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PLAYBOY

FIFTEENTH HOLIDAY
ANNIVERSARY ISSUE

u = ЖЕ

IN THIS FIFTEENTH ANNIVERSARY
HOLIDAY ISSUE

PLAYBOY CELEBRATES A DECADE AND A HALF
OF PUBLISHING WITH: U. S. SUPREME COURT JUSTICE
WILLIAM ©. DOUGLAS, CHARLES PERCY, JOHN LINDSAY,
HARVEY COX, KENNETH TYNAN, EDWARD P. MORGAN, TED
SORENSEN AND OTHERS ON WHAT THEY ENVISION IN
“THE DECENT SOCIETY" • “PLAYBOY'S PLAYMATE REVIEW" •
A FINAL TESTAMENT ON HUMAN JUSTICE BY MARTIN
LUTHER KING, PLUS BUDD SCHULBERG AND ARTHUR
SCHLESINGER ON ROBERT KENNEDY, THE MAN AND THE
STATESMAN AN EXCLUSIVE INTERVIEW WITH ACTOR
LEE MARVIN « KOOKIE PREDICTIONS FOR THE YEAR
AHEAD AS PLAYBOY POLLS THE PROPHETS • ELEVEN PAGES
OF COLOR ON THE CINEMA SEX STARS OF THE SIXTIES * A
NEVER-BEFORE-PUBLISHED RIBALD TALE BY EDWARDIAN
BIOGRAPHER LYTTON STRACHEY * HUMORIST ART
BUCHWALD ON HOW PLAYBOY HAS CHANGED AMERICA
* A PORTFOLIO OF EROTIC JAPANESE WOODCUTS
REPRESENTING THE TWELVE MONTHS OF THE YEAR,
WITH AN INTRODUCTION BY HENRY MILLER * THAT
PUCKISH PERENNIAL P. G. WODEHOUSE ON THE LOST ART
OF DOMESTIC SERVICE * AN OUT-OF-THIS-WORLD
FUTURISTIC COSTUME BASH AND HOW TO BLAST OFF WITH
YOUR OWN « A SWINGING LOOK-IN AT THE NEW TV SERIES
"PLAYBOY AFTER DARK" * LEROY NEIMAN AT THE
RUSSIAN BALLETS * FICTION BY SEAN O'FACLAIN,
FREDERIK POHL, ROBERT COOVER, FRANCIS CLIFFORD *
LAST-MINUTE CHRISTMAS GIFTS * FIFTEEN YEARS OF
AWARD-WINNING PLAYBOY ART * HOLIDAY FOOD AND
DRINK, FASHIONS AND CARTOONS TO LAUNCH THE
NEW YEAR IN THIS GALA COLLECTOR'S-ITEM ISSUE

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PLAYBILL ^" x ago,

when PLAYBOY first
hit the stands, it contained a grand
total of 42 pages. In this, our Fifteenth
Anniversary Issue, one feature alone—
The Decent Sociely—occupies more than
half that space. And well it should: for
its 11 contributors have done no less than
create a blueprint for change throughout
every important aspect of American lile.
ach man was asked to set forth specific
programs for social progress that nd

should be undertaken today in order to
assure that the of ten or fifteen
years hence will not Great
Sociery"—ar least significantly more hu
mane. Only somewhat less taxing than
their ignments were our editors fr

Tul elforts to persuade this group of
extraordinarily busy public figures and
writers to wrest themsehes away from
their myriad ongoing projects long
enough to contemplate the state and pros
pects of the Union. During the Republi-

National Convention in August, lor
in almost constant

we we

John V
Percy about
symposium. And both Mayor Lindsay
the eminent CCNY psychologist Dr. Ken-
neth Clark were racing our deadline
during the frantic weeks of New York
City's autumnal school crisis.
Also p m this aml
project: Theodore Sorensen, J. E. КЗ bi-
chief speechwriter, who
e House years has joined а
major New York law fim and become
the editor at large of the Sulurday
Review: Peter Matthiesse k
ing on his fifth novel and is the author
four of the finest nature books ever
produced: Edward Р. Morgan. the icono
chastic ex ABC news commentator, then
hard at work on his second season. with
the outspokenly experimental Public
Broadcast Laboratory, а Ford
tion-backed venture in live noncom
cial network television; and Jerome
Wiesner, President Kennedy’s science ad-
visor and presently provost of the Massa

who is we

sol

изеп Institute of Technology. Among
our other authors, Kenneth Ty Su
preme Court Justice William O. Douglas
and the Reverend Harvey Cox are a
familiar to regular PLAYBOY readers a
us contributors to the magaz
© Percy. Lindsay and Yale chap!
iam Sloane Collin as subjects of three
ol our best-received Playboy Internews.

Implicit and explicit in the themes of
several contributors to our Decent Socie-
ty symposium is the explosive issue of
w and order, the breakdown of which

Martin Luther
or Robert F. Kenned:
m, we pay tribute то them in
Martyrs of Hope. Dr. King,

King. Jr.

published statement, A Testament of
Hope, completed. just prior to hi
der, implores white America to rectify
the evils of racial inequality and eco-
nomic segregation and points the way to
“the promised land" of equal justice.
Senator Kennedy was known well by
both historian Arthur Schlesinger, Jr.
and novelist Budd Schulberg. who recall
here, respectively, R- J Ko, the Statesman
and R.F. K., the Man.

The Fifteenth Anniversary Issue seemed
n appropriate occasion for a light
heated look at how rravmov has
changed America in the past decade
da half. With thi nd, nationally
syndicated humorist (and contributor) Art
Buchwald amusingly recalls How Playboy
Changed America, Buchwald recently
returned from the Soviet Union, where,
he stys, “one of the things all the intel
lequals wanted to know about was
ravnoy. The Soviet wine Abroad,
which publishes once a week, complained
their budget was such that they couldn't
subscribe to the magazine” (We sent
them a gratis subscription lor Christmas.)
Artist LeRoy Neiman—whose work first
appeared in these pages way back i
September 1954—also traveled 10 Rus-
sia. where he spent sin weeks skerch-
ng the Bolshoi Ballet in Moscow and
the Kirov in Leningrad. The colorful
results mark his 35th Man al His Lei
sure feature, Ne
muting betwe
York and At
with childr

ly com:

nan is prest
n his home base of New
anra. where he's worl
n of all races in an

program dor povertyarea youth, His
future. plans include р 1 mural
for the Monmouth Park, New Jersey.

race track and a one man show Later th
York's Hammer Galler
g even Neiman at rv is
Art Director Arthur Paul, who was Hef-
ners sole employee for the first issue.
Since then, the mag. twork has
honors from. professional
ions. In Fifteen Years of
nning Art. Paul displays some
of the finest examples of contemporary
1l of which form

ines

on the walls of

g abounds with
treasures old and. new. The old: Ermpn-
trude and Esmeralda w written am
1013 by Lytton Strachey. о ol the
most Г biographers of eminent
n English literature. This
never-before-published manuscript, which
we feel is destined 10 become а ribald
classic, had been seen only by Strachey's
intimate friends until English publisher
Anthony Blond tracked it down. Amor
the new, Robert Coover's Incident in the
Mreets of the City is a bizarre black

humor tragicomedy of big-city alienation.
One of the outstanding new American
writers, Coover won the pres э Wil

lî Faulkner Award lor the best first
novel of 1966 with The Origin of the

LINDSAY

SCHLESINGER

TYNAN

BUCHWALD

SCHULBERG

O'FAOLAIN

Brunists and last year authored The
Universal Baseball Association, J. Henry
Waugh, Prop.

A new story from the pen of an elder
literary statesman, Sean O'Faolain's The
Talking Trees is a poignant and sensi-
tive tale about an Irish slum boy who
stumbles onto his first realization of fem-
inine beauty. O'Faolain—one of the last
of the Irish writers who, with James
Joyce, made literary history in the
Thirties—is among the most eloquent in-
terpreters of modern Irish life. Though
his writings on the country and its people
are often unflattering, his roots there are
deep. Regarding his native land, he once
wrote: "It is a gregarious place but not
ting; and it has one great vir
tue—it drives one howling with boredom
out of it [rom time to time; and it lurc:
onc back, gently, insistently, until it
drives one mad again.” In The Sche-
matic Man, protean science-fictioneer

Frederik Pohl poses the dilemma of a
ng mad when

man who thinks he's
he programs himself, bit by bit, into a
computer. The editor of Galaxy and Tf,
Pohl has written over 60 books ("I don't
know exactly how many; 1 used to keep
the titles on my office wall, but when
was repainted I lost the list") and has a
new sci-i novel, The Age of the Pussy-
foot, coming out early this year. Round-
ing out our fiction fare is Part II of
Francis Clifford's suspenseful navel, Ara
other Way of Dying.

More to toast on this 15th anniversa-
ry: “Sex Stars of the Si the 20th and
final chapter of The History o[ Sex in
Cinema, by Arthur Knight and Hollis
Alpert; a behind-the-scenes visit to the set
of Hefner’s new television show, Playboy
After Dark; an exclusive Playboy Inter-
view with Lee Marvin, in which the
movie heavy turned hero talks about
booze, broads and the mystique of man-
hood: a galaxy of futuristic ideas for
hosting a ZapIn, ic, an outobthis-
world costume ball, with food-and-drink
recipes to match; Topical Tropicals, a
flight-bagful of up-to-thesecond formal
the southward-bound traveler, by
Fashion Director Robert L. Gi Link
Up, an off-the-cuff showing of the latest in.
shirt-sleeve accouterments; Nick-of-Time
int Nick, a festive array of lastminute
largess for Santascomelately: plus a
baker'sdozcn beauties—a nostalgic look
at last year's pulchritudinous Playmates
and our Golden-Gatefold girl for Jan-
uary, San Francisco's Leslie Bianchini.

The Lost Art of Domestic Service,
which chronicles the passage iuto oblivi-
on of the golden age of servants, marks
the 19th praynoy byline for the prolific
P. G. Wodehouse. His latest books are
Do Butlers Burgle Banks? and Plum Pie

—a collection of short stories, many of
which first appeared in our pages. Judith
Wax looks back in levity with That Was
the Year That Was, a tongue-in-check
remembrance of news makers
who made—or hogged—the headlines in
1968. For an insightful view of the future,
read Playboy Polls the Prophets, for which
we asked six offbeat oracles—írom an
astrologer to the 7 Ching (the fam
Chinese Book of Changes) —what ki
of year 1969 promises to be. It will be im-
proved, we think, by The Twelve Months
of Love, a collection of wood block prints
by Clif Karhu, with an introduction by
Hemy Miller. Karhu has been п
prints for ten years in Japan (where he
served as a regimental artist in the U.S.
Army) and now presides over an art
gallery in Kyoto. Miller, in addition to
his reputation as a controversial writer
of erotica, is an aficionado ol Oriental
women, and is now married to a

ly, we start off the new
year by announcing the winners of our
annual awards in the fields of fiction,
nonfiction, humor and the best work by
a new writer. For a change of pace, we've
ved this noteworthy nod of recognition

until now. The editors’ award for fiction
in 1968 goes to John Cheever for his
powerful January tale, The Yellow
Room. The author's first contribution to
rLaynoy, Room will be incorporated into
Cheever’s next novel. Runner-up in fic
n was George Byram's ecrie military
muta in time, The Chronicle of the
636th. Last month's issue contained our
firseprize work of nonfiction: Wealth
Versus Money inventive and irrever-
ent proposal of econor atives to
the way Americans think about monc-
tary values, by scholar-philosopher А
Watts. Second-place honors go to The
War on Dissent, Nat Hentoff's investiga-
tive and brilliantly reported analysis of
the suppression currently suffered by
those who disagree with the establish
ment. For his June-issue short cut to
self-improvement, How I Became a Ren-
aissance Man in My Spare Time, Marvin
Kitman wrested the humor crown from
the head of Jean d (who has been
wearing it for the p: ). Shep-
herd, however, placed a very close second
with his nostalgic July vacation trek,
Ollie Hopnoodle's Haven of Bliss. Rich-
ard Duggin turned in the best work by a
new writer with Gamma Gamma Gamma,
from our June issue, his intense story of
brotherly hate among fraternity men—
followed closely by The Young Man Who
Read Brilliant Books, by Stephen Dixon.
But enough of backward glances: Janus-
like, let's look forward as well as bac
ward and get on with the new. Come
join our I5th-anniversary celebration!

AND REGIONAL EDITIONS

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OMS” IM THE U. 5., фа FOR ONE YEAR.

Winston tastes good... yns"
like a cigarette Should "

PLAYBOY.

Future Ball

Ploymote Review

173

Hope's Martyrs

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vol. 16, no. 1—january. 1969

CONTENTS FOR THE MEN’S ENTERTAINMENT MAGAZINE

PLAYBRL. — < = — — 53.
DEAR PLAYBOY x 5 n
PLAYBOY AFTER HOURS А =, 2%.
THE PLAYBOY ADVISOR — 45
THE PLAYBOY FORUM 49
PLAYBOY INTERVIEW: LEE MARVIN —candid conversi 2 59
INCIDENT IN THE STREETS OF THE CITY —ficiion .... ——.ROBERT COOVER во
THE DECENT SOCIETY —symposium 5 89

THEODORE C. SORENSEN 90
JOHN V. LINDSAY 90
KENNETH B CLARK 90

PETER MATTHIESSEN 9D
JEROME B. WIESNER 90

FOREIGN AFFAIRS.

RACE RELATIONS

EQUALITY & OPPORTUNITY. 2
THE PHYSICAL ENVIRONMENT.

SCIENCE & TECHNOLOGY

BUSINESS... er, — CHARLES H. PERCY 91
EDUCATION. ____ WILUAM SLOANE COFFIN 91
COMMUNICATIONS > EDWARD Р. MORGAN 91

THE ARTS & ENTERTAINMENT. KENNETH TYNAN 91
RELIGION & MORALITY = HARVEY СОХ 91
CIVIL LIBERTIES: THE CRUCIAL ISSUE JUSTICE WILUAM O. DOUGLAS 93

THE TALKING TREES—fiction SEAN O'FACLAIN 95

ZAP-IN—modern living *

THE TWELVE MONTHS OF LOVE—portfolio HENRY MILLER and CUF KAPHU 105

PLAYBOY POLLS THE PROPHETS N 121
NICK-OF-TIME SAINT NICK—sifts 123
FIFTEEN YEARS OF AWARD-WINNING ART—pictoriol AED
THE LOST ART OF DOMESTIC SERVICE—humor... b. G. WODEHOUSE 138
BUNNY BY THE BAY—playboy's playmate of the month D —— 140
PLAYBOY'S PARTY JOKES—humor.... 226 = 148
TOPICAL TROPICALS—atire $ , ROBERT L GREEN 150
THAT WAS THE YEAR THAT WAS—humor. sss JUDITH WAX 153

ANOTHER WAY OF DYING— fiction FRANCIS CUFFORD 154
THE HISTORY OF SEX IN CINEMA—anicle — ARTHUR KNIGHT and НОЩ ALPERT 157
LINK UP accessories. ROBERT L. GREEN 170
MARTYRS OF HOPE—articles „

А TESTAMENT OF HOPE DR. MARTIN LUTHER KING, JR. 174

R.F.K., THE STATESMAN _ ARTHUR SCHIESINGER, JR. 176

R.F.K., THE MAN... amm BUDD SCHULBERG 176
ERMYNTRUDE AND ESMERALDA —fiction -LYTTON STRACHEY 179
HOW PLAYBOY CHANGED AMERICA—humor ART BUCHWALD 180
PLAYBOY'S PLAYMATE REVIEW—pictorial cn 185
THE SCHEMATIC MAN—fiction Lao FREDERIK. POHL 195
THE BOLSHOI BALLET—man at his leisure A OY NEIMAN 199
PLAYBOY AFTER DARK —entertainment. x s - — 204
SYMBOLIC SEX—humor - „DON ADDIS 235

HUGH M. HEFNER editor and publisher
A. C. SPECTORSKY associate publisher and editorial director
ARTHUR PAUL arl director

JACK J. KESSIE managing editor VINCENT Т. TAJRI picture editor

SHELDON wax assistant managing editor; MURRAY FISHER, MICHAEL LAURENCE, NAT
LE AN senior edilors; ROME MAC: fiction editor; JAMES 0008 articles editor;
ARTHUR RRETCHMER associate articles editor; row OWEN modern living editor; xD
BUTLER, HENRY FENWICK, LAWRENCE LINDERMAN, ROBERT J. SHEA, DAVID STEVENS, ROBERT
ANTON WILSON associate editors; ROBERT L. GREEN fashion director; DAVID TAYLOR
fashion editor: LEN DEIGHTON Iravel editor; REGINALD POTTERTON travel reporter;
nostas santo [ood & drink editor; J. PAUL rry conlribuling editor, business &
finance; ARLENE povras сору chief; KEN We PURDY, KENNETH. TYNAN comtribuling
editors; RICHARD Kore administrative editor; JULIA BAINBRIDGE, DURANT DIDODEN,
ALAN RAVA DAVID STANDISH, ROGER WIDENER, RAY WILLIAMS assistant editor
CHAMBERLAIN associate. picture editor; MARILYN GRANOWSKI, TOM SALLING assistant
picture editors: MARIO CASHIN, DAVID CHAN, DWIGHT HOOKER, POMPEO POSAR.
ALEXAS URDA staff photographers; RONALD BLUME associate art director; NORM
SCHAEFER, BOB POST, GEORGE KENTON, RERIG POPE, TOM STAEDLER, JOSEP

assistant art directors; WALTER KKADENYCH, LEN WILLIS, BOME LIDGE:
assistants; MICHELLE ALTMAN assistant cartoon editor; JOHN MASTRO production
manager; ALLEN VARGO assistant production manager; PAT PAPPAS rights and per-
ns * HOWARD W. LEDERER advertising direclor: JULES KASE, Jos GUENTHER
e advertising managers; SUERMAN KEATS chicago advertising manager;
ROBERT A. MCKENZIE detroit advertising manager; NELSON FUYCH promotion direc-
tor; HELMUT LOWscH publicity manager; BENNY DUNN public relations manager;
ANSON MOUNT public affairs manager; THEO FREDERICK personnel director; JANET
GRIM reader service; ALVIN WIEMOLD subscription manager; ELDON SELLERS
special. projects; ROMERT S, Preuss business manager and circulation director.

86Proof Blended Scotch Whisky: The Faddinaton Corporation. NY. 20. LY.

Do unto others.

A
J&B rare scotch. Pennies more in cost, worlds apart in quality.

The collar pin
versus the button-down collar
and why you cant lose
in The-Mens-Store.

What do you do if you're a traditional kind of guy who wants
to wear a dressy-type dress shirt, sans button-down collar?

You wear a collar-pinned shirt, if you can find one. And now,
for the first time in a long time, you can find one.

In The-Men's-Store.

We've brought back the collar pin because we had the idea it
conld become a tradition with our Cape collar, French cuffs, and our
colors—green, gold, blue and white.

And it looks like we had the right idea.

Incidentally, we had another idea about collars. We call it the
“C-Band Collar”.” “С” being for contour. And the idea being to
contour the collar so it follows the natural slope of your neck.
So naturally the whole collar fits better and feels more
comfortable.

As for the fabric, it's a Perma-Prest^ blend of polyester
and cotton, with soil release so everything comes out in
the wash except the color and its forever-new look.

You just won't find a more comfortable, traditionally
dressy-type dress shirt anywhere, at any price.

Especially at under $7.

Coordinated ties under $5. Charge a bunch
on Sears Revolving Charge—at any of over
2,500 Sears, Roebuck and Co. locations.

PHOTOGRAPHED AT THE NEW YORK PLAYBOY CLUB

The store wirhin a store ar Sears, Roebuck and Co,

e Horey-
Hare
Davidson y
out-performers

Track, salt, street or strip, one bike is
boss! The 1969 Sportster. Alone ot the
. Nobody builds a foster stock motor-
cycle. Both the leon, angry model CH
and the quick, confident model H
deliver 900 cc's of punch and 58 bhp
@ 6800 rpm. The Sportster really flies
nd it looks as fast as it goes. The
re-styled tank almost leans forward in

anticipation. Newly-designed cylinder
heads and new mufflers with crossover
connector add a few horses to what's
already the world's fastest motorcycle.
Agoin in 1969, it's the only one of its
kind. Try one. You con sce it, buy it,
finance ond insure it at your Harley-
Dovidson dealer. Horley-

Motor Co., M

..ou-perform
everything
on two wheels.

DEAR PLAYBOY

ЕЗ ones PLAYBDY MAGAZINE « PLAYBOY BUILDING, at N. MICHIGAN AVE, CHICAGO, ILLINOIS oer!

TEST SCORES

Your What's Your Sexual Quotient?
quiz (eavnov, October) has been quite
an asset to me. Since taking it, I realize
a little more why I act the way I do.
The quiz gave me greater understanding
of my behavior than did nine months of
psychoanalysis.

It’s astonishing how accurate your
Sexual Quotient quiz was. 1 have been
trying to identify my hang-ups for years
so I could possibly solve them; now
rrAYBoY has done the identilving for
me—a favor for which I am deeply

indebted.
Gerald Foley
Tampa, Florida

І just finished taking your Sexual
Quotient test, After contemplating the
results, 1 saw how true the analysis was.
It was terribly revealing. Т hope that
everyone enjoyed the quiz as much as
1 did.

A. 8. Chappell
El Paso, Texas

Most of us have some neurotic tend-
ences, but it i» one’s ability 10 cope
with them—not their absence—thar. per-
mits us to function normally. It really
makes little sense, then, to say that a
well-rounded neurotic is better off than
a lopsided neurotic—as your test would
have us believe. The Aristotelian golden
m

an was not designed for neurotics, No
matter what his neurotictendeney graph
look like, the flexible, self-
person is the one who can reason his
way out of the habitual, neurotic mold
that constrains him.
Gerrit C. Binneweg III
New York, New York
You seem to have missed the point of
our test. The three segments of the graph
did not represent distinct neuroses but
depicted three basic life strategies or
emotional biases. None of the three can
in itself be called neurotic. An extreme
investment in any one arca is neurotic,
however, because it is purchased at the
cost of emotional poverty im the two
others. The neurotic is an extremist; he

ware

has an emotional commitment to one
strategy of life and feels uncomfortable
when experimenting with alternatives.
The well-rounded person can use all
three major stralegies—whenever each is
appropriate.

MUSIC LOVERS

My Music, My Life by Ravi Shankar
in the October PLAYBOY gave real in-
siehts into the man and his music and
was written in a wonderfully warm man-
ner—rellecting Shankar as he actually is
It should be read by everyone interested
in Indian music. Personally. T gained
several new ideas from it and congratu-
late you for publishing such a worthwhile
piece.

Don Ellis

North Hollywood, California

No mean musician himself, Ellis is a

highly respected trumpet player and
bandleader.

One can hear the gentle voice of Ravi
Shank: in every line of his memoir
The Ravi I love and know so well is all
there, in his devotion. integrity, intellect
aml humiliv—in other words, in those
great and unique qualities that comprise

the Indian musician. It shows that his
art is his way of life, and vice versa, and
that his concern and commitment are
both for the perfection of his music and
for the values it сап represent to those
searching for the sp
in a world preoccupied with the materi
al and immediate. riaynoy should be
commended for giving space to so gen-
uine and human a document

Yehudi Menuhin

London, England

tual and ultimate

RITE-MINDED
Bravo to J. P. Donleavy for his touch

fiction Rite of Love (risvnov, Ocio
ber). 1 only wish that I, too, had had
attractive E
a teenager. Donleavy's story was like a
shiny pebble dropped into the still pond
that reflects one’s own youth.

Jay Grear, Jr.

Cherry Hill, New Jersey

n
lish governess when I was

I must express my congratulations to
Donlcayy for his marvelous work of

Pub

for men
uncorks

A rousing new fragrance
that stays with you.

After Shave, Cologne
and other essentials
for the lusty life.

Created for men by Revlon.

PLAYBOY

This Christmas 2
give away the secret of the perfect martini.

Seagram's. The perfect martini gin.

‘SEAGRAM DISTILLERS COMPANY, NEW YORK CITY. SO PROOF DISTILLED DRY CIN. DISTILLED FROM AMERICAN GRAIN-

fiction. I have never read a story that
depicted true innocence in such a mag
nificent way.
Matthew Werner
Charleston, West Virginia

CAVEAT EMPTOR
Your interview with Ralph Nader in

the October rravnov was outstanding
by far the best exposition of the case for
consumer protection and consumer sov-
ereignty that I have ever encountered. It
should be required reading for econo.
mists, marketing men and Government
officials.

Andrew C. Gross, Assistant Professor

Cleveland State University

Cleveland, Ohio

The Nader interview was most en-
lightening. No one can sincerely say that
Nader doesn't believe in what he's doing
or that he lacks reasons for believing as
he docs. He doesn't hardsell his phi-
losophy, but a sense of outrage comes
through, nonetheless. Perhaps that's why
Nader is so effective; his facts speak for
themselves.

Ralph A. Greene
Raleigh, North Carolina

In his careful, sustained and coura-
geous efforts at reform, Nader continues
to reshape American society for the bet
ter. And be docs all this without a beard,
without sandals. without drugs and with-
out an arrest.

John Dean Barrett

Groton, Connecticur

Nader was not the first to fight unsafe
automobile designs—just the most suc
cessful, A much earlier campaign for
safer highway travel was attempted by
the Ford Motor Company in 1955. Ford
tied to get the consumer interested. in
auto safety by offering several safety
oriented features. But these features cost
money, and the consumer refused to
ay the price. Lack of interest made the
idea a йор, and Ford quickly stopped
advertising the safety features. Nader
castigates Detroit for neglecting the car
owner's safety, but the fault lies the
other way. Given a choice, the car buyer
still prefers a lower-priced automobile
over a more expensive one fitted with
safety equipment.

Robert C. Stone

West Palm Beach, Florida

If only ten percent of Nader's accusa-
tions are fuctual—and I assume Nader is
correct, or some kicked dogs would yelp
loudly—then our jails should be full
of executives, Senators, Representatives
lawyers, bureauc nd petty
tal
nd poor people who can't
afford lawyers. My compliments to inter-
viewer Eric Norden for asking such
telligent and searching questions, to

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Nader for giving such straightforward.
wer and to rrAynor for publishing
the result.

E. Howie
igh, North Carolina

He deserves the highest m;
the quality and the quantity of his re-
search, bu leaves something

по mater how
suffers—is built into the capi
tem, Rather than fight the effects of the
system—such as tinted windshields that
can dangerously reduce vision—is it not
more sensible to fight the syste

talis itself, rather than profichungry
corporations, may well he the cause of the
Problems ich Nader struggles

Henry R, Korman
Longview, Washington
Nader disagices, and so do we.

A group of engineering students at
Michigan Tech has come up with a
general plan for an automobile called
the "Nader." The car will weigh nearly
8000 pounds, most of this due to the
two-inch boiler plate from wi
body is to be fabricated. It will I
power windows. since these arc a ha
Since it is possible to lose fingers in а
door, doors will also bc clim ed. The
Nader will be completely surrounded by
a I2inch-high impactabsorbing bumper.
Although the suspension will be soft,
for comlorv's sake, the Nader will corner
every bit as well as a Porsche 9115. The
Nader's acceleration will be in the same
the 427 Corvette, while the brak-
1. of course, be much beue
interior will be of f
includes seats, dash, steci
control knobs and foot pedals. Also i
cluded will be s belts, shoulder har-
nesses, asbestos clothing, roll bar

Chairman
ch Committee

¡gan

Though Nader's comments on the
problem of highway safety were fascinat-
ing, he neglected to mention an impor-

nt aspect of the matter—the highway
itself. For yeus, engineers have been
chielly interested in laying down miles of
roads and have neglected to make the
roads safe, because it costs money. Even

will cause your car to over-
turn, should you leave the roadw.
guardrails without tapered ends that can
slice into your car like giant knives;

trees and similar hazards too close 10 the
road; unreadable or confusing si
noncollapsible light poles—the list

endless. Psychological studies indicate

that engineers more interested in
things than in people. Perhaps they
need sociologists to oversee their work
io remind them that highways are for
people.
Bernard W. Webber
Minneapolis, Minnesota

Nader sounds as if he were the first
person to probe the sanitary conditions
in commercial fisheries. But for many
years, ethical fish-processing companie
(yes, Virginia, there are ethical compa
nies) have cooperated with the U.S.
Government through the Department
of the Interior's Bureau of Commercial
Fisheries. Many commercial processing
companies employ rigid sanitary proce
dures and try to deliver a tasty, nutri-
tious, lowcost, sanitary product The
percentage of freezer boats used by com-
mercial fishermen is on the increase. In
a growing number of cases, fish are
processed und frozen at sca to ensure
peak quality and freshness when they
h the consumer. Finally. the indus-
becoming involved in other areas,
such as fish irradiation. In short, the
hing industry is taking what steps it
can to protect not only itself and future
sales but the consumer as well.

Robert J. Burns, Editorial Director
The Fish Boat
New Orleans, Louis

Your interview with Ralph Nader was
most interesting, but it left me with a
problem. I have no food in the house
and I'm afraid to drive to the market
because my car is a deathtrap. But even
if 1 got there, 1 wouldn't know what to
buy. My aversion to eyeballs and
chopped hides rules out hot dogs or
bologna. The hamlx is probably
staffed with sulphite and sawdust; the
ste; n with nd

are oozing botulin. To make
rs worse, I live in California—right
atop the San Andreas rift. But even
though 1 face either starvation or death
by quake, at least I can still read
PLAYWOY and enjoy all the pretty girls.
John M. Zarcone

Torrance, California

RARE MCNAIR
I have been an avid Barbara McNair
fan since first seeing her on television
several months ago. When 1 purchased
the October pLAYBoY, I was pleasantly
surprised to find her displayed in The
Reel McNair, She is certainly one of the
most beautiful women in the world.
James P, Kraus, Jr.
Rochester, New York

Many thanks for your photo story on
the lovely Barbara McNair. I'm sure
your black readers would greatly appre-
ciate seeing more soul sisters
rLAYDoY. Alter all, we're ten percent of

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PLAYBOY

чь 4\ҹ ss

Jerry West, Los Angeles Lakers" All Pro, uses Dep for Men.

Jerry West has his hair styled.
You got a beef?

Funny how someone with a beef can turn chicken when face to face
with Jerry West. He's six and a half solid feet of man. And if you think
having his hair styled changes that, you're all wet. Hairstyling does
change Jerry's appearance, though. Like it subtly calls attention away
from his nose (broken eight times in N.B.A. play). That's the thing
about hairstyling — it makes more than just your hair look better.
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the population—so ten percent repre:

sentation seems only

we sure dig beautiful Barbara
Adh:
Oxon Hill, Maryland

I was very disappointed with rLAYBov’s
coverage ol Barbara McNair’s movie—
not enough of Barbara.
Jack Pratt
Portland, Oregon

When is rravnor going to use its
influence to release us girls from the
double standard? There's Barbara Mc
Nair and R: ond St Jacques in those
luscious love scenes and—wouldn't you
know?—he's wearing pants!

DISSENT ASSENT
Nat Hentoffs The War on Dissent
(1 Аувоу, September) is chilling, but it is
not exaggerated. І learned this from my
own indictment for conspiracy and Irom
knowing many other peace people, black.
people and young people who hnc
been subjected to increasing police har
assment and harshness. The
most discouraging note is that a majori
ty of the American people approved of
Mayor Daley's police in their undisci
plined and brutal attack on youths who
had every constitutional right to march
to the Convention. Somehow, we must ed
ucate more ol our auzens about what re-
pression would mean for them, before we
find an American Hitler in the Presidency
Dr. Benjamin Spock
New York, New York

The War on Dissent provides a well
engineered walkway along the brink
from which we can view the dismal
abyss below. Hentoff forcibly calls our
attention to the terribly frightening situ-
tion facing the American people. Th
ng to realize that they aw.
freedom being
y the repressive laws of a
Unless there is a quick
nd, we Americans darc no long
er call this freedom’s land.

zeneral

Virginia

Former commandant of Ihe Marine
Corps and holder of the Congressional
Medal af Honor, General Shoup has long
been a critic of U.S. involvement in

Vietnam.

Hentoff's piece is wonderful, though
frightening. At one point, he asks, "Are
we at the start of a new period of Mc-
ism?” At the start? We are bang
in the middle of it. In the past few
yeu ave moved faster and farther
m than at any other time
in our history, and 1 sce no end in sight
If we do not soon end the war in

You feel good giving it.
They feel good getting it.
And that's what Christmas
giving is all about, isn't it?

(Decanter and regular
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PLAYROY

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Vietnam, begin a serious war on poverty
d racism and generally drive the fanat-

ten years, we will
have a full-fledged fascist Government. I
do not think we have passed any point
of no return, but we are getting danger
ously close. 1 know more than a

aged people, with no particular history
of political activism, who are quietly and
soberly considering what country they
may have to immigrate to, if and when
the Wallaces and the Daleys and the
lovers of lynch law take over this country.
John Holt
Boston. Massachusetts
Educator Holt is author of “How Chil-
dren Learn” and “How Children Fail?”

Dissent is depressing reading for any-
one who cherishes our professed devotion
to freedom of speech, press and associa-
tion. As a lifelong defender of other
people's rights, 1 know the record, but I
don't see it as d as Hentoff does.
The evidence he so correctly cites can be
balanced in part by instances of toler-
ance and protection of unpopular dissent.
The American Civil Liberties Union—
with which Hentolf is associated—!
won many a case for dissent. It takes
fight, but it is never hopeless.

Roger Raldwin
Oakland, New Jersey

A longtime director of the American
Civil Liberties Union, Baldwin spent
five years as A.C.L.U. national chairman.

FASHIONABLE WORDS
1 thought the Fall & Winter Fashion
Forecast (тїлүвоү, October) was terrific
especially the fact that plenty of ac
tion came through in the photographs.
B

New York, New York
Blass, a major designer of women's
clothing, has branched out into menswear.

KUBRICK KUDOS

In his September interview, Stanley
Kubrick shows
well informed about past and current
extrapolatious and speculations in sever-
al scientific fields—just what one would
expect of an intelligent artist who has
spent the past few years creating 2007
and hobnobbing with Arthur Clarke. Of
course. to a science-fiction writer like
myself, Kubrick's speculations aren't
new. Most of them were made about
s ago by that eccentric English
Stapledon in his ponderous
wels Star Maker and Last and First
writers have heen re-
ng and adding to them ever since
—to the point where some new readers
find Stapledon disappointing, like the
hule old lady who proclaimed Sh
speare’s plays to be “just а bunch of
quotations strung together.” But Staple-
don reached at most a few tens of

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PLAYBOY

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thousands of minds, while 2007 and
PLAYRoy are reaching millions, and that
docs make а dillerence. Too bad that
along with the computer, the telescope
and the microscope, we don't have a
Kubrickoscope (Kubriscoper) 10 reveal

whar's really going on in that complex
creative mind behind the smooth mask of
the notable science amateur. But perhaps

Stanley's mind is like a speeding elec-

tron. The closer you focus in on it to o
determine its location and velocity, the
fuzzier the image gets

Fritz Leiber

Venice, California
As sci-fi buffs know, Leiber is the im-

aginative author of such perennially pop-
ular works as “Wanderer,” “Night of
Ihe Wolf" and “Рай of Air?

pLAYBOY's interview with Stanley Ku-

brick discloses a profoundly brilliant and
unusually well-informed intellect. The
almost total specialization of modern

educated men blinds them to the fascinat-

ing implications that accrue from experi- ө
mentally harvested and totally integrated
data. Arthur C. Clarke, Kubrick's collabo-

rator on 2001: A Space Odyssey, is an im-
portant exception to this pattern. The

lucidity of his dcalings with comprehen-
sive data is poetically clairvoyant. And
proof that Clarke is a powerful teacher e

is manifest in his having so swiftly un-

leashed the integrity of Kubrick's mind. The only Scotch

I have long been an enthusiast of

PLAyBOY's method ol interviewing those selected for the
human beings whose thoughts and ac- Olympic Village. Grenoble.
tions intimately affect great multitudes of
other human beings. PLAYBOY'S interviews
progress like real-life events, until both
the interviewer and the interviewee take
oll from long runways, gain altitude
through familiarity and finally reach
cruising speed. There the transcendental
takes over, leaving mannerisms behind
R. Buckminster Fuller
Carbondale, Illinois

KOSHER CANDIDATE
I want to thank you for mentioning
me as one of Pat Paulsen's opponents in
your October Playboy After Hours inter
view with him. Í always enjoy readin
vox after my shower. I would ap-
preciate it if you would also review my
new recording in your next issue. Many
of my relatives will be pleased. Tell Mr.
Hefner I said hello. We met many years
ago, when he was a small boy. I love the
way he smokes his pipe.
Mrs. Yetta Bronstein
"The Best Party
New York. New York `
After dutifully listening to her rendi-
tion of “Tiptoe Through the Tulips,”
we must report that Mrs. Bronstein—a
perennial Presidential candidate who

runs on the chicken-soup-in-every-pot
platform—is no Tiny Tim.
Ba

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PLAYBOY AFTER HOURS

v trust you've noticed by the time
you've gotten this far, you're read-
ing PLavsoy’s Fifteenth Holiday Anni-
versary Issue. Gelebrations such as this
generally combine both 1evelry and retro-
spection; in ke&ping with tradition, our
Rescarch Department has dug through a
full set of rrAvBovs, December 1953—
December 1968 (retail value for collec
tors: $1300), to unearth some remarkable
(well, we think so) statistics. With a be-
mused sense of accomplishment, we offer
a sampling herewith.

If all the gatefolds we've printed were
placed end to end, they'd form an cyc-
filling ribbon of paper 146,000 miles
long—enough to circle the equator six
times, a suitably torrid tourniquet. In
the course of those years, we've featured
179 different Playmates, with dimensions
taping a grand total of 65347-4122-
6372”, with a collective weight of 21,300
pounds. That's over 101% tons of good-
looking girls. Atop cach other's shoulders,
they'd stack up to 976 feet, just about
twice the height of the 37-story Playboy
Building. More appealing statistics to
describe” the perfection of pLaynoy’s
female forms would be the average
for the girls in this pillar of pul-
chritude: 55” tall, 117 pounds, and
36147 227-3510".

To print all the magazines we've pro-
duced (421,210,084 of them) required
914,839 gallons of ink (enough to fill
Olympicsized swimming pools and
4500 carloads of paper—which would
comprise a freight train 35 miles long.
The total weight of this journalistic
output i 02 tons—somewhat heavi-
er than a good-sized ocean liner. And if
all the pages we've printed—a total of
more than 78 billion—were strung 10-
gether, they'd stretch 6,773,818 miles, the
equivalent of 14 round trips to the moon.
If these same pages were spread edge to
edge on the ground, they'd cover 621
billion square feet—suficient to paper
1he outside of the Empire State Building
once a day for the next 20,274 years, or
to cover Manhattan Island 24 times
(should anyone wish to).

In the course of these same 15 years,
PLAYBOY photographers have flown over

1,000,000 miles gathering the 5,256,143
color transparencies now filed in our
photo library. The hard-bitten, unsmil-
ing editors have scr ed over 2.500.000
Party Joke submissions, 711.000 cartoons
and 160,000 manuscripts, and ve edited
some 25,850,000 words for publication—
enough to fill 30 feet of bookshelf.

During the past 15 years, we've learned
through painstaking research, Editor-
Publisher Hugh M. Hefner has «logged
down—hang on—some 131.400 bottles of
Pepsi-Cola: а total of 12,000 gallons,
which would come close to filling his
spacious and appropriately kidney-shaped
swimming pool on the ground floor of
the Playboy Mansion. Perhaps this may
help explain why рілувоу has always
been—and will continue to be—the
magazine for those who think your

Our Nick-of-Time Saint Nick (on
page 123) proflers a choice selection of
grandiose gifts to tote, dispatch or
promise for the yuletide. But for those
really hard-to-please havc-it-alls on your
list, we offer once again an additional
array of offbeat bagatelles from hither,
yon and all intermediate points.

This year, Dallas’ ever-popular Neiman-
Marcus is featuring his-and-hers Perspex
aquariums on stands; a gift clearly aimed
at certain someones who already have the
sun, the moon and the stars—and now
want the sca as well. "His" is filled with
fresh. water and a pair of angelic angel
fish. “Hers,” however, is a different kettle
of salt-water fish. The floor of her aquari-
um is covered with cultured pearls that
are guarded by—would vou believe? -a
poisonous lion fish with dorsal spines
that pack a deadly wallop. Thus, the re-
cipient can’t pinkie dive for the treasures
at the bottom of the tank. And just for
laughs, a colorful clown fish has been
thrown in, too. All for just $25,000 and
up, depending on the size and number of
selected. Another tandem token
your esteem from Neiman-Marcus
и be his-and-hers jaguars; two snap-
py items that also boast a twist. "His" is
а savage Jaguar XK-E Grand Touring
coupe, while "hers" is a sumptuous Bra
zilian jaguar knee-length coat trimmed

with mink. The price: about 511,534. Or,
if you've had it with the hisand-hers bag,
we suggest you enroll her in Neiman-
Marcus Jewelof'the-Month-Club. Every
30 days. your lucky lady will receive an
exotic bauble (December, for example, is
a pearl, emerald and diamond necklace),
thus giving her 12 little somethings to re-
member you by. The bill for the service
will also be something to remember:
$273.950, including postage. As an alter
native, check out N.-M.'s Indian chess set
that's hand-crafted of 20-kt. gold. enamel
and rosecut diamonds. It's priced at a
low-low $25,000; but you must supply
the chessboard, mate.

For freaky fashion plates, try a pair of
"coprolite" cuft links—fossilized dino-
aur flop mounted on gold-plated fit-
tings—for only $9.95 a pair from J. P.
Darby. Esq, in New Hyde Park, New
York: but send away soon, for supply
may be even more limited than demand
Another archaeological objet on Darby's
Christmas list this year is a full-blown
ostrich egg resting on a Lucite base. For
а nest egg of $24.98, you can while away
the holidays with a friend, playing a
cautious game of catch

For slugabeds, there's а battery-powered
foam-rubber alarm pillow that rouses the
slumberer with soundless—and painless
sonic waves. One zap and the lucky
owner will be up and kicking—so we're
told. If you've bent an car, sound out
Hobi, Inc, Lake Success, New York—
and send along $24.08. Another battery
powered mind blower fom Hobi is а
Henry VIII-style wood.
beer mug that automatically emits four
conyersation-stopping belches whenever
thirsty chugalugger lifts the tankard to
his lips. This sophisticated item sells for
$9.98. Cheers!

If you happen to know a status-secking
vagabond who loves to yak about his
travels, send him packing on a six-week
Lindblad Travel tour to scenic Out-
er Mongolia. Among the never-to-be-
forgotten. experiences on the itinerary is
camping out for ten days in the Gobi
desert

while cooking entrail dinners
over a fire of camel dung (not suitable
for cuff links). Later, he can take an

PLAYBOY

000, liniment not included. If
peripatetic friend makes waves
bout riding a ship of the desert, offer
him a swinging three-week cruise aboard

your

the S. S. Romantica, which will soon set
1 for the Galápagos Islands, 500 miles
ї of Ecuador. At last nose count, the
2412 rugged individualists who call this
archipelago home were vastly outnum-
bered by teeming masses of three-foot
iguanas and schools of species
of four-eyed fish. The trip's itinerary ir
cludes such fun and ng the
giant snapping tortoises and petting
booby birds. All this and more for a
те $2005

Urbanites who'd like to take a stab at
foiling the weather will dig a sword-
spike umbrei able from Here's
How Company, New Hyde Park, New
York, for $14.

good for picking up paper in the park.
an-

And caybabics will choke up ove
other a
r vial modeled after the ones carried
sentimental noble dwing the
Middle Ages. Price, $4.98. tears not in
cluded. For embittered Democrats and
Republicans who wont fo and
forget, try wax-aricature candlehicads
molded in the e of I 1.. also for
$4.08 cach, And for grown-up Linuses
who feel self-conscious about hugging
their security blankets, there's a 12x 18%
loam-hlled cushion covered in ре
hamster fur. The price is somet
squeak about—only $19.98,

If this offering isn't fur out enough
for you, present a would-be snow bunny
friend in Miami Be
will enable her to schuss beside her sw:
ming pool—on the pelts from 250 wh;
minkskins mounted by Georges Kaplan,
the famed New York furrier, on a Y x 7^
motorized treadmill. Should the giftec
grow weary of making downhill runs, she
can alwa i:
About $6000, ski insurance extra
door sports. the odds are that a drinking
buddy who loves to gamble will go for a
p-U-Bar Slot-Tronic oncarmed ban-
ners by pouring their
ıt concoctions. (You
ay wish to rig it so that three cherries
rewards the player with а manhattan)
Order yours from KEM Electronic in
d, for just $21,800—
ingredients not included.

A militaristic Walter Mitty itching for
à fight can get vicarious kicks by
i titled The Mighty
Armed Forces Sound Effects in Ac-

U.S,
tion. With the volume turned up, he'll flip

over the war whoops of our fighting men
in actual combat, cheer as our bombers
blast the bad guys and sing along to the
sound of a nuclear explosion. All for
$1.95 from ‘The Radio Shack, New York
City. And Mission Impossible fans will
ng a handsomely

wrapped Self-Destruct Box, the contents
ol which promptly go up in smoke when
the package is opened. A once in
lifetime gift for just $30 (not including
plaster casts) from Art Klepps, Morning
Glory Lodge, Cranberry Lake, New Jer-
sey. No C O. Ds, please. (Klepps, when
he isn't making his Sclf-Destruct. Boxes,
is Chief Boo Hoo of the Neo-American
Church.)

For that special someone who wants
to brea n apartment lease, there's an
11-foor-tall German-made orche tion
unit that works off of perforated play
piano-type rolls. Switch it oi p on

pair of ear muffs, jump behind a
sandbagged bunker and listen to your
favorite tunes as they're performed auto-
matically on the following instrumen
a mandolin, a piano, a cymbal with dou-
ble beaters, a phalanx of flutes, nk.
of violin-violoncello pipes, clarinet and
saxophone horns, a snare drum with
loud and soft tonation, a triangle, a
wood block, a bass drum with tympani
beaters and, last but not least, a war-
bling Swanee whistle. The whole she-
hang sells for $6995, plus postage, from

y & Bowers in Santa Fe Springs,

California. As the line in the old song
goes, "Who could ask for апу
more?”

In a setting тєшї
Hurrah, the Democratic
met shortly after the National Conve:
tion to perform the time-honored ritual
of licking its wounds while pretend
didn't have any. Apart from the obliga-
tory patriotic bunting. the hall was
tooned wi ards procl
WE LOVE Y and—except for
ingent
ting restlessly in the gallery—the place
was jammed with the party faithful
т. the first speaker preced-
h the old joke about
Stare Department offi

MAYOK DAL

who visited an underdeveloped
country in Africa and was invited 10
make a speech to the throng of people

ng at the airport.
launched into a lavish appraisal of the
U.S. aid program to that and other
underdeveloped countries and noted, as
he spoke, how responsive the audience
With eich comment about past
generosity, the crowd yelled
And with each promise
of more generosity, the yelling ol "Sha-
wanga"" doubled in volume. Finally,
the diplomat concluded his talk, to deaf-
ing shouts of "Shawanga!" and lelt
mousine with the head of state for.
a visit to his ranch. As they walked in
the fields, they came upon a large pile
of manure, whereupon the head of state
pulled che diplomat away and cautioned,
“Don't step in the Shawan

The Democratic politician, after com-
pleting his joke, then went on to the
heart of his speech, which was an un-

The diplomat

abashed pacan to Chicago's mayor. The
politician's first bit of praise related to
the mayor's great capacity for compas-
sion—which, to the speakers initial
pleasure, was interrupted in midsentence
by a great sound from the gallery. His

sure turned to consternation, how
з he became aware of the young
sters way up there shouting in perfect
unison, “Shaw s

those who doubt that telev
growing up. we direct your attention to
a recent Sinatra special. billed in The
Indianapolis "Francis Albert
Sinatra Does His Thing . . . with Diah-
ann Carroll.”

Filth-grade members of a Wauwatosa,
Wisconsin, church school yoted for the
favorite hero—from a list that included
President Johnson. Jesus and Albert
Schweitzer. When the votes were in, the
contest proved to be a draw between Jesus
and a dar! : Bart Starr.

"To Whom It May Concern: A classi-
fied ad in the Lawrence, Indiana, Jour
nal offered the following bargai
ourposter bed, 101 years old with
springs. Perfect for antique lover."

Early Achiever Department: The Mag-

azine Industry Newsletter, in. пош
change of executives at The New Yorker,
reported that “The new officer is Peter
F. Fleischmann, 16 years old, who had
been cofounder in 1925 (with the late
Harold Ros) of the magazine.

Our Unaba
th gocs
manufactur

Man Cor

ed Honesty Award this

to a Malayan brassiere
who calls his firm The Tit
зу.

BOOKS

With another season of gift giving mov-
ing swiltly toward its climax, the late
shopper still has at his finger tips a pleni-
tude of special books designed to delight
Imost any disposition, Here are a num
her of those that have caught our fancy.

The art book of the year is Andrew
Wyeth (Houghton Mifflin), a superlative
accomplishment coi
13” color plates (

Christina's World), whose reproduc-
dosely supervised by the artist
Richard Mer text, sup-

plemented by а
drawings, does

nber of preparatory
much to illuminate
Муус personality, attitudes and way
of working. This fastidiously designed
volume is the very model of what an art
book should be. ador Dali is cele-
brated during this round of celebrations
with two big books. In The Word of
Salvador Dali (Viking), originally issued i
somewhat fancier form 1962, the

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to disguise the taste. That's because Paul Jones is rich and different.
With flavor that speaks right up. And smoothness that goes down

ENTE TE TAGE P.J. is Paul Jones. A smooth.

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PLAYBOY

painter's friend Robert Descharnes at-
tempts to get at the wellsprings of Dali's
wild imagination by juxtaposing photo-
graphs and paintings; he doesn't succeed
completely. but it's an ingenious tr
Deli (Abrams), a more imposing book
with a candy-box cover, contains some
of the best reproductions we've seen of
the inimitable Spaniard's ir le
work—and, as a bonus attraction, there's
a brief biography of the artist-poseur by
Max Gerard. The New York Graphic
Society offers a pair of stunningly
mounted art books. The History of World
Sculpture—compiled, with text and con
mentary, by Germain Bazin, director
of the Louvre—ranges from prehistoric
stone carvings to the latest sorties in-
to minimal sculpture, All of the more
than 1000 illustrations are in color,
which, it becomes all too strikingly ap-
parent, is the only way to reproduce
sculpture. It is a magni
Himolayon Art, with text
M
sive lode of frescoes, paintings, draw
statuary and bas-reliefs from those i
accessible cloud covered kingdoms. Its
scope is revelatory. Erotic Art of the East
(Putnam's), by Philip Rawson, offers ni
ly 300 illustrations in praise of love
its numerous manifestations and posi-
tions. This first volume in the publish-
ers World History of Erotic Art series
draws to good effect on such sources
Hindu temple carvings and Islamic min-
jatures. Moving closer to our own time
and place is Eros in La Belle Epoque (Grove),
which gives us a look at some of the
artnouveau classics—from Cocteau to
postcards—that heralded a new post
Victorian sexual freedom in the West
From the First International Exhibition
of Erotic Art, held in Scandinavia in
1968, the tireless Drs. Phyllis and Eber
d Kronhausen (see A Portfolio of
Erotica in last month’s issue) have taken
567 black-and-white and 54 color photo-
graphs and put them into Erotic Art

ve). Each of these volumes pays hom
age to an art that,
п relevant as long as men а
women continue to
naturally.

Two top-notch photographers are rep-
resented in handsome volumes this sea-
son. The Best of Beaton (Macmillan) olters
200 samples from four decades of the
elegant Cecil's work, a reminder of his
finesse and an indication of his range,
Gordon Parks—poet, novelist, musician
ind movie director—is best known as
Life magazine photographer, and his
first collection of many years of work,
Gordon Parks: A Poet and His Camera (Vi-
king). confirms his place as a frontrank-
ing photographic journalist. His pictures
—twoscore of them in color—are accom-
panied by his poems; taken together,
they convey sensitivity, intelligence and
an everstriving spirit.

If George Orwell had never written

Animal Farm or 1984, his reports and
essays would still entitle him to a place
as a major literary figure of his time.
Why this is so becomes abundantly clear
in The Collected Essays, Journalism and Letters
of George Orwell (Harcourt, Brace &
World), four hefty volumes, edited by
his wife, Sonia, and Ian Angus. Covering
the quarter of a century from post-World
War One to post-World War Two, this
chronicle evokes both the sense of a
tragic time and the memory of a most
humane and gifted man.

A few years ago, Robert Lowell pub-
hed а set of poems in English, taken
from Baudelaire, and called them not
translations but Zmitations. However
опе cares to apportion the credit between
these two estimable poets, the results
were remarkable: and now they are avail-
able in a deluxe edition, with color and
monochrome illustrations by Sidney No-
an. It's been retitled The Voyage and Other
Versions of Poems by Baudelaire (Farrar,
Straus & Giroux); by whatever name, no
Lowell lover should be without it.

The Evergreen Review Reader (Grove) is
a tall, fat collection of ten years’ worth
of stories, critical pieces, articles and a
bit of this and that culled from the na-

tion's swingingest literary magazine. The
contributors include Beckett, Sartre,
Pasternak, Ionesco, Burroughs, Mailer,

Grass, Pinter and just about everybody
who's anybody in the hip-lit scene.

For those who are not so much inter-
ested in what America is but, rather,
why it is, we heartily recommend Ameri-
can Album (Simon & Schuster). Subtitled
“How We Looked and How We Lived
in a Vanished America,” it is filled with
rare photographs collected by the edi-
tors of American Heritage. The dogged
persistence of the pioncers, the thick-
waisted, selfsatisfied turn-of-the-century
burghers, the tragic glimpses of the In-
dian in flight, the gallused Maine farm-
er and the rotting ghetto, the awesome
panorama of a still-untrammeled coun-
iryside—it’s all here.

Londmarks of Mapmaking (New York
Graphic Society), replete with full-color
foldouts, bears picturesque testimony to
the inexactitude of science through the
ages. Those very early examples of the
cartographer’s art are often delightful
и» of fancy meant more for fra
than for following. A handsome volume.

The Complete Encyclopedia of Motorcars
1885-1968 (Dutton) has on its cover the
unequivocal claim “Every car ever
made” and that, it would appear from a
fairly close examination, is a simple
statement of fact. Edited by G. N. Geor-
gano, it is an undertakin
dim From the 4

trait Gallery of Early Automobiles (Abrams) is
the culmination of a 15-year labor of love
The artistengincer, who has done the

meticulous flatcolor drawings of 100
glorious antiques, takes us from the 1853
Dudgeon Steam Wagon, really a road-
going locomotive, to the sumptuously ele-
gant 1915 Locomobile Town Coupe. The
iccompanying notes and comments have
been contributed. by James J. Bradley,
head of the Automotive Historical Col-
lection of the Detroit Public Library
Our only quibble is with the sto
cream color has a tendency to diminish
the colors of the cars themselves. But
that is a minor reservation about а mi
jor achievement.

Patterning his work consciously on
Sigmund Freud's classic Wit and the
Unconscious, G. Legman has produced
an 800-odd-page study called Rationale
of the Dirty Joke (Grove). Subtided “An
Analysis of Sexual Humor,” it is an
estimable work, full of fun and honest
nking about what used to be the un
thinkable. The 2000 jokes and tales in 1
first series” may be classified as “clean
dirty jokes"; that is, they concern pre-
marital sex, adultery and the like. Still to
come is Legman's “second series," which
will tap such veins of humor as homosex-
uality, prostitution and castration.

Pageantry of Spor (Hawthorn) is a hero
volume of witty prints and witty prose
dealing with the sports of yesterycar
and ear John Arlott and Arthur
Daley have done their editing with gusto
and have come up with smashing cx-
amples of both the familiar (Izaak
Walton on angling) and the improbable
(Pope John XXII on football. Also
entered are Mark Ty on cockfighting

nd mule racing, William Наи ол

boxing, Robert Herrick on stoolball and
amucl Pepys on tenni. Even sporis
haters should find their stylish commen
tating irresistible,

Wave conquerors of your acquaintance
can ask for nothing more informative
than Where the Surfers Are (Coward
McCann), expert Peter Dixon’s inventory
of beckoning beaches from Australia to
Baja California. With the help of more
than 100 maps and photographs, Dixon
zooms in on the zingiest waves, provid
ntimate details ol their physical pro.
ons and personality quirks, as
wh they were so many mistresses.
Which, we suppose, isn’t terribly inap
ate, after all.
coverage of political conven
“encouraged some of his very
ng" as Norman Mailer ob
tely, he confeses to have
ni for the 1968 С.О.Р.
l. Was the.
ading the WASP resurgents a
new Nixon or just a more skillful hypo-
crite? He left still wondering, dissatis
fied with himself for not having solved
the riddle. Mailer may be excused this
minor failure, for in reporting the fran-

с fabricated goings on at both conven:
tions—Miami and the Siege of Chicago

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PLAYBOY

(World) —he again proves himself to be
perhaps the country’s best reporter: pho-
tographically observant, remarkably sen-
sitive and scathingly honest in exposing
his own fears, prejudices and preten-
sions. Writing in the third person. he
admits to having ducked the bloodiest
battles in Chicago. “He was either being
sensible"—avoiding trouble to prevent
losing even one day of the 14 days he
had left to meet the publishing deadline
— or he was yellow.
later: “Had his courage eroded
than his knowledge of fear the |
days? He continued to drink.”
events he describes so well contain no
scoops for anyone who owns a TV set;
the insights come Irom M.
reactions to the events. In one confron-
tation with himself, he admits to an
ppalling conclusion: "He was getting
tired of Negroes and their rights"—of
black racism, black revolu-
tionaries. “Every black riot was washing
rim loose with the rest, pushing him to
that point where he would have to
[either] throw his vote in with revolu-
ion... or stand by and watch as the
best Americans, white and black. would
be picked off, expended, busted, burned
id finally lost.” Yet, as Mailer finally
concedes, there may be hope for Ameri-
ca, though hardly deserved. Win or lose,
however, his wiry style and needlesharp
terpretations have survived mere time-
ness to become journalism as history.
Peter De Vries began his novclistic
career (No, but I Saw the Movie, The
Tunnel of Love, Comfort Me with Ap-
ples) as a claque comedian, belting out
one-liners and puns and all manner of

He suspects the
more

wordplay in a kind of suburban Scrab-
ble. But then, with The Blood of the
in to acquire new

Lamb, his work be
weight. Still bright and airy and verbal-
ly playful, he showed the gift for subtle
characterization and concern for deeper
meaning, and he emerged as that rarity
—1 completely polished black humorist,
a finished diamond unable to ignore the
rough. The Cars Pajamas & Witch's Milk
(Little, Brown), De Vries two new short
novels in one packet, are both funny-
haha in tone and funny-absurd in theme.
The first chronicles the dedine of a
college English teacher determined 10
prove his worth to an old flame: "Wom-
en have other ideals, but that is ours—
to be thought the cat’s pajamas.” Down
he goes into advertising, television and,
finally, selling cans of fresh air and o.
PEDDLERS ALLOWED signs door to door be-
fore he dies a Becketian death, ironically
noting as he expires that his lost love
jad never meant anything at all to him.
Nothing really, at all.” Witch's Milk
deals with a pretentious woman's court-
ship, affair and marriage to an ordi-
nary man who “had no faults at all. He
was just hopeless.” But alter suffering

through the slow death of a child and a
sudden nervous breakdown, she realizes
how fortunate she was to have had such a
husband to sec her "through the disillu-
* No matter how

th his verbal pyrotechnics. He has one
character, for example, playing with the
notion of developing a new erotic vocab-
шагу: “Extolling her soft white yum-
mels, he would bury his
sometimes as though tryi
death by suffocation. Or he would
their little pink phelps as his hand
strayed independently downward, across
her dimpled woburn to her thrombush,
into which he sank at last with many a
grateful cry in praise of it" (Twiggs
Jameson built up a fresh erotic vocabu-
lary, too, in his novel Billy and Bett
reviewed here in October; but De Vries
does it with more style.) The final effect
s to leave the reader in a state of joy
in, which, not incidentally, De Vries
seems to think the secret called life may
very well be all about.

Saul Bellow is the doyen of American-
Jewish writers. As such, he probably
feels he is entitled 10 give a little, take
a little. In Mosby's Memoirs and Other Stories
(Viking), he gives Bellow fans three
short stories previously unpublished in
book form. He also throws in tlucc
others included in his Seize the Day
volume, but the caliber of his work is
su distinctive tiat few readers are likely
to feel shortchanged. Of the old stor
A Father-to-Be, ther gimmicky en
counter of premarital pangs, is the weak-
est; Looking for Mr. Green, the tale
of a social workers search through
the slums of black Chicago for the recip-
ient of a welfare check. is the strongest;
and The Gonzaga Manuscripts is the
al. This account of a scholar's
ick down the

foredoomed attempt to t

but there
ing the master's toots and
touches. Of the three new stories, Leav-
ing the Yellow House is the most
affecting: it deals in quietly mo:
terms with a solitary lady lush in the
desert who decides 10 bequeath her
house to herself. The title story is a sort
of view from the other side of a Herzog,
as a cuckolder describes how he came to
horn the cuckoldec, But best of all is The
Old System, which appeared first in these
pages last January. Th а of a brother
and-sister breach as primitive in intensi
ty as a chapter from the Old Testament
is a direct hi om the Bellow canon.

s д,

If your appetite was, as we suspect,
whetted by those portions of J. P. Don
leavy's new novel, The Beostly Beotitudes of
Balthazar B. (Delacorte), previewed in
these pages last October and November,
you'll want to hasten to your bookseller,
who now has the whole of it.

MOVIES

Dramaturgy runs the gamut from
Slambang to Pow in Bulli, a monosyl-
labic action thriller that features Steve
McQueen as Harper. Correction: Paul
Newman was Harper. McQueen is Bul-
litt, 2 San Francisco police lieutenant
who pounds a somewhat similar piece of
а turf. Guarding the state's star
ness from killers with a contract from
— you guessed it—"the organization" is
Bullit's assignment, which turns out to
be a h
taken identities, sudden death
ruthless n (that man from
U. N. C. L. E., Robert Vaughn) trying to
make crime pay at the polls. The me-
chanical details of Bullilt are managed
with exceptional skill: No recent movie
has done a bener job, for example, of
reproducing the hurried, antiseptic effi-

city hospital emergency wing.
another of
the circulation,

nd a

director
launches two automobiles into a super.

Peter Yates

smashing, pursui teed to
produce vertigo or your money back.
McQueen dominates the foreground of
the picture, or at least occupies it,
ing himself—or at least the Se ee Dedi
McQueen image that is so admired by
millions. Hc seems persuaded more and
more of late that acting has gone out of
style in favor of cool portrait phorogra-
phy: the publicity stills advertising Bul-
lit! convey the entire depth of his
performance with dead accuracy. An casy
match for McQueen is lovely Jacqueline
Dissct as the cop's pacifier, whose thank-
less part consists of slipping between the
sheets whenever intrigue and violence
abate, Her opportunities are sadly few.

Tony Curtis has spent much of his
career laboring in inane epics and un-
distinguished froth, while critics roundly
jeered him as just another pretty face—
and bad accent—from the Bronx. As
The Boston Strongler, however, Tony gives
the most sensitive and controlled per
formance of his life and proves what no
one else except himself was willing to
believe—that he's a first-rate actor. Em-
ploying a putty nose and a Back Bay
inflection, Curtis evocatively poruays AL
bert DeSalvo, the self-confessed siran-
gler, as a somewhat saintly psychopath,
And it works. So does director Richard
Fleischer's documentary approach to the
drama: Strangler unfolds at a tight pace,
and Fleischer's use of split-screen images
is inventively effective, But if the movie
seems a bir overlong, credit to a
lackluster job turned in by Henry Fon-
da as head Boston investigator John S.
Bottomly and a somewhat prolix screen-
play by Edward Anhalt. Based on the
best-selling book by Gerold Frank, the
movie recreates Boston's panic—and

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PLAYBOY

manhunt—when 13 women were stran-
gled and then mangled by a maniacal
murderer, (Although many may find the
cataloging of atrocities less than tast
the movie is far milder on these details
than was the book) Much of the film's
strength lies in its Dragnel-type cameo
performances—by George Furth as а
prodigiously potent satyr, George Vos
kovec as real-life psychic Peter Hurkos
and William Hickey as a pervert who
digs handbags. Unfortunately, such top-
line talents as 1968 Academy Award
winner George Kennedy and Mur
Hamilton are wasted: their lines
conceived in oak, But when Curti:
rives on the scene—even though half the
film has already el the screen be-
comes electri tension and the
Strangler suddenly becomes tragically
and pathetically believable.

Movies dealing with theft and embez-
zlement are nor exactly innovative these
but Only When I larf works some
spry variations on the big-caper formula,
ing valuable time poring
ns, this relaxed and con-
genial comedy starts right off with a

fty fraud that separates two New York
nt tycoons from a $250,000
check. The nest whirligig stop is Lon-
don, where a swindle legal
arms ship! t African
m goes entertainingly to pieces.
then on to Beirut and some bright chi-

in the arena of international
g. The scenery is eye-filling—but
nice, for a change, to scc back-
ackgrounds. In this
flick, it's what's up front that counts;
and there we find Richard Aucnbor-
ough, David Hemmings and leggy Alex-
andra Stewart trio of con artists
with the instincts of charlatans from a
traveling medicine show. Though only
competent crooks, they are great impos-
1015, masquerading as Dixiecrats, execu-
tive secretaries. guards. psychiatrists,
Britisharmy regulars, Arab traders, ar-
chacologists and whatever it takes to
make a victim rest easy until the balloon
goo up. Credit director Basil Dearden
with m. ning the rather delicate
ance between mere spoofery
ligent respect for the honorable capi
tic tradition of beating the system by
hook or by crook. We also noted—
saving it for last, because there are a
dozen better reasons for enjoying the
movic—that Larf's liveliest: ideas were
lifted from a novel by coproducer Len
Deighton, vravmov's Travel Editor as
well as a frequent contributor of fiction.

are

how
grounds used as b

ist Russia is the
director John. Frank-

ard Malamud novel,
screen by Dalton Trumbo. The movie is
large, literate and conscientiously i
rational. But questionable things I

ppen

when a comp y
English-speaking actors settles down
Hungary to re-create the pre-Revolution
climate of саме Europe. Given the in-
ternational scope ol modern film making.
today's audiences have seen authentic
Russians, Czechs and Swedes performing
dramas so steeped in indigenous truth
that Anglicized facsimiles inevitably ring
hollow. The Fixers Alan Bates is a su-
perbly intelligent actor: but his Oxonian
manner belies both the Russianness and
the Jewishness of Malamud's reluctant
hero, Yakov Bok, who escapes from
ghetto haunted by pogroms
Christian quarter of Kiev. An а

falsely arrested for ci ritual murder of
a child and turned i scapegoat Jew
by the czars corri ҮЙ Mom who need
a restless, op-
Dirk Bogarde, Hugh
Grilbth. Georgia Brown, Elizabeth Hart-
man and Carol White, as some of the
goodly number who hurt or help Yakov's
cause, fortify the impression that they

pressed people

ing their virtuosity. Telescoped oi
without benefit of. Malamud's evoca
prose, the events of the
produce unrelieved gloom.
ner thoughts and fearful
illustrated rather literally—which indi-
cates the kind of epic seriousness Frank-
enheimer had in mind. But the dialog
—duuered with aphorisms ("To be
anti-Semitic, you've first got to be
mti Christian“). serves his questionable

do the insistent background
themes by composer Maurice Jarre, who
has supplied mournful fiddling on the
roof for nearly every crisis.

The bittersweet humor of The Firemen’s
Boll, by Czech director Milos (Loves of
a Blonde) Forman, rests on the thesis
that a bumbling bureaucracy ultimately

film,
e
ovel tend to
Yakovs in-

leaves everyone out in the cold. Less
slyly sexy Шап Blonde, Formaws new
comedy is nevertheless hilarious and

poig

nt, as well as pointedly cynical
about

the rewards a society bestow!
upon its servants, An antiquated [or
fire chief, who is the honored guest at
the ball, faces death by cancer as his col-
leagues sweat over the pr
ceremonial ах “for fifty years of faithful
service.” Another old gentleman, whose
home, hearth and worldly goods are
consumed by flames midway through the
ceremonies, sits shi а snowbank,
watching his past go up in smoke, What
сап be done for him? “Move him close
to the fire,” suggests a volunteer, Such
matters are Forman's underlying con-
cem, vet he avoids bathos, geriatrics or
any ellece that might spoil the uninhib-
ited fun of his folk poetry about life in
a provincial town. Diffusene-s is the
y Пам of Firemen's Ball, With a
r focus on one central ch

acte:

charmingly played
m obvious choice) .
mong the classics. One
"ccs are marchless—a scan
dal concerning stolen lottery prizes, com-
ed when a lusty young couple slides
der the tottering display table to make
love, or the incredible chaos of a beauty
contest so disorganized that the odds
favor whichever reluctant nominee ca
be dragged screaming to the bandstand.
Now in the West, away from the home-
land that gave a special texture 10 hi
work. Forman will be an interesting d
rector to watch. He threatens to revive
the golden age ol screen comedy all by
himself.

st-West confrontation in the
stes revives Cold War jitters
during the postintermission half of Ice
Station Zebro. lt would be nasty to tip off
too much of the plot, which brings sub-
marine-borne Anglo-American forces and.
Russian paratroops racing toward a re
mote weather station for a taut belly
to-belly showdown. The question is, who
will gain possession of a top-secret cap-
sule, miscarried to the polar region by a
wayward Soviet missile? But never mind.
petty details, such as technological dou-
ble talk or an occasional process shot
that recks of special effects. cool
clifbhanger, based on a novel by Alistair
(The Guns of Navarone) MacLean, h
thrill. chill and hair-trigger suspense
st in a
hypertension for well over two
nd red-blooded viewers, what
sex, should find the agony con
tagious. Rock Hudson, as captain of the
nuclear sub Tigerfish. is nomi
star of the piece. though his
heroies tend to fade on impact
testy passengers on deck,

Brown as a gungho Mar
whose credentials are suspect,

enough to keep its al-male
state of

Borgnine as a turncoat Russian a

stealing scene after scene as a caustic chap
from British Intelligence. When Me
Goohan is off camera, director Joh
Sturges fills the screen with ex
visual excitement both aboy

vironment of a distressed sub under the
ice floes to the pure spectral beauty ol
enemy piratioops dropping soundlessly
into the snow.

To argue that Weekend,
manifestation of cinematic Je:
dard's remarkable will to succeed. widi-
out really trying, is sloppy, dull and
undisciplined is almost irrelevant, for
confirmed Godardians merely nod agree.
ment and smile the smug smiles of those
who know that a real masterwork n
seem inaccessible, at first. to mi
poor dumb bastards. Godand's у
1 of contemporary society prom
ises much but soon dwindles away in

the latest
Luc Go.

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PLAYBOY

bombast, preachments and tire
ctitions of his political deepthink. As
a pundit. Godard is a bore. As a film
er, he is a kind of brilliant anarch-
ssociating so recklessly twr his
own re reduced to shambles.
Weekend's im. mechanized con
temporary Inferno are brielly memora.
Ме when Ше ca pans—surely the
longest traveling shot on record—along,
a highway glutted with cars, trunks, kids
and carnage. While the dead and dying
lic amid heaps ol twisted. metal. stalled
vtorists honk their horns, quarrel. Hirt,
lay chess and tv to uet moving again
The trathe jam is only the kickoff tor a
weckend devored to looting. rape, matri
cide and cannibalism, brought to a di
max when a young wife joins a band ol
revolutionaries who disembowel her hus
band and serve him up at à cookout. In
morally bankrupt society. he seems to
be saying—at the top of his lungs—
death means no more than greed, lust
and human callousness, And the words
he stulls into the mouths of his cha
ters—who never for a moment come
cinglv to lile. little more.
п an old des e breaks two eggs
beween a prowrate girl's legs belore
apparently assaulting her with a large
dead fish. one wonders whether to inte

pret the deed st a sick
world or self-indulgence from a sick poet.

эте rep-

ues of

RECORDINGS

lth of wonderful sounds, lı
provides a lush bou
lor this sc yuletide giving
getting. The most sumptuous ol
Columbia's 15-LP slip-cased offer
The Nine Symphonies of Gustav Mahler (i
available on stereo tape), with Led

Bernstein aducióng The New

Philharmonic and The London
phony Orchestra (one of the LPs—
Gustav Mahler Remenbered—comains
insightful comments by the composer's
daughter, and the composer himself per
forn the piano). Included, too,
is a handsome booklet. The Four Symphonies
of Charles Ives, woithy additions to the fast
growing body ol Ives recordings, i1
ble in three-LP sets by Columbia and
Cardinal (both also available on stereo
tape). The former features Bernstein and
The New York Philharmonic, the Philadel
phia Orchestra under Eugene Ormandy,
nd Leopold Stokowski conducting the
Symphony Orchestra: the latter
¢ Philharmonia Orchestra of
nder the baton ol Harold
n. Put together in two volumes
je Mozart's Fifteen Sonatas for Violin and
man). Volume I is performed
y ist Joseph Seigeti and pianist
Mieczyslaw Horszowski: Volume II has
no chores shared by Horszowski
and George Szell. Svell conducts the
Cleveland Orchestra in a five-LP pack.
age of Beethoven's Five Piano Concertos

York

has the Ne
London

(Angel). which showcases the brilliant
keyboard artistry of. Emil Gilels. A shin
ing example ol solo virtuosity is The

Classical Guitar / Julian Bream, а three ЇР,

tour de force in Westminster's Basic
Library Series and further evidence that
Bream h: s on that instrumen;

For those of an operatic bent, there's
comucopia of Christmas gifts guar-
teed to warm the cockles, Deutsche
magnilicent recording
mier’s Das Rheingold (also available
on sterco tape) features the estimable
Dietrich Fischer-Dieskau and the Berlin
Philharmonic under the direction ol
Herbert von Karajan. II is а firing trib-
ше to the upcoming 100th anniversary
of the oper perfor The
incomparable Joan Sutherland as the
heroine of Donizetti's La Fille du Regiment
(London: also available on stereo tape)
is more than Enough to recommend the
iwin-LP olfering. The Orchestra and
Chorus of The Royal Opera House, Cov
ent Garden, are under the direction ol
Richard Bonynge, Verdi's Rigolero (Angel:
abo available on stereo tape) is high-
lighted by the singing of baritone Co
nell MacNeil in the title

Nicolai € as the Duke of Mant
Francesco adelli leads. the
Orchestra and Chorus of the Oper

House, Rome. in a
of this operatic staple. Items of con
siderable interest to devowes of die
choral aris indude Dave Brubeck's The
light in the Wilderness—An Oratorio for Today
(Dewa). His first major serious work, it
proves am impressive statement of the
composer's religious convictions. Erich
Kunzel leads the Cincinnati Symphony
Orchestra: the Miami University A Cap:
pella Sing, nder the direction ol
md Brubeck himself
o on this album. An oratorio
nother day, Haydn's The Creation
Iso available on sterco tape)
is given an inspired performance by
the Bavarian Radio Chorus and Orches-
under Eugen Jochum. Agnes С
Kmentt and Gottlob
The same ch
. this time under the baton ol
Charles Munch, can be heard to excel
lent advantage on Hector Berlioz’ Requiem
(Deutsche Grammophon: ailable
on sterco tape). The twim-LP packa
features tenor Peter Schreier.

The spoken word has not been neg:
lected as a source of Christmas bounty,
Caedmon has put forth on vinyl Fuge
II's More Stately Mansions, directed by

stunning rendition

George Barron:
plays pi
from

José Quintero and starring Ingrid Berg
man, Arthur Hill and Colleen Dew
bust. O'Neill's dramas always pl

well on records and More Stately Man-
sions is no exception: it f
classic proportions. Caedmon also ollers
the film sound track recordings of James
Jovce's masterwork Ulysses, on which Milo.
O'Shea, Barbara Jeflord
Roeves marvelously delineate the rich

Joycean prose. Whether or not one has
seen the movi

‚ the album is a delight.

The late Edward R, Munow's "I Cen
Hear I Now" (Columbia) captures the
sweeping panorama of three decades

(1919-1919). Clarence Darrow and. Wil-
Jennings Bryan, Wilson and Roose-

velt Hitler. Stalin and Mussolini,
Chambers and Hiss—all are present on
this moving, momentous oral history of

world undergoing traumatic. change.
For anyone with even a modicum of in-
terest, vinophilevintner Alexis Lichine's
The Joy of Wine (MGM; also available on
stereo tape) should prove to be a profit-
able acquisition. In it. Lichine, with the
aid of a host of experts. covers the wines
ol Europe and America, supplies a pro-
nouncing glossary and chart
of the v ak-
mative

tering grab bag of jazz and pop
albums is on hand 10 evoke a wide
range of aural experiences, For those ol
mind-bending bent, there's Electric
Ladyland (Reprise: also available on stereo
tape). unleashed by the Jimi Hendrix
xperience, with al aid from
sorted kindred spirits. Not for the
faint ol heart. The Edith Piaf Doluxe Set
wd The Judy Garland Deluxe Ser are Capi-
tols vinyl pacans to a pair ol leg-
endary songbirds. All of the material has
previously been released, but it’s a pl
to have so many goodies made av
able in two fell swoops. One would
be hard pur to find a favorite
missing from either offer
Monterey (Charles Ming

оссазїо!

seventh Festival, has
available (or hard to come
i best). The album is now being
ed by

must. for

other
rele:

hering together
sed material. Taken from 1961 con-
certs in Milan and Paris, the four sides
are filled with the unique sounds of
Monk and his men. The Memoirs of Willie
the Lion Smith (Victor) is à talking. sing-
ing. playing. perpetualmotion perform-
ance by the seemingly ageless pianist
as he recreates the carly days of jazz,
especially in Harlem. Ihe Lion has a lot
to say—and play—and sing. Jacques Brel
Is Alive ond Well ond Living in Paris (Co-
lumbia) has a cast of four, nearly two
dozen beautilul Brel songs and an esprit
that is infectious. The composer is, by
now, à Gallic ution; with this
show, he should soon be similarly em-
ined on these shores.

From the very first note of Albert
King's guitar on live Wire / Blues Power
(Stax), the Fillmore audience seems to
know it's in the hands of a master. King

inst

shi

The-Mens-Store unhesitatingly
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'ou're right. Fancies does seem like a Like we said, the fancies are ready
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—B. Bes older half brother—makes spar-
ing but spectacular use of electronic
overtones in the climactic parts of his
long solos. A hustling Watermelon Man
sets the groove; King follows it with a
funky monolog on Blues Power, then
» into high gear for Night Stomp.

Brubeck / Mulligan: Compadres (Columbi.
the first vinylizing of the Dave Brubeck
Trio fe Mulligan, will
come as quit ppointment to those
who expected great things from the new
group. Recorded live in Mexico, the four
some (Jack Six is on bass, Ala
on drums) generates very little excite
ment. Mulligan's baritone is relaxed and
proficient, but that's about the best that
can he said for the session.
itol's The Third Woody Allen Album is

nutty delight. Woody is a master of low-
key insanity; he's about to be hanged by
the K. K. K. and his life flashes before
his eyes, only it turns out to be the wrong
life; his rabbi him not to ap-
pear in a vodka ad, since he doesn't drink
(Woody later comes across the ad, and
there—cozving up to a tall. cool vod
drink—is his rabbi); Allen reveals that
the on ¡€ he bet on a horse, his entry
was the only one with training wheels,
that he once worked on a nonfiction ver
sion of the Warren Report, that he had
a m: childhood (“1 was breast-fed
from falsics") and that when he pulled

on the “wrong kind” of cigarette at a fra-
ternity dance, he broke two teeth trying
to give a hickey to the Statue of Liberty.

The album (also available on stereo tape)
was recorded at Eugene's, a San Francisco
cabaret run to г; money lor Senator
McCarthy's campaign. Which convincing-
ly proves the old saw about every cloud
having a silver g

Muddy Waters gets full-blown, post-
Hendrix backing on Eledrie Mud (Cadet
Concept; also available on stereo tape),
and the results are explosive as the old
blues man recreates two of his own
classics in Your Hoochie Coochie Man,
She's АП Right and. sings the hell out
of the Rolling Stones’ Let's Spend Ihe
Night Together.

Two new releases from Master
Recor are something spe
Boby, Ain't 1 Good to You hits the
Mr. Five-by-Five, Jimmy Rushing, front
ing a phalanx of time-tested jazzmen—
trumpeter Buck Clayton, trombonist
Dickie Wells and drummer Jo Jones
among them. Rushing's rollicking vocal
es the title tune, St. James
Infirmary Blues, Who's Sorry Now and
his own classic, Good Morning Blues.
The two other tunes are instrumen
of the first ra le Grond Don Byas
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SWING WITH THE HOLIDAY SEASON
in a reloxed mood . . . knowing you've chosen
the smartest way to entertain the important men
on your gift list. PLAYBOY really knows how
to treat a man—all year long—to the finest in
masculine entertainment. But you'll have to
hurry—gift rates are going up. Storting in
February 1969, PLAYBOY's cover price goes to
$1.00—and the gift rotes ga up accordingly.

TWELVE REASONS NOT TO BE LATE.
From the first glittering issue until the festive
finole, you have given your friends a year-
round gift package of fun, fect and fiction, a
dozzling dozen of provocotive Playmates plus
much more that makes PLAYBOY's big $1
issues fascinating opening all year. And his
gift includes two double-size Holiday Issues-

SHE'LL BE THERE. Just before Christmas,

exquisite Angela Dorian,

Its not
too late

announces your gift via the colorful gift card
shown. Gives a glimpse of what he can expect
in each issue when twelve other beautiful Play-
mates, like Majken Haugedal at left, unfold
throughout, his gift year. We'll sign it as you
wish or send the card along to

make a

deliver your own glad tidings. Just tell us.

A YEARLONG CELEBRATION. The mood
is bright . - because the gift is right. PLAYBOY
coptures the spirit of the season—keeps it glow-
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+ high-powered fact and fiction by eminent
writers like Stirling Moss, Norman Mailer, Irwin
Shaw, Arthur C. Clarke, Saul Bellow, Ray
Bradbury, Ken W. Purdy and Herbert Gold.

e arresting interviews with men and women in
the limelight.

* financial finesse fram J. Paul Getty.

* the cartoonery ond foolery of Erich Sokol,
Dedini, Gahan Wilson, Silverstein and Interlandi
— plus Little Annie Fanny.
* the fine ort of living—
PLAYBOY style—in terms
of faod, drink and male
fashions; the latest in jazz
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and record reviews PLUS
much more.

STILL TIME . . . to
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And—gifts this year will
be worth more next year.
Just $B now for your
first one-yeor gift (next
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price going to $13 for 12 issues starting with
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Orders must be received by December 20 to
be filled e in time for Christmas.

stmas

н er AI НА AEREA CEA
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superlative tenor man. Byas, a long
time expatriate, is surrounded on these
sessions by Europeans of varying talents
(most worthy of note are bassist Pierre
Michelot and the inventive pianist N
tial Solal), but the liquid tones of B
tenor sax need very little in the way of
support. Both sides abound with beauti
ful ballads, beautifully rendered. These
recordings are only available through
the mail. They are five dollars cach from
Master Jazz Recordings. Box 597, Lenox
Hill Station, New York. New York
10021.

Barbra Streisand / A Happening in Central
Park (Columbia) is a recording of Miss
Streisand’s TV-special one-woman show
for 135,000 Fun City fans. The readiness
of the audience to adore anything and
everything Barbra threw at it (including
an excruciatingly long and pointless
monolog) was astonishing. Not that she
didn't serve up large helpings of good
Second Hand Rose, Happy Days
e Again. Cry Me a River. People:
т, that terrain by now is awfully
familiar

THEATER

James Earl Jones is a great event in
the American theater. In The Great White
Hope, based on the life of Jack Johnson

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the first black heavyweight champion
of the world—he has a part big eno
nt talent. The play by Howard
Sackler is long and loosely epical. а form
more suited to a novel or a movie (it
was nor a n à movie).
Sackler leaves the most dramatic scenes
the fights themselves е and settles
for play-by-play by fans. He also—pardon
the expression—whitewaslics his hero
somewhat, But none ol this matters.
Jones has made the character and the
play his, sweeping it along with him like
a hurricane. His performance is so power
ful that it obliterates the faults of the
script. Jones has Johnson (called Jelfer
son in the play) down pat. A blunt
bold cock of the walk, he is, simply, the
greatest; and no matter what whitey does
10 him, he's going to continue saying so
(all comparisons to Muhammad Ali are
intentional). For Johnson. boxing around
World War One, the punishment for his
allronts and appetites (onc of which is for
white women) is hostility, ostracism and
criminal prosceution. Jumping bail. he
flees to Europe, where he is still hound
ed and deprived of his livelihood. U is а
painful portrait not оту of the black
boxer but of the emasculation of the
American Negro by white society, There
are 19 scenes and almost enough actors

to fill an arena, but mostly—and trium;
phantly—there is James Earl Jones. At

the Alvin,

(Kingsmanship for air passengers; or.

es only j

Swissair shows YOU.
where Its Hostesses are likely
to draw the Line.

rs, like cus-
are generally
invited lo consider them-

ones to My
tradition. we ask our
hostesses to make this
feeling as real as the
Newspaper

fresh
from the press? What

guage? Dash ol som
thing on the rocks? Full-course dinner
or culinary tidbit as the flight time per-
mits? Black coffee? An understanding
smile when you order your fifth beer?
(During a flight from Zurich to New York
half a gallon of liquid is a physiological
necessity even for the most abstemious.)

The hostess may alsoenquire whether.
you feel like taking off your coat, loos-
ening your tie, or possibly taking a na
(She might even give you sleep 2

enja) a

order to garantes tha the wir hostess

vnpleie nig

at kast twelve hours before iake-off. bur in no cuse
[шет than or
(Sn isa

the type to be a constitutional monarch: |
“Just a democratic as anybody.” (We
Swiss had our last real brush with the
other kind about 600 years ago — if you
forget Napoleon, as we like to.)

Since kings set around a lot (mostly
to Switzerland. tor the skiing and the
banking, we sometimes feel). vou won't
need to ask the hostess what's the
e going, or where

to find psyched:
And Your Majesty

will certain

u's rest, they shall be hack at the hotel

ask her il she's doing
anything tonight. We can
tell you about that here

She is.
What would you be
doing if you'd just spent
ight and half hourshelp-
e wait on the every
whim of some 120pcople.
plus handling the red
tape of global travel?
etting some shut-eye. that’s wha
ar better to try your kingsmanship
on the unoceupied brunette in the seat
behind. (Swissair gives you time enough
340 minutes between Abidjan and
Geneva. One hundred and f
Paulo to B. A. 215 from M.
If you're the soft-sell type
between Zurich and New York. And
55 from Stockholm to Helsinki,

But по.

Just one thing worse (from our point of
view) than when a hostess amiable brushes
off an ex officio kin
rhe doesn't. First thing
she ups and marries the fellow.
on the lino
to turn pretty girls into society hostesses,
skilled cocktail blenders, polyglot stary-

tellers, and sympathetic nurses. Where
would Swissair he without them?

And then along comes some character
y feels entitled to nothing but
the best, Undemocratic, Doesn't propose
to take Jair shares like any ordinary King.

We cart blame him. Anything but.
He's realized that an air hostess has not
only her looks but a number of other qualifi-

cations ro make two lives more worth living.

In fact we agree with those humble
bridegrooms who say. "What have I done
to deserve this?"

We tried to des it first, but
suppose an airline isirt а husband in the
ong run. And so much as we hate good-
bres, we'll just have 10 sien off With...
heartiest congratulations 10 the happy
couple, and all good wishes Jor the vears to

Beter

Porriape reristry
Porrioge repistry

Albert, Dipl. Ing, Apr. ETH, b. 12 November 1027

An WOrenlingen (Centon of

ripht cf domicile In Wörenlängen (Certon of Aargau),

residence 12 Eärenfelserstresse, Besel, ond

Horie-Theres, eir hostess, b. 31 May 15% An B

(Canton of Gasel-Stedt], right of comicile in Basel end

Therwll [Centen of Cesel-Lerdl,

ost residence

36 Brugpeckerstresse, Plottbrupg [Corten of Zurich).

> The story began on our flight с
Lf“), SR ММ [rom Bombay to Bangkok $Y

en February 24, 1964. y

Séagram'sVO. at Christmas. Its a tradition, not just a gesture.

Canadian Whisky—A blend of selected whiskies. Six years old. 86.8 proof. Scagram Distillers Company, N.Y.C. Gift-wrapped at no extra charge.

THE PLAYBOY ADVISOR

On of the girls in my department at
the office is lovely: I'm really interested
in her and, from many little things she
does, the feeling appears to be mutual.
How can 1 tactfully demonstrate my in-
terest without seeming to presume on my
position as her boss? 1 am a bachelor, so
there would be no real obstacles outside
the office —D. R., Scatilc. Washington.

It's necessary lo separate your social
interest from your office concerns, and
this can be done by phoning the young
lady at her home and asking for a date.
Working together need not be a barrier
to real romance; but if you just want a
rophy—that is, a catch to take home
and mount—then obey the maxim not to
fish in the stenographic pool.

ММ, is lysergic acid diethylamide ab-
breviated LSD? Why not LAD?—S. P.,
Cincinnati, Ohio

The drug was named by iis German-
speaking Swiss discoverer, Albert Hof-
man, Thus, LSD is the abbreviation for
lyserg saure diethyamid (saure means
acid).

A though she is a virgin, the lovely
young lady Гус been dating has rc-
sponded ardently to our light petting,
Last night, we wanted to make love
and, though she was as excited as 1 was,
the process of penetr as so pain
ful for her to harm
her—T stopped. She later expressed fears
about sex and doubis about her poten
tial bed partner, Having no pre
vious experience in this situation, I was
unsuccessful at consoling her. I'd like to
know of some way to convincc her that
I am not disappointed or annoyed with
her and, also, if there is anything I c
do in the fume to lesen the pai
R. G.. Boca Raton, Florida

She will most likely accept your con-
tinued interest as evidence that you are
not too annoyed or disappointed. It is
important to understand that pain—par-
ticularly sexual pain—is frequently psy-
chic in origin; and the more emotionally
relaxed she is, the less discomfort she is
likely to experience. Therefore, be gen-
tle, comforting and patient. It may be
necessary to make several attempis. be.
fore your congress is complete; but,
finally, you should reach a point of emo.
lional union where the pleasure will out-
distance the pain every inch of the way.
Naturally, if her distress continues, s
should consult a doctor.

she

ММ... on a Rest and Recreation tour
of Hong Kong, several of my buddies
and I visited a restaurant where we had

bird’snest soup. Can you tell us if the
soup was actually flavored with honest
togoodness bird? nests?—R. M., APO
San Francisco, California.
Yes. This far-out Far East fare is made
Jrom swift! nests (thoroughly cleaned
we might add) found along the China
coast and on some islands in the Indian
Ocean. The nests are combined with in
gredients such as soup stock, sherry,
white chicken meat and egg whites.

ММ... docs one do, as an engaged girl
24 years of age, when an old friend,
who happens to be male, suggests lunch
or a drink? This is not an old flame but
a casual friend, and I see nothing wrong
with catching up a bit on the old crowd.
My fiancé does not object and he, too,
occasionally will take his secretary to
lunch or stop for a drink with office
friends, including single girls. But my
mother is horrified and thinks it will
look as if Fm dating other men on
sly. What do you advise?—Miss D.
Kansas City. Missouri.

Your parents’ generation seems to be
concerned with what things look like
while yours is more properly concerned
with what things are. As long as you
and your fiancé are both comfortable
and deal honestly with the circum.
stances you describe, you need look no
further for advice.

am interested in bringing a used
sports car back from Europe to the
States. Alter corresponding with several
U.S. companies that arrange European
automobile purchases. I've learned that
some foreign automobiles will not meet
U.S. safety requirements for import
Which can and can't be brought in2—
J- B. New York, New York.

The stipulation that safety and amti-
smog devices must be built into all new
cars as of January J. 1968, prohibits the
importation of new foreign cars that do
по! contain them. However, a
amendment to the law allows temporary
exemptions to manufacturers of 500 or
fewer cars per year, You may still import
any auto manufactured prior to January
1, 1968.

recent

MI, ziritiena and 1 plan to spend а
week in New York City. We would like
to share a hotel room, but I am not
quite sure how to register. Is my name
all thar is required to make a hotel res-
crvation, or is it necessary to play the
game by using "Mr. and Mrs."2—J. T.,
Akron, Ohio.

It is unlawful to register falsely, so
the sajest approach is to reserve a single

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Izod shirt in a variety of
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PLAYBOY

room for each of you. Once in your
rooms, of course, you may visit cach
other without reservation,

Mie a yacht dub party, I overheard а
guy tell his date about an area of water
near Bermuda where all kinds of weird
sea and air tragedies have occurred. U
fortunately. the pair split before I heard
the rest of the st and now I'm wo
dering if there's anything to it or if the
1 hoping to warm up the
k by chilling her spine. Any com-
ments?—G. A., Long Beach, Califor

Quite likely, he was talking about the
Bermuda triangle, an arca of ocean be-
tween Florida, Puerto Rıco and Bermu-
da that’s spawned many a sea tale. It's
said that in this relatively small portion
of the Atlantic, almost 1000 lives have
been lost in the past three decades; and
not a single body has been recovered. In
1945, jor example, five Navy torpedo
bombers were lost without a trace, to be
followed by the disappearance of a 13-
man rescue squad that vanished in clear
weather “as if they had flown to Mars,”
according to an officer of the Naval
board of inquiry. Many theories have
been suggested, including one about
magnetic aberrations causing planes to
crash and ship crews to abandon their
vessels in panic; but we'll chalk them up
lo the love of the deep until more scien-
lific evidence is produced.

Mam again dating а wonderful boy I
went with in high school. The only
problem in oi ationship is that his
lovemaking techniques have not changed
in seven ycars. He is still rather crude in
vances and, as a result, completely
s me off. I want to tell him to show
tle more finesse, but I don't know
how one can discreetly tell another pe
son to polish up his performance.—N
M. A. Baltimore, Maryland.
Without enumerating what you don't
like, give him some ideas of what you
do like. And be specific; he's apparently
not a mind reader. The only important
rule about discretion in these matters is
to remember that he can't give you
more if you make him feel like less,

Please tell me the correct procedure
for handling a tie that drops beneath the
belt line. Should it be tucked into the
pants or should it be left hanging out?
—]. A., Arlington, Virgin

Neither. Tied correctly, your tie should
end just above your belt.

Being somewhat underweight, I try to
Keep a daily calorie count. However, 1
have sexual intercourse on an average of
seven times a weck, and I'm concerned
that these bedroom activities might be
burning up an enormous number of

No book T have ever consulted
ins information on this subject
you enlighten mez—F. К, Memphis,
Tennessee.

In the final analysis, youl have to
figure it out for yourself, since the
amount of energy expended during sex-
ual intercourse varies greatly from per
son to person. Indirect calorimetry
(measurement of oxygen consumption)
shows that light activity, such as card
playing, burns up two to three calories a
minute; moderate activity, such as slow
dancing, uses up five 10 seven calories;
and heavy activity, such as a hard game
of squash, expends about twelve calories
a minute. You'd arrive at the appro:
mate caloric output of a given sexual
episode by raling the phases of activity
as light, moderate or heavy and by tim-
ing each phase, It is unlikely that your
average daily coital calorie count would
take more out of you than an hour a day
oj brisk walking (250 calories).

Rx.: Don't worry about it.

Waa, exacity, is a bowdlerized book?
. G, Albany, New York.

Dr. Thomas Bowdler, born near Bath,
England, was а 19th Gentury practi-
tioner of literary castration, one oj a
long line of self-appointed censors.
Among the masterpieces he mutilated
were the works of Shakespeare, claiming
that “those words and expressions are
omitted which cannot with propriety be
read aloud in a family.” A bowdlevized
book, then, is one on which verbal sur-
gery has been performed.

IM, fiancée and I were planning a fall
wedding, but she is now expecting a
baby, which forces us to advance the
date. We don't consider it a tragedy,
but her parents are pretty upset about
it She has always had her heart set on
walking down the aisle in а white wed-
ding dress Now her mother dryly sug-
gests that a darker garment would be
more appropriate. This upsets my fian-
cée very much and she wonders what to
do.. B., Toledo, Ohio.

‘As long as your bride-to-be’s slip isn't
showing, we sce no réason to advertise
her pregnancy by turning the wedding
dress into a dressing down.

Inn soon be in the market for а bride
and a diamond engagement ring. I
Know something about the qualities of
the former but little about those of the
later. How do I go about m
intelligent ring selec
la, New Yor

Four factors are considered in evalu-
ating a diamond: weight, cut, clarity
and color. A perfect large stone is ob-
viously more valuable than a perfect
small one. However, cut (or the quality
of workmanship) is also important, since

every facet must be placed at a precise
angle for maximum brilliance. Glarity
means the absence of flaws, such as
spots, fissures or bubbles. And, finally.
the degree of whiteness or bluc-white-
mess also determines the value. Some
diamonds have yellow (or other color)
tinges, which make them less desirable.
The same money can procure a large
flawed stone or a small, more perfect
onc. IVs advisable to invest in the latter.
No layman can properly judge the qual-
ity of a diamond, so your best guarantee
is your jeweler's integrity and reputation.

Occasionally, 1 read in the paper about
a bunch of hotair balloonists who com-
pete in meets somewhere out West. Can
you tell me where to write for more in-
formation on the sport?—G. Y., Hanover,
New Hampshire,

To learn more about sailing up, up and
away, contact Mr, Bill Berry, president
of the Hot Air Ballooning Club of Amen
са, 3300 Orchard Avenue, Concord, Cali-
fornia 94520.

Ё it true that a man condemned to die
by hanging or the electric chair is given
a reprieve if the rope breaks or the
equipment fails—R. M., Laurel, Mary-
land.

No.

ММ... т was 18, 1 met a man who
helped me lose my virginity with my
delighted cooperation. A year later we
became engaged, and a year after that
he broke the engagement. During the
past two years, I've dated three men and
enjoyed sexual relations with each of
them—but thats all I've enjoyed. None
of these relationshi t anything
deep to me; and when each one ended, I

went on to the next without а backward
look. I'm wondering if being hurt so
badly over losing my first lover has made

me incapable of relationships based on
more than just sex.—Miss S. B., Studio
City, Califor

Since a sexual relationship is consid-
erably easier to develop than one based
on love, we'd say that your record—
three to one—doesn't indicate there's any-
thing necessarily wrong with you. At your
age, lime is in your favor; and with a lit-
dle luck, you should have no trouble
gelling together with the right guy.

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

A She was the favorite of the harem.T he Khadine.

dA Padishah could own all the
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When you've decided which woman you want the most,
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PLAYBOY

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THE PLAYBOY FORUM

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

LASCIVIOUS CARRIAGE

Thank you for explaining what the
Connecticut “lascivious carriage" law
means (The Playboy Forum, October).

A lot of our citizens have been under
the mistaken impression that a lascivious
carriage was an MG loaded with Yale
students headed for a weekend at Vassar
or Smith.

Alvin V. Sizer, News Editor
The New Haven Register
New Haven, Connecticut

CRIMES WITHOUT VICTIMS
In my recent unsuccessful campaign for
Congress, 1 arrived at and promulgated
a position on so-called crimes without
victims in which you may be interested.
I'm not secking publicity for myself but,
rather, am trying to encourage public dis-
cussion of these issues. The crimes I'm
referring to include abortion, homosex-
uality, gambling and narcotics. In all four
cases, law-enforcement agencies are oc-
сирїс with trying to enforce somcone's
ostensible idea of morality rather t
with controlling crimes against persons,
propcrty and the like.
1. Abortion: Abortion laws
lequately enforced and there are an
estimated 1,000,000 or more illegal abor-
tions cach year. Virtually all of them
are middle-class, white pregnancics. Un-
wanted pregnancies among the poor,
especially the bl
sult in illegitimacy. Elem
requires then tl we enforce abortion
laws for all persons or that we permit

are in

ly impossible, but mainly because
tion is really a medi
criminal matter.

2. Homosex y: I believe in aboli-
tion of all laws respecting sexual behav-
r in private by consenting adults. I sce
utterly no social value in police persecu-
tion of homosexuals.

3. Gambling: I would propose le
ized gambling, having professional gam-
blers and gambling houses chartered
and inspected by either the state or the
Federal Government in the manner of
banks. In particular, T would legalize
the numbers game, pokcr and race-horse
bookmaking—the three types of gam-
bling that account for most arrests.

4. Narcotics: Let me deal separately
with nonaddictive and addictive drugs.
The evidence is not all in on marijuana

and LSD, but thus far it appears they
may do some damage, though at least
marijuana appears to be far less danger-
ous than tobacco. This suggests one pos
sible solution: Sell marijuana legally.
but require that packages be labeled
CAUTION; MARIJUANA SMOKING MAY nt
HAZARDOUS TO YOUR HEALTH,

This suggestion is made only half ir
jest. Marijuana and LSD are not crimi
nal problems. Their use is not associated
with the commission of other crime;
morcover, there is no evidence that their
use leads to use of heroin. Laws prohib-
iting their usc should be repealed.

Heroin and other “hard stuff” are а
horse of another color. These drugs are
dangerous and those who scll them try
to get people hooked; consequently, the
pushers are dangerous, too.

Nonetheless, I would not make use of
heroin a crime. 1 think selling of heroin
should continue to be a criminal offense
users should not be arrested but, rather,
should be provided with free drugs and
with whatever medical attention they
need and desire. That is, we should fol.
low the British plan that. treats addiction
as a medical problem rather than as а
crime.

I have amivel at this position for
the principle purpose of reducing crime
while assuring justice for everyone in
America. To many Americans, these
proposals will seem like extreme meas
ures; but cach of them is in effect in sev
eral countries in western Europe—in
countries that have les crime, less po
lice corruption and less drug addiction
than our own.

Aubrey Dale Tussing
Syracuse, New York

REPEALING ABORTION LAWS

Dr. H, B. Munson's appeal in the
October Playboy Forum for repeal of all
laws prohibiting abortion is one that
should be supported, since it is quite
clear that liberalization is only a very
feeble step in coping with the problem
of. perhaps, 1.250.000 illegal abortions a
year. However, I believe the good doctor
оез way overboard in predicting an
alculable" rise in general happiness
throughout our society as a result of
this step. The experience of Japan and
the Sovict Union, where abortions can
be had for the asking, indicates that the
utopian state of affairs that Dr. Munson
predicts has not been achieved by the

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PLAYBOY

olition of abortion laws. The case for

abortion repeal rests on wery strong
grounds and I would hate to see over-
statements weaken the position and also
create a basis for future disillusionment.

One final point: The repeal of a law
of this kind would not eliminate the

sense of soc
attached to
а long tin
PLAYBOY ı
1

1 disgrace that has become
bortion. To do so will take
It is to the great credit of
at it provides a genuine lo
m to help remove the atmosphere of

ing to
stimulate i
approach to sexual problems.

Isadore Rubin, Ph.D.
Editor. Sexology Magazine
New York, New York

ABORTION IN MEXICO

The Ciudad Juárez, Mexico, newspa
per El Fronterizo recently described
with horror the proliferation ol abortion
specialists in that city. The paper im-
plied that an "abortion mafia” was to
blame for the si Actually, two

other groups of people are equally im-

the

portant sources of
abortion traffic.
The first is the U.S
sion. American doctors can, and do,
utilize the Mexican underground regu-
larly to get abortion-seeking women off
their hands. A complementary factor
that has made Juárez a so-called abor
n mill is the vast number of. Ameri-
can women themselves who can't get
abortions in their own country. In the
past six months, more than 2000 women
have availed themselves of the free ser
ices of the Association to Repeal Abor
Laws and most of them have been

heavy Jus

medical profes-

cared for by Mexican specialists

‘The vast extent of Mexican abortion
services available to U.S. citizens bas
grown in response to a need created by

our own country's lack of social respou-
sibility. Until we repeal our own inhu-
mane abortion laws, American doctors
and American women with no other
alternative will continue to patro
the portion mafia.”

T. Maginnis
Bick
ion to Repeal Abortion Laws
neisco, California

COMPASSION FOR UNWED MOTHERS

1 am a doctor who has delivered ba
bies for unwed mothers and 1 have
nothing but the greatest admiration for

the girl who has decided to bear her
child out of wedlock. However, I've
never tried to persuade a woman to go

through with a pregnancy she doesn't
want, because 1 know how difficult lile
can be for the mother and the child who.
carry the stigma of illegitimacy. There-
fore. | have performed abortions when
requested

I'm now paying the penalty demanded.

FORUM NEWSFRONT

a survey of events related to issues raised by “the playboy philosoph

BILL

A bill that would legal-
ie marriage of brothers and sisters,
homosexuals and groups of people and
that would legitimate marriages between
persons who had been living together
continuously for three years has been
introduced in the Danish Parliament,
The bill, proposed by Paul Dam of the
People's Socialist Party, has been en-
dorsed by the independent newspaper
Information, which stated that “there
may be details to which we may later
have objections . . . but in the main. the
proposal is well considered and
biased. . . -

un-

KEYSTONECOP COURT
ATLANTAAÁ woman who claimed benc-
fits under the Workmen's Compensa
tion Act was denied them by the Georgia
State Court of Appeals because she
was “knowingly living in adultery”
When the man with whom she was
living was killed in an industrial arci-
dent, his legal widow did not apply for
benefits, bul the “other woman" did, as
a secondary beneficiary. Instead of con-
sidering whether Ши: woman was actually
а dependent. the court rejected her claim
on the grounds that the Act should not
“provide a statutory reward jor immoral
conduct.” One dissenting judge declared
that the decision amounted to a “puri
tanical witch hunt” that “casts this court
into the role of the Keystone Cops.”

ADULTERY AND NEUROSIS
vinrADELPHIA—A psychiatrist has stat-
ed that extramarital affairs are necessary
and desirable for some men and women.
According lo Dr. O. Spurgeon English,
“There are certain people, of either sex,
who for their mental and emotional
welfare have a very significant need to
seck a certain type of person with whom
they can give sexual relations more sig-
nificance than they can. possibly obtain
in marriage.” Rather than being nei.
ic, he said, indulging in an affair may be
the only way these people can move
toward more maturity. But the ó6-ycar
old psychiatrist. interviewed by the С
cago Daily News, disagreed with tho:
who believe such affairs should be carried
on by open agreement with one's spous
he said this behavior should be kept secre
from the marital partner and others “who
could be hurt by knowledge of it.”

Dr. English was chairman of the psy
chiatry department at Temple Universi-
ty Medical School for 26 years and still
continues as а professor of psychiatry.

SEX AND POLITICS
Two political scientists suggest that
there is a relation between childhood

sexual conflicts and extreme political
behavior. The left-wing extremist, ac-
cording to Arnold Rogow of the Cily
University of New York and Harold
Lasswell of the Yale Law School. has
reacted unconsciously against restraints
on his sexual behavior and this has led
to his revolt against the st
general. On the other hand,
extremists identify with the
nots” of their parents and, in later life,
with agents of the status quo. This
makes them resistant to any social
change. Right wingers are more numer-
ous because of the historical dominance
Of puritanism in America.

SODOMY FACTORIES

t1 ADELPHIA—Charges made in “The
Playboy Forum” that sexually segregated
prisons have become hotbeds of homo-
sexuality were dramatically confirmed by
istant district attorney Alan J. Davis,
who concluded, after an extended inves-
tigation, that homosexual rapes “are epi-
demic” in the Philadelphia jail system.
“Taking into consideration the relatively
small sample and the extreme velue
tance of inmates to disclose. sexual as-
saults,” said Davis in a 103-page report,
“it is conservatively estimated. that dur-
ing the 26-month period investigated.
there were approximately 2000 sexual
assaults involving approximately 1500
individual victims and 3500 individual
aggressors.” One particularly shocking
case; A small, thin, 20-year-old, accused.
oj ашо theft, was placed in prison. By
the time Davis discovered him, the boy
had been vaped nine times; thoughtlessly
placed in another cell with a pair of al
leged sex oflenders, he was immediately
тарса for the tenth time.

As a result of Davis’ disclosures, seven
prison guards were suspended for dere
liction of duty and the сиу announced
it would spend $I 000,000 to hire 134
new guards and various supervisors, vee
realion leaders and social шо . The
prisoners will still not be allowed to
have conjugal visits from wives or girl-
friends.

as:

ATTERNS OF VIOLENCE
Recent facts and opinions about man
hind’s strange propensity for making war
upon itself include:

= You me safer in a vast and shadowy
public park at four am. than you are al
home in your own bed, and safer alone
with a stranger than with a group of
your friends and relatives, according to
statistics presented lo the President's
Commission on National Violence, The
same slalistics reveal thal 66 percent of
all rape and murder victims nationwide

are friends or former friends of their
assailants,

= The majority of victims of murder,
rape and burglary are the slum-dwelling
poor, bul the greatest fears about the
rising crime vale are among the suburban
middle class—whose "anxiety has prob-
ably gone up faster than the crime rate,”
says former АШотеу General Katzen-
bach.

* Professor Geoffrey Gover, British a
thropologist, argued that there are soci
ties—such as the Arapesh of New Guinea
where violence is virtually unknown,
and that there is no scientific reason why
our society could not also become non-
violent. Defending the flower children
and the hipoies, Professor Gorer added:
"If the members э] the youth internation-
al... maintain the same scale of values
and the same sex ideals 20 years hence,
when they themselves are middle-aged
and parents . . . [they will turn] the joy
of killing into an unhappy episode of
man’s historic past.”

N TAX

SAN FRANGISCO— These days prostitutes
have lo worry not only about their form
and figure but also what figure to put on
their income-tax form. In San Francisco,
Internal Revenue Service intelligence-
division agents are cracking down on
hetaerae who have neglected to file tax
returns. If a girl has a string of convic-
tions for prostitution, she ts grilled about
her income. Direct ordinary and necessary
business expenses are of course deduct-
ible. “We're not out to control vice—
that's a police problem,” declared. an
IRS spokesman, “we just want them to
file their returns and pay their taxes like
good citizens do.”

THE OLD PRO

NEW YorkK—Contrary fo expectations,
the booming popularity of the pill has
not reduced condom sales but has ac
tually boosted them, according to Amer
can Druggist. Explanation: The pill has
made the whole subject of contraception
"respectable" and those who prefer con-
doms now buy them with aplomb, buy
by brand and buy in larger quantities.
Due to this change in public altitudes,
some pharmacists now display condoms
openly. In fact, sales have reached an
all-time high and the public now spends
$150,000,900 per year on the old pro.

WHAT TREES DO THEY PLANT?

A marijuana planter known only as
Johnny Pot—a latter-day Johnny Apple-
seed—is being sought by agents of the
Federal Burcau of Drug Abuse Gontrol,
according to The New York Times.
Agents say the mysterious felon scatters
marijuana seeds in little-uscd pastures
and abandoned farms, then sends maps of
his plantings to friends, His crimes origi-
nally started in Washington and Oregon,

but he later moved on to Kansas and
Idaho and recently has been active in
Ohio.

In another story, the Times reports
that two brothers, identified only as
“Bill” and “Frank? have carried Johnny
Pot's Cannabis crusade to suburban West-
chester County and to the center strip on
Park Avenue. The brothers, both family
men who hold “creative jobs? in Man-
hattan, began by planting pot in their
window box, then progressively seeded
the flower bed of their local police sta-
tion, the gardens of a Roman Catholic
church, the country club and the Ameri-
can Legion headquarters. Bill and Frank
refused to say where they would. strike
next but pointedly commented that
both St, Patrick's. Cathedral and the
United Nations headquarters have gar-
dens. “We're only interested in decorat-
ing the symbols of hypocrisy,” Bill told
the Times. “We'd never do it to a high
school or library.”

LAW AND DISORDER

PATERSON, NEW JERSEY citizens’ re-
port on the July Paterson riot has
placed the blame entirely on the police.
The report, based on sworn. testimony,
states that the trouble began with a
nonviolent protest of the police beating
of a Spanish youth. The police, ap-
parently in retaliation, smashed the
windows of stores owned by blacks and
teargassed the office of the Southern
Christian Leadership Conference and
the apariments of Puerto Rican fami-
lies; they ambushed citizens late at night,
beating them and leaving them lying in
the streets. Violence against the Spanish-
Speaking community was so intense that
some victims telephoned the governor
of Puerto Rico for rescue, the report says,
adding that there is no cvidence of а
“citizen riot” to justify this "police riot.”
Even resistance was minimal: Of the 106
arrests, only 12 were for indictable of-
fenses, According to the report, the police
“stand guilty of being the city’s major
threat to law and order.

Meanwhile, the Roger Baldwin Foun-
dation has asked a Federal court to
enjoin prosecution. of 60 persons arrest-
ed during a Ghicago peace demonstra-
tion last April—four months before the
more widely publicized Chicago Conven-
tion disorders. The Foundation charged
that high city officials encouraged indis-
criminale arrests and police brutality.
Simultaneously, a blue-ribbon commis-
sion, headed by the president emeritus of
Roosevelt University, stated that “the
police were doing what the mayor and
superintendent had clearly indicated was
expecled of them. . The commission
said it had at first been “skeptical of the
validity of police-brutality charges,” but
eyewilness accounts and photographs cor-
roborated cach other, and the fact of un-
provoked brutality became “inescapable.”

by society for my compassion; I was
deprived of my right to practice for
five years. I'm glad the topic of abortion
reform is now being discussed so vocil-
crously, and I hope the abortion laws
will eventually be repealed so that in
the future, doctors like myself will not be
punished for their desire to help an un-
happy pregnant girl.

(Name withheld by request)
San Francisco, California

CONTRACEPTION AND FREEDOM

In the unending struggle to protect
1 preserve our civil liberties, too little

been said about one of the most
basic—the liberty to decide whether and
when to bring a new life into the world.
‘To preserve and protect this fundamen-
tal liberty, all have a responsibility to
help make freedom of choice possible.
This means, first and foremost. making
contraceptives available to everyone.
not just to middlcincome and wealthy
people, who are, of course, always able
to get them. It also means recognition of
the right of all to voluntary sterilizati
And, where contraception has failed, it
means the right to an abortion,

Because of the pressures of expanding
population, we are starting to hear—si-
multaneously with such edicts as the
Pope's “Thou shalt not practice birth
control" voices insisting, “Thou must
practice birth control.” As the Honor-
able Arthur Goldberg said in the U.S.
Supreme Court decision striking down
Connecticut's anti-birth-control law, both
stands are totalitarian and unconstitu-
tional. It is out of place to call for
compulsory birth control when we are
just beginning to get the Government
stance and financial support. needed.
10 make voluntary birth control possible
for millions of people. It is equally out
of place to suggest, as the Pope's encycli
cal docs, that "public authorities" insti-
tute prohibitions against birth control.
As Cardinal Cushing once said, “Catho-
lics do not need the support of civil law
10 be faithful to their own religious
convictions and they do not seek to
impose by law their moral views on
other members of society." Whether the
freedom to control our reproductive
lives is seen as a special civil liberty or
as part of the right of privacy. it is a
necessary and fundamental freedom in a
democratic society.

The Playboy Forum is to be com-
mended for its significant role in re-
porting developments and opinions in
science, law, morality and sociology as
they relate to sex, reproduction, civil
liberties and human rights.

Harriet F. Pilpel
Attorney at Law
New York, New York

We appreciate the praise from Mrs.
Pilpel, who is one of our country's fore-
most attorneys in many of the areas
mentioned in her letter. Mrs. Pilpel is a

PLAYBOY

contributing editor to Publishers Weel
ly. for which she writes a monthly col-
umm dealing with publishing law; and
she is a member of the national board
of directors of both Planned Parent-
hood-World Population and the Ameri-
can Civil Liberties Union. Her books
include “Rights and Writers” and “Your
Marriage and the Law.

AMPLEXUS RESERVATUS

In reading about the Pope's encyclical
banning most forms of birth control, I
found an intriguing statement in the
minority report of the Vatican commis-
sion on birth control that had been sce
up by Pope John and delivered its final
report in April 1967 to Pope Paul. The
minority report took the conservative
position that all mechanical and chemical
contraception is morally wrong, :
is the point of view the Pope ultimately
expressed. Listing the possible methods
of birth control. the minority report be
gan with continence and followed this
with “an imperfect or incomplete act, in-
cluding am plexus reservatus,” Later in its
statement, the minority report says, "Un-
til now the Church has condemned hu-
man intervention in genital activity (from
the third practice on). . . . Since am-
plexus veservatns is the second practice
listed, this apparently means that what-
ever it is, it is not condemned, Can you
tell me what it is? Is it, in fact, not con-
demned by the Catholic Church? Would
it be any good as a form of birth control
for Catholics who want to have their cake
here on earth and their pie in the sky
later on?

Walter Fidman
Wilmington, Delaware

The entire question. including your
efforts to extract a scrap of comfort for
Catholics by drawing deductions from
the papal birth-control commission’s mi-
nority report, is a tedious example of Old
Morality hairsplilting. Amplexus rese
уаш» (literally, "withheld embrace") is
another Latin name for coitus reservatus
(‘withheld intercourse”) and involves
restraint of movement during sexual
penetration, eventually followed by with-
drawal without mole orgasm. ( This differs
from coitus interruptus—the sin of Onan
—in that after withdrawal with the latter
technique, the man ejaculates outside the
vagina.) Coitus reservatus is apparently
acceptable to some Catholic theologians
because no seminal fluid is wasted.
Whether an orgasm by the female par
ner during coitus reservatus would affect
the morality of the practice is not made
clear by the sources we've consulted.

As for Catholics having "their cake
here on earth" by virtue of coitus reser-
ац», we would suggest thal it more
closely resembles taking a bite of cake
and then trying to remove it from the
mouth without having chewed or swal-
lowed any of il. Morcover, as a birth-

control technique. it is far from reliable.
There is the danger that spermatozoa
may be present in the pre-ejaculatory
fluid produced by Cowper's glands and
that some leakage of semen may occur.
Coitus reservatus is recommended by
writers on Oriental sex technique, such
as Alan Watts in “Nature, Man and
Woman.” But Watts makes it quite clear
that the male orgasm in the method he
proposes is optional rather than prohib-
Hed and that the issue of whether or not
the man ejaculates is without moral con-
notations. Practiced with the attitude
that ejaculation must be prevented at all
costs, coitus rescrvatus would seem like-
ly to be productive of anguish rather
than pleasure. As Dr. Norman E. Himes
writes in the “Medical History of Con-
traceplion”: “Writers on contraceptive.
technique and its history generally con-
demn coitus reservatus. Some of these
writers may go too far in mentioning
nervous disease as a possible result; but
one might theoretically expect it to
predispose to nervous tension at least.”

MENTAL HEALTH AND ABORTION

In the July Playboy Forum, Robert С.
Powell calls attention to the fact that
the North Caroli bortion law has no
provision for ng pregnancy due
to a statutory rape not reported within
seven days. He goes on to describe his
attempt (o get an abortion for a 12-year-
old girl (wo months’ pregnant before
her condition was discovered) on the
grounds that her m 1 health was
danger, and he expreses incredulity
that the psychiatrists who examined her
refused to support this appeal. Granted.
it is tragic that a 12-year-old girl must
bear a child, but it does not mean she
will become mentally ill. Mr. Powell
should aim his criticism, not at the psy-
chiatrists who refused to certify her in
danger of mental illness, but at the legal,
social and moral agencies of our society
that impose such tragedies on individuals.

‘This is just one example of the dan-
gerous trend occurring in many areas:
the tendency to ask the psych
circumvent legal processes in the
illness.” Persons labeled
y be deprived of their
legal rights and freedoms through com-
mitment to tutions without due
process of law. Military commanders
sometimes use undesirable discharges on
grounds of mental illness to rid them-
selves of unwanted subordinates without
having to go through legal disciplinary
channels.

The concept of mental illness must
not be oversold as a catchall solution to
legal and social problem

Capt. Peter T. Koch Weser, M.D.
APO New York, New York

PSYCHIATRIC INJUSTICE
There is one kind of injus in our
received very little aen-

tion from civil libertarians—the dreadful
case with which citizens can be incarcer-
cd in “mental” institutions, perhaps

tely, with all sorts of indignities
abuses heaped upon them and with
a ruined life awaiting those fortunate

enough to regain their libertics.
I know whereof I speak, for several
years ago I was railroaded into one of
those institutions by a malicious ncigh-
bor and a psychiatrist. The hearing was
а joke: I had no le istance to pre
pare my case. 1. was not given
chance to argue the facts at all. The
psychiat imony all that was
required, and into the cage I went. My
family rescued me a few weeks later, bur
my having been a “patient in a mental
hospital” continues to blacken my name
and to raise problems for me.
Ralph D. Brown
Washington, D.C.

MENTAL PRISONS

1 hope that the film Titicut Follies,
which has been discussed frequently in
The Playboy Forum, eventually. reaches
the general viewing public, The people
have a right ta know what most state
mental hospitals are really like.

J spent a total of 62 months between
the ages of II and 19 in one state me
tal hospital. I was beaten and tortured
many times and I witnessed countless
atrocities being perpetrated on other pa
tients. Mental hospitals are supposed to
cure the mentally ill, but 1 have yet to
be cured of what that place did to me. 1
ill filled with feelings of shame and
inferiority: I remain quiet, shy and with-
drawn, afraid and uncomfortable with
people. Although I am intelligent, I am
afraid to try to get the education that 1
sed in my teens. I am virtually pen.
niless, most of the time jobless, some of
the time homeless, 1 am desperately
lonely. At 99, I am an old man living
the life of à hermit in one of the largest
cities in the world.

Actually, my life i
with the lives of others who we
hospital.

а lark compared
n that

Charles J. Thomas
New York, New York

THE CORPORATION SHRINK

I would like to comment on the July
Playboy Forum letter titled “Psychiatric
which revealed the shameless
y many college psychiatrists bet
their patients’ confidence at the behest
of school authoritics. Considering the
trend toward conformity in America, the
next step will be the corporation psychi-
atrist, who dispenses therapy to troubled
employees—and behind the scenes, acts
as a company spy. Does anybody out
there think this is impossible? I suspect
it will be a reality in a few more years,
if society keeps moving in the present
direction,

H. Roman Lockwood
Buffalo, New York

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PAPER DOLL
Having read David H. Barlow's letter
about the experiments in behavior

therapy at thc University of Vermont :
(The Playboy Forum, August), 1 feel it :
important to point out certain f. y

that should be considered in experi

ments of this sort.
When using Pavlovian methods of

generalization of response (as For you, perhaps, this refreshant

has been shown in the experiments of cologne. Men have been using it for almost
Pavlov and especially Hovland) must be E E
considered. When using a Playmate fold 200 years. It hasa subtle

5
a

out as a conditioned stimulus, one may B
©хрес te obtain the strongest response scent that quietly recedes
to the foldout and a weaker response into the background.
when using a live or a blank piece E

Depending on the generaliza- Leavinga cool,

nt, of course, we may then INVE

espect a certain number of subjects to stimulating tingle
have a reasonably strong response to on your skin.
girls; but others would, instead, respond f
strongly to paper—which would cause a (Really great after
tragic aftermath to the experiment. a shower or shave.)

David G. Broyles
University of Texas at Arlington

Arlington, Texas
The type of inappropriate response
satirically described by Mr. Broyles can,
indeed, occur in behavior therapy; it’s
technically called “superstitious behavior”
and the classic example is the pigeon who
happened to be standing on one leg
when Dr. В. F. Skinner fed him and there
after stood on one leg every time he got
hungry. Techniques for correcting such
superstitious generulizutions are the same
as in other behavior (hera py: aversive con-

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little cause for pride in our civilization.
"What archaic notion permits us to
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many 200 keepers are paid more than remind you of those
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PLAYBOY

realizes that it has a share in this entire
matter. Our prisons are manufacturing
criminals in the same manner in which
G Motors is manufacturing cars,
and one of the primary causes is the
courses in “criminology” being taught by
the old cons to the young cons in our
penal institutions. We deny men sexual-
ly, we make them units and numbers
rather t humans, we remove all form
of huma and sell-respeet—and the
think that a token program of rcha-
bilitation, which might include job train-
g and а gym, should be sufficient to
reform them.

The Fortune Society—started and run
by excons—is trying to alter these
conditions by alerting the public to
these facts. One man, out of prison for
ht yeas, has been denied a d

license by the state of New York, which.
prevents him from holding the job of his

rifle without much dificulty. Examine
that logic the next time you wonder
abou

David Rot Executive Secretary

The Fortune Society

New York, New York

SEX AND CRIME

As a regular reader of The Playboy
Forum, I applaud your exposure of the
homosexuality problem in our prisons. I
would like to call your attention to what
Dr. Ralph S. Banay жишеп in
“Utah Adult Corrections” (a newsletter
by and for the staff of Utah State Pris
on). Dr. Banay points out that sexual
segregation is even worse for criminals
than for most men:

The pervasiveness of specific and
implied sexuality in the prison, and
its obtrusiveness in almost
lem or situation there,
prising in view of the presence of
miscellaneous and protean sexual
elements in nearly all crime. There
is a type of burglar who cjaculates
when he crosses the threshold of
invaded premises. Compulsive thiey-
is clinically associated with feu
ism. Fire setting is classically marked
by sexual excitement, Gambling can
often be regarded as a displaced
expression of unresolved conflicts
around infantile sexuality. The dual-
ity of murder and suicide, with an
obvious symbolism residing in the ag-
gressive weapon, reveals a variable
complexity of sadism and masod
The rapist, as attested in classical
literature, is impelled by a congress
of tangled disorders far excceding
the mere fact of his act. And so on
down the glossary of transgression.
The effects and repercussions of
the prisoner's sequestration there-
fore may be more profound and
damaging than the enforced chastity

of someone living an otherwise free

As for the prison. the rigidity of
society's preconceptions in the phi-
losophy of the penal system (“Pris-
on is too good for them") is not
only umwise but self-defeating. When
the penalized man is eventually re-
leased, the biterness of his long-
smoldering reaction is almost certain
to manifest itself in itude to-
ward the society he is permitted to
rejoin.

From a therapeutic standp
10 speak of a “good” prison is a
contradiction in terns; some insti-
tutions merely happen to be les
deleterious than others. . . .

Dave Proctor
University of Utah
Salt Lake City, Utah

SODOMY FACTORIES
1 am a correctional officer in a pi
and I wish to support the convicts and
ex-convicts who have writen to The
Playboy Forum about homosexuality in
such institutions. There is no way to
solve this problem as long as prisoners
are denied female companionship; or, to
be cynical about it, the only way to stop
homosexuality in such institutions is to
have a full-time guard in every cell—and
no state legislature would ever appropri
ate a budget large enough to pay for
that. In fact. most prisons are under-
staffed, precisely because of the
tional parsimony of legislators.
Conjugal visits, by wives or gir
friends, is the only answer. The Augu
Playboy Forum was correct in answering
Eleanor Roth (who pointed out certai
problems that might arisc undcr such a
System) that no difficulty connected with
conjugal visits would possibly be as bad
as the difficulties connected with the pres-
ent system of enforced abstinence. I have
never known any prison officer who
would be degenerate enough to drill a
hole in a roof, as Mrs. Roth suggests
could happen, and then spy on an in-
mate while he is alone with his wife.
Such a charge is an insult to every prison
official in the country.
(Name withheld by request)
Alexandria, Virgini:

"The traditionalist majority could nev-
er accede 10 conjugal visits on humani
nds prison is "meant to’
h, and what better way to torment
ready tormented man than by
denying him sexual release for 5 or 25
years?
But I thi

PLAYBOY and others sup-
g the idea of conjugal v
itarian and sexu.

grounds have come up

h л powerful

argument: the fact that prisons produce
environmental homosexuals by the thou-
sands. Traditionalists will find it agoni
ng to have to sanction conjugal visits,
but they will find it utterly unthinkable
to insist upon a system that produces
homosexuals.
Advise the cons and excons to keep
writing, telling it like it is.
Dhan R. Leach
Longview, Washington

LOVE AGAINST DEATH

Lam writing in reply to the benighted
and disgusting letter from Anita K. Ad-
kisson, who urged that homosexuals be
put to death (The Playboy Forum,

June).
As a perfectly normal heterosexual girl
of 20, I am in love with a man who is

bisexual. I love him no less because of
this facet of his personality. In fact,
some of the psychological drives that
make him bisexual are probably some of
e me love him. I have
lso known many other homosexuals
who were fine, warm, honest people,
entirely free of the kind of blind hatred
exhibited in Miss Adkisson's homicidally
“moralistic” letter.

If you print this, you may use my
name. I'm not ashamed of myself or
afraid of the Adkissons of this society.

Jeri Keenan
Fort Lauderdale, Florida

LIFE AGAINST DEAIH

Let me comment on Anita К. Adkis-
son's letter urging death for homosexu
als. 1 am a man who can easily pass for
heterosexual, since 1 have none of the
effeminate mannerisms most people still
mistakenly believe are characteristic of
all homosexuals. Nevertheless, in my mid-
20s, 1 became disgusted with acting a
masquerade and decided to live my life
honestly, whatever the cost. The first area
ich I made adjustments was in my
reactions when the subject came up in
conversation. Hitherto, I had aped the
me sneering, flippant tone of my
friends and associates toward homosexu
ality; now, 1 make it quite clear that I
share the sexual orientation they arc
mocking. In the beginning, I was mct
with disbelief and expressions of shock;
but gradually, the matter came to be
accepted and ceased to be an issue.

The second alteration in my life was
in my attitude toward religion. Where
belore I tended to reject Christianity
because I thought Christianity rejected
me, now I went back and studied the
Bible more carefully. If one takes the
time to read the four Gospels, he will
be amazed to find, as 1 did, a total ab-
sence of bigotry, hatred and fear; it is a
love story from beginning to end. The
God of Hate who runs through the Old
Testament and reappears again in the
writings of Saint Paul is totally absent;

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all that appears is the God of infinite
Love, incarnate in the man, Jesus. U:
derstanding this, and living without a
mask of hypocrisy, has brought me peace
of mind. While Anita Adkisson wishes
death for me, I can say, quite honestly,
that I refuse to harbor s ar hatred for
her. Miss Adkisson. may you have a
long life and may it be a happy one.
Robert Paul Thwaites
Baltimore, Maryland

GOD AND PEANUT BUTTER
Anita K. Adkisson says that God has
decreed death for homosexuals. Jeltrey
Arvin Nissen in the September Playboy
Forum says God instituted marriage and
frowns on premarital intercourse. Now
hear this: I say that God invented peanut
butter, that He commands all of us to
cat peanut butter for breakfast on
Wednesdays and that He considers mix
ing peanut butter with jelly a. perver-
sion. I have as much right to make these
assertions about God as Mr. Nisen and
Miss Adkisson have to make their assa
tions—none. No doubt, these two indi
viduals would reply that their knowledge.
of God is based on what divinely in
spired men have written in the Scrip-
tures. But I can claim, with as much
evidence to back me up—none—that
God inspired me to write this letter and
1 the world His desires con-
cerning peanut butter. Anybody who
claims that he has a hot line to God is
spouting unprovable nonsense: the only
difference hetween my brand of nonsense
nd that of Miss Adkisson and Mr. Nis-
sen is that mine is more original.
Lee Rubini
New York. New York

SEX AS COMMUNICATION

I suppose that by the standards of the
Methodist minister who sees no reason
why sex in "premarii
forms should be disapproved
Playboy Forum, October), Im a
corny, conventional person. 1 have a
wonderful relationship with only one
man—my husband. He is loving, faith-
[ul and considerate. I can't imagine my-

sell even wanting to share my body
with anyone else; but even if I did, I
wouldn't because I know, the pastor’s

assertions to the contrary notwithst
ing, that it would destroy my mar

The arguments that "it is wrong to
think that going to bed with somcone
other than one's spouse in any way
damages the marital relationship" and
that promiscuity actually enriches life
nd enha o strike me as the
distorted rationalizations of a very un-
fulfilled person, Such a sexual ethic
promotes selfishness and dishonesty at
the expense of the strength and commit
ment it takes to m ge work.
Anvone can go from bed to bed sceking
al thrills; but it takes talent, love,

«cs ma

с a marri

thoughtfulness and а great deal of self-
sacrifice to please опе man or опе
woman.

B. Kiner

Los Angeles, California

You are, of course, the best authority

on your own marriage and what would
be harmful lo it. Bul your implication
that the minister is encouraging happily
married persons to seek “sexual thrills”
elsewhere and your assumption thal non-
marital зех is necessarily promiscuous
indicate a misunderstanding of the min-
ister's argument. Sec his second letter,
which follows, for clarification.

I would like to add a footnote to my
thoughts on “Sex as Communication”
that you published in the October
Playboy Forum. What a communicative
view of se ns is that the important
ethical questions are not who has sex and
when, but why is it engaged in and what

wing the worth of another
person. To try to mike it more than this
to exalt it as the act that legiti-
mates marriage) is ironically to make it
much Jess than it really is. Our unfor-
"mare preoccupation with the question
of who should have sex and when it
should be had ultimately relegates it to
ty and authorizes a great
deal of marital sex that doesn’t even
pretend to communicate worth, sensitivi-
ty, affection, approval and love. This
ethically unjustifiable
(Name withheld by request)
Syracuse, New York

CALIFORNIA GOES UPWARD
California Attorney General Thomas
С. Lynch reports that the juvenile drug,
arrests in the state during 1967 were
176 percent higher than in 1966 and an
astonishing 800 percent higher than in
1960. The bulk of the arrests were for
what hippies call “upward” (marijua-
na), which made up 10,967 busts out
оГ a total cf 14,760. "Forward" (am-
phetamines or pep pills, "backward
(barbiturates or goof balls)
ward" (LSD-type drugs) togeth
only 2809 arrests, while "downward"
(hard narcotics such as heroin and mor-
phine) accounted for 134. (There were
also 830 arrests for “miscellaneous drug
offense: Meanwhile, adults
showed a puny 66-percent drugarrest in-
crease over 1966, perhaps because most
of them prefer "nowhere" (alcohol and
quilizers), which is legal in California,
To avoid misunderstandings, ler me add.
rd any of this as a matter
all the good cats
being thrown in jail. All it proves, to me,
is the truth of the sage Lao-tse, who said
2500 ye “The more laws you pass,
the more criminals you manufacture.”
Robert Wicker
Los Angeles,

ſorni

HALF A CENTURY IN JAIL
The following story recently appeared
in The Dallas Morning News

Richard Dorsey, 58, a shoeshine-

stand operator at а bowling alley.
was sentenced to 50 ycars in prison
this week for selling marijuana to

R. G. Smith of Corpus
id he was employed by the
Dallas Police Department, when
Dorsey and another man sold him
matchbox full of marijuana for
five dollars December 5.

At first, I could not believe what I
xd. I never thought anyone could
a 50-year sentence lor selling
апа,
se, PLAYBOY, keep up your fight
against our barbaric marijuana laws.
Richard Sadlı
Memphis, Tennessee
The Texas prison sentence for selling
Jive dollars’ worth of marijuana lo an
adult policeman may seem severe in com
parison to the terms often meted out for
such crimes as kidnaping, armed robbery,
or second-degree murder, but it's not ter-

North Dakota provides 99 years at hard
labor for simple possession of the weed
(in neighboring South Dakota the pen
alty is only 90 days—what a difference
a state line makes!). In Georgia, anyone
selling 10 a minor, even if he himself is
а minor, can be given life imprisonment
Jor lus first offense; the sentence can
also be set at life for sale to a person
of any age in Arizona, California and
Texas, In Louisiana, a minor selling lo
a minor is subject lo 5 to 15 years’ im
prisonment, while an adult selling to a
minor may receive the death penalty (in
Missouri, anyone selling to e person
under 21, cven another minor, may be
subject to death): and in Colorado, the
penalty is life imprisonment for a first-
offense sale to anyone under 25 years
of age.

We don't know of any logical explana-
lion for the existence of these incredibly
cruel laws; perhaps the legislators were
falliug-down drunk when they wrole
them.

“The Playboy Forum” offers the oppor-
tunily for an extended dialog between
readers and editors oj this publication
on subjects and issues raised in Hugh
M. Hefner's continuing editorial series,
“The Playboy Philosophy.” Four booklet
reprints of “The Playboy Philosophy?"
including installments 1-7, 8-12, 13-18
and 19-22, are available at 304 per book-
Address all correspondence on both
"Philosophy" and "Forum" to: The
Playboy Forum, Playboy Building, 919 N.
Michigan Ave., Chicago, Illinois 60611.

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пла mavis. LEE MARVIN

a candıd conversation with the hard-bitten heavy turned sex star

When Lee Marvin loped to the stage
of the Santa Monica Civic Auditorium
in April 1966 to accept an Oscar for his
tour-de-force performance in “Cat Bal
lou,” his granitic features creased into a
тате smile. After 19 years and 40 memo-
rable voles in forgettable films as a bel-
ligerent bully—the screen's definitive
villain—he had finally proved himself as
an actor and made the big time as a
good guy. The vehicle for his transfor
mation was a low-budget lampoon of the
Hollywood horse opera in which h
acted the roles of two brother
sinister, black-garbed professional killer
Tim Strawn, who replaced with a silver
proboscis a nose bitten off in a street
fight, and the drunken gun fighter Kid
Shelleen, whose unrequited letch for the
lissome young leader of an outlaw band,
Cat Ballou (Jane Fonda). overcomes his
affair with the bottle long enough for а
showdown shootout with his bad half.

In the wake of his critical and com-
mercial triumph in “Cat Ballou,” for
which he was paid a fee of $87,000—
minuscule by movie standards—Marvin’s
asking price escalated to more than
$1.000.000 a film and Motion Picture
Herald, an influential trade journal,
named him the screen's sccond-ranking
box-office attraction, just behind Julie
Andrews, The publics overwhelming
response to the nasty characters Marvin
subsequently portrayed in “The Dirty
Doen,” "The Professionals” and “Point
Blank” has dramatically underscored the
renaissance of the Bogart-type antihero
as a viable movie commodity and the

“The current cycle of crime films is a
vicarious way to participate in the crime
wave without committing a crime. That
feeling is latent within each of us. Every
body wants to get even with somebody.”

replacement of Hollywood's pretty
matinee idols with such homely-handsome
sex stars as Steve McQueen, James Co-
burn and George C. Scoll, a maverick
breed of which Marvin is indisputably
the best of show.

Born in New York City о] Brahmin
bloodlines dating back to pre-Revolu
tionary Colonists, Marvin was a preco-
cious rebel. He ran away from home at
the тіре age of four and relurned only
to be sent away—this time to a succession
of exclusive Eastern boarding schools,
from many of which he was expelled for
such infractions as throwmg a roommate
from a second-floor window and illicit
cigarette smoking with three female class-
mates al a progressive coed school. This
checkered educational career came to an
abrupt—if predictable—end when he
dropped out of high school in Florida
and joined ihe Marines in 1942. After
spending an inordinate amount of time
in the stockade, he finally saw the action
he craved—more than he bargained for,
in fact. Storming ashore on 21 beach-
heads from Kwajalein to Saipan, he
carned a Purple Heart and a 100-percent-
disability pension for a Japanese bullet
that severed his sciatic nerve and hospital:
ized him for 13 months.

Marvin, discharged in 1946 at the age
of 22, drifted aimlessly through a score
of civilian jobs, until his work as a
plumbers — apprentice—digging septic
tanks near the family home in Wood-
stock, New York—took him to the prem-
ises of a local summer-stock playhouse. As
a lark, he asked for and won an acting

“I'm looking [or total mesmerization in
a romantic velationship—but not to the
point of candlelight and wine. Wine'll
turn anybody on. Get juiced enough
and you'd roll around with a buffalo."

job, and forthwith abandoned sewage for
the stage. After scuffling from one show
to another in small roles, he finally de-
buted on Broadway in “Billy Budd."
Next came a marathon procession of
promising featured roles in more than
200 television dramas; they led, finally,
lo a movie bit part that prompted him
to pull up stakes and move to the West
Coast. Soon he played the widely ac-
claimed part of a psychopathic multiple
murderer in an early episode of “Drag
net" —a harbinger of roles to come. With
in a few years, Marvin was a veritable
merchant of menace—terrorizing old
ladies, euffing blind kids, tormenting
cripples, shooting, stabbing, strangling,
bludgeoning and battering almost every
leading man in Hollywood, and inspiring
critic Bosley Crowther to comment, with
an editorial frisson: “He is rapidly be-
coming the number-one sadist of the
screen.”

Though this dubious reputation. kept
him profitably employed, it was also a
stereotype, and Marvin began to chaje
at his typecasting as Ihe hairy brute. For
a while—from 1957 to 1960—he was able
to break out of the mold, as a tough
but sympathetic police lieutenant in the
popular television series “M Squad”,
but the money and fame failed to com-
pensate for the weekly grind he grew
to detest or for his deepening artistic
ennui. Soon he was on the botile. and
soon thereafter he was divorced by his

wife of 11 years and mother of lus four.

children; he started drinking doubles
and occasionally brawling in bars; and

“The people 1 like best are those 1 don't
know and who don’t know me. Why?
Because I can't stand myself. If 1 did,
Pd play the same guy in all my roles.
I don't even like my own company.”

PLAYBOY

he went back to playing heavies.

But the phenomenal success of “Cat
Ballou” dramatically changed both Mar-
vin's professional stature and his private
life. Though he still found himself cast in
hard-boiled and violent voles, Holly-
wood began 10 recognize his dimension
as an actor and to accord him a wider
range of parts. He has since alternated
his portrayals of cold killers with sensi-
tive and cvocative performances such as
the one he gave as a washed-up baseball
player in “Ship of Fools.” The metamor-
phosis is completed in his current release,
“Hell in the Pacific,” a two-chayacter
film in which Marvin plays the role

of a Marine pilot marooned on a
remote South Pacific island during

World War Two with a Japanese naval
officer (Toshiro Mifune). The picture,
in the production of which he actively
collaborated, clearly conveys an implicit
message about the fulility of war and
the need for people of divergent philos-
ophies and nationalities lo live together
in peace and understanding—a far cry
from Marvin's past roles as a dispenser
of death. “The old lion” commented
one reviewer privately after seeing an
advance screening, “is beginning to
evidence disconcertingly lamblike ten-
dencics"—as well as an acting depth that
ensures a long future at the top of his
profession.

To probe the professional and person-
al complexities of this paradoxical star,
PLAYBOY intero Richard Warren
Lewis visited Marvin at his Malibu
Beach home, which he shares openly with
a female friend. Despite Marvin’s reputa-
tion as a taciturn and hostile nemesis of
journalists, Lewis reports that he found
him both cooperative and responsive
“In fact, he was almost docile—a
marked contrast to his public image as
the skulkerushing heavy. His long, bale-
ful face was gaunt and heavily lined,
showing the effects of the 25 pounds
he'd lost filming ‘Hell in the Pacific’ on
location; and constant exposure to the
tropical sun had bleached his prema-
turely white hair and long shaggy side-
burns with swirls of blond. As we started
talking on the sun deck over strong
bloody marys, Marvin set aside the script
for his next movie—the $18,000,000 pro-
duction of ‘Paint Your Wagon’—and lit
up the first of an uninterrupted chain of
filter-tipped cigaretie

The interview commenced shortly aft-
er the assassinations of Martin Luther
King and Robert F. Kennedy, and the
climate of violence in America—particu-
larly as it related to the mounting vio-
lence on movie screens—was on the
minds of everyone in Hollywood. It
seemed appropriate lo begin the inter-
view by asking Marvin—whose history of
violent roles is unique in films—to ar
ticulate his views on this subject.

wer

bee:

ion partially accountable for the
reported increase in violence in the

strecis, the networks d film studios
have begun to reappraise their attitudes
toward mayhem on the screen. Do you

sec any connection between celluloid vio-
lence and real violence?

MARVIN: Only in the sense that if the
violence in a film is theatrically realistic,
it's more of a delerrent to the audience
committing violence themselves. Better
on the screen than off. If you make it
realistic enough, it becomes so revolting
that no viewer would want any part of
it. But most violence on the screen looks
so casy and so harmless that it’s like an
invitation 10 try it. 1 say make it so
brutal that a man thinks twice before he
does anything like that. A classic exam-
ple is All Quiet on the Western Front.
Lew Ayres jumps into a shell hole with
a Frenchman and knifes him. He's stuck
there for the rest of the night with this
guy dying. Hell be killed if he tries to
out, In the morning, the French
is sull looking at him, but he's dead.
Ayres spends the rest of the picture in
captured France tying to find the dead
man’s wife and apologize to her for his
brutality, A statement was certainly
made there, and it was made through
violence.

In a typical John Wayne fight in a

barroom, on the other hand, tables and
bottles go along with mirrors and bar
tenders, and you end up with that little
trickle of blood down your cheek and
you're both pals and wasn't it a hell of a
wonderful fight, That's fooling around
with violence. It’s phony: it’s almost a
icature—as opposed to a fight like
the one in The Treasure of the Sierra
when Tim Holt and Bogart
walk into the nd Holt gets hit in
the mouth with a boule by Barton
Lane and all he can do is hang onto
"s leg for the rest of the fight.
‘That scene conveyed a sense of real pain
and hurt. Or take the fight between
Ernest Borgnine and Montgomery Clift
in From Here to Eternity. You don't
even see them; you just see their feet
behind a barrel—and you hear. One
man gets up and one man’s dead. You
know how mean that fight was, even
though you never even saw it.
PLAYBOY: In the wake ol the recent polit-
ical assassinations, many social commen-
tators have begun to insist that our
mation is sick. Do you think violent films
have contributed to that sickness?

MARVIN: The mood of sickness is in the
audience; the film maker is only re-
flecting the climate of society. You don't

make films to change a nation; you
make films to be historically
time. Thars what makes them current
and commercial. If the audience re-
sponds to it, baby, you know where the
sickness is. Criminal violence always at-

tracts a crowd, though people are afraid
to admit it. The bigger the crowd, the
g; the more the shoving,
the more irate the viewer becomes—till
eventually he's p.

way to participate in the cu
wave without committing a c
self. That feeling is latent with
of us. Everybody wants to get even with
somebody.
PLAYBOY: But
case? Why should it be emerging now?
Because of the wave of riots,
sassinations
and the lack of socially acceptable an-
swers to them. So you go sce it on film.
PLAYBOY: Many actors, directors and pro-
ducers have pledged themselves to refuse
to write, direct, act or participate in any
way in the creation of an entertainment
that celebrates senseless brutality and
death. Do you plan to join them?
MARVIN. I don't take pledges; 1 qu
drinking every morning and 1 start
again every evening. 1 wonder how long
they'll stay on the wagon. Don't get me
wrong. though: I've always been against
senseless violence myself. When I incor
porate violence in my performances, I
make sure there's a point to it. If 1 were
playing а heavy, say a cowboy bad guy, I
would commit some senseless crime so
that I'd have to be destroyed in the
third or fourth reel. Holding up the
stagecoach, for example, and shooting
the old lady because she turned her back
on me. So I'm against pointless violence,
too. Apropos the current debate. 1
found myself involved in a conversation
the other night about Sirhan Sirhan.
Some older woman said that they ought
to take him out and shoot him. I just
looked at her and smiled. She was the
one who talked about peace and non-
violence. But when it hits her, baby,
she's ready to kill.

or several months, there has
cd debate over how far Federal
gun-control legislation should go. How
do you feel about registration of firearms
and restriction of mail-order gun sales?
MARVIN: If you register a gun, does that
stop it from shooting? Sirhan's gun was
registered. Anyway, the act of killing, or
the desire to, has nothing to do with the
weapon. If you want to kill a man, you're
going to kill him, whether it's with a car

PLAYBOY: Yet, if you can make guns less
available to minors, mental defectives
and exconvicts, might that not save a
few lives? Isn't it worth a try?

MARVIN: Who's qualified, unless they give
a guy a cud, lo say that someone is
mentally defective? Nuts aren't card ca
riers. Adolescents can acquire weapons
simply by stealing. And nothing is un
available to an ex-con; he knows where
to go if he wants a gun. There's no way
of stopping weapons from getting into
the hands of professionals. You can

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PLAYBOY

make all the rules you want to about
guns. Then just watch the bootleg start.
Any gun merchant would love to sce
them outlawed; that'll make his 585 gun
worth $300.

PLAYBOY: And therefore less purchasable
by larger numbers of people.
MARVIN: Yeah, but look at Prohibit
Any time you limit anything of this
nature, you'll drive it underground,
where it becomes chic. Whatever. gun
law they pass isn't going to affect the use
of guns. People either want them or
they don't want them. People who
shouldn't be playing around with guns
are the ones who want them. The hunt-
ers, the sportsmen, the trophy shooters—
they already have theirs.

PLAYBOY: There arc those who also ques-
tion the legitimacy of hunting. because
they helieve it breeds a basic disrespect
for life—human as well as animal—that
contributes to the climate of violence
we've been discussing. How would you
answer them?

MARVIN: Sure, hunting is part of the
violence in our nature; but if anything,
its a safety valve that leis us blow off
this steam in a harmless, healthy way.
Any guy who resents a hunter shooting
birds or those sweet brown eyed deer
resents what he would like to
self, He's cover-
ing it up by protecting the animal. He
can't accept this urge to he can't

relate to it. So he takes the supposed

nocence of animals or birds and re-
lates to that.

I took my father down to Mexico one
time and we got into a lot of sailfish. 1
fish very hard, but he docsn't fish at all.
‘The guys on the boat were knocking the
fish in the head and killing them. He
said, “How can they kill a beautiful
thing like that?" I said, “Chief, these
guys live off them. They sell these fish
for money.” My father said, “Why don't
you just give them the money yourself?"
I said, “No, there's a process that they
must go through.” The mystique goes
from the mind to the hand to the line
to the hook to the strike to the death.
It’s as old as the Bible. The men in the
Bible functioned as family heads and
feeders. They were catching or doing
something that fed others. They were
fulfilling their life obligation—the bread-
winner role, which most males are born
to. In modern times, because the stock
market goes up or down, you can lie
back and earn your bread without really
doing the basic. physical thing of living,
But it’s still a very gratifying sensation
to be able to bring home the bacon.
PLAYBOY: Surely that’s not the only rea-
son you fish—to play the breadwinner
role.

No. It also gives me a sense of
pride when I land a big fish. When I'm
hooked into something that I can fecl,
there's a tremendous sense of competi-
tion—him or me. I like the contest and

I like the n that goes along with
—the whir of the line going off and
the whip of the rod. When a 130-pound-
test line is falling into its own grooves
on the reel, it sounds like ing off
—really а high crack. It's a great sound,
a dangerous sound. And once yo
landed a big one, there's the ki
Once I helped beat a marlin to death
with a club. He was wrecking the boat,
so I lit into him and didn't stop till he
was dead, It was pure instinct; once you
start responding to a stimulus like «l
you have no control over your reactions.
PLAYBOY: Are you saying that blood lust
is good?

MARVIN: Yes, totally. Fishing gets rid of
the blood lust at sea, so I don't have to
take it ashore with me. It’s the same
sensation as getting into a riot: When
yon really start going and the adrena-
line is pumping, the next thing you
know you're swinging the club or throw-
ing bricks, whichever side you're on. It's
a sense of accomplishing something now,
immediately. You usually don't find that
across a conference-room table or in your
daily life, You just go with it till the fish
peter out, or till there's по more win-
dows to break or no more cops to hit
Then suddenly comes the sag. That
night when you fall asleep, baby. you
really sleep, because you've gone your
cycle. You go into a big school of fish
and you kill them and there's blood
flying all over and the guys are laughing

and killing. It's a real blood bath.
There's a sense of being cleansed when
it's over, because you can eat the kill.

When you kill a man, though, the feel-
ing isn’t there, because you сапт eat
him; we weren't made for killing men.
PLAYBOY: Docs your attraction to bi
game hunting and deepsea fishing, as
well as to motorcycling, have anything to
do with a need to prove your masculinity
to the world—or to yourself?

MARVIN: Well, at the time I started cy-
ding. I did take it as a kind of challenge
хо prove myself. There was а lot of talk
like, “Does that guy have any ball?"
and pcople would say, “Jesus, did you see
him hit that hill?” Today I don't think
that rcally has anything to do with balls,
but at that period of my life I thought
it did. Гуе always been attracted to
things that have an element of risk. And
сусі al feeling; you and
the bike become a single unit. You ride
h other people, but they're all doing
it alone. The sound of the pipes oblit
ates the sound ol the world around you;
all there is is the throbbing and slam-
ming of those pistons around your legs.
iding is all you—your right hand
and your left foot. There's an immedi-
acy to the machine that you don't find
in cars. When you snap your wrist, it
responds immediately; every movement
of your hand works in relation to the

way your body is riding, You always
have to be an inch over your head if
you're riding the bike right. To measure
that inch is very difficult. If you get a
foot over your head, you're going to be
in trouble.

PLAYBOY: Did you ever miscalculate that
foot?

MARVIN: I came too close once too often.
On my last ride, I remember. some friends
of mine brought some bikes and my
leathers and my boots up to my place
and l Let's go out for a ride.” I
hadn't ridden for about a year. It was
ke a challenge. I had a very good ride
from the mountains in Wrightwood on
down to the dry lakes and the Mojave
Desert behind the San Gabriel moun-
tains, along some good arroyos, boulder
launches and river bottoms. I was driv-
ing a really loose machine and I was
cranking on good. I got higher and
higher, until I realized 1 was going too
high. It was like the flight of Icarus. 1
didn't want to melt my wax or burn my
feathers, so I came down. I went off a
clit 40-foot drop. You do that at
65 miles an hour, you've got to be in
trouble. But I lucked out. 1 bounced
off boulders coming off thc jump and hit.
a boulder that set me up for another
boulder. I had no control of myself, like
a ping-pong ball in a gravel driveway.
Skill had nothing to do with it. I was
just in the right place at the ri
stant, and 1 walked away without a
scratch. The rest of the guys I was
riding with weren't so lucky. That was
the end of it. I had gone too fast, Id
overextended myself. I've never been on
a bike since.

I guess I also gave up cycling for the
same reason I stopped hunting and got
rid of all my guns a couple of years ago:
I Know where my cock is at last, so I
don't need to prove my masculinity any-
more, and I don't need a rifle that'll
knock down a varmint at so many yards.
When I spent my spare time hunting,
I'd squeeze a trigger with a threeand-a-
half- to seven-pound pull, sending the
striker forward to hit the percussion cap.
This ignites the kinetic charge of gun-
powder and sends the missile out of the
bore, twisting with absolute accuracy.
When you discover that feeling within
yourself sexually, then you don't need a
rifle anymore.

PLAYBOY: Have you discovered that feel-

эр; sexu:
MARVIN: I don't think I've ever really
discovered it fully, but I keep discover
ing it by degrees. I'm still like a kid at
his first dance. I don't know why it gives
me pleasure to hit something in the
distance with a weapon; and I don't
want to know why. I just want to swing
with it and accept it or let it roll and
forget it, not analyze it to death. It's the
same with women. This urge to discover
that feeling of sexual mastery started a

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PLAYBOY

long time ago. and it's not completed
yet. When I'm 65 and I'm balling some
lxyearold chick. ГШ probably say,
Eureka!" I often wonder about the twi-

ight of my life, when sexual urges sup-

posedly die out. A lot of people agree
with the statistics based on 10,000 doc-
tors’ findings. But there's always one old
guy running around, just loving it—the
guy who disproves the statistics. Cassius
Clay's grandfather once held off a whole
group of people with a cannon in his
barnyard at age 92 He'd just taken
some 15-year-old girl for a wile. They
thought that was just criminal. So he
loaded up and fired. I love it

PLAYBOY: If you haven't yet discovered
that special feeling you're looking for, do
you find your sex life unfulfilling?
MARVIN: I use the sexual outlet as an
alleviation of a need or a feeling. so that
I can get on with what I'm really about.
Like you would top a horse off in the
morning, run him out for a couple of
hundred yards, let him get rid of that
barn. Then he'll settle down and be a
good horse the rest of the day. In anoth-
er sense, sex is acting out the feeling
that “Tomorrow I might be dead.” The
classic form is the woman on her back,
exposed. It goes back to the Stone Асе.
The man is on his face; he can't sec
whats going on behind him. That's
when the other guy sneaks up on him
and stabs him in the back. Hence, the
rapid withdrawal of the man after the
orgasm. II not, he might be caught.
Whereas the woman is just spread apart.
Nobody's going to kill her. Theyre
going to take her, but they're not going
to her. They're going to kill the
male. The guy knows that if he trips
out, he is totally exposed. Heredity says,
"Look out!” I might look around sud-
депу. even though there's nobody be-
hind me.

PLAYBOY: Do you experience this feeling
ol insecurity with strangers in unfamiliar
surroundings, or did you have the same
hang-up with your wife in your own
home?

MARVIN: I had bigger problems than that
to worry about in my marriage.
PLAYBOY: Like what?

MARVIN: I was caught up in the society
in which I lived. Like me, all my friends
were married and had children, There
the P. T. A. and the holes in the
street and better police protection for
the parks. It scemed like the right thing
to be part of that suburban feeling. It
was getting home in time for dinner;
eating was more important to me in
those days. Changing the kids and the
formula in the bottle.

PIAYBOY: Did you fcel confined?

MARVIN: And emasculated. The big ad-
venture in my mind at that time was
over—the po: y of the North Pole

or the South Pole or the Australian bush
safari; the horizon was taken away from
me by being married. To me, mami
symbolized the end of the road. I was
still a dreamer, but I saw myself mark-
ing time until I fell into the ditch. Now
that I'm alone, more or less, I don't
have to think about that anymore. I can
be more concerned with myself and my
own feclings again. But I'm 44 now; I
hope by the time I'm 45, the urgency of
self-discovery will become less intense,
that III become less important to my-
self, in the sense of the quandary of
thinking it all ош. Maybe III know
little bit more by then, so I don’t have
to sit on the porch and waste time
thinking about it.

PLAYBOY: Do you still think about the
breakup of your marriage?

MARVIN: Less than I did a year ago and
more than I will a year from now. I'm
sorry it didn't work. It was complete
mental incompatibility. We simply could
not communicate in the same house. Even
if we'd been able to, I'm not sure I was
in favor of shaping my life to any mar-
riage. I had little spokes going off in
different directions in my head. I dont
think I'm really the type that would fit

into what we consider the ideal marriage.
When I love, I love; when I hate, I hate.
I'm guilty of both sins. To love somebody

might be just as selfish as hating her; you
might limit her in what she can do.
People gestate and grow at diflerent rates.
PLAYBOY: Are you finding more emotional
fulfillment as a single man?

MARVIN: Sometimes yes. some! no;
the adjustment back to a bachelor exist-
ence after 14 years of marriage isn't
easy. It's like suddenly being moved
from one country to another or from
one society to another. There are many
problems, mainly the one of confronting
your sense of failure in responsibility to
the offspring of that rclationship—no
matter how much you may be boosting
them or your ex-wife financially or ver-
bally. Especially in the kind of puri
tanical society in which we live, t
produces all kinds of conflicts that eat at
you night after night. I'm not sure that
Ive ever been really single since my
divorce.

PLAYBOY: Aside from these emotional con-
siderations, do you feel any bitterness
about the terms of your divorce settle-
ment?

MARVIN: No, the terms of my divorce
were extremely just. I found the courts
to be overly fair. almost detrimental to
the woman, When a guy's been balling
a chick, his responsibility toward her
should be up to him. I knew мі Т had
to do and 1 did it. I made my ex-wife
fu lly secure, as she had been in the
t, thereby allowing her the freedom
to seek other interests in life, rather
than having to root for a living while

she was looking for something to replace
what had left her. When a guy says.
got fucked," obviously he must have
been fucking his broad, not making love
to her. It’s chic to say, “I gave her
everything 1 had.” Everything but what
she needed, right? You can't fuck around
with somebody's brains and come away
free. Otherwise, you're just in a cat house
h can be fun, of course.

PLAYBOY: Do you want to elaborate?
MARVIN: In whorehouses, I used to find
an honesty that I never understood. be-
lore. You pay lor your happiness or
your pleasure: and in a properly con-
ducted house of ill repute, they make it
very pleasurable, indeed. There is no
sadness involved, There is no going be
yond reality, beyond what life is really
all about. You know why you're there
and so does the hooker. You say, “I'm
here for a week. baby: see that I'm
happy.” A week later, you can cry and
kiss her and love her and then leave and
get on the plane. There is no initial com:
mitment, only a commitment on your
exit. You walk away with something that
you didn't walk in with. Which reminds
me of a time I was sitting in a bar in
Mexico and this girl walked in. For
some reason, I looked at her. The mood
was right. My violins were going. My
candle was lit and there it was. Two
Mexicans noticed me looking at her and.
told me in Spanish, “Mariposas de amor"
—which literally means "butterflies of
love." 1 thought to myself, “Jesus, what a
straight statement for them to make.”
They noticed that something had flut
tered inside me. It was only later that I
found out they meant that she had the
crabs, But it was worth it, because she
was an incredible beauty. Mostly. though.
I visited whorchouscs, the majority of
them in rural areas. Hookshops were
never big in cities, because of the cops
and the pay-off. In the boondocks, every-
body would turn his head. The girls
were very counuified and offered а
simple barnyard philosophy, which can
be very humorous. Whatever time I spent
there was all a giggle. Everybody was
laughing. Not at cach other, but at them-
selves. Charming women. Everything w:
right out front.

PLAYBOY: Also right out front is your cur-
rent living arrangement. How do the r
wards of marriage contrast with th
pleasures of cohabitation
MARVIN: Marriage is an obligation in
which you must consider the other per-
son. Whatever happens in cohabitatio
youre still free. You demand your frez-
dom and you also allow her freedom
But it's also much more of a game
cohabitation than in marriage.
PLAYBOY: How do you mean?
MARVIN: If you're living
person, often you have to en

h another
е, entice,

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PLAYBOY

entice, in order to keep her; that can
become a hang-up. Bur on the plus side,
the anticipation in driving home to your
girlfriend cannot be compared with driv-
ing home to your wife. One is a mystery
nd the other is ipso facto. It depends
on the individual's needs.

PLAYBOY: What are your own needs in a
relationship?

MARVII t its best, a complete mesmeri
zation, But not to the point of lovesick
glances over candlelight and wine.
Winell turn anybody on. Get juiced
enough and you'd roll around with a
buffalo and think she’s beautiful. At least
1 could.

PLAYBOY: Have you met any women with
whom you could achieve that "complete
mesmerization”?

MARVIN: Not often and not completely.
“Too many women don't realize that they
are women, and that disturbs mc. They
really have basically one purpose in life,
«cording to the old system, which I
seem to believe in morc as the years go
by: the whole role of being a woman—
the mother image, the nurse, the softness,
the pinkness, the tender loving care, the
food, the cleanliness, the limiting of
really rotten thoughts. A home has to be
oasis for marriage to mean anything.
And in many cases, I find that they're not
really that anymore.

Man is no longer allowed the p
lepes of being a man; that's why you see
hc blurring of masculinc and femi
our society. We
like, destructive stage in this century.
But the victor is not allowed the spoils:
the meat of the defeated, their posses-
sions, the decimation of their towns, the
raping and the pillaging of their wom-
en. When we win a war or a battle, we
ve none of the traditional rey
When we get home, we're all
mouthed. Thi d of situation gives
the woman a leverage she newer had
before, She feels stronger because of our
pussyfooting conduct. She can tell us
that it's wrong to go over there and kill
those poor people, and all we say is,
“Aw, Jeez. sweetheart" We don't do
anything about it; so, naturally, she
takes on more of the masculine po
in life. Nobody's there to knock her
down.

PLAYBOY: Why should there be?

MARVIN: Thats the whole point. There
shouldn't; but today the man is fighting
against soncthing—against communism,
against depersonalization. against the
loss of his masculinity—not for some-
thing. The shift of roles has a lot to do
with man’s pent-up anger and frustra-
tion about the the world is goin
igainst conformity to wh
becoming, against the lack of an outlet
lor whatever it is he wants out of life.
PLAYBOY: Do you think today's clothing
styles—more decorative for men, more

a man

trousered for women—are an expression
of this blurring of sexual roles?
MARVIN: Yeah, and not just clothes, but
jewelry for men. Some guys go out
street and buy off-the-rack jewelry
throw it around their necks and say,
free!” Fine, but that's not for me. A
lot of people give me beads. I look at
them and they're pretty. put them on
and look in the mirror and I don't quite
understand why I have them on. So I
take them off. Beads don't help me; they
fall in my soup. Who needs the aggrava-
tion? And if some faggot digs me be.
cause I'm wearing beads, well, there we
are, aren't we? The next thing you
know. I'm in the parking lot with six of
his friends kicking me in the head and
him yelling, “You broke my beads!
Thats not really one of my greatest
anxietics—but I'm sure you get what 1
mean.
PLAYBOY: Do you think that homosexual-
ity is becoming more prcvalent as tradi-
malefemale roles continue to

MARVIN: T certainly see it very heavily on
the stage and in films, In fact, I dea
it most heavily. But it's so well disguised
that only the ultimate of dissectors
would know what I was doing. Let me
put it this way: You get up daily and
you go to work and do whatever your
job is right? But what does the actor
do? He goes into his dressing room and
he disrobes and he puts on makeup.
"Then he puts on a costume and goes out
into an area that has a сипай. What
normal man would do that?

PLAYBOY: Could you ever impersonate a
homosexual on screen?

MARVIN: It would be easy for me 10 play
a homosexual. Now that I know where
1 stand, I can indulge myself
things without any fear. Every
doubts his masculinity at one time or
another; I got over those fears when 1
was younger. But a lot of people don't,
and it’s a edy. You can take
pride in fucking a broad, but there's no
. No way. And the
s them is really sick. II
I were a homosexual and | saw a cop,
I'd shudder, The motivation that makes
а man get into the vice squad has got to
be one of devious intent. He becomes
more of a cunt than a female could ever
be. His line is: “Look at that perverted
son of a bitch!” After acquiring firsthand
evidence, which he gets in a men's room,
he then arrests the homosexual. He's
sicker than the guy he arrested. There's
no chance for a happy homoscxual—
presumably, there are such individuals
who's just pursuing his own individual
sexual outlet, ‘cause here comes the fuzz.
You know they're really going to get hi
It makes me feel that I better behave
myself, because, who knows. someday 1
might be in that situation.

PLAYBOY: You're kidding.

MARVIN: Not at all. We're all on the
periphery of homosexual relationships,
whether it's shooting the bull with the
guys or whatever. If two guys are work-
ing on id that could be deemed
a homosexual relationship. They're both
having a common thought. Who knows
where the sexual twist starts and where
it ends? My God, a guy might get a Kick
out of watching another guy open a
can of beer. Are they going to lock him
up for that? Theoretically, I could be-
come a target in one of those male-male
games that go on in a bar or wherever.
A vice cop might zero in on me and my

retaliation might be one of going out of
control.
PLAYBOY: Are you in favor of lilting legal

prohibitions on homosexual and other
so-called abnormal sexual practices be-
tween consenting adults, as many civil
libertarians have urged?
MARVIN: What transpires between two
adults is definitely their own business.
If a girl likes to have Coca-Cola bottles
shoved in her ear, that's up to her. The
guy who's di “Leave me
alone, I'm h " Who's to deny
him that, as long as she doesn’t scrcam
murder? A third party, like a police
officer, has no real reason to become
involved—unless hes a voyeur. All voy-
eurs are essentially deviates. You elimi-
nate the third party and there's no
problem. no deviation. So someone digs
whips. That's up to him. Or her. Two's
company. three's a crowd. Too many of
the archaic laws we're saddled with go
back to the days of witch bur I
dare say the reason they burned the
girl at the stake was that she wouldn't
go down on the parson. So he says,
“OK, you cunt, ГИ get you." And he
does. He burns her. Fortunately, he had
a gold-edged book on his arm, so that
makes it legal. These same puritanical
elements are responsible for all these
incredible sex laws that are still on the
books. It’s the same kind of attitude that
makes it impossible to imagine our par-
ents having an affair. We've had various
and sundry relationships with the oppo-
site sex, yet we still cannot get through
that barrier of imagining Mommy and
Daddy balling. The New Morality may
help change all that, but for now, it's
still nothing more than a wind waiting
for a storm; go too far and it'll all turn
back into exactly what it was 30, 40, 50
years ago.
PLAYBOY: But in movies, at least, the
nds of sexual change have reached
proportions, and previously taboo
themes are being treated with candor
and integrity. How do you account for
this drastic change from the repressive
atmosphere of only a few years ago?
MARVIN: Well, ever since World War
Two, there's been a trend. slow at first,
toward dealing with reality instead of

) Playboy Club News T

Se PLAYBOY CLUBS INTERNATIONAL, ING,
VOL. II, NO. 102-E DISTINGUISHED CLUBS IN MAJOR CITIES

SPECIAL EDITION

YOUR ONE PLAYHOY CLUB KEY

ADMITS YOU TO ALL PLAYBOY CLUBS JAN. 1969

“WE NEVER CLOSE” LONDON PLAYBOY CLUB
NOW SWINGS 24 HOURS, SEVEN DAYS A WEEK!

Dining and Gaming Facilities Now
Serve Members Around the Clock

LONDON (Special)— Playboy
Club members and their guests
have responded enthusiastically
to the new operating policy of
the London Club—"We never
close!" The general attitude
seems to be summed up in the
words of one member who said,
"This is just what London
needed—a place you can go to
at any hour eny day and know
that you will find it swinging.’

Even if you're not the kind
of night owl who is apt to want
to entertain himself and friends
at S or 6 in the morning you
will still find that The Playboy
Club offers you more entertain-
ment under one roof than any-
where else in London.

Applications for Charter
Membership in the London
Playboy Club are being ac-
cepted right now. Apply for
membership today and save
£8.8.0 during your first year and
£5.50 each year thereafter,

A complete range of Playboy-
styled entertainment makes it
possible for you to spend an en-
tire evening on the town with-
out ever leaving the Club,

You can dance to exciting
beat groups in the Li ig Room
Discotheque, where you can also
help yourself to a delicious hot
meal of beef ä la Playboy, fried
chicken and the finest barbecued

Bunnies serve king-size drinks in
the Living Room where you may
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spereribs
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Enjoy epicurean cuisine im-
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you can dine on Playboy's
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In the Penthouse Casino, oc-
cupying the entire top floor of
the Club, members and their
guests try their luck at black-
jack, American dice, roulette
and punto banco,

On the ground floor of the
Club members relax in the Play-
mate Bar and enjoy a delicious
meal at breakfast, lunch or din-
ner from the Playmate Grill
Here, too, the swinging atmo:
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tables throughout all hours of
the day and night, seven days a
week. Of course, drink service
stops after regular licencing
hours but the informal atmos-
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the fun and games that give The
Playboy Club the air of a spar-
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without stop.

Open the door to the Playboy
world of excitement. By mail-
ing the coupon today you save
£8.8.0 during the first year of
membership end £5,5.0 each
year thereafter. Full credit priv-
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qualify, enabling them to sign
for all purchases at the London
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tick the appropriate box. Act
now, while special Charter
Membership is still available.

APPLY NOW AND SAVE—

CHARTER ROSTER LIMITED
Reserve your place on Charter
Rolls (Initiation £3.3.0, An-
nual Subscription 25.8.0)
which assures a substantial
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ship Fees (Initiation 6.6.0,
Annual Subscription £10.10.

Applicants from the Gonti
nent may enclose Initiation Fee
in equivalent funds of their own
country in cheque, money order
or currency.

The Playboy Club reserves
the right to close the charter
roster without prior notice.

in Europe—all for

The roulette wheel spins 24 hours a day, Seven days a week at the London
Playboy Club. Games include roulette, blackjack, dice and punto banco.

Visiting London? Stay At Forty-Five
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LONDON (Special)—Luxurious
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Club, with their own entrance,
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Daily maid and linens, porter.
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Rates for studio singles a

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ception Manager, 45 Parl Lane,
London, W.1, England, Telex
262187 or phone MAY ‘air 6001.

OneKeyAdmits You To AlIClubs
Atlanta * Baltimore = Boston
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IT — ™ CLIP AND MAIL THIS APPLICATION TODAY ™ = == 1

TO: Members!

Secretary

I THE PLAYBOY CLUB, 45 Fark Lane, London W.1, England 1
1 Неге is my application for membership in The Playboy Club. 1 enclose y
¿3.3.0 being the Initiation Fee for charter members. | understand
I that the Annual Subscription for charter members will be 15.5.0, pay- |

р ble upon notification of acceptance.

(BLOCK LETTERS, PLEASE)

ses at the London Club. No extra charge for this service. 22 f
س‎ mn m س س س س س‎ —

PLAYBOY

Otase
for cash

The slim Playboy Money Fold
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fantasy. You scc it not only in sex but
everywhere. Look at what's happened to

the old ppily ever alter” ending.
Even children in kindergarten don't be-
lieve th.

kids say “Bullshi because they're a
much faster generation; their matura-
tion level is coming at an earlier age
than it used to be. Some people still like
happy endings in movies like Gigi and
My Fair Lady. but they know they're
seeing а fairy tale. If you represent а
story as reality and then give them a
fairy-tale ending, though, they're not
d-type.
show, mirroring life the way it exists
today, they realize it’s not going to be
resolved simply by a kiss or a reu
because life goes on, regardless of wheth-
er boy gets girl or the bad guys get
knocked down. Most people today are
concerned with real life; if you don't

give it to them on the screen, they're not
going to watch.

PLAYBOY: The screen's new re:
graphically reflected in your own career.
The Grecian-profiled matinee idols of 20
years ago have been replaced by sex
stars with uneven faces and rugged im-
ages. Why do you think your kind of
looks and style have come into fashion?
People today have a more world-
t of view than they when
they were stuck on the farm or the block
they lived on in the city. The largerthan-
life image of the Arrow Shirt hero just
doesn't cut it anymore for an audience
that's been around. The big breakthrough
was the believable masculinity of guys
like Tracy and Bogart

PLAYBOY: Various columnists have labeled
you "The Bogart of the
evolution ol your respective careers has
often been compared. Do you see any
parallels?

MARVIN: When I hear our names linked,
I feel almost a little embarrassed, Bogart
was somebody and I’m somebody else.

ism is

The only real parallel is that he started

out pretty much as I did, pla
guys and heels, As audiences w:
him, he metamorphosed into a good-bad
guy and finally became all good. The
same thing scems to be happening to me
— God forbid

PLAYBOY: Like you, Bogart had anything
but a goodguy image off screen. You
seem to be the heir, in fact, of his reputa
tion for twofistel drinking and brawling.
Is that a valid parallel?

MARVIN: Well, 1 don't think I'll ever be
in the same league with him on screen
or ой, but I certainly admired him as
much personally as 1 did professionally.
His pleasures were as simple as a truck
driver's. Like mc, he enjoyed getting a
litle juiced with hi s in
a while and telling funny stories and

ng bad
med to

sneaking out of the house. He was the
total opposite of the standard leading
man of the Thirties, who would jump i
his Rolls-Royce and buzz off to his cow
try estate and drink champagne from
slippers and eat caviar for breakfast.
Excesses like that have almost complete
ly left the film community; the actor of
today is much more a man of the streets.
and I think that’s all to the good.

PLAYBOY: One thing that hasn't changed
about Hollywood stars—particularly sex
stars such as yourself—is the adulation
they receive from their fans. Does this

ever make you uncomfortable?
MARVIN: Well, my mail has certainly
become more pungent in recent years.

Not long ago, for example, a letter
rived from. West Berlin. It was from
girl who wrote that she was an arde
admirer and, to prove it, she enclosed a
photograph of herself sitting on a couch
in her living room. She was suggestively
dressed. She ended by saying, "Pl
answer this letter." What am I going to
say. "Yeah, baby. TI give you a call"?
So no answer. About a month later,
another letter arrived—with another pic-
ture. It's the same room, the same couch,
the same girl. But now she's wearing
a little less clothing. This went on for
three or four leners. It reached the
point where she was completely nude
and her legs were spread. That broad
obviously was horny even before she ever
heard of me. I just became the target
There's also a dame in Georgia who
writes me that she's seen The Dirty
Dozen 43 times. She asks for bus fare to
Hollywood. not even plane or train fare:
the Greyhound is OK for her. She needs
529.65; she's still waiting for it. There
are a lot of “I'm coming to Hollywood
and I want to be a star and I know you'll
sce that I get right to the top" letters. I
take them and give them to my attorney;
most of them I don't even read. I have a
tough enough time with my ego without
indulging myself in that
PLAYBOY: Many Hollywood actors com
plain that such public
private lives—expressed not only in fan
leuers but through autograph hunters
and popular insistence that stars live in
a goldfish bowl—is a violation of their
privacy. Do you feel the same way?

MARVIN: Sure. Particularly now that I
have enough bread to protect my priva
ey. Гуе become more appreciative of it
and more bugged when it’s violated. In
the past, success was more my need.
Therefore, I was just а pawn in the
hands of my audience. I'd do anything
they wanted me to, just to fulfill their
expectations of me. One of the things
that drove me to become an actor was
that I was insecure; I thought laughs and
applause would give me the security I

interest in their

Why did over 34 million record

collectors pay*5 toj join

Compare
the “Big 4”
Record
Clubs

‚COLUMBIA
Record Club

CAPITOL
Record Ciub
(as advertise

Mar, 30,1966)
can You

CHOOSE FROM
ALL LABELS?

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PLAYBOY

was looking for. But as I grew older
and wised up and began to enjoy some
of the benefits of success, 1 became less
concerned with how the public responds
to me collectively than with their pri-
vate, individual response, which I can
get better sitting at a bar talking with a
stranger than I can g in an audi-
ence watching one of my own movies.
But now that l've become well known, I
can't do that so much anymore, and |
it because the people I like best
e those I don't know and who don't

know me.
PLAYBOY: Why? Do you think they
wouldn't like you if they got to know
you?

MARVIN: Why should they? T can't stand
myself. If 1 could. Td play the same guy
in all my roles. I don't even like my own
company; I've got nothing new to tell
myself, Nor do I like the company of
other actors; if I don't like mysell, how
could I like them? Since I can't go out
in public as much as I used to, I do
most of my socializing with the working
stiffs on the set during a movie—thie stunt
men, the gaffers, the propmen. These
behind-thescenes guys keep me straight.
They're working men: from their at
tudes and the discussions 1 have with
them, I get a sense of what I must do
with my current role or my next one.
It keeps me on their level—the level
of the public. So I shoot the bull with
them, hoist a few drinks, share some
laughs instead of going into my dressing
room and picking up the phone and
calling Paris while I drink the chilled
champagne. It keeps me from becoming
a "star.

PLAYBOY: Some Hollywood observers find
it odd that an actor who gets $1,000,000
per picture—plus a percentage of the
profits—would rather sit around the lor
drinking beer with stagehands than asso-
ciate with the Beautiful People.
MARVIN: You don't like people because
they're beautiful or they've got money
or don't have money but because they're
straight and honest and you fecl at case
with them. Money is all a transient
thing, anyway. After a certain amount
of income, money ceases to have any
meaning. Once I settle whatever my
expenses arc for the усаг, all the dollars
above that just become a bunch of zeros.
They don’t make you any happier or
better as a human being.

PLAYBOY: Do you think you're worth as
much as you get?

MARVIN: II I had a five-dollar pistol and
a guy offered me ten dollars for it, I'd
be a fool not to sell it to him, right? If
they're willing to pay me $1,000,000 a
picture, baby, I'll take it.

PLAYBOY: You've been rewarded not only
with wealth, of course, but with critical
acdaim—and an Academy Award for

Cat Ballou. Do you think you carned it?
MARVIN: Well, it’s like 1 told the audi
ence when I went up to accept the
award: 1 think half of this belongs to
some horse in the Valley” Then the
house came down. I was totally seriou:
That drunken horse really helped me.
What was 1 supposed to say—"I'd like
to thank my mommy and daddy"?
PLAYBOY: How do you react to the specu-
lation around Hollywood that you may
coilect a second Oscar for your latest
film, Hell in the Pacific?
MARVIN: Well, I tried to deliver the most
realistic performance 1 could. It’s a story
of survival in the South Pacific during
World War Two—not what berry to
pick or what root to gnaw on but the
psyche of survival, which is what really
keeps you alive, aside from water and
food. The plot concerns the confronta-
tion between an American Marine
lot and a Japanese naval officer who
have been marooned on a deserted Pacif-
ic island. Theyre men at war who have
to learn to live with each other in order
lo survive, despite the barriers of race,
ideology and language.
PLAYBOY: Did you find these same barri
ers between yourself and your costar,
Toshiro Mifune?
MARVIN: Mifune and 1 had a tremendous
time together, even though it was difficult
10 communicate verbally. You ought to
hear Tashira's English All he knows is
about six words: “very good,” “cocksuck-
er” and "son of a bitch.” I've idolized
m for years. This guy hypnotizes you
п his genius. Those eyes! ‘The battered
samurai warrior standing alone, not want-
ing help. But it’s his fear that attracts
me, or at least that I understand in him.
He dives into things with such complete
abandonment that it shocks the Occiden-
tal audience; but just when he really gets
going, he's nagged by self-doubt; th
what makes him great. Personally, of
course, he's just like me—a dummy, ex-
cept he happens to be good. He's over
his head in all areas.
PLAYBOY: You, too?
MARVIN: Of course, or else I wouldn't be
where I am. Id be another vaudeville
act playing onenighters. The stardom
that Mifune and I have, and that of a
number of other people, is a constant
situation of being over your head and
just fighting for your life while you're
doing it. Hell in the Pacific is a perfect
example of what I mean. When we went
down to the Pacific to begin shooting,
we had no script at all—just an idea.
We waddled around in the mud and
taro roots for a month before it be;
to take shape. And you wouldn't believe
the technical problems involved in
ing a film crew to Palau in the South
ic. It was like going oft on location

with a thousand virgins. You know how
virgins are: They're very touchy and
they're trying to hang onto something
that nobody else has. They were all
homebody types—lawn mowers and bad
minton players. Put a little presure on
them and ¡ch those balls of theirs turn
v: I'm used 10 pressures and
duress, so I don't pay any attention to it
myself, but they fell apart completely
They held the picture up six weeks
because it rained. I couldn't stand that.
I told them: If it’s raining, so what?
Shoot anyway. But they had to wait for
a sunny day: when it never came, we
finally shot in the rain anyway—and it
was beautiful. I say if the wind blows—
use it. If there's an earthquake—shoot
it. It's theatrical realism,
PLAYBOY: It was reported that the movie's
financial backers threatened to wrap up
the film prematurely because of the slow
of the shooting. Is that true?
Yeah, they were going to pull
x on us and leave the film with
Don
The money men said, "What kind of a
guarantee can you give us that it'll be
finished soon?" I said, "I can't give you
any guarantee, but I know a beautiful
ending is there. It will be an emotional
feeling that you can't really write down,
because this is a movie and not a novel.
1 must have convinced them, because we
stayed and finally finished—but not be-
fore we scared the shit out of them.
PLAYBOY: How was the ending finally
resolved?
MARVIN: There's no stereotyped ending.
The audience won't be able to it.
They'll wonder: “Well, who's going to
kill who?” Our answer is, "When you
grow up, baby, you don't have to kill.”
As it turns out, І provoke an argument
ne. That sounds diffcult, be-
cause he only speaks Japanese, right?
But I call him a prick and he responds
with a very strong question mark. And.
then I just walk away from him: nobody
gets killed. It might bomb out, but what
the hell. At least I can say I did what
I thought was right. A cop-out ending
would have been the easiest thing to do;
just blow both guys up and you don't
have to swer anything. That's total
irresponsibili I was too involved in
the production to let it end that way. I
just couldn't hang it up at night and go
home. 1 know a lot of actors who can
and do: I've seen their pictures and I've
forgouen their names.
PLAYBOY: Did this involvement in Hell in
the Pacific remind. you of the time you
spent in that same area as a combat
Marine during World War Two?
MARVIN: Not in the way I expected.
When we hit Saipan originally, the pop-
ulation was around 100.000, including

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PLAYBOY

lians. The cane fields looked like
Now it's a garbage dump. The
aftermath of war is nothing. and we
proved it on those islands. They left

everything, all the trophies of the Last

War. They didn't clean it up at all. The
armor is there—and the bones. Tanks
are still lying all over the joint. Fallen

Zeros stuck right in the earth. The sec-
ond largest source of income in M

beautiful beach maybe 150 yards long.
Right at the tideline—this is inside a
barrier reef, so it's just lapping water—
is a blade sticking out from a Zero
propeller with a couple of bullet holes
in it. You look and the feeling you
want is not there. Here it is. 25 years
later, and I'm walking around on S;
again. Who can threaten me? Nobody. I
had already thought out the memories
of the nights and the sounds and the
killing before 1 went back. I was waiting
lor it to hit and it didn't. And 1 said,
"Gee, maybe I've grown up." You see a
jawbone or a skull and you say, "Yes
but that was a long time ago." The
urgency was in that man's living, not in

s death. For some funny reason. 1
think I even figured out death out there
round. Im no longer afr:
Em just afraid of that one last
fleeting moment. How I'm going to die

1 don't know, but I know Tin willing to
die.
PLAYBOY: Was there any time during

combat when you thought that last mo-
ment

ad come?
Yeah. I was wounded in a fire
fight in 1044. I was with I Company of
the 24th Marines, Fourth Division. We

Valley. I was out on the point with a
buddy when suddenly we started sceing
fire on the right flank. We were getting

an awful lot of machinegun fire from
point-blank range. My buddy pointed to
a palm tree about ten feet away and
then suddenly he got
through the lung. It was pink blood;
you know that's a lung shot. He went
down and | stuck my finger in the hole
to try to keep the lung from collapsing,
but he was dead. I started firing to try
10 stop whatever was coming at us. The
nemy was laying down a cross fire be-
about a 15-minute fue
d I don't think we got one Nip.
They just decimated the company.
PLAYBOY: Where did you get hit?
MARVIN: If you mean physically, chere are
two prominent parts of your body show-
ing when you're lying down on the
ground in the middle of a fre fght—
your head and your ass. Either you get
killed or you get shot in the ass, one or
the other. Only the Marines got shot in
the ass—did you know that? I never
saw a sailor or an Army guy that got

shot in the ass. But that’s where I got
hit. It took me a long time to get out,
because I couldn't walk, so I crawled
back through some brush until I came
to a clearing. There were two guys
alongside of me. I said, “Lift me up. If I
can stand. turn me loose and give me
shove.” They did that and I did a cou-
ple of jumps, skidded and went into the
brush on the other side. I got behind
the trees and a guy stepped on me.
Then he got shot through the spine and
fell over on me, dead. І couldn't get him
off me.

Someone finally put me on a stretcher
and took me to battalion aid. The doc
was standing there with two Jap pistols
stuffed in his belt, with his shirt off,

id took me to the beach and then out
to a hospital ship called the Solace. How
docs that name grab you? Then a
Corpsman came by and said, "Do you
want some ice cream or ice water or
anything?" I couldn't believe it. Moon-
light Serenade was playing over the P. A.
system and you could hear the gunfire
on the beach about 1000 yards away.
That's when I felt the blow. “Jeez. I
fucked off.” I knew all the assholes were
still fighting it out. I felt like a deserter,
like 1 had thrown down my rifle and
run from the battlefield. Complete cow-
ardice. A day or two later, І realized
that I was out of it. They weren't going
10 put а cork in me and send me back
out, so I relaxed.

PLAYBOY: Were you able to sce Death
Valley, the site where you were wound-
ed, on your recent trip?

MARVIN: Yeah, I went through it. I had
magnified it in my memory because of
the original experience. It’s not a field
anymore; it’s а weed patch. When I saw
it again, 25 years later, it made me think
about the original pain. Have you ever
passed out from pain? When you wake
up, you say, "Hey, it didn't hurt. that
much." Then you laugh at yourself,
‘cause you know pain isn't that horrible
to take. When its over, you forget it.
But I passed out from it a couple of
times, and each time, I didn't believe it.
out? What kind of talk is th
Thats for girls, like the vapors, in those
classic 1850 stories.
PLAYBOY: Did you forget the fear of the
fire fight as easily as you forgot the pain
of the wound?

MARVIN: That took me a little longer. In
fact, even after I was shipped back to a
hospital in Hawaii, I'd have this dream
every night before I went to sleep. I'd
be looking out at the ocean through the
palm trees and just as I'd drift off, I'd
see a Japanese soldier slip from one исе
to another. I'd wake up and Га look

and say, "Its Hawaii, it's impossible:
now come on, Lec. It’s your imagin.
tion.” That happened on three of four
nights. On the fifth night, just as the
Jap was across, I heard one ol
the air-raid sirens on the island; they
started firing 90-millimeter antiaircraft
just imaginary guy moved. I
leaped out of bed and went down on my
knees. 1 couldn't stand up. 1 couldn't
move; I was paralyzed. I had a rifle, but
there was no ammunition for it. Guys
were running around, going off their nut.
Then there were flashlights and I was
yelling, Kill the lights!" It was absolute
confusion till we found out that it

just -raid practice, that the Pres
dent had come out and they were putting
on a little show for him.

In a funny way, I related the paralyz-
ing fear of that moment—the sirens, the
explosions and the flashlights—to my
own birth. When I was born, those yery
same things happened: the explosion
from the uterus into the vagina, the
sudden flash of light and, instead of a
siren, the sound of my own crying. I
imagine that birth must be the original
fear; coming from a secure place and
being blown out into a cold world. But
fear of one d or another follows us
throughout life. Fortunately, I learned a
very valuable lesson the Marine
Corps: how not to project your fear.
how to cover it up by preoccupation
with whatever was at hand—lo: ig the
machine gun or keeping it clean, so that
I wouldn't look like I was afr:
LAYBOY: Would it have been so terrible
to show fear?

MARVIN: Yes. Fear is a very contagious
can lead to disaster, espe:
it can lead to the annihilation

Your ability to subordinate
your fear of death to the interests of the
group is an expression of traditional
military discipline—yet you spent a con-
siderable amount of your time in thc
stockade for insubordination, Did you
difficult to reconcile your individ-
ism with military authority?

MARVIN: I did at first: but after my
sojourn in the stockade, I learned to take
not only the discipline but the verbal
abuse that went along with it, At boot
camp, all the Yankees were D. l. d by the
Southern guys and all the Southern guys
were D. Id by the Yankees. It kept the
pot stirring. To save myself from being
bloody all the time, 1 learned how to
take verbal or physical abuse and mot
respond to it. I Uncle-Tommed the hell
out of them. But 1 can't do that any-
more. Now, in my acting, 1 fight the
military, even when I'm playing a mili-
tary role. When 1 was revisiting Saipan
last spring, I went out and had a few
drinks one night. I remember talking to

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PLAYBOY

a couple of admirals who were on their
way back from Vietnam. I grabbed a
saltcellar and poured salt all over their
hats. I told them I wanted to eat the
scrambled eggs on their visors. They had
no sense ol humor. Why should they?
Otherwise, they wouldn't be wearing
that outfit.

PLAYBOY: You once told an interviewer
that you hated uniforms, especially po-
lice uniforms. "Every time I see oni
you said, “bells ring. Guys who wear
uniforms ought to look for a monarchy
to live in.” Feeling as you do, why did
you enlist in the Marines?

MARVIN: I remember the uniform of flesh,
not the dothing. I remember the men.
The war effort, at that time, was a con-
doned world-wide effort for peace and
freedom. But uniforms, even then, seemed.
to take y away from the individual.
It's the mentality of the uni‘orm that I
don't like; I attack the uniform as a
bol of that mentality. I (ссі the same
y about the police mentality, but in-
stead of attacking it, I avoid it; you're
in trouble if you give the cops an excuse
to unload on you.

PLAYBOY: li sounds as though you're
ing from experience.

MARVIN: Almost. My girlfriend and I re
turned from a shopping trip several
months ago and found a stick of mari-
juana in the mailbox. “Get away, baby,
told her "T ain't ganna touch. tha
Called the cops. Twenty-five minutes lat-
er, they showed up. One of them said,
“What's that?" I said, "I don't know.
You tell me.” That same nij we were
going out to dinner. We got into the car
nd there a sack of marijuana on
the front seat. I just fuckin’ blanched. I
drove to the sheriffs office
and told one of the cops to look at the
sack. "Oregano, huh?" he said. 1 told
him, "You smell it, baby, not me." "They
never found out who planted the stuff.
PLAYBOY: Have you ever smoked pot?
MARVIN- "Through the years, maybe three
or four times, It was always with a girl,
for some id of sexual high. lation“ T
don’t recall any big response to the
marijuana itself; just the presence of the
was enough to expand my mind.
PLAYBOY: Then you've mever had any
memorable psychedelic experience?
MARVIN: I h: bad reaction once. Liter-
ally, I didn't know whether to shit or
go blind. Those were my choices and
I couldn't do either one of them. That's
when I hung it up. I don't like being
out of control—not thi

alk-

way,

liquor, because everybody knows wl
you're doing: but if you're out of con-
trol with other inducers, such as mari-
juana or LSD, nobody knows what you're
doing, so you become spooky to them.

They want no part of you. They don't
know whether you're going to fip out or
whether you're having a nervous break-
down or what.

PLAYBOY: In spite of these drawbacks,
increasing numbers of young people are
turning on to psychedelic drugs. As a
father, would you advise your son against
their use?

MARVIN: 1 don't usually advise him about
anything. I say, "Well, what about pot
and all this shit; do you smoke it?” He
says, “No.” And 1 say, "Well, you can
if you want to. It's up to you. But if
you get caught, it's going to be awful
And he says, “Naw, I doi
And I say, “OK, then, that's
all I want to say. Just lers not lie to
each other.” But I hope that he has
smoked it. I hope he's tried all those
things. I tried them when I was a kid.
Why should he be different? Sooner or
later, someone's going to stuff it in his
face, and I'd rather have him do it at
time when he's free of major respon:
bilities. He can learn the lesson better
at a young age than he can when he's
a mature man.

PLAYBOY: Do you have a close rela
with your son
MARVIN: I withdrew in the parental area
immediately after he was born. When I
first saw him, I realized that the only
thing I could give him was his freedom.
Т didn't force a life style or a mood an
him or a fecling that he must exemplify
me or curry the banner up to the front
line. It can be very destructive to an
offspring to set a guide or a mold. What
you want to do is leave a feeling within
your son, so that when he pets in a jam,

hip

he may not know what to think but
least he has someth:

g on which to base
his decision. By resolving his own prob-
lems rather than relying on what some.
one ele did in a sticky tion, he

gains strength from it, as opposed to
ating my behavior. That way,

just imi
he becomes his own man. The beauty
him is that he is him, not me,
PLAYBOY: Has your rather unique method
of child rearing worked ощ?

MARVIN: I think so. My son is an amaz-
ingly straight boy, most likely because I
just try to be honest with him. When he
asks me something, I give him a straight
answer. After I finished M Squad, I
didn't work for a year. I was having big
problems. I'd sit out in my playroom
and stay about half suff most of the
time. Chris would come in and say, "Are
you drunk, Dad?" Fd say, "Yeah." And
he'd say. IK. I won't bother you.”

Which is all Т can ask. I didn't lie to
ET.

him. By allowing him his frcedo
think Гуе let him find a strength t
will help him in a pinch someplace
when I won't be around to save him,

when he's going to have to work it out
for himself.

PLAYBOY: Are you as self-sufficient as
you'd like your son to be?

MARVIN: I tend to be self-sufficient to a
fault. It’s every man for himself. The
most useless word in the English lan-
guage is “help.” The only timc you hear
it is when something occurs that а per
son's nor prepared for or hasn't even
considered. If you're in a jam like that
and you scream for help, you'd just
better hope that there's somebody
around who has the time and the indi:
ation to give it to you. But I'd rather
not take that chance. If you have a
problem, you have 10 be ready to work
it out yourself. Like, if loneliness is the
problem, no one else can solve it for
you, You have to feed it in order to get
through it—like taking a walk on the
beach so you can really be alone, away
from recognizable items that might re
flect other times and other places that
would encourage you to wallow in self:
pity. If you're lonely, you've got to be
alone; you'll get over it more quickly
that way.

PLAYBOY: But you have a reputation for
preferring to be alone.

MARVIN: Everybody wants to get off by
himself now and then. I just need more
of it than most people. I can do that
w, here at the beach. When I close
the front door, that’s it Who walked up
on the porch today? Nobody. When 1
was living in town, or in New York. in
a cold-water flat or a rooming house, 1
had to deal with people constantly. Now
I have the privacy to sit on the porch
and just read all day. But my reputation
as a loner is more romantic than it is
valid though I suppose every man would
like to be known as the tall, raw-boned
loner. That desire came at a very carly
age in my case, when I realized that you
can communicate only so long with some
body before they start wandcring on you
PLAYBOY: Is it possible that yowre pro-
jecting your feelings to others? Maybe
you're indined to wander.

MARVIN: Very true. It depends on who 1
talk to, doesn't it? Any conversation's
good for about five minutes and then
you start getting into quotes. If there's
anything of the loner about me, its

because I know 1 can become bore
Before
they get to the “Sce you around" stage, 1

usually duck out.
PLAYBOY: Couldn't that be an excuse for
not getting emotionally involved?
MARVIN: No, I don't think so. The re
son for the boredom is that I lose inter
est in the contact Ive made. Is no
longer a 50-50 proposition. If the other
person hus the edge in the conversation
with me, I listen. If I have the edge on
him, I tend to become obnoxious—or to

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PLAYBOY

bug out. That would certainly give some
people the impression that I'm a loner.
In that sense, maybe they're right.
PLAYBOY: In addition to your reputation
as а loner, another image of Lee Marvin
has emerged in recent years. Is there any
truth to the rumor that you're an alco-
holic?

MARVIN: I see you've read those stories
about how I'm drunk on the set all the
time, Well, on occasions I have been. So
what? Pope Paul can't take a day off
and go out and get smashed at the local
gin mill, but that's one of the preroga-
tives I can enjoy. Just because it hap-
pens once in a while, people think it's
a pattern. My performance as Kid Shel-
lecn in Cat Ballou didn't help things,
either. I guess I acted so realistically
drunk that audiences figured nobody
could pretend. that. well.

PLAYEOY: What makes you drink while
you're working?

MARVIN: [t usually happens when I pump
up too hard, when I get my energy level
so high that I'm wringing inside; I j
have to stop it. Nothing can be that
important, so the way 1 show its unim-
portance to myself is to have a drink or
two or three or whatever. The next thing
you know, I'm a little juiced. It's really
a defiance of my own involvement. It
lows me to be honest with myself. When
I get stoned, I reduce myself in my own
eyes to nothing.

PLAYBOY: Why do you want to do that?
MARVIN: Because for every high, there
must be a low. If my involvement be-
comes too intense, I have to counterbal-
псе it by getting stoned. Then I can
figure a straight, pure thought. Pure
thoughts are survival thoughts. At the
survival stage, you can really look at
something and say, “I've gone too far in
this direction. How do I stop it?” Invari-
ably, it works for me.

PLAYBOY: Even the morning after?
MARVIN: When I wake up, I've figured
something out, I don't know what it is,
but at least it doesn't bother me any-
more, Totally juvenile, but it works.
“The aftermath, of course, is tremendous
hangovers and guili—and the pledge.
“Then, three days later, when my joints
start to creak again, I have to look
around for oil.

PLAYBOY: Are you a genial drunk or a
belligerent one?

MARVIN: It depends on what I'm drink-
ing, how much I'm drinking, why Tra
drinking and who I'm drinking with. I
was working very hard once. doing a
television drama called Sergeant Ryker,
and one night after the shooting was
completed, I was drinking im :
Fernando Valley bar with an assi
irector. We were laughing and telling
cach other storics—but this stranger
kept barging in. He was just asking for

it. In the past, guys I had never scen
before would walk up to me in a bar
and tell me that their wives really hated
my guts, I'd just sneer. It was expected
of me. But it would always end up in a
very amicable conversation and I'd say,
“Well, maybe your wife is right." So he'd
say. “Nobody's that bad. I mean, you
ought to know my wife." Before long,
we would be buying cach other a couple
of drinks and laughing.

But this guy in the Valley just kept
baiting me, My thoughts were a million
“miles from him. He was fulfilling some
need and, goddamn it, for some dumb,
stupid reason, I helped him along. 1 just
had to shut him up, so I hit him over the
head with a banjo. It had nothing to do
with him. I'm sure I had a mask on him
he represented some anxiety that I was
working out and he just happened to be
in the way. Otherwise, I probably would
have slammed myself. Anyway. I was
responsible for what happened, so I
paid the guy. At least he got another set
of teeth ош of й- апа some money.
PLAYBOY: That kind of offscreen behay-
ior seems to be consistent with the ch
acters you most often portray in films.
In Ship of Fools, for example, you
played Bill Tenny, a washed-up former
baseball s whom one reviewer called
“a boorish, frightened, whoring,
ic bigot.” At the time you made that
film, you told a reporter, “I had to play
him, because he is a facet of me. a part
of me I don't like.” Do you share all
those traits?

MARVIN: Sure. They're just magnifica-
tions. Tenny was such an unpleasant
guy that nobody else would play him.
Even 1 bridled when 1 was first offered
the part. But my attitude changed when
1 realized Id be playing myself. It was
perfect typecasting—all my facets mul
plied and expanded, I steeped myself i
that guy, got it all together at one time
and then exposed it. Having examined
myself that closely, 1 knew I wouldn't
have to do it ag; I'm rid of it, so I
don't have to fear that those things wi
come out in me again. No, thats not
o To be honest, on occasions I can
still be a pain in the ass, just like Bill
Tenny. I try not to be, but once in a
while I slip.

PLAYBOY: Are you still boorish?
MARVIN: Yeah, sometimes when I'm with
friends and I wish І weren't. When I
have nothing to say intellectually, when
I'm not attuned to my surroundings, I
tell a dirty joke. I'm still guilty of those
excesses, but I try to be less guilty.
PLAYBOY: Are you a bigot?

MARVIN: No, that was something I felt
kindergarten. “The world has gone by
quite a few days since I was a kid. I was
raised in New York in the Twenties and
the early Thirties in a very class and

area. Your address meant
ng—and your “background.” I
heard all the bigoted remarks by the
time I was five or six. Kids talking.
Adults grumbling, “That so-and-so prick!”
Growing up and discovering that the
other races, creeds and colors weren't
really any worse than mine was a revela-
tion for me. 1 still can't say that all the
stereotypes aren't true, but they're more
often false than true.

PLAYBOY: From what you said about fear
earlier in this interview, would it be fair
to conclude that, like Bill Tenny, you're
frightened as well as boorish, whoring
and alcoholic?

MARVIN: Oh, yeah, Frequently. Fear is
possibly the greatest motivation there is.
Bur, as 1 said before, by pretending not
to fear, you can make it work for you
and get the job done, Every actor is full
of doubts about himself, and I'm no
exception. If you sce those fears in your-
selí—and expose them—the audience
an associate with you more deeply than
if you try to play it safe and pretend to
be the invincible tough guy. To show
my suength is nothing; to show my
weakness is everything. I suppose it
takes a certain kind of strength to admit
your fears, but I really don't think
anything more than simple honesty.
PLAYBOY: You've reached a peak in your
profession in terms of wealth, power and
public acceptance, What do you have left
to fear?

MARVIN. You have to remember there arc
tremendous chasms between the peaks.
Tve lost my grip before and it could
happen again. Is a long way down and
it gets deeper every time. To be a failure
when I was 30 isn't like being a failure
when I'm 44. There's more to lose and
less time to get it back.

PLAYBOY: You said earlier that you've
overcome your fear of death, but you
seem to dread growing older.

MARVIN: Not really. 1 don’t want any
more than Гуе got coming to me, and I
don't understand those who do. Like,
why would anyone want to undergo a
heart transplant? A person would have
to have led a pretty empty life to be
that frightened of dying. How would
you like to be walking around with a
17-year-old broad's heart in your chest.
just to live a few years longer? You
wouldn't know whether to menstruate
te. Jesus, give me my span of
years and knock me down when it's all
over. Yowve got to make room for the
other guy. I know that when my ashes
are blown away or they stuff me in a
sewer, irs not going to hurt. I've had
the simple pleasure of being present
when the sun was shining and the rain
was falling. I've had mine, and nobody
can take it away from me.

WHAT SORT OF MAN READS PLAYBOY?

The host who provides that extra measure of pleasure—the kind it takes to ignite a party. And when
it comes to spreading good cheer, he pours with a lavish hand. Facts: PLAYBOY is read by one out
of every three males in the U.S. who regularly drink Scotch. And it reaches home with more men
who drink rum and vodka than any other magazine. No single magazine gets to the “spirited” ones
like PLAYBOY—the number-one monthly in alcoholic beverage advertising. (Source: 1968 BRI.)

New York + Chicago • Detroit - Los Angeles . San Francisco Atlanta London + Tokyo

fiction By ROBERT COOVER avr. ѕтеррер orr тик curo and got hit
by a truck. He didn't know at first what it was that hit him; but now, here
on his back, under the truck, there could be no doubt. Is it me? he wondered,
Have 1 walked the carth and come here?

Just as he was struck, and while still tumbling in front of the truck and
then under the wheels, in a Kind of funhouse gambado of pain and terror,
he had thought: This has happened before. Yet, oddly, it never had. There’
a woman, he thought, and a doctor... . His neck had sprung; there was a
sudden flash of light and a blazc roaring up in the back of his head, The hot
—almost fragrant—pain: That was new. It was the place he felt he'd
returned to.

He lay perpendicular to the length of the truck, under the trailer, just to
the rear of the truck's second of three sets of wheels. All of him was under
the truck but his head and shoulders. Maybe I'm being born again, he
reasoned. He stared straight up, past the side of the truck, toward the sky,
pale-blue and cloudless. The tops of skyscrapers closed toward the center of
his vision; now that he thought about it, he realized it was the first time in
years he had looked up at them, and they seemed inclined to fall. The old
illusion; one of them, anyway. The truck was red with white letters, but his
severe angle of vision up the side kept him from being able to read the
letters. A сарї he could see that—and a number, yes, it seemed to be a
14, He smiled inwardly at the irony, for he had a private fascination with
numbers: 14! He thought he remembered having had a green light, but it
didn't really matter, No way to prove it. It would have changed by now, in
any case. The thought, obscurely, troubled him.

"Crazy goddamn fool he just walk right out in fronta me no respect
just askin’ for a bustin!”

The voice, familiar somchow, guttural, yet falsetto, came from above
and to his right. People were gathering to stare down at him, shaking their
heads, He felt like one chosen. He tricd to turn his head toward the voice,
but his neck flashed hot again. Things were bad. Better just to lie still, take
no chances. Anyway, he saw now, just in the comer of his cye, the cab of the
truck, red like the trailer, and poking out its window, the large head of the
truck driver, wagging in the sunshine. The driver wore a small tweed
cap—4oo small, in fact: It sat just on top of his head

“Boy I seen punchies in my sweet time but this cookie takes the cake
God bless the laboring classes I say and preserve us from the humble freak!”

The truck driver spoke with broad gestures, bulbous eyes rolling, runty
body thrusting itself in and out of the cab window, little hands flying wildly
about. Paul worried still about the light. It was important, yet how could he
ever know? The world was an ephemeral place, it could get away from you
in a minute. The driver had a bent red nose and coarse reddish hair that
stuck out like straw. A hard, shiny chin, too, like a mirror image of the
hooked nose. Paul's eyes wearied of the strain and he had to stop looking.

“Listen lays and gentmens I'm a good Christian by Judy a decent
hard-workin’ fambly man carnin’ a honest wage and got a dear little woman
and seven yearnin’ young'uns all my own seed a responsible man and
goddamn that boy what he do but walk right into me and my poor ole
truck!

On some faces Paul saw compassion, or at least a neutral curiosity, an
idle amusement; but on most he saw reproach. There were those who winced
on witnessing his state and scemed to understand, but there were others—a
majority—who jeered.

“He asked for it, il you ask mel

"It's the idler plays the fool and the workingman's to hang for it!

“Shouldn't allow his kind out to walk the streets!”

“Let it be a lesson!

It worsened. Their shouts grew louder and ran together. There were

“help me, i'm hurt," said paul, but his
silent scream went unheard by the
insensate. bedlam crowd of onlookers

orations and the waving of flags. Paul was wondci
Had he been carrying anything? No, no. He had only
—wait!—a book? Very likely, but . . . ah, well. Perhaps
he y ing it still. There was no feeling in his
fingers.

The people were around him like flies, grievances were
being aired, sides taken, and there might have been a
brawl, but a policeman arrived and broke it up. “All
right, everybody! Stand back, please!” he shouted. “Give
this man some air! Can't you see he's been injured?

At last, Paul thought. He relaxed. For a moment, he'd
felt himself in a strange and hostile country, but now
he felt at home again. He even began to believe he
might survive. Though, really: Had he ever doubted it?
verybody back, back!” The policeman was effective
The crowd grew quiet, and by the sound of their sullen
shuffling, Paul guessed they were backing olf. Not that
he got more or less air by it, but he felt relieved, just
the same. “Now,” said the policeman, gently but firmly,
"what has happened here?"

And with that, it all started up again, the same as
before—the clamor, the outrage, the arguments—but
louder and more discordant than
ever, I'm hurt, Paul said. No one
heard. The policeman cried out for
order, and slowly, with his shouts,
with his night stick, with his threats,
he reduced them again to silence.

One lone voice hung at the end

as carr

"For the last time, mister, stop
goosing me!" Everybody laughed,
released.

"Stop goosing her, sir!” the police.
man commanded, with his chin
thrust firmly forward, and everybody
laughed again.

Paul almost laughed,

couldn't, quite. Besides, he'd just,
with that, got the picture; and given
his condition, it was not a funny one.
He opened his eyes and there was the
policeman bent down over him. He
had a notebook in his hand.
‘ow, tell me, son, what happened here?” The police-
man's face was thin and pale, like a student's, and he
wore a trim liule tuft of black mustache under the
pinched peak of his nose

Yve just been hit, Paul explained, by this truck
then he realized that he probably didn't say it
that speech was an art no longer his. He cast
indicatively toward the cab of the truck.

“Listen, I asked you what happened here! Car got
your tongue, young man?

“Crazy goddamn fool he just walk right out in fronta
me no respect just askin’ for a bustin!”

The policeman remained crouched over Paul but
turned his head up to look at the truck driver. The
policeman wore a brilliant blue uniform with large
brass buttons. And gold epaulets
Boy I seen punchies in my sweet time but this cookie
takes the cake God bless the laboring classes 1 say and
preserve us from the humble freak!”

The policeman looked down at Paul, then back at the
truck driver. “I Know about truck drivers,” Paul heard
him say.

but he

and
all,

cyes

"Listen lays and gentmens Fm а good Christian by
Judy a decent hard-workin’ fambly man carnin' a hon-
est Wage and got a dear little woman and seven yearnin
young'uns all my own seed a responsible man and god-
damn that boy what he do but walk right into me and
my poor ole trike. Truck, I mean.’

There was a loose uttering from the crowd, but the
policeman's frown and raised stick contained it. “What's
your name, lad?" he asked, turning back to Paul. At first,
the policeman smiled; he knew who truck drivers were
and he knew who Pauls were, and there was a salvation
of sorts in that smile, but gradually it faded. “Come,
come, boy! Don’t be afraid!” He winked, nudged him
gently. “We're here to help you.”

Paul, Paul replied. But, no, no doubt about it, it was
jammed up in there and he wasn't getting it out.

“Well, if you won't help me, 1 can’t help you," the
policeman said pettishly and tilted his nose. "Anybody
here know this man?” he called out to the crowd.

Again a roar, a threatening tumult of words and
sounds, shouts back and forth. lt was hard to know if
none knew him or if they all did. But then one voice,
belted out above the others, came
through: “O God in heaven! Is
Amory! Amory Westerman!" The
voice, a woman's, hysterical by the
sound of it, drew near. “Amory!
What . . . what have they done to
you?”

Paul understood. It was not a mis-
take. He was astonished by his own
acumen.

“Do you know this young man
the policeman asked, lifting his nore-
book.

“What? Know him? Did Sarah
know Abraham? Did Eve know
Cain?"

The policeman cleared his throat
uneasily. "Adam," he corrected soltly.

"You know who you know, I know
who I know," the woman said, and
let fly with a low, throaty snipger.
The crowd responded with a belly laugh.
“But this young ma the policeman insisted,
flustered.

“Who, you and Amory?” the woman cried. “I ca
believe it!“ The crowd laughed and the policeman bit
his lip. “Amory! What new persecutions are these?” She
billowed out above him: old, maybe even 70, fat and
bosomy, pasty-faced with thick red rouge, head haloed
by ringlets of sparse orangish hair. “My poor Amory!”
And down she came on him. Paul tried. to duck, got
only a hot flash in his neck for it. Her breath reeked ol
cheap gin. Help, said Paul.

“Hold, madam! Stop!” the policeman cried, tugging
at the woman's fur collar. She stood, threw up her arms
belore her face, staggered backward. What more she
did, Paul couldn't sec, for his view of her face wa
largely blocked by the bulge of her breasts and belly.
There were laughs, though. "Everything in order here,”
grumped the policeman, tapping his notebook. "Now,
what's your name, please, uh, miss, madam?"

“My name?" She twirled gracelessly on one dropsied
ankle and cried to the crowd: "Shall I tell?"

“Tell! Tell! Tell!” shouted the spectators, clapping
rhythmically. Paul let himself be absorbed by it; there
alter all, nothing else to do.

The policeman, rapping a pencil against his blue
notebook to the rhythm of the chant, leaned down over
Paul and whispered: “I think we've got them on our
side now!”

Paul, his gaze floating giddily up past the thin white
face of the police officer and the red side of the truck
into the horizonless blue haze above, wondered if alli-
ance were really the key to it all. What am I without
them? Could I even die? Suddenly, the whole world
seemed to tip: His feet dropped and his head rose. Be-
neath him the red machine shot grease and muck, the
host rioted above his head, the earth pushed him from
behind, and out front the skyscrapers pointed, like so
many insensate fingers, the path he must walk to ob)
ion. He squeezed shut his eyes to set right the world
again—he was alraid he would slide down beneath the
truck to disappear from sight forever.

“Му name——" bellowed the woman, and the crowd
hushed, tittering softly. Paul opened his eyes. He was on
his back again. The policeman stood
over him, mouth agape, pencil
poised. The woman's pufly face was
sequined with sweat. Paul wondered
what she'd been doing while he
wasn't watching. “My name, officer,
is Grund:

“I beg your pardon?" The police-
man, when nervous, had a way of nib-
ng his mustache with his lowers.

"Mis. Grundy, dear boy." She
patted the policeman's thin cheek,
tweaked his nose. “But you can call
me Charity.” The policeman blushed
She twiddled her index finger in his
litle mustache. "Kootchy-kootchy-
koo!” Roar of laughter from the
crowd.

The policeman sneezed, “Please!”
he protesied.

Mrs. Grundy curtsied and stooped
to unzip the officer's fly. “Hello! Anybody home?"

“Slop that!" squeaked the policeman through the
thunderous laughter and applause. Strange, thought
Paul, how much Im enjoying thi:

"But where was 1?" the woman asked. “I seem to have
got off the”

“This . . this young fellow," said the policeman,
pointing with L He zipped up, blew his nose.
“Mr.—uh—Mr. Westerman . . . you said: А
“Mr. who?" The woman shook her jowls, perplexed.
She frowned down at Paul, then brightened. “Oh, yes!
Amory!” She paled, seemed to sicken. Paul, if he
could've, woukl've smiled. "Good God!" she rasped, as
though appalled at what she saw. Then, once more, she
took an operatic grip on her breasts and staggered back
a step. “O mortality! O fatal mischief! Done in! A noble
man lies stark and stiff! Delenda est Carthago! Sic transit
glans mund.

Gloria, corrected. Paul. No, leav

“Squashed like a lousy bug!" she cried. “And at the
height of his potency

“Now, wait just a minute!" the policeman protested.

“The final curtain! The last farewell! The journcy's
end! Over the hill! The last muster!" Each phrase was
answered by a happy shout from the mob. “Across the
river! The way of all flesh! “The last roundup!" She
sobbed, then ballooned down on him again, twcaked his
r and whispered: "How's Charity's weetsie snotkins,
enh? Him fall down and bump his little putsy? Mumsy
kiss and make well!" And she let him have it on the—
well, sort of on the left side of his nose, left cheek and
part of his left eye: one wet enveloping sour blubbering
ki and this time, sorrily, the policeman did not
intervene. He was busy taking notes. Officer, said Paul.

"Hmmm," the policeman muttered, and wrote.

G-rwn—ah, ahem, Grundig, Grundig—d, yes,
dig. Now, what did you”

The woman labored clumsily to her feet, plodded over
behind the policeman and squinted over his shoulder at
the notes he was taking. “That's a 'y' there, buster, a
" She jabbed а stubby ruby-tipped finger at the
notebook.

“Grundigy?” asked the policen
kind of a name is that?”

“No, no!” the old woman whined,
her grand manner flung to the winds.
“Grundy! Grundy! Without the ‘ig,
don't you see? You take off your”

“Oh, Grundy! Now I have it!”
an scrubbed the back
end of his pencil in the notebook.
“Darned eraser. About shot.” The
paper tore. He looked up irritably.
‘an't we just make it Grundig?
ndy,” said the woman coldly.

‘The policeman ripped the page out
of his notebook, rumpled it up an-
grily and hurled it to the street. “АП
ghe gosh damn it all!" he cried in
e, scribbling: “Grundy. 1 have
it. Now get on with it, lady!
Officer!” cried Mrs. Grundy, clasp-
ing a handkerchief to her throat.
“Remember your place, or I shall
speak to your superior!” The police-
man shrank, blanched.

Paul knew what would come. He could read these
two like a book. Гл the strange one, he thought. He
wanted to watch their faces, but his street-level view
gave him at best a perspective on their underchins. It
was their crotches that were prominent. Butts and bel-
lies: the squashed bug's-eye view. And that was strange,
too: that he wanted to watch their faces.

“The policeman was begging for mercy, wringing his
pale hands. There were [aint hissing sounds wriggling
out of the crowd like serpents. “Cut the shit, Mac,”
Charity Grundy said finally, “you're overdoing it.” The
officer nibbled his mustache, stared down at his note-
book. “You wanna know who this poor clown is, right?”
The policeman nodded. “OK, are you ready?” She
clasped her bosom again and the crowd hushed. The
police officer held his notebook up, the pencil poised.
Mrs. Grundy sniffed, looked down at Paul, winced,
turned away and wept into her furpiece. “Officer!” she
gasped. "He was my lover!”

Halloos and cheers from the crowd, passing to laugh-
ter. The policeman started to smile, blinking down at

n in disbelief. “What

Mrs. Grundy's body; but with a twitch of his mustache, he suppressed it.

“We met... just one year ago today. O fateful hour!” She smiled
bravely, brushing back a tear, her lower lip quivering. Once, her hands
clenched woefully before her face, she winked down at Paul. The wink
nearly convinced him. Maybe I'm him, after all. Why not? “He was selling
sea chests, door to door. I can see him now as he was then She paused
to look down at him and wrinkles of revulsion swept over her face. Some-
how, this brought laughter. She looked away, puckered her mouth and
ed her eyes, shook one hand limply from the wrist. The crowd was
really with her.

‘Mrs. Grundy,” the officer whispered, "please. . .

“Yes, there he was, chapfallen and misused, orphaned by the rapacious
world, yet pure and undefiled, there: There at my door!” With her baggy
arm flung out, quavering, she indicated her door. “Bent nearly double under
his impossible sea chest, perspiration illuminating his manly brow, wound-
ing his eyes, wrinkling his undershirt

“Careful,” cautioned the policeman nervously, glancing up from his
notes. He must have filled 20 or 30 pages by now.

“In short, my heart went out to him!” Gesture of heart going out.
though—alas!—my need for sea chests was limited“

The spectators somehow discovered something amusing in this and
tittered knowingly. Mainly in the way she said it, Paul supposed. Her story,
in truth, did not bother him so much as his own fascination with it. He
knew where it would lead, but it didn’t matter, In fact, maybe that was
what fascinated him.

“I invited him in. Put down that horrid sea chest, dear boy, and come
in here,’ I cried, ‘come in to your warm and obedient Charity, love, come in
for a cup of tea, come in and rest, rest your pretty little shoulders, your
pretty little back, your pretty little. . . . Mrs. Grundy paused, smiled with
a faint arch of one eyebrow and the crowd responded with another burst
of laughter. “And it was pretty little, OK,” she grumbled, and again they
whooped.

How was it now? he wondered. In fact, he'd been wondering all along.

“And, well, officer, that’s what he did, he did put down his sea chest—
alas! sad to tell, right on my unfortunate cat, Rasputin, dozing there in the
day's brief sun, God rest his soul, his—again, alas! —somewhat homaloidal
soul!”

She had a great audience. They hadn't failed her, nor did they now.

The policeman, who had finally squatted down to write on his knee,
now stood and shouted for order. "Quiet! Quiet!” His mustache twitched.
'an't you see this is a serious matter?" He's the funny one, thought Paul.
The crowd thought so, too, for the laughter mounted, then finally died
away. “And . . and then what happened?" the policeman whispered. But
they heard him anyway and screamed with delight, throwing up a new
clamor in which could be distinguished several coarse paraphrases of the
policeman's question. The officer’s pale face flushed. He looked down at
Paul with a brief commiserating smile and shrugged his shoulders. Paul
made a try at a never-mind kind of gesture, but, he supposed, without bring-
ing it off.

“What happened next? you ask, you naughty boy." Mrs. Grundy shook
and wriggled. Cheers and whistles. She cupped her plump hands under her
breasts and hitched her abundant hips heavily to onc side. "You don't
understand," she told the crowd. "I only wished to be a mother to the lad
Hoo-has and catcalls. “But I had failed to realize, in that flecting tragic
moment when he piled his burden down on poor Rasputin, how I was
wrenching his young and unsullied heart asunder! Oh, yes, I know, I
know

“This is the dumbest story 1 ever heard,” interrupted the policeman
finally, but Mrs. Grundy paid him no heed.

“1 know I'm old and fat, that I've crossed the grand climacteric!” She
winked at the crowd's yowls of laughter. “1 know the fragrant flush of first
flower is gone forever!" she cried, not letting a good thing go, pressing her
wrinkled palms down over the soft swoop of her blimpsized hips, pecking
coyly over one plump shoulder at the shrieking crowd. The policeman
stamped his foot, but no one noticed except Paul. “I know—yet, yet:

And

ILLUSTRATIONS BY JAMES BARKLEY

PLAYBOY

Somehow, face to face with little Charity,
a primitive unnamable urgency welled
up in his untaught loins, his pretty
litle
“Stop it! cried the policeman. “This
as gone far enough!”

And you ask what happened next? I
1 tell you, officer, I shall lay bare

ly" And again, that old woman had
great timing, she paused in midsentence
nd launched the mob into new frenzies.
“Yes, officer, why conceal the truth . . .
from you. of all people?" Though uneasy,
the policeman scemed frankly pleased
that she had put it this “Yes, with-
out further discourse, he buried his pretty
little head in my enfolding bosom"—
И felt a distressing sense of suffoca-
tion, though perhaps it had been with
him all the while—"and he tumbled me
there, yes, there on the front porch.
alongside his sea chest and my dying
Rasputin, there in the sunlight, before
God, before the neighbors, before Mr.
Dunlevy, the mailman, who is hard of
hearing, before the children from down
the block, passing on their shiny little
tricycles. before the high school girls on
their —

sh:

goddamn fool he just walk
right out in fronta me no respect just
for a bustin’!” said a fami

voice,
Mrs. Grundy's broad face, now streaked
ith tears and mottled with a tense pink
flush, glowered. There was a long and
difficult silence. Then she narrowed her
eyes, smiled faintly, touched a handker
chief to her eye, plunged the handker-
chief back down her bosom and resumed:
"Before, in short, the whole itchy eyes
zog world, a coupling unequaled in the
history of Western man!" Some applause,
which she acknowledged. "Assaulted but
es, I confess it—assaulted but aglow,
1 reminded him ol”

"Boy I seen punchies in my sweet
time but this cookie takes the cake God
bless the laboring classes I say and pre-
from the humble freak!
ing his wearying

huge head at the crowd. Mrs. Grundy
padded heavily over to him, the back of
her thick neck reddening, and swung her
purse in a gi arc; but the truck
driver recoiled into his cab,
with a taunting cackle. Then,

the same instant, he poked his red-
beaked head out again and, rolling his
eyes, said: "Listen lays and gentmens

Ym a good Christian by Judy a decent
hardworkin' fambly man earnin’ a hon-
est wage and got a dear little woman and
seven yearnin’ young'uns all my own
seed a responsible —
Il responsible your ass!” hollered
undy and let fly with her
purse again; but once more, the driver
ducked inside, cackling obscenely. The
crowd, taking sides, was more hysterical
than ever.

Again
popped out:

the drivers waggling head
тап and god" he be-

gan. but this time Mrs. Grundy was
waiting for him. Her great lumpish

purse caught him square on his bent red
nosc—ka-RAACK, d the truck driv-
er slumped lifelessly over the door of
his cab, his stubby little arms dangling
limp, reaching just below the top of his
head. As best Paul could tell, the tweed
cup did not drop off; but since his eyes
were cramped with fatigue, he had to
stop looking before the truck driver's
head ceased bobbing against the door.

Man and god! he thought. Of course!
Terrific! What did it mean? Nothing.

The policeman made futile little ges-
tures of interference but apparently had
too much respect for Mrs. Grundy's
purse to carry them out. That purse was
Lig enough to hold a bowling ball, and
maybe it did.

Mrs. Grundy, tongue dangling and
panting furiously, clapped one hand
over her heart and, with the other,
fanned herself with the handkerchief.
Paul saw sweat dripping down her legs.
“And so—foo!—I, I—puf!— reminded
him of, of the—whee!—the cup of te:
she gasped. She paused, swallowed,
mopped her brow, sucked in a decp lung-
ful of air and exhaled it slowly. She
cleared her throat. “And so I reminded
him of the cup of tea!" she roared with
a sweep of one powerful arm, the old
style recovercd. There was a light smat-
tering of complimentary applause, which
Mrs. Grundy acknowledged with a short
nod of her head. “We went inside. The
air was heavy with expectation and the
unmistakable aroma of cat shit. One
might almost be pleased that Rasputin
had yielded up the spirit"

“NOW JUST STOP IT!" cried the
policeman. “THIS 15——
tea, we sang the now-
famous duct ¡Ciérrate la bragueta? ¡La
braguela está cerrada!, I danced for him,
he

"ENOUGH. 1 SAID!" screamed die

policeman, “THIS 15 ABSURI

Yowre warm, said Paul, But that’s not
quite it.

“Absurd?” cried Charity Grundy,
aghast, “Absurd? You call my dancing
absurd?"

“L didn't say”

“Grotesque. perhaps; and, yes. a bit

awesome but absurd!”
by the lapels, lifting him off the ground.
“What do you have against dancing, you
What do you have against grace?”
please! Put me down
"Or is it you don't believe I can
dance?" She dropped him.
N-no! No! 1”
how him! Show him!" ch
crow
The policeman spun on them. “STOP!
IN THE NAME OF THE LAW!” They
obeyed. "This man is injured. He may

She grabbed him

ated the

die. He needs help. It's no joking matter.
I ask for your cooperation.” He paused
for effect. "That's better," The police
man stroked mustache, preening a
bit. “Now, ahem. is there a doctor pres-
ent? A doctor, please?”

“Oh, officer, you're cute!
cute!" s: Grundy on
The сом snickered.

“Now. just cut it ош!” the police-

an ordered, glaring angrily across
chest at Mrs. Grundy. "Gosh
damn it, now, you stop it this instant!"

“Aww, you're jealous" cried Mrs.
Grundy. "And of poor little supine Ras-
putin! Amory. I mean." The spectators
were in great spirits again, total rebel-
lion threatening. and the police officer
was at the end of his rope. “Well, don’t
be jealous dear boy!” cooed Mrs.
Grundy. "Charity tell you a weetsie bitty
secret.”

Stop!” sobbed the policeman. Be care-
ful where you step, said Paul below.

Mrs. Grundy leaned perilously out
over Paul and got a grip on the police-
man’s car. He winced but no longer at-
tempted escape. “That boy,” she said,
“he humps terrible!

It carried out to the crowd and broke
it up. It was her big line and she wam-
bled about gloriously, her rouged mouth
stretched in a flabby toothless grin. re-
trieving the pennies that people were
1 knew about them fro
being hit by them: one landed on his
upper lip, stayed there, emitting that
familiar dead smell common to pennies
the world over), thrusting her chest for
ward to catch them in the cleft of her
bosom. She shook and. shaking,
She grabbed policeman’s h:
pulled him forward to share a bow with
her. The policeman smiled awkwardly.
You asked for a doctor.” said an
ancient but gentle voice.

The crowd noises subsided. Paul
opened his eyes and discovered above
him a stooped old man in a rumpled
gray suit. His hair was shaggy and
white, his face dry, lined with age. He
wore rimless glasses, carried a black
He smiled down at Paul,
lc of а man who compre
hends pain, then looked back at the
policeman. Inexplicably, a wave of terror
ul.

You're very
a new tack.

ted a doctor," the old man

Yes!" cried the policeman,
almost in tears. “Oh, thank God!”
"а rather you thanked the profes-
sion," the doctor said. "Now, wha
seems to be the problem:
“Oh, doctor, it's awful!”
man twisted the notebook in his hands,
fairly destroying it. "This man has becn
struck by this truck, or so it would ap-
pear, no one seems to know, it’s all a
terrible mystery, and there is 2 wornan,

The police

“Do you have any games that can be played in
bed by two or more consenting adults?”

PLAYBOY

but now I don't see—— And I'm not
even sure of his name“

“No matter,” interrupted the doctor
with a Шу nod of his old head, “who
he is. He is a man and that, I assure
you, is enough for me”

Doctor, it’s so good of you to say
wept the policeman.

Im in trouble, thought Paul. Oh,
boy, I'm really in trouble.

“Well, now, let us just see,” said the
doctor, crouching down over Paul. He
lifted Paul's eyelids with his thumb and
peered intently at Paul's eyes; Paul, anx-
ious to assist, rolled them from side to
side. Just relax, son,” the doctor s;
He opened his black bag, rummaged
about in it, withdrew a flashlight. Paul
was not sure exactly what the doctor did
after that, but he seemed to be looking.
in his ears. I can't move my head, Paul
told him, but the doctor only asked:
"Why does he have a penny under his
nose?” His manner was not such as to
insist upon an answer, and he got none.
Gently, expertly, he pried Paul's teeth
apart, pinned his tongue down with a
wooden depressor and scrutinized his
throat, “Ahh, yes," he mumbled. "Hmm,
hmm.”

“How ... how is he, doctor?” stam-
mered the policeman softly. “Will . . .
will he... ?"

The doctor glared scornfully at the
officer, then withdrew a stethoscope
from his bag. He hooked it in his ears,
slipped the le bande shirt and
listened intently, his old head inclined
io one side like a bird listening for
worms, Absolu silence now. Paul
could hear the doctor breathing, the po-
liceman whimpering soltly. He had the
vague impression that the doctor tapped
his chest a time or two, but if so, he
didn't feel it. Hmm“ said the doctor
gravely, hes . .”

“Oh, please! What is it, doctor?” the
policeman cried.

“What is What is i?" shouted the
doctor in a sudden burst of rage. “I'll
tell you what is И!" He sprang to hi
fect, nimble for an old man. “I cannot
examine this patient while you're hove
ing over my shoulder and mewling like
a goddamn schoolboy, (Лаз what is
it!“

stammered the
officer, staggering backward.

“And how do you expect me to exam-
ine a man half buried under a damned

“B-but 1 only

truck?” The doctor was in a terrible
temper.

"But E i

“Damr ГИ but-I you. you idiot, if

you don't remove this truck from. the
scene so that I can determine the true
gravity of this man's injuries! Have I
made myself clear?”

“Yes! But, but whavhat am I to
do?” wept the police officer, hands
clenched before his mouth. Tin only a

simple policeman, docto
duty belore God and couni
Simple, you said it" barked the
doctor. “1 told you what to do, you God-
and-count simpleton—now gel moving!"

God and count! Did it again, thought
Paul. Now what?

The policeman, chewing wretchedly
on the corners of his notebook, stared
first at Paul, then ar the truck, at the
crowd, back at the truck. Paul felt fairly
certain now that the letter following the
К on the trucks side was an I. “©
I, shall I pull him out from under
the officer began tentatively, thin chin
aquiver.
оой God, no!” stormed the doc-
tor, stamping his foot. “This man may
have a broken neck! Moving him
would kill him, don’t you see that, you
sniveling birdbrain? Now, goddamn it,
wipe your wretched nose and go wake
up your . . . your accomplice up there,
and I mean right now! Tell him to back
his truck off this poor dev

doing my

"B-back it off! But, but he'd have to

run over hi n! He —

“Don't by God run-over-himagain me,
you black-shirt hireling, or ГЇЇ have your
badge!” screamed the doctor, brandishing
his stethoscope.

The policeman hesitated but a mo-
ment to glance down at Paul's body,
then turned and ran to the front of
the truck. “Hey! Come on, youl” He
whacked the driver on the head with his

night stick Hollow thank! “Ip and at
tem!”
“DAMN THAT BOY AT HE DO

BUT WALK RIGHT,
driver, rearing up wildly and fluttering
his head as though lost, “INTO ME
AND MY POOR OLE TRICK!
TRUCK, I MEAN!” The crowd laughed.
again, first time in a long time. but the
doctor stamped his foot and they quieted
right down.

“Now start up that engine, you, right
now! I mean it!" ordered the police-
man, stoking his he. He was ger
ting a little of his old style back. He
slapped the night stick in his palm two
or three times.

Paul felt the pavement under his back
quake as the truck driver started the
motor. The white letters above him jog-
gled in their red field like butterflies.
Beyond, the sky's blue had deepened,
but white clouds now flowered in it.
The skyscrapers had grayed, as though
withdrawing information,

The trucks noise smothered the
voices. but Paul did overhear the doctor
and the policeman occasionally, the doc-
tor ranting, the policeman imploring,
something about mass and weight and
vectors and direction. It was finally de-
cided to go forward, since there were
two sets of wheels up front and only one
to the rear, but che truck driver ар
ently misunderstood. because he backed

cried the track

up anyway and the middle set of wheels
rolled up on top of Paul

“Stop! STOP!" shricked the police
officer, and the truck motor coughed
and died. “I ordered you to go forward,
you pighead, not backward!

The driver popped his he:
window, bulged his ping-pongball eyes
at the policeman, then waggled his tiny
hands cars and brayed. The officer
took a fast practiced swing at the driv.
ers big head, but the driver deftly
dodged it. He clapped his runty hands
and bobbed back inside the cab.

"What oh what shall we ever do now?”
wailed the officer. The doctor scowled at
him with undisguised disgust. Paul felt
like he was strangling, but he could lo-
cate no specific pain past his neck.
“Dear Lord above! There's wheels on
each side of him and wheels in the
middle!”

The doctor snorted. “Figure that out
by yourself, or somebody help уоп?”

“You're making fun,” whimpered the
officer.

"AND YOU'RE MURDERING THIS
MAN!" bellowed the doctor.

‘The police officer uttered a short anx-
ious ay, then raced to the front of the
the

tuck again. Hostility welling i
crowd, 1 could hear it. “OK, OK!
cried the officer. “Back up or go for-
ward, please, I don’t care, but hurry!
HURRY”

The motor started up again, there
was a juring grind of gears abrading,
then slowly, slowly, slowly, the middle
set of wheels backed down off Paul's
body. There was a brief tense interim
belore the next set climbed up on him,
hesitated as a Ferris wheel hesitates at
the top of its ambit, then sank down oft
h

Some time passed.

He opened his eves,

The truck had backed away, out of
sight, out of Paul's limited ranpe of
sight, anyway. His eyelids weighed
dosed. He remembered the doctor being
huddled over him, shreds of his clothing
being peeled away.

Much later, or perhaps not, he opened
his eyes once more. The doctor and the
policeman were standing over him, some
other people, too, people he didn't recog
nize, though he felt somehow he ought
to know them. Mrs. Grundy, she was
there; in fact, it looked for all the world
jough she had set up a ticket booth
ad was charging admission. Some of
the people were holding little children
up to see, warm faces, tender, compas-
sionate, more or less. Newsmen were tak
ing his picture. “You'll be famous," onc
of them said.

“His goddamn body is like
stew.” the doctor was saying.

The policeman shook his head. He
a bit green. "Do you think”
“Do 1 think what?" the doctor asked.

(continued on page 238)

mulligan

/ unimpressed with

the grandiose promise of a
utopian “great society,” eleven men
of realistic vision chart a practical course
on which we may now embark toward a more humane america

ON MAY 21, 1964, President Johnson announced his plan to transform America—during
Administration—into “The Great Society,” Rij
rural poverty areas, our despoiled and dwindling natural resources, he promised “to
assemble the best thought and the broadest knowledge from all over the world to
find ... answers for America.” Four and a half years later, that lofty enterprise is
foundering and almost forgotten—partly because of an unsympathetic Congress and
the deadly drain of Vietnam. but also because it may have been presumptuous to
think that anv society could so easily buy greatness. И now seems morc important
кш annor able, 10 — decent Socictv. and to det future-historii
decide whether or not it was “great.” Toward that end, PLAYBOY has asked 11 men.
cach a recognized authority in those arcas of American life where the need for
change is most acute, to outline the specific reforms that they think can and must
be undertaken today in order to achieve a more decent and humane society—not in
the sweet by-and-by but in the fastapproaching Seventies. Theodore Sorensen, ad-
visor to two Presidents and author of Kennedy, describes a rational American for-
eign policy that, by force of example rather than of arms, might recapture respect
Tor America while peacefully protecting her global interests. The most pressing and
interwoven domestic crises—race relations and poverty—are explored by New York's
Mayor John Lindsay and Dr. Kenneth Clark, the eminent black psychologist. Novelist-
, naturalist Peter Matthiessen insists that an aroused public must be mobilized in order
to danse our damaged physical enyironment—from polluted lakes and rivers to
blighted inner cities. That immense task is among the of technology
“defined by Jerome Wiesner, President Kennedy sci divisor. Senatori Charles
zoey calls on business to replace tokenism with uine ipy oly cuniaid ды dico
reverse the decay of the ghettos. Yale chaplain William Sloane Coffin sets forth those
steps thal mnst be taken if the university is to resume what he considers its rightful
role as society's conscience. Both Edward Р. Morgan, senior correspondent of the innova-
tive Public Broadcast Laboratory, writing on the communications industry and
PLAYBOY Contributing Editor Kenneth Tynan, examining the arts, sec the overriding con-
cerns of commercialiss: as a major block to the {тё flow of information and ideas. The
author of The Secular City, pleads for a socially responsive and re-
m as a sine que non of spiritual redemption. And in our final article, Su-
preme Court Justice William O: Douglas argues that mplementing progressive programs
for change will be impossible if the constitutional guarantees of such civil liberties as free
speech and assembly which provide the ferment that is necessary to all progress—are not
“safeguarded from repression. The nonutopiim proposals advanced in these 11 essays envi-
sion an achievable society in which relations among Americans and between Americans and
the rest of the world can be more rational, humane and respectful of individual dignity. If
we have the will to achieve it, such a society might then be ready to reach for greatness.

FOREIGN AFFAIRS By Theodore C. Sorensen ONE OF THE BASIC FLAWS in our post-war thinking about
world affairs has been our missionary zeal to assure a decent society to others. We have naturally assumed that our
own political, economic and social systems represent the desired standard of decency; and in a vain (both mean-
ings of the word) attempt to foster these standards or to suppress other standards among peoples with wholly dif-
ferent cultures and capacities, we have overextended our own commitments, meddled in the internal affairs of
other nations, tied ourselves to the shakiest of despots, provided ammunition for those charging us with racial, po-
litical or economic exploitation and made more difficult and costly the abatement of the Cold War. 1 do not wish
to be listed among those who place all the blame for all th in all the four corners of the world on the hapless
head of Uncle Sam. Our troubles with Stalin, with Mao, with Castro and with others— (continued on page 92)

RACE RELATIONS By John V. Lindsay race 1s THE GREAT DOMESTIC ISSUE of our time. It infects
tually all of the most inflammatory problems in our troubled society—violence and civil disorder, the accelerated
increase in crime, welfarism, the blight of our cities, unemployment and poverty. Poverty is the dead weight that
holds the black man down. It is not simply a condition; it is a handicap and, of late, it has become the goad that
has driven him into the streets. Humorist Sam Levenson reports, quite accurately, that although he grew up in
poverty on New York's Lower East Side, he and his brother Albert didn't realize it until later, because all their
friends and neighbors were poor, too. Today, however, the television set—described by the Kerner Commission

report as “that universal appliance of the ghetto"—gives the slum dweller a window to the world beyond his or-
dinary view. It is only logical that he should want a piece of that world. The mayor (continued on page 270)

EQUALITY & OPPORTUNITY By Kenneth B. Clark 1N MARCH 1964. President Johnson called for “a nation-
al war on poverty." The objective: "total victory," he said. This declaration of war on poverty was not abrupt; it
had deep roots in recent American history. Franklin D. Roosevelt's New Deal, with its Emergency Relief Admin-
istration, its Works Project Administration, its National Youth Administration, its Civilian Conservation Corps,
was an earlier version of that war, but it never achieved the final goal—the elimination of poverty itself. Despite
the past two decades of rising prosperity and general affluence, the persistence of pockets of poverty and the related
pathologies of increasing crime and delinquency and other manifestations of economic and racial discrimination
have demanded the development of new approaches to the solution of these long-standing social problems. The civil

rights crisis, reflecting, among other things, the increasing disparity in the average (continued on page 273)

THE PHYSICAL ENVIRONMENT By Peter Matthiessen A DECENT PHYSICAL ENVIRONMENT for man is not
attainable without control of human numbers. Like a culture of bacteria that ceases to grow when it can no longer
dissipate its own wastes, man's increase must stop; should pollution of the atmosphere continue at its present rate,
a permanent halt to the culture of man is predicted in less than a century. A poisoned biosphere knows no nation-
al boundaries; that the U.S. is rich, or that its own birth rate has started to decline, will be almost meaningless,
because man's habitat is one. If we are fortunate, new technologies will defer the day of reckoning until world pop-
ulations can be stabilized and pollution of earth, air and water brought under control. Nuclear fuels will make thc
crucial difference of abundant power. Together with fertilization of the sea, desalinization of salt water, weather
control, intensive recycling of everything from wastes to water and other advances (continued on page 275)

SCIENCE TECHNOLOGY By Jerome B. Wiesner CAN SCIENTIFIC RESEARCH and technology help man-
kind create a more decent society? I think so. To be sure, at the end of a year that has seen two assassinations, the
invasion of Czechoslovakia, the start of a new round in the arms race and the violence of the Democratic Conyen-
tion in Chicago, this conclusion doesn't come easily. Some of the world's most thoughtful and humanistic
observers—among them, Archibald MacLeish, Jean-Paul Sartre and Jacques Barzun—believe that science
ultimately be man's undoing; that in elevating science and technology to the dominant role they hold in the ad-
vanced nations, forces beyond human comprehension or control haye been unleashed. For most of man’s exist-
ence, certainly, nature was his worst enemy. Now civilization's most serious threats are all man-made by-products
of his efforts to cope with nature. No one can deny that the careless exploitation of (continued on page 277)

— — ae

SAA = Ss ЕЯ

BUSINESS By Charles Н. Percy WHEN t LEFT COLLEGE, four out of five of my classmates went into busi-
ness. That was their goal. Today, only one out of five college graduates says he might consider a career in business;
the four others have their eyes on teaching. government, politics, VISTA or the Peace Corps. The generation now
emerging from American colleges is less interested in getting ahead than in getting involved; it wants to contribute
to society's welfare, not merely its own. If business could find no other motive for concerning itself with social prob-
lems, its need to attract more of our best young people would be reason enough. Corporations can no longer stand
aside from society's most urgent priorities and expect to satisfy ihe ambitions of young men and women who place
idealism ahead of materialism. It is not always easy to sell this notion to those corporate leaders who think
of today's world in terms of yesterday's values. Some maintain that corporate social (continued on page 280)

EDUCATION By William Sloane Coffin war DO vou DO when God is used to damn Conimunists; when
art is made popular instead of the public artistic; when the killing continues in Vietnam while, on the compost of
wasted lives, frustration and despair grow at home; when sex is debased to sell products; when change everywhere is
urgently needed and everywhere we see the sad barbarism of intransigence? What do you do, if you are a sensi-
tive, intelligent university student or a professor not hopelessly entrenched in social irrelevance? If you don't love
America, I suggest you leave her to those who do; but if you do love America, I suggest you engage her in a lovers’
quarrel, as Socrates did Athens. “I love my city,” he said, “but I will not stop teaching that which I believe is
true.” When his friends predictably counseled caution, he put the question to them squarely: “To what sort of
treatment of our city do you urge me? Is it to combat the Athenians until they become (continued on page 282)

COMMUNICATIONS By Edward P. Morgan то HEAR PEOPLE like George Wallace and even Richard J.
Daley tell it, the medium is garbling the message. Squinting darkly through the burning-glass of prejudice, such
citizens see not only television but every Facet of the news media, in print or on the air, deliberately distorting the
image of human events. The institution of a free press, the constitutional hinge on which the open society of Amer-
ica is supposed to swing, is on trial in the court of public opinion. There is a double-edged irony to this charge, for
far too much of it is true. But like a backwoods lynch mob, the leading plaintiffs are after vengeance, not justice.
In their self righteous bigotry, they do not understand the function of a free press. Compounding the felony is the
awful fact that the establishment tycoons, who largely control the news media, do not understand it either, They
did once, but their comprehension of public trust in them has been corroded by a wave (continued on page 287)

THE ARTS & ENTERTAINMENT By Kenneth Tynan WHAT KIND of artistic experiences are likely to be avail-
able on stage and screen in the foreseeable American future? A blunt, unattractive answer proposes itself: Mass are
costs massive moncy to producc, and there are going to be many artistic experiences that the moncy men will not
think suitable for us, because they might incur public disapproval or scorn, and thus prove unprofitable. There are
limits, in fact, to what mass art will be allowed to achieve in a country so well described, seven decades ago, by
the British actress Ellen Terry as “this rushing, tearing America—so full of hope! But oh, so rough—so rough.”
And rough it is on attempts to disseminate minority views to the majority. It’s a truism that, since no investment
can be bigger than its investors, the mass media are controlled—directly or indirectly—by the people who finance
them. Such men are hardly ever artists and even more rarely good artists. We tend to (continued on page 284)

RELIGION & MORALITY By Harvey Cox ers sec with a concession: Religious people are a little mad. So
what? If a society built on Miltown, racial neurasthenia and TV commercials is sane, then I gladly line up with the
loonics. Which is to say that any religion I am interested in has to be somewhat out of step with its society, even a
“great” or decent society. Otherwise, what's the point? Maybe that's why those who envision the ideal society as a
smoothly functioning welfare millennium, with circuses and credit cards for all, have begun to see this kind of reli-
gion not only as mad but also as a menace. People with onc eye on the Kingdom of God have trouble reading
billboards. They are also unpredictable. Their bizarre visions make them querulous and insubordinate. A strange
belief in something else keeps them from lining up docilely for the goodies churned out by the Big Computer. Fa-
matics, nuts, scers—all are an embarrassment to any society. They don't fit in. May we (continued on page 289)

PLAYBOY

even our troubles with Ho Chi Minh and
certainly with the Soviet invasion ol
Czechoslovakia —did not all stem from
merican imperialism, impudence,
prudence or greed. Other nations have
consistently been less blameless than we;
ind most of our errors have been the re-
sult of misplaced idealism and innocence
rather than malicious intent. Neverthe-
less, idealism run rampant can become as
dogmatic and fanatic as the most rigid
N ist or Birchite; and this country
not yet free from the legacy bequeathed
by “true believers” of the John Foster
Dulles ty.

In 1969. it is clear, many Americans
still need to realize that they have no
more right or mandate than the Rus-

nese to impose either
will or way upon other
peoples. To be sure, notwithstanding
some of the grand rhetoric employed at
the UN General Assembly, all nations
are not, in fact, equal; and our national
power and wealth, as well as our inter-
ests, necessarily require us to assume
certain obligations in the world commu-
nity. But this docs not mean a manifest
destiny to champion our concepts of free
enterprise, free elections and free advice
throughout the world. I, for one, favo
strong dose of idealism in our foreign
policy; but, like John F. Kennedy,
regard myself as an "idealist without
illusons"—and I have no illusions
about American omnipotence or omnis-
dence in world affairs. I am mot dis-
turbed, therefore, by the notion of an
American foreign policy premised on
self-interest—for it is in our interest to
build world peace, to relieve world suf-
fering and to enjoy the respect of man-
kind.

So let us be cautious in adopting
themes such as "the decent society" to
forcign policy. We have much to teach
others—and much to learn from them
about decency and dignity in human
relations—but let this be done by force
of example, not force of arms, and by
increased communications, not increased
coercion. Let us continue to seek and
assist both friends and allies on this
turbulent planct, neither ignoring real
threats to world peace nor permitting
ourselves to be isolated and alone—eco-
ally or militarily. But
our friendship and help should not be
limited to those who embrace our every
mode or thought, nor, on the other
hand, always carried, particularly in the
developing nations, to the point of pro-
viding the chief prop for unpopular, un-
representative and repressive regimes
that could not otherwise survive to sup-
press the revolutionary aspirations of
their people. We must continue 10 com-
pete politically, economically, diplomati
cally and in every other nonmilitary way
with the Soviet and Chinese thrusts into
d Africa, seeking 10 prevent the
ion of either continent by a

powcr hostile to our own direct security
interests; but this should no longer in-
clude the shipment of arms or other
military assistance for the purpose of
maintaining in power existing govern-
ments whose internal enem are not
receiving similar assistance from the out-
side.

"To be sure, there would be no more
guarantee against a local Communist
take-over of one of the small Asian
countries under an American hands-off
policy than there is under our present
policy; but only under a grossly exagger-
ated stretch of the “domino theory”
would such a development be termed a
greater blow to our security than our
decade-long descent into the quagmire
of Vietnam. When China but not North
Vietnam criticizes Russia for crushing
Czechoslovakia, to the dismay of Ro-
s supported by Yugos
which is despised by Albania, it is
hard for even the most virulent anti-
Communist orator to claim that every
ist Communist government is a
t or Chinese pawn on the interna-
tional chessboard or part of a gigantic
Communist monolith that is moving with
one mind inexorably toward our shores.

When Tibet fell to communism, other
Asian nations did not. When Indonesia
cast out
nations did not. When the conflict in
Laos was peacetully although shakily set-
tled, the conflict in Vietnam was not.
Nu onc any longer claims that an Anıcı-
п victory in Vietnam would make
unnecessary for all time a military effort
of any kind elsewhere in Asia. In short,
if the domino theory has any validity, it
must be the effect of an American defeat
or withdrawal on other American com-
mitments; and to make new and further
commitments on the basis of that theory
is not only circuitous but dangerous.

We can hope, of course, that Vietnam.
is unique—both because we are unlikely
ever again to encounter the same array
of adverse conditions and because the
American people are unlikely ever aga
10 permit the same foolish mistakes. But
if the military and diplomatic career
experts who continue in office under the
new President believe only that their
Vietnam efforts failed, not acknowledg-
ing that they were inherently wrong and
doomed to failure from the outset; if
they persuade the new President to help
in the future every junta or head of
state who cries “Communists! Commu-

i then. America, regardless of cam-
paign and platform pledges, will continue.
to act as world policeman and we will
continue to have more Vietnams.

A mew approach to foreign policy
cannot content itself, however, with sim-
ply avoiding more Vietnam. One of the
tragedies of that debacle has been its
drain on our energies and resources,
to the detriment of other pressing prob-
lems in world affairs. Its continuation,

morcover, has handicapped any prospects
for a farreaching disarmament agrec-
ment with the Soviet Union, a meaning-
ful dialog with mainland China and
constructive influence on the restless
nations of eastern Europe. A “decent
society” for all the world is beyond our
jurisdiction; but a decent society for this
nation is not beyond our capability, as
the other contributors to this symposium
make clear, if—but only if—American
foreign policy can prevent the kind of
global chaos or nuclear holocaust that
would render all life in our society
indecent,

It is in this context that our given
theme has special relevance to world
affairs, If this nation is ever plu
war with either Moscow or Peking—or
if nuclear weapons сусг fall into the
hands of a dozen or two dozen dictators
or deranged demagogs; or if a tide of
hunger and poverty and disease spreads
like a plague over the southern half of
this globe—then brighter, cleaner cities
and nicer, warmer race relations here at
home will seem of very little significance
or even relevance, If our young men are
continually forced to fight in countless
jungles and nameless hills on behalf of
regimes too incompetent, reactionary or
corrupt to rally their own people and
forces; if our allocation of resources re-
mains distorted by a swollen defense
budget, stock-piling ultimate weapons
too mammoth to measure; if our people,
(d ше black,
ded and frustrated
by wartime manpower policies that un-
fairly force men to fight unpopular, un-
promising wars against a foe that bears
the banner of nationalism —then all the
alls for new housing policies and beuer
poverty programs will not bring us
much closer to a decent society.

The new President, therefore, cannot
afford to wait or waver very long. A
freshly popular Administration has cards
10 play in its first 90 days that will never
be dealt again. As soon as the debris of
Vietnam can be cleared away—and, at
this writing, that appears to be no easy
task—the new President should, among
other measures, initiate (A) new agree:
ments with the Soviet Union, (B) a new
approach to Mao's China and (C) new
steps toward a world of law and justice
instead of despair.

(A) Agreement with Moscow does not
mean a formal alliance. Each will con-
tinue to find the other's ideology repug-
nant. We will indict their suppression of
Czechoslovakia; they will indict our in-
terlerence in the Dominican Republic.
Chronic conflicts of interest and compe-
tition for the allegiance of other states
are both certain to rem: But mutual
restrictions on the development and de-
ployment of both oflen issiles and
ntimissile missiles could enable both
countries to avoid diverting to a

(concluded on page 270)

the keystone on which all programs for a decent society
must ultimately depend is the sovereignty of the individ-
val as defined in the constitution and the bill of rights

CIVIL LIBERTIES:

THEGRUCIAL ISSUE

promises of things that government

must do for people. Our Constitu-
tion, an 18th Century product, guaran-
tees no one such benefits as an education,
social security or the right to work. It is
not a welfare-state document. To the
contrary, it specifies in some detail what
government may not do to the individ-
ual. In other words, it was designed to
take government off the backs of people
and majorities off the backs of minorities.

It stakes out boundaries that no execu-
tive, no legislature, no judiciary may
violate. The “law and order” advocates
never seem to understand that simple
constitutional principle. An example will
illustrate what I mean. The First Amend-
ment says that government may not
abridge the free exercise of religion. Sup-
pose a city enacts an ordinance that pro-
vides that no minister may deliver a
sermon without first obtaining a permit
from the Department of Safety. To exact
a license before the citizen may exercise
a constitutional right is to abridge that
right. No minister worth his salt would
knuckle under. If he defied the ordi-
nance, he would be acting in the best
American tradition. If he were prose
cuted, the unconstitutionality of the ordi-
nance would be a complete defense. The
person who concludes that a law is un-
constitutional and defies it runs the risk,
of course, that he guessed wrong. Yet his
punishment is not thereby compounded.
Law and order is the guiding star of
toralitarians, not of free men.

This principle of civil disobedience
can be appreciated only if the anteced-
ents of our Constitution and Bill of
Rights are understood.

The ideas of freedom, liberty and sov-
ereignty of the individual reflected in
the two documents come from a long
stream of history. The ideas of political
freedom trace at least as far back as the
Athenian model. But the political free-
dom of classical Greece did not guaran-
tee private freedom, which was first
emphasized by the Romans through the

M OST MODERN CONSTIFUTIONS cont

By JUSTICE WILLIAM ©. DOUGLAS

development of natural law. The church
added the tradition of a divine order
and a set of precepts based on the integ-
rity of the individual before God; the
Reformation gave the individual a choice
of religio-political orders. The divine
right of kings—one form of the social
contract—was successfully challenged by
the end of the 17th Century. Rousseau's
Social Contract was a frontal assault,

But the single thinker who had the
most direct impact on the framers of the
Constitution was John Locke. Locke
taught that morality, religion and poli-
tics should conform to God's will as
revealed in the essential nature of man.
God gave man reason and conscience as
natural guides to distinguish between
good and bad; and they were not to be
restrained by an established church or
by a king or a dynasty. Isaac Newton,
who in 1687 published Principia, his
great work, seemed to abolish mystery
from the world and enable a rational
mind to uncover the secrets of nature
and nature's God. This parallel thought
gave wings to Locke, who wrote:

Men being . . all free, equal
and independent, no one can be put
out of his estate, and subjected to
the political power of another, with-
out his consent. The only way where-
by any one divests himself of his
liberty and puts on the bonds of civil
society is by agreeing with other
men to join and unite into a com-
munity, for their comfortable, sale
and peaceable living one amongst
another, in a secure enjoyment of
their properties and a greater secu-
rity against any that are not of it.
. . When any number of men have
so consented to make one community
or government, they are thereby
presently incorporated and make
one body politic, wherein the ma-
jority have a right to act and con-
clude the rest.

These ideas were well known to our
Colonists through the church as well as

through Locke, Newton and many other
writers. God, nature and reason were
the foundations of politics and govern-
ment; they were extolled in the Dec-
laration of Independence and further
distilled in constitutional precepts.

The foregoing is but an outline of the
history of ideas behind the Constitution.
They were translated into the body of
Anglo-American law in a series of cru-
cial test cases over a period of at least
400 years.

The political counterpart of heresy in
the 16th Century was treason. The law
of England allowed a man to be tried
for treason if he "doth compass or imag-
ine the death" of the king. This was
called “constructive treason,” for the ac-
cused did not have to lift his hand
against the king to be guilty; all he need
do was wish the king were dead. As
a result, treason is narrowly defined in
our Constitution: “Treason against the
United States shall consist only in levy-
ing war against them, or in adhering to
their enemies . and the proof re-
quired is very strict. That clause is the
product of the philosophy of Madison
and Jefferson. Madison wanted treason
narrowly defined, because history showed
that “newfangled and artificial treasons”
were the "great engines" by which parti-
san factions “wreaked their alternate ma-
lignity on each other." Jefferson had the
like view, pointing out that the defini-
tions of treason often failed to distin-
guish between “acts against government”
and “acts against the oppressions of the
government." Madison and Jefferson are
strangers to our lawandorder school,
whose spokesmen go so far these days as
to call dissent to our Vietnam policy
“treason.”

In the 17th Century, it was the prac-
tice to force citizens to make loans to
the British crown, failing which the citi-
zen would be jailed and languish there
without bail. Thomas Darnel met that
fate in 1697. From his prison, he ap-
plied for a writ of habeas corpus, the
conventional way in those days of

testing the legality of a confinement.
The case was argued before judges who
were appointees of the king, serving at
his pleasure. They ruled that they were
required to “walk in the steps of our
forefathers,” that the word of the king
was sufficient to hold a man, saying, “We
trust him in great matters.” This case
resulted in the Petition of Right of 1628,
which led to vesting in Parliament,
rather than in the king, the authority
to levy taxes; and it also established the
prisoner's right to bail.

‘The legislative branch was also a source
of oppression. A bill of attainder is an
act of the legislature punishing individ-
uals or members of a group without a
judicial trial. Its vice is that it condemns
a person by legislative fiat without the
benefit of a trial having all the safe-
guards of due process of law. English
history, as well as our own history be-
tween 1776 and 1787, is replete with
instances where the legislature, by its
own fiat, subjected men to penalties and
punishments. The Constitution abolishes
bills of attainder outright, both at the
state and at the Federal level.

The foregoing are merely examples of
how the sovereignty of the individual
was, historically speaking, jeopardized
by acts of all branches of Government—
the Executive, the Legislative and the
Judicial.

The fear of our forefathers was also a
fear of the majority of the people who
from time tn time might crush a minori-
ty that did not conform to the dominant
religious creed or who in other ways
were ideological strays.

One episode that occurred in this na-
tion just before the 1787 Philadelphia
Convention is illustrative. Times were
hard in 1786. A postWar depression
had hit the country. The state legisla-
tures were swept by agrarian influences.
Debtors wanted relief. There was no
strong central government. Only Con-
gress, under the feeble Articles of Con-
federation, had national authority, and
it was not in a position to act decisively.

Up at Northampton, Massachusetts,
in August 1786, Daniel Shays moved
into action. His armed group seized the
courthouse in order to put an end to
legal proceedings for the collection of
debts. The example at Northampton
was followed in other parts of the state,
about 2000 armed men joining Shays.
Courts were paralyzed. In September,
Shays’ men moved on Springfield and
overawed the court with their claims
that their leaders should not be indicted
and that there should be a moratorium
on the collection of debts, They also in-
sisted that the militia be disbanded. The
stakes were high, because at Springfield
there was a Federal arsenal filled with
artillery, guns and ammunition, which
Shays planned to take. The decisive en-
gagement took place on January 25,
1787, the Shays group being routed by

militia equipped with Federal cannon.

Shays’ Rebellion gave impetus not
only to a strong central Government but
also to checks and restraints on popu-
lism. The mercantile, financial and large
landed interests were getting tired of
talk of the rights of man; they were be-
coming concerned with the protection of
their property. Too much democracy in
the state governments, it was argued, was
bringing bad times on the country. Mas-
sachusetts, New Hampshire and Rhode
Island were said to be disintegrating.
General Henry Knox, in the mood of
our modern law-and.order men, wrote
‘Washington from Massachusetts in the
fall of 1786: This dreadful situation,
for which our Government has made no
adequate provision, has alarmed every
man of principle and property in New
England.”

Though Shays’ Rebellion was shortly
put down, the populist or agrarian forces
remained in control of some state legisla-
tures and repudiation of debts remained
a threat. Majorities in state legislatures
ruled without restraint. The commercial,
financial and landed interests moved to
Philadelphia for the Constitutional Con-
vention in an antidemocratic mood. A
republican form of government emerged
that, to use the words of Madison, was
designed “to protect the minority of the
opulent against the majority.” This ma-
jority, Madison said on another occasion,
might well be the landless proletariat.

Numerous barriers were written into
the Constitution designed to thwart the
will of majorities. As Charles A. Beard
said in his monumental work An Eco-
nomic Interpretation of the Constitution
of the United States, those who cam-
paigned for ratification of the Constitu-
tion made “their most cogent arguments”
to the owners of property “anxious to
find a foil against the attacks of leveling
democracy.”

While the House was to be elected
for a short term by the people, Senators
(until the 17th Amendment) were se-
lected by the state legislatures; and the
President was picked for a fixed term by
electors chosen by the people. Thus, a
measure of assurance was granted that
majority groups would not be able to
unite against the minority propertied
interests. Moreover, amendment of the
Constitution was made laborious: Two
thirds of both the Senate and the House
were to propose amendments; three
fourths of the states were to ratify them.
A final check or balance was an inde-
pendent judiciary named by the Presi-
dent, approved by the Senate and serving
for life.

The “minority of the opulent” were
also protected when it came to the Bill
of Rights, as in the provisions in the
Fifth Amendment that “private proper-
ty" could not be taken for a “public

purpose" without payment of "just
compensation."

But the Bill of Rights went much,
much further. It was concerned with all
minorities, not only the minority of the
opulent. Government was taken off the
backs of all people and the individual
was made sovereign when it came to
making speeches and publishing papers,
tracts and books. Those domains had
"no trespassing” signs that government
must heed.

Great battles have raged over those
guarantees, Peaceful and orderly opposi-
tion to the Government—even by Com-
munists—is, of course, constitutionally
protected. Chief Justice Charles Evans
Hughes said: “The maintenance of the
opportunity for free political discussion
to the end that government may be re-
sponsive to the will of the people and
that changes may be obtained by lawful
means, an opportunity essential to the
security of the republic, is a fundamental
principle of our constitutional system.”

American law also honors protests,
whether they are in the form of letters
to the editor, picketing, marches on the
statehouse or rallies to whip up action.
As already noted, police historically have
arrested dissenters for “disorderly con-
duct" and “breach of the peace,” often
using these devices to suppress an un-
popular minority. But such charges are
no longer permissible at cither the state
or Federal level, though the law-and-
order men often try to use "vagrancy"
or other misdemeanors to suppress dis-
sent or to promote racism.

Government is also constrained against.
interfering with one's free exercise of
religion. À man can worship how and
where he pleases. Government at times
has preferred one religion over another,
giving it privileges as respects marriages,
baptisms and the like, and even putting
some prelates on the public payroll. The
Bill of Rights bans this practice by pro-
hibiting the "establishment" of any reli-
gion by the Government.

Tt was the pride of British tradition
that a man's home was his castle. Even
the king could not enter without legal
process On this side of the Atlantic,
British officers had ransacked homes
(and offices as well) under search war-
rants that were good for all time and for
all kinds of evidence. This led to the
Fourth Amendment, which, in general.
requires an officer making a search to
have a warrant issued by a judge on a
showing of probable cause that a crime
has been committed. And the warrant
must describe with particularity the
scope of the search and the articles or
person to be seized. Modern technology
has developed electronic devices that
can record what goes on in the sanctu-
ary of a home without entering the
home in any conventional sense. They.
too, have now been included within the
Fourth Amendment. Yet the law-and-
order propagandists would brush aside

(continued on page 120)

filled with guilty excitement and false bravado, they had come to ogle and smirk, but tommy was
stunned back into innocence by what he saw

the talking trees

ILLUSTRATION BY PAUL GIOVANOPOULOS

fiction By Sean O'Faolain riere were rour ок smem in the same class at The Red Abbey, all under

They met every night in Mrs. Coffey's sweetshop at the top of the Victoria Road to play the fruit machine,
smoke fags and talk about girls. Not that they really talked about them—they just winked, leered, nudged one another,
laughed, grunted and groaned about them, or said things like “See her legs?” "Yarooshl" “Wham!” "Ouch!" “Ooof!”
or “If only, if only!” But if anybody had said, “Only what?" they would not have known precisely what. They
knew nothing precisely about girls, they wanted to know everything precisely about girls, there was nobody to tell
them precisely all the things they wanted to know about girls and that they thought they wanted to do with chem
Aching and wanting, not knowing, half guessing, they dreamed of clouds upon clouds of fat, pink, soft, ardent girls
billowing toward them across the horizon of their future. They might just as well have been dreaming of pink por-
poises moaning at their feet for lov

In the sweetshop, the tall gla
went zing. Now and again, girls from

s of colored sweets shone in the bright lights. The one-armed fruit machine
int Monica's came in to buy sweets, giggle roguishly and overpointedly ignore
them. Mrs. Colley was young, buxom, fair-haired, blue-eyed and very good-looking, They admired her so much that
one night when Georgie Watchman whispered to them that she had fine bubs, Dick Franks told him curtly not to
be so coarse and Jimmy Sullivan said in his most toplottical voice, “Georgie Watchman, you should be jolly well

PLAYBOY

ed of. yourself, you are no gentle-
Gong Gong said noth-

ing bu
a ver

Tommys те
Flynn, but he w that
he nor they were ever quite sure if he
really belonged to the gang at all. To
show it, they called him all sorts of nick-
mames, like Inch because he was so
small; Fatty because he was so puppy-
fat; Pigeon because he had a chest like
a woman; Gong Gong because alter
long bouts of silence, he had a way of
suddenly g them with
bursts of

“Tommy
ther

e a cross betw
den. sprinkler
That night. all Georgie W:

was to make a rude blubberlip
noie at Dick Franks But he never
ything about Mrs.

They looked up to Dick. He was
oldest of them. He had long eye
like a girl, perfect manners, the sweetest
smile and the softest voice. He had been
to two English boarding schools, Ample-
forth and Downside, and in Ireland to
three, Clongowes, Castleknock and Kock
well, and been expelled from all five
of them. Alter that, his mother had
ade his father retire from the Indian
Civil, come back to the old family house
Cork and, as а last hope, send her
dinling Dicky to The Red Abbey day
school. He smoked a corncob pipe and
dressed in droopy plus fours with check-
ngs and red flares, as

ys just coming from or дой
the golf course. He played cricket
ten s that no other boy at 7
Red Abbey could айога to play. They
saw him as the typical school captain
they read about in English boys" papers
like The Gem and The Magnet, The
Boys’ Own Paper. The Captain and
Chums, which was where they got all
those swanky words like Wham, Ouch,
Yaroosh, Ocof and Jolly Well. He was
Шей Tom Brow Bob Chery, their
Yom Merry. those heroes who were al
ways leading Grayfriars' School or Black-
friars School to victory on the cricket field
amid the cap-tossing huzzas of the juniors
and the admiring smiles of visiting pa
ents. It never occurred to them that The
Magnet or The Gem would have seen
all four of them as perfect models for
some such story as The Cads of Gray.
Пішу ox The Bounders of Blackfriars’,
low types given to seciet smoking in
the spinneys or drinking in The Dead
Wom: е che rest of the
the nets, they

They were
to be caned ceremoniously in the last
chapter before the entire school and then
whistled oll at dead of night back to
their heartbroken fathers and mothers

It could not have occurred to them,
because these crimes did not exist
The Red Abbey. Smoking? At The Red
Abbey. any boy who wanted to was free
to smoke himsel! into a galloping con-
sumption, so long as he did it off the
es, in the jakes or up the chim-
ney. Betting? Brother Julius was
passing fellows sixpence, or eve
to put on an uncle's or a cousin’s horse
at Leopardstown or the Curragh. In the
memory of man, no boy at The Red 2
bey had ever been caned ceremoniously
for anything. Fellows were just leath-
ered all day long for not doing their
homework, or playing hooky from
school, or giving lip, or fighting in class.
And they were leathered
my Sullivan
en six swingers on each hand with the
p edge ol ler long ruler for
pouring the contents of an inkwell over
Georgie Wa ' head in the middle
of a history lesson about the Trojan
Wars, in spite of his wailing explana
tions that he had on
he thought Geor,
мш and all Trojans were blacks.
ly reason they did not d
they were too poor. While, as for what
The Magnet
by “betting”
stood, w
mo English boy would like to se
tioned in print—hardly a week passed
ar some brother did not say (har a
hard problem in algebra, or a leaky pen.
ї would not open or
ng bugger.”

y done it because
Watchman was a
The

or
shut was “а bloon
There was the day when little Brother
Angelo gathered half a boys
about him at playtime to help him with
a crossword puzzle,

dozen

“Do any of ye” he asked, “know
what "notorious conduct could be in
seven letters?”

“Buggery?” Georgie suggested inno
cently.
“Please be serious!” Angelo

his is about conduct”

When the solution turned out to be
Jezebel, little Angelo threw up hi
hands, said it must be some queer kind
of foreign woman and declared that the
whole thing was мет. Or there was
that other day when old Brother Ex pedi
tus started to tell them about the strict

lives and simple food of Dominican
priests and Trappist monks. When
aid. “No tarts, Brother?” Ex.

peditus had Laughed loud and lon
"No. Georgie!” he chuckled.

pastries of any kind.
They might as well have

Arcadia. And e

"No

been
ry other

school in

school about them seemed to be just
hopeless. In fact.

they might have gone
on dreaming of pink porpoises for y
if it were not for a small thing th
Gong Gong told them one October night

in the sweetshop. He sprayed them with
the news that his sister Jenny had been
thrown out of class that morning in
Saint Monica’s for turning up with a red
ribbon in her hair. a mother ol. Pearl
brooch at her ol
scent.

Ould Sister Eustasi. he fizzled,
made her go out in the yard and wash
herself under the tap: she said they
didn't want any girls in their school who
had notions.

The three gazed at one another and
began at once to discuss all the possible
nings ol notions. Georgie had a
у. An ingenious contriv
mperfect conception? (U. 5.)
1 wares? Finally, they tumed to
Mrs. Coffey. She laughed, nodded to-
ward two giggling girls in the shop who
were eating that gummy kind of block
toffee that can gag you for half an hour,
nd said, "Why don't you ask them?

neck and smell

ance? An

h other
nd fled from the
gher

Iwo girls stared at c;
eyes, blushed scarlet
shop. shrieking with 1
lotion" was very sex
Georgie!" Dick pleaded.
the only one who knows anyt
in heaven's name is it?“

When Georgie had to confess himself
stumped, they knew at last that the
situation was desperate.

Up to now, Georgie had always be
able to produce some sort of answer,
right or wrong, to all their questions. He
was the one who, to their disgust, told
what conraception (as he called it)
He was the one who had ex-

ed to them that all babies are de-
livered from the navel of the mother.
He was the one who had warned them
that if a fellow kissed a bad woman, he
would ger leprosy from head to foot.
The son of a head constable, living in
the police 1 cks, he had collected his
facts simply by listening as quietly as a
mouse to the four other police loll.
ing in the dayroom of the barracks with
Jing the sporting
ages of The Freeman's Journal, slowly
p their polls, and talking about
colts and fillies, cows bulls
and bullocks and “the mysterious m:
chure of all faymale wimmen." He had
gathered а lot of other useful мый by
dutiful attendance since the age of 11 at
the meetings and marchings of The
Protestant Boys’ Brigade, and devoted
dy of the Bible. And he was
stumped by

Dick lifted his eyelashes at the three
of them, jerked his head 1 led them
out on the pa

“I have a plan.” he said quietly
been thinking of it some
Chaps! Why don't we see everything

(continued on page 104)

'ou're
- What

their collars open. r

nd calves.

now
nun!

ement

for

NEW YEAR'S Eve—when merrymakers

merrily kiss off the old in favor of
the new—is the perfect time to try
something different. So why not go
way out and throw a festive
futuristic fete patterned alter the
zap-in costume ball pictüred here and
on the following pages? In prepar
ing for the blastoff, you may want to
ng out RS.V.P

plastic space
I p

set the stage by sc
invitations in a

ship (text continued on page 10:

modern living

a galaxy of avant-garde food, drink, costumes and decor for hosting a way-out wingding

ZIAPTIN

At zop-in, lights fontostic, kicky costumes
опа futuristically inspired food and drink
ore the order of the night, os couples
do their thing on o multilevel dance floor.
One rack-'a'-rolling miss clod in o split
ting imoge of herself mokes the Playboy
Bunny sign, while onather, gorbed in on
aluminum dress, momentorily foils her

Thot

global strategy also comes into play is

dote's nat-too-strong-orm tocti

clearly evidenced by the funky Brood
woying blonde in o Lucite bubblekini

The wild ond woolly rock band below scores os one of the
evening's mone ottrac setting the pace

for the switched-on terpsichorine in the see-thraugh
minidress, while another comely bird,

garbed in balloons, stands clear, so that her one-girl

show won't be o bust. The party hits high gear,

at right, os spirited spaceniks blast into orbit,

occosionally zapping out on the thickly carpeted floor

to sip chompogne-fraise cocktoils. For

the highflying festivities, the girls merrily go the

Borbarella route in way-out costumes, while

the men opt for tight-fitting 2001-style space
ог flawing Flash Gordonesque spangled robes.

A bountiful buffet of such out-of-sight delicocies

os Urso Mojor (bear scoloppinel and Neptune's Delight
foctopus chowder] stonds ready for the guests to sample
ot their leisure. Decorations for the evening include
helium-filled weather bolloons, flashing psychedelic-

light films, battery-operated “zap guns" ond

blow-up vinyl cushions; the last, of course, precipitate the
pitched pillow bottle shown below. A brimming bowl
filled with Interplanetary Punch proves 10 be the

block. igt showstopper of the evening (bottom), os
couples take turns ladling out the

luminescent liquid refreshment in their kinetic kingdom

of futuristic sights, tastes and sounds.

PLAYBOY

or bubble helmet. Ir also helps to suggest
10 guests that they style their garb
the farout fittings worn in science-fiction
flicks and TV shows: perhaps 2001, Bar-
barella, Star Trek от the campy Buster
Crabbe Flash Gordon seri

Chances are, most girls will take their
costume cue from the most avant wom-
en's fashion magazines and show up
transparent attire worn with—or
without—a body stocking. Оше
tives include yards of cotton th
bee
thus transforming the wearer ry
“doud,” lounging pajamas with multi
colored baubles sewn on, microdresses
made of mirror or aluminum sheeting.
tights combined with a see-through
blouse, balloons attached to a bikini or
а one piece bathing suit, op
paper dresses, maxi. lentzili sequined side-
less gowns and vinyl space boots or
lace-up Roman-style sandals. Wholesale
plastic suppliers make a good hunting
ground [or such accessories as Lucite
spheres that can be easily converted into
space helmets or bubbleki

Guys will probably prefer to go the
spaceman route and make their grand
entrance in lamé astronaut-type togs or
Ming the Merciless capes and tights.
Either style of outfit can be sewn up for
the occasion by a girlfriend or rented
from a costume company. Elect
sh to wear a battery-powered
ight box as part of their ei
semble ur wire a bulb to the top of cit
space helmet. Way-out footwear can run
the gamut from sandals to wresder's
shoes or combat boots painted gold; and
it's a cinch that a sequined, ultrawide
motorcycle belt will jazz up a jump suit
—and give the wearer a "superman"
look. Also have on hand a few cans of
aerosol spray Day-Glo body paint to use
under a black light, some inexpensive
battery powered “zap guns" that shoot a
beam of light, several squirt guns loaded
with champagne, plenty of vinyl blow-
up pillows and balloons (including su.
persizcd ones used by the Weather
Bureau), some swinging mobiles hanging
froin the ceiling and a projector t
flashes. psychedelic lights оп the walls.
For serving up the galaxy of food-and-
drink suggestions listed below, we recom
mend that you use plastic champa
goblets and serving dishes, since they will
withstand the uninhibited high jinks and
g th:

nic wi

aching pad for a high fly
ad a few friends might chip
se a discothèque or a small
ht club for the evening. A less costly
alternative is to rent an artists lolt or
an empty store and make them space
shipshape for your far-out fling. A live
rock group, of course, is the ideal accom-
ment to any New Years ball: bu
оп the off-chance that all the groups

arc

102 booked. a good stereo rig turned up to

supersonic level, plus the right LPs
(Jimi Hendrix, Jefferson Airplane, Coun-
ty Joe and the Fish, The Doors, etc),
will do the job almost as well.

When laying out a holiday buffet for
costume revelry, consider the fact
futuristic larders will be stocked
with foodstuffs that are still considered
ultraexotic today but not dificult to
obtain, The best gounnandial rule of
thumb is for you to visit a store that
specializes in unusual delicacies. The
fact that such items as bear and elk
meat aren't served regularly throughout
the year gives them additional lift-off
power at a New Year's celebration. Re-
member, however, that wild game has a
limited freezer life—usually two to three
months. Although venison or elk is more
tender and flavorful after being kept in
cold storage for 90 days, the practice ol
hanging game up for aging is gradually
being discarded in favor of freezing the
partysized meat chunks.

OF course, it isn't necessary to trans
form your entire menu into à 200 story.
Serving a wellknown staple with a clas.
sauce or garnish will also garner
encores from your hungry guests. Veal,
for example, sautéed in butter, flambéed
with gin and then simmered with juni
per berries m is a traditional
European treat that opens new taste
horizons for most Amen

As your holiday
1, orbi
vival power of a stea
soup. One of the best examples i
canned kangaroo soup made from
garoo tails. To serve, flavor it with both
madeira and cognac and then take the
teeming tureen direaly to the table.
Another bizarre tidbit is the canned
broiled octopus now being shipped to
these shores. Octopus meat is delicate-
ly soy flavored and. when made into a
chowder, is sure to hold the interests of
your guests to the very last drop.

At опа! New Year's blowouts,
ampagne usually keep the
ty spinning into the wee hours. But

your

nsform dry bubbly into champagne
cocktails (see recipes that follow). L:
er, you can lift the party to even more
heavenly heights by offering a delicious
Interplanetary Punch instead of dessert.
Here, then, are some suggestions by
avnoy's Food and Drink Editor, Thom
as Mario, on how to shape your feast 10
come. All food recipes serve six.

VOYAGE TO THE BOTTOM OF 1
(CREAMED CRAB MEAT, BLACK
AND QUAIL EGGS)

1 1b. cooked fresh crab lump. deluxe

grade

6 Large black dried mushrooms (av
ble at Or
2 cups milk

НЕ SEA
USHROOMS

12 cup light cream
Instanuized flour
14 cup butte
2 tablespoons fino sherry

1 tablespoon finely minced fresh chives
lt, pepper

Zor. jars quail eggs

Dijon mustard

Salad oi

1 сир, beaten

Bread crumbs

Exami b ineat ca

fully. Remove
tilage. Pour hot

n and cut them into slivers
about 14 in. thick and about 1 in. long
Pour milk and cream into a heavy sauce-
рап. Add 1% cup flour and stir until
flour dissolves. Add butter: cook over
a low flame, stirring constantly, until
sauce is thick and smooth. Add sherry,
chives. and salt and pepper to taste. Add
b mcat and mushrooms and simmer
utes. Store in
gerator and reheat at serving time
il eggs and dry with paper
toweling. Coat with mustard. Add 1 ıe
to beaten egg, mix
il eggs in flour, egg and
bread crumbs. coating thoroughly with
each step. Chill in refrigerator um
serving time. Hi in. oil in electric
skillet preheated to 370°. Fry quail eggs
until golden brown. Drain on paper
toweling and place on top of hot crab

well. Dip qu

(ELK STEW WITH ORANGE)

3 Ibs, boneless leg or rump of elk (not
shoulder)

2 tablespoons buuer

1 tablespoon salad oil

4 cup finely minced onion
medium cloves garlic, minced ex
tremely fine
14 cup flour
Î quart game broth or chicken broth.
fresh or canned
2 slices orange. V4
1 tablespoon. lemor
1 small bay leaf
6 whole cloves
3 whole allspice
В whole peppercoms
12 sprigs parsley
2 tablespoons ma
1 tablespoon gra
Salt, pepper
Cut elk into Lin. cubes. Melt butter
d oil in a stewpot over a low fh
Add ment and sauté, stirring frequ

п. thick

juice

leira ог sherry
ed orange vind

blending well, Slowly stir in broth; bring
to а boil: reduce flame and simmer. Add
orange slices and lemon juice. ‘Tie bay
leaf, cloves, allspice, peppercorns and
parsley in a small bag of cheesecloth and
lower into pot. er until mear is

(concluded on page 222)

EDAD
NE Y

En
©
Ep
Ы
©
<
a
E

with our own eyes?” And he threw them
into excited discussion by mentioning a
me. “Daisy Bolster?”

Always, near every school, there is a
Daisy Bolster, whom everybody has
heard about and nobody knows. They
had all seen her at a distance. Tall, a bit
nny, long legs, dark eyes, lids heavy
s the dimmers of a car lamp. prominent
white tecth, and her lower lip always
looked wet. She could be as old as 17.
Maybe even 18! She wore her hair up.
Dick told them that he had met her
once at the tennis club with four or hve
other fellows around her and that she
had laughed and winked very boldly all
the time. Georgie said rhat he once
heard a fellow in school say she went
with boys. Gong Gong bubbled that
that was true, because his sister Jenny
told him that a girl named Daisy Bolster
d been thrown out of school thr
ycars ago for talking to a boy outside
the convent gate, At this, Georgie flew
into a terrible rage.

‘ou stupid slob!” he roared. "Don't

you know yet that when anybody says a

boy and girl are talking to each other, it

means they're doing you know what?”

I don't know you know what," Gong

Gong wailed. “What what?”

I heard a fellow say,” Jimmy Sulli-
an revealed solemnly, "that she has no

father and that her mother is no better

than she should be.

Dick said in disapproving tones that
he had once met another fellow who
had heard her telling some very daring
stories.

"Do you think she would show us for
a quid?" Ч

Before they parted on the pavement
that night, they were no longer talking
1 girl; for once a girl like that

gets her name up, she always ends up as
a myth; and for a generation afterward,
maybe more, it is the myth that persists,

“Do you remember," some old chap
will wheeze, "that girl Dais
She used to live up the M
used to say she was fast.

The other old boy will nod knowing-
ly, thc two of them will look at cach
other inquisitively, and neither will ad-
mit anything, remembering only the long,
dark avenue, dim gas lamps, stars hooked
in the trees.

Within a month, Dick had fixed it.
Their only trouble after that was to col
lecı the money and to decide whether
Gong Gong should be allowed to come
with them. Dick fixed that, too, at a
final special meeting in the sweetshop.

Taking his pipe from between his
Tips. he looked speculatively at Gong.
Gong, who looked up at him with eyes
big as plums, trembling between the ter-

104 ror of being told he could come

PLAYBOY

the talking trees |. pom page 96)

them and the equal terror of being 1010
that he could not.
“Tell me, Gong Gong,” Dick said po

, "what, exactly, does your father

lor,” Tommy said, blushing
a bit at having to confess it, knowing
da was a bank clerk, that

Georgie’s was a head constable and that
Dicks had been a district commissioner.
in the Pun

“Very

fine profession," Dick said
ntleman's tailor and outfitter.

“Ah, no," Tommy said, by now as red
as a radish, "he's not that sort of a tailor
at all, he doesn't build suits, ye know,
that’s a different trade altogether, he
works with me mother at home in Tuck-
ey Street, he lets things in and he lets
things out, he's what they call a mender
d turner, me brother Turlough had
this suit I have on me now before 1 got
it, you can see he's very good at his job.
he's a real dab. . . ."

Dick Jet him run on, nodding sym-
pathetically—meaning to convey to the
others that they really could not expect
a fellow to know much about girls if his
father spent bis life mending and turn-
ing old clothes in some side alley called
Tuckey Street.

"Do you fully realize, Cong Gon
that we are proposing to behold the ulti-
mate in female beauty?"

"You mean,” Gong Gong whispered,
"shell only be wearing her nightie?”

Georgie Watchman turned from him
in disgust to the fruit machine. Dick
smiled on.

“The thought had not occurred to
me,” he said. “I wonder, Gong Gong,
where do you get all those absolutely
filthy ideas, Do you think, if we three
subscribe seventeen and sixpence, that
you can contribute half a crown?"

“I could feck it, I suppose.

Dick raised his eyelashes.

“Feck?”

Gong Gong looked shamefully at the
tiles.

mean steal," he confessed

“Don't they give you any pocket mon
ey?”
“They give me three pence a week.”

“Well, we have only a week to go.
you can, what was your wor
а crown, you may come:

‘The night chosen was a Saturday—her
mother always went to town on Satur-
days; the time of meeting. five o'clock
cy: the place, the entrance to the
Mardyke Walk. On any other occasion,
it would have been a gloomy spot for a
rendezvous; for this adventure, perfect:
a long tree-lined avenue with a few
houses and endl

side and, on thc other side, the sunken
little canal whose deep dike gave thc
place its name. Secuded, no traffic al
lowed inside the gates, complete silence,
a place where men came every night to
stand with their girls behind the elm
trees, kissing and whispering for hours
Dick and Georgic were there on the
dot of five. Then Jimmy Sullivan came
swiftly loping. From where they stood
under a tree just beyond the porters
lodge, shivering with excitement, they
could see clearly for only about 100
ards up the long tunnel of elms lit
by the first stars above the boughs, one
lawny window streaming across a dark
garden and, beyond that, a feeble
procession of pendent lamps fading dim.
ly a nto the blue November dusk.
Within another half hour. the avenue
would be pitch black between those
meager pools of light.

Her instructions had been precise. In
separate pairs, at exactly half Past five,
way up there beyond the
where they would be as
cockroaches, they must gather outside
her house.

"You won't be able cven to scc onc
another,” she had said gleefully to Dick,
who had stared coldly at her, wondering
how often had she stood behind a trec
with some fellow who would not have
been able to see her face.

Every light in the house would be out
except lor the fanlight over the door.
Ooh!" she had giggled.
terribly oohey. You won't hear a sound
but the branches squeaking. You musi
come alone to my door, You must leave
the other fellows to watch from behind
the trees. You must give two short rings
Once, twice. And then give a long ring
and wait" She had started to whisper
the rest, her hands by her sides, clawing
her dress in her excitement. “The ба
light will go out if my mother isn't at
home. The door will open slowly. You
will step into the dark hall. A hand will
take your hand. You won't know whose
hand it is. It will be like something out
of Sherlock Holmes. You will be simply
terrified. You won't know what I'm
wearing. For all you'll know, I might be
wearing nothing at all!

He must leave the door ajar. The oth
ers must follow him one by onc. After
thai.

It was now II minutes past five
Gong Gong had not yet come. Alrea
three women had р N
dyke carrying. parcels, hurrying home to
their warm fires, forerunners of the
crowd. When they had
eorge growled,
When that slob comes, I'm going to
put my boot up his backside.”

Dick, calmly puffing his corncob, gaz
ing wearily up at the stars, laughed tol
erantly . “Now, Georgie, don't

(continued on page 136)

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the Fourth Amendment and use any
short cut to convict amy unpopular
person.

The much misunderstood self-incrim
mation clause of the Fifth Amendment
history: "No person . .
shall be compelled in any criminal case
to be a witness against himself.” At one
time in England, the oath that one takes
10 tell the truth was used against the
accused with devastating effect. If he
refused to take the oath, he was held
in contempt and punished. II he took
the oath and then refused to answer
question, the refusal was taken as a con
fession of the thing charged in the ques
tion. Thus were men compelled to testily
against themselves,

A widely heralded defiance of this
that of John Lilburne, who
rged with sending scandalous
hooks into England. He refused to be
ned under oath, saying that the
oath was “both against the law of God
and the law of the land.” He announced
that he would never take it, “though I
be pulled to pieces by wild horses.” Lil-

PLAYBOY

burne held in contempt, publicly
whipped, fined and placed in solitary
confinement. inl . On Feb-
ruary 13, 1645, the House of Lords set

aside that judgment as “against the lib-
erty of the subject and law of the land
nd Magna Charta.” And in 1648, Lil-
burne was granted damages for h
prisonment.

The idea spread to this country. The
Puritans who came here knew of the
detested oath that Lilburne refused to
take. They, too, had been its
The Body of Liberties, adopted ii
by Massachusetts, afforded protection
against sell-incrimination either through
torture or through the oath. The high-
nded practices of the royal governors
and order and
who sought to compel citizens to accuse
themselves of crimes alio whipped up
ment for the immu y
of the colonists, therefore, as part of
their programs for independence, adopt-
ed bills of rights that included the im-
munity against selincrimination. Later,
it was written into the Fifth Amend-
ment and into most state constitutions.

The immunity has been broadly inter-
preted, It extends to all manner of pro-
ceedings in which testimony is take
including legislative committees. It was
arly held by the Supreme Court to give
immunity from testifying not only to
acts or events that. themselves constitute
€ clements of a crime
Iso to things that “will tend to

criminate him” or subject to fines,
penalties or forfeitures. As Chief Justice
John Marshall put it at the beginning,
immunity protects the witness from
120 supplying any "link" in a chain of testi

CIVIL LIBERTIES , sron pose 9)

mony that would convict hi
spite of this long history, the
order propagandists denounce the de
sions that forbid the police from using
coercion to obtain confessions from
people in custody.

The protection against double jeop-
ly, the right to counsel, the right to
confront the person who accuses one,

the guarantee against cruel and unusual
punishment—these all have a similar spe-
Gfic and detailed history of abuse by

government. Each reflects a clear and
calculated design to prevent government
from meddling with individual lives.

Ihe lawandorder people say th
"criminals" and “Communists” deserve
no such protection. But the Constitution
draws no line between the good and the
bad, the popular and the unpopular. The

word is which, of course, in-
dudes Every person is under
the umbrella of the Const ion and thc

Bill of Rights. The Bill of. Rights pur
posely makes it difficult for police, prose-
cutors, inves чес judges
and even juries to convict anyone. We
know that the net that often closes
around an accused man is a flimsy one.
Circumstantial evidence often implicates
the innocent as well as the guilty. Some
countries have the inquisitorial system,
in which the criminal case is normally
made out from the lips of the accused.
But our system 15 ditterent; at is accusa.
torial. Those who make the charge must
prove it, They carry the burden. The
sovereignty of the individual is honored
by a presumption of innocence.

constitutional system with the Civil War
amendments, which banned discrimin:

tion based on race, creed, color or pov-
erty. So today we stand for both liberty
and equality,

The Russians who pro-

out strong for liberty: “The highest
ion of mater without free
thought and will,” creates “a gre:
in which the food rations of prisoners

are inareased." Whatever continent one
visits, he finds man asserting his sover-
cignty—and usually recei

ment for doing so. There are lew places
in the world where man can t
speak as he chooscs and walk with his
chin held high. Yet in spite of our com-
mitment to both, we are confronted with
tremendous internal discontent. Some
are in rebellion only to obtain control
over existing institutions so that they
may usc them for their own special or
selfish ends. But most of the discontent, |
think, comes from individuals who clam-
or for sovereign rights—not rights ex
pressed in laws but rights expressed in
jobs and in other dignified positions in
our society. We face civil disobedience
оп a massive scale.

il disobedience, though at times
abused, has an honored place in our
traditions. Some people refuse to pay
taxes because the money raised is for
à purpose they disapprove. T is not
permissible course of conduct; for, by
nd large, the legisl has
carte bla
levy taxes. It would paralyze govern
ment to let each taxpayer exercise the

sovereign right to pay or not to pay, de
pending on whether he approves of the
social, economic or political program of

those in power. The same is true, in
general, of most other 1 mposed on
the citizen, whether it be observing a
speed law or obeying a zoning ordi
nance or a littering regulation.

Obedience was quite different.
pressed a universal pr
political remedy to right a
wrong. Disobedience of the law embody.
ing the wrong was his only recou
Colonial India, like Colonial America,
was under a loreign yoke. Regulations
were often imposed from overseas or
taxes exacted by the fiat of the colonial
ruler. The subject had to submit or else.
“Taxation without representation” was
one of the complaints of both Sam
Adams and Mahatma Gandhi. Our Dec-
lation of Independence stated the
philosophy—all men are created equal;
they are endowed by their Creator with
cer alienable rights.” Govern.
ments derive their just powers Irom
е consent of the governed"; and
whenever a form of government be:
comes “destructive to those ends, it is
the right of the people to aller от abol
ish it.” Thus, the right of revolution is
deep in our heritage. Nat Turner did
not get the benefit of our Declaration of
Independence. But he moved to the
measure of its philosophy. These days,
some people are caught in a pot of glue
(d have no chance to escape through.
use of a political remedy. Civil disobedi
тсе, therefore, evolves into revolution
nd is used as a means of escape.
Revolution is therefore basic in the
rights of man. Where problems and
oppression pile high and
nied all recourse to poli
only revolution is left. Some
lution with violence is the only remedy.
iolence olten erupts these days
ica and Southeast Asia, where
xd m nes hold people
ise, making it impossible for them
to be freed from oppression by the polit-
ical processes. In some nations, a trade
union organizer is considered an enemy
id is shot. So is a person who tries to
organize the pe into cooper
In those extreme situations, there is no
machinery for change except violence.
We have had civil disobedience accom.
panied by violence, the bloodiest one
(concluded on page 223)

THE MORE PARLOUS the time we live in.
the more people yearn for answers, lor
some insight into the future that will
tell them what to expect—whether
good or bad. It is uncertainty that is
intolerable, and it is in fractious and

uncertain periods in man’s history that
he has turned to oracles, and
prophets, secking to obtain from them

some glimpse of things to come, Today.

seers

recourse is most often to science: So
phisticued computers are fed reams of
data to process and—it is hoped —will

then spew forth’ the encoded mystcrics
of what lies ahead. All that's required,
then, is simple decoding, so that the
riddles of the machines can be made
sensible to mere men. Alas, machines
have an incurable habit of being un-

cooperative when it comes to simple

PLAYBOY
POLLS THE
PROPHETS

six offbeat oracles—human and otherwise—lay
their prescience on the line with a collection
of unabashed predictions for the coming year

ILLUSTRATION BY ALTON KELLY

PLAYBOY

122

nswers;
in probabi
cop-outs de;
so-and-so” predicti
is often to replace one big question with
a lot of smaller ones that are equally
netiling. Little wonder that people turn
from the hedged and unsatisfying logic
hines to the gratifying certitudes
of magic and of super and supranatural
prophecy with no ifs and buts. Belief is
the key to such gratification, of course,
d that’s often the rub. To help you de-
termine how credulous you can be—and
1o give you some occult
which to test your credulity—r
conducted microinterviews and con
tions with prophets, both hur
otherwise, who, whatever they lack
scientific validity, can't be accused of
reticence in clearing up any doubts you
may have about what lies ahead.

hey talk not only in riddles but
ics wrapped in cautions

ing with “if so-and-so, the
the net of which

of n

SYBIL LEEK
—Witch—

Although she is a world-famous
witch, British-born bil Leek is no
daughter of Satan. She's a very jolly
psychic, a white witch (white magic
only) who has been a ghosthunting
medium and a lecturer їп matters oc-
cult for many years. With uncanny fore-
sight, she hus predicted ‘such natural
disasters as earthquakes and floods; and
some of her predictions have proved so
accurate that the military men at Cape
Kennedy and elsewhere have actually
been consulting her. A prolific writer
whose latest book is “Diary of a Witch,
Miss Leek calls herself “the reluctant
medium.” She doesn’t get her prophetic
insights at séances or in trances. “Predic
tions literally have to catch up with me,’
she says, “generally at some inconvenient
time, because I'm always busy writing.
But when they come, there's no mistak-
ing that something different is happen-
ing. I see an event as clearly as anything
else in the material world. It's important
Jor me not to think about predictions.

The following predictions came to
Miss Leek in the course of several weeks
and then were given lo rLayboy in one
interview in New York.

¢: Will ach the moon in
196

a will circle the moon in
1969, as the Russians did in 1968, but
the Ru will be the first to land.
However, the date 1 have is 1970.

What will financial conditions be
ng 1969?

A: My main impression is one of
very depressed financial state, а real
slump in money starting in late Febru-
ary but reaching its climax in April. Not
just a few rich people losing money on
the stock exchange, but a slump allect.
ing many. many people.

¢: Will America pull out of Viena

A: 1 do not see any end to the Viet-

nam war, although 1970 is а rime that
sticks in my memory right now.

@ Do vou see any i
political leaders in 1960?

A: Not yet. But without tooting my
own horn, I must tell you something
that happened in 1968. Some t
ing the spring, I saw
famous person coming on June 22 that
would have the same carthshaticring
effect as the assassination of President
Kennedy. 1 first saw this thing the night
before Martin Luther King was killed,
but 1 definitely saw the date as June 22.
Then 1 saw it again about 11 days later,
and the date of June 22 was the same.

o: In other words, you missed the
assassination of Robert Kennedy by
about two weeks.

A: That's right.

Do you sec any great scientific dis-
coveries coming in 19097

А: Yes, I see the discovery of a new
source of energy, one that gives the
push to the moon. This new source of
energy will cause a revision of our pres
ent ideas about gravity.

ө: Speaking of space, what about UFOs?

a: This is quite interesting. In 1969,
there'll be a very different attitude to-
ward flying saucers. Most people now
either laugh at them or ignore them. But
in the early part of the year, events will
ke a valid case for flying saucers.
rom March 19 to March 27 of 1969,
there'll be many sightings of UFOs
ad the world so many, in fact, that
the Government will set up а new com-
mission to investigate them.

ч: Any other psychic feelings about
anything we haven't covered

a: Yes. I'm not completely dear about
this, because while 1 was seeing it, some-
one interrupted me and then 1 couldn't
get back to it. But in 1969, 1 sec large
groups of military forces being used in
this country.

CARROLL RIGHTER

—Astrologer—

America's leading astrologer, Carroll
Righter is the author of two books re-
garded as milestones in the science of
astrology and You” and
“Your Astrological Guide to Health and
Diet" His syndicated column reaches
more than 100,000,000 people and he ap-
pears frequently on radio and television

A deeply religious man who believes
that God did not create the earth just
for man’s benefit, Righter says, “The
stars impel, they do not compel. What
an individual makes of his life is largely
up to him.”

Righter is constantly traveling around.
the world to counsel statesmen, business
leaders, movie stars and those he calls
“just people.” His American home is in
Hollywood, where he runs the Carroll
Righter Astrological Foundation to study

We've h:

the effects of health, diet and weather
on the moods of individuals

To learn what's ahead for America in
1969, Righler drew the nation’s horo
scope: born al 2:15 A.M. local mean
time al Philadelphia on July 4, 1776
(see chart on page 126), the time when
the Declaration of Independence was
adopted. Using this horoscope, Righter
then discussed the coming year in an
interview with PLAYBOY at a hotel in
New York
Will 1969 bring war or peace?
There should be some definit
moves for real peace in 1969, because
Mars, the planet of war, is not so placed
as to indicate war. America's horoscope
shows no major war this ycar, although
there be moppingup operations.
1 seven years of upsets and
unpredictability, but 1969 should be а
leveling ofl—except for the period of
May 20 to June 20, when people may go
back to belligerent ways
Will there be any major evil force
in this calmer world?
Well, the nation that will be most
effective in 1969 is China. A very pow-
«гї! man will arise there, possibly
through assassination. To be strictly ac-
te, China won't dominate the inter.
ional scene for the whole year, just
until October 22. Then, for the rest of
the year, Russia coi
9: Will there be a moon landing?

А: Nor only will there be a moon
landing in 1969 but it will be a year of
great new scientific achievements. There

will be interesting inventions,
some involved with planes and space.

ө: Will violence continue to explode
n our cities?

A: Urban strife will continue but de
crease. However, with the sun tri Mars
and Aries exalted, there may be more
chance of using the y to stop any
an violence.

e: Do you see any major changes in

people will become
ii be out,

more elegant.

Q Wh
the country?

A: Well the m
be very confused. And the stock m
will constantly be fluctuating, bec
all the criteria and systems that worked
in the past will no longer
will also be more
planet of їй.
ed for A in 1969.

€: Do you see any other trends for
ion?

A: The health of Americ:
ally be better next year, though there'll
be occasional outbreaks of virus. And
there'll be great gai the fight
wainst air pollution.

Uranus conjunct Jupiter means that
America will have speedier transporta
tion and communication next year. Even

(continued on page 126)

"s badly aspect

ins in

last-minute yule largess to tote, dispatch or promise

Presents perfect and portable. 1. Leather liquor caddy and bottles, by Edwin Jay, $25. 2. Six-pack carrying case, by Glacierware, $10. 3. The Baton transceiver
has a range of five to ten miles on land, by Toshiba America, Inc., $120 the pair. 4. Howard Miller clock in walnut case, from Raymor, $35 electric, $45 battery. 5. Dave
Doty decorative blocks, from Beylerian, $5. 8. The ConverTable, an 11-transistor radio housed in the walnut cabinet shown, can also be used as а portable, by Toshiba
America, Inc. $94 50. 7. Anorakki men's ski jacket of Marimekko silk-screened cotton, from Design Research, $52.8. Adjustable Visa-V sunglass visor, by Bernard Kayman
$10. 9. "The Best from Playboy II" in hardcover, as shown, $4.95, or paperback, $2.50; and "The Playboy Cartoon Album 11," $2.50 paperback, both from Playboy
Products. 10. Teakwood tower game, from Bonniers, $27.50. 11. Corduroy “Field Kit” comes with assorted grooming gear, by Aramis, $17.50. 12. Peter Max-designed
plate and mug, by Iroquois China, $3.50 a plate, $2.50 a mug. 13. Automatic egg cooker, by Salton, $19.95. 14. Marble cutting block with stainless-steel knife, by Etco
Industries, $10, 15. Celius pipe, a Danish import, from Snug Harbour, $100. 16. Antique-style wooden boat whistle, from The Company, $1050. 17. Battery-powered
Mod clock, from Bonniers, $35. 18. Bistro stainless-steel and enamel utensils, from Bonniers, $1.25 each. 19. AM/FM portable clock radio, by Panasonic, $69.95.

IOGRAPH! AS UREA

123

Bell-ringer gifts that make for a special delivery. 1. Nest of three clear-plastic benches, designed by Oscar Igersheim Plastic Fabricators, $240. 2. Stainless: steel
bouquet sculpture designed by Tom McAllister, from John Strauss, $225. 3. Scene FM tuner converts any four- or eight-track cartridge player into an FM radio, by
Goodway, Inc, $29.95. 4. Eight-track cartridge player for a car, by Lear Jet Stereo, $144.95. 5. Direction finder for push-button navigation accuracy, by Raytheon
Marine Products, $1330. 6. Austrian-made buckle ski boots, $55, and Bool. in carrier, $4.95, both {rom Garcia Ski. 7. Gerald Laing original screen print is one of six in а
limited-edition portfolio, from the Richard Feigen Graphics Gallery at Bonwit Teller, $225 the portfolio. 8. Globe in walnut-and-aluminum stand, by Replogle Globes, $100.
9. ТОС 33 tape deck and AM/FM receiver, by Harman-Kardon, $550. 10. Christen chrome and rosewood fireplace tool set, from Raymor, $100. 11. Gourmet fry pans of
heavy-gauge stainless steel, copper and brass, by Gense Import, $300 for set of five. 12. Model 450 cassette recorder, $99.95, can be synchronized with either the Model
458 Super. g projector, $169.95, or the Model 442 Super-8 camera, $159.95, thus providing a complete sight-sound home-movie system, all by Bell & Howell. 13. Mallet-
124 head putter, from Playboy Products, $25. 14. Console houses color TV. slide projector and cassette; slides are projected onto screen from inside the set, by Sylvania, $995.

A promising package of goodies and services yet to come. 1. A custom-made suit, by Meledandri, from $285, depending on fabric. 2. Gift of a New Year's Eve band
from about $500 for a minor rock group to $20,000 for the Jefferson Airplane, 3. A complimentary dinner for two at affiliated restaurants, from Be-My-Guest service
through American Express. 4. One first-class ticket for a high-flying trip around the world, from TWA, about $2200, depending on itinerary. 5. A two-week "total
immersion" course in the language of one's choice, from Berlitz, $1250. 6. For venophiles: the gift of a different bottle of wine each month during the coming year;
price varies according to vintages selected and delivery charges, 7. Courses at either Bob Bondurant's School of High Performance Driving in California or the North
American branch of Brands Hatch Motor Racing Stables at the Michigan International Speedway, about $100 a day. 8. A gift certificate to an art bookstore. 9. A Lifetime
Subscription to PLAYBOY, $150. 10. One-year membership in Harry and David's Fruit-of-the-Month Club, about $60. 11. The gift of a different cheese each month for the
coming year, from Cheese Unlimited, $27. 12. A 12-month personalized investment advisory service, from Equity Research Associates, $8000. 13. One week at the
Golden Door, a luxurious West Coast health spa that specializes in unwinding keyed-up executives, $675. 14. Season tickets to a symphony, opera or theater,

125

PLAYBOY

126

PLAYBOY POLLS THE PROPHETS

though some railroads are shutting down
passenger service, I see faster trains—like
that new high-speed express between New
York and Washington.

However, Uranus opposes the sun in
1969 and this means that many partner-

ps will break up, partnerships in mar-
riage and even among nations. But these
should lead to improved alliances.

The year 1969 will be the one in
which you get what you carn, in which
you get your just deserts, especially at
the Aries ingress (spring), when Ameri-
ce horoscope has Venus conjunct Sat-
urn. It will also be a more international
year, with everyone looking at what the
other fellow is doing and trying to pro-
ject new methods and philosophies for
dealing with him.

ASTROLOGICAL HOROSCOPE OF
THE UNITED STATES OF AMERICA

Born July 4, 1776, at 2:15 a.m. local mean time,
Philadelphia, Pennsylvania, 40° north, 75° west

MADAM SORINA

—Gypsy Fortuneteller—

Operating from a small storefront in
New York's garment district, Madam
Sorina is one of America’s vanishing
gypsies. Long hounded by the law for
often being prostitutes or vacketeers
(some are both), gypsies are now hard to
find. The first two PLAYBOY found in
New York tumed out to be Spanish
hookers and not Romany mystics.

In Madam Sorina's window were flow-
ers, candles, beads, playing cards and a
sign saying EARRINGS Fok злїк. We
went into the small front room, which
was separated from the back of the
store by a curtain, There we met
Madam Sorina, a small, dark-haired
young woman, who took us into the
back and had us sit down on a couch.
She looked at us the way gypsies
through the ages have done, wondering
if we were the law. She would nol pre-
dict with either a crystal ball or tea
leaves but preferred to use tarol cards,
which she feels are a more legitimate

(continued from page 122)

prophetic mechanism than a sphere of
glass or some shreds of tea. (Gypsies
who use only crystal balls or tea leaves
are usually fakes, though there are those
who would call the term “fake gypsy”
а reduhidancy.)

Tarot cards are as old as the Hebraic
and Egyptian worlds and muy come
from both, though the gypsies clam to
have brought them from India. Tarot's
numerology is tied to the numerology of
the cabala. There are 78 cards in a deck
and they are about as wide as regular
playing cards but much longer. There
are two kinds of cards: the major arcana
(which have names like The Star, The
Town, The World, The Chariot, The
Judgment) and the minor arcana, which
are broken into four suits, like playing
cards: Wands are like clubs, swords ате
like spades, cups are like hearts und
pentacles are like diamonds.

Madam Sorina shuffled the cards and
then PLavuoy cut three times left to
right with our left hand, to produce an
interaction of her subconscious and ours.
Then she dealt the cards into the spread
shown in the illustration on page 128,
after first pulling down a card to stand
for the person about whom the forecast
was being made. This card is called a
significator. (In the illustration, it is com-
pletely hidden by the covering card, the
knight of cups.) Madam Sorina picked
the hing of swords to stand for the United
States, because it's a card indicating the
active, masculine role this country plays.

After the whole pattern had been
dealt, she discussed the meaning of each
card. You cannot ask a tarot deck spe-
cific questions, such as “Will the team-
sters strike?” The catds indicate only
general trends, trails and influences, and
some are quite complex. Nevertheless,
Madam Sorina was able to describe the
following picture of 1969 in America.

“Now, you see that the knight of cups
is the covering card, and he's a searcher,
someone in quest. This means that Amer-
ica is still a country that’s searching,
aware that it doesn't have the answers.
The smugness is gone.

“The crossing card is the queen of
wands, who controls sexuality and crea-
tivity. Therefore, the country is crossed
by the fact th. her its creative ener-
gy nor the meaning of flesh and sexual-
ity has been assimilated and given its
proper place in our culture. So these
qualities appear here as crossing rather
than helping our development,

"What we call the card above—in oth-
er words, the card above the significator
—is the Wheel of Fortune. The card
above stands for the most you can aspi
to in the immediate situation. In this
case, the Wheel of Fortune represents
x; and so there'll be many
changes in American society in 1969, but
they won't be menacing.

“The card beneath stands for the
structure on which all is built. Now,
here we have the knight of swords,
who's a man of ion and blood, a
ruled by his emotions and moving very
fast. He's involved in struggle: he's in
state of what the Hindus call karmic ac-
tion. And this is the state of Americ:
war abroad, black-power battles at home
and a struggle between the money of the
East and the money of the West.

“The card behind America is the eight
of cups. This is quite interesting. You
see, the cups stand for knowledge and
all this knowledge is behind us. 1 be
lieve it was the knowledge held by Tho-
reau and others in early America: that
man is put on this planet to live simply
under the sky with his fellows and the
animals. This was the dream, the hope
for a simple, equitable life, but now it's
all behind us.

"In front of America is the five of
cups. You sce that three of the cups are
spilled and this means a waste of earlier
knowledge; but two cups are upright, so
a bit of the old knowledge still remains.
The man on the card looks upset. Well,
he's shaken by the loss of truth and the
old knowledge. But perhaps he'll find
his way again by using the two cups
still upright.

“The six of pentacles stands for the
role that America has been playing as
an almsgiver and protector. But you'll
notice that there's a distance. between
the man on the card and the poor he's
helping. "This means that the alms are
given through pride and not humanity.
America still doesn't know the true
meaning of charity.

“The two of swords is the card th.
stands for the significator's house—sort
of the whole picture. It’s hard to de-
scribe this meaning precisely, but it's
sort of a balance achieved by a negation
of almost everything. There's no looking
outward here. It's a card of tense peace
through emptiness, a state of tenuo
equilibrium. But it's shortlived, because
the Wheel of Fortune is turning.

“Now, just above the two of swords is
the sun, and that stands for your hopes
and fears. What America hopes for and
fears is power and the light of the full
truth of what the universe is about and
why man is on earth, because then we'd
see ourselves as young children. We fea
this and yet we hope for it, because it's
our only chance of resurrection and sal
vation as a country.

“The page of wands is our future. The
page is a child in the service of the
creative power, the queen of wands. So
after coming through all the disaster,
pride and emptiness, we finally do, in a
different way, have the same new begin.
ning that we once turned our back on.
It's really a hopeful Ф

e: It's absolutely fascinating. May we

(continued overleaf)

Pox UNES VII A

“Oh, hi, dear. Pam and I were just lying here wondering
what the new year will bring.”

127

say something that we hope you won't
find rude

^: Of course.

ө: You sound much 100 intelligent 10
be a gypsy.

^: Oh, I'm a real gypsy. all right on
both sides; but being one doesn't ex
dude having brains. You know what 1
do with the money I make from
ings? 1 take courses at NYU.

TAROT CARD READING FOR
THE UNITED STATES OF AMERICA
Significator: King of Swords
(completely covered by Knight of Cups)

PLAYBOY

эмн mp
a E
fortune wands
3 10
5
à the
cos | | 2"
6 9
si 2
knight 3
swords swords
4 в
5
ot
penta-
des
ler

1—This is what covers you.

2—This ts what crosses you.

3—This is what is above you.

4—This is what is beneath you.

5—This is what is behind you.

6—This is what is in front of you.

7—This is you.

8—This is your house.

9. These are your hopes and fears.
10—This is your future.

1 CHING

—Book of Oracles—

The “1 Ching” or “Book of Changes”
(the Richard Wilhelm translation [vom
Chinese into German, rendered into
English by Cary F. Baynes) is part of
the Bollingen Series of the Princeton
University Press and is sold in practically
all bookstores. With prehistoric origins,
the “I Ching” evolved from a collection
of oracles into a book of wisdom that
provided the common roots for Gonfu-
cianism and Taoism, the chief branches
of Chinese philosophy. The “1 Ching” is
based on the belief that the forces of yin
(feminine) and yang (masculine) exist in
a never-ending tension that produces con
Stant change; but events ате more the
result of chance than of cause. The “1
Ching" interprets chance events. Il does
not prophesy the future but gives the

128 reader a metaphor to understand the

questions at hand—and suggests proper
courses of future action.

pLaynoy went lo New York's Albert
Hotel and visited Miss Diane Di Prima,
head of the Poets Press and an “1 Ching”
authority, who agreed to use the book
for coin oracles about America in 1969.
Taking three coins, she assigned the
number threc to heads (or yang side)
and the number two 10 tails (or yim side).
She then asked рьлүзоү to clear our
head of alt extrancous thoughts and to
concentrate on a single question, one not
too specific and involving no hope of
gain, for desire can act as an agent. She
said the book would produce oracles that
might cover the next two or three years,
but which would all start right now. Un-
like witches, astrologers and gypsies, the
“I Ching" can predict only from Ihe
present moment on.

Therefore, on October 8, 1968, vıaysov
sat on the floor of Miss Di Prima’s office
and concentraled on this question:
“What forces will dominate the course
of the American nation until the end of
1969?" 0 Miss Di Prima and her
assistant editor then threw the coins,
using three people instead of one to get
а better cross section of America. Each
person threw the three coins six times,
once for each line of a six-line hexagram
that Miss Di Prima drew. She then
looked in the back of the “1 Ching” at
a chart that gave the number 28 to the
hexagram we had produced. The oracle
for this hexagram, called Preponderance
of the Great, was on page 111.

Alternately reading from the “I Ching"
and interpreting it, Miss Di Prima then
explained our oracle, whose hexagram
looked like this:

“Now, every hexagram is composed of
(wo trigrams that stand for things. In
this one, the bottom trigram stands for
the gentle or wind or wood, and the top
опе stands for the joyous or lake. So it's
like a Hoodtime, when the lake rises
above the treetops. This is, first of all.
an oracle of great urgency. Forces are in
the wrong place and everything is out of
balance. Therefore, he gentle and j
and don't attempt io change т
forcible methods. This is the wrong time
for a revolu As the book says, “The
problem must be solved by gentle pene-

ation to the meaning of the situation.
It demands real superiority; therefore
the time when the great preponderates
momentous time.”

The book goes on to explain this. It
ys. “The lake rises above the trees.
"Thus the superior m en he stands
alone, is unconcerned: and if he has to
renounce the world, he is undaunted.’

Here the book is telling the superior
man, who stands for American leaders,
how to act in a world sit s

urgent but temporary. This superior
man y find himself standing
but he must be unconcerned

whether or not people are with
things get too bad. he may even have to
withdraw from the scene; but he must be
undaunted and ready to return and lead
in. The symbol of the ge the
tree, which stands firm even if it stands
ymbol of the joyous is
the lake, which remains undaunted.”

This oracle was interesting but vague,
sa we decided to ash the “1 Ching" a
more specific question. Miss Di Prima
now invited a fourth person to join us in
the coin tossing, so we could have а
still larger cross section of America
Concentrating on the question “Will
America pull out of Vietnam by the end
of 19697" three of the four of us threw
single coins six times in a volation until
we got this hexagram:

gram number 18 and it’s
called Work on What Has Been Spoiled

(Decay). The lower trigram is the ge
Че or wind. and the upper is keeping
still or monntain. The ese ch

acter for this hexagram, ku, represents a
bowl in which worms аге breeding а
this means
applicati

"As thé book says, this decay has
come about because the gentle indilfer
ence of the lower trigram has come to-
gether with the rigid of the uppe
nd the result is stagnation.” Since this
mplies guilt, the conditions embody a
demand for the removal of the cause.
Hence the meaning of the I i
"Work on what has been spoiled."

“There are two k
volved here and
them. The first
weakness, and you mu
gently and with conside
other kind is corruption caused by
neglect in carlier times, and this is à
real challenge for the superior
American leader. As the book
do away with this corruption. th
rior man must regenerate soc
methods likewise must be derived Irom
the two trigrams, but in such a way that
their effecis unfold in orderly sequence.
The superior man must first remove
stagnation by stirring up public opinion.
аз the wind stirs everyt and must
then strengthen and tranquilize the char-
ter of the people, as the mountain
gives tranqu
that grows vicinity."

“The book is here saying that to end

(continued on page 220)

that
But the

130

Photogrophed in the entronceway

Art
also on the tenth floor of cur
Chicago headquorters—ore: o
life-size oil painting of Bogey by
Richard Froomon

lo PLAYEOY'S Department—

(for “Here's

Looking ot You, Kid"—The Bogart
June 1986); on impression.
istic oil by Charles Schoore (The
Ninth Upland Game Bird, Novem-
ber 1966); Poul
móché head of o de

Davis’ popier-

ish columnist

(Bertram and the Networks, Sep-
tember 1964); in the niche, two
grotesquely effective heads in
wood by David Packard, who met
en untimely death lost yeor (The
Ninth Score, October 1961); a

painted construction of bottles,
these, too, by Poul Davis (Proofs
Positive, Moy 1965); о humorous-
ly reolistic oil pointing by Lionel
Kalish of three bornyard animals
(Chop Tolk, Moy 1961); Phill

SH
has twice asked a

d with the u

Renavd's foscinating James Bald-
win collage, assembled from clip.

pings about racial strife and
pages from the writer's books
(Words of a Native Son, Decem.

ber 1964); 10 its right, o simple

yet compelling drowing in crayon
an paper by тлүгоүъ Arthur
Poul (The Tie That Binds, Moy
1963); and directly to its right,
anathor expansive Roy Schnock
enberg ail pointing, for a Jack

Keravoc story (Good Blonde, Jon-
very 1965); а pensive матап,
one of the fomaus George Segal
sculptures that he creotes by cover-
ing o live model with ploster (The
Ploymote as Fine Ап, Januory

1967); ond, farthest right, on
oil by Herb Davidson in which the
features of the central character
appear surrealistically on his
thumb (The Man Who Wrote Let-
ters fo Presidents, August 1967).

The reception area of the Playboy
Building's seventh flaor—heod-
quorters for Playboy Clubs Inter-
notional and home base for the

extensive line of Playboy Products
functions here as o gallery for:

top left, a Roy Schnackenberg
ode in cil ta the mood of horse
racing (for Horse Sense, June
1967); ап ail pointing by Martin
Hoffman of the lost woman оп
earth, whose autline contains her

lost two suitors (The Better Man,
July 1966); onather Arthur Paul
painting, this one ocrylic on can-
vas, copluring teenagers in on
emotional confrontatian (A Fa-
ther's Gift, June 1962); a blurred,

driven writer in tempera on poper,
by Phill Renaud (The Song of the
Four-Colored Sell, Morch 1963);
Isadore — Selizers — oilon-woad
pointing cf a narrow-gouge gui-
tar (Folk Songs far Moderns, April

PHOTOGRAPHY BY DWIGHT HOOKER

Art Director Arthur Paul is shown
in mayor's Tithfloor photo-
grophic studio with o dozen three-
dimensionel exomples of the
prize-winning illustrations he hos
commissioned over the past 15

yeors: ot top left, o wordy con-
struction by Ron Bradford for а
humorous piece on semantics (A
Lillle Chin Music, Professor, July
1967); benecth it, on eloborate
and mocobre construction by the

lote David Packard (Love, Deoth
& the Hubby Imoge, September
1963), to the right of the Brodford
Piece, o third construction, this
one feoturing faces tropped in
plastic, by Tom Strobel (Naked in

Xonadu, November 1964); о point.
ing on o bottle (The French Myth,
December 1964), by Foul Dovis,
whose direct visuol effects have
eorned him numerous professional
owords; benecth the bottle, two

“Art in the Embassies Program,”

wends in ıhe

Time and again, we have discovered that an illustration that succeeded brilliantly
something different—but equally successful—when viewed. by itsell.” As the selec
these pages shows, the walls of the Playboy Building—whose functi

themselves function as a gallery that proclaims the successful melding of illustration

tect Ron Dirsmith

modeled and painted mugs (Hot
1967)
ond, at the top in the next group,
a highly detailed wood sculpture
(The Fuzz, July 1967), both illus-
trations by Bill Bryan; beneath

and Spirited, November

the night stick, a construction by
Harry Bouras featuring a sec
tioned brondy cosk (Brandy,
March 1963); at bottom center, a
second Bradford construction, this
for a Nat Hentoff article (We're

nally avant

Happening All Over, Babyl,
March 1966); a pointed woaden
mollet by Miyo Endo (The Su-
preme Court, November 1966); o
George Suyeoko rock painting
(Sex in the Stone Age, Januory

and others have been lent to museums here and abroad. “One of the most exciting
rt world,” Paul says, “is the breakdown of the distinction between the illustrator a
in th
n of prize-winning ariwo
de interior is the work of

nd the fine artist.
'ontext of ils text becomes
k on
chi-
nd fine art.

1966); directly in front of Paul,
a hinged oil painting by Corl
Schwartz (Buddy-Buddy, Septem-
ber 1966); finally, a Раш Dovis
painting on a barrel (The “No-
ble" Experiment, December 1963).

135

PLAYBOY

136

the talking trees (continued from page 104)

be impatient. We shall see all! We
shall know all!”
Georgie sighed and decided to be

weary. 100.

"I hope,” he drawled, “this poor frai
isn't going to let us down!”

For three more minutes, they waited
in silence, and then Jimmy Sullivan let
out a cry of relief. There was the small,
round figure hastening toward them
along the Dyke Parade from one lamp-
post to another.

“Pulling and panting as usual, I sup-
pose" Dick chuckled. "And exactly
fourteen minutes late:

“1 hope to God," Jimmy said, "he has
that pound note. 1 don't know in hell
why you made that slob our treasure:

"Because he is poor," Dick said quiet-
We would have spent it”

He came panting up to them, planted
a black violin case against the trec and
began rummaging in his pockets for the
money.

"I'm supposed to be at a music lesson,
that’s me alibi, me father always wanted
10 be a musician but he got married in-
stead, he plays the cello, my brother
Turlough plays the darinct, me sister
Jenny plays the viola, we have quartets.
1 sold a Haydn quartet for one and six, I
had to borrow sixpence from Jenny, and
I fecked the last sixpence from me
mother’s purse, that's what kept me so
[354
They were not
the puckered
eling to point out onc by one a crum-
pled halfmore, two half crowns, two
shillings and a sixpenny bit

“Thats all yeers! And heres mine.
threepenny bits for the quartet.
That's onc and six. Jennys five pennies
1 two ha'pence. That makes two bob.
And here's the tanner 1 just fecked from
me mother’s риге, That makes my two
nd sixpence.”

Eagerly, he poured the mess into
nds. At the sight of the jumble,
red at him.

“I told you, you bloody little fool, to
ng a pound note!”
“You told me to br

“I said a pound note. I c:
dogs breakfast 10 a girl

а pound.”
c this
like Daisy

Bolster.”
“You said a pound.”
They all began to squabble. Jimmy

Sullivan shoved Gong Gong. Georgie
punched him. Dick shoved Georgie.
Jimmy defended Georgie with, “We
should never have let that slob come
with us.”

Gong Gong shouted,

Who's а slob?”

Jimmy shoved him again, so that he
fell over his violin case, and a man pass
ng home to his tea shouted at them,
Stop beating that little boy at once!”

Tacıfully, they cowered. Dick helped
Gong Gong to his feet. Georgie dusted
him lovingly. Jimmy retrieved his cap,
put it back crookedly on his head and
patted him kindly. Dick explained in his
best Ampleforth accent that they had
merely been having a trifling discussion
and “our young friend here tripped over
his suitcase." "Ihe man surveyed them
dubiously, growled something and w
on his way. When he was gone, Georgi
pulled out his pocketbook, handed a
brand-new pound note to Dick and
grabbed the dirty jumble of cash.

Dick at "Quick, march!
Two by two!" and strode off ahcad of
the others, side by side with "Tommy
and his crooked cap and his dusty violin
case, into the deepening dusk.

They passed nobody. They heard
nothing. They saw only the few lights in
the sparse houses along the left of the
Mardyke. On the other side was the
railed-in dike stream, but that made no
more noise than a canal. When they
came in silence to the sudden, wide
expanse of the cricket feld, the sky
dropped a blazing veil of stars behind
the outfield nets. When they passed the
gates of the railed-in public park. locked
for the night. utter darkness returned
between old high walls to their left a
overgrown laurels glistening behind the
tall their right. Here Tommy
stopped de;
the laurels.

What's up with you?” Dick snapped
at him.

"E hear a noise, my father told me
once how a man murdered a woman in
there for her gold watch, he said men
do terrible things like that because of
bad women, he said that that man was
hanged by the neck in Cork Jail, he said
was the last time the black Mag flew
on top of the jail, 1 don't want 10 go
on!"

Dick peered at the phosphorescent
of his watch and strode ahead, star
g at the next feeble lamp hanging
from its black iron arch. Tommy had to
trot to catch up with him.

“We know,” Dick said, “that she has
long legs. Her breasts will be white and
small.”

Tommy moaned.

“Then dont look!”

Panting, they hurried on past the cor-
rugated iron building that had once
been a rollerskating rink and was now
empty and abandoned. After the last
lamp. the night was impenetrable, but
presently a house rose slowly to th
left against the starlight. It was square,
tall. solid, brick fronted, threc-storied
and jet black against the stars, except
for its half-moon fanlight. They walke
a few yards и it and halted, E.
behind a tree. The only sound was the

squeaking of a branch over their he:

Looking backward, they saw Georgie
and Jimmy approaching under the la
np. Looking forward. they saw

brightly lit tram. on its way outward
from the city. pass the far end of the
tunnel, briefly light its may and black it
out again. Beyond that lay wide country
fields and the silent river. Dick s
ell them to follow me if the fanlight
gocs out," and disappeared.

Alone under the tree, backed by the
park, "Tommy looked across to wherc the
far heights of Sundays Well gleamed
with the сус» of a thousand suburban
He clasped his fiddle case be.
m like a shield. He had to force
himself not to run away toward where
ther bright tram would rattle him
back to the city. Suddenly, he saw the
fanlight go out. Strings in the air
throbbed and faded. Was somebody
playing a cello? His father bowed over
his cello, jacket off, shirt sleeves rolled
up, entered the Haydn; beside him, Jen
ny waited, chin sideward over her viol
bosom lifted, bow poised. the tendons of
her frail wrist hollowed by the lamp
light; Turlough, facing them, lipped a
thinner reed; his mother sat shawled by
the fire, tapping the beat with her toc.

Georgie and Jimmy joined him.

"Where's Dick?" Georgie whispered
urgently.

"Did I hear music?" he gasped.

Georgie vanished, and again
strings came and faded. Jun
pered, “Has she a gramophone?”
they could hear nothing but thc f
аше of the vanished tram. When
Jimmy slid away from him, he began to
Tace madly 10 the darkness, and
then stopped dead hallway to the tun
nel's end. He did not have the penny to
pay for the tram. He turned and raced
as madly back the way he had come.
down past her house, down to where
m of the laurels hid the mur
nd stopped a He
ard a rust „ He looked back,
thought of her long legs and her small
white breasts and found himself walking
heavily back to her garden gate. He en

tered the path, fumbled for the dark
ast it, felt it Мис open
tO

door, presscd

under his hand, stepped cautiously

the dark hallway, dosed the door, sa

nothing, heard nothing, stepped onward

and fell clattering on the tiles over his
in casc.

A door opened. He

firelight flick

er on shining shinbones and bare knees.
Fearfully, his eyes moved upward. She
gym knickers. Then he saw

ino small birds, white, beaked,
soft, rosytipped. Transfixed by јоу, he
stared and stared at them. Her black
hair hung over her narrow shoulders.
She laughed down at him with white
tecth and wordlessly gestured him to
(concluded on page 240)

8
$
En
y
=
x
$
5

138

LUSTRATION BY BRAD HOLLAND

THE LOST
ART OF
DOMESTIG
SERVICE

—

whatever happened to those wondrous gentlemen’s gentlemen of yesteryear?
humor Ву PG.WODEHOUSE „ик rue errors of this magazine asked me to do a piece for

them on domestic service, they came, if I may say so. to the right man, for it is a subject on which
I can be really informative. In the matter of domestic service, I have run the gamut of the emo-

tions, as you might put it. sometimes up to my waist in butlers and footmen, at other times doing
the thing on a morc modest scale, not because there was no money in the old oak chest to pay
the weekly
tween the W:
scullery mai
a dignified dove calling to its mate. On my return to America, the establishment dwindled to a
cheerful old lady from down the road, who had got her training on a duck farm and when

velopes but owing nts for the vacant posts. In London be-
‚ the Wodehouse staff consisted of a valet, a parlormaid, two housemaids, a
. an odd-job boy and a butler whose "Dinner is served” was like the note of

announcing the evening meal preferred to use the formula
“Come and get it,
anything, holler.” And I may say at once that her methods
suited me to perlection. I had hated the pomp of London,
but 1 loved the chumminess of Long Island. It may seem odd,
coming from one who has written so many Jeeves stories, but
I hope never to see another butler, and the last thing I want
about the home is a valet

The extraordinary thing about valets is that they are always
eating but never put on weight. Mine was a slender young
fellow without an ounce of superfluous flesh, but this, if you
will believe me, is how he passed (continued on page 152)

adding, as she withdrew, “If you want

139

BUNNY BY THE BAY

playboy rings in the new year with
san francisco belle leslie bianchini

"Sometimes I feel like this whole area was mode just for me," says
Leslie Bianchini, a self-proclaimed addict of northern California, who's

equally turned on by tackling the craggy coast line, grooving along the
f shore of a nearby leke (below) or jus! strolling through San Francisco

nl
5 My 4
Han, Wh НТ?

y
ИЛИ BAY RE (у

CAN THE DAUGHTER of an Illinois turkey farmer find happiness as a Playboy Bunny in San Francisco? “Definitely,”
says January Playmate Leslie Bianchini, who is precisely that. “Even though we left the farm and moved to Cali-
fornia when I was ten,” she explains, "down deep, I'm still a country girl. You know, the great outdoors, horses,
exercise, all that. I don't especially like most citics, but San Francisco is different, somehow. It has a unique per
sonality, happy and melancholy all at once. It’s an endlessly refreshing place that I just love to explore.” Following
graduation from high school in Woodside, California, Leslie tried her hand as a business major at Foothill Collegi
worked as a salesgirl at Saks and then “loaled for a while” before becoming the Door Bunny at her favorite city's
hutch. “It’s the perfect job for me and I'd Tike to stay with it for some time. Гуе met all sorts of interesting
people and the great thing is that my days are my own." Since Leslie is the enthusiastic owner of a pet
pony named Toby, she spends several afternoons а week out at the stables, exercising him; on other days, Miss
January—who commutes from nearby San Carlos—is likely to indulge her passion for clothes by embarking on
a shopping trip to the city. "I spend an embarrassing amount of money on clothing,” she admits, “but I'm crazy
about the new fashions. They're so bright and ingenious that I can't get enough of them.” mbles through
the Bay City often become dusty searches through resale shops for antiques (“I keep hoping to find a fivedollar
Tiffany lamp, but still, junky things I can fix up are fun”), and they frequently turm into impromptu sightseeing
tours. “I guess it's my version of wanderlust, I've always wanted to go to Europe; but until I do, I suppose ТЇЇ always
142 be а hometown tourist.” A practice, we're sure you'll agree, that should encourage travelers to see San Francisco first.

PHOTOGRAPHY BY MARIO CASILLI

Beginning a day's outing with a cable-car ride to Fisherman's Wharf, Leslie selects the basics for dinner—fresh crab end
sourdough bread —and then has a quick exercise session at a health spa before hurrying home to feed her four kittens.
Later, while on her way to the Club, Leslie is interrupted by a friendly pigeon—but she's there and dressed in plenty of
time. Next morning, Leslie's up early to meet the plane of her stewardess sister, Karen, and give her a lift into town.

| |
\

|| MISS JANUAR fr neren oF he
\

ФШ After dropping off her sister,
Je Miss January decides to
visit her pony, Toby, but first
picks up a pair of Toby fans—
her niece and nephew—and

| all head for the stables.
“Toby's like a big dog,”

says Leslie. “I occasionally
ride him, but usually I take
walks in the woods and he

just tags along. He's

great—but I'd love to

have an Arabian horse,

too.” Later, Karen and

two friends join the group

= = for an aliresco lunch af
Rosati's, near Stanford. That
night, a family dinner party
Í is copped with a bit of

= nostalgia, home-movie style.

PLAYBOY'S PARTY JOKES

| wink I've finally cured my husband of com-

ing home in the wee hours of the morning,”

the wife proudly announced on New Years

Day. “Last night, when I heard him fumbling

downstairs, I yelled: ‘Is that you, Harold?" ”
How has that cured him?” questioned her
id.

His name is Charles."

fric

Am I the first man who ever asked you to make
love with him?” inquired the bachelor.

"Yes," answered his attractive date. “All the
others did it without asking.”

The two career girls were discussing plans for
their forthcoming vacations. "I don't know
about you,” bubbled une enthusiastically, "but
I'm going to Monaco for the Grand Pri:

“Im afraid you're in for an awful letdown,
remarked her friend. “For one thing, that's not
even the way it's pronounced.”

Our Unabashed Dictionary defines paranoid
as a couple interrupted by a cop in lovers lane.

Two young girls were returning home from
church one night when they were accosted by
a pair of hoodlums in a dimly lit alley. “Dear
Lord,” prayed one girl. “Forgive them, for
they know not what they d

"Sh," whispered the other.

"his one does.”

Our Unabashed Dictionary defines remarriage
as the triumph of hope over experience.

The voluptuous miss was perched on the ex-
amination table when the doctor placed his
hand on her bare breast. "You know what I'm
doing, of course,” he said, reassuringly.
Yes," the patient murmured. “You're check-
ing for breast cancer.”

Encouraged, the doctor proceeded to caress
her stomach. “Of cout he continued,

she smiled.

You're checking my ap-

At this point, the doctor could no longer
control himself. He stripped off his clothes
nd began to make passionate love to her.

You know what I'm doing, don't you?" he
gasped.

"Yes," hi ient answered. “You're checking
for V. D. та that's what I came here for.”

As ihe horror movie was about to reach its
terrifying conclusion, the coed began fidgeting
in her seat. The man sitting behind her leaned
forward and inquired, “Excuse me. Are you
feeling hysterical?”

No,“ she whispered. “He's feeling mine.”

Our Unabashed Dictionary defines litillate as
a tardy meal for 2 breast-fed baby.

Do you believe in dubs for women?" the
hing asked her dinner compani
he responded, “if kindness fails.

Our Unabashed Di
as a moldy spo

ionary defines stalemate

Aller several unsuccessful advances, the badhe-
lor asked his alluring but standoffish date:
“Do you shrink from making love?”

“If T did,” she sighed, "I'd be a midget.”

Then there was the aging playwright who, no
matter how hard he tried, could never get
beyond the first act.

1 went to a Chinese abortionist," the rueful
receptionist confided to a friend. “Everything
worked out fine, but thirty minutes later, I
was pregnant again.”

Ап sight, you bastards, fall in—on the dou-
ble!” barked the sergeant as he strode into the
racks, Each soldier grabbed his hat and
jumped to his feet, except one—a private who
lay in his bunk reading a book. “Well?”
roared the sergeant.

"Well," observed the private, “There certain-
ly were a lot of them, weren't there?”

20)

RIN

NS
N

When the wellmolded secretary entered her
boss office onc morning, he looked out the
window and announced idly, "Its certainly
going to be a beautiful da

"I don't think so,” replied the secretary.
“The weather forecast is for snow."

“It's not going to snow.” contradicted the
exec “ГИ lay you twelve to one.”

"I'd rather not," she remarked. "That's my
lunch hour.”

Heard a good one lately? Send it on a post-
card to Party Jokes Editor, PLAvsov, Playboy
Building, 919 N. Michigan Ave., Chicago,
HL 60611. $50 will be paid to the contributor
whose card is selected. Jokes cannot be returned.

“Boy, talk about naughty!”

149

TOPICAL
TROPICALS

the newest good
news in formal garb for
the jet-away townsman
southward bound

altire By ROBERT L. GREEN
COME JANUARY, cosmopolitan
cliff dwellers are wont to split
their wintry environs and jet away
from it all to a tropical

Elysium where they're free to go
native or don the latest styles

in dinner jackets. By the

dawn's early light, the three
well-tanned and -tailored night owls
here treat their dates to a

champagne breakfast near the

rocks at Dunn’s River Falls,
Jamaica (just a Bunny hop from the
Playboy Club-Hotel), while wearing
formal garb that clearly reflects

the costume influence—a look

that’s definitely what's happening

in today’s fashions. The gentleman
at left opts for the East in an
acetate brocade tunic-type dinner
jacket, by Robert Weil for After

Six, $150, and mol and worste
formal trousers, by After Six, $45.
Center fellow goes grandee in a Span-
ish-style mohair and worsted formal
suit with sash, by Oleg Cassini,

$225, worn over a brocade

shirt, by After Six, 525. Chap at
right stylishly riscs to the

occasion in an elegant

Edwardian double-breasted

formal suit, by Lord West, $17

a pleated cotton broadcloth

shirt, by ExceHo, $14, and a silk-satin
formal tie, by R. Meledandri, $8.50.

152

DOMESTIC SERVICE . ven from page 139)

the day when he was not looking after
my socks and shirts. He rose at six-thirty
and at seven was having coffee and
buttered toast. Eight o'clock saw him
Drcakfastimg, the meal consisting of
cereal, cream, eggs, bacon, jam, bread,
tcr, tea, more eggs, more bacon, more
tea and more butter, finishing up with
slice of cold ham and a sardine. At
eleven. he had his "elevenses"—coffee
nd bread and butter. At one, luncheon,
with every form of starchy food and lots
of beer. At three, a snack. At four, an-
other snack. At seven, dinner, probably
with floury potatoes and certainly with
more beer. At nine, another snack. At
thirty, he retired to bed, taking wi
» a glass of milk and a plate of sand-
wiches, in case he got peckish in the
ight. And yet he remained from start
to finish as slim as a string bean. Curious.

The celebrated Beau Brummell, by the

“Tell me, Mr.
said to him once, "which of the
lakes do you admire most?”

The Beau rang the bell. His valet

"Oh, Robins:

"Which of
айшйс mos?”

"Windermere,
h yes, Windermere, Thank you,
Robinson."

America has never taken kindly to
domestic service, so it is to England that
one's thoughts automatically turn. when
the subject crops up. for it was there—
before it expired with a low gurgle—that
the institution came to full flower. The
peak was reached perhaps in Ше 19th
jury. but employers did not do
themselves any too badly in the carly
days of the 20th. Come with me to Wel-
heck Abbey and let us see how the Duke
of Portland was making out around
the beginning of the Edwardian era. His
ncome was $20,000,000 or so a year, and
he considered that home was not home
nless you had
A steward
A wine butler
An underbutler
Twenty footinen
Two page boys
А head chef
A second chef
А head baker
A second baker
А head kitchenmaid
Four underkitchenmaids
А vegetable maid
Three scullery maids
A hall porter
Six hallboys

the English lakes do I

A kitchen porter

Eight odd

and

Fourteen housemaids.

‘These in addition to more engineers,
governesses, librarians, resident chap-
Lains, firemen, night watchmen, coach-
men, grooms and gardeners than you
could shake a stick at in a month of Sun
days. In the matter of putting on the ritz,
the Duke of Portland was probably
topped by some of his predecessors; but
all the same, you can’t call that sort of
living squalor.

Domestic service in a house like Wel-
beck Abbey, where the staff had their
own billiard tables, ballroom, skating
rink, theater and pianos, must have been
very pleasant for those below stairs, but
a grimmer picture presents itself as one
descends in the social scale. We now
come to the prosperous middle class, а
there is only one word to describe them
as regards their dealings with their em
ployees. They were stinkers. Most middle-
class houses were staffed from orphanages.
There was apparently a loophole in the
Emancipation Act of 1833, by means of
which you were allowed to keep anything
coming out of an orphanage that you
could catch on the first bounce. And
when an orphan entered a middie-class
home, it was not long before he found
himself wondering why Mrs. Harriet
Beecher Stowe had given such prominent
billing to the slaves who worked under
the guidance of Simon Legree.

One would prefer not to dwell on the
treatment of domestic servants by the
middle classes in the Seventies, Eighties
and even up to the time of the First
World War. They kept them in damp
basements and dark attics. They made
them work 16 hours a day. They allowed
them only one evening off month; and
if on that one evening the poor peon
happened to return a few minutes late,
she found herself locked out and had to
spend the night in the coal shed.

There were employers who went
about the house turning off the ga
maids’ reading in bed a
letters at the
to discover if they
airs or

even
front door i

an effor
were carrying on clandestine af
trying to get a better job. Visitors were

mot permitted, caps and uniforms
were obligatory, deductions from wages
were made for breakages and a grovel-
ing respect was demanded. The head of
the house was always “Your master,” the
children had to be addressed as “Master
George” or "Miss Mabel.” and even the
six-month-old baby was “Master Percy.
I am not sure about the dog. It may or

ay not have been addressed as "Master

Fido." The 16-hour day was spent in an
swering bells and carrying coals and bath
water up flights of steep stairs. It was
difficult for employers to persuade their
servants that they had never had it so
good.

Not that they didn't uy. There is
something pathetic in the records that
ave come down to us of the efforts
made by the employing, classes to instill
contentment with their lot into the
cooks and housemaids of those bad old
days. One writer, who, according to him.
wrote "with the aid of divine guid.
had this to say:

"he rich cannot do without servants
any more than servants can do without
the rich. God has arranged that they
shall mutually help each other. There is
no sphere in life in which we may not
glorify God by being serviceable to oth
ers. Servants are situated in the very
sphere intended by their Creator and
should not fail to answer that end. Let

к always strive to honor and glorify
God by faithfully performing dic duties
alloted to us.”

"This must have come as a comfort to
many a housemaid as she carried the
rs for the tenth time that

Cod, it
proved of die restlessness that drove
houschold workers to go off and look lor

appeared, strongly disap-

nother place. A periodical c. The
Servant’s Magazine printed a slogan

quarters" Н

NEVER CHANGE YOUR PLACE
UNLESS THE LORD CLEARLY SHOWS YOU
IT WILL BE

FOR YOUR 5001

:00D

One doubis if it had much effect on
the cooks who hung it on their w:
They were good cooks, as cooks go; and
cooks go. they went.

In the smaller houses,
detached villas of the suburbs, living con-
ditions were a little bener, but there the
wouble was the loneliness. Owners of
suburban villas could afford only one
cookgeneral she was called
s probably a girl of 14 or there
nxious to get some fun out of

the semi

abouts,
life and depressed by finding herself

rooned in a small house where it wa
made clear to her from the outset that
she was not to look on herself as a mem-
ber of the family- There was a novel
published over 60 years ago called Mord
Em'ly that dealt with a girl of the
cook general class employed by three

maiden ladies who lived in Lucella
Road, Peckham, which one of the
lowlier suburbs of London. It gives

n cook

good idea of what the suburl
general had to go through.
(concluded on page 2

THAT WAS THE YEAR THAT WAS

tongue-in-cheek remembrances of sundry news makers who—in word or deed—made or hogged the headlines in 68

Foye Dunaway and Warren B.
Lefi movie fans in shock.
So freely flowed the соор gore
It hiked up Heinz’ stock.

Where have all your powers gone,
Maharishi Yogi?

The Beatles and the Beach Boys say
You're just a rich old fogy-

Pot Paulsen's bid for President
Was well thought out ond tricky.
The press called him unquolified:
Picky, picky, picky.

P. M. Wilson wooed the pound,
Trudeou, the ladies foir.

But oh, alos, poor Horold
Wasn't lucky, like Pierre.

Miriom and Stokely C.
Found marrioge such o kick

That when they joined in wedded bliss,
He оо! divorced from SNCC.

Dr. Spock, he wrote the book

Thot calmed new mothers’ feors.
But when he counseled grown-up kids,
The judge procloimed, “Two years!"

Normen Moiler, ormed with pen,
Victory was bent upon.

Thus it wos, he fought ond won
The Battle of the Pentagon.

The cops clubbed down photographers,
The Yippies did their thing,

And Richard Doley softly sighed,

“It's tough to be the king.”

Brezhnev and Kosygin

Were turning nervous wrecks.

They had to watch their bank accounts
For feor of bouncing Czechs.

Tiny Tim, O dearest lad,
Falsetto-voiced and hairy,

You mode the big time in a flosh—
Are you your own good fairy?

By JUDITH WAX

л. Фе
e

ILLUSIRATION BY WILLIAM UTTERBACK

Humphrey vied with Nixon
Border unto border;

Bloodily they bottled o'er
Who best loved law and order

Lady Bird had oll the girls
Home to lunch one doy.
Eartha Kitt was naughty

And won't come back to play.

Dr. Barnard thrilled the world

With transplants of the heart.

But when they filmed the great mons life,
Vince Edwards got the port.

A rare performer, that Miss Welch,
Hard-working and sincere.

Roquel, before she spoke one line,
Wos actress of the year.

Penelope hath frightened stare

And nest of robins in her hair.
Twas Villeneuve caused Twig to be,
But only Vogue could make a Tree.

Frankie S. and Cary С.

Would rother not remember:
Divorce courts overflawed last year,
With Moy against December.

To Bali and to Maidenform:

“A plague on both your houses,”
And saying this did St. Laurent
Create tronsparent blouses.

Proudly o'er Nevada

The Hughes flag is unfurled.
Now Howard rules Las Vegas;
Tomorrow comes the world!

Dustin Hoffman's guileless chorm
Sent young girls into comos,

While young lads dreamed of Mrs. R.s
To go with their diplomas.

Beatle Lennon had a wife,

He left her by the phono

And now her former moster's voice
Sings just for Yoko Ono.

154

the sicilian bandits
hadn't a hope in hell of success
until they blundered upon
the english demolition expert—
now he would help them even
the odds in order to save the girl

Part II of a Novel
By FRANCIS CLIFFORD

ANOTHER WAY OF

SYNOPSIS: Last night Forrester had seen the dazzling
blonde and the stumpy little fat man playing roulette
in Messina—and the man was losing recklessly. Next
moming Forrester was awakened by a hysterical cry
from the girl, who was in the next room. The fat man,
Nolan, lay dead there; under the circumstances, For-
rester fell obliged to svothe Inger and to interpret for
her during the police investigation that followed
When the coroner finally pronounced Nolan a suicide
and they were free to go, they started for Palermo in

Forresters rented Fial.

At a lonely crossroads, Forrester picked up two Sicil-
ian hitchhikers. It was a mistaken act of charity, as he
found when one of them pulled a pistol and forced
him to drive off the highway to a remote mountain
hut. There they were met by the villainous Salvatore,
who was under the impression that they had kidnaped
the local manager for Esso and his wife to hold for
ransom—the 5,000,000 lire that was the asking price
for slipping Salvatore's convicted nephew, Angelo, out
of the Monteliana jail. When Forrester finally con-
vinced his captors that he was not the Esso man but
only the moderate-income director of a demolition firm
in England, Salvatore suddenly cooked up a new
scheme, an astonishing piece of madness. The ingredi
ents were those desperate Sicilians, Farrester’s ex
plosives expertise, the jatl enclosure—and it all added
up to dynamite. Then, locked up in one room of the
hut, the Englishman and the girl overhear a question.
"Where's Margherita?” And it registers on them that
there is still one more member of the gang.

AS FAR AS FORRESTER COULD TELL, he and Inger weren't
locked in; he didn't check, nor did he rec
the windows. There was no point. And for the time
being, he wanted to be alone with Inger, unharried.
He lay there thinking back, thinking forward, grap-
pling with the sheer preposterousness ol the situation,
trying to get on terms with it, the endless lava flow of
ly spilling over into audibility
Once he said: “It’s monstrous, just bloody mon-
strous^ And later: “This can't happen can't."
Yet for the life of him. he couldn't see what would
stop it. Salvatore had а
pre, whose eyes were sometimes filled
ind chilling light, There was no cha
of sowing discord. In the next room, Salvatore was
warming the others to his argument, now cajolin

nine

his thoughts occasio

айу stamped on Giuseppe’s

objections: 5

with a fierce

се

now with contempt. For the most part, the voices were

тией, yet their very persistence underlined the use.
lessness of Forrester's continuing to rack his brains. At
one stage. he reverted fretfully to the possibility of
raising the money after all, only to discover that the
arguments he'd used held water; at best they might
get it, but never in time

He lay there, fingering his throbbing jaw. And Inger
said: “Why must we be here forever? ‘They can't make
you help them." She was sitting at the end of the
bed, living her version of the nightmare, nervous and
impatient at one and the same time. “Without you,
their hands are tied.”

“Tve no option.”

“Why?

Did she still suppose that Nolan could have refused?
Nolan, who apparently had such a way with him. The
dead became giants and others were measured against
the legend.

“Because,” Forrester answered with sudden spite,
“they will kill us if 1 don't cooperate. It’s as simple
as that.” He watched the shock of it on her face—the
lips quiver, the pupils momentarily transfix. “Now
d'you sec? I'm sorry,” he said, “but you had to know.

A new voice began to join with the others as he
stood with his back turned. He went to the door and
listened. “Did you have trouble? . . . Gino, Margherita.

What did you get?" The replies were brisk, the
voice young. “What about you?” he heard. “What did
you get?” And at once, Salvatore took over, urgently,
as if to placate her: “Everything’s changed, but don't
alarm yourself. We'll have Angelo out—quicker, may-
be.” She came back at him, cutting out his expl.
tions; he scemed to be following her along the room.
There was some confused talk that Forrester couldn't
catch, three or four of them speaking at once; and
when Salvatore again predominated, he was being
charitable. “What's done is done. Anyone could have
made the mistake. But we aren't empty-handed,

а-

Yes. in there. . . ." Forrester could almost sec his
gesture, “But listen, ragazza, listen. It might be worse.
He is a dynamiter. . . . A dynamiter, yes. We can
break Monteliana open. . . But we can. We can.
We have been going into it. The main gate, the cell

window. . . .

A stifled sound from Inger drew Forrester back to
her. "Don't" he said. "Please don't." He had по
armor against tears. He moved in front of her and
cupped her chin in his hands, tilting her face firmly
toward his "We'll be all right—honestly Wait and
sce. We'll laugh about this one of these day:
You know. “Visit beautiful Sicily and its friendl
people“

It was four when С
nothing if not resilient; his grin was fixed in place
in with its awful lack of meaning.

“Ha fame?” Forrester was famished; he hadn't eaten
since a light breakfast.

He went with Inger into the main room. He'd
heard the scrape and datter of pl
past half hour and now there was bread on the
a saucepan of soup, some figs
seated

“Here is our dynamiter, Marghe

She was at the sink, rinsing her hands in a bucket
She acknowledged them with her eyes only, gravely,
first Forrester, then Inger. So many Sicilian women
wore their hair tied severely back, but hers was loose.
very dark against the olive skin, and the hard life
showed in her features, more even than in Salvatore's;

rlo opened the door. He was

lvatore was alr

155

PLAYBOY

156

et she must have been barely half his
age. Black blouse, gray skirt, black wool-
en stockings—the dress was that ol any

s Angelo's wife. She is also
a fine cook" He indicated the empty
chairs. “Come and see. $i accomodi."

Forrester sat beside Inger. He was too
hungry to care. about sharing the table
but Inger met
their glances with self-conscious defiance.
Carlo was on Forrester's right, Giuseppe
and Luigi i lvatore at one end.
They helped themselves from the sauce-
pan, filling their bowls in turn; the thin,
garliclaced soup contained pellets of
pasta and traces of stringy meat.

"Join us, Margherita," Salvatore
called, tearing bread. She had filled her
bowl and returned to the drainboard,
eating there. He paused expectantly,
then shrugged, mystified. “What is
wrong with us suddenly?”
nglishwoman,”
crammed mouth.
Forrester wheeled on him. “Cut that
Englishwoman” was slang for

Carlo said

ou
whore.

"You know too much," Carlo retorted.
“And you're too touchy. If only I spoke
her language, . . .

‘ou wouldn't have the nerve to tell
her to her face, so don't sneak it in be
hind her back. She thinks you're con.
temptible enough as it

Luigi leaned forward, soup spilling
from his spoon. “I speak English. Not so
good, but I sp

Surprised, Forrester looked across at
him: Inger. too. “Is that so? Then yo
tell the signorina,” Forrester said in Ital.
ian, “Translate for your brother.
doesn €, so why should yo
couldn't seem to let go. “Go on,
needled, but Luigi shifted awkwa
“You're all the
And she hates you
atore's eyes twinkled. "How d'you

tico, ch? Not a vegetable," He blew hot
d cold, now friendly, now threate
To Forrester, Salvatore growled.
can get explosives—all we need. There
are sulphur quarries within fifteen kilo-
meters ol here.”

“You'll want more than blasting pow-
der."

"Well get whatever's necessary —don't
you worry. Your job will be to tell us
whats required.”

“How the hell do I know what will be
required:
“That is for you to find out. And this

you will do tomorrow. You will take die
car to Monteliana and reconnoiter.”
“Don't be ridiculous,” Forrester said.
"Would you prefer to decide blind,
then?” Impatiently: “All right—tell me
here and now what you require and
save yourself a journey. But be sure
you're righ

"Look," Forrester argued ou're
asking for a demolition survey. What
am I expected to do? Walk round the
place, openly taking measurements?—
making calculations? Because that’s what
a survey entails. I thought you said thi:
place is a jail?

“A lockup. You can see it from the
hill, It is laid out like a map—a model
And you can drive past the main gate.”

Derision and incredulity seemed to
Forrester's tongue. In the pause, he
heard Luigi ask Inger: “Do you know
America? We have an aunt in Amer
Syracuse, New York.” Siracusa, he called
it

You can pet very close to the main
gare" Salvatore insisted. “And you ca
study the general layout from the hill.”

Forrester stared at him. "This is luna
cy. One look isn't enough. God Almighty,
you keep s
the main gate and the geography of the
place as if they are the beall and the
endall of everythi
to take someone out of there, you need a
plan, a detailed, workable plan, and 1
need to be told what it is. Otherwise,
you're heading for

fail us You also have everything at
stake.’
“What is NI.
“Ic is against luis
then l. C.
"I don't know,” Inger said.
Forrester dragged his mind from his
rear guard with Salvatore's unreason
obsession. "Don't know wha
heard, but it hadn't registered.
Luigi asked him direct: "Is "M. C. a

ng.
name,

pride or
"Ies a Mi
And even as he spoke, he re
membered how his father
thar it ought to be on his bu
Damn it, Neal, why no? It’s a с
and—well—it can't fail to help once
while. You know how I me
Salvatore touched. his
fine English, ch? He will be comp:
for the signorina tomorrow w

to Monteliana. She won't feel so deaf
and dumb with him around.” His pale
eyes reflected amusement of a sort. “You

see, we have your welfare at heart.”

“You're so bloody dever, aren't you

“More than you imagine, perl
Salvatore drew his free hand across his
lips. “If things go against you in this
country, you become as clever as God
allows and twice as desperate. They are
a powerful combination, those two: they
can remove mountain

When he spoke in Ч
thing ferocious showed itself to Forres
ter. It bore the hallmark of a philosophy
and a way of life that had molded these

people. Corruption and deceit and indif-
Terence and death—these were the sum
of Salvatore's hard, cruel knowledge of
the world and the people in it. АП his
years, it had been so. Other things
changed. oh, yes—now droves ol for-
eigners came. for instance, and stayed
in hotels and sw. the sea and drank
the wine: but what did they know of the
realities? Nothing
Nothing" he s.

bitterly. “Like

you

Carlo waited awhile, then said: “About
the car—it will want the other number
plates. It’s rented, don't forget

“When is it due back?” Salvatore
asked Forrester

“Tomorrow.

"Better put them on.”

Forrester’s tone was wooden. “IE Im
going to Monteliana, I have to know
precisely what to look for.
it had come to this.

‘Concentrate on the mam gate.”
the Salvatore spoke as
might admit to а plan of soris, “And i
case you should be confused by which
gate is which, Margherita will ride with
you in the car.

The light was already losing its bril
te. Long shadows through the |
a resurgence of birdcalls, dark would be
swilt.

There was no lav piuseppe
moodily accompanied Forrester when he
left the hut and Margher
Inger, stiffly, keeping her di
Inger carried a contagion. When it came
to a wash, Forrester walked to the falls
and stripped and stood under them, the
shock and force of the water only begin
ning to produce a glow by the time he
returned

à were

the Fiat
to wash in. che men wiid:
vatore's insistence: it was bizarre polite-
from oi ho threatened so much,
‘The sun set behind cloud:
и As the light di

i
ad the
exer.
retreated with Inger into
taking a candle wı
him. When he told her what was ex
pected of him next mom) 1
“Oh, no!”

"I won't be a

Forrester
the barred. room,

she sai

ay long. Perhaps a few

hours."
The yellow glow emphasized the
bone structure of her face: her eyes

looked enormot
physical beaut
“Please don't go without me.”
He took her hands. “They've got me
string don't you see?

They know PH come back.
(continued on page 208)

alarm dilating their

on à this w:

the star establishment is

challenged—and eclipsed—
by a bold new generation of
erotically unconventional idols

WHEN 20TH CENFURY-FOX filed a suit for
$50,000,000 against Elizabeth Taylor and
Richard Burton in 1964 for dama
the box-office receipts of Cleopatra, as
well as their own reputations. with their
highly publicized off-scre

g the production of that epic disaster,
it represented а last gasp on Hollywood's
part to control the private lives of its
stars through. financial penalties

vious decades, the power of the stu
do so had been potent. Ingrid Bergman.
ad all but been drummed out
of her career for “moral turpitude” with
Roberto Rosellini during the late For-
ties. But stars during the Sixties breathed
freer, if not purer, air. Indeed, Fox’ suit
was patently absurd on its face, for the
soporific spectacle would probably have
fared far worse if the two headstrong stars
had not created an avalanche of utillat-
ing gossip during the making of the
picture. (ext continued on page 166)

n liaison dur

Sixties

INTERNATIONAL EXCHAN
newcomers aiming for sex-star status
found that epidermal exposure—in and
out of films—frequently provided the
ticket for a speedy ride to the top. Swiss
horn Ursula Andress (left), who began
her carcer in an undistinguished string
of Malian movies, achieved sex stardom
only after relocating in Hollywood—and

unveiling her considerable assets in an
exclusive eLavBoY pictorial. For Vassar
girl Jane Fonda (below left), the ascent
began with a series of chaste sex comedies
that seemed to tag her as a budding
Doris Day type. But then the pert come-
dienne headed for Ше more erotic land
of French cinema, where she worked for
er Vadim—who re.

and wed director Ro
created her as a New Wave sex kitten.
THE AMERICAN BREED: An ample
nymph in the Monroe tradition, Stella
Stevens (opposite, top left) parlayed a
walk-on in "Lil Abner" and а 1960
viAvnov gatefold appearance into a solid
screen career. Carroll Baker (top center)
also did her in-the-buff best to emulate
MM. but such sexpotboilers as “The Car
pelbuggers" proved she was short on
equipment—Thespian and anatomic. A

saucy ingénue during the Fifties, Natalie
Wood (top right) graduated to more so-
phisticated roles in the Sixties, including
that of “Gypsy,” a leggy bump 'n' grinder.
Exuding smoldering sexuality, Ann

Margret (center) torch-sang and frugged
her way into the limelight. Garol Lynley
(bottom left) started out as a virginal sub
leen soda sipper, but by mid-decade. she
was posing for nude pictorials and land-
ing erotic adult parts. Requiring no such
transformation, the full-blown Faye
Dunaway (bottom right) became an over
night sex goddess with her lusty portray
al of the bank-robbing Bonnie Parker

FOREIGN IMPORT: Туру a sensu
ous new generation of Sixties sex stars, Julie
Christie (left) earned an Oscar for her por-
trayal of the free-living “Darling” The
animal sexuality of Claudia Cardinale (be
low) was captured—but not tamed—by di-
rector Federico Fellini. Blonde Virna List
and the elegant Elsa Martinelli (opposite)
both abandoned Haly for Southern Cali-
Jornia, but fled back to the Continent when
their careers began fazling. Stunning siste

Catherine Deneuve and Francoise Dorléac
(bottom left and center) enjoyed parallel as-
cendancy until Francoise died т an accident
and Catherine won fame in “Repulsion”
and “Belle de Jour.” Elke Sommer (bottom)
tried the nude route in Hollywood, but
even au naturel, she lacked the earthy cha-
risma of Jeanne Moreau (opposite, bottom)

STOCKED WITH BONDS: Riding high on the spy boom, Sean Connery hit his zenith as 007 in “Thunderball'—publicizc
a promotional poster (above) epitomizing society's permissive new mood. Michael Caine (below left), as “The Iperess
Harry Palmer, infused the flashy Bond prototype with an understated insolence. Armed with a Hefneresque bed that tilts its

occupants into a giant sudsy bath, Dean Martin (center) as Matt Helm added tipsy humor to the genre; and as Derek Flint
James Cohurn (hottom right) further parodied the form hy keeping no less than four willing assistants on tap at all times.

THE BAD, THE COOD AND TH + International and interracial, the top stars of the Sixties each fostered a unique
image. Marcello Mastroianni (above left) projected an engaging variety of slightly tainted sexual ennui. Befitting his background,
Omar Sharif (above right) came on like a caliph even in "Funny Girl"—to the delight of jemale fans everywhere. Switching

rom football to films, rugged Jim Brown (below left, with Raquel Welch) paved the way for other black sex stars. Jean-Paul

fighting days, evolved. into the archetypal antihero.

Belmondo (below right. with Brigitte Bardot), face battered hom pri

END OF AN ERA: The flamboyant careers
of Fifties superstar Marilyn Monroe. (left)
and would-be MM Jayne Mansfield. (below
left) ended in the Sixties—not with middle
age but with death. Though “Cleopatra”
proved to be her swan song аз a sex star,
Elizabeth Taylor (below) clung to fame
through near-fatal illness and marital up-
heaval. Only Kim Novak (above) retained
her erotic image—but her stay waned anyway

EUROPE'S OLD GUARD: Brigitle Bardot (above), who started out as a
pouting hoyden in the Fifties, lost some of her little-girl allure in the Sixties
“but added a mature sensuality that enhanced her performances, if not her
popularity. Though she clicked as an overripe Hollywood star in Fellini's
“La Dolce Vita,” Anita Ekberg (below left) soon faded into third-rate films
when her talent failed to match her bust line. Gina Lollobrigida (below cen-
ter), the Italian “lollopalooza” who soared from fleshy bit parts to star billing
in the Fifties, also saw her career dim in the Sixties and drifted back into
pedestrian costume dramas—while Sophia Loren (series at right), her onctime
rival, blossomed from a sex star into an Oscar-winning actress and comedienne.

And the real-life romance turned out to
be far more sensational than the tepid
allair between Mark Antony and the
Queen of the Nile as dramatized in the
film, with the result that the movie was
given an aura of sexuality that undoubt
edly helped its success

In retrospect, it can be scen that the
Burtons were in the forefront. of. what
might be termed the second. Hollywood
revolution. The first revolution had tak.
en place during the Fifties, when the
major stars seized control of their own
financial destinies, Buttressed by pha-
lanxes of agents and Lawyers, many be-

ne corporate entities of their own
nd dealt with the studios from a post
tion of strength. even though morals
clauses (text continued on page 168)

COMING. ATTRACTIO, 15 Ihe sex
stars of the Fiftics faded from view, hun-
dreds of starlets vied to replace them—
and a few seem on the verge of makin
it. Sharon Tate (top left) vaulted into
the big leagues after three years of semi
invisibility in throwaway voles—such as
that of a wet witch in the occult comedy
farce “The Fearless Vampire Killers
but only with the aid of a $500,000. pro
motion campaign. It paid off when she
joined Barbara Parkins (lop. near left),
on a leave of absence from the neurotic
suburbs of TV's “Peyton Place,” as a
pill-popping costar in “Valley of the
Dolls.” En route from a walk-on in “Two
jor the Road" 10 a seven-picture contract

with Darryl F. Zanuck, England's statu
esque Jacqueline Bissel (sequence al cen
ter left) took a monokinied splash in

The Sweet Ride” Songstress Barbara
McNair (bottom left) broke down a new
cinema color barrier when she took time
out from the nightclub circuit 40 strip
for an erotic vole in “If He Hollers, Let
Him Go!" А onetime physics major at
Naples University, Sylva Koscina (bot-
tom, near left) omamented “Juliet of the
Spirits" before heading jor Hollywood—
where she paused on her way up to pose
fetchingly for a viayuoy pictorial. As
Miss Moneypenny and Mata Bond, зе
spectively, Barbara Bouchet and Joanna
Pellet (opposite, top left and center)
айотпей the James Bond spoof “Casino
Royale," Barbara made it mainly on the
strength of a nude susfside smooch with
Hugh O'Brian, most of which was
snipped from “In Harm's Way"; but
Joanna was already a wet
films, including “The Group.” After grac
ing a series of low-budget European epics
Viennese Marisa Mell (top right) flopped
in a David Merrick musical—but without
noticeable ill effect on her movie career
Making her pulchritudinous screen debut
as a paleolithic miss in “One Million
Years B.C.,” Raquel Welch (bottom right)
appeared to possess the supersexuality
required to assume the vacated Monroe
throne; unhappily. unch
felt the resemblance was purely physical.

un of two

itable critics

PLAYROY

168

were still written into their contracts.
During the Sixties, however, they
dropped all pretense of being homebodies
and lived, loved, mated, divorced and
even gave birth without undue regard for
the shocked sensibilities ol maiden aunts
and elderly grammar school teachers.
However belatedly, they separated their
public and. private lives.

So radically and speedily did public
moral attitudes change during the Six-
tics that censure virtually became a
thing of the past and movie marriages
less of a necessity than a convenience—
and when they were ient, sever-
al stars made no bones about saying so.
"Thus, Julie ristie, one of the more
luminous of the new breed, candidly told
interviewers that marriage was an un-
suitable state while she was involved.
with the frenetic exigencies of her 7001
ing career and that she much preferred
sharing a temporary abode with some
congenial “mate” of her choice, Another
dazzling newcome
dared categorically, “I think marriage is
a hindrance to love.” Such statements
would have been almost unthinkable
ten years earlier. On the other
the Atlantic, Italy's Mo
openly with her favorite

director,
Michelangelo Antonioni. And in France,

Jeanne Moreau was frank when she told
à reporter, “What I like most of all is to.
act and to make love. Is there anything
more t woman could ask?” Most
male stars remained unwilling—out of a
certain chivalry—to name their current

attachment but Michael Caine, the
British smoothie, intimated he was close
to being а well-heeled Alfie in real life

as well as on the screen, and publicly
proclaimed his disinclination to settle
down with only one bird in a cage
of domesticity; after all, he had tried
marriage once and had found the rela-
ionship unsatisfactory. Albert Finney
was another British luminary who devel-

oped a reputation as a bird fancier; and
on these shores, Warren Beatty did his
level best to emulate him, changing

partners with near frenzied abandon.

It was almost as though the achieve-
ment of stardom now gave the newly
anoimed an opportunity to lead the
freeswinging lives of their juvenile
dreams. But more remarkable than this
was the absence of any condemnatory
verbiage in the popular press. The
mass-circulation magazines such as Life,
Look, McCall's, The Saturday Evening
Post and the Ladies Home Journal,
which had formerly taken it upon them-
selves to be the custodians of America
moral heritage, still ran “personality”
pieces of film stars but now added dis-
спу gamy tidbits to their portraits.
In a recent issue of Look, for example, a
picture andiiext story about Catherine
Deneuve, the piquant French sex star,
informed readers that "she often sees

director Roger Vadim, whom she re-
fused to marry when he became the fa-
ther of her son Christian.

The wheel had not merely turned,
this was a new era entirely. Sex was now
regarded as so normal, natural and
healthy a function that many of the
female stars found it not only socially
acceptable but downright essential to
cultivate their sexual images. Where lor-
erly only a brazen few, such as the late
Marilyn Monroe and Jayne Mansfeld,
and minor stars of the Mamie Van Do-
ren variety, had disrobed for picture
spreads in men's magazines, PLAYBOY'S
pages were graced during the new dec-
ade by a shapely procession of female
stars au naturel: Ursula Andress, Joanna
Pettet, Sylva. Koscina, Susan Strasberg,
Kim Novak, Carroll Baker, Stella Ste-
vens and Carol Lynley, among several
others. Not only did these young ladies
feel that the exposure was helpful to their
film careers but producers were cager,
through this kind of advance unveiling,
to stress the nudity quotients in their pic
tures. With the rapid erosion of censorial
restrictions in the Sixties, Hollywood's
female stars and would-be stars had the
opportunity to display a good deal more
than their acting ability.

Heading the parade was the beautiful,
tragic Elizabeth Taylor, who, as early as
1959, gave some indication of things to
come when she emerged from the Medi-
n Suddenly, Last Summe
dad in a clinging bathing suit that left
little to the imagination. But more than
her seductive curves, the drama of her
personal life was the key to her coni
ing popularity. At times, it seemed. that
someone at that Great Typewriter in the
Sky was scripting an impossibly corny
soap opera for her to suffer through. She

шу, she was

queen of the movies, she was rich, she
was showered with attention. and gifts
and even the critics grudgingly acknowl-
edged her professionalism as an actress.
Yet this woman who had everything that
an $80-weck typist might dream of was
sorely tried by sorrow, bereavement and
a nearfatal illness. Four times married,
twice 'orced and once widowed—all
hy the age of 28—she moved elegantly
through life like a daily participant in a
gossip column, a target of voracious pho-
tographers and reporters wherever she
went.

She was also judged by 20th Century-
Fox to be worth $1,000,000, plus ten
percent of the proceeds, as the Queen of
the Nile in Cleopatra —with. such extras
as а personal hairdresser and 83500
weekly toward living expenses thrown.
in. Arriving in London in September of
1960, where production headq
was at first located, she soon lai
low with a series of complaints that
cluded pneumonia, various

terrancan

infected teeth. She was declared well
enough to begin work in January—but
then she came down with a cold; withi
days the word spread that Elizabeth
"Taylor was "at death's door." It was true;
she had contracted double pneumonia
and was gasping for every breath.

A tracheotomy was performed and her
weakened lungs responded; although the
accompanying fever zoomed to 108 de-
grees, she rallied and eventually pulled
through. Two months later, still shaky.
only partially recovered—but her eyes as
lustrous as ever and her scarred tıra
clearly visible above the neckline of her
gown—she managed to mount the stage
at Hollywood's Academy Award cere
monies to accept an Oscar, voted to her
less for her performance as the unhappy
wollop in Butterfield 8 than lor her
triumphant struggle for life in a London
hospital.

Meanwhile, Cleopatra's expensive sets
in England were dismantled and film-
ing was rescheduled for the following
September in Rome. By now, the be
deviled project had a new director—
Joseph L. Mankiewicz—and a new cast
that included Rex Harrison as Caesar
and Richard Burton as Antony. In Ruth
Watcrbury's biographical panegyric, Eliz
abeth Taylor, the historic moment of
meeting between the two stars was high-
ited by Burton's opening remark to
abeth: “You're too fat." The effect on
Mrs. Eddie Fisher was cataclysmic; not
only did her poundage melt away but so
did her affections for her husband—and
rumors that they had been transferred to
Burton began flying around the world.

Suppression of the story by ulcerated
studio press agents proved impossible,
thanks to the hordes of Italian paparazzi
who plagued the pair with longlens
cameras and the battalions of reporters
who checked their every movement. De-
nials were issued—by Burton, by his
wife, Sybil, by Elizabeth, by Eddie—but
all to no avail. Sybil fled in one direc
ion, Eddie in another und eventually
Fisher took refuge in a New York hos-

pital bed, “tired, overwrought and in
need of а sedative,”
who also

that Eddie and Liz were as devoted as

ever. Liz however, made her feelings
fairly clear when Eddie put a call
through to her Rome and she relayed

the message that she was “too busy" to

bother answering the telephone.
Despite disapproving — editorials—in.
cluding one in the Vatican newspaper—
Burton and Taylor continued to keep
each other's company and soon co
starred in another film: The L. J. Pos, for
which Elizabeth received her customary
51,000,000 plus percentage: and Burtor
fee shot up to $500,000. Eddie Fisher was
now mentioning divorce [rom his absent
(continued on page 172)

n, the public defender.”

=
©
=

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PHOTOGRAPH Br ALEXAS URBA

wife, and Sybil Burton also began to ex-
hibit distinct symptoms of rejection.
After prowacted negotiations, in which
a considerable amount of cash changed
hands with their spurned partners, Rich-
d and Elizabeth made it legal in March
1964.

Although the public began to evi-
dence signs of satiety at the avalanche of
publicity attendant on all these events,
Cleopatra was a stellar attraction during
its first months of exhibition, despite
reviews that ranged from mixed to shat-
tering. But Elizabeth probably could not
have cued less. Finishing The V.1.P.s
quickly, she played opposite Burton
again in MGM's The Sandpiper, a dra-
ma of transcendent mawkishness, with
Elizabeth as a bohemian beachnik and
Burton as a ministerial headmaster who
leaps from the pulpit into a guiltladen
ir with her.
were more careful about their
les thereafter—and neither could
e chosen better than Who's Afraid of
Virginia Woolf?, directed by the
Mike Nichols. Deliberately despoiling
her luxuriantly female image, Elizabeth
transformed herself into a frowzy vi
of 40, spitting out insults and. epithets
—some never heard before in American
films—at her professor husband. She was
suitably rewarded with another Oscar at
the 1966 Academy Awards, Her subsc-
quent perlormance as Kate in Zhe 1am-
ing of the Shrew was a trille fishwiley,
but she was ultimately subdued admira-
bly by Burton. Her incipient double chin
and her matronly spread have since
creased as she continues to share her
husband's fondness for the cocktail hour;
but at 36, she's still one of the world's
most beautiful women—and a celebrity
of the first rank.

Her chief rival during the previous
decade, Marilyn Monroe, had
into more than her share of tribu
Increasingly moody and neurotic after

PLAYBOY

Both
veh

blonde goddess finally removed herself
from this world in August of 1962. Hard
ly had the culogies and homilies been
pronounced when a good many stars and

ML vacancy
now existed in the ranks of sex stars,
Jayne Mansfield might have been her
chief beneficiary, but she was too gross a
type for the current market, and her ca-
reer continued to fizzle until fate struck
at her, too; she perished in a car crash
in 1967.

Ihe rate ol attrition among sex god-
desses was growing increasingly high; but
that didn't discourage Carroll Baker from.
ng her bid to enter the pantheon.
yone at the time of Marilyn's death
nd the mother of two children, she
172 attempted to capitalize on her early repu-

(continued from page 168)

she
appeared in 1956 as the thumb-sucking
tease ol Baby Doll. A few mediocre films
followed in which she revealed little flesh
and less acting ability; so she returned
to being a sex symbol—or trying to be
one. In Station $ix-Sahara, for example.
she appeared, preposterously
a visiting nymphomaniac a
African oil pumping station
baths in the skimpiest of bi
ing shapely legs and lier so-so cleavage to
the sexstarved crew of the pumping sta-
de for a less-than-ush

Something of a disaster, the picture
sed in this country until after
Miss Baker had found the opportunity
to put even more of herself on display in
Joseph E. Levine's The Carpetbaggers,
made by Paramount from the lurid novel
by Harold Robbins. During filming at
the studio. word leaked out, hardly by
accident, that Carroll was doing one of
her scenes in the nude. In the hope of
implying-that the film was hotter than a
stag reel, the studio barred reporters from
the set.

Whe:
get to Са
of the matter,
she had,

the press somchow managed to
oll anyhow to learn the truth
she blandly admitted that
deed, shown all for her

several scenes. “The decision to
nude was mine,” she stated. “I am an
actress. As such I am called upon to

The trend now is
an emotions in
Wolves sexual in

interpret а par.
toward showing hu
more depth. This
stincts.” Though her views were com
mendable, they might have heen more
convincing if the film in question had not
been The Carpetbaggers, since it con-
tained litle that was recognizable

human emotion—and precious little
lity either, except far a hasty shot of
Carroll's derrière while seated at her

dressing table. Paramount had either
thought better about. violating the Code
or the entire nudescene routine had been
a publicity put on,

Nevertheless, Levine was quick to эй
up Carroll for Harlow, and his publicity
office ground out endless turgid releases
proclaiming her Americas new sex god-
dess. But the validity of this claim was
widely questioned: Time, for one, de
scribed Carroll as a “middle-aged house-
wife.” Carroll's wooden performance in
Harlow—further hindered by a shoddy
saiptfinally convinced even Levine
and Paramount that she was not the
erotic symbol they had touted her to be.
They forthwith decided that their con
tract with her was les than binding.
settlement soothed her
wounded feelings and Carroll headed for
the Continent, where she hoped to find

An out-of-court

more appreciation of her charms

Another Hollywood glamor girl, Nat
alie Wood, successfully circumnavigated
the professional reefs on which Carroll's
career had foundered. A working actress
since the age of four, the former Na
tasha Gurdin was 22 when Elia Kazan
helped her epitomize the frustrated sex-
uality of a Midwestern girl raised by
straitlaced parents in Splendor in the
Grass. Slim but capuvatingly curvaceous,
Natalie achieved an carly reputation as
a swinger in her private life. Among her
escorts was the idolized James Dean.
with whom she appeared in Rebel With
ош a Cause, a role that made her an
overnight teenage favorite. She was also
squired about Hollywood by Elvis Pres
ley, but she by no means confined her
romantic life to the youngsters: in 1957,
she spoke of a “definite understanding"
with Raymond Burr and, later the same
year, of а somewhat hazier understand
with Robert Vaughn. So frenetically
did young Natalie live it up during this
period that her Warner Bros. bosses felt
it necessary to advise her to cut out the
late hours and the champagne—and to
tone down her longshoreman's vocabu
ry. At the end of the year, she reformed
by marrying Robert Wagner—then one
of Hollywood's ranking glamor boys—
but her instinct for llamboyance and the
wild life did not lie dormant for long.
Her large earnings were cannily i

vested, however, and Natalie's film sched-
ule slowed down considerably, largely
due to a reluctance to approve the slew
of scripts then being proffered to her.
Soon thereafter, she shed Wagner as a
mate and resumed. playing the field (one
of her favorite swains: ever ready
Warren Beatty) and periodically an
nouncing or retracting her engagement
to some rich manufacturer or other. It
was evident by 1965 that her popularity
had declined, particularly with the you
er crowd—as was underscored when the
staff of the Harvard Lampoon votcd her
the Worst Actress of 1966 and, unchari
tably, made it apply to 1967 and 1068
also, Wounded but

person—something
actor or actress had previously done.

Another recipient of the Lampoon's
"coveted award was Jane Fonda, who
was voted the 1962 dishonor for her
performance as a [rigid young widow in
The Chapman Report. Jane ren
undiscouragel—it was only her
film eflori, after all—and if she has not

gone on to scale the more rarefied
heights of stardom, she has since
achieved considerable popula 1

acting ability. Being the daughter of the
distinguished Henry doubtlessly lubricat-
ed her career: but her patrimony, in
way, was also a handicap, for the phy:
cal resemblance was so clc

(continued on р

e as 10 cause
e 254)

MARTYRS OF HOPE:

MARTIN LUTHER KING AND ROBERT KENNEDY

a posthumous testament and tandem tributes to
america's murdered champions of human liberty

VV Senator Robert F. Kennedy was informed of the murder of the Reverend.
Martin Luther King last April fourth, he was dining at an elegant restaurant in
Indianapolis. As a group of prosperous bigots at a nearby table joyously toasted the
assassination. Kennedy raced to the city's black ghetto, which was already beginning to
seethe with unrest, and told a tense crowd. cen understand your feelings; a member of
my family was killed by a white man. too” Kennedy added, however. that violence was
not the answer, that a human reconciliation could overcome both the assassin's rifle end
the inequities of racial injustice. There was no violence in Indianapolis that night—but
eight weeks later, Robert Kennedy lay dead in Los Angeles. The two men died under
dramatically dissimilar circumstances. King had returned to Memphis in a desperate effort
to salvage the remnants of his nonviolent movement. Kennedy had just delivered a ringing
victory speech to euphoric followers after winning the California primary. King was un-
justly scorned and dismissed by radical young Negro militants as en Uncle Tom whose
Gandhiesque preachments masked a sellout to the white power structure. Kennedy.
whose tardy entry into the race after Senator McCerthy's victory in New Hampshire had
alienated some activist students. was galvanizing behind his campaign a growing segment.
of the nation's youth—as well as the overwhelming majority of Negroes. who trusted
him as they did no other white politician. On the surface. the son of an Atlanta minister
had little in common with the heir to a wealthy and high-powered political dynasty, Yet
of all American leaders, the two men most dramatically and sincerely articulated the aspir-
ations of America's second-class citizens—Indians, Mexican-Americans, Puerto Ricans
and poor whites, as well as the angry masses of black Americans. The tragic coincidence
of their deaths was rife with ominous implications concerning not only America's deepen-
ing climate of violence but the survival of their mission to bind the nation's racial wounds
and heal its deep social and political divisions. Yet. despite the massive shock waves of
their assassinations, their lives, like their deaths, will have been meaningless—and our
prospects will be dark—if we allow the ideals and aspirations they embodied to be buried
with them. The following three essays—a final testament of hope from Dr. King and moving
remembrances of the public and the private Kennedy—eloquently articulate the dreams
for which they lived and died, and appeal for a national rededication to their fulfillment.

ATESTAMENT OF HOPE

in his final published statement, the fallen civil rights leader points the
way out of america's racial turmoil into the promised land of true equality

By DR. MARTIN LUTHER KING, JR.

forced to pause; it is not easy to describe a crisis so profound that it has caused the

most powerful nation in the world to stagger in confusion and bewilderment. Today's
problems are so acute because the tragie evasions and defaults of several centuries have accumu-
lated to disaster proportions. The luxury of a leisurely approach to urgent solutions—the ease of
gradualism—was forfeited by ignoring the issues for too long. The nation waited until the black
man was explosive with fury before stirring itself even to partial concern. Confronted now with
the interrelated problems of war, inflation, urban decay, white backlash and a climate of violence.
it is now forced to address itself to race relations and poverty, and it is tragically unprepared.
What might once have been a series of separate problems now merge into a social crisis of almost
stupetying complexity.

| am not sad that black Americans are rebelling; this was not only inevitable but eminently de-
sirable. Without this magnificent ferment among Negroes, the old evasions and procrastinations
would have continued indefinitely. Black men have slammed the door shut on a past of deadening
passivity. Except for the Reconstruction years, they have never in their long history on American
soil struggled with such creativity and courage for their freedom. These are our bright years of
emergence; though they are painful ones, they cannot be avoided.

Yet despite the widening of our stride, history is racing forward so rapidly that the Negro's
inherited and imposed disadvantages slow him down to an infuriating crawl. Lack of education,
the dislocations of recent urbanization and the hardening of white resistance loom as such tor-
menting roadblocks that the goal sometimes appears not as a fixed point in the future but as a
receding point never to be reached. Still! when doubts emerge. we can remember that only
yesterday Negroes were not only grossly exploited but negated as human beings. They were
invisible in their misery. But the sullen and silent slave of 110 years ago. an object of scorn at
worst or of pity at best, is today's angry man. He is vibrantly on the move; he is forcing change,
rather than waiting for it in pathetic futility. In less than two decades. he has roared out of slumber
to change so many of his life's conditions that he may yet find the means to accelerate his march
forward and overtake the racing locomotive of history.

These words may have an unexpectedly optimistic ring at a time when pessimism is the pre-
vailing mood. People are often surprised to learn that 1 am an optimist. They know how often |
have been jailed, how frequently the days and nights have been filled with frustration and sorrow,
how bitter and dangerous are my adversaries. They expect these experiences to harden me into
a grim and desperate man. They fail, however, to perceive the sense of affirmation generated by
the challenge of embracing struggle and surmounting obstacles. They have no comprehension of
the strength that comes from faith in God and man. It is possible for me to falter, but | am pro
foundly secure in my knowledge that God loves us; He has not worked out a design for our
failure. Man has the capacity to do right as well as wrong. and his history is a path upward, not
downward. The past is strewn with the ruins of the empires of tyranny. and each is a monument
not merely to man's blunders but to his capacity to overcome them. While it is a bitter fact that
in America in 1968, 1 am denied equality solely because | am black, yet | am not a chattel slave.
Millions of people have fought thousands of battles to enlarge my freedom; restricted as it still is,
progress has been made, This is why | remain an optimist, though | am also a realist, about the
barriers before us. Why is the issue of equality still so far from solution (continued on page 194)

We 1 AM ASKED my opinion of the current state of the civil rights movement. | am

REK-HARBINGER OF HOPE

his political philosophy and his deep humanity are re-
called by a distinguished colleague and a family friend

THE STATESMAN
By ARTHUR SCHLESINGER, JR.

IT IS HARD to write about a man murdered on
the threshold of his highest possibility—hard
because one recoils from the horror of the deed,
hard because all one has left is speculation.
Abraham Lincoln and John Kennedy at least
had their time in the White House before they
were shot down. Robert Kennedy was denied
the full testing of his gifts. No one can say now
what sort of President he might have been. But
one can say something, | believe, about the
nature of his impact on American politics and
the character of his legacy.

When he was killed, Robert Kennedy was
seeking the Presidential nomination of the Dem-
ocratic Party. This fact automatically defines
the traditions with which he began. He was,
first of all, a Kennedy; and that is a tradition by
itself. It meant that he was committed to cour-
age, public service, self-discipline, ambition,
candor, asking questions, getting things done,
finishing first, children, banter, dogs, physical
fitness and other life-enhancing goals.

It also meant that this total and ardent com-
mitment to life was enveloped by a somber
apprehension of human mortality. His oldest
brother was killed in the War, his next oldest by
an assassin; his sister and three of his wife's
family died in airplane accidents: his younger
brother nearly died in an airplane accident.
Every Kennedy had to make his personal treaty
with tragedy. Robert Kennedy read Aeschylus
and Camus and evolved a sort of Christian
stoicism and existentialism that gave him both
a fatalism about life and an understanding that
man's destiny was to struggle against his fate.
No one would have been less surprised by the
way his own life came to an end.

He also inherited a tradition as a Democrat.
In this century. the Democratic Party has been
the popular party in America, the party of human
rights and social justice. His father had been
a conservative Democrat who first supported
and then deplored Franklin Roosevelt. The

THE MAN
Br BUDD SCHULBERG

1 FIRST MET Bob Kennedy eight years ago.
through an unlikely intermediary—the late, ir-
repressible Hollywood producer Jerry Wald.
Wald called me at my home in Mexico City to
ask me if | would be interested in writing the
screenplay of Kennedy's then-recent best seller,
The Enemy Within. He told me that the Attorney
General had chosen me from a list of five likely
screenwriters Jerry had sent him. | said that was
interesting. | was curious to know why.

“Bobby"—Jerry began. heing the kind of
bubbly character who would, on first meeting.
have called De Gaulle "Charley" and Einstein
Al "Bobby says he loved On the Waterfront
and he's read quite a few of your pieces in
magazines and he feels you haven't lost your
zing for social causes.” So l'd like you to fly up
right away—l'll meet you in Washington to-
morrow and then, if Bobby likes you personally.
we can fly right back to Hollywood and work
out the terms; so call me back and let me know
what time you're coming in—I'll meet you at
the airport or send the limo for you— what hotel
do you like—Hay Adams? The Canton? ll
reserve a suite for you and

"Jerry—wait a minute! I'm glad he likes
Waterfront and the other stuff, but 1 need time
to think. | have to reread the book in terms of
how | feel it could work as a picture——~

"You can be doing that on the plane," Jerry
broke in.

“Hold it, Jerry I need time. And then this
thing about personally liking me goes both
ways. You say he has to have screenplay
approval— —'*

"Budd, it's his book, and he is the Attorney
General and——"

"Jerry, I need the kind of creative freedom
l've had with Kazan, like a playwright in the
theater. It could be that the Attorney General
is too——"

I didn't use the word “arrogant,” but of
course it was on my mind. All those news

ILLUSTRATIONS BY SHELLY CANTON

THE STATESMAN

Kennedy sons grew up with a broad faith in
the political and economic ends of liberalism.
along with a prickly suspicion of liberals. The
New Deal background saved the Kennedy fam-
ily from the primitive business mistrust of gov-
ernment. But something about the assumptions
and manners of New Dealers set their teeth on
edge. "| was caught in crosscurrents and ed-
dies," John Kennedy once said. “It was only
later that | got into the stream of things.”

It was later yet for Robert Kennedy, who was
born in 1925 and for whom the Thirties were a
time of faint offstage noises. The smallest of
the Kennedy boys, he had no doubt early re-
sorted to pugnacity as a means of survival.
Norman Mailer's description in 1960 accurately
conveyed the impression Robert Kennedy made
as a young man. He looked, wrote Mailer, like
“one of those unreconstructed Irishmen from
Kirkland House one always used to have to
face in the line in Harvard house football games.
"Hello." you would say . . . as you lined up for
the scrimmage after the kickoff, and his type
would nod and look away, one rock glint of
recognition your due for living across the hall
from each other ail through freshman year, and
then bang. as the ball was passed back. you'd
get a bony king-hell knee in the crotch.”

I had been a friend of his two older brothers
but did not know Bobby in his youth. His fling
with the McCarthy committee confirmed one's
worst suspicions. (Need one point out now that
his investigation had to do with the trade of
our allies with Communist China during the
Korean War and not with McCarthyism as it is
generally understood today?) My first encounter
with him was an altercation. In 1954. he wrote
a letter about Yalta to The New York Times: |
denounced it in a subsequent letter; and a fur-
ther irritated exchange, ignored by the Times.
passed between us privately. (All this highly
entertained his brother John.) When 1 finally
met him in Adlai Stevenson's 1956 campaign.
we looked on each other with vigorous suspi-
cion. But the vicissitudes of campaign travel
threw us together and, to my astonishment. |
found him entirely agreeable and even funny.
We quickly became friends. Later, | always
found it hard to take seriously the picture of
Robert Kennedy the implacable grudge bearer.

The circumstances of the Fifties cast him in
the public mind as a prosecutor—first with
McCarthy and then as the counsel of the racket-
investigations committee. He was good at it,
too—tough, resourceful and persevering. But
he had qualities that distinguished him from the
other prosecutors in our politics—from Thomas
E. Dewey, for example, or from Richard M-
Nixon. Above all, he was curious, open-minded
and prepared to learn. The rackets committee
exposed him to the labor movement, but it ex-
posed him to the United Auto Workers as well
as to the Teamsters. (continued on page 241)

THE MAN

stories about the hard-nosed, ruthless younger
brother of the wise and sophisticated President.
Instead, | said something like. “If he turns out
to be difficult, or if he wants to tell me how to
write it, or if it turns out | just plain don't like
AA

“Dont /ike him! You're talking about the
number-two man in the whole United States!
Do you realize when this picture comes out, it
will be the biggest thing in America, we'll open
it in Washington, we'll invite the entire Senate,
the whole Cabinet. we'll probably have dinner
with the President in the White House end

“For God's sake! Jerry, let me call you after
Гуе had a chance to think it over."

Naturally, Jerry called me every day during
that week, more often twice than once. On the
last day, he called at eight o'clock in the morn-
ing. saying it was becoming increasingly em-
barrassing for him to find ways of explaining to
the Attomey General why we would not rush
to Washington as soon es we heard that he
was willing to meet with us.

"Tell him | can't come until I'm ready.” |
held my ground. but | was beginning to feel as
if | were clinging to a mast in a hurricane.

It was in that mood that | finally met Bob
Kennedy, not exactly with a chip on my shoul-
der but neither like the endearingly frenetic
Wald, ready to salaam to the number-two man
in America.”

About e week later, Jerry end | were having
dinner at the big. lived-in white farmhouse
called Hickory Hill. The Attorney General could
not have looked younger or more unlike an
Attorney General of the United States if he had
been played by Paul Newman or Warren Beatty
There were quite a few of us at that dinner table.
Mrs. Kennedy. and Pierre Salinger and a number
of Kennedy aides, some of them members of the
Justice Department. like Walter Sheridan. later
a key figure in the Hoffa case. Others were
members of his “kitchen” cabinet. or one might
more accurately describe it as “touch football”
cabinet—bright and well-informed young jour-
nalists. Nothing much was said in the first ten
minutes of our dinner. Small talk. Jerry being
both anxious and amusing. Pierre entertaining.
Ethel Kennedy open and friendly. Young Mr.
Kennedy seemed extremely pleasant, if far more
reserved and shy than | had imagined. | had
expected to get through dinner in an atmos-
phere that might be described as defensive
congeniality and that we would not get down
10 the business of the book until the coffee and
the cognac. But we barely had begun on the
main course when | heard a reedy, rather wistful
voice, challenging me with a quiet directness
for which | was not prepared. “Well, Mr. Schul-
berg. of course we are all waiting to hear whet
you think of the book. Did you like it?”

All those eyes around the table turned from
the Attorney General (continued on page 246)

a ribald classic-to-be—written by the eminent biographer for his friends’
private delectation and never before published—in which two very proper
victorian misses exchange confidences on the way of men with matds

The era of the whalebone corset, plush and horsehair, pomp and cir-
cumstance and Rule, Britannia! got its most skeptical going-over in the work
of Lytton Strachey, son of a distinguished British family and biographer to
the age. In his two major works of personalized history, “Queen Victoria” and
“Eminent Victorians,” Strachey took the towering figures of the time and
brought them down to the scale of fallible human beings. Few people out-
side his witty and fashionable Bloomsbury set, however, knew that this emi-
nent Edwardian writer was also the author of the secret work “Ermyntrude
and Esmeralda.” Written in 1913, existing in manuscript only, shared by a
few of Stracheys friends and whispered about in the salons of London, this
story could never be published in Strachey’s lifetime. It was reputed to be
a wild and scandalous mockery of Victorian notions about sex, and it re.
mained hidden for 55 years, until a mention of it in Michael Holroyd’s
excellent “Lytton Strachey” inspired the English (continued on page 184)

ILLUSTRATION BY EDWARD GOREY

ROW YPUAYBOY ICHANGEDIAMERTCA)

who remembers that deplorable era when boobus
americanus was mired in puritanical primordial ooze?
humor By ART BUCHWALD

IT'S VERY HARD to imagine what America was like 15 years ago, before PLAYBOY
came on the scene. In order to put it in its proper perspective, you have to
remember that 15 years ago the United States was an agricultural society and the
deep puritan instincts of its people dominated the land.

A “good” woman neither smoked nor drank and stayed at home while her
menfolk spent their time in clubs and taverns. A “lady” of the late Forties and
carly Fifties didn't go out on a date without a chaperone, who stayed discreetly in
the background, but nevertheless was there to prevent any hanky-panky.

Social life for young people was organized around church dances and occasional

hay rides, but any kind of necking or outward display of emotion was frowned
upon and very quickly discouraged.

A “lady” never spoke unless she was spoken to, and she always retired from
a room when men entered it, unless she was specifically asked to stay.

The fashion of the time was quite strict for women. Skirts were down to the
ankles, corsets were the order of the day, and if a woman showed any part of her
Jeg (the word was never used in mixed company), she was considered “loose” and
not fit company to be brought home to the family.

I'm sorry to say that there were some “loose” women in the United States 15
years ago. They could be found in restaurants and night clubs, smoking and drink-
ing until all hours of the morning. But they paid a price for their wild behavior
and frivolous conduct. They were scorned by the good people of the town and it
was made known in no uncertain terms that they were not welcome in decent
society. Some taboos were breaking down, even in the early Fifties. "Good" women

“were permitted to go to the cinema, but only if their fathers or brothers approved
of what they saw. Walt Disney was the most popular family type of entertainment
and so, of course, was Andy Hardy.

The automobile was just coming into its own in 1953 and occasionally you
would see one roaring down Main Street in a cloud of dust, with everyone scream-
ing after the driver, “Get a horse.” But it was considered very bad for a girl from
a good family to go driving oft with a man alone.

"The sexual taboos of the early Fifties were numerous and fierce. The word
"sex" was never used nor the subject discussed in the household. Anything to do
with sex was said or done behind locked doors, out of earshot of the children and
the servants. Premarital sex was unheard of, and the sex act, as we know it today,
did not exist. Marriages were consummated solely to have children, and any pleas-
ure derived from it was strictly an unwelcome by-product. As a matter of fact, in
some towns, such as New York, Chicago and San Francisco, if a woman experi-
enced anything during intercourse, she was considered a nymphomaniac and in
need of psychiatric therapy. Men had it a lot easier during the puritan Fifties.
They could go to a bar and pick up a woman to relieve their physical desires.

Some women accepted payment in cash, others took gifts and yet others could be
seduced after being fed a number of drinks. The men of the time were never
severely censured for this behavior, providing they didn't brag about their
peccadilloes at home. Я

This was the state of the country іп 1953, and America might have stayed
that way except for a young man who came on the scene. His name was Hugh
Hefner and he was a rugged fighting revolutionary who was fed up with the
hypocrisy that was rife in the land. One night in a beer hall in the German sec-
tion of New York City, Hefner met with a small group of men who thought the
way he did. They decided to bring about a sexual revolution in the United States
of America, even if it would cost them their lives.

They named themselves the Playboy Party, after a freesex martyr named Eric
Playboy, who had been kicked out of the FBI for sleeping with his secretary.
Hefner felt the best way to take his message to the people was through a magazine,

a magazine that would tell the truth about sex, morality and breast feeding. Not
only would Hefner use the magazine to liberate Americans sexually but the profits
from it would go toward building clubs all over the country to enlist members
in the fight for emancipation.

But before he E get the project under way, an informer from the United
States Post Office tipped off the police, and Hefner and his little band were driven
from the outskirts of New York. They wandered west from town to town, preach-
ing their gospel of “Love thy neighbor's wife as you would thy neighbor,” some-
times being jeered, sometimes being stoned and sometimes getting lucky.

Finally, one morning the little group, hungry and tired, reached a hill over-
looking the town of Chicago, then an Indian trading post. Hefner stood on the
top of the hill and as far as he could see were girls. He turned to his loyal
followers and said, “This is the Playce.”

He set up his headquarters in a bunker and started turning out his magazine,
first by mimeograph, then by offset and finally by eight-color presses.

= CUT ALONG THIS LINE

A dissatisfied and frustrated America was ready for his message, and before
anyone knew it, women revolted against the system. First they started to smoke,
then they started to drink and finally they decided to all the way. The
stripped themselves of their confining clothes, turned their backs on organiz
dances, took rides in automobiles without chaperones. The puritanical reactionary
establishment shook its collective head in disbelicf as one new freedom led to an-
other. And then someone—Hefner denies it was he—invented a pill, and the last
barrier to sexual freedom came tumbling down.

The dark days of the Forties and Fifties are behind us. Thanks to Hugh
Hefner and his dedicated little coterie of freethinkers, sex is now something to be
enjoyed by everyonc, regardless of race, creed, religion or sex.

‘All of us owe him a debt of gratitude that we will never be able to repay.
Hugh would be the last to remind anyone of this debt; but 1 think one way we
could remember him is that the next time we're having a love affair, we say to
ourselves, "Let's win this one for Hef."

A lot of chlorine has flowed into Hef's swimming pool since then; and as
PLAYBOY has prospered, so has America. Hefner can look back with pardonable
mellowness on the changes wrought in the past 15 years. Having invented a pain-
less way to have a sex orgasm, this pipe-smoking, retiring genius refused to rest
in his circular bed on his laurels. He went on to develop the two-way mirror, the
supersonic bra and the underwater breast stroke.

Fearing that he would be criticized for cashing in on the sex craze of the Six-
tics, Hefner has poured back all the profits he has made on pLAvsov into giving
countless Christmas parties for orphaned movie stars and abandoned chorus girls.

What about the next 15 years? I was given an audience with the great man at
7:06 p.m. on October 6, 1968. Entering ES Он а sitting up in
his famous bed, being fanned by two Bunnies while another was playing This
Little Piggy Went to Market with his toes.

He dismissed them and said, in a tle voice, “God has been good to me.”

“Mr. Hefner,” J said, “you have done everything that a man could do in

his time. What is there left for you?”

He pressed a button and, as a mirror on the ceiling slid away, I saw a map
of the world. He pointed up at it toward the Soviet Union and China and said,
"I still have much work to do.”

“You mean you're thinking of taking your Playboy Philosophy to the Com-
munist world?"

“It's our only hope. Once they get interested in sex, they'll want to make
love instead of war.”

It's worth trying,” I agreed.

“You know Mao is a fag," he said.

“I knew Castro was, but I wasn't sure about Mao.”

He pushed the button and the mirror came back into place.

“After that,” he sighed, “I guess I'll have to go into space."

ILLUSTRATIONS BY ARNOLD ROTH

Ermyntrude and Esmeralda

publisher Anthony Blond to hunt ii
down. Holroyd says, “ 'Ermyntrude and
Esmeralda’ was written as an exchange of
letters between two fancifully naive, nu-
bile and inquisitive 17year-old girls,
one—Esmeralda—üving in the country,
the other in town. At school they had
both pledged themselves to discover as
much as possible about the untold and
manifold mysteries of sex, and in their
holiday correspondence they report to
each other the dramatic results of their
investigations.”

MY DEAREST ERMYNTRUDE,

At last I have a moment to spare and
can sit down and begin to carry out my
side of our promise. How delightful it
is! To have you to write to, my dearest
Ermyntrude—you who are so lovely, so
charming, so beautiful and so dever!
Not that there is anything to write to
you about. You will ask why, if that is
so, I have only just managed to get hold
of a spare moment. The truth is that a
great deal is always going on here—a
great deal of fuss and absurdity—but
nothing that is of the slightest impor-
tance or that I could possibly write to
you about. As you know, however many
people there may be in the house, and
whatever they may be doing, nothing
ever really can happen in the country.
How should it—with no parties, no plays,
no concerts, no shops, no dances? But
that is an exaggeration; there are dances,
about two in a year, and there's to be
one next month, at the Swinfords, and
—what do you think?—I am going to it!
Yes! It has been settled so. Mama at
first said I wasn't to—although I'd
danced all through the one we had here
last winter—and had my hair up, too;
but she said that I wasn’t out and that I
must wait till next year. But then yester-
day at breakfast, when it was mentioned
again. Papa suddenly put his head up
from the newspaper and asked why I
shouldn't go, and whether I wasn't 17,
and whether that wasn't old enough, and
whether—oh, all sorts of things—whether
І wasn't a pretty enough girl and silly
jokes like that. And so it was arranged,
and I'm to wear a white silk dress that
Carrie's making for me, and my Neapol-
itan sash and the tortoise-shell comb.
that Aunt Louise gave me on my last
birthday. Won't it be fun? I can't help
being rather excited about it, and the
boys are so ridiculous—especially God-
frey, who says I'm already beginning to
lock like Lady Clare Vere de Vere—and
this morning I caught the tutor, Mr.
Mapleton, smiling at one of their jokes,
but what does that matter? He's only a
young man from Oxford, so he can be
safely disregarded, can't he? I don't be-
lieve Oxford's as good a place as Cam-
bridge, and light blue is my favorite
color. Which is yours? When I said that

(continued from page 179)

to Godfrey, he span round on one toe
and wouldn't answer. He never will an-
swer half the things 1 say. 1 suppose all
boys are like that; but, as you have no
brothers here, you won't know.

But I've been forgetting all this time
to tell you the most interesting thing in
the world. Who do you think is staying
with us? The dean of Crowborough!
And oh, my dear, he is the most charm-
ing, beautiful, clever man you can imag-
ine. That sounds as if I meant to make
out that he was like you—which would
be very absurd, because, of course, he
isn't in che least—for one thing, hes
quite old—about 50, I should think—and
for another, he's very polite. 1 don't
mean that you're not polite, but he's so
particularly so—so grave and courteous
—almost severe at times, and yet you
soon find that he's wonderfully kind and
most attentive. He reminds me of those
lines in Tennyson—

And in his dark-blue eye austere
A lighted welcome lurked and
glowed—

except that his eyes are not dark blue
but pale gray, but that doesn't matter. 1
simply adore him—almost as much as I
adore you, my dearest Ermyntrude. Do
you think it possible that—perhaps—I
am in love with him? I sometimes think
I must be. My heart beats when he
comes into the room, and the other
day, when he picked up my handkerchief,
which I'd dropped without noticing,
and said “Yours, I think, Miss Esmeral-
da?” in his lovely voice, I'm certain I
blushed. Supposing I was in love with
him, and supposing he акей me to
marry him! Wouldn't that be enchant-
ing? Which reminds me of that conver-
sation of ours at the end of last term
about love and marriage and how you
have babies and all the rest of it, when
we stayed up so long talking and made
Miss Bushell so angry, and it was all so
perfectly delightful. Well, have you
found out any more about it? Do tell
me, because I'm sure I don't know what
to think, and you're so much cleverer
than I am. Can you have babies without.
being in love, and can you be in love
without—but oh, dear, the boys are call-
ing me to come and play stump cricket
this instant, and I can't put them off
any longer; 1 must stop. Do write soon,
my dearest Ermyntrude, about all your
gay doings in London, to
Your ever most adoring
Esmeralda
P.S. We are to have charades this
evening, and tomorrow General March-
mont is coming, which will be a great
bore, as he will probably do nothing but
talk to the dean.

My dearest Esmeralda,
I was very glad to get your letter. I

think, although you live in the country,
you have much more to write about
than I have. Your idea of my “gay
doings” is quite imaginary. I hardly ever
see anyone, except, of course, the eternal
Miss Simpson, with whom Y spend (it
scems to mc) the whole of cvery day,
sitting up here in this old dark school-
room and only emerging for the family
meals and the daily patrol in the park.
My mother is always out and my father
is always at the House of Commons; and
as that makes up the household, you see
there's not much opening for gaiety. It
chills me to go down the staircasc, with
the dreadful dome at the top; and as for
the drawing room, it's so big and so
gloomy that I feel creepy whenever I go
into it. You say that nothing ever hap-
pens with you; well, at least you have
stump cricket and charades and deans
and tutors to amuse you. I have racked
my brains, and really the only thing I
can think of that has happened here
since I came back is—guessl— prepare
your mind for something amazing—
we have got a new footman. But please
observe that the important point about
this startling occurrence is—not that the
footman is new, but that his name is.
He is called Henry, and the last four
were called George. Well! isn't that a
change? I've also noticed that his finger-
nails are rather cleaner than those of the
last two Georges. But those are details.
To have to say Henry instead of George
when one wants some more bread—that
is the epoch. So you see you've no right
to pretend that you live in a desert. And
(1 think) you've even less right to pre-
tend that you're in love with the dean.
How could anyone be in love with an
old man of 50 with pale gray eyes,
and I'm sure also with pale gray cheeks
hanging in folds, and one of those hor-
rid necks that have a flap of skin in the
middle? The truth is I believe you're
shamming a romance with the dean im
order to conceal one with Mr. Maple-
ton. It's very suspicious. You say hardly
anything about him. What is he like? Is
he tall or short? Dark or fair? Is he
good-looking? According as you answer
these questions I shall judge. So take
care. I have forgotten whether Godfrey
is the brother who is a ycar younger
than you, or another. Please tell me what
he looks like, too. Has he got brown
curly hair and large dark eyes in your
style, I wonder?

I've tried to go on with our inquiries
about love and babies, but I haven't got
much further. The other day I began
edging round the conversation in that
direction with old Simpson, and natural-
ly that didn't succeed. She shut me up
when I was still miles off. Everyone
always does—that is, everyone who
knows. What can it mean? It is very odd.
Why on carth should there be a secret
about what happens when people have

(continued on page 202)

a porifolio of the past ШУ —

== Ep

157

Britt Fredriksen MISS JUNE

PLAYBOY'S see ial = REVIEW

AS WE BEGIN 1969, evidence continues to mount that to
be a Pl pet is to capture an important key 10 success.

Dorian, who TEE in
sked to Hollywood to begin
eers. Of this past year’s 12 girls, at least two—
Connie Kreski (Miss January) and Michelle Hamilton
(Miss March)—seem likely to emerge as full-fledged
ars by the end of 1969. But not all of our
ing actresses.
Ad, Britt Fred-

sen (above), is studying interior decoration ar Foot-
hill College in California's Los Altos Hills and plans to
e it her profession. “E like Danish and Swedish
furniture best of all,” says this pretty Norwegian. “Scandi-
n design and use of color is fantastic" Britt has
lived in California for over a year and doesn't plan on
ever leaving. "In Europe, I enjoy the forests and feeling
close to nature. But here, the climate is always beautiful
and there are no long, depressing winters to get
through." And just in case wintry weather is getting
you down, peruse our Playmates of 1968—and perk up.

navi

Nancy Harwood MISS FEBRUARY

Twenty-year-old Nancy (at right)
recently left California for Eu
торе. "I want to spend a year
seeing what life is like in Rome
and Paris,” she told us before
embarking. "And since they're
both European fashion centers,
I'm hoping to support myself by
modeling." Miss Harwood, who
is also a top-notch secretary, may
take a clerical job if modeling
assignments don't come her way
—an unlikely possibility. “My
biggest relief, after I decided to
become a model,” says Miss Feb-
mary, “was discovering 1 needn't
look like a malnut

Connie Kreski MISS JANUARY

Detroiter Connie visited England
last year and was “discovered” at
the London Playboy Club by
Anthony Newley, who signed her
to a role in his upcoming film
Can Hieronymus Merkin Ever
Forget Mercy Humppe and Find
True Happiness? Connie has
since reccived additional screen
ollers and will shortly decide on
her second film. A modeling
career has also opened up for
: Alter appearing on

cover of the Londoner
azine, the 5’ 5” blonde was
photographed for Vogue by
noted lensman David Bailey.

Gale Olson Miss AUGUST

Prior to her gatefold debut, our
August Playmate up in the
air about two possible careers:
Gale wanted to wing it as a stew-
ardess and had also checked,
with NASA, about trying to be-
come a female astronaut. To com-
plicate matters, Miss Olson was
recently offered screen tests by
two movie studios. This autumn,
she flew to Chicago from her home
in Costa Mesa, California; the
impulsive Miss Olson liked the

Windy City so much she promptly

a Bunny at the Chi-
cago Playboy Club. "But," says
Cale, “I'm not ruling out NASA.”

Gaye Rennie Miss APRIL

When pPLaysoy photographer
Bill Figge first encountered Gaye
posing for her high school gradu-
ation pictures, she had already
decided to be a model. Since
then, the Glendale beauty has
attended modeling school and
now works regularly
E

s attention: Miss Rennie

was offered leading roles in two
upcoming films but turned them
down. Im mot interested in
being an actress,” she says. “That
strikes a lot of people as odd, but
modeling gives me all the pleas-

ure that I want from a carcer.”

a manne-
ted movie-

Melodye Prentiss MISS JULY

A onetime PrAYmov researcher,
Melodye was promoted to our
Copy Department, where she now
helps check the facts contained in
ticles, She's studying for a
ts degree, attends the Art
Institute of Chicago, where her
latest turn-on is the surrealism of
. Says Miss July,
| “His paintings prove to me what
Dali has always claimed-—that
he’s a genius.” Melodye has also
become intrigued by erotic art.
“If more galleries would buy—
and if more muscums would
displ
become enormously popular.”

erotic art, it would

Paige Young MISS NOVEMBER

Frec-lance artist Paige just moved

from Malibu to a studio in near-

by Venice and, since then, she

hasn't had time to indulge in

her second love—swimming, 1
been waiting for this stu for
у two years," she says. Paige's
canvases have been exhibited in
galleries and now she's
ng for a one-woman show,
hopefully in New York. “But 1
t be ready for quite some
ys. "I think I'm on
the verge ol something that's
never been done. I can't give it a
name yet, but when I do, ГЇЇ call
you and tell you all about it.”

Dru Hart miss SEPTEMBER

California Har-ihrob Dru re-
cently left her job as a legal
secretary and is living the easy
life at her Van Nuys apartment
Im kind of coasting right now,”
she says. Miss September's ver-
sion ol la dolce vita consists ol
hiking, beaching it at Malibu
"and discovering how good
chocolate bonbons are—but 1
can't eat as man Vd like or
I'd look like one.” When Dru
tires of her new leisure, she plans
to wy modeling and traveling
“I've never seen Europe or As

and I hope to visit both of
them during the coming year.

Majken Haugedal miss OCTOBER

Montreal Playboy Club Bunny
Majken (pronounced My-ken),
upon becoming a Playmate, went
on yacation to Denmark, wh

she visited relatives in Copenha
gen. After she returned home,
Miss Haugedal—because ol
her centerfold credentials—was
sought for Canadian television
commercials. Although she likes
Montreal, Miss October wants to
get a taste of life in the U.S. “1

transfer to the Los Angeles

Playboy Club,” says the 5

Dane at left. "It would be fun to
have a year-round tan—like you
see on all those California girls.”

Michelle Hamilton MISS MARCH

Acting hopeful Michelle—who's

dropped her stage pseudonym in

favor of her real name, Roxanna
Platt—is, as we go to press, in the
final wi ing for the lead
in an important film. “Its

strong drama that should be up
lor several Academy Awards next
year," she told us. In any event,
Michelle (who's dated Omar
Sharif) has won a starring role in
a crime flick that will be shot in
Rome, and appears set for an act
ing career. "And it's almost en
tirely due to PLAYBoy—the movie
contacts I made were a direct re-
sult of my Playmate appearance."

Elizabeth Jordan MISS MAY

After spending her summer in
Arizona tutoring Indian chil-
dren, Angeleno Liz bought a
1953 MG-TD and set out for
home. Her car broke down two
hours out of Phoenix; after wait
ing three days for parts, she got
going again—only to have the
MG put 38 miles later.
My brother came in from San
Diego and towed me back with
him," says Liz, who found San
Diego a perfect setting for her
avocational pursuits. "I'm con-
vinced thar San Francisco and

ly beautiful
cities if. she says.

Cynthia Myers MISS DECEMBER

Last month's pert palm reader

has a solid grip on her future
Cynthia's first move after becom-

ing a Playmate was a big one:
from her home town of Toledo
to the Playboy Mansion's Bunny
Dorm. "Im doing promotion
work for the maga

ing seemed like a good idea.’
18-year-old brunette has b
couraged to take acting lessons
by Mansion visitors David Mer-
rick, k Valenti, Bill Cosby and
Warren Beatty. Says Cynthia,
“TI be going to acting school,
but not right now—its too

much fun working for PLAYBOY

PLAYBOY

194

ATESTAMENT OF HOPE (continued from page 175)

nation that professes itself
to be democratic, inventive, hospitable
10 new ideas, rich, productive and awe-
somely powerful? The problem is so
tenacious because, despite its virtues and
attributes, America is deeply racist and
its democracy is flawed both economi-
cally and socially. All too many Ameri
cans believe justice will unfold painlessly
or that its absence for black people w
be tolerated. tranquilly.

Justice for black people will not Row
into society merely from court decisions
nor from fountains of pol
Nor will a few token changes quell
the tempestuous yearnings of millions
of disadvantaged black people. White
America must recognize that justice for
black people cannot be a
out radical changes in the structure of
our society. The comfortable. the en-
wenched, the privileged cannot continue
to tremble at the prospect of change i
the status quo.
ephen Vincent Benet had a message
for both white and black Americans in
the title of a story, Freedom Is a Hard
Bought Thing, When millions of people
have been cheated for centuries, resti
tution is a costly process. Inferior edu-
«ation, poor housing, unemployment,
inadequate health care—each is a bitter
component of the oppression that ha
been our heritage. Each will require bil
lions of dollars to correct. Justice з
deferred has accumulated
cost for this society will be
financial as well as human terms. This
fact has not been fully grasped, because
most of the gains of the past decade
were obtained at bargain rates. The
desegregation of public facilities cost
nothing; neither did the election and z
pointment of a few black public officials.

The price of progress would have
been high enough at the best of
but we are in an agonizing nati
aisis because a complex of profound
problems has intersected in an explosive
mixture. The black surge toward free-
dor sed justifiable demands for
racial justice in our major cities at a
time when all the problems of city life
є simultancously erupted. Schools,
spor
crime would have been muni
nies whether or not Negroes
our cities. The anarchy of unplanned
city growth was destined to confound our
confidence. What is unique to this peri
od is our inability to arrange an order
of priorities that promises solutions that
are decent and just.

Millions of Americans
see that we are fighting an immoral war
that costs nearly 30 billion dollars a
that we are perpetuating racism,
we are tolerating almost 40,000,000

during an overflowing material

in America, а

poor

abundance. Yet they remain helpless
to end the war, to feed the hungry, to
make brotherhood a reality; this has to
shake our faith in ourselves. И we look
stly at the realities of our national
life, it is dear that we are not marchin
we are groping
А confused. Our mora

even as our
these trying circum
olution is much more tha

t are rooted deep-
ly in the whole structure of our society.
It reveals systemic rather than superficial
flaws and suggests that radical
struction of society itself is the re
to be faced.

и is time that we stopped our blithe
lip service to the guarantees of life. liber
t of happiness. These fin
sentiments are embodied in the Declar:
tion of Independence, but that document
was always a declaration of intent rather
than of reality. There were slaves wher
it was written; there were still slaves
when it was adopted; and to this day,
black Americans have not life. liberty
nor the privilege of pursuing happiness,
and millions of poor white Americans
re in economic bondage that is scarcely
less oppressive. Americans who genuinely
treasure our national ideals, who know
they are still elusive dreams for all too
many, should welcome the stirring of
Negro demands. They are shatteri
complacency that allowed a m
soc
tion is requiring America to г
its comforting myths and may yet catalyze
the drastic reforms that will save us from
social catastrophe.

In ind America lor
grained cism, I
ing the term “white” to describe the n
jority, not all who are white. We h
found that there are many white people
who clearly perceive the justice of the
Negro struggle lor human dignity-
Many of them joined our struggle and
displayed heroism no les inspiri
than that of black people. More than a
few died by our side; their memories are
cherished and are undimmed by time.

Yet the largest part of white Americ

is still poisoned by racism, which is as
alive to our soil as pinc trees, sage
brush and buffalo grass. Equally native
to us is the concept that gross exploi
ion of the Negro is acceptable, if not
commendable. Many whites who com
cede that Negroes should have equal
access to public the un
trammeled right to vote cannot undi
stand th intend to remain
in the bi

al evils to accumulate. Negro agita-

s and

we do not
nent of the economic suue-

ture: they cannot understand why a po
ter or a housemaid would dare dream ol
a day when his work will be more useful,
more remunerative and a pathway to
rising opportunity. This incomprchen-
sion is a heavy burden in our efforts
win white allies for the long struggle
But the American Negro has in his
nature the spiritual and worldly for
tude to eventually win his struggle for
justice and freedom. It is a mora
tude t been forged by centuries
of oppression. In their sorrow and their
hardship, Negroes have become almost
¡ctively cohesive. We band together
adily; and against white hostility, we
have an intense and wholesome loyalty
to one another. But we cannot win our
struggle for justice all alone, nor do 1
think thar most Negroes want to exclude
well-intentioned whites from participa
tion in the black revolution. I believe
there is an important place in our strug
gle for white liberals and 1 hope th.
ent estrangement from our
only temporary. But many
white people in the past joined our
movement with a kind of messianic faith
that they were going to save the Negro
and solve all of his problems very quick
ly. They tended. in some i
be rather aggressive
the opinions and abilities of the black
people with whom they were working:
this has been especially true of students.
In many cases, they simply did nor know
how to work in vc
ole. 1 think this problem became most
dent when young men and women
from elite Northern universities came
down to Mississippi to work with the
black students at Tougaloo and Rust col
leges, who were not quite as articula
didn't type quite as [ast and were not
sophisticated. Incvitably, feeling of white
paternalism and black inferiority be
came exaggerated. The Negroes who re
belled against white
to assert their own equality and to cast
off the mantle of paternali
Fortunately, we haven't had this prob
lem in the Southern Christian. Leader
ship Conference. Most of the white
people who were working with us in
and 1963 are still with us. We ha
always enjoyed a relationship of mutual
respect. But I think a great many white
liberals outside S.C. L.C. also ha
learned this basic lesson in human rela
ions, thanks largely ıo Jimmy Baldwin
ind others who have articulated some of
the problems of being black in a mult
al society. And I am happy to report
relationships between whites and
Negroes in the human rights movement
re now on a much healthier bas
society at large, abrasion between
the i more evident. .
hostility was always there. Relations to
day are different only in the sense that
(continued on page 231)

sul

THE SCHEMATIC MAN

fiction By FREDERIK POHL piece by piece, he had programed himself into the
computer—now he wondered what would happen when somebody turned it on

1 KNOW. IM NOT REALLY a funny man, but 1 don't like other people to know it. I do what other people without much sense of

humor do: I tell jokes. If we're sitting next to cach other at a faculty senate and I want to introduce myself, I probably say:
Reder ind is my
Nobody laughs much. Like all my jokes, it needs to be explained, The joking part is that it was through game theory that

I first became interested in computers and the making of

and computers are my game.”

hematical models. Sometimes when I'm explaining it, I say there

that the mathematical ones are the only models Гуе ever had a chance to make. That gets a smile, anyway. I've figured out why

Even if you don't really get much out of the play on words, you can tell it's got something to do with sex, and we all reflexively

smile when anybody says anything sexy

І ought to tell you what а mathematical model is, right? All right. It's simple. It's a kind of picture of something made
out of numbers. You use it because it's easier to make numbers move than to make real things move.

Suppose 1 want to know what the planet Mars is going to do over the next few years. I take everything I know about Mars
and I turn it into numbers—a number for its speed in orbit, another number for how much it weighs, another number for how

many miles it is in diameter, another number to express how strongly the Sun pulls it toward it and all that. Then I tell the

PLAYBOY

computer that's all it needs to know
about Mars, and I go on to tell it all the
same sorts of numbers about the Earth.
bout Venus, Jupiter, the Sun itsell—
about all the other chunks of matter float-
ing around in the neighborhood that 1
think are likely to make any difference to
Mars. I then teach the computer some
simple rules about how the set of num.
bers that. represents Jupiter, say, affects
the numbers that represent Mars: the law
of inverse squares, some rules of celestial
mechanics, a few relativistic corrections
- . well, actually, there are a lot of
things it needs to know. But not more
than I can tell it.

When 1 have done all this—not exact-
ly in English but in a kind of a language
that it knows how to handle—the com-
puter has a mathematical model of Mars
stored inside it. It will then whirl its
mathematical Mars through. mathemati
space for as many orbits as I like. 1
say to it, "1997 June 18 2400 GMT,"
nd it... it. well, I guess the
word for it is, it imagines where N
will be, relative to my back-yard Questar,
at midnight Greenwich time on the 18th
of June, 1997, and tells me which way to
point

It isn't real Mars that it plays with.
It’s a mathematical model, you sce. But
for the purposes of knowing where to
point my little telescope, it does every-
thing that “real Mars” would do for me,
only much faster. I don't have to wait
for 1997; I can find out in five minutes.

It isn't only planets that can carry on
a mathematical metalife in the memory
banks of a computer. Take my friend
Schmuel He has a joke, too, and his
joke is that he makes 20 babies a day in
his computer. What he means by that is
that, after six years of trying, he finally
succeeded in writing down the numbers.
that describe the development of a hu-
man baby in its mother's uterus, all the
way from conception to birth. The point
of that is chat then it w: tively
asy to write down the
lot of the things that happen to
before theyre born. Momma has high
blood pressure. Momma smokes three
packs a day. Momma catches scarlet fe
ver or a kick in the belly. Momma keeps
making it with Poppa every night until
they wheel her into the delivery 100m.
And so on. And the point of that is that
this way, Schmuel can see some of the
things that go wrong and make some
babies get born retarded, or blind, or
with retrolental fibroplasia or an inability
to drink cow's milk. It’s easier than sac
rificing а lot of pregnant women and
cutting them open to see.

OK, you don’t want to hear any more
about athe: ical models, because
what kicks are there in mathematical

196 models for you? I'm glad you asked.

"or instan
suppose last night you were watching
the Late, Late and you saw Carole
Lombard, or maybe Marilyn Monroc
th that dinky little skirt blowing up
over those pretty thighs. | assume you
know that these ladies are dead. 1 also
assume (hat your glands responded to
those cathode-tube flickers as though
they were alive And so you do get some
Kicks from mathematical models, be-
cause each of those great girls, in each
of their poses and smiles, was nothing
but number of some thousands of
digits, expressed as a spot of light on a
phosphor tube. With some added num-
bem to express the frequency patterns
of their voices. Nothing che.

And the point of that (how often I
use that phrase!) is that a mathemati
cal model not only represents the real
thing but sometimes it's as good as the
thing. No, honestly. I mean, do you
ly bel had been Mari-
lyn or Carole in the flesh you were look-
ing at. across a row of footlights, say.
that you could have taken away any
more of them than you gleaned from the
shower of electrons that made the phos
phors display their pictures?

I did watch Marilyn on the Late,
Late one night. And 1 thought those
thoughts: and so I spent the next weck
preparing an арр! to a fo
for money: and when the pr

dation
nt came

through, I took a sabbatical and began
turning myself into a mathematica}
model. It isn't really that hard. Kookie,

yes But not hard.

I don't want to explain what pro-
grams like FORTRAN and SIMSCRIPT
and SIR are, so 1 will only say what we
all say: They are languages by which
people cin communicate with machines.
Sort of. I had to learn to speak FOR-
TRAN well cnough to tell the machine
all about myself. It took five graduate
students and ten months to write the
program that made that possible, but
s not much. It took more than t
computer to shoot. pool. After
пег of storing my-

self in the machine

That's the part that Schmuel told
me was kookie. Like everybody with
enough seniority in my department, I
have a remote-access computer console
my—well, I called it my “playroom.” 1
did have a party there, once, right aft
I bought the house, when I still thougl
I was going to get married. Schmuel

caught me one night, walking in the

door and down the sta d finding me
methodically typing out my medical his-
tory from the ages of four to fourteen.
Jerk,” he said, "what makes you think
you deserve to be embalmed in a 70947"

I said, “Make some coffee and leave
me alone till 1 finish. Listen. Can I use

your program on the sequelae of
mumps?

"Paranoid psychosis.” he said. "lt
comes on about the age of forty-two.”

But he coded the console for me and
thus gave me access to his programs. I
mished and said.
hanks for the
make rotten coffee."
“You make rotten jokes. You
think it’s going to be you
gram, Admi
By then, I had most of the basic physi:
ological and environmental мий on the
tapes and I was fecling good. "What's
"me?" I asked. “If it talks like me, and
thinks like me, and remembers wl 1
remember, 1 would do—
who 1? President. Eisenhower?”
"Eisenhower was years ago. jerk," he
said.
“Turing question, Schmuel." I said
If I'm in one room with a teletype. And
the computer's in another room with a
teletype, programed to model me. And
you're in a third room, connected to
both teletypes, and you have a conver-
sation with both of us, and you tell
which is me and which is the machine
then how do you describe the difference?
1s there a difference
He said. “The difference, Josiah. is
1 can touch you. And smell you. If I
was crazy enough. I could kis you.
You. Not the model”
ou could," I said, "if you were a
model, too, and were in the machine
with me." And I joked with him (Look!
It solves the population problem, put
everybody in the machine. And, suppose
I get cancer. Flesh-me dies. Mathematical.
model me just rewrites i but
really worried. He really did
going crazy, but 1 perceived
that his reasons were not because of the
nature of the problem but because of
what he fancied-was my own attitude
toward it, de up my mind to be
careful of what E said to Schmuel
So 1 went on playing Turing's game,
trying to make the computer's response
ndistinguishable from my own. 1

but

you

program,

in-
n what a toothache felt like
and what 1 remembered of sex. I taught
memory links between people
phone numbers, and all the
tals I had won a prize for knowing
when I was ten, 1 trained it to spell
"rhythm wrong. as I had always mis
spelled it, and to say "place" instead of
"put" in conversation, as 1 have always
done because of the slight speech im.
pediment that carried over from my
adolescence. I played that game: and by
God, 1 won it.

But I don't
з exchange.

structed it

w for sure what E lost

I know I lost somethin
1 began by losing parts of my memory
(concluded on page 237)

“You've certainly proved
the old adage, Mr. Bascomb—
nice guys do finish last.”

man at his leisure

playboys leroy neiman artfully captures the dazzlıng
elegance and classic grace of russian ballet

THE BOLSHOI BALLET in Moscow and the Kirov in Leningrad enjoy a
status unknown to any other troupe in the world —they are, in fact, a na-
tional pastime. “The pride these cities take in their companies,” says roving
artist LeRoy Neiman, “exceeds Green Bay's regard for the Packers. When na-
tives of Moscow and Leningrad meet while vacationing in the Crimea, the
discussions of the relative merits of their companies reach the shouting point
and beyond.” From the czars to the commissars, the ballet has been part of
Russia's total society. Millions of girls—and boys—are training in ballet every
year (adults study it nonprofessionally as an adjunct to folk dancing). And
there are many places to learn: In addition to the 20 state chorcographic
schools. there are ballet studios in professional theaters and opera houses,
ng centers in community playhouses and numerous amateur dance
As a result,” Neiman says, “even away from the big cities, you find
ned dancers and well-informed audiences. Almost everyone knows the
rudiments of ballet.” When Neiman returned from the Soviet Union. he told
us: “OL Russia's thirty-four professional ballet companies, undoubtedly the
best known is the Bolshoi. And the Bolshoi's prima ballerina, the ageless Maya
Pi s undisputed and incandescent star. But the men are elecır
ing, too. The wildly high lifts and flamboyant leaps through space—their sheer
strength is almost unbelievable. Both companics' theaters are spectacularly
beautiful; the Bolshoi has power, while the Kirov has a romantic, pre-
Revolution grandeur. The fact that balletgoers don't particularly ‘dress’ for a
performance doesn’t diminish one bit the elegance of either the occasion or the
surroundings, for the audiences are totally responsive, A Bolshoi director prob-
ably summed it up best: ‘We do not have a specialized balletomane audience
such as we read of in other countries; our bal! audience is our people. ^

The Russian ward balshoi translates as "big" or
"large"; when applied ta the ballet or drama, it
means “grand.” "And the Balshai in Mascow is just
that,” soys artist LeRoy Neiman. “The interiar of
the theater is like on extraordinary, red-velvet-lined,
gold-leofed jewel box. It's baroque, almost ginger-

bread отсе, yet gracefully picturesque—on
‘appropriate shawcase for Plisetskaya's moving in-
terpretation af Odette/Odile in the timeless Swan
Lake. Visiting the Balshoi is like stepping back inta
onather ero. In fact, about the only visible changes
in the place since the reign af Catherine the Great
ore the hommer-and:sickle motif subtly warked inta
the curtain ond the comeolike portrait af Lenin
abave the proscenium arch.” Neiman nates that
there are pictures of Lenin everywhere, such os the
wall poster in this Balshai rehearsal room (left).
The dancer at the bar rubs the toes of her shaes
in o gritty rosin mixture to reduce the chances af
slipping—an even greoter-thon-usuol hazard at the
Balshai because the stage is raked; that is, slanted
toward the faotlights sa that the performers’ feet
are visible from onywhere in the hause. To keep
the dancers "an their toes," the floors af the re-
hearscl roams and clossraams are similarly raked.
Above: The large bell hanging backstage ot Lenin-
grad's famed Kirav Ballet is ane af a set. "This
is а comman orchestral camplement in large
theaters,” Neiman explains, “because sa much Rus-
sian music includes bells. The Kirav is going on
Tour while the stage is being enlarged ond up-
dated electranically. But they'll keep the bells.”

201

PLAYBOY

Ermyntrude and Esmeralda

babics? I supposc it must be something
appallingly shocking, but then, if it is,
how can so many people bear to have
them? Of course, I'm quite sure it's got
something to do with those absurd little
things that men have in statues hanging
between their legs, and that we haven't.
And I'm also sure that it's got something
to do with the thing between our legs
that I always call my pussy. I believe
that may be its real name, because once
when I was at Oxford looking at the
races with my cousin Tom, I heard quite
a common woman say lo another,
"There, Sarah, doesn't that make your
pussy pout?" And then I saw that one of
the rowing-men's trousers were all split
nd those things were showing between
legs: and it looked most extraord
пагу. 1 couldn't quite sce enough, but
the more J looked the more I felt—well,
the more I felt my pussy pouting, as the
woman had said. So now I call ours puss-
nd theirs bowwows, and my theory
people have children when their

is п
bowwows and pussies pout at the same

time. Do you think that's it? Of cours
I can't imagine how it can possibly wor
and I dare say Im altogether wrong
really got something to do with w. cs.
Lord Folliot is coming to dinner, so 1
must go and dress. I’m sure he's a much
worse bore than General Marchmont.
He always will chuck me under the chin
as though I was 12. I hope you'll write
in and tell me what you think about
the pussies, the bowwows and Mr. Maple-
ton. I promise you I won't show your

letter 10 anyone—even 10 Simpson—or
Henry.
Your loving
Ermyntrude

P.S. What do you think castration
means?

st Ermyntrude,

such a fuss going on here with
everyone getting ready for а picnic
which we're all going to that it’s almost
impossible to write, and so you must
forgive me if 1 only write nonsense. As 1
know all this evening will be taken up
with a new kind of billiards the gener
has taught us and that's all the rage here
at the present moment, 1 thought. I'd
better seize this opportunity just to tell
you, my dearest darling Ermyntrude,
how delightful it was 10 get your pe
fectly sweet letter, and how I only wish
I could write onc half as amusingly and
cleverly and altogether exquisitely as
you, What you say about babies I quite
agree with, though I had never thought
of it until you said it, but there is one
thing that I still don't understand, and
that is what being in love has to do with
it all—1 mean with having babies—be

202 cause, from what they always say in

(continued from page 184)

novels, it seems to have a great deal. But
with all this hullabaloo in the room, I
can't explain properly, and shall put it
off for another time, and only now tell
you that I asked Godfrey about that
diffeult word in your P.S.—if he knew
what it meant—after I'd made him
swear the most solemn secrecy, of com
But first I must tell you that you arc
right, and he is the one who's a year
younger than me, and you are also right.
about his being like me, though it's
conceited of me to say so, because every-
one says he's such a handsome boy.
Well about that word—and what do
you thinkjb—when I asked him, the
wretch wouldn't do anything but burst
out roaring with laughter and I couldn't
get any answer out of him at all, except,
‘Oh, Esmic, you really are too lu

which he said about half a dozen times,
and then ran out of the room. I expect
r. Maple-

he went straight off and told M
ton, and if he did | think it's
ble, after the secrecy he swor
suppose it only means that that word
stands for something tremendously im-
proper, and I shouldn't be at all sur-
prised if it meant some kind of divorce.
By the bye, you are quite wrong about
Mr. Mapleton, I am nor in love with
him at all. He is just an ordinary young
man—nothing in the least particular.
But TI} tell vou what I rather suspect. 1
believe he's a 1 th me!
Why I think so is that he doesn't seem
at all anxious to be where 1 am. but
keeps going out—cither by himself or
with Godfrey—for long walks and fish-
ng expeditions, as if he wants to avoid
me. Don't you think that’s rather a
sign? He sees I'm not in love wich
him, and so, in his disappointment, he
tries to be with me as little as possible,
Well, we shall sce. I should like to write
pages and pages about the dean, and
explain how completely wrong you are
about him, тоо, but I shall have to stop
to help to do up the things. No. no.
no! He is most beautiful. You should
have seen him last Sunday in church.
reading the lessons! He looked quite
like a saint, with the light from the
stained-glass window coming onto his
face, and his voice was perfect How
heavenly he must be in his cathedral,
а surplice, among all the little choir
boyst Oh! I'm sure you'd adore him
as much as I do, if you could only see
him. and perhaps you really do, and
e just pretending not to. to tease

you
me,
As for the general, he's not nearly as
1 expected.

Your loving.
Esmeralda

My dearest Esmeralda,
1 went into the libr

y this morning

when my father was out, and got down
the English dictionary, to find out about.
castration. The result wasn't very suc-
cessful. First of all, I could only find
something about "having turrets and
battlements like a castle,” but then I
discovered that I'd got hold of the
wrong word—castellation, which T
shouldn't think at all the same
thing. When I did find the right one,
simply said. "Castrate; to emasculate, to
geld,” which didn't help much; and
when I found emasculate, it only said
"to castrate, to geld," and as I was ju
finding geld, I heard someone coming
into the room and had to put the book
back as quickly as possible, as I didn't
want my father to begin asking ques
tions. However, it turned out to be only
Henry with some coals, so I might have
gone on after all, only then Simpson
began calling me, and off I had to
march for the promenade.

So you see, the dictionary hasn't been
any more use than that mischievous
iodfrey. I don't consider that you de-
scribe him very well. I's dificult to
imagine a boy like you, and you don't
tell me any details, For instance, are his
teeth good? And are bis shoulders
broad? And his cars; do they stick owt?
—but 1 don't suppose they do, or he
wouldn't be called handsome. If they
don't, please pinch one of them from me,
as a punishment for his bad behavior.
Lord Folliot has given me a kitten; 1
als particularly, but I
1 have to keep it, and
Simpson promises to look after it for
me. The horrid old man asked me what
I was going to call it, and I said I
thought that Pussy would do very well. I
don't know what he thought of that—
and I don't care, either, By the bye, my
new theory is that being in love i
merely a more polite way of sa
your pussy's pouting. What else can it
mean? Won't you ask Mr. Mapleton if
hiis bowwow pouts for you. and won't you
tell me in your next letter if your pussy
рош» for the dean?

For a wonder, I'm sitting in the draw-
ing room, as Simpson has gone out to
one of her Congregational mcetings, and.
Mama is away, so I have die whole
place to myself, In a minute Henry will
come in to draw the curtains, and I shall
give him this letter to post, so goodbye.

You

(i Henry alter
Jessop. the butler, whom I hate.
My dearest Ermyntrude
Such a very extraordinary thing has
just happened, and I must write and tell
you at once, as I'm dying to know what
you will think about it. I can't under-
stand it at all. It's about Mr. Mapleton
—that is, partly. Do you remember that
(continued on page 224)

“Let's wait till midnight, so we can start the new year of} right.”

203

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205

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ен APHY BY BRUCE MC N TRINOL

"I don't know what to think." A sh
er racked her. “I'm frightened.

"Dont be.“

“Half the time I don't know wl
happening. and then, when vou explain
Things, they seem to go from bad to
worse. I keep telling myself it isn't true,

PLAYBOY

попе of it—these people, this . . . this
pigst

Forrester nodded. "But that won't
make them vanish, it won't alter any-

thing. They'll be here in the morning
and I'll have to leave you. They're going
1 Monteliana for sure. . I'm not
my own master, Inger.
The candle flame leaned, then straight-
ened, yet the a ined still. She re-
leased her hands from his and brushed
her hair nervously toward her ea
"Just as soon as I'm no further use
to them, they'll be finished with u:
Forrester said.
“When will that be
“Two, three days." He paused, won-
dering: God alone knew. “About tomor-
row—with that young one, Luigi, you
won't be as cut off as you might have
heen
“Him
UAE

least vou сап communicate.
That's better than nothing. If you want
anything"

“AIL E want is to go.”

She sat quite motionless beside him.
The blue trouser suit belonged to
promenades, cafés, sun-drenched streets
—anywhere but here. The blonde hair,
100. Earlier, from the window, Carlo
had watched her returning to the hut
through the trees and whistled. Now,
from the other room. Forrester heard

him say: “Has the Fnglishwoman gone
to bed?"
And somcone—it might have been

Giuseppe—chuckled
nglishwomen go?"
He gazed at Inger, empty within him-
sell. At least, he thought, ignorance
spared her some of the indignities. He
moved round the bed, shook out the sol-
itary blanket and spread it over the ma
tress. He took off his jacket and folded it
into a pillow for her. Then he kicked olf
his shoes und lay down. Presently, she
followed suit. They lay side by side
without sp weary from the rack
of their minds. Beyond the door, the
voices rambled on. now sharp. now sub-
dued, Salvatore’s uppermost, in control.
The room grew chilly and there was
dampness with it. Finally, Forrester had
to put the blanket over them.

Far off an owl hooted, lonely but free,
and the falling water slopped endlessly
onto the boulders. The sound was like a
drug, lulling Forrester toward sleep, yet
sleep wouldn't come. Inger slept, though;
suddenly, as a child might, curled up.

208 Gradually, the main room emptied. For-

Where che do

ANOTHER WAY (continued jrom page 156)

rester

stretched out, sharing Inger's
warmth, After a while, he rolled gently
off the bed and tried the door. It w
locked and, as he cased himself beneath
the blanket again. he realized he hadn't
expected any different. Tomorrow was
already a fact; tomorrow and whatever
else was yet to come.

Sometime in the t, Inger turned
in her sleep and, sighing, put her arms
round him. By then he was half asleep
himself and he didn't stir; but he
opened his eyes. And before he cventu-
ally went under, he was asking himself
whether he was being held out of habit
or from fear. If it were fear, then he also
knew the need there was to be comfort-
ed, the hunger for it He had al
ways wanted affection, trust, to be liked
and admired.

Mercifully, ther

were no dreai

In the morning, there was bread on
the table and a pot of sharp black cofice
on the stave. This was early, with the
sun angled low through the trees and
the air not yet warm.

‘orrester shaved with his cordless ra
zor, then walked over to the falls and
rinsed his face in the icy water; no one
followed—a mark of confidence in their
hold on him. Nothing had changed.
When he reentered the hut, he picked

p the suitcases and took them into the
room that had become for him and In-
ger a retreat as well as a prison. The
contents of the cases were in disarray
and he wondered who had pilfered
what: his cash was gone, but at least his
passport was there.

“What about yours?” he asked Inger,

She nodded. searching through a
jumbled heap of clothing as if to dis-
tract herself with familiar things. He left
her to it and went into the main room.
Giuseppe sat on the table, smoking, one
leg swinging, and his dead-looking eyes
watched Forrester pour more coffee for
sell, They were tak
suring that Forrester
outside together; three times now,
Forrester had passed Giuseppe sitting
there and endured his surly stare.

With his back turned, Forrester said:
“I see you lifted my cigurcues."

“TI take what I like, when I like.”

"Tm sure you will.”

Forester sipped from the chipped
enamel mug, pettiness channeling the
entire weight of all he felt so bitterly—
humiliation, resentment. apprehension,
He was hamstrung, reduced to sniping,
yet the words came against his better
judgment, with a kind of self-daring
Giuseppe moved toward him down the
room, provoked now, arms slightly bent.

"You want a cigaretie?

“Not from you.

ns at en-
weren't

id Ing:

“Tanto
only one

meglio.
you'll

Because
get" and
stub past Forrester's
Forrester crowed 10 the window
d out. He must keep a tighter
his tongue: Inger could suffe
lout like Giuseppe believed in тер:

flicked the glowi
face.
and st

als.

Through the trees, he could sec Salva-
тоге and Luigi returning from the falls,

vatore rolling down his sleeves. 1.
fiager-waving his hair as he walked. Lit-
tle peacock. atore pushed through
the door, picking up a chunk of bread

y he passed the table en route to the
stove.

"Are you ready?
Forrester shrugged. "How about you,
gir” Salvatore placed an arm round
Margherita's shoulders: there was affec
tion in his hug and the smile
uine, even his
second. “Ascolti. . . . You have got five
hours. Five hours will be plenty. !t
ht now. Montel bout forty
kilometers, so you will be able to ta
your time there. But don't be lite Басі
Until then, his tone was almost conver
al. “И you're even a minute over-
due, we will begin to think the worst—
and that is the last thing you can wish
ppen.

Forrester left them to collect his jack-
et. Luigi was already at the door of
their room, offering Inger a tattered
copy of Oggi. "There are pictures,” he
said. "No need to know Italian.”

І have to go now." Forrester told
her.

The frightened look was there at
once, “Promise you will come back.

“L promise," Forrester said. “Truly

+ + FH be here before one o'clock.”
He turned away. Giuseppe blew sı

s he passed. And to you, E
thought, To Salvatore. he said:
your guarantee that Signorina Lindeman
won't be molested in my abser

Haven't we struck a balance, you
and I? After all, Margherita will be in
your charge isn't that sufficient guaran-
tee?" He swallowed. "What do you
want? A label pinned to her—non toc

he asked, and

care, do not touch? You worry too
much, friend."
Forresters mouth tightened. Mar-

gherita started for the door, working her
into an old black cardigan,
ightening the cheap gilt crucifix
hanging hom her neck. He followed
grimly and Salvatore went with them.

“Don't forget, ragezza—if we're not
here, make for the other place.” It was
the first time there had been even a hint
that the hut wasn't secure. They had
seemed so confident, keeping only a
casual lookout, relying on instinct: yet
this would be strong, animallikc. Now
and again, Forrester had seen them tense
slightly, listening, then individually or
collectively relax, somethi ntificd,
dismissed,

Ihe sound of the falls g

ceted them

“We're just helping out during the holiday vacation to
pick up a little extra Christmas money.”

as they stepped outside and walked
round to the rear. Forrester clambered
into the Fiat; the engine retched and
сате reluctantly alive. Marghe
opened the other door and got into the

Salvatore

said, cupping his hands.

PLAYBOY

He threaded through the pines until
he found the path and followed it to the
track they had come along yesterday.
Only yesterday? Time had lost its meas-
ure, They turned onto the track and
climbed out of the hollow. The awful
barren vistas presented themselves again,
silent and deserted under the bright sun.
The hideout was even more isolated
than Forrester had imagined. Ahead, the
skyline consisted of jagged, daret-colored
peaks. He kept the driving window half
dosed against the dust and nursed the
car over the gritty, potholed surface,

They must have covered a mile be-
fore either spoke. Then Margherita si
“I must warn you—I have a gun.”

Forrester glanced sharply at her
reflection trembling in the mirror, “You
won't need it. I've as good as got one at
my head as it is" They juddered over
some rock. He laughed biuerly. “And
Salvatore talked of a balance. Some bal-
ance!” Then he said: “I'll bring you
back, don't kid yourself. I've no option,
Just tell me where to go.”

The track had made two or three
more roller-coaster dips into wooded
hollows; now it ran flat and almost
straight, edging left, desolation to cithe
side. Salvatore hadn't exaggerated: a
talion could search and never find
them.

Some small birds scattered out of a
dump of prickly pear as the
past. The track dog-legged between great
‘outcrops of rock, pointing northwest. In
the middle distance, he suddenly saw a
truck moving across their front
graph poles strung out like a
stumpy matchsticks.

“Go left again when you reach the
” Margherita told him.

, they hard-
ly spoke. When they got to the road and
turned, the sun was behind them. Once
there was а signpost, but Forrester
missed the name; and twice there were
villages, each huddled about a church
as if in self-defense against the wild,
hospitable surroundings, each squalid
and soul destroying, full of alleys and
stained and pecling walls, dark door-
ways and alien smells, and loungers who
peered from angles of shade or ragged

children who ran barefoot in brief
pursuit of the car's dust.
Forrester broke the silence. “What

happened? Did your husband”
Her interruption was fierce. “My hus-
band killed nobody. Nobody. Giuseppe
210 killed one of them. Un vigile:

Giuseppe; that one. He might have
guessed.

"It was never intended,” she repeat-
ed. “They tied to break into the post
olhce at Caltanissetta, but things went
wrong. It was at night. Angelo was the
only one to be caught. Last wcek he
was sentenced to twenty years.”

‘What was your husband's work?”

"For a timc he vas in a canning fac-
tory. Then there was nothing. For a
year there has been nothing. Giuseppe
is a mechanic, though he could never
keep a job, even when there was one.
Carlo has done many things, but never
for long. Luigi the same; he was always
being paid off."

"And Salvatore?" Forrester swerved
to avoid something squashed on the
road.

Salvatore is a carpenter. Or
Angrily, as if she regretted having been
drawn out, Margherita said: "What does
it matter? Can a man stop eating if
there is no work? Does he allow his fami-
ly to starve? He is driven to risk more
and more—it happens everywhere,
the while, as God knows to His regret."
And now you are about to ri:
other big mistake—trving to break your
husband out of Monteliana on the
strength of my knowing something about
explosives. It's madness, sheer madness —
surely you can sce that?”

“Once he gets to Ucciardone prison,
we can never hope to touch him, It is
like a fortress, Angelo has twenty years.
Twenty—and for what?

“A man died, didn't he? In my coun-
try, Angelo would be guilty.”

“Your country is no concern of mine.
And the law isn't the same as justice. I
can tell you what happened to

Forrester cut across her: "Where's the
justice in what's happening to me and
Signorina Lindeman? Jesus Christi Of
all the stinking things” He moved a
hand dismissively. “Please, not that.”

“You don't understand. How could
you understand? You have never been
under pressure before. You don't under-
stand what it does to people, what it
drives them to." In the mirror, Forrester
could see the molding movements of her
hands, “Listen—you will return to the
hut; you said so yourself. And I know
you will—even though I shall leave you
for a while when we get to Monteliana.
Why do ] know? Because of that per-
son. You could abandon her, yet you
will not. You could inform the police,
yet you dare not. So what will you do?
Go back. She expects it of you and you
demand it of yourself, So it is with An-
gelo and me, and with Salvatore and the
others. We are under pressure, like you;
but with us, the pressure has been con-
tinuous and it began a long time ago.”
She tossed her head. “We are not what
we are from choice. Salvatore is a good
man, 1 tell you.

Look at the land here,” she за
‘What cin it give? What hope is there?
Even where it is better and there is
work in the villages, a man has the rich
at his throat—the rich or the mafiosi.
Il we were either of those, would
Angelo be where he is now?”

“The other question is, would the po-
liceman be dead?”

She caught his reflected glance but
said nothing for a while. Presently,
though, she leaned forward, pointing.
“Left again at the turn beyond the
windmill.

Twenty-two kilometers showed on the
dock and three successive lefts had
turned them roughly south. The sun
streamed at them broadside on. Now
they were running close under the lee of
precipitous slopes with high serrated
ridges and motionless cascades of loose
stone overhanging the road. Impercepti
bly, as the heat began to bounce, the
eastward distances were shading to a
hazy violet band that fused carth and
sky. They passed another village
perched on the brink of a ravine; farther
on, there were caves cut into the tilted
strata of rock, some of them with crude
doors and one with washing strung on a
dead fig tree jutting grotesquely above
its entrance. The road twisted endlessly,
the scene varying, yet its harshness

growing monotonous. No coach party
ever came this way.
Forrester lost count of the changes of

direction. They were minor roads, not
always paved. He remembered a long,
arched bridge across a river, a man
walking with a coffin roped to a mule,
one place name that registered —Villalba
an entire complex of terraced cultivation
that seemed to have failed and a vert
cally corrugated hillside blanched white
in the gullies by 1,000,000 years of
sudden torrential downpours.

In silence Margherita watched the
scene wheel and twist past. “They say
God had lost interest by the time He
was finished elsewhere.”

Forrester drove on. Forty kilometers,
Salvatore had said, so Monteliana
couldn't be far now; his wateh showed
12 minutes past 9.

“Say you brought this off, say you
managed to get Angelo out—what then?
There will be a hue and cry. You can't
hide forever.”

“We'll go away to the п
vatore knows someon
across.”

pland. Sal-
who will get us

At 9:20, he saw a signpost to Monte
liana; three kilometers. They were in a
trough at the time, climbing fast. Some-
times the gradients werc so steep that
they seemed to be heading lor the sky.

kilometer from here, the road will
divide" Margherita said. "You must

PLAYBOY

take the upper road. The lower one
leads into the town.

They made a couple of sweeping zig-
zag turns that brought them out of the
trough. Now, suddenly, there was an-
other of those startling drops to the left,
birds circling below them. Just as sud-
denly, on the right, the hillside leveled
off. The road junction presented itself
h Marghe "Destra, a
destra,” and they shied away from the
brink and accelerated across a narrow
plateau waist high with scrub and dot-
ted with tamarisks. They passed a cou-
ple of hooded carts, their drivers asleep,
and from one of them a child waved,
cautious even in its innocence, For wha
could have been the thousandth time
that day, Forrester shifted. through the
gears, Perhaps half a mile blurred by.

the road Hankel by broken drystone
wall
"This will do."

Forrester braked and turned off be
tween a gap in the nearside wall, scrub
and yellow flowering weeds brushing
underneath the Fiat. He cut the engine

and followed Margherita out, puzzled.
There was nothing here except a worn
stone plinth that bore the broken base
of a statue and on which someone had
placed a bundle of flower

He went with her. They walked for
about 200 yards, Forrester trailing. The
ground was uneven, and not until the
last few strides did he realize they were
pproaching a cliff edge. Margheri
stopped abrupily and crouched, beckon-
ing him.

"There" she said, nodding as he
cune forward. “Guardi laggiù. Look
down. That is Monteliana

The view astonished him. The town

was 300 or 400 feet below, filling a
huge shelf on the hillside; and beyond
. lower yer, was the floor of a broad
valley, smudged and indistinct in the
heat. Monteliana itself seemed io vi
brate in the glare. At first glance, it
looked for all the world like a collection
of toy bricks, saffron and white and
mauve, orderly at the center, more and
more confused toward the perimeter,

puo

"I have to go back .. . I lost my shoe."

but all tight packed and everything
stunted by the height and angle. Forres-
ter could. distinguish. tree-
lined avenue from which narrow streets
branched like ribs, a blue domed church,
a severe fourstoried building at about
ten o'clock that was enclosed and stood
a little apart from the town's limits.
Margherita noticed where his gaze was
hesitating. “That's the chest clinic. The
lockup is thi м, well to the

right. . . . Farther, here, here, almost
beneath us”
Then Forrester saw it, For a moment,

it seemed so close that he felt he could
almost reach down and touch it, Salv:
tore was absolutely correct; the place

ispl like a model. He was
g flat, propped on his elbows, and
he moved slightly forward, staring over
for silent minutes on end.

The lockup was well der of the
town, isolated on the farthest extremity
ol level ground. The outer wall made an
exact square: it was dificult at such
range to tell how high it was or how
thick. Forrester's eyes followed it along
—furst the side nearest him; there was a
gate about a third of the distance from
the left-hand comer, a big, double-
doored gate spanned by a sandstone
chway; the entire wall was of sand-
stone, Forester reckoned. This side
faced north and the gate was served by
a road that led in from the town. The
east wall also had a gate, about two
thirds along from the same corner and
the other, it was covered by
; an unpaved track served this one
ly. The south wall unt
ken, running close to where the hillside
fell sheer away; but there was a small
ar the southwest corner of the
west wall, narrow, wall high but with no
arch.

Because of its arch, Forrester could
barely see the main gate. He craned.
over a little more. The road linking with
Monteliana went on past the gate and
rele, presumably at
of viewpoint into the valley
below; the tarmac blackened with
tire streaks, but there were no cars in
evidence. And there was no one about.
which worried him: even a little activity
would have been a comfort against his
going down there and prowling around.

He'd brought a pencil and paper
was the bill from the Capua—from the
car's glove pocket, and now he started
on a rough sketch. There were five sepa-
rate buildings within the lockup's walls
and he ploted them in outline, Mar
gherita watching, They were all single-
story, irregularly spaced, and gravel paths
joined one to another across bare ground
the color of terra cotta.

“Whats the small building by the

Reception block, The big one to the
left is the detention block.

"How about bottom right?"

"That is the punishment block.” Her
tone was matter-ol-fact. “Angelo's is the
end window on the left
Binoculars would have helped on the
A bulldozer was at work nearby,
leveling a mound close to the wall.
There was no other sign of movement
anywhere within the lockup.

Forrester switched diagonally across
the compound. “By the southeast gale—
what's that?”

“Olhces. And the gate is the service
gate." She knew the layout like the back
of her hand.
nd over there—top right—is that a
chapel?"

"Yes." It was screened from the rest
of the compound by a low wall; some of
the harshness was redeemed by a few
flower beds and a paved walk. “The
small gate in the corner is for the priest
and there is another—see?—in the inner
wall."

“That's all I want to see,
Margherita.

She nodded. They got to their feet
and withdrew, crouching for the first
few yards. As she got into the car, she
id: "Now we must go into the town. I
will show you where to drop me. After
that, you must continue on to the turn-
ing point alone. Salvatore said don't
stop, whatever you do, or make more
than one run."

They were into Monteliana after two
or three tortuous minutes. Suddenly, as
the hill shelf opened up, the town built
itself around them; everything narrowed
and buildings began to cut out the sun.
Passers-by stepped onto sidewalks to let
them jolt by on the cobbles, and there
were tight streets to either side with
dry strung hom balconies—Forrester
guessed they'd already entered the ave-
nue he'd seen from the hill. The pale-
blue dome of the church was showing.

Maghera touched him оп die
shoulder, “Put me down here. You will
pick me up opposite in fifteen min
He braked obediently. She bad a letter
n her hand. She got out and turned
almost furtively, making a pretense of
examining a shoe mender's window.
Forrester pulled away at once.

Close to it was a tatty avenue, a seedy,
sluggish vista, coated with a bloom of
dust, many of the houses windowless,
Neapolitan bassi style. The avenue
ended at a T junction. Then 1тап
for about 200 yards until the built-up
outskirts quickly came to an end. Ar last
he came to a gap of empty scrub
the lockup beyond.

The road ran absolutely Jevel and in
€ with the rock face from the rim of
which they had looked down. Forrester
slowcd and opened both windows. He
wished to God there was someone else
in the vicinity. He was almost there
now. А shallow ditch lay between road

he said to

and wall and the wall was sandstone,
sive, about 18 feet hi
slight shock, he then saw a uniformed
man sitting on a cl a bar of shade
cast by the arch over the main gate—he
hadn't spotted him from above. The
man yawned, eying him with boredom.
With an effort, Forrester lifted a hand in
casual greeting, which was acknowl-
edged. As he drew level, the road split
to turn across a culvert toward the gate.
Iron-frame doors, wood planking, criss-
crossed bands of studded iron strip,
each door about 18 feet high by 10 feet
wide—and already he was almost past.
Two hinges on the pillars? He couldn’
tell and he couldn't look back. Christ,
what a way to make a survey.

He held his near crawl, gazing about
him as befitted a visitors curiosity. At
the turning circle, he stopped and got
out, stared blindly over the viewing
affected casualness.

He
could hear the snarl of the bulldozer in-
side the wall. After what he hoped

seemed long enough for the man on the
chair, he went k to the car and start-
ed on the return, And then he had an
immense stroke of luck. He was halfway
to the gate when the doors began to be
opened from the inside; the man on
duty rose to his fect and helped swing
them outward. A dark sedan was nosing
through. Forrester slowed, ostensibly to
let it precede him, but his eves were else-
where. Three hinges, bolted into recesses
behind the sandstone pillars; he could
sce them perfectly. Strap hinges, the
tapering straps reaching perhaps two
feet across the wood. And each door
as, say, five inches thick, 800 to 900
pounds’ weight—guesswork again, but
good enough. of no great importance.
It could have been worse, a hell of a
sight worse. And he'd got enough to
go on.

Margherita was waiting opposite the
shoe menders. She was into the car

213

without his bringing it to a standstill.

A few miles out of town, he drew
onto the side and added some details on
the reverse of the Capua's bill. “Never
trust your memory.” Rice, the demoli-
tions foreman at Peterborough, had this
as his golden rule; and, recalling it,
Forrester imagined his father's horror if
he knew the purpose and circumstances
of the sketch,

When he drove on again, he was ex-
pecting more mazelike directions from
Magherita, but she kept him to the
main highway. It wasn't 11 when they
left Monteliana, so there was ample
n hand, An occasional signpost
gave the distances to both Caltanissetta
and Enna, and he realized they were
completing a circle. There was other

PLAYBOY

traffic for company, mainly trucks.
Once, four carabinieri in an overtaking
Alfa Romeo ran level with them for sev-

eral seconds, but Forrester's sense of
isolation remained. He was a puppet;
even in a crowd, he would have bcen
d to Salvatore's strings, At Serradifal-
co, he pulled into a filling station and
took on 40 liters of petrol Agip—so
casily, at the outset, he could have said
Agip instead of Esso. He resented having
to ask Margherita for the money, his
money, but indi s were something
he was learning to swallow.

In a wayside village a little farther
on, she asked him to stop in the square
and she left bim alone while she
shopped in a fiyblown store. His money
again. She came back laden and
dumped the stuff into the car, then left
him a second time to cross the square
and enter a church. There were those,
he supposed, who could kneel and pray
that such an enterprise would succeed,
lighting a candle in token of their fami-
lys need or their own good name, be-
lieving as they did so that God, in Н
charity, would understand.

When Margherita returned, she must
have noted something scornful in h
face. “Are prayers so wrong?” she said
tartly.

He shrugged.
prayer.”

“1 prayed for success.”

“And if your prayers end in murder?

depends on the

"No one will be killed."
“Are you telling me that Salvatore's

bluffing?
She didn’t answer.
They passed through Caltanissetta

well before noon. As they dipped, then
climbed away, the landscape became
more wooded and the views were stu-
pendous, but he was virtually oblivious
of them. Only when Ema's white cone
briefly showed itself all of 30 miles
away did it loose in him a pang of long-
214 ing so strong that it bordered on grief.

Enna came and went, a mountain
town that reared briclly around them.
From there on, he knew what he was
looking for—the fork where Carlo
Giuseppe had trapped them. A different
road, another day, another hour—so easi-
ly they might have been spared all this.
Where, he wondered dully, were the
Russells now?

A few minutes later, he made
turn, then took the track that led
through the lawless wilderness to the
hut, Stones crunched and spat beneath
them as he drove in and out of three
successive hollows. Then the dirt path
was waiting for them, baked so hard
that no tire tracks showed from his pre-
vious use of it; and the pines hid all
trace of the hur's existence.

Margherita stopped him when they
were well short of it. She went forward
alone until he Jost sight of her in the
trees, but she soon reappeared and sig-
naled him on. He drove past her into
the clearing and behind the hut, hating
the sight of Salvatore as he came out
and the sound of his deep voice as he
greeted. Margherita and the sight of the
others and the sound of the water on
the boulders as he cut the engine. Noth-
ing had changed; nothing could change
now.

Emerging stiflly from the car, he saw
Inger running toward hun. “Thank God.
you've come back. Oh, th. Cod
And, impulsively, his arms were round
her. “It was a lifetime,” she said. Forres-
1er stepped. back, sliding his hands hom
her shoulders to join hers. It was like a
shot in the arm to his morale to see her
тене.

Salvatore came stalking into view.
“Welcome back, my friend. Benvenuto.”
He was itll smiles. “It was easy, eh? Noth-
ing to it? And you got what you went
loi?"

J reckon so, yes.” Forrester walked
with Inger to the hut; she still held him
by the hand.

“You see?” Salvatore was saying along-
side. "We kept our side of the bargain.
She has come to no harm."

It was cooler inside the hut;
secmed more cheerless, more resonant
than at any time before. In charcoal,
someone had drawn a checkerboard on
the table, and. Luigi, who was cleaning
, explained; “I played
They had used coins as pieces.
he is good,’ aid. She won" —
and he almost emulated Carlo's grin.

Forrester led Inger into their room,
half closing the door. She smiled, stand-
ing close, her gaze very direct, and some-
thing moved in him. He kissed her on the
forchead. The long fair hair, the soft
coloring. the tanned skin—he had come
to know them just as he had grown pro-
tective toward her and had seen how
pensable he had become.

the

the place

“I won't leave you again, Inger. In any
case, I think the worst is over as far as
we're concerned. There's one more thing
they want from me, and ien Не
gestured.

Salvatore elbowed the door open. “Very
touching,” he said, cying them. “But you
went to Monteliana for a more important
reason than this. Don’t push your luck.
friend. I'm waiting.

As Forrester entered the main room,
Margherita brushed by, laden up to her
chin, Giuseppe followed and Carlo and
Luigi went alter them hungrily: “Cosi va
bene! Un altro miracolo!" Salvatore, on
the other hand, didn’t spare her so much
as a glana
What about the gate?”
asked impatiently, following him.

“No problem. Given the right materi
als, that is. Technically, it's child's play.

Salvatore

But you're going to have the Devil's own
job to get near it and place the
charges.

Salvatore hooked his thumbs behind
his belt. “That's a worry we can come
to. Right now, I want to know wl
the boys have to get from the sulphur
qu

Forrester
pulled back a chair and drew out the
sketch on the Capua bill. “Which way
d'you want the thing to fall—inward or
outward?

“Outward.” From Salvatore's
Forrester guessed he hadn't cons
this before.

“How about blast? Blast's a factor, if
Angelo is going to be anywhere near.
He paused. “Isn't it about time you told
me how you hope to bring this off?”

“You will hear later,” Salvatore said
tartly.
man
his chances.

“And we have a saying—a little
knowledge is a dangerous thing” How
far will Angelo be from the gates when
you blow them? I've got to know that
when I make up the charges.”

Salvatore raised his shoulders. “Thirty
meters?” he conceded. He peered down
at Forrester rough outline. "What is
needed from the quarries? That is the
important question. 1 want the boys
moving soon. Make a list” He tore a
page from the copy of Oggi where a
boxed advertisement left white margins.
“Write it there.

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advertisement read, “SPECIALLY PREPARED
FOR CHILDREN." And Forrester wrote a
child's list of explosives alongside, Ideal-
ly, he would have requested a dynamo-
type exploder, an ohmmeter, electric
detonators, hand crimper—all these and
more, besides the basic requirement. of
blasting gelatin. But even if such items
were available from quarry sources,
it would be asking far too much of

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PLAYBOY

“Just whose side are you on, Brother Francis?”

216

amateurs to know how to handle them
when the time came. The wisest course
was to use manual ignition and rely on
afety fuse, detonating fuse, plain deto-
nators and blasting-gelatin cartridges. It
was the most reliable way in the circum-
stances, provided the junctions were
properly grafted and the charges correct-
ly positioned, He could ensure the first
by prefabricating the assembly himself;
as to placing, this would need to be
ied in detail and demonstrated on

others
list.

nd together they studied the
Forrester added а few points of
guidance for Luigi's benefit. Safety fuse
was black, detonat

g fuse almost cer-
tainly orange, possibly orange-and-white
striped; both came in coils and were

likely to be packed in metal canisters.
Nonelectric detonators would be clearly
marked as such, wax-papcr wrapped in
wooden boxes. The cartridges of blast-
gelatin would also be boldly iden-
fied on the wrapper: plaster gelati
small slabs weighing about 100 grams
h- was an alternative.

And if there are none of these?" Lui-
gi frowned. his face clouding under the
weight of so much information.

"Then Angelo stays where he is—it's
as simple as that.

"The wrong fuse, the wrong detonator,
some crude primary blasting explosive—
any or all of these would be equ
to nothing at all

“Carlo.” Salvatore signaled vigorously.

Venga presto a vede
came at once, munching an apple from
Margherita's suppl

He read the list quickly through, then.
nodded. “OK. When do we start?”

For once, his grin olfended Salvatore.
‘Give your mind to i he
“We can't afford another of your mis-
takes. And be careful with the car; no
idness with it.

They went then, Salvatore following
them out The keys were in the car.
“Ciao, Margherita," Caro called, and
Luigi turned in the doorway, addressing
Inger: “Goodbye, lady.”

Forrester said to her: “From the way
they set about it, you'd think they were
going shopping.” The car lurched past
the windows with a parting blecp-bleep
of the horn as Salvatore came up the
outer steps.

Isn't the place guarded?" Forrester
asked.

“An old man only. Today is Saturday.

“What will happen to him?”

“Nothing bad. Old men frighten casi-

ly.

But he'll report the raid.”

"Not until Monday morning. Until
then, my friend. he'll be tied up in his
storc—safe and sound. He'll come to no
harm. And on Monday. when they find
him, he can report all he wishes. Angelo

will be away then. It will be over. For
you. too.’

Tomorrow night, then. Salvatore
like a miser with what he divulged, but
this was more than just another dark
hint: Sunday night.

Forrester told Inger: “We'll be in Pa-
lermo by noon on Monday." He took
her outside. No one objected, but
Giuseppe shouted at them to stay close
and squatted in the doorway, cradling
the shoigun, wearing a greasy cloth cap.
Now and in, he muttered threaten-
ingly.

“You'll be telling this tale to your kids
and your grandchildren “

Shc shook her head. "When this is
over, I want only to forget. I shall tell
no one. No one—ever. How could 1? I
do not tell people of my nightmares.
And besides, it would cause trouble—for
you most of all.”

“1 was only joking,

They were sitting with their backs
against one of the pines in front of the
hut. Forrester spilled the pine needles
through his fingers. Very carly on. he
had thought in terms of escape, of get-
ting to a gun, say, of tricking one of
them and breaking away with Inger
the car. But now it seemed quite hope-
less that any moment of opportunity
should appear. Aloud to Inger, he tried
to sort out the real possibili They
would need the car on Sunday night—
that was obvious. Three of them, prob:
bly. Margherita and possibly Giuseppe
would keep guard at the hut; one of the
men, anyhow. The others would drive to
Monteliana with the fuse assembly and
the made-up charges. How they would
effect Angelos escape was still a mys
tery; there was more to springing a pris-
oner from Monteli: than blowing the
main gate. But, assuming Angelo got
clear, Forrester reckoned they would
return to the hut. collect the ıwo others,
then vanish, make for the other place.
And Monday would have come.

You sound so sure.” Inger said.

"I am,” Forrester lied. The pine nec-
dies spilled soundlessly. “We're only
useful to them up to a poin

But he was far from sure. Salvatore
was unpredictable, the explosives Carlo
and Luigi returned with might be total-
ly inadequate, Monteliana could be a
They would be on the high

1 the very end. And yet, to en-
ze her. he said, "I'm sure."
Forrester, if he were honest with

himself, knew that almost every futile
act of defiance on his part had been be-
cause of her, the blustering and the ver-
bal rebellion largely because of her.
drawn out of him because her very de-
fenselessness asked for some show of
strength; it was expected of him for no
son other than that he was a man.
Nolan. and whoever had preceded. No-
lan, and the others before that, all

would have known this aspect of her;
her kind of man provided, smoothed the
way. made everything possible. And a
man had to be dependent upon himself
—which was something he had never
been. The more he gave. the more he
needed support. the reward of flattery.
It had always been so with him and
now it was again. The future was some
thing he couldn't contemplate with any
assurance: but looking at Inger, he felt
the bond between them strengthen. The
mobile eyes, the delicate neck, the long
trousered legs, the pressure of her
fingers on his—he told himself there
might be joy between them yet. И...
i... And again he began to fret in-
wardly about Monteliana and the razor's
edge that led to Monday and their
freedom.

Carlo and Luigi returned. witl
hour. The white car came ng
through the pines without warning and
swung in a wide circle across the clear-
ing before coming to rest behind the
hut. Forrester rose to his feet simultane-
ously with Salvatore clattering down the

steps.
Yes" atore called as the car
doors swung open. “Yes?

"Nothing to i
turing dismissively.
blow the sky away-

“Its all right, I think.” Luigi said.
Пе had a small box of detonators in cach
hand. PALONI—Forrester didn't know the
company: Paloni

“No trouble with the old man?

“No—though he had a dog. Carlo shot
it" Luigi paused, half expecting abuse.
“It would have barked might and day,
otherwise.”

Forrester joined
Carlo opened it w
someone who believed he ha
amends, and they peered

This was Carlo, ges-
We have enough to

coils of each caught Forrester's eye im-

mediately; both were marked with hand-
written stock tags. Carlo lifted them ош
This is how they were on the racks.
It was easy. The old man checked the
list lor us. And wet his trousers.” He
laughed.

Underneath

were three boxes, each
with rope handles. A Paloni product
again—plaster gelatin. It wasn't Forres
ters first choice, but he reckoned it
would do; a high velocity of detonation
was required and the Nobel equivalent
he was h ensured thi:
What you wanted?" Salvatore asked
sidelong. Forrester had never seen him
ixious as now. "You can manage
he
I'd say so. yes.” Forrester lifted out
one of the boxes: Carlo was right—
they'd brought at least double the re-
quired quantity. He lugged the box into
the hut and the rest followed, carrying

217

the others. Within a few minutes, every-
thing was on the table

Taper“ Forrester queried, complet-
thing was on the table.

“Here,” Luigi said, and dragged a roll
from his hip pocket. He also produced
a few loose guncotton primers. “The
chman said he might need them.

“You mean you discussed it with
him?” Salvatore flared. “You told him
what this was for?’

“I said we were cutting metal.”

h,” Salvatore grunted, relieved.

Carlo grinned his empry smile. "Do
you think we are completely stupid?”

“Yes,” Salvatore retoried harshly and
raised a bent arm at him. “Zitto!” Then,
to Forrester, “It is all yours, amico. Now
you will want to make preparations, eh?

"Not until 1 know what's in your
mind. I won't be able to finish the
sembly until sometime tomorrow. For
stance, I must know when you will
start lor Monteliana. I should know
where you plan to place your people at
the prison and what your timing is.”
alvatore moved his feet restlessly.
“In the morning, 1 shall tell you every-
thing. For the present, it is best that
only one should know." The others were
gathered. round the table. fingering the
lengths of fuse and the boxes of. plaster
gelatin, unworried, indifferent to what
they seemed to accept as some ancient
wibal rule: trust nobody.

Forrester saw no choice for himself.
He drew a long, slow breath and said,

“ALL right. Listen carefully. I am going
to tell you what must be done.

“There are hinges on the two
gates. That means twelve separate ex
plosive charges. I can put those together
now. For the demolition to be effective,
they will have to be detonated at one
nd the same time. This is quite easily
nged by connecting each charge to
a central stem of fuse and running it
ack to the ignition point. As far as T
could sce, there are only two likely
places for this to be—in the ditch be-
tween the road and the wall or in the
culvert under the approach to the gate
itsell."

"Which do you recommend?
One is as good as the other."
"What about the guard on the.
In astonishment, Forrester
"you mean there's a gu

"He patrols. He circles the place
every hour. For fifty minutes at a time,
the gate is unattended.”

Forrester stared at Salvatore. A new
hazard had been introduced: all the
leads would have to be camoullaged,
hidden—on the gate, across the ground.
ig the charges was enough respon-
bility for a novice without this. In any

case, because of the guard, the ditch
was out of the question.

"It will have to be the culvert, then.

gig But I don't envy the person who takes it

PLAYBOY

р!

on. He'll need two pairs of hands. Will
it be you?

“No,” Salvatore said without hesit;
tion.

Who, then? He'll nced to be shown
how to set the charges on the hinges; he'll
want to know about fuse speeds —”

“Tomorrow.

Forrester shrugged. The swarthy faces,
the unimaginative minds; had they really
grasped the extent of their unprepared-
ness? Rice, his demolitions [orenx
would have wept. He picked up a spoon
from the table and prized the lid off one
of the boxes; the explosive was in rather
bs than the Nobel variety but
well packed and waterproof wrapped. He
extracted one and peeled the double
rapping off, looking for signs of deteri-

ing, in particular. But
none—a very slight natural
ng but no morc. The familiar
ickly smell seemed to ding 10
too long with it and invari-
y ave him a headache,

“ГИ. have to test this,” he told Salva-
tore. And when Salvatore frowned, he
said: "I need to know its strength."

“You mean you will make an explo-
sion?"

Two—perhaps three.”

alvatore was uneasy. “Couldn't this
wait?” It was rare for him to be on the
defensive. “That kind of noise carries.
Why not do your testing tomorrow? W
shall be quitting here then.”

Forrester shook his head. “Until I
know the quality and performance of
the stuff, I can't make a move. Take
your choice. D'you want to bring this ОЁ
or don't you?”
alvatore pursed his lips, grunting
while he considered. “All right, ther
he said at length, his eyes full of suspi-
cion. "But no tricks.”

I want a very sharp knife, Or a razor.
blade, if you have one," Forrester said
quicily.

There was a dick and something
flashed across him, thudding into the
tablerop only inches from his hands:
Giuscppe's knife. Giuseppe smiled with
surly venom. “Sharp enough?”

gliste
pungent,

Forrester cut a wristto-elbow length.
of safety fuse and then another piece
thice times as long. They watched cach
move they were entranced by a
street-corner magician. The fuse was si
gle core with a black-varnish finish, ad-
ble for dry conditions. He took both
ins outside and lighted them sepa-
rately, timing them by the second hand
of his watch. As he had expected, the
bu g speed was about two feet a
minute.

Satisfied, he walked around to the
back of the hut, where he'd noticed
some scrap metal scattered among the
kitchen rubbish. Salvatore lollowed him.
Forrester kicked about in the weeds and.

pine necdles—a rusted petrol can, some
wire, a holed bucket; none of it was of
any use. Then he stumbled over a piece
of iron bar; from the look of it, he
guesed it was a spare fom the bars
used on the bedroom window. Half inch
by three inch, about four feet long. He
carried it back into the hut and set
about mak

The plaster gel
slabs, Four, therefore

f his rapid con-
version was correct—would give him as
near to a pound as made по odds, He
took two of them out of the box, pecled

olt the wrappers and loosely taped them
together: except for the clinging smell,
it was like handling gritty brown plasti-
е. Again, every move he made was
watched in silence. Then he cut a 12-
inch length of safety fuse and six feet

instantaneous, cutting them square

of inst
across the stem. The knife edge was
azor sharp. He worked steadily,
hesitation, sure of himself. (“You're
wasted behind that desk of yours,” Rice
had once told him. “You ought to be
showing the apprentices how it really
should be done.” But long ago that,
long ago. His fingers lacked pract

Now and he spoke, expla
like an instructor to raw recruits.
is explosive is fairly pliable, as you
see. . . . One of them had to know.

Instantancous fuse is what the name
implies; it detonates at around six thou
sand meters a second. The explosive and
the fuses are perfectly safe to handle;
naked detonators, though, must be
treated with respect.”

The aluminum detonators were in
cardboard tubes, upright in their box.
Forrester tipped one out, fitted it over
an end of the striped instantancous
fuse and crimped the neck carefully
with teeth. (No apprentice would
е heen encouraged to do that.) He
capped the safety fuse with a second
detonator, which he then taped along

astantaneous near its open end,
ach or so overlap. “Bring the
." he said to no one in particular,
picked up the fuse assembly and the
double slab of explosive and turned to
go outside. As he left the table, he saw
Carlo raising a cigarette to his lips.

“Jesus Clu He knocked it flying.
"Don't you ever listen?”

Carlo flushed angrily. "It wa
alight.
“Sciocchezze! Any moment and it

would have been.” Forrester glared, no
bravado now. “Take chances with this
stuff and you pay for it.

He walked outside, shaken. They'd
never bring it oll; they weren't disci-
plined enough: fearlessness and lack of
imagination were no substitute, He went
over to the waterfall, the others trailing,
Luigi carrying the iron bar. Salvatore
covered Forrester with the shotgun, as if
to prevent the explosive somehow being
turned into a weapoi nst them.

“No tricks,” he warned again. “Don't
be clever.

“If you use that thing, it will be your
1, too.
took the bar from Luigi and
wedged it horizontally between two of
the mossy boulders. Then he opened up
the slabs of explosive, about to sand-

1 the end detonator halfway in. “Get
r now."
As everyone withdrew, he inserted

the detonator and molded the explosive.
carefully round it, then taped the charge.
tight to the upper side of the bar about
one third along its length. Going back to
the others, he said: “Now ЛИ have a
cigarette,
Luigi gave him one, Nicking a brass
lighter under his nose. Forrester walked
forward again, bent down, blew on the
cigarette tip and applied it to the safety
fuse. As it caught and began its slow,
spitting run, he turned and retreated,
not hurrying, 30 seconds in hand.
Without tamping, 200 grams might
prove a shade too little; there were so
many factors. He halted beside Giu-
зерре and waited, sheltered by the
boulders; and, as usual, the final sec-
until the detonation
nt whip. Dust crupted
in an inverted cone as the air shook
concussively, fraying the cord of falling
water, raining needles out of the nearest
pines. In the momentary quict that fol-
lowed, Forrester seemed to hear the
echo chasing away into the distances.
With his ears singing, he rounded the
boulders and returned to where he had
jammed the bar. It had ruptured straight
across, absolutely clean. He picked the
two pieces up, more than satisfied.
"Good. eh?" Salvatore said, visibly
impressed. There were fanlike scorch
marks on one of the boulders and the
enclosed space had an acrid stench.
Forrester nodded thoughtfully.
“So you need experiment no more.

‘Once more.”
No. If you hope to br
nieri running, amico

Without a word, Forrester went into
the hut and brought out three slabs of
plaster gelatin, He sliced one of them in
half and cut another length of safety
fuse. He capped it with a detonator,
binding this to a pair of instantancous
Моге watched every move,
suspicious but offering no interference.
He seemed to accept the fact that the
weapon had passed to Forrester for the
moment.

“IL do not make this test, I won't
know enough about exploding the
gates,” Forrester said slowly. “И | do
not show you how to blow the gates
properly, Angelo may be dead tomor-
row. I don't wish to gamble with my life
and Signorina Lindemaws. You do not
wish to gamble with Angelos. Now
watch how I tape these two charges
against the bar, one on top and one un-
derncath, with a hall-inch gap between
them. That will make the bar shear. . . ."

Salvatore shrugged, conceding tempo-
rarily. Then, as if to minimize Forres
mportance, he said, "All right, if it
helps you to do your little part. The rest
of the plan is perfection.”

“Perhaps Angelo will never know how
perfect it was. Perhaps they will never
tell him in Ucciardone prison.”

Suddenly defensive, Salvatore said,
“Angelo knows everything. That letter
Margherita took to Montcliana was for
the priest. The priest will not realize
what it means, but Angelo will”

Somehow, scoring this minor point
cheered Forrester. And the second explo-
sion—a gray blast among the rocks that
flattened the waterfall sideways against
the blufi—was another small satisfaction.
The bar had been severed less cleanly,
but it had been severed.

There were no more words at dinner.
e mood was much like the stodgy

ng the carabi-

Margherita had prepared. Only
n his avid study of Inger, raised
his eyes from his plate. lt was a finger
ing, inquisitive gaze, like that of the po
ice officer in Taormina. It had lust but,
more than that, a doomed longing for
the world where blondes swept past in
cars, sunned themselves beside pools,
danced in the cool of the night where
the bands were, where the money was.
A world with no Carlos in

After the meal, Margherita cleared
the table and Salvatore began to draw a
sketch of the lockup in charcoal on the
tabletop. Forrester went outside and be-
the laborious job of putting the fuse
assembly together. He had not finished
when the sun—no more than a red smear
on the western sky now— left him in twi-
light. He went inside and found Salva-
tore still studying his oudine, tapping
his fingers.

Without looking up, Salvatore said,
"These games with dynamite are a small
thing. Caution drains the guts out of a
man. When the time comes, it is only
bravery that counts. I remember when
ided the post office at Caltanissetta,

made a botch of it.“ Forrester
finished. "I'm not surprised. You are all
piss and wind, Salvatore.”
Salvatore grabbed him by the arm,
colorless with rage, his face inches away
from Forrester's. “Do you know what ]
wish I could do? I wish 1 could wrap.
you up in all your neatly prepared explo-
sives. It would make me happy to light
the fu
But: gradually relaxing the grip—
“I am not a foreigner. 1 am Siciliano.
Therefore, a man of honor. You arc

lucky I do not forget, so far. . . .

This is the second installment of a
new novel by Francis Clifford. The con-
clusion will appear next month.

PLAYBOY

220

PLAYBOY POLLS THE PROPHETS

the decay of Vietnam. we need a very
strong leader who is also wise enough to
first re-educate the people. The oracle
isn't. pessimistic i „ "Rigid ad-
herence to tradition has resulted in
decay. But the decay has not yet penetr

ed deeply and so can s
cdied. But unless such a superior man
is our President, we probably won't be
able to end the corruption of Vietnam
by the end of 1969.

OUIJA BOARD
=

king board—

A ouija board can be bought in a toy
store for $3.95. Two people sit opposite.
cach other over the board, lightly place
their finger tips on а movable plastic
indicator, and then one of them con-
centrates on a question.

The board is basically programed for
yes and no answers. (Its name is made
up of the French and German words for

(continued from page 128)

yes—oui and ja.) It does have an al-
phabet, but if you try to make it spell
oul words, you had beller be prepared
to spend a couple of weeks with il.
Therefore, we did not ask it to name а
new scientific discovery, major evil force
or most valuable player.

PLAYBOY was pleased that this pro-
phetic mechanism could be played with a
girl. We used a comely office staffer as a
partner, because the Doard's instructions
suggest that the participants be of oppo-
site sex. During the gathering of the fol-
lowing answers, PLAYBOY and our date
exchanged some rather sharp accusa-
tions about pushing and pulling the in-
dicator. Before reading the answe
please note the illustration of the board.
: Will America pull out of Vietnam
19697
Yes.

о: Will somcone reach the moon in
19697
a: No.

“I designed it with you particularly
in mind, Mrs. Dillman!”

©: Will there be any more assassini-
tions?

A: One.

Q: Will there be greater inflation?

A: Good bye.

о: Will there be more rioting in the
cities?

a: Yes.

Q: Will there be any major revolutions
in the world?

A: Ош:

Q: Will any new protest movement
replace the hippies?

a: No,
Q: Will the stock market go up?

: No.
Will the stock market go down?
: Good bye.

THE OUIJA BOARD

Q:
A

ETHEL MEYERS

—Medium—

Our final trip through the complex
and mystifying world of the occult was
with a genial woman in her late 60s:
Mrs. Ethel Meyers is a respected, full-time
medium who consults "ihe other sid
from morning till midnight almost every
day. "Philosophers on the other side talk
to me,” she says, “and try to help those
in need through psychometry." Her con-
tact in the world of the departed is her
husband, Albert, a cellist who went
immortal in 1944.

Mrs. Meyers has worked with many
celebrities, whose names she won't re-
veal. But she does reveal al the drop of
a shroud that she has done “trance
work” with Hans Holzer, helping him
find ghosts in haunted places. Their
spiritual gumshoeing is discussed in Hol-
"s two books, "The Ghost Hunter”
and “Ghosts I've Met.” She has also
worked with the Reverend Arthur Ford
(Bishop Files medium), with Long
John Nebel and with the Eileen Garrett
Parapsychology Foundation. But more
imporlant than any work with church-
men, foundations or middle-class ghosts
is her claim to have heard from George
Washington. twice and from Abraham
Lincoln several times.

Exhilarated by the possibility of dis-
cussing the nation’s future with one of
its most eminent forefathers, PLAYBOY
went to Mrs. Meyers West Manhattan
apartment on a fittingly dark and rainy
afternoon, She at once heightened our

suspense by showing us several pictures
of ghosts that she had taken without a
camera, with just a light bulb and print-
ing paper exposed for five seconds to a
visitor from the beyond. One such pic-
ture, milky but still defined, was of Al-
bert, her celestial scout. Another was of
a great astrologer from 67 s.c. who had
given an entire lecture on astrology
through Mrs. Meyers, even though she
knew nothing about it. And a third pic-
ture was of a 19th Century gentleman
who'd come down to New York to tell
Mos. Meyers that they were related.

Mrs. Meyers and PLAYBOY then sat in
opposite casy chairs. She leaned back,
closed her eyes and breathed deeply for
almost a minute before producing the
following words, which came in answer
to our question about the slate of the
nation and the world in 1969.

“The stock market will start going up
in January. . . . There are new, jittery
things concerning Russia. . . . Many
things are happening... Always a red
herring in the Middle Fast. Also strange
things Can misc. Unfriendly rela-
tions between Canada and the United
tes. . - - Inside, qui ks between
American and Russian politicians, bc-
cause the Chinese Red Guards are not
succeeding with their torments. . . .
Disturbances in France are also lessen-
ing, because the Red Guards are looking.
more toward Mongolia. . . . Before the
spring, America and Russia will be
shaking hands across the Bering
+ .. and things will settle down and be-
соте more quiet. . . . Hello, hello, Al-
bert speaking. Will pLavrov speak to me
personally, pleasc? E have taken over the
instrument."

e: Hello, Albert. Your wife was say-
ing that there'll be an agreement be-
tween America and Russia in 1969. Do
you agree?

A: Yes, there will be an understand-
ing between these two great powers.
Unrest level off.

о: Will there be any major assassina-
tions in 1969?

A: The year will be quieter in this
department, but the race situation will
be uneasy.

ө: In what way?

А: In the spring and summer, there'll
be much more controversy. And the
youth problem will get worse.

e: Speaking of the youth, will there
be any new protest movement?

A: An educational movement will
come into being and will use occult so-
lutions g oneself, in learning
to usc one's own true powers. This move-
ment isn't just on the earth plane, for
ing on it here, too. But in
on your side of the veil will
n the truth of his inner self.

ч: Albert, arc there any great Ameri-
cans on the other side who could further
enlighten us about conditions next year?

“I object, your Honor! Counsel is leading the witness!”

(4 long pause while Mrs. Meyers
breathes deeply several times.)

A: Hello, how do you do? I'm very
pleased 10 have your invitation to come.

ө: Who are you?

a: Abraham Lincoln.

Q (definitely impressed): It’s an honor
to meet you, Mr. President.

LINCOLN: Oh, I was but a man and
not the great humanitarian people have
made me. I had to fight my own inner
instincts.

Q (still somewhat awed by this x
markable press conference): That's typi
cally modest of you. Tell us, six, do you
have any advice for modern Americans
on handling the racial situation?

LINCOLN: Yes, the uneducated man
must be educated. I cannot say that all
men are equal without educational de-
vices, and the white man has deprived
the darker skins of chances to learn.
any American leaders
who will haye your
compassion and strength?

LINCOLN: You do me honor; 1 was
but a ma

о: You said that,

LINCOLN: A man will come along
who knows the r self. The ferment-
ed grapes are false gods that bring
things inconsequential and untrue,

Q (thrown a bit by the transition to
wine): Do those happen to be the
grapes of wrath?

LINCOLN: The man who wears dark
skin has majesty within him. He will
give much to the world.

@ Will there be any wars next year?

LINCOLN; There will be no wars as
you know them. There will be peace
caused by the coming together of two
great nations.

ч: America and Russia?

LINCOLN: That's correct. They will
right the world through quiet, secret un-
derstandings. There are even in America
those who've been damned but
who will be scen as statesmen in the
years to come. And those who would
twist the world as a chicken will be
roasted in their own gravy.

Q (in confusion, as we leave the meta-
phoric kitchen): Tell us, sir, what do you
see as the major evil force next year?

LINCOLN: Greed is the major evil
force and there'll be no end of it in
1969. Man will first have to know the
truth of h
more peace in 1969 and international
affairs will be sounder, so it will be a
better ycar than the one we have just
experienced. There will, however, be
forces I know nothing about, electrical
forces from planets, from a galaxy th
will be approacl nd these
forces will harass national affairs, though
not too seriously. And now I must leave
you, for there is still much work to be
done on this side ol the plane.

Q: Thank you, Mr. Presidi

(Mrs. Meyers shudders
awakes.)

A: What happened? Did anyone come
through?

Q: Yes, Albert and Abraham Lincoln.

A: Oh, good. (Still shuddering and
squirming) Pardon me, but after this
happens, I always feel as though some-
one has actually possesed my body
How was Lincoln?

o: A litle wordy and vague, but we
guess that's to be expected. After all, he

is 157.
a

and

then

221

ZAP-

tender —1½ to 2 hours Remove orange
slices and spice bag. Add madeira, orange
rind, and salt and pepper to taste. Stew
is best if made a day before the party
and reheated before serving. Serve with
risotto or buttered noodles.

PLAYBOY

THE FUTURE RE-VFALED
(VEAL RAGOUT WITH JUNIPER BERRIES
AND CREAM)

Ibs. boneless shoulder of veal
Ib. button mushrooms
tablespoons butter
tablespoons salad oil
4 cup finely minced shallots or scal-
lions
YA cup finely minced leek, white part
only
1 medium-size clove garlic, minced ex-
tremely fine
2 teaspoons finely minced juniper ber-
ries
3 ozs. gin
3 tablespoons flour
2 cups chicken broth, fresh or canned
114 cups light cream
2 tablespoons finely minced fresh pars-
ley
1 teaspoon finely minced chervil
1 teaspoon lemon juice
t, pepper
Cut veal into Lin. cubes Remove
stems from mushrooms and save for some
other use such as omelets or soup. Melt
butter with oil in а stewpot. Add veal,
mushrooms, shallots, leck. garlic and
juniper b Sauté, stirring frequent-
ly, until veal loses raw color. Add gi
set ablaze; let flames subside. Stir in
flour, blending well. Add chicken broth
and simmer, covered, until veal is tender
—1 to 114 hours, Add cream and bring
to а boil. Simmer 10 minutes, then turn
off flame. Add parsley, chervil and lemon
juice. Add salt and pepper to taste.

ween

URSA MAJOR
(BEAR SCALOPPIXE, PEPPER SAUCE)

21% Ibs. boneless bear roast (thawed,
if frozen)

1% cup salad oil

1 Spanish onion, sliced

2 large cloves garlic, smashed

14 cup red wine vinegar

1 teaspoon salt

1 cup dry red wine

1 medium-size onion, minced fine

14 teaspoon freshly ground pepper

1% teaspoon dried thyme

| pint game broth or chicken broth,

fresh or canned

1 teaspoon meat extract

1 tablespoon finely minced parsley

Brown gravy color

14 cup butter

Cut meat into slices 2 ins. square and
14 in. thick. Marinate overnight in oil,
sliced onion, garlic, vinegar and salt.
Simmer wine, minced onion. pepper and

222 thyme until wine is reduced to Y4 cup.

N (continued from page 102)

Strain and set aside. Remove meat from
marinade; discard marinade and place
meat. a few pieces at a time, berween a
double thickness of wax paper. Pound
with a meat mallet until each piece of
meat is as thin as vcal scaloppine. In a
large electric skillet preheated at 400°,
pan-broil the meat, without added fat
(the marinade will cling 10 the meat).
until light brown on cach sidc. Do not
overcrowd skillet. When all meat has
been browned and removed from skillet,
add broth, meat extract and parsley-
Bring to a boil. Scrape skillet to loosen
drippings. Simmer 3 to 5 minutes. Add
brown gravy color, if desired. Add
ned wine and butter, Place meat in
gravy and heat. Correct seasoning of
vy, if necessary. Keep meat hot in a
chafing dish or in a casserole over a trivet
flame. Serve on buns or with sliced
French bread, moistened with gravy.

NEPTUNE'S DELIGHT
(ocrorus cuowpre)

514-07,
ers
ozs. salt pork

lespoons butter

large Spanish onion, medium dice
large clove garlic, minced extremely

ans broiled octopus on skew-

“on

pieces celery, medium dice
carrot, pecled, medium dice
tablespoons flour
pint chicken broth, fresh or canned
cups dam juice, fresh or bottled
cups potatoes, medium dice
pint milk
cup light cream
1% ог. amontillado sherry
ог. cognac
alt, celery salt, pepper, monosodium
glutamate

Remove octopus from skewers. Cut
into dice no larger than 14 in. and set
aside, Remove rind, any. from salt
pork. and cut salt pork into sma
possible dice or chop coarsely. Heat
pork in soup pot until fat melts, Add
butter, onion, garlic. celery and carrot
and sauté over a low flame until onion
is yellow. not brown. Stir in flour. blend-
ing well, Add chicken broth. clam juice
and octopus. Bring to a boil and simmer
15 minutes. Add potatoes and simmer
until tender. Add milk and cream. Bring
to a hoil: turn off flame. Add sherry and
cognac. Season to taste with salt. celery
salt, pepper and monosodium glutamate.

2
1
3
1
S
3
1
1
1

BLAST-OFF BUBBLY

AMERICANA.

4 oas. iced brut champagne

1 teaspoon. 100-proof bourbon
Dash bitters

14 teaspoon sugar

1 slice brandied or frozen peach

Stir bitters, sugar and bourbon in pre-
chilled champagne glass. Add c
pagne and peach.

CARIBBEAN CHAMPAGNE

4 ors. iced brut champagne

y, teaspoon light rum

1% teaspoon banana liqueur

Dash orange bitters

1 slice banana

To keep banana slices from turning
k, dip in pineapple juice or orange
juice before placing on buffet table, Po
rum. banana liqueur and bitters
prechilled champagne gl

to
Add cham
nd stir gently. Add banana slice.

CHAMPAGNE FRAISE

4 ozs. iced brut champagne

ya teaspoon strawberry liqueur

% teaspoon kirschwasser

Large fresh strawberry

Pour strawberry liqueur and kirsch-
wasser into predhilled champagne glass.
Measure 14 teaspoons precisely—don't
overpour. Tilt glass, so that liquors cover
bottom and sides of glass. Add cham-
pagne and strawberry.

CHAMPAGNE NORMANDE

4 ozs. iced brut champagne
1 teaspoon. calvados

1% teaspoon sugar
ash Angostura bitters
Stir sugar, bitters and calvados in pre-
chiled champagne glas. Add cham-
pagne and stir very gently.
INTERPLANETARY PUNCH

(Approximately 1 gallon,
or 24 punch cups)

1 quart mango nectar

1 fifth light rum

4 ozs. dark Jamaica rum

12 ors, (11% cups) heavy sweet cream

12 ozs. white creme de menthe

1 quart freshly squeezed orange juice

8 large sprigs mint

1 large ripe fresh mango (if available)

6 thin slices orange

Prechill all ingredients, including liq-
wor. Place a L. guat block of ice in
punch bowl Add mango nectar, light
rum, Jamaica rum. cr me de
menthe c. Stir very well.
Tear mint leaves from stems. Peel and
cut mango into small slices. (Canned

canned fruit, however, will not float)
Cut orange slices into quarters. Float
mint leaves and fruit on punch. Place
punch bowl in refrigerator | to 2 hours
ors 10 ripen. Serve with thinly
sliced brandied fruitcake or petits fours.

By properly fueling your guests with
the preceding liquid and solid propel-
lams. you'll hit new highs in hostma
ship and your space-age bash will be
long remembered as a stellar attracti

mango may be used in place of fresh

CIVILLIBERTIES , rom pose 120)

being the Civil War, Prior to that, there
was the widespread rebellion under John
Adams against the Alien and Sedition
Acts, which made it a crime to utter any
sc or malicious statement about the
nation, the President or Congress. The
Virginia and Kentucky Resolutions
called them a “nullity,” because—by
reason of the First Amendment—Con-
gress may pass no law abridging freedom
of speech or press. Those laws expired
under Jefferson and for years the country
reimbursed the victims for the wrongs
done.

The Embargo Act was а self-block-
ade, in the sense that it forbade the de
parture of any ships from American
ports to foreign countries. Jefferson tried
in vain to enforce it, and it was repealed
in 1809.

In World War One, there were about
300,000 draft dodgers, in spite of the
fact that Congress passed a declaration of
war.

Some of those episodes were accom-
lence and many people
were fined or imprisoned for their mis-
decds. During those crises. the majority
clamored for conformity. The minority,
impatient at the existence of laws they
deemed unjust, took matters into their
own hands and did not wait until the
power to correct the abuse at the polls
could be exercised.

"Today the dissenters, both black and
white, claim that the changes needed to
admit the lower fourth of our people
into an honored place in our society are
being thwarted. There is a growing feel-
ing that the existing political parties are
not likely instruments of change. The
colleges’ and universities administra-
tions, in general, wall: more and more to
the measure of traditional thought. and
have lost their revolutionary
The Cold War flourishes, di
our overseas potential and making the
military the most potent force in our
lives and in our economy. The puritan
ethic—hard work and industry will guar-
antee success—is not a system of
private enterprise that is less and less de-
pendent on labor. For many. the only
recourse for employment is in the public
sector; yet blueprints for an expanding
public sector are hardly ever in public
view. Racial discrimination takes an aw-
ful toll, as partially evidenced hy the fact
that the average annual income of whites
who go to work at the end ol the eighth
grade tends to be higher than the average
annual income of blacks who go on to
college and enter the professions.

The crises these days are compounded.
because the real dissenters [rom the
principle of equality in our laws and
in the ion are often the estab-
lishment itself—sometimes a municipal,

influence.

county Or state government; sometimes
slumlords allied with corrupt local ma-
chines; sometimes finance companies or
great corporations or even labor unions.
"That is to say, these existing institutions
often ask minorities to conform to prac-
tices and customs that are unconstitu-
tional. People are apt to overlook the
fact that those who make such a request
are the offenders, not the vociferous mi-
norities who demand their rights.

Rebellion by members of the establish-
ment against full equality cannot be met
with apathy and inaction, for that is the
stuff out of which violent revolutions
are made, Blacks and whites must join
hands in momentous programs of politi-
cal action. Those who put law and order
above liberty and equality are architects
of a new fascism that would muzzle all
dissenters and pay the individuals in our
lower strata to remain poor, obedient
and subservient.

Unprecedented civie action is needed.
When my friend Luis Munoz Marin first
ran for governor of Puerto Rico, he ac
tually drafted and had printed and cir-
culated the precise laws he would have
enacted when elected. He was elected
and the laws were passed. Those who
march need specific proposals in their

hands—proposals to put an end to a par
ticular injustice. India, when de
with the explosive problem of the un-
touchables, required about 15 percent
of all matriculating students and about
15 percent of all government employees
to be drawn from those ranks. While the
maximum age for taking examinations
for government service was generally
24 years, it was increased to 27 years
in the case of the untouchables. And
this once-abhorred group also has а cer-
tain n mum number of seats reserved
for it in the national parliament and in
the state legislatures.

We need to think in terms as specific
as those in dealing with our own minori-
ties, whether black or white. No one to-
day is on the side lines. We are all
aught up in a tremendous revolu
movement. It starts with a dem
equality in edu
opportunities. It extends to a removal
from our laws of all bias against the
poor. It embraces a host of other specifics
that will, if faced frankly and adopted,
make a viable and decent society out of
our multiracial, multireligious, multi-
ideological communities—and both pre-
serve the sovereignty and honor the
dignity of each and every individual.

_ “They're really up tight this year. I got mugged
in New York, demonstrated against in Chicago, shot at

in Tes

as and arrested for vagrancy in Seaitle.”

223

Ermynirude and Esmeralda
I said I thought he was in love with me
because he avoided me so? Well, now I
don't think that can be it, but I had
better begin at the beginning and then
you can judge I was sitting on the
veranda alter tea this evening, trying to
get through my canto of Dante—did 1
tell you that I was doing it with the
dean? It was he who suggested it, and
he’s been so wonderfully kind about
and, oh, my dearest Ermyntrude, what a
beautiful poem it is—though I must
say, I think I like Tennyson better. Well,
there I was, quite alone, for a wonder,
until it began to get cold and I thought
Td go indoors, so 1 was going in by the
morning room window, which was wide
open, and I did just get inside, but then
I was surprised by hearing somebody
talking, which was quite surprising be-
cause hardly anyone ever uses the mon
ing room especially at that time in the
day. 1 thought it was rather funny, and
then I suddenly recognized that it was
Mr. Mapleton's voice that was talking,
but not at all his usual voice, and it was
all quite dark—much darker than out
side—and so altogether I was so sur
prised that I stood quite still and
couldn't help listening. And what do
you think I heard? You'll never guess—
only I only half heard it, really, because
it was so mumbling and indistinct and it
seemed so funny and extraordinary, Fm
sure he was making love. He kept on
saying, "I love you more than anybody
in the world" and things like that, and
“Do you love me? Do you. love me as
much as 1 love you?” a great many
times, and "You're the most beautiful
creaune in the world, how can you be
so beautiful?” and "My dearest dearest
dearest angel,” and things like that.
Don't you think he must have been
ing love? Of course, I couldn't ima
ine who he was talking to, but I thought
it might be the under housemaid, who's
quite pretty but not the most beautiful
person in the world—but then, people
always do exaggerate when they're mak-
ing love, don't they—and then I was
just wondering whether perhaps it was
Carrie, when somebody else said, "Dar-
ling darling”— just like that, and, my
dear, it was Godfrey! That gave me
such a jump that I very nearly dropped
all my books—the grammar and diction-
ary and everything—but 1 luckily didn't,
and by that time, the room seemed
rather lighter and 1 made out that God-
frey’s voice must have come fr behind
a screen there is going across, so I
stretched out as far as I could and just
managed to scc round the screen to the
sofa. And Mr. Mapleton was there, too.
h his arm round Godfrey's neck, and
224 they were kissing and their hair was all

PLAYBOY

(continued from page 202)

tousled, but the most extraordinary
thing of all was that their buttons were
so much undone that their shirts were
all coming out. Wasn't it too peculiar
for words? But just then, someone be-
gan to come along the passage outside,
and they jumped up very quickly, and
Mr. Mapleton began walking toward the
window, so 1 slipped out and ran round
by the front door. I expect it was the
maid coming to shut the window. 1
haven't said anything about it to either
of them yet. I’m not sure whether 1 shall
—even to Godfrey. They might think
I'd been listening on purpose, which I
wasn't at all. They seemed quite as
usual at dinner, and now here I am,
writing to you as fast as I can—I'm so
excited and somehow rather frightened,
100—1 don't know why. At least I was
frightened when I looked round the
screen. Do you think—my dear, do you
think it’s possible for them to be in
love?
then, if they are, I can’t understand
all, because how can they have babies
Do answer by return of post, I beg and
implore you.

'm almost sure they must be; but
Г

Your loving
Esmeralda
Dearest Esmeralda,

What a lark! Pm in a hurry as
Mama, for a wonder, is taking me out
to some dreadful tea party this after-
noon, but I must write a few words now,
as you ask me to. And so that's what you
call nothing ever happening, is i? I
vih anything half as amusing
ppen here. No such Tuck. But I
don't think you've made the most of
your opportunities. It was a great chance
for finding out some interesting thi
For instance, you don't say which but-
tons were undone. Was too dark to
sce? I don't believe it was, but you were
100 lurried and didn't look properly.
Um sure 1 should have, if it had been
me. 1 really think you ought to try
and discover some more from Godfrey.
Couldn't you lead the conversation round
to bowwows—in quite a general way? I
wish I could talk to him for a litle. It
might be casier for him to tell things to
someone who wasn't his sister. 1 sup-
pose, as you say, two bowwows can't
have babies, but I can't sce why on
earth they shouldn't pout at one an-
other. The great question is—how do
they рош? 1 command you to ask him.
You can ask him from me, if you like.
Do you know, when I read your letter, Т
began to wish that I was Godfrey—I
suppose because then I should know all
about it, But 1 must stop and go and
dress. DU write again soon.

Your loving
Ermyntrude

P.S. No. I'm not sure. I think. on
the whole, I'd rather have been Mr.
Mapleton.
rest Ermynirude,

There has been the most awful row.
Papa went in by accident yesterday morn.
ing to get a shoehorn, and found Mr.
Mapleton in Godfrevs bed. He was
most fearfully angry, told Mr. Mapleton
that he would have to go away out of
England and live abroad forever and
ever, or he would have him put i
prison, and stormed at Godírey like any-
thing, and said he would flog him, only
he was too old to be flogged, but he
ought to be flogged. and that he had
disgraced himself and his family, and.
that it could never be wiped out, never,
and that he couldn't hold up his head
again with such a son, and that as
Godfrey wasn't to be flogged, he would
have to be punished in some even worse
way—but none of us knows what yet. It
was too dreadful for words. Godfrey told
me all about it. Mr. Mapleton went
away that very morning, immediately
after breakfast, but he didn't come
down to it, so perhaps he didn't have
any, and Mama has been almost in tears
ever since, and Papa has hardly spoken
to anyonc. The dean has been looking
very grave. 1 don't know what would
have happened if it hadn't been for
General Marchmont, who got up а
croquet tournament yesterday. which
put us into better spirits, as wc had to
make the arrangements about it; it is to
be the American kind—everyone will
play everyone else, and the one who
wins the most games will get a prize
from the general. Papa said that Godfrey
wasn't to join, as he wasn’t fit to asso-
iare with the others, which is a great
Poor Godfrey is in such dreadful
disgrace, and 1 am very sorry for him. 1
suppose it was a frightfully wicked thing
to do, but the curious thing is he doesn't
seem at all wicked, and 1 really do be-
lieve I'm fonder of him than I've ever
been before. I talked to for quite
a long time yesterday before dinner. I
went into the morning room, and he
was there, so 1 began to say how sorry 1
was. But belore I'd said very much, he
turned round and walked toward the
window. and then I saw that he was
crying. I hardly knew what to do, so Т
went on talking for a little, and at last
I threw my arms round his neck and
kissed him a great many times, which
seemed to comfort him, although he
began to cry harder than ever at first
But in the end, he told me all about
Mr. Mapleton and how fond he was of
him, and how unhappy he was to think
he'd never see him again; and when I
asked him whether he was in love with
him, he said yes, he was, and why noi
—that he loved him better than anyone
in the world and always would as long

as he lived, and then he began crying
іп. And he said he did not think

а
he'd done anything wicked at all, and it
seems the Greeks used to do it, too—at

least the Athenians, who were the best
of the Greeks—which is very funny,
don't you think? And he said that Mr
Mapleton agreed with everything he'd
said, and, in fact, he had told him most
and as for Papa, he said he was a
silly old man and he expected he'd done
just the same himself when he was a boy
at school but that he'd forgotten. ali

if wh
frey says is true, and I can't make it out
at all, can you? I've made up my mind
what to do, though, I'm going to ask the
dean to explain it to me. lsn't that a
good idea? He's so wise he must know
ng. and he's so good and kind
m sure he wouldn't get angry.
Im certain Papa would if 1 said any-
thing about it to him. I'm waiting for a
good opportunity to find the dean by
himself, but at present it's rather dif
ficult, because there always seems to be
somebody who insists upon playing off
their game of croquet with me. When
I've got it out of him, 111 let you know.
But dearest Ermyntrude, do write and
tell me what you think, 1 believe you're
almost as clever as the dean
Your loving
Esmeralda

P.S. Godfrey has just told me that he
is to be taken away irom school and sent
abroad, too, as well as Mr. Mapleton,
but of course not to the same place and
only for a year, but Godfrey says he
hates the thought of it.

P. P. S. I forgot to say that when I was
talking to Godfrey, I tried several times
to ask him your question, but somehow
or other 1 couldn't get it in. I find that
there are some things it's very difficult,
indeed, to talk about, just when one
wants to most.

My dearest Esmera

Your letters get more and more ex
citing and make me more and more
envious. Here am I, as usual, in the draw-
ing room, by the fire, all alone, except
for the kitten curled up in its basket,
and I feel as if I'd been here for the past
500 years. I've taken to sitting in this
gaunt room lately, because it’s a good
way of escaping from Simpson, and as
away, there's no fear of
- It’s true that Lord Folliot came
yesterday, but 1 don’t think he'll come
again. 1 don’t like him at all. He first
chucked me under the chin, and then
put his hand (which was more like a
claw) on my chest, and asked me how
Pussy was doing. He winked and
grinned and was quite ridiculous—all
wrinkled and horrid. I'm quite sure his
bowwow was pouting as hard as it could

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225

PLAYBOY

“They're against phy

ed being

mandatory in the Junior year.”

all the time. I thought to myself, “Why
should your bowwow be allowed to pout
as it likes, you disgusting old man, and
poor Godfrey, when his does, get into
such hot Tt really is a great shame,
You must give Godlrey my love, though
I think if he'd cried rather less, 1 should
like him better. Of course, it would have
been different if he had been re
whipped. Would it have been wi
birch rod? I was as nasty as I could be
to Lord Folliot, and he went away look-
ing sillier than ever. I expect it'll m
you angry, but I can't help thinking he's
rather like the dean. I wonder if you've
had your conversation with him yet. It
will be great fun when you do; but if 1
were you, 1 shouldn't believe a word he
said. Clergymen always tell stories,
Talking of conversations, its rather
amusing; I had one the other day with
—Nwho do you thinkz—Henry! He nearly
always comes after tea to take the things
away, so 1 thought it would be rather
amusing to talk to h 1 think I told
you about the butler, Jessop, and how 1
dislike him. He's got very thin lips, which
he keeps pressed together very close,
and he stands up very straight and looks
most severe, I had a quarrel with him
a long time ago, when I was quite small.
I used to go down to the servants. hall,
and they all used to pet me a great deal,
and sometimes they kissed me; but one
day, Jessop began kissing me more than
I wanted, so I made him stop, and ever
since, 1 believe he's hated me; and I'm
226 sure Гуе hated him. So 1 thought I'd

find out what Henry thought of him,
and as he was clearing away the tea, 1
said, just to begin, “Is Jessop out to-
day?” He said he was, so 1 said, “Does
he go out often?” “Pretty often, miss.”
Does he make you work very hard:
"Oh, yes, miss." “He's very strict, 1
pose?” “Oh, he's that strict, miss!
don't like him much, then?” “No, miss,
nothing particklar—not, as you might
say, anything out of the common—not
as I like some.” Then he went on putting
the cups onto the tray. I thought it was
very nice of him to be so easy to talk 10,
“And who
? Do you like Mrs, Codring-
She's the cook.) “Yes, miss, I like
aw that he was
g and then, while he was making
ter with the cups, he said some-
ig else that was really rather extraor-
and in a very low voice And I
like you, miss." I could Wy hear it,
but I'm certain he did say it, though I
pretended not to have noticed anything
and took up a book. He went out yery
quickly after that, and neither of us has
said anything about it since, though we
have had a few more conver e
Here he is. I must stop, as I shall have
to give him this letter to post. Please
give me a full account of what you get
out of the dean, and I insist upon your
asking him every question that comes
into your head.

so 1 began to laugh and said,
do you

Your loving
Ermyntrude

P.S. Something so curious has hap-
pened that I've opened this again to
tell you about it. When I was giving this
letter to Henry to post, 1 dropped it and
we both put down our hands to k it
up. Somehow or other, he took hold of
my fingers instead of the letter, I felt
rather awkward, but just then the kitten
took it into its head to jump out of its
basket, so I тап after it and put it back.
While 1 was doing that, he went and
drew the curtains, and then he went
out, without taking the letter, w
still on the floor. He didn’t say anything
at all, nor did I. Now I've rung the bell,
and 1 shall put this into a new envelope
and give it him again and try not to
drop it this time. He'll be here in a
moment, It’s rather odd. His fingers
seemed very strong.

My dearest Ermyntrude,

I've got something very surprising to
tell you, and when it happened, it sur-
prised me just as much. Have you no-
ticed how funny it is, the way things
always seem to turn out quite differently
‘om what you expected? Why is it, do
you think? I always try to im;
hard as I can whats going to happen
beforchand, don't you? But when it
does happen, it's somehow or other al-
ways something else—only I expect
you're so horribly clever you can always
1 ight. But I wonder whether

conversation with the dean, and її
would have ended by— But I
tell you first that I found him alone in
the study this morning. as I hoped I
would, as Papa had gone out with the
ad as it was such a good oppor-
I said to myself that 1 mustn't
miss it, because it was just the time to
ask him about Godfrey and Mr. Maple-
ton. So I did, but what a wicked teasing
creature you are, to say that the dean is
like Lord Folliot! Of course he isn’t at
all, but as I'm sure you're only laughing
at me all the time, I won't pay any
auention. Well, 1 thought I'd better
begin in
asked him about D.
and he said the most beau
about them that you can imagi
then I said 1 supposed Dante was in
love with Beatrice, and he seemed very
pleased and even more polite than ever
and said more and more beau
things, and was far more poetical tl
Im sure Lord Folliot could ever be.
Then I asked whether it w
to be in love, and he moved his ch
nearer and said, "My dear Miss E
da, surely you cannot thi
said that love was the purification and
the sanctification of something that 1
"t remember now, but it was all very
nice, and at last he took hold of my
hand, so I thought the moment had
come and said, “Then why was Papa

so angry with Godfrey?” Directly I'd
said it, I saw that it couldn't have been
the right moment, because he got very
led, indeed, and dropped my hand
and asked me in quite a stiff voice how I
could ask such a question. But 1 was
determined this time not to be afr:
nd so I said that Godfrey was in love
with Mr. Mapleton, and was not
wrong to be in love, why shouldn’t he
be? He secmed terribly shocked, and

threw up his hands, and said, “Love!
Love for that perverse, misguided, un-
happy young man! What a profa

my dear young lady, what а
1 But Г said Godfrey hi
had told me so, and then he said that
Godfrey was very wicked and that I
shouldn't listen to what he said. So then
I remembered some of the things that
Godfrey had told me about the Greeks,
so I asked if they had all been very
wicked, and whether Socrates hadn't
been a very good man, and whether he
hadn't been in love with young men—
and perhaps very like Mr. Mapleton?
He said that I was touching upon a
most. painful subject. that it was one of
the mysteries of Providence that the
highest and the lowest sometimes met in
the same person. and that the Greeks
had not had the benefit of the teaching
of Our Lord, which I suppose i
true, Then I remembered somcthi
that Godfrey had said, so 1 asked hi
whether he hadn't very likely felt just
the same as Godfrey when he was at
school himself, and when 1 said that, he
got up and walked up and down the
room and seemed quite agitated. So 1
thought I must be right, and then I had
a sudden idea and said it almost without
thinking, directly it came into my head
Oh. Dr. Bartlett, I believe you were
in love with Papa!" You see, I knew
they had been at school together, and do
you know, I really believe it was true,
because he got very red and came up to
me and said in a low voice, “No, no,
Miss Esmeralda, let me beg you to put
such distressing thoughts out of your
mind. These subjects are not fit for a
pure young girl to dwell upon. They
come as a temptation—a terrible temp-
tation. Turn away from them, 1 beseech
you—fly from them as you would from
the Evil One himself. Let me counsel
you, let me help you, let me guide your
thoughts toward"—but I can't remem-
ber what it was exactly he wanted to
guide my thoughts toward, except that
he went on talking for a very long time,
and then suddenly I found to my great
surprise what I'm sure you couldn't pos
sibly have guessed—he was making love
to me, and asking me to marry him, and
had gone down on his knees beside my
chair, so that I didn't at all know what
to do, especially as І very nearly burst
out laughing, because he did look so

very extraordinary. But just then, I
heard General Marchmont's voice out of
the window, calling me, so I jumped up
and said I must go and play a game of
croquet. He seemed very distressed and
Кей me whether I wouldn't answer
him. I said 1 would 0 evening, and
that’s all. It's a dreadful nuisance, but I
suppose | shall have to. Of course, I'm
very fond of him and admire him, Im
sure, more than almost everyone else in
the world, but what surpriscd me most
of all was that when he
marry him, although I'd alv
it would be the most wonderful thing
that could possibly happen to me, I
didn't want to a bit. I don't understand
it in the least, unless it is that perhaps
I—— But I shan't tell you any more just
now—so there!

Your loving
Esmeralda

P. S, Have you had any more conversa-
tions with Henry?
Dearest Esmeralda,

I ought to have answered your last
letter some days ago. I can't write much
now, as I am rather hurried. I was very
glad that you didn’t say that you would
marry the horrid old dean. It would
have been very nasty. I think I can guess
why it was that you didn't, because I'm

sure that if your pussy had pouted, it
would have been quite different. I agree
with you about it being very difficult to
know what's ing to happen. but I
think, as I don't imagine what it's going
to be so much as you do, I'm less su
d. The funny thing is that you
1 а lot anyhow—whether you're sur-
d or not. But I must stop now.
Your loving
Ermyntrude
P.S. Yes. 1 have had some more con-
versations with Henry.

My dearest Ermyntrude,

Jes abon ble of me not to have
written before, but really, Гуе had hard-
ly any time to spare, there have been so
y th g on, and it’s all been
such fun, but not the sort of things you
write about. And even now, I've
only got one minute, just to send you
my love, my dearest Ermyntrude, and to
say that I'm feeling very excited because
it is the Swinfords’ dance tonight, and
I'm going, and so is Tony and Amabel
and Mama, and in fact everybody, in-
General Marchmont. Won't
һеш? Do you think anything
very specially amusing and charming
will happen? 1 wonder and wonder, but
I can never make up my mind, be
there are so many other things to think

“And one hypothetical question—How would you feel

about Ihe war if you were a munitions manufacturer.

227

PLAYBOY

about. I've becn in a great fright about
my dress not being done in time, but it
has been, so that's one blessing, and I've
promised two dances to General March-
mont. I don't think I ever told you that
the dean has gone away—he went the
next morning alter Td told him
So he
won't be at the dance, but perhaps he
wouldn't have been anyw 1 don't
believe clergymen usually go to dances. I
can't write any more, Carrie is calling
me. If anything special does happen at
the dance, III let you know all about it
as soon as I c;

Your most loving
Esmeralda

My dearest Esme!

As Туе got some spare time to write
10 you in, I'd better begin at once. I
expect this will be rather a long letter,
but though I thought I wouldn't at first,
I've made up my mind to tell you every-
thing that's happened, so that can't he
helped. There's just been a fearful rum-
pus here. Fd better tell you that it all
began about a fortnight ago, that time I
told you about, when 1 dropped the
letter. It was then that my pussy began
to рош. I dare say that you will think it
very shocking that it should рош for a

“Actually ... I didn't really shoot him... .

footman. But Henry was not like an
y lootman. He was much better
id stronger. He had
wk hair that was rather curly,
k eyebrows and dark-bluc eyes
t nose that turned up at the
cnd, which made him look impudent,
and a small mouth with perfecily white
teeth, and a very n indeed. I'm
sure if you could have seen him in his
dark-green livery and silver buttons,
your pussy would have pouted, too—es-
pecially if you could have felt what his
fingers were like. 1 didn't tell you, but
that time I wanted to hug him, and 1
really think 1 might have, if the kitten
hadn't jumped out of its basket just at
that instant. Wasn't it an absurd joke
that the two pussies should have begun
playing pranks at the same time? Then
when T rang the bell, it was Jessop who
came up. Henry told me afterward he
was too frightened 10 and pretended to
be ill. The next day, Simpson would
insist upon my playing duets with her
the whole evening, so there was no op
portunity for saying anything to Henry
when he took away the tea. But the day
after that, Simpson went out, so I went
down to the drawing room as usual, and
then it was most tiresome, because Jes-
sop came and did everything, and 1

thought Henry must have gone out for
the evening. But at half past six, he
came in when 1 wasn't at all expecting
him. He said that a window was broken
in the back stairs and that Jessop was
out and that my father was out, and
would I give the order to have it mend-
ed, as last time my father had been very
ngry at orders being given without his
leave. So I said yes, and then he said,
“It’s near the top of the back stairs,
miss,” and didn't go away. So I said, “Is

it a large pane?” And he said, “Not
very, miss, would you like to sce it?” So
1 said, “You'd beter show it me." I was

rather frightened when I said that, but
he answered very quickly, “Yes, miss, 1
think that would be the best way.” And
then he said we'd better have a candle,
because it dark on them
stairs,” ighted one and off we
went—upst: ad then round along
the litle landing under the dome, and
then through the door to the back stairs,
nd down them until we came to the
window with the broken pane. Henry
hell up the candle to show it me and
said, “Yon see, v 't a very big
hole.” I leaned over to look at it better,
ad put my head too near the candle
and my hair gave a frizzle, which gave
Henry a bright, and he said, “Oh, take
care, miss! Your hair!” I said, "Would
you mind if I burned my hair, Henry?
find, miss? Why. they
ıt take both my cars off me, that they
might, miss, before I left any manner of
harm come to your hair" So 1 laughed,
nd said, “That would be a pity, Henry;
you've got such nice ears." “Not as nice
as your hair, miss.” “Why do you like my
hair so much, Henry?” "105 got a color
on it the same as the butter dow
our country, miss—Dorsetshire, that i
"Do you think it feels as nice as it
looks, Hen “That 1 do, misst” So I
laughed again, just a little, and said,
“Then, why don't you stroke it?" And
then he didn’t say anything, but put out
his hand. and looked at my eyes, and 1
looked at his eyes, and then—well, it
didn't seem to be me any longer, but it
was like something else that made me do.
„ and ] put my arms round his
neck all of a sudden, and he hugged me
so hard that I could only just breathe,
and it felt as if he was hugging me with
the whole of his body. And then the
candle fell over and went out, and it was
pitch dark. and after that, 1 hardly
know what happened, because it was so
very exciting, but somehow I began to
half lie down on the stairs, which are
quite steep and nothing but wood, and
Henry was on the top of me, hugging
me just as much as ever, so you can
magine that it wasn’t particularly com-
fortable. 1 forgot to say that directly he
hugged me, 1 felt my pussy pouting so

And he said,

enormously that I didn't know what to
do—except hug him back, which seemed
only to make it pout more. But when we
were lying down, it did it even more
still, Then Henry began pulling up my
skirt and even my petticoat, and I bega
helping him, and it was very funny—we
were both in such a hurry, and his body
ed about so much and he breathed
rd that I half began to feel fright-
ened. But he held me too tightly for me
to have possibly got away, even if I'd
wanted to, and then suddenly, all of a
sudden, my pussy began to hurt most
horribly, and I very nearly screamed. It
was as il something was going right
through me, but though it hurt my
pussy so, it made it stop pouting at the
same time and begin to purr instead, as
it, and I think it did like it
nything else in the world. I
can’t understand why pussies should like
so much being hurt. And the curious
thing was that I suppose I liked it, too,
because I went on kissing Henry more
and more; and although 1 was so un-
comfortable and hot and all squashed up
and disarranged and 1 believe nearly
crying, I didn't at all want it to stop,
and I was very sorry when Henry said
he would have to go and lay the dinner
or Jessop would ask him where he'd
been.

I must tell you that Henry told me
afterward that what he'd said about Papa

and the orde dow was a
story, and he'd said it to try to make me
go there with him, and if I hadn't, he

told me that he'd settled to give warning
and go away that very night. He said
that his bowwow had begun to pout so
much, especially when he was handing
me the vegetables, that he couldn’t have
stood it any longer. But that night,
when he handed me the vegetables, it
was a great lark, because my pussy was
pouting, too. After dinner, when Td
gone up to bed. it was still more of a
lark. I'd arranged it with Henry. When
all the lights were out, I opened my
door a very little, and then he came in,
and after we'd kissed each other a great
deal, we took off our clothes. I was very
excited to see what his bowwow was
like, but I was astonished to see that he
hadn't got one, but a very funny big
pink thing standing straight up instead.
1 was rather frightened, because I
thought he might be deformed, which
wouldn't have been at all nice, so I
was. Then he laughed
so much that I thought everyone would
hear, and at last I discovered that it was
his bowwow after all, and it turns out
t is what they get like when they
sed, indeed, and
1 his bowwow went
t, we went to bed.
Ever since then, he's come every night,
and I've enjoyed myself very much, It's
a pity I didn't know about it before,

because we might have begun doing it
directly he came here, and I might have
done it before that with the last George
but one, who looked quite pretty, but of
course not nearly so handsome as Henry.

We had great fun in the daytime, 100.
At first we were pretty frightened. of
being caught, but we got less and less
frightened, and I suppose we were rath-
er foolish, because—well, we were found
out, but in rather an extraordinary way,
so ГЇЇ tell you how it all happened. I
was sitting in the schoolroom yesterday
by myself, as Simpson was out as usual,
and someone came in, | thought it
would be Henry, but it was Jessop, and
he said he wanted to speak to me. 1
id he might, and then he looked very
severe and said, “I wonder youre not
ashamed of yourself, Miss I
asked him why, and he said, "Oh, you
know well enough. Miss Ermie—carry-
ing on something awful with Henry.
Of course, I said I didn't know what he
wi ig about, but he only got more
severe, and pressed his horrid thin lips
closer together, and said, “It's not a bit
of use your playing the innocent. I'm
bound to go straight to Sir William this
moment and tell him what I know.” 1
did get very frightened then, because of
course I knew there'd be frightful ruc-
tions if my father heard of it, and I
didn't know what to do. So I thought
the best plan was to be as nice as
possible to Jessop and try to persuade
him not to tell. But at first it didn't
seem апу good, because he went on
being very cross—"Now, none of your
wheedling with me, Miss Ermic; you
know quite well it’s my duty to go to Sir
William"—and so on. But I went on
begging him more and more, and then
all of a sudden he changed altogether
and said, in quite a soft voice, “You're
nice enough to me now, when you want
to get something out of me. As soon as

you get it, i be a different tune.” I
said I should always be very grateful,
ndeed, but he said, “No, miss, you
wouldn't. You don't like me, that's what
it is. You don't care for me two pins.”
Then I thought I'd better tell a great
fib, so I said I liked him very much. And
he said, "Like me? Like me, do you? Do
you like me as much as Henry? That's
what I'm wondering." I said I liked him
in a different way, and then he came
much closer to me, and turned all white,
and said, very low, indeed, "But 1 want
the same way. Do you understand that,
Miss Ermie? Thats the way you've got
to like me. You like Henry and you like
me. Well, then, yowve got to like both
or neither. Thats what it is. And now
shall I go to Sir William?” Then I
understood what he was up to, and I
felt cold all over, but I didn't see any
y out of it. so in the end I agreed. T
d he might come that night instead of
Henry to my bedroom, and he was
going away. when he turned round and
said, “No, Miss Ernie, I don't trust you.
Youll get out of it. Now, now!" And
then he ran at me and kissed me very
lendy, indeed, and seemed much
more excited even than Henry. And
though at first 1 didn't like it at all,
afterward I didn't mind it so much. But
in the middle of it, I heard a scream,
1 I couldn't think what had hap-
pened, and Jessop went out of the room
very quickly, and there was £
a faint on the floor. She'd seen Jessop
with his bowwow in my pussy. and
was why she'd fainted. When she came

to, she hardly said anything, and I was

surprised that she didn't rush off and

tell everybody all about it. Instead. of

that, she said she was too ill to come

down to dinner. Jesop didn't dare come

to my bedroom afterward, but Henry

did. Just as we were beginning to enjoy

ourselves, there was a knock at the door.

Henry hid himself under the bed, and 229

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in her

then the old Simpson came in
dressing gown. She began embracing me
and talking a great deal in a whining
tone of voice. She said I was her dearest
child, and that 1 1 fallen and how
terrible it was and wl would Mama
say, and all sorts of rubbish, and all the
time she was kissing me, and calling me
her dearest darling Ermie, and saying
how much she loved me, till E got very
bored, and couldn't think what it was
all coming to. But what do you think it
was? She was the same as Jessop. She
wanted to get into bed with me, and she
id that if Pd let her do that, she'd
never, never tell. It was really very ab-
surd. I don't know why, but Fd never
thought before that one pussy might
pout for another; but, of course, if
bowwows pout for one another, there's
no reason why pussies shouldn't, too. So
there was Simpson's pussy pouting for
mine; but ] wouldn't have it. I think
you musi draw the line somewhere, espe-
cially if Henry's under the bed, and I
drew it at Simpson's pussy, I told her to
go away, and that she might tell every-
body anything she liked, and that I
never wanted to see her again. And as
she was going, I said something clse,
that I'd heard Henry say about Jessop
And God rot you, Simpson, into the
bargain," which shocked her a good
deal, because she turned round in the
doorway and said, "Oh, Ermie, Ermie!
Ав well as all the rest bad language!"
And then she went, and Henry came out
from under the bed.

All this happened last night, when
you were at your dance, having a gay
time, 1 suppose, with General March-
mont. But we had an even gayer time
here this morning, when
went and had hyste! ry,
and told my father about me and Jes-
sop. Jessop was sent for, and denied it,
and said it was Henry. and Henry was
sent for and said it was Jessop, and 1
was sent for and wouldn't say anything
at all. It would be no use describing the
rest of the row, which was very silly, and
just like other rows, only worse, but they
were all three dismissed, including Simp-
son, for not looking after mc enough,
and going too often to the Congregation-
al meetings. I'd always suspected that
she used to go there for the sake of some
bouncing bowwow, but now 1 think it
must have been for a mewing pussy, but
anyhow, thats the end of her, As for
me, I'm to be sent off to Germany with
a German governess Mama has discov-
ered, almost at once. She's the daughter
of a pastor in some dismal town
xony—Sclmettau or something—and
It doesn't sound excit-
ing, and Im afraid I shall miss Henry a
good deal I found a little note from
him on a crumpled-up piece of paper on
my dressing table this evening. I sup-
pose he'd got one of the maids to put it

there I'm to

there. It said, “Goodbye, miss. They
won't let me stay here no longer. They
want me to go to Canada. but I'd run
away first. Oh, miss, when shall I sce you
again? Yours respectfully, Henry." I for-
got to say that he always went on calling
me miss, even when he was hugging me
most, which I liked very much. And
really, on the whole, I'm not sorry that
any of irs happened, because, although
the row has been a nuisance, I know a
great many things now that I didn't
Know befor

When Te got the address in Ger
many, ГЇЇ send it you, and I hope you'll
write to me there, Perhaps IIl have a
letter from you tomorrow morning de-
scribing the dance. Now goodbye, 1 am
rather tired,

Your loving
Ennyntrude

My dearest darling beloved Ermyntrude,
all happened as I most wished,
am going to marry General

It h.
and 1
Marchmont! He asked me to last night
at the dance, and I said yes, and then—
oh, my dear!—he kissed me! He is
the kindest dearest bravest most wonder-
ful man in the world. and though he is
50, I'm quite sure I could never love
anybody one millionth as much as I love
him. He's been in two wars, and 1 don't
know how many battles, and has got a
whole row of medals, and his regiment
the le Brigade, which is one of
the very best there is. He said that I
should be his own beloved wife and the
mother of his children, and that he
would teach me in the sphere of home
and womanheod to grow up a perfect
queen! Wasn't it too lovely? 1 wouldn't
tell you before how fond of him I was,
because I thought you might laugh at me
and think that I only cared for him as
much as I cared. for the dean. But now
it's all come right and I'm perfectly
happy, only I want to have some babies
as quickly as I can. I never thought all
the time we were wondering about being
in love and having babies that I should
know all about it so soon. But I must
stop and go and find Edward—that is his
name! Isn't it exquisite? I shall write to
you again directly I know when we are to
be married.

Your own very most loving
Esmeralda.

T. S. I forgot to say that I had a letter
from Godfrey the other He is in a
Saxon town in Germany, called Schmet-
tau. He lives with the schoolmaster and
he says it's not. very exciting, but as the
parson lives next door. it ought to be
good for him. Oh, my dear! Edward
has just come in and we are to be mar-
ried in September! Isn't it too exciting
for words? And he wants me to say that
he hopcs you will be my bridesmaid.

ATESTAMENT OF HOPE (continued from page 191)

Negroes are expressing the feelings that
were so long muted. The constructive
achievements of the decade 1955 to 1965
deceived us. Everyone underestimated
the amount of violence and rage Ne-
grocs were suppressing and the vast
t of bigotry the white majority

disguising. All black organizations are a
reflection of that alienation—but they
a contemporary way station on
the road to freedom. They are a product

of this period of identity crisis and
directionless confusion. As the human
rights movement becomes more con-

fident and aggressive, more nonviolently
active, many of these emotional and
intellectual problems will be resolved
the heat of battle, and we will not ask
wh: hbor's color but whether
he is a brother in the pursuit of racial
justice. For much of the fervent idealism
of the white liberals las been supple-
mented recently by a dispassionate rec-
ognition of some of the cold realities of
the struggle for that justice.

One of the most basic of these realities
ted out by the President's Riot
n, which observed that the na-
y in the late
le it
uts

was pi
Commissi
ture of the American econo:
19th and early 20th Centuries п
possible for the European immigr

of that time to escape from poverty. It
was ап economy that had room for—
even a great need for—unskilled manual
labor. Jobs were available for willing
workers, even those with the educa
tional and language 1 s they had
brought with them, But the American

economy today is radically different.
There are fewer and fewer jobs for the
culturally and educationally deprived;
thus does present-day poverty [ced upon
and perpetuate itself. The Negro today
cannot escape from his ghetto in the
way that Irish, Italian. Jewish and Pol-
ish immigrants escaped from their ghet-
tos 50 years ago. New methods of escape
must be found. And one of these roads
to escape will be a more equitable shar-
ing of political power between Negroes
and whites. Integration is meaningless
without the sharing of power. When I
speak of integration, 1 don't mean a
romantic mixing of colors. I mean a real
aring of power and responsibility. We
will eventually achieve this, but it is
going to be much more difficult for u
than for any other minority. Alter all,
no other minority has been so constant
ly, brutally and deliberately exploited.
But because of this very exploitation,
Negroes bı special spiritual
moral contribution to American life—a
contribution without which America
could not survive.

The implications of true racial inte-
gration are more than just national in
scope. 1 don't believe we can have world
peace until America has an “integrated”

forcign policy. Our disastrous experi-
ences in Vietnam and the Dominican
Republic have been, in one sense, a
result of racist decision making. Men of
the white West, whether or not they like
it, have grown up ist culture,
and their thinking is colored by that
fact. "They have been fed on a false
mythology and tradition that blinds
them to the aspirations and talents of
other men. They don't really respect
anyone who is not white. But we simply
cannot have peace in the world. without
1 respect. I honestly feel that a
without racial blinders—or, even
better. a man with personal experience
of racial discrimination—would be
much better position to make policy
decisions and to conduct negotiations
with the underprivileged and emerging
nations of the world (or even with Cas
tro, for that matter) than would an
Eisenhower or a Dulles.

The American Marines might not even
have been needed in Santo Domingo.
had the American ambassador there been
a man who was sensitive to the color
dynamics that pervade the national life
of the Dominican Republic. Blick men
in positions of power in the business
world would not be so unconscionable as
to wade or trafic with the Union of
South Africa, nor would they be so in-
sensitive to the problems and needs of
Latin America that they would continue
the patterns of American exploitati

a ra

man

that now prevail there. When we replace
the rabidly segregationist chairman of the
Armed Services Committee with a man
of good will when our ambassadors
reflect a creative and wholesome inter-
racial background, rather than a cultural
heritage that is a conglomeration of
Texas and Georgia politics, then we
will be able to bring about a qualitative
difference in the nature of American
foreign policy. This is what we mean
when we talk about redeeming the soul
of America. Let me make it clear that 1
don't think white men have a monopoly
on sin or greed. But I think there has
been a kind of collective experience—a
kind of shared misery in the black com-
munity—that makes it a little harder for
us to exploit other people.

I have come to hope that American
Negroes can be a bridge between white
civilization and the nomwhite nations of
the world, because we have roots i
both. Spiritually, Negroes identify ur
derstandably with Africa, an identific
tion that is rooted largely in our colo:
but all of us are а part of the white-
American world, too. Our education
been Western and our language,

our
attitudes—though we sometimes tend to

deny re very much influenced by
Western civilization. Even our emotional
life has been disciplined and sometimes
stifled and inhibited by an essentially
European upbringing. So, although in
onc sense wc ther
sense we are both Americans and Alri-
cans. Our very b'oodlines are a mixture.
I hope and feel that out of the univer-

arc

neither, in an

orry to bother you, chief, but we

had a little disturbance in the dolly works!”

231

PLAYBOY

sality of our experience, we can help
make peace and harmony in this world
more possible.

Although American Negroes could, if
they were in decision-making, positions,
give aid and encouragement to the un-
dexprivileged and disenfranchised people
other lands, I don't think it
work the other way around. I don't
think the nonwhites in other parts of
the world can really be of any concrete
help to us, given their own problems of
development and self-determination. In
fact, Ame m Negroes have greater
collective buying power than Canada
greater. than all four of the Scandinavi-
countries combined. American Ne-
groes have greater economic potential
than most of the nations—perhaps even
more than all of the nations—of Africa.
We don't need to look for help from
some power outside the boundaries of
our country, except in the sense of sym-
pathy and identification. Our challenge,
rather, is to organize the power we al-

T our midst. The Newark
riots, for example, could certainly have
been prevented by a more aggressive

itical involvement on the part of
citys Negroes. There is utterly no
reason Addonizio should be the mayor of
Newark, with the Negro majority that
exists in that city. Gary, Indiana, is
other tinderbox city; but its black
yor, Richard. Hatcher, has given. Ne-
groes a new faith in the effectiveness of
the political process.

One of the most basic weapons in the
fight for social justice will be the cumu-
lative political power of the Negro. I
can foresee the Negro vote becoming
consistently the decisive vote in national
elections. It is already decisive in ics
that have large numbers of electoral
votes. Even today, the Negroes in New
York City strongly influence how New
York State will go in national elections,
and the Negrocs of Chicago have a si
lar leverage in Illinois. Negroes are even
the decisive balance of power in the
clections in Georgia, South Carolina and
Virginia, So tlie party and the candidate.
that get the support of the Negro voter
in national elections have a very dehnite
edge, and we intend to use this fact to
n advances in the struggle for human
rights. 1 have every confidence that the
black vote will ultimately help unseat
the dichard opponents of equal rights in
Congress—who are, incidentally, reac-
tionary on all issues. But the Negro com-
munity cannot win this victory alone;
indeed, it would be an empty victory
even if the Negroes could win it alone.
Intelligent men of good will everywhere
must sce this as their task and contribute
to its support.

The election of Negro mayors, such as
Hatcher, in some of the nation’s 1.
cities has also had a tremendous psycho-

232 logical impact upon the Negro. lt has

shown him that he has the potential to
participate in the determination of his
own destiny—and that of society. We
will see more Negro mayors in major
cities in the next ten years, but this is
not the ultimate answer. Mayors are rela-
tively impotent figures in the scheme
of national politics. Even a white mayor
such as John Lindsay of New York sim-
ply does not have the money and re
sources to deal with the problems of his
city. The necessary money to deal with
urban problems must come fiom the
Federal Government, and this money i
ultimately controlled by the Congress of
the United States. The success of these
enlightened mayors is entirely depend-
ent upon the financial support made
available by Washington.

The past record of the Federal Gov-
ernment, however, has not been encour-
aging. No President has really done vi
much for the American Negro, though
the past two Presidents have received
much undeserved credit for helping us.
This credit has accrued to Lyndon John-
son and John Kennedy only because it
was during their Administrations that
Negroes began doing more for them-
selves. Kennedy didn't voluntarily sub-
mit a civil rights bill, nor did Lyndon
Johnson. In fact, both told us at one
time that such legislation was impossi
ble. President. Johnson did respond rez
istically to the signs of the times and
used his skills as a legislator to get bills
through Congress that other men might
not have gotten. through. I must point
out, in all honesty, however, that Presi
dent Johnson has not been nearly so
diligent in implementing the bills he
has helped shepherd through Congress

Of the ten titles of the 1964
Rights Act, probably only the one
concerning public accommodations—the
most bitterly contested section—has been
meaningfully enforced and implemented.
Most of the other sections have been
deliberately ignored. The same is true
of the 1965 Voting Rights Act, which
provides for Federal referees to monitor
the registration of voters in counties
where Negroes have systematically been
denied the right to vote, Yet of the some
900 counties that are cligible for Feder-

1 referees, only 58 counties to date have
had them. The 842 other counties re-
main essentially just as they were before
the march on Selma. Look at the pat-
tern of Federal referees in Mississippi,
for example. They are dispersed in a
manner that gives the appearance of
change without any real prospect of
actually shifting political power or giv-
ing Negroes a genuine opportunity to
semed in the government of
е. There is a similar pattern in
Alabama, even though that state is cur-
rently at odds with the Democra!
ministration in Washin;
George Wallace. Georgia, until just re-

had no Federal referees at all
not even in the hardcore black-belt
counties. I think it is significant. that
there are no Federal referees at all i
the home districts of the most powerful
Southem Senators—particularly Sena-
tors Russell, Eastland and Talmadge.
The power and moral corruption of these
Senators remain unchallenged, despite
the weapon for change the legislation
ptomised to be. Reform was thwarted
when the legislation was inadequately
enforced.

But not all is bad in the South, by
any means. Though the fruits of our
struggle have sometimes been nothing
more than bitter despair, I must admit
there have been some hopeful signs,
some meaningful successes. One of the
most hopeful of these changes is the
attitude of the Southern Negro himself.
Benign acceptance of second-class citi-
zenship has been displaced by vigorous
demands for full zenship rights and
opportunities. In fact, most of our con-
crete accomplishments have been limited
largely to the South, We have put an
end to racial segregation in the South;
we have brought about the beginnings of
reform in the political system; and, as
incongruous as it may seem, a Negro
is probably safer in most Southern cities
than he is in the cities of the North. We
have confronted the racist policemen of
the South and demanded reforms in the
police departments. We have confronted
the Southern racist power structure and
ave elected Negro and liberal white
candidates through much of the South
the past ten years. George Wallace is
ly an exception, and Lester Mad-
a sociological fossil. But despite
achronisms, at the city and
county level, there is a new respect for
black votes and black citizenship th
just did not exist ten years ago. Though
school ion has moved at a de-
pressingly slow rate in the South, it
has moved. Of far more significance is
the fact that we have learned that the
integration of schools does not necessi
ly solve the inadequacy of schools. White
schools are often just about as bad аз
black schools, and integrated schools
sometimes tend to merge the problems of
the two without solving either of them.

There is progress in the South, how-
ever— progress expressed by the presence
of Negroes in the Georgia House of
Representatives, in the election of a
Negro to the Mississippi House of Rep
resentatives, in the election of a black
sheriff in Tuskegee, Alabama, and, most
especially, in the integration of police
forces throughout the Southern states.
There are now even Negro deputy sher-
iffy in such black-belt arcas as Dallas
County, Alabama. Just three yem
Negro could be beaten for going
the county courthouse in Dallas Count
now Negroes share in running it. So
there are some changes. But the changes

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are basically in the social and political
areas; the problems we now face—pro:
viding jobs, better housing and better
education for the poor throughout the
counuy—will require money for their
solution, a fact that makes those solu-
tions all the more difficult.

The need for solutions, meanwhile,
becomes more urgent every day, because
these problems more serious now
than they were just a few years ago.

Belore 1964, things were getting better

economically for the Negro; but after
that year, things began to take a turn
for the worse. In particular, automation
began to cut into our jobs very badly,
and this snuffed out the few sparks of
hope the black people had begun to
nurture. As long as there was some
measurable and steady economic prog-
ress, Negroes were willing and able to
press harder and work harder and hope
for something better. But when the door
began to close on the few avenues ol
progress, then hopeless despair began to
set in.

The fact that most white people do
not comprehend this situation—which
prevails in the North as well as in the
South—is due largely to the press, which
molds the opinions of the white commu-
nity Many whites hasten to congratulate
themselves on what little progress we
Negroes have made. I'm sure that most
whites felt th
1964 Civil Rights Act, all
were automatically solved. Because most
white people are so far removed [rom
the life of the average Negro, there has
been little to challenge this assumpti
Yet Negroes continue to live with racism
every day. It doesn't matter where we
are individually in the scheme of things,
how near we may be cither to the top or
10 the bottom of society: the cold facts of
racism slap cach onc of us in the face. A
friend ol mine is a lawyer, one of the
most brilliant young men I know. Were
he a white lawyer, 1 have no doubt that
he would be in a $100,000 job with a
major corporation or heading his own
independent firm. As it is, he makes а
mere $20,000 a year. This may seem like
a lot of money and. to most of us, it i
but the point is that this young man's
background and abilitics would, if his
skin color were different, entitle him to
an income many times that amount

I dont think there is a single major
nce company that hires Negro
Even within the agencies of the
1 Government, most Negro em-
ployees are in the lower echelons; only a
ful of Negroes in Federal employ-
ment arc in upper-income brackets. This
ds а situation that cuts across thi

coun-
trys economic spectrum. The Chicago
Urban League recently conducted a r
search project in the Kenwood commu-
nity on the South Side. They discovered
that the average educational grade level

of Negroes in that community was 10.6
years and the median income was about
$4200 a year. In nearby Gage Park, the
median educational grade level of the
whites was 8.6 years, but the median
income was $9600 per year. In fact,
the average white high school dropout
makes as much as, if not more than, the
average Negro college graduate.
Solutions for these problems, urgent
as they are, must be constructive and
rational. Rioting and violence provide
no solutions for cconomic problems.
Much of the justification for rioting has
come from the thesis—originally set
forth by Franz Fanon—that violence has
a certain cleansing effect. Perhaps, in a
special psychological sense, he may have
had a point. But we have seen a better
nd more constructive cleansing process
in our nonviolent demonstrations. An-
other theory to justify violent revolution.
is that rioting enables Negroes to over-
come their fear of the white man. But
they are just as afraid of the power
structure after a riot as before. I remem-
ber that was true when our staff went
into Rochester, New York, after the
of 1961. When we discussed the possi
ity of going down to talk with the
police, the people who had been most
aggressive in the violence were afraid to
talk. They still had а sense of infe

riority; and not until they were bol
stered by the presence of our staff and
given reassurance of their political
power and the rightness of their cause
and the justness of their grievances were
they able and willing 10 sit down and
talk to the police chief and the city
manager about the conditions that had
produced the riot.

As a matter of fact, I think the aura
of paramilitarism among the black m
tant groups speaks much more of fear
than it does of confidence. I know, in
my own experience, that I was much
more afraid in Montgomery when I had
a gun in my house. When I decided
that, as a teacher of the philosophy of
nonviolence, 1 couldn't keep a gun, |
came face to face with the question of
death and I dealt with it. And from that
point on, І no longer needed a gun nor
have I been afraid. Ultimately. one's
sense of manhood must come from with-
in him.

The riots in Negro ghettos have been,
in one sense, merely another expression
of the growing climate of violence in
America. When a culture begins to fecl
threatened by its own inadequacies, the
majority of men tend to prop themselves
up by artificial means, rather than dig
down deep into their spiritual and cul-
tural wellsprings. America scene to have 238

PLAYBOY

234

reached this point. Americans as a whole
feel threatened. by communism on one
hand and. on the other. by the rising
tide of aspirations among the undevel-
oped nations. I think most Americans
know in their hearts that their country
has been tenibly wrong in its dealings
with other peoples around the world.
When Rome began to disintegrate from
within, it turned to a strengthening of
the military establishment, rather than
to a correction ol the corruption within
the society. We are doing the same thing
in this country and the result will prob-
ably be the same—unless, and here 1
admit to a bit of chauvinism, the black
man in America can provide a new soul
force for all Americans, a new expres
n of the American dream that need
not be realized at the expense of other
men around the world, but a dream of
opportunity and life that can be shared
with the rest of the world.

It усети glaringly obvious to me that
the development of anitarian
means of dealing with some of the social
problems of the world—and the correla-
tive revolution in American values that
this will entail is a much better way of
protecting ourselves against the threat of
violence than the military means we
have chosen. On these grounds, I must
indict the Johnson Administration. It has
seemed amazingly devoid of statesman-
ship; and when ive statesm
wanes, irratiol
this sense, President Kennedy was
more of a statesman than President
Johnson. He was a man who was big
enough 10 admit when he was wi
as he did after the Bay of Pigs incident.
But Lyndon Johnson seems to be unable
ke this kind of statesm

said, to such a strengthening
dustrial complex of this
the President now finds
most totally trapped by it
Even at this point, when he can rcadily
summon popular support to end the
bomi inam, he persists. Yet
bombs am also explode at
home; they destroy the hopes and possi
bilities for a decent Ame

In our efforts to dispel this atmos
phere of violence in this country, we
cannot afford to overlook the root cause
of the rios. The Presidents Riot Com-
mission conduded that most violence-
prone Negrocs are teenagers or young
adults who, almost invariably, are un-
deremplayed ("underemployed" mes
working every day but carning an.
come below the poverty level) or who
are employed in menial jobs. And ac
cording to a recent Department of Labor
statistical report, 24.8 percent ol Negro
youth are currently unemployed, a statis
tic that does not include the drifters
who avoid the census takers, Actually,
its my guess that the statistics are very,

very conservative in this area. The Bu-
reau of the Census has admitted a ten-
percent error in this age group. and the
unemployment statistics are based on
those who are actually applying for joh

But it isn’t just a lack of work; it's
also a lack of meaningful work. In
Cleveland, 58 percent of the young men
nd 95 were
mated to be cither unemployed or
nderemployed, This
tion is probably 90 percent of the root
cause of the Negro riots. A Negro who
has finished high school often watches
his white classmates go out into the job
market and. earn 5100 a week, while he,
because he is black, is expected to work
for $40 a week. Hence, there is tre:
mendous hostility and resentment that
only a difference in race keeps him out
of an adequate job. This situation
social dynamite. When you add the |
of тесте:
job counseling, and the continuation of
an aggressively hostile police environ-
ment, you have a truly explosive situa
tion. Any night on any street corner in
any Negro ghetto of the country, a nery-
ous policeman can start a riot simply by
being impolite or by expressing raci
prejudice, And white people are sadly
unaware how routinely and frequently
this occurs

It hardly needs to be said that solu-
tions to these critical problems are over-
whelmingly urgent. The Presidents Riot
Commission recommended thar
ior summer programs aimed at young
Negroes should be increased. New York
is already spending more on its special
summer programs than on its year-round
poverty efforts, but these are only tent
live and emergency steps toward a truly
meaningful and perm solutioi
And the negative thinking in this
voiced by many whites does not help the.

between the ages of 16
es

k
nd adequate

funds

situation. Unfortunately, m: te
people think that we merely a
rioter by taking positive action to better
his situation. What these white people

do not realize is that the Negroes who

riot have given up on America. When
nothing is done to alleviate their plight,
this merely confirms the Negroes’ convic-

tion that America is a hopelessly dec:
dent society. When something positive is
done, however, when constructive action
follows a riot, a rioters despair is al
layed and he is forced to re-evaluate
America and to consider whether some
good might eventually come from our
society after all.

But, 1 repeat, the recent curative steps
that have been taken are, at best, inad
quate, The summer poverty programs,
like most other Government projects,
some places and are
Шу ineflective in The dif-
ference, in large mi is one of
citizen partidpation; that is the key to
success or s such as the
Farmers’ Marketing Cooperative Associa-

function well

tol

tion in the black belt of Alabama and
the Child Development Group in Mis-
sissippi. where the people were really
inyolved in the planning and action of
the program, it was one of the best
experiences in self-help and grassroots
initiative. But in places like Chicago,
where poverty programs are used strictly
as a tool of the political machinery and
for dispensing party patronage, the very
concept of helping the poor is defiled
and the poverty program becomes just
nother form of enslavement, 1 still
wouldn't want to do away with it,
though, ev icago. We must sim
ply fight at both the 10 wd the
national levels to gain as much commu-
ity control as possible over the poverty
program.

But there is no single answer 10 the
plight of the American Negro. Condi-
tions and needs vary ge ily in different
sections of the country. I think that the
t une bb abe cited
‚ and especially in the
y police relations. This
с and touchy problem that
rely been adequately emphasized.
Шу every riot has begun from
some police action. If you try to tell the
people in most Negro communities that
the police are their friends, they just
laugh at you. Obviously, something des-
perately needs to be done to corect this.
1 have been particularly impressed by
the fact that even in the state of Missis-
pi e the FRI did a si
training job with the Mississippi police,
the police are much more courteous to
Negroes than they are in Chicago or
New York. Our police forces simply
must develop an attitude of couriesy
nd respect for the ordinary citizen. If
we can just stop policemen from
profanity in their encounters with black
people, we will have accomplished a lot
In the larger sense, police mu е
being occupation troops in the ghetto
nd start protecting its residents. Yet
very few cities have really faced up to
this problem and tried to do something
bout it. It is the most abrasive element
п Negro white relations, but it is the
last 10 be scientifically and. objectively
appraised.

When you go beyond a relatively sim-
ple though serious problem such às po-
ice racism, however, you begin to get

into all the complexi odern
American economy. Urb;
tems in most American cities, lor exam-
ple, have become a genuine civil rights
one—becmise the lay-
systems determi
the accessibility of jobs to the bi
у. If transportation syste
y cities Could be laid out so a
provide an opportunity for poor people
to get meaningful employment, then
they could begin to move into the main-
stream of American life A good exam-
ple of this problem is my home city of

SYMBOLIC SEX

more sprightly spoofings of Ihe signs of our times

humor By DON ADDIS

HOME WRECKER!

| DIDNT EXPECT You
HONE 50 EARLY, GEORGE

11S SORT oF AN
INTRODUCTORY OFFER-

SORRY, HONEY...

1 WANT MORE THAN
TOKEN INTEGRATION

VERY 215
YouRE JusT NOT MADE You DONT See
FoR This ine OF WORK MANY OF THEM
2 8 ANYMORE

32988

235

PLAYROY

Atlanta, where the rapid-transit system
has been laid out for the convenience of
the white upper-middle-class suburbanites
who commute to their jobs downtown.
The system has virtually no consideration
for connecting, the poor people with th
jobs. There is only one possible explana-
tion for this situation, and that is the
t blindness of diy planners.

"The same problems are to be [ound
in the areas of rent supplement and
lowincome housing. "Ihe relevance of
these issues to human relations and hu-
man rights cannot be overemphasized.
The kind of house a man lives in, along
with the quality of his employment, de-
termines, to a large degree, the quality
of his family life. I have known too
many people in my own parish in Atlan-
ta who, because they were living
overcrowded apartments, were constant-
ly bickering with other members of
their families—a situation that produced

many kinds of severe dysfunctions in
family relations. And yet 1 have seen
these same families achieve harmony

when they were able to afford a house
Mowing for a litte personal privacy
and freedom of movement.

All these human-relations problems
are complex and related, and it's very
difficult to assign priorities—especially as
long as the Vietnam war continues. The
Great Society has become a victim of the
war. I think there was a sincere desire in
this country four or five years ago to
move toward a genuinely great society,
d I have little doubt that there would
have been a gradual increase in Federal
expenditures in this direction, rather
than the gradual decline that has oc-
curred, if the war in Vieunam had been
avoided.

One of the incongruities of this situa-
tion is the fact that such a large number
of the soldiers in the Armed Forces in
Vietnam—especially the front-line sol.
diers who are actually doing the fighting
are Negroes. Negroes have always held

the hope that if they really demonstrate
that they are great soldiers and if they

eally fight for America and help save
American democracy, then when they
come back home, America will treat
them better. This has not been the case.
Negro soldiers returning from World
War One were met with race riots, job
discrimination and continuation of the
bigotry that they had experienced be
fore. Alter World War Two, the GI 1
did offer some hope lor a better life to
those who had the educational back-
ground to take advantage of it, and
there was proportionately less turmoi
But for the Negro GI, military service
still represents a means of escape from
the oppressive ghettos of the rural South
and the urban North. He often sees the
Army as an avenue for educational op-
portunities and job training. He sees in
the military uniform a symbol of dignity

236 that has long been denied him by socic-

ty. The tragedy in this is that military
service is probably the only possible c
саре for most young Negro men. Many
of them go into the Army, risking death,
in order that they might have a few of
the human possibilities of life. They
know that life in the city ghetto or life
in the rural South almost cert;
means jail or death or humi
so, by comparison, mil
really the lesser risk.
One young man on our staff, Hosea
Williams, returned from the foxholes of
Germany a 00 percent disabled veteran.
After 13 months in a veterans" hospital,
he went back to his home town of Atta-
pulgus, Georgia. On his way home, he
went into a bus station at Americus,
Georgia, to get a drink of water while
ting for his next bus. And while he
stood there on his crutches, drinking
from the fountain, he was beaten ge-
ly by white hoodlums. This pathetic inci-
dent is all too typical of the treatment
received by Negroes in this country—not
only physical brutality but brutal discrim-
ination when a Negro tries to buy a
house, and brutal violence against the
Negro's soul when he finds himself denied
a job that he knows he is qualified for.
There is also the violence of having to
live in a community and pay higher con-
sumer prices for goods or higher rent for
equivalent housing Шап are charged in
the white areas of the city. Do you know
that a can of beans almost always costs
a few cents more in grocery chain stores
located in the Negro ghetto than in a
store of that same chain located in the
upper-middle-class suburbs, where the
median income is five times as high?
"The Negro knows it, because he works
in the white man's house as a cook or
irdener. And what do you think this
nowledge docs to his soul? How do you
think it affects view of the society he
lives in? How can you expect anything.
but disillusionment and bitterness? The
question that now is whether we
can turn the Negros disillusionment
nd bitterness into hope and faith in
the essential goodness of the American
system. If we don't, our society will
crumble,
lt is a paradox that those Negroes
who have given up on America are
doing more to improve it than are its
professional patriots. They are stirring
the mass of smug, somnolent citizens,
who are neither evil nor good, to an

awareness of crisis. The confrontation
uvolves not only their morality but
their self-interest, and that combination

promises to evoke positive action. This
is not a nation of venal people. It is a
land of individuals who, in the majority,
have not cared, who have been heartless
about their black neighbors because
their cars arc blocked and their eyes
blinded by the tragic myth that Negroes
endure abuse without pain or com-
plaint, Even when protest flared and

denied the myth, they were fed new
doctrines of inhumanity that argued
that Negroes were arrogant, lawless and
ungrateful, Habitual white discrimina-
tion was transformed into white back-
Iash. But for some, the lies had lost their
grip and an internal disquiet grew. Pov-
erty and discrimination were undeniably
real; they scarred the nation; they dirt-
ied our honor and diminished our pride.
An insistent question defied evasion
Was security for some being purchased
at the price of degradation for others?
Everything in our traditions said thi
Kind of injustice was the system of the
past or of other nations. And yet there
it was, abroad in our own land

Thus was born—particularly in the
young generation—a spirit of dissent
that ranged from superficial disavowal
of the old values to total commitment to
wholesale, drastic and immediate soci

reform. Yet all of it was dissent. Their
voice is still a minority; but united with
millions of black protesting voices, it has
become a sound of distant thunder in-
creasing in volume with the gathering of
storm clouds. This dissent i D

n ideals that began with coura-
utemen in New England, that
continued in the Abolitionist movement,
that re-emerged in the Populist revolt
and, decades Jater, that burst forth to
elect Franklin Roosevelt and John F.
Kennedy. Today's dissenters tell the com-
placent majority that the time has come
when further evasion of social respons
bility in a turbulent world will court
disaster and death. America has not yet
changed because so many think it need
not change, but this is the illusion of
the damned. America must change be-
cause 23,000,000 black citizens will no
longer live supinely in a wretched past.
They have left the valley of despair; they
have found strength in struggle; and
whether they live or die, they shall never
crawl nor retreat again. Joined by white
allies, they will shake the prison walls
until they fall, America must change.

A voice out of Bethlehem 2000 years
ago said that all men are equal. It said
right would triumph. Jesus of Nazareth
wrote no books; he owned no property
to endow him with influence. He had no
friends in the courts of the powerful,
But he changed the course of mankind
with only the poor and the despised.
Naive and unsophisticated though we
may be, the poor and despised of the
20th Century will revolutionize this cra,
In our “arrogance, lawlessness and in-
gratitude,” we will fight for human jus
tice, brotherhood, secure peace and
abundance for all When we е won
these—in a spirit of unshakable non-
violence—then, in luminous splendor,
the Christi will truly begin.

SCHEMATIC MAN continea from page 196)

When my cousin Alvin from Cleveland
phoned me on my birthday, 1 couldn't
remember who he was for a minute. (The
week before, I had told the computer all
about my summers with Alvin's family,
including the afternoon when we both
lost our virginity to the same girl, under
the bridge by my uncle's farm.) I had to
write down Schmuel’s phone number,
and my secretary's, and carry them around
in my pocket.

As the work progressed, I lost more. T
lookcd up at thc sky onc night and saw
three bright stars in a line overhead. It
scared me, because I didn't know what
they were until I got home and took out
my sky charts. Yet Orion was my first
and easiest constellation. And when I
looked at the telescope I had made, I
could not remember how I had figured
the mirror.

Schmuel kept warning me about ove
work. I really was working a lot, 1
hours a day and more. But it didn't feel
like overwork. It [elt as though 1 were
losing pieces ol myself. I was not merely
teaching the computer to be me but
putting pieces of me into the computer.
I hated that, and it shook me enough to
make me take the whole of Christmas
week off. I went to Miami.

But when I got back to work, I
couldn't remember how to touch-type
on the console anymore and was re-
duced to pecking out information for
the computer a letter at a time. I felt as
though I were moving from one place to
another in installments, and not enough.
of me had wed yet to be a quorum,
but what ting to go had.
portant parts missing. And yet I соп
ued to pour myself into the magnetic
memory cores: the lie I told my draft
board in 1946, the limerick I made up
about my first wife after the divorce,
what Margaret wrote when she told me
she wouldn't marry me.

There was plenty of room in the stor-
age banks lor all of it. The computer
could hold all my brain had held, espe-
cially with the program my five gradu-
ate students and I had written. I had
been worried about that, at first.

But in the event 1 did not run out of
room. What I ran out of was myself. I
remember feeling sort of opaque and
stunned and empty; and that is all I
remember until now,

Whenever “now” i

I had another friend once, and he
cracked up while working on telemetry
studies for one of the Mariner programs.
1 remember going to see him in the hos-

him telling me, in his slow,
ed, coked-up voice, what they
had done for him. Or to him. Electro-
shock. Hydrotherapy.

What worries me is that that is at
least a reasonable working hypothesis to
describe what is happening to me now.

I remember, or think I remember, a
sharp electric jolt. 1 feel, or think 1 feel,
a chilling flow around me.

What does it mean? I wish I were
sure. I'm willing 10 concede that it
might mean that overwork me in
and now I. too, am at Restful Retreat,
being studied by the psychiatrists and
changed by the nurses’ aides. Willing to
concede it? Dear God, I pray for it. I
pray that that electricity was just shock
therapy and not something else, 1 pray
that the flow I feel is water sluidng
around my sodden sheets and not a flux
of clectrons in transistor modules. 1
don't fear the thought of being insane; 1
fear the alternative.

I do not believe the alternati
fear it all the same. I can't bel
all that’s left of me—my id, my uc, my
me—is nothing but a mathematical mod-
el stored inside the banks of the 7091.
But if I am! H I am, dear God, what
will happen when and how can I wait
until—somebody turns me on?

€. But I
ve that

TMPORTED RARE SCOTCH

PLAYBOY

238

; д 1 know it’s not easy to accept
INCIDENT IN THE STREETS кошка from page 3s) Ac do mu mne
Then he laughed, a thin, raking, old The doctor started to pitch it away, then ing his hands, tossed the towel into his
laugh. "You mean, do I think he's pocketed it instead. The eyes, don't they black bag and snapped the bag shut.
going to diez" Good use them for the eyes? “Well, that's "We all struggle against it, boy, it’s part
God, m you sec for yourself! beter, I'm sure. But let's be honest: It and parcel ol being alive, u
"There's nothing left of him, he's a god- doesn't get to the real problem, does it
nd hardly an appe- Paul's lip tickled where the penny had 1 ‚ let me tell you, son.
ш one, at 0 He dipped his been. “No, I'm of all too little use to you i to life” Не wagged his finger
fingers into Paul, licked them, grimaced. there, boy. I can't even pi : m and ended by pressing the
“I think we should get a blanket for тїйє platitude. Leave that to the god. UP of it to Paul's nose. “That's the se-
the policeman. sai damn priests, ch? Hechechee! Oops, E that’s my happy paregoric! Hee
“OF course you should,” s sorry, son! Would you like a priest E ge e
doctor, wiping his stained hands on a o1 1501 Ben ане Бантова WARS
small white towel he had brought out of Can't get it out, eh?" The doctor One of those thines, 3
his black bag. He peered down through probed Paul's neck. "Hmm. No, ob gut death begets lile, theres thal,
Paul and smiled. viously not.” He shrugged. “Just as well. „y boy, and dont you ever forget it!
ated down be Whar could have to вау, Survival and murder are synonyms, son,
side him. “I'm sorry. son. There's not a ch?” He chuckled dryly, then looked first flaw of the universe! Hee-hee-h—
damn thing I can do. Well, yes, I sap- up at the policeman, who still had not ! No time for puns! For-
pose I can take this penny off your lip. left to search out a blanket, "Don't get I said
You've little use for it, chi" He laughed just stand there, man! Get this lad a Its OR, said Paul. Listening to the
softly. "Now, lets see, there's no func priest!” The police officer, dutching his doctor had at least made him forget the

tion for ? No, no, there it i mouth, hurried away, out of Paul's eye- tickle on his lip and it was gone.
ew life burgeons out of rot, new

mouths consume old organisms, father
dies at orgasm, mother dies
only old dame mass, with her t
of stuff and tickle, persists, suffering her
long, slow split into pure light and pure
carbon! Heehechee! A tender thought!
Don't you agree, kid?” The doctor gazed
olf into s happily contemplating the

scribe a sopo-

s, said Paul.

process.
I tell you what, said Paul, Let's forget

returned

Just then, the police
with a big quilted comfortei
the doctor spread it gently over P
body, leaving only his face
people pressed closer to v

Back! Back!” shouted the policeman.
“Have you no respect for the dying?
Back, 1 say

“Oh, come now.” chided the doctor.
"Let them watch, il they want to. It
hardly matters to this poor fellow; and
en if it does, it can't matter for much
And it will help keep the flies

His
voice faded away. Paul dosed his eyes.

As he lay there among the curio
several odd questions plagued Paul's
mind. He knew there was no point to
them, but he couldn't rid himself of
them. Ihe book, for example: Did he
have a book? And if he did, what book,
and what had happened 10 it? And what
about the stop light, that lost increment
of what men call history; why had no
one brought up the matter of the stop
light? And pure carbon he could under-
stand, but as for light; What could its
purity consist of? KI. Fourteen. Th.

impression thar it had happened belorc.
Yes, these were mysteries, all right. His
head ached from them,

“Taylor Street? Gee, I dunno. . . .

People approached Paul from time to
time to look under the blanket. Some
only peeked, then turned away, while
others stayed 10 poke around, dip their
hands in the mutilations. There seemed
to be more st in them now that
they were covered. There were some
arguments and occasional horseplay. but
the doctor and the policeman kept things
from getting out of hand. If someone
arrogantly ventured a La , the
doctor always put him down with some
toilet-wall barbarism; on the other hand,
he reserved his purest, most mellifluous
toponymy for small childre
girls, He made several mei
ments with the latter. The police officer,
though uneasy, stayed nearby, Once,
when Paul happened to open his eyes
after having had them closed some while,
the policeman smiled warmly down on
him and said: "Don't worry, good fel
low, I'm still here. Take it as easy as
you can. ГЇЇ be here to the very end.
You can count on me.” Bullshit, thought
Paul, though not ungratefully, and he
thought he remembered hearing the
doctor echo him as he fell off to Sleep.

When he awoke, the streets were
empty. They had all wearied of it, as he
had known they would. It had clouded
over, the sky had darkened, it was prob
ably night and it had begun to rain
lightly. He could now see the truck
clearly, off to his left. Must have been
people in the way before.

Never would have gues
life could such things

When he glanced to
surprised to find an old man sitting near
him. Priest, no doubt. He had come, aft-
er ай... black hat, long grayish beard,
sitting in the puddles now forming i
the street, legs crossed. Go on, said
ul, don’t suffer on my account, don't

for me. But the old man remained,

ed. Only in true
appen.
ight, he was

clothes: prosopopoei:
patience. The priest. Yet, something
about the clothes: Well, they were in
rags. Pieced together and han; i
tatters. The hat, 100, now that he no-
ticed. At short intervals. the old man’s
head would nod,

his body would tip, he would catch him-
self with a start, grunt, glance suspi-
ciously about him, then back down at
Paul, would finally relax again and re-
commence the cyde.

Paul's eyes wearied, especially with
the rain splashing into them, so he ler
them fall dosed once more. But he be-
gan suffering discomforting visions of
the old priest, so he opened them again,
squinted off to the left, toward the
truck. A small dog, wiry and yellow,

added along in the puddles. h
g and bunching up with the г;
sniffed at the tires of the truck,
its leg by one of them, sniffed ag;
padded on. It cirded around Paul,
parently not noticing him but poking
s nose at every object, narrowing the
distance between them with every circle.

Ir passed close by the old man, snarled,
completed another half circle and ap-
proached Paul from the left. It stopped

near Paul's head—the wet-dog odor was
sulfocating—and whimpered,

just legs crossed,
watched. ОГ co
An old begga
when he died. Go ah
now, Paul told him. I don't care, But
the beggar only sat and stared. Paul felt
a tugging sensation from below, heard
the dog growl. His whole body seemed
to jerk upwa

flash through his neck. The dogs I
feet were planted alongside Paul's he
and now and again the right paw would

ng lor the clothes
d and take them

lose its footing, kick nervously at Paul's
face. Finally. something gave way. The
dog shook water out of its yellow coat
1 padded a a fresh. piece of flesh
between its jaws. The beggar's eyes
crossed, his head dipped to his chest and
he started to topple forward, but again
he caught himself, took a deep breath,
uncrossed his legs, crossed them again,
but the opposite w
pocket and |

butt, molded
gers, put it
it. For am instant, the earth upended
id Paul found himself hung on
the strect, a target for the millions of
rain darts somebody out in the ht was
throwing at him. There's nobody out
there, he reminded himself, and that
set the earth right again. The beggar
spat. Paul shiclded his eyes from the rain
with his lids. He thought he heard other
dogs. How much longer must this go on?
he wondered. How much longer?

238

PLAYBOY

240

the talking trees benen from page 136)

get up and come in. He faltered after
her white back and stood inside the
door. The only light was from the fire.

Nobody heeded him. Dick stood by
the corner of the mantelpiece, one palm
flat on it, his other hand holding his
trembling corncob. He was peering
coldly at her. His eyclashes almost mct.
Georgie lay sprawled in a chintzy arm-
other side of the fire,
wearily g the ash from a black
cigarette into the fender, Opposite him,
Jimmy Sullivan sat on the edge of a
cha is elbows on his knees, his eye-
balls sticking out as if he had just s
lowed something hard and raw. Nobody
said a word. She stood in the center of
the carpet, looking guardedly from one
to the other of them out of her hooded
eyes, her thumbs inside the elastic of
her gym knickers, ready to press them
down over her hips. When Georgie sud-
denly whispered, “The seven veil!"
he at once wanted to ter them all
over their heads with his fiddle case, to
shout at her to stop, to shout at them
that they had seen everything, to shout
t they must look no more. Instead, he
lowered his head so that he saw noth
but her bare feet. Her last ugly g
slid to the carpet. He heard three long
gasps, became aware that Dick's pipe
had fallen to the floor, that Georgie had
started si б ted as if
he was going to strike her. Jimmy had
covered hi e with his hands.

A coal tinkled from the fire to the

ght up, one fist

fender. With averted eyes, he went to it,
knelt before it, wet his fingers with his
spitde, as he had often seen his mother
do, deftly dropped the coal back on the
fire and remained so for a moment,
watching it light a . Then he sidled
back to his violin case, walked out into
the hall, flung open the door on a sky of
stars and straightway started to race the
whole length of the Mardyke, from pool
to pool of light, in duce gasping spurts.

After the first spurt, he stood panting
until his heart stopped hammering. He
heard a girl laughing softly behind a
tree. Just before his second halt, he saw
ahead of him a man and a woman ap-
proaching him arm in arm; but when he
came mp to where they should have
been, they, too, had become invisible.
Halted. breathing, listening, he heard
them murmuring somewhere in the dark.
At his third, panting rest, he heard an
invisible girl s Oh no, oh no!” and
a man’s urgent voice say, “But yes, but
yes!” He felt that behind every tree
there were kissing lovers, and ran with-
out stopping until he had emerged from
the Mardyke among the bright lights
of the city. Then, he was in his own
street, the sweat cooling on his forehead,
standing outside the shuttered plumber's
shop above which they lived. Slowly he
climbed the bare stairs to their floor and
their door. He paused for 2 moment to
Jook up through the bare window at the
stars, opened the door and went in.
Four heads around the supper table

“Here's an honest one: It says,
‘Wanted: colored college graduate to sit at
conspicuous desk in front office of large, hypocritical

corporation, $250 per month.

turned to look inquiringly at him. At
one end of the table, his mother sat
g her blue apron. At the other
end, his father sat in his rolled-up shirt
sleeves, as if he had only just laid down
the pressing iron. Turlough gulped his
food. Jenny smiling mockingly at
him. She had the red ribbon in her hair
1 the mother-of-pearl brooch at her
neck.

“You're bloody late!” his father said
crossly. "What the hell kept you? I hope
you came straight home from your les-
son. What way did you come? Did you
meet anybody or talk to anybody? You
know I don't want any loitering at
night. 1 hope you weren't cadeying with
any blackguards? Sit down, sir, and eat
your supper. Or did your lordshi
pect us to wait for you? WI
y tonight? What did Professor Hart-
un give you to practice for your next
lesson?"

He sat in his place. His mother filled
his plate and they all ate in silence.

Always the questions! Always talk-
ing and talking ar him! They never let
h lone for a minute. His hands sank.
He stared at his greasy plate. She was
so lovely. So white. So lovely. His mother
1 gently, "You're not cat
Are you all right?”

He said, “Ves, yes, 1

Like birds. Like stars. Like music.

His mother said, "Yon ave very
tonight, Tommy. You usually have a lot
of talk after you've been to Professor
Hartmann. What are you thinking of?”
hey were so beautiful!” he blurted,
What was so bloody beautiful?" his
father rasped. “What are you blathering
abou
The stars," he said hastily.

Jenny laughed. His father frowned,
Silence returned.

He knew that he would never a
go back to the sweetshop. They would
only w; to talk and talk about her.
They would want to bring everything
out into the light, boasting and smi
about her, taunting him for having run
away. He would be happy forever if
nly he could walk every night of his
fc up the dark Mardyke, hearing noth-
ing but a girl's laugh from behind a
tree, a branch squeaking and the troll
аше of a lost tram; walk on and on,
deeper into the darkness, until he could
see nothing but one tall house whose
fanlight she would never put out again.
The doorbell might ring, but she would
not hear it. It might be answered, but
not by her. She would be gone. He had
known that ever since he hi her
laughing softly by his side as he ran
away with her forever between those

talking trees.

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PLAYBOY

"Lo
Rabbit Pin, JY253, $6; Rabbit Pin with
Disk, JY254, $8.

Sleepytime stripes

keep her cuddly warm on cold
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Pin her and win her. Choose cither
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Е Ве the big man in her life. Remember her with the gift with a difference.

. From the Playmate gift gallery, of course. To order, please specify product

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PLAYBOY

M
18

First

Additions

Remember everyone during the holiday season—
give soft-cover books from Playboy Press. Perfect
to stuff a stocking, to grace the office grab bag or to
provide that something extra for all the playmates on
your gift list.

THE BEST FROM

PLAYBOYU
Lp

a ARS

PLAYBOY
ADVISOR

PLAYBOY'S PARTY JOKES, MORE PLAYBOY'S PARTY
JOKES and STILL MORE PLAYBOY'S PARTY JOKES
Limericks, jokes, cartoons—a lively trio of popular party
favorites. 192 pages each. PLAYBOY'S PARTY JOKES,
BK102; MORE PLAYBOY'S PARTY JOKES, BK105; STILL
MORE PLAYBOY'S PARTY JOKES, BK108. 75c each.

THE PLAYBOY CARTOON ALBUM, THE PLAYBOY CARTOON
ALBUM 2 Hip humor for happy holidays. Two color-filled
volumes of sophisticated and outragecusly funny cartoons
from PLAYBOY. 192 pages each. THE PLAYBOY CARTOON
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THE BEST FROM PLAYBOY NUMBER ONE, THE BEST
FROM PLAYBOY NUMBER TWO Captivating collections
of the finest pictorials, articles. humor, fiction and car-
toons from PLAY BOY's pastdozen years. The perfect pair.
THE BEST FROM PLAYBOY NUMBER ONE, 192 pages
(90 in full color). ВК202; THE BEST FROM PLAYBOY
NUMBER TWO, 198 pages (90 in full color), BK204.
$2,50 each.

THE PLAYBOY BOOK OF HUMOR AND SATIRE Over 30
wildly funny features by the biggest names in contemporary
humor. 416 pages. BK120. 95c.

THE PLAYBOY BOOK OF SCIENCE FICTION ANO FANTASY
Imaginative and prophetic stories by giants of the far-out
genres. 416 pages BK115. 95e.

THE PLAYBOY BOOK OF HORROR AND THE SUPERNAT-
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and ghosts by modern masters of the macabre. 400 pages.
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reading by 26 experts on intrigue, including lan Fleming
with an exclusive James Bond adventure. 416 pages.
BK116. 95e.

HOW TO ВЕ RICH J. Paul Getty, one of the world's richest
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HOW TO TALK DIRTY AND INFLUENCE PEOPLE. The late
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PLAYBOY'S RIBALO CLASSICS 44 tales of love and laugh-
ter by the world's greatest writers. 192 pages. BK106. 75c.

THE PLAYBOY AOVISOR Provocative questions and no-
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pages. BK107. 75e.

LITTLE ANNIE FANNY A balmy blend cf happy humor,
timely satire and eye-arresting color. 125 pages. BK203.
$2.50.

FEMALES BY COLE 52 wickedly gallant salutes to the de-
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THE BEDSIDE PLAYBOY Novelettes, short stories, inter-
views, humor; visual and verbal delights from PLAYBOY.
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When ordering, list book numbers and quantity. Make
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ONE.

DELITY 55 чаев
HIGH FE окыту TNR

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M
19

PLAYROY

M
20

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THE STATESMAN (continued from page 178)

*T think he might once have been intoler-
ant of liberals as such,” his brother John
a year or two later, “because his
experience was with the high-
speaking kind who never

cart
minded, hip
get anything done. That all changed the

moment he met a liberal like Walter
Reuthe

1 forget whose phrase “experiencing
1—7. S. Eliots. I think—but
th what Robert Kenned: 1, and it
accounted for his fascinating develop-
ment and peculiar power as a politic
leader. “I won't say I st
nights worrying about
fore I became Attorney
once observed w
ness. Then, as Attorney General, he
found himself in the center of the ten-
sions generated by race and by poverty.

He set himself to fight the extr
icaps American law and order imposed
on the blacks and the poor. He sent in
Federal marshals and troops to put
gro students into Southern. universities.
He established an Office of Cr
tice to help the poor have
in the courts. As chai
dents Gommittee on Juvenile Delin-
quency. he helped invent a. number of
the programs that later went into the w
against poverty—among them, the con-
cepts of community action, of the m;
mum feasible parti
and of a youth service corps (VISTA).
He wanted, he liked to say, a Depart-
ment of Justice, not a Department of
Prosecution.

The particular qu:

nature

yed awake

fair break
man of the Presi-

pation of the poor

ity of his expe
encing nature was his power to perceive
the world from the viewpoint of its
casualties and
power of id on. When Robert
Kennedy went into Harlem or Bedford-
Stuyvesant, when he visited a sharecrop-

pers cabin or an Indian reservation,
bloated
away in
blc hovels, his
1,

these were his children with
bellies, his parents wasting
dreary old age, Ais miser
meager scraps lor dinner. He saw it
with personal intensity, from the inside;
he was part of it. It was because those
he came among felt this that they gave
him so unreservedly their confidence and
love. Senator Philip A. Hart of
igan put it this way: “Thousands
in this nation looked on Robert Kennedy
and did not sce a young man, richly cn-
dowed personally and financially. They
tead, a man who chose to face
degradation, fatigue, ridicule—and even
death—to be a champion for these who
needed a champion.”

This was the driving emotion of his
political maturity: this passionate identi-
fication with the victims of the 20th
Century. It accounted for his attitudes
in foreign as well as in domestic alf
‘Although the world’s imperfections
may well call forth the acts of war," he

irs.

said in one of his Vietnam speeches,
ighteousness cannot obscure the agony
and pain those acts bring to a single
child.” He could not abide the thought of
his nation as the dealer of indiscriminate
death to innocent people. He was de
termined to bring the Vietnam war to
an end and make sure there would be no
more Vietnams in the future.

No one ever necded to explain to him
the revolutionary ferocities in the devel-
oping countries. When he encountered
students in Latin America or Africa or
Asia indignant over oppression and in-
justice, he recognized that this would be
his own indignation were he one of
those students. He declined to see it as
the Americin responsibility to crack
down on popular aspirations for social
change. “The worst thing we could do,”
aid, “would be to take as our mission
the suppression of disorder and internal
upheaval everywhere it appears" He
well understood how we came through
to the rest of the world—how what we
saw as our desire to help other countries
came through as a desire to run other
countries, how our rectitude came
through as arrogance. Because of this, he
ys the advocate of restraint in
not want his na
tion to throw its weight around, nor
force other nations against closed doors.
America, as he saw it, would guide the

world more effectively through its ex
ample than through its nuclear arsenal.
This power of identification was the

raw material of his politics. But emotion.
by itself does not constitute а political
creed. In the last four years of his life,
as Scnator from New York, Robert Ken-
nedy began to convert emotion into
philosophy and strategy. In doing so. he
was, I believe, heading toward a basic
reconstruction of American liber:
a reconstruction that, had he become
Tresident, might have marked as em
phatic a stage in the evolution ol Ameri-
can democracy as that wrought in other
times by Andrew Jackson or Franklin
Roosevelt.

To transform emotion
a democratic leader must have other
qualities. besides sympathy: He must
have a sense of reality, an analytical
understanding of the problems, an
stine for program and action, a capacity
to rally a majority behind his policies
and the will and skill to put policies
into effect. He must, in short, unite
ideas with power. This is what Robert

ism—

nto politi

he talked about the

children in the ghetto, for example, ap-
palling statistics would pour out in an
impassioned flow: that the average Har
child loses ten. points in his I. Q.
between the third and the sixth grades.
that only two percent of the 30,000
college-preparatory diplomas issued by
New York City high schools in 1967 went
to black teenagers. But defining prob-
lems, ruminating about them, was only
the start. "How many people are going to
suffer,” he once asked, y chil
dren are going to die, and how many
other children are going to be unedu-
cated while somebody is trying to find
a solution?

As he thought about the defects ol
American society, he began to feel more
and more keenly the limitations of the
solutions left over from the New Deal
and the Thirties. The New Deal ap-
proach—áà vigorous national Govern-
ment fighting depression by establishing
imum levels of economic and social
security—had saved the country in a
decade when general collapse had. pro-
duced local demoralization. But national
programs designed to give self-reliant
men insurance against unemployment,
sickness and old age did not, in his
judgment, answer the problems of others
who had inherited. poverty aud. regarded.
it as a permanent condition. or ol yet
others debarred from opportunity be
cause of the color of their skin.

lt should be understood that he was
not, in the manner of Barry Goldwater
or Paul Goodman, inveighing against
the natio: Government as such. He
regarded the Federal role in supplying
resources and setting standards as indis-
pensable. Nor, when he talked of decen-
tralization, was he arguing States’ rights.
He had no illusions about the superior
virtue of local bureaucracies. He was
talking about something different—about
what he called, in a favorite word.
participation." He meant by this not at
1 а resort to the state and municipal
units that had so long toadied to the
local moguls but the creation of "new
community institutions that local resi-
dents control and through which they
can express their wishes." Such new
stitutions, he hoped, could build
sufficiency and self-determir

> wi

sell-
tion within

help the
nd bring
residents but. the
stream

the communities ol poverty.
poor shape their own destiny
individual

not

just
e со
of Ameri
“What we must seek,” said Kennedy
ms but greater

ion." The community-develop-
ment corporation was his chosen instru-
ment. Of course, such corporations could
not succeed without Federal support,
induding tax credits and. deductions for
firms moving into poverty areas. But
the vital aspect was the enlistment of the
concern of the ghetto, as well as the
al of the surrounding commun

the effort at reg ion. Though
the Senatorial habit is to speak rather
tham act, Kennedy characteristically ig-
nored precedent and acted. In 1966, he
organized two corporations—one com-
posed of residents of Bedford-Stuyvesant,
the second-largest black ghetto in the
land, the other of august New York
financiers—to work together for the hu-
manization of life in this sad and wasted
New York enclave,

The key, he thought, was the creation
of employment in the ghettos. Kennedy
resisted the presently fashionable idea
of a guaranteed annual income. Such
schemes, he felt, could not provide the
"sense of self-sufficiency, of participation
in the life of the community, that is
essential for citizens of a democracy."
Let Government be not the patron of
last resort but “the employer of last
resort; income maintenance could come
later.

The approach was novel, and Ke
nedy's programs were worked out in im-
pressive technical detail, But it would
be nonseme to say that his philosophy
and program accounted for his populari
ty. Most of his followers had no cl
idea what he was proposing. They only
had confidence in his motives and his
purpose. So, like every American leader
from George Washington on, Kennedy
relied in part on personality to wi
support for policies. Recent events, how
ever, had. given the role oL personality
n even greater significance in American

politic; and Kennedy was the bene-
ficiary and, ultimately, the victim of this
development. To understand all this, we
must endure a digression into the ques-
tion of the New Politics.

This enigmatic phrase in recent
months had been more uttered than un-
derstood. I do not c now pre
cisely what others mean by it. But I take
it that American political life has been
undergoing a fundamental change as a
result primarily of changes in the means
of communication. Beneath his vaude-
ville, Marshall McLuhan has a funda-
mental point, The change began with
radio but has assumed a new and dec
sive aspect with the rise of television
and the publicopinion poll.

The ellect of television and polling
has been to hasten the dissolution of
the tradicional structures of American
politics. For a century, a series of
institutions—the political organization,
the trade union, the farm organiza-
tion, the ethnic group—has mediated
between the politician and the voter,
interpreting issues to their constituencies
and rallying their constituencies for the
campaign, These functions are now
being taken over by the mass media.
The result will soon be to liquidate the
traditional brokers of American politics,

242 leaving candidates face to face with a

PLAYBOY

diffused and
opinion.
The Old Politics is becoming a self-
perpetuating myth—a myth kept alive
by the political professionals, whe have
vested interest in its preservati
by newspapermen, who spend most of
their time interviewing political profes-
sionals, The people have meanwhile
struck out on their own. They base their
judgments each evening on Walter Cron-
kite and David Brinkley and register
their views each week through Louis
Harris and George Gallup. They regard
the old political establishment with con-
tempt and respond to any candidate
who sets himself against the old faces,
The anticstablisiunent. candidates appeal
above all to the students, who thus far
have been the only ones to develop
modes of organization ıhat will work in
the electronic age. In short, the old,
slow-motion broker politics is now giv-
ing way to the politics ol im
ticipation.
of course, ch
belore television. But
electronic media have intensified
impact of personality on politic even
while they have made the fabrication of
artificial personae more dificult. Eugene
IcCarthy, whose acolytes proudly de-
scribe him as an antihero, uses television
with great subtlety and skill—far more
effectively than the paladins of the Old
Politics such as Nixon and Hu
for Kennedy, his very d . impar
tience and absence of self-consciousness
made him a natural for the new media.
himself recently handed down

highly sensitive public

the
the

scene, it is to see how
much bigger he was than the mere
candidate role he undertook to per-
form. His many hidden dimensions
ppeared less on the rostrum than

ttos and in his casy rapport
the surging generosity of
young hearts. He strove to do good
by stealth and blushed to find it
this [reluctant hero]
ity chat gave integrity and pow-

And TV did the rest. So Kennedy was
mobbed, touched and caressed far more
than the charismatic idols of the past—
Franklin Roosevelt, William Jennings
Bryan or Andrew Jackson—ever were.
Kennedy himself regarded ай this
without enthusiasm and with character
ic fatalism. He did not like having
aks torn from his wrists or shocs
from his feet; and he well knew that
men who become symbols of issues court
the attention of fanatics. But he knew
also that personal leadership was an
indispensable means of welding dispa-

rate groups together in a common cause.

It was this cause he carried in 1968 to
prosperous suburbs and complacent coun-
try towns in Indiana, Nebraska, Oregon
and Californ He insisted on describ-
g the shameful things he had seen
in America to people who did not want
to hear about them. He kept saying, in
his flat, vibrant voice, “This is not ac
ceptable. . . . I think we can do better
Many felt threatened by his sense of
crisis and his summons
became fashionable to s
"divisive" figure. No doubt he was divi-
sive in the chambers of comma
the country clubs. But in the context of
the great and terrible divisions in Amer
ican society—affluent America vs. impov-
erished America, white America vs. black
America, middle-aged America vs. young
Americi—Robert Kennedy was the most
unifying figure in our pol

To understand his political thrust, we
must suffer another digression. Political
commentators for some time have been
reading obit over what they call
the Roosevelt coalition—that combina-
tion of the working Classes, the ethnic
minorities and the intellectuals th;
F. D. R. put together in the era when
income provided the line of division
American politics. In New Deal days,
the low-income groups supported not
only the programs of economic redistr
bution from which they denved direct
benefit but also F. D. R's policies of so-
cial reform, internationalism and civil
freedom. Now, the pundits say, cconom-
ic issues are less importa ssucs of
freedom and foreign policy are more
i nd, in consequence, the di-
viding line in our present politics is no
longer income but education. The low-
income groups, being also the least edu
cated, have turned against the libe
ideals of F.D. R. On Negro rights, civil
ics and foreign policy, they take
the most primitive positions: They can't
wait to crack down on the blacks, im-
prison the agitators and bomb hell out
of the North Vietnamese. The A.F. L.
C. I. O. is thus more reactionary on for-
cign policy than the United States
Chamber of Commerce.

On the other hand, the higher the de-
gree of education, the greater the degree
of enlightenment on noneconomic issues.
Therefore, according to the pundits,
the new liberal coalition must organize
the college: nites, tech-
micans, intellectuals, socially conscious
businessmen, church groups—in a new
rally of the illuminati; as for the prole-
tariat, leave that to George Wallace. So
the anointed Eugene McCarthy summed
it up last May before a college audience
at Corvallis, Oregon, The polls, Mc
Carthy said, showed that Robert Ken-
nedy ran best “among the less intelligent

“Oh, God! It's really been one of those days!”

243

PLAYBOY

244

and less educated people in America.
And 1 don't mean to fault them for vot
ing for him, but 1 think that you ought
in mind as you go to the

polls here.

Robert Kennedy sud to hell with
that. He persisted in caring about the
“less educated.” Unlike McCarthy, he
did not regard them as necessarily less
intelligent; and he was not prepared to

nd them over 10 George Wallsce. He
did not suppose they had changed all
that much since the Thirties. He under-
stood that they had followed Roosevelt
then on issues outside thei
cern—such as civil
and foreign policy—not because they
had clear views on these issues but be-
ause they had a confidence in Roosevelt
founded in his leadership on the issues
that were part of their daily concern.
Kennedy was sure that they could be
reclaimed for political decency. He had
the power to reconstitute the Roosevelt
coalition—and add to it the new groups
of John Kenneth С
state, especially the ma
students. (It
m that his hesitation in entering the
Presidential competition of 1968 lost him
the support of so many among the young
and in the intellectu

constituency.)

The reconstruction of the New Deal
coalition was well under way last spring.
In Ind for example, Kennedy, like
F.D.R. before him, carried both black
ad backlash precincts. Paul Cowan of
The Village Voice, reporting in July on
George Wallace in Massachusetts, wrote,
“I realized for the first time how impor-
nt Robert Kennedys candidacy had
been. He was the last liberal polit
could чис with white
ng-class How far we
ys of the New
edy was also, of course, the
ted. best.

who
work
have
Deal! Ke
white pol
with nonwhite America.

The fact that personality played so
vital а part in his appeal led some
lastidious souls in 1968, in understand.
coil from the overweening ego ol
Lyndon Johnson, to condemn the whole
idea of strong. political personalities. For
а moment, it even began to be fashion-
ble to flinch from the very idea of a
strong President. Senator. McCarthy, the
first liberal in this century to campaign
against the Presidency. said in August of
John Kennedy: "What I regret is the
he personalized the Presidency. 1
Know that Johnson has done this, but
1 think he has done it defensively as
things have got more and more out of
control. Jack did it almost deliberately.
He brought all the new men in and
conveyed the impression that all power
radiated from the Presidency.

Robert Kennedy rejected the peculiar

commu

who communi

able

ef in the virtues of a weak Presidency

derstood that we were heading into
perilous times, that the ties that had
precariously bound Americans together
were under almost intolerable strain and
that cutting back Presidential authority
could be a disastrous error at just the
time when only a strong President could
deal effectively with our most difficult
and urgent problem: racial justice. As
never befo he felt, the President had
to be the tribune of the disinherited and
the dispossessed. He perceived this need
more lucidly than anyone else, and he
alone tried to fll it: no other candidate
—least of all the other “liberal,” Mc-
Carthy—even saw the point. No other
candidate offered such a possibility in.
deed, any serious possibility—ol serving
as a bridge between the alienated groups
and middle class America

Kennedy thus became the champion

of those who in the past had been the
constituents of no one. Some champions
of forgotten men—Hitler, Huey Long.
Pierre Poujade, George Wallace—sought
only rancor and destruction. Others—
Jackson, Lloyd George. Roosevel
sought to redress grievance and
society a new sense of community.
nedy's resolve was to use the Pre
t0 lead the excluded groups into full
and healthy participation in American
sociery. He was the representative of the
unrepresented in American politi
and their hope for re-entry into Ameri-
can Ше. These were the people who
swarmed over his when he was alive,
who stood with weeping faces by the
1 tracks when the funeral train
d his body from New York to
gton.
s was the politics of Robert Ken-
He understood the terrible angers
boiling up within our society: he identi-
fied himself with the need. for
tion and opportunity on the part ol
those whom “respectabl had
made oute
saw the Presidency
through which to bring
and justice within the
order.

He brought to this politics his own dis-
ve personal qualities. He perceived
the future as plastic, mysterious, requir-
ing adventure d forever
testing man’s will and hope
standy responded to challenge
some challenges visible to no
there were always more rapids he h
shoot amd mountains to climb. Living

bout progress
constitutional

con-

had to life. Some, of course, n
stood, or refused to understand, what he
was all about, They supposed him hard,
uthless, unfeeling. unvielding, a hate
In fact, he was exceptionally gentle and
considerate, bluntly honest, profoundly
xtremely funny, the best

of husbands and fathers, the dearest of
friends. He loved his fellow citizens and
was prepared to trust himself to them.
The quality of his love was such that it
would have survived the depraved and
terrifying act that destroyed him.

He was a brilliant and devoted man,
superbly equipped by intelligence, judg-
ment and passion to discharge great
national tasks. He was, indeed, better
prepared Гог the Presidency than his
brother had been in 1960. His expe
ence had been wider and he had been
exposed to more of the agonizing prob-
lems of his country and the world. His
freedom from conventionality and his
instinctive candor of mind and heart
penetrated to fundamentals and stimu-
ted those around him to fresh insight
ad sympathy. He was our
mising leader. 1 agree wi

nion most

Ан
become the
test Presidents in our

Kennedy was still
elected, he would
three or four gre;
ional hi: d

The destiny of nations is not likely to
be settled by the destiny of individuals.
Yet leadership can make a vast difference
—as in our own day, one way or another,
the lives of. Churchill and Roosevelt, of
Gandhi and Lenin, of Hitler and Mus-
solini. ol Tito and Mao, of De Gaulle
nd John Kennedy have plainly show
No one can doubt that our country has
lost immeasurably in the years to come
through the murders of John and Robert
Kennedy. They were brought to death by
the worst in America—the self-rightcous-
ed, the
Г that violence is proof of

one of

ness, the bigotry, the relish of ha

idiotic be

virility—as they succeeded so greatly in
d the best in the

life because they т
nation they loved: the
ery, the self-mocking humor, the f
freedom and reason.
And what of the Kennedy lega
“The good of man.” said Aristotle,
“must be the end of the science of
politics.” Robert Kennedys last cam-
paign set forth in a compelling way the
agenda for American politics in the
Seventies: the need to move beyond
n пуоріа and to embrace the
disinherited and the dispossessed in a
d jus
ie beyond our vi-
d Robert Kennedy in South

delle-class

new circle of human
“Our future may

Sion," si

Africa, “but it is nor completely beyond
our control. 1t is the shaping impulse of
America that neither fate nor nature nor

the irresistible tides of history, but the
work of our own hands, matched to
reason and principle, will determine des
tiny. There that, even a

g Iso expei

truth, In any event, it is the only way

we can live.”

DOMESTIC SERVICE

(continued from page 152)

A whole day would pass and nothing
happened in the house and in the road
nothing of greater moment than the rare
appearance of a four-wheeled cab. The
youngest sister complained of Mord
m'lys singing, which disturbed her
elder sisters’ literary labors, and at the
same time pointed out to Mord Emily
that it was not considered good form for
a general servant to whistle. Mord Em'ly
spoke to the girl next door, and the girl
next door, on learning that her mother
a cliarwoman, dropped the acquaint-
ie and told the other girls in the
road, so that when by any chance Mord

а red very

It is scarcely to be wondered at that
when Mord E rd of an opening
in a jam factory, she grabbed at it. And
all over London. thousands of other
Mord Envlys were leaving domestic serv-
ice for factory lile. In the mid-Thirties,
an arca covering three quarters of the
County of London, there were, accord-
to the author of The New Survey
of London Life and Labor, only iwo
servants to every hundred people

"To my mind— throw it out merely as
а suggestion—the root of the whole

trouble was that servants were called
servants,
In a sense, we are all servants. whether

we work in a posh office or a dark basc-
ment; but to tlie sensitive mind, there is
something revolting in the word, When
an editor asks me to write an article, as
it might be on the lost art of domestic
service, I touch my hat and say “Yes,
sir,” but I should hate it if 1 were de-
scribed as a servant. I prefer to look on
myself as the help.

What a boon Ате wention of
that word has been. It docs away with
hed to doing the dusting
and washing up and preserves the sell
respect. II nd had adopted it 200
years ago, the sceptered isle would be in
beer shape today as regards securing
assistance of the cooks, housem;
s who are in such she
y ly might have become
quite fond of Lucella Road, Peckham, if
she hud been called. the help.

Unquestionably, employers of hous
hold labor are having a sticky time at
the moment; but what of the future?
Going by the form book and taking inta
the shrinkage there has
been in the last half century or so, one
would say before long the entire
race of domestics would die out; but
Dr. Michael Young, in book The
Rise of the Meritocrucy, thinks other
wise. He predicts that domestic service
1 be re-established.

a's

consideration i

The
me

it out.
whe:

Here i
time, he
will be a
not bluc blood nor money, just solid me
йана two thirds of the population will
by then be a pretty brainy bunch, up-
and-coming and equal to anything, But
the other one third, the complexities of
modern civilization having become too
much for their poor weak heads, will be
unemployable in the ordinary economy,
and the only thing they will be fit for
will be doing the chores for the gifted
two thirds, thus releasing the latter's en
ergies for higher things. This backward
one umd will be enrolled in a Home
H. p Co ps, with fixed м
conditions.

It sounds all right, but I am not sure I
like the idea. Through no fault of my
own, I am not very bright, and 1 am cer-
tain to be among the first to be flunked

yes, hours and

the examination (which will presum
ably separate the brainy [rom the
dumb) and told to become a member of
the Home Help Corps. I see myself as a.
sort of Mr. Clean, constantly called on
at a moments notice to do the dirty
work. (“Your kitchen sink not working.
Professor? Clogged up, you say? We'll
soon fix that. Where's Wodehouse? Send
for Wodehouse. Oh, there you are,
Wodehouse. Well, snap into it, don't
just sit there. Ger your tweezers or what-
ever you call them and hurry off to this
gentleman's address.")

But walt. A ray of
through the clouds. Glancing again at
Dr. Young’s book, I see that all this is
not going to happen much before 1999.
By that time, it is quite possible that, as

y 88th birthday falls next October, I
shall not be around. Oh, goody, goody.

sunshine steals

245

PLAYBOY

246 Material.

THE MAN

to me. I wasn't ready for public discus-
sion. I [elt uncasy under the steady gaze
of my host and this roomful of important
strangers. So, hesitatingly, rather arro-
gandy, and perhaps even ruthlewly, I
plunged in. "I told Jerry—its a long

m Mexico City 1 wouldn't have
I hadn't liked the book.
I could see Kennedy's eyes taking this
n. ngers. But there
was something in his silence that made
me wonder if he wasn't the only one in

the room who did tone
or content of the

The next ques s to learn
in time—was typically R. F.K.: "Well,

was there anything about the book that
you didn't like?"

I felt he was the kind of man who
could accept nothing less than the fat-
out truth, So I said, Yes, there were a
few things in it that had disturbed me. I
could [ecl a gentle pressure on my foot
from the shoe of my friend Jerry Wald.
"E think we'd all be interested what
you have to say.” Kennedy said. With a
nervous glance at Jerry and the watchful
faces around the table, I went on:

“There is one chapter about how hard
everybody worked. How the aides stayed
in their offices until after midnight—

how they caught planes at three in the
morning—how they arrived in other cit-
ies and went rut to work on their

cases without any sleep.

in a com-
pletely noncommittal tone. I couldn't
tell if I was getting through or arousing
his “arrogance.” And 1 could feel Wald's
continuing pressure on my foot.
“Well—what struck me was, why
shouldn't you all work hard? A lot of
people in this country, when they get
deeply involved in what they're doing,
happily work around the clock. I thought
there was something slightly sclfright-
eous about that chapter. And we tax
payers could react, "Aside from the fact
that your staff obviously is dedicated to
fighting corruption and your book does
make that awfully clear—we рау them
to work hard.
By this time, Jerry was deftly kicking
me in the shin, There was some sell
defense from aides around the table and
reproachful glances from members of
the touchfootball cabinet. But Bob
Kennedy cut in: “You may have a point.
The reason I wanted to write that сі
ter was to give credit to a lot of people
who really did a lot of the tough, uphill,
day-and-night igation for which 1
as chief counsel (the Senate racket com
mittee), got most of the credit. Bur"—
and he smiled in a way that was more
wistful tha
Jerry know more about this th
Maybe we should say, “Go ahi
call on us for any questions or techni

(continued from page 178)

The meal was over and we were in
the den. Bob poured a cognac for me.
We had a chance to talk alone for a
little while. This time. we discussed
what I did like about the book. 1 said I
was struck by the fact that it made so
clear that every labor racketeer needs a

as a coconspirator and that
both of them are joined in a plot to
undermine honest labor unionism and
to subvert union contracts. Aud beyond
ally attracted me was the
theme—1 had tried to point it out in my
own books and films—there was some-
1
beginning to rot. From big businessmen
cheating on or finding loopholes in their
income tax to stealing millions from
union treasuries, to preaching but not
cticing true demoaacy. . . . 1 felt
the book was much more th vivid
account of the extended hearings of the
Senate racket committee. Не had struck
on a big theme—we are hardly in a posi-
tion to preach or dictate to other coun-
tries and other systems until, as Kennedy
had written, we defeat “the enemy
within.”
;ood, m glad you agree.” he said.
“I wrote those last pages very carefully
—1 didn't nt the book to seem to be
aimed against a single man or a single
union. It is the society that. produces
Beck or a Holla or a Johnny Dio.
don't know how you are able to bring
that out in a picture, but that seems 10
me the only real reason for making the
picture. If it comes off as well as Water-
front, it could help shake people out of
their apathy. 1 think we agree about
the creeping corruption—it is something
the President hopes to check, to give the
people a new sense of idealism, a sense
of destiny that isn't just money-making
and pleasure-secl

Since this writer has a good second-
class car but not the built-in tape record-
er of an O'Hara, I cannot say that
those were the exact words. But I do
remember that they were said with quiet
fervor and without pomposity. He cared
about it. He felt it. Sometime the
future. he said, he would like to write
more about the things in which he be-
lieved. He said he thought the next ten
ys would produce the turning point
our history—cither an America i
fected with corruption or the rebirth of
spirit and idealism with which we
had begun. He sounded very much like
the conclusion of The Enemy Within.
but he had а way of putting it simply
and modestly; in fact, dilhdently. He
seemed almost boyishly pleased that. I
admired the book, both its content
its theme. For a
for being dogmatic, he was surpr
asy to talk to. He talked without
side” and he listened well. But naturally,

thing at the core of our society tha

he had some of the habits of an cxecu-
tive and he could not resist asking, “How
long do you think it will take vc
te the script?”

1 haven't the slightest
а

idea,
aven't even read the mati

reread the book.”

mean all the

racket-committee

"Fm not sure you realize—they fill
forty volumes.

“I wish you'd send them to me,” I
said. Bob asked an aide to get all the
material together and send it to Mexico.
I promised to read it all as fast as I
could and to call him when Jerry and I
were ready for the next meeting.

Bob Kennedy and Ethel walked us to
the door, where we had to step over а
black monster of a Newfoundland by
the name of Brumus. "I don't know why
Brumus picks this as his favorite place to
sleep,” Ethel said.

"And you have to step over him care
fully.” Bob said. "If you kick him by
mistake, he may wake up in a bad mood
nd bite you

he's wonderful with the chil-
Ethel came to Brumus' defense.
ow, Ethel, he even bites them once
while,” Bob reminded hi
Not really hard,” said Ethel.

Bob walked us out to the car. "If you
really read. those hearings from cover to
cover, I may have to write a chapter in
my next book about how hard jou
work.”

“That will also be boring," 1 said.

Bob smiled. You could tease him. And
as I was to discover in the years to come,
he could dish it out with a quick humor
that somehow failed to color his public

image.
On the way back to the Carlton, Jerry
said, “Whew, Budd, I almost thought you

blew it when you started 10 criticize the
book. But it worked our great. Terrific!
rankly. he surprised me, Jerry. I
liked him. He's got a nice, keen mind,
but he doesn't want to push us and he

nt to be fawned on. 1 wonder
is that we've read nothing about
at describes or even suggests the
way he seemed tonight.

I spent the next six weeks reading
d underlining those 40 volui
hours but fascin:
ny from big-city gangsters, co ity
officials. company executives who solved
their labor problems by buying off un-
jon “leaders” banished from the A. F. Lo
C. LO., honest rank-and-filers who fought
to reform their unions and stood up
to obscene punishment and sometimes
death to defend their rights.

A few months later, I was back in
Washington with an outline. This time,
we met in а small den behind the office
of the Attorney General. The spacious-
ss, the traditional paneling, the high

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PLAYBOY

248

ceiling, the flag. gave it grandeur. The
y crayon drawings by the Kennedy
children lovingly pinned along the walls
nd the presence of Brumus stretched
like a great shaggy rug beneath the
American standard turned this otherwise
impressive office into an informal home
away from home. The hour w
after the business of had
been concluded. Bob sat om the floor,
leani nst the wall, with his knees
drawn up and his arms around them, as
1 would see him do often, as I was to see
him in his suite at the Ambassador Ho-
tel in Los Angeles a few minutes before
midnight on the fourth of June, 1968

1 read, in my usual stammering voice,
the opening sentences of my outline. The
film would not feature the chief counsel
of the racket committee and his staff but,
instead, a prototype of a powerful labor
racketeer. And we would sce him first
not as a villain but as a tough, likable,
rank-and-file union member who is cap-
in of the local bowling tc

"I don't like id the crisp and
rather formidable ex-Harvard football
captain and Presidential aide Kenny
O'Donnell.

"You haven't heard it yer,” I said.

Bob nodded. “He's right, Kenny. He's
worked hard on this Lets hear him
out.”

When I came to the end, Bob made
me a drink and took me aside. “I like
it," he said. 71 don't think any of us saw.
at all But—thar's why you're

something like you've done before, only
on much larger stage."

"Exactly," I said. “If I make the in-
vestigators the heroes, the leading cha
acters, it will come out like a bigger
Untouchables. & cops und robbers tele
sion show.”

Bob nodded. "Don't get sore at Ken-
ny. His instinct is to. protect me. And
is to protect your own ideas. 1

Then he asked me, since 1 was planning
10 stay over another day for some addi.
tional research, if 1 would like to come
out for supper the following evening.
There would be just a few friends, strict-
ly informal, don't bother to wear a tie,
no shoptalk.

“The following evening, I learned what
nlormality meant at Hickory Hill. There
was a barbecue on the terrace, with Bob
handling the hamburgers. Amid children,
pets, guests and a few college girl sect
tarics who seemed part of the family, the
atmosphere was one of happy confusion.
The hamburgers were ready before the
salad was out of the kitchen, Bob's style at
the barbecue wagon was noisily criticized.
by his guests, a motley of White House
lieutenants, Justice Department subordi-
nates and Harvard classmates. І don't

remember Bob's answers, only that they
were funny. Over the years, I was to think
many times how much wittier he w
and how much deeper, than people real-
ized. With all that publicity, negative
and positive, his true personality never
seemed to come through to the nation as
a whole—until it was too late.

If it seems as if I am seeing Bob
Kennedy through the small end of the
telescope in viewing him largely through
his relationship to my dramatizing The
Enemy Within, I think it is also true
that Bob's behavior throughout that ex
perience reveals many phases of his pa
sonality that were also brought to b.
on the great issues that haunt us—bigot-
ту and injustice, the sickening poverty
of undeveloped nations, the alienation
of the new generation. As I came to
know Bob better with cach meeting,
phone call or exchange of letters, I felt I
ate his personal relations with
me to his understanding of the social
t lines that threaten to shake and
g down our civilization.

To jump from the sublime to the
ridiculous, on one occasion he dropped
me a short note to ask how I was

coming with the script and then could
not resist asking if I thought I could do
“as great a job as you did with the
Waterfront.” Jey Wald had planted.
ше nerve-racking seed that this film
would be greater than. Waterfront, Citi-
zen Kane, La Dolce Vita and The
Grand Illusion combined. 1 was strung
out from receiving Jerry's almost daily
c relating those films, not to men-
tion Hamlet and Oedipus Rex, to what
I was trying to write. So 1 answered
Bob, rather testily, that asking me how I
expected to do was not so diflerent from
asking Mickey Mantle if he thought he
would hit a home run the nest time
he went to bat, or Johnny Unitas if he
thought he would throw a touchdown
pass on the next play from his own
20у; line. In fact, 1 felt that was
about where I was. on my own 20, and

all I could tell him was what Johnny
would tell him, "Bobby, all I can do
is uy.”

А Гем days later, he sent a nice little
note, appreciating the fact that we were
both sports fans and saying he wouldn't
add to the pressure by asking in advance
for that touchdown pass. Just the same,
1 felt he would make a great playing man-
ager. He had a fine sense of when to put
the pressure on and when to take it off.

In the course of my ing the
‚ we had only one real rhu-
and the way he handled it w

barb,

also revealing of the man. Inadvertently,

it seemed 1 had written into the script
a sene dealing with the wife of a
labor racketeer whom I had invented.
It was neither in The Enemy Within
nor in the official transcripts of the hea

ings, since Bob and the Senate committee
1 avoided the personal lives of the
people whose corrupt practices were
being examined. A friend of Bob's
phoned me to say that R.F.K. was em-
barassed by the scene, because it hap-
pened to be painfully similar to an actual
incident. It could look as if Bob was
using the film to make a personal attack
on the wife of an official he was accusing
of major crimes. Despite what some
people believed, Bob was anxious to
avoid hurting innocent people or to in-
volve himself in personal vendetas.

I said I sympathized with Bob and did
not want to embarrass him, but I also.
sympathized with myself. It was a strong,
scene, The fact that ] had "invented
something that actually had happened
proved its validity. By this time, 1 knew
him pretty well. I warned him that this
discussion could not be settled in a
matter of minutes, and so back I went
to the cozy den at Hickory Hill. to argue

it out on a Sunday afternoon. A few of
the aides were there, men I had come to
admire, though 1 found them, through

ble than he was. They
became a little sharp with me. After all,
if the Attorney General of the United
States asks you to take something out,
you simply take it out. I said I couldn't
work that way. There was a silence. 1
realize it was пос exactly am eard-shak-
ing event, compared with the tests being
faced by the President and his most
intimate advisor. But 1 felt pushed and
nerved up. 1 told Bob I hated to make
waves for him when I knew he had a
lot more pressing things on his mind.
the same time, I had to remind h
I had tried to make
beginning that if Bob and his colleagues
nd Jerry Wald wanted an acquiescent
lapter for this project, I was the wrong
man for the job. There were some
frowns, and even a glare or two, but not
from Rob. That was the first time I saw
the famous touch football go into
Look," Bob said, "irs a Sunday
afternoon, a beautiful day, why don't we
just go outside and throw the football
und for a few minutes?

We walked along together, Bob tossing
the football a few feet in the air and
catching it, as we headed for the field.
“You lech awfully strongly about this?”

"Damn right J do." By this time, I
was encouraged that we were on our
way to an unusu -with luck, the
“Waterfront on a national canvas" that
Jerry Wald was urging, the kind of
picture Hollywood rarely, if ever, tries
to make.

“I hate to fight you," I said. "Over
these months Гус been talking to you,
I've come to respect you and like you a
lot, but”

tion.

“But vou also believe in what you're
doing.” he said.

"Hell, yes! I. believe in the theme ol

the book. | think you've touched а
nerve. This country could be great—if it
doesn’t flounder. lose its way—il we can
defeat—it's your tile—your idea—The
Enemy Within. But to get that theme
ss and not just preach at the people
it’s got to be done through live people.
And that’s why I feel we need the scene
with the wife and some of the other
personal things I've added.”
Bob nodded. "After a while, why
don't you go back to the hotel and think
it over. I will, too. Then come back for
supper and well talk about it a little
mo

Alter the game, I had to go back to
the hotel and lie down. I hadn't run out
for d pass like that since my late teen
years at Deerfield. Academy. Bob must
have thrown one that went 60 yards. И

ever there was a new event added to the
Olympics, like the decathlon. but in-
cluding football, mountain

skiing, running rapids.
an attentive and loving family man.
bucking racketeers, bigots and warny
gers. Bob would have been a shoo-in for
the gold medal

Li
lived-in

McLean. Vi
stood in front of the fireplace
not stammering this time, because I
was beginning to know Bob Ke
beginning 10 trust him as a friend—
“The Kennedy-Schulberg Compromise.
“In the spirit of the immortal Hen
clay. . . I began.

Bob laughed. "We have a couple ol
high-powered Lawyers in this room, but I
have a terrible feeling were going to
lose this case.

Actually. we compromised it pretty
well. I gave a little and they gave a little

[remo 1

and. as Bob said, "Everything worked

out fine.

When the screenplay was completed,
he phoned me—enthusiastic. He felt
that 1 had dramatized the theme—a
challenge to the country—in terms that
would both entertain and move a large
audience, as Jewy had hoped. He sug-
gested I fly up to Washington, so that
certain. technical aspects of a Senate in
in could be corrected. And also,
he said he had one criticism involving
ation that he would like to

I returned to Hickory Hill.
was siting in that favorite little
his shirt sleeves. “Now I can tell
when Wald was callin
ke a movi
eally picture how
anyonc could get a story out of it” But
then he called out to Ethel, “Ethel,
dearest, I know you have had a hard day,
but | wonder if you would be kind
enough to bring me some ice cream. Is
that too much to ask, Ethel, dearest?

And Ethel answered sweetly. “No, of
Bobby. dear, after all those
long hours you've been putting in at the
ollice, working so hard for the people of
this country.

And Bob replied
Ethel, Until finally
get the pic Jt had
been Bob's way of telling me that he
thought the one false section ol the
script was the relationship of the young
chief investigator and his wife. drawn
hom but nor intended specifically to

and
out

you.
urging me to let him ma

cven

ol it, I could never

course not,

ind. And then
“OK, OK. I

1 said,
re. You're right.

represent the Kennedys. I had made
them too sentimental, too overtly loving
and too talkative. The only thing Bob

wasn't Kidding about that evening was
the ice cream. Ethel, now the devoted but
brisk and ойе wife for real. and not

the sugary version 1 had written and
that they had just satirized so effectively
—brought Bob a half-gallon carton of
ice cream. If I remember correctly. he
finished it all while discussing other
points in the script. I had noticed, over
what had been nearly a year thar
he was getting better and better as
dramatic critic. He did not limit himself
to those sections involving his work and
of his colleagues on the Senate
racket committee. In several cases. he
шеме the script was over
length, that I would seem to make my
point in a scene and then extend it
another six lines or so that were anticl
actic. In everything I had an opportu
nity to watch Bob do over the seven
years I knew him. I found him an
incredibly quick study. He read and he
watched and he listened and he learned

In this case, 1 said, "Bob. if you're
ever out of work, feel free 10 call on me
the rate you're improving. ГИ hap-
pily recommend you as a story editor
20th Century-Fox.”

Bob grinned. “Thanks.
that, At the moment, I'm g

now

since

Il remember
infully em-

ployed. But in this world, you nev
know
In their thoughtful appreciation ol

Bob Kennedy, written in those first
night hours after we los him i
that cursed panty of the Ambassador

Fre-
| true

Hotel, Warren Rogers and Stanley
k ol Look m пе. good
friends of Bob's over a long period.
added, "He was fun to be around. , . ~
eryone who knew him personally. with
the exception of his enemies, would
heartily agree. The kind of wl
scene he had created 10 debunk one sec
rather ап

tion of my script, 10 come
at it head on, made him а consistently
enter g companion. One morn

he asked me to breakfast ас the fa

249

apartment on Central Park South. Ed
Guthman, his press officer, was there. It
was 8:30 and Bob had just returned
from Mass. "What would vou fellas like
for breakfast?” he asked. Ed and I both
thought bacon and eggs would be fine.
“A nice Catholic boy like me has to cook
bacon and eggs on Friday for a couple of
backsliding Jewish boys.” But while we
stood around in the small kitchen, Bob
started, quite efficiently, to prepare the
breakfast. Gore Vidal had just published
what seemed to Bob's friends an incred-
ibly malicious profile of Bob in a na-
tional magazine, managing to edit out
all of his virtues and providing a pro
fessional job of character assassination.
in Gore's well-known waspish style. The
bacon and eggs turned cut fine and as
Bob served them, clowning his solicitude,
he said, “If only Gore Vidal could see
me now—the lovable Bobby standing
over a hot stove to sce that his friends
get a good. nutritious start on the day.

We all laughed and I think I mum-
bled something about asking that maga.
zine to give us equal time to refute
Vidal's distortion of the Kennedy we
knew, But behind the laughter and
the wry humor, I felt a real hurt, even a
sense of bafllement in Bob that his pub-
lic image was so much closer to Vida
caricature tham to the actual, intensely
human being we knew. And as 1 look
back on thar day, it seems a tragic irony
that "equal time” for Bub Kennedy hud
to come in the form of a post-mortem.

If I emphasize the sense of fun in Bob
Kennedy, it is only because that part of
the total picture of the man seems to
have been more blurred than any other.
But Land I speak for hundreds and
scores of hundreds of others fortunate
enough to have known him—also saw

PLAYBOY

t
nature to root it out, or to try
like hell—not tomorrow, but now, For in-
stance, it may be a littleknown fact that
one of Bob's first acts as Attorney Gen-
eral was to ask how many Negrocs there
ме the 1500 lawyers іп the
Justice Department. The astonishing
answer was, "About ten.” Bob was
shocked. Less than one percent! He
said, “That number should be multi-
plied by ten, as soon as possible." The
old bugaboo about “qualified person-
nel” was mentioned, the timeworn barri-
€r to black advancement on professional
and unionized technical levels. Here was
Bob Kennedy at his best, which was as
good as the country could get, maybe
better ı will ger for a long. long
Why can't we cut through this
ay? TIL call the head of the Bar
n of every big city, get them to
ive me the names of the leading black

lawyers in their communities. Then II

call those lawyers and ask them if

they're interested in coming to work for
250 the Justice Department.

In a short time, there were more than
100 black lawyers in the department. I
happened, quite accidentally, to walk in
on a meeting in the big office of the
Attorney Ceneral at which one of thc
new black recruits, attorney Charley
Smith from Los Angeles, was giving his
report to perhaps 30 other department
attorneys on a complicated case ol tax
evasion, Some clever manipulator—not
quite as clever as Smith, apparently—
had moved his funds from one company.
to another and from one bank to anoth-
er. Smith kept rattling off enormous
figures, names of banks. various people
through whose hands ıhese large sums
had passed—without ever referring to
his notes. To a layman like me, it was
a dazzling performance, And to many
of the lawyers present, it was no less so.

Over and over again, they would have

to interrupt to say they had missed the
last couple of points. "You've got to
go a little slower, Charley,” Bob sa
"Remember, you not only know a lot
more about this case but you're smarter
than most of us.” Smith smiled and ran
his mind back a few hundred feet and
then raced forward again, six- and seven-
figure amounts pouring from him as from
a human computer. "Now vou see what's
happened," Bob said to me at the end
of the day, which meant fairly lare into
the evening. "Now we've got a lot of
new lawyers and most of them are so
smart we can't keep up with them.

I also happened to sec Bob Kennedy
on the day that mes Meredith was
ready for his eflort to go through the
color barricr at Ole Miss. The bigots
Oxford were out in full force that day
and the governor himself was going to
stand in the doorway of the university
and refuse young Meredith his civil and
human rights to an education at the state
university. It has been said by his det
tors that Bob didn't care, that he was
merely going through the motions of
supporting civil rights for political rea-
sons. But I saw him that day and night,
in direct contact with Big Jim MeShane
and the U.S. marshals trying to protect
Mercdith from the broken bottles, the
stones and the obscenities. 1 remember
Bob's saying to me, “I know its only
one "—he was much more sensitive to
the debilitating concept of tokenism
than his black critics may have realized
—"but it's the first one, and then two
and then four, eight, until everybody
who's qualified to go to college gets his
chance in that state. We have got to
enforce the Constitution; and now that
the Supreme Court has made that very
dear, we've got to speed up the process,
We've got to—it's the law, it's our moral
oblig Then he added, not as
ny kind of speech but as a human out-
сту. "Oh. God. I hope nothing happens
to Meredith, 1 feel responsible for him. I
promised we'd back him up all the way
—and I'm worried for McShane and the

others, too. It seems so simple, so simple
to us, and down there it's bloody hell.”

Bob stayed up all through that night,
getting minute-by-minute reports. and
even wondering if he should go down in
person to help direct that battle. No one
can ever tell me that Bob Kennedy
merely going through the motions of
supporting human rights. He lived hu-
man rights; and just as he had telephoned
Martin. Luther King
lier ycars o£ the civil rights struggle, he
was at the end of his short life closer
to understanding the cries, threats, de-
mands and needs of the black ghettos
than anyone else in high public life.

As lor The Enemy Within, the
ture never got made. Jerry Wald died
and there seemed to be no one left in
Hollywood courageous enough to pro-
duce it. It attacked labor racketeering
and big-business corruption, which go to-
geiher like the horse and carriage, the.
unhappy hamessing that continues to
this day. On one occasion, а big, tough,
corrupt labor boss walked into the office
of a film-studio head and growled that if
the studio dared make that picture, the
film wucks that carried it would be

overturned and there would be stink
bombs in the theaters. A national-
ly known racketeerlawyer, mentioned

prominently in Bob's book, present at
the Apalachin summit conference, heard
that another studio was considering my
screenplay and made it clear to everyone.

scheduled to attend the meeting (of
which this important Syndicate member
obviously had news in advance) that

there would be trouble, and not merely
legal trouble, if The Enemy Within w
brought to the screen.

In the course of a long struggle to
overcome that semi-invisible censorship,
I would see Bob from time to time. I
understood that it was nor his role to
ask any studio ко produce his book. And
he, in turn, understood my reluctance to
give up a preject into which I had
poured so much time and passion. In
time. I had to abandon the project
(though never the dream of one day
seeing it on film) and move on to other
work—a Broadway musical, short stories,
an zine series on “The Waterfront
Revisited.” subtitled. “Jimmy Holfa Is
the Sewer Through Which the Mob
Flows into the Labor Movement.” Said
Bob of that one, “You're getti
er, meaner d more ruthless th
am!” By this time, we had moved from
a healthy professional to a relaxed per
sonal relationship. I would sec him when
1 went East and often would spend an
hour or an evening with him when he
passed through Los Angeles.

After the August fires of 1965 told the
world about Watts, I founded a small
creative-writing dass there that grew
into the Watts Writers Workshop, with
a resident center of its own, which the

“I suppose we're going lo have to put up with that
dirty snicker for the whole damn year!”

PLAYBOY

252

writers called Douglass House, in honor
of the ex-slave who taught himself to
write, who escaped to the North and
became one of the towering figures of
the Abolition Movement and whose
book Му Bondage and My Freedom
became one of the pivotal works of the
pre-Civil War period. In the bey "
Douglass House was financed by my
ng all the writers ] knew and ask-
ing cach one to contribute $25 each
month or $300 a year. In my letter to
Bob, I said I was appealing to him not
as а Senator (as he since had become)
but as a fellow writer. His check arrived.
with a note asking me to keep him in
touch with our progres. From time to
ne, he would give me his observations
on the growing black urban dislocation.
From my experience in Watts, it seemed
10 me that he was one of the rare public
figures who understood the marginal life,
the inner tension, the growing aliena-
tion and the search for identity and
self-development in the black ghettos.
When we sent him our anthology, From
the Ashes: Voices of Watts, he acknowl-
edged it with a warm letter, saying he
would like to pay a personal visit to the
Workshop the next time he was in Los
Angeles.

When he was in Los Angeles in May
1967, as part of a subcommittee with
Senator Joe Clark holding public hear-

gs in Watts, Bob asked me (at the home
inger on the eve of his going
ts) if I could arrange an inform,
meeting for him, a private meeting, with-
out publicity, at Douglass House. “And
don't stack it with Uncle Toms or middle-
of-the-roaders, I'd like to hear from the
militants, how they're really thinking.
Formal hearings can only tell you so
much... .

Late the next afternoon, after the
public hearings and an exhausting tour
of a score of facilities in Watts, Bob
nied Harry Dolan, director of
Workshop, and me to our
ous. For more than 90 minutes,
s in the Malcolm X sweaters, and.
a few of the oldsters who were almost as
angry, let Bob have it. "What streer
they bring you down?" a fierce 19
old demanded. “1 bet they brought you
down Cenuny. These phony city-hall
handkerchiefheads showed you only
what they want to show Jou. .. We're
sick of all this bouncin'-oll-the-wall tal
++ - Why do our brothers do all the dying
in Vietnam?” Bob mostly parried the
questions that were more like accusations

“I was thinking... uh... Dow Chemical.”

of the entire white establishment, occa-
sionally saying something personal and
pointed, in his quiet, difhdent way.

"You sce," said the ebullient James
Thomas Jackson, "we look on you as the
boss cat. So we figure you should do
something extra for us”

“TU try. PI try.”

When I asked a talented, angry young
man who was at the meeting and who
had been one of the most vociferous
what he thought, he said, “Hell, he’s not
as bad as some. But I'll bet he poes back
to Washington and forgets all about it.”

Interestingly, when Bob addressed a
campaign hmcheon at the Beverly Hil
ton on the Thursday before that final
‘Tuesday, he said that when he had been
in Watts a year earlier, a young man
had accused him of sceing only the wide,
clean streets of Watts, and that in the
back yard of his mother's ramshackle
house, the garbage was piled up, be
the city did not offer the same
to poor blacks as it did to middle-class
whites. At the Hilton, Bob went on to
in to the young
that while this was basically a
municipal problem rather than one he
could help solve in the Senate, at the
same time he recognized the depth of
the anger and he felt it was symbolic of
the problems we must solve from Watts
to Bedford-Stuyvesant, or sacrifice our
claims on greatness with liberty and
justice for all. He had remembered. He
had a remarkable memory. As well as a
unique capacity for indignation.

On the evening of June fourth, along
with scores of other well-wishers, I was in
one of the Kennedy suites on the filth
floor of the Ambassador, talking with
friends—Sandy Vanocur, John nken-
heimer, Pete Hamill, George Plimpton
— when Warren Rogers came in to tell
mc that Bob would like to talk to me
lor a few minutes before he went down
to accept his victory in the Embassy
Room. I went into a small room, where
he was sitting on the floor, leaning
against the wall, with his arms around
his knees, smoking a small cigar. In this
moment of a key victory over Senator
McCarthy in Califor he looked less
arrogant than ever. Again, the adjective
“wistful” comes to mind. Wistful and
concerned,

He asked me what I thought he ought
10 say. I do not want to make more ol
this than there is. Of course, he had
to Sorensen, Schlesinger, and
others, and knew from more astute ad-
visors than I—and from his own deep
cis—exactly what he would like to
say. I think he asked me because we were
friends.

“Well, of course you know who won
this election for you” 1 began.

He smiled sofily. "You are going to
give me the speech about the eighty-five
or ninety percent black vote and the

ali

Chicanos’ practically one hundred. per-
cent

Bob, you're the only white man in
this country they trust.” I said.

s Cesar Chavez downstairs?
I was hoping he would be on the platform
with me. I'd like to have you on the
platform with me, too. if you'd l
And then he brought up the Watts
Writers Workshop and the Douglass
House Theater. “I think you've touched
a nerve.” he said. "We need so many
as. I had one, about the private
sector joining with the public to encour-
age business enterprise in the ghettos—
to build jobs for people within their
own community. I have a feeling ol
what they need. and must have. But we
need so many ideas. We're way behind
in ideas. I've learned a lot since you and
I first talked about civil rights. I think
this workshop idea of yours is kind of a
throwback to the Federal Theater and
ters Project ol the New Deal. We

Is and find jobs in those areas but
creative talent—I saw it in Watts, at the
lass House—so much talent to be

help. I'll do everything I c

Speaker of the California House Jesse
Unruh came over to remind Bob that it
was getting close to midnight, time to go

down and acknowledge the victory and
appear on national television. The voice
of the able and practical professional.

“All right,” Bob said. He moved slow-
ly. He did not seem excited or prideful.
I do not think it is after the fact to say
that his attitude struck me as resigned
determination

He turned to my wife, Geraldine, and
10 me, Warren Rogers and a few others
now gathered around. “After 1 say а few
words, ГИ come through the pantry and
meet you in that little pressroom.”

That is how we happened to be so
close to that. pantry door, Warren and
Geraldine and Pete Hamill and Booker
Griffin and a few others, when we heard
those shots that were to change the
course of American life. The last words
he said to me, as he started down the
hall with Speaker Unruh and his entou-
rage, were, “Budd, stick around, we'll
talk later.

As I took my turns standing vigil at
his bier St. rick's, I looked into the
faces of thousands of mourners who had
come to sty goodbye. Four out of five
were poorly dressed and a dispropor-
tionate number were black or Puerto
From the funeral uain moving
ashington, E looked into the
nds of [aces lining the tracks and
it scemed undeniable that they

rgely the common people, of
ncoln had said, “God must have
loved them, because he made so many

“I know they're litiler than we are, but that
means they can hide better."

of them." Passing through. Baltimore, it
seemed as if its black ci
turned out en masse to well their voices
in an unforgettable Battle Hymn of the
Republic. When the funcral proces
passed Resurrection City on its way to
Arlington. the desperately poor of all
colors lined the edge of their tragic en-
ampment that h
nd its white cha
famous and inconsol.
drizzling darkness. we could not sce thi
aces, only their flickering candles,
they, too. like their brothers along the
lifted. their voices in The Battle
Hymn.

Feeling the presence of those people
who could yet make a revolution or
resign themselves to permanent poverty
п a land of plenty. I was made even
more painfully aware of our loss. Only
Bob Kennedy was breathing a fresh new
spirit into American politics, tired of

wd lost its black leader
pion within eight in-
ble weeks. In the

pii

the Johnsons, the Nixons and the Hum-
ellectual

phreys and. unmoved by the i
aloofness ol McCartli
man, perh:
between tlie best forces of the establish-
ment and the revolutionaries—the angry
dents and the angry blacks, the dis-
possessed. With dangerous polarization,
the conservatives and reactionaries be-
hind Nixon mouthing platitudes, the
speak no evil, see no evil of H.H.H.
and the menace of the backlash Wallace
movement, our country may be in for
years of hell, disruption—it could be
torn apart in the upheavals to come. How

—it

desperately we needed Bob—I see him
ing on the floor, waiting to go down
d take the applause
waiting in the pantry corridor). Talking
bout the Watts Workshop and Chavez
а the Chicanos—and meaning it.

That was Bobbyism—an advanced
New Dealism getting ready for the 5
enties, a style blending the populari
of the 19th Century with a feeling for
the suffering caused by the dislocations
of the Ime 20th Century. Nobody else
had it—not Rockefeller, who is not a
bad man but can't decide 10 be good
cnough; not Jack Javits, who is still the
white Jewish liberal not q
the other ghetto; not MCC

thy, who
will never be at home with the poor, the

working still or th
black. Bobby
"Ehe last гетаў

ployed or the

yy bridge? He would
hat concept. He still
ness of man but not
le m:

in the indispe

But if-to borrow John Gardner's
metaphor— Our 20th Century ins
tions are caught in a savage cross fire
Bob Kennedy was uniquely prepared to
walk through that cross fire in search of
r world that still eludes u

Alas, eschewing strong-arm police pro-
tection, he was not able to walk through
one small pantry where one small man
was waiting Гог him with one small gun.

OK. Bob, we'll stick around. It's just
going to be a hell of a lot harder with

out you.
[Y]

253

one aitic to remark thar she reminded
n of her father in drag, and others
initially implied that her sole claim to
fame was the accident of birth. Jane
does, however, owe at least some of her
success to her lanky father; her 110
pounds are neatly distributed on a wil.
lowy 5°77 frame, just right for the fash-
ion modeling with which her carcer
began. Soon she was successful enough to
appear on five simultaneous magazine
covers and to command the goodly wage
of $50 per hour. Some of these earnings
she uscd to study with acting teacher
Lee Strasberg in 1958, bur
she delayed entering the acting dodge for
of disgracing the family name.

Fonda, however, was no barri-
er ning a few stage roles, after
which Joshua Logan screen-tested and
promptly cast her for the film version of
Tall Story. Jane made her first appear-
ance on screen wearing the brielest of
shorts and pedaling a bicycle and from
then on, the camera focused lovingly on.
her well-rounded rear at every opportu-
nity. In such frothy and farcical subse-
quent films as Sunday in New York, Cat
Ballou and Barefoot in the Park, Jane's
sense of comic timing was refined and
she seemed well on her way to becoming
a youthful replacement for Doris Day.
and she heeded

PLAYBOY

But France beckoned,
the call. Within a year, she was a favor-
ite of the European masses and the

e. Director René Clement
starred her in Joy House and Roger

Vadim, who specialized in making stars
of his wives and vice versa, became her
constant escort and gave her a role in
Circle of Love, his gamy version of the
already oversexed Arthur Schnitzler play
La Ronde, Though her French left some-
thing to be desired, Vadim made her look
so desirable that no one really cared.
Obviously desolate without a movie
star for a wife, Vadim married Jane in
Las Vegas and promptly put her—all of
her—on display in The Game Is Quer,
his adaptation of Zolw's La Curée. For
the delectation of those who might have
dim
at's the word) in pro-
vocative futuristic raiment that revealed
more than it concealed, for his farout
flm version of the popular and sexy
French comic strip Barbarella, which
blended science fiction with sadomasoch-
nd every other conceivable variant
kinky 2001,”
c dubbed it. Whatever else it
did, the role added little to her reputa-
tion as an actress,

Other pretty young things, new on
the movie scene in the Sixties, took their
film carcers more seriously than Jane, but
it still seemed a matter of chance which
of them succeeded in their bids for star-
dom. Probably no one had a greater op-

254 portunity, nor made a more spectacular

missed Mrs. Vadim’s first show, V
costumed her (if th

(continued from page 172)

beginning, than Sue Lyon, who, at 15,
was chosen for the title role of Lolita by
protean director Stanley Kubrick, But
Sue somehow never clicked in her subse-
t parts and today—though she still
appears in an occasional film—is little
more than an erotic memory
wood, Yet another teenaged
Hollywood pan was petite and virgin-
Dee, who de her film
debut at 15 in Until They Sail and, under
the acgis of producer Ross Hunter. soon
^s theory was.
that America’s women still hungered, in
spite of vast social and moral changes, for
old-time Hollywood glamor; his proof of
the theory would be Sandra, whom he in-
tended to mold into a sexy-sweet and
glamorous star who would enchant wom-
en as well as captivate men. But the
bestlaid plans of star makers oft gang
andra sank before she was
fully launched—mainly because Hunt
int was years out of date.
qually precocious but more endu
was Tuesday Weld, who was only 13
when she debuted in 1056 in Rock,
Rock, Rock and was soon known
around Hollywood as "the baby beat-
nik" By the time she was 17, it was
bruited about that Tuesday was swilling
booze like stevedore, that she ran
around with balding bachelors three
times her age and that she sometimes
looked almost as old as they did by the
morning after. In 1963, when she was
preternaturally mature 20, Tuesday de-
cided to reform. She deserted Hollywood
in favor of New York, haunted the pub-
lic library, took an apartment in the
dreary nether reaches of Greenwich Vil-
lage—and observed classes at the Actors
Studio. The result: When she appeared
opposite Steve McQueen in The Cincin-
nati Kid, she made costar Ann-Margret
look like an amateur at both acting and
sex appeal. The former was no chal-
lenge: but the latter a considerable
achievement. Her success al both gives
promise of bigger and better things to
come—even at the advanced age of 25.
"Tuesday's torrid rival in The Cincin-
nati Kid—born Ann-Margaret Olsson in
Sweden and brought to America by her
parents at the age of five—made her
screen. debut in 1961 in Pocketful of
Miracles. But she wasn't really noticed
until her appearance in 1962 on the
Acudemy Award Show, where she did no
more than sing one of the nominated
songs—but Лоте she sang it. Bouncing,
jiggling and wiggling in a skintight
gown, she belted out "the lyrics with
growling animality that all but popped.
Ше eyes Though that single perform-
ed her a succession of roles,

lity ultimately hurt
nd her career; she comes on
so strong that, in addition to lacking
subtlety, she lacks believability. "Ann-
Margret comes through dirty no matter

what she plays," critic Pauline Kael re-
marked; and by making sex seem cheap
at a time when healthier attitudes were
beginning to emerge on screen, she began
to fall behind the times.

It was a time when more and more
would be stars used every opportunity 10
advance themselves through the art of
the still photograph. And none was a
more accomplished mistress of that art
than Raquel Welch, who rose to star
status with the help of а dedicated
press agent and her own spectacular en-
dowments—long before her first picture
was released: a Neanderthal potboiler
called One Million Years B. С.

No less photogenic, though hardly as

persistent as Miss Welch in pursuing the
lensmen, have been such "instant stars”
of the Sixties as Candy Bergen, Anja-

nette Comer, Jill St. John, r Play-
mate Stella Stevens and Sharon Tate.
Whatever their talentasactresses, they were
familiar faces—and physiques—thanks
to magazine and newspaper exposure

them to the studios or to independent
producers who were trying to assemble.
ages they could sell to the
Sidney Lumet, for example,
faced with the formidable problem of
casting eight girls as the Vassar gradu-
de up The Group, had no
bout signing the totally inex-
perienced Candy Bergen for an impor-
ant. role, or giving one of the mcatiest
parts to a relative unknown, Joanna
Peret, whose slim, provocative frame
soon graced the pages of PLAYBOY. Mia
Farrow also made her way to stardom
through the magazine-layout route—with
erable assi from newspaper
ig her with Frank Si

Promising as most of the above you
ladies were and are, they have been
outshone by Katharine Ross, a luminous.
eyed, vibrantvoiced and freckle-faced
73” mite of a girl who,
a Hollywoodite by birth, w:
but anxious for a
ndustry. y
she went to ncisto and joined
stigious Actors Workshop, then
тип by Herbert Blau and Jules Irving;
ment her minuscule Work-
she took some television
t brought her to the attention
Her first film [or that
io was Games, in which she played
the terrorized society wife of a husband
scheming to take over her fortune. Also
» the film
was sulliciently impressed with Katha-
rine’s talent to recommend her 10 Mike
Nichols, who, at the time, was seeking
girl to play Anne Bancroft’s daughter in
The Graduate. Nichols, having emerged
successfully from the rigors of bringing
Who's Afraid of Virginia Woolf? to the
screen, tested Katharine with an obscure
olEBroadway actor, Dustin Hoffman
and, to everyone's surprise, gave them
the roles. Both received Academy Award

а though

was $

nominations and were henceforth in Ше
enviable position of being able to choose
from among dozens of screenplays.

In the Sixties, more often than пот, it
took the right role to make a star; in the
case of Faye Dunaway, it was the role of
Bonnie Parker in Bonnie and Clyde. A
blonde, coolly sensuous beauty and an
actress of distinction, Faye also possessed
that intangible something known as
style Her anribures were recognized
while she was súll a drama major at
Boston University. Upon graduation,
she was awarded a Fulbright Fellowship
to the Royal Academy ol Dramatic Art
in London, but bypassed the fellowship
10 join the Lincoln Center Repertory
Company, and to take a role in the
Broadway stage version of A Man for
AIL Seasons. But her big chance came
when she took over the Barbara Loden
tole in After the Fall, the Arthur Miller
conlessional that appeared to ungra-
ciously castigate his former wife, Marilyn
Monroe. The reviews were glow
Faye further enhanced her reputation.
with an appearance in Hogan's Goat, a
critically admired off-Broadway hit —by
which time several movie producers were
hot on her trail, among them Sam Spiegel
and Otto Preminger. After debuting in.
auspiciously on screen in Spiegel’s The
Happening. she followed up with a fea-
tured role in the equally unimpressive.
if more expensive, Hury Sundown for
Preminger, But then. fortuitously, came
an offer from director Arthur Penn and
produceracior Warren Beatty to costar
in a movie they were planning about
the short but eventful carcer of a pair of
‘Texas bank robbers. The rest, as the
expression goes, is box-office history.

The remarkable success of Bonnie and
Clyde financial terms alone (some
$30,000,000 world-wide) gave resounil-
ing boosts to the careers ol
connected with it, and the controv

everyone
sy

over what a few considered 10 be its
excessive violence helped make it the
most talked-about film of the year. And

in one of those quirks of popular taste
for which film makers are ever grateful,
Bonnie and Clyde even sparked a fash-
ion fever: Faye’s Thirties costumes were
copied and modified by designers. who
brought back the maxiskirt and wide.
lapelled mannish suits worn with shirt
ad tie, and long, lloppy knitted sweaters
ollowing the new fashion in moviestar
interviews as well, Faye was inclined 10 be
a British reporter asked her
the rumor that she had once
ed to the late. Lenny
swered with a firm denial—she
In't married she had
only lived with him, adding thar it had
been one of the most wonderful periods
of her life. OF her more recent re
ship with photographer Jerry Sch
berg. she termed it a agemeı
Despite, or perhaps in part because of.

candid; whe
1o conf
been ma

he was

him, she said

*Ho, ho, ho .

such ail screen candor, Faye seems
tined to become a genuine celebrity.

Others aren't likely 10 be so lucky;
n films have had a
way of zooming and faltering duri
the Sixties, and this has heen especially
true for actresses: relatively few. even the
c endured with their
status undiminished. The males, on the
other hand, have tended to be more
durable. Many—Frank Sinatra. De
Martin, Burt Lancaster, Gregory Peck,

careers in Ameri

young ones,

Kirk Douglas—ue still going strong de-
spite the fact that they celebrated their
зош birthdays during the decade. Even

aled and Gish Jolm Wayne and
ry Grant continue 10 hold their own
And those new stars who have emerged
lee Manin, James Coburn, Steve
McQueen аге almost all well along in
years, One reason for this is that maruri-
¢ in years, with irs implied sexual so-

phistication, has come to be
as desirable and atuactive. Another rea-
son is that the male stars are more

aggressive about coping with the ch:
ing fi

ag
ancial structure of the industry.
for example, has become a law
sell: he chooses his own screen
properties. commissions screenplays. em-
ploys directors and functions as a sub-
contractor with а studio. With this
power. of course. goes the privilege of
choosing the plum role for himself.
Sinatra ha акеп to adding
strong doses of sex and violence, in
order to maintain his heman image. In
Tony Коте. he played a hard. Pitten
Miami private eye who was well ac-
quainted with the city's dip joints and

.. youre all busted!

hookers amd took his pleasures on the
Пу. And im The Detective, he played
tough New York cop who had to cope
with a repellent case of homosexual
with a wife who had
nymphomaniac tendencies; the salty d
log employed in the film would have
been unthinkable only a few years be
fore. By keeping himself au
with the ever-increasing permissiveness
regarding subject matter and treat-
mem, Sinana also kept himself on top
ol the Hollywood heap.

Similarly, Dean Martin, the drinking
ин, found new favor
the Sixties with his relaxed, insouc
titude toward booze and broads, par-
ticularly in his impersonation of Matt
Helm, one of the more successtul Ame
y answers to Britain's Bond. Martin.
born Dino Crocetti in 1917, worked as a
mill hand. a gavstation attendant and a
ighter before becoming the vocal-
zer of Jerry Lewis in a night
act that became the sensation ol
1d brought the two of

courant

F
dub

ies. When Lewis decided to go his own
way, the wiseacres predicted a rapid de-
se for his straightman sidekick: but
the new Dino—amused, tolerant, knowl:
ble, especially about sex—soared as
while Lewis continued to grind
out ever more adolescent Тай riots.

If the role of a black Sinatra is open.
only one actor fits the bill: Sidney Poi
whose film dates back to 1950.
Symptom; the change that
come over the American screen in that
interim is the fact that in his first

arce

ic of has

255

PLAYBOY

256

picture, No Way Out, he was spat upon
by a white psychopath; while iu Zn the
Heat of the Night he was able to deliver
a resounding slap to the face of a South-
ern bigot. In the same year, To Sir, with
Love and Guess Who's Coming lo Din-
ner established him among the indus-
пуу box-office champions and made him

a millionaire. But despite the discreet
kiss he bestowed upon Katharine Hough-
remained

ton in Dinner, Poitier for
many black people a
Tom, a figure of implacable probity who
could always be counted upon to do the
noble thing—by white standards. An-
shed by this image, Poitier sought to
age it by writing and starring in For
Love of Ivy, perhaps the first major film
to center around the love story of two

Negroes. A box-office hit, it presented
Poitier as an elegant, suave, amusing and
emphatically sexual rogue.

more of a champion to the black
community, however, is the fast-rising
Jim Brown, former superstar of the
Cleveland Browns, who—characteristical-
ly—took virile pride in his color in The
Dirty Dozen and engaged in some steamy
love scenes with Diahann Carroll in The
Split. Significantly, the brawny ex full
back was the only dharacier to emerge
with any virtue in that film's over-
whelmingly white cast. By the late Six
ties, Hollywood was beginning to act
as if there had never been a Stepi
Fetchit. Before long, there seems little
doubt that Brown will be ın a position
to emulate Poitier's formula for success—
and independence. Head of his own pro-
duction company—like Sinatra—Poitier
is able to pick and choose (and even
write) the stories he wants to make;
and as one of the industrys most emi-
nently bankable personalities, he can
withhold script approval on the films of
others until they are altered to his taste.

No less firmly in command of his own
destiny is Paul Newman, particularly
since his price has skyrocketed to a
$1,000,000 [ce per picture. Newman's
early career was traced im Sex Stars of
the Fifties; but in the Sixties, through a
combination of strong roles, acting in-
tensity and masculine. appeal, he ove
came ihe Brandoesque image with which
he had been saddled and established a
firm screen personality of his own—usu.
ally that of a charming rat who was not
above rape (as in Hud) when it came
to having his way with the ladies, Un-
like Brando—a more gifted actor, who
allowed his career to decline through his
choice of flabby roles—Newman took
chances with what appeared to be exper-
imental material. He was a lost young
pool shark in The Husiler, one ol the
better American pictures of the de
and he brought his flashy role of Ch
Wayne effectively to the screen in Sweet
Bird of Youth, а mclodramatic mélange
of moral and political corruption in the
Deep South. He also made a few boners,
as in A New Kind of Love and in an

eminently forgettable period piece called
Lady L; but Newman was resilient and
gave his most striking performance in
Cool Hand Luke, as а noncomlormist
prisoner in a Southern work camp.

So popular had he become by 1967
that his very blue-eyed presence in а proj-
ect often gave the financial leaders of the
industry the courage to gamble on uncon-
ventional and original material; for, good
or bad, his movies usually turned a profit.
on the
or in real life, he made his home
Connecticut with his wife (Joanne
Woodward) and children, rather than
Hollywood; he preferred driving a
Volkswagen to a Lincoln Continental;
1 he publicly declared himself against
this country's involvement in Vietnam
and worked energetically for the nomi-
of Senator Eugene McCarthy
during the 1968 Presidential campaign.
A thinking actor, he also insists on put-
ting more than his two cents worth into
the directorial deyclopment of his roles,
and last year took the ultimate step by
directing his wife in Rachel, Rachel, a
touching film about the belated love life
ol a spinster schoolteacher.

His onetime model, meanwhile, the
most magnetic male figure of the pre-
vious decade, had allowed himself to
ike on flesh, had gotten horrendously
involved in domestic difficulties and had
foundered through a succession
successful films. After а and
directorial debacle with One-Eyed Jacks
(1961), Brando took part in another
ill-starred monstrosity, the remake of
Mutiny on the Bounty, and further
fouled himself up during the filming of
that picture by impregnating а sloeeyed
Tahitian by the name of Таа, Al-
ready embattled with his first wile, Anna
Kashfi, whom he was reported to have

Refusing to be typed either
scree

married after she became pregnant,
Brando had to endure what he most
detested: a publ ng of his private life.

All that sustained him was the
of his name, which was still suti
John Huston to pair him with
Taylor in Reflections in a Golden Ey
As an Army major tormented by a wife
contemptuous of his impotence and Ta-
tent homosexuality, he disp!
of his old power and sensitivity
even so, the picture
critics. Though still aa niably gifted,
Brando suffers from what some consider
а basic disdain for the art of acting.
Perhaps in compensation for what he
felt was a fundamentally unworthy
endeavor, he has begun to give himself
liberally, as Newman has, to the support
of the numerous causes he believes in—
among them, the civil rights struggle
and humane treatment for American
Indians. Heading pudgily toward his
mid-40s, Brando shows signs of losing his
pulling power at the box office; indeed.
has been rumored that his presence
in a film is like an albatross hovering
over a doomed ship. Certainly, as the end

of the decade approaches, the di
re mount

A much firmer hold on his film career
has been maintained by Steve McQue
who, though les creatively endowed
than Brando, undoubtedly enjoys more
popular appeal. According to one
McQueen is “an oddball who combines
the cockiness of Cagney. the glower of
Bogart and the rough-diamond glow of
Garfiel”—a potent combination but
one io which McQueen adds a charm
and a sensitivity all his own; women are
attracted to, and men admire, the mas-
culine authority he imparts to his roles.
McQueen comes naturally by his tough-
ness and cockiness, Born in Indianapolis,
na, in 1930, he was deserted by his
father while still a baby. His mother took
him to an uncle's farm in Slater, Missour
then later to Sonthern California, where
young Terence Stephen neglected school
in favor of the streets, He was fi
sent to Boys Republi

and drifted into a series of occupa
that hardly seemed to foretell a prom-
ising future: At one
as an oil worker, a seaman, a carniv;
huckster, а cabdriver, a pokerplaying
hustler and a bartender. When he eventu-
ally played a poker shark in The Cin-
cinnati Kid, McQueen really knew what
he was doing.

After a hitch with the Marines, he
went to New York and wandered aim-
lessiy from job to job, until an actress
nd introduced him to acting coach
Sanford Meisner—who told the incredu-
lous McQueen, then 21, that he had
talent Though role was un-
promising—a or ll-on in a Yid-
dish play—other acting jobs soon turned
up in summer stock and road companies
of Broadway hits. Turning serious, he
applied at the Actors Studio and was
accepted. Eventually, he took over the
Ben Gazzara role in A Hatful of Rain,
then signed on for a TV series, Wanted
—Dead or Alive, that ran for three years.
At the time, it was thought that exce
sive television exposure killed
chances for success in the mov
McQueen was the first exception; capa-
ble young leading men were growing
се. And when his brash secondary
role in Frank Sinatra's undistinguished
Never So Few caught the fancy of
MGM, the television larder began to be
raided, with McQueen leading the ranks
of its refugees toward mov

stardom.

Though anything but a publicity see
er, McQueen did not lack for attention
from the press. A talented motorcyclis
close to championship caliber in
ing events—and, for a time, an
racer, too McQueen enjoyed careening
through the California streets, often
with the police in hot pursuit. Jt was
difficult for him to slow down, even to
attend his wedding: he was on his way to
the minister with his bride-to-be when
screaming police sirens halted their car.

When Steve explained their destination,
the state troopers thoughtfully provided
a reverend—and served as witnesses at
the ceremony. His cycling talents came in
handy for his first big hit. The Great Es
cape (1963). in which he zoomed about
the German countryside outwitting half
the Wehrmacht with his spectacı
stunts, until he was finally cornered
А iwitchy grin—belying the explosive
potential of violence within—gave him a
recognizable personality that he went on
to display with professional authority in
such films as The Sand Pebbles and Ne
ada Smith, Hollywood came to regard
him as one of the industry's most reliable
male stars and he soon moved up to the
51.000.000-per-picture bracket. To pro:
tect his holdings, he formed his own
production company and farmed himself
out for such projects as The Thomas
Crown Affair. By then, he had traded his

specding proclivities for puttering around
his handsome house high in the fashion:
able hills of Brentwood. devoting himself
10 his wile and children. Remembering
his ill-starred youth, he has even estab.
lished a scholarship for other problem
children at Boys Republic

Another television refug
ly handsome James Gar

is the dark
er, who was once
convinced he would spend his declining
years starring on the tube in such series as
Son of Maverick and Cheyenne Revisited.
In 1962. however, he risked all by appear:

ing in a straight—and decidedly square
— role in William Wyler’s denatured
version ol The Children's Hour, then
went the action route in The Great
Escape and finally found his forte in
the good-natured comedy of such films
as Move Over, Darling and The Ameri
canization of Emily. Looking younger
than his 40 yes

s, Garner has since estab-

lished himself аз onc of the most popular
if unexciting, of the ranking male stars.
And when Garner is not available for
the kind of parts he plays, it is frequently
the Australian-born Rod Taylor who
gets the nod these cays.

McQueen was in his сапу 30s before
his career got oll the ground;
and Taylor were ey

ner
» older. Of those
few male stars of the Sixties who are still
in the first flush of youth, none in
Hollywood is bigger or brasher than the
selbasured Warren Beauty. The brother
of Shirley MacLaine and her junior by
three years, he began his climb to fame
as сапу as 1955, when he enrolled at 18

in Northwestern's School of Speech and
Di

a. He could have gone just about
ywhere—for, while at high school in
his home state of Vi

inia, he had been
the star center of the football team and
no fewer than ten offers of football
scholarships had flooded in. But V

ren

worried about damaging his good looks
d eschewed the college gridiron

Easily bored—and sometimes boring

others. in turn, with his offbeat behavior —

he left college after a year and repaired

257

PLAYBOY

to New York, where he enrolled at
an acting school run by Stella Adler
Resolutely refusing any aid or assist-
ance from either his sister or other
members of his family, he lived in a
furnished room in Manhattan, played
cocktail-hour piano ata midtown bar
and worked Tor a time as a sand hog on
a new third tube of the Lincoln Tunnel.
Eventually, his striking good looks got
him into television, and he alternated
TV appearances with stock-company
jobs—at one of which William Inge and
Joshua Logan saw him and arranged a
screen test. for what eventually turned
out to be Splendor in the Grass, direct-
ed by Elia Kazan and written by Inge.
Meanwhile, Inge got him the lead in hi
play 4 Loss of Roses, The critics liked
Warren, but the play failed,

Splendor, however, was

box-office

Life
movie
star, combining the liule-boy-lost charms
of the late James Dean and the smolder-
ing good looks of Marlon Brando.” Ac
tually, he looked li no one but
shaggily handsome self, and he was not
much of an actor—yet. But he did h
a sleepy charm and, with it, youth
film commodity of which there was not
then much around. beyond the confec-
tionary Frankie Avalon and Troy Dona-
hue. In five subsequent films. however
(The Roman Spring of Mis. Stone, All
Fall Down, Lilith, Promise Her Anything
1 Mickey One), Beatty appeared to he
losing his carly luster—and he began to
acquire a reputation for being difficult,
While making Lilith. he drove the
Robert Rossen to the limits of endın
with his temperament and intractal
once refusing to work for three days u
less a line in the script was amended.

But Beatty scored heavily in the field
of seduction: he literally mowed the
girls down- Natalie Wood, Joan Collins
nd Leslie Caron, among many others—
in much publicized rapid succession. So
smitten was Miss Caron that she left
home and hearth, inspiring her husband
to Ше lor divorce and name Beatty as
corespondent. Undaunted, Warren
soon off, looking for other
pitch woo and make hay.
is, the piquant Broadway star.
notso-little black boo!
sip columnist Sheila Graham, it
wasn't long before Beatty was being seen
with an obviously smitten Julie Christie,

Ironically enough, it was as an impo-
tent, hick-town bank robber that Beatty
at last hit his stride and became one of
the biggest, richest and most sought-after
stars of the late Sixties. And he had only
imself to thank lor it, too; he saw the
possi s in a script called Bonnie
and Clyde, purchased it Гог 575.000 and
decided to both produce and direct it as
a staming vehicle for himself and his
sister, Shirley. whom he wisely replaced
with Faye Dunaway on the grounds

was

places to

258 that, as Time expressed it, he would be

adding “incest to injury" since the script
featured gobs of gore and sexual trans.
gressions galore. No less wisely, Beatty
replaced himself as director with the
gilted Arthur Penn, inveigled the requi
site $2,500,000 out of Jack L. Warner
and gave the performance of his life as
Clyde Barrow. Time called the film “a
watershed. picture, the Kind that signals
a new style, a new trend” and no on
agreed with this estimate more than
Beatty himself, who had produced а
classic, made himself a millionaire over-
night and helped inaugur: of
boldness in American filo If
boldness consisted of new wrinkles in
the presentation of sex and new dimen-
sions in violence, then it was abundantly
in evidence by the end of the decade.
One male star who benefited mightily
m the trend toward violence was tall,
wood. a

ll roles
role in

1 years playing sma
landed a six-year
series that earned

and fi
Rawhide, a
lange fan following but no mo

Not until, ihat i, Clint received

vitation from Europe to play the men-
icing hero of an Italian-German-Spanish
Western called A Fistful of Dollars
which was so successful that it spawned
not only a sequel (For a Few Dollars
More) but a host of imitators.

Another new star with the capacity to
handle violence and still maintain his
cool is James Coburn, who came up fast
in the mid-Sixti ky, long-faced
Coburn has also been eminently success-
ful in adding a comic, even a farcical
touch to his portr
style is idi
mood that has begun to infiltra
many of Hollywood's fil
litle impression on audiences until he
played a cold-blooded. knile-throwing
cowpuncher in The Magnificent Seven.
In The Americanization of Emily, his
humorous side emerged: then producer
Saul David, deciding it was high time to
сапсишге James Bond, tapped Cobu
for the role of Derek Flint, an insubon
dinate supersecret agent who dwells lux.
uriously in a remarkably well-equipped
apartment designed for his special
tastes: Dwelling with him are not one or
two or even three but. four exotic beau-
ties, whose continuous presence on the
t explains with the remark,
“Man docs not live by bread alone.” On
the crest of Our Man Flint’s success—and
ol its sequel, In Like Flint—Coburn
has turned himself into a corporation tha
hires out its chief executive at $500,000
per picture. Coburn, like the grizzled
McQueen and Eastwood, signaled a
marked departure from the collar-ad good
looks of former matinee idols. Indeed.
in keeping with the newer trend
moviemaking, they were called upon to
portray heavies as often as heroes.

But if Coburn, McQueen and East-
wood were less thin handsome by con-

уг; his

ventional standards, the battle-scarred,
heavy-lipped Lee Marvin (see this
month's Playboy Interview) was down-
night ugly. It is significant that he had to
wait until his early 40s, by which time the
antihero had become firmly established

s а screen type, before attaining star
Like Coburn, with whom he was
sometimes compared, Marvin was equal
ly at home in comic and violent roles.
and it was in the former that he was
finally recognized. The vehicle was Cat
Ballou, a Western e-off in which he
did a hilarious lampoon of a drunken
gun fighter whose accuracy grew more
uncanny the more he drank. M i
had already made something of a name
for himself as a mean brute; as far back
as 1954, when he played the leader of a
motorcycle gang opposing Marlon Bran
do The Wild One, he was nasty
enough. as Bosley Crowther expressed
“to make you cringe’; and in Bad Day
at Black Rock, he was, also according to
Crowth “hideous as a dim-witted
tough.” A wellseasoned veteran of both
Broadway and television, Marvin was
regarded as merely а good, all-around
working actor until public taste clevated
his kind of noncommittal toughness
from bad guy to good-bad guy

In one of the biggest and most violent
hits of 1967, The Dirty Dozen, Marvin's
portrayal of an. Army major who goads,
browbeats and whips a bunch of con-
victed criminals into a disciplined and
murderous commande unit, won the re
spect of his men, the critics and the
public alike. Hardly had the furor at-
tending that film died down—many
garded it as a flagrant. exa
increasing violence in
along came Point Blank, excitingly dí
rected by newcomer John Boorman.
Among its scenes ol cold-blooded sadism
(in one of which Marvin delivers a
brutal and explicit blow to a thugs
crotch) was a rem
cold-blooded sex. Ded

vendetta, M persuades gi
(Angie Dickinson) to offer herself to
one of his enemies, so that he

dispose of the hapless fellow w
they're in the throes of passion—ihe
ultimate coitus interruptus. Marvin's
star has since continued to climb, even

while his temples continue to silver—his
lean. weathered. indisputably male im-
ge final confirmation of the fact that

ex appeal is no longer a unique posses-
sion of the young or the handsome.

Il the excitement gen
McQueen, Сорш
the other recent arrivals on the Holly
wood scene, the American studios =
American audiences—looked increasingly
abroad during the Sixties for actors who
could combine sex appeal with Thespi-
ity. It wasn't a matter of selling
са short. merely that more and
more ol Hollywood's product was being
filmed in Europe, where costs were low
er and substantial subsidics could be

eet > , 2

a 4 ү b 93 ;
A

Ур
Ze Y ei,
AS u

“Don't take any prisoners—I have just enough for us.”

E ee

d
as
m

PLAYBOY

260

ined

obt: from dollar-hungry govern-
стз. One caveat generally faced the
would-be “runaway” producer: A sub-
stantial portion of his cast and crew had
to be recruited from local talent. Thus,
many an actor who was grudgingly giv-
en the lead in an American-financed
production suddenly found himself soar-
ing in the rarefied heights of interna-
tional stardom. And none soared higher
du g the Sixties th Scan Connery—
at least as long as he sustained his
nes Bond image.

Although the lan Fleming thrillers
had appeared in book form throughout
the es. Fleming had been chary
about disposing of the film rights, per-
aps cannily sensing that their worth
would increase as time worc on. Final
Iwo producers—Albert Broccoli and
Harry Saltzman—offered him a favor-
able deal for the rights to the books
(Casino Royale excepted, the rights to
which had been seized earlier by the late
agent producer Charles Feldma who
later made it into а zany spoof with
Woody Allen as an improbable heir to
the Bond mantle). While looking for
the most suitable actor to play Bond,
Broccoli and Salızman instigated a news-
contest in London for the most
Sean Connery
d background would have
him for almost any role.

Born in Edinburgh in 1930. he had
accumulated a wealth of experience in
different occupations; after his school
years, he held jobs as a truck di
cement mixer, bricklayer. steel bend-
er, prin assistant, lifeguard and
hen, while on a holiday

acquaintance who
n the touring company of South
Pacific was in neea ol a chorus boy, and
Sean applied for and got the position,
later joining a suburban repertory com-
pany. His first film appearance was in
1955, in the British crime movie No
Road Back. After that. Sean kept him-
sell busy in a series of secondary film
roles,

Then Broccoli
along and asked
No. He refused. feeling himself well
enough established not to need testing
for so frivolous a role; but the producers
were so impressed by his “dark, cruel
good looks" that he got the part anyway.
Filmed largely in. Jamaican locales, Dr.
No was released in England in 1962 and
in the United States in 1903—10 sparse
and lukewarm notices. No one took the
film very seriously: and hardly noticed
at all by reviewers was the star—or his
comely costar. Ursula Andress, who pad-
ded around with a knife sheathed on
her bikini. Time's reviewer, however,
turned out to be percipient in a
the potential of the man who
come the decade's most important star:
y." he wrote, “moves with a
race that excitingly suggests the

nd Salzman

Despite the other reviews, the film did
well enough at the box office to justify
second Bond picture. Cannily sensing a

audience drift, United Artists gave Broc-
coli and Saltzman more budget leeway for
From Russia with Love; and

Young, previously a somewhat
director, seemed to know what Bond
was all about: cool offhand sex and
equally offhand violence. Bond was the
one min who could stand up to the sin-
ister. forces at loose in the world, the
one man who, with his sexual aplomb,
could divert if not convert a beauty
bent on his undoing. Any element of
parody involved was now ional:

and the sop
the humor while lapping up the action

In less than two years. Scan Connery
became the hottest star property in a
boonrorbust industry. Good fortune
presumed to melloy its recipients, but it
only angered Connery; and as each suc-
ceeding film in the series racked up
larger and larger returns—Gold finger
and Thunderball were among the most
profitable ever made—his disaffection
grew. He felt his typecasting as the
ruttish, ruthless Bond was restricting his
serious actor; and he felt
made sufficiently. rich.
Ircady a millionaire when
grievances; Broccoli and
Salman had cut bim in for a percent
age of the awesome profits ever since
Goldfinger, But he ren

common with the suavely sybaritic 007;
according to a Life reporter, he bore "as

much semblance 10 champ: pping
Bond as a bowlful of haggis to a jambon
en croiite.” In contrast to Bo
Row paradigm, Sean’s favo

sloppy sweaters, pullover shirts
work purchased at a discount
store: and his Volkswagen was a far cry
from Bond's custom-built and lethally
accessoried Aston Martin—although the
Volks was specially fitted with a washbasi
nd a potty chair for his child. And per-
haps most deflating of all to faithful Bond
fans, Connery wore a toupee. The most
elegant feature of his private life w
his beautiful and talented wif
tress Silento. whom he murried in
1962. Finally fed up, Connery left the
Bond series alter You Only Live Twice;
his outside efforts to develop as a more
ious actor while continuing as Bond
d proved g ly unrewarding. In 4
Fine Madness, he was only adequate; in
Hitchcock's Marnie, he was awkward
and ill at сазе: only in The Hill did he
deliver an impressive performance as a
compulsively overdisciplined British sol-
dier, But none of these films cashed
in at the box office. and many in the
industry have begun to conclude that it
was Bond who had lifted Connery from
obscurity.

Harry Saltzman, the more restless of
the Bond producing team, busied him

self with other projects while Broccoli
minded the store. And one of his out-
side efforts was The Iperess File, based
on the Len Deighton series about the
insolent British secret agent Harry
Palmer. For the role of Palmer. Saltz-
man selected a relatively unknown Brit-
ish actor saddled at birth with the name
of Maurice Joseph Micklewhite. Born of
poor Cockney parents in 1933. his
mother hired herself out as а charwom-
n. Leaving school at 16, Mick worked
a variety of jobs—tea warchouseman
cement mixer, even lor a time as office boy
for a movie company. This job may have
fired his ambition to become а ; but
he went back to cement m 1
better than pushin
he later learned that actors
more than cement mixers, howeve
cannily decided to pursue the Muse
tors with pronounced Cockney accents
were in sparse demand at the time
practiced the fruity tones of
English by sitting through n
movie,
nd delivery
soundingly in a d
the echo prov
his words. Like Demosthenes’ mouthful
ol pebbles, his culvert did the job, and
his accent was soon as polished as any
10175 ar the Old Vic. But his name was
sull redolent of Bow Bells. so he decided
to change it to Michael Caine.

Taking odd jobs 10 support. himself,
he applied lor and won an assistant
stage manager's job with a provincial
repertory company and soon stepped
into minor acting roles, eventually grad-
work on British TV.
ne came
foppish British officer in
C's was only a support
g role, but Saltzman noticed him at the
world premiere; and when they hap-
pened to dine t the same
restaurant, Saltzm; invited Caine to
join his table. Within ten minutes, Saltz-
an offered him the role of Palmer in
The Iperess File. A handshake serled
the deal—and the role fined Caine like
glove. The glasses he wore
n aura of mildly soporific
tellectu; er in Holiday
described his smile as “sweet but faintly
corrupt.” An unusuall
The Ipcress File was mo
details of the shadowy world of espio-
ge than the Bond id also
slyly humorous. While Bond represented
the quintessence of the snobbish con-
ceits of the British establishment, Palmer
wi

paper clips. When
even

gave him

to his accent for the role. which requ
him to live in a small, cluttered flat, whe

he preferred making his own omelets to
eating ont. Cool and blase with women.
Palmer tended to choose nice girls with
good manners for his sexual adventures.
hered Pussy Galores were de
cidedly not his “cuppa.” The Ipcress File

Yov'll read about him soon! In 1970, ifall goes
well. So you have a two year start on the first man to land on the
moon. He will be equipped with a tuning fork timepiece in a pressur-
ized capsule — the very same type as the Unisonic! This man will have
plenty to think about — but not his watch, of course Up there, nobody

will be around to even notice it. So you have an advantage he won't
have: your wrist will be the center of conversation!

Space is Infinite...

The Unisonic bears little relation to the
watch of the past. It is linked to the
future of electronics. Its lite force, the
tuning fork, banishes the old tick-tock
and introduces in its place a gently
modulated murmur, an imperceptible
hum.

But Universal's aim wasn't merely

to create a timepiece that sounds like
a sea-shell against your ear. It was to
achieve unprecedented precision, the
kind of precision that just wasn't
possible with the conventional balance.
And it has been achieved! Without
balance and without hairspring the
Unisonic comes to you with the most
incredible, unconditional guarantee

of precision.

A new word will have to be invented
for this kind of precision.

time is Universal

leaflet, showing the differences
between the classic and the tuning

ES send me your explanatory
fork watch.

Name
Address
City.
| State
Montres Universal, case postale 410
Genéve, Suisse

U Unisonic
the electronic watch

with a tuning fork

UNIVERSAL GENEVE 3

PLAYBOY

Literally. Because, our home-base, Amsterdam,
has what's known as the world's most exciting
supermarket - a fantastic array of 74 brands of

liquor and 32 brands of cigarettes.
To which you help yourself. Tax-free!
Provided of course you don't buy
more than the legal limit. But that's
complicated because the limit varies
according to what passport you hold

Amsterdam Airport's tax-free shopping centre.

KLM suggests you just
help yourself.

ROYAL DUTCH AIRLINES

and your final destination. Which is why small
cards are provided, explaining the whole deal.
Of course, these only apply to liquor and ciga-

rettes. If you have any questions on
the other tax-free items available,
please ask. Our ground-stewardesses
are there to help you. And to further
our reputation. Of being the most
reliable airline in the world.

офиса Caine into the stratosphere of
stardom.

Adapting easily to a variety of parts,
he survived Premingers clumsy Hurry
Sundown and triumphed in Alfie, a role
hailed by many critics as the best per-
formance of the year, perhaps in part
because Alfie's amiably predatory at
tude toward the birds was not unlike
Caine's own. Alfie took his sex where he
could find it—which was just about
everywhere—and refused to tolerate any
postcoital complications. Sex wasn’t all a
hed of roses, of course: at the end of the
film, Alfe admitted to a certain ennui
and loneliness. But he still had his free-
dom—and so did Caine in real life. As a
master of hirdsmanship, he was linked

ith a succession of lovelies in and out
of show business—but never for long.
No ascetic in nonsexual her,
Gaine thrived on th he pur-
chased a sumptuous penthouse flat in
London and took to complaining about
the exorbitant taxes he was forced to pay.
Why penalize a man just because he earns
$500,000 a picture? Gaine asked.

The success story of Peter Seamus
O'Toole is an equally improbable rags-
to-riches saga. Taken as a boy to Leeds,
England, by his Irish bookie father,

O'Toole quit school, which he hated, to
take a job as a copy boy on a local

Alter a two-year stint in the Royal
he decided that acting was the
life for him and launched his career
with uncommon seriousness. The Janky,
green-eyed Irishman’s reputation as an
actor grew apace with his reputation for
womanizing, hard drinking and bragga-
docio: and after graduating from the
Royal Academy of Dramatic Art, where
he'd won a scholarship, he seasoned his
talent at the Bristol Old Vic by appear-
ing in no fewer than 73 roles. A couple of
or movie parts elicited а raft of
scripts from studios that saw a star i
the making, but he scorned them all for
a brilliant term Stratford, where he
juggled three Shakespearean roles to
considerable critical acclaim. It was there
tha id Lean, searching for an actor
to play Lawrence of Arabia, found
O'Toole; the middle of a screen test,
Lean stopped the camera and said,
“There's no use; the boy is Lawrence.
O'Toole was 27 at the timc.
Lawrence was so long in production
(20 months) that those associated with
it termed it movie but a
way of lile"—and for O'Toole it became
a mission of dedication, The film was
shot on location in the Jordanian desert
—where O'Toole quickly learned to ride
a camel as well as any Bedouin—and he
threw himself into his role with such
passion and commitment that the film
made n an instantancous маг. Sta
dom. however, was not enough
O'Toole; he kept insisting that he was
also an actor. “That's my bloody busi-

for

ness," he told one and all; and to prove
it, he took to the London stage for an
Olivier-directed Hamlet and selected the
film version of Becket, in which he
played Henry II to Richard Burton's
martyred archbishop. for his second ma-
jor sacen role. His performance was
incandescent; but his next effort was
Lord Jim. an underrated film that
proved a resounding box-office flop; and
the one alter that, a fa
What's New Pussycat? neither of which
did much to enhance the glamor his de-
piction of Lawrence bestowed upon
him (though he continued to live up
to his reputation as an elbow-bending
brawler). Since then, however, his con-
sistently high standards choice of
roles—as а psychotic Nazi general in
The Night of the Generals and as Hen-
ry II, once n, in The Lion in Win-
ter—have both revived his film cer
nd proved that the art of acting is by
no means a secondary or superfluous
ingredient of sex stardom.

The same is true of another of
Britain's gifted young actors, Albert Fin-
ney. Even less inclined than O'Toole to
follow the rules of the game. Finney also
shot straight to the top in a single
picture: Saturday Night and Sunday
Morning. one of the first and finest of
the British s deal-
ing with the social and romantic prob-
lems of working-class nonheroes, Finney's
round boyish clear blue eyes

and curly hair gave him the look of
a mildly dissipated cherub; but he had
the rugged build of a soccer forward
and by 1960 was tagged as yet another
heir to James Dean and Marlon Brando
upon which the unpredictable Finney
turned his back temporarily on lucrative
offers of starring roles and took to the
stage for the title role in Billy Liar, a
sensitive drama of a young man's fan-
tasy world. Even after his lusty portrait
of the randy, roistering Tom Jones
brought him to the pinnade of success,
nney continued to pick and choose
between stage and screen, obviously pre-
ferring the crit acclaim of bis Lon-
don and Broadway appearances in
Luther to the greener fickls of Holly-
wood. “I'm not keen on being tied up,”
ned. “My life varies and my
nges. J like to be free.” Finney's
love of freedom has been reflected in his
personal as well as professional life
film prototype of the angry young man
appears to leave his choler at the bed-
room door; and his offstage, offscreen
hours have been occupied with a succes
sion of lissome ladies.

If Britain in the ties is in its twi
t as a world power, it has been the
center of a sot renaissance. The Lon-
don theater is infinitely more vital and
creative than Broadway; and although
s has become
commercially a virtual adjunct of Holly
wood, it still appears to have a franchise

"Freud? Tung? Bah! I'm a De Sade man."

261

PLAYBOY

“There are certain rumors going
around about you, Knut.”

on star making. Every few months, some
new Ol r is being heralded—Tom
Courtenay, Alan Bates, Terence Sump,
David Hemmings—all of whom
dazzled audiences with their virtuosity
and all of whom could almost inter-
changeably play the others’ roles. But
the best known ol all British actors
ns Richard Burton. An old pro
are to
abeth Taylor by using his fee as his
stick, Burton could lay claim to
being Britain's and perhaps the world’s
foremost film star. His torrid courtsh
of and marriage to Liz doubtless acceler-
ated his carcer's progress; but whatever
the reasons, by 1968 he was being paid
the same amount she was in the habit of
recciving—$1.250,000 ture.

Yet this 13th child of a coal miner,
born in the grimy South Wales town of
Pontrhydfen, might have ended up in
the pits with his brothers if his father
had not determined that at least one of
is sons would “live in the sunshine.’
Thus, Richard was allowed to swim,
chase swans, attend secondary school,
play rugby and box. His second father
and devoted mentor was his high school
teacher and dramatic coach, Philip Bur-
ton, whose surname Richard adopted
when he decided on a professional act-
ing career mental i
ig him a scholarship to Oxford at
ning of World War Iwo. Alter
n at Oxford, where he per-

who had graduated from Shakesp
¡El

the bes
one ter
formed with the university's dramatic

society, Richard joined the Royal Air
262 Force, in which he served for three years

before being discharged in 1947 with the
rank of sergeant, Rather than resume
his education, Burton opted for an act-
career and soon found minor work
on the London stage, where he was
discovered by John Gielgud and selected
for an important role in The Lady's Not
for Burning, a production that took him
to New York in 1950.

By then, he had made his film debut
in The Last Days of Dolwyn and had
married a piquantly pretty Welsh drama
student, Sybil Williams, whom he met
while making the film. Two childien—
and Hollywood—followed. In 1952, he
starred there in My Cousin Rachel, for
which he earned considerable critical
claim but little public attention. Twen-
teth Century-Fox next cast him
Roman officer converted 10 Christi

y Award nomi-
nations he won for both films fired his
ambition. “By h he said, "I'm
going to be the greatest actor, or what's
the point of acting?” Some cynics suspect
that ten years later, a little demon inside
him might have whispered, “Money

During the last hall of the Fifties,
Burton was kept busy making films, but
his star quality dimmed considerably as
his frequently mediocre vehicles died at
the box office. He was, however, acqui
ing another sort of reputation. Frank
Ross, who produced The Robe, remarked

that Burton was “a born male coquette,”
and there were rumors that he had prac-
ticed his seductive wiles on a host of film-

land beauties. But Burton won on

Broadway the kudos that had hitherto
eluded him films. Scoring a musical
triumph in Camelot, his lyrical perform-
ance as King Arthur won him not only
several hundred thousand middle-aged fe-
male fans but the admiration of Joseph
L. Mankiewicz, who chose him for the
role of Antony—originally earmarked for
Stephen Boyd—in his forthcoming super-
spectacle Cleopatra, He was to receive a
{ce of $250,000; but overtime clauses vi
ten into his contract easily doubled that
amount, and his affair with and subse-
quent marriage to his co-star provided all
the heady publicity he needed to fi
е him a major st Mar Riu,
who directed Burton in The Spy Who
Came In from the Cold, proclaimed him
"the greatest phallic symbol in the
world"; but unimpressed British critics
were inclined to regard the onetime
Shakespearean virtuoso as their greatest
sellout.

In Mike Nichols Who's Afraid of
Virginia Woolf, however, both Burton
and ‘Taylor rose to impressive dramatic
heights as the neurotic, incessantly bick-
ering and self-destructive university co
ple. The epithets they flung at each
other noticeably expanded the horizons
on free speech on the screen; and in one
soliloquy lasting seven minutes, Burton
demonstrated that he still could en-
trance an audience with rich, resonant
i nd his expressive features. But it
zibeth who won the Oscar; that
prize sull eluded him. ‘Their next joint
ure, Taming of the Shrew—which
ted a mixed critical reception and
tepid box-office receipts—was followed by
The Comedians, a dismal artistic and
commercial failure, But producers con-
tinued to queue up for their expensive
services and the Burtons next assayed a
journey into the mephitic regions with
Dr. Faustus, which proved a tragedy even
more monumental than that envisaged by
Philip Marlowe. Undismayed, they went
on to Boom, a weird and wordy rendi-
tion of Tennessee Williams’ The Milk
Train Doesn't Stop Here Anymore.
When even Boom bombed, some Holly-
wood Cassandras began to mutter that
the Burton-Taylor magic was at last
losing its potency.

But the Burtons certainly behaved as
though their luster remained untar
nished; Richard purchased at auc

a diamond ring costing more than
$300,000. i presented it to his wife,

who Hunted the expensive bauble across
three continents. A few months later,
however, received a chastening
the area that hurt him most: his

film adaptation of Vladimir Nabokov's
Laughter in the Dark, he was inclined
to be tardy about reaching the set, per-
haps as a result of his predilection for
late-night pub crawling. After several
wecks of such dilatory behavior, he
showed up particularly late onc morning

4 the director. Tony Richardson, sum-
marily dismissed him from the pro-
duction, replacing him with a relatively
obscure English actor, the brilliant Ni
col Williamson, It was a dismissal that
rang around the world and perhaps a
sign that filmdom was at last coming 10
the realization that, in an increasingly
mature industry, no star is indispensable.

If there is a single exception to that
rule, it would have to be Italy's Marcel-
lo Mastroi who has starred in some
оГ the greatest Italian films of the dec-
ade. His film carcer had flourished
throughout the Fifties, but he was ri

film starring Sophia Loren, he dejectedly
remarked to a reporter, “I am resigned.
I'll be playing taxicab drivers until the
end of my days." Mastroianni's gilts, lor-
tunately, do not include prophecy; he
soon became the biggest male European
star of the early Sixties. But it was under-
standable why he had difficulty envision-
ing such awesome success.

Born the son of a carpenter in 1924 in
Fontana Italy. Marcello went to
work in his father's shop alter complet-
ng secondary school, then began study-
ing surveying—a talent that caught the
attention of German occupation author-
ires during World War Two. They em-
ployed him to draw military maps until
he had served his purpose, then dis-
patched him in 1943 to a forced-labor
camp. He escaped to Venice in 1944,
then headed for American-liberated
Rome and found a job with an English
film company. In his spare time, he
joined a university theatrical group,
where he met F and hi
wife, Giulietta Masina—an acquaintance
that was to prove highly fruitful. many
years later. During the late Forties and
сапу Fifties, still in Rome, he accumu
ated a considerable amount of exper
n the stage. on radio and in films;
but his first modest international expo-
sure did not come until. 1960, when he
played a bungling photographer in The
Big Deal on Madonna Street, a comedy
that played the art houses in the United
States and prompted Hollywood talent
scouts to cast an appraising eye at the

unknown Italian actor.
By then, word had filtered to the
States of a phenomenal Fellini film. La

Dolce Vita, in which Mastroianni played
what he has since termed his first me:
ingful role. As a jaded journal
after visiting celebrities in Rome for a
scoop or a handout, he squabbled with
a dinging mistress, preempted a prosti
tute's bed for a liaison with the elegant.
ly bored Anouk Aimee, joined a weird
Via Veneto crowd for a decadent weck-
end orgy at a castle near Rome and
wound up—ambitions soured—as а
publicist for a stupid star, while moon-
lighting as impresario for a perverse satur-
nalia at a seaside villa, Helen Lawrenson
writing in Look, felt Mast had

troduced a radical new note in masculine
sex appeal. “He may.” she claimed, “go
down in history as the man who made
apathy irresistible.” She found him the
perfect embodiment of "the present-day
antihero, the modern man who as lover
and mate is often inadequate, confused,
ridiculous. tired, or just plain bored.

La Dolce Vita established both Mas-
sex

troianni's stature and his offbeat
appeal. In Antonioni's La Nolte, ma
to the seductive Jeanne Moreau, he
embodied male futility, drifting through
a night of opulent aimlessness until his
іс reminded him at dawn of the emo-
tional failure of their marriage and he
attempted a passionate rapprochement
in a sand trap on a private golf course.
Fellini employed him for further re

search into his own spiritual autobiogi
phy in 814, which cast Mastroianni as
Fellini's Doppelgänger, an emotionally

and spiritually exhausted director torn
by memories, fears, fantasies and sex-
wal hang-ups; only in dreams, Fellini/
Mastroianni implied. could modern man
achieve an ideal existence

In real life, Mastroianni himself ap-
peared amything but apathetic where
women were concerned. “The sight of a

pretty girl.” Miss Lawrenson observed,
ases an instantaneous Pavlovian reac-
tion: His eyes light up, his attention is
riveted and his undentable Latin charm
suddenly spreads like ink on a blotter. . -

His taste in girls docs not run to famous
actresses. Instead, it is the pretty young
waitress, airline stewardess, secretary or
salesgirl who evokes his measuring
glances. . . . At home, he is the devoted
husband and father. Abroad, his eye is a

her dreams, happened to encounter that
roving eye at a press party. but did not
succumb to its appeal. "He lost me а
once," she recalled. "I wanted his ele-
gant apathy: instead. that Latin chan
came on just too strong for comfor
actually a backhanded tribute to Mas-
nni's artistry, since, as an accom-
plished actor, his task is to portray not
himself but the director's creation.

As the reigning star of the Italian
cinema, Mastroianni has few rivals on
the European continent. But among
those who have challenged his supren
су, one stands out: Jean-Paul Belmon
do, the young Frenchman with the

“Herbert, this is Mr. Bagwell, my attorney.
We want our alimony.”

263

PLAYBOY

264

ugly-handsome face, who has galloped
from film to film with headv abandon,
generally portraying the Gallic simula
crum of Humphrey Bogart.

The son and namesake of a sculptor,
Belmondo was born in 1933 in a Pari
sian suburb and grew up in the bohem
an atmosphere of Paris" Left Bank.
Jean-Paul neglected his studies and left
School altogether at an carly age. and by
16 was a gifted amateur boxer; but with
his nose already broken in a school
brawl, he soon quit in order to avoid
further disfigurement—because he now
nursed notions of an acting career. He
enrolled in a private drama school, won
enti 1953 to the Conservatoire
ıt Dramatique and from
there graduated. into subsidiary roles in
a number of French films. The picture
that catapulted him to the top. of cours
was the nouvelle vague classic of 1959.
Jean-Luc Godard's Breathless, which
he played—with a conscious bow to Bo-

nsouciant, amoral young punk
who takes not only his love where he finds
it but anything else that isn’t nailed
dowr

After the international success of
Breathless, Belmondo ran the risk of be-
ing forever typed in the Bogart image as
he raced from one tough-guy role to the
next in a series of eminently forgettable
films. Fortunately, few of them ever
reached this country; and his reputation
s an actor was materially enhanced by
his sensitive performances in the Ita
Two Women, in which he played a be
spectacled Italian intellectual martyred
during World War Two; and in Léon
Morin, Prétre, the devoutly spi
study of a priest. It was at this point that
he began 10 evidence a growing f
comedy: in Cartouche, he spooled swash-
buckling costume melodramas and in
That Man from Rio, he ed the Clift
nging clichés of the traditional c
movie. As time wore on, however, critics
increasingly accused him of walking
through his parts; capable of perceptive
performances, he seems to choose 1
roles whimsically. sometimes even with-
out regard for star billing, and many of
his more recent character ms have
been listless and lackluster. As befits an
actor of stellar magnitude, the divorced
Belmondo has consoled himself of late
in the company of a sex star of almost
equal status: the voluptuous Ursula An-
dress. But by the time he wok up with
her, his image as a punk with panache
had dimmed; the younger generation
had found new screen antiheroes and
Belmondo had begun to wane as a star
ol international magnetism.

He might have advanced further if it
had not been for his inability to master
the English language—a handicap that
excluded him from the burgeoning Amer-
ican production network in Europe. On
the other hand, а late-blooming Viennese
tor, Oskar Werner, distinctly benefited.

from his linguistic talents, His work in
the moribund and insular Austrian and
West German film industries relegated
him to obscurity abroad for many years,
even though as early as 1951, he made an
impressive American film debut in Deci-
sion Before Dawn, But it was not until
the protean Fr: faut featured
him in the imernationally successful
Jules and Jim that Weiner became a
star. He was 40 years old by then but
still remarkably boyish
emanating a soulful.
German, French or English.
When Stanley Kramer tapped him for
Ship of Fools, he was widely reputed to
be the most accomplished actor in west-
ern Europe; he proved it by running
away with all acting honors for his por-
trayal of а doctor troubled by intima-
tions of brutality (Nazi) and mortali
(hi akening heart). Since it was
apparent that his strongest appeal was
to female audiences, Werner did mot
hesitate to turn on the schmaltz
terlude, an English film about
mental conductor's tempestu
h a lady journali
technique n
Interlude, at \
and the heartstrings of female viewers
on two continents thrummed wildly as
Werner tenderly pledged his troth,

Conti-
alfair

Abo benefiting from the gift of
tongues was black-haired. hot-eyed Omar
Sharif. already a major movie star in hi

native Egypt when plucked for the part
of an Arab sheik in Lawrence of Arabia,
produced by Sam Spiegel and directed
by David Lean. Lean was impressed by
Sharif's talents and. after several sub:
quent roles that did little to enhance
the Egyptian’s prestige, he ed on
having Sharif play the title role in his
upcoming Doclor Zhivago. Paired with
Julie Christie, Omar was solemn, sensitive,
poetic, selfsacrificial and impossibly ro-
mantic. and women everywhere sighed
ind wept over his tragic faie. Despite
mixed reviews. the film went on to be-
come one of the decade's most resound-

ing box-office successes, and Sharif was
nmediately offered his pick of roles.
(There were rumors that he had his

pick of women, too. in the wake of a
separation from his Egyptian wile.) After
playing opposite Ba nd as the
prison bound gambler Nicky Arnstcin in
the film version of Funny Girl, Sharif
has pone on to play other doomed
heroes, among them the Viennese arch-
e in Mayerling and the legendary
Cuban revolutionary Che Guevara in a
controversial filmic biography of his life
4 death. Among all the male heart-
thiobs of the Sixties, Sharif is the most
eminently well equipped to sustain his
romantic image: an actor of power and
sex appeal. a linguist with attractive
polyglot features that allow him to pla
ionality from Mongolian to
he seems likely to be among the
predominant stars of the Seventics.

Just as foreign male stars usurped
dominance of the screen from Holly-
wood's leading men during the decade,
so did Europe's females end the era of
the Marilyn Monroe-style sex goddess.
Particularly in England, talented young
directors such as Tony Richardson, Karel
Reis» and John Schlesinger brought
new life and boldness to the internation-
al cinema not only by extending the
sexual boundaries of the screen but by
g several young female stars
h interesting faces and equally inter-
esting vital statistics. The appeal of
some, such as Samantha Eggar and Sarah
Miles, proved ephemeral; but others
have been as durable as they are desir-
able, and give every sign of staying at the.
top. Of these, Julie Christie is the ac-
knowledged queen.

Her face is the face of the Sixties:
John Schlesinger, who directed her in
three films and was largely responsible
for her initial success, has said: “Her
face, which isn’t just a face, is a person-
ality by itself. So terribly alive and spon-
ancous and irregular. Big mouth, strong
aws, dominating almost in a masculine
way.” Julie herself doubted that men
“see any lusty sexiness in me. The a
pealing thing is an air of abandonment.
nt responsibility and nci-
ther do І." She was a symbol of the cool
Mod morality of swinging Britain and a
sign of her times; and her personal life
style reinforced her screen image.

Born in India, where her father man-
aged a tea plantation, she was sent to
school in England at the age of ci

nd as а prepubescent rebel was cx
pelled from a convent for regaling the
nuns with blasphemous and sexy stories.
She eventually enrolled in а London
drama school. compensating for a lack of
funds by lugging an air mattress about
with her and sleeping wherever a friend,
male or female, extended hospitality. “1

ancied myself quite arty,” she later said

of this period; but at casting offices, no
one fancied her, usually on the grounds
that she lacked sex appeal.

Schlesinger eventually selected Julie
for a small but vital part in Billy Liar,
alter noticing her in a two-page spread
in Town magazine. Despite her lack

of profesional training, David Lean
mentally cast her as Lara in the pro-
duction of Doctor Zhivago he was

preparing. First, however, came a role
a bouncy Trish streetwalker in the
fictionalized Scan O'Casey biography
Young Cassidy, followed by Schlesinger's
Darling. ıhe film that established her
international identity—and won her an
Oscar. Those who now wrote about thc
young star claimed she was secretly
terrified of her sudden and enormous
success. “Julie's afraid,” a close friend
1 of her. “of what success will do to
her, the toll of bitchiness it may exact.
She doesn't want to become a bitch.

Much was made of her unabashedly
unmarried relationship with a strug!

young lithographer and art student,
Don Bessant, with whom she shared a
flat. Joseph Janni, her producer for three
ss, exclaimed admiringly: "When they
ро on holiday together. where do you
think they stay? In some luxurious hotel
she can pay for? No, in the small pension
where he can pay." But it wasn’t 100
long before Julie was staying in posher
hostelries—and Bessant had fallen by the
wayside, replaced by Warren Beatty.
“Why should I marry?” Julie asked rhc-
torically. “To please the people? I dont
care what people say." She was begi
ning to sound a little bitchy. She further
revealed, as her roles grew more demand-
ing, that she wasn't all that much of an
actress, either: Far from the Madding
Growd, one of her recent ventures, might
have proved a greater success if her role
had been playcd by an actress of greater
stature—such as Vanessa Redgrave.
Miss Redgrave, elder daughter of Sir
Michael, possesses a talent as distinctive
and distinguished as her lineage. "A
smooth, cool woman of long. flowing,
thoroughbred grace and odd mystery"—
in Look's words—she became the “in”
star of 1966 at the late-blooming age of
29, thanks to her role as a lithe-limbed,
golden-haired rich d to a mad
English painter in Morgan? The then-
wife of director Tony Richardson, she
had previously earned a brilliant repu-
tation on thc stage. She also won an
extracurricular reputation as a lady of
causes; a member of the Committee of
100, Bertrand Russell's militantly activi
antiwar organization, she delivered fiery
harangues against the British establish-
ment at Hyde Park Corner and was
once hauled away from a sitin at Tra-
falgar Square and tossed into the pokey.
Less ideologically inclined on screen,
she played the apolitical role of a hip
drifter in Antonioni's brilliant puzzler
Blow-Up; her tresses dyed red, q
possibly a murderess. she enigmatic
proffered herself. nude from the w
up. to a photographer, played by David
Hemmings, after he had snapped her in
what appeared to be a lethal embrace

with a lover in a deserted London park.
That same year, she had a brief, word.
less but enchanting bit part as Anne
Boleyn in 4 Man for All Seasons.
Through it all, she appeared to be com-
pletely indifferent to creating a “star
image" for herself and remained inter-
ested only in playing whatever role she
was assigned to the best of her ability.
In Camelot, she was the bcautcous, spir-
ited Queen Guinevere to Richard H;
ris King Arthur; and in The Sailor from
Gibraltar, she played a mousy British sec
retary on holiday with a churlish lover,
1t was during the making of this film that
she broke with her husband, Tony Rich-

s temporary trans
fiections 10 her costar, Jeanne
Moreau. But it was a most amicable d
vorce, as she assured anyone who asked:
she absolutely adored Tony and admired
his talents tremendously and was thrilled
to take the role of an ardent Victorian in
his The Charge of the Light Brigade.

Probably her greatest screen challenge
to date has been the role of Isadora
Duncan in Isadora, which required her
not only to dance in the moody free
style inaugurated by that redoubtable
dancer but to age from a young girl to a
middleaged woman during the course of
the film. But nothing fazed Vanessa; and
when the script called on her to bare
her breasts during one of Isadora's
famous concert appearances—as the art-
ist was reputed to have done hersell—
she gamely revealed her nottooabun-
dant charms. Between roles, she can-
tered about town with the handsome
Italian actor Franco Nero, who, as Lan-
celot, had wooed and won her from
King Arthur in Camelot.

If Julie Christie and Vanessa Red-
grave remain in the forefront of the new
galaxy of British female (ilm luminaries,
there are other important challengers
Among them: Susannah York, a lush lov
ly who has been somewhat handicapped
by her physical resemblance to Julie
Christie, generating the mistaken belief
that she’s a second-rank standin for Ju-
lie in swinging roles. Another promisi

TON Sr

and refreshing newcomer is Barbara
Ferris, who threw herself frecly into a
passionate altair with Oskar Werner in
Interlude. And, most promising of all,
in the opinion of many, is Carol White,
an actress of notable ability who exudes
а lowkeyed, seductively feminine sex-
uality. Her first starring role was in Poor
Cow. in whici—as a young hoodlum’s
pathetically and thanklessly affectionate

mistress—she gave birth to a child with
incanny realism. Her next starring ap-
in PI Never Forget What's

joned even more comment
and caused the Catholic Office for Mo
tion Pictures to single out one of her
scenes as grounds for awarding the film a
rare “Condemned ag: the episode
question was a prolonged. shot focusing
full on Miss White's ecstatically expres-
sive face as actor Oliver Reed brought
her to her first or

of the Sixties has been cven more expli
it—particularly when the director i
volved is Ingmar Bergman. Bergn
sexual preoccupations, as well as h
artistry, have resulted in international
stardom for most of his Swedish actress
cs: among others, Ingrid Thulin, Gu

nel Lindblom and Bibi Andersson. Miss
Andersson, who first blossomed in Berg-
man's Wild Strawberries, matured into
a gifted actress with her recent role in
ely textured Bergu

communication with a famous actress who
has been rendered psychotically mute: the.
igh point of the picture is Bibi's
tion of an experience that had oc
curred while she and a woman friend
ig on a beach and a youth

cach of the sundazded lad
Judith Crist wrote of this v
recounted ménage à trois that “Here
Bergman proves that a fully clothed
woman telling of a sexual experience
can make all the nudities and perver-
sions that his compatriots have been
splattering on the screen lately seem
nursery school sensualities." Miss Crist's
pejoratives were doubiless directed a

265

PLAYBOY

266

among others, director Vilgot Sjöman,
who was responsible for that celebrated
tale of incest, My Sister, My Louc, in
which Bibi Andersson repcatedly and
explicitly demonstrated her passion for
her handsome brother, Sjóman grew even
bolder with his next film, I Am Curious
— Yellow, which was little more than a
visual textbook of exotic eroticism.

If another Ingmar Bergman favorite,
Ingrid Thulin, has exposed herself less
than the ebullient Lena Nyman in J Am
Curious. her sexual range in films is
unquestionably greater. In The Silence,
cast as a woman neurotically attached to
her sister (Gunnel Lindblom), she was
given to exhausting bouts of masturb:
tion: in a brief appearance in Hour of the
Wolf, she was the inert object in a fantasy

Guerre Est Finie, she returned to normal
coital relationshi the wife-mistress of
Yves Montand. Miss Thulin once con-
fessed. privately that she thoroughly en-
joved her sexual moments in films and
felt that such enjoyment contributed to
the realism of her scenes.

But in the art of graphically portray-
ing sexual enjoyment on the screen, no
(tress is superior to another Swede, the
dark-blonde Essy Persson. Miss Persson,
already in her mid-20s and a stage ac-
uess of note when she ide her film
debut, is practically a pure specimen of
the genus sex star: While not eschewing
nude exposure of her physical assets, her
forte lies in going a step further by
providing audiences with a realistic
equivalent of a woman's erotic emotions

and sensations—or, as one critic put it,
replacing the Theater of the Absurd
with the сша of the Orgasm. She dem-
onstrated her erotic artist in the
Danish-Swedish 7, a Woman, in which she
played a man-devouring nymphomaniac,
and was given even more scope in
Therese and Isabelle, the film rendition
of Violette Leducs autobiographical
novel detailing the Lesbian relationship.
between two girls at a French finishing
school. Although somewhat overripe for
the role of a teeny-bopper, Miss Persson
was most convincing in her erotic scenes,
which included no fewer than three Les-
bian experiences, a deflowering in the
bushes—ihe sole heterosexual toudi—
and one masturbatory episode.

Tf films h as Thérèse and Isabelle
did not exactly qualify as deathless mo-
tion picture art, the authenticity of thei
eroticism made audiences doubly
of the unreality and superficia
such former sex goddesses as Anita El
berg and Brigitte Bardot, who had been
almost totally edipsed as the decade
advanced. The Swedish Miss Ekberg's
Junoesque proportions were so much
larger than life that few could take them
(or her) seriously, and the perceptive
Federico Fellini turned this fact to h
(and her) advantage by casting Anita as
the curvaceous caricature of a sex god-
dess descending on Rome for a publicity
visit in La Dolce Vita. Again, in his
segment of the three-part Boccaccio '70
—The Temptation oj Dr. Antonıo—he
employed Anita as an imposing bill
board embodiment of the virtues of a
brand of milk; the mammodrmammaricd

“Tt isn't Shakespeare—but I like it!”

giantess came to life and tormented a
pruriently minded would-be censor for
whom the billboard had become a sym-
bol of the decadence of modern life.
Reaching her apotheosis under Felli
berg soon plummeted back to
ty—and into plump middle age.

Also of the old school, but distinctly
piquant, nevertheless, was the blonde-
haired, blue-eyed Elke Sommer, who was
born in Berlin in 1942, the only child of
a German minister. At the age of 17, she
went to London to perfect her English so
she could qualify for a good-paying job as
lator; but she quickly caught the
eye of talent hawks. By 1960, she was
appearing in a number of sexploiters on
the Continent and was eventually d
covered by Hollywood. In real life an
intelligent and talented painter, Miss
Sommer has invariably heen portrayed
as a vacuous sexpot in her English
language films, among them The Prize
(with Paul d A Shot in the
Dark (with Peter Sellers). Unfortunate:
ly, her acting ability never ripened and
her mediocre film vehicles have done
litle to enhance her stature.

Of German parentage, too, although
born in Switzerland, is Ursula Andress,
whose penchant for exposing herself
films and stills was once questioned by
newspaperman. "Why do 1 do it?” she
said haughtily. “Because I am beautiful.”
Alter running away from junior college
in Switzerland to Italy for what she de-
scribed m all of the heart,” she
overcame her self-confessed laziness and
turned to acting when the affair petered
out—but only in order to support her-
self. Paramount discovered her in 1956
and lured her to Hollywood on the
assumption that whatever acting del
cies she possessed could be remedied by
dramatic training—an overly optimistic
issumption, since, in Ursula's own words,
“I was very spoiled and refused to stud
I thought 1 was a big star and wondere
where my house wi h the big swim-
ming pool. They threw me out,” Thus,
her American debut did not occur until
1963, when she played that endearingly
hoydenish beach girl in Dr. No, by which
me she was married to actor-photogra-
pher John Derek, who provided vLaynov
with some stunning nudes of his then
wile. Ursula has continued to be used in
films for spectacularly decorative pur-
poses and has not yet ha
prove he

The same can hardly be said for hero-
ically proportioned Sophia Loren, who
undisputedly heads the list of Europe's
most talented, well as most beaut
ful, film stars, Though she got her start
n films as a statuesque extra in low
budget Roman epics, it was as an actress
that she finally achieved international
acclaim—in Two Women, directed by
Vittorio De Sica, which won her the first
Oscar ever awarded to an actress in a
foreign-language picture. In 1966, the

Museum of Modern Art honored her with
а photographic exhibit chronicling her
rise to fame (described in The Sex Stars
of the Fifties),

It was a path plagued for many years
by a messy Italian bigamy charge against

her and her husband, director Carlo
Ponti. The Italian authorities refused to
recognize Ponti's Mexican divorce from
his fist wife; and in Roman Catholic

Italy, the suit might well have resulted
in a jail term for both parties, had not
the couple become residents of France,
whose courts granted Ponti a second
divorce from his first wile in 1905.
When he married Sophia again, an Ital
ian appellate court dismissed all charges:
but the long ordeal, plus several mis-
carriages, tended to cut down on Sophia's
performing toward the end of the Sixties.
Perhaps it was just as well, for a starring
appearance with Marlon Brando in an-
other miscarriage, A Countess of Hong
Kong, had dimmed some of her luster.

Even so. she had no really serious
Italian rivals. Closest to her in appeal
was Claudia Cardinale, who was pro-
claimed in 1961 by no less an authority
than Italian novelist Alberto Moravia as
he next love goddess’—alter Bardot,
presumably. Time chimed in, opining
that CC "has the sort of soft wide sulky
mouth the champagne glasses were de-
signed to fit.” Claudia somehow man
aged to survive such effusions and went
on to make some 30 films—comedies,
spectacles that dem
onstrated both her ability as an actress
and her durability as a star, Claudia's
versatility has also enabled her to escape
the "sexpot" designation that has proved
limiting factor in the careers of such
equally endowed contemporaries as Virna
Lisi and the exotic Sylva Koscina.

But it is in France that Continental
sex in its most sophisticated form is still
best represented; and its leading ama-
tory ambassadress 10 the world is still
the redoubtable Jeanne Moreau who,
though far from beautiful and even in.
obvious middle age, continues to exude
a simmering sexuality; her full mouth
and meling eyes doquently express all
the delights and. pitfalls of erotic love.
Born in Paris in 1928 of a French father
and English mother, Jeanne was en-
thralled by the stage at an сау age. At
19, she made her debut at the Comédie

ious dh

Francaise. Not long after, she took her
first lover, an actor; with characteristic

Gallic informality, she married him the
day before her son was born. The mar-
riage remained in force until 1964, long
after Jeanne had gone her own hcad
strong way—from one lover to the next.
Among them was the New Wave dire
tor Louis Malle, who became the first to
sense her potential as a sex star. Her
first two films w
reputation as
оцой
Malle

h him established her
the Jeanne d'Arc of the
in the words of one critic.
little of Mile, Morcau to

left

the imagination; in onc film, his
camera even recorded her reactions at
the moment of orgasm. The cameras of
Vadim, ‘Truffaut and Antonioni soon
followed suit, reveling in her every
movement, capturing the faintest twitch
of her sulky lips and the subtlest stir
rings of passion in her luminous eyes.
In 1965, Louis Malle, who had gradu-
ated by this time from lover to close
friend, teamed her with Bardot in Viva
Maria, a scmiserious spoof of modern

revolution made in Mexico. Her erst-
while intimate rela her
Paris couturier, Pierre Ci led to

dampen the fires ol what several gossip
columnists reported was a brief fling with
Hamilton on the Viva Maria se
and Jeanne nurtured one torrid crush
alter another. “There are men one goes
through like a country,” she told one
interviewer bluntly. She confided to an-
other: “Men want to leave women
weeping. It is frightening for them to
discover a woman can pack up and go
just as casily аз а man can.” One of her
lovers, producer Raoul Lévy, presumably
could face the discovery; his own
carcer in titers, he shot himself to
death not long after Jeanne packed up

not

and left him. Undaunted, you'll recall,
director Tony Richardson deserted his
wife, Vanessa Redgrave, to pursue Mo-

reau while directing both actresses in
The Sailor from Gibraltar; but Jeanne
had meanwhile developed a sudden,
tempestuous passion for a young mem
ber of the yach crew in the film. Ac
cording to Marcello Mastroianni, Jeanne
1 life is much like Jeanne on screen:
She is always searching for love and
rarely fails to find it. But she leaves many
victims along the roadside.”

Another late-blooming French cinema
seductress is the sophisticated, subtly
intriguing Anouk Aimée, who soared
suddenly to international fame as a grief-
stricken young widow involved in a tor
mented affair with a racing driver
(Jean-Louis Trintignant) in Claude Le
loucl's A Man and a Woman. Her film
career began in 1916, when she was still
a schoolgirl; two years later, she was play-
ing her first starring role in yet another
rendering of the Romeo and Juliet story,
The Lovers of Verona. Known simply as
Anouk, she continued to appear in in-
numerable French films of the Filties,
often under the tutelage of distinguished
directors, but critics and popular recog
nition stubbornly eluded her. Federico
Fellini provided the turning point in her
career, casting her fist as the plensu
seeking socialite who got her jollics
fornicating in a prostitutes bed with
Marcello Mastroianni in La Dolce Vita,
and again as Mastroianni’s neglected and

frustrated wile in 81%. Though not a
classic beauty, as Anouk ripened, she
developed what critic Paul Beckley

described as a h

nting quality "so
delicately suggestive of the Modigliani

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267

PLAYBOY

portraits that her presence stirs a sense of
wonder.” By the time general audiences
iscovered her in 4 Man and a Woman,
she was 34 and in the midst of her third
marriage—a worldly woman of intelli
gence, spirit, pride and melancholy.

As foreign stars such as Anouk Aimée
wax fashionable, a host of aspiring stars
t in the wings for their own chance
10 illuminate the screen. One of the
most popular of the younger French
actresses is Mireille Darc, who became
an idol of French youth with her role as
kookie, bed-hopping rebel with a sex-
al cause іп Galia. Jean-Luc Godard,
with his characteristic flair for casting
nsuous young hedonists to express his
ironic view of the human con-
оп, picked Miss Darc to play a de-
praved young bourgeoisie in Weekend.
His compatriot Francois Truffaut en-
hanced the career of the kittenish Fra
«oisc Dorléac when he starred her in his
he Soft Skin, but Mlle. Dorléac's bright
career was cut tragically short by a fatal
шо accident on the Riviei
Her sister, Catherine—slender, blonde
and ethereally beautiful promptly took
up Francoise’s torch, adopted her moth-
er's name, Deneuve, and became a star
in her own right. After a few minor
roles, she met Roger Vadim, who had
already played husband, lover and Рур
ion to Bardot and Annene Stroy-
berg. But Vadim insisted that it was not
ntention to use Catherine in films;
instead, he installed her as his mistress,
and within a year she presented him
ith a baby boy; the records are some-
t vague as to who did not wish to
marry whom. Vadim himself was by
then busy with Jane Fonda, at that time
a far more important figure than Cath-
e, who did not become a star until
her sensitive performance in The Um-
brellas of Cherbourg.

From that point on, the widecyed
Catherine imbued with the urge to

ake it big on her own—and the oppor-

beautican in his macabre Repulsion;
explaining his choice of Cathe
lanski said: "I needed

quality was "her ability to project a
unique blend of purity and perversity
—and this peculiar mixture was appar-
ent in Belle de Jour, the Luis Buñuel
film in which Catherine plays a French
doctors deceptively demure young wife
who works part Parisian
brothel, where the greater the indignity
of perversity inflicted upon her. the
grea

blend of innocence and experience
caries us back full circle to that age-old
cinematic type, the goodbad girl, prov-

ter her kick, Mile, Dencuve's artful

268 ing the worthiness of that hoary adage

“The more things chang
are the same.”

And yet, although sex remains now, as
y. the central fascination and
the very core of vital contemporary cine-
ma, change there has been. Even as this

ies has progressed, there has been
ic reversal of traditional values
n the film industry. When we began
ne: four years ago, the American
Production Code was still in full sw:
censorship prev
and innumerable communiti and
church groups were busily condemning
and censoring any picture that featured
nudity or depicted deviations from what
George Bern = Sha
scribed as idle class morality.
day. all of E nged. and with
incredible swiftness. The — Productios

, the more they

Code has been not only liberalized but
rtually ignored by the signatory studios;

nd a great many pictures now come
into the market place from independent
com es that have no affiliation. with
the Code whatsoever. A series of land-

mark Supreme Court decisions has led to

the virtual el n of state and com-
munity censor boards; and the Bureau of
Customs, which has on occasion marred
or cut foreign imports, is currently hav-
ing its prerogatives in this area tested by
the courts. While occ: icts of cen-
sorship still take place on the community
level, inva p-
the dec the

iably when such cases are

n the churches have swung away
from their previous negative policy of
condemning and boyconing those pic-
tures they disapprove of and have, in-
l adopted a positive posture of
public support for those they
deem socially and artistically worthy—
which, in recent years, have included
such controversial films as Darling, The
Pawnbroker and Bonnie and Clyde.
Meanwhile, the Motion Picture Asso-
ciation of America, under the leadership
of Jack Valenti, has adopted its own vol-
untary rating system, with four major
categories covering everything from “gen-
eral audiences” to “adults only.” At the
same time, the National Catholic Office
for Motion Pictures has significantly
broadened its own categories of classifica-
ion, so that pictures that might formerly
© been “Condemned” now often re-
ceive an A IV rating, meaning that they

are morally unobjectionable for adults,
with reservations. Even nudity, which
once earned an automatic C rating from

the Catholics, is now apparently admis-
sible provided it is “in context” and not
“excessive.” Whereas The Pawnbroker was
once “Condemned” for its nude scenes,
within the past few years, such films as
Bedazzled, Poor Cow and The Stranger,
all of which contained some nudity, have
been approved, albeit with reservations.

Despite—or. perhaps, because of—this
trend toward total cinematic freedom of

expression, however, strong forces are
g on the right—groups such as
ion Moral Upgrade, with its an-
nual “halo” awards—that are only too
eager to swing the pendulum in the
other direction, back to the restrictions
and repressions of the past. Their watch-
word, i is "Save our children”
and their logic is to reduce all pictures
to a bland level that they regard as
acceptable for the kiddies, It must be
admitted that, with a heady sense of
their new freedom, many of the suppos-
edly astute producers in Hollywood
have in recent years been playing direct-
ly into the hands of such vigil
groups; dozens of mediocre pictures
with gratuitous sex and unmotivated vio-
lence have been released—many of them,
such as The Wild Angels and The Trip,
beamed directly toward the teenage mar-
ket; and the would be censors are u:
such films as justificati
a Federal censorship law that would
strait jacket all production. So the pu
tanica] element in American socicty is not
dead: it is vigorously pushing for legal
nd even extralegal restraints on thc
motion-picture medium—and it has а
considerable body of public and Con-
gres support.

To forestall such а puritanical back-
lash, some otherwise enlightened ob-
servers have suggested that the movie
industry “take a prudent step backward”
by imposing compulsory d
all films. They point out that the intelli-
gent and sophisticated application of
classification in England, France and It
aly has in no way debased their pictures;
that, on the contrary, the necessity of
tailoring films for specific audiences has
enabled producers and directors to deal
with mature themes that would not
appeal to a general audience. The pro
ponents of classification argue that such
a system in the U.S. would appease, if
not disarm, the forces of censorship and
would certainly scotch their most potent
argument about “saving our children.”

But there is a fatal flaw inherent in
such an argument, however well inten-

tioned. Where, for example, docs cla
fication begin?

At what age does a
wer become sufficiently mature to view
adult” films? Various countries set vari-
ous ape lim 1 18; and
France runs the gamut, with pictures
rated for hall a dozen different age
levels. But even if it were possible to
decide at exactly what age young people
become sophisticated enough to "cope"
with a given theme, a more serious ques
Who is to do the classifying?
Censorship in the past has been regard
ed as a political plum in Amer
turned over to the wives and widows of
staunch party regulars or granted as a
sinecure to generous campaign contribu-
indicate

tors, There is no evidence to
this system is going to be abandoned
gly by those who run it, in favor of

classification bo:
worldly men equipped with the wisdom
to determine who should and should not
see a film,

But lets assume that rational age cate-
gories could be established and enlight-
ened classifiers recruited; would not the
whole concept of classification, however
reasoned and restrained, still be an arbi-
ngement on the freedom ol
e artist to illuminate the hu-
man condition according to his own
D h all its warts—and to ex

would. Is there not equally little just
proscribing or circumscrib-
ing the depiction of sex on the screen
as there is the expression of sex in real
life for “adults” or “youngsters”? We
think there is. Are restrictions on what
we may watch or read any less oppres
ve or irrational than legislative restric
tions on our private sexual practices?
We think they aren't. However idealistic
and enlightened the classifiers or legisla
tors may be, do they have any mor
right to tell you what you can sec or read
than to tell you what you can or cannot

think or do at any given age? We think
could be proved,

they don't. Even if
as the voices of puritanism claim, that
sex on screen or on the printed page has
a harmíul effect on the viewer or the
reader—and most psychologists argue
that it can't and that, in fact, the oppo
site may be true—does not everyone have

vided he does not

so doing
age on the rights ог wellbeing of

others? We think he does.
Admittedly, there are risks in total

cincmatic freedom: Buck-hungry skin
merchants already do and will probably
continue to abuse such frecdom to grind
out garbage; and there is a real and
undeniable danger that the proliferation
of such trash will further fuel the
fires of reaction and contribute to а revi
al of repressive censorship—a censorship
from which serious and responsible art-
ists would sulfer as much as the Schlock-
incisters. But we must nevertheless take
our chances, fully cognizant of the still
potent strength of puritanisin, becuse
the answer to tyranny has never been
capitulation to it, either by surrender or
by compromise. Those who argue that
what is needed to forestall Government
intervention or
“solfrestraint” by moviemakers are real-
ly just making the censors’ work casier
for them by volunteering to censor
themselves, There must be total freedom
in film making, as in every other crea-
tive aralt—freedom to produce junk as
well as works of art. Just as our system
of justice is designed to protect the
constitutional rights of every citiz
from the capo mafioso to the law-abid-

“For all I know, you’re not from the gas company
at all, but a cruel sex maniac intent on taking
advantage of the defenseless housewife who's alone in
the house and will be for several hours!”

ing citizen, the smut peddlers arc ns
entitled to produce and market their
products as such visionary creative gen-
iuses as Bergman and Antonioni; if you
de nfringe on the rights of one,
ig a mockery of

the rights of the oth

Just as the moviemaker must have ab-
solute freedom to produce whatever he
desires—good or bad—so the public must
have absolute freedom to indulge its
emotions as much as its intellect, its
passions as much as its idealism. The
film that is repugnant to most of us
because of its tasteless or twisted depic-
tion of sex has as much right to be made
and shown—and seen by those who like
that sort of thing—as the film that is
repugnant to others because it expresses
a profound and contioversial social mes-
sage. There will always be a market
redcemable" erotica; and
those who want it will somchow seck it
whatever the legal prohibitions. UL
timately, that which is good will prosper
in the [ree market place and that which.

is prurient and shoddy will founder.
However repellent we may find the ex-
cesses of the sexploiters, serious film
makers must retain their hard-won free-
dom to tell the truth as they see it, to
continue their increasingly unfettered
quest to reveal us to ourselves.

"This is something that is already un-
derstood by the younger generation and
by the more liberated and enlightened
of their elders, It is they who recognize
the nude form as a thing of beauty
rather than of shame; it is they who are
creating the social and intellectual dli-
mate in which everything is mention-
able, everything explorable, in which the
human condition can at last be limned
upon the screen with full awareness of
all its dimensions,

This concludes the authors’ 20-part
“History of Sex in Cinema,” which be-
gan in April of 1965, and will be pub-
lished as a book by Playboy Press.

269

PLAYBOY

FOREIGN AFFAIRS

(continued from page 92)

dangerous arms race enormous sums bet-
ter spent on internal development. A
comprehensive ban on all nuclear testing
—thus including underground testing—
would add some meat and meaning to
the recent antiproliferation treaty. New
arms control measures in central Europe
could guard each nation's allies against a
surprise attack while reducing the troop-
ntenance burden on both the U.S.
id Russia.

A true accommodation with the Soviet
Union, however, must ultimately be ac-
companied by peace in the Middle East

and a reconciliation in Europe.
Arab-Isracli cease-fire dangerously m
tained by equal flows of outside arms is
not a substitute for a final Middle East-
em seulement and a truly united and
secure Europe is not possible without
а more: or less final German settlement.
Despite the Czech seiback to hopes for
east-European evolution, our policies
should be directed toward more contact,
collaboration and eventual confedera-
tion between the two Germanys, not
toward encouraging the political slogans
of some West Germans regarding their
eventually getting either a finger on a
nudear trigger or a foot in the lands
east of the Oder-Neisse.

(B) A new approach to China vill be
€ difficult 10 swallow, necessa
inam settlement
ng a reversal of some two
decades of public miseducation. New

words, new gestures and new palliatives .

will not be enough. Only a bold and
basic change in approach can bring our
Chinese policy into line with reality. To
wait until the heirs of Chiang Kai-shek
fall out over his estate would be casier;
but to wait until the heirs of Mao
"Tse-tung seek a rapprochement with the
Soviet Union would be dangerous. How-
ever much we may disapprove of her
conduct and language; and whatever dis-
putes may divide her internally, the gov-
ernment of China is entitled to sit in
the United Nations and to be recog-
nized by the United States. No world
organization will be truly meaningful as
long as onc fourth of the world's popula-
tion is excluded; and no nudear or
other pact we propose will be truly
effective if our only contact with the
world's newest nuclear power is confined
to a monthly exchange of harangues at
Warsaw. Once these and other funda-
ges are undertaken, mutu:
trade, tourism, contacts and cultural ex-
changes should follow. All this will be a
bitter bullet for many Americans to
bite; but the alternative is increasing
and unreasonable fear ind hatred on
both sides as the high noon of a nudear
showdown draws nearer cach day.

270 emed by law instead of despair will

require many steps, large and small. We
need a United Nations capable of func
tioning in every kind of dispute, with a
permanent peace force of specially train-
cd and carmarked forces from nonpower
nations. We need nuclear-free zones in
addition to Antarctica and outer space,
where today not too many inhabitants
are benefited. We need controls on the
transfer of conventional as well as nucle-
ar arms. We need an expansion and
codification of international law to gov-
ern more than postal and telegraphic
relations. Above all, we need to equalize
the levels of food supply and popu

on a planet in which 3,500,000 children
will die this year from hunger and mal-
nutrition. Before the world population
doubles again by the year 2000, we must
leam to make better use of our surplus-
es and fertilizers, extract food from the
occan depths and increase the use of
modern farm machinery, methods and
pesticides. But all this will be insuf-
ficient if there are 300,000,000 more
mouths to leed every few years. National
ternational measures to encourage
tation of populations will con-
to meet religious. educational,
practical obstacles but

tinue
financial and
adopting such measures by free choice
now is surely preferable to facing in the
future cither coercion or chaos.

These are all difficult tasks, unpleas-
ant alternatives and gloomy prospects

for a new American foreign policy.
Heated criticism and bitter controversy
will surely surround every one of these
steps. No doubt, it would be casicr to
resign from the world, but that avenue
is not open; and not wishing to see our
planet blown up, we cannot afford to
give up.

RACE RELATIONS

(continued from page 90)
of a city such as New York must take a
special, active interest in the poor. They
have had no easy, routine access to city
hall, so I have gone to then visit their
neighborhoods and listen to them on
their own ground. It’s a sizable constitu-
єпсу; they comprise some 2.000.000 of
New York's 8,000,000 populi The
majority of our poor are members of
racial minorities, and 1,000,000 of them
receive welfare payments. This is a typi-
cal pattern for most of the great cities of
America. The quality of life among the
poor is also much the same from city to
city. In New York, the ghetto may be
packed and tall; and in Мац», jt may
spread out in secming openness for miles.
But the heritage of the ghetto endures
from place to place: the smell of garbage,
the jobless drifters on the streets, the
scream of police and ambulance sirens
during the night.
"Ehe issue of race, however, is not all
black and white. With the national
unemployment rate at less than 4 per-

cent—experts tell us this is nearly rock
bottom—the rate among the nation’s
‚600,000 Indians is 40 percent. Their life
expectancy, in a country with an aver
age life span of 70 for both men and
women, is 44. Among the 1.000.000 mi-
gratory farm workers, a good many of
them Mexican-Americans, the average
annual income ttle more than $1600.
"This is reported by Cesar Chavez, direc-
tor of the United Farm Workers Organ-
izing Committee and a leading figure in
the fight to improve the farm workers’
lot. Moreover, because they're migrants,
they don't qualify for unemployment
insurance or welfare grants. They arc
nearly a lost tribe, whose children and
aged women pick berries in the summer
sun for 12 hours a day. Labor ccono-
mists label them “stoop labor," farmers
refer to them as “pickers,” but Cesar
Chavez calls them people.

In New York and other East Coast
cities, another group—the Puerto Ricans
—confronts the barrier of race without
even the initial advantage of knowing
the language. Puerto Ricans are immi-
grants to this largely immigrant country
who, like all such groups, find them-
selves starting at thc bottom. They
begin with few skills and no way to com-
municate, and they remain where they
are becausc of the handicaps of ancestry,
accent and skin color. Even in this coun-
try, many continue to draw the wages of
a peon. Tt was significant Шах une of the
more serious disturbances in New York
in the summer of 1967 occurred in East
Harlem, known to outsiders as Spanish
Harlem but called “El Barrio," or "the
prison," by its residents.

When discussing the twin problems of
е and poverty, we usually talk about
money, because only with money can
the poor make contact with the rest of
society, and only with money can they
stay alive. But money—or the lack of it
—is only a superficial gauge of the deg-
radation, squalor and crippled pride of
the poor. What most of us know about
the poor are the statistics—although
we've learned something from the vio-
lent outbursts of frustration we have
witnessed for four summers now. A Nc-
gro senior at Yale recently told a report-
er for The New York Times, is
supposed to be one of the best colleges
in the country. But these guys live in an
unreal world, a world that doesn't cn-
compass the things that a man who is
struggling with society has to deal w
They dou't know half as much about us
as we know about them—because they've
thought so little about us for so long.”

Occasionally, we may encounter a
really sustained account of ghetto life in.
books like Invisible Man or The Auto-
biography of Malcolm X. But mostly, we
must rely on the newspapers. Item: the
arrest of a black teenager
Island suburb for threaten

271

motorists with a rifle. His mother ex-
plained he had stormed out of the house
п a rage when he found his six-year-old
sister sobbing in the bathtub, vainly
tying to scrub away the color of her
skin.

With the benefit of that kind of in-
sight, white America ought to be better
able to understand why the polite re-
quests for integration in the carly Fifties
have been transformed into outraged de-
mands for action now. "We are tired of
ing in the dungcons ol poverty, igno-
nce and want" Martin Luther King
id in the midst of one of his peaceful
mpaigns for equality in 1963. "We
have come to the day when a piece of
freedom is not enough for us as human
beings.” Impatience was creeping into
even that moderate voice. He adde t
the inexpressible cruelties of slavery
could not extinguish our existence, the
opposition we now face will surely fail.
We fecl that we are the conscience of
Amcrica." The claim was not arrogant;
it was the statement of a time in which
there were few leaders or groups who
would define "conscience" as simply and
forcefully as Dr. King did—an equal
opportunity for every man to find his
place freely in this society. [See Martin
Luther King's 4 Testament of Hope on.
page 174 ol this issue.—Ed.]

I would like to believe, however, that
our racial minorities are not alone in
their assertions of conscience. Every
Amcrican should have a decent income,
а decent education and decent housing.
He should enjoy a life free of the bru-
tality of organized humiliation. These
objectives are not only within our reach
but attainable within relatively few
years—if we have the will to reorder our
national priorities. Moreover, the invest-
ment in the means to achieve these ends
will produce not only returns by way of
improvement in the quality of life but
measurable dollar profit for the nation

s a whole.

Time and time again in our history,
we have invested massively in great proj-
ccts designed to cure or, at least, relieve
social afflictions. The Tennessee Valley
Authority is a good example. It was
established in 1933 to improve the vast
Tennessee river valley, an area larger
than New England, involving parts of
seven states. In the Thirties, the region
contributed only 3.4 percent of the na-
tion's Federal income-tax revenues. Its
residents, on ап average, were making
half as much as the rest of America.
Most valley people were farmers, beset
by flood, displaced and threatened by
machines and bypassed by industrial
growth.

PLAYBOY

nized as a Government-owned cor-
poration, TVA was empowered to use
the credit of the United States and was
272 launched with the help of $50,000,000

derived from the sale of bonds. It was
charged, in President Rooscvclt's words,
“with the broadest duty of planning for
the proper use, conservation and develop-
ment of the natural resources of the
Tennessee river drainage basin and its
ljoining territory." This monumental
order drew sharp criticism. Nonetheless,
TVA built a system of dams that con-
trolled floods and turned 650 miles of the
raging Tennessee river into a produc
tive waterway for commerdal freight.
‘The hydroelectric power produced by the
dams serves 2,000,000 homes, farms and
businesses. Woodlands have been rebuilt
and soil- and water conservation projects
have helped save or create farms. In the
TVA area today, four times as many
people work in industry as did in 1933
and the percentage of tax collections has
doubled.

Why can’t we duplicate the TVA in
our ghettos? The TVA is an example of
Government acting broadly and de
sively in response to an enormous pr
Jem. It is also an example of the benefit
that is distributed to many, not to a few,
by the improvement of a specific area
that had been excluded from full parti
n life, At few times, I
think, has the need been greater than it
is today for some parallel program,
something very big, indeed, to return 20
percent of our nation to itself.

Whatever we do will cost money. We
have only to look at the alternatives to
discover whether we can afford the in-
vestment. The welfare system is in a
shambles. Repression has not controlled
civil disturbances and never has through,
out history. In the days immediately fol-
lowing Dr. King’s assassination in April,
trouble struck 170 towns and cities: 27,000
persons were arrested, 8500 were injured
and the property damaged or lost to loot-
ers amounted to about $58,000,000. Forty-
three people died. This doesn’t count the
cost to Government for the 34,900 Na
tional Guardsmen and 23,700 Federal
troops called out last April or the money
spent on sanitation, emergency social
services and relocation of burned-out
families. No figures can compute the
damage done to a society that lives in
fear of itself. “Every time I hear a fire-
engine bell" a Washington housewife
was reported to have said, "T recall Joh
Donne. I wonder if the bell is tolling
for me.”

Even without the burden of civil dis-
order, the welfare system doesn't ease
people's lives; it degrades them. As a
system, it is ill conceived,
impossible to manage und u
most of the people it involves. Wellare
payments of one kind or another reach
7.500.000 people each month. Of them,
2,700,000 are old, blind or otherwise
3,600,000 are children

whose parents can't support them;
1,200,000 arc the parents of these chil
dren. Of the 200,000 fathers, over two
thirds are incapacitated and most of th

rest require assistance because they can't
support their families on what they cam.
Few believe that this system really helps
people break out of the poverty cycle.
“I think it stinks,” a young Negro ware-
houseman in San Frandsco remarked
bluntly. “People are so tied to that
crummy check that they're afraid to say
580

The National Advisory Commission
on Civil Disorders offered a series of
considered recommendations to improve
the welfare system and suggested that it
eventually be replaced by a system of
national income supplementation. More
and more economists and civic and gov-
ernment leaders are coming around to
this point of view. The Commission, on
which I served as vice-chairman, told the
county what we have to do to wipe out
the breeding grounds of violence: We
must create 2,000,000 jobs, half of them
n the private sector, and train people
to fill them, Six million low: d middle-
income housing units must be built.
The education on which advancement
depends must be extended and improved.
The money needed to do all this, we
said, will be an investment, the return
on which will be realized not only in
the number of persons who will he ahle
to take part in our economy but in the
number who will be able to contribute to
our professions, provide leadership in
their communities and convert the dialog
between blacks and whites in America
from a shouting match to a conversation.

Standing in the way of that invest-
ment is the war in Vietnam. The cost of
that has been in excess of 100
billion dollars, while at home our most
urgent needs have been unmet. This is
not the place to recapitulate my oppo:
tion to the war, except to point out
that until our role in it is concluded,
both our will and our means to act at
home will remain limited. The truth
that we must wage war here, in the
United States, against the aggression of
poverty and prejudice, This will require
a giant commitment that we have yet to
make. And time is running out.

“The sufferings that are endured pa-
tiently, as being inevitable, become i
tolerable the moment it appears there
might be an escape,” Alexis de Torque-
le, the student of American demo
cy, wrote in the 19th Century. “Reform
then only serves to reveal more clearly
what still remains oppressive and now
all the more unbearable. The suffering,
it is true, has been reduced, but one’s
sensitivity has become more acute.” To-
day we discovering that the little we
are doing may be worse than nothin

EQUALITY & OPPORTUNITY

(continued from page 90)
economic status of whites and Negroes in
America, focused attention on the need
to improve the standard of living of the
masses of Negroes in American cities, if
legal and legislative “victories” are to
prove substantive; if the pressures that
dominate the lives of the deprived are
ever to be removed; and if they are ever
to be provided with the education, the
jobs, the housing, the power and the
pride to enable them to become construc-
tive and contributing members of the
larger society.

The Economic Opportunity Act was
the first Federal publicwelfare legisla-
tion to require community action. It
marked a major break with the tradi
tional social-service, "dole" approach to
the amelioration of the conditions of the
poor, an approach that has been shown
to be ineffective in solving or even re-
tarding the problems faced by the
people in America’s urban slums and
ghettos. The basic rationale of the new
community-action program was that
underprivileged peoples must somehow
be taught to define and solve for them-
selves their most oppressive problem
that they must seek out their own leader-
shi nd determine the methods neces-
sary to bring about the desired changes
in th communities and their lives.
Only the ve would have failed to
understand that such changes cannot be
brought about without abrasive contacts,
without misunderstandings, without the
ty—of conflict
with existing political, social-service and
other institutional interests.

But the War on Poverty has never
achieved the status in deeds that it
ved in rhetoric. Probably the most
reason for this is that, in spite of
the fact that two thirds of the poor in
America are white, the War on Poveity
soon became synonymous with the prob-
Jems of Negroes. It appears that once an
American social problem becomes asso-
ciated with racial problems or is seen as
related in any way to the struggle of
Negrocs for improvement of their status,
the search for solutions to such problems
tends to become confused and blocked.

Whatever the reasons, the nation
never made the total commitment of
material and intellectual resources, the

igument of national priorities, the
ion to the goals of victory that
are commonly associated with war. Its
commitment of resources was meager
and quickly restricted by a callous C.
gress that no doubt reflected the insen:
tivity of its constituency. The gi
the el
sought,
а camp:
the traditional socialservice appro:
than 10 the communityaction approa
it had defined. The poor, particularly

of
nation of poverty was never
Rather, the nation embarked on
ign that proved more relevant to

“There goes a very sincere individual!!”

learned that their
"maximum feasible participation” in
y action was to be more "fcasi
“maxi

ble” than
When the Federal Government found
even these modest exploratory efforts

checkmated by local political interests,
"which tended to view participation of
the poor in their own affairs as a threat
to established power, the Government
often withdrew from the arena, leav
the local power structure and the status
quo intact. In the same way, when
school-decentralization efforts—iniended.
to establish community control in ghetto
schools equivalent to the community
control traditional in the Chevy
the Wilmettes and the Newtor
Amcrica—conflicted with the established
power of teachers’ unions, supervisors’
ssociations and central boards of educa-
ion, decentralization efforts were under
mined or destroyed.

Ас а time when the needs of the poor
were most clamorously expressed and
the gap between the afluent and the
deprived seemed most flagrant, Congress
passed a cruel and punitive act designed

to humiliate and constrict the poor even
more. The poor have thus, in a real
sense, been shut out of the national
culture. Even in the more effective of
the programs that attempted to relate
the majority community to tlie poor, the
relationship achieved has been one of
negotiation between two alien groups,
somewhat analogous to the relationships
of diplomacy, in which separate nations
set up channels through which to com-
municate with one another. This alien-
ation is revealed in the psychological
of those professionals who
work in the ghettos but fear to travel
except in pairs or by special bus, unable
even to cross the language barrier to the
“culturally disadvantaged.” It is revealed
alo in the approach of those teachers
who require police barricades and police
escorts to force their way into schools
tbat do not want them; in the behavior
of those social workers who turn up in
the middle of the night to see if there is
a "man in the hou ien atti-
tudes are reflected in the mirror image
of black power militants whose an
white stance and demands for a separate 273

PLAYBOY

274

nation make it increasingly difficult to
consider a biracial relationship except in
terms of mutual exploitation. The de-
meaning, dehumanizing publicwelfare
system—with its atavistic moral judg-
ments its cruel denial of the hu-
manity of the poor —has reinforced and
rationalized the most extreme charges of.
the militants.

In actual operatio

there seems to be

lite difference. except verbal, between
the antipoverty community-action pro-
grams and the traditional social-services
approach to the problems of the poor

and, therefore, little bi for any lis-
tic expectation. of different results. The
programs have scemed limited to the
provision ol services designed to amelio-
rate the conditions of poverty, or lin

td to the opening up of opportunities
—some sporadic job training and employ-
ment informati, id the Like—without
attempting to cope with the cen
of the poor. "Opportunity"
meaningless as a guarantee of the ability

nd to hold a self-respecting job
ns whose experience includes
nt or irelevant education in
addition to physical and psychological
deprivation. So, too, the Headstart pro-
gram, while useful im itself, does not
begin to transform deprived ghetto
schools and often results in the
tion of hopes and abilities that
trated when children enter those schools.

Neither the services nor the opportu-
nities approach grapples with the climi-
nation of the root causes of poverty. Nor
will plans for negative income tax, guar-
anteed annual income and the like
prove more than superficial panaceas if
they are allowed to turn into a modern-
ized version of the old welfare programs,
reinforcing dependency and lack of self-
respect. Those who are poor need mon-
ey, but they need more than that: the
right to dignity, the right to be produc
tive, the right to an education that fits
them for skilled jobs, the right to in-
come for those who cannot work—moth-

to get

“For a brief moment, I thought we were witnessing the
bright new dawn of a literary renaissance.”

ers of young children, the aged, the
handicapped—without soul-crushing con-
ision. The poor need to

be treated not as wards of a society but
as worthy and independent adults. The

poor need power to act as ci
much as they need money.

A serious war against poverty, like any

other war, eventually has to be judged
in terms of its results. Wars are not
waged for their own sake but for iden-
tifiable and specific goals. Nor can the
outcome of a war be determined by the
exdtement of isolated skirmishes, by
the drama of a particular battle or by
temporary advances or retreats. It is the
ultimate victory that counts. By this
standard, the War on Poverty must now
be as approaching defcat. Federal
and local programs have made promises
they have so not been able to fulfill.
And this failure—symbolized by the hu-
ng debacle of the Poor People's
March in the mud of Washington—
has contributed significantly to the fuel
of urban conflagration. It has increased
the power of demagogs and it has added
to the restlessness, the alienation and
the sense of hopelessness of the deprived.
Obviously, such ingredients make for pro-
found social instability. Aware that they
are the victims of social conditions that
they have not brought about, the poor
realize intuitively that the majority cul-
ture does not understand the depth of
the problem or docs not wisl tu det
the conclusion that the society at large,
and not the community of the poor
alone, must take the responsibility for
remedial action.
Only a society that never intended to
ke the steps necessary to abolish pov.
erty would have quailed before the mod-
erate and nontevolutionary political
awakening of the poor. How long can
they remain moderate under such cir-
cumstances? One cannot help but specu-
Tate that the white middle-class majority
is attempting to provoke the ghetto into
new explosions and new isms
that will serve as the excuse for further
suppressions. If the majority society will
not let the poor and the ghetto take
the leadership in community-action pro-
ims and, on the other hand, will not
transform the ghetto into an open soc
ty fit for human habitation, it must.
expect that hope will turn to hatred, and
despair to recklessness. If it then con-
fronts erupt th official violence and
with military containment, it must cx-
pect the id of society it will have
created—a society in which there is no
peace, a society that needs concentra
camps, a society that has destroyed the
American dream.

Some awkward questions arise: To
what extent are the poverty and pathol-
ору of the ghetto a consequence not
merely of economic imbalance but of
deep-seated racism? To what extent has
ppressed racial hatred in whites come

iens as

to the surface? To what extent has the
backlash become socially acceptable? 1s
it now influencing Federal legislation on
welfare and antipoverty programs? To
what extent will it entered the
ing booths and controlled the clec-
tion of the new President and the new
Congress? The economic and political
obstacles to victory over poverty cannot
be overcome as long as racism supports

pol

them. As long as the War on Poverty is
scen in racial terms. there will be по
triumph. The society must come to know

that its own economic, social and politi-
cal well-being—its own survival—depends
оп the survival of American cities. Until
business and industry, until. political
and educational institutions understand
this grim fact and commit their full re
sources to the goal of survival, the pathol-
ogy and decay of the cities will continue;
restlessness and violence will increase;
extremism will gro
he paradox of antipoverty programs
and school-decentralization programs is
this; The programs have received half
rted or nominal support from govern-
: ie. the established order; yet
their very effectiveness depends on chal-
lenging that same order and transform-
ng, society itself. The central question
to be answered is: Cam government
endure and support financially such
challenges against vested interests? Or is
there an inherent inconsistency between
the fact of political control of public
funds and the possibility of realistic so-
cial action? But perhaps even more cen-
tral is the contrary question: Can a wise
government afford not to en
courage and foster—such a

not democratic protest
gainst injustice totally consistent—as
ilie suppression ol such protest is totally

challenge? 15

nconsistent—with the ends of democrat-
ic government?
American society does not lack the

means or the intelligence to end poverty.
It lacks only the will. If it had the will,
it would commandeer the resources to
end poverty that it commandeers to
wage war. For a truly decent. society, it
would gather the best minds in Amer
10 the task of social change as it gathered
and nurtured them in the task of de-
veloping the atom bomb. But those who
ade it” in America seem to have

their own origins, A selfish
and insensitive society blames the poor
for their own poverty, boasts of its own
affluence, feeds racial fears and hatreds
in American life and gradually builds
the tinder for a social holocaust

America is moving doser each day to
separate societies, one rich, self-indulgent,
smug, cruel, callous, inhuman; the other
poor, frustrated, bitter, angry, dehuman-
ized. Can America find 1
enough and strong enough to subdue t
ly condoned evil
с а new compassion, a new com-
mitment to democracy and equality,

soc

nd.

transcending race? If it does not, the na

tion is doomed to self-destruction, either
by mounting waves of violence or, like
the Roman Empire, to decay from
within.

THE PHYSICAL ENVIRONMENT

(continued from page 90)

ly in sight, technology should be
able to more than double food produc-
tion in the next several decades. But how
long will double be cnough? And,
case, food is but one element: ch
and oxygen, to name two others, a
ready in short supply. Even if technology
solves all material needs, the human
swarm will still have oblique problems;
we glimpse these already in the increase
of psychosis and random violence.
Though ample food and shelter are pro
vided, rats (which exhibit behavioral pat-
terns disconcertingly similar to those of
man) react to crowding in strange and
morbid ways—among them, neuter bc-
havior, increased. incidence of homosex-
uality and consumption by the mothers
of their young.

The environment and poverty, the en
vironment and peace—pick almost any
category in this symposium—are not
readily separable in a damaged human
habitat. We know, lor ex: that one

alre;

ous smog derives from ethyl y;
which can cause chronic lead poisoning.
and that a symptom of this poisoning is
extreme irritability. Irritability is also a
symptom of noise and overcrowding. as
has been demonstrated in wild lem-
mings and human convicts, as well as in
rats. Like all ghettos, Watts is noisy and
ed, and it is located in the
worst smog region in America.

overcrowd

The black ghetto, which brings to-
the worst aspects of poverty and

gethe
pollui the symbol of all that has
gone awry in the American way of life.
But the ghetto is ordinarily that part of
our dying cities that is already dead. It is
not only the ghetto but the sprawling
urban mess that must be broken and rc-
shaped. monious form is with
the whole concept of cities that any
meani environmental renaissance
must 1 Unfortumately, the ru
dominates state
I legislatures appropriates
arm subsidies than for urban
development, even though the cities’ dis-
tir is related directly to all those
sordid aspects of today’s America that
these politicians deplore. And the inade-
quate sums made available to the cities
soon disappear down the ratholes that
abound there, not only because political
expedience takes precedence over hu-
man needs but because human needs are
so rarely considered, even when they are
understood. Slum clearance, for example,
is often more spectacular than uschu

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B LJ sena gilt memberships at $2.50 each lo names
and addresses listed on attached sheet

interested in pre-recorded tapes.

O tam

A
a 275

PLAYBOY

276

rarely is it worth the disruption and
distress inflicted on its beneficiaries. A
raflısh neighborhood that functions well
is raved to make way for hard-edged pub-
lic housing that docs not; the facelessness
of the low-cost high-rise, the absence of
human commerce breed despair as well
as crime, and a new slum replaces the
old.

As social animals, most people like
high-density living; they do not forsake
for economic reasons
alone. But they cannot be housed in
rows like chickens, with all-night lights
to keep them laying; human nature
makes such efficiency inefficient. A sense
of identity must be preserved, a sense of
belonging, as opposed to alicnation, and
this is not possible without the preserva-
tion of human community, of neighbor-
hood. Even the city’s “downtown’—
typically, a fortress of cold rectangles in
а slum jungle, dead (and therefore dan-
gerous) by night—could be brought
back to life if it incorporated calés,
shops and theaters in an attractive civic
center. Theoretically, the people who
work there would choose to live ther
commuting—and time loss, trafic jams,
nerves, expense, crecping suburbia and
many other ills—would be reduced; the

slum sections would disintegrate or be
restored. In а time of advanced technol-
ogy. residential and commercial arcas
need not and should not be mutually
exclusive, especially now that heavy in-
dustry and warehousing are forsaking
the cities in search of unchoked accesses
and cheaper land.

Neighborhoods within communities,
all linked to a live center—this is the
basic arrangement in most of the new
cities springing up across the country;

these new cities will be surrounded by
permanent green areas and will be of
the so

controlled „in order that
called "human scale" may
Yet here, as elsewhere, urb:
left mostly to architects and city plan-
ners, who are not trained in ecology nor
ethology. Among the first 70-odd ncw
cities under construction in America,
only one— Columbia, Maryland —sought.
the advice of social scientists before con-
struction was begun. Even before the
purchase of the tract between. Washing-
ton and Baltimore that was to become
Columbia, its developer, Baltimore bank-
er James Rouse, met regularly for
six months with 14 experts whose spe-
cialties ranged from health systems 10
traffic engineering. Rouses vision of a

OAIT equa

“Hi! Mind if I join you? I'm the
fighting priest who isn't afraid to talk to the young.
Maybe you read about me in Look."

“truly ratio city, providing "the
most viable soil for the growth ol
people,” was translated. by his staff into
a multilayered complex centering on its
school system. 1f the cities of the future
are to be a fit environment for man, it
will be because the whole scientific com-
munity was consulted and its recommen-
dations, however expensive, carried out.

It has been said that America ca
not afford the huge cost of rebuilding
her cities. This is not true. What we
cannot aflord is the death of our environ-
Wars and the race to the moon,
ne many times the annual
sums that could practicably be applied to
a restoration of the environment, are
luxuries of power and a gross imposition
on the millions of people who cannot
pay for comfortable private environ-
ments of their own. In a time of grow-
ing deprivation, the old ethics of free
enterprise are intolerable, Cars, for cx-
ample, are a chicf source of our greate:
plagues (congestion, air pollution, pro-
ng highways, noise and junk)
yet, despite the huge profits of the
motive industry, despite the awesome
threat of air pollution, despite an emer-
gency law in California that new cars
must be fitted with anti-air-pollution
devices the manufacturers have only re-
cently provided this relatively inexpen-
е item as standard equipment. Their
lack of responsibility toward the people
who made them rich is nat the exception
but the rule. There are exceptions, how-
ever: Standard Oil of New Jersey has
contributed valuable research to the
problem of oil wastes dumped at sea, I
suggest to the Secretary of the Interior
that such firms be awarded a С for
Civic Responsibility, like the E for
Excellence of World War Two. But
such companies as Inland Steel, Dow
Chemical, Armour, Ford Motor Com-
pany and thousands of other industries
expense by
ir filth into our ruined
erways. To the swelling problem of
wastes, Rheingold and Chlorox and.
their competitors have added the alumi
num and plastic containers that will foul
our beaches for a century, despite general
agreement that all products (and their
containers) —and cars, especially —should
be designed for recycling or disintegra-
tion.

h antipollution ordinances,
industry often resorts to economic black-
; it threatens to leave town. U. S.
Steel and many others have hired
yers to fight Government reforms. Mon-
santo and its allies, their pesticide profits
endangered by Rachel Carson's Silent
Spring, spent large sums not on re-
search to protect the public but on an
elaborate campaign to discredit the au-
thor and her book. But an hetic
public and its slack officials still permit
the businessman to run the show in
Washington, where his sometimes strange

ethics are reflected in Government prac-
tice: when the Sierra Club attacked th

roversial Colorado River Basin Bill,
rtially lifted by

cou
its tax-Iree status was р:

the 1 Revenue Service.
Conservationists fought the proposed

dams on the Colorado because they

threatened to submerge part of the

Grand Canyon; the dams were support-
ed by political spokesmen for local coal,
electric and other interests, even though
the dams would have cost an estimated
S800.000.000. as opposed to an estimated
$90,000,000 for a nuclear power plant in
the same region. Considering the need
of our poverty program and our sick
cities for that 5710,000,000 difference,
the fact that a choice was considered
seems grotesque; but the situation gives
an accurate indication of corporate pow-
er in Washington.

As long as Government indulges the
commercial notion that growth of any
kind means progress, as long as this
blind "progress" is equated with the
public good. its own agencies will com
pete in the cavalcade of development,
led by the highway and construc
eers, that dooms a million acres of
green land each year to asphalt or
worse. The nation will lose much more
than huge land-consuming
boondoggles like the useless Arkansas
River Navigation Project and the very

avery Central and Southern. Florid:
Flood Control District, which has made
millions for a few speculators and big

money in

farmers at the expense of the public
investment in Everglades National Park.
As long as greed is glossed over—and it

usually isas an expression of “the
free-enterprise system that made Ameri-
ca great" we will witness such monu
mental es as the proposed Rampart
Dam, designed to drown a Yukon wild-
life arca larger than Lake Erie to fur-
nish hydroelectric power that nobody
needs. Government. agencies, especially
Interiors Bureau of Reclamation and
the headless monster called the Army
Corps of Engineers, must play in the
pork barrel with politicians and special-
merest groups to find new make-work,
for their bureaucracies have grown
huge and as obsolete as dinosaurs. The
Corps of Engineers, for example, has
recommended the nuclear blasting of

new canal across Central America, with-
out troubling 10 ascertain the effects of
such а of con

series

minating explo
sions on the oceans and atmosphere of
the whole world.

The Corps still claims the strong sup-
port of politicians, but from the public
it conservation
and а decent
—is beginning to pay olf.
people look hard at the word
progress," and their skepticism must be
encouraged. When told of United Si

environme
Today

“Poor kids! I understand everything in their new
apartment was faulty and called back."

concern for the world’s poor, remember
the fish-llow episode: this cheap, high-
protein concentrate made from whole

fish. a true source of hope to famine.
haunted nations, was suppressed for
years by the FDA on “aesthetic”

grounds, due to pressure, it is said, from

food interests fearing domestic competi-
tion. When informed of the chemical
Companies dedication to “America’s

future.” y
river fish Kill caused by dumped poison-
ous wastes, and the campaign to de
Silent Spring. When shown the merry
chipmunk at play on the pretty stumps
of reseeded forests, remember the orgy
of cutting staged by lumber interests
belore new bills to save the vanishing
redwoods could be passed. When i
duced to the folks down
companies and their tradition of public
service, remember the plentiful recent
evidence that the public has been gross-
ly overcharged for this service. Ask why
these excess profits can't. be spent, not
on tax-deductible propaganda designed
to con us but on replacing with storm-
proof underground cable
poles that rank with the billboards
garish gas stations as the most per
ul unnecessary eruptions on
blighted landscape.

Environmental maintenance will be
too little and too late as long as the pub-
lic remains apathetic. what is needed is
more citizens and fewer consumers. Con-
sumers do not petition for local ordi-

ember the great. Mississipy

iro-
at the utility

the utility
nd
sive
our

nances on billboards or for a local
building code for gas stations, nor do
they boycott, Lhey do not organize con.
servation groups, much less Planned P:
emhood dupters or pollution boards;
nor do they demand that the schools
provide children with honest conserva
tion education, including the heresy that
the American way of life has provided u
with quantity without quality, like
body without a soul. Citizens, not con-

sumers, won the preservation of thc
Great Swamp in New Jersey (more
than 10,000 acres of primeval forest

nd flourishi wildlife 30 miles fron
Manhattan). che Fire Island N al
Seashore, the Aransas, Texas, sanctuary
lor the whooping crane and the restric
ions on billboards in Merced County.
California. Such victories are amon
many encouraging signs that Amer
are now tired of fouling their own nest

SCIENCE & TECHNOLOGY

{continued from page 90)

buted to the multi
mes, to the numerous dis
d and give a
: destruction
by nuclear war; poverty on а vast
scale: а totally unsupportable and largely
miserable society brought on by an un-
controlled population explosion: an irre
medial polluting of the planet; the
oppression of people by totalitarian gov-
ments; and a world-wide alienation
of citizens, especially young people, fr

technology 1
crises of our
asters that

217

PLAYBOY

a highly complex society to which they
appear inclevant.

If this is so, if science has contributed
atly to the world's perilous
state, what help, then, can we expect
from science and technology now? The
answer is that science and technology
offer us another chance, the option for a
better world, by making it possible to
provide abundant material resources,
good health and good education for all.
More importantly, science and technolo-
gy ofler the only hope of achicving the
understanding of increasingly complex
social erganizations that is so essential
to the satisfactory management of our

Sigmund Freud posed the present di-
lemma of civilization when he
dicted our failure to adjust poli
and psychologically to the new world of
technology. We are involved in a race be-
tween the creation of new technologies
and the development of adequate social
mechanisms to manage them, and the
" inventors are ahead. In my
still possible (though not nec
essarily probable) to fashion a decent
world; but this can't be done simply by
inventing more machines—though some
will be needed. Instead, we must make
our first order of business the fashioning
of a new political and psychological
world. The so-called. advanced nations
must go at this task with the same fervor
and commitment that up to now has
been reserved for furthering military
technology.

Obviously, the first steps toward a
more decent society must give a high
priority to eliminating the malignant
aspects of our present condition. But
this is hardly enough. The fundamental
obligation of à decent society is to pro-
vide a positive opportunity to achieve a
rewarding, happy lile for the maximum
possble number of its citizens. This
implies a parallel effort to model the
society—politically, physically and cul-
turally—to fit man's needs. This unique
and fascinating instant in time is the
first moment in history when the means
actually exist to create a decent world
for everyone. Not only do we have vast

owers over nature but we can also be
confident that if we continue to support
a vigorous scientific re:
our technological capabi
enormously, to give us even prc
strengths, The real difficulty in creat
a decent society, therefore, is not
much a shortage of resources or a lack of
scientific inventiveness as it is our in-
ability—or unwillingness—to use existing
resources constructively.

The collective effort to improve the
Jot of man must, however, manifest itself
quickly. If it is possible today to create
the means to feed the people of the
world adequately, or to control pollu-
tion, will it not be possible to do so 20
from now? What is the hurry?

First of all, environmental and social
problems are much easier to prevent or
arrest than to reverse. Therefore, the
best way of coping with some of our
current difficulties might be to perpetu-
ate the status quo, as unpleasant as that
might seem. How che, for
would one handle the population p
lem? If current trends are allowed to
continue, the world 20 years from now
will be mighty unpleasant. It m
impossible to remove the DDT fr
the occans or the excess carbon dioxide
from the atmosphere, but it is possible
to halt any further such pollution,

A second reason for acting promptly
is that most phenomena associated with
societies and people grow exponentially
they are not restrained. That is, their
growth is proportional 0 their magni-
tude, so that when they are small, the
magnitude of their growth is small; as
they become bigger. they ultimately
reach a point of explosive growth. This
is why crises appear so suddenly in hu-
s, why problems seem unim-
nt one season and out of hand the

port
next. Finally, it takes time to develop

new technologies and time to put them
to work. Agricultural experts predici a
world-wide food shortage within two
decades, causing famine on an unimag-
inable scale. Studies have made it abun-
dantly clear that the mere expansion of
existing agricultural activities and the
introduction of present birth-control
methods as rapidly as possible will not
prevent the crisis. However, by starting
now to develop the new technologies
that have been proposed, it would be
possible within a decade 10 stop the
present decline in the amount. of food
available per inhabitant of the planet
and lo elea an adequately increasing
supply. But this developmental program
is not under way.

The destructive impact of the automo-
bile on our cities is another obvious
example of out-of-control technology.
Any individual, given the needed talent
and appropriate circumstances,
cide to design and manufac

decision to own one. Even though a few
farsighted people—like Lewis Mumford
—prediaed the unmanageable

quences of such unfettered initi
there has been no social
planning and controlling their direc
tion. Most of the great technological
innovations that have so changed our
lives emerged in just such a way. Or
consider the effects of television. A typi-
cal youngster of today has watched over
20,000 hours of television by the time he
is of college age. We can be certain that
this deep immersion has affected his
intellectual and social development in a
major but we haven't been able to
quantify the effects or figure out how to
adjust either the television programs or
the formal edutational process to take

conse

advantage of this new medium as a truly
constructive fora

Even when science and technology
have been used by governments for pub-
lic purposes, the results have not
been constructive. Nuclear w
listic missiles were developed to cn-
nce national security; yet they have
made this country, and all others in the
world, morc vulnerable to attack ıhan ar
any previous time in history. At this
very moment, Soviet and American lead-
ers are trying to buy protection for their
people through the creation of missile
defense systems whose only certain.
effects will be to intensify the arms race.
Nonmilitary technology has Гагей very
little better, Public-health activities in
the underdeveloped countries have
helped bring about pressing food short-
ages. Public hydroelectric projects in the
United States and elsewhere are ruining
vast and irreplaceable recreation arcas.

It is clear that there must be a medha-
nism for fostering reasoned and continu-
ous public discussion and consideration
of all social problems. Long-range fore-
casting and resource allocation must be-
come a part of the ongoing business of
the society. Done well, such processes
can bring the hitherto random method
of decision making under control. A
new discipline—which I shall call social
engineering—should be created to estab-
h a scientifically based capability for
the design and management of the vari
us aspects of our evolving society. Not
that I expect even a highly developed
social technology to eliminate the trial-
and-ertor aspect of the process by which
progress is made. A modern society is
too complicated to permit detailed fore-
ting of its behavior, The purpose of
the mechanisms here described is to pro-
ide the information for more rational
decision making, particularly in plan-
ning activities, and to provide continu.
ous feedback on the status of ongoing
activities, so that they can be adjusted,
il necessary, as they proceed. These
rrangements should also provide an
carly-waming function, detecting unan-
ticipated developments at carly stage.
Most important and, no doubt, most dil-
ficult, they must also include procedures
for taking into account moral and spiri,
al values and must afford adeg
means of judging the human qualitie
the environments under consid

Iam presenting a large order,
which we lack an adequate fundamental
е of knowledge. But since we c
wait, I suggest that we proceed as a
design engineer or a doctor does, em-
ploying whatever knowledge lable,
stretching over the gaps in understand-
ng with judgment, intuition and exper
nent, at the same time pressing the
social, political and behavioral scientists
to provide a more complete understand-
g of the phenomena involved. Many
of the intellectual and analytical tools

"Caldwell, here, may well have the answer
to ‘After Pop Art, What?!"

needed are now or are becoming avail-
able to assist the social engineer. The
intellectual tools include concepts ex-
plaining the behavior of complex dynam-
ic systems; profound understanding of the
economic aspects ol society and, with it,
a growing ability to make informative
computer models of economic systems;
systemsanalysis techniques, which have
nited bur expanding uscfulness in

a growing

PLAYBOY

a
the study of social system:

body of knowledge about human bel
ior; and an

reasing amount of factual
all elements ol society. These
make it possible to
1 problems, to test theories in
and eventually to pro-
vide adequate and timely information
lor use by the policy makers and man-
agers of the society. Research groups in
universities, in independent study centers
and in governmental agencies should be
encouraged to study these problems with
the same intensity devoted to investigat-
ing the physical and life sciences.
Individuals throughout the world are
пушо desperately to get their fellow
citizens and their governments to change
their priorities—to spend smaller amounts
of time and resources on arms and on
conspicuous consumption and more on
disarmament efforts, on moral consider

tions and on nation building. Scientists
i ly and through

and en
such groups
can Scientists and the Pugwash Confer-
ences—have been in the vanguard of
these efloris, working to create an under-
standing of the dangers and the hope:
that science poses. Fortunately. the sci-
entists have not been alone in these
ellorts. Scholars from many other disci
pline: men, kers, students
and large numbers of nonprofessional
women concerned about the world into
which they are bringing children have al-
so contributed in a major way lo these
efforts. The awareness of the need to alter
mankind's priorities is growing in all cor-
ners of the world and in every segment ol
society. This is shown dramatically by
the excitement caused behind the Iron
Curtain by the clandestinely circulated
declaration of the Russian physicist Sa
harov, which calls for an end to the a

n of Ате

id priorities can be debated and a
commitment of ihe world’s technical
resources to the basic needs of people.

Equally hopeful is the student unrest
that reverber ound the world, in
democratic societies and in totali
states. Students everywhere shi
ceral, intuitive conviction that society is
sick and that they are getting little guid-

nce on how to cure it, Many young
faculty members share this feeling.
Every campus has its quota of activist

nt students and faculty mem-
bers. They should be encouraged to seck
out ways of understanding and counter-
280 acting the social deficiencies to which

they are reacting, because they have ze-
roed in on very real problems that re
quire far more serious atten

they have been given. The challenge for
us in the universities—be we humanists,
scientists or technologists—is to engage
the creative energies of the dissidents
joint efforts on communal problems, so
that they can find the socially useful
careers they seek. Our generation has
brought a scientifically based technology
into being. With our ce, this new
generation can ensure that its fruits are
beneficial.

In the final analysis, whether society
or succeed in the attainment of
its goals will depend on the use to
which its policy makers put the capabili-
ties created by scientists. We have the
resources for prosperity for all, We have
the scientific know-how for increasing
and improving these resources. Do we
have the will to set about doing it? Can
we adapt—politically and psychological-
ly—to our changing times? We must;
for if we don't, the prospect will not be
the defeat of the decent society but the
destruction of the one we have,

BUSINESS

responsibility is incompatible with
free-cnterprise system." The business of
business, they recite, is to make a profit
— period. But 1 share with many
businessmen a belief that the problems
are so challenging and the time so
limited that American corporations must
assume a broadly constructive social role.
Many observers point out that thought-
less and unrestrained commercial and
industrial activity have helped create
and perpetuate many of the very prob-
lems that plague us. These critics
challenging the nation’s corporations
to mobilize their vast resources in am
nos the board attack on the inequities
а iquities for which, however unwi
tingly, they have been directly or indi-
rectly responsible. These range from
louled rivers, polluted air and ravished
countrysides to ritinfested slums, hun-

(continued from pa;

are

my children and exploited ghetto cus-

tomers. This challenge does not come
from outside critics alone. Many busi-
nessmen themselves, like Henry Ford H,
are urging other executives to exercise
leadership and commit their organiza-
tions in a new and wiser era of recon-
action; to attack the urban
mma with vigor, because we mus
Fords words—"decide 10 climinate
disabilities of race and poverty, or fail as
a frec and open society."

Voices that speak for the other end of.
the economic specurum—black Americ
—are also turning 10 busines 10 help
them in their plight. They insist that
business is the last hope of redemption
for American society, because all of ou

other institutions—government, educa-
tion, churches, labor have so patently
failed to deliver real equality of oppor-
tunity or even minimally decent schools
and housing for many Americans, 1 do
not accept the concept that our political
and economic systems face extinction
unless business comes to tlic rescue, for 1
have an abiding [aith in the regenera-
tive capacities of those systems. But I =
convinced that business executives сап-
not—even in terms of their own corpo-
rate sclf-interest—escape the reality of
modern America or their responsibility to
help solve some of America's problems.

When the top 50 U. $. companies con-
trol more than hall of the nation's manu-
facturing assets, and one of them alone
has revenues that exceed the gross na
tional product of all but 13 nations of
the free world, corporate behavior inevi
ашу п enormous impact on soci
ty. Many business leaders arc aware
of this, and they also see in the ev
expanding economy new opportunities
for a more positive social role, 17 poverty
could be reduced, with their help, by
one third, personal income would in-
crease 130 billion dollars a yea 1
personal spending by over 100 billion
doll n order? I don't think
so. By eliminating job discrimination
alone, business could add more than an
imated 27 billion dollars to the gross
1 product. What responsible busi-
an would ignore an undeveloped
domestic market greater than that of
Canada?

But as they move into this new social
ares business leaders must commit
more than rhetoric to their new tasks,
industry taught me
bout the corporate execu-
tive: He is a creative and compulsive
problem solver, once he is convinced
that the problem is his. When the n
jority of corporate leaders perceive our
major social problems as part of their
concern and tri nit this commitment
to their subordinates, the decent society
we all desire will be w our grasp

There is ample evidence that this is
already taking place; not yet broadly
enough, to be sure, but on a scale un-
precedented Ше last century. The
number and variety of corporate social
grams is staggering. Some are clearly

My experience i

one thing

lations devices, but others are
sincere and thoughtful efforts to apply
corporate resources to our most funda-
mental social problems. Several compa-
nics, for example, have sought ways to

make it possible for welfare recipients,
particularly mothers receiving Aid to
Families of Dependent Children, to go
to work. In Cambridge, Massachusetts,
KLH Research & Development Gorpor
tion has set up a day-care center for the
children of mothers who want to work
in its plant. The children, while at the

er. rec ood preschool instruc-
tion. Programs such as this, extended to

other cities, can have an enormous po-
tential. „ there are some
47,500 volving almost
200,000 persons. According to William.
Robinson, Cook County's welfare direc-
tor, most of these mothers want to work
wd would do so if they were given
ning for jobs and adequate care for
their children.

The new plant that Avco Corporation
is now building in Boston's Roxbury
section is an example of another bur-
geoning form of business activity: sup-
port for the constructive concept of
black power, which seeks creation of
business enterprises that blacks them-
selves will control. The Avco project is a
printing plant that employs and tra
men and women from Roxburys minor-
ity groups to serve its own. needs and
those of other companics. The first and
bestknown of these efforts, the Watts
Manufacturing Company, was founded
by Aerojet-General Corporation after the
first riot in Watts. The Watts company
mploys 500 unskilled blacks making
tents for the military service and, alter
shaky start, is now beginning to turn a
proht. It is performing so dependably
that last year it won a subcontract to
manufacture automobile pa i
ventures have been sponsored by Xerox
Corporation and Eastman Kodak Com-
pany in Rochester, New York; IBM
Iscdford-Stuyvesant; Gener:
Company in Philadelpl
Corporation in Min
child Hiller Corporation in Washington,
D.C. But many more will be needed be-
fore blacks begin to feel that they have a
real stake in their communities and in.
the society to which they belong.

All companies have a related opportu-
ty to develop existing black businesses
by providing technical guidance and
then purchasing the goods and servicos
that black businesses supply; the Ameri-
can Oil Company has been a pioncer in.
this activity. Other firms have clected to
exploit their purchasing power oth-
er way. Neiman-Marcus, the prestigious
allas department store, set a precedent
that others might follow when president
Stanley Marcus wrote his 2000 suppliers
and ned: "In the future, we would
rather do business with a company that
actively and sincerely pursuing a poli-
€y of equal opportunity than to contin-
ue to do business with one that is not.”
Marcus directive was certainly not
spired by the profit motive, but it prom.
ises to reap far more important rewards
in terms of corporate good will, and it
sets an example that other business Icad-
ers may be inspired to emulate.

in ial institutions must also be-
come involved in the economic develop-
ment of black communities. One of my
constituents recently wrote, "Away with

BLACK POWER. Away with 500. POWER.
What we need to make it in this aton
age is DORROWING rower. The difference
between black power and white power is
that white power has more green in
Unfortunately, too many banks and
swvingeanddoan associations are
conducting "business as usual!
principal exceptions are a handful of
majorcity institutions. "The insurance
companies have led the way arca
with a billion-dollar commitment to sup-
port black businesses and ghetto housing.
Another answer to the banking needs
of the black community may be th
establishment of community-development
banks that would be owned and con-
trolled by local community development
corporations.

the most constructive business
ndivid-

ked the ills of entire ghetto neigh-
borhoods. At onc time, many corpora-
tions fled the troubled inner cities for
the benign atmosphere of suburbia, tak.
ing jobs and payrolls with them. Thus
deprived of part of their fiscal base, the

citics have been hard put to cope with
the problems of the unemployed who
were left behind. Today, many compa
nies are following the example of Sears,
Roebuck and Company, which seriously
considered moving its headquarters away
from Chicago's deteriorating West Side
but finally decided to stay where it was
and try to make the area a decent place
in which to live and work.

In Indianapolis, Eli Lilly & Company
decided to try to reverse the How of
jobs from the inner city and has begun
to expand its facilities there. It is put
ting company moncy and talent into th
rejuvenation of the neighborhoods
which the company is located. Smith

Kline & French took a look at the de.
dining ar i plant in the
Spring Garden neighborhood of North

Philadelpl nd ched a housing
rehabilitation program. "The initial proj-
ect converted. condemned row houses
into 125 comfortable family units. But
S. K. & F. didn’t stop there. Recogn
that ghetto dwellers need more than a
roof over their heads, the pharmaceut
cal firm established an informa’

281

PLAYBOY

282

“Yon call that dirty?

services center, stalfed with four full-time
company employees, to aid residents
with their problems, Then it went to
Dr. Leon Sullivan, an imaginative. dy-
namic black minister who now runs one
of the most eflective d
job-uaining programs in the nation
asked him to help the
ployable" ghetto dwellers for work
plant.

Another way that business and indus
try can make an effective contribution to
a decent society is to provide houses that
low- and moderate-income families can
Senator, I have spon-
n designed to give inner-
city residents a stake in their community,
legislacion that provides incentives to
build it up, not tear it down. Some of the
companies that have become involved in
rehabilitation efforts have already found
jects not only
beneficial but can be р
In Boston, the president of
& Fuel, observing the need for better
ing in the Roxbury neighborhood.
invested. $300,000 in the Boston Urban

nation Project to restore con-
nd abandoned dwellings. Sub-
sequently, his firm won gas-heat contrac
for the rel tated houses that will
gross some 5100.000 a year. Uni

and sen
might also provide
products, undertook an experi
project in Harlem and later expanded it
to Cleveland
poured more than $10,000,000 into these
projects before it was sure that it would
have a moderately profitable oper

These experiences demonst

nificant point. The dynamism of a cor-
poration is such that effective results are
most probable if social effort is related,
least indirectly, to. norma
ad profit Education and job
ч h respond to manpower
needs, provide another example of this.
erally hundreds of companies have
even abandoned employee testing. low-
ered 1 job requirements and leaped
into "hardcore" job maining and
ployment, The auto companies were the
leaders, but most major corporations are
now involved, either on their own or
the programs of
ion and the National
Businessmen.

The objective of the All
10

the Urban
Alliance of

nec program

Many of these trainees must be tau
read, write, add, subtract and, in
cases, learn even basic hygiene and work
habits. Without individualized help,
which broken families and our educa-
tional system have too often failed 10
provide, most of them would become
the objects of public charity—in or out
of prison—lor the rest of their lives.
Certainly, business effort in behalf of
thee men and women is something
every citizen can applaud. It is also an
атса in which business helps itself hy
helping others.

There are many social problems, how-
that lie beyond the purview of
business’ responsibility or ability to
solve. that the National
Alliance of Businessmen's training pro-
gram, for example. is even necessary
raises some serious questions about our
educational processes. During each of

The very fact

the three y in which the NAB i
training 500,000 hard-core unemployed,
another 1,000,000 youngsters will drop
out of school. Should business be expect-
ed to assume the burden of training and
educating them as well?

We must face up to the fact that if a
Corporati raise а dropouts read-
ing, w nd math skills by three to
five levels 4и 12 weeks of
concentrated instruction, something is
desperately wrong with the way we are
motivating and teaching many of our
children, at home or in school. It is the
igation ol society as a whole—not of
business alonc—to cope with this inadc-
larly, there are many other
social responsibilities that belong to oth-
segments of society—funciions th

ness is not equipped to handle.

If the American experiment is not to
go the way of other great civilizations,
every element of society must strive to
improve it. Government officials must
not be allowed to abdicate their respon-
sibilities to business, but neither can
corporate leadership hold itself aloof
hom the social problems that surround
it. To me, the potential of determined
and even alwuistic auack by business on
the inequities and evils that divide our
people and diminish our environment
offers exciting promise for America—
and offers an opportunity ro fulfill ar
last the promise that is Ame

EDUCATION

virtuous + + or is it 10 be their servant
and to their pleasu

From Socrates 10 the present, rigorous
im has been for many an
presenting. education
made the
so excite

rade

(continued fiom page 91)

с» ol the M
ах the freedom and determination
aculty and students to criticize both
church and sune, In contrast, it che
absence ol social criticism. that made
the French universities at the time of the
French Revolution so dull; nobody суе
reads about them. But one docs read
bout Les Philosophes, that group of
concerned intellectuals who formed
themselves outside unive
liev with Diderot, that
must ed, everyth
shaken up." It was Les Philosophes who
convinced Thomas Jeilerson that this
туре of eduction ought to be back
inside the walls of Ате academies.
The purpose of the University of Vir-
ginia, he suggested, was to criticize those
forces of church and state that “fear
every change, as endangering the com-
forts they now hold.” Ihe role of the
university, he said. was to "unmask. their
ion, and monopolies ol honor,
th and power

Jefferson, I believe, I
for our time as well as

“everything
ng must be

d the right idea
IF university

studen 1 professors are to make апу
contributi to a decent society, they
must be Socratic gudilies, not handmaid-
ens of the status quo. Because they love
their country, they must be determined
10 quarrel with all that profanes, de-
means and divides her citizens.
Professors should be a varied lot, but
for a successful lovers! quarrel, we need
more ol a new breed. Тоо many for 100
long have dug ivory cellars in the ruins
of the past. Too many have spent end-
less hours shedding light on what i
finally not worth illuminating. Too many
have doubted not out of love for the
truth but out of a pathological need to
doubt, out of a need to be fence sitters
or balcony sitters. Their lack of moral
responsiveness is the equivalent of a
technician’s Jack ol moral discrimi
tion, and it is precisely this refusal to
be ethically responsive or discriminating
that accounts for America’s present rap-
id progress down the road toward moral
oblivion.

This is not to argue that we need
teachers who are dogmatic and doctri-
naire. But we do need men of passion
as well as intelleci—men like Socrates,
Abélard
for someth
Staughion Lynd
shunned rather th:
should be controvers for educi ion
thri raversy Nor
ship also thrives on error, should pro-
fessors be so alraid of being wron
others will correct them. Controversial
professors do not convert all theii
dents to their way of th
should they. The
students meet deeply committed. proles-
sors, education becomes lively, exciting,
real.

and Galileo, who truly stood
like

y Why are
id Eldri

men

ws on rar re shol-

ed, furthermore, a host of cur-
revisions. How many
ties offer a major in urban st
many seriously teach Marxism? Where
do students study what most have ak
ready felt—the dehumanizing elfects of
bureaucratic structures? Where do they
go to study theories of protest and revo-
lution; or to study the revolting condi-
tions that produced the revolts in Latin

America, Arica and Asia; or to study in
detail America's involvement in these
i land un-

passion than judgment in the absence ol
courses that will demand the homework
that will educue their judgment.
Toward this end ої
and relevant educa
should be encouraged and exercised. As
black power means black frcedo
student power means student
the freedom to pursue their proper in-
teres in depth. 1 am not suggesting
that students should have their way but
that they should have their му, and not

more exciting
student power

only in extracurricular but in curricular
matters as well, in helping history, politi-
cal science and sociology departments,
among others, devise up-to-date, demand-
ing courses, taught by teachers who know
how to teach them, When students ar
not given their say. it is right that they
should protest vigorously. While there is
no perfect methodology of protest, I
would suggest that effective action must
resort to power in а way that engages
both the mind and the conscience.

Students must also be given more op-
portunity to live with the problems they
are studying. Too much education is 100
abstract, too dryly conceptual to be er
ther truthful or stimulating enough to
the minds and imaginations of students
on whom we must depend to find new
and creative solutions to social problems
both profound and pressing. Yale is now
helping students work and study in the
underdeveloped nations between soplio-
more and junior years. We should be urg-
ing students to do the same in Michael
Harrington's “other America.” Some col-
leges are asking students to spend this
kind of a year even before they come to
the campus.

IF it is true diat values are experienced
concretely as well as learned abstractly —
“caught” as much as Giught—then lile on
campus outside the classroom, particu
ly at residential u ies, must
be considered an important. part of the
educational experience. Unfortunately
much extracurricular life at many univer-
sities still remains monument: ivial
ticularly the ritualized childishness
d narcissism of fraternity life

most

In the words of a recent brother, а
fraternity tends “to promote the
of an insurance salesman and an aggres
sive distrust of anything approaching
thought.” I have always felt that 10 put
a complacent student in a fraternity
expect him to come out deeply concerned
about the state of the world is about as
realistic as putting a wino in a wine
cellar and expecting him to lay off the
bottle.

The predominantly—and, for the most
put, toraly—white fraternities could
learn a lesson in responsibility as well
ity from black student groups.
which have done much to enhance edu
cational goals on campus and to meet
community needs off campus. So have
many chapters of S. D. S, despite a cer-
tain Г, in response 10 gov
mental, police and university fanaticism
— a tendency 10 indulge in overkill
rhetoric. Increasingly, campus religious
groups, too, have become communities
in which students can experie
deepening of perception and of y
of le; ng and of love. And the rise тї
campus ma and music groups
gives hope that the future cultural life

of this country will, more and more, not

life is
tough question, but here, surely, is
another area where students, Liculty
Iministration can work profitably to
gether. Without becoming totalitarian,
they d encourage, by all means
possible, those experiences that enha
rather than detract from the educational

sho

icc

so moving, mu urge you lo accept this offer to
merge witli Amalgamated Industries.

values being promoted inside the class
room. And if universities are to contrib-
ute 10 a more decent society. somewhere
long the educati line the vocational
issue must be raised. This is the moral
issue for higher education, for the value
of knowledge must depend on the use
to which it's put. Criminal lawyers, for
example, are desperately needed now in
America, not only to represent those ac
cused of crimes but to do something
about a penal system that is far more
punitive than curative, Yet few law-
school students have the freedom and
courage to resist the honor, glory and
hard cash of corporation law. Likewise,
few publichealth, psychology or medical
students are prepared to devote much
ime to the healing of the poor, either
ad; and most teachers-to-
of taking on the problems
of ghetto schools.

But none of these proposals will have
much chance of success if we don't re-
form our educ 1 system from the
ground up. By the time kids enter col-
lege, they've been largely brainwashed
for 12 years. Especially on the lower
levels, education docs more than teach
fundamental skills and inculcate the
conventional wisdom. It also promotes
life styles, attitudes that can be expected
to accompany the student into adult-
hood. If our grammar schools and high
schools persist in telling students how
long they can wear their hair, how shorr
they can wear their skirts, where they
may or may not smoke, then we can
expect these students to grow up accept-
ing such unwarranted intrusions—rom
government or big business—as the

PLAYBOY

ng
nd conformity sue
ceed only in trivializing education and
discouraging the independent thin
that, in a decent society, should be the
real goal of the educational system.
Students need more guts, not more
rules. They can't be expected to think
originally or act independently in an
educational environment that stifles orig-
inality and independence whenever they
appear.

lt is easy t0 say that students lack
courage. That is probably true. But it
also important to point out the vast
discrepancy between those beliefs Ameri-
cans revere and those that American
society rewards; the most useful vocations
are rarely the most attractive financially.
This discrepancy points to the funda-
mentally spiri nature ol our crisis
and indicates the reason social criticism
must cut so deep. Frankly, I am not
bout our coping with this
national crisis. "Too mamy Americans
are experiencing what one psychiatrist
called "the unacceptability of чарс
ant truth.” We just don't want to know.
urthermore, it is fair to say that if, in
ова the next few years, we do not solve the

optimistic

problems of race, poverty and war, this
nation doesnt deserve to survive—and.
probably won't

But with the present generation of
students, there is still hope that their
commitment to decency will widen and
deepen, and even survive the awarding
of their diplomas. И, thereafter, they
refuse to stand alcof from the fury of
history, refuse 10 sit on liberal fences
with their fears on cither side, and refuse
to allow their lovers’ quarrel to degener-
ate into a grudge fight, then our torn and
violent country mi

THE ARTS & ENTERTAINMENT

(continued from page 91)

blame Madison Avenue for the banality
of most TV. Ferdinand Lundberg, in The
Rich and the Super-Rich, points out our
error: “It should be noticed that M;
Avenue can produce only what is ap-
proved by its clients, the big corporations.
И these latter ordered Elizabethan verse,
Greek drama and great pictorial art,
Madison Avenue would supply them with
alacrity.” But they seldom do, and we
should not expect them to. Their duty
to expand the market for their product;
minority art, conveying minority opi
ions, could only diminish it. Big corpo-
rations are not philanthropic. Nor are
the mighty foundations that bear so
many of their names. These are pr
ly devices for enabling the founders to
retain their industrial voting power
(since foundations have enormous stock
holdings) while absolving them from
paying corporation taxes. And found:
tion administrators arc highly unlikely
to subsidize the sort of art that might
bring the founder's name into disrepute.
Even Mike Nichols would be shown the
door if he tied to get backing for a
ist script on primetime TV.
t, he would be urged to
water it down until the capital S stood

To ask what's going to happen in the
performing arts is the same as asking:
Who's going to pay to let it happen?
Clearly, the less the art costs and the
more restricted its audience, the more
liberty it will have to go its own wa
The amount of censorship imposed will
be related to what the public will buy.
If 100 people go to sce a sexy movie for
every 500 who stay away and complain
about it, moi reasons will be found
lor cutting it. In the same way, the box
office acts as Broadway's censor. There's
no need for an official body to excise
forbidden phrases, sights or opinion
Tomorrow, and as far ahead as I can
see, the mass media will exercise sell-
censorship on anything that might alie
ate customers.

The big current issue is whether vio-
lence, not sex, alienates more people

than it attracts. For example: Should
the networks ban explicitly bloody foot-
age on the Vietnam war? My own feel-
i f the sight of
people against

I don't mind if a few kooks are
ing at their sets, quietly masturb;
ing. You don't cure diseases by banning
their symptoms, and 1 have yet to see
any concrete evidence that social vio-
lence is increased by violence in the arts.
To forbid the depiction of brutal beha
ior is to enter a dangerous, uncharted
field in which you might imagine a 16th
Century censor saying to an artist like
Brueghel:

Look, Pieter, 1 wish you'd rethink
that Torments of Hell project. I
know you're a genuine artist, and
Td love to be able to hang the
picture in its entirety, without a
lot of damned stupid holes in
T's like I used to say to old M
Grünewald: "Why are you so hung
up on suffering and nails and boi
ing lead? It only makes life more
dificult for me." There's
Га like more than to say: “Go right
ahead!" But how can I let you
offend a lot of decent, every
people? You remind me of Fra An-
gelico. Old Fra's a really marvelous
artist, but he had this thing about
tortures and qrucifixions—he said
they represent actual human be-
палог... .

I see little likelihood that movies and
TV shows will display more social real-
ism—or social conscience—in the imme-
diate future than they have in the past
In recent years, I think it's been realized
by many that our most fundamental
gon
ip of wealth and resources by an im

social problem—the overwhelm

ersh

But this is not about to take place.
ducers—even serious ones—will shy
from such topics. They will concentrate

"stead on the nuances of personal rela-
nships (The Graduate). on sale nostal-
gic spectacles (Doctor Zhivago and Julie
Andrews pictures) and on pleasantly
shocking aspects of bloodshed and coer-
cion (as in Bonnie and Clyde and savage
movies about corrupt cops).

During the Forties and the Fifties,
films used to opt for the moderate solu-
tion. If men of good will got together—
if Negroes cooperated with whites, if
good cops collaborated with good ci
zens, if junkies joined forces with psychi-

atrists—most things could be solved.
Such casy answers aren't viable nowa-
4

s. Society has become polarized. The
ippies and the black militants are
never going to line up with the cops. It's
probable that a majority of voters would
support police repression. Most movie-
makers would be on the other side, but
their films, unfortunately, are intended

285

PLAYBOY

286

to appeal to the majority. I think there
will be much more sexual freedom in the
popular arts; but we shan't be seeing
much work that goes to the heart of
Amcrica's unease. What society dictates,
mass art dutifully apes, dependent on
torical umstances it cannot control
and does not wish to change. There will
be exceptions, ol course; but most of
thc signposts point toward monumental
ty.

Though this is true of the largescale
performing arts, it doesn't necessarily
apply to the oft-ott-Broadway theater, to
the underground cinema or to its art-
But it means that we may
it converted lofts, cellars and
arns to experience art in its pristine,
unreconstructed condition. The theater
of true invention—as well as the theater
of casual anarchism— will retre: to
small rooms. The eminent Polish
director Jerzy Grotowski believes that a
theater with 1000 seats is an anachro-
nism, and totalitarian, at that. In his
view, ten theaters, each seating 100,
would provide more choice and, hence,

more democracy. But what shall we sce
in American münithcaters? Improvisa-
tion, no doubt, mixed-media Happen-
ings, light shows and the like. John
Osborne, the British playwright, categor

cally declares that this kind of drama is
“democracy gone mad. It ignores the
premise of art, which is that somebody
can do something better than you. The
assumption of all these Happenings i

that everybody can do it as well as
everybody else. Some clod flashing lights
on a wall is doing something as signili-
cant as putting pen to paper.” Robert
Brustein, the head of the Yale Drama
School, oller his own discouraging
prophecy: “What may be coming now
a theater of liberated, arrogant amateurs
—a theater where there will be no more

spectators, only performers, each tied up
in his own tight bag.” It is not much to
Jook for d to.

All would bet on in the future of
the American mass arts is the predomi-
nance of what I would designate as high-
definition performance. By h.d.p. I
mean supreme professional polish, hard-

“Well... it all started when I was just a hid...
a bunch of us were playing and one of them said,

‘Hey—let’s play doctor. . . .

edged technical skill, the effortless preci-
sion without which no artistic enterprise
can inscribe itself on our consciousness.
It is the saving grace of high and low
art alike, tic common denominator that
unites good acting. good choreography.
good baseball and good conversation. But
h. d. P. is safely nonideological. It con-
fronts one with no moral crisis; it nei
ther provokes nor assuages amy spiritual
malaise,

The artistic setup reflects the soci
setup. In a monolithic socicty—such as
the U.S. or the U.S.S.R.—1 doubt
whether the arts сап be very much more
than gadílics, after-dinner amusements
or pious tributes to the respectable past
In smaller countries, they can be more
liberated and more responsible—as in
Czechoslovakia before the Soviet inv
sion, where a society freed from private
profit had also abolished censorship.
There, uniquely in Europe, good artists
s themselves unhindered in
ajor performing media.

But something cam be done to help
American drama. Britain founded its
Natio er five years ago on the
ciple that the company was supply-
ing a service, not selling a product. That
kind of service coss money. To keep a
mble of actors together
arge repertoire of classical and
modern works means that you have to
run at a loss. As literary manager of
Britain's National Theater, I am the
chooser of plays under the tutelage of
Laurence Olivier. Even though we play
to nearly 90 percent of capacity, we lose
something like $1,000.000 a year, which
is made up by governmental and civic
subsidy. Why shouldn't America be pre-
pared to do the same? One would like
to see theater-building projects, financed
partly by the state and partly by the
'ederal Gover In addition to rep-
ertory companies, there ought to be
youth theaters (presenting plays for and
about young people) arts centers,
where movies, concer 15 and plays
appear on the program every weck. Nor
is building enough; there must be an
annual subsidy to cover run

As for the mechanical media, America
needs a number of state-fir
schools and a chain of Feder
art houses in which minority movies
from any source could bc exhibited.
And a publicly subsidized TV channel
would help raisc standards. If absolutcly
necessary, it might accept ads, but only
on the model of commercial TV in
Britain, wherc advertising time is sold
between programs and direct sponsor-
ship is forbidden.

1 won't pretend, however, that my
hopes arc high for a decent society even
in the arts. High-definition perform-
ance will assuredly prosper, but I can't
imagine that my suggestions for the arts
could ever materialize without prohibi
tive censorship ("Play safe, its public

money”) or such a general outcry
("Why subsidize long-haired junkie")
as to wreck their ambitions within a
very short time. The American artist
who wants to tell his audience why they
are alive, to what end and in what kind
of ultimate dilemma, will be more likely
to express himself in print, in the art
galleries or in the world of minority
theater and underground movies than in
the commodity market of the big media.
I hope I am wrong. If enough Ameri
ns were to mobilize a campaign,
theoretically possible that they could lib-
crate their artists from the ignominious
dictates of the market place. But it
would take millions of people to do
it—more, perhaps, than the total num-
ber of Americans who care about art.

COMMUNICATIONS

(continued from page 91)

has buried their
commitment to truth under a drive for
profits and the protection of privilege.
This borders on criminal negligence.
Thomas Jefferson conceived of a free
press as a vigilant watchman against
Governmental repression. “The basis of
our government being the opinion of
the people, the very first object should
be to keep that right,” Jefferson wrote,
“and were it left to me to decide wheth-
er we should have a government without
newspapers or newspapers without a
government. I should not hesitate a mo-
ment to prefer the latter.” Would Jef-
ferson sleep better tonight the
place of government—the Ch
une dictated American foreign policy, or
if William Loeb's vitriolic, antisocial
Manchester Hampshire Union
Leader were running the Department of
Health, Education and Wella
he {cel secure to have either Will
Buckley's rakishly right-wing National
Review or that recklessly dovish upstart,
the leltwing Ramparts nx ne, dis-
pensing the Pentagon's 80-billion-dollar
budget? Would Jefferson rejoice in the
nightly enlightenment of public opinion.
by the vivid superficiality of TV news-
casts—or, for that matter, by hourly doses
of instant hcadli irted between.

Vero

hg sex арр
son the x

In the turgid, tragic wake of last A
gust’s Democratic Convention, a di
guished former editor of a
newspaper observed, “The real
was the spectacle of the local med
with mild exception—rallying defensively
around Mayor Daley. As the epicenter
of the establishment, he is sacrosanct,
Nobody really dares lay a glove on him.
So very litle was produced to enable
the public, in a calmer frame of mind,
to allot just measures of blame between
police brutality and [Yippie-student]
provocation.” It is easy to victimize Rich-

ago
story

эз
| m

| tts

"In the area of personality, 1 feel that you as the
father can play a particularly key vole, with man-to-man
talks and an occasional shot in the head."

ard J. Daley, with his lamb-chop cheeks
and his d-heeling mentality, as a si
gular villain. It is casy—but irresponsible.
For though he may be the last of the bie
city bosses, Chicago's urban crisis won't
be solved when he leaves city hall. The
ger fact is that the whole American
population, mayors and men in the
street included, has been swept up in a
violent whirlwind of contention and
change. In such a tempest, it is natural
to grope for the old familiar moorings
But they are being tom away. We can’t
escape the storm, but we can brace oi
selves against it and look for new routes
and new anchorages while it rages.
Journalists are not statesmen, but this
interval of convulsive change should be
the time when the press, in all its facet
with all its power, inspires statesman-
ship by seeking out and supporting hon-
est leadership. and stendies a confused,
frightened and dangerously irascible
electorate with candid exposition of the
facts as they are and with reasoned,
reasonable suggestions for what should
be, There is cnough wrong in this re-
public to merit а full-scale exposé daily,
if not every hour on the hour, Instead,
newspapers run prize contests to lure
readers or to keep the ones they have,
and broadcasting drives thoughtful citi-
zens away in droves by fertilizing the
wastelands of the airwaves with the
manure of utter mediocrity. The nearest
that most local editors and broadcasters

come to fearless journalism today is to
get the Community Chest fund over the
top or to deplore the traffic jam at Filth
and М.

No tools of information have been
honed to a finer. more constructive cut-
ting edge by the technological advances
in commun ion than have radio and
television. none have been used
ibil-
у. “Broadcasting,” that courageous
iconoclast of the Federal Communica-
tions Commission, Nicholas Johnson, re-
minds us, is “one of the most powerful
social forces man has сус nleashed
upon himself. Tt shapes our minds and
morals, elects our candidates and moti-
vates our selection ol the commodities
with which we surround ourselves, It
tells us most of what we know about the
world we live in. . . ." Yet, as Johnson
and his fellow commissioner. Kenneth
Cox pointed out in devastating dissent
last June, the FCC routinely renewed
the licenses of a score of Oklahoma
i nd television stations, despite
nimousy flagrant failures

And

more clumsily, or with less respon

their
to fulfill their commitment 10 responsi-

una

ble programing. Branding the whole
FCC renewal process a sham, Johnson
and Cox declared that in political bias
and poor quality of service, the Okla-
homa stations do not differ widely from
station performance in other states,
"The broad issue here is not a clash
between the radical right and the radical

PLAYBOY

288

left or white supremacy versus black
power. It is fairness versus unfairness.
This same criterion should be used to
seule thc continuing row between the
press and the courts over the nettle of
pretrial publicity. The media in general
nd tele i ticular
are suffering a cur clash on just
this issue of fairness. Numerous citizens
ybe a majority—agreed when May-
or Daley roared “Foul” at network cov-
erage of the ghastly collisions between
police and demonstrators during the
Democratic Convention in Chicago. And
George Wallace scored some of his most
evocative brownie points with his fren-
zied third-party followers when he at
tacked the press as “those smart folks who
look down their noses at you and me.”

There is no infection more dangerous
to the body pol than Ham-
mation of ignorance, whether by the
self-righteousness of a boss
abble-rousing
evangelism of a demagog named Wa
Тасе. But the media's dilemma is not
cased simply by pointing this out. Out
raged crowds could not be roused so
ly if the individuals comprising them
did not harbor deep resentment—and
fcar. The "silent majority" of struggling
whites resents being made to feel forgot-
ten in the social revolution, and fears
the black man, who is at last forcefully
demanding equal rights. On his part,
the black man wrathfully distrusts white
society for giving him so little to relate

торап!
ed Daley or by the

to, thanks, in important measure, to the
ethnocentric preoccupations of the white
press.

A special phenomenon must be noted
here: The fact that the very bapgage
of television makes news adds a grain
of truth to Mayor Daley's indictment of
the press. Open a TV camera's red eye
and it conjures up a crowd. Put a ncws-
film crew into an empty street and people
materialize as if by magic, assuming
that this where the acti nd,

1 order
to liven up your living room. This kind
is rare, but even once is
too much. There is enough going on
that cries out. for responsible coverage
ng to produce a synthe
happening. But those who, like Mayor
Daley, suggest that civil disorder wouldn't
occur if TV were banned from trouble
spots are not only violating freedom of
the press, they are fooling themselves
bout the crisis dimensions of this
tion's social and political inequities and
about the consequences of ignoring them
or of misplacing the blame for their
existence.

The media's job in this occupational
predicament is not to stifle controversy
but to cover it responsibly and with
земтайи; not to mollify or to knuckle
under to its mixed bag of angry critics
but to recognize them and their cri
cism through candid communication—
without condescension or innuendo.

“Edgar, I sense we're drifting apart... .

Electronic journalists must never forget
the “personal” impact of news conveyed
by voice and/or visage. A biting Davi
Brinkley footnote to a headline can pack
more punch than Drew Pearson. At the
same time, television should not eschew
informed opinion just when it's screw-
ing up its courage to recognize that
controversy is not a four leser word.

any Administration
e news. Lyndon Johnson's

achievement in making a Grand Canyon
out of the credibility gap has oversh
owed the fact that every burc:

and politidan from Pahrump. Ne
to Pennsylvania Avenue wants his press
releases to sound like Holy Writ. Often.
they are highly deceitful, if not a down-
right pack of lies. The Johnson Admin-
istration was simply better at ie than
anyone else. The Presidents phobia for
secrecy, the poker-player deviousness he
cultivated in Congressional cloakrooms
to decide the fate of a bill, his dogged
defensiveness— faithfully echoed by Dean
Rusk and the Pentagon—over the most
unpopular war in the nation’s history,
l added up, in the bitterly contested
election year of 1968, t0 a new high in
the gobbledygook art of painting white
as black—and black as red, white and
blue. The predicrable result: Public ir
in pol and political institutions
reached, perhaps, a new low. And. iron
ically, some of the best journal
forts to pur. these marl
perspective were greeted with cynic
disbelief.

Yer, with all its put-ons and cop-outs,
the machinery of democratic process
continues to function alter а fashion.

Indeed, in 1968, driven by the pressures
of public opinion, it cranked о
couple ol amazing happenings: а modi-
of war policy—albeit small—
and che withdrawal of Lyndon Johnson
from the Presidential race. For better or
for worse, the public worked its will and
the press, as it should, became the m
conduit of the campaign dialog.
There is no fancy recipe for m
the news media bubble up better. М
ic ingredients are already there а
cooking. Life magazine has done
usually bold, though unfinished, muck-
raking job of exposing
Ws beiwcen crooked

. Bravely irreverent weekly newspapers
and struggling little magazines of op
ion continue to decry bigotry, injustice
and sloth, Given time and resources by

i ngly conscientious Los Ange-
les Times 10 do a job in depth, reporters
David Ki and Stuart H. Loory
e up with a crackling series on Ad-
istration war policy that became a
bestselling book, The Secret Search for
Peace in Vietnam. And black power has
at last bestirred the media. There are
more—but still not nearly cnough—

black faces in the ads and on the air.
The CBS series Of Black America and
NET's Black Journal have provoked
wide and overwhelmingly favorable re-
sponse. And with all its flaws, the Ford
Foundation’s Public Broadcast Lahora-
tory is an exciting expe
commercial network telev

But we have hardly begun to do what
must be done. The potency of the
broadcasting lobby, which has trans-
formed the FCC from a watchdog into a.
handmaiden, is a subject overripe for
investigation, along with the larger ques-
tion of press monopoly, if anybody is
interested. in real freedom of the press.
Journalism schools claim to be; if so, they
should turn out fewer publicrelatioi
experts and pay more attention to fault-
ing the press and figuring out how to
form the public on where and how
to become more reliably informed. And
all of the media must lose some of their
mania about speed, a natural enemy of
perspective and dimension. 1 would even
like to see newspaper headlines abolished
in favor of news-magazine-type labels,
for well-balanced stories are too often
ruined by a slanted headline.

William Allen Whites formula for
responsible journalism was “wisely di-
rected courage.” In the final analysi
the celebrated Kansas editor's recipe is
still the secret of keeping the press free
and

into blunter counsel: “Just get mad
someone and spit in his eye.” This, of
course, involves danger the brave
editors, dramatists and poets of Czecho-
slovakia found out when they spat too
accurately in the Kremlin's tyrannical
eye. But the power of the American
press is a match for any tyranny—unless
it loses by default to the tyranny of
self satisfaction

RELIGION & MORALITY

(continued from page 91)

always have them with us! But granted
. does religion today

what society should be
There is a previous question, however:
the intelligent 20th Century man,
does religion make any sense? Except for
antiquarian purposes, why bother with
such a Paleozoic fossil? To answer this
question, we must first insist that religion
cannot be equated with what churches do.
That is as mistaken as equating education
with what schools do or justice with
what cops and courts do. Religion is lar-
ger than any church, and onc can lam-
baste the churches without jettisoning
Jesus and Luther all did.
‘Au intelligent ian does not fling the
whole bı
ister once warned that prer
couse lands you straight in Hades.

Neither docs the intelligent

man

equate man merely with intelligence. He
knows that in addition to a brain, man
has turbulent feelings, powerful fears
and glorious fantasies. His hopes soar
beyond any rational basis. Religion is
founded of these marvelous ingredients
—without which life would fade to in-
pidity. Of course, intelligence has а
place in religion; it criticizes and reflects
on experience. But reason is only a part
of the total man, and the intelligent
man knows it. He also knows that life is
iore than technical know-how. Eons be-
fore man carved out tools, he fashioned
myths. Before he invented the wheel, he
mimed the life forces and the cosmic
rhythms. Homo sapiens is the maker of
symbols as well as of ideas. A fully
conscious man delights in this aspect of
his life instead of trying to repress it. He
knows religion is a congcrics of dramatic
symbols and life values, and he swings
with it. He has gone beyond both the
pious credulity of the peasant and the
fastidious disdain of the sophomore
atheist.

Our Western religion is a comparative-
ly recent one as religions go. It was pre-
ceded by thousands of years of religious
development. And it will not last forev-
er. Its central insight, however, remains
crucial: that the holy is found not only
fire, thunder and sun but in the ecsta-
sy of love, the angry ery of the poor and
the longings of the poets. In recent
years, saddled with moralism and empty
rites, we had nearly forgotten that reli-
gion began with cclebration—the dance,
the feast, the orgy. Today. however, with
jazz masses, agape meals and rock litur-
gies, people are once again discovering
that faith is festivity. Man is celebrating
life and hope, despite death and despair.
But what does faith’s celebration have
to do with the decent society?

There arc at least three things we
must continue to celebrate today, even
though there is no strictly empirical ba-
sis for any of them. All must be “taken
on faith," but each is essential in any
society that calls itself decent:

1. Every single person counts. This
does not mean individualism: it means
that man is not just an atom in the
natural cosmos. He is a responsible
agent, a history maker. Thus, to abscond
to some selfless nirvana or exurban grot-
to, or to turn history over to luck or
fate, is a betrayal. Jesus depicted man as
a steward placed in charge of the vine-
yard and fully accountable for wh
happened. Every person, not just d
crowned head or the oil magnate, is
intended by God to take part in the
decisions that affect his destiny. Our
modern idea of democracy rests ран
on the old Puritan precept that m
not only the right but the obligation to
govern himself. To abdicate by letting
someone else do it is to settle for a
subhuman state.

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PLAYBOY

290 cent. Today, most theologi

tional charts cramp and suffocate us, the
celebration of the personal becomes in-
creasingly necessary. As tecmologists
design supersonic futures and urban
planners cantilever new cities, somebody
has to ask what happens to the individua
person. This is not just the yelp of a
coupon clipping yeoman who resents the
income t It is the justifiable insist-
ence that a society that excludes the
black and the dispossessed from the fash-
joning of its future is not a great society
at all. [t is not even a society: it Is a
Potemkin village in which plumbing re-
pairs have been allowed to replace the
rebuilding of civic life.

The nasty truth is that in emerging
merici, real civic participation
is distressingly low. Disafhliation roams
the streets. Fidgety city officials shore up
their tottering machines with Federal
lollars. Schools become custodial institu-
tions. Garbage reeks in the streets.
Those with money Hee to suburban en-
daves, where their only interest in the
city becomes how to avoid its taxes and
how to get their loot out in minimum
commuting time.

To celebrate the person today. reli
gion will have 10 become more, not less
political. Churches will have to expose
Governmental programs ihat increase
people's dependency and deepen their
sense of powerlessness. To build person-
al community today, we will have to
fashion new types of political structures
—first in the neighborhood, but ever
ally at the metropolitan level. Here,
churches can help. They have buildings
ad personnel located in every slum.
They could turn over their property to
inner-city residents as the first мер in
king over whole blocks of buildings,
ps through rent strikes, and then

whole outmoded parochial school system
should be abandoned. Then churches
nt with alternative school-
ones that do mot lock
youngsters up inside brick amd glass
tombs. Such church-sponsored model
schools might stimulate some action in
the calcified public system. Some church-
es have already begun to support the
protest groups that make the voice of the
outcasts heard in the councils of power.
Admittedly, this infuriates those city fa-
thers who want the clergy to pronounce
benedictions at political conve
nd then go back 10 their prayer wheels,
But we can expect more Father Groppis
and Reverend Colhns in the futu

An emphasis on individual part
ion in corporate life will also require
nges in the church itself. For centu
es, we have preached that sin is rebel
ast God and all duly constituted
. Therefore, any questioning of
those in charge was condemned. The
good bel obedient and quies.
ms reject this

compromise with Greco-Roman ideolo-
gies of sacral stare. power. Today, we
define sin mot as insurrection but as
indifterence, not as the prideful attempt
to be more than man but as the slothful
refusal to be all that a man should be.
This means that the religion of the
future cannot be counted on to plaster
over the fissures of the meat society and
solemnly to invoke the Deity's blessings
on anything those in charge decide
upon. The protestant elements in all
churches will undoubtedly become mor
vociferous. To be advocatus hominem,
the dele torney for man, is
age-old task of the church. Iv should
pursue it with vigor in the future.

2. Faith also celebrates the faet that
whether we like it or not, the human
family is one. Take the admittedly some-
t comic figure ol the Pope as
example, OF course, his regal finery and
Swiss guards seem anachronistic today,
but the Pope as a symbol is important.
He is a sovereign who sis on land
owned by n and he reigns over
a world-wide spiritual empire, The word
is “reigns,” not “rules,” which the pres-
ent occupant of Peter's throne seems to
have forgotten. Bur the symbol is still
able. It reminds us that despite
ificial and archaic national bound
have erected around the world,
we all belong together. As out of touch
as he often appears, the Pope is closer
to the reality of human interdependence
than are the w ed diplomats who
perpetuate the of national sover-
eignty. If you're looking for
gerous and outmoded myth, nationa
sovereignty wins over the papacy hands
down.

The truth is that no American society

ло na

li child gets no breakfast.
pulls the plug on patri

otism and.
V.C.s as brothers
makes it a Tittle
apalm. But th
a faith uh
than merely tribal. This persistent dream
оГ а single world community may €x-
n why Protestant. churches got them.
selves in double a few уса» back
for advocating the recognition of Com-
munist China, when the idea was equat.
ed with ueason. Tt suggests why the
Pope. when he came to America, visited

ther than as gooks
arder to fry them in
t is the price we pay for

the UN, not the White House. In a
century of runaway national jingoism,
Christianity is one of the few lorces

th no real differ
rween “Greeks and barbarians
message must be increasingly empha

sized as nervous fingers twitch near nu-
lear triggers.

But the church has not lived up to its
own universal claims, Believers in the
same God don helmets and bludgeon

ne of this or that
чу or м
le some Christians follow а
Buddhist example and immolnte th
selves for peace, others piously pour
poisons on rice crops. Even on the home
ont, the oneness of the buman family
is denied by hysterical mobs in Alabama
and Chicago. But when a bigots brick
hits a nun or a racist's bullet fells Mar-
tin Luther King, even the most venom-
ous sceregationist i reminded, if only
for a moment, that we belong together.
To testily to the uncompromising uni-
versalism of humankind may cost even
more blood in the future, Believers will
have to set aside ethnic and racial loyal-
ties and fashion live model of world
citizenship. Our slow-paced ecumenical
g must move beyond churchly

one another in ıhe

mergers to the reconciliation of the
world. and ultimately to the universe
itself. Nothing less will be enough.

3. Finally, faith today celebrates vision
and fantasy. Our work-obsessed culture
has little time for either. We venerate
acis, statistics, probability curves. We
dispaich our dreamers to the happy
farm and turn the controls of society
over to the “realists.” It’s our sanitary
way of stoning the prophets. But realists
ways have a shrunken sense of what is
possible. They are a timid breed. Every
society needs seers whose imaginations
€ not fetrered to the presently possi-
ble. Prophets peer beyond a guaranteed
annual income and color TV in every
home to a time of human fulfillment
that makes us restive with every present
accomplishment. The Bible pulsates
with images of men reconciled to ni-
ture, lions living with lambs, o
in which there is no more су
world of blooming fig trees and dis
ed spears

What if we do eventually solve the

ical problems of human exist

enc produce the decent so
ety? Hardly. Then the essential question
may press in on us even harder. It is the
question prophetic religion always asks:
What is really worth doing in life? To
generate new answers to that questio
and 10 rethink the old ones, we w
need institutions thar will en:
to symbolize. play. dream, dance out
their fantasi г aspira-
tions beyond constricted
horizons. We will need something like
religion
The function of faith is to make a
civilization discontent, to rouse it from
s complacency and fire it with rich
fantasies. This gilt of prophecy comes
not only to saints. It speaks through
artists, dancers, poets. But its nurture
and renewal is the very raison d'étre ol
m; for as a prophet of long ago
once said, “Where there is no vision, the
people perish

the

current

“You certainly do look differen
dictation pad, Miss Bloon

nt without your
vom.”

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