summer, there's this hand-knitted white nylon and wool swimsuit—a thoughtful variation
on the topless theme aimed at maximum double exposure of milady' s beachside beauty. Available from Allen & Cole (.N.Y.C.) for $30.

Below left: Made to order for opening nights and other memorable on-the-town occasions, this floor-length evening gown by Earl Smithermar
(San Francisco), with an overblouse of French lace and silk skirt and shawl, should cause a sensation down front this season. Price: $200.

Above right: Yellow cotton playsuit achieves pleasant peekaboo effect via fishnet top with strategically placed opaque pockets, providing
dynamic new dimensions for informal summer outings and sunlit sailing sessions. A French import by Dell, available at Bloomingdale's, $15.

Above: Apres-swim cocktails will prove more intoxicating when your beachmate
dons this Jantzen white cotton-lace beach jacket with pink trim, priced at under 820.

(] ^i
z 9 T i t
Above left: Black colton-lace short evening dress for living-room lounging and private parties, by Fred Leighton, Mexican Imports (N.Y.C.),
$40. Right: Hip-hugger slacks and bare-midriff tie top of imitation tigerskin add feline charm to informal occasions, by Earl Smitherman

Below left: Blue nylon peignoir with matching bikini panties gives exciting view of latest transparent trends in ladies’ at-home wear. It
is designed for a more delightfully diaphanous display of milady’s undercover boudoir assets, by Eve Stillman Lingerie (.N.Y.C.), 815.

Above: Wool knit dress from Hong
Kong for see-through streetwear, $30.

Nt -— E n a
Above right: Blue-and-white dotted-Swiss street dress, by Robert Leader of New York, features front laces which can be loosened for the
desired degree of epidermal exposure and also comes with a matching insert for the more modest of modern misses. Price: $30.

Below left: White met. full-length. beach jacket, by Jantzen (S13), barely tops off model in latest monokini, by Cole of California.
Although now accepted as public beachwear on the French Riviera. monokinis are still restricted to private poolside use by domestic belles

Above: Apple-green topless swimsuit, by Elon of California,
emulates Rudi Gernretch’s first bare-hosomed beachwear, $23.

Above: Multicolored cotton print dress for casual afternoon
resort or street wear, by Serendipity III (.N. Y.C.). Price: 8115.

Above right: Designer Rudi Germeich’s no-bra bra marks the latest of his topside triumphs among fashion-conscious femmes, providing
an enchantingly unobstructed view of whats beneath the growing trend toward topless attire; Exquisite-Form makes it for a scant $4.

Beloo left: Beige bathing suit, by Cole of Califorma, sports deep décolletage designed with beachside beauty lovers in mind, but comes
equipped with front and side net inserts for those who prefer to restrict admarers to a bare maximum. Available at Bloomingdale's, S15

hove: Plenty of mole go-go-goers will pony up for a closer look at this custom-made black-ciré discotheque dress (center) with Chantilly
lace trim, by Meesch of Las Angeles, 8150. Hip hoofers will also get a kick out of Courréges-style leather boots (right), by Golo, $20.

Above: For gifted girls who entertain in a more intime fashion, the late-late look in lounging pajamas is metallic mesh over cotton faille
with shoulder straps and low-cut sides rimmed in rhinestones. Dubbed “Harlow fI these vamp"s vestments are by Serendipity HT, cost 8125.

Below left: For daytime dating in a casually comfortable vein, test the translucent tivo

ece allure of this striped collon-lace stay-at-

oulfit on your own model miss. Wide-sleeved blouse ($19) and hell-hoftom slacks ($45) available through Fred Leighton, Mexican Imports

p——————

A————
ee

Above: For barefoot beachmates, whose cheeks are still banned on public strands,

there's this bottomless blue bathing suit for secluded su ams, by Bill Miller, $20.

Right: A very showy sundress of embroidered white
organdy for very private picnics, by Allen & Cole, 830.

Above lefi: Inspired by an early Courriges design, this open-back silk organza overblouse with embroidered French lace, by Baba Orig
of New York (8195), should prove an added afternoon attraction to any private palio, worn with Geist & Geist hip-hugger slacks ($

Below left: A welcome addition lo any sylvan setting, the parkside playmate who wears this pink cotton playdress with open flanks fastened
by gold-colored links will merit many a sidelong glance during your grassy outings. Available from Saks Fifth Avenue, priced at $23.

B v: Ree EA :
Below: Black crepe topless evening dress, by Robert WEN
Leader, gives new meaning lo moonlighting. Price: $50. ©

Above right: Among the most fetching of foundation garments, the all-logether extension of Rudi Gernreich’s no-hra design, pictured earlier
in this portfolio, is another eye-opening example of the topless king's contribution to The Nude Look; available at Bloomingdale’ s, $15.

Below left: For the hostess with the mostest, we can confidently guarantee a gala reception in this green cotton-lace jump suit hy Earl
Smitherman, which comes complete with matching overskirt as a simple precaution against the possibility of gawking guests. Price: $60.

Above: In bikinis, like homespun colton model by
Earl Smitherman (825), it's briefness that counts.

Above right: Designed to make a loud splash fashionwise, this colorful cotton summer playsuit with vented sides, from Earl Smitherman,
also comes with matching hat and bikini panties, all attractively cut from the same scene-stealing orange print pattern. Price: j.

Below: The epitome in rude-look elegance is exemplified by this suppertime ensemble of green satin bib with custom-jeweled beads, from
Allen & Cole i), and white crepe ankle-length dinner skirt, by Nelly de Grab (818); a design understandably suited to prandial privacy.

Now that the femininity is being put back into female fashions, you will want to choose the most appealing attire for each of the gifted girls
on your holiday list. When it comes to draping the damsels, lel your insight be your guide to the garb that reveals them in their best light.

PLAYBOY

100

"I think you might like it. Its a little offbeat beach.”

THE SILENCE OF OSWALD

article By JOHN CLELLON HOLMES (wo years after the tragedy, the obfuscating fog of
emotion has lifted sufficiently for an objective probing of the forces that motivated the assassin

sucanos of the W: nedy seems to have
questions of fact about Lee Harvey Oswald in the minds of everyone but chronic skeptics and conspira
the case against Oswald has been

n Report on the a

ll important
sts, Indeed,
ary 1964, and yet the rumors, theories, dark
so many people expended so much tortu
in that casc—holes most of which have now been effectively plugged? Why do these
after they have read the over 800 pages of the Report itself? And. finally, why do most
s missing that would make this tragic event comprehensible?
mplistic psychologizing to which we are all
prone in moments of crisis. For an unbroken chain of facts à incomprehensible unless the man they indict is comprehensible
too, and without an ow ing. motive, all evidence remains Circumstantial. And now that the Report has been published, we
e forced to conclude that few of the facts therein do much to answer the blunt questions: Given Oswald, why Kennedy? What
is the reason for this absurd a

1 mounted steadily in the
ous logic over so few inconsequential hole:

vers continue to
ill feel that somehow. someth

Probably no one can ever answer these questions for certain, and yet if we accept the conclusions of the Report, that
Oswald was guilty and he acted alone (and 1 see no way to avoid doing so), we are compelled to look more deeply into the lile
and character of Lee Harvey Oswald in the hope of discovering the psychic conditions that produced his appalling crime. Cer

tainly | cannot have been alone in plodding through the entire Report for the sole purpose of underst
thus ridding myself of what threatened to become a plaguing obsession.

‘Two kinds of motivation have been ascribed to Os!
echoed even in the Report itself

On the one hand, the pol

nding Oswald, and

ald —pol
licates how unsatisfactory these expl;
l overtones of the assassi

nd/or madness—and yet the persistent. speculation,
re, to reasonable and unreasonable men alike.
tion (a left-winger killing a liberal President) are so confused and

101

PLAYBOY

contradictory that the
conclusive reason for the crime; and on
the other, Oswald under arrest nev
exhibited (as did Jack Ruby) the self-
aggrandizement, disissociation and rapid
alternation of mood that characterize
a seriously demented man. He was a
psychopath all right—that clear—
but what kind of psychopath? What
aggravated his condition beyond bearing?
And, above all, what was the specific
need in this peculiar man that demanded
this particular expression?

A "dcep" reading of the Report gave
me, at least, a hint of an answer to these
questions, for such a reading gradually
makes dear that Oswald's action may
have been nothing less than his decisive
move beyond politics, and out of mere
neurosis, into that frightening existen-
tial realm fiom which people sometimes
violently gesture back at the reality they
feel has exduded them. (Camus novel,
The Stranger, which is an account
of an utterly gratuitous murder, is a
chilling examination of just such a feel-
ing of exclusion.) That people do act for
reasons of this sort is evidenced every
day in newspaper stories of cases of
"meaningless" violence on the part of
alienated, socially disoriented individu-
als; and perhaps it is because the victim,
a this case, was a President, and the as-
sassin a political disenter, that we have
failed to glimpse what has been under
our noses all along,

Consider Oswald's human situation.
His life was as unremitüngly bleak,
loveless and thwarting as any described
in a Dostoievskyan novel. Growing up in
a society that provided an unskilled but
intelligent man almost. noth-

supply no really

ing meaningful on which to expend his
idealism, his perso

al environment con-
ually sabotaged his efforts to discover
his own value as a human being. The
sobering fact is that there are possibly
millions of people in the U.S. who are
indistinguishable from Oswald, except
for the crime he committed. Rootless,
traditionless, fatherless, unloved by hi:
‘selfinvolved" mother, emotionally dis-
placed by their peripatetic life wgether,
moving restlessly from flat to flat, city to
city. always crushingly alone, his hours
occupied by TV and chance books,
friendless and rejected, and so withdi
ing more and more from any renewing
contact with others, Oswald was that typ-
ical figure of the modern world; the
anonymous, urban mass man, who most
always has the same blank, half-scornful,
sullen expression on his face. Oswald's
photos, as an example, are all alarmingly
nd he always looks the same: cau-
itable, hungry, masked. To him,
the world was as impersonal as the cam-
a nd he turned the sime face to both.

He appears w have embraced. Marx-
ism because, in the U.S. of the 1950s, it

102 was the most unpopular, rebellious, and

socially o ous creed he could
espouse, The society which gave him no
nd did not deign to notice him
dissident, had to be spurned in
“I reject the world that has re-
jected me,” as Jean Genet has put it
Nevertheless, Oswald. exhibited the
rotic’s standard ambivalence toward
mhority: To escape from one (his moth-
er), he embraced another (the Marines);
to defy the U.S. he defended the
U.S.S.R. But he was happy nowhere: the
psychic heat in him intensified. demand-
ing ceaseless changes of mind to accom-
modate it, and his few short years were
marked by a bewildering number of
conflicting. political and emotional at
tudes. There are those hundreds of
dreary “official” letters (0 the Soviet
authorities, the State Department, the
y Department, the FBI and almost
one else, the sole reason for which
was to define and get on the record h
chameleonlike changes of status. Like
many of us in this bureaucratized world,
he searched for himself in his dossier
Everything disappointed him;

g gave him a feeling of his own distinct
being: he tried over and over to
find a situation in which he could expe-
rience himself as alive, productive, a per
son of consequence; and one of the most
interesting clues to his persona i
the odd fact of his alw

ath-

ys wril

present tense. The entry record
suicide attempt in Russia is a
example (the spelling and punctuation
are Oswald's): “I am shocked!! My
dreams! . . | [ have waited for 2 year to
be accepted. My fondes dreams are shat-
tered because of 1 de-
cide to end it
numb the pain,
"Than plaug wrist into bathtum of hot
water . . . Somewhere, a violin pl
I wacth my life whirl away. [ th
myself “How easy to Die’ and ‘A Sweet
Death, (to violins).’”

This is an astonishing image of a man
observing himself as if he were not him-
self, at once self-dramatic and objective,
pathetic and theatrical, but, above all,
cold. The very precision of his account
of the preparations, the alert recording
of his sensory perceptions, and particu-
larly the ironic comment at the end.
form a picture of a man cruelly isolated
n himself. to whom lonely communion
with his own thoughts and the sort of
false, reportorial objectivity that results
are the normal way he experiences his
ousness. Such a man often becomes
ncholic, or an artist, or a killer.
d's inherent dissent soon
ran his political convictions. Pinning his
hopes on Russia, he was relieved for a
time: losing those hopes in disappoint.
ment, he returned to the U.S., only to
feel the pressure of exclusion rising in
him once again. He vacillated between
Cuba and Russia; he made abortive at-

ove!

tempw to find a place for himself in var
ious radical movements. Everywhere he
was blocked, rejected, ignored, His in
ability to arrange an escape 10 Havana
seems to have left him, at the last, utterly
bereft, utterly placeless, finally outside
the conflicting political solutions to his
discontent. 1t thrust him back upon him
self, reduced him to having to live with
the facts of his social impotence
personal inadequacy, without even the
illusion that he was enduring this pain
in the name of something outside him
self. As a result, the hammer on the rifle
of his already alienated nature was
cocked.

His wife never appears to have under-
stood the sort of man he was. She comes
through the Report as shallow, adapt
ble. materialistic and selcentered: a
simple, affectionate creature. rather like
The strangers mises, with little or
no understanding of the existential
attraction of underground politics to the
young, disaffected American. or even of
the "complex fate" of Oswald's rel
Jessly dispiriting life. She chides h
his failures, she complains
ide

ad his

she is casily accepted into the D:
las Russian colony. while he is not; in
his country, she finds what he has never
found—friends. Oswald's male pride is
constantly abused by their acquaint-
ances, by his job losses, by their poverty,
his family, and ultimately by Marina
n the most unforgivable way
idicules his sexual performance. He
beats her up: he is puritanical in spe
cifically sexual ways (he flies into a fu
because the zipper on her skirt is not
properly fastened in front of others): he
d t her to smoke. or drink, or
use cosmetics. He discovers her letter to a
former beau in Russa, lamenting that
she hadn't married him. The pattern of
exclusion and failure becomes more and
more personal and inteviorized: it
reaches that pitch of psy al p
sure where à man acts decisively to over
come everything, or goes under and loses
his image of himself. And no matter how
extravagant or idiotic that image may be,
a man must have a self-image or go mad.

Viewed in this light. Oswald's crime
may have been a last desperate attempt
to become part of reality again, to force
his way back info the reality that had
ignored him. so that he could experience
himself as acting, as living, as committed.
“Men also secrete the inhunar
has written, “Sometimes, in [our] mo.
ments of lucidity, the mech: aspect
of their ge and their senseless pan.
tomime make everything about them
seem stupid." And when we are pos
sessed by such a feeling. ve lost that
sense of immediate contact with the world
that is the strongest check on the violent
whims that sometimes stir in all of us.
(continued on page

"sno

holog

Au Mete

NAME YOUR POISON

a bibber’s booze-who of the 100-proof euphemisms
that make up the drinking man’s lexicon
humor By RAY RUSSELL pright as two raw oysters. Not-
my alert and pretty secretary
nl some coffee?”

shibited about calling liquo
nd drunkenness by their real

names
au think not? Perhaps the point can be vor. .
best illus . though "And would you prefer Anacin, Buffer-

in or Excedrin?
vou. guesse sable. — "One of each flavor, please.”
jawed asting
pearls before Hollywood swine, and some-
times vice v
We fade
writers bi
custom.

nor wholly i

the rocks.”
wht, eh?" she observes,

5s 1 emer my office in the
ng ef wonn s

“L really Tied One On,” I admit
(concluded on page 178)

103

m
FI
Lc
LI
7m
L—
B
LL]
I—
LL.
<L

playboy’s choice of après-ski fashions and equipage for kanonen and lounge lizards alike

attire/gear By ROBERT L. GREEN susc, raat most rouicsow and fashionable of winter sports, demands that the

skier sport the most fashionable of. winterwear. On the slopes the requirements are strict, but it is alterward, when he wants
to relax with a warming drink and pliant companionship, that the wellaccontered ski infatuate will really want to be on his
sartorial mark. ‘The slopeside stylings shown here fit the bill admirably. Left: Recuperating alter a spill, our pampered kanone
is clad in multicolor patch wool crewaeck, by Jantzen, SH, corduroy knickers, by Miller Brothers, SIL, black, decp-rib knec
socks, by Interwoven, $1.50, and leather afterski boots, by Henke, $24.50. Above: An athletic après-ski crew warms up with a
tlickeris d bulging bota. The guy seated on the left sports an ivory and black fisherman’s-knit sweater, by Himalaya
matching navy jean-style knickers, by White Stag, $25, black and white knee socks, by Esquire, 52, and seal afterski boots
with sheepskin lining, by Henke, $59. His dark frontier jacket with nylon lining, by White Stag, $35, is draped over the chair
Waiting for his turn at the bota, the chap on the left wears a black and brown Australian wool accordionstitched V-neck
cardigan, by Lord cll, $23, with white cuon turtleneck, by White Stag, 53. Skier to th t of imbibin playmate we:
deep-hucd wool crewneck pullover with competition stripe, by Catalina, $20, solttextured corduroy jacket with herring
bone irim, by Puritan, $25, wool stretch ski pants, by McGregor, $30, and pilc-lined ski boots, by B. F. Goodrich, $16.95

Above: Framed by a warming fire, the fellow at left relaxes in a wool and mohair sweater, by Catalina, $17, set olf by cotton
t turtleneck, by White Stag, 53, stretch ski pants, by McGregor, $30. and boots by B. F. Goodrich, 514.95. Consolit
ered ski bunny, the guy at right wears a wool turtleneck sweater and matching stretch ski pants, by Ernst Engel, $35 cach,
with calfskin afterski boots, from Abercrombie & Fitch, $32.50. Right: Ski equipage clockwise from one: Seal afterski boot,
ase there is the unhappy need for a supine descent, by Hedlund,
by Robert Lewis, 5115. Half yard of ale h: = K 510. Ricker ski boot, fr
Transcontinental Service Corp., $45. Nordica ski boot, from Beconta, 515. Bongo board for preslope conditioning. [rom A & !
$18.05. Norwegian-design ski socks, from Transcontinental Service Corp., $9.95. Rubberrimmed racing goggles, from A & F,
$15.95. Polarized gog Kolflach boot, from the American Ski Corp., Speedfu boot, by Henke
569.50. Steel pole, from Amer $15.95, Steel pole, by Head, 524.50, Aluminum pole, from Ski Pole Speci
$25.95. Mittens, by White Stag, 54. Rollka all-surface ski, from A & F, $75. Hood, from A & F, $5, with goggles from P 5
. Snowshoes, from A & F, 520. Javelin ski, by Hart, SI Si loaf hat, from Transcontinental Service Corp.. St
Holiday ski, by Hart. $114.50. Plastic and wood ski, by Northland, $49.50. Arlberg aluminum ski, by Fischer, 5175. Epoxi
ski. by Yamaha, $109. Wine bota, from A & F, $6.50. Golden Jet ski, by Northland, $125, Fiberplast ski, from Dartmouth
S180. Metal ski. by Head. 5128.50. Blizzard fiberglass ski. from. P & M, S175. Steel and plasuc ski, by Peter Kennedy, 590.

BY J. BARRY O'ROUI

THE GOBLIN
OF CURTERY SINK

cranmere pool was the farthest plac

habitation in all of england— which was

reason enough for harried and harassed
harry to feel he had to go there

fiction By T. K. BROWN III

WHEN THEY LEFT Moretonhampsicad on their way

Tavistock, there was a brief moment of sunshine

g up the bare rolling hills all about them: but
the clouds closed in again almost at once. England's
was appropriatly gloomy and forbid
‘They rode in silence, Mildred scowlit
st firmament, Harry appraising the
which fascinated him: hill after low barren hill
clothed in nothin ass and bracken, with [rc
quent stark outbursts of rock but not a single tiec to
justify its name of Dartmoor Forest. Still, it was
everything Thomas Hardy had promised; or was it
Lorna Doone? Anyway, it was great
nember,” he said, "stop at the Dart River.”
‘ou say when and EH stop.” Mildred said: and
then, genially: “Harry, tell me. why are you doing
this? I mean, you've got this big problem, big prob
Jem, with the firm, and now you've got nothing bet
ter to do than tek across this miserable landscape
on a day like this. And what is all this about Cran
mere Pool and a mailbox:

TH explain,” Harry said. “You know what they
say when they're asked why they climb Mount Ever
est Because it’s there’? Well, the best that poor
litte England can do in the becauseit’s-there line
is this hike to Cranmere Pool, which is, 1. believe
the spot farthest away from human habitation in the
whole country. A whole seven miles away from the
nearest house.”

“And what's with the mailbo

‘Well, you know, you spend all that effort
like to have a destination and a proof. W
mountain it’s casy: You get to the top and take a
picture. With Cranmere Pool it’s a mailbox. You
put your letter in and take out the one you find
there. and you are honor bound to deliver the other
fellow's letter to the nearest. post office, where they
will hail you as a hero and put the cherished "Cra
mere Pool’ postmark on it, And that’s the whole
story

“Exoept for why you want t0 go on this

honey," Harry said, why no? As you
know, 1 like long walks. This is an interesting
challe Also, as you point out, T have this big
problem with the company. Maybe this soli
communion with nature will have beneficial results
—vou know, the ‘Thoreau bit
OK," Mildred said doubtfully. “Now just let me
volunteer an observation or two. It's going to rain.
that is inevitable. You arc in. pretty fair shape for a
guy of thirty-two, but you haven't been out of that
lab for six months, and you have about fifteen
miles to go in unfs country. Youre dressed
for the city. not hiking. ‘The places where you like
your long walks, such as (continued on page 120)

ATION BY JAMES HIL

è
[4

We m

CREATIVE COLLECTING

THE PROFITS AND PLEASURES

TO BE FOUND IN FINE ART
ARTICLE BY J. PAUL GETTY

1i nas Lonc been my belief that some important generalizations can be made safely
about art collectors and collecting.

First, 1 firmly believe that almost anyone can become a collector, and that he can
start collecting at almost any period of life. One need not be an expert or have large
amounts of time or large sums of money to start an art collection.

Second, 1 hold that few human activities provide an individual with a greater sense
of personal gratification than the assembling of a collection of art objects that appeal
to him and that he—by whatever standards of taste or aesthetics he may apply—feels
have true and lasting beauty.

Third, I maintain that the true worth of a collection cannot—and should noi—
be measured solely in terms of its monetary value. Artistic merit docs not necessurily
follow the values set in the market place. Although price tags are attached t0 works
of art, the beauty an individual sees in an object and the pleasure sfaction he
derives from possessing it cannot be accurately or even properly gauged exclusively
in terms of dollars and cents.

Lastly, I am convinced that the true collector does not acquire his objects of art for
himself alone. His is no selfish desire to have and hold a painting, a sculpture, a fine
example of antique furniture, or whatever, so that only he may sce and enjoy it
Appreciating the beauty of the object, he is willing—even eager—to have others share
his pleasure. It is, of course, for this reason that so many collectors lend their finest
pieces to museums or establish museums of their own where the items they have pains-
takingly collected may be viewed freely by the general public

At some point or another, preferably as early as possible, the collector must make
up his mind precisely what it is he wishes to collect. The decision can lie anywhere be-
tween two widely separated extremes.

He may, for example, limit his collection solely to bronzes of a certain period or
even of a specific century and national origin. At the other extreme, he may conceivably
iam Randolph Hearst, who literally collected everything from pre-
historic figurines to old masters and entire castles and their contents.

The choice a collector makes is necessarily governed by many and various factors.
‘The most important consideration is, of course, the simplest onc of all: In what direc
tion or directions do his interests in and liking for fine art lie?

What is the ultimate in artistic beauty to one person may well be a bore or
abomination to another. This should be obvious to anyone who has ever watched a
sizable groups of people making their way through a large museum.

There are those in the groups who will glance at a Goya and give a distinterested
yawn, but will stand transfixed, gazing with awe at a Gauguin. To some, Phidias i
anathema, while Rodin is sublime. There are individuals who respond enthusias
to Venetian Settecento furniture but remain completely unmoved by the finest examples
of the 18th Century French cabinetmakers’ art.

‘The variations among individual tastes, likes and dislikes are infinite in regard to
thing in life. When it comes to fine art, individual preferences become even
more pronounced—especially so with collectors.

My own philosophy regarding my collection can be summed up by a paragraph
Ethel Le Vane wrote in the book Collectors Choice, a decade ago:

“To me, my works of art are all vividly alive. They are the embodiment of who-
ever created them—a mirror of their creator's hopes, dreams and frustrations. They
have led eventful lives—pampered by the aristocracy and pillaged by revolution, court
ed with ardor and cold-bloodedly abandoned. They have been honored by drawing
rooms and humbled by attics. So many worlds in their life span, yet all were transitory.
Their worlds have long since disintegrated, yet they live on—and, for the most part,
they are as beautiful as ever."

Banal as it may sound in this glib and brittle age, the beauty one finds in fine art is
one of the pitifully few real and lasting products of all human endeavor. The beauty
endures cven though civilizations crumble; the object of art can be passed on from
gencration to generation and century to century, providing (continued on page 194)

almost

Above: On on off-hours shopping sofori, Miss November ond a pretty hutchmcte toke the high rood (left) to Miomi's new Lincoln Rood Moll.
“I'm o typicol female when it comes to clothes,’ she soys. "My eyes ore o lot bigger thon my bank occount.” Right: Pot goes high-hot on us.

" = x PLAYBOY'S RECENT TREK to the Sunshine State proved doubly rewarding when it not
» DIN TA only provided our staff writers and photographers with a hutchful of commend-
OA NG e photograpl

able cottontails for last month's pictorial essay on The Bunnies of Miami, but also

our november playmate focused our attention on the potential Playmate form of Bunny Pat Russo.
is a miami-hutched homebody A Miami-based rabbituette for the past two years, Miss November is a chestnut-
who prefers a cottontail to courrèges haired Connecticut Yankee who grew up in Stamford, then served a short stint

as a Manhattan mannequin for the Barbizon studio before heading South to

Below: At impromptu poolside porty thrown by friends, Pot considers her host's grocious invitotion (left) to join him in o friendly wotusi or two.
"i'm octually o quiet, conservotive type ot heort," odmits the Connecticut-bred cottontoil, “and I'd just os soon tolk os porty it up." Right: Wish gronted.

————————Á—
MISS NOVEMBER piavsov's pravmare or me MONTH

Above: Out on the briny for her first day of deep-seo fishing, November's green-eyed gatefold girl ecrned the envy of all on
board by landing the only strike of the doy {right}. “I know it wasn't a monster sailfish,” says Pot, “but one hos to stort somewhere.”

trade high fashion for Bunny satin. "Like most Northerners, the one thing I can't stand is cold weather," she told
us, "so Florida and I hit it off right from the start. After I'd spent my first warm winter in Miami Beach, autumn in
New York was just another pretty song as far as I was concerned.” When she's not busy Bunny-hopping through her
night's duties or basking at the beach, the stately (57) hutch honey prefers a stay-at-home schedule of painting with
oils, reading science fiction and listening to classical recordings (“I’m not a complete longhair, but I'll take Bach or
Bartók over Streisand and the Beatles any day"). As for the man in her pending plans, our homebody beautiful has
her rabbit ears set for a “sincere guy who plays for keeps.” Fair enough game, we'd say—a game worth the winning.

Below: Pot proves that going to the dogs con be fun as she tries to spot o winner (left) at the nightly canine competitions in nearby
Hollywood ["I should have bet on the robbit"]. Right: With date at The Wreck, a Miami Beach discothèque, she watches between swims.

PHOTOGRAPHY BY POMPEO POSAR

PLAYBOY'S PARTY JOKES

What do you give a man who has everything?”
the pretty teenager asked her mother.
“Encouragement, dear," she replied.

Our Unabashed Dictionary defines ‘women's
court as a place where many girls are tried and.
found wanton.

The cute and efficient young maid seemed to
enjoy her work until one day, without warn-
. she gave notice.
Why do you wish to leave?” the lady of the
house asked her. “Is there anything wrong?”
^I just can't stand the suspense in this house
a minute the maid replied.
"Suspense?" said confused | mistress
What do you mear
I's the sign over my bed," the girl ex-
ed. now, the one that says: WATCH
YE, FOR YE KNOW NOT WHEN TIE MASTER
COMETH,”

A young man approached his family physic
and said, "Doc, I'm afraid you'll have to re
move my wife's tonsils one of these days.
n," replied the doctor, ^I re-
moved them six years ago. Did you ever hear
of a woman having two sets of tonsils?”

“No,” the husband retorted, "but you’
heard of a man having two wives, haver
your"

The British anthropologist was doing some re-
search in an isolated African village, and the
local tribal leader asked if he would like to at-
tend a trial his people were conducting that
afternoon. “I think you'll be surprised,” said
the chief, “at how well we've copied your
country's legal procedures. You sce, we have
read the accounts of many English trials in
your newspapers.”

When the si

ntist arrived at the crudely
constructed courthouse, he was indeed amazed
at how closely the African court officials resem-
bled those of his n ‘e land. Both coun-
sels were suitably attired in long black robes
and the traditional white powdered wigs worn
by all British jurists, cach arguing his case with
eloquence and proper judicial propriety. But
he couldn't help being puzzled by the occa-
-breasted | tribal

sional appearance of a b
maiden who ran through the crowd waving
her arms frantically. After the trial, the

thropologist congratulated his host on what he
had seen and then asked, "What was the pur-
pose of having a seminude woman run
through the courtroom during the wial?
"No purpose,” replied the tribal chieftain,
"but all the accounts we read in your papers
about British trials inv;
thing about ‘an
through the gallery."

The wellstacked redhead stormed into police
headquarters and shouted at the desk sergeant
that a man had grabbed and kissed her while
she was walking through the park.

"What did he look like?” the desk sergeant
asked.

“I really don't know," the girl replied.

“Lady, it’s the middle of the afternoon on a
dear, sunny day," the sergeant said in an c:
perated voice. "How could a man grab and
kiss you without you seeing what he looked
like?”
Well" the redhead answered, "for one
thing, I always close my eyes when I'm being
kissed!”

Then there was the transvestite from Yale
who wanted to spend his junior year abroad.

Our Unabashed Dictionary defines confirmed
bachelor as a man who goes through life with-
out a hitch.

Some girls are just like a resolution—easy to
make but hard to keep.

The husband had arrived home unexpectedly,
and now he stared suspiciously at a cigar smol-
dering in an ashuay. "Where did that cigar
come from?" he thundered, as his wile cowered
in their bed.

There w
closet
"Cub:

à pregnant pause, then from the
shaky masculine voice answered,

Heard a good one lately? Send it on a postcard
to Party Jokes Editor, pLavuoy, 232 E. Ohio St.,
Chicago, Ill. 60611, and carn $25 for each joke
used. In case of duplicates, payment is made
for first card received. Jokes cannot be returned.

1 had no idea you were a vi.xynov photographer. Mr. Simpson!

PLAYBOY

GOBLIN OF CURTERY SINK

olf courses—and sometimes with a little
t from a goll cart—are a far ary from
this u In my opinion, you are going
to be one miserable baby before this d

Harry said e my
aloshes, and a compass, and a
map. lunch, and everything I need
to hike across a few hills" He became
suddenly alert, looking from map to land-
scape; saw that they were dipping down

is it.” he declared. “Let me out
here. This is the Dart.”

Mildred braked and stopped at the side
of the road.

Harry laid the ma
"Now look at th perhaps
a bit too importantly. "Here we are.
Here is the course of the Dart River.
Here is Cranmere Pool. 1
low the Dart up to wl then go
down to Cranmere Pool, where I am
going t mail my postcard to myself
‘Then I am going to follow the east O
ment River right down to the neighbor-
hood of Okehampton, where TIL meet
you at The Grown. I should be there by
five at the very latest—that'll give me se
en hours from now. You will con
this road t0 Tavistock and then
north on the road to Okehamptor
clear?"

Alb dear,"
enthusiasm.

Harry got out of the car and the
reached back to the rear seat for his coat,
galoshes and lunch. id.
Somewhat impeded by this gear, he
scrambled over the stone wall and down
the embankment. At the river's edge he
turned to salute his wife, but she had al-
ready put the car in motion and did not
see his gesture.

Harry Gibbsee set off up the hill, full
of good spirits. The footing was firm, the
incline gradual, and the air invigorating-
ly cool. Ahead, a mile away, a low hump
called Hartland Tor invited him to assail
d conquer. He foresaw a stroll uncom-
plicated by much exertion, with ample
for introspection im ideal

Mildred said without

" need.

For Harry Cibbsce was in a mess. It ap-
peared likely that he would lose his eh,
in which case his future was uncertain, to
say the most. He was employed by the
cient and senescent firm of Digby & Sons,
manufacturers of ceramic products. A
century ago it had supplied the best line
of chamber pots in New England; now,
after successive generations of mismanage-
ment, it was struggling along on a mot-
ley line of saucepans, surgical trays,
ceramic bricks, clay tile, insulators and
flowerpots. A management consultant
had recommended that the company di
versify into products with more modern

120 appeal, and Harry had been hired as

(continued from page 109)

chief research chemist, at a very gra

fying salary, to discover what “moder

product the firm should concen

But his efforts, alas, had plunged the

organization into far deeper trouble.
The Old Bastard, unfortun

te on.

been against any departure from tr
and-truc ways from the beginning, A wiz
ened Yankee with a face like a skull, he

had shown Harry to his corner of the
main ceramics hall with the words “Well,
young man, this is where you can set up
your retorts and alembics. | trust that the
noise of the useful work being done in
this factory will not disrupt your trains of
thought.

Well, he had made the O.B. cat crow
soon enou fter studying the
and skills available at the plant, he had
concentrated on the field of molded plas-
ics. In his little corner of the hall, while
the moneylosing flowerpots all around
him grew from slip to kiln to finished
ware, he manipulated his gooey concoc-
tions. Every Friday the boss would make
a point of hand
ally, with a remark
makes $11,500 we've p
et. When do you plan to make your first
payment into ours?”

Harry mumbled something to himself.

And in an unbelievably short period of
time—less than six months—he had made
a major breakthrough and had applied
patent in the name of the firm. He
recalled now his warm sense of achieve-
he stood before the board with
his charts experimental

g him his check person-
ich. as,

Well. this
id into your pocl

models. As he climbed, phrases soared
through his memory:
“We concentrated our attention on

plastic hollowware containers and on
their main flaw, which is their tendency
to crack. Here, for example, you
typical polyethylene wastebasket after
cight months of ordinary use. You will
notice the crack around the base.” (Be-
cause I have just poked four fingers
through it, he confided to himself.)
Here, now, is our similar model. Same
gauge but different formula. You will
note that it is intact, though worn. On
the memorandum before you, you vill
find a description of the manner in which
was subjected to 250,000 buffetings, cor-
responding to approximately 84 years of
daily usc. Gentlemen, we have perfected
tic of unprecedented stability.

Electricity in the air. The Old Bastard
with the sudden light of greed in his w
sel eye. What a triumph!

“L invite you to study our data in de-
|. Te is up to you gentlemen, of course,
to conduct the necessary market studies
to determine how this breakthrough ca
best be exploited -

And conducted they were, by God! So
great did the demand prove to be that the
decision was to go into full production
once. A million and a half dollars were

borrowed and a new plant built. After
the first hundred tons had been pro
duced, Harry had taken this much

deserved. vacation in Britz

Warmed by this recollection, he looked
and was surprised to find hi
rounded by unattended sheep. In
stark but gentle sweeps of hill the moor
lolloped into the haze on all sides and,
dotting the slopes, in groups of hom two
to a dozen, the sheep grazed. As he a
proached, they moved aside, shaggy and
mustrustful. Otherwise, there were only
the remnants from the Stone Age th
map had prepared him for: a cru
wall in the midst of nowhere, a tumulus,
a cairn, a crude circle of stones, a jumble
of rocks where a campsite must. have
been. It was a landscape where a m:
might put his finger on the core of his
problem.

But before he could proceed to do so.
the rain : not a British mist that be-
came too heavy for itself and fell, apolo-
getically, but a torrent, all at once. He
o his rainco:
ardine he had bought in Paris, an fm-
perméable, and so Harry felt quite snug
for the first minute or two. And the
rain enhanced his mood of solitary cop
ing. Very soon, however, the coat proved
to be permeable: his shoulders were
quickly wet, right through his impermé-
able and jacket and shirt, and die water
made . For the first
time—it was not to be the last—he felt
twinge of doubt about the wisdom of this
excursion

This doubt coincided with a resump
tion of his recollections—the less pleas
able part of them. For, just two days
ago, the sky had fallen in. A phone call
ard to Londo The
n almost hysterical. "It cracks! lt
he had screamed. “A hundred
of cracked wastepaper bask

tons.
coming back by the truckload!

“Absolutely impossible!” Harry had
shouted back. “Did you stay with my for
a? Let me talk to Heller."

But Heller, second in command. Ph.D.,
MIT, had made it quite clear that the for
mula had not been tampered with. “It
just doesn’t work anymore," Heller had
Said. "We're turning out the same old
shortlife stuff as everybody else.”

The OB. had got back on the line.
"This company has been doing business
for a hundred and cighty years,”
croaked. "Not making a fortune, maybe,
but a lot better off than before we went
a million and a half in
recommends

he had

the hole on your
ion. Now you better get us

out of this, buster, you just better get us

out. of thi
And it was on this note that Harry had
set off across Dartmoor. He wanted to be
lone, and he intended to use this time to
il. every
d every step ir
the manufacture of his final batch, In this
(continued on page 173)

DEATHWATCH immortality is what men make of it—and what it makes of men

Siction By NORMAN SPINRAD

THE OLD MAN'S BREAT shallow
now, dry and brittle, each breath an
effort of no little significance. His hea
vested on the pillow like a dried
shriveled nut on pkin

The man standing at the foot of the
bed stared impassively into. indefinite
space. His strong, unlined face showed no
emot a strange
look, indeed. about his eyes, a deep. age-
less resignation that scemed grossly out of
place on a face that could be no more
than 25.

The woman leaning her head on his
shoulder had long, thick, honey-colored
hair framing a young face wet wi

Now and then a sob would wrack her
body. and the man would stroke her hair
wiih nearmechanicil tenderness. He
would pass his tongue slowly over his lips
as if searchi

But there were no words and there was
no comfort. The only sound in the room
was the rasping breath of the old man
in the bed sighing the dregs of his life

g for words of comfort.

He smiled happily at his wife as she
cuddled the newborn her ar
like all babies to all. parent:
bab:

aby i

He was
beautiful

A son, he thought. My son. Secretly, he
4. While the doctors had as-
sured them that there was no reason in
the world why they could not have chil-
dren, he had always had that inane, ir-
rational feeling that he would
lly be able to know that it was true
until this moment, when he could actual
ly reach out and touch his sor
He chucked the baby under the ch
nd it coved satisfactori
with the world . . .
half hour later, when the doc-
the tuth about his child.
‘The invisible but inescapable truth.
lttook him (continued on page 192)

was re

never

- AM was right

121

122

x bibe 74 A.

FERRARI 275/GTS

THE PLAYBOY CARS -1966

our own selection of those with the style, speed,
engineering and distinction to satisfy the urbane owner

modern living By KEN W. PURDY count ciovannt cunt of Italy
is a significant figure in the world of the automobile. He was a notable competitor be-
fore the Second World War, he is an ci ence of the Fédération Internationale de
l'Automobile, author of a biography of Tazio Nuvolari, and a connoisseur. When he
appeared in Monte Carlo for the Grand Prix of Monaco this year driving not a Ferrari
but a Lamborghini, he created an instant small stir. The word sifted through the P
cipality. and people who knew him began to think about asking for a ride. In the
rdinary way of things, a car would have to be gold-plated and running on six wheels
to attract attention in Monte Carlo, but whenever Lurani’s Lamborghini was parked
on the drive before the annex of the Hotel de Paris, there were five or six people peer-
ing into it, and a wealthy Englishman who has owned the best of everything down the
s told me he had decided he would have one as soon as he could get it. One was
led somewhat of the time J. P. Morgan walked across the floor of the Stock Ex-
change arm in arm with a broker, thus providing the man instantly with unlimited

credit and many new friends.
It is doubtful that. Enzo Ferr

as moved to much more than annoyance when
the first Lamborghini was made, in Cento, only 30 miles from his own shops at Mara-
nello. He has seen this gambit tried before: the disastrous ATS, for example. But the
Cavaliere Ferrucio Lamborghini is a tycoon, of the type conventionally described as
hardheaded, who has announced that he intends to go on making automobiles for some

RENDERINGS BY BEN DENISON

TRIUMPH SPITFIRE MARK 2

SUNBEAM TIGER

MUSTANG G.T. 350 123

LOTUS ELAN

124 LAMBORGHINI 350GT

OLDSMOBILE TORONADO

time to come, and to run production to 300 cars a year, almost half Ferr c. He has other factories busily clanking out tractors,
oil burners, air conditioners, so he can afford to take a loss, if he must, in instrumenting his ambition to produce one of the planct's
two or three fastest motorcars.

Each Lamborghini is required to show at least 150 miles an hour on the road—it is said to have exceeded that by more than 15
miles an hour—and do a standing kilometer in 24.5 seconds before delivery. The car's handling is to the highest Italian standards.
The engine is, like the Ferrari, a V-12, 3.5 liters, 336 horsepower at 6500 rpm and the body, in hardtop configuration, is by Carrozzeria
Touring. The package comes to about $11,000. Ifa combination of good looks, comfort and performance can make a desirable motor-

1 Aston Marti

k of in the last few
ic and obsolete slang meaning, but the modern literal mean-
states an attitude. a point of vi enjoyment of the best that goes into urban living toda
Anothe is the Ferrari, the world standard aj s are gauged. The F

t a perfect automobile. Some owners complain that the turning circle is too large, or that the vent windows on some models can
be opened far ing wheel, or that the instruments are badly lighted—but you will not hear that the car

car, the Lamborghini is thorou
and, for some, that

years as reflecting the ch

y its rarity. In all, one might sa
‘d meaning of the word playboy, not the arch

w based on the inte! t, selectiv

ough to rub against the steer

AY det

MERCEDES-BENZ

125

d stop in ways that most drivers haven't even heard about. The Ferrari is unstressed and unhurried in deliver

doesn't go, handl

) seconds. And it's

120 in

4-hour race at Le Mans is considered by some authorities to have done the

igh as 100,000). Ferrari has won Le Mans every year since 1960.

for example, will do 0-60 mph in 7 seconds and 0.

The four-seater 330GT,

ing its lively performance:

A car that finishes the

not being hurt in the doing.

six times in suc

nd one that rouses the Walter Mitty in us all. For me, the Ferrari has an

equivalent of 50,000 miles (I've heard estimates as hi

aring thought,
, one that it shares with the 356 Porsches: an absolutely distinctiv

can possibly be mistaken for anything clse. My advice is: If you have acquired, by stealth, industry or good fortune,

ing from $13,000 to $18,000, plan now to visit your friendly local Ferrari dealer. Incidentally, y

cession, eight times in all. An

other endearing character

engine sound. Neither of them

a sum rang-

ou will not find him wildly en.

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thusiastic in the matter of trade-ins.

do with it

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cadillac,
teresting device, and the only thing of its kind currently

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is standard. It is hard to think of
vidual motorcar that has had more
more useful publicity this year than the
Aston Martin, Tan Fleming Msg cited
as James Bond's favorite mount, ‘The
Bond Goldfinger DBS, ¢ TOUS
al devices, is today famous in commu-
s so isolated that they had previously
of the rubber-tired oxcart as the
. Indeed.
ve was quoted as

eyeballs locked i nid so on
tching for The Man
out of his hole in
ground. (A friend of mine who liked to
Runy hom New York w Miami and back
a DUE of times a winter used to station
ight binoculars i

hand, on the rear-facing scat of his ridicu
lously fast st

d sop from 120, Incidentul
ly, the much-loved 356 Porsche is being
phased out. as the jargon has it, and will
be replaced by the 912: the new 911 body
powered by the 356 4-cylinder engine
Presumably some [rec-enterprisers will
decline the privilege of writing a policy
on the Chevrolet Corvette. powered. by
the new optional 125-horsepower engine.
This is a 5.7-sccond 0-60 car with a 13
mph top speed, a genuine handful of go.

PLAYBO!Y

s of park-
way. most of it fairly level and very litle

n execu

t the publicity value of the bem, and thousands of 300- and 400. d when one thinks
Bond DBS had been greater than the horsepower cars being ground out every bly quick imporied

massed value of all the racing the compa-
y had done from the begi
one considers that Aston. Ma ,
career is usually reckoned as having be-
gun in 1921, this becomes a statement
of some significance. It is amusing, too, to
remember that Ian Fleming, who did the
deed, preferred for his own use two
An generally less es

week (in 1962 the new ¢

ew baby ratio

it becomes, à ound 55000,
ag value for money. The double
y thusiasis” will be heard—"Ah,
yes, old boy, but the thing hardly has the
ce breeding of the Ferrari, the Maser,
the Aston, right?” The riposte of dioi
that Louis Chevrolet was racing
professional in 1905. and if Louis con
nection with the Corveue of 60 years la

ng. When w
that the

utomobile is gaining on us), the
that 55-70 mph is all you
have. In Europe, with parkways still

you can do 125 with
mal in anyone but the
fellow flashing his lights behind you. try-
ing to get by, and demonstrators for the

n motorca

teemed by the "enthusiast: the Thun- genuine gran turismo producers work in bit tenuous, still, the name's the
derbird and the Avanti. "The important trafic at 175. In Italy and France, no same, Now that a California court has d

thing about a motorcar,” cd to competent di chinks creed. that the Corvair is not inherently
sty, “is that it shall start instantly on a hour at night in the rain dangerous due to the dreaded overstccr,
cold morning after having been left in the — venturesome proposition. The other day one can think of this interesting rear

street all night, and shortly thereafter do
100 miles an hour without difficulty.
suspect that this definition will retain its

a girl T know drove from western France
through Switzerland to lily, 2 mile:
in less than 24 hours nonstop. She was un-

«d vehicle, particularly in the Cor
air Sprint form from the Gonnec
atelier of John Fitch & Compan

validity for some time to come. der no more stringent emergency than a clegam and fastmoving compact.
s things turn out, was not wish to rejoin a gentleman friend in k Skylark Gran Sport, ine
id. but only sleeping: a new one, Rome, and didn't feel that she had new recessed rearwindow treat
in. sed out of South carned a hero badge. (She was driving scent of Fitch's mod

Ber

of the Corvair.
No compact, but a compact two-
e Triumph Spitfire is in the best British

1, Indiana, moribund as far as motor- Mus standard except for Bor
wv production goes since December 1963, wheels and Koni shocks.) High speed is
when Studebaker moved to Canad. not the villain, obviously, since both Italy — €

body has been restyled, the fo d France have lower road-deaths-per- fast. sports € modest
sloping, skislide look climinated. an thousand rates than the United States, Dis

most infinite variety of interior trim n both countries about 30 percent of ack and pinion ste

offered to clients choice, and the 327- lities are registered among the

cu.in. (and 100 more horsepower) Chev- swarms of motorcycle, scooter and bicyde —— The biggest flurry out of Deiroit. this
rolet Corvette engine substituted for the riders. During the summer months only, year is the Oldsmobile Toronado. the
old one. European fimecar practice will British police impose à 50-mph limit ona first fronewheeL-drive Ame produc
be followed: a stationary instead of a few hundred miles of selected heavy tion car since the Gord left the scene in
moving production line, with workers trafic highway, but during the rest of the the late 1930s. To go to [.w.d. is held to be
allowed any reason t o[ time — yer, and all the time on the rest of the — a very brave move by Oldsmobile, almost

if the €

roads,

ng gocs. Despite generations
paganda to the contrary, most stud-
ies (the recent one by the Burcau of Pub-
lic Roads, for example) show thar speed
does not cause most accidents, and. that
low powered cars get into trouble more

pany had decided to plump
for three wheels instead of four, or steer
g by tiller, In fact. there's nothing radi
1 about it. Front wheel drive is as old as
the hills. Joseph Nicholas Cugnot's steam

tor of 1763. generally considered the

factory testers; delete option
conditioning, limired.slip differen
justable steering wheel, and so on, s
ard at 57200. Body will be fiberglass. It
should be very fast.

Everything is fast today. The day be- often. than high-powered ones. St first self-powered man-carrying vehicle,
fore yesterday, 100 miles an hour was insurance company has a list of was front-wheel driven. and the Ameri
thought 10 be quick indeed. But today al- horsepower mod iot can inventor Walter Christie built front
most anything on the road will do 100. In any premium, wheel-drive race cars and New York City
1953 —after all, not a lifetime ago—a 0- small car rated at over 300 horsepower or taxicabs before 1914. F.w.d. sm:

60 time of 15 seconds was entirely repect a
ble, and a fast cir was one that would do
genuine 90. In 1966, you'll be able to
y 6 seconds, or even 5.5, and 120 miles

the M
dir i
fairly big car,

finor for onc—;
Europe, and the French Citroen, a
its fourth decade of
|. The Swed

adard one at over 400—advertised,
not actual. This is the wrong end of the

stick: Presumably the company would in

sedans. This
most jurisdictions you will
fter you've
foot down. Six seconds seems a
c in which to get on
course, there ar
y be governor. or even lieutenant gov-
ernor: you

a hour, in

"s kicks. Of

e nothing to worry about ex-
g it on the rà

qp «pt keepi

or you can

sure a Porsche 911 at H8 horsepower, al
though the thing will do 130 mph. I
would not doubt, however, that
pean speedimit practice w
U.S. roads, a bloodletti
sion would immedi
speed is the speed of the tralie stre
high passing rates would panic nonspecd-
ers: speeders would have a tendency to
lock up all four wheels and. put. them.
selves sidewise the first time they tried a

e applied to
of epic dimen-
- The safest

frontwheel-drive producti
ish SAAB, one of the great rally-wi
is, has shown the pronounced adv
tages of the layout in coping with snow
and iœ. There used to be mechani
dilliculties involving universal joints and
the business of steering driven wheels,
but they were long ago overcome. Experi
enced drivers once held as gospel that à
front-wheel-drive car was not for the non

(continued on page 170)

Repeat after mez 1 will not commit adullery again!"

129

130

ME BLONDE was on the train ain, the
Ts fourth Monday in a row. Jacobs
saw her at once as he entered the car. She
sat alone in an aisle seat, bold and bright
and watchful. A widow be, with lit-
tle lines of independence at the corners
of her eyes. The commuters in their gray
suits glanced at her in morning weari-
ness, like spent, inadequate. lovers.

Earth moth Red-hot momma. Jacobs
went to an empty scat "across from her.
Her perfume was too strong for morn-
ing; maybe it was protective, a commuter
repellent. Suppose you got served a
chocolate éclair for breakfast, would you
touch it? She watched him as he sat. He
kept his hat on, to hide his thinning hair.

He opened his attaché case, snapping
both catches at once. Across the aisle, the

arette and took a big

blonde lighted
puff. almost audible. The cigarette end
came out of her mouth red

Memos in the attaché case, charts and
graphs, neat and dean. (She was 45 un-
der that hair dye, with varicose veins and
a spare tire, probably, but you could bet
that was an authentic shirtful.) A nice
litle corporation budget, with contin
gency allowances cleverly tucked. away
here and there . . . but what about his
own domestic budget? Full of holes. Un-
tidy, haphazard. Mortgage. dentist, kids’
clothes . . . where did it all go? No mat-
ter. (She crossed her legs and tapped the
cigareue. Bits of ash drifted intimately
onto his shoe tops.)

They were passing the Newark dump,
steaming in the haze of the swamps and
exhaust fumes from turnpike traffic. (On
her check, a mole, a chorus girl's beauty
spot, implying mesh stockings and lewd
little stars) Dirty newspapers on the
floor, toilet door loose and banging, com-
muters sneezing on each other, yawning
and gaping in their car cage, getting
ready 10 move to other cages . . . sub-
ways, elevators, office cubicles,

The train went hurtling into the tun-
nel. Lights flickered. In the attaché case

nn ANGEL OF MERCY

fiction By DAVID ELY

there he was, fresh off the train, headed
for the office — then, suddenly,
he was enclosed by four walls and a woman

with the budget was yesterday's puzzle,
half finished but confidently done in ink
Sixleuer word meaning condition of
loveliness, "Beauty." (She let the cig
areue drop. had trouble finding it with
her spiked heel, so he gallantly squashed
it with his shoc.)

“Oh—thanks.”

“SOR.

Ci
the river boiled with sewage and indus-
trial wastes, the tunnel dripped with the
exha
rose with bitter eagerness and lurched
into the aisle, swaying against cach other
in a dance of hate.

Penn Station came sliding along in the
gloom and stopped. The blonde was
somewhere up ah
with the rest of them, but when Jacobs
got outside she was standing on the plat
form, waiting.

She caught his eye. She beckoned to
him. And she said to him there amid the
trains, trains, trains: "OK. You'll do.”

I'm soi 5

"Come on.

“I don't quite.

She looked up at him, very slightly
amused, "Let's go to a hotel. You know.”

A hotel.

He looked, ilk
Crowds from another train were pushing
all around them
Let's go," she said.

I've got—a mecting at ten."

Ten. Well, it's only cight-thirty now."
She turned, pushing at his elbow. “Come
" He stared at her. "Well," she said,
what's the trouble? Look, I'm not
chippy." She pushed some more, and
they began to move with the crowd to-
ward the escalator. "I don't take a nickel
The hotel room, I got it reserved. see?
Ir's mine. 1 pay for it." They stood on the
escalator, rising in a forest of pale dull
faces, blind cyes, stopped cars. “Just for
kicks, mister.” Motherly, she led him off
atthe top. His (continued on page 188;

adition of loveliness! Above them

ions of 10.000 trains; commuters

ad, pushing along

ically, at his watch

131

URSULA ANDRESS, the first of the filmic femmes fatales ta cross 0075 predatory poth, portrayed Honeychile Rider, the child-of-nature heraine
of Dr. No. Fleming fans will recall this sensuous seo siren—clad in the briefest of bikinis—emerging fram the Caribbeon waters off mysterious
Crab Key, where she discovers a bemused Band admiring her see-worthy farm fram his hiding place in the tall grass. Above: Band considers
a sandy gambal with the lovely noiod (left), but obandans his omatory interests when they're captured by the inscrutable Dr. Na (right) ond
forced to accept the apulent but aminous hospitality of his underwater fortress. Below: Ursula receives an aff-camera dunking (left) fram Sean

les the same ou naturel appeal (right) that we coptured in aur June 1965 pictorial.

Connery, Bond's sinewy celluloid counterport; she ra

those sensuous cinema sirens
with whom secret agent 007 has
to put up and bed down

pictorial essay

BY RICHARD MaiBaumMm

POSITIVELY THE LATEST wish fulfillment, as you know, is something called the James
Bond syndrome, a vicarious mass desire to achieve 007 status. 1 confess sharing it
Writing screenplays for the Bond films, I can hardly avoid identifying with him.
Could anyone? Who wouldn't want to be the bestdressed man, most sophisticated
diner, luckiest gambler, top secret agent and greatest lover of his generation all rolled
into one? And what woman could resist projecting herself into his arms? Bond and
his women have become fantasy figures arousing powerful empathic responses in both
sexes. The wish for plea

rable excitement without the headaches of its problems is
universal. But let's not overintellectualize. It might spoil the fun—which is all that
the novels and films are meant to be. A great deal of it derives from Bond's doings
with the dames.

Actually, there are two 007s: one created by |
as he appears on the screen. Kingsley Amis, in his The James Bond Dossier, comment
ing on Sean Connery's “total wrongness for the film part,” plainly indicates which

» Fleming in his novels, the other

DANIELA BIANCHI tries to toke Bond for
a one-woy ride in From Russio with Love.
Cost os the seductive Soviel spy Totiona
Romonovo, she's duped by SPECTRE into lur-
ing ond loving Bond aboord the Orient Ex-
press to meet o woiling ossossin. But like so
mony of Fleming's misguided Mota Horis,
she ends up soting rother thon hoting the
irresistible supersleuth. 22-year-old Donielo
londed the part despite a deorth of previous
cinemotic credits. Tolionc trades Mother Rus-
sia for a better brond of Bondoge (top);
mointoins o brooding, Gorbaesque oppeol
{above} even while lying down on the job.

133

GOLDFINGER, biggest of the Bond box-office bononzos thus for,
has alreody grossed neorly $40,000,000 and seems slated to become
filmdom's oll-time revenue runner-up to Gone with the Wind. Depict
ing Bond's encounter with o gluttonous gold foncier who plots to
A-bomb Fort Knox and destroy the internationol monetory stondord
by nuclear contamination, Goldfinger pits 007 against o host of
heovies and winsome wenches. One of the latter [obove] meets her
dozzling demise by being gilded for galling her bullionoire boss

Bond he fancies. 1 fear Mr. Amis will never find much em.
ployment as a casting director. Connerys image is the one
ally accepted. World-wide sales of the novels are esti
t 40,000,000, but more than 100,000,000 tickets have
been sold for the films. Beyond that. the circu

gener
mated

ion figures of
newspapers and magazines featuring stories and pictures of
Connery must be astronomical. The reader of a Fleming
n as 007

novel who has seen a Bond film surely visualizes Se
If women glimpse Bond's face in their dreams, they see the
skijump nose and pouting lips. not the book-Bond's three
inch scar and thick black comma of hair falling over the right

d with the faint

cyebrow. He speaks to them in a voice tins

but unmistakably lessthan-upperclass Scottish burr rather
than the cultivated accent of Eton and Sandhurst which
F gave his character. Comnery’s physique—that of a
natural athlere who could have become a professional foot

baller (a carcer he once (text continued on page 139)

NADJA REGIN, left, who ployed the sexhungry houri of Turkish
secret service chief Kerim Bey in From Russio with Love, goes the
way of oll flesh os o bothside decoy for Bond in Goldfinger's elec-
trifying prolog. Amidst on embrace, her eyes reflect on ossassin—
whom Bond odroitly dunks in the tub with o high-voltoge heot lomp.

TANIA MALLETT, whose model visoge hos frequently odorned such
high-fashion bibles as Vogue ond Horper s Bozoar, made her screen
debut in Goldfinger. As Tilly Masterson, she more than motches Flem-

ing's description of the character: "o very beoutiful girl, the kind who
leoves her beauty olone.” Top: Bond uses a sylvan setting to subdue
Tilly's foolhardy desire to dispatch Goldfinger for gilding sister Jill.

LOIS MAXWELL hos the uni
the nded beouly lo appear in all of the 0

epics. As Miss Moneypenny (abave), the long-suffer

ing, lithe-limbed secretary of British Secret Service
chief M, Loi ends o frustrated movie life
quips—but never quilts—with her bo

ing” counterspy. After studying at the Rayal Acad
emy of Dramatic Arts and a b int in Hallywaod,
Lais landed her first supporting film role in Vittoria
De Sico's oword-winning Tomorrow Is Too Late

MARGARET NOLAN gets even less of coveted
attentions than most of the series’ cost of comely
cinemoctresses during her brief opening-reel bow
Idfinger. Just when she's aroused Bond s libido

ide rubdawn (tap left), duty takes him

away ta stolk , but nat fairer, game: Gald:
finger. If aur spy hod seen her in the proper per-
(left), Fort Knox might have follen after all.

SHIRLEY EATON, os Jill Mosterson, becomes o 24-karat symbol of love's
lobor lost when she apts to bed with Band rather thon prolong her stint
os a hotel-room broadcaster of gin-rummy tips to Goldfinger, her cord
cheating boss, dawn at poalside. Below: 007 whisks Jill oway to his own
digs ot Miami's Fantoinebleau, where she's given a lethal galden brush-aff
fram head to toe by the sore-losing Goldfingers henchman, Oddjob;
Shirley proves (bottom) irs what's beneoth the gilt thot truly glitters

HONOR BLACKMAN had oll the prerequi
sites for ploying Pussy Golore, the monnish
mistress of on oll-girl flying circus fem.
ployed by Goldfinger to drop nerve gos on
the populoce of Fort Knox} ond Bond's only
leading lady with Lesbian leonings. As stor
of the British TV spy series The Avengers,
wherein she uses her consideroble expertise
ot jujitsu to put down mony o mole mo-
rouder, the mojesticolly proportioned Miss
Blockmon took lo her screen identity os
a hostile hoyden with othlelic eose. Pussy's
heclic hond-to-hond response [left] to 007's
amorous advonces tempororily throws our
hopless hero off balance. After Bond
turns the tables with o series of uncon-
ventional holds in the hoy, the stubb
miss wisely decides shed rother sw
than fight. Be She tokes five betw
bouts with Bond. Returned to normalcy ot
lost, Pussy later helps him turn Ge

Fort Knox coper into o fissionless fiosco.

MAGGIE WRIGHT, os the sexy squodron leoder of Pussy Colore's flying circus, leods Goldfinger's girl
Geriol altock on Fort Knox. Though she hod only a fly-on role, Maggie so gossed Chorles K. Feldmon [whose
upcoming Casino Royale will be the first Bond flick not to stor Connery) n ding her with o
storing role in Cosino. Left: Between scenes in Goldfinger, Moggie shows aie merits on A-OK on ony
flight physicol (top), then reports for duty (bottom, third from left) flanked by fetching fellow oeronettes.

137

138

THUNDERBALL, scheduled for release next
month, will be the biggest-budgeted Bond odven-
fure yet. $5,500,000 has been invested, mostly
on spectocular godgetry to melodromatize 007's
struggle to foil the H-bomb highjocking plons of
archvilloin Emilio Largo, a ruthless ‚SPECTRE boddie
who uses sex ond sea power with equal efficiency
in his efforts to exterminate Bond ond to extort o
crime kings ransom from the free world. When
a treocherous tronsvestile is ossigned to ossossi-
note him, Bond's sixth sense worns him in time

to dispotch the dragster (obove} with a right cross.

CLAUDINE AUGER, o former Miss Fronce, landed the
lead role of Domino, Lorgo's scubo-diving mistress in
Thunderball, when she ouditioned in a peekaboo-mesh
swimsuit (right) of her own design. In the film, Bond
bewitches her on the beach at Nassou {top right) by
unconventionolly extracting some seo-urchin spines from
her instep. After this toothsome bit of footoge, Domino
grotefully offers the rest of her onotomy to his ministro-
tions, When Lorgo leorns of her new-found toste for
Bondoge, he obligingly binds her in bed (obove] for o bit
of offbeot diversion. A between-scenes bosk in the sun
(for right) reveals Cloudine for the glomorous Gaul she is.

LUCIANA PAOLUZZI, o 25-year-old Roman redhead with several cinematic
supporting roles [Return to Peyton Place, Let's Talk About Men) ond the leod
in NBC's recent TV spy series Five Fingers to her credit, ploys the port of
Lorgo's fiery spectre side-kick, Fiono. In o role creoted especially for the
screen, she becomes the first of Bond's sultry sockmoles to match his own bed-
side monner (above left), ond to sample his legendary prowess (above right)
without defecting from the enemy. Right: Rovishing rogozzo sits out scene.

contemplated) —is considerably more rugged than his literary counter-
pan's. | am not implying that our celluloid tiger is superior to the
paper one—only that, somewhat ironically, he is presently burning
brighter in the forests of the night. Incidentally, Fleming never
shared the dismay of some of his aficionados with what we have done
to Bond. He particularly enjoyed our augmenting his quasi-satirical
approach to him. Man became superman, vet inexplicably remained
man—particularly in the man-woman department

Much has been made of Bond's equipment—the fantastic arsenal
of secret weapons, devices and vehicles placed at his disposal by Q
Branch. He is trained in survival techniques implemented with the
appropriate apparatus to cope with almost every possible dire even-
tuality. Jn extremis, however, as in Goldfinger, when he desperately
needs to convert Pussy Galore into an ally, his most potent weapon is
himself. The dictates of good taste here restrain me from embellishing
the point with a bad pun about wha

The two Bonds acted similarly in that situation, Indeed, it is in
the sexual area that they are most alike, although Connery-Bond's
women find him physically stronger than Fleming-Bond's. In Thun-
derball he is capable of stra n adversary by bending an iron
poker around his neck. He is less introspective, brooding no more
about his ruthless exploitation of sex than the moral issues involved

is mightier than the sword

ing

MARTINE BESWICK is among Bonds few bedmates to enjoy a
second filmic fing with the satyric secret agent. Fresh from her
hoir-roising stint os one of two gypsy spitfires who shore 007 for
a night in From Russia with Love, Martine returns for a solo bout
with Bond in Thunderball os his Bohomion undercovers contact
Above: Clowning with Connery on the set at Nossau. Right
Beachside proofs positive of Miss Beswicks beauteous bounty

in exercising his license to kill. He is veined with more
sardonic humor, expressing it in flippant throwaway
quips. His wits are quicker. computerlike at times.
Conversely, he is capable of more glaring blunders.
Larger than life as Fleming's 007 is, our James is even
larger. On the record, both are fabulous fornicators,
toujours prét, infallibly satisfying. Bond in the books is
somewh

t subtler, but at times approaches susceptibility.
Fleming once described his senses as being “lashed.”
In the films it is Bond who does the Ia Both ex

ercise their invariable proficiency for ulterior motives.
This undoubtedly accounts for the high pleasure level
attained by their female partners. They are not only
icy killers, but also cold-blooded lovers. Efficiency is

often inversely proportional to heat. 1 sometimes wonder
if the most secret drill in their training as M's agents
must not concern itself with this aspect of their work
Like mastery of karate and jujitsu, such yogalike
muscular and psychic control can only be achieved by
constant practice. Or is it perhaps done pharmaceutically?
Certainly it is not beyond the capabilities of Q Branch
to have developed aphrodisiacs with the specified
delayed reactions, However it is accomplished, Fleming's
Bond seems to derive more of a kick out of his work
But this is a dubious advantage for a Double 0 operator.
In the film version of Thunderball our Bond unequiy

ocilly states, “I'm not a passionate man." Despite our
close association, I am forced to admit he is also rather
more of a cad than the other chap.

Bond's quota of dispatched villains per film, about
20, runs higher than in the novels. So is the number
of females he beds with. I (continued on page H4)

MOLLY PETERS, o stotistically sound (37-24-37) choice—ot left—for
the role of o mischievous mosseuse in Thunderball, trouped
with a London repertory compony before getting Bonded for her
movie debut. Eorly in the film, while recuperating from his lost
cose at o British health resort, Bond gets rubbed the right woy
when the bosomy blonde gives him o mink-gloved once-over-
lightly. Getting the upper hond-in-glove (center), Bond returns the
favor; then they slip into something comlortoble—o neorby souno

for an even steamier session of muluol mossoge [lopl

PLATROY

"Notice how the eyes follow you around the room.

a scamp and his bagp.

THERE ONCE LiveD in Italy Don Battimo the
physician who, more given to the service of
beautiful women than of those palsied or sore

with plague, one by fortune’s circum
stance met at the market place the comely
Massimilla—and immediately his heart be-
came impaled.

He soon uncovered, however, that she
would not bestow upon him more than a
pleasant glance. Yet so persistent was this

physician that finally Massimilla gave him
her promise that when her husband depart-
1 l

ed on a journey he might have his jollity

But then Massimilla chanced 10
youth, Marco by name, a scumpish Turk and
piper, who soared into both crescendo. and
memolo at the sight of the gay signora. A
seemly fellow. he, too, was so diligent in his
pursuit that in time he also received a prom-

meer a

isc of favors from her.

Therefore when Massimilla's husband de
parted their home. the Turk hastened to the
doxys house with bagpipe, and was wel
comed coyly and with speed. Making fast the
door, they had but made a nibble at frolic's
sweetness when Don Battimo, know!
of the

g also

husband's. letve-

aking, gave a knock
upon the door.
“Who is
wench.
"I—your own Don Battimo. Open to me, I

without?" cried the stared.

pray you."
"Go with you, sir
way ready 10 do what you propose.”

Iam at present in no

By Gods faith,” replied the frustrated
physic 1. "if you do mot
open to me forthwith, 1 shall beat this door
to the ground and have my will of you.”
Massimilla, comprehendin

a with some he: do

that he would

as soon carry out his threat as utter. it, whis
pered to Marco: "Great the peril in which
both of us are placed because of this um

chained devil of medicine

‘Therefore 1 beg
of you, for the safeguarding of us both, to
get yourself with speed up that ladder into

the pigeon loft, being careful t0 make
no sound." With haste the piper did her
bidding

The minx then with smiling visage

Ribald Classic

pes bold trom we “Novellino™ of Masuccio

agis En.

wed

opened the door, admitting Don Battimo
who bellowed, "Now the Pope shall enter
Rome!

Upstairs, Marco, vexed but still of humor.
murmured. “By my faith, this is not the sort
of festival held when the Pope makes his en
try imo Rome. Not one note of music do |

hear" Forthwith, taking up his bagpipe. he
began the entrance march, stamping lustily
all the while on a plank of the floor

The physician, he:
the Devil's w:
that the doxy's hush:
indeed—had Accordingly.
ihe game he had begun, he skulked
from the room, making an exit in an entry's
stead.

Marco, speedily making his descem
joined Massimilla on her couch, near choked
in mirth, Thence, whereas the physician
Pope moments before had been duly hon
ored with music when he had made an a

ng what he thought

il itself, was seized with fear
family

«l—or i

l his
returned

over

tempt to enter Rome, so Maestro Marco now
with vigorous cadence entered the Turk into
Constantinople.

—Retold by John D. Keefauver ÈD

PLAYBOY

BONDS GIRLS

think the average is about four. Our
only excuse, in both categories, is that
the victims are sacrificed for patriotic
purposes. He is not a sadist, only a
highly mouvated public servant. U
doubtedly, the enchantment of Bond's
hordes of female fans must be fraught
h masochism.

All Fleming's women fascinate me.
They fall into two categories—the mon-
strous; harpies like Rosa Klebb and
Irma Bunt: and the beauteous: Honey-
chile Rider, Tatiana Romanovi, Pussy
Galore, Domino, et al, who have
peared in the films already released or
being prepared. How long the public's
want-tosee determine
whether Bond involved
with Solit Kissy
Suzuki. € ng female
is not too difficult. We have his version
to adapt. Casting is the real problem.
Mostly the tick has been to find un-
knowns; and the producers have been
singularly fortunate thus far in their dis-
coveries. In a fast-moving action film, the
sort we try to make, character delinea-
tion is limited. A new personality, whom
audiences do not associate with previous
performances, is invaluable in fleshing.
out the portrait. This is also truc about
the villains. Gert Frobe, who played
Goldfinger, is well known in Germany,
but he had never appeared in an. English
film. F is not predictable. The
unknown beauty is a distinct plus factor
for the same reason. She has the piquan-
cy and promise of an allair with someone
every man secretly desires—la femme
nouvelle.

Bonds sex lile as recorded on the
screen. began in Dr No wih Sylvia,
the cool brunette dish he met across the
chemmy table. 1 submit that the single
most important. moment in the Bond
films occurred when Sean Connery intro.
duced himself to her, and indirectly to
the James Bond." he says,
c ' If they had not tak
en him at his word, if Connery had not
squared with their preconceived notions
of the character, we all might as well
have cashed in our chips and gone home.

here would have been no further Bond
films. Fortunately, his close-up was mag-
nificent. The only one 1 recall in any
way comparable was Clark Gable
duction at the foot of the siiircise when
Searlett first sees Rhett Butler in Gone
with the Wind. In both
saw and felt the electric
ducted through the audience. Gable was
already a star of the first magnitude when
he appeared in Gone with the Wind.
Connery should have been instan-
ly accepted in an equally famous
a tremendous tribute to his in-
nate stellar quality. It doesn’t happen
often, but when it does, there is no mis

continues w

will

become

nce, he

audi

nuo.

instances you
response con-

MA taking the impact. Three weeks after the

(continued from page 140)

film ope
of letters.

When Bond returned to his flat from
the gambling club, Sylvia, saucily played
by Eunice Gayson, was waiting for him
in one of his pajama tops, passing the
time chipping golf balls into a hat. What
ensued set the pattern. Not that it w
unmixed with pleasure, but Bond's im-
mediate concern was to be rid of her and
on with his mission. Obviously he made
1 impression, because we saw Syl-
a in From Russia with Love,
oder go in a punting be
Incidentally, she is the only one of
Bond's conquests to reappear in his arms
in the same role. Miss Moneypen M's
secretary, plass a continuing role, but
strictly on a professional basis. The bai
ter between her and Bond does insinuate
potential intimacy, but thus far has not
become overt. I'm not sine why. Perhaps
Miss Moneypenny is an anachronistic
virtue symbol that Bond uraccount-
ably respects. Perhaps he needs a motive
other than pure pleasure to stimulate
him imo action. Lois Maxwell's attrac-
tiveness as Moneypenny inclines me to
ward the first) supposi Nothing so
complex entered into Bond's assault on
Zena Marshall's exotic Miss Taro in Dr.
No. Here Bond was at his most ruthless.
ider orders from Dr. No to
lure him to his death. She deserved no
mercy. Presumably she received some rec
ompense in terms of creature. comfort
Bond was at the top of his form the
sort of situation he most relishes, And
he forgot her the moment he turned her
over to the police.

OF all Bond's allairs,
with Honeychile Rider best. From the
memorable Ursula Andress
waded out of the sea, surely a reenact-
ment of the birth of Venus, to her even-
tual surrender afier Bond contrives. to
postpone their rescue, E found it to be
Fleming's finest. 1 hink we captured most
of it. Director Terence Young's taste was
never more discriminating, A she se
Varum, Honey could have been
vulgarized, Instead she emerged as an
even more enchanting child of nature.
True, she had once been violated, re-
venging herself by dropping a deadly
spider on the insensate rapist, but spirit-
ually she was still a virgin—the only one
1 can find in Bond's experience. Perhaps
it was his total lack of previous involve

d. he was receiving thousands

€ the one

moment

ment with the breed that accounts. Dor
his uncharacteristic treatment of her, He
is genie, considerate, protective, even

ly springing to her defense. In the
process he barely avoids presenting. him-
self as an object lesson in why gallantry
can only lead to disaster for a man of his

We can only plead Hon
charm aud pristine beauty for
v devision from official
procedure. Fleming purists have criti-

cized us for not playing Honey, as he
did, with a broken nose. They profess to
read some deep psychological signifi-
cance in this mutilation, as with. Dom-
ino'sone shorter leg in Thunderball. Vhe
nature of that escaped us.
Does a single what otherwise
would be perfection somehow enhance
it? Or did Fleming mean to inro-
duce a note of harsh, ugly real
their characters more convine
ly. no one concerned thought it
ant. Fm delighted that we left Ursula
is it is, and Dom;
found it: in print. Hon

lovely nose 10's simpy

leg where w

like Shakespeare's Miranda, her creators
most charming and disingenuous ingé-
nue, needs no blight to arouse cither

Bonds or the audience's sympathy. More
practically, a bused proboscis mi
have been photogenically disasiro
grotesquely comic.

Despite the old siw about a pictur
being worth 10,000 words, or rather
because of it and the censorship restric
tions involved, Fleming was able to deal
with sex and violence in writing to a de-
gee nor permissible with the camera.
His inevitable torture scenes, for in-
stance, cannot. be approximated on film.
No review n be expected to
pass the torturescene shocker in Casino
Royale involving Bond's testicles and
carpecbeater. The closest we h
come is in Thunderball when Largo
alternately applies an ice cube and the
glowing end of his Havana to Don
anatomy. But it is in Fleming's descr
tions of Bond's lovemaking that he real-
the edge on us. Apart [rom his
sterlul use of words, he takes full ad-
Vanuige of the license to thrill enjoyed
today by the romantic novelist. Perhaps
his warmest stretch of erotic composition
ocus in From Russia with
when he dese
Bond and Tatia
stateroom on the Orient Express.
it was due to Terence Young's taste and
directorial skill that the him version,
without the detailed intimacies of tesh
described by Fleming, managed to cap
ture most of the excitement. of the
original.

Next to Honey, I find Tatiana the
most appealing of Bond's conquests. A
great many women have expressed their
prelerence for From Russia with Love
to the other films. Perhaps it hi
sustained love story. Daniela
eng

ng board c

Love

in the
Again

Bian

gly unacuessy performance (she
very inexperienced) may also have
with it

And, ol

159.

something to do
course, her fresh LH.
the usually unsusceptible a
New York Times, Bosley Crowther
dolled his coronet to her. Personally, 1
think this general acceptance of T
is occasioned by the recognition she
evokes, Unlike most other Bond bun
dles, she is a working girl, holding down
a steady job as a cl the Russian
(continued on page 205)

PLAYBOY'S PREVIEW OF PRESENTS PERFECT

a wizard assemblage of handsome gifts—custom-made, iraporled or special order—that must be preselected for yuletide giving

Clockwise from one: Replica of antique ship's figurehead, from Abercrombie & Fitch. $40. Super Space Conqueror six-inch reflector tele-
scope. by Edmund Scientific, $199.50, Magnum Mark V. 300 caliber high-velocity rifle and an Imperial 2x-to-7x variable scope sight.
with Buehler mount, 5123.75; flecce-tined hard-leather carrying case, 599.50, all from Weatherby. Gyrojet Rocket handgun fires 1
high-velocity, spin-stabilized steel rockets, by MB Associates, S250. Pressure-proof underwater camera housing, $375; 35f Rolleiflex
$335, and three position double-tighting-system flash gun, $50, all by Rollei Associates. Individual silver-plated ma
Gate of "21," Handmade 4x6" Finnish wool and cotion Rva rug, from Bonniers, $475. Ceramic electric clock. $7
wood cutting board, 525, both from America House. Reproduction of medieval floor-standing candlesticks in polychrome finish, by The
Perfect Touch, $38, Armoite-styled 25-inch color TV. with hi-fi amplifier and changer plus a separate radio system, by R.C.A., $1400.
Hand-hlown. Bavarian crystal 24-07. decanter with etchings of African game, $30, and matching double-sized old fashioned glasses, $192
a dozen, both by The Crossroads of Sport. On top of the TV set is a Sicko portable quartz-crystal chronometer, from A & F, $750.

PHOTOGRAPHY BY LARRY GOROON

146

WZ
ii

oa
Fs

=
=

Clockwise from one: Nude with Shado:
VAG, ii paddi | backed with feli. by Luten. Clarcy, Stern. Inc. 5624. "Polaris" portable S-band radio receiver
with beacon, broadcast and marine bands, has 5" x 8" dy speaker and self-contained battery system, from Servo-Tek. Marine. Inc.
$79. Unimat miniature -speed lathe with full capabilities of a precision machine shop for hobbyist working in metal, plastics and
wood; turns, faces, bores, recesses, parts off, polishes and converts into a vertical machine for milling, drilling. jig boring and surface
grinding, from Edmund Scientific, $139.50. M n leather chair with molded solid back. rosewood frame, from Chalesko, 5730. Audio-
stereo Model Mark T compact marinc-unit high ophonic tape system with four special marine speakers and grilles, is unaffected
by sea conditions: slide-in. self-contained sterco tape cartridges play up to two hours of uninterrupted music, from Pat Baird Ships Wheel

. sculpmire by Frank igo. $2000. Argentine wild fox

pertined with cov

517950. Material g- from lefi to right: imported brown-plaid Scottish cashmere sports-coat

finished; t dorh in her 6

coat lock
able door $100,

= Wü n

Clockwise from one: Gold spice-finished. rattan French beach chair fashioned by Suva, from Decorative Imports, 5160. Stoneware sun-
face plaque. from America House, S10. White-ash and silver-spruce U ak paddle with laminated mahogany spoon-shaped blades
foot Danish-built Rob Roy vak with 24-inch beam, handlaid in

both imported by Competition Canoes, Dual-scale Seafarer depthfinder to 60
ed for low power consumption, from Servo-Tek Marine, $129. Nonmagnetic shelf binnacle in chrome over heavy-gauge bra
with removable dome which doubles as a sun shield, by AH Hands. Inc.. $97.50, Kapok-filled sailcloth code pillows, available in any lett

from Abercrombie & Fitch, $8.95 cach. Ten-inch ship's kerosene lantern in solid copper and brass which can be converted to electricity,
from € € t-iron and

stainless-steel and brass Course Setter navigation
image screen, giving the a running look
Corporation, $299.50. D:
plus material. Girl holds Playboy Gift Key good for C

ic motor-speed control and fully

hed-walnut. custom-i

ic library steps, from House of Deforest
strument containing an optic system to project filmstrip of v

local waterway and aiding him in correcting for local ions, by GNS
s jump suit, from A & F an sun chaise, from Decorative Imp
b membership, bottle of champagne and Neiman print, from Playboy Clubs,

WORD PLAY satire By ROBERT CAROLA

more fun and games with the king’s english in which words become delightfully self-descriptive
Gee
(o *
e
PERISCOLE C utuviLL
EXECUTION

L
indocisivo ay
Q 0
M
[R N
pe Ss
LUSITantin S-S-S-STUTTER

I M I LU MIL MI

's the trouble t

=
|

HISTORY
CINEMA

ARTHUR KNIGHT

AND
HOLLIS ALPERT

PART SIX: THE THIRTIES—

CENSORSHIP AND
THE DEPRESSION

GABLE AND HARLOW: The most magnetic
sex stars of (he decade, Clark Gable and Jean
Harlow creen lovers in “Red Dust" (left).

led as

THE BLONDE BOMBSHELL BURSTS: De-
baling as a satin-clad siren (lop left) in "Hell's
Angels," Harlow rocketed to stardom in 1930. Trans-
parently negligeed in" Iron Man" (1931), she yielded
lo the bedside manner of Lew Ayres (above), later
famed as Dr. Kildare, Then, early in 1934, she made
« picture called “Born to Be Kissed" with Lionel
Barrymore (top center); panicked in mid-production.
by the newly established forces of censorship, MGM
retitled the film “100% Pure," finally. calmed
down and released it as “The Girl from Missouri.”

“COME UP AND SEE ME SOMETIM,
famous invitation was accepted in

Mae
"m No
by a young leading man named Cary Grant,

LED BY THE LEGION OF DECENCY, THE FORCES OF SUPPRESSION EXCORIATE
HOLLYWOOD'S EARLIER EROTICISM AND FINALLY EXPUNGE IT FROM THE SCREEN

perem few years of the cataclysmic Depression of the Thirties, Hollywood began to play dangerously with the fires of cen-
sorship by reaching new peaks of sensationalism and new lows in vulgarity. Although film auendance withstood the paralyzing
ellects of the stockamarket crash of 1929, it was at the cost of slashing box-ollice prices. But as times grew tougher, even this drastic
measure wasn’t enough to offset ebbing receipts: so moviemakers began to hypo their pictures with sex and violence in the hope of
persuading the public to part with the hard-earned price of a ticket. One way of doing this, they found, was to place new emphasis
» certain. hard facts of Thirties life. Through the Lue Twenties, Prohibition-bred. crimesyndicuc ad become big
ss—by 1930, on screen as well as off, in movies fcanning gangsters molls, crooked politicians and their fancy wom
tarts plying their trade for a profit and, a lile later, even once-respectable wives taking to the streets to earn the wherewithal
for their children and their out-of-work husbands. None of this, of course, must be understood as any sincere attempt on Holly
wood's part to more candidly reflect the facts of life. Tt was simply a capitalization on the public's ation with the
r society. If anything, the onset of the Depression led to a general repressiveness toward movie subject matter, rather
Upholders of the cinematic satus quo prelerred to think of life in terms of old cliches rather than new realit
ex- white-collar workers selling apples on street corners, and soup kitchens for the hungry jobless. This economic and social uphea
was only dimly reflected in the films of the early ‘Thirties.
The only upheaval to be discerned in Hollywood, as a mau

id the

ase

nier

of fact, was that brought about by sound. The silem film had

+ ANYONE?: Though filmed in the early Depression, “Dance, Fools, Dance" (top) kept alive the fast-living spirit of the Twent
scene where jaz

in the
-baby Joan Crawford (at right center) dares a female fellow passenger to launch a yacht party by stepping out of her step-ins.

GIRLS IN TROUBLE: Early in the Thirties, a cycle of heart-tugging flicks featured ladies who loved nol wisely but too well. In Theodore Dreiser's
“An American Tragedy,” Sylvia Sidney (center) complains o lover Phillips Holmes that she is with child but without ring. Faced with the same pre-
dicament in “Common Clay” was Constance Bennett, who played several such maternal roles—earning her the sobriquet “unwed mother of the decade.”

"TEN CENTS A DANCE": Playing a dance-hall doxy, Barbara Stanwyck (at center, above lefi) epitomized the hard-boiled Thirties heroine.

arly Thirties, and screen dialog, no longer dependent upon euphemistic captions, beca
out and get the lay of the land." Sergeant Edmund Lowe barked to Private El Brendel in The Cock-Eyed World. A few recls
later, Brendel returned with Fili D'Orsiv, one of the new sexpots of the Thirties, To script the new talkies, w
had been brought in, along with novelists and newspapermen, most of them accustomed to a long tradition of literary freedom
id realism, Thus the language of movies began to take on an unfamiliar naturalism, and the events they depicted were a lot closer
to newspaper headlines than formerly. But the movies themselves did. not grow more realistic in the sense that we understand that
term today. If anything, they rewogressed and became stagier and more static, for the cumbersome sound techniques of the carly part
of the decade did not allow for the mobility possessed by the silent. camera iss free of the confining sound boom. Indeed,
some film critics profesed 10 sce in the talkies the death of the cinematic form as an artistic medium; the use of sound cramped
the inventiveness of directors, they said; it was clear to them that movies were becoming merely a branch of the th
. however, a good many of the technical difficulties involved in handling sound had been overa
yg mobility of the camera restored the faith of those fainthearted critic

Even without these technical improvements, the gangster films of the carly Thirties brought an inc m to the
depiction of aime and violence on the screen. Jail riots, bloody strikes, the gang wars of Prohibition-bred beer barons to aug
ment their empires—all these quickly found their way to the screen. Indeed, so many gangster films came along i

disap 1 into history by the
PE y

MOLLS AND MOBSTERS: The familiar formula of sex and violence found explosive new chemistry in the gangster movies of the carly Thirties.
Playing a cold-blooded killer in “Scarface,” Paul Muni (lop left) examines one of the assets (Karen Morley) he's confiscated from a rival racketcer.
Setting a new style in screen villains as “Little Caesar” in 1930, Edward G. Robinson (top right) gives a stoolie the evil eye before taking him for a
dip in a cement swimsuit. When James Cogney (abore left), as a cocky gunsel in “Public Enemy," pushed a grapefruit in the face of his mistress,
audiences gasped—and asked for more. They got it. Cagney's nest picture, “Lady Killer," was an exercise in sadomasochistic mayhem—highlighted
by a scene (above right) in which the object of his disaffection makes the sad mistake of cracking wise; annoyed, he gives her a hair-raising heave-ho,

Thirties (over 50 in
often one and the sime—got the alarming notion that the public
was accepting gangsterism as a normal part of the American. scene.
ster film brought an unprecedented authenticity 10 mov-
ng of common speech, the look of ugly slums, Studios often
proudly proclaimed that their. picta actual. people
and documented cases. The g tors to the
too, many of them recruited from the sta as Paul Muni,
čagney and Edward G. Robinson. All played gangsters in Scar-
lic Enemy and Little Caesar; and all of them treated. their
various molls—Glenda Farrell, Joan Blondell, Mae Clarke, Ann
Dyorak—in a way that clearly foreshadowed a pronou
in American attitudes toward women. The most dramatic instance
of this was the moi at James Cagney, the gangster in Public
shoved a grapefruit i —he was simply
bored with her yakyak. Warner Brothers felt that kind of
erial they had the stulf of. which box-office di

Virginia Bruce in her fetching rear; in Lady Killer he dragged Mae

THE MILKY WAY:
ized in opulent nude
Colbert's bosom-buoying bath in asses’ mi

A pioneer in epic erotica, Cecil B. De Mille special-
nes legitimized as history. A case in point: Claudette
from “The Sign of the Cross.”

GLORIFYING THE AMERICAN GIRL: Notable for the bizarre (top left) and baroque (top center) near nudity of its production numbers, “Fashions
of 1934" typified its time, as did “Foollight Parade" (above right), which showcased showgirls in gilded deshabille, and “Gold Diggers of 1933,"
which featured alfresco leg art (above left) and peep-show silkouctles (abore center). A year later such erotica wos outlawed by the Production Code.

YOU JANE, HIM CENSOR: Opposite Johnny Weismuller in “Tarzan and His Mate” (left), made just before the Code crackdown, Maureen
O'Sullivan was jetchingly loinclothed. Thereafter, us in “Tarzan Escapes" (right), Jane's torso disappeared beneuth a modified Mother Hubbard.

GARBING GARBO: Before the bluenose Production Code was enforced, Garbo's svelte form was
ofien on display—as with Ramon Novarro (left) in “Mata Hari" (1932). After the clampdown,
however, she was seen only in concealing costumes—as with Robert Taylor (right) in “Camille” (1936).

Clarke (again) out of bed by the hair and douted her with her own p

^n al ed assessor of the movies of the Thirties, Margaret Thorp, wrote: “Today a star
scarcely qualifies for the higher spheres unless she has been slugged by her leading man, kicked
downstairs, rolled on the floor, cracked over the head with a frying pan, dumped into a. pond.

or butted by a
disguised as th
about as simply the logical retribution of the m:
heartless vamps of the p
the movie aud;
with its perpeti
quickly beca
clivities. Perhaps
with vindictive vigi
in 1930. Will H. Hays. Hollywood's own 1h
als—and us

to the movie public was sexual sadism thinly
igsterism—although some have viewed the turn-
je for the damage inflicted upon his ego by the
ious two decades, In any case, there is lule doubt that the males
endorsed this new treaiment of women and identified themselves
os. As for women, there is no doubt at all that Cagney and his tors
erotic figures to them, or that their films titillared. their sadomasochistic. pro
ilf-consciously stimulated. themselves. the censors reacted 10 the gangster films

| ever-watchful guardian of
(continued on page 208)

ghly paid

movie Hy a failure at it—called a meeting of studi

MARRIAGE— CODE STYLE: Thanks to Production Code strictures which forbade film makers to
show couples, married or single, in bed together, even Nick aud Nora Charles, the sophisticated sleuths
of MGM's “Thin Man” series (starring William Powell and. Myrna Loy) were forced to sleep apart.

SWEETHEARTS: In the carly Thirties, Jeanette Mac-
Donald sported in musicals with sexy scenes such as the one
abore with Maurice Chevalier in “Love Me Tonight." After
the 84 Code crackdown, she became the screen's virgin queen
in a romantic series with Nelson Eddy that typified the
decade's sexless denouement. Below: in "Rose Maric.”

PLAYBOY

mcer uud oon Fi a 2 y
“Tve laid out your night things, sir...”

158

PLAYBOY PHILOSOPHY

and the Taw, under the chairmanship
of Sir John Wolfenden, C.B.F. Since
fornication, adultery, and the com-
monest forms of noncoital heterosexual
activity that are outlawed under sodomy
statutes in the United States are already
legal in England. the Report concentrates
on prostitution and homosexuality. The
Wolfenden Report states:

"Unless a deliberate auempt is (0 be
made by society, acting through the agen-
cy of the law, vo equate the sphere of
crime with that of sin, there must remain
a realm of private morality and. immo-
rality which is, in brief and crude terms,
sot the Laws business. To say this is not to
condone or encourage private immorali-
ty... Tt should not be the duty of the
law to concern itself with immorality, as
such It should confine itself to
those activities. which offend against
public order and decency. or expose the
itizens to what is offensive or
injurious . . -

The Wolfenden commiuce not only
included members of the ergy, it
sought advice and guidance from others
in both the Anglican and Roman Cathe
lic Churches. Thus. seven Catholic cler-
gymen and laymen appointed by the
c Bernard Cardinal Griffin, Arch-
bishop of West submitted
opinion to the committce that stated:

“It is not the business of the state to
intervene in the purely private sphere
but to act solely as the defender of the
common good. Morally evil thi
far as they do not affect the common
good, are nor the concern of the human
legislator.

n as such is not the concern of the
state, but affects the relations. between
the soul and God. Attempts by the state
10 enlarge its authority and invade the
dividual conscience, however
minded, always fail
positive harm."

A. M. Ramsey, Archbishop of C

ter. an

has personally approved the.
recommendations for | zing English
made in the Wolfenden Report.

OUR VIEWS ON NEW SEX LEGISLATION

nd the next few issues, we will
offer our own specific suggestions for a
more liberal and enlightened penal code
covering sexual offenses. Each of the
common categories of sex crime will be
considered separately
olfered, in the following order:

In this

and conclusions

1. ILLICIT SEXUAL
(1) Fornication
(2) Cohabitation
(3) Adultery
(4) Prostitution

INTERCOURSE

(continued [rom page 72)

IL. "CRIMES AGAINST NATURI
(1) Heterosexual Sodomy
(2) Homosexual Sodomy
(3) Bestiality
Ill, SEXUAL INDECENCY AND VIOLENCE
(1) Indecent Exposure
(2) Rape
1V. JUVENILE SEX OFFENSES
(1) Statutory Rape
(2) Incest
(3) Juvenile Delinquency

Following this summation on U.S, sex
laws, we will devote installments of
Philosophy to a conside n of the vital
social, moral and legal questions sur
rounding birth control, abortion and nar
cotics; alter which, we will spell out a
personal moral code for social and sexual
conduct that we believe would be best
suited to human happiness and well-being.

FORNICATION AND THE LAW

Dr. Ahed Kinsey wrote. “The law
specifies the right of the married adult to
have regular intercourse, but it makes

ho provision whatsoever for the approxi-
mately 40 percent of the population
which is sexually mature but unmarried.
-= There is no aspect of American sex
law which surprises visitors from other
countries as much as this legal attempt
to penalize premarital activity t0 which

both of the participating parties have
consented and in which no force has
been involved. . . . There is practically

no other culture, anywhere in the world,
in which all nonmarital coitus, even be
sidered) ariminal."

* activity is engaged
jority of all unmarried adults
Dr. Kinsey and his associates of
the Institute for Sex Rescarch* at Ind
ana University found that sexual activity
ies greatly, in form and incidence, de-
pending upon educational and social
background. Among males who attend
college, 67 percent have sex
course prior to marriage; among males
who receive some high school education,
but do not go on to college, approxi-
mately 84 percent have premarital inter
course; and among males who have only
a grade school educ he figure is 98
percent, In addition, nearly all men
(about 95 percent) who have been mar
ried continue to engage in sexual inte

course on a nommarital basis, if th
marriages are terminated. by separation,
divorce or

l imer

death.

Although our society has much strong:
! women engaging in

cr taboos agai

sexual i Y 10 marria

crcourse. pi

tps

*For the story of Dr. Kinsey and his
sex research, read “The Sex Institute”
by Ernest Havemann in the September
issue of PLAYnOY.

proximately 50 percent of all females do.
Unlike the statistics lor males, howev
there is a positive. correlation between
exual experience and education for fe
mules; approximately 60 percent of all
college-level females have premarital
coitus. Postmarital sex among women
who have lost their spouses, through sepa-
ion, divorce or death, follows the same
general pattern as for men—once a fe
male has engaged in coitus on a regular
basis as a part of marriage, she tends to
continue the activity when she is no long
er married. With both males and females
K
ual outlet docs not diminish appreciably
riage is terminated, remaining
approximately the same outside of ma
riage as it previously had been within it
intercourse outside of marriage
is designated fornication and considered
a criminal offense in 36 of the 50 states.
The maximum penalties for fornication
range from a $10 fine in Rhode Island
to a 5500 Ime and/or two years in
prison in Alaska. Arizona, Arkansas, Cal
fornia, Delaware, Iowa, Lou
land, New Mexico, New York, Oklahor
South Dakota, Vermont and
Washington have no state statutes. pro-
hibiting fornication, but Arizona, Arkan-
sas, California, Louisiana, New
and Washington do have laws
cohabitation, which prohibit
1 relationships.

To complicate matters further
fornication laws of some states have co-
habitation clauses in them, so they do
nor actually apply to single sexual cp
sodes, only 10 relationships of a morc

sey found that the extent of total sex

‘Tennessee

Mexico

sexu

permanem. nature—which tends to give
the impression that these states actually
prefer promiscuity. The South Carolin

statute, for example, defines [oi
is “the living together and carnal imer-
course with each other or habitual carna
tercourse with cach other without living
together of a man and woman, both being
unmarried. . . . Not less than S100 nor
more than 5500, or imprisonment for not
less than six months nor more U
one year, or both fine and imprisonment.
at the discre And the
Alabama law against fornication is writ
ten specifically to discourage a continu
ionship between the same two p:
“Not les than $100 and may also
be imprisoned in the county jail, or
sentenced to for the cou
for not more than six months: on the
second conviction for the offense, wiih
the same person, the olfender shall be
fined not less than 5300, and may be
mprisoned in the county jail, or sen
tenced to hard labor for the county, [or
not more than 12 months; and, on a third,
or any subsequent conviction, with the
same person, imprisoned

penitentiary for two years.” (Italics our

U.S. statutes against fornication

n ol the court.”

d labor

shall be

159

PLAYBOY

160

Tor the most part. what ex-judge Morris
Ploscowe calls "dead letiers"—they are
not ordinarily enforced. These do
r occasional,
and capricious enforcement. however:
and they serve as a convenient tool for
the i
Torumate citizens who happen to be
cught in compromising. situations.

A parked car has been a popular place
for romance since Henry Ford invented
the Model T. particularly among young
people who still live with parents or in
noncoed quarters while away at college,
and hive no more convenient place 10

neces

ceive

timidation and shakedown of un-

bc alone. Young people are often
warned about the muggers and molesters
who may come i unawares,

when they are parked lonely pi
at night: they should also be warned
about the existence of unscrupulous la
enforcement ofhcers, who p
in such situations
The unexpected imrusion of a fash-

light shining through the window of a

w
jy upon the

unwary

parked automobile cin be—il the couple
in the car is surprised in a moment of
mimacy—the introduction to some

coarse comment and a demand for mon-
y: out of fe
thought of being a

and embar

ssment at the
rested and possibly
put on public t s charge:
the person who finds himself in such a
situation. virtually always pays. To the
corrupt cop, a parking area traditionally
popular with romantic couples is a
prime source of additional income
Sometimes the demand is for some
thing more than money; and whether or
not the girl complies. and whether or
not her escort makes more than a token
protest. is apt to be more dependent on
y than morality. There have been in
stances in which the boy was told to wa
in his car, while the lawman took the
to the back seat of the police c
had sexual intercourse with her:
have been instances, 100, when a girl

and
there

has been forced to perform various sexual
cts in her date's presence, On one ace
tention not long

go. an officer of law and order in a ma-
jor Midwest city took a voung girl out of
a parked car and sent her boyfriend
home alone; after engaging in sexual in-
tercourse, the policeman drove the girl
around in the patrol car [or an hour or
so, then dropped her olf in front of her
house, When she went in, she was con-
fronted by her distraught parents, who
had been awakened by a phone call
from the boyfriend, placed the moment
he arrived home. Under questioning by
aher, the girl broke down and
blurted out the entire story. That partic
policema nd convicted
on a charge of rape. But that isn't the
usual outcome in such cases.

was tried

In addition to the m I abuse to
which these statutes are subject, serving
as a continuing invitation to intimida
tion, m and official corruption,
such unenforced and unenforceable laws
encourage a disrespect for all laws and
law enforcement, while n
out of otherwise law

It is our belief
gainst fornication stricke
from the statute books and that sexual
intercourse. between unmarried consent-
ig adulis—where no force, threat, intim-
lation or coercion is involved—should
become a matter of private moral deter-
mination, outside the jurisdiction ol the
state.

COHABITATION AND THE LAW

Fifteen states have Taws against what
s commonly referred tw as “lewd and
lascivious cohabitation,” which is noth-
ing more than an unmarried couple liv-
ing together as husband and wife, or
involved in an exiended relationship that
may therefore be considered "open and
notorious.” It might seem logical for so-
ciety to pref al relationships of
some perm the
hivand-run variety, but logic has rel;
tively little to do with our sex legislation

use à

extort

crin

should bc

pence to more casual,

and, in general, the penalties for cohabi-
tation are more severe than for random
forn

California, which has no statute pro-
hibiting fornication, does have o
against cohabitation, with a maximum
penalty of S1000 or one-year imprison-
ment. or both: Massachusetts, with a $30
fine or 90-day jail sentence for fornica-
tion. prescribes up to S300 or three y
in prison for cohabitation; Utah, with
5100 or six months for fornication, raises
the maximum possible sentence to five
years at hard labor for cohabitation, but
only when “with more than one person
(presumably prompted by the Mormon
practice of taki co
habitation with just one person is not
a crime in Utah. In Arkansas, which—
like has no legislat "
fornication, only the man who concen-
trates his sexual attentions on one woman
can ger into trouble, and the more cor
stant he is in his adoration, the toughe
th pt to become: ‘The first con
vietion for bitation brings only a
small fine (S20 to S100); on the second

g multiple mates

Californi:

col

conviction, the penalty increases 10
minimum fine of S100 or up to I?
months behind s and on the third

conviction, the constancy of the relation-
ship is rewarded with imprisonment. of
from one to three y

This tendency to deal more harshly
with doi wp illicit relationships
than with shortlived reflected
not only in the statutes, but also in a
number ol ourt convictions on

ones is

lowe

charges of both fornication and adultery
that have been reversed by the higher
courts, because no more than one, or
few, sex contaets were actually involved.

Some of the states that prohi
habitation also recognize common
mariage; but at what precise
this “lewd and lascivious” sex offense
turns into morally and legally acceptable
common-law matrimony, we curt
for it is a sticky legal inconsistency that.
to our knowledge. has never been raised
in a U.S. court of law.

Opposition to the more permanent

moment

variety of nonmarítal sex. relationship,
even in some states with no prohibition
inst single acts of fornication and

dultery, has been explained as intend
ing 10 penalize that conduct which is
‘open notorious,” "constitutes
front to public decency,” or would “de
base and lower the standard of public
morals.” But we fail to appreciate. the
logic in a legal position that promotes
the promiscuous, and. prefers the hidden
and hypocritical to the open and. honest.
Nor arc we able t0 comprehend why the
ame private act between a pair of con-
senting adults should. be legal when it
s once, or a few times, but becomes
ront to public decency” and il-
legal when it occurs more frequently: or.
incredibly. why it should be lex
to have nonmarital coitus once with 50
diferem partners, but illegal when it oc
curs 50 times with the same partner
This peculiar wrinkle in our sex legis-
lation was originally conceived, w
pect, so that citizens could not enjoy the
pleasures of hearth and home without
first acquiring. official church-state ap:
proval, But such supervision over a per
son's private life has no place in a free
society. Each individual ought 10 be at
liberty 10 live wherever he chooses, with
whomever he chooses, without bein
forced to seek the permission of any re
resentative of organized religion or gov-
ernment. For this reason, we believe th
all laws prohibiting cohabitation should
be abolished and that this, too, like sin
gle acts of nonmarital sex, should be a
matter of private morality.

and

occu

sus-

In the next installment of “The
Playboy Philosophy," which will appear
in the December issue, Editor-Publisher
Hugh M. Hefner offers his conclusions on
U.S. laws on adultery and prostitution.

Sec “The Playboy Forum" in this issue
for readers’ comments—pro and con—on
subjects raised im. previous installments
of this editorial series. Thice booklet ve
prints of “The Playboy Philosophy.” in-
cluding parts 1-7, 8-12 and 13-18, are
available at $1 per booklet. Send check
or money order to PLAYBOY, 232 E. Ohio
Street, Chicago, Hlinois 60611.

PLAYBOY FORUM

(continued. from page 67)

sex as well as anything eke. If
sophy is as well thought out as
you claim, it should make some provi-
sion for the abandonment of. marriage—
as we know it. that is—as a sexually limit-
ing relationship.

goes for
your pl

Robert Roth
Bronx, New York
Sexual responsibility in marriage will
he discussed in a future installment of
The Playboy Philosophy.”

MORAL DECAY
social philosopher, 1 have be

debating whether 10 cum] gainst
the eravmoy institution.

I have | the historian’s
theory of c civilization. whereby

the final colla
by moral decay. When 1 first came across
à copy of PL gazing, I said, “Oh,
oh. here is garor of moral decay
in America." 1 even considered picketing
stores that sold. your magazine, but 1 de-
cided that E would not contribute to
your publicity. Besides, 1 need the LI
to picket against alligator poachers here
in Florida

1 can only hope that Mr. Hefner and
sociates realize the responsibility. they
now have. The many letters from theolo-
uns that PLAYBOY receives impress m
even though the theologians: represent
oddball sects for the most part.

Morality has waditionally been dicta
ed by religious institutions. In this God.
fearing nation which is the United States
of America, the Church. should continue
to guide us morally. The Church is weak
allows a magazine such as yours
to redirect our ideas on morality and
civil rights,
is preparing 10 inherit the uni-
je are far from mentally prepared
10 accept this tremendous. responsibility.
We must learn to control our old evol
1 instincts. Your beautil
e foldouts are no help.

Martin R. Northrup
Miami, Florida

Picketing alligator poachers won't help
much, either.

What sort of “social philosopher” is
so sociologically and philosophically con-
fused that he equates the attempt to es-
tablish a more vational, humane and
permissive sexual ethic with “moral de-
cay,” and is apparently unaware of the
harm done to society

incalculable
throughout the history of Western civili-
tion by the suppressive antisexnal cle-
ment in our religious tradition?

Incidentally, we dowi know what you
include under the description “oddball
sects,” but we've received positive com-
ment on “The Playboy Philosophy” dur-
ing this pest year from clergymen of

oery major religious denomination in
America.

CAPITALISM VS. SOCIALISM

Most of The Playboy Philosophy is
well documented and dear. Hefner's in-
sight seems to fail, though, in the politi-
nd economic area. It seems he h
relied on a blackandwhite analysis of
lism, or individ

capitalism versus soc
oriented versus. grouporiented so

Agreed: People risk their lives 10 es-
cape from the East to the West, But I
doubt that the reasons are solely political
or economic. Do they flee because the so-
ciety is socialistic, or because the govern
ment is totalitirian? 1 think one falls
to a logical wap if onc equates totali-
tarianism with socialism.

If this argument of individual orienta-
tion versus group orientation is rigorous-
ly applied to Seandinavi: one
would have to conclude that these coun-
wies are generally group-oriented and
somewhat socialistic.

Not many people have be
vying to escape fom these counvi

John Bickell
Canoga Park, Califor

Hefner has never meant to suggest
that he considers socialism the equiva
lent of political totalitarianism, or irrec-
oncilable with democracy; nor does he
believe that individual-oriented and
group-oriented societies lend theniseloes
Jo anything approaching simple black-
andwhite analysis

Every sociely is. by its very existence,
group-oriented, and no civilization could
exist unless il was concerned with the
welfare of the group. Hefner has point-
ed out, however, that indanduat inter-
ests and group interests are not always
synonymous, and that a free society is
distinguished from a totalitarian one by
the importance it places upon the indi-
vidual. In a free society, the group orien-
tation is an outgrowth of the interest in
individual welfare; in a totalitarian soci-
ety, group ends are not only emphasized
over individual oncs, they are not neces
sarily even related to one another.

Hefner believes that society and the
state have no purpose other than to
serve the individual. He thinks a consti-
tutional democracy, such as we have in
the United States, is ideally suited to
protecting the political rights of the in-
dividual; and he considers our contem-
porary Jorm of capitalist free enterprise
ideally suited to promoting the econom-
ic interests of the individual—superior to
socialism because it takes advantage of
man's competitive, acquisitive nature
and self- orientation,

) society.

RESPONSIBILITIES OF LIVING

T cannot envision a sexual philosophy
based upon individual freedom function.
ig properly in society unless other so-
ial attitudes display as high a degree of

reason amd intelligence.
Hugh Hefners philosophy is based
upon i 1 freedom. In practice,

however, the impetus of the philosophy

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16L

would have 10 be placed on ment without 1 we are the — intent and effect, we feel, is to increase
responsibility. as Heli pointed out Government, and the strength of the competition and productivity, which, as
The freedom gained by the Government to protect our freedom is you suggest, benefits society as a whole.
under such a philosophy our strength to protect it ourselves. We
would be a blessing. giving him a fuller have «d to equalize social classes A WHITE MAN'S COUNTRY
^b more realistic enjoyment of life. (rather than instituting — safeg I believe most sincerely that the so-

on) without re
1 class system—

The price of this freedom, howev
would be the burden of the accomp:
ing responsibility. Such a sexual moral

"t exploit
lacking a flu
system based upon productivity, cither lt is unnecessary because the Negro
ty would be far more rewarding i etie—there is no re was given cvery right and privilege. ol
morality imposed by the Church or the € to produce. We have in every other American citizen by the 13th.
state, but it would also be more ed systems whereby those who do not With and 15th Amendments to the Con-
difficult for the individ h to produce can live off the produc- stitution adopted some 95 yc
because he would not be able to fall tivity of others, thereby. igno mo- the Negro has had the advantages of
k upon the moral edicts of the rality completely those amendments all of those yi
Church or the state--he would have to sence, we have shirked the re- Some Nc ave made good use of
think for himself, and bear the es of living. And only when their pi . reaching high places
bility of his decisions. It would not be we are willing to reassume the responsi- government, in finance, in literature, in
n casy system under which to live. bilities of living will we be able to enjoy the business world. It is no fault of the
But unless th Iso assumes life in a more realistic manner by the law that more Negroes have not done
the responsibilities of all his freedoms, utilization of a sexual philosophy such bener; it is their own fault.
such as political freedom, eventually he as. Hefner's. Those three amendments were written
will psychologically shirk the responsibil- Ralph E. Barker, Jr. by Thaddeus Stevens. a member of the
ities of sexual freedom as well. Santa Clara, California House of Representatives from Pennsyl-
If we wish to nd our sexual moral- Rather than attempting to equalize vama who was a hater of Southern white
y. we will also have t0 amend our polit- social classes, the Government has tried people and was determined 10 punish
ical morality. We will have to divest the to equalize, to some extent, the social, and humiliate them for their resistance
Government of the possession of our in- educational and economic opportunities to Northern arms and powe
dividual political freedom which we — available to the members of every claw tto 11915
ven away—given away because it /n some instances, we agree that G in Scotland. Neck, North ther
is “easier for the Government to take ernment planning may have had the were people living there then. who had
care of those things." We have vested opposite effect—sapping rather than lived through those wying and humili-
our individual freedoms in the Govern- stimulating incentive—but the overall ating days of Reconstruction. Military
governors were sent from Washington
who seemed to take. delight in appoin'
ig Negroes to places of importance that
had never been filled other than by white
people, These Negroes lorded it over
their former masters in a most mying
way. The freedom and privile
to them had turned their hea
their conduct was intolerable,
The Negro is not
white people. Southern white people like
the Negro neighbors, but like them in
their place. That i not living in the
ame block with them or staying in the
ne hotel, or cating at the sme lunch
counter, or sending their children to the
same school. The objections to Negroes
are their odor, their customs, their hand
held out for gratuities and their imperti
nene. Such things might seem 10 be
insignific but are important to a
sensitive person.
The Negro Army officer who was shot
while returning fe g cimp had
sed his spare time in ug restau
ts and other places hi we wed
y by white people. He had made him
rally obnoxious. Ir is little won
der that he found irouble. They are still
having memorial services for him, in
white as well as in colored congregations.
The Negroes have taken over Wash
ington. A very cultured. and competent
young white woman asked her Congress
man to help her get a job. He said, “I
will do the best that T cm for vou. but I
can promise you nothing. Your skin is
not the right color." That in a white
man's country!

called. Civil Rights Act is unnecessary,
unconstitutional and unfai;

ay-

PLAYBOY

s given
i, and

ccepiable: amon,

self g

162 “Remember—Daddy trusts you!

My Washington,
where the population. is almost 60 per-
cent colored. The public schools are 85
percent colored. Crimes such as purse
snatching, rape and burglary are on the
increase. No decent woman goes out
alone at night Public officials go out
guarded.

One restaurant man handled a situa
tion like this: Three men came 10 his
place and ordered. breakfast. Two were
white and one was Negro. The Negro's
breakfast was brought to him and he pro-
at. Nothing was brought for
the white men. Soon they grew impatient
and called the proprietor. He said, "The
Jaw says that I must serve a Negro, but
there is no kaw that says I must serve a
white man. No white man that comes to
my place, so low down that he comes
with a Negro, is going to get anything to
eat in my place.”

"The description of Malcolm X in Life
is a true picture of the Negro: selfish,
hard, passionate, vindictive, avaricious
and brutal. The Southern white people
have had to live with them and use them.
I is not their

ister-in-law lives i

ceeded 10

n. but that of their fa-
thers: a sin visited on the children unto
the third and fourth generation.

1 have written this because I am an
adopted son of the South, having been
born and raised in New York State, I was
not young when I entered the ministry of
the Episcopal Church, but my ministry
has been m the South—in North Car-
olina and Virginia. I feel that I can speak
for these people. They have taken the
Civil Rights Act as they did the Mth
Amendment: because they had 10. But it
is hard, and they feel it is unfair

If you are looking for a crusade. I feel
that 1 have pointed one out for you: jus-
tice for the white people of the South.

The Rev. Floyd Cartwright
Danville, Virginia

We favor justice for the white people
of the South, Reverend Cartwright, but
we strongly disagree with the underlying
premise of your suggested “crusade”; for,
you sce, we also favor justice for the Ne-
gro. It is our considered conviction,
therefore, that the Civil Rights Act is
necessary, constitutional and fair

H is fair because it provides for equal
treatment of cach person in the market
place, the schoolroom and the voting
booth: it gives no class or race greater
privileges than any other. H is necessary
because, until it was enacted, groups of
American citizens were systematically de-
nied these basic human rights. It is con-
stitulional, not simply because most of
its major provisions have already been
upheld in the courts (the Public Accom
modations Clause was declared constitu
tional by the U.S. Supreme Court in a
unanimous decision in December 1964),
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163

PLAYBOY

tion of the United States and its Amend-
ments.

The saddest thing about the Civil
Rights Act is that it was necessary. The
Act would not have been needed if all
men treated their fellow men in a human
and (if you'll pardon our presumption)
Chistian manner; if, indeed, state and
local governments had not for a century
devised ingenious methods to evade the
intent of the Bih, Hih and 15th
Imendments (which, though they may
have been written by Thaddeus Stevens,
were ratified by three fourths of this
country's state legislatures and endorsed
by two thirds of Congress).

The objections you list to Negroes
are the same objections the 17th Cen-
Iwy British aristocracy had to the
peasants and slum dwellers of London.
Yet these “undesirables” ave the pool
from which our supposedly superior
Anglo-Saxon heritage came.

Regarding your reference lo the Ne-
gro Army officer—and the similar reac-
tions that have been expressed about the
recent. deaths of other civil rights work-
ers, both Negro and white, in the South
—we are appalled and alarmed at the
thought that a significant number of our
fellow Americans appears capable of
Justifying cold-blooded murder agaist
those whose attitudes or actions they
consider “obnoxious.”

Your anecdote about the three men
who ordered. breakfast is based on a
wholly inaccurate assumption. The Pub-
lic Accommodations Clause of the Civil
Rights Act does not require that a ves-
laurant ve Negroes per se. It
states that restaurants and similar estab-
lishments doing business with the public
must serve every member of the pub-
lic on an equal basis. as long as the
person is well behaved and able to pay.
What could be fairer than that?

The dialog you describe between the

very cultured and competent young
white woman” and her Congressman in
Washington reflects nothing but the
prejudice of the individuals involved.
since the Fair Employment section of
the Civil Rights Act does not favor Ne
groes as implied—it simply guarantees
that they will no longer be discriminated
against, because of their race, when
applying for a job for which they are
otherwise well qualified.

It is time you and every like-minded
American faced the fact that this is not
merely “a while man's country,” Rever-
end—any more than it is exclusively an
Anglo-Saxon or a Protestant country. [1
is a land of free men—of many races. re-
ligions and cultural. heritages—living in
a constitutionally constituted democracy
that guarantees life, liberty and the pur-
suit of happiness to all.

The problems of increasing crime and
violence you mention are not unique to
our nation’s capital, or to any one racial

ener s

184 or ethnic group; these problems exist in

cucry major city in America today, par-
ticularly among the culturally and eco-
nomically deprived—black and white.

We have had the opportunity to meet
and get to know a great many Negroes
both in business and in personal life,
and they simply do not fit your sterco-
typed description. The Neg with
whom we have become acquainted have
been remarkably human in the variety
of their virtues and vices, strengths and
shortcomings. As a consequence, we have
liked some and disliked others. But
ry Negro we've known well enough
to form an opinion about has proven to
be an individual, and weve liked or dis-
liked him as such.

ors

SELMA STATUS

There are many ways to achieve
identity, many different kinds of identi
ny ways t0 gain status, Identi-
ilt from the choices

right about the need for free:
Without freedom, there aren't any
real choices. But that does not wrap up
the matter. E saw people gaining ides
3 Selma. Alabama. It wasn’t any
like the philosophy Hefner preaches,
though. Identity was there, as elsewhere,
conferred by choice. The choice, how-
ever, wasn't about the best bed for seduc-
tion, but a matter of choosing 10. stand
for brotherhood. for racial justice. 1 also
saw competition for status in Selm

Again, the terms weren't the ones in the
Pages of PLAYBOY. Status wasn't the result
of owning a ci; the sandard wasn't
affluent and stylish consumption, but
service to others. There's a sense of idei
tity and there's status to be had in the

Peace Corps and in Vista, and in
merable other ways and. places th
hing to do with the gospel according

to Hefner.
Hefner's vision of the good life h;
peal, but it doesn't seem to h wich
room for things like courage. commit-
ment and conseaxtion, and I am not
persuaded that. these truly. obsolete.
Perhaps the still come when
identity and sams will be judged in
such terms: perhaps the time may yet be
when we judge ourselves and others by
the quality of our human relationships.
rather than on the tastefulness and so-
phistication with which ] caviar
n and w
Gene Bridges, Minister
The Unitarian Church of Honol
Honolulu, Haws
Hefner has never suggested that. per-
sonal identity and status are more a mat-
ter of material acquisitions than of
deeds, The mistake is in assuming that
there must be a conflict between the two
worlds you describe—that there is some-
thing necessarily negative, if not esen-
tially evil, in affluence, pleasure and
play—a notion acquired [rom our Puri-
tan heritage. It is quite possible to be

its

and wor

concerned about Selma, and also inter-
ested in living life with some style, taste
and sophistication.

URBAN MAN AND REAL MAN

T agree with Hefner that many people
in our society are unrealistic and antihu-
man in their attitudes toward sex. dri
ing and numerous other "sins" Where
we disagree is over the fact of Sin with a
capital lener. The Playboy Philosophy
simply does not deal with the fact of
our knowing better and doing worse.
rraynoy’s Real Man is not He is
not inhuman, but unhuman. He is a pro-
jection of adolescent wish fulfillment.
One does not cool life the way Url
Man pulls it off. Life just isn't lived

like that.

Real Man is not involved always and
only with personal pleasure, sensual or
intellectual. Real Man is involved in the

€ every sophistication —
. economic, etc.— is eve
«| Real Man is left as
any monthly Playmate. When the
last measure of u nd sophistic:
tion is shattered, there is The Real M.
To put it more bluntly, although
much bener
iore zest and glamor (cente
). the philosophy vou are pro-
is as unreal and unrealistic as
nd Superman. What you
have accomplished. be it for good. or for
ill. in your pictures. editorials and philo-
sophical articles, is i0 capture and. print
for the wistful seeker after. manhood
what we used to dream about during pu-
berty. If you would | you

reaynoy does the job w
taste, with

Granted, your u sy, Urban
a and his unreal playmates. is one up
on the straw. Chri: Man. But. vour
Man and that of valid. Christianity have
tangled often before, with Real M.

ian

emerging by far the beuer of the two,
since it is The Man who lives where all

men live who died all men must
The Rev. Richard Bowyer
Fairmont Stine College

F West Vi
We don't pretend to consider vi.aywoy
an accurate veflection of the real world,
since this
many arcas and aspects, views and val-
ues, of life that are not within our estab-
lished editorial purpose and scope. It is
our belief. however, that vLayoy
presents a positive answer, or antidote,
lo the antisex. antiplay, antipleasure
puritanism that has predominated pre-
viously in our society—and that this pub
lication is, thereby al 20th
Century man to better understand and
appreciate his real world.

ould require the inclusion o

assisting v

GOOD AND EVIL

I think your magazine fills a necessary
slot in our society. Certainly there is an
overabundance of womens magazines

and a void in the area of men's mag
zines, unless you include those aimed
only at the prurient.

Mr. Hefners philosophy is not a new
one, but a rather refreshing exploration
of one that has been held by many for
some time. The most widely misunder-
stood subject im society is sex. It
is rarely discussed on telligent
level e made at it in
some magazines and a few books. If the
subject were 10 be more openly discussed
and examined, as in PLAYBOY, perhaps we
would begin tò have a healthier attitude
it. Let me add a quote from F. J.
Hall in Theological Outlines, published
by Morehouse-Gorham.

an i

good, is a relative q
Neither good nor evil are things;
but things and actions arc good in-
solar as they are suited to righteous
uses and ends, and evil as corrupted
or diverted from them.

Sex fits very neatly into this category.
One cannot be explicit and say
lar sexual act or expression is evil or
it may even contain elements of
both good and evil. In any case, thanks
for opening the subject.

The Rev. Arthur F. Brunner, Rector

St. David's Episcopal Church

Philadelpl

Pennsyls

LIBERTY AND LIBERTINISM

1 often preach The Playboy Philosc-
phy, much to the annoyance of some of
my congregation. 1 find myself so much
rc in agreement with Hugh Hefner
than I do with my three clergy compa-
uiets with whom he debated in the Tria
logue scrics. [See The Playboy Philoso-
phy for December 1961, and January,
February and May, 1965.]

Hefner is right when he says that

ognizing that the traditional view is just
not enough. Theologically, I am discov-
ering that the so-called traditional. view
reflects far 100 much the thinking of St
Paul and not enough that of Christ, a
point Hefner has noted.

Much more wrestling has to take place
with this socalled new morality 10 find
how it can be more person-centered than
law-centered and still not imply "an
thing There is a dilference be-
y and libertinism amd it is
probably the greater law of Jove that
makes the d

Best wishes to you in your efforts.

The Rev. David H. Baker, Vicar
‘Trinity Episcopal Church
Rochester, New York

STUDENT DEBAUCHERY

The number of ministers writing in to
support your views is plain evidence of
the moral and religious decline of Ameri-

ims that an "American
Renaissa must necessarily be accom-
panied by sexual permissiveness; however,
a look at any of the nation’s campuses,

Gil. PLAYBOY C

the producers of the nation's future
talent and leadership. will easily. dis-
prove this propos Here at. RPI
where PLAvBov is widely d, its

influence has resulted in a body of st
dents much more inclined to simple the
delights of their current playmates and
neglect their studies than the students of
a few years ago. The encouragement of
student debauchery c yo a
decline, and never to ‘American
Renaissance.”
O. M. Tuckit
Rensselaer Polytechnic Institute

roy, New York

We keep in rather close contact with
what's happening—inside and outside
the classrooms—on the U.S. colleg
scene, and the current. crop of under-
graduate students is, by every indication
the most enterprising. alive and aware of
any in memory. The so-called “silent
generation,” that attended college imme-
diately after World War IH, has been re-
placed by a generation of activists—more
interested. and involved in life and liv-
ing than their predecessors—and nothing
but good can ultimately come from that.
If PLayBoy has played any part in this
awakening, we're proud of it.

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165

PLAYBOY

166 premarital

PASTOR HOLT’S DENUNCIATION

Speaking for myself and other stu-
dents of West Georgia College, we total-
Jy disagree with Pastor Holt, of West
Georgia's Wesley Found and the

“Unanimous Disagreement” he claims
to represent m his letter ino the July
Forum, We read. vravnov and enjoy it.
We do not think Hefner is a hypocrite.
We all say to PLAYBOY: Keep up the
good. work!

Don Harri
West Georgia College
Carrollton, Georgi

As a former student of West Georgia
College, | congratulate you on your
sponse to Mr. Holt's letter in the July

Forum. Four years ago it wa ered
improper at West Georgia College for a
boy to have his arm around a girl. If

members of the faculty caught a couple
in such a position, they acted as if the stu-
dents were committing an immoral act.
Instead of spending their time crit
cizing PLAvnoy, I suggest these people
amine their own attitudes.
Joan C. Wilder
San Be

ifori

NUDITY AND MORALITY
While I personally do not approve of
ations between

le and female for many reasons, 1 de
fend your right to this philosophy. I
firmly believe this is a manter that should
be left to the conscience of cach indivi
ual. If the "kingdom of heaven" is within
man, then man is, in one sense of the
word. God. He should know what is best.

1 would like to point out to those who
condemn nudity that, according to all
research on sexual conduct in our nudist
colonies in North. America, not one sin-
gle arrest has been made in a nudist colo-
ny for sex murde: h.
Certainly, we cannot make such a. state-
ment about our churches and their rep
resentatives.

I firmly believe that sex education
should be given in every church, school
and home in America. The
education in our churches and
schools is responsible to a large degree
for the illegitimate children and soci
disease among young people.

The Rev. Dr. Alvin O. L
Central Chrisiian Colle;

pe. incest or ass

“taboo” on
sex

gton, West Virginia
HONEST TO GOD?

In the Trialogue discussions with
three ministers, Hugh Hefner called for

the religious leaders of our land to begin
relating to this problem (our outdated

Puriran-Viciorian code) realistically, and
to make suggestions for the establish
ment of a new, enlightened contempo-
ry morality that works.

Such an endeavor has already enthusi
ally been undertaken by the clergy.
An example is the Bishop of Woolwich,
England. John A. T. Robinson, who
wrote the highly controversial Honest fo
God. Although probably not accepted by
even half of the clergy, this book is in-
dicative of the uncompromising honesty
d realism that characterizes the writ-
ing of many modern theologians. A pas
sage from a chapter entitled “The New
Morality” sums up Rob king
on this very subject. While asserting that
love is the only prescription for our de
dining morality, he say

ison's thi

To the young man asking in his re
girl. "Why shouldn't
it is relatively easy (0 say, "Bc-

cause it's wrong" or “because its a
sim"—áand then to condemn him

when he, or his whole generation,
takes no notice. It makes much
greater demands to ask, and to an-

swer, the question, "Do you love
you

herz" or, "How much do love

cept for himself the decisi
"L or doesn't very deeply,
then his action is immoral. or. if he
does, then he will respect her
100 much to use her or
with her. Chastity is the expression
of charity—ol caring enough. And
this is the criterion lor every form
of behavior, inside marriage or out

he doe:

ake liberties

of it, in sexual ethics or in any
other field. For nothing else makes
a thing right or wror

E n the chapter, Robinson sa
For nothing can of itself always be

labeled as "wrong." One cannot, for
itance, start from ihe position
x relations before marriage” or
divorce" are wrong or sinful in
themselves. They may be in 99 cases
or even. 100 cases out. of 100, but
they are not intrinsically so. for the
only intrinsic evil is lack of love.

Robinson's concept of "The New Mo
rality” does not completely coincide
with Hefners. I do believe, however.
that this concept can be readily accept
able to the person isolated between the
extremes of complete. permissiveness and
the Puritan code: indeed, acceptable to
the reader of Pavio
Tom Morris
M

Despite the Bishop of Woolwich's rep-
utation for liberal thinking, he sounds
neither liberal nor logical to us. He says
(0) if you don't love a girl it is immoral
to have premarital sexual relations with
her; and (2) if you do love her, then you
will have too much respect. for her to

“take liberties with her." We wish the
Bishop had told us under what circum-
stances, in his opinion, it is moral to
have sexual relations with someone out-
side of wedlock—cven though the odds
against such a circumstance appear to be
a depressing 100 io 1.

TOO GOOD, TOO SACRED
Nobody admits to believing sex is dirty:
is that it is "too good

now the argume
(the d
to be
clearly a gr
ugly. so do it as little to "sex
is beautiful, so do it as liule as possible."

Arthur Hlavaty

New Rochelle, New York

THE WHEELS OF GOD

You must be proud of what you
complishing with your obscene filth, It
be. unwed mothers, wel-
fare costs, retarded and perverted young
people, insanity and syphilis.

For 30 pieces of silver. you are helping
moral decay in America, similar to the
Ron mpire. There will be a turn in
the road. The wheels of God grind slow-
ly, but they grind exceedingly fine.

Archie Stabler
Detroit, Michigan

breeds more r

VESTRAL KUDOS
I found ihe religious round-table
discussion in rrivmoY to be thought
provoking, perceptive and in good taste.
In a free, educated society, the leaders
of the basic Judaeo-Christian heritage of
America have nothing t0 fear if they
present that heritage wuthfully and
forcefully. In fact, they should. welcome
the constructive contri s being
made today by the well-informed laity
many of whom are more orthodox th;
their religious lead
The Rev. Coval ter
The Church of the Good Shepherd
vona, New York

PUBLICITY FOR MADALYN
1 admire and respect Hefner's stand on

every issue discussed in his dynamic
Philosophy.
However, while he wallows in fame

and fortu ad enjoys unlimited re
sources 10 advance his ideas, one of his
contemporaries—who is more direct in
her social attacks—is laboring under ex-
ie hardship and financial troubles.

Madalyn Murray. of Honolulu, Ha-

eds the publicity that a magazine
circulation and caliber can give
She was successful in having super

sm removed from our public
educational systems and is now in the
process of taking a “tax-the-churches”
suit to the U. S. Supreme Court.

All you would have to do to assist her
would be to interview her. Mrs. Murray
is as controversial as anyone you have
ever interviewed. Her plight as a result

*So we ran out
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Boy, one

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Black Russians at our cocktail party. Okay.
“Then the next time you said it was because we've been having

Kahlúa sours before dinner. All right.

"Last time we ran out you said it was because you'd been basting
chicken, fish, and meat with it, adding it to chocolate cake batter,
and making all chose wild desserts. So fine.

"But now there's no Kahhia left to put in my coffee and I know
why. You've been pouring it straight over ice and sipping it all
evening long.

"Boy one of these days... Pow, right in the sipper!”

B
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of our Christian society is shocking.

Keep up the good work and remember
that it has been suggested that Christian-
ity may be a Communist-inspired. plot to
regress the United States back into the
Ages.

William Dusenberry

Santa Monica, Califor

We're way ahead of you, Bill. Your let-

ter arrived while our October issue. fea-

turing am interview with Mrs. Munay
was on press. We hope you enjoyed it

CDL IN THE SUNLIGHT

lum est you to know tha
nd. in the mi
greasy, smelly, conservative Ohio,
ebeen fighting cur own battle for
of the press. I have two. daily
ms entitled. Comment, on which I
arious things, in-
ve been hit-

progr
give my opinions on
cluding social problems. 1h
ag rather hard at the censors who have
iheir poison in this com-
ay programs on

munity. In response. to
censorship, I heard from the local CDL
mative, who then was invited 10
on my progr:
point of view. 1 hoped.
cesstully proved. that exposure was her
worst enemy. Like bacteria, she withered
up and died in sunlight. But her friends
and associates are sull calling, claiming
they will never listen to the station
again, that we are Communists and
the usual stull. You may rest assured. our
fight will. continue
I would like permission to quote seg,

ments of your Philosophy on the air. if
that would be possible

Jocl M. Rose. News Director

WCUE Radio

Akron, Ohio
Permission granted, and keep expos

ing the self-appointed cenvors and
guardians of public morality in your

community for exactly what they really
are—the enemies of every freedom-loving
citizen in Anyone who express
es aversion to their suppressive acts is
apt to be called a pervert or à. Commu-
nist, but. remembe hen they squeal
the loudest, it's because you've hit them
where it hurts.

America.

CENSORSHIP IN CONNECTICUT

Here in Connecticut we Tour cru-
saders smut and sin at a tender
[New York Times clipping en
dosed with leuer describes "a one-boy

crusade against the sale of "sexy books to
teenagers," undertaken by a Milford
Connecticut, 16-year-old “The boy bi

his c after noticing

worship camp:
several younger teenagers in a depa
ment store "snickerin 1 gigglir
over copies of several sexy books, "none
of which he has read, nor does he know
their cont The youth “discussed
the matter h his moth who ^en-
couraged him to take whatever action he

felt
the stor
cuit pi
priest.”]

Connecticut, alas and alack, is still
wandering in the 15th Century. and the
only way I can account for my state's in-
icllectual impoverishment—and its de-
monic, hysterical "witch
scribe it t0 our medieval system of edu-
cation: a bastardized semireligiosecular-
ism, aided and abetted by too many
half-assed Catholic-American public ofli-
cials whose lopsided loyalty to our
founding fathers’ ideal of liberty is heay-
ily weighted in favor of “The Monarchy

necessary.” He “promptly picketed
protested to the Fifth Ci
»ecutor, the police and his

of Censorship” (the Vatican).
Recently six Connecticut. publications
were cleared of obscenity changes, but

only after a long, expensive court fight,
which is tantamount to legal harassment.
This is the sume kind of pain the editor
of Fact magazine has suffered grievously
fro and to which rrAvmov will con-
siantly be subjected by the absurd minor-
iy of prurientminded prudes who
inhabit the temples of intolerance—who
would inhibit isell in their
fanatical hatred. of all that is beautiful
and rational on this lovely planet earth

In spite of, or because of, PLAYBOY'S
sublime legalanoral victor
the medieval minds that govern th
city of Chicago—rrysov will ever be the
number-one target in the censor's sight

It may be of interest to you—it most
certainly is to the prudes in Naugatuck,
Comnecticut—that l'm running for may-
or of Naugatuck as an Independent. No,
I've no illusions—just guts.

It may be of further interest to you to
know that Em Catholic by birth and car-

over

e grea

ly educ My wife is a devout Catho-
lic: we were married in the Catholic
Church, and both my children were bap-

tized in the Church.

Yet all this subtracts not one iota from
my love of America. life, liberty, the pur-
suit of happiness. ond guts
if you print this, please—do not
withhold my name. My pet detestation is
censorship in all its manifold forms.
mes J. Owens
atuck, Connecticut

CENSORSHIP A DEAD HORSE

Tam in basic agreement with Mr. Hef
ner's position on censorship. 1 especially
ke what he has to say about the cen-
auty of sex and love versus the
openness of violence and sadism. This is
a most valid and excellent. point and I
think one that should be stressed more
often.

My problem in d h these
things involves my theological stance on
ethics. which is a situational one which
ays that it is impossible to make wide
generalizations on any ethical issue.
We can only look at a given problem
and apply to it the commandment that
we love God and others as we do our-

sored bi

self. My concern, then, with pornog
raphy (and here I refer to hard-core
pornography) is not so much with the
or viewer, but with the producer.
he is the one who distorts the wonder
and beauty of sex and love, who uses it in
an unloving sense. Perhaps we should
control this person. not because he dam-
ages society (in fact, sodety probably
gains because freedom is gained and
kepi). but because he damages himself.
1 do think that we may be whipping a
dead horse. For I believe that this is a
battle long won. Once Fanny Hill was
published in this country
pornography was over, and I don't th
we really have to worry about it much
longer, if at all.
The Rev. Douglas P. Evett
St. James Episcopal Church
Pentwater, Michigan
We certainly would like to believe that
the horse is dead. A large number of pro-
ple seem still to be riding it, however.
The idea of extending the law to keep
a man from damaging himself spiritually
strikes us ax well meant but dangerous,
That was the basic idea behind the
Inquisition, In theory, the Inquisitors
“loved” their victims, and showed it by
torturing them to save their souls. Ob-
viously, not even love is a legitimate
excuse Jor abridging the freedom of your
fellow man.

OBSCENITY AND MORAL DECAY

I found in the 22nd part of The Play-
boy Philosophy a statement by Mr. Hel
ner t0 the effect that when i be
established that the wri or sayil
something may lead 10 some immed
clear and present danger, censorship is
justified in a free society

This is true, but it also gives censors
foothold, My question is: Where is the
ine to be drawn between “clear and
present danger" and “obscene material
that will cause moral deci”

Lyle Morris
Los Angeles, California

Where publication of material can be
shown to result im some definite, con-
crete ill. effect, then censorship. of that
material may be justified. The publica-
tion of false and harmful medical infor
mation. for example, should not be
permitted. The classic example of a
"clear and present danger” was provided
by Supreme Court Justice Oliver Wendell
Holmes when he pointed out that frec-
dom of speech does not include the right
to yell “fire” in a crowded theater.

“Obscene material that will cause mo-
ral decay" is quite a different matter.
however, and cannot be established as
any sort of clear or present danger. If w
intend to protect morality, whose moral
standards for a
guide? And even if we could decide what
is and is nol moral, there is no evidence
that even the most pornographic maler
al imaginable would produce such im-

are we going lo use

morality. Responsible research on the
subject actually suggests the opposite—
that instead of stimulating sexual excess-
es, obscenity tends to neutralize whatev-
er aberrant sex interests may be present.

THE SELF-SACRIFICING CENSOR

Tn all the discussion of the censorship
of obscene and pornographic literature
I have not noticed one word of under
standing. appreciation or sympathy for
the selbsacrifice made by those indi
viduals who are so unfortunate as to
become censors. Brought so constantly by
their profession into contact with the
wretched works of depraved authors, the
censors cannot help but be corrupted in
mind, conduct and soul. Their character
is surely shattered, they lose all sense of
respectability and honor and they be
come perverted and depraved by their
profession, But single word of
thanks or appreciation is heard from
the callous public for the sacrifice these
people make to protect the impression
able youth of our nation. It is a social
disgrace!

If the juvenile delinquents who n
Tropic of Cancer, Candy or Fanny Hill
(and as a result rush out to break all the
windows of their schoolhouse, set fire to
their neighbors garage and provide à
horde of illegitimate children) can be
deprived of such books. then a whole-
some and worthwhile result has been
achieved.

A word of praise and appreciation is
due our neglected censors for their sac

rice of moral character and respect
ability im behalf of a backward and
neglected generation, unless (perish the

thoug!
excuse
their assiduous study of pornography for
their own personal enjoyment
George G. Laniel
Melrose, M

ht) the protection of youth is an

used by the censors to justify

assachusetis

THE RISKS IN FREEDOM

Freedom has its risks, its liabilities:
but more. it has assets without which a
meaningful human society cannor. exist.

"Therefore, 1 would rather take the risks
ibat come than see anyone set himselt
up as the censor of what can be spoken

or published

H. Paul Osborne, Minister
irs Un
Wichita,

“The Playboy Forum" offers the oppor-
tunity for an extended dialog between
readers and editors of this publication
on subjects and. raised in
Hugh M. Hefners continuing editorial
series, “The Playboy Philosophy.” Ad-
dress all correspondence on either “Phi-
losophy" ov “Forum” to: The Playboy
Forum, vravnoy, 232 E. Ohio Street,
Chicago, Hlinois 60611,

issues

169

PLAYBOY

170

PLAYBOY CARS - 1966

expert because if one went into a comer
ast and lifted the accelerator, the thing
would switch from understeer 10. over
steer before you could Monsicur
André Citroen. ‘This phenomenon is no
longer apparent in well-engincered £w.d.
cars, and in any case, it is an excessively
silly thing to do. Since the Toronado has
power steering, which kills off the front

wheel ve "feel" to a great extent, few
owners will be able to notice any
ference at all in the car's handling.
was so impressed

that he intends, with the cooperation of
the Division, to market a model similar
to the Sprint Corvair. Among the items
he expects to add: Koni shocks and radial
tires.)

Oldsmobile was not concerned with
the handling advantages of the layout,
but with its consumer appeal, which can
be considerable: Like rear-engine place-
u, fwd. gives a flat floor. The trans-
mission does not loom in a hump on the
front floor, and there is no drive sh
running to the rear wheels and hence no
driveshaft tunnel. This is pleasant
increases the air of livability iu the car
quite out of proportion to the cubic inch-
es involved. There is so little essential va-
riety among U. S. automobiles today that

(continued from page 128)

one must hope the Toronado is a big suc-
an encouragement to Ford and
Buick to come along with the Lwd. de-
signs they have in the cupboard. The car
might have a better chance if it were not
for the industry's iron-hard insistence on
treating every new development as a
stunning invention by the Detroit. wiz-
ls. Nine in ten Toronado prospects, on
pproaching the car for the first time, are
going to feel they're being asked to play
pig for something that was firs
ned up about 18 months ago. They
might feel better if they knew the gim-
mick first hit the road 100 years before
the Civil War.
Pontiac, for 1966, has turned its atten-

Motor City’s first beltdriven overhead-
cam six—a 230-cu.-in. engine.

The 1965 Buick Riviera was probably
the best-looking of all American moto
Gus, and one of the dozen best looking in
the world. The "66 will be two inches
longer and four inches wider, which
doesn’t sound like enough to spoil it. The
340-hp engine can be optioned to 360.
Chrysler Corporation. it should be noted,
is inwoducing a 196cu.in. "street" ver
n of its hemispherical-«lomed. engine
that was the scourge of stock-car racing

“So much for the password.
Do you have the countersign?”

until ruled off the tracks in a disagree-
ment with
for “production

ngines.
Mercury has come up with a compro-

mise which it feels w isfy devotees of
both the stick shift and the automatic
transmission: it's offering as an option an
itomatic that permits manual shifting
into second and first gears.

European car critics complain that
world full of ng new materials, only
stylists wishing to crawl back to Queen
Victoria would in quality car is
not a quality car u: full of tree
id cowhide, and they point for ex-
ample to the hundreds of exotic fabrics
used in American cars. They will be con
founded that Cadillac is now using leath-
er in herdaize quantities, and that. "66
models will have upper door panels and
sills trimmed in nut id not veneer-
bonded-to-stecl, either, but the. genuine
forest product. three eighths of an inch
thick: plus another of the caste ma
that have been for 40 years absolute
required on any British car with prete
ions to quality: folding tables on the.
backs of the front seats. Cadillac has.
raised the bidding on them: They're in-
dividually lighted. The 1966 Cadillacs
will genuinely break new ground. I think,
with the electrically heated seat optioi
carbon-doth heating pads built into the
chairs and olf à temperature range
from 85° to 105° F. This device fills a
longfelt need: Why should one walk out
of a warm house and plow down on an
ice-cold automobile seat, particularly an
e-cold leather automobile seat? Al
though it need not be leather: There are
171 upholstery options. And a four-
speaker AM/FM stereo setup.

‘There is no question about it: Ame
mobiles are the most. comfort-
nd luxurious in the world for the
They will not. as they come out of

ay with the best Europeans on
nd most of them won't take
four relly hard — down-the-mountain
brake applications, simply because they're
not built for that kind of going. The com-
bination of top-line luxury and h:
rarity of rarities. The vast Mercedes-
2 600 limousine, loaded with such ni
ceties as singlekev locking of all doors.
wunk lid and fucl-filler cap. und so we
ler. will do 128 miles an hour and handles.
like this: Stirling Moss took one around
the tightly curved. hilly 1 Brands
Hatch circuit, seven. people aboard. in
two seconds and bit more than the
edan record. for ihe course! Mer
cedes is doing four new models for 1966.
ME have disk brakes on bigger (H- in-
stead of 13-inch) wheels, a fan that idles
until its needed, a hydropneumiati
axle compensating spring tha
cally adjusts to. increased load. Every car
in the line, except the 200D (diesel) will
do 100 mph. The furnace oil model will
make 80.

The Volkswagen factory, which prides

a bent road.

itself on infrequent model. changes,
making a couple of new ones in 196
"The old standard beetle is getting a big-
ger engine. to bring it to 50 horsepower,
and derail improvements such as a third
defroster vent in the middle of the wind-
shield. The new model, the 1600 TL, is a
bigger-engined. version of the 1500 intro-
duced four years ago. It has 65 horsepow-
er, disk brakes in front, and so on. The
terior has been worked up—shrouded
struments, reclining front seats. The
body style is fastback, the engine-cooling
louvers Jong the sides. The rear
window has no hinges, but opens two
inches I's made of the new thin
flexible glass. and it bends that much.
Rolls-Royce. which hasn't brought out
a new model since the V-8 engine ap
peared in 1 anounced a new line
for "66, moment 100 soon.
either. The car has been mechanically be-
hind the times for years, and even its bas-
ic claims, to an impeccably smooth ride
and great silence, have not been valid.
Cadillac, Lincoln and Chrysler have all
offered beuer rides for a long t
Ford demonstrated. a G i
duction line is quieter than a Royc
new model continues the “Silver
ation that began with the Silver Ghost
ol sainted memory. replaces the Silver
Cloud and is called the Silver Shadow. It
has independent suspension all

and not a

ne, and as

the four-wheel disk brakes that are de ri-
gueur in Europe nowadays, operating on
her remarkable system of dual
ne-driven pumps, and a monocoque
body. The Bentley will, as be be
identical except for radiator shell, and
between them they will no doubt go a
Jong way toward restoring the two
to their past eminence.

For the race-bent young in heart (
long in pocketbook), Carroll Shelby will
have this year 50 Ford GTs. the stormers
that were seen doing 220 miles an hour
down the Mulsanne Straight at Le M
These carry the c punted 385-horse-
power Fairlane V-85, are 40 inches high,
road to rooftop. possibly the sexiest vehi-
ce the Buccialli Brothers showed
first WG-cylinder car at the Paris
The price seems reasonable
enough: 516,250.

If this is more than one finds in the
righthand pocket, there is the new Co-
bra, the 427-cu-in. type. For the street, as
the saying goes, the tag is S600;

cles si
their

if you
wish to go racing with it, the quick one
will cost you $9950. The Cobra is the
strument with which Shelby won the gran
turismo World

Cham-
pionship. beating the «dreaded Ferraris on
their own chosen ground, an extraordi-
ry accomplishment which
Shelby says has given him more satisfac-

Manufacturers’

onc

tion than anything in his own n

able racing career.
Perhaps more to the poi s
useful over-the-road ope is cm

elbvs Mustang G-T. 350.
m of the st 1 Mus
iirlane engine. boosted
to 306 hp, and the Cobra close-ratio gear-
box. There are other oddments on the
vehicle: limited-slip ditlerential, Koni
shock absorbers. quicker stecring, wide
rim wheels, and so on. It will get ro 60 in
about sis seconds. The street version
runs dose to 54500, the competition
model is $5950.

The V-8 engine is an American special
ty that has been slow in coming to ap-
tion in the rest of the world, but
is that the dam is breaking:
necred Sunbeam Tiger. for
looking like a typical British
sports car in the MGB class, and turning
ino something of a secret weapon at a

stop light. Another V-8 item, very prestig
ious in the | ed Suites because so
rare. is the Jensen Mark HL, a new model

running the Chrysler $83 330-horsepower
ngine. This is a luxurious, fast (130
nph) hardtop coupe, unusually fully
equipped: Drivercontrolled shock
sorbers. an electrically heated. rear wi
dow and—are vou ready?—a firstaid
are all standard. Another rarity is the
Ghia, replacing the Dual-Ghia, This
is a piece of beautiful Italian coachbuild-

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171

PLAYBOY

172

Want to make the cover of Time magazine?

you'll get there faster
in a clubman^sportcoat

When you look successful, most
people think you are. Clubman
reflects fashion authority and
carries with it a subtle air of
success and new vitality for
your wardrobe. You belong in

a Clubman sportcoat. $35 to $75

FOR A SHOP NEARBY, WRITE: CLUBMAN, 933 SOUTH MAPLE AVENUE, LOS ANGELES. CALIF. 90015

work, pow-
ered by the Chrysler 273 engine. It has
four-wheel disks, and of the 200 scheduled
to be made this year, 50 will be allocated
to the American m t at 50000. Krim is
marketing two other specialty curs, the
Vallelunga and the Ghia 1500€
Chia 1500 is based on an extensively
modified FIAT 1500 chassis, will sell at
54000, The Vallelunga (Long Valley) GT
is a new design by Alessandro De Toma-

a 42ind-high coupe on a backbone
chassis, the engine a worked-up English
Ford C mounted in the n.
too, has four-wheel disks, and comes in
two engine opt horsepower,
which will provide 120 miles an hour in
top, and a 135, which will get it close to
150. The Vallelunga is priced at 57500.

Another backbone-chassis sports car is
the Lotus Elan, by Colin Chapman, the
number-one race-car designer working
today. The backbone cha best
thought of as a big girder with engine
and wheels mounted on it, gives notable
stiffness, freedom from chassis flexing,
and thus superior handling, other things
being equal. Most testers agree that the
Elan is one of the besthandling cars ever
y ihe best available today. A
that is often praised as the best in
class for ram y is the German
BMW 1800 TI. Product of a famous old
ische Motoren. Werke), the
TI runs around 53500 and is worth it.
BMW has a 2-liter hardiop coupe in the
ion of
the ad-cam-
shaft engine used in the 1800 TI. The
body is unusually goodlooking,
1usual, too. in that it's not of Italian oi
n, butout of BMW's own styling depa
nt. The honor of offering the premier
oneupmanship device in the automotive
world remains, I suppose, with NSU of
the NSU h the

ider

ning a production
ce of the NSU-
nkel is adequate if not stunning, b
ay hands on one, you cin
y certain it will be the only one
on the bloc least until. someone
comes alon Japanese Mazda Cos-
ng the Toyo Kogyo
of the device: in elfect, two
cls linked to;

Exclusivity isn't everything in the
pleasant task of selecting a gentleman's

ether.

y one car is
ad the id.

going to be difficult, would

be a trio: a lively but elegant ultrasmall
for everyday urban use: a lim-
ie for formal wear and the occasions

when a party of six or so would be hap-
piest conveyed ur
gran turismo for the weekend run into
the country. Happy choosing.

GOBLIN OF CURTERY SINK
(continued from page 120)

he was sure, his lucid, keenly
efficient mind would light upon the solu
ion of the vexing problem at hand.
wened by this assurance, and by
the rain’s stopping, he made his first big
istake: He took olf his shoes. They had
shrunk while his feet had expanded, and
the relief was exquisite. He walked for
quite nce in his socks over the
springy unf and would have continued
in this way to Okehampton, if he had not
come to a stream to be crossed, whose bed.
was sharp shale. When he tried to get the
shoes on again, they would not fit
came nowhere near fitting. He
obliged to use his galoshes inst
wade across this tributary to the Dart,
which appeared on his chart as a thin
blue hair but which was 12 feet across
nd knee deep, running fast.
"Then the terrain roughened and he
had to keep the galoshes on. They were
too big: His feet slid around in them and
he could feel blisters forming. Soon every
step hurt.

At one o'clock, hungry, he sat down on
a barrow. or cairn, or something, and
took out the sack that contained his sand-
wiches. They had been wrapped in paper
napkins: cach w ig mass of
bread and. paper ib of ham
or cheese. He scraped off the mess and ate
hout pleasure. g them
down with generous draughts of whiskey
from the flask he had forethoughtfully
brought along. While he was doing so, he
saw his first dead sheep, off to the right a
bit: a patch of dirty wool, a few bones, a
toothy skull. The meal finished and his
appetite far from appeased, he opened
up his dint to get his bearings: At once,
of course, the rain came down i
gI
mash: but right beyond lay Cranmere
‘ool and the downhill run. He put the
map away and the rain—on cue—
desisted.

‘The mish posed a problem. For onc
s. it ran uphill: for another, it
icd to be casy to get across until you
were too far ino it to want vo turn back
Harry started across with a sense of ex-
citement—this was fun. He hopped from
tuft to tufi, half drunk and hence con-
gratulating himself on cach feat of bal-
ance. After a while, of course. lic cime to

aw that he was new

an interval too wide 10 hop. Here he took
an intermed

ry step and found himself
soberingly up to his knee in mud. He
waded ro the next tuft and appraised his
situation with some alarm. Should he go
back? But the other edge was only a doz-
en hops away. He decided to go on.
Tt was not pleasant, Three times he had
10 venture into the swamp, and each time
it frightened him, After all, there
such a thing as quicksand. Once a galosh
came oll and he had to root around in the
mud, sinking slowly deeper, until he had

found it. Safe on the other side, he sur:
veyed the ruin of hi . smeared with
muck to the armpits. There was no clear
water in which he could wash.

Now, according to the chart, he should
descend exactly 100 fect to the northwest
for hall a mile, and there would be
Cranmere Pool. He did so by compass.

But it was not there, He had in ined
a ghostly and misty pond like the one
King Arthur threw Excalibur. into. but
there was nothing that looked like a
pond, or even where à. pond. might con
ceivably have Jain, He tracked. back and
torth for a while, looking, and then gave
up. His fect were killing him.

“Cra Pool docs nor exist,” he
said loudly. “Another of those damned
British myths”

nere

He set off angrily up the hill. in a state
of grave disrepair, He wished with all his
heart that he was eight miles away, in a

warm tavern with his wife, drinking a
Pimm's.

He rounded a low hump in the land-
scape, and there it

Tt wasn't a pool, exacily—more a pud-
dle surrounded by weeds and swamp. But
the mailbox, set against the side of the
hill, identified it beyond question. There
it was, his primary destination.

Hary stumbled over 10 it, carefully
skirting the soft ground. In the box he

found a letter addressed to Ronn
Mitchell, Sarratt, Herts. He took the let

ter and put it in his soggy pocket. and
then he sat down on the ground and

looked both without and within himself.

Without he saw the sodden, barren
landscape. a few sheep and the eight
miles he had yet to cover. Within, he saw
a scene no less depressing: a guy about to
lose his job because he had caused
SL500,000 to be spent in vain, and who
had not the slightest clue how to salvage
the situation. The best he could come up
with was the idea of depositing here a
postcard to himself. Gazing at his mud
caked clothing, he realized that he had
ot himself into a ridiculous position.
He made bundle of his shoes
ncc
of the coit. Under the belt he tucked.
onc-pound note and a slip of paper with
his address He kid this bun
dle beside the n „ put his postcard.
in the bos and limped off in the
direction he thought would bring him to
Okehampton. He Mildred had
foreseen, one miserable baby.

The downhill trip was a sort of night-
mare. Now that he had abandoned his
coat, a cold wind sprang u ] set hin
to shivering. A mood of resignation beset
him, He found himself willing to concede

wits,

173

PLAYBOY

some measure of justice to the O.B.'s stric-
tures. Anyone, he told himself, who could
get himself into a mess like this was ipso
facto unreliable. Furthermore, he kept
seeing more and more dead sheep grin-
ning at him from right and left, with no
live ones to keep him comp

After about a mile and a hall. he came
to the headwaters of a stream, and want-
ed to know what stream it wis. On reach-

ng for the chart, he found, to his greater
despair, that he had left it in the pocket
of his imperméable. His choice was to go
back and get it or to follow the stream.
whatever it was, until he reached some-
thing. The thought of rew
was too repugnant, and he did not do so.
This was nextto-last mistake of
judgment.

It was as it happened. the upp ches
of the cast Okement River and he was,
without being sure, on the right track. I
ad the map. he would have
nown that the path he came upon a few
th led off to the left,
had been made by meu and not by sheep.
and that it would bring him securely to
civilization. As it was. he pondered it
briefly: saw that it took him away from
his only reliable guide, the river: crossed
ind went on across the trackless moor,

ny-

ag his steps

His last mistake. in a whole day of mis-
takes, was committed
kuer, when he could

good two hours
ready discern in
the far distance farmhouses, crofts and
the smoke from chimneys. He was by this
n a state of nearly toral exhaust
taking each step only by an effort of will
Staying close to the river, he had fre
quently had to climb up and around
rocky abutments that blocked his way.
and detour the marshy arcas that got
more and more frequent as the ground
leveled off. Now. when he could already
1 hundred yards ahead, a road with
walls on cach side. a final obstacle con-
fronted him: a marsh surrounding a tiny

tary where it joined the river. The
brook dropped down so sharp a cliff tha
he knew he could not seale it. He would
have to go back half a mile and work his
way around. unless he 100k a chance on
the wet ground. Without really thinking
about it, he took the chance.

It wasn't much of a chance, really: The
marsh was only 20 y
He jumped from tuft to tuft without
difficulty almost to the other side. not so
g his galoshes: even cross-
ing the stream itself was no problem. But
then. of course, there it was, the inevit
ble I?-foor hop. The ground benween
looked almost solid, with a fine growth of
bright-green grass, He jumped out as far
as he could.

Bright-gveen grass! his
claimed as soon as he w.
could have, he would have revers
tion in midfight. like the char
the animated cartoons when they fall off
the diffs: for he remembered a sentence

about ds w

174 in the guidebook that warned against

bright conjunction with
quicksand on Dartmoor, and at. precisely
this time of year.

He sank to his knees at once. There
was a dreadful sucking sound as the sand
settled around his legs. The solid clump
was six feet away, beyond his reach. He
felt himself sinking lower and uttered a
strangled cry. Then, miraculously, his
fect came to rest on something solid
Thank God! he thought. | can wade
over

But he was wrong. When he slid his
foot forward and tried to step down, he
found nothing beneath it, It nearly cost
hi

his precarious cqui
it back. His attempt to rement met with
no greater success. He was perched on a
tiny submerged island. Prodding about
with his toe, he conduded that he was
standing on the butt end of
that was balanced upr
What fantastic luck!” he said aloud,
looking at the placid deadly tract around
him. Suddenly he felt giddy as he realized
jus. how improbable it was that he
should be standing there. alive. A foot
more or less in his leap- floundering in
that horrid quagmire—the first snooiful
of sand and water as his head went
under... What had guided him to this
one square foot of salvation?

Anyway, there he stood marooned.
with nothing to do but to wait, Solid
ground was only a couple of paces away
—it might as well have been a mile. But
in plain sight ran a well, not a
road, exactly, but something that people
traveled over now and then, Help could
not be far away. Reluctantly, somewhat
sheepishly, he decided to shout for it.

He showed for ten minutes, until he

was hoarse. No help came. Darkness came
insiead. calling forth lights in the distant
farm buildings. He began to confront the
possibility of standing at this solitary post
throughout the night. Mildred would
give the alarm, of course. and they would
send out a search party, but there was not
the slightest. chance of their finding him
in the dark.
It was just when he had achieved this
insight that help appeared. With a dis
tinct sense of relief, he saw a head bob-
bing along behind the wall.

“Hallo!” he shouted apologe
can you come over and give me a
hand?”

A startled gaze was turned in his direc
tion and abruptly the head disappeared.

“I say!” he cried, louder. "Where are
you? I'm caught in this damned bog!"

The head showed itself again, at the

same place. Cautiously, a boy of about
14 climbed over the wall: cautiously he
moved forward, until finally he stood
pout ten yards distant.
"Well. I certainly am glad to see you!"
Harry said. "Have you a rope or some-
thing? A belt? Take olf your belt —you
can reach. me."

“Ye're the Goblin o' Curtery Sink," the

boy mumbled. “N.
Stay away, stry aw.
come nigh.”

It was one of the worst moments in
y Gibbsce's life: He realized that the
was dim-witted.

“Lad, lad,” he said, his voice gening
shrill as he fought down a growing hys
. "Lad,

my told me about ye.
he'll get ye.’ PI not

ht in this sand and wants to get out.

1 need your help, Now come closer and
p

pull me out. Come and h

The

lp me, Jad.”

boy stood stupidly 30 fe
his eyes bulging, his jaw
he said, “FIL not come

Atleast he could talk and under
thank God for that. "Listen," Harry said
ly but slowly. “If you won't help
me. go quickly 10 The Crown in Oke
hampton and tell them there that you
saw the Goblin of Currery Sink. and thar
he wanted you to come closer. Go and tell
them that he wanted your help.

The boy simply stood there. Harry
made a final effort. "Son!" he cried,
“Think! If [ was your father, and in

trouble like th
save me?"

A look of pure terror
boy's face. "Me dad?" he faltered. "You
me dad? No—no—don't beat me! TII
not do it again, Dad!" The boy turned
and Hed. unheeding of Harry's shouts
and cries.

And now Harry Gibbsce knew for cer-
tain that he was going to spend the night,
and maybe a lot longer than that, right
where he was.

. wouldn't you stop and

nimated the

The Crown at Okchampton was not
really a hotel; it was, rather, a pub with a
few rooms on the 1 floor, one of
which Mildred had engaged for the
night, She had spent an hour or so wan-
dering around the village on foot, trying,
and failing. ro find something of interest
Then the rain had driven her inside, and
since noon she had been sitting in the
pub, drinking beer. At the two-o'dock

time

secon

clos | the other patrons had
left, but she was allowed to remain, being
an overnight guest: and the proprietors,
whose names were Will and Alice Tavy
had good-naturedly continued. to serve
her beer in defiance of the law.
“Iva filthy, stupid law anyway.” Will
Tavy said bluntly, “to say a man can't
have a pint from two to five. Why noc. Fd
like to know.
Why not,

indeed," Mildred

"Come on, how about another bitte

a game of darts

They played several games of darts, all
of which Mildred lost spectacul:
discussed seriatim the weather,

food, life on the moor, the singing of
birds, the National Health, Harry’s
whereabouts, L Tory concepts of

had
y syste
Alice Tavy threw open the doors att

government and English beer. The
just taken up the British monet
whe

Here's something to top your
smoothest bottle of Scotch.

City, N. Y. 10017

) Johnnie Walker
)

Cheek or money order payable to
Canada Dry Corporation.

Johnnie Walker himself, stepping out on a
pouring spout that saves every precious drop.
Hand-painted, and yours for only fifty cents.
Mail the coupon. Johnnie Walker Red, smooth
enough to be the world's largest-selling Scotch.

BOTTLED IN SCOTLAND. BLENDED SCOTCH WHISKY. 86.8 PROOF. IMPORTED EY CANADA DRY CORPORATION. NEW YORK, NEW YORK. — 175

PLAYBOY

176

five o'clock, and the workmen and f.
ers straggled in for their afternoon pints,

We stopped for gas—petrol—at Exe
Mildred was saying. "Fill her up. It
came to thirteen and a half gallons
seven shillings thruppence ba’ penny. The
man took out a pencil and pad. “Thirtec
and a half times seven is 9114 shillings,”
he suid; "then thirteen and a half times
three and a hall is. well. let's see now
Tavy, 1 swear it took him five minut
and then he said, “Just let me pop in and
get the little book! and out he came
after a while with the litle book he
needed to look up the answer to a simple
multiplication.”

Will Tavy was busy at the tap and
could not answer, but Mildred went right
on. She was the only woman drinker in
the place, but she had the sort of looks
that let her get away with anything.

"The trouble with my husband Harry
is that he approves of all that. He w
delighted. "Giving up the pounds, shil
lings and. pence would be like chucking

out the Royal Family he says. "It's
wadition that has made England. great."
If you want to sce a happy man, just

my at the. Changing of the

"I'd want to see him coming in pretty
soon if I was vou," Alice Tavy suid. "He's
long overdue, seems to me, Isn't he,
will?

“Ay, should be back by now. Be lost all
night out there, I shoukli't wonder

“Is it some cove out on the moor?"
of the workmen asked. “Alone?

“Like as not get into the artillery
range," another said.

Why, itll be dark in half an hour."

“Is he certified?

There were a few hoots of laughter,
but hall a dozen troubled glaces were
turned in Mildred’s direct

Is there really some d
asked, feeling alarm for the
"Could he be lost or hui

"Tis no place for a stranger to he out
alone, ma'am,” a grizzled old fellow said
gravely. "Not this time 0* year. And not
this time o` day.

one

first. time.

I've been lost out there many a time,
TH not deny iL" a younger man said.
"and roamed the moor since [ was a
mite."

A young boy
to the tap with

"The usual for the gov'nor, Tad?”
Will asked.

"Mild," the boy said. "And sce ye fill it
to the brim.” This was apparently a daily
exchange, for all laughed.

While Will was filling, a man at the
dart board spoke. “Intending no diste
spect, ma'am, but PI lay any man ten
bob"—here he raised his voice— TI lay
any man ten bob to three nobody comes
off the moor this night.” i

In the silence that followed, the boy
spoke up. “T saw the Goblin o' Curtery
Sink today, | saw him sure,

AIL eyes turned to him.

ery

“You were on the moor,
asked,
“Ay. To catch a pony.”
“And you went past the
“Ay, E did. And there he was, his eyes
like fire and him hootin’ for me to come
close. Oh, 1. ran!"
Will turned 10 one of the me
Fred. hi

. urgent-
€ ye been there Lately? Ts it

ly
sol?’
“Ay, “tis.” Fred answered. “You know 1
lost a ewe there Monday. Hast.”
Mildred looked. the boy, whose face
showed fright again. and at Will Tavy
sure surmi Tt
"It's thar husband

By the

ume darkness was complete,
Harry Gibbsce had considered and reject-
ed a number of motions how he might
benter his plight. He thought of diving
forward or backward in the hope of being
able to swim. so to speak, the few feet to
solid ground: bur the sensation of the
sand. sucking almost. beseechingly at his
Hand when he immersed it was enough to
put this plan out of his head. He then.
contemplated. dousing his shirt with
whiskey. setting it afire and waving it as a
signal. On taking the bortle from his
pocket and sniffing it. however, he found
himself deploring the investment of so
much good Scotch in so tenuous a hope,
and decided on an internal application.
He took a good long swig of it: and,
before very long. another

Under its stimulation he remembered
the indecently d b and handker-
chief in his pocke although the
prospect of death had not seriously oc-
cured i0 him, he felt that it would be
dicious to dispose of these items. He did
so by prodding them under the surface at
his side. He alo tossed his wallet to the
firm ground. and the letter he had picked
up at Cranmere. Pool

“Punting my estate in order." he said
with a chuckle, Somehow he could not
take his situati a fact, the
more he thou: and the more
the more it
seemed 10 him that Efe. must hold some
rich reward in store for a fellow who
could jump into quicksand and land safe
ly on a pin point. He began to feel more
confidence about his job, and for the first
time turned his thoughts seriously to the
problem of the plastic that was immortal
when he made it. but cracked when mass-
produced.

He had followed the classical proce.
dure: blown his steam of kerosene and
othballs (a duodecane petroleum. frac-
tion and paradichlorobenzene, actually)
over a bed of his catalyst, a calcium sili
cate. Ab, that calcium silicit Title
dash of "Tabasco in the catalyst—that was
what had made the plastic

Or was it? The plastic wasn’t immortal
any longer. Gould some other subsnce—

somehow, without his knowledge—have
got into the misture? And not be get

to it in the new factory? If so, wl
might it have been? What would it have
to be to produce the given effect?
Tilting his head back for :
of Scorch and inspiration, he lost his bal
ance and sat down in the bright green
grass. He sank quickly to his shoulders,
with his backside where his feet had bee

other dose

"Damn" he after the
momentary “Why didn't

nk of thy For he was a good
deal more comfortable: warmer, for one

ng. and much relieved in the feet He
celebrated his new posture with a hefty
dr and then auromatically wiped
his mouth with the back of his
muddy hand.

now

said

Damn!”
Pini!

he again.
Eecgk!" —spitting

a that icky mud taste—the same

got away from, in his corner

miserable flowerpot factor

of that
where the air was full of ceramic dust

| his hair. in his ears, under hi

had gor

collar, in his books—everywh
Hany Gibbsee felt the tumbler fall in
the lock he was tying to pick
Everywhere! Everywhere! Imo the

plastic mix, too, of course!

“Pye got it! I've got itt” he shouted
t Oh. glory be!” Wildly exult
amt now, he was also, to tell the truth,
totally drunk. ting the borde in the
air, he broke into song:

“Ooooh, I'm the Goblin of Curtery

Sin

PN bite off your head as quick as a
wink,

Unless I'm too busy imbibing a
drink,

Which is just what PH do at this mo-
ment, E thin

And he did so, emptying the bottle
“Each man kills the thing he loves.” he
hollered. “Yippe
It was this noise that led the rescue |
ty to its destination: Will Tavy, two oth
men and Mildred, stumbling after,
m sober herself.
They played ihe li

wht over €

ery
mk and found him. Will Tavy went as

nd cal
“Take it easy, man,
have vou out im a jill
No hurry.” Harry shouted cheerfully.

close as he could

ed for the rope
he said. “We'll

saling with the boule. “AI ih’ time
in dr worl, Jes’ aseuimt here doin
some high-level research in th’ chemis.

ny of synthetics. Mildred, Tve got it!
Ive thought of the necessary amend.
at to the formula, The whole prob.
"s solved!

The
Mildred. unce
peculiar Americ
cently to the occ

“My husband's a very famous ex]
mental chemist,” she explained, "He's al
ways done his best work when he's dead
drunk and up to his neck in quicksand.”

men looked questioningly ar
in what 10 make of this

She rose magnifi

“But what about your Appointed Rounds?!”

177

PLAYBOY

178

NAME YOUR POISON

ded
rdly

Aren't you the fellow who upbi
me the other about the cow
use of euphemism, circumlocutior
ecdoche, metonymy, and so on?
m the fellow. What about it
Well, why do vou say you Tied On
On? Why don't you simply admit you
were drunk?"

Because I wasn’t drunk, smarty-
pants. that’s why. Not what Z4 call
drunk. 1 enjoyed a friendly Sn a

Quick One just to Wet The Whistle; you
know, One For The Road . . .*
“You mean a gl
“TM ignore that.

There's
ong with Bending The Elbow

nothing
bi

with one’s cronies 10 Repair The
sues, getting together to Refresh ‘The In-
ner Man by the time-honored custom of
Hoisting A Few...”

Oh, now it's A few
Nips, Swigs, Shots, Slu

If you will.

“OL Booz, Hooch, Sauce, Smakcoil,
Redeye? Or maybe you only drank wine

—oops, 1 mean The Grape.”
“Are you quite finished?" I ask icily.
She isn’t. “Was it an Eye Opener you

had, or a Pick Me Up? I suppose it was

too early for a Nightcap. Or maybe you
like to say The Cap That Cheers

“I wouldn't be caught dead saving
The Cup That Cheers. And speaking of

cups. brighteyes, what about that
coffee
"You wouldn't prefer The Hair Of

The Dog

"Woman! You wy my patience! Be-
gone!"
She v . the fear of God pl
10 my swivel chair,

nd promptly dream an unusual

1 gin walks ino my

office carrying the complete works of
ix volumes.

Benjamin Franklin, im six
Now, my ary returns,
sound of her voice awakens me abr
"Here's your coffee. Alo your pills.
Also the complete works of Benjamin
Franklin, in six volumes.
1 didn't ask for——"
est you read what he has to sty
in number twelve of the Dogood Papers.
You. Are. Out. Of. Your. Mind! Ben-
min Franklin on a Monday morning?"
“Ws Tuesday afternoon.
She opens the Dogood Papers and,
with rapidly glazing eyes, D skim the
words 10 which she points: "It argues

secr

some shame in the drunkards them-
selves, in that they have invented. num-
berless words and. phrases to cover the
folly. whose proper significuions are

harmless, or have no signification at all.
They are seldom known to be drunk,
though they are very often Boozey, Co-

gey, Tipsey. Foved, Merry, Mellow, Fud-
dled, Groatable, Confoundedly Cut, See
Iwo Moons, or The Sun Has Shown

(continued from page 103)

Upon Them: they Clip The Kings
English, are Almost Froze, Feverish,
In Their Alitudes, Pretty Wel En-
tered At this poin, my eyeballs
roll up into my skull of their own accord,
and she says, alarm
“You worry me. 1 wa
now, but I'm not sure I should leave you.
Will you be all right?”
“OF course PH be all r
so damned solicitous!
“Well, you look sick.”
“I am not sick. P have
which is a very different thi
de Under The Weather, tha
Morning Alu
The usual Katzen.
The Horror. A Big Head,
nothing morc. You go to lunch. Go right
ahead and gorge yourself. that’s quite all
right, but in the spirit of reciprocal solic-
inde, 1 feel compelled to point out that
you've been gening a wille chunky
around the middle, so it might be a good
idea to go casy on the caloris, Not that Z
mind, but sudden pudginess in girls i
often misinterpreted and. people do talk.
No, ne. don't bother to thank me, it's
part of my job to look after the welfare
of my little charges. And, speaking of lit-
tle charges, 1 assume your relief secre
your petite, slender relief. secretary—
stands ready to defend the fort in your
absence? Good, fine, excellent, Please i
form her that I am not to be disturbed

going ro lunch

Don't be

during the nest hour lor any reason. Got
that strai; a, sweetie, and
as you walk into the commissary, avert

your cyes from ihe sour-cream cheese-
e with strawberry topping—it's mur
der on the shape.”

Her exit is uncharacteristically silent.
So is the hour that follows. No phone
calls, no visitors, nothing to disturb my
rest. I awake much refreshed. and very
hungry. I life ihe phone to order a bit of

cal

lunch. It is dead. I jiggle the. button.
Nothing. Undaunted. 1 rise and walk to

the door. It
strong Ling)
duce here
pocket a

is locked. Giving vent to
we which 1 will not repro-
1 fish my olfice key hom my
d unlock the door. I am pre
pared to admonish the vel tary,
but she is not at her desk. In the carriage
of the secretarial typewrite

from Secretary Number One to Secretary
Number Two. 1 take the liberty of read
ing

is a memo

it:
White Fang is in a filthy mood to
day" (it reads) “and doesn’t want to be
disturbed ‘for any reason.’ 1 suggest you
have the operator put a plus in the
switchboard so he can’t receive calls and
so he won't be tempted 10 make
ther. We must save him from himself. By
the same token, be so good as to lock his
door so people won't be wandering in
while hes snoring and drooling and
making a spectacle of himsell. And then.

iny. ei-

if I were you, I'd take the afternoon off,
since there'll be nothing left to do. In
the unlikely event that he outwits us and
gets through to vou. do not. under any
circumstances, make reference to his deli-
cite condition. If you find you absolute-
ly must allude 10 it, for your own good
use only the following terms, which 1
have arranged in alphabetical order for
your convenience: A Drop Too Much,

Bagged, Barreled, Bit Of A Glow On.
Blasted, Blind, Blouo, Boiled, Buzzed,
Cock-Eved, Conked, Corked, Corned,
Crocked, Feeling No Pain. Floating,
ying High, Fried. Greased,

Groggy, Half Shot, Has
High. Inebriated, In His Cups,
cued, Jagged, Juiced, Listing To The
Leeward, Lit. Loaded. Looped, Ou A
Bender. On A Spree, On A Tear, On A
Toot, Paralyzed, Peuified, Pickled, Pic

Eyed, Piffed. — Pifllicated. — Plastered,
Plotched, Plotzed. Polluted, Puddled.
Saturated, Seemg Double, Shellacked,

Skunked, Smashed, Snoggered, Sozzled.
Spiffed, Squiffed. Stewed, Stil. Srinko.
Stoned, swacked, Tanked, Three Sheets
To The Wind. Tiddly, Tight and Un-
der The Influence. Those are off the top
of my head, but if you need more, con-
nklin's 12th Dogood Pa-
per and Roger's Thesaurus. | don't want
to give you the impression that our boy
is a drunkard—he may be a Bibber, a
Lush. a Rummy, a Toper, a Tippler,
a Tosspot, a Souse, a Soak and a Sot: he
ay be Off The Wagon; but nothing

suh Ben

worse than that. However...”

My reading is interrupted by her re
turn from lunch. Immediately, 1 panto-
mime looking through her desk for

rubber. bands.

“Theyre in the top left drawer,” she
ys, Hath
Hm? Ah
euen your fil
"No." she pouts. "I decided you were
ious about my getting chunky. 1 had a
watercress salad."

That’s terrible! I apologize! You're
gening chunky at all
owre just saying that.”

‘Tl prove it. Come our to dii
me tonight.”

“Why should 12"

“Dost thou love life? Then do not
squander time. Who pleasure gives shall
joy recive.” That's why. You know who
uttered that uiterance??

c you

€ you

not

ner with

Benjamin. Franklin?"
Absolutely correct. Pick you up
about seven at your place. Better yet, six

thirty. Thavll give me time to sample
your liquor before we—"

“Sample what?"

“What 1 mean is,” V say loudly, to pla
cate the gods of cuphemism, "irs been a
hell of a day and I feel the need of a Wee
Dram before. dinner

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make it seem as if it were composed
just for him. It’s a complete evening's
entertainment with twelve different
numbers including the title song plus
“Ring of Bright Water,” ‘An Island
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“Sometimes,” “Never Let Her Go”
and “Half A World Away.” Sit back
in the best seat in the house and
treat yourself to a great show.

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PLAYBOY

180

ETTA AT NIGHT continued prom page 88)

could say, incidentally, “Hey, that was
pretty good spring snow at the Flegers’
last night.” ‘The very cachet of it rang
out in the little cries with which the rest
of the party buckled on their ski boots.
I excused myself with tiredness: I'd ar-
rived from New York just a few how
ago. Slim had a convenient slipped disk
which made him a full-time aprésskie
He and 1 pulled up armchairs to the
window and watched our friends ghost-
black through me snow as the private ski
lift pulled them up the slop
But she kept rankling me. Unlike
most Germans, she hadn't even bothered
10 become defensive about ui Third
Reich. The Führer was just another ce-
lebrity with whom to rewind a party.
“How'd the Fh s get away with all
that Hitler stullz" I asked as we watched.
“Not just because of the cop-out Je
Her old man didn't become a Party
member," Slim said. "Nor till the Wa
and that's when he started working with
Allied intelligence.”
“AN the real clever Nazis did.” I said.
Gringo,” Slim said, “this is the deve
est cl the world. El vieiendo fin.”
El viviendo fin is Spanish for the liv-
ing end. Old Slim used Spanish hip as a
reminder that he'd been Diego Rivera’
tavern companion and chief disciple.
For some reason, maybe because we went
to college together, there was a cert

ivalry between. Slim
I'd wangled him a
at St-Moriv. This winter he was titfor
tning me in Kivbiihel, But, truth. be
told, | was annoyed with him only on
account of her.

“Look at them come down,” Slim said.

They came down indeed, through the
harsh crystalline yellowness. Ye French
art publisher slow, stodgy, knock-kneed:
ye literary princess with several attempts
at style, interrupted by sudden arm-
thrashing. incertitudes: ye champ w
ing and wedeling in a graceful. snow
universe all his own: ve hostess sure and
sinuous, a decorative Ince kerchief fut-
tering [rom her pocket, her face still not
paying any heed, not even to the snow;
nd in front of them all, carving out the
piste. a man I hadn't seen before, a wiry,
tall, lighthaired bloke.

"Who's thag” E asked.

“Thans the nightpiste man. Slim
id. "That cat does nothing but run the
lift and be available at night. That's why
he's got no color «

It was true. The fellow’s long, thin
Lace was quite pale among the bronzed
figures swarming behind him

“Isn't money nice?” Slim said. "Any
time you can't sleep, wo A.M, five AM,
the night cat's there. He'll work the lift
and ski you down.

They were quite dose now, the yellow

and me. Last year
nvitation

"I won't be home lill late again tonight,
dear. It seems like it takes me an
hour to do things I used to do in fifteen minutes."

demons, swishing down out of the night.
1 felt] was too weary 10 face them. Sud
denly it was too much: the night. piste
milers, the flight from New
nd the drive from. Munich, the
cop-out Jew, the prospect of too much
Henry Miller from the
100 little attention from mein hostess. I
asked Slim to convey my excuse
Segura cosa.” he said. “sure d

literar

princess,

Skep tight Hey, and tell St-Moritz
about the night-piste bit."

That's when it came 10 me that Slim
had tried with Etta and had come a crop-

per and perhaps wanted me to try and
come a cropper. too
ood night, old boy,

I said.

At Kitzbühel you're nowhere if
white.

you're
A deep tan is your citizenship

d without it you cant

practice any of the civic virtues like
drinking. seducing or even skiing. You
actually feel indecent on skis as long as

hne

u're pale. So I went up to the H

kamm very early the nest morning after

a not partiauknly good nights sle
And the first thing I spotted outside the
aerial cableway station was mein hostes
1 didn't care for her to sce me like that,
ashen-nosed like her night-piste man and
puzzled in the knees. But there she was.
Alone, not traveling in a tinselly, chat
paselcolored gaggle like most
skiing matrons, but all by herself in sleck
sober black except for the white kerchiel.
“Ah,” she said, “you deserted us last
night.
Good morning," I
think you'd notice.
But you are very noticeable. You arc
so pale. | will show you the southern
slopes that will make vou brown fast.
And she was off, and I behind her. She
skied with those languorous swivelin
and hip rhythms easy as breathing which
made you think, irritatedly, that she nev

tery,

id. "I didn't

er had to lea never ached her way
from snowplow 10 stem turn, but re
layed from the first into a

slalom, hi was n

paying business again. She took no heed
of those wicked little bumps, the sudden
bluffs, the athwart trees, the treacherous
ledges of ice. On the contrary, all obsta
cles arranged themselves around her for
her convenience, so that she could waft
oblivious through the fine golden blue.
1

almost

Sometimes she seeme ex
hausted as I. But while 1 panted secretly
shed sprawl straddle-thighed into. the

snow for rest: she'd make love to the
whole mountain for a few ndoned
seconds before rising refreshed and
swishing forward keenly as though we'd
just started the day.

I was grateful wh
lunch at the Bichlahn hut. We drank
spiced hot Glühwein and munched pa
Jey sausage, chatting about how a few
weeks of skiing spoiled the rest of tl
year for you; spoiled me for the cock:

we stopped to

corroded oneupm:

ship of the Man-

hattan treadmill, spoiled her for the
leaden social duties of à German ambas-
sadors wife in an unairconditioned

Latin-American county.
Throughout such
ski talk. E noticed it
st forays out of
the proper manner.
more open now.
black bread on

Only it
Shed get crumbs of

became

her sweater and brush
mily so that the resilient
sah diddered, or shed sud.
denly get thirsty for soda and bite the
ia straw a moment before suck
I this interspersed with a cool, sardor
count. of how she'd discovered on her
one trip to New York that shopping
there was re

lly a status contest among
Manhattan. matrons for the best. fitting
rooms at Bergdorf Goodman. But T
watched cach time for the sweet lapse,
for that Mash of secret susceptibility, that

glimpse of heat which lived on the inside
of her tooshort upper lip.
I had a sudden vision of a Latin-

American peon with a vill
chest warming her bed. It was

jously hairy
t a literal

suspicion. But I knew she let something
or somebody happen to her which
trated and undermined th cara-

pace of outer grace. To explore the
thing further I began to talk to her in
erman, of which I have a fair com-
mand. And | discovered that when she

spoke, the guttural growl, which is
base of German speech, melted aw:
fact she had, oll and on, the faintest
Latin-American intonation. It turned the
hardness of Teuwonic consonants into
round and roseate marble, Somehow she
absolutely got away with being Densch.
she did something—practiced some ir
sidious secre—which undid my prej-
udice completely. And when we got back
imo English, she even fell from her Os
onian perfection into some charming
versions, “You do indeed ski very we
she protested when 1 wondered if she'd
put up with me after lunch as well.

She put up with me, but I lost her all
the same, to a brief fog that overtook us
ar the Kitzbahler Horn just as she skied
several hundred yards ahead of me. By
the time it lifted, she was gon

The rest ol the afternoon was a search.
A long sunset started, dropping colors
on the hills. I combed them for her.
cit my ski trails like a huge net over
those waning hours and caught no less
than three bhick-clad ladies with white
kerchiefs fluttering from their pockets—
all of them impostors, none of them her.
The wrong faces sat so mockingly on the
right silhouettes.

M five I came back to the cha Beals
defeated She was in the hall.
thought there'd be a great reunion m
lowing the afternoon's separation. But
there was only a brief, smooth "How

didn't get swallowed by an av
7" There were her introductions
to two new guests. And that, brother,
was all. Last night, she said, had been
ier at home: tomorrow night would
be dinner at the literary princes; but
tonight was “the best night. your night
off.” She threw me a fine smile with her
tooshort upper lip as she vanished

ward her private quarters: "Do enjoy
yourself! Good night!

Te was quite a final though highly bur-

ished hiss olf. She even provided the po-
tential enjoyments—I mean the two new
guests, A couple of young German divor-
tées sat before the fireplace drying their
1 polish. They were stopping at
Kiubühel for a n d offered
the backs of the Ia Continental,
to Slim's and my lips. But they were also
quite Americanized, launching. into psy-
choanalytic reve pout the failure
of their exchusbands’ parents, and then
leaned back with their cocktail glasses,
expecting to be repaid in kind.

I knew those two weren't compulsory.
They were just there like the night piste
s there, to have a try at if desired.
Well, I didn't desire them. And 1 didn't
ad my hostess. After sprawling
c that before me; after
the bread crumbs off her sweat-
er, bosom all ajiggle—after all that, she
just left me to those cl il dr

Te was rather intolerable. 1 excused

ping

Every drop of Gordon’s Vodka is
screened fifteen times, using an agent
even purer than clean mountai

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that makes Gordon's
so clear, so perfectly mi ble.
Expensive? Surprisingly, not.

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but every sip says it’s there.

5 so smooth,

PLAYBOY

182 But I realized, even as I said it, th

myself and went straight upstairs, after
her. And had some luck. I cornered her
in the corridor as she brushed past, with
ake-up, barely out of the sauna,
ng like a wet blue-eyed madonna,
which made the evenings los all thc
more poignant.

“I meant to ask you, l
didn't mind being abrupt, “I me
ask you all along, I understand
the

much.” She
smiled. It was a measure of her vencer
that she managed not to lose a fraction
of composure at this awkward ambush of
mine. She stood in the corridor, little
drops blackening the carpet as they ran
down her white ankles which showed,
pink on white, the imprint of the skiing
boots. She squashed a towel. against her
moist hair so that it stood up every
which way, and smiled the smile of a pe
fectly coifed woman, a witch in wild.wee
flower, cool, yet steaming with nakedness
under the silk peignoir.

You sce.” 1 said. “I'm so interested in
this because T wish your family had tak-
en care of some of my uncles like that."

. vou are Jewish
1 said, "hal
Thad fired it at her to jar her, to make
her pay somehow, in a way that I felt she
hadn't paid for being German, or for the
War, or for learning to ski so well—and
also to make her pay attention to me.
I was

m [rigid."

flinging the pathos of Jewishness at her,
something | hadn't done for years, Nor
am l half: I'm full.

"Well, then you are interested in this
subject" she said. "Let's talk about it
sometime.

"Yes 1
haps dinner."

“After we are both cleaned up. After
cighiz"

1 almost said, "Fine, thanks," to her,
which would have given away that that
was what ld been after: Dt was for the
sake of her dinner company that I'd
thrown my Jewishness at her fe

So I said, “Fine.” period, made a glib
sec-ya motion and did what 1 hoped was.
an amble up the stairs.

By that evening 1 knew she had some-
one, maybe right there in the village. I
sensed it despite the finesse with which
she protected herself, When |. cà
down for cocktails at eight, she had ar-
ranged the evening—through some fast
s. no doubt. An Balian with a
bolic little goatee appeared. She let
him kiss her hand for just am instant
longer than I liked. Then he scooped up
the two chirpy divorcées together with
Slim. Avanti! and oll they w 1 low-
slung sports sled on a moonlight ride to

id. “Sometime tonight. Per-

the next village.
Eua and 1 went to at local restau
the explanation. (hacked by my exl

ed face) being that 1 had to be fed i nice
and restful dinner, But nice and restful
wasn't exactly what Pd call that d
"The restaurant featured a hot zither that
could marry a waltz to a frug; also a de
cor combining baroque milk buckets,

baronial paneling and El Morocco light-

ing: an aroma compounded of Ma
Grille. virile ski instructors armpits,
moken wax from candles and the

piping-hot spice of goulash, The place
was full of people whom she knew. As
they passed us their social cries made me
get up four times during cach conse.
On the one hand, this was annoy
On the other, it had a certain value.
tentative envy with which the men shook
my hand, the exwa notch 10 which the
women upped their female
smoothed down their swe
rendered their rings to my lips—it all
added up to a sort of puzzlement, Their
“How do you doz” was really a trans
tion of “What? Not the Itali
you the one?
She had Everybody in
Kitzbühel seemed to sense it. But she
covered. herself so well. She was so damn
good. She could make an entirely
olfhand joke about the diabolic Itali
(“Some of the Lidies here call him ‘Caris
simo Grant 7) which sed both my
suspicion and my puzzlement. To table-
hoppers she could address a “Hello, dar-
ling” that was cordial yet so definitely
ited an exclamation point. that cach
g knew it was time for him to go
back 1 his own table five seconds late
Turning to me, she could, with the
pre ance, suggest the
of an intimacy that was never realized or
ollered. We never even talked too much
about the copout Jew, though I tried.
“You were g JOD said,
"about the fellow your father kept hid-
den during the War.”
“Oh yes,” she said. “That was excit-

somconc.

g to tell n

Was it dangerous for you?

Poppa and his secretary. and myself,
we were all who knew about him."

“And could you really bring him up
kosher?

Kosher?” she laughed. “In Germany?
During the War? No, but he knew He
brew and we smuggled in some Hebrew
books and all that.”

"Quite a responsibility for a young
gil"

"He once
words,” she said.
single strand of pez

"Like a thrilling wy

Oh, hello, darling,” she t the
approach of still more friends and still
more radar focusing on my fa

I tried not to let go after the darlings
passed. “Where is he now?" I asked.

"Him?" she said. “Poppa gave him a
job. He got so used to us. You should
have heard him ary when Poppa died.”

ught me some Hebrew
iling, stroking her
"hi was thrillii

“Touching,” 1 said.
He was a little bit of a retarded child,
you know."

id." I said.
"You

“So I undei

“Ah?” She smiled.

know? You

The secret is the same

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the mountains . . . in another city? You probably discovered a change in Navor—because a different
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183

PLAYBOY

184 The most clect

ly studied us.”
Sur," D said, "on the theory that
someday you might give me a nice job.”
“Why, did somebody have to hide
you?”
“Who
arewt [^

I said.

know:

m a Jew.

t quite wipe out the bathos left
the carlier occasion, but made
igh again. She was the first Ge
man Fd ever met who wasnt the least
bit self-conscious about the subject.

^] will give you a job now,” she said.
“You must teach me some more new
Amer:

in.
laste,

We danced a lot, too much for my
because my weary legs got wearier still.
Later on, though, c igo. We
danced more quietly. more closely. Of a

1 felt she was ucating me like her
mystery lover's brother: her flesh en
gaged mine at shoulder and thigh, but
not with the self-conscious caution that
possibility of surrender—no,
Kind of tactile meditation
though my shoulders were the depu
another and as though she (her face
ng against my neck) wansported
self toward fulfillment elsewhere
Sood night.” back at

she said. the

jet. “I have my two divorced friends
coming to my bedroom for—how do you

Americ: for girl wlk.”

;ood night, goddammnit.” 1 said. And
1 didn't mean the smile with which I said
it. The evening had come to den
climax between us: she cheated me of it
by running upstairs. To make things
worse, Slim and his divorcéc arrived a

say it in

moment later, the divorcée making for
the stairs, too. with a tittered salutation,
m pouring himself a cognac and

throwing some logs on the
way of enormous self sati:
"Hey." he said. “Did you get yours?”
"Did you?
“Hombre!” he whispered. "First time
in my life in a sled, And she said afier
ward she did it because the mountains
e beautiful.” He laughed "Were the
mountains beautiful for you and Eua?”

"Slim." 1 said, "whar's Etta’s kick?"

"You m smelled it already?
He laughed n, but this time truly
happy. “You struck out, too?

“she wouldn't be a Lesbian," | said.
“Would she?”

“Jesüs Maria!”
ad bener mood.

gainst the fi

He got into a better
warming his back
You are supposed to
tell me! 1 had my hopes pinned on you,
man! I thought youd be the guy to
crack her!"
"There's ah

nephace.” I said.

"The hang. said, “the hang-
up is d s the sack with the
d you'd expect, like you or me. You
now what it was like down in Mexico
ic broad south of the bor

at she never h

der—and 1 couldn't even get to first
base! It’s ridiculous, right?”

s ridiculous," I said, not to
satisfy him, but 10 make him go on.

“And forget her husband.
d. "Just a bald Kraut
v. She's eating h
She can’t wait to get out of South Ameri
ca in winter. Christ, she sprained her ai
kle or something this fall, some te
onsense—you wouldn't believe all the
doctors she ran to, just to get fixed up for
Kitzbühel in time
“That talian?” E said.
Phe dago with the beard:

Slim whis-
It’s something
heart out for it

Slim said.

“He's been driving me nuts. 100. But 1
thought youd clear that up. What do
you think I imported you for? I thought

you were a specialist, old boy.

The door opened and the second di
vorcée came in, just [ull of this very same
Iulian, He had—imagine this'—sung
her half of Carmen in jazz tempo! It
made her vonder very much vhy she
ever bothered with non-Latin men at
ali! |. . She pushed Slim provocatively
out of his fireplace position, wiggled her
tightly Howered behind into the warmest
spot and brushed me with a playful
glance. I looked at the smug cones in her
sweater, at all that blatant sexual kitsch
and wondered, too: why Etta, the most
Teutonic woman in Kitzbühel (who else
had given flowers to the Führer), why
Ma was at the same time the l
German, so very graceful in bear
tongue. What did that Et
to get away with ii?

I said good night and went to sleep

bitch do

Or rather tried to. The question pur
su jabhed through my closed ey
lids. I tried to think of Venice, for which
1 decided to leave the following noon. I
had no intention now of staying another
day. | tried to think of Venice, Venice
which I loved and whose image should
have genüed me toward sleep. But I
couldn't drop off altogether. | couldn’
get bevond dozing. ‘The wind rose: Makes
trembled against my window. After what
1 thought was half an hour, 1 gave up
and looked ar my watch. Tt was five aat
y d at my insomnia. I
wanted t0 cr out on the night piste.
Now my less felt not only not tired, the
feh positively vengeful. 1 wanted to ru
up and down the slope till 1a
and ready to drop off. She wouldn't keep
me from the few hours of sleep 1 needed
for the drive south: she was not going to
spoil my wip to Venice.

1 got up and threw on my ski things. A
cand on my night rable listed the chaler's
various phone extensions, induding one
for the night man if you wanted him to
tum on the ski lift. But 1 didn't care to
bother with him. More precisely. | didn't
ene 10 be bothered by anybody. 1 longed
for pure, radical and therefore. unsoci
ble exhaustion.

The aders on

the wall stabbed to-

ward me as D went down, Outside, the
snowflakes gamboled with derisive grace
under the yellow floodlight, a ballroom
of chill cryst ed half-pearl by a
the act of snow
rich and defeatingly artful
at that hour as the chalet itself. and the
whole slope became a mysterious exten-
sion of the house as I walked the few
steps to the night man's hut. nearby

Attached to it was a leanto whose
door stood open, As far as 1 could make
out in the dark, it contained the lift m
tor—just what 1 was looking for. But 1
couldn't find the light. switch, much less
the lever that set the lift going. The only
thing visible was a window that looked
into the inside of the hut

And so that was where | went, That
was where | found her. Ir wasn't casy.
but I picked her our instinctively in
the shadows, my eyes composing and
defining shapes even before they realized
what they saw. She lay on a simple cc
But her presence itself was less aston
ing—mavbe something had primed
for that—than the way she lay th
lay half bent on her side in
white shift that covered her
low the elbow, She lay there like a little
girl, hair splashed across the pillow in a
naive headlong black mop. none of the
hostess sophistication left on her face.
nothing of the accomplished Luly or the
diplomats’ mins; only a happy. a candy-
happy satisfaction that opened her up
per lip wustingly as she breathed. Her
Tight arm was flung across the empty bed
space by her side.

1 followed the direction of that a
and saw the might piste man. He stood
by the window that gave aut to the east
to the lower side of the slope. He swayed
forward and back slightly, the white
fringes of his Jewish prayer shawl swing
ing as he moved, glimmering like slivers
of snow in the hall-light and reaching,
down almost to his ski boots. The phy.
lactery stood out black on his forearm
and on the inside of his upper arm. And
Thad a mad impulse to break down the
door and shake him by the shoulders. To
yell at him not to lend her his bed cach
winter so that she could relieve herself of
the past in it, not to give her a Jewish
copout bed in which 1 fornicate her-

ne
€. She
chaste
rms to be:

self, thrillingly, into purencss.
My shoulder was already poised
(inst the door. But then I saw how his
mouth moved slowly. in the tanced

slowness of a man with a veil across his
brain, some sort of maybe sainted faw.
And since saints cannot be communi-
cated with but are there to be used, I
used hi The sight of him made
no lo t her. Suddenly I

cured. I. was full of an enormous exh

me
was
us-

hout a glance back, 1 walked out
and picked my way back to the chalet.

s deferred char-
acter is indicated by the
proper symbol.

BARBED WIRES

HUMOR

SYMBOLS
Jay Letter

| NL - Night Letter

= International
Letter Telegram

SINCE SAMUEL F. B. MORSE CABLED IMMORTAL MESSAGE IN 1844 QUOTE WHAT
HATH GOD WROUGHT QUERY UNQUOTE TELEGRAMS HAVE BECOME FAR MORE THAN
UNIVERSAL MEANS OF URGENT COMMUNICATION STOP WITH LEAN STACCATO METER
AND SPECIALIZED VOCABULARY OF RUNTOGETHER ABBREVIATIONS HAVE BECOME
ART FORM AS DISCIPLINED AS JAPANESE HAIKU STOP UNLIKE HAIKU HOWEVER
HAVE ALSO BECOME MATCHLESS MEDIUM FOR HUMOR INTENTIONAL AND OTHER-
WISE AND FOR SENDERS' SCATHING WIT PAREN OF WHICH TELEGRAPHIC BREVITY
IS SOUL END PAREN STOP RE AFOREMENTIONED REFER SOONEST FOLLOWING COM-
PENDIUM OF CROSSED WIRES AND TELEGRAPHED PUNCHES COLLECTED FOR PLAYBOY
BY TELEGRAMMARIAN JOYCE DENEBRINK WHO SENDS SINCEREST REGARDS

A MAGAZINE EDITOR, researching an article on Cary
Grant, once wired Wilson Mizner, a Hollywood
columnist friend:

HOW OLD CARY GRANT?
Mizner wired back:

OLD CARY GRANT FINE. HOW YOU?

Showman Florenz Ziegfeld conducted almost all his
business by telegram, even with people who worked
ne day he sent Eddie Cantor
ing about some details of the
» which Cantor was appearing—two
ntor answered:

floors below.

FLORENZ ZIEGFELD
NEW AMSTERDAM THEATER BUILDING
NEW YORK NY

YES.

Ziegfeld replied:

YES WHAT?

Cantor wired back:

YESSIR!

Zicgfeld replied:

WHAT DO YOU MEAN, YESSIR? DO YOU MEAN

YESSIR YOU'LL TAKE OUT THE SONG, OR

YESSIR YOU WILL PUT IN THE LINE, OR

YESSIR YOU WILL FIX THAT SCENE OR YESSIR

YOU HAVE TALKED TO THOSE ACTORS
ZIEGFELD

Cantor wired back:

NO SIR.

Anxious to perform the starring role in one of
George Bernard Shaw's plays, stage star Cornelia Oi
Skinner sent the following cable to the testy Iri
playwright, triggering a transoceanic cross fire:
GEORGE BERNARD SHAW

AYOT SAINT LAWRENCE

HERTFORDSHIRE ENGLAND

MAY I DO "CANDIDA"?
CORNELIA OTIS SKINNER

CORNELIA OTIS SKINNER
7 GRACIE SQUARE
NEW YORK NY

EXCELLENT. GREATEST!
GEORGE BERNARD SHAW

GEORGE BERNARD SHAW
AYOT SAINT LAWRENCE
HERTFORDSHIRE ENGLAND

UNDESERVING SUCH PRAISE.
SKINNER

CORNELIA OTIS SKINNER
7 GRACIE SQUARE
NEW YORK NY

I MEANT THE PLAY.
SHAW

GEORGE BERNARD SHAW
AYOT SAINT LAWRENCE
HERTFORDSHIRE ENGLAND

SO DID I.
SKINNER

Britain's wittiest playwright invited Britain's wittiest
statesman to the theater one night:

WINSTON CHURCHILL
CHARTWELL
WESTERHAM

KENT

HAVE RESERVED TWO TICKETS FOR MY FIRST
NIGHT. COME AND BRING A FRIEND, IF YOU
HAVE ONE.

SHAW

Churchill replied:

GEORGE BERNARD SHAW
AYOT SAINT LAWRENCE
HERTFORDSHIRE

IMPOSSIBLE TO COME TO FIRST NIGHT. WILL
COME TO SECOND NIGHT, IF YOU HAVE ONE.
CHURCHILL

During Robert Benchley's magazinc-writi
his editors grew accustomed to the fact that his copy
would not be in til the last minute, t came in
at all. But Benchley felt guilty about missing dead-
lines and would dream up improbable excuses when
he realized his work wouldn't be done on time—as

g heyday,

185

CONTINUED

in the following volley of wires he dispatched on one
such occasion—all on the same day:

COLLECT
ART SAMUELS, EDITOR
HARPER'S Bi

AZ AAR
572 MADISON AVENUE
NEW YORK NY

AM ACTING AS GUIDE FOR HUNTING PARTY.
BENCHLEY
PRESQUE ISLE MAINE
COLLECT
ART ITOR
HARPER'S ANI
572 MADISON AVENUE
NEW YORK NY
AM INSPECTING NEW ERD ENGINES.
DETROIT MICHIGAN
COLLECT
ART SAMUELS, EDITOR
HARPER'S BAZAAR
572 MADISON AVENUE
NEW YORK NY
AM JUDGING ORANGE BLOSSOM CARNIVAL.
BENCHLEY
MIAMI BEACH FLORIDA
COLLECT
ART SAMUELS, EDITOR
HARPER'S BAZAAR
572 MADISON AVENUE
NEW YORK NY
AM BEING INDUCTED INTO INDIAN TRIBE.
BENCHLEY
PHOENIX ARIZONA
COLLECT
ART SAMUELS, EDITOR
HARPER'S A,
AM WORKING ON PICTURE WITH GRETA GARBO.
BENCHLEY
HOLLYWOOD CALIFORNIA
Samuels finally replied:
COLLECT

ROBERT BENCHLEY
ROYALTON HOTEL
4:

GATHER YOU HAVEN'T DONE THE PIECE.
SAMUELS
NEW YORK NY
———————————

On another occasion, Benchley wired the following
to a Manhattan fraternal aney on the day of a din-
ncr at which he was expected to speak:

BANSHEE CLUB

NEW YORK NY

SORRY I CAN'T ATTEND LUNCHEON TODAY BE-
CAUSE I AM IN BOSTON. DON'T KNOW WHY I

AM IN BOSTON BUT IT MUST BE IMPORTANT
BECAUSE HERE I AM.
ss

Arriving in Venice for the first time, Benchley cabled
home:

MRS. ROBERT BEN(
2 LYNWOOD ROAD
SCARSDALE NY

STREETS FULL OF WATER. PLEASE ADVISE.
ROBERT BENCHLEY

NL = Night Letter
International
LT- ater Telegram

When a house guest of playwright George S. Kauf-

man suddenly packed up and rushed off for Holly-

wood without so much as a thank you or a farewell,

he received this telegram when his train stopped in

Chicago:

GOODBYE—-IF I'M NOT BEING TOO PERS! .
GEORGE S. KAUFMAN

Kaufman seized a once-in-alifetime opportunity to
tell off parsimonious Paramount Studios when they
sent him the following wire:

14 EAST 94 STREET

NEW YORK NY

OFFER $40,000 FOR SCREEN RIGHTS TO "ONCE

IN A LIFETIME."
LASKY, PARAMOUNT
PARAMOUNT PUBLIX CORPORATION
1501 BROADWAY
NEW YORK NY

OFFER $40,000 FOR PARAMOUNT COMPANY.
y KAUFMAN.

DISREGARD MY OFFER. HAVE CHANGED MY
i KAUFMAN

To actor Billy Gaxton, who had taken it upon him-
self to "improve" on Kaufman's script for Of Thee I
Sing by ad-libbing a few lines of his own, the acerbic
playwright wired:

BILLY GAXTON

MUSIC BOX THEATER

NEW YORK NY

WATCHING YOUR PERFORMANCE FROM THE BACK
ROW. WISH YOU WERE HERE.

The wife of a well-known Hollywood movie director
didn't know what to make of this wire, which he sent
her while he was on location with a glamorous movie
star:

HAVING A WONDERFUL TINE. WISH YOU
WERE HER.

The legendary Harold Ross, founder and editor of
The New Yorker, once asked Alexander Woollcott to
delete an objectionable line from one of his critical
reviews, in order "to save editorial face." Woollcott,
who claimed that Ross would lose a beauty contest to
Bert Lahr, replied:

SORRY I CANNOT SAVE YOUR FACE, IF ONLY
FOR SOME MUSEUM.

Hoping to add another link to his far-flung newspa-
per chain, publisher William Randolph Hearst sent
this telegram to his archrival in New York:

WHITELAW REID, OWNER
NEW YORK TRIBUNE
154 NASSAU STREET
NEW YORK NY

HOW MUCH WILL YOU TAKE FOR THE TRIBUNE?

DEBE UE CIO:

Li seu d rmm rmt err orn en qp E dri m ed ca
unless its deferred char- Eus us Lal
acter is indicated by the CONC pi UDED LT = International

proper symbol.

Letter Telegram

Reid's reply:
Md RANDOLPH HEARST

NEW YORK NY
THREE CENTS ON WEEKDAYS, FIVE CENTS ON
SUNDAYS:

—_—_ mm

From producer Walter Wanger to theatrical agent
Leland Hayward when Hayward eloped with his
client, Margaret Sullavan:

LELAND HAYWARD

654 MADISON AVENUE
NEW YORK NY

SO es ON ACQUIRING THE OTHER

From a disgruntled editor to his employer:

PUBLISHER

MONOCLE PERIODICALS
80 FIFTH AVENUE
NEW YORK NY

MUST HAVE RAISE AT GP. m COUNT ME OUT.
EXECUTIVE EDITOR

The publisher's reply:

R. R. LINGEMAN

305 EAST 17 STREET

NEW YORK NY

ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN,

EIGHT, NINE, TEN.
MONOCLE PERIODICALS

Photographer Bob Landry, while shooting a story for
Life aboard the U. S. Navy aircraft carrier Enterprise,
submitted on his expense account an item that
seemed improbable 10 the home office:

BOB LANDRY, LIFE panes
ABOARD U.S.S. ENTERP|

JUSTIFY EXPENSE ACCOUNT ITEM: TAXIS
ACCOUNTING DEPARTMENT

Undaunted, Landry shot back:

TIMEINC NEWYORK
ACCOUNTING DEPARTMENT

BLOODY BIG CARRIER.

In the early 1900s, an Egyptian railway clerk in Nu-
bia, Upper Egypt, wired his British superior in Cairo:

MY RAILWAY STATION ATTACKED BY LIONS,
TIGERS, BEARS AND WOLVES.

The reply:
YOUR MESSAGE RIDICULOUS. WIRE PRECISELY
WHAT YOU MEAN.
CHAUNCY PEALE
HEADQUARTERS
Realizing he'd overextended himself, Ahmed wired
back:
DELETE TIGERS AND BEARS.

A lawyer who had won a seemingly impossible case

for his client wired exuberantly:
JUSTICE HAS TRIUMPHED!

The client unhesitatingly replied:
APPEAL THE CASE AT ONCE!

When musical-comedy star Gertrude Lawrence ap-
peared on Broadway in her first dramatic role, friend
Noel Coward congratulated her in characteristic
fashion:

GERTRUDE LAWRENCE
"CANDLELIGHT"
EMPIRE THEATER
NEW YORK NY

AT LAST YOU ARE LEGITIMATE—-WON'T MOTHER
BE PLEASED!

Onetime diplomat Stanton Griffis sent two telegrams
on the same day: one to actress Ina Claire, who was
opening in a new play, and onc to his niece, who was
being married. Unfortunately, his niece received the
wrong tclegram—on her wedding night:

I HOPE YOU HAVE YOUR USUAL SUCCESS
STANTON GRIFFIS

Punch editor E.V. Lucas wasted no words in a con-
gratulatory telegram to an old friend who had just
been knighted:

MY DEAR SIR.

Soon after Al Smith, the first Catholic candidate to
run for President, was defeated in a landslide by Her-
bert Hoover in 1928, one wag invented the following
apocryphal cable:

POPE PIUS XI
VATICAN CITY
ITALY

UNPACK.
AL SMITH

John Q. Publics English cousin, John Bull, had the
final word in this wire to Britain's ex-Prime Minister:

LORD HOME
THE FOREIGN OFFICE
DOWNING STREET
LONDON SW 1

TO HELL WITH YOU. OFFENSIVE LETTER
FOLLOWS.
IRATE CITIZEN

Western Union's recent advertising campa
page telegram blank with the message:
THIS TELEGRAM!”—inspired the following ex-
change between San Francisco ad man Howard Gos-
sage and his editor at Macmillan:

AL HART, EDIT

THE MAGÍTLLAN Coupan

60 FIFTH A

NEW YORK i

IGNORE THIS TELEGRAM!

GOSSAGE,

HOWARD GOSSAGE

WEINER AND GOSSAGE

451 PACIFIC STREET

SAN FRANCISCO CALIFORNIA

WHAT TELEGRAM?
HART

PLAYBOY

188

ANGEL OF MERCY

legs felt weak, “Ah,” she said, "you want

a cup of coffee first?

First.

Hundreds of gray suits, ln

hats, gray jaws fresh-shaven

him, why Jacoby?

1 don't underst-
“I said just for kicks. Kicks. You know

what kicks arc." She was patient, persist-

Teases, gray
why

cnt, pulling him along in the great echo-
ing chamber

"But | nev

“You religious or something?"

“No, no, is—"

So you're married. Listen: They

were part of the street crowd, a morning
iot almost. She shouted: "Its good for

Believe me. mister, | »w. T
he—"
ers curing, Gar-

ment bikes,

, messengers on motor

«op on a hore, trucks like elephant
behinds blocking side streets,
"—kept it all inside himself, see?

finally he couldn't stand it and
loose, run off, the weak bastard —

Around a corner, heading straight for
the side entrance to a hotel, one of those
big convention palaces with small rooms
Kb cheap towels. “If he'd sneaked
piece or two on the side. sce.” she said,
lecturing him before an audience of two
fat men. wuckers in caps. chewing cigars.
bored. “then he'd of stayed—worse luck
for me, though. My third husband was
well to do.”

(continued from page 131)

Third? Who was first, second? Where
were they all now. . . waiting in the ho-
tel room? A com game. Watch ou
cobs. But she was ahead of him,
past the doorman and inside. He hurr
after her, but stopped in the lobby when
he saw she had made it to the desk. The

place was nearly deserted; a few bellboys.
shaggy rubber plants. some men reading
newspapers . .. house detectives? A ri

diculous situation. He looked angrily at
ich. and his i
ih memos

his w Twenty
box would be piled |
and leners,

"Conc on thim
across the lobby. waving her pocketbook
Good God. if it was a con game. the
whole howl was in on i. Not one of
those house detectives so much as batted
n eye. Jacobs hurried over to the eleva
tor to shut her up. Was he a dog on a

to nine.
gh v

She was bcllowii

leash or what?
"Now just a——7
But a middleaged bellboy had
shuflled up with the key. The doors
opened. the three of them were inside,

rising silently together. partners in a sor-
did fa ically, Jacobs removed
ad felt in his pocket Dor a tip.

The room had two double beds, a win.

dow, television set, and in a bureau
drawer, hidden but handy. a Bible
“Want some ice, sir?” said the bellboy.

(Her brother? Husband number two?)
“No.” J bill,

obs gave him a dol

7... dt was the year of the big snow
had taken the coach to Hyattsville ...and...”

DENN) KENNEDY

2. you

wet from a sweati
out The door snapped shut.

Don't throw your hat on bed,
she said. He put it back on his head. She
was looking out the window. “New York
always gets me, you know

g hand, and he we

Look, there's one thing I”
“Ha. 1 know. You think it’s some kind
of racket. You're waiting for the vice

ething to come bustin
You guys are all alike" She kiughed.

Tve to call th he said.
reaching for the phone

“Suspicions. suspicions. Is weird. A
free picce comes along just for kicks and
no questions asked and everybody seems
to want to have their lawyer check it
over.” She took ofl her jacket and hung
fully in the closet.

Jacobs gave his office number to the
hotel operator, He stood between. the
beds. facing the wall. Behind him came a
snap: involuntarily he glanced over his
shoulder, She had turned on the TV set

got office.

Its noise came. up quickly. cartoons for
the Kiddies. He told. the. office switch.
board git! to tell three other people he'd
be Tate. Behind him were waltzi Pop
eye and Olive, circa 1935 . . . and his
own kids, preschool, watching the same
thing at home. maybe. He hung up. She
switched to another chann news, and
lelt it on for him as she went into the

bathroom, swingi

her. pocketbook.
Jacobs sat on one of the beds, watch
ing the news. still holding his attaché
case, listening to the water running in
the bathroom. The blonde was singing
My Blue Heaven. Riots in Malaysia.
Ski disaster in Austria. Mrs. Jacobs at
home. two. eves of blue, strip
ping the beds. dusting the mantel. brush
At the olee, Mis Waggoner
ner imo his tS bos,
dl Godehaus. the accountant, lookin
for him. (Where's Jacobs, Miss W.
Shacked up in a hotel room with some
blonde, hey? Ha") Yankees win, 5-1.
Mets win, 8-5. R 1 ode due
afiernoon
vou still got vou
blonde had come
two towels. She was broadshouldered
and short without her shoes.

hat on.”
back, weari

The

acobs pur his attaché case in a ch:
and his hat on top of it.

Shades down, Bedspread whipped
back.

“Well, whats the mater mist

You're not a pansy. are you

thought that'd shake get
sore, Nine guys out t around.
amd watch the door . . Put the
chain on it, why don't yo

(Chain on the door, suit coat in the

closet. blonde on the bed with. plump
shaven less and painted. toc
"Light me vette, hu
rh broke the spell. Ou
tle touch of binality—and it was mid-
Cinderella. Fairy coach became
pumpkin, amd this chesty Lilith, myth

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PLAYBOY

190

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woman of sexy daydreams, became
big middle-aged blonde beside him ou a
hotel bed. He wanted to hear her say it

just a

Yes. ves. Epitaph to magic lust, that
phrase from the silver screen. It was the
first. predictable thing that had hap-
pened, It made all the rest jump into a
He away [r
"Sorry, but I quit smoking last ye
lighted the cigarette anyway and,
the t
it to her lips. A tobacco kiss, phallic,
hinting of death.

uld she reach up and loosen his ii
Yes, she would—she did, squinting in the
i w and
synthet-

Geo

she said
you? I li

An extra dimension, the TV. Made it
seem like a public ceremony, The world
must be represented, through its brain
less eye. Outside in the morning streets,
gray everybody was flickering in the sun-
ight, and there at the foot of the run
pled bed, à quiz prog

("Colombo is the capital of wh.

“Ceylon.” he

d, putting his tie on
the hanger. Was he trembling with ex-
citement? To be sure... but why was he

so carefully straightening the creases of

the upsidedown pockets so his change
ad keys wouldn't spill ow? Why hadn't
he torn off the suit, Hung it on the floor,
pped his tie in wild haste, pulled the
owels from that acre of blonde, that
thriceamai ricose widow?

(Colm the capital of what2")
uth na.
The anticipation of passion throbbed,
swelled and yet, there was th
hment. too. Adulterous guilt? Fear
of Joves boh?

(Columbus. . .”)
“Ohio.”
He hung his shirt on the closet door

nob. No guilt, no fear. The blonde
would have no reason to regret her
choice. He would be equal to the occa

sion. just as, in an hour. he would be ca-
pably handling the budget in the bo:
room. She was, even. like the budge

matter which had come to his attention,
requiring action. A big blonde memo
marked urgent
Tt was a little sad. He took her hands.
“Do you know,” he said. “if I were five
vens younger Md be crying now?
“Huh
She didu't understand. Yes, then he
would have bei and tremblin
like a boy, possessed by the idea that this
wild imposible Monday-morning sui
prise was a turning point of fav
“I don't like ‘em too young,

she said,

up. beginning to do thir
Bur now... just an episode.

Real young guys, they can't. handle
selves right. you know? They get
. this and that.” She was perspiring
te, one eye still on the TV.

Maybe a turning point after all, to be

old enough to see no turning point. To
see nothing
And I don't like these horpants types

ive me the eve. Is not so
n look a
ivs, well, OK
shedding tow

who always
much the age.
man has when you know
^ (Breathing, harder,
els. but. serious.)
A certain look. .
when life stops bei
comes
< mas
of problems presented, solutions offered.
“But I men. I get a real charge out of
you guys. There you fresh off the
train, headed for the office same as usual
—then wham, you wind up inside four
walls with omething different,

c, too.
personal and. be
. everybody's lile

sa seu

certain

ent life, lile

1 wont

"No. not different. Not much
it. If different, then not bette
But he would not say that to her. When
Florence Nightingale came through the
battlefield with what soldier
could tell her he noticed his
wound umil then?

“Any man needs a
satisfaction once in a while

Her gift to the gray men.
hotel beds moaning under her Samar
flesh, a hundred men roused by potency
10 see the impotence of their live

“When it’s unexpected, it’s kind of
special, see?”

Special... unexpected. Ah, poor
nal Lilith, bumbling angel of sexual me
cv. sagging Valkyrie, blonde destroyer of
men who Ilung open the window of rou-
tine to let the dream killers spring inside.

hadn't

little pickup, a little

A hundred
n

How many of the gray men had broken
the image of their youth on that hopeful
foolish body? How many had risen
drained of dreams to meet their anonym-
ity and age
She was weeping.
“Why? Whats wroi
"Nothing. | don’t know. I's OK. I
ays cry some.”
y beneath the sheet. He held

her in his ki her with a lov-
ers tenderness. Poor old nymph. Her
body told her what his mind told. him.
She knew there was uouble, always trou
ble, even in the bright beat of desire and
fulliliment . .. something wrong that
her gift could not make right but only
worse, and yet she could not help what
she did and was.

t happens.” he said, solily.

ns, str

She closed. her eyes and. smiled. "You
understand, You guys do understand.”
Guys. Not just one guy. Guys. He

laughed and held her closer.

dress in rather a hurry—why do you ask?"

“Why, yes

191

PLAYBOY

192

John, John.

Oh, John.

, 30 West 23rd St, N.Y.

Marsha, Marsha.

Marsha!

But Marsha,
my name is Lloyd

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(continued from page 121)

a while to fully understand. And when
he finally did, his first thought was: How
will I tell her?

To his great relicf and mystification,
his wile took it better than he did. At
least she seemed to. Or was it merely that
built-in anesthetic that women sec
have that lets them blot out any tr
that is far enough in the past or far
enough into the indefinite future?

Whatever it was, he was grateful for it
Bad enough for a man to have to look
ahead decades into the future and face
the inevitable, to have to live with the
thought of it long before the reality
itself...

For a woman, let her just have ker son.

He was a boy. just like any other boy,
wasn't he? Like every other normal boy
He would learn to walk, to talk, 10 play
with other children. He'd probably have

the mumps, and maybe chickenpox, too.
There'd be good report cards and bad
ones, he'd come home with black eyes and
skinned knees...

Not a monster. A boy like any other
boy. A woman could forget. A woman
could lose herself in just being a mother

But for how long could he make him-
self feel like a father?

The mutation was called immortality,
perhaps inaccurately. since it would take
forever to know whether it was really pos-
sible to live forever

Nevertheless, men and women be
to be born who did not grow old and dic.

Not that they were invulnerable; they
simply did not age. A balance w
in their systems at about the age of 20,
and from that age on, the body renewed
itself; nervous system, circulatory system,
endocrine system, digestive system—all
re

ined their youthful vigor indefinitely.

They were not supermen. They could
succumb to the usual diseases. They were
just as prone to accidents as other men
They were neither better nor wiser. The
mutation, like most other successful. mu
tations, was a narrow one—it produced
otherwise ordin.
would not age.

The why of the mutation was, of
course, onc of those basically unanswer
able riddles of evolution. Why do men
have no tails? Why do birds have wings?
Why intelligence itself?

Immortality was just one more in na
ture’s endless series of experiments. Li
all the others, it was, in itself, neither a
gift nor a curse. It was whatever men
would make of it.

And what it would make of men.

y human beings who

He tried earnestly t0 be a good father.
He was not gruff with his son—if any-
thing, he was too gentle, for he could not

look at that boyish face without a pang of
regret, without a feeling. of sadness

He did try his best. He wied to be a
companion 10 his sou: fishing trips, camp-
ing, games—they did the usual father-son
things together. And kiter on, he tried to
be his son's confidant, to share his dreams
^d as few

nd yearnings and trials, He t

fathers try.

But it all fell flat.

Because it was all mechanical. it was all
hypocritical. For there was one thing he
could not bring himself 10 try, there was
thing ld not bear

He could not let himself love his son

And though he would scarcely admit it,
even to himsell. he was relieved when his
son graduated from college and took a
job 3000 miles away across the continent
Ie was as if half of a great weight were
lifted from his shoulders: as if er
that had been hanging directly over his
head had been moved. across. the room

His wife took it like all mothers take it
hurt to have a continent between her
son and herself, but die hurt would grow
ob with time...

he ec

The immortality mutation. bred
Ti would be passed along from
m like any other domir
enc. Two immortals could. produce
ortal children TEN
people produce dark-haired children.
The immortals would breed as fist as
ordinary men, and since youth and po-
tency would be theirs forever, they would
be able to produce an unlimited number
in their millennial life spans.
portals, in the long run,
could easily outbreed. mortals, the entire
y be heir t0 the

tru

just as rwo

human race would some
gilt of immortality. In the long rw
In the short ru

"Their son wrote home, and when he
did, ihe answering letters were invariably
written by his mother and countersigned,
unread, by his father.

There were trips home ever
visits that his m
and diat his father dr
no hostility between
there was no
genuine please
at parting...

He knew that he h
of his heart It was
thing to do. He knew that, too.

Tut he knew that he had to do
the sake of his own sanity, to be a rock
that his wile could lean on...

Te was a sacrifice, and it was not with-
out its cost. Something within him
seemed 10 shrivel and dic. Pity, compas-
sion, love became academic, ersatz emo-
tions to him. They could not move him—
it was as if they were being described to
a by somebody else
And occasionally he found himself

war

“23, 24,25... and a pinch to grow an inch!”

ing awake next to his sleeping wife, in
nd wish-
that he could cry at least one real

the loneliest hours of the night.

tear.
Just one...

coldest form of math
gene, like the immortality gene, breeds
more or les true. Immortality was domi-
nant, death was becoming recessive.
recessive does not necessarily mea

exti

aet

Every so often—and the frequency ma
be calculated by the laws of geneti—two
dark-hai blond. two
healthy people a diabetic, two ordinar
people a genius or an immortal, two
immorals . . .

d people produce

"s breath was stilled now.
last futile futer and

t gave or
gave up the fight.
Now there were only wo lives in the

room, two lives that would go on and on
and on id on .. -

“The man searched his heart futilely for
some hint of genuine pain, some real and
human emotion. beyond the bitterness
that weighed him down. But it was an old
bitterness, the bitterness between father
and son that was the fault of neither - - ~

"rhe woman left his side and tenderly,

with the tears streaming down her creamy
cheeks, she stroked the white mane of the
dead old man.

With g sob, she pressed her

soft. smooth
ther of his cheek.
And, finally, after long cold decades, a
dam within her husband. burst, and. the
torrent of sternly suppressed love and sor-
row flooded the lowlands of his soul.
Two lone and perfect tears escaped his
stillimpassive eyes as he watched his wife
touch her warm young lips to that age-
wrecked face.
And kiss their son. goodbye.

ast the wrinkled

193

PLAYBOY

194

CREATIVE COLLECTING

a historical continuity of true value.
When I began to collect actively. 1 de-
termined to keep my collection compar
tively small, 10 purchase only items of
the highest artistic quality, I felt that T
would much rather own a few choice
pieces than to amass an agglomeration of
second-rate items. Also, I resolved to con-
centrate on certain schools, largely limit-
ing myself to those which interested me
most. Hence, the majority of my collec-
tion consists of five categories of works of
an: Greek and Roman marbles and
bronzes, Renaissance paintings. oth
Century Persian carpets, Savonnerie ca
nd 18d Century French. furniture

4 made several digres-
sions. D recall one purely unintentional
purchase 1 made at Christie's a few years
ago. The was warm—by English
standards, very warm—and the auction
rooms were terribly crowded. For some
unknown re 1 thought to
open any windows; the atmosphere in-
side gradually became hotter and stickier,
eventually to such a degree that I was
completely distracted from the sale then
in progress. A friend had. accompanied
me 10 the sale. He sat next to me and
was also suflering from the heat and lack
of fresh ai

“You'd u
thing about the vent
commented to me solto voci

I nodded agreement and. unconscious-
ly reached up to loosen my shirt col

day

ason, no one ha

vee

ink the staff would do some-
a here," he

CHITI E

Lilt

“There's a doctor's real reward, Wilcox.

(continued from page 111)

An instant later, I noticed the auctioneer
pointing direcily at me.

"Yours, sir—Ior one hundred guineas!”
nnounced loudly.
ked at him in astonishment. Fi
1 seconds, I was completely balled
d then I realized what had hap-

pened. While I had been fretting about
the ventilation tion
to the

tioned, The bidding had reached the

the auctioneer was ask-
hundred

t which
“Will

point
oller a

anyone

pw, art auctions have their own ct
qu ette; Buyers seldom call out their bids,
They telegraph them through surrept
tious movements of their hands or heads,
by a flick of the c
T, similar means. Veteran
cers are constantly alert for
third
actioncer had asked if
would give 100 guineas for the item then
being offered and I js as if to loosen
the collar of my shirt. he took it as a sig-
nal that I was wi ling to pay the price.
My consternation quickly became ap-
rent to all me and

alog they hold or some
auction-

when, for ii

ed near

those se:

p
occasioned much sympathetic laughter, T
laughed, too. There was nothing to do

but to accept the situation with good
grace—and [ consequently became the
Owner of what, in the sale catalog, was

lised as “No, 18-A: a watercolor of Old
London, a street scene of about 1845."

Nus
Mamm

The

sight of a patient on the mend."

‘The circumstances surrounding anoth
er of my digressions as a collector were
far different. In November 1933, 1 at
tended the Thomas Fortune Ryan sale at
the Anderson Galleries in New York
City. There, I purchased a total of 12
pieces. Ten of them were paintings by
the Spanish Impressionist Joaquin Sorolla
y Bastida, who died in 1923. Obviously,
his work did not fit into any of the five

major categories into which I intended
to channel my collecting cllorts.
However, E was struck by the rei a

able quality of Sorolla's paintings. bei
especially fascinated by his unique pes
ment of sunlight. T bid in the ten ca
vases and the two other items I bo
during the sale for an over-all total price
of considerably less than 510,000. I have
never since had any cause to regret my
de

Looking at the acquisition from an in
vesunent standpoint, it was a highly for
tuitous onc. By 1938, the money
the ten Sorollus had risen to $40,000.
in Sorolla y Bastida
knowledged as one of the 15 or 20 finest
Spanish painters of all time—and this in-
cludes such great masters as Goya and
Velázquez. J would not care to h:
guess as 10 what prices the Sorolla paint-
ings would fetch if placed on the ma
at the present ti

1 am certain of one thing, however.
though the purchase of these Impressio
ist works was a major digression from my
fivefold collecting path, my op
ion regarding their beauty, appeal and
artistic merit remains the same as it w:
when I first saw the canvases at the A,
darson Galleries. These digressions serve
to illustrate that even the collector who
is grimly determined to specialize or lim-
it himself is highly likely to be led—or to
lead himsell—down many
byways. Although he may prefer one or
few types or schools of art to all others,
his aequ ace with and understand-
ing of specific forms of beauty cannot
help but expand his aesthetic horizons,
He cannot avoid, sooner or later, appre
ciating other forms, other schools,
categories of fine art, As his speci
collection grows, so his tole
his understanding and | appreciation—
and so grow his depth and dimension a
a perceptive, sensitive and well-rounded
individual.

1 have made other exceptions to my
general five category rule. Among them
some excellent English. portraits. by
Gainsborough and Romney. One
boroug nc ol
the really great English port by no
Jess an authority than Dr. Julius S. Held,
profesor of art history at Barnard Col
lege, Columbia University. There is, 1
might add, a tinge of irony in the fact
that 1 own it. The portrait is of James A.
Christie, founder of the world-famous

ard

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PLAYBOY

195 Collection. In 1849,

London ction — gallery, — Christie,
Manson and Woods (generally known as

ic).
portrait was paimed in 1778,
when James A. Christie was 18. It was im-
mediately recognized as onc of isboi
ough’s finer works and was exhibited at
the Royal Academy in London in 1778
ISI7 and 1859 and subsequently at
several other major exhibitions,
How and why the Christie fa
steeped for generations in knowledg
and appreciation. of fine art, permi
this exceptional work and priceless he
loom to slip our of its hands is an ui

thomable mystery. However, in 1927 it
was soll at Christie's —fo The
purchaser was Thomas Agi Sons,

another art dealer. In 1938,
from Colnaghi's gallery for £7500. It
was one of a group of paintings that I
lent to the New York World's Fair for
exh

bought it

on in Another was Re
brandes Portrait of Marien Looten,
which has a fascinating history of iis

own.

li is far from unknown for
to Deco 1 cor
These may be as minor as a simple
difference of opinion in regard to the ex-

t year in which a particular canvas was
painted. At the other end of the scale, he
may become embroiled in—or stir up—a
storm of dispute that falls little short of
creating an international incident.

1 know, for I once innocently found
sivsell in the middle of just such

a collector

e involved. Joversics over

ajor
imbroglio. The story of the incident goes
back to 1928, when I attended the Re
brandt Exposition at the Boymans Muse-
um

It would bc
add anvihi
p

abour

utterly fatuous for me i0
ag to the millions of words of
sc that have been written and said
Rijn and his
works. The incomparable genius of th
leading representative of the Dutch
school of painting is too well known 10
require any comment from me.

Some 10 of Rembrandt's works were
sembled for display in the Boy

Rembrandt và

Muscum——a fabulous alvoupement of
sterworks — which — literally over
whelmed cye, mind and emotions and

which no person could reasonably
in a single visit to the exhibition. One of
the works Looten,
Rembrandt's second commissioned por.
wait, which he execured in 1632, whe
he was 26.

The more recent chronological history
of the portrait was well known. In the
arly 19th Century, it w
Cardinal Fesch, uncle of the F
peror Napoleon Bonaparte, and then
serving as the French. ambassador. to the
Vatican. After Cardinal Fesch’s death in
1839, Marlen Looten was sold
t of the English Coningham
it was purchased—

show Marten

wats

Gime pa

for £800—by Sir George Lindsay Hol-
ford and added to his collection, Jn
1928—the same year as the Boym:
exhibition—Anton W. W. Mensing, a
wealthy and intensely patriotic Dutch-
man. bought the panel from Hollond's d
scendants for $204,000. Although he
deed it to his own collection. Mensir
bought it primarily so that Marten Loo-
ten would be repatriated to its native
ad.

Marten

Loolen was a painting that
ght and held me. 1 was drawn back to
ad time again. The master Rem
nt had made his subjecr—a. Duich
merchant—appear alive. To employ a
much-abused, but in this instance entire
ly valid. expression, Marten Looten ap-
peared as though he would step from the
camvas—actually a wood panel—and be
gin chatting with the spectators at any
moment, The portrait made such a pro-
found impression on me that, long alter |
left Rouerdam, I was haunted by it.

Ten years Javer—in 1938—T learned.
that the great Mensing Collection was
be broken up: some of the finest

pieces were to be sold.

Among the iiem tà be placed on sale
was the Portrait of Marten Looten!
1 was then in the United States and the

press of business prevented me from go
ing abroad to attend the sale personally.
1 did the next best thing—and without
delay. I cabled the dealer through whom
1 normally made my art purchases in the
Netherlands, telling him I was definitely
interested. in obtaining the Marten Loo-
ten, Aware that the aftermaths of the
Depresion and precariously unsertled
conditions in Europe were keeping art
prices at comparatively low levels, I
knew the portrait could not possibly
fetch anywhere near what Mensing had
paid for it in 1928. However, so great was
ay desire to own the painting. 1 author
ized the dealer to bid up to 5100.000 Lor
it. This figure, the times and the condi-
tions which prevailed being taken. into
consideration, was quite high. Also. fol-
lowing a practice entirely common in the
art world, 1 instructed my dealer 10 keep
my identity a secret—to reveal only th
he was i behalf of am “un-

The sale was duly held, the dealer a
ed to the letter of my instructions—and,
to my delight. succeeded in bidding ii
the Marten Looten lor only $65,000!

At this point, a considerable: amount
of emphatic protest arose in the Nether
Jands—and particularly in Amsterdam.
Segments of the Dutch press and. public
deplored the country’s loss of the mag
nificent Rembrandt (0. an “unnamed
American.” Articles in Dutch newspa
pers and periodicals regretfully observed
that a great national treasure. would now
go abroad, t0 a foreign owner and a lor-
cign Lind, The loss was most keenly felt
Amsterdam, for Marten. Looten, the

subject of the portrait, had been à. promi-
nent citizen of Amsterdam in the 17th
Century. Thus, the people of the city felt
a deep sentimental attachment to the
painting—not only because it had been
painted by the great Rembrandt, but
abo because the Marten Looten was,
truth, really one of their own.
There had been much satisfaction and
tion im cultured circles in Amster
dam when Amon Mensing had brought
the Marten Looten home in I
there was deep regret that the painti
stay covered. only a br
ten y ping :
Since the portrait had been in a pri-
vate (the Mensing) collection and had
been auctioned at a public sale, there
were no legal or other restrictions on its
purchase or iis export. I felt that
acquired the panel fairly and squ
thought it best to ignore the criticisms
that were being voiced and remain anon-
ymous, This course, I felt, would tend 10
minimize the possibility of additional
controversy. It was the right. decision:
before long. the Dutch aimed their criti-

rea

ing
necessary 10 top any and all for
for the Marten Looten so that it could
have been purchased for the Rijksmuse-
um. Nevertheless, a degree of regret lin
gered in Dutch art circles over the fact
the portrait had been acquired by an t
named Americam and woukl therefore
leave Amsterdam and Holland. Many
s and World War Two were to imer-
vene before 1 would be able to crase the
last traces of all such feclings in Holland.
In the meantime, the panel was
shipped to me in New York, arriving
there in J 1939. The New York
World's Fair was scheduled 10 open on
April 20 of that year. E contacted Fa
ollicials and offered 10 lend the Marten
Looten and some other important pieces
in my collection for exhibit in ihe Fine
Ans Pavilion. The offer was accepted
and, as a result, | was able to share my
joy of owning the n il-
lions of people.

wary

sterpicee with

(Asa sidclight, amusing in retrospect,
Toller my rather rueful diary entry for
March 25, 1939: “My Rembrandt, bei

on wood, sullcred from New York City's
dry ai. The cost of fixing it has be
31500—which shows what three months
in New York can do.)

Another decade passed. August 1949
found me once n m Rotterdam. The
on the Marten Looten held for
me had never lessened. On the contrary

i —1o the point where I
Hy desired to learn all E could aby
the pa and the man whom it pe
trayed. Also, D wanted to sec if 1 could
discover anything that might help solve
the dlongdlebated. mystery of the letter
which Marten. Looten is shown holdi
in his left hand in the picture.

There had been countless

theories

“Marvelous technique, Margo! How'd you ever achieve it?"

PLAYBOY

198

about the letter and its significance and
meaning. Before I bought the Marten
Looten, a Dutch. physician, Dr. J. W.
Kat, had announced that he'd deciphered
the words scrawled on the letter by
chemical-optical process, the nature of
which he steadfastly refused to divulge
According to Dr. Kat, the leucr depict-
ed was from Rembrandt to Marten Loo-
ten himself and read as follow:

Marten Looten—XVII January 1632
Lonely for me was Amsterdam: your
company, friendship just gave me
unforgettable peace created from an
endless respec.

(Signed) RHL

The “Marten Looten" and the date
are perfectly legible in the painting. The

"RHL'—Rembrandt's acrzal name was
Rembrandt H
also legible. But the text—four lines in

the painti ns gibberish eve
der the strongest magnifying glass. Con-
sequently, Dr nouncement had
been greeted with howls of derisi
Netherlands and world art circles, and
innumerable other students of Rem-
brand and his work had advanced other
theories, none of which were very widely
accepted. It was my hope that, through
patient research in Dutch archives
might unearth some clue to solve the
riddle
The last, but far from the least, of my

reasons for visiting the Netherlands was
to clear up whatever misunderstandings
nd resentments remained as a result of
my acquisition of the Marten Looten in
1938.

The art dealer who had acted for me
at the sale graciously agreed to be my
companion and act as my intermediary
during my stay, using his considerable
acquaintance and reputation to help
open doors which might otherwise be
closed to me. When necessary, he also
acted as my interpreter and. nanstator—
although this was seldom. The Dutch,
like the Swiss, are usually bi- or multi-

lingual, speaking German and often Eng-
lish and French in addition to their own
tongue. Although my own Dudi was
limited to little more than guidebook
phr 1 spoke boih German and

inch, and hence communication was

not much of a problem.

Because | felt it would serve to pro-
vide me with a solid foundation on
Which to base my other efforts, 1 chose to
tackle the identifiction of Marten. Loo-
ten himself first. This required. many
days of searching through musty files, of
uling through yellowed and fragile
documents in the Rijksmuseum, town
halls and elsewhere. Throughout it all, 1
carefully hid the fact that T was the un-
named American who had purchased the
poruait. E posed, instead, as an American
t journalist doing research for an arti-
cle on Rembrandt.

“But intellectually, I'm starving.”

Eventually, a fairly comprehensive de-
sciption of Marten Looten and his life
emerged from the hours of research and
the masses of notes my companion and J
made.

The Looten family had its origins
denburg. Devout and zealous adher-
ents of the Reform Movement, the fami-
ly was forced to Hee Aardenburg due to

religious persecution in the 1500s. It se
tled im Houndschoote in French Flan.
des, where Marten Looten’s father,

Dirck, was born. The family prospered
in Houndschoote. which was the
portant center of the textile indus

In 1582, Spanish woops invaded
Houndschoote and. burned the city. The
Lootens fled again—now one less in num-

ber, for Dirck's brother, Jacob, was killed
by the enemy soldiers. The family sought
reluge in Brugge. Evidently, the Loot
managed to salvage some of their we
for they were soon active and prospering,
busines again. It was in Brugge that

Marten, the seventh and last child of
Dirck, was boi
Some years later, religious persecution

once more forced the Looten family to
seek safety elsewhere. It returned t0 Aar-
denburg, where die. Lootens were. now
welcomed, Dirck Looten became a Drew-
wd eventually the mayor of the
This peaceful, prosperous. period
was only a lull, The religious issue again
forced the family to move, first to Aach-
en, then to Leid.

Leiden was Rembrandt's birthplace.
His father, a well-todo miller, became

acquainted with the Looten family. M.
ten Looten, who was 20 years older tha
Rembrandt, moved to Amsterdam. In

1631, Rembrandt h
city. The most probable assumption
that the young artist—he was then 25—
looked up Marten Looten in Amsterdam.

It is entirely likely that Marten Loo-
ten was impressed by the work of the
budding genius and encouraged him.
Aher all, Marten had. become a success-
ful grain. merchant, However, being the
youngest of seven children and only fc
tionally as successful as his older brother,
Charles, who had amassed a considerable
fortune in business, Marten sullered from
what today we would describe as a marked
inferiority complex.

Thus.
possibility that he commissioned Rem-
brandi to paint his portrait to satisfy his
own vanity. There is a substantiating, cle-
ment in the fact that, soon after the por
uait was completed, Marten bought a
large property consisting of a fine house
and gardens for the ther-impressive sum
of 4600 guilders.

Old records showed
Looten, though by no means as rich as
brother Charles, was well off. In 1631,
he was taxed on the basis of a worth of
30,000 guilders. Thirteen. years Later, the
tax authorities assessed his fortune at
71,339 guilders,

self moved to that

it is not beyond the realm of

that M:

As for the disputed letter and Dr. Kat's
deciphering of it, we turned up consid-
crable evidence to indicate the good doc
tor and his optical-chentical system might
have slipped a cog se -

The tone of Dr.
letter is one of a man who felt
alone and who was humbly than
benefactor for having shown him
ness. But Rembrandt could. bavdly

in Amsterdam by

d made ma
ihe city—among them
some f (hy and important per
sons. He was a rising young artist whose
work was ly attrac orable at
tention (1632 was the same year which
he completed his worldfamed Anatomy
Lesson of Dr. Tulp). Nor. at that period
in his career. were Rembrandt van Rijn's
personality and temperament of a type
10 write a letter such as Dr. Kat purport-
ed it to be.

No. All indications pointed to the con-
clusion that the letter. was nothing more
an accessory, a prop. with four lines
of meaningless scrawlings, which the art
ist had his subject hold 10 give the por-

a ud realistic quality
prove the composition of
Te was also a novel means
ome

Kavs version of the
ad and

quaintances
rly w

the
whereby he could
sign the panel. (R

picture.

Loot the al;
and the initials

“RHL” are legible.)

Further research revealed that the ma-
jority of authoritative opinion agreed
with the conclusion I reached.

Now I had achieved two of my goal
The long hours of research and study be
hind me, I felt that if Marten Looten
nut of the canvas and be-
1 to talk, E would be able to greet him
d converse with him as though he were
an old acquaintance. E also. felt. satisfied
11 had solved the mystery of the dis-
puted leucei—by determining, that it was
hot. and never had been, a mystery at all.

Thus. D was ready to take on my fin;
selLimposed task—that of revealing my
self as the unnamed American who had.
bought the portrait ol Marten Looten
and ol making my peace with Dutch art
circles.

One of the leading authorities on
Rembrandt in the Netherlands was Pro-
fessor Van Di who was a member of
the faculty at the University of the
Hague. Coincidentally. he had also been
one of the more outspoken critics of the

sale of the Marten Looten to an Ameri
cm—a Loreigner—and one who deeply
deplored the Netherlands’ loss of the

port

T reasoned that if 1 could mollily Pre
wo him that 7

fessor Van Dillen. prove
was no uncultured barba
the display of the port
had donc—and would continue to do
immeasurable good by acquainting mil-

lions with the glories of Duich art, the
c problem would be solved. E there
fore asked my dealer friend to
appoiniment for me with the professor

“But please do not tell him that Tm
the man. who bought the Marten Loo
fen.” E said. 7 Just stick to our usual story
iha Fm p n article on Rem.
brandi.
Why do you w
2" my friend demanded.
Because I want him to judge me with
out pre} individual. before he
learns thar I own the portrait,” D ex-
plained

Some days later, my dealer friend and
L were received by Professor and Mrs.
Van Dillen in their apartment on the up
pomosi floor of a traditionally styled old
msterdam house—-narrow, picturesque
and located along a canal.

We had been invited for tea. In my
role as an art journalist, I chatted ami
ably with the professor, Before long, a
bond of warmih sprang up berwe 1
found him 10 be a learned —bui by no
means pedantic—expert, with an excel
lent sense of humor and a great deal of

on cui to do

persona]. chan
Professor. Van. Dillen asked me many
questions about the United States. Im-

plicit—though never openly expressed —
was his surprise that an American could
be conversant with the fine arts and espe-
cially that he could. possess any but the

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PLAYBOY

200

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WER
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most superficial knowledge about Rem-
brandt van Rijn and his life and works

Finally, T began to gently steer the
conversation around to the Marten Loo-
ten. 1 asked the scholarly professor sever-
1 questions about the portrait and
iioned that I had read some of the
audes he had written about it—as 1
had done during the course of my recent
researches.

Soon, Professor Van Dillen shrewdly

realized that 1 was showing much more
interest in the Marten Looten than I
wld if 1 were merely preparing a gen-
rücle on. Rembrandt.
] me^" he murmured quietly.
“Why are you so intensely interested i
even the most minor details regarding
the Marten Looten?”

It was now or never, I thought to
myself.

"Because, si
American who purcha:
replied.

The professor was started, and for a
few moments he said nothing.

id how you felt abour
t, sir." 1 continued. "However, the Mar-
ten Looten was not lost to the Nether-
lands—for it, like every Rembrandt, will
forever be Dutch. The porrat is in
America—that is wue. However, it is act-
ing as a cultural ambasador of your
country and its heritage.

] went on to describe where and how
the painting had been exhibired, how it
had been viewed by millions—ind would
be viewed by millions more, for I was
soon to donate the Marten Looten along
with some other of the finest pieces in my
collection to the Los Angeles County
Museum.

The profesors face gradually sof-
tened—and finally broke into a huge and
ere smile. I had won not only my
end. When we parted, the
sor Van. Dillen's resentment
“unnamed American” had
van 1 knew that within a
very short time, all hostile feelings
throughout Dutch art circles would also
be permanently erased.

When I left Amsterdam soon afier-
ward, I feh highly coment. ld ac-
complished much. Few collectors are
fortunate enough to become as intimately
acquainted with their treasures as I had
becos with Maren Loote the
master who had painted his porwait, I
had satished myself regarding a contro-
id long raged over the lener
thar Marten Looten is shown holding in
the painting.

Above auc beyond this, 1 had succeed-
ed in ending a much greater controversy
the purchase amd ownership of
t Dutch painting by an A
I felt P had really accomplished
something worth while, helping in
least some small degree to cement
bonds of cultural understanding
friendship between those who love and

. l am the
ed itin 1938," E

last of
against

the
hed forever.

iid

versy that h

ove

ican. In

appreciate fiue art in two countries—
Holland and my own.

xcitement. romance, drama, à sense
of accomplishment and even of triumph
—they are all present in collecting. And E
think this little story of the Rembrandt
Portrait of Marten Looten serves well to
prove the point.

ht be well for me to make a few
ased on my own experi-
. regarding the collecting of Greek
id Roman antiquities.

To start with, most of the items I have
were obtained from other private collec-
tions or, with a few exceptions, from
dealers outside Greece or dtaly. There
are good reasons for this.

For many years, both Italy and Greece
have enforced strict embargoes on the
exportation of antiquities that were not
already in pris hands at
the time the laws were passed. The pur-
pose, of course, of these Laws is to insure
that no additional art los
to the countries.

“Prue, museums. universities and simi
Tar institutions will organize archa
ical expeditions and will frequently
discover new troves of art and ar
However. even such activities are subject
ent controls. The host country
ece or Htaly—may issue permits for
archaeological projects. and excavations,
but seldom if ever 10 private groups or
individuals. Aud, the permits are granied
solely with the proviso that the bulk-
and. usually the best—of any and all art
or artifacts uncovered belongs 10 the host
counuv. The foreign archaeologists can
take only a certain share of what they
find back tọ their own countries—
ad then usually only if they
be placed in university. collections or
public museums.

The objects of ancient Greek and Ro
man art diat wae not already in. private
hands years ago are the property of the
state or are in public museums. The days
when a Lod Elgin could ship large
quantities of ancient. Creek. marbles out
of Greece are long past.

There are exceptions. of course. An

iam firmer excavating the found:
tions of a new barn might well acciden-
marble bust or a bronze
statue. H he is sophisticated —and unscru-
pulous—enough. he will not report h
find 10 the authorities, but will slip thi
Object to some dealer no more scrupulous
than himself. The dealer will. in turn,
ther offer it "under the counter" to
some especially avid—or particularly gul-
lible—collector or will smuggle the object
out of the county and sell it abroad.

To buy any object from such dubious
sources is obviously risky. In fist
place, the buyer is contravening—or at
least conspiring to contravene—the Taw,
nd is liable to penalties ranging from
wy fines 10 actual imprisonment.
Then, the “rare object” he is buying may

te or dealers?

treasures

the

not be at all what it is represented to be
1t could be a forgery—or even an object
that had been stolen from a museum or a
private. collection.

To all iments and. purposes, the mod
ern-day collector of ancient Greek and
Roman art must confine himself to buy-
g from one of two types of sources—
wellestablished and reputable
dealers or other collectors.

Even then, the wise collector will have
the object he wishes to buy veued by an
outside expert, or even, if the purchase
he is considering is important enough, by
several independent. authorities

More than one otherwise prudent in-
dividual has been stung—and stung bad
ly—by allowing himself to be talked into
buying some mud-caked figurine that the
seller purported 10 be a Fourth Century
s.c Greek work or an example of Second
Century a.v. Roman art. Privately, even
some established dealers will admit that
they have been fooled (but it must be
noted that reputable dealers will imme-
diately and without question refund the
full purchase price on any object they
sell that later proves to be anything ex-
cept what was represented)

The cost of having an independent au
thority expertize a work of art before he
buys is the cheapest insurance any collec
Tor can obrain.

Nowwithstanding all that I
above, the beginning collector wi
modest meas at his disposal need n
throw up his hands in despair at the
thought of starting a collection of Greek
1 Roman antiquities. There are more
of these around and available at reason
ible prices than one might imagine.
Truc. they are not the finest and the rar
est and not of museum quality. However.
they are still authentic, sill beautiful
nd sull very likely 10 appreciate in

value as time goes on.
Pesia the astu collecior starts
small and gradually builds his collecriou

He can. by careful. purchasing, buy items
that he may sell—or perhaps eve
nade—ito obtain something of bener
quality and greater. value.
Then—although the chances are not
gre y
supposcd—there is always the posibility
of making a real find in some flea market
or junk shop. It does happen that the
housewile who “picks up a bargain” mar
ble bust at a rumm: ater discovers
that she is the astounded owner of a rare
piece worth thousands of dollars. More
than one individual in recent yems has
purchased, s bronze statuette for
few dolls im a European flea marker
and had it prove to be à valuable piece.
One must never forget that objects of
art frequently have inge habit of
traveling far and to strange place
VII wager that if I could comb through
every cluttered attic in the old New E
and coastal towns, T would find very
many worthwhile works of fine art tha

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the men who sailed the merchant vessels
nd clippers of the 18th and 19th Cent

According to references in old d
and the memoirs of such me
nd Roman marbles and bronzes-

which in those days culd often be
picked up for practically nothing in
Medii n scaports—were among
the souvenirs they took back 10 the

United Sunes with them,

What happened to all those treasures—
are nor at least some of them lying in
attics or cel

And this is only a single ex
possible source. I could, allowing my im.

i think of several

ings us to a crux. Iu order to be
a successful collector of any type or
school of fine » individual must
learn as much about it before
he stats collecting. He must be able 10
recognize what he is looking for—and he
able to recognize at least the more p
counterfeits.

The studying up involve
many extra dividends. In learni
ancient Greek. and Roman art, one can-
also about the civiliz-
ple who produced the
questionably serve to

tions,
unders

But u
begi
out as

m individual starts
collector, he will, in nine out of

ten cases, become fascinated and en-
thralled. Even the most battered. frag-
ment of a statue headless rerra-cotta

figurine or a cracked and dented brouze
object will come alive, as fresh and as
beautiful as ihe day—centuries i
when it was completed by its creator
And. when that happens, the collector
cam. ar will wansport himself back in
time and walk and talk with the great
Greek philosophers, the emperors of an
cient Rome, the people. great and small.
of civilizations that are long dead. but
that live again through the objects in his
collector

As a rule paintings should be
purchased only through reputable deat
ers or df obtained through private
sources, only after. consultation. with a
qualified expert. There is, of c
exception to this rule when dealing with
living artists. Individuals who collect ihe
works of contemporary artists—whether
already established or even famous or
ers who show promise—cin
often buy directly from them at their
studios.

Much caution is needed in buying

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Moving? Use this form to advise PLAYBOY 30
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AFFIX LABEL HERE

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whether those of old mast
ns, There are many—all
ny—wrongly attributed or totally
spurious paintings about, as well as large
numbers th © been stolen from
their rightful owners, Such is the wallic
in bogus or stolen paintings that Imer
pol, the international police organization.

was reported in 1963 to be establishing
a special branch for the express purpose
of waging war against art thieves and
lorgers.

Art thefts are reported. frequently in

the press. Thieves know a ready and lu
for

lily
1

ct exists their
transportable loot highly or
ized gangs specialize in this form ol kace-
ny—asan example. the gang which, a few
years ago. broke French Riviera
restaurant. famed for its spectacular. col-
lection of moder) paintings and stole
re than 20 canvases worth a fortune.
These included works by Braque. Bon-
nd. Piceso Rouault, Modigliani
Miro, Bullet and Duly.
Counterfeit? They are
As recently a
smashed
ting in Florence—and which. police s
ed, had been operating for several. years
hout being detceted. The culprits had
n sending (and selling) spurious paint-
s—supposedly the work of such mod
tists as De CI co, Guttuse, De
ad many others—in wholesale lots
Indicative of the scale of the operation.
the author les than. 150
bogus De Chíricos which the lorgers had
in their headquarters, ready for shipment.
So good was the counterleiters: work.
n authorities declared, that dealers
nd privare collectors in. Paris, Bali
Stockholm, London and the United
States had been completely. duped. The
ontrated «

cralive

es seized.

police sisted the for
counterfeiting modern artists whose high
stats was accepted, bur whose works
were not so thoroughly cataloged as
those of the old masters. It was estimated
that some thousands of fraudulent works
had been produced and sold by this onc

= ci

ring alone in the last four or five years
Old masters are for too—and
offered 10 and purchased by the gullible

who fail to take the simple precaution of
having the painting examined by one or
more experts, T say one or more not be-
se Lam suggesting that an expert may
verdier. bur be
od that. it

ot render an honest

sc some forgeries are so

y require. several highly qualified au-
thoriies on the particular period or
painter to derea the revealing thaws.

Ti might seem 10 the reader that. and
no play on words intended. |

m paint

ing a very discouraging picture for the
individual who would like to start a col-
lection. But I am only olfering words-
tion is

of warning—to the wise. The situ
nowhere near as gloomy or discou
as E might have made it appear by
tuating the negative.

True, when it comes to the works of
deceased. painters of top rank, examples
of their work that are of museum quality

are almost all ams or in private
collections. Those that are not are either
lost or in the hands of dealers. Hf lost

there is the one-in-a-million
chance that some uncommonly fortunate
wlividual will find them—innocently
buying a priceless masterpiece for the
proverbial song

Hf, on the other hand, a museum-qual
ty painting by an artist who is considered
10 be of top rank is in the hands of a
dealer or ollered for sale at auction, the
price it will bring 1 t0 be high. A
very recent illustration. of this can. be
found im the March 1905 sale at Sothe.
by's. where Rembrandt's portrait of his
son Titus fetched $2,234,000. Much the
same sort of situation prevails with re
gard to the works of highly regarded,
more modern painters. In 1959,
Braque—which once sold for $15.

always

ccrta

purchased for a thumping 5155.000 by
the Queensland Avt Gallery. In June

1965. a Monet sold for over $500,000,
record price for a work by this artist.
However. though not renowned mas
terpicces or the work of artists who arc
the allti
numbers of

And it
doesn't make any difference if the collec
tor with limited means prefers the old or

AL prices to su

at to
self-

Here, 1 would like to interject w
some might seem minor, to others
evident and thus redundant, reminders—
but which concern matters all (00 ofte
overlooked. The first regards the framing
of paintings. It is foolish to purchase a
painting and then to provide it with a
frame of interior quality or one that docs
nor suit the painting. Any painting that
an individual feels is worth buying and
having deserves to be framed. properly.
Artists and
encrally wil-

| dealers can—and most
sive constructive. sugges
tions, taking imo consideration not only
the character and characteristics. ol ihe
printing. bur also those of the room in
which it is 10 be hung. Where necessary
they will usually be able t0 recommend
competent, reliable picture Ir

Nest. 1 would like 10 mention the dis
play of paintings. Obviously. no hard
and fast rules exist. Almost all depends
on the painting. the nature. size and de
cor of the room in which it is to be bung
and. tast but not least. the persor
ob ahe owner However, a
should be displayed 10 best
that it can “show itself” at its best. There
should be artistry in the hanging ol pi
tures on a wall just as there must be in
paintings themselves, And, of course
pointing should have proper lighting—
lighting thar enhances its beauty and.
whenever possible, serves to further

l taste
painting
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emphasize whatever effect the artist has
tried 10 achieve.

Last word or (wo about the care
and preservation of painu They
should not be exposed to extremes of
temperature. humidity or direct sun
light. When they require cleaning or re
pur, these operations must be performed
by qualified professionals. A painting
cannot be cleaned prop safely by
even ihe most meticulous housewife. (1
know of one painful and ultraextreme
incident in which a well-meaning house
wile took a hanging. an oil painting on
so-called monk's cloth, worth 5750 and
ran it through her washerdryer be-
cause it was dusty and grimy!)

By the same token, the repair of a
painting—or even of a good picture
frame—is hindly a chore to be undei
en by even the handiest home rej
man. Such tasks are for specialists—and
the amateur will at best only worsen the
isting damage or defect and at worst
cause irreparable harm and destroy
not only the value but also the beauty of
the painting.

These points covered, I would like to
oller one final counsel. Whatever school
or type of painting the collector chooses
to collect, let the choice be his own, in
accord with his (or her) own taste
preference. One of the greatest joy:
collecting lies in the gratification an indi-
dual derives from obtaining an object
he or she wants, that satisfies his or her
Own tastes.

Collecting. certain types of obj
certain schools of pa i
is the fashionable th

ing satisfaction, offers no excitement—
and gives no joy.

Someone once criticized my collection
10 Sir Alec Martin of Ch
that E collected in u y
that my collection lacked the singleness
of purpose and the concentration ih.
he, the critic, thought should. chara
ize a collection.

‘The critic concluded his tirade by dis-
dainfully sneering: "Paul Getty buys
only what he likes!”

Since Sir Alec Martin's reply and com-
ment have been widely published in a

book written by Ralph Hewins. I feel
that I can quote it here without com-
punction and without lecling th

being unduly immodest about doing so.

“L don't hold it against him at all tha
his collections are an expression of the
man,” Sir Alec declared. “Fm rather fed
up with these impersonal, ‘complete’ col-
lections that are chosen by somebody for
somebody else. The formation of his
wonderful collection has been a public
service.

No collector could hope for greater
vindication of his collecting. philosophy
—or for higher praise of his collection.

BOND'S GIRLS

(continued from page 144)

Embassy at Istanbul. She is alone in being
talented at something, having ur
for the state ballet. Unfortunately,
grew an inch too tall and was not al-
lowed to continue. She alo actually
reads books, comparing Bond to her fa-
vorite hero in Lermontov. Her sex life,
for a modern young Russian, is com-
paratively normal, two rather innocent
puppy-lovish affairs being the extent of
her experience. She is pa
and not informed of the full dast
ness of the plot against Bond to which
she lends herself. Until he meets Tracy,
in On Her Majesty's Secret Service, no
other girl falls so deeply in love with
him. Pussy Galore rats on Goldfinger for
Bond, but Tatiana renounces her be-
loved Mother Russia. It saddens me that
she is the only woman he ever actually
strikes, slapping her around in the best
Jimmy Cagney tradition when he mis-
takenly believes she is knowingly i
volved in the death of his friend Kerim
Bey. Despite Tatiana's devotion, subse-
quently proved to his satisfaction, there
is never any doubt about Bond's attitude
toward her. He is on an assignmeni. It
has certain pleasurable aspects which
he accepts on a purely hedonistic basis.
He never comes anywhere near becom-
g emotionally involved. Although we
leave Tatiana in his arms, in a gliding
gondola, the audience unerringly senses
whatever hopes she may have for the fu-
ture will be pathetically unfulfilled.
Bond, the brute, will never look back.
The producers looked back, however.
Nadja Regin, Kerim Bey's insatiable girl
friend, became in Goldfinger the danc-
cr whose murderous accomplice Bond
electrocutes in her tub. They also were
npressed by Martine Beswick, one of
the two wrestling gypsy spitfires in Rus-
sia who later confronted him with the
challenge of a double-header. She was
warded with a role in Thunderball,
as Paula, Bond's liaison with the Nassau
more ways than one,
. from Yugoslavia, and
of 1961, were
bow found by the producers, Messrs.
Broccoli and Saltzman, their continu-
tional casting search for un-
usual femininity.

ous

Guy Hamilton, who directed Gold-
finger, evoked from Connery an even
surer, brisker, more sardonic Bond

in the earlier films. The effect was
to make him more perversely attractive.
Goldfinger is the most financially
ble generaladmission film ever
d, and Mr. Hamilton's approach
-along, of course, with such factors as
story, scope, sensationalism, and so forth
—has much to do with it. Bond's scores
over Goldfinger, blackmailing him into
losing at cards, outcheating him on the
golf course, were highly amusing, but it

“Did someone say, psssssl?"

is his heartless, crafty manipulation of
girls that most delights audiences—which
casually absolve him of the deaths of
Shirley Eaton's lovely Jill Masterson
(sulfocated because of his attentions by a
coating of noxious gold paint applied by
Goldtnger’s Korean manservant Oddjob),
and Tania Mallett’s even lovelier Tilly
fer her accept in his fan-
astic Aston M two such
stunning girls in a single film was a bonus
audiences have now come to expect in
a Bond picture. Shirley, after a uii

ched as a star. Tania, whose photo-
face had appeared hundreds of
times im Vogue, Harper's Bazaar and
other leading fashion magazines, made
her hrst screen appearance in Goldfinger.
It will certainly not be her last, despite
the continuing demand for her services
as a leading model in London, Paris and
New York.

Forgiving Bond his use of Pussy Ga-
lore (we contemplated changing her
Christian name in the United States to
Kitty) is more understandable. After all,

SSS

Pussy was a tomboy, to put it as
inollensively as possible, and Bond pro-
vides her with a kind of psychiatric ther-
apy. It takes some doing, approaching
rape, but Pussy is undoubtedly the bet-
ter for it, Does she relapse after he moves
on? Or does she further develop her new-
found taste for heterogeneity despite the
ty of statures like 007's? It's touch
and go. I'd say. and no one's concern but
Pussy’s. Casting Honor Blackmai
role, ali E j
pert, Cathy, in the Bi
The Avengers, was a departure
choosing theatrical unknowns,
showmanship coup the producers fo
irresistible. Opposite Sean Connery.
was up against sheer masculinity. Their
struggle m the barn must surely rate as
one of the most offbeat seduction scenes
ever enacted on the screen.

If Bond's conquest of Pussy is a tour
de force that strikingly demonstrates
his versatility, he gives further evidence
of it throughout Thunderball. Indeed,
his exploitation of an unusually varic-
gated assortment of willing wenches,

n the

h TV spy s

from
but

205

PLAYBOY

206

with one notable exception, is sheer
virtuosity, We see him first teamed on
mission with a mysterious Chinese bcau-
ty. In this provocative role, Mitsouko,
nother screen discovery, projects such
overwhelming desirability that it is dif-
ficult to escape the implication that they
devote little time to official duties. Ap-
parently whatever refined | techniques
may bc required for liaisons with Ori-
ental dolls—who are purportedly more
appreciative of delicacy than their West-
ern counterparts—Bond has tered
them. Hard after this h
triumph

in exh

This time his
pplied to Pat Fearing, prob-
ably the most neis sseuse
ever to manipulate a spinal column. The
treatments she gives Bond, featuring

h special mink gloves t re-
‘ous tension, are at first coolly
impersonal. In a surprisingly short time,
of course, we find hin wearing the gloves
and Pat undergoing the treatment. From
there on, Molly Peters’ incredible physi-
cal endowments for the part make the
course of this mutual manipulation inev
itable. Leaving Pat to resume her minis-
h more needy cases, Bond flics
nd there continues his bril-
ay of adaptability, seeking out

Dominetta Vitali
gil and the mi
archvillain, Largo. A one-eyed s
he is busily engaged in collecting man-
eating sharks as a front for the nefarious
project of highjacking a bombs and
extorting a hundred million pounds in
diamonds for their return. Dominetta,
whose friends call her Domino, is one of
Fleming's least-convincing ambivalent
amiheroines, Fortunately, however, we
have the talemed, pinup-contoured
Claudine Auger to bring her warmly to
life. In her favorite costume, a black-
net, skintight leotard, she is perhaps the
most enticing of all Bonds beauties.

An aquatic sports enthusiast, unaware of
Largo’s colossal caper, Domino spends
most of her time underwater, where

Bond meets her and woos her. Aud
memorable

ences

camera flagrante delicto behind a cor-
al reef amid the shifting seaweed. We
have a genuine innovation here, and

who else but James Bond could have
tion?

been a party to its consumim

I regret that this brief lib
of Bond during Thunderball ends on
somewhat les-latering note. Fiona,
lly of. Largo's, is not found in Flem-

“How do I love thee? Let me count the ways... !"

cruelly resourceful, as evil
nfamous Rosa Klebb—but
bly luscious, as played by the
delectable Luciana Paoluzi. Fiona is
One of srecrre’s top assassins and most
seductive femmes fatales, as coldly capa
ble of nd killing as Bond him-
sell, ably they mancuver cach
other into the same bed. Which iceberg
melts? Certainly not Bond, but. neither
does Fiona. F playmate docs

not become a plaything. For once, a
woman he makes it with refuses to
switch her colors. Perhaps it is Bond's

bles her t0 turn him over to Lar
. He does not, of course, rem
er long. But it is to his eternal
credit that he accepts the setback without

rancor or rec ion. He merely
shrugs, commenting wryly as he is led
away. “Oh, well, there always has to
be a first time.”

Fateful words. In On Her Majesty's
Secret Service, which you first read in
Aynoy and now being screenpl
a devastatingly unexpected.
awaits us. All bets are off. Everythi
stands for is swept away. His
shattered, seemingly beyond
James Bond falls in love. He
What sort of woman is it who lures Bond
into this catastrophe, the deadliest trap
ever to close upon him? She calls herself
Tracy, or, to give her full name by a
former marriage, La Comtesse Teresa di
Vicenzo. She is beautiful beyond descrip
tion, but no more so than Honey or Ta
tiana. There is the touchy matter of her
being the daughter of Marc Ange Draco,
chief of a Corsican crime syndicate. Psy
chologically she is highly unstable, at
times suicidal. Irresponsibly she plays [or
high stakes at chemin de fer without
1 10 pay when she loses, Her per
sonality is scarcely more appealing than
several of Bond's other girls’, Except for
the greatest appeal of all: She needs him.
Unlike the others, she is the only one for
whom Bond is the one man in the world
He alone can rescue her from despair. At
long last, after gauging the depth of Tr.
cy’s love by her willingness to die [or
him, he capitulates. |t means giving up
his career, his status as 007. M is
inflexible where the regulation forbid-
ding his section members 10. marry is
concerned, Despite everything, Bond ac-
cepts the inescapable. James Bond, a
husband, a father? James Bond relegated
to the humdrum existence from which
he releases millions, lifting them to his
own marvelously rewarding dream lif
lan Fleming knew it was quite impossi-
ble. So he killed Tracy in the novel. wip-
ing her out as ruthlessly as Bond himself
spatches those who stand in the way of
accomplishing a mission. We shall do the
same with her in the film version. Flem.
ing gave Bond his standing orders when
he created him: to be a wish fulfillment.

novelty

Sfubborn people di
year round.

be stu Drm. a

Your friends will say that the Gimlet [an adult blend of 1 part
Rose's to 4 or 5 parts of gin or vodka] is definitely a summer drink. =,

Nonsense.

The Gimlet is much too good to be confined to summer tippling. +

It satisfies your craving for a tart, unsticky, robust cocktail
anytime. And that's because it's made with Rose's: the lime juice
made only from tartly-sweet golden West Indian limes.

Tell that to your smart-alec friends.

And continue sipping stubbornly, serenely. When the temperature
is 95. And when the frost is on the pumpkin, too.

SEX IN CINE!

(continued from page 156)
heads to consider what 10 do about
the rising tide of sex and violence.
He brought with him to the meeting
an Easterner, Martin Quigley. editor
of Motion Picture Herald and a promi-
nent Catholic layman, Quigley treated the
group to a reading of the draft for a pro-
posed Motion Picture. Production Code.
Hollywood was already adhering, more
or less, to a brief set of do's and don'ts
ng to moral behavior in movies;
but Hays felt that something stronger
was needed. He had listened in rapt ad-
miration as Quigley tokl him of a plan to
bring the movie producers to heel.
There should be a code of command-
ments, Quigley insisted. and it must have
all the trappings of the articles of war,
complete with penalties for disobeying
it. With blessings from the Hays Office,
and with the help of a Jesuit priest, Rev-
rend Daniel A. Lord. who published a
igious magazine called The Queen's
Work and also taught dramatics at St.
Louis University, Quigley prepared a
document: 7A Code to Govern the Mak-
ing of Motion and Talking Pictures.

Alter several sessions with the produc-
ers, the adoption of the Code was bulled
through. It was a gamy document that
Quigley and Father Lord had concocted,

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and they must have had quite a time
writing it. All the explicitness of the ear-
lier do's and don'ts had been retained,

but to them were added paragraphs that
spelled out in deliciously graphic detail
the “thou shalt nots” of the new pur
ism. One large section was headed six
and contained separate classifications for
Adultery, Scenes of Passion, Seduction or

Rape, Sex Perversion, White Slavery,

Miscegenation, Sex Hygiene and, for

feug | some strange reason. Children’s Sex

handful. You'll find Tray Dong avaiable at | Organs, Other sections dealt with ver-
GARITY, OBSCENITY, PROFANITY, COSTUME,

iren t omama DANCES and REPELLENT susjecis, Lile
eens TRAV -L- BAR? | was evidently viewed through very pru-
wr Even -Iean mc rient lenses indeed by Quigley and

Ime Moreen s 99999). | Father Lord, for fully thi of

the Code had to do in some manner with

sex—and well spelled out, 100. Under

Scenes of Passion, for example, it was

specified that “(a) They should not be
introduced when not essential to the
plot. (b) Excessive and lustful kissing.
lustful embraces, suggestive postures and
estures are not to be shown. (c) In
eral, passion should be so treated that
these scenes do nor stimulate the lowei
and baser element.” The authors tipped
their antidemocratic, holier than-thou
hand with that last caution.
Producers, faced with economic de
de from the combined forces of the
threatened Federal censorship, already
prevalent state censorship, and the in-
creasing wrath of predominantly Catho-
The After Shave Cologne that gets- lic church groups, knuckicd under to
MA R | iis Hayssinctioned form of so-called

Riri self-regulation. They were cagey enough,

. to appoint themselves as a final
l of appeal from Code provisic
and they made sure they were the ones
10 pay the salary of Colonel Jason Joy to
look over their scripts in advance to see
that they were free of offending matier.
Colonel Joy wielded his bluenose pencil
forthrightly, but dwindling exhibition
profits, as well as the mass public's evi.
dent eagerness 10 accept more frankness
on the screen and the inability (not to
mention unwillingness) of the producers
to clamp down on their writers and direc
tors, all mitigated against his ellorts to
bring more Joy and less joy to the
screen. It wasn't long before he threw
up his hands in defeat and resigned.
For all his prestige, Colonel Joy had
discovered that he could, in effect, do
iban waggle a finger at the
tide of what was stigmatized
as “the suggestive and lascivious.” Eve
after passing a script as safe for publ
consumption, there was no way for him
to prevent actors, directors or writers
from "improving" on it, "Can you go for
a doctor?” Myrna Loy was asked i
sical called Love Me Tonight. "
ly" responded the pleased lady, who
added, “Bring him in!” (In the same
film, Jeanette MacDonald had her slip-
covered bosom tape-measured by a ro-
guish Maurice Chevalier.) A hatcheck
ivl gaped at the diamonds decorating the
fingers of Mae West in Night After
Night and exclaimed, dnes, what
diamonds.” Upon which, the diamond
wearer observed uy, "Goodness had
nothing to do with it, dearie.” And R;
bara Stanwyck. applying for a job i
Baby Face, is asked: "Have you had any

experience?” “The | Miss
Stanwyck swings a provocative leg and
with studied — sophistication,

"No one mistook her meaning.

Miss Stanwyck was one of a new wave
of young actresses who, not long after the
introduction of sound, replaced many of
the sex queens of the previous decade.
Chia Bow, bouncy and beautiful, read
her lines with the aplomb and inton
tion of a BMT platform auenda
made three talkies. then
nto oblivion. Lovely V

Banky
spoke in accents that were unmistakably

guttural and mid-European. Pola Negri
also had a profound accent, and her ex-
gyerated playing of sophisticated
pean sexual tigresses went against the
prevalent mood. Indeed, virtually the
whole gallery of sirens and Mappers went
into discard when the nasal-voiced, sleck.
bodied Jean Harlow came along and
demonstrawd that simple willingness
was preferable 10 cute Mirtatiousness or
hard-breathing seduction. There was a
new courant, not merely
about love but about the sexual act it
sel. Ginger Rogers, for example, when
asked by her bridegroom in Professional
Sweetheart whether, in addition to
smoking and drinking, she had gonc in

Euro-

cynicism au

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[seme

2 SS et Se

1 firmly in the

promiscuity, rep!
“How many men?" asked her
appalled husband. “Hundreds,” she re-
plied, with a flick of the ash of her c
rete, The outraged fellow knocked her
cold, then pleaded with God for
ival "She is wicked, but I love
he explained.
But while these Depr
venus were pushing the
top billing on the nation’s marquees, an-
other kind of actress was raking in Hol-
Iywood’s top sa Broadway actreses
such as Bennett and Ruth
tterton, along with the veteran in-
gênue of silent films, Norma Shearer,
were sought out. because of their ability
to handle convincingly the newfangled
dialog despite the stapy conventions of
most carly sound films. Voices were
needed even more than physical allure,
although a lowered décolletage was no
hindrance. Miss Chatterton, on the
verge of retirement when talkies began,
gamely removed her brassiere and emot-
a series of pictures that became
of a cycle termed the confession
film. The confession film provided vicar-
nd avid wish fulfillment
g girls pondering the problem
of how best to make use of their sex for
advancement im an increasingly
i ic world.
book The Movies, Richard
nd Arthur Mayer wrote: “The
composite heroine of the confesion films
... Was a woman who gave up her chis-
tity in cold blood. Sometimes she did it
for money, sometimes . . . out of scif-
sacrifice. sometimes she was simply talked
into it, but she rarely did it for the fun
of it, and she always gor paid off in some
fashion. But her payments grew smaller
and her gains greater as the cycle rolled
on. In fact, making these films became
elaborate game in which the problem was
to invent new ways for the heroine to cat
too.

way tow:

her e and have it, `

In Female, Ruth Chauerton played
the president of a giant corporation who
refused to marry and thus lower herself
economic scale—but she not in
t averse to having her junior exec-
utives drop in for summit conferences
her boudoir. Svelte Constince Bennett
portrayed women even. more symptomat-
ic of the revolution in femi
under the duress of economic hard times.
Seen as a stenographer or an artist's
model, she would i ably be seduced
by a rich and/or unscrupulous man in
an carly reck: but instead of bemoaning
her fate, or settling for the poor E
est boy next door, she would grimly use
all her wiles to lead her seducer to the
tar. Not infrequently, her seduction
would leave her with child, which she
bore with such bravery that the reluctant
father was won over out of sheer adim
ne Miss Bennett
enjoyed the questionable distinction. of
becoming the screens most prominent

nine m

hon-

unwed mother. One movie poster of
1933 read: "Constance Bennett in Bed of
Roses, with Joel McCrea." The public
was conditioned enough by then t
know that a child would erge from.
that bed of ro: that she would involve
the hero in a breachof promise and pa
ternity suit; and that ultimately she
would get him to the al il not in timc.
t least better late than never. Others
weren't so lucky. As the decade's best
known girl "in trouble"—the. simple-
ninded factory worker made pregnant
by a predatory social climber in the 1930
movie version of Theodore Dreiser's An
American Tragedy (remade in 1951 as
A Place in the Sun with Shelley Winters
as the girl and Montgomery Chit as he
seducer)—Sylvia Sidney pleads with the
unwil er (played by Phillips
Holmes) to give the child, and her, a
me: but he decides to drown hi:
troubles—both of them—in a lake.

The problem of how much sexual
freedom the Depression. woman was
rightly entitled to was cannily exploited
by Hollywood in dozens of films. Once
1tue was gone, these films asked implic
idy, what was left? Material advantage
was the answer prollered in many of
them. Helen Twelvetrees, seduced by no
less than five men in Millie, may have
descended ever downward in moral deg.
radation, but she certainly improved
her standard of living. She may not have
looked happy about it, but 1o the poorly
paid working girl of those dismal day
total happiness must have seemed a
petty price to pay for such luxury.

In spite of the stand taken against
adultery by the Production Code. pro-
ducers continued to deem it
ble plot material and score:
dealt with the intriguing subject. Pe
haps the most famous of them was Back
Street, in which Irene Dunne fell in love
with John Boles, though he was married
and the father of three children. The
back street in which she lived as his mis-
tress for much of her life was not uncom-
fortable by 1933 standards, and the
audiences’ sympathy was discreetly direct-
ed less toward the betrayed wile than
toward the two unhappy victims of socie

ty ass morality, Adultery w
give if somewhat arch, we
ment Animal Kingdom (1

in which Ann Harding pondered the
problem of what to do about her errant
husband, Leslie Howard, w
himself unduly attracted to a sexy ca
reer woman played by Myrna Loy. The
film shows his anima i

to the fore when Miss Loy is seen climb-
ing a staircase to her guest bedroom,
while from below the sorely tempted
Leslie Howard watches her undulat
derrière. Prostitution, listed as a “repel-
lent subject" by the Code, was a peren:
ial favorite, t00, and frequently hearts
of gold beat beneath the sequined peign-
oirs worn by the heroines of such. films

instincts. cor

as Faithless, Safe in Hell and The Blonde
Venus. Ironically, perhaps, but accuratc-
ly, nevertheless, Liberty magazine head-
lined review of the 1933 Baby Face
“THREE CHEERS FOR In it, Bar-
ara Stanwyck made her way upwi
floor by floor through a bank skyscraper
until, quite literally, she reached the top
by making herself readily able to
lecherous assistant treasurers. account
managers, vice-presidents. and. finally to
the chief executive. himself. Miss Stan-
wyck seemed no worse for wear

She was usually cast in roles that
showed her responding to the Depres-
sion's numerous vicissitudes with a hard-
bitten. cynicism that seemed to say: Get
what you can while you Gin, or as long as
your face and your figure can take it.
The titles of her movies. Ilat. Forbid-
den, Ten Cenis a Dance, told customers
fairly clearly just what In

to expect.

Night Nurse, a seamy Warner Brothers
item of 1931, she was the amorous pal of
a bootle; and roomed with another

new star. Joan Blondell, playing a cute
nurse on the make. Both girls stripped to
their underwear l times in the
film, for no other reason than that the
director guessed —correctly—that their
audiences might. prefer to sce them that
Indeed. Joan Blondell. especially.
spent this carly phase of her long and
varied carcer mostly in black-lace linge-
ric. Her perfect figure was rightly deemed
her most important asset 1 actress,
and in 1939 she attained soi akin
to immortality when officials of the New
York World's Fair sealed a sculptured
replica of h e body in a time cap-
sule so tha ions several thousand
years hence could know just what Ameri
cans of the Thirties regarded as an ideal
female specimen

Nadity in films of the Thirties was al-
most exclusively concerned with the
ever-developing public interest in the
female bosom, although one full-length
nude shot did manage to slip by the cen:
sors in The Yellow Ticket, a 1931 movie
about prostitution in czarist Rusi
based on a play of the same title. For one
ndid moment, a prostitute in prison is
ewed through a wire sereen as she is
be examined from head to toe for
posible disease by a nurse-keeper. In one
of the most successful Biblical spectacles
of the day, The Sign of the Cross, Cecil
B. De Mille provided students of
Rome with a good deal more than bread
and circuses. Claudette Colbert, as the

Empress Poppaea, was shown at her
sybaritic bath. her breasts pleasantly
buoyed on a sca of asses’ milk. But the

exposure of breasts in the films of the
Depression years was usually done art-
fully through blacklace and low-cut
slips. Many of these pictures never man-
ged to make dateshow tel
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frightened heroines chase through the
rooms of a haunted house, seldom wear-
ing more th and parters. th
oms plainly bobbling under the loose silk
Dance, Fools, Dance teaured a lingerie
party aboard rich girl Joan. Crnwtord’s
vachi, during which the boys and girls

g to

bos-

suipped down to their underth
drink and dance. In her first two Tarzan
Maurcen O'Sullivan, as Tarzan's
outfitted for jungle life in the
st of bras and a couple of leather
Haps Por the mid-section. Later, when
wis rampant, the jungle provi
Hy provided a far more concealing
wardrobe. Miss O'Sullivan. and Johnny
Weismuller proved to be the most dur
able of all the Jancind-Tarzan teams,
Maureen lasting until Tai New
York Adventure in 1942
second. wind, Weismuller didu't unn in
his loincloth for another seven. years. In

1039. Maur own weary of jun.
gle life and Tarzan Finds à
Son, 10 have herscil. killed olf—only to

find herself resuscitated by MGM, which
decided in the nick of time that the
public simply wouldn't be able to endure
the shock of a dead Jane. Only recently,
as the mother not of Tarzan's Boy but
ol Mia Farrow (of Peyton Place Lame).
the 19-yea irllriend of Frank Sina
Maurcen was in the news again, com.
ng wryly on the age
en her daughter and the 49-year-old
r: “IE Mr. Sinatra is planning on
marrying

to be me.” If M

disparity

yone in this family. it ought
- Sinaua had seen her

swinging from the vines in one of those
carly Ape Man epics, he might well have
been tempted

Bur it was the musical extravaganza of
the Depression era that glorified uie
American girl more lavishly than ever
before or since. In fact, one musical was
tually tiled Glorifying the American
Girl. This glorification. it should be
suid, had begun in the waning years of
es, when a eraze for musicals
sang and danced swept
through Hollywood. What was revealed
of the American girl in the feather
weight confections of the ‘Thirties was
perhaps more derivative of the harmless
peckaboo movie sex of these Twenties?
music n of the cold-blooded, ex-
ploitative cinematic erotica of the
Depression decade. This is to say that
the musicals featured primarily visual
sex: the silhouened nude and the scanty
attire—with the coy suggestion of its re-
movabiliy. The carly-Depression. musi
cals represented. then, something of a
cultural Iag—a residue of old values
rather than a reflection of new ones, At
ny rate, Glorifying the American Girl
was fairly typical of the genre, in that it
featured dozens of gauzily draped
nymphs in pageandike production num-
bers. Women of AI Nations, Footlight
Parade and Hips. Hips Hooray were
musical extravaganzas of similar ilk. Ed
die Cantor's Roman Scandals employed
the Goldwyn Girls—all carefully meas-
ured for breasts, waists and hips of ideal
propor waistlong wigs and
the flimsiest of coverings merrily ciort-

jons—who

ed through
ous was thi

em scene, So scand.
sort of goings-on by today's
television standards that whenever the
film is videocast in yet another rerun.
the whole sequence is omiued. When
Fred. Ast nd Ginger Rogers made
their bow as a dance team in Flying
Down to Rio (1933). the grand finale of
the film was an acrobatic ballet in which
a whole troupe of glorified girls perform
piroucues and high kicks on the win
of a squadron of airborne airplanes. To
compound the madness—and the int
est—ol the scene. the girls were shown
bare-breasied ar that high altitude.

No one in Hollywood. however. coul
match the Hights ef choreographic fa
of Busby Berkeley. concocter of
abov nüoncd rem numb
man Scandals, Film historians. now

ually give credit to Berkeley for his
ingenuity in liberating the camera and
enlarging the scope of the screen by eres
ing musical numbers that could not pos-
sibly have taken place on any theater
stage in the world, But he was also the
possessor of unerring bad taste and a vo-
cious appetite for scurological eroti
cism, often more revealing than Berkeley
could possibly have imagined. In Fash
tons of 1934, one of his numbers trans-
formed a bevy of full-bodied beauties
to human harps whose strings were
plucked by a comely group of female
harpists presumably playing in perfect
Lesbian harmony. In another scene. the
girls revealed their scantily covered but-
tocks to audience view they tossed
back and forth a foamlike substance
that had, at least according to one. Dan-
ish chronicler of movie erotica, distinct
sperm connotations, For Warner Broth
ers’ Gold Diggers of 1933 (a humorous
wsical uibute to that Depression
encouraged female habit), he dreamed up
a “Petting in the Park" fantasy. in which
his camera moved lewdly through a
scene of amour en masse, insistently clos
ing in on the girls, all of whom wore
lace brassieres and gartered panties.

An unwritten law of the Code
that the inside of a girl's thigh must nev-
er be shown on the screen: but Berkeley
disobeyed it by showing all parts of the
thigh in the scene. Later, a cloudburst
breaks up what appears to be the first
stages of a mass orgy, and the zirls—with
what is left of their attire di
ingly to their f y behind
translucent screen to strip oll their wet
clothes, and treat the audience to a sil
houctte view of their nakedness. When
they reappear, moments later. they arc
wearin stity brassieres made of steel.
Undaunted, the boys counter this. ploy
with huge can openeis with which thev
proceed to clip open their petting-party
dates. As though this were not enough to
deliver the erotic message, through the
entire scene cavorts a lewd midget,
frequently used in Warner films as a lit
de-boy satyr. Wearing baby clothes, the

ire

was

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PLAYBOY

214

midget proves to be an inveterate vo-
yeur; he is constantly pecking through
the shrubbery at the amorous proceed-
ngs, and turns to wink in childish glee

rs solemnly
ley was the one true
ampers."

school ol
declares that B.
cnius among the carly
ar less "camp" than
1 Harlow, who, although she
n Hollywood in the
ripe teenager, had to wait for the brassy
Thirties before achieving her lasting
identification as one of the most potent
sex idols of the decade. Her career was
10 be tragically brief, and her reign as a
platinum-blonde love goddess encom-
passed no more than halt a dozen yea
But during those years she

sible for the albinolike hai
ed by a considerable portion of American
womanhood. and she also gave pop-
ular currency to the phrase "Excuse
me while I slip into something more
comfortable"—swhich she proceeded to
do in Hell's Angels, her first starring ve-

pop art" was
rrived

hice. The "something" turned out to be
a clinging blacksatim robe of starting
décolletage. Harlow typified the trampy

but basically good-hearted American girl

of no particular education or status, and
was to be seen more often as mistress
than married in her films. In a later
chapter, on the sex stars of the Thirties,
we will be taking a closer look at her
on-screen image, and at her ill-fated off-
sre romance with Paul Bern,
producer, whose suicide, after a
marriage to Harlow, precipitated the
steamiest Hollywood scandal of the dec-
ade. Suffice it 10 this point in
our chronicle, that Harlow almost single-
ndedly administered the coup de
ice to the screen Mapper—for the
aring but essentially virginal
attitude toward sex was no match for
Harlow's forthright acceptance of it on
the screen—and off.

If Harlow disposed of the flapper type
on the screen. Mae West killed off the
last remaining vestiges of that other old
stand-by, the vamp. Mae came to the
movies in 1932, alter long establishment
as a risqué singing comedienne of the
stage and variety theater, when she was
nearly 40 years old, and she managed at
that lushly ripe age to.

a woman's sexuai needs—
just as demanding as
What the movie audiences

own,

man's.

“The years have been kind to you, Emily."

over a period of years," wrote the dis
guished critic George Jean Nathan, “had
been nothing but an endless succession
of imported Lesbians, fatchested fap-
pers, beauty-purlor imitations of women.
Miss West came like a veritable torrent

upon a dry desert.
The first rivulet of this inundation
her maiden appearance in Night

Night, a gangster film in which she

tle more than walk around in lan-
bosomy, hipswaving majesty.
4 Schickel, author ol The Stars,
rhapsodically described her manner of

mounting a flight of stai in the film:
“A simple, everyday act which, when per-
formed by the biggest blonde of them
poetry of
motion.” Her first starring vehicle, She
Done Him Wrong, did so right by her
producers thar the firm was saved. from
bankruptcy. The Mae West brand of sex
was a delightful change for the mov
public, unaccustomed to such frank rib-
addry on the screen. Even so, the loom-
ing menace of censorship caused a title
change from the original Diamond Lil,
a play of Miss West's own authorship
that had run imo trouble on Broadway
because it dealt with an unreformed, un-
repentimt prowituc. Lil was changed
to Lady Lou for the picture, in which
Miss West described herself as "the finest
lady that ever walked the streets.” She
sang such songs as Z Wonder Where My

Easy Rider's Gone and A Man Who
Takes His Time, which, even in some
what sanitized versions, still retained

their original bawdyhouse implications.
At the time, Mary Pickford- just on the
verge of her own divorce from Douglas
Fairbanks—reacied with shocked. modes-
ly (0 the songs, and stated to the press
that Mae West was the worst thing that
had ever befallen Hollywood.

Since then, a great many have thought
that Mae West was one of the best things
ever to happen to Hollywood, if only be-
cause she mocked so completely the prev-
alent repressive attitude toward sex in
most movies, “When Um good,” she said
in lin No Angel, “Vm very good, but
when Fm bad Fm heuer.” She wrote
much of her own dialog aud coined new
national aphorisms. such as "A drill a
day keeps the chill away.
natured, well- padded. temptress with her
standing invitation to "come up and see
me some time,” was to be held largely
responsible for the virulent reform of
movies that followed in her perfumed
wake. Miss West would be the first to
support the theory that the Legion of
Decency was established. in the hope of
abolishing. hi and it
was hardly a coincidence that within six
months after the release of She Done
Him Wrong, a form of pu c Catholic
film censorship was under way. Nev-
ertheless, with all deference to the way-
ward Miss West, churchly moralists H
a good deal more to alarm them at the

But this good-

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time. Mae West was but one more con-
stellation in the galaxy of gangsters, fall-
en women and mixed-up musicals that
had incurred their wrath
A worried Will Hays was already
cooperating with these Catholic censor-
ship groups. “Early in 1933,” he recalled
kater, "in the gathering chaos and eco-
nomic night, some voices called for the
repudiation of the Code and all its prior
restrictive agreements, Some felt that if
the industry was 10 save itself and keep
its thousands of people in their jobs, it
had to ‘Let her go, Gallagher,’ with any-
thing permitted to bring in the money.
To save Hollywood from itself, as he
regarded his efforts, he acted as imer-
mediary between. the Motion Picume
Producers Association and the religious
leaders who were vociferously denou
ing the film industry. It is certainly true
that Protestant and Jewish clergy were
adding their voices 10 the censorial
clamor, but they were not nearly so
militant in their righteous zeal as the
atholic clergy and its minions--mem.
bers of the Catholic laity-—to whom Hays
directed his inermediating efforts.
While the carlier censorship Puisch
that had brought about the adoption of
the Production Code was the result ol
conditions largely of the Twenties, the
new moral crusade was distinctly of the
Depression Thirties. The Catholics now
had a repressive social atmosphere in
which they could push even harder than
before, and push they did. In the dark
ages of the Thirties, most of the country
rubes, and even the masses of city dwell
ers—however paradoxical their private
behavior—still equated sin with sex; so
the Legion of Decency didn't have
much difficulty selling the public on
their crusade against sex on the screen
The first salvo in this Catholic war of
repression. was a statement made in the
summer of 1933 by an Italian visitor, the
Apostolic Delegate from Rome, the Most
Reverend Amleto Giovanni Cicog;
who thundered, "Catholics are called by
God, the Pope, the bishops and ihe
priests to a united and vigorous campaign
Tor the purification of ihe cinema, which
has become a deadly menace t0 morals"
There is every reason to believe that the
Apostolic Delegate was prompted to make
the was speedily fol-
lowed by the formation of an Episcopal
lommittee on Motion Pictures to draft
appropr sures for the control of
picture content. And shortly alter this.
the Legion of Decency was lormed. It
quickly became the most effective and
disciplined pressure group the film in-
dustry had yet encountered, and it re
mains active in the same capacity roda
In April 1934, the Legion introduced

ani

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throughout the land. and specifically re-
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year of the Le
that they would “condemn indecent and

existence, promising

immoral pictures, and those which glori.
fy crime and criminals." “The whistle had
blown!” Hays wrote in a memoir. "Im-
mediately protests against salacious films

adv

dl offensive swept acr
the county in a rising tide. The move
ment was Jil i
to clean as it burned. For the most pa
it took the form of à popular movement,
in some cases the clergy being obliged to
restrain their people from boycotting
even decent shows and condemning all
movies!” Protestant and Jewish groups,
too, 54 in number, rched in the
movement against “the immoral cine-
* The Christian Century, a Protes-
ut publication. bellowed editoriall
"Thousands of Protestant ministers
laity say ‘Thank God that the Catholics
are at last opening up on this foul thing
as it deserves.
Fhe main reason for the Legion's ef-
fectiveness, where other types of censor-
ship had failed, lay in its ability to
threaten—and on occasion to impose—a
punishing economic boycott. Faced with
this threat, the film industry came quick-
ly to heel. In June of 1934, the Produc-
tion Code was brought out of mothballs,
dusted off and amended. again with the
help of Martin Quigley and Father
Lord. It was given much sharper teeth,
too, with the addition of a Production
Code Administration (which still exists)
under the supervision of a young €
olic newspaperman, Joseph I. Breen, who
was given authority—and who accepted
alacrity—to police all studio
from the first screen treatment
to the completed negative. A new weap
on of enforcement, the Production Code
“Seal of Approval" was unveiled at the
same time. The dictatorship of virtue, as
it been termed, was further enforced
by heavy fines for offending producers
without a Seal, and by the unwillingness
of exhibitors to risk Legion of Decency
wrath by showing films lacking i
To clarify its positi
Legion instituted a syste
classifications,
into three main groups: A,
unobjectionable for all B,
objectionable in part for

which separated movies
morally

condemned. For the next 20 y
condemned film stood little or no ch.
at the box. offic: Ouo Preminger,

carly in the Fifties, proved with his The
Moon Is Blue that the Legion's “con-
I" rating was a powder pull for
anyone who stood fir st it. By that
time, not only morals but the entire
structure of the industry had unde
profound change. During the Thirties
Hollywood was far too craven to provide
y outright opposition and
went in for evasive action. Indeed, cen-
sorship became such a commonplace of
film production that W. C. Fields, sipping
in an ice-cream parlor, got a laugh

demn

one

instead

by looking into the camera and st
“This scene was meant to be
but the censors made us change it.”

Actually, this kind of chocolatc-fudg.
was no laughing matter. It drove the
frank, healthy sexuality of Mae West
from the screen and substituted several
types of curiously mixed-up women, one
of which became known as “the good-bad
girl.” This latter was a direct offspring
of censorship—a girl who appeared to be
1, who was so regarded by the hero and
the audience throughout the film, but
who eventually turned out to be basically
good, She would smoke, drink, play po-
ker. flaunt her hips, appear to be on the
make, possess an unsavory past—but it
would be revealed at the end that she
w virginal as Mary Pickford in Little
Lord Fauntleroy. Her psychological value
for the mixed-up American male,
cording to two psychiatrist authors, Mar-
tha Wolfenstein and Nathan Leites, was
her ability to prov eat-your-cake-
and-have-it-too solution to the old con-
flict between sacred and profane love. . . -
‘The exciting qualities of the bad woman
and the comradely loyalty of the good
one are all wrapped up in one prize
package."

The obverse of the “good-bad girl"
was "the bitch heroine," a woman of
tempting sexuality but withal too neurot-
ic to use it for any g end. Bette

avis was the principal portrayer of thi
d of role in the Thirties, and she pro-
claimed her master Of Human Bond-
age. As Mildred, the cockney waitres
who makes life hell for a clubfooted
medi student, she willfully destroys
his paintings and almost wrecks his
reer before, now a streetwalker. she falls
victim to tuberculosis (changed from the
svphilis of Somerset Maugham's novel).
Throughout the film, Bette showed
Mildred to be umelentingly grasping.
vulgar and embittered by her inability to
satisfy her sexual whims with any man.
She was a new kind of heroine (and vil-
ness) for the movies; and despite the
disinfectant the studio applied to the
script, there was no escaping the sexual
implications of her volatile perform
ance. Later she was honored for the play-
ng of another such character when she
won a 1938 Academy Award for Jezebel,
in which she was seen as a perverse and
unrepentant flouter of aniebellum tra-
ditions of ladylike bi

Jezebel amedated by only a year the
screen’s most famous antebellum epic,
Gone with the Wind, in which Vivien
Leigh played that apotheosis of all bitch
heroines, Scarlett O'H Even the im.
plicit presence of censorship was unable
to prevent the sexual sparks from flying
between the team of Miss Leigh and
rk ble. The Gable,
with his appearance ayal of
aggressive m nore than a
match for the tchin of
Miss Leigh as Scarlett. Although the

havior.

screen went discreetly dark when he car
ried Scarlett up the stairs to her bed-
room, the morning-after smile on her
face was eloquent proof of his prowess.
As a result of the Code, and the Le-
s everwatchful eye, the American
e perforce invented an odd sort of
sexual mythology that occasioned much
ironic comment at home and abroad.
One of its myths held that divorced cou-
ples always remarried, and always with
their former mates. Another maintained
that couples used the bedroom only for
sleeping and generally in separate beds.
The sale of twin beds boomed du
ing the Thirties as a direct result of
their prominence in movies. Whether
their buyers knew it or not, the Code
said that “certai are so close!
and thoroughly associated with sexual
life or with sexual sin that their use must
be carefully limited.” A myth about mar
je sprang up, too, with
consequences to the psyche
able young people of impressionable age
who, until the advent of television, were
accustomed to attending movies as often
as four and five times a week. "They usu-
ally learned, wrote Gilbert Seldes, "that
the bridal night is a long series of acci
dents through which young lovers are
kept from entering or staying in the
s ter. nightfall.”
pra cleverly kidded the pre
alence of censorship in It Happened
One Night. The film’s popularity, at least
s due to the famous “walls of

incalculable
of innumer-

habit of inventing a variety of plot de-
s ried lovers [rom con-
summating their relationship. In Capra's
comedy. a runaway heiress (Claudette
Colbert) and a newspaperman assigned
to follow her (Clark Gzi!e) are forced to
share the sime room in a motel. There
are two beds, but no privacy; and in the
interests of movie morality Gable strings
a blanket between the two beds and
christens it "the walls of Je
ing comes and the “walls” are still s

ing. Miss Colbert's virtue is intact and
she has, of course, fallen in love with the
man who respects it. As the movie ends,
the couple, now married and hone
mooning, return to the same motel and
nsist upon occupying the same room as
before. In the middle of the night, much
to the amazement of the motel keepers.
the sound of a toy trumpet rings out
from the room. The walls of Jericho
have tumbled down. And the audience's
hilarity, as well as its sigh of relief, im.
plied good riddance!

If Hollywood had stuck firmly to the
principles of the new moral re.
ruled by the. Production Code Adminis
tration and guarded by the Legion of
Decency. sereen kl have
become barren of sex—illicit or other-
wise. And, for a time, it did look as
though the forces of sweetness and light
were winning the day. A legion of writ-

the soon wi

"After hearing your life story, you don't need a psychiatrist —

you need a booking agent ...!

PLAYBOY

218

ers was put to work turning out vehicles
for dimpled little Shirley Temple. Andy
Hardy came along, sponsored by Louis
B. Mayer, whe believe
ibove all in €

professed to
l country and mom's

pple pie. The carly Judy Garkind sang
her way into national fame without
more than an occasional sisterly kiss for

Mickey Rooney. So did sturry-eyed
Deanna Durbin, Universal's treacly bid
for asexual social acceptability. Musicals

also were changed, and to fit the new
formats such favorites as Ginger Rogers
and Jeancue MacDonald were forced
to alter their sereen personalities quite
ly. In the erly part of the Thi
Miss MacDonald was famous for
july risqué quality she brought
to such films as Lubitsch's The Lone Pa-
rade and Mamoulian’s Love Me To-
night. Both abounded in boudoir
and | double-entendve. As
wer Rogers. she was now teamed in
"family pictures” with Fred Ast
while Miss MacDonald, who drew the
stalwart, marcelled Nelson Eddy for her
singing partner, was quickly transformed
from a highilying thrush into an
erfly. Her operatic films may
sed the Catholic clergy, and litte old
tactics loved them dearly, but compared 10
her pre-Legion cllorts, they were pallid
stuff, indeed. And while the films of
Astaire and Rogers had some delightful
moments, especially one called Swing
Time, their plots were mainly a series of
hoary clichés. The antisex, or nonsex,
reaction 10 Code restrictions also
brought in Sonja Henie, skating Mn
snow-lecked way to fame and fortune
a series of teady ice mu
Henie, with her inanely sweet, chu

for

iron

checked wholesomeness, could never
have been accused of having a lustful
thought. Lily Pons, Gladys Swarthout,
zrace Moore were brought from the op.
era stage to the sound stage in the mid
dle and tate Thirties to provide “class
in Hollywood musicals. Nothing could
v been more chilling to the bone
manow than to watch Miss Swarthout
ad John Boles singing their soulful
duets in Rose of the Rancho, a 1936
post-Legion of Decency musical. When
Is, the life

sex was left out of the musi
seemed to go out of them, too.

John Boles typified the antiseptic
movie hero of the last half of the Thir
ties, Other notably clean-cut and clean-
living types who flourished in the
purified screen atmosphere were Tyrone
Power and Robert Taylor, possessed of
profiles of near beauty, but giving the
impression that their sexual cylinders
were not sparking properly. The quint-

essence of moral, asexual “manliness”
cared, however, in the penon of
v perpetually smiling Don

Ameche, who was teamed,
y. with Sonja Henie on more th
occasion. A return to the swashbuckling
ype of the Twi

vas oddly chaste and remarkably

when compared with the
steamy four-minute Barrymore kisses of
the previous decade and the Latin leer-
ng of Vale
To further demonstrate its
podness of soul, Hollywood w

Little
Tale of Two Cities
The five foot shelf

ious ol
perfield, A
Becky Sharp.

was

“Really, Edmund — not just for saying grace!”

such worthies as Pasteur, Zola, C
Richelieu and Baron Rothschild
made, all obviously immune to Le:
condemnation, Should a dassic have
some questionable elements in it, such as
the clear suggestion of incest in The
Barretts of Wimpole Street, the film
adaptation was carefully « ned. be
fore presentation to the public. P
ducer Samuel Goldwyn was forced to
carry this kind of thing to absurd ex.
tremes when, afier purch lian
Halmans Broadway succes The Chil-
dren's Hour, which dealt. with two
schoolteachı ccused of Lesbianism. the
Breen office stipulated that he could noc
use the title, the plot, or even publicize
the fact that he had paid $50.000 for
the screen. rights, In 1964, it is worth
noting, the film was remade by the same
director with Miss Hellman’s or
tide and plot—although her fee had
now jumped considerably above $50,000.
Despite this apparent sterilization of
Hollywood morality, the Production Gode
people persisted in their cllorts to make
the movies toe an imaginary moral
Indeed, so successfully was the Code cn-
forced after its readoption in 1934 that
only two years later an encyclical letter.
by Pope Pius XI characterized. the sys-
tem as something that all nations might

yele:

well emulate. Martin Quigley heaped
the

glowing praie on Hollywood
"new dignity" of motion pictures.
in November of 1936. Will H
granted the signal honor of
ceived by the Pope, who gave Hays per-
sonal assurances of his pleasure with
what had been done to "improve" pic
tures and of his hope that the progress
would continuc.

It did, Take, for example, the strenu-
ous efforts to "improve" Tolstoy's Anna
Karenina so that it would conform to
the standards set by the Code. MGM,
before deciding to film the story. toi
ferred with Production Code boss J
seph Breen, and it was agreed i
mention of the illegitimate child whi
rel in Tolstoy's novel be cli
adul
terous love of Anna (to be plaved by
Greta Garbo) and her lover Vronsky
redric March) would not be presented
"attractive or alluring.” Anna was to
be constantly torn between her child
She would lose her
friends, and then go through protracted
and agonized torment when she also lost
Vronsky. As if all this were
she was to atone for everything by
dying. Vronsky, too, was to suller for
his adultery with Garbo, even thos
majority of the men of the nation
have gladly traded pl h him. He
was to be forced to fom. the
amy and "suiler remorse for the r
mainder of his life because. of Anna

and her lover.

ot enough,

gh a
night

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PLAYBOY

220

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tragic fate," even though toward the
dose of the book Vronsky joined the
army because of his grief.

The producers agreed to all of
Breen’s stringent den Is, but after the
script was written, Breen continued to
be implacable about removing all traces
of "sinfulness" from the material. The
scriptwriters forlornly attempted. 10 1e-
true to the spirit of the book nev-
erihe and at one point wrote a
speech for Anna in which she siid: "Am
l ashamed of anything I have done?
Wouldn't E do the same tomo
row? Who cares what people say so long
as I love you, and you don't chang
Breen recommended that the first two
sentences of the speech be deleted, and
they were. Again. he informed MG
that certain scenes, in his opinion,
cenmated the adultery, “They should
not be played in Anna's bedroom. but.
if possible, in her living room." Even
then he worried over the invi
pearance of the sofa. Eventually Garbo
played upon the spartan couch onc ol
the briefest and most. uncomfortable of
her many acts of passion on the screen.
Folstoy must have turned over sev-
eral times in his wintry Russian grave.
Certainly no more passionate were the
love scenes in Garbos next vehicle,
Camille, in which youthful Robert T
lor played Armand to her Marguerit
the consumptive demimondame. Re-
weating to conventional 19th Century
romanticism, MGM kept the relation-
ship of the lovers as seemingly chaste as
possible by dressing Garbo in bulky, ul-
iraproper gowns, and by seeing to
that Robert Taylor's kisses landed more
often on her shoulder than on any more
strategic target. Predictably, Camille w
ncensured by the censors, for Margue-
l the classic price for her sins:
. These scrupulous efforts to ex-
punge all traces of genuine sex from the
American screen. were to continue until
at lust a revolution of "maturity
forced in the early Fifties by box-office
competition from that deadly menace,
television.

In the Thirties, meanwhile, the w
open for the foreign film, unt
eled by Hays Office rest
inroads in a burgeoning group of
nema the: lled t house
And the independent domestic producers
of fly-by-night quickies found themselves
privileged position. Not belonging
to the MPPA, they had no reason to
r the Code and were willing to take
ir chances with cach state's individual
hoard of censorship. The process was
almost always the same: cheap produc-
tion, lurid advertising, quick box-office
returns, and quicker oblivion. If the film
sparked some scandal, so much the bet-
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could be cashed
smaller towns à

was

am.

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called ar houses had yet to appear. MEE
The sexploiters were free 10 move
to subject areas forbidden by the
Code, such as venereal discase—though
Sam Goldwyn, who railed against the
Code but was seldom able to buck it,
was forced to change the syphilitic whore
of Dead End (1937) to a consumptive
strectwalker (played by Claire Trevor),
much as RKO had done with Of Hu-
man Bondage three years earlier. In 1937,

—!
two films dealing with syphilis did ap-
pear in New York Git nerd Uided wae core ALL
produced by independents without bene- D HING
f of me Hays Othice. They were called BEA. TORRID
amaged Lives and Damaged Goods, and Ue s
the state censors promptly banned them GUANIAMS MADIHA
both. ‘The state board of regents over-
ruled their ban, however, and both were
eventually shown.
The first, Damaged Lives, vold the sto-
ry of a youth who married, then disco

cred he had contracted syphilis through

sin :

ammu PRESENTS

THE TIMES

passed the vile disease on to his wif
Several stills inserted in the film showed
the ravages of the disease, and were ac-
companied by a lecture on the sound
ick. Damaged Goods told a
ry, and was based on a Bro
play of some 90 years befor
the silent film that wa
this tale, not only the wife but the child
of the union is infected with the disea
Their plight results in all but hopeless
tragedy, but the film eschewed unctuous
pointing at sinful behavior and
made public ignorance the pi
. It did not fail to echo,
ihe righteous tones struck by
Damaged Goods and its "I thought it lacked cons

howev
the or
successors in 1915.

Birth of a Baby came the following

. enjoyed some success. Tt gorilla suits who pursued. "native"
was a native romance, supposedly fac women all over the wilds of California
in labor. The public was shocked by it tual. set in an exotic paradise, and peo- and through — papiermáché jungles
(an issue of Life in which dips from uie Pled mostly by pubescent girls in sarongs erected on sound st H
picture were published was banned in that left the breasts exposed. Samarang, marquees promised such sim
ada and Pennsylvania as well as Bos. Which followed hard upon it, featured tionalism as: “A Country of Ape We
md 32 other cities), not because More pubescent girls with breasts ex- ship by Women!" and “The Mating of
d birth were rare occur. posed 1 divers, Beauty and the Beast
fe, hut because Hollywood and added a fight between a shark and — To such depths as these had the depi
seldom so much as showed a pregnant an octopus for Havering. Because the girls — tion of the sexual i t degener
woman on the screen, and its heroines im these "truedife" native romances, of — the end of the T
hospital to Which there were several, had skins by Hollywood's own dismal fe
ich their waists still a girlish Considerably darker than these of Anglo- vocal minority of prudes. Not fo
xon whiteskinned American Protes- decade was it to regain its cou
nts, the censors were inclined to regard — not. until tel
the films as ethnic documents, and they — office did it
were passed without much in the way of
cutting. Nudity was immodest, evidently.
only for wh On the other
hand, male sex ns, of whatever
ways taboo.
nd sex were discovered to
be a good combination by the producers

year (1938), again without Code sanction,
because it forthrightly showed

wor

give bi
18 inches in circumference.

‘The afore-mentioned films had a cer-
a social v no matter how q
or cheaply made; but the othi
s seldom bothered to have am
purpose at all, and fell
categories: the outright nudist film and
the jungle picture. The first category was
made in Europe. mainly. one popular ex-
ample being Elysia. Views of pubic areas of quickies, who found it a good d
of the body were confined to long-distance cheaper to buy stock footage of jungles,
shots, while breasts and buttocks were animals and undad actresses, and to
shot in medium closeup. The jungle build stories around them, than to set
film was usually of the pseudodocumen- — off with camera and crew for Africa or
vary type. The first of these, Goona- the islands of the Pacific. Both Ingagi
Goona, made on the island of Bali by and Forbidden Adventure used actors Eg 21

This is the sixth in a series of articles

on “The History of Sex in Cinema.” In
the next installment, authors Knight and
Alpert shijt their focus to the European
scene during the turbulent Thirties,
where sound films reached an artistic
maturity that permitted the frank ex-
ploration of erotic themes still barred to
American maviemakers by the Legion of
Decency—and banned from American
screens by the bluenosed U.S. Customs
Bureau.

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SILENCE OF OSWALD

(continued from page 102)
For there comes a moment when we
ilize that we can. break through the i
sible and intangible wall that separates
us from the person. sanding right. next
to us; when we realize that we have been
drifting along, as if under water, in the
d silence of isolation:
“hopeless lucid
rtre has described somewhere,
alie that o » unwarranted
brupt breaking through the
wall, will restore us to reality, and obli

ae that silence that imprisons

when we

when we realize that they are not me
chanical dolls, automatons moving
through a dream from which only we are

excluded, but human—because they will
bleed, hurt, die and (perhaps most im-
portant of all) turn toward us at the last
their shocked faces, across which no hint
of our existence has ever glimmered be-
fore, startled now by the abrupt recogni-
tion of our presence among them. When
Marina joined them, when she crossed
over to the other side of the wall, refus
ing even to talk to Oswald that last
night, refusing even to consider moving
into Dal h him. she (in one sense)
put the cartridge im the chamber of
his life, and President Kennedy was
doomed.

Still, it is possible that Oswald was not
absolutely committed to his act. He
have taken the rifle to work that
merely to experience the strange and
lonesome thrill of being able t0 hold
someone's life in his hands for a single
giddy moment. After all, this is why
people peer through binoculars in big
cities-to initiate an intimacy that is not
threatening because it is an illusion.
This is why people expose themselves on
subway platforms, without actually. plan
ning to assault the observer, and,
some cases, hoping not even to be

s Wi

o.
ticed by him. This is why people carry
weapons they could never bring them-
selves to use. lt is the urge of the outside

ihe isolated, to feign a breakthrough
imo the unknown possibilities of o
going reality, and it is at least conceiv

able that Oswald intended to do nothing
but view Kennedy through the telescop
ic sight of his rille, and feel for a moment
the “omnipotence and seltimportance
that his whole life (and now his wife as
well) had denied him.

Once having reached this point, how-
cumstances would have pushed
or circumstances, the acci
dents of as-yecunrealized time, often
create the pressure. of the finger on th
trigger, and psychologists believe that
people always act by some logic of self
interest at their peril. What might have
happened, for instance, if the Negro
youth who had eaten his lunch at Os-
wald’s window a scant half hour before
had remained there going

ever, ci
him over.

with his friends? What
have happened had someone asked Os-
wald to watch the motorcade with him?
No one can say. and vet one is left with
the une: t an act of friend-
ship. a movement. toward
human contac a hundred different
junctures during Oswald’s life might
have radically altered the course he trav-
dled. So why not at this most crucial of
junctures? If, for instance, Marina h:
discussed their situation with him th
last night, and perhaps allowed t
cussion to lead to some sort of minimal
reconciliation in their bed, would Os-
wald have needed this ult

torcade

e, severing
act to relieve himself of the unendu
able silence that enclosed hi No one
can ever say
Certainly, h
constantly expanding and dangerous.
He had tr to kill General Walker
some months earlier, after planning the
tempt [or many wecks, only to n
er shot than the apparer
pulsive one that hit the President—a
clear indication to me that the first was
only another muddled political gesture,
whereas the second was something deep-
er and more mysterious. By November
1963, his need had grown to proportions
that no single annealing act on the part
of any one person, much less the env
ronment, could have dissipated. And yet
there are probably thousands of people
who are daily caught im psychic binds
any cocked rifles
nonymously through — the
id little or nothing in our soci-
ety, or in our mostly naive conceptions of
our responsibility to each other's lonely
struggle to keep from drowning in it.

psychopathy

as real,

offers any sure way by which these
cocked rifles can. be disarmed. At least
not until they have gone off, and it is

too late.

Oswald's relation to reality is succinct-
ly described. by the “we” in Camus’
man is talking on the telephone. We c:
not hear him behind the glass partitio
but we can see his senseless mimicry. We
wonder why he is alive?” It was this glass
partition that separated Oswald from
the rest of us, and made him feel that he
was only a “thing” in our eyes, a picce of
meaningless, u m. But a
man cannot exist this way, at lest nota
n who is the intelligent, articulate
al impatient neurotic that Oswald
seems to have been. Such a man often
feels that only (wo alternatives are open
ashly insist on being his
«c of himself, or to slavishily
honentity

g
cared-for Ilo

the world tells.
in that he is.
The fact remains t in the urban
ized and ica of his da
Oswald's never used, his

allections. were aroused, his con

the

never

cern for the future was never harnessed,

ad yet, on the evidence, he

“June 6th, 1763—Thirtieth day at sea. The crew is
beginning to behave strangely». ."

Tx qe

PLAYBOY

224

have been reasonably brave, potentially
decisive, mostly hard-working and cer-
tainly untiring in his efforts to break out
of the dead end of his existence. At least
all these qualities were present in him,
in embryo, and only soured and became
destructive when he could find no place
to utilize them creatively.

One indication of the blistered waste-
land of his human and social hopes lies
in this passage, which he wrote after his
disappointment with Russia: “I wonder
what would happen it somebody was to
stand up and say he was utterly opposed
not only to the governments, but to the
people, to the entire land and complete
foundations of his socically." We need no
longer wonder, for he has given us one

swer to the question, and perhaps it
is this very "wondering" of his that led
him (still uncommitted to the act itself)
to that window. In any case, his words

stand as a twisted rebuke to a society

that can seem to recognize only its mad.
men or its heroes, but steadfastly ignores

the countless

millions of anonymous
people yearning to feel some responsibil-
some faith, some ultimate stake in
the world around them.

larger sense, the two polar aspects
of the contemporary American character
collided that day in Dallas—a considera-
tion which, in going beyond politics,
goes far to explain why it had to be Ken-
nedy. For John Kennedy was everything
that Lee Oswald was not. He existed di-
rectly in the vivid center of reality, he
was potent in every way, his life and per-
sonality were one continuous action and
interaction: he was neither dualistic, sep-
arated nor helpless; he had never been
prevented from experiencing himself as
alive and consequential. Oswald struck
back at everything he was nof, but in a
sense he was performing a Kennedylike
act (as far as he could imagine onc). and
was attempting to become the sort of man
he killed by the very act of killing. And
so all that was most starved, thwa

ted

“The boys don't care how comfortable it
is, Jesse. They think it’s bad for our image!”

and hopeless in our national life took its
pathetic and sullen revenge on all that
was most vital, potent and attractive.
The horror of Oswald's loneliness, the
extemity of his hunger, the appalling
facelessness and spiritwithering silence
whole life exploded in a biuer and
guished threat: Either he would be ad-
ed onto life's stage or he would pull
stage down in total ruin; he would
be recognized as having that sense of
uniqueness that a human being has to
have if he is to outwit the despair that
leads to madness, or he would tunn h
very powerlessness into a source of pow-
cr. Those who are imprisoned in the
silence of reality always use a gun (or, if

they are more fortunate, a pen) t0 speak
for them, and perhaps the prince and
the pauper in the human spirit are

doomed to meet face to face, no mancr
what. But certainly the job of a sane and
mature society is to sce that this meeting
does not take place through the sights
of a high-powered rifle

In one sense, we are poorer for the loss
of them both. Though we los Oswald
years before we lost Kennedy, how many
losses of any human potential can our
besieged society afford? The fact is that a
man will affirm his humanity at all costs,
even if it means denying the humanity
of others, and the whole ghastly night-
marc of modern history has been en-
dured for nothing if we have mot
understood that paradox at last. Oswald’s
blind insistence that he was a man, no
matter what the sum of his life might in-
dicate, had to be made in terms that the
word could comprehend and, denied
every other exit from that smothering
silence, he resorted to the only language
that our time seems to offer to the Voice-
less: He took a gun and aimed it at the
center of the life from which he felt
orphaned, and so broke into the stream
of reality at last, by arvesting it.
or a moment, he must have felt the
exhilaration, the keenness to sensory stim-
uli and the virile power of choice that
characterize a m ng at the
top of himself as a humm being. Cer-
tainly his sinister calm before the Dal-
las police, his refusal to be trapped by
their web of logic and his perfectly
blank-[aced. denials of any complicity
the tion whose
darker conflicts are at least t
man ar ominous pea
divided life.

But if all this is true, it is too harsh a
comment on our world, and its auri-
tions, to be merely a psychological foot
note to a political tragedy. Instead, it
should remind. us that history ihe
last, only the exterior appearance of far
more important inner events—such as
those that Lee Harvey Oswald suffered
until he could suffer no more, and so
struck back out of his wound.

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assasi

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mporarily at

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PLAYBOY

226

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