PLAYBOY

Do I really have to do
this sort of thing to earn
my Canadian Club? Yes.

TA Ly
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A reward for men. A delight for women.

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The whisky that’s bold
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but give her

Arpege 7

Y

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a |

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Extract $8.50 to $500 Dusting Powder $5 Spray from $5

=
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e
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a
a

и,

Should a gentleman offer a Tiparillo to a violinist ?

Aftera tough evening with the
Beethoven crowd, she loves to
relax and listen to her folk-rock

records. Preferably, on your stereo.
She's open-minded.

о maybe

tonight vou offer her a Tiparillo®. new Tiparillo M with menthol—her
She migh it—the slim cigar choice of mild smoke or cold smoke.
with a white tip. Elegant. And, Well? Should you offer? Afterall,
you dog, you've got both kinds if she likes the offer, she might

on hand. Tiparillo Regular and start to play. No strings attached.

CRUISING THROUGH 14 color pages inside this shipshape Novem-
PLAYBILL !

ber issue is а yachting double feature designed to ease your
escape from the wintertime vicissitudes of Stateside life. In Charter Yachting in the
Caribbean, ттлувох5 Associate Publisher and Editorial Director, А. C. Spectorsky,
details the ins and outs of charting and chartering а Caribbean cruise. "Having
cruised on my own and chartered yachts in various parts of the world for more years
than I care to remember,” Spec says, “I consider my most memorable marine vaca-
ns those spent in the Caribbean, most specifically that part of the spice-isles
that lies between Antigua and Grenada, where few American yachtsmen take
their own boats (takes too long, costs too much) and the charter flect is as s
the sailing and scenery are superb." Once launched, the PrAYsoy sailor will want to
make the proper sybaritic use of his ship and its пор sening, as lavishly illustrated
in the color pictorial on Playboy's Charter Yacht Party.

In Sex, Ecstasy and the Psychedelic Drugs, Dr. В. Е. L. Masters authoritatively
assesses the aphrodisiacal effects—real and rcputed—of hallucinogens, and thc
dangers and disappointments that may attend their use. Currently опе of the direc-
tors of the Foundation for Mind Research, Masters is also the author (with his wife,
Dr. Jean Houston) of The Varieties of Psychedelic Experience, the most comprehen-
sive study of the effects of psychedelies ever attempted. “For the future,” the young,
neatly bearded writer-researcher told us, “my wife and I have long-range plans for
comparative studies on the psychedelic experience of different national and ethnic
groups throughout the world. We would hope to learn from these what is basic and
universal in the human mind and what adally or culturally determined.’

Both basic and universal is the heretofore sub rosa subject explored by Arthur
Knight and Hollis Alpert in this month's installment of The History of Sex in Cine-
ma—the first definitive analysis of stag films ever written for a major magazine. In
the 77 years since Edison invented the motion-picture camera, as our film historians
point out, this deepest-underground genre of the movies has served as a uniquely
revealing barometer of the changing moral climate of the times. In their sociologi-
cal context—despite their outlaw status—stag films are thus an integral and pivotal
part of the authors’ continuing survey of erotica om the screen.

Our lead short story this month, Evan Hunter's The Shavers, illuminates Ameri-
аъ black-and-white agony in the context of upper-middle-class suburbia, The theme
and setting of the story are worlds арац from A Horse's Head, the Hunter wild-
adventure novel that PLayboy ran last July and August, and also from his memorable
best seller, The Blackboard Jungle. But stylistic legerdemain is a Hunter adem:
Last summer, he signed a $400,000 contra h Doubleday for the
of nine books, six of them “87th Precinct" mysteries signed with his pseudo-
nym, Ed McBain. November's fictional fare also includes Ken W. Purdy’s 50th
LAYBOY contribution (Long Way Up, Short Way Down), Frederik Pohl's fifth
(Speed Trap) and Robie Macauley's first (That Day). Since Ар 57, when The
Compleat Sports Car Stable appeared here. Purdy has chronicled the car world in
more than a score of articles and the no-less-peripatetic world of his imagination in
an almost equal number of short stories, The current tale centers on the lethal
theories of a pretty Parisienne anesthesiologist. Death also plays a hand in Pohl's
Speed Trap, leading its efliciency-crazed protagonist to a mother lode of time-waste;
while That Day describes a celebration whose motivation is more than macabr
Author Robie Macauley—[ormer editor of the prestigious Kenyon Review and
Fiction Editor of рілувоу since the summer of 1966—has published а novel (The
Disguises of Love), a collection of stories (The End of Pity) and a book of crit
(Technique in Fiction).
kable extraliterary success, combined with considerable literary skill,
zes several other contributors to this well-stocked frost-on-the-pumpkin
issue. One of the keys to winning in politics, for good or ill, according to The High
Gost of Being a Congressman, by U. S. Representative Morris К. Udall (Democrat,
Arizona), is money. Congressman Udall was one of the first to urge creation of a
Congressional ethics committee and to publish а full disclosure of his financial affairs
in the Congressional Record. J. Раш Getty, our Contributing Editor, Business and
Finance, argues in Familiarity Can Breed Content that informed concern for all
‘eas of а corporation's dealings is the fastest way to the top in business. The New
Thing—a cogent report on the unstructured, rule-breaking new directions ìn jazz—
comes to us from Michael Zwerin, the only man in existence who can list the pres
dency of the Capitol Steel Corporation, jazz criticism for The Village Voice and
trombone duty with Miles Davis and Earl “Рафа” Hines on his biographical
d sheet. High and ribald humor highlights My Family Photo Album, which
comedian-tumed-genealogist Woody Allen calls “a fictitious family album of mine de-
picting the various Allens who made history and each other. It is fictitious. The real
Allen family tree first appeared in Darwin's Origin of Species and later in the Warren.
Report" A Playboy Interview with director Michelangelo Antonioni and artist
LeRoy Neiman's Man at His Leisure look at Madison Square Garden’s National
Horse Show are other stop-offs on this pleasure-filled вглувоу cruise. Happy sailing!

сі wi

ism

HUNTER

POHL,

SPECTORSKY

ZWERIN

NEIMAN

UDALL

MASTERS

vol. 14, по. 11 —november, 1967

PLAYBOY.

Psychedelic Sex

Sporting Gestures

Charter Yachting

New Thing Р. 124

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CONTENTS FOR THE MEN’S ENTERTAINMENT MAGAZINE

РЕАУВШ Е — Е =. = Ej
DEAR PLAYBOY LE a зи =
PLAYBOY AFTER HOURS. Ў 2 = 23)
THE PLAYBOY ADVISOR. у а : e 6v
PLAYBOY'S INTERNATIONAL DATEBOOK—travel PATRICK CHASE 67
THE PLAYBOY FORUM е c 69
PLAYBOY INTERVIEW: MICHELANGELO ANTONIONI— candid convers: NETT.

THE ЗНАВЕВ$ —Нейог.. БАМ 20)
SEX, ECSTASY AND THE PSYCHEDELIC DRUGS —article. КЕ Г MASTERS 94
THE HIGH COST OF BEING A CONGRESSMAN —articlo. U.S. ВЕР. MORRIS K. UDALL 97
HOT AND SPIRITED—drink €— M THOMAS MARIO 98
MY FAMILY PHOTO ALBUM humor. css WOODY ALLEN 101
LONG WAY UP, SHORT WAY DOWN—fic! KEN W. PURDY 107
FAMILIARITY CAN BREED CONTENT—article. J. PAUL GETTY 109
FRENCH REVOLUTION —atlire.. .ROBERT L GREEN 111
THAT DAY—fiction ROBIE МАСАШЕҮ 113
114

SUNSHINE SUPERGIRL-—pleybey's playmate ef the month...
PLAYBOY'S PARTY JOKES—humor. ЕЗЕН 122
THE NEW THING—arlicle. MICHAEL ZWERIN 124
CHARTER YACHTING IN THE CARIBBEAN—travel.. А. С. SPECTORSKY 128

PLAYBOY'S CHARTER YACHT PARTY—pictorial s 133
THE NATIONAL HORSE SHOW—mon ot his leisure LEROY NEMAN 143
SOMETHING BETTER THAN MARRIAGE—ribald classic 147

SPORTING GESTURES—gifts 2 = = = 149
THE HISTORY OF SEX IN CINEMA — ое. ARTHUR KNIGHT and HOLLIS ALPERT 154
SPEED TRAP—fiction FREDERIK РОНЕ 159
ON THE SCENE—personal _. 166

HUGH M. HEFNER editor and publisher
A. €. sercronsky associate publisher and editorial director
ARTHUR PAUL art director

JACK J. kesse managing editor ммо

т. TAJIRI picture editor

SHELDON WAX assistant managing editor; MURRAY FISHER, MICHAEL LAURENCE, NAT
LEHRMAN senior editors; ROME MACAULEY fiction editor; JAMES GOODE articles editor;
Uk KRETCHMER associate articles edilor; DAVID STEVENS, ROBERT ANTON WILSON
associate editors; ROUERT 1. GREEN fashion director; DAVID TAYLOR fashion editor;
THOMAS малко food & drink editor; PATRICK CHASE travel editor; J. PAUL GETTY Con-
tributing editor, business & finance; KEN W. PURDY contribuling editor; RICHARD KOFI
administrative editor; ARLENE ROURAS copy Chief; DAVIN BUTLER, HENRY. FENWICK,
JOHN GABREE, LAWKENCE LINDERMAN, ALAN RAVAGE, CAKL SNYDER, KOC

AR’

к WIDENER

assistant editors; Wy CHAMBERLAIN associate picture editor; MAKILYN GRABOWSKI as
sistant picture editor; MARIO CASILLA, 1. BARRY O'WOURKE, POMPEO POSAR, ALEXAS URBA,
JERKY YULSMAN staff photographers; stas MALINOWSKI contribuling photographe

RONALD nune associate arl director; NORM SCHAEFER, BOB POST, ED WEISS, GEORGE

KENTON, KERIG POPE, JOSEPH PACZEK assistant art directors: WALTER KRADENY

зы,
LEN WILLIS art assistants; MICHELLE ALTMAN assistant enrtoon editor; Joux
маѕгко production manager: ALLEN VARGO assistant production manager;
var PAPPAS Tights and permissions e HOWARD W. LEDERER advertising director:
JULES Kase associate advertising manager; SHERMAN KEATS chicago advertising
manager; Josern GUENTHER detroit advertising manager; NELSON FUTCH promotion
director; nemur Lorscit publicity manager; BENNY DUNN public relations man-
ager; ANSON MOUNT public affairs manager; THEO FREDERICK personnel director;
JANET PILGRIM. reader service: ALVIN WIEMOLD subscription manager; ELDON SELLERS
Special projects; вовекг s. rReuss business manager and circulation director,

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1968 Thunderbird Hardtop.

Any way you want to fly this

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DEAR PLAYBOY

{©} гок рилувот masazine - PLAYBOY BUILDING, 919 N. MICHIGAN AVE., CHICAGO, ILLINOIS €0611

BAILEY VERDICT
After reading your excellent August
Interview, Y must agree with your intro-
ductory statement that “Francis Lee
Bailey is a giant.” Most people don’t
realize the agony that an attorney must
go through in defending a dient, the
pain he must endure in doing his best.
Bailey is undeniably a genius; he makes
me proud to be a member of the bar.
James E. Nelson
Attorney at Law
Lincoln, Nebraska

Your
uuly remarkable. Т le
him from your columns than I did from
the whole barrage of newspaper and
magazine articles to which we've been
subjected in the past several years.

Art E. Smith

Bay Village, Ohio

conyersation with Bailey

ned more about

was

F. Lee Bailey is one of the few
neys who have
openly that a private investigator can
make or break a case. Your
gave me a tremendous lift, I hope it will
help the general public see private inv
t tic light. We bear
little resemblance to the TV
who spend most of their time slinking
after someone's errant spouse.

Edward С. Dydo, Jr.

Whittier, California

itor
guts enough to admit

Interview

ators in a тоге reali

shamuses.

Congratulations on your Interview.
Bailey emerged as a warm and rich
human being.

John Moyers
Department of Admi
Wartburg. College
Waverly, Iowa

Your Interview with Е. Lee Bailey was
one of the best things I've ever read in
your magazine. The all-too-prevalent as-
sumption that recent Supreme Court de-
cisions are intended to coddle criminals
noys me greatly, and I think that
Bailey indirectly suggested the genesis of
this idea when he implied that the
Ami toward
guilt. This is very true. The general pub-
lic has litle regard for the posible

biased

an people are

innocence of a defendant. 1 hope that
Bailey's continuing national prominence
will remedy the layman's deplorable
notion of defense attorneys as “smart
lawyers getting guilty men out of the
chai place the focus where it
properly belongs—upon a defendant's
possible innocence.

and

Dean M, Smith
Waterville, Маше

Lee Bailey is a friend of mine and,
knowing him as well as I do, 1 can pre
dict that the day will soon arrive when
he will have no competitors

J- W- Ehrlich

Auorney at Law
an Francisco, Galifornia

Your Interview has greatly increased.
my respect for Е. Lee Bailey. It is, in-
deed, refreshing to find а lawyer sincere-
ly secking and defending the truth. His
suggestions for postgraduate training of
law students and emulation of the Brit-

ish trial system would be giant steps to-
ward raising the standards of our cou:
and our laws. By training our future
yers in a system that cmphasizcs truth
and obviates corruption, we might possi-
bly create а new breed of lawmakers
who could save us from ourselves.

Dr. James К. Bouzoukis

Philadelphia, Pennsylva

nia

In a passive and apathetic society,

Bailey's courage, intelligence and com

passion make him а man to be admired.
Richard Robins
New York, New York

Every now and then in the arts and
professions comes a new, ebullient, de-
serving personality who brings renewed
vigor to his particular discipline. In the
legal profession today, that’s Lee Bailey.
You have captured all of this, what
he stands for and how he’s helping de-
velop а new law. It was a hell of a good
interview and Bailey is a hell of a lawyer,
Ihere's been a Jaw revolt, not just an
evolution; and while Lees a front
runner, Ше laymen won't know about it
unless interviews such ау yours continue
10 tell the people just what's going on in

PUBLISHED MONTHLY GY нин PUDLISHING CO., INC.

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PLAYBOY

10

the law. The laymen will never learn

of it from the American Bar Association;

that J can assure you.
Melvin Bel
Attorney at Law
San Francisco,

ifornia

Bailey is to the legal profession. what
пе Paul was to Christianity. He is far
nd away the greatest source of stimula-
tion to law enforcement that has come
along in years. Almost everything he
says in your August Jnferview—which
was so admirably handled by Nat Hentoll.
—is correct, with one possible exception:
Bailey said that politics still plays а part
in the prosecution of defendants, That is
not truc today, at least here in Los
Angeles County. We have a Criminal
Courts Bar genuine nierested in
seeing that justice is done. Before trial,
defense attorneys have complete access
10 the prosecution's file.

The day is coming when
panel of investigators, automatically
pointed by the court—without cost to
the defendant—will operate as а matter
of right in all felony cases. The panel's
report will be lable to both sides.
This practice alone will save thousands
of dollars and hundreds of court hours; it
will make trials speedier and results
more accurate.

Al Matthews
Attorney
Los Angeles, California.

Bailey would have the Government
subsidize law students and law interi
ships, and then assign trial positions. Yet
he admits the general superiority of his

investigators over public investi-
(the police). He clearly feels that
‘public servants" too often have political
nds in mind and only infrequently con-
cern themselves with the case at hand.
We are left with a contradiction. In
order to improve the legal process, we
must remake lawyers into public officials
—who, by Bailey's own admission, don't
function as well as private опе

Marilyan Machan
Santa Barbara, California

When the Constitution was written, the
purpose of a trial was to determine guilt
or innocence. I think a lot of lawyers,
judges and laymen have since lost sight
of this fact. For example: Millions of
people witnessed—on live TV—the m
der of Lee Harvey Oswald by Jack
Ruby. So Ruby's lawyer insisted he
couldn't get a f. l—because ev
опе was prejudiced. Surely, the question
is not whether prospective jurors are
prejudiced but whether Ruby committed
the murder "The fact that millions of
people watched him do it should have
helped convict him. Instead, it almost
п off. No wonder people get a
ated. at overzealous attorneys. Bailey
mentioned being threatened by anony-

mous crackpots. Tt must be somewhat
disheartening for Bailey to realize that if
one such crackpot turned a threat into
reality, he could retain a sharp lawyer
of the Bailey stripe—and stand а good
chance of going free.

Darrell Landrum

Beaverton, Oregon

ROADS SCHOLARSHIP
In his August article, The GT, Ken W.
Purdy did wonderful job of examin-
ing the intricacies of the truly ultimate
automobiles. Thanks for a fine article.
John O'Neal
Wheaton, Maryland

Ken W. Purdy has done it again. After
his excellent May article on the Grand
Prix, I didn't expect to see another of
equal quality so soon. Your photography
was superb and Purdy's text on the gran
turismo cars surpassed anything Tve
ever read about fine automobiles.

James W. Mathes, Jr.
Charleston, West Virginia

DE DE-LIGHT
Why didn't somebody tell me that girl

in my eighth-grade math das would

prow up to be nate? Thanks for

the E for your Augus
a DeDe Lind.

[2C Robert Bauman

APO New York, New York

17 Пере Lind doesn't show the world
what you mean by “the girl next door,”
no one ever will. I just wish she lived

next door to me,

Gene Smith
O'Fallon, Illinois

Miss August gets my vote for 1968
Playmate of the Year—and for any other
ofice she might run for.
Demy Meddinga
Bethany, Ohio

MILITARY COUP

Gerald Green's frighteningly funny
story about the Army infiltrating civilian
society (The Dispatcher, PLAYboY, Aw
gust) made me laugh and cry alternately
—but most of all, it scared the hell out
of ше.

Michael Beachai
APO New York, New York

I would like to congratulate rrAvnoy
and Gerald Green for The Dispatcher.
It is the scariest horror story I have en-
countered since 1 enlisted.

Sp/5 Раш В. Guyatte
APO New York, New York

The Dispatcher was right on target.
Green's insights into the way the Army
operates are perhaps more factual than
сусп he knows. I enjoyed the story very
much; though, as a dispatcher myself, 1
must exception to Green's descrip-

tion of one of our profession reading a
Captain Marvel comic while on the job.
Any respectable dispatcher would be
reading PLAYBOY.

Sp/1 W. К. Krogfoss

APO San Francisco, California
NOTES ON THE UNDERGROUND
h Jacob Brack-
icle, The Underground Press, in

the August PLAYBOY, Е was pleased with
its accuracy, although there were a few

mistakes, but I was even more pleased
with the objectivity and good judgment
shown by Brackman in his assessment of
the whole underground-press movement.
His historical analysis was thorough and
important. 1 hope в.лувох will now pub-
lish ага сз on the entire underground
phenomenon, because the underground
press is just one facet of what's happen
ing in this country. We are its voice, but
its heart has yet to be discovered,
Editor.
ast Village Other
New York, New York.

Although T've been reading the under-
ground press for a good many years, Е
encountered much new information in
Brackman's article—and I enjoyed it.

Albert Ellis, Ph. D.
Executive Director

Institute for Rational Living
New York, New York.

Brackman's article The Underground
Pres was really good. I am glad it
avoided concenuating on the more sei
sational aspects of the underground press
and, instead, discussed its real function
—as the voice of the antibullshit refugees
Пот the wars and soft sells of the Great
Society.

Liza Williams
Santa. Barbara, California

The Underground Press was an illumi
nating look at the radical newspapers—
which are as familiar as the back side of
the moon to the average establishment
newspaper reader. As a journalism ma
јог, 1 occasionally read various under:
ground papers and find them interesting
Zif not always rational. But perhaps our
society needs more irrationality, more

outrageous opinions and—something
that the underground pres is certainly
providing—more sex the estab-

lishment press serving us page after page
of sterile pap crowded among the Pepsi
generation advertisements, the need for
the likes of the underground pres be-
comes ever more apparent.

Kenton Е. Lymons

San Diego State College

Spring Valley, California

Extensive traveling has made me aware
of the strong international nature of
the underground movement. In fact. the
influence of the underground press, which

Thank you, Van Heusen, (
for a blue shirt with red blood. > x

"Eastman Reg-T.M

That shirt really gets to me. And even more for а red-blooded £irl.
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collar rolls. Or the way that it was permanently pressed the

lean taper sort of slithers. day it was made... and never needs Ко4еЁ and cotton
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Brackman described so accurately, can
be felt as far as Prague, Buenos Aires,
Stockholm or "Tokyo. Such publications
as Катмай (Amsterdam), Mandala
(Paris), Icteris (Newcastle), Plastika
(Warsaw), Decollage (Cologne) and many
others are broadcasting on the same wave
length, dynamiting the same taboos and
making the same breakthroughs.
There is a tradition behind the under-
ground press that probably goes back to
the 19th Century anarchist newspapers;
but the importance of The East Village
Other, The Oracle and the Los Angeles
Free Press comes not simply from their
political stance but from the radical
change in human consciousness they are
helping bring about. The intelligent use
of mind-expanding substances, participa
tion in an enduring sexual revolution
and an effort to modify the structure of
society—these are the common denomi-
nators of the underground movement.
It is presently developing into a tremen-
dous international force. Brackman and
PLAYBOY must be thanked for their per-
серце appraisal—as well as for siresing
that the news most masscirculation pa-
pers find “fit to print" reflects only the
establishment mentality and has little to
do with what's actually В

ppening. There
ance today who
enjoy PLAYboy precisely for such coura-
geous and well-informed articles. Bravo!
Jean-Jacques Lebel
Paris, France

are quite a few of us in F

We think Brackman and PLAYBOY
should know that the underground high
school newspaper movement comprises
much more than just the South Hampton
Ilustrated Times. Through our activities
on The Student Voice, we have come in
contact with at least 40 underground
high school papers—and we're sure this
is only a fraction of the total. Most of
these papers have sprung up independ-
ently in the past year or so. Yet they
show striking similarities in spirit. "Faken
as a whole, their unanimity is a sig-
nificant comment on the мате of Ameri-
can culture from that very place where
culture is wansmitted—the American
high school.

Bruce Gardner
Lyn Altomare
The Student Voice
Oakland, California

Words should move you to feeling
-.. words should move you to feeling.
"That is my only criticism of the article
by Jacob Brackman on the underground
press. It's well written, very factual, it
tells the story clearly and cleanly; yet
something is missing. It is exactly this
lack of feeling in journalism that created
the underground. press.

Mel Lyman, Columnist
Avatar
Cambridge, Massachusetts

You've been had by Jacob Brackman.
What you printed was а good history of
the New York underground-press scene,
with slapdash bits of hearsay stuck on
the edges. Although his rambling history
of The Village Voice was mildly interest
ing and the sexual manifestocs of Tuli
Kupferberg were fun, 1 was soured by

Brackman's lighthearted wot through the
rest of the world at one paragraph per
paper. Just another instance of a New
Yorker who thinks he is standing at the
center of the un

verse.
Lee Felsenstein
Berkeley Barb
Berkeley, California

SHINING ARMOUR
I quite enjoyed Richard Armours
amusing piece, Science Marches On, in
the August PLAYBOY. Armour's notes on
the history of science made good read
ing, lightening the atmosphere of this
relatively new area of historical study. I
was especially glad to see the name of
that pioneering Englishman Robert
Grosseteste emerge from the obscurity
that up to now has prevented scholars
from recognizing his monumental
achievements, I hope you will continue
to publish fine and provocative humor
such as this.
Richard W. Story
Department. of Philosophy
University of Massachusetts
Amherst, Massachusetts

Richard Armour’s Science Marches On
was priceless. My husband is studying
for а Ph. D. in the history of science and.
believe me, it a relief to see that
there's a lighter side to the subject
Laura Neal Rock
Norman, Oklahoma

WAR CORRESPONDENCE
Having spent the past year as a heli-
copter pilot with the U.S. Marine Corps
in Vietnam, much of the time in direct
support of the В.О. К. marines, I. feel
particularly well qualified to congratulate
Tom Mayer for his outstanding memoir,
Anson's Last Assignment, in your August
issue, Mayer has done a better job than
any American 1 know of painting а true
picture of the frustrations of war.
Lt. Е.Р. Sachs
FPO San Francisco, Califor

Congratulations 10 Tom Mayer and to.
rravnoy for Anson's Last Assignment. It
told a lot that needed telli
war. I hope you will continue to publish

g about the

such excellent works.

Will Griffith.

Rodeo, California

Reading Tom Mayer's Anson's Last
Assignment left me with renewed re-

spect for the reporters and photogr
phers in Vietnam. Until recently, 1 was а
gunner in an H-34 there, 1 still wonder

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PLAYBOY

14

Carl Yastrzemski, Boston Red Sox oulficlder, uses Dep for Men,

Yastrzemski just had his hair styled.
Funny, we don't hear any snickers.

Nobody calls Yaz a sissy. Like a lot of guys, he’s simply graduated from
ordinary hair cuts to the great look you get only with a professional
styling job. Yaz's stylist first shampoos his hair, shapes it wel, then
uses a clear styling gel called Dep for Men as a hair dressing. When
every hair's in place, a shot of Dep for Men Hair Spray keeps it that
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how many critics of the war would have
the guts to go into battle armed only
with a 35mm camera, Witnessing a
friend Killed is а terrible experience. and
Mayer's memoir of the loss of his com.
panion was poignant, indeed. I salute
them both.

awick G. Hayes. USMC
ul Photo Interpreter Unit

Acr
El Toro, California

May
was back in the heat and mud

certainly made me fecl that T
He
obviously speni a good deal of time in
Vietnam: he showed a fine sensitivity for
the land—and for the war

Doug Watkins

Lake Oswego. Oregon

FANNY LETTER

The August Lille Annie Fanny is ab-
solutely perfect. Alter living in Paris for
a year and а half, T can tel you that
many tourists see the city from precisely
the edinocenuric worn'seye view хо de-

servedly Iampooned by Annic's creators.
Everyone here im the City of Light
requests an encore
Stewart М. Hurtt
Paris, France

BRIGHT FUTURES

My compliments to pLaysoy and to
writer Michael Laurence for the superb
article, Playboy Plays the Commodities
Market, in your August issue. There is
litle doubt that commodities represent
the last great frontier of speculative op.
portunity. That such opportunity is still
plentiful in commodities is amply illus-
tated by the recent action in silver
futures. А $700 investment in а single
silver соттаса in mid-May would have
Ided а profit—as of Inte July—of
$5200. The chart th
article was also excellent—and a big help

t accompanied your

to anyone who trades commodit
Richard R. Walsh
Manager, Commodity Department.
Bache & Co.
Beverly Hills, C:

lifornia

Thanks to Michael Laurence's Playboy
Plays the Commodities Market, this loser
has become a winner. It was an in
u

ing and exciting article
James В. Drutfel
Cincinnati, Ohio

"The dolls. the jokes. the cartoons—all
are certainly fabulous in Pravsov. But
the articles! The information contained
in Playboy Plays the Commodities May
ket would have cost many times your
cover price from any other source
Thanks a million.

К. S. Proctor
Huntington Beach, California

ud
gh 1
have never speculated in commodities, I
read Laurence's anicle on the Ри with

Since 1920, I have been buying

selling stocks almost daily. The

THE SMIRNOFF SOUR...LEMONS AND ALL THAT JAZZ

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PLAYBOY

16

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А SUBSIOIARY OF GENERAL ANILINE & FILM CORPORATION

great interest and marked. over а dozen
statements investors in any market could
assimilate with profit. This article is the
best primer on commodity speculation 1
have ever come actos. [t should in
crease participation in the commodity
markets more than the efforts of any
number of brokers. If you make reprints
you should sell thousands of them.

Gerakl M. Loch

E. F. Hutton and Company

San Francisco, California

As usual, the market instincts of writer

Loch—a syndicated financial columnist
and author of several best-selling books
on personal investment—are right on
larget. We did indeed receive many re-
quests for reprints of Laurence’s article
and. хо far, have sent out some 10,000
of them.

Laurence’s article, while intelligent
and well written, failed to mention
important point: that the ex
dealing in lightly traded commodities
subject to cornering and wild flu
tions. Three years ago, one pi
buyer went in and bought all the Maine
potatoes contracts on the New York ex
change. He ran the price up from 90
cents a hundred pounds to more than
five dollars, reputedly making about
55.000.000 in the process. Both the con-
sumers and the producers of potatoes
were injured in this operation. Past сх
perience has also shown that futures trad.
in

in onions was inadvisable—because
the market was too casily controlled. The
same may well be truc of pork bellies
today. Part of the extremely high price
of bacon 18 months ago was the direct
result of speculation in fraren-pork
belly futures. However, for those com
modities traded in

rge enough volum:
то establish a real market through com-
petitive bidding, the function of futures
wading is legitimate, desirable and
ly elective im helping producers
handlers and consumers alike
Harry L. Graham
Legislative Representative
National Grange
Washington, D.C

HORSEMEN
Гуе been an Evan Hunter fun ever
since the days of The Blackboard Jungle,
but his A Horse's Head—which ran in
your July amd August issues—now tops
my lis. His range is fantastic—now he's
added a rollicking comedy-mystery to
his other accomplishments, I. can't. wait
to see the movie.
Joe Rollins
Detroit, Michigan

Гуе just finished Evan Hunters 4
Horse's Head. 1 think it’s the best piece
of fiction you've published yet. Keep up
the great work.
Dennis Royer
Miami, Florida

This message is strictly for smokers who've never tasted a Camel cigarette.
Camel smokers, you know what we mean.
аи You other guys, start walking.

PLAYBOY

HAIG

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When people get hold of the most
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scotch whisky, they stay with it.
= It happened in modern England (where Haig
has been the largest-selling scotch for the
lest 25 years). And now it's happening here.
* Why Haig of all scotches? Maybe because
the House of Haig, world’s oldest distiller
of scotch whisky, has been at it since 1627.
They've had the time to get the right taste
and the talent to keep it up-to-date.
It is this taste that can now happen to you.
Once it does, we think you'll stay with it.
Don't be vague... ask for Haig.

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PLAYBOY HATH CHARMS
You

ested in an incident
t tour of Israel
а series of articles on
the aftermath of the war. One day I
drove from Jerusalem to Jericho, in the

that occurred on my rece

while I was doir

occupied West Bank arca. 1 did not have
a correspondent’s pass. I wanted to go to
the Allenby Bridge, where the refugees
cross over. About five miles from the
Jordan, 1 was turned back at a check
point. E thereupon went to the command
post in Jericho and said that I was a
writer

1 wanted permission to pass

The commander. a young Israeli from a
kibbut, asked: "What magazines have

you been in recenth

I replied: “vrayuoy.”

He took a copy of your July issue out
of his desk drawer, noted my article
[Judaism and the Death of God] in i
and said that rLaynoy is a great favorite
with the Israeli army. One of ше walls
of his office was covered with your gate-
folds. Of course. | got my permission to
pass—and a guard to escort me. 1 now
carry à copy of the July issue of PLAYBOY
with me wherever I go. ИЗ better
than а correspondent’s pass: it gets me
everywhere.

Rabbi Richard Rubenstein
Pittsburgh, Pennsylvania

І thought you might be interested in
this photo, taken in Canton at the height
of the Red Guard rioting. The pLaynoy
fan is David Robertson, a young English
man who is employed by the Hong

Kong government as a veterinarian. 1
took the photo in front of Canton’s
Anti Revisionist Building, while we
were touring the city with a group of

foreign sightseers. Throughout our tour
whenever the Red Guards became 100
frisky, Mr. Robertson would show them
his млувох, in hopes of “cheering up
the poor blokes.” It seemed to work.
Mrs. Suzanne Gayn
Kowloon, Hong Kong

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thing with their tresses, Martians were electro de-materializer, with which they antennae with the metal taps on his shoes.

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and smoothness. Thats our big play
„пом it's your move.

Last year,
over a quarter million owners
ofother low-price cars
were won over to Plymouth.
It started a movement, a momentum,
a beat.

Inside, our stylists kept Fury's options
from looking "added оп.”
The new automatic speed control

Is on the turn signal lever.

The new air conditioning outlets are Fury has the biggest standard V-8
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The new stereo taj inded = And the biggest brakes.

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PLAYBOY AFTER HOURS

mid the censorship furor about

Ulysses, nobody seemed 10 notice

that the modern. vo

ibulary of profane,
obscene ai

d abusive expressions. as re
vealed by th: : Пу rather
tame, compared with the fire and brim
sione that was unleashed when our ances

tors lost their tempers, In Shakespeare's

t movie, is actu

day, a gentleman was practically illit
crate И he couldn't Вай cures and
threats for three quarters of an hour

without repeating himself. Today. on the
other hand. we have only a few all-wool
obscenities and even fewer truly. livid
profanities im common usage, and we
repeat them endlessly, Where are the
oaths of yesteryear? How our kin
guage allowed itself t0 atrophy and
abandon such stingingly apt insults as
‘admiral of the windward passage" (for a
homosexual) and such stercophonic crc-

sendos of blasphemy аз "Jesus Christ

id his brother Harry,” “by the double:

and “by the
U? Alas,

barreled jumping jiminety”

sacred chamber pot of the Vi

the great days of billingsgate are lo
gone; we no longer even possess such
fine insults as “Captain Cork? (a gentle

man who
the bottle and neglecis to pars it on to
his companions). “Domine Do Little” (
impotent male) and “fre ship” (a
with a social disease)

Most of us call a woman a "bitch" when
angry with her and let it go at
that: but our more im ive ancestors
would have called her “a down buttock
(a common whore). a “buttock and file”
(a whore and a pickpocket to boot) or а
“chrecpemny upright" (one who sells her
wares, at the wholesale price mentioned.
while standing against а wall). We have
even allowed “son of a bitch
the more vivid Shakesy
We employ one terse Anglo-Saxonism, or
scientisms like coitus or copulation. to
describe that kinetic sport th
fathers called
"rogering." "giving a
gown, “Jack in the
Peatey's jig,” "lap«clap," "edifyi
merkin," "handydandy,"

abitually dallies too long over

мете

to replace
гап "whoreson.^

an

our fore
Sdighting.” “docking.”
girl the green
orchard,” "Moll

her

“Таут

banana with Lady T and (from the

knees
antiseptic age

distal view) “praying with her
nb" Who in thi
pregnancy in such colorful
terms as “She has an Irish toothache” or
"She's got Jack in the cellar"? Is it not а
loss to speak of the emotional afflictions
of okl maids as “hysteric neuroses” instead
of the 18th Century's more vivid “green
sickness”? Alas, we no longer even refer
10 love's little infections by saying, “He
went out by Haddem and came back by
Clappam.” And another venereal рага
sie. known as а “gentleman's compan-
ion” to our grandfathers and dignified as
mechanized dandrutl^ in the List War,
is now nought bur а humble crab. And
She was unfaithful” is assuredly less
lively than “She pur the horns on. him”
or "She capricornified him."

Certainly, the language has dedined
markedly whi I
relations” in alluding to the act our an-
солот called "cuckolding the parson’
use the Latin name “ditor
for that orgasmic trigger known in Tom
Jellerson's day as “the little man in the
boat”; and when our own penis is sepa-
rated from ts by its clinically impersonal
name instead of being familiarly and co-
sily called "old. Adam, the rector” or
“Polyphemus.” Sad. too. is the substitu-

speaks of

we

speak of "premarit

when we

tic
Jesuit." aud of “the female-superior posi
tion” for “riding Saint George” or “mak.
ing а bishop.” Gone as well are such
майи Old Englishisms as “standing
Moses” (having another man’s bastard
child bore by your wife) “making a
wing a woman with your
boots on) and “keeping cully" (maintain
ing а mistress you think is exclusively
yours but who actually serves as a public
accommodation). And who with a touch
of poetry in his soul can think without
sorrow of our Joss of “the monosyHlable"
(the the
tker (the same) and “the mother of all
ne)? We have
t all—
d suck

gende

of “autocroticism” for “boxing the

temale genitalia), money-

n

sains” (again the sa also

lox "Russian socks" (no socks

shades of the Polish jokes), “H
whiske
T

off a wounded leg" (a
too often inebriated),

1 somew

“the parson's mousetrap" (marriage) and
the blunt 19th Century Cockney sugges-
“P OQ” (“Piss OIF Quick" ger
out of here before we set the dogs on
you). We no longer even predict a death
on the gallows by telling our enemies,
“You'll climb up a ladder to bed,” “You'll
die of the hemp fever" or “You'll dangle
in the sheriffs picture frame.” We don't
even have “You'll die of barrel fever" for
“The booze will get you someday."
By the year 2067, if this deplorable
tendency toward colorless cursing
lowed to continue. the worst one will be
able to say of a man is that he’s “latently
antisocial.” to which he would probably
reply that his accuser way “semantically
Ге At
ave kept the poetry of invec
uncontami

tion,

is аі

abusive. bs. may their tribes

increase
tive alive in their lang
naed by stodgy affectation. and are still
apable of telling a man that he is “the
offspring of 33 generations of jackals.”
They must pity us, indeed.

The last word in San Francisco poster
ан is a photograph of General Moshe
Dayan with the caption “MIRE THE HANDI
CAPPED.”

Human Interest Story of the Month,
from a classified ad in die American Uni
versity's student newspaper, The Eagle:
For sale: one white maternity dress, size
S. Never used, false alarm. Call Betty,
244-6800, after curfew."

Citizens in Plymouth, England, were
understandably confused when two ne:
by church notices simultaneously ad:

vised, “Strong drink is your worst enemy
and “Make your worst enemy your best
friend,

In a brilianty insightful. encapsula-
tion of Hemingway's The Old Man and
the Sea, the New York Ром TW list
described the movie version as “the ad.

ventures of а determined fisher

“My fat!

а 1965 Volkswagen reasonable" read а

місу too You can have

classified ad in the Wilmington (North

23

PLAYBOY

24

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ЕЕЕ ТТТ Man MU es ССС

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Tne cama:

Ia

Carolina) Morning Star. Next day, the
me column carried the following
"For sale, cheap: 1965 Volkswagen and

1929 husbind—both slightly dented.”

А sign on the main floor of New York's
Hayden Planetarium—poinüng down
stairs—announces: TO SOLAR SYSTEM. AND
REST ROOMS.

Mysterious East Depariment:
purchasers of a Hong Kong-1
dock found this enclosed note.
you to perfection of alarming mechanism

French

you are never awake when you arc
sleeping.”
If one can believe the Orlando, Flori-

da, Sentinel, Czech scientists have per
feced а new secret weapon for use in
the Sexual Counterrevolution: "a power
ful incesticide, опе gram of which can
destroy one billion incests."

Insider's Newsletter commiserates with
Aires fortuneteller who pre-
dicted that a client would soon come into
а large sum of money. The client there-
upon held up and relieved the omniscient
soothsayer of $3500.

а Buenos

In a thumbnail biography of the
Wac of the Week," the Army Times ге
ported that “In the Pentagon, you'll find
her in the Distribution and Readiness
Division section under the Deputy Chiel
al Sult for Personnel

In a recent municipal election, an
Ecuadorian footdeodorant firm named
Pulvapies circulated this inventive slo-
gan; “Vote for any candidate, but if you
want well-being and hygiene, vote for
Pulvapies." On election eve, the company
followed up with nationwide distribution
of a leallet the same size and color as the
offal ballot, reading. "FOR MAYOR:
HONORABLE. PULVAPIES." When the votes
were counted, the 4100-resident coastal
town of Picoaza had elected Pulvapics
by a clear majority

The

Mexico has awarded
arts degree to а stu-
dent whose thesis is titled “The Sexual
Morphology of the Ice Cream Cone: Its
Structural Development Trans

formation.”

Academic Freedom, Abuse ol:
University of New

a master of finc

and

During the week of the Detroit riots.
the nation’s top-selling record, according
to Billboard, was Light My Fire,

Sputnik magazine, Russia's answer to
the Reader's Digest, printed the follow.
ing story, presumably because it sheds

light on the capitalist publishing world.

Karl Marx, while living in London,

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supposedly received a letter from his
Leipzig publisher that read: “Dear
Herr Doctor: You are already 18 months
behind time with the manuscript of
Das Kapital which you have agreed io
write for us. If we do not receive the
manuscript within six months, we shall
be obliged to commission another author
to do this work.”

А campus correspondent informs us
that a Columbia University professor
called for student ballot to resolve the
question of whether to retain the honor
system. The yeas exceeded the nays. but
the number of ballots cast exceeded the
number of students.

\ London bakery. reports the Sunday
Mirror, wraps its cakes in paper bearing
the inscription, “Contents sufficient for
four persons or 12 little tarts.”

BOOKS

Books about the junior Senator from
New York are becoming subindustry of
the publishing business. A virtue of both
Dick Schuap's ВЕК (New American
Library) amd William Shannon's The
add
her the demonology пог the
wiology concerning their intriguing
subject. The Schaap volume, which at
tempts to illuminate Bobby through pic
tures (250 of them) ay well as text, is a
crisp mixture of distilled biography and
necdotal reportage. There is little new
in the book for а moderately assiduous
newspaper reader, but Schaap does bal
ance the Robert Kennedy accounts, That
balance. he concludes.
but not. completely.
weakness of the book stems from Scl
disindinat lye the K у
record. He is more а descriptive than a
probing journalist. For example, although
ме are shown the textures and rhythms
of a characteristic day with Kennedy—the
day in March 1967 on which he deliv-
cred his ambitious speech on Vietnam—
there is little indication of how ambigu-
ous that speech actually was. Similarly,
other Kennedy programs, both domestic
and foreign, are enumerated but not ex
amined. There are also errors. Duri
Kennedy’s term as Attorney General, the
Justice Department, Schaap notwith-
standing, did not reach new peaks of
productivity in antitrust suits. Nor by
ans is Bobby always "obviously
cager то rock the political boat.” But the
restless, imperious yet fatalistic character
of К.Е К. does come through with
sharp darity. In The Heir Apparent,
n Shannon, a member of the edi-
boad of The New York Times,
rider than most observers to get at
the esence of the man, Though а less
felicitous writer than Schaap, Shannon is

w

any n

an

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PLAYBOY

28

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29

a more dogged researcher and а more
tough-minded hewer of conclusions. Ac
gly, his book, subtitled "Robert
Kennedy and the Struggle for Power,
biography.
arching survey of Kennedy's evolu-
tion, The Heir Apparent digs into the
substance as well as the style of Ke
dy, past and present. And
that the es:
cause “he
not of concept
bore him. . . . Unlike his brother John,
who became an inveterate reader in the
course of his many illnesses. Robert Ke
nedy has never found a private world of
the ion. Не is а doer who |
by events.” Therefore, "he is overe
tended and overscheduled; he is advis-
ing on Bedford-Stuyvesant, advising on
the New York State constitutional con-
g with the Rockefeller
s. flying to
with French officials,
ago to speak 10 a confer
policy, issuing stai
th President Johnson on
y means of all these ac
addition to them, he
the Pres
kes the judgment
that Kennedy continues to grow, but he,
too, is unable to find and define the
inner core of that growth. By 1972. the
electorate ought to have a better idea of
what makes Bobby run—that is, if it can
keep up with all the books about him.

PLAYBOY

fo

non

We've had so
cent fiction tha
calling for an idore. Well, they wor
find it in Dirty Story (Atheneum), except
that Егіс Ambler has developed his pro-

ist t0 such a fine degree of
that he’s almost a new type. TI
is subtitled “A Further Accow
ol the Lile and Adventures of Arthur А!
del Simpson.” Simpson is the sleazy hero
introduced in Ambler’s The Light of
Day

ali
guidechauffeur hustlir
Athens. A bluemovie production cor

Bull Durham smokes slow. SEGUE

So slow it's like getting five someone to line up local talent and, of
or six extra cigarettes in every course, Arthur Abdel Simpson is their

man. Only he doesn't quite manage to
pack. Try the Bull—and spend avoid the notice of the local so

some time with flavor. he and a pe xh ur e ad m the

E z producer's bodyguard ship out in a hurry
Bull Durham says: “I smoke slow. ER up more or less Е
is Cannot stand scrutiny) in an
hellhole. There they are reuit-
ed for the caper that takes up most of
the book. A German named Kinck, rep-
resenting an international consortium
called уммлс, is planning а small border
war on behalf of the Republicof Mahindi
wt the Republic of Ugazi. The

30

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PLAYBOY

32

prize is a stretch of land rich in a rare
earth called niobium. А тосу group
of mercenaries is assembled. and while
they are rehearsing their tactics, Simp-
son is approached by another mercenary-
Is Simpson willing to send a coded mes
sage tipping off the attack over the radio.
which is in his charge? (Seems there's
another consortiu UMAD, working the
other side of the streer.) Certainly, Simp-
son is willing. This way. he has a foot in
cither camp. and no matter who loses, he
wins. He thinks. We leave you to discover
on your own the fate of this feckless
gent. Not top-drawer Ambler, but it has
5 moments.

sin new

pouk waited.
ve inven

. to drink

- afterward?

Irish Mist Coffee. Made
with Irish Mist Liqueur". z

Add a jigger to black coffee.

In August of 1831, in southeastern
Virginia, six dozen Negro slaves, under
the leadership of Nat Turner. brutally
Killed 55 whites. Out of that incident,
William Styron has fashioned the literary
event of the year, In his new novel, The
Confessions of Nar Turner (Random Housc),
Styron uses the past to argue that the
humanity of brutish subjugation can
only phumanity of brutish
uprising: that insensitive persecution can
only lead 1o senseless massacre; that,
ultimately, only terror can evoke the
ecessary for dealing with
a national guilt so long repressed thar it
becomes institutionalized. Nat Turne
iu Styron's hands. is а kind of blick
Christ: Не hears divine voices, he prac

F H tices asceticism, he even comes to. possess.
Top with whipped cream, ее
and sip slowly through the gifted house Negro. Nat at first seems
cream. It's.as different from exempt hom the most extreme hardships
regular | ‘ish Coffee as flavor of negritude, as a sensitive but ineflectual
7 Д master, treating him as а noble exper
is from fire. When you come ment, sparks the dream of freedom with-
in from the cold, have an i him. But in the pinch of a depression.
Irish Mist Coffee. And be he is shunted from master to master. and
happy the Irish havea
M indoor sports.

breed the

consciousi

pss

the spirit of hate begins to gnaw at hi
along with a dedication to a rebellion
that he perceives as divinely ordained.
Jimacically. he unleashes a night of
tcrror—hoping to spark a Negro uprisi
throughout the South, Of course. the
rebellion fails and, without remorse but
witli great gallanuy, Nat Turner goes to
а gallows death, As a novel. The Сол
Jessions of Nat Turner has obvious weak-
nesses: It is а one-ch
arguments sometimes verge оп the sim.
plistic: and it is occasionally dull. But
even with these faults, there hay been no
better book of fiction this year.
eloquent reminder that there will bc a
war for Negroes to wage as long as there

racer book; its

ft is an

я is a peace for whites to effect.

Trish Mist Ў

Er
uth Thomas Berger, whose memorable
» Little Big Man was а scalp-tingling,

lusty comedy of frontier violence. his
now tried his hand at a comedy of con
temporary violence, a new kind of Iron
tier threatened by psychos rather than
badmen, terrorized by fastalrawn ids

rather than Colt Drought

80 PROOF, HEUBLEIN, INC.
HARTFORD, CONN., SOLE IMPORTER. U.S.A.

КЕЯ wader

control by psychiatric evaluation rather
than Bur
soon becomes one of those philosophical
h the third deg
reads like a Ph.D. On Christmas
without evident motive or emotion
Joseph Detweiler strangles his former
landlady and her cheesecake daughter,
then plunges a screwdriver into the
temple of an unfortunate boarder who
stumbles onto the scene. The method of
Berger's madness is to explore the meta
physic of Detweiler's madness. For Det
weiler has elaborate theories about
murder, reality. being and. especially.
time, which in his corkscrew mind gets
twisted out of joint. “Matter and mind.
their connection is Time.” he expostu-
lates affably до the homicide squad, Or.
nevitability conditioned by
That was Time.” Or, “Time is ever on
the move. Try to catch it in one place, it
flees to another." Detweiler's pretentious
theory that murder is a m iterally
killing time (and that
know God") fascin:
ters: but after a couple hundred pages. it
seems aimed at boring his readers to
death. Although Berger retains his deti
comic touch in characterizing the rela
tives of the victims as moral gargoyles. in
describing newspapermen and lawyers as
vultures preying on crime. his insistence
that Detweiler is an “ultimate murderer
scientist of the soul," is so much hot
r pumped into Denweiler's bubblehead.
Berger's novel fails not because its sub.
ject is "unlauzhable" but, oddly enough,
because he takes it too seriously

chance:

ans of

“to kill Time is to

es Berger's: charac

Portraits from a Shooting Gallery (Har per
& Row), by Seymour Fiddle, consists in
part of virtually unedited wans
interviews with drug addicts and in part
of the author's theorizing about the ва
ture of the addict and the world in which
he lives. Thus, the Look swings wildly
between Fiddle.
st with psychiatric proclivi

ripis of

extremes of 14

а sociok

wi ent

es prose that cries out for ине
pruning (“In the scene in which Manny
describes а remeeting with his futher
and then failiug to expe
thought he should and rightfully should
have experienced. [rom
a symbol of the promise and the failure
ol the authoritz
that he thought he needed and sought"
For the reader who can w
through such stretches, this book con
tiny much ol Tt conveys the
chilling awareness thar the addict. in

ncc what he

father, we sec

tive frames ol reference

his way

valuc.

most respects, is not a special breed ol
ае is instead, а human being sul
from familiar symptoms—bore
dom. aimlessuess, alienation, disgust with
lile. Beyond this is the realization that
these who
але hooked on heroin and who think of
themselves as an elite group are close to
They are alive,

recognizable human beings

being zombies in reverse

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33

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but they often act as though they were
dead, silently suffering from physical
and emotional agonies that nonaddicts
cannot comprehend. Fiddle deserves
credit for modesty; he is not trying
to solve the problem of addiction—he

is only trying to state it. He calls on
the sciences of pharmacology, physiolo-

gy. psychology and sociology to begin to
study the black malady of drug addiction
10 undertake the longoverdue research
without which no solution is possible.
Bur in the end, it is not Fiddles voice

tries to tell the
Ike to be damned.

пуз, as cach mai
reader what it is

In an age of black humor, of books in
which writers cut up pages of prose and
paste them together at random, the clas-
sic novel is energetically and intelli
ly pursued by Seymour Epstein. His new
book, Caught in That Music (Viking), i:
written with the combination of wis-
dom and refreshing naiveté possible only
to à man who writes as if the novel had
just been invented. Epstein's book has
characters with full dimension, realistic
dialog with the sharp edge of revelation
—and lyricism without sentimentality.
This last is fortunate, because Epstein
is telling a somewhat familiar tale of

youth—a youth named Jonas Gould,
n particular, growing up in the Ime
Thirties and early Forties. Jonas works

at a priming concern, has а troubled.
but close relationship with his sister
Debbie (their mother died long belore),
engages in an alfair with Ruth, a mar
woman, and is haunted by his di
doomed friend, Ira. In the background,
subtly set, is the growing domestic and
international tension that preceded
Work War Two. Jonas loves liv
develops, hurts—yet all this does not ade-
quately describe the special quality of Ep-
n's prose. From the opening handball
game through the painstakingly de-
ped adultery, there is a kind of supe
y about the writing. He can even
a» unpromising as fat old
Ackerman's desire ю have young
share his sexual experiences. (ver-
and turn it into something of a
human illumination. Caught im That
Music embodies the best kind of music,
the kind that lurks between the lines and
far, far behind the words themselves.

Put an artist and a fan in the same
room and. often. all you can hear is the
pplause; but put Alfred. Hitchcock. and
François Trullaut in the room
(with a tape recorder and translator. Hel-
en Scott) and what results is a minor
masterpiece. The dillerence, obviously.
is that Truffaut, in addition to being an
admirer of Hitchcock, is himself a direc-
tor of the first magnitude, a serious man
of the cinema and а former film critic.
"Trullaut's Hitcheock (S Schuster)

take somethi
Mr-

is an appreciation. a critical biography,
an exhaustive examination of a career
and a guide to the techniques of mov
To reproach Hitchcock for
ig in suspense is to accuse him
of being tlie least boring of film makers,"
says Truffaut. He is the “most complete
film maker.” who “masterminds the con-
struction of the screenplay as well as the
photography, the cutting and ше sound
wack.” And he does it all in purely cinc-
matic terms, visually. “without resorting
to explanatory dialog." Movie by movie.
Truffaut leads Hitchcock through analy
sis, relating one film to another, disse
ing frame by Паше, criticizing
elucidating. They discuss Hitchcock's
prevailing theme, "a accused of
me of which he's innocent,” his erotic

d his playful side, his often arbitrary
tic logic, his rules of order (c...
more succesful the villain, the
) how he
toward a desired

“the
more successiul the pictur

directs the audience

reaction,

how he uses film “to achieve

own cinenthusiasm. “Wasn't that a track-
out combined with a forward zoom?” he
asks about a scene in Vertigo; and
Hitchcock answers in the affirmative,
опе can almost hear Trullauts рип of
satislaction. But Trullaut is inquisitive.
auenüve and immensely knowledgeable
about Hitchcock and Hitchcock. is wise,
witty and completely responsive—an. ex-
act matching of author and subject.

A determination to be funny at all
costs has been the ruin of more than onc
promising humorist who, operating
sort of echo chamber, has been ті
by the reverberations of his own Laugh:
ter. So it is with The Ecstasy Business (Dial)
by Richard Condon, another spoof on
movies by somebody who knows all
about the biz. There never was а busi-
nes more relentlessly and self-consciously
hammered at by men of leuers than
the film trade: and never, in all Titers
ture, did hammering ring more false. Foi
by the time а writer has learned enough
ol the racket to hate it, he is making a fat
living by all that he pretends to detest.
What Condon would have you believe
to be а rending indictment of mov
1 everybody connected with them
is seldom more than a self-inflicted love
bite. His “unzipped fly caught in for
ever amber" is an overblowi i

whipping up of mad grotesqueries and
gimmicked sight gags. The plot—some
thing to do with murder and madi
under the klieg lights—dovs not bear
summary. Condon is a perceptive man, a
п of talent; but he has а buffoon
attic who is apt 10 come down and
barge in, mesing up The Oldest Confes-
sion. Mipping cream pies into the ma
chinery of The Manchurian Candidate,
upstaging Some Angry Angel and, by
sheer excess of misplaced exuberance.

ies

Musical pillows. When Sally stops the music, everybody falls... for Lisa. Okay? But you
can only play if you wear Broomsticks slacks. Flannels, twists, homespuns blended of | (s
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35

PLAYBOY

36

lousing up burlesque itself in Я Talent
for Loving. Perhaps this is the author's
way of saying over his shoulder to some
invisible chic of production, “I'm not
really writing, I'm only kidding.”

Villa D'Este has а <

masculine, for-
esty kind of smell.
That lasts. We
blend it from rare
wocd oils, ferns
and mosses. Most
people we asklike
it. Maybe you will,
too. After Shave
$4 and $7. Co-
logne $5 and $9.

VILLA |
D'ESTE

AFTER SHAVE |
COLOGNE |

It would bc ironic, wouldn't it, if
W. A. Swanberg, who was jobbed out of a
Pulitzer Prize for his excellent biography.
of William Randelph Hearst, should win
one for his excellent biography of the
man in whose name the awards are giv-
Pulitzer (Scribner's) is ап enormously
iled, richly colored life of a giant of
erican journalism. The wonder of
Pulitzer was that he could publish his
powerful newspapers, the St. Louis Post-
Dispatch and New York World, while a
helpless invalid. From the age of 43 to
his death 20 years later, he was beset
with a host of ailments—asthma, dia-
betes, insomnia, rheumatism, almost total
blindness. Moreover, he was а manic-
depressive. He spent his life traveling
the world in an endless quest for sere
ty. Yet he continued to direct the dc
of his papers. He sct the policy (liberal):
he shaped the tone (lively). Та the last

- two decades of the 19th Century and
1 sm die fo gero ef HD XU. Hc vers
Swanberg writes, “the most powerful

progressive force in journalism, edu-
cating the people. dropping boulders
rather than pebbles into the pool of pub-
lic opinion.” Pulitzer called the steady
beat of his crusades “the red thread of

|
For a Sample bottle ot |
Villa D'Este, send us 506.

continuous policy”; and if the thread was
sometimes stained yellow, he never lost
his crusading zeal. Only in the Cuban
episode, when he was engaged in a vi-
cious circulation war with Hearst, did he
violate his journalistic principles; he, al-

most as much as Hearst, was responsible

for our jingoistic war with Spain. With

Pulitzer, as Swanberg notes, it was al

tastes IAE ce iens ped

= salesman. And for most of his life, this

prodigal personality was true to himself.

expensive It was one of his secretaries who said,

when leaving Pt

and 1$ allowing us to share that privilege.
нии LI b

Key West and East Village, harpies
and hippies, ouija boards and revenants.
Closing your eyes and tastin
would swear to à good handful of E

Maker's" M ker's Welty, plus a generous dash of c
D Mark: a Capote, ancl more than a pinch of Car
REE S wouldn't be too surprised to learn il

D Si Srur выд 5 1у, аг zy it’s a collection of James Leo Herlihy's

short stories, A Story That Ends with а Scream

25 and Eight Others (Simon & Schuster).
Масе from ап original) old These nine stories reveal the author's

style sour mash recipe by predilection for the twilight zone, where

Bill Samuels, fourth genera- son walks a tightrope and things not
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the most part, benevolent; and love, it is
strongly hinted, is a fine exorcism. Sen-
timentality tends to get the better of
several of these tales; but when Herlihy
docs his carving on something more sub.
stantial than soft soap, the characters arc
memorable. Such as Mary Ellen and Ivy
in the title story, two ladies with a touch
of genuine evil in their souls. Or, better
vet, the acid-etched portrait of Gloria in
Laughs, Etc, which appeared first in
rrAYBOY, What makes this story work so
well is that it portrays not bitchery for its
own sake (usually a bravura exercise for
the writer) but bitchery as the cop-out of
a bad conscience. Gloria likes to warm her
cold heart at youth’s fires, but she makes
damn sure 10 pull away when there's a
of geuing singed. Dialog, of course,
Hlihy’s forte; and even when a story
doesn’t come off completely, there are
whole sections that do, with verve and
credibility; and that, taking all in all,
gives u thor a high rating in an
extremely tough league.

ACTS AND
ENTERTAINMENTS

А generation sated by an overabun
tions, courtesy of the
clectronic age, is constantly searching for
enues of titillation, The latest
m route is via The Electric Circus (23
St. Marks Place). Converted from an old
Polish meeting hall in what was once
one of the scrufüer parts of the East
Village, it now artfully and intelligently
surrounds you with light and so

dance of sens

new

moves, pounds, pulsates and a

then allows you, at your own pace, to
withdraw from it in а quiet room called
fitingly. the Think Tank. There, fresh
fr sold along with soft drinks and
colfce. (Liquor is verboten, which seems
to disturb the electronically uplifted cli-
entele not at all.) After a suitable Think
Tank pause to regain your equilibrium,
you plunge back into the swirl of mu
and light patterns, pulsating simultan
ously under and on а tent within the
hall. The music, when it isn't good, new-
fashioned rock, is especially designed for
electronic performance by composer Mor.
ton Subotnick. It does such things as flow
from speakers, one by one in programed
sequence, around the room's periphery.
Just outside the havez-ballroom, in the
dark entranceway, the mood is established
by a wall on which is projected a Пом-
ing and ng polarized-light mural.
During our visit, the finishing touches
were being put on a cubicle for a resi-
dent astrologist. Producers Jerry Brande
and Stanton J. Freeman have thought of
everything from floor to ceiling. On the
main dance floor are painted iridescent
butterflies. Other parts of the Circus are
floored with astroturf, the artificial grass

Get plenty of sleep
you come to
Caesars Palace in Vegas.

For reservations,

rates, color brochures

— see any travel agent or
write Caesars Palace,
Las Vegas,

Nevada 89109

LIVE ONES love to
live it up in Llama
Liras! Priced-right,
classic styling for
young executives.
Buckle-Strap,
Black or

Black Forest.
Llama Liras

$20 to $23.

WINTHROP

DIVISION OF INTERNATIONAL SHDE COMPANY * SAINT LDUIS, MISSOURI

39

PLAYBOY

40

nothing
about
kaywoodie
1S
ordinary

Precious, aged briar, hand-
picked from hundreds of burls,
is hand-worked, hand-rubbed
to the soft rich finish that makes
it exclusively Kaywoodie.

A special rubber bit is hand-
turned, hand-fitted to feel just
right in your mouth. Then the
Drinkless Fitment that con-
denses moisture, traps tars and
irritants is added.

Small wonder it looks,
smokes like no ordinary pipe.
Always mild, dry, full flavored.
There's just no other pipe
quite like Kaywoodie.

KAYWOODIE

Send 25€ for $8-page catalog. Tells how to smoke a
hing: shows pines from 30.65 to $3,300; Kovswodie
Tobacco,smoking items. Kaywoodie, N.Y. 22, Dept. D-15

that grows under nobody's feet. This is
important, out of defe
the East Village hippie community, bare
foot folk are 50-cent dis-
count. fect are not
rhythmically caressing the butterflies, it's
becausc the circus is on—real circus acts:
a wapeze artist under rapidly changing
lights: а juggler:
a Happening under stroboscopic lights
that
It all works as it’s supposed to.

because, се to

admitted at

And when their b:

a dancer who performs
dd a new and exciting dimension.
The
Electric Circus vibrates seven nights a
week, from 8:30 р.м, to 3 А.м. Admission
Sunday through Thursday is $3.50; $1.50
on Frid d Saturday. With shovs, Be
the first on your wave length to go.

RECORDINGS
Carmen McRae, a singer for all sea-
sons, has abandoned the standards that

fill her songbook for a go at some lesser
known entries as she debuts on Atlantic
with For Once in My Life. It was a master
stroke English cleffer Johnny
ing handles the arranging and con
ducting for Carmen a
On such au courant attractions з
St. Marie's Until I's Tine for You to
Go. and McCartney's Gol to
Get You into My Life and the Brian
Wilson- Tony. Asher gem 7 Just Wasn't
Made for These Everything's

Eminent
Ke.

she concei

Lennon

Times

Carmen up roses
Javnty-Jolly! (Capitol) is loose, baby.
The Howard Roberts Quartet, а group.

drawing sustenance from the foi
funk, digs iu freeand-casy fashion
through the likes of So Nice, Music to
Watch Gols By, A Man and a Woman
and Merey, Мену. Mercy. Aiding
gnitarist-leader Roberts with musical mat
ters are luminaries Shelly Manne, Chuck
Bergholer, Dave Grusin and Larry
Bunker, You say thar makes more than
а quare? Well, that’s how loose the
session is.

nt of

The favitation to the Movies (Capitol)
extended by singer Matt Monro is too
good to. pass up. On the bill are Alfie,
Georgy Girl and the theme from The
Sand Pebbles (And We Were Lovers)
Mau four-star performance
throughout.

wives а

As Otis Redding’s protégé, young Ar-
thur Conley has it made; and Shake,
Rattle & Roll (Atco) is a tribute to Red-
ding's skill as а producer. In addition to
th: tile ditty, Keep On Talking. You
Don't Have (o See Me and Hand and
Glove are standouts. The master himself
takes to the stage on Oris Redding / tive
in Europe (Volt). Not much of a racontcur,
and threatened by a thunderous crowd,

Otis yet manages to stay in com

from start to finish, The program fea

tures his first hit. These Arms of Mine,
the Roll Stones’ Satisfaction and the
oldie Try а Little Tenderness. Carla
Thomas, Eddie Floyd and Sam and

Dave help Redding out on the two vol-
umes of The Stax-Volt Revue / Live in London
end Paris (Stax). Each LP is a complete
show well worth the price.

Ubiquitous reed man Phil Woods is the
master chef on Greek Cooking (Impulse!).
Phil has surrounded himself with а ра.
sel of Peloponnesian confreres who sup-
ply the Never on Sunday sound that
makes this album such a joy. Oud, dum.
beg and bouzouki (the last played with
fiery intensity by Iordanis Tsomidis) pro-
vide the Greek. backgrounds for Woods"
strictly-from-jazz alto, Among the tunes:
Zorba the Greck, A Taste of Honey and
the themes from Antony and Cleopatra
and Samson and Delilah

Chris Connor Now! (ABC) finds the long-
time songstress in а decidedly contempo-
rary bag turns her attentions to
— Goin Ош oj My
Head, I'm Telling You Now, Nowhere
Man and Carnival. The husky throb in
Miss Connor's voice is, we are happy to
report, as evocative as ever.

as she
tone poems of toda

Known as a nihilistic performer who
burns his guitar onstage, Jimi Hendrix
the composer displays much method in
his madness, The Jimi Hendrix Experience /
Are You Experienced? (Reprise) is a power

ful synthesis of modern music from
Chuck Berry to Edgar Varese. Some
tracks (Purple Haze, Foxey Lady) arc
electronically augmented. rhythm and
blues Third Stone [тот the Sun is a
semiabstract composition, and The Wind

Cries Мату comains more than a touch
of lyricism.

Erroll Garner, whose sound is always
Garner, has ап interesting new. backing
going for him on Thers My Kick (MGM).
Bass. drums, guitar and bongos add up
10 a driving rhythm section that. keeps
pushing Erroll to inspired heights, Six
of the items are Garner originals; the rest
include Rodgers and Hart's Blue Moon
and the Gershwins И Ain't Necessarily
So. All in all, an electrifying display

The Sound of Wilson Pickett (Atlantic) is
deservedly familiar; this volume show-
cases all but Pickett’s dancing, as Wilson
wails on the Gospelflavored J Found a
Love, shatters the sound barrier on Mojo
Mamma and Funky Broadway, and slips
into the down-home Something Within
Ме.

The Hollies and The Assodation are
two groupy—one imported, one domestic
—that have never been satisficd to rest

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PLAYBOY

42

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on their laurels. Оп Insight Ovt (Warner
Bros), the American sextet experiments
with a variety of vocal and instrumental
ions on their smash Windy and
aging cuts Wasn't It a Bil. Like
Now, Tim Hardin's Reputation and
Wantin’ Ain't Gettin’. The Hollies
Evolution (Epic) takes the quintet another
step for as it reveals Beatles. and
Stonestype chutzpah in assumed han-
dling of such tough ditties as Carrie-
Anne and Rain on the Window. Good
fun is what best characterizes the sounds
оп New Directions (Liberty) by Gary Lewis
and the Playboys and The Innocence (Kama
Sutra), the latter featuring Mairzy Donts,
their first hit, and a collection of good-
timy numbers; to wit, All | Ask, There's
Got to Be а Word and Whence I Make
Thee Mine. (Our only gripe is with the
mere 10 minutes and 41 seconds of music
on the second side) Despite his sojourn
in Uncle Sam's Army, Lewis the younger
manages to keep producing happy tunes
on the order of Girls in Love, Double
Good Feeling and Keepin’ Company

The material isn’t up to the performer
On Frenk Sinatra (Reprise). Outside of
Don't Sleep in the Subway, This Town
(which is superb) and Johnny Mcrcer's
splendid lyrics for Drinking Again, there
isn’t much on tap that the Chairman of
the Board can really sink his tonsils into.
There is Born Free, but Frank's subdued.
approach is not what the song needs,
Oh, yes; included on the LP is the hit
single Somethin’ Stupid, done with
daughter Nancy.

The Bec! Goes On (Atlantic) and so does
the indefatigable Herbie Mann, who
е his flute into territories
where the natives are always friendly.

ашъ amalgam of boss nova, Alro-
«l funk-rock is difficult to fault,

а Don
ne, there's The Honeydripper,

the title ц
Swingin' Shepherd. Blues, Is Paris Burn-

ing? and the Alka-Seltzer theme,
Matter What Shape, which, you should
pardon the expression, is a gas.

Dello Reese / One More Time (ABC) was
recorded live at the Los Angeles Playboy
every sense of the

Bobby

club and it is “live
word. Della, backed by the
Bryant Quintet (two tenors, tr
gan and drums) is a perpetual:
dynamo as she intersperses her vocaliz-
ing on the winning Sunny, That’s Life
and It Was a Very Good Year with snap-
py patter that should make Lou Rawls sit
up and take notice.

Praise be that Mahler and Ives have
been “discovered” by the recording com-
panies. Today, ivs only a question of
choosing from the wealth. of discs avail-
able. One we've chosen recently is

Charles Ives’ Helideys Symphony (Turn-
about), performed by the Dallas Sym-
phony Orchestra, with Donald Johanos
as conductor. The orchestra under Joha.
nos displ. youthful exuberance per-
fectly suited to the unalloyed јоу
abounding in the “George Washington's
Birthday,” “Decoration Day” and
“Fourth of July” movements, and a
ture understanding of Ives’ somber re-
flections in his “Thanksgiving and/or
Forefathers’ Day" movement.

Indo-lozz Fusions (Atlantic) is about as
g an LP as we've heard long
the Joe Harriott-John
Mayer Double Quintet accomplishes just
what the title implies—blending Indian
and jazz instruments and musical forms
with ашал Sitar, tambura,
alto and trumpet aid and abet one anoth-
er in a fascinating tour de force,

Ode то Billie Joe (Capitol) merits an ode
to Bobbie Gentry, а young lady whose
songs sparkle with down-home (Mississip
pi) imagery and whose haunting voice
makes it all seem real. Besides the top.
selling title ballad, prize tracks on the LP
hed by Jimmie Haskell's
inventive arrangements—include а jazzy
waltz, Papa, Won't You Take Me 10

Town with You, the humorous Bugs and.
Sunday Best, a love song in а lovely
groove.

MOVIES

, the Bees ond the Мобопз is an-
ely comic essay from director
Pietro Germi, whose jibes at the mating
its of his countrymen (Divorce—Ital-
ian Style and Seduced and Abandoned)
are one part hilarity, one part horror.
Here, Germi zeroes in on a slew of adul-
terers in the town of Treviso, carefully
separating those whose transgressions
society will mot tolerate from those
whose hanky-panky is protected by law,
church, Mother and a Mafia of bourgeois
wives. A tandem tale of true love van-
quished and lust triumphant, 884...
Bees first settles the fate of a goodheart-
ed young bank clerk (brilliantly played
by Gastone Moschin) whose only offense
is his impossible honesty. While the
prominent businessmen he knows move
in a relendes chain of marital infi-
s, the banker falls helplesly in
love with the giggly, gorgeous cashier
(Vima Lisi) at a café in the piazza. He
leaves his gorgon mate, his unauracive
children, his sham respectability,
der to Live а Liule, ошу to h
entire sociolegal establishment de
upon him. As a police officer explain
“To a man with his pants off, the.
is merciless." The picture might have
ended right there, except that Germi
wraps up his indicunent with an episode

in or

There is по evil in liquor.

We make a good Bourbon—Beam’s
Choice.
We've been making good Bourbon

since 1795. So we know what goes into it.

And what it takes.

Part of what it takes is a recipe that's
older than your great grandfather. And
the patience to wait eight years while it's
aged and charcoal-filtered to a perfect
smoothness that entitles it to the name
“choice”

The result isn’t evil, its beautiful.

But unfortunately some people
handle it all wrong. They're the kind of
people who, even when they know
what's good for them, usually decide to
do the opposite.

You're probably not one of them.

Most people aren't.
But it wouldn't hurt for us to remind

you that every man has his limit. And he
knows what it is.

And beyond that, he just can’tappre-
ciate the taste of good Bourbon.

Witha Bourbon like Beam’s Choice,
that’s a terrible waste.

Its like the man who orders a double
helping of foie gras. Or a chateaubriand
for two—for one. Or three dozen escar-
gots in garlic butter.

en you reach a certain point,
you lose your taste for the finer things in
life. You become jaded.

And that, as any connoisseur will
tell you, is just about the most evil thing
you can do.

BEAN
НО

EAMS!
Boie

CY STRAIGHT
EDURSON WHISKEY

EIGHT YEARS CLO. 86 AND 9C PROOF- KENTUCKY STRAIGHT BOURBON WHISKEY DISTILLEO AND BOTTLEG BY JAMES B. BEAM OISTILLING COMPANY. CLERMONT. BEAM, KENTUCKY

43

An unfair comparison between

Weasked a professional photographer
to take a picture of both cars under identi-
cal conditions.

Thereby putting the Mustang at a dis-
advantage.

Our Javelin is equipped with massive
contour bumpers.

Unfairto Mustang, because thin blade
bumpers don't photograph as well.

Our Javelin is endowed with yards of
costly glass. Side windows areall one piece,
without vents to break up the line.

Unfair, because Mustang isn't nearly
so generous.

Our Javelin has a richer, more pol-
ished look. Roof joints are hand-finished.

Unfair, because it is cheaper to make
roof joints by machine.

Our Javelin has a bigger displacement
and more horsepower in its standard 6-cyl-
inder engine, bigger displacement in its
standard V-8.

Unfair.

Our Javelin has more leg room, more

the Mustang and the Javelin.

head room,the backseat is a good 5 inches The preceding comparison was made
wider. between a 1968 Javelin SST and a 1967
Unfair. Mustang Hardtop, only because this year's

Our Javelin has a bigger gas tank, а model was not available from the manu-
roomier trunk, a more powerful battery. facturer in time for this printing.

Unfair. We really tried to get one.

Оз Jd eun cones vith a sophisti- A n M i
cate ow-through) ventilation system,
wheel discs, reclining bucket seats and а American MOOS _
woodgrain steering wheel.

And, unfairest of all, our Javelin lists
forno more than the Mustang.

e 1968 Javelin SST

Price comparison based on 1968 list prices. Vinyl tops and whitewall tires optional on both cars

^"

079.62: Ons,

2
еше $139.54

Sona State
46

Some of the
portable people
don't know that

Toshiba is here!
(please tell them)

We make а special kind of portable. They're
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Color TV with a brilliant, new Toshiba rectan-
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We modestly claim to be the world's largest
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in which six of the bankers acquaint-
с brought to tial for their fur-
at of a voluptuous peasant
girl (Pa turri) who spends one
busy day in town, Before Treviso
1 return to normal, a cardinal phones
newspaper stories are suppressed
and the farm girl's father is rewarded
with а handsome bribe, not to mention a
tumble in the hay with one defendants
anxious wife. A tale so tinged with un-
dertones of stag night at the zoo could
become. thoroughly unpleasant in the
ands. The measure of Germi’s
is ability to wrest prickly
truths from an altogether human come-
dy. He coaxes up the breath of life and
chokes it off with laughter.
Now that surfing films have proved
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sooner or later, some entre-

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tive enjoy

15 movies spelling out the delights of
seball and tournament chess.
ile, Ski on the Wild Side, which
might be subtided “The Endless Winte:
aes staves lor а couple of spar
Kling, snowy hours. Producer-director
photographer Warren Miller has caught
a number of the world’s fashiest skiers
(Jean Claude Killy, Naney Greene, Art
Furrer) in graceful passage through heaps
of the most awesome scenery on the
planet, To the unin
ing hillside of the T
New Zealand may look very much like a
white, sloping hillside of Courchevel,
France, or Mount Zoa in Japan. But
Miller, whose film unreels mostly in slow
motion and ofttimes comes to a dead
мор, conquers the sameness with a razzle
dale display of wick skiing, high-
jumping techniques, slalom races and
frequent spills—the later his cue for

quips to the commentary
noises to the sound
ndscape makes vou
nd Ives rather than
Abercrombie & Fitch, Wild Side offers a
heavy dose of schussing. If, on the other
hand, three feet of new powder snow
under a cloudless blue sky and tempera
tures. near zio is your definition of the
good life, Miller can treat you to lift
aer Hit after ift.

Barbara and Bruce, а pretty shopgirl
and a smumy reabestate agent, are
pleasantly shacked up in The Penthouse of
а brand-new high iment build-
ing on the industrial outskirts of :
English city. I's an extraordinarily
nest, because the rest of the build
is still empty. Bruce, you sec.
ried. but not to В:
сапу one mornin:

inevitably, fu

comes “The Meter
Man”: and thus begins the movie version
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Scout Forbes. The young British movi
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screen and direction, has

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recruited some superb British actors to
perform the five roles: Suzy Kendall and
Terence Morgan as Barbara and Bruce,
and Tony Beckley, Norman Rodway and
Martine Beswick as their psychosexual
tormentors, Tom, Dick and Harty. If you
sense а neat morality play coming up.
you're dead right—and in danger of
being bored 10 death as well, unless
torture, satyriasis, laggotry, bondage and
discipline are all part of your bag. For,
once Tom and his playmate Dick have
gained entrance, they subject their vic
tims to а 24-hour "party" rife with fash-
ing knives a
tied up like
of satin ribbons while Barbara is forced
to drink large quantities of whiskey
and smoke pot like crazy. These ingredi
ents induce her to submit willingly to a
1g bang while Bruce screams for help.

The camera omits few details of this dis-
agreeable orgy. АП phallic clichés are
brandished wildly: Tom and Dick re-
fresh themselves, between sweaty bouts
with Barbara, by cutting slices from a
long, thick salami. IF things are not yet
sick enough for you, hold on for Harry,
the female keeper of Tom and Dick. She
makes her entrance late but impactfully,
ready for more games just when
think we've run the gamut. The Pent-
house is liable to set degeneracy back a
hundred years

A wordless sequence near the спа of
Beach Red pleads for humanity more clo-
quently than hay any American war filin
since Stanley Kubrick's Paths of Glory.
In the climactic scene, a boyish Marine
(Patrick Wolfe) lies badly torn up near
his dead buddy (Burr De ) and
парез silently at a Japanese foot soldier
who is writhing in his own gore an arm's
length away. The two attempt to trade a
swallow of water for a smoke, until an
American patrol puts an end to their
awful. mutual recognition of the bond
between them—the knowledge that they
are the fine young fodder chosen for sac-
rifice in war. The choice of ideas may
seem a little corny, but making it work is
hard. And by hewing to a clean, hellot-
leather dramatic lins, producer-director
and star Cornel Wilde imbues Beach

Red with paralyzing force. Survival. is
the film's dominant theme. Its plot is
merely to dump а company of men off a
landing craft as the first wave of a СІ
asault on an encmyhdd atoll during
World War Two. The troops curse, pray,
kill, crawl, cry, leave bits of their souls
ard bodies behind and move ahead inch
by bloody inch. Soon the viewer, per
haps recoiling at first—and still detached
enough 10 note where fresh film has
been spliced into grainy combat (оона;

finds himself helpless nst a delu;
of evidence that this. by God, must have
been how it was to fight. A few of Wilde's
notions seem ingenuous, despite Mod
ish photography that gives flashbulb

Maybe all you need
is half a tape recorder.

Because if you already have
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This means it's a stereo tape recorder
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you have to do to make it whole again is
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And because you don't need all the
extras, you don't have to pay for them.

You can get the System Maker, Model
RS-766, for $149.95." If you've been looking.
at fine stereo tape recorders lately, you know
that $149.95 is practically a giveaway price.
Especially when you consider that
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devices, two precision VU meters, three-
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But if you need a whole tape recorder
instead, we make a complete line.

In fact, we're the largest manufacturer
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You can get a tiny Panasonic
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to see a Panasonic dealer,
We're pretty sure that you'll wind
up talking to yourself that evening.

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200 PARK AVENUE, NEW YORI 10017

PLAYBOY

50

glimpses into the minds of Jap and GI
alike, suggesting that men on both sides

| desire their women, love their children
Ы and see beauty in blades of grass. But
there is still cogency in a reminder that

| on the revolving stage of world politics
1 the perilous yellow men of 25 years ago

И are currently recast as experts in origami

1 Filmed in the Philippines for a modes
$831,000, with a cas of 2300 swear-
ing out every dollar, Beach Кей has all

| the action of a minor-budget movie with

| major aspirations. Count this а winner

1

P

among the Wilde ones.

Not that anybody cares much one way
or the other, but Raquel Welch is show-
ing some slight improvement as an
actress. She talks rather a lot in fathom
and is often audible. When she isn't, it's
sometimes the fault of the noisy planes,
powerboats and helicopters in which
she spends most of her time fleeing from
probable disasier. As a full-time dental
technician in St. Louis and а partime
sky diver doing exhibitions in Spain, Ra
quel (here called Fathom for the purpos
of a lot of dumb puns) is snatched miracu-
lously and incessantly from the jaws of
onc certain death by the very jaws of an
other certain death. Surrounding her are
three competitive apparats, one or all of
which are working for Red China to
regain a stolen art treasure. There
some teddibly nice British chaps (Rich-
ard Briers and Ronald Fraser; an
awfully sordid pair of international
adventurers (Tony Franciosa and Greta
Chi); and the fabulously wealthy art
collector, Serapkin (Clive Revill). Every-
body, including Raquel, is guilty of leer
ing at Raquel's widely bared epidermis
when they ought to be geuing on with
things. But she is not promiscuous, just

cissistic: and if she keeps rubbing her
lovely body and tossing her cunning lit-
tle head and licking her ruby-red lips, it's
certainly not because she'd welcome the
lascivious attentions of all those kinky
hoods. A girl with more savvy would
scarcely hang around with
he has dyed his hair blond and wears his
shirts open to the navel. And Clive Re-
vill is hardly the boy next door: Absurd-
ly Falstafian, with a red beard and a
body temperature ten degrees below
everybody else's, he's always freezing
cold in the hot Mediterranean sun. The
dialog supports the mad-camp drive of
the makeup and costumes, tending
toward limp epigrams and languid put
downs. The plot is unfathomable but
the terrain—both geographical and ana-
tomical—is nice and. in terms of gim-
micks, Fathom stoops to anything.

Christian Dior

presents

EAU
SAUVAGE

e, discreet, fresh

The Exterminating Angel, Luis Buñuel's
strange parable of societal corruption, is
preceded by a neat little statement from
the director warning that there will be
any number of inexplicable repetitions
throughout the forthcoming narrative,

cologne, after shave and
bath essentials for men.

about which the audience should not un-
duly distress itself, The story concerns a
bunch of very wealthy people in evening
dress, who arrive from the opera for a
late evening party at a palatial residence
on “Providence Street” in a 1

gc Span
ish town. Then they arrive all over
again. An elegant dinner party ensues.
At one point, the hostess goes into the
kitchen and notices several sheep and a
bear milling around in the pantry
Everybody retires to the drawing room
A woman plays a piano sonata; the
guests then prepare to leave. But they do
not leave. They have another cigarette,
they renew a conversation and, ultimate:
ly, they stretch out on sofas and the floor
and go to sleep. Next morning, they talk
about what a ball it is to stay out all
night, how funny, how original. But it
soon becomes clear that they cannot
leave. Days and nights pass. They have
drunk the water out of the flowerpots.
They are starving, they are stinking and
one of the guests has died of a heart
ck and is noisomely puirclying in а
closet. Another closet full of Chinese
vases has become the local comfort st

tion. A pair of lovers conclude a suicide
pact with a letter opener and contribute
materially to the sanitation gap. All the
beautiful people have become filthy and
bestial, save a few noble souls who keep
arguing for decency. One night when
the more savage victims are trying 10 kill
the hapless host in the conviction that it
is all his fault. а woman notices that they
are all standing and sitting just wh
they were when the sonata was being
played. By great effort of will, they re
enact that scene and then, shouting hys-
terically about how late it is and how
tired they are, rush out of the house. But
they end up, in the last scene, in ап iden
tical situation in a somewhat larger пар
gesting the cosmic trap that is man's
fate. Ат least, that may be the message
The movie can alo be read as anti
Church, anticapitalist or antiperspirant.

Senta Berger, wearing а nun's habit
to conceal her crimson scanties and
$7,000,000 worth of jewels, is one of the
brighter images contrived for Operation San
Genncro. This formula comedy displays
even. better form elsewhere, particularly
when director Dino Risi lays aside his
slapstick to scoop up color in the streets
of Naples. Accompanied by an American.
style thief (Harry Guardino), Senta arrives
in the city with a blueprint for stealing
San Gennaro's priceless ucasures [rom а
beneath the patron saint's cathe-
Forget the heist. It's а felony
fiasco in the usual manner; but

crypt
dral.

played
while felons are being recruited for the
caper, R mera records а lot of rare
Neapolitan gamesmanship. In one of his
last roles, the late Toto exudes Italian
warmth as a crook so celebrated that he
virtually rules the town from а prison
cell. And Nino Manfredi, whose cool,

s

i
H
é
8
5
Ы
Е
H
z
E
H
H
H
EH
Н
=
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The Heublein Martini.
Its mostly gin. And strictly for the lion-hearted.

The Heublein Martini throws down the gauntlet.
It’s for the man who wants his Martini bone-dry.
And icy smooth.

How do we make it? From a sterling London Dry
Gin. And just a splash of fine dry Vermouth,
Always fresh. Always full strength. A perfect
Martini—of heroic proportions.

Just pour over ice. And the field is yours.

Heubleiri Cocktails. 15 kinds. Better than most people make.

т
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V e 4 А
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9 ГА
& " Lj
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PLAYBOY

Vivitar movie

==

cameras have
power zoom to
Catch the action
and a giant view-
finder to follow
the action.
Vivitar
Marketed
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underwhelming style bolsters а high per-
centage of the movies made in Italy
these days, all but steals the show а
younger scoundrel held in high re
by the populace, The wry, roll
spirits at large in San Gennaro
soit of mischief seem plausible in a city
where law and order lose even token
support during the TV playolls of a
Neapolitan song festi

someone other than Ind
t Ray (the Apu trilogy) n
Big City might well be the dullest senti-
mental comedy in many а moon. Sct in
Calcutta, the story dwells on the prob-

to sup-
plement her hus ncome
by sling knitting machines door to

i's teenaged daughter thinks a
film star would be prefe
bankclerk husband grits hi

nd's meage

nth, humor and
ector Ray, in his
ilm to date, still display:
one of the unique attributes of geniu
He can see the world in a raindrop, ma
the smallest det;
tions of un . The Big
unfolds ata leisurely, almost Chekho
pace. Behind every scene, а
of sounds—temple hells, a barking dog,
peddlers crying in the street, a radio
blaring Western music next door—plays
back the film's major conflict in a mi
key. The old ways and the new a

clashing everywhere; and before long.
the emergence of a grant 30th Century

: еее A
heroine as she changes, су
from household drudge to breadwinni
butterly. With her first pay clutched in
her hand, her first furtive splash of li
stick still moist on her lips, she s
her reflection in a ladics-room mirror,
startled by a small fresh gleam of econon
ic power th. hat nothing, Lord help
us all, will ever be quite the same ag:

Making the New York scene ought to
be easier than sorting out the artifaas of
primitive New Guinea, but Round Trip
piles up plenty of evidence to the con-
пагу. Pierre Dominique Gaisseau, direc-
tor of The Sky Above—the Mud Below,
almost never gets Manhattan?
natives 10 do anything quite right. Clum-
sily m
Larry Ri
phone and proffer advice to the lovelorn.
He has brief, uncredited app

artist. Marisol and poct Allen Ginsberg.
some long side glances at Har-
lem, hipsters and Happenings: but Ве
is largely hung up on an interracial

ers at hand to blow his saxo-

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romance between an cyestopping Negro
model (Ellen Faison) and a visiting Pari-
sian painter (Venantino Venantini). who
discuss their differences in front of every
local landmark that might strike an ace
photographers fa from the Janis
Gallery to Lincoln Center to the Statue
of Liberty. Though Gais:eau's shots are
splendidly placed, he breathes the mer-
est shadow of life into his lovers. ^I want
а mink coat, travel, а real Chanel,” says

Ellen, whose hman, perhaps more
interested in her color than in her class,
wants а Cook's tour of Harlem 10 h

Gospel singing. Soon enough, se:
is dissipated by the tight sched-
ule of sightsceing:

In The Gospel According to St. Mat-
thew, Italian director Pier Paolo Pasolini
kly set forth an image of Jesus Christ
s a fanatic revolutionary. In his ver-
bose, vibrant film parable The Hewks ond
the Sparrows, Pasolini puts words and
more words into the beak of a talking
crow, who obviously expresses some of
the director’s own thoughts about. com-
munism, capitalism and Catholicism.
Humanity is represented in the film most
winningly by Toto, cast asa sort of Every-

accompa
and that cheeky, loquaciou
discovers the drawbacks of Chri
by means of a flashback to the 13th Cen-
tury, when Saint Francis sends him and
the boy—iransformed into low-comedy

iavs—out to proselytize their feathered

nds for the love of God. The friars
arn just enough bird song to get thei
message through, only to discover that
the hawks go right on killing sparrows.
Man's nature is studied with similar re-
sults. Continuing their journey, Toto and
son tyrannize a family of impoverished
peasants, later are tyrannized in turn by
a wealthy landowner. Meanwhile, the
crow, who has introduced himself as “a
leftist intellectual,” exhorts them with
Marxist slogans and philosophical catch
phrases. They ultimately cat the crow
(literally, not figuratively) out of sheer
exasperation, and the scene progreses—
with some striking documentary footage
—to the 1964 funeral of Italian Com-
munist chieftain Palmiro Togliatti. Thus
do dreams die; but mankind somehow
digests dreams, gods and ideologics and
plods right along, not at all certain where
he is going. 2

A Козе for Everyone will be remem-
bered as the comedy in which Claudia
Cardinale upstaged Brazil. Down in the
y of Rio, Claudia. in the title
ys a girl who flings away her
ight confetti. “I
у “There are many
ways to love, and they're all nice” Few
1 choose to argue the point until she
laced doctor (Nino Man-

mi

meets a str

fredi) who sternly reminds her, “You're
running a cooperative—ocializing your-
sel" Among the workers signed up for
benefits аге а waiter, a bus driver, a TV
ager, a student, а bookdealer, a bar-
tender and a lout, The majority seem рег.
fectly satisfied with their share of Claudia,
and the movie spends itself explaining
why. In a bikini, on horseback, through
gauze, under water, in à parked airplane
or on an examination table, she is a pho-
togenic marvel. Though Rose isn't for
anyone who would rather follow a plot
than ogle a form, Cardinale watchers
will queue up without quibbling.
When you find yourself screaming
advice to а movie heroine in peril. you
know you're seeing one hell of a scary
movie, Iv’s like being ten years old at the
Saturday matinee again, except that
Wait Until Dark is a lot better fare than we
needed when we were ten. This is a hor-
тог show for grownups, based on Fred-
erick Кпоп Broadway play. cleverly
directed by Terence Young for maximum.
low-key effec. Everybody involved is
rather mice, rather likable—even the
psychopathic murderer who kills with
а smile. The only really disagreeable

character, a selfish, dopesmuggling
model played by Samantha Jones, is dead

те off the screen.
taut little pantomime sequence,
beauteous minipusher |
tique doll stuffed with heroin in Mont-
real, then rakes the next plane for
Kennedy. On arrival, not
dark-jacketed greeter in the crowd, she
persuades а fellow passenger (Efrem
mbalist, Jr.) to take the doll off her
hands. Next thing we know, it's zipped
Zimba
partment. Who
black jacket? Of

before the credits

In a

s an

was the guy
all people, Ами Arkin—a very
gerous comic. Arkin hires a couple of
eguy bad guys, Richard Crenn
ack Weston, to help him put the snatch
on the doll. They know it's in Zimbalist's

wiment, but they can't find it. Sud-
denly, who should come home bur
Audrey Hepburn, Zimbalist's Б

dan-

and

id wife
—and the three hoods commence a series
of diabolical games designed to get Zim
st out of town and to persuade 2
drey to surrender the doll. The gimmick
of the title is, of course, that when the
blind girl gets wise to the menace, she
resorts to an obvious equalizer—toral
darkness—a world in which she has
more maneuverability than the bad
guys. Why doesn’t this silly lady call the
cops, while she still has the chance? For
the same reason that movie heroes, when
we were ten, always said to movie hero
ines in the haunted castle, “Now, you
wait here while I go for help.”

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"Now, that's an order."

Michelob has been around for 70
years, but some people still find it

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In beer,
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PLAYBOY

~~ afternoon date

58

-
- < |

qu d ;
чан d ГЪ w | А
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THE PLAYBOY ADVISOR

ММ... 1 am visiting

restaurant with

а young lady, should I escort her to the
ladies?

Wait to escort
К. M., Concord,

room and then

Not unless the young lady is under six
years of age.

М, gisitiena’s faher, а dynamic
businessman and absolute ruler of his
household, tries to run her life and is se-
riously interfering with our relationship.
He gets baby-sitting jobs Гог her without
consulting her, which break up our date
plans. What's worse, he has made long:
range plans for her to take a job in an-
other city that completely distegard the
ge plans my girl and I have made.
aves like an exalted potentate
whose word is law. This is ridiculous, be-
cause my girl is 20 years old, has a respon-
sible job and is capable of making her
own decisions. How can I put an end to
this interference?—D, M.. Toledo, Ohio.
You can try to negotiate a peaceful
settlement with Dad; but if your descrip-
tion of him is accurate, we suspect par-
leying will prove futile in the long run.
Encourage your girl to leave home and
move into a place of her own; this will
be а first (and necessary) step in weaning
her away from a family situation that she
is currently handling ineptl and that
could ultimately prove destructive of
your marriage. Keeping her own apart-
ment in shape will also provide good ex-
perience for your upcoming nuptials.

Tin confused as to the meaning of the
terms brut, extra sec, sec and demisec
that appear on the labels of various
champagnes. Can you define themj—
Miss B. №, Rochester, New York.

They are all French terms that indi-
cale the amount of sweclener added to
champagne and other sparkling wines.
Brut is the least sweet (or dricst); demi
sec, the sweetest, Extra sec and sec
indicate variations in between. When
tippling your way from brut to demi-sec,
remember that the dosage of sweetener
varies from company to company and
that one firm's brut may be bone-dry,
while another's may not be dry enough.

IM Jy roommate and 1 have been debat-

ng the effects of sexual abstention. Is it
bad for one's health?—T. М. Ann
Arbor, Michigan.

Abstinence, as such, is neither good
nor bad for the health. What does affect
the individual’s well-being are the cir-
cumstances of, and the motivations for,

his abstention, Kinsey pointed. out that
men who ate physically incapacitated,
natively low in sex drive, sexually un-
awakened in their early years or sepa-
rated from their usual sources of sexual
stimulation abstain indefinitely
without appreciable harm, Even when
these conditions do not prevail, if the
motivation for abstention is conscious
and sational, no harm will be done. If,
on the other hand, the motivation is
based on guit or fear, then strong
conflicts, feelings of frustration and in-
tense anxiety will ensue. The individual
who suffers from these emotions will be
a candidate for a wide variety of person-
ality problems; and, since а person's psy-
chological state has a great effect on his
physical health, he may suffer from
psychosomatic disorders as well.

can

Д. present I am in the U.S, Air Force,
stationed in England, and expect to be
here for at least two more years. During
that time, ГА like more of the
country and, in order to do so, I'm plan-
ning to buy a British sports
righthand drive. However,
hitch in the /
take the саг back to the States. Can you
tell me which states do not permit the
use of righthanddrive automobiles?
P. E, APO New York, New York.

Cars equipped with righthand drive
are legal in all states.

to scc

car м
when

my

r Force is up, I hope to

А vondertul young Catholic girl and I
have had the bad luck to fall in love
with cach other. I say bad Juck because
I am divorced. І have been baptized,
though not as a Catholic: and, as 1 under-
stand it, this means that in the eyes of the
Catholic Church, my previous marriage
way indisoluble. I cannot believe chat if
God is nuly forgiving and just, as Е be-
lieve He is, and will forg rder or
rape, He would not forgive « mistaken
teenage marriage. My fiancée wants very
much to be married in her own Church.
Do you know of any way this could be
arranged, under the circu ces, or will
we have to go chewhere for the cere-
mony?—K. R., Grand Rapids, Michigan.

Don't jump to hasty conclusions about
the Church's view of your previous mar-
riage. The only way to find out for cer-
lain is to go to the chancery office of
your local archdiocese and give а priest
qualified in canon law all the facts about
your previous marriage and divorce.
(Even many parish priests are not fully
conversant with the regulations in this
matter. A qualified priest might con-
ceivably discover a reason the Church

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would nol consider your previous mar-
riage permanently binding, or he might
discern grounds for your having it an-
nulled by the Church. 1) not, you will
have to have the marriage performed by
а clergyman or a civil official whose view
of God is more in line with your own.

d work, I've
rived at the position of execu-
-president in a small but grow

closely with the president has been most
structive and rewarding, but lately o
ionship has developed overtones

this guy—though married—is as gay as
а tree full of chickadees. In order to get
me, he has gone so far as to offer his
ducement. Do I quit and
а great future or do I st;
New York, New York.

your boss’ position as president of a
growing dynamic corporation is any in-
dication, he’s a man who gets what he
wants. Obviously, if he wants you, he’s
nol going to be pul off by polite eva-
sions. You'll have to put your future in
his company on the line by firmly draw-
ing one and politely counseling him not
to cross И. If he still insists that you've got
to play for your pay, look for another job.

ny schools that
ns in the art of film making?
ming, M А

The best such. courses available т the
United States ае al New York Universi-
ty, the University of Southern California
and UCLA. You should also investigate
the European cinematography schools,
notably L'Institut des Hautes. Etudes
Cinématographiques in Paris and the
Gento Esperimentale in Rome; the most
prestigious of all is (he Lodz in Poland,
but its entrance requirements are forbid-
dingly strict,

you recommend

INe: tong ago, 1 found myself in the
Му embarrassing position of having
insuflicient funds to meet a dinner bill. 1
borrowed two dollars from the girl 1 was
with, My question is: Was I right to bor-
row from my datc?—R. B. Santa Ana,
Califor
Since you were short only a couple of
dollars, i as OK to request a small loan.
If the amount had been more, you should
have excused yourself and quietly made
arrangements with the manager of the
maitre de. For the future, permanently
tuck an extra $10 or $20 in a corner of
your wallet as insurance. In addition,
you should carry at least one widely
accepted. credit card.

AA bout two years ago 1 began an affair
with a single girl and it has ripened into
а deep and mutual love. I'm а married

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man in my late 30s, with three children.
I am not considering a divorce, and
my girl and | have been very careful
to keep our relationship secret, But now
the pirl wants 10 bear my child. Physical-
nd emotionally. I would delight in
ing a child with her morc than I can
id I don't think Pm just feeding
my cgo. But I see many drawbacks. She
could not provide very well for the child,
nor could I see them very often. If any-
thing happened 10 her, the child might
be adopted, and I'd never see it again.
Not only would the child be illegitimate
but my girl would be looked down upon
Her family would probably try
to help her, but they would be deeply
hurt. She might, as an unwed mother,
have trouble getting а job, and I couldn't
help her financially without risking expo-
sure. Worse, perhaps, the child might be
warped by growing up fatherless. There
is no doubt that the girl truly wants my
child and would love and care for it, de-
spite the anticipated hardships, Can you
help me resolve my problem of wanting,

say.

and not wanting, to give this girl my
child, when she wants ntensely?—

М. K. Pittsburgh, Pennsylvani

You've pretty much resolved it your-
self, by weighing the cons so heavily
against the pros. A larger problem, we
think, is the double life you are leading,
which is bound to hurt everyone in-
voled (including, perhaps, your chil-
dren}. If your love for this girl is so great
and your affection for your wife so limit-
ed that you can’t bear to break up the
affair, we suggest that you seriously те-
consider your attitude toward a divorce.
Since yowre so filled with conflicting
emotions, a psychiatrist may be Ihe onc
to help you make up your mind.

В.а that the girl ГА been dat-
ing for two years had many attractive
friends, and wanting to date some of
them, 1 broke off with her. But now,
since all of these girls are extremely
close, попе of them will go ош with
me. 1 ended the dating relationship with
my exgirl in the nicest posible way,
with no hurt feelings; but, out of loyalty
to her, the others won't date me. What
should 1 do2—W. B., Lincoln, Nebraska.

Start dating girls who don't belong to
your former girlfriend's group. This will
convince her chums that your old affair is
past history, and they won't feel disloyal
in dating you.

F have heard rumors that anyone can
purchase an Italian title—such as count
or even prince—providing he is wealthy
enough. Are these tides considered
legitimate? С. B., Norfolk, Virginia.
No. Legitimate titles are bestowed,

not bought—although affluent social
climbers have been known to use their
wealth to influence the bestowal of titles.
The situation in Italy is described by
Lanfranco Rasponi, in his book “The
International Nomads": “Following the
fall of the monarchy soon after the Sec
ond World War, false titles have been
sprouting like mushrooms after the rain
(some of them, one hears, ате now reg-
istered in the tiny republic of San Ma-
rino, which makes a tidy profit from
this nebulous commerce). The various
telephone books in Halian cities burst
with marvelously imaginative invented
knighthoods."

Зоя a double-breasted (four-button)
blazer be worn with the bottom closui
buttoned or unbuttoned?—R. S., Omal
Nebraska.

Buttoned looks better, if you have the
figure for it, but either way is correct.

Trice recently 1 have been unable to
achieve an erection while attempting to
make love, in both cases with girls who
attracted me but whom I had known
for only a bricl time. L
a, I had enjoyed a rewarding sex
life, though only with girls whom I was
dating regularly and with whom 1 en-
joyed a rapport in arcas other than sex. I
have also since been successful in mak-
ing love with a girl 1 know well and of
whom I am quite fond. Should I seck
medical advicez—]. L., Chicago, Illinois.

If и will reassure you, sec a doctor, by
all means. But since you have had satis-
factory relations with girls you know
well, there is apparently nothing wrong
with your equipment. The inability of
men to perform with strangers is more
common than you might imagine and
usually stems from nothing more serious
than nervousness. The tricky thing about
this type of temporary impotence is that
the failure caused by nervousness often
leads to fear of failure the next time,
and fear of failure in intercourse will
frequently cause precisely what is feared.
In view of your particulay inhibition, the
best advice we can offer is, “Know thy
bedmate.”

atil these two it

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 io The Playboy
Advisor, Playboy Building, 919 №. Michi-
gan Ave., Chicago, Illinois 60611. The
most provocative, pertinent queries will
be presented on these pages each month,

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PLAYBOY'S INTERNATIONAL DATEBOOK

BY PATRICK CHASE

1E AN APPETITEAWHETTING PERUSAL of this
issue's Charter Yachting article (which
stars on page 128) has whetted your
desire for a vacation afloat or on seagirt
isles, we can also recommend those still-
idyllic lands that dot the South Pacific.
Begin your search for an endless sum-
mer in Sydney, Australia’s most modern
metropolis and headquarters for the
growing set of surfers down under. Al-
most all of the 30 beaches in and around
the city are meccas lor microbikinied
college coeds—on vacation in January—
who flock to the shore lines wave-
worshiping droves. Americans are still
cnough of a novelty in Sydney to be
tendered hearty welcomes; when you
meet up with Aussie, she'll be
genuinely pleased to squire you around
her town

Australians rival Americans as the
d's biggest meat caters, and at d
nertime your new-found friend is apt to
introduce you to “carpetbag” (оуме
stuffed) steak in such elegant establisl
ments as the Caprice, overlooking Sydney
Harbor in suburban Row Bay. Dinner
done, you can next choose [rom a wide
variety of evening amusements. Among
offbeat bets is The Music Hall, where
old-time melodramas are enacted before
udience armed (by the management)
h eggs and tomatocs—and encouraged
to usc them. To top olf your even
on the town, take in the late show a
aps Sydney's number-one

saucy

Chequers—per
night spot—which regularly imports big-
name American and English entertainers.

To continue your Australian idyl far
from the gladdening crowds of Sydney,
fly 1200 miles north to the Great Ba
Reef—where hundreds of tiny isles offer
spectacular scenery and pristine privacy.
Ample accommodation is available only
on the most frequented few; Hayman,
Heron (where the nation's skindiving
championships are held in November),
Lindeman and Brampton. On all the
islands, the night life is friendly and in-
formal: any evening you care to, linger
ata bar long enough and you'll probably
be invited to take part in one—or both—
of the area's two most satiating sports:
beerdrinking bouts and oyster-eating
contests. Throughout January, low tides
у bare great streiches of coral off several
of the islands’ shore lines; for a day of
exploratory adventure amid these eye-
dazzling formations and specirum-stained
sea shells, ask a beachmate to take you
“fossicking” (reef wading), Proper attire
for the activity is a swimsuit and sneakers;
walking on coral is no treat for bare feet.
You'll sample the South Seas in а pic-
turesque Polynesian setting by flying east

from the Great Barrier Reef to New
Caledonia and putting up at the golden-
sanded resort of Chateau Royal just
outside Nouméa, the island's capital.
Mornings at Anse Vata, a large bay nea
. are best spent skindiving and line
ng from а launch. At noon, your
launch. will stop off at an uninhabited
апа for a barbecued lunch of freshly
caught fish and coconutmill-and.rum
cocktails. From Nouméa, a short flight
will take you to the Isle of Pines, named
for the 200-foot-high column: pines th:
make it one of che most serenely secluded
slands in the entire South Pacific, If
you'd like to uy exotic lodgings in the
Melanesian mode, put up in one of the
grass roofed huts at Relais de Kanuméra,
а sprawling hostelry set on a spit of land

between two beaches.

Following an eastern route back to-
ward the U- S., you might next opt for a
stay in the Fiji Islands. From the port of
Lautoka, on the main island of Viti
Levu, two launch lines run cruises
through Fiji's limpid lagoons; pas-
sengers are supplied with skindiving
equipment for a doser look at the
iceming marine lile, А glassbottomed-
boat fleet based at Suv s capital,
also allows visitors to view the lagoons’
underwater activity. Of the many Fiji
Islands that bid for the traveler's
tion, two of the more exotic are Yanuct,
graced by the new Fijian Hotel (which
holds native feasts wo nights a week),

wd Веда. where painlessly
demonstrate. the lking
barefoot over red-hot coals.

Alter stopping ой at Samoa and
Tahiti, you'll have completed your

nd-hopping tour of the South Pac
American Samoa’s best-known village,
Pago Pago, spends its days quietly im
mersed in aquatic occupations and retires
carly. Tahiti, whose atmosphere is still as
romantic as when Gauguin immortalized
it, has always been the most legendary
land in Polynesia. This once Elysian isle
undergone rapid westernization in the
past decade, but even the collision of cul
tures—vividly apparent when quartered
at such а contemporary caravansary as th
Royal Tahitien Hotel—intrigues the oi
looker. Be sure you sample at least two
orial gifts before de-
: prawn and poisson
cru, small fish served raw, marinated
in lime juice. Getting home to the U. 5.
presents no problems; Board а jet at T.
ВИТЬ airport and in 614 hours you'll be
in Los Angeles.

Forfurther information, write to Playbo
Reader Service, Playboy Building, 919
N. Michigan Ave., Chicago, Ill. 60611 [Y ]

Cutty
Sark

America's

DISTILLED AND BOTTLED IN SCOTLAND - BLENDED B6 PROOF
THE BUCKINGHAM CORPDPATION, IMPORTERS + NEW YORK, N.Y.

67

oday, the one who wears the pants

chooses the Scotch

е:

Comes the “look-alike” gen-
ation—they dress alike, work alike, play
alike. Now meet the Scotch they even like
alike: White Horse. It has the taste you
just can’t argue about: either you enjoy it,
or you absolutely flip for it. Try it at home.
Or ask the Good Guy at the bar for it.

> The Good Guys are always

\ ~ Dron the White Horse.
oy

[

THE PLAYBOY FORUM

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

“THE PHALLIC FALLACY”

Congratulations on your answer 10
Neal P. Anthony's August Playboy Fo-
тит letter concerning the size (and effec
tiveness) of the male sex organ. A recent
Cigarette advertisement states the case
almost as well as PLAYBOY did: “It’s not
how long you make it—its how you
make it long."

Brian McNaulty
Newton, Massachusetts

1 read with interest the discussion of
the myths about a large penis. 1 am mar-
ried to а man with a small wand but a
lot of magic. In the past, I conducted
many experiments of. my own and dis-
covered that the man with the large penis
will often not think it necessary to de-
пу technique. But the man whom
re has not blessed so grandiosely will
conscientiously develop other talents to
make himself desirable. Need I add that
such application is rewarded?

(Name withheld by request)

El Segundo, California

If вклувот were ло take а poll of
women who have had sexual experiences
with more than one man, I'm sure you
would learn that we derive more pleas-
ure from a penis that fills us ade-
quately than from one (as the French
ladv put it) "groping in darkness in
search of something (0 lean against.” All
I can say is: Before ГИ play, show me!
(Name withheld by request)
Westwood, Massachusetts

1 have been married for 20 years and
during that time have worked in whore-
houses and as а callgirl in Atlantic City
nd New York City. L have performed at
stag shows and have made eight stag
films. My experience has been very di
versified with respect to techniques and
partners. 1 have had white men. Negroes,
American Indians, Orientals and mem-
bers of many other ethnic groups. J am
Tamiliar with penises of all types and
sizes. In my experience, the size of the
penis has no bearing whatsoever on
the ultimate pleasures of either party in
the sexual act. With the right attitude
nd appropriate technique, both parmers
à reach orgasm.
(Name and address
withheld by request)

In the August Playboy Forum you dis-
cused various fallacious beliefs about
penis size. 1 am a young married woman,

bur before settling down, I sampled
quite a few different beds. As a result, I
am familiar with various penis sizes. The
variation in size is actually only slight.
Most erect penises are approximately the
same lengih and circumference. (with
certain extremes being exceptions); yet
1 never met а man who did not think
that his was terribly small. Myths about
the effectiveness of a large penis seem to
spring from а very common but com.
pletely unfounded insecurity.

(Name withheld by request)

репой, Michigan

In refuting Neal P. Authony, you
quoted Masters and Johnson's Human
Sexual Response anent the “involuntary
accommodative reactions of the vagina
(its contraction. around the penis in the
plateau stage of copulation). You should

е added that this action can also be
voluntary—as well as rhythmic and de
lightiwl—if a woman trains herself. This

was mentioned as early as the Kama Sutra
(circa 400 ло.) and is well known among
prostitutes, as “the Cleopatra.”

Lee Gertner

New York, New York

EJACULATION AND ORGASM

Your August Playboy Forum reply to
the letter entitled “The Phallic Fallacy”
touched upon a matter of the utmost im-
portance to me. You quote Professor
Steven. Marcus as saying that the idea
that women ејаси
spread male fantasy. It happens that
my husband has been deriding me for
seven years because of my
ejaculate.

Now, it happens that I have on occ
ion experienced a climax of sensation-
with my skin all pins and needles—fol-
lowed by a lecling of being dizzy and
floating. But this is not what my hus
band expects of me. He feels that the
fact that I do not emit a sudden stream
of liquid as a man does indicates tha
m frigid. I have shown him the per
nent passage in PLAYBOY,
some hope that he will be convinced. But
just to clarify matters further for us,
there a distinction between. orgasm and
ejaculation?

ме is merely a wide-

ity to

(Name and address
withheld by request)

Yes. Orgasm is the climax of excite
ment that can be experienced by both

I's full of firsts. The first
half-frame single lens reflex
camera in the world with a
remarkable new Through-
The-Lens light metering system.

Its light (22. 02), compact. Designed
with the lens somewhat to the right,
so it balances in your hand.

Its accessories fill two or three camera
bags. And range from 20mm wide angle
to 800mm telephoto.

It’s so complete, in fact, that many
cameraexperts wouldn't bewithout one.

Angling for a camera? Look at the
little Olympus Pen FT. The price is very
right. Or see the Pen FY, the FT's twin,
but without a Through-The-Lens meter-
ing system. It’s even less expensive.
From every angle, it’s Olympus.

СОСЕТ

OLYMPUS OPTICAL CO. Eure
Tremeur нал Тос

59

PLAYBOY

70

male and female participants in. sexual
relations. Ejaculation is the sudden dis-
charge of semen thal accompanies orgasm
only in the male.

HELPFUL PLAYBOY
I credit рілувоү with nothing less
than helping me keep my sanity. In
my carly teens, Г had the notion that I
was а sex maniac. I masturbated and
was ashamed. Thoughts of sex dominat-
ed my mind. I had never been told ап
thing about sex and I thought I was
peculiar. ‘Then I started reading PLAYBOY,
and the ideas Т encountered therein
stimulated me to further reading. I was
especially struck by the notion that it is
the sexually deprived who think most
about sex, not those who are “getting it.”
I came to sce that my obsession with sex
was nothing but an expresion of my
frustration, that I wasn't а maniac of any
ind, that there was nothing wrong with
the way I felt
1 must confess that Е still have sexual
inhibitions. In the future, it will be
nce, rather than reading
pravnoy, thi be of most help to me.
Yet 1 will always be grateful to rrvnov
Lor introducing me to a world of sane
ideas about sex.
(Name withheld by request)
Bethesda, Maryland

sexual exper

E

PLAYBOY SEX EDUCATION
І have been reading and pondering
your June Playboy Panel om Religion
and the New Morality; it bears much
close study. I think it is a stunning con-
tribution to contemporary theological
discussion. As far as I am concerned, it
was like the Bible and Shakespea
source of many quota In addition
to being valuable in its own right, the
Panel accurately rellects ideas currently
being evolved in many settings.
My own organization, the Sex Infor-
mation and Education Council of the
U.S., represents an extremely bron
spectrum of interests: yet Г feel that all
sexualfreedom groups have the same
fundamental goal. Our aim, as the Rev-
erend Joseph L. Walsh, Catholic chap-
lain of Brandeis University, said in an
artide in Commonweal, is to learn how
to be human sexually.
PLAYBOY is contributing mightily to
this work.
Mary S. Calderone, M. D.
Executive Direator
Sex Information and Education
Council of the U.
New York, New York

My wife and I have conduded that
the June Playboy Panel on Religion and
the New Morality is one of the best and
most exciting things we have ever read.
As а consequence, I have recommended
reading to a group of 50

it as must

Is who are preparing to teach sex
education in the public schools.

The Rev. H, Richard Rasmusson
Director, All-Student Church
Purdue University

West Lafayette, Indiana

THEOLOGICAL PLAYBOY

The June Playboy Panel on Religion
and the New Morality indicates that
PLAYBoy is taking very seriously its
sclLassumed responsibility to present
nd examine contemporary issues. The
church. press, with а few notable excep-
carefully avoids involvement in
real problems. Until ecclesiastical editors
are willing to tackle a fair share of
i Avnoy will stand as
nly the most

the most impor
read) theological journal on the market.
The Rev. Timothy Hallett
The Episcopal Church at
Mankato State College
Mankato, Minnesota

HAREBRAINED CLERGY
The June Playboy Panel on Religion
and the New Morality was not complete-
ly fair, since it presented only the liberal
view. These men do not speak for the
entire church, rLaywoy's “bunny” people
to have
cbrained theologians
of the day to endorse Hefner's philosophy.
‘The Rev. Cyril Wismar
‘The Lutheran Church of
the Covenant
Maple Heights, Ohio

PERCEPTIVE CLERGY

Let me commend the June Playboy
Panel on Religion and the New Morality.
А number of today's most pertinent hu
man problems (which churchmen gener-
ally ignore) were discussed by nine of
the nation’s most prominent liberal
theologi
beral” emph:
any one denomin:
sectarian bound;
all faiths.

ans, Their witness confirms that

is is not confined to
ion but transcends
es It as a spirit within

sed, also,
1 percepüons (gained.
through professional counseling) as the
source of their opinions; this betier
than a mere parroting of meaningless
traditional guidelines, which be
questionable the moment the pill was
developed.

The Rev. Danicl Ross Chandler

University of Southern California

for use of persor

ame

CATHOLICS AND PLAYBOY

I thought you might find this reaction
to my November 1966 Dear Playboy
letter both interesting and informative.
Also enclosed with this note is my re-
sponse to the writer of the letter. For
obvious reasons, | have not included the
writer's name and address.

w

I have tried for most of my life to
lead the life of a good Catholic—by
this I mean to atend Mass regular-
ly, to be honest, helpful, compas-
sionate, etc. 1 try to govern my
reading in accordance with the
Church's desire. I try to avoid
"skin" books, since they are an
occasion of sin "for me.

Recently, when 1 was visiting a
bachelor friend, I picked up an is
sue of гглувох and inside was a let
ter from a Catholic priest. 1 have по
doubt that the Death of God article
you discuss must have been well
written and thoughtprovoking. I'm
sorry that I was not able to read i
However, I would like to ask you
the following questions:

1. Do you condone the reading of
ptaynoy for your fellow Catholics?

2. И you read гілувоү regularly,
are you aroused sexually, as 1 am
nd as many men I know arc? If so,
is this an occasion of sin?

3. Would your letter published in
PLAYBOY seem 10 indicate 10 а vast
Catholic population that such publi-
cations are desirable, since even
Catholic priests read them?

Ym totally confused. Can
me?

you

I answered this letter as follows:

Thank you for your recent leter
of inquiry concerning my thoughts
on rrAynoy magazine. You arc to be
congratulated for taking time out to
ask for the other party's side before
writing him off the list of “good
souls" I say this sincerely!

Now to get to the three questions
you pose to me:

l. I neither condone nor con-
demn the reading of rrAYmov for
my fellow Christians, be they Catho-
ic or non-Catholic. Each of us hi
his own individual mature, in-
cluding a unique nervous system
and sexual make-up. Not to read a
magazine like PrAvnov for the
wrong reason would, in my opinion,
be as inconsistent as reading it for
the wrong reason. This is a decision
cach mature person must make for
сар

2, I do not read rLAvBov regu
ly. I would be insincere if I did not
say that there are times when I de-
cide that I do not care to read a
particular issue of such а magazine.
Personally, I do not think the expe-
rience of being exposed to PLavuoy
necessarily an "occasion of sin"
for à mature person.

. Whether my letter would indi-
cate 10 a vast Catholic population
that such publications are desirable
would depend on how many Catho.
s are unthinking, without minds
of their own. There are people to

You dont
the first gi

mary

that comes along.

The Facts of Life for new cigar smokers

E the cigar meant for you is no different
than finding the girl meant for you. It pays to
shop around a little before you settle down.

After all, there are 15 million cigar smokers in.
this country. Do you think all of them hit it off with
the first cigar they tried?

Cigars, like women, come in all sizes, shapes and
blends.

Try aslim cigar for a while. Then try a more curva-
ceous one. You and the cigar should look good together.

Then try different priced cigars. As with love,
money won’t necessarily buy happiness. A truly satis-
fying cigar doesn’t have to be a costly cigar.

Go forth, then. Play the field.

The cigar you can carry close to your heart is right
around the corner.

A boon companion that will make the small search
more than worthwhile.

AA

A smoke that will comfort you when you're feel-
ing low, relax you when you're tense.

Cigars never argue with you. Never lose their
shape. Donot pack up and go home to mother. And are
not economically ruinous.

Of course, finding the right cigar isn't quite аз
rewarding as finding the right woman.

But then again, what is? Cigar Institute of America

THE CIGAR INSTITUTE OF AMERICA, INC. 1270 AVENUE OF THE AMERICAS, NEW YORK, NEW YORK, 10020

PLAYBOY

72

whom I would recommend ptayuoy
for prolessional reasons. There a
those who have no interests other
than enjoyment and leisure, and il
they like the magazine and it doesn't
present problems of a personal па-
ture for them, 1 would not discou
age them. Again, the person should
have enough. maturity and sell-must
to decide for himself.

These ideas are my own, not
those of the Roman Catholic
Church nor those of the priesthood.
Like you, Г do not know the an-
swers to all the riddles that come up
in my life and ministry. but with
God's presence and power, I пу to
be honest and mat
Father John Sheehan, S. M.

Marianists
Chester, Pennsylva

CHURCH TAX ON PROSTITUTES
You are 10 be commended for yo
If of church-state separa-

"s Tax Organized Religion (pLaynoy,
15 out, your Govern-
exempts organized religion from
taxation and forces everyone else to
make up the difference, whether they
re church members or пог. The situa-
tion is even worse here in Germany. We
must pay a direct tax to the churches
that is regularly withheld from our sala-
ries. Only by sacrificing one's privacy to
the extent of making a public declaration
of atheism before a registrar сап onc
avoid the tax. No German politician—
not even Hitler—has ever dared challenge
this exploitation of the people by the
churche:

Amusingly cnough, there was a small
controversy on this score recently, when
it was ruled that prostitutes along with
other workers are subject to income taxes.
Several people protested the church's
living off the earnings of prostitutes,
is pimping, without
even performing the services that pi
traditionally perform for their g
only a few states has the church refused
10 accept es from prostitutes. The
furor has died dow. howev ad.
throughout most of our Federal Repub-
lic, the church goes on dipping into
everybody's salary, including that of the
whores.

ment

Heinrich Baum
Munich, Germany

THE SPICE OF VARIETY

husband and I have had experi-
ar 10 those of the Allentown
(The Playboy Forum, July) and

wor

we, оо, have found them helpful in add-
ing life to a tired marriage
I was a I6-yearold virgin when I

married, and my husband was 29. After
two years of marriage, we both realized
that we were not really enjoying sex, On

holiday, we met an older couple and,
after my husband confided our problem
to them, we swapped partners for the
night. It was my first experience of being
desired and taken without love and of
surrendering fully to sexual passion. My
lar from disappointed with
у stic participation.

After the holiday, my husband and I
sealed down happily with а new under-
nd fewer inhibi-
tions, We met with the other couple on
several subsequent occasions, but we be-
gan to be afraid that our attraction to
them might cause our own marriage to
break up. We both agreed that the solu-
ion to our need to enliven our marriage
was occasional sex without involvement.

With my husband's permission, I now
frequently pick up a parmer for the
night. lt is not difficult in London,
of course. 1 choose a plush hotel bar,
pick out someone пісе and encou
age him. A drink, a chat and an exciting
mutual seduction follow. After these ad-
ventures, I go home a new girl, eager to
repay my husband for his liberality and
looking forward to another episode soon.
We have openly discussed my surren-
ders to strangers, and my husband's
ardor amd consideration are у
greater, L of course, have encouraged
him to scck a one-night bedmate when
he feels the need.

We agree with you that this solution
would not work for most marriages; but
it has been perfect for us.

(Name withheld by request)
London, England

DIVORCE: AMERICAN STYLE

Perhaps Frank Bemus’ enlightening
August Playboy Forum letter advocating
divorce reform will spur both victimized
clients and fair-minded lawyers to ac
tion. The present legal concept that re-
quires that one of the parties be proved
at fault compels everyone sceking a d
vorce to tig some sort of grounds. based

alf-truths and evasions, This plays
into the hands of vindictive spouses and
sours even amicable divorces.

Whether or not one believes that di.
vorce is moral, it nonetheless occurs. It is
а sad reflection on our judicial system
that the laws governing divorce continue
to be unjust and unrealistic.

Judith Shellabarger
Red Bluff, California

THE TRUTH ABOUT DIVORCE

There is a mixture of good sense and
naïveté in Frank Bemus letter en
БТ Style.” 1 agree that
a court battle is the worst possible method

led

Amer

vore:

of resolving the m;

ay issues involved i
ital breakup. It is true, too, that
some lawyei encourage litigation in
order to earn high fees, without consider
ing the potential damage to the families
volved

am

the su

However. most good divorce lawyers
"y to achieve a reasonable settlement.
But when husbands and wives will not
voluntarily compromise, even the good
divorce lawyer must take the case to
court The divorce manual recom
mended by Mr. Bemus, which would
point out that peaceful setlements are
wiser than court baudes, might be help
ful—but how docs one get people to
«l and follow such а manual? 1 know
how difficult it is, since [am the a
of the wellreviewed and rarely
The Truth About Divorce.

family arbitration centers a
keeping marital disputes out of court.
This would be an unnecessary burden on
the taxpayer, since, in most cases ің
which it is posible, these disputes are
already settled outside of court, with
lawyers as mediators. The disputes that
cannot be settled by lawyers will not be
settled by arbitration, "These аге
hard-core ca , embit-
tered spouses, who will not compromise
the settlement terms to which they think
they are entitled, or the small m

who take the view, “Over my dead body
will L grant a divorce.

Changes in divorce laws arc certainly
necessary. Under most present laws,
couples cannot settle issues such as sup

port, custody, visitation privileges and
property rights between themselves.
They must establish in court that one of
them is guilty of some marital fault. Thi
ritual is thoroughly unrealistic. If a hus
band and wife have decided upon a d
vorce and have settled their differences
by way of a separation agreement or
property settlement, a divorce should
follow as a matter of course upon ap-
plication of both parties, through a con.
sem decree granted by a court. И the
court has some doubt with respect to the

wisdom marital breakup. it should
Ш upon experts such as those recom-
mended by Mr. Bemus (psychiatrists.

marriage counselors, social workers and
the like). But if, despite the efforts of the
experts, husband and wife are firm in
their decision to dissolve the marriage,
the court should accept the inevitable
and grant the divorce.

Only in
destructive and expe
ceeding criticized by Mr. Bemus
essary. While unsatisfactory. in
situations it is the best that с
The human mind has пос yet invented
a means of satisfying two people whose
desires ме mutually exclusive.

Morris Ploscowe
Attorney at Law
New York, New York

A former New York City magistrate,
Morris Ploscowe is presently in private
practice and teaches family law at New
York University. He в also the author
of "Sex and the Law" and “Crime and
riminal Law.”

mbittered situations is the
we divorce pro-
nec

Turn life into a perpetual holiday with
Trav-L-Bar, the carrying case that
makes every potable totable. Closed,
it looks like fine hand luggage.
Open, it looks like happy

days are here again.

That's Trav-L-Bar—9 models,
from $14.00 to $75.00

17]

and
Travel-L-Bar
luxury |

CHICAGO

ву Sven -Nean лмо.

PLAYBOY

THE NONMARRYING KIND

Much of current premarital-sex discus-
sion misses the mark. To discuss this
question in terms of “before marriage”
ssumes that marriage is planned for
some future date. In many relationships,
this is not the case.

Our society is based on marriage and
the family unit; yet for many individuals.
these time-honored institutions do not
provide a suitable framcwork for happy
and productive lives. This fact will have
to be recognized before any really fruit-
ful weighing of the pros and cons of non-
ital intercourse can take place.

Dan Mabbute
Price, Utah

ma

THE HETEROSEXUAL MENACE
I have just read the June Playboy Fo-
rum letter condemning |. Edgar Hoover's
ag of an FBI agent for hay
riment overnight. It is clear to me
that Mr. Hoover's action was in the in-
terest of security, not morality. and th;
therefore, it was entirely justified.
Patrick Cum
Adanta,
1t may be clear to you that Mr, Hoo-
ver's firing of the FBI clerk (he wasn't an
agent, as you assert) was in the interest
of security, but it doesn't seem to be
clear to Mr, Hoover. An editorial in The
Nation had this comment to make on
the case: “This has nothing to do with
security; it is solely a question of morality.
1 spokesman for the Bureau says: ‘We
have hundreds of young men and
women coming to work Jor the FBI т
Washington. We must be sure that their
parents can be confident that they and
their colleagues are living under exempla-
ry conditions.’ . . . A letter signed by Mr.
Hoover was handed to Мт. Carier dis-
missing him for ‘conduct unbecoming an
employee of this Bureau.

CALIFORNIA SEX REFORM

While prudes try to distort Hefner's
words by accusing him of “shallowness.
"hedonism." “materialism.” ete, the

basic common-sense foundation of The
Playboy Philosophy is, step bv step.
changing our society for the better.
Here in California. а panel of experts
has been busy drawing up a revised sex-
code to be submited to the
lature, The primary intent of
the code is to restrict criminal penalties
10 forcible acts and seduction of children,
wing all acts of consenting adults out-
side police jurisdiction. Arthur H. Sherry,
former assistant attorney general and now

University of € eley, is
the project director, and he explained the
thinking behind this new code in а recent
San Francisco Chronicle story:

consensual sexual conduct
adults is in fact, almost
[prosecuted] under current
1 law-

Private
between
ever

The extreme difficulty of detect-
ng such conduct conduces to und
sirable police practices on the rare
occasions when the law is invoked.

Rarity of enforcement creates an
acute problem of arbitrary and
discriminatory police and proseci
логу discre

Widespread knowledge that the
low is violated with impunity by
thousands every day creates disre-
spect for law generall

"There is substantial evidence that
the moral sense of the community
ts strong. pressure for
nctions in this

no longer ex
the use of criminal
are:

The theoretical availability of
qiminal sanctions creates а situ
tion in which extortion and, on oc
casion, police corruption may take
place.

There is no evidence that any of
the accepted goals of criminal pun-
ishment are served by proscribing
such conduct.

AIL of these arguments were presented
The Playboy Philosophy when Hefner
discussed our sex laws. I don't know to
what extent Professor Sherry and the
others on this panel are consciously in-
fluenced by Hefner, but I am convinced
that such plain talk on a previously taboo
subject would have been delayed 20 (or,
ayboy did.

Andrew Wacker
San Francisco, California

GROSS INDECENCY

In line with rrAvnov's crusade to have
the sexual bel w of consenting adults
legalized, you will be interested to hear
that we had а precedent-making case
here in Manitoba. A husband and wife

were dragged before Magistrate Tan
Dubienski, charged with "gross in-
decency.” It appears that four policemen

had gone to the home of the couple in
question to execute а liquor warrant.
Peering through the small front-door win
dow, the four stalwart defenders of law
l order were horrified to observe a
ic against the state occurring in the

E

kitchen—the wile was performing fellatio
upon the husband.

Magistrate Dubienski cleared the ac-
cused, saying that there was no real

crime, because both partners had a
to the act, and they were not exhil
istic, since they “could not have 4
pated the peering detectives.
nity, obviously, is finally beginning
10 appear in the interpretation of our
sexual laws. Perhaps the day will arrive
when any prurient detective who admits
that he peeped through а window at the
private acts of husband and wile will
himself, quite properly, be arrested for
“gross indecency.”

Timothy Shi

Winnipeg. M

ENDING SODOMY FACTORIES

In view of pLayuoy’s interest in prison
reform. we thought you might like to
know about a pioneering project planned
by the Saskatchewan. provincial govern-
ment. Families of prison inmates will
be integrated into a program to rcha-
ilitate convicls and will be allowed to
say overnight with prisoners. Special
lc privacy for norm
between the prisoner
nd his wife. In the pilot phase of this
family-therapy scheme, a special struc
ture will be built at one of the province's
correctional institutions. Initially. the fa
dlity will consist of two self-contained
suites that will provide living accommo:
dations for two families at a time.

This pilot program will, it is hoped.
develop into an entirely new approach to
the treatment of prisoners and will be-
come an integral part of all of Saskatche-
’s penal rehabilitation programs,
since its benefits would be manifold:
Such a program would improve prison
morale ions. decrease the
incidence of sexual ality in prison

id help the aimain his status
as a family membe

Byron Howard
Moose Jaw, S:
A program permitting married prison
ers to visit with their wives twice a month
in private quarters has been in effect for
many years in the Mississippi State
Penitentiary at Paychman. The program
orks smoothly and іх thought by prison
officials to alleviate sexual problems for
at least some of the inmates and to
contribute to rehabilitation and good
morale,

OBSCENE ATROCITIES
For your collection of
sorship act
Ibourne ed 85 copies of a
pacifist pamphlet, “American Atrocities
Vietnam," alleging that the descrip
tions of some atrocities were obscene.
seorge Wallace
Melbourne, Australia

AUTHORITY AND BRUTALITY
Some time ago, the Cleveland Plain
Dealer van an item about a North Ridge
ville High School girl who was paddled
by a male teacher while being held by
three other teachers. A subsequent news
em confirmed the paddling and s:
that the principal of the school Вай
proved the action of four teachers who
paddled а l6-yearold girl last Friday"
because “the girl had been a disciplin
problem nume у
Within a month, the same newspaper
published a story noting that a local
Negro civikrighis leader had called olf
threatened marches into several sub
urban white communities because such
marches would only result in violence.
(continued on page 160)

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PLAYBOY INTERVIEW: MICHELANGELO ANTONIONI

a candid conversation with italy’s master

As the creator of such meticulously
crafted and psychologically penetrating
films as "L'Avventura;" “Red Desert” and
"Blou-Up," 55-year-old Michelangelo An-
tonioni has carned a lofty but controver-
sial niche among cinematic chroniclers of
the problems that beset modern man.
With an intellectual’s detachment and a
prophet’s conviction, he has explored the
alienation of man m а depersonalized
world, the fragility and ambivalence of
his emotions and, above all, the imperma-
nence of his love. Gaunt as a Giacometti
sculpture, Antonioni himself presents a
mask to the world. He claims to have lit-
tle interest in material rewards, still less
in critical acclaim or abuse; but he
is no stranger to ajfluence—nor to the
world of spiritually bankrupt overprivi-
lege inhabited by his lonely characters.

The son of a successful. industrialist,
he grew up т the quiet Po Valley city
of Ferrara, yegional
championships and earning a degree in
economics and commerce. But he was
already incubating a personal rebellion
against provincial, middle-class merchant
life and a passion for the cinema that
inspired a pilgrimage to Коте. After
gaining some experience as а film critic,
he attended the Rome Experimental
Film Center, selling his tennis trophies
to keep from starving, until finally he be-
gan to meet and work with the directors
who were making names for themselves
—Roberto (“Open City") Rosellini, Giu-
seppe (“Bitter Rice") De Santis and
Federico (The White Sheik") Fellini,
among others. After a term of military
service, abbreviated by the liberation of
Rome, Antonioni launched his career as

winning tennis

a director with a series of striking docu-
mentaries, which led to his first feature,
“Cronaca di un Amore,” in 1950. Dis-
satisfied with the earthy sociological
approach of neorealism, Antonioni here
preoccupied himself with the ways in
which external veality shapes—and warps
—the psyche, producing a haunting and
poetic film that the critics promptly char-
acterized as “interior neorealism.” Set
amid post-War Milanese high society, it
detailed the collapse of an extramarital
romance, destroyed. by guilt after the
woman's husband—who had been marked
for murder by the conniving couple—
unexpectedly dies.

Thus began Antonioni's somber psycho-
analysis of 20th Century life, in all its
complexity and anonymity, His succeed.
ing fins were suffused with a deepening
fatalism. Self-destruction was the theme
and denouement of both “Le Amiche,”
which Antonioni made in 1955, and “И
la,” com pleted two years later. Against
the background of industrial Turin, “Le
Amiche” illuminated the stilted and
superficial lives of a clique of wealthy
women who loy with one another's
deepest emotions until one of them final-
ly commits suicide. т “IL Grido,” an
itinerant mechanic fathers a child by a
married woman; when she rejects him
after the death of her husband, he
searches, with his daughter. for a new
life; frustrated at every turn, he eventu-
ally throws himself off a water tower.
The film painis an insightful but desolate
picture of man in the Machine Age,
rendered weak and rootless by the im-
personality of his environment.

But the film that marks Antonioni's

of cinematic anomie

coming of age as a director is “12 Aven:
tura” (1960), the first. of а cynical

series about love among the affluent. It
begins with the disappearance of a
wealthy Roman girl whose lover, Sandro,
and best friend, Claudia, begin a frenzied
search for her. Soon they are lovers,
however, and the missing girl is for-
gotten. Bul as they wander through the
pleasure-filled world of Riviera resorts,
Sandro pauses to accept the wares of a
prostitute. Discovered by Claudia, he
can only protest his frailty; to absolve
herself of guilt for her own betrayal—of
her lost friend—she resignedly forgives
him. Thus fidelity and love itself have
succumbed to ennui.

The next film in the series, “Та

Jotie,” covers a day in the life of a
married and still. affectionate—but
loveless—couple. Giovanni, a. successful
novelist, circulates in Ute world of Mila-
nese culture; Lidia, disillusioned by his
ebbing spiritual resources, accompanies
him on a visit to a dying friend, to a
publication-day cocktail party, then takes
а lonely walk through the places where
they once lived, searching for time past.
That evening, they go—separalely—to
а marathon party given by a wealthy
industrialist, where Giovanni makes а
halfheayted attempt to seduce the host's
beautiful daughter. Toward dawn, Lidia
scornfully confronts him with a passion-
ale letter he had written to her years
before. Ignoring the letters. implication

-that he has since become emotionally,
if not sexually, impotent—he makes love
to her, but with a chilling new realization
of his own psychic isolation. Marriage.
has kept them united in body but not

“We are loaded down with stale stufj—
habits, customs, attitudes already dead
and gone. The sirengih of the young
Englishmen in “Blow-Up’ lies in their
ability to throw out all such rubbish.”

“When I look into the sky, the color of
insects, snow crystals, 1 don't need God.
Perhaps when 1 can no longer look and
wonder, when Т believe in nothing—
then 1 might песа something else.”

“The public buys ‘art—but the word is
drained of meaning. The old instruments
of judgment, the old aesthetics, are no
longer of any use to us—so much so that
we no longer know what's beautiful.”

77

PLAYBOY

78

in spirit, and their only reason for staying
together is knowledge of each other's
needs.

If lovers are doomed to infidelity and
ip marriage must lose its meaning, is
there value in any human contact?
“L'Eclisse?’ Antonioni’s next film, an-
swered this question with a sobering
portrayal of a young woman's melan-
choly conclusion, after two unsatisfactory
affairs, that men are islands and that true
communication is impossible; attempts al
constancy т love only hasten iis de-
mise. Antonioni ended the picture with
a remarkable silent sequence, seven
minutes long, in which the camera ex-
plores the streets and buildings of a
futuristic Roman suburb—a stark symbol
Of a bleak and sterile hercaficr.

Antoniont's first color film, the subtly
shaded “Red Desert,” concerns the futile
search of a woman, whose husband is
too preoccupied to care about her, for
reassurance in the arms of another man.
After this self-diminishing transgression,
she wanders aboard a ship and explains
10 a sailor she happens to encounter, т
an extended soliloquy, that she must
таит to face the responsibilities of her
life. Despite the tragic tone of the end-
ing, Antonioni seemed to be saying that
acceptance and flexibility are the keys
10 survival in a shallow, shifting world.

Having dissected—and interved—Mtaly’s
“decadent” middle class, Antonioni was
restless for a change of scene. A visit
with Monica Vitti in England two years
ago exposed him to “swinging London"

where youth was radically recasting
Britain's stuffy pipe-and-slippers image.

The result was “Blow-Up,” a film that
dazzled and shocked both critics and
audiences around the world. The protago-
nist is a successful young fashion photog-
rapher who occasionally sallies from the
pop-op fantasy world of his studio to go
slumming for socially pertinent candid
shots in the “real” world. While enlarg-
ing prints of а couple in а public park,
he suddenly discovers that he has те.
corded what seems to be evidence of a
murder. But when he seeks counsel from
his potsmoking friends, he finds that to
them the murder of a stranger is to
tally insignificant. Dejectedly wandering
through the park—after discovering that
the body has been spirited away—the
photographer meets a group of students,
their faces painted white, who are play-
ing tennis with an imaginary ball. He
joins Шей game. Moral: Reality is what
one chooses to believe ts veal.

In projecting this personal reality on
the screen, Antonioni has discarded the
standard film clichés, striving instead
for the sleek, uncluttered look, the un-
fellered flow of action, the almost

ascetically understated dialog and emo-
tions thal ате essential to his cerebral
cinematic style. While this unique.
“grammar” of the cinema, like his dark
thematic preoccupations, has always
been controversial, critical debate has
never been more animaled—or divided
—than over the “meaning” of "Blow-
Up." why he chose to shoot it т English
and in London and why its mood of
possionless abandon is in such sharp con-
trast to his earlier, more somber works.

In the hope of learning the answers to
these and many othey questions about
шт. his art and his anomie, we decided
to approach the elusive U Dottore with
our request for an exclusive interview.
His reluctance to see the press and his
monosyllabic evasiveness when cornered,
are legend; but after more than a month
of pursuit by telephone, cable and mail.
he finally consented to talk to interviewer
Curlis Pepper т Rome—but only sub-
ject to the most stringent stipulations.
He insisted on approving not only the
manuscript but the pictures as well: "I
have no desire to have monstrous photo-
graphs of me floating around,” he wired.
Of 176 shots we took of him, he rejected
all but 25, most of which showed him
with his mouth shut, with his hand
significantly covering his mouth or with
his face wreathed т a mirthless, inap-
propriate smile.

Our conversations with him took place
in his modest, book-strewn apartment on
the periphery of Rome, across the river
from the elegant Parioli district that has
Spawned the prototypes for many of his
qworld-weary characters, On the floor
above, not coincidentally, lives Monica
Vitti, the coolly seductive blonde actress
who has long been the maestro's leading
lady in private life as well as on the
screen. Antonioni answered our ques-
tions with veiled restraint, inadvertently
punctuating his remarks with the facial
tic he has been afflicted with since youth.
The first version of the interview, which
we sent to him for corrections.
spare, impressionistic yet compelling por
trait of this enigmatic man; although it
was far from а revealing document, he
fell he had confessed “too much” and
wired that he was unhappy with the in
terview and needed time to correct it.
The "corrected" copy was cut to three
quarters of its original length, and what
ely modified. In subtly
shaded tones of gray. Antonioni had

was а

remained was sei

succeeded. in communicating how non-
communicative he really is—but this veil
of mystery iy both Antonioni’s public
image and his chosen reality, in his life
as in his films. In his assiduous effort to
remain hidden behind it, we feel that he
may have drawn it aside; but one can’t
be sure, for the man glimpsed behind it

—like the “inner meaning" divined by
critics т № multileveled films—may
simply be another mask. The reader,
like the viewer, must decide for himself.

PLAYBOY: Your last film, Blow-U'p, was
shot in London. Were you trying to avoid
censorship troubles in Italy because of

its erotic sce
ANTONIONI: The eroticism has nothing to
do with Blow-Up_ There are some scenes
where you see nudes, but these ате not
what's

censors have passed it with very little
cutting;

PLAYBOY: Was it intentional, in the scene
where the photographer has an orgy
with the two girls in his studio, that
pubic hairs appear visible?

ANTONIONI: 1 didn't notice. If you can
tell ше where, ГИ go and look.
PLAYBOY: Do you feel that moviemakers
should be free to depict total nudity on
the screen?

ANTONIONI: ] don't think it's necessary.
The most important scenes betwee
man and а woman don't happen whi
they are naked,

PLAYBOY. Is there anything you think
shouldn't be shown on the screen?
ANTONIONI: There can be no censorship
better than one’s own conscience.
PLAYBOY: What made you choose Lon-
don as the setting Гог Blow-Up?
ANTONIONI: 1 happened to be there by
chance, to see Monica Vitti while she
was working in Modesty Blaise. 1 liked
the happy, irreverent atmosphere of
the city. People seemed less bound by
prejudice.

PLAYBOY: In what sense?

ANTONIONI: They seemed much freer;
I felt at home. In some way, | was
impressed. Perhaps something changed
inside mc.

PLAYBOY: How?

ANTONIONI: I'm no good at understand-
ing myself, But those things | knew
before that interested me now seem too
ited. I feel 1 need other experiences,
to sce other people, learn new things.
PLAYBOY: Was it difficult working in a
foreign country?

ANTONIONE Blow-Up had a rather spe-
cial story, about a photographer, and 1
followed the work of some of the morc
import which m
Also, he moved through
ronment in London—a mi
group of swingers.
LAYEOY: Apart [rom its setting, how
docs Blow-Up diller from your previous
films?

ANTONIONI: Radically. In my other films,
I have tried 10 probe the rel hip be
tween one person and another—most of
ten, their love relationship, th
of their feelings, and so оп
film, none of these themes ri

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the relationship is between an individual
and reality—those things that are
round him. "There are no love stories in
this film, even though we sce relations
between men and women. The experi-
ence of the protagonist is not a sentimen-
tal nor an amorous one but, rather, one
regardi his relationship with the
world, with the things he finds in front
of him. He is a photographer. One day,
he photographs two people in a park, an
element of reality that appears real. And
it is. But reality has a quality of freedom
bout it that is hard to explain, This
film, perhaps, is like Zen; the moment
you explain it, you betray it. 1 mean,
a film you can explain in words is not a
real film.

PLAYBOY: Would you call Blow-Up, like
so many of your others, a pessimistic film?
ANTONIONI: Not at all, because at the
end, the photographer has understood a
lot of things, including how to play with.
an imaginary ball—which is quite an
achievement.

PLAYBOY: Then you feel that the photog-
rapher's decision to join the game and
forget about the murder is a positive so-
lution. Do you think this speaks well of
the way youth deals with its problems?
ANTONIONI: Certainly. There's much talk
about the problems of youth, but young
people are not a problem. I's a natural
evolution of things. We, who have
known only how to make war and
slaughter people, have no right to judge
them, nor can we teach them anything.
PLAYBOY: Some people over 30 seem to
feel that today's youth is a lost genera.
tion, withdrawn not only from commit-
ment but, in of the hippi
from reality. Do you disagree?
ANTONIONI: І don't think they're lost at
all. I'm not a sociologist nor a psychol-
ogist, but it seems to me they are seeking
a new way to be happy. They are com-
mitted, but in a diflerent way—and the
right way. 1 think. The American hip-
pics, for example, are against the war in
Vietnam and against Johnson—but they
combat the warmongers with love and
peace. They demonstrate against police
by embracing them and throwing lowers.
How can you dub a girl who comes to
give you a kiss? That, too, is a form of
protest. In Californi:
there is an atmosphere of absolute calm,
tranquillity. That, too, is a form of pro-
test, a way of being committed. It shows
that violence is not the only me;
а complicated subject —
it seems—and | can't
't know the

us of

persuasion. It's
more so than
handle it, because Г do
hippies well enough.
PLAYBOY: Sometimes that tranquillity you
spoke of is induced by hallucinogenic
drugs. Does the use of such drugs
alarm you?

ANTONIONI: No; some people have nega-
tive reactions ог can't stand hallucina-
tions, but others stand them extremely
well. One of the problems of the future
world will be the use of leisure time.
How will it be filled up? Maybe drugs
will be distributed free of charge by the
government.

PLAYBOY: You've always emphasized both
the importance and the difficulty of
communication between people in your
films. But doesnt the psychedelic ех-
perience tend to make people withdraw
into an innerdirected mysticism, even
drop out of society altogether? And
doesn’t this tend to destroy communi-
cation:
ANTONIONI: There are many ways of
communicating, Some hold the theory
that new forms of communication be-
tween people cin be obtained through
hallucinogenic drugs.
PLAYBOY: Would you w:
yourself?

ANTONIONI: You can't go to ап LSD ог
pot party unless you take it yourself. 1f 1
want to go, 1 must take drugs myself.
PLAYBOY: Haye you?

ANTONIONI: Thats my business. But to
show you the new menuality: E visited St.
Marks in Venice with а young woman
who smokes pot, as do most young
people in her environment, When we
wore above the gilded mosaics—St.
Marks js small and mtumate—she е
claimed, “How Га like to smoke here!
You sce how new that reaction is? We
don't even suspect it. There was nothing
profane in her desire to smoke; she
merely wanted to make her aesthetic
emotions more intense. She wanted to
make her pleasure giantaize before the
beauty of St. Mark
PLAYBOY: Does this mean you believe that
the old means of communicating hav
become masks, as you seem to suggest in
your films, that obscure communication?
ANTONIONI: 1 think they become masks
yes.

PLAYBOY: 15 alienation, then—lrom one’s
self and from others—the subject of your
films?

ANTONIONI: I think in terms of
ton; it's the others who do. Alii
ation means one thing to Hegel, another
to Marx and yer another to Freud; so it

nt to try some

never
alien

is not possible to give a single definition,
one that will exhaust the subject. It is a
question bordering on philosophy, and
I'm not a philosopher nor a sociologist.
My business is to tell stories, to narrate
with images—nothing else. If I do make
films about alienation—to use that word
that is so ambiguous—they are about
characters, not about me.

PLAYBOY: But your characters do havc

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PLAYBOY

difficulty communicating. The industrial
landscape in Red Desert, for example,
seems to leave little room for human

emotion. It seems to dehumanize the
characters.
ANTONIONI: Nothing regarding man is

ever inhuman. That's why I make films,
not iccboxes. I shot some of Red Desert
along а road where half the horizon was
filled with the pine trees that still sur-
round Ravenna—though they me va
ishing fast—while the other half of the
skyline was taken up with а long line of
factories, chimneys, ranks. silos,
buildings, machinery, I felt that the sky-
ine filled with things made by man, with
those colors, was more beautiful and
richer and more exciting for me than the
long. gre form line of pinewoods,
behind which I still sensed empty
nature

PLAYBOY: Most of the men in your films
seem 10 cope very easily with this new

ical reality, as far as their work
tionships ave concerned. But in their
love relationships. they tend to be inca
ble of achieving or sustaining an emo-
il involvement. Compared with your

le characters, they seem
«king in initiative

ANIONIONI- What do vou mea at
there exists a tionship between

ou really think
masculine.
the woman frail, o
ive? This is а conventio
ty is quite different
PLAYBOY: Is that what you meant when
d once that women are the first to
pt themselves 10 an epoch. that they
are closer to ni nd thus stronger?
ANTONIONI: Г said women were
filter of reality. They can snif thi
PLAYBOY: You also said th
id them better than men. Why?
ANTONIONI: It’s only natural, Uve had
mate ations with women but not
with men.
PLAYBOY: Are the It
known different from
nationalities?
ANTONIONI: Yc
PLAYBOY: How?
ANTONIONI: This is becoming frivolous.
Ii leads to sudi platitudes as that French
women are calculating: Italian women,
active; English women. hot. The
women | like, no matter what n:
more or less the

тап ава woman? Do

be strat

must.
and

you s

finer

t you under-

! women you've
those of other

of course.

sti

m-

у. all seem to
same qualities, Perhaps this is because
one goes looking for them—that is, yon
like that type of woman and then look
for her, Fre always dreamed of getting
to know the women of other
better. When Г was a boy, I remember, I
used to get angry at the thought that I
did not know German or Ame
Swedish women. 1 hope the women in

countries

my films have at least a minimal common
denominator with the women of other
countries, because, after all, the problems
are more or less the same.
PLAYBOY: Your heroines tend to be ma-
ture in years. Do you find older women
more attractive than young girls?
ANTONIONI: Tt depends upon the age of
the woman you're in love with
PLAYBOY: What do you find most
tive sexually in а woman:
ANIONIONI: А woman's
inner It stems from her
attitude.

тк
mental

not
res—

PLAYBOY: Do you think there can be love
without eroti
woman?
ANTONIONI: T
1 can't
1 charge
PLAYBOY- Jn your films, though, you im-
ply that love is more complex. that «à

m betwee an and а

believe it’s all the same
gine love without a

whi vated

п two people are att
other. they have to struggle to keep thei
love Why?

ANTONIONI: That love is a conflict secms
ad ural, There is
single worthwhile work world liera-
ture based on love that is only about the
conquest of happiness, the elfort to ar-
rive at what we call love. It's the struggle
that has always interested those who pro-
duce works ol art—literature, cinema or
poetry. But 1 can't give any absolute
definition of what love is or even
whether it ought to exist

PLAYBOY: Love seems to bring little happi-
ness to your characters. Has this bee:
true of vour own life?

ANTONIONI: I red somewhere that happi-
ness is Ike the bluebird of Maeter
Try to catch. it and it loses its color, It's
like trying to hold water in your hands.
The more you squeeze it. the more the
water runs away. Personally. I know very
Tittle about love.
PLAYBOY: How do you fecl about mar-

aliv

to obvious ta

Fm more or les skeptical
because of family tie
relations between. children. and parents
s all so depressing, The family today
counts for less and less. Why? Who

knows—the growth of science. the Cold
the

War, omic bomb, the world w
we've made, the new philosophies we've
created: certainly something is happen.
ing to man. so why go again
oblige this new live by the
mechanisms and regulations of the past?
PLAYBOY: Wi
gree with those who say Сос

ANTONIONI: 1 re

why
man te

about religion? Do you

is dead?

cter in a

Hemingway story who was asked, “Do
you believe in God?" And he
“Sometimes, at night" When I se
ture, when I look into the sky, the dawn
the sun, the insects, snow стуу.
tals, the night stars, I don't feel a need
for God. Perhaps when I сап no longer
look and wonder, when | believe in
nothing—then. perhaps. 1 might need
something else. But I dont know what
АП І know is that we
with old and мае
toms, old attitudes
опе. The strength
lishmen in Blox th
to throw out all such rubbish.

What besides marri
would you throw ou

inswered,

na-

«olors of

are loaded dowr

religion

jealousy. We're not aware of all of them
yet, though we suffer from them. And
| us not only nics but
esthetics. The public buys

the word is drained of its
ning. Today we no longer know
what 10 call ari. what its function is and

even less wl function ir will have in
the furure. We know only that it is хо
thing dynami

have govern
PLAYBOY: What sort of ide
ANTONIONI: Take Einstein; wasn't he
looking for something stable ani change-
less in this enormous, constantly. chang-
ing melting pot that is the u
sought fixed rules. Today, inst
would be helpful to find all those rules
that show how and why the universe is
not fixed—how this dynamism develops
and acts, Then maybe we will be able to
explain many things, perhaps even art,
because the old instruments of judg-
ment, the old aesthetics. are по longer
Í any use to us—so much so that we
no lon know what's beautiful. and
what isnt.

PLAYBOY: Many critics have called you
one ol the fore: directors. in the
search for а new in changing
the “grammar” of the cinema. Do you
feel you've brought any innovations to
the screen?

ANTONIONI: Innovation. comes spon
ously. 1 don't know if Гус done am
thing new. И 1 have, its just because 1
had begun to feel for some time that 1
сои stand certain hls, certain
modes, certain ways of telling а story,
certain tricks of plot development, all of
it prediciable and uscless

PLAYBOY: Was it the old techniques th
bothered. you—or. simply the old story
lines?

ANTONIONI: Both, I think. The basic d
псе was in substi
nd this had been dete
nsccurity of our lives.

ny ide:

e

псе, in what was

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PLAYBOY

84

particular type of film emerged from
World War Two, with the Italian nco-
realist school. Jt was perfectly right for
its time, which was as exceptional as the
reality around us. Our major interest
focused on that and on how we could
relate to it. Later, when the situ:
tion normalized and post-War life re-
turned to what it had been in peacetime,
it became important to see the intimate,

nterior consequences of all that had
ppened.
PLAYBOY: Docsn't your own interest in

l events, in man's.
tion to reality, date back to before
the War? Your first film venture, a docu-
ry, Was shot in a mental hospital
in Ferrara, Why did you choose that
subject?

ANTONIONI: As I suffer from nervous
tics, I had gone for consultation to a neu-
rologist who was in charge of this mental
home. Somctimes Е had to wait, and
found myself in contact with the insane,
and I liked the atmosphere. I found it
full of poetic potential. But the film was
а disaster.

PLAYBOY: Why?

ANTONIONI: I wanted to do it with real
schizophrenics, and the director of this
hospital agreed. He was a bit mad him-
self—a very tall man who demonstrated
actions of mad people to pain by roll-
g about on the floor with the rest of
them. But he provided me with some

schizophrenics and 1 chatted with them,
explaining how they were supposed to
move in the first scene. They were

ly docile and they did every-
n rehearsal as 1 asked them,
Everything was fine—until we lit thc
Klieg lights and they came under a glare
that they'd never seen before. АП hell
broke loose. They threw themselves on
the ground; they began to howl—it was
ghastly. We wer of them and 1
as absolutely petrified, T hadn't even
the strength to shout "Stop!" So we
didn't shoot the documentary; but I’ve
never forgotren that scene

PLAYBOY: You left Ferrara to attend the
University of Bologna. What made you
decide not to return to Ferrara? Didn't
you like it there?

ANTONIONI: I enjoyed myself пеп
dously in Ferrara. The troubles begu
later. But I didn’t like university life
much at Bologna. The subjects 1 studied
'conomics and business administration
—didn't interest me. I wanted to make
films. I was glad when 1 was graduated.
1 was
overcome with a terrible sadness. 1 real-
ized that my youth was over and now
the struggle had begun.

PLAYBOY: And you went to Rome?
ANTONIONI: Yes; and the carly years there
were very hard. I wrote reviews for a film
magazine; and when they fired me, 1
was penniless for days. І even stole a
seak from a restaurant. Someone had

m a sea

ordered it but was away from the table
when it came, so I put it in a newspaper
and ran out. My father had money—he
was then a small industrialist—and he
wanted me back in Ferrara. But I re
fused and lived by selling tennis tro-
phies; I had boxes full of them that Га
won in tournaments during college days.
1 pawned and sold them all I was
miserable, since I'd won them myself.
PLAYBOY: How did you switch from film
criticism to film directing?

ANTONIONI: 1 went to the Experimental
Film Center in Rome, but stayed only
three months. The technical aspect of
films—by itself alone—has never inter-
ested me very much. Alter you've
learned two or three basic rules of cine-
ma grammar, you can do what you like
including breaking those rules,
PLAYBOY: Then you began to direct?
ANTONIONI: No, it wasn't that casy. At
first I wrote filmscripts. I did onc with
Rossellini, called Un Pilota Ritorna. ГИ
never forget Roberto. In those days, he
lived in a big empty house he'd found i
Rome and was almost always in bed, be-
cause it was the only piece of furniture
he had. We worked on his bed, with him
in it. From this Г moved on to other
things, until I was drafted into the army.
"Ehe hell began then.

PLAYBOY: Because of army life?
ANTONIONI: No, the nightmare was to
work on the set of a film I had helped
write—/ Due Foscari, with Enrico Ful-
chignoni directing—and still show up as
a soldier. I used to sneak out of camp at
night and crawl back at dawn, over а
wall or sometimes through а hole under
a hedge. It was freezing and 1 was
paralyzed from this and from sheer
exhaustion.

PLAYBOY: Why did you keep going back
over the wall?

ANTONIONI: Because of the excitement
of working on a film, although only in a
small way as an asistant. They let me
experiment and I learned a lot, especially
about camera movement and how to
relate the movement of actors to the field
of your lens.

PLAYBOY: Did you work on any other
films while you were in the army?
ANTONIONI: Michele Scalera [head of
Scalera Films] called me in one day and
asked me if I'd like to go to France to
work with Marcel Carné—as his co-
director —on a picture being co-produced
by Scalera. I couldn't believe it—co-
direct with this man who was the greatest
of his day—and said yes. 1 had to pull
strings all over Rome to get leave from
the army. Then, when I got it, 1 was
stopped at the French border. It was
maddening. When I finally got to Paris
it was Sunday апа I found Carné shoot-
ing in the suburbs. He looked at me like I
had brought the plagu lly, he said,
“You've got eyes, my friend. Look.” After
that, he said nothing more to me. I

didn’t dare tell him I was supposed to be
the co-director. I merely said 1 was to be
his assistant; but I was never even that
We went to Nice for some exteriors and
the train was so crowded 1 rode on the
car steps, hanging on for my lile. €
spoke to me again, then—obvior
scared ГА get hurt and he'd have to pay
for it. At Nice we stayed at the Negres
co, where I began to enjoy myself a bit
1 met the nursemaid of a rich fam
made some notes for a film on the life of
a great hotel, seen from the back rooms,
Somewhere along the line, 1 eventually
lox the notes, but ГИ never forget
Carné. Scalera had wanted me to stay on
in France and work with Gremillion and
Cocteau, but my leave ran out and I had
to hurry back to the army in Italy.

PLAYBOY: Musolinis regime collapsed.
shortly afterward. How did this alfect
you?

ANTONIONI: It forced me into a hand-
to-mouth existence, During the Ger
Occupation of Rome, cinema didn't exist.
I earned a little money by doing transla-
's La Porte Etroite, Mora
Monsieur Zero. But then Е became
volved with the Action party and the
Germans looked for me, I escaped to the
Abruzzi hills, but they followed me there
and I had to с Finally,
when the Allics took Rome, we could
begin again.

PLAYBOY: Did that lean period color the
political or social outlook of your later
films?

ANTONION: That had already begun
long before. When 1 was a boy, we опе
went with friends to swim in the Po,
which flows near There were
barconi, great river boats towed by men

ape once morc.

Ferrar.

dragging them from the towpath. Ме
pulling five or six boats, against a river's

le а tremendous. impression
on me. I returned time and again to stare
at them and at the people who lived on
them, with their families and chickens,
and washing hung out; the boat was
their home. It was here that 1 got my
first glimpse of the bad distribution of
wealth. Later, I began to make Gente
del Po [People of the Po]. It was my first
documentary and the first time I ever
handled а Gnecamera.

PLAYBOY: Yet your first feature

Cronaca

di un Amore, in 1950—caused а sensa-
tion by brea! with the neore
school's penchant for portraying the

working clas. This film and most of

those you've made since then are about

the affluent middle class. Why?

ANTONIONI: I've made films about the
middle classes because I know them
best. Everyone talks about what he

knows best. The struggle for lile is not
only the material and economic one.
Comfort is no protection [rom anxiety. In
any case, the idea of giving “all” of
reality is overly simple and absurd. 1
take a subject and analyze it, as in a

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PLAYBOY

86

laboratory. The deeper T can go in the
analysis, the smaller the subject becomes
—and the better I know it. This doesn't
prevent a return from the particular sub-
ject to the general, from the isolated
character to the entire society. But in
Cronaca di un Amore, 1 was interested
in seeing what the War had done more
to the mind and spirit of individuals than
to their place in the framework of socie-
ty. Тһас why I began to make films
that the French critics described as "in-
terior neorealism.” The aim was to put
the camera inside the characters—not
outsi
film in which the camera remained al-
ways outside the characters. Neoreal
also taught us to follow the characters
with the camera, allowing each shot its
own real interior time. Well, Г became
tired of all this; I could no longer stand.
real ti In order to function, a shot

е. The Bicycle Thief was а great

must show only what is useful.
PLAYBOY: Why couldn't you stand real
time?

ANTONIONI: Because there are too many
uscless moments. It's pointless to describe
them.

PLAYBOY: Your insistence on paring the
superfluous from your films is also
reflected in the sparseness of your dialog.
Is that why you prefer to establish the
dark, cold mood of your films with a
background of gray, cloudy skies?
ANTONIONI: In the early days, the films І
shot in black and white were f.
matic, so the gray sky helped create an
atmosphere. Cronaca di un Amore, for
схатріс, was sct in M nter—
which was correct for climate and mood.
But the sun also limits movements. At
thar time, I used very long shots,
through 180 degrees: it’s obvious that
the sun will stop you from doing that
sort of thing. So, with a gray sky you
move ahead faster, without problems of
camera position
PLAYBOY: In your last two films, you've
switched to color. You've kept the gray
ies, but you've been known to change
the colors of roads and buildi: for
effect. What don't you like about real
colors?

ANTONIONI; Wouldn't it be ridiculous if
you asked a painter that same question?
It's untrue to say the colors Г use are
not those of reality. They are real: The
red 1 use is red; the green, green; blue,
blue; and yellow, yellow. It's a matter
of arranging them differently from the
way I find them, but they are always
real colors. So it’s not true that when
1 tint a road or a wall, they become un-
real They stay real, though colored
diferendy for my scene. I'm forced to
modify or eliminate colors as I find them
in order to make an acceptable com-
position. Let's suppose we have а blue
sky. Who knows if it’s going to work; or,
if I don't need it, where can I pur it?
So I pick a gray day for a neutral back-

ground. where I can insert all the
color elements I need—a tree, a house, а
ship, a car, a telegraph pole. №5 like
having a white paper on which to apply
colors. If I begin with a blue sky, half
the picture is already painted blue. But
what if T don't happen to need blue?
Color forces you to invent. It’s more than
just a challenge, though. There are practi-
cal reasons for working in it today.
Reality itself is steadily becoming more
colored. Think of what factories were
like, especially in Italy at the beginning
of the 19th Century, when industrializa-
tion was just beginning: gray, brown and
smoky. Color didn't exis. Today, in-
cad, most everything is colored. The
pipe running from the basement to the
h floor is green because it carries
steam, The one carrying electricity is red,
and that with water is purple. Also, pla
tic colors have filled our homes, even revo-
lutionized our taste. Pop art grew ou
of Шаг and was possible because of this.
change in taste. Another reason for

as-

switching to color is world television, In
а few years, it will all be in color, and

st that with

you cant compete ag.
black-and-white films.
PLAYBOY: Besides the switch to color,
have your methods of filming а picture
changed much from the early days?
ANTONIONI: I've never had a method of
working. I change according to circum-
stances; I don't employ any particul
technique or style. Г make films instinc-
tively, more with my belly than with my
brain.

PLAYBOY: How does the process begin?
ANTONIONI: With a theme, a small idea
that develops within me. The idea for
the next film, which I want to make in
America, came to me from something T
can't tell you about fully, because it
would mean telling the story of the film.
But someone told me of an absurd little
episode, saying, “Just think what hap-
pened to me today. I couldn't come for
this and that reason.” I went home and
thought about ii—and upon that small
episode I began to build, until I found I
had a story, growing out of a small cvc

You put in everytl
Tates inside you. And it’s an enormous
quantity of stuff- mostly from watching

за observing. The way I relax, what Г
like doing most. is watching. That's why
І like traveling, to have new things be-
fore my cyes—even a new face. I enjoy
myself like that and can stay for hours,
looking at things, people, scenery. Do
you know, when Г was а boy, I always
had bumps on my head from running
into mailboxes because I was always turn-

ndow sills to look into
houses—yes, I was crazy—to peek at
someone Id seen in the window. So
around the kernel of an idea or an epi
sode, you instinctively add all you have
accumulated by waiching, talking, living
observing.

PLAYBOY: And then you begin to write a
script?

ANTONIONI: No, that's the last thing I
do. When I'm sure I have a story, I call
my collaborators and we begin to discuss
it And we conduct studies of certain
subjects to make sure of our terrain.
Then, finally, in the last month or two, I
write the story.

PLAYBOY: How long does this gestation
period lis
ANTONIONI: Perhaps six months. Then 1
start shooting.

PLAYBOY: When do you pick your actors?
ANTONIONI: When you work on a charac
ter, you form in your mind an image
of what he ought to look like. Then you
go and find onc who resembles him. For
Blow-Up, 1 began with photographs sent
by agents, throwing them out one by
one. Then I went around looking into
theaters. I found David Hemmings in a
small London production
PLAYBOY: Once you've cast the film and

begin to shoot, do you stick to your script
or ignore it?
ANTONIONI: "The script is a starting.

point, not a fixed highway. І must look
through the camera to see if what I've
written on the page is right or not. In the
script, you describe imagined scenes, but
its all suspended in mid-air. Often
actor viewed against a wall or a
scape, or sen through a window, is
much more eloquent than the lines
you've given So then you
the lines. This happens often to me
I end up saying what I want with a
movement or a gesture.

PLAYBOY: At what point does this take
place?
ANTONIONI

When I have the actor
there, beginning to move, I notice what
useful and what is superfluous and
eliminate the superfluous—but only then,
at that moment. That’s why they call
improvisation, but it's not: it’s just mak-
ing the film. Everything you do before
consists of notes; the script is simply a
series of notes for the film.

PLAYBOY: How closely do your scripts
conform to the final product?
ANTONIONI: І rewrite the scenarios after-
ward, when I've already made the film
and I know what I wanted to do.
PLAYBOY: It’s said that you inst on
being left alone on the set for 15 or 20
minutes before beginning to shoot. Truc?
ANTONIONI: Yes. Before cach new setup,
Т chase everyone off the set in order to
be alone and look through the c
In that moment, the film seems q
easy. But then the others come in
everything becomes difficult
PLAYBOY: If you go on changing scenes
right through to the last stroke of the
clapstick, it must be rough on the actors,
too. Do you think that's why some of
them say it’s difficult to work for you?
ANTONIONI: Who says so? I really don't
believe thats true. I simply know what
the actor's attitude should be and what

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PLAYBOY

88

he should say. He doesn't, because he
can't see the relationship that begins to
exis between his body and the other
things in the scene.

PLAYBOY: But shouldn't he understand
you have in m
ANTONIONI: He simply must be. If he
tries to understand too much, he will act
in an intellectual and unnatural manner.
PLAYBOY: Do you prefer, then, mot to
talk to the actor about his role?
ANTONIONI: No, it’s obvious that I must
explain what I want fom him, but I
don't want to discuss everything I ask
him to do, because often my requests arc
completely instinctive are
things I can't expl. ng:
You don't know why you use pink in-
stead of blue. You simply feel that's how
should be—pink. Then the phone
rings and you answer it. When you come
back, you don't want pink anymore and
you use blue—without knowing why.
You can't help it; that's just the way it is.
PLAYBOY: So you want your actors to
do what you tell them without asking
questions and without tying to under-
stand why
ANTONIONI: Yes. I want an actor to try
to give me what Е ask in the best and
most exact way possible. He mustn't try
10 find out more, because then there's
the danger that he'll become his own di-
rector. It's only human and natural that
he should see the film in terms of his
own part, but I have to see the film as a
whole. He must therefore collaborate
selflessly, totally. I've worked marvelously
ith Monica [Vitti] and Vanessa [Red
grave] because they always tried to fol
low me. It's never important for me if
they don't understand, but it is impor-
tant that E should have recognized what
I wanted in what they gave me—or in
what they proposed.

PLAYBOY: Is it true that you sometimes
deliberately misdirect actors, giving
them a fale motivation to produce the
reaction you really want from them?
ANTONIONI: Of course, 1 tell them some-
thing dilferent, to arrive at certain re-
sults. Or I run the camera without telling
them. And sometimes their mistakes give
me ideas 1 can use, because mistakes are
ways sincere, absolutely sincere.
PLAYBOY: Have vou ever worked with
Method actors?

ANTONIONI: They're absolutely terrible.
They nt to direct themselves ad it's
a disaster. Their idea is to rcach а cer-
п emotional charge; actors are always
a little high at work. Acting is their drug.
So when you put the brakes on, they're.
naturally a little disappointed. And I've
always played down the drama in my
films. In my main scenes, there's never
an opportunity for an actor to let go of
everything hes got inside. I always try
t0 tone down the acting, because my
stories demand it, to the point where I

might change a script so that an actor
has no opportunity to come out well. 1
say this for Monica, too. I'm sure that
she has never given all she could in my
films, because the scenes just weren't
there. Take a film like Who's Afraid of
Virginia Woolf?. It offers an actress every
possibility. If she's really good and has
qualities like Liz Taylor, it comes out.
But Liz Taylor never displayed these
qualities in other films, because she
never had a р ke that.

AYBOY: Some directors claim it’s diffi
cult to direct а woman they love. Js this
пис with Monica Vitti
ANTONIONI: I have по difficulty, because
J forget about the relationship between
myself and any actress when working
with her.

PLAYBOY: Would you number Monica
mong the most gifted actresses you've
ever seen?

ANTONIONI: Monica is certainly the first
who comes to my mind. Г can't think of
another as good as Vanessa, as strong as
Loren or as
а. Monica is astonish-
ingly mobile. Few actresses have such
mobile features. She has her own personal
and original way of acting.

PLAYBOY: What about directors? Have
you any favorites?

ANTONIONI: They change, like favorite
authors. T had а passion for Gide and
Stein and Faulkner. But now they're no
use to путоге. Гуе assimilated
them—so, enough, they are а closed
chapter. "This also applies to film di-
rectors. Also, when I sce a good film, it’s
like a whiplash. I run away, in order not
to be influenced. Thus, the films I liked
most are those I think least about
PLAYBOY: Are you an admirer of Ingmar
Bergman?

ANTONIONI: Yes; he's a long way from
me, but I admire him. He, too, concer
trates а deal on individuals; and
although the individual is what interests
im most, we are very far apart. Hi
dividuals are very different from mine:
his problems are different from mine—
but he's а great director. So is Fellini,
for that matter.

PLAYBOY: What do you do between films?
Do you feel the same emptiness as Fellini
when yowre not working?

ANTONIONI: I don't know how it is with
Fellini. I never feel empty. 1 travel a lot
and I think about other films.
PLAYBOY: Arc you сусг bored?
ANTONIONI; I don't know. I never look at
myself.

PLAYBOY: Have you ever known anyone
who has understood you?

ANTONIONI: Everyone has understood me
in his own way. But I would have to
understand myself first in order to judge
—and so far, 1 haven't.

PLAYBOY- Have you many friends?
ANTONIONI: The close friends remain

me

fairly fixed. The older I get, the more I
like people whom we call mezzi matti
—half crazy. 1 like them best because
they fit into my conviction that life
should be taken ironically; otherwise, it
becomes a tragedy. Fiugerald said a
very interesting thing in his diary: that
human life proceeds from the good to
the less good—that is, it's always worse
as you go on. Thats true.
PLAYBOY: You've said your films always
leave you unsatisfied. Isn't that true of
the work of most creative artists?
ANTONIONI: Yes, but especially for те,
nce Ive always worked under f
disastrous. conditions economically.
PLAYBOY: Have all the lost years—the
time wasted fighting against incompre-
hension from producers—left you bitter?
ANTONIONI: J try not to think about it. I
dislike judging myself, but 1 will say 1
would be wealthy today if I had accepted
all the films that have been offered to
me with large sums of money. But I've
refused, in order to do what I felt
like doing.
PLAYBOY: Have you ever been tempted?
ANTONIONI: Yes, often.
PLAYBOY: As far as wealth gocs, didn't
the success of Blow-Up make you rich?
ANTONIONI: I'm not rich and maybe ГИ
never be rich. Money is useful—yes—
but I don't worship it.
PLAYBOY: What's your next film? Do you
мепа to continue working outside
Italy?
ANTONIONI га like to,
bur don't know if ГИ have the strength.
It isn't casy to understand the lives of
people different from your own. Fm
thinking about doing a film in the
United States, as I mentioned carlier,
but I don't know if it will come off.
PLAYBOY: Have you cver considered mak-
ing an autobiographical film, like some
of Fellin
ANTONIONI: My films have always had
an element of immediate autobiograph:
in that 1 shoot any particular scene
according to the mood I'm in that day,
according to the litle daily experi
Туе had and am having—but I don't tell
what has happened to me. I would like
to do something more strictly autobio-
graphical. but. perhaps 1 never will, be-
cause it isn't interesting enough, or I
won't have the courage to do it. No,
that's nonsense, because it isn't a ques-
tion of courage. It’s simply that I believe
in the autobiographical concept only to
the degree that 1 am able to put onto
film all that's passing through my head
at the moment of shooting.
PlayBoy: Have you ever thought about
retiring?
ANTONIONI: ГИ go on ing films until
1 make one that pleases me from the first
to the last frame. Then ГИ quit.

ces

WHAT SORT ОЕ МАМ READS PLAYBOY?

Wherever the good life takes him, a party starts brewing. And the beer he chooses is always
premium. Facts: PLAYBOY leads all magazines in concentration of adult male readers who
drink beer. It draws the fine brewers, too. PLAYBOY is first among all monthlies in beer advertis-
ing revenue. Start a trend of your own. In PLAYBOY—where readers buy. (Source: 1966 В.Р./.)

New York +. Chicago * Detroit + Los Angeles : San Francisco + Atlanta + London + Tokyo

THE SHARERS

MY WIFE ADELE says that if I had ever really made peace with myself, as I keep telling her I have,
I would not refer to myself as “colored.” Instead, I would say, “I'm black" or “I'm a Negro,”
but never "I'm colored." This reasoning stems from the fact that her father was a very light
Jamaican who, when he came to this country, referred to himself constantly as “a person of
color.” Adele is very conscious of any such attempt at masquerade, though I have never heard
her refer to herself as a “Negress,” which term she finds derogatory. She also goes to the beauty
parlor once а week to have her hair straightened, but she says this is only to make it more
manageable, and disavows any suggestion that she does it to look more like a white woman. She,
like her father, is very light.

For Adele's benefit and to correct any possible misunderstanding, I hereby state that Lam a
colored black Negro. I was born and raised in a litle town near Saint Petersburg, Florida, and
the only racial discomfort I ever experienced was when Г was still coming along and was walk-
ing with my sister over a little wooden bridge leading somewhere, 1 didn’t know where, and a
gang of white kids attacked me. They did not touch my sister. They beat me up and sent me
home crying. When my grandmother asked me why I had been so foolish as to attempt walk-
ing over that particular bridge, I said, "I wanted to sce what was on the other side.

1 left home in 1946 to attend Fordham University in New York, where I majored in ac-
counting. I got my degree in June of 1950 and was immediately shipped to Korea. I met a lot of
different people there, black and white, Northerner and Southerner, and the only problems I
had were trying to stay warm and fed and alive. I will tell you more about that later, I met
‘Adele in 1953, when I was discharged; and shortly after that, I got the job with Goldman, Fish
and Rutherford. I still work there. Adele and I were married in October of 1954, and we now
have one child, a daughter named Marcia, who is 11 years old and is having orthodon work
done. I tell you all this merely to provide some sort of background for what happened with
Harry Pryor.

J have always thought of myself as a reasonable man, you see. I am 38 years old; and where-
as it infuriates me whenever I hear a racial slur, I still don't think I would go to the South to
do civil rights work. I'm very content with what I have: a good marriage, a good job, a daugh-
ter who is going to be a beauty, once she gets rid of her braces, a house in North Stamford and
many many friends, some of whom are white.

In fact, everyone in my train group is white. 1 usually catch the 8:01 express from Stam-
ford, which arrives at 125th Street in New York at 8:38. That's where I get oft. The train con-
tinues on down to Grand Central, but I get off at 125th Street, because Goldman, Fish and
Rutherford has its offices on 86th and Madison and it would be silly for me to go all the way
downtown only to head back in the other direction again. There are generally six or seven fel-
lows in the train group, depending on who has missed the train on any given morning. We
always meet on the platform. I don't know where the 8:01 makes up, but when it reaches
Stamford, there are still seats, and we generally grab the first eight on either side of the aisle
coming into the last car. We carry containers of coffee with us, and doughnuts or coffeecake,
and we have a grand time eating our breakfast, chatting and joking all the way to New York.

The morning 1 met Harry Pryor, 1 spilled coffee on his leg.

He is white, a tall person with very long legs. He has a mustache and he wears thick-lensed
glasses that magnify his pale-blue eyes. He is about my age, I would guess, 38 or 39, something
like that. What happened was that I tripped over his foot as 1 was taking my seat and spilled
hall a container of coffee on him, which is not exactly a good way to begin a relationship. I
apologized profusely, of course, and offered him my clean handkerchief, which he refused, and
then Г sat down with the fellows. None of them seemed to mind Harry being there among us.
I, myself, figured he was a friend of one of the other fellows. He didn't say anything that first
morning, just listened and smiled every now and then when somebody told a joke. I got off at
125th Street, as usual, and took xi down to 86th Street.

You may think it strange that a fellow who carns only $200 a week, and who has а
$20,000. mortgage on his house and a daughter who is costing a fortune to have her teeth
straightened, would be so foolish as to squander hard-earned money on a taxicab to and from
work when the Lexington Avenue subway is only a block away from the New York Central
tracks and only a single express stop from 86th Street. Why, you may ask, would a workingman
allow himself the luxury of a taxi ride every morning and y night, which ride costs a dollar
plus а 25-cent tip each way, when the subway costs only 20 cents? ГИ tell you why.

When I was a soldier in Korea, I was very hungry and very cold most of the time. Also, I
almost got shot. So I decided if ever 1 was lucky enough to become a civilian again, 1 would not
deny myself any little luxuries that might make life more comfortable or more interesting or
even just more bearable. The first luxury I did not deny myself was buying Adele a two-carat

(fiction By EVAN HUNTER on the train he was just like the rest of
them, but man to man in a taxi, it was a disturbingly familiar story

91

PLAYBOY

92

engagement ring that cost me $3500.
which was every penny I had managed
to save during the War. Anyway, that's
why [ take а taxicab every morning. And
every night, too. I like to pamper myself.
When you've almost been shot once or
twice, you begin to realize you'd better
enjoy whatever time you have left on this
good sweet earth of ours.

The next time Е saw Harry, he was
carrying a container of coffee and he
looked exactly like the rest of us. He
took one of the seats we usually reserved
for the group and made а liule joke
about my not spilling coffee on
morning, please. I laughed,
still thought he was somebody
In fact, we all laughed. This encouraged
him to tell a joke about two guys in the
men's room, which was really а pretty
good joke. I got off, as usual, at 125th,
and Harry said goodbye 10 me when all
the other fellows did. T took my taxicab
downtown, smoked a cigar and read my
newspaper.

The next morning, Harry got ой at

125th Sweet, too.
Now, don't know whether or not
you're familiar with this particular sec-

tion of New York City. It is Harlem. On
one corner, there's a big red-brick build-
ing that must have been an armory at one
time, but which now houses a gymna-
sium and an association trying to combat
drug addiction, and another associa
tion soliciting clothing and food for the
people down South. There's a luncheon-
сце on the opposite corner and а news
stand and a Loft's on on ide under
the overhead track hot-dog stand
on the other side. И you come stra
out onto 125th Street and s
Avenue waiting for a taxicab, you're out
of luck. Every commuter who was on the
train comes rushing down the steps to
gr ds; it's a
regular mob scene. So what I usually do
walk a block north, up to 126th Street,
nd I wait on the corner there, which is
milar to shortstopping the chow line,
п old trick 1 learned in Korea, where I
as hungry all the timc
ry and I came dow
gether that morning, but I immediately
started for 126th Street, not asking him.
where he was going. because I figured it
none of my business. He usually
rode the train in to Grand Central, but
here he was, getting off at 125th, and 1
didn't know what to think. Maybe he
had a girl up there in Harlem or some-
thing, I didn't know and I wasn’t asking.
AIL I was interested in doing was getting
а taxicab, because it can get pretty chilly
standing on 126 Street and Park Ave
nue in January. I got my taxi within
бус minutes and 1 sat back and lit my
gar; but as I passed the next corner, I
noticed that rry was still standing
there trying to get а cab for himself. I
didn't ask the driver to stop for him, but
1 made a mental note of it, which I

the steps to-

forgot soon enough, because Harry didn't
get off at 125th again until maybe two or
three weeks later,

This was already the beginning of
February, and Park Avenue up there in
lem looked pretty bleak. It is not like
Park Avenue down around 80th Street,
if that’s what you thought. Harlem is a
ghetto, you see, with crumbling tene-
ments and garbagestrewn back yards. 1
have even seen rats the size of alley cats
leaping across the railroad tracks on
125th Sucet, bigger ui the ones I saw
п Korca. But in the winter, in addition
to everything ele, the place gets а
bleak, forbidding look, You just know,
in the winter, that there аге people

i side those crumby buildings.
afraid to come out, because it’s even
colder in the streets. You can stand a
ghetto in the spring, 1 guess, because
you сап w: nd look up at the
sky. In New York, there is a sky above
the building tops and it is often а beauti-
ful blue sky, even in a ghetto. But in the
winter, you are trapped. There is only
you and the four walls and the extra
heat you can maybe get from a kerosene
burner. T never go through Harlem in
the winter without thinking how lucky 1
am.

I was standing on the corner of 126th
and Park when Harry Pryor walked up
to me and said, “Are you taking a cab
downtown?”

I said, "I

take one every
morning.

"To where?" he asked.

“To Eightysixth and Madiso

"Well," he said, "I'm going down to
Eighty-fourth and Park. Shall we share a
cab?"

"Why nor?" I said—first big mistake.

We got into the taxi together and I
ed him if he minded if I smoked a
аваг, explaining that it was my
have a cigar on the way down to work
cach morning. He said he didn't mind at
all; in fact, he liked the smell of a good
cigar; so 1 offered him the cigar 1 would
have smoked after lunch and, thank
God, he refused it

“What sort of work do you do, How-
ard?" he asked, and I told him 1 was an
accountant, stop in sometime and ГИ
figure out your income tax for vou. He
laughed and then coughed politely when
it my cigar. He opened the window a
little, which I really didn't need, as it
80 degrees below zero out-
side, lem looking gray and
bleak and barren as the taxi sped past
the market on Park Avenue, the push-
carts on our right, the sidewalk shop-
Keepers bundled in mufflers and heavy
overcoats, salespils wearing galoshes,
little school kids rushing across the ave-
nuc to disappear under the stone arches
that hold up the New York Central
tracks.
What sort of work do you do?"
ked, beginning to feel the breeze from

the window and wanting to ask him to
dose it, but also wondering whether he
might not then choke on my cigar. As
you can see, my troubles had already
started.

“Im in the travel business" he said.
"I'm a partner in a travel agency.” 1
didn't say anything. 1 had never met a
travel agent before. The one time I took
Adele to Bermuda, I had made all the
reservations myself. Adele had said it
was a luxury we could not afford. I told
Adele there are certain luxuries you have
to afford or you wither away and die
This was before Marcia’s monumental
dentalwork had begun, of course. I
sometimes think that child will have
braces on her teeth the day she gets
married.

“Yessir,” Harry said, "we've got two
offices, one on Forty-fifth and Lex and
the other up here on Eighty-fourth. I
spend my time shuuling between the
two of them.

“Well, that must be very interesting

work," I said, "being a travel agent.”
Dh, yes, it's very stimulating," Harry
said. "Do you mind if I open this w
dow?” The window. it seemed to me,
was already open; but without waiting
for my answer, Harry rolled it all the
. I thought 1 would freeze to
h. It was plain to see that he had
never been to Korea.

"Listen," 1 said, “would you like me to
put out this cigar?"

“Oh, no," he said. “I
of a good cigar.”

Then why are you freezing us out of
this cab, T thought, with the window
open. І thought, like an icebox in here. 1
thought, but did not 1 was very
happy to see the New York Central
tracks disappear underground, because
that meant we had already reached 98th
Street and 1 could get out of the cab
very soon and run upstairs to thc office,
where I knew it warm, because
Dave Goldman always kept the heat at
80 degrees and wore a sweater under his
jacket besides. "The driver, whose head
was hunched down into his shoulders
now because he, too, was beginning to
feel the wintry blast, made a right turn
on 86th and pulled to a stop on the cor-
ner of Madison Avenue, I told him to
hold his flag and then I took out my wa
let and handed Harry $1.25, which is
exadly what the ride cost me every

ijoy the smell

morning and which 1 was, of course,

more than willing to pay for having

had the pleasure of being frozen solid.
Harry said, "Ph
“No, take it,”

An
1 said.

“I ride а cab
what it costs

"No, no," Harry said.
"Look, we agreed 10 share a t
le you pay
“Traveling is my business,
said. “I'll charge it to the agency.”
(continued on page 206)

FZ

“How about it? Are we going to stick to old worn-out ideas
or are we going to reach out for bold new concepts?”

—

Se ma

1
;
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і
Y
ik
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|
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1
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!
Ü

a scientific appraisal of the delights and hazards
of chemically induced ov enhanced eroticism

article By К. E. L. MASTERS nsrory records

few human quests as unremitting or as widespread as the search
for a harmless, effective sex stimulant. Recent claims—such as

de by Timothy Leary—that LSD is the greatest aphro-
disiac known to man have excited much interest in the sexual
potential of psychedelic drugs. Sober discussion of psychedelic
substances was difficult enough before sex entered the picture;
now it is close to impossible. But bearing in mind that there is

great deal more to psychedelics than sex, it might clear the
air to examine the effects of lysergic acid diethylamide—and

several other psychedelic drugs—on human sexual behavior.
Along with the comparatively new synthetic psychedelics,
ncluding LSD and psilocybin, there arc similar mind-altering

substances present in many forms of plant life. Some of these

have been used for hundreds and even thousands of years.

the С: abis h

the opium poppy and several varieties of mushrooms and

vamples are the peyote catu

morningglory plants. Most have been linked in one way or
other with sex.
Whether opium—probably Homer's nepenthe—should be
considered а psychedelic drug is largely a matter of semantics.
ome would-be authorities exclude all addictive drugs, includ-
ing opium, from the class of psychedelics. However, opium
does produce effects similar to those produced by nonaddictive

ILLUSTRATION BY CHET SUSKI

PLAYBOY

psychedelics, and among these are sexual
effects that merit consideration.

Prolonged use of opium results in
mental and physical deterioration, ii
duding impotence. However, before it
takes its toll, the drug can powerfully
and pleasurably enhance sexual experi
ence. No one has described the specific
sexual effects of opium as well as the 19th
Century French Army surgeon and an-
thropologist Jacobus Sutor, who authored
numerous sexological studies under the
pseudonym Jacobus X. “According to
my personal experience," wrote Ja-
cobus, “and from avowals made to me
by many women, both Europeans and
Asiatics, the effects produced by opium
in moderate doses, say from 10 to 20
pipes, are as follows: Under the
influence of erotic excitement, either
direct or merely mental, an erection is
quickly produced, if you want to copu-
lae. But—and this has never been
remarked by any other author—although
the penis is in a stiff erection, its nerves,
and more particularly those of the glans,
are anesthetized by the effects of opium,
and though the erection is strong, the
emission, on the contrary, is much retard-
ed and takes place only after prolonged
copulation. This anesthetic effect is also
produced in the nerves of the vulva, the
vagina and the rectum of the woman,
and the ‘physiological moment’ arrives
. The constrictor muscles of the
vagina, and especially those of the rec
tum, undergo a kind of relaxation.” He
goes on to say that, with larger doses,
more than 15 or 20 pipes, erection be-
comes incomplete; and with 30 or 40
pipes, it is absent altogether.

Jacobus’ remarks also apply to peyote,
to the LSD-type synthetics and, to a
lesser degree, to marijuana. Those under
the influence of these drugs describe the
mild surface anesthesi that is what it
is as a feeling of "rubberiness" that
affects the penis, the female genitals and
also sometimes the mouth, the breasts,
the fingers and other body areas. It is by
no means an unpleasant sensation; often
it is described as heightening feelings of
voluptuousnes. Along with this rubbery
sensation, the genitals, if excited, are felt
to be engorged to an unusual degree.

At least as ancient as opium is
hemp plant (Cannabis sativa or Cann
indica). When used as a drug, it is called
marijuana, hashish and a great many
other names. Sdentific reports on the
sexual effects of marijuana are conflict-
ing. For example, the toxicologist Erich
Hese (Narcotics and Drug Addiction)
tells us that juana and hashish pro-
duce no sexual stimulation whatever;
but another physician-author, Bernard
Finch (Passport to Paradise), declares
that “After several inhalations, a feeling
of sexual excitement develops and the
smoker is able to improve his sexual per-
formance, in that erection is stronger and
more persistent, but orgasm is depressed

and usually does not take place.”

I could provide a great many more
coni g "authoritative" statements on
this matter, although. Finch is the only
writer I know who suggests that mari-
juama by itself produces a condition of
sexual excitation. He also is the only one
10 say that orgasm "usually" does mot
take place.

From many other times and places.
we also have claims that hemp is an
aphrodisiac—and other daims that it is
an anaphrodisiac, an inhibitor of desire
or of potency. But whichever way they
lean, the authors of these claims are rely-
ing on personal predilection, on very
limited interview data or on the verdict.
of some favorite "authority" who has
already made similar errors, We find
the same conflicting evidence from “ex-
pers" writing about the sexual effects
of peyote or LSD.

Anyone who has carefully studied
psychoactive drugs should know that
many different effects are possible, de-
pending on personal, cultural or immedi-
ate tional factors—which are often
crucial in determining drug-state behav-
ior. With marijuana and other psychedel-
ics, people who are sexually stimulated
may find that their stim jon is greater
than usual and that their capacity to
respond has been heightened. Others find
themselves totally indifferent, such as
the writer Théophile Gautier, who took
some hashish and generalized “a
hashish user would not lift a finger for
the most beautiful maiden in Verona.”
The same individual may find that he is
greatly aroused on one occasion and
unexcited on the next. Or his mind may
experience desire while his body is
unable to act in concert with it.

Some cultures place great faith in the
aphrodisiacal effects of hemp; and in
those cultures, the drug often does func-
tion as an aphrodisiac—producing sexual
excitation, enhancing potency and pleas-

ure and prolonging sexual intercourse.
is a

Among Arabs, for example, there is
vast lore of the effectiveness of hemp it
maintaining an erection—the prolonga-
tion of the sex act being almost an obses-
sion with some Moslems. A famous poem
on this subject begins:

The member of Abu'l-Haylukh
remained

In erection for 30 days, sustained

By smoking hashish.

Abu'tHayjeh deflowered in one
night

Eighty virgins in a rigid rite

After smoking hashish.

The poem goes on to describe still more
impressive feats of sexual athleticism;
but underlying its characteristic Arab
hyperbole is some solid fact—hemp can,
indeed, prolong an erection. Besides the
mild anesthesia described by Jacobus,

the male, with marijuana, may feel that
his erect organ is bigger and more rigid
than ordinarily, Sometimes, as happens
with LSD and peyote, too, orgasm docs
not occur at all, which causes him no
great distress, since he feels that this is a
small price to pay for the pleasure he has
enjoyed and the impression he has made
on his partner. She is similarly affected
by the drug and may be especially aware
of the engorgement of her clitoris. When
copulation does not lead to orgasm, both
partners still may achieve it by vigorous
masturbation.

My own data regarding the contempo-
rary use of marijuana in this country—in
terms of its sexual effects—reflect the
conflict in the literature. Individual testi-
monials describe both sexual successes
and sexual failures. Overall, it appears
that up to now, marijuana has been
about as likely to impair as to improve
sexual performance. However, growing
acceptance of the drug may be making
the latter effect the more common. Much
can depend on the user's intention. Some
prostitutes smoke marijuana to eliminate
genital sensation—while at the same
time they give the weed to a customer to
help him become more stimulated. In
this case, it probably works for the male
because it makes him more responsive to
the suggestion that he will be potent—
and simultaneously it may reduce his
inhibitions or anxieties.

It should also be noted, however, that
sexual effects may relate to the potency
of the drug. The strength of hemp prod-
ucts can depend on many things—where
the hemp is grown, how it is harvested
and prepared and how it is consumed.
From one counuy to the next, ог
among regions of a country, there are
great differences in the potency of the
plants. As to consumption, it is believed
that smoking gives the strongest effect,
by altering the chemical composition of
the drug. Research in these areas is now
under way, but results are still inconclu-
sive. The eventual findings may explain
to some extent the different responses
among marijuana smokers. But
vidual psychology will still be a major
factor.

At its best, most marijuana consumed
in the U.S. is a mild psychedelic drug,
affording what is rarcly more than a pal-
lid approximation of the experiences pos
sible with LSD and peyote. The effects
of these two on sexual intercourse are
virtually identical, and а statement
about LSD may be understood to apply
just as well to peyote—and probably to
other LSD-type psychochemicals, such as
mescaline and psilocybin.

I compiled my data on the sexual
effects of psychedelic drugs in a series of
interviews, mostly “in depth,” beginning
in 1954 and continuing today. My infor-
mation is based on more than 300 drug-
state sexual experiences on the part of 94

(continued on page 148)

WHAT DOES IT TAKE TODAY to succeed in politics? Speaking ability, personality, a willingness to work long and hard,
certainly. Leadership ability, a quick mind, television showmanship—these qualities still count, too. But as one who
has been down that political road, I must sadly report that there is something rapidly becoming more important
than all of them: The name of the game is money and the ability to raise it.

In case you don't know it already, the subject of campaign money, who gives it, who gets it and the preposter-
ous bundle of laws that "control" it is approaching a national outrage. These laws and practices, in the judgment of
one who has to live with them, are shot full of hypocrisy, threatening to corrupt many good men in public life, giving
unnecessary influence and power to special-interest groups and lobbies and posing a serious threat to the integrity
of American political institutions.

Hardly a newspaper of recent years has been without headlines about Senator Thomas Dodd and his financial
problems, Representative Adam Clayton Powell and his use of taxpayers’ money, ex-Senate Majority Secretary Bobby
Baker and his reported fund-raising exploits, the $1000 Presidents Club, testimonial dinners, corporate ads in politi-
cal program books, etc. As I see them, these are all symptoms of a basic illness—our dismal and archaic system of
financing and conducting elections. It’s a mess that no amount of patchwork will (continued on page 106)

getting elected and staying in office, a distinguished legislator asserts, is a bank roll—
breaking ordeal—but there is a remedy article By U.S. REPRESENTATIVE MORRIS К. UDALL

97

HOT AND SPRIED

drink BY THOMAS MARIO

playboy creates a cheery profusion of chill-chasing
libations to keep the quaffers warm as toasts

auruoucH the ideal accompaniments for а hot-toddy party
have long been a heavy snowfall and а hearth-warming open
fireplace, these days, any cool evening in the fall or winter is
reason enough for filling the punch cups to the brim with
grogs and nogs. Thanks for this are due the Irish and, spe
cifically, Irish coffee laced with whiskey and billowing with
асап. But even more important in the modern renaissance of
hot wassailry is the ski explosion with its attendant prolifera
tion of slopes, lodges—and parties, And any fall or wint
ring of a picnicky tailgate party outside

football or soccer field, a caravan to or from the ski country—
is perfect for tapping the felicitous pleasures of the Thermos.
In the genealogy of great drinks, there were mulled wines
long before there were martinis. The advantage of looking
back the older forms of warm tippling, particularly
those in England, is that they provide today’s drinking host
with some of the best possible clues to rich entertainment.
One of the oldest hot drinks, for instance, is the bishop. It
an Oxford specialty, and while you didn’t have to be a
bishop to appreciate it, the bowl was used for honoring many

upon

CERAMICS BY BILL BRYAN/PHOT

visiting church dignitaries who came to Oxford. It was a hot
punch of port, lemons studded with cloves slowly roasted and
then combined with sugar and spices. Just before serving, it

was flambéed at the glowi
oranges replaced the lemons,

g fireplace. For an archbishop,
For a cardinal, red claret,
naturally, took the place of the port. But in any case, the
great flowing bowl was Oxford's way of saying, “This is the
special warm libation for the special pleasure of your compa
ny.” In modern times, hot drinks offer the host а way to
dispense a far more luxurious hospitality than guests receive

'APHEO BY Р; OSAR

PLAYBOY

100

the highballs and cocktails routinely
drank around a cocktail table. The mere
sight of a man at the dinner board pre-
paring café diable in a silver chafing
dish, with its cognac, two liqueurs and
spices, makes a party out of a group
of people who would otherwise just be
sipping demitasse

A barman who masters his hot drinks.
must also be something of a spiceman.
"The cinnamon stick replaces the cocktail
stirrer, and the gusto of allspice and
cloves vies with the liquor itself. Her-
rick, in his Twelfth Night, told spe-
cifically in rhyme how the hot drink
called lamb's wool had to be flavored.
Add sugar, nutmeg and ginger/With
store of ale too/ And thus ye must doe/
То make the wassail a swinger." Modern
swingers must, above all, remember that
the fragrances—the genii—o! ground
spices begin to escape when you first
open the spice jar. Such spices as ground
nger or ground cloves will keep a rich
aroma during one winter's drinking ses-
sion. But for wassailing a year hence, the
old jars should be tossed out and fresh
ones put in their places on the spice
shelf. Whole spices, on the other hand,
such as whole cloves and whole allspice,
live то a much riper age. Whole nutmeg
should be freshly grated atop the hot
drink in the cup.

In old English castles, a hot drink of
wine or spirits was always offered w
the bed candles. The job of carrying a
hot toddy and a candle up a steep flight
of circular stone steps was а balancing
act now fortunately outmoded. But the
warm nightcap is still a cherished institu-
tion for both hosts and their overnight
ucsts. А demittsse cup filled with a
blend of warm blackberry liqueur, cognac
and lemon nt prelude to an
unbroken n р

Whatever one may think of the CI
nese, their sense of taste, balance and
fitness at the dining table has destined
them for a special gastronomic heaven.
Foreigners in China were always served
cold drinks when they asked for them.
But the Chinese themselves drank their
native brandy warm—not_ burni
against the lips but just warm eno
that the flavors seemed to Поа
the soft clouds on а silk ра
Which brings up an excellent guideline:
Hot drinks in the saucepan or chafing
dish should be brought to the boiling
point but not boiled. Then there should
be а measured pause during which
they're allowed to cool somewhat before
they're. served.

Like Chinese brandy, warm Western
drinks fit into a colorful variety of meals.
At а smorgasbord party or the special
ndwicheraft the Danes call. smøre
brod, а warm Danish toddy of aquavit
nd cherry heering will kindle a perfect
mood for exploring the subtleties of
Scandinavian herring or Swedish meat-
balls. In the wee hours, when an irresisti

ble стауй

g for something sweet suddenly
overtakes you—and the nearby patisserie
is shuttered for the night—try а warm
crème de cacao nightcap topped wi
cream. And for launching any festive
holiday party, a warm punch bowl exerts
that special form of magnetism that lures
men and women of all tastes to a single
sumptuous drink.

There are still some tories whose
drinking proclivities rebel at the thought
of heating a 12-year-old Scotch or of
pouring a rich port into a warm chafing
dish. There are several ways of breaking
down their prejudice. You may remind
them of such people as Colette, hardly
an alien among the joys of fine e:
d drinking. Colette told how she had
10 wait till the mature age of three be-
fore she tasted her first wine, but that
shortly thereafter, “I learned to quaff my
glass of mulled wine, aron i
namon and cloves, to a dinner of boiled
chestnuts.” Another approach is to have
your unreconstructed bibbers experimen-
tally heat a fine tawny port or а sturdy
I2-year.old Scotch and th arefully
taste the heated and the unheated ver-
sions. Heat does change the flavor of liq-
wor, just as it changes a fresh tomato into
a grilled tomato—a process that isn't
destructive. When Scotch is heared—not
boiled, of course—it doesn't have quite
the bite of Scotch from the bottle; but it
does convey а warm patina that, to
many Scotsmen themselves, is ecstatically
smooth. Port, on the other hand, when
heated seems to be, if anything, more
porty than before. Flavor overtones seem
more, not less assertive.

One of the oldest bar tools for making
hot drinks hot is the loggerhead—a long
iron tool with a cup or a ball at onc end.
Originally, the cup was used, among
other purposes, for melting pitch to be
poured upon the crews of at
naval vessels. Those were the d
men at loggerheads weren't kidding. It's
now remembered as a device used in
fireplaces for the much more advanced
purpose of heating rum flips. In time, the
loggerhead was succeeded by the poker.
But the hot poker’s potential for good
depends upon its being ash-free. Old
pokers with the soot of ages upon them
пу as practical as clean. pokers
ас have never эссп a fücplace and are
made glowing hot in a normal gas flame.
We recommend the poker for reviving
drinks that have become coolish when
kept standing. Keep at least three inches
of the poker in the gas flame three
minutes before plunging it in

In the nat
question of whether the il pre-
ceded the wassail bowl or the other way
around is like the chicken and the egg.
One thing is certain: What preceded
both of them were махай recipes. The
hot drinks that follow designed not
only for bowls but for punch cups, mugs.
silver tankards, sturdy goblets. coffee

cups or demitasse cups Some of
drinking vessels
contain warm conte

he
nterchanged. All
ment

SMERRIED SCOTCH
(Serves four)

6 ож. Scotch

6 ozs. oloroso ог cream sherry
4 teaspoons heather hon
4 об. orange juice

4 dashes Angostura

4 cinnamon sticks
4 slices orange

Heat Scotch. sherry, honey and ог
ge juice until very hot but not boiling.
Stir well to dissolve honey. Add Бет»
Pour into 4 old fashioned glasses or gl
punch cups Add a cinnamon stick and
an orange slice to each glass.

BUTTERED APPLE GROG
(Serves four)

4 ous. apple brandy

4 ors. dry vermouth

8 о. apple juice

8 whole cloves

1 baked apple, fresh or canned, cut
nto quarters

1 teaspoons sweet bur

4 slices lemon

Sugar

Heat apple brandy. vermouth. apple

nd cloves until hot but not boiling.

h of 4 old fashioned glasses or

coffee cups, place 1 quarter of baked ap-

poon butter and a slice of lem

on. Pour apple-brandy mixture into the 4

glasses, Add 1 tablespoon syrup to cach

glass, if canned baked apples are used,

ог add sugar to taste. Stir until butter

dissolves.

MULLED MADEIRA AND BOURBON
(Serves four)

10 ozs. mad

4 ozs. Бош

4 ок. Lillet

1 teaspoon orange bitters

16 ozs. (1 pint) water

4 tablespoons brown sugar

4 cinnamon sticks

8 whole cloves

2 slices lemon, each cut in half

4 pieces orange peel

Heat madeira, bourbon, Lillet, orange
bitrers, water and brown sugar until hot
but not boiling. Into cach of 4 1002.
mugs or metal tankards, place 1 ci
mon stick. 2 cloves and 14 slice lemon.
Fill mugs with madeira mixture, Twist a
piece of orange peel above each drink
and drop into mug:

5

bon

50

THERN BLAZER
(Serves two)

114 ozs. Southern Comfort

ly% ож. coffee liqueur

2 dashes Angostura bitters

3 ors. boiling water

2 pieces lemon peel

2 pieces orange peel
(continued он puge

ond aded. Lit a wel и.

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Nightawrrkons, Nene he ia chown.

pounded am organization.

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ma hee а de

corer to M my tudin Dotto si Lii paesi

Воли cousin Jake indulging im
the amcitmt Heb manniage custom.

PLAYBOY

COST OF BEING A CONGRESSMAN

correct. Your lawmakers—state and
Federal—are partly to blame for this
deplorable situation, but the public
shares а heavy responsibility, too. All of
should join in insisting that funda-
mental changes are made, and made now.
One might counter that we've always
had unsavory things in political finance
—so whats new? Well, escalation is
new, for one thing, It’s not news that
ampaigns cost money, but the explosion
costs over the past 15 years is dramatic
werous. It adds a whole new di-
mension to the problem, Jackson, Lin-
or even Grover Cleveland could
| budget and stand a
ce of success. Lincoln was
elected. President without leaving Spring-
field, and the major parties spent less
than $200,000 total. But by 1960, John
Е. Kennedy had to travel 44,000 miles
and the two parties had to spend more
than $40,000,000. And just four years
later, Johnson and Goldwater found
themselves pouring more than $55,000,000
into their pursuit of the same office.
My brother, Secretary of the Interior
Stewart L. Udall, was clected to Con-
gress in 1960 from the Congressional
rict І now represent—with ап expen-
diture of under $13,000. His partisans
charged his Republican opponent, who
reportedly spent $35,000, with а “blatant
tempt to buy the election." Just four
years later, when I ran for reelection
in the same district, І was opposed
by an able and well-financed candidate
—and I had to step up my spend-
ing. too. 1 can imagine that 1960 loser
ughing when I reported spending
$85,000 and my opponent $5000 more
than that. Even these figures, however,
ile beside those of the hard-fought race
in Virginia's Tenth District last year—be-
tween Congressman Joel T. Broyhill and
unsuccessful challenger, Clive Du-
Val. Total spending: $220,000. Or the
1964 race in New York where Repre-
sentative Richard L. Outinger spent
$198,000 all by himself! Such examples
те becoming more common every year
nd threaten to become the general rule.
Take the case of Milton Shapp. In
1966, this wealthy but obscure Pennsyl-
nian decided to run for governor. Into
a successful. primary against the “organi-
ion" candidate, he poured $1,400,000
{all but $3000 of it his own). He report-
ed spending another $2400,000 of his
money in his losing cffort in November.
(With all due respect to a fellow Demo-
crat who may have made a good gover-
nor. I find his losing the onc ray of hope
in an otherwise forlorn picture. How-
ever, Shapp's campaign manager says the
Republicans spent 400,000, and that
dly lightens my gloom) Nelson
Rockefeller spent at least this much in
his successful 1966 reelection effort.

mood d

106 More and more men of great wealth are

(continued from page 97)

going into politics, and this is not all
bad: the Rockefellers, Harrimans, Ken-
nedys and Scrantons have given distin-
guished public service, just as I suspect
Shapp might have. But we are ap-
proaching the point where only the
wealthy, or those financed by special
interésts, will be able to serv

From these tase histories,
scen that a. candidate's: deci
ements may be
the most important one he makes—
unless it’s the selection of his public-
relations firm. For the era of the political
PR man has dawned with a vengeance.
The best-known invention of this new

it can be

candidate," sold with the same Madison

Avenue expertise that works so well for
a new laxative or detergent. And, as you
can imagine, this new political technolo-
gy has no place for а Lincoln with prin-
ciples, strong views and a desire to talk
tough issues. (“Oppose slavery? Hell,
man, there goes half the cleciorate.") To-
days PR man would laugh Honest Abe
all the way to the elevator.

The new technique eliminates risk
taking. Before a single thing is done, the
PR firm conducts a market survey to find
out not what the country needs but what
а majority of voters at this flee
moment chink they want, Then the can-
didate is presented with a carcfully se-
Iccted list of positions he is supposed to
take. Thereafter, an appropriate “image”
is sold to the public with slogans, jingles,
billboards and all the rest. As опе com-
mentator said, this is like polling high
school students to find out which courses
are easiest and most fun, then drafting
the curriculum accordingly.

An important part of this package
technique is to avoid all debates and all
but the blandest speeches. Hal Evry, a
highly successful Los Angeles PR man,
: "Clients who campaign least win
the most votes." Last year, he boasted
about one dient, a political. unknown
with no organized support, who was
clected without making a single speech
or shaking a single hand. His entire
ed of billboard posters,
telegrams and handbills
IHREE CHEERS FOR PAT
enough money, and

news;
procla
MILLIGAN. Не
he won.

The major Federal governing
elections, the Corrupt Practices Ла of
1925, is a farce. Despite regular viola-
tions of its letter and spirit, there has
never been a candidate or a political
committee prosecuted under its provi-
ns. The Justice Department isn't
about to start, either. This law limits
spending in Congressional elections to
55000 for cach candidate. As my able
colleague Represe Jim Wright of
Texas wrote recen If I told you I

had never spent more than $5000 in a
House race, I'd be a hypocrite. And if I
tually had spent so little in my first
race, Га never have been elected."
The ineflectiveness of this law is
apparent by noting three gigantic loop-
holes: First, it doesn’t cover primaries
— вс real fights in many states. In pri-
marics, the sky is the limit. Second, the
55000 limit doesn’t apply to expen
tures for such “extraneous” items as
printing, postage, telephone and tele
graph expenses, travel or specchwriting.
This is like telling your wife that her usc
of the departmentstore charge account
is limited to $100 per month except for
hats, dresses, fur coats and shoes—on
which there is no limit. As if these loop-
holes weren't big enough, there is an
even bigger one. It relieves me of any
duty to report—or to have anyone else
report—ex penditures of a Udall for Con-
gress Campaign Committee. The phony
explanation, of course, is that I don't

really know what my committee is up to.

And there no Fede
what it may spend.

Congressmet aspirants to unseat
them, lobbyists, businessmen. ordinary
citizens—all of us are caught up in a
financial web. Suppose you are a fresh-
man member of Congress. It's 1968. You
have worked hard at your job, studied
issues, tried 10 represent
your district fairly and diligently. You've
Iearned the ropes and you would like to
continue. What must you do? If your
district is anything like mine (and not
beset with even higher costs), you've got
to lay your hands on something like
$25,000 to $40.000. Either that or your
new political career will go down the
drain.

Or suppose a young lawyer or busi-
nessman, equally sincere and honest, de-
cides to run against you. He's а prisoner,
too. He may believe he can do a better
job. He may think your po е bad
for the country. What must he do? For
him, money is even more important. He
needs “name identification," because he's
a newcomer. But he might as well save
his money, shoes and breath unless he
«an raise $30,000 to $50,000. My ques-
tion to you is: Where would you go to
get this kind of money? Seriously.

Of course, even these amounts are

nall potatoes in some Congressional
districts. And if you want to be a Senator
from New York or the governor of Cali-
fornia, the cause is almost hopeless with-
out a kitty of literally millions. Which.
brings us to the great new phenomenon
in American politics—the superstar can-
didate. Becau it costs so much to
create name identification, particularly
in the big races with large constituc
cies, someone figured out that th
would be inherent advantages to ficlding
candidats who had already achieved

(continued on page 228)

] law limiting

the colonel was in love
with the fascinating french girl,
so— for the moment
—her odd ideas about death

dwt seem to matter

fiction Ву KEN W. PURDY

DONG WAY Ue GORE WAN ОА

HE WAS CARRIED in Burke's and Who's Who as Colonel Sir Albert arles Lancchugh, Bart, C. B. E, D.S.O.,
D. F. C., and he preferred that close friends call him Charlie. There were not many of the old crowd in his circle
now; indeed, only one or two of those who would sometimes put a "Cheerful" before the Charlie, ally at
Boodle's or some such place, and late at night. It was a reference to an old В. A.F. joke. Charles Lancehugh
had been a bomber pilot in Lancasters in the Hitler War. Indeed, his name had been on the roster of 617 Squad-
ron, he had been of the select company that had breached the MGhne and the Eder dams. He had known Hughi
Edwards and Mickey Martin and he had more than once seen Guy Gibson plain; (continued on page 112) |

ILLUSTRATION BY ROBERT ANDREW PARKER,

“Му wife says I'm a great lover. But I'd like to
get a professional opinion."

ARTICLE ВУ J. PAUL GETTY

FAMILIARITY CAN
BREED CONTENT

IN TODAY’S CORPORATE COMPLEX,
THE JACK-OF-ALL-TRADES HAS A GOOD CHANCE
OF WINDING UP THE MASTER

SOME YEARS AGO, a company in which I held a substantial interest was about to embark on ап
extensive plantmodernization and expansion program. A key portion of the program called for a
very large investment in a particular type of production machinery.

Machinery manufacturers had been contacted. They had submitted informat
fications on all their available models. Appropriate executives, engineers and technica
the company had made the customary studies and comparisons and had determi
the best among the models offered. Orders for the equipment finally selected were about to
be placed.

Luckily for the company, one of Из executives—a young man I shall call Howard Tracy—
took it upon himself to voice objections at the last moment. Somewhat timorously—for he м
very junior executive—Tracy went to his superiors and told them he'd learned of an obscure
machine manufacturing firm that had developed, and was even then testing, a vastly improved
model, one that was many years ahead of all existing types.

Howard Tracy reasonably argued that if the equipment under test by the manufacturer
proved out, it would make all comparable machinery—including that which the company was
about to order—woefully obsolete and inadequate.

Tracy's superiors listened but were rather skeptical. They'd never heard of the manufacturer
in question and found it difficult to believe the apparently extravagant claims being made for the
machinery. Nonetheless, they finally agreed to postpone ordering new cq they made
the necessary inquiries and investigations of the machine-manufacturing firm.

In the end, the new model did, indeed, live up to all the claims that had been made for it
and proved far superior to anything of its kind on the market. Naturally, company plans were
immediately revised. The radically improved model—rather than the type previously contem-
plated for purchase—was ordered, eventually received and placed into highly profitable operation.

Thanks to Howard Tracy's last-minute enuy onto the scene, the company was prevented
from making a large capital outlay for machinery that would have been soon rendered obsolete.
Instead, the company obtained the very latest and finest equipment well ahead of its competitors
and was able to greatly increase output even while lowering production costs and, consequently,
prices.

Now, as good an example as this is of an individual executive's alertness and enterprise, it is
not yet the full story. You see, Howard Tracy was not a technical expert or an engineer. He was
not even a production-side executive. Odd as it may sound, he was actually employed in the
company’s marketing division. His duties were concerned with sales, not with production.

When the incidents I've just described were brought to my attention, I determined to find
ош more about Howard Tracy. 1 learned that he did his own work extremely well—even bril-
liantly. He had a fine record with the company and was already marked as a “comer.” I made
arrangements to have lunch with him one day.

“You've probably saved the company quite a bit of money—and you've certainly been instru-
mental in placing it in an excellent position producti "1 told him when we met. Then I
“But how is it that you know so much about machinery?

T actually know very little about it,” the young man confessed amiably. “You sce, 1 was pres
ent at several meetings where the plant-modernization program was discussed. 1 figured it would
be a good idea to familiarize myself with the production end and did some reading up on the
subject. That's how I ran across the item about the new machinery."

In the course of his "reading up,” Tracy had come across a small machine manufacturers
trade journal that had a very limited circulation. It was from a story in this publication that he
first learned about the newly developed equipment. Realizing its potentials and implications, he'd
done some additional research on his own time—and had then gone to his superiors with the
information he had gathered.

Further conversation with young Tracy demonstrated that he had a keen interesi
pany and just about everything that could affect it, its operations or its future. He was not just
other marketing-department executive, He obviously had a remarkably dear understanding of
ll phases of the company's activities and was eager to increase his knowledge wherever. possible,

1 recognized that this was по narrowly limited specialist with а straitjacketed ima
He was not burdened with any builtin blinders that prevented him from seeing anything but the

n and speci-
I experts of

the com-

109

PLAYBOY

no

comparatively restricted horizons of his
own particular job and departmei

Before our luncheon meeting was over,
1 Knew that Howard Tracy was an excep-
tional young executive and felt that he
was very probably headed for the top.
My judgment was fully borne out in the
next few years, during which time Tracy
moved with remarkable rapidity into the

ppermost echelons of corporate manage-
nee 1962, hc has been the head.
of a large and steadily growing company
and he has not yet reached his 36th
irthday,

Granted that Howard Tracy had all
the basic equipment to make him an in-
telligent and able executive. However,
I'm inclined to believe that his spectacu-
г rise can be attributed in no small
degree to his drive to acquaint himself
with all aspects of the business in which
he chose to make his career. His desire
10 be familiar with the requirements, op-
erations and problems of departments
other than his own, of the company and
the industry as а whole, did much to
help boost him to the top of the heap.

"There is an old adage that holds that
“familiarity breeds contempt.” ГИ agree
that this is true in some instances and
under certain conditions—when the
word “familiarity” is used to connote
undue intimacy.

But the word has other meanings as
well. It is also defined as meaning a close
or full acquaintance with something.
When used in this sense, it can be postu-
lated that familiarity is quite likely to
breed content rather than contempt.

Nowhere is this more evident or valid
than in business and among business-
men.

All else being equal, the company
whose executives are most familiar with
the multitudinous facets of its operation
is the company most likely to survive
and thrive, even in the face of the heavi
tst competition and under the most
tying economic conditions.

Again assuming other considerations
to be equal, the executive who most
thoroughly familiarizes himself with the
diverse [actors that could involve or
affect the company for which he works
is the executive most likely to achieve
success in his business carcer.

Тһе ideal businessman, the one with
the 100-percent-plus assurance of attain-
ing success, would, of course, be the
man who was completely familiar with
everything that had even the remotest
conceivable connect with or influence
his business. Necdless to say, there
«an bc no such ideal businessman, for
the complexity of modern business pre-
cludes any mortal from grasping and fol-
lowing every detail of the constantly
changing present-day business picture.

Nevertheless, the man who hopes to
rise above the lower-middle echelons of

on

business management must be familiar
with countless facets of his company's
operation, the field or industry in which
it is engaged and general economic
trends and condition:

It is by no means enough for the exec-
utive to know his own job thoroughly. If
that is all he knows, the job he holds is
the only one for which he is at all suited.
And, even then, unless the position is
one that requires no imagination or en-
terprise, he will not be able to perform
the job well. A man with narrowly lim-
ited perspectives cannot move beyond
those limits, and the course of his career
is charted for him—to a dead end.

What, then, are the matters with
which an able and ambitious executive
should familiarize himself?

Precise answers to this question are
difficult to provide, for they would neces-
sarily differ greatly from one instance
to the next. Nonetheless, there are cer-
tain basics, certain areas with which
every executive should be familiar if he
aspires to reach the top brackets.

I have listed some of these basics be-
low. While their relative importance will
vary with each individual case, they are
all valid and, to a greater or lesser
extent, all universilly applicable.

1. One's own self. The business exec-
utive must be able to honestly appraise
own capabilities and limitations. He
should form the habit of periodically
making an objective inventory of himself
—doing it, if necessary, literally, using
pencil and paper. The debits and credits
should be noted and taken into account.
Traits, qualities and characteristics ©
the plus side should be exploited to the
full, while every effort should be made
to correct those that appear on the minus
side of the real or imaginary ledger.

One extremely successful. businessman
I know tells me that he has been rating
himself every six months for the past 20
years. His method is simple: He uses а
standard personnel evaluation sheet—
and grades himself in the same manner
as he would а subordinate employee.
He claims this private system of self
evaluation has enabled him to recognize
па capitalize on his strong. points and
to identify and thus пу to correct his
deficiencies. He declares the system has
worked wonders and has contributed in
no small degree to his success.

Whether or not an executive actually
writes his personal inventory down on
paper isn’t important. И is important
only that he know himself well cnough
to be able to plan a logical and attain
able program for his own development
The pla a
ised as the
i in light of additional
knowledge or experience he has gained.
But he must have a plan that charts his

ble;

course. If he does not have one, if the
executive is not totally familiar with
his own strengths and weaknesses, his
capabilities and shortcomings, he is very
likely to flounder aimlessly and his
reer will be mediocre, because it has no
direction or ordered, rational basis.

2. Job. It hardly need be said that an
executive must know his own job thor-
oughly. But it is not sufficient for him to
ow his own duties and responsibilities.
He must be familiar with their sig
nificance in relation to the company's
overall policies and operations. Further-
more, there should be nothing passive
bout his familiarity with his job. He
must never be satisfied with things as
they are, but must be constantly alert
and seeking ways by which he can do
his work more efficiently.

3. Department or section. What holds
for the executive's own job also holds for
the section or department in which he is
employed, He must be familiar with the
operations of his department and under-
stand clearly how they function within
the company and in relation to other d
partments and to suppliers and customers.

4. The company. It is difficult—and
not infrequently impossible—to make an

ntegral part of a complicated machi
ction properly unless one is fami

fi
with the workings of the entire machine.

I doubt seriously if an automobile
mechanic could do a very good job of
tuning a carburetor unless he was
acquainted with the principles of the
ternal-combustion engine.

And so it is with the business exear
tive. The business firm, the company, is
a complex functioning apparatus made
up of many interdependent and interact-
ing parts. In order to perform his duties
properly, the executive must be com
pletely familiar with the company as a
whole—with its history, organization

policies and operations. The more he
knows about these things, the better he
will be equipped to accept increased ге.
sponsibility and. to direct larger segments
of the whole—and, eventually, the whole
itself.

5. Personnel. In a sense, every execu
tive is а personnel manager. He must
deal constantly with personnel on three
separate levels—his subordinates,
viduals who are his equals on the org:
ion chart and, finally, his superiors.

The good executive makes it his busi-
ess to be conversant with the responsi
bilities and problems of those under
He will even take а personal inter
the welfare of his subordinates. Nothi
builds employee morale faster th
boss who remembers that the ja
wife had a baby а week ago and ta
trouble to ask the proud father how
mother and child are coming along. Such

(concluded on page 212)

French Revolution

for the boulevardier—a winning winter duo by pierre cardin

REVOLVING through the Playboy Buildings portals, our well-
dressed man with an сус for beauty goes around in the best of
fashion circles elegantly garbed in two of Pierre Cardin's latest
offerings: a wool cavalry-twill coat with deep inverted center pleat,
action back and coachman's collar, $200, and а rakishly shaped
velour-finish felt chapeau, $35, both by Cardin for Bonwit Teller.

attire By ROBERT L. GREEN

PHOTOGRAPH BY 4. BARRY O'ROURKE

ni

PLAYBOY

nz

DONG IRI WP (continued from page 107)

indeed, he had eaten and drunk and
flown with him.

L nk of the
years of the War. His mind didn’t run
that way; he was not of a reminiscent
nature. His conscience hurt, 100. Guy
Gibson, now, probably the greatest bomb-
er pilot who ever flew, did not live to see
the end of it, while he, Charles Lance-
hugh, not only had survived the War
but never | had a scratch in it И
was held an actuarial impossibility sig-
nificantly to exceed 90 bomber missions,
| done 108 when they
m off ops. He had once brought a
ster back from Bremen holed in
nd he the only man in her
A ground crewman
said the plane looked like a slaughter-
house in which the animals had been
winning.

Lancehugh knew, too, that he had
been instrumental in the killing of many
thousands of people, most of them old
men, women and children, the bombers’
inevitable victims in that War, and the
maiming of many more. He did not ac
cept the ultimate responsibility, arguing
hall seriously that it properly went to the
bomb aimer. Still, it was he who had
brought the bomb aimer over the roof-
tops and had held n there while he
did his deadly work—for these dceds,
Lancchugh sometimes thought, They, or
He, or Whoever, might exact rctribu-
n; but if such were the co: nten
it was slow in coming. The prospect,
if it were a prospect, caused Lancehugh
small concern. He was not an intro-
spective man. He didn't often worry.
He knew the old-fashioned kind of sec
rity: One had been in the right places all
one's life, in the company of the right
people; one had done the things properly
expected of one and, of course, one had
enough money, one was quite beyond
y possibility of financial embarrass-
ment. Security is the absence of the other
thing, and there was nothing in life of
which rles Lancehugh was afraid.
And beyond, certainly nothing. And not
death. The manner of it, well, possibl
possibly. The idea of combined age. p:
and helplessness did not enchant him.
Whom does it enchant? He was re-
nded of a harsh gray day in officers’
ng, a howler out of the southeast
flinging rain like broken glass, a bayonet
instructor screaming, Give it to them
the belly, lads, they don't like the cold
steel in the belly and somebody in the
rear rank shouting, Who does, you? and

ancehugh didn't often th

the serg p. Who said Ша?
Who said. that?

So, wrapped in м aghts,
Charles Lancchugh walked across Green

Park. It was his favorite park, as
ized a place, he considered, as was to be
found in thc most civilized of citics. Не
had been making for the In and Out

dub, but it was a fine bright day, and at
the last moment, he decided he would
walk along Piccadilly to Scou's instead.
He spun slowly through 90 degrees on
one heel and set off, looking not quite
what he was. He was lean and moved
well; he had an air about him, an ele-
gance. Wyser & Bryant cut his suits—
formed waist, slanted pockets, slit and
cuflless trousers, а mode onc would have
thought meant for a 20 years
younger. He wore his bowler in the man-
ner of a Guardsman, tipped in front.

It was still early when he came to
Scott's, not 12:15. He took a table in the
Window Room and asked for a pint of
Taittinger. Four others had been seated,
all men. Two of them, together, had
something to do with films, Lancehugh
decided. The others were by themselves
and could have been anything. He
thought they looked dull, and chided
himself for it. How could one know?
Among the biggest bores he could re-
member, Lancehugh had to place Sir
Peter Bellair, extraordinary looking Fellow
ixsix, red beard halfway to his belt,
brightblue eyes, and an idiot. Or take
Топу Bronson. Tony Bronson had been
made а К. B. E. for unspecified work in
the Foreign Office. In fact, Lancchugh
knew, he had been a disposal man for
M-6. He was a government assassin,
plain terms. He lool
third-rate public school and he wa
lutely fascinating. Lancehugh took a sip
of champagne. It was good, and cold as
iron. Lifting the glass had pointed his
cyes toward the door. A girl stood there,
alking with the maitre d'hôtel. А brown
haze seemed to float around her: brown
gold hair, tanned, a wheat-color suit of
Some sort. But too young to bc interes
ing. Lancehugh picked up the menu. He
had decided he was going to have a hell
of a big lunch, and he was ordering it
when he was called to the telephone, Et
was a short conversation and he felt sad-
ly resigned when he hung up. trying to
tell himself that he'd known all along he
should have gone to the In and Out. He
explained the situation ro the maitre
d'hótel and the man led him to the girl's
table.

"Mademoiselle
tel said.

The girl nodded.

“May I present to you Colonel Sir
Albert Charles Lancehugh?”

Lancehugh took over. “Mademoiselle,
he said. “I believe you have a luncheon
date with Mrs. William Marchant. Mrs.
Marchant is my sister. She is, I'm sorry
to say, indisposed. She called the restau-
rant to apologize to you. She was told
the house . . . 50, you scc

mai

ed like a teacher in а
bso-

Faucon?” the maître

d

-.. may I express my sister's regrets and
ask you to join me for luncheon?”
“I am so sorry to hear this” Mlle.

Faucon said. "It is nothing too serious;

"Debby broke
Lancehugh said.

"What a pi - Faucon said.
ат sorry. You are sure it is no trouble, il
I have lunch. with you?”

“It would be a great pleasure for me,
Lancehugh said. An hour will do it, he
thought. Stuff a chop and a salad into
her, a sweet, and аи revoir.

Mlle. Faucon had sherry, a small tu.
reen of crème portugaise, sole veronique,
leaf spinach, a serving of salade niçoise
and a big cut of camembert. With colfec
she took calvados. She atc deftly and

sallicisms aside, her

ankle, I'm afraid,

English less She was not more
than pretty, Lancehugh thought, but she
had a notably bright and lively air. She
made а remarkable impression of interest
in what one was saying. and by the time
the first hour had passed, he had begun
to admire her rather warmly. This admi
ation was rooted in something she had
not said. The girl was in London, his sis-
ter had told him, on invitation of friends
who wanted to help her over the deaths
of her mother and father, ten days since,
п а motorcar accident, They had rolled
Off a lacet in the Maritimes. Го make not
the slightest reference to this bereave:
ment was, in his view, wholly admirable:
reflected courage and taste remarkable
а one so young, Well, she might be 29.
even so.

she smiled, her whole face
nd her eyes Gime down to
Sometimes she turned her head

MSO,
When

her eyes did thi
might hold her chin on the end of two
fingers. She had stronglooking hands,
lean and brown, like the rest of her. She
had a mannequin's build; long legs.
small hard little breasts, swanny lookin
neck.

“I shall be in London for another six
days,” she said. “Then Г must go back to
Paris. | must work. I mis working. I
suppose everyone does."

“I don't," Lancchugh said
What an idea, miss working!

"Do you work?"

"Yes. I do. But at different things,
when 1 want 10. T never miss пог doing

Nota

nd

work?”

doctor?”
She laughed. “1 am. I'm on the май of
hospital and all. You're surprised."
"E am, ar that”
"You don't think it

thetic,

iy work for a

“I shouldn't say that. It just doesn’t
g, very inter
ing people ether. . . 7
"Ether!" She crinkled up and laughed
an't remember
(continued on page 234)

well, very deman

fiction By ROBIE MACAULEY the scene at the club was just like new year’s
eve—everybody talking a mile a minute, laughing and slapping each other on the back

тг was ^ bay of fantastic good luck. Such marvelous fortune as I could hardly remember in all my 38 years. I
almost got a kind of religious feeling about it, as if you could see the Hand of God. I remember when I heard the
news I just sat there in my desk chair like 1 v
recede, the sun break through and the trees and meadows turn green with hope. That was the way it struck me,
sort of like a vision.

‘The day hadn't begun in any special way that I recall—at least there weren't any special omens around. I remem-
ber that I got out of bed and touched my toes 20 times, the way I always do. Then І wandered around the house not
in such a good humor. 1 knocked at Sissy's door and yelled at her to get up. Kid would stay there until she got bed-
sores if somebody didn't yell at her. Then I went out on the sun-porch and saw Bud bouncing a tennis ball against
the garage door instead of finishing up the homework he hadn't done last r
him an old-age pension to get him out of the seventh grade. 1 opened the window and told him what Г thought
about people who bounced a damn tennis ball around instead of doing their work,

It sure was a pretty November day, Г had to admit. And maybe, after all, it did you more good to fool around
with a tennis ball than study some ol those half-baked things they give them in school nowadays. He had to write
а report on the UN last month; І wouldn't be surprised if there were Communists in the schools even down here.

The sun made me feel a little better, though. And there was a good, rich smell in the kitchen—Georgina with
and bacon on. “Miz Huber just get up. She say you go ahead and

s in a trance, just as if I could sce the clouds roll by, the black waters

ht. At that rate, they'll have to give

the cofice perking and the eggs Georgina

told me. No news—it happens that way every morning, but Georgina knows it makes (continued on page 213) 113

november playmate

kaya christian’s a champ
at any water sport—
and a finely developed
photo-lab technician

Whatever the situation, Kaya Christian dis-
ploys an unmistokoble—ond justified—air
of self-assuronce. Below: On the job, aur
November miss deciphers control strips
fo ensure consistency of film processing.

A CHAMPION swimmer
the age of И, Kaya Christian по
longer competes in organized aqua
But when she's not laboring in
acombish darknes of one of the
West Coast's largest. photo-processing
labs, this 21-year-old native Califor-
nian heads for the nearest beach or
pool. Already accomplished in water
ballet, Kaya became a licensed scuba
diver shortly before we went to press,
thereby fulfilling a lifelong ambition:
"When I'm submerged, J let myself
go—no cares, no anxieties; the Pacific
is like а second home to me.” When
she’s not in the darkroom or in the
water, Miss Christian likes to unwind
—at her bachelorette pad in Beverly
Hills—to contemporary pop sounds
("Lou Rawls, Ramsey Lewis, The 5th
Dimension and a local group that
hasn't made the big time yet—Phase
Threc—can really flip me out’) or
with paintbrush in hand (“I’m really
just a dabbler”). Kaya’s conception of
a gratifying date is engagingly uncon-
ventional: “Dinner at Scandia, a night
cruise to Catalina, then а return trip
in time to greet the milkman in the
morning,” She wasted no time accept
ing FLAYBOY's invitation to grace our
November gatefold, and thereby an
swered the question about what a gen.
teman should or shouldn't offer a lady

—whose dad is o religious
educator—enjoys being o woman and is most articulate when describing what she wants most: "Whaever the man is, he’s going to be very am-
bitious, well read and well traveled, с connoisseur of foods and wines ond extremely sporis-minded. On top of that, he's got to be mature ond
hove a shorp sense of humor. It may sound like on awful lot to ask—but I’m sure thot 1 hove a lot to offer, too." We can’t argue with that

Following a hard day's night at the photo lab—where, in addition to recording temperatures and examining negatives, our favorite quality-
control technician recommends corrective procedures as needed—Kaya takes the kind of pause that refreshes her most: a dip in the Mc-
Cambridge Park Swimming Pool in Burbank. Poised on the board, then executing a perfect swan dive, Miss November artfully exhibits her
championship (3514-23-34) form. As a swimmer, Kaya set a Georgia state record for the backstroke when she wos a precocious 12-year-old.

MISS NOVEMBER млувотз ғ.лумате or THE MONTH

At Sportsmen’s Lodge in North Hollywood (above), where guests can fish for their dinners—or, if they prefer, take their catches
home—Kaya tries her hand at angling and comes up with a trout. Below: Miss November digs an occasional weekend of sun-
soaking and water-skiing on the Colorado river, below Parker Dam in Arizona. The hip set at Parker congregates at Fox's, a night
spot that floats on the river itself (""Occosionally," says Kaya, “too many people make the scene and the place starts to sink”).

PLAYBOY'S PARTY JOKES

As the young couple parked in a crowded
lovers lane, she sighed romantically: "It's lovely
to the crickets.”
her date replied.

“Those aren't
“They're zippers.”

Our Unabashed Dictionary defines pot roast
as a cookout for grassheads.

Then there was the gay fellow who redecorated
his bathroom and has His and His towels.

A beautiful but obviously overwrought young
woman tearfully admitted to her doctor that
after almost a year of marriage, her husband
had not yet made love to her.

No wonder you're nervous and upset,” said
the astonished physician. “Bring your husband
to my office tomorrow afternoon and ГИ have a
talk with him.”

The following day, she returned with her
husb:

“I dislike prying into your personal life, my
good man," the doctor said, "but you're not
fulfilling your marital obligations.”

"What do you mean, doctor?" the naive hus-
band replied. “I'm considerate, gentle, devoted
and a good provider."

"But what about your sexual obligations?"
the doctor demanded.

“I don't understand,” the husband replied.

The doctor tried to explain, but the husband
was too stupid to comprehend.

‘All right,” said the doctor at last, in exas-
tion, "then ГИ show you."

He then asked the pretty wife to disrobe.
After she had wriggled out of her clothes, the
good medic proceeded to make passionate love
to her. When he was finished, the doctor said,
"And that's what every married woman needs
at least twice a week.”

Seeing the happy glow on his
the husband could only agree.
doctor," he said, “м
another treatment.”

"s face,

ery well,
"ll be back on Friday for

Our Unabashed Dictionary defines stick shift
as one of Twiggy's dresses.

Walking up to the hardwarestore clerk, the
attractive female asked: "Can you give me a
screw for a doorknob?

“Sure,” replied the derk, "and if you're
good, ГИ buy you dinner besides."

Dressed as а pirate for Halloween, the small
boy knocked on a door and was greeted by
a matronly woman. "Aren't you a cute little
pirate,” she ‘But where are your
buccaneers?”

To which the little boy repli
bucan hat.”

"Under my

The rising exec married а co-worker's ex-wife,
and his spiteful predecessor persisted in re-
minding him that he had received secondhand
merchandise. “Hey, George,” quipped the first
husband one day at lunch, “how do you like
handling worn goods?"

“Is great" George replicd, "once you get
beyond the used part."

Our Unabashed Dictionary defines synonym
as a word you use when you can't spell the
other one.

A sexy female attorney we know consistently
breaks speed limits but never gets a ticket.
Every time a policeman stops her, she simply
lays down the law.

The trouble with Harold,” commented the
svelte model to her roommate, "is that once he
starts kissing you, he never knows where to
stop.”

That's funny,” countered her friend. “The
ime I went out with him, he found a great

pr 7928
Our Unabashed Dictionary defines rape as an
unnegotiated piece.

Then there was the fellow who loved the beau-
tiful cellist—especially when she was on her
Bach.

Our Unabashed Dictionary defines marriage
an expensive way to have a woman for nothin,

A pretty actress, fearing she looked too thin
on camera, asked her director to do something
to fill her out. He did, and now she’s insist-
ing he marry her.

Heard a good one lately? Send it on a post-
card to Party Jokes Editor, ттлувох, Playboy
Building, 919 №. Michigan Ave., Chicago,
Ill. 60611. $50 will be paid to the contributor
whose card is selected. Jokes cannot be returned.

“Now that's what I call a happy ending!”

124

ADIES AND GENTLEMEN, our first num-
L ber is based on the traditional
nineteen—nineteen beats to the bar. The
subdivision goes like this: three, three,
two, two, two, one, two, two, two. Actual-
ly. that's just the area code.” (Laughter)
"And that's the name of the piece.” This
is Don Ellis, trumpet in hand, addressing
the crowd at the 1966 Monterey Jazz
Festival.

Ellis then turned his bearded young
face to his band and illustrated sim-
plicity lost by shouting off che temp
“Three, three, two, two, two, one, two,
two, two.

It was Ellis who, in the nottoo-distant
past, named the jazz of the Sixties the
"New Thing.” Lets se whats new
about it

As most of us know, jazz was born
around the turn of the century in whore-
houses and at Southern funerals and

parades, a folk music conceived in Africa
As all of us know, it was taken North on

THE New
THING

inside the “ins” of

„Јат-оиї jazz: their music,
motivation and influence

article BY MICHAEL ZWeRIn

the Mississippi and it became popular—
the music of the 20th Century.

In the Twenties, European harmonic
devices were introduced and а jazz giant
such as Bix Beiderbecke could reflect the
influences of Ravel and Debussy. But it
was still primarily a good-time music—
music to dance, drink and make love to.

Carnegie Hall—1938. Benny Good.
man's famous concert launched the ca-
reer of jazz as listening music. It was the

beginning of a revolution, a revolution
that developed slowly at first, however.
In the Thirties and early Forties, jazz
remained basically as it had been. But
further change was inevitable,

Bebop arrived in the mid-Forties—
Charlie Parker, Dizy Gillespie, Thelo-
nious Monk and dissonance. Chord
changes turned more intricate, the beat
more subtle. One had to know something
about music in general and about the
rules of bebop in particular to fully
understand it. For example, it helped to

ILLUSTRATION BY MARTIN HOFFMAN

know that Miles Davis Little Willie
based on the chords of All
hildren Got Rhythm. It was es-
ial, to appreciate the brilliance of his
inventiveness, to w Charlie
Parker substituted his own more compli-
cated chords on whatever songs he played.

The physical—the swing—still pre-
dominated, although somewhat more
disguised. Jazz was still in the tradition
of Broadway—song.and.dance music, sing-
along music, partying music. But it
was changing, no longer solely an intui-
tive thing. Musical knowledge, technical
proficiency and general intelligence were
more necessary. It became increasingly
helpful to know how to read music. Jazz
was growing up. And it was moving
inexorably toward the concert stage.

Miles Davis was the big man on the
scene in the Fifties, In his group were
the late John Coltrane on tenor saxo-
phone and one of the strongest rhythm
sections ever assembled: Red Garland,
piano; Paul Chambers, bass; and Philly
Joe Jones, drums. The group was free.
physical, intellectual—and they commu-
nicated. They were modern as modern
should be; Saarinen’s TWA Terminal at
Kennedy Airport, Giacometti’s sculpture.
Clean open spaces, beautiful lines, com-
plicated design simply projected, grainy
textures. They played melodies and still
worked largely in saloons.

‘Then, ten years ago, Ornette Cole-
man’s first record was released and the
revolution was in the streets. Coleman
marked the end of the necessity to use
any chords at all. The record itself was
revolutionary in impli n rather than
i ng of bebop-type
melodies played in a more or less tradi-
tional manner by Coleman's alto and
Don Cherry's trumpet. However, the so-

п many places were free of chordal
ations, and these places were si
posts indicating the road jazz was going

to follow in the future.

In a development perhaps not as well
known but equally important, a drum
mer named Sunny Murray broke through
the time barrier in the early Sixties and
stopped playing anything resembling a
regular pulse.

No chords, no beat, nothing to whis
tle, no objective standards. Complete ab-
straction came to jazz im the Sixties,
about 50 years after it arrived on the
painting scene.

Of course, people continue playing
other ways and many remain creative:
Coleman Hawk Art Farmer, Dave
Brubeck, Cannonball Adderley, Oscar
Peterson and Miles Davis, for example.
However, they are no longer in the van-
guard. The mantle of modern has been
taken from them by those who demand a
greater freedom of expression, who do
not want to be tied down to somebody
else's rules. They wish to be composers,
not interpreters. They are searching. So
far, however, the main discovery seems 195

PLAYBOY

125

e been а new way to utter chaos.
inter and ex-jaz musician Larry
Rivers comments on the situation this
way: “Ornette Coleman seemed to pro
duce absolute apathy in a lot of people.
1t happened earlier in painting and in
‘serious’ music. You don't know what it's
about—notes or what. I don't mean to
put that music down, but when а
style of art had interest for a group of
people, you mean to say that after it loses
its frontpage value, it’s no longer valid?
If that’s true, life seems hopeless. . . .
‘Then the sort of Broadway version of life
and art—she had her day—is that all
there is to it? 1 don't know. . . . I can
see, though, how the whole thing about
chorda] structure can seem silly... . Art
has expanded. We've included more
things because more things have become
boring. There had to be other places for
men to go to bring back a lile delight,
so they began experimenting with other
igs. Broadening the arena.”

An article about the New Thing in
The New York Times Magazine was
headlined “Black, Angry, and Hard to
Understand.” This is misleading.

Integrated bands are not unusual

White trombonist Roswell Rudd works

with Archie Shepp's group, bassist Dave
Izenzon with Ornette Coleman. There
re other examples. So the music is not
black." Negro poet LeRoi Jones shouted
black-nationalist slogans in Down Beat
and on record liners for а while, linking
his political and social ideas to the new
music. However, they were his ideas,
and it was not his music. He was using it
for propaganda. The music is better than
propaganda and most of Jones! musician
friends have since disassociated them-
selves from him over that issue.

The music sounds angry at times, it is
true, but those who play it, almost with-
out exception, belie that label. They are
of the left, most of them opposed to
the Vietnam war, opposed to the traffic
ticker-fixer personality of Lyndon Baines
Johnson and concerned with the
ng tension between the races
country. But who isn't? So n
are angry and frustrated these days. The
layers reflect the time, as does

The music may be somewhat hard to
understand. Anything new is. But there
are basic observations to be made
Cherry is softspoken, lucid and
ent. Brought up poor in the Watts
district of Los Angeles, Cherry has not
been made any richer by his art. But it is
clear that he is totally committed to it.
His eyes gleam as he speaks. “То me, the
New Thing is just another way of saying
‘music today.” There really is no such
thing as new music, just music ‘now.’
The Swedish word nu means ‘now. 1
think of myself as playing the ‘now
thing." ”

Coal-blac
phonist M.

h clear eyes, alto saxo-
ion Brown lives in a loft next

door to where Cherry lived, in a commer
cial district near the Brooklyn end of the
ancey Street bridge. "The area
dark, permitting al
pi icing. However, Marion Brown is
istening to Mozart on FM radio as he
paints his pressed-tin ceiling. He lives out-
side the establishment by choice, Until
such time as it will accept him on his
own terms, he will remain outside. With a
bachelor's degree in music education from
Clark College in Atlanta, Georgia, his
home town, he could earn a more-or-less
comforttble middle-class living if he so
desired. But he has chosen to live the life
of the avantgarde. “I think of myself as
an opera singer—a coloratura,” he says,
turning up the Mozart. “I am concerned
with arriving at the abstract ly:

Lyricism is scarce in the new jazz,
however. John Coltrane, who died this
past summer at a tragically young 40,
andoned his rich melodic communica-
е bag of the Fifties and, reflecting the
predominant characteristic, shouted ab-
stract energy in the Sixties. His solos be-
came loud and harsh, crowded notes
crushed by honks and screeches, com-
taining little of what is traditionally
thought of as beauty. And they often
lasted as long as an hour. No compro-
mises with the market place. Speaking in
a pianissimo curiously unlike his music,
he said: "I don't know what the New
Thing means. I don't feel that what I
play is necessarily even jazz. I'm merely
tying to understand music—I'm just
playing music. І have a desire to go to
the basic elements of music and come
out with value, to go right into the heart,
strip myself of the old and be truly crea-
tive. That's what the New Thing is
about, I suppose. To me, though, the
word ‘jazz’ doesn't define anything. It's
only music.”

Jimmy Giufire is another established
star from an older school who left a com.
mercially accepted style in search of
adventure in abstraction. He has a pale-
white face, neat gray hair and a manner
n keeping with his part-time role as
teacher at the New School for Soci
Research. “The new jazz does not. neces-
sarily have а steady beat or chord progres-
lt is at least partially abstract. 1
played totally abstract music for a few
years and some people had the impres-
i at I wasn't interested in communi-
cating. Although ФВ wasn't true, I
understood what they meant. I have been
thinking for some time about putting
more recognizable forms in my music.
"This has resulted in my new group, with
which I use more established and famil-
iar elements—as a dialog, mostly. Some
people relate to pure abstraction—they
find enough in it alone—but in general, 1
don't think I had enough familiar ele-
ments in the past to keep my nce."

The New Thing isn’t concerned with
I Got Rhythm or Stardust. jazz is now

serted абе

separated from Broadway, from 32-bar
tunes, from simple melody, from tonali
ty. In a recent television skit about jazz
Sid Caesar was satirically per
ceptive when he said that one of the cats
in his band plays radar "so he can
warn us if anyone is approaching the
melody:
Where, indeed, is the melody? Who
cares? With freedom has come alienation
—alienation from the past and from the
audience. Real freedom includes the
freedom to make rules. and rules are still
lacking. Too often, the new music tears
away the shackles of the past, offering
only disorder as a replacement. And аш:
diences have been feeling notoriously
free 10 dislike or to ignore it. With a
dience rejection has come paranoia, and
пе is placed on the audience for not

understinding the music. “Something
must be wrong with them they don't
like us."

"The jazz fraternity is confused, adri
from one another and from soc Th
ts the new and vice versa.
itle dialog. The younger public
seems to prefer rock ‘п’ roll and even ac
ing hipsters are often heard to say, as
they listen to the Rolling Stones, “Jazz is
through, man." Job opportunities arc
vanishing at the same time the popul.
tion of the world, and of ja
is exploding. The new jazz is divided
in its poverty, the players assuming some
of the social characteristics of hun-
hounds as they pick about the back
alleys of art competing for meager
sustenance,

The situation is slightly better for the
New Thing in Europe. American free
jaz players creasingly popular
there. Many Furopean jazz musici
switched to the new freedom soon
being inuoduced to Огисие
The European audience is more enlight-
ened and comes closer to supporting the
m It has had a particularly strong
influence in eastern Europe, where
people such as Dr. Pavel Blatny and
Jaromir Hnlicka are experimenting with
new ways of arranging and composing for
big orchestras. A composition in the new
by pianist Alexander von
Schlippenbach, titled Global Unity, was
performed at the Berlin Jazz Festival Last
November. The reaction of the audience
nd critics was mixed, some calling it the
first successful experiment in composing
for a large group in the new idiom, oth-
ers saying that Global Unity was only
“musical chaos.”

There is no doubt that much of the
new jaz is chaotic—in fact, that's too
orderly а word in many cases. The lack
of discipline, the abuse of freedom,
prodigious. Solos are often too long,
rules nonexistent or overly perinissive
The scene is a musical version of the type
of nonconformity wherem a man grows
а beard in defiance of the establishment

(continued on page 216)

“Th i
e set you ordered arrived today, sir!”

127

GHARTER YACHTING
IN THE CARIBBEAN

, the best and most exciting way to enjoy a free-floating vacation midst the windward isles

travel By А. C. SPECTORSKY novcnty
1000 miles southeast of Miami lie the Leeward
and Windward islands, a chain of some dozen
mountainous ones and literally hundreds of
smaller ones, ranging in a crescent that divides
the Caribbean from the Atlantic and running
some 500 miles from south of the Virgin Islands
virtually to Venezuela. There is a uniqueness to
each of these islands. Although they have a
bloody history and have been fought over by
various tribes of Indians, slaves and escaped
slaves, Spaniards, Englishmen, Frenchmen and
the Dutch, the result has not been amalgama-
tion or homogeneity but a kind of fierce and
proud individuality. Thus, although you can
cruise the entire chain, from island to island,
without ever being out o[ sight of land, your
point of departure may be as Dutch in language
and customs and currency as Holland itself, the
next island not as French as France itself but
actually part of France—as is Martinique—politi-
cally and culturally, and your port of arrival
as British as Bristol.

"These jeweled isles provide what is perhaps the |
finest cruising ground in the hemisphere, if not in №
the entire world. They are a yachtsman's paradise
and are as yet virtually unspoiled. What they lack
in luxury of accommodations and prepackaged
entertainment (text continued on page 142)

SAGA, a 58-foot ketch, sails out of her home port of
Saint George's, Grenade (left), in the Windward Islands.
A classically handsome sailing ship with ample auxiliary
engine to cruiss at eight knots under power alone, Saga
has two double staterooms and two single berths, com-
fortably quarters six guests. who will find her lounges and
spacious decks ideal for convivial relaxation. Saga's charter
fee for a week is just under $1000. BAHARI (above), а
44-foot sport fisherman, is perhaps the best-equipped
boat of her kind in the entire eastern Caribbean. Twin
165-hp diesel engines drive her aluminum hull at a fast
15 knots. Right: A school of game fish is spotted by the.
ship's lookout. In season, the Bahari hunts out the area's
piscatoria! attractions: marlin, dolphin and sailfish, in addi-
tion to such other prize Caribbean catches as kingfish,
bonita and tuna. Bahari charters for $840 a week, which
includes use of the ship's top-notch deep-sea-fishing gear.

SUNDANCE, а quarter-of-a-million-dollar, B3-foot Flco cruiser, charters for $3360 а
week. She has four spacious staterooms—each with its own washtoom—to opulently
accommodate eight guests. Equipped with twin 270-hp GMC diesel engines. she can
make long passages at up to a consistent 14 knots. Her public rooms, lounges. decks
and equipment are all in the grand /ихе tradition. This extends to her instrumentation
(right), which includes automatic pilot, powerful radiophone, 18-mile radar, Fathometer
and a full complement of other navigational aids selected on a spare-no-expense basis.

eV O сс hi ===

LORD JIM (right). а 72-foot schooner of
зану mien and luxurious appointments,
charters for less than $2200 a week. Under
her roomy, uncluttered decks are three
double cabins that accommodate six guests
in style. The ship's three small boats—a
14-foot water-ski boat, a Sea Shark sail-
boat and а 12-foot rowing and sailing
dinghy—round out her weelth of aquatic
equipment for the chanerer’s in-harbor
pleasure. Lord Jim's crew of three or four
is captained by owner-skipper Jolyon
130 Byerley, a pre-eminent sailing master—host.

INDEPENDENCE, а 50-1001 auxiliary top-
зай schooner, lodges four guests in two
double staterooms and charters for less than
$1000 a week. From her home port in
Antigua, Independence cruises southward
through the Windwards at the charterers
pleasure, or—as with most of the Antillean
Charter fleet—she may be booked to pick
him up anywhere along the way. Daytimes
usually find guests using the spacious
decks for sun-bathing (above); at night, the
seloon— with well-stocked bar, hi-fi and
settees—acts as the ship's social center.

RING ANDERSEN, an impressive 91-foot
auxiliary ketch, was beautifully and pains-
takingly built in Denmark, looks and is a
proper seagoing classic. Ring Andersen pro-
vides her guests with plenty of room to
roam: A sizable saloon, library (above) and
three admirably appointed double state-
rooms ensure comfort for a yachting pany
of six. The Ring Andersen's salty sturdiness
gives her globe-girdling capacity, yet she
foots along with the best of the fleet under
her full spread of canvas. Her weekly charter
fee of $2310 includes many unusual extras.

131

XEBEC, a triple-decked, 115-1001 gold-plater, is fitted out with accouterments worthy of
a luxury liner: The dining saloon (left) easily seats ten and is elegantly furnished; the
ship's music room contains a piano and a complete stereo hi-fi system. Powered by an
eight-cylinder Gleniffer marine diesel engine, Xebec cruises at a steady, comfortable and
quiet ten knots. Xebec's eight auxiliary ship's boats and launches—six of them motorized—
permit guests a wide latitude of aquatic activity. (Also aboard: four scuba tanks, snorkel
equipment, water skis and deep-sea-fishing gear.) The ship's weekly charter fee for a
party of eight—lodged in three double staterooms and two single cabins—is $1950.

CLAYBETH, a 110-foot pleasure cruiser built in West Germany in 1955, was completely redesigned, refinished and repowered in 1964
and represents а total investment of $650,000. Charterable on a monthly basis only (at $12,500 per). Claybeth sleeps eight guests in four
cominadious double staterooms (each with a complete bath). The vacht's dining saloon generously seats a party of 12: its similarly spa-
cious lounge contains a color TV and stereophonic sound system. Capable of reaching a top speed of 16 knots, the fully air-conditioned
Claybeth is propelled by twin 575-hp diesel Caterpillar engines that allow her to cruise comfortably—and nearly silently—at 13% knots.

PLAYBOY'S
CHARTER ACHT
PARTY

how to have a ball on the
briny with an able-bodied
complement of ship’s belles

SINCE THE pays of Cleopatra's barge, a
proper yacht—the kind yachtsmen call a
gold-plater—has signified the ultimate in
excitement and luxury afloat. Although
the cost of a modern gold-plater sail
yacht in the 80-foot range can casily run
into hundreds of thousands of dollars,
the shared cost of a chartered cruise
à compatible group of fun-
ing aquanauts, adds up to little more
п they'd pay for a landlubberly va-
cation at a classA resort. With this in
mind, a party of four couples recently
chartered the kingly ketch Sorrento—
and looked forward to a salty, unique
vacation sailing the bounding main.
‘They were not disappointed. Flying to
the Windwards in the eastern Carib-
bean, our partygocrs assembled on tiny
Young Island—just off St. Vincent is
land, where the Sorrento lay to her
moorings (right). The intrepid voyagers
that night initiated their eastern Carib-
bean idyl with an anchorsaway board-
ing party. And early the next day, the
expedition's four beauteous members—
Elaine, Pat, Judy and Roxanna—got
the wip off with a splash by taking a
secluded natatorial plunge. Our ship
mates—ably instructed by Captain Tim,
his honeyofablonde wife, Lisa, and
three-man crew—soon received а taste
of yacht racing: Weeks before, at
their request, the Sorrento had been
entered in a regatta. But even though
their ship finished out of the money,
the Sorrento's carefree clan was only
100 happy to hold a victory buffet party,
all hands toasting the occasion with tots
of rum. Next came a tour of the Tobago
Cays and the Grenadines; and, somchow,
in the midst of their action-packed

days and starry nights, our charter-cruise
members were also learning to sail and
navigate. Their days filled with water-
skiing, swimming, snorkeling, spearfish-
ing, sun-bathing and island exploration,
and nights with cocktail parties eagerly
thrown at the drop of an anchor, the
charter seemed to end all too soon. But
when the Sortento’s vacationers finally
boarded their homeward-bound jet at
Castri a happy
thought kept the journey home from be
coming a sad onc: Having savored the
sweet life of charter yachting in thc
Caribbean, our eight adventurers were
making plans for a return engagement.

es airport on St.

PHOTOGRAPHY BY LARRY GORDON

Under full sail, the Sorrento (opposite page), a trim B2-foot auxiliary ketch that charters for $2500 а week, leaves St. Vincent island at
the start of PLAYBOY's pleasure cruise. The first day out, Sorrento competes in a 20-yacht regatta from St. Vincent to Bequia. Midway
through the race, Mike asks permission to take a turn at the wheel (above left) and is allowed to skipper the Sorrento for several miles.
Later, the yacht is anchored at Bequia and a buffet is served topside (above); Mike helps Elaine to cold lobster and curried rice that has

been prepared by Benny, the Sorrento's West Indian cook, while the captain's wife, Lisa, serves up a bottle of French wine. After Captain
Tim end able-bodied shipmate Roxanna board Sorrento's Boston Whaler to take Mike water-skiing (lef). a party starts on
the beach front thus giving the group a chance to sample the potent native rum. As the music of the steel band subsides, the girls
return to the ship and, in the master stateroom (below, left to right), Judy, Roxanna and Elaine slip into bikinis for a midnight dip.

ОГ all the tiny isles that make up the Grenadines, none captures the imaginations of PLAYBOY's partygoers аз sybaritically as Petit
Rameau (above left), whose pristine sands meet the Caribbean's pellucid waters in а setting of unsullied tranquillity. Debarking
at midmorning, the four couples bask on the beach until just past noon. Then Benny prepares a delicious luncheon of baked cowfish
stuffed with seasoned tice, potato salad laced with а tart Martinique mustard sauce and trays of asparagus vinaigrette and essorted
cheeses. After finishing this island repast, Mike, John and Don decide to spend the afternoon spearfishing; the waters that surround Petit
Rameau are filled with giant blue angelfish and red-eyed squid. But before they shove off in the launch, a water fight breaks out and, while
Judy and John watch from the ship's stern (below, far left), Mike playfully dunks Elaine. When all the men but Andy and the crew
finally head for the deep, the girls request that they not be disturbed and (left) then go topless in order to acquire an allover tan;
Roxanna and Judy stretch out on top of the aft cabin, while Pat and Elaine lounge just below. Later in the afternoon Andy, who's
been napping in his cabin, is awakened by the sound of splashing and ventures into no man's land to see what the fun is all about.
Displayina appropriate aplomb, the girls ignore him, and as Elaine leaps into the Petit Rameau briny (above), Roxanna scrambles back
оп board, ready for another dive. Judy and Pat watch the aquatic high jinks while Andy, gentleman that he is, relaxes while рге-
tending not to notice the seeworthy beauties frolicking nearby. When Mike, John and Don finally return, Pat asks Mike to take her
snorkeling; she then dons face mask and flippers (below) for a mermaid's-eye view of the underwater scene. The two of them
swim 30 yards from where the Sorrento is anchored and proceed to explore the ocean bed. While sight-seeing, they spot turtles
and kaleidoscopically colored coral formations; but when a huge grouper starts acting fishy, both decide it's time to tum in their swim
fins and prepare for an early-evening aperitif aboard the Sorrento. Snorkeling back, Mike spots a fish and, after а few minutes
of stalking, he surfaces with proof of his speartishing prowess (below right), and with a tinny contribution to dinner as well

On anchoring the Sorrento at Jamesby Island in the Grenadines, all aboard except Pat and Elaine opt for a day of skindiving and water-
skiing. The two girls choose to row ashore in a rubber dinghy, slip out of their swimsuits (above) and embark on an uninhibited, sun-
drenched stroll along the island's white-sand beaches before heading back to the yacht. Two days later, when the Sorrento returns to
her original anchorage— St. Vincent island—a distaff trio finds a secluded spot in Cumberland Bay, close to a waterfall. After deciding
that the sylvan setting is a perfect place for a shampoo, Elaine and Roxanna proceed to suds up (far left). Pat (left), first of the three

to finish, relaxes amid fragrant tropical foliage while waiting for the sun to dry her hair. When the girls return to the Sorrento, in
time for dinner (below), Roxanna and Don. Mike and Elaine discuss their day's adventures, while Pat skillfully tosses a salad before
serving up a sumptuous feast that includes prime ribs. fried bananas, sautéed island carrots, Yorkshire pudding, coffee and cognac.

When the Sorrento reaches St. Lucio, the party's final port of call,
two passing yachts—the sport fisherman Bahori and the schooner
Lord Jim—are hailed and the guests aboard invited to an im-
promptu cocktail party. The three ships are quickly rafted up (left),
and soon all hands aboard the Bahari, Lord Jim and Sorrento are
swapping tales of their Windward and Leeward island adventures.
Mike and Elaine drift away for a final swim at sunset (bottom right);
later the couples dress for their last evening aboard ship (bottom
left). And a rollicking evening it turns out to be: Lord Jim's bongo-
and guitar-playing crew fills the small St. Lucia bay of Anse des
Pitons with music as the ber lockers of the three yachts pour forth
their booze and bubbly. Even though the Sorrento couples’ zest is
tempered with the knowledge that their sailing spree is almost
over, the merrymaking continues far into the night. Just before
dawn, with the lights of their yacht illuming their way, John and
Judy swim to the beach for a private téte-a-téte and shared
recollections of the high points of their many-pleasured cruise

PLAYBOY

142

they make up for in wildly beautiful
jungle, towering mountains and volca-
noes, pristine beaches, rushing water-
falls, pellucid waters that offer every
aquatic sport and adventure one could
wish, a native population that is aston-
ishingly friendly and outgoing and a
year-round temperature that is both hot
and cool—hot because the islands are so.
near the equator, cool because the pre-
ng trade wind from the east blows
ste nd provides unfailing natural
air conditioning, as well as the most. de-
pendable and enjoyable sailing.

To be sure, there are drawbacks to
these islands, In addition to the paucity
of customary resort luxuries, there is the
idubitable fact that you just can't get
there from here—despite the existence
of some flights by BWIA and Pan Am
nonstop from New York and direct from
Miami and plans in the immediate future
for more. The fact is, however, that from
most places in the States,
take the vacationer overnight to рес
there, and overnight to get back—which
is quite a chunk to take out of а vaca-
tion, especially a short one. The compen-
sation is that this very inconvenience
assures freedom from hordes of rubber-
neck tourists and preserves the exotic
naturalness and remoteness of this island
chain. This is not to say that there arc no.
amenities whatever: Such islands as An-
tigua, St. Lucia, St. Vincent, Martinique
and Grenada do offer more than mere
creature comforts, and what they lack
in modernity they compensate for with
gracious ease and genuine hospitality.

The way to see these islands, the way
to visit them, the way to relish their
splendor and enjoy their salubrious
tropic charm is by yacht. And the way to
do it by yacht is to charter a vessel from
the sizable fleet of boats that plics these
waters in all seasons (though we recom-
mend avoiding August and September,
which can be pretty wet and stormy).

Charter yachting offers manifold ad-
vantages over yacht ownership—quite
apart from the fact that it costs a hell of
a lot less—and, in its own way, it is
the best kind of vacationing imaginable.
To be sure, it's not for everyone:
Queasy sybarites, compul hi-seers
and those who feel happiest in a crowd
are apt to go ashore after their first, rail-
under interisland passage, or their first
night under the stars, at anchor in a
palm-fringed cove with not another boat
in sight and not a light ashore. But for
those who like—or who want to try—the
yachisman’s way of life, and who have
a taste for aquatic sports and exotic
ports of call, cruising the Lesser Antilles
aboard a charter yacht offers a unique
and matchless holiday adventure. In our
estimation, the ideal arca of these islands
10 launch your first charteryacht vaca-
tion is the southern portion, the Wind-
ward Islands.

It’s a fair guess that, with few excep-

tions, thoe who write about the Lesser
Antilles do so with mixed emotions.
‘They want to share and to extol the
sheer gut pleasure and aesthetic excite-
ment that these trezsured isles provide.
Yet they also feel reluctance to share the
wealth, to spread the word so that or-
ganized tourism will descend upon the
chain of isles and spoil their natural
beauty, their relative isolation and the
free and informal camaraderie that cx-
ists among those yachtsmen and yacht-
ing enthusiasts who have discovered the
region and have learned to love it and to
return to it year after year.

Vacationing on a charter yacht in the
Antilles is comparable with renting a fur-
nished house or cottage in the tro
with congenial companions, for a holiday
of two or three weeks, or a month or more
—with these important differences. The
yacht is provisioned and staffed. You
aren't stuck in one place or dependent on
land transportation: You cin be in a
different harbor or cove every night, for
there are well over a hundred islands to
it and hundreds of snug anchorages.
Your itinerary is of your choice, not de-
pendent on others or preset by a travel
agent, Thus, you may choose to spend a
day at anchor swimming over the side,
snorkeling, spearfishing, skindiving, €x-
ploring mile upon mile of white-sand
beach, lolling on deck under an awning
or going ashore for a shopping expedi-
tion or for a jeep or Land Rover trip on
any one of dozens of islands. Many offer
the aforementioned beaches plus a local
volcano, jungles, plantations, waterfalls,
native villages and West Indian jump-
ups (impromptu dancing—usually bare-
foot—of the kind you are not apt to assay
at home). Or you may prefer to stay
aboard ship for a moonlight sail to the
next port of call, or just quiet cocktail-
ing and dining under the tropic stars
before going below to the cradled com-
fort of a proper, seagoing berth.

The next day may be spent under
way all day, smooth sailing in the lec of
the islands, exhilarating and sometimes
hoisterous passages between the islands,
where the prevailing easterly trade
winds pipe up from the open sea. Or you
may interrupt your passage to anchor off
an islet that’s mostly the purest white
ге ever seen and swim ashore—
of the ship's launches or
boats or dinghies—for а noonday picnic
or a nighttime, firelit seafood feast.

What you won't find, look though you
may, are luxury hotels with Olym
swimming pools, crowds, mandatory dres
ing for dinner, паћс fumes, movies
and TV. Even on comparatively large
and cosmopolitan Antigua and Grenada,
the two most populous English-speaking
islands (so you must pronounce them
An-tee-ga and Gre-nay-da)—which are
at opposite ends of the best cruising
grounds—you won't find Stateside resort.
luxuries and the attendant irritations

(пог the attendant high prices) And
Fort-de-France, the capital of Martinique,
which is smack-dab in the middle of the
island chain, is longer on sophistication
than on tonier, more conspicuously con-
sumed attractions, despite the fact that
it is called the Paris of the West Indies.
Perhaps they mean Paris, Maine.
But even assuming you've had your
surfeit of resort vacations and “civilized”
vacations, and want to wy a yachting va-
cation, why the Leser Antilles? Why
have to fly 1000 miles from Miami be-
fore stepping aboard? Why not, let's
the Bahamas, litle more thai
from Miami, where there's a splendid
charter fleet, every marine sport known,
crystalline. waters, paradisiacal beaches,
all of the more primitive pleasures and
privacy you want in the Out Islands, and
luxuries, plus gambling around Nassau?
It's a question most travel authorities—
and travel agents—prefer to finesse,
which is precisely why it should be dealt
with, so that those who have tried either,
or neither, can make informed choices
before deciding which new place to try.
As between the Bahamas and the
Windward Islands, its a bit like the
Florida-versusCalifornia debate; propo-
nents of one or the other аге apt to
become violent partisans when the pre-
eminence of their preferred pleasure
place is challenged. Therc’s no doubt
about the Bahamas being more accessible,
more civilized and more convenient
especially in such matters as clearing
Customs. But the Bahamas are scrubby
and flat; they are coral islands with poor
soil or none. The Antilles are, for the
most part, volcanic; they are the visible
part of a submerged mountain range that
runs northward in a crescent from Vene-
zuela—which is nearer to them than any
part of the U.S. The Bahamian natives,
folkways and language are much the
same from island to island. We've al-

ready commented on the contrasting

varicty of the Antilles. Bahamian waters
tend to shoals, coral heads and sand
bars; it can be tricky going for deep
draft vessels and there are some delight-
ful harbors from wl larger sailing
vessels are therefore excluded. By con-
trast, Апи] all blue-water
voyaging, with depth of keel rarely a
matter for concern. The Bahamas are
kinder to power yachts (though they,
too, may run aground or hit a sub-
merged coral head) and the Antilles can
be pretty unspeakable to all but the larg-
est and most rugged power vessels, espe-
cially in the interisland passages, where
the prevailing strong easterlies present а
beam sea that can impart to a power
yacht a nasty roll conducive to mal de
mer and sliding dishes in the saloon,
whereas a sailing vessel is steadied by
her sails and will be sea-kindlier her

motion.
As has been said, many of the Antilles
(continued on page 152)

man at his leisure

playboy’s leroy netman artfully limns the graceful excitement
and elegant aura of the national horse show

Adena! a
z E

PLA

Each November, the appreciation of well-groomed horseflesh in action is the special province of the social set
that fills Gotham’s Madison Square Garden. While the onlookers (top) are hardly dressed for horseplay (“Оп
opening night," says artist LeRoy Neiman, "the men wear white tie; the women, houte couture gowns"), the
competition before them is keen. Below: Using a stop-action technique, Neiman shows a horse and rider in flight.

143

During the week of the show, from the time the horse
vans unlocd their cargoes on West 49th Street until the
last trophy has been awarded, Manhattan—unlikely os
it seems—is the world’s equine copital. The show is cost-
lier than most Broadway extravaganzas, requiring c
thousand tons of earth and obstacle courses designed
to simulate all the difficulties—stone walls, hedgerows,
fences, ditches and such—that fox hunters ore likely to
encounter. Though the show is preceded by а lovi:

ball and reception and complemented throughout by
sociol events, once the ringmaster begins proceedings
with а blast from his coach horn, it’s the riders and the
horses who command attention. Right: Vaulting from one
horse to another during relay competition is a member
of one of the military jumping teams that come from
Europe ond South America. Below: Neiman captures the
restrained horsepower in evidence os riders ond their
mounts porade in the ring under the judge’s knowing eye.

THE NATIONAL HORSE SHOW at Madison Square Garden made its debut October 22, 1883, the same night
the Metropolitan Opera House opened its doors for the first time. Since then, it has been the ne plus ultra of
equestrian events and the formal opening of New York's social season. Hundreds of the world's best-bred mounts
arc entered every year, for cups, cash and acclaim. Hunters demonstrate their courage and expertise at taking the
hurdles; sleek saddle horses—"peacocks of the show world"—are judged, like women, by the way they walk. Since
1909, the highlight of the show has been the fierce jumping competition among teams of different countries; but
special exhibitions—such as six-horse riding, Roman style—also provide thrills aplenty. Experienced junior riders,
under 18, strive hard for awards in equitation. It's all coed, and the regulations make no concessions to sex: “It’s the
only sporting event I've seen,” observes our well-traveled artist LeRoy Neiman, "where the men and the women take
up the same challenges under the same rules.” The spectacle, which runs day and night, is both grandiose and man-
nerly. “Richard the Third,” says Neiman, “would have traded his kingdom for any one of the horses. The riders are
richly attired in brown checks, Kelly greens, hunter's pinks or military togs; huge flags, hanging from the beams,
add to the pageantry. As the riders turn the course, silence reigns—broken by gasps of delight or dismay at the most
difficult jumps; only after the last obstacle has been cleared do the spectators applaud.” The show has already outlasted
three Madison Square Gardens; and this year's event—October 31 through November 7—will be the last in the
present. building, since the new Garden atop Pennsylvania Station is scheduled to open this December. "It's safe
s confirmed horse fancier Neiman, "that the new location will only enhance the luster of the show.”

to assume,"

* And that, Mr. Bigelow,
is yet another definition
of black power."

something
better than

Ribald Classic

ONCE THERE WAS a young Cosack named Gritzko, a strong and
handsome boy but generally considered to be something of a
fool. On a day when he was tending the sheep out on the
steppes, his father said to his mother, “We ought to marry off
Grivko. He is of age now and he needs a good wile to look
after him."

“All right, let him be married,” the mother said, "but first
we must think of some way to teach him what marriage is

about. Our poor son is so simple that his bride may stay a
virgin till her dying day.”

s for thar," said the old Cossack, "the town is full of
careless girls who атс always ready to teach that kind of lesson
to а young man.” So they sent for Gritzko and his father
began to instruct him.

“I want you to take the oxcart and carry six sacks of wheat
to the market in town. Do not sell them to the merchants nor
to any old women you happen to meet; but when a young
woman makes you an offer, you must say, "Agreed; you can
have one sack if you'll give me a grind.’ Alter that, do as the
girl shows you.”

Gritzko set out for town and when he came to the market
place, he refused several offers for his wheat from merchants
and old women. At last, a rosy-checked young woman passed
by and asked him the price of his sacks. “I want you to give
me a grind,” he sid.

Well, she was surprised. But the boy was goodJooking and
the wheat was worth money, and so she ended up by taking
him home with her. She took
him at once to her bedroom,
stripped off her blouse and
skirt and lay on the bed.

Gritzko stared ar her, puz-
zled, and then he walked out
of the house. When he got
home, his father asked him
what had happened. "Pcople
are стату in town," he said.
They no sooner make a bar-
gain but what they decide to
Бо to sleep.

‘The parents were still deter-
mincd to marry Gritzko off,
nd so they employed a mar-
riage broker, who struck a bar-
gain with a rich peasant. He
had a lovely well-rounded
daughter named Gapka whom
he hoped to see wed. The mar-
riage was celebrated in е
village church; the rest of the
day was spent feasting; finally,
the young couple was con-
ducted to the bridal chambei

AII at once, the groomsman
reflected on Gritzko's simplici-
ty. He drew him aside and
asked, “Are you sure you know
where to put yourself:

"Well" said Grizko, "on
that there bed, 1 suppose.

"No, idiot,
in haste, “where the downy
part is.” Then he went away
to rejoin the feast.

Puzzled, Gritzko lay beside

marriage

from Russkiia Zavetnyia Skazki

the ginl for a long time, until she finally grew tired of waiting
and went to sleep. Then he got up and began to fecl around
the room, on the furniture and the shelves, until he found
a down-filled cushion. “This must be wl he meant,”
thought Gritzko, "though it sounds foolish enough to me."
So he went to sleep sitting on the dresser and holding the
cushion in his hand.

In the morning, the groomsman knocked at the door and
asked in a whisper, "Did you find the down?"

"Of course,” said the bridegroom.

“Did you mount all right?”

"Yes," said Gritzko, “and I'm still on top.”

"You devil" said his friend, "it's time to roll off.’

So Gritzko rolled off the dresser with a crash and hurt his
arm.

When he was dressed, he decided that he had had enough
of uncomfortable marriage, and so he strode off to the far
pasture. At first а wept, then she had an idea. She went
out to the steppes and found Gritzko sitting by a pond.

"Can 1 bathe here?” she asked him. He said that she might
if she wanted. “But it's so deep!” she said. "Won't you go
in first?" He took off his shirt and trousers and showed her
that the water came only to his knees.

When she had undressed and entered the pond, she sud-

denly said, "Why, look, you have a roll of tobacco hanging
down from you.

“So that's what it is!

said Gritzko. "I always thought it
was just something to make
water with." "Then he took a
good, long look at Gapka.
"Whats that strange-looking
thing you've gotz"

“It’s a tobacco pouch,” she
aid shyly.

For the first time in his life,
Gritzko had a thought. “Te
seems to me t
belongs in the pouch," he said.
But then, on second thought,
he added, “I'd be afraid that
it might bite me.”

“Nonsense,” said Gapka, tak-
ing him to the shore and
beginning to help him ener-
getically. “It improves the to-
bacco and keeps it fresh." In a
Íew moments, Gritzko saw that
she was entirely right.

When Gritzko went home
later in the day, his father met
him and said, “My son, isn't it
true that marriage is a wonder-
ful thing? Haven't you discoy-
ered some delights that you
never dreamed of before пом?"

“Not at all, Father,” said
Gritzko. "Marriage is boring
and I've given it up. I do have
some news for you, though.
Gapka and 1 have gone into
the tobacco business together."
—Retold by Nicholas Gabayev

tobacco.

147

PLAYBOY

M8

OS¥CHECECEC DRUGS

persons, about two thirds of them males.
Nineteen homosexual experiences are
included. The interview subjects were
almost all college graduates from middle-
dass white Protestant backgrounds, Most.
of them took the psychedelic drugs
outside any formal research or thera
peutic context and then reported th
experiences to. me.

In other words, I did not study the
effects of psychedelics on sex
5 hrercoursc.
ifullv studied by

1 the labo-
been so
William Master
Johnson in St. Louis. My
and research with psychedelic drugs
—which was largely concerned with mat-

fru

ters other than sex—has now been
abruptly ended by laws prohibiting
almost all research in this area. But I did

obtain, in the sessions I gu
ally, some material significant to under-
standing psychosexual disorders. И was
surprising how often these rders
seemed grounded in problems of values
or. specifically, in low self-esteem. No-
where can values be so quickly and dras-
tically changed as in LSD sessions. In
several instances, discussed below, persons
with sexual problems showed noticeable
improvement after their LSD sessions—
quite a remarkable occurrence, inasmuch
as the sessions were intended as research
and therapeutic results were not expected.

led. person-

To determine whether psychedelic
drugs are, indeed, aphrodisiacs, we must
first determine what we mean by an
aphrodisiac. If we mean that the drugs
specifically excite the sexual organs, then
psychedelics are not aphrodisiacs. If we
mean that they produce or encourage

sexual desire, again they are not aphro-

disiacs. But if we mean that the drugs
can profoundly enhance the quality of
sexual acts that occur between people
who would, in any case, have had inter-
course, then the drugs are aphrodisiacs,

nd my only objection to the term in this
nuc to be mis.

context is that it will co
used by psychedelic or sex
Drug-state phenomena that occur dur-
ing a sex act occur in other drugstate
contexts, too. The most common
ges in sensory perception, in aw
ness of time, in the state of the cgo, in
one's relations to others and in the emo-
tions generally. In fact, these
her it be
ng to music, walking through а
t—or making love.
The positive effects of LSD in love
ing can best be appreciated Бу
describing a hypothetical sexual act
betw husband-and-wife lovers—or
gle lovers, should that seem
more adventurous. I will not, however,
hypothesize a casual erotic encounter
between two near strangers, because such

are

affect. whatever one docs, w
listen

(continued from page 96)

an encounter would be less likely to
produce so favorable am experience. A
strong emotional bond, or at least very
positive feclings for the partner, is much
more likely to yield the richest, most
intense and most ecstatic experience.

People rarely have sexual intercourse
at the very start of a psychedelic trip.
First, as the perceptual changes occur
and as consciousness is altered in other
ways, they need to orient themselves in
this new world. In my sample, this was
true по matter how many previous LSD
experiences they might have shared.
Typically, when there is sexual Icr-
course, it occurs at least onc hour and
usually several hours after the onset of
the psychedelic effects.

When the two people are longtime
lovers. they may feel, in the drug state,
an emotional closeness as intense as they
felt in the early, most emotion-charged
stages of being in love. Since visual
perception is highly responsive to the
emotions, each partner may take on an
appearance of extraordinary radiance
and beauty. Communication may seem
multileveled, with a greatly heightened
sensitivity to nuances of meaning—in ges-
tures, Gtresses and words as well. If this
couple decides to make love, they will
bring this heightened sensitivity to their
union, and their desire and the act itself
may be suffused with the same powerful
positive emotion—and with the same
has been present in their

perceptions.
As foreplay and intercourse increase
their excitement, the couple will become

aware of the genital sensations desaribed
by Jacobus. The man may feel that his
erection is larger and more firm and his
potency greater than it has ever been
before, heightening his confidence, pro-
ducing a greater sense of total genital
arousal and increasing his capacity to
respond. Anxiety about the duration of
the act will very quickly disappear. The
couple will feel that their lovemaking
will last just as long as they want it to
last, so that time no longer matters. In
the more profound experiences, there
may be a sense of timelessness—of the
eternal.

Several elements combine to produce
these novel and extremely pleasurable
awarenesses of time. For one thing, inter-
course almost always does last much
longer in terms of the clock. This is
probably because of the mildly anesthe-
cd state of the sexual organs—
though the term “anesthesia” seems
strikingly inappropriate in describing
these very intense sensations. Moreover,
diminished ns soon produce a
self-confidence and spontaneity that help
reduce concern about the duration of the
act. Finally, there is the distortion—or
‘slowing down"—of time that sual

inhibit

and important aspect of the psychedelic
state. This distortion (a term that is tech-
nically correct but fails to convey its
positive qualities) of subjective time is
perienced because the mental processes
ave been enormously accelerated. So
much may be experienced in a few min-
utes of clock-measured time that the per-
son typically declares that “hours” or
sometimes “cons” seem to have passed.
A sexual union that in fact lasts 30 min
utes or an hour may seem “endless” or
to have “the flavor of eternity.” Love-
making that lasts for several hours is not
too infrequent.

The sexual union gathers ever more
meaning and beauty as it progresses. It
may even take on symbolic and arche-
typal overtones. The couple may feel that
they are mythic, legendary or more-
than-human figures as they act out in a
timeless and beneficent space the eter-
nally recurring drama of love and crea-
tion. The fecling of being more than
human does not indicate grandiosity but,
rather, that one has transcended the
ordinary boundaries of self, the limits of
time and spice, so that something more,
some infusion of the divine or super-
natural, must have occurred. This aware-
ness is accompanied by profound
feelings of security, tenderness, humility
and gratitude, Sometimes only one part-
ner will enjoy this transcendental expe-
rience, but with surprising frequency the
feelings are shared.

When sexual и
states of consci
properly descr

ion includes altered
usness such as these, it is
bed as ecstatic, It тау

chic melting into and becom
the partner, Whether this occurs in a
sexual union or in a mystical context, or
in a combination of the two, it is almost
always regarded as one of the most pro-
found and fulfilling experiences human
life has to offer. The one that the two
become is a unity much greater than its
components. Religiously devout or mys
tically inclined people may have the
sense of a unity that is also a trinity, with
God present in the oneness. In any case,
experience of this order can hardly be
dismissed as "sexual mysticism"—a term
sneeringly used by some of the morc
rabid opponents of psychedelic experi-
mentation, Nor can it be tossed away
with some labels from psychopathology,
such as “ego dissolution” and “deperson-

vation.” It can be one of the most
beautiful and important experiences in
life.

In view of all that has gone before,
the orgasm—when it arrives—may seem
something of an antidimactic climax.
Some people, in this orgasm-happy
society, learn for the first time how much
more there can be to sex than the brief
intensity of the climax—and how much
their past sexual experience has been

(continued on page 223)

SPORTING GESTURES

a pre-christmas wrap-up
of presents perfect for
up-to-the-minute
spectators, active

PHOTOGRAPHY BY ALEXAS URBA

SPECTATOR SPECTACULAR 1. and 2. Metal sect stick, $12, and weter-ropellent poplin umbrella, $9, both from General Sporteraft. 3. Ophthalmic: lensed sun-
glasses, by Christian Dior, $17. 4. Waterproof parka, fram Abercrombie & Fitch, $45. 5. Binocularswith 7 x 0mm objective lens, by Bausch & Lomb, $274.80. 6. Orlon-
acrylic turtleneck pullover, by Drummond, $13. 7. Pilot 11 12-transistor four-band portable radio, by Nova Tech, $123.95. 8. Wicker picnic basket with gear, from
A &F, $150. 9. Wool-twill stadium coat, Бу Brolly International, $70. 10. Leather drinking gourd, from The Ski Hut, $6. 11. Corduroy water-repellent cap, from Eddie
Bauer, $5.95. 12. Rollei full-frame camera with 35mm lens, by Honeywell, $189.50. 13. AM/FM solid-state portable radio, by Sony, $99.95. 14. Plaid sport seat,
from General Sportcraft, $2.40. 15. Nikon Е Photomic TN camera with through-the-lens spot metering, viewing and focusing, from Ehrenreich Photo-Optical, $443.
36. Stadium foot warmer, from A & F, $25.17. Canon Auto Zoom super-8 camera, by Bell & Howell, $369.95. 18-21: Fleecc-lined boots, $27.50, wool spectator blanket,
$45, double flask, $50, with suede case, $7.50, and stadium hand warmer, $2, all from A & Е. 22. Citizen's-band transceiver, $125 the pair, on rechargeable base,
$14.95, all by G.E. 23, Binoculars with 6 x 25mm objective lens, by D. P. Bushnell, $52.50. 24. Left lo right: Covered Hurricane pipe, $10, and Dunhill Windscreen
pipe, $45, both from Iwan Ries. 25. Heuer 30-second timer, from A & Е, $29.50. 26. Butane lighter, from Iwan Ries, $12.50. 27. and 28. Kalimar zoom scope, $210,
and Hailer Cub megaphone, $52.75, both from A & F. 29. Cowhide-covered portable bar, by Ever-Wear, $39.95. 30. RISES Sync Reflex movie camera, $359.50, with
Angenieux lens, $311.70, pistol-grip attachment, $1595, all by Cinema Beaulieu. 31. 20-power telescope with built-in tripod lug, by Bausch & Lomb, $24.95.

149

GAMES PEOPLE PLAY INDOORS 1. Squash racket with Stratz-Bow ash freme, Бу Wilson, $2050. 2. Bumper-pool table measures 34" x 50”, comes with cues

and styrene balls, by Frederick-Willys, $115.50. 3. Wrought-pewter chess set with looled-leather board atop dark-walnut velvet-lined case, by Bromahon Company,
$225. 4. Rendezvous in Space game comes with bat lery-operated toy computer, by The Idezer Corporation, $11.95. 5. Scott superheavy dartboard with 20- point
official English dart game on both sides, $7, plus Darrow darts, $2.70 for three, both from General Sportcrafl. 6-8: Wire-mesh fcil mask, $14, steel French fencing
fcil, $9, three-dimensional Tic-Tac-Toe game, $4, and three-dimensional RSVP crossword game, $6, all {rom Abercrombie & Fitch.9. 21 Tru-Line poker poo! billiard
balls plus rack, Бу Pearce-Simpson, $29.95. 10. Roaring Lion electronic rifle range and battery-operated rifle, by Manning Mfg., $34.95. 11. Trac-Master bowling
ball with buitt-in hooking action, $23.95, rests on rack from vinyl GTO bowling bap, $14.95; below itis a pair of Lancer bowling shoes with moccasin-style toe, $895,
all by Brunswick. 12. Lemans 1/32 Koad Racing Set includes scale modelsof Ford GT and Ferrari 330 P/LM, powered by Tiger Super-X 100 motors, figure-eight track
is 6/3" x 2797, by Monogram Models, $45. 13-15: Leather handball gloves, $6, handball, $1, Bongo board, $21.85, end Brookes & Adams indoor carpet-bowling game,
made in England, $15, all from A & F. 16. Rubber-faced table-tennis paddles plus (not shown) teble-tennis net and balls, by General Sportcraft, $8 the set. 17. ESP
game created by Kreskin the mentalist, from А & Е, $7. 18. Leather-covered game Set includes: craps, backgammon, crown and anchor, steeplechase, two chess and
150 checker sets, roulette, chuck-a-luck, Scrabble, dominoes, darts with target, dice Alaska and cups, cards, counters, chips and score pads, from Marshall Field, $450.

GEAR FOR THE GREAT OUTDOORSMAN 1. Grivel mountaineer ах, from The Ski Hut, $23.95. 2. Felt Aussie hat, from Eddie Bauer, $17.50. 3. Archery target, from
Abercrombie & Fitch, $18.95. 4. and 5. Fiberglass hunting arrows, $18 a dozen, fiberglass Explorer II bow with sight window, $59.50, and cowhide shooting glove,
$2.50, all by Browning Arms. 6. Snow skis with laminated-hardwocd core, by Northland Skis, $140 the pair. 7. Racing toboggan with steel cross braces and canvas
seat, from Bridge Products, $100. 8. Orvis fishing outfit includes spinning and fly-casting rods, from A & F, $265. 9. Aqua-Lung tank, $90, and Aqua-Naut skindiving
mask, $12.95, both by U. S. Divers. 10. Fishing-tackle satchel with removable plastic trays, by Woodstream Corp., $30. 11. Lightweight .30/06 automatic rifle, by
Browning Arms, $164.50. 12. Nylon parka with goose-down insulation, from Eddie Bauer, $57.50.13. Colt Snowmobile with 20-hp German engine, by Polaris Industries,
$1098. 14. Snowtread snowshoes, from Sportsmen Products, $15. 15. Tennis racket with open steel throat for less air resistance, by Wilson, $50 with gut string. 16.
Badminton racket with tempered-steel shaft, by General Sportcratt, $4. 17. Automatic BB pistol, from Healthways, $16.95. 18, Willow-wood polo ball, $8.95 a dozen,
English riding boots of calfskin, $59.50, polo helmet of lightweight Boltaron, $24.50, and English-made polo mallet, $8.95, all from Miller's Harness. 19. Spring-
powered spearfishing gun, from Healthways, $22. 20. Yack-Yack surface-to diver communication unit has range to 300 feet, from U. S. Divers, $284.50. 21. Sigg
Tourist cook set and Svea gasoline stove, from The Ski Hut, $16.50 for both. 22. Soccer ball with vulcanized-rubber seam, by General Sportcraft, $19. 23. Decca 101
‘small-craft radar unit includes antenna (not shown), by Decca Radar, $2595 complete. 24. Nemo-1 electronic land and underwater metal locator, by Radiac, $249.50.

151

PLAYBOY

YACHTING IN THE CARIBBEAN

are ruggedly mountainous or volcanic;
the larger ones are lush beyond belief, to
boot—real Tarzan jungle and exotic
fruitand-pice plantations come right
down to the beaches or spill over rocky
cliffs that descend straight to the sea.
But these mountainous islands are "wet"
islands: The Trades that keep 90-degree
heat comfortable and sailboats winging
their way are wrung of their moisture
when they hit the mountain peaks, and
frequent showers brief, warm, torrential

result. The dry islands, those that are
too small or too low to precipitate mois-
ture from the Trades. tend to present an
rid, dun aspect thar makes the Bahamas
look downright verdant, The Bahamian
weather is less steamily tropical: but the
Antillean climate is completely independ-
ent of continental weather patterns and,
except during August and September, is
more dependably storm-free, fair and
breezy. It's also, let’: е it, houer when
you're out of the wind, being consider-
ably closer to the equator. And the very
llowness of the white-sand bottom.

to Bahami: waters un-
. ever-changing specum of
Hiant hues.

So, for the luxury lovers and power-
boat centhusiasts—and that cludes
dedicated sport fishermen (the fishing is
better)—the Bahamas may well be the
best bet.

As for us, we'll
stout and wellfited sailing
probably in the spring, when the wind's

the passages
but is still a ve the ship and
quick-dry the skin when it's soaked by a
sudden downpour coming off the lee side
of a volcanic реа
1f it sounds good to you, here's how to.
go about it, how to determine the kind
of boat you want, how to find it, how to
charter it and what to do after you've
stepped aboard and it's yours to com-
mand.

If you have decided to give it a try,
the time to start planning is right now
Charter yachting gives you the freedom
to make your itinerary and activities as
impromptu as you wish and as the meas-
ured расе of a yacht permits. But you
can't leave preparations to the last min-
ute; large as the Caribbean charter fleet
is, the best boats have waiting lists, and
pw is not a bit too soon to begin looking
for just the right boat for a latc-winter or
spring jaunt in the tropics.

, for openers, is
ht broker, Magazines
Yachting are replere with ads
rect charter; that individual
lvertise, and you may make your
rmngements direct. But,
especially if this is your first venture into
the world of charter yachting, working
through a broker is essential—and wi

The way to go about
through а
such a

152 among other old hands, prefer the bro-

(continued [rom page 142)

kerage procedure. The broker will have
listings of a great many yachts; virtually
all brokers have reciprocal arrangements
with other brokers, so that any one of
them can find you—and get you—a yacht
that may be exclusively listed with any
other broker, and the cost to you is the
same, whichever way you go. That is, it
is the charter that pays the brokerage
fee, not the charterer,

Our personal experiences have been
h the firms of Sparkman and Stephens,
Northrop and Johnson, Richard Bertram
and Comp B. Nicholson and
Sons апа Grenad: acht Services, Lid.
These—and other major brokers—can
help you assess your requirements, and
they'll know where which yachts are
and when, and will make all the prelim-
inary arrangements for you. Our own
most recent charter (а 60-foot cutter that
had been sailed from Malta to Grenada
by the owner) happened to be arranged
through charter expert Jo Bliss of the
Richard Bertram firm. The yacht was
Tiercel; the owner-crew consisted of a
retired Air Force officer and his delight-
ful Japanese wife. Between them, they
сап work the boat easily and let their
paying guests do as much or as liule of
the actual si
first mate—with her
and international exper
ing most of the way around the world
with her husband—ensures that her gal-
ley duty will result in an international
cuisine equal to a choice of restaurants
in а large city. Yet individual adva
tages such as this are more the rule than
the exception among Antillean owner-

ppers and their nervy spouses; many
have sailed the world over and their
vessels are their only homes.
holson's, which п Antigua, at
the northern end of the chain, is by far
the largest broker operating in the An-
ille. The charming holson family
tually pioneered charter yachting in
the area, has over 35 exclusive listings
and—more important—is personally ac
quainted with the skippers and owner-
skippers of just about every yacht in the
area. The Nicholsons abo have many
years of experience in matching b
people and vice versa, which—coupled
with intuitive insight—makes it. possible
for them to shrewdly estimate how you
and your party will get along with a ves-
sel and its captain and crew, a most im-
portant consideration in the confines of
even the largest yacht.

Nicholson’s personifies tradition
service: if you charter а yacht depart
Antigua southward, chances
re you'll be treated to the Nicholson
hospitality. which is deservedly famous
| which often entails cocktails at their
unusual residence that overlooks one of
the best and most enchanting harbors in
the Caribbean (English Harbor) and is

w

nd
ng

from the

built in and around some of the old for-
ations left from the days of Lord
Nelson. At the southern end of the
chain, in Grenada, is Grenada Yacht
Services, Ltd. This is a fairly new and
young firm, it is staffed by a group of
happy and dedicated yachtsmen, it pos-
sesses its own marina and marine faci
ties (the only such in these islands)

па
it, too, Вах shown skill in matching the
charter party to the proper yacht, though
it has no exclusive listings.

"The advantage of working through
brokers such as Nicholson and Grenada

Yacht Services is that they are on the
scene and can and do inspect charter
yachts to see that they fulfill the prom-
ises of their brochures. The advan
of working through a Stateside broker
have a lot to do with the sheer conven-
ience of being able to use the phone and.
airmail or, if they happen to be in your
city, to be able to pay them a personal
it, rather than depending on the vicis-
situdes of foreign airmail, overseas phone
calls and cables, Whatever broker you
select, give him time to do his job and
give him as much advance information
as you can. This will make finding the
ideal boat easier for both of you.

Here's what your broker will want to
know. When do you want to go and for
how long? What is the size of your pany
—and your budg
cipal interests—fast and exciting sailing,
getting from island to island under
power quickly, skindivi tersski
game fishing, snorkeling, luxury afloat,
just loafing and sunning and swimming
and enjoying the air and the scenery?
Armed with this information, the broker
can send you brochures that picture and
describe available yachts and help you
select the one that best suits you and
your party. The broker will send you a
contract (charter contracts are virtually
Ш alike, regardless of yacht and broker)
and when you sign it, you will probably
be asked to make a deposit, usually one
third of the total contract price, The
balance is payable оп boarding.

Among the yachts we've cruised оп,
visited or admired from afar (and from
their spec sheets) are the following—
selected from the 100-odd available, and
induding those pictured and described

n preceding pages. They are represent-
ative of the better yachts for charter i
the area and may give you some notion
of what's available and the costs entailed.

Sorrento (pictured on page 134) is the
82-foot gold-plater that was home base for
Playboy's Charter Yacht Party (we char-
tered her through Nicholson's). She is
auxiliary diesel ketch, so can sail or
power, as the occasion requires;
her accommodations (for six people)
and fittings are pretty much the
ultimate in cruising yachts. She carries
a Boston Whaler—the preferred ship's
launch of the area, which, equipped

(continued on page 190)

and

>. ] on “я ——
DA m ct. ye Yue A G

“... And finally, as you know, Гое been terribly depressed lately
about U.S. foreign policy.”

153

а definitive survey of the screen's hard-core erotica

тх The Bachelor Party, a Paddy Chayefsky film of the late
Fifties, a group of young men cclebrate the coming marriage
of one of their number with a night on the town. Aftcr too
much liquor and an unsuccessful scarch for female companion-
ship, they repair to the apartment of a friend and light up
cigars Гог a session of “home movies." Although the audience
never saw what they were watching—as the director's camera
concentrated on the faces of the actors—few adult members

of the moviegoing public assumed for even a moment that
these were the highlights of a summer vacation at Ycllow-
stone National Park or footage of family and friends gathered
around the Christmas tree. The audience understood, without
being told, that what these reasonably typical, respectable,
middleclass American males were viewing was a form of hard-
core pornography variously referred to as blue movies, French
films or, most often in the U.S., stag films.

For although there are Federal, state and local laws that
make the production, distribution, sale and exhibition of stag
films a serious criminal offense, they are a familiar, firmly

PART SEVENTEEN established part of the American scenc—as likely to be shown
THE Sr, M next Saturday evening at the local lodge hall as in the pad of
AG FIL a jetset swinger. But if everyone seems to know about stag

films, no one knows much about them. Writings on the sub-
ject have been sparse, and most of what has been written is
anything but authoritative, Certainly no other aspect of
erotica has received less attention from scholars and social
scientists. This is а curious omission, since despite their all-
too-typical crudity and lack of imagination, stag films seem
subject to uniquely ambivalent social attitudes. In public,
they are almost universally condemned (as evidenced by
strict legal prohibitions against their manufacture or use), but
privately they are endorsed by a huge and responsible element
HUR KNIGHT of the community (as evidenced by the sub rosa stag screenings
vs ALPERT frequently sponsored by our nation’s leading—and most patri-

otic —ivil, social, fraternal and veterans’ organizations).

Thus the stag film cannot be viewed as an isolated phe-
nomenon, or even 25 a kind of subculture that accompanied
the development of cinema as a whole. Throughout history,
man has used all the graphic means at his disposal to portray
his sexuality. Egyptian papyri of 1200 m.c. illustrated a
number of positions for sexual congress, and many of the
most famous examples of Greek ceramic work extant are dec-
orated with frankly erotic representations, as were the walls
of private homes and public brothels in Herculaneum and
Pompeii. In India, tourists make nonreligious pilgrimages
to the cave temple of Ajanta to view its highly realistic erotic
paintings, or to. Khajuraho, where no less than 22 temples
built in the Tenth Century celebrate the joys of carnal love in
suberant bas-reliefs. Long before the arrival of moving
pictures, there were ingenious elloris to portray sexual inter-
course in lifelike motion, from shadow boxes to elaborate
spring-wound figurines set by Renaissance goldsmiths into
elegant music boxes, snuffboxes and docks. From Rubens to
Picasso, the greatest masters of fine art have depicted the sex
act in such explicit detail that a wealth of these paintings
and drawings have been denied viewing by the general public;
it is this kind of artwork that provides the Vatican with
the incongruous honor of possessing in its guarded vaults the
most valuable and extensive collection of pornography in the
world, presumably to remain unseen until the forces of
paganism return 10 Rome.

With the invention of still photography in 1839, the cam-
tra joined brush, pen and pencil as a means of depicting
erotica; the earliest examples of pornographic still photogra-
phy are almost as old as the process йке. And it can be
assumed that almost as soon as Thomas Alva Edison devel-
oped his motion-picture camera in 1890, someone was using it
to make the first stag томе. Obviously, here was the ideal
medium for the most graphic, explicit and realistic depiction

BY ART
AND HOLY

FIFTY YEARS OF STAG FILMS: Blue-moviemakers of the Twenties often resorted to primitive humor in filming their sub
rosa reels. “Slow Fire Dentist,” for example (top left), featured a fake-bearded quack who administers gas to a patient and then
proceeds to fill the wrong cavity. The many-guised mysterious stranger, portrayed in the Thirties stag “Masked Rape" (top
right) as a Instful intruder, became a classic and convenient way to intvoduce—and disguise—the male. “Busty” (center
left), a typical Cuban import of the Forties, began with а bout of showerstall autoeroticism. Both a perennial plot
device and the title of a Fifties film, “The Pick Up" (center right) was photographed alfresco. During the Sixties,
slag-film producers have been able to procure more youthful and eminently more attractive “sex stars!” as ex-

emplified in two 1966 productions (bottom}—‘Lesbian Call Girl" and a British import, “The Other Young Ones.’

of human behavior—including the sex-
|. Although records of such unabashed
апу applications of Edison's invention
are sparse, historians of erotica have
noted that in 1896 French actress
Louise Willy disrobed completely in Le
Bain, her aim being less cleanliness than
the arousal of lascivious feclings in the
viewer. Many turn-of-the-century French
film catalogs list similarly provocative
subjects. And in Germany, à pioneer pro-
ducer named Oskar Messter offered much
the same kind of enterrainment: girls
disrobing for bed. exercising or dancing
about in wispy costumes or no costumes
at all, communal bathing in a sultan's
harem and the like. But these pioneer
cinematic excursions, though decidedly
daring for their time, were designed Гог
public showing, and while catering to
voyeuristic tastes, they eschewed the sex
act itself and were certainly not in the
realm of hard-core pornography.
Seldom has the ишу pornographic
film been shown in any but surreptitious
ways onc notable exception being the
Shanghai "Theater in pre-Castro Cuba,
which offered a continuous show of stag
films to the general public. Yet there
evidence 1 a sizable market for such
films did exist as early as 1904, with
Buenos Aires then a principal center of
production. Movies of fully detailed sex.
ual activity were shot and shipped to pri.
е buyers, mostly in England and
ance, but also in such distant lands as
Russia and the Balkan countries. “Deca
dent” aristocrats, quite probably, were

CURRENT FARE: The carly Sixties’
stag “Exchange Students” (top, far left)
created a true blue-movie star—a New
York schoolteacher who, by mid-1967,
had moontighted in over 50 films. Anti-
clerical themes, common in the pornog-
raphy of Latin countries, are unpopular
in the U.S.: “The Nun's Story” (top
left) was retitled “College Coed” when
potential purchasers refused to buy. In
"Camera Bug” (sequence at jar left,
center) a variation on the popular
artist-model theme is erotically explored
by a photographer and his acquiescent
subject. The sexual fantasy world of
most slag films is wish-fulfillingly remote
from reality, but ап occasional. reel—
such as the topically titled "Hell's Angel"
(left center)—is inspired by the headlines.
NOVELTIES: Among the imaginative
items that have appeared infrequently on
the stag-film market are (bottom, lto т)
“Abbie’s Buried Treasure,” an animated
pornographic cartoon made in the early
Thirties and still being shown today; and
“Sales Lady," a 1953 veel that attempted
to cash in on the short-lived 3-0 craze.
CANDY: The most famous stag film on
the commercial market, "Smart. Alec"
(sequence at right) starred the voluptu
ous ecdysiast Candy Barr in a performance
unlike any seen by her striptease fans.

PLAYBOY

the most eager customers for this form of
divertissement, since there were hardly
any others who could afford the 35mm
home-movie equipment that was then
required. Equally important as а market
were the European houses of prostitu-
tion. By the end of Іа belle époque, по
self-respecting brothel in any of the large
cities on the Continent considered its fa
cilities complete without а stock of these
films for showing either artistic
whore d'ocuvre or as an entertainment in
their own. right. In France, the price of
admission to such a show was 100 francs,
the equivalent then of about 20 Ameri-
can dollar

Though European Customs controls
were tightened in 1908. pornographic
films continued to be smuggled in by
those willing to take the risk; but by that
time, the Europeans had begun to sup-
ply their own markets. One primitive
Frenchamade stag film, Le Voyeur, dates
back to 1007. Better-leveloped story
lines began to appear about that time.
In A L’Ecu d'Or (At the Golden Shield),
for example, a one-recler produced in
1908, а mustachioed soldier arrives at an
inn in search of а meal, but because of
wartime exigencies, finds the cupboard
bare. Soon enough, however, a shapely
serving girl takes the soldiers mind off
his appetite—his initial appetite, at least
—with amorous dalliance. When another
willing wench offers him a generous
second helping, the soldier is too polite
to refuse,

Most of these carly curiosities have
nc: moldered into dust. The
chives of erotica collected by
the Institute for Sex Research at the Un

na

an

ns

1845. but no motion-pieture film that
can be dated earlier than 1915. One of
the oldest stag films on file at the In-
stitute, however—a U.S. product entitled
A Grass Sandwich—has prompted Pro-
fessor Frank А. Hoffmann of Bullalo
State University (whose brief but schol-
arly contribution to the analysis of
g movies is ponderously entitled Pro-
legomena to а Study of Traditional Ele-
ments in the Exotic Film) to conclude
that its “relative smoothness of produc
tion shows clearly that experiments in
the genre must have been carried on for
some years before that time." This film
h fellow who picks up
1 takes
п afternoon drive in the coun-
uy. Pulling over to the side of the road,
he modestly steps behind a bush to ui
te. Curious, the girls follow and watch
with unconcealed interest. When they
follow suit. the roguc spies on them.
Stimulated 10 boldness, he makes his ad-
vances and, encountering no opposition,
enjoys himself with each of the girls in
Thus, in the ve ly 1900s, the
ic pattern for stag films had been

turi
d

158 st. Professor Hoffmann has analyzed

the basic

of the female by visual means, compara
tively rare in real life but a pen
theme in these films: a direct and rapid
nd rapid that
y films it cannot properly be called а
seduction at all: and, finally, sexual
tivity, which of course is the focal point
of the film.’

lt is this “focal poi that sets the
stag film apart from all other forms of
erotic cinema, no matter how explicit,
and такс it pornographic. The dif-
culty of defining pornography itself,
however, is compounded by the incre:
ing number of legitimate commercial and
experimental films that treat human
sexuality with а graphic candor quite im
sible half а dozen years ago. Such
s Dear John, A Stranger Knocks,
Ingmar Bergman's The Silence and Mai
Zetterliny’s Night Games have not only
depicted sexual intercourse and us
perversions on the screen, they bave also
been acclaimed by the critics and ap-
plauded by the general public—and it
is reasonable to assume that some future
films will be even more forthright
their treatment of hu i

What distinguishes these films from the
stag film, making one award-winning art
and the other pornography? Is it simply
that legitimate art films are sensitively
and artistically executed, while s
are, for the most part, crudely donc?
Taste and sensitivity in the production of
any creative work is certainly а consid-
eration, but there is а more basic
difference—for no matter how skillfully
made, a true stag film will always remain
pornographic.

In their exceptional
phy and the Law, Doaors Eberhard and
Phyllis Kronhausen define the distinc-
tion between the psychology of cro
ism and “hard-core pornography” in
literature, pointing out the underlying
differences between writing that may
contain erotic passages because the au-
thor wishes to honestly record the whole
spectrum of human experience and emo-
that has as its pri-
mary purpose the erotic stimulation of
the reader. The К. eria for
п from por-
nography in literature can be applied
equally well to motion pictures, for the
g film shares with other forms of
“hard-core pornography” the purposeful
appeal to prurient interests that the Su
preme Court has used as its yardstick in
several obscenity cases.

It conceivable that
legitimate films m
nographic—portray various forms of sex-
ual activity with the sme anatomical
detail that is found most stag films,
just as it is now possible for а writcr to
create erotic realism in literature that is
just as sexually explicit as true pornog-

book Pornogra-

n те future,

raphy, without being declared legally ob-
scene. Not long ago, a noted marriage
counselor suggested, in all seriousness,
the posibility of producing a series of
films that would demonstrate to newly-
weds the techniques of sex. Quite ob-
viously, such a film would include the
same overt sex activity that is common-
place in stag films: but such a film, be-
use of its educational intent, necd not
be pornographic. For their bestselling
book Human Sexual Response, Dr. Wil-
ters and Virginia Johnson

in 11 years of anatomi
and ате research that
duded the scientific study of motion
pictures of several hundred couples en-
gaged in coitus and other forms of sexual
tivi ither can these films, con-

sidered within the context in which they
were taken, be considered pornographic
—as the stag film is—even though the
activities depicted are almost identical.

These subtleties of definition escape
not only a great many authorities who
have expressed opinions on the subject
but also most of the offic
for enforcement of our c
A majority of the members of the U.S.
Supreme Court, fortunately, do unda
and the Court's recent. decisions
suongly suggest that in the future, only
the commercial expl
core pornography will justify a judgment
of obscenity in the United States.

Unlike the erotic rcalism of the com-
mercial cinema, the educational intent of
the proposed marriage movies, and
cinematic sex research of Masters and
Johnson, stag films are intended to be
sexual fantasies. Nothing as negative as
real life is permitted to intrude, if the
producer of pornography can help it. In
the fantasy world of pornography, all fe-
males are in а state of almost constant
sexual arousal, anxiously waiting to be
serviced by the first male who happens
onto the scene, Thus, the beginning of
countless stag recls concerns a female
who becomes stimulated sexually by
reading an erotic book, masturbating,
dreaming, watching a nude male, watch-
5 horses have sex, watching donkeys
have sex, watching people have sex,
hearing people have sex, taking a show.
er, suming herself, doing housework,
listening to the radio—or even being hit
by а car. Curiously enough, in a recent
analysis of more than 1000 different stag
films—depicting females being aroused
by everything from ironing dothes in the
nude to masturbating with a live ecl—
only one film (Home Movies) used as its
plot device a couple becoming aroused
while watching а stag film

As for Ше male participants in these
crotic they are supposedly al-
ways potent, ready and raring to go; and
Г, in reality, the distractions of lights,
camera and а тоот full of kibitzers fre-
quently make them less than the answer

(continued on page 170)

Masies

MY RESERVATION was for a window scat,
up front, because on this particular Hight
they serve from the front back; but on
the seat next to mine, I siw a reservation
tag for Gordie MacKenzie. I kept right
on going until the hostess hailed me.
“Why, Dr. Grew, nice to have you with
us again —

I stood blocking the aisle. "Can 1
switch to a scat back here somewhere,
Clara?"

"Why, I think—let ше see—”

“How about that one?” 1 didn't sce a
tag on it.

"Well. it’s not a window seat. ——"

“But it's free?

“Wall, lets look.” She flipped the scat-

ing chart out of her clipboard. “Certain-
I take your bag?"
"uh. Work to de.” And I did have
work to do, too; that was why I didn't
want to sit next to MacKenzic. I
slouched down in the seat, scowling at
the man next to me to indicate that I
didn't want to strike up a conversation;
he scowled back 10 show that that suited
him fine. 1 siw MacKenzie come aboard,
but he didn't see me

Just before we took off, 1 saw Clara
bend over him to check his seat belt;
and in the sume motion, she palmed the
reservation card with my name on it.
Smart girl. 1 decided 10 buy her a drink
the next time I found myself in the motel
where her crew stayed between flights.

I don't want to give you the idea that
Fm a jetset type whos on firstname
terms with every airline — stewardess
around. The only ones I sce enough of at
all are a couple on the New York-L. A.
run, and a few operating out of O'Hare,
and maybe a couple that T see now and
then between Huntsville and the Cape—
oh, and one Air France girl I've flown
with once or twice out of Orly, but only
because she gave me a lift in her Citroën
опе time when there was a métro strike
and no cabs to be found. Still. come to
think of it, well—all right—yes, 1 guess
I do get around a lot. Those are the hi
ards of the trade, Although my degrce's
in atmospheric physics, my specialty is
signatures—you know, the instrument
readings or optical observations that we
interpret 10 mean such-and-such pres-
sure, temperature, chemical composition
and so on—and that’s a pretty sexy field
right now, and I get invited to a lot of
conferences. 1 said "invited." I don't
mean in the sense that Г can say no. Not
if I want to keep enough status in the
department to have freedom to do my
work. And it’s all plushy and kind of fun,
at least when I have time to have fun;
nd really, I've got pretty good at locit-
ing a decent restaurant in Cleveland or
Albuquerque (try the Mexican food at
the airport) and vetoing an inferior wine.

"That's funny, too, because J didn't ex-
pect it to be this way—not when 1 was a
kid reading Willy Leys artides and
going out to hunt ginseng in the woods

around Potsdam (I mcan the New York
опе) so І could earn moncy and go to
MIT and build spaceships. I thought I
would be a lean, hungry-cyed scientist
in shabby clothes. I thought probably I
would never get our of the laboratory
(Т guess 1 thought spaceships were de-
signed in laboratories) and I'd waste my
health on long night hours over the slide
rule. And, as it turns out, what I’m wast-
ing my health on is truite amandine and
timezone disorientation.

But I think I know what to do
that.

bout

Thars why I didn't want to spend
the four and а half hours yakking with
Gordie MacKenzie, because. by God, I
maybe do know what to do about that.

Its not really my field, but I've talked
it over with some systems people and
they didn't get that polite look. people
get when you're trying to tell them about
their own subject. Vl sec if I can explain
it. Sce, there are like 20 conferences and
symposia and colloquia a month in any
decentsized field, and you're out of it
unless you make a few of them. Not
counting workshops and planning ses-
sions апа get-thehell-down-here-Chatley-
orwelosethegrant meetings. And they
do have a way of being all over thc
place. I haven't slept in my own home all
seven nights of any week since Christ-
mas before last, when I had the flu.

Now. question is what do all the
meetings accomplish? I had a theory
once that the whole Gestalt was planned
1 mean, global scatter. jet wavel and
all. A sort of psychic energizer, designed
to keep us all pumped up all the time
after all, if you're going somewhere in
a jet at 600 miles an hour. you know
you've got to be doing something impor-
tant, or else you wouldn't be doing it so
fast. But who would plan something like
that?

So E
trated oi

e up that idea and concen
vs of doing it better. You
know, there really is no more stupid way
of communicating information than fly-
ing 3000 miles to sit on a gilt chair in a
hotel ballroom and listen 10 25 people
read papers at you. Twenty-three of the
papers you don't care about anyway, and
the 24th you can't understand because
the speaker has a bad accent and. any
way, he's rushing it because he's under
time pressure to catch his pline to the
next conference, and that one single
25th paper has cost you four days, in-
cluding avel time, when you could
have read it in your own office in 15
minutes. And got more out of it, too. Of
course, there's the interplay when you
find yourself sitting in the coffeeshop
next 10 somebody who can explain the
latest instrumentation to you because hi:
company's doing the telemetry; you can't
get that from reading. But Гус noticed
there's less and less ume for that. And
less and less (continued on page 200)

wa

fiction By FREDERIK POHL

SPEED TRAP

he'd thought the plane trip would
allow tame to organize the notes on
his revolutionary theory, but suddenly

the time was gone, the job undone

PLAYBOY

160

PLAYBOY FORUM

Accompanying the story was a picture of
a policeman from one of the suburbs
modeling newly purchased “special riot
equipment," including a billy club ap-
proximately the size of а baseball bat
The caption read: “Be prepared.

I submit that these two news items are
not unrelated. They represent incidents
that, being neither isolated nor atypical,
have frightening implications. The first
incident demonstrates an institution's
treatment of individual disobedience to
authority; the second reveals a city's an-
ticipated treatment of a minority group's
protest against injustice.

In both cass, the establishment is
dealing with behavior that it considers
deviate, And the same solution is applied
in both cases: superior power, relentless-
ly employed. Neither the school nor the
suburb gives evidence of acknowledging
that the deviate behavior might point to
complex problems that brute force can
only aggravate. Neither recognizes its
own responsibility to seek the remedy at
the source of such behavior

With the knowledge we, as a society,

p

(continued from page 74)

possess concerning the ciusitive factors
accounting for deviate behavior and
h the evidence that tells us that puni

tive neither effectively deter

bellion, we per-

а in the belief that might makes right.
"The Rev. Thomas E. Sagendorf
North-East Ohio Conference
The Methodist Church
Cleveland, Ohio

cions

deviation nor prevent г

SEX IN BLACK AND WHITE

Recent movies about interracial love
that
ае un-

—and the Supreme Court's decisio

all laws against miscegenation
constitutional—sugsest that a gulf be-
tween the races is beginning to be
bridged. At this timc, it behooves all of
us to consider what created this particu-
lar gulf and how it affects all other
ions between the races
Psychologists agree that we form gen-
eral concepts about а group and mold an
archetype of that group for quick refe
ence, The archetype of the Negro male
(in white thinking) is a big man. gifted
ith athletic prowess ily muscled,

hea

w

2
ye

2

р
22

ГИ let you know the meaning of life
when I'm damn good and ready!

able to work long hours in the hot sun,
somewhat. “ * and “coarse.” With
this archetype formed, it is obvious that
at this black
also sexually superpotent: т
the white man will fear that he is
ly inferior to the Negro. It is this
Iways present but never articu-
lated. that motivates laws against miscege-
nation ("Can't let them get my woman:
I'd never be able to get her back") and,
by extension. all other racial discrimina-
tion and injustice—in order to force the
Negro to compensate for his supposed
sexual superiority by compulsory infe-
riority in every other sphere.

When we all grow up and admit that
such sexual motivation lies behind. this
nation's persecution of the Negro, we
may be able to cross the color line and
communicate with honesty and decency.
Until that time comes. this will in
а sexually and socially sick country.

Rodger Kee
FPO San Francisco, €

the white man will Гел

iforn

BENIGN POTENTIAL OF BLACK POWER

Until lately, Negro Americans had
been failing their country, Their failure
y in not seeing that they should be
exercising ethnic power. By not doing
so, they diminished America's a

п
have been holding them back. But now,
under the saving slogan of "black
power," the needed drive is being devel-
oped, for the good of black people—for
the

ams may
accepting the idea of b
ase those who hold
think of those without it as children.
When children suddenly acquire power
and maturity, relating to them in their
new roles requires a dificult adjustment.
il try 10 become
what it should be, the power of ethnic

have trouble
ck power. be-
power tend 10

solidarity must be given encouragement
at every hand.
Vice-President Humphrey bas said

at black power is needed in Ame
and is in keeping with the Americ
tradition. This tradition, since 1776, В
been for each rising ethnic group to
make its own thrust toward self
sulliciency and self-respect, working its
way into the mainsutam of American
life.

No mater how valuable white help
has been, the continued acceptance of
white leadership would make the Negro
movement pointless. How is а man going
to learn to speak for himself if he ha
ually lets others speak for him?
km
sie a permanent. sepa
America. But when а person. ourgrows
dependency, he must assert himself as
a totally Пес, self-regulated individual,
with power in his own right. Having

established his faith and pride in himself,
he can then become a valuable adult
member of the family of man.
Black power is а positive, creative
idea. It asks for no “amount due." It
seks to enrich American life by adding
to it the long dormant powers of Negro
Americans.
Nathan Wright, Executive Director
Department of Urban Wi
Episcopal Diocese of Newark
Newark, New Jersey
The Reverend Dr. Nathan Wright,
author of “Black Power and Urban Un-
rest,” was chairman of the Black Power
Gonjerence held in Newark last July.

LIVING LIKE MARTIANS

The Taboo Curtain that shuts out the
pioneer and shuts up society in a prison
Of orthodoxy, as described by Charley
Greer in the August Playboy Forum, is
certainly а very real and pernicious fact
of modern life. In this connection, your
readers might bc interested to learn of a
group that is laboring to lift the Taboo
Curtain. We are 150 young Americans
who started about three years ago from a
nucleus of four concerned persons. We
have taken 25 our models the Martians
in Robert А. Heinlein's classic science-
fiction novel Stranger in a Strange Land.
Heinlein's stated purpose in writing this
novel was "to examine every major axiom
of Western culture, to question each
axiom, throw doubt on it and—if
posible—to make the antithesis of each
axiom appear a possible and perhaps
desirable thing, rather than unthinkable.”
He accomplished this by imagining Mar-
tians whose culture, built on the antith-
cis of Western axioms, is so loving and
permissive as to make our own seem the
of bloodthirsty savages.

The motto of our group is, "If. Mar-
tians can live sensibly, so can humans!”
It is our goal to develop individu
dom to the utmost and to live
without taboos, while at the same
loving and caring for one another
suppressing exploitation of our fellows.

David Loxley
Milan, Illinois

“DANGEROUS DRUGS”

I was apprehended at the Mexican-
American border for possession of Can-
nabis [marijuana]. It seems the large
amount of psychedelic reading material
I had in my suitcase brought me to the
attention of American border officials.
They subsequently scraped out a pipe I
had purchased recently in Tar
found five seeds of Cannabis. In scraping
out my shirt pockets, they found what
they termed “a ri nitesimal
amount of Cannabis in cigarette form).
1 was informed 1 could plead guilty to
the misdemeanor “possession of danger-
ous drugs" (one ycar/$1000) or, if 1 de-
cided to plead not guilty (because of

You can’t buy
a better vodka
for love nor

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а most pleasant experience religious beliefs), I would face a Federal

charge of smuggling. Needless to say, 1
| = h pleaded guilty and received three months

My only comment on this affair is 10
quote Alan. Wans: “Similarly.
practitioners of the inexact sciences (е
psychology, anthropology, sociology) let
it be known most clearly that they already
know what reality is, and therefore what
sanity is. For these poor drudges reality is
the world of nonpoetry: It is the reduc

PLAYBOY

ERR, an 5 dr physical universe to the most

ОВО banal and desiccated terms conccivable, in

а = accordance with the great Western myth
after hours...

that all nature outside the human skin is

.. Аве ALL-PURPOSE MEN'S LOTION, a stupid and unfeeling mechanism. There

packaged in redwood. $2.00, $3.50, а sort of ‘official psychiatr of the
$650, $10.00. English Leather state mental hospital and of
Be sure your “fragrance wardrobe" Р in California, they call ‘correc

includes ENGLISH СЕАТНЕҢ а... 1/5 the
one you'll reach for again and again.

tional facility’ (i

prison), which de-

strange passion.

А In God we trust.
LoTio!

GOING TO POT
The New York Times recently ran the
A complete line of men’s toiletries including. . following story:
.-. Ihe DEODORANT STICK, $1.00
__ the AEROSOL DEODORANT. $1 50 & $2.50 Angered by “so-called education-
GIFT SETS in authentic redwood boxes, $3.00 to $10.00 al leaders" who discount the haz-

ards of smoking marijuana, the
head of the Essex County Youth
Rehabilitation Commission be-
n distribution this week of about

500,000 leaflets entitled “The Truth
* SE About Marijuana—Stepping Stone

€ MEM COMPANY, INC., NORTHVALE, N.J.

10. Destruction.
Marti Lordi, the 60-ycar-old
commission director, announced the
leaflet campaign as the latest move
in his private war against narcotics
addiction. “This is not costing the
taxpayer or the antipoverty pro.
gram a cent,” he said. . . .
“smoking marij is too wide-
spread and too much of a menace
to be ignored," he declared. "Yet
too often lately there have been
newspaper stories about high рго-
porüons of college students using
marijuana and, even more disgrace.
ful, about some college professors
and other intellectuals insisting that
because they last forever ОЕ ыы
“How can they say that, when
Federal Bureau of

For all the time you own them, we've built your
Harts literally to remain "new." So we guarantee
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ords show that marijua

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It is my impression that. all scientific
investigations of marijuana have come to
the condusion that beliefs such as Mr.
Lordi's are grossly inaccurate, Am I right?
Patrick Wilson

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Hart Skis with one-piece "L" edges and fiberglas EU.
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162 Arar SEAS currant ron ure contradicts the myths about. marijuana

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We found a clock
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more accurate than Accutron.
It weighs a quarter ton.

Oficial U.S. Navy photograph.

It’s called a quartz-crystal/atomic
clock and, painful as it is to admit, it's
more accurate than Accutron™.

But if you're willing to exchange а
little less accuracy for a lot less weight,
Accutron is the most precise timepiece
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Notice we don’t call it a watch, be-
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Accutron operates on the unerring
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The vibrations splitcach second into
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The Navy's clock
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But you can wear
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2

PLAYBOY

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PLAYBOY

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a 15 too good

for the man up front

CHARLIE RATION
COOKBOOK

OR
D

NO FOOD IS TOO GOO!

FOR THE MAN UP FRONT

The Charlie Ration Cookbook is a brand new
concept . . . especially created for our fighting men
overseas. Even though the American trooper is the
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perk things up from time to time. The Charlie
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new ways for the men overseas to add а gourmet

Send for The Charlie Ration Cook-
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of TABASCO? brand pepper sauce,
neatly packed with the cookbook
in a special waterproof shipping
tube . . . all for $1.00 including

postage.
S

McILHENNY COMPANY, Dept. 7
Avery Island, Louisiana 70513

Please send me
oO Charlie Ration Cookbook free.
OR

С Charlie Ration Cookbook and а 2-oz. bottle of Tabasco, packed
Еее shipping tube . . .

(Complete name and address)

touch to their C-rations and have a few smiles
besides. Recipes like Combat Zone Burgoo, Tin
Can Casserole, Breast of Chicken under Bullets,
Battlefield FuFu, Foxhole Dinner for Two and
many others can be made from basic C-rations and
a few extra whatnots scraped up from the country-
side. Send for some new food ideas and a few
laughs, too.

postpaid, | have enclosed

TABASCO is the registered trademark for Mcllhenny Co.
pepper sauce.

Copyright 1957 Mcllhenny Co., Avery Island, Louisiane

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PLAYBOY

EU

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circulated by the Federal Narcotics Bu-
теам, as you can easily check by looking
into the chapter on pot in “Drugs and
the Mind,” by Robert DeRopp, М. D.,
by reading the laboratory studies re-
printed in David Solomon's “The Mari-
juana Papers” or by examining the
index on psychopharmacology т а libra-
ry. Even so conservative а publication
as Life described marijuana as “a mild
euphoric drug known and used through-
out much of the world for centuries”
and stated categorically that it “is not
physically addicting, nor need it lead
to crime, immorality or stionger drugs.

+ There is no biological effect that
primes the marijuana user for hard nar-
Colics, and most marijuana smokers do
not go on to become junkies.” The re-
fusal of Federal naycolics authorities
publicly to acknowledge these facts has
led sociologist Ned Polsky to remark, in
his recent book, “Hustlers, Beats and
Others":

Although the better-educated seg-
ment of the public is now aware
of the [marijuana] myths for what
they are—hnows, for example, that
the myriads of college students who
currently smoke marijuana are not
thereby “led to” heroin addiction—
this has in no wise lessened the
efforts of the Federal. Narcotics Bu-
reau Lo perpetuate the myths and
otherwise to suppress the scientific
evidence of marijuana’s harmless-
ness. The Bureau's undiminished
efforts have [led] a number of so-
ciologists, including myself, to come
round to the view long maintained
in heroic isolation by [Professor]
Alfred Lindesmith of Indiana Uni-
versity, viz, that some Bureau
officials are not dedicated truthscek-
crs, having honest differences of
opinion with the academic inucsti-
galors, but, on the contrary, dedi-
cale themselves first and last. to
extending the power of the Federal
Narcotics Burcau—to the extent of
deliberate falsification of evidence.

POT ENTRAPMENT

The Playboy Forum is to be com-
mended for printing so many letters criti-
cal of present marijuana laws. Few of
your readers, however, have described.
ihe practical application of these laws in
most states.

1 пе such as New Jersey, there
very few professional pot dealers—
maybe nonc. A group of friends who
want to turn on together usually send
somcone to New York or Philadelphia to
buy from a trusted. dealer there. A nar-
cotics officer's carcer and advancement
depend upon the arrests he makes, and
the arrest of a dealer is much more news-
than is the ames of а smoker.
The narcotics agent, therefore, is con-

Lets

“Dear Mrs. Stewar.

Please allow my daughter Brooke to leave class ear

as she is getting married this afternoon...”

Шу searching for small groups of
but when he finds
them, he does not arrest them for posses-
sion. Instead, he infiltrates them, pre-
tends to be a swinger himself, gains their
confidence—over a period of months—
and, fi ^ allowed to smoke with
them. When he has become onc of the
group, through a long process of decep-
tion, he says chat he would like to get his
hands on some extra grass to share with
friends in another town, The group
trusts him and their next purchase from
their city contact is an unusually large
one. They ingenuously sell a port
the n gent and he immed
arrests them. The next days newspaper
blares: “DOPE RING SMASHED; FIVE PUSHERS
ARRESTED."

T need not comment on how dirty this
whole operation is. By means of such
low tactics, narcotics agents escalate а
friendly circle of smokers into a danger-
ous "dope ring.” This is the way four
friends and Т were busted. I am serving

rcotics

a 10-o-15-year sentence:
€ told me they were ent
me manner.

me withheld by request)
New Jersey State Prison Farm.
Rahway, New Jersey

LSD RESCUE LINE

In September 1963, I began an LSD
rescue line in Chicago. The purpose of
this service was simple: Many people
were experimenting with this unpredict-
able drug and some of them were having
"bad trips" (paranoid or hallucinatory
delusions), so 1 determined to use my
knowledge of LSD and related drugs to
assist these people in their terror and 10
save them from repetition of such pro-
longed psychotic episodes. I have insti
gated LSD rescue n Aurora and
Mount. Carroll, Ш New York City
and M Columbus,
Ohio; Trenton and Pri

163

PLAYBOY

164

“It's an obscene phone call. Do you want
to take it, or shall 1?”

any of my projects. However, Dr. Walter
Alvarez, the nationally syndicated. medi-
cal columnist, and a few other brave
doctors have spoken out in support of
work, because they understand. hat
there are people who need this kind of
help. (It has been estimated that there are
5000 LSD trips per week in Chicago.)

I have never lost a patient; in every
case, no matter how terrified or paranoid

the subject was when 1 arrived, I have
managed— В the aid of niacinamide
to bring him back and calm him down.

Let me emphasize that my 1 serv-
is necessary not only because these
people are in trouble but because, lack-
this service, they might in their
terror ium to the police, which is the
worst thing an LSD “tipper? can do.
The police will handle the subject, while
he is will under fluence of this
is if he were а criminal
ease his fear and ра
a thousandfold and greatly
псе of his falli

the i

pote

па

chotic)
cops before 1 ¢

I want to inform you of the reward.
society me for helping these
people: 1 have been arrested for selling
up by the local nar-
corie squad, which has been hostile to
my work from the beginning. The “evi-

nce” against me derives from a search-
warrant complaint signed by an informer
using an admittedly false name, and 1
told I have no legal right to confront

him
cr William Braden has uncovered onc
informer—a heroin addict—who admit-
ted signing dozens of such warrants
without the names of the accused on
them. The police later wrote in the
names! Editorially, the Sun-Times said
of these warrants:

1 court, Chicago Sun-Times report-

Those methods dubious, . . .
We refer to the method of obra
varrants. The informer

arch-w

signs а
with an assumed name,
haps that he bought illicit drugs
from n pa ata certain
place. The police do mot have to
disclose the name of the informer
or the time when the drugs were
bought. There is also a device known
as constructive possession: The po-
lice can arrest anybody found in the
vicinity of prohibited drugs, whether
he’s an innocent visitor or the real
culprit. The frame-up is easy. Plant
the drugs, get the search warrant,
grab everybody in sight. It could
happen to you and you'd never have
the right to face your accuser

lleging per-

Using such a warrant, the police en-
tered my apartment and "found" one

marijuana cigarette, І claim they planted
it there. Whether a jury believes me ог
the police remains t0 be seen. The im-
portant question is constitutional: Do the
police have the right to employ such
dubious search warrants?

It is time that LSD and other drugs be
treated as а medical—mot а police—
problem.

George Peters

Chicago, Illinois

See R. E. L. Masters’ “Sex y and.

the Psychedelic Drugs,” on page 91 of this

issue, for a perceptive analysis of other
aspects of hallucinogenic drugs.

PERILS OF THE PILL
Until recently I had been very much
avor of birth-connol pills and. was

ig to start taking them alter the

many

vantages: psycholoy у
egarding prevention of conception; regu-
lation of the menstrual cycle; relief
from some menstrual discomforts (mainly
cramps and depression); and, of course,
positive prevention of conception.
However, lately I've been hearing
more and more reports from other wom-
en on the disadvantages of oral conta-
I am told that birth-conuol pills
on many of the discomforts found
in carly pregnancy: sore and swollen
breasts, excessive appetite and weight
nd som
ess. Does Pravnoy have anything to say
about these disadvantages?
(Name withheld by request)
Long Beach, New Jersey

Side effects similar to those of preg-
nancy do, indeed, occur in many women,
most commonly when they begin taking
oral contraceptives; but these effects of-
ten diminish and, in some cases, disap-
pear entirely with regular we of the
pills. The importance a woman attributes
lo these side effects, according to а
study by Dr, Frederick J. Ziegler of the
Cleveland Clinic Foundation, appears to
be more directly related to her attitude
toward sex and marringe than to the
discomfort itself. The women in Dr. Zieg-
lers study who discontinued oral con-
haception because of side effects were,
according to the psychiatrist, looking Jor
an excuse to shift responsibility for birth
control to their husbands. Women will
tolerate side effects, Dr. Ziegler ob-
sewed, “if they enjoy sexuality, do not
perceive their husbands as being exc
sively sexually demanding and feel gen-
erally responsible for managing family

affairs’

PHILOSOPHICAL ISSUE OF ABORTION

Most of the polemics on abortion miss
the point that and pl
sophical issue, not a medical one. As
psychiatrist Thomas Srasr argued in а
1966 Humanist, medicine neither
the right nor the knowledge to dec

is a mora

has

at what point human life enters the
organism, In my opinion. this question
can be determined only by each indi-
vidual, according to his own value system.

Dr. Szasz says: “The correct argumen
for legalized abortion must. I believe
rest squarely on the premise that abor-
tion is a ‘crime without victims? During
the first two to three months of gestation
(when most abortions are performed),
the embryo cannot live outside the
womb. [i may, therefore, be considered
a part of the mother's body. . . . If we
truly believe that in a free society the
expert should be on tap—not on top—
we must place the power to decide when
an abortion may be performed (legally)
in the hands of the pregnant woman and
not in the hands of the church, the state,
the American Medical Association or the
American Law Institute."

It is a fairly well-established principle
of American democratic society that the
law should not attempt to control mat-
ters of private morality but that the
lividual should be left in free and
responsible control. of his personal life,
arly, what a woman docs with her
own body is a matter of private morality.

Brian G. Gilmar
Department of Sociology
State University of Iowa.
Towa City, lowa

CLERICAL ABORTION SERVICE

The defeat of abortion-reform legisla-
tion in New York earlier this year has led
to a remarkable development: 21 Protes-
tant and Jewish clergymen in New York
City have created а Consultation Service
on Abortion, which seeks "to offer com-
passion and to increase the freedom of
women with problem pregnancies." Dur-

ng its first day of operation, the service
received 35 calls—a number of them
fom Catholic women—aud. announced
that some of the callers had already been
referred to institutions here, Because of
certain New York laws. others may have
to be referred to out-of-state physicians
and hospitals.

Perhaps such informal services, pro-
vided by concerned and compassionate
Gergymen, are the best solution to the
abortion problem in the immediate fu-
ture—or at least as long as the celibate
priests of one particular faith are able to
force their own antifeminine prejudices
on the majority of our citizens.

Ed Shannon
Brooklyn, New York

CALIFORNIA ABORTION REFERENDUM
Tt appears from letters printed in The
Playboy Forum that many Pinoy read
eis favor substantial reform of abortion
laws and some even favor total repeal.
But these changes will not come about
through lip service. The mild reforms
recommended in the Model Penal Code
(continued on page 168)

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165

166

GEORGE PLIMPTON
let george do it

IN THE COUKSE of his energetically odd-
ball career, 40-year-old George Plimpton
—badchelor, bon vivant, author and edi-
tor—has boxed Archie Moore, pitched
хо the American and National League
AllStar teams, played tennis with Pancho
Gonzales, golf with Sam Snead and foot-
ball with the Detroit Lions. И Plimp-
топ performances have been less than
second-sming, his personalized prose
about the pros has been firstrate. Paper
Lion, Plimpton’s account of his mas
. quarterback, was а
runaway best seller this year, and a team
of Hollywood producers has already
broken out of the huddle on a film ver-
sion. "Paper Lion.” Plimpton says, “has
been successful because it talks about
players as people rather than as uni-
formed, statistical ciphers.” A soc
well as literary lion, he has dated some
of the world’s most beautiful women—
Jacqueline Kennedy, Jane Fonda, Ava
‘dner, Jean Seberg, Candice Bergen
—and turned his East Side Manhattan
apartment into a permanent open salon
for fellow writers. As editor of the pres-
tigious literary magazine Paris Review,
Plimpton has also helped a number of
authors achieve prominence among
them, Terry (Candy) Southern and Philip
(Goodbye, Columbus) Roth. But sport
remains Plimpton's abiding passion—
athletically as well as literarily. By his own
estimate, he is one of the top 15 court-
tennis players in the U.S. "Of course,”
he notes, “since not more than 60 people
play the game here, all you have to do
is pick up а racket to be nationally
ranked,” Plimpton's venturesome curi-
osity has spurred him to even more
esoteric exploits: Recently, he played a
gig on triangle with the New York Phil-
harmonic, and next year he plans to tend
al for a National Hockey League club.
Plimpton maintains this peripatetic
расе. female midget tag-team wrestling
may soon be the only sport he has
chronicled autobioraphically—but we
don't doubt that he'd be game to try it.

querade as an №

DAVID WOLPER

irrigating the wasteland

U.S. TELEVISION, weaned for decades on
withouthonor vidiocy, today can
much of its modest maturity to
yearold Dave Wolper, whose docu-
mentaries have reaped virtually every
major award the medium offers. Just a
fraction of Wolper's output of more than
250 TV documentarics mirrors the man's
rant interests and imagination: The
Race for Space, Hollywood and the Stars,
Trial at Nuremberg, The Making of the
President, 1960, Pro Football: Mayhem
on a Sunday Afternoon, Wall Stree
Where the Money Is and China. Wolper
(who'll be represented on TV this season
with 26 network specials) is currently
branching out into movie production.
One of his four features, Of Good and
Evil. currently in the works will realis-
tically present an eventful day in the life
of а metropolitan police department.
Wolper says, “The film will be a dramatic
show—with actors—shot in а docum
tary technique.” Two years ago, Metro-
media, Inc. (which, among iis assets,
owns four TV stations and six radio ма.
tions), acquired Wolper Productions. Now
а Metromedia vice-pre: Wolper
continues in his role as pioncer program
mer: “The next big televisioi
be outdoor, color truclife adventure
films,” he says. “My National Geographic
series surprised everyone but me when
it landed in the top-ten ratings. People
are getting tired of hoked-up adve
arc series. They want to sec real scenes
shot on location, not created on a
Hollywood sound set.” Wolper, an
pert horsen and avid baseball buff,
most ors wateroriented recreation
His 47-foot yacht is often seen cruising off
Newport Beach and he flies to Nevada
several times cach year to waterski
on Lake Mead. But as Wolper's commi
ments mount, his opportunities for recrea.
tion eva In contributing to the
leisure hours of others, the energized
aspirant to two communications king.
doms s he's lost much of his own.

pc

LOU RAWLS
bossof the blues

“sout—and this is my own conception,
now—is fact, as opposed to fantasy," de-
dares Lou Rawls, whose soulful singing
and down-to-earth monologs have made
him one of the kings of the pop-music
empire. A product of Chicago's dead-end
Negro ghetto, Rawls, 31, is blessed with
a powerful but mellow voice, plus what
riti termed “all-purpose plu

ick for telling i
whether he's conjuring up the ta

soul food" or the color and act

ghetto street life. Despite his formidable
talents, early TV exposure and several
quality recordings, Rawls didn't hit the
jack pot until 1966, when he cut his
funky ГР Louw Rawls Live! in front of

tumed-on studio audience; since then,
he's been socking it to loving aowds
from Carnegie Hall to Monterey (at last
summer's first festival o£ pop). He
utes his appeal to the truth of hi
sage: “Who do you think can identify
with a song like Dead End Street? Well,
anyone who's known hard un
can live in a park and still be on
end street as far as Ше is concerned.
Lou first sang at the age of seven with
а church choir, later with a gospel
group. the Pilgrim Travelers; after а
two-year, 36-jump stint paratrooper,
he turned to secular music and traveled.
the waditional rocky road: “People don’t
know about the times when I did five
shows a night for ten dollars, But I'm not
bitter—it prepared me so that I'm able
to handle myself now that Гуе achieved
the ‘upper echelons!" Rawls, whose
memories of Chicago and its biting
wind are not swect and tender, has
h his family on the west s
of Los Angeles, Not content to have
escaped his past, however, “Mr. Soul" s
his current. popularity as a means toward
п end: “I've been laying down a firm.
solid foundation so that I can have my
comforts and enjoy life as it is. 1 want
to feel my mind opening up, to be fee
nd flexible—because life, n i

settled. wi lc

PLAYBOY

168

PLAYBOY FORUM

of the American Law Institute have had
tough sledding wherever they have been
considered in state legislatures, and it is
unlikely that state lawmakers will even
consider repeal bills within this gencra-
tion, for fear of Catholic reprisal.

The only remaining approach for
those of us who do not want the pres-
ent situation to continue is referendum.
In California, the Committee to Legalize
Abortion and several other groups are
going to sponsor a referendum to repeal
the restrictive law against abortion in
this state. Although this law has been
amended recently by the Beilenson bill
to allow abortions of pregnancies that
result from rape or incest and are a
threat to the mental or physical health
of the mother, probably no more than
five percent of the estimated 100,000
abortions performed in this state each
year will be legalized. because of the
trictive provisions of the bill.

The referendum to repeal the present
abortion Jaw will require almost 326,000

(continued from page 165)

signatures to be put on the ballot. To get
these signatures, we estimate that we
will need 5000 petition circulators in ad-
dition to 2000 other volunteers. This is
3000 more workers than we now have.
PLAYBOY 4,500,000 monthly
newsstand and subscription customers. If
even a small percentage of your Califor-
nia readers will help us. we will be able
to put repeal of the abortion law on the
ballot this year.

There has been a lot of talk about im-
proving the laws: but how many pcople
are willing to act?

Е. Н. Kirkpatrick, Jr., Chairman

Вох 7062

California Committee to
Legalize Abortion

Stanford, California 94305

has over

RAPE VICTIM'S STORY

The letters about abortion in the Au
gust Playboy Forum were of particular
imerest to me. I applaud pLaynoy’s stand

“Wrong apartment, Mac. The Nevermores are in 4B.

оп revision of abortion laws, and with
good reason.

Several years ago, I was beaten up
and raped by three men who threatened
reprisals against my family if I went to
the police or even to an emergency hos-

pital or to a doctor. A friend at а nearby
Navy base prevailed upon an offdut
Medical Corpsman, who treated me

best he could. In spite of this, I dis-
covered. soon after that I was pregnant.

1 tried suicide but failed. Then, re-
membering what I had heard about
Mexican border towns, I rented a car
and drove ю Tijuana. Nearly anyone
there can direct a girl to an abortionist.
Besides. the abortionists’ offices are casy
to find, since they are quite expensive
looking and modern—not surprising
when one considers that these pract
tioners often get a $500 fee for a few
minute? work and have an ever-present
waiting line.

The “operating room" into which I
was ushered had a rug on the floor
viously, it couldn't have been very sani-
tary. "Nurses" were carrying another girl
out as I went in. The "nurses" and *doc-
lors" wore no caps or surgical masks and
did not even wash their hands between
operations, The room was soundproof,
however—a necessity, because an abor-
tion is а painful ordeal.

When I left, I was handed an instruc-
tion card and several business cards with
the message: "For any friends who can
usc our service.

After returning to the U.S. I began
getting chills and perspired till I soaked
my clothing. T called several doctors, but
all refused to treat me after an abortion,
even though I did not ask them not to
report the case to the police. A friend
drove me to my home town, where my
understanding family doctor treated me.
He told me I had puerperal fever, an
infection of the uterus, which would have
meant certain death had I not been
treated quickly and properly. The doctor
took care of me in secret, he and his wife
keeping me in their own home until the
danger was past. Because he helped me,
he could have lost his license to practice
medicine.

The reformed abortion laws now
pending in many states are not very lib-
eral, and І would not have been spared
my brush with death even if Califorr
had possessed such a law a few years ago,
because 1 would have had to report the
rape to qualily. When I look back on my
experience (I'm now married and have
а small son), I wonder how many other
desperate girls are facing a similar horror.
Te is wrong to let a gitl’s life be ruined
through no fault of her own; and an
unwanted child hasn't much of a future.

I trust that reaywoy will continuc its
campaign for truly liberal abortion legis-
lation.

(Name and address
withheld by request)

ABORTION DOCTOR'S CRUSADE

One war ago, I was released from
Green Haven Prison. І had completed
my seventh term. I have served nine
years and two months, cumulatively
since my first conviction for abortion 16
yeas ago. I wear my convictions as а
badge of pride. I am one of the few
doctors in the United States who publicly
declare that they are abortionists, admit-
ting to having completed during my
professional lifetime, as an act of civil
disobedience, 30,000 illegal abortions
without a single death.

Таш unalterably opposed to the liber-
alization of our present abortion Laws,
such as proposed by the American Law
Institute in its Model Penal Code
and by the legislators of several states in
pending legislation. My cruside de
mands the repeal of all abortion laws
There can be no compromise with laws
that perpetuate social injustice for wom.
сп. Not only is any law governing abor-
tion unpopular and unenforceable, it is
also unconstitutional.

Doctors generally will benefit from
"liberal" abortion laws, but the pregnant
women who seek abortions are not
benefited to any great extent. Such laws
favor women with the money to obtain
corroborating psychiatric or medical
testimony. These laws set up a system of
red tape and harassment for pregnant
women. Committees of doctors must Бе
persuaded that the abortion fits the con-
ditions specified by law, and they have
to be paid for their time. In the case of
incest or rape, the crime must be certified
by local authorities, which, in some in
stances, may involve investigations and
hearings. All this makes the difference
between an early, easy and safe abortion
and a pregnancy that has advanced to
the point where life and health are
endangered by abortion.

I agree with the
abortion laws should not be liberalized.
But I would go one step further. АШ laws

i abortion should be re
very pregnant woman.
single or married, should bc able to get
an abortion оп demand, without being
compelled to give any reason whatsoever
for her dee

Nathan H. Rappaport, M.D.
New York, New York

“The Playboy Forum” offers the oppor-
tunity for an extended dialog between
readers and edilors of this publication
on subjects and issues raised in Hugh
M. Hefner's continuing editorial series.

The Playboy Philosophy.” Four booklet
reprints of “The Playboy Philosophy,”
including installments 1-7, 8-12, 13-18
2, are available at 506 per book
let. Address all correspondence on both
“Philosophy” and “Forum” to: The
Playboy Forum, Playboy Building, 919 №.
Michigan Ave., Chicago, Illinois 60611.

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169

PLAYBOY

170

SEX IN CINEMA

10 а maiden’s prayer, the producer is
likely to fake the action by shooting the
coupling from an unrevealing angle or.
И the leading man proves to be a real
bustou, by inserting an unidentifiable
dose-up or two of the crucial connection
dipped [rom another film. The endless
line of anonymous males who wander
through the homes of these frustrated
fe reel alter reel of these films
includes salesmen, repairmen. handy-
men, milkmen and grocery boys of every

(continued гот

les i

shape amd appearance. In the films of
the Thirties, icemen and radio repairmen
(пом replaced by TV repairmen) appear

in a dozen or more films. Door-to-
door salesmen continue 10 be ubiqui-
tous, peddling everything from nylon

stockings to dildos. There are also bill
collectors, census-takers, Kinsey-type sex
researchers, ramps, meter readers, chirop-
odists, burglars (always popular, since
the role allows the m:

nd even an aviator who drops in
autogiro.
When a female steps out of the house
a stag film—whether it's a date for
ner (during one film, she w
under a res
escort and thy
appointment with her doctor
з to wind up in 1
‘The medical profession enjoys mc
its share of attention in stag films, as this
partial list of medical misadventures su
gests: Call for Dr. Handsome: Oh, Dor-
tor; Emergency Clinic; Lady Doctor:
The Dentist; The Psychiatrist; Dr. Long-
peter; Dr. Kildare; Dr. Penis; Calling Ben
Casey; Slow Fire Dentist; Doctors Or-
ders; Dr. Hardon's Injections—ind The
Doctor's Prescription for Love, which ol-
fers а double-header: А husband accom-
panies his wife on a visit to the family
physician, and while the M. D. seduc
the missus on the examination couch in
his office, the husband, finding nothin
worth reading in the waiting room, di
cides to seduce the receptionist-nurse on
her desk.

These pornographic piaures portray

ds up
rant wible with both her
waiter) or

supersexual world in which спіс
refusal and frustration are virtually
nknown, The plots, when there are any,

are used only 10 get
together at stam of Ше pictiwr
thereafter, as Professor Hoffmann. points
out, sexual activity is all-important. The
cast of characters in а pornographic film
ranges from single couples (in just over
50 percent of the films currently on the
commercial market) to groups of thre
four, five and more, of either or both sex-
cs with a well-trained dog occasionally
added for good measure. The activity
covers the spectrum of sexuality, both
heterosexual and homosexual,
fellatio, cunnilingus, sodomy,
and mutual masturbation. Because por-

the participants

page 158)

nography is primarily a male predilec
tion, and stag films are produced pri-
ly for a male market, however. the
emphasis in these films reflects middle-
das American males’ preferences and
prejudices, In our analysis of over 1000
stag films produced between 1920 and
y large enough to be rep-
resentative of the entire commercial stag
film market in the U
found that male homosexuality was
relatively rare (4.9 percent of the films
featured homosexual sequences and
only 1-4 percent were completely homo-
sexual). But Lesbian activity was quite
common (19.2 percent of the films
alvzed included some Lesbian activi-
16.6 percent were exclusively Les.
). This is understandable in a society
that has strong male homosexual taboos,
but no similarly repressive attitude. re
garding Lesbianism—coupled with the
fact that many males have a stro
heterosexual reaction to Lesbian activity.
Heterosexual oral-genital activity is also
quite common in these films, especially
in ше films produced during the рам
decide: but, once again, the men come
out ahead, with 68.8 percent of the films
including fellatio and only 46.1 percent
includin

1967—а quan

ited States—it was

ma

tions with which many men view fe
male sexuality is most dramatically
revealed by another set of figures:

Though the proportion seems to be
а in recent films, more чар reels
woman-dog
relations (21 percent) than exclusively
male homosexuality (1.4 percent). Whi
woman-animal activity is relatively un-
common in our society, such ideas are

n

phy—even being reflected in
Greek mythology: Europa had coitus
with a bull and gave birth to a child that
was half bull aud Г man: and the
story of Leda and the sw has been
a popular inspiration painters

for
throughout the history of Western civili-

n. Male homosexuality, in sharp
contast—though а far more common
acivit subject t which most
men feel far less secure and. reject far
more

While the principal function of stag
films erotic entertainment, they also
serve as an outlet for the pressures
ed by social and sexual taboos.
suongly Roman Catholic countries, for
example, there is а significant anticlerical
suain in the lo Thu
the French film Monkey Business a
mouk is shown а heterosexual and
homosexi h at his monastery
with a nun and a gardener. As a less ri,
idly religious country, the U.S. has по
clerical feelings of any kind,
so that the irreverent themes so common
in the stag films of Mexico, Cuba and
rance are almost unknown here. The

ha

single exception to this rule actually
proves the point: Ап above-average stag
reel entitled The Nun's Slory was pro-
duced in California in the early Fifties.
but the title proved so unpopular that it
was changed to College Coed.

Thus, though some taboos ате ob-
viously fair game for these films, others
are not to be willed with. In recent
years, the average age of the performers
in pornographic films has dropped con-
siderably; but most middle-aged А
can men don't want to xà
nymphets in their films, because they
re too reminiscent of their own daugh-
ters. А Midwestern distributor pointed
out a film entitled The Private Lives of
the Sexy Sexteens as an example of a
film for which he has virtually r-

o n

ket. It is an amateur production in which
two girls amd а boy in their very early
teens perform with an older man. "You
get to know your audience,” this distrib.
шог said. “IF I showed up with that reel
lor a smoker at the local Kiwanis or
someplace like that, they'd skin me

alive.”

Even stronger than these taboos are
the laws against stag films, Federal statutes
prohibit interstate пайе in obscenity,
with a penalty of up to 55000 and Jor five
years in prison for the first offense; and
stue Jaws, with very few exceptions, bar
their manufacture, sale, exhibition or
possession. To the formulators of these
laws and to the police and prosecutors
who uphold them, the crime is obsceni-
ty, impure and simple. But since those
who view such films are frequently such
community pillars as veterans’ org:
tions. business associations and volu
fire deparments—all of which are
markets for марграму screcnings—p:
shment is more often meted out. to
the producer, distributor or de:
than to the customer, as in the case of
prositutes. By implication, at least, it
would seem that the states of Hlinois and
North Carolina were seeking to pro-
tect the afterhours interests of such
influential citizens when they, alone
among all the states of the Union, spc-
ly ded
films, not for gain and to personal
ates other than children, was not

ed that the exhibition of

crime.

Despite firm and nearly universal pro-
hibitions, the production and distribu.
tion of stag films has flourished fitfully
the United States for more than halt
century, Because of their clandestine st
tus, no one has been able to provide а
very accurate estimate of the number of
different film titles currently on the com-
mercial market, nor the number of prints
in drculation. Our own extensive re-
search for this installment has made it
bvious, however, that previous estimates
of 1000 ro 2000 different titles ме
definitely on the low side. One of the
difficulties in maki
nature is the recent discovery that stag:

og an estimate of this

“Of course you're excited —running around bare-ass т
the forest all day ...!”

171

PLAYBOY

film production and distribution is, by
and large, a regional activity. Thus, while
some films produced in New York do
find their way to Chicago or the West
Coast, and vice versa, most of the pornog-
raphy available in one part of the coun-
try or another is actually produced there.
This means that a comprehensive esi
mate of production would have to take
into account al] the hundreds of small
producers and/or distributors scattered.
across the country—a task no one is in a
position to undertake.

Any attempt to estimate the number.
of different stag-film titles currently oi
the commercial market is further compl
cated by the fact that films often remain.
in circulation for 10, 20, 30 or more
years. Some of the more popular titles
originally produced in the Thirties and
Forties (such as Mexican Dog, Matinee
Idol and Unexpected Company) are still
to be found on the market today. The
most dramatic examples of the sceming

immortality of many of these movies are
Strictly Union, dated by the Institute for
Sex Research as having been produced

in 1919: and Le Télégraphiste, a French
film made in the early Twenties; both
reappeared on the New York market a
few months ago, one of them under a
new title. As long as a reasonably good
print of any film exists, it's always possi-
ble for a manufacturer to make a new
negative from it and thus begin the life
cycle of a particular film all over again.
To complicate matters even more,
some distributors retitle old films and
distribute them w, thus fooling
some of their customers into purchasing
the same film a second time—hardly a
good way to build customer relations;
but then, stag-film distributors have al-
ways been concerned more with thei
pubic than their public e. Accord-
ingly, the vintage stag film Mexican Dog
ng sold on the West Coast not long
wo under the title Sportie. While the
Cal's Away was sold again under the
inative second title The Mice Will
Play and—to confuse things further—
also as Play Girl. A recent film from De-
п has appeared with three different
Seroungy Truck Driver and, for
those who don'tcare for that image, Clean
Cut Truck Driver, as well as Scroungy
Turned. Chicken for good measure. And
at various times, the stag classic Pricking
Cherries has alo been soll as The
Dream Salesman, Sock Salesman, Office
Gir's Dream and Secret Dreams. As
though to harry the most invetera
cataloger, certain titles also have a w
of appearing and then reappe:
wholly different films, so that in our own
compilation of 1000 film titles, there are
two of Picnic, two of Sleep Walker, three
d Strip Poker, three Call Girls and
no fewer than five entitled The Lovers,
Two different films have been called
Unexpected Company. and one of these

а

172 Ваз also been sold as Love Bug; but two

other and quite different films have been
titled Love Bug, too. Obviously, there is
по central title-registration bureau in the
stagfilm field.

While many of the same films are still
on the commercial market today, the
business itself has changed markedly.
During the Twenties and Thirties, stag
films were mainly a road-show operation
for a flat fee of $50 or $100, the dealer
would provide enough recls for two or
three hours of entertainment. Since
movie projectors were uncommon and
expensive at the time, the road-showman
usually supplied 16mm equipment along
with the films, as part of a package deal
for the show, Respectable lodges, veterans
and fraternal organizations were his
primary customers. The stag film ritual,
dubs, lodges and frater-
cross the country in the Twe
Thirti nd sull to some
extent, even today—is oddly reminiscent
of the puberty rites practiced by mo
primitive societies. A research associate
at the Sex Institute has offered this inter-
pretation of a typical stag party: “The
participants can be seen as a kind of
community of respectable middle-class
males. For these men, the stag evenings
have a kind of ritual function; they allow
the males to express crude emotions in a
masculine context, and each gets from
this, in a sense, homosodal confirma:
tion He added that the viewing of
stag films by males was in no sense
to be regarded as an indication of
homosexuality, either latent or actual.
“The group viewer," he went on, "is able
to prove he knows the language of sexu-

liny—a language he can't use elsewhere
сері in comparable situations. The
need for this approbation of his fellows is
at least as strong as his need for appro-
bation from women.

Throughout the Forties and well
into the Fifues, the largest market for s
reels remained men-only smokers. But
with the end of World War Two, good

lómm movie equipment became avail-
able at far more reasonable prices, ini-
Gating a homemovie boom. Private

ils now wanted to rent or pur.

chase stag films [or private viewing,
ог for screening at parties with
friends. The men who had been putting

on the road shows for so many years be-
came the first distributors, wholesalers
and retailers for this new market. And
many camera stores began stocking а
few reels of stag films for rental to spe-
cial customers, since the films not only
paid for themselves in two or three remt-
Is but also served as а catalyst for the
rental and. purchase of movie projectors,
sercens and other equipment. The rental
of а 4ü0foot, 16mm stag reel averaged
from $5 to $10; the purchase pri
rcel, from 525 up. With the introduction
‚ good-quality Smm home
movie equipment in the late
home-movie market spiraled and, with

e of a

ties, the

it, the individual market for stag
films The outright sale of films to
e collectors now far surpasses the
nation of shows and rentals.
Аг the present time, the cost to the
manufacturer of a single 8mm тесі, in-
cluding film, processing and overhead, is
approximately $1.75 per 200-001 reel of
black-and-white film. The manufacturer
usually sells the reel in quantities of 100
or more to distributors for approximately
53 a reel, although many manufacturers
act as their own distributors. The price
paid to the distributor by the wholesaler
runs from 54 10 55 а recl, and retail out-
leis arc charged an average of $7 а recl.
The retailer then charges the customer
anywhere from $10 to $25 a reel, 4е-
pending on what the trafüc will b
Prices average about $15—somewhat
lower in the East and somewhat higher
оп the West Coast.

When stag films began finding their
way into private homes, something else
happened as well: Women had access to
them for the first time. Not too many
years ago, it was understood that no nice
girl, of the sort one wanted as a wife and
mother to your children, could have any-
thing but a negative reaction to the cru-
ditics of a stag film. Never mind about
the women portrayed so provocatively in
those films, who responded erotically to
everything from а passionate passage т
a book to the taste of pistachio ice
асат. Nice girls we t hike that and
nice girls wouldn't like stag films. Or
would they? Kinsey found that one out
of every three females was pable of
being sexually aroused by erotica. But
Kinsey's study was made 15 years ago:
in today’s more sexually permissive so-
cial climate, that figure has probably in-
creased. To be sure, not all women have
a taste for stag films; but not all men re-
spond positively to pornography, either.
Some men are repelled by the una-
bashed eroticism of a stag film; others
are simply bored by it. Kinsey found
that a single stimu could clicit.
from mcn. і women alike, a wide
е of sexual responses and that, wl
women g ly are not as readily
responsive as men to erotica, the spec
trum of responses for both sexes so over-
laps that а great mamy women are far
more susceptible to such stimulation
than are many men. It isn’t surprising,
then, that the viewing оГ stag films has
become a heterosexual activity іп the
past few years, And many social scien-
s regard this as a мер in the right di-
rection. Says one of them: "Tr means that
the female in our society is being al-
last, го savor her own sex-
uality u and to share this
experience with husband or loved
onc." In any case, there can be no doubt
that the overall audience for stag films
is increasing, both because of the increas
ing availability of home-movie equipment
and because of the increasing acceptance

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of erotica in our more sexually permissive
ociety

But even with this increase, the sile of
pornography is hardly the bi
that some supposed authorit
gested. The profit ma
and the largely localize
distribution too disorganized to produce
the sort of multimillion-dollar pornog
raphy business that some writers have
med exists. If there were actually any
sizable profit to be made from the sale of
ag films, the crime syndicate would
loi
has done with gambling. narcotics and
prostitution. But the racketeers don't
bother, because there isn’: enough money
in it to make the risks worth while

In order to account for the wi
of those who produce and d
films to undertake those risks, one must
therefore look beyond the profit motive.
Sti

business

s have sug

п ds too slight

production

since have absorbed it, just as й

lingness

ribute st

flm making. observes a research
asociate for the Sex istime
only illicit activity of its kind in which
most of the professionals in the business
appear to be "hooked" on the product
The professional bookie doesn't usually
play the horses, and the man who pushes
narcotics isn't usually an addict, but
most of the men who produce pornog
raphy are emotionally as well as economi.
cally involved in their work." The

would almost have to be, for the m:
ty of stag-hlm producers must work on

к the

very short shoestring, indeed. То econo.
mize, and to get the most out of his in-
vestment in the performers, the producer
frequently photographs three
separate reels in а single session. The so-
called Mandy series is а typical example
of this technique: Filmed in New York
in the kue Fifties, it includes five sepa
rate reels—Twin Mandy, Selfish Mandy,
Sleepy and The Rack, Parts 1 and Ш
that employed the same two blonde fe-
males and three young males in a single
hard days night. The producer of this
series, who shot about 70 reels over а
two- or three-year period, made a practice

r four

of shooting his films im such series as
these
afternoon and/or evening to complete

cach taking no more than an

The economy-minded producer of the
so-called Mirror s
ent reels in a single session in a New
York apartment, involving two males

s shot seven dilter

and one female

With economy such a vital considera
tion in stag-film production, not a foot of
nything at all
d а general lack of editing is опе of
allmarks of current stag-film pro-
duction. Some producers shoot the same

film is wasted, if it shows

sex activity with several cameras, so that

they will have more original master

prints from which to work. It is also not

uncommon to have sll photographers

shooting the action, too, since there is a

related market for th
raphy. Occasionally,
overzealous second cameraman can be
secn stepping into range of another cam-
era and even momentarily blocking its
view of the action. Such goofs are almost
never edited out of stag films produced
during the Sixties.

One corner-cutting gentleman in
Brooklyn kept a tight rein on expenses
by confining his business t0 а family
operation, His stig-movie repertory
company consisted of himself, his wife,
daughter, son, niece and nephew. The
only outsider on the payroll was the cam-

form of pornog-
п such cases, an

сгатай, who handed over the exposed
film immediately after shooting the
quired footage. The producer developed,
printed and marketed his own product.
Nor is it unusual for a producer to appear
e participant
led to turn up as scheduled for the
shooting of a recent stag film in Califor-
nia, the producer promptly stepped in as
a substitute, explaining plaintively after-
ward, “What else could I do? Both the
тоот and the girl were already paid for.”
In keeping with the modest production
budget, female stag-film performers are
usually paid between $50 and 5150 for
their labor of lust; males, predictably,
are willing to perform for $50 or le
and not infrequently for nothing, Loca-
tions for these surreptitiously made films
have ranged from cheap motel rooms 10
deserted beaches, from city apartments
to rooms in large, bustling hotels. Sev-
eral noteworthy series in the late Forties,
carly Fifties and the Sixties were filmed
in houses similar to those in hundreds of
middle-dass suburban communities.
While the shoestring economy of
Im manufacture has remained rela-
beginnings of
the form until today, the content of the
films—like their distribution and exhi
tion—has undergone, over the ye
evolution that sets the stag films of the
Twenties, Thirties, Forties and Sixties
apart from one another as distinctively
as the Hollywood feature films of the
jazz age, the Depression, the War years
and the psychedelic Sixties. The stag
reels of cach decade are distinguishable
not only in matters of costume, setting,
furnishings. hair styles and the like but
also in the sexual activities portrayed,
the enthusiasm with which they're pi
formed, the type of participants involved
and the story framework—or lack of it—
which the action is placed.
Marcel Pagnol, the great French film
director, is said to have discovered an
employce processing a pornographic film
in his Marseilles laboratory and, after
rebuking him, having asked: "Don't vou
have trouble making such films?” “Oh,
the man answered. “That's
all. The trouble is
always the story, monsieur, the story!
The story has always been the im

own films; whe

an

portant thing about French stag films—
distinguishing them from the best that
other countries have been able to accom-
plish in this genre. But until the Thirties,
the story was even more important in
U.S. stags, often overshadowing the sex-
ual content—something the French stag-
film maker would never allow. Strictly
Union, for example, produced in New
York in 1917, not only appears to have
been professionally produced but tells
bawdy story with some jocularity. Ti
scene, a title informs us, is The Fuckem
Right Studio, and two actresses at the
studio are identified as Minnie Womb
Lotta Crap. This broad
continues as Minnie disrobes in her
dressing room while be d on by
lard Penis, the property boy, who is
strictly a worker" Truc to his
moniker, hc bursts into the dressing
room, where Minnie, reduced
black stockings, is not in the least reluc-
tant to accept his ad As the
young warms to his work, titles
such as “The Seventeen Jewel Sw
Movement” and “Hair Pic
action; then the boy

and humor

ng spi

union

now to

ances,

man

ble indicating the
ime. Being a good
ises, slips

clock on the d
hour of six—quitting
union member, he promptly
on his overalls and departs.

Rudimentary joking of this sort re-
mained a staple ingredient of the Ameri-
can stag film throughout the ‘Twenties.
Profesor Hoffmann discovered an е
ment of folklore in some of the more
antique examples he analyzed, citing p:
ticularly The Pick Up, made in 1923. The
plot line of this picture, he found, was
based on an off-color joke that not only
had made the rounds for several years
but was deemed folksy enough to be
cluded in a collection of waggish talcs
In the film, a man picks up a girl in his
car, drives her 10 miles into the country,
parks and makes the usual proposition.
When she refuses, he makes her get out
and walk home. The next week, he picks
up the same girl and drives her 20 miles
into the country. Again the proposition
again the refusal. On the third repet
tion, he drives 50 miles into the country
—and this time thc girl accepts his ad-
vances. Later, the man asks why she
didn't give in the first time, and she

175

responds that she would walk 10 miles,
even 20 miles, "but damn if ГИ walk 50
miles to save a m

lose of clap!
added Profesor Но
lrhough present, is brief, and
subordinated to the joke

One of the most stri
the emphasis on story linc over sexual
stag films of the Twen-
ties is the elaborately plotted and photo-

PLAYBOY

content in U.

Produced by prof
extensive use of both exterior and inte
begins with a train
ag ішо a station and а young lady
stepping off carrying her bag. "Coxville,

or scenes, the fil

and women
ptions then. explain
ihe complicated premise of the picture:
Dora Somass," arriv-
the wile of

The young lady is
a visit with her sister
he judge w
| but has forgot
. so Dora steps into the station

Judge Humps.

and calls her sisters home. The plot
thickens when Dora is accidentally given
a wrong number: in the ensuing con-
versation, the man who answers con-
dudes thar Dora has never met her
brother-in-law, and since she sounds on.
the phone like a hot number, he decides
to pretend that he is the judge. The un-
scrupulous stranger picks up the unsus-
pecting Dora at the station and drives
her to a secluded spot, where he makes
а precipitate pass at Miss Somass, who
proves quite receptive üll а policeman
spots the рай in the car. “The eagle eye
of the aw spoils good jazz,” announces а
caption. The cop puts them under arrest,
hops on the running board and directs
them to the courthouse. Wlien they
nve and Dora climbs out of the car,
loverboy seizes the opportunity to make
his getaway in the car. With only Dora
in custody, the cop is about to enter the
court when Judge Humps appears in the
doorway. “A case of jazzing on the road,
your Honor,” the peace officer ns.
The judge nods knowingly and, taking

“Owen! Switch channels!”

the girl into custody. informs the police-
an that he will have to trv this case pri-
tely. Unaware that it’s his sister-in-law
as in custody. the judge takes Dora
home with him and proceeds to seduce
her on the living-room couch. “Just the
kind of whang that Dora likes, the
caption. But soon after the sexual activi-
ty is under way, the scene shifts to an
approaching female. "The wife's card
party broke up early," we are told. She
enters and catches the couple on the
couch, "Sister!" both girls exclaim in
shocked surprise. In the final scene, the
wife is chasing the judge—nude except
for socks. shoes and bowler hat—down
the road. The
end: "A push
the hand, but don't let your wife know
about it.” Of the entire 15-minute film.
less than three minutes are devoted to
actual sexual activity

Probably the most noticeable difference
between U ig films of the Tw

А

ty, with а concomitant. dec
narrative element. But even the films of
the Thirties featured more elaborate plots,
sets, editing and subtitles than are evident
in more recent years. In addition to hu
mor, there was а frequent use of other
noncrotic and even anticrotic devices dur-
ing both decades. Particularly pronounced.
in the Thirties was а pervasive antiwom:
theme, with the female ueated as а sex
object rather than as a sexual partner, as
might be expected from such ап aui-
tude, theres relatively little foreplay
prior to the main event, and little evi-
dence of authentic emotion or passion.
Consistent with the subordinate status of
women that characterized the period,
females performed fellatio on male per-
formers far more ofte the males
responded with anni (three times
as often in the Twenties and four times
s often in the Thirties). Also in keeping
with the mores and taboos of the time,
many of the performs
were relatively unatt
middle age. The males were
socioecono

the Tike, th pros-
titutes, working lor a modest fee. As
with the producers and. distributors of
these films, there seems 10 have been
icks" and exhibitionis
volved in their motivation, for the pay
they received was lile more than they
could have eared И they had spent the
same amount of time plying their wade
in private.

he major series of the ThirtiG—
thronging with such sleazy characters—
was produced. in go carly in the
decade, Approximately 40 films—includ-
ing such tides as Piccolo Pete, Hycock's
Dancing School, Bedroom. Secrets, The
Passionate Farm Hand, The Gigolo,
Golden Shower and When Pop's Away,
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177

PLAYBOY

178 masked man in stod

group, and
the commerc

пу are still being sold оп
market today. The most
unusual film in the series is Matinee
Idol; if there were such a category as
"camp" stag films, this one could casily
qualify. The sexual scenes couldn't have
been any broader or funnier—intention
otherwise —if had been
choreographed by Busby Berkeley. The
film opens with gorgeous Blondie Blon
dell bowing dem
astic London theater crowd at the end of

they

ly or

ely 10 ап enthusi

her feature dance, which must have
been a fetching bit of terpsichore, since
she isn't wearing a thing except her
shoes. At that moment, “Wee Wampus”
—Blondie’s maid -is straightening up
the apartment in preparation for her mis
trest return, Startled by а knock at the

door, she finds not Blondie but "Lord
kem of Fuckem, Fuckem & Fuckem,
sole ag

ws for Everip Cundrums"
—Blondie’s faithful boyfriend. As a title
card next informs us, “Wee decides to try
d vamp his lordship" before her mis-
tress gets home, which is more of a proj-
ect m since. Wee
weighs ound 250 pounds, most of
it pure blubber. Tearing off her kimono,

me he suc
о sooner has he leaped into
saddle than Blondie arrives home.
After some embarrassed apologies from
his lordship and mumbled profanities
from Wee Wampus, Blondie and boy-
fiend retire to a plush. lounging area,
where they proceed to perform sexual
intercourse as though it were a ballet. So
nspired is his lordship by the lithe and
lovely Blondie that he achieves three
separate dimaxes, the last of which is
acht, in slow motion, at the moment ol
ejaculation, The actor who portrayed his
lordship appeared in over a dozen other
stag films in the series, so he must have
been something of a local celebrity
day: but none of his other perfom
managed to touch the one he ga
Matinee Idol.

In the Forties у s, US.
stag films generally declined in quality.
h les attention given not only to
humor but to plots, sets and editing.
The settings for these filins were usually
lower-middle-class houses or apartments,
nd the performers continued to be cho-
sen from the lower socioeconomic levels
of society. ln this period, especially,
many of the male and some of the fe-
male performers wore masks or other
wise attempted to conceal their identi
by the use of often rather
guises. This is the period, too, when m:
of the male performers made a habit of
removing everything but their black socks
for their performances; thus did the
g feet become a

bizarre dis-
ny

classic symbol of the U.S.
The only other thing
proportionately high number of the male
performers in reels produced during this
period. for reasons that are unclear, were

worn by

tattoos—usually tributes to motherhood
or the flag.

Because raw film stock was scarce
during World War Two, very few films

the first half of

were produced du
the Forties. Е
some sag
make up for this shortage by |
ther segments from existing film:
what the Sex Institute

asing to-
T
ls “potpourri

зао Бе

" Some producei з com
nonpornographic “girlie” films
with actual pornogr the
former to establish the story line and

the latier to introduce the ses
This same sort of doctoring h
performed on à number of old bu
short subjects and “beaver” films ("gir-
lie" flicks of completely nude females,
without а activity). P.
haps the ginative and amusing
example of this sort of film editing was
described to us by а Midwest st

aci

lesque

сіма] se

ost di

ag film
distributor: According to him, one pro-
ducer had secured a print of a Wartime
Army training film on ve disease,
the first half of which told the romantic
story of а soldiers pickup, followed by
his shamefaced appea | the dis-

eren

pensary with V-D., ngly
documented case histories made
syphilis and gonorrhea seem the real

horrors of war.

-film producer
romantic pickup

the
and seduction scenes from the start of

ned

simply r

the picture, removed the dire conse-
quences of the GI's dalliance and re-
placed this footage with close-ups, where
the identities of the two participants
were not readily discernible, from a
gamy stag film. There is real irony and
more than a litile poetic justice, we
think, in the fact that this Government-
sponsored anties film ultimately be-
сате a decidedly provocative motion
picture intended to turn people on rather
than off.

Less than provocative, but at least pa-
triotic, was another stag reel shot during
the War. The male performer in this fil

graphically entitled Swastika in the
portrays Adolf Hitler, complete
zi uniform and wearing а rub-

Hider mask. This bogus Führer
is seduced by a brunette who induces
him to undress, only to discover he is
ig a pair of panties with a swasti
pasted on them. When he fails to satisfy
the young woman sexually, she t
him as а laughable example of his *
ter race" and he despondently shoots him-
sell—alter which the girl cuts the swastika
from his panties and pastes it over her
B film makers generally

elected to ignore the international hos-
s and concentrate on the escapist
sv material favored by those who
were fighting the War on the home front.

Two major stagfilm series produced
the late Forties and carly Fiftics arc
especially typical of the post: War period.
Onc of the so-called Merry-Go
Round Emergency Clinic series.
never been traced successfully to its
source: I likelihood, it was prc
duced in the East. In addition to the two
films mentioned in the series tide, this
group included Night School. The Den-
tist. Detective One Hung Low. Black
Market, Midnight Till Dawn and Varsity
Girls, The same portly male appears in
most of the more than 30 films that have
been identified as belonging to this se-
ries. An exhibitionist to the core, this au
sex star" seemed to deli
ting the females in these films
he was sometimes responsible Го
ld humor that added to
ic. He also com-
pleted his performances by
at the moment of orgasm a
on his pa stom:
tally a rather common practice in ро
nographie films, apparently intended as
proof to the andienee thar what they
have been watching is the real McCoy
with ge usal and full
completion of the act. The other major
period has been traced to

them,

has

uine sexi

series ol th
Nashvi
knowi lle Series." Many
of its films—ineluding such tides as
Butcher Boy, Dice Game and ГИ Cry
Tomorrow—achieved wide circulation
far from the locality of their production.
But few, il any, of the films in either
series equal in spontaneity and seemingly
honest passion a two-reel feature cn-
titled Unexpected Company. Probably
shot somewhere in the Midwest about
1950, this outdoor epic concentrated on
the sexual activities of two athletic and
tractive young couples in a secluded
forest.

In the youthful good looks of the per-
formers and the enthusiasm of their per-
formance, this film was an anachronism
iu its day—but a harbinger of liberating
ends 10 come. For in the late Filties,
the effects of the accelerating Sexual
Revolution began iw make themselves
felt almost as dramatically in stag films
as in society at large. By the beginning
of the Sixties, youth and attractiveness
had become the rule rather than the сх-
ception for stag-film stars; many are not
only personable but well groomed and
fashionably attired, Most of the female
performers in today's stags are in their
late teens ог carly 20s—almost a
decade younger than their counterparts
of a generation ago; and though most
are sull recruited from the ranks of

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PLAYBOY

180

professional prostitution, many films are
now being made with semipro and non-
professional females, who may agree to
perform more for crotic and cgotistical
reasons than for the traditional eco-
nomic considerations. Whatever their
motivation, today’s young performers are
considerably less inhibited than their
predecessors and more honestly oriented
and the results, nor surprisingly,
have far greater erotic impact, Current
stag films also include more amorous
foreplay than in previous decades—and
more diversity in the sexual activities
depicted. Our aforementioned. analysis
of films produced between 1920 and
the present reveals а remarkable increase
oral-genital activ both fellatio and
fingus—between the Thirties and
ties, mirroring the increasing
псе in society as a whole of such

ations in sexual relations. Thirty-
seven percent of the films produced in the
Twenties were found to include fell
In the Thirties, the percentage increased
to 48.5 percent, and remained about the
same through the Forties, In the Fifties,
however, the figure leaped to 68 percent;
and in the Sixties, 10 77.3 percent. In
con
status of the female
the Twenties and Thirties, and on her
use as sexual object rather than sexual
partner, we cited the rare. performance
of cunnilingus by the male in those films,
The inaeasing sexual emancipation of
m is reflected.
dearly in an equally striking increase in
the incidence of oral-genital activity per-
formed on the female by her male part-

menting carlier on the relatively low
п the stag filins of

womei

ner. While cunnilingus occu
11.1 percent of the films produced in the
‘Twenties and just 1 percent of those
made in the Thirties, the figure rises to
16 percent in the films of the Forties and
then jumps—doubling and redoubling
the past two decades—to almost 32 per-
cent of the films produced in the Filties
and more than 64 percent of those made
in the Sixties.

As we have indicated, ше sexual. pref-
erences and prejudices of the all-male
smoker audiences of the Twentics, Thir-
ties and Forücs very much influenced
the kind of activity commonly portrayed
on screen, When stag-film audiences be-
came smaller, more private affairs w
mixed. audit 1 the Fifties, the films
themselves, predictably, began catering

wider range of erotic ta i
along with more vari
perio ге is far more group
tivity—orgics involving three or more
participants—than heretofore. There has
also be slight increase in appeals
to the quirkier sexual proclivities—mild
sadomasochism, garter-belt and high-
heeled-shoe fetishism and the like—but
these shifts € not been as marked
as one might expect The number of
Lesbian and male homosexual films. too
always a marginal mino has re-
mained relatively stable, despite the
increasing social acceptance of these in-
dina n the past decade.

But the barriers in an even more sensi-
tive area seem to be br ing down—at
least in stag films. It has been suggested
by some sociologists that the white man’s

in only

ance, the

ions

"I think some of these shows are aimed at
the mentalily of a rhinoceros.”

sexual guilts and fears may be as respon-
sible for racial bigotry as the economic

considerations—guilt over having taken
advantage of female Negro slaves and
fear that the Negro male may retaliate

kind. Whatever the cause, sex between
white males and Negro females has long
heen as common in stag films as sex be-
tween Negro males and white females has
been taboo. In the Twenties, our statisti-
cu analysis shows, white females and
Negro males were paired in less th
percent of the films, while 6.8 percent of
the films in the decade paired a white
male with a Negro female. In the Si
the white male-Negro female figure v

percent has occurred in the number of
films depicting intercourse between Ne-
gro males and white females. In this
rter, at least, racial anxieties show
iens of waning.

Whatever the pigment or predilections
of the performers, the stag films of today
tend to get down to business—the busi-
ness of sexual coupling in one form or
another—far more direaly than in е
lier decades. The sometimes elaborate
plots and ribald subtitles that once intro-
duced and interspersed Ше on-seree
erotica have been all but abandoned in
favor of nonstop itction. In fact, it ў
uncommon to find in recent films that
the director hay printed anything and
everything that occurs—or fails to occur
—in front of the camera, from the mo-
ment he begins shooting to the end of
the roll, without a frame removed. As a
result of this cinéma iénité technique,
good many current stag reels include se-
quences in which the performers are
looking toward the camera lor instruc-
tions; and sometimes the action reaches
is climax with another quarter reel yet
to go, leaving the cameraman with noth-
ing more erotic ю record on the last 50
fect of film than the performers washing
up, getting dressed and departing. Pj
meditated ог not—and the Hatter is the
more likely—this "technique" results not
ш a carefully planned and plotted sexual
playlet but in а somewhat spontaneous
erotic event,

The best—and the majority—of these
new wave" мав films are being made
today in New York City. One produc
distributor group there has shot no fewer
than 80 new films in the past two yi
—thus gaining clear title to the record
for the largest number of stag films pro.
duced by any опе The f
made by this group are also con
casting, photography
excaution—to most other stag films cur-
ently being produced in this coi
‘The performers in such popular New
York-produced numbers as Wild Night,
Pajama Game, Young Blood, Love Nest
and Swinging Hotel are usually young,
tractive and enthusiastic and run the
gamut of variations on their single

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PLAYBOY

theme, Among the reels are 2 few male
homosexual films and many more Les-
bian ones; but these activities, rather
than being stressed, are intermixed with
heterosexual play. The same group
shows a decided leaning toward ensem-
ble entertainments: Well over half of
their films involve three or more partici-
pants (Pajama Game features one male
and two females; Love Nest, one male
and three females: and both Wild Night
and Swinging Hotel, two males and four
females). Girls in garter belts, nylon
stockings, high-heeled shoes and nothing
else are a hallmark of the series; and one
of the male performers has already
achieved a form of stag-film immortality.
having appeared in more than 50 of
the group's films, an achievement that no
other stag performer has come close to
matching. It is rather fascinating to trace
this man's rise to stag stardom from his
early appearances in films such as The
Exchange Students, in which he and his
partner modestly attempted to hide their
identities behind masks; in Wild Night,
where at the outset he wears а mask but
discards it in the heat of passion, at-
ig (unsuccessfully) to avoid iden-
n thereafter by turning his face
from the prying camera; and, final
ly, to fullfledged star of such recent
films as Village Ball, The Maid Is Made
and Lucky Prowler, in which he seems

as proud of his face as he is of the
remainder of his profile. As befits his
eminence, he frequently commands close-
up attention: invariably, he rises to the
occasion with а spectacular performance.

The Midwest, too, has several major
producer-distributors at the present time,
most notably in Detroit, where Rank
Productions (not to be confused with J.
Arthur of the same name) has made and
released 00 titles in the past two years,
including such popular items as The
Beat Generation, How Deep 15 Му
Valley, Young at Heart, Piece Corp and
Les Girls, But the performers—mostly
couples rather than groups—are of gen-
erally unprepossessing appearance com-
pared with New York's, and the quality
of Rank's print reproduction is extremely
poor. Another enterprising Midwest. pro-
ducer, based in rural Indiana, has made
more than 30 films, with such
temporary titles as Pussy Galore, The
Professionals, Dr. Kildare, Dating Game
and The New Civil Rights Act: but these
don't rival the big-city productions in
performance or technical profesionalism,

It might be logical to assume that
Hollywood, as the center of the motion-
picture industry—auracting, as it does,
hundreds of girls a year who come to
California in search of screen fame and
fortune, fail to find film or TV work and
wind up “getting by" in other ways,

con-

some legitimate and some illegitimate—
would also be the nation's major source
of stag films; but there is little evidence
to support such а conclusion. The
sources for stag films have always tended
to be close to the biggest markets, and
the major markets—for whatever reason
—have always been the big cities in the
East. Then, too, ever since the Holly-
wood sex scandals of the Twenties, the
studios have been deeply concerned
about the Tinseltown image, and their
scli policing activities have undoubtedly
extended to discouraging potential por-
nographers within the profession. In a
city with such a dense population of par-
ty girls, swingers and sex freaks of every
stripe, of course, it's inevitable that some
stag fil we been made for private
consumption. But these have almost cer-
tainly been kept under lock and key in
the pornography collections of those who
madc them, for very litde of an out-
standing nature has ever found its way
ito the commercial market. Contrary to
rumor, incidentally, none of these fca-
tures any recognizable movie personality.
A few noteworthy commercial reels have

emerged from the Los Angeles area in
recent months—featuring such titles as
Lesbian Call Girl, Holiday тп and The

Beatles—but all have been inferior in
quality as well as in quantity to those
turned out in the East.

makers have prevented these private pro-

ductions from finding their way into the
open market—and from being seized by
the authorities—others haven't been so
cautious ог so lucky. With the growth
in popularity of inexpensive 8mm movie
equipment, an increasing number of
nonprofessionals throughout the country
have responded to the erotic possibilities
inherent in the filming for personal
pleasure of husbands, wives, lovers and
friends in sexual situations. And not in-
frequently, the producers of this amateur
erotica have then naively sent the films to
a professional photo lab for processing;
in so doing. they have at the very least run
the risk of losing the film: for most legit-
imate photo processors confiscate such
reels and, having notified the customer
of the fact, presumably destroy them.
Kodak has a long-established policy of
confiscating not only all pornography
but also all nudes in which any pubic
hair or sex organs appear—although,
in the latter case, they have absolutely
no legal justification, (Actually, even the
confiscation of hard-core pornography of
а noncommercial nature is open to ques-
tion in some states, where the mere
possession of pornography is not express-
ly prohibited by law. A recent California
Supreme Court decision affirmed that

the private production of pornographic

solely for personal pleasure, is
permissible under that state's obscenity
statutes.) A more serious problem may
arise, however, if an amateur film falls
into the hands of an unscrupulous film
processor. In such a case, a lab tech-
nician may return a print of the film to
its owner, while making a duplicate
print for himself; or he may confiscate
the film but fail to destroy it—keeping
п. instead. for his own amusement or
allowing it to fall into the hands of a
professional pornographer, so that anoth-
er amateur film is added to the commer-
dal stag market. In just this way, a
number of nonprofessional erotic films
have become a part of the commercíal
pornography available to anyone with
the necessary cash and contacts in any
major city of the U. S.

In this connection, a California case
just а year ago, involving several married
couples, had truly tragic repercussions.
The couples pated in periodic sex
parties together: and on one occasion,
а newcomer to the group photographed
some of their erotic activity—supposedly
for his own entertainment. Soon after,
however, he was arrested in a commer-
dal vice raid involving both prostitu-
tion and commercial use of pornographic
films. As a result, the unsuspecting mar-
ried couples were arrested оп charges
of adultery, producing a pornographic

film

and sexual perversion (because
genital activity was involved). They
were forced to plead guilty to perver-
sion charges in return for suspended
sentences and a lengthy period of pro-
bation. The sensational newspaper cov-
erage of the case, however, cost both
husbands their jobs, and one of the
wives stated that “we are now second-
dass citizens. My husband's claim for
unemployment insurance has been de-
nied and also his application for life in
surance, His chances of finding a decent
job are very remote. I have been on the
verge of a nervous breakdown since our
arrest. This mess has ruined our reputa-
tion. taken our life savings and caused
grief and humiliation to our children and
other members of our family.”

Such prosecutions arc all the more
poignant because they are relatively rare.
"The performers in pornographic films —
both profesional and amateur—are rare-
ly arrested, though their appearance in
the films would make their identifi-
cation, arrest and prosecution а rela-
tively simple matter. The emphasis in
such prosecutions has traditionally been
on the commercial producers and distrib-
utors rather than on the films’ performers
or customers.

Although most of the stag films
available on the U.S. commercial
market were produced in this country,
many made abroad are also to be found

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PLAYBOY

184

here—most of them produced in Latin
in Mexico

and

acteristics and reflect, to a degree, the
social and sexual taboos of the cultural
climate in their place and time. There
as also been an evident catering, partic
ularly in Mexican and Cuban stag films
to American touristic voyeurism—di
cernible in titles such as Rin Tin Tin
Mexicano, Shirley Temple Se Enamore
and Mexican Honeymoon, all produced
in the Thirties, when Mexican and Cu.
ban films became commonplace on the
market here. Mexican Dog, one of the
bestknown items produced in the Thir-
ties, is still available on the American
market. But most of the Cuban films
found here—including those with such
titles as Busty, Cuban Dream. La Vibora
and Accidente Afortunado—were made
in the late Forties and carly Fifties,
when Havana was a popular resort for
the American tourist. Whatever their
date or place of origin, these Latin films
almost invariably use females who have
the look of the prostitute about them—
understandably so, in view of the fact
that most of them were filmed in the
once-flourishing brothels of Tijuana and
Havana. In Cuban films, truc to the
legend about them, many of the male
performers are especially well endowed,
for they are the same men, specifica

power, who performed in the live
bitions” provided by many of the Ha

JESE

p)
(

vana houses of prostitution before the
Castro revolution, In fact, the film Cuban
Dream has also been sold under the title
Superman to intrigue cusiomers aware of
the fabled Cuban "Superman"—suppos-
edly a performer of extraordinary stam-
ina and dimensions—who was a popula
figure in sexual folklore from the late
Forties until Casuo sent him under-
ground. But the stories of his prowess
have been perpetuated by numerous Cu-
ban studs who performed under the
same pseudonym.

Though they often share with Cuban
and Mexican films the clement of ant
clericalism mentioned ea French
stag films are a distinct cut above those
produced in Latin America, both in tech-
nical quality and in the sexual sensitivity
of their production. Until quite recently,
they have been made with considerable
re and imagination, The plots of
French stag films, as we have pointed
ош, have always been more elaborate
than in those produced in America, but
without any less sexual emphasis, This
stress on story line is ly
marked in а 1923 French reel, Je Verba-
lise (I Make a Report), in which a hunter
meets a pretty laundress and. finds that
his advances meet little objection. A
game warden happens upon them just as
the hunter corners his quarry. The law-
man's first impulse is to arrest the two
for trespassing, but when the man and
the maid invite him to join the fun, he
dolis both his badge and his britches and.
does so with bisexual gusto. Even more
elaborate is Mecktoub. The hero of this

“Phoebe, we were supposed to have the
sitter home by midnight!”

1925 film is a photographer who enters a
harem to take pictures of its fair inmatcs
and, in the absence of the sultan, decides
to take liberties as well. The sultan re-
turns, has the lensman seized and forces
him to look on while he and his bod:
guard enjoy the women. The photogrz
pher snaps pictures with all the frenzy
of David Hemmings in Blow-Up, but i:
unceremoniously kicked out of the ha-
rem when he attempts to employ а tool
other than his camer

All but halted during World War
‘Two, French stag-film production re-
sumed its imaginative course alter the
War. One of the most exceptional pro-
ductions of the period was Esprit de
Famille (Family Spirit). in which. the
three partidpants—a_ male and two
fem never мер out of character, eÈ
ther during the initial development of
the elaborate plot or during the equally
elaborate sexual activity that follows.
The two girls, sisters in the siory, were
probably professional actresses, for they
enacted their parts with considerable
skill. Well made, 100, is the 1952 film
La Femme au Portrait, in which a young
couple purchases a portrait. of а fe
flamenco dancer and hangs it іп tl
apartment, The girl is strangely drawn to
the female figure in the painting, but the
man has little patience with such acs-
thetic responses. He pulls her abrupily
into the bedroom, forcibly enjoys her,
chalks up his success on the wall and
promptly dozes off. The girl, however,
ns to the painting and finds to her
ht that it has come to life. The two
nd then
proceed to amuse themselves à trois with
the man, totally unconcerned either with
his pleasure ог his protestations. At last,
the wwe women cimb into the picturc
frame together and, ro. symbolize her
triumph, the dancer Icans out from the
portrait and places on the exhausted
man's head the horns of the classic cuck.
old. The pscudonymous producer, Ме
(which, spelled backward, is French
for ejaculation), was evidenily
stressing the dire results that could occur
а woman was not properly satisfied. by
her man—a theme generally lacking in
Amcrican stag films of the time, which
placed paramount emphasis on the man's
satisfaction.

More than ordinarily imaginative, too,
is Un Petit Conte de Noel (A Little
Christmas Story) produced about the
same time. On Christmas Eve, a discon-
solate teenage girl is alone in her living
room, masturbating on the divan. Sud-
denly, Jaus climbs out of the fire-
ріасе, surprising her this solitary
occupation, and asks what is wrong. No
one loves her, the girl replies; even her
governess has rejected her; in a flashback,
it is learned that what the governess re-
jected was a proposition, Good old Saint
Nick, true to his embodiment of the
Christmas spirit, is more than ready to

deligt
make Lesbian love together a

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PLAYBOY

186 can pornog

e himself for her wellare. But ас
moment, an angel appears ава ad-
monishes him, whereupon the playful
Saint Nick produces from his bag of
Chrisumas goodies an astonishing lever-
ed machine thar sets in motion an
ely proportioned dildo. While
the girl straddles it with evident satisfac
tion, Santa, watching from the divan,
grows exceedingly restless—so much so
зде reappears. he abrupt-
ly seizes her. tears off her wings and rapes
her. As an impish final touch to his bout
of irreverence, the angel is shown having
the time of her celestial life.

In recent years, the French stag film
has fallen on hard t as has all
French pornography under the puritani-
«al reign of Charles de Gaulle. But ay
France has become more suppressive,
her neighbor across the Channel has
become increasingly permissive toward
pornography, and it is Britain that cur
rently supplies the

able in the Ameri
Stag films (along with every description
of photographic and literary pornogr
phy) are sold on a relatively open basis
» London today in numerous hole-
the-wall newsstands and bookshops
throughout the Soho area: but they fetch
the steep price of $45 рег reel—appro:
mately three times the going rate for stag
films sold more secretively in the U.S.
Though print quality is not as profes
sional the best currently made here,
the performers in English films are usu-
ally younger, more attractive and more
enthusiastic than those in most American
stags, Because the majority of these films
have been produced within the past two

or three years, they feature the bright
Mod and mini outfits that have become
world famous and they also suggest

that there may be parts of London that
ly as "swinging" as its reputatioi
In а good many of these English films,
there is an extensive use of garter belts.
stockings. high heels and other fetishistic
accoutei
especially partial: predictably, there is
also а good deal more sadomasochistic
whipping, spanking and the
one finds in том Ате
п films, For the Eng! for Am
‚ however, the long
represented. the ul
tise and fantasy —
the number of
by such French titles as Auto à Sappho
and ended with the tag line Finis. This
Gallic fl: the advantage of
suggesting to overly curious officialdom
that the films were produced outside the
country. A look at the contents of these
films, however, would leave no doubt as
to their actual place of origin; exterior
shots of Hyde Park and other London
ndmarks abound.

So does Lesbianism. But as in Ameri
aphy, male homosexuz

relatively rare. The English would seem
to have no similar taboo against sex be-
tween relatives, however, for the incest
theme is exploited im extenso in such
films as My Young Sister, Closely Relat-
ed and A Family Affair. Nor do they
ak hom a number of sexual
tions that used to be called "acts a
nature.” In 100%, Lust, for example
film devoted exclusively to just that.
plot whatsoever—one scene shows
two males in a rare example of simulta-
heous vaginal and anal insertion with the
same female.

While all of the above stag films have
managed to reach the American market.
по accurue measure of the quantiw is
posible. The Customs Bu New
Yor avidly as it exam
erotic and pornographic content, seldom
encounters the hard-core y Ina
recent case, however, the Customs au-
thorities discovered a clever subterfuge.
A shipper from abroad mailed what was

apparenily а cardboard. tube of the kind
used for protect

poster, In i

illustration fros

sen fairy tale and could be seen by

open
x

ng the ends of the tube. But upon
oval of the brown wrapping paper.
the examiner found that still. another
wrapping had been tightly w
around the outside of the tube
sealed with plastic tape. Beneath it, he
found 200-foot length of stag-movie
film wound in a spiral around the tube.
"But the fact of the matter is;
Customs expert, “that the legi
shipping channels do not need to be
used by anyone attempting or desiring to
bring such material into the United
States, Why should someone risk using
the mails when it is obviously very sim-
ple to bring it in other ways? We cer-
tainly do not have the manpower. or
time, or the inclination, for that matter,
to examine every single person entering
the country from a foreign port. It
would. frankly, be qu simple for al-
most anyone to bring an 8mm film i
without risk of detection. А 200-foot reel
can be wound tightly into a roll less than
half inch thick and no more than two
inches in diameter. You could hide it in a
watch pocket. Remember also that it is
not necessary to bring in a large ship-
ich would be adding то the
risk. Only one print, or negative. is all
that is needed. Five hundred prints
could be made from it, and а man would
be in business.” Seizures by Ci as
a result, seldom average more than two
ог three а year.

As we have indicated, most of the stag
films sold on the U.S. commerci
market—whether American-made о
ported—are single 200-foot reels of 8mm

ment. w

black-and-white film, with a rur
time of approximately 12 minutes.
There are numerous variations, howexei

in this basic commodity.

lor e

-sold separately as well as т
tions with a full

Color sag films, too, are bccomir
creasingly common in the commercial
market. Though most of them are still
quite poor in tonal quality, a few good
color reels are currently being produced

in New York. The prices are approxi-

ely twice that of the going rate for
Kkand-white. There have also be
a few stag films shot in sound—most of
them produced in the Thirties and
Forties Гог stagshow purposes—but al
most all of them are painfully amateurish.
One prie example оГ ineptitude is
Doctors Orders, in which the male per
former attempts to read his lines—like
а laundry fist—from а scripr. placed on
the pillow next to his partners head,
while he proceeds to simultaneously make
love to her.

Occasional novelties of a somewhat
more exotic nature have been added to
the stag-film scene. А fully animated c

toon, for example. titled Abbie’s Buried
Treasure. was produced in the late
Twi or exly Thirties, in a style

iniscent of the early Mickey Mouse
and Felix the Cat cartoons, and remains
а standard staple on the commercial
ket In it the hero has numerous
unusual, and quite humorous, sexual
adventures with several. Disney:
mals who perlorm in а de
Disney-ti j. When the 3-D
Americam motion pictures in the early
Fifties. one enterprising producer even

type апі
ely

went so far as to shoot а 3-D stag film
titled Sales Lady. The ultimate dream of
howesei

most pornography fanciers,
professionally produced fe
stag film talkie in Technicolor — prob
exists only in fantasies. It is conceivable,
of course, that such а film or films may
have been made for or reposed in the
private collections of a King Farouk or
some Hollywood czar of yesteryear: but
if so, they have never appeared on the
commercial market.

Ап even more popular part of the folk-
lore surrounding stag films are the stories
of famous motion-picture stars who sup-
posedly performed in pornographic pic
tures emly in their careers. The most

ous of the film stars frequently men-
connection with stag films is
Joan Crawford. It was rumored during
the Thirties that Miss Crawford had ap-
peared in pornographic films when she
was a Shubert showgirl under her real
name—Lucille LeSueur, While remi-
niscing about her wedding to Franchot
Tone in her autobiography. A Portrait
of Joan. however, she stated: “There was
only one discordant note. On our wed-
ding night, | received an anonymous
phone call ГА received such phone
calls before and had been afraid to tell
anyone. Two men said they had in th

bly

“Yow ll find the meter

in the

basement!”

PLAYBOY

188

possession a stag reel in which I danced.
"They wanted to sell it to me. I made
no such movie; I suggested they contact
Mr. Mayer in Hollywood or MGM's
legal wizard, J. Robert Rubin, in New
York. Mr. Rubin viewed the film and as-
sured the men that: ‘If that's Joan Craw-
ford, I'm Greta Garbo. The threats of
blackmail which had followed me for so
long ended the minute Mr. Rubin saw
that film.” Though the rumors still per-
sist—usually involving the current sex-
pots of legitimate cinema—no evidence
of the existence of any such star-studded
films has ever been uncovered by the
Sex Institute or during our own research
for this chapter

In the book Hollywood Babylon, how-
ever. a highly sensational exposé by
experimental film producer Kenneth
Anger, the author alleged that Garbo
vas 10 become the ‘star’ of pornographic
pictures. That was in the ‘secret’ version
of Camille, which is rumored to have
been made under cover in the studios of
MGM itself. When the e:
version. became kno
shown in all the ‘specialized’ theaters of
Latin America, Louis В. Mayer immedi-
ately fired a number of assistants, as well
as а hapless double of Garbo." Porno-
graphic scenes ol another look-alike
couple, according to Anger, were similar
ly spliced into the Clark Gable—Jean
Harlow classic Red Dust.

Of all the thousands of films av;
on the commercial stag market, the only

one that actually features a “name” per-
former Smart Alec, stan the
famous stripper Candy Barr. This film
was made early in Miss Barr's career—
during the late. Forties or ly Filties—
and is still а commonly sold item and,
understandably, one of the most popular
with devotees of the genre.

As stag films go, Smart Alec is one of
the best available; but the pornographic
movie that can claim any rcal artistry
or artistic purpose in its making has
yet to be made, The closest to the execu-
tion of such a film came when Kenneth.
Anger began shooting а movie based on
the Story of О. the much-esteemed novel
of sadomasochistic erotica by Pauline
Réage. The French government. how-
ever, stepped in before the completion of
a single reel and cut off Angers re
sources п erotic novel with pre
tensions to parody, has been optioned Гог
a film version more than once, but it
has yet to be made. Meanwhile, Ter
Southern, the novel's co-author, has let it
be known that he is at work on a novel
for Random House to be called Blue
Movie. The plot, suggested by renowned
film director Stanley Kubrick, is said to
deal with the making of a feature-length
pornographic film by a famous director
who has managed to enlist his film-star
friends as featured performers. While
this ultimate pornographic film cin be
described within the pages of a novel, it
seems highly unlikely that it will reach
the screen—at least within the foresee-

able future, contemporary movie mores
being what they are.

This is not to say that society's atti-
tude toward pornography, in all its
forms, is not shifting at this very mo-
ment. With the tumbling of taboos since
the late Fifties, the audience for pornog-
raphy has enlarged dramatically. Му
Secret Life, tor example, a graphically
explicit, Viciorian sexual saga once
confined to а few privately printed
copics, recently became а best seller in
both hardcover and paperback editions
Fanny Hill, so long hidden under the
counter, is now available most every.
where, and while certainly as detailed as
any stag film in its description of sex
acts, has been cleared by our highest
courts of its obscene taint. Molly Bloom's
sex-charged soliloquy at the end of
Joyce’s Ulysses, which once spurred œn-
sors to ban the entire book in this coun-
try, is now being heard in moviehouses
in every major city, with hardly a censor
around to blow the whistle

Commenting on this increasing social
acceptance of pornography, Professor
Steven Marcus, an eminent student of
Victorian erotica, wrote recently in £n-
counter, “The free publication of all the
old pornographic chestnuts does not nec-
ily indicate 10 me moral laxness, or
ірис, or deterioration on the рап of
society. It suggests, rather, that pornogr
phy has lost its old danger, its old. power
—negative social sanctions and outlawry
being always the most reliable indicators
of how much a society is frightened of
anything, how deeply it fears its power,
how subversive to a settled order it con-
ceives an idea, or work, or act to be."
Viewed in this same liberal light, the
stag film undoubtedly warrants a. promi
nent place in this History of Sex in Cine-
та. Not only do these films carry to the
ultimate that erotic clement that has
pervaded the film medium since its
inception but, because they present una-
bashedly those very frontiers of sexuality
from which all other fi makers draw
ication and
variants of sexual behayior—
ate the danger zone for the
r and the target area of socie-
ty's lingering disapproval

Stag films still carry society's disap-
are deemed in most

uninformed—quar-
ters to be harmful to their viewers. Few
psychiatrists, however, would be so cate
gorical about their ill effects, and an in-
creasing number feel that stag films are
not only a harmless diversion but even a
healthy aphrodisiac for perfectly normal
sexual appetites. One therapist has
conceded that “il sexual repression is so
far advanced that the only reaction то a
pornographic film is revulsion, then
viewing it could further confirm the re-
presed viewers fear of sex." But he
adds, “The direct, though passive, expo-
sure to sex provided by a stag film, in

back—overtly depicted fom
the other

imstances free from the unconscious-

a
ly expected punishment and shame, can
help to climinate the fear of sex.” This

iew has been confirmed by Drs. Eber-
and Phyllis Kronhausen. While
greeing with the statement of a Brown
ersity group of psychologists that
‘There is no reliable evidence that read-
ties lcad to an-
the Kronhausens go
further and suggest that “erotic books
ay fulfill several en ппу useful and
therapeutic functions.” In Pornography
and the Law, they state: "If erotic
literature or art tend to lead to sexual
acts, we would consider th natural
phenomenon that much more likely
than not would enhance mental health
and human happiness, provided that it
met the conditions of not being force-
fully or fraudulently imposed on another
person."

In years to come, it is to be hoped that
true obscenity will be recognized as the
graphic depiction not of the love act but
of man’s inhumanity to man. As the late
comedian Lenny Bruce wrote in hi
tobiography, “I would rather my di
sce a мая film than The Ten Command-
ments or King of Kings—because |
don't want my s to kill Christ when
he comes hack. That's what they see in
those films—that violence.

“Let me just take your kids to а dirty
movie:

au-

ЗАП right, kids, sit down now, this
ure’s gonna start. It's not like Psycho,
with a lot of four-letter words, like “kill”
and "maim" and "hur"— but you're gon-
sec this film now and what you see
will probably impress you for the rest of
your lives, so we have to be very careful
what we show you. . . . Oh, it's a dirty
movie. A couple is coming in now. I
don't know if it's gonna be as good as
Psycho where we have the stabbing in
the shower and the blood down the
dr Оһ, the guy's picking up the
low. Now, he'll probably smother her
ith it, and that'll be a good opening.
Ah, the degenerate, he's putting it under
her ass. Jesus tsk, 1 hate to show this
crap to you ht, now he's lift-
ing up his hand, and he'll probably stri
her. No, he's essing her, and kissing
her—ah, this is disgusting! АШ right, he's
ing her some more, and she's saying
something. She'll probably scream at
him, "Get out of here!" No, she's saying,
“I Iove you, I'm coming.” Kids, I'm sorry
Т showed you anything like this. God
knows this will be on my conscience the
rest of my life—there's a chance that
you may do this when you grow up.
Well, just try to forget what you've seen.
Just remember, what this couple did be-
longs written on the walls of a men's
room. And, in fact, if you ever want to
do it, do it in the men's room."

“I never did sec one stag film where
anybody got killed in the end. Or cven
slapped in the mouth. Or where it had
ny Communist propagan
Make love, not war, is Bruce’s hu-
i—onc that is being
reasingly by a host of young
people who find themselves as mistrust
ful of their society's puritan heritage as
of their Governments 7 Ibillion«dollar
arms budget. Already—while tacitly ap
proving the sexual explicitness of Dear
John and other films with a high sexual
quotient—the liberal-minded Swedes di
courage im motion pictures the more
giuesome aspects of violence that
left untouched by censorship in this
country. If this Р ground across
the Atlantic—and there is every promise
that it will 5 possible that the
act of love may someday become as
open, natural, spontaneous and socially
acceptable a subject for the writer, the
st and the director as it is lor those
who patronize their works.

ас

This has been the 17th installment
of “The History of Sex in Ginema.” In
Part XVII, authors Knight and Alpert
continue their scholarly survey of erotica
on screen with an insightful assessment of
American films in the permissive Sixties.

to Tara.

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PLAYBOY

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YACHTING IN THE CARIBBEAN

(continued from page 152)
with the propcr outboard motor, can be
used for all water sports and getting to
and from bcaches and docks. These
fiberglass boats are not only rugged,
they are remarkably level-riding because
of their gull-wing hull. Sorrento also car-
ries a Zodiac, an inflatable rubber din
ghy that’s ideal as a skindiving station
and general-loafing boat. And there's
a Sailfish aboard, a sort of overgrown
surfboard with sail, for zipping around
harbors or for a couple to sail away
from the mother ship and other ship.
mates to commune with cach other and
with nature on an otherwise deserted
beach. А fourman crew attends to your
every need, and the $2500-a-week charter
fee, when split among three couples,
compares favorably with the better shore-
bound tropical resort vacations. Like all
first-class yachis in the arca—and the
bigger, the more ко Sorrento offers such
niceties as hot and cold running water
and showers, ample fresh-water capacity,
and ample fuel capacity for long-range
cruising independent of land.

Swanger is, by traditional standards,
strange, indeed. She's a twin-screw diesel
ketch, but she happens to be а саата.
тап; that is, she has two completely inde
pendent hulls (of aluminum, cach 52 feet
in length) and a huge deckhouse and sa-
loon spanning the two. This arrangement
also gives her a large cockpit and а spa
cious forward deck, which also spans the
two hulls, for sunning and lounging and
for use as a diving platform when at an-
chor. A party of six can have Stranger
for $1890 a week, which includes the
services of a three-man crew. Stranger
also has a large fiberglass launch and a
ninc-foot sailing and rowing dinghy. The
catamaran construction gives her те
markable stability and the foredeck,
deckhouse and cockpit are amply capa
cious [or inviting the guests of other
ships at an anchorage aboard for boatto-
boat partying.

Saga (pictured on page 128) is a
splendid 58-foot ketch with accommoda:
tions for six, but she'd be more comfort-
able (in our estimation) for four; she has
a two-man crew and charters for $994 a
week, Although possessed ol ample power
for getting from here to there, Заза is
primarily a superior sailing vesel; and
here we might mention that in the An-
tiles, anything much under 50 feet in
overall length is apt to be more pleasing
to you and your party if you're all fairly
salty yourselves than if you're landlub-
bers or fairweather sailors giving charter
yachting in the Antilles а first wy.

Vanda is an 831006 auxiliary ketch
that’s a real beauty, provides nifty ac
commodations for up to six guests in
double cabins, is yours to command,
with her crew of five, for §1750 a week.
п 8600г auxiliary schooner,

Dixie is

an outstanding example of what yachts-
men call a character boat, because she
looks like an oceangoing vessel from
the romantic days of sail, although she
is of modern construction and equip-
ment. She is maintained in grade-A con-
dition, carries scuba gear, three auxiliary
boats (including the perennial Boston
Whaler) and boasts а 15- by 17-foot sa-
loon appointed in the best traditional
hüng decor. She's yours for $1470 a
week to take you where you will.

Among the bigger boats, one that real-
ly flipped us for her sweet, seagoing lines
1 magnificent spread of canvas (almost
5000 square feet) is Ше 93-foor auxiliary
ketdi Harbinger. Three double cabins
accommodate six, there's a crew of four
and her weekly charter is $1400. She has
three auxiliary boats, including a. rather
large launch that. accommodates
and a sailing dinghy. By contrast,
И. though amply luxurious and superbly
equipped, was designed as a modern
and her 68-foot hull can
really make time over the water. Four
sailing enthusiasts can have а ball
aboard, helping or just admiring the skill
of the crew of three, for a weekly fee of
just under $1100.

For the sport fisherman, the Grenada-
based Bahari (pictured on page 129) will
give him everything he needs and wants
in the way of power and speed (twin d
sels), design (she's an ourand-out sport
fishing vesel, not a conversion from a
cruising yacht) and still provide accom-
modations for four and a crew of three.
This 44foot aluminumhulled yacht is
probably the best and bestequipped
sport fisherman between Antigua and
Grenada and may be chartered by the
day for $100.

The 72-foot schooner Lord Jim (pic
tured on page 130) is a real character
boat. Her accommodations on deck and
below are as contemporary and. comfort-

able as one could wish, and she is kept
in юр condition. Six guests can be very
happy aboard Lord Jim for a bit under

$2200 a week. The owners
couple who rel
who

are à young
tering to people

ong with the crew of
three or four. Lord Jim has an enviable
record of repeat charterers, who not only
love the boat but find her three small
boats (a м boat. a day sailer and
a rowing and sailing dinghy) pleasant
idjuncts to the many other extras that
kc her ideal for interisland cruising.
And speaking of character boats, there
is the 91-foor Ring Andersen (pictured
on page 131). a Danish auxiliary ketch
(manned by а crew of five) whose spa-
Gousness, above and below deck, deserves
the adjective remarkable. She's a salty
vessel and а comfortable one, superbly
ned. and earns every bit of her
seek. cha

“Sleep tight, yourself."

magnificently—take a look at the
power yacht Xebec (pictured оп page
132) and contemplate а vacation afloat
on one of the finest yachts to be found in
the Caribbean or where else in the
world. Xcbec and her crew of six can

(lor a weekly fee of $1750 for six to
$1050 [or eight) make six to eight guests
feel that Onassis is poverty-stricken. In

ic room. large
g saloon, stereo

addition to boasting
staterooms, a formal di
hi-fi, scuba and snorkeling equipment,
8mm movies, waterski equipment, deep-
sea-fishing equipment and guns and other
needed gear for wapshooting, Херес
carries а 15-foot high-speed mahogany
tender, an Olympic racing daysailer, а
Boston Whaler for waterskiing, an
outboardequippel rowing dinghy, two
Norwegian sailing dinghies and wo
Sailfish.

our own charter
fleet, we'd hope to include the 86-foot
diesel schooner Freelance (quarters for
six; charter (ее, just under $1600 a
week); and a couple of smaller and less
expensive yachts, such as the 45-foot
Wonny Larue (four guests, $698 а

week) and the somewhat larger Bound-
ng Home,

а 53foot schooner with
enviable racing record, that is also com-
fortable for up to four SEDI and
charters, with her скочи

nd rane ет
our free time coincide, is
beauty of an ary ketch called Elcu-
thera. She's not only lovely, she's just
ight for the sailing enthusiast who has
no taste for roughing it. Her charter fee
for a party of four is $1330 а week.
And we'd hope to book the unique
acht Independence (pictured on page
131), topsail schooner that—thougli
recent years—faithfully follows
the tradition of Nova Scotian ос
going vesels that found ample use for a
ib and square sail wh
bowling along with a fair breeze. A pa
ty of four can do so, too, abetting a crew
ter fee of just under

Way up there in the uttcrluxury de-
partment—and for an expectably higher
charter price—are the two power yachts
a Northrop and

191

PLAYBOY

Johnson exclusive) rather fully described
with their pictures, on pages 130 and
132. We've seen only spec sheets on
these vessels, since neither was in the
caribbean at any time we were there,
but both are available—anywhere in the
world, given sufficient notice. The 83-
foot Sundance commands, and deserves,
53360 а week for charter; and Claybeth,
110 leet of scagoing elegance and
seaworthiness, is available only by the
month—at $12,500 per. Each accommo-
dates a charter party of eight, who will
live, live it up and cruise like they show
in movies of millionaire high-life.

There are a couple of things about
charter fees, such as those quoted above,
that you should know—and settle before
committing yoursell and your pelf to an
island cruise. Booze is virtually never
included in the charter fee, but a de-
lightfully compensating fact is that Carib-
bean prices for it are astonishingly low
by Stateside standards: A fifth of House
of Lords gin, for instance, runs about a
dollar and а half, Nor do all charter feces
include food and fuel. When they don't,
this is usually calculated on the basi
a daily flat [cc pcr person, usually in the
range of eight dollars cach. And, speal
ing of money, you'll notice on spec sheets
and contracts that prices are given in U. S.
dollars. "That's because the almost uni-
versal currency of the Windwards and
Teewards is what is called the BeeWee
dollar. BeeWee stam lor British
West Indies, and the BeeWee dollar
being worth 60 U. S. cents. It's kind of a
nice thing, because you tend to forget it,
and when you get a bar and restaurant
bill for $30 or $40 for a party of four,
which is pretty elegantly expensive din-
ing and drinking in the islands, it's nice
to recall that the U. S. equivalent is just
under two thirds of the BecWee price.
(The French islands of Martinique and
Guadaloupe are exceptions; they use
francs, worth 20 cents U.S.

Despite the wonderful feeling of free-
dom to be gained from impromptu deci-
sions as to where to go and what to do,
it's a pretty good idea to have a rough
itinerary in mind before your departure,
‘This should be tailored to the amount of
time you have; many a charter cruise has
been spoiled by a too-ambitious itiner-
ary, so that more time is spent pressing
on from place to place than in enjoying
the pleasures along the way. But remem-
bcr, one of the great things about
charter cruising is that you don't have to
make the round tip: You can pick up a
boat in Antigua, say, and leave it three
weeks later in Grenada—or vice ve
Thus, charter cruisers can plan double
the itinerary that binds yacht owners,
who must get back to their home port
from the farthest harbor reached.

Although charter prices are given in
terms of a week, we can't really recom-

192 mend a one-week charter cruise in the

Antilles. The length of travel time to and
from, to say nothing of the cost of air
fares and the length of time it takes to
acquire a sufficient tan to be sale in the
tropical sun, makes 2 one-week charter
hardly worth while.

If you have as much as a month for
your charter cruise, you may want to visit
the islands north of Antigua, as well as
those to the south. The northem group
includes Nevis, Saba, St. Christopher
(commonly called St. Kitts), Barbuda,
St. Marin and Anguilla, worth sec-
ng but generally off the vachtsman's
track. Our advice, even with a month’s
time for cruising, is to pass these islands
by. Instead, take your point of departure
and cruise southward, or
ada and cruise northward,

n either direction. Our experi
ence suggests that to take in the full span
of islands between Grenada and Antigua
is best planned for а three-week or one-
month vacation, although it can be done
in two weeks, if you're more interested
in sailing than in anything еіс

1f you have two wecks or less, Antigua
to Martinique or St. Lucia, or Grenada
to St. Lucia or Martinique, should give
you plenty of sailing, plenty of variety
and just about enough time for the relax-
tion and shore twips that are such a
лде part of the fun. If you have only a
week, or want to take it really easy, we
recommend restricting your voyaging to
those islands called the Grenadines, be-
tween Grenada and St. Vincent, which
i many ways provide the finest part of
any island itinerary, including, as they
do, the Tobago Cays. These are а largely
uninhabited group of islands protected
from the open sea by one of the best
skindiving and snorkeling reefs in the
world. The Tobago Cays (say To-bay-go
ploring in the ship's
launch or dinghy, for puttering around
among the sandspits, coral reefs and spot
less beaches. Here, the uuer clarity of the
cobalt-blue water makes your boat эссп
poised in space above the dearly visible,
variegated, gardenlike bottom, which
may be as much as 20 fect bencath you,

Our notion of an idcal three-week itin-
crary, either north from Grenada or south
from Antigua, follows. We'll assume we're
starting at Antigua and cruising south,
although the itinerary will work just as
well in the other direction.

At whatever hour you arrive on Anti-
gua, it’s а longish drive from the airport
to English Harbor, which is where you'll
be picking up your yacht. The likelihood
that, by the time you get aboard, meet
captain and crew, stow your gear and
change your duds, you'll wisely decide
to spend whatever is left of the day, and
all of the night, in English Harbor,

your departure early the next
morning. Unless youre а compulsive
antiquity seeker or sightscer, the best of
Antigua is in and about English Harbor.
her than in the capital, St. John's,
which—with due apologies to the resi
dent—we recommend that you skip.
The thing to do in English Harbor, once
you're stowed and changed, is to explore
it, in the ship's small boat, and to walk
around the charming old port—paying
due respects to the relics of Horatio Nel-
son's tenure and meeting the delightful
Nicholsons, but reserving enough time
for looking over the fleet of charter and
private yachts that is tied up at the
docks and at anchor. Antigu
exclusive and posh Mill Reef Club

hospitable to nonmembers, but the is
and provides other shore-bound attrac
tions: a handful of deluxe hotels w

firstrate restaurants, and gambling. But
this is a water-borne vacation and Eng:
arbor should do you nicely for the
ime you'll be there. English Har-
however, just a harbor, nor à
town; and the major pleasures are aquat
ic, like your first swim in the deliciously
warm and buoyant island water, and
then your first cocktail hour aboard your
yacht. Before, after or during your pre
prandial sipping, you'll want to make
that tour of the fleet of pleasure yachts.
Here, as in every one of the island har
bors, you'll be amazed by their interna-
tional flavor; for it is a quite common
occurence in the islands to scc pleasure
boats as small as 35 feet that have
crossed the Atlantic, come up from
South America or down from Canada.
The chances are good that you'll also be
hailed by one or more of these boats,
with an invitation to come alongside for
a chat and quite possibly be asked to
step aboard for a drink and a tour of the
boat, If it doesn't happen on your first
day, it’s sure to happen at least several
times on your trip; and it’s the kind of
interchange and hospitality that charac-
terize yachting in these islands.
Although there may be better resi
nts in Antigua than the Admiral's Inn
(for example, the Hawksbill, at thc
Hawksbill Beach Hotel), we recommend
the Inn for cocktails on its harbor-front
terrace or for dinner in the sp
very British-colonial dining room that
opens off it. The Admiral's Inn lounge,
restaurant and cocktail patio—where
there’s dancing to the music of а local
band after dark—are favorite gathering
plices for yachtsmen. If you're d
there, be sure to sample their exot
spiced pumpkin soup. This is also a good
place for your initiation into island rum.
punch, which is by all odds the yachts-
man's favorite, though the locals seem to
cleave pretty much to gin and tonic.
There are few choicer watering holes in
the Caribbean, although there may be
morc action on the water, where one or

ious and

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start with the patent on smoothness.

80 PROOF. DISTILLED FROM GRAIN. GORDON'S DRY GIN CO. LTD., LINDEN. N.J.

PLAYBOY

194 ell you virtually

another yacht is apt to be having open
house for Jaunch-borne visitors from
other yachts. But you'll probably be ti
and want to tum in fairly earl
not а bad notion, since an early-
start is recommended if you want to get
to your next island, Guadeloupe, in time
10 enjoy some of its daytime pleasures.
Guadeloupe is not only French, it is a
part of France just as much as Alaska is
part of the United States. The currency
is Freneh, the language is French and
the cuisine might be described as haute
Creole. Guadeloupe is really two islands

joined by a drawbridge over a narrow
waterway. One is mountainous, the other
is rolling agricultural country; the princi

pal city is Poimeà-Pitre. where there is
excellent restaurant called La Pergola
Чи Gosicr. Guadeloupe's ambiance is not
only Gallic, it is quite cosmopolitan and
sophisticated; bur it takes more than а
few hours—or even days—to get into the
swing, and that means staying ashore.
For а cruising vacation, you won't really
be missing much if you remain aboard
and enjoy shipboard life while you're
anchored there, Let your captain pick
the harbor, which will probably be Des
Hayes Bay or Barque Cove, both of

which provide good views of the island's
dramatic mountain peaks, including

Soufrière, the highest in the Lesser An-
les.
Depending on how carly you left An-
tigua or how brisk a sail you had. you
might even want to pass Guadeloupe—
enjoving the scenery as you до by—and
the dozen or so miles farther that
И take you to the Hes des Saintes. а
group of six islands locally Ror (t0 all
but the residents) is The nts. From
ihe nchorage at os des
Saintes, you can sce the peaks of Guade
loupe, often with multiple rainbows
moug them, and you'll also be
surrounded by some of the loveliest hill:
ever to descend into а cerulean sea. Here
you'll get your first glimpse of the island
boats that are built there—as un-
familiar 10 Stateside eyes as а sampan ог
а felucca. Bourg des Saintes is a fa
popular yacht harbor than
Guadeloupe; in fact, the island
used Бу Guadeloup
resort, and their villas and bungalows
dot the hillsides. There isn't too much
10 do ashore but gape and snoop. but
that’s compensated for by the activity
in the harbor and the sheer joy of look.
ing about you at а noble company
of yachts and an exotic shore line sur-
ng а perfect anchorage. If you do
о ashore, by all means wend your way
о a watering hole named Hotel Star and
k Bar, whose owner-host is an expa-
triate American of colorful character. is
great fun to talk to—just mention you
read about 1 and will not
only m island or Ameri-
can style but is also pleased to be able to
пу brand of American.

morc
any on
self is
vacation

ns as а

dgarettes, an island rarity. It's the cas-
g in the world to spend a day i

The Saints, and it’s not a bad.
notion, since our next recommendation is
going to be a 1. However,
if you tire of swimming and sunning and
boithopping, you may choose to walk
the short distance across the island of
Bourg des Saintes for a swim in the surf
on the Adantic (windward) side, or even
leg it up to some of the old forts that
used to guard this protected anchorage

It’s customary for yachts that are mak-
ing their way south to stop next at the
harbor of Portsmouth, on the island of
Dominica (the English, with their pr
vate pronunciation, have been at it
again; the way to pronounce this island's
name is Dominee-ca), some 20 miles
from The Saints.

Dominica is a fusci isl
viewed from the water. It is wildly
rugged, covered with dense jungle, pos-
sessed of towering peaks that are deeply
deft and riven like nt mussed-up
sheet—and there isn’t a thing in the
world to do there. Look at Dominica,
marvel at it and sail on by—if your skip.
per is willing and if you and the sea are

the mood for a romantic nighuong
pasage—and go on to Martinique. But
be warned that it's over 50 miles from
‘The Saints to Fortde-France, capital of
Martinique.

Martinique deserves at least a day of
your cruise, possibly more, depending on

how and where you find your jollies.
Fort-de-France is cosmopolitan and those
who know consider и the livelicst oasis
between San Juan, Puerto Rico, and
Port of Spain, Trinidad. We found the
shopping just soso, the narrow strecis
and river-front esplanade picturesque, at
least two of the rest $ first-class:
Chez Gérard and the upstairs di
- Try sudon, a local sca-
i tiny, delicate-
ly at them raw on the
hall shell, flavored with just a drop of
local lime. The patisseries. the bistros,
the sidewalk és, the wines and the
cheeses. the red-tiled, balconied houses,
пу of the women пы
fine stopping. |
of your interisland passages.
Martinique night life actually begins
in midalternoon. when the cafés (side-
walk and indoor airconditioned) begin
to fill up. Pick the ones that seem to be
populited by Frenchmen rather than
tourists; and for openers, drop in for
punch or an aperitif at Hots, Malmaison
or the bar at Le Foyal The night dub
Au Lido is usually equipped with the
best show in town. but for late-hours
action, try the Louisiane Club outside
of tow!
As a matter of fact, И you have the
time or want to take it from less land-
locked portions of your itinerary, vou
could casily spend a few carefree days

оп Martinique, using your charter yacht
а base for sightseeing. The harbor
1С is huge and has several other de-
lightful anchorages across from Fort-de-
ance and along its shores. And the
scenery, dominated by Mount Pclée, is
truly magnifique.

Roughly 40 miles south of Martinique
is St

Lucia, one of the "wet" islands, yet
of the most worth visiting. Ask your
port of Castries,
which is pretty hot and industrial, and
ҳо on the few miles to Marigot Day. The

trance is almost hidden with tropic
growth: you glide down a mirror smooth
lagoon, between sandspits that look as
though the depth between them couldn't
be more than a couple of fect (but
there's ample depth for even deep-draft
vessels of considerable sie), and then

мо а palm-fringed large pond of almost
indescribable loveliness. Ashore is Yacht
Haven Hotel, a del
inn (but no chrome a
native ficldstone and timber) with
landing dock, a large flagstoned pa
har the island's best d
the ten

helpfulness

а

and hospitality. If you want
ib 10 shop in Castries, or to sightsce,
just ask. If you'd like some laundry done
ghi, they may be able to
modate you and, if they can, they will.
you want to just use their cliff-hu
roofed lounge to get out of the sun and
contemplate the lines of your own L
as she lies at anchor, you're welcome.
And if you don't meet interesting and
charming fellow yachtsmen and_yachts
women at the bar in the eve
because you're antisocial

Off the northern end of St
Pigcon 1 which
anchorage. teeming refs for snorke
and skindiving and a beach that the
owners of the island permit yachismen to
use. But if your time is limited, we sug-
gest skipping Pigeon Island and going
directly from Martinique ло Marigot
Ray, because your next stop will be per
haps the most awe-inspiring in all the

nds. This is the Pitons, at the south-
em tip of St Luc coast. The
Pitons can be frighte well as beau
tiful; they are wo gigantic rock spikes
towering from the sca high into the
tropic sky. and so close together that
the deepwater anchorage between them
scems 10 be almost cavelike. There is no
place (о go ashore here and nothing to
do if you did go ashore; but for sheer
natural beauty, the harbor between the
Pitons is not to be missed. The water is
still and incredibly decp—about
Tathoms, and you're almost in
palm trees on shore before it shallows
enough to anchor—the towering Pitons

com-

Lucia is
has an excellent

"s west

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195

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196

make it seem dark and mysterious; and.
if there is a brief and sudden squall or
topical rain shower while you're there—
which is entirely possible—you're almost
sure to sce multiple rainbows when ivs
over, We obseryed this dramatic phe-
nomenon the three times we were there,
at different times of the year between
ary and May. (If you're a tics
per, it may interest you to know tha
the northern, or Gros Piton. is almost
3000 feet high, and the southern, Petit
Piton, is only a couple of hundred feet
lower.)

105 a bit less than 25 miles from St.
Luc Pitons to the next island south,
St. Vincent, which is at the northern end
of the Grenadines and—in our estima-
tion—perhaps the loveliest of all the
Antilles. Unless your captain has some
prety compelling reason to anchor at
Kingstown, the capital and major port of
nd, ask him to give it a miss and
go right on to drop the hook between
Young Island and the mainland of St.
Vincent. anchorage is а yachtsmen's

the isl

heaven as well as a yachtsmen's haven.
On the St. Vincent side is the St. Vin-
cent Aquatic Club, which offers showers,
phones, the availability of 1 roofed
pavilion with a good bar, a beach, and
water taxis and small ferries that ply the
short distance between the Aquatic Club
and Young Island. St. Vincent is lush,
beautiful, rich, highly civilized and very
well worth а wip ashore for sightseeing
and a visit by taxi to Kingstown, which
is much better appreciated from the Лава
than from йз busy harbor. The anchor-
age between the Aquatic Club and Young
Island is always festive with visiting
yachts.

Young Island itself is а onc-of-akind
The whole of this small, hilly and
scagirt isle is literally one hotel, an en-
tie resort in miniature, with ex
restaurant, cocktail lounges
es and houses scattered
nected by paths lit by strings of
nkling lights, The whole feel of the
place is, perhaps, more South Sea Island

“Yes, sir, you've got yourself a damned good
life-insurance policy. Just remember,
no suicide for two years.”

than Antillean—but it's all done in the
best of taste and in grand luxe style.
Everything about Young lsland—from
its flagged terraces and beaches to the
stunning views that constantly unfold
ау one wanders about—scems picture:
postcard. perfect, without being kitsch or
cornball.

On the main island of St. Vincent, our
favorite stopping place—for lunch, cock-
tails or dinner, or all three—is Sugar
Mill Inn, a breezeswept collection of
buildings on an old sugar-plantation es-
al charm
and graciousness are melded into an at-
mosphere that makes you feel that you
never want 10 leave, From the bar and
the patios that extend from it, you'll cn-
joy splendid vistas of rolling countryside
and views of the open Atlantic on one
le and the Caribbean on the other,
PLAYBOY readers y also feel at home if
they have occasion 10 use the bar's john.
There aren't separate facilities for men
and women; there's just the one bath-
room, with a sign saying THIS 15 1T, and
inside you'll find the walls papered with
Playmates past.

А charieryacht group might easily
spend a full week on St. Vincent, al-
though there's no night life or much ac-
tion to be had ashore. Yachtto-yacht
partying is frequent, there are several
harbors that are quite lovely (our favor-
ite being Cumberland Bay, at the head
of which a fresh-water river comes tum-
ng down out of the jungle) and the
ids in deserted beaches of
vite exploring or just
lying half in and half out of the water,
ing up the sun and wondering why
aven't spent your whole life just
enjoying the sensation of total relaxation
and well-being.

When you do leave St. Vincent, south-
ward bound, you'll be in the Grenadines,
which means that you will be in the
midst of about 100 tiny islets that stretch
the 75-odd mi between Su Vincent
and Grenada. This is superlative порка!
cruising ground; every onc of these is-
lands invites at les icf visit; most of

ate. Here, conviviality, colo

t a brief v
them are completely uninhabited and all
are low enough or small enough to p

cipitate virtually no rainfall at any ti
of the year. You won't have time to see
them all, of course, but you'll want to
stop off at two that are very special. The
t is Bequia (pronounced Beck.wee)
and Admiralty Bay is the place to drop
the hook, along with other yachts. I's
also the place from which to explore
beaches, climb to deserted forts оп the
hillsides, go ashore and see the unique
Bequia boats—and boatmen—for Bequia
boasts a small, arduous, antiquated (but
adequately profitable) whaling business
in much the same way their New England
forebears did, enchanted sailors from up
North who left their ships and found

the island and the natives so hospitable
that they stayed for good.

Bequia was the scene of our initiation
to the rite of the West Indian jump-up.
It was at a small, verandacd hotel called
the Sunny Caribbec or the Bequia Beach
Hotel—not two places, a choice of
names—which is a placid and pleasant
hostelry by day and most nights. But on
that particular night, after a swinging
party aboard a large charter yacht, to
which everybody aboard all the other
yachts in the harbor had been invited,
there was a water-borne parade of din
ghies and small boats to the hotel's dock,
a native band was assembled and an im-
promptu jumpup went on until dawn,
when all of us went for a swim before
reboarding our various craft. The next
afternoon, we went ashore for a drink
and bought live local lobsters for 60
cens а pound, which price included
their being boiled in sca water (the best
way) and delivered to our yacht by two
little coal-black boys in a dugout canoe.

We've already mentioned the Tobago
Gays, which are 24 miles south of

Bequia. Here you should spend at least
day, preferably two. if you have even
minimal susceptibility to unspoiled
beaches and unparalleled underwater
gardens and coral reefs teeming with
brilliantly hued fish.
Сагиасои (Carryal-koo) is
must stop in the Grenadincs—thoi
hard to restrain oneself from continuous-
ly pointing out the virtues of the entire
area, which probably has the whitest
beaches and water of the clearest,
deepest blue to be found anywhere in
the Caribbean. Carria
10 sa
aalled пее oysters. There's a place on
Carriacou called Tyrell Bay, where man-
groves grow out of the water, and cling-
ing to their banyanlike roots arc these
succulent bivalves that don't have much
in common with oysters as we know
them. They are quite small, their shells
most paper-thin and can be opened
with the fingers, and they have a taste
much milder than northern varieties of
oysters. Native boys in native boats come
alongside to ask you if you want any,
«d they'll pick them for you at once and
bring them back to the yacht within a
half hour. Even if you don't think you're
hungry, a dozen or two of the Carriacou
псе oysters per person are not too many
for canapés to accompany а properly
prolonged cocktail hour on deck.
Grenada is the southern terminus of
your cruise, if you've been sailing south,
unless you want to tackle the long. rough.
haul to Trinidad, which few yachtsmen
do. or the upwind thrash to Tobago or
Barbados (whether you're going there or
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Bar-bay-dos). Incidentally, Tobago has
nothing whatever to do with the Toba
Cays, which are part of the Grenadines.
It's a comparatively short hop from
Carriacou to Grenada—though it can be
a rough one, it’s soon over—and it's
more than worth it for the sail down
the west coast of the lush and lovely is-
land of Grenada and to see the impres-
sive harbor entrance, with its fine fort on
а rocky prominence and its houses and
v that risc up into the hills from the
bustlin, front, as you round into
St. George's Harbor. When your captain
has made his peace with Customs (you
anchor close to the waterfront and the
starched Customs men come aboard
from a rowboat), you'll make your way
through а narrow, dredged channel to
the tranquillity of the inner harbor and
probably tic up at the docks of Grenada
Yacht Services. No matter when you get
there, you'll sce one of the most dramatic
man-made sights of your entire trip: doz-
cns of private and charter yachts, of all
descriptions, moored, tied up along the
docks and at anchor. One could easily
spend days boat-hopping here, and the
only admonition we think of is to be
wary of the openhanded hospitality that’s
offered, if you want to be able to walk
back along the docks to shore without
staggering while the sun is still high in

matter of fact, Grenada Yacht
Services has quite a splendid spread foi
the іҸапдз and is more like a Stateside
boat vard-cum-marina-cum-yacht dub.
In addition to its mooring and anchoring
basin, and extensive marina-style docks
with electricity and running water for
ships tied up there, it boasts a machine
he only yacht marine railway
dward-Leeward chain (i
though these latter. virtues are of more
interest to your ownerskipper than to
you) There are also shower
ashore, for the use o£ guests, and an ex-
tensive second-floor ofice-pavilion-ma-
rine-gear store, and a switchboard. from
which you may place overseas calls
(given some luck with the vicissitudes of
the island communication services) or
send cables. АШ this is under the super-
vision of the Messrs. Bob Petersen, Ken
Gooding and Richard Scott-Hughes.
Scou-Hughes! office has one wall covered
by a large-scale chart of the entire area,
showing the daily location of yachts in
the Antillean charter fleet, of which he
is aware because of a handy island insti-
tution called The Children's Hour. This
when yacht skippers turn оп
liotclephones to chat with one
another and with Scou-Hughes, so that
ages may be passed along from
Grenada Yacht Services and from ship
to ship. In Antigua, the Nicholsons
do the same (Julie Nicholson's dulcet
contribution to this nonnetwork, un-

198 sponsored program confirms the fact that

she hovers over Nicholson charter yachts
like a mother hen), and many happy
rendezvous have been arranged in this
electronic manner—with everyone else
in the fleet listening in.

Grenada itself rth а visit. If
you've had your fill of nature and natural
beauty by this time, or И this is
your starting place and you're in a hurry
to get olf northward, you still should not
miss a walk along St. George's water-
nd а proper yachtsman's must
meal at The Nutmeg, а
from whose second-floor
unglassed window wall you can see the
entire harbor of St. George's and the ba-
ana boats and spice schooners loading
immediately below. The Nutmeg's calalu
soup will be pressed upon you by Carl
Schuster, genial boniface and expatriate
New Yorker. Give it’s deliciou

Whether Grenada is your jumping-off
place or the final harbor of your cruise,
you're going to see a lot of the island's
more rugged country when you take off
by taxi for the trip between the airport
and Grenada Yacht Services’ docks.
airport is on one side of the island, the
harbor of St. George's is on the other,
and whats in between is only
fabulous mountain scenery but some of
the hairiest grades and hairpin turns
you're ever apt to encounter. This sports-
cardriver's challenge will be blithely as-
sayed by your jolly West Indian cabby,
whose debonair and. dashing style at the
wheel is not one bit inhibited by the fact
that it’s а safe sucker bet to lay odds of
two to one that you won't make the wip
without one flat tire. If this kind of v
hicular promenade makes you nervous,
concentrate on the views, which are—to
use an overworked cliché, but how else
to describe them?—breath-taking.

So much for hints on an itinerary.
Your captain will have additional
suggestions, and you'll undoubtedly vary
your plans from day to day, to suit your
pleasures of the moment. As we've said,
if your ume is limited, it's far better to
curb the scope of your voyagings than to
feel you have to push all along the way.
In fact, a strong argument for starting
your Antillean vacation from Grenada
and working north is that you'll be able
to dawdle in the Grenadines and. per-
haps, get only as far north as St. Vincent
or St. Lucia.

is we

not

Your personal preparations for а
Meryacht vacation in the Antilles
should include a passport or other proof
of citizenship, but. no visas are necessary.
You will need a valid smallpox vaccina-
tion certificate, but of other papers you'll
need none. All the interisland red tape,

of which there is ample, will be handled

ch:

by your charter captain.

Clothing is equally simple. Walk
shorts, swim trunks, T-shirts, sport 5
sandals and loafers—and a pair of
good, nonslip boating shoes—are just
about all you'll need, except for a couple
of pairs of slacks and а lightweight
sports jacket that you may want to don
on special occasions afloat or ashore. On
sweater or one lightweight windbreaker
is all you're going to need in the way of
protective clothing from wind and
weather, since your charter yacht will
е wet gear aboard, should you wish
to stay on deck when it rains. But the
tains are so brief and so warm, and the
sun and the wind dry you so quickly that
most people just face them in swimwear.

We suggest that if you don't own one,
you treat yourself to a soft-sided suitcase
or zippered duffel in which 10 carry your
gear. It’s shippier, it’s convenient and its
€asy 10 stow once you're aboard.

You may wish to take along sports
gear of your own. but it's seldom nec
s the charter yacht that can't
fit you out on the spot with, at the very
least, snorkel and fins; and most of the
hoats—especially the larger ones—will
сапу not only Aqua-lungs but compres-
sors, not only decp-seafishing gear but
water skis, spear guns and the like. One
piece of equipment we saw on several
boats and. used on one is made by both
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200

SPEED TRAP

terest, too, maybe, because you get
pretty tired of making new friends after
about the 300th: and you begin to think
about what's waiting for you on your
desk when you get back, and you re-
member the time when you got stuck
with that damn loudmouthed Egyptian
at the I. A.U. in Brussels and had to
fight the Suez war for an hour and a half.
All right, you can see what I mean.
Waste of time and valuable kerosene jet
fuel, right?
Because the pity of it is that electronic
formation handling is so cheap and
easy. I don't know if you've ever seen
the Bell Labs’ demo of their picture
phone—they had it at a couple of mect-
ings—but it's nearly like face to face.
Better than the telephone. You get all
the signatures, except maybe the smell
of whiskey on the breath or something
с that. And that’s only one gadget:
There's i relemet

facsi

, remote-

(аат,
(бам

(continued from page 159)

access computation, teletype . . . well,
there it is, we've got them, why don't we
use them? And go farther, too. You know
about how they can strip down a taped
voice message—leave out the unneces-
sary parts of speech, edit out the pauses,
even drop some of the useless syllables?
And you can still understand it perfectly,
only at about 400 words a minute in-
stead of maybe 60 or 70. (And about
half of them repetitions or “What I mean
to say.")

Well, that’s the systems part; and, as 1
say. is not my field. But ivs there for
the taking—expert opinion, not mine. A
couple of the fellows were real hot, and
we're going to get together on it as soon
as we can find the time.

Maybe you wonder what I have to
contribute. I do have something, I think.
For example, how about problem-solving

approaches to discussions? I've seer
some papers that suggest a way of
simplifying and pointing up a conference

“I know, І know yowre recorded—but that doesn't
alter the fact that I love you!”

so you could really conf
а рег idea of my own. 1 call it the
Quantum of Debate, the irreducible
imum of argument which each par-
ticipant in a discussion can use to make
one single point and get that understood
(or argued or refuted) before he goes on
to the n

Why, if half of what I think is so, then

people like me « ngs done in—
oh, be conservative—a quarter of the
me we spend now.
Leaving three quarters of our time for
—what? Why, for work! For doing the
things that we know we ought to do but
can't find the time for. 1 mean this liter-
ally and really and seriously. 1 honestly
think that we can do four times as much.
work as we do. And I honestly think that
this means we can land on Mars in 5
years instead of 20, cure leukemia in 12
rs instead of 50, and so on.

Well, that's the picture, and that's
why I didn't want to waste the time talk-
ing with Gordie MacKenzic. I'd brought
all my notes in my briefcase, and four
nd a half hours was just about enough
time to try to pull them all together and
make some sort of presentation to show.
my systems friends and a few others who
e interested.

So as soon as we were airborne, Т had
and I was sor
out little stacks of paper.

Only it didn't work out.

Is funny how often it doesn't work
ош] mean, when you've got something
you want to do and you look ahead and
see where the time's going to be to do
it, and then, all of a sudden, the time's
gone and you didn't do it. What it was
that Clara worked her way back
with the cocktails—she knew mine,
extradry martini with a twist of lemon
—and 1 moved the papers out of her
out of politeness, and then she
showed up with the hors d'oeuvres and
1 put them back in my bag out of
hunger, and then F had to decide how I
wanted my tournedos, and it took almost
two hours for dinner, including the wine
and the B&B; and although I didn't
really want to watch the movie, there's
something about sceing all those screens
ahead of you, with the hero just making
his bombing run on your own screen but
shot up and falling in flames on the ones
you can see out of the corner of your eye
in the forward seats—and back in the
briefing room, or even in the pub the
night before on the screens in the other
row that the film gets to after it gets to
yours—all sort of like a cross section of
instants of time, a plural “now.” Discon-
certing. It polarized my attention; of
course, the liquor helped; and, anyway,
Бу the time the movie was over, it was
time for the second round of coffee and
mints, and then the seat-belt sign was on
and we were over the big aluminum
dome on Mount Wilson, coming in, and
I never had found the time to do my

T've even got

sorting. Well, I was used to that. I'd
never found any ginseng back in Pots-
dam, either. I had to get through school
оп a scholarship.

І checked in, washed my face and
nt down to the meeting room just in
time for a very dull tutorial on clear
air turbulence in planetary atmospheres
"There was quite a good turnout, maybe
70 or 80 people in the room; but what
they thought they were getting out of it,
I cannot imagine, so [ picked up a
program and ducked out

Somebody by the coffee
called to me. “Hi, Chip.

І went over and shook his hand, a
young fellow named Resnik from the lit-
ile college where ГА got my bachelor's,
looking bored and angry. He was with
someone | didn't know, tall and gray-
haired and bankerish. "Dr. Ramos, this

w

machine

is Chesley Grew, Chip. Dr. Ramos. He's
with NASA— think its NASA?
"No, Em with a foundation,” he said.

“Ies a pleasure to meet you, Dr. Grew.
I've followed your work.”

“Thank you. Thank you very much.” I
would have liked a cup of coffee, but 1
didn't particularly want то stand there
talking to them while [ drank it, so I
said, "Well, I'd. better get checked in, so
if you'll excuse me—"

"Come off it, Chip,” said Larry Res-
nik, “I saw you check in half an hour
ago. You just want to go up to your room
id work.”
That was
didn’t mind it with Resni
know the other fellow. He grinned and
said, “Larry tells me you're like that
Matter of fact, when you went by, he
said you'd be back out in thirty seconds,
nd you were.”
"Well. Cle
subject, really

“Oh, nobody's blaming you.
knows not. Care for some collce2"

The only thing to do was ю be
gracious about it, so I said, “Yes, pl
Thanks.” I watched him take a cup and
fill it from the big silver urn. He looked
but 1 couldn't place
him. we meet at the Dallas
Double-A S sessions?

"Em afraid not. Sugar? No, I've
actually been to very few of these meet-
ings, but I've read some of your papers

T stirred my coffee, “Thank you, Dr
Ramos.” One of the things I've learned
to do is repeat a name as often as 1 сап
so Т won't forget it. About half the time
I forget it anyway, of course. “ГИ be
speaking tomorrow morning, Dr. Ramos
"А Photometric Technique for Deriving
Slopes from Planetary Flybys" Nothing
much that doesn't follow from what

embarrassing, a little. 1

; but I didn't

-air turbulence isn't my

God

they've done at Langley, I'm afraid.
Yes, 1 saw the abstract.”

“But you'll get your brownie points for
reading it, ch?" said Lamy. He was
breathing heavily. "How many does that
make this year?"

"Well a lot" I tied to drink my
coffee both rapidly and inconspicuously-
Тапу seemed in an unhappy mood

Fhats what we were talking about
when you came in,” he said rty
papers a year and committee reports
between times. When was the last time
you spent a solid month at your desk?
I know, in my own department

I could. feel myself growing interested
and I didn’t want to be, L wanted to get
back to my notes. I took another gulp of
my collec

“You know what Fred Hoyle said

"I don't think so, Lamy

“He said the minute a man does any
thing, anything at all, the whole world
enters into а conspiracy to keep him
from ever doing it again. Program chair-
men invite him to read papers. Truste
put him onto committees. Newspaper
reporters call him up to interview him.
Television shows ask him to appear with
а comic, a bandleader and a girl singer,
10 talk about whether there's life on
Man.”

“And people who sympathize with
him buttonhole him on his way out of

INVER.
HOUSE

IMPORTED RARE SCOTCH

tong BLENOCD SCOTCH WHISKY EIGHTY PROOF IMPORTED BY INVER HOUSE DISTILLERS, LID, Priva

201

хозхута

g of”

"Everythin,

202

meetings,” said Dr. Ramos. He chuck-
led. "Really, Dr. Grew. Well understand
if you just kecp on going.

"Em not even sure its this world,”
said. Larry.

He was not only irritable, hc was
hardly making sense. “For that matter;
he added, “I haven't even really done
anything yer. Not like you, Chip. But 1
can,

be modest,” said Dr. Ramos.
“re making a lot of noise
here. Why don't we find some place to
sit down and talk—unless you really do
want to get back to your work, Dr.
Grew?

But you sce, I idy more than
half convinced that this was my work, to
lk to Larry and Dr. Ramos; and what
we finally did was go up to my room and.
then up to Larry's, where he had a Rand
Corporation report in his bag with some
notes I'd sent him once, and we never
did get back to the meeting room. Along
about ten we had dinner sent up, and
t was where we stayed, drinking cold
cofice off the setup table and sparingly
drinking bourbon out of a роце Larry
had brought along. and I told them
everything Га ever thought about а sys-
tems approach to the Uansmission of
technological information. And what it
implied. And Dr. Ramos was with it at
every step, the best listener either of us
1 ever had, though most of wh
id was, "Yes, of course" and ^
here really wa
sitting by myself and compu
a child anticipating Christmas, how
much work I could get done for а couple
К а year in amortization of systems and
overhead. And with the two of them. I
sure of it, It was a giddy kind of
- Toward the cud, we even be-
gan to figure out how quickly we could
colonize Mars and launch a fleet of inter
stellar space liners, with all the working
time of the existing people spent worh-
ing: and then there was а pause and
Larry got up and threw back the glass
French window and we looked out on
his balcony. Twenty stories up. and Los
Angeles out in front of us and a thunder-
storm brewing over the southern hills.
The fresh air cleared my head for a mo-
ment and then made me realize, first,
that E was sleepy and, second, that I had
to read that damned paper in about
seven hours.

“We'd better call it a day,” said Dr.
mos.

Larry started to object. then grinned
“All right for you old fellows,” he said.
Anyway, 1 want to look at those notes
of yours by myself, Chip. if you don't
mind.”

Just so you don't lose them,” Т said,
and turned to go back 10 my room and
get into my bed and lie with my eyes

smiling to myself, before I

ing. like

К.

fell asleep to dream about 50 weeks a
year working at my trade,

Even so. I woke easily the mo
the hotel clock buzed by my he:
We'd fixed it to have breakfast in Larry's
room so I could reclaim my notes and
maybe chat for a moment before the
ng session began; and when I got
floor, 1 saw Ramos paddi
rd mc. "Morning," he said. "I just
woke up two honeymooners who didn't
ме it Wasn't Larry's room

nt

morn
10 hi

"It's 9052. The other way." He grinned
nd fell into step and told me a fast and
quite funny honeymooner joke, timing
the punch line just as we reached Larry's
door.

He didn't my knock. Still
laughing, I said. "You try." Bur there
was no answer to Dr. Ramos knock,

either
1 stopped laughing. “He could
forgotten we were coming, could he?
“Try the door. why don't you
Aud I did and opened easil
But Larry wasn't in the roo
door to the bath was standing ope
so was the balcony window, and no
Larry. His bed was rumpled but empty.
“I don't think he's gone out,” said Dr.
Ramos. “Look, his shoes are still there.
The balcony wasn't big enough to
hide on. but I walked over and looked ar
it. Rain-slick and narrow. all that was on
it were a couple of soaked deck chairs
and some cigarette. butts.
Looks like he was out her
and then, feeling melodramatic, 1 le:
over the rail and looked down; and it
nt actually melodramatic after all,
because there in the curve of the hotel’s
sweeping front, on the rim of a foi
something was sprawled, and a
nding by it, shouting at the doorm:
Ir was too carly for much noise, and T
could hear his voice faintly coming up
the 200 vertical feet between us and
what was left of Lar

They canceled the morning session

but decided to go ahead in the after
noon, and I got into a long, bruising

fight with Gordie MacKenzie because he
wanted to give his paper when it was
scheduled, at three in the afternoon, and
Vd been reshufiled into that time and 1
just wasn't feeling cheerful enough to let
him get away witi anything. Not after
spending two hours with the coroner's
men and the hotel staff, trying to help
them figure out why Larry would have
jumped or slipped off the balcony, and
especially not after finding our that he
had had all my notes in his hand w
he jumped and they were now in stick
sloppy clusters all over Los Angeles
Count

So Г was about fed up. I once heard
Krafft Ehricke give what I would figure
to be a 12-minute paper in three minutes

and 45 seconds, and I tried to beat his
record and pretty nearly made it. Then 1
threw everything I owned into my suit
case and checked out, figuring to head
right out to the airport and get on the
first plane going ho

But the clerk said,
for you, Mr. Grew. Dr. В:
not to leave without seei

“Thanks,” I said, after

have a message
mos asked you
ng him,"

a moment ої

have to make the decision. Ramos
hurrying toward me across the lobby, his
friendly face concerned.

“I thought you'd be leaving," he said.
"Give me twenty minutes of your time
first

I hesitated and he snapped а

bellboy. “Here, Let him take care of
your bag and let's go down and have a
cup of cofice.” So I let him lead me
10 the outdoor patio by the coffeeshop,
warm and clean now afier the rain. 1
wondered if he recognized the расе
where Larry had hit, but I'm not sen:
tive about t sort of thing and
ently neither y
commanding presence when he wanted
to. Не had a м ss beside us before
we had quite slid our chairs closer to the
table, sent her after coffee and sand.
wiches without consulting me and start.
ed in on me without a pause. "Chip." he
said, "don't blow it. I'm sorry about your
notes. But 1 don't want to see you give
up.

I leaned back in my chair, feeling
very weary. “Oh, that I won't do, Dr.
Ramos——"

"Call me Laszlo.

“That I won't do, Laszlo. As a matter
of fact, I've been th g about it
already.

“I knew you would be.”

“I figure that by curing out a couple

of meetings next week—I can use Lar-
туз death as an excuse. some way; ГИ
use anything, actually—I сай reco

struct most of them from memory. Well,
maybe not in a week, come to think of i
ГИ have to send for copies of some of the
reports, But sooner ог later——

“Right. "Thats what I want to talk to
you The girl brought the coffee
and sandwiches and he waved her away
briskly as soon as she'd set them down.
"You see, you're the man I came here
to

your paper—your idea.
What we were talking about all night.
for God's sake, 1 didn't know it was you
I wanted until Resnik mentioned you
yoterday. Bur after last night, I was

“I already have а job, Dr—

PLAYBOY

your idea work, I've got moncy, Chip,
foundation money looking for something
to be spent om. Not space research or
cancer research or higher mathematics—
they're funded well enough now. My
foundation is looking for projects that
don't fit into the usual patterns. Big ones,
Like your

Well. of course I was excited. It was
so good to be taken that seriously.

“I called the board secretary in Wash-
ington first thing—I mean, as soon as
they were open there. Of course. I
couldn't give him enough over the phone

for a fom commitment. But he’s on
the hook. Chip. And the board will go

along. There’s a meeting next week
1 каш you there.”
“In Washington? | suppose——^
"Well. no. The foundation's interna-
tional, Chip, and this meeting’s at Lake
Como. Bur we'll pick up the tab, of
course, and you can get a lot more done

there, where your office isn’t going to
call уои
“But, I mean, I'm not sure——"
“We'll back you. Everything you

need. А май. A headquarters. We've got
the beginnings of a facility in Ames,
lowa; you'll have to go out there,
Bur it shouldn't be more th

course.

know it won't mean anything to you

*. . . Please lei them

After you've got one medal on your chest,
the rest aren't tco exciting. But it'll look
nice in your Who's Who entry: and, any-
way, the secretary has already authorized
me to tell you that you're invited to
accept appointment 10 а tusteeship.”

1 began to need the coffee апа 1 took

а long swallow. “You're moving too
for me, Laszlo.” I said.
The trustees meet in Flagstaff;
they've вог а country-club deal there.
You'll like it. OF course, it’s only six times
а year. But it’s worth it, Chip. Г mean,
we have our politics like everything else
ind if you're a trustee, you swing a lot of
weight.”

And he prattled от
listening. and it was all coming true,
everything I'd. hoped for; and the next
week in Italy, in a great shiny room with
an enormous window looking out ever
Lake Como, 1 found myself a full-fledged
project director. with status as a trustee,
honorary membership on the priorities
committee and а май of 41.

and I sat there

e the Lawrence
ng in Ames—
the name was my idea, but everybody
agreed—and although it's been a hell of
I can see where we'll really make

progress now. It still seems a little in-
«ongruou 1 should be putting in so
much time on managerial work and

манов

be twenty-one. . . -

conferences. But when I mentioned it to
Laszlo the other day in Montreal. he
gave me the grin and an approving look.
"I wondered how long it would take you
to think of that," he chuckled. “But it's
best to make haste slowly. and you сап
sce [or yourself it’s paying off. Have 1
told you what a good impression your
lecture tour mad

“Thanks. Yes, as а matter of fact, you
did. Anyway, once we get the Resnik
installation going, there'll be а litle more
time.” ў

“Damn right! And don’t say 1 told
you"—he winked "but remember what
I told you about а possible appointment.
10 the. President's Commission on Inter
disciplinary Affairs? Well. it’s not official.
But it’s definite. We've already taken а
suite at the Shoreham for you, You'll be
using it a lot. We've even fitted up a
room as an office; you can keep your
notes and things there between trips.”

Well, 1 told him. of course, that if he
meant the notes I had been trying to re
construct, they didn't require all that
much room. Not by quite a lot, since 1
haven't in all muth got very far,

1 think I would have. somehow ог
other, with a litle luck. But 1 haven't
actually been very lucky. Poor Honey-
man, for instance—I'd already written
him for another copy of the report he'd
made up for me when E heard that his
vawl had capsized in a storm. They
didn’t even find his body Гог а week. And
nobody scems to know where he kept his
copy of the report, if he ever made one.
And:

Well. there was that funny thing Res-
nik said the day he died, about how the
world conspired against anybody who'd
ever done anything. And then he said,
"Pm not even sure it's this world."

І figured out what the joke was—il
is, if it was a joke. I mean, just for
hypothesis, suppose Somebody didn't
want us to get ahead as [ast as we could,
Somebody from another world.

"Fhat's silly. That is, 1 think it’s silly.

But if chat line of thinking isn’t silly,
then it must be something quite the op-
posite of silly; by which 1 mean it must
be dangerous. Just recently, Гуе almost
been run over twice by сталу drivers in
front of my own house. And then there's
the air taxi I missed and saw crash on
take-off before my eyes.

Just for the fun of it, there ae two
things I'd like to know, One is where the
foundation gets its money and why. The
other—and I just might see if 1 can get
answer 10 this one, next time I'm in
L. A—is whether there really were а pair
of honeymooners in room 2051 that
morning, to be accidentally awakened
by Laszlo Ramos just about the time
that Lamy was on his way down 20

flights.
Ba

{Where would Swissair be without its passengers and friends?

Here's another ad

that relies directly on you for bright ideas. }

VVE'RE LOOKING

OOK, it’s hard
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Andon topofthat, advertising it all. Making
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So we sat down and wrote short, snappy say-

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But then in our sales department
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cor

205

РЕАУВОТ

THE SHARERS

smiled under his black mustache. His
paleblue eyes crinkled behind his glass-
ex “It’s deductible, you should know
that.”

“Well, I feel kind of funny," I said,
and thrust the money at him again. But
he held out his hand. palm down, and
then gently nudged the offer away, as
though the money had germs.

“I insist,” he said.

“Well, OK," I said, and shrugged, and
said, “Thank you, have a nice day,” and
got out of the cab and ran for the office.
Ii took me a half hour to get my
circulation bad

Ihe next morning, Harry got off at
125th Street again, and again he said,
are to share а taxi?” So what could 1
Could I Listen, my friend, I
- to ride alone in the morning, I like
to smoke my cigar with the windows
closed. you understand, dosed very tight

st the cold outside, not even open
ck, with cigar smoke flouting all
ad me, reading my newspaper,
nothing personal, you understand, no
hard feelings, but that’s one of my little

E а
y
N
“Guess Pm just an old-fashioned gal, but I want to
ask your blessing before I move into Bernie’s pad.”

(continued from page 92)

Iuxurics, that's what I promised myself in
Korea many many years ago, could I tell
that to the man?

I suppose 1 could have, but 1 didn't.

Instead, 1 got into the taxi with him
and I lit a cigar for myself,
mmediately opened the window.
immediately snuffed out the cigar and
asked him if he would please dose the
window.

"How's the travel business these days?”
I asked. I had folded my arms aaoss my
chest, because I was in a pretty surly
mood. What I usually do, you see, is
ration my cigars, one in the morning
in the taxi on the way to work, another
one after lunch, another one in the ti
on the way back from work and the
last one after dinner. Four cigars a day,
thats enough. I do 20 push-ups each
morning and 20 before I ро to bed, to
keep the old "bod" in shape, as my
daughter calls it. She kills me, that girl.
So I was thinking I really didn't need
this guy to ride down with me and de-
prive me of my cigar, who needed him?
But there he was, telling me all about

the travel business and about a charter
flight they were getting up to Aspen,
Colorado (just the thought of Aspen,
Colorado, gave me the chills), and had I

"I have never tried

hat's too bad. Howa
think you would find s

I'm too old to go out.
leg. When a man gets set in
ys. he develops certain habits, you
that he doesn't like to break,”
hoping he would realize І was talking
about my morning cigar, which he
didn't.

“That's true,” he said, "but you seem
to be in pretty good shape, and I doubt
И you would break a leg.

Гу cousin broke a kg in his own
I said.

I'm sorry to
“Did you know th

саг that," Harry said.
shot The Pawnbroker

iwnbroker?" I asked, not
having heard about any shooting on that
corner, which was the corner of 116th
nd Park Avenue,
he movie.” Harry $

“Oh, the movie. I didn't see that
movie.”
t was а very good movie,” Harry

hey shot it right on this con
I was really wanting а cigar very bad-
ly by that time. I looked out at the El
Radiante bar and visualized Harry being
shot on the corner.
“There were a lot of your people in
that picture,” Harry said.

"1 said.
“It was a very good picture.”

The cab sped downtown. The over-
head tracks came level with the ground,
then sank below the pavement and dis-
appeared. When we reached 86th Strect,
1 took out $1.25 again and thrust it into
's hand, but he turned his hand
over quickly and let the money fall onto
the seat.

“Nosir,” he said, “not on your life, I
have to go down this way, anyway."
ve to go down this way, too,"

an you charge it to the busines?”
"No, but- d

“Then don't be silly.” He piked up
y and stuffed it into my coat
Now, go ahead, don't be silly,

Well, thank you," I said, “I ap-
preciate it,” and then realized | di
even know his name, I had never hea
anyone call him by name on the train.
hank you,” J said again, and got out of
the cab.

We have a small office and Concetta,
our secretary, has asthma, which means
that smoking a cigar and filling the air
with deadly fumes would give her

coughing fits all day long. So I stood. in
the corridor outside the men’s room and
smoked my morni

Goldman came in at 9:30.
nding there smoking. Не

Whoosh, you trying to fum
place?”

Well, I know Concetta doesn't like
ar smol I said.

cij

e said. "What is
he said, nudged

ger oft the elevator
that, an El Ropo?
me and laughed.
I's а good c
ve cents.”
"rc ge
the fire dep:
ughed again
the commissioner
“Look,” I said, a bit heatedly, "il I
"t smoke it in the office and if I can't
smoke it here in the corridor outside the
men’s room, where it isn't bothering
body, where the hell сам E smoke it?
“Don't get excited.” Dave said, and
patted my arm. “W don't you go
smoke it downst
Downstairs was а
zero; downstairs w
packs of gray wolve:
Dave went into the men's room. 1 put
out the cigar and went inside to my
desk. АП that mor
Harry. You have to understand that
whereas | appreciated his having paid
my cab fare on two separate occasions. E
would have preferred paying my own

5” E said. "Cost me

hundred below
followed by

damn [aic so that 1 could have smoked

r in peace without a
attendance. 1 stress thi
only because Adele later said ре
was really a Chea e who enjoyed
having my cab

Hend ii

ad I told
For

allord to pay my own cab fare. In fact,
as [ pointed out and as Adele well knew,
ides to and from work were
luxuries I lelt Г owed myself, esse
elements of the private little party L
been throwing to celebrate the fact that
I had пог got killed Kor

So it seemed to me that Harry. Pryor
more than just a
and I decided to tell him
flatout come Monday morning that
whereas Г enjoyed his company im-
mensely. 1 really preferred riding down
to work alone, as it gave me a chance for
contemplation, an opportunity to Gst
nto the long, hard day ahead, which was
not exactly true but which 1 rehearsed
nonetheless all through the weekend
Then Г remembered that J didn't even
know his name, so I called Frank Cooper-
man on Sunday night to ask about it.
Who do you mean?" he said.

“Since you've been showing these underground movies and
having wild jazz concerts and freewheeling discussions
on LSD, the members of the congregation, after careful
deliberation, have decided that church is not а proper
place to send our children.

“The fellow who rides in with us each
morning.

“Which fellow?"

“The one with the black mustache and
the blue eyes and the glasses. Who tells
all the jokes in the mom

UE think his me is
said.

Dont you know
Well, Im not sure.”

"He's your friend, iwit he?

"No. no,” Frank sid. "My
What gave vou that ide?”

I just thought he wits your friend.
said.

“I thought he was your friend,

friend?

ank
said.

“Well. whose friend is he

“Search me," Frank said.

“Well. what's his last namez" E sud,

"Pryor, 1 think.”

“Thank you.” 1 said, and hung up. а
little annoyed with Frank, Em. not sure
why. E debated whether L should call my
Taximate “Mr. Pryor" (since he didut
seem to be anyone's friend) or just plain.
“Harry” when I broke the news to him,
and then Г rehearsed it both ways, figur-
ing Vd play it by ear when the time
came,

I could barely sleep that night. Adele
finally poked me in the ribs and said,

" p asked.

"Howard. if

I'm going to ¢

you don't stop tosing.
» sleep in Marcia’s room.
I didn't answer her, as she very often
makes dire threats in her sleep.

On Monday morning, I drove to the
station, and there was Mr. Harry Pryor
waiting on the platform with the other
fellows, coffee container in onc haud,
wrapped cheese Danish in the other.

“Morning, Howard," he said.
Moming. Нату." L said.

Getting off at à Hundred and Twenty
fifth as usual?”

“As usual,”

"Would vou care to share а taxi with
me?” he asked.

That was my opportunity and I should
have given him my rehearsed speech
right then and there, but [ didn't want to
embarrass him in front of the other fel
lows. So I said. "Yes, Harry,” and figured.
this would be our last shared ride
gether, Га tell him how J felt on the way
down to 86th.

ft was a bitter-cold. day.

Men were hunched over small coal
fires in empty gasoline drums, girls
clutched coat collars to their throats, ici-
cles hung from awnings, broken orange-
crate slits juned crookedly from frozen
curbside puddles.

“I curt tell you how much I enjoy this

to-

207

PLAYBOY

208

morning ride with you, Howard," Harry
said for openers.

I grunted.

“L don't y Negroes,” he said.

I didn't know what to say to that one,
so I coughed.

“That's а bad cold you have there,"

s
Harry said.

I grunted again.

"You ought to quit smoking," he said.

“E have,” I said. “Temporarily,” and I
thought, Now is the time to tell him.
Right this minute. I turned toward him
on the seat.

"How се can we get to know each
other?” Harry said.

"I beg your pardon

"Negroes and whites, id. "How
else can we possibly breach the barri-
de?

I said.

ing I didn't have
any particu icade to breach, and
if Harry had one, he shouldn't attempt to
breach it in a taxicab. "Actuall "

“Can I walk up to а Negro on the
street and say, ‘Listen, fellow, let's have.
a drink together, I'd like to know you
people better? Can I say that?"

1 thought, No, you had better not say
that, Mr. Pryor, especially not up here in
Harlem. 1 glanced through the window
on my right, where the
housing development, On
walls, a teenage letterer had painted the
name of his dub. Ис had spelled it
wrong. For posterity, the words THE
REDEMERs boldly asserted themselves in
white letters on the brick wall.

“So just having the opportunity 10
to you this way, to get to know you this
way, is very important to me, Howard. I
want to thank you for it. 1 want to
tell you how much I appreciate your
gencrosity.

“Yes, well," I said, "don't mention it,
really.”

1 felt tapped, and frustrated, and
suddenly in danger Once, in Korea,
when we were trying to take this hill, we
had two of our guys with a mortar about
hundred yards on the left, and the ser-
geant and another guy and me with the
ar rounds over on the right. But we
couldn't get to each other, because the
Chinese had set up a machine gun on
top of the hill and they kept raking the
ground between us, It was very frustrat-
ing. Finally, somebody called for artil-
lery to knock out the emplacement. But
that was alter the sergeant had already
sent my buddy to get killed trying to lug
the ammo across that hundred yards of
bulletsprayed ravine to where the mor-
tar was waiting. The sergeant tapped me
1 the shoulder. I was next. Just ther
the artillery barrage started. 1 don't
know who called for the support, proba-
1 of Baker Comp
little knoll looking down
this depression where we were trapped
and frustrated. I never found out, That
was one of the times I almost got killed.

Т felt the same frustration now, as ме
rode down to 86th Street. and I also felt
the same danger. That's ridiculous,
know. Harry was only sharing a taxicab
with me. But I had the feeling he was
also trying to move he had put
I his furniture i
van and now they were moving into my
head and my heart and even my soul
and were beginning 10 unpack their
barrels.

The cab pulled to the curb at Madison
Avenue. 1 silently rook out $1.25 and
ded it to Harry.

"Plcasc," hc said.
€ this is on the business?”

my money av.
tell him to have a n
closed the taxi door, slammed i ly
(the Negro cabby turned to give me a
dirty look), and then stopped for a cup of
coffee before going up to the office.

Thar night, I had my talk with Adele,
the one in which she insisted 1 was a
Cheap Charlie. When 1 finally shouted
that the cab fare had nothing to do with
the damn situation quietly
said, “You're allowing a white man to
buy your freedom and your privacy.

‘That’s not true.”

“It is true, Howard.”

“You're a racist, is what you are
said. “You're as bad as the segregatioi
down South.”

"He's going to ask you to have lunch
h him one day, you май and see.”

I don't want to have lunch
him.”

"Do you want to share

she v

with

taxi with

“But you do share one,” Adele said.
She nodded заре. “And you'll have
lunch with him, too, wait and sec."

“I will not have lunch with him,"
said.

“You're allowing him to enslave you,”
Adele said. "Howard, you are letting
him snatch you out of the African jungle
and throw you into the hold of a ship in
ch:

I

He wants to be my friend!
"Do you want to be his fr
"No, but—
“Are you afraid of him, Howard?"
‘No, but—
“Then why can’t you tell him you

don’t want to ride with him? ГИ tell you

why, Howard. You can't bec hes
white. And it’s the wh

10 decide whether or not he'll ride with a

nigger.”

“Don't use that word

nd?"

n this house," I

Howard," she said, “if you let Harry
Pryor do this to you, you are nothing but
a nigger,” and she went up to bed.

Т sat alone in the living room for a
long time. Then I went upstairs and
made sure Marcia hadn't kicked the
blanket off, the way she usually did. She
was sleeping with a wide grin on her
face. Нег braces gleamed in the dim
light from the hallway. 1 touched her
face gently, tucked the blanket in
around her feet and then went into my
own bedroom. Adele was asleep. A frilly
cap covered her set hair. My grand-
mother had worn an old silk stocking on
her head the day I came home from
trying to walk over the bridge. The 10e
of the stocking, knotted, had flapped
ound her ears as she shook her head
and washed my cuts.

My grandmothers father had been
slave.

1 decided to tell Е
that I no longer с
with him.

I kept putüng it off.

He got into the taxi with me cvery
mo and cvery morning I would
tu ud him and start to tell him
id I would sce those palc-bluc cyes

behind the thick glasses and I would
remember how he had cased his way into
our group on the train. And it would
occur to me that perhaps Harry Pryor
needed my companionship more th:
needed my own privacy, which was а
He kept asking me questions
Negrocs.
He wanted to know how it felt to w
to a good restaurant, did I al
I would be turned away, or not served,
or otherwise treated badly? He wanted
to know how I handled hotel
tions; did I explain on the phone th

E ys fear

reserva-

tI

was a Negro. or did I simply arrive with
my luggage and surprise them? He

asked me if 1 had ever gone out with
white girls: so I told him about Susan,
who had been in the School of Journal-
ism at Columbia and whom I had dated
for six months when I was going to Ford-
ham. We were quite open about being
seen in public together, I told Harry,
even though Susin never mentioned me
to her parents and even though I never
wrote about her in my letters home. We
had quite а thing going for six months,
but then it all ended pretty rout
when I went off to fight in Korea.
wrote to her once or twice and once or
twice she answered, and then it simply
ended, almost as if it had never happened
at all.

1 also told him about my sister, who
in the English department at
UCLA, and how she had gone through a
severe Muslim phase, only to swing over
to dating white men exclu
now involved in all that с
scene of surfing and psychedelics and
Oriental religion. І told him she still
called me "Hub," which had ben à v

fo rget
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Tuo HivH Hv335 зні

PLAYBOY

210

nickname as a boy told him Adele's

brother favored a separate Negro nation,

times in Geor-
1 Aed

that he had been jailed
gia and Alabama and that he В
North this past summer after striking
back at a deputy with a piece of lead
pipe. His eyes burn in his head, I said, 1
think he's a fanatic, 1 told him that L
myself, respected only Martin Luther
g as Ieader of the civil rights move-
t and that I would never ride а fre
buy or join іп a march because,
т afraid I would bc
hurt or possibly killed. 1 told him I had
an aunt named Florina. who hired out as
deaning woman and whom 1 had not
seen since I was coming along in the
South, though every Christmas she sent
а plumcake to the house in North Sta
1 told him that [ames Baldwin gave
in the J, at last, I told
about what had happened the day I
nied to walk across that litle wooden
bridge а mile from where my sister and E
lived with my grandmother.

“Why didn't vou fight back?”
asked

“L was just

ws. А

hin

Hany

little kid," E said.

sister was only four”

you thin!
thought 1 was a fool t
fight with bigger kids.”
ner white kids?
“No.”
But
Howard.”
“No, I
kids, that’s a
with it
These conversations all took place in
various t n the space of, oh. two
or three weeks. 1 would guess. АП that
time. E had the oddest feeling that H:
was waiting for me to say something 1
had not yet said, reveal something 1 bad
kept hidden until then, do something—it
was the oddest feeling, |t brought to
mind again the Chinese machine gu
ners waiting for us to try a run through
treacherous ravine.
One morning, as I got out of the
n to offer H
hed for

you must have thought th.

I said.

didi “Just bigger
l. White had nothing to do

cab,

re:

my

"Forget it,” he said.

“H I said, “we've been riding
together for a long time now. | wish
you'd ler me pay my share,"

"bis deductible,” һе said, and
shrugged.

Are you sure?

‘Tam absolutely positive,” he said.
"OK." 1 said, and got out of the сар.
“So long, | “have a good day

The to you, Howard.” he
nawered. “The same to vou."

All through the next week, I rode

cab with Har
as like to be a Ne-
1 no longer offered to

down to 86rh Sucet
telling him what it w
gro т Ameri

pay for the ride, because it seemed to me
the point had been settled.

If he really
was dedueting it, then why go through
the same pointless routine cach morning,
tiking out my wallet. and extending the
cash only to have и turned away
"Goodbye, Harry.” 1 would

"Thank you for the ride.”

. Howard," he would
ct pleasure,” and the
away hom the anb.

say.

approachi
in from the front end, wh
closest to where 1 always parked my car.
The wain was about to pull out, so I
Hopped aboard and began walking back
toward. the last саг when suddenly some-
thing powerful rooted me to the spot. 1
will not have to sit with the group. I
thought. 1 will not have to ride
with Нату Pryor and tell him what it is
like to be a Negro in America, I will not
have 10 Чо either of those things if I st
up here in the first сағ. If I stay up here,
e a seat up here, then I

h was

a taxi

ay be able to ride a taxicab down to
Söth all by myself, light a ar and en-
joy some good luxurious smoke, read

my newspaper in peace and quiet, rumi
nate upon the state of world affairs if I
want to. or dream of belly dancers in
t to, or pray for peace, or
der about my daughters teeth, or
k about my wife's ear, or sketch out
some plans for a boat I'd like to build

Cairo if 1 wa

one day, what with the Sound being so
close

ad all. In short, if 1 take a seat in

in, 1 can. perhaps
at 125th Street. and there-
fore be а Negro stead of

to talk to him about being а

n Americ:

seat next to a fat woman
homible perfume. І felt like

ng
defector. T was certain the

looking for me before the hed
125th Street, certain Harry would burst
into the car and shout, “Alvha, there you
exposing me for the runaway slave
I most certainly was. The train rumbled
across the Harlem River Bridge, the
bleak gray tenements appeared suddenly
on the horizon. 1 pulled my collar up
ad leaped onto the platform. 1 saw
he got off the train at the other

would come

ré

are

id. but 1 pretended not to. Instead,

lked very quickly to the nearest stai
ci, raced down it rather
walk up to 126th Street, cut across Park
Avenue and headed crosetown.

І had reached Lexington Avenue
when two things happened at one

А pair of taxis came rolling toward the
r and 1 saw Нату Pryor standing
sed, hailing one of
» that same instant,

and. than

corn
there with his arm r
them. He saw me

“Good moming. Howard" he said
quickly, and pulled open the door of the
nearest t "Il grab this onc." he said,
and got into the cab hastily and
slammed the door.

The second taxi had just pulled to the
curb. I opened the door and got iv

ghty-sixth and Madison.” 1 sud, and
watched as the taxi ahead, the one сапу-
ing Harry. gunned away from the curb
aud headed downtown.

1 did not know what to think at first

Had he realized Га been uying to
duck him, had he walked over to Lex-
ington Avenue only to make it casier for
me, figuring Га head for my usual post
u 126th and Park? Or had I offended
hi some manner. had 1 said some.
thing the week before that had c
him to make a
cal decision; We would no longer
with cach other, we would no lo
share.

Aud then I realized what it was.

I had at last done the thing Harry had
been waiting for me to do all along.
After all that talk. after all those expla-
nations and revelations and confidences
freely offered, 1 had Aged to
convey to Harry the cert wledge
that | was only. at best. а Negro. 1 had
finally and nprotestingly accepted

crosity, only to become in 1
the white man's burden. 1
the terrible mistake,
aking 1 could walk across t
with immunity, allow Harry to pay my

because, you see, 1 was an
equal who understood all about tax de-
ductions, an accountant, you хес,
educated man—even, perhaps. а

It was not а cold day, it was the mid-
dle of March and spriug was on the
but 1 felt a sudden chill and longed to
join the old men still huddling over coal
fires in the side streets of Harlem. At
South Steet, I gave the driver 51.95 and
got out. of the cab.

1 had forgotten to 1

Since that day, 1 have avoided Harry
by taking an earlier vain, the 7:30 out of
Stamford, which arrives at 125th Street
at 8:19. This gives me time,
so I no longer have to ride a taxi to work
in the morning. Instead, I walk over to
Lexington Avenue and 1 board the
downtown express there on a platform.
that js thronged with Negroes like
myself.

do пог mind
ng.

When it’s raining, I think of Hany
riding а cib downtown, alone. and I
wonder if he has the window open a
ind Е wonder i 1 ever
t [was able to pay my

sed

imultancous and identi
ride

Tare last,

a liile es

‚ except when it’s

anything wi

ca
convince him th

own way and that Г would have happily
done so if hed only given me the
chance.

“Very good, sir!”

PLAYBOY

212

FAMILIARITY

things may seam small on the surface,
but they can achieve more roulo in
mproving morale and increasing cllicien-
cy than the most elaborate and costly

emploveerelations programs.

The executive must be acquainted
ith his equals. He must know them and
with them. He should be
ar with their attirudes and outlooks,
their personalities amd peculiarities. in
rder that his relations with them may
be as free of friction or misunderstand-
ing as posible, There will, naturally, be
some disagreement among equals. but
amiliarity in the sense of close acquaint-
ance and understanding will make for
generally cooperative relationships.

Ап executive must also know. his supe
riors in order to facilitare their work and
his. There should be по bootlicking, but
things move much more smoothly if an
executive is familiar with tlie personali-
ties and characteristics, the customs and
policies. the likes and dislikes of his
superiors.

For instance, one boss might prefer to
Fave plans or problems presenied to him
1a terse, skeletonized outline, while an
other might insist on being given all the
ils ihe firs time mound. Or, as a
more extreme example, the boss may be

(continued from page 110)

а Tule hard of hearing and. people being
what they are, might well be reluctant to
adm subordinate can
pretend to be ignorant of this and simpl
speak а little louder in his presence. Such
things do not constitute baotlicking: they
are simple human courtesies.

Dealing with people, with personnel
—be they subordinates, equals or superi-
ors—is lwavs easy. Sometimes it
сап be exceedingly difficult. The ability
to deal with them, to know and under-
stand them. is one of the key qualities
that separates the mansized. executive
timber ftom the boysized chips who will
never make the grade into the upper
echelons of management.

6. Industry or field. The higher a man
sets his sights, the more he must know
and understand about the f
in which he

«аму

id his company are
ed. An executive in the XYZ Door
knob Company is well advised to remai
of all developments in the door-
lustry. He should know as much
bout what competing firms
re doing—and familiarize himself with
whats going on among the company’s
suppliers and. customers, Only thus can
he be alert to opportunities that. present
themselves—and be forewarned abour
problems that might develop.

“Careful, Frank. It might be some
sort of tourist trap!”

Т. Overall business and economic
trends and conditions. Today, the suc
cessful businessman must be somethi
lyst

indeed. are the companies that are com-

of a business а! nd economist. Few,

pletely independent of or impervious to

the influences of general trends

conditions. А forthcoming strike in the

steel industry can have ram

that seriously influence the ope

of a diaper manufacturer. An economic

aisis in Ru could conceivably

cause rc percussions that would affect the

raw-material supplies—or even rhe sales
of a toy manufacturer in Hackensack

U.S. Governme
tussle in Cong!

A sudde
policy or

—and often does.

set off a
reaction that leaves its mark on the
profitanddoss statement of а thousand

and one business firms across the nation-

Any executive who seriously w
reach the top must bro.
interests. and self
business and economic. maners [ar
yond the realm of his own immediate
field, He cannot begin to do this too
soon, Even the most junior of executives
n find no better way to invest his spare
me than by boning up on gene
hess and economic subjects and by closely
following all current developments.

The successful businessman is the one
who can, in an appreciable perce
of noes, correctly Гогезее develop-
mens, promptly take advan of
emerging opportunities and ellectively
forestall problems. No businessman. can
have a perfect batting average—but it
is the man with the highest prediction-
and-prevention record who reaches the
top most quickly and remains there most
securely

‘These are some of the more important
things with which an executive should
be familiar if he wants to achieve success
in the business world. 1 certainly do not
suggest that it is easy to gain the neces-
sary knowledge aud ammin the necessary
degree ol familiarity with the matters I
have listed. Quite to the contrary, I
would be the first to warn that much
hard work is needed—hard and extra
К that often bas to be done on the
individual's own time and at the expense
of other, more pleasurable pursuits.

However, I maintain that the game is
well worth the candle that may have to
be burned far hi. The
rds more than justify the effort.
ive who
is Familiar the specs. of
business will advance rapidly. His fam
ity will breed the kind of content that
comes with the attainment of one’s goals.
Nothing succeeds like success—and there
no content like that which a man feels
when he has achieved i

len his

age of
with
be-

familiarize

1 busi

is

into the ni

with varied

That Day

(continued from page 113)
me nervous the way everybody in our
family gools off in the morning, and this
is her way of telling me the world is in
working order. I like Georgina. She
hasn't got mean and pushy the way a
lot of them have lately.

And all the rest of it went along in the
everyday way, insofar as I can remember.
I went into the dining room and pulled
the front news section off the paper.

а rotten stomach half the morn-
it—I know by experience.

The kind of that goes on un-
checked these days. Тех а nice room.
From where 1 sit by the French windows,

nd sec the big oak, all
our stretch. of green lawn down to the
tennis court, s mighty pretty. Don't
bother n let me see the news:
give me some good bacon and eggs and
corn. bread and coffee, and ГИ start the
day just as cheerful as any m:
| Sissy and Bud came to
ние later than they should,
but still before their mother showed up.
Louise was just ^ to give me
goodbye peck on the cheek as I was
going out the door. I got the Cadillac out
of the garage, got onto the high:
made the three miles into town in less
than ten minutes, parked behind the
Until 1 noon. as
n ordin. ig
ay other if you hap-
wyer with

1 look out

don't

Just as nsi
the table a

n

office and went in.

I said, у morn

à was just
no different
pened to be
а пісе practice. an iment-house
owner, cub member, ex-councilman,
member of the First Methodist, and what
Il in the papers “solid citizen” of
allinas, Georgia. At noon, the whole
world changed.

Three years ago, Simms and Huber
bought an old brick house in the center
of town and fixed it up into a mighty
smart office. We had the old floors
sanded down and refinished, the old wood-
work repaired, put in lots of rich-looking
rugs and drapes, filled the place with au-
thentic antiques, and even got а fairy up
from Atlanta to do “the decor.” There'sa
Yankee musket ball. souvenir of Sher-
buried in the wainscot in the hall.
We had a glass plate put over it and a
silver wreath hung to mark the spot.

(Aaually. old Major Beard, who used
10 own the house. bad drunk
im his later years. He wed ло keep а
loaded pistol on the table by his chair.
and whe: ng, he'd take it
into hi t rid of onc of the
servant
never been so sure that Sherma
blame.)

Some people thought we ought to
have an office in the new allglass
steel. Commerci; Not me. 1

froi

pretty well-off

was a те,

n was to

and

like this old-fashioned setting. Or did
until the marches started.

Then things got rough. They came
down Forrest Street onto Jackson and
right past our office on the way to the
courthouse. We had a flower border out
front—Miss Munsons idea—and they
trampled that down. ‘They pushed
against the fence so it began to sag in
some places. They sang and screamed
and waved their signs like monkeys let
Joose from the zoo. We stood it the first
time; had to—the town wasn't really
prepared, That night somebody. one of
the drunk ones I guess, threw a brick

into our big front window. You cin bet
Len and I we n Clemson Todd's office
first t morning. He looked
green. He never bargained for this kind
of trouble when he put up his name for
mayor. ГИ always remember him as a
bigass kid in high school, scared of the
teacher. And we scared him some that
morning ourselves.

But even with twice the number of
police in riot helmets and squad cams
around. tear gas and dogs when things
got ugly. they still raised hell the whole
month long. I don't know why the worst
of it had to happen right outside our
windows.
our front
ov
one of them. Thats when T bought a
shotgun for the office, hired Nash Petti-
for night and gave
nson holy hell about getting them off
our street.

After he brought in the fire trucks
with the hoses and the town gor a real
riot squad organized. things got a sight
better and the demonstrations tapered
off. Better, but not permanent-beuer. Оп
the outside things were quier, bur T be
gan to have the fecling that sle
night would never quite be the sime
thing again. Lots of folks at the club.
that it was just the ouside agi
and if we got shed of them. things would
go back to normal. Bur I knew different.
Tt appeared to me like we were living in
the middle of a huge dry forest. dry as
tinder. You could stop some people who
started fires. but then there would be
lots of fires that sprang up here and
there just of themselves. What w
needed was a big thing, like a real
sevenday torrent, to give us some
peace aga

thing ne

watchman

Well, that particular morning Len and
I spent in my office going over
cases due to come up on the next docket
1 don't recall а thing elsc. Len left a little
before noon becausc he had to scc a man
about buying a piece of land out on the
nesville Road. A little later, I sent
Peggy М roast beet
sandwiches and a bottle of beer. Some-
mes 1 just like to have a quiet lunch

some

for some

ason out

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213

PLAYBOY

alone in my office and play the та
some, nts in this town being
what they are. I got settled down. The
15 went away to lunch and the place
was quiet. "There was some kind of
show-tune music on the radio. And right
up to that point it had been a common
kind of morning without anybody, least
of all me, suspecting any different. Sud-
denly the music broke off and, great
God, it began to happen.

1 don't remember anything except sit-
ting there ig. awestruck, for maybe
the better part of an hour Then I
apped the radio off and. just sat there
in that new kind of silence, not thinking
any particula his but carried off in
that kind of wonderful trance.

What brought me out of it finally was
tapping door. 1 said,
^ and it was Peggy Munson,
not saying a thing, just standing the
She looked like somebody had hit her on
the skull with a baseball bat. Г could tell
there was something awful wrong with
her.

Good Lord, Peggy." 1 said. "What's
the matter?” Her hands hung down and
her eyes kept staring at me with a kind
of concussed look. 1 got up and started
over toward her.
he d to speak in a queer voice.
Ir was something like, "Did you . . . no

s. what 2." Then she said, “I feel
sick, Mr. Huber. I'm going home:

I said, "Lie down. Peggy. Let me с:
Doc Thurman, Or maybe I'd be
you over to the hospital right away.

“No, no!" she said, “ГИ be all
Just let me go home. Mary's taking me i
her car." And she almost ran out to the

темаш

ei

si

Nice girl like Peggy, hom a good family.
After the other, it was almost too much.
to take in. The phone was ringing and I
went back iuto my office.

It was Lou ad she sounded almost
hysterical, even more th
does on the telephone
the news?” said.

v" sh

1 was having lunch at Lois Grave:
five of us girls—and
the faces around the t d of scary
to begin with, but when it began to
e through what this meant. you
ver siw five happier souls in your life.
d hugging cach other like
. Charlie R:

ing.’

Jm still List

“I came right home and I've been on
the phone ever since. I got a report from
June Sugden, who happened to be over
at the school. She said it was just impres-
sive how they all reacted. They under-

ла stood right away. They know, The whole

seventh grade stood up, just as solemn
and happy as can be, and you know
what they did? They sang. My Country
"Tis of Thee first and they cheered after-
ward. Buddy right there in the front
row. Seventh graders and they realized
right off what a lot of older folks are still
too dumb to realize. You know what,
Charlie Ray, it gives me hope. Just after
everything was looking so bad. Its God's
way of telling us. Oh, don't be so
tongue-tied, Don't you think it’s a mar-
vel? You come home right away and
we'll go over to the club for drinks. I just
have to hear what people are

Le me in 1 was hi i
say anything, but, with the big

smile on his face, he didn’t have to. We

shook hands silently, Then he said, “ГИ
sec you at the club. All of us are going
олега kind of victory celebration, you
might say.”

The streets were pretty well deserted,
d 1 wheeled the big Cadillac right
through town at a good dip and out to
the highway. No cop would be mean
enough to give me a ticket at а time like
this.

When I got to lane, I slowed
down—you never can tell about dogs or
kids there. I came up past the Weincrs?
place going about 20 and I siw Doc
Weiner out digging in his garden—i
crossed my mind to stop and ask him if
he'd heard the news.

They
we've made

our

rest neighbors, but
nt not to have much

с our пе
ро
to do with them. of course. As neighbor
we've never had anything to compl
—they keep to their side of the
nd we keep to ours. As Louise
po they ave rich Yankee Jews
and, you know, give them
But | had a sudden enriosity to speak to
Weiner and so E slowed up and stopped.

Then 1 noticed something mighty
funny about what he was doing. He was
digging furiously in one spot, spading
out big chunks of dirt like he had to
have а foxhole in the next five minutes.
He wasn't very wed to digging, but he
sure was putting his heart into this one.

Т opened the саг door ried to get
out, and called то him, “Hey. Doc, did
you hear the news?”

At that he looked up, and I think he
noticed me for the first time. І couldn't
believe my eyes. The man was crying.
He turned away quickly without so
much as a word, and walked stilf-legged
back toward his house.

Well Frau Weiner, whatever her
name is. doesn't look like an easy one to
get along with. That was my first
thought. Then I remembered that they
had a boy in the Army, and I wondered
if something had happened to him. Un-
likely—they don't see much action in the
artermaster Corps, where this kid un-
doubtedly was. Anyway, why worry, it

n

abo
grove

s or

üdnch... -

could be anythi
tional race. I cli
went on home.

=. They are an emo-

hed back in the car and.

The scene at the club was like New
Years Eve. I don't think the bar had
done so much business since the day
ame in. Everybody was sitting
around talking а mile а minute, lugh-

i h other on the back. I
waiter first (hing, literally
bbed him by the arms aud hauled
him over 10 table where the Simms,
Pete and Martha Mcintyre and the Whit-
laws were . They had just come
and hadn't been served yet.

"Listen, you bring us four of the big-
gest, coldest bottles of champagne you
can find.” I said to the waiter, We sat
down and everybody began to babble at

It was like they all couldn't quite
believe it. They knew ir was good, bur
they didn't know quite how good or
quite what to make of it, It was like one
of those things you have to get drunk
over before you Gin begin to make sense
of it. And it seemed to me that we'd all
got a litle drunk right when we were
first hit

The champagne came. I picked up a
bottle and when 1 popped the cork, th
were loud mock screams and wild |
from all over the room—then
clapping.

We all had а glass, but the men soon
turned to bourbon aud branch. We were
all old friends, lived alike and thought
alike, but now we seemed to have an
even closer bond than ever before. It
was turning into one of the warmest,
most hearifelt thanksgiving parties Гус
ever had the good. fortune 10 witness.

L think we were all on the way to
being stoned before they began to serve
dinner, Louise sang Happy Days Are
Here Again and her huir came down
over her face. Pete did an imitation that
everybody hugely enjoyed.

Just as we мае getting up, I mean
staggering up, to leave the bar and go in
10 the dining room, Len came back from

once.

the lounge where hed been checking the
TV progran
He pulled me aside and said. “Listen,

Charlic. The news isn't so. good.

1 said something like, “Waddya mean,
no good? Don't poop the party.”

"Em serious," he said. “Th
the guy.

In
said.

“No. I'm not kidding. They caught the
guy and Ле wasn't one of ours.”

“What was he, the

“The guy who fired the shots was a
Commie. It was on TV. Don't you sce
how that changes everyth
Don't you see, goddamn it?”

1t kind of spoiled that day for me.

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215

PLAYBOY

216

inal and too loud? ol h

forte, they incre:
мау there, spew
cality or taste. The philosophy:

ng noises without mi

‘Technique
p. The hum
se of throttled emotions. а
We must change, change bly handed-down
must throw over what learn only by listening, not from a u
book. You mimic it, and that's the reason

positive energ
ny соз. W
ame before, just because it came before.

THE new THING (continued from page 126)

and then goes to live in a neighborhood Energy
populated by other men with beards. — cred—dogm
Il the music is truly "free" why do the generalize that
ity of saxophone players use the
harsh sound? Why do so many of
mmers sound so much

» and surging. un identifies. Sun Ва

vers confine themselves tively on

Nothing tasteful n
between the heart and the Bob Pozar is a young drummer
ot even music. The world is v plays with Bi
iow and we must create music Composer who was

ysis can. hang y
ace is im trouble lx
ilure of in tal

Au Ly

“J think it's heart-warming to see а father

and son smoking pot together."

nd emotional purity are sa-
But it would be
| the new jazz is ur
bridied, untutored energy. Don Cherry's
trumpet is sweetly lyri
ke Sunny sings like the coloratura with whom he
and the ten members
5 Solar Arkestra improvise collec
nstruments such as spi
ic—crescendo. Starting bals, bells, wood blocks,
c ло infiniteforie and and elecuric celesta—quiet, almost
gious music. Ornette Coleman rema
ter of jazz abstraction.

al; Marion Brown

Dixon,

named. Bob is
ing with the mi

dial. No inhibitions. “Thing before it wa

ou and, like some others Н
sic. is conscious of its problems and lucid
ng about them.

uz is am audi

so many players sound alike. There are
avem who never get past the
g stage. This music is now
going through a period similar to the
time when a flood of imitators followed
ghi alter Bird and Был. Nobody can
tell what's wrong or right now, though,
because there are no criteria. Sooner or
later, someone will come along and set
them up. Either these criteria will be а
tribute to bebop, like bebop was to
swing— making it beautiful—or else they
will be a destructive, maybe the end
of jazz. Theres а lot of pure destruc
tion in it now, We are hewing more
anything cle, but there are
guys who, like Bill I

use everything good
cal music. folk n ша пуп
ke a free musi barriers.
шт ds actually much like
1, to the extent that it is largely
collective improvisation—a dialog. Swing
nd bebop were a si hes.
You are on your own playing the New
Thing. You must reach down ино your-
self and play your own song. The song
will change to fit your mood or that of

to

ihe people with whom you
ing. But it is always y
bolic melody. You

own
re the songw
is no longer a

meta-
пе
ble

orge Gershw
to lean on.

t Albert Ayler’s song
makes me forget that there are still trees
over the At
He is the artistic reflection
of the worst part of my life. Fire engine:

amed sidewalks; three packs a da
guns outside my bedroom w
p crowded subways; everybody
ng it—esperate and
nger and frustration of

ndow;

scared
speed-up. However, his total involve-

ment is cle:

10 see and frightening in
y. Не makes love to his tenor
saxophone, holding it high in the
moving his lips lasciviously around the
mouthpiece, producing spirited squeals
like the wo-backed animal in heat,

Albert Ayler is а major hero of the
new music. People speak ol him rev-
етеу. But he is poverty-stricken in the
world and lives largely by the generosity
of friends and admirers.

Dave Brubeck has heard Ayler and
ys: “L think time will tell us who is best
in this music. One frightening thing is
that people who hold t the avantgarde
will drop Ayler as soon as he’s accepted.
Some people require only that something
be new—it makes no difference to them
whether it’s good or bad. As soon as he
gets accepted, Ul
ported him will leave. His image will
change. The very thing considered
will someday no longer be radical. I
wonder if he will then choose to be ac-
cepted or radical. How people handle
success is the key to their surviva

“A lot of the new players seem to

first dique that sup-

Expensive

Our aim is not to manufacture particularly cheap cars. But to make particularly
good ones. Should you find a better one — buy it. But it will be more expensive.

M

For the joy of driving — BMW — The cars of the New Class

PLAYBOY

zig knowledge of roots,

nk that the world owes them some-
ng—instant acceptance, Гог example
‘They don't realize thar you have to
create your own breaks. Nobody will do
it for you. When we were first getting
ted т San Francisco, we played at
school that would have us—lrec
We'd get up carly in the morning,
bleary-eyed after working lare the night
before in a club, We felt it was impor-
ate our own audience for the

future.
“Nobody ever gets anything for noth-

ing in jazz. 1 couldnt get a record com-
pany to record me, so 1 formed my own
label, F: My wile and Г hardly ate
in a restaurant for three years because
all our money went into it. The younger
guys today don't seem to know how to
2 going. economically speaking.
cesary to subsidize jazz with an
. People should be more
aware of how to survive.

y autiful New Or
leans march Archie Shepp played as the
audience left after his concert at New
port 1? I think he should hav
played that first. It would have brought
more people to his side—they would
have listened to his music more
sympathy. You've got to siy hello the
right way, at the right time. You've got
to put your best foot forward, sense the
audience. The new players will have to
learn to do this or their music will not

with

survive, will not communicate to the
very intelligent. audience of today
Guitarist Charlie Byrd thinks, like

Brubeck, that the new jazz has some
thing of value. He says, “I'm no cham-
pion of the socalled New Thing. But
like what they say they are uying to do
very much. I'd like to be in on that my
self. The idea the
rhythmic and 1
appealing to me,

However, not all of the mainstreamers
agree.
nist and disc jockey Billy Taylor:
g the Fifties, I was house pianist at
nd for over two years. І played
with everybody. There were some guys
who could play and some who couldn't,
These days, anything is considered valu
able, regardless of content or musicality,
and this bugs ше It particularly bothers
me how little some of the avantgarde
guys know about music, Actually, though,
І liked Ornette's earliest work. To me
was his most interesting period

Trumpeter Art Farmer: “There is
‘no’ inside me about the New Thing
There are no а for judgment. The
supporters seem 10 accept. everybody,
and that’s no good.

Byard Lanca his carly 2
He plays abstract jazz on alto saxophone,
flute and bass clarinet. He believes in his
music but also in the necessity for a
n the importance of

is in

ister

an understanding of the responsibilities
of freedom. “I like ro play for students.
My band gives concerts at schools for
nothing, every chance we get. The best
part of these concerts is the discussion
period we always try to have afterward.
We want to explain our music to kids
who like rock ‘n’ roll or classical music.
We want to play for them and communi-
cate with them
On his neatly typed, mimcographed
résumé, Lancaster explains how he feels
about his music: “I believe that the new
music is about the incorporation of all
sounds; the es senses. Jazz
was limiting, but now we may go forth.
Ask yourself, Whose vibrations am I in
ith? Which wave lengths do 1

ed me? When, how
There has always been some-
nd there always will be
g developing. Avant garde must
a just
to what has already been established.
Byard Laneaste
of a jazz musician. He doesn’
vernacular, he gets up carly each morn-
ing, he isn't a junkie. His life style is par
of a general and conscious effort on the
part of younger jazz mu
their image. Jazz is no longer drin

tun

addition of new mater

conforms to no cliché

use the

icians to change
g

music, at home only in saloons, at wild

v

parties or in brothels. It is contempo
chamber music, more appropriate to
concert hall So they think. And they
want to establish а new tradition

Jazz has little history. no long tradition
like painting or classical music. Although
the jazz musician is royally starving in
the grand old tradition of the starving
artist, starving for his integrity. this sac-
rifice is not even recognized by the es-
tablishment. Rockefeller subsidizes poor
painters. After all, didn't the Medicis?
It's hip for a wealthy family to do that in
this country; they figure they might go
down in history as the patron of a future
Michelangelo. But no Medici or Rocke
feller ever was a patron to a jazz mu
sician. Besides, everybody knows that
jazz is only a branch of popular mus
Right? It doesn't need financial assist-
ance, because, . . . Well, those guys
could have a big hit and really score at.
any time, Right?

Wrong!

George Russell, for instance, who
pioneered the use of modes in jazz dur-
ng the Fifties, has never had
mode is а form of scale chat do
European music for 1100 years (approx!
ely 400 a.b. to 1500), strongly influ-
enced composers for another 100 years
and has since reappeared from time to
time in the work of composers, especially
n the 20th Century. The style of Miles
iv present group, and of his record-
ps over the past five years, is a good
mple of modal jazz George Russell
п Sweden—he could not make а

decent living in America. His experiences
with the establishment are enlightening.
“In 1953, 1 applied for a grant from the
Guggenheim Foundation for the purpose
of doing further research in the new
theoretical areas opened by “The Lydian
Concept of Tonal Organization.” After a
period of some months, the copies of the
books that I had submitted were returned
to me with a letter stating that my request
had been denied, but giving no reason
for the rejection,

1 think it is generally known now that
rds that appraise the merit of a r
quest for a fellowship in music are cla:
cally oriented and take a dim view of the
cultural value of any contribution com-
g from jazz. The attitude of the Fou
dation does not even permit jazz ло be
considered a рам of the field of music
that it recognize:

"Ar present, Г ат working on book
two of “The Lydian Concept of Tonal
Organization.” which deals with com-
positional principles and will contain
examples from Bach, Webern, Wagner,
Stockhausen and others. Г suppose that,
in my case, the authorities who judge
appli for the Guggenheim Foun-
dation didn't wish to accept the fact that
а discovery of the knowledge that links
traditional tonality to modern. chromati:
cism had come to light through
after being overlooked by theorists of
‘serio music for 300 years.” This lack
of official and public support has turned

bo

Shepp is sitting by ав ope
window in his loft on the Bowery. The
sound of the garbage trucks Moats
through. “Га like to see the people play-
ing the new jazz make the kind of
money commensurate with their art. И
America is not going to give it to us,
well have to fight for it

Pavel, seven years old. is one of Ar-
chie's three children, He has a sweet
smile and wears a round button sa
MEMBER—HEAI TEETH CLUB.

walks with his mother, who is wheeling
a baby carriage past the bums hanging
out near their door.

Inside, Archie sp quietly. He
sitting beside а bookcase containing such
volumes as The Selected. Works of Mao
Tse-Tung (four volumes), The Complete
Works of Montaigne, Naked Lunch,
Beruand Russell's Mysticism and Logic,
and Rachel Silent Spring
Records by J. J. Johnson, Art Tatum,
Sonny Rollins, Sunny Murray, Archie
Shepp and others from every school
piled up outside their jackets, appearing
well used.

“My life view is fundamentally opti-
mistic. It’s got to be or I mi
give up. I've put a lot of my life
music. These di
from my music, although it's pretty mar-
gi My contract with ABC P
mount, which allows me to make two

son's

are

ht as we

"I never would have guessed you were [rom an.
underdeveloped country, Miss Duval."

PLAYBOY

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records a year under my own rame, has
permitted me to survive. But 1 rarely
work clubs anymore. Jazz music isn't
right in clubs now—the form has be-
come too sophisticated. I like the inti
тасу of clubs, though, and I wish there
were some way to combine that with the
more formal qualities of a concert hall—
cabaret theater, maybe. Jazz bas lent
other art forms its informality, the idea
of the audience relaxing while it goes
through a cathartic experience. That
should be maintained to some degree.

But attitudes are going to have to
change. The one thing you must exclude
is that this music is unsilable. It's possi-
Ше to sell anything in this country. In
this area of music, though, there is a lack
‘of money spent on promotion. That’s the
only way to succeed at these things—we
know that, But jazz musicians are in-
volved with the very lowest the most
inarticulate, the least intelligent people
on the enuepreneurial level. They know
thing about the thing they
th. They are concerned, most of
them, purely with the commercial and
financial standpoint, unlike in the theater

or in painting, where you do have some
knowledgeable people. At least they
about what they're investing in. You'd
be hard pressed to find a man risking his
money with dassical music who didn't
know something about it, didn't cue
something about it.”

So, abstraction isn't welcome in jazz
dubs, The customer cither becomes to-
tally absorbed with the music or runs
away from it in terror of its undisciplined
strength. Either way, he dosn't drink.
The concert is a more appropriate
However, even longestablished
symphony orchesuas and classical cham-
ber ensembles find it impossible to sur

vive without subsidics or endowments.
Despite the fact that he's involved in the
only native American art, only one jazz
musician— Ornette Coleman—hay ever
been given even a token grant to help
him perform his music here. The Ford

Foundation disgorges millions into the
colles of symphony orchestras so that

European music in a tradition th
Henry Pleasants says in his book The
Agony of Modein Music, is now “a dead

iment exports. jazz

as a highly productive sales aid in a
campaign to sell the world our way of
life. At home, however, the jazz musician
eglected, unwanted and hungry

The New Thing is not here by acci-
dent or in passing. It reflects all too well
the moral infections polluting the Ameri-
can fiber. It reflects also our healthy
energy. It reflects the confusion and un-
certainty of our times. It is both our
strength and our weakness, Whatever its
faults, it is honest—and it is our own.
We should encoura

ist

ssi

HOT AND SPRITE

Heat Southern Comfort, соНее liqueur
and bitters until hot. but not boiling.
Pour into 10-07. mug. Pour boiling water
into a second mug. Set mug with liquors
ablaze, Pour into mug with boiling water
and then at once pour liquids back and
forth between 2 mugs until me blaz
ing stream subsides. Divide mixture be
tween the 2 mugs Twist a piece of
lemon peel and a piece of orange peel
above cach drink and drop into mug

(continued from page 100)

RUM AND RHINE PUNCH BOWL

(27 punch cups)

4 lemons

3 boules Rhine wi
1 fifth golden rur
3 cups orange. juice

4 од. orgeat or orzata (almond умар)
4 oz. maraschino liqueur
6 slices orange, cach cut in half

8 ољ. 15l-proof rum

Cut. fresh lemons in half. and squeeze
to make 114 cups lemon juice. Put the
8 empty lemon shells (halves) into boil
ing water and boil 2 minutes. Remove
shells from water. As soon as they аге
cool enough to handle, press shells gen-
uy from end to force the peel inside out
making 8 cups. Handle gently and do
not crack. peel. Set aside. In а large pot
or saucepan holding at least 5 quarts
heat wine, golden rum. orange juice, lem
on juice. orgeat and maraschino liqueur
until hot but not boiling. Heating may
be done in two batches il necessary. Pour
into silver or pottery punch bowl. Add
orange slices. Float lemon cups on
punch. Fill cach lemon cup with 1 oz
151- proof rum, Set ablaze. When flames
subside, stir to mix contents of lemon
cups with other liquids. Pour into punch

cups.

BLACKBERRY DEMITASSE
(Serves Jour)

4 ozs. blackberry liqueur or blackberry-
flavored brandy
4 tablespoons blackberry. jelly
ол. cognac
ок. wate
2 teaspoons lemon juice
1 thin slice lemon cut into 4 segments
Heat blackberry liqueur, jelly, cognac,
water and lemon juice until hot but not
boiling. Stir well until jelly is completely
dissolved. Pour into 4 demitasse cups.
Add a lemon segment to cach cup.

5

LIME DEMITASSE
(Serves four)

4 ozs. lime liqueur (Cayo Verde)

2 ozs. light rum

apple juice

2 ozs рің
2 teaspoons fresh lime juice
2 ozs. water

4 pieces lime peel

Heat

lime liqueur, rum, pineapple

“Say, how old are you, anyway?!

juice, lime juice and warer until hot but
not boiling. Pour into 4 demitase cups
Twist a piece of lime peel above each
drink and drop into cup

AVRICOT TOM AND JERRY
(Serves four)

D
2 tablespoons sugar

4 ozs. apricot-flavored brandy
4 ozs. blended whiskey

4

milk

у cream
Freshly grated. nutmeg

Beat egg yolks until light. Add a pinch
llspice, «
dling well. Beat egg whites in a sepa
e bowl until stiff, Slowly fold yolks
g mixture among 4

»namon and sugar.

jerry mugs. Heat brandy, whiskey. milk

and cream until bubbles
edge of saucepan. Do not boil. Pour into
mugs slowly, stirring as liquid mixture is
added. Sprinkle with nutmeg

ppear around

CREME DE CACAO NIGI
(Serves four)

14 cup heavy sweet cream

2 teaspoons sug

1 tablespoon cri

10 ozs. milk

1 ол. ciéme de cacao.

3 ол. California brandy

3 tablespoons sugar

Coco:

Beat cream in small narrow bowl until
stiff. Stir У teaspoons sugar and 1 table-
spoon creme de cacao into whipped
cream. Store in refrigerator until needed.
Heat milk, 4 ozs, créme de cacao, brandy
and 5 tablespoons sugar until hot but
not boiling. Pour hot mixture into 4
footed whiskey sour glasses or small gob-
lets. Spoon whipped cream on top. Put a
small quantity of cocoa into a small fine

ne de cacao

221

PLAYBOY

222

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BUTTERED BOURBON AND GINGER
(Serves four)

6 од. bourbon

4 ozs. gingerflavored brandy

4 teaspoons sweet butter

4 cinnamon sticks

24 ozs. apple juice

Freshly grated. nutmeg

Into cach of 4 10-02. mugs or silver
tankards, pour 114 ozs. bourbon and 1
oz brandy. Add а teaspoon sweet lutter
and 1 cinnamon stick to cach mug. Heat
apple juice to boiling point but do not
boil. Divide hot apple juice among 4
mugs. Stir until butter M ette Sprinkle
with nutmeg

DANISH TODDY
(Serves four)

ng or domestic cherry

8 ors. cherry heeri

aquavit
2 од. kummel
20 ors. (215 cups) а:
whole doves
whole allspice

1 cinnamon sticks

1 slices orange

Divide doves, allspice, cinnamon
sticks and orange slices among 4 10-07.
mugs. Heat cherry heering, aquavit.
kummel and cranberry juice until hot
but nor boiling. Pour into mugs.

nberry juice

CAFÉ DIABLE.
(Eight demitasse cups)

ozs. cognac
од. Grand Marnier
ozs. sambuca (anise-flavored Нат
liqueur)
214 cups extrastrong fresh black соНее
2 cinnamon sticks, broken in half
whole allspice

1 whole cardamom

from shell)

Grated rind of 1⁄4 orange

2 tablespoons sugar

In a deep chafing dish or café bralot
sel, stirring constantly, simmer Y cup
collec, cinnamon sticks, allspice, car
mom seeds and orange rind 2 or 3 mir
utes to release spice flavors. Add cognac,
sand Mamier and sambuca. Whe
liquors are hot, set ablaze, Stir with a
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When café diable is hot, ladle or spoon it
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PSYCHEDELIC ORUGS

impoverished by the urgent and infantile
drive toward orgasm that is so prevalent
in Western societies.

However. the orgasm, too, is “psy:
chedelic’—that is. magnified or intensi-
fied. Time distortion cin greatly prolong
it, and there із an awareness of the
whole process from beginning to end. i
weater detail. Men very often report
tension, conca

aene awareness of и smodic pro.
pulsion of the ejaculate. which is plainly
and very pleasuribly felt as it travels
along the urethra and is ejected into the

vagina of the pariner. At the same time.
there is a greatly inte

the genital org
texture, temperature and moveme
Some women for the fist time become
keenly aware of the pulsatio
male organ as climax. hegins—
ejaculate as they receive it.

Orgasm is often experienced on two
levels. It is the most intensely erotic as
pect of the act. as consciousuess seems
totally absorbed in the orgasmic sensi-
ions. And vet there seems also to be
nother consciousness, which does mot
dilute but rather reinforces the genital
consciousness. This is the sense of attain-
the beautiful climax of a beautiful
experience.

Remarkably, in view of the richness of
the experience, throughout these unions
there is an undiminished and sometimes
1 awareness of the
ner. One does not lapse into a selfish and.
exclusive preoccupation with the compo-
nents of ecstasy.

In almost 25 percent of the sexual acts
I recorded. one or both partners did not
reach orgasm. This was nothing new for
most of the women: but for some of the

it was а novel experience. Тур
у, however, the absence of orgasm was
hot a disappointment. The act itself was

of the partner

whether thei
100, сай be

res

маз an orgasm?
valuable experience
for those women who seldom climax in
their ordinary lovemaking. Jt teaches
them that even without orgasm, sex сап
provide remarkable fulfillment.

Under die influence of psychedelics,
the anorgasmic и experience
great joy in intercourse and derive gra
hom g jus as much
joy on her partner. И this lesson were
learned and app! all intercourse,
many people— both male and fc
would be better off for it. It
noting that at least some have le
through psychedelic expe

The foregoing description was of a
mal drugstate sexual experience.
Slightly more than half of my hetero-
sexual subjects reported extraordinary.
ions resembling or approaching thi:

woman c

fication conferri

d то

ale—

is worth
ned it

(continued from page 148)
at least once. The frequency probably
would have been lower with younger or
with less intelligent individuals, because
richness of personality is а key factor in
determining the richness of the psv-
chedelic experience. An earned. capacity
for appreciating the complex and pro-
found must already exist.

My intention here is not to promote
the haphazard and now illeg

al use of
psychedelic drugs—with or without sex-
ual intercourse. But it is only realistic to
admit that many thousands of people are
aking psychociemicily without screen-
ng or adequate guidance. Of these. а
good many are also experimenting with
sex. It seems best that they be informed
about possibilities beyond "kicks" and

ivia, so that they cin explore the many
ble aspects of an experience t
might otherwise be wasted.

My research indicates that homosexu-
als in. psychedelic states enjoy profound.
ecstatic sexual experiences with less fre
quency—and les intensitv—than their.
heterosexual counterparts, Female homo-

sexuals seem more likely to have pro-
found sexual experiences than male
homosexuals. The very practical matter
of the positioning of the bodies appears
to provide а partial explanation, The
ecstatic experience seems more likely to
occur when one faces the partner while
the act is being performed. Social atti-
tudes toward homosexuality, as well as
the homosexual's typical guilt and low
self-esteem, may also be deterrents, In the
drug stare, homosexual acts are usually
spedfically erotic and less invested. with
other positive meaning. However, the
physical pleasure of genital oral and
ns is enhanced, just as with

anal sensatie

heterosexuals.
Claims that LSDstate sexual inter
course сап “cure” homosexuality and

frizidity may lead 10 enormous disap-
pointment—and possibly serious harm—
10 psychosexually disturbed people, who
have enough problems already. Under
the influence of psychedelics, a failure
to function as promised might cause a
powerful reinforcement of existing dis-
orders. making any cure more difficult.

Nor is it invariably, or even frequently,

"I can't even fool some of the
people some of the time p

223

PLAYBOY

“Hand over all your barbiturates and narcotics—and
anything you got for a stubborn case oj dandruff.”

true that, in the words of ‘Timothy
Leary, а "neurological and cellular fideli-
ty” develops between two persons who
have had sexual relations during an LSD
experience. The notion is poetic but
inaccurate. Even the most beautiful drug-
state sexual unions do not always guar-
antee change in a previous relationship.
Learys devotees sometimes tell me, with
what sometimes seems more hope than
conviction, that Leary speaks a "private

language,” the better 10 convey his
ineffable truths, However, the fact is
that he is taken literally by a great many

1. for d
spared, loving LSD
sesion, а woman will bly have
il hundred orgasms.” 1 have yet to
hear from anyone eke a single instance
remotely appro: ad I feel
rather confident that if it had been hap
pening with any frequency, the world
would not have had to wait for Leary to
announce it.

While LSD can hardly be considered
а panacea for sexual disorders. it does
hold promise ol becoming an extremely
valuable tool in treating these and many
other problems. And it will become even
more valuable when therapists мор
regarding it as just an adjunct to their
old procedures and develop. psychedelic
s permitting them 10 make full

people. He h
n a carefully p

ine

seve:

ting this:

the

use of

u wealth of ph

nonien:

literature оп psychedclics in-
dreds of reports of successful
h the old proce-

homosex

ament, even w
dures, for sudh distur
майу, frigidity, impotence, fetishism and
trunsvestism, one of the most
difficult 1o treat of all sexual deviations.
Good. prog

псе a

even

ess in these arcas has been

made in England, and it is certainly
unfortunate that psychotherapists in this
country are legally unable to work exten-

sively with psychedelics
Some homosexuals,
punt of their Том selbesteem, have a dis-
vied body image. They think they are
ugly or deformed when they are
ve that they have an abnormally
small penis—when they actually have
ormal one. In LSD sessions I recorded.

for instance, as

iot. and

may be

a

the body image of homosexuals sometimes
became normalized, heightening sell-
esteem and producing definite wends

ization. Here, homo-
med based mainly on values
past traumatic expe-
ice. In any ease, heterosexualization
could occur without any trauma being
lt with. However, when there was no
subsequent therapy. the subjects’ homo-
sexuality returned within a few months
after their LSD sessions were over.

Some men with potency problems
led in their LSD sessions that their

toward het
sexuality se

sexi

dee

sexual organs were not too small and
afterward their potency improved, some-
times permanently. A frigid woman dis
covered that an “inner voice" had been
calling her a “fake” and an “unworthy
penon.” The voice ordinarily talked to
her “on some level below consciousness"
but in her LSD sesion. she heard
clearly and she was able to терше it just
as clearly. After freeing herself from this
voice. she felt she no longer had то pun
sh herself by denying herself sexual
plezsure. Her frigidity soon
come—and had not reappeared almost

was over

four years later.

The therapeutic value of LSD is by no
means limited to sexual disorders. Aleo-
holies intractable to all previous thera-
pies have quit drinking or become much
improved alter treatment. with psyche-
delics. Cure and improvement rates range
where from 25 to 75 percent and
some of the studies have been very well
controlled. In other areas, previously
withdrawn, schizophrenic children im
proved when psychedelics were adminis-
tered. Given the questionable value of
some approved. psychotherapies. it is a
wonder that public outcry has not de
manded increased. use оГ psychedelics in

the areas where their promise seems so
great.
Possibly such a demand is now dis

couraged by recent evidence linking the
use of LSD to chromosomal abnor
tics. This charge must be considered i

proper perspective, The fact is that no

one, at » time, can say how

important any 1
у be. We do.

damage m (ow that rathe

similar chromosomal changes ате pro-
duced by many products mow widely
used—caffeine (in coffee and cola drink
alcohol, antibiotics and a wide ran
drugs about which по such furor h
been raised. Live measles vac

quickly produces chromosomal
breaks. We know, too, that LSD has now
been in use for a quarter of a century,
pparently without causing camcer 9

deformed i jn specters
with which chromosomal damage of this
nd seems to confront us. Moreover, thi

U.S. Government continucs to sponsor
a few LSD therapy projects, so Govern
ment scientists must not feel the risks are

пи the two

ion must be

too great. The sensible posi
to weigh LSD's value against possible,
but not mers. The
evidence is sullicient to warrant withhold-
ing LSD from pregnant females.

This may also be the place to mention
briefly a new psychedelic substance, STP.
STP is yet more potent than LSD, pro-
ducing effects that may continue for ¢
It also produces far more |
more frequent aftereffects.
analysis of STP i
mescaline and the amphetamines, but a
more refined analysis is needed.

Cases brought to my attention

demonstrated. d.

licates.

nclude

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aftereffects:

ceptual changes and recur-

example, weeks Later, felt his head alter-
ely growing to the size of a watermelon
ig 10 the dimensions of a р

tions will be permanent, No
talked with appears to have had sex
course under STP

PLAYBOY

For these persons.
the experience was much too
‘either does it seem likely
s point that STP will have much

overwhelming. ?

With STP, we may be w
ppy result of too many unscientific
medical pronouncements combined with
s about psychedel
ians have great-

itnessing the

У Scare stori
drugs. A number of phy
ly exaggerated the dangers of the old
psychedclies—;
Now, with a drug tl
more dangerous,

of maiju
is to be much

forged a credibility gap that prevents
many peopke—especally those in the
psychedelic underground from. taking
their claims seriously, Warnings about
STP from physicians have been much
less effective than those voiced by the
underground press, The medical. profes-
sion should consider this lesson and per-
haps profit by it, More psvchedelics will
be created and some will almost certainly
be very dangerous, Disaster could ensue
unless scientists manage to regain the
confidence of the public.

In the case of LSD and the “milder”
psychedelic. the chances of unfortunate.
results can be reduced by following a few
basic precautions. Since psychedelic ex-
perience сап magnify tendencies in one-
self. in others and in the surroundings,
pschedelis should not be taken in an
environment that will threaten or dis-
please. When this precaution is ignored,
there can be bad trips—whether or not
intercourse is a part of che experience.

Sexologists always urge а pleasant s
ting for intercourse—as well as a partner

io where do you spend your afternoons, eh,
Julia? It has just come to my attention that
women gol the vole fifty years ago.”

one respects and relates to positively.

This becomes even more important

a the couple has taken. psychedelics.
With LSD, а drab. diny room that
might ordinarily be ignored can become

a filthy. sordid pesthole. and this percep-
tion of the room can saturate the total
experience. Similarly, sex with a person
about whom onc has negative feelings
can become. with LSD. ce of
extreme revulsion—with guilt, depres
sion or anxiety as a result. In two cases I
now of, males took LSD. picked up
prostitutes and had very bad trips Both
men. of course, had basically negative
feelings about prostitutes and these
emerged in a much form
during dhe sexual act.

Both men were initially aroused, bur
soon began to feel degraded and the
powerfully repelled by the situation, One
felt that the woman's body was coated
with “a ditty, poisonous substance” that
rubbed off on his own body and infected
He managed to get her out of the
room, was near panic for a long while
nd. after the effects of the LSD had
worn off. he went into a depression that
lasted for some days. In fact, his percep-

tion may not have been completely im-

aginative, since he contacted. gonorrhea
as a result of this contact. In the other
case, the male found the girl becoming
more and more ugly as he looked at he
"Fhen the room became similarly ugly
He became nauseous, then was over-
whelmed by feelings of guilt about his
prejudice.” That the man was white
and Jewish and the woman Negro made
the situation especially complicated and
charged with emotion.

With LSD, some people may become
aware of what they feel are opposite-sex
components of their personality. Thi
they interpret as evidence that they are
homosex h effeminate
ndencies. who strongly suppress their
cffeminacy. have felt they were und.
ing a physical sex change. Their bodics
seemed to have female breasts and geni-
talia. Understandably, this kind of expe-
rience, too. lead to
depresion. And alterw:
may believe that В
revealed.

One should never regard drugstatc
experiences as necessarily more revea
than other types of experience. With
LSD-type drugs, what might be a р
ing and easily dismissed idea can be
«ome a prolonged and ital
event, But this doesn't mean that it пес
has greater validi the

aal. Some males wi

can anxie!
the

rue personal

s-

id

than

are best

ity and behavior.
ive perceptions or emo-
nd if they last long enough
it is best not to analyze

п something

tions occur,
to Бе distressin
them. Try to get interested

else. Psychedelic veterans have learned
to do this. Similarly, it's often easy to
divert the partner, should his or her dis-
tress become obvious. This might be
done with an especially interesting or
amusing remark or by telling the other
person how much pleasure he or she is
giving. If, as ought to be the case, the
two people are lovers or good friends,
then it is Jikely that they will know how
to help each other, should the need arise.
For this reason, too, psychedelic experi-
ence is not a desirable arena for casual
sex between comparative strangers
Spontaneous changes in visual percep-
tion may also provide very pleasant ex-
periences. One man, for example, related
that his girlfriend changed as he held her
in his arms, first to Helen of Troy, then
to Cleopatra, then in successive meta
morphoses to yet other women, so that
hc quickly "made love to all the famous
beauties of history.” After
girl resumed her own appea
though her beauty was greatly height-
ened, and he "thought her no less lovely
than any of the others and appreciated
very much her part in providing such a
great experience.
There are a host of similar erotic phe-
nomena that sometimes occur in the psy-
chedelic state. These might seem trivial
and self-indulgent compared with the
transcendence of the ecstatic union, but
they are interesting, nonetheless. For
many people, for instance, it is possible
to “genitalize” almost any part of the
body, by consciously wansferring the re-
spouse capacity from the
to some other part, such as a finger.
Rubbing one's finger against a fabric can
provide sensations akin to those experi-
enced in masturbation. A couple might
even genitalize the lips and mouth, so
that kissing affords sensations very much
like those usually experienced in mouth-
genital contacts or in sexual intercourse.
One man, who had taken a large dose
of LSD (about 500 micrograms), found
himself to obtain an tion,
despite much assistance from his partner.
Abandoning the effort, they lay side by
side. Suddenly, he became aware of his
entire body as “one great, erect penis.
“The world,” he said, “was my vagina
and I had a sense of moving in and out
of it, with intense sexual sensations.”
few research subjects have reported
similar erotic sensations from listening to
music. One man reported “the sexualiza-
tion of my entire body as I listened to
Beethoven's Pastoral Symphony. The
music washed over every inch of my
body, giving sexual sensations like those
of а very intense orgasm. The pleasure
became so intense as to be unendurable.
I had to shut off the phonograph. I won-
dered at every instant И 1 would not
have а real ejaculation." In a subsequent
LSD experience, he responded to the

nable

sis

same recording in the same way. No other
music produced the phenomenon, and
he never learned why the Pastoral
should have such an effect. With another
subject, any symphonic music produced
strong sexual sensations.

When males see vivid images or
sions, they almost always include beauti-
ful nudes. with Balinese dancing girls
and other Orientals appearing frequently.
Drugstate visions in America are shot
through with this predileaion for the
cural and religious im-
nudes. But just
women are les interested than men
art, so do they have less cr
imagery.

The aftereffects of drugstate sex can
be of very great value, though often the
results don't last. As an immediate after
math of a good sexual experience under
LSD, some couples report an overall

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improvement in their relationship—and
a specific improvement in their sex life.
Frequently, а portion of the drug-state
perception of the woman's greatly height-
ened beauty carries over, so that she
continues to appear more attractive.
Sometimes, with psychedclics, inhibitions

fall away, allowing people to engage
in sexual practices that are normal
and that had bcen desired, but which

inhibition prevented. Extensive caressing
of the genitals and mouth-genital stimu-
lation are frequent examples. Breaking
through such blocks can be permanent.
Especially among married couples, who
ly ceased 10 attract cach other
| there can be а reactivation of
old desires and emotions. Most of these
beneficial aftereffects are lost in days,
weeks or montlis, but they can be retained
—or possibly reactivated by another LSD
session—if they are regarded as important
cnough to be worth preserving.
Because ecstatic union is so rich

experience and may have very positive
effects on a

lationship, it is obviously
desirable that it occur and be repeated.
This is possible without psychedclics,
but the necessary changes in conscious.
ness occur more readily when they have
fist’ been experienced in LSD-type
states. After LSD, memories and path-
ways in the nervous system have been
strongly established and can be explored
again more easily.

To take some terminology from the
theologians, we have been busy for a
long while "demythologizing" sexual in-
tercoursc—divesting it of a sense of sin
and a necessary connection with pro-
creation. But a totally demythologized
sex can be mechanical, vapid and banal
if it remains without larger significance.
Ecstatic sexual experience may be the
new and valuable "remythologizing"
agent. With and without psychedeli,
drugs, we may be able to invest the ses
ual union with new beauty and пи

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228

COST OF BEING A CONGRESSMAN

fame in other activities—cspecially show
business and sports. Already we have
elected several such men to high office.

Some people are inclined to pass off the
election of actors George Murphy (to the
United States Senate) and Ronald Rea-
gan (to the California governorship) as
aberrations of a zany state that has pro-
duced both Disneyland and Gold Diggers
of 1933. | don't think the phenomenon
can be dismissed that easily. This is surely
the wave of the future in an inaeasingly
large and mobile electorate.

Other examples come to mind, Except
for the Goldwater debacle, Oklahoma
might well have sent football coach Bud
Wilkinson to the Senate. And except for
a bathroom accident, Ohio might have
done the same for astronaut John Glenn.
forn
mpic decathlon champion,
i jority in his first try
t people voted for
he told a
reporte, it what did help was that
people knew my name. Look what other
candidates spend just to ger their names
publicized. The two Olympic gold med-
als were the most important contribu-
tions to my campaign. fund."

I don't contend that we must elect
only lawyers or those with prior political

nce to high office. but as long as
millions to get name iden-
ufication, I'm afraid there will be a tend-
псу to pass over able but lesser-known
candidates who offer nothing but a
city for effective public service. The
famous names of show business and
sports will get the nod.

Although neither side
any race—escalation is the order of the
1 would be happy, for example, to
imit my spending in the 1968 campai,
to 510,000. I would сусп stay at this
figure and let my challenger spend
$15,000, if I knew we were both fighily
limited to these amounts. He might be
ling. too, but. it works out tha
way. Things quickly get out of hand.

My advisors will call me in Washing-
ton: “You'd better adjourn and get out
here. Your opponent is campaigning like
crazy." They tell me he has put up 60
billboards, each averaging about $80 to
$100 per month. They insist we get bill-
boards, 100, and $5000 is gone. They tell
me he has contracted for $6000 worth of
television time and $3000 in radio spots.
We buy T id radio time. Taking the

pitiative, we run two full-page newspa-
per ads in Tucson (at $1200 each) and in
ler outoftown dailies (about
ich). He answers. I learn of the
opposition's direct-mail campaign to reach
r (up to 518,000 for a single
Do we meet this? Probably—if
As the election. nears, my орро-

won with a
last year.

wants it—in

day

vel

(continued from page 106)

two more full-page ads and ten extra tele-
vision spots, We think we're ahead, but
we can't be sure. Another 53000 down
the drain.

"Thus it ever goes. Few candidates с
ke a budget and stick to it. Each can
didate’s budget is made by his opponent,
and by the fears of what might be
coming next. In most of the 434 other
Congressional districts, the story will be
repeated. Candidates need money; in
most cases, they don't have it. It must
come from friends. relatives, supporters
and the party faithful. And by virtue of
this sick and dangerous system, much of it
inevitably will come from special-interest
groups with an ax to grind.

An ax to grind, ves—and yet I sup-
pose I would not be giving you a com-
plete or a Гай picune if I left it at
that. Even special-interest groups are
part of our American system. The Соп-
antecs the people the right.
г Government, and this
belong only to Aunt
M Spokane or to the lonely pen-
sioner in Arizona. It belongs to labor
unions, the American Medical Associ
tion, the American Beekeeping Federa-
tion, the Sierra Club and thousands of
other organizations composed of citizens
directly affected by the taxes the
ment levies, the money it spends, the laws
it passes or defeats. As government grows,
so do the stakes fluencing public
policy; how and where the Federal Gov-
ernment spends more than 100 billion
dollars this year cam mean jobs and
prosperity—or unemployment and de-
pression—for whole communities and
occupational groups.

It's the honorable lobbyists job to
influence, by legal mi the decisions
ol the Government. And it’s a lot easier
to have favorable decisions made for
your group lates are elected who
believe in yo lative program. The
problem is with the candidate who—
perhaps against his better judgment but
out of financial pressure—wakes up on
election morning in bed with one of
these specialinterest. groups.

But back to our hypothetical cam-
paign. Suppose you're the lucky winner.
en more luckily, you find that your
пращи donations equaled your ex-
penditures. You assume you are going
to Washington with that fat $30,000 sal-
ary and all those huge expense accounts
the press likes t write about. You
money troubles—you think—are over.

This is a cruel joke. Your troubles have
just begun. You're not joining the jet set
s more like the debt set. Now, don’t
get me wrong. I’m proud to be in Com
gress in these troubled times, I knew the
alary when I ran and I have managed to
get by reasonably well. Most of my fellow.
citizens earn far less. It's kind of laugh-
able to “poormouth” with a $30,000

doesn't

right

y. and I'm not asking for sympathy.
But 1 do ask for understanding.

What does it cost to be a Congress-
п? In the first place, you find chat
your $30,000 salary doesn’t go as far as
you thought it would. With two homes
to maintain, more clothes to buy and
higher prices than you paid back home,
ly the equivalent, in
standard-of-living terms, of about 520,000
in Topeka, Tulsa or Tucson. As for
those fat allowances you read about, you
suddenly realize they cover only such
things as electric typewriters, dictat-
ing machines, stamps, stationery. long
псе calls and staff salaries. You
never even get to feel the money, and yer
people back home imagine you're rolling
m it.

These allowances are regular operat-
ing costs, which а third vice-president of
а dogfood company would take for
granted. None of them puts any money
in your pocket or any food on your table.
Yet at least onc. newspaper chain regu-
larly “exposes” the fact that published
laws provide Congressmen with these
"bonus" gratuities from an unknowing
and haples publi

A Congressman has three kinds of ex-
penses. Like every other citizen, he has
y for food, clothing, the education
children, life insurance, transporta-
tion and all the rest. Also, in common
with all political candidates, he has cam-
paign expenses. And unlike ordinary ci
zens, and unlike losing candidates, he
has a whole range of semiofhcial ех
penses. He has these only because he is
a public official and, contrary to popular
belief, almost none of them are paid by
the taxpayers.

Let's look at some of these semiofhcial
expenses, Every month, certain things
are expected and demanded of you if
you are to represent the people of you
district adequately and. establish a record
you can be proud of. They come from
your pocketbook and they add up to
$10,000 or $15,000 every year

Trips home. Until three months ago,
1 was entitled to five Government-paid
round trips to Arizona cach year, but
my constituents expected to sec me а lot
more often than that. Thus, to do my
job adequately, 1 had to pay out about
$2000 а] air fare. U ndi
a new law, able to е one
Governmentpaid trip for each month
Congress is in session, but ГИ continue
own car-rental bills, hotel and
nL expenses on those trips. 1
estimate my trips home will still cost me
about $1000 a year.

Local office. In the Tucson Federal
Building, as a service to my constituents,
1 maintain a two-room office. It gives me
a base of operations when I'm in Arizona
and it provides the people I represent
with ready access to their Congressman.
1 get the rooms and a part-time staff
courtesy of Unde Sam; but part of the

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230

phone expense, answering service,
equipment and supplies аге оп me
Another 51500 a year down the drain.
Public information. Every month or
so, I try to write and publish am in-
formational newsletter. It goes to 22,000
people who have asked to be on my
mailing list. The exchange of views that
it prompts enables me to do a better job

While Uncle s the postage, I
pay the print $250 per issue.
Fach year, I send a questionnaire to
every one of the 175,000 addresses i

for the

my district
printing. Also the compt
tion. Debit M.K.U, $3000. Still anoth

ports to stations in Arizona. Congress
men get a cheap price from the "plush"
Houte record but even so,
the bills run another $2500 per year.
Miscellaneous. expenses. On top of
these items, a Senator or a Congressman
has constituents to ent ithin-the-
state travel to be paid for, official dinners
to attend and a duty to contribute. to
most of the organized (and some of the
most unorganized) charities you've ever
heard of. More money gon
All these things are semiofficial, be-
cause you don't legally have to do any of
them. And let's face the [act that if they
е done right, they may help you get re-
elected; they have a political aspect, too.
Remember the famous 518,000 Nixon
Fund of 1952? ‘These are the things it
was established to cover. I frankly never
e understood all the fuss about the

Richard Nixon. Each of them could have
given Nixon more than th па prob:
bly did—for his regular camp е
penses. Ат that time, а Senator made
$15,000 а year; and out of his salary, he
was expected to do the kinds of things 1
have listed above. Although such funds
are now out of style, the expenditures
they were intended t0 cover are still with
us, And they've escalated, too.

If you are the winner in your race and
you're lucky. you may have a modest
surplus of campaign funds for these pur-
poses, Wealthy ancestors and the Jaws of
inheritance can also turn the trick. If you
have neither of these, you may have to
go into your salary and savings—and

perhaps resort to one of the quaint rites
and ceremonies that have evolved to
meet the financial needs of our poli

system.

Оп his way 10 j
ber Willie Sutton. w:
er why he robbed b Because th:
where the money is" he
Where is the money for all the politi
campaigns in this country—and for all of
ihe semiolficial expenses I have talked
about? Because of the inflated costs of

the notorious rob-
ked by а report-

ks.

апу

npaigning and serving
an elaborate system of rai
grown up.

Heading the list of these rites is the
testimonial. dir From John Е. Kei
nedy to Bary Goldwater, nearly every
political candidate in modern times (in
cluding this writer, on a single occasion)
has used this device. Its time-honored
features include a famous speaker to
draw а crowd, bunting and. partis ora-
tory, rubber chicken or drab roast Бес
nd а price tag of $25 to $500 per pl
It’s a dangerous diet in more ways than
one; but given the present state of

Mairs, it’s а proper. legitimate and usu-
ally effective fund-raising device—if the
proceeds are used (as 1 have used them)
strictly for campaign or semiofficial ex-
penses. Former Senator Paul Douglas,
one of the most honest and frugal men
ever to serve in Congress, has called
kind of testimonial the "most effective
nd decent device that has yet been de
veloped.” But the testimonial dinner is a
deplorable device if used (as I understand
Senator Dodd has acknowledged doing)
to raise money lor a new house,
car. wedding ог family vacation.
nother variation of this

1 public office,
sing money has

ais

suit,

ington by the Democratic
can national committees.
usually $100 10 59
5000 busi
upper-level burca
ful crowd the hall to see, hear and touch
the party greats. A successful. night will
bring in 55000000, or maybe two or
three times that.

There are other popular rituals. For
example, there are the Presidents. Club
(for Democrats) and the Booster’s Club
(for Republicans). А 51000 to 510,000
donation will get you an autographed
picture of Johnson or Eisenhower and
perhaps an invitation to the White
House or Gettysburg, 1 think the Ameri
сап people ought to be outraged at a
system that requires our Presidents, ex-
Presidents and Presidential candidates to

md Republi-
‘Tickets are

resort to such demeaning devices.
Yet another popular ritual is the W
ington cocktail party. A fund-raising
event in one's home is at least
aimed at local money. But the $25-
10-5100 Washington cocktail party levels

its guns at the Capitol Hill lobbyists, and
its always “R. 5. V. P." As Гле noted, the
invitees are mostly legitimate represent
tives of wade associations, unions and
business groups. They have constituent
100, and their constituents expect them
10 know the lawmakers and have thei

ar. The system traps them just as much
as it does the politician, for failure to at-
tend а function for the chairman of an
important committee may not go unno-
ticed. Some of these trade representatives

receive up to 100 such invi

Then there is the local finance com-
miuee. The candidate and his finance
chairman compile a list of a few hundred

local businessmen, friends and others
who might contribute in the 5250-3200
range. These names are placed on cards,

in the best Community Chest. tradition.
A group of 40 to 50 solicitors comes to
lunch or breakfast with the candidate.
Hopefully, cach will take on the job of
contacting five to ten prospects, In my
case, this drive generally nets 5104

$15,000. I must sa у
proud of the caliber and diversity of the
Arizonans who come to my aid—business
nd professional people, fellow lawyers,
Democrats and а surprising number of
Republicans. There are few of these
people who give from other than decent,
honorable motives or who ask more than
that I do a conscientious job as their
Congressman. 1 would say 98 percent—
at least—of my donors never ask for help
of any kind. Thee are the people who
keep both pares in business, bur the
burdens on all of us grow heavier each

there are smi
Nearly everyone
ributors tend to obli,
and that therefore a large number. of
all contributors is preferable. However,
this is easier to preach than то prac-
tice. Few such efforts succeed. Of every
100 Americans, 95 have never con-
tributed to any political candidate.
Early in my Congressional career, I
had the optimistic belief that I could
gradually build a base of one-totcn-dollar
contributors who eventually would. pro-
vide all the financial support 1 needed. 1
even designed a return envelope with a
litle hole into which contributors could
fit “George Washington’s picture.” The
idea has been widely copied by other
Congressmen and it has succeeded. far
beyond most other mail campaigns. I'm
proud that 1500 people thought enough
of me last year to send back my enve-
lopes with geen bills enclosed, but the
$5200 they gave (S4000 after expenses)
is far short of the $22.000 І spent
How did the American. people allow
themselves to become míred in this ruin-
ously expensive and dangerous financial
swamp? There are many answers, but
two are especially important: population
and television.
Congressman Abe Lincoln served per-
aps 40,000 people—a smaller number
than the constituency of an Arizona state
senator today. Personal contacts were
important; money was not. False images
were hard to aate. Today, 1 represent
nearly 550,000 people, and 1 couldn't
shake every voter's hand if I did nothing
else until the next election. Thus, along
with my opponent, 1 must spend money
for mail, radio, television, newspaper
Il the rest.

e candidates,

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Television, of course, is the big new

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232

factor shoving campaign costs out of sight.
The Federal Communications Commis-
sion reports that $39,000,000 was spent
in the 1961 campaign. just for radio and
IV. By 1968, the РК boys will demand
ads in "living color," and costs will rise
even more. If you're running for gov-
crnor of Arizona amd want to buy just
onc 20-sccond spot (now you sec it, now
you don't) in prime time on cach of the
state's ten commercial TV stations, you
shell out $1000. In New York, the same
quickie commercial would cost you
$2500 —on just one station. I shudder to
think what a package of such spots
would cost.

All of this might be worth it if we
were using "TV's great potential for po-
litical education and debate, When TV
became common, political scientists pre-
diated a national political revival—with
Lincoln-Douglas debates in every living
room. But this great potential has been
perverted. Lineoln and Douglas would
be lucky today to get on after Monday
Nighi ai the Movies, and even then, they
would have to compete with Johnny
Bishop—or both, In truth,
ly lowered the intellec-
campaigns. One

Carson or Joey
TV has drasti
tual quality of он
Congressional с c's chief TV com-
mercial revealed him in an apron taking
cookies out of the oven. Election vear
1966 was, more than anything else, the.

year of the 20second spot and the singing
political jingle. Sadly, 86 percent of all
political radio and ТУ money last year
went for spois—so brief they precluded
any discussion of issues.

Every two years, when I meet with
my tlevision experts, 1 regularly insist
that some of my money go for Һа hour
segments to talk issues or to answer
questions. We've tried it my way once or
twice, but usually 1 lose out to the pros.
who daim (rightly) that these programs
don't make votes. Viewers will submit 10

a spot inserted in a favorite program; but
if а 30 minute show mpted, most
folks will comp! d then

found in the text of one of my own 20-
second spots from the 1966 c
Here it is, in

ANNOUNCER: Thi
one of the most dynamic leaders in
Congress, He's won the respect of
both parties, He's led the fight for
the things Arizona must haye for
today and for the future. Arion
can be proud of him. Mo Udall,
our man in Washington—let's keep
him there. Paid for by the Ud
Campaign Committee.

That liule gem cost my supporters
about $65 every time it went on the ай.

“The bulk of my estate I leave to my son,
Fitzhugh Canfield Clomion ЛІ, in the hope that after
completing his education, he will return home to take

the helm of the firm that bears his name.”

It isn't very enlightening, but it works—
and this is what we've come to. By now
you may understand why, if Т had my
way, 1 would pass drastic laws junking
this whole system. Here, in a nutshell, is
what I think we necd:
igid, enforceable, reasonable limits
e costs of all campaigns, includi
ic. 1f committecs arc allowed,
expenditures should be included in
the totals allowed. One man, designated
by the candidate, would be responsible
for reporting all receipts and expendi-
tures. All spending fora candidate, except
that authorized and reported by this
fiscal agent, would be a criminal offense,

2. Federal financing of some cim-
paign costs.

3. Complete public disdowure of all
campaign expenditures and contributors.

4. Free radio and TV time for candi-

es to present their views and to
debate issues.
5. Shorter general election cam-

paigns.
6. Tax credits
courage and le
vate fin:
ZA

id deductions to
-gitimatize broad-based, pr
icial support of elections.
meaningful, enforceable code of
ethics for members of Congres—to i
dude guidelines determining the propri-
ety of gifts, testimoni ners, special
funds and the like.

8. Periodic financial
quired of all Representatives and Sen:
tors covering all outside income, gilts,
legal fees and business interests. Senator

statements re-

Dirksen says that such a law would
make Congressmen “second-class citi-
zens.” Tve voluntarily printed these

things and а summary of my assets
and investments in the Congressional
Record. It's not particularly pleasant to
lay your personal alfairs before the pub-
lic, but 1 feel better having done и—
first-class, in fact.

I have alo introduced legislation
aimed at achieving most of these objec
tives. Because my suggestions are sharply
different [rom present practices, they
deserve some discussion.

1 don't anticipate much argument—
outside of Congress—on several ol my pro-
posals. I suppose nearly everyone would
be in favor of reducing the waste of po-
litical campaigns. But Federal financing?
1 can hear some of the reactions now
“After all the money you extract from
us for Federal pork-barrel projects, now
уоште going to have us pay for your
campaigns, too." 1 would answer that the
public already pays—and its а stagger-
ing price, in terms of legislative and
administrative actions that serve the in-
terests of big contributors and lobbyists.

President Theodore Roosevelt, more
than 50 years ago, advocated financing
Federal elections out of the Fede:
treasury, and his arguments make even
more sense in the days of color TV. In a
Congressional contest, my plan would

work like this; The Government would
deposit with the Treasurer of the United
States to my credit and to that of my op-
ponent or opponents а drawing account
equal to tcn cents for cach registered
yoter in the district. In present terms,
this would amount to perhaps 518.000.
The candidates would never see or touch
this money, but companies that. provide
printing, broadcasting, mailing and simi-
services could submit sworn vouchers
to the U.S. Treasurer for payment,
Coupled with this would be a limit of
$10,000 that cach candidate could spend
from his own or contributed funds,
thereby reducing drastically the depend-
ence on big contributors. To qualify, а
candidate would have had to be nom
mated by a bona fide party polling an ag-
gregate of at least 15 percent of the total
votes in а primary clection.

As additional public support for the
candidates, 1 would permit cach of
them to submit to the Government Print
ing Office а pamphlet outlining his
qualifications and views. Thee pam
phlets would be printed at public ех
pense and would be delivered free by
the Post Office Department to every vot-
er. This proposal is similar to Arizona
law, which provides for public р
and disnibution of pro and con
ments on referendums and initiative
propositions appearing on the ballot.

Also, I would put the great potential
of television and radio to work for
deaner, better and more enlightening
campaigns. The airwaves belong to the
public. Every two years I would require
stations, which use these airwaves for
profit, to grant а reasonable amount of
fice prime time i0 candidates for debate
and discussion, in segments of not less
и nutes. Candidates desiring spot
announcements or additional program
time could buy more within the financial
lim

In the U.S. Senate races, the same
procedures would apply. The public
money spent would be ten cents for each
the state, or $250,000, which-
е rhe limits on private con-
tributions would be $5000 times the
number of Congressional districts in the
While thesc may seem
small compared with the huge sums now
spent, T believe the introduction of par-
tial public financing would provide the
essential element of control previously
Jacki

Many of the present evils in our sys
tem result from secrecy—about who is
giving money, where it is spent and
whether it ends up in the Congresman’s
pocket. Contrary to popular belief, hid-
den gifts don't buy many votes—but
many citizens think otherwise. Doctors,
oilmen, labor leaders, lobbyists of all
kinds ought to have the right to help
candidates whose policies they approve.
But the public at large has a right to

п 15 mi

ations above.

voter

r is less.

state. figures

know where the campaign money is
coming from and where it gocs.

‘Thus, my proposals would bring the
spotlight of publicity to bear on all as-
pects of politi ncc: who gave con-
tributions. or things of value, how the
money was spent, which Senator used
campaign or testimonial-dinner funds for
personal purposes, and all the rest. With
this information, unconfused by satura
iion "image" campaigns, the public
could vote more intelligently.

A three-week vacation costs more than
a one-week vacation, One of the basic
reasons for the escalating costs of
paigns is their interminable length.
some states, John Q. Public is now har-
ased from April to November every
election year. The British do a better job
in three or four . While we can’
outlaw handshaking or free speech, there
are two things we can do. A bill T have
introduced would prohibit the national
partics from holding their Presidential
nominating conventions before Septem
ber first. This would shorten the cam-
paigns substantially. 1 would also like to
sec а Q0-percent tax on any general
election advertising appearing hefore
October first of an election year. If the
voter can't be convinced in five weeks, it
seems to me he can't be persuaded in 10
or 90.

Federal tax laws now permit deduc-
tions for gifts to churches, educational
institutions, research foundations, frater-
nal and charitable organizations. But
campaign donations by private citizens
have no dignity under our Jaws, This con
tributes to the prevailing auitude that
there is something wrong or corrupt
about politics and contributing to politi
cal campaigns. I think establishing clean,
broadly supported. political campaigns is
just as important to the future of this
country as conquering cancer, supporte
ing our churches and colleges ог financ-
ing our Elks and Moose.

ln 1966, Senator Russell Long suc
ceeded in attaching to an unrelated tax
bill a rider allowing for "tax credi
financing o[ Presidential camp:
penses, This year, the Senate reversed
itself and apparently wiped out any hope
of including such a feature on 1967
al not

on

incometax forms. Had this rever
occurred, cach taxpayer would have
been granted a one-dollar tax credit (те

duction in his tax) provided he checked
а square indicating he was carmarking
that dollar for a national campaign fund
to be divided between or among major
parties in the Presidential race.

While this plan had many flaws (it
gave too much advantage to candidates
of the Republican and Democratic par-
tits, as compared with new parties that
might come along) and perhaps deserved
its fate, the basic idea was good. lt
would have freed Presidential elections
from many existing evils. 1 hope further
thought will be given to making it

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Апа youll ha

e a lot more leisure time not having

‘to Juss with all those silly reindeer.”

workable. One refinement 1 might sug-
gest would be for the taxpayer, having
checked the square, to receive one dollar
in scrip that then could be given to the

party or candidate of his choice. This
would put all present and possible par-
ties оп ап equal footing.

A bill Г have introduced would give a
direct tax credit up to ten dollars for
small contributors and, beyond that,
t taxpayers to dedua from
come up to $1000 paid out
in political donations. I believe such ап
incentive is necessary if we are going to
have а chance of broadening the base of

ordinary citizens of ordinary mi
Lam modestly hopeful that the House
of Representatives will take some action
this year to establish. meaningful guide-
lines for members, a code of ethics and
mandatory disclosure of income and as-
sets. These steps would be the product
of labors by а new Committee on Stand-
ards of Official Conduct. Something like
this commiuee could also serve
watchdog over national elections
For many years, we have had the
bipartisin National Fair Campai
Practices Commiuce. This unofficial or-
ganization has done much to encourage
clean campaigns. Enlarging on this idea,
I would create а permanent National
Commission on Campaign Finance and
Procedure, composed of prominent per-
sons from both parties, It would watch

as a

234 the new system, sce how it works and

prey buses, investi
election misconduct by candidates and
national parties, recommend. new legis-
Tation ceded
police voluntary agreements between can-
didates who want to avoid escalation of
the kind І have described

There you have it—a set of drastic
changes that could breathe new life into
po ad recapture our po-
litical system from. the money-changeis.
1 frankly doubt that any less drastic
changes will do the job. And, as a polit
cal n J know thar changes of thi
kind won't come easily. We'll soon dis-
cover, I'm sure, that the present system
has some preity strong defenders among
groups enjoving its benefits

But gloom and doom are not my meat.
1 have always been one who believed
that the needs of our з can be met if
we face up to them. And I truly believe
wust face up to them if we are to
to have а Government eve
responsive 10 the public it
serves. 1 don't suppose Bobby
Adam Powell and Thomas Dodd will go
But the
storms they generated by their actions just
might awaken the public to the need for
sweeping changes in our archaic system
of financing and conducting elections. If
this happens, these unfortunate men, un-
wittingly. will have performed an impor-
tant public service

Amer

down in history as great. heroe

ISON V? (0
(continued from page 112)

e anyone ether. We
have twenty than сег to-
day. As for dem _ ch bien, one
takes a patient through consciousness,
centimeter by centimeter, laver by layer,
to the edge of death, one balances him
there, one brings him back, centimeter
by centimeter . . . sometimes one is six
hows doing this. it is demanding. as you
say, enough for me. For me, it is
enough.”

1 hadn't thought of it in that way
Lancehugh said. “The last time I saw an
operation, the anesthetic was chloro-
form, I doubt the fellow giving it could
have spelled the word, I know he
couldn't pronounce it, and Гуе always
thought he used far too much of it.
Patient. died, anyway.
hloroform is very crude. it із pr
tive,” Mlle. Faucon said.

“Im sure it is.” Lancehugh said, “Tell
me, where are you staying

“Elvaston Place," she said. He had the
cab drop them at the Alexandra Gate
and they walked the rest of the w
past the Albert Memorial. Louise
had never seen it. She was end

“How Victoria must have loved him
she said. "Look at all this. Little bits
here, little pieces here, all done with
love, she has given him everything but
monds in his eves!”

“But it’s so ugly,” Lancehugh said.

Only in the way it looks" Louise
said. "In what in what went
into it,

the Let time

it means,
s as beautiful as can be.
"You may be right.” Lancehugh said.

She thanked him for lunch and, with-

our quite knowing he was going to do it,
Lancehugh asked her to go to the th
ter the next night, She said she would.

He was at some pains over the play.
He told his broker it should be of a cei
tain intellectual content, and so he found
himself seing The Prime of Miss Jean
Brodie, not really his sort of thing. He
didn’t mind it, though. А good enough
play, he thought, and damned well done.
Louise was delighted, Afterward, they
went ro. Mirabelle. Louise tucked away а
huge d she ate much more than he
did, and quicker, and drank as much
м

v.
You do like food, don't you
I like everything," she said.
the cliché, but one lives once, isi

he said.
Forgive
t that

" he said.
You look like onc who has done most
said. "You have loved
living, id you still do?
es, I suppose so," Charles said. “But
life is all peaks and valleys, isn’t it,
ad one cannot stay forever on а ре
One can stay a long time, if one’s lucky,
but one must come down eventually, and

Louise

sn't that so,

never the same afterward, after
down, Do you know what 1

gs

К so. You mean the man's
thing, the life-risk thing. You were in the
War?

He told her. "Usually." he said, “we'd
take off in the early evening. 1 remember
many times at sunset, and looking down
on England—this is a beautiful country.
you know, it really is—and knowing
what the next eight or ten hours were
sure to bring. one would hate doing it,
and yet, supposing onc lost an engine or
something of the sort and had. 10 abort,
опе wasn't glad, it was а terrible disap:
poinument, and I'm sure that duty, patr
olism, esprit de corps were not. driving
one, really. I remember many times
thinking one had to be mad, to wish to

go. flying a blacked-out aircraft in а
black sky. other aircraft jostling all
around. dozens of them, hundreds.

sometimes, night fighters hanging about
outside, it was rather like flying through
a pudding. the air nearly solid, with
kites. with bombs, with the stuff coming
up from the ground, lovely-looking lights
floating up, yellow, blue, purple, hot
steel anyway, all of it, and below on the
ground, the red and green markers the
pathfinders had put down, and the white
pin points all over the target, incendi
ies hitting, and perhaps right next to
опе, a bomber burning like a torch . . .
across the river, in Lambeth, we have a
museum, Imperial War Museum, they've
saved the fuselage of а heavy, the navi
gators maps аге there on his desk, just
as he Jefe them, and this is a well-used air
стай, dented, paint scuffed off her, throt
tle knobs smooth and worn . . . when I
pushed my head inside her, three or four
years ago. would you believe T began to
tremble? Г was ashamed. Astonished.
100. юз stunned.”

Tt not to be ashamed of,
said. “It was normal, that.

“I never flew a plane alter 1946,"
Charles Lancehugh said. “Same thing
true of lots of fellows I knew. It's not
that we were fed up with it, as опе hears
sometimes. Chaps tell people that, I
think, because they don’t want to admit
the other thing, the one real thing.”

s no one real thing, as you put
said. “There are many. You

Louise

“Certainly. For me, it comes when 1
look down on a patient and know his life
is utterly in my hands: I hear his heart. 1
see it on the oscillograph, my hands are
on the valves, it is I who will say how
much oxygen he shall have, how much
cyclopropane, how much this or that, a
word from me and the operatio
instantly... I can
nt to, T can save him if I want 10, This
is exactly how it was with you, bombi

the V

stop

down on all those people, some of them
you were going to kill, some of them yo
were going to let live. It depended on an
imperceptible twist of your hand, didn't
it, whether the bombs landed in one
suect or the next. truc?

"Bur it isn’t the same thing at all, not
at all! You're a doctor, your whole busi-
ness is to preser mine was to ta
life. Not the sa
Wrong. my dear. Exacily the same
thing. The bomber is the surgeon, the
surgeon is the bomber, they both operate
under the highest license, from state,
from church. from everybody. WI
more sacred than ? In war, we kill
for the highest good, to remove the can
ccrous growth, so that the rest of the
body, Ше pure, unsullied part of the
world, may live in peace and comfort.
Both sides, all sides, kill for this pure
purpose. It is all the sime, you see. and
you and I, we are all the same. You
think doctors never kill, even out of
kindness? You must know better thai
that.” She laughed. “WI shall we do
now? It is only eleven-thirtv. We must
amuse ourselves. Why don't we see your
sister? We will bring champagne, we

me thing at all.”

will pour some on her cast, too, and we
will all laugh."
"The next day was Saturday. Не took

her to the flea m. n Portobello
Road. They lunched in a pub. When
they came out of the dark, cool plac
into the sun, he thought of walking and
he drove to. Hampstead Heath. Lanc
hugh liked walking. Sometimes, when he
was at the place in Surrey, he would
walk half a day without stopping. He
was hard and strong. At 50. he still
played squash and he could тап five

miles. He saw that Louise knew how to
К. too. She moved sensibly and the
covered ground. They said little. She put
her hand in his and went where he took
her.

Deborah Marchant’s bedroom was
the back of the house. Most of the wall
was window, one could see into the gar-
den from anywhere. She was sitting up.
propped in а soft chai covered
in white corduroy. She wore a blue rib-
bon in her hair, there were cornflowers
on the table beside her. The plaster cast
made а flactopped bulge in the coverlet.

She was drinking black coffee and
sherry.
“Betty Harlan tells me she's cross with

you," she said.
lcs said.
Ir was her

Since which time. Betty says, no one has
seen her but you."

“I shouldn't go that far. No one. I've
good deal of her, true enough.”

“I can't blame you.” Deborah said.
à attractive little thing. Very
. bur still, attractive. Ha

you

то bed with her?"
es." Charles said.

bed,” Debo
"She's rev
My God.
enough.” Deborah. said.
fier all, she's nothi

ws f
wom ng to
Louise doesnt resemble Helen in the
slightest. Doesn't resemble anybody I've
known.

eve

Deborah said. “As bad as

"I didn't even know he was sick.”

235

PLAYBOY

236

that, Sure you won't have a sherry
All right.” Charles said.

“The girl's brighter than you are.”

"I know. On the other hand, I'm much
the stronger. She's younger than Г am.
But 1 have . . . other resources. We
complement cach other. And therc is
something else, I don't know, some cen-
ual core of likeness in us"
"Has she said anything
rents?”

"When I asked her. Apparently she
had been very close to them and they to
each other. Нег mother had been senile
for years. she was pra
and her father found it hard to |
for him, he was seventy-two. Shouldn't
have been driving in the Alps, I'd have
said. The police think he simply went to
sleep at the wheel.”

“When is she going back to Pari

“Tomorrow. I'm going with her.’

about her

They were married three years later.
Those had been three good years. They
lived very well together. Lancehugh had
been right, they were complementary.
They led each other in everawidening
circles. Louise Faucon had a lifelong list
of things she wanted to do. and Charles
had the means. He wished to indulge
her, and in her turn, she wished to make
him feel it had been worth doing. She
kept on at the hospital for a year. but
after that, she and Charles were too
busy. There was no time for work. They
moved about. They took a villa in th
hills above Fze-Plage and a flat in Zu-
rich. They spent part of cach summer
and each autumn in Surrey. They went
хо the Greek islands, came back to Paris,
locked themselves up with a man from
Berlitz for three months and. thereafter
spoke Greck to each other. Their friends,
who had респ, most of them, Louise's
friends, were amused with them. Charles
had not been a success at бам. He
seemed serious and clearly he was old.
Still, it was in his favor that his French
perfect, and he did have a certain

chic.

“He grows on one, Charles,” they be-
gan telling cach other. "She may have a
good thing there.”

They had half а dozen people to din-
пег every Wednesday and 20 ог 30
always came for cocktails on Fridays.
These were people who could get into a
civilized fury over an obscure line of
Robbe-Grille's, or whether Paul Rey-
naud had died happy, or should have
dicd happy. or Simone de Bcauvoir's no-
tions about Stalinism. Charles Lance-
hugh was faintly surprised to find that
he often had opinions on such oddities.
He began to enjoy conversation as a
recreation. He felt that he was а happy
man. Now he liked having people about,
the more the better, the noisier the bet
ter, the bitterer the arguments the bet
ter. Sometimes in London he would во

into one of his clubs, say White's. and
find himself wondering what hed ever
scen in such a place, ordered, placid,
funereal.

They married on impulse and out of
perversity; they married because there
was no longer any reason they should
ту. And they were deeply pleased to
discover, as they had hoped to discover,
that the act changed nothing. The year
after their marriage differed іп по essen-
tial from the year before it. It was per-
haps the best year. They had two more,
and a few months, before Charles Lance-
hugh died.

"We сате here often, Charles and 1,”
s He liked Yugoslavia, and
te beach was our favorite, 1 have
never seen anyone else on it, We always
swam here like this, naked."

the man said. “I had a
letter 1 think two years ago,
telling me I should come here.”

‘And you did.”

“Yes. 1 had a good deal of respect for
Charles’ judgment, And he was the only
Englishman 1 ever really liked. He was
very gallant. I think that was it with
Charles. He was really very gallant.”

“Yes. And suong, А rock. Gencrous.
Kind. Many good things."

The man turned on his side, to face
her. He wacked one finger absently
ong her arm.

“I cannot say 1 wish he hadn't dicd,
he said. "But 1 miss him."

1 do not.” Louise said. “That's why I
сап talk about him so casily. То miss
him, 1 would have to pretend he didi
want to ро. He did. He wanted to go-
The night before he died, he said, ‘T con-
sider 1 have had a perfect life. Perfect.
Not nearly perfect, but absolutely.” And
he said, "For much of it, and the best of
it, I thank you.’ You cannot allow you
self to be maudli e tbat”

"No." he said. "You cannot’

They watched the gulls, droppin
5 on the rocks.

“There was a thing about Charles’
death I didn't understand,” d
aid. "I don't know if you know this, but
it is very rare for a man to shoot himself

over a man li

d

n the heart. A woman, she may, if she
uses a gun at all, but a particularly
a military man. will nearly always shoot

himself in the head. It’s an odd thing,
but truc.
БІ /'t know that," Louise said.

“I was surprised, we were all sur-
prised, when Charles fell ill. He was, aft-
1, strong, he seemed so well always."

“A characteristic of Hodpkin's disease,
that,” Louise said. "You see it very often
in the strongest people. It seems some-
how to seek them ош. No one knows
why.”

it always so quick?”

“Usually. After all, the lymphatic

system, it is easy for it to run through, to
metastasize everywhere.”

“He was in pain?

“Yes, Not as bad as in some of the

other kinds of cancer, but bad enough.
You knew that by looking at him."

fortunate he had you. You
g him something, injections
es. Morphine. As much as he wanted."

The man sighed, staring out to sea.

“1 think you took a ch: h the
gun," he said. "After all, he could have
given an overdose of morphine to him
self, he had everything he needed. It
would have been easy to believe that.
You could have left the syringe in his
hand. No one would have dreamed of
wondering about you.”

Louise said nothing.

“If you ever find it necessary to shoot
me, alter 1 am full of morphine, and
dead, please shoot me in the head. I
shall feel easier. I shouldn't want to wor
ry about your getting into trouble over
и. Remember, 1 am left-handed. TI
aportant, too."

“You have a great flair for det
Louise said.

Also remember that I don't like
height. 1 don't want to fall asleep and
drive off any mountain. Е might wake up
on the way down, and that would dis-
tress me."

Louise turned on her side, to face him.
She hooked a heel around his ankle.

“What has made you think of all th
my dear?” she said,

"Oh, it occurred to me that people
who are older sometimes don't fare so
well with you. People who are older, and
who love you.”

“You ave quite wrong. They fare very
well, indeed. Have you forgotten what 1
told you Charles said to me, the night
before he died?”

“That he had had a good Ше?"
es. Had."
annot, somehow,
saying that.”

“You are young.”

“I'm four years, seven month
teen days older than you.”

“Then, my ancient one, you should
know that to love is to cherish, to com-
fort, to give, to give anything that is
wanted. Anything.”

“I love you,” he said. “I think 1 always
have. 1 would give you anything.”

She ran her hands down his belly and
held him lightly.

“And I you,” she said. “Anything. And
now that we know what we are talking
about, shall we stop talking about it and
thinking about it? Shall wez"

He looked into her eyes, and laughed,
nd reached both arms for her.

Why not?” he said.

псе. №

“J

gine myself

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The Playboy Building
919 N. Michigan Ave.
Chicago, IIl. 60611 U.S.A.

PLAYBOY'S DOUBLE HOLIDAY PACKAGE

6 Proof Blended Scotch

‘T don't know
who he is,
but he just
ordered

RARE SCOTCH
POURS MORE PLEASURE

Pennies More In Cost, Worlds Apart In Quality
From Justerini & Brooks, Founded 1749

The7 Minute Cigarette
declares war on
the 5 minute break.

Bang. The fight is on. ; pur
The cigarette that takes longer to smoke versus:
the time that's not long enough to enjoy it.

A longer length of tobacco against too short a length
of time.

Smokers of the world arise!
Next time you hear "'take five," don't.
Take seven.

Pall Mall Gold 1005

Mild taste in a longer length.

Ii 2728