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SENATOR FURBRIGHT CHA 
‚А NEW COURSP'FOR AMERI 
A 16-PAGE ÞiCTOBIAL ON SEX m 
FOREIGN FILMSYQE THE SIXTIES 
EXAECCHHEAD NEWTON MINOW , 
ON A GRESHARPROACH VO. s ‘ ч 
acTeric rial dy ; 
LEN дд 
DT 


It’s the chilly thing that happens Д 
when Smirnoff, Fresca and lime go on a togetherness kick. 
Before you order it, dress for a cold wave. i 


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Look at the photographer’s left index finger. 
It's on a switch which allows him to 

make a choice between two separate exposure 
meter systems. The Mamiya/Sekor DTL 

is the world’s first 35mm, single lens reflex 
camera with two separate through the 

lens exposure reading systems. Why two? 
Because subjects with front lighting are 
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need a “spot” meter system to read the most 
important part of the picture. Almost 

all fine 35mm SLR cameras have one of these 
systems; only the Mamiya/Sekor DTL 

has both. The DTL with every important 
SLR feature is priced from less than $180, 


plus case. Ask for a demonstration 

at your photo dealer or write for folder 
to Ponder & Best, 11201 West Pico 
Boulevard, Los Angeles, California 90064. 


= agrees: it's 


a Wide Oval World. 


White or rod stripe, 


Times have changed since Columbus 
said the world was round. 

It's 1968, and America is fast discov- 
ering thatthe world is oval. Wide Oval. 
The Wide Oval World of Firestone. 

Perhaps you've noticed it, too. On 
the cars coming out of Detroit. How 
tires are getting wider, lower. 

We started it all when we introduced 
the original Super Sports Wide Oval 


tire. A totally new kind of tire. Nearly 
two inches wider than conventional 
tires. It grips better. Corners easier. 
Runs cooler. Stops 25% quicker. And 
it gives your car an all-out look of 
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It's built with Nylon cord, too. And 
that gives it maximum strength and 
safety at sustained high-speed driving. 

Sure, others may look like it, but 


Nearly two inches wider 


none perform like it. 

There's really only 
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stone builds it. 

The Super Sports 
Wide Oval tire. Any- 
thing less is less. 


safe tire 


FULBRIGHT 


PLAYBILL 


THOUGH PLAYBOY scouts the country in 
xtdoor beauty, we've nev- 
lien ы the cliché thats the grass is always greener aw: 
from home—as the five girls from our own offices and eleven 
Bunnies who have graduated to Playmate status over the years 
attest. Among our most recent—and delight{ul—interoflice dis- 
coveries are the swinger on this month's cover, PLAYBOY recep- 
tionist Lynn Hahn, and Miss July, Playmate Melodye Prentiss, 
who currently brightens our Сору Department. Whether he finds 
his subjects down the hall or a couple of thousand miles away. 
Stall Photographer Pompeo Posir, who shot both Lynn and 
Melodye—this issue marks his 23rd cover and 20th Playmate— 
ranks among the few lensmen we know with an unerring eye 
for the unique qualities that make a girl PLAYROY perfec. 

Thi s timely For a New Order of Priorities at Home 
and Abroad, by Senator J. William Fulbright of Arkansas, 
eloquently opis for а 180degree shift in our national pur- 
pose: from the prosecution of interventionist wars abroad to 
the eradication of poverty and racial injustice at home. A 
Rhodes scholar who taught law before assuming the presiden- 
су of the University of Arkansas at 54, Fulbright has been a 
Senator since 1945 and became in 1966 the most outspoken Con- 
gressional opponent of the U.S. involvement in Vietnam. I 
prospectus for sign and domestic policy has been de- 
veloped in a series of brilliant speeches, in five books (the latest of 
which s The Arrogance of Power) and in hearings before 
the Foreign Relations Committee, which he chairs. 

In Must the Тейит Be the Message?, former FCG Chair- 
man Newton Minow outlines the sort of imaginatively 
informative programing public iclevision. should adopt to 
fulfill its promise of making his renowned “vast wasteland” 
pronouncement obsolete. Minow, a director of National Edu- 
cational Television and the author of the 1964 book Equal 
Time: The Private Broadcaster and the Public Interest, credits 
communications expert Stanley Frankel with being the catalyst 
behind the article. 

A would-be high school football star who moves one step 


MINOW 


SILVERSTEI SCHOENSTEIN 


CHEEVER. 
closer to manhood after a. disastrous encounter with an up-tight 
teacher is the central figure in John Cheever’s Playing Fields, 
d story. The author of The Wapshot. Chronicle 
nd last 
January's The Yellow Room, his previous rtaynoy contribution, 
will be part of his next novel. Damon Knight, who wrote our 
quietly terrilying science-fiction tale. Masks, lives in “a large, 
cranky Victorian house" in Milford, Pennsylvania, where he 
writes, translates. from the Frendi (Doubleday’s Ashes, Ashes, 
by René Barjavel) and edits the fantasies of other sci-fiers for 
the semi-anm Orbit. 

Ollie Hopnoodle's Haven. of Bliss, Jean Shepherd's 14th 
evocation for rLAvmoy of his storied boyhood in Hammond, 
Indiana, captures in heart-rending detail the long day's journey 
imo night that launched his family’s annual summer vacation. 
July's humor also includes Ralph Schoenstein's My Country, 
Far Right or Wrong and Silverstein Among the Hippies. Schoen- 
stein chronicles a jingoistic Constitutional Convention designed 
to Right all the rat-fink Commic wrongs in fortress Amcrica, 
and the first installment of Silverstcin's two-part portrait of the 
hippies finds the Hashbury crowd doing its loving best to tum. 
on and tune in our bearded, beaded bard. 

More greenery in our own back yard: Len Deighton travels 
to California for his first guide (I1 Happens in Monterey) to a 
vacation spot in the continental United States since assuming 
our Travel Editorship in May. In this month's Playboy Inter- 
view, Paul Newman displays both a refreshing diffidence 
about his cinematic sex appeal and a passionate involvement 
in the world of politics. Arthur Knight and Hollis Alpert assay 
the extraordinarily high erotic content of this decade's foreign 
films in Part XIX of The History of Sex im Cinema. And 
Finnish-born high-fashion model Kecia, in Cover Girl Un- 
covered, demonstrates that at least one member of her profes 
ither habi ally expres nor structurally 

along with a cornucopia of summer 
alin and fun adds up to a rousing decla 
tion of independence from the doldrums of the dog di 


this month's le: 
and The Wapshot Scandal wid us that both this story 


ionless 


POSAR 


ILLINOIS. сөн 


SECOND CLASS POSTAGE PAID AT CHICAGO, 


AND AT ADDITIONAL MAILING OFFICES. SUBSCRIPTIONS 


IN тнк U.S., $а FOR ONE YEAR. 


vol. 15, no. 7—july, 1968 


PLAYBOY. 


Playing Fields 


Fulbright's Prior 


Cinemolie Sex 


Silverstein's Hippies 


ANE то ат RETURNED AND NO RESPONSIBILITY CAR 


KOVARS (2), EMILIO LARI, LIAISON AGENCY, J. M 
Lo DUCK (B), CARLA MENEZOL, PATRICK MORIN (4) 
(3), JONN SPRINGER, SAM^L STEINMAN, STEVENS û 
LOW, R. M. STUART, NICHOLAS TIKHOMIROFF. UPI 


CONTENTS FOR THE MEN'S ENTERTAINMENT MAGAZINE 


PLAYBILL 25 3 
DEAR PLAYBOY 9 
PLAYBOY AFTER HOURS... — 19 
THE PLAYBOY ADVISOR... al 
THE PLAYBOY FORUM... — 45 
PLAYBOY INTERVIEW: PAUL NEWMAN—candid conversation. 59 
PLAYING FIELDS—tiction — — —— JOHN CHEEVER 76 
COVER GIRL UNCOVERED —pictorial em ==. 80 


VARIETY QUIZ 273 —— SHELDON WAX 85 
THE FULLY AUTOMATED LOVE LIFE OF HENRY KEANRIDGE— 


ion STAN DRYER 86 


TIME FOR SPORT—accouterments Y 90 
MY COUNTRY, FAR RIGHT OR WRONG—humor. .....RAIPH SCHOENSTEIN 93 
A PRETTY GIRL—ployboy's playmote of the month. s 96 
PLAYBOY'S PARTY JOKES—humor. ы = 104 
OLLIE HOPNOODLE'S HAVEN OF BLISS—humor. JEAN SHEPHERD 106 


STAR BILLING FOR A BIT PLAYER—food. 
А NEW ORDER OF PRIORITIES —. 


z " THOMAS MARIO 109 
т... S. SENATOR J. WILIIAM FULBRIGHT 110 


BRIGHT ON WHITE—atlire .— ROBERT L GREEN 114 
MUST THE TEDIUM BE THE MESSAGE? article NEWTON MINOW 117 
SILVERSTEIN AMONG THE HIPPIES—humor. " -SHEL SILVERSTEIN 118 
MASKS — fiction... а DAMON KNIGHT 124 
IT HAPPENS IN MONTEREY —travel م ج‎ ДЕЧ DEIGHTON 127 
THE LAST STRATAGEM—ribald classic. 1. 


THE HISTORY OF SEX IN CINEMA—arlicle ARTHUR KNIGHT ond HOLUS ALPERT 130 


^ ki 129 


HUGH м. HEPNER editor and publisher 
A. с. SPECTORSKY associate publisher and editorial director 
ARTHUR PAUL art director 


JACK J. KESSIE managing editor VINCENT T. TAJIRI picture editor 
SHELDON WAX assistant managing edilor; MURRAY FISHER. MICHAL LAURENCE, NAT 
LEHRMAN senior editors; ROBIE MACAULEY fiction editor; JAMES GOODE articles 
editor; актиок KRETCHMER associate articles editor; том OWEN modern living editor; 
DAVID BUTLER, HENRY FENWICK, LAWRENCE LINDERMAN, RORERT J- SHEA, DAVID STEVENS, 
ROBERT ANTON WILSON associate editors; KOBERT L. GREEN fashion director; DAVID TAY- 
Lok fashion editor; LEN DEIGHTON travel edilor: REGINALD YOTTERTON travel reporter 
THOMAS makio food c drink editor; |. PAUL GETTY contributing editor, business & 
finance; ARLENE BOURAS copy chief; KEN W. FURDY, KENNETH TYNAN contributing edi- 
lors; RICHARD коғг administrative editor; DURANT INBODEN, ALAN RAVAGE, DAVID 
STANDISH, ROGER WIDENER assistant edilors; BEV CHAMBERLAIN associate piclure editors 
MARILYN GRABOWSKI assistant picture editor; MARIO CASILLI STAN MALINOWSKI, POMPEO 
TOSAR, ALEXAS URBA staf] photographers; RONALD BLUME associate art director; NORM 
SCHAEFER, BON POST, GEORGE KENTON, KERIG POPE, DAN SPILLANE, ALFRED ZELCER, 
JOSEPH. PACZER assistant arl directors; WALTER KRADENYGH, LEN WILLIS, ROME 
SHORTLIDGE ат! assistants; MICHELLE ALTMAN asistan} cartoon editor: JORN MASIRO 
production manager; ALLEN VARGO assistant production manager; PAT PAPPAS 
Tights and permissions « HOWARD W. LEDERER advertising director; JULES KASE, JOSEPH 
GUENTHER associate advertising managers; SHERMAN KEATS chicago adverlising man- 
ager; RONERT А. MCKENZIE detroit advertising manager; NELSON FUTCH promotion 
director; wt NUT torsen publicity manager: BENNY DUNN public relations manager; 
ANSON MOUNT public affairs manager; THEO FREDERICK personnel director; JANET 
RIM reader service; ALVIN WIEMOLD subscription manager; ELDON SELLERS 
special projects; ROWERT S. PREUSS business manager and circulation director. 


` Next time 
you feel like a 
couple of beers, 
have a 
Country Club.- 


Just one. CNN у 
Even a small one. cy 
You'll find Country Club 
And half as filling. 
It's low in carbonation, so 
on what you drink malt liq: 
So, instead of wadi 
the action with Coun: 


Whats it like to ride 


7 7y “ u 7274 
S420) cet ем > G/ 


the Triumph bike? 


It's sort of like being shipwrecked 
on a deserted island with 34 of 
the 52 contestants in the Miss 
Celestial Body Pageant. And a 
little like free-falling from 7,000 
feet with a parachute you packed 
yourself and having it open. And 
something like getting a letter 
from an old army buddy and 
finding twenty dollars you forgot 
he owed you. And almost like 
catching a 250-Ib. marlin with a 
504b. test line on a glass rod 
after everybody laughed at you 
on the way out in the boat. And 
kind of like getting on an empty 
airliner and having the 9 
blonde stewardess ў 
mistake you for 

Steve what's- 

his-name. 


RIUMPE 


Мако this the year you 
Triumph. See your Triumph 
dealer. Or write for our 
new catalog: Triumph 
West, Р.О. Box 275, 
Duarte, California 91010. 

Or Triumph East, P.O. Box 
6790, Baltimore, Md. 21204, 


And it’s a bit like airboating up 
a waterway in the Okefinokee 
Swamp and watching all the alli- 
gators run for cover. And sort of 
like nervously going to your first 
karate lesson, then breaking your 
instructor's nose. And a little bit 
like sliding down a thirty foot 
waterfall into a dark lagoon and 
coming up smack in the middle 
of some native girls doing their 
fertility rite. 
That's sort of what it's like to 
ride the Triumph. Sort of. Be- 
Cause the Triumph is the Tri- 
umph. And there's no other bike 
. no other anything . . . quite 
like it. So if you want to know 
what it's like to ride the Triumph. 
Get on one. 


Seagram Distillers Compauy, New York City, Blended. 
Whiskey 86 Proof. 65% Grain Neutral Spirits 


DEAR PLAYBOY 


E) ок praveoy MAGAZINE - PLAYBOY BUILDING, eto N. MICHIGAN AVE.. CHICAGO. ILLINOIS 60611 


TAXING PROBLEM 
I € just finished reading Philip 
Stern’s April article, Tax and the Single 
Man, and find myself nodding vigorous- 
ly im agreement. Stern's points are well 
stated. D only hope praysoy's readers 
take them to heart. 
Bruce А. Conder 
Grosse Pointe, Michigan 


A short but postscript 
should be added to Philip Stern's very well 
written arde: Until Congress is made 
aware of the size and potential effect of 
the bloc of single voters, it is unlikely 
that tax reform will be enacted into law. 
If people would take the time to make 
ui ws known 1o their clecied 
officials, rather than simply complain to 
their neighbors, the pressure often cxert- 
ed by well-financed lobbyists might be 
negated. 


necessary 


Richard A. Weston 
Washington, D. C. 


Your description of the raxpaying 
bachelor as a "fiscal pigeon” is a gross 
understatement. Four audits and two ul- 
cers ago, the IRS became а stark reality 
to me. I was informed by tax expats 
that I could take my plight through 18 
ascending levels of IRS bureaucracy 


During this trek, 1 became quite familiar 
with one word—"disallowed.” 
M. D. Phillips 
Downcy, California 


Stern's article was well written. and 
informative; but everything he says also 
applies to single women. The tax plight 
of single people—of both sexes—needs to 
be approached with a new attitude. As 
it is, it seems that were being pi 
for our refusal to wed and to rcproduc 
In an aye when most people are co 
d about overpopulation, this is 
especially anachronistic 


corn 


Oakland, California 


Your writer's statement that only the. 
United States and the Netherlands place 
ty on single persons is wrong. 
ately, the Federal Republic of 
Germany now discriminates between single 
persons and married couples in exactly the 
ваше way, by employing the same income- 


L. PERKINS, MANAGER, 6721 BEVERLY BOULEVARD, OL 2.8 
Зиярат, YU 2-754, SOUTHEASTERN REPRESENTATIVE, PIRNIE 


CANADA, $20 FOR THREE TEARS. 315 FOR TWO YEARS, 16 FOR ONE YEAR, ELSEWHERE ADD $4.60 PM 
ALLOW JO DAYS FOR NEW SUBSCRIPTIONS AND RENEWALS. CHANGE OF ADDRESS, SEND BOTH OLD AND NEW ADDRESSES TO PLAYBOY 
со, ILLINOIS EGE, AND ALLOW 36 DAYS FOR CHANGE ADVERTISING: но 
пк. NEW YORE IDOIZ, MU 8-3030; SHERMAN WEATS, CHICAGO манас 
Зак FRANCISCO, ROBERT E. STEPHENS, MANAGER, 
GROWN, 3108 PIEDMONT RD., N-E., ATLANTA, GA, 3030 


splitting system used in the United States. 
Soon aher the introduction of this 
system in the Bo 1964, 
tax experts and began a 
fierce discussion to extinguish or at least 
ıa mollify its discriminatory aspect 
One possible solution, a most ingenious 
one, has not been mentioned in the U. 5 
"his solution accepts the fact that it is 
inly not necessary to employ an in- 
comesplitting divisor of exactly 2. For 
example, the iminatory — ellects 
would be considerably diminished by 
changing the incomesplitting divisor, in 
the case of a childless couple, to 1.8. Di- 
viding taxable income not by 2 but by 
1.8 would result, in most cases, in a 
her tax rate. 


Klaus Fischer 
University of Colorado 
Boulder, Colorado 


No matter how much extra money the 
Internal Revenue Service taxes the single 
man, it’s still worth it. 
ford A. Levy 
nola, Towa 


Stern's article is а lopsided view of a 
serious issue. Obviously, Stem has never 
been manied, because he does not take 
into account the added burdens of matri- 
mony. Besides the many responsibilities 
that the bridegroom assumes upon mm 
riage, he also has another mouth to feed, 
nother body to clothe and a larger bed 
to buy. Sure, the married man gets more 
tax benefits than the bachelor, But the hus- 
band has a hell of a lot more additional 
expenses 10 pay. 

Michadl C. Moody 
Johnson City, nessce 

Stern has been married Jor len years and 

is the father of five children, 


er 


CAVE MANNERS 
mary 106 


In J PLAynoy published 
an article of mine, Sex in the Stone Age. 
Т was therefore especially interested in 
Phil Interlandi’s Stone Age Sex in your 
issue. As an authority on the sub- 
iow as much about sex 
in the Stone Age as anyone now living), 
1 would say that Interlandi's drawings 
of men, women, caves and clubs are ac- 
curate in every detail. It would appear 
that Interlandi has done almost as much 


(E PAN-AMERICAN UNICN AND 


i5 POSSESSIONS 


promise 
a girl who thinks 


Ў a weekend 
ih the country means 
staying in 


the United States? 


Promise her 


anything but 
give her Arpege 


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AANVIN 


© LANVIN PARFUMS 1968 


PLAYEOY 


research as 1 have. Nonetheless, I must 
correct this talented artist on one mis- 
conception that he is helping perpetu 
ate. This has to do with the use of the 
club in the Stone Age. Let me quote 
from my article: “It should be apparent 
10 anyone who has read Freud that the 
club was not used to hit the Stone Age 
woman over the head. It was employed 
as а phallic symbol. The woman was not 
hit over the head with it; she was sim- 
ply shown it. What struck her was the 
enormity of the situation. She was ove 
come. She swooned. Some cartoonists 
have been honest enough to show the 
woman with a pleased smile on her face, 
even as she was being dragged away, 
and this could hardly come from a blow 
on the head." Though Interlandi's Stone 
Age women are crroneously depicted. as 
having been hit on the head, they do 


look surprised—and pleased, This, after 
all, is what really matters. 
Richard Armour 
Claremont, Califo 


Author-professor Armour has repeat- 
edly set the past on its car with zany 
historical volumes (“It АШ Started with 
Columbus” "American Lit Беш”) and 
numerous PLaynoy humor pieces, the 
latest of which—“Science Marches On" — 
appeared last August. 


WILL POWER 
Few writers today combine intelli 

gence, stylistic restraint and the ability 
to tell a real story—but John Knowles 
definitely one of them. His The Reading 
of the Will, in the April PLAYBOY. is a 
tale of painfully emerging emotional 
maturity rivaled only by one other piece 
of fiction—Knowles’ first novel, A Sepa- 
raie Peace. My thanks to Knowles for 
proving that fiction isn't dead, after all, 
and to Pravpov for publishing him. 

Mary Munsen 

Little Rock, Arkansas 


SCIENCE FRICTION 
Ted Gordon's article in the April 
PLaynoy on Bucking the Scientific Es- 
tablishment was well put, well chosen 
and well documented. As one who has 
published about 100 professional papers 
—in and out of establishment journals— 
I. too, have been buffeted. Gordon only 
omitted reference to the mental anguish 
that can result from co 
lishment ideology. 
R. C. Vickery 
Northport, New York 


Drama has a tradition of informed 
criticism; science should develop one. 
As Bernard Shaw pointed out in The 
Doctor's Dilemma: "Science becomes dan- 
gerous only when it imagines that 
reached its goals. What is wrong with 
priests and popes is that instead of being 
apostles and saints, they are nothing but 
i who say "I know" instead of ^I am 
nd pray for credulity and inertia 


as wise men pray for skepticism and ac 
i One of the great. problems with 
i it has few critics. By 


platform for such criticism 
Robert Luke Bol 
University of 
Austin, T 


Much as I appreciate Ted Gordon's 
mention of my flatworms, I must point 
out that I'm really not fit company for 
scientific martyrs. like Bruno and Sem- 
melweis, In 1964, many noted scientists 
questioned whether simple beasts 
like flatworms could be trained in the 
laboratory, so worms were highly con 
troversial. Nowadays, with more than 
100 positive reports in print (even the 
Russians have had striking success). 
that part of the baule seems won. In 
decd, the worms have become so respect- 


able that they're mentioned favorably in 
most new hi 


lı school biology texts, a sure 


But now rats are bothering my col- 
leagues. As Gordon points out, my stu- 
dents and I showed some eight years 
ago that memories apparently could be 
d chemically from one flai 
ıo another. Building on our 
other laboratories in 


worm 
findings, several 


ts with rats and 
mic. History repeats itself in science, as 
elsewhere. The first rat experiments 
yielded positive results, gathered. consid- 
erable publicity and were greeted. with 
enormous skepticism by most scientists. 
In 1966. a wave of negative reports 
washed into the journals and the con- 
servative scientists relaxed a little—prob- 
ibly the whole thing was an artifact. 
But the studies yielding negative results 
were often poorly designed and failed for 
what now appear to be obvious reasons 

Since 1966, the tide has turned again. 
At the annual meeting of the American 


Association for the Advancement of 
Science in New York City last Decem- 
ber. more than a dozen laboratories re- 
poned success with rats and mice 
"There still is а great deal we don't know 
about the phenomenon | itself—what 
chemicals volved, what types of 


memories can or cannot be transferred 
and whether the effect will work with 
humans. One can safely predict that it 
l| take the establishment several y 

to catch up to the data and that it will 
be some time before 
are available in quantity to support this 
fascinating feld of research. 

In spite of all the controversy, I really 
haven't suffered too much personally. 
The University of Michigan has always 
given me strong psychological and 
financial support, even when the going 
got pretty rough; so I can hardly claim 
martyrdom this early in life. The real 


problem is quite different. Controversy 
often causes scientists to adopt extreme 
wd usually undefensible positions, no 
mater which side of a question they're 
arguing. Rather than debate furiously 
whether worms can learn, or whether 
mories can be transferred chemically 
from one animal to another, we should 
be discussing rationally the conditions 
under which these effects appear to occur. 
Adopting this nonemotional viewpoint 
would lead to much more productive sci 
tific research, The same admonition holds 
for arguments over sexual behavior or the 
use of drugs—something PLAYBOY has been 
its readers for years. 


I'm pleased that Gordon 
mentioned our odd little publishing 


clior, The Worm Runners. Digest| The 
Joumal of Biological Psychology. Since 


our cartoons are often as sexually oriented 
(and hopefully funny) as yours, 
we're often referred to as “the PLaysoy 


of the scientific world.” 

James V. McConnell, Ph. D. 
Prolessor of Psychology 
University of Michigan 
Ann Arbor. Michigan 


As a former college teacher and con- 
sultant to several Government agencies, 
1 testify from years of personal е 
perience to the stultifying and arrogant 
ss that affects much of 
ninded scien 
tific effort. The system of Government 
contracts and grants that supports the 
bulk of basic research in the United 
States virtually assures that no research 
will be undertaken if the results cannot 
be reasonably assured in advance. The 
wing committees just won't stick 
necks out in an arca whi оп! 
gressional inquiry might subsequent 
prove embarrassing. For all practical 
purposes. any evidence that does not coi 
form with science as it is already be- 
lieved is automatically rejected. 

I don't know whether "miracle cures, 
"ghosts" or “flying saucers” exist. 1 do 
know that the scientific establishment 
has no significant. capacity to study the 
available data. It is more convenient to 
ignore reality when it isn’t understood. 

Gordon's suggestion that some re- 
sponsible activity should be allocated 
to reporting and investigating phenome- 
that do not appear to be in accord- 
ance with what is already known is an 
extremely desirable goal. It wouldn't 


take many “kook theorie: as 
those espoused by Copernicus and Co- 
lumbus—to yield a fairly cost- 
ellecti io. Any substantive 


results i I" areas—such as tele- 
Kinesis, clairvoyance and astral projection 
—would prove the е оГ whole 
new dimensions of knowledge, with pro- 
found implications for both science and 
philosophy. 


Robert J. Jefiries 
Westport, Connecticut. 


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I am grateful to Gordon and to 
rraynoy for publishing Bucking the 
Scientific Establishment. Y hope you will 
keep on this general theme with a treat- 
ment of it every couple of years. There 
is ample material. A good piece could 
be written on how best 10 break through 
with an unconventional discovery. Every 
one who has tied could contribute a 
lot from his experience—especially from 
his own mistakes. Yet another treatment 
could be devoted to those special chan- 
nels and avenues that are open to radi- 
cal new breakthroughs—and how vital 
these are to a society that is increasingly 
dependent upon scientific advancement, 
Gordon certainly made а good beginning. 

]. В. Rhine 
Institute for Parapsychology 
Durham, North Carolina 

Dr. Rhine is well known for his 
ground-breaking work in the field of 
exlvasensory perception. 


THEY'LL REMEMBER APRIL 
Your monthly Pliymates usually leave 
me cold, but April's Gaye Rennie— 
wow! Seldom docs one see such deep, 
luscious, bountiful sexuality topped by a 
1 countenance. 
The Reverend Fred Luchs 
Athens, Ohio 
Until his retirement, Reverend. Luchs 
was a friend and counselor of Ohio Uni- 
versity students. 


virgi 


G nding. I became 


ате 


e Rennie is ошм 


gular PLAynoy reader many years agor 
aud ever since, Гуе noticed quite a few 
15 from Cle 


gatefold ale, California, 


Could it be that Glendale is the Playmate 
of the U.S. 


1 hope so. 
Jorn C. Hammell, Jr. 
Glendale, 
If there is a Playmate capital of ihe 
U. S., it has to be Los Angeles. In the H- 
plus years of вълувоу" existence, the City 
of Angels has produced no fewer than 45 
Playmates. Chicago is number two, with 
‚ and Manhattan ranks third, with 13. 
Your town comes in fourth, with 6—not 
bad for a community of 133,000. 


Califori 


CHUCK WACON 


I was most impressed by the candor 


and depth of your April interview with 
Although thc 


ator Charles Percy 


structure of such a wide-ranging inter- 


view, fairly confined by the limitations 


of space, poses the danger of leaving 


id 
clarified, 1 nevertheless feel it will serve 
"er developing 


ıs undeveloped and views un- 


a useful purpose im fur 
national dialog on many critical issues. 
rLayBoy is to be commended for this 
contribution to the American political 
scene; and Senator Perey must be ad- 
mired [or the courageous lorthrightness 


of his convictions—many of which concur 
with my own. 
Congressman Seymour Halpern 
U.S. House of Representatives 
Washington, D. С. 


After reading your interview with 
Chuck. Percy, I thought I should compli 
ment you on another job well done, For 
years, you have been the number-one 
magazine in the field of sophisticated 
entertainment. Now you're  becomin 
ading for the responsible in 
dividual who wants honest information 


required 


on the perplexing issues of the day—and 


candid views of the thinking of our 

nation’s most prominent. personalities. 
John R. Flippin 
Princeton University 
Princeton, New Jersey 


Percy for President! The тап has 
the youth, the brains and the leadership 
abilites to guide this country back to 
sanity. 1 see no other candicates—Demo- 
crat or Republican—who could qualify 
for this distinguished office as well as 
Percy. 


M. David Allen 
Detroi 


Little has been known about Senator 
Percy other than that he was an ex- 
tremely successful business executive, a 
vole getter and a Christian Scientist 
Your April interview convinced me that 
I could vote for him—if he gets rid of 
those danm garters that he said he tripped 
over їп Vietnam. I hope Robert L. Green 
has a word with him before he hikes his 
trouser leg up on a TV program 


Jim. Henderson 
Sparta, New Jersey 


I thought your interview was a very 
candid and open one and the responses 
typicıl of this oustinding young Sema 
tor. Although Senator Carles Percy is 
considered a liberal and Governor Ron 
ald Reagan a conservative, 1 find an in 
triguing similarity between these men. 
Both are dynamic. energetic, capable 
and very personable public figures. 
Each has a splendid capacity to provide 
succinct, well-thought-out solutions to 


very complex. problems. always suikin 
right at the heart of the issue. Actually 
I really doubt that Percy 
difer substanti: 
men give meanin 
philosophy of providing workable. con- 
structive alternatives while the Demo 
crats are in power 

I think your excellent interview will 
serve 1o introduce an outstanding young 
man to the American public—that is, for 
those who do not already know him. 
Percy would be an excedent candidate 
for the office of Vice-President and for 
the Presidency in the future. I personal- 
ly think he could do as weil as any man 
on the horizon at this juncture; however, 


d Reagan 


ly on most issues. Both 


to the Republican 


BOTTLE IN SCOTLAND. BLENDED SCOTCH WHISKY, 86.8 PROOF. IMPORTED BY CANADA DRY СОВР. , N. Y., N. Y. 


One Scotch is so good 
its the worlds best seller. 


Johnnie Walker Red 


(THE SMOOTH SCOTCH) 


PLAYBOY 


4 


I am aware that it will take time to let 

Americans get acquainted with this very 

capable, dedicated Senator from Illinois. 
Congressman Howard W. Pollock 
U.S. House of Represent 
Washington, D. C. 


Senator Percy responded to 


question by stating that cons: 
such as the Young Americans for Freedom 
"oppose East-West trade because they 


want to draw the Iron Curtain shut be 
tween us and the Communist world and 
engage in a holy w 

The Young Am 


ans for Freedom 
oppose EastWest trade as against 
American national interest. Such trade 
increases the ability of Communist na- 
tions to divert scarce resources to arma- 
ment spending. By helping Communi 
ations overcome their economic de 
ciencies, we not only perpetuate their 
system but, in so doing. provide mo in- 
centive for the Communists to provide 
more consumer goods for their own 
people. To open the Iron Curtain will re- 
quire more than East-West trade. It will 
require that the Communists reco! 
human rights. It wi 
and economic freedom. Finall 
require a rejection of international cor 
nounced and pra 
aims. In 


holy wa 


ast-West trade is founded on logical 
and compelling rcaso 

Arnold Steinberg, Editor 
The | 
Was 


І was readi 
view with that sexy politic 
Percy, in whom I 


аз very 
I candidate, when 
me to his statement supporting Gov- 
ernment wire tapping to solve 
ses. My mind has cha 


І don't 
ator Per- 


Marlene 
Movie Life 
New York, New York 


ne, Editor 


FOR THE BIRDS 


Shoemaker's April cartoon showing a 


man in a phone booth calling the Audu- 
bon Society while being besieged һу 


two fine specimens of Gymnogyps cali- 
fornianus (the rave California condor on 
whose behalf the National Audubon So- 
ciety has worked so hard) prompts me to 
remind your readers that we are not only 
a society of bird watchers but acive in 
all sorts of conservation Bunny 
watchers who would like to broaden their 
appreciation of natural endowments are 
welcome to join us. 

Robert С. Boardman 

National Audubon Society 

New Y New York 


ICY IMMORTALITY 

We were delighted by Len 
gentle gibes at the cryogenic 
movement—in Frozen Stifls, 
April issue. The test of deft sa 
closeness to the truth. Incredibl 


many 
of the situations developed by Kholos 


parallel real considerations in our move- 

nent. The test of the durability of a 

movement is its capacity to absorb a 

npoon or two. PLAYBOY itself is 

naling example of this kind of du. 

And your centerfolds are them- 

selves a most eloquent argument for the 
preservation of bodie: 

Robert F. Nelson. 

Cryonics Society of C: 

West Los Angeles, С 

Mr. Nelson has just authored a serious 

paperback on the subject of сту 
“We Froze the First Man.” 


President 


WEATHER REPORT 
By Jove. I must say that Bobby Nor- 
хоп' ill-fated encounter with lightning 
(Ruth, the Sun [s Shining, PLYBOY, 
April) was interesting reading. Author 
John McPhee deserves praise. Be 
ank! Some people 
are weatherwise, ost are oth 
wise.” Perhaps it would have been bet- 
ter for Bobby if he had been otherwi 
Dave Ludlum, Editor 
Weatherwise 
American Metorologi 
Princeton, New Jersey 


but 


PICK А WINNER 
J. Paul Сепуъ April article, How to 

Pick the Right Man, gave me rea 
sight into the qualities that are de 
for an upperechelon managerial posi 
tion. As an engincering student who 
hopes to one day assume management 
esponsibility, 1 am happy to know that 
the d work and hon- 
a important role. lis 
especially gratifying to hear, from some- 
one as authoritative as Mr. Getty. that 
we who are entering the business world 
can expect diligent work to be ap- 
preciated and. rewarded. 

Rich Heine 

Long Beach, California 


Getty's articles—especially his most re- 
cent one—always manage to breathe lile 
о the corpse of business. И even a 
small portion of today’s young men lis- 
ten to Getty’s advice, business can't help 


but profit, Thanks very much—to both 
PLAYBOY and Getty 
Kenneth Spariano 


Lincoln, Rhode Island. 


Many Americans may read and ac- 
cept Getty's ideas as gospel, but his arti- 
cle is a homible commentary on how 

and sells human beings 


like cordwood. 
Alan H. Schwartz 
Oak Park, Michi 


PLAYMATE CHARM 

I'm writing to request a picture of 
Connie Mason. your Playmate of the 
Month for June 1963. I'm а Marine cor- 
respondent ass irst Marine 
Air Wing in Vietnam. I had been carry: 
ing a photo of Miss Mason for several 
years and considered 
Yesterday I lost it. 

I was sitting in a sand dune typing а 
report when a gust of wind blew the 
photo from my typewriter case. where 1 
always kept ped up to cha 
Seconds later—and I do mean seconds— 
the spot where I had been sitting blew 
up. I had been sitting оп а booby trap. 
The blast destroyed my typewriter, my 
cameras nt. I 
never recovered. Miss Mason's. photo, ei- 
ther, but thanks to it—and the gu 
wind that blew it away—I'm still hi 
ask you for another. If there's any cost, 
ГЇЇ pay it. 1 just want a picture to see me 
through the rest of my time here. 

Sgt. Richard L. Tudor 
FPO San Francisco, California 

An autographed photo is on its way, 

Sergeant, with our compliments. 


SEX IN THE SIXTIES 

The inclusion of two films that I pro- 
duced—The Pawnbroke he Swim- 
mer—in. PLAYHOY'S April installment of 
The History of Sex in Cinema prompts 
me to comment on the excellence of the 
series in general and of the recent chap- 
ular. 1 personally look for- 
ıd to the day when popular films will 


uld be as Pm ic as the con- 
science and concept ol the creators dictate. 
Although such frecdom—which should 
be with us within the next five years— 
will be abused. by a segment of the film 
industry (as it already is), th 
price to pay for the virtues 
accompany it 
Authors Arthur Knight and Hollis Al- 
pert have struck a mighty blow toward 
that end. By detailing the broad history 
of cinematic sex and censorship, in such 
a fascinating and informed manner, they 
have reduced film censorship to a well- 
deserved y- Гуе been tussling 
with censors for most of my working 
life, and they have inevitably proved to 
be among the most frustrated of individ 
uals. 1 am proud that The Pawnbroker 
forced the issue with the Motion Picture 
Industry Code. ended to. I 
hope that The Swimmer pushes the 
door open a little wider 
Roger H. Lewis 


a minor 


for that will 


New York, New York 

Knight and Alpert have produced 
a particularly well-w and well 
researched. presentatio can Inter- 


national Pictures, which, gratìifyingly. 
was well represented in their most re- 
cent installment (The Pawnbroker, The 


Э. First save 
- 1 the diamonds... 
AZA the nsave 


~*the people! 


We're almost three hundred miles The French girl we rescued is still | Nothing must prevent the securing 
into the heart of rebel-held Simba іп shock from the massacre of her of these diamonds. The 
Territory. Our destination is the family. She's beautiful but any ani- C. Simbas have sworn to kill 
town of Fort Reprieve which the mal among you who lays a hand on ee us and United Nations jets 
Simbas are set to attack and de- her will be executed on the spot. have even been senttostopus. 
stroy; The white inhabitants face "The odds against staying alive for 


certain slaughter...but your pri- 
mary mission is to gain posses- 
sion of $20,000,000 worth of < 
uncut diamonds before 
you even attempt to save 

a single mañ or ошап о 


the next couple of days are impos- 
sible. But we have one thing going 
for us. We're not human beings. 
We're mercenaries—and we get 
paidito do the impossible. 


M 


Ey World War II 
b had its “DIRTY DOZEN”... 
“aN The strife-torn Congo 
Э nas its MERCENARIES . 


METRO GOLDWYN MAYER escis A GEORGE ENGLUND PRODUCTION sting 


ROD TAYLOR: YVETTE MIMIEUX ЈІМ BROWN 


м Sever ty IS 
KENNETH MORE ime 


тишн Ф "оч 


15 


PLAYBOY 


16 


Trip, The Wild Angels. for instance), 
has always endeavored to keep a sensi- 
tive cinematic finger on the public 
pulse. Since launching AIP with the 
highly successful beach-party films men- 
tioned in their article, we have been 
keen students of today’s social mores. 
We have been particularly impressed by 
the new generation's specific avoidance 
of hypocritical attitudes and its real 
mend toward moral permissiveness. We 
believe that our society has mo 
come of age—and so has the cinema 


As a student of Ameri 
find its filn fascinating 


taking place im our society —and the) 
point to a time when many of our 
1 neurotic notions will be as outdated 
as silent films. My thanks to pLavsoy for 
publishing this important document. 
Jon Frederick 
Baltimore, Maryland 


SMART MONEY 

The March article by Michael Lau- 
rence, Beating Inflation: A Playboy Prin 
cr, certainly gets this reader's emphatic 
applause. Laurence's style is both cor 
cise and lucid, and more than that, he 
objective. Arcane facts of the financial 
world were so well explained that I 
found myself for the first time able to 
understand them. For instance, his clear 
and relatively brief explanation of con- 
vertible bonds gave this reader his first 
accurate idea of what they are and how 
they work. 


. Meese 
Maryland 


Norman 
Kensington 


I have just read Mich: 
piece on beating inflation. 
more than a primer; it's a really very 
good comment on the whole inllation 
process. I'm not sure how much richer any- 
body will be as the result of following hi 
advice, but certainly his suggestions are 
much more sensible tha 
ance to avarice and enr 

John Ke 
Harvard University 
Cambridge, Massachusetts 


Inflation is one of the several spooks 
now haunting the American citizen. 
Meanwhile, the everyday forces of home 
and school. glowing advertisement and 
ida have continued 


frugality and money in the 
piggy bank are the watchwords fo 
successful. career—and. a secure and 
py retirement Under present 
stances, this philosophy can tum out to 
bc a cruel deception to those who swal- 
low it For this reason, Beating Inflation, 


by Michael Laurence, was very much to 
the point and long overdue. It did not 
disclose any easy ways of coping with 
inflation, since there are no casy solu- 
tions. But it pointed out various tactics 
by which pe to hold the 
line against crosion of his life savings. 
The main contribution of this article is 
that it brings the whole problem out 
the light, illumi g a great deal that 
has been swept under the rug by well- 
intentioned businessmen and bureau- 
cras. It will help readers, especially 
younger readers. to plan their futures 
with a more realistic understanding of 


what they are actually up against. 
John Magee 
Springfield. Massachusetts 


Mr. Magee runs а stockmarket advi- 
sory service, and is co-author of “Tech- 
nical Analysis of Stock Trends?” the 
definitive text on predicting stock prices 
by chart reading 


Inflation is a favorite subject of mine 
and I wish to congratulate PLAYBOY on 
this magnificent article. It is by far the 
best I have ever read. I have checked out 
a number of Laurence's comments. with 
people who were in Germany during the 
inflation, with people in the realestate 
css, with brokers, ctc., and they all 
heartily with what he said. [s it pos- 
sible to buy reprints of this piece? 

Walter H. Brent 
New York, New York. 

Reprints are available at 20 cents 
cach, postpaid, from PLAYBOY'S Reader 
Service Department. 


ar. PLAYWOY publishes [our or 
five issues that are truly extraordinary. 
With no intention to demean the other 
ues, these four or five seem, to me, 
п cd by the touch of excellence. Your 
August issue was onc, and your March 
issue, another. Both contained articles by 
pLaywoy Senior Editor Michael Laurence. 
I found the latest of these—on inflation— 
to be particularly good reading. Its scope 
was impressive, its depth was adequate to 
cover most of the thorny problems 
volved in hedging against inflation and its 
presentation, lightened by a fine 
transformed а somewhat morose theme 
truly enjoyable reading. 
James V. Facciolo 
Brookline, Massachusetts 
Lawrence's August 1967 article, "Play- 
boy Plays the Commodities Market,” re- 
cently won the prestigious G. M. Loeb 
Award, a $1000 prize given annually by 
the University of Connecticut for a maga- 
zine article “of special significance in re- 
porting and interpreting the interplay of 
economic forces in the United States and 
in the world. 


Every y 


Considering how technical the subject 
is, Laurence’s article was very well pre- 
But ] disagree with him on at 


t one point. Inflation not only de- 
flates bond yields but also makes inroads 


the bank, stocks, dividends. 
salaries, realestate values and every- 
thing else expressed in dollars. OF cour: 
% desirable for the investor to find 
something, aything at all, that will 
value, but this is 


over the medium term, creates profit op- 
portunities automatically. In a study I 
made a year or so ago. the statist 
cated that the stock market did best in 
times of no inflation and rather shakily in 
times of both pronounced inflation and 
pronounced deflation. All of this, of 
course, is highly debatable. However. 
we know that in the past three years, 
that is, the latest period of inflation, the 
stock market has averaged out much 
more poorly than in the carlier years of 
stability. 


Sidney Homer 
Salomon Brothers & Hutzler 
New York, New York 
One of the country's leading author 
tics on bonds, Mr. Homer is author of “A 
History of Interest Rates.” a weighty and 
witty discussion of interest vates the world 
over, from 2000 w.c. to the present. 


1 certainly enjoyed Sol Weinstcin’s 
tongue-in-cheek guide to making it with 
wology-minded chicks (The Playboy 
Horoscope, April. 1 wonder if We 
stein would care to predict the possible 
fate of a household I've been try to 
set up—a ménage à trois involving a 
Aquarius (myseif. a succulent Pisces 
and а luscious Scorpio. 
"Tom Beam 
New York, New York 
A household you won't 
umbo—mazel tov.” 


Seer Sol say 
make. But a seafood t 


Sol Weinstein’s proposal that. astrolo- 
gy be used to plot the seduction and ru- 
ination of sweet innocent girls is surely 

in caddishness. If 
h ever crosses minc, I рег 
ke с he gets th 


sonally will 
horsewhipping he deserves. 
Dick West 


United Press International 
Washington, D. C. 
Reporter West's by-line an humor sto 
ries emanating from the capital is well 
known; Sol hopes he's writing facetiously 
here as well. 


Now that Weinstein has given us the 
wherewithal to seduce any girl. as long 
as we know when she was born, 1 think 
PLAYBOY owes it to its readers to provide 
the birth signs of all future Playmates, 

Bill Mitchell 
Liule Rock, Arkansas 

AIL right, Bill: Aries, Taurus, Gemini, 
Cancer, Leo. Virgo, Libra, Scorpio. Sagit- 
tarius, Capricorn, Aquarius and Pisces. 


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in a tight squeeze. 


Limes are for squeezing. So you can imagine what can happen to you 
now that Hai Karate® After Shave and Cologne come in a potent lime 
scent. Your girl can get carried away. And do squeezy things to you. 

That's why we have to put instructions on self defense in every 
package. Just like we do in regular Hai Karate. 

And, best of all, limes are also for cooling. So Hai Karate Oriental 
Lime's breezy feeling will help you stay cool through practically any- 
thing. Even strenuous acts of self defense. 


HAI KARATE ORIENTAL LIME — be careful how you use it. 


Indispensable 

instructions on 
self defense in 
every package. 


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17 


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smoothness, gusto, and aroma, without "beer bite." This is f 
pure beer. This is Schlitz. The beer that made Milwaukee famous. | 


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m 


PLAYBOY AFTER HOURS 


t holiday season. we jokingly pre- 
sented a new interpretation of The 
Night Before Christmas as it might appear 
to a dedicated disciple of Timothy Leary 
Well, as the saying says. it’s impossible for 
satire to keep up with reality these days. 
‘The following is from a dead-serious 
article, “A Psychiatrist Looks at Jack and 
the Beanstalk,” by Phillip Epstein, M. D., 
in The Book of Grass, edited by George 
Andrews and Simon Vinkenoog: 
The predominant image is one of a 
miraculous and powerful plant which 
provides the means to experience the 
truths, insights and perspectives attend- 
ant to a new level of reality or altered 
of consciousness. Jack and the 
Beanstalk is thus а narrative of a psy 
chedelic experience. The correspondence 
between the beanstalk and a plant such 
as marijuana is too close to be strictly 
fortuitous. One may argue that the magi- 
cal seeds which Jack receives from the 
mysterious old woman are not hemp 
seeds but, for example, morning-glory 
seeds; however, this point is academic. 
What is of importance is the fact that 
the plant takes Jack to new heights of 
awareness and reality which enable him 
to live a rich nd fuller life. 

“As he climbs ‘higher and higher.’ he 
experiences aching limbs and fatigu 
indications of the physical—somatic 
pects of the psychedelicdrug experience. 
Having reached the heights, he again 
meets the gurulike old woman who is of 
both worlds. Jack makes his way through 
the new reality-fantasy world and sees the 
extremes of horror and evil and truth and 
beauty with remarkable clarity. 

“Jack visits this world three times, 
each time advancing to a greater level of 
awareness. At each successive level, the 
horrors and encounters with the evil ogre 
are more dangerous, but the rewards and 
treasures which he brings back are incrca 
ingly more beautiful. He is really not 
content until his third ‘trip when, re- 
turning with the most treasured singing 
harp, he has his ultimate confrontation 
with the ogre. In slaying the pursuing 
ogre by chopping down the beanstalk, 


state 


Jack also destroys his means to the other 
world and thus accomplishes his final re- 
entry. In the context of the obvious con- 
ventional materialistic and capitalistic 
images of good and evil, he is able to 
function on a higher plane of reality by 
virtue of the experiences allorded by the 
magical plant. 


Unflagging reader interest in our search 
for terms to describe a man's loss of job 
in a manner pertinent to his profession 
(the first list appeared in May of 1967, 
the sequel in October) has prompted us 
to add a few more. We've realized, for 
instance, that gasstation attendants who 
allowed themselves to become imMobi 
lized inevitably be enGulfed. 
Footsore podiatrists. it has also occurred 


would 


to us, should be summarily defeated, 
mink farmers deferred 
1 agents detoured. In 
the political world. undiplomatic amba: 
sadors could be dislodged. leaving them 
disconsolate: amd civil rights workers 
who failed in their duties might well be 
i мей. Intellectual. pursuits, 100. 
present unique hazards: Puerile poets 
could be unDonne, deFrosted or im 
Pouded—but should the quality of thei 
work improve, their downward journey 
could be reversed. logical philosophers 
would doubtless be exHumed or deKanted; 
orchestra conductors with no sense of 
rhythm could (like their audience) be 
disconcerted, and writers who overin 
dulged in blasphemy would certainly be 
discussed. In baseball a fumbling 
infielder could be debased—but should 
he win back his managers favor, he 
could then be remitted. Poetry and. the 
national pastime, of course, are 
the only trades that suggest appropriate 
means of reinstatement as well as of dis 
Depleated tailors might somed 
be repressed; delivered butchers could 
be revealed, and extolled bell ringers 
could be repealed. Discharged dec 
wicians could be totally revohed—if 
they're not refused instead, But while 


moth-eatei and 


down-tripping tra 


not 


debunked prostics might bc revamped, 


we don't see much hope for gardeners’ 
daughters once they've been deflowered. 

Poster spotted in a roadside shopwindow 
on U.S. Highway 26 in Wyoming: NEW 
AND USED ANTIQUES. 


An ad for the film Love Is My Profes 


sion in the Sarnia, Ontario, Observer 
straightforwardly announced: NAUGMIY, 
NAUGHTY BRIGITTE BARDOT IN HER MOSE 


FAMOUS ROLL. 


Spearheading its current drive to beef 
up the English economy by encouraging 
people to buy British, the Labor govern 
ment T-shirts emblazoned 


js exporting 
with the Union Jack and the slogan гм 
BACKING BETAS, The shirts are, gorblimy. 
made in Portugal 

Our vote for sloganeer of the year 
goes to the inventive campaign manager 
who dreamed up the following ad for his 
client in the Vermont Bennington Ban 
ner: “Shaltsbury Voters—Vore for Kevin 
O'Brien for Cemetery Commissioner. Lo- 
cal. young and aggressive man. Will bring 
new life to this important position." 


Truth in Adverlising Department, Sex- 
ual Revolution Division: Bonwit Teller 
has sent its customers a flier showing the 
latest in luggage. Included is a garment 
bag big enough only for overnight trips 
tagged by the ad as the "One Night Stand.” 


A usually reliable informant from 
down under writes that not long ago. a 
fellow Aussie returned to his parked car 
and found the fender badly crumpled. 
Thoroughly piqued, he looked about and 
spoued а note on the window, re- 
questing that he call the number listed 
for appropriate compensation. Rushing 
to a phone, he called and listened 
recorded voice answered: 
your Dial-A-Prayer service.” 


a 
‘Welcome to 


Advertising in the student paper of 
Willamette University, a motel in Seaside, 


19 


PLAYBOY 


20 


Oregon, offers students 20 percent off 
posted rates and promises them "peace 
and quiet" in a decor described as 
passionate red." The inn’s name: The 
No-Id Motel 


Achiung! SportShip, a German manu- 
facturer of yachts, uses as its symbol the 
identical doubleletter symbol employed 
by Hitler’s infamous 55 troops. 

The southern Ohio edition of TV 
Guide tuned in regional viewers on Alfred 
Hitchcock's Psycho with the following 
synopsis: “A boy runs a small motel while 
taking care of his mother. 

An eye-popping sign, spotted in a New 
York optometrist's window, promises that 
your orbs can be EXAMINED WHILE YOU 
WAIT. 


Wartime Intelligence, Fleshpots of the 
Orient Division: In a South Vietnamese 
government move to clean up Saigon. a 
bill aimed at legalizing  bawdyhouses 
was proposed by the minister of social 
welfare, who's appropriately named Ngu- 
yen Phuc Que. 


Cuveat Emptor Department: The “Life 
long Proctor-Silex Iron" is guaranteed by 
the manufacturers for one year. 


Let those who believe corporations 
are cold and impersonal take note that 
somcone at the Illinois Bell Telephone 
Company provided the Chicago Sanitary 
District's Calumet Pumping Station with 
the phone prefix PU, 


"has caused 


Co. 
the number of babies born each year.” 


According to Insiders Newsletter, a 


antial drop in 


Georgia rabbi attempted to quell an in- 
coming flood of junk mail by inscribing 
DECEASED on the envelopes and sending 
them back. He had second tho 
about the scheme, though, when hi 
received a lener olfering to sell her а 
tombstone. 


Our New York correspondent sent us 
this latest hippie slogan spotted on a 
piece of outdoor sculpture in New York's 
East Village: GIVE ME LIBRIUM OR GIVE 
ME METH. 


With commendable modesty, the edi. 
torial prolog to one issue of the trav 
el magazine Venture stated that “Once in 
every century а moment occurs to change 
forever the lives of everyone livi 


"The current. issue of Venture is not that 
moment. But while you wai 2 


For the man who's been everywhere: 
Among the 21 points of tourist interest 
listed in a Chamber of Commerce 
from Wabeno, Wisconsin, is thc 
o Town Dump. 

We bestow our Candor Beyond the 
Call of Duty Medal upon the Wellesley 
College housemother who informed the 
girls in her charge that hencefo 
would be rung ten minutes prior to the 
end of visiting hours “to allow the young 
men sufficient time to withdraw." 


BOOKS 


When Тап Fleming died, his super- 
agent James Bond was riding the longest 
wave of success the book and movie 
dustries had witnessed in many а у 
Pitting vim and wile against sMERSH 
and srrcrer, tangling with the dislikes 
of Goldfinger and Dr. No, 007 captured 
the best-seller lists time and again. It is 
iot astonishing, therefore, that James 
Bond should 1 nied a new 
lease on life. The reincarnation is ac 
complished in Colonel Sun, o Jomes Bond 
Adventure (Harper & Row), by Robert 
Markham, beuer known as Kingsley 
Amis—perhaps this publishing season's 
least pseudonymous pseudonym and thus 
hardly in keeping with al in- 
trigue. Since the story line—involving 
Colonel Sun of the Chinese People’s 
Army—is standard Bond, it's more inter- 
esting t0 note where Fleming's genes 
leave off and Amis’ plastic surgery he- 
gins. Two discernible departures: First, 
while the original Bond never seemed to 
wonder whether his ends were worth his 
devastating means, the reincarnation 
takes time out to philosophize. Compar- 
life of the West with 
of the 
concludes: “There were still two sides: a 
doubtfully, conditionally right and an 
unconditionally,  unchangeably 
Thus, the birth of the thinking man's 
Bond. Second. he not only seduces a 
luscious hot-pants before, during and 
after his adventure but develops what 
could almost be called a decent relation- 
ship with her—and shes a Russian 
agent. In the course of this intermittent 
ly thoughtful new life, Bond also finds a 
second or two to wonder aboi 
fate of pawns in the great 
spy game. All of which poses the ques- 
tion: Does the infusion of a soul into 
James Bond's body take some of the piz- 
zazz out of what had become high-camp 


yet suspenseful puton? For some. no 
doubt; but others will find 007 mar- 
ginaly believable hough perhaps less 


g- In short, the rumors of Bond's 


death are greatly e Yet for 


dazali 
ted. 


those who remember their Bondage 
with pleasure, it may seem that—like 
Sherlock Holmes after his plunge over a 
waterfall with Moriarty, and like La 
mus his brush with death—their 
hero a't quite radiate his pre 
rein ion charisma, Amis docs provide 
Bond with a new switcheroo, however. 
In this book, he's involved in a British- 
Russian fictional entente; it's the Cl 
coms who are the villains, Should the 
ht of a tough British agent play- 
sie with the Soviet apparat seem 


after 
doe: 


this was a standard Eric Ambler ploy 
in those innocent pre-Bomb, pre-Bond 
days before the Iron Curtain fell on the 
British lion's forepaws. But don’t accuse 
Amis of borrowing from Ambler; even in 
his heyday, there was nothing really new 
under the Sun Yatsen: History reminds 
nd the bear were able 
to line up and bear cach other when 
George V and the czar were allies in World 
War One. 


The pattem of the classic hierarchy, 
Antony Jay writes in Management and 
Machiovelli (Holt, Rinehart & Winston), 
i an at the top, with three below 
him, cach of whom has three below 
him, and soon . . . unto the seventh genera- 
tion, by which stage there is a юм of 
729 junior managers and an urgent need 
for a very large triangular piece of pa- 
per" Unlike most students of man: 
ment, Jay doesn't go on paperig 
chases; he's not interested in what 
should happen in the corporate struc- 
ture but in what actually does happen. 
ment 
art of 


He secs the new science of manag 
tion of 


the old 


ness success, says Jay, management 
studies should focus on the relationship 
between ki nd barons, reformation 
and counterreformation, courtiers and 
schisms and empires. In this view, a 
study of Tudor England is more rele- 
nt to an understanding of General 
Motors than systemsanalysis would be; 
the executives of Standard Oil would do 
better to scrutinize the conllict between 
Luther and Loyola than to bone up on 
cost accounting. Recent polls i 
that fewer and fewer college graduates 
are interested in business careers—per- 
haps because, as Jay points out in this 
shrewd and witty work, corporations too 
often offer sterile security thinly disguised 
as “exciting challenge," or because 
ganization man" implics that the white 
colla nd of tourniquet applied to 
the neck. The most encouraging aspect of 
Jay's book is his convincing argument that 
not conformity d efficiency but “origi 
nd creativeness" are the keys to good 


па 


Expect action with Yamaha's virile new “twin,” the 180 Street Scrambler. This one 
was built to separate the men from the toys — at a price that won't bruise the tender- 
est budget. The doll you're dallying with may not understand talk such as 5-port 


SEE YAMAHA IN ACTION 
IN PARAMOUNT'S 


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power, constant mesh 5-speed gearbox and automatic oil injection. Then again she 

may. But after you've got her there on your 180 — who wants to talk? BABY 

Your local Yamaha dealer can introduce you to the means. The method is up to you. STARRING 
MIA FARROW 


A WILLIAM CASTLE PRODUCTION 


T While you're there, ask him for your free copy of 
Yamaha's brochure featuring all 20 Exciters for ‘68. 
Or write: P.O. Box 54540, Los Angeles, California 
90054, Dept. PB-7-8. Canadian distributor: Yamaha 
Division of Fred Deeley Ltd., British Columbia. 


INTERNATIONAL CORPORATION Since 1867 


21 


PLAYBOY 


agement, and that the increasingly 
corporate nature of our society, far from 
owing the opportunities for the exer- 
cise of personal initiative. has actually 
opened up business to the expression of 
idividuality and broadened the posibili- 
ies for leadership. 


In a time of troubles, what could be 
more appropriate than for the artist to 
commit his art to those troubles? Nat 
Hentoff does just that in his third. slim, 
funny. up-tight novel. Onwards! (Simon & 
Schuster). Aaron Phillips is the conscience 
wd consciousness of the authors stor 
a middleaging prolessor, a liberal base 
toucher who is no longer sure where the 
bases are or if he is even in the ball game. 
n with doubt. There's Le- 
vine, his bête noire student, who wants 
no les than 100-percent involvement 
from the prof on Ч 
There’s Gus amd Carberry, nonviolence 


Voices pelt hi 


ausaders who preach love to black mili- 
ts like Blue Carter, who answers, 
“We're going to take some cities for oi 


d the blood that's spilled while 
we're taking them, that's going to be the 
glue that makes us a nation." And there's 
Kate. Aaron's wife, a kind of modern L: 
sistrata, whose sexuality responds invers 
ly to male madness. There are others, too, 
cach representing an attitude or an ide 
on the fragmenting mess in which we 
live. Hentoff has caught the mood and 
language and irony of his selected. prob- 
Jems so that they fairly breathe with 

mediacy—but one breath more and the 
whole thing ip into the past. Can 
the passion present about Vietnam whe 
this book was written be relevant when 
the reader picks it up six months or a 
year from now? Richard Wright's Na- 
Son still tells more about the inner 
n of the Negro than all the pres- 
Я himself, rather than the 
issues he espouses and embodies, is the 


selves, а 


„п 
is n даа that Onwards! attains 
excellence when it transforms. ideology 
to flesh and blood. There might have 
been more such alchemy. 

Stephen Birmingham's last book was 
Our Crowd, a cultural history of New 
York's Jewish elite. Perhaps to prove his 
impartiality, Birmingham's new work, 
The Right People (Atlantic-Little, Brown), 
lyzes the gentile social establishment 
ying bare the man- 
hose who count,” the 
author is seeking to make clear the lines 
that demarcate real society from nouveau 
society, the “older, better people" from 
the moneyed arrivistes. In the course of 
this endeavor, Birmingham touches on 
such aspects of high society as its prep 


an 
in this country. 


schools, debutante balls, sports, ro- 
manes, clubs, houses, communities, 
playgrounds and pleasures. He treats us 


to a trove of fascinating facts and anec- 


dotes about the right people in. for the 
most part, N Boston, Philadel 
phia and S: isco. We learn. for 
example, of the woman who ordered her 
sv pool to be built like a long cir- 
cular canal through her garden. because 
she did not like to have to turn around 
in the water. We are told of the 400 
canaries, scheduled to be let loose at a 
coming-out party, that were fed a special 
seed. mixture beforehand to induce con- 
stipation. Much of the book indicates that 
y is still snobbish, out of touch 
ity and living a highly circum- 
scribed amd prejudiced lile. Yet, in the 
end. Birmingham seems to subscribe to 
the theory that generations of wealth 
and breeding do make some people bet- 
ter than others. “People in Real Society 
know that their world is very much 
alive," he observes. “But they don't think 
it is quite polite to say so. 


Some books that might prove boring 
if read from cover to cover turn out to 
i 1 when they 

simply used for browsing. Such is 
cise with The Oldest Profession (Stei 
Day). written by a European journ 
who uses the pseudonym Lujo Ba 
mai This history of hookers. from a 
cient Greece to the Soviet Union today. 
contains a wealth of fascinating detail 
pout the business of pleasure as it has 
been practiced over the centuries. In 
the Middle Ages, for example, ато! 
whores roamt the country: 
were the 
The “crazies,” by pretending to be lunatics, 
could throw fake fits and so expose them- 
ial customers. The "suip- 
pers” enough to pass as wa 
and thus could wander 
naked, an inducement to 
terested in giving them a little 
charity. Bassermann ther sens 
izes his material nor moralizes about it. He 
tells of the profiteering of the Church, 
which rented property to the prostitute: 
the recruiting of Semitic and Oriental р 
exotic additions to the white-slave 
"rade; and the curious customs that ei 
abled lower-class English girls to master 
social skills as paid mistresscs and then 
marry into the nobility. On the subject of 
French whores, Bassermann notes tha 
their contribution to the French Revolu- 
tion included d ked before the 
troops, to any soldiers 
ng to desen the king. The Oldest 
Profession may not be textbook history— 
but it offers a number of choice footnotes 
Donald Barthelme's previous works— 
Snow White, a novel, and Come Bach, 
Dr. Caligari, a collection of short stories 
—demonstrated conclusively the wealth 
and inwicacy of the authors imagina- 
tion. He swelled with new forms of non 
communication, gathered to h 
cult of couvadeers and. in 
to nothing, proved the validi 


private 


creative condition. In his latest collec 
tion of short stories, Unspeakable Practices, 
Unnatural Acs (Farrar, Straus & Giroux), 
Barthelme increases his nonbrood by 15 
stories, cach a lusty sibling showing a 
marked resemblance one to the other and 
to all that have gone before. The distin- 
teri is the 
to scurry like quicksilver be 
tween the spaces of rationality, leaving 
the reader with the frustrated sense of hav 
ing just missed what a little more nim- 
bleness of mind would have permitted 
'ometimes, as in The Balloon. 
s that one has come breath. 
lessly dose to understanding, that perhaps 
the symbol of a gigantic balloon floating 
all over Manhattan has meaning; but one 
can always depend on the author to wind 
p the tale in favor of incomprehensibil- 
ity. There is one story that might prove 
prophetic between now and next Nover 

ber: Robert Kennedy Saved from Drown. 
ing is its title and it draws a shimmering 
line between fantasy and the reality that 
is pageone news all over the country, In 
Il of Barthelme's stories draw 
shimmering lines between fantasy and 
the evidence of one's senses. They are 
the author's fantasies, to be sure; yet in 
some surreal way. they have to do with 
erybody's evidence: the evidence of 


advertising, the evidence of the Pent 
gon, i 


the evidence of “peace off 


to Schubert 1 
how the world will end. Perhaps it is 


necessary to run mad for a while, the 
author seems to be saying, before at 
m" nything serious. No one runs 


mad better chan Barthelme. 
For n 
Mumford 


ly half a century. Lewis 
has been telling us that we 
are building cities unfit for human 
tation. Like all prophets who bring b 
news, he has been either ignored or mi 
read, with the result that our cities а 
fast becoming, well, unfit for human 
habitation. In The Urban Prospect (Har 
court, Brace & World), he brings forth 
some of his old essiys in which he pre- 
dicted the present mess and a few new 
ones in which he prophesies that things 
will get even worse before they get bet 
y ever do. Mumford's humane 
is that in building both cities 
nd suburbs, we have blindly followed 
the dictates of money and machines 
while ignoring the needs of people. 1 
consequence, we have succeeded in po 
soning our air, polluting our waters and 
cluttering our open spaces with acres of 
cars and concrete, Mumford prefers urban 
life. with its attendant disorder, to the nea 


ol suburbi all the life 
squeezed out of d to mature 
lovers and to lovers in general, he de- 


plores the new cities of glass because 
m privacy and blot out the si 
“What lovers need.” Mumford reminds 


“Т don’t know 
who he is, 
but he just 
ordered Je D^ 


RARE SCOTCH 
POURS MORE PLEASURE 


d Pennies More In Cost, Worlds Apart In Quality 


From Justerini & Brooks, Founded 1749 


23 


PLAYBOY 


24 


can easily lose themselves and get away 
from the presence of others" What we 
need to do, he insists is build new 
towns and rebuild old towns on a hu- 
тап scale, full of variety but free of 
congestion. He doubts we will do th 
The billions of dollars we are now think- 
g about pouring into the cities will be 
billions down the drain. says Mumford, 
“supporting and inflating with public 
funds an assemblage of private corporate 
megamachines.” He accuses these mega- 
machines of superintending "an anti-lile 
economy, every part of which is elaborate 
ly oriented . ©. toward death. Witness а 
regime that spends 57 percent of its budget 
every year for military purposes, and has 
only six percent available for education, 
health and other social services." Lewis 
Mumford continues to tell it like it 


Over a decade ago. Brian Moore's 
first novel, The Lonely Passion of Judith 
Hearne, was all but acclaimed an in- 
stant classic. Since then, Moore's. novels 
have hewed close to the unusually high 
standard he set for himself. I Am Mary 
Dunne (Viking) is no exception; although 
not Moore at the very top of his form, it 
is still far better th no Moore at all. 
Mary Dunne is a thrice-married Cai п 
lass from Nova Scotia who, in the course 
of one particular 24-hour period of pre- 
menstrual tension, suffers through an iden- 
tity crisis of major proportions, during 
which the flotsam and jetsam of her life 
flow by: her first iage to a boy too 
inexperienced 10 satisfy her in bed: her 
involvement with a Lesbian танап; 
her second marriage to an alcoholic war 
correspondent also incapable of reaching 
her sexually: and her affair and marriage 
with a worldly British playwright in New 
York with whom she finally makes it. But 
still suffering the pangs of guilt left over 
from a Catholic girlhood, she blanks out 
now and then on just who she is 
what she become. But this time, at 
it seems she will hold omo her 
y until her month's blood 
begins to flow—her payment, in a sense, 
for her sexual happiness. What keeps this 
tale from degener то soap suds is 
author Moore's clean treatment and im- 
peccable style. And the theme, too, is 
important: the high price one must pay 
for reconstituting one’s self in order 10 
achieve ultimate success as а person. 

The Money Game (Random House), 
Adam Smith, is not recommended for 
myone interested in making a million 
dollars the stock market between 
now and next iday afternoon. But for 
those who would like a sharper focus on 
Wall Street and who don't want it deliv- 
ered in the sleazy style of the horse 
this book is a sound long-term 
ment, Adam Smith is th 
of an irreverent ider who can write. 
He looks into the stock exchanges and 


out, 


invest- 


pseudonym 


brokerage houses and 
gambling dens catering to mi 
speculators who are trying slyly to s 
a buck out of one another's hides. Many 
of these traders are so addicted to stock 
playing that they can't even cut out 
during market slides. But Smith is no 
scold. The Street is his game, and his 
zest for it comes through as he describes 
the adrenaline adventures of the high- 
risk fund managers, each of whom must 
demonstrate with each quarterly f 
Gal statement that he has outguessed the 
other manager. He also explains, with- 
out mysticism, what chartists and analysts 
do, how accountants can jimmy corpor 
tion balance sheets to make a drab per- 


formance shine and how some clever heads 


are tuning computers in on ticker tapes to 
try to spot large-block trades insta 
ly, so they can pump big money 
quick kills. Odd-lot theories, short selli 
bear traps. gold speculation, the manip 
lative power of the multimillion-dollar 
funds—it's all here in speculators Tan- 
guage. And it's all directed toward Smith's 
thesis: “The object of the game is to make 
money, hopefully a lot of it” But he warns 
that the first rule of successful game play: 
ing demands close-blinkered 


ely to be among the most 
successful, because you are competing with 
those who do find it so absorbing.” For 
the truly dedicated, The Money Game is 
blue chip. For a less lively but highly in- 
formative view of the market, oriented to 
the serious investor, get The Anatomy of Wall 
Street (Lippincott), edited by Charles J. 
Rolo and George J. Nelson 


It is a little sad to learn that simba is 
not really the king of beasts, that the 
rhino's charge is the result of cowardice 
and myopia rather than bravery and that 
the hyena is a fine fellow, indeed, with a 
respectable mission in life; but it is for- 
пише that the man who does this de- 
bunking replaces fancies with realities 
much more fascinating. Jean-Pierre Hallet 
is an old African hand: He is a blood 
brother to several tribes, has speared his 
own lion singlehandedly (literally. for his 
right hand had been blown off by a dyna 
mite explosion) and lived alone for 18 
months with the Iuri Forest Pygmies 
With collaborator Alex Pelle, Hallet told 
much of his own story in Congo Kitabu 
(see Playboy After Hours, February 1966). 
Now in Animal Kitabu (Random House)— 
kitabu being Swahili for "book"—Hallet 
Шу profiles the major animals that 
Africa's vast stvannas and 
jungles. His main characters are the 
hunters’ “big five"—the leopard, the lion 
the Cape buffalo, the elephant and the 
rhino; in featured roles are the hippo, 
the crocodile, baboons, chimpanvees and 

г creatures are not over 
author informs us, 
are sexually ambidextrous and may be 
hermaphroditic, whereas giraffes are open- 


у 
dominate 


ly homosexual. Hallet is not satisfied 
merely to pass on such piquant observa 
tions. He is viciously accurate in his 
tacks on safari “sportsmen” who will 
kill from safety with the help of a heli- 
copter, simply to take home a wastebasket 
made of an clephant's foot or a fly whisk 
fashioned from the tail of a giraffe. He 
slashes scornfully at human beings who 


consider animals (other animals, that is) 
as mere meat. He is at once the Boswell 
of beasts 


whose “intelligence might be recogni 
as human if they composed singing com- 
crcials, counted calories . . . falsified 
their tax returns, built the Bomb . . . 
sobbed out their troubles on a psychia 
uists couch and tried to escape from 
all with LSD.” 


Shoot m (Atlant 
tough first novel by Paul Tyner, takes a 
hard and frequently funny look at Amer- 
ics subbourgeois city dwellers. Herby 
Rucker. a good-looking young cop whose 
aimless life consists mainly of hanging out 
in poolrooms and neighborhood bars, 
corners a Negro purse snatcher in an alley, 
forces him to SY, "It's not whether you 
win or lose, it's how you play the game, 


a 


amd then—for no apparent reason— 
shoots him in the head. When the mur- 
dered man's widow sues Herby for 


53,000,000 (on the strength of a surprise 
teenage witness), the book superficially 
s on the aspect of an odd thriller; but 
Herby doesn't behave like ап accused 
killer. Neither vicious nor crucl, he has 
simply been caught in a life game with 
out knowing all the rules. Feeling no real 
ilt about the act, and not even consider- 
ing it important, he ties to Gury on the 
haphazard business of life as usual— 
drinking, shooting pool, falling slightly 
love with а way-out member of the weck- 
end hippie fringe. Herby is at once pawn 
and conscious down and he moves 
through a world that offers as much ge 
wine comedy as emptiness. Tyner ulti- 
mately blames not Herby but a system 
that forced him toward alienation and 
spiritual impotence for the murder. Shoot 
H is а hip morality play about what hap 
pens to concepts such as justice and virtue 
in an environment ruled by gut. pragma- 
tism. Tyner writes like James T. Farrell 
looking through the cyes of Nathanael 
West. and the result is ап unflinching 
account of eclectic ethics—street style. 


ау some s 
Two more have recently. ar- 


have mice. 
rived on the scenc—Maigret and the Head- 
less Corpse and The Confessional (Harcourt, 


Brace & World). The first is an Inspector 
Maigret novel; the second, a straight psy- 
chological novel sans Maigret. Like all of 
Simenon's work, these two small books 
proceed inexorably to their psychological 
conclusions, and on the way, we learn a 
lile more about the particular psyches 


A cigarette... 
isa 


Cigarette... 
isa 
cigarette... 


(Except this one) 
this ones a Kool, 

the only cigarette with 
the taste of extra 
coolness. 


©1968, BROWN A WILLIAMSON топлссо CORPOR 


THE BEAT OF THE BRAS 
HERY AGPERT à 
THE THLANA BESS) 


PLAYBOY 


зз. Риз. Love Me 
Ter times, unsapay 
Shi. ett 


perra dj Sinon 
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‘Moontight 
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4872. And 1 Lova, 
Пу Me Ta The Mo 
Daydream ate 


UP. UP АКО ANAY 


Are: Leam 
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27 


PLAYBOY 


28 


and milicus on which Simenon has trained 
his penetrating powers: in cach, we learn 
a litle bout the twistings of the 
mind and the heart beset. The Maigret is 
grim tale of a headless corpse found i 
the Seine and of the strange yet touchir 
characters whose destiny led them to put 
©. The Confessional is the story of 
а young man, just beginning to delight 
the company of une jeune fille en fleur, 
who learns to his shock that his mother 
has embarked on a similar adventure, al- 
beit with a member of the opposite sex. 

с in fairness to the reader, and per- 
haps to ion himself, it must be noted 
that neither of these novels represents the 
prolific author at his superlative best, it 
must be added that Simenon, even at his 
second best, is still first 


поте à 


ate. 
In The Мез Animal (Doubleday), 
Philip Wylie goes into his familiar and 


by-now-tire 


me act of playing the lust 
wary man, and it's nothing but nag, 
у. nag all the way. He is furious with 
mankind for being venal, superstitious 
and stupid. To every reader he says, in 
clea, "Why can't you be wise—like 
Wylie is a rhetorician rather than 
a theore In The Magic Animal, he 
restates the views of experts who hardly 
need popularizing. such as Konrad Lo- 
renz and Robert Audrey, bestselling au- 
thors themselves. In drawing on their 
research, as well as on that of another 
naturalist, Sally Carrighar, Wylie nowhere 
indicates that he is aware of the extent 
to which their theories have been criticized 
by the a unity. He believes 
what he wants to believe and uses hypoth- 


eses as proven [acts when it suits his pur- 
poses; on occasion, he even uses nonfacts. 
(In trying to make out a case for the exist- 


ence of instincts, for example, he states 
that animals do not have to be taught to 
mate. It ms hard to believe that Wylie 
is unaware of the well-known experiments 
of Dr. Harry Harlow, in which macaque 
monkeys that were raised in (otal isolation 
later proved unable 10 copulate.) At times, 
his indictments of modern man verge on 
the ludicrous. “Even i0 cure disease, we 
slay germs,” he writes. “So as to live long- 
cr, we destroy more." His attacks on re 
tism and on society's sexu. 
puritanism leave him slashing away at 
ghosts; th ile he is fighting is long 
since over, but Wylie doesn't seem to 
know it. 


igious dogm 


“Is it possible to accept being raped 
by a I2-oot lizard?" This philosophical 
teaser, posed for a nude and manacled 
heroine as she awaits the physical atten- 
tions of a Komolo dragon loosed upon 
her by a fiendish Chinese Communist, 
aises another question, which the read- 
must ask himself as he contemplates 
two “adult comic books.” The Adventures 
of Phoebe Zeit-Geist and The Adventures of 
Jodelle (Grove Press): 15 ii posible to 
accept these oversized, hardcover, pop/ 


camp cartoon strips as books? Since over- 
ized Brillo boxes have been accepted as 
art, and even lizads have their existen- 
alist needs. presumably the 
be yes. Phoebe and Jodelle are succe: 
to Barbarella, the adult comic heroine 
created in France and now a far-out film 
starring Jane Fonda (see erAvnov, March 
1968). Like their predecessor, the two new 
girls are statuesque things who undergo 
their ordeals chiefly in the nude or near 
nude. Jodelle depicts the picaresque ad- 
ventures of a gil spy in an ancient Rome 
that resembles Las Vegas. In her search 
for proof of a plot against the decadent 
Augustus Caesar, she runs a gamut of psy- 
chedelia. Phoche Zei-Geist (Zeitgeist: the 
spirit of the age, the wend of thought and 
fecling ven period) moves bare-assed 
and jutbreastedly through an updated 
Perils of Pauline, surviving not only that 
giant lizard but flesh-eating fungi, Les- 
bian torture, necrophilic rituals and other 
horrors too fascinating to mention. But 
though they are superficially similar, the 
books are remarkably different in quality. 
Jodelle is puerile in both context and 
work. Phoebe, writen by Michael O'Don 
ghue and illustrated by Frank Springer, is 
a rousing takeoff every sadomasochistic 
inch of the way. 


DINING-DRINKING 


There is no restaurant in all of New 
York City that serves the new mood of 
the metropolis as well as The Fountain 
Cafe, located lakeside at 72nd Street in 
Central Park. In the very brief time it 
has been open—a brain child of the as- 
tonishing Thomas Hoving—it has be- 
come a delightful "in" spot for lunch or 
for dinner during the spring, summer 
nd сапу fall. Not only is its location 
ideal for am outdoor café but its warm, 
impeccable service and first-rate food are 
better than one has a right to expect of a 
ant with a superior atmosphere 
compounded of greenery, century-old 
architecture and. summer breczes oll the 
lake. Nestled at the foot of the great ba- 
roque staircase at The Bethesda Fountain 
in the Park's 72nd Street transverse, the 
Cale under the direction of maitre 
de Arthur Decuir this season. The onc 


menu for lunch and dinner is ingeniously 
The 


compatible with the atmosphere 
Stulled Artichoke with 

ade or the Gua 
typical appetizers. Empha 
on cold soup. such as the Vichyssoise 
or Gazpacho. The selection of Comi- 
nental sandwich platters, all of w 
brightly and originally done, rang 
Beefsteak Tartar to Danish Ham and 
Curried Egg with Peach Chutney. For 
more substantial dining, there is the Cold 
Salmon Steak with Green Sauce or the 


Briuany Crêpe Filled with Chicken and 
Mushrooms. The French Omelet with 
either herbs or Swiss gruyère is a case 


» point of a dificult dish done excep 


tionally well. Desserts are Continental 
Viennese Chocolate Cake or Kirsch Tort 
for example. While a wide range of wines 
and liquors is available, sangria is scen 
bles. If that drink becomes 
new national favorite, it will be because 
so many prominent people have learned 


to enjoy it at The Fountain Cafe. The 
Cale is open from 11 x. to I1 Р. 


м. for 
from the middle of 
May to the last warm dı tember. 
Reservations are not accepted—not even 
from Mr. Hoving or from Mayor Lind: 
both of whom are regul; 


lunch and 


MOVIES 


Putting Broadway hits on film some- 
times does to comedy what slow freez- 
ing does to fresh vegetables; but all's 
h The Odd Couple, Neil Simon's 
y on the psychological war 
fare known as marriage. Simon's sul 
jects are a mismatched pair of estranged 
husbands who try to pool their idiosyn- 
crasics in а vast Manhattan. apartment 
infested with poker players and potato 
chips. Because the playwright did his 
own adaptation, and because director 
ne (Barefoot in the Park) Saks helps 
in the job of Simon-izing. there is mini 

1 fuss about “opening up” the stage 
version—and the trim cirpentry of the 
original seems intact. Odd Couple's 
“чег cinematic coup is to let Walter 
thau тер rhaps a bit slavishly 
in the matter of hewing to Mike Nichols 
his stage role as Osca 
the slob sportswriter who feels that a 
man's surroundings ought to reflect the 
squalor of his inner self. And there isn't 
an actor in Hollywood better suited t 
Jack Lemmon to play visà-vis Matt 
as the tortured Felix, "a walking soap 
opera" who cries a lot, sends suicide 
telegrams and has à compulsion to cook 
and clean. When the two settle down 
for an cvening of fun, frolic and burned 
meat Joal with a pair of twittery English 
sparrows from upstairs, the question ol 
who's funnier becomes wildly irrelevant. 


ssa 


Superlatives are essential 10 a 
cussion of the monumental Russ 
carved from the bedrock of Tolsto; 
end Peace. One of the lon 
ever made (six and a half hours, with 
separate showings of parts one and two), 
it is also the most expensive (approxi 


ma 


mately 5100.000,000), the most densely 
nds 


populated (the cast of tens of thou: 
ns to include every able-bodied m 
woman and child in central Russia) 


diuk, who cast himself in the important 
role of Pierre, spent four years shooting 
it. Bondarchuk:s literal rendering of Tol 
other things, sprawl 
flashy, inspiring, melodramatic. primi 
igantic. This is Tolstoy's 
U of Russia during the 


timeless portra 


"Suggested retail price P.O.E., New Yor 


Match this. $2085: FIAT 850 Spider 


PLAYBOY 


30 


Napoleonic Wars—a vivid, intricately 
woven tapestry 

dicrs and czarist aristocrats pursue their 
private happiness under the pressures of 
history before and after 1812. Though 
the kith and kin of three separate families 
are swept up in the action along with 
paite himself, the plot is principally 
a triangle involving the lovely Natash 
(ballerina Ludmila Savelyeva), who love 
but betrays Andrei (Vyacheslav Tihonov), 
a man of action beset by intellectual 
hang-ups, and who ultimately finds con 
temment with Pierre. a thoughtful 
bumbler at long last awakened to his 
own feelings. These three dominate a 
huge cast whose powerful. performances 
e only occasionally blurred by dubbing 
into English. The patience of some movie 
goers is apt to be strained here and there 
by the adapters’ meticulous fidelity 10 
the original. There are so many poetic 
death scenes in slow motion, so many 
long patches of narration and monolog, 
so many studied shots of soldiers wounds 
and scudding clouds that the style some- 
times seems drenched in Socialist realism 
rather than Tolstoyan truth. Yet every 
one of the film's failings is offset by a 
triumph. The vast battle scenes at Auster- 
Jitz and Borodino—the Luter nearly an 
hour long in itself—are epic cinema of 
ag dimension, reminiscent of the 
iseustein, As contrast, there аге шь 
ble glimpses of a giddy high society 
its pastoral pleasures and civern- 
сез. The best, a sequence in which 
the young Natasha attends her first royal 
ball at the Winter Palace in Moscow. is 
breath-takingly romantic. typical of Bon- 
darchuk’s ability to reveal а vanished 
world and the spirit of a people with in 
telligence, tenderness and old-fashioned 
nd this film— 


1 which peasants, sok 


Bon 


great 
forget 


battle has cle 


Les Corabiniers is Jean-Luc Godard's 
extraordinary antiwar film, kept on the 
shelf for several years because it was 
loathed by the French public as well as by 
isian critics, one of whom dismissed 


id worthle: 


as 


humanity 


mov 
it gives Godard fans 


the popularity polls, but 
cause worth defend- 
sh protagonists named 
Ulysses and Michelangelo (Albert Juros 
and Marino Mase) d the film's 
thesis that war is a hoax intended to bru. 
talize man. In the beginning, uniformed 
reauiters arrive by jeep t0 advise the two 
heroes of a general mobilization. Assured 
that “every soldier can do what he likes in 
the kings name," they galumph off, in- 
ng to have their pick of “nosegays. 
triumphal arches, tobacco factories and so 
ciety women.” Between subsequent acts of 
lage, they write jolly postcards to the 
two greedy slatterns waiting at home, and 


the messages are flashed upon the sacan: 
“We leave traces of blood and corpses be- 
hind . . . we kiss you tenderly.” Though 
the ironies are sometimes obvious, the film- 
ing is a revelation. Godard uses few char 
acte and simple settings to mount an 
utterly convincing microcosm of war. In 
one horrific example of economy. all he 
shows is a soldier's hand on a rifle pumping 
five extra shots into а pretty blonde Marsist 
who has been gunned down while reciting 
a revolutionary poem. This cruel comedy 
combines the directness of ап old Holly- 
wood two.reeler with the irrationality of a 
nightmare; the experience is a little like 
watching a pair of slapstick comedians who 
suddenly start shooting to kill. 


Based on a European comic strip. Danger: 
Diabolik appears to be producer Dino de 
Laurentiis’ idea of swell satire for a limited 
audience—namcly, sexually precocious 
public enemies under the age of ten, 
John Phillip Law and Marisa Mell, as the 
master thief Diabolik and his scantily 
clothed accomplice. are a pair of beautiful 
sticks who are rubbed together every ten 
minutes or so. possibly to keep moss from 
forming. At one point, they make love 
under a heap of 10.000.000 greenbacks in 
Diaboli underground lair, a 
just big enough for him, her and the entire 
Swrategic Air Command, Teny-Thomas, 
Adolfo Celi and Michel Piccoli. proffer 
rather amusing opposition from time to 
time: but how are they то stop a grand 
larcenist so ingenious that he conceals a 
priceless collection of emeralds by shoot- 
ig them into a corpse? If you get a thrill 
from morbid sadism and high-priced цай; 
сиу, stich around awhile and sce Г 
bolik himself scaled up in a blob of molten 
gold, 


Composer Manos (Never on Sunday) 
Hadjidakis wrote the copious 
ground music for Blue, an overprivileged 
Western filled with 1001 ideas on how to 
squander money and talent. Hadjidakis 
score billows with Mediterranean warmth, 
and director Silvio (Georgy Girl) Nariz- 
zano uses lots of deepblue cloud filters 
and silhouettes his actors against Naming 
sunsets as often as possible. Stringent 
economy is observed only in the dialog. 
in the tile role, says 


ever until the movie is 
nutes along, then speaks 
reluctantly —perhaps showing intelligent 


reticence about the fact that his first 
American film casts him, complete with 
Mod-Cockney twang, as a blond gringo 
who has allegedly grown up among 
Mexican bin п Azil to his 
amigos, Blue is wounded during a foray, 
nursed back to health by Yanke 
settlers whose kindness provokes 
identity crisis, which, in turn. provokes 
war between the Yanks and Blue's once- 
beloved chieftain (Ricardo: Montalban). 
Despite formidable handicaps, Stamp 
remains a real screen presence and is 


stoutly supported by Karl Malden, Joan 
na Pettet (The Lady in “Blue,” FLAYBOY, 
February 1968), who puts spunk i 
standard girLof-the West assignment, and 
an elite corps of stunt men doing their 
bloody best. 


Accattone!, made in 1961, is a nore- 
worthy first film by Italian director Pier 
Paolo Pasolini (The Gospel According 
to St. Matthew), equal in every way to 
Pasolinis later work and superior 10 
much of it, The title is Italian slang for 
"sponger." as well as the nickname for a 
pimphero (Franco Сіці) living by his 
women and his wits in the slums of 
Rome. Whores. loafers, thugs and petty 
thieves comprise the rogues’ gallery 
whose disdain for the dullness of 
honest days manual labor Pasolin 
serves with unswerving sympathy and 
vibrant humor. Whether or not these 
people can bent the system, they in- 
stinctively discover ways to survive i 
and Accattone’s sole weakness is the 
love he conceives for the lumpish 
blonde (Franca Pasut) he tries to re 
cruit as a source of income when his 
regular doxy goes to jail. The new girl's 
cowlike innocence wrecks his amoral but 
viable code and the reformed pimp tries 
а job as a trucker's helper. “I's like Bu- 
chenwald." he declares, before stumbling 
along to an ironic fate that obviously has 
meaning only for the іе in a corner 
calé where he was once a respected leader 
Pasolini, an avowed Communist, manages 
to speak for the underdog without adopt- 
ing the naturalistic tone of a documen- 
tarian. Eloquent as a shrug, his lyric ode 
to Accattone! sadly celebrates a world 
which very few men can afford the luxury 
of fee 


ob. 


Three psychotic sisters try their luck 
with a lonesome traveler (TV's Jack 
Lord) in The Мете of the Game Is Kill!, а 
minor A.C.-D.C. shocker that puts a spark 
of humor in every tingle. The camer 
work alone (by William Zsigmond) is 
sure stimulam—all evegrabbing angles 
and spooky wide-open spaces in 
man Color. Lord. as a Hungarian drifter, 
happens onto a desolate filling station 
somewhere in America’s great Southwest 
and starts hankering for a tune-up with 
some of the help—luscious Tisha Sterling, 
who has to dance a lot to drown out the 
rattle of skeletons in the family closets; 
Collin Wilcox, as the sister who plans su 
prises with a pet tarantula and Susa 
Strasberg, as the boy-crazy swinger whose 
would-be lovers rarely last the night. The 
girls are chaperoned alter a fashion by an 
imposing mother figwe—though, in fact, 
Mom, played by female impersonator 
T. C. Jones, is really the man of the house 
in more ways than one. (Try to imagine 
ex-President Sukarno doing Bette Davis 
impressions) By the time the ladies 
start letting out seams at a family Hal- 
loween party, it's dear that Name of the 


COLUMBIA STEREO TAPE СШ2ШЮВ@ ИГ" 


THE PHHADELPHIA 
ORCHESTRA'S 
GREATEST HITS, 


[ANDRE KOSTELANETZ] 
and Wa Orchestra 


DAVE BRUBECK 
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mus- Kai fh Hole 
shone 


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RAY CONNIFF BOB DYLAN 
It Must Be Him. Am 


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The кыздарда Orchestra 


5854. Plus: Can't 
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You, Allie, ete. 


illuminating per- 
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Love, Andy c 


GREATEST HITS 
мин YOK 


5787, Plus; What — 5236. España, On The 


Now My Love, The Тай, Waltz Of The 
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5799, Plus: Where 
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BEETHOVEN 
Symphony No S ("Choral 
EUGENE ORMANDY 


RAY CONNIFF'S 
WORLD OF HITS 


GERSHWIN 
Rhapsody tn Blue 
[An American In Paris 


The Philadelphia erp ape 
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IME MORMON, місе the 
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THERE MUST BE A REASON WHY the famous Columbia Stereo Tape Club sells. 
more prerecorded 4-track stereo tapes than any store in the country! It's 
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©1960 CBS Direct Marketing Services T-100/Fe® 


3 


Right about now, you're probably saying to yourself, 
“A claw? What's a claw?” 
Well, we'll tell you. 
A claw is Tiger Paw language for a tire’s tread. 
When a Tiger Paw has four claws, it's a regular Tiger Paw. 
But when it has seven, it’s an altogether different beast. 
Introducing the new Wide Tiger Paw.” 


It’s more than just another wide tire. Much more. 

Take those claws for instance. 

They can grip any road, rain or shine. You see, they were 
bred for cornering. And taking off like a shot. And stopping 
when you want them to stop. 

(You handle them. They don’t handle you.) 

But just how fast does the beast travel? 


Well, it’s been tested at a sustained speed of 130 miles an 
hour, without a failure. 

And how long does it last? 

At 90 miles an hour, it lasted a good 17,000 miles. (Of 
course, you can expect much more mileage under normal 
driving conditions.) 

At this point, you may be wondering what the Wide Tiger 


You get 
| three more claws 
with the new 


, Wide Tiger Paw. 


Paw looks like. 
Well, for one thing, it’s got the body of a brute. Strong 
and squat and beefy. 
And, for another, it’s got a red stripe to give it some class. 
So what yov're getting is more than just a T 
brute. | 
What you're getting is a beaut of a brute. |UNIROYAL| 


PLAYBOY 


E! 


Game's wily pranksters have thumbs to 
their noses and nothing in mind but 
mischief. 


The title role of te Chinoise, another 
Jean-Luc. Godard-directed fi recited 
(it would be misleading to acted”) 


n student revolut 
her long. hot summer drilling Maoist 
slogans imo four other me mbers of a loose- 
ly organized Communist cell. Full of Red 
Guard ideology. Anne's recipe for upsei 
ting the social order includes dy 
the Sorbonne and the Louvre and blasting 
the homosexuals out of the Comédie 
Francaise. She does, fact, attempt to 
assassinate a visiting Soviet minister, but 
probably bungles the job. Yes. probably, 
Minor details remain vague. because Go- 
rd is a wayward genius with a maddening 
indifference to such matters as plot, char- 
acterization and simple coherence. His ir 
vitating qualities are ever present in thi 
talky tone роста that won't lift a finger to 
entertain you yet succeeds on its own 
exacting terms as а perceptive evocation of 
the new radicalism among European youth. 
The fi ne is a stub- 
bornly Anne 
sits on a train naively pr е benefi 
of Chinese Communist terrorism to 
an experienced. 


Jeanson. Mao and Brecht are the idols 
of these M -Leninist babes im the 
wood, whose futile dreams, Godard 


knows, will finally come to nought. As 
photographed by Raoul Coutard, the 
settings ai п explosion of primary col- 
or interrupted by slides, cartoon strip: 
film titles and other sympathetic conces- 
sions to pop taste. Miraculously, Go- 
э view of the "now" generation offers 
sexual exciteme: whatever, but it 
does have striking timeliness, depth and 


Lifted to stardom by a handful of 


madeindtaly Westerns in which it was 

often impossible to sec the man for the 
Clint Eastwood. stands tall 
l-American saddle ope 


Hang ‘Em High. Cool and distinctive, 
Clint underplays, in the top-drawl tradi- 
п of James Stewart and Gregory Peck 


—but wi 
tality—as a former lawman who puts on 
mshal's badge а to legalize his 
vengeance against nine lynch-mad 
lantes he figures he owes a death afte 
akenly (and unsuccessfully) 
a caule thief, A movie 
the hero's hanging 
di- 
rector Ted Post, who had the good luck 
to draw for his first Hollywood feature a 
script (by Leonard Freeman and Mel 
Goldberg) with an aboveaverage I. Q. 


Wind and weather blow some grit into 
every scene; theres raw, blistering 
beauty in an encounter with three rus- 


ters on a desert white as snow, and 
ss hanging sequence so 
al whoop-n"holler 


that the sickened hero grabs himself a 
harlot to help pass the time. Hang "Em 
High also rings in somber thoughts 
about frontier morality, mercy and jus 
се, when at least half of the marsh 
ed men mm out то be respected 
munity leaders. Ed Begley is emi- 
ıt among the e 
roughly brilliant as Fort Grant's hanging 
judge with a lot of rope on his cor 
Stevens is decorative 


Fired with understandable enthusiasm 
for the work of Alfred Hitchcock. (see our 
review of the book Hitchcock in the No- 
vember 1967 Playboy After Hours), Fran- 
«ois Truffaut has pur Је 
а Mitdicoc 


like the veu 
fier she'll never regret, plays 
deress whose chosen victims five men 
responsible for the accidental shooting 
of her bridegroom years before. She 
pushes one rogue off a balcony, poisons 
the next, leaves the third to sullocate in 

closet and nearly falls in love with the 
fourth—an artist (Charles Denner) who 
imprudently invites her to pose as the 
huntress Diana, with a bow and arrow 
imed at his head. Several loose threads 
the plot are compensated for by that 
familiar and. pleasurable agony of know- 
ig that dreadful deeds are about to be 
done—but who knows just when or how? 
—hy a killer who forces us to partic 
pate. Though Moreau exudes a let 
maueroffaciness that Hitchcock himself 
would relish, it is Truffaut's own rhythmic 


moi 


mur. 


pee T he Bride s 
behi 


Werner a 
1 conductor and Barbara Ferris as a 
girl reporter who disrupts his mar 
perform Interlude with so much charm, 
telligence and ardent conviction that 
this formula rom: s mo 
than а coincidental resemblance to ar 
other Interlude (1957), with Rossa 
Brazi and June Allyson as the s 
crossed lovers—always seems on th 
ol becoming something better. The movi 
cuddles up to the subject of infidelity 
with unblinking honesty—which simply 
illicit lovers nowa 
clothes olf and pile 


Otherwise, the style often recalls the days 
when girls like Claudette Colbe In- 
grid Bergman fell hopelessly love 


college presidents, concert violinists or 


couldn't let their 
their work. 
уз Werner, while 


women inter- 
le 


fetching Mod morsel who adds spice to 
There's а Gil in My Soup on Broadway) 
is the very image of a businesslike miss 
who knows that impossible drcams must 
be kept in their place. For two people so 
obviously equal to any crisis, Interlude's 
elegiac mood is rather inappropriate. So 
is the daydreaming photography. Shot 
fter shor of hand-in-hand strolls through. 
dappled-green landscapes around London- 
town may warm a moviemaker's heart, but 
they express next to nothing about the 
deepening relationship between a complex 
man of the world and his mistress, 
Aboard a train bound from Paris to 
Antwerp, a movie producer, a writer- 
director and a secretary armed with a tape 
recorder decide that this might be ju 
the setting for a thriller “with los of 
„ brawls .. . and rape.” An actor 
Lignant) enters the com- 
ntignant!” chirps the 
iguant it will be. pi 
route то Ant- 
se full of 


a dope sn 
werp to br 


lr en 
back su 


cocaine. And so goes Trans-Europ-Express, 
in which  writerdirectormovelist Ala 
Robbe-Grillet (who wrote Last Year at 


Marienbad) plays himself as the movie- 
maker making movies, flashing scenes 
upon the screen, then fl k ıo 
the compartment, where his secretary 
occasionally remarks that none of this 
makes sense. Ofttimes а ought to 
listen to his secret 
for Antwerp." the young lady kceps i 
sisting: yet Robbe-Grillet plods aloi 
perfectly confident that. loyal cinen 
acs will take this dope seriously. If he 
mprovises an. inept little thriller sprin- 
kled with dull genre jokes, they will see 
each philosophical pinprick as а porthole 
g our vision of myth a 
at becomes a fetishist who 
rily chain a sportive jeune fille 
ier) to the bedpost to 
naturellement 
ish Robbe-G 
mockery of the public's appetite for mor 
bid sex and violence. Trans-Eurof-Ex press 
has enormous conceit but precious little 
genuine humor and no suspense whatever. 
Credit. Robbe-Grillet with a small “oh” 
for originality. 


n 
y. “Dope is wrong 


PH Never Forget What's "Isname explores 
ibility of a young London adve 
(Oliver Reed) who quits his 
tresses and other 
to redis 
he 


ас 


coutrerments of success in order 
п he meant to be befor 


cover the n 


began to money. Playing 
rough when it pleases him. produce 

ecor Michael Winner mocks the 
smooth hypocrisi fuent society 


(apparently buy ickcloth clichés, 
of anti-diché conformity) in which, you're 
ked to believe, everyone else. believes 
that a chap holes up in an ivory tower 
only if he can't afford a penthouse. Reed 
is a standard, fairly opaque hero who 


to stick 


For men ana wore who are man enough 


their necks out 


Great Books have given 
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35 


PLAYBOY 


36 


becomes interesting mainly when he 
begins revisiting some old acquaintances 
-the frustrated editor of a highbrow 
" mag: айу chuck 
ious coterie of 
ind a Came 
bridge tutor (Harry Andrews) who litters 
the groves of academe with his collection 
of pornography. The pragmatic female 
point of view is roundly embodied by Carol 
(Poor Cow) White as a down-to-earth 
bird who can't see any sellout in direct- 
ing a good advertising film. Inevitably, 
scenarist Peter Draper's wittiest asides 
are thrown away with most prodigal 
skill by Orson Welles, who doesn't both- 
cr to get e his role as a big mogul 
in media but, rather, looms in front of it, 
conducting his own matchless one-man 
show. 


little’ 


RECORDINGS 


Welcome to My tove (Capitol), Nancy 
Wilson's new LP, offers no surpriscs— 
which means that it's consistently first- 
rate. The charts are by conductor Oliver 
Nelson and they're very good. The mar- 
velous Miss Wilson applies herself en- 
thusiasticilly and engagingly to such 
items as In the Heat of the Night, Angel 
Eyes, I'm Always Drunk in San Francisco 
and Why Try to Change Me Now—all 
fine and mellow. 


Blues on Top of Blues (BluesWay) finds 
B. B. King in the company of a big 
band, a circumstance that always seems 
to bring out the best in him; all 12 of the 
songs arc about womenfolk, good and 
bad; and whatever the lyrics might say, 
there's no credibility gap when B. B. de- 
livers them. Chicago's Buddy Guy is a 
blues man whose style is less powerful 
but more flexible than King’s; his debut 
LP, A Man and the Blues (Vanguard), is 
memorable for the intricate dialog be- 
tween Buddy's guitar and Oi 
piano, especially on such unhurried se- 
lections as Sweet Little Angel and Worry, 
Worry. 


The Complete Yusef Lateef (Atlantic) is a 


pyrotechnic display of the jazz artist's 
myriad talents. With pianist Hugh Law- 
son, bassist Cecil McBee and drummer 
Roy Brooks as accompanists, Latecl— 
tanging from flute to finger flute to oboe 
to tenor sax to alto sax, sometimes over- 
dubbing one on the other—finds so many 
ways to tell it like it is. 

We're Only in И for the Money (Verve) 
is another subterranean odyssey conduct- 
ed by Frank Zappa and his Mothers of 
ition. Like the groups previous 

is a chaotic mélange of 

ing music and 
extrancous noise. There are some funn 
bits and some good musical moments, if 


you can find them; but the Mothers’ 
perversity is getting to be a drag—and 
since they put down everything, we sus- 
pect they are only doing it lor the 
money. 


The Great Society, no longer extant, 
is the group that reputedly did most to 
Gear the San Francisco sound. Cone 
spicuous Only in its Absence (Columbia), 
despite the roughness of the sound, goes 
a long way toward proving that claim. 
Grace Slick, now with the Jefferson Air- 
plane, handles the singing as the group 
runs through Somebody 10 Love, White 
Rabbit and seven other psychedelic num- 
bers: her brother Darby, a guitarist with 
a limited tedinique but a vivid im 
tion, nearly steals the show. 


Johnny Smith's Kaleidoscope (Verve) 
beautifully showcases guitardom's quiet 
man. With impeccable backing by bass- 
ist George Duvivier, pianist Hank Jones 
and drum Don Lamond—all 
perennials on the jazz scene—Smith uses 
the softsell approach to excellent ad- 
vantage. wending his way through the 
likes of Old Folks, The Girl with the 
Flaxen Hair and I'm Old Fashioned. 

Opera composers have always been 
concerned with romantic love, but un- 
adorned sex as a subject lor operatic 
treament had to wait until Alban Berg 
broke with hoary tradition in his whor- 
ishly untraditional Lulu. In the 31 years 
since its first performance, Beig's bizarre 
and erotic opera has been given in all 
the world’s great opera houses (though 
not by the hidebound Metropolitan) 
Now it's available 
sion recorded 


a new stereo ver- 
by Deutsche Gram 
phon at an actual. performance i 
early this year. The onstage sound 
not quite up to the carefully controlled 
perfection of a studio recording, but this 
is more than counterbalanced by the 
dramatic punch of hearing a live per- 
formance. Evelyn Lear, ап American 
soprano who has built a carcer singing 
Lulu, heads up an accomplished cast, 
and the knowledgeable Kal Böhm pre- 
sides on the podium. Together, they 
present a convincing case for an opera 
that is as unconventional in its music as 
in its morals. 


Steve & Eydie / Bonfá & Brazil (Columb 
proves a profitable merger for all con- 
cerned. A dozen Luiz Bonfá-penned 
bossa novas are on the agenda as the 
voices of Lawrence and Gormé, support- 
ed by Bonfi's guitar, go it alone on some 
of the tunes, duct on others. A delightful 
session. 


2) 


On Doin’ Our Thing (Stax), Booker T. 
the MG's doubt that 
they're the toughest instrumental combo 
in pop. They're always together, they 


and leave no 


swing and they can tap the emotional 
content of a song as few singers can. 
Here they're at their best, with material 
such as Ode to Billie Joe, The Exodus 
Song, The Beat Goes On and Express- 
way (To Your Heart)—and their version 
of You Keep Me Hanging On is a rock 
masterpiece. 


Maharishi Mahesh Yogi (Liberty) pre- 
sents two rambling but mesmeric ser- 
mons by the Indian guru who has been 
turning Westerners on to transcendental 
meditation. On one side, backed by a 
sitar, he offers a paean to love, the text 
of which might have come from the 
Upanishads; the flip side, ап unaccom- 
panied monolog that sounds like an ad- 
vertisement for the Rosicrucians, urges 
the individual to utilize “the untapped 
source of power that lies within” by tun- 
ing his soul to cosmic pitch. Good, sin 
cere advice—if one has lots of free time 
on his hands. 


Lou Rawls continues his winning 
ways on Feelin’ Good (Capitol). The top- 
rank soul singer, given firm support by 
arringer-conductor H. B. Barnum, gets 10 
the roots of The Letter, Evil Woman. 
My Son, Gotta Find а Way and other 
Rawls is obviously in complete command 
of his material and the material is 
splendid. 


Reed man Jerome Richardson, long a 
superlative sideman, comes into his own 
ON Groove Merchant (Verve). Richardson 
on flute, bass flute, tenor sax and soprano 
sax climbs into the rock bag as hc fronts 
a driving group, The tunes are familiar, 
for the most pari—Ode to Billie Joe, 
Sunny, Up, Up and Away—bur Richa 
son supplies the jazzman's creative touch 
that rejuvenates them. 

The Beat Goes On (Atco) is a survey 
of musical and political history through 
the eyes and ears of Va Fudge. Ex- 
ample: a reconstruction of high and low 
points in popular music styles [rom Mo: 


zart through Lennon-McCartney. Hold- 
together 


s the title tune, 
ety of styles. Surprising- 


ing it all 
played in a v 


ly enough, the venture seems to work; 


and one passage, in which the Fudge 
play Becthoven with apparent respect 
and suitable gusto, is worth the price of 
the LP. 


Two superlative African songstresses 
—one well known, the other a recent ar- 
rival in this country—have much to offer 
the listener this month. Miriam Маке 
ba's LP, Pate Pata (Reprise), affirms her 
soaring talent. From the tiile tune on 
Unough Click Song Number One to the 
Piece of Ground signoff, Miss Makeba 
never at a loss for or with words. Lea 
Mbulu Sings (Capitol) hopefully presages 
important things to come for this young 


ПТ Amt 


' 
Compare en other recora D 
Ihe “Big 4 = ented а d 
Record а а 
Clubs COLUMBIA | CAPITOL | RCA VICTOR 
and берши „дна, | tres ши, | eee 
fas advertised [(as adver fas 
in TVGUIDE | in TV GUIDE | THIS WEEK RECORD CLUB OF AMERICA 
Mar. 30, 1966)] Feb. 10, 1968)| Feb. 25, 1958 
HESS Тг any TF pn any ha 
io exceptions? Over 300 di 
pura No № NO | YES! лыт 


VICTOR, ANGEL, LONDON. ete. 
MUST YOU BUY A 


row 12 10 HEN EHE 
уу MUCI $47. 5 fou den't have to spere 
uuu. M 207.76 М $29.80 М 11890 | ZERO шучы: 
Чол ойно $59.72 W $49.80 ff $24.90 DOLLARS Hy ren ве 


ж N0 NO NO | ALWAYS! түру 
mm лату 
oro YES YES YES | NEVER! ‘cog rou wani are sent 


us o send them, 


И 5tot зов Ё 506 | NOLONG vour order shipped 
YOU WAT TOR я 
TOARRE? weeks weeks weeks | WAITS! seme cay received. 


AT LAST A RECORD CLUB WITH NO “OBLIGATIONS”—ONLY BENEFITS! 


BEWARE... 


Abel clubs. 
CORO ичик: 


This is the way YOU want ita 
record club with mo strings at- 
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1 enclose —NOT the regular $5.00 membership fes 
$2.50. (Never another club fee for the rest of my life.) This en- | 
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Г) Also send. 


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Gift Membership at $1.00 each to names 
it Î join with one friend 


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pu OM E Eua 
more gift md you pattie Tore you 
тоне а toe you big ымыр" 
à vate zi 
TS O 1968 RECORD GLUB OF AMERICA Inc, | CU. 5 »—] 


37 


PLAYBOY 


38 


IF YOU LIKE A 
NICE GENTLE 
ИТТЕ 

БИМ 

AND coLald 


STAY AWAY 
FROM 


WORLD FAMOUS 
* IMPORTED · 


Myers's doesn’t make a nice, gen- 
tle little anything. 

What it does make is a hearty, 
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the Myers's Rum and Cola is the 
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Use Myers's Rum every time the 
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For free recipe booklet, write General Wine & Spirits Со. 
Dept. 428, 375 Park Avenue, New York, New York 10022 
Myers's—the true Jamaican Rum. 84 Proof. 


lady. If her debut LP is any criterion, 
Miss Mbulu, in addition to possessing a 
fine voice, is a songwriter of compelling 
merit. The African rhythms and melodies 
that form her repertoire are fascinating 
Pierre Boulez has recently been re- 
routing his considerable talents from the 
composer's study to the conductor's 
podium. As a conductor, he shows the 
same structured strength and originality 
of expression that he does as а composer. 
His latest recording, Boulez Conducts 
e evidence 


of his powers. 
Mer rivals Toscani 
mingling of guts : 
course, it's far beter engineered. The 
disc's chief attraction, however, is Jeux, 
Debussy's last and rarely played orches- 
tral work. Most conductors give the piece 
a wide berth because of its rhythmic and 
harmonic complexities and it agly 
chaotic organization, but Boulez sees it 
as one homogeneous statement. In this 
coherent reading, Jeux is revealed as a 
jor masterpiece of modern music 


s tá 


The California Dreamers, a mellifiuous 
vocal group, join hands with a whole 
slew of estimable juzmen on a pair 
of Impulse! recordings—Wind, Sky ond 
Diamonds, featuring guitarist 
bo, and The 


Honeysuckle Broez 


such 
arts as Dennis Budimir. Mike Mek 
voin, Emil Richards and Bill Plummer, 
who plays what has almost become de 
rigueur for the contemporary sound—the 
sitar. The tunes on hand are an amal 
п of folk, rock, jazz, current pops and 
id the results are a 
Пу works. 


now sound that re 


Jack Jones spends a f: 


ir amount of 
прогау vein on If 
You Ever Leave Me (Victor). It's all play 
and по work for Jack, who's never a dull 
hoy as he vocalizes Goin’ Out of My 
Head, By the Time 1 Get to Phoenix 
Baby, Don't You Quit Now. They 
ndicate the talented Mr. Jones’ growing 
awareness of what's happening. 


time 


= a cont 


A Long Time Comin’ by the Electric 
Flag and Child Is Father to the Man by 
Blood. Sweat and Tears (both Colum- 
bia) are ambitious debut LPs, since 
both groups uy to give their rock ma- 
terial a bigband jazz sound. The Flag. 
with guitarist Michael Bloomfield, have 
the better product: Their execution is 
cleaner and their bluesbased style is 
better defined. They really wail on Kill 
ing Floor, She Should Have Just and 
Another Country. Blood, etc., featuring 
oganist-pianistsinger Al Kooper. come 
across well on r&b numbers such as My 
Days Are Numbered and I Can't Quit 
Нет; but when they attempt a jazzier or 


more classical sound, they don’t quite 
make it. 

Steve Marcus is a tenor and soprano 
saxophonist who uses pop material and 
elaborates on it in a Coltranesque m 
ner; on Tomorrow Never Knows (Vortex), 
the results arc chaotic but sometimes 
compelling, as he tears into the Byrds’ 
ight Miles High, Donovan's Mellow 
Yellow and the Lennon-McCartney title 
tunc. Odell Brown and the Organ-Izers is 
another jazz group (organ-tenor) thar 
utilizes pop mat but on Dueky (Cadet). 
the pop material is from. Motown. (No 
More Waler in the Well, Ain't No 
Mountain High Enough) and the sty 
is pure funk—which is thoroughly en 
able, although the Latin rhythms, em 
ployed on every track, grow a bit tiresome. 


One side of 
Bookends (Columbia) is an impressionistic 
life cycle of songs augmented by a track of 
senior citizens reminiscing via tape; on the 
reverse are five songs in 5. & G.'s folk-rock 
style, including 4 Hazy Shade of Winter 


and Al the Zoo. Performed by others, 
the sensitive lyrics might seem maudlin, 
the smooth music saccharine; but Simon 


and Garfunkel's good taste keeps them on 
the right track, and Bookends would grace 
anyone's shelf. 


THEATER 


Hoofer, hustler, composer, playwright, 
outrageous egotist and perpetual charmer, 
George M. Cohan would seem to be a per- 
fect larger-than-life subject for а Broad- 
way musical. Indeed, it’s hard to sce how 
his musical biography. George M^, could 
have gone wrong. With song-and-dance 
ighted up Cabaret) 
playing the title role, 32 Cohan numbers, 
induding Give My Regards to Broadway, 


Mary and You're a Grand Old Flag, and 
the best new score on Broadway, how 
much more insurance do you ? Bue 


no amount of bright lights, jazzy cos- 
m American campy scen 


nes, 


thumping player pia 
dancers, fire twirlers and. perforn 

can obscure the meagerness of this 
show's conception. Authors Michael 


Stewart and. John and Fran Pascal have 
seemingly sified through the grand old 
man's clippings and songbooks, picked 
out some highlights and plunked them 
on stage with no sense of rhythm or dra 
matic pace. As produced, directed and 
choreographed by Joe Layton, everything 
is a production number. George's father 
dics. George pauses—sob—then swings inio 
Over There, and the chorus follows. Sud- 
denly, the actors go on strike, ask Coh: 
to join them. He warns, “Change Broad- 
way and you'll kill it, Hank.” Who's Hank 
and what change? There's always a Hank 
ora Fred to wander on stage and catch a 


line or 
crowded. stage 
characterization, a loud orchestra and a 
piledriver production, Joel Grey has his 
hang-ups. He has to make you forget not 
only Cagney but also that raucous, frenetic 
musical called George M! He can't quite 
bring it off. At the Palace, 1564 Broadway. 

Until The Boys in the Bend came along. 
homosexuals generally were stage dichés— 
like falling-down drunks and heartof-gold 
whores, But this play by Mart Crowley is 
uncowed by convention. It is an honest, 
informed, exceedingly funny and some- 
times moving study of the homosexual 
world, with no obeisunee. paid to the ex- 
pectations of the heterosexual world. The 
the are, by their own 
description, “old-fashioned Fairies” and 
"screaming qucens"- with all their biting 
bitchery, mocking banter and camp com 
edy. Says one preen, “One thing has to be 
said for masturbation—you don't have 10 
look your best": but this is also а very 
sad play. The lonely, selfdefeating, des 
perne "boys" are gathered for а birthday 
party. Michael (Kenneth. Nelson), who is 
tempted by heterosexuality but won't ad- 
mit it, is the host. Harold (Leonard Frey), 
a selfabusive Jewish queer, is the guest of 
honor. The other guests include а screech- 
ing sissy, а butioned-down schoolteacher, 
a Negro and a hustler (a birthday present 
ior Harold). There is also an uninvited 
guest, Michael's old and straight college 
roommate. The boy /girls briefly put on 
masculine airs, then come out sw 
The games these people play (includi 
one in which cach phones the one person 
he really loves) and the ironic outcome 
(the roommate may not be so straight) are 
predictable, bur the acting and the direc 
tion by Robert Moore are precise, and the 
playwriting is shrewdly observant. During 
ап intermission, one wispy young member 
of the audience said to another, "I hate 
to be quoted.” He is, and he will be for 
many months to come. At Theatre Four, 
421 West 55th Street. 

For their first combined appearance in 
a musical comedy, Steve Lawrence and 
куйе have surrounded. them- 
selves with all of Las V nd half of 
Reno: a stageful of neon lights, a moun- 
tain of scenery, including (live! in per- 
son!) the Tower of Babel, a gaggle of 
gamblers, a horde of houris, a chorus of 
book and a 


song cue. Confronted with a 
з inept book, a shallow 


boys in band 


Gorme 


as 


а dreadful terrible 
show is called Golden Rainbow 
and at the end of it is a pot of glue. The 
story is about a Sammy Clickish Vegas 
promoter (Steve) trying to bring up his 
motherless son in an atmosphere of sin 
Enter rich auntie Eydie to entice the two 
of them to change. Sample lyrics: “I've 
goua be me/Daring ıo wy/Do it or die.” 
I's a doggerel of a show. At the Shubert, 
225 West 44th Street. 


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THE PLAYBOY ADVISOR|If you're about 


There is a very atractive young lady 
with a delightful personality whom I 
would like то date. The only problem is 
that she is a couple of inches taller than 
I am. I would appreciate your views on 
physical scale in а human relationship. — 
P. C., Pittsburgh, Pennsylvania. 

Holy Toledo! The only views on scale 
that matter ате those of the two people 
involved. Stop measuring matters and 
ask the young lady for a date. 


Blancs is taking me to Haly for a 
week next month and I'd like to have а 
couple of suits made while I'm there. 
Can you give me the name of а good 
tailor in Rome? Should I make an 
appointment before 1 arrive? Will 1 
be saving moncy?—T. C. Ann Arbor, 
Michigan 

Angelo Vittucci (Via Bissolati, 20, Rome) 
and Brioni of Rome (Via Barberini, 67-81) 
are two of the most highly regarded 
lalian tailors. Do, indeed, write ahead 
for an appointment, specifying how long 
you'll be there and as much as possible 
about the type of suit you want. If you've 
only а week, make your appointment up 
front, because you'll need additional time 
for fittings. The savings, over a compara- 
ble American suit, can be as much as 40 
percent. 


Dos circumcision affect the sensitivity 
of the head of a man's penis? Гуе heard 
that uncircumcised men are more sens 
tive to tactile stimulation, because the 
heads of their penises are normally. pro- 
tected by forcskins. I've also heard the 
oppastie бар the head of dhe dram 
Gised penis is the more sensitive, because 
during intercourse there is nothing to 
protect it from direct stimulation. Is 
there any truth in either of these beliefs? 
—G. G., Suitland, Maryland 

They're both false, according to exper- 
iments conducted. by Masters and John- 
son (“Human Sexual Response”) with 
equal numbers of circumcised and uncir- 
cumcied men: “Routine neurologic 
testing for both exteroceplive and light 
tactile discrimination were conducted. on 
the ventral and dorsal surfaces of the 
penile body, with particular attention 
directed toward the glans. No clinically 
significant difference could be estab- 
lished between. the circumcised and the 
uncircumcised glans during these cxami- 
nations.” 


Û heard a new rock'n'roll group that 
really turned me on: H. P. Lovecraft. 
Here's my question: Even among the most 
far-out acidrock groups, this title is u 

usual. Can you find out how they picked 


that name for themselves?—R. B., Evans 
ton, Illinois. 

They took the name of the lale H. P. 
Lovecraft (1890-1937), a prolific writer 
for the old horror magazine Weird 
"Tales. Lovecraft’s stories—such as “The 
Color Out of Space,” “The Shadow Out 
oj Time," “At the Mountains of Mad- 
ness" and “The Thing on the Doorstep” 

are popular with the psychedelic 
generation. 


Least January, my girl and I had a big 
misunderstanding and parted company. 
She is enrolled in a college 1000 miles 
from mine, and we will be sep 
this distance for the next two ¥ 


love the girl and would marry her today if 
she agreed. How can I tell her 1 love her 
and get her to wait those two years for 
me?—J. S. Peoria, Illinois. 

The question is not “how” but “why. 
For most men and women, commitments 
lo marriage while still in college are pre- 
mature. By the lime you've graduated, 
established yourself in а carcer and crys 
tallised your personal values, you may 
be a completely different person, needing 
a different kind of girl from the one you 
now love. When you add to that the fact 
that you want to tie yourself to a person 
you'll hardly see during the next two years, 
the whole project becomes virtually im 
possible. Love requires real contact with 
the loved person; your romance would 
have to feed on fantasy—an. unhealthy 
prospect. We suggest you date a variety of 
girls attending your own college, then take 
up with your ex-girlfriend after gradua- 
tion, if you still want to. 


Goin you tell me why Pernod changes 
color when water or ice is added? Also, 
what is the proper way to serve itt 
J. €. Hartford, Connecticut. 

The chameleon change that occurs when 
ater or ice is added to Pernod, опто and 
similar drinks takes place because the natu- 
ral oils used as flavoring agents are in a 
delicate balance. When this balance is dis 
turbed by the addition of ice or water, 
the: from, as the chemists say, solution 
10 suspension, thus causing the elixir to 
change from clear light green to cloudy, 
opalescent white. 

Although Pernod is usually consid- 
етей an aperitif and served on the voc 
straight or diluted with a little water, 
other anise-flavored drinks, such as ouzo 
and the Italian Sambuca, are consid- 
cred liqueurs and are generally served 
straight in small quantities after dinner. 


Some of my friends have 
the habit, 


fallen into 


to buy a watch, 
why not make 


sure it’s a 
1 stop watch 


2 time out stop watch 
3 doctor's watch 

4 yachting timer 

5 tachometer 

6 aviator's watch 

7 time zone watch 

8 skin diver's watch 


9 regular watch 


Why not make sure it's the 
Chronomaster by Croton, $100. 
Write for free fact boo! 


Dept. P-13, Croton Watch Co., 
Croton-On-Hudson, N.Y. 


CROTON 


CHRONOMASTER 
in conversation and lcucr [GOES STEADY GOES STEADY 
GOES STEADY GOES STEADY 


PLAYBOY 


42 


writing, of referring to girls and women 
as "females." They claim it’s more so- 
phisticated. What do you think?—T. J., 
Ваше Creek, Michigan. 

It’s more confusing than sophisticated. 
The term “female” can be applied to that 
sex in any creature having sexual differ- 
entiation, from the amocba (in certain 
moods) to Homo sapiens—ewn including 
some plants. Next time one of your 
"sophisticated" friends says he was out 
with “an attractive female” the night be- 
fore, ask him: "Of that species? 


Bm an unmechanically minded male 
who's just bought his first sports car—a 
new MGB. With my purchase, the 
salesman solemnly admonished me not 
to let the engine “lug.” Trying to make 
an impression, I foolishly didn't ask what 
lug is. Can you tell me—TF. B. N., Farm- 
ington, New. Mexico. 

Lug is simply automotive jargon for 
engine labor, which is caused by driving 
in too high a gear for a particular speed. 
Automobile engines are generally most 
effective when run in their middle rpm 
range (this range is between 3000 and 
5000 rpm for most sporis cars). A good 
driver will fully utilize his transmission, 
shifting down when cornering, going into 
acurve, climbing a hill, passing, etc. Con- 
stani lugging will eventually lead to 
carbonized or burned-out valves, worn 
bearings and engine fatigue, requiring an 
carly engine overhaul. Your tachometer is 
marked with a ved line to show the maxi- 
mum recommended rpm, but this is a 
limit for intermittent use; under ordinary 
driving conditions, the engine speed in 
cach gear should be kept below that red 
line, 


Lm pursuing my favorite lunch-hour. pas- 
time—sidewalk engincering at new con- 
struction sites—I've noticed that the 
builders of more and more high-rise struc- 
tures are using cranes that operate from 
the top of the building, rising with it as 
new floors are added. What's puzzling 
how these units are lowered once the struc- 
ture is completed. If there are more than 
two, obviously the last one can lower the 
next-to-last. But how do they get the last 
one down?—J. K., Chicago, Illinois. 

On some jobs, there will be both the 
sort of "climbing" стапе you mention 
and a conventional ground стапе, which 
can lower the climbing one, if the build- 
ing is not 100 tall. In the absence of a 
ground crane, or оп very tall structures, 
the climber is dismantled at the top and 
its pieces lowered by а winch small 
enough to be taken down inside the 
building. 


О. the morning of my birthday, 1 got a 
card from my girl with Iwo tickets for a 
show that night. When 1 called to thank 
her, she refused to go with me because 


T asked her at the last minute. So I phoned 
nother gal 1 knew and made the date 
with her. Later, my girl called back, sa 
she'd changed her mind, Inasmuch as she'd 
provided the tickets, 1 felt obliged to 
break my date and take her. But I'm still 
not sure I did the right thing.—$. F., Far 
Rockaway. New York. 

You didn't. Your girl deserved no fur- 
ther consideration. You should have gone 
ahead with your date and had а good time. 


A fcr getting a haircut, shoeshine and 
manicure in a men's hairstyling salon, 
what is the correct procedure for leaving 
gratuities? №. L., Los Angeles, California. 

Tip each individual personally after 
you've paid your Lill. 


ЇМ. tong ago, 1 was helping my father 
tune up our car, when his finger got 
painfully caught in the fan belt. After he 
freed himself and got over the initial 
shock, he began to cry—the first time I'd 
seen him do so in my 17 years. Inexpli- 
cably, this sent me into gales of laughter. 
1 finally controlled myself enough to get 
him first aid, but I was still suppressing a 
giggle. My father was very puzzled and 
hurt by my behavior; and, as for me, I 
feel as guilty as if I had committed a 
crime. I cannot. understand my behavior, 
and I wonder if d cident proves 
that I have a “father complex" or that 
Tm so mentally unbalanced I should 
see a psychiatrist. What do you think2— 
B. M., Cleveland, Ohi 

Relax, A single such incident does not 
prove that you're in need of headshrink- 
ing. In moments of extreme stress, people 
frequently exhibit tional responses. 
Some laugh hysterically; others retreat 
into a psychoticlike trance; others attack 
an innocent bystander, Only if such be- 
havior occurs regularly, without apparent 
motivation, is there any reason to think 
your head needs retreading, The stress in 
this case was partly due to the naturally 
ambivalent feelings involved in a father- 
son relationship, but this by no means im- 
plies any sinister “father complex" unique 
to yourself. We all have ambivalent fecl- 
ings about authority fignres—which is why 
everybody laughs when the Keystone Cops 
are ignominiously humiliated. Just regard 
your inappropriate laughter as a response 
to a stress situation, and forget it. 


BBeing extremely shy, E have let my 
progress in ma icnds with girls and 
dating them become somewhat retarded. 


normal libido and a very intense interest 
in the opposite sex. So 1 have made up 
my mind to take myself by the scruff of 
the neck and learn to meet girls, talk to 
them, ask them out, kiss them and do all 


the things that seem appropriate. I know 
there are no tricks, gimmicks or short cuts, 
that its just a matter of practicing till 1 
overcome my fears; but is there any advice 
of an inspirational nature you could give 
me?—R. B. K., St. Louis, Missour 

Yes. Commit to memory this state- 
ment of Ralph Waldo Emerson's: “The 
power which resides in him is new in 
nature, and none but he knows what 
that is which he can do, nor does he 
know until he has tried.” 


у ning to spend a 
year enjoying an unhurried view of 
rope. Are there any travel books 
primarily from a student's point of view? 
—F. P., Cherry Hill, New Jersey. 

Try "Lets Go | The Student 
Guide to Europe” and "Let's Co H | The 
Student Cuide to Adventure," $1.05 each, 
plus 25 cents postage. Order from Harvard 
Student Agencies, Inc., 993a Massachusetts 
Avenue, Cambridge, Massachusetts 02138. 


ІМ, giri and 1 are pl 


Except for one thing, 1 have a perfect 
relationship with a very atractive you 
man. Because my brother is his best 
friend, he will not take me to bed. We 
both want very badly to make love and 
it's frustrating beyond words to go just 
so far and then stop because of his ha 
up. He says he just can't do this to me, 
because I'm his best fricnd's sister. How 
can I make him forget about my brother 
and think of me as a woman, not a sister? 
—Miss E. J. M., San Dicgo, Calilorni 

His hang-up is rooted in the double 
standard and probably is deeper than 
you realize, The key to the problem is 
his thinking that he would be doing 
something “to” you, rather than “with” 
you. Let him know you consider yourself 
an individual with equal rights in the 
pleasures of love and that it's been many 
years since females required permision 
from male siblings to exercise their per- 
sonal prerogatives. Tell him that his be 
havior is not the noble gesture he wishes 
10 think it is, but a cop-out based on his 
jailure to accept equality between the 
sexes. If he is unable to see it this way, 
then try to fully understand it yourself 
and look elsewhere for a more fulfilling 
relationship. 


АП reasonable questions—from fash- 
ion, food and drink, hi-fi and sports cars 
to dating dilemmas, taste and etiquette 
—will be personally answered if the 
writer includes a stamped, self-addressed 
envelope. Send all letters to The Playboy 
Advisor, Playboy Building, 919 N. Michi 
gan Ave., Chicago, Illinois 60611. The 
mast provocative, pertinent queries will 
be presented on these pages cach month. 


$ 


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PLAY 


VOL. I, NO.96 ^" 


IY CLUBS INTERN ATIOVAT, ТУС 
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D CLUBS IN MAJOR CITIES 


SPECIAL EDITION 


YOUR o: 


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Playboys and their playmates dine luxuriously whi 
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TEE-OFF TIME AT PLAYBOY RESORT 


LAKE GENEVA (Special) — 
The 18-hole golf course at the 
Playboy Club-Hotel at Lake 
Geneva, Wis, is the swinging 
scene for golfing enthusiasts this 
summer. Designed by noted golf 
architect Robert Bruce Harris, 
the course is one of the top five 
in the country. 

A second course, designed by 
Jack Nicklaus and Pete Dye, is 
now under construction and 
should provide even more chel- 
lenge for novices and pros. 

Annual golf tournaments are 
being planned now in Playboy 
Clubs across the country. Give 
your General Manager your 
name so that you can be notified 
of the date as soon as he com- 


Swing this summer at your Playboy 


hop all over the course to assist you! Check at your Club for de! 


pletes arrangements. Why not 
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LAKE GENEVA (Special)— 
It's new, exciting and brimming 
with Playboy fun! The Playboy 
Club-Hotel at Lake Geneva, 
Wis., has already played host to 
hundreds of keyholders and 
their guests since its premiere 
on May 6, 

Don't miss out on the good 
times at this new 1000-acre, 
$10,000,000 playground as well 
as at every other Playboy Club. 
(There are 19 in all, including 
16 Clubs in the United States, 
a Club in London and in Mont- 
real and a Club-Hotel in 
Jamaica.) 

You can now obtain your Key- 
Card at the special rate of 525 
during the Playboy Club's An- 
nual Review of its keyholder 
roster. This reduced fee is in 


effect in all areas of the U.S., 
including states where the Key 
Fee is normally $50. (See cou- 
pon for list.) 

You'll find luxurious rooms, 
superb dining in eight eating 
and drinking areas, and an in- 
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the seven-building complex. 
Whether you snack at the Side- 
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meet friends in the Bunny Hutch 
discothéque, the Playboy hospi- 
tality will put you at your ease, 

Sail on the 25-асге lake or 
play tennis on one of four cham- 
pionship courts. Join the good 
life at Playboy's “country club.” 
Mail the coupon today for your 
Key-Card application at the 
special rate. 


Liza, Vie, Diahann 
Y 7 

LAKE GENEVA (Special)— 
Top names of TV, movie and 
recording fame are headlining 
the talent roster at the Playboy 
Club-Hotel at Lake Geneva, 
Wisconsin, 

Celebrities like Allen & Rossi, 
Liza Minnelli, Diahann Carroll, 
Vic Damone and Ford and Hines 
have played to the delight of 
keyholders and their guests. 
Scheduled for appearances are 
Jack Jones, Flip Wilson, Shecky 
Greene and Joan Rivers. 

In Playboy hutches from coast 
to coast top entertainment high- 
lights nightly revelry. Join the 


and Flip On Stage 


audience. Fill in the coupon 
today! 


ГУ ie 


Exciting Diahann Carroll recently 
turned on Lake Geneva keyholders. 


W = = = BECOME A KEYHOLDER, CLIP ANO WAIL TOOAY mm та mm ша. 


TO: PLAYBOY CLUBS INTERNATIONAL 1 
Playboy Building, 919 N. Michigan Ave., Chicago, Illinois 60611 1 
Gentlemen: | wish to obtain my personal Key. Card. i 
КЕМЕ = TPLEASE PRINTY 1 
] Sevmmes , 
ADDRESS 1 
Io STATE TP CODE | 
J| US. Key Fee during the 1968 Annual Review Period is $25 in all states, including | 
Araona. Florida, Minois, Indiana, Kansas, Louisiana, Missouri and Mississippi, 

И. there the fee i normally 250. Canadien Key Fee: $30 (Canadian). Key Fee in. ff 
Cludes $1 for year’s subscription te VIP. the Club magazine. The Annual Account 
maintenance Charge, currently $5 in U.S. and $6 (Canadian) in Canada, is waved M 
gp fervour first year. 1 
1 О епаозеа tna s — ~ O Bil me tor у. І 
CI 1 wish only information about The Playboy Club. 296 
[Ie d 


PLAYBOY 


Are you in the dark about 
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THE PLAYBOY FORUM 


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


MARITAL SODOMY IMPRISONMENT 
J want to express my appreciation to 
the Playboy Foundation for helping mc 


intercourse. with readers 
find it difficult to believe that a per 
son cam be imprisoned for a form of 
sexual expression. performed within the 
privacy of the mariage bed, but I rue- 
fully can testify that it is true. 

These are the faas: My wife and T 
меге manied in 1953, when I was 17; 
and although we never had an idyllic 
marriage, my wages were sufficient to sup- 
port her and our five children. Whatever 
quanels we had were always made up 
amicably after we'd had a chance to cool 
oll. Even though we were having a par- 
ticularly difficult time of it during the 
spring of 1965, I was nonetheless shocked 
10 learn one day that my wife had si 
an afidavit accusing me of comm 
bominable and detestable crime 
with her. To this day, I 
do not know for certain why she did thi 
Ithough during subsequent. conve 
tions, 1 have gathered that at the time 
she was particularly angry with me. fol- 
lowing an argument, and that a meddle 
some friend had goaded her into trying to 
"put me away" for a while. 1 do know 
uh never my wile and I did in bed 
was as much her wish as it was mine; no 
force was ever used. Here is what the 
athdavit stated. 


my wife. 


That on or about the seventh of 
May, 1965, at and in the County of 
Jasper, in the State of Indiana, 
Charles О. Cotner did then and there 
unlawfully and feloniously commit 
the abominable and detestable crime 
against nature with one Jeanc Cotner, 
а human being, contrary to the form. 
ol the statute in such cases made and 
provided and against the peace and 
dignity of the State of In 


ed in comt for i 
ment, 1 refused a court-appointed attor- 
ney, because I thought I'd be able to get 
my own, Meanwhile, my wife told me 
that she had changed her mind and was 
willing to chop the charges. D was there- 
fore caught with my guard down when 
1 learned that she no longer had the legal 
right to withdraw h ution; the 
judge told me, “Your wile hasn't any 
right to change anything. The state of 
Indiana is the рани and not your 


wile.” (This statement is not from mem 
it’s in the court record.) 

a private sex act followed by a 
foolish quarrel between husband and w 
had become the business of the state 
Naively. I continued to refuse legal repre 
sentation: I pleaded. guilty and threw 
myself at the mercy of the court, thinking 
that in this enlightened age, I would be 
given a suspended semence or a short 
term of imprisonment. To my astonish- 
ment, the judge sentenced me to not less 
than two nor more than fourteen yems. 1 
still can’t make myself realize that in a 
democracy. the state can deprive a man 
ol his liberty for a consensual sex ай 
with his wile, but I've been in prison long 
enough 10 know that I 
it. I have 11 more years to serve, and 
regardless of how good my behavior is, 
the likelihood of my being paroled is 
remote, because “sex olfenders 


ory 


Th 


vc rarely 


released before they've served considerably 
more than their minimum te 
My faith in justice has been somewha 
restored by a lawyer who his taken an 
terest in my case, and by the Playboy 
Foundation, which has assisted him i 
filing an appeal attacking the a 
y of the Indiana sodomy statute. 1 hope 
and pray that their соп» in court will 
end this nightmare. 
Charles O. Comer 
Indiana State. Reformatory 
adleion, Indiana 
As we go to press, we have learned that 
Mr. Cotnei's petition was granted in the 
United States Court of Appeals for the 
Seventh Circuit. Judge Kiley, expressing 
the majority opinion, stated: 


We reverse because we have con 
cluded that Cotney has no adequate 
method jor raising his constitutional 
argument under Indiana procedural 
rules and because we have also con- 
cluded that there is a substantial ques- 
tion as to the constitutionality of the 
Indiana sodomy statute аз applied in 
this сазе which Cotner not in 
formed of prior to his plea of guilty, 
thereby rendering his plea of guilty 
void as not understandingly made. 


was 


On the constitutional issue, Judge Kiley 
commented: 


Cotner attacks the Indiana sodomy 
statute on the ground that it violates 
.. the Indiana Constitution and the 
Fourteenth Amendment of the United 
States Constitution, because it is vague 


A 
secretary 
writes: 


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PLAYBOY 


46 


and because, os applied, it violates his 
right of privacy under the Supreme 
Court decision in “Griswold vs. Con 
necticut.” (We think that Соте has 
standing to complain about Indiana’ 
intrusion into the privacy of Сое 
marriage relation, even. though his 
wife has made the complaint against 
him. It is essential lo the preservation 
of the right of privacy that a husband 
have standing to protect the marital 
bedroom against unlawful intrusion.) 
In “Griswold,” the Supreme Court 
recognized a constitutional right to 
marital privacy and held that the right 
is wiolaled by the imposition. of 
criminal sanctions for the use of birth- 
control. devices by married couples. 
The impon of the “Griswold” de- 
cision is ihat private, consensual, 
marital relations are protected from 
regulation by the state through the use 
of a criminal penalty. 


Judge Kiley stopped short of declaring 
the Indiana sodomy statute unconstitu- 
tional and allowed the state of Indiana 
the option of retrying Cotner within a 
reasonable lime: “This procedure could, 
if prosecution, conviction and appeal 
followed, give the Indiana courts an op 
portunity lo resolve the substantial con- 
stitutional questions which may be 
involved in Cotner's case.” 

While we regret that a constitutional 
decision was not reached, we are gratified 
that Cotnes has finally been set free after 
almost three years of imprisonment and 
we hope thai Judge Kiley's enlightened 
comments will be heeded by other couris 
and by state legislatures throughout the 
United States, Although “The American 
Law Institute Model Penal Code adopis 
the view thal consensual private sexual 
conduct between adults should not or 
dinnvily be subject to criminal. sanction” 
(Judge Kiley), every state except Hlinois 
sill provides prison terms, frequently 
severe, for anal or oval intercourse; among 
these states, only New York exemptis mar- 
ried couples [vom the law’s jurisdiction. 

Finally, we commend attorney William 

rhecker, who brought this case to the al- 
tention of the Playboy Foundation, and 
who worked diligently and selflessly to 
secure Cotner's freedom, 


STATUTORY RAPE AND ABORTION 
North Carolina's general assembly last 
year passed an amended abortion bill 
troduced and championed by my law 
partner, Senator Jack Н. White. This act 
makes abortion legal if a doctor can es- 
blish that there isk of serious im- 
pairment to the mother's health or that 
there is substantial risk of grave physical 
or mental defect in the child or that the 
pregnancy resulted from rape or incest, 
provided the rape is reported to а la 
enforcement agency within seven days. 
‘Though I consider this law a step in 
the right direction, I recently encoun- 
tered a grave defect in it. The List condition 


FORUM NEWSFRONT 


a survey of events related 10 issues raised by “the playboy philosophy" 


CENSORSHIP IN SCHOOL 

BLYTHE, CALIFORNIA—Philosophy teach- 
er William Hensey, Jr., was fired by Palo 
Verde Junior College for alleged immoral 
conduct and classroom impropriety. His 
offense: using the word "whore" in class 
while cautioning students about the possi- 
bility of contracting venereal disease in a 
nearby Mexican border town. 


VARIABLE OBSCENITY 

xerox, D. с. ог the first time in 
American history, the Supreme Court has 
upheld a censorship law designed to apply 
only to children and, in so doing, has 
variable obscen- 


endorsed the doctrine oj 
ity.” In a sixo4hre 
Black, Douglas and Forlas dissenting), the 
Cour affirmed the constitutionality of 
Section 481-h of the New York State 
Penal Code, which prohibits the sale of 
certain materials to persons less than 17 
years old. In the majority verdict, Mr. 
Justice Brennan defined variable obscenity 
by quoting an earlier U. S. Court of Ap- 
peals decision, which stated that 


“. . „ material which is protected for 
distribution lo adults is nol 
savily constitutionally protected from 
restriction upon ils dissemination to 
children. In other words, the concept 
of obscenity or of unprotected matter 
may vary according to the group to 
whom the questionable material is 
directed or from whom it is quaran- 
ined.” 


тесез- 


In a vigorously worded dissent, Justice 
Douglas declared, “Censors are of course 
propelled by their own meuroses? and 
cited three appendices concerning mental 
illness among censors, adding "I seriously 
doubt the wisdom of trying by law to put 
the fresh, evanescent, natural. blossoming 
of sex in the category of ‘sin’ ” 


JUSTICE IN BLACK D WHITE 
BUFFALO, NEW YORK—A bizarre case in 
which the victim of таре is being pros- 
eculed has created а storm of controversy 
hete. The victim, M lla Moore, a Né- 
gro mother, said that the rapist held her 
prisoner for eight hours and threatened 
10 kill her three childyen if she turned 
him in. The rapist, Winston Moseley (rc- 
cently escaped [rom a mental hospital), 
was the same person who stabbed Cath- 
erine Genovese to death in New York 
City in 1961 while 32 neighbors watched; 
Mrs. Moore obviously showed good judg- 
ment in fearing him. Moseley was picked 
up by FBI agents one day after raping 
Mis. Moore and she was subsequently 
anested for failing to report the crime. 
District’ Attorney Michael F. Dillon. 


assigned the only Negro on his prosecuting 
staj}, Barbara M. Sims, to present the case 
in court against the rape victim, Assist- 
ant District Attorney Sims appeared in 
court but refused lo prosecute and, as a 
result, was dismissed from her job for in 
subordination, Outside the court, she 
asked the press, “IJ this had been a white 
woman raped, do you think they would 
have brought her into court and charged 
her with a crime?” 

In the light of recent research showin 
that Negroes are mare likely than whites 
10 be sentenced to death for rape (“The 
Playboy Forum,” March), it is tragically 
ironic to learn that Negroes fare worse not 
only as rapists but as таре victims, 100. 


ONE DAY TO LIFE 

NEW Yonk—Under present New York 
Stale criminal laws, 155 persons are now 
serving indeterminate sentences of one 
day to life [or sex offenses, and numerous 
others charged with crimes have spent 
years іп maximuncsecurity correctional 
inslilutions without ever having come to 
trial (in Matteawan State Hospital as of 
1965, 615 such persons had spent [rom 
5 10 61 years there). Efforts ave being 
made in the stale to ensure greater pro 
tection for the civil rights of both groups. 
New York's Court of Appeals has vuled 
that a sex offender cannot be given an 
indefinite sentence unless the sentencing 
judge has held а heaving establishing 
that the convicted person endangers the 
physical sajety of the public, is a habit- 
ual offender or is mentally ill. And a 
committee of the New York City Bar As- 
sociation has urged overhaul of the laws 
governing commitment of persons charged 
with crimes but considered too mentally 
ill to stand trial. The fates of such de- 
fendants, the committee's report said, ате 
governed al present. by “an incredible 
patchwork of laws . . . replete with in- 
consistent, incongruous, inequitable and 
archaic provisions.” 


Y. REFORM ABORTED 
ALBANY, NEW YORK—4 bill to liberal- 
йе New York State's abortion law was 
defeated for the second consecutive year 
by the state assembly. The defeat was a 
surprise to the bill's supporters, who 
thought that they had enough votes 
to secure passage. Abortion reform was 
also backed this year by the report of a 
special governors commission. 
Assemblyman Albert FI. Blumenthal, 
the bill's sponsor, successfully moved to 
return il to committee when he saw the 
vote was going against it. “The pressures 


were just too great in an election year.” 


A. C.L. U. AND ABORTION 

NEW YORK—The American Civil Lib- 
erties Union has concluded that all abor- 
tion laws—including socalled liberal 
ones covering therapeutic abortion—vio- 
late individual freedom. In а strongly 
worded report, the A. C.L. U. recom- 
mends that every state abolish all penal- 
lies for abortions performed by licensed 
doctors during the first months of 
nancy. Any reform short of this, the 
A. C. T. U. stated, “deprives women of the 
liberty to decide whether and when their 
bodies are to be used for procreation,” 
and this deprivation is “without due proc- 
ess of law.” 


COSTLY CONTRACEPTIVE BAN 

Wilbur J. Cohen, Secretary of the De- 
partment of Health, Education and Wel- 
fare, has warned. that Massachusetts and 
Wisconsin will lose Federal aid to families 
of dependent children if these states do 
not liberalize their birth-control laws. Nei- 
ther state permits unmarried women to 
purchase contiaceplive devices legally. 

A proposal to change the Massachu- 
sells law was put before the state legisla- 
ture. Birth-contvol crusader William В. 
Baird (“The Playboy Forum,” February), 
speaking in favor of liberalization at a 
hearing of the Joint Social Welfare Com- 
mittec, said Massachusetts has “a law on 
the books denying unmarried welfare 
recipients birth-control help; yet tax pay- 
ers are charged enormous sums each year 
for welfare, one half of which goes to the 
unwed mother and aid to dependent 
children. This is the height of ineiponsi- 
bility.” The bill was defeated in the Massa- 
chusetts Howe of Representatives 173 
to 19. 

Baird still faces two five-year prison sen- 
fences in Massachusetts оп convictions for 
having displayed a birth-control device 
and for having given a contraceptive to 
an unmarried woman. 


WAR ON OVERPOPULATION 
Mankind’s disastrous overbreeding con- 
tinues at an alarming rate, bul prog- 
tess ts being made in efforts to check the 
wend. The National Genter for Health 
Statistics announced that 1967's birth 
rate of 17.9 per 1000 Americans was the 
lowest in history; but an 
called Campaign lo Check the Popula- 
tion Explosion feels that the problem is 
still critical and urges a Government 
crash program lo deal with it. 
Commenting on Ihe situation else- 
where, Dr. Frank W. Notestein, recently 
retired head of the Population Council, 
told The New York Times that such 
methods as the intrauterine device are 
making significant invoads into the birth 
rales of underdeveloped countries. Never- 
theless, the rate of population growth 
in many of those countries still exceeds 
the rate of implementation of economic 


organization 


and educational reforms, thereby keeping 
the standard of living at a standstill or 
actually lowering it. 


HATE THY NEIGHBOR 

BERKELEY, CALIFORSIA—Further 
dence has been found supporting the 
view that there is а strong correlation 
between churchgoing and racial and reli- 
gious prejudice (“The Playboy Forum,” 
February). Commenting on a five-year 
study of the subject, research sociologist 
Rodney Stark said that “The facts are 
that Christian laymen, as a group. are a 
rather prejudiced lot . . . furthermore, 
they deny the right of the churches to 
challenge their prejudices.” In many in- 
stances, Christian laymen would encoun 
ter no such challenge; the study showed 
that, regardless of what they churches 
say officially, nearly one third of clergy- 
men have the same prejudices. 

Stark attributed the connection be- 
tween church membership and bias to 
the Western Christian "radical. frec-will 
If a man believes that 
everyone controls his 
likely to be intolerant of the 
of others and to blame the disadvan- 
taged for their own misery. The result is 
resistance to the ciil rights. movement 
and to large-scale attempts lo improve 
the lot of minority groups. 


evi- 


image of man 


DRUGS AND PSYCHOSES 

EVANSTON, ILLINOIS—Sociologist. How- 
ard S. Becker oj Northwestern Univer- 
sity has questioned the view, currently 
widespread among [nychiatrists, that LSD- 
type drugs сап cause psychoses. Accord- 
ing to Becker, bad trips that land the 
psychedelic voyager in a hospital are 
not really psychotic episodes al all and 
can be treated better by other drug users 
than by most. psychiatrist. What usually 
happens, Becker suggests, is thai the 
person who thinks he is going mad—in 
mosi cases, a novice in psychedelicdrug 
taking—has encountered feelings and 
perceptions that are new to him. This 
may cause рате. Ц he goes to an ordi- 
nary psychiatrist, he will very likely be 
diagnosed as psychotic; but if he turns to 
other tippers jor help, they will reassure 
him that they have all been there them- 
selves and thai he will calm down " 
tually. Becker predicts thal as experience 
with the use of psychedelics accumulates 
and the drug-using subculture grows. so- 
called drug psychoses will become less 
common. The sociologist points out that 
marijuana is similar to psychedelics in 
that it was considered a cause of insanity 
when it first became popular in this 
country during the Thirties. A 1939 study 
listed no fewer than 31 cases of pol- 
induced psychoses. but a search through vel- 
evant medical and psychiatric journals has 


revealed no reported cases of. marijuana- 


caused insanity since 1910. 


does not adequately cover cases of statu- 
tory rape. in which it is not likely that 
the teenage victim or her parents wi 
report the аа ший pregnancy is dis 
covered, T attempted to help a 12-y. 
old girl get an abortion; she had become 
pregnant after relations with her curre: 
boyfriend. The conception had occurred 
two months before she told anyone what 
had happened. Her physical health was 
good, so I could only investigate the pos- 
bility that her mental health would be 
gravely impaired. The psychiatrists who 
examined her made the incredible state 
ment that she was normal pregnant 
12-year-old." She could not be helped. 
Robert C. Powell 
Attorney at Law 
Dallas, North Carol 


GUILT-FREE ABORTION 
Some years ago. I was forced to ob- 
tain an illegal abortion. 1 went to а doc- 
tor for a checkup and he discovered that 
I was pregi nce I ied 
and the doctor was a friend of the family, 
he told my mother. The boy who ha 
made me pregnant was not in a position 
10 many me. Furthermore, 1 had been ex- 
posed to X r: n early stage in the 
fetus’ development and had reason to 
believe the child would be deformed. 

My mother took me to a doctor who 
performed the abortion. He was neither 
а butcher nor a money grabber. In fact, 
he is a prominent physician with an 
tractive office in а good neighborhood. 
He charged us 5115. 

Tam icd to the man who 
made me pregnant. I am in perfect phys- 
th and am planning to have chil 
а few years. 1 fecl no guilt or 
n about having, 


ys 


лу ша 


п abortion, 
nel to 
who 


be were so 


described evil” 
about which people should feel guilty 
(The Playboy Forum. February) is 


of the unwed 
ies that deter- 
ill leave 


It is the attitude 
other and of her loved o 
mines whether abortion 
burden of guilt 

(Name withheld by теди 
Seattle, Washington 


wrong. 


ABORTION AND CIVIL DISOBEDIENCE 
Medical schools should 
neophyte doctors to practice illegal 
tion when asked by someone needing 
such an operation. Doctors who break 
the law by performing illegal abortions 
are far more humane, moral and respon- 
sible than are the doctors who abide by 
the law and refuse help to those who 
need it, There are many ways to get 
around abortion laws today. as Law- 
тепсе Lader points out in his book 
Abortion. 
here an 
more importa 


enon 


moral principles that 
t than the law. The N 


47 


PLAYBOY 


48 


era taught us that it is immoral to obey 
quel, unjust and irrational laws. 

The standard objection to an argu- 
ment such as this is, “If everybody 
thought thar way, we'd have anarchy. 
This is nonsense. H, when breaking a law, 
one does not exploit or damage one’s 
fellow human beings, social disorder will 
not result. 

10 is estimated that roughly 1,000,000 
illegal abortions are performed each 
in this country by nonprofessionals, with 
hundreds of deaths and much maiming and 
sullering resulting: yet the country has not 
fallen into а state of disorder. It is highly 
iprobable, therefore, that there would be 
social disorganiza illegal 
abortions we 
medical doctor: 


win 
Department ol Sociology 
State University of Towa 
lowa City, Towa 


ABORTION RIGHTS 

The controversy over the legality of 
abortion makes little sense; the on 
silient point is that women will always 
be seeking and having abortions. I had 
an illegal abortion that nearly cost me 
my life and that did cost me dearly in 
shame and in the loss of my parents’ re- 
spect, I personally know seven women 
who have had similar experiences, In 
cach case, marriage was not possible and 
the specter of bearing aud raising an ib 
legitimate child in conditions of 


feeling 
rong oF 
the laws in the world will not stop women 
from aborting unwanted children, society 
should recognize this fact and therefore 
nding that we break the law, 
es on the line to do so. 
(Name withheld by request) 
Rockville, Mary 


ABORTION IN BRAZIL 

AL present, abortion in Brazil is con- 
sidered a crime, because the principle 
prevails that a human life with human 
rights exists from the moment of concep- 
The law distinguishes three kinds 
that performed by the moth- 
herself, that performed by another 
person with the mother’s consent and that 
performed by another person without 
the mother's consent. The penalty for the 
first type is one to three years in jail; for 
the second, one to four years for both 
panies: for the third, three to ten years 
for the person performing the abortion. 

Although abortion is a crime under 
Brazilian law, there are exceptions. 
Abortion is not punishable if performed 
i the mother's consent by а physician 
to save the lile of the mother or if the 
pregnancy is the result of rape. Unlike 
the recently liberalized laws in the United 
States, these exceptions do not require the 
sanction of a committee of doctors, the 


word of the attending physician is ac 
cepted. Thus, the doctor has the freedom 
to make liberal judgments if he so chooses. 
However. to justify an abortion in the 
case of rape, ther 
the crime. 

The point I w: 


though Brazil 
models of liberality, they are mor 
vanced than in mos of your st 
opposition to th 


ition of 
10 be strongest among 
Catholics, yet Brazil is almost. entirely 
Catholic. 


. Kauflmann 
Attorney at Law 


Cau 


CUMULATIVE EFFECT OF ABORTION 

Apparently, advocates of legal 
abortion do not realize the cum 
have on 


eflect precedent can 


so 
The liberal abortion laws now being 


proposed retain fairly strict standards 
for deciding when abortion should be 
permitted. But it is not inconceivable to 
me that, with abortion readily availabl 
individuals may become lax in their con- 
eptive practices, relying on the med 
a to bail them ош, should an 
ted conception take place. Such a 
tendency would inevitably chip away at 
the established. standards restricting the 
ability of abortion 
ihe killing of unborn infants 
bordon becomes more and 
асе, so abo will the value 
1 other human lives become less 
d less important, Since advocates of 
liberalized abortion Laws apparently do 
at that the embryo has any valid 
the wishes of any indi- 
vidual will not be held in much esteem. 
Advocates of liberalized abortion laws 
do not sce the significance of the history 
of Nazi Germany, where, by a gradual 
process of erosion, the value of human 
lile and the importance of the individual 
were reduced to zero. They do mot 


As 
through 
more commonpl 
of 


think it follows chat if the lile of a fetus 
can be snulied out, 
date the aged, those on wel 


en we can liqui- 
e and oth- 
ion to society 


ers wh € no contribui 


Co the fact that a onedegree 
drop in the average temperature of a re- 
gion can be conducive to more snow and 


that snow can accumulate until a glacier 
formed. Likewise, the cumulative 
clea of thousands of legal abortions 
could build up a glacier of indifference 
that would crush our present respect for 
human life. All it takes is a drop in tem- 
perature—the temperature of love. 
Janet Peters 
Milwaukee, V n 
Your imagery of falling temperature, 
snow and glaciers would be effective in a 
poem, but, alas, it all melts away in 
the sunlight of logical analysis. Your po- 
sition depends on the unproved assump- 
tion that the embryo is, indeed, а human 


sco 


being and that abortion therefore consti- 
tutes the taking of human life. Advocates 
of liberalized abortion laws generally 
hold that only one human Ше is in 
voled in an abortion—that of the moth- 
ет. You miss the point that it is respect 
for the lives of prospective mothers—in 
disputably human—that motivates advo- 
cacy of liberalized abortion laws. The 
“glacier of indifference” that you fear al 
ready exists is the indifference too many 
people in this country have for the sujfer- 
ings of women afflicted with unwanted 
pregnancies. 

Thus, any precedent that would be 
established by the liberalization of abor- 
tion laws would move not in the direc- 
tion of greater indifference to human life 
and the importance of the individual 
but in quite the opposite direction—to 
ward greater respect. for the quality of 
individual lives. 


VOLUNTARY STERILIZATION 

1 was very interested in your excellent 
reply to the Chicago woman who wrote 
of the dithcultics in obtaining a st 
zation operation (The Playboy Forum, 
February). The reader asked: "How can 
we convince the medical profession that 
it is guilty of gross neglect in denying 
women an operation that is legal, harm- 
les and, in many cases, desperately 
needed?" PLAYBOY'S answer covered the 
factors of misinformation, fear of legal 


problems and innate cons 
among doctors, all of which are pei 
nent However, another factor of eq 


iportance should be recognized: the 


ofte on 
medical pr. 
The Association for Voluntary Steri 


zation, Inc. conducts а program of edu 
. research and service, including an 
kers Bureau. We know lor 
engagements for our 
reeled on occasion 
wre; that hospita 
sterilization in 


due to Catholic pres 
policies оп volunt. 


many areas of the country are severely 
restrictive due to Catholic influence on 
committees, on boards of сш 


and that Catholic doctors, by 
refuse to perform contraceptiv 
tions, regardless of the need, desire or 
religious faith of the pa 

Freedom of choice in m 


uers of birth 


control is a basic human right and it 
must not be abridged by sectarian 
influences, in hospitals, in Government 


programs or in private medical practice. 
Voluntary ме od of 
birth control has been. approved by the 
Department of Health, Education and 
Welfare, by the Department of Delense 
(for dependent wives of Servicemen) and 
by the Federalstae Medicaid progr 

in about 20 states: yet. the Офес of Eco 
nomic Opportunity remains adamant i 
refusing to allow familyplanning pro 
grams to use OEO funds for voluntary 


the 
thirst slaker 


Falstaff—brewed clear to drink fresh. 
The one that wets down a thirst = 
with cold, foarning flavor. 


Ga 


FALSTAFF BABWANG CORP. ST. LOUIS, MO. 


PLAYBOY 


50 


sterilization. Repeated protests to the di- 
rector of the OEO from the A. V. S. and 
the American Civil Liberties Union have 
resulted im a deafening silence and по 
change in the official OEO stance. The 
A.C.L.U. has described Sargent Shri- 
vers anti-voluntary-sterilization edict as 

аим the poverty group" 
ad a violation of the concepts of due 
process and equal treatment guaranteed 
by the Constitution, A formal A. C. L. U. 
statement added: “The arbitrary denial of 
ederal funds for surgical birth control, 
і.е. voluntary sterilization . . . cannot be 
justified in view of the ease with which a 
wealthy person can obtain this treatment 
privately. 

Voluntary sterilization is legal in all 50 
states, with restrictions to reasons of 
medical necessity” only in Connecticut 
ad Utah. Clearly, the problem is not 
a legal one but, rather, one of education 
ad elimination of the influences of reli- 
gious dogma from this field. 

Donald H. Hig: 

Association for Voluntary 
Sterilization, Inc. 

New York, New York 


The February Playboy Forum in- 
duded a leuer concerning the difficulties 
of obtaining an operation to have oneself 
sterilired. My own experience has been 
more fortunate. My wife and Т have two 
children and we fecl that having more 
would place an unacceptable hardship 
on our finances and on our energies. My 
wile took birth-control pills lor five 
years, but we felt that it would make 
sense to take а permanent step so we 
wouldn't have to be bothered with these 
precautions. 

As a result, Т 


ad а vasectomy. The 
corresponding operation for a woman is 
major surgery, compared with that for 
the male, but my operation took about 
20 minutes and was performed in the 
dodor's office, The pain was no more 
than that of a pin prid or a small 
scratch. Immediately after the surgery, I 
drove my motorcycle home, a distance of 
40 miles. And I didn’t miss a day of 
work. The operation has had no detri 
mental effect on my sexual drive or my 
sexual abilities. For the doctors prote 
tion, I signed a form stating that being 
sterilized was entirely my own choice 
and that the doctor was free from any 
suit J might file, should 1 feel remorse 
however. T feel absolutely none. In fact, 
my wife and I are now much more 
carefree in our lovemaking. 

W. M. Stallings 

North Hollywood, California 


PSYCHIATRIC INJUSTICE 

Psychiatrists on college campuses ol- 
ten act not as therapists but as spies 
for the adminisuauon. In an article 
titled “The Psychiatrist as Double Agent” 
in Transaction magazine, psychiatrist 
Thon that when a 


S. Szasz states 


student reveals, in confidence, that he is 
rkedty individualistic or might do some- 
ing that may embarrass the school, the 
therapist is expected to report this to the 
school authorities. The trust that is cs 
sential for effective psychotherapy is thus 
undermined as the student begins to sus 
pect that his “treatment” is more likely 
to involve punishment than help. My own 
experience supports this. 

Trusting that my counselor's purpose 
was to help me work through a period of 
intense emotional upheaval, 1 told him 
that I had seriously contemplated com- 
mitting suicide. Far [rom offering sym- 
pathy and understanding, he immediately 
informed the dean of students. Since a 
suicide might create unfavorable publici- 
ty for the college, the dean decided that 
the welfare of the institution dictated my 
expulsion. Furthermore, he insisted that 
nor be readmitted until such 
as a psychiatrist would voudi for 

ional stability (ic, would assure 
1 would not besmirch the 
school's image by doing away with my 
self on campus). His comments on ту 
record have made it virtually impossible 
for me to transfer to a different college. If 
do secure ihe services of a private psychi- 
atrist (no simple matter, given the time 
and expense involved and a students 
budget). my trust in him will be under- 
mined by the knowledge that he will 
have to make some kind of report to the 
dean if I am to be reinstated. 

Operating in a situation in which men- 
tal health is defined in termsof not rocking 
the boat, college psychiatrists inevitably 
nd themselves playing dual roles: thera 
pist and informer-disciplinarian, Given 
fact that the schools pay their salaries, 
is not surprising that they generally 
choose the latter role if conflict forces a 
choice. 

ОГ course, 
suggest that all 
willing to sacri! 


I could 
time 


would be unfair to 
apus counselors are 
ce their professional i 
tegrity and betray the confidence of stu- 
who seck their assistance. I know, 
ample, of a psychologist on a Mid- 
western campus who m ed that his 
sole purpose was to do therapy and who 
steadfastly refused to discuss any of the 
details of his cases with administrator 
He was fired. 


imc and address 
held by requ 


(N: 


wi 


CRIME AND PUNISHMENT 
Two weel по. | was released from 
prison. I had served two and one half 
years for a misdemeanor and was freed 
through the efforts of a conscientious at- 
torney. hired at no small cost by my p 
ents. Had my case not been returned 
to court, T would be facing two more 
years of confinement before the Califor- 
nia Department of Mental Hygiene 
would consider discharging me. As most 
people know, a misdemeanant rarely 
more than one year—usua 


serves 


spent in the county jail. But if a man is 
convicted of a sex crime in Californi 
can be sentenced “indeterminately 
mentally disordered sex offender.” 
M. D. S. O. is on 
q J psychiatrists as "dangerous to 
the health and safety of others." 
found to be dangerous because I solic- 
ited a sailor to commit a homos al act. 
He was 20 years and |] months old. 
Had he been on earth 30 days longer, 
my crime would have been different I 
was 26. There were no aggravating dr- 
cum: xs in the solicitatk Further- 
more, І have never 
or teenagers, never camied a weapon or 
ssaulied anyone and I have never 1 
tered in public places or made any effemi- 
nate display of my homosexuality. 
(Name withheld by request) 
Los Angeles, Calilornia 


An 
who is diagnosed by 


A CHRISTIAN COLLEGE 

The intelligent and sensitive letters in 
The Playboy Forum from liberal clergy- 
men give a false image of what many 
devout Christians are really like. Let me 
give you an illustration from my own 
experience. 

I am a 21-year-old girl majoring in re- 
ligion at a Christian college (which, in 


the name of morality, bans movies, 
dancing, smoking and drinking on cam- 


pus). I enjoy the company of men tie- 
mendously and consider myself quite 
normal sexually. However, at the begin- 
ning of this school term, [ became 


friendly with a 2?ycarold girl with 
whom 1 shared the same interests in 
music, literature and hobbies. Because T 
spent a good deal of time with her, ru- 


mors spread that she and I were Les 
bians. Rather than create ап incident 
that might cause us to look guilty be 
cause we “protested too much,” we de- 
led to ignore the rumors and thus live 
them down. 

Recently, the mater came to а head. 
Another girl asked to room with me be- 
of personal diflerences with her 
current roommate. I did not know about 
this request until 1 learned that the girl 
had been turned down by the dean of 
women, who implied that the request 
was refused because the ment 


would be “unnatural”; she further im- 
plied that I would lead my potential 
roommate "away from the face of the 


Lord" and that 1 was, therefore, not a 
Christian. I then [elt compelled to go to 
the dean to deny the. rumors about. my- 
self. She showed little interest in my 
denials and asked why I was so upset if 
they were not true. Thus, a concern with 
one's reputation is automatically taken as 
a confession of guilt. 

If 1 seem disillusioned with Christian 
schools and Christ in general, it is 
because brotherly love and charity lie 
forgotten, while bigouy, hypocrisy and 
cruelty reign. If I were a Lesbian, it 
would be nobody's business but my ow 


I am not a Lesbian and that, too, is no 

one else's business. Yet, I am unable to 

fight to save my own reputation; I'm 

damned if 1 do and damned if I don't. 
(Name and address 

withheld by request) 


A KNOT OF TENSION 

1 have enjoyed рглүвоү, but one fea- 
ture in your October 1967 issue created 

Knot of tension in me that was resolved 
only over a period of several months. T 
refer to your pictorial essay on the movie 
version of D. H. Lawrence's The Fox. 
Your words and pictures suddenly 
brought to light two subjects- female 
masturbation and female homosexuality 

about which my childhood training 
had given me a complete block. Al- 
though I have been married for over 40 
years and my wife and 1 have been rea- 
sonably experimental in our lovemaking, 
it is now obvious to me that there are 
some sexual subjects that I have never 
been able to confront except on an intel- 
lectual level. I can talk nally and 
even liberally about socially condemned 
sexual behavior, but my thoughts have 
been arid, without imaginative emotion- 
al contact. You suddenly made me real- 
ize that I have been, in effect, blind to 
part of the spectrum all my Ше, I now 
see joy, warmth and beauty where before 
I saw only strangeness. 

I am looking forward to seeing The 
Fox and I hope rLAYnov continues to 
provide similar healthy shocks to my 
nervous system. 

(Name withheld by request) 
Corpus Christi, Texas 


MORE DEVIATION, LESS POPULATION 
The prevalence of homosexuality 

throughout history in man and other 

йсше that it has some 


ognized that there are built-in automa 
demographic controls that serve to keep 
ion at optimum size. Homosex- 
uality was a nonsurvival trait when great- 
er numbers of people were needed. "That 
era produced todays sanctions against 
homosexuality. Homosexuality was piob- 
ably approved in classical Greece, because 
the county could not support a large 
‚ it was approved in 
because the general 
of he Mediterranean basin 
population in- 
асас. The ancient Hebrews were a 
nomadic people to whom numbers meant 
strength; thus, their religion outlaws 
Homosexuality. During the Middle Ages, 
when population was declining becau: 
war, famine and plague, the antihomo- 
sexual Old Testament morality was reas- 
serted by Christianity. 

There is presently a population explo- 
sion, but we are stuck with the tradition- 
al prohibitions against homosexuality, 
because culture lags behind environmen- 


prosperity 
brought about a rap 


of 


tal changes. 1 do not advocate inversion, 
but I think those so inclined should be 
allowed to practice it (in private and 
with consent) without legal or social 
proscriptions. 
(Name withheld by request) 
Nashville, Tennessee 

While we join you in deploring sense- 
less prejudice against homosexuals, we 
find more science fiction than social 
science in your suggestion that inversion 
has value as а method of population con- 
trol. To begin with, there is no evidence 
that population trends ever had any cor- 
relation to the prevalence or lack of ho- 
mosexuality in any society; in fact, the 
evidence points the other way. For in- 
stance, your examples of classical Greece 
and Rome are irrelevant, because the 
men who practiced homosexuality in 
these societies rarely did so on an exclu- 
sive basis and they frequenily had. chil 
dren by a wife and | or several concubines. 

The early (pre-exilic) Hebrews con- 
demned homosexual activity only when 
it formed part of the worship of non- 
Hebrew gods. It was long afier the 
Hebrews ceased being nomads that homo- 
sexuality became a moral issue. Nor was 
antihomosexual morality “reasserted” by 
Christianity їп the Middle Ages; the 
church began to issue this condemnation 
around 300 aw. and has maintained it 
with relative consistency tothe present day. 

There are other historical, as well as 
current, instances that tend to disprove 
your theory. In Victorian England, when 
the population was expanding, homo- 
sexuality was severely condemned. And to 
this day, the Arabs live in areas of low- 
density population, but do not condemn 
homosexuality. 

The major flaw in your hypothesis 
is its failure to recognize thal only ex- 
clusive homosexuals—those who never 
have any congress with the opposite sex 
—can make a difference in population 
growth, AL present, the exclusive homo- 
sexual comprises only four percent of 
the total white male population (Kinsey) 
—hardly enough to make a difjerence. 
Yet any society that was liberal cnough 
to drop “legal or social proscrip- 
tions” against homosexuality would also 
be permissive about sex in general. That 
society would automatically contain few- 
er of the irrational taboos and restric- 
tions that are known to cause distortions 
(such as inversion) of normal sexual be- 
havior. Thus, as sexual liberalization in- 
creases, we would expect to see fewer 
exclusive homosexuals, not, as you sup- 
pose, more of them. 

Fortunately, the problem of popula- 
tion contiol, complex as it is, does not 
depend on fanciful speculations regard- 
inversion, Modern science has 
provided nearly perfect contraceptive and 
abortion techniques and is continuously 
searching for better ones. Where these 
techniques have been made available and 


ing 


where the population is educated to their 
benefits, encouraging progress has already 
been made in solving the problem. 


SEX IN THE CELLS 

We inmates of Kumla Prison (Eu 
1ореѕ most modern penal institution) 
consider ourselves extremely lucky to be 
able to receive and read rLaysoy. We 
are in full agreement with your philoso- 
phy. Here, as in а few other pe 
ries in inmates can be visited 
in their cells for thice-hour periods by 
their wives or their fiancécs. Further 
more, we have the right to take a 18-hour 
leave after serving ten months of our sen- 
tence. We can read anything we like, 
including pornography. Although homo- 
sexuality among men and women in cap- 
tivity has increased throughout Europe in 
the past year, this is not the case at 
Kumla. 

We fed the Swedish system for 
confining criminals is very advanced in 
comparison with that of the U. S.; but 
we aren't boasting about this, because no 
matter how much one improves it, priso 
is still prison. 


rentia- 


Walter Müller 
Kumla, Sweden 


POLICEMAN, HEAL THYSELF 
In the March Playboy Forum, the let- 
ter titled “A Policeman's Lor" presented 


the same whining complaint that I heard 
from fellow officers when I served as a 
policeman in En 
“People h 


land and in Canada 
ve no respect for the police 
What a Joad of old rubbish. 

Are the people really to blame for not 
respecting the police? If a few le 
police chiefs were to say "Maybe the pub- 
lic doesn’t respect us because we don't 
respect the public.” they might come 
closer to putting their houses in order. 

The March Forum lener writer objects 
to the image of policemen as a “bigoted, 
tyrannical clie." Tyrannical may be an 
overstatement, ‹ but bigoted is certainly 
true. To most policemen, the sight of a 
Negro, a beat-up old car or a demons! 
tion for peace, civil rights or the lalx 
movement has the same efect as a red 
cloth waved in the face of a bull. It ap- 
pears to me that on both sides of the At- 
lanig the police have a category of 
people under the broad heading: "Those 
We Can Give a Pretty Hard Time To. 
People in this category never get the def- 
erential treatment given to, say, a speeder 
in a Jagu 
r that the problem of police pub- 
ions will get worse before it gets 
better, Until there is по justification for 
the charges of racial prejudice, brutality 
d rigged evidence U at are made against 
forcement oficials, there wil 
nuing decline in public respect 
for the police. 

1 am no longer a policeman and I want 
to lead a quiet life without harassmen 


our hw 


be a cont 


51 


PLAYBOY 


52 


т should be obliged if you would conceal 
my identity. 


PRIVATE MORALITY AND THE FUZZ 

I do not understand the principles that 
guide most people today, as exemplified by 
the many Playboy Forum letters that ap 
peared in Ше wake of Kenneth Rexroth's 
z. Both Mr. 
oth and the letter writers seem to 
prove of the idea that whatever our 
citizenry wants to do, as long as it does not 
m others and is done with the consent 
of all concerned, should be accepted by 
society and, therefore, by the police. But 
if this is so, why should society protect a 
man who impoverishes himself, who tikes 


July 1967 article, The F 
Re 


I feel that if society subscribes to the 
principle that we can protect individuals 
from the consequences of financial im- 
providence, then we should also subscribe 
10 the principle tl ме can protect in. 
dividuals from the consequences of physi- 
cil, mental or moral self-destruction caused. 
by drugs, alcohol, perversion or any other 
kind of so-called private behavior 

H such protection of the individual is 
the responsibility of the police, they 
have a rough job and they deserve more 
support than Mr. Rexroth would have us 
ус them, 


m R. Stanley 

Henrietta, New York 
There is an obvious difjerence be 
een treating an individual problem as 
a crime and treating. it as a difficulty ve 
quiring assistance, The welfare recipient 
asks for help, is given it if he can prove 
his need, and is not deprived of his 
liberty. The actions of the drug addict. 
sexual deviate and, m some cases, the 
alcoholic are defined as crimes; and these 
persons are often arrested, condemned 
and imprisoned. If society chose to help 
such persons in a manner equivalent to 
the present welfare principle, it would 
give aid when it is voluntarily sought 
and the aid would be in the form of an 
enlightened rehabilitation program, nol 
police action. Experience has shown that 
imprisonment reinforces individual prob- 
lems of this nature; it doesm't help cure 
them. 


tu 


FRIENDSHIP FOR THE FUZZ 
For the most part, I agree with the 
Playboy Forum leuers supporting Ke 
neth Rexroil's appraisal of The Fu: 
по longer pretend that police brutality 
myth invented by irresponsible Lawyers, 
egroes and hippies. Ghetto minorities are 
regularly harassed by intolerant office 
of the law. Anyone who watches TV news 
broadcasts has seen a police truncheon 
wielded with a bloody anger that d 
ib humani 


ics both circumspection 


exists—and it is exalted by 
approved by the thrill-hungry 
ed by the apathetic. It has 


the generation that. 
looked on silently while Catherine Geno- 
vese screamed away the last moments of 
her life, If we ignore criminal acts, it is not 
amazing that we ignore criminality in the 
men hired to prevent them. 

Indeed, our attitude toward the police 
is characterized by a festering, slothful 
indolence; a society that sows compla- 
cency must inevitably reap disdain 

Ironically. the John Birch Soc 
one of the few organizations to 
interest in the men who protect us. "Sup- 
port your local police” is a. phrase heard 
often in the same breath with “Impeach 
Earl Warren 
If the police genuinely felt that they 
had. public support, they would probably 
welcome review boards and gracefully 
accept Supreme Court decisions. But we 
are deficient in the following are: 

1. The police are underpaid, We con- 
tinue to believe that because a police- 
man is dedicated to his profession, we 
need not pay him well. 

2. The police aw unable to make 
equitable salary demands. Policemen ob- 
viously cannot strike and, for the most 
рап, their brotherhoods are not recog- 
nized as legitimate bargaining agents. 

3. Police income is loaded with 
“fringe damages." Most policemen must 
purchase and maintain their equipment 
at their own expense; most are not. paid 
for overtime or compensated for hazardous 
servicc. 

1. The need for police professionalism 
is not recognized. Law enforcement 
the only socially imperative рг 
without improvement incentive: 
men should be compensated for time off 
and awarded scholarships for study in 


fields related to their work: social stud- 
ies, psychology, American history, etc. 
After completing а course of study, a po- 


ficeman should be promoted and given an 
increase ary equal to his scholastic 
achievement. This occurs in too few cases. 

Society cannot allow law officers to be 
illtrained, ill-equipped or partisan. Had 
we given the police the respect due them 
long ago. we would not now be faced 
with a police problem and the 
be no need for talk of brutality. review 
nd restraint 


А. Peter Hollis 
Wilson, North C; 


LIBERTARIAN POT LAW 
Your readers might be 

the following recommendations th 

a licensed psychiatrist with many years 


experience in drug problems, think ap 
propriate for marij «onu 
1. Administratively, the responsibility 


for regulation of marijuana trade shall be 
shilted. from  narcotics-enforcement con. 
trol to alcoholicbeverage-control units of 
the stare and the Federal Gov nent. 
2 Posession, without intent to sell. 
shall not be considered а c Posses 
sion of any amount exceeding two 
ounces but less than one kilogram shall 
constitute to sell. wh 
demeanor. Possession exceeding one kilo. 
gram shall be dealt with more severely 
—a fine of appropriate size for the 
amount ol mariju 

3. Vending 
similar to those requi 
holic beverages. Provisions for the pro- 
hibition of sale to children and persons 
known to abuse drugs should be in- 
cluded in licensing procedures. 

4. Азау for resin content, biological 
сүйү a 


nistration whe 
volved and of the state or 
local health departments where intr 
trade is involved. 

5. АШ growers, importers, m 
turers compounders and dealers shall be 
duly regulated in their various functions 
by a system of licensing designed to pro- 
tect the health and safety of the public 

6. Medical practitioners. druss 
vestigators and researchers shall be simi- 
larly registered. 

7. Public places where m: 
sold for on-the-premises use shall be li 
censed according 10 local guidelines for 
granting licenses to bars, taverns, etc. 

8. Each family or head of the house: 
hold shall be permitted to grow no m 
than 100 plants per year. 

9. Taxes collected from. the produc 
tion and the sale of marijuana shall be 
used for research into methods of con- 
trolling the abuse of this drug 

This program may seem radical, but 
based partially on the sys 
tem followed in India while that country 
was an English possession. The India 
Hemp Drug Commission, recommending 
am to Parliament in 1893, ex- 


Drag Adm 
commerce is 


philosophy of John Stuart Mill, who, in 
turn, was a Conscious disciple of the 

ples stated in our Declaration of 
dependence. 


Tod H. Miku: 
à Fran 


CHEER FOR PROTESTERS 

I can't imagine anyone being so naive 
as to believe what George В. Allen ay 
d in the February Playboy Forum 
lener “Student Activists.” To say thar 
young people who demonstrate for civil 
Tights show more concern for such issues 
than they do for getting an education is 


to miss the point that developing а con 
cern for civil rights is an important part 
of becoming educated. Mr. Allen praises 


"deancut kids who do their job”; in 
other words, those who stick only to 


books and classes. I might fit into this 
category, but 1 wholly 
encourage people to protest 
ch, if this is the manner in which they 
prefer to assert their views. My own 


protesting takes the form of sending let 


ters do n пез, n pers public 
cllicials and students on other campuses 
amd 1 urge my friends, relatives and 


acquaintances to do likew 

A valuable education can be acquired 
from protesting and marching. Why do 
so many people want to stop or restrict 
our freedom 10 do these things when 
they are, 
heritage 
last October's march on the 
By marching 
yo re g thar fi 
gene will have the same freedoms 
we have now. 

Donald С. Johnson 

Central Washington State College 

Ellensburg. W; 


PROSECUTION FOR DISSENT 
The public expression of opposi 
:0 the war in Vienam seems to h 
become a felony punishable by a three- 
year prison term. Last October, thou 
sands of concerned people demonstrated 
their disapproval of the war at the Oak- 
land Army Induction Cente 
them were un T 
scientists, writers. artists a 
Now seven of the demonstrators, all in 
their early 20s, have been singled out for 
prosecution on conspiracy charges. The 
Conspiracy consists of the defendants’ 
allegedly banding together to commit mis 
demeanors, Justice Robert Jackson once 
called the use of conspiracy charges “the 
prosecutor's darling.” 
The disuict айошеу expla 
pies: “Technically, a hundred or even a 
ionstiators could. have 


ined ıo the 


thousand of the dei 

been indicted for their actions. . . . We 
ilitant leaders." 

t procedure 

a new one, a new policy we have adopted, 


d should. serv 


to people who would violate the Taw in so 
themselves 

The prosecutor's "new. policy 
signed то make an example of these 
seven—to silence disagreement with the 
war, These аге not nationally famous 
Jeaders such as Dr. Spock; they are young 
people plucked ош of the group to be 
isolated and punished. 

We are horrified at this frontal assault 
on constitutional liberties. The law is be 
ing used to suppress the right of dissent 
We protest the indictments and urge sup 
port for the defendants. 

Kay Boyle 

Herbert Gold 

Jessica Mitford 

Mark Schorer 

Stop the Draft Week Defense Fund 
Oakland, California 


is de 


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abetter vodka 
forlove nor rubles. 


sVodka 


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OUr BEST TO YOU 


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53 


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©1968 Bristol-Myers Company 


PLAYBOY 


56 


RAPE IN BLACK AND WHITE 
I € been checking out 
ever since you published the si 
Miles Davis interview. (PLAYBOY. 
ber 1962) One of the best thi 
have ever done is your factual and dev- 
astating putdown of the racists in the 
March Playboy Forum. I think every 
Afro-American should be grateful to 
PLAYBOY for telling it like it is. Black 
men don't do most of the raping in the 
country; they just get most of the death 
sentences—and, hence, most of the 
publici 


PLAYBOY 
perb 


James Harris. Jr. 
Chicago. Mini 


DEATH FOR RAPE 

Recently, The Playboy Forum dis- 
cussed the death sentences received by 
three Negro rapists in Fort Lauderdale, 
la. A case has occurred in Virgin 
that tends to support the cont 
made by your editors. In an appeal 
the Virginia Supreme Court, the 
h sentences of two Negroes con- 
victed of raping a young white woman 
were upheld. Attorneys for the defense 
based their case on lack of strong iden- 
ication by the victim. The defense also 
emphasized s appeared. in a 
Washington and Lee Law Review 
de: Fr 


was ins n Virginia, to 1964, 56 
persons h cuted for таре and 
related crimes. All of these people have 


been Negroes. Chief Justice John W. 


Eggleston replied that the record is devoid 
of 


ny evidence of discrim 
n of the statute. 

I wish J knew by what logic the chief 
justice arrived at that opinion. 
Jay Kaplan 
Norfolk, Virgin 


atory applica- 


UNORTHODOX SEX PATTERNS 
Let me comment on the adultery de- 
bate being carried on in The Playboy 
Forum, A year ago, my wile and ] re- 
vealed to each other that we had both 
been unfaithful during our ten-year mar- 
riage. In my case, the infidelity went 
ck eight years and was very infre- 
eral women were involved and 
always far from home (on business 
trips). In my wife's case, there was only 
one affair, beginning three years ago 
and lasting for two years: it took place in 
my own home when I was absent. My 
wife and I have been faithful to each 
other since this mutual revelation and 
our marriage is stronger than ever, but 
are both left with several gnawi 
ns. 
ally. there was a ba: w in 
our relationship, of which our adulterous 
escapades were symptoms. Is this true in 
all cases? I do not know. Fifteen years 
ago. I learned that a young married cou- 
ple of my acquaintance regularly in- 
dulged in the rather bizarre practice of 


having the husband watch while the 
wife and a friend performed in bed. 
They are now happy and productive 
people in their 40s, with three model 
children: the whole family is seemingly 
unharmed by the weird behavior of the 
past. Obviously. for these people, the 
acting out of socially condemned im- 
pulses was good and helplul. In our 
own case, however, the adultery would 
have tom us apart eventually, if we had 
not confessed and started anew on a 
different basis. Is it honesty that makes 
the difference? 

1 do not condemn adultery or any 
manner of sex between consenting adults, 
as long as honesty is scrupulously pre- 
served. 


(Name withheld by request) 
Boston, Massachusetts 


AN AMERICAN TRAGEDY 
The sad story of the 21 


-old girl 
who was told by her parents to kill her 
ishment for staying out all 

instead, killed 


most cherished: 


but sickest—values (The 


Playboy Forum, May). 

nonstratés the validity of 
е its inception, 
Spe- 


The case de 
messages that PLAYBOY, sit 
has tied hard to drive 


home. 


attitudes in matters of sex, reli 
morality. 
Richard M. Bentley 
Signal Hill, California 


SEX EDUCATION 

The l|cuers “Academic Frec- 
dom” and “Educational Games” (The 
Playboy Forum, January) remind me of 
the high school from which I recently 
graduated. There, too, frank discussion 
of sexual maners was suppressed, osten- 
sibly on the grounds that sex education is 
best handled by parents. Ideally, this 
may be true: in practice, however, many 
parents fail to discuss sex w 
dren 
their own puritanical upbringing or be- 
cause of sheer irresponsibility. Sadly. the 
result an educational vacuum that is 
filled with misinform n that leads to 
the perpetuation of yet another generation 
of ignorance, guilt and fear. 

ІС secondary education is to lead to 
maturity (presumably, one of its goals), 
students must have the right to deal with 
sex in an intelligent manner. Instruction 
and discussion regarding sexual behavior 
and standards in a rapidly changing soci- 
ety should be made а part of every 


school's curriculum. 
John R. Leopold 
Lafayette, Indiana 

MILITARY CHASTITY. 
The Army is still trying to promote 


Victorian morality among the troops. In 


the Eighth Army, stationed in the Repub 
lic of Korea, the character-guidance topic 
for April was “Chastity.” as described by 
a chaplain. The text contained such 


choice bits of wisdom as the following: 


Our common American heritage 
strewes certain moral ideals, certain 
principles of right and wrong con- 
cerning our behavior. Among these 
ideals and principles is the virtue of 
chastity, the control of the sex 
sting so that it serves its real pur- 
poses and nor merely lust. . . . 

Loss of chastity menaces each 
one of person and threatens 
the health, well-being and lives of 
his loved ones; what's more, it may 
produce the side eflect of menacing 
our nation's security. 

If you add some alcohol to imma 
turity and social pressures, you g 
a most explosive mixture, indeed; it 
айса» the motor cemer of the brain 
nd impairs moral judgments, and 
easily lads to sexual looseness, the 
opposite of chastity 


sus 


(Name withheld by request) 
APO San Francisco, California 


SUPPRESSION AND REPRESSION 

You ünhorn sophists have been ex 
posed at last. I quote from an article 
“The Playboy in Profile.” by Bernard 
Suran, published some time ago in Listen- 
ing, a journal of the Dominican Order of 
the Catholic Church. Brother Suran 
trained in Thomist logic, tears the pseudo 
logic of The Playboy Philosophy to shreds: 


The playboy's sexual exploits are 
motivated by a supposedly Freud. 
ian rule of thumb: Repressed sex 
is bad sex: expressed sex is good 
sex. "We reject as totally without 
foundation the premise of the 
prude, who would have us believe 
that man would be healthier and 
happier if he were somehow able to 
curb these natural desires." Z reject 
as totally without foundation the 
premise of the playboy, who would 
have us believe thal any man who 
atlempts to control his sexual appe- 
tile is a prude. 

Repression is ge uncon 
scious process by which specific 
psychological activities or contents 
are excluded from conscious aware- 
ness. ... AS an unconscious process, 
repression can wreak havoc with 
other psychological functions. 
Suppression, on the other hand, 
conscious control of behavior, a 
form of sclconuol in which im- 
pulses, instinctual drives or disap- 
proved desires are kept from direct 
expression, Let us illustrate the 
point. Suppose that our playboy 

(continued on page 162) 


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57 


PLAYBOY 


58 


Activated 
charcoal filter. 


navso wis. PAUL NEWMAN 


a candid conversation with the gifted actor/sex star, fledgling director, 
antiwar activist and crowd-pulling campaigner for senator mc carthy 


Hollywood's legendary masculine idols 
are gone: polent box-office names like 
Clark Gable, Humphiey Bogart. Tyrone 
Power and Gary Cooper are remembered 
largely by their legacy of celluloid on” The 
Lale. Late Show.” And such heroes of 
another generation as Cary Grant, who 
hasn't made a movie in three years, is old 
enough lo qualify for Social Security 
dlmost by default, Paul Newman now 
sands conspicuously alone as the male 
vex stay of American films. His rugged, 
chiseled face and coolly seductive presence 
lures women of all ages away from their 
television sels—except when his jilmy are 
on—and into the nation's movie theaters. 
Comprehensive exhibitor surveys and 
personal-opinion polls verify that the 
Newman charisma. prevails as that of no 
other actor on this side of the Atlantic. 
In a New York restaurant not long ago, 
а well-dressed matron of the type who 
normally would never even approach a 
мат, much less ask for an autograph, 
stumbled into his table, blushed. stam- 
mered, shook her head and finally mur- 
mured, “I just couldn't help il. 1 had to 
keep staring at you." And a sophisticated. 
publicity woman at Time Inc. confessed 
al a cockiail party, “1 simply can't waich 
him on the screen. He's too much. 

The undeniable sexual chemistry be- 
tween Newman and his female fans is 
catalyzed by the complex, sinewy roles 
with which he has become identified in 
the course of his H-ycar, 26-picture ca- 


reer. The often-one-dimensional matinee 
idols of past decades would have avoid- 
ed his rogues’ gallery of mixed-up good- 
bad guys. but Newman has made a host 
of contrary ehayaciers pay olf hand- 
sømely. Four of them have carned him 
Academy Award nominations: pool shark 
Fast Eddie Felson in “The Hustler"; the 
impotent Brick in “Cat on a Hot Tin 
Roof"; Hud Bannon, the skirt-chasing, 
beerswilling, arrogant antihero who tools 
his Cadillac convertible around a small 
Texas town in “Hud”: and “Cool Hand. 
Luke,” the happy-go-lucky decapitator of 
parking meters who eats 50 eggs lo win a 
bet on a Southern chain gang. 

Wah the ехсериоп of his portiayal of 
a Greek slave in “The Silver Chalice” — 
Newman's fast picture and one that he 
would rather forget—he plays characters 
who pursue success (in “The Young Phil- 
adelphians” and “From the Terrace”) and 
women (as the laconic private eye in "Har- 
per” the ambitious diijter in “The Long 
Hot Summer” and the predatory gigolo 
in Tennessee Williams “Sweet Bird of 
Youth") with the sume casual cockmess. 

The roots jor stich impressive perform- 
ances are nowhere visible in the mundane 
highlights of his. just 25 yems. Son of a 
prosperous Cleveland. sporting-goods-store 
owner, Newman pied m the 
exclusive suburb of Shaker Heights. Afl- 
er high school. he enrolled at Ohio's 
Kenyon College: but following the out- 
break of Woild War Two. he quit to en- 


was 


list in the N Selected for Naval Ai 
Corps Officers Training, he was sent to 
Yale University: but because of partial 
color blindness, he flunked the plrysical 
and wound up serving (ee years as а 
radioman third class on torpedo planes 
crisserossing the South Pacific. After the 
War, he returned to Kenyon and was 
graduated with a bachelor's degree in 
English. The class yearbook, he recalls. 
immortalized his lifelong and celebrated. 
thirst for beer by noting that he had 
received “magnum cum kiger” honors. 
This penchant [or beer, as i turned out. 
was partially responsible for his becom 
ing an actor, With several other men 
hers of Kenyon's football team, he got 
into а barroom brawl: after they were 
sprung from jail, two were expelled from 
school and the vest—including Newman— 
were kicked off the team and pul on pro 
bation. Having nothing better to do with 
his spare time, he decided to try his 
hand at acting in school plays. 
Hooked, he signed up for several sea 
sons of summer stock iu Williams Bay, 
Wisconsin, and winter stock in Wood- 
stock, Illinois, after graduation. But the 
death of his father in 1930 interrupted 
Newman's incubation as an actor and he 
reluctanily returned to Cleveland to тип 
the family store. The world of business 
bored him, however; and after liquidat 
ing the enterprise, he entered the Yale 
School of Drama, from which he carned 
a master's degree. Within three months 


“To think that afier ‘Hud’ and ‘Cool 
Hand Luke! and all the other pictures I’ 
done and all the paris Гуе dug into, 1 
come off as the guy women would most 
like to go to bed with—it’s frightening” 


*] think if 1 really got serious about it, 
1 could run for Congress and probably 
make it—but it would be a tragedy for the 
nation. E just don't have the equipment— 
not that this has bothered some actors.” 


“My mariage isn't always fine and dandy 
—it Involves two people with very different 
approaches and altitudes—bul i has а cer- 
tain thickness to it. And there's affection 
and respect and a good deal of humor." 


59 


PLAYBOY 


after graduation, he landed a featured 
role on Broadway in William Inge's 
Pulitzer Prize-winning drama "Picnic" 
and was immediately stamped by critics os 
“a young Marlon Brando.” During “Pic- 
nics” H-month run, he met one of the 
understudies, an intense young actress from 
Georgia named Joanne Woodward. In the 
ensuing years, they continued their [riend- 
ship while studying with drama coach Lee 
Strasberg at the Actors Stulio—citadel 
of the Method approach to acting, And 
after they costarred in “The Long Hot 
Summer,” based on several Faulkner short 
stories, Newman divorced his first wife 
(actress Jackie Witte) and married Joanne 
in 1958. By the time she had earned an 
Oscar for her schizophrenic role in “The 
Three Faces of Eve" Newman was already 
in the forefront of America’s naturalistic 
actors—on the stage as well as on the 
screen. 

Today, at 43, he enjoys the status of 
a superstar. His pictures annually carn 
him a niche among the top box-office 
performers; and he makes as much as 
$1,000,000 per film, plus a hefty per- 
centage of the profits. But his celebrity 
status often attracts the kind of manhan- 
dling recognition he doesn’t appreciate. 
To avoid the gawkers and autograph 
hounds, he frequently dons such di 
guises as false beards and sunglasses 
when venturing out in public, A jealous 
guardian of his personal privacy, he pre- 
fers to seclude himself with his wife at 
their permanent retreat, a 200-year-old 
carriage house situated on two and a 
half acres of wooded land along the As- 
petuch River in. Westport, Connecticut 
(where they live with their three chil- 
dren, plus his three children from the first 
marriage, on frequent visits). In this rustic 
setting, he prowls the grounds wearing 
chinos, T-shirt, loafers and а beer-can 
opener strung around his neck. 

But he hasn't been content merely to 
sit around in kidneyshaped swimming 
pools guzzling brew, nor to rest on his 
laurels as an actor. Early in 1968, his 
carcer assumed а new dimension when 
he directed his first full-length motion 
picture, "Rachel, Rachel" cn location 
in Connecticut and New York. Neither he 
nor his leading lady, Joanne Woodward, 
took any salary for this self-produced 
labor of love. While he was still super- 
vising the splicing of completed scenes 
in a Manhattan projection. room, his 
passion for politics and his disillusion- 
ment with the present Administration 
prompted him to involve himself in the 
Presidential campaign of Senator Eugene 
McCarthy. In addition t0 participating in 
television and radio endorsements of the 
candidate, he has journeyed on speech- 
making forays to New Hampshire, Ne- 
braska, Indiana, Oregon. and Wisconsin 
on virtually every weekend since the 
spring. But this is not his first politi- 
cal band wagon: A liberal Democrat, he 
had also campaigned diligently jor both 


Presidents Kennedy and Johnson prior 
to iheir elections. And his interest. in 
other contemporary issues is neither ve- 
cent nor limited to partisan politics. Un- 
like some of his show-business peers, he 
look а firm stand on civil rights—joining 
in many marches and demonstrations— 
long before such militant involvement was 
fashionable in the movie colony. And some 
time ago, he embarked on a six-week crash 
progran to absorb everything in print on 
atomic testing, thermonuclear war, fallout, 
survival, retaliation and Cold War defense, 
Emerging from his studies an articulate 
antiwar advocate, he was soon drafted into 
McCarthy's peace cause—and into a hot 
new spotlight. Tt was at this crossroads in 
his career that we decided to approach the 
actor-activist for this exclusive interview, 

Following a series of preliminary con- 
versations in Los Angeles with journal- 
ist Roy Newquist, pLaynoy interviewer 

i Lewis joined Newman 
in Indianapolis just after he had ad- 
dressed а parking-lot rally in behalf of 
McCarthy. In contrast to his normally 
devil-may-care appearance (columnists have 
voted him regularly to the “Worst Dressed 
List"), Newman was wearing а conseru- 
alive gray suit and dark tie—but not his 
customary weekend beard. Despite his 
fabled intake of the poor man's bubbly, 
there was no evidence of a beer belly on 
his muscular 158-pound physique. which 
he keeps trim by chopbing wood, playing 
tennis and taking daily sauna baths. AL 
though he had once renounced cigarettes, 
he was again smoking more than two packs 
а day. Lighting up a cigarette, he observed 
that he had defaulted $3500 to friends who 
wagered he would be unable to perma- 
nently vesist tobacco. 

"After signing autographs, with un- 
characteristic patience, for the last of his 
Indianapolis partisans,” Lewis told us, 
“Newman hustled me onto a jet (he was 
scheduled to appear on the ‘Tony Award 
Show’ in New York that night), cased into 
his seat, whipped out a McCarthy button 
and pinned it to my lapel. Thus reassured 
that I was a friend. he talked at length 
during the flight to Kennedy, on a heli- 
copter trip to Newark Airport and on a 
hair-raising drive to New York, strapped 
behind seat belts in his soupedup Volks- 
wagen. We finally setiled in his Manhattan 
apartment on East 501} Street, where he 
stretched out on а couch and propped his 
feet on an antique coffee table while we 
com pleted our marathon conversation over 
several bottles of—not surprisingly—beer. 
Since the subject was much on hix mind, 
we began by asking him about his involve. 
ment in Senator McCarthy's campaign for 
the Democratic nomination.” 


PLAYBOY: For the р several months, 
you've spent nearly every weekend 
paigning tirelessly Га 
throughout the country. Wha 
become interested in his cause? 

NEWMAN: I've admired the man for 
years—but I admired the hell out of him 


made you 


when he came out ара 
Then the McCarthy people called 
and asked if I would be interested 
taping some things on his behalf. so I 
went back and checked McCarthy's vot- 
ing record. I was so fed up with the 
present. Administration that I couldn't 
resist going to work for him. I found 
him to be a dedicated, courageous hu- 
man being. It took guts to lay his cards 
on the table, to oppose a President who 
belonged to his own political party. It 
took guts to put himself on the line—the 
firing line, There were others who said 
we had to re-examine our position in 
nam, who said there had to be an 
alternative to the war policy of the 
Johnson Administration—but he was the 
only one who dared to stake his political 
career on the strength of that convic- 
tion. Since then, others have taken up 
the cry, but McCarthy was there first. 
Here is a man who was willing to test 
the theory of democracy: Ts the Govern- 
ment really of the people and by the 
people? When he won in New Ha 
shire and the Administration reversed its 
hard line and made a peace offer, he 
proved that Ш is. 

At the beginning, of course, it was 
regarded as only a token act of resist- 
ance—and consequently а lost cause. 
When I went to work for him. he stood 
alonc. He had no machine. He had him- 
self, his wife, their daughter Mary and 
one public-relations guy. When I went 
up to New Hampshire, there was a feel- 
ing that those who were against this war 
were cowards and probably traitors. The 
New Hampshire governor's office called 
us “fuzzy thinkers.” But all the people 
who were supposed to have their finger 
on the pulse of American temperament 
were desperately wrong. I think McCar- 
thy knew something, when we started 
out, that we did not know. I think he 
sensed the true dimensions of the cou 
confusion. dissatisfaction and disen- 
ntment with this war—and with the 
way Johnson was running it. People 
didn't know what or why, but they 
knew there was something wrong in 
being told, every four months, that we 
were winning in Vietnam, at the same 
time another 200.000 troops were being 
thrown in. It didn't make sense. But Mc- 
Carthy's opposition. to the war and to 
med, on the surface, to 
But now that Johnson is 
negotiating, now that there's hope for 
meaningful talks—thanks to the public 
pressure created by McCarthy's victory 
in New Hampshire—the climate changed 
almost overnight. In just а matter of three 
weeks, everything reversed itself, Now it's. 
a popular position to be a dove, to oppose 
our Vietnam policy. Suddenly we're con- 
sidered patriots and humanitarians. "That's 
really incredible to me. 

PLAYBOY: What do you tell voters on the 
hustings about McCarthy? 
NEWMAN: I tell them about the courage 


ast Johnson. 
ne 
n 


р- 


WEATHER 
FORECAST 


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a Dry Gin-Buck. Use Diet Ginger Ale 
ian Bubble! For the Scotch-loving clan, 


{ling in some Canada Dry Club Soda. All this hot summer, Canada Dry Ginger Ale and Club Soda are the mixers that make it. 


ER? 
US 


Behind the best bars in town. 


QUININE: 


61 


PLAYBOY 


62 


of the man. I tell them about his dedica- 
tion and integrity as a Senator. I tell 
them that his credentials are better than 
anybody else's. And I tell them that he 
can w after all, he hasn't lost an elec- 
tion in 90 years 
PLAYBOY: How closely have you examined. 
his voting record in the Senate? 

NEWMAN: Closely enough to know where 
he stands wi bor and the farm move- 
ment and the Vietnam war. 

PLAYBOY: Did you know that he has voted 
in the controversial oil-deple: 
allowance? 

NEWMAN: No, I didn't. 

Many political commentators 
feel that his performance as a legis 
has been a singularly undistinguished 
one, How do you answer that charge 
NEWMAN: I think his record has be 
very distinguished. He's cosponsored a 
lot of bills and his basic performance, in 
both the Senate Foreign Relations Com- 
mittee and the Senate Finance Commit- 


tee, has been to motivate the us 
bodies ine alternative policies. 
Senator McCa influence on the Sen- 


ie been considerable. He may not 
be very flamboyant, but that doesn't. de 
crease his contributions, 

Apart from his Vietnam stand, 
what leads you to believe that he's a 
man of courage? 

NEWMAN: He was one of few men in 
public life who ever dared to confront 
Joe McCarthy at the height of his ca- 
reer, He was the first man in Congress 
who was willing to go up and debate 
Joe. He's a tough. dedicated, thoughtful. 
graceful human being. The wonderful 
thing about Gene McCarthy is that he's 
and of such depth. He's a 
n, an internationalist. an econo- 
mist—and a рост. A touch of the poet 
isn't bad. you know. It’s a fascinating 
thing to watch him walk into a room. 
His presence doesn't stop all conversa- 
ion or electrify people, but when he 
starts to talk, it's absolute magic, In a 
matter of minutes, he commands 
and admiration—and it's a kind of re- 
spect that pays the ultimate compli- 
ment no pawing, no clawing. How 
great it would be to have a man with 
style п the White House 
again—somcone who was not part of im- 
age politics, machine politics; a man who 
doesn't owe ing. 

PLAYBOY: As a political realist, you must 
know that the odds against such a ma 
winning his party's nominat 
tremely large. 

NEWMAN: Well, I think there's re: 
because one senses that the machi 
beginning to crumble. Party bosses just 
aren't able to hold onto votes anymore. 
I don't think an endorsement by some- 
body like Walter Reuther means any- 
thing to the rank and file. The patronage 
period and the age of the bloc vote are 
on their way out. 

PLAYBOY: In 1964, you campa 


ed for 


Atlantic City, scrv- 
s at a Young 


Lyndon Johnson i 
ing as master of ceremon 
Democrat rally in Convention Hall. You 
lso co-hosted а fund-raising party with 
Lynda Bird Jobnson at the Ford estate 
on Long Island. What impressed you 
about Johnson at that timc? 

NEWMAN: 1 campaigned for Johnson in 
1964 because I thought he was the bet- 
ter of two men. That didn't mean that I 
felt he was the best man for the job. My 
vote for Johnson and my campaigning 
for him were really a protest against the 
policies of Goldwater. But that kind of 
vote and that kind of commitment don't 
mean anything. As history has shown, 
nothing positive come out of a 
negative vote. 

PLAYBOY: How do you assess Johnson now? 
's campaign 
in 1964 said that he wa 
. that he was 
Cd about the convul- 
our cities, At that time, it 
seemed to be far better than Mr. Gold- 
water's position. But ] was disenchanted 
with Johnson very early in the game: 
particularly with his Vietnam policy. a 
policy so duplicitous that it’s going to be 
difficult for us to negotiate peace with 
any kind of trust on the other side—or 
on ours, for that. matter. 

PLAYBOY: Тһе Presidenr's bitterest Viet- 
m er ad one of Senator McCar- 
Шу rivals for the nomination—is Robert 
Kennedy. How do you feel about his 
qualifications for the Presidency? 
NEWMAN: He's a very concerned human 
being about the course of Апи 
ciety. And he 
about the Vi 
tials аге good. nk McCarthy 
are better. Where he's got it over Ken. 
is that he started out with only 
conviction and guts and scored а re- 
sounding personal achievement. I tell 
voters who know about Cool Hand 
Luke: “Lets face it, there is in Mc 
thy no failure to commur 
other thing I say is that Bobby K. 
can't eat 50 eggs. 

PLAYBOY: How do you feel about the kind 
of campaign. Kennedy's been conducting? 
NEWMAN: I don't think it accomplishes 
anything to run a campaign based on 
innuendo and cutting people up and 
getting your shots in, I also think he 
might have entered the race a little 
more gracefully: and there is something 
a little too theatrical about Bobby's ora- 
torical technique—even about his pres 
ence. But I suppose I should be grateful 
you know I stole the char- 
acter of Harper from Bobby Kennedy? 
The way Bobby listens, at least the one 
time I've been with him, is very реси. 
аг: there's an odd quality about it. He 
seems almost inattentive. Hf. you didn't 
watch him very closely, you'd think he 
isn't 


sions in 


and evaluating; while you're talking, 
you can see him preparing his rebuttal. 
It kind of puts you off until you get 
used to it. I thought that was а nice 
of business for a private detective. 
PLAYBOY: Since Johnson announced hi 
intention of trying to make peace. have 
you cooled off at all about McCarthy? 
NEWMAN: Absolutely not. Regardless of 
whether or not Johnson was sincere 
about refusing to run again, we must 
stick with McCarthy. But now that a 
peace offer has been made. there are 
some interesting political possibilities in 
the offing. If there is a settlement in 
before August—a settlement 
with some kind of honor for both sides— 
Johnson would go into the convention as 
ace President and there might be a 
genuine draft for him to change his 
mind about retiring. I don't think any- 
really honest draft to 
be President. And despite his disclaim- 
ers. I don’t think there are many people 
the United States who 
President more th 
PLAYBOY: If the w y 
tion time, do you think McCarthy st 
a chance of winning the nomination? 
NEWMAN: Yes—if the people w 
awaken a sense of pride in what this 
country is supposed to stand for; if they 


want lo rid themselves of the feeling 
that the times are out of contol, that 
there is nothing they can do to influence 


events; if they want to bury the politics 
of patronage and begin parti 
their own Government 
у is a oneaman fight to shake ii 
from its lethargy—but he's sup- 
ported by the people's army 
PLAYBOY: Your last tour—in 
1965. on behalf of your friend Core 
Vidal in his unsuccessful bid for a Demo: 
cratic seat in the House of Represe 
tives—got а good deal less publicity th: 
your support for McCarthy. Didn't you 
draw any crowds? 

NEWMAN: Sure—for all the good it did. 
Try running for Congress in Upstate 
New Yor ith or without a movie star 
in tow—and see where it gets you. We 
est single political rally ever 
at some town north of. Poughkeepsie— 
1400 people. Joanne there. 1 w 
there. Ina Balin was there. Gore spoke. 
The next day. in the tow 
paper. there was a story on page nine— 
two inches long. It didn't mention that T 
was there or that Joanne or anybody 
else was there. It didn't even. mention 
Gore's name. It just said “the Demo- 
candidate” spoke. The Republican 
incumbent, of course, made the front page. 
PLAYBOY: Vidal is about to begin writing 
the screenplay of his latest novel, Myra 
Breckinridge. There's been a good deal 
of conjecture in Hollywood over what 
actor would be most suitable for the 
tille role—a character who undergoes 
change of sex. Who do you think 
it should be? 


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Take a swing at it, or swing with it. 


DNE o NE 


PLAYBOY 


64 


NEWMAN: It would have to be an actress. 
PLAYBOY: You wouldn't consider yourself 
a candidate? 

NEWMAN: I think I'll pass that опе up. 
PLAYBOY: Though not, perhaps, as a 
prospect for the lead in Myra Breckin- 
ridge, your name crops up frequently in 
the fan-magazine gossip columns. Are 
they on your reading list? 

NEWMAN: I've seen fan-magazi icles 
about Joanne and me that have made 
me want to puke. The most banal lan- 
guage—and the fucking nerve to put it 
in quotes attributed to me! 

PLAYBOY: Many of those articles seem to 
offer litle more than clichéed rchashes 
of your life story. Would you like to set 
the record straight? 

NEWMAN: Sure. I was actually born the 
son of a poor Indian renegade who struck. 
oil on the reservation in Shaker Heights, 
Ohio. Right in the back yard. My mother 
was а poor. invalided lady. 1 had to read 
poetry to her by the hour. My father was 
dead. At the age of 13, Vilis I started 
selling Fuller brushes, I was supporting the 
family. When I was 17, I ran away from 
home and becime a merchant 


s ever since, Soon I 
ned the old Speedy Gonzales trick of 
double parking in front of whorehouses. 
Never got a ticket. Subsequently, 1 becume 

jack, a chiver of nitroglycerin, an 
rer of Brigitte Bardot and one of 
the great popco з the bi 
«l by Erich 
latter 


Von Stroheim, 
years, who recomm 
fervor to Walt Disney. The rest is histo- 
ry. I did my first work as a narrator in 
moons, playing Dumpy in Snow While 
and the Seven Dwarfs. Alter that, my 
career blossomed and I graduated to 
porno pix. There are some of those float- 
ing around that my wife doesn't know 
about. 

PLAYBOY: Thanks, Paul. That biographical 
puton is a good example of your satir- 
ical attitude toward the star syndrome. 
Most insiders consider your souped-up 
Jolkswagen an equally irreverent th 
the nose at Hollywood status symbol- 

m. Is id. of reverse snobbery? 

NEWMAN: Partly, 1 suppose—but the m: 
reason is that I'm a Volkswagen пш. 
1 became addicted to them in 1953, 
when they were the only sensible auto- 
mobile to have in New York—small car. 
easy to park, dependable. Then people 
started kidding me about it; "Why are 
you driving that underpowered thing 
nd?" D wasn't inclined to give up 
the Volkswagen, but that bugged me— 
so I put a Porsche engine in it. But that 
was only the beginning. Then, picce by 
piece, I added Porsche brakes, Porsche 
rims, Dunlop super sport tires, anti-sway 
front and Koni shocks and Porsche 


dutch and Porsche transmission. People 


b 


think I've got a Volkswagen with a Porsche 
engine, but it ly а Porsche with 
Volkswagen body. It took me three years 
to escalate it to where it is. 

PLAYBOY: Didn't you and your wife show 
up in the Volkswagen at a black-tie 
Hollywood bash for Princess Grace a 
few years ago? 

NEWMAN: I drive the car wherever I go. 
As we arrived at The Bistro that night, 
people outside applauded when they 
saw this bug pulling up amidst all those 
Cadillacs and Rolls Royces. But I've 
never been terribly concerned about sta- 
tus one way or another. I don't reverse 
it for any particular purpose. I've alw 


felt there were certain unnecessary 
things about Hollywood: public rcl 


tions, being seen, going out to night 
clubs, having your picture in the news- 
paper, the whole bit. I've never gone 
along with it It just never interested 
me. I don't think I have more than sev- 
en suits right now—three in Los Angeles, 
two in Connecticut and two in New 
York. I used to have exactly опе tie— 
black knit. Now that T've got seven 
suits, though. I've bought some more. I 
suppose I've got six ties now. 
PLAYBOY: Going Hollywood? 
finally gets to you. 
You finally capitulate. 
PLAYBOY: One of the most popular 
measures of Hollywood status is having a 
dish named after you at a restaurant such 
as La Sca ve you ever 
been so honored? 
NEWMAN: Yeah, but I've forgotten the 
dish 1 was in bed with. God, it's all so 
ridiculous. That George Hamilton kind 
of hokum doesn't play so much a part 
nymore. Maybe off for him, but 
ical movie star, I can't 
even stand going 1o premieres. 
PLAYBOY: Why? 
NEWMAN: АШ that grabby approbation 
makes me claustrophobic. 1 could under- 
stand it for U Thant or Gene McCarthy 
or someone else who's actively involved 
in steering the course of events. I can 
understand adulation on that level. In 
the carly days of films, the movie star 
in this country replaced royalty. There 
was no royalty in this country. so movie 
stars filled the bill. They've been demot- 
ed since then, but they're still treated 
like beings larger than life. Well, I don't 
want to be part of supporting that fraud. 
That's why I've never made a personal 
appearance to promote a picture. In 14 
years, I've been to a premiere of my 
own movie only once—an Actors Studio 
benefit for Cool Hand Luke. 
PLAYBOY: You made your first film with- 
after you were accepted at the 
Studio, didn't you? 
NEWMAN: Yes. I began my career most 
i I had the privilege of 
doing the worst motion picture filmed 
during the Fifties—The Silver Chalice. 
Everybody thinks it was a disaster just 
because it was terrible, but I say it 


was 


. It's like juvenile delinquency; if 
you can be the worst kid on your block. 
you make a name for yourself. How 
many other actors have you spoken to 
who can say with complete objectivity 
that they were in the worst motion pic- 
ture made in the Fifties—a film that cost 
$4,500.00? That makes me vay spe- 
cial. But when they ran The Silver 
Chalice on Los Angeles television three 
or four years ago. I took out ads in the 
newspapers apologizing for what was 
going to happen on channel nine that 
night. But it backfired. Everybody 
wanted to know what Iwas apologizing 
for, and the picture ended up with the 
second or third highest rating of any 
picture that station had ever shown on 
the idiot box. That's one of the great 
things you have to learn in this business. 
If you want to survive, you have to 
show your ass, You have to humiliate 
and embarrass yourself. You can't just 
walk in and play it safe. 

PLAYBOY: What was your reaction wher 
you saw The Silver Chalice for the first 
time? 


I was horrified, traumatized: 
its a good thing I was also drunk. It 
was in Philadelphia, where we were 
out The Desperate Hours. A 
friend of mine had come up from New 
York to see the play. Afterward, about 
ten of us went to this little all-night 
movie house to sce my screen debut. 
We must have smuggled four cases of 
beer into that place. And we finished 
them all. This friend of mine, who had 
just recovered from hepatitis, couldn't 
drink. They had a musical going on aft- 
crward and he wanted to sce it, so he 
stayed, We got halfway down the block 
when another guy realized he had left 
his gloves in the theater. So we went 
back. The usher shoved his light under- 
neath the seats. There was this one guy 
sitting in the middle of four cases of 
empty beer cans. He looked like the guy 
who passes gas at a party. 

РАҮВОҮ: You made The Silver Chalice 
for Warner Bros, According to all ac- 
counts, you had a rather stormy rela 
tionship with that studio in the years 
that followed. 

NEWMAN: You might say that I origi- 
ly signed a contract with Warners’ at 
$1000 a week. By the time I bought out 
of my contract for $500,000 several 
years later. they were paying me a 
princely $17.500 a picture. They would 
lend me out nd take the 
difference. One time, 1 remember, they 


reneged on an outside film they had 
r to 


I didn't really give а damn. When I 
er went back to the studio to do Harper, 
Warner came down the first week of re- 
hearsals. I said, "How are ya?" Reacl 
ing into his coat pocket, he said, “You 


smoke cigars?” 1 said, "No. 1 only smoke 
people, Jack. You know that" He 
laughed, and the photographers came 
around, and there were pictures of Jack 
d me smiling together. A few Christ- 

s i ds 10 


You turn the | 
that smili пе amd Jack to- 
gether again. over the h ming 
w "Good Will Toward Thc 


was one of the great shots of the y 
and absolutely broke up dyi 
laughter. I sent one to W 
thought it was marvelous. What 
traordi п. I've never. known 
greater vulgarian—not even Khrushchev; 
he calls my wife On second 
thought. FH have do that 
about his being the greatest vul, 
He's only the second g 
champ happens to be another legendary 
Hollywood mogul—but he'll have to re 
main nameless. Do you want to hear 
priceless story about him, though? 
PLAYBOY: Sure. 
NEWMAN: Well, there 
tales about this guy that you can't be 
sure which ones are irue—but. knowing 
him as T do. I suspect this one is com 
pletely authentic. Anyway. this mogul 
lers call him Frebish—is walking down 
street on his way to the studio com. 
sary, amd he spots this incredibly 


too. He 
à ex- 


so many wild 


well-stacked chick sashaying out of a 
sound stage. He turns to one of his ei 
king | 


down the 
et and says. "Who's 1 1 across 
the street over there?" T y tells 
him; she was soon to become a тайн 
sex whose name would be familiar 
to you. so 1 won't mention it. Let's call 
her Barbara Musk, “What does she do?” 
asks Frebish. “Is she a secretary?" "No. 
she's heen under contract here lor nine 
ionths, Mr. Frebish." So he walks over 
“How do you do, M 
chish amd 11 
thing to do with the running of thc st 

dio. I've watched your progress on this 
lot with a gr of ad 
whninion. T just thought you might 
like to мор by my ойне at about six 
o'clock tonight and we сап talk over 
your career in greater depth.” Well, that 
promptly at six, this broad shows 
up—and she's got this big, strapping 
muscleman with her. Frebish is terribly 
taken aback, but he chitchats for about 
five minutes and then says. “Tell me. 
Miss Musk. just curious. but why 
your friend along?” She 
I was going to 
е Mis, Frebish would. 


and s; 


My name is 


PLAYBOY: G 
thi 


story. Oldine Hollywood 
g prevailed to a very 
at the recent Academy Awards се 
What was your reaction to the Acid 
virtual rejection of such popular, excellent 


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and innovative films as Bonnie and Clyde, 
The Graduate and Cool Hand Luke? 

NEWMAN: That would just be «pecu 
but maybe it was because Warner Bros. 
had Camelot, Cool Hand Luke and Bonnie 
and Clyde up for awards; that might have 
split the vote. But I the Heat of the Night 
had the kind of civil rights message that 
people might well have been inclined to 
support as much as they would good per 
Tormances. It was strange, though, that it 
was named the best picture; it's possible 
that there was bloc voting involved 

PLAYBOY: The role played by bloc votin 
economic considerations and industry 


ation. 


n- 
timent—rather than artistic. merit—in 
the selection of Oscar. winners has been 
criticized increasingly in recent years, Do 


you think it’s justi 
NEWMAN: To a great extent, yes, Winners 
aren't always picked on a nonmerit basis, 
by any means, but it happens so often that 
I'm genuinely surprised when the best 


actor and the best picture and the best 
director actually win an d. I think 
Joanne's Oscar, for example, really came 
from a ground swell. For some reason, the 
Academy members decided to vote for the 
best actress of the year. 

PLAYBOY: In many marriages between 
actors and actresses, especially in Holly- 
wood, there continuous race to sce who 
gets to look into the mirror first each 
morning. Has Joanne's accolade from the 
Academy—and the fact that you haven't 
gotten one yourself—caused any problems? 
NEWMAN: No—but you know what I'd 
like to do? I'd like to win about 69 nom. 
inations—I think that’s an interesting 
numb and at the a 
my hands and knees, ridden with arthri 
tis to pick up an Oscar. That would be 
kind of stylish. It's nice to be nominated, 
but I don't think my life will be incom- 
plete if Е never win an Oscar. 

PLAYBOY: Considering your distaste for 
publicity, it seems incongruous that you 
and Joanne would have consented, as 
you did a few years ago, to perform that 
hokey Hollywood ritual of immortalizing 
your footprints at Grauman's Chinese 
Theater—both in one cement block. 
NEWMAN: No man can go through life 
totally pure—but I was the only person 
who ever did it barefoot. There 
really something nice about standing 
there with cement between my toes 
When I'm in the old-actors’ home and 
Tve been forgotten, TH always be able 
to look back and say. “Well, tha 
the week t 
PLAYBOY: Despite your antiestablishment 
approach to most Hollywood customs, you 
have a reputation for doing your home 
work—thoroughly researching your roles 
before stepping in front of the cameras. 
Do you discuss your characterization 
ahead of time with the screenwriter, or 
are you simply given a character and 
told how to play it? 

NEWMAN: I never ask them to mold a 
character to my needs. It's a disaster 


e of 90, crawl on 


was 


when they start to 
the actor. If you're 
go to Vegas. But 
10 mold a scene 
intention, Like i 
on the | 


ailor the part to fit 
ping te showcase 
times D ask them 
round a very specific 
The Hustler. the scene 
talked 
pool 


v. D just knew that son that 
to be tied in with th s of 
everyhody—bricklayer or 1—to 


he somebody. No mauer what he does, 


to get a big feeling from it 
have do be of 
he gets a big fe from 


whatever he does well, then that's the 
pay-off; that n H worth while. 

If I feel that a character is close to 
me, my homework is minimal. Fm great 
AL writing voluminous notes to myself 
П breaks down 
p walks or uses 
hands. his motions move 
ws. T think that once you get the 
physical qu 
person comes by itself. In The Seeret War 
of Hany Frig 


way. You see, the actor's got to come to the 
part; the part doesn’t come to the actor. 
Before I did Somebody Up There Li 
Me, 1 almost lived with Rocky Grazi 
Tor two weeks. Pd meet him 
o'clock 1 1 would 
get home four o'clock the 
morning. We went down to hi 
neighborhood. went up 10 Stillma 


ight at the s. Bob Wise, the di 
rector. and I tried to get Rocky ston 
м he'd loose 


our Tile histories. He 
poured us into two taxicabs. It w 
1 never did r 
sorb the acter: though 1 
sponged a lot | wound up bı 
Graziano rather than the Graziano. 
PLAYBOY: Do you always throw yoursell 
so bodily imo your 
NEWMAN: 1 uy to. Hud, 1 lived 
in a bunkhouse in Texas for ten days. 
For The Outrage. V lived in Mexico for 
two weeks. I sniffed around. found out 
as much abour the character and the 
locale as | could. But with Harper. 1 
simply got drunk. 1 had read the script 
afew ad 1 was fying from Liver 
pool to ork when 1 started. read- 
ing it again, I made certain specific and 
prolific notes, like “Funnier line here" or 
“What does his cor look Tike,” just 
gathering in the idea of the properties 
umost like painting the undeicoating of 
the part, using a primer. 1 started drink 
and making notes at 8:45; by 10:30. 
I was a linde stoned and writing up a 
storm. By 12:50, I was blasted ош of 
my skull; 1 could barely read my waiting 


us up. We told hin 


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PLAYBOY 


68 


later, but it still made sense. I remember 


scrawling “Chewing gum” and “Do it 
detached." About 85 percent of my 
notes worked. So that character. really 


grew on the flight from Liverpool to 
New York—boozily, but logically. 
PLAYBOY: How else do you prepare for a 
part? 

NEWMAN: I usually give the studio two 
weeks of free rel 
Torn Curtain is the only p 
made since 1956 that didi 
hearsal, but that was partially my fault 
Id been in a motorcycle accident and 
my hand was banged up pretty badly. 1 
hit a puddle and lost the back end. I 
did that in a Formula 111 racing car, 
too. It's а funny sensation; you just sit 
there and watch the rear end catch up 
with you and pass you. Twenty-four 
dollars’ damage to the bike, but I had to 
have skin grafts on four fingers; no more 
finger Close-ups on that hand. And 1 had 
third-degree asphalt burns. The next 
day. I sold the three bikes I owned. But 
I've always enjoyed speed. Before I got 


the sauna bath, it was a great way to 
wake up in the morning. Sometimes you 
just look for a way to relieve the pres- 
sure; having that old brute bike out on 


the fr 
ner and 


nt porch, getting on it after din- 
pping across Mulholland Р 
was great therapy. 

PLAYBOY: You were talking about rehearsals. 
NEWMAN: Oh, yeah—I was going to say 
that rehearsal gives me a chance not to 
sit and intellectualize about a part but 
to get up on my feet and run through it, 
the same as I used to do for television 
shows. For television rehearsals. they 
used to put a little tape on the floor and 
‘That's a wall," and they put four 
chairs together and said, "That's a bed,” 
and. you followed those outlines without 
sorting to too much intellectualizing. 
This kind of experience has helped give 
a certain solidity to what T finally do 
when the cameras start rolling. If you 
can rehearse a dozen key scenes with 
the other actors and get the style and 
the progression of the character, you've 
got the part licked, 

PLAYBOY: The carly days of television— 
before the emergence of taped and filmed 
shows—were famous for on-camera mis- 
haps. Did you have any yourself? 
NEWMAN: ГЇЇ say. I remember once, in a 
military drama, when I had to salute 
another officer. The show went on, the 
moment came—and I had my fy un- 
zipped. My shirttail was sticking out— 
just the shirtail, fortunately. But despite 
its perils, television dramas were excit- 
ing and vibrant in those days—because 
еп like Tad Mosel and 
nd Max Shulman were 
sion, and they made it 
inventive era. Call it kitchen sink, 
inner search, what have vou—it was 
great. The trouble was, as it turned out, 
that what could have been good Broad- 
way plays were burned out in a single 


night on Robert Montgomery Presents, 
Philco Playhouse, Studio One and the rest 
of them. That whole glorious period of 
television disappeared and nothing has 
come along to replace it. 
PLAYBOY: Since those early day 
haven't had much of a chance for exper 
mentation. Perhaps as a result, many of 
your recent movies —H ud, Harper, Hom- 
bre, Cool Hand Luke—have tended to cast 
you in the same kind of role, Are you 
aware of these redundancies? 

NEWMAN: My God, 
actors who can 
at, great actors have an inexha 
source of variety. Brando. when he's 
really on, when he's interested, when 
he's involved. can do it. So can Olivier 
and Guinness, My wife, Joanne, can do 
But not mc. 

PLAYBOY: Why по? 

NEWMAN: Because I'm running out of 
steam, that’s why, Wherever I look, I 
find parts that are reminiscent of Luke 
or Hud or Fast Eddie. Christ, 1 played 
those parts once and parts of them more 
once. It's not only dangerous to re- 
peat yourself, it’s goddamned tiresome, 
PLAYBOY: So why don't you stop accepting 
that kind of role? 

NEWMAN: "That's easier said than done. I 
haven't been picking my roles by de- 
si do the most challenging parts 
that I'm offered; I have to depend on 
what the sc writers throw at me. The 
first thing I look for is the best script 
that's offered to me at the time I'm free 
to work. If an actor waited for beautiful 
scripts, he'd work once every three or 
four years: by that I mean scripts he 
can really dig, really get hopped up 
about. I look for a script that will make 
a distinguished picture of its type—a dis- 
tinguished comedy, a distinguished dra- 
ma, a distinguished melodrama, Then I 
look for some kind of originality in th 
character: I look. particularly, to find 
it’s someone I haven't played before 
think most of the pictures I've done 
have been pretty good. But all too often 
—and increasingly in the past few years 
—1 suppose I haven't found as much 
originality in my parts as I've been look- 
ing for. Depth and detail, yes; but not 
too much originality. 

PLAYBOY: Of the ts you're talking 
about which have you found most re- 
warding in this sense? 

NEWMAN: I think the best work I've 
done was in The Outrage—a picture that 
never got any attention or real circula- 
tion at all But there are so many 
different things an actor looks for and 
finds. terms of satisfaction. If you're 
under contract and you're given a teri 
ble script and make it at least mediocre, 
you “This is a great achieve- 
ment" Its actually no less of ап 
achievement than a picture like The 
Hustler, which had a marvelous script 
and a great character with thickness and 
dimension. There was so much in that 


you 


yes. There are few 
Only the 


avoid that. 
ble 


part that 1 went to the studio every day 
muttering, “I've got five different ways 
to play this thing.” Playing Harper was 
a ball for the same reason—a character 
who would absorb any kind of d 
invention I could give h 


Hud. Yet I come back, always, to Hud. 
because a great many sociological ob 
servations were implied in it, in addition 


to the dimension of the role itself. To 
me. Hud made the simple statement 
that people sometimes grow up at tragic 
expense t0 other people. It was a wide 
study of a particular dilemma of our 
time. D tried to give Hud all the su 
perficial external graces, including the 
right swing of the body. 1 took out a: 
many wrinkles as possible. 1 indicated 
that he boozed very well was gr 

with the broads, had a lot of guts, 
extraordinarily competent at hi 
but had a single tragic flaw: He didn't 
give a goddamn what happened to any- 
one else. That tragic flaw simply went 
over everybody's head—especially the 
reviewers—and he became a kind of 
antihero, especially among teenagers. One 
review TH never forget: It said that 
Hud was quite a marvelous picture, 
“The only problem,” the reviewer wrote, 
is that Paul Newman is playing the 


part, because basically, he has а face 
that doesn't look lived in." But Jesus 
Christ, that’s exactly what made the 


bastard dangerous. The whole point of 
the character is that he has a face that 
doesn't look lived in. How could he 
have missed the whole point to such an 
extraordi degree? At that exact mo- 
ment, I realized I should stop reading 
reviews. And I хеп" 1 опе since, 
Critics don't know what the hell they're 
talking about, anyway. You get a big fat 
head if reviews are good and you go 
into fits of depression if they're bad. 
Who needs cither? 

PLAYBOY: Some psychiatrists maintain, as 
жете sure you know. that actors are basi 
cally insecure people in a permanent 
lentity crisis who need roles to play be- 
cause they have none of their own. Do you 
think that description fits you? 

NEWMAN: When I decided to go imo 
acting, I wasn’t "searching for my iden 
шу”; I didn't have grease paint in my 
blood. I was just running away from the 
family retail business—and from mer 
ү just couldn't find апу 
‚ Acting was a happy alten 
tive to a w: й of life that meant nothing 
to me. But I do agree that most of the 
actors I know are pretty badly screwed 
up. And with good cause. Especially the 
ones who have made it and then faded 
as a result of a very picky and vacil 
lating public. If a man studies to be a 
lawyer. starts with a law firm and goes 
up two rungs, he can be fairly sure that 
even if he doesn't reach the tenth rung. 
he'll eventually get to the fourth or fifth 
if he's reasonably competent and hard 
working and, even if he's only mediocre, 


that hı 
two u 


Il be able to hang оп ber 


retirement age, But ап actor 
most like a politician. He 
cam Бе a very strong contender and. all 


starts out 


of a sudden—through no fault of his own 
—he's completely out of the race. So the 
business does not tend to build a very 
secure foundation. 

You often hear it said that actors are 
children. Well, most of them don't start 
out that way; but unless they're very 
sure of who they are and what they 
want. the business soon furis them into 
children. The unnatural way they're 
treated—the adulation. the deification of 
externals—fosters narcissism and infan 
tile self preoccupation. Pat my pretty 
face, lower the brassiere strap a little: 
show off that beautiful body. Actors and 
actresses are fawned and hovered over 
cajoled. Mauered, primped. Everybody 
wies to curry their favor. They light 
you. powder you. cover your blotches, 
color your hair, tailor your clothes. And 
all of these things they do to make you 
more be ful ultimately 
conspiracy against you not only 
human being but as an actor. 
it doesn't destroy your hum 


ui serve as a 


ty by 
ш point 
bourg goose—all 
as—that constant 
tention infringes on your 
concentration and dissipates your per 
formance. Every two minutes, you've 
got 10 stop while they dust your eye 
brow, spray a tabletop, rearrange a 
light. relocate a camera. I's as if you 
had to run the 100-yard dash from nine 
o'clock in the morning until six o'clock 
ight—all in two-foot steps. It's on, 
it's off. On, off. Start the 
Start it again, Pretty soon your battery 
runs down—or you blow a fuse. 
PLAYBOY: How do vou fill the endless 
waits between scenes? 
NEWMAN: Various ways. Sometimes I play 
poker. Once, when Martin Balsam and 
I were on location in Arizona for 
Hombre, we had to wait hours for the 
wind to ler up one day. To kill the time. 
we decided to classify fucking. We got 
all the psychological classificuions, "There 
There was mercy fuck. 
ing. which would be reserved for spinsters 
md lil ns. There was the hate fuck, 
the prestige fuck—and the medicinal fuck 
which is, "Feel beter now, 
just goes to show you what happ 
you're stack on location on the top of a 
mountain, Your mind wanders slightly. 
PLAYBOY: While we're on the subject, you 
might be interested to hear the results 
of a recent poll of PLAYBOY'S secr 
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NEWMAN: T suppose T should feel Nat 
tered, but to think that alter Hud and 
Cool Hand Lui nd all the other pic 
tures I've done and all the parts I've 
dug into, I come off as the guy women 
would most like to go to bed with—it's 
frightening. You break your ass for 18 
years working at your craft and a lady 
comes up and says, “Please take off your 
dark glasses so 1 can see your blue 
eyes.” If I died today, they might write 
оп my tombstone: “Here lies Paul New- 
man, died at the age of 43. a failure be- 
cause his eyes turned brown." It's really 
awful. Fd like to think there's a mind 
functioning somewhere in Paul New. 
man. and a soul, and a political con- 
science, and a talent that extends beyond 
the blucness of my cyes—and my capacity 
for bedroom gymnastics. 

PLAYBOY: Yet the public—particul: 
women—tends to associate you with the 
sexy wise-guy parts you play. Don't you 
have anything in common with such 
cool studs as Hud? 

NEWMAN: Absolutely nothing. All T do 
is inhabit the characters I play. They 
have nothing to do with me personally. 
The major character trait of Hud is the 
fact that he had no kind of hook into 
the community. In the final analysis, he 
was a very selfish and egocentric human 
being. He wouldn't be campaigning for 
McCarthy. Nor would he give a damn 
about anybody else's civil rights but his 
own. But lets not just talk about me 
and my roles. The same is true of any 
good actor or actress. Take Joanne in 
Rachel, Rachel, the first full-length. film 
Гус directed. Study that virginal face 
and that tightly controlled smile and the 
pinched way in which she carries her 
body. Tt's got nothing to do with the 
lady when she gets home and takes off 
the make-up. The same is true of me. It's 
going to be interesting to find out what 
the public reaction to Rachel, Rachel is, 
because that picture is probably more me 
than anything I've ever done. 

PLAYBOY: In what way? 

NEWMAN: It says something I've always 
felt needed to be s: but never had а 
chance to say. Tt singles out the unspectac- 
ular heroism of the sort of person you 
wouldn't even notice if you passed him on 
the street. The steps the characters take 
are really the steps that humanity takes— 
not the Churchills, not the Roosevelts, not 
the Napoleons, but the little people who 
cast no shadow and leave no footprints. 
Maybe it can encourage the people who 
see it to take those little steps in life 
that can lead to something bigger. May- 
be they won't: but the point of the movie 
is that you've got to take the steps, regard- 
less of the consequences. 

PLAYBOY: What kind of steps are you 
taking now in your own life? 
NEWMAN: I dont know that Fm really 
taking any. Friends tell me how marvcl- 
ous it is that Im taking the big step 
from acting to directing. Dut there's 


very litle difference between the two. 
Irs still a communal experience. At its 
best. the relationship between the actor 
and the director involves the use of two 
minds instead of one. If they mesh. it’s a 
give and take, where you end up mot 
knowing who triggered what—but the 
result is a better picture. I do think, 
though, that the director can make the 
film his medium to a degree an actor 
can't—by being incredibly perceptive 
about his actors and the inner relation- 
ships of the characters in the picture. 
about economy in acting, in breaking 
down a script and finding the г 
beats and giving the actors a physical 
presence. But t00 many directors try to 
dominate the medium by striving to 
achieve cmotion through mechanical 
effects. I've seen many cases where the 
ісу of the technical approach has 
deprived the public of what could have 
been truly great scenes. I think a direc 
tor can heighten effects by the 

use of his camera. by the appropriate 
tasteful use of music: but camera tri 
and a loud musical score don't add up to 
ii art all by themselv 
PLAYBOY: You've been planning to di- 
rect a feature film for years. What made 
you decide to do Rachel, Rachel? 
NEWMAN: I read the script, felt it would 
be great for Joanne, and recommended it 
to her. Then I began to feel that certain 
improvements could be made in it. Finall 
I began to get so involved with it that I 
decided I had to direct the damn thing 
myself. It's all a bit like the Vietnam war 
and how it came about—initial participa- 
tion in an advisory capacity escalating 
into total involvement. But the whole 
thing was absolute agony. I lined up the 
production, financed it, cast it, hired the 
production. crews, spotted. locations and 
shot the entire film, all in five wecks. Every 
day there was a series of crises, and the 
ys lasted 14 to 15 hours, seven days a 
week. I thought it would never end. 
PLAYBOY: How did you get along with 
ihe cast and crew? 

NEWMAN: I called them all together. on 
the first day and confessed that I was a 
n and told them I wasn't sensitive 
to criticism and that they would be able 
to make suggestions -once—on а given 
point. They did—sometimes more than 
once; but we got along fine. 

PLAYBOY: Did you have a feeling of De 
Millean power when you said "Action" 
for the first time? 

NEWMAN: No, just a lot of clanging 
knees, sweaty palms and bitten finger: 
nails. You can measure the degree of my 
tranquility by the length of my n; 
PLAYBOY: It really spoils the image. May- 
һе you could use Fabulous Fakes. 
NEWMAN: They'll have to take me the 
y Lam. The hair's getting a lite gray 
and the nails are getting a little short. 
PLAYBOY: Was there any friction between 
you and your wife during thc filming of 
Rachel, Rachel? 


NEWMAN: Oh, yeah. We had several 
squats and. squabbles—hig ones There 
are never little ones in our family. But 
it had nothing to do with work. In terms 
of actually working, Joanne and 1 never 
had опе harsh word in that entire peri 
od, It was really amazing. We were 
working on a scene and at one point she 
got up and said, “I just can't do iL" I 
said, "OK. Show me what you want to 
do.” So she showed me—and it was bet- 
ıer than the way it was writen, The 
marvelous thing about our working to 
gether is basically that we trust cach other. 
PLAYBOY: Is your marriage as successful as. 
its reported 10 be? 

NEWMAN: Well, as I just pointed ош, 
s fine and dandy—it in 
voles two people with very different 
approaches and attitudes to things but 
1 think it has a certain thickness to it 
We go through periods where we think 


it’s not aly 


мете bad parents and periods where we 
think we see each other only as 
reflections of ourselves—all the usual 
jazz. But there's affection and respect 
and a good deal of humor, We've also 
heen very fortunate in that we haven't 
had to be separated ай that much. T 
must say that it's due as much to 
Joanne’s intelligence as to my insistence 
When we did Exodus in Israel, for ex 
ample. we simply took everything with 
us. She's had many opportunities to go 
abroad or om location by herself, and 
she's tuned these offers down in order 
10 stay with me; she's done this to the 
detriment of her career, Fm afraid; but 
it's helped to keep us together 

We're not public people and I think 
that's helped. 100. We entertain at 
home, usually very small groups of people 
for dinner. But last year, when Gore 
Vidal returned from Rome. Joanne s 
10 me, “Let's have a big party for Gore. 
He hasn't seen hardly anyone since he's 
been back." 1 “MI right, you have 
your big party and ГЇЇ be one of the 
guests. ГЇЇ play pool the whole goddamn 
night.” Steve McQueen. was there. So 
were Arthur Loew, Rock Huon and 
Marty Ritt, among others, But it really 
wasn't my cup of tea. McQueen and 1 
finally wound up playing 14 racks of 
pool. One of the columnists wrote, “The 
Newmans threw a party last night 
They've been here for ten years and 
they finally threw а party." That's how 
social we are. Even if we w 
we wouldn't have time for it When 
you're raising three children continuous 
ly and six part of the time. and you've 
got а couple of houses to run and vou 
want to do it yourself and vou still want 
10 have a career, it’s kind of tough to 
remain in good standing with the beau 


re social, 


tiful people. In other words. 


5 nol a 


glamorous Hollywood marriage. Some 


times, in fact, we have the feeling that 


we're being tugged and pulled and put 


upon and exist only for other people 


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PLAYBOY 


12 


and not for ourselves. 
PLAYBOY: What do you do for privacy? 
NEWMAN: We have an apartment in 
New York we slip away to now and 
then, And at our house in Beverly Hills, 
we have a billiard and dressing room, 
out by the swimming pool, where we 
spend a good deal of time unwinding. 1 
remember we were staying there right 
after I lost the Academy Award for The 
Hustler. 1 was really hurt by that one. I 
thought old Fast Eddie was a fairly 
original character. Anyway. being the 
perfect therapist, Joanne dragged me 
out by the hand to the garage. We had 
a litle hideaway out there really away 
from the family. She said. “We're going 
to take a little caviar and a little ch; 
pagne out there and watch a ver 
show on television.” We never got 
around to the show, 
PLAYBOY. To have remained married to 
the same woman for ten years is 
enough in your profession, but to do so 
without rumors or gossipcolumn 
even hinting at an extra 
all that time is almost ur 
you managed to resist the 
NEWMAN: ] know this is going to sound 
comy. but there's no reason to roam. 1 
have steak at he why should 1 go out 
for а hamburger? 
PLAYBOY: Docs Joanne think you're as 
ху as your female fans find you? 
NEWMAN: If I tcll her to go drop dead on 
a particular afternoon, she doesn’t think 
Im too sexy. But under ordinary circum- 
stances, she docs—and vice versa. 
PLAYBOY: You and Joanne spend most of 
your time between pictures—and politi- 
cal campaigns—at your home in West- 
port, Connecticut. Would it be nosy of us 
to ask why you call it Nook House? 
NEWMAN: When we bought the house 
and we came back to Los Angeles, I 
hadn't seen the older kids for a while, 
We were describing the place to them. 
They said, "My gosh. it sounds marvel- 
ous.” We had been trying to think of a 
name for it. Suzie, who at that time 
must have been nine, $ “Well, it 
sounds like it's got a lot of nooks and 
crannies in it. Why don't you call it 
Nook House?" 1 said, “Nook House 

Р someday 
n would ask me the 
question you just asked. 
PLAYBOY: Sorry. Your bed at Nook House 
has been described by Tennessee Williams. 
as 19th Century Bordello. How would 
you characterize it? 
NEWMAN: Well, I've never seen a brass 
bed as big as this one. Three could 
sleep in it very comfortably. We found 
it in New Orleans. We figure it must 
once stood in а cathouse; there'd be 
no other r € a bed that big. 
PLAYBOY: What sustains you and Joanne 
at Nook House—apart from your well- 
known penchant for popcorn? 
NEWMAN: There are people who cat to 
stay alive and others who stay alive to 


me 


is" knowing full well tha 
some dirty old ma 


eat. [ put myself in the first category. 
I am not a sensualist concerning food. 
But Joanne is rather а good cook; she 
makes the best hollandaise sauce I've ever 
eaten. And по one quarrels with my ham- 
burgers or my celery salad: chopped-up 
hearts of celery, a little olive oil, a little 
cold water, some wine vinegar and a lot of 
salt and pepper. It's justifiably famous. 
PLAYBOY: The area in Connecticut where 
you live has been widely publicized in the 
past several years for police raids on teen- 
age sex, booze and pot parties. You have 
а I7-year-old son, Scot, а high school 
senior. As a parent, what do you advise 
him about such subjects: 

NEWMAN: Either we're going to have to 
legalize pot and confiscate booze or 
confiscate pot and legalize booze. It 
should be one way or the other. I've 
tried pot and it doesn't move mc, so 1 
guess T tend toward booze. But maybe 
meditation is the best answer for а pe 
son trying to get either outside or inside 


of himself. It's unfortunate if one has to 
do that with booze or drugs; I would 
like to see it self-initiated and self 


fulfilled. Ultimately. of course, a man 
must be satisfied to live inside his own 
skin, to recognize and accept his flaws 
and strengths to be able to function as a 
free agent without having to escape 
himself. But even on this level, there's 
no question that m. is less harm 
Tul than liquor, if it doesn't go beyond 
that. It doesn’t ke sense that I ca 
to a public bar for a couple of mart 
and not get arrested, while those who 
choose to sit around minding th 
business and smoking pot are 
misdemeanor charge. 
PLAYBOY: Under Federal law it's a felony. 
NEWMAN: That only underlines my poi 
The use of marijuana must be legalized, 
ndardized and regulated Federally. But 
its up to the kids to either change the 
laws or abide by them. 

PLAYBOY: Do you feel the same way about 
the kids who have gone to Canada to avoid 
the draft? 

NEWMAN: It really depends on whether 
ach individual has a deep-seated aver- 
sion to Killing—religious or oth 
or whether he's the kind of person who 
goofs off from any kind of responsib 
But whatever their reason for running 
away, something's got to be done to 
make them want to come back, 1 would 
create a climate of amnesty. Th 
other ways that a man can serve 
country without killing for it. Perhaps 
we could double the usual term of draft 
service in noncombatant jobs—with the 
Office of Economic Opportunity, the 
Peace Corps or the VISTA program. I 
think we should all spend time in service 
to our country, but 1 don't think any- 
body should have to fight for our coun- 
try, "right or wrong." If it’s wrong to 
fight, it’s wrong to kill. ng people is 
never going to save the world from com- 
munism—or for democracy. 


PLAYBOY: Arc you a pacifist, then? 
who 


NEWMAN: It depends on 
fighting—and wh: у 
Пацу against killing under апу circum- 
stances. I would kill in defense of my 
own family. I could kill in self-defense, I 


youre 


suppose. And I could kill if somebody 
invaded my country. But to kill Viet- 


namese, to slaughter them wholesale 
an undeclared war against other Viet 
namese halfway around the world, at 
the request of a corrupt puppet regime 
doesn't reflect the will of its own 
people—that I couldn't do. Th: nd of 
war I consider not only illegal but im- 
moral Which brings us back to why 
I've involved myself in the campaign to 
nominate Senator McCarthy 
PLAYBOY: Along with several other promi- 
nent movie people who have become 
асіміму in the antiwar and civil rights 
struggles, you've been criticized in some 
quarters for using your fame to sway 
public opinion on matters with which 
you're not equipped to deal. How do you 
feel about that attitude? 

NEWMAN: I've sce lot of Senators— 
Eastland, Passman. among others—who 
еа much gr sway than they're en- 


tiled to. Who's to say who's an expert? 


Just because 1 can sway more people than I 
have a right to, does that mean that I'm 
not entitled to my opinions or to voice 
them? The world situation affects us, as 
movie people, as much as it docs anyone 
else, Naturally, we've got to be careful 
about using our disproportionate “image 
power" to sway public opinion by 
speaking out on the issues. But you've 
got a choice. Do you abdicate the re- 
sponsibilities of citizenship merely be- 
cause you carry a Screen Actors’ Guild 
rd? Or do you dig deeply and bece 
as knowledgeable and expert as you 
and speak your piece and hope your 
ight is being thrown on the right 
side? As a feeling, thin 
have to get involved. The times are too 
crucial the priorities тоо urgen 
anyone to stand aside. 

Kindly people sometimes come up to 
me and say. "Why take a chance? It 
can't help you professionally to get in- 
volved." My response is, “Kiss off!" Of 
cou Yt help me. If you speak up 
—no matter what you say—you're going 
to make enemies. But а man with no 
enemies is a man with no character. So 
you've got to decide whether you care 
more about your own selLinterest or 
about your deeply felt convictions as a 
human being. 

PLAYBOY: If you feel as strongly 
say about the issues of the day, why 
don't you run for public office? 

NEWMAN: I think. Il really got serious 
about it, 1 could run for Congress and 
ke it—but it would be a 
у for the nation. 

PLAYBOY: Why? 

NEWMAN: I just don't think I have the 


w 


for 


equipment—not that this total lack of 
preparation has bothered some actors. 
ап, whose views on 
foreign policy атс so antiquated and 
as to be open to derision. If he 
had a slogan, it would be ve Vict 
nam.” No. T think I carry my credentials 
about as far as they сап go by support 
ing those who are qualified for olfice. I 
ave built up. in my profe: a cer 
п amount of respect and a certai 
ount ol power. To move into 
profession in which I would have no n 
spect. no power and very litle 
think Vd have to be a little bit c 
And if 1 t when I started, I would 
be by the time I was elected, 1 just 
don't have the temperament. Fd get too 
impatient with all the machinery. And 
I've got 100 short a fuse 10 survive the 
ordeal of a campaign; it’s hard enough 
as а booster; it would be impossible as a 
candidate. 

PLAYBOY: Until you began stumping for 
McCarthy. you were very much in 
volved in the civil rights movement. In 
view of the recent moves toward peace 
ана the deepening racial crisis wouldn't 
you accomplish more by redirecting yom 
«Пон 10 the Negro struggle? 

NEWMAN: Look. | can't do everything 
about everything. 1 haven't had а vaca 
tion in a year. I'm irving to get my 
finances straightened out. Right. now. 
Tm mixing and cutting Rachel. Rachel 
And l'm giving every minute of my 
weekends to the McCarthy campaig 
Besides that. l'm working on three sepa- 
vale projects—one as an actor [his next 
film, Winning—Ed.]. two as а producer. 
Та my spare time, Fm also tying to raise 
a family. At some point, you have to say, 
DE give up." I just don't have the time to 
take on another cause. 
PLAYBOY: If you did. м 
nature of your involve 
rights moveme 
NEWMAN: Well, ili 
areas we have to move 
legislatioi 
» but which docs very Tittle 10 end 


at would be the 
ent in the ci 


iwo major 
There's 
which is essential and impor 


l discrimi 


ion: and there's partic- 
ipation, which of 
useful progi 


nplul and 


ams of 


and sell-determination то the Negro. Re 
ining Head Start, Middle Start, Late 


art—these are. programs that can really 
help people. The most import lare 
the actual work programs, those that pro- 
duce real jobs. It doesn't help a ghetto boy 
if our country has 80-percent. open hous- 
ing, because he can’t get out of the ghetto. 
Twenty-two percent of the Negro popula 
tion between age 16 and age 24 is unem- 
ployed. Jobs are what counts, 

PLAYBOY: So you don't think the recent- 
ly passed open-housing Jaw is signi 
NEWMAN: Its necessary but, as I 
what does it do for the kids in the ghet- 
to? The new law may help a very small 
group of Negroes with good jobs, who 


Bull Durham smokes slow. 

So slow it's like getting five 

or six extra cigarettes in every 
pack. Try the Bull—and spend 
some time with flavor. 

Bull Durham says: "Don't rush me.” 


73 


PLAYBOY 


74 


can afford to go out and pay the rent or 
buy a house. But these people dont 
really need help. The programs that are 
going to be most helpful їп actually 
ating sociological and economical 
ferences between the races cannot 
ist while we continue to throw 30 bil- 
dollars a year into the Viet 
conflict; and that's only the 30 billion 
dollars you can see and count. I think 
Iso spending another 20 that 
Something must he done to 
recapture the great pot of money and 
manpower that is being dissipated in a 
most r ic. hardheaded mi 
y minds concede is unwinnable. Lyn- 
don Johnson might really have become 
a fine President. but he got bogged 
down in a war that finally blew his 


ment of America’s racial redemption. 
PLAYBOY: In April, Marlon Brando an- 
nounced that he was abandoning his 
film carcer—and a starring role in The 
Arrangement—to devote his time to study- 
g and working on Negro problems. How 
do you feel about his decision? 

NEWMAN: I'm proud of him. I think he's 
trying to show that white people are not 
only serious but sincere about working 
for racial j е. 

PLAYBOY: Do you think he'll succes 
NEWMAN: | don't know what you can 
give more than your full time. Brando 
has announced his total commitment to 
the task of opening the lines of commu- 
nication between the races. Maybe he 
can serve as a sort of liaison between 
the white community and the militant 
black community. Commu ion has 
always been a major problem, 

PLAYBOY; Long before the current up- 
surge of x . you participated. 
in the 1963 March on Washingtot 
. the site 


ed by the Southern Chris- 
n Leadership Conference? 

d—but it's 
T heard the big- 
gest ing bullshit from the 
head of the white C ! community 
down there, But the local Negro leader- 
ship wasn't much more enlightened. Our 
of that whole bunch we talked to 
Gadsden, there was just one gu 
gro doctor who owned the motel we 
stayed at—who really knew what was 
going on h to do some- 
thing about it. The trouble is that most 
of the Negroes down there are not only 
brainwashed but uneducated. T talked. 
to one of the SNCC workers down 
there. a very bright young man, who 
told me that the white kids gradu 
from the public schools in the South 
wind up with the equivalent of a ninth- 
or tenth-grade education, but the col- 


огей kids average around a sixth-grade 
education. It’s been 14 years since sepa- 
rate bur unequal education was de- 
dared unconstitutional by the Supreme 
Court, but nothing has really changed. 
And the same applies to jobs and hous 
despite corrective legislation. and 
i nd a decade of nonvio- 
ns, de facio racial 
justice remains almost as intact 
100 years ago. Is it any surprise that 
many Negroes have begun to despair of 
asking for their rights and decided that 
they'll have to take them? 

PLAYBOY: Do you condone racial violence? 
NEWMAN: Of course not. If this crisis 
can be resolved by reason and by broth- 
erhood, rather than by bloodshed. that 
would be the highest goal to which we 


rat 


but this coun- 
п violence. We 
forget that the American Revolution was 
тіпа] act of civil disobedi 
the way down through the vears—the 
Indian wars, the New York draft viots of 
1863. the labor riots of the 1920s, the 
Presidenti: ations—runs а deep 
strain of violence. The only thing that 
seems to be different nowadays is that 
there's a lot more violence hout ob- 
vi ion. 

PLAYBOY: Would you place the murder of 
Martin Luther King in that category? 
NEWMAN: It scems fairly clear that it 
was the act of a white racist—but even if 
it wasn't, the implications arc terrible to 
contemplate. Tf assassination is going to 
be a form of political expression in our 
country. I think it's time we checked out 
our whole social structure in what the 
magazines sometimes call "an agonizing 
isal.” Someone recently told me 
his four-year-old daughter. who 
io the family room when he was 
film of Churchill's funeral. 
The little p asked him w 
watching and he said, "It's the funeral 
of a very great man." She looked at the 
screen and asked: "Who shot him?" My 
God, what have we come to? 

PLAYBOY: Do you think it’s possible to 
draw an analogy between contemporary 
iolence and the success of such pic- 
tures as Bonnie and Clyde? 

NEWMAN: "There's a parallel, certainly 
but I don't think motion pictures pre- 
cede а phenomenon. They reflect 
Bonnie and Clyde was based on the 


he was 


i 


to- 


ty of a pair of bank robbers from the 
Thirties. So why did we wait until 1967 
matize it so graphically? Because 


of the climate of violence in America 
today. Violence on the screen is related 
somehow to the sense of anomie, of dis 
involvement and purposelessness, ihat 


afllicts our society. Screen violence is an 
outlet for the kind of resentment we all 
y and 


impersonality of modern life. Vicarious 
violence—on the screen and off—gives us 
a chance 10 vent our hosti 
symbols of authori 
business, big government. 
the establishment, the 
—'whatever you want 
Violence on the screen enables us to 
identify a target we can shoot at; almost 
target will do. But life isn't so sim- 
ple and accommodating. We can't find 
the bad guys for the same reason that 
ме can't put our finger on the answer to 
what's wrong with our society. The 
things that are wrong are so complex 
and crosspollinated—and so endemic— 
that the pressures of simply being and 
staying alive literally bend the mind. 


Big 


Brother, 
structure 
“them. 


power 
to call 


People say, "Oh. for the good old days” 


you put a potato 
grew. you ate. If it didn't, you starved 
and that was the end of it. Survival was 
that simple. But survival today has become 
a problem of such infinite complexity that 
few achieve it except at incalculable cost 
to their spirit—and their sinity. 

PLAYBOY: Have you managed to survive 
without cost to your own spirit and sanity? 
NEWMAN: Not comple but it a 


tion, By hat Lao е O experi 
ence, the terror of communication. the 
terror of exposing one's self, the terror of 
your own mortal 
PLAYBOY: Considering vou 
shat do you want to accomplish with the 
ler of your 
NEWMAN: I just w ble to func 
tion as a free agent, to be able to appraise 
ws realistically and not in terms of 
my own hang-ups 

PLAYBOY: What are your hang-ups? 
NEWMAN: My greatest hang-up is the com- 
pulsion to produce and to come throug 
with every project, it's out of proportie 
Other hang-ups are my inability to feel 
а sense of self-merit where merit is duc, 
and in putting criticism in its proper per- 
spective. Another problem is the fact that, 
like other actors, I live a tremendous fan- 
tasy life. It works very well in your acting, 
but you could be much productive 
in your personal and professional life if you 
didn't create this dream world around you. 
ї 


семе 


NEWMAN: I scc ladressing the 
United Nations cleaning up Bedford- 
Stuyv i 


PLAYBOY: Do you think you'll ever ac 
complish any of these 1 s in real Ше? 
NEWMAN: No. but Id like to be re 


membered as 
part of 


guy who tried—tried to be 
times, tried to help people com- 
nother, tried to find 
some decency in his own life, tried 10 ex 
tend himself as a human being. Someone 
who isn’t complacent, who doesn't cop out. 
You've got to wy, that’s the main thing. 


WHAT SORT OF MAN READS PLAYBOY? 


He’s a man with a design for living and a plan for the future. And a part of that plan calls for proper 
insurance planning. It’s a fact: Prime prospects for life insurance are adult males under 35— 
strictly PLAYBOY territory. lt reaches one out of every three. The bigger buyers, too. Within the 
past year, over 1,000,000 PLAYBOY readers purchased $10,000 or more in life insurance. To put 
your plan across, use PLAYBOY. Then rest assured. It’s your best agent. (Source: Simmons Report.) 


New York - Chicago - Detroit - Los Angeles * San Francisco - Atlanta - London + Тскуо 


PLAYING FIELD 


when a guy has to give up football, he may turn to 
poetry—or to widows who live alone and dye their hair red 


fiction By JOHN CHEEVER 


TONY 
squad 
mostly 
worth recording. One afternoon, when he was about to join the squad 
for practice, it was announced over the squawk box that he should 
report to the principal. He was not afraid of the principal, but he was 
disturbed at the thought of missing any of the routines of football 
practice. When he stepped into the outer office, a secretary asked him 
to sit dow: 

“But I'm late,” Tony said. “I'm late for practice already.” 

“He's busy,” the secretary said. 

“Couldn't I come back some other time? Couldn't 1 do it 
tomorrow?” 

"You'd be late for practice tomorro! 

"Couldn't 1 see him during  classtime?” 

"No" 

Tony glanced around the office. In spite of the stubborn and obdu- 
rate facts of learning, the place had for him a galling sense of unreal- 
ity. A case of athletic trophies stood against one wall, but this seemed 
to be the only note of permanence. Presently, he was let into the prin- 
cipal's office and given a chair. 

"You've failed first-year French twice,” the principal said, "and it 
looks you are going to fail it again. Your parents expect you to 
go on to college and you know you have to have a modern-language 

Your intelligence quotient is very high and neither 1 nor Miss 
derstand why you fail.” 
i's just that I can't say French, sir," Tony said. “I just can't say 
any French. My father can't, either. It sounds phony.” 

‘The principal switched on the squawk box and said into it, “Could 
you see Tony now, Miss Hoe 

Her affirmative came through loud and clear. “Certainly.” 

"You go down and see Miss Hoe now,” said the principal. 

"Couldn't I sce her after class tomorrow, sir? I'm missing football 
practice.” 

“I think Miss Hoe will have something to say about that. She's 
g- 

Miss Hoe was waiting in a room whose brighi lighis and pure colors 
did nothing to cheer him. It would soon be getting dark on the playing 
field and he had already missed passing and tackle. Miss Hoe sat before 
a large poster showing the walls of Carcassonne. It was the only tradi 
tional sur in the room. The brilliant fluorescent lights in the ceil- 
ig made the place seem to be a cavern of incandescence, authoritative 
its independence Irom the gathering dark ol an autumn afternoon; 
nd the power to light the room came from another county, well to 
the north, where snow had already fallen. The chairs and desks were 
made of brightly colored plastic: The floor was waxed Vinylite. 

"Sit down, Tony," she Please sit down. It's time that we had 
a little talk.” 

She might have been a pretty woman—small-featured and slender 
—but her skin w: llow and coarse and in the brightness of the light, 
one saw that she had a few chin whiskers, Her waist was very s 
and she seemed to take some pride in this. She always wore belt 
tures, chains or ribbons around her middle and she sometimes wore a 


wi 


ILLUSTRATION EY ALEX GNIOZIEJKO 


PLAYBOY 


78 


in her brown hair. Her 
mouth, considering the strenuous exercise 
it got in French verbs, was very small. 
She wore no perfume and exhaled the 
faint unfreshness of humanity at the end 
of any day. 

She lived alone, of course, but we will 
grant her enough privacy not to pry into 
1 facts of her virginity or to 
the furniture, souvenirs, etc, 
with which her one-room apartment was 
stuffed. As a lonely and defenseless spin- 
ster, she was prey to the legitimate anxie- 
ties of her condition. There were four 
Jocks on the door to her apartment and she 
carried a vial of ammonia in her handbag 
to throw into the eyes of assailants. She 
had read somewhere that anxiety was a 
manifestation of sexual guilt, and she 
could see, sensibly, that her aloneness and 
her virginity would expose her to guilt 
and repression. However, the burden of 
guilt must, she felt, be somchow di 
between her destiny and the news 
evening paper. It was not her guilt tha 
had caused the increase in sexual brutality. 
She had come to fecl that some disorgan- 
ized conspiracy of psychopaths was devel 
oping. Weekly, sometimes d. 
who resembled her were 
muti 
she was always afraid. Since she frequently 
dreamed that she being debauched 
by some brute in a gutter, she had to 
ide guilt along with terror. 

"When were you born, Tony?” she 
asked. 

{ау twenty-seventh.” 

Оһ, I knew it,” she said. “I knew it 


girlish ribbon 


is the constellation under 
which you were born. Gemini determines 
many of your characteristics and, one 
ight say, your fate; but Gemini men are 
ariably good linguists. "The fact that 
you arc Gemini proves to me that you 
сап do your work and do it brilliantly. 
You can't dispute your stars, c ? 

He looked past her thro 
dow to the playing field. There w 
enough light in the air, enough color in 
the trees to compete with the incandes 
cence of their cavern; but in another ten 
minutes, there would be nothing to see 
the window but a reflection of Miss 
himself, He knew nothing 
у beyond the fact that he 
thought it to be a sanctuary for fools, He 
ipposed that she might have read in 


the stars (and he was right) that it was 
her manifest destiny to be unloved, 
unmarried, childless and lonely. She 


sighed and he was suddenly conscious of 
her breathing—its faint sibilance and 
the rise and fall of her meager front. It 
scemed intimate—sexual—as if they lay 
in cach other's arms, and he moved hi 
chair back suddenly, scraping the legs 
on the Vinylite. The noise restored him. 

“Гуе talked this over with Mr. Nor- 
thrup, Tony, and we've reached a deci- 


sion. Since you seem unable to manage 
your own time with any efficiency, we 
are going to give you a little assistance. 
We are going to ask you to give up 


He had not anticipated this staggering 

justice. He would not cry, but there 
was a definite disturbance in his eye 
ducts. She didn’t know what she was 
saying. She knew, poor woman, much 
less about football than he knew about 
French. He loved football, loved the m: 
neuvers, the grasswork, the fatigue and 
loved the ball itsel{—its shape, color, 
odor and the way it spiraled into the а 
gle of his elbow and rib cage. He loved 
the time of year, the bus trips to other 
schools: he loved sitting on the bench. 
Football came more naturally to him 
than anything else at his time of 
how could they take this naturalness 
away from him and fill up the breach 
with French verbs? 

“You don't know what you're sayi 
Miss Hoe.” 

“I'm afraid I do, Tony. I've not only 
talked with Mr, Northrup, Гуе talked 
h Coach. 

“With Coach? 

“Yes, with Coach. Coach thinks it 
would be better for you. better for our 
school. better. perhaps, for our football 
team if you spent more time at your 
studies. 

"Coach said this?” 

"Coach said that you were enthusias- 
tic but he doesn't think that you're in 
any way indispensable. He thinks that 
perhaps you're wasting your time.” 


He stood. "You know what, Miss 
Hoe?" he asked. 

"What, Tony?” she said. "What, 
dear?" 


‘ou know, I could kill you,” he said. 
^I could kill you, I could strangle you. 

She stood, hurling her chair agai 
the walls of Carcassonne, and beg. 
scream. 

Her screaming brought Mr. Graham, 
the teacher, and Mr. Clark 
(science) running. She stood at her desk, 
her arm outflung, pointing at Tony. “He 
tried to kill me, He 
threatened to kill me." 

"There, there, Mildred,” said Mr. Gr. 
. there.” 
want a policeman, 
all the police.” 
Graham called the office through 
the squawk box and asked the secretary 
to call the police. Mr. Clark picked up 
Miss Hoe's chair and she sat in it, trem 
bling and breathing heavily, but stern, 
as if she were about to upbraid an 
unruly class. Then, in the distance, they 
heard the sound of a police siren that 
seemed, excited and grieving, not to 
come from the autumn twilight but from 
some television drama in which they 
were the actors or combatants playing 
out nothing so simple as poor French 


Latin 


е screamed. 


she screamed. 


marks and a mistaken threat. Tony was 
Miss Hoc's longlost brother who had 
just returned. from his travels with the 
news that their beautiful mother w 
wellknown Communist spy. The Latin 


teacher would have been Miss Hoe's 
husband—a dreary failure whose busi- 
ness misadventures and drinking bouts 


had brought her to the brink of a nerv- 
ous breakdown, and Mr. Clark came 
from the FBI. Thus, juxtaposed for a 
moment by the sound of the siren, they 
seemed about to have their dilemma in- 
terrupted by an advertisement for pain- 
killers or detergents, until the police came 
in. asking: “What's up, what's going on 
here?” Vandalism had been their guess. 
although it was the wrong time of day— 
but vandalism was the usual complaint. 
Why did kids want to rip the lids off 
desks and break windows? 

Miss Hoe raised her head. Her face 
was shining with tears. “He tried to kill 
me,” she said. “He tried to kill me.” 

“Now, Mildred,” said Mr. Clark. “Now, 
Mildred 

“Don’t 1 have any protection at all?" 
she cried angrily. “Are you all going to 
stand around and defend this murderer, 
until I'm found some night with a bro- 
ken neck? How do you know he doesn't 
have a knife? Has anyone searched him? 
Has anyone even asked him a question?” 
You got a knife, sonny?” one of the 
police asked. 

“No,” said Tony. 

"You try to kill this lady?" 

“No, sir. 1 got angry at her and sai 
that I'd like to, but I didn't touch her. 1 
wouldn't ever touch her." 

“I want something done about th 
Miss Hoe said. "Lm entitled to some 
protection." 

“You want to file charges aga 
lady? Felonious assault, 1 gue 

“Id Miss Hoe said. 


inst him, 


“АП right, TI take him down to the 


station and book him. Come on, sonny 
The corridor was crowded by thi 
time with teachers, secretaries and jani- 
tors, none of whom knew what had hap- 
pened and all of whom were asking one 
another what it was. Tony and the poli 
had gotten to the end of the corridor and 
were about to turn out of sight when 
Miss Hoe cried: “Othcer. Officer." It was 
a frightened voice and they turned 
quickly. 
‘Could you 
ive me home? 
"Where do you live? 
“Langeley Gardens." 
"Sure." 
"Just a moment. 
She got her coat, turned off the lights 
and locked the door to her classroom. 
She came swiftly down the hall, through 
the crowd, to where they waited. She 
got into the back seat of the car and 
Tony sat in front between the two police. 
(continued on page 84) 


e me home? Will yoi 


"Isn't that the notorious Lord Bloxley?" 


celebrated jet-set mannequin kecia 
unvetls for a unique playboy pictorial 


At 


uccessful and charming Kecia has already 
graced the covers of hundreds of magazines— 
including Vogue, Cosmopolitan, McCall's 

and Harper's Bazaar—and belongs to that elite circle 
of top fashion models that includes Jean Shrimpton, 
Twiggy, Donyale Luna, Veruschka and Penelope 
Tree. Modeling for Kecia means total 

involvement and she approaches it dynamically, 
performing before the camera with the same 
enthusiasm displayed by Veruschka in the writhing 
opening scenes of Blow-U'p. She says of her 
thoughts during a shooting session: "I want to go to 
bed with the photographer. Only an erotically 
charged atmosphere brings out the best in me and, 

I immodestly believe, also in the photographer 
Naturally, I don’t let my feelings run 

away with me during the session. I'm merely using 
them as wings to fly in the right direaion. Is 

my way of taking a trip—and it is a hell of 

lot better and less harmful than LSD for 
ow an outspoken member of the jet 
set, Kecia traces her beginnings to Halli, Finland, 
where she was born on a farm. The family 
emigrated to Canada when she was 12, and shortly 
afterward а German photographer, who 

happened to see her in a Vancouver department 
store, signed her to model for the store’s catalog: 
from that assignment she rapidly became a favorite 
of such internationally known lensinen as Richard 
Avedon, Art Kane and Douglas Kirkland. Currently 
boasting luxurious New York and Paris 

apartments, a dazzling wardrobe and assignments 
stretching months ahead, forward-thinking 

Kecia recently expanded the scope of her career 

by appearing in a French film (Un Epais Manteau 
de Sang) and making her au naturel debut 

in print for erAvsoy. "At first," she says, “1 
thought 1 could not do it, But my professionalism 
overcame my inhibitions and now [ have 

no objection to posing nude for photographers 
whose artistic integrity is unquestioned.” 


Posing before a small sompling of her ad and cover credits (below left), Kecio dramatizes why she's ane of the world’s highest-paid models. 
But nestled in bed with her guitar near ot hond, she feels like a different person: “Without make-up, | am а very simple, earthy Finn- 
ish girl, a bit naive ond very insecure. With make-up, | om on illusion, a dream product af desires projected fram my face and figure.” 


After signing to oppeor in The Monk, her second film, Kecio takes time off from modeling ossignments to relax along the sunny rough- 
hewn coast line and shimmering woters of Majorca. Because much of her work is done indoors, Kecio's leisure pursuits run in the opposite 
direction: to olfresco pleasures such os riding, tennis and woter-skiing—and to the decidedly mosculine men who occompany them. 


eo - — 


PLAYBOY 


84 


PLAYING FIELDS (continued from page 78) 


It's very kind of you to take me home 
Miss Hoe sud. "I do appreciate it. I'm 
terribly afraid of the dark, When I go 
into the caletorium for my lunch, the 
first thing | think of is that it will be 
dark in four hours. Oh, I wish it would 
never get dark—never. | suppose you 
know all about that lady who was mis- 
treated and strangled on Maple Street 
t month. She was my age and we had 
the same first name. We had the same 
horoscope and they never found the 
murderer. . . .” 

One of the police walked her to the 
door of her apartment and then they 
drove to the police station in the center 
ol town, Tony explained that his mother 
was in the city but that his father usually 
came out on the 6:32. “Well, the judge 
won't be here until cight or later,” one of 
the police said, "and we can't uy you 
without the judge, but you don't look 
very desperate to me and ГЇЇ remand 
you in the custody of your father as soon 
as he comes home. The lady seemed a 
le hysterical. . . . 

It was, of course, the first time Tony 
had been in the police station. It was a 
new building, not in any way shabby 
but definitely grim. Fluorescent tubing 
shed a soulful light and an extraordinari- 
ly harsh and unnatural voice wa 
from a radio. “Five foot, eigh 
voice. "Blue eyes. Crooked teeth. A scar 
on the right side of the jaw. Weight, one 
hundred and sixty pounds. Wanted for 
тшт...” 

They took Tony's name and address 
and invited him to sit down. The only 
other civilian in the place was a shabbily 
dressed man who wore a stained white- 

Ik scarf around his neck. His clothing 
was greasy and threadbare, his hands 
е black, but the whitesilk scarf 
seemed like a declaration of self-esteem. 

How long do I have to stay here?" he 
asked the licutenant at the desk. 

“Until the judge comes in." 

"What did I do wrong?" 

“Vagrancy. 

"I hitched a 
sever 


e on Route Twenty- 
" the vagrant said. “I asked this guy 
to stop the car so I could take a piss and 
as soon as 1 got out of the car, he drove 
off. Why would he do a thing like that?” 
The lieutenant coughed. "Well, you 
don't have long for this world,” the v. 
g 1. “not with a cough like that. 
Ha-ha. A doctor told me that twenty- 
ht years ago and you know where the 
doctor is now? Six foot under. Pushing 
up daisies. He died a year later. The se- 
cret of keeping young is to read chil- 
dren's books. You read the books they 
write for little children and you'll keep 
young. You read novels, philosophy, 
stuff like that, and it makes you feel old, 
You fish in the river?” 

“Some,” said the lieuter 


nt, putting as 


into the sound as he 
could. The vagrant offended his nosc, his 
sight d his sense of the fitness of 
things, not because of his manifest ec- 
centricity but because he had heard the 
story so many times. They were all alike, 
the roadside vagrants; they suffered a 
sameness greater than the intellectu 
and sumptuary sameness of the busi 
men who rode the 6:32. They all 
theories, travels, diets, colorful pasts 
and studied conversational openings, and 
they usually wore some piece of soiled 
ery like the white-silk scarf. 

Well, I hope you don't eat the fish," 
the vagrant said. "That river's nothing 
but an open toilet. All the shit from New 
York comes up the river twice a day on 
the tides. You wouldn't eat the fish you 
found in the toilet, would you? Would 
you?” Then he turned to Tony 
asked: “What you here for, зопп 

“Don't tell п," said the lieutenant. 
“He's not here to ask ques 

“Well, cai 
grant asked. " 
conversation, we might discover tha 
have some interests in common. For in 
stance, I've made а study of the customs 
and history of the Cherokee Indi: nd 
a great many people find this interesting 
1 once lived with them on a reservation 
п Oklahoma for three months, 1 wore 
their clothing, observed their customs 
and ate their food. They eat dogs, you 
know. Dogs are their favorite food. "They 
boil them mostly, although sometimes 
they roast them. They- "d 

"Shut up," the lieutenant. said. 

At a quarter to seven they called 
Nailles, who said that he would be right 
over. When he strode into the station 
and found his son there, his first impulse 
s 10 embrace the young man, but he 
restrained himself. "You сап take him 
home,” the licute I don't think. 
much will come of this. He'll tell you 
what happened. The complainant seems 
to have been a little hysterical.” 

Tony told his father what had hap 
pened as they drove home. Nailles had 
no counsel, advice, censure or experience 
to bring to that crazy hour, He under 
stood his son's deep feelings about being 
dropped from the squad and he seemed 
to have shared in his son's felonious 
threatening of Miss Hoe. A little wind 
was blowing and as they drove, leaves 
of all colors—but mostly yellow—blew 
through the shaft of their headlights, and 
what Nailles said was: “I love to see 
leaves blowing through the headlights. 1 
don't know why. | mean, they're just 
dead leaves, not good for anything. but I 
love to see them blowing through the 
light." 


much 


Miss Hoe never pressed charges and 
went on sick leave the next day. Tony 


was transferred to a French class taught 
by a man, but he was not allowed to 
retum to the squad. 

Jt was an autumn afternoon, Saturday 

Below Nailles house, near a grove of 
dead elms, there was a swamp where a 
flock of red-winged blackbirds nested 
each spring, According to the law of 
their species, they should have turned 
south in the autumn: but the number of 
bird-feeding appliances in the neighbor 
hood, overflowing with provender. had 
rattled their migratory instincts and they 
now spent the autumn and winter in 
Bullet Park in utter confusion. The 
song—two ascending notes amd a harsh 
ий, like a cicada—was inalienably asso- 
ciated with the frst long nights of 
summer, but now one heard it in the au- 
tumn, one heard it in the snow. To hear 
this summery music on one of the last 
clement days of the year was like some 
operatic reprise where the heroine, con- 
demned to death, hears in her dark cell 
(carcere brutta) the lilting love music that 
was first sung at the beginning of act 
two. The wind that day was westerly, 
and after lunch one could hear thc 
thump:thump of a bass drum from thc 
footba 


I held, where the band was warm- 
ing up for a home game. 

"Tony. after having heen dropped from 
the squad. did not, of course, spend his 
spare time studying irregular verbs. 
stead, he read poetry. as if he sh 
with the poets the mysterious and 
ful experience of being forced into the 
role of a bystander. He had not read po- 
etry before. Nailles was not so obtuse as 
to protest, but he was uneasy. He might 
say that poetry was one of the most ex 
alted of the arts, but he could not cure 
himself of the conviction that poetry was 
the demesne of homely women and mor. 
bidly sensitive men 

As soon as Tony heard the bass drum 
that afternoon, he went upstairs and 
down on his bed. Nailles was worried 
and called up the stairs: “Tony, let's do 
something, shall we? Let's go for a ride 
or something. 

“No, thank you, Daddy.” Tony said. 
“I think TII go into the city, if you don't 
mind. I'll go to а movie or maybe see a 
basketball game. 


"Thats fine,” Nailles said. “ГИ drive 
you to the tra 
At three the next morning, Nailles 


woke. He got out of bed and started 
down the hall toward Tony's room. He 
felt very old, while he slept, he had 
put down the dreams of a strong man 
snow-covered mountains and beautiful 
women—in exchange for the anxieties of 
some decrepit octogenarian who feared 
that he had lost his false teeth. He felt 
frail, wizened, a shade of himself. Tony's 
bed was empty. “Oh, my God. 
loudly. "Oh, my God.” His only 
dearly beloved son had been set upon by 
(continued on page 161) 


| quiz 1[ quis ] quiz | | quiz | [ quis | quis 


Mo BIZ LIKE QUIZBIZ 


а 20-question tour through history à la “variety” 


quiz | 


AS A LONGTIME ADMIRER of Variety's unique headline vernacular, we've wondered how the 
showbiz bible would have bannered important historical events. In doing so, we've come up with 
a spanking-new parlor game, which we sneak-preview herewith for our readers. We'll supply the 
Variety-type headlines; you guess the events. You can rate yourself as follows: all correct — 
SMASH; 15—19 right —cricko; 10-14—HO-HUM; 5-9—мто; if you get fewer than 5 right—zomn. 


1. Top Frog Flops in Flemish Foldo 
2 JULIE LOPPED FROM TOP SLOT 


з. YANK BIGGIES WRITE OWN 
TICKET—HANCOCK STANDOUT 


« REX HAS NO EYES FOR MOM 
s. ABE CURTAINED AT D.C. NABE 


« CHI FRY DUE TO M00 


7. BIG G. IN ONE-DAY LAYOFF 
AFTER SOCKO SIX-DAY STINT 


в Strad Act Sizzles in Rome Bow 


s. RED-FACED BACK-BAYNIKS 
SAY 50 LONG TO OOLONG 


10. “HANK LOUSE AS SPOUSE" — ANNE 
ıı. Cruise Ship §.R.0. in 40-Day Gig 


12. Fog City's Mr. Clean Makes 
Medics Join Scrub Team 


13. Orléans Chick & Stake Well-Done 
м. Rip No-Show on Borscht Circuit 


15. GREEK HORSE SHOW 
WOW IN ONE-NIGHTER 


є COURT FAVE PITCHES 
PASTRY, FLIPS WIG 


п. LION LAD NEW NILE PILE 


1. EGGHEAD'S BIG-APPLE 
BIT PROVES STRONG DRAW 


в. LIZ DO-IT-YOURSELF ORPHAN? 
ж. TOP BRASS TAKES 
TRUNK ROUTE TO BOOT 


Answers are on page 147. 


AUTOMATED 
LOVE LIFE OF 
HENRY KEANRIDGE 


fiction By STAN DRYER 


elsa, his friendly computer, thought henry 
2 was а truck—which is why she kept him routed 
so smoothly among a wife, a mistress and two girlfriends 


BY THE AGE OF 32, Henry Keanridge had accumulated a wife and 
two children, a mistress and two girlfriends. His wife, Miriam, 
suspected nothing about the existence of the mistress and the girlfriends. 
His mistress, Linda, knew about his wife and onc of the girlfriends 

The first of his girlfriends, Lorna, knew nothing about his wife, his 
mistress or the other girlfriend. His second id, Dee, kuew only 
about his wife. If these facts seem confusing, it can be imagined 

the difficulty that Henry had remembering these items, plus a thousand 


87 


PLAYBOY 


88 


other necessary details of the intimate 
lives of these four women. Fortunately 
Henry had the assistance of ELSA, the 
Electronic Logistics Systems Analyzer. 

Henry was input monitor for the 
ELSA installation at the main office of 
the Acme Trucking Company. All day 
he sat at his Teletype console on the 
12th floor of the Acme Building, feeding 
data and questions to ELSA in her base- 
ment vault far below, ELSA held in her 
memory banks all of the pertinent data 
on the far-flung operations of the Acme 
Trucking leet. She knew the current 
location of every truck and driver. She 
kept track of all of the shipments stored 
in the Acme warehouses and of those in 
In short. she knew every detail of 
the operations of Acme Trucking and 
could, in a [ew seconds, provide the 
answer to any question concerning these 
operations. 

It was Henry's job, as input monitor, 
to ask these questions. “OPTIMIZE TRUCK 
75 BETWEEN SAN FRANCISCO, SALT LAKE 
CITY AND DENVER, WITH INTERMEDIATE 
PICKUPS AND DELIVERIES, ART 1700 
4/7/63," he would type on his ‘Teletype. 
ELSA would check her files to derer- 
mine what shipments truck 75 could 
handle and what intermediate stops 
were optimum. After checking the road 
and weather conditions in the Western 
states and a dozen other factors, she 
would type back a message that gave the 
exact times of arr ad departure over 
а three-day period, plus the following 
work. schedule: 


OPTIMIZED ROUTING OF TRUCK 75 
ACTION CARGO. ary 

AD 100 DRUMS ОП. SAN FRANCISCO 
UNLOAD 15 DRUMS OIL RENO 
UNLOAD 30 DRUMS OIL SALT LAKE 
LOAD 50 RAGS CEMENT SALT LAKE 
UNLOAD ALL CARGO DENVER 


‘Thus, ELSA could, in a matter of sec 
onds, provide an optimized routing for 
truck in the Acme fleet. 

Deep w ELSA’s memory banks, 
and quite unknown to the executives of 
the Acme Trucking, Company, was stored 
another array of information. This data 
base covered all facets of the lives of 
Henry's four women. The women were 
simply placed in the file as cities. There 
was one “truck,” namely, Henry. To 
ELSA, it was all the same. Her job was 
t0 optimize routing, whether it was 
trucks between cities or Henry between 
his women. 

Thus, when Henry typed on his con- 
sole, “OPTIMIZE HENRY BETWEEN MIRIA 
LINDA AND DEE, WITH INTERM 
UPS AND DELIVERIES, STARTING 1700 3/3/68, 
ELSA, again giving exact dates (3/3/68 to 
3/4/68) and exact times (1700 through 
the evening umil 1400 the next day), 
would type back something like: 


OPTIMIZED ROUTING OF HENRY 


ACTION — CARGO ату 
LOAD 50 DOLLARS — BANK 
UNLOAD 7 DOLLARS FLOWER SHOP 
LOAD 24 ROSES, KED FLOWER SHOP 
UNLOAD 24 ROSES, RED LINDA 
UNLOAD 20 DOLLARS MIRIAM 
STOPOVER DEE 


Henry would quickly tear this sheet of 
information out of the Teletype and slip 
it into his inner coat pocket. For the next 
few hours, he had no worries. ELSA had 
optimized his sex life. Gone were the 
nagging worries usual to a man with a 
love life spread among four women. 
There would be no tearful scenes over 
forgotten anniversaries or broken prom- 
ises. He would have no problem remem- 
bering which woman he was to meet 
when and where. As long as he followed 
the schedule set down by ELSA, there 
would be no troubles. 

Tt should not be assumed that Henry 
was a compulsive rake who had deliber 
ately accumulated his stable of conquests. 
In idle moments between requests to 
ELSA, Henry often tried to figure out 
just how he could have avoided collect- 
ing these women, There was the matter 
of his wife, for example. Henry was never 
quite sure if or when he had proposed to 
Miriam. They had met in the Marriage 
and the Family course that Henry had 
ken during his senior year at Atkins 
College. Henry had taken the course out 
of pure curiosity. He simply wanted to 
find out what marriage was all about. 

Ii was а mistake from the start. Except 
for Miriam, all of the other students were 
paired oll im couples. They were either 
married or had been engaged since they 
were freshmen. The course consisted of 


xual escapades and descriptions of 
the love life of the Navaho Indian, ap- 
parently his field of specialization. His 
wife, heavy with child, attended all of the 
class sessions and sat in the front row 
knitting baby garments. Whenever Par- 
kins gave an example from his own mar 
ried life, which was often, she would 
pause in her knitting and grin affection- 
ately at her husband, as if his words 
brought to mind a particularly amusing 
private joke. 

The other couples did not lag far be- 
hind. They sat in pairs around the class- 
room, holding hands and participating 
with enthusiasm. They always began each 
bit of commentary with a phrase like, 
"George and 1 think . . . 
and I have found. . . - 

Henry rarely contributed to the dis- 
cussion, both because he felt he lacked the 
necessary depth of sexual experience and 
because he felt his single opinion held no 


force against the paired-up ideas of the 
rest of the class. From the start, he felt a 
silent bond with Miriam, a rather plump 
girl who sat quietly by herself at the 
back of the room. 

It was inevitable that they would be 
thrown together. The classroom hung 
heavy with the human pairing instinct 
and neither Henry nor Miriam had the 
will to resist. Soon they were sitting next 
to each other and exchanging whispered 
comments concerning the class. Whis- 
pered exchanges were not frowned on hy 
Parkins; all of the couples were expected 
to discuss their thoughts in private, so 
expressed ideas could be truly joint 
opinions. 

Henry got into the habit of taking 
Miriam to the Cell, the student cofice- 
shop after class. There they would merci- 
lessly dissect the characters of Professor 
Parkins and their fellow students. Henry 
regarded Miriam simply as а good friend 
with whom he was sharing the tribulations 
of a rather dull course. 

Опе day, with the course well past the 
halfway mark. Professor Parkins called 
Henry to his office. There, amidst. piles 
of dusty reference works, Navaho rugs 
and potsherds. the professor informed 
Hemy that he was flunking the course. 

“How could I be failing?” demanded 
Henry. “We haven't had any exams.” 

‘The essence of Marriage and the 
Family." said Professor Parkins, "is group 
discussion. I do not feel that you have 
been contributing effectively to the dy- 
namics of the group. My wife, who 
pretty impartial observer, agrees with m. 

lt was still onc, He 
saw, even there in Parkins’ office. 
mumbled somet 
to participate 

After class the next day, he told Miri- 
am about his interview with Parkins. 
Just what the bastard told me,” she 
said. “I happen to need that grade very 
badly.” 

Henry was up for Phi Beta Kappa and 
knew that one failing grade would ruin 
his chances. “What can we do?" he asked. 

"Look, Miriam. "I don't mean to 
be forward or anything. but maybe the 
solution to our problem is for us to de- 
velop a base of mutual experience, as 
Parkins would put 


two 


said 


You mean?” said Henry. 
We could take off this coming week 
motel some- 


end and shack up in a 

where,” said Miriam. 
“I have a couple of c: 
said Henry. "I was pl 
books pretty hard this weekend. 
"Haven't you been listening in d 
said Miriam. "You can't have sex con- 
tinuously. 1 have a term paper myself 
that’s due on Monday. 
‘Thus it was that in class the following 
(continued on page 92) 


“Don't try anything, Alkali—these guys are desperate!" 


а watch watcher's guide to the latest in 
split-second timing 


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navigation instrument tells precision time, by Bulova, $695, 
including battery and walnut-grained Formica case. Vantage 
SST globe-trotter’s watch gives the hour in all 24 time zones; 
has waterproof case, by Hamilton-Vantage, 
$21.95. Stainless-steel skindiver's watch oper- 
ates at depths to 600 feet, by Timex, 524.95. 
Chronograph that features а one-fifth- 
second recorder and a 30-minute 
register, by Zodiac, $89.50. Gallet 
aviator’s chronograph shows Green- 
wich time; also records fli 


PHOTOGRAPH BY ALEXAS URBA 


Bottom row, left to right: raph gives day, date and phases of the moon; 

has one-filth-second recorder and 12-hour register, by Universal Geneve, $225. Calco stop 
watch with shockproof center can be mounted to dashboard of car or used aboard yacht, by 
Jules Racine, S71. Scubapro 3000 three-dial diver's watch with liquid compass and water-tem- 
perature thermometer shows hour, date and elapsed time under water, by Scubapro, $161. Diver's 
chronograph with second and minute timers plus bezel that records elapsed time under water, by 
Longines: Wittnauer, S185. Guinand pocket stop watch for one-tenth-second timings features 15 
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dials show elapsed-time intervals in hours, minutes and seconds, by Tissot, $115. 
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elapscd-time intervals in hours, minutes and seconds, by Omega, $185. 


PLAYBOY 


92 


AUTOMATED LOVE LIFE 


Monday. Henry was able to take Miri- 
am's hand, smile knowingly and say, 
"Miriam and I have fou 
from sexual tensions makes a big difier- 
ence in one's ability to concentrate on 
studying." 

"There was a murmur of approval from 
the class, Professor Parkins smiled his 
benediction. Even his wife turned around 
in her seat and grinned at them. 

Henry and Miriam continued to build 
their base of mutual experience, although 
Henry regarded it as merely an enjoyable 
necessity for passing the course. At the end 
of the term, both Henry and М 
ceived Bs. It was Professor Parkins’ policy 
to give both partners identical grades. 

Henry was so pleased with his grade 
that he impulsively asked Miriam to the 
canoe lighting on the final night of gradu- 
ation week. At the canoe lighting, senior 
ples paddled around Lake Meeka- 
with lighted candles bow and stern. 
All of the other couples in their course 
were participating and he felt it would 
be a nice gesture to ask Miriam. Unfor- 
tunately, Henry did not know that it was 
a campus custom of long standing that 
only couples who had "plighted their 
troth” were allowed to participate. 
re you really sure we should?" said 
am when he asked her. 

If you don't think you can handle a 
canoe." said Henry, “I can do the pad- 


Thats a very sweet way of putting 
said Miriam. 

Then it's all settled?” said Henry. 
"Oh, yes, Henry" said Miriam. "I 
ik we've going ta, be very happy." She 
leaned over а sed him on the cheek, 

They had а үе. Juné evening for 
the canoe lighting. No breeze disturbed 
the surface of Take Meekawa. The 
shores of the lake were lined with the 
parents of the senior class and the non- 
betrothed students. "The throaty little 
mating calls of the Lake Meckawa frogs 
filled the air. The candles on the canoes 
twinkled like myriad stars. Henry felt a 
deep inner peace that he had never 
known before, as if all cares and appre- 
hensions of the future were walled away 
from them by the ring of 

All inner peace was inst 
when they returned to the landing. Hen- 
ry had helped Miriam out of thei 
and was holding the canoe containing 
Myra and Ed Bushbinder close to the 
dock so that Ed could help Myra, six 

ponths pregnant, out of the canoe. Myra 
ıd Ed had been the leaders of some of 
the healthiest discussions in Marriage and 
the Family. 

“This is really a surprise,” said Myra 
when she had finally struggled onto the 
landing. “I'm so pleased, though." She 
turned to Miriam. "Have you set a date 
for the wedding 


(continued from page 88) 


“Its all happened so fast that we 
haven't been able to plan anything," said 
Miriam, 

Henry stared at the girls unable to 
speak. 


Bushbinder pulled him aside. "You 
old rogue,” he said. did you do, 
propose to her last night so you'd be al 
lowed to take her on the canoe lighting? 

With a great red flash, 
burst upon Henry. There was no backing 
down now. One simply did not flout 
sacred ceremonials like the canoe lighting. 

"Yeah," Henry mumbled, "something 
like that." 

From that moment on, Henry felt he 
had lost control. Miriam set a date for the 
wedding; he went to work at Acme Truck- 
ing: they purchased a home in Garden 
all, Henry 
felt, without his having any alternate 
choices. 


The case was dill t, however, with 
his first girlfriend, Lorna. Henry knew 
he had acquired her by talking тоо much. 
1t was back in the days when he had only 
Miriam and the children to worry about 
and, as a result, had time to stop off at a 
Ише bar around the corner from the Acme 
Building for an occasional drink with the 
boys. On the evening he met Lorna, there 
were just four of them drinking beer at 
The talk swung 10 women. Henry 
ed silent as he remembered only too 
such discussions. 
gotten him into in college. 

Finally, ruddy-faced Joe Willard no- 
ticed Henry's sil What's the mat- 
ter, Henry?" said Willard. "All this talk 
boring you?" 

Henry had always disliked Willard. 

He was the one in the operations room. 
who had sent Henry down to the stock 
room for left-handed paper clips on his 
first day at Acme Trucking. 
“You guys are all talk," said Henry, 
nd no action." He waved his hand to- 
d the bar. where a couple of young 
ladies were seated. "Let's see you move 
in on that stuff. 

I am going to call your bluff,” 
Willard. "But before I do, you got 
money you want to put behind your fat 
mouth?" 

Does a sawbuck talk loud enough for 
you?” said Henry. This was in the days 
before every penny of Henrys income 
was sucked up in the business of main- 
g his harem. 

Us a de: id Willard. "Shake on 
it, buster.” He grasped Henry's hand in 
his damp paw and, rising from the table, 
headed for the empty stool beside the 
two young ladies. 

he men at the table watched and 
ed. It was unclear exactly how well 
ard was making out, until there was 


said 


wa 
wi 


a distinetly audible slap and Willard 
came walking slowly back to the table, 
He handed Henry a ten-dollar bill with- 
out saying a word. 

АП would have been well if Henry 
had kept silent or switched the subject to 
baseball. But he wanted too much to 
work Willard over a bit. "Just for the 
" he said, “what technique did 
e? Suave man about town? Or the 
approach?" 
an do better, big. 
aid Willard. “I've got ten dol 
At says you cunt.” 

Yeah," said one of the other men, 
t we let the master operator 
show us how it’s donc? 

“OK,” said Henry. He was halfway 
across the room before he realized that 
he had no idea what he was about. But 
the inertia of his pride carried him up to 
the bar, where he dropped onto the vacant 
stool. 

“They're sending them in shifts,” 
girl next to him said to lı 
“We come in for a quiet drink and eight 


mouth 


the 


waves of Marines come afier us 
The other girl di 
stole a glance at the girl who h: 


keı 
had 
her 


She w. 
сше face, with a бше upturn to 
nose, 
wonder what approach they'll use 
this time,” she said to her silent compan 
ion, "Maybe the intellectual line. ‘See 
any good operas lately? 
^I really think I should apologize for 
all of the trouble we're саџзіпр you," 
said Henry. He was amazed at his ability 
to sty anything, 
de's apologizing for all of the trouble 
he's causing,” said the girl. “Now he's 
going to tell us u 1 because of a 
silly bet he made with his friend with 
the damp hands." 

“lt в because of a bet,” said Henry. 

"The girl took one swift, analytic look 
at him, then turned back to her compa 
ion. "Now he's going to ask me if 1 
wouldn't mind just walking out of here 
with him so he could pretend that he did 
succeed in picking me up. 1 really think 
he has the gall to ask that.” 

Henry discovered he had sufficient 
gall. 

The girl did not look at him. "You're 
going to think I'm out of my mind," she 
said. "You're going to give me a long lec- 
ture about my behavior tonight. But if 
we send this one back empty-handed, we'll 
have to suffer the other two of them 
before the night is out.” 

She finished off her drink, picked up 
her handbag and started for the door. 
Henry followed her. He managed to pro- 
duce what would pass for a man-of-the- 
world smile for his friends as they passed. 
the table. 

They went outside. The girl stopped 
(continued on page 148) 


PAINTING COURTESY CHICAGO HISTORICAL SOCIETY 


its second constitutional convention time, folks, so listen in while an intrepid gathering 
of star-spangled straight shooters puts an end to two centuries of “communist conspiracy” 


humor By RALPH SCHOENSTEIN xow тилт america has been so dramatically saved from the threat of democ 
racy, we can finally tell the whole inspiring story of the Second Constitutional Convention, the most joyous gathering 
of true conservatives since Mussolini's inaugural ball. It's a story still unknown to most Americans, for the convention 
was seen only on closed-circuit TV in Greece, Spain and Bavaria. 

‘The convention was lly called to revise the entire Constitution of the United States, but just to add 
two amendments: the Liberty Amendment to abolish the income tax and the Dirksen Amendment to stop Iegi 
reapportionment, But once the delegates met, they were swept by a spirit that ma 


с them rewrite the work of the 
subtlest Marxists of all, the ones who had shrewdly preceded Marx’ birth, so that no one could ever connect them 


with him. Luckily, certain men at last had learned the truth, men like H. L. Hunt, who said, “Communism began 
in Ame when the Government took over distribution of the mail.” 

Such perceptive р ots knew that God had led them to Los Angeles to save His favorite country, a land sold out 
by Earl Warren and his colored shortstops, by Jonas Salk and his vaccine and by Thomas Jeflerson and his pinkos in 
velvet pants, those frilly Federal fags who bought the Russian line in 1787. As the delegates entered the convention 
hall, they filled the air with the kind of splendid fervor that had once stirred pilots on their way to Pearl Н. 

“If anyone calls you a take a bow!” cri 
REPATRIATE 'EM ALL TO AFRICA. “After all, wha 


rbor. 
1 Willis Carto, head of the Liber ty Lobby, whose button said 
isa Fascist but a patriotic nationalist, one who knows that a dictator- 
ship of the majority is not constitutional government, one who knows that right now there are Congolese cannibals 
put here by the UN to set up a Commie takeover by 1973. I tell you, 30,000 African troops are already in Georg; 
30,000 black Reds who are set to start eating their way to Washington—with teeth they got from Medicare! Do we 
want this great country to become a cover for National Geographic?" 

Other delegates exploded with rage about the document that had started all the trouble. 

“This goddamn Federal country has been usin’ a Constitution that's just a first draft!" cried a man with a swagger 


93 


PLAYBOY 


94 


stick. “Why, it ain't even typed! 
"And it’s so damn dated," said a man 
with culf links of lightning bolts. “I guess 
it was OK for 1787, when communism 
s just a village problem and Chiang 
inland, bur it sure don't apply 
now. 


tenni 
chief. "Your 1787 nigger knew his place! 
The 2000 delegates took their seats 
under signs that lyrically proclaimed 
their hopes for mankind: FICHT UNICEF, 
FREE RUDOLF HESS, GIVE THE INCOME ТАХ 
BACK TO CASTRO, F.D.R. 15 ALIVE IN 
ARGENTINA, GIVE RED CHINA OUR SEAT IN 
THE UN, LOSE THE WAR ON POVERTY and 
THERE WAS NO FLUORIDATION AT VALLEY 
rokcr. Hanging among these signs were 
the great smiling [aces of libertys dead 
heroes, who had moved up to dwell on 
the right hand of God: Theodore Bilbo, 
Rafael Trujillo. Fulton Lewis, Jr., Се 
eral George Patton, Barbarosa, Joseph 
McCarthy, George Lincoln Rockwell, Jr., 
Martin Dies and François Duvalier, a 
newcomer whose picture bore the words 
THE ONLY боор one. Delegates who 
weren't lip-reading the signs or smiling 
back at the pictures were leafing through 
such inspirational prose as Nine Bastards 
in Black, The Surgeon General's. Report 
is in the Peace Corps and 
1 Reappraisal. 
hen the militiamen of John Wayne, 
the sergeamt at arms, had cleared the 
aisles, one red-necked delegate hoisted an 
efligy of Edward R. Murrow and the 
[ul shot off their mouths with a 
ightwing roar. The Second 
Constitutional Convention had begun. 
The roar subsided when the convention's 
chaplain, a well-known man of the doth, 
walked 10 the microphone, bowed his 
head and said, “Let us pray. . . . Sweet 
Jesus, who needed no minimum wage, 
who knew that the wages of sin are not 
fixed by Washington. . . . Sweet Jesus, 
who is still the greatest ican of all. 


nghis 


help us fix up thi . 
Amen," said the delegates, who then 


"I pledge allegiance to the non- 
an part of the United States of 
са and to the Republic—that's Re- 
public—tor which it sands, опе loose 
collection of states. next to God, invinci- 
ble, with voluntary he S 

All 2000 stayed on thei 
Boone came forward ai 
and gals, how about singin’ one that's 
always been in the Top Twenty, The 
Star-Spangled Banner!” 

Some of the delegates were dressed 
like Paul Revere and the Raiders in 
Colonial costumes made by the D. A. R., 
but most of the attire was modern: the 
women in smartly hooded minisheets and 
the men in butiondown brown shirts and 
softly buffed storm boots. A few of the 
girls in the Young Americans for Freedom 


Pat 
, "Fellas 


wore chidy ta 
Neiman-Marcus 
At last, Dr. Fred Schwarz the con- 
vention's chairman, head of the Chris 
tian Anti-Communism Crusade amd the 
greatest American Australia ever pro 
duced, came to the microphone and 
called the roll: 
Phe delega 
realignment.” 
cried Robert Shelton, Sena 
James Eastland and George Wallace. 
“The delegation for involuntary ra 


lored field jackets over 
tigues. 


п for voluntary racial 


tor 


to and Gerald 
L. K. Smith. the convention's godfather. 
the grand old man of ethnic reapprai 
whose Christian Crusade had so fearlessly 
exposed Jewish Reds from Eleanor Roose- 
velt to Pius XII 

“The delegation for 
suffer.” 

“Verily!” cried the Bobbsey Twins of 
tree enterprise, Ayn Rand and Nathaniel 
Branden. Near the golden dollar sign on 
her suit was a big button that said 1 AM 
MY BROTHER'S KEEPER ONLY IF НЕЗ A 
d Branden's button said 
BREAST FEEDING IS THE START OF WELFARE 
CODDLING. 

“The delegate for legislative re-reap- 
portionment." 

“Oh, yes . . . yes, indeed," ва tor 
Dirksen (Republican—Ilinois /Capitol). 

“Yahoo!” cried the convention's game 
warden. Byron de la Beckwith. 

“Fhe delegates of the press.” 

"Present" said William F. Buckley, 
Jr., of the National Review. 

"Yes," said Robert Welch of the Blue 
Book. 

Buckley was the only one actually 
covering the convention; Welch was sell- 
ng the Blue Book, whose new editioi 
ncluded all American traitors up 10 U 
Thant. In fact, Welch had а double role: 
He was also co-caterer with Lester Mad- 
dox. The selling of books, candy and 
Commie score cards made him а mobile 
newsstand. МЛ E 
ng the roll (through Barry Goldwater 
and Congressman Utt and the Inte 
collegiate Society of Individualists), Welch 
wandered about, pushing his wares and 
checking security, finally asking он 
Semiticlooking man, "Hey, do you know 
any State Department homosexuals?” 

“No.” the man said. “but I once jilted 
a nymphomaniac from the Job Gorps.” 

"God bless you," said Welch. “Have 
you ever taken the Fifth?” 

No; don't believe in it. Frankly, there 
are just a couple of those amendments 
that I care for. 

"Good тап. Baby Ruth or Milky Way?" 

Suddenly, there was a commot 
the entrance, where Ronald Reaga 
mying to get through the mili 
whom Wayne had told to "keep out all 
the left-wing bastards who wanna snoop.” 
Reagan kept insisting he was a consery: 
tive, but Wayne replied that he had 


the right to 


sold out to the unwed mothers’ lobby, 
enforced three Supreme Court rulings and 
favored removing the Marines from Nic 
ragua. Finally, De la Beckwith came over 
1 persuaded Reagan to leave by putting 
а few warning shots into his gro 
“And now," said Chai 
with pride, "the American who is fight 
hardest for a return to the principles o 
Chiang Kai-shek and our forefathers, th 
defender of every man's God-given right 
10 make ten thousand dollars an hour, 
Mister Conservative himself 
"Hot damn!” cried H. L. Hu 
spotlight glistened on his ur ти 
button 
"The convention's first resolution came 
from Willis Carto, who rose. solemnly 
shifted his chew to his right cheek a 
said, “I move the adoption of the Liberty 
Amendment, Let's have the s 
ernment get the hell outa everything 
lt was а short speech. but its simple 
eloquence so stirred the delegates that 
they demonstrated for nearly an hour. 
D.A.R.s did minuets with Birchers: old 
folks reminisced about the fall of Czecho- 
slovakia; good friends gaily matched tooth 


him to the floor. 
When Schwarz finally restored ordei 
Carto explained the Liberty Amendm: 


it. It abolished the 
moved the Govern 
ness, financial and i enterprises. 
Thus, in one splendid stroke, Federal 
revenue would be cut in half and the 
Government would have to auction off 
Hoover Dam and stop selling tours ol 
the Statue of Liberty. 

“The income tax is straight from Ka 
Marx!” cried Carto. "And Karl Marx was 
‘ommie—who, by the way. never 
bothered to take out Апи cit 
zenship! So stuf) the Those 
Federal bastards do 


ncome tax! 
"t need any money! 
Let the slates fight in Vietnam! We got 
plenty o пара Georgia! 

"The delegates cheered for Georgia na- 
palm and then Schwarz said. “The adop- 
tion of the Liberty Amendment has been 
moved." 

“I second it," said Max Rafferty. "But 
let's add a rider to capture the spirit of 
the Scopes decision. The Reds have got 

o 
decent 


ten entirely 100 much glandular stuff i 
many 


our schools. 
American 
hair and grow breasts 
are la ‚ зо ТЇЇ just say this: 
Let's add to the amendment 
American school shall discuss hanky 
y in any species above the flounder 
Let's leave puberty to th 
After another great cheer, a roaring 
salute to external fert 
said, “Moved and seconded. The Liberty 
Amendment to abolish Government sol- 

vency and dirty talk.” 
(continued on page 146) 


Is are 


that no 


¢ Commies! 


lization, Schwarz 


са 


“Remember, now, you're our first transplant, so take it easy.” 


PREITY 
GIRL- 


. - . is like a melody— 
melodye prentiss, that is, 
our july playmate, who leads 
a lively double life as 
playboy staffer 


and fine-arts student 


FOR HONEY-BLONDE Melodye Prentiss, the 
path to becoming Playmate of the Month 
was a short elevator ride to PLAYBOY'S 
Hth-floor Photo Studio from our 9th 
floor Editorial Library, where she was 
working part time аз a researcher when 
an 


colleague pegged her as perfect 
Playmate material. Finding enough time 
10 pose, however, presented something of 
a problem: Besides gracing our offices part 
of the week, she was taking а full sch 
of courses at the University of C 
the School of the Art Institute 
being under pressure,” Melodye 
energetic regimen. “If every waking min- 
ute isn't used efficiently, I consider myself 
lazy. Sometimes, of course, it would be 
pleasant to pretend there's nothing that 
has to be done, but 1 have a compulsion 
t0 accomplish as much as possible." Her 
will to achieve obviously has its way 
Before entering the Art Institute, Melodye 


nors in а school-wide scholar 
jon. When our Playmate does 
play, she takes to the beach, the tennis 
courts or the bridle paths ("I've been rid 
ing since I was five, and now I'd like to 
take jumping lessons"). This summer, 
she's са living expenses and. pocket 
moncy (her tuition is covered by scholar 
ships from the Illinois State Scholarship 
Commission and the Ford Foundation) by 
working full time in our Copy Depart 
ment, as а sharpeeyed checker of factual 


Promptly at nine a.m., Melodye Prentiss steps 
off the elevator into the foyer of the Playboy 
Building's ninth floor, ready to begin a day's 
work as an editorial researcher. A conversa: 
tion develops in the Library os our distaffer 
talks over a controversial point on Federal 
narcotics laws—for The Playboy Forum—with 
librarian Karen Halsne and another research- 
er. To back up her argument, Melodye re- 
turns to the stacks for documentary evidence. 


information for future issues of rLavnov. 
Of her own future, Miss July says, 
primary goals are to excel as a pa 
and to grow intellectually, to learn how to 
communicate more effectively with people. 
1 don't think it’s always necessary to talk 
to have an exchange of thoughts and 
ideas; if you share а bond with someone, 
you sense things without speaking. Words 
«an sometimes detract from communica 
Accordingly, we'll say no more, so 
you may silently commune with Melodye. 


Melodye looks over the transparencies of her 
gatefold shootings with PLAYBOY Photographer 
Pompeo Posar (far left, top), later relays the 
results of her Forum research to Senior Edi- 
tor Nat Lehrman. “I really enjoy working at 
playsoy,” she says. "The people here are 
both intelligent and mentally stimulating, 
опа you stay up to date because you're deal- 
ing with what's happening. As o researcher, 
Гуе learned lots of wild and obscure things 
that in another type of jab I'd probably 
never have known.” After work, aur aspiring 
dashes to the Art Institute of Chicago 
(near left, center) for painting ond sculpture 
classes. Currently working toward a bache- 
lor of fine arts, Melodye hopes to continue 
for a master’s degree. “Then,” she adds, 
“I'll be able to teach college-level art and 
ovaid becoming o starving artist.” With a 
group af fellow students, Melodye stops ta 
admire a groduote-student sculpture exhibit 
—ond contemplates the day when her own 
work might hang on those walls. Right: In 
the Art Institute's pointing studia, Melodye 
stays after class to put the finishing touches 
on her latest canvas. "Although | prefer 
working with ails and acrylics,” she says, 
“I'm still experimenting with other medi 
Salvadar Dali's work has had a great 
fluence on me, but I'm keeping an open 
mind obout style ond subject matter, too. 
Just os long os | can paint—and keep an 
раїпіпо 1 be hoppy.” Below, | to r: 
Melodye takes a Coke break in the Institute's 
cafeteria, then decamps to the wood-sculpture 
studio and gaod-naturedly accepts advice 
on her work fram lang-haired onlookers. 


a 
Mize 


„г 


um 


Work and classes over for another day, Playmate Melodye Prentiss returns to her studio apartment on Chicaga’s Near North Side—but 
can't resist going back to the old drafting board ("It takes up just about the whole room," she says) to complete a charcoal sketch far 


her next pointing. Before turning in, she devotes a few minutes to giving her half-Siamese cat, Sahat, on affectionate bedtime fondle. 


PLAY BOY’S PARTY JOKES 


Golly,” sighed the shapely coed as she and her 
date left the drive-in theater, “that certainly was 
exciting. I wonder if the movie was any good 


Our Unabashed Dicioi 
as emission impossible. 


лгу defines impotence 


Wishing to surprise her husband with a new 
wig she had just bought, the wife put it on 
and strolled unannounced into his office. “Do 
you think you could find a place in your life 
for a woman like те?” she asked sexily. 

“Not a chance," he replied. "You remind me 
too much of my wife.” 


e of the stewardess came over 
the airplane's intercom: "Good afternoon, la 
dies and gentlemen, this is your stewardess, Miss 
Hotchkiss. I have some bad news and some 
good news to report. 

“First the bad news. Your pilot and copilot 
are both drunk. There's been a malfunction in 
the radio and we've lost contact with the field. 
We're three hundred miles off course and ex- 
pect to run into some heavy turbulence over 
the Rocky Mountains. And it appears that we 
have an insufficient fuel supply to reach an 
alternate airport. 

“And now for the good news. We're making 
very good time.” 


Our Unabashed Dictionary defines confidence 
as picking up a girl who's already walking home 
from a ride. 


The cheery м 


Then there was the transvestite sailor who went 
down to the sea in slips. 


Fred and Elaine had been married for ten years 
when one evening at dinner Fred announced 
his intention of taking a mistress, His wife was 
shocked, but Fred pointed out that his two 
partners, Jim and Bob, both had mistresses and 
their wives had adjusted to the situation very 
nicely. 

“AIL three girls dance in the chorus of the 
same night club,” Fred explained, "and to- 
morrow night, I'm going to take you there to 
see them.” 

"The next evening, Fred and Elaine went to 
the night club, and when the showgirls began 
their opening number, Fred said, “The blonde 
on the left is Jim's. The redhead next to her 
is Bob's. And the pretty brunette on the end 
is min 

Elaine stared at the girls long and hard. bc- 
fore answering: "You know something, darling? 
Of the three, 1 like ours best." 


During a session with a marriage counselor, the 
wife snapped at her husband: “That's not true 
—1 do enjoy sex!" Then, turning to the coun- 
sclor, she added: “But this fiend expects it three 
or four times а year!" 


One summer night, as the elderly couple sat on 
their front porch looking at the cemetery across 
the street, the woman remarked: "You know, 
dear, every time I think of our wonderful 
daughter lying over there, it makes me want to 
ay.” 


the man agreed, “it saddens me, 
too. Sometimes I even wish she were dead. 


Our Unabashed Dictionary defines sycophant 
as a mentally disturbed pachyderm. 


When he arrived in Vietnam in the early 1960s, 
the American intelligence officer was surprised to 
sce a Vietnamese riding a donkey- while his 
wile, loaded down with bundles, trudged along 
behind. Upset at the lack of chivalry, he ap- 
proached the man and asked: “Why do you ride 
while your poor wife walks behind?" 

stom,” grunted the man, jogging past. 

A few years later, the officer was visiting the 
same village and spied the man again—he was 
still riding the donkey, but now his wife pre- 
ceded him down the road. 

“You probably don’t remember me,” said the 
officer, “but you told me a few years ago that 
your wife walked behind you because of custom. 
But now I see she's in front. Why the change?" 

“Land mines,” came the reply. 


Ail line 


Storming into the frontier saloon, the fervid 
temperance evangelist boomed: “Repent, you 
vile sinners! Drinking that noxious fluid will 
send you all to hell. Join with me—all of you 
who want to go to heaven stand on this side.” 

All but one drunk staggered to his side. To 
the holdout, the evangelist shouted: "Don't 
you want to go to heaven?” 

No, ] don’t,” replied the drunk. 

“You mean to tell me that you don't want to 
go to heaven when you die?" asked the aston- 
ished evangelist. 

"Oh," the dr plied, "when I di 
thought you were making up a load right now 


Heard a good one lately? Send it on а post- 
card to Party Jokes Editor, vxAYuwov, Playboy 
Building, 919 N. Michigan Ave., Chicago, 
Ill. 60611. $50 will be paid to the contributor 
whose card is selected. Jokes cannot be returned. 


“Couldn't you just let it go at initials?” 


105 


armed with citronella, 
egg-salad sandwiches 

and the will to live, 

the wandering shepherds set 
out on an unforgettable trek 
to vacationland across an 
untamed wilderness—and 


prove conclusively that 

getting there isn't nearly 

half the fun LE 
BLI ss . humor By Jean Shepherd 


e hapless TV daddy 
eked brood and а moun 


1 don't think we'll be 
for the lake today 


: moans and whimpers 
V wife, surrounded 
n of tennis rackets, 
aphernalia for an on 
handbag. 


thego family holiday, r 
pulls out a blue bottle 
“Here, take two of these." 
“Well, OK, but its no use. 
Popping the pills into his mouth, 
couple of times and says irritably. 
—canily.” 
“There's no law th 
family shouts in uni: 
He swallows doubtfully, 
and B's to go to work, then breaks into a blinding Ultra Bi 
smile. "Say, you're right. I [ecl good again." Cheers 
‘All right, then, let's get the show on the road," barks the 
TV momma, | у out the door toward 
the station 
My old 


I've tried everythi 
he smacks h 


g 


lips a 


them use anything like the 
of stress. Had he been playing th 
have gone something like this: 
ick medium shot of a fifth-hand Olds in the family drive- 
way. Close-up of the old man’s face behind the wheel. 

“HOLY CHRIST, ГМ GONNA HEAVE! 
HELL WAS IN THAT RED CABBAGE? 

Quick pan to my mother, hair in curlers, 

"What do you mean, red cabbage? Them seven beers. . . . 

Back to the old man, face now tuming green. 
orget that crummy trip!" 
udden uproar from kids 
cut to the old man, 

"WHAT DID YOU SAY? 

Shot of his right hand sweeping the b: 
boom. knocking heads together 
to Mother 
Here. Take ША 
Old man, bellowing: 
“ARE YOU OUT OF 


we he employed in moments 
at same touching scene, it would 


back seat, including me. Quick 


discriminately 


YOUR MIND!" 


Shot of door opening quickly, аз he rushes into bushes, End 
of commercial 

That truelile vacation scene is all 100 remi 
one we played out every year. 
by car each a 
cycle 
two weeks in August, but it made no difference. It always 
went the same way. For 14 straight years, our vacations w 

п southern Michigan on the shores of colorful ( 


iscent of the 
cation trip 


t, it was never even dear why we went 
there, but we did. Such are the vacations of the humble. 

From June on, five minutes after school let out, my kid 
brother and 1 were in a feverish sweat of anticipation about 
this annual pilgrimage. The old man, playing it cool. didn't 
get really h til maybe a month or so before the b 

identally, would n 


weeks I gazed at fishhooks, rolled lead sinkers over my 
tongue, drenched my Scars, Roebuck 79-cent reel in 3-in-1 oil. 


"Fo be honest, 1 don't think I сон a TV kid 
For one thing, tl nother thing. 
1 had a tendency to smell in those days—as a result of a lot of 


time spent in alleys and under porches and crawling through 
bushes with Schwartz and Flick and Kissel and the motley 
collection of spotted dogs that always accompanied us wher- 
ever we went, Come to think of it, Schwartz and Flick and 
Kissel smelled, 100: which may be why. to one another, none 
of us smelled. 
play 
About two weeks or so before the b 
would take the Olds down to Paswi 
h in 
like fingering a string of beads or burn 
ern Michig: a long way from north 
Olds was our only hope. She was a large, hulking four-door 
sedan of a peculiar faded green color that the old man always 
This was his big party joke. He 
eating, The Olds had been 
four previous owners, all of whom had 
al marks on body and seat, fender 
n't like the Olds. 1 don't think 
her, but it was ours. 
The week before the old man would go into high 
gear. On Monday of the Е week, just after supper, he would 
ng through a longdistance call 
happened every day in 


long distance?” he shouted into the receiver 
t to put through a long-distance call to Mic 
The rest of us sl 


ator, I wa 


Tear. 
ble? The old 


Marcellus. Michigan. Ollie Hopnoodle's Feed and Gi 


Store. I alk to Mr. Hopnoodle." 
He listened intently, then put his hand over the phone and 
whispered 


"1 can hear 


Hello, О! 


ging him! .. ? You old son 


107 


PLAYBOY 


108 


of a bitch! Guess who this is. . . . Right! 
How did you guess? . . . We want the 
green one this year. . . . Yeah, the one on 
the other side of the outhouse... . You 
did? That's great! 

“Ollie had two more holes put in the 
outhouse,” he reported in an aside to us. 

"OK, Ollie, see you next week.” 

The die was cast. We were on our 
almost. The week dragged by in- 
terminably—but finally it was Saturday 
he All day, my mother had been 
cleaning up the house for the two-week 
hiatus, nailing down the screens, locking 
the basement windows, packing su 
cases, trunks, cardboard boxes, laundry 
bags and wicker baskets with everything 
she could lay her hands on. The old 
man, who worked on Saturday, came 
roaring up the drive, the Olds already 
snarling in defiance over what was about 
to occur. He charged into the kitchen, 
his eyes rolling wildly. his very being 
radiating sparks of excitement. 

OK. now. This year we're all gonna 
get up carly and we're gonna be on the 
road by six o'clock. No later! This time 
We're gonna beat the traffic!” 

My mother, who had heard all this 
belore, continucd toiling stoically over her 
enormous pile of eflluvia. 

When that alarm goes off at four- 
thirty.” the old man said to no one 
particular. “I don't want to hear no grip- 
ОК. now. let's check the list.” 
Far into the night they went over 
every can of pork and beans, every slice 
of bacon, every box of crackers, every un- 
dershirt and rubber band—even the jug 
of citronella, that foul, fetid liquid mysti- 
cally (and erroneously) believed to be 
effective in warding olf mosquitoes of 
the Michigan variety. Finally, sometime 
after midnight, the uproar slowly pe- 
tered out. 

A few minutes later, the alarm went 
off and my kid brother and I leaped out 
of the sack like shots. This was it! From 
the next bedroom came а muffled curse. 
Fer Chrissake, will ya shut that damn 


gs from my mother as she put 
on her slippers in the dark. 
"Don't worry," growled the old man in 
s familiar litany, “ГЇЇ get right up. I'm 
just resti A 
More mutterings. "Look, I'm just rest- 
ing my eyes! I'm getting right up!" 
The vacation had beg always 
began. Already. not three minutes old 
and it was imperceptibly inching downhill. 
Five minutes later my mother, wearing 
her rumpsprung Chinese-red chenille 
bathrobe with tiny flecks of petrified egg 
on the lapels, her eyes puffed sleepily, 
peered down at a pot of simmering oat- 
meal in the dammy kitchen, Outside in 
the blackness, а few sparrows clinging 
ıo telephone wires chirped drowsily, pre- 
tending that they were real birds and not 
just sparrows living in а stecl-mill town. 


as il 


My kid brother and 1 ran insanely up 
and down the basement stairs, dragging 
stuff out of the coalbin that we figured 
we might need at the lake. For over а 
month F had been assiduously collecting 
ight crawlers in а Chase & Sanborn 
coffee can; I brought them up from the 
basement to be ready to pack when the 
time came. I toyed with my oatmeal, but 
it was such a great day that I actually 
went ahead and ate ii 

My brother, who had been known to 
go for over two years without eating. 
was playing Pig in honor of the festive 
occasion. This was a game invented by 
my mother to euchre the little runt into 
ing. It consisted of my mother saying: 
Randy. how does the little piggy go?" 

His nostrils would flare, his neck 
would thicken, his face, redden. He 
would grunt twice and look for approval 
to my mother. 

"Nice piggy. Here's your trough.” 

He would give another snort and then 
shovel his snout deep into the red cab- 
Lage, mashed potatoes, oatmeal or what- 

it was and slurp it up loudly. He 
wasn't a TV kid, cither. This morning, in 
- he polished off two troughs 
of Quaker Oats, usually his quota for 
a month. My mother, her hair curlers 
ng, called out: 
Are you up?" Silence 

"Are you up?" Silence. 

“It's getting late. 

"SHUT UP, FER CHRISSAKE!" 

Wearily. she bent back over the sink. 
She had been this route before. 

Half an hour later. the sun streaming 
in through the kitchen windows finally 
flushed the old man out into the open 
By now, the mound of impedimenta 
filled the kitchen and overflowed out 
onto the back porch. His B. V. D.s hang- 
ing limply, the old man weaved unstcadily 
between the piles and collapsed into a 
chair. 

‘Gimme some coffee.” 

He slumped unshaven. staring numbly 
at the kitchen table. until my mother 
set the coffee down in front of him. She 
did not speak. She knew that this was no 
time for conversation. He lit a Lucky, 
took a mighty drag and then sipped 
gingerly at the scalding black coffee, his 
eyes glaring malevolently ahead. My old 
man had begun every day of his life 
since the age of four with a Lucky and a 
cup of black coffee. He aled each one 
alternatel 


rose higher. And hij 
grew hotter and muggier, as only late 
July in northern Indiana can. The first 
faint whiff of oilrefinery smoke and 
blast-furnace dust eddicd in through the 
screen door. Somewhere a cicada screamed 
to the brightening haze. Clotheslines 
drooped. My brother and I were busy 
carrying bags, suitcases and lumpy card 
board cartons tied with string out into 
the driveway. My mother wordlessly 


squeezed lemons for the lemonade we 
always carried along in our big two-gallon 
Thermos. 

The old man stonily began his second 
cup. Halfway through it. he suddenly 
looked up, the sun now well over the 
high-tension wires and striking him full 
on his stubbled face. 

"WELL!" he shouted. “ARE WE ALL 
SET TO СО?" 

This was the signal that the real 
tion could һер n was still 
alive for another day. It was vacation 
time. He had been let out of the pen. My 
mother, picking up her cue. s 
‘Well, everything about se 
OK, gimme that 

He roared around the kitchen, his 
B.V.Ds flapping obscenely as he re 
checked the pile of rubber ducks, beach 
balls, old inner tubes, spyglasses, straw 
hats, fielders’ mitts—all of it. He rushed 
into the bathroom to shave and emerged 
a few minutes later with a wad of toilet 
paper plastered to a nasty gash on his 
chin, As I said, he was no TV daddy. 

By now, we had moved perhaps a ton 
and a quarter of stuff out into the weeds 
of the back yard, which at this time of 
the year were usually knce high, filled 
with green caterpillars and millions of 
kers. As always, Mrs. Kissel peered 
fully from her kitchen window next 
door. Since Mr. Kissel never worked, 
Kissel family never took vacations 

The neighborhood dogs. sensing that 
something was afoot. scurried round 
round the cardboard cartons, yipp 
couple of them did more than that. Piece 
by piece, carton by carton, every a 
able inch of the back sea 
solid. The old man had a Sears luggage 
rack clamped onto the roof of the Olds. 
"The heavy stuff was loaded on top: com 
forters, folding camp chairs, beach um 
brellas, his set of matched. Montgomery 
Ward golf clubs—all piled high and hell 
down with lengths of clothesline. Those 
wooden-handled, chrome headed clubs rep 
resented his only foray into the magic 
world of the "Big People," as he called 
them, the ones who ran Chevy agencies 
and sauntered around the course on Su 
days in checkered knickers 

At last he crawled in behind the wheel. 
rolled down his window and peered over 
a pile of junk next to him to scc if my 
mother was in place. Back in the rear, 
my brother and I were wedged into two 
tiny cockpits burrowed into the wall of 
tightly packed essentials for living. My 
mother, for some reason, always pretended 
at going to Clear Lake was something 
like traveling to the North Pole. Y; 
to be ready for anything. The doors were 
slammed, windows adjusted, and finally 
the old man gave his yearly cry: 

“OK. Here we po!” 

Outside in the yard, a motley collec 
tion of well-wishers had gathered. in- 
cluding Flick, Schwartz. Kissel and other 

(continued on page 173) 


е 


STAR BILLING FOR A BIT PLAYER 


food By THOMAS MARIO given the leading role in a gustatory 
extravaganza, the lowly legume will garner rave reviews from your guests 


AMERICANS, for some inexplicable reason, have always given short shrift to vegetables. In this coun- 
try, everyone seems to docilely accept those ubiquitous dishes of succotash blandly accompanying the 
platters of fried chicken and the self-effacing string beans that meekly attend the roast ribs of beef. 
But in Europe, hosts hold vegetables in high esteem. 

In France. for instance. asparagus isn't just a garnish for a lonely lamb chop but a garden god, 
a bountiful springtime feast. Fresh asparagus is served after the meat platter has been cleared away, 
as an independent course, sumptuously robed with a rich hollandaise, or a hollandaise flavored with 
orange, or buttered and parsleyed bread crumbs. 

When the Florentines eat white beans, they're not served a little (continued on page 158) 


PHOTOGRAPH BY STAN MALINOWSKI 


FOR A NEW ORDER OF PRIORITIES уз е: and a 
AT HOME AND ABROAD wen uid dg 
opinion presses for swift, dramatic 


Ву U.S. SENATOR J. WILLIAM FULBRIGHT 4Ew oes- 


AS THE PRESIDENTIAL CAMPAIGN progresses 
and the possibi 


ity arises of major changes 


› foreign and domestic policies, 
appropriate to review some of the т 
events of the past year or so and their 
effets on the American people. I think 


we у 


l| all agree that it has not been a 
happy time for the Con- 
gress or for our country. The divisi 


Executive, for 


ns 


among us are deep and the problems 


that beset us seem intractable. The center 


of our troubles is the war in Vietnam 


that has isolated the United 
States from its friends abroad, disrupted 


our and 


а war 


the 
American people as no other issuc of the 
20th Century has divided them. (There 


domestic affairs divided 


has arisen, as of this writing, hope that 


peace negotiations will soon begin in P. 
At this ge it 
-to commen 


s 


сапу s is dilficulk—and 


perhaps unwis 


their 

prospects, except to express the wish that 

they will indeed. occur and will bring 
war to an early end.) 


on 


the 


The St. Louis Cardinals are a superior 
baseball team, but in the 1967 


world 


ILLUSTRATION BY TOM STAEBLER 


ш 


PLAYBOY 


most Americans outside of the St. 
Louis area itself rooted for the Boston 
Red Sox. Why was that? Was it because 
the Red Sox were better sports, or better 
players, ог better looking? Certainly not; 
als matched their rivals on all 
d they showed 
elves to be the stronger team. 
hen, couldn't they match the Red 
popular aflection? Because they 
had commitied one of the worst crimes 
in Christendom—the crime of being top 
dog. Top dogs are not very popular, as а 
rule, just because there are so [ew of 
them. The underdogs are a vast majority 
in the world, and when. now and then, 
one of their multitude soars to the top in 
a sport or in politics or in some other 
highly visible pursuit, millions of other 
underdogs take heart, catching as by 
electric impulse the magic message: 
That could be me up there, at bat or on 
the pitchers mound or in h 
councils of power. 

Our heritage reinforces our instincts; 
most of us have been raised on David 
and Goliath; and by the time we reach 
adulthood, we have been thoroughly in- 
doctrinated—one might even say brain- 
washed—in the belief that every time a 
lile guy knocks down a big guy. it 

son for ing. Few people stop to 
think about the merits of the case, about 
the possibility that the top dog n 
reached the heights by diligent and ho 
est labor or that his cause ma 
tuous and true or—unthinkable thought 
—that the little guy might just possi 
bly be selfsceking or otherwi 
unworthy. 
That the Cardinals were up 
against, Like the Yankees before thet 
they had commited the crime of suc 
ceeding too well. They were Goliath; the 
Red Sox were David. They were the 
wicked stepmother; the Red Sox were 
Cinderella e Cardinals were King 
John, the wicked queen and Gene! 
Cornw: Red Sox were Robin 
Hood, Snow White and George Wash- 
ington. Thi won by skill 


the 


success 


courage and luck ag; over- 
whelming odds. They won in the only 
way that millions of underdogs could 


ever imagine themselves wir and 
when in the end they lost, as had been 
probable right from the start, it seemed, 
nonetheless, as though something impos- 
sible had happened. Goliath had beaten 
the prince had eluded Cinderel 
rts were broken. 
he United States is not the St. Louis 
Cardinals; the Viet Cong are not the Red 
Sox; and the war, God knows, is not a 
game. But there is something pertinent 
in the metaphor 

America is top dog in the world and, 
although we may be convinced t 
are good top dogs, most people 
the world are convinced that there is no 


112 such thing. Because we are rich, we are 


perceived as voracious: because we arc 
successful, we are perceive : 
because we are strong, we are perceived. 
as overbearing. These perceptions may 
be distorted and exaggerated, but they 
are not entirely false. Power does breed 
arrogance and it has bred enough in us 
е some substance to the ural 


as апор; 


prejudices against us. Much to our puz- 
zlement, people all over the world seem 


to discount our good intentions and to 
seize upon our hypocrisies, failures and 
transgressions. They do this not because 
we are Americans but because we are 
top dogs and they fear our power. They 
are frightened by some of the ways in 
which we have used our power; they are 
frightened by the ways in which we 
might use it; and most of all, I suspect. 
they are frightened by the knowledge of 
their own inability to withstand our pow- 
er, should it ever be turned upon them. 
They are, so to speak, te 
world at ou and 
ol good will on our part can ever wholly 
dispel the anxiety bred by the [celing of 
helplessness. 

What do these feelings about Amer 
сав power have to do with the war in 
m? They go far, I think, to explain 
why our war policy commands so little 
support in the world. Anxiety about 
America's great power predisposes people, 
even apainst their better judgment, to 
take satisfaction in our frustrations and 
our setbacks. The French, for example, 
who well understand the to 
themselves ol America's weight in the 
world balance of power, nevertheless 
seem to derive some isfaction from 
seeing more than half a million Ameri 
cans fought to a stalemate—or worse 
by a гадав army of Asian guerrillas, 
Seeing the Americans cut down to size 
like that is balm for the wounds of Dien 
Bien Phu, salve for the pride that was lost 
im the days of the Marshall Plan, when 
France survived on American generosity, 
Tf our military failures in Vietnam have 
this effect on the French, as І believe 
they do, think what they must mean to 
the real underdogs of the world, to the 
hundreds of millions of Asians, Africans 
and Latin Americans who can easily 
identify themselves with the Viet Cong 
guerrillas but could never see themselves 
in the role of the lordly Americ: 
"There may even be people in our own 
country who feel some sneaking respect 
for a resourceful enemy, an enemy who, 
n a curious and purely emo 
even remind them of the ragt ^ 
s who humbled 
h Empire almost 200 


D 
American revolution 


the mighty B 
years ago. 
Such attitudes, it will be argued, are 
irrational and unfair; and so, 
measure, they are. People, it w 
should be rational and should act on 
their interests, nor their emotions; and so, 
ndeed, they should. But they don't. I 
ht be able to think up some good 


reasons why elephants should fly, but it 


would not be rewarding; clephants can 
not fly and there is nothing to be done 
about it. So it is with men; they ought to 
be cool and rational and detached, but 
they are not. We are, to be sure, en 
dowed with a certain capacity for rea 
son, but it is not nearly great enough to 
dispel the human legacy of instinct and 
emotion. The most we can hope to do 
h our fragile tool of reason is to iden 
tify, restrain and make allowance for 
feelings and instincts that shape so much 
of our lives. 

That brings me to one of the most im 
portant of the many flaws in our war 
policy in Vietnam—its failure to take ac 
count of people's feclings and. instincts, 
especially those. pertaining to top dogs 
and underdogs. American policy asks 
people to believe things that they are 
deeply reluctant to believe. It asks them 
to believe that the world’s most powerful 
nation is not only strong but ted 
by deeply benevolent and 
instincts, unrelated even to 
terests. Even if th: те wue— 
occasion. it. probably been true—no 
body would believe it, because nobody 
would zant to bclieve it 

Thi extremely serious problem 
for the United States, because the suc- 
cess of its stated policy in Viet 
mately depends less on win 


g for 


own on persuading the world 
that American aims are whit American 
policy makers say they arc. That is the 


case because the war, as often explained 
by the Secretary of State and by others 
in the Айт to be an 


the Commi 
wars of liber 


ists, especially China, that 
n cannot succeed, and 
prove to the rest of the world that 
America will not fail to honor its com. 
mitnents to whomever made and for 
whatever purpose. It is a war—so say our 
spire confidence in 
States and 10 prove certain 
points; and once these points are proved, 
is said, we will withdraw, within six 
months of a peace settlement, said 
President Johnson at Manila. 

‘These being our stated 
cess of our policy depends in geat p: 
upon whether people believe that ou 
objectives are what we say they are. You 
cannot make an object lesson out of a war 
if people do not believe that is what you 
are trying to do: you cannot prove a 
point if people do not believe that yor 
mean what you say. 

Setting aside for a moment the ques 
tion of whether American purposes are 
really what American policy makers say 
they are, it is apparent that much or 
most of the world believes that they are 
not. 1 do not th ту many 
people, least of all the Viet Cong and the 
North Vietnamese, believe that we plan 
to withdraw from Vietn as soon as 
(continued on page 116) 


s, the. suc 
t 


"I think your father likes me, Ralph." 


= 
= 
[== 
ib 
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== 
es 


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> 


PAPER SCULPTURES BY BILL MILLER / PHOTOGRAPHY BY ALEXAS URBA 


1 
1 
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2 


PLAYBOY 


116 


А NEW ORDER OF PRIORITIES (continued from page 112) 


arrangements for self-determination are 
ngements that could result in 
lishment of a Communist gov- 
L I do not think that very many 
people, least of all the Asians, Africans 
wd Latin Americans for whose benefit 
the example is supposedly being set, 
really believe that, with virtually no help 
from the presumed beneficiaries, America 
has sacificed over 21,700 lives and 
spent 100 billion dollars—thus far—sim- 
ply to set their minds at rest about 
America’s determination to come to their 
assistance should they ever be threat- 
ened with Communist attack or insurree- 
Insofar as they do not believe us, 
policy is a failure. neither setting 
tended example nor proving the 
stated point. 

Prejudice 
world-wide skepticism 
tentions, The war, а 
well and, even 


not the only ba: 
bout Ameri 
ter all, is not going. 
our sincerity were 
granted, our success could not be. Far 
from proving that wars of national lib- 
eration cannot succeed, all that we bave 
proved so far is that, even with an army 
of more than half a million men and 
expenditures of 30 billion dollars a усаг, 
we unable to suppress this par- 
ticular war of national liberation. Far 
from demonstrating An willing 
ness and ability to save beleaguered gov 
cruments from Communist insurgencics, 
all that we are demonst n Vietnam 
is America's willingness and ability to use 
its B-59s, its napalm and all the other 
genious weapons of "counterins 
to turn a small country into a c 
house. Far from inspi 
and support for the Uni 
so isolated us that, despite all our 
liances and the tens of billions we have 
spent on foreign aid, we cannot, accord- 
g to the Administration, get 9 out of 15 
votes to put the Vietnam issue on the 
agenda of the United Nations Security 
Council. Far from demonstrating Ameri 


c's readiness to discharge all of its prodi 
gal commitments around the world, the 
extravagance and cost of Vier 


more likely to suggest to the world that 
the American people will be hesitant, in- 
deed, before permitting their Govern- 
ment to plunge into another such costly 
adventure, 

There are already signs of such a reac- 


tion. In the days before the гесе 

the Middle East, for example, strong and 
virtually unanimous sentiment was €x- 
pressed in the Senate ag 

cal Ame 


ful, it will not be 
influence of those of us who advocate 
selectivity in foreign commitmer 
will be in reaction to the heedless 


ventionism of Vietnam. 


Yet another reason why some of our 
stated purposes are disbelieved is the 
simple fact of their implausibility and 
inconsistency. 
tend that we 
nocracy when everyone knows that the 
Saigon generals can inspire neither the 
loyalty of their people nor the fighting 
spirit of their sizable army. It is implau- 
sible to contend that an act of intern: 

onal aggression has taken place when it 
dear that the w: 
within one half of a divided country 
abetted by the other half and did not be 
come an intern until the 


It is implausible to со 


United States intervened. 
ble to argue, as the disi 


It is implausi- 


guished Minor- 
sen, has argued, 
in Vietnam, the 
West Coast of the United States would 
be exposed to attack, when the United 


that, but for the war 


States Navy and Air Force are virtually 
unchallenged over the centire Pacific 
Ocean. 

Finally, it is impl. consist- 


ent, on the one hand, in that the 
United States seeks only to assure self- 
determination for the South Vietnamese 
people and will withdraw within six 
months of a peace seulement and, ou the 
other hand, to asse 
pose is to protect a 
the power of a billion Chinese 
with nuclear weapons. If the latter is the 
American purpose, if the real enemy i 
not the Vietnamese guerrilla army but 
“Asian communism with its headquarters 
in Peking,” then we are likely to have to 
remain in Vietnam indefinitely, all the 
оге so because most of the presumed 
beneficiari intervention 
ing the three gr i 


the sl 


other that is supposed to be being vind 
cated in Vietnam that one comes to feel 
that what our policy makers have really 
been trying to vindicate is their own 
judgment in g led us into thi 
in the first place. Even former ambassa- 
dor Edwin O. Reischaucr, an Asian cx- 
pert and a who, 
recently, tration's 
policy because he saw little prospect of 
ce, nonetheless expressed 


until 


probable," wrote Reischauer, "that Ho's 
communistdominated regime, if it had 
been allowed by us to 
m at the end of the w: 


г, would have 


moved to а position with relation to 
not unlike that of ‘Tito’s Yugo 
avia toward the Soviet Union. . . . Wars 


sometimes seem justified by their end 


results, but this justification hardly 
applies to the Vietnam war. Even the 
most extravagantly optimistic outcome 
would still leave far greater losses than 
gains.” It is doubtful. he added, “that 
even a favorable outcome to the war 
would do much to deter Commi sub- 
version in other less developed countries. 
Instead of being discouraged by our ulti- 
te victory in Vietnam, would-be revo- 
lutionaries might be encouraged by the 
obvious pain of th to the U 
State eluct 
American people to get involved in 
ther wars of this type. . .. T 


and the de: 


п policy toward Vietnam had fore: 
even dimly the costs and futilities of 
the war, they would have made dillerent 
choices at several times in the 
thus avoided the present situation, with 
only trilling costs. if any, to Ameri 
interests." 

Despite the Tet offensive, General 
Creighton Abrams and other Administr 
tion spokesmen continue to make state 
ments about military success. It is, of 
course, possible that this time they may be 
ight, that Ho Chi Minh will surrender or 
die or the Viet Cong will collapse or ju 
fade into the jungle. But even in that 
highly unlikely event, it should not be 
supposed that the American commitment 
would be at an end; we would still be 
the sole military and economic support 
of a weak Saigon regime, at a cost of 
perhaps 10 or 15 billion dollars a year. 
This, of course, would assume—as we 
cannot safely assume—that the Chinese 
and the Russians would do nothing to 
prevent the collapse of the Viet Cong or 
of North Vietnam. But even if these 
most optimistic prospects should be real- 
ized, grateful for peace though we 
would be, we would still have little to be 
proud of and a great deal to regret We 
I have fought an immoral and 
we would st have 
passed up opportunities that, if taken 
when they arose, would have spared us 
and spared the Vietnamese the present 
ordeal, and done so, as Ambassador 

ischaucr says, "with only trilling costs, 
‚ to American interests.” 
all these reasons, much of the 
world and sing number of ou 
own people are deeply skeptical about the 


For 


m. Underly 
ng the skepticism is deep disappoi 
а feeling 


tment, 
t America has betrayed 
nd its own promise—the promise 
of Roosevelt and the United Nations and 
of Wilson and the League of Nations, 
but, most of all. the promise of the 
American Revolution, of free men build- 
ng a society that would be 

for the world. Now the world sces tha 
heritage being betrayed: it sees a nation 
that seemed to represent something new 
(continued on page 152) 


TWENTY YEARS AGO, a television- 
station operator had to beg sports 
promoters for the chance to 
indude wrestling and the roll 
er derby in a local program 
schedule. Hollywood film pro- 
ducers disdainfully eyed ielevi 
sion with disparaging disinterest, 
while radio newscasters regarded 
their televised counterparts as 
second-class. dens. And non 
commercial television did not 
even exist. 

In the two decades since, tele- 
vision has passed through an 
gressive childhood and ado 
lescence to become our dominant 
medium, Now 
ore American homes have tele- 
sion sers than have bathtubs 
American children spend more 


MUST THE 
TEDIUM 
BE THE 

MESSAGE? 


article 
By NEWTON MINOW 


funds to attracting and holdin 
the mass audience. This is in- 
herent in the very nature of any 
mass medium. As а mass medi 
um. commerdal television has 
limited opportunity to offer pro 
grams appealing to small audi- 
ces or to that side in the mass 
audience that occasionally yearns 
for something different. The eco 
of the system tend to 
discourage experimentation. Risk 
taking is so expensive as 10 bc 
demoralizing both 
d 


programmers 


as televisi 
reaches chronological adulthood, 
there is reason то believe that it 
is on the verge of a major break 
through that will result in an in 


time with television than with a 
teacha—and, in many homes, 
children spend more time with 
television than with their 
5. 

With this enor 
it is easy to understand why 
commercial television has lacked 
humility. To paraphrase Fred 
Allen's classic, all the humility 
in commercial television wouldn't 
fill а Ilca's navel; there would 
still be enough room for 


ous impact, 


cara 


creased diversity ol progruning 
and renewed emphasis on experi 
mentation. The groundwork has 
been laid by the 140 noncom. 
iercial educational stations oper- 
ound the country. 

Some of these are restrictively 
tied to universities, state boards 
of education and other organiza- 
ions and are mainly responsible 
for the unflauering notions t 
the words "educational televi 
usually bring to mind. 


sion” 


way seed—and an agent's heart, ther John Culkin, brilliant 
Meanwhile, its poor cousin, Zhe former head of the federal communications ‘irector of Fordham University's 
noncommercial television, Communications Center, once 


cred itself with too much humili- 
tv. For good reason, one's mental 
image of educational television 
(ETV) was a gray professor pre- 
seni i ble lecture 
on the history of the four-wheeled 
shopping cart before a background of sagging draperies. But 
there are harbingers of significant change. Noncommercial tele- 
vision, for example, has а new name— public television (PTY) 

and it holds promise for new dimensions of service of funda- 
value to the 
I do not minimize the publicservice contributions of com 


nt, living history into our homes and 
demonstrating the tremendous capacity of television for enlight 
enment, Through television, Americans learned more about the 
Middle East crisis last year than through all other media put 
together. Through CBS, Americans learned more about the 
Warren Report than through any other means. ABC's coverage 
of the Winter Olympics was extraordinary. NBC's. in-depth 
programs on the civil rights revolution warned a nation of 
impending crisis. АП of television's coverage of Dr. Martin 
Luther King, Jr.'s tragic death gave millions of Americans а 
new compassionate understanding of the meaning of violence 
xd non 
But it remains basically truc that commercial television oper 
ates under severe structural limitations. When commercial tele 
vision burst upon the public scene after World War Two, it 
quickly followed the pattern previously set by radio. И won 
support from advertisers е national marke 
device. While this provided economic strength, it also nec 
nposed corresponding restrictions, Being advertiser supported 
ıd owned by a shareholding public. commercial teles 
must direct the bulk of its time and attention, its talent and its 


lence. 


most effect 


ion 


commission proposes a viable middle 
ground between commercial tv mindless pap 
and educational tv academic stuffiness 


said that when it comes to edu 
cational television, “The tedium 
is the message. 

‘The largest number of ETV 
stations serve metropolitan areas; 
ad because these stations obt 
most of their funds [rom voluntary contributions, they are 
inclined to be aggressive, innovative and controversial. Stations 

ich as those in Boston, San Francisco, Chicago and Pittsburgh 
have learned а very important lesson—that it is not necessary 
for any one program to be all things to all men, but that tele- 
п be successful when enough to serve the 

well ndulged, mass market 
nority audience runs into big numbers: 
throughout the nation, from 700,000 to 1,000,000. viewers 
tuned into their local education ion during any give 
weekday evening hour. 

AL this moment, most of the educational stations are affiliated 
with National Educational Television (NET), which supplies 
five hours of new programs each week to its members. Operating 
under а $6,000,000 annual grant from the Ford Foundation, 
NET has done an outstanding job in publicaffairs (VET 
Journal) and cultural (VET Playhouse) programing, NET 
Journal has provided some top-notch documen such as 
The Poor Р Mor "A Time for Burning" and "Home 
ront. 1907." NET Playhouse provided memorable productions 
of Ап Enemy of the People and Uncle Vanya. 

But NET has a limited budget—$6,000.000 goes a very short 
way in television, A NET hour costs about $20,000, as opposed 
10 commercial television's $125,000-pa-hour costs—so NET 
purchases programs from C gland, Germany and else 
where, as well as doing its own production. The cost of land 
lines and microwave relay is too prohibitive for simultaneous 
transmission of NET programs, so their tapes are “bicyeled”” 
from station to station, h puts (continued on page 199) 


minority audience 


ada, 


rota 


whi 


17 


118 


S lua Sein AMONG THE 


S playboy grand guru roams the hashbury with pen and flower in hand 
— D 


“з TELL MYSELF I'll start drawing today and head down Haight Street 
toward Hippie Hill,” says our bearded Shel Silverstein. “Three people 
sitin a doorway smoking grass. А guy in a monk's robe asks me for some 
spare change. Electric rock comes from a basement window. The girls 
line up at the free clinic to get their birth-control pills—a sign says, 
DON'T GIVE THE CLAP To SOMEONE You Love. The tourists drive by with 
their windows rolled up. ‘Wanna buy a lid?’ The Diggers ladle out free 
beef stew and apples. Beads, pot pipes, posters, underground newspapers 
for sale. Written on а psychedelicpainted truck, DON'T LAUGH, YOUR 
DAUGHTER MAY BE IN HERE! A hand reaches out of some bushes and gives 
me a roach. A long-haired girl takes my hand and leads me up a path 
through some trees, where we lie down. Afterward, she smiles and says, 
“Welcome to Haight-Ashbury.’ I think ГЇЇ wait and draw tomorrow.” 


"First, let me welcome you to 
Hashbury. . . « Secondly, let me 
warn you about narcotics 
agents—they're everywhere. 

. . - Thirdly, let me lay 
this lid of grass on you 

as a gift of love. . . . And, 
fourthly, let me inform 

you that you are under 
arrest!" 


"0? course, there's a lot more 
to see in San Francisco 
than just Haight-Ashbury. 
There are the opium dens 
of Chinatown . . . the pot 
parties on Telegraph 
Hill . . . end there's 
Fisherman's Wharf, 
which is a gas 
when you're 
tripping on 
acid...1!" 


"Gee, Shel, I'd invite you to 
stay in our commune, but I'm al- 
ready sharing my bedroom with 


four pot smokers. . . . We keep away 


from the living room, because "There's no such 
it's full of speed freaks who thing as prosti- 
are very paranoid about the two tution here. . . . 
Smack junkies living in the This is a land of 
closet. . . . And the acid heads love! I give you 
never come out of the kitchen, my body because I 
} because the opium eater іп the love you. . . . 

bathroom brings them down. . . . So And then you give 

I wouldn't know where to put a me some money 
guy who doesn't use anything!!" because you love 


ше!!" 


IN AC DN 

0 

CRSA 
CI) ire 


"Well, first we pass 
around a whatchamacallit 

+» » » and get everybody t 
Sign it . . . and then we 
take it to the . . . uh. 
the House of Whoeverthey- 
are . . . and get them to 
pass a... y' know. . 

we show that to 

Жа eda «ШИЙ ы <. tho a 


о 


+ and then 
uh. . . ." 


"You see, our world is linked 

to music. This sitar is over 

one hundred years old. It's made 

of Indian cedar, and the neck is 

inlaid with black pearl, and trimmed 

in hammered silver. . . . The pegs are 
hand-carved ivory, and the strings have 
a history of. . eY 


"But you can't play it!" 


"Man, you don't understand. This sitar 
is over one hundred years old. It's 
made of Indian cedar, and. . . ." 


Shel, blowing recorder, ioins friend Tony Price, on fiute, ond 
sow-ploying Golden Gate Pork regular for a musicol session. 


"Sure, it's kind of lonely 
for me here. But I usually 
meet Frank, the barber, for 
coffee in the morning—he 
doesn't have much to do 
either. . . . And most after- 
noons we go over and play 
cards with Ed Swenson in his 
shoe store. . . ." 


"I mean, why do these punks 

have to rebel and protest 
and try to change the 
— Whole damn world?!" 


Temporarily abandoning sketchbook and clothes, Shel ap- 
plies his ortistic talents to с hippie body-pointing party. 


THE eight. pens 
danced against the moving strip of paper, like the nervous claws 
of some mechanical lobster. Roberts, the technician, frowned 
ched. 


over the tracings while the other two v 
"Here's the wake-up impulse,” he said, pointing with a 
er. “Then here, look, seventeen seconds more, still 


skinny fin 
dreaming." 
"Delayed response," 


d Babcock, the project director. His 
Nothing to worry 


heavy face was flushed and he was sweating. 
about.” 

“OK, delayed response, but look at the difference in the trac- 
ings. Still dreaming, after the wake-up impulse, but the peaks 
are closer together. Not the same dream. More anxiety, more 
motor pulses.” 

“Why does he have to sleep at all?” asked Sineseu, the man 


from Washington. He was dark, narrow-laced. “You flush the 
fatigue poisons out, don't you? So what is it, something 
psychological?” 

“He needs to dream," said Babcock. “105 true he has no 
physiological need for sleep, but he's got to dream. If he didn't, 


he'd start to hallucinate, maybe go psychotic.” 


“Psychotic,” said Sinescu. -that’s the question, isn't it? 


How long has he been doing this 
"About six months. 


"In other words, about the time he got his new body. 


nd 


started wearing a mask?” 
"About that. Look, let me tell you something: He's rational 
Every test 
"Yes, OK, I know about tests. Well—so he's awake now?" 
The technician glanced at the monitor board. "He's up. Sam 
and Irma are with him." He hunched his shoulders, staring at 
the EEG tracings again. "I don't know why it should bothe 
if he has dream needs of his own that 


me. It stands to reasor 
we're not satisfying with the programed stulf, this is where he 
gets them in.” His face hardened. “I don't know. Something 


about those peaks I don't lik 

Sinescu raised his eyebrows. 
"Not program," said Babcock impatiently. "A routine sug- 
gestion to dream the sort ol thing we tell him to. Somatic stuff, 


You program his dreams?” 


se 


, exercise, sport.” 


“And whose idea was that?” 


“Psych section. He was doing fine neurologically, every other 
way, but he was withdrawing. Psych decided he needed that 
somatic input in some form, we had to keep him in touch. He's 
alive, he's lunctioning, everything works. But don't forget, he 
spent forty-three years in a normal human body." 


In the hush of the elevator, Sinescu said, "Washington." 


Swaying, Babcock said, "I'm sorry; wha 


he was as close to immortality as science could bring him, 


et anything that held the precious spark of life repelled him 


ILLUSTRATION BY GEORGE SUYEOKA 


PLAYBOY 


126 Babcock said. 


^You look a liule rocky. Getting any 
sleep 
“Not lately. What did you say before?" 
1 said they're not happy with your 
reports in Washington.” 

Goddamn it, I know that." The ele- 
vator door silently opened. A tiny foyer, 
green carpet, gray walls There were 
three doors. one metal. two heavy glass. 
Cool. stale air. "This way." 


Sinescu paused at the glass door, 


glanced through: a gray-carpeted Ii 
room, empty. “I don't see him.” 

‘Around the el. Getting his morning 
checkup. 

The door opened against slight pres 
sure; a battery of ceiling lights went on 
as they entered. "Don't look up. 
Babcock. “Ultraviolet.” A faint hissing 
sound stopped when the door closed. 

“And positive pressure in here? To 
keep out germs? Whose idea was that?" 

His." Babcock opened a chrome box 
on the wall and took out two surgical 
masks. "Here, put this on. 

Voices came muffled from around the 
bend of the room. Sinescu looked with 
distaste at the white mask, then slowly 
put it over his head. 

They stared at each other. “Germs.” 
said Sinescu through the mask. “Is that 
rational?" 

“All right, he can't catch a cold, or 
what have you, but think about it a min- 
ше. There are just two things now that 
could kill him. One is a prosthetic fail 
ure, and we guard against that; we've 
got five hundred people here, we check 
him out like an airplane. That leaves a 
cerebrospinal infection. Don't go in there 
with a closed mind." 

The room was large, part living room, 
part library, part workshop. Here was a 
cluster of Swedish-modern ch: 
coffee table; here a workbench with a 
metal lathe, electric crucible, drill press, 
parts bins, tools on wallboards; here a 
drafting table; here a free-standing wall 
of bookshelves that Sincscu fingered cu- 
riously as they passed. Bound volumes of 
project reports, technical journals, refer 
ence books; no fiction, except for Fire 
and Storm by George Stewart and The 
Wizard of Oz in a worn blue binding. 
Behind the bookshelves, set into a little 
alcove, was a glass door through which 
they glimpsed another living room, 
differently furnished: upholstered chairs, 
а tall philodendron in а ceramic pot. 
“There's Sam," Babcock said. 

A man had appeared in the other 
room. He saw them, turned to call to 
someone they could not see, then came 
forward, smiling. He was bald and 
stocky, deeply tanned. Behind him, a 
small pretty woman hurried up. She 
crowded through after her husband, 
leaving the door open. Neither of them 
wore a mask. 

Sam and Irma have the next suite, 
"Company for him; hes 


ng 


got to have somebody around, Sam is an 
old Air Force buddy of his and, besides, 
he's got 

The stocky man shook hands, grin- 
ning. His grip was firm and warm. 
“Want to guess which one?” He wore a 
flowered sport shirt. Both arms were 
brown, muscular and hairy; but when 
nescu looked more closely, he saw that 


n am." 


the right one was a slightly different col- 
or, not quite authentic. 
Embarrassed, 


he said, “The left, 1 


ng wider, the stocky 
man pulled back his right sleeve to show 
the straps. 

“One of the spin-offs from the pioj- 
ect,” said Babcock. “Myoclectric, servo- 
controlled, weighs the same as the other 
one. Sam, they about through in there?” 

“Maybe so. Let's take a peck. Honey, 
you think you could rustle up some 
coffee for the gentlemen?” 

“Oh, why, sure.” The litle woman 
turned and darted back through the 
open doorway. 

"The far wall was glass, covered by a 
translucent white curtain. They turned 
the corner. The next bay was full of 
medical and electronic equipment, some 
built into the walls, some in tall black 
cabinets on wheels. Four men in white 
coats were gathered around what looked 
like an astronaut’s couch. Sinescu could 
scc somconc lying on it: feet in Mexican 
woven-leather shoes, dark socks, gray slacks, 
A mutter of voices. 

"Not through yet," Babcock А 
“Must have found something else they 
didn't like. Let's go out onto the patio a 
minute.” 

‘Thought they checked him at 
—when they exchange his blood, and so 
on?" 

“They do." Babcock said. "And in the 
morning. too.” He turned and pushed 
open the heavy glass door. Outside, the 
roof was paved with cut stone, enclosed 
by a greer-plastic canopy and tinted- 
glass walls, Here and there were con- 
crete basins, empty. “Idea was to have a 
roof garden out here, something green, 
but he didn't want it. We had to take all 
the plants out, glass the whole thing in. 

Sam pulled out metal chairs around а 
white table and they all sat down. “How 
is he, Sam?" asked Babcock. 

He grinned and ducked his 
"Mean in the morning: 

"Talk to you much? Play any chess?” 

"Not too much. Works, mostly. Reads 
some, watches the box a little.” His smile 
was forced; his heavy fingers were clasped 
together and Sinescu saw now that the 
finger tips of one hand had turned darker, 
the others not. He looked away. 

“You're from Washington, that right?" 
Sam asked politely, “First time here? 
Hold on.” He was out of his chair. 


head. 


Vague upright shapes were passing bc- 
hind the curtained glass door. “Looks 
like they're through. If you gentlemen 
would just wait here a minute, till I see 
He strode across the roof. The two men 
sat in silence, Babcock had pulled. down 
his surgical mask; Sinescu noticed and 
did the same. 

"Sam's wife isa problem," Babcock said. 
leaning nearer. “It seemed like a good 
idea at the time, but she's lonely here, 
doesn't like it—no kids——" 

The door opened again and Sam ap- 
peared. He had a mask on, but it was 
hanging under his chin. "If you gentle- 
men would come 

In the living area, the little woman, 
also with a mask hanging around her 
neck, was pouring coffee from a flowered 
ceramic jug. She was smiling brightly but 
looked unhappy. Opposite her sut some- 
one tall, in gray shirt and slacks, leaning 
back, legs out. arms on the arms of his 
chair, motionless. Something was wrong 
with his face. 

“Well, now," said Sam heartily. His 
wife looked up at him with an agonized 
smile. 

‘The tall figure turned its head and Si- 
nescu saw with an icy shock that its face 
was silver, a mask of metal with oblong 
slits for eyes, no позе or mouth, only 
curves that were faired into each other. 
“Project,” said an inhuman voice. 

Sinescu found himself half bent over a 
chair. He sat down. They were all look- 
ng at him. The voice resumed, “I said, 
are you here to pull the plug on the proj- 
есі?” It was unaccented, indifferent, 

“Have some coffee.” The woman 
pushed a cup toward him. 
nescu reached for it, but his hand 
was wembling back. “Just 
a fact-finding expedition,” he said. 

"Bull. Who sent you—Senator Hinkel?” 

“That's right.” 

“Bull. He's been here himself; why send 
you? If you are going to pull the plug, 
might as well tell me." The face behind 
the mask did not move when he spoke, 
the voice did not seem to come from it. 

“He's just looking around, Jim," said 
Babcock. 

“Two hundred million a year,” said the 
voice, "to keep one man alive. Doesn't 
make much sense, does it? Go on, drink 
your coffee.” 

Sinescu realized that Sam and his wile 
had already finished theirs and that they 


ind he drew 


had pulled up their masks. He reached 
for his cup hastily. 
"Hundred percent disability in my 


grade is thirty thousand а year. 1 could 
get along on that easy. For almost an hour 
and a half.” 

"There's no intention of terminating 
the project,” Sinescu said. 

“Phasing it out, though. Would you 
say phasing it out?" 

(continued on page 170) 


'ging al the Jazz Festival Lofty vista from Nepenthe's balcony 


ON AN OCTOBER DAY in 1842, the Hagship of Commodore "Thomas 
Catesby Jones, U.S. Navy, hove to outside the town of Monter 
the capital city of what was then the Mexican empire of Alta 
lifornia. The commodore had sailed in all haste from Peru, 
where he had formed the impresion from local intelligence 
agents that Mexico and the United States were on the verge of 
war. Once in sight of the drowsy little town of Monterey, and un. 
deterred by the absence of any warlike activity ashore, he sent a 
detachment of 150 seamen to pull down the Mexican flag that flew 
over the dilapidated fortress of Monterey and to raise Old Glory 
in its p This was done to the accompaniment of hoarse cheer- 
ing and a succession of vigorous salvos fired from ship and shore. 
At this point, Commodore Jones, who had been at sea for 42 
nformed that a state of war between Mexico and 
the United States did not exist; as a matter of fact, relations were 
quite amicable. An army of Mexican (continued on page 166) 


A magical mystery tour in Big Sur ‘Sunset over Carmel 


IT HAPPENS IN 
MONTEREY 


travel By LEN DEIGHTON wwhere majestic 
mountains meet the sea—and enclaves of bohemian 


hangouts and hide-outs, artsy-craftsy villages and 


posh resorts, ear- and mind-bending festivals, 


Sporting buffs and nature lovers in the buff all 


converge midst california’s most spectacular з 


"Doesn't this look 
like a nice spot for 
a picnic, Mr. Morton?" 


the last stratagem 


THERE WAS A SCHOLAR who was writing a book on the strat- 
agems of women; he had studied all the tricks they use to 
deceive men and had reduced all of this invaluable informa 
tion to 49 chapters. But, alas, the 50th chapter would not 
come. He knew that there must be one thing in the world he 
had missed. 

At the same time, living nearby was а woman who pos 
sessed both a great beauty and a cruel wit, When she heard 


the story of the book with a chapter lacking, she set about to 
meet the scholar. Later. she invited him to come seaetly to 
her house when her husband was away. Before the scholar 


arrived, she prepared an elegant collation with several fine 
wines and delicacies to eat. But she made sure that, dressed 
in her finest garments and touched with the rarest of per 
fume, she the greatest delicacy of all 

arrived. bearing a large bundle in loose wrap 
pings, and he was immediately awestruck by her marvelous 
uty. After thanking him for his compliments. she inquired 
about the bundle and he replied. “It is something 1 have 
brought for your sake—but let us speak of that later.” He sat 
down and the two began to enjoy the wine and the food. As 
they talked, the lady mentioned that her husband was safely 
out of the way—and well й was, because he was a man 
known to be very proud. very jealous, very violent and even 


rather fond of bloodshed they turned soon to other 
subjects and, after a while, п o amuse themselves 
most pleasantly with each оше 


Just as the р; 
on the outer door. The li 
band must have returned! 


e was getting warm, there was a loud knock 
ly turned pale and said. “My hus 
" She quickly hid the scholar in a 
large closet, turned the key on him and only then went 

open the outer door for her husba 

He er 
mean? 
supper: 

With charming malice, the lady said. "It means wl 
think it does. All of this is for my lover, who is here.” 
nd where is he?” rowed the husband. 

"In there,” said the lady, pointing to the closet, where the 
poor scholar was overhearing every word. 

The husband went to the closet but found the door locked. 
"Where is the key?” he asked. 

“Here,” she answered, throwing it to him. 

But when he put the key into the Jock, the lady began to 
laugh uprosriously. Her husband turned and said, "Why are 
you laughing so? 

She ered, “I 
at the wes 


ad. 
ered and noted the preparation: 


“What does this 
1 out this fine 


he asked. “For whom have you 


i you 


pod sense, 
1 your foolish temper 
Do you imagine that if I really had a lover and had brought 
him to this room, I should have told you at once where he 
was hidden? That is not very likely, i 


your lack of g 


adapted from “The Perfumed Garden of the Shaykh Nefzawi” 


Ribald Clas 


I prepared this little supper for your return and, now that I 
have made you look fierce and handsome with anger, let us 
enjoy it.” 

‘The husband left the door unlocked but unopened and 
went to join his wile. They ate and drank together and soon 
they thought of other pleasures: it was not long before they 
were making love. 

Now, reader. do you think it possible that a scholar should 
have written 49 chapters about the ruses of women without 
ever having heard the story of the unexpected husband and 
the lover hidden in the closet? Of course not. And this was 
precisely why the scholar had brought with him that loose 
bundle. He quickly drew from it a fur suit, dressed 
himself and burst out of the doset before the astonished eyes 
of the embracing couple. For a moment, he crouched, his arms 
swinging low, and growled like an anin 

"In the name of Allah!" shouted the husband. 
have a lover! It is a great ape! And a very ugly one, I must 
say." But he was so terrified and so compromised by his 
position that he could do nothing. 

After the ape had disappeared out the door, the husband 
recovered himself and began to beat his wile, threatening to 
kill her. But, suddenly, there came a knock at the door and the 
scholar, in his proper dress, appeared to demand the reason 
for the blows and the screams. “I am a neighbor, a scholar. 
who was just passing by, and I am shocked to sec the way you 
treat your wife 

The husband. somewhat taken aback, explained that he 
had discovered his wife in an unnatural love айайт, with 
great, ugly ape. 

“This is, indeed, a matter of a very serious kind and of a 
most criminal nature, if true," the scholar said. “However, 
it is not true, things will go hard with you. Therctore, my 
good man, I advise you to refrain from killing your wife at this 
instant and to take the whole case before the ca 
ment. If this lady is, as you say, guilty of such a crime 
nature, she will suffer death in any cise.” 

The husband's better nature having been thus арр 
he gave up his attack and, instead, followed the 
dvice, sending his wife off to prison. Now, justice being 
t it is, it took a few weeks before the cadi could hear the 
husband's case. In the meantime, the scholar rushed home 
with his new inspiration and wrote the last chapter of his 
book. It was published just before the trial and а copy w 
rushed to the cadi, who read it, understood all, laughed 
uproariously and freed the lady. In the meantime, the schola 
had journeyed to Damascus, where he was much admired 
among literary circles and where “The Story of the Lady 
Who Could Deceive Men but Not Apes" (Chapter 50) was 
idered to be a delicious flight of the imagination. 

—Retold by Jonah Crai 


You do 


соп 


128 


E 
[ 


y 


in their search for 
sexual freedom on the screen, 
today’s international moviemakers 
literally leave nothing to 
the moviegoer's imagination 


DURING THE FIFTIES. the box-office popu- 
larity of foreign films in America grew, 
not coincidentally, in direct proportion 
to the increasing acreage of their shape 
ly heroines exposed by Europe's liberated 
moviemakers. Emboldened by the Euro 
pean example. as well as by the healthy 
grosses that the imported product had 
begun to rack up, American studios 
began gingerly to emule their Con 
tinental competitors in the carly Sixties 
—and with far greater freedom after the 
indusuy finally jettisoned its restrictive 


Production Code in 1966. Meanwhile, how 
ever, the foreign producers were by no 
means marking time. Never before has the 
medium been so single-mindedly devoted 
to cinematic investigations of the physiol- 
ogy of love, the psychology of perversion 
and the pathology of sadism, The sweet 
smell of sex pervades the foreign films of 
the Sixties, but more often than not it has 
been a kind of sex that would have in- 
terested Kralft-Ebing more than Freud. 
Perhaps it was sheer coincidence, but 
three of the most successful. pictures, 
both artistically and commercially, to 
enter the American market at the start of 
the Sixties all centered on a brutally 
realistic rape scene. In Ingm: 
man's The Virgin Spring, the virgin 
daughter of a 13th Century landowner 
is ravished, then murdered by a trio of 
herdsmen, whose aime comes to light 
when they attempt to sell the girl’s torn 
dress to her mother. Although it was a 
highly moral film—according to some. 
almost a religious experience—Amcericans 
saw it with some of the violence of the 
rape removed; the censors objected to 
which the girl's bare legs 
are pulled by onc of the shepherds 


Berg- 


two shots i 


around the body of the man on top 
of her. Vittorio De Sica's Two Women, 
filmed in 1960, avoided the censors’ 
wrath by concentrating the camera on 
the 
dau 
Brown) as they are being gang-raped 
in а warruined church by a squad 
of Moroccan "allies" In Luchino Vis 
conti's prizewinning Rocco and His 
Brothers (also 1960). censors dealt with 
ils nolesserucial rape sequence in a 
novel and then fairly original manner: 
Instead of snipping out the shots of Si- 
mone ravishing his brother Rocco's in- 
amorata while Rocco is forced by Simone's 
hoodlum henchmen to look on, the cer 
sors merely ordered that the offending 
frames be darkened until the action was 
just short of invisible. 

But the point is not that these direc- 
tors, with or (ext continued on page 181) 


agonized faces of the mother and 


мег (Sophia Loren and Eleanora 


Ll 


THE SYBARITIC SIXTIES: An increasingly permissive social climate allowed foreign films to escalate their investigation of hu- 
man sexual response. Top: Fellini highlighted “La Dolce Vita" with Marcello Mastroianni's bacchanalian bareback vide—and then 
transformed Anita Ekberg into a larger-than-life fantasy in “Boccaccio '70." Center: Аха warmhearted whore in "Never on Sunday,” 
Melina Mercouri teased a timid client into bed; while LucileSaini-Simon protected her amateur standing—lying down—in “Tendre 
et Violente Elisabeth." Bottom: Albert Finney whetted Joyce Redman’s appetite during “Tom Jones " love feast; David Hemmings 
romped with two overexposed teeny-boppers in “Blow-Up." Opposite: In“ The Fox," Anne Heywood explored the cradle of autoerotica, 


—— 1 


ENGLAND: Long a bastion of cinematic stuffiness, Britain 
in the Sixties has become a trail blazer of sexual maturity on 
the screen. Left: Michael Caine starred as “Alfie,” a high- 
scoring Cockney rake brought down by a covey of birds: and 
Julie Christie (left, center to bottom) unblushingh 
happily—wooed а series of receptive beaux in 
Below, Land r: The tawdry sword-and-seduciion fare of “The 
Hellfire Club” bore little resemblance to the stylish “Becket,” 
in which King Henry H (Petey O'Toole) took time out fromaj- 
{airs of state for one of his own. Right: Peter Sellers pondered 
who's the fairest of them all while learning that “Only Two 
Can Play.” Far right: Asa sexually repressed neurotic, Cath- 
erine Deneuve enticed, then attacked a middle-aged man 
in “Repulsion.” Far right, center: After taking over “The 
Penthouse. 


two fake metermen engaged their unwilling 
hostess in prurient party games. Bottom and bottom right: 
11 the height of the screen spy boom, Terence Stamp played 
an amorous agent turned. jewel thief in “Modesty Blaise”; 
and Sean Connery, as the indefatigable 007, showed the 
opposition an undercover trick or two in “Thunderball” 


FRANCE: Concerned about the country's image overseas, De Gaulle’s regime began subjecting French films to rigid puritanical 
controls—but censors meddled more with politics than with sex. Belaw: The ample samplings of Brigitte Bardot's backside on dis- 
play in Jean-Luc. Godard’s “Contempt”—the stormy account of a screenwriter who sells out to the money muse—failed 10 save 
the picture from bombing at the box office. In a series of fleshy French melodramas, Germany's Elke Sommer embraced and un- 
dressed her way to stardom: “Sweet Ecstasy" (center) found her philandeving alfresco with a young Riviera socialite; and secret 
(bottom) made certain nothing was up her sleeve—or anywhere else—during a hunt for missing microfilm in “Daniella by Ni 


Roger Vadim, riding high on France's nude wave, stayed handily afloat by casting then-givlfriend, now-wife Jane Fonda (below left) 
as a key link in “Circle of Love's” chain of relationships. As a bored housewife in his “The Game Is Over" (center left), Jane found 
seducing her stepson an effective antidote for ennui. Another Vadim inamorata, Catherine Deneuve (below yight) played the Nazi 
tortured heroine of his updated De Sade shocker, “Vice and Virtue.” Собата “Breathless” (center right) established Jean-Paul Bel- 
mondo as an archetypal antihero—the sexy good /bad guy. Bottom: Juvenile delinquents discovered pastoral pleasures in "Les Loups 
dans la Bergerie,” and the "Lust" segment of “Seven Capital Sins” portrayed that seductive vice with bach-to-Eve outspokenness 


FRENCH UNDRESSING: Once more abvd—this time in an epidermal 
embrace with Laurent Terzief-—Brigitte Bardot spent “Two Weeks in 
September" (top left) on a British fling with a young geologist more 
interested in digging her than racks, After picking up Robert Hossein 


and seducing him on a secluded side road, a nymphomaniacal “Nude in 


à White Car" (sequence above) demonstrated her gratitude by forcing him 
out on the highway and trying to тип him down: but Hossein did his 
best to find her again—and return the javor. In “Le Démon” (sequence 
al top center), an occult French-Halian melodrama, a superstitious peasant 
suspects thal former girlfriend Daliah Lavi is possessed by evil spirits; 
planning to save the world from witchcraft by strangling her, he returns 
Jor a final reunion—and gets temporarily sidetracked by her eerie charms. 


B 


A French twist on the Hitchcock thriller formula, “Sin on the Beach” 
(top) starred Michael Lemoine and Silvia Sorrente as a notalent musi- 
cal team that takes time out from a convoluted murder plot jor a sensual 
seaside frolic. After preve: a young woman from drowning her 
troubles in the Seine, “Galia” (Mireille Darc, center) unwittingly adds to 
them by falling jor her husband—directly into a tubful of sudsy water 
In director Jean Aurel's comedic game of musical beds, “De l'Amour" 
(above), Elsa Martinelli was among several willing patients of a Don 
Juan dentist who specialized in after-hours house calls. In league with 
"Candy" man Terry Southern as scriptwriter, Roger Vadim went futuris 
tic with “Barbarella” (sequence at left), a jar-out sci-fi spoof adapted from 


a kinky French comic strip—and previewed in these pages last March. 


ITALY: Weaving a rococo fantasy from the fabric of his private vision in “Juliet of the Spirits” (sequence at top). Federico Fellini 


cast wife Giulietta Masina (left, with voluptuous next-door neighbor Sandra Milo) as an unloved wife who looks unsuccessfully for 
solace in spiritualism and in the psychedelic high life led by a bizarre circle of friends (center and right). As the patient lover who 
finally leads wayward Marcello Mastroianni to the allar after years of faithful nusiresshood in "Marriage Halian Style” (sequence 
above, left), Sophia Loren began her campaign as a vivacious teenage hooker who first enchanted him riveting clients and 


audiences alike in her seethrough working dress—and then adroitly maneuvered him into proposing by feigning a fatal illness. 


For Napoleonic noblewoman Gina Lollobrigida (top left), posing for а sculptor in "Vénus Impériale” proved a welcome respite 
from her tumultuous love life. Fleeing wartime terrorism in "Two Women" (top right), Sophia Loren and Eleanora Brown sought 
shelter in a church—where they were gang-raped by Moroccan soldiers, “The Empty Canvas” (center) told the turgid story of a 
jealous artist who tried to buy fidelity from his promiscuous model, Catherine Spaah. As a domineering wife in “Escalation” 
(above left), Claudine Auger frigtdly ignored her mousy husband—who finally roared, then killed her. Boasting such weaponry 
as a double-barreled bra, sci-fi superhuntress Ursula Andress symbolically emasculates her prey in “The 10th Victim" (above right). 


— 


MONDO ITALIANO: As а shapely specter, Silvia Sorrente (top left) provided a lively interlude in “Castle of Blood’s” otherwise 
ghoulish parade of the dead. A “house” became a home for Jean-Paul Belmondo in “La Viaccia" (top center): captivated by doxy 
Claudia Cardinale, he signed up as bouncer to be near her. “The Night They Killed Rasputin” (top right) exploited that ach- 
villam's legendary decadence by casting him as a tyrant presiding over a cout of courtesans. In “The Savage Innocents” (above 
left), Anthony Quinn played an Eskimo with a practical plan for whiling away those long Arctic nights; and in “Divorce— 
malian Style” (above right), Marcello Mastroianni schemed inexhaustibly to rid himself of Daniela Rocca, his mustachioed wife. 


An Italian epic ostensibly about an underground revolt in ancient Greece, “The Warrior Empress” (top left) employed ils thread- 
bare plot as a pretext for flaunting droves of undraped maidens, Mass hysteria triggered exotic aggression in “Mondo Pazzo” (center 
lefi), second in a spate of pseudo-documentary shockers. In "The Naked Hours” (top right), Keir Dullea rescued Rossana Podestà 
from the tedium of an empty marriage. As a Persian queen in "Esther and the King" (above left), Daniela Rocca—sans mustache 
and most of her clothing—held wide-open house while the king was away at war. The apple of Napoleon's eye in "Madame" (above 

slit), Sophia Loren began her own тізе to regal power asa laundress forced to suffer effronteries at the hands of exuberant soldiers. 


GREECE: As the archetypal untamed male in 
“Zorba the Greek" (top left), Anthony Quinn 
reveled in life—even in the impersonal em- 
brace of an avaricious hooker who thought he 
would soon be rolling in wealth. Refugees from 
a girl’ ieform school fled to a supposedly 
deserted island in“ The Rape” (center left),only 
to be used and abused sexually by a treasure- 
hunting exNaci and his libidinous son. 


EUROPE: Eva Ras (bottom left) played a 
switchboard. operator whose boyfriend turned. 
out to be a wrong number and murdered her 
in Yugoslavia's “Love Affair.” After a one- 
night stand in the Czech film “Loves of a 
Blonde.” Hana Bie jchova (below) followed her 
bed partner to Prague—hoping naively to legal- 
ize the liaison. Romy Schneider and Melina 
Mercouri (center, near right) competed for the 
affections of a wealthy Englishman in Jules 
Dassin’s “10:30 P. M. Summer,” but declared а 
temporary truce for а chummy shower scene. 
Executive fat cats in Germany's “For Lovers 
and Others” (center, far right) tried to land a 
contract with a prospective client by tender 
ing a stripper as a bouncy rider on the deal. 


JAPAN: In the allegorical “Woman in the 
Dunes" (top. near right), Eiji Okada found him- 
self stranded al the bottom of a pil, embrac- 
ing a peasant girl who symbolized his fate. 
Two enterprising swamp dwellers (center) who 
earned their keep killing samurais—and selling 
the armor for scrap—setiled down after a hard 
duy's night in “Onibuba.” For a frustrated 
wife in “Unholy Desire” (far right), тарс 
brought such welcome relief that she allowed 
het assailant to return for a series of reruns. 


DENMARK: Virginal Ole Søltoft found any 
number of willing sexual instructresses in the 
erotically explicit. "Eric Soya's “17°” (bottom 
right)—including a parlormaid intent on wash- 
ing away his inhibitions. А multicoupled wije- 
swapping “Weekend” (bottom, far right) ended 
abruptly when one bored spouse stole down to 
the beach and attacked a preity nursemaid —de- 
spite the intercession of her protective brood. 


In the vanguard of the cinematic sexual revolution, Sweden has produced forthright films that pale competing efforts. 
1 {ter cooling cach lover as fast as he warmed to her, Essy Persson (above left) finally met her icy match in ^T, a Woman.” Candid 
dialog abounded т “Dear John" (top), the story of a healthfully bedridden love affatr. In “My Sister, My Love” (above center), 
18th Century sibling revelry turned swiftly into tragedy, Suitors galore queue up in а «опу king's palace to woo his nubile daughter 
in “Well, Well, Well” (below left). “Ormen” (below right) chronicled the life and seamy times of several Scandinavian service- 
men. Opposite: An unruffled mother floored her friends by giving birth at her own party in “Night Games" (top left). To escape her 
frustrations. the heroine of “The Silence” went to the moviex—only to encounter a couple copulating in a nearby seat (lop right). 
And “1 Am Curious—Yellow” (below) included scenes one critic called “as explicit аз one can get in or out of а stag film.” 


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(continued from page 91) 

“And what about the freedom to 
sick and die without Federal meddling 
ied Nathaniel Branden, “The precious 
right of your children and their children 
to decay at their own speed!" 

When the amendment was finally 
passed by voice vote, it included the 
Rafferty Anti Puberty Rider, the Branden 
Free Breakdown Clause and a loss of citi- 
zenship for UNICEF rick-or-treaters. 

Then Senator Dirksen proposed his 
ndment for legislative re-reapportion- 
Jv bucolic plan to cancel 
the Supreme Court's one one-vore 
ruling that ended rural control. of state 
legislatures, 

О that this too too solid flesh would 


melt?” he к “if we cannot undo the 
vile deed of Earl Warren! My fellow 
Constitu n lovers, it is time that our 


noble state legislatures again become re- 
sponsive to the land and not the people 
"The land and not the people is where the 
violets grow, the blossom that my own 
sweet state holds as a blue flame of free- 
dom for those now imprisoned in Poland, 
Cuba, Hungary and France. My friends, 
people come and go, but the land remains 
and it must have а voice in governm 

The passage of the Dirksen Amendment 
was even more passionate than the 
sage of the Liberty Amendment. It w 
wondrous ejaculation, a burst of Chris- 
tian Ге 
hope that 
to rewrite the words on the Statue of 
Liberty and keep the riffralf out 

Suddenly, the head of the National 
Renaissance Party was on his feet, “And 
what about th pinko Pre- 
amble?” he эсте le among the 
Church Leaguers of America. tearful Ja- 
dies cried “Lordy, yes!" and “Sing it, 
Führer! Give us the word!" 

At once, a dozen delegates were on 

their feet, screaming support for re 1 
of the Co mble. Schwarz was 
m the back of the hall: 
Y git it!” 
id Schwarz, rapping 
"Governor Maddox is r 
welll adjourn for lunch and reconvene at 
two o'clock.” 

When the delegates reconvened after 
lunch, their bellies were full of chickei 
but they couldn't wait lo get their teeth 
back into the tution. Although the 
morning session had been dominated by 
the more celebrated members of Ameri- 
a's most loyal citizenry, the afternoon 
ion brought forth some of the jes’ 
folks who arc the backbone of her 
. The first resolution came from 
Dottie de Lune, a heretofore unknown 
Glendale wet nurse, whose amendment 
was enthusiastically received because of 
its brilliant blending of three separate 
articles of American faith: то repeal the 
child-labor la to stop Federal aid to 


Чу, so 


consumptive 
Comanches) and to turn the UN into a 
lighthouse. “They're fluoridating the East 
River right from the UN! Half of Brook. 
lyn already has fewer cavities!" said the 
good wet nurse. Her resolution gor a great 
ovation and was quickly seconded by a Lieu- 
tenant Colonel Mary Lou Hindenburg. 
den mother of a militiaman wolf pack, who 
read wires of support from Greek Premier 
George Papadopoulos and Helen Hayes. 

The delightful De Lune Amendment 
inspired a shotgun blast of riders. Com- 
modore Maxwell Grebs, the patriot who 
had found the Red cell at St. Patrick's, 
jumped up to cry, “Just turning the UN 
into a lighthouse ain't enough! We also 
gotta come out for a preventive nuclear 
war, with the C 
anyone else who wants onc! Ma 
Pope and the Red Cross are эса 
this war, but Z ain't! If we got 
mie, then let it be over t million 
charred bodies—and I'd be proud to be 
one, ‘cause that's the ashes that 
made this country great! / say. better 
barbecued than Commie food! 

Grebs' stirring stand for loval na- 
tion triggered such jubilation that most 
of the delegates didn't notice some wai 
ers who had entered the hall. Those 
who did see them merely presumed that 
they were working for Maddox and serv- 
ing desserts, fi ters car- 
ried trays full of little brown pineapples, 
while the whites had trays of lilies, 
leaves and sunflowers, which were prob- 
ably for elegant finger bowls. 

At last, Schwarz was able to shout 
above the happy din, "My friends! My 
friends, you'll notice that some waiters 
have come with some after-luncheon: " 

“Waiters, hell!" cried Byron de la Beck- 
with, grabbing one of the Negroes. “This 
one’s Smokey Carmichae 

"And that's Timothy Lear cried 
John Wayne. “The bastard who wants the 
whole country to go to pot 

Neither Wayne nor De la Beckwith 
had to give a command, for suddenly the 
baule was оп: Not just the militiamen 
but every delegate in the house pitched 

n to drive off the nigger lovers, the 
peace lovers and the love lovers. The 
fight lasted longer than anyone expected, 
because the invaders were armed: The 
sunflowers were actually hand grenades 
that had been camouflaged by dropouts 
from the Famous Artists School. 

The battle was a little Civil War that 
all delegates thoroughly enjoyed. for it 
proved that the threat to America could 
be handled outside the Pentagon. But 
when it was over, they had little desire 
to resume their discussion, for tearing up 
people was so much more fun than t 

»g up the Constitution. Sensing that the 
return to talk was anticlimactic, Ch: 
man Schwarz said, "Fellow Freedom 
Fighters, there's no reason why we have 
to sit here and go through eve 
line of the crummy old Constitution. 


nese, the Russians or 
he the 


È 


That's a job for a committee.” 
And so hc asked the convention's 
two top minds, Ayn Rand and Mary Lou 
Hindenburg, to make a thorough rev 
that would be presented for ratification 
the following day. Both accepted at once 
and Schwarz banged his gavel and sid, 
“This convention stands adjourned until 
sometime tomorrow. 
When Mary Lou read the revision to the 
delegates the nes , they felt the kind 
of elation that the patriots in Philadel- 
phia must have known when they wrote 
the whole mess. The new Constitution 
се of pure republican 
rule, a daring revival of the individual 
t had been lost in 1787. Each 
seci rs reading aloud, but here are 
some splendid highlights that already have 
moved men to attack foreign films. 


PREAMMLE 

We the people of the United 
States, in order to form a more per- 
fect management and promote the 
general staff, do ordain and estal 
ish this Constitution for the United 
States of America. 


ARTICLE 1 

Section 1. All legislative powers 
herein granted shall be vested in а 
junta of three gentile general officers 
who shall meet from time to time at 
the Tomb of the Unknown Soldier. 

Section 2. The junta shall be re- 
placeable by another junta either 
during or not during a matio 
emergency, which shall be defined 
as any time that more than five per- 
cent of all medical students are 
Jewish. The change of Administra 
tion shall be certified by the Army 
Ordnance School. 


Section 8. The junta shall have 
the power to promote trade, end 
immigration, arrest poets, control 
the spread of nuclear and contra- 
ceptive devices. enforce haircuts, 
confiscate Muoride, investigate peace, 
replace sex education with praver and 
establish as many new Tombs of Un- 
known Soldiers as shall be deemed 
necessary for total victory in Vietnam. 

Section 12. The junta shall call 
out the militia any time that the 
militia has gone indoors. 


ARTICLE п 
Section 1. The judi 
the United States shall be vested in 
one Supreme Court, which shall 
have jurisdiction over all cases in- 
volving transvestism and traffic. 


1 power of 


ARTICLE VI 

Section 1. All runaway slaves 

shall be returned to the office of the 
National Review, 


AMENDMENT 1 
Article 2. The right of the people 

10 keep and bear arms in defense of 

their homes, siste 

shall not be 


And so they left Los Angeles, these 
fighting 2000, these clear-eyed young com- 
mandos and geriatric irregulars, and went 
back to their farms and attics and armor- 
ies, to their huts and beer halls and 
solariums, warmed by the knowledge 
that they had snatched their nation from 
the jaws of Bishop Pike. And as they 
traveled, many of them remembered the 
noble words of Tiny Tim, “TH pay for 
my own goddamn crutches!” 


QUIZ BIZ (continued from page 85) 


Answers: 


Napoleon defeated at Waterloo. 

Julius Caesar assassinated. 

Signing of Declaration of Inde- 
endence. 

Oedipus blinds himself after di 

covering he's married lo his 

mother. 

Lincoln 

Theater. 

Chicago Fire started by Mrs. 

O'Leary's cow. 

“Genesis.” 

Nevo fiddles while Rome burns. 

Boston patriots disguised as In- 

dians dump tea in harbor. 

Anne Boleyn, wife of Henry 
FIL, about to be beheaded. 


assassinated at Ford's 


1. 
12. 


Noah's ark. 

Joseph Lister introduces theory 
of medical antisepsis. 

Joan of Arc burned at stake. 
Rip van Winkle disappears for 
20 years in Catskill Mountains. 
Greeks conquer Troy with wood- 
en horse. 

Marie Antoinette is beheaded 
after making such remarks as 
“Let them eat cake.” 

iphinx is erected in Egypt. 
Isaac Newton discovers law of 
gravitation through falling apple. 
Lizzie Borden on trial for killing 
parents. - 

Hannibal uses elephants to in- 
vade Italy 


13. 


147 


PLAYBOY 


148 face was to the will. 


AUTOMATED LOVE LIFE 


and looked at him. "My name is Henry 
ridge,” he said. 
le says his name is Henry Ki 


Now I'm supposed to tell him my 
iy Lorna and then he'll ask me if he 
walk me hom 
Hemy wa 


stunned, He 
all along that she had been talking to the 
irl next to her at the bar. Apparently. 
this was her normal method of convers 


Iready walking rapidly up 

he hurried to catch up 
suppose he’s about to make 
some stupid comment about what а love- 
ly even she said. Henry. who 
ting just such a re- 


the street 
with her. 


mark, said. nothing, 
After four blocks of silence, she stopped 
front of a gray apariment building. 


i us and couldn't he 
just come up for an hour so they'll believe 
story,” she said to the hedge in front 
of the building. 

ary looked around. His friends were 
not in sight, but it was possible they were 
Jollowing. 

entered the building and Henry 
followed. When she shut the door of her 
apartment. behind them, she said to the 
¢ of llowers оп the hall table, "Now I 
maybe I don't have 


va 
suppose he'll ask i 
something to drink. 

Henry sat on the couch 
fixed two Scotchon-the-rocks. When she 
su down beside him and handed him 
his drink, Henry had a terrible desire to 
say something that she could not predict. 
V shred of verse passed. through his mind 
nd he spoke it quickly. 


while she 


“Come, fill ihe Cup, and in the fire 
of Spring. 

Your Winter-garment of Repentance 
fling. 


Lorna looked 


“The Bird of Time has but a little 
way 

To fiutter—and the Bird is on the 
Wing.” 


he w 


In the 
iow Lo 
pent w 


many years that to 
a, Henry (elt that this mo. 
the closest they ever came to а 
normal. conversation. 

She continued to look at him and he 
bent. over simply an 
experiment. He wanted to find out 
when he attempted to kiss her, she would 
kiss one of the couch pillows. She was, 
Henry discovered, perfectly willing 10 kiss 
him back. 

The next morn 
putting on 
mirror, she turi 


ло kiss her. It w 


ng. when Henry was 
in front of her dreser 
d over in bed so her 
1 suppose," she 


is tit 


(continued from page 92) 


said. "this is going to be onc of those 
guys who spends onc night with you and 
you never see him again.” 

"No said Henry, “I promise that’s 
not true. 


Henry could think of no way he could 
have avoided acquiring his mistress, It 
was simply a mauer of job security. 
Henry had, at the time, been a junior 

уй working on a problem in the 
sis of some sales statistics for Mr. 
Acme’s Eastern sales ma 


t; under the mores in force at Acme, 
sales manager did not normally extend 


such an invitation to a mee junior 
уз. 
е been watching you.” said Mr. 


seated and had 
nd ] like wl 1 
ig man, the sort 
who'll stick with a project through thick 
and thin. 

“Thank you." 


when they were 


і Henry 


“As you probably know, I'm transfer- 


ring out to head up the Califor 
office,” said Mr. Dawes. “I've been look- 
¥ around for someone to take care of 
some of my problems here. Interested? 
“Why, yes," said Henry. A promotion 

a big step forward at 


was 
Trucking. 


А Mr. Dawes. "Her name 
nd she's а very sweet girl.” 
” вй Henry. 

"Linda, my mistress, or, I should sa 
your mistress now.” 

“Mistre?” said Henry. 

“Yes. Гуе been wondering what to do 
about her, I'd like ло take her out to 
ifornia with me, but shes а hometown 
girl. All of her friends are here.” 

‘Couldn't she get a job?” said Henry. 
Mr. Dawes laughed. “Not Lin- 
's not interested. in working.” 
how do I know shell like ше?" 
said. Henry. 

"No problem ther 
1 her Vd find 


Mr. Dawes. 
good, steady 
cs. You'll do 


d Mr. Dawes "Don't 
worry about the cost. The whole thing is 
perfect setup. She has a very modest 
wb really inexpensive 
With your raise coming up. you 
have any trouble making ends 


sid Henry. 
al yet," said Mr. Dawes, 
"but when I give the hont office my rec 
ommendations based on the work you've 
been doing for me, I'm sure they'll give 


you the ELSA inputmonitor job that's 
coming up.” 

Henry thought fast. ELSA had just 
been installed and all of the junior 
analysis wae vying for appointment as 
input monitor. Aane Trucking was com- 
mitting itsclf to automation and the 10ad 
was wide open for those who climbed 
aboard at this time. 1t was also obvious 
that incurring the displeasure of Mr. 
Dawes could mean the end of any advance- 
ment at Aane. It. was rumored that his 
California job was just ügstonc to 
morc important respons 


one 


logical re 
a wonderful op- 


There sec 
sponse. “It sounds like 
portunity,” said Henry. 
ne" sid Mr. Dawes He r 
into his briefcase. “No reason 
shouldn't take over right aw 
handing Henry а folder and a 
key ring. “The whole file is right there 
and, of course, her apartment keys.” 

Mr. Dawes, Henry realized, treated 
the business of having a mistress much 
as he would v of his sales 
counts, You kept good records, miin- 
med your integrity with the customer 
and, when someone else took over the 
territory, turned over the account to him. 
Henry felt, an admirable show of 
ssionare. thinking. 

Henry had been working with the 
ales department long enough to know 
count was transferred, it 
was good policy for the new man to call 
on the client as soon as possible. He 
checked over Linda's dossier and made 
an appointment with her by telephone. 
m Henry Keanridge." he said when 
she opened the door of her apartment. 

“Won't you come in7’ said Linda. “Do 
you want some collec?” 

Henry had expected Linda to be a sul- 
wry and languorous blonde in a black neg- 
igee who lived in an apartment draped 
with silky curtains, She w n dac, a 
plain brunette who lived in an apartment 
with simple, utilitarian furnish She 
rather austere business 


you 
v" he said, 


з. 
was dressed in a 
suit. 

They sat and drank their colle 
little table in her kitchen alcove. 
brought out a large ledger and set it 
front of Henry. “I thought you might 
want 10 inspect the accounts,” she said. 

Гуе always felt that keeping 
books avoids a lot of unnecessary confu 
sion 


Hi 


Linda 


ту opened the book and scanned a 
couple of pages. Any accountant would 
* been pleased with the record Linda 
1 kept of all income from Mr. Dawes 
and of her expenditure of this income. 
Mr. Dawes had been right. Linda would 
be very economical to keep. 

“That's a very neat set of books" 
Henry said. 

"Thank you,” sa 


Linda. “I guess the 


other 
uling.” 

"Scheduling?" sad Henry. 

“Yes: with Mr. Dawes, I kept myself 
free on two days a week, in case he needed 
me, and on two weekends a month as 
well. We can make any arrangement you 
want, but I feel it's a good idea to work 
out 


и we should discuss is sched- 


mething of a routine in advance.” 
id Henry. uying to sound as 
businesslike as possible. "Why don't we 
keep it at Iwo days a week, say. Tuesdays 
and Thursdays. We'll. work out 
weekends as we go along. Now, 
1 deposi 
nce is necessary.” said Lin- 
da. "Mr. Dawes gave me a check every 
second Friday. 
"Every second Friday it is.” s: 
“I guess that’s everything, then,” 
Lind: 
Henry got up. He was not sure if he 
was supposed to shake hands with Linda 
at this point. but he decided against it. 
“Tm certainly looking forward to a long 
and pleasant relationship with vou," he 
said. 
With the acquisition of Linda, Hen- 
туз love life became suddenly more 
complex. He was continually tying to 
keep straight the facts concerning the 
separate lives of his three women. Fortu- 
nately, he was soon promoted to input 
monitor and immediately saw the possi- 


the 
do Е 


said 


bility of utilizing modern technology to 
assist in an age-old dilemma. At his first 
opportunity, he entered a complete set of 
data on his women into ELSA’s memory 
banks and discovered that she could 
handle all details of his scheduling. 


Henry had added Dee to his collection 
of women soon after the automation of 
his love life. Рес was a happily married 
secretary who worked on his floor of the 
Acme Building. She and Henry had be 
come lovers due to Henry's attempt at an 
act of moral reform and Dee's desire to 
maintain her moral integrity 

Before their al Dee had been a 
girl of impeccable virtue. She would no 
more have thought of having a love 
affair than of. say, not wearing a hat to 
church. Dee had immense pride in her 
virtue and felt cheated that she could 
not flaunt it in the face of at least 
casional temptation. But her virtue shone 
about her with an aura so obvious that 
no man at the office ever thought for 
more than a fleeting second of attempt 
ing a pass at her. Not that she was unat- 
tractive. She was a buxom little blonde 
who chose her clothes to accentuate her 
obvious charms, Nonetheless, through all 
of her long days at the аве; 


oc 


began to bat her big blue eyes at the 
men and to ask them if, when their 
wives were away. she couldn't come 
over and cook dinner for them. None of 
the men took this very seriously. Her 
aura of virtue shone through all her flir- 
tation. However. some of them would, 
all in fun, occasionally pinch her in pass 
ing or mutter something in her ear about. 
how difficult it was for them to keep 
their hands off her. 

Although such incidents were flatter- 
ing. they were not enough. She needed a 
situation that would truly test the теше 
of her honor. 

Henry watched Dee's llirtations with a 
great sadness in his heart. To him, Dee 
symbolized the last of the pure virtue 
left in the world. He tried to look at her 
with stern approbation whenever she 
batted her eyes at him. and he longed to 
reprimand her each time he saw her flirt- 
ing with any of the other men. But he 
held back. unsure as to how he could 
approach this delicate subject. 

Before long. however he had his 
chance. One day. when Henry's wife 
and children happened 10 be away vis 
iting relatives. Dee came into the console 
room, batted her eyes at Henry and said. 
“Henry. you live in Garden Acres, don't 
you? Could you drive me home tonight. 
if you feel you can trust me in the car 
alone with you?” The last bit was for the 


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benefit of Joe М 
be in the room at 
n formed instantly in Henry's 
. "Sure. baby.” he said, "and why 
don't you stop off at my house for a 
drink on the way? You don't think your 
husband would mind 

My husband trusts me completely, 
the fool" said Dee. 

On the drive home, Henry chatted 
amicably with Dee about the weather, 
ng and the people at Acme Truck- 
When he approached his house. he 
swung into the driveway and shut off 
the engine. Disbelief filled Dee's face. She 
had never suspected that Henry had 
been serious about the drink at his house 

Henry saw the doubt г face and 

pleased. She must learn once and 
for all that her virtue was not something 
to be flaunted. For her own good. he 
would play the role of the rake to the 
extreme. 
When they were seated on his living- 
pom couch with a martini in hand, he 
smiled wolfishly at her amd said. “I'm 
awfully glad you could stop in. Things 
re lonely alone here at night," 

“1 сап only stay a minute,” sid Dec. 
“My husband expects me to be home 
soon 

“I thought 
you completel 

Dee blushed 


rd, who happened to 
the time. 


said Henry, "he trusted 


d took a big sip of her 


Henry's strategy was simple. He 
ned to lead her almost to the mo- 
ment of seduction and then to confront 
her with her һуро‹ He hoped that 
this lesson would bring the end of her 
flirtatious w 

“You know," he said, “I always 
thought that you were one of the most 

itractive secretaries at wor 

“You did?" said Dee. 

“1 don’t mean just a good-looker. I 
knew right off that * the type of 
girl who likes to get a lot of fun out of 
life." 

“Oh, yes, sure,” said Dec. She sound- 
ed very unhappy for a fun-loving girl. 

“You probably feel the same way I do 
about conventi id Henry. "You 
probably feel that conventions are all 
ight for the majority of people. but 
those of us with enough. intelligence to 
work things out on our own shouldn't 
© to worry about сопу 


you wei 


ns, 


у. 


Henry could sce the panic growing in 
Dee, It had almost reached its peak. 

“And Гус always felt vou were a very 
intelligent girl." he said, He made a no- 
ticeable move toward her on the couch 
Dee put down her drink and clenched 
her little fists. She knew that the time had 
come 10 defend her virtu 

Henry put his arm along the back of 
the couch behind Dee and leaned for 
ward. "You аге a complete fraud,” he 
aid, 


“WI 
jump. 

“You are a fraud, Now answer me 
honestly. Hf. T had just now tried to kiss 
you, wouldn't you have beaten me ol 
with your fists?" 

Im a married wom 
“You wouldn't make 
woman, would you 
“What about the big comeon you've 
been giving all the men in the office for 
the last six months?" said Н 
Me giving everyone a come-on 
Dee. She was working hard at innocence. 
"Oh. come off it.” said Henry. “You 
know what I mean, You're a fraud and a 
hypocrite. You bat your eyes at all the 


said ише 


Dee, giving a 


said Dec. 
ied 


make a pass at you, he gets that married- 
woman stuff. You have no integrity at 


Dee. 
said Hem He rcached 
nd grabbed her in his arms and 
ps. He knew that 
she was going to beat him off with her 
little fists, but he did not care. Tt seemed 
the quickest way to get his point across. 

But instead of pushing him away, she 
remained limp within his arms. Henry 
realized the struggle that was going on 
within her. Her integrity and. her virtue 
were battling it out. Her virme wished to 
beat him away, but her integrity was also 
at stake, as Henry had taken the pains to 
point out 

She moved as if to break free, but 
then her lips opened warm under his and 
her hands tightened on the back of his 
neck, Now Henry was frightened, He 
had no intention of seducing Dee. He 
wished only to teach her a lesson. Unfor- 
tunately, his integrity was also at stake. 
Tt was not honorable to stop just as a girl 
l indicated her willingness to be se- 
сей. Henry tried hard to think of logi- 
ives, but thinking was very 
h Dee's lips against his and 


over 


kissed her full on the 


soft body in his arms. He discovered 
that once committed 10 an action, Dee 
is very anxious to carry it to its logical 


conclusioi 
Aw hour later, as she lay curled in his 


arms in his big double bed, she moved 
sleepily and whispered in his ear, "Now, 
what's all that about lack of integrity 


not amused. He and Dee 
had trapped themselves into this situa- 
tion. Now Dee would want to con 
relationship. пог out of any 
but because her code demanded 
ving committed a momentary 
ission, she must prove that she 
believed in something more than just tum- 
bling imo bed on the spur of the mo. 
ment, Tt was ironic. They had escaped 
from the rules of conventional morality 
only to discover that they were now 
bound by a new code that was just as 
binding and just as complex, 


desire 


Henry with Dee did have one 
beneficial effect. Dee stopped her flirta 
tions with the other men at the office. 
However, Henry never knew if this 
reformation was due to her comprehen- 


sion of the hypocrisy of her actions or 
whether she simply felt that Henry 
would be jealous of her playing around 


with other men. 

It should not be imagined that Henry 
was incapable of a strong emotional in 
volvement with a woman. He was, in 
fact, hopelessly in love with Zerlinda 
Smith, a dainty creature who worked in 
the vast complex of typists and file clerks 
known as secretarial services, АШ of the 
hurried productivity of that beehive of 
secretarial activity could not touch Zer- 
linda. She was always 
dressed in the latest of fashions. 
make-up tastefully perfect. She 
gave Henry a little cellophanew: 
doll smile when they passed in the corri- 
dor and Henry's being would 
soaring leaps at the sight of her. He 
longed 10 take her to serious drawing- 
room plays, where she would sit beside 
him, her gloves neatly folded in her lap 
and her eyes intent on the stage. He lust- 
ed for her dainty goodnight kiss just out- 
side the door of her apartment. 

But this love was not to be. ELSA would. 
not allow it. The moment that Henry had 
realized the overwhelming quantity and 
hopelessness of his passion for Zerlinda, he 
had rushed to the personnel files, stolen 
all of her personal data and fed this infor- 
mation into ELSA's cenual file. He then 
requested that Zerlinda be placed im- 
mediately on his schedule of stops. ELSA 
“HENRY LSA 
OVEKSCHEDULED. No 


mmaculately 
her 


rejected аһ 
typed. “is ALREADY 
NEW PICKUP 

HENRY UNT 


request. 


OINTS MAY в 

HENRY 
MAINTENANCE OVERHAUL 

The problem was that ELSA thought 
that Henry was a truck. As a truck, Hen- 
Ty should he taken periodically into the 
shop to have his engine rebuilt and the 
тем of his equ nt overhauled. "This 
operation required a full week. Henry 
knew that he could not take a week olf 
from his frantic schedule without falling 
hopelessly behind in his appointments 
with his women. He could. of course. 
have faked the data to ELSA, pretend. 
ing that he was off being overhauled, 
while still seeing 10 the needs of his 
harem. However, he knew that unless 
ELSA had completely accurate. records 
of his activities for that week, she would 
be hopelessly confused. ELSA did a per 
fect job of scheduling his love life, but 
only when she was provided with all the 
facts. 

Henry had, of course, thought serious- 
ly of eliminating one or more of the 
women in his life in order to make room 


SCHEDULED FOK 


AS COMPLET 


The obvious choice for such 
pruning was Lorna, She was the least 
coupled into the rest of his life. It was 
Шу only а matter of telling her. like a 
gentleman, that their relationship was ove! 

He had ied once. He spent hours re- 
hearsing his little speech and arranged а 
quiet her apartment for its 
delivery. As he drew breath to speak, 
she said to the coffee table, "I suppose 


noment 


this guy is going to tell me that he has 
decided that our relationship is un- 
profitable and that this is the last time he 


is going to sec me 
Oh. no." said Henry, stunned by the 
almost perfect. paraphrase of the ser 
had about to utter. 
Where did you get that silly idea?" 

He d the courage even to 
bout the matter in her presence 
ter. Lorna was simply too percep- 


x he been 


never h 


think 


iving up 
manager, Mr. 
fluence at the 
ny. Henry knew 
y wrote to Mr. 
Dawes 10 let him know how she was get- 
wanted to keep his 
or, he would have to 


As West 
мі too 


Coast 
much 


mon 


keep Linda 
Neither 


Dee be abandoned 
«cred 10 100 many of the 
umor pipelines at Acme not to discove 
the fact thar he had dropped he 
of Zerlinda, Aud then she could wreak 
terrible. retribution. 

There was а vast underground organ 
ion operating among the secretaries at 
Acme, Henry knew. If he were black- 
balled by this distat Mafia, he was 
doomed. Endless, but always justifiable, 
delays would occur in the work he want- 
«а typed. Recommendations for his pro- 
motion would mysteriously disippear in 
the interoffice mail. Important telephone 
calls would never reach him. Henry 
knew better than to alienate one of the 
Лапе se aries. 

That left his wife. Henry had often 
thought seriously about the possibility of 


had thought about alienating 
her by telling h 
the other women in his life, but such 
at seemed pretty dishonorable. 
should have been some way to 
Hully taken 
ge. In. business, 


about one or more of 


prov 
у steps toward m: 
Tor example, no matter what you signed, 
you could not legally obligate voursell 10 
work for a company. With marriage i 
was different. Here he һай, quite against 
his desires, indentured himself to Miriam 
for the rest of his life 

If only he could h 
details of lı 
call it th 


| never w 


we explained. the 


ne could even 
Henry 


courtship, if 


to an impartial judge 


п а divorce. But 
as an impartial 


was sure he could obi 
there was no such thi 


judge. The judges wife would be wai 
ing at home to pass her own judgment, if 
the judge gave in to Henry's logic. There 


could be no escape from Miriam. 

Henry knew that there was but one 
way he could have Zerlinda. ELSA's 
scheduling program would have to be 
changed, and the man who could change 
t was Sam Gardman, ELSA’s systems 
analyst studious little man who 


sat i office. pouring 
over ELSA's program listings and block 
diagrams and mumbling to himself about 


scheduling algorithm: 
throughput times. Sam might, of course, 
report. Henry's illegal activities to the 
Асте managen but Henry's passion 
for Zcrlinda was so strong that he had to 
take this risk. 

As Henr 
am, а vision 


bufler storage and 


splined his problem to 
ry 

When Henry had finished, 
am grasped him by the hand. “You are 
a man of fantastic i 

of such an application,” he said. 

“What 1 need is some way of by 
ing my preventive maintenance, so I c 
ld more stops to my schedule.” sa 
Henry. 

“Forget that trivia,” said Sam, “We 
won't be bothered by that in the new 
system,” 

“New system?” sid Henry 

“Hemy.” sid Sam, “hor 
do you think ther 


ze 


s eyes. 


many men 
аге im this city who 


have the same problem with women that 
you do? 
“I don't know.” sid Henry. “Two 


hundred?” 
“L would estimate closer to a thou- 
l,” "all of whom would 


said Henry. re- 
he 


“L gues they migh 
membering his own problems befor 
automated his love life. 

"Il have to get our own ELSA.” 
I can write the scheduling 
m myself.” He stopped and looked 
You will go in with me on 

fi he said 
* said Henry in very 


1 behind his im 
en luxury 


А year later, Henry s 
mense walt 
of the executive suite of Femme-Share. 
Incorporated. Through a one-way glass 
. he could see the deck cabinets of 
ELSA installation and watch the 
lights on her call-director panel. Each 
glowing light indicited a customer who 
had dialed into the system to obtain his 
schedule of uments for that eve 
ning. Although a the 
t least 30 Tights were on. By 
late afternoon, Henry knew. the number 
of simultaneous uses would 
100. 
Sam from his adjoinin 
wd stood watchin 
thought ГА end up as a huma 
he said after a minute. 

‘Hum 7" said Henry. 
ch. of those lights." said 
ts a man whose daily life is bein 
le happier through the appli. 
ce t0 а common human problem." 

“I never thought of it that wav be- 
fore,” said Henry, as he filled with the 
warm glow of altruistic pride. 


wt desk in the braze 


moi 


swell ta 
ov 


office 


me i 


the lights, “I 
tar 


never 


rese 
m 
sde 


ion of 


“Looks like we can't expect to 
find much in that direction.” 


151 


T А NEW ORDER OF PRIORITIES (continued prom page 116) 


PLAYH 


152 


and hopeful reverting instead to the van- 
ity of past empires, each of which strug- 
gled for supremacy. each of which won 
and held it for a while, each of which 


finally faded or fel into historical 
oblivion, 
We аге, in this respect, a disappoint- 


ment to the world; but, far more impor- 
n that, we are a disappointment 
Ives. It is here at home that the 
ional values were formed, here at 
home that the American promise was 
born, and it is here at home—in our 
schools and churches, in our cities and on 
our farms, in the hearts and minds of our 
people and their chosen leaders—that the 
American promise will finally be betrayed 
or resurrected. 


"While young dissenters plead for res- 
urrection of the American promise, their 


elders continue to subvert it. As if it 
were something to be very proud of, it was 
announced not long ago that the war in 


Vietnam had created a million new jobs 
in the United States. Our country is be- 
coming conditioned to permanent conflict. 
More and more, our cconomy, our Govern- 
ment and our universities are adapting 
themselves to the requirements of com 
tinuing war—total war, limited war and 


cold war. ‘The struggle against militarism 
to which we were drawn 27 years ago has 
become permanent, and for the sake of 
conducting it, we are making ourselves into 
a militarized society. 

I do not think the militaryindustrial 
complex is the conspiratorial invention of 
a band of "merchants of death.” One al- 
most wishes that it were, because con- 
spiracies can be exposed and dealt with 
But the components of the new Ameri- 
iverse, independ- 
ent and complex for it to be the product 
of a centrally directed conspiracy. It is, 
rather, the inevitable result of the crea 
tion of a huge, permanent military estab- 
lishment, whose needs have given rise to 
a vast private defense industry tied to 
the Armed Forces by a natural bond of 
non interest. As the largest producers 


m are too 


tary orders will i 
fiscal vear pour some 45 billion dollars 
into over 5000 cities and towns where 
over 8,000,000 Americans, counting 
members of the Armed Forces, compris- 
ing ten percent of the labor force, will 
earn their living from defense spending. 
‘Together, all these industries and em- 


“Mind if I smoke?” 


ployees. drawing their income from the 
76-billion-dollar defease budget, form а 
giant concentration of socialism in our 
otherwise free-enterprise economy. 
Unplanned though it was, this com- 
plex has become a major political force. 
It is the result rather than the cause of 
American military involvements around 
the world; but, composed as it is of a 
vast number of citizens—not tycoons or 
merchants of death but ordi 
American citizens—whose 
pends on defense production, the mili- 


industrial complex has become an 
indirect force for the perpetuation of our 
ıl military commitm 


nts. "This is not 
but because 


desire to preserve the sources of his live- 
lihood. For the defense worker. this 
пу preserving or obtaining some lo- 
cal factory or installation and obtaining 
new defense orders; for the politician, it 
means preserving the good will of his 
constituents by helping them get what 
they want. Every time a new program, 
such as Mr. McNamara’s five-billion-dol- 
lar "thin" anti-ballisticmissile system, is 
troduced, а new constituency is creat- 
ed—a constituency that will strive might- 
ily to protect the new program and, in 
the case of the ABM, turn the thin. sys- 
tem into a “thick” one. The constituency- 
building process is further advanced by 
the perspicacity of defense officials and 
contractors in locating installations and 
plants in the districts of key Members of 
Congress. 

In this natural way, 
businessmen, 
е joined 


generals, 
workers 
together ii 


xadvertency of its creation 
and the innocent intentions of its parti 
pants, has nonetheless become a powerful 
new force for the perpetuation of foreign 
military commitments, for the introduc- 
Чоп and expansion of i 
systems and, as a result, for the mi 
tion of large segments of our na 
life. Most interest groups are counte 
balanced by other interest groups, but the 
defense complex is so much larger than 
any other that there is no effective coun- 
terweight to it except concern as to its 
impact on the part of some of our citi- 
zens and a few of our leaders. 

The u ies might have formed 
an effective counterweight to the mili- 
y-industrial complex by strengthening 
emphasis on the traditional values 
of our democracy; but many of our lead- 
sities have instead joined the 
monolith, adding greatly to its powe 
and influence. Disappointing though 
e adherence of the professors is not 
ly surprising. No less than business- 

ers and. politicians. professors 
enjoy money and influence. Having tra- 
ditionally been deprived of both, they have 
welcomed the contracts. and 
ships offered by the military esta 


consul 


The great majority of American professors 
are still teaching students and engaging 
in scholarly research; but some of the most 
nous of our academicians have set such 
ivities aside in order to serve their Gov- 
ernment, especially those parts of the 
Government that are primarily concerned 
with war. 

The bonds between the Government 
and the universities are no more the re- 
sult of à conspiracy than are those be- 
tween Government and. business. They 
are an arrangement of convenience, pro 
viding the Government with politically 
usable knowledge and the universities 
with badly needed funds. Most of these 
funds go to large institutions that need 
them less than some smaller and less 


learning. a contribution that, however, is 
purchased at a high price. 

That price is the surrender of inde- 
pendence, the neglect of teaching and the 
distortion of scholarship. A university 
that has become accustomed to the 
inflow of Governmentcontract. funds is 
likely to emphasize activities that will 
attract those funds. These, unfortunate- 
ly, do not include teaching undergradu- 
ates and the kind of scholarship that, 
though it may contribute to the sum of 
human knowledge and to man’s under- 
standing of himself, is not salable to the 
Defense Department or to the CIA. As 
Clark Kerr, former president of the Uni- 
versity of California, expressed it in The 
Uses of the University: 


The real problem is not one of 
Federal control but of Federal 
influence. A Federal agency offers a 
project. A university need not ac 
сері but, as a practical matter, it 
usually does. . . . Out of this reali- 
ty have followed many of the con- 
sequences of Federal aid for the 
universities; and they have been 
substantial. That they are subtle, 
slowly cumulative and gentlemanly 
makes them all the more potent. 


From what one hears, the process of 
acquiring Government contracts is not 
always passive and gentlemanly. “One of 
the dismal sights in American higher 
education,” writes Robert М. Rosen- 
zweig, associate dean of the Stanford 
University graduate. division, 


is that of administrators scrambling 
for contracts for work that does not 
emerge from the research or teach- 
ing interests of their faculty. The 
result of this unseemly enterprise is 
bound to be a faculty coerced or 
seduced into secondary lines of in- 
terest, or a frantic effort to secure 
nonfaculty personnel to meet thc 
contractual obligations. Among the 
most puzzling aspects of such ar 


"Dear, while you were out, the bongo player called to 


say he can't make vespers tonight. 


rangements is the fact that Gove 
ment agencies have permitted and 
even encouraged them. Not only 
are they harmful to the universities 
vhich is not, of course, the Gov- 
ernmenr's prime coucern—but. they 
ensure that the Government will 
not get what it is presumably buying; 
namely, the intellectual and technical 
resources of the academic community. 
It is simply а bad bargain all the way 
around. 


Commenting on these tendencies, a 


the United States Advisory 
Commission on International Education: 
al and Cultural Affairs. points out that 

ess of university administra- 
ized, Government- 
financed projects has caused a decline in 
self-generated commitments to scholarly 
pursuits, has produced baneful effects on 
the academic mission of our universities 
and has, addition. brought forward 
some bitter complaints from the disap- 
pointed clients. . . . 

Among the baneful effects of 
Government-university contract syst 
the most damaging and corrupting are the 
neglect of the university's most impor- 
tant purpose, which is the education of 
students, and the taking into the 
Government camp of scholars, especially 
those in the social sciences, who ought to 
be acting as responsible and independ- 

itics of their Governmenr's policies. 
"The corrupting process is a subtle onc 
No one needs to censor, threaten or give 


the 


ent a 


orders to contract scholars; without a 
word of warning or advice being uttered, 
it is simply understood that lucrative 
contracts are awarded not 10 those who 
question their Government's policies but 
to those who provide the Government 
with the tools and techniques it desires. 
‘The effect, in the words of the report to 
the Advisory Commission on Interna- 
tional Education, “to suggest the 

ibility to а world—never adverse to 
lice—that academic honesty is no 
less marketable than a box of detergent on 
the grocery shelf.” 

The formation of a military-industrial 
complex, for all its baneful conse- 
quences, is the result of great numbers 
of people engaging in more or less no 
mal commercial activities. The adher- 
ence of the universities, though no more 
the result of a or conspiracy, 
nonetheless involves something else: the 
neglect and, if carried far enough. the 
betrayal of the university's fundamental 
reason for existence, which is the ad- 
icement of man’s search for truth and 
happiness. It is for this purpose, and this 
purpose alone, that universities receive 
—and should receive—the community's 
support in the form of grants, loans and 
хах exemptions. When the university 
turns away from its central purpose 
and makes itself an appendage to the 
Government, concerning itself with tech- 
ques rather than purposes, with е 
pedients rather than ideals, dispensing 

i orthodoxy rather than 
new ideas, it is not only failing to meet 
its responsibilities to its students; it is 


153 


ying a public iru: 

This betrayal is most keenly felt by 
the students, partly because it is they who 
are being denied the services of those 
who ought to be th 
knowledge is being dispensed 
wholesale in cavernous lecture halls, 
they who must wait weeks for brief au- 
diences with eminences whose time is 
taken up by travel and research connect- 
ith Government contracts. For all 
ons. the students feel then 
ayed, but it is doubtful that 
any of these is the basic cause of the an- 
bellions that have broken out on so 
y campuses. It seems more likely 
that the basic cause of the great trouble 
in our universities is the students’ discov- 
ery of corruption in the one place, be 
sides perhaps the churches. that might 
have been supposed to be immune from 
the corruptions of our age. Having seen 
their country’s traditional values degrad- 
ed in the elfort to auributc moral pu 
pose to an immoral war, having seen 
their country's leaders caught in incon 
sistencies that are politely referred to as 
lity gap." they now see their 
universi —the last citadels of mor: 
and intellectual integrity—lending them- 
selves to ulterior and expedient ends and 
betraying their own fundamental pur- 
pose. which. in James Bryce's words, is 
to “reflect the spirit of the times without 
yielding to it.” 


whom 


a “ered 


tudents are not the only angry people 
| America nor the only people with 
cause for anger. There is also the anger 
of the American poor, black and white, 
rural and urban. ‘These are the dispos- 
sessed children of the affluent society, 
the 30,000,000 Americans whose hopes 
were briefly raised by the proclamation 
of a “war on poverty,” only to be sac 
rificed to the supervening requirements 
of the war on Asian communism о 
more exactly, to the Executive preoce 
ation and the Congressional parsimony 
duced by that war. 
In our preoccupation with foreign 
wars and crises, we have scarcely no- 
ticed the revolution. wrought by und 
rected cl C here at home, Since World 
War Two, our popula gown by 
more than 59,000,000; a mass migration 
from country to city has crowded over 
70 percent of our popula onto scarcc- 
ly more than one percent of our land; 
vast numbers of rural Negroes from the 
South have filled the slums of Northern 
cities while afluent white 
peless new suburbs. 
cally deterior: 
financially destitute and cre: 
ad socially d 
isolation combined w 


am 


ies have 


ng а new 
tructive form of racial 
th degrading pov- 


епу. Poverty. which is a tragedy in a 
poor country, blights our afluent society 
with something more than tragedy; 


being unnecessary, it is deeply immori 
as well. 


Distinct though it is in cause and 
acter, the Negro rebellion is also 
part of the broader crisis of American 
poverty, and it is unlikely that social jus 
tice for Negroes сап be won except as 
part of a broad program of educati 
housing and employment for all of our 
poor, for all of the great “under class,” 


ch; 


s" of 
whom Negroes comprise no more th 
one fourth or one third. It is cssent 
that the problem of poverty be dealt 
with as a whole, not only because the 
material needs of the white and colored 
poor are the same—better schools, better 
homes and better job opportunities—but 
because alleviating poverty in general is 

[зо the best way to alleviate racial hos- 
tility. It is not the affluent and educated 
who primarily account for the “backlash” 
but the poorer white people, who per- 
ceive in the Negro rights movement a 
threat ло their jobs and homes 
probably more important—a_ thr 
their own meager sense of social status. 

There is nothing edifying about pov- 

morally as well as physic 
degrading. It does not make men broth- 
cm. It sets them against one another in 
competit nd homes and sta- 
tus, Tt le: man and 
mark is not prey. Poverty constricts 
nul distorts, condemning its victims to an 
endless, anxious struggle for physical n 
cessities. ТІ 
man of his distinctly human capacities— 
the capacity to think and create, the ca- 
ty to seck and savor the meaning of 
things, the capacity to feel sympathy 
and friendliness for his fellow man. 

If we ше 10 overcome poverty and its 
evil by-products, we shall have to deal 
with them as human rather than as racial 
Or regional problems. For practical as 
well as moral reasons, we shall have to 
have compassion for those who are a Lit 
ue aboxe the bottom as well as for those 
who are at the bottom. We shall have to 
have some understanding of the wh 
tenant farmer as well as the Negro fa 
borer, of the url 
agman as well as the Negro slum. 
‚ It would even benefit us to ac 
some understandi 
‚ just understanding—of 
and regional prejud : 
is of recent. years has proved any- 
thing, it is that none of us, Northerner or 
Southerner, has much to be proud of. 
that our failures have been national fail- 
ures, that our problems are problems of a 
whole society, and so as well must be 
their solutions. 

АП these problems—ol poverty and 
race, jobs and schools—have come to 
focus in the great cities, which, physical- 
ly, mentally and aesthetically, are rapid- 
ly becoming unfit lor human habitation. 
As now taking shape, the cities and sub- 
urbs are the product of technology run 
rampant, without effective political di. 
redion, without regard to social and 


t struggle, in turn, robs a 


n white 


immigr: 


quire 


long-term economic cost They have 
been given their appearance by private 
developers, builders and entrepreneurs, 
seeking. as they will, their own short- 
term profit. Lakes and rivers are polluted 
and the air is filled with the fumes of the 

i s that choke the roads, Rec 
ties and places of green and 
quiet are pitifully inadequate and there 
is no escape from crowds and noise. both 
of which are damaging to mental health. 
At the heart of the problem is the ab- 
sence of suflicient funds and political 
authority strong enough to control the an- 
archy of private interest and to act for the 
benefit of the community. Despite the 
ellorts of some dedicated mayors and 
students of urban problems, the tide of 
deterioration is not being withstood and 
the cities are sliding deeper into disor- 
ganization and demoralization. 
пе larger cities have grown beyond 
scale and organizing capacity. 
No matter what is donc to rehabilitate 
New York and Chicago. they will never 
be places of green and quiet and serer 
ty, nor is there much chance that these 
can even be made tolerably accessible to 
the millions who spend their lives en- 
dosed im concrete and steel. Ugly and 
ihuman though they are, the great ur- 
ban complexes remain, 
magnet for Negroes from the South and 
whites from Appalachia. Crowding the 
fetid slums and ing public services. 
they come in search of jobs and opportu- 
nity, only to find that the jobs that are 
available require skills that they lack 
have little prospect of acquiring. 

One wonders whether this urban mi- 
gration is irreversible, whether it may 
not be possible to create economic op 
portunities in the small towns and citi 
where there are space and land and 
fresh air, where building costs are mod- 
erate and people can still live in some 
harmony with natural surroundings, The 
technology of modern agriculture may 
inevitably continue to reduce farm em. 
ployment, but we have scarcely begun 
to consider the possibilities of industrial 
decentralization—ol з 
tives and other means—to m 
ble for people to ea 
stil-human environme 
Americ: 

A decent life in a small town is not 
only very much better than slum life 
big city: it is probably cheaper The 
Secretary of Agriculture has suggested 
that it would be better to subsidize a rural 
family with 51000 a усаг for 20 years 
than to house them cramped urban 

‘dwelling unit” at a cost of $20,000. In 
New York or Chicago, $2500 a year of 
welfare money will sustain a family in 


ubsidies, tax incen. 
ke it possi 
a living in the 
ts of small-town 


a 


тоо. 


des n the beautiful Ozark coun- 
try of Arkansas, it is enough for a decent 
life. 

ating the material ills is the im- 
personalization of lie in a crowded, 


155 


PLAYBOY 


156 


urban America. Increasingly, we find 
wherever we go—in shops and banks 
and the places where we work—that our 
names and addresses no longer identity 
us; the IBM machines require numbers: 
zip codes, account numbers and order 
numbers, Our relevant identity in а com- 
puterized economy is statistical rather 
than personal. Business machines pro- 
vide standard information and standard 
services and there are no people to pro- 
vide particular information or services 
for our particular needs. The governi 
concept, invented, I believe. in the P. 
Ligon. is “cost effectiveness.” which re- 
fers not to the rel of cost to 
human need or satisfaction but to the 
relationship of cost wo the computerized 
system. Technology has ceased to be an 
instrument of human ends; it has become 
1 itself, unregulated by political 
rpose. The toll t 
takes on the human mind са 
only be guessed at, but it must surely be 
enormous, because human needs are 
different from the needs of the system to 


which they are being subordinated. 
Someday the human requirements may 
be computerized, too, but they have not, 
thank God, been computerized. yet. 
The cost of rehabilitating America will 
be enormous beyond anything we have 
even been willing to think about. When 
Mayor Lindsay said that aside from Fed- 
eral, state and city funds, it would cost an 
Aditional 50 billion dollars over ten years 
to make New York a fit place to live i 
his statement was dismissed as fanciful, 
thou; 0 billion dollars is less than we 
spend in two years in Vietnam. The 
Swedish sociologist Gunnar Муга; 
ventured the guess that it will cost trillions 
of dollars to rehabilitate our slums and 
their inhabitants. “[The] common 
that America is an immensely rich 
affluent country “is very much 
n exaggeration. п affluence is 
heavily mortgaged. America carries а 
tremendous burden of debt to its роот 
people. That this debt must be paid is 
not only а wish of the do-gooders. Not 
aying it implies the risk for the social 


lr» 
m 

A 

) | mx 
= =. J L| 
JL 
EF = 5 
РЕ NY 


"Bul, Mom—Pop—1 told you in my letter 
that my wife was white!" 


order and for democracy as we have 
known it.” 

Before we can even begin to think of 
what needs to be done and how to do 
we have got to re-evaluate our national 
priorities. We have got to weigh the 
Costs and. benelits of going to the moon 
ist the costs and benefits of rehabili- 
our cities. We have got to weigh 
the costs and benefits of the supersoni 
transport, which will propel a few busi 
ness executives across the Atlantic in two 
or three hours against the costs and 
benefits of slum clearance and school 
construction, which would create oppor. 
tunity for millions of our deprived 
under dass. We have got to weigh the 
benefits and consider the awesome dis- 
parity of the 935.4 billion dollars we have 
spent on military power since World War 
Two а st the 114.9 billion dollars we 
have spent, out of our regular national 
budget, on education, health, welfare, 
housing and community development. 
ng our priorities is more а màt- 
ier of moral accounting than of cost 
accounting. The latter may help us deter- 
mine what we are able to pay Гог, but it 
annot help us decide what we want and 
what we need and what we are willing 
to pay for. It cannot help the five sixths 
of us who are affluent to decide whether 


we are willing to pay for programs that 
will create opportunity for the one sixth 


who are poor; that is a matter of moral 
accounting. It cannot help us decide 
whether beating the Russians to the 
moon is more important to us than puri- 
fying our poisoned air and lakes and 
rivers: that, 100, is a matter of moral ac- 
counting. Nor can it help us decide 
whether we want to be the arbiter of the 
world’s conflicts, the proud enforcer of a 
Рах Americana, even though that must 
mean the abandonment of the founding 
fathers’ idea of America as an exempla 
society and the betrayal of the idea of 
world peace under world law, whi 
embodied in the Covenant of the League 
of Nations and the Charter of the United 
Nations, was also an А! п idea, These, 
100, 1 accounting. 


h, as 


atters of moi 


Rich and powerful though our country 
. it is not rich or powerful enough to 
shape the couse of world history in a 
cor ection solely 
by the impact of its power and. policy 
Inevitably and demonstrably, our major 
impact on the world is not in what we do 
but in what we are. For all their world- 
wide influence, our aid and our diploma- 
cy are only the shadow of America; the 
real America—and the real American 
inlluence—is something else. It is the 
way our people live, our tastes and 
games, our products and preferences, the 
way we treat one another, the way we 
govern ourselves, the ideas about man 
and man's relations with other men that. 


desired di 


uctive or 


took root and flowered in the Ame 
soil. 

History testifies to this, A hundred 
years ago, England was dominant in the 
world, just as America is today. Now 
nd is no longer dominant; her 
eat fleets have vanished from the seas 
nd only small fragments remain of the 
mighty British Empire. Whar survives? 
The legacy of hatred survives—hatred of 
the West and its arrogant imperialism, 
haved of the condescension and the 
exploitation, hatred of the betrayal 
abroad of the democracy that Englishmen 
practiced at home. And the ideas survive 
—the ideas of liberty and tolerance and 
fair play to which Englishmen were giv- 
ing meaning and reality at home while 
acting on different principles in the Em- 
pire. In retrospect. it seems clear that 
England's lasting and constructive im- 
pact on modern India, for example. 
springs not from the way she ruled in 
India but, despite that, from the way she 
was ruling England at the same time. 


npulse, many Americans 
feel that it would be selfish and exclu- 
sive, elitist and isolationist, to deny the 
world the potential benehts of our great 
th and power, restricting ourselves 
largely exemplary role. It is true that 
our wealth and power can be, and some- 
times arc, beneficial to foreign nations; 
but they can also be, and often are, 
immensely damaging and disruptive. 
Experience—ours and that of others— 
strongly suggests that the disruptive 
pact predominates, that when big nations 
act upon sm ions, they tend to do 
them more an good. This is not 
necessarily for lack of good intentions: it 
is, rather, for lack of knowledge. Most men 
simply do not know what is best for oth. 
er men; and when they pretend to know 
or genuinely try to find out, the y 
end up taking what they believe to be 
best for themselves as that which is best 
for others. 

Conceding this regrettable trait of hu- 
man nature, we practice democracy 
mong ourselves, restricting the freedom 


of individuals to impose their wills upon 
other 


dividuals, restricting the state as 
nneling such coercion as is 
necess; through community 
institutions, We do nor restrict the scope 
ol Government because we wish to deny 
individuals the benefits of its wealth and 


power; we restrict our Government. be- 
Guse we wish to protect individuals 
from its capacity for tyranny. 


If it is wisdom to restrict the power of 
men over men within our society, is it 
not wisdom to do the same in our foreign 
relations? If we cannot count on the be- 
nevolence of an all-powerful Gover 
ment toward its own people, whose 
needs and characteristics it knows some- 


thing about and toward whom it is sure- 
ly well disposed, how can we count on 


the benevolence of an all-powerful 
America toward peoples of whom we 
know very litte? Clearly, we cannot: 


and. until such 


me as we are willing to 
offer our help through community insti- 
tutions such as the United Nations and 
the World Bank, I think that, in limiting 
our commitments to small nations, we 
are doing more to spare them disruption 
than we are to deny them benefits. 
Wisdom consists as much in knowing 
what you cannot do as in knowing what 
you can do. If we knew and were able to 
cknowledge the limits of our own ca 
pacity, we would be likely, more often 
than we do, to let nature take its course 
in one place and another, not because it 
is sure or even likely to take a good 
course but because, whatever nature's 
course may be, tampering with it in ig- 
norance will almost surely make it worse. 
We used, in the old days, to have this 
kind of wisdom and we also knew, al- 
most instinctively, that w 
ourselves and of our own society would 
probably have a lasting and beneficial 
pact on the world than anything we might 
do i п relations. We were con- 


our fore 


they say. to let conduct serve as 
an unspoken sermon, We knew that it 
was the freedom and secmingly unlimited 


opportunity, the energy and 
creativity of our diverse populatior 
than the romantic nonsense of “m: 
destin: that made the name 
a symbol of hope to people all over the 
world. 

We knew these things until events be- 
yond our control carried us irrevocably 

nto the world and its fearful problems. 
We recognized thereupon, as we had to, 
that some of our traditional ideas would 
no longer serve us. that we could no 
longer, for example, regard our power as 
something outside of the scales of the 
world balance of power and that, there- 


marve 


fore, we could no longer remain neutral 
from the major conflicts of the major na- 
tions. But, as so often happens when 
ideas are being revised, we threw out 
some valid ideas with the obsolete ones. 
Recognizing that we could not help but 
be involved in many of the world’s 
crises, we came to suppose that we had 
to be involved in every crisis that came 
along; and so we began to lose the u 
derstanding of our own limitations. Rec 


ognizing that we could not help but 
maintain an active foreign policy, we 
« to suppose that whatever we 


hoped to accomplish in the world would 
be accomplished by acts of foreign poli 
and th thought —being 
ign policy must without 
exception be given precedence over do 


cy. 


s we 
true. that forc 


mestic needs; and so we began to lose 
our historical understanding of the pow- 
er of the American example. 

The loss is manifest in Vietnam. There 
at last we have embraced the ideas th 
are so alien to our experience—the idea 
that our wisdom is as great as our power 
and the idea that our lasting impact on 
the world can be determined by the way 
we fight a war rather than by the way 
we run our country. These are the pi 
cipal and most ominous effects of the 
war—the betrayal of ideas that have 
served America well and the great moral 
crisis that that betrayal has set loose 
among our people and their leaders. 
The aisis will not soon be resolved, 
nor can its outcome be predicted. It may 
culminate, as 1 hope it will, in a reaser- 
tion ol the traditional values, in enewed 
ness of the creative power of the 
1 example. Or it may culminate 


in our becoming an empire of the tradi 


tional kind, ordained to rule for a time 


aver an empty system of power and then 
to fade or fall, leaving, like its predeces- 
sors, a legacy of dust. 


157 


PLAYBOY 


STAR BILLING 


demeaning side dish but a full dinner 
plate of the beans simmered for three 
hours, subtly flavored with sage, garlic 
and olive oil. Proudly owning up to their 
special gusto for beans. the Florentines, 
perhaps apocryphally, say that when 
they're in the right mood, they not only 
cat the beans but lick the dish, the table- 
nes the table itself. 
Greeks love spinach almost as much as 
independence. But the kind of spinach 
most likely to be served only on Sunday 
is the spanakopeta, chopped spinach 
flavored with both pungent and mild 
cheeses, formed into an oblong shape, 
wrapped in leaves of phyllo pastry as 
fragile as an angel's breath and baked to 
an OF 


pian brown. 


€ a beautiful unattached woman, 
the independent vegetable course serves 


party purposes magnificently. As а preb 
ude to an afternoon of tennis or 
or to a long spin to an i: 
spot. we recommend the pleasant sus 
taining power of fresh broccoli drizzled 
with a piquant nut-brown butter sauce 
and garnished with a French-fried egg. 
Before the theater and the after-theater 
supper, Spanish onions stuffed with crab 
meat will stave off the most. aggressive 
hunger pangs. Outweighing all else are 
the dinner parties where the host, for 
one reason or another, finds it expedient 
to serve a meat course acceptable to all 
his guests, superb in quality but. hardly 
likely to surprise—such as broiled spring 
chicken, lamb-chop mixed grill or roast 
ribs of beef good to the last drop of jus. 
A menu stimulus is needed to keep the 
culinary ball rolling. It may be anything 
from a plate of batter-fried fresh. mush- 
rooms with a vermouth sauce to a casse- 
role of eggplant au grati 

All of the endless predinner debates 
about whether Brussels sprouts 
chestnuts really go well with guinea hen 
or whether the Swiss chard is or 
compatible with the pork tenderloin 
simply cease. Either vegetable, served 
lon the summit of its season. goes 
its own sweet way on any party bill of 
fare. Parenthetically. we must add that 
one vegetable—the potato—is, by its 
very nature, always destined to be a mate 
to meat. In the same way that a magi 
cian needs props 10 make magic, a 
chef needs light, golden French-lvied po- 
tatoes or crisp hashed-brown potatoes to 
present a perfect steak. In our own peas 
anty heart, we dig the potatoes best that 
are not only served with but cooked with 
the meat itself, No one can overpraise 
such provender as potatoes à la boulan- 
gêre, sliced and cooked in the oven with 
а roast shoulder of lamb and mixed with 
the succulent brown pan gravy; or pota- 
toes simmered with a boiled New Eng 


nd 


is not 


158 land dinner, each potato like a rustic 


(continued from. page 109) 


cupbearer carrying in itself the blended 
juices of the corned beef, the fresh beef 
brisket, the cabbage and the rich cook. 
ing broth. 

What gives the European vegetable 
chef his edge is his complete freedom 
from any taint of vegetarianism. If he 
needs some diced bacon to hop up an 
artichoke stuffing, diced bacon will 
be. If he plans to braise celery and it 
calls for a meat gravy, hell snatch the 
meat gravy from his roast pan, pot roast, 
stewpot or whatever source is within 
scrounging distance. He chooses his veg: 
etubles like а man selecting pearls. His 
sparagus will have compact tips with 
brittle stalks and no trace of wilt, The 
buds of his broccoli will be dark green or 
purplish green (depending on the varie- 
ly. compact and revealing no sign of 
sprouting. When he presses à Spanish 
onion, it will be silky firm. Finally, he 
makes sure that no vegetable makes its 
bow in the ng room unless it’s siz 
dling hot. Stuffed vegetables, such as 
nish onions and artichokes. in partic- 
r will be like quict fire in full bloom 
when they arrive at the dining table. 

There are vegetables whose winning 
ways have made them part of countless 
legends. Whether artichokes, as alleged, 
were the favorite of Anthony and Cleo- 
patra doesn’t really matter. The gentle, 
rich flavor of artichokes is still perfect 
sorcery for any Cleo cap ng her 
Топу, or vice versa. The myth we like 
best is the one tok! by Horace about 
the nymph on the Greek. island, whose 
beauty was so exalted that an envious 
god had her tr imo an mti- 
choke. Her name was Cynara. Cynara 
scolymus is still the botanical name for 
the California vegetable known as the 
globe artichoke—sometimes called the 
French or Italian artichoke. (The Je- 
rusalem artichoke is another vegetable 
altogether) Cynara has been loved 
countless fashions. Bur the artichoke pro- 
vides its most sensual pleasure when it's 
first simmered in water, then stuffed and 
baked. In size, artichokes range from 
the tiny specimens preserved in oil as a 
vegetable hors d'oeuvre to specimens the 
sire of a fist—these. in turn, ranging 
from a petite girl's fist to the clenched 
paw of a prize fighter. On the vegetable 
stall, artichokes, with their sharp leaves, 
somehow look a trifle pretentious, But 
nobody has ever been known to cat 
am artichoke pretentiously. After being 
cooked, the leaves are always torn off by 
hand and eaten by hand; first they're 
dipped into butter or hollandaise and 
then they're run between the teeth to 
gather the fleshy part at the bottom of 
each leaf, After all the leaves have been 
worked over, the tender bottom of the 
artichoke remains. If the artichoke has 


stormed, 


been stuffed, both stuffing and bottom 
arc then dispatched with knife and fork. 

Hosting, as most men cventually dis- 
cover, covers a multitude of abilities. 
The recipes that follow (cach one of 
which serves six) should be of immense 
aid in developing every man's vegetability. 


BROCCOLI, BEURRE NOIR, WITH EGG 


3 Ibs. fresh 
2 large cloves garlic 

1 Ib. butter 

114 teaspoons anchovy paste 

1 tablespoon white-wine vinegar 

3 tablespoons capers in vinegar, drained 
Salad oil 


broccoli 


ins from 
lower ends of stalks, With vegeta 
ble peeler, scrape outside of stalks. Cur 
thick stalks into four lengthwise strips up 


to Howerets; cut thin stalks into two 
lengthwise strips. Cook broccoli in wide 
shallow pan in 1 in. salted water. Keep 
pan covered. Simmer 10 to 15 minutes 
or until just tender. Smash garlic slightly 
with side of French knife. Melt butter in 
saucepan with garlic. Heat until butter 


turns a medium brown. Remove garlic 
from pan: turn off flame. Add anchovy 
paste, vinegar ained capers. Stir 
with wire whip until anchovy [ i 
well blended. Keep broccoli and butter 
sauce w . Hear 1 in. salad oil in elec- 
tric skillet preheated at 370°. Drop eggs, 
one at a time, into oil along side of pan 
Use kitchen spoon to tum whites over 
yolks. Tum eggs to brown slightly on 
each side. Drain broccoli, scason with 
salt and pepper and place on serving 
plates. Pour butter sauce over broccoli. 
Place a French-lried egg on top of each 
portion, Serve with crisp French or 
Italian bread. 


ле ds 


ARTICHORES STUFFED WII илм. 
6 large globe artichokes 
Juice of 2 lemon: 
Я slices bacon, minced fine 
14 cup finely minced onion 
teaspoon garlic, minced very fine 
6 ors. sliced cooked ham, minced fine 
% cup heavy cream 
1 cup bread crumbs 
14 teaspoon ground fennel 
14 teaspoon ground cloves 
Salt, pepper 
Grated parmesan cheese 
1 cup melted sweet butter 
With sharp heavy French kı 
off 1 in. from top of artichoke: 
ing sharp leaf ends. Dip ends in lemon 
juice to prevent discoloration. Cut off the 
stub of cach bottom stem, leaving flat 
bottoms. Dip botioms in lemon juice. 
Pull off and discard outside bouom 
leaves or any discolored leaves. 
artichokes in saucepan with 1 


. cur 


discard- 


© 1968 R. J. Reynolds Tobacco Co., Winston-Salem, N.C. 


you cant take the'country" 
out of Salem Super King 


Wherever, whenever you light up-Salem 
Super King gently air-softens every puff 
for a taste that's country soft, country 

2 fresh. Take a puff... it's springtime! 


N 
A | 
Try the опе menthol taste worth making longer! 


PLAYBOY 


160 


salted water. Cover with tight lid and 
simmer till tender, about Y4 hour. Arti- 
chokes are tender when outside leaves 
are easily detached or when centers of 
artichokes are easily pierced with kitch- 
en fork. Carefully remove artichokes 
from water. Turn upside down to dra 
When cool enough 10 handle, separate 


leaves slightly and, with spoon, remove 
furry inside choke, Preheat oven at 
400^, Sauté bacon, onion and garlic over 


low flame until bacon just begins to 
brown. Remove from fire. In mixing 
howl, combine bacon with ham, heavy 
cream, bread crumbs, fennel and cloves. 
Міх well, adding salt and pepper to 
taste. Again separating leaves gently. fill 
cach artichoke with ham stuffing. Place 
stuffed artichokes in baking pan or cass 

role covered. with lid or aluminum foil, 
Bake until heated through, about 20 
Je filling lightly with par- 
n cheese and with a few drops of 
buuer, Place under broiler Hame until 
cheese browns lightly. Avoid scorching 
Serve balance of melted butter at table 
for dipping artichoke leaves. 


GREE! ROLLS 


SPINACI 


6 leaves phyllo pastry 

2 Ibs. fresh spinach 

14 cup finely minced onion 

2 tablespoons butte 

1 tablespoon finely minced fresh di 

4 ozs. mozzarella cheese, shredded 

4 ozs. feta cheese, crumbled 

2 tablespoons g s 

Salt, pepper. cinn 

24 cup melted butter 

The phyllo pastry sheets or leaves may 
be bought in stores spec 
ucis from Greece or the Middle 
Keep refrigerated until used, When sheets 
have been removed from p 
them with a damp towel to keep them 
from drying. Leayes should be at room 
temperature before filling. 

Wash spinach in 4 to 6 clear waters, 
discard stems and cook with water ad- 
hering to leaves until tender. Drain well. 
When cool, press gently to remove cx- 
cess liquid. Chop spinach coarsely Sauté 
onion in 2 tablespoons butter ur 
is yellow. In a mixing bowl, combi 
spinach, onion, dill and the three kinds 
of cheese. Mix well, Add sal, pepper 
and cinnamon to taste, Divide spinach 
imo 3 batches, Preheat oven at 400°. Brush 
two sheets of phyllo with melted butte 
Place onc sheet on top of the other, but- 
ered side up. Place 4 of the spinach 
the phyllo pastry, 


ise oi 


allowi argin on three sides of 
spinach. Fold in ends of pastry from 
sides roll spinach until covered. 


nd sides with melted butter. 
make 2 morc rolls 


Brush top 
In the same n 
with remaining spinach, pastry and bu 
ier (Melt more butter, if necessary.) 


inci 


Place spinach rolls, seam side down, on 

baking sheet or back of baking р: 
nutes or until med 

ve from oven, Let 


or into smaller pieces. 
SPANISH ONIONS STUFFED WITH CRAM MENT 


3 large Spanish onions 
Э 7007. cans crab meat 
ıely minced green. pepper 


2 teaspoons Dijon mustard 
2 teaspoons lemon juice 

y4 waspoon Worcestershire sauce 
14 teaspoon dill weed 

Salt, pepper, celery salt 

Paprika 

Sor. сап tomato sauce 

1j cup catsup 

Cut unpeeled onions crosswise into 
ves. Place cut side down in pan with 
water. Bring to a boil and simmer 10 
minutes or until onions are barely te 
der. Drain and remove onion skin. Cut a 
thin slice from bottom of each onion half 
so that halves sit evenly, cut side up. 
With grapefruit Кийе, hollow each о 


ion, leaving Yin. shell Chop onion 
removed from centers extremely finc. 
Drain crab meat and break into small 


pieces. Preheat oven at 375°. 
bowl, combine ст; 
green pepper, 6 tablespoons n 
bread crumbs, mustard, lemon 
Worcestershire sauce and dill weed. M 
well, seasoning to taste with salt, pepper 


juice, 


and celery salt, Pile crab-meat mixture into 
onions, patting down to make smooth 
mounds. 


Cover each mound with a t 
spreading evenly with 
knife or spoon, Sprinkle lightly with pa 
prika. Place onions on greased shallow 
Bake until brown, about 30 
minutes, Combine tomato sauce and catsup 
nd heat slowly up to boiling point. Pour 
sauce on serving plates. Place stuffed 
onions on sauce. 


BATTER-FRIED MUSHROOMS AND PEPPERS 


114, tbs. large fresh mushrooms 

2 large green peppers 

2 eggs 

15 cup cold water 

4 ол. dry vermouth 

1 cup flour 

1 teaspoon salt 

Salad oil 

12 slices French bread, toasted or fried. 

Cut stems off mushrooms level with 
caps. Stems may be saved for another 


use, such as omelets, soup, ete. Cut. pep- 
pers into Lin, squares. Put eggs, water, 


vermouth, flour, salt and 2 
salad oil in blender. Blend u 
Pour into large mixing bowl. 


blespoons 
til smooth, 
Wash 


mushrooms, drain well and dry on paper 
toweling. Mix mushrooms and peppers 
with batter in bowl Heat tj in, salad 
oil in elecuic skillet preheated at 350°. 
Lift mushrooms and peppers [rom bat- 
ter, draining excess from pieces. Sauté 
mushrooms and peppers until brown on 
both sides and just tender. Pour sauce 
below on serving plates Place mush- 
rooms and peppers on top of sauce. Gar- 
ch portion with 2 slices French 


CREAM SAUCE WITH VERMOUTH 


1 cup milk 
V5 cup light cream 

tablespoons instantized flour 
ablespoons butter 
1 teaspoon anchovy paste 
ncly minced fresh pars- 


2 tablespoons dry vermouth 
It, pepper 

In saucepan, mix milk. cream and 
flour, using wire whip, until flour is dis- 
solved. Add butter. Slowly bring to а 
boil, stirring constantly. Reduce flame 
nd simmer, stirring frequently, about 5 
minutes. Add anchovy paste, parsley and 
vermouth. Mix well, Add salt and. pep- 
per to taste. Keep warm until serving 
time. 


ANT WITH BEL PAESE AU GRATIN 


arge 


plant, about 14 Ibs. 


1 
2 tablespoons salad oil 
8 ozs, bel paese cheese 
1 cup milk 
1 cup light cream 
6 tablespoons bread crumbs (f 
possible) 
Salt, pepper 
Grated parmesan checse 
Peel eggplant and cut 
cubes. In a large pot, bri 
to a rapid boil Add salad oil; 


add 
eggplant and bring to a second boil. 


ver pot and simmer 3 to 5 minutes or 
until eggplant is tender, Avoid overcook- 

ng. Drain eggplant. Preheat oven at 
3757. Remove wax coating (if any) from 


bel paese cheese and shred cheese оп 


ing to a boil and s 
minutes, Let sauce stand about 5 mii 
ures, Season lightly with salt and pepper. 
Mix eggplant and bel paese cheese and 
turn imo greased shallow casserole. Pour 
sauce over eggplant, Sprinkle generously 
with parmesan cheese, Bake 25 to 30 
minutes or until cheese topping browns. 
Entire casserole may be assembled be 
fore dinner and baked during dinner. A 
delightful course after veal scalopp 
veal cutlet à la Holstein 

So don't. pity or shun the poor vegeta- 
ble: given its proper due. it can rise to 
any occasion. 

a 


161 


PLAYBOY 


162 


PLAYBOY FORUM 


friend zeroes in. as playboys are 
wont to do, on a playboy party, and 
meets there the beautiful and cur- 
vaccous wife of a professional foot- 
ball tackle, Being а model playboy, 
he may well be stimulated to spirit 
her off to some dark corner and ex- 
plain to her the intricacies of his phi- 
losophy. Among other things! And 
yet, wily fellow that he is, he knows 
full well that, were he to do so, said 
football-tackle husband might easi- 
ly be tempted to rearrange the 
structure of his nose for him. The 
playboy consciously says to himself: 
“IPT make а pass at this dame, her 
husband is going to mutilate me. 
Therefore, he suppresses his sexual 
drive. Very healthy behavior for a 
playboy! 

The point is that suppression. ог 
self-control or self-denial, unlike 
repression, is not a guilt-based un- 
conscious inhibition and does not 
result. “in perversions of the sexual 
impulse, general intellectual dull- 
ing.  sadomasochistic inclinations, 
unreasonable (paranoid) suspicious- 


(continucd [rom page 56) 


ness, and a long list of neurotic and 
psychotic defense reactions with 
unmistakable ѕе content ог 
overtones." [The Playboy Philosophy] 

The playboy, for all his enthusi- 
asm, has fallen error to a logic: 
igument against. tradi- 
al morality is as precar- 
ious his . . . syllogis 
At the risk of embarrassi 
playboy, permit me to state 
gument in precise syllogistic terms. 

Guil-based repression of the 
wal appetite leads to perversion of 
the sexual impulse, general intellec- 
tual dulling, ctc. 

But traditional morality has fos- 


tered suppression of the sexual 
appetite. 
‘Therefore, traditional morality 


has fostered perversion of the sexua 
impulse, general intellectual dulling, 
etc. 

Sorry. playboy. Non sequitur! 


OK, PLaynoy, let's scc you answer this. 
hheld by request) 
York 


Bronx, Net 


“No, it was not I who brought down your great screaming 
bird—someone else must have thrown the rock!” 


We'll try. Brother Suran goes wrong at 
the start when he states PLAYwoY's position 
as “repressed sex is bad sex; expressed 
sex is good sex." Indeed, the repres- 
sion of sexual impulses is frequently 
harmful, because, as Brother Suran 
acknowledges, it can “wreak havoc with 
other psychological functions” (or, as 
Freud said. the “repressed returns as 
neurosis”). Expressed sex can be either 
good or bad, depending on what kind of 
sex is being expressed, by whom, with 
whom, how, where, when and why. 

This brings us to the issue of suppres- 
sion—that is, the conscious self-denial of 
scx. The "playboy" in Brother Suran's 
example who suppressed a transitory sex- 
ual impulse in order to avoid a rear- 
ranged nose was basing his conduct on 
civility, courtesy and, most of all, on en- 
lightened self-interest; no one would 
deny that his rational behavior was 
healthy, psychologically or otherwise. 
But Brother Suran errs grievously when 
he tries to use this example of sensible 
suppression to establish that all suppres- 
sion is harmless. 

Sustained, or chronic, suppression of 
sex urges is, in fact, psychologically harm- 
ful in many cases (perhaps the majority) 
—depending on the strength of the in- 
dividual's sex drive and on his motives 
for frustrating this drive. If he is con- 
sciously motivated by truly rational con- 
siderations, not by guili-based inhibitions, 
he may be able to abstain from overt sex- 
ual activity for long periods of time with- 
out appreciable harm. Kinsey describes 
some generally noninjurions reasons for 
sustained sexual suppression as “physically 
incapacitated, natively low in sexual drive, 
sexually unawakened in their younger 
years, separated. from their usual sources 
of sexual stimulation. . . .” According to 
Kinsey, these groups comprise a statisti- 
cally insignificant proportion of the popu- 
lation. 

The real issue in chronic suppression, 
however, does not concern. the relatively 
rare rationally motivated or low-sexcd 
individual; it concerns those who have 
grown up associating sex with fear and 
guilt because of the pervasive antisexual 
attitude rigidly fostered by traditional 
morality in this society. This attitude is 
instilled in the individual’s psyche when 
he is a child, before he has the experience 
to make mature, intelligent decisions; the 
sex-guilt association is conscious at first, 
but becomes later. The 
transformation from suppression to re- 
pression is explained by Helleiline, Perls 
and Goodman in their classic textbook, 
“Gestalt Therapy". 


unconscious 


What usually has happened is 
that, first, as a child we inhibited 
overt approaches and 
expressions when they made too 
much trouble [or us in our social 
environment. Gradually, we became 
unaware Ihat we were deliberately 


muscular 


inhibiting them. In other words, 
since thelr suppression was chronic 
and the situation held no promise of 
changing in a fashion that would 
render the suppression. unnecessary, 
this suppression was transformed into 
repression. That is, by no longer 
holding our attention (which re- 
quires change and development), it 
became “unconscious.” 


Kinsey interviewed a sampling of males 
who had chronically suppressed their sex 
drives, He characterized them as “timid 
or inhibited" and clearly pointed out 
that their stated (conscious) reasons. for 
suppressing sexual activity were actually 
ralionalizations of behavior dictated by 
a long-standing, unconscious, antisexual 
bias. (repression). 


[They] are afraid of approaching 
other persons for sexual relations, 
afraid of condemnation were they to 
engage in such socially taboo behavior 
as masturbation, premarital inter- 
course or the homosexual; or afraid of 
their own self-condemnation if they 
were lo engage in almost any sort of 
sexual activity. This accounts for more 
than half of the low-rating list (58.1 
percent), Some of these individuals 
become paranoid in their fear of 
moral transgression, or its outcome. 
There are nine cases of attempted 
suicide among the histories of males 
who were Lying to suppress some 
aspect of thew sexual activity. 
These individuals readily acquire 
and accept every superstitious tale 
concerning the consequences of 
masturbation; ascribe every pimple 
and stomach-ache, their limitations 
in height and their failures in school 
or business to their occasional de- 
partures from the moral code; and 
seek religious confession, penance 
and introverted solitude as means of 
avoiding further sin. 

If they are bettereducated. per- 
sons, and especially if they have 
some command of psychology, these 
inhibited persons rationalize more 
adroiily, admit that masturbation 
does no physical harm but reason 
that it is bad to continue a habit 
that may subsequently make опе 
unfit for normal marital relations, 
decide that premarital intercourse 
similarly  un|us one for making 
satisfactory sexual adjustments in 
marriage, that the homosexual is 
a biologic abnormality and that 
extramarital intercourse inevitably 
destroys homes, Even among scien- 
lifically trained persons, these prop- 
ositions are offered as excuses for 
their sexual inactivity. 

Recently we have secured histo- 
ries from a segregated group of 
males, a high percentage of whom 
are sexually restrained. . . . The 


group has been honored by several 
religious organizations for its ideal- 
ism and its refusal to allow any in- 
terference with its ideals. Many of 
these males are belligerently defen- 
sive of their sexual philosophy... ~ 
However. several of the members of 
the group were receiving psychi- 
atric attention at the time of our in- 
derviews, and several psychiatrists 
have reached the conclusion that a 
high percentage of the whole group 
is ncurolic. 


IH should be obvious to anyone who 
reads PLAYBOY Ihat Hefner does not 
advocate sexual expression in all circum- 
stances, nor does he condemn sexual 
suppression in all circumstances. He 
agrees with a comment made by Brother 
Suran, elsewhere im his article, that “A 
man is free to the extent that he is able 
to initiate, guide and control his be- 
havior.” But to the extent that he is 
prejudiced against sex by his early train- 
ing in a puritanical, sex-negating culture, 
he has lost the freedom to consciously 
decide the conditions of this behavior. 
Furthermore, Brother Suran's own Ro 
man Catholic Church, in teaching that 


“unchaste™ thoughts and desires ате sin- 
ful if consented to and must not be 
entertained for the sake of pleasure, 
fosters precisely that “unconscious process 
by which specific psychological activities 
are excluded from conscious awareness" 
and which he defines as repression. 
Brother Suran. obviously not. compre- 
hending the process by which a chronic 
conscious decision of suppression, if fear- 
or guill-motivated, becomes the neurotic 
mechanism of repression, has constructed 
a rather wobbly syllogism himself. 
Sorry, Brother Suan, Non sequitu 


The Playboy Forum” offers the oppor- 
tunity for an extended dialog between 
readers and editors 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, 13-1 
and 19-22, ате available at 50¢ per book- 
let. Address all correspondence on both 
“Philosophy” and “Forum” to: The 
Playboy Forum, Playboy Building, 919 N. 
Michigan Ave., Chicago, Illinois 60611. 


163 


PLAYBOY 


164 


PLAYING FIELDS 


thieves, perverts, prostitutes, murderers 
and dope addicts. He was. in fact, not so 
much afraid of the pain his son might 
know as of the fact that should his son 
endure any pain, he. Nailles, would have 
no resources to protect himself from the 
terror of having his beloved world—his 
kingdom-—destroved. Without his son. 
he could not live. He was afraid of his 
own death. 

He went back down the hall. dosed 
the door to the room where Maryellen 
slept and went downstairs. where he 
telephoned the Bureau of Missing Per 
sons. There w no answer. He then 
called the сешга1 police office. but they 
had no record of anyone like Tony. He 
gave them his number and asked them 


to call back if there was any news. He 
drank half a y d then 
wandered around the living room, say 


ing, "Oh God Oh God Oh God." Then 
he went upstairs, took two Nembu 
got into bed and lost consciousness a few 
nutes later. 

Nailles woke at half past seven and 
went back to Tony's room. which was 
empty. He then woke Marvellen and 
told her the boy was missing. He tele- 
phoned the Bureau of Missing Persons, 
but there was still no answer; and when 
he telephoned the police. they had no 
news. The next train from New York was 
the 8:10 and. having absolutely nothing 
else to go on. he settled for a kind of 
specious, single-minded hopefulness. He 
felt that if he hoped strenuously enough 
for the boy's return, the boy would re- 
turn, He drove to the station and when 
the train came in. Tony appeared, sur- 
aded by thar mysterious company of 
ad women who travel on Sunday 
bly carry pa- 


men 
mornings and who 
per bags. Nailles embraced his son. em- 
braced him until his bones cracked, and 
asked: “Oh, my God, why didn't vou 
telephone. why didn't you tell us?" 
"It was too late. Daddy. I didn't want 
to wake you up.” 
“What happened? 
"Well. Т was feeling blue about foot- 
ball and I thought I'd buy a book of po- 
etry, so Т went into a bookstore and 
there was this nice lady—Mrs. Hubbard 
and we talked and then I asked her if 
she'd have dinner with me and she said 
why didn't I come to her apartment— 
she called it her flat—and she'd cook me 
dinner, and so I did." 
Did you spend the night with her?" 
“Хез. 
lcs knew 
malc and he ha 


son wa 
1 no reason to pro- 


а ma- 


Ч 


test that Tony had acted as one: but 
з would pick up 
nd hustle 


what sort of a wom: 
young man in a bookstore 
him home to bed? 

“Was she a slut?” 

“Oh, no, Daddy, she's very 


(continued from page 84) 


а widow. She graduated from Smith. 
Her husband was killed in the War." 

This invitated Nailles. She had given. 
her husband to her country and, thus, he 
must give his son to her. He somehow 
thought it the responsibility of war wid- 
ows to remarry hastily and not to parade 
their forlormness throughout society, stress- 
ing the inequities of war. If she was at- 
tractive, intelligent and clean, why hadn't 
she remarried? 

Well, we can't tell your mother. It 
would kill her. We'll have to make up 
some story. You went to a basketball 
game 
spent the night at the Crutchma 
But I've asked her to lunch. 
Who?” 

Mis. Hubbard.” 

“Oh, my God," N 
you have to do that? 

“Well, shes lonely and she doesn't 
seem to have many friends and you've 
always told me that | should ask people 
to the house.” 

“All Nailles said, “this is our 
story. You went into a bookstore and you 
met a lonely war widow and you asked 
her to lunch. Then you got some dinner 
somewhere and you went to a basketball 
and you spent the night at the 
ns. Right? 


wry." 


nd ir went overtime and you 


Iles said. "Why did 


mned well better.” 

Maryellen embraced her son tenderly 
and ed that Tony had 
been basketball game, invited а 
lonely war widow 10 lunch and spent the 
night at the Crutchmans'. 

"How are the Crutchmans?" Mary- 
ellen asked. "I haven't seen them for so 
long. Do they h: nice guest 
They've always urged us to use it, but 1 
always like to come home. I suppose we 
ought to send them something. Do you 
think we ougl 
could write them 

“Oh, don't bother, 
them something. 

After breakfast, Nailles asked Tony if 
he wanted to cut wood, but the boy said 
he thought he'd do his homework. The 
word homework touched | Nailles—it 
seemed io mean innocence, youth, puri- 
ty, all simple things—all lost im the bed 
of a sluuish war widow. He felt sad. He 
cut wood until it was time to bathe and 
dress and then he made a drink. Mary- 
ellen was cooking a leg of I 
humble and innocent smell 
kitchen. He looked at Maryellen for 
some tace of suspiciousness, reflection 
or misgiving. but she seemed so unwary, 
so truly innocent, that he went 
stove and kissed her. Then he went 
the living room and waited. 

Tony parked the car in the driveway 
and opened the door for Mrs. Hubbard, 


10 a 


ют? 


е а 


ht to send them flowers? Т 


note 


illes said. “ГЇ 


to th 
nto 


who gor out laughing. She wore a s 
chesterfield with a brown velvet collar and 
carried an umbrella, which she swung i 
a broad 


ay 


у nd she seemed pro 
pelled forward partly by Tony, partly by 
the umbrella. She was shorter than he and 
looked up into the young man's face with 
a llirtatiousness that enraged Nailles. 
wore no hat and her hair was a nonde 
saipt reddish color, obviously dyed. Hcr 
heels were very high and this made the 
calves of her legs bulge. Her face was 
und and flushed and Nailles wondered: 
Indigestion? Alcohol? He opened the door 
nd welcomed her politely and she sai¢ 
“It's simply heavenly of you to take pity 
on a poor widow. 
“We're delighted to have you 
Hes. Tony took her coat. 
How do you do.” said 
“Won't you please come in. 
the living room to the right of the hall, 
where a fire was burning. The pleasure 
she took in presenting her house, her t 
ble to someone who was lonely shone i 
her face. 
“What а 


Maryelle: 


said 


house," 


ibattanz" Nailles 
asked. “We им nk manhattans on 
Sunday.” 

“Any sort of drinkee would be divine.” 
said Mrs, Hubbard 

‘Did you find the trai 
len asked 
Not really,” said Mrs. Hubbard. “I 
had the great good luck to find an inter: 
esting aveling companion—a young 
man who seems to have some real-estate 
interests owt here. I can't remember his 
name, 1 think it was Italian. He had the 
blackest eyes. . . . Hmmm,” she said of 
a novel on the table. “O'Har 

“Im just leafing through it" Mary- 
ellen said. “I mean, if you know the sort of 
people he describes, you cam see how 
distorted his mind is. Most of our set are 
happily married and lead simple lives. 1 
much prefer the works of Camus.” Mary- 
ellen pronounced this Camooooo. “W 
have а very active book dub and at pres- 
ent we 

"What Camus are you studying 

“Oh, I cant remember the titles, 
Manyellen said. "We're studying all of 
Camus. 

It was to Mis. Hubbard's credit 0 
she did not pursue the subject. Tony gor 
her ап ashuay and Nailles looked 
rowly at his beloved son and this stray. 
His manner toward her was manly 
gentle. He didn't at any point touch her, 
but he looked at her im a way that was 
proprietary пе. He seemed 
comented. Nailles did not understand 
hav ched this youth, she 
fou brass to confront his 


a trip boring?" 


м 


studying the works of Camu 


cl 


nd intim 


how, 
the 


parents. Was she totally immoral? Did she 
them totally immoral? But his 
est and strangest feeling, observ- 
ing the boy's mastery, was onc of hav. 
g been deposed; as if, in some ancient 
legend ч n wore golden crowns 
and lived in round towers the basta 
prince, the usurpe bout to seize 
the throne. "The sexual authority that 
agined to spring [rom his mar- 
age bed and flow through all the rooms 
d halls of the house was challenged 
There did not seem to be room for two 
men in this erotic kingdom. His feeli 
was not of a contest but of an 
ty. He wanted to take Maryellen upsta 
and prove to himself, like some old roost- 
cr, that the scepter was still his and that 
the young prince was busy with golden 


apples and other imp ters. 
"How did you lose your hush: 
Mrs. Maryellen asked. 
1 зау," said Mrs. Hub- 


bard. “They don't go in terribly much 
for detail. They simply announce that he 
was lost in action, Oh, what a divine old 
dog." she exclaimed as Tessie. the setter, 
wandered into the room. "I adore setters. 
Daddy used to breed and show them.” 
“Where was th 
‘On the Island 
“We had a largish pi 
until Daddy lost his pe 
say. he lost them all." 
"Where did he show his do 
Mostly on the Island. He showed one 
dog in New York—Allshire. Lasste—but 
he didn't like the New York show.” 
1 we go in to lunch?" asked 


се on the Island 
ics and I may 


thc asked 


usc amen 


‘The wh said Maryellen. 


рага. 


Iles carved the meat and absolute 
ly nothing of any interest or significance 
was said until about hallway through the 
meal, when Mrs. Hubbard complimented. 
Manyellen on her roast. “It’s so marvelous 
to have a joint for lunch,” she said. "My 
Hat is very small, as are my means, 
never tackle a roast. Poor Tony had to 
make do with a hamburger last night.” 
Where was this?” Marvellen asked. 

"Emma cooked my supper last night,” 
Tony said. 

“Then you didn't spend the night at 
the Crutchmans 
о, Mother,” Tony said. 

Maryellen saw it all, seemed to be 
looking at it. Would she rail at the st 
ger for having debauched her cleauly 
son Shu. Bitch. Whore. Degenerate. 
Would she ery c the table? Tony 
was the only who looked at his 
mother, she would. 
What would happe! He would fol- 
low her up the stairs, calling: "Mother 
Mother, Nailles would tele 


phone for a taxi to take dirty Mrs. Hub- 
bard away. 

Marycllen, her lunch half finished, 
lighted a cigarette and said: "Let's play 
"E packed my grandmother's trunk.’ We 
always used to play it when Tony was a 
boy and things weren't going well." 

“Oh, let's," said Mrs. Hubbard. 

"I packed my р 
said Maryellei 
grand piano. 
jacked my grandmother's trunk," 


nümother's trunk," 
wo it I put a 


Dylan Thom 
“I packed mother's trunk," 
id Tony. I put a grand р 
no, an ashtray. a copy of Dylan Thomas 
and a football." 
р ked my 


grandmother's trun! 
and into it I put a 


said 


"He's not much as a private secretary, but if I need 


Thom; 


“I packed my grandmother's t 


а сору 


‘They got through lunch 


shtray, а copy of D 
„ a football and a handkerchief.” 


nk," 


football, a handkerchief and 


nd when this 


was over, Mrs. Hubbard asked to be tak- 


en to the station. She t 


nked Nailles 


and Maryellen, got into her chesterfield, 


went out the door and 


bershoot.” 

Maryellen с 
les embraced her, saying: 
ring. darli i 


said that his mother was resting. 
got to go out for something cl 
said. “Wrestling or hockey.” 

“It's too early for hockey, 
“TI uy basketball." 


an organ transplant, he'll come in damn handy.” 


then returned, 
ng: "Oops. 1 nearly forgot my bum- 


ied, after they had gone. 


t up- 


$, and when Tony returned, Nailles 


Nailles 


id. 


165 


b» 


PLAYB 


166 Deer graze by the roadside 


MONTEREY кошара j 


infantrymen was already marching from 
the south at а brisk rate to help preserve 
the peace. The commodore remained un- 
easily thoughtful for a day before taking 
the hint. 
Today, close by Monterey Fisher 
man’s Wharf, a plaque in a parking lot 
commemorates the commodore's abortive 
conquest. It is apparent, judging by the 
care with which this little monument is 
maintained, that the town relishes his 
memory. This is only fitting: he was a 
charter. member in the rich tradition of 
eccentrics with which Monterey has been 
d in history and in literature. 
The Monterey Peninsula is a small 
morsel of California, about 30 square 
miles in total arca, that juts out into the 
125 miles south of San Fi 
miles north of Los Angeles. The 
three principal resort communities. on 
this roughly squareshaped. chunk of land 
are Monterey in the northeast corner, Pa 
cific Grove in the northwest and Carmel 
in the southeast. You can drive around the 
peninsula in an hour and form a sketchy 
impression of the region, ог you can 
take a couple of days—venturing south- 
ward еп route some 35 miles beyond the 
peninsula to the craggy wilderness of Е 
Sur—and obtain a fairly substantial taste. 
Try to plan your visit to coincide with one 
of the many festivals and special events 
held every year in the surround 
towns, because these are the times, if 
you're traveling alone, when you're most 
likely 10 meet people with interests simi 
lar to your own, Highlights are the Bing 
Crosby National Pro-Amateur Golf 
Tournament in January, the U.S. Road 
Racing Championship at Laguna Seca in 
carly May, the Carmel Bach Festival 
in July and the Monterey Jazz Festival 
September 20-22. In between are more golf 
tournaments, point-to-point race mee 
the Del Monte Concours d'Elegance, horse 
shows, religious and historical. festivals, 
regattas and art shows. Uptodate calen 
сап be ома ng to the 
Monterey Visitors and Convention Bureau. 
The southwest part of the peninsula is 
owned by the Del Monte Properties 
Comp and on it are some of the 
world’s most spectacular golf courses 
(Pebble Beach and Cypress Point). 
opulent homes and a deluxe resort hotel— 
the Del Monte Lodge: although the [act 
that meals ате included with room rates 
might curtail your dining adventures else 


17-Mile Drive, which winds 
һ cool foresis of Monterey. pine, 
past the tortured shapes of cypresses that 
grow to the water's edge and alongside 
secluded beaches and crystalline rock pools. 
nd sca lions 


ge 127) 


crowd the rocks offshore, honking dispu- 
tiously at one another. It is a remarkably 
beautiful and unspoiled stretch of coast. 

The quickest and 
the peninsula cou 
try is to take a flight from Los Angeles 
ог San Francisco to Monterey airport, 
where a car can be rented for the dur: 
ion of your stay. It's difficult, time- 
consumi dl sometimes hazardous 
(because of the frequent fogs that obscu 

iot only the scenery but the road, with its 
sharp bends and precipitous clills that fall 
away from the highway) to approach the 
peninsula. from the south. If you wanted 
Simeon, Hearst’s brooding 
ument to himsclf 94 miles down the 
coast from Monterey, you would have to 
negotiate this route, But I wouldn't rec 
ommend it unless you absolutely love to 
drive. 

"Though there's no shortage of first-class 
ngs anywhere on the peninsula, it's 
s advisable at the best inns and mo- 
lance, More 
ch year, and 
at the height of the summer season, 
rooms are scarce. In the Monterey arca, 
а Munras, a quaint garden hotel on 
Munras Avenue, and the Mark Thoma 
Inn out on Fremont Street provide emi 
nently comfortable home 
which you can begin your explorations 
of the peninsula. 

A tour should start with Monterey it- 
self. An eccentric sort of tow: ike its 
historic visitors—it is one of the few T 
know that has a red dotted line painted 
down the center of the streets as a guide 
10 dts revered mon This 
route, known as the Path of Histor 
first painted in 1938. Many a tourist 
er. intent on following it, has come 
ef with an equally preoccupied 
ist driver traveling in the opposite 
although this state of affairs 
has nearly been climinated by turning 
the streets into one-ways and encourag- 
ing visitors to take in the sights on foot. 
And there is much to see. Monterey is a 
working fishing port (though the sardines 
for which it was once well known have 
long since vanished: some say they left in 
j, the усаг, oddly enough, that John 
nbecKs Cannery Row was published) 
and the sex lions still follow the boats 
right to Municipal Wharf to beg for scraps. 
"Ehe gaunt old sardine canneries immortal- 
ized by Steinbeck have, for the most part, 
been converted to boutiques, antique shops 
and ants; others nd forlorn and. 
dere 
fading from neglect Though the Row, 
happily, is no longer “a poem, it stink, а 
t is still, as the rest of the 
quo “a quality of light, a tone 
...a nostalgia, a dream. 

To visit the faint but graceful relics of 


tels to reserve in 
4,000,000. visitors arrive 


than 


bases from 


most 


iments 


tion sa 


the Spanish and Mexican occupation of 
Monterey, vou need only follow the red 
Tine—alter first obtaining a map to the 
monuments you'll find en route. Begun 
п 1814 by the Spaniards, California's 
oldest public building, the ОМ Custom 
House, is opposite Fisherman's Wharf. 
The house where Robert Louis Steven- 
son lived 1879 is on Houston Street, 
nd dotted about elsewhere are simple 
old adobe houses, their verandas ablaze 
with wisteria and rose vines. 

Fisherman's Wharf is probably the 
biggest tourist attraction in town, and it 
no doubt has a salty kind of charm; but 
Cult to sense this amid the clutter 
of dreary rubbish hawked by the gift 
stores that line the wharf There is also 
m that sports a number of fish 
couple of listless seals whose 
aptivity is made all the more poignant 
by the nearby barking of their relatives 
swimming freely in the harbor outside. 

If vou pass this way, however, I 
would recommend stopping for a drin 
at Neptune's Table, taking a seat over- 
lool th Angelo's offers a 
pleasant view of the action in the harbor 
and also serves a tasty clam chowder and 
house wines. Elsewhere on wharf, 
you'll find Rappa's Sea Food Grotto and 
Lou's Fish Giotto, both of which offer crab. 
specialties as well as seasonal fish—every- 
thing from sole, эса bass, red snapper and 
swordfish to the famed Monterey Bay 
salmon. And in any of the dozens of snack 
ars. you cin order an abalone sandwich 
and wash it down with a glass of cold beer. 

At night, except for the flocks of visi- 
tors strolling the streets, the peninsula is 
quiet, with none of the glitter and noise 
one associates with a popular resort. 
Apart from the movies, about the liveli- 
est after-hours place in Monterey 
though newer ones may open later this 
) is the Bull's Eye on Was! 
ton Street. If you care to test the cap: 
ty of your eardrums, go there: ve 
hard rock and good. too. Some terri 
looking girls are usually doing thei 
on the tiny dance floor: wear casual clothes 
and be under 30; if you're not, you'll feel 
like an old fogy. The Club XIX at the 
Del Monte Lodge has modern jazz; the 
check-to check. danci a couple of re 
taurants around town, and tha 
except for the night spots owned by a local 
med Richard O'Kane, who 
n unsuccessfully for county supervisor 
four years ago on a platform pledging that 
everyone in the county would get some- 
thing, “with a little bit left over for me, 
His two places on Cannery Row are Flora’ 


/ loud, 


named for a famous local madam, and 
The Warehouse, Flora's is a carefully 
réwored Victorian bar, where you сап 
build your own sandwiches at ridicu- 


lously low prices; and The Warchouse 
features  barrel-house trio, silent mov 
ies, Malian food and a bevy of filly 


167 


PLAYBOY 


168 Its 


miniskirted waitresses known as The Un- 
touchables. On my last visit—and this 
was out of scason—it was also filled with 
groups of single girls from nearby col- 
leges. It's a good place to scout the action if 
you're traveling alone and highly recom- 
mended for a drink and a laugh after 
dinner in one of the restaurants farther 
along the Row. If it's still there, 
look through the 
book at The Wa І was 
pressed by a wit who, signing himself 
Judas Iscariot, noted: “I'm in big trouble.” 
For that Cannery Row dinner, there's 
Polynesian and American food at the 
Outrigger (try to get there at sunset for 
a window table overhanging the water 
veal dishes and a remarkably good Ma 
dras curry at Kalisa's; acres of char-broiled 
steak, prime ribs abalone at the 
Golden Bear; lobster and steak (and what 
I'm told is a succulent cheeseeake—I've 
never tried it) at Neil de Vaughn's; and, 
Aldon's, the Steinbeck movie 
theater, more steak and seafood, with a 
dance floor over the waves. Elsewhere 
town, there's The Ginza, for authentic 


visitor 


im- 


ehouse 


near 


Japanese food, and Ramon's, the newest 
and just about the best Mexican restaurant 
in the region. 

Gallatin’s, located in an old adobe 


house on Hartnell Street, is still the un- 
disputed leader of all Monterey restau- 
rants and ranks with the best in the 
country, even if its menu does offer 
somewhat bizarre dishes, such as Im- 
perial Siberian Wild Boar "from the 
acorn-filled wilderness of the Santa Lu- 


cia Mountains in California” and some- 
thing called Bull's Head Minotaur. 
According to the menu, this formidable 


g less than “the ent 
head of a bull, done in authentic Cretan 
style—which includes the tongue sim- 
mered in spices and the brains and eyes 
sautéed in butter . . . and crowned 
with pastry horns and wreaths of gaily 
colored flowers.” Not only that, reads the 
blurb, “This great bacchanalian entree 
has not been prepared and served in the 
true Cretan manner . . . for 9000 
years." Im not surprised; it sounds like 
a lot of bull. It also costs $20 a serving 
and must be prepared for a minimum of 
ten people, which means a tab of at least 
5200. If this is inhibiting, Gallatin's also 
serves a fine steak, along with such mouth- 
waterers as abalone рий» and, in scason, 
blue points stuffed with Beluga cavi; 

Pacific Grove is chiefly famous lor its 
monarch butterflies, swarms of which set 
tle on the local pine and ew 
wees in October there u 
March, God knows why: maybe 
cause, as soon as they arrive, the lo 
Poi A. 
The community w: 
retreat in 1875 by n 
rchitecture is charmingly Victoria 


nd stay 


de to celebrate. 
arted as a Methodist 
isters of the church, 


throws а big 


gables and all: the streets are asleep: and 
the town is dry. Totally tcetotal, it's ruled 
by the last vestige of the old Pacific Grove 
blue laws; until some years ago, all window 
blinds had to be lowered and all lights 
extinguished by ten o'clock every night. 

Continuing on from this tranquil en- 
dave, as they say in the tr 
can explore the coa 
17-Mile Drive south through thc Del 
Monte. Forest toward Carmel. You might 
want to stop en route at the patio of the 
wltaposh and rather stuffy Del Monte 
Lodge for a quiet drink. The Pebble 
Beach links are there, too: but should you 
wish to play a couple of rounds, you must 
be either a guest at the lodge or a guest 


of a Pebble Beach member. 
Carmel has been ап artists colony 
since the beginning of this century, 


when homesites cost $50 apicce and 
such celebrities as Jack London and Up- 
ton Sinclair courted the Carmel muse. 
Most of the big names who followed have 
moved elsewhere, but many working 
ters and painters still choose to live 
there—although, in the tourist season, the 
serious ones enter a form of monastic 
hibernation. 

Among the last great strongholds of 

Hell. no. we won't grow,” Carmel is a 

with unnumbered houses; there 
are no billboards, and mail must be col. 
lected at the post office. The architec- 
ture ranges from doll'shouse rococo to 
Hansel and Gretel cutesy, with some 
noteworthy concessions to Californi 
modern, including a Frank Lloyd 
Wright house at the beach. Take a walk 
along the main street, visit a few of the 
local art galleries and then venture. out 
to the famous Carmel Mission, a litle 
way south of the village. 

The best accommodations in Carmel are 
the Normandy Inn and Tradewinds, both 
handsomely furnished and equipped with 
heated pool, 


wi 


town 


notorious for its icy water and turbulent 
rip tides. If I were looking for privacy and 
spectacular view near 1d re- 


serve one of the new lanai rooms (don't 
take anything else) at the Highlands 
Inn, on Route 1. It's four miles south of 
the village but well worth the journey: 
superb food, with a lunchtime bullet of 
ty, and a log fireplace in 
your room for those chilly nights when 
the fog drifts in from the Pacific. 

Y dining in town, there's L'Escargot, 
for first-rate French food; the Pine Inn 
Hotel's garden patio, a delightful setti 
for lunch, if you'll settle for stan 
hotel fare; Crichton House, for 
lobster and fish in season: and the Mata- 
dor, which is a popular place with local 


cpicurcan. vai 


steak, 


celebrities (one of whom 
a friend of the owner). The bill of fare is 
Spanish a 
room for 


d you can reserve a private 


ner. 


Afterhours activity in the town is 
practically nonexistent, but one of the 
peninsula's surprises is the Mission Ranch 
on south Dolores Street, a piano bar that's 
loud, vulgar and totally delightful. Local 
bachelors have discovered that the best 
night there is Thursday, when the Ranch 
is filled with young lady schoolteachers 
who congregate to усти their frustrations. 

Lying 35 miles south of Camel on 
Route 1—а road that twists and coils, 
clinging one moment to a sheer diff and 
plunging toward the sea die next—is Big 
ur, whose masive and unconstrained 
awesomeness sets this bizarre ki 
apart from Monterey or С to 
which it bears little topographic or any 
other resemblance. To drive from Big 
Sur north to the peninsula is, scenically, 
at least, anticlimactic. 

т trammeled landscape has noth- 
ing manicured about it, no sign of the sell- 
consciousness that, for me, takes the 
edge off the charm of Carmel. If you 
walk at night along the highway that 
runs through Big Sur, the only lights 
you'll sce are those of its half-dozen 
roadside inns and motels, Beyond are 
the redwoods, the mountains and the 
blackness, huge and silent, the province 
of birds of prey, wild boar and moun- 
in lions; and on the other side of the 
road, dense woods that stretch to a 
shore line few people ever sce. 

About 400 people live along this 40- 
mile stretch of land, in houses that lie 
buried among the thickly forested hills 
and tucked into the shadow of remote 
ayons leading to the sea. Visitors who 
drive in from other parts of the country 
often make wistful advances to local 
realestate agents, but surprisingly few 
carry through the idea of staying. The 
reason is that Big Sur probably intimi- 
dates many pcople. Even as a coastal 
ion resort—which it isn't, strictly 
ing—it falls far short of the average 
tourist's demands. Only one beach is 
y accesible to the public and swim- 
ming isn’t recommended. 

Hunters can go after deer, pigeons 
nd wild boar during open season; trout 
fishing lasts from May to October in the 
state park; and plenty of hiking trails cut 
through the Los Padres National Forest. 
Other than that, except for the wonders 
of the landscape itself, there's little to 
detain most vacationers, 

There are no modern lodgings in the 
vicinity, and those it has are rustic and 
often rudimentary. For accommodation, 
Id pick the Big Sur Lodge; its one- and 
two-room lequate, if пог fancy 
Don't feed the raccoons that will come to 
your door, because you'll never get rid of 
them. 

One of the newest and most. contro- 
versial additions to the Big Sur scene is 
the Esalen Institute, situated at the site 


bins are 


A young man's world—your world—moves 
fast. And PLAYBOY. keeps up with it all, 
captures the best of it in provocative print and 
fabulous photos 12 times a year. To entertain. 
To enlighten. To amuse. Month after month. 

The reading is revealing. Timely. Versatile. 
The names who make headlines, who punch 
out nerve-searing questions and probe 
for answers, who sting with the bite of satire, 
amuse with a touch of mirth or unleash the 
unknown, are at their finest in PLAYBOY. Men 
like Mailer, Malamud, Galbraith, Getty, Senator 
Javits, Arthur C. Clarke, Ken W. Purdy and Nat 


Hentoff invite your pleasure—maybe displeasure. 


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170 


of a hot springs. The announced aim of 
this nonprofit establishment is to induce 
—through therapy, psychodrama, masage 
and Eastern philosophy—a sense of re- 
lease from the complicated problems of 
life. It would be easy to be cynical about 
the Esilen program, but it’s regarded by 
many psychiatrists as a revolutionary ther- 
apeutic development, and many of those 
who went to scoff have left its bowered 
grounds totally desoured. Courses are of- 
fered to the public at moderate rates for 
weekend seminars and five-day workshops; 
if you're interested, make reservations 
well in advance. 

Hitchhiking is not generally consid. 
ered one of the most sophisticated forms 


of wavel, but in Big Sur it's routine and, 
for the unattached male visitor, it can 
often serve as a means of quick intro- 


d pleasant company. 
Pcople have a way of so losing, or at 
least burying, their i 


especially true if, like me, you happen 
10 be exceptionally handsome, richly tal- 
ented, fabulously wealthy and a rather 
wonderful human being. 

Sooncr or later in Big Sur you will 
find yourself at Nepenthe, an almost 
legendary cstablishment that is part res- 


taurant, part town square. Nepenthe is 
where the locals gather in the evenings 
to sit around the bat or to lounge by the 
open fire pit on the patio, lulled by 
Brahms and Vivaldi playing sofdy on the 
stereo and seemingly oblivious to the 
grinding insanity of the outside world. If 
the fog chills the there's a fire 
inside, гоо. Window tables present perfect 
tage points from which to watch the 
as it dies in the Pacific. a long and 
id ritual that never grows tedious. 
Nothing spectacular about the menu 
(steaks, hamburgers and ch 
portions are generou 
great. M. tions in the busy sea- 
son or you won't get a table. 

Many writers—including some of the 
best—have tried to pin Big Sur down, to 
lay it bare, to dissect its innards and 
analyze its life style. Henry Miller prob- 
ably morc than anyone to make it 
famous, and the poetry of Robinson 
Jeffers perhaps comes closest to evoking 
its many rugged moods, But this 
undefined, almost intangible communi- 
ty, with no real borders other than the 
sea, is not easily explained or under- 
stood. АП one can say is that it is there, 
and it is waiting. 


“It's either a stag film, an underground movie 
or a cigarette commercial!” 


MASKS 
(continued from page 126) 


lanners, Jim," said Babcock. 
ОК. My worst fault. What do you 
want to know?” 

Sinescu sipped his coffee. His hands 
were still trembling. “That mask you're 
wearing,” he started 

“Not for discussion. No comment, no 
comment. Sorry about that; don't mean 
10 be rude; a personal matter. Ask me 
something" Without warning, he 
stood up, blaring, “Get that damn thing 
out of here!" Sam's wife's cup smashed, 
coffee brown across the table, A fawn- 
colored puppy was sitting in the middle 
of the carpet, cocking its head, bright- 
eyed, tongue out. 

The table tipped, Sam's wife struggled 
up behind it. Her face was pink, drip- 
ping with tears. She scooped up the 
puppy without pausing and ran cut. “I 
better go with her,” Sam said, getting up. 

"Go on; and, Sam, take a holida 
Drive her into Winnemucca, sce a movie." 

“Yeah, guess 1 will" He disappeared 
behind the bookshelf wall. 

The tall figure sat down ag 
moving like a man; it leaned back in the 
same posture, arms on the arms of the 
chair. It was still. The hands gripping 
the wood were shapely and perfect but 
unreal; there was something wrong 
about the fingernails. The brown, well- 
combed hair above the mask was a wi 
the ears were wax. Sinescu nervously 
fumbled his surgical mask up over his 
mouth and nose. “Might as well get 
along.” he said, and stood up. 

Phat’s right, T want to take you over 
to Engincering and R and D," siid Bab- 
cock. “Jim, ЕИ be back in a бие while, 
Want to talk to you. 

“Sure,” said the motionless figure, 

Babcock had had a shower, but sweat 
was soaking through the armpits of his 
shirt again, The silent elevator, the green 
carpet, a litle blurred. The air cool, 
stale. Seven years, blood and money, 
500 good men. Psych section, Cosmetic, 
Engincering, K and D, Medical, Immu- 
nology, Supply, Serology, Administra- 
tion. The glass doors. Sam’s apartment 
empty, gone to Winnemucca with Irma. 
Psych. Good men, but were they the 
best? Three of the best had turned it 
down. Buried the files. Not like an 
ordinary amputation, this man has had 
everything cut off. 

The tall figure had not moved. Bab- 
cock sat down, The silver mask looked 
back at him. 

im, let's level with each other. 

“Bad, huh?” 

“Sure it’s bad. I left him in his room 
with a bottle. I'll see him again before he 


leaves, but God knows what he'll say in 
Washington. Listen, do me a favor, take 
that thing ОЕ” 

“Sure.” The hand rose, plucked at the 
edge of the silver mask, lifted it away. 
Under it, the tan-pink face. sculptured 
nose and lips, cycbrows, eyelashes, not 
handsome but good-looking, normal 
looking. Only the eyes wrong, pupils too 
big. And the lips that did not open or 
move when it spoke. "I can take any- 
thing off. What docs that prove? 
‘Jim, Cosmetic spent eight and a half 
months оп that model and the first thing 
you do is slap a mask over й. We've 
asked you what's wrong, offered 10 make 


ked about phasing out the 
Did you think you were kid- 


A pause. “Not kidding." 
“All right. then open up. Jim, tell me; 
I have to know. They won't shut the 
project down; they'll keep you alive, but 
that’s all. There are seven hundred on 
the volunteer list, including two U.S 
Senators, Suppose onc of them gets 
pulled out of an auto wreck tomorrow. 
We can’t wait till then to decide: we've 
got to know now. Whether to let the 
next one dic or put him into a TP body 
like yours. So talk to me." 
Suppose I tell you something, but it 
isn't the truth.” 
Why would you li 
“Why do you lie to a cancer patient?” 


Look at this face.” Calm and 

perfect. Beyond the fake irises. a wink of 

Suppose we had all the other 

problems solved and I could go into 

MUCCA tomorrow: can you sec me 

walking down the street—going into а bar 
ga axi" 

“Is that all it is?” Babcock drew a deep 
breath. “Jim, sure there's a difference, but 
for Christ's йз like any other 
prosthesis—people get used to it. Like 
that arm of Sam's. You see it, but after 
a while you forget it, you don't notice." 

“Bull. You pretend not to notice. Be- 
cause it would embarrass the cripple. 

Babcock looked down at his clasped 
hands. “Sorry for yourself?” 

"Don't give me that,” the voice blared, 
The tall figure was standing. The hands 
slowly came up, the fists clenched. “I'm 
in this thing, Гуе been in it for two years. 
I'm in it when I go to sleep, and when 
1 wake up. I'm still in i 

Babcock looked up at him. "What do 
it, facial mobility? Give us twen- 
ty years, maybe ten, we'll lick it” 
"No. No.” 

"hen what?” 


you w 


“Hell—I've torn up my relief check by mistake.” 


“I want you to dose down Cosmetic.” 

"But Фасо" 

“Just listen. The first model looked 
ike a tailor's dummy, so you spent е 
months and. came up with this or 
it looks like a corpse. The whole idea 
was to make me look like a man, the first 
model pretty good. the second model 
heuer, until you've got something that 
n smoke cigars and joke with women 
nd go bowling and nobody will know 
the difference. You can't do it, and if you 
could, what for 

“I dowt—— Let me think about this. 
What do you mean, a metal 

“Metal, sure, but what difference does 
that make? Pm talking about shape. 
Function. Wait a minute.” The tall figure 
strode across the room, unlocked a cabi- 
net, came back with rolled sheets of paper 
“Look at this.” 

The drawing showed an oblong metal 
box on four jointed legs. From one end 
protruded a tiny mushroom-shaped head 
оп a jointed stem and a cluster of arms 
ending in probes, drills, grapples. "For 
moon prospecting 


“Too many limbs.” said Babcock afier 
а moment. “How would yo" 

“With the facial nerves. Plenty of them 
left over. Or here.” Another drawing. “A 
module plugged into the control system 
of а spaceship. That's where I belong, in 
space. Sterile environment, low grav, 1 can 
go where a man can’t go and do what a 
I сап be an asset, not a 
goddamn billion-dollar liability." 

Babcock rubbed his eyes. "Why didn't 
you say anything before?” 

"You were all hipped on prosthetics. 


You would have told me to tend 
knitting." 

Babcock's hands were shaking as he 
rolled up the drawings. “Well, by God, 
this just may do it. Ir just might." He 
stood up and turned toward the door. 
“Keep your—" He cleared his throat 
"I mean, hang tight, Ji 

“Ti do that.” 


When he was alone, he put on his 
mask 1 and stood 


motionless a 17] 


PLAYBOY 


172 


moment, eye shutters closed. Inside. he 
was running clean and cool: he could feel 
the faint reassuring hum of pumps, click 
of valves and relays. They had given him 
that: deaned out all the offal, replaced it 
with machinery that did not bleed, ooze 
or suppurate. He thought of the lie he 
had told Babcock. Why do you lie to a 
cancer patient? But they would never 
get it. never understand. 

He sat down at the d 
clipped a sheet of paper to it 
pencil began to sketch a rendering of the 
moon-prospector design, When he had 
blocked in the prospector itself, he be- 
gan to draw the background of craters. 
His pencil moved slowly and 
stopped; he pur it down with a click. 

No more adrenal glands to pur 
renaline into his blood, so he co 
feel fright or rage. They had released 
him from all that—love. hate. the whole 
sloppy mes—but they had forgotien 
there was still one emotion he could feel. 


nd with a 


more 


Sinescu. with the black bristles of his 
beard sprouting through his oily skin. A 
whitehead ripe in the crease beside his 
nostril. 

Moon landscape. clean and cold. He 
picked up the pencil agai 
abcock. with h 
shining with g 
ter in the corners of his eyes. Food mor- 
tar between his teeth. 

Sam's wife, with raspherry-colored paste 
on her mouth ed with tears, 


nose 


е sm 


a bright bubble in one nostril. And the 
damn dog, shiny nose, wet eyes. . . . 


He turned. The dog was there. 18 
on the carpet. wet red tongue out left 
the door open again dripping, wagged its 
аай wice. then started to get up. He 
reached for the metal T square, leaned 
back, swinging it like an ax, and the dog 
yelped once as metal sheared bone, one 
cye spouting red, writhing on its back, 
dark stain of piss across the carpet and 
he hit it again, hit it again. 


“And so we say a fond farewell to a fifth 
of eighi-year-old bourbon." 


The body lay twisted on the carpet. 
fouled with blood. ragged black 
drawn back from teeth. He wiped off the 
T square with a paper towel, then 
scrubbed it in the sink with soap and 
steel wool. dried it and hung it up. He 
got a sheet of drafting paper. laid it on 
the floor, rolled the body over onto it 
without spilling any blood on the carpet. 
He lifted the body in the paper. carried 
it out onto the patio, then onto the шь 
roofed section, opening the doors with 
his shoulder. He looked over the wall. 
Two stories down, concrete roof. vents 
sticking out of it, nobody watching. He 
held the dog out. let it slide off the pa 
per. twisting as it fell. It struck one of 
the vents, bounced, a red smear. He 
ried the paper back inside. poured the 
blood down the drain. then put the paper 
into the incinerator chute. 

Splashes of blood were on the carpet. 
the feet of the drafting table, the cabi- 
net, his trouser legs. He sponged them 
all up with paper towels and warm wa- 
ter. He took off his clothin; 
minutely, scrubbed it i 
aput it in the washer. He w 
rubbed himself down with disinfectant 
and dressed again. He walked through 
into Sam's silent apartment, closing the 
glass door behind him. Past the potted 
philodendron, overstuffed furniture, red- 
and-yellow painting on the wall, out 
onto the roof, leaving the door ajar. 
Then back through the patio. closing 
doors. 

Too bad. How about some goldfish. 
He sat down at the drafting table. He 
s running clean and cool. The dream 
this morning came back to his mind. the 
ast one, as he was struggling up out of 
sleep: slithery kid 
blood and hair ropes of guts covered 
with yellow fat oozing and sliding and oh 
god the stink like the breath of an ont- 
house no sound nowhere he was pulling 
a yellow stream down the slide of the 
dunghole and , 

He began to ink in the drawing, first 
with a fine steel pen. then with a nyle 
brush. his heel slid and he was Jalling 
could not stop himself falling into slimy 
bulging sojtness higher than his chin, 
higher and he could not move paralyzed 
and he tried to scream tried to scream 
tried. to scream 

The prospector was climbing a crater 
slope with its handling members retracted 


w 


ys burst gray lungs 


nd its head tilted up. it the 
distant ringwall and the horizon, the 
black sky, the pin-point stars. And he was 


there, and it was not 
for the carth hung overhead 
fruit, blue with mold, crawling, w 
purulent and alive. 


HAVEN OF BLISS 


(continued from page 108) 


smaller fry who moved in the substrata 
of kid life—nameless, noses running, 
never invited to play ball. 

The old man turned the key in the 
dash and stepped on the starter. From 
deep within the bowels of the Oldsmo 
bile came a faint dick. He jabbed again 
at the saner, Another dick. His neck 
reddened. 

"Oh, fer Chrissake! That damn starter 
spring's stuck again!” The sun beat down 
mercilessly on our wheeled pyramid, the 
interior growing hotter by the second 
Enraged, the old man threw the door 
open and rushed around to the front of 
the Olds, shouting: 

“TURN THE KEY ON 
JUMP UP AND DOWN ON 
BUMPER!” 

He grabbed the radiator ornament, a 
shoddy copy of the Winged Victory 
climbed up on the bumper and began to 
bounce maniacally up and down. It was 
nc we all knew well. The old man. 
beet red, the blood once again 
dripping [rom his gashed chin, hopped up 
and down in a frenzy. Опсе again, from 
deep within the Olds, came another faint 
click. Instantly, the old man shouted: 

"DON'T NOBODY MOVE! SIT 
REAL STILL'" 

He tore around the side of the car and 
cased himself into the driver's seat. It was 
a touchy moment. Carefully, so as not to 
create the slightest vibration, he pushed 
the starter button on the floor. 

Gug gug Bug Bug. . . . lt failed to 
catch. 

The old man whispered ho 
"Don't nobody breathe." 

He tried it again. G-gug 
BBRRROOOOOOMMMM! 

The mighty six-cylinder, low-compres- 
sion Oldsmobile engine rattled into life. 
rocker arms clattering, valve springs 
danging, pistons slapping. After all. 
142,000 miles isn't exactly around the 
block. He threw her into reverse and 
slowly she Jumbered backward down the 
swaying under the immense load 
I the available stock of the А. & P. 

Safely out on the street, he threw her 
imo first. Painfully she began to roll for 
ward. I peered out of the tiny crack of 
window available to me, a square of glass 
no more than three inches across, and 
sw my assembled friends standing 
dumbly along the sidewalk. For a brief 
instant, 1 felt a deep pang of regret 
about all the great things that were 
going to happen in the neighborhood 
while 1 was gone. From somewhere olf 
to my left, amid the rumblings of the 
Olds, I heard the first muffled squeak 
ings of my kid brother, 

Two minutes later, we turned down a 
side road toward the main highway that 
wended its way listlessly past junk yards 
and onion patches toward the distant, 


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rolling. sandy hills of Michigan. It was 
Sunday and already a solid line of auto- 


mobiles, bumper to bumper, stretched 
from onc horizon wo 


the other. barely 
his eyes narrowed 
th hatred, glarcd through the wind- 


shield at his most and implacable 
foe—the traffic. 
"Damn Sunday drivers! Stupid sons of 


bitches!” 

He was warming up for the big scenes 
yet to come. As trafic fighters go. he was 
probably no more talented nor dedicated 
than most other men of his time. But 
what he lacked in finesse he more than 
made up for in sheer ferocity. His vast 
catalog of invective—learned in the 
field. so 10 speak, back of the stockyards 
on the South Side of Chicago—had en- 
iched every Sunday.afternoon drive we 
ever took, Some men gain their education 
about life at their mother's knee, others by 
reading yellowed volumes of fiction. 1 
nurtured and flowered in the back scat 
of the Olds, listening to my father. 

At least we were on our way. No one 
could deny that. We crept along in the 
line of Sunday traffic, the Olds 
muttering gloomily as its radiator tem- 
My mother 
through the 


ре 


ture slowly mounted 
Пу shouted back 
our direction: 

"Are vou kids all right? 

AIL right? I was out of my head with 
excitement. I looked forward to this mo- 
ment all year long: it made Christmas 
and everything else pale to nothing. 1 had 
pored over every issue of Field & Stream 
the barbershop, dreaming about track- 
beavers and fording steams and mak- 
ag hunter's stew. Of course, nobody ever 
did any of those things in Michigan, but 
they were great to read about. One time, 
our scouumaster took us ош on a hike 
through Hammond and. painted moss on 
the north side of all die fireplugs, so that 
we could blaze a t nt lot be- 
hind the Sherwin-Williams sign. But that 
was about the extent of my expertise in 
ure lore. 

Hour after hour we inched northward, 
and finally burst out of the heavy traffic 
nd med onto the rolling, open high- 
way that led through the sandy hills to 
Marcellus, Michigan. By now it was well 
along in the afternoon and the tempera- 
une inside the car hovered at m 


il to the vac 


15 or 20 degrees below the boiling 
point, The Olds had a habit of hinting a 
thrumming, resonant vibration at about 


50 that ji 
molars, rated the eyeballs and made 
k totally impossible. But over the ro: 


took опе look and shouted at the old man 
to stop the car. 

“WHAT THE HELL NOW?" he bel- 
lowed. as he pulled over to the side of 
the road under a pair of great, overhang. 
poplars. Everywhere around 


us the vellow-and-dun fields. motled with 
tches of grapevines, stretched out to 
the horizon. 

My mother dashed around the side of 

the car ло my brother's door. I heard him 
being hauled out of his tiny capsule. 
Oatmeal, Ovaltine, caterpillar—every 
thing he had downed in the past couple 
of days gushed out into the lilies. 
I sat in my slot. peering out of the 
ndow at the alien landscape, my ex- 
citement now at fever pitch. Randy al 
got sick at about this point. That meant 
we were hallway there, Ashen-faced, he 
was stuffed back into his hole. 


10 was then that the bombshell struck. 
Oh, no! OH. NO! I stumped deep down 
into the scat, a two-pound box of rice 
sliding fom the shelf behind me and 
pouring its contents down the back of 
my neck. The Oldsmobile boomed on 
toward Clear Lake and its fighting three- 
ounce sunfish, its seven-indh blucgills and 
its fiveineh perch, all waiting for me un 
dei ls. beside submerged logs and 
in the weed beds. Oh, no! I had left all 
my fishing tackle in the garage, all piled 
up next to the door, where I had taken it 
the night before to make sure I wouldn't 
forget it! Every sinker, every bobber, 
every hook I had saved for, polished, 
loved and cherished stood all neatly 
piled up back home in the garage. 

DAD!" 1 cried ош in anguish. The 
great thrum of the Olds drowned me 
ош. 

“HEY, DAI 

He glanced into the rearview mirror. 
"Yeah? 

“Т LEFT ALL MY FISHIN 


AC 


LE IN THE GARAGE!" That meant 
his, too. 
“W А up in his 


sweatsoaked pongee shirt. “YOU DID 
WHAT?” 
ae Met 

“Oh, fer CHRISSAKE! What next!” 
He spit through the open window into 
the onrushing hot air. It arced back into 
the rear window and missed my brother's 
head by an inch. My mother had been 
asleep now for some time. She never stirred 
through this disaster. Deep in my hole, 1 
wept. 

The steady. rumbling oscillation of the 
ancient Olds rolled back over me. Way 
down deep inside, the first faint. gnaw- 
ings of car sickness, like some tiny. gray. 
beadyeyed rat scurrying among my vi- 


tals. merged appropriately with the dis 
appointment and the heat, A faint whiff 


of the sweetishsour aroma of my kid 
brother filtered through the camp gear, 
drifted past my nose and out the window 
to my right. T stared with glazed eyes at 
the blur of telephone poles; bam 
with a huge Bull Durham sign on its 
side, with its slogan, MER MERO; at farm- 
house after farmhouse; at a rusty tin sign 


led message: HOOKED RUGS 
FOR SALE—ALSO EGG 
The low hills. green. yellow and 
brown, wound on and on. 1 had wrecked 
the vacation, You might just as well tell 
laus to go to hell as leave vou 
mboo casting rod that you saved 
all year to buy and that had a cork han- 
dle and a levelwind Sears, Roebuck reel 
with a red jewel in the handle, and your 
Daredevil wiggler, so red and white and 
hromy, back in the garage amid the bald 


Goodyears and empty Simoniz cans Oh. 
well, nothing ever works out, anyway. 
Му little grav, furry rat reared on its hind 


legs. his fangs flashing in the darkness. 

Over the steady hum of the mighty 
Olds engine 1 could hear the pitiful 
keening of my kid brother, who had now 
burrowed down to the floor boards in his 
travail. 1 stared sullenly out the window 
over a huge. rolled-up. dark-green com- 
forter and an orange crate full of 
cofleepots and frying pans. 

Suddenly: BA-LOOOMMMMPPP! К. 


tunk ktunk kk-tunk Камок, 
The car reeled drunkenly under the 
wrenching blows of a disintegrating 


Allstate tire. In the front seat. the driver 
wresiled with the heaving steering wheel. 
Overloaded by a quarter ton at least, the 
car continued о lurch forward. 

Ding ding ding ding. It was down to 
the rim now. My father hauled back on the 
emergency brake. We slued up onto the 
gravel shoulder of the highway and rolled 
mping stop. He cut the ignition: 
but for a full 20 seconds or so, the motor 
continued 10 turn over, firing on sheer 
heat Шу. she coughed wice a 
stopped. Dead silence enveloped us i 
father sat unmoving behind the wheel, his 
hands clenched on the controls in silent 
rage. 

Do you think its a fat?" my mother 
chirped helpfully, her quick, mechanical 
mind analyzing the situation with deadly 


“No, 1 don't think it could be that. 
Probably we ran over а pebble.” His 
voice was low, almost inaudible, drenched 
in sarcasm, 

Im glad to hear that," she sighed 
with rdliel. “I thought lor a mi 
might have had a Hat" 


te we 


He stared out his window at the 
seared corn stalks across the road, watch. 
ing the corn borers destroy what was left 


of the cops after the locusts had finished 
their work. We sat lor possibly two min- 
utes, frozen in time and space Tike Піе 
in amber. 

Then, in the lowest of all possible 
voices, he breathed toward the cornfield: 
“Balls.” 

Very quietly 
dimbed out 


he opened the door, 
id stalked back to the 


ALL A’ YA GET OUT?" he shouted. 
My mother, rcalizing by this time that it 
hadiri been a pebble alter all, whispered: 


Sow, don't get on his nerves. And don't 
whine.” 

The four of us gathered on the dusty 
gravel. Along the road behind us for a 
quarter mile at least, chunks of black, 
twisted rubber smoked in the sun and 
marked our tail of pain. 

The old man silently opened the trunk, 
peered into the tingled mess of odds and 
ends that always filled it and began to 
rummage glumly among the shards. He 
removed the clamp that released the 
spare tire. In his world, sparc tires were 
ures that had long since been given ex- 
treme unction but had somehow clung to 
a thread of life and perhaps а shred or 
two of rubber. Next, the jack. 

We sat at a sile dis 
cornfield, in the shade of a 
suffering from oak blight. 

"Lets have a picnic while Daddy fixes 
the ti gested Mother cheerful 

Daddy, his shirt drenched in swi 
tore his thumbnail off while uying to 
straighten out the jack handle, which 
insancly jointed in four different 
spots, making it as pliable as a wet noo 
dle and about as useful. While he cursed 
nd bled, we opened the lu 
fished out the warm cr 
wiches and the Tunch-meatand-relish 
sands 
Gimme a peanut-butter-and jelly sand- 


elm tree 


was 


wich, my kid brothe 
“We t bave peanut-butter-and- 
jelly.” 


"I. want a 
sandwich.” 


peanut-butter-and-jelly 


“We 
sandwiches. On rye bread. You cin pick 
the seeds out and have fun 


believe they're little bugs.” 
I WANT PEANUT-BUTTER-AND- 
JELLY!” Randy's voice was 
shrill pitch. ОТ in the middle distance, 
the jack danked and ratded as the Olds 
tectered precariously on the flimsy metal 
support, 

“GODDAMN IT! IN TWO SEC 
ONDS. ГМ GONNA COME OVER 
AND BAT YOU ONE GOOD!" yelled 
the tire торай 

Randy threw hi 
out into the road, where it was in 
smashed flat by a М 
picnic went on. We drank lemonade, 
cookies. 
йу came the call: “OK. Pile in.” 
How ‘bout some music,” my mother 
asked rhetorically as we rolled out onto 
the highway. 

My Таше 


ng to a 


stonily drove on. Some- 
times, after a particularly bad far, he 
did't speak to the family for upward of 
two weeks. 1 suspect that he always ріс 
tured heaven as а place where every- 
body was issued a full set of brandnew, 
fourply U.S. Royal roadmasters, some- 
he never in his life attained, at 
least on this earth, 


"I have a mes 


My mother fiddled with the car radio, 
which hummed and crackled. 


“Roll out the barrel 

We'll have a barrel of fun... 
Roll out the barrel 

We've got the blues on the тип...” 


The Andrews Sisters were always roll- 
ing out barrels and having fun. 

“Isn't that nice? Now, how "bout. play- 
ing à game, kids? What am I d 
mal, vegetable or mineral?” 

We always played games in the car, 
like who could tell quicker what kind of 
s coming toward us; or 


car м 


the Number of Cows: or Beaver, where 
the first guy who saw a red truck or a 


blue Chevy or а Coca-Cola sign could hit 
the other guy if he hollered “Beaver” first. 
Then there was Padiddle, which was 
generally played when there were girls 


in the car and had a complicated scoring 
system involving burned-out headlights, 
the highest point gener being a police 


car running or 
never played in 
and kid brothers. 

"NOW what the hell!" My father had 
broken his vow of silence. 

Ahead, across the highway, stretched a 
procession of sawhorscs with flashing lights 
and arrows and a sign. reading: ROAD 
UNDER CONSTRUCTION—DETOUR AHEAD 27.8 
MILES. 

Muttering obscenities, the old man 


cyed. But Padiddle was 
carrying mothers 


vecred to the right, onto a slanting gravel 
cow path. Giant bulldozers and road 
graders roned all around us. 


age for the medium." 


“Holy God! This'll kill that spare!” 

The Olds crashed into a hole. The 
springs bottomed. She bellowed forward, 
throwing gravel high into the air. The 
wail wound through a tiny hamler—and 
then, a fork, where a red arrow pointed 
to the right: CONTINUE pETouR. The 
road to the left was even narrower than 
the other, marked with a battered 
black-and-white tin sign perforated with 
rusting 29«alibcr bullet holes: county 


ROAD вле (ALTERNATE). 
We 


iled to a stop, yellow dust 
a the windows. 
imme that map!" 

The old man reached across the dash- 
board and snapped open the glove com. 
nent just as а truck rumbled past, 
ig gravel onto the windshield and 
along the side of the car. 
What the hell is TH 


compartment. It dripped a dark, viscous 
liquid. 

OK," he said with his best Eds 
Kennedy slow burn. "Who stuck a Her- 
shey bar in the glove compartment?” N 
one зрок 

“All right, who did it?" He licked his 
fingers disgusted! 

“What a goddamn mess!" 

‘The mystery of the Hershey bar was 
the subject of bitter wrangling off and 
on for years afterward. I know that 7 
didn't stick it in there. IE my broth 
had gouen hold of а Hershey 
would have eaten it instantly. It never 
did come out—but then, neither did the 


175 


PLAYBOY 


chocolate: forevermore, the Oldsmobile 
had a chocolate-lined glove compartment. 

My father pored over the creased and 
greasy map. 
"Aha! Eightseven-two. Here it is. It 
goes through East Jerusalem and hits 
four-three-cight. FI tell you what. TH 
bet we can beat this detour by crossing 
through [our-threccight to this one with 
the dotted red line, nineseven-four. Then 
we'll cut back and hit the highway the 
other side of Niles. 

Two and а half hours later, we were 
up to our hubs in a swamp. Overhead, 
four lage cows circled angrily at the 


first. distu acc their wilderness had 
seen in years After backing and filling 


for half an hour, we finally managed to 
regain semisolid ground on the corduroy 
road that we had been thumping over 
for the past hour or so. None of us spoke. 

ad learned not to say a 


yore the answer to mah 
Gene Autry twanged from 
the radio as our spattered, battered hulk 
hauled itself, at long last, back onto the 


main highway, after traveling over 
patches of country that had not been 


nan since Indi, 


seen by the eye of n 
times. 

“I knew Fd beat the damn detour. 
When my father really loused up, he 
always wied to pretend it was not only 
deliberate but a lot of fun. 

Did you kids scc those big cows? 
Weren't they big? And 1 bet you never 
saw quicksand before. That was really 
something, wasn't it? 

Leaving a trail of mud, we rumbled 
along smoothly for a few minutes on the 
blessed. concrete. 

“How ‘bout some of those Mary Janes? 
Would you kids like some Mary Janes?” 
He was now in a great mood. 

My mother scratched around in the 
luggage a few moments until she found 
a cellophane bag full of the dent 
light. "Be careful how you chew 
cautioned us futilely, 
not, they'll pull your fillin 

The sound of our munching was 
drowned out by the RRRAAAAWWW- 


RRRR of a giant, block-long truck as it 
barreled past our ing flivver, 
eclipsing us in a deep shadow. As the 
truck roared past, inches away, sucki 


the car into its slip stream, an overwhelm- 
ing сасорһопу of sound engulfed us—a 
а of insane squawks and cluckings, 

“Chickens!” Randy hollered cestatically. 
Thousands of chickens peered at us 
through the windows on our left side. 
Suetching for a mile back of us, a wall 
of Leghorns w they 
were past us and the truck 


pulled into the lane directly ahead of us, 
shedding a stream of white feathers that 
stuck the windshield and billowed 


round us and in the windows like a 
summer snowstorm. Almost immediately 


176 we were enveloped in a wrenching, fetid, 


kick-in-the-stomach stench: it swept over 
us in a tidal wave of nausea. 

“When the swallows come back to 
Capistrano . . ." the Inkspots chimed in 
on the radio. 

“Gaak! What a stink! 

Maybe you'd better pass him,” sug- 
gested my mother through her handker- 
ch 


"Yeah. Here gocs. 
Hc floored the Olds, but nothing hap- 
pened. She was already going her limit. 
Ahead, the driver of the chicken truck 
seuled into the groove, a lumbering ju 
gernaut rolling along at 5 
feathers and a dark-brown aroma 
the countryside. Again and again, the 
old man edged out into the left lane, 
gamely trying to pass, but it was no use. 
The wack stayed tantalizingly just out of 
reach, the chickens squawking delight 
edly, their necks sticking out of the 
iron cages. their beady red eyes wild 
with excitement, as the driver happily 
headed to market. Occasionally, a stray 
egg whistled past or splashed into the 
radiator grille to join the dead butterflies, 
shoppers and dragonflies. 
I have to go to the toilet.” Already 
we had stopped at 74 gas stations so that 
Randy could go to the toilet. His output. 
as incredible. 
You'll just have 10 hold it." 

Ir had begun to rain—big 
mer drops. The windshield wipers were 
stuck and now my father drove with his 
head craned out the window in order to 
see. Rain ricocheted off his face and 
splattered everything within а two-foot 
radius, It carried with it chicken feathers 
and other by-products that streamed 
back from the truck. ahead, But this was 
not the first time we had been caught 
behind moving livestock. A load of ducks 
make chickens a pure joy. And one time 
we had been trapped for over four hours 
37 sheep and at least 200 exuber- 
pe porkers on U.S. 41. 

The rain suddenly stopped, just when 
the menagerie boomed into a turnoff, 
and peace reigned once again. A lew 
feathers clung to the headlights here and 
there, but the last ng aroma of the 
barnyard finally departed through the 
ar windows. Then: 

WAAAH! I GOTTA WEEWEE! 
“AJI right! But this is the last time, ya 
hear?” 

No answer. Randy was promising 
nothing. Ahead, a one-pump gas station 
qouched amid the cornfields next to a 
white shack that had once been a diner 
but was now sinking into the clay, carry- 
ing with it its faded red sign with the 
single word rat. Under а rusted sof 
drink cooler sprawled а mangy hound, 
who greeted. our anival by opening one 
theumy сус and lifting a leg to scratch 
d indiscriminately at his under- 
id тоот and-boarders.. 

We pulled up next to the pump. A 
thin, creased, dusty old man wearing a 


spraying 
over 


pe sum 


work and 


blue shirt faded jeans sat 
chewing a toothpick beside the screen 
door оп an old wooden chair. with his 
feet on a "Phillips 66" oil drum. He 
didn't stir. 
illerup. bub?" 

“The kid's gotta go to the toilet. 

He shifted the toothpick. “Round the 
side, past them 

You сап check the oil while we're 


Taking one foot off the oil drum, then 
the other, the man struggled to his feet 
with painful deliberation, shuffled over 
to the car and fiddled with the hood 
latch for a minute or so. Finally getting 
the knack of it, he yanked it open, 
leaned over the engine, pulled out the 
dipstick and held it up. It dripped rich, 
viscous sludge onto the gravel. 

Needs about two and a half qu 
It always needed two and а half quart 
"You want the good stuf or the cheap 
stuff?" 

“The cheap stuff. Put i 
ya got." 
diesel. 

My mother and Randy were back in 
the car now. It was a typical pit stop on 
our long caravan route to Clear Lake 
and paradise. 

Doggedly, we swung back out onto 
the highway, Randy relieved, the Olds 
refreshed. A mile up the road, my mother, 
making conversation, sa 

“Why didn't you get ga 

“I didn't want any of that cheap boot- 
leg gas that guy had. I'm waiting for a 
Texas Blue station.” 

"The gauge say 
shoulda got som’ 


the heaviest 
" The old crate burned oil like a 


empty. Maybe you 


That gauge is cockeyed. When it 
says empty, theres over an eighth of a 


tank le 
station ahead." 

‘Texas Blue was an obscure gasoline 
that had at one time sponsored the Chi 
cago White Sox ball games on radio, 
my father's undying p. 
Blue backed the White 
Sox. it was his gas. He would have used 
it they had distilled from old 
cabbages. 

Thirty seconds later, the car sputtered 
to a stop, bone dry. After sitting stony- 
faced for a long time behind the wheel, 
the old man silently opened the door, got 
out, slammed it, opened the trunk, took 
Out the 1ed can he always carried and 
continually used, slammed the lid. shut 
id set out without a word for the 
station we had left a mile and а half be- 
hind, He plodded over the horizon and 
was gone. 

We played animal, vegetable or min- 
«аі and drank more wann lemonade 
For- 
his two- 


"There oughta be a Texas Blue 


while we waited in the steamy heat. 
nutes 


ty mi ter he returned, 
gallon can filled to the brim with gas so 
cheap you could hear it knocking in the 
container, He smelled heavily of both 
е and bourbon. He poured the 


PLAYBOY 


former into the tank and shortly there- 
after we once again entered the ma m 
of humanity. 

A single red sign stuck in the road's 

shoulder at a crazy angle whizzed by: in 
white letters, it read: LISTEN, BIRDS. My 
father lit another Lucky and leaned for- 
rd on the aler ng through. the 
bug-spatiered windshield. 
SIGNS COST MONEY. The second 
te announcement flashed by, 
followed quickly by the third: so Roost 
луш, 

The okl man flicked his match out the 
side window. his neck craning in antici 
pation of the snapper. We drove on, And 
оп. Had some crummy. rotten fiend sto- 
len the punch line? Another sign loomed 
over the next hill. He squinted tensely, 

GENUINE CHERRY CIDER FOR SALE. 

“Fer sake!” he muttered amid 

the thrumming uproar and the constant 
ping of kamikaze gnats and beetles on 
the spattered windshield. But finally it 
came, half hidden next to a gnarled o: 
tree at the far end of a long, sweeping 
curve: BUT DON'T GET FUNNY. 
n't get it. But then, I didn't get 
much of anything in those days. A few 
yards farther on, the sponsors name 
flashed by: вокм-ѕилук. Up Пош, the 
old man cackled appreciatively; his f 
vorite form of reading. next to the Chi- 
cago Hevald-American sports section, was 
BurmaShave signs. He could recite them 
like a Shakespearean scholar quoting first 
folios. He had just added another gem to 
his repertoire. In the months to come, it 
would be referred co over and over, com. 
plete to location, time of day and perti 
nent weather information. In fact, he and 
his pal Zudock even invented their own 
Burma-Shave signs—pungent, unprintable 
and single-entendre. Yt would have been a 
great ad campaign, if the Burma-Shave 
company hid the guts to do it. 

It begin to rain again. My father 
rolled up his window part way. Normal- 
ly the atmosphere in the Olds in full 
cry was a faint. barely discernible blue 
hive, an aromatic mixture of exhaust 
fumes from the split muffler, a whiff of 
manifold heat, burning oil, sizzling grease, 
dust from the floor boards. alcoholic steam 
from the radiator and the indescribably 
heady aroma of an antique tangerine, le 
over from last year's trip, that bad rolled 
under the front sear and gotten wedged 
directly in front of the heater vent. Now 
subtly blended with this olco were the 
heavenly scents of wet hay, tiger lilies, 
yellow clay and fermenting manure. 

Ahead of us, a house trailer towed by 
drifted from side lo side as 
they, tco, rumbled on toward two weeks 
away from it all. The old man muttered: 
Lousy Chicago drivers"—a litany he 
id over to himself, end- 
lessly, while driving. It must have had 
the same sort of soothing elect on him 
that prayer wheels and mystic slogans 


17g had on others. He firmly believed that 


almost all accidents, directly or indirectly, 
were cused by Chicago drivers, and 
that if they could all be barred at birth 
from getting behind a wheel, curs could 
be made without bumpers and the insur- 
ince companies could turn their eflorts 
into more constructive channels. 

Lock at that nut!” The old man mut- 
tered to himself as the house trailer cut 


across the oncoming lane and rumbled 


ош of sight up a gravel road, tra 
thick cleud of yellow dust. 

My mother was now passing out Wrig- 
Ісу Spearmint chewing gum. "Thisll 
keep you from getting thirsty,” she cou 
хаса sagely. 

We were doing well, all things consid- 
ered, having stopped for R only 
75 gas stations so far. After licking off the 
sweet. dry coating of powdered sugar, I 
chewed the gum for a while and leafed 
restlessly throu ald Duck Big 
Liule Book that I'd brought along to 
piss the time: but I was too excited 
kind of sick to worry about old Dor 
«| Dewey and Huey and Louie. 

Suddenly the front scat was in a great 
uproar. 1 sat up. My mother screamed 
and shrank away toward the door. The 
old man shouted above her shrieks: 

“Fer Chrissake, it's only a bee. It's not 
gonna kill уоп 

A big fat bumblebee zoomed over the 
pots and pons and groceries. banging 
from window to window as my mother, 
п: her tattered copy of True Ro- 
mance, cowered screaming on the floor 
boards next to the gearshift. The bee 
roomed low over her, hanked sharply 
upward and began walking calmly up 


the inside of the windshicld, like he knew 


just what he was doing. Every year, а 
hee got im the car—the same bee. My 
mother had an insine fear of being 
stung. She had read in Ripley's Believe 
J or Nol! that a bee sting had killed a 
тап named Howard J. Detweiler 
nton, Ohio. and she never forgot it. 
The subject came up often around our 
house, especially in the summer, and my 
mother invariably quoted Ripley, who 
was universally recognized as an ultimate 


ver 
authority on everything. She screamed 


“Goddamn it! Shut up! Do you want 
me to have an accident?" my father bel 
lowed. He pulled off to the side of the 
road, flung his door open and began the 
chase. 

"Gimme the rag outta the side pocket! 
he yelled. 

My mother, shielding her head with 
her magazine, interrup:ed her whimper 
ing long cnough to shriek: “Where is he? 
1 can hear him!" 

The bee strolled casually up the wind- 
shield a few inches farther, humming 
cheerfully to himself. The old man tore 
around to the other side of the car to get 
the rag himself. Sensing that he had made 
his point, the bee revved his motors with 
a loud buzz and was out the window. Hc 


red back down the road into the 
skies of early evening, obviously 
getting set for the next Ir 
show up over the hill. 

“He got away, the bastard!" My father 
slid back into his threw the Olds 
into gear and pulled back out onto the 
asphalt. 

ОК, he's gone. You can get up now: 
His voice dripped with scoi 
My mother crawled back up into he 
it, flushed and shaking slightly, and 
said in a weak voice: "You never can tell 
about bees. I read once where. . . 

My father snorted in derision: “How- 
ard J. Detweiler! Fd like to know where 
that goddamn bee stung him that 
killed him. ГЇЇ bet I know where it got 
him!” he roared 
Shhhh. The kids are listening. 

"Hey, look! "There's Crystal Lake.” My 
father pointed off to the left. 

I sat bolt upright. Way off past a big 
gray farmhouse and a bunk of black 
trees under the darkening sky was a tiny 
flash. of wate 

A gravel road slanted off into the trees, 
bracketed by a thicket of signs: BOATS FoR 
RENT BATHING FISHING OV 
BEER Eats. We were in v 

Oh, boy! In the back seat, I had broken 
out into a frenzied swear. In just a few 
minutes, we would be there at that one- 

ndonly place where everything hap 
pened: Clear Lake! For months, when 
the snow piled high around the g 
nd the arctic wind whistled past the bl 
furnaces, imto the open hearth and 
the back porch, under the eaves 
through the cracks im the window sills. 
I had lain tossing on my solitary p 
and dreaming of Clear Lake, 
ing myself flexing my magnificent spli 
bamboo casting rod. drifting toward the 
Шу pads, where a huge bronreback— 
п evil, legendary smallmombhed bass 
med Old Jake—waited to meet 
doom at my hands. 

I would see myself showing 
how to tie a ryal-coachman fly, which 1 
had read about in Sports Afield. He 
would gasp in astonishment. 1 also as 
tounded my mother in these dreams by 
demonstrating an encyclopedic grasp of 
camp cookery. I had practically memo 
rized an artide entitled "How to Pre 
pare the Larger Game Fish.” The text 
began: “A skillful angler knows how to 
broil landlocked salmon and lake trout in 
254040. pound. weight WI 
1 never seen, let alone cooked, a salm- 
оп or a trout or а pike or anything else 
except for little sunfish, perch, bullheads 
and the wily crappie—but. I was ready 
for them. 

We rounded a familiar curve and 
rolled past а green cemetery dotted with 
drooping American flags. Steaming, the 
Olds slowed to a crawl as we inched 
past the general store, with a cluster of 


yellow cane poles leaning against its 


his 


my dad 


wooden front amid a pile of zinc wash- 
tubs. We had arrived 

“Now, look, you kids stay in the car. 
HEY, OLLIE!" the old man shouted out 
of the side window toward the feed 
store. "HEY, OLLIE, WERE HERE! 

Through the rain-spattered wind- 
shield, we could see that a few lights were 
there in the ramshackle 
white clapboard buildings overhung with 


on here and 
willows and sweeping elm trees that lined 
the street. А tall figure 


sidewalk 


overalls strolled 
plunked 
size-14. clodhopper on the running board, 


across the and 


battered. farmer's straw hat pushed to the 
back of his head. 

“By God. va made it" His Adam's ap- 
ple. the size of a baseball, bobbed up and 
down his skinny neck like а yo-yo. 

“Yep. We're here. Ollie.” 

“How was the trip?" 

“Pretty good. Got a bee in the car, 
though.” 
ick. just before ya hit C 
"That's right." 

Just belore ya come to Henshaw's 
barn?" 

"Yep." 

"Gol durn. That son of a gun's been 
doin’ that all summer. Got me twice." 

Ollie owned six cabins on the shore of 
Clear Lake, which was rimmed solidly 
with a thick incrustation of summer 
shacks—except at the north end, where 


the lake was swampy and the mosqui- 
toes swarmed. 

“I saved the green one for vou. She's 
all set. I emptied out the boat this 
morning." 

A jolting shot of excitement ripped 
through me. The boat! Our boat, which 
and anchor and bail out, 
and hang onto and cast my split-bamboo 
My split-bamboo rod! I had for- 
gotten for hours that 1 had left it all back 
in the garage 

"How's the fishing this year 
the old man. 

“Well, now, it's a funny thing vou 
asked. They sure were hittin up to about. 
а week or ten day ago. Guy from Misha- 
waka stayin’ in cabin three got his limit 
a walleye every day. But they slacked olf 


I would row 


rod 


asked 


bout a week ago. Ain't hittin’ now." 
1 guess I shoulda been here last 
week" It was always “last week” at 


C 


Lake. 
They might hit crickets. 1 got some 
for sale." 

"I'll be over in the morning to pick 
some up, Ollie. I got a fecling we're gon- 
na hit "em big this year.” The old man 
never gave up. 

We turned off the main highway and 
drove along the beloved. twisting dirt 
road—now a river of mud—that led 
through cornfields and meadows, down 
toward the magical lal 

“Ollie looks skinnier, 


my mother said. 


“He's just got new overalls,” my father 
answered, sluing the Olds around 
sharp bend. Night was coming on fast, 
as it does in the Michigan lake country. 
black and chill. The rain had picked up. 
In the back scat, I was practically un- 
conscious with excitement as the first 
cottages hove into view. Between them 
and the tees that ringed them was the 


dark, slate void of the 1 
he looks high," my father 
ded 


c. 


id. He 
always prete to be an expert 
everything, including lakes. Already my 
mother was plucking at pickle jars, Brillo 
pads, clothespins, rolls of toilet paper 
and other drifting odds and ends of stuft 
that she had banked around her in the 
front. seat. 

Next to every cottage but one was a 
parked car pulled up under the trees. 
Down in the Jake, 1 could make out the 
pier and the black swinging wedges of 
Ollie's leaky rowboats. A few yellow 
ights gleamed from the dark cottages 
onto the green, wet leaves of the trees. 

“Well, there she is. 

Our lights swept over the rear of a 
starboard-leaning, precn-shingled, screen- 
endosed cabin. Above the back door, 
painted on a weathered two-by-four, was 
the evocative appellation HAVEN oF nLiss. 
АШ of Ollie’s other cottages had names, 
100: BIDE-A-WEE, REST-A-SPELL, DEW DROP 
INN, NEVA-KARE, SUN-N-FUN. 

We inched under the trees. My father 


end 
acan 


toa 


friend. 


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179 


PLAYBOY 


180 


switched off the Olds, With a great, gasp- 
ing shudder, she sink into a deep stupor, 
her yearly trial by fire half over. The 
was coming down hard now, pounding 
оп the roof of the car and dripping off 
the tees all around us. 1 tumbled out of 
the back door—plunging into mud up to 
my ankles—and began sloshing my 
down through the wet bushes and under- 
growth to the lake. Behind me, I could 
hear my y whining tha 
the mosquitoes were biting him. There 
at my feet, lapping quietly at the rocks 
atly aglow, was С 


ess а few feet offshore, I 


could dimly make out our wooden boat, 
the waves slapping against its side. 
Kahunk . . . Кармак... Ksplat . 


‚ One of the most 
own to man. 
“Hey, come on! We gotta unload! 
Everything's getting wet” my father 
shouted down through the trees. 


Plop .. . Plop. . 
exciting sounds 


І sloggel back up the path, splopping 
and slipping and skidding and cracking 
my shins against tree stumps. My fath 
and mother were tugging at the tarpaulin 
that covered the luggage rack on the roof. 
‘The rain poured down unrelentingly. 
“Where the hell's the flashlight? Don't 
tell me we forgot the FLASHLIGHT!” 
thought you brought it.” my mother 
answered from the dark deluge. 
“OH, JESUS CHRIST! WHAT THE 
HE DID WE BRING?" 
“Well, you made up the lis 


“How the hell can you forget the 
FLASHLIGHT?" 


“Well, if you had gotte 
said you would, you 

“SHUT UP! I don't have no time to 
argue. This stull's getting soakec 

My mother disappeared into the cab 
"The lights aren't working,” she called 
out into the rain а moment later. 

My father didn't even bother to an- 
swer that one. If she had said the roof 
was gone and there was a moose in the 
bedroom, it wouldn't have surprised 
him. He staggered past me, reeling u 
der an enormous cardboard box full of 
pots, pans. baking powder, rubber ducks 
and ping-pong paddles. 

“Don't jus stand around. Do some- 
he bellowed to everyone within 
hearing. “DAMN IT, DO I HAVE ТО 
DO EVERYTHING 

1 grabbed a beach ball from the back 
seat, waded through the clay and groped 
my way up the rickety back steps. In- 
side, the smelled of rotting wood, 
wet shingles, petrified fish scales and 
dead squirrels. My father had struck a 
match, which dimly lit up the worn lino- 
leum and bare boards of the kitchen. 

“Why the hell didit Ollie turn on the 
juice? That's what I want to know!" he 
raged, flicking his match around in the 
dimness. 

“Hey, here's a kerosene lantern!” my 
mother said excitedly. Above the tin 
on a shelf, stood a dusty glass lamp 
half full of doudy yellow oil. 

“OUCH! DAMN IT!" The match had 
burned down to the old man's thumb. 
Sound of fumbling and scratching and 
cursing in the darkness. Finally, another 
match flared. 

"Gimme that lousy lamp." 


up when you 


“Never mind what I have in mind. 
Show her a fur coat!” 


He lifted off the black, smoky chim- 
ney and applied the match to the wick, 
up the knob on the side as he 
so. Tt spuuered 

"DON'T BR 
MATC he 

Ar last the wick caught hold and a 
ly blueyellow flame lit up the prim- 
idve kitchen, We rushed out into the 
dark and for the next hour lugged wet 
sacks, bags, blankets, fielders’ mitts, all of 
it, into the kitchen, until at long last the 
Olds, а ton and a h hter, shook it- 
self in relief and settled down for а two- 
week rest 

My mother had been sorting it all out 
as we dragged it in, carrying blankets 
and bedding into the little wooden cubi 
t flanked the kitchen. When it 
doors, the old man stripped off 
his soaked shirt and sprawled out on a 
lumpy blue kitchen chair. 

“Well, here we are." He grinned, 
ter dripping down over his cam. "Boy, 
am 1 hungry!" 

My mother h 
of Spam. We 
ing two-inch-thick 


THE 


a 


d already opened а can 
amid the boxes, down- 


wanna get out re: 
nounced the old 

My kid brother was already asleep in 
the next room. 

“IE ya wanna get the big ones. 
get up carly!” His eyes gleamed brightly 
in the glow of the kerosene lamp. "They 
always bite good after a Yessir!” 

But it was all back in the garage—my 
rod, my reel, my father's tackle box, hi 
bobbers his Secret Gypsy Fish Bait Oil 
that he had bought from the mail-order 
catalog. 

"But, Dad, don't you remember 1 told 
you. . . ." 1 began miserably. 

“So how come 1 found it on top of the 
car? | wonder who put all that fishing 
stuff on top of the саг? Hmmmm. . . . 
guess somebody must have snuck up 
put it on top of the car when you v 
looking." 


en minutes later, I lay in the dark, 
єсмашс with relief and expectation, hud 
dled under kets and а musty 
comforter. The rain roared steadily on 
the roof 
weeks—and 


mp bl. 


as it would for the next two 
drummed | metronomically 


ошо the bare wooden floor beside my 
bed. 

Kahunk . . . Каһин... Plop . . ~ 
Plop Plop. . 

The beat called to me from the dark 


lake. From somewhere out in the woods, 
something squeaked twice and then was 
silent. My kid brother tossed and whim- 
pered softly from beneath his pillow 
and acoss the room, my fathers low 
muttering snores thrummed quietly in 
the night. We were on vacation, 


SEX ІМ GINEMA 
(continued from page 130) 


without the censors’ connivance, managed 
10 depict a rape scene in one way or an- 
other but that they sought to do it at all. 
Between the Production Code in this 
country and the censors’ shears all over the 
world, rape had never been a particularly 
profitable subject for film makers. Its mere 
presence in a picture was generally enough 
to cause the film to be banned altogether 
from America, or at least to € its dis- 
tribution severely curtailed. But clearly, 
this attitude was changing. 

andy, it was 1 г Bergman 
who led the way. His relentless explo 
tion of man in relation to God and 
woman led him to themes that others— 
less daring—shunned. Throughout 
Sixties, philosophic questions were ex 
plored repeatedly in the Bergman films— 
ind generally in contexts that were 
specifically and often graphically sexual. 
Between 1960 and 1962, he wrote and 
directed three films—chamber plays, he 
called them—that were designed to study 
three forms of alienation in modern socie- 
ty. First in this trilogy was the spare, som- 
ber Through a Glass Darkly, which, on 
icted an attractive young 
married woman (Harriet Andersson) going 
slowly out of her mind. Religiously devout 
to the point of hysteria, she is unable to 
return the love of her husband, but experi- 
ences a frantic erotic seizure whenever she 
believes she hears the voice of God. 
Through a Glass Darkly was followed by 


the ascetic, almost motionless Winter 
Light, which, although without a moment 


of overt eroticism, chronicled the repressed, 
guilt-ridden relationship between a prim 
and ineffectual minister and his more-than- 
willing schoolteacher mistress. (Ingrid 
Thulin). 

Bergman more than compensated for 
the ascetic quality of this film with the 
last in his trilogy, The Silence, a picture 
so filled with erotic tensions and overt 
sexual activity that the Swedish censors 
ny months. The 
icc" to which Bergman refers is 
God's—a God who has withdrawn from 
erse, leaving behind an arid 
d devoid of warmth 
n a strange city in a tota 
uropean state come two at- 
tive sisters and the small son of the 
younger one. We learn that the girls 
€ had a Lesbian relationship, that it 
is endi the older sister, 
is reluctant to let this happen. But Ester 
a breakdown while the three 
cling together and now is 
lly a prisoner in her hotel bedroom; 
while Anna, the more. passionate of the 
two, is [ree to roam the dark streets of 
the silent city. At a movie house—i 
flamed by the sight of a couple copulat- 
ing in a nearby seat—she picks up a man 
nd brings him to her hotel, where the wo 
proceed to make prolonged and passion- 


and love. 


Into a hotel 


“I love you, too, Ralph, but is it fair to bring 
children into water like this?” 


ate love, with her son and her sister as 
interested onlookers. After a vituperative 
showdown, in the couse of which Anna 
makes it clea that she had submiued to 
Ester's passion solely to keep Ester from 
telling their father about her other af- 
fairs, Anna and the child pack for home, 
leaving the older woman presumably to 
waste away al re she 
knows not one word of the languag 
Quite apart [rom the eroticism implicit 
in this theme—which Bergman refra 
from playing up sensati 
lence yields an unusually high quotient 
of sex-charged scenes. Beyond mere nu- 
айу, however, the film includes glimpses 
of perverse sexuality that were then rare 
even in the Swedish cinema, such a 
Esters graphic acs of  autocroticiam, 
Anna's lascivious squirming in the thea- 
ter to attract the attention of her male 
neighbor and Емегъ extraordinary ges- 
ture when, after confessing her hatred 
of sex and “male glands,” she wipes her 
аа асос anderes 
it to her lips. Unfortunately, as so often 
happens, censorial outcries placed undue 
emphasis on the sexual de 
film, thus drawing attention awa 
Bergman's underlying theme: the delinea- 
tion of an amoral and godless universe. 
Also unfortunately, the ground broken by 
Bergman to achieve his moral purpose wi 
soon E 


The Silence V 


specifically forbidden ro make cuts in 
any film of substantial artistic ) 
when that august body banned completely 
Vilgot Sjóman's 491 for dealing far too 
graphically with a band of teenaged de- 
linquens. Included in the picture we 
scenes of homosexual seduction, a ship- 
board sequence in which a prostitute is 
cruelly and abnormally abused by some 


sailors and shots of a teenaged prostitute's 
dalliance with a large police dog. After 
considerable debate, which went 
way to the Swedish parliament, #97 was 
finally passed with four cuts and the 
occasional blurring of the sound wack, 
Promptly and predictably, it then ran 
afoul of the U. 5. Customs Bureau and its 
private coterie of censors. Although eve 
tilly cleared alter appeals to the higher 
courts, the film only recently has begun 
to be shown publicly in this country. 
As Sjöman noted after his battle to show 
491 in public, “The censorship b lis 
working after some very strange rules, 
judging films by an Ingmar Bergman 
from one moral ground and films by 
nt grounds, What 
Bergman shows is ‘great art’ but if an. 
other director shows the same thing, it 
seems to be pornography.” 

Tt is questionable if 497, or any of 
its successors. could ever have been 
shown in the United States had not 
been for a film produced in 1960 in 
neighboring Denmark—Johan_ Jacobsen's 
connioversial A Stranger Knocks. The 
controversy had nothing to do with the 
film's artistic aspirations, which were 
modest; nor was the time-honored accusa- 
tion of “excessive nudity” leveled against 
critics 
complained that in its crucial scene, when 
in the midst of intercourse the heroine 
discovers that her lover is actually her 
husband's murderer, both participants 
were fully clothed—a condition as diff 
cult as it is unlikely.) On the other hand, 
their sexual encounter was depicted in 
tolo—largely as reflected in the expres- 
sive features of lovely Birgitte Federspiel, 
who warms from passivity to passion and 
then, at the moment of ecstasy, cries out 
in agony at the shock of recognition, Be- 
cause the scene was the film's dramatic 


other directors on diff 


it. There was none. (Indeed, sever: 


181 


PLAYBOY 


as well as sexual climax, 
plot rather than a mei 
it obviously defied excision 


Not until 
1963, when U.S. censorship had begun 


did the picture receive limited 
te 
was 


holdout. The situation 
resolved in Mareh 
when a U.S. Supreme Court ruling not 
only decreed that A Stranger Knocks 
could be shown uncut in New York but 
imultancously knocked out the entire 
legal basis for New York's censor board. 

Because of New York's strat 
tion as the center of both exhibiuor 
distribution for foreign films, the removal 
of censor controls within that state had an 
immediate effect on an houses across the 
nation. Indeed, unless, as in the currently 
disputed / Am Cwrious—Yellow, the film 
maker happens to include shots that u 
blushingly reveal the sex orga 
course (wh ight result 
on da 


hin 


rges of pornography), there is now 


Imost nothing that cannot be shown. The 


John, depicting in graphic detail the 18- 
hour love affair between a middle-aged 
barge captain (Jarl Kulle) and a pert 
waitress (Christina Schollin) in a small 
waterfront café. Told in the fashionable, 
outof-sequence style introduced by Berg- 
man and Alain Resnais, much of the story 
is narrated from the vantage point of the 
couple enjoying themselves in bed, with 
the dialog possibly even more candid than 
the shots themselves, (“Are you washing 
off Thomas?” the girl calls to the captain 
after they have had intercourse.) 

Even more notorious, thanks to the 
vociferous efforts of Shirley Temple Black 
10 have it barred from the 1966 San Fran- 

i was Zener- 
ht Games, which 


ihibitions. 
ith his beautiful, 
mother (Ingrid Th 
stirred by a visit with his fiancée to the 
mily manse include an orgy at the 
height of which the mother, in full view 
of the boy and her assembled guests, gives 
birth to a stillborn child: and a bedtime 
мениде in which, while the mother reads 
to him, he masturbates under the covers— 
until she suddenly pulls the covers away. 
In addition to autocroticism and Oedipal 
impulses, Night Games also manages to 
touch upon necrophilia, homosexuality 
and several forms of sadomasochism belore 
the son finally blows up his old house 
nd frees himself forever from the influ- 
ence of it and his mothe 

Less publicized than Night Games, but 
even more erotic, was Vilgot Sjóman's 
production of My Sister, My Love, with 
its theme of incestuous love between 
blonde Bibi Andersson and brother Per 


morally depraved 
п). The memories 


182 Oscusson. Set in the late 18th Century, 


it tells of a young nobleman who returns 
home to find his adored sister on the 
verge of a loveless marriage. The film is 
extraordinary for the lyricism of its love 
passages between the brother and the 


sister, for its attempts to suggest that 
incest cam be “pure” if motivated by 
deeply felt emotion—and for a ribald 


sequence in which the brother, drunk on 
his sisters wedding night, dallies with 
three enormous whores, 

The eroticism in Ingmar Bergman's 
recent film, Persona, is less overt but 
equally aber nd pervasive. Some 
critics have chosen to interpret its story 
of the merging identities of a disturbed 
actress and a seemingly guileless nurse 


as а study in Lesbianism. But the nurse 
(superbly played by Bibi Andersson) 
has had а fairly “Му 


heerosexual love life before moving into 
ide cottage to cure for the mute 
through flashbacks, we learn of 

with tied of her 
volvement in a wild orgy on a beach 
and of a subsequent abortion neces- 
sited by this indiscretion. Actually, 


complex and trick Jaden film is that all of 
us are role-playing and that when our 
pose 1 nd our sense 
toyed. we are left with noth- 
ing. Whether the actress succeeds in 
to her nurse through sexual or 
al means is almost beside the 
point, and one that Bergman does little 
to clarily; as is frequently the case in his 
pictures, however, the visual images are 
suffused with an elusive eroticism that is 
all the more disturbing because it is left 
so undefined. 

The sexuality in the films of young 
Jorn Donner, all starring Harrict An- 
dersson, is far more forthright. Set to rest- 
lessly modern jazz scores by Bo Nilssoi 
cach features the restlessly modern Miss 
Anderson provocatively poised on the 
horns of a thoroughly modern sexual d 
lemma. Donner, who has been enjoying 
ble success on the filmfestival 
sees to it that none of her sexual 
problems is cver satisfactorily resolved in 
any of his modish movies—and that Miss 
Andersson achieves maximum exposure 
in each. 

Like Donner, the new generation of 
Swedish film makers seems to be push- 
ig both sex and nudity to the limit these 
past few years. Ame Mattson’s The Pi 
cious Circle involves child rape, Lesbian- 
ism. masturbation, voyeurism and nude 
sexual play in its story of а vengeful 
woman who returns after 20 ye 
rooming house in which she h 


attacked as а child. The late Lars 
Gorling’s Guill was notable—even no- 


the ts productioi 
(1965) for its offhand inclusion of a side 
view of the man slipping oll his shorts be- 
fore climbing into bed with his lady. briefly 
exposing his peni the same 
reason, mention should be made of Bo 


Widerberg’s fost film, The Pram, the story 
of an unwed mother who casually explains 
away her delicate condition by saying. “I 
left my diaphragm in the pocket of my 
other coat." 

te, however, no one has gone 
and one wonders, from all ac- 
counts, if, indeed, there is farther to go 
—than Vilgot Sjöman with Z Am Cu 
rious—Yellow. Released in Sweden late 
in 1967. it promptly ran into difficulties 
with the Swedish censors, although less 
for its extensive and explicit sexual act 
ity (which indudes shots of the s 
itself) than for its anti-American 
antiSpanish political line; nevertheless, 
the film was passed without cuts and 
immediately began playing to crowded 
houses throughout the country, [ Am 
Curious is presented as a film within a 
a Nyman, playing 
ns the role of an 
ing reporter in his new movie, then 
—despite her director's jealousy—begins 
to fall in love with her leading m 
(Börje Ahlstedt) even as she was sup- 
posed to do in the film itself. On the oth- 
er level is the film that frames this story 
—Sjóman's inquiry into contemporary 
Swedish attitudes. Miss Nyman, with tape 
recorder, participates in an anti-Vietnam 
demonstration outside the American. cm- 
bassy, asks draftees why they are not paci 
fists and interviews tourists retu 
Spain on their reactions to Fi 
torship. (Her own attitude is made clear 
when she viciously stabs а portrait of 
Franco in the cyes—both eyes.) But m 


film. On one level, Ler 
"s girlfriend, w 


even more of her time to а n 
man, and the two a ny slippi 
out of their clothes whenever and where 
ever the impulse seizes the hi 
dudes such unlikely places as the branches 
nt oak. with a religious group 
strade of the Swedish 


n—wh 


ing on: and in a wide variety of private 
bedrooms and public parks. The nu 
for both male and female is total and. 
the filming of 1 activity is 
as Variety's Swedish correspondent deli. 
cately phrased it, “as explicit а 
get in or out of а stag film,” 
а scene in which the gil kisses Ahlstedt 
on the penis. Shown intact in Sweden 
nd Denmark, Yellow the 
censors of Germany belore 
distribution in those countries and is cur 
renily the subject of a censorship bate 
being waged by Grove Press to secure its 
release in the United St. The Scandi 
ıs. long hung up on matters of sin 
nd expiation, have gone modern with an 
intensity that few would dare equal, but 
Iso in a fashion that suggests they have 
arefully studied the film styles and tastes 
of their European contemporaries and the 
rich potential of the American market. 

have Sweden's neighbors, Nor- 
nk, been noticeably he 
ih d 


was cut by 


and France 


way 
tant about 


of 


the world. Although each country pro- 
duces, at best, fewer than 20 pictures а 
year, few of which get far beyond their 
own borders, jus one of these—Den- 
A Stranger Knocks—has already, 
as we noted carlier, had powerful reper- 
cussions in this country. Similarly, the 
Danish Weekend ) kicked up a 
considerable furor when it reached the 
U.S. Directed by Kjacrulff- 
Schmidt, it cas a coldly observant сус 
on the profligate pleasures of middle 
class young adults secking to escape the 
protective custody of Denmark’s brand 
of state socialism in wholly random sex- 
ual experiences and c acis. Despite 
numerous nude scenes (which prompted a 
Legion of Decency C rating in this coun- 
try), the film makes profligacy seem both 
sordid and tedious—which is undoubtedly 
precisely what its director intended. 

Another Danish offering, Knud Leil 
Thomsen's Venom approaches a 
stolid solemnity its somewhat offbeat sub- 
ject of a young pornographer who moves 
in with pectable middle-class family. 
Before long he is not only flirting with the 
wile but sleeping with the daughter and 
ng her in his pornographic movies. 
When the father finally discovers this, he 
beats him up and throws him out of the 
house, along with his cameras and his 
reels of film; but, undaunted, the pornog- 
pher picks himself up and—symboli 
cally—begins ringing the front doorbell 
is the film ends. Once the bars of “de- 
cency" have been let down, Thomsen 
seems to be saying, they can never be 
put back in place. For all his pompous 
moralizing, however, Thomsen is clearly 
not averse to letting down a few bars of 
his own. The young director incorporat- 
ed into his film a few feet from an actual 
мав reel—probably the first time such 
footage was ever shown in a picture in- 
tended lor public distribution; but when 
the film was presented in the U.S. 
on the Continent, since the sequ 
was too intrinsic for outright excision, a 
white X appeared, printed over the 
offending frames. 

Perhaps the most successful of these 
Scandinavian sexpotboilers, at least 
the United Si was the Dani: 


es, 


Swedish coproduction 7, a Woman, with 
the wellendowed Езу Persson 


s a neu- 
rotic nymphomaniac who feels compelled 
to prove her womanhood at least once in 
every reel. Despite a certain repetitious- 
ness of plot, Miss Persson's recurrent ex- 
posures netted her American distributor 
over $3,000,000, and inevitably prepared 
the way for a sequel (as well as inspiring 
the tide for Andy Warhol's 7, a Man). 
Norway, with even fewer films to her 
credit, also number of young 
directors who seem prepared to go the 


sexploitation тошс. Typical is The 
Passionate Demons, produced in 1961. 
Its story, both naive and familiar, deals 


with 
fathe 


n errant son who, while hating his 
is quite willi «cept money 


“It's hard to believe you grew them from two tiny bulbs." 


from him in order to continue an ai 
with his girlfriend. Spiced with nude 
quences, the film was cut by four minutes 
before the censors allowed it to be shown. 
the United States. 
Similarly, as Germany moved into the 
ixties, its producers became increasing- 
е of the overseas box-office boost 
attainable by the injection of a little sex 
into their pictures, a maneuver best 
demonstrated to them by the interna- 
tional success in the late Fifties of Rolf 
Thieles Rosemary, based on the actual 
murder of a wellknown callgirl. Typica 
of the sex-oriented films of the сапу 
Sixties in Germany was Ordered to Li 
a dramatization of life in the notorious 
Nazi breeding camps set up by Hitler to 
create an Aryan master race through the 
scientific mating of pure-bred German 
girls with Wehrmacht and 55 officers. 
Despite its high quotient of aberrant 
croticism, the German studios experienced 
considerable financial difficulties through- 
out the Sixtics. On the one hand, а rc- 


Wa 


strictive censorship limited their freedom 
in choice of theme and, on the other, 
spiraling costs sent one firm after another 
either out of busi nds of 
a new film giant, Bertelsmann. Originally 
a publishing house, Bertelsmann filled 
the sare 
dated Edgar Wallace thrillers and pseudo- 
Westerns based on the works of Karl Ma 
the German Zane Grey, many of them fea- 
uuring either nger or Lex 
Barke Exceptions were Rolf Thiele's 
DM Killer, co-starring sexy Nadja Tiller 
and the Israeli beauty Daliah Lavi; and 
his Wälsungenblut, narrating the 
between a brorher and a sister, based on 
a famous Thomas Mann story. 

Things were considerably {reer, how- 
ever, in Austria, Germany's neighbor to 
the south; not only do most of Austria's 
movies find their major distribution in 
Germany but many of the leading Ger- 
m makers began to divide their 
between the studios of the two 
ics. Thus, Rolf Thiele, who 


timc 
cou 


5 183 


PLAYBOY 


probably Germany's outstanding propo- 
cma, moved to Vienna 
1962 remake of Wedckind's 
perennially popular exercise in eroticism, 
Lulu, with the sloeeyed Nadja Tiller 
the title role as a woman who is ruled by 
her sexual urges. А notable film when 
it was first produced in the late Twenties 
(as Pandora's Box) with America's Louise 
Brooks as Lulu, the Thiele version de- 
generated into a series of sexual extray: 
ganzas: Lulu twirling in a peckaboo 
ninightie while her elderly first hus- 
nd sweats: Lulu dancing lasciviously to 
lure the susceptible doctor away from his 
wellborn fiancée; the countess literally 
crawling on hands and knees for the love 
ol Lulu: and no less inordinate displa: 
of passion proffered by Lulu's odd assort- 
ment of male lovers. To make matters 
worse, Fräulein Tiller played this cold- 
blooded femme fatale wi i 
tensity of a Hausfrau making her way 
through a supermarket. 

Meanwhile, back in Germany. some of 
the resraints—and much of the ret 
cence—of local producers to handle such 
themselves had begun to disap- 
pear by the second half of the Sixti 
Thanks to the creation in 1966 of a new, 
government-sponsored film school in Ber- 
lin and the establishment of a Young Ger- 
man Cinema backed by substantial 
to encourage the production of promi 
scripts, there are signs that а German 
“New Wave" is now in the process of for- 
mation—a wave that, being young, is 
inclined to take its sex somewhat more 
seriously than do the oldsters. Outstand- 
group are the brothers Ulrich 
Schamoni, both of whom have 
a sharp and critical сус upon 
conditions prosperous West 
Germany. In Jt, Ulrich describes the 
problems that beset agressive, rising 
young realestate agent who lives in 
unwedded bliss with a beautiful blonde 
who has а good job of her own. Life be- 
comes complicated when the girl discov- 
ers that she is pregnant. Because neither 
the girl nor her lover is quite prepared to 
settle down to middle-class domesticity, she 
sets off in search of an abortionist, In the 
course of her quest, she encounters а cross 
section of conte y attitudes to 
both abortion ried love. /t 
with the abortion taken care of, but the 
ion between the two young people is 
far from settled. Brother Peter's Close 
Time for Foxes follows the adventures of 
several young bachelors who find them- 
selves forced into restrictive relationships 
with their ladyfriends and, ultimately, 
with society at large. In both i 
the point is not that sexy s 
shown, as in the popular German come- 
dies, but that the brothers Schamoni 
tend to view sex as a cornerstone of the 
social structure. Ironically, it seen 
the Germans must look to their younger 
generation to bring maturity to their 


stances, 


as if 


184 films. 


On the far side of the Tron Cur 
the Sixties brought a similar awa 
to the facts of life. Although the So iet 


Union still appears to believe, purita 
cally, that sex is not something one 
about—particularly in the cinema—such 
satellite nations as Poland, Cvechoslova- 
kia and even Romania and Bulgaria ap- 
parently feel quite differen; and with 
the lifting of Stalinist repression, their 
film makers have been es 
forbidden themes with notable enthus 
Perhaps the first such picture to 
хе any wide distribution in this coun- 
was the Polish Knife in the Water 
(1962), directed by Roman Polanski. In 
Knife, Polanski's first feature, a d 
tented wife and her somewhat bored and 
complacent husband pick up a youthful 
hitchhiker en route to a lake for a Sun- 
days sul on his boat; impulsively, the 
husband invites the boy to accompany 
them for the day. As the wife stretches 
idly on the deck in the briefest of 
bikinis, the excursion turns imo a bitter 
rivalry between the two males, with the 
boy's pocketknife—symbolic of virility— 
the point of contention between them. De- 
spite the fact that the film contains litde 
ty amd even less lovemaking, it 
crackles throughout with the electricity of 
eroticism as the men vie with each other 
for the wife's approl A "lady or the 
tiger" ig does nothing то relieve the 
tension, 

Until his u 


ploring hitherto 


nud 


end 


ah in January 
Polish cinema 


1967, the top star 
was stocky Zbigi 
fed by hi 


dark 


. who 


spectacles and black- 
Iso made а number 
le his native land (notably, 
the Swedish To Love and the French 
La Poupée). Cybulski 
the James Dean of Poland- 


n fig 
ble individualism s kept him on 
the outer fringes of society. Typicill 


in the Polish episode from the interna- 
tionally produced Love at Twenty, he 
played a war veteran who is picked 
up by a pretty coed and brought to h 
partment, where she tries to seduce 
п. Their lovemaking is interrupted by 
the unexpected arrival of some of her 
friends; Cybulski gets drunk during the 
g fest id the girl, already 
bored with him. has him thrown out by 
her steady boyfriend. The Saragossa Man- 
uscript (1964), based on a tale by the 18th 
Century Polish writer Jan Potocki, forced 
Cybulski to abandon his glasses, but not 
his way with the ladies. As an indomitable 
captain of the Walloon guards during the 
siege of Saragossa, he finds himself con- 
standy in demand—and by two girls at a 
me. As Cybulski beds down with 
them, he is a bit discomfited when they 
offer him a love potion served in a skull 
kening 
the following morning, he discovers (pro- 


—and even more when, on a 


phetically for himself) that he is embrac- 
in 


g а skeleton. 
Death also cut short the carcer of An- 
ej Munk, one of Poland's most prom- 
ising directors of the late Fifties, His 
final film, The Passenger (1961), incom- 
plete at the time of his death, was nev- 
ertheless pieced together and, with stills 
inserted to bridge the missing sequences, 
put into international release. Much of 
the story takes place in Auschwitz (the 
only sequences that Munk had actually 
filmed) and none of the indignities of 
concentration-camp life are spared. Those 
marked for extinction are first forced to 
strip naked. Women being punished for 
fractions of the rules аге stripped and 
made to run a vicious gauntlet of the 
guards; the laggards are beaten to death. 
Another notable work is Jerzy Kawaler- 
owicz Joan of the Angels (1960), based on 
the 17th Century incident that inspired 
of Loudun. 
rance 
ts a small convent whose 
ave suppose been possessed by 
А priest, Father Joseph, is sent to 
exorcise the demons but is almost turned 
from his course when Joan, the Mother 
Superior, in a sudden fit of sexuality, rips 
her habit and bares a breast to him. It is 
not devils, of course, but lust that has 
possessed the nuns; and while, in the end, 
Mother Joan is able to restrain her im- 
pulses, Sister Margaret is less successful and 
permits herself to be seduced by a roué 
from the nearby tavern. As the film 
closes, both women weep together, less 
for their own loss of grace than for the 
frailty of the human conditio; 
Kawalerowicz, although only in his 
mid-40s. represents an older. generation 
in Polish film making. The internat 
spokesman for the new film makers now 
emerging from Poland's excellent film 
school at Lódź is the dynamic, talented 
Jerzy Skolimowski, a triplethreat writer- 
tordirecror in his early 30s. In his 
first three pictures—Ldentification Marks: 
None, Walkover and Barrier—he has not 
only introduced the freewheeling, frec- 
ssociation, Jean-Luc Godard approach to 
the Polish cinema but has boldly woven 
his films around the frustrations and re 
strictions of youth in а totalitarian socic- 
ty. In Skolimowski’s most recent effort, 
. which w 
Belgium, with substantial French partic 
pation, the youthful hero, Jean-Pierre 
aud, is a hairdresser by tade bur a 
racing-car enthusiast by instinct. Gradu- 
ally he comes to realize, through his rel 
tionships with several women, that h 
mania for speed is, in fact, a cover-up for 
his sexual frustrations; and the film ends 
abruptly after a night with his under- 
standing girlfriend relieves him of both. 
Like his compatriot Polanski, Skolimowski 
seems to breathe a bit more freely on this 
side of the Iron. Curtain, 
With Poland leading the way the film 
makers in other Sovicrbloc nati 


begun to edge westward themselves. At 
first, predictably, their pictures remained 
tinged with large infusions of ideology 
as in the Bulgarian Sun and Shadow 
(1961), in which a Bulgarian boy and a 
beautiful foreign girl, clad in a brief bi 
meet on a beach by the Black Sea and 
have their first love affair, darkened only 
by repeated references to nuclear Arma- 
geddon and the need to fight for peace. 
The love scenes are even bolder in 
the Hungarian Yes, filmed in 1964; in 
this one, а man whose pregnant wife had 
been killed during World War Two finds 
a new mate, but, haunted by the specter 
of the Bomb, he insists that she have an 
borjon when she becomes pregnant. 
By the mid-Sixties, bared bosoms and even 
total nudity had become almost as com- 
monplace as in the films of. France and 
Italy. 

Of all the Iron Curtain countries, 
however, none has profited more from 
this new liberalism than Czechoslovakia. 
Beginning in 1965, with the huge inter- 
national success of The Shop on Main 
Street, controls were relaxed sufficiently to 
permit such youthful directors as Milo’ 
rman, Vêra Chytilová and Jiří Menzel 
to view their fellow creatures with a wry 
good humor and critical perception unique 
in the world today. 

Perhaps the best known in the 
Western. world—and wholly typical—is 
's Loves of a Blonde, in which a 


young factory worker allows herself to 
be seduced by a jazz pianist after a fac- 
tory-sponsored dance, then turns up at 
his apartment in Prague expecting him 
to become her “steady.” Although the 
disrobing in this delightfui film is com- 
plete, Forman handles their night of love 
with tact, discretion and humor. Both 
the girl and the boy are glimpsed repeat- 
edly from the back (especially when he 
wrestles with a recalcitrant window 
shade); but when the view is from the 
front, her arms cover her breasts and his 
head is nestled in her crotch. After their 
lovemaking, the girl sneaks somewhat 
guiltily to the bathroom down the hall— 
and spies one of her chums, equally guilt- 
ily, scampering back to her own room 
clad in the overcoat of a soldier she had 
picked up at the same dance. The cream 
of Forman's gentle jest, however, is the 
long sequence that concludes his film as 
the blonde, waiting in the pianist's home 
for her inamorato to return from а d 
is imterrogated by his parents. both of 
whom are certain that the girl is "in 
trouble” and want to get their boy off the 
hook. The counterpoint of their conven- 
tional morality, the boy's cavalier selfish. 
ness and her unaffected candor and 
simplicity establishes the girl's esent 
innocence with touching poignancy. 
Perhaps the first step in this new di- 
n was taken by willowy Véra Chy- 
‚ who, in her first feature film, 


tilov 


Another Way of Life (1963), contrasted 
the emotional emptiness of a famed wom: 
an athlete (former world champion Eva 
Bosáková) with the petty discontents of an 
attractive middleclass housewife (Vtra 
Uzelacová). While the athlete drives her 
self through ballet exercises and gymnas- 
tics, the bored wife conducts a stealthy, 
seamy affair with a young stud. Ironical 
ly, just as she is about to confess all to 
her husband. he declares that he wants a 
divorce in order to marry a girl he has 
been seeing on the sly. The wife sudden. 
ly turns on him, using their child as a 
weapon, and charges him with heartless 
ness and deceit. The film's bitter finale 
shows the family walking dispiritedly 
through a woods together, a family in 
name only; while the woman athlete, who 
has beaten her competition, prepares to 
train others in the grueling process of 
becoming professional athletes. Curious- 
ly for a Communist film, Another Way of 
Life holds out litle hope for either of its 
female protagonists. 

More recently, in Daisics (1967), Chy 
tilova dispatched two bikiniclad teen 
agers, both of them completely brainless 
and self-absorbed, into the hedonistically 
Mod world of Prague's artists and intel. 
lectuals, none of whom seem to have 
anything going for them beyond sex and 
psychedelics. The Czechs, apparently 
astonished at their own forthrightness, at 
first refused to permit the film to be 


185 


PLAYBOY 


your birthday, Rigne: 


? November 28th? Fine, 


that makes it 2811 enemy casualties for the week.” 


exhibited outside their own country; when 

lly shown here, on а very li 
ited basis, American audiences found its 
brightly colored images more puzzling 
than disturbing. 

Decidedly closer to American tastes is 
Jiři Menzel lemy Award-winning 
Closely Watched. Trains, a black comedy 
that, like so many Czech films, looks back 


10 the grim days of the Nazi Occupation, 
but with a singular difference. Whereas in 


the past the Crechs have concentrated on 
the horrors and brutality of the period, in 
st until its grim finale— 
s very much in the back- 
ground. In the foreground is a youth of 
about 20. impressed by his new uniform as 
the second assistant stationmaster in a re 
mote whistle stop but unhappy about his 
bitter inability to make it with the girls. 
Premature ejaculation is his problem, as 
tested by an extra arily explicit 
love scene with a compliant conductress, 
His superior, on the other hand, has no 
problems at all; in fact, ify an easy 
conquest, he rubberstamps the bare bot- 
tom and thighs of his fun-loving secre 
with all the av nsig- 
nia 


r his 


manhood after he has attempted suicide 
in despair: due to complications brought 
оп by an official investigation into the 
rubberstamping caper, however, he loses 
his life the following morning while sab- 
otaging a German supply main 
ribald humor pervades the film, 
tolerant is the director's easy a 
of the human condition that the sudden, 
jolting clim: »g remind- 
er that death is as much a part of life as 
its little joys, and that living means en- 
joying these pleasures as they happen. 
Prominent among these pleasures. this 
new generation of film makers clearly 
maintains, is the enjoyment of sex. Sex 
rears its impertinent head increasingly in 
Cæch films. In the wildly erotic dream 
passages from Markéta Lazarová, а cos- 


X comes as a sober 


tume drama based on an epic Czech novel 
by Vladisl Cura, the statuesque 
Magda V s totally uncostumed as 


the screen fills with shots of her breasts 
taken from above and below and, during 
one long, incredible moment photo- 
graphed in slow motion, as she strides 
naked through the fields directly toward 
the camera lens, In the final section of 
the triparted Pipes, a takeolf on the 
popular Austrian Tyrol films, the flaxen- 


haired heroine is seen in bed with her 
lover while her husband is away on m 
tary duty. Suddenly, she pops up, totally 
ide, and tucks a pillow under her bot 
tom so that she can enjoy her boyfriend 
more fully. Clearly, Prague is becoming 
the Paris of eastern Europe. 

Or perhaps vice versa; for meanwhile, 
back in France, De Gaulle's increasing- 
ly puritanical regime has been putting 
the clamps ever more firmly on French 
film makers. Throughout the Sixties, 
French directors have complained not 
only that their government is intent on 
limiting the political content of th 
films (particularly with regard to any 


but that it will crack down suddenly 


and unpredictably on pictures it consid- 
ers inimical in any way to contemporary 
Trench institutions, including the Catho- 
lic Church, One film by Jean-Luc Go- 
dad, The Married Woman, actually 
had snipped from it a shot of one of the 
best known of all French institutions—a 
bidet (unoccupied). 

nptomatic was the government ban 
in 1066 on Jacques Rivettes’ Suzanne 
Simonin, La Religieuse de Diderot, based 
on an 18th Century novel by the French 
philosopher Diderot. The film tells of a 
nun, Suzanne (Anna Karina), who, incar- 
cerated in a convent by her family, 
revolts ist the harshness of monastic 
life, although she is herself deeply reli- 
more worldly con- 
vent, she stirs the Lesbian desires of her 
Mother Superior (Liselotte Pulver) and is 
forced to flee again. Now friendless and 
alone, the girl is taken in by а procuress, 
who promptly introduces her to the cor- 
ruption of the outside world. In despair, 
Suzanne commits suicide. 

Although the film set forth Diderot’s 
story without undue sensationalism, the 
Catholic Church began its efforts. to 
have it banned even before shooting 
was completed; parochial schoolchildre: 
were ordered to write letters protesting 
the picture, then to take them home to 
their parents for signatures. Promulgat- 
ed by French Minister of Information 
Yvon Bourges—even though the film had 
twice been passed by the official French 
censor board—the ban immediately 
roused the entire French motion-picture 
industry to an outburst of indignation, 
"misappropri- 
n of power" Director Philippe de 
Broca, who had just been named a Chev- 
alier of the Order of Arts and Letters, 
sent back his decorations to De Gaulle 
in protest; and at a mass meeting in 
Paris on April 26, some 60 directors— 
among them Alain Resnais, Chris Mark- 
and Roger Vadim, as well as such 
ns as René Clair and Abel Gance 
—told how their own films had been mu- 
tilated by the censors. To a man, they 
vowed their intention of boycotting the 


accusing the minister of 


imminent Cannes Film Festival if the 
ban were not lifted; whereupon Minister 
of Culture André Malr: 1 a curiously 
llic form of compromise, permitted 
La Religieuse to represent France at the 
Cannes Film Festival but refused to let 

be shown anywhere else in the world. 
Not until two years liter was this ukase 
finally rescinded. 
ench censorship, as might almost be 
expected, operates differently and more 
subtly than in any other country. Only 
rarely, as in the case of La Religicuse, is 
there direct government imervention—and 
for good reason. Established as far back 
as 1916. censorship began functionin 
sentially through a government: 
Commission de Contróle, which exercises 
its controle at virtually every step of a 
film's production. To obtain a shooting 
permit, the producer must first submit 
his script to the chairman of the Com- 
D ibly to save himself money 
case any aspect of his picture later 
proves censorable. After the film is com- 
pleted, it must then be screened for the 
Commission to receive a visa de contróle, 
without which no picture may be pub- 
Нау exhibited in France. At the Com- 
mission's discretion, the producer may 
then receive amy one of six different 
forms of visa—permission to show as is, 
with cuts, forbidden to children under 
13, 16 or 18, and forbidden for export. 
Be the Commission has traditionally 
been manned by a preponderance of bu- 
rcaucratic petits fonctionnaires rather than 
by industry people, it is understandably 
more sensitive to political than to anatomi- 
cal references. As Roger Vadim observed, 
“The only kind of movie that won't have 
censor trouble here is a sex movie.” 

Although nudity has always been per- 
mitted in the nch cinema, nor until 
the late Fifties, with the emergence of 
Brigitte Bardot, did the emphasis seem 
quite so obsessive, By the early Sixties, 
however, the BB boom was pretty much 
рап 1 
et had been glutted by the belated 
release of many of her pre-4md God 
Created Woman movies, none of wl 
was precise 
ly because 
she revealed less and less of the lissome 
frame that had catapulted her to star- 
dom in the first place. In Viva Maria, 
one of her latest epics, for example, she 
and costar Jeanne Moreau cavort through 
а Central Am an revolution as 19th 
Century showgirls, both of them clad 
n their wim ankles to their pretty 
umes of the 
g in the wi 
as à new take-over generation of shape- 
ly young French actresses wholeheartedly 
willing to reveal whatever was required 
for art and profit. 

Many of these new sexpots made 


over- 


ly because the internationa 


their mark in films that purported to 
offer both before- and behind-the-scenes 
glimpses of the wicked night life of 
gay Paree. Also in this category were a 
considerable number of pictures that cor- 
ponded closely to the American sex- 
ploitation films; indeed, clumsily dubbed, 
of them make the same rounds. 
Typical of this genre is Daniella by 
Night, in which, among other diverliss- 
ments, Elke Sommer is stripped on stage 
by enemy agents in search of some mi 
crofilm that she has secreted on her per- 
son. Miss Sommer stripped again for 
weet Ecstasy, this time when she was 
sent by her cynical lover to seduce a 
rich newcomer to the pleasures of the 
ps the best known of 
the United States, if only 
se of the numerous censor actions 
matic 
Sexus, in which a girl is kidnaped for 
ransom, falls in love with опе of the gang, 
who saves her from being raped by an- 
other member of the 
returns her safely to her fan 
acres of irrelevant mu 
Lesbianisin tossed in for good me: 
What is perhaps more surpr 


“Mini, midi, maxi, moe. . . . 


the fact that many of the leading 
French directors lent their talents to the 
production of exploitationtype films 
during the early Sixties—a fact that can 
best be explained by the ever-recurrent 
crises in the French motion-picture in- 
dustry. If a director, no matter what his 
reputation, wanted to work, he had to 
work on something indisputably "com- 
mercial.” Thus, the veteran. Henri. De- 
coin, in 1960, made Tendre et Violente 
Elisabeth, with its multitude of bared 
bosoms and fairly explicit love scenes. 
Claude Chabrol, whose The Cousins had 
done much to initiate the New Wave in 
France, found himself reduced in 1960 to 
directing Les Bonnes Femmes, a story ol 
four girls adrift in Paris. Induding the 
iptcasc sequence, it was a 
1 dossier of sexual quirks and per- 
versions—the most notable of which was 
a woman's fetishistic attachment to a 
handkerchief dipped in the blood of a 
guillotined sadist. 

On the other hand, many of the 
French films of this period that were 
quite seriously motivated also contained 
more than the ordinary degree of shock 
value. Perhaps foremost among these 


187 


PLAYBOY 


was Serge Bourguignon’s poetic, meticu- 
lously photographed Sundays and Cy- 
béle, with its unconventional story of 
a young aviator, his mind partially 
blacked out by his war experiences, who 
befriends а remarkably Lolitalike child 
in a convent school. Was there a sexual 
relationship between the two? Bourgui- 
gnon hints with a great many symbols 
that there might well have becn—while 
at the sume time making it quite cxplici 
that the man has been sharing the bed 
of a compassionate nurse. Similarly, in 
Jean Delannoy's This Special Friend- 
ship, based on a well-known novel by 
Roger Peyrefitte, there is a suggestion of 
homosexual love between two boys at a 
Jesuit school, As in the case of La Re- 
ligieuse, there was considerable Catholic 
pressure to have the film suppressed; 
but because its makers һай refrained 
from any specific revelation of homosex- 
ual activity, the censors had no basis for 
banning it. 

Sex relationships were no less central 
to the films, generally low-budgeted, of 
such New Wave stalwarts as Francois 
Truffaut, Alain Re 1 the protean 
Jean-Luc Godard, 
the sex life of the principals was pron 


1 almost all of which 


nat 


1959, q solidated his position 
in 1961 with the release of his offbeat 
and original Jules and Jim, The story of 
n unconventional ménage à trois in the 
years of World War One, it costarred 
the darling of all New Wave directors, 
darkeyed Jeanne Moreau, with Oskar 
Werner as Jules and Henri Serre as Jim, 


the men who share her affections In 
this film, Trullaur created a fascinating 
study of neurotic love and selfless 


friendship, all the more striking because 
of the many Faces in Jeanne Moreau's 
wionate, amoral, cas- 
Last Year at Marien- 
bad (1961), Alain Resnais, the oldest of 
the New Wavers, ventured into the future 
cool, enigmatic study of a 
inst the rich back- 
ground of a fashionable European spa. 
Is the mysterious M the hust 
hauntingly beautiful Delphine Seyrig? Did 
Giorgio Albertazzi have an affair 
with her last year a bad and gain 
her promise to meet again? And was it 
truly an affair, or was it таре? Resnais 
offers no answers to these or any of the 
other questions raised by his picture; i 
what was soon ro become a convention 
of the contemporary avantgarde film, he 
left it to the audience to find its own 
solutions—or merely to enjoy the opulent 
mosaic of. marvelously decorative. images 
that he provided. 

In La Guerre Est Finie (1966), Resnais 


188 revealed again his obsession with rime; but 


in this story of a middle-aged expatriate 
Spanish Communist living in Paris, 
wavering in his commitment to continue 
the struggle against Franco's regime, 
time is primarily a thing remembered 
but not shown. Symbolic of the man's 
political indecision is the choice he 
must make between his patient mis- 
wes for the past seven years (Ingrid 
Thulin), who wants bim to quit ıl 
movement, and an attractive, starry- 
суі student (Geneviève Bujold), who 
finds his revolutionary activities cnor- 
mously exciting. As he makes up his 
mind, the film pays considerable 


tion to his amatory activities, particular- 
ly in a strikingly photographed, skillfully 
fragmented sequence in which the 


ate love to the 


young girl makes p 
older man. 
Unquestionably, the most. persistently 
erotic ol this generation of film makers 
is the oft-married Roger Vadim, who 
seems to have built a career on his abili- 
ty to persuade his beautiful wives to un 
dress for his sexy movies. After wri 
nd directing several films for Brigitte 
Bardot in the Fifties, he moved оп to 
the blonde, Scandinavian-born Annette 
Suoyberg lor the perverse Les Liaisons 
Dangereuses. A few years later, now 
married to Jane Fonda, he directed her 
in The Game Is Over, an updated version 
of Emile Zola's La Curée, in which she 
plays the bored young wife of an elderly 
industrialist. To keep herself amused, she 
seduces his son by a former marriage, a 


boy about her own age. Working in 
Paris, Miss Fonda revealed more epi- 
dermis to the obliging color cameras 
than any American since the days 


of Annene Kellerman, including a well- 
publicized nude bathing sequence and a 
sauna scene in which she was clad 
in nothing but steam. According 10 ad- 
vance stills (previewed in rLAvmov in 
March 1968), her wardrobe is little more 
substantia) п Vadim's с Bar- 
barella, in which he cast Jane as France's 
popan comicstrip heroine. No favorite of 
the French critics, Vadim works with style 
but little taste, and his story sense seems 
limited to an awareness of what will til 
lute the public and irritate the authorities: 
yet for all his perverseness, his films ha 
a palpable sensuality—and no one can 
challenge his ability to make his comely 
heroines look at once glamorous, delec- 
table—and_ attainable. 

Vadim is the most sensual of New 
Wave directors, Jean-Luc Godard is the 
most prolific; since his feature-film debut 
with Breathless in 1959 (frst seen by 
0.8. audiences in 1961), he has di- 
rected some 14 feature films, plus se- 
ces in five more omnibus-type movies. 
. like Vadim, he habitually cast 
wife (as long as the marriage 
lasted) in his films—the wide-eyed, 
wideanouthed Anna Karina, Godard is a 


futur 


film polemicist, and his pictures, hastily 
shot, unconventionally assembled, often 
seem like pamphlets in which he machine- 
guns his views on everything, from 
France's Algerian crisis to the rootless, 
fruitless quest to comprehend—and œn- 
vey—the life style and values of the 
Mod generation. Masculine Feminine, 
for example, includes long passages in 
which Paul, Madcleine and Elisabeth, 
his youthful protagonists, discuss sex ci- 
ther with one another or into a tape 
recorder. In The Married Woman, a rather 
ordinary triangle—husband, lover, preg 
ant wife, and which man is the father?— 
is developed into a philosophical inquiry 
exploring the role of woman in modern 
society. His conclusion: She is an object, a 
thing, a sexual toy for both her husband 
and her lover. Indeed, as critic Richard 
Roud has pointed out, in his films Go- 
dard tends to view marriage “аз a kind of 
legalized prostitution or, аз Kant put it, a 
contract assuring the signatories the exclu- 
sive use of each other's sexual organs." 

Actually, prostitution in its several 
forms is almost an obsession with Go- 
dard; it recurs incessantly throughout 
his pictures. In Alphaville, Godard's 
grim fantasy of a neon-lit world of the 
future, the women are slaves of the 
state, their bodies at the service of their 
government. The heroine (Anna Karina) 
a kind of secret weapon dispatched by 
the unseen leaders to prevent, with sex 
and tranquilizers, the imterloping detec 
tive Lemmy Caution (Eddie Constantine) 
from discovering their secrets, More re- 
cently, in Godard's Deux ou Trois Choses 
que Je Sais d'Elle, the beautiful Marina 
Vlady plays a housewife living in one of 
the new highrise apartment. complexes 
just outside of Paris. In order to make 
ends meet for herself, her husband and 
her two children, she slips into part-time 
prostitution—a practice, incidentally, th; 
is rapidly mounting to scandal propor 
tions in De Gaulle's supposedly house- 
cleaned. country. 

In a larger sense, prostitution is also 
the theme of Contempt, Godard's опе 
attempt at a big-budget picture, made 
for. of all people, Joseph E. Levine. It 
conce п able writer who sells himself 
and his talents to à. Hollywood. producer 
making a film version of The Odyssey 
Although he hopes thereby to impress his 
wile (Brigitte Bardot) with this unantici 
pated affluence, just the reverse takes 
place. Contemptuous of the way in which 
her husband has turned over his brain to 
the producer (Jack Palance), she turn 
over her body to him. 

A recent addition to France's ever- 
expanding list of the film auteurs (the 
title preferred by directors who involve 
themselves in every aspect of a film's 
creation, [rom the original concept 
its final form) is the youthful СІ 


“The way we figure it, ma'am, if everybody walked 
around naked, smoked pot and listened to rock "т roll, 
there wouldn't be any more wars!” 


189 


PLAYBOY 


190 


Lelouch, who quickly established an 
1 reputation with two stylish 
love stories, A Man and a 


Woman (1966) and Live for Life (1967). 
Lelouch functioned on these pictures as 
thus 


both director and photographer, 
Geating a rare sense of intimacy 
spontaneity on the screen— pa 
the delicately 
tween Је ignant and Anouk 
Aimée in the former and in the extraor- 
пагу sense of unleashed, exuberant ра 
sion during an African safari in the latter. 
Like most of his French confreres, Lelouch 
is not at all reticent about including bed 
scenes and nudity where they serve his 
story—but few film makers anywhere can 
match his ability to convey an аша of 
eroticism with such a minimum of spe- 
cific, tastefully chosen details. 

The veteran Luis Buñuel, on the oth- 
er hand, owes his expertise in erotica to 
his long experience (dating back to the 
avantgarde in France during the late 
Twen n man " 
symbols to cinematic advantage. 
exiled from his native Spain since the 
dvent of Franco. he returned to Sj 
in 1961 to film the masterful Viridiana, 
the story of а conventbred girl who 
goes to live on the estate of 
ed. fetishistic uncle. Finding a resem- 
blance between the girl and his dead 
wife, the man has her dress in her aunt's 
nery, drugs her coffee, then carries her 
off to bed. Although he partially un- 
dresses the girl, exposing her breasts, he 


зарез to restrain himself from rape. 
The next morning, however, hoping to 
keep her from returning to the convent, 
he pretends that the rape has actually 
taken place. Panic st 
nd the uncle hangs h 
cd fit of remorse. Joi 
by her uncle's illegitimate son and 
slatternly mistress, the girl begins to de- 
vote herself to good works for the local 
poor. In a violent finale, these tattered 
loafers and beggars take over the manor 
house, provide themselves with a sump- 
tuous banquet (patently designed as a 
parody of the Last Supper), then attack 
their benefactress. 

Suffused with anticlerical elements, the 
film was suppressed by the Spanish gov- 
eroment—in Spain, and later in France, 
after the 1961 Cannes Film where 
ptured a Grand Prix and flattering 
ribution offers from all over rhe 
world. No less triumphant was Bunuel's 
arrival in Paris, where, in 1964, he di 
rected what was, for him, a jolly come- 


ken, the girl bolts 


If in a belat- 
ied on the csi 


dy, Diary of a Chambermaid, with 
sulky-sultry Jeanne Moreau in the title 
role, playing a Parisborn servant i 


country house ruled by а nobleman w 
a foot fetish but dominated by a f. 
minded gamekeeper given to rape and 
Most recently, also in France, 
Buñuel completed the perverse and per- 
plexing Belle de Jour, based on Joseph 
Kessel's harrowing study of а woman 
who, because the husband she loves is 
not sufficiently demanding, finds it con- 


murder 


“Lesson in economic determinism 
number опе. If you get а haircut, ГЇЇ raise your 
allowance twenty dollars a month.” 


venient to install herself in a high-class 
house of assignation. Bunuel, character- 
istically, has decorated the basic story 
merable [etishistic allusions 
a neciophilic suggestion of 
tercourse in a coffin) and expanded it 
with dream sequences that illustrate the 
heroine's pathological need for degrada. 
tion and shame. As the film progresses, 
the dreams and reality become night- 
marishly intertwined—but through it all, 
the blonde Catherine Deneuve (whose 
nom de brothel is Belle de Jour) re- 
mains ravishingly, radiantly beautiful. 

Currently vying with Jeanne More 
for the title of best undressed actress 
on the French screen is the sprightly 
Mireille Darc, who nonchalantly strolled 
in the buf through much of Georges 
lia (while casually having an 
affair with the husband of a woman she 
had rescued from the Scine) and re 
peated much the same performance in 
the recent Fleur D'Oseille, also for Laut- 
ner, as an unwed mother determined to 
get her share of the loot buried by her 
deceased gangster boyfriend. The big. 
gest hit in Paris this past spring wa 
Benjamin, in which a naive young man 
(Pierre Clémenti) learns about women 
from such knowledgeable teachers as 
Michèle Morgan, Catherine Deneuve 
and Odile Versois, all of whom (and 
more) literally force themselves upon 
him. Obviously, the governmental cen 
sors have been fairly successful in kcep- 
ing the French film makers’ minds off 
politics, but sex is too fundamental even 
for De Gaulle. 

In Italy, despite the impact of Luchi 
no Visconti's Rocco and His Brothers at 
the dawn of the Sixties, the impulse 
toward neorealismo was rapidly dying 


ing 


- The Italian film m. re be- 
over in the drastically 
changed social climate of their coun- 


new l, new themes that ıl 
could treat with honesty and insight. No 
longer did they feel obliged, in the 
name of neorealism, to turn back to the 
War years, or even to the tenements and 
slums, for meaningful statements on the 
human condition. 

The year 1960 might well be regard- 
ed as the turning point. Not only did it 
produce Rocco and His Brothers and 
Two Women—the impressive last gasps of 
the old ncorea so the year of 
L'Avventura and La Dolce Vita, equally 
impressive harbingers of the new neore: 
im. Each sought in its own way 
L'Avventura austercly and uncompromis- 
ingly, La Dolce Vita lustily and flamboy 
antly—to depict the aimless amorality of 
contemporary Italy's overprivileged classes: 
and cach succeeded, again in its own 
way, not only in germinating fresh 
widely imitated film forms but in t 
blazing liberated new attitudes toward 
hout either con- 
p. Antonioni and 


mater 


sex on the screen. Wi 


demning or condoni 


Fellini depicted on film a world they 
knew exactly as it was—then left it to 
the viewer to be shocked, outraged, 
amused or pitying. 

Audiences of La Dolce Viia seemed 
to partake of all these emotions and 
more. Fellini himself has spoken of it as 
“a report on Sodom and Gomorrah, a 
trip into anguish and despair," but 
many have found his vivisection of Ro- 
man decadents both illuminating and 
highly moral—particularly since, at the 
end, the protagonist (Marcello Mas- 
troianni) is fully aware that he has been 
sucked lar too deeply into the sweet lile 
ever to extricate himself again, that he is 
as much a lost soul as any of the people 
he has been observing in his three-hour 
odyssey through a man-made hell. On 
the other hand, a number of critics chose 
to view La Dolce Vita as little more than 
an ambitious exploitation film, pointing 
in proof to such sequences as Marcello's 
encounter with a nymphomaniac heiress 
(Anouk Aimée) who rents a prost 
bed for their lovemaking; the 
club scene in which Anita Ekberg dis- 
ports with an international, interracial 
crowd of perverts and hangerson, then 
romps fully clothed in Trevi Fountain 
by the dawn's сапу light; and the 
concluding orgy in a villa at Fregene, 
complete with homosexuals, Lesbians, 
transvestites and a shapely matron who 
insists on doing a striptease under a fur 
stole, No doubt these elements helped 
elevate the film into an international 
success—but neither is there any doubt, 
particularly in retrospect, that Fellini 
had accomplished precisely what he had 
set out to do: “to take the temperature 
of a sick society.” 

‘The temperature rose a bit higher in 
1962, when, again with Anita Ekberg, 
Fellini contributed a sequence to the mul 
part Boccaccio '70—a satiric episode in 
which a portrait of the statuesque Swede, 
holding a glass of milk, lies sprawled 
across a gigantic billboard directly oppo- 
site the apartment of ап anti-vice fanat 
In the man's supercharged imagination, 
Anita descends from the poster—all 50 feet 
of her—and begins dancing volupwously 
before him in the darkened streets, tempt- 
ing him to all sorts of unnamable de- 
lights. But the pious puritan stands firm, 
a knight in shining armor, and with his 
lance he slays the giant sex goddess. When 
the police lind him the following morn- 
ing, he is dinging to the billboard, com- 
pletely mad. It is, as Fellini once confided 
in a Playboy Interview (February 1966), 
a vast metaphor designed to show “how 
man’s imprisoned appetites can finally 
burst their bonds and bloat into an erotic 
fantasy that comes to life, takes possession 
tor and ultimately devours him." 
Plainly, Fellini had no great affection for 
the censorial mentality. 

After these two films, Fellini turned 


“My turn to sleep in the upper.” 


autobiographical, delineating in 815 the 
identity crisis of a director empty of 
ideas for his t movie; and in Juliet of 
the Spirits, mbiguous and ambiv- 
alent relations| with his own wii 
tress Ciulietta Masina, who played the 
tide role. 81% (the title merely indicates 
this film's numerical position among Fel- 
ini opera) opens with Mastroianni, the 
director, in the throes of a nervous break 
down. Production on his next picture 
has already started, but he doesn't even 
have a script. He retires to a spa, where, 
in addition to his producer and writer, 
he is soon joined by his mistress, hopeful 
for a role in the film, and, soon after that, 
by his wife. To complicate his life s 
further, there is a marvelous, dreamlike 
girl at the spa (Claudia nale), who, 
like a little waitress he befriended in La 
Dolce Vita, seems to represent everything 
that is healthy and unobtainable for him. 
Nevertheless, he makes love with her ii 
fantasy—and with his sleazy mistress 
fact. With his wife (Anouk Aimée), he 
seems always on the verge of a recone 
tion but never quite able to make it. 

The film's most remarkable sequence 
is again a fantasy, set in a stone farm- 
house, where the director cohabits with 
all his past loves—including the huge, 
painted prostitute who introduced him 
to sex when he was a boy of ten. All live 
together in apparent harmony, their one 
object being to serve him. They also 
Know, however, that their handsome 
Don Juan in his black Stetson and white, 
togalike sheet may tum at any moment 


his 


а 


into a heartless Marquis de Sade, who, 
bullwhip in hand, will drive them up 
into the attic when they have ceased to 
please him. As а consequence, despite 
efforts to mai n order, the women 
are soon jealously scratching at cach 
others eyes and pulling at cach other's 
hair, each frantic to be the one who will 
win his favor. By the end of the film, 
after thus reviewing his entire life, the 
director come to realize that the time 
for such role playing is past, that only 
when he has accepted for what they really 
are all the people who have had a part in 
shaping his life can he begin to function 
agai a whole man. 8% closes as all 
join hands and circle round the scaffold- 
ings of the set for his new picture. 

Juliet of the Spirits travels even far- 
ther into fantasyland, although this timc 
the fantasies are those of the wile of a 
successful businessman who is beginning 
ze that she is no longer loved, that, 
in fact, her husband has found another 
woman. On the advice of some friends, 
Juliet begins to dabble in spiritualism and 
learns that what she lacks is the glamor of 
her mother, the sophistication of her sis- 
ters and the sexuality of the other ladies 
of her social set, a particularly catty lot 
She draws closer to her bizarre neighbo: 
(buxom Sandra Milo) whose life is 
a constant round of psychedelic parties 
with hedonistic young men, but finds her- 
sell—because of her "spirits"—unable to 
participate in their pleasures with any 
real enthusiasm. Finally, as her husband 


packs to leave forever, she dismisses all ]g] 


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the spirits she has accumulated, re- 
solving to [ace the future on her own. 
Despite his rather pat plotting and shal- 
low understanding of female psychol 
ogy, Fellini ed much of his Juliet 
imo what is, visually at least, his most 
satisfying film. Abetted by anni Di 
Venanzo's extraordinarily lush color 
photography, it is opulent, intriguing 
and, in such moments as Juliet’s encoun- 
ters with her neighbor's amorous friends, 
surrealistically erotic. 

At the opposite end of the sensual 
spectrum, yet curiously related, are the 
films of Michelangelo Antonioni—partic- 
шапу the trilogy that embraces L’dv- 
ventura, La Notte and L'Eclisse (Eclipse, 
the only one of the three that is generally 
known here by its English tide). Like 
Felli Antonioni exposes the distorted 
alues and twisted interpersonal relation- 
ships of the Italian aristocracy and upper 
middle classes; but where Fellini seems to 
plunge himself into their decadent world, 
remains on the outside of 
cool, detached, even ascetic observer. Too 
much so Гог some critics’ tast 

joninvolvement by not getti 

, as critic Pauline Kael has remarked, 
‘complains of dehumanization in a de- 
humanized way. 

Antonioni's style and approach are 
perhaps most clearly visible in L'Avven- 
tura, the first of the trilogy. As it starts, 

yachting party is being formed by a 
group of gilded youths and jaded older 
folks. It includes Sandro, a dissolute ar- 
ct who has long since “sold ош”; 
an heiress with whom he has 
been having а not-toossatisfactory affair; 
and Claudia (Monica Vitti), who is 
Anna's best friend. In the course of the 
day, while the group is exploring a 
small, rocky island, Anna disappea 
The party searches, the police are sent 
for, but there is no trace of the girl. Aft- 
er a night on the island, the others are 
prepared to call off the search; but Sar 
dro and Claudia persist, following up 
tenuous clues on the mainland. Mean- 
while, Sandro finds himself di n to 
Claudia and, despite some sense of dis- 
loyalty to her friend, she to him. They 
make love in an open field while a train 
rushes by just a few yards away. (TI 
scene was drastically abbreviated in the 
American version. "The memory of 
Anna recedes farther 1 farther from 
their consciousness as they check into a 
luxury hotel, where a party is already in 
progress, with all of the yachting guests 
present—none of whom even inquires 
about the missing girl. Claudia, now 
certain that she is in love with Sandro, 
falls into an exhausted sleep; but San- 
dro, having put the girl to bed, slips off 
to join the party. Early next morning, 
finding Sandro missing, Claudia search- 
es for him through the empty corridors 
of the hotel—and discovers n on a 


Antonioni 


couch in one of the public rooms drunk- 
cnly caressing the naked breasts of a 
callgirl. Horrified and disillusioned, she 
runs off, but seeks him out later as he 
sits alone in a small park, med at 
his own weakness, With a small gesture, 
Claudia indicates that all is not over be- 
tween them. She may no longer love 
him, but she does feel pity 

It is typical of Antonioni that he does 
not ask us to participate in all this, 
merely to observe: he has referred to 
the film as “а demonstration.” Thus, ear- 
ly in the picture, when Anna stops off 
for a “quickie” with her lover before 
their departure for the yacht, much of 
the scene is played with the camera 
trained on Claudia, waiting in the car 
below. Characters are quite literally 
kept at a distance by Antonioni’s pen- 
chant for extreme long shots—even when 
he is showing them at their most inti- 
mate moments. As a result, there 
more than an ordinary amount of "at- 
mosphere” in an Antonioni film, and his 
backgrounds, always impeccably cho- 
sen, assume an importance of their own. 
t drear landscapes reflect the 
tual emptiness of his characters 
throughout much of L’Avventura; and 
at the hotel, a large painting of a girl 
offering her breasts to a starving man 
through the bars of a prison cell makes 
an ironic commentary on the indolent, 
selfindulgent crowd that throngs be- 
neath it, 

La Notle, much of which takes place 
at a drunken all-night party populated 
by frustrated intellectuals and sexual 
athletes, most closely resembles Fellini's 
La Dolce Vite. Once again, however, 
's curious remoteness, his un 
willingness to become involved—or to 
permit his audiences to become involved 
—in the emotional lives of his characters, 
removes all possibility of the som of 
empathic titillation that a Fellini film 
provides. This is signaled early in the 
picture, w 
Mastroianni), a successful writer whose 
ten-year marriage is on the ver 
breaking up, is accosted in a hospi 
corridor by an obviously deranged nym- 
phomaniac, She lures him, only slightly 
reluctant, into her room, kicks shut the 
door and leaps upon him in a sexual 
frenzy. But just as Giovanni begins to 
respond to her advances, a doctor and 
two nurses burst into the room, seize the 
girl and carry her forcibly to the bed, 
where she continues to writhe i 
iously. Whatever erotic juices the scene 
may have begun to generate are abrupt- 
ly drained by its bizarre, frustrating and 
(for Giovanni) embarrassing condusion. 
Similarly, at the film's finale, when, after 
a long night in which both Giovanni 
and his wife (Jeanne Morcau) have 
sought unsuccessfully for new Jove part- 
ners and now attempt to rekindle their 


asl 


lost passion in one last, frantic coupling, 
Antonioni plays the scene in a single 
long shot showing the two in a sand 
trap on a deserted golf course in the 
grayness just before dawn. Nothing 
could have been more artfully devised 
to remove from their carnal grappling 
any real sense of eroticism or to suggest 
more effectively the emotional desert 
lies al 1 for these Even 
п Antonioni shows nudi 
shots of Mlle. Moreau in her bath—the 
effect is totally hygienic 

"This technique of dese: 
accounts for the somewl 
quality of Antonioni's most rece 
Blow Up, which he made in England 
for МСМ. An account of an unsettling 
24 hours in the life of a young fashion 
photographer (David Hem the 

is dificult to call it a story—is 
set in “sw ing" London, where Anton. 
ioni's antihero plucks his way throu 
covey of gaudily plumaged birds. When 
he makes love, however, it is often with 
his camera; during a photographic ses- 
sion, his movements and commands 
seem to rouse his writhing, half-nude 
model to a sexual climax—whercupon he 
quickly steps back, turns his camera 
over to an assistant and abruptly leaves 
the studio. Later, while photograph 
in a park, he trains his camera on a р 
of lovers. The girl (Vanessa Redgrave) 
demands the roll of film; when he re- 
fuses to surrender she follows him to 
his apartment, strips off her blouse 
(keeping h red back to the camera) 
and offers herself in exchange for 
Suspicious about the girl's persistence, 
Hemmings proceeds to make blowups 
from the strip of film and discovers what 
appears to be a murder. He is constantly 
diverted from his efforts to get to the 
bottom of the mystery, however—by a 
pair of teenaged girls who want to be- 
come models, by a visit to a Soho dis- 
cothégue and by an interlude at a posh 
pot party where all the guests are 
turned on in every possible way. 

Just as the disappear: 
goes unsolved in L'Avventusa, Autor 
makes no attempt to explain the murder 
in Dlow-U p; it served merely to jolt the 
photographer into a new awareness of 
himself—and audiences into a new awar 
ness of the dehumanized dent 
values of Mod society. Contributing im- 
portantly to this is Antonioni's cold and 
impersonal handling of the erotic elements 
in his picture—Vanessa Redgrave's braze: 
use of her body to get what she wants 
from the photographer, the almost 
inclusion of a girl who may be the pho- 
tographer's wife sleeping with his assistant 
and the now-famous naked tussle on pu 
ple studio paper between Hemmings and 
the two would-be models (in which, for 
the first time in any film released by a 


two. 


picture—i 


ns 


ag 


ican company, pubic h 


major Am r was 
momentarily visible on the screen). 

Luchino Visconti was another who 
departed from the straightand:narrow 
road of ncorcalism to report upon the 
fleshier, flashier aspects of low lile in 
lalian high society—with perhaps a bit 
more authenticity than his confreres, 
since he is himself the scion of an aristo- 
cratic family. From his stern, brutal 
depiction of slum life in Roco and 
His Brothers, Visconti turned abruptly 
to а sophisticated, novelettish, slightly 
naughty little episode for Carlo Ponti's 
Boccaccio '70. Titled The Job, it tells of 
a young wife (Romy Schneider) who 
discovers that her husband has been 
dallying with $1000a-night callgirls and 
decides on an unusual revenge. Since 
she controls his money and has already 
made a bet with her father that she can 
support herself for an entire year, Romy 
informs her husband that if in the fu- 
ture he should feel the need (ог female 
companionship, he can come to her—at 
the customary fee. Playing many of her 
scenes in the nude, Fräulein Schneider 
makes a story that might have been 
sordid quite delectable, indeed, 

In Sandia, Visconti undertook a modern 
rendering of the Electra theme. Returnin 
with her American husband to her villa 
in Tuscany, ed by the sen- 
suous Claud gins to suspect. 
that her mother had betrayed her father, 


a Jewish scientist, to the Nazis 
during the War, in order to marry her 
lover. She also has to contend with her 
younger brother's incestuous designs upor 
her; when she rejects him, he kills him- 
self. Although nothing much happens as 
а result of all this in strictly dramatic 
terms, Vi ed to surround his 
a of throbbing 


п many films that frankly set out 

gly sexy. Like Antonioni, Vis- 
conti seemed, in Sandia. to be viewing 
society as a structure of manners, with 
his own attitude toward it left intention- 
ally ambiguous. 

In quite another vein, the Italians 
сапу in the Sixties began to discover 
that sex, when handled strictly for laughs, 
could be both popular and profitable. 


Perhaps the film that best demon- 
strated this fact was Pietro Germi's 
black comedy  Divore—ltalian Style 


(1961), with the indefatigable Marcello 
Mastroianni as а baron who has hit 
genious plan to rid himself of 
ute wife and marry his pretty 16- 
arold cousin. In Italy, it seems a 
man can kill with relative impunity a 
mate who has dishonored him. ‘The bar- 
on's only problem is to find someone 
who might conceivably be interested in 
his frowzy spouse, then to prod her into 
what the law might conceivably regard 
as à compromising situation, He finally 


"What are you waiting for? Turn 
on the old personality!” 


193 


PLAYBOY 


194 cus of 


succeeds in his i 
cuckokded by his br 
moon aui: 
2ermi proved that his stylishl 
comedy was no mere flash in the pan wi 


m—only то be 
n their honey- 


such subsequent works as Seduced and 
Abandoned and The Birds, the Bees 
and the Italians. both of which c 


an exceedingly roguish eye on lul 
mating habits. In the former, а pretty 
Sicilian girl (he suliry Stefania San- 
drelli) is in the unfortunate situation 
described. by the title. Both she and her 
father become understandably indignant 


when her seducer refuses to marry her 
because, as he "She is not of 
good ch ter flm, pio 
duced in but 


under: 
tions of small-town bourgeoisie, one сап 
sense an indignation that is absent from 
the earlier comedies. The first of the film's 
three stories concerns the town doctor, a 
man who derives considerable amusement 
from his friend Toni’s seli-contessed 
potence—until he discovers thar this was 
simply a ploy the doctor's 
young and attracti - In the final 
tale, Rabelaisian in its humor, a buxom 
peasant girl arrives in the town to do some 
shopping and finds the impressionable 
shopkeepers delighted 10 load her with 
merchandise in ret for her favors. 
Pleased with her "bargains," she informs 
her father of her good fortune, where- 
upon he storms into town and charges 
al of its leading businessmen with 
ape and threatens them with 
m. To buy him off, they take 
up a healthy collection and offer it to 
him—then charge the man with perjury 
after he changes his tstimony at their 
honor has been saved. 

however, that 
ts up Germi's growing 


the moral hypocrisy of 
his countrymen. In 1. middle- 
aged bank clerk, m harridan, 


love with Vi 
er in a coflee bar. G 
ally, she comes to return his affection. 
"Fo the consternation of all the solid citi. 
zens of the town, he makes no attempt 
to conceal either his passion or his hap- 
pines. Consequently, they їшї against 
him. have the girl fired and ultimately 
amnange to have the two arrested for 
adultery. The girl leaves town, the man 
atiempts suicide and is confined in a 
mental institution until adjudged "sane" 
—which means simply that he is willing 
to return to the routine horrors of his 
job and his family. Never before has a 


falls madly i 


comedy made а more coruscating com- 
mentary on small towns and small minds. 


In the modern m Germi is not 
at all averse to blending moments of in- 
cidemal nudity into his comic dramas. 
For lian directors, however, 
nudity is increasingly becoming the fo 
their atten 


many 


ion, with the plets 


of ui 


picures merely incident 
inuoducing and excusing i ical was 
The Empty Canvas, which, although 
based on a novel by Alberto Moravi 
^suipped away its broader 
nificance 10 dwell on the jea 
of a you 
promiscuous, beautiful 
ine Spaak), all leading u 
which he sprinkles her n 
bank notes i att 
love 

The historical pretext also cor 
10 serve during the Six 
d'être for nudity in an endless суде of 
of 


в 


эло а scene 
ked body with 
pt to buy her 


an 


icd 
raison 


as a 


m obviously 
of 
mson and Ulysses 
iced, Ame 
reve Reeves, 
ordon Scout and Richard Lloyd). 
These bı ably plunge 
manly mastodons into dire perils 
cred by а aucl queen for their 
specific discomfirure. Gauzily dad 
girls frequently cross their pa 
Haunt their ch: 
ih 
creatures succumb. Perhaps if they d 
th iore fun to 
ve series that ha 
gun to resort to generous injections of 
sex to bolster its popularity is the 
pire films, many of them fcaturi 
ever-popular Cou and 


Morris, 


e 


hs and siren 
m from 
blc 


t the 
duty—but never do these 


ns to dist 


r pictures would be 
Another exte 


th 
his 
well pro 


British counterparts, the 
with generous dollops of nudity and 
necropl In The Playgirls and the 
Vampire, for example. five showgirls take 


refuge in a gloomy old castle. Since the 
river is rising, the owner of the castle 
can scarcely tum them away. but he 


wal 
ing the coming ni; 


them to keep to their rooms dur- 
nt. One of the girls. 
of course, wanders out anyway—with 
predictable results. Next morning, she i 
found dead outside the castle, the n 

of the vampire on her neck. But the main 
point is scarcely the story, which receives 
short shrift in this tatty, low-budgeted 
movie; it is the girls. Soon after the 
funeral of their fellow showgirl, they 
unaccountably decide to rehearse th 
act—which just happens to include а 
heated strip routine, When one of the girls 
is trapped by the vampire in an ur 
ground «тур, he undresses her and cami 
her to his tomb to ravish her in his 
native earth. Meanwhile, the dead girl 
returns with fangs but few codes, m 
her perhaps the first topless vam 
film history. 


s 


Far more sensational were the several 
Mondo films by Gualticro Jacopetti, 
Franco Prosperi amd Paolo Cavara and 


imitators. Furbished with 
underscore 


their numerous: 


resoundii 


every stomach churning incidem upon 
which they have trained. their voyeuristic 
cameras, these documentaries have become 
a sort of international rag bag of the re. 
volting, the degrading and the degenerate. 
Mondo Cane—the first and best of the 
Jot—produced in 1961, the film has scarcely 
been on the screen for five minutes before 
actor Rossano Brazzi is having his clothes 
torn off by frantic female adm aked 
Trobriander women 
after a hapless male 
on the Riviera are shown engag 
less hectic but no less effective methods 
of ensnaring the opposite sex. The pseudo- 
anthropological narration professes to find 
significant sociological correlations in 
all these happenings, as it does in the 
force feeding of geese in Strasbourg and 
the gorging of prospective wives in T: 
the suckling of a pig at the breast 
of a New Guinea woman and the tears of 
dowager over the grave of her 
а dog cemetery. 

the series began, there have 
been repeated ch that Jacopeui has 
ked" much of the footage that went 
to his documentaries—or, at the very 
that he has been guilty of remov- 
g it from context. In his second film, 
Women of the World. for example, he 
included nude shots of Israeli Army girls 
their showers. The Isracli government 
entered a strong they sumed 
that he was а documentary 
about the Israeli Army. 

Since Haly is sull despite its left 
iemed government, one of the g 
stronghokds of Catholicism on the Conti- 
nent, it was inevitable that some efforts 
would be made to control the growing cx- 
prance of her film makers—particularly 
it conflicted with Catholic dogma. 
ian films grew bolder, the poli- 
Demo- 
loss of Catholic votes 
ed for the strike. It came in 1965, 
With the n pressing for a law to 
"punish ротор 
movie ry 
took advantage of the 
Communist and Socialist members of the 
Chamber of Deputies to force through a 

asure denying government aid to pic 
tures that did not “respect the social a 
ethical principles on which 1 
tion is based.” Bambole, a four-part picture 
co-starring Gi ida. Elke Som- 
mer, Monica 
the immediate target of their w 
featured a sequence in which a lightly 
clad Gina succeeds in seducing the neph- 
ew of a Roman Catholic bishop, with 
the asistance (albeit unwittingly) of 
uer. The film was not merely de- 
; the producer and half a dozen ol 
his stars and directors were hauled into 
court on obscenity charges—and, at least 
in the case of the producer, Lollobrigid. 
Jean Sorel. (who played the nephew) and 
Машо Bolognini, who directed the dis 
puted episode, the charges were made to 


aged in 


1 Democrats 
nce of some 100 


stick, though they were later reduced. The 
Socialists, however, sensing the threat of 
Icological censorship, threatened to leave 
the coalition government unless the con- 
troversial measure were rescinded. Premier 
Aldo Moro, faced with this formidable op- 
position. hastily adjourned Parliament, 
leaving the issue still unresolved. 
Inevitably, the growing boldness of 
film makers in Italy, France and the 
Scandinavian countries had its effect on 
production everywhere. The prolifera 
tion of film festivals throughout the late 
Fifties and Sixties created a setting 
for mutual exposure, international cross- 
pollination and direct cinematic compe- 
ion on an unprecedented scie; and 
each successive festival established a cli 
mate of greater permissiveness through- 
ош the film world. Thus, a country 
such as Turkey. with no taudition of 
alism in its films. sent to the Indian 
Film Festival of 1965 Conquerors of 
the Golden City, a picture suspiciously 
reminiscent of Rocco and His Brothers 
1 treatment and in plot derail 
ng, even more brutal and sordid 
than its Italian counterpart. And the 
Netherlands turned out 7 he Knife, a mod- 
ishly Bergmanesque study of a young 
boy's budding sexuality, replete (as its tide 
suggests) with Freudian symbolism. 
milarly, the Creck industry was total- 
ized by the international accept- 
ance, via the festival route, of the works 
of Michael Cacoyannis and the expat 
American director Jules Dassin during 
the late Fifties. Indeed, for most. people, 
it was Dassin's Never on Sunday (1900) 
that made them aware in the first place of 
the very existence of a Greek motion- 
picture industry. This jolly tale of a good- 
hearted prostitute whom a well-intentioned 
American (Dassin) tries unsuccessfully to 
reform not only won all sorts of awards 
but grossed millions on its tiny (5195.000) 
budget. It also established Melina Mer- 
couri as an mu set 
that Dassin. proceeded. to exploit in the 
American-Greek production of Phaedra, 
an updated version of the classic play, with 
Mercouri as the wile of анһу Greek 
shipowner (Raf Vallone) who falls pas- 
ely in love with her stepson (An- 
thony Perkins), then commits suicide after 
her stepson rejects her and her. husband. 
denounces her. Although the эсс 
which she seduces the boy before an open 
fire practically scorched the celluloid, not 
even Mercouri was actress enough to make 
altogether convincing the fact that the 
worldly Phaedra preferred a callow youth 
to her attractive and sophisticated husband. 
The Cacoyannis films of the es 
ed the strong influence of Italy's 
but in 1962, with a boldly 
stylized adaptation of Euripides’ Electra, 
he created a picture that was uniquely 
Greck—ageless, ritualistic and monumen- 
tal, with the aristocratic Irene Papas in the 
tide role. In marked contrast to this dark 


sion 


“Say—why don't we extend the mating 
season to all year?” 


tragedy, Cacoyannis followed it with the 
exuberant, lifeloving Zorba the Greek. 
in which the sheer joy of living is shown 
to outweigh the cruelties of people and 
the callousness of fate. As Zorba, а roist- 
ering man of all work who attaches him- 
sel to a somewhat naive English writer 
(Alin Bates), Anthony Quinn achieved a 
balance between brutishness and tender- 
ness that made this the performance of 
his career. Zorba went on to become one 
of the most successful forcign-made films 
ever presented in the United States. 

The success of such pictures, ge 
ally coproduced with American studios 
and financing, led other Greck film 
makers to look beyond their home m: 
ket to create pictures of more gener 
appeal An ambitious effort in this di- 
rection was Nikos Koundouros’ poetic 
Young Aphrodites, based on the Daph- 
nis and Chloé legend—but juiced up 
with seductions, rapes and repeated 
shots of teenaged love goddesses in d 
aphanous gowns that reveal more than 
they conceal. Symptomatic of the in 


creasing 
screens 


nce of nudity on Greek 
Skalenakis Queen 
beautiful 
Nathanael finds herself attracted 
to a handsome young fellow and, 
despite the presence of her husband, fol- 
lows him to his apartment. There, she 


quickly slips out of her clothes, undresses 
him and indulges in some of the most 


avian films. 

A similar taste of freedom is evident 
in the latest films from South America. 
long one of the more inhibited ar 
the earth, Once again, the younger gen- 
eration discovered its own pantheon of 
the films from abroad—nota- 
Antonioni and Godard—and beg 
to adapt both their themes and their 
styles to their own needs In Ar 
where the government helps out w 
handsome bonus (often as much as the 
tire production cost) “artistic” 
films, the incentive to get away from 
purely commercial efforts is particularly 
strong; it has spawned a whole new 


di 


auteurs 


bly 


m 


for 


195 


PLAYBOY 


196 


generation of European-oriented young 
directors, such as David José Kohon, 
Rodolfo Kuhn and Lautaro Murúa. Iron- 
ically, their talents are expended pri 
marily on pictures that illustrate, with 
existentialist despair, the emptiness and 
futility of life in Argentina. 

The only Argentinian director to have 
won international recognition, Leopoldo 
"Torre Nilsson, is almost totally ignored by 
his younger compatriots. Although he is in 
his early 40s, they profess to find his neatly 
tailored plots indrawn and old-fashioned, 
his emphasis too heavy on twisted 
psyches rather than the distorted social 
ucs that have produced them. Perhaps 
this absorption with the problems of 
dolescents on the threshold of sex—as 
amplified by the hypocrisy and corruption 
of the adult workd—that has made his films 
so readily assimilable elsewhere. In his most 
ambitious film, The Eavesdropper, made 
for Columbia with an international cast 
headed by Janet Margolin and Stathis 
Giallelis, Miss Margolin plays a girl of 
good family who, primarily for kicks, 
shares the seedy bedroom of a youthful 
terrorist and political fanatic. Invariably, 
Torre Nilsson draws a world that is con- 
fined, corrupt and corrupting, a world 
that either entraps or destroys his inno- 
cent, dewy-eyed heroine: 

Even in Mexico, where the film medi- 
um is tightly conuolied by commercial 
interests, the younger generation is be- 
to make statements that sound 
(and look) very much like those of their 
European contemporaries. But the young: 
est of them all remains thc 


indom- 


itable Luis Buñuel, who returned to 
ico during the Sixtics and directed one 
of the most purposefully erotic pictures 
of all time, Simon of the Desert. At the 
start of the film, Simon Stylites is seen 
climbing to a high pedestal in the desert 
to demonstrate his saintliness to all; the 
Devil immediately takes up the chal- 
lenge, tempting him Ш sorts of 


guises, most of them lasciviously female 
and frequently topless. 
For 


all the new freedom that film 
in Mexico and Argentina are be- 
ginning to exercise, the gr 
n La a is app: 
\joyed in B where the tradi 
of the cangaceiro pictures (roughly the 
equivalent ef our Westerns) has long 
since given the public an appetite for 
sex and violence. In recent years, the 
cameras have shifted from the legendary 
past to what appears to be, if Brazilian 
movies bear any relation to Brazilian real- 
ity, a fairly lecherous present. In. Noite 
Vazia, for example, a bored, wealthy 
young man and his reluctant companion 
pick up two callgirls and retire to his 
tment for fun and games—which in- 
clude stag reels, an attempt to get the girls 
to stage a Lesbian exhibition and pro- 
tracted loveplay, all accompanied by u 
bashed nudity. Not inlrequently, the 
ilian films themselves seem to be just 
side of stag reels. 

But nowhere has the change in what 
can and w can't be shown on the 
been more radical than in the 
ent. In Japan, less than a generation 
ago, almost any orm of bodily contact was 


est degree 
nily 


“Before we start, any questions?” 


frowned on, whether in fighting or in 
loving. Today, apparently, nothing suc- 
ceeds like excess. Replete with rape. nudi- 
ty. sudism and perversions of every kind, 
the "eropros" (erotic productions, dis- 
cussed earlier our examination of 
nudies) represent the complete negation 
of traditional Japanese values. And yet 
not only have they swept almost every 
other kind of film (except monster 
movies) off the screen in Japan, but ero- 
pro elements are inacasingly being in- 
troduced into the films of the m 
Japanese studios simply to enable them 
lo stay in business. 

For some producers, the solution was 
quite simple. No sooner did Mondo Gane 
appear than, with that peculiar Japanese 
gift for imitation, they stepped for- 
ward with such Mondoesque offerings as 
Women . . . Oh, Women! and It's a 
Woman's. World, both of them pseudo- 
anthropological studies of Tokyo's fabled 
night lile, complete with srip joints and 
tours of the red-light district. Other film 
makers found it expedient to sex up the 
honors of war. In /nternees of Kampili, 
lor example, several hundred Dutch 
women and children are seen as war- 
ume prisoners in a Japanese concentra- 
tion camp in Indonesia. Frustrated at 
being scparated from their men, some of 
them make a play for the favors of th 
guards, and two head directly for the 
camp's incorruptible commander. The 
scanty costuming and lustful attitudes of 
the female prisoners roused storms of 
protest at the time of the film's release 
(1960), particularly from the Dutch. But 
Internees of Катрі was an Andy Hardy 
movie, compared with what was to 
come. 

With the advent of the Sixties, the 
screen began to teem with 
tutes; the more bizarre their situa- 
tions, the more the licnees seemed to 
¢ them. In The Shape of Night, an 

alls in love with a pimp, 
g his profession, and goes to 


going 
out into the streets for him, whereupon 
he has her gang-raped to teach her a 
lesson. The film ends with the pimp, 
castrated in a street fight and now whol. 
ly dependent upon the girl, murdered 
by her in retribution for ru her life. 
xual aberrations of all sorts 
aowd the Japanese films, from the u 
hibited experiments of tcc 
quents to the kinkiest perve: 

middle-aged adults. But by all odds the 
strangest film to come from Japan during 
the Sixties is An Introduction to Anthro- 
pology, which has been more succinctly 
(and aptly) translated into English as 
The Pornographer. Its hero is a man who 
has set up a profitable sideline mak- 
ing stag reels, s drugs and aphro- 
disiacs and securing s" for his 
dients—not so much for the money but 


now 


because he sincerely believes that sexu 
satisfaction w people happy. The 
police, however, interfere with his activ 
tics and, quite innocently, he contributes 
10 the delinquency of the two teenaged 
children of the widow with whom he 
lives. At the end, he is alone on а house- 
t drifting out into the Pacific, hap- 
pily constructing a lilesized artifici 
woman—a “Dutch wife"—that will, he 
feels, make all men at last independent 
of the female of the species. Despite the 
fact that The Pornogiapher twice shows 
stag films in the making and draws no 
veil over its hero's related activities, it is 
far from being a pornographic film; it: 
tone, in fact, is black comedy that dark- 
cns to tragedy as the man finds himself 
first exploited, then rejected in his efforts 
to benefit. mankind. 

Curiously, as 
served, despite the sex and nudi 
lace the eropros, one must turn for 
real eroticism in the Japanese cinema to 
the handful of serious pictures turned 
out exch year by such noted directors as 
Kaner Shindo. Masaki Kobayashi and 
Hiroshi Teshigahara. In Shindo's Oniba- 
ba. set in the 16th Century, а mother 
ad a daughter-in-law who make their 
living by killing off wounded soldiers 
and selling their armor become rivals 
for the attentions of a farmer who lives 
nearby. Quite apart from the candor of 
is scenes of seduction and copulation, 
rarely has the face of naked lust been 
brought so graphically to the screen. In 
Kobayashi's colorful, picturesque Kuai- 
dan, based on a group of ghost stories 
io Hearn, the first episode of- 
bit of stylish necrophilia as a 
samurai, who has divorced his loving 
wile to marry a wealthy woman, returns 
to his earlier home and discovers his 
first wife waiting for him; they sleep 
together—but the following morning, 
what he finds nestled in his arms is a 
moldering corpse. 

Of all the J se pictures to play in 
Amcrica during the Sixties, by far the 
most successful was Teshigahara's com- 
pelling, compassionate Woman in 
Dun ith scenes of nudity 
play that seemed totally appropriate to 
its wholly bizarre theme. In it, a young 
entomologist, collecting botanical speci- 
mens on a lonely stretch of sand, finds 
himself trapped at the bottom of a large 
sand pit, the prisoner of а woman whose 
sole occupation is to keep the sand from 
flowing into the hole. Neighbors send 
down food and water. for the safety of 
their own homes depends upon the 
sand's not shifting: they not only wel- 
come the captive as an added hand but 
see to it that he does not escape. Reluc- 
tantly at first, but then with mounting 
fervor, the man begins to look upon hi 
enforced companion as a woman, and 
she responds to him with passion. There 


many critics 


ng moment when the neigh- 
bors, playing on the man’s desire to es- 
cape the pit, promise to help him if he 
and the woman will make love in thc 
where all can sce; and, like a 
frantic animal, he almost rapes her be- 
fore their eyes. But gradually the man 
ljusts to the rhythm of his new life and 
even begins to make scientific experi- 
ments. When the woman is ultimately car- 
ried away to bear his child, he chooses to 
remain below. Symbolic and stylized, 
Woman in the Dunes is a microcosmic 
allegory of the human condition, with sex 
given all the prominence it deserves. It 
was that rarest of films, an artistic and 
ial success. 

has been happen 
and the rest of the world duri 


open, 


in Japan 
ЖОЕ 
ted in the 
ns of this same period: sharp 
increases in erotic production. independ- 
ent production and. international copro- 
duction. It was the unqualified success 
of such British independents as Tony 
Richardson, Karel Reisz and Bryan Forbes 
that established independence as а way of 
life for American film makers (as it had 
already been established elsewhere by such 
artists as Antonioni, Bergman and Go 
dard). And it was the unparalleled popi 
larity of the Anglo-American James Bond 
films, which have so far grossed close to 
$90,000,000 in the U.S. market alone, 
iced every American studio that 
coproduction, with all the economic ad. 
vantages of British government subsidl 
was the surest answer to profitable picture- 
making. 
1967, fully half the pictures made 
in England were backed by American 
studios and most British film makers ac 
cepted their new freedom as а challenge 
—pethaps more so than anywhere else in 
the world, They have risen to that cl 
lenge with films that embrace c 
thing from the bawdy, roistering Tom 
Jones to the overt hom ity of The 
Trials of Oscar Wilde. the implied homo. 
sexuality of The Servant, the child- 
molestation theme of Never Take Candy 
from a Stranger and The Mark, the mi: 
cegenation of A Taste of Honey and the 
promiscuity of The L-Shaped Room, 
Girl with the Green Eyes, Georgy Gil, 
The Knack, Darling, Alfe, Life al the Top. 
Poor Cow andu jore—all refreshingly 
free of moralizing or sentimentalizing. 
What is суеп more i 
can companies have been distributin; 
these films, which they have paid for, 
cither ance of their owi 
Code or via the thinly veiled subterfuge 
of such nd-operated 
subsidiaries as Claridge (Warner Bros), 
(United Artists) and Royal (Co- 
Despite the former Code's specific 
against scenes of abortior 
mount persisted in its release of Alfie. De- 
spite Alan Bates rcar-view nudity in Georgy 
Girl and Hayley Mills’ in The Family 
Way, both films were distributed without 


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the offending sequences removed. In more 
extreme cases, such as the overt Lesbianism 
of The Fox (made in Canada by British 
producer Raymond Stross for Warner 
Bros.) or the protracted boy.girl skinny-dip 
in the recent Here We Go Round the Mul- 
berry Bush. the distributing firms 
merely turned them over to thei 


sub- 
sidiaries without even deigning to show 


them to the Production Code officials. 
(There is perhaps added significance in the 
fact that the nudity in Mulberry Bush is 
visible only in the American version of the 
film; the offending sequence is not being 
shown in England) Similarly, when 
MGM considerately asked director Mi- 
chelangclo Antonioni if he would like о 
make a few cuts in his English-based 
Blow-Up im exchange for a Code scal, 
he replied that he preferred it as it was. 
Whereupon MG her than appeal 
the Code's decision, minted its own new 
subsidiary, Regent Films, on the spot to 
handle the dist dependently. 
The reasons behind this seeming le 
niency toward film making i nd 


are many. For one thing, the British stu 
dios are clustered about London, with 
the result that the British film makers. 
themselves tend to be part of the main 
stream of the contemporary cultural 
scene, be they angry young men or the 
most Ѓаг-ош Mods. For another, the mo- 
ment a John Osborne or a Shelagh Dela- 
ney breaks new dramatic ground in the 
theater, the moment a novel by John 
Braine or Alan Sillitoe sets in motion a 
new current in literature or when a Paul 
McCartney creates a new sound in music 
or a Peter Watkins offers a fresh approach 
to the documentary film, these people are 
prompily brought into the studios and 
given their head—as opposed to Holly- 
wood, where the tendency is still to take 
new talents and set them to work on old- 
fashioned properties. 

But perhaps the most telling develop- 
ment of all has been Britain's enlight 
ened and effective approach to the 
problems of censorship. Rather than 
outright suppression (although this hap- 
pens on ticularly where 


“When he strikes you out, it doesn’t mean he hates you.” 


violence is concerned), the nongovern 
mental British Board of Film Censors 
has long followed a tradition of clas- 
sification: X for films suitable for adults 
only, A for adults and children under 16 
when accompanied by parents or guard- 
ians, and U for everybody. Thus, а film 
maker who hopes to reach the broadest 
possible audience knows in advance that 
certain kinds of material must Бе omit- 
ted from picture. On the other hand, 
the creators of such pictures as Cul-de- 
Sac, The Family Way and Our Mother's 
House, all of which received an X cer- 
tificate in England, are perfectly free to 
make their films as they wish but with 
the full awareness that their audiences 
will be somewhat restricted. (The judg 
ments of the British Board, while un- 
official, are generally accepted by local 
authorities and enforced by the theater 
owners on pain of heavy fines or, for 
persistent. offenders, loss of license.) 

Since 1960, the so-called “club” cine 
milar to our film socie! in that 
one pays a membership fee to join, have 
carried this lenient policy a step farther. 
For a modest subscription fee, such or- 
ganizations as Compton (which is now 
in film production) and Gala permit 
their members to sec pictures irrespec- 
tive ol censorship sanctions—and this 
means not only sexploitation films pro- 
duced specifically for this market but 
alo such pictures as the French 7 Spit 
on Your Grave and Marlon Brando's 
The Wild One, both of which had long 
been banned for excessive violence. The 
censorship principle here seems to be to 
ensure that the public knows specifically 
what it is getting, rather than to make 
certain that it doesn't get what it wants. 

There is no question that the British 
films of the past decade have led not 
only to new concepts of what constitutes 
adult entertainment on the American 
screen but to new levels of permisive- 
mess on the part of America's censor 
groups. There is also no question that, 
either through force of example or 
through the even more persuasive tactic 
of coproduction deals, the American 
cinema is now taking a leading position 
n spreading this liberalized attitude 
throughout the world. One can only 
hope that the freedoms gained with 
these past few years will be further con- 
solidated in the years ahead—and that 
producers everywhere will accept with 
maturity and discrction the responsibility 
such freedoms entail, 


mas, 


In their next—and final—installment of 
“The History of Sex in Cinema,” authors 
Knight and Alpert zoom in for close-ups 
of the charismatic foreign and domestic 
sex stars of the Sixties, from the Conti- 
nents Julie Christie and Marcello Mas- 
troianni to America's Raquel Welch and 
Paul Newman. 

Ba 


TEDIUM: THE MESSAGE? 
(continued from page 117) 


NET at a competitive disadvar 
can rarely alfor 
The For 


age, as it 
to cover "live" events. 

Foundation's support of 
NET led this past year to the crcation of a 
Sunday-evening experiment called Public 
Broadcast Laboratory. Supported by a sep- 
arate grant, PBL was not wholly success- 


ful, but it was certainly not the failure 
that ny periodicals—most notably, 
Newsweek and Variety—called it. In fact, 


PBL was often provocatively 
Michael J. Arlen, 
Yorker, called PBL “the most consistently 
interesting and substantial publicallais 
program right now in American broad- 
casting.” And with the first and hardest 
year under its belt, one can expect even 
more from РВЕ second season. 

The Ford undation has also bee: 
active in dramatizing the need for live 
network interconnection by proposing a 
plan to use communication satellites for 
educational television. While there are 
many questionable points in the Ford 
proposal, it did stir visions of an exciting 
future. My own judgment is that the 
Ford group and PBL have been overly 
enthusiastic about television as journal- 
m, to the neglect of television's poten- 
al as adult entertainment. But. Ford's 
efforts do give life to the kinds of com- 
munications technology and ideas that 
will provide enormous growth to non- 
commercial broadcasting. 

Another significant thrust in the TV 
come from a searching 
c report issued by the 
on Educational 
Television. Headed by Dr. James Kill 
of MIT, the Commission proposed that 
the Government establish and support 
an independent corporation, removed 
from polities, to encourage and underwrite 
programs, 

The Commission also made an impor- 
tant distinction between educational and 
public television. The former are pro 
grams ided as direct supplements to 
academic studies. Public television is every- 
thing else, and the Commission intention 
ally disregarded the temptation to specify 
program content. Its goal is that. public 
television might instruct, tickle, awe ог 
appall the viewer so long as it never fears 
to do any of these. In summation, the Com. 
mission members wrote: "What we recom- 
mend is freedom. We seek freedom from. 
the constraints, however necessary in their 
‚ of commercial television. We seck 
for educational television freedom from the 
pressures of inadequate funds. We seck for 
the artist, the technician, the journalist, 
the scholar and the public servant freedom 
to create, freedom to innovate, freedom 
to be heard in this most far-reaching medi 
um. We seek for the citizen freedom to 
view, to see programs that the present 
system, by its incompleteness, denies him." 

The proposals of the Commission 


“Each to his own, eh, Mac?” 


were, with modifications, made law by 
Congress and the President last yea 
and the members of the Public Televi- 
sion Corporation have been selected. 
President Johnson named Frank Pace, ] 

as chairman of the board of directors. AL 
though the Carnegie Commission's request 


for а $100,000,000 fund was тері 


a request for 1000.000 "seed" gr 
there is reason to hope that the corpora- 
tion will be functioning independently 
and bravely this. year. 

I think obvious that the increased 
activity that has begun in public televi- 
sion will entice the young and the daring 
to both create for it and provide a new 
television audience. Because we are still 
on the threshold of public television's 
future, with no fixed patterns or rigid 
formulas as yet, this is a good time to 
speculate about the kinds of new serv- 
ices and programs that PTV can provide 
for the American people. 

First, I would recommend that PTV 


not try to do too much, not overextend 
itself and be trapped in the commercial 
bind of doing a different program every 
hour of the day. PTV should reflect on a 
depressing fact of television life: 50 hours 
of viewing time would suffice to show 
all of the films in which W. C. Ficlds 
starred or all of the tragedies written by 
William Shakespeare. Therefore, PTV 
should be selective, do a few programs 
superbly and then broadcast 
them frequently. 
get the widest possible exposure by bı 
ing an audience through critical acclaim 
and word of mouth, rather than going 
for broke on one showing. The technique 
was used effectively by the Xerox Corpo- 
ration when it presented a compelling 
documentary by Theodore H. White— 
China: the Roots of Madness—on three 
different days last year. The program re- 
ceived the attention it deserved by being 
available often enough so that if one 


missed the first showing, he could still see 199 


PLAYBOY 


200 


it later, Frequent repeats would give tele- 
n critics a chance to affect and directly 
"fluence their reader: 
Critic describes his job as advising the 
udience “not to watch that lousy show 
that was on last night.” 

PTV should create masterpieces and 
run them often—six times in two weeks 


would be justified exposure for an out- 
standing show. PTV must be wise 
cnough to not want people spending all 


their time before its particular tube. I 
stead, it should instruct the viewer: 
Some of the time, you should be reading 
a book or a magazine, or listening to the 
or being with your family, or 
iclevision—or. суеп 


Public television should show us un- 
expected and neglected “reality,” live 
where possible but untampered with 
when filmed. There is drama and often 
humor in events such as business co 
ventions, intercollegiate debates, sand. 
lot sports events and theater rehearsals. 
PTV should go to the colleges for every- 
thing from laser demonstrations to experi- 
mental theater. Learning experiences do 
not have to boggle the mind—millions 
structed cach night by Huntley 
1 Brinkley or by Cronkite without 
being bored—and PTV should find ways 
to instruct us with the same painlessness. 

Speaking of the evening news, PIV 
should not compete with commercial tele- 
vision in those arcas where the latter 
excels. Commercial television docs a 
splendid job in its news coverage; but 
there is a need for indepth analysis of 
the causes of events, Commercial tele- 
vision is often delinquent in соме 
comparable with the back-of-the-book 
sections of Time and Newsweek. PTV 
should focus on science, medicine, edu 
cation, art, the press—even television 
sel{-—always exploring the four fifths of 
the iceberg that lies below the surface. 

PTV should wy to rerun superior pro- 
grams that were produced, shown and 
then filed away by the commercial net- 
works. A show such as the Bell Telephone 
How's adventure with George Plimpton 
playing with the New York Philharmonic 
might reach a solid audience of 5,000,000 
or 10,000,000 who would be gratified at a 
chance to sce a superb program they 
missed. Мапу of commercial television's 
finest hours have not been seen by millions 
of viewers. The same is true of noncom- 
mercial television's best efforts. PIV can 
offer a second—or a third—chance to the 
viewer. 

Public television should not be afraid 
to actively promote its wares; the ele- 
gant, cultivated understatement of the 
is no way to compete with commer- 
cial TV, night clubs, movies and the 
bowling alley. The marginal viewer must 
be informed through good public rela- 
tions and advertising that PTV is alive 
and well—and exc 


are 


That last quality is most important. 
To be truly exciting, PTV will have to 
avoid the temptation in any publicly 
supported medium to play it safe, to 
make culture uniform and to strengthen 
majority consensus. PTV will not simply 
have to make space for the radicals and 
dissenters (of any persuasion), it will have 
to actively seek them out. Effective de 
bates, documentaries, even news analyses, 
should occasionally outrage the audien 
force people to reconsider their prejudices 
and perhaps realize that an accepted fact 
is, in reality, a myth. NET has already 
demonstrated this by some powerful pro- 
grams on the race crisis ind by having 
the courage to show а controversial film 
produced in North Vietnam. By doing 
even more, PTV will be doing its job. 

Finally, I suggest а major project for 
public television, one requiring an enor- 
mous investment of resources and talent. 


con 
would be a course in American history 
comprising a series of onehour dramatic 
productions portraying Amer 
the most definitive, honest hi 
duced. Using the best writers, historians, 
directors and film crews, it would deserve 
more moncy for produc 
been spent on a television series. The ob- 
jective of the series would be to have a 
record that would stand the ravages of time 
nd be played and replayed ye: 
with occasional additions as history is made 
by each succeeding generation. 

If this series were as good as it should 
be, then every high school student view- 
ing these programs would take away more 
nowledge and understanding of this 
country than he would from the reading of 
dozen textbooks. 1 would propose match- 
ing, in a controlled test, two senior classes 
of equal competence—one to study ex 


clusively from current textbooks, the other 
10 attend the series. Both groups would 
have teachers for related Classroom discus- 


ss outperforms the textbook group on a 
rd, objective examination, 

The series would be histori apec 
cable, dramatically vibrant and broadcast 
often. We cannot afford the possibility of 
a viewer's being out one evening because 
of a pressing engagement and missing the 
ЖАЙ War. It should be made available to 
foreign countrics—there are now more 
television sets in the rest of the world 
than there are in the United Stares—and 
its impact abroad might be more valuable 
than our conventional USIS broadcasts. 

The series would be expensive. per- 
haps costing $5,000,000 to produce. But 
Procter & Gamble now spends that on 
television every ien days. 

1 suggest the American-history 
course should be run on all of the public- 
n stations not once but five times 


that 


teley 


a week at different hours in the evening; 
eg. eight т.м. Monday, nine р.м. Tuesday, 
ten r.m. Wednesday, cight т.м. Thursday 
ind nine р.м. Friday. This quintuple ex- 
posure would offer the viewer the easiest 
possible option, so that he could pick his 
‘own competition for his time, rather than 
have it selected for 

In advance of each showing. the pro- 
gram should be built up with as much 
promotion as possible. The first program 
might well be launched from the White 
House, the seat of history. Perhaps Presi- 
dent Johnson would invite Presidents 
isenhower and Truman to participate 
in the "premiere" Future programs 
could be launched by those public men 
filling roles today that were filled so 
nobly, or ignobly, by past Secretaries of 
te... Or governors . . . or gencrals. 

Some academic credit could be offered 
to students willing to take an examina- 
tion. There are ample precedents for this 
in other programs that have formerly 
been sponsored by the Ford Foundation, 
Perhaps a special certificate of accom- 
plishment should be provided those who 
do not want to pursue formal training 
but who nevertheless would appreciate 
some incentive to continue their dedica- 
tion to the project. The course could be 
at the seniorhigh or freshman-college 
level and schools could urge students to 
participate, perhaps working out their 
own examinations and waiving the 
American-history requirement of those 
who pass with high marks. 

This kind of public television would 
be a worthy alternative to commercial 
programing. It would stimulate contribu. 
jons from many creative and talented 
"dividuals who are not presently i 
clined to think of television as a lively 
medium, as well as draw from an as-yet- 
untapped and disenchanted audience. 

It might lead to giving the television 
viewer an unprecedented choice of diver- 
ficd presentations, including possibilities 
for entertainment and information that 
we cannot imagine right now. And tele- 


vision will once again really turn us 
on. If it docs, it could become that 
most congenial spot glimpsed by E. B. 


White, who wrote these exceptional 
words in a letter to the Carnegie Com- 
mission: “I think television should be the 
visual counterpart of the literary essay, 
should arouse our dreams, satisfy our 
hunger for beauty, take us on journeys, 
enable us to participate in events, 
present great drama and music, explore 
the sea and the sky and the woods and 
the hills. It should be our Lyceum, our 
aqua, our Minsky's and our Came- 
lot. It should restate and clarify the so- 
cial dilemma and the political pickle. 
Once in a while, it does, and you get a 
quick glimpse of its potential.” 


PLAYBOY 


202 


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GUT SMUT CARROLL БАКЕН ORLAM CARS YOUNG MAN 


WILLIAM SLOANE COFFIN, YALE'S CONTROVERSIAL ANTIWAR 
CHAPLAIN, SPEAKS OUT ON THE DRAFT, CIVIL DISOBEDIENCE AND 
NEGRO MILITANCY, IN AN EXCLUSIVE PLAYBOY INTERVIEW 


“WET & WILD"—A STEAMY ON-THE-SET PICTORIAL OF MOVIE 
SEX QUEEN CARROLL BAKER FROLICKING IN A SHOWER 


“THE YOUNG MAN WHO READ BRILLIANT BOOKS"—A 
BLACKLY HUMOROUS TALE OF A BRIGHT BUT BROKE SCHOLAR 
WHO LEARNS MORE FROM A PAIR OF HOMESPUN CON ARTISTS 
THAN THERE IS IN THE BOOKS—BY STEPHEN DIXON 


“THE GUTSMUT GAME"—HOW SOME NATIONAL MAGAZINES 
TEACH THEIR READERS TO STOP WORRYING AND LOVE THAT 
FULL-COLOR OPEN-HEART SURGERY—BY WILLIAM IVERSEN 


“DREAM CARS"—AN EIGHT-PAGE PICTORIAL PREVIEW OF 
DETROIT'S AVANT-GARDE CREATIONS: DRAMATIC PORTENTS 
OF IMMINENT AUTOMOTIVE THINGS TO COME 


“BANKING BY THE NUMBERS"—THE INNER WORKINGS OF 
ALP-HIGH FINANCE, WHERE THE DISCREET SWISS GIVE YOUR 
ACCOUNT A DIGITAL DISGUISE-BY JOSEPH WECHSBERG 


“THE ANTINE BAY MAGENTA"'—iN А TAUT YARN, TWO MEN 
OF MEANS PLAY A TENSION-FILLED GAME OF CAT-AND-MOUSE 
OVER A MINUSCULE PIECE OF PAPER—BY KEN W. PURDY 


“EXPLORING A NEW CITY"—HOW TO GET THE MOST OUT OF 
TWO WEEKS IN ANOTHER TOWN—BY LEN DEIGHTON 


“MORE SILVERSTEIN AMONG THE HIPPIES"—THE FURTHER 
ADVENTURES OF OUR SHEL IN DARKEST HASHBURY 


“THE TROUBLE WITH MACHINES"—SCI-FI HUMOR IN WHICH 
A GIZMO CALLED MAXIMO PROVES TO BE THE ULTIMATE 
PENULTIMATE WEAPON—BY RON GOULART 


“DEEP THINKERS'—MAN'S FIRST CONVERSATION WITH NON- 
HUMANS MAY WELL TAKE PLACE NOT WITH EXTRATERRESTRIALS 
BUT WITH BRAINY DOLPHINS—BY FREDRIC C. APPEL 


Th S The '68 Sprint is a prime example of plus-engineering. We've 
e prin taken something good and made it even better. The aluminum 
heads and cylinder on both the Sprint SS and Sprint H 


holds two land are heat-stabilized before valve seats are inserted to improve 


valve seating. This is the oversquare short stroke engine 
speed records. that is setting today's high performance marks. And to 
make sure the Sprints look as fast as they go, we re-styled 

S the instruments and added a pebbled finish and striping to the tanks. 

О we The 1968 Sprints go good and look good. And they cost no more thana 

fad-cycle. That's plus-engineering. At the Harley-Davidson dealer 


improved i It. near "" He's also gotthe new fumes scrambler, Sprint CRS. 


© On October 21, 1965, * 
a Sprint set ап absolüte f 


^ AM.A. speed record ; ~ e at it 


at 177.225 mph. 


If you want the world’s 
best imported beer: 


Go to Europe...and have a MICHELOB 


A lot of people think Michelob 
is one of those foreign beers. 
Wrong. It’s brewed right here in 
America by Anheuser-Busch. 
Has been since 1896. 


In beer, going first class is Michelob. Period. 


ANHEUSER-BUSCH, INC. `e ST; LOUIS