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ENTERTAINMENT FOR MEN OCTOBER 1970 - ONE DOLLAR 


PLAYBOY'S FIRST 
TWIN PLAYMATES 


TOM WICKER ON 
RICHARD NIXON 
PORNOGRAPHY 

AND THE DANES 

AN INTERVIEW WITH 
DEFENSE ATTORNEY 
WILLIAM KUNSTLER 
FALL & WINTER 
FASHION FORECAST 


YOUR JAZZ & POP 
POLL BALLOT 


Better ideas make better 


1. Take the best sports-car ideas. 


Tachometer. Trip odometer.. Sports-type three-spoke 
steering wheel with a rim-blow horn. Special wheel 
covers. Floor-mounted shift. Cougar XR-7 has it all— 
опа more. A big 351 cubic inch V-B engine is standard. 
Or you can order options up to a 429-CJ 4V engine. 


2. Add the best luxury-car ideas. 


XR-7 models have glove-soft, hi-back bucket seats ac- 
cented with leather. The trim panels on the inside of 
the doors are of a unique molded design. A consolette 
is standard. The full console (shown) is optional. The 
unique XR-7 vinyl roof (right) is standard equipment. 


3.And you have a better luxury sports car. 


For 1971 Cougar is all new. The look is elegant. Sophis- 
ticated. The ride is luxurious. It’s available in five models: 
standard hardtop, this XR-7, a GT and two convertibles. 
Pound for pound, dollar for dollar, they are Ameri- 
ca's best equipped luxury sports cars. It takes better 
ideas to moke better cars. Mercury mokes better cars 
—to buy, rent or lease. Now at your Mercury dealer's. 


cars: 1971 Mercury Cougar. 


PLAYBOY 


2 


Anybody can make 
a hard liquor. 


A soft whiskey is 
something else. 


The difference between hard 
liquor and soft whiskey is more 
than just a matter of taste. 

What makes Calvert Extra 
soft is the way it is distilled and 
blended. 

Its produced like no other 
86 proof American whiskey is pro- 
duced. 

So while soft whiskey has a 
unique taste, it is also as smooth 
and mellow as the best imported 
Scotch and Canadian. 

It took us many years and 
| thousands of experiments to de- 
velop the unique taste of soft 
whiskey. 

It wasn't easy. 

But we think you'll agree it 
was worth it. 


Calvert Extra.The Soft Whiskey 


BLENDED WHISKEY - B6 PROOF AIN NEUTRAL SPIRITS ©1970 CALVERT DIST. CO., N-Y.C. 


PLAYBILL ^ rox we Presidency two 

Оаоһет ago, Richard Nixon 
offered himself and his brand of "new leadership” to 
the country’s confused and worried voters, and they 
warily elected him by a slim plurality. Has his conduct 
in office matched the confidence—and the promises 
—of his campaign? New York Times columnist Tom 
Wicker herein answers that question and many others 
that have been raised since then about the President 
and his Administration. Before becoming associate 
editor of the Times in 1968, Wicker covered the 
White House both as a correspondent and as head of 
his paper's Washington bureau, He has writ- 
ten two book-length studies of Nixon's prede- 
cessors: Kennedy Without Tears and JFK 
& LB]: The Influence of Personality upon 
Politics. With this portrait, Nixon's the One 
—But What?, Wicker continues his tradition 
of perspicacious Presidential analyses. 

Also in this issue, interviewer Nat Hentoff 
cross-examines attorney William Kunstler, 
who shares а profession—but little else— 
with Nixon. In the months since his flam- 
boyant defense of the Chicago Conspiracy 
Seven, Kunstler has done any- 
thing but mellow—a fact made 
disturbingly clear in the imer- 
view by his advocacy of arson if 
milder forms of protest fail to 
achieve the goals he and his fcl- 
low radicals espouse. In her short 
story, Saul Bird Says: Relate! 
Communicate! Liberate!, Joyce 
Carol Oates—whose novel Them 
won her the 1969 National Book 
Award for fiction—cxplores the 
human pathos behind such revo- 
lutionary polemics. 

Another aspect of the mal 
of contemporary violence—im- 
pulse killing—is explored in a 
revealing and timely article, The 
Many Faces of Murder, by Bruce 
Porter, associate editor of News- 
week magazine. Porter—sobered, 
pethaps, by the research he did 
for this piece—maps his personal 
plans for the future: “Survival, 
more or Jess.” While aberrant 
murder has so remained in- 
vulnerable to scientific probes and explana- 

ions, researchers have progressed in other 
fields of deviant behavior—most notably ii 
once thought 
now re- 
pists and sociolo- 


r 


RUSSELL 


arded by most psychothe 


ts, and the Presidents Commission on 


Pornography, as a harmless diversion for 
healthy adults and even as a safety valve for 
would-be sex offenders. For these reason: 
Denmark recently removed all restrictions 
on the sale and possession by adults of pornographic 
material. In five pages of photographs, accompanied 
by firsthand reportage by John Skow, PLAYBOY ex- 
amines and assesses this unique social experiment. 


Cruder pomography—a Tijuana skin flick—is 
otal to a young man's love affair with films i 
Duck, by Leslie Epstein, a report for and about a 
generation that has found its medium and its message 
in the movies. Epstein, an English profesor at 


Queens College, City University of New York, has 
opted to translate his abiding interest i 


films into 
If films are 


рацісіраіоп and is writing а screenplay 


GREEN 


UTTERBACK 


EPSTEIN 


1 


one passion of this age, sports are certainly another, 
To some, however, an athletic contest is more than 
recreation; it’s а way to make а living—not only by 
participating but also by wagering. William Barry 
Furlong’s Diogenes Search for an Honest Game con- 
cerns a brilliant man who invests his intelligence 
id over $1,000,000 a week—in pred g the out 
come of college football games. Furlong is putting 
his own mathematical skills to use by creating a game 
for sports fans that will employ the laws of probabil 
ty to pick a winner in a board duplicate of football. 
David Fly's wry story, The Language Game, in- 
volves the wager of a commodity more pre- 
cious than money—love—as two scholars of 
protean learning do battle on the field of an- 
cient and obscure languages. The obscurities 
and ambiguities of language also figure in 
Stan Dryer's blackly comedic Muskrat Fun 
for Everyone, the tale of an innocent who an- 
swersan ad in the Berkeley Barb and becomes, 
to his bewilderment, an outcast for his un- 
speakable perversion. Completing October's 
fiction fare is Xong of Xuxan, by PLAYBOY 
regular Ray Russell—this time, a futuristic 
tale of the 
The future looks anything but 
bleak to science writer David 
Rorvik. In The Transport Revo- 
lution, he explores the engineer- 
ing breakthroughs that will bring 
new styles of mobility to the 
Eighties and beyond. A some- 
what more dubious scientific 
authority, one Dr. Morton Stul 
tifer, according to his résumé 


a 
profesor of ecology at Southern 
Hollywood Institute of Tech- 
nology, argues cogently that the 
speedy extinction of South Amer- 
ica's Giant Chicken-Eating Frog 
would be a boon not only to 
Latin chickens but to the entire 
American economy. We bring 
you Dr. Stultifer's brilliant work 
in the field of imperiled obscene 
species with the assistance of 
free-lance writer Richard Cuntis, 
who gathered the material for 
Stultiler's The Case for Extinc- 
An Answer to Conserva- 
tionists, which Dial Press will publish next 
month and from which our piece isexcerpted. 
The inspired portrait of the repulsive beast 
s by Chicago artist William Uuerbick. 
Another artist, new rtAvnoy Contributing 
Editor Tomi Ungerer (On the Scene, Sep- 
tember), instructs readers on How to Survive 
in a French Restaurant and illustrates his 
own work in the inimitable Ungerer fashion. 

Two stars who have not only survived but 
prospered in the show-business world, Elliott 
Could and Lainie Kazan, are featured in this issue: 
Gould with a bevy of beautiful young stars, Miss Kazan 
splendidly undraped for the first time in any publica- 
tion. Regular October features include your Playboy 
Jazz & Pop Poll ballot and Playboy's Fall & Winter 
Fashion Forecast, by Fashion Director Robert L. 
Green. Thomas Marios The Ecumenical Pleasures 
of Jewish Cookery—Eat! Eat!—rounds out an 
issue blessed with a double exposure, on the cover 
and in the centerfold: the vivacious Collinson girls, 
PLAYBOY'S first twin Playmates. We think they'll dou- 
ble your reading—as well as your viewing—pleasure. 


3 


vol. 17, по. 10—october, 1970 


PLAYBOY. 


Forecost 


Poll P. 161 


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PLATSOT WILL SE TREATED AS UNCONDITIONALLY AS 
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AND AS SUBJECT то PLAYBOY'S UNRESTRICTED тант 
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CONTENTS FOR THE MEN'S ENTERTAINMENT MAGAZINE 


PLAYBILL ___. 2 — == з 
DEAR PLAYBOY. Ban — qe 

PLAYBOY AFTER HOURS. гй 21 
[THEIPLAYBOYJADVISORTS AR ү н ү EST 
THE PLAYBOY FORUM. — eS 
PLAYBOY INTERVIEW: WILLIAM KUNSTLER—candid conversation 7n 


SAUL BIRD SAYS: RELATE! COMMUNICATE!—: 
THE MANY FACES OF MURDER —article. 

THE CHARLES WHITMAN PAPERS. 
SOLID GOULD—pictorial ——— — — - 99 
NIXON'S THE ONE—BUT WHAT? —c: TOM WICKER 104 
THE ECUMENICAL PLEASURES OF JEWISH COOKERY—food... THOMAS МАКО 106 
THE TRANSPORT REVOLUTION —orticl ак DAVID RORVIK 108 
DIOGENES' SEARCH FOR AN HONEST GAME—article WILLIAM BARRY FURLONG 115 
PLAYBOY'S FALL & WINTER FASHION FORECAST —attire ROBERT 1. GREEN 117 
CINE-DUCK—opinion ss... LESUE EPSTEIN 124 
TWICE BLESSED—playboy’s playmates of the month...... ae E 
PLAYBOY'S PARTY JOKES—humor — 134 
THE GIANT CHICKEN-EATING FROG —humor...... PROFESSOR MORTON STUITIFER 137 
PORNOGRAPHY & THE UNMELANCHOLY DANES—pictoriol essoy.JOHN SKOW 139 
THE CASE FOR CASSETIES — modern living. 144 
THE LANGUAGE GAME fiction... 147 
MUSKRAT FUN FOR EVERYONE—fiction................ e STAN DRYER 149 
LAINIE— pictorial 50 
XONG OF XUXAN—fiction- RAY RUSSELL 157 
GOING TO WAIST—accouterments. ~ ROBERT L GREEN 158 
THE 1971 PLAYBOY JAZZ & POP POLL—jorz/pop 161 


ion. JOYCE CAROL OATES 92 
BRUCE PORTER 97 
218 


THE EIGHT HORNED HEADS—ribald classic. € ТҮ», 
HOW TO SURVIVE IN A FRENCH RESTAURANT—humor.........TOMI UNGERER 171 
ON THE SCENE—personalities__ ue s 178 


LITTLE ANNIE FANNY —salire........ .— HARVEY KURTZMAN ond Will ELDER 261 


HUGH M. HEFNER editor and publisher 


A. C. SPECTORSKY associate publisher and editorial director 


ARTHUR PAUL art director 


JACK J. KESSIE managing editor VINCENT T. TAJIRI picture editor 
SHELDON WAX, MURRAY FISHER, NAT MAN assistant managing editors; MICHAEL 
LAURENCE Senior editor: КОМЕ MACAULEY fiction editor; ARTHUR KRETCHMER articles 
editor; DAVID BUTLER associate aiticles editor; том OWEN modern living editor; 
HENRY FENWICK, WILLIAM. J. HELMER, LAWRENCE LINDERMAN, FRANK M. ROBINSON, 
ROBERT J. SHEA. DAVID STEVENS, JULIA TRELEASE, CRAIG VETTER, KOBERT ANTON W 

associate editors; konekt L. GREEN fashion director; DAVID TAYLOR. fashion editor; 
DAVID PLATT assistant fashion editor; REGINALD VOTTPRTON travel reporter; THOMAS 
makio food & drink editor; 1. маи. стату contributing editor, business & finance; 
ARLENE HOURAS copy chief; NAV НЕХТОРЕ, RICHARD WARREN LEWIS, KEN W. PURDY, 
JEAN SHEPHERD, KENNETH. TYNAN, TONI UNGERER contributing editors; RICHARD КОРЕ 
administrative editor; SUZANNE NC NEAR, LEE NOLAN, GEOFFREY NORMAN, STANLEY 
PALEY, SHERRIE RATLIFF, JAMES SPURLOCK, KOGER WIDENER, KAY WILLIAMS assislantl 
editors; WEY CHAMBERLAIN, MARILYN CRABOWSKE associate picture editors; MII. ARSE- 
NAULT. DAVID CHAN, DWIGHT HOOKER. POMPEO POSAR, ALEXAS UREA slaf) photog- 
raphers; MIKE cornar photo lab chief; н. MICHAEL SISON. executive assistant [o 
the art director; RONALD BLUME, TOM STAEBLER associate art directors; WOB POST, 
KERIG POPE, ROY MOODY, LEN WILLIS, CHET SUSKI, JOSEPH PACZEK assistant art direc 
1015; WALTER KRADENYCH, VICTOR HUBBARD, KAREN YOPS arf assistants; MICHELLE URRY 
associate cartoon editor; Joux mastno production manager; ALLEN VARGO assislant 
production manager; PAT vavvas rights and permissions = HOWARD W. LEDERER add 
verlising director; JULES KASE, JOSEPH GUENTHER associate advertising managers 
SHERMAN KEATS Chicago advertising manager: ROBERT л. MCKENZIE detroit advertising 
manager; NELSON FUTCH promotion director; WELMUT Lowen publicity manager; 
BENNY DUNN public relations manager; ANSON MOUNT public affairs manage! о 
director: JANET war reader service: ALNIN WIEMOLD sub- 
RORERT s. Preuss business manager and circulation director, 


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URDER AT MY LAT 
I would like to congratulate Jesse 
Frank Frosch for his Anatomy of a Mas- 
sacre (rLayBoy, July). Several of the 
questions he raises are similar to those I 
raised in a letter mailed 10 various mem- 
bers of Congress last January. In fact, 
these same questions could have been 
raised by anyone who is familiar with 
U.S. military operations in Vietnam, If 
1, а lowly specialist, fourth cla could 
ask them, then certainly General West- 
morckind, who had access to all of the 
intelligence data available to Frosch—and 
a good deal more beside: 

In this sense, I think it fitting that the 
article ended with a pointed reference to 
Westmoreland's seeming lack of curiosity 
concerning the validity of the aftcraction 
report submitted by Task Force Barker 
for the operation of March 16, 1968. 
There is, indeed, some question as to 
whether Westmoreland suffered from a 
lack of curiosity or, rather, from an 
abundance of knowledge. It's an open 
secret in Washington that the House sub- 
committee investigating the cover-up be- 
lieves that Gencral Westmorcland was 
informed of the incident My with- 
in а matter of days of its occurrence 

І don't mean to suggest that West- 
moreland should have to stand in the 
dock with General Koster and the other 
defendants in the investigation of the 
coverup—unles, of couse, the Army 
produces suitable testimony. And surely 
it would be unreasonable to demand 
that every detail of the investigation, in- 
cluding the testimony about Westmore- 
land, be made public. As Chief of Staff, 
Westmoreland is the epitome of American 
military professionalism. It would hardly 
be reasonable to question the proprieties 
of American justice and ask equal justice 
for all—even four-star generals. But by 
demanding that Westmoreland be held 
responsible for his actions, just as privates 
are, I'm afraid that’s exactly what we 
would be doing, 


-could 


Ronald L. Ridenhour 

Glend: Arizona 
As a former Army specialist, fourth 
class, it was Ridenhour who, in March 
1969, wrote to the President, the Secre- 
lary of Defense and 23 members of Con- 


gress that something “rather dark and 
bloody” had happened the previous 
March in My Lai. 


In regard to Anatomy of a Massacre, I 
would like to point out that if Licuten- 
ant Galley had simply radioed that he 
was receiving sniper fire from the direc 
tion of My I nd had requested an 
aerial strike instead of doing the job 
himself, nothing would have been said 
by a sissy like Ronald L. Ridenhour. 
One hundred and seven dead gooks were 
an lives saved from 
the constant booby-trapping and sniping 
that the people of My Lai were doing. 

L/Cpl. Ross Buchanan 
FPO San Francisco, Califorr 

Thanks for straightening us out, Cor 

poral—and turning our stomach. 


well worth the Ame 


a 


Jesse Frank Frosch's startling article 
concerning the My Lai massacre forces 
the reader to see and feel the brutalizing 
effects of this war. Such barbarous treat- 
ment of Viet 
any credibility the United States may 
claim for its presence in Vietnam. Our 
continued prosecution of this war is 


nese civilians can destroy 


draining the moral resources of our 
people. It must be ended swiftly and 
completely. 
Senator Charles E. Goodell 
United States Senate 
Washington, D.C. 


My compliments to Jesse Frank 
Frosch. As a West Point graduate and a 
Vietnam veteran, I can bear witness to 
the American arrogance and ignorance 
that have marked our descent into bar- 
barism in Vietnam. Confronted with a 
people's war, we have made war against 
the people; and all the sanctimonious 
mythology of outside aggression, seli- 
determination, etc, cannot obscure nor 
justify the awful price we have both sus- 
tained and inflicted. 

It is time to face what we have done; 
but to fix responsibility, we must look 


beyond the individuals accused of pull- 
ing the triggers. As Frosch makes clear, 
the massacre and subsequent cover-up 
were the natural outgrowth of a national 
policy that presupposes our right to in 
flict on other men a military solution of 


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PLAYBOY 


10 


our choice while measuring our success 
by counting their bodies, 

Nore of us can escape our share of the 
guilt and dishonor of My Lai. If we do 
not act to end the larger atrocity this 
war represents, we will finally have for- 
ѕакеп our common humanity. 

Gordon S. Livingston. 
Baltimore, Maryland 


On behalf of our organization of more. 
than 100 Maryland veterans, many of 
whom served as officers and enlisted men 
I wish to commend your 
azine for publishing one of the most 
mely and meaningful articles on the 
Vietnam war, Anatomy of a Massacre. It is 
our sincere hope that PLAYBOY will con- 
tinue to publish such articles that re- 
veal the true nature of our genocidal 
ies in Vietnam. We believe that 
when the American people fully under- 
stand the realities of the policies our 
Government is pursuing in Southeast 
Asia, they will demand—and get—an im- 
mediate end to our involvement there. 

Leon Shapiro, Commander 
Maryland Veterans for Peace 
Owings Mills, Maryland 


I read your article on My Lai with 
great interest. I will soon be leading a 
rifle platoon in Vietnam and could con- 
ceivably find myself in a situation similar 
to that which Lieutenant Calley faced in 
March 1968. This notwithstanding, it 
is horrendous that tragedies of this 
magnitude do occur. PLAYBOY is to be 
congratulated for publishing the entire 
story behind the headlines, The brave 
young men fighting in Vietnam today 
cannot help but benefit from the under- 
standing gained by those who read this 
outstanding article. 

2nd Lt. Douglas №. Pactz, U. S. Army 
Fort Polk, Louisiana 


Your article on the My Lai massacre 
was closer to the truth than our military 
wishes to admit. As a Vietnam war veter- 
an, I find the way of life and death 
described by Frosch nothing new; but the 
courage of your magazine in publi 
such an article is new and the service 
you have rendered the cause of truth is 
to be commended. 


K. Bruce Galloway 
Baltimore, Maryland 


Anatomy of a Massacre adds consid 
erable depth and detail to the tragic 


ator George McGovern 
ted States Senate 
Washington, D. C. 


MINE FIELD OF THE SPIRIT 

Knowing and sharing several of Tim 
OBrien’s concerns in Step Lightly 
(rravnoy, July), I would like to enlarge 
on his phrase “If legs make me more 


of a man, and they surely do, my soul 
and character and capacity to love 
notwithstanding. . . .” A mine wreaks 
its own kind of human destruction, in- 
stantly turning a whole soldier into a. 
shattered mass of flesh to be policed 
up by those who remain behind. But 
there is another, infinitely more destruc 
tive, mine field. War and our dark f: 
nation with violence destroy not only 
the arms and legs of a man but also his 
humanity, his capacity for human feel- 
ings. The violence described in O'Bri 
on-the-spot observations forms a horrify 
ing metaphor—a man is woodened and 
made a toy by the violence secking to 
envelop him and finally he is blown 
apart by it as he marches into the mine 
field of discarded values. This is a gha: 
ly death, one that awaits us at home 
surely as it does the soldier in the field. 
‘There can be no safe tread, nothing but 
а grimly light step, as long as we accept 
untrammeled violence as our defense. 
Robbin S. Johnson 
Hopkins, Minnesota 


SAINT JOAN 
Your interview with Joan Bacz 
(rr^vmov, July) provides an excellent 
answer to the question, What can I do 
about peace? Joan's reply, "Fo live in 
such a way that you are not exploiting. 
or damaging anybody else,” is a start. 
More of the answer is furnished by the 
story of her life, her refusal to pay war 
taxes and her work with draft resisters. 
As a Roman Catholic priest, I would 

like to draw a parallel between the 
teachings of Jesus Christ and. Joan's cen- 
tral message on how to live one’s life. 
She says that loving people is the pur- 
pose of life and that “truth power" 
(nonviolence) is the means to accom- 
plish that goal, Jesus taught that love 
and truth power are the way to peace, 
that killing and the use of mi 
not. I think Joan serves as a wonderful 
example of how to apply the principles 
of Jesus and Gand! 
peace. 

The Rev. Richard T. McSorley, S. J. 

Professor of Theology 

Georgetown University 

Washington, D. C. 


"The combination of Joan Baez’ inter- 
view and Jesse Frank Frosch's Anatomy 
of a Massacre has to add up to one of 
the most powerful pleas for sanity, 
thought and peace published anywhere 
to date. 

Billy Wilson 
‘Toronto, Onta 


Joan Baez reveals an inexcusable igno- 
rance of history when she suggests that 
organized nonviolent resistance could 
have saved Jewish lives from Hitler's 
predatory SS. It would have been as 
difficult to fight Reinhard Heydrich’s 
men with nonviolent methods as it 


would be to fight cancer with aspirin. T 
wonder how long Miss Baez would have 
refused to cooperate if ап SS man had 
simply strangled the nearest baby and 
said, “I give you one minute to move 
and, if not, I will Kill the next child.” 

‘The “police terror" Miss Baez has in 
mind is based on her own experiences in 
the United As a survivor of 
Auschwitz, I know that the policc-state 
methods of a Himmler or a Beria have 
absolutely nothing in common with the 
methods of the Chicago police nor of any 
other police group in the U.S. and it is 
stupid to compare them. Even worse 
is the fact that she is trying hard to erode 
the power of the U.S., the only nation 
that has saved this world from being 
transformed into a thoughtcontrolled 
global village. It would be naive to think 
that this country could stand up non- 
violently to Russia, as naive as to belicve 
that the U.S. would have to be physical 
ly invaded and all the hamburger stands 
occupied in order to be dominated. 

I am afraid that the Good Soldier 
Schweik knew more about resistance to 
oppression than Miss Baez will ever 
know, since she is living free in the 
U.S: “Never give in to your cnemics, 
because dying won't get you anywhere.” 

Herbert Locbel 
Sherman, Connecticut 


I was deeply and favorably impressed 
with the quality of your interview with 
Joan Baez; I was also impressed with the 
wisdom and courage of Joan herself. I'm 
glad to know that there are some people 
who realize that revolutions that use the 
same means as the oppressor only suc- 
ceed in changing oppressors. 

Clark S. Hemphill 
Castro Valley, California 


DRAMA ON THE HIGH SEAS 
Inwin Shaw has an ability that few 

writers сап match, His latest story, Rich 
Man's Weather (рълувох, July. was a 
masterpiece of psychological insight. Shaw 
is really able to put the reader into the 
е any member of the crew, my 
igs for Falconetti went from fear and 
hatred to pity and finally to indignation 
Over the cruelty and. senselessness of his 
death. I am still amazed at the skill with 
h the author brought the d 
to life, making them a mirror in which 
І could see my own reactions. І would 
like to register one vote for Shaw's story 
as the best fiction of the year. 

Steven Wineinger 

Knoxville, Tennessee 


THE EXPENDABLE EARTH 
PLAYBOY is to be commended to the 
fullest for its excellent article Project 
Survival, by Geoffrey Norman, published 
in the July issue. The attention now 
being directed to industrial polluters 
should not blind us to the glaring fact 
that the unthinking acts of millions of 


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Americans are also contrib- 

y to the saturation of 
pollutants. It is nothing less than 
ronmental suicide on a day-to-day 
As such, every individual must reine 
his own life style against the single acts 
that multiply into mass contamination. 

From the standpoint of the legal bat- 
ue against pollution, there is an old 
axiom that holds that the enforcement of 
any law will be as good as the people 
demand or as bad as they will tolerate. 
Project Survival can only escalate this 
d for total abatcment of pollu- 

її levels of life, and for this I am 
ly most appreciative. 

Please continue to speak forcefully 
and fully on this subject, Powerful pe 
suasion is desperately needed and you 
have shown that you can supply it 

William J. Scott, Attorney Ge 
State of Illinois 
Springfield, Ilinois 


eral 


I would like to congratulate the 
thor of Project Survival. It's an excellent 
account of the teach-out and, needless to 
say, I appreciated your kind words about 
me. 

Paul R. Ehrlich, Professor of Biology 
Stanford University 
Stanford, California 


Project Survival, which analyzed the 
teach-out at Northwestern University, is, 
hopefully, the first of many such 
to be publ 
have alwa 


Day and the teach-outs were 
only indicators of the concern, com- 
mitment and growing expertise of the 
young. Northwestern was typical 
ways, distinctive in others. I and 
other Interior representati 
n 1700 teach-outs, We returned to 
overwhelmingly emh 
student contact and with a 
new awareness of the national support 
Tor policies and programs students have 
long sought. Certainly, there was some 
politicking and m 
les, we found the majority of students 
interested in what they could do, not in 
whom they could condemn. They want 
T ey want it now. 
's discussion of the continu- 
ing student dilemma over mo 
tics, snategy and goal attainment was 
most inter Ш lemma’ is not 
|, hopefully, 
will ultimately result geuing it to- 
gether” with the proper mix of idealism 
and realism. Representatives of SCOPE 
(Student Council on Pollution and En- 
vironment) arc mecting regularly with 
me, with Interior employees at all 1 
and representatives of other departments. 
These meetings are tough, no-holds- 
ed exchanges in which the students 
ngly. Their motives are 


The Dingo Man. 
Hes no ordinary 
Joe. 


Boots are his thing. 

They’re part of his image. 

He knows just how to wear boots. 
With style. 

He knows when to wear them too. 
Whenever he feels like it. 

But don’ttry to con 

The Dingo Man into a boot made 
by ashoemaker. 

His boots are real. 

The label inside all of them 
reads “Dingo.” 
If you don't 
believe us, ask 
any girl Joe 
Namath knows. 


For stor 
Clarksville, 


PLAYBOY 


A NEW ALBUM BY 
BOBBY COLOMBY 
JIM FIELDER 
DICK HALLIGAN 
JERRY HYMAN 
STEVE KATZ 
FRED LIPSIUS 
LEW SOLOFF 
CHUCK WINFIELD 


DAVID CLAYTON-THOMAS 


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sincere, their efforts often  tireless—I 
hope at least in part because we have 
begun to prove ourselves deserving of 
the trust America’s young people want to 
have in their Government. 


у - Interior 
Washington, D. C. 


ON A SIDING 
Last Train to Limbo (eLavwoy, July), 
by Asa Baber, is a classic tale in the 


Kafka tradit of a tragedy 
than a fantasy, though—the story of a 
man with ready-to-wear beliefs and аці 
tudes, who knows what he ought to 
think and feel but hits his 40s without 
ever having established contact with the 
real person inside whose skin he live 
Ir's not the story of Avery: sadly, it's the 
story of almost all of us. 

rald Whitcomb 
Seattle, Washington 


UP THE ETHOLOGISTS 
In Man and Beast (ptaynoy. Jul 

Morton Hunt has written а brilliant 
rebuttal to Lorenz, Ardrey and Morris, 
who condemn man because somewhere 
in his history there lurks a fish, the 
constant reminder of his unyielding bio. 
logical inheritance. Hunt has examined 
much of the research in behavioral de- 
velopment, has understood its meaning 
and clearly expounded nificance, 
He is absolutely right in demolishing the 
innate-vs-acquired dichotomy—a_simplis 
tic way of looking at behavior, cither 
through the genes or through learning; 
Would that it were so simple, then we 
would merely have to make lists desig: 
nating one behavior gene determined 
nd another learned. 
Although we are biological animals, 
our capacity for social interaction and 
cultural concern transcends our animal 
relatives. Sadly, man has not yet achieved 
his potential. In understanding his be 
havior, he is still in the Stone Age; in his 
capacity to destroy, in the atomic age. It 
is time to catch up. 

Evelyn Shaw, Curator 

The American Museum of 

Natural History 
New York, New York 


Tt was a great satisfaction to read Mor- 
ton Hunt's article on instinctive beha 
ior, the animals’ and our own. It is sane 
and well balanced and will help correct 
the impression that our grosser activities, 
such as war, are excusable because we are 
the helpless inheritors of aggressi 
As Hu ly, that view has 
10 be discarded inction is 
made between instincts and culturally 
molded characteristics. 

1 hope the article will also correct the 
idea that the new science of ethology is 
chielly concerned n of 
behavior we have acquired from 
Ethologists study everything 


эъ 


1 says so cle 


when а 


h the que 


wl 
animals. 


ls do—from the nectar sipping of 
bees to the псе climbing of monkeys. 
"Thoughts about which of these apply to 
us can never be anything but specula 
tive, If we inherited our aggressiveness, 
we should also have inherited the ani- 
mals’ inhibitions against killing one's 
own kind. How unfortunate that we 
did not! 


ally Carrig 
Guernsey, Channel Islands 

Twice winner of a Guggenheim Fel- 
lowship, Miss Carrighar is the author of 


the best seller “Wild Heritage” and 
other books, 

Morton Hunts article is interesting 
and rather provocative: 1 hope 
ders a number of comments. Animal 


behavior does shed some 
own habits and behavior, 
vance is limited. A 
behavior depends on an interaction of 
innate drives (instinct), experience and 
environmental. conditioning. Animals— 
certainly mammals and birds—have 
strong emotions and enjov play for its 
own sake. I don't think it true, inciden- 
tally, that Lorenz put everything dow 
to instinct. 


light on our 
but i 


Julian Huxley 
London, Eng 
Sir Julian Huxley is the noted British 
biologist, contributor ic rLAYmov and 
author of “Man in the Modern World” 
and “New Bottles for New Wine.” 


My compliments to Morton Hunt on 
his provocative and judicious treatment 
of complex issues in Man and Beast. 
Irven DeVore 
Professor of Anthropology 
Harvard University 
Cambridge, Massachusetts 


DOING UNTO OTHERS 
So what's so funny about the Ralph 

Schocnstein article, Nuke Thy Neighbor 
(PLavnoy, July)? Overage ex boy scouts 
are already blowing up banks and dyn: 
miting power lines: and the students are 
digging trenches in the quadrangle while 
the professors for peace are manufactur 
g little surprises in the chemistry lab. 
None of our dissidents have yet stumbled 
onto а quick and easy way to make the 
bomb, but any day now, one of our 
universities will be missing and then 
we'll know it’s all over but for the chisel 
ng of the epitaph. 

Rowland Smith 

San Francisco, California 


MAD-AVE PARANOIA 

Thomas Baum's On Location (rLavnoy, 
July) was a profound and revealing shock- 
E of the advertising industry 
all dissent as part of itself 
is terrifying. However, when one realizes 
how much dissent is absorbed into the pre- 
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PLAYBOY 


18 


dress and attitudes, for example), one 
wonders if Baum has not hit upon an 
essential part of our present culture. 
Currently, ой companies are exploiting 
the concern over ecology and trying to 
convince motorists they can evade their 
share of the responsibility and still be 
anti-pollution if they just buy the right 
gasoline. Baum's story is only slightly 
more extreme than that. 

Elliot Lilien 

Arlington, Massachusetts 


STRIPPED FOR ACTING 
Your article Shaping Up for “Oh! 
Calcutta” by C. Robert Jennings 
(rtaynoy, July) was interesting photo- 
graphically and fascinating textually. 
But it surprises me that those involved 
were surprised that the nature of the 
play did not allow for acting. If every- 
body took off all their clothes at мот 
wouldn't allow for working, either, The 
average person does not live in a nudist 
camp and if he attends a play where the 
actors have their genitals on display, it's 
unlikely that he's going to notice fi 
expressions ог catch all the lines—as 
unlikely for him as it was, apparently, 
for the actors themselves, despite the 
sensitivity sessions they went through. 
Thomas Cartwright 


Los Angeles, California 


THE CHAIRMAN COMMENTS 

1 did not conceive nor execute Quota- 
tions from Chairman Bill (Playboy After 
Hours, July), but I do think your re- 
viewer rather went on about it, espe- 
ally the business about its sounding like 
your next-door neighbor (who is your 
next-door neighbor). He seemed to be 
ing that Buckley performs well when 
he performs for rrAYnov but not at all 
otherwise, leaving open the interesting 
question, why didn't compiler David 
Franke pluck only Quotations from Chai 
man Bill When Writing for Playboy? 
Enough said, except that I compliment 
the reviewer on selecting what I hope 
is the most jejune selection from the 
book, the one about Norman Mailer. 
There was another onc at the bottom of 
the same page that was certainly more 
appealing. It reads, “Mailer decocts mat- 


ters of the first philosophical magnitude 
from an examination of his own ordure, 
and I am not talking about his book 


But thai—forgive me—is, once again, 

such talk as you get from your next-door 

neighbor. Lucky Chicago. Up Chicago. 
William F. Buckley, Jr. 
New York, New York 


CORPORATE COMMANDMENTS 
I'd like to comment in detail on Rob- 
ї Townsend's masterly article Further 
Up the Organization" (кълүвоү, July), 
but to do so would involve writing a 
book, so ТЇЇ content myself with merely 
saying a few words about his exposition 
of “Mercy Misplaced.” 


This is what the Peter Principle is all 
about—the fact that few present-day em- 
ployers ever fire or demote anyone who 
has reached his level of incompetence. 
Such an incompetent is simply left to 
plug away at the job he cannot do, 
hampering the work of his colleagues 
and subordinates, until he develops the 
Final Placement Syndrome and dies (or, 
if he's lucky, retires). If he were fired, he 
would be forced to find some job that he 
could do competently and would, in con- 
sequence, be happier and healthicr. 

Townsend warns of a possible take- 
over by Ottoman Turks, who show no 
misplaced mercy. The takeover is already 
in progress—by the Mafia, the only organ- 
ization I know that maintains none of its 
members at the level of incompetence. 

Raymond Hull 
Vancouver, British Columbia 

Hull is coauthor of the best seller 

“The Peter Principle.” 


SEXY SPORTS CAR 

Alter reading your article Torrid Ial- 
ian Beauty (ғілувоү, July), I could 
dose my eyes and visualize а beautiful 
woman with sleek fine lines, full of re- 
finement—but once you get to know 
her, what a temperament! The Pantera 
is like that, sexy and refined; but once 
you drive her, you realize she has tem- 
perament. 

If the Pantera is a reality, we owe it to 
Lee Iacocca of Ford, who understood 
immediately that something really new 
could result from our cooperation. What 
he wanted was а new dimension for meas 
uring the authentic sports cars of the 
Scventies, and that was what he got. 

Since rLaywoy has always made a 
point of calling attention to examples of 
excellence in various facets of American 
life, we at De Tomaso Automobili con- 
sider your article a just reward and are 
proud of it. 

Alessandro de Tomaso, President 
De Tomaso Automobili 
Modena, Italy 


TUNING IN AND TURNING ON 

I consider myself a liberal, but there 
are limits! To open your magazine and 
find Everything You Always Wanted to 
Know About Television, by Ben Masse- 
link (rcaynoy, July) unashamedly endors- 
ing TV watching by groups of married. 
couples, alone, or by members of the same 
sex is the kind of endorsement that has 
given your magazine the notoriety it so 
richly deserves. 

Can a man respect his wife, seeing her 
brazenly watching TV with his best 
friend, playing with the controls, chang- 
ing channels? Is there no shame? I pre- 
sume Mr. Hefner views TV with several 
of his Bunnies at the same time and 
considers it healthy and normal. 

I suppose that next you'll tell us it’s 
beneficial for kiddics to view TV togeth- 
er. You might call me old-fashioned, but 


I'm not going to allow my kids to fiddle 
with the controls. There shall be no TV 
viewing in this house, other than between 
my wife and myself, alone in our bed- 
room, with the lights ofi—and in no fancy 
heathen. positions, cither! 

Tony van Renterghem 
Malibu, California 


WORD OF MOUTH 

I mentioned Meaningful Dialog, by 
Ray Russell (eravsoy, July) to my hair- 
dresser, Freddie, who took it home and 
read it aloud to his roommate, Maurice, 
and later that evening they left it at a bar 
for Harry the bartender, who showed it 
to his wife, Nancy, and she and her very 
good fr isan laughed a lot and rec- 
ommended it to their laundryman, Am- 
brosc, and when he was through with. 
his mistress, Alice, thought it so uproar- 
ious she gave it to her hairdresser, Freddie 
—who got halfway through it before he 
remembered he had read it the week be- 
fore. And just incidentally, when I went 
back to the newsstand to buy more copies, 
it was sold out. 


Patricia Jennings 
St. Louis, Missouri 


TAKING THE ESSES 

Any article about motoring written 
by Ken W. Purdy has to be of interest 
and his 4 Semester at Superdriver U 
(тілувох, July) is no exception. Ken's 
analysis of and experiences at Bob Bon- 
durant's School of High Performance 
Driving were tremendously informative. 
It’s only when reading something as well 
written as Ken's piece that one sits down 
and thinks, “Jesus, that's truc, I'm going 
to have to give that a try.” Many of the 
principles Ken mentions are important 
not only to the would-be competitive 
driver but also to the seasoned warrior. 

Bob Bondurant has obviously spent a 
lot of time and effort laying out theori 
and methods to help drivers and, typical- 
ly, PLAYBOY finds the best people to make 
it sound so simple and right. 

Jackie Stewart 
Vaud, Switzerland 


I found Ken W. Purdy's article most 
interesting. I have long advocated teach- 
ing people the mechanics of driving on 
a closed circuit so that they are not 
bothered with other drivers while learn- 
ing to master the car. The sort of tests 
described by Purdy would teach the 
driver more about himself and the car he 
is driving; the more knowledge one has 
in this respect, the safer one becomes. 

Graham Hill 
London, England 

Stewart, a Scotsman, and Hill, an Eng- 
lishman, have both reigned as world 
champion racing drivers of the Formula 
1 Grand Prix series, Hill was also winner 
of the Indianapolis 500 in 1966. 


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PLAYBOY AFTER HOURS 


qere in America has had to liber- 
te itself repeatedly. The rising cost 
of publishing has turned many cities into 
onenewspaper towns and made too 
ay publishers beholden to advertisers 
and to the status quo. In recent years, 
the irreverent underground press has act- 
ed as a watchdog on the established 
media while covering the rising hip. 
youth subculture; but even more re- 
cently, the underground press has become 
addicted to a point of view as doctrinaire 
—and therefore as unreliable—as the 
most boneheaded pro-establishment pa 
pers, with wishful thinking replacing 
factual reporting and only two stylistic 
gears: shrilly hortatory and murkily 
pscudopoctic. Not long ago, however, 
two newsletters appeared that may sig- 
nal the emergence of a third level of 
the press—one that reports on experi- 
mental life styles, radical politics and 
current events with objectivity, skepti 
cism, brutal candor, factual reliability 
and, not incidentally, good writin 
Hard Times and The Public Life. 
Hard Times, which is published week- 
ly in Washington, D. C., was founded by 
three journalists who had already made 
names for themselves mining the muck- 
king vein—Andrew Kopkind, James 
Ridgeway and PLAvnov regular Robert 
Sherrill. Originally called Mayday, after 
the international distress call, the paper 
changed its name after learning that the 
title had been copyrighted for a directory 
of marine signals, It is edited by Ridge- 
way and Kopkind, with the latter doing 
most of the signed articles. Kopkind's in- 
sights into American life are rigorously 
radical, his prose merciless to oppressors 
and their apologists. But he writes with- 
out the strident semiliteracy of the under- 
ground press. On the 1968 election, for 
example, he wrote, “The Age of Nixon: 
The phrase does not exactly seize the 
mind with a sense of historical moment. 
It looks to be a sober season, The long 
march of empire enters dull days after its 
late triumphs, and the approaching epoch 
looms comfortably small against the ter- 
rible time of god-kings and monster-men 
now receding. The Age of Johnson—in- 
spiring mainly in its madness—gives 


place to a gentler reign: 
sueceeded by his horse.” 
But Hard Times offers more than 
well-wrought writing. One issue exposed 
tice of offering favored 
confidential information not 
legally actionable but damaging to the 
reputations of progressives and reform- 
ers. Another gave details of the protest 
demonstration—termed by military au- 
thorities a “mutiny"—against inhumane 
conditions at the Army's Presidio stock- 
ade in San Francisco. Other subjects in- 
cisively uncovered have included the in- 
ner workings of the Woodstock Music 
Festival, the Nixon Administration’s per- 
secution of CIA employees who contrib- 
uted to an anti-ABM report, a labor un- 
ion's ellort to prevent MIT from closing 
down milit: ch projects, daily life 
in North Vietnam and the June 1969 
schism in the Students for a Democrat 
Society. The last story demonstrated th 
while Hard Times's views are radical, it 
is not uncritically susceptible to any 
movement that calls itself revolutionary. 
Witness this description of the Progres- 
sive Labor faction of SDS: “PL peoples a 
Tolkien middle-earth of Marxist-Lenin- 
ist hobbits and orcs, and speaks in a 
runic tongue intelligible only to such 
creatures. It is all completely consistent 
and utterly logical within its own con- 
fines. But that land, at last, is fantasy.” 
The reformist zeal of The Public Life 
is singularly rooted in America: The phi- 
losophy of local democracy enunciated 
by Thomas Jefferson, who held that 
most of the political power in the U.S. 
should be invested in self-governing 
units of town-mecting size that would be 
like little republics, forming an indis 
pensable foundation for the American 
system of government. He believed that 
such almostautonomous communities 
would allow every citizen to participate 
directly in making the laws that gov- 
erned his life, would prevent too much 
power from gravitating to state and Fed- 
eral governments and would permanent- 
ly and tightly organize people to resist 
invasions of their personal rights. The 
editors of The Public Life declare that, 
“We must resolve to establish Jefferson's 


Caligula is 


newsmen. 


democracy under the conditions set by a 
rich, technically advanced society. 
The biweekly political journal wa 
launched in New York by Walter Kz 
(who's since left) and politic 
FL R. Shapiro, who distrusted the enor- 
mous concentration of power іп Wash- 
ington, were anti-racist and а 
rist, concerned about “the degradation of 
man in a ma and wanted to sec 
poverty and economic insecurity done 
away with by legislative enactment. They 
parted company with most liberals and. 
leftists, however, in rejecting centralized 
planning, be it of the Great Society, 
Scandinavian or Marxist-Leninist vari 
ety, and call, instead, for a restoration of 
political power to face-to-face democra- 
cies in towns and wards. It follows that, 
like advocates of black power and partic- 
ipatory democracy, Public Life believes 
that current poverty programs are failing 
because they are not locally controlled. 
The Public Life was inspired by the 
bitter controversy that arose in New 
York City between the community- 
controlled Ocean. Hill-Brownsville school 
district and the American 
Teachers, leading to a city-wide teachers’ 
strike and the exacerbation of racial ten- 
sions in New York. Karp and Shapiro 
felt that racism was obscuring the real 
problem, which was local democracy vs. 
the efforts of the teachers’ union to main- 
tain and increase its power throughout 
the city, and they started The Public 
Life to explain their vicws. In subsc- 
quent issues, they applied the concept 
of local democracy to 
phenomena as the "solid South," the 
urban crisis, labor's lack of political mili- 
ancy, the ABM controversy, the Ameri- 
can public school system, national welfare 
programs and black anti-Semitism. 
Not, as yet, widely known outside of 
intellectual circles, The Public Life has 
been publicly praised by such cognoscenti 
as W. H. Auden, Murray Kempton and 
Hannah Arendt. Miss Arendt, a noted 
political philosopher, wrote, “Its dis 
cussion and analysis of the daily affairs 
of public concern have consistently been 
оп a very high level of insight, intelli- 
gence and common sense,” We totally 


P 
al writer 


ederation of 


nalyzing such 


21 


PLAYBOY 


22 


ее. These two newsletters are reassur- 
evidence that the press іп Americ 
remains hardy and vital; they raise an 
intellectual and journalistic standard to 
which the most enlightened liberals and 
fastidious radicals can repair and from 
which nonradicals and nonliberals can 
acquire fresh perspectives on the urgent 
issues that receive either biased or in- 
adequate coverage in both the over- 
ground and the underground press. 
"When à man drinks wine at dinner, 
he begins to be pleased with himself,” 
wrote Plato—probably in his cups—over 
2300 years ago. Multiplying that sensa- 
tion by 32—the number of gentlemen 
who assembled at New York's Four Sea- 
sons restaurant not Jong ago to sample 
some of the world’s rarest wines—one 
сап visualize the rosy glow of self- 
satisfaction that filled the dining room, 
eclipsing even the flushed faces of the 
cager bibbers. The occasion was a black- 
tie dinner hosted by a Manhattan wine 
merchant, Peter Morrell, who had pur- 
chased at auction in London two incredi 
bly rare double magnums of Chateau 
Lafite- Rothschild 1865 and 1877 for $960. 
"In case anybody is wondering,” The 
New York Times commented on this 
oenological acquisition, “that comes to 
roughly $5 an ounce or about $2.50 a 
sip.” Figured in this manner, the contents 
of the hand-blown 1865 bottle were prob- 
ably among the world’s most precious con- 
sumable commodities. 
LAYBOY was invited to this unique 
dinne: d we found that we were in 
excellent, if mixed, company. Baron Roy 
Andries de Groot, the wine and food 
writer, Rudolph Stanish, the Omelet 
King, and William Gaines, the publisher 
of Mad Magazine, were among the guests 
who came to expose their educated pal- 
ates to, among other libations, a pre- 
phylloxera vintage from Bordeaux’ most 
distinguished chatcau, While waiting for 
dinner to be served, we whiled away the 
time sampling a flute or two of 1898 
Moet & Chandon Coronation Cuvée 
champagne especially bottled for King 
Edward VIL The thin stream of bubble: 
ascending from the depths of the glass 
caused several of the guests to reminisce 
about the vintage of 1898, a year when 
new laws divided Bohemia into a Czech, 
a German and a mixed linguistic district. 
“Sic transit gloria mundi,” we reflected. 
With the first entree, Selle de Veau 
Orloff, came two bottles for comparative 
tasting, a 1943 Chateau Lafite-Rothschild 
and the aforementioned 1877 double 
magnum. We sipped the 19th Century 
wine th high anticipation. Others 
around us spoke of its "huge nose" and 
its "remarkable robe,” and one gentle- 
man suggested that it be drunk "only 
after dusk on a day when there had been. 
a rainbow, a warm spring rain and the 
cry of the timber wolf had been heard 


across the land." We thought the 
vas damn tasty. 

With the second entree, Gailles aux 
Raisins en Timbale, we were served a 
1929 Chateau Lafite-Rothschild and the 
aforementioned 1865 double magnum. A 
wine that ancient could haye died a slow 
death in the bottle many years ago, leav- 
ing Peter Morrell with the world's most 
expensive bottle of bad vinegar. It hadn't. 
It was superb. Put your ear to the glass, 
said one of the sippers, and im that 
wine's rich depths one could almost hear 
the history of over a century ago: 1865, 
just one year after the first importation 
of native Kanaka laborers into Queens- 
land, Australia. No one, we noticed, 
actually put his ear to a glass. 

Then came a rich Soufflé Rothschild 
and a chilled bottle of 1928 Chateau 
Climens, which, we were reminded, sang 
of the year Britain recognized the Nan- 
king government and Chinese tariff au- 
tonomy. And, finally, we happily sipped 
a snifter of 1818 Cognac Réserve Privée 
de L'Hôtel de Paris à Monte Carlo, the 
grapes for which, we were informed, had 
been pressed in the year Marc Isambard 
Brunel patented his cast-iron tunnel 
shield to be used when constructing 
foundations on marshy ground. 

Before leaving, we partook of a Havana 
(the source of which prefers to rema 
anonymous). lit up and watched the 
smoke spiral toward the chandelier. Then 
we went out into the smog, vintage 1970, 
a very bad year for Con Edison. The 
world was, once more, too much with us. 

An unemployed youth in Titusville, 
Florida, was sentenced to 20 days in jail 
or a $100 fine for wearing the U.S. flag 
as а vest, thereby (the court said) defac- 
ing the Stars and Stripes. The judge, 
however, offered an alternative, wl 
the boy accepted—raising the flag at city 
hall for ten days, Unfortunately, he over- 
slept his first day on the job and was 
found in contempt. A newspaper report- 
ing the story used this grabby headline: 
FLAG RAISER FAILS TO GET IT UP.” 


e 


In the bookstore at Mt. Holyoke Col- 
lege, according to а campus spy, you will 
find Homer's Odyssey displayed under 
travel books. 

Benfleet, England, the 
pub was renamed the Half-Crown 
was partly demolished by a truck. 


At South 
Crow 
afte 


After many years of trying, three U. S. 
Public Health Service workers report 
that they've finally managed to success- 
fully transfer gonorrhea from humans to 
chimpanzees. 


Our Unorthodox Promotion Scheme 
of the Month Award goes to the Shur- 
Valu Food Markets in Albuquerque, 
New Mexico, who placed an ad in the 


local Tribune for an upcoming sale on 
pork chops, spareribs, hams, bacon, sau- 
sage and bologna—all under the heading 
"Kosher Meats.” 

How's that again? New York's Daily 
News reports that the Уаш d 
“a historical document ordering 
student priests be given sex edu 
to prepare them better for a 
celibacy.” 


n has issued 
that 
tion 

ot 


A new tactic in the save-the-mi 
battle has been uncovered in Wisconsin. 
In an ad placed in The Milwaukee Jour- 
nal, Marvin Glasspiegel declared, “I am 
not responsible for any midi-length sl 
purchased by my wife.” 


You Don't Say Department: Yn a Seattle 
suit against proposed poison-gas ship- 
ments, one paragraph read: “The quality 
of chemical agents to be transported is 
sufficient to extinguish human and ani- 
mal life in the states of Washington and 
Oregon. This would be highly detrimen- 
tal to the environment.” 

The world’s oldest profession is, in- 
deed, just that. Charges of using inter- 
state facilities for prostitution were 
dropped against a Chicago woman, 75, 
for reasons of age and health. 

Damning with faint praise? According 
to The Wall Street Journal, the Justice 
Department now avoids 1 


With the solemn promise that this is 
the last time we call attention to this 
particular typographical error—in the 
foreseeable future, that is—we can't re- 
sist commemorating a front-page head- 
е from Baltimore's News American: 
MAYOR ASSAILS ‘CRIMINALS’ WHO DISRUPT 
PUBIC AFFAIRS.” 


BOOKS 


Generally, when visible agencies of the 
supernatural are introduced into modern 
fiction, it’s for laughs—but Kingsley 
Amis is playing for more than laughter 


in his latest novel, The Green Man (Har- 


court, Brace & Jovanovich). Along with 
the sardonic social satire and cool sexual 
comedy that we expect of him is a horror 
story that, on the way to its ficezing 
climax, presents us with an offbeat inca 
nation of the Deity and a ghoulish rein- 
carnation of a disciple of the Devil. The 
protagonist is the middle-aged proprietor 
of a rural inn in England who owes his 
periodic hallucinations and bouts of am- 
nesia to the fact that he is never off the 
bottle. His sexual adventurism, which cul- 
minates in a pseudo-orgiastic threesome, 
and his foolhardy attempt to conjure up 
the murderous spirit of a 17th Century 


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black magician derive as much from stur- 
dy ite and curiosity in these respec- 
tive fields as from a stubborn desire to 
push experience beyond common bounds. 
anky yet personable, and. proved cou- 
rageous in trying to save his daughter 
from deadly peril, he shows up well 
st most of his family and friends who. 
offer him the kind of patronizing advice 
to which alcoholics and oddballs are ac- 
customed, In the course of what is, after 
ll, a gem if somewhat bizarre, jour- 
ney toward self-knowledge, he is able to 
drip some acid fun upon the crotic man- 
isms of his mistress and the incon 
gruous worldliness of a couple of Mod 
Parsons, not to mention the purported 
charms of rustic life. Whatever Mr. Amis 
tends the reader to make of his super- 
natural machinery, the effect of this 
closely worked and highly readable novel 
to give back to life some of the mystery 
that our know-it-all culture has tended to 
erode. The special targets of its attack 
are our numerous life-denying clichés of 
behavior and thought. 

Although there have been a number of 
artides оп underground journalism (in- 
duding Jacob Brackman’s in PrAYmov 
August 1967), The Underground Press in 
America (Indiana University) is the first 
comprehensive book on the phenome- 
non. The author, Robert J. Glessing, 
who teaches at Cañada College in Red- 
wood City, California, has clearly steeped 
himself in subterrancan publications and 
has added to this background by con- 
ducting many interviews with editors, 
writers distributors of counter- 
culture papers. The result is a solid 
history of the evolution of underground 
journalism during the past 15 years, 
long with a judicious appraisal of the 
strengths and weaknesses of the leading 
exemplars of that new tradition—from 
The Village Voice to the Berkeley Barb. 
There are also informative chapters on 
the embattled high school and college 
undergrounders, military and peace pa- 
pers, the economics of the field, and the 
shifting split among the papers them- 
selves between cultural and political 
radical ince "most underground staff- 
ers feel litte responsibility and seldom 
condua business y way resembling 
the overground press . . . most under 
ground newspapers have a life span of 
approximately I2 to 18 months if they 
attempt weekly publication." The survi- 
vors атс those papers that adapt conven- 
siness methods to the packaging 
of dissent. (The Los Angeles Free Press 
has time clocks for its free spirits.) It is, 
however, extraordinarily easy for new 
ventures to begin. Thanks to cheap new 
printing techniques, it’s possible to pro- 
duce 3000 copies of a black-and-white, 


and 


eight-page tabloid for $100. Since 


that easy, and since the straight press has 
little appeal for many young people, 


ng agrees with occasional under- 


ground editor Marvin Garson that “It’s 
going to get bigger all the time, There 
are going to be more and more papers 
that will give people coverage they're not 
getting—and will never get—ftom the 
daily papers.” 


Mery (McGraw-Hill) is Vladimir Nabo- 
Коуз frst novel. lts publication i 
English, 44 years after its appearance 


an cvent—but whether it’s an event for 
scholars or for readers is a fine point, In 
the introduction, Nabokov I 
something more like wistfulnes: 
pride in its reappearance. Mary (Mashen- 
ka, in the original Russi slight 
work. The hero and the scene are typical 
of the chrysalis stage of the master’s а 
\ footloose young man hopelessly en- 
meshed in the Russian émigré colony i 
Berlin spins skeins of nostalgia. Incipi- 
ent signs of the fullwinged Nabokov are 
here in flutters of gorgeous coloration 
induced mainly by the memory of first 
love, but one can also measure the 
tance from maturity in certain imitative 
Chekhovian markings. Lev Ganin, the 
hero, loved. Mary in doomed, irrecov 
ably lovely old. Russia. By typical coinci- 
dence, she proves to be the imminently 
arriving wife of Alfyorov, an insignificant. 
boarder at the pension where Ganin is 
living. Ganin, who is at the moment bur- 
dened with an unwanted affair, uses the 
occasion to end it and to reconstruct the 
iridescent freshness of his young love. 
Mary, then, is but an early avatar of the 
theme that was to appear and reappear 
in all of Nabokov's writings: the ache of 
pristine love that lives in all subsequent 
forms, faces and On second 
thought, perhaps Mary can be recom- 
mended to readers as well as to scholars. 
Clear portents of what is to come have 
a special fascination, They remind us of 
a time when the boundless joys of dis 
covery exceeded the limited pleasures of 
discrimi 


names, 


ation. 

There are 16 pages filled with Camp- 
bell's soup cans in the profusely illus- 
trated Andy Werhel (New York Graphic), 
a plush volume prepared by author John 
Coplans in connection with a touring 
exhibit of Warhol works. After exposure 
to Coplans’ crisp and appreciative essay 
on Andy as the moving spirit of pop art, 
the most skeptical viewer is apt to look 
at the soup cans, Brillo boxes, Coke bot- 
Чез and comic strips in а more receptive 
fashion. Coplans never shrinks from the 
fact that Warhol the celebrity ob- 
sared the repu of Warhol the 
artist, bur he mounts a persuasive de- 
fense of him as the man who transformed 
the soup can into a striking statement 
about American values—a fact apparent- 


ion 


ly recognized by those who purchasec 
Andy's painting of a can at a recent sale 
for the highest price ever paid for a wor 
by a living artist. The sequential por- 
traits of Liz "Taylor, Troy Donahue, Mar- 
ilyn Monroe, Marlon Brando and Jackie 
Onassis also shimmer with a certain 
significance as one thumbs through the 
book's sharp illustrations; they provide а 
link between Warhol's experiments in 
painting and his dubious later career as 
a film maker. Of two contributors’ essays 
ncluded here, the better is Calvin Tomp- 
ins’ Raggedy Andy, an engaging word 
portrait that goes far to explain how 
ural talent, tireless ambition and an 
uncanny instinct for trends made Warhol 
a byword of the Sixties. 

Donald Е. Westlake’s Adios, Schohera- 
zade (Simon & Schuster) is an achingly 
funny but unleering novel about a por- 
nographer well-named Ed Topliss, a 
loser living a humdrum life in Albany 
who is offered $1000 a month to turn out 
porno. The catch is, he must produce 
one of these steamy books every month. 
After adding 29 works to the liter: 
ture—with utles such as Beachcomber 
Sin—his fantasies dry up and his scruples 
well up. рглувоу contributor Westlake’: 
novel is I 
tempts to break through hi 
these are hilarious par 
pornography. At this juncture, his wife 
(who thought he was a more or less 
kosher hack) happens to read his work 
progress and, assuming it to be auto- 
biographical, leaves him. Worse, her 
blue-collar brothers come looking for 
him, with mayhem in mind. Topliss hides 
out at the Y and from here on the reader 
Bets a series of forlorn dispatches date- 
lined from places such as Macy's and 
Bloomingdale's, It seems that Topliss is 
caught in the grip of some sort of Smith- 
Corona psychosis, drifting from one dem- 
onstration typewriter to another, pecking 
out passionate self-justifications and re 
pentances to friends, enemies and an 
admired sister in San Francisco (“Would 
it be ridiculous to say Hester is my father 
бриге?"). The novel ends with stardi 
abruptness, leaving Topliss ashamed of 
writing “glib lies for some retarded geek 
to masturbate over,” sans wife, friends, 
career and self-respect. A disarming 
dramatization of Romans 6:23—"The 
ges of sin"—however vicarious. 


led with Topliss’ tortured at- 
writer's 


As Joan Bacz says im the introduc- 
tion to her husband's first book, Goliath 
(Baron), David Harris "is a home- 
grown, milk-fed. honor-roll, football.play- 
ing product of American culture." But 
the former Eagle Scout and president of 
the Stanford University student body 
went on to help found the Resistance, 
resisted the draft himself and is now ii 
a Federal prison. The transformation of 


Their imagination? It really 
lets|loose When they see 
unfinished flrniture. 

Itl let them have the 
bright, wild ‘colors they can 
only do themselves. 

Their cigarette? Viceroy. 
They wont settle for less. 

Its d matter Of taste. 


Viceroy gives you all the taste, all the time. 


© 1970, ROWN 2 WILLIAMSON TOBACCO CORP. 


PLAYBOY 


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this all-American boy into a nonviolent 
revolutionary (in the equally home- 
grown tradition of Thoreau) could have 
made an absorbing book. But Harris 
chooses not to explore his own past 
except in impressionistic sketches. In 
stead, he spends most of this rather slight 
work in constructing a new politics, “the 
politics of life.” Unfortunately, he has 
little original to say about what is really 
a venerable tradition of communitarian, 
radical pacifist. thought, (Joan, in her 
July Playboy Interview, was much more 
insightful and provocative on the sime 
subject.) But when he isn’t trying to be 
a political philosopher, Harris does indi 
cate that he has the eye and imag 
of a potentially valuable journ: 
tells, for example, of Vietnam veterans 
recounting bloody war stories on a do- 
mestic flight while getting zonked. With 
the substitution of what Harris has ex- 
perienced for what Harris has borrowed 
from the philosophies of others, Goliath 
could have been as powerfully instructive, 
in its way, as Soul on Ice. Maybe next 


escorted away by the 
ids after the opening scenes of Carry it 
On, a frankly polemical documentary film 
in which Joan continues her singing 
tours, has à baby, espouses nonviolent 
revolution and occasionally visits her hus- 
band in prison. These vignettes, which 
might so easily have become maudlin, are 
saved by the Bacz humor and music. 
Carry Il On must be a milestone of sorts 
—a movie full of young people who dis- 
cuss revolution without proselytizing for 
drugs and sex.) 


"Those who don't happen to be addict- 
ed to the novels of C. P. Snow but 
nevertheless admire such qualities in 
fiction as firm plot construction, excit- 
ing ve, convincing characterization 
and sharp observation of the human 
scene are unlikely to be enticed into the 
Snow zone by Last Things (Scribner's), the 
lith and final novel in а series that 
began 30 years ago with Strangers and 
Brothers. The narrator, as usual, is the 
affable but unincisive Sir Lewis Eliot, 
now feeling his age and up against the 
problem of death, ‘The characters are 
his family and friends, pale presences 
doomed for a time to walk the foggy 
chambers of Sir Lewis’ mind and forbid- 
den а real life of their own. The action 
—iespite the promise of a death in the 
family, eye surgery for Sir Lewis that 
causes him to sulfer a cardiac arrest and 
the involvement of his son in student dis- 
orders at Cambridge—is unrelievedly 
tame and conducted largely offstage. 
The weighty utterances of the kind with 
which any Snow novel abounds ("the 
impulse for life was or Um 


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solitude one is unique,” “behavior was 
more important than nature") detonate 
with their customary muffled boom and 
leave the exacting reader gasping for a 
little hard meaning. Lord Snow's style 
has a certain charm and creates an im- 
pression of moral fastidiousness; but with 
its rambling prose, its commonplace vo- 
bulary tricked out here and there with 
pretentious words such as “acerb,” “la- 
bile" and “surgent,” its general impre- 
cision and failure to hit the moi juste, its 
virtues are more apparent than real. In 
Last Things, as in all its predecessors 
Lord Snow narrates, discusses, describes, 
suggests and orates. The onc thing he 
doesn't do is create. 

Readers of rravsov will not be 
shocked by Future Shock (Random House), 
since sizable sections of Alvin Toffler's 
provocative report on things to come and 
their implications for today first appeared 
in our February and March issues. We are 
on a collision course with the future, 
wams Toffler, and it’s high time that we 
took 2 cool, careful look, before this cen- 
tury js out, at the transformations that 
will be wrought in such basic arcas as 
housing, transportation, recreation and 
education, not to mention the structure of 
the corporation and the functions of cor- 
porate executives. Tofer is no nervous 
Nellie, no nostalgic enemy of technology. 
On the contrary, he believes that it’s in 
our power to use advanced technological 
means to make our world a more sensi- 
ble and decent place to live. In fact, he 
is convinced that we have little choice be- 
tween doing that and experiencing mass 
psychological aberrations. “By making 
imaginative use of change,” writes Tol- 
fler, "we can not only spare oursel 
the trauma of future shock, we can reach. 
out and humanize distant tomorrows.” 
Students of the future will be 
too, in Between Two Ages (Vi- 
king), Zbigniew Bızezinski's study of the 
mpact of America's move beyond the 
ndustrial age into what he has named 
the Technetronic Age. 


Alter David slew Goliath, all was well. 
David had a fine time reigning and sir- 
ing, until at length he had created a 
mighty kingdom and a mighty family. 
‘Then David's oldest son, Amnon, spoiled 
it all by raping David's only daughter, 

"his lapse led to Amnon's mur- 
lom. which led to a civil w. 
which led to Absalom's murder by Da- 
vid. All of which has now led to Dan 
Jacobson's very funny novel about The 
Баре of Tomar (Macmillan). The story 
is told by one Yonadab, a self-confessed 
court flatterer who was witness to the 
whole bloody affair—nay, more than wit- 
ness: accomplice. For it was Yonadab— 
we have his word for it—who encour- 
aged the amorous Amnon 10 proceed 
from daydreams to incest; and it was 


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Yonadab who helped Absalom kill Am- 
non. "Yes," notes Yonadab/ Jacobson in 
the book's first lines, "I admit that the 
whole affair does have the look of a 
charade or costume drama of some kind. 
Even to me.” Even to us. Yet it is, 
ultimately, absurdly believable in a bit- 
ter sort of way, Certainly, the characters, 
with all their familiar hang-ups, do not 
challenge credulity. Amnon is “a soft 
drunk”; Tamar has r of gravity 
that isn't really accounted for by any- 
thing she ever says"; Youadab's own 
father has a “flunky's nose for power and 
esteem.” The flunkies and thc soft 
drunks, as well as the kings and the 
nobles, all strut and swagger toward 
their fates upon Jacobson's brilliantly 
апа slightly atilt—stage. In its quality 
of fatefulness, the stor rather 


Greek drama—by a Jewish Sophocles. 


Charlie Gillett, 


English student, 
began to investigate the development of 
rock ‘n’ roll in 1966 as a subject for a 
master’s thesis at Teachers’ College, Co- 
lumbia University. His exhaustive re- 
search, including a formidable amount 
of listening time, has now led to The 
Sound of the City: The Rise of Rock end Roll 
(Outerbridge & Dienstfrey. It is the 
most ambitious historical survey so far of 
the many intersecting changes in Ameri- 
can popular music (and British as well) 
during the past 30 years. Though bur- 
dened with a pedestrian writing style, 
Gillett is knowledgeable on the dif- 
ferences among the many varieties of 
pop music that have emerged since the 
mid-Fifties and he traces their evolution 
1 terms of both the performers involved 
and the shifting priorities of record com- 
panies and audiences. Except for a cer- 
tain lack of perception about the most 
recent developments—írom the Jefferson 
Airplane to Randy Newman—Gillett is a 
reliable guide to the intertwining of 
black and white cultural strains (with 
much exploitation of the black) in the 
rise of rock ‘n’ roll. His study ranges 
aters 
Motown sound to the Roll- 
z Stones. Much of the time, his musical 
judgments are reasonable, though he un- 
detrates the Beatles and is rather super- 
ficial in his und ing of Bob Dylan. 
The book is outfitted with a jud 
discography and bibliography and, most 
important, is indexed. 


from Chuck Berry and Muddy W 
through the 


stan 


us 


With his latest novel, Blue Movie 
(NAL/World), Terry Southern proves 
himself once again to be the Johnny- 
OneNote of gag pornography. Blue 
Movie is about the casting, scripting and 
filming of a multimillion-dollar dirty 
flick, complete with the world’s favorite 
sex symbols The production—called 
The Faces of Love—is financed by the 
tourist-hungry government of Licchten- 


stein, and part of the deal is that the 
film be shown solely in that principality. 
Needless to say, the plot revolves around 
variouscouplings (brotherand sister, beau- 
ty and beast, black and white, etc.), but 
most of the details are beyond prurience. 
A black actor ejaculates prematurely, for 
example, into the elaborate coif of the 
blonde sex queen, much to the discom- 
fiture of her hairdresser, Southern, who 
obviously needs to spend more time 
in wholesome outdoor activities, makes 
much of such matters as the slavering of 
make-up men as they rush in to wipe 
away the various body fluids that glisten 
under the klieg lights and threaten to 
spoil the footage. Blue Movie not only 
degrades love, marriage and sex, it also 
degrades blue movies. 

In 1969, а "newly found" Victorian 
memoir was published. Flashman: From 
the Flashman Papers 1839-42 was billed 
as the first volume of confessions by 
Harry Paget Flashman, V. C., К. C. B., sol- 
dier, poltroon and indefatigable bedbug. 
Everyone from Oxford dons to Midwest- 
ern drabs enjoyed the tales of Flashman 
—even though they were soon unmasked 
as the hoax of "editor" George Mac- 
Donald Fraser. Now arrives the Son of 
shman, Royal Flesh (Knopf), written in 
the same engaging style. This time, 
our hero is embroiled in the fiendishly 
complex Schleswig-Holstein broul 
although it takes the book fully one 
third of its length to state its premise. 
The “memoir” is peppered with period 
purple (“By the time she had stopped 
writhing and moaning I felt as though 1 


had been coupling with a roll of barbed 
wire"), which is accompanied by such 
puton pedantic footnotes as “The 


‘barbed wire’ comparison must have oc- 
curred to Flashman at some later date; 
it was not in common use before the 
1870s." Intertwined in the narrative are 
such names as Palmerston, Cardigan, 
Lola Montez and Otto von Bismarck, the 
German chancellor and namer of her- 
rings. Flashman will indubitably be 
around for years, as new packets of his 
manuscripts are discovered by the lively 
Fraser. We can look forward to Flash- 
man Digs the Suez Canal, Harry the 
Flash at Paris Expo and possibly an 
episode laid in fin-de-siécle Vienna, Har- 
ry Flashman and His Electric Id. 


In recent years, there has been a spate 
of popular books on the rich, the well 
bred and the jet set, which the rest of 
us can simultaneously mock and savor. 
The bibliography to Allen Churchill's 
The Upper Crust (Prentice-Hall) lists no 
fewer than eight books in the past four 
rs that have chronicled the doings 
and the undoings of the big spenders, 
the Beautiful People. the right crowd 
and the international nomads, to list 


just some of their generic identifications 
Churchill's book differs from these pri- 
та. in attempt to provide an 
overview of how New York society (is 
there any other?) started, grew, thrived 
and eventually deteriorated. Churchill is 
a veteran impresario of historical com- 
pendiums, having celebrated, among 
other eras and subjects, Broadway, crime, 
the Twenties, Greenwich Village and 
r One. His sure touch is evi- 
iced in the flowing style 
traces his informal history of high society 


from Colonial days, through aristocratic 
and moneyed society, to café socicty and 


the jet setters. Basic trends and sweep 
panoramas intermix with anecdote: 
nd descriptions of clothes, furnishings, 
gems, foods, hairdos, Festooned with il- 
Iustrations and lavishly packaged, the 
book makes first-rate coffee-table materi- 
al, even though many of its tales are 
familiar. There is even a well-packed in- 
dex where you can (hopefully) look for 
your family name. If a condusion is 
necessary to this sort of thing, Churchill 
comes up with one—that society, as New 
York once knew it, is moribund; the 
Beautiful People are beautiful, all right, 
but not quite people. 

In The King God Didn't Seve (Coward- 
McCann), John А. Williams, black 
novelist, historian and journalist, has 


written a profound and perceptive book 


His inability to bring about fundamental 
social changes by appealing to morality 
“made others see that the gains could 
only be political.” Williams is critical of 
Kings weaknesses. He was a poor long- 
range strategist; he often vacillated over 
crucial decisions; and, according to Wil- 
liams, “During every demonstration in 
which King participated, at the key mo- 
ment when he was most acutely needed 
to lead a mass confrontation, he was 
absent.” Yet, Williams is essentially com- 
passionate in his dissection of King and 
reserves his anger for the white power he 
had to confront. The most ominous sec- 
tion of the book concerns the FBI 
wire tapping of King during his last years 
secret surveillance that allegedly came 
up with some amorous incidents in his 
private life that led to political black. 
Williams claims--but doesn't h: 
the hard facts to. prove—that some of 
King’s backtracking was directly due to 
such blackmail. But, finally, King got 
himself together, intensified his criticism 
of the Vietnam war, began to see the 
political implications of black power 
and looked to the Poor Peoples’ March 
as the beginning of а new Populism. 
Then he was killed in Memphis. By 
whom, besides James Earl Ray? Williams 


mai 


Goodbye bitterness, 
solong fullness, 


hello happiness. 


For nearly 6,000 years, since some long-forgotten 
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beer has remained inviolate. 
In 1951, weviolated it. We brewed Country, 
Club Malt Liquor. 
We discovered that it was the fabled hops 
that were responsible all along for making beer 
bitter. So we removed some. 
We found that carbonation was the cause of that = 1 
old familiar full feeling that beer has left in generations We believe, quite candidly, that if 
of stomachs. So we took some out. (Not so much you'd the Mesopotamian who invented beer 
miss it, but enough.) were still around today, he too would 
And beyond these improvements, we made one say, “Goodbye bitterness, so long full- 
more that will become all too apparent after you drink ness, hello happiness.” 
Country Club. Or the Mesopotamian equivalent 


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isn't sure but considers it odd that “all 
talk of conspiracy in his death seems to 
have quieted down—even though the 
man accused of killing him publicly re- 
fused to rule out a conspiracy.” 

"In these pages 1 offer only my story," 
announces Peter de Lissovoy at the start 
of Feelgood (Houghton Mifflin). "You may 
suggest that the historian is also the d 
gent spinner of a tale." The explanation, 
in its overblown coyness, is typical of what 
follows. Is the book fact or fancy, auto- 
biography or autostimulation? Presuma- 
bly, it is a slightly stoned account of De 
Lissovoy's days in the student movement, 
circa 1964. It begins at Harvard, where 
the lad studies the pleasures of pot— 
"When I remember Harvard, it's not the 
ivy. [t's the morning glories"—ánd. soon 
moves on t0 Georgia, where he makes a 
connection with SNCC and settles in for 
a long daydream. De Lissovoy appears to 
have spent much of his time seeking 
from the black commu: 
lige maidens and attaching himself, 
either parasitically or worshipfully, to 
various shadowy saints and con men. 
Everyone he meets, and everything that 
happens to him, turns out to be deeply 
symbolic. The scraggly Georgia village 
he adopts as his own is called Means- 
ville; the local bar that blacks patronize, 
doing their happy thing, is called the 
Paradise; De Lissovoys young. heroic 
black friend, who alone defics the white 
hegemony, is named Knight; and the 
wise old man who seems privy to all the 
secrets of the world is known as Dr. 
Feelgood. One of the secrets Dr. Feel- 
good treasures is the exact location of a 
valley of pot, everripe and ready for 
harvest. “If you high,” the doctor intones 


that cuvin on your shoulders an the 


topside a trees, but it don weigh on y 
comnect ya. Itdon matter how you die, if 
you in your figure." If De Líssovoy's expe- 
rience was at all typical of the move- 
ments back then, it’s a wonder the 
blacks didn’t make common cause with 
the К.К. К. and together throw the fools 
out. 

Irwin Shaw's big, busy, entertaining 
new novel, Rich Men, Poor Man (Delacorte), 
takes up the history of the Jordache 
family at the close of World War Two 
1 progresses cavalcade fashion through 
the next two decades. Poppa Jordache 
is a brute by nature and a baker by 
trade; and Momma is a four-star kvetch. 
One son is a merchant prince, the other, 
levolent pug; and the daughter is 
ашу on the make. The story, large 
samplings of which appeared in our Jan- 
uary, March and July issues, concerns 
the fortunes of Rudolph, Tom and Gret- 
chen, the Jordache siblings, and there is 
no lack of incidents to hold the reader's 


attention. Rudolph makes it in the world 
of merchandising; he is, apparently, the 
originator of the shopping center. (Well, 
someone had to be.) The other son, Tom, 
inherits his father’s aggressive streak: His 
world is a punching bag and he swings at 
practically everything that moves. After 
a few bad starts, Gretchen discovers that 
her place in life the side and in the 
bed of a great movicmaker. The years of 
trial and error are years of separation for 
the Jordache clan; but blood being as 
thick as plot, the siblings eventually come 
together again. Shaw once more displays 
his gilts as а superlative teller of con- 
voluted tales. 


Imagine, if you can, a writer born 

with a severe form of cerebral palsy, who 
cannot walk, talk, eat or drink without 
help, who has the full use of only one 
limb, his left foot, and with a toe of 
that foot has typed, a letter at a time, for 
over 15 years, a book. Imagine, further, 
that this writer, Christy Brown, has writ- 
ten almost a masterpiece with that left 
toe—without a day of formal schooling. 
Down All the Days (Stcin & Day) gives us 
Dublin, bedad, with brawling, brogue- 
bawling characters all over the place: 
father, a brute with a fine voice and 
a ferocious fist; Mother, a sullering 
breeder who carries the mark of her 
husband either on her face or in her 
womb; siblings, with their assorted weak- 
nesses and strengths. And all of them 
lifepoor and language-rich. Down All 
the Days is about nothing but living in 
Dublin when the Luftwaffe was making 
a shambles of London. It is about people 
embittered by poverty and the long, sad 
singing of a lost cause. The eyes that 
that time and those lives are 
accuracy yet compassionate. 
Whether it’s a gull overhead or clouds 
reflected іп a street puddle, Christy 
Brown's lelt toe records the beauty with 
prose that is sometimes lush, more often 
lyrical but always worshipful in feeling. 
If a mirade is whatever faith m 
credible, then Down All the Days 
miracle. 


MOVIES 


Considering the flood of films aimed at 
moviegoers under $0, one begins to won. 
der whether the new American cinema 
(or the old. for that matter) has said 
anything definitive thus far on the sub- 
ject of being young and alienated in the 
restless U.S.A. of 1970. There was a 
gleam of antisocial significance in Easy 
Rider and a joyous whoop of love and 
togetherness in Woodstock; Frank Perry's 
Last Summer looked with rare objec 
tivity at the upper-class young as dis 
oriented, dangerous animals. Otherwise, 
youth's cause has been served by such 
earnest but flawed works as Alice's Res- 
taurant, Medium Cool, The Revolution- 
ary, Antonioni's ill-conceived Zabriskie 


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Point and The Strawberry Statement, a 
respectable attempt to make cinematic 
sense of James Simon Kunen’s first-person 
book about student unrest at Columbia. 
Scratch most other movies that owe their 
existence to the nation’s preoccupation 
with youth, and chances are that you'll 
find a film maker mercly exploiting the 
shock potential of indiscriminate drugs, 
sex and revolutionary confrontation. 

Characterizations of the young in too 
many of today’s films are reminiscent of 
Hollywood's treatment of werewolves, 
redskins, monsters from outer space and 
other minority groups. The young are 
depicted as featureless hordes in fringed 
leather and soiled denim. virtually all of 
them turning on, tearing down and mak- 
ing out. They seem congenitally freaky 
and badly screwed up—all in a social 
vacuum, Instead of exposing the youth 
scene to the light of critical perception, 
moviemakers often opt for outright 
voyeurism, which helps explain why 
those obligatory sex sequences seem like 
leering attempts to excite hard-hats 
and middle-aged squares with something 
tantamount to penis envy. The ideas 
aired would scarcely tax the ingenuity 
of those who write slogans on the buttons 
for sale in psychedelic supermarkets 

While optimistic forecasts may be pre- 
mature, there is evidence that the first 
wave of youth-cult films has peaked, set- 
ting producers, directors and authors 
free to follow the fashion in any of a 
dozen new directions. In several current 
releases, the accent on youth remains, but 
the movies represent à more serious—it 
not wholly successful—attempt to find 
out what contemporary kids are really 
like and how they got that way. But 
there's still a long way to go. 

One good way to find out what the 
young are actually thinking is to ask 
them. In a sad, vivid documentary called 


Groupies, producer Robert Weiner trics 
this method and finds sheer madness in 
it, since the subjects of his cinéma vérité 
interviews are stoned and semiliterate 
teenage camp followers whose only con 
scious goal in life is to connect sexually 
with rock musicians, preferably famous 
ones. One dumpy little swinger testifies, 
"You get to fuck the prettiest boys, you 
get to smoke the best dope, you get to 
meet all the Гагош people . . . 
ic" Set to appropriately far-out music 
collected at Fillmore East and West and 
all the grooviest places in between, 
Groupies makes litle or no effort to dig 
beneath the sensationalism and squalor, 
to ask anyone who she is or where she 
came from, or whether a groupie ever 
comes face to face with such grim rea 
ties as, say, vener truck 
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single inhibition between them. Their 
standards i tness Bren 
wling appraisal of her musical favor 

If he doesn’t strum a guitar and 
sing like a sex maniac, he's nobody.” 
Another attention getter calls herself 
Miss Gynthia P. Caster, long celebrated 
in the rock world for making plaster 
casts of musicians’ erect genitals. Many 
of the greatest have sat (2) for her, and 
А. соге pornography should 


devotees of 
find Cynthia a stone gas when she tells 
everything they've always wanted to 
know about Jimi Hendrix. 


The way Middle America looks at 
young people and sees only what it 
wants to sce is the principal issue of Joe 
"The film is a frighteningly funny portrait 
of an aboriginal hard-hat named Joe Cur 
ran, who earns 5160 a week in a factory 
collects deadly weapons and harbors à 
murderous hatred for “those goddamned 
niggerlovin’ hippies, fuckin’ up the mu 
sic” and degrading everything eke he 
holds dear. from President Nixon to apple 
pie. Filming on a shoestring that captures 
the contemporary New York scene with 
amazing authenticity, producer David 
Gil and director Jolm С. Avildsen found 
themselves a brilliant. Joe in Peter Boyle, 
whose barroom bravado and mindless 
bigotry are apt to give you goose bumps 
even while you sneer at him as a certified 
nobody. The problem, of course. is that 
there are millions like him, and Joe's soul 
brother turns out to be а 560.000-a-yezr 
Manhattan adman who roars into the East 
Village to save his daughter and impul 
sively murders the boy responsible [or 
flipping her out on drugs. Brought to 


ether by chance, the day laborer and the 
dvertising executive form a misalliance 
based on fear 


ignorance and mutual hos. 
tility, Joe would be a far better movie if 
its disenchanted young people—most of 
them cha 


acterized as thieving whores and 
junkies—were delineated with even half 
the humor and mocking insight 
upon the predatory adults. 


Another disenchanted middle-class kid 
who barely survives а bum nip on speed 
amd acid is the heroine of The People Next 
Door. The problem drama was transplant 
ed from TV by producer Herbert Brod 
kin and penned by J. P. Miller. an 
experienced hand at reducing complex 
human relationships to simple formulas 
for home consumption. Eli Wallach (over 
icing outrageously) and Julie Hanis 
(excellent, as always) play the indul 
parents, who must learn the hard way 
that being permissive is no substitute for 
really caring about their children. Is а 
message that’s been brought home to 
Dad so often that his restless pacing 
has worn a path in the wall-to-wall 
broadloom, Deborah Winters, Stephen 
McHattie and Don Scardino capably 
represent the younger generation, but 


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once again, they are less flesh-and-blood 
creatures than. theatrical props dreamed 
up to serve Miller's thesis. This is the 
Kind of ordered world in which every- 
thing that happens moves the players 
one step closer to a big mother-daughter 
confrontation scene, Thus, there is no 
surprise when Father turus away fom 
his evenings quota of Vietnam blood- 
shed on TV, scowls disapproval at his 
son, the long-haired rock music 
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Most recent movies dealing directly 
with racial confrontations look slick and 
facile when measured against the deli 
cate bur stwbbomly positive humanism 
of The Angel Levine. Derived from a few 
paragraphs of a Bernard Malamud short 
story (adaptation by Bill Gunn and Ron 
Ribman), Levine is the first American 
film by Czech direcior Jan Kadar, whose 
memorable The Shop on Main Street 
won a 1965 Oscar and made the world 
aware that a viral new cinematic force 
had risen in casterm Europe. Kadar's 


worldly-wise and wryly humorous Euro 
pean sensibility seems to liberate à 
who have languished too long in their 
customary Hollywood shticks, and he 
works to marvelous ends with Harry 
Belafonte—whose first film role in over 
a decade is that of Levine. а black. Jewish 
angel and а recently deceased con. man 
on temporary leave in Harlem. The mis 
sion of Levine is to. make someone. al 
most anyone, believe in him—if not as 
a heavenly messenger, then at least as а 
human being—and his formidable target 
is an old Jewish tailor named Mishkin 
(Zero Mostel), who is giving up on both 
God and man because he more 
troubles than Job, what with his shop 


tors 


burned out and his wife (sensitively 
played by Ida Kaminska, the grand 
old lady of Shop) at death's door. Though 
the situation sounds grim, Kadar and his 
cast lift it beyond realism into a realm of 
seriocomic, philosophical fantasy that 
keeps every woebegone truth floating just 
am inch or two above the ground. Bela 
fonte’s easy, rhythmic performance as 
Levine is à personal triumph, plumbing 
unexpected emotional depths. In the 
choreography of Close-ups that character- 
izes the film's style, Mostel is an able 
partner, play 


g down the broad comedy 
bits except where they serve to accent the 


pathos of his finest movie performance 
to date. Beneath its apparent argument 


bout religious faith—linked to Mishkin's 
frail hope that an angry, foulmouthed 
Jew of another color may somehow per 
form mirades to save his wile—The 
Angel Levine is primarily concerned 
with people believing in people. De 
bate on the subject also involves Milo 
O'Shea, as а friendly neighborhood doc 
tor, and Gloria. Foster, exuding her owa 
earthy magic as Levine's emotionally bat 
tered doxy. An exciting, ollbcat score by 


Garrard introduces an 
automatic turntable especially for the 


At Garrard, we recognize that as 
high fidelity components have become 
more refined, they've also become 
more costly. 

As Alan Say, our Chief Engineer, 
puts it, “A house, a motor car and a 
stereo rig are the three weightiest pur- 
chases many.chaps make in a lifetime. 

"And, today, it can be a toss up 
as to which is number three." 

Unfortunately, there are those 
with an ear for good music, and the de- 
sire to indulge it, who are not blessed 
with limitless means. 

For them, we offer the SL72B. 

At $89.50 it is, without question, 
the world's greatest value in an auto- 
matic turntable. 


Son of SL95B 


Our SL72B is a slightly modified 
SL95B, at present the most highly per- 
fected automatic turntable you can buy 
—regardless of price 

The turntable is a bit smaller, 
the tone arm is simplified, and we've 
eliminated the ultra-precise counter- 
weight adjustment screw. 

But the 72B has the same revo- 
lutionary two-stage synchronous motor 
as our 95B. With an induction portion 
to reach playing speed instantly, and 
a synchronous portion to guarantee 
unvarying speed. 

It has the same patented slid- 
ing weight anti-skating control to 


discerning 
poor. 


provide permanently accurate settings. 

It has the same viscous damp- 
ing of the tone arm descent in both 
manual and automatic play. And can 
be cued in either mode. 

It has the same two-point record 
support, a Garrard exclusive that as- 
sures the genllest possible record 
handling. 

All in all, a degree of refinement 
quite impossible to find in any other 
turntable near its price 


Mass produced, by hand 


Despite our place as the world's 
largest producer of component auto- 
matic turntables, Garrard steadfastly 
rejects mass production methods. 

At our Swindon works, final as- 
sembly of the 72B, like the 95B, is in 
the hands of nineteen men and women. 

Hands, not machines. 

Each person who assembles a 
part, tests that finished assembly. 

Ага four of every nineteen final 
“assemblers” do nothing but testing. 


Before each unit is shipped, it 
must pass 26 final checks that cover 
every phase of its operation. 

Thus, remarkably few compro- 
mises have been made to achieve its 
remarkable price. 


$40 saved is $40 earned 


Still, the 72B is not the ultimate 
automatic turntable. 

Our 95B bears that distinction. 

But at its price of $89.50, the 
72B represents a saving of $40. 

A significant difference to all but 
the affluent 

To quote Alan Say, "If a penny 
saved is a penny earned, $40 is a 
bloody raise in pay. 

“The 72B is the automatic turn- 
table with almost everything for the 
man with everything save money." 


From Swindon, with love 


The care that goes into a Gar- 
rard is preserved by a heritage that 
often spans two and three generations 
at our works in Swindon, England 

That care does not vary with 
turntable price. 

You can select with confidence 
from six component models starting 
with the 40B at $44.50 and running 
to the SL95B at $129.50. 

Your dealer can help you 
match а Garrard to your system. 


Garrard 


in Industries Co. 


PLAYBOY 


40 


for thos: 


coste 
Eau de Sport 


by Jean Patou. 


Expressly 


who 
can afford 


the finest. 


ported from France. 
newconcept in 
rance for men. 


Zdenék Liška, Crechoslovakia's top film 
composer, suggests the presence of both 
celestial and terrestrial powers at work 

and it all adds up to a rare and subtle 
feast. 

Freely based on a Broadway bill of 
short plays by Renée Taylor and Joseph 
Bologna, Lovers and Other Strangers Íca- 
tures Gig Young and Anne Jackson as 
illicit lovers who spend a lot of time 
d discuss 
ing just when he should tell his wife 


hiding in bathroom cubicles a 


The toilet approad to humor makes 
even polished actors look embarrassed 
and hardly commands respect for direc. 
tor Cy Howard: yet Lovers is funny 
just the same. It is also true and cynical 
and touching by tum, depending on 
which members of a precariously bal- 
anced cast are called in front of the 
camera to do their thing. Bonnie Bedelia 
and Michael Brandon are the bride and 
groom whose impending marriage puts a 
strain on family ties. Gig plays the phi 
landering father of the bride, Anne 
Meara and Harry Guardino play а cou 
ple locked in eternal combat over their 
sexual roles (“I'm more feminine than 
you'll ever be!" shrieks Anne during 
one emotional crisis) and Bob Dishy is 
broadly amusing 
can't wait to spill his passion on a 
desmaid (Marian Hailey). But i 
comedy clearly written to be confisc 


is а horny usher who 


са 
by its performers, the highest marks 
accrue to Richard Castellano as the 
groom's inarticulate father—a lovable 
Italian clod whose eldest son is already 
getting a divorce. When he faltering: 
ly, tenderly tries to brainwash his boy 
about the virtues of marriage, Castellano 
sketches a study of lifelong frustration 
that is at once rib-cracking and heart- 
breaking. 


A man whose young son is the victim 
of a hitandrun driver determines to 
avenge himself for the boy's death and 
ultimately tracks his quarry to а coun- 
uy home in Britany. Н that plot 
sounds simple in outline, trust French 
writer-director Claude Chabrol to trans- 
form a straightforward saga of revenge 
kably 
t undertones. In This Man Must 


into a cool thriller with rev 


reson 


Die, a merely adequate cast glides 
through a series of effortless scenes that 
long with the inevitability of . . . 


well, chic tragedy. Very dry, very French 


move 


Once discovered, the hitand-ran di 


er 
is shown to be a loathsome sadist whose 
entire life seems a quest to find his 
executioner, since nearly everyone wants 
him dead—his wife, his son. his business 
associates. The question of whether or not 
he will be done in soon becomes irrcle- 
vant, but Chabrol frames a number of 
more interesting questions—such as who 
will do it and why and how? Such sus- 
penseful conundrums are the delight of 


younger French directors, who often care 
little what their movies are about as long 
as they can be treated in a personal and 
polished style. Chabrol's method here is 
to weave figures into a magnificent rural 
landscape, where petty human affairs are 
dwarfed—and even resolved. at last—by 
forces immense and elemental which 
could become pretentious, except that 


Chabrol knows how to get hold of your 
lapels. 


Darling Lili offers Julie Andrews as a 
British musichall favorire whose blithe 
and dances are a front for her 
spy during World 
sy to believe that 
bad guys on the 
side of the Kaiser as to imagine Mary 
Poppins as a madam.) Jeremy Kemp 


song 


activities аха С 
War One, (Its as 


Julie would join th 


plays the nasty Hun who keeps pop 
ping up ir 

Rock Hudson is the valiant British-air 
squadron commander who mutters mil- 
itary secrets in bed: and several of their 
encounters with Lili turn out to be 
surprisingly funny. While such celebrated 
umesmiths as Henry Mancini, Johnny 
Mercer and Michel Legrand add little 
or nothing to the parade of 1917 song 
hits, Lili’s assets become highly visible 
when Darling Julie blows her buttery 
charm in a fit of bad temper or puts her 
freshest foot forward in a down-and-dirty 
orgy of bumps and grinds. But in the 
over-all confusion, Julie faces overwhelm- 
ing competition from bombing raids and 
spectacular aerial battles, which are so 
thrillingly photographed that they make 
every other act look expendable. 


the st 


s dressing room; 


The climax ol Entertaining Mr. Slocne is 
a kind of double-wedding ritual in which 
а freaky brother and sister (Harry An- 
drews and Beryl Reid) arrange to share 
n amoral young house guest (Peter 
McEnery) who has just brutally mur 
dered their old dad (Alan Webb). Ecce 
nic voles, e.g, Sister George, appear to 
bc Miss Reid's specialty, and she ex 


pands her showy repertoire of quirks as a 


sexec-up senior citizen who hangs around 
the local cemetery, suckin 


sides and lui 


cherry Pop- 


ing likely chaps home for 


tea. Mr. Sloane's heady mixture of homo- 
sexuality, nymphomania and sadism (“a 
/ according to 


the blurbs) is based on а London stage 


film reflecting our time 


hit by the late Joe Orton, whose output 
of black comedies ended with his murder 


in 1967, Even disciplined English actors 


tend to wallow in the juicy parts Orton's 
plans give the 
pretty gummy after а while. 


and the goulash gets 


Forrest Tucker, Ben Johnson, Bruce 
Cabot. Richard Jaeckel and other famil- 
iar fellas in John Wayne's cinematic 
stock company stoutly support the Duke 
as Chisum. Not that Wayne requires mudi 


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PLAYBOY 


42 


help, for he could slug his way blindfold- 
ed through this formula biography of 
John Simpson Chisum, a cattleman 
Whose name became legend because he 
bought up a large chunk of New Mexico 
while the West was being won. As master 
of all Chisum surveyed, Wayne makes 
every utterance an endorsement of Amer- 
сап free enterprise and rough-and- 
tumble individualism. Cryptically sizing 
up the boundaries of his ranch, he drawls, 
"Take a man on a good horse all sum- 
mer to cover it” The depredations of a 
rival land baron (Tucker) provide Chis- 
um with an excuse for introducing such 
fas guns as Billy the Kid (Geoffrey 
Deuel) and lawman Pat Garrett (Glenn 
rbett), who aim to displease. Under 
director Andrew V. McLaglen, a leading 
interpreter of Wayne's mindless machis- 
mo, few targets are missed for action 
who relish stumpedes, manslaughter and 
sundry Western sports, all bloody well 
done. 


In a pithy epilog to Diery of e Mad 
Housewife, members of her grouptherapy 
session wonder whether the heroine can 
be seriously troubled, since she already 
has a successful husband, a potent lover 
and an eighrroom apartment. overlook- 
g Central Park. But, as readers of 
Kaufman's best seller know, the trim 
young matron’s problems are manifold: 
Her Jawyer-husband is a gauche social 
climber who pastes wine labels in a 
scrapbook in order to pass himself off as 
a comnoisseur; her lover is a sadistic satyr 
who may or may not be driven by homo- 
sexual tendencies; her kids are demon: 
her friends are a drag; and the damned 
family dog isn’t housebroken. Fortunate- 
ly, the movie—fashioned from author 
Kaufman's pastiche of domesttc woes—is 
the work of writer Eleanor Perry and 
producer-director Frank Perry, the hus 
bandand-wife team responsible for Da- 
vid and Lisa and Last Summer. Though 
flawed by its effort to be able— 
through tricky editing and self-conscious 
references to such topics as wom- 
—Diary is a pungent contempo- 
ary comedy. The Perrys have 
setting key details of character 
the backdrop of an authentic social mi- 
lieu, bounded at one end by Manhattan 
"in" places such ne's and at the 
other by summer spots in East Hampton. 
Both male roles are caricatures, perceived 

s if through the heroine's heightened 
vision: yet within that context, Rich- 
d Benjamin limns a mercilessly honest 
portrait of the husband, while off-Broad- 
way's Frank Langella, as the lover, force- 
fully projects a new kind of unisexual 
image in leading men. The Perrys can 
claim credit for discovering the perfectly 
mad housewife in movie newcomer Carrie 
Snodgress, a blonde sylph with a voice 
е the finest sandpaper and а beauti- 


ashio: 


"now" 


ful, blank face that reflects everything 
an audience needs to know. 


The young married misfit whose hang- 
ups and sexual fantasies fill Meve is a 
male counterpart to the heroine of Diary 
of a Mad Housewife, though his mental 
blocks mainly pave the way for trotting 
out some of the choicer contemporary 
clichés. As played by Elliott Gould—who 
else?—he carns his livelihood writing 
pornography and walking people's dogs 
He hates cops because a 
mounted policeman keeps giving him 
summonses. He hates marriage because 
his wife (Paula Prentiss) cools his ardor 
ttling about a baby and parroting 
the jargon she picks up on her job in a 
t's office. And, of course, he 
hates The System as represented by mys- 
ious phone calls from а moving-and- 
storage outfit that is supposed to come 
and transport all the couple’s worldly 
goods to a new apartment. Hence the 
Move of the title, which seems to stand 
—but none too firmly—as a symbol for 
the unsettled quality of urban life in 
20th Century America. After such fash- 
ionable misadventures as un down 
with a kinky model (pert Genevieve 
Waite, well remembered as Joanna), 
mister and missus cnjoy an implausibly 

ppy reunion in the bathtub, where 
they celebrate her (fortunately) not yet 
conspicuous pregnancy. Though it's a sexy 
scene, in a sudsy sort of way—as you can 
see for yourself on page 100 of this issue 
—you may get the fecling you're being 
soft-soaped by the scriptwriter, If so, 
don't blame Gould, who adds another 
engagingly quirky performance 10 his 
rapidly multiplying list of screen cred 
Too bad this particular outing wasn't 
worthy of his talents. 

The year is 1930, the city is Marseilles, 
the setting a pool hall in the slums, 
where two smalltime mobsters (Alain 
Delon and Jean-Paul Belmondo) are 
breaking furniture over cach other's 
heads for love of a girl named Lola 
(Catherine Rouvel). Lola is the kind of 
1 who used to be referred to 
downhearted frail, and that should indi- 
cate the style of Borsalino, а comedy 
heavily indebted to Hollywood's vintage 
gangland sagas starring James Cagney 
nd George Raft. Delon and Belmondo. 
man their tommy guns with delightful 
flippancy as they take over the Ма 
seilles rackets through shady deals in- 
volving stolen race horses. fixed prize 
fights, gambling, prostitution, the meat 
business and the waterfront. To the ac- 
companiment of razzmatazz music by 
Claude Bolling, most of which sounds 
е a tango played in ragtime, Borsalino 
scores as superior parody for the first 40 
minutes or so. Then, alas, the hero- 
toughs become self-critical and contem- 
plative about the value of ill-gotten 


as a 


"drama 


avi 


gains. The thrills subside, until therc is 
nothing left to admire but the Thirties 
decor—all black-cnameled Chinese inte- 
riors aswarm with men wearing brillian- 
tine and baggy trousers. 

The decline and fall of Hollywood can 
be traced in part to the fast-buck 
psychology that produces a lamentable 
movie sequel such as “They Coll Me 
Tibbs!” a melodrama based оп 
hack's conviction that more box-office 
cash might be coined by signing Sidney 
Poitier for a return engagement as the 
black police lieutenant of In the Heat of 
the Night. As Virgil Tibbs. Poitier ranks 
а cut or two below CI п. Не is 
assigned to а murder case involving a 
high-priced hustler (Linda Towne) whose 
former clients include. worse luck, one 
of Tibbss boyhood friends—a preacher 
and social crusader (TV's Martin Lan- 
dau) with any number of good works 
in progress in the ghetto. Scrumptious 
Barbara McNair plays the policem 
steadfast wife, who 
the kiddies, where dinners get cold, dis- 
cipline breaks down and evidence piles 
up that middle-class black folk may also 
find their lives as dull as dishwater. 
Because Poitier is a star, director Gordon 
Douglas keeps him on camera most of 
the time, registering his trademarked 
charm in reaction shots at che end of 
nearly every scenc. Despite a complicated 
plot and an air of bogus realism (the 
cops discuss semen stains on a carpet 
the murdered girl’s room, and you never 
got that fiom Charlie Chan), the movie 
generates no suspense whatever. "Turns 
out that the principal suspect was guilty 
all the time. 


some 


As movie titles go, The Things of 


suffers in literal translation from the 
French Les Choses de la Vie. But the 
film itself is something special—a sad, 


romantic and suspenseful drama about 
а Mish architect (played impressively by 
Michel Piccoli) who doesn't know where 
he’s going until he slams his car into 
a uec. Brilliantly constructed from flash 
backs ina graceful stream-ofconsciousness 
style, Things is top-drawer subjective 
cinema, beginning with the accident 
at the split second of impact and go 
ing confidently into reverse: Th 
straightens up, the twisted wreckage 
becomes whole, the hero's sedan bad 
onto the road and carries him swiftly 
through time and space into the 
eral emotional left be. 
hind. His problems center on a loving 
mistress (Romy Schneider, fina 
role she can sink her pretty t 
whom he can't quite bring himself to 
marry, because, as she says, he belongs to 
1 past, which consists of “islands, 
iends, a boat" as well as an attrac 
tive divorced wife and a teenage son. 
While the hang-ups of unlucky Pierre are 


tree 


sev- 


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PLAYBOY 


44 


fairly commonplace, Things of Life in- 
vests them with urgency as the injured 
man lies in a field beside a heap of 
burning metal, stirring to consciousness 
seeing himself clearly at last when physi- 
cal pain and the threat of imminent 
death put his emotional wounds into 
perspective. This totally adult movie rep- 
resents a considerable achievement 
authordirector Claude Sautet. a 46 
old superprofessional who spent many 
long. anonymous years doctoring the 
work of other directors before Things. hi 
third film, became the thing to see in 
Paris. 


for 


Tony Curtis teams up with Charles 
Bronson to tour the land of mosques and 
minarets in You Сап! Win ‘Em All, di- 
rected by Peter Collinson as if he were 
trying to parody one of those wryly exot- 
ic adventure dramas Humphrey Bogart 
used to do. But Curtis and Bronson 
together are no match for Bogart The 
story concerns two rascally American 
mercenaries who get involved wi 
Turkish revolution in 1922—on the side 
of the sultan. The producers must have 
spent a great deal of money filming You 
Can't Win on location, and there are 
plenty of sand-colored villages, cerulean- 
blue seascapes and such folkloric divi- 
dends as wedding parties and belly 
dance: What's a nice belly like you 
doing in a place like this?” Curtis in- 
es of one undulant navel, while na- 
е actors stick to Arabian Nights dialog 
in the vein of, “The wise hare does not 
carry tales to а hungry fox." Out of 
purdah as one of the sultan’s favorites, 
Michele Mercier is compelled to say, 
“Many of our women have given up the 
veil.” But mere words hardly convey the 
effect of ineptitude on so grand a sc 
All hands ought to 


es Fox ii 


J Performance, 
Jagger portraying a pop idol who has 


ed from show business to a psyche- 
dream house in London. To Fox, 
who is wanted for murder both by the 


police and by his treacherous associates 
a the underworld, the goings on at the 


rock singer's рай are morally offensi 
ЗА freak show . . . drug addicts, free 


love,” he confides in a disgusted phone 
call. Jagger looks good in his far-out 
incarnation as a pop swami, like the hip 


world’s answer to Dracula 


and is oddly 


effective when he appears with short hair 


and a business suit, singing the role of 
а gang lord in his house guests drug- 
induced hallucinations. The rest of the 
time, Performance is irritating and cr- 
raic Filmed i ish colors more 
appropriate to an underground multi- 
media show, the movie opens a new 


in affected artiness, with camera 
work that never stops calling attention to 
tself, which may explain why the direc- 
n is credited as a joint effort by cine 
matographer Nicolas Roeg and scenarist 
Donald Cammell, Author Cammell's 
dialog is a marvel of obfuscation, very 
ho-hum littered with non sequiturs 
and utter nonsense. as if to duplicate the 
rhythmic meaninglessness of so many 
pop lyrics As the inevitable birds in 
Jagger's refuge for wildlife, Anita Pal- 
lenberg and Michele Breton turn. on 
and put out accordi me-honored 
custom. 


fronti, 


RECORDINGS 


Bob Dylon Self Portrait (Columbia), a 
double album, might well be called 
Bob Dylan and Friends,” the personnel 
on the recording numbering an even 50, 
including Cajun fiddler-singer Doug Ker- 
shaw and Robbie Robertson, guitarist of 
The Band. Producer Bob Johnston has 
made full use of all hands without slip- 
ping into overproduction. Highlights of 
this new chapter 
period include Blue Moon, featuring 
some fine fiddlework by Kershaw, and 
Dylan's version of Quinn the Eskimo— 
which. as The Mighty Quinn, was a hit 


for Manfred Mann some years back. 
ns of Kershaw. incidentally, will be 
delighted with Spanish Moss (Warner 


Bros). а foor-stomping, howling celebra- 
tion of life from start to finish, enhanced 
on two tunes by the presence of M 
Rita, Kershaw's triangle- and gı 
playing mother. 


Music to open up heart and mind and 
fill one's home with subtle happenings— 
that’s the fare on Albert Ayler's Music Is 
the Healing Force of the Universe and PI ah. 
Sanders’ Jewels of Thought (both Impulse!). 
Assisted by a sympathetic aggregation that 
ncludes Canned Heat's guitarist Harry 
Vestine and  transcendentally soulful 
vocalistlyricist. Mary Ayler offers 
brightly colored, tapestries of 
d that maintain xhydunic. intensity 
despite the absence of a beat, The San- 
ders LP is comprised of Hum-Allah-Hum- 
Allah-Hum-Allah, a hymn with a stately 
mien, and Sun in Aquarius, an extended, 
mood-switching jam in the Cecil Taylor 
manner. The unique yodeling style of 
vocalist Leon Thomas and the piano of 
the ubiquitous Lonnie I. Smith, Jr. 
prominent throughout. 

Never one to let too much grass grow 
under his feet, Andy Williams has gotten 
into the “now” milieu with a vengeance 
On Raindrops Keep Fallin’ on My Head (Co- 
lumbia). Songs by Mason Williams. Paul 
Simon, John Hartford and Randy Sparks, 
Tim Hardin, and Joni Mitchell, along 


and David's Academy 
ning title ode, fill the album 
with mellifluous sounds. Al Capps's charts 
contribute much to the proceedings. 


With each new LP, flutist Jeremy Steig 
adds further dimension to his stature as 
an artist. legwork (Solid State) is his best 
eflort to Backed by bassist Eddie 
Gomez, guitarist Sam Brown and dr 
mer Don Alias, Steig freewheels through 
а half-dozen items (Miles Davis’ Nardis 
is the only one that isn't an original), 
ranging from тушу blues to 
beautiful balladic moments to technical 
tours de force. A virtuoso performance. 


m- 


J. J. Jackson's Dilemma (Perception) is 
that he isn't widely recogn 
he is: the leader of one of the most excit- 
ing big bands around. Indian Thing typi 
fies the far-reaching but funky Jackson 
pproach: a bit of every kind of groove 
d tonality. perfectly fused, with tight 
ensemble work and good solos. J. J.’s 
growling voci on Let the Sunshine 
In, give the set an extra touch of soul 

Alegria! (Blue Thumb) is an engaging 
introduction to Bossa Rio. a Brazilian 
sextet that’s been nurtured under the 
wing of Brasil '66's Sergio Mendes. The 
structuring resembles that of the Mendes 
group: however, there are differences. 
Gracinha, Bossa Rio's vocalist-leader, 
either solos or shares the vocal spotlight. 
with Pery Ribeiro, and the outfit boasts 
an organist, but its choice of material 
shows a marked '66 influence, Eleanor 
Rigby, Spinning Wheel and works by 
Brazilian greats Jorge Ben, Marcos Valle 
and Dorival Caymmi reflect the senior 
organization's repertoire, but Bossa Rio 
still retains enough sparkling individu- 
ality to make this a fine LP. 

Chuck Berry is Back Home on Chess Rec- 
ords with his most vital sounds in yc: 
There's lots of down-home harmonica 
straightahead bass—all of it vividly 
corded—as Chuck wails the blues on Have 
Mercy Judge, cooks instrumentally on 
Flyin’ Home, makes an eloquent state: 
ment of class struggle on Some People and 
gets into a catchy love bag on Fish & 
ips. 


ed for what 


па 


The flirtation of rock with country con- 
tinues, It’s somewhat disconcerting at first 
ike 
rner 
Bros.), but their harmonies and acoustic- 
guitar sounds on such items as Uncle 
John's Band and Casey Jones, a musical 
eight-wheeler. will eventually get to you 
Meanwhile, The Jerry Hohn Brotherhood 
(Columbia) a quartet led by Gary 
Burton's former guitarist, presents an 


to hear the Grateful Dead come on 
Nashville on Workingmen's Dead (Wa 


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intriguing mixture of jazz (Comin 
Down), hard rock (Capiain Bobby Stout) 
and country rock (Time's Caught Up 
with Yon) 

Baroque buffs will be intrigued by 
The Sound of the Eorly Harpsichord (Vic- 
trola), in this case a 1640 Ruckers, oi 
which Gustav I di plays à. selec- 
tion of pieces by Johann Jacob Frober 
ger. Unlike most antique harpsichords, 
one still functions well. and its plan 
nt tone is appropriately attuned to the 
d musings of the 17th. Century 
nother collection, ineptly ti- 
Sound of the Old Horpsi 
niroduces a talented young 
m Re 


anh, 


keyboa 
Froberger 
Пей The “Now” 
chord (RCA), 
named Will 
ndel and Rameau. The in 


America Lin works 
by Bach, H 
strument he uses is not old, 


sound conspicu 


nor is the 
sly contemporary, but 
the performances themselves are first- 
raw, particularly a dazzlingly embel- 
lished rendition of Handel's Harmonious 
Blacksmith variations. 


Six man for all seasons Lee Konitz 
has put together quite a quintet for 
Peacemecl (Milestone). Joining him on a 
session that is a marvel of eclecticism 
(three Bartok pieces. Lester Leaps In, 
Body and Soul, et al.) are Marshall Brown 
on valve trombone and baritone horn, 
Dick Katz on piano and electric piano, 
bassist Eddie Gomez and that marvelous 
drummer, Jack De Johnette. Konitz plays 
alto, tenor and Multivider saxes and dis- 
plays the imagination. technique aud sen- 
sitivity thar have kept him active on the 


jazz scene for so long. 


The British blues find their artistic 
roots on Blues Jam in Chicago and Oris 
Spann's The Biggest Thing Since Colossus 
(both Blue Horizon). The 
s of the British group Fleetwood Mac 


m has mem- 


be 


playing with vet 
Dixon а Walter Horton: the resu 
are predictably unpredictable but gener- 
y refreshing. The S] 


longi 
D lust, albo en 
ае е TONO 
session if Spann had been recorded 
higher and the guitar sounds kept to 


Mellow is the word for Mr. Ed 
Floyd, who's never gotten the press he 
deserves accomplished. songwriter 
and vocalist. He spent a full s how- 
оп Colifornia Girl (Stax). 
and the set may help him break through 
to stardom. The title t s the best Cali- 
fornia surf song we've heard: Why Is the 
Wine Sweeter (On the Other Side) is an 
inently soulful ballad; 7 Feel Good 


elfectively es between a rubato 


passage and а bigbeat section: and the 
fam Rainy Night im Georgia and 


Didn't I (Blow обу Mind This Time) 
also get superb readings 


John Mayall's reed man, Johnny AL 
mond, has a fine jazz LP in Hollywood 
Blues (Deva). thanks largely to coproduces 
Leonard Feather, who put together a boss 
thythm section, including guitarist Jo 
Pass amd organist Charles Kynard, and 
found a healthy selection of horn pl 
—Vi Redd, Curtis Amy. Hadley 
— res Almond. The young Briton 
aequis. himself well. bur what makes 
the record worth having is the smooth 
approach and the unpretentious blowing 
that mark every track. 


s 


nan 


Mason Proffit (H. 
tionally fine Chicago-based country-rock 
quintet whose recording debut is а bal- 
anced blend. of old. standards. (Stewball) 
and right-on revolutionary originals, such 
as Two Напатет. The sounds are groovy 
enough to make any tiger smile. 

Phil Woods ond His European Rhythm Ma- 
chine ot the Montreux Јох Festival (MGM) 
is a whole lot of record. Expatriate reed 
luminary Woods, pianist George Gruntz, 
bassist Henri Texier and drummer Dan- 
iel Humair (of Swingle Singers fame) find 


themselves in perfect accord аз they 
stretch out through pieces by Carla Bley, 
Herbie Hancock, Leonard Feather and 


Gruntz, The concert is, in toto. 
deli 


а thor- 
1. due in part to the condu- 
cive environs of the Swiss music center 
and to the undeniable fact that Woods, 
а masterful musician, has never sound- 
са better. 


We don't believe there's a more sell- 
assured er than Eydie Gormé. 
The fact that she always seems to 
know exactly what she's doing detracts 
not one whit from the excitement she 
generates on a recording stint. Tonight 
ТИ Soy о Prayer (RCA) is a perfect case 
in point. With one exception (Knowing 
When to Leave), the arrangements a 
Don Сома. who's right in Eydie's bag. 
Among the goodies are A Time for Us. 
from Romeo and Juliet, Jim Webb's 
Didn't We and Aznavours admirable 
Yesterday When 1 Was Young. Chalk up 
опе for Miss Gormé. 


another gre: 


THEATER 


is Bruce Jay Friedman sees Him in 
Steombath, God is а Puerto Rican stea 
bath attendant named Morty, a not 
entirely frivolous notion that leads the 
playwright into some comic contempla- 
tions on the state of mortality, Inte 


State troopers do not endorse products. 


But this one thinks Lifesaver Radials 
are too good not to be talked about. 


You may have heard lately about 
а new kind of tire. A tire that's 33% 
stronger—that gives 30% better mile- 
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tire. 

A group of people who've had 
good things to say about it are state 
troopers . .. highway safety experts. 

This trooper's face is masked, and 
his uniform disguised, because neither 
he nor his state will lend their names 
to any commercial product. But read 
what he has to say. 

"| was off to the side when this 
guy raced past me. | floored it to catch 
up. And there | was going into a dou- 
ble curve—Deadman's Curve—at 115 
miles an hour. But | never swerved an 
inch out of my lane. It was like riding 
a rail. 

“After that, I'm getting a set of 
these radials for my own car. 1 have 
good reasons... my wife and kids." 

You can hear the same kind of 
story from troopers across the country 
now riding on В. Е. Goodrich Radials 
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You'll seldom need the maximum per- 
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47 


THERE 
IS ONLY 
ONE 

JOY 


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48 


Morty’s place of business, ап astonishing 
duplication of a steam bath by David 
Mitchell, come an assortment of recently 
deceased “neuroties and freaks,” waiting 
their turn to move on (Friedman doesn’t 
sav 1o where) and regaling their master 
with tales of thi There are 
a much-traveled old-timer, a flop stock. 
broker, two fags. one naked girl (a 
nicely unabashed performance by the 
comely Annie Rachel) and a writer 
named Tandy. Tandy. defily und 
played by director Anthony Perkins, is 
the hero of the comedy and the only one 
10 challenge God on His own turf. Е 
though he admits that Morty is a “pretty 
interesting guy—for a Puerto Rican," he 
simply can't believe that he is God. 
Мону is Friedman's everest invention 
and, as acted by Hector Elizondo. he 
is the most fully realized and fu 
person onstage. Elizondo’s is a the: 
cal Puerto Rican to rival Alin Arkin's 
in the old Second City days. Morty at 
first nies to prove his godliness with 
two-bit magic tricks ("Pick a card, any 
card"). Then, as he mops up the bath 
he turns on a TV set and offhandedly 
orders and disorders the world, wish 


r demise. 


en 


см 
ті 


ing woes and occasional beneficences 
on mankind. Unfortunately, except for 
1 Tandy, the characers are 
acteristics, and some. such as 
are nonentities. In the end, the 
author runs out of steam. Even so. as 
ds, Sleambath is still very funny 
‚ in а мау, convincing. What makes 
you so sure God isn’t a Puerto Rican 
steam-hath attendant named Morty? At 
the Truck and Warehouse, 79 East 
Fourth Street. 


Tom Eyen is one of the more over 
produced underground playwrights. Over 
75 of his plays have appeared оой 
Broadway for runs ranging from опе 
hour to months of Saturdays and Sun 
days, The Dirtiest Show in Town is more 
of the same anything-goes vaudeville, 
only this one is Very Commercial. Eyen 
will probably now become one of the 
more overproduced overground play- 
wrights. As а playwright, Eyen is one of 
the cleverest tithe writers in the bu 
(his other works include Gerirude Stein 
and Other Great Men). But The Dirt 
iest Show in Town is not the dirtiest 


ess 


show in town. Almost everybody sheds his 
clothes, but not all the time, and, despite 
variety of sexual indulgences (boys 
and girls, boys and boys, girls and girls) 
there isn’t much. novelty, As а matier of 
fact, sex is not the only, nor even the 
main, subject of the show. Neither is 
ecology 
billed as “a documentary of the destruc 


although the entert 


ment is 


tive effects of air, water and mind pollution 


in New York Gity—not to mention The 


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Village Voice.” There are a couple of 
smog gags, some perfunctory cracks 
about dirty wars and a few digs at the 
Voice, but a greater share of the show 
consists of “in” jokes and black-ou 
old movies, old camp and old fr 
the author, all stylishly dir 
nonstop. no intermissions, full of razzle- 
dazzle lighting. The climax, an orgy 
е, offers the most sustained display of 
skin and humor in the show. It's а game 
of marital switch, a buffet-style sex p; 
Last to arrive, accidentally 
momma's boy and his momma. 7 
is Jeffrey Herman, a Brillo-h 
who gives the evening's funniest per- 
formance. The most provocative portray- 
al, however, is given by Madeleine le 
Roux, a slinky blonde who sheds her 
clothes with icy cool and tosses off four- 
letter insults like Wildean bons mots. 
She's something to keep your Eyen. At 
the Astor Place, 434 Lafayette Street, 
Washington, D.C/s Arena Stage cel 
ebrates its 20th anniversary this fall with 
a salute to its future in the form of a new 
52,000,000 wing. An old moviehouse 
was the Arena's first home; an 
doned brewery promptly rechristened 
The Old Vat, was its second. In 1961, the 
Arena took over its present home, a 
handsome brick-and-giass structure in 
southwest Washington, where its first 
production was the well-received Ameri 
сап premiere of Bertolt Brechrs The 
Caucasian. Chalk Circle. The 1970-1971 
scason opens this month 1 The Night 
y by Inherit 
the Wind collaborators Jerome Law- 
rence and Robert Е. Lec, staged in the 
main theater, whose 800 steeply banked 
seats surround a platform stage. The 
high point of the anniversary year will 
be the Dece unveiling of the f: 
shaped, 500cat Kieeger Theater with 
another Americ. 
wright Peter 
The d 
upward mobility is brainy and attractive 
Zelda Fichandler, who was a young Cor 
nell grad when she decided to do some- 
thing about the capital’s “dismal theater 
situation.” Her сапу efforts were re- 
ceived, she reports, " 
thy.” She made w: 
aver 


Thoreau Spent in Jail, a new pl 


n premiere, British play- 


ing about one world prem 
scason (Howard Sackler’s The Great 
White Hope was the most noteworthy) 
and n of Ameri 
ranging from Agatha Ch 
Mousetrap to Jem Anouilh’s Thieves 
Carnival. There were, of course, a fair 
© of flops, including а pallid produc- 
tion of The Threepenny Opera. Yet, the 
Arena is rated as one of the finest en- 
sembles around. 
a 


success 


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ONCE UPON A TIME, AMERICA LOST. 

Think back to your classes in American history. They were like 
TV shows, with the good guys always winning. Right? And who 
were the good guys? Us. The white-hatted, clean-living, two-fisted 
hombre who never blew it. 

But, on December 7, 1941, we blew 
Infamy” Remember Pearl Harbor? 
Remember how the sun rose that day? How the planes came 
up. and the hombs came down. And down went the Pacific Fleet, 


But good. "The Day of 


down went the thousands of American fighting men. Remember? 


Here's a chance to take a real close, honest lock. To see that 
the Americans were not quite as perfect or as competent as the 
history books would like us to believe. 

The fact is that this attack, which marked our entry into World 
War II, was brought on by incredible bungles. A series of errors 
that you will not believe—until you see Twentieth Century-Fox's 
“TORA! ТОКА! ТОКА!" 

This is not the usual war movie. It is very much more, because 
it also takes you to Japan and lets you follow their maneuvers, 
their successes, their mistakes. As well as ours. 

“TORA! ТОВА! TORA!” The day the man in the white hat got 
his horse shot out from under him. Ge 


49 


11969, a Volkswagen was named one of the world's most beautiful things. 


We were stunned. 
en a famous American designer, 

W. Dorwin Teague, picked o Volkswagen 
as one of the world's most beautifully de- 
signed products, we just couldn't believe it. 

"| considered thousands 5," said 
Mr. Teagu: but could find only 15 thot 
met my criterio." 

Some of the winners were: 


An Ericofon phone. A Kill Collection 
chaise. A Bohn colculotor. A Carlsberg beer 
bottle. (Burp.) 

And lo and behold, o Volkswagen Kar- 
monn Ghio, (Blush.) 

For yeors, we've privotely thought our 
sporis cor to be beautiful 

With its hond-finished body. 

And its air-cooled engine. That never 


boils over. Goes about 26 miles a gallon. 
Andis utterly relioble 
But never in our wildest dreams did we 
think it was thot beautiful 
The Chio," said Mr. Teague, "їз an out 
standingly good creation. Inside 
| ond out. It's really beautiful.” 
Bless you, Mr. Teague. 
Bless you. 


THE PLAYBOY ADVISOR 


W. 
Illinois. 

It’s a form of yoga in which a man 
and a woman meditate together. Both 
assume а version of the loius position 
facing each other and with the man's 
penis in the woman's vagina. They 
meditate with their arms about each 
other and allow orgasm to happen while 
they remain in their passive embrace. 
Various gurus give different explanations 
of this phenomenon. They do agree that 
if sexual movements occur, they are 
involuntary. 


—W. D., Cl 


tantric yog: 


ago. 


Among the souvenirs of my misspent 
youth is an old Mickey Mouse watch— 
used to be a favorite present 
«year-olds. I understand they are 
now quite valuable. Can you tell me how 
much mine might be worth and how the 
originals can be distinguished from the 
current шойеһ?—Ң. R., New York, New 
York. 

Collectors have paid up to $125 for an 
original Mickey Mouse watch. Current 
models are manufactured by Timex, but 
the fast ones were made by Waterbury, 
from 1933 1o 1910, when production was 
halied by the War. Characteristics of the 
original models are a small second-hand 
dial in place of the six and a face about 
the size of a 50-cent piece, or a rectangu- 
lay face. These days, of course, Mickey 
Mouse has been displaced on the dial 
by Spiro Agnew. 


МУ, is it ша a girl seldom asks а 
fellow out or invariably waits for him to 
call her up first? For that matter, why is 
it that you never read about а guy get- 
ting raped?—F. B., Seattle, Washington. 

In most of straight society, girls seldom 
ash guys out because they've been trained 
to be passive in the courtship game. 
This doesn’t mean that they've never 
taken the initiative in the past, nor that 
passivity is rigorously observed in all 
social circles today. Society's notions of 
what is appropriate for men and women 
are constantly changing and, although 
the man is still expected to take the 
lead in courting, this will undoubt- 
edly change as women achieve greater 
equality. Male rape, incidentally, is 
nol unheard of, though is far more 
difficult 10 accomplish than female таре, 
since a man cannot attain an erection on 
command. You can't spike paper without 
a paper spike. 


1 have finally met the woman I love 
nd we have decided to marry—though 
i's not quite that simple, since she's 
black and I'm white. We've discussed the 


personal and social problems we will face 
as a mixed couple, and though there are 
undoubtedly some we have not anticipat- 
ed, we think we can handle most of 
them. We are, however, curious as to 
PLAYBOY'S prognosis for mixed marriages 
and advice on the crucial question of 
where we can live together and where I 
сап practice my profession—enginecring 

ith at least minimal acceptance— 
S. D., Austin, Texas. 

Our prognosis for a mixcd marriage 
today is not the same as it would have 
been ten years ago nor—we hope—what 
it may be ten years from now. Society is 
still essentially segregated, though there 
are few public places that will deny you 
admission and in many cities, you have 
effective legal recourse if you're refused 
rental on the basis of color, Unfortunate- 
ly, many predominantly white areas will 
be hostile to you, as will some that are 
primarily black. Most college communi- 
lies are relatively enlightened and friend- 
ly, as are those sections of large cities 
that have become enclaves of the hip and 
the creative. It's true that your marriage 
will require more than the average 
amount of love, courage and patience— 
but it’s also true that your grandchildren 
may well live in a world in which a man's. 
skin color has no more significance than 
his hair color. 


WI, college roommate thinks he is God's 
gift to the human race—and he may be 
right. He is the son of a minister, plays 

in church оп Sunday, doesn't 
drink or smoke, is in the honors pro- 
gram, was student-body president in high 
school, is a star athlete on the track team 
and makes excellent grades with little or 
no studying. In some respects, he is a 
great guy, but he's also the most conceit- 
ed slob І know. What can I say to put 
him in his place when I think he's trying 
ior? —C. T., Cin- 


cinnati, Ohio. 

Tell him how grateful you are that 
he’s your roommate—that when he be- 
comes President, you can always say you 
knew him when. You might also stop 
being so jealous. Everybody in this world 
is unique and has superior qualities all 
his own; perhaps you've been so busy 
concentrating on your roommate's that 
you've ignored what you have. 


О. a blind date arranged by a buddy, I 
met an understanding and passionate 
young lady. We hit it off rather well and 
soon began to date steadily. One night 
when I called, her roommate told me she 
was not home but had. in fact, gone out 
with an old boyfriend. I tried to think 
calmly about the matter and finally 


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51 


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concluded she had done me a great in- 
justice. I realized also that 1 genuinely 
cared for her and still do, but her ac 
tions speak louder than words. I cannot 
understand why she risked what might 


planation or show her to the exi 
К. S., Oklahoma City, Oklahoma. 

You didn’t say that you were going 
steady, only that you were dating stead- 
ily. You didn’t say she stood you up, only 
that she had gone out with an old boy- 
friend—a date that might well have been 
оп a strictly friendly basis. You say you 
really care for her, but you are willing to 
break up over a trivial incident, the ac- 
tual nature of which you haven't сост 
asked her about. Sorry, but it’s your 
actions that speak louder than words. If 
you really want an explanation, why not 
ask her for one? 


Bam a student and would like to go to 
Europe next summer. Fm afraid, how- 
ever, that the fare will be too much for 
me, although any number of pcople 
em 10 be making it over aud back on 
very little money. What's the secret of 
their success?—A. R., Tucson, Arizona. 
The most inexpensive way to get to 
Europe next summer is to join an organ- 
isation that sponsors charter flights. Dur- 
ing the off-season, a yound-irip charter 
flight from New York to Paris may run 
as low as $150 (peak-season charter, dur- 
ing the summer months, may average $70 
more), as opposed 10 approximately $800 
first-class. Seating is usually economy 
throughout, but other services, includ- 
ing free drinks, may well be first- 
class There is, of course, a. catch—in 
fact, several of them. You must leave and 
return with the charler group; you usu- 
ally have to pay the full fare several 
months in advance; the chartering group 
itself must be a bona fide organization 
existing for some reason other than 
chartering flighis to Europe and you 
have to have been a member of it for at 
least six months prior to departure. So 
you'd better join now if you plan to 
travel next summer. If charter flights ave 
too restrictive for you, look into the 
28- and 45-day excursion fares, which av- 
erage less than half the first-class rates. 
Irs also possible that youth stand-by 
fares will be approved in the near fu- 
ture; if so, as little as $100 may get you 
from New York to as far away as Rome, 
one way. Special fares, incidentally, ате 
possible because the average scheduled 
flight across the Atlantic is only 40 to 60 
percent filled, depending on the season. 
Charter. faves (the [lights ате offered by 
both nonscheduled and scheduled air- 
lines) are based on a fully loaded plane. 


WM girl апа т have been dating each 
other for almost two years. Recently. 
when we began to consider marriage, we 


decided we should each go out with 
others for а while—both for the added 
experience and to make sure of our basic 
mutual interest. Now, whenever 1 take 
her to a new restaurant or supper cub, 
she asks me how I discovered it and if 
I've ever taken anyone else there, She 
is haunted by fears that I may still be 
fond of some of the girls I've dated, and 
nothing | can say or do seems to allay 
her concern. What сап I do to make her 
forget the past and love me like she used. 
to?—G. M., Los Altos, California. 

It's doubtful that any explanation will 
satisfy her, and silence may only provide 
additional [исі for her anxieties. Show 
by your actions and concern that she 
outrates any possible competition. If her 
fears continue, you might think twice 
about a marriage in which the hours 
spent alone with your wife will be filled 
with minor jealousies and bickering over 
past events. If she can't agree that forgiv- 
ing is divine, then it’s obvious you've 
erred in dating her for so long. 


Т.с supposed to be a new тій 
able for police use against snipers. 
believe it's called a Stoner rifle and re 
portedly can shoot through a brick w: 


pring! 

The Stoner Weapons System isn't a 
single weapon but a basic receiver group 
that can be modified by different feeding 
systems, barrels and accessories to function 
variously as a rifle, a carbine or a beli- 
fed machine рип. The Stoner rifle— 
which has no special antisniper role—is 
chambered for the 556mm or .223«ali- 
ber round, which has а muzzle velocity 
of 3300 feet per second. A single shot 
would hardly penetrate a brick wall. But 
the Stoner machine gun, firing bursts of 
armor-piercing ammunition, could bore 
a hole through such а wall. 


ar-old girlfriend feels that am 
more Шап а kiss before marri: 
al—but her 


f 


tions have 


she takes the initiative. However, after- 
ward, she weeps uncontrollably and asks 
me why I do those things to her. My at- 
nce her that she should 
lt have been 
as my trying to adhere 
resol When I tr 
10 hold back, she begs me to cooperate 
and then, after I comply, the tears start 
to fall and recriminations begin all over 
again. I love the girl and want very 
much to help her. How can D—M. B. 
Bridgeport, Connecticut. 

You might start by not playing the 
reluctant lover and throwing all the bur- 
den of sexual guilt divecily on her. Going 
to bed with you apparently conflicts 


with her sense of morality, but having 
to play the masculine role as well cer- 
tainly doesn’t help. Be positive and 
firm—either you go to bed or you don't; 
but, in either case, you take the initia- 
tive. If your full participation in what 
you do together doesn’t lead her to a 
greater valuation of herself and those 
activities that give her pleasure, then she 
should be encouraged lo seck profession 
al help. 


Th the June Playboy Advisor, you state 
that quarter horses are not raced much 
anymore. That is hardly correct. More 
than 6000 recognized races for quar 
ter horses are held annually and the 
world’s largest purse for a horse race i 
the amount paid for the All American 
Futurity at New Mexico's Ruidoso Downs 
on Labor Day; last year, the purse to 
taled $600,000. In addition, more than 
$90,000,000 was wagered on quarter- 
horse races in 1969. The American quar- 
ter horse is still foremost in use by 
cowboys in ranch work, rodeos and West 
ern events at horse shows, but its quiet 
disposition has also made it the outstand- 
ing pleasure horse, and its dragsterlike 
speed is winning additional fans e' 
year—Don Jones, Executive Secretary 
American Quarter Horse Association, 
Amarillo, * 5. 

The many readers who wrote in to 
correct us on our crroneous "Advisor" 
answer will be delighted to know that 
our quarter-horse expert has been per- 
manently put out to pasturc. 


| 


Aier making love recently, during |f 
which an abundance of lubricant secret 
ed by my girl afforded casy penetration, 
a second try an hour later proved impos 
sible without the aid of a generous 
amount of cold crcam. As this has never 
happened to us before, it was unnerving, 
especially for my girl. Can you provide 
an explanation, as well as some hints for 
preventing а recurrence?—M. W., Pitts- 
burgh, Pennsylvania. 

Recovery time following coitus varies 
greatly among, and. within, individuals, 
and no abnormality is necessarily indicat- У 
ed by your girl's lack of secretion during р Snifter it as fine/brandy. 
your second session. Neither of you \ 1 It's rich without hafshness. 


should worry if the circumstances occa- a Sip it as liqueur. 
sionally repeat themselves. But substitute It's smooth. hot sticky. 
a sterile lubricant, such as K-Y jelly, for 2 E "* Savor it 
the cold cream. ks or with а splash. Then blend its 

All reasonable questions—from fash- warm Aegean flavor with other joyous mixers. 
ion, food and drink, hi-fi and sports cars м | Marvelous Manhattans. 
to dating dilemmas, taste and eliqucite е Superb Sours and Stingers. 


—will be personally answered if the 
writer includes a stamped, self-addressed 
envelope. Send all letters to The Playboy 
Advisor, Playboy Building, 919 N. Michi- Please write for a Free 
gan Avenue, Chicago, Illinois 60611. The AN Metaxa Creative Guide: 
most provocative, pertinent queries will Metaxa, Box 432, 
be presented on these pages cach month. | B | Maspeth, New York 


Ba y | 7E 
| The 92 proof 


Greek Specialty Liqueur. 
Imported to the U.S. solely by 
Austin, Nichols & Со, Inc., N.Y. 


Alexanders that taste really great, 
С And many more. 


JIM PECK... 
outdoorsman and veteran guide in Wisconsin’s Northwoods . . . says: 
“Гуе cooked many a shore lunch over a wood fire. 
Believe me, you can’t beat the taste 
of freshly fried fish and good ol’ Miller High Life beer. 
It’s the perfect end 


o" MILLER MARES IT RIGHT! 


G unten конне co, miwaunee 


THE PLAYBOY FORUM 


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


PORNOGRAPHY REPORT 

PLAYBOY, among other enlightened 
voices, has heen saying for years that 
pornography is essentially harmless. But 
such enlightened voices, it scems, belong 
t0 a minority in these United States. 
Most makers and enforcers of our laws 
treat sexually arousing books, pictures, 
movies, etc, as if they were as deadly 
to the consumer as potassium cyanide. 

Now a ғау of sanity has penctrated 
the clouds of national neurosis, with the 


news of a draft report by the President's 
Commission on Pornography. The report 
states: 

Research indicates that erotic 


materials do not contribute to the 
development. of character. defects, 
nor operate as a significant factor i 
wisocial behavior or in crime and 
delinquency causa 


The important thing about this state- 
ment is that it does not spring from 
superstition nor wishful thinking but is 
a conclusion based on extensive scientific 
testing. For example, а group of 23 
college men were exposed to 15 sessions 
of stag-movie watching, cach 90 minutes 
long. Eventually, the men became bored. 
With a budget of 59.000.000, the com- 
mission conducted 11 other experiments 
of a similar nature. This is the most ex- 
tensive study of the effects of pornog- 
raphy ever conducted under scientific 
auspices. What these findings mean is 
that laws against pornography have no 
basis in reality and should be removed 
from the books. 


John Ward. 
Now York, New York 


LIVING RELIGION 

Asa seminarian and a PLavnoy reader, 
I would like to share my thoughts on 
religion. Many adults in the organized 
church have lost sight of the values they 
should be seeking to preserve. For exam- 
ple, instead of providing young people 
with opportunities to discuss current 
issues, to have fun in the name and with 
the approval of their religion and to have 
some stable entity to hold onto when 
times are rough, councilmen or church 
fathers sit around, holding once-a-week 
meetings, playing their parliamentary 
games. Building funds, commitce re- 
ports, gossip and the date of the next 
meeting use up all available timc, and 
the crucial topic of youth's involvement 
in the church. is regularly tabled. These 


good men are the first to wonder how 
they failed when their children's behav- 
ior does not conform to the status quo. 

Religion docs not consist of dogmatic 
church. policy administered by apathetic 
adults. It lives in the hearts and minds 
of men. When the organized church be- 
gins to invest time and money in hearts 
апа minds instead of in building funds. 
perhaps the current decline of religion 
will cease, If not, there will soon be a 
massive funeral for the constitutions of 
the church, Maybe the young could 
cremate these papers and use the осса- 
sion to roast marshmallows, sing, dance 


and feel а joy they may otherwise never 

know. For Christ once said, “Something 

greater than the temple is here." 
Gary M. Solomonson 
Luther "Theological Sem 
St. Paul, Minnesota 


OUR MORAL FIBER 

As you know, the political right is 
forever claiming that the new morality 
is a Communist plot aimed at destroying 
the moral fiber of our youth. 

The Communists are atheists and gen- 
erally regard religion as a superstition. It 
follows that they would see strict ad- 
herence to conservative. Judaco-Christian 
morality as a handicap to America in its 
competition with communism. Il the 
Ca 
Amer 


nunists really want to bring about 
ld do every- 
thing they could to encourage more of 
our people to become as guiltridden, 
frustrated and irrational as the average 
Bircher. Once we had regressed to the 
level of superstitious primitives, it would 
he relatively casy to take over the coun 
try. Is the old morality a Communist plot? 

Ronald V. Jense 
Tuscaloosa, Alab; 


a's downl 


Îl, they w 


ma 


RAPE AND HIGH HEMLINES 
According to a United Press Inter- 
national story, a survey of police officers 
by Hollywood Social Studies found that 
91 percent of the respondents believed 
that a woman in a miniskirt is more 
likely to be a victim of rape or some 
other sex crime than is а more conserva- 
tively dressed female. Furthermore, 98 
percent of the policemen believed that 
normal males, as well as mentally twisted 
can be goaded into rape by ladies 

in revealing dresses 
I find this hard to believe, since I see 
kiris every day and fre- 
ne in night dubs that employ. 


quently d 


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topless waitresses and have never had the 
slightest impulse of a violent nature to- 
ward any of them. It to me that 
wanting to combine sex with pain and 
brutality (which is the definition of 
rape) is always a symptom of sexual 
disturbance and that 2 normal man, 
however provocatively dressed a woman 
may be, always thinks in terms of gen- 
tle and mutually satisfactory intercourse. 
15 this dificrence of opinion caused by 
the fact that Im a it and most 
policemen аге not? What do psychia- 
trists say on the subject? 
Joseph Adams 
San Francisco, California 
Psychiatrists generally agree that rape 
is exclusively the act of disturbed indi- 
viduals, After a review of all relevant 
studies, the late Dr. Benjamin Karpman, 
in his “The Sexual Offender and His 
Offenses,” offered the following portrait: 


Rapists show distrust and misogy- 
my... In forceful rape or assault, 
sadistic impulses are compensation 
for feelings of sexual inadequacy. . 

There ате three types of rapists: 
(1) Those in whom assault is an 
explosive expression of pent-up se: 
ual impulse: this is the true sex 
offender; (2) sadistic rapists . . . and 
(3) the aggressive criminal, not а 
true sex offender, who is out to 
pillage and rob and for whom таре 
is just another act of plunder. 


{ата Allen, M. D., in his “A Text- 
hook of Psychosexual Disorders,” adds а 
fourth (ype, whom he calls “the appar- 
ently normal man” who commits rape 
while under the influence of alcohol. He 
adds, however: 


Are we to consider such men nor- 
mal, as the definition suggests? This 
is improbable. The fact that symp- 
toms, for example, in neurosis or in 
homosexuality, appear only under 
the influence of alcohol does not 
mean that the man is psychological 
ly healthy, but merely that his ill- 
ness is capable of suppression. The 
same is true of this form of rape. 


Kinsey's successors, in “Sex Offenders,” 
eralizing from 1356 case histories, cat- 
this group as follows: 


There is a strong sadistic element 
їп these men and they often. feel 
pronounced hostility to women 
The man usually has a past history of 
violence; he seemingly selects his vic- 
lim with less than normal regard for 
her age, appearance and deportment. 
Lastly, there is a tendency for the 
offense to be accompanied by bizarre 
behavior, including unnecessary and 
trivial theft. . . . In some instances, 
the violence seems to substitute for 
coitus or at least render the need for 
it less. In other cases, there appears 


FORUM NEWSFRONT 


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


BILL BAIRD VICTORIOUS 

boston—Massachusetts’ “crimes against 
chastity” law, forbidding the sale of 
contraceptives (except by prescription 
to married couples), has been ruled un- 
constitutional by a U.S. Court of Ap- 
peals. The court found that the law 
served no purpose other than to regulate 
private morals and “conflicts with funda- 
mental human rights.” 

The decision vacated the conviction of 
William К. Baird, who challenged the 
125-year-old law in 1967 by giving a con- 
traceptive to an unmarried coed during 
a lecture on birth control at Boston Uni- 
versity. The state will appeal. 

With the support of the Playboy Foun- 
dation (which assisted him in his Mas- 
sachusetis appeal), Baird is currently 
preparing to challenge the constitutional- 
ity of the Wisconsm birth-control statute, 


THE CHURCH OF YOUR CHOICE 

Different churches are responding to 
contemporary social, legal and moral is- 
sues in sharply varying ways: 

+ In Los Angeles, Archbishop Timo- 
thy Manning has warned Catholics, espe- 
cially physicians, nurses, social workers 
and similar professionals, that they face 
excommunication if they help a woman 
obtain an abortion or even recommend it. 

+ In Minneapolis, the convention of 
the Lutheran Church in America official- 
ly approved abortion “responsibly sought 
by а woman or a couple” and changed. 
the church's constitution and bylaws lo 
permit the ordination of women 

* In Denver, the General Association 
of Regular Baptist Churches attributed 
youthful “lawlessness and rebellion” to 
permissiveness and denounced “social 
activists who, in ihe name of religion, 
are promoling various schemes of social 
revolution.” 

* In Seattle, the Unitarian Universalist 
Association passed resolutions condoning 
private homosexual relations between con- 
senting adults and calling for the legaliz 
lion of marijuana on the grounds that 
present laws are “being used as political 
weapons against those people . . - who 
dissent in politics or life style from the 
accepled norms" A resolution that lost, 
by a vote of 221 to 214, was the proposal 
that the Vietnam war be contracted out 
to the lowest bidder. 


SOVIET SEX 

A Kinseylike survey of 620 Soviet 
youths in Leningrad found that they 
have sexual attitudes far more liberal 
than their parents’ and that they practice 
what they preach: A majority of both 


the men and the women reported having 
premarital sex before the age of 21 and 
many of the others attributed their vir- 
ginity to a “lack of occasion.” The survey 
was conducted by social scientists 5.1. 
Golod and A.G. Kharchev, who believe 
Russia's rising divorce rate is partly due 
10 the great discrepancy between the 
government's puritanical codes and the 
people's behavior. Their report called for 
sex education in Soviet schools and for 
an end to the sexual double standard. 


GOOD GUYS FINISH LAST 
DETROII—Two Roman Catholic priests, 
protesting the increase in sexy movies, 
opened their own theater featuring noth- 
ing but good, clean films suitable for 
family viewing. The theater was closed 
after two mouths for lack of patronage. 


SEXY ROAD SIGNS 

SALT LAKE CrTY— The Sea & Ski suntan- 
lotion company has come under attack 
from a local group called Citizens for 
Decency, which considers the company's 
billboards too sexy for public viewing. 
The organization announced that its 500 
members will buy no more Sea & Ski 
until the billboards come down or the 
girls in the pictures start wearing bigger 
bathing suits. А company spokesman 
agreed to consider the Citizen? view point 
in designing future billboards but noted 
that public response to the bikiniclad 
models has generally been “favorable.” 


STICKS AND STONES 

BERKELEY, CALIFORNIA—“Siun guns” 
and “broomstick bullets" ave being test- 
ed by Berkeley police in an effort to find 
а nonlethal weapon for use against un- 
ruly demonstrators. Wooden plugs, те 
sembling sections of broom handles and 
fired from a special gas-powered rifle, 
cause a painful bruise wilh relatively little 
chance of death or serious injury. Even 
safer, police claim, is a new stunning 
device—a half-pound bag of BBs fired 
from an M-79 grenade launcher. 


FREE SPEECH FOR ALL 

WASHINGTON, D. C—A coalition of Dem- 
ocrais and Republicans, both liberal 
and conservative, has proposed a new 
Federal law that would prohibit both 
citizens and officials—not just the Gov- 
ernment—jrom interfering with anyone's 
free speech or right of assembly. Called 
the First Amendment Freedoms Act, the 
bill, if passed by Congress, would permit 
college adminis seck Federal 
court. injunctions against students who 
buildings or disrupt classes or 


ators lo 


se 


mectings, But it could also be used 
against school administrators or others 
who try to prevent or. disrupt orderly 
protest demonstrations. Anyone who 
violated such an injunction would face 
a fine of up to $300 and a jail sentence 
of up to six months. Even in the ab- 
sence of a court injunction, a violator 
of any citizen’s First’ Amendment 
rights could be sued for damages. 


ADVENTURES OF THE IRS 

Agents of the Internal Revenue Service, 
whose duties include the enforcement of 
Federal firearms and explosives laws, 
stirred up a hornet's nest when they tried 
to examine public-library records in sev- 
eral cities to find out who was reading 
books on bomb making and subversion. 
Some librarians тап the agents off, others 
bristled and called the local newspapers. 
The American Library Association issued 
a strong denunciation of “efforts of the 
Federal Government to convert library 
circulation records into suspect lists.” 

Having endeared itself to the nation's 
librarians, the IRS next zeroed in on the 
country's book reviewers by ruling that 
books received from publishers must be 
declared as gross income unless they are 
returned. The Wall Street Journal. re- 
ported the plight of one newspaper's 
book editor, who calculated that he can 
end up owing the Government $14,000— 
$2000 above his current salary—if he has 
to declare the “fair market value" of the 
free books he receives cach year. 

But at least one champion of the 
people has arisen to harry the foe from 
the rear. New Yorker Alan Abel (chair- 
man of Taxpayers Anonymous and author 
of “The Confessions of a Hoaxer”) is su- 
ing the IRS to compel the Government to 
open its books for his inspection. Having 
had his own tax retums audited several 
times, he wants to examine personally 
the records of the Treasury Department 
—on behalf of his fellow citizens and as 
permitted under Section 7602 of the In- 
ternal Revenue Code—to make certain 
that the United States is not padding its 
expenses or frillering away the tax payers’ 
money on nonessential purchases, 


“GUNG HO” DEFICIENCY 

WASHINGTON, D. C—The Navy has giv- 
en carly but honorable discharges 10 
three young officers who attempted to 
establish what they called “the limits of 
responsible dissent” that the Service 
would tolerate. A Navy spokesman said 
the discharges were “not solely” based on 
the officers’ membership in а new anti- 
war group, the Concerned Officers Move- 
ment, but conceded that their beliefs gave 
them a higher priority for release from 
active duly: “If а boy is not with the 
program, his potential is not as great as 
somebody who's gung ho.” 


THE ALIENATED AMERICANS 


A sense of alienation—once the special 
problem of underprivileged minorities 
and maladjusted individuals—seems to 
be spreading through the entire Ameri- 
сап social structure. 

+ A nationwide Harris Poll of college 
students found that half the respondents 
do not trust the Nixon Administration, 
do not believe that militants and dis- 
senters can obtain fair trials and. consid- 
er the nation “highly repressive” and 
“intolerant.” Three out of four see a 
need for “basic changes” 


s" in the Ameri 
can system and one out of fwe male 
college students has considered leav- 
ing the country. A similar study, by 
psychologists Kenneth and Mary Gergen 
of Swarthmore College, reports that 
U. S. mvcluement in Vietnam has greatly 
changed. college-student attitudes toward 
careers, parents, religion, politics and the 
country itself, reducing their respect for 
authority and their sense of personal 
security. Of the 5000 students surveyed, 
93 percent were found to be more “liber- 
al, radical or disillusioned with party 
politics” as a divect result of the Indo- 
china шау. 

A prAvnov survey of 7300 college stu 
dents, published in last month's. issue, 
confirmed the Harris and Swarthmore 
studies but found that 73 percent of the 
respondents are still confident that defects 
in the U.S, system of government can be 
remedied through nonviolent, democratic 
means, Twelve percent see no need for 
change and 15 percent consider violence 
the only means of achieving the complete 
political overhaul they feel is necessary. 

+ A study by the Purdue Opinion 
Panel found that a substantial minority 
of high school students have developed 
radical attitudes and that more than 30 
percent characterize schools as repressive, 
education as ап assembly-line process 
and society as decaying and abandoning 
its ideals. 

* In a New York City Chamber of Com- 
merce survey of 50 major metropolitan 
firms, 45. reported increasing use of ille- 
gal drugs by employees, including execu- 
tives, to the extent that such drugs now 
rival alcohol as a cause of absenteeism 
and poor work performance 

+ A Fomune-magazine study of blue- 
collar workers found a substantial de- 
crease in the reliability and quality of 
the national labor force, increased pot 
smoking, absentecism and quitting rates, 
and a widespread sense of frustration 
regardless of pay or working conditions. 

Despite the many signs of youth[ul 
disenchantment, the so-called generation 
gap seems 10 be one of means, not ends. 
One Harris survey found students pre- 
dictably more militant than their elders, 
but the two groups closely resembled 
cach other in their list of priorities for 
action by (he Federal Government. 


to have been a conflict between sex- 
ual desire and hostility, resulting in 
some measure of erectile (less often 
ejaculatory) impotence. 


The women raped and murdered by 
the Boston Strangler illustrate the тар- 
ists “less than normal regard” for what 
ordinary men consider attractive: Two 
were Quer 70 years of age, six between 50 
and 70, only four between 20 and 50 and 
one under 20. 

Clearly, then, there is no reason to 
believe that a miniskirt alone will drive a 
normal male to rape, and little reason to 
think that such factors play an important 
role in the psychology of rapists. Rape is 
much more an act of hostility appearing 
in sexual guise than it is an act of sex 
appearing in the form of hostility. 


THE HAPPY TIME 
After 13 years of marriage, my wife 
nd 1 drifted into an intimate rela- 
nship with a neighbor couple who had 
been our dearest friends for the previous 
two years. Th five years ago, and 
the four of us agree that this has been a 
very happy time for all of us. We have 
no doubt our relationship will endure 
for years to come 
І believe that uptight couples who 
demand lifetime sexual fidelity of their 
mates do so because of childish jealousy 
ad selfish possessiveness rather than—as 
they usually claim—out of love. They 
are abo denying themselves an exhilarat- 
ing and rewarding experience. 
(Name withheld by request) 
Oklahoma City, Oklahor 


DIVORCE DILEMMA 

An anonymous letter writer in the 
April Playboy Forum wrote, “Divorce 
laws should guarantee child support and, 


perhaps, money for the extra help need- 
ed to care for the children while the 
exvife work earning her living. But 


a divorced woman, unless there miti- 
gating circumstances, should be expected 
to support herself." 

This is an enlightened view and. by 
and large, most fair-minded people 
agree with it. But, like all abstract for- 
mulas, it often docsn't work in the real 
world, where many men don't have 
enough money to make a just settlement 


: ten years’ experience organizing 
and doing casework among divorced men 

ad the follow a true and typical 
story: The circuit court of St. Louis 
arded a divorced woman child support 
of $12.50 per week for each of her four 
children. Certainly, this is not pamper- 
ing her; on the contrary, no woman can 
decently support four children on i 
budget in todays inflationary world. 
Furthermore, the woman suffered from. 
a chronic illness, which seriously affected 


57 


PLAYBOY 


58 


her ability to ват an adequate income 
for herself. Should the ex-husband, therc- 
fore, be ordered to pay а bit more? 
Judge for yourself: The man actually 
took home $300 per month alter taxes. 
"Take out, on 
for child support (since there are, fin: 
ally speaking, four-and-one-third wee 
per month) and he is now supposed to 
live on 583 per month. Then, allow for 
the cost of getting to work every da 
lunch money, rent, etc, and where is 
he? Can he possibly pay a penny more in 
child support? The answer, emphaticall 
no: The man of whom I write is pres- 


ently in jail for falling behind in his 
child-support payments 
Your letter writer also says that a 


divorced man should have enough money 
left after child-support payments to pro- 
vide “a new wife and family with the 
necessities they deserve.” A laudable sen- 
timent—but the man in this case could 
never altord another wife and family. He 
is fated to perpetual bachelorhood, 
whether he wants it or not. In fact, since 
fornication is a crime in most states, hc 
is theoretically doomed to everlasting ab- 
stinence. And yet, his ex-wife, trying to 
raise four children on 3217 per month, is 
scarcely anyone's image of the idle divor- 
cce, living in luxury on moncy looted 
from a helpless victim. What is justice in 
such а case? 

Eugene Austin, Chairman 

Missouri Council on Family Law 

St. Louis, Missouri 


SEXY SALOON SIGN 
You keep thinking you've эссп all the 
stupidity of which pcople are capable, 
when somcone comes along with a top- 
per. Recently, the owners of a bar i 
South Daytona applied for permission to 
change the name of their establishment 
rom the Rocket Lounge to the He and 
Scene. The city council rejected the 
request, the mayor declaring that such 
ame on a sign would attract an 
ntele. 
n you imagine what agonies this 
city council goes through when they se 
15 and HERS signs on rest rooms? 
G. Garrison 
Daytona Beach, Florida 


"unin- 


MARYLAND ABORTION ISSUE 
la 


a the sponsor of the bill that would 
have repealed Maryland's abortion law. 
Though the bill passed both houses of 
the Maryland legislature, Governor 
Mandel vetoed it, stating that there 
should have been more safeguards in the 
law. If there are to be any safeguards 
laws dealing with medicine, it is the 
medical profession and not the legisla- 
ture that should set these safeguards. 
There is no operation other than abor- 
tion regulated by state law. Abortion is a 
question that should be decided between 


a woman and her doctor, and Т as a 
legislator should not intervene, 

The three other arguments raised 
inst the bill by the governor were: (1) 
There should be a residency requ 
ment so that Maryland does not become 
an abortion mill. My answer to this is 
that New York State has already passed 
an abortion law that would deflect n 
patients from Maryland. Furthermore 
s unconstitutional to set 


public welfare and restrict interstate 


wel by citizens. Also, а medical 
practice is sound, why should it be re- 
stricted to the residents of a particular 
state? Abortion has been established as a 
legitimate procedure and it is as absurd 
to be concerned about а state's becoming 
ion mill” as it is to wo about 
its being an “appendectomy mill. 

(2) The husband should have а say in 
the decision to have an abortion. My re- 
sponse is that if full-term pregnancy 
could be fatal, a husband could, in effect, 
be signing his wife's death warrant. 
Besides, if husband and wile 
пог agree on this point, the mà 
is in trouble anyway, and the woman, to 
obtain the abortion, might be forced to 
sue foi orce. 

(8) The law should set а time limit 
within which the abortion may be per- 
formed. 1 would reply that we cannot 
legislate medical practice; it is up to 
doctors to decide what the safe limita- 
tions for an abortion are. 

The issue is not whether abortion is 
right or wrong or whether or not the 
operation should be performed. It is 
timated that a million women seck abor- 
ions cach year, г 
ity. So the real issue is how the abortion 
is to be performed, whether by a com- 
petent doctor or а backalley quack 

T am leaving the House of Delegates 
of Maryland and am running for the state 
senate. If elected, I will again introduce 
-law-repeal bill with the hope 
tion that next year, being the 
year e—rather than. precedin, 
п election, will be a more opport 
time for the passage of such a bill. 
Allen B. Spector 
House of Delegates 
Annapolis, Maryland 


udless of their illegal- 


an abortior 
nd 


xpect 
follow 


ABORTION COUNSELING 

Since many states are still struggling. 
with restrictive abortion laws, we are 
writing to inform you of the help we 
offer in Calilomia to women seeking to 
terminate unwanted pregnancies. The 
Therapeutic Abortion Act of 1967 per- 
mits legal abortions within the following 
general guidelines: (1) Abortion may 
be performed up through the 20th week 
of pregnancy. (2) It must be performed 
by a licensed physician in an accredited 
hospital (3) The operation must be 


approved in advance by a committee of 
physicians on the hospital staff. (4) The 
committce must find that one of the 
following conditions exists: (а) the preg- 
nancy resulted from rape or incest or 
(b) continuing the pregnancy would s 
riously threaten the physical health of 
the pregnant woman or (c) termin. 
the pregnancy is necessary to preserve the 
mental health of the pregnant woman. 

The California law is extremely liberal. 
About 98 percent of the women secking 
abortions qualify under the mental-health 
dausc. 

Consent of а woman's husband or of 
the alleged father is not required by 
Califor Consent of parents for 
abor ors of any age is not 
required. If the woman is а Californi: 
resident, it is possible for her to receive 
financial assistance through the State of 
California Medi-Cal health program. If 
the woman is unwed (working or a stu- 
dent) or married and the sole support of 
the family, she may qualify with Medi- 

ng part or the entire cost of 
doctor, surgery and hospital. 

In addition to abortion counseling, we 
help women who wish to сапу their 
pregnancy to term and need maternity- 
adoption and welfare assistance. 
also provide birth-control counscl- 
ng. There is no charge for our service, 
We are more than pleased. to help wor 
en from any атса. Women from outside 
California ‘should call me person-to- 
person. at the counseling center, 913-93: 
5169. If I'm not available, the woman 
should leave her number with my 
swering service and T will return the call. 
If you would like additional information 
or help, please feel free to call or writ 
Bobbie Anker, Direct 
ifomia Abortion Counseling 


ng 


ions on mi 


P. O. Box 73260. 
Los Angeles, California 


T was glad to see your listing of Clergy 
Counseling Services across the nation 
(The Playboy Forum, July. We have 
just opened а mew center to expedite 
applications for abortion under the С 
fornia therapeuticabortion act. "The new 
number of the California service is 213- 
737-7988. 

The Rey. J. Hugh Anwyl, 

The Clergy Counseling Service 

for Problem Pregnancies 
Los Angeles, California 


man 


nk you for publishing the list of 
abortion-counseling scrvices. If it weren't 
for the Clergy Counseling Service and 
the contacts it provided. which led to a 
sale and legal abortion, I might have 
allen into the hands of the quacks and 
butchers. Let the women’s lib crowd de- 
nounce PLAYBOY as much as it will; I am 


A controversy in what to wear. 


The Great Sweater and Slacks Issue. 


Campus Sweater and Sportswear 


When. And with whom. 


"There's the liberated belted 


alternating stripes. 


Each supported in strength by 
proud, wrinkle-shedding slacks 


sleeveless cardigan, with vertical of Celanese® Fortrel®. 


panels, 


he conservative 


coordinate set, with contrasting issue at stores throughout 


Examine the whole Campus® AMPU S 


collar, in 100% Orlon®. 


"The independent puffed-sleeve 


the U.S, and Canada. 


pullover, topped with thick selling sportswear. 


е. 


» 


ELANESE 


Ф 
(S 


erf 


RTREL is a trademark of Fiber Industries, Inc 


Campus is America’s biggest- 


erge 


Company, Cleveland, Ohio 44115. 


What the U.S. Male wears most. 


"A-8822 АУА 


Да X l V À BU A 


I's PLAYBOY! "llis The one Christmas gift to impress sl the important 
men on your. list, all year long (especially with beautiful girls like 
Playmate Sharon Clark adorning every issue). 


Month after month, they'll enjoy PLAYBOY's provocative mix of 
outstanding fiction, probing commentary, fashion and food, 

lavish photography and wild, wild humor . ... 

| ў all because of your thoughtful gift giving. 


We even erence your gift on a choice of two handsome greeting 
cards. One features enticing Claudie Jennings, Playmate of the Year 
1970, end the other is colorfully emblazed with the famous PLAYBOY 
Rabbit. Either will be hand signed in your name. 

And just look at the money you. save! A one-year gift et $10 saves you 
a full $3 off the $13 single-issue price. And a whopping $5 sevings 
comes with each edditional gift at only $8. -You can even delay payment 
until after the First of the year, if you wish. 


Give PLAYBOY for Christmas . . . the gift to curl up with. 


/ 310 

/ forfirst 
/ one-year gift 
y SAVE $3.00* 


/ for additional 
one- year gifts 
// SAVE $5.00* 


/ Please send my gift to: 


Name DA 
J 4 (Please print) 
Address 


Ci КЕСЕР 


State RA 
Send my gift card signed 


from... 


Г] Send unsigned gift card to me. 


/ Please 
| f drea 
or Bto 
indicate 
which card 
you want to 
announce your 
/ gift of PLAYBOY 


A-B 


J (circle preterence here) 


Please complete 


the following: Gift Cord A Gift Card B 
//  CEnter or [jrenew my own subscription 


Total subscriptions ordered ae 
(Enter additional subscriptions on separate sheet) 


$ enclosed [J Bill me after January 1st 
My Name ee УЕ ——— 
(Please print) 
Address = rn e E et, cada MM ЧЕ 
ГА 
ce x Sine afe = 
Mail your order to: *Savings based on single-copy price. 


PLAYBOY, The Playboy Building, 919 North Michigan Avenue, Chicago, Illinois 60611 


А NSSL 


MAYBE MONDAY MORNING WON'T 
LOOK AS DREARY TO YOU, 
F YOU DON'T LOOK AS DREARY TO 


I. About sca. 


Stop going to work 
dressed like an undertaker, 
unless you happen to 


is is 1970. Invest in a 
rardrobe that has 
some life in it. 


Cricketeer knows how 
to make a suit bright and 
fashionable without 
making you look like a fop. 


And, in this year of 
radical fashion change, we 
know how wide your 
lapels should be, how high 
your vent should be and 
that a bold window pane 
suit, like the one pictured, 
should have 2 buttons 
and not 3. 

Cricketeer: If you're 
going to bring brightness 
and enthusiasm to your job, 
why not let it show. 


CRICKETEER 


nue of The Americas, N.Y. 10019 


The Joseph & Feiss Co. 
A division of Phillips-Van Heusen Corp. 


one young woman, among many, who 

will always be gracful for your work 

in the arca of 
(Name withheld by request) 
Newark, New Jersey 


SOULS AND TEST TUBES 

In the June Playboy Forum, you 
ed, “The first baby ever conceived in a 
test tube may be born by the end of 
1970." Newsweek of February 6, 1961, 
reported that Dr. Daniele Petrucci and 
two colleagues in Bologna, Italy, brought 
together а human egg and sperm in a 
test tube and kept the fertilized egg 
growing for 29 days. The embryo was 
given cond baptism and extreme 
and then destroyed. The same 
experiment had been conducted Гог 
shorter periods, with little reaction from 
the Roman Catholic Church. But the 
29-day experiment brought forth quite a 
response. The Jesuit weekly America ob- 
served: “The spirit of Frankenstein did 
not die with the Third Reich. His blood 
brothers often wear the garb of Dr. Kil- 
dare and regard a human being as an 
expendable microbe 
t Thomas Aquinas, Dr. 
cc argued that it was illogical to 
assume that God would put a soul into a 
human cell group or an incipient embryo 
that did not have the chance of being 
completely formed. Aquinas notwith- 
nding, the Reverend Giuseppe Bosio, 
а biologist who is also a Jesuit, 
that one could also assume that the €m- 
bryo had a soul from the beginning and 
that, in any case, Petrucci had no right 
10 destroy it. 


at- 


vy A. Gardner, Th.D. 
Department of Religion 
Capital University 
Columbus, Ohio 


HOMOSEXUAL PERSECUTION 

As a heterosexual male, a father of 
eight children and a physician who has 
professionally treated many homosexuals, 


1 think continued enforcement of our 
archaic antihomosexual laws is stupid, 
unfair, unrealistic and wasteful of the 


lent and energy of the police. I also. 
think it is absurd to bar homosexuals 
from military service. These men would 
fit into military life excellently, just as 
they often adjust to prison life easier 
than do heterosexuals, and for the same 
reasons. It’s naïve to fear that they 
would "convert" the other soldiers to 
their sexual preference; a normal hetero- 
sexual adult never becomes permanently 
Г ual because of simple seduction. 
The position of the military (and of our 


John R. Brown, M.D. 
Honolulu, Hawaii 


Personally, Y 
bout the "riglus' 
every form of heterosex 


a't get too concerned 
of homosexuals, when 


except one is still illegal in many states 
of the Union. 
E. R. Barnett 


New York, New York 


GAY GENERATION GAP 

Young homosexuals, building on the 
work of older ones, have begun to do 
“liberated” things. They have openly or 
ganized clubs on college campuses. dem- 


onstrated, rioted, told Selective Service 

they are homosexual and formed 
alliances with other liberation-oriented 
groups. 


While shouting from the housetops 
that they are free, they seek the approval 
of established institutions; for example, 
they ask the churches to recognize homo- 
sexual marriages. A small number of 
young homosexuals have adopted a 
Marxist orientation. blinding themselves 
to the fact that Communist counties are 
probably ше worst places on earth for 
them to live. Some young homosexuals 
go about at night, spraying slogans such 
s "Gay Power” on peoples p 
property, slapping слу LIBERATION stick 
ers оп Gu windows and defacing public 
property. These acts can work both 
ways. I wonder how these liberated types 
would feel if their neighbors painted the 
word "Queer" on their houses and cars. 

It is the older homosexuals who had 
the courage to make themselves known 
publicly who have won much of the 
for homosexual freedom. Self- 
respecting homosexuals respect other 
people's opinions and property, speak in 
daylight and don’t force their sex lives 
d ideas on others. Homosexuals will 
never be able to achieve first-class ci 
ship if they shift now to irrational, 
unethical and illegal tactics. 

W. E. Glover 
Los Angeles, California 


THE WAY OF TAO 
Daniel Brendan Presley's letter (Playboy 

Forum, July) was a very eloquent state- 
ment of how many tr feel, 
but it does not represent all of us. One 
сап see how our culture created Presley's 
male-chauvinist attitudes, but many of us 
have gouen over that hang-up. The 
nsves anssexual Action Organiza- 
m (ТАО) supports both gay liberation 
and women's liberation; we believe th 
all victims of prejudice and discrimina- 
tion must work together to change this 
society. Presley's letter was valuable, 
however, in describing female-to-male 
sexchange operations, since the public 
is not very aware of this and tends to 
think of transsexualism only in terms of 
:ile-to-female surgery. 
TAO is a streeraction оп 
and our members have participated. 
several demonstrations. More demonstra- 
tions are planned. 

Angela Dougl: 

Hollywood, Californ 


nssexuals 


SEX-EDUCATION PANIC 
The Loi 
ssed a 


na state 
ll that would ban sex educa- 


tion in all schools, both public and 
private, without exemption lor classes in 
biology. religion or health, for all stu 


dents under the age of 17. Part of the 
expert testimony heard by the committee 
that sponsored the bill was that of a 
Baptist minister, who proclaimed, "The 
purpose of the enemy is to capture ou 
youth and make us а permissive society. 
But the clincher was provided by a lady 
physician, who assured the legislators that 
sex education leads to promiscuity, al- 
coholism, drug use, illegitimacy and sui- 
cide. The committee, not wishing to 
sponsor these evils, has asked the legisla- 
ture to stamp out all forms of sexual 
instruction before it's too late. 

Вапу Johnson 

New Orleans, Louisiana 


LOUISIANA HAYRIDE 

Louisiana legislators, who passed a bill 
banning sex education in all schools, are 
still functioning at the same exalted 
mental level. One day, I picked up the 
local paper and read: 


Louisiana House lawmakers laugh- 
ed and snickered Sunday, then voted 
61-29 against a bill which would 
h llowed state-prison inmates 


10 entertain their spouses in private 
on prison grounds. 
“IE this bill passes, won't it be 


something like a summer resort out 
there at Angola?” asked representa- 
tive Archie Davis of Bush, Louisiana. 
As the snickering died away . . . 
Davis jumped in again. 

"I have two other questions, Are 
the rooms going to be air condi- 
And the question is 
what's going to happen if your girl- 
friend and your wife both show up 
there?” [The] answer was lost in 
the laughter. 


tioned? last 


‘This would be contemptible enough if 
conjugal visiting for prisoners were prac 
ticed only in Lands such as Israel, 
Sweden but, in fact, it has 
been customary in the neighboring st 
of Mississippi for over 40 years. 

And here's another bit of suictly black 
humor from the same great white brains 
in Baton Rouge 


The Louisiana House of Repre- 
sentatives rejected an appeal from 
its only Negro member Tuesday and 
voted to retain racial labels on 
blood supplies in state hospitals. 

"I would sce my family die and go 
to eternity before I would see them 
have a drop of nigger blood i 
them,” said representative Archie 
Davis. 

“It’s nothing but a Communist 
Pany, that [Department of Health, 


63 


ground floor up,” Davis said. 
want to change our blood and give 
you four pints of nigger blood and 
the nigger four pints of white 
blood. And I'm against it.” 


"The story adds that Louisiana could 
lose up to $50,000,000 annually in Feder- 
al funds for refusing to comply with 
ional Jaw on blood labels, but en- 
lightened self-interest does not pierce 
the armor of Louisiana bigotry. The 
legislature followed the eloquent Mr. 
Davis (who subsequently did apologize 
for using the word nigger) and voted 
to retain racial labels. 

Please withhold my name. Some of the 
locals have advanced to the stage at 
п they сап make crude implements 
and even create fire. I don't want them 
und to my house at night 

(Name and 
address withheld) 


BLACK STUDIES 
her black nor а student, but 
still respond to the glaring inade- 
es of the arguments for black 
studies presented. by Dr. Willia 
Smith (The Playboy Forum, June). 


Dr. Smith says black-studies graduates 
cam teach the next generation. What 
good docs that do, except to perpetuate 


the illusion that soul can be learned? He 
goes on to claim that black studies equip 
people to work in black communities. 
For what institutions will they work? 
Social-work agencies, the courts, the legal 
profession, poverty programs, commercial 
enterprises, educational and research fa- 

ics. community organizations—all are 
designed by the white ruling class to 
exploit black people, keep them in their 
place and reap monetary gain. All of 
these organizations are racist, including 
the universities amd colleges in which 
black stu re taught. How can 
racit organization undermine itself? 
What I've written goes double for the 
Y. M. C.A. 

The Rev. Robert Ale 
Program Director 
University of Wisconsin Y. M. C, A. 

Madison, Wisconsin 


nder 


The letter from Dr. William Smith 
in the June Playboy Forum defending 
the concept of black studies wa 
interesting to me as ап Аш 
African descent. The attitude that soul 
courses arc of no use in the real world 
strikes me as a typical example of white 
Western chauvinism. 

Some time ago, I received a liberalarts 
degree from a college in New York. Our 
four years of study were given the the- 
matic tide “The Heritage of Western 
Civilization d we were required to 
take courses in Western philosophy, liter 
ature, history and fine arts. Most of the 
electives also involved the study of vari 


ous aspects of European culture. At that 
time—to my shame—I wasn't even aware 
that African culture existed, but I did 
ask occasionally why we never got into 
the philosophy, history, arts, etc, of the 
Orient I usually received one of two 
yswers—tl we live within Western 
civilization and. therefore. should study 
it, or that Western civil on is morc 
advanced than that of the Orient and, 
therefore, more worth studying. In an 
1 felt that we received a good 
that college. Everyone admit 
ted that what we learned had no obvious 
vocational application, but we felt that 
we were being tained for leadership, for 
creativity, to be wellrounded men or 
some such thing. 
It seems to me that if it is valid for 
credited colleges to give degrees to 
students who spend four years studying 
the achievements of the white race, it is 
equally valid for students to earn degrees 
ments of any 
race—black, red or yellow. Tru 
ks arc now, like it or not, in 
i but that does not 
y of it; for our roots 
story of our captiv- 


ion a 


by study’ 
other 


E 1d is 
an epic is uniquely our own. The 
serion that one civilization is more 
nother is fale. The 


technological breakthroughs of the past 
few hundred years may have given. Eu- 
rope and the U.S. temporary milita 


and economic power, but that docs not 


dicate that white Western arts, philos- 
ophy and literature are superior, nor 
that the white man's history is more 
significant. 

Perhaps the university of the futur 
will teach an appreciation of the works 
of all the races of man. Until that time 
—and as а preparation for it—I think it 
worth while for some young scholars to 
devote themselves 10 the study of the 
black man in Africa and Americ 
John Love 
New York, New York 


PIG PINS 

An ugly blotch on the behavior of 
young radical members of the counte 
culture is their habit of calling police- 
men pigs. To deny the humanity of any 
group and to use the rhetoric of hatred 
against it is to sink lo the same emotion 
ally and intellectually screwed-up level as 
a silent majority bigot. It means you've 
become part of the problem, rather than 
part of the solution. 

Therefore, I'm glad to sce that some 
policemen in Long Beach, Californ 
have struck a co-optive blow against this 
hasty appellation. They wear gold tie 
pins im the shape of pigs with their 
uniforms and, when theyre olf duty, 
Tshirts and sweat shirts imprinted with 
and the sloga ps are be: 
The shirts and pins are spreading 
to police forces elsewhere. 


If the nation’s cops generally respond 
with humor to this childishly vicious 
ad of hitting out with their 
clubs, I'm willing to agree that pigs are 
beautiful. 


scorge Ward 
in Dicgo, € 


CRIME AND PUNISHMENT 

While visiting Mobile, Alak 
business recently, I chanced to look 
the court records of the previous day, 
printed in The Mobile Press. Aside from 

people who were fined for "p 

ng without a permit” and one who 
was nol-prosed for allowing a dog to 
run at large, this is the complete docket: 
one case of manslaughter, one case of 
grand and receiving stolen prop- 
erly, one case of burglary. one case of 
receiving stolen property, one case of 
assault with intent to murder, one case 
of five separate counts of receiving stolen 
property and one case of “violation of 
marijuana law” and possession of mari- 
juana 

All of the sentences imposed, except 
for the marijuana offense, were suspend- 


ed; but the pothead got five si 
prison. The killers. would-be killers. 
burglars and receivers of stolen property 


Кей out into the streets, perhaps to 
prey again upon the citizens of Mobil 
but that poor marijuana-law violator will 
be sittin cell ший 1975. 

William Robinson 
New Orleans, Loui 


UM MAD, THAT'S WHY 
In 1958, at the 
tenced to two prison terms of five 


to lile for possession of two m 
cigarettes, a felony at the time. (Under 
present California law, uh Hed 
crime is a misdemeanor felony 


that, for first offense, the j 
the sentence less than а year—in man 
cases, 60 to 90 days—but such legal re- 
forms are not retroactive.) In San Qu 
tin, where I served 11 years, I became 
doing a col for the prison 
ewspaper and selling over 60 articles to 
various popular magazines, T finally ac 
quired enough skill to sell a piece to the 
prestigious Saturday Review. Toward the 
end of my term, I was allowed to partic 
pate in the outside work program and, 
when 1 had only 28 days left to serve, I 
failed to return to prison after work one 
g to visit my father, who 
Ventura hospital. 
After that mistake, I compounded my 
folly. Not wanting to receive a longer 
sentence for violating the terms of the 
work program, | went into hiding. During 
that time, I wrote a semi-autobiograph- 
ical novel about prison; I guess I was 
attempting to expres symbolically why а 
з with only 98 days to serve would 
"Then, after five months, 1 was 


wito 


evening, wisl 


was near death 


run aw 


COLOGNE 
n's 


N*5 
CHANEL CHANEL | 


Every woman alive loves Chanel N95 nn 


CHANEL LL 


©1970 Chanel, Inc., 1 West 57th Street, New York Perfume from 8.50, Eau се Cologne from 4.00 


PLAYBOY 


66 


arrested again for possession of mari- 
juana. As a second offender and parole 
violator, I now face a minimum sentence 
of 15 years to life, with no possibility of 
parole until I have served 14 years and 
nine months. Thus, the state has taken 
11 years of my life and now threatens to 
take approximately 15 more, for posses- 
sion of a drug that most authorities 
erce is less harmful than alcohol or 
tobacco. Until and unless І sell my nov- 
cl, 1 will have no money to hire an 
attorney and will have to accept the 
defender provided by tlie cour 

The title of my novel is Zm Mad, 
"Thats. Why. A friend. wrote to me re- 
cently, “The real criminals in our society 
are in high positions and putting thc 
others in prison. I'm mad, too, and 
that’s why.” 

Iam a fool, but the people who main- 
tain these laws are damned fools. 
id А. Dunham 
п Diego County Jail 
п Diego, California 


Dai 


POT ON PATROL 
I wish now to make a public an- 
nouncement that if 1 am sent to Vietnam 
and somcone smokes pot while on patrol 
with me, I will put a bullet in his head. I 
am not going to allow some messed-up 
G1 to jeopardize my life. 
Jim Kimbrell 
Pensacola, Florida. 


MILITARY JUSTICE 
On June 6, 1970, my living area was 
sched by a party of commissioned and 
commissioned officers, who alleged 
that they found 2.04 grams of mi 
nd one barbiun 
1 variety. I am now about to rece 
general courtmintial, which is trad 


ally reserved only for offenses like x 
and murder. 
Since joining the Marine Corps, I 


have never kept 
п my person, 


ny sort of illegal drugs 
1 my personal belongings 


or even near my living arca. L do not 
n fact, in my 
„ or, if they were, who put 


them ther 
not mine. And I know why I am being 


bur I know the drugs we 


court-martialcd: 


because І have spoken 
al, immoral 


se is not untypical or spei 
two years in the Marines, 
scen so many arrests and 
as in the past few months, 
ent has spread throug! 


l have never 
courts-martial 


Michacl J. Howard 
ancisco, California 


FPO San Fr 


їйїз Justice, Military Style (eLavnoy, 
February) coupled the subjects of mili- 
tary justice and military prisons. Law and 
penology deserve separate and equal treat- 
ment. However, regarding the prisons, 


neither are all stockades and brigs as 
bad as pictured in the article nor is 
cruelty and discomfiture to prisoners an 
American military policy, as it was under 
the Nazis. Sherrill implies that our mili 
tary is sadistically motivated, makes a 
policy of persecution and h 
the incarcerated and that the inflicting of 
penal crueltics by Am 
officers is the order of the da 
dead wrong. I know of stockades (some 
in Vietnam) that, because of the transient 
exigencies of wartime, are overcrowded 
and some that, because of the use of 
ancient faciliues (such as the Presidio of 
San Francisco), are substandard. I 
know of some jailers—both in civ 
and in military life—who are substand: 
in mentality and in their treatment. of 
prisoners. But you can. my word for 
it, one who's been around and as a 
knowledgeable, impudent and controver- 
ial defense lawyer of long standing, that 
mothers and fathers of American 
icemen don't have to fear that, 
r sons be tossed into the buck- 
ied like the inmates of 
Dachau or anything close to that. 
Recently, I defended five М х 
e Island for alleged cruclty to 
sailor prisoners in the brig abo. 
the U.S.S. Hancock. So concerned and 
reful have our military custodians of 
ant personnel become that these men 
charged with so-called cruelty for 
treatment that I would have considered 
minimal hazing for 


that is most protective of the 
of any in the ed world. IE I v 
be wied on a criminal charge a 
my choice of form, I'd pick a military 
court, a military judge and a military 
пу of officers, The protective rules of 
Escobedo and Miranda (whereby an ac- 
cused must be given a Fifth Amendment 
rning belore he is interrogated) 
from the military and were orders of the 
day long before these procedures wei 
used in U.S. civilian courts. 

No one likes being thrown into jail. 
Maybe Sherrill was writing about what 
military law was before the new code 
of 1952. I've tried military court cases 
over the world since that code 
ed. Several s apo. 
through the Pentagon 
month in Vi 


as ena 
s Ма 
nt one 
to the 


Mekong Delta, examining summary, spe- 
cial and general courtemarüal under 
every possible wartime condition. I found 


the type of justice painstaking and e: 
cellent, without exception. Command i 
fluence was е, and rarer today, 
with the new amendments. making the 
presiding law officer a truly independent 
Federal judge. 

I'm proud of our new system of m 
tary law. It’s as different from what it 
used to be as today’s wial by jury is 


different from medieval England's trial 
by ordeal. 

Melvin M. Belli 

San Francisco, California 

Robert Sherrill replies: 

I find no substantive rebuttal to 
my article in the letter by the cele- 
brated Mr. Belli. I was fascinated by 
his use of the statement “You can 
take my word for it.’ Having no 
facts to support his defense of the 
military penal system, our renowned 
solicitor falls back on the military's 
own hackneyed linc, “You can take 
our word for il,” and even gocs as 
far as to throw in the vest of the 
military publicrelations handout — 
“that the mothers and fathers of 
American Servicemen don't have to 
fear,” etc, I believe that most adult 

Americans are through taking the 
military's word for anything or tak 
ing the word of lawyers who take 
the word of the military. 

I am grateful to Belli for his anal- 
ogy between military justice and 
hazing conducted by college fraterni- 
ties. If readers recall the thousands 
of reported instances in which frats 
initiated their members with 
treme physical and mental cruelty 
that was occasionally fatal and some- 
limes caused severe injury, they will 
understand why Belli should liken 
the mentality of frat bullies to the 
minds of those who run military 
courts and stockades. 

As I reported in my article, men 
who must defend themselves before 
military courts are guaranteed по 
bail, are permitted neither trial by 
peers nor indiciment by grand jury 
—all being constitutional guarantees 
that civilians take for granted. The 
Bill of Rights dors not apply to 
military law. The military especially 
abhors the First Amendment guar- 
antees of free speech, free press and 
free assembly. Command influence 
that creates kangaroo courts is the 
custom, nol the exception; the com- 
manding officer, whose whims domi- 
male. the proceedings, oversees the 
preliminary investigation, signs the 
charges, picks the jury [тот men 
under his control, selects the prose- 
culing attorney and the military de- 
fense attorney, and finally reviews 
the jury's verdict and the punish- 
ment it hands down. This is the 
system Belli says he prefers to civil- 
ian courts. 

1s might be expected, he men- 
tions the military's requirement of 
warning before interrogation as be 
ing the forerunner of the “Miranda” 
decision by the U.S. Supreme Court. 
Apologists for military law always 
trot this out to prove its great in- 
stinct for liberlavianism. Edward 
Sherman, Indiana University profes- 
sor of law and, without question, 


Passport Scotch. A blend of 
the finest whiskies Scotland has to 
offer. Yet it’s reasonably priced. 
No wonder it gets around so much. 


Passport Scotch. 


Imported by Calvert 


PLAYBOY 


68 


the foremost expert on military law 
in this country, puts this claim in 
proper perspective when he says, 
“The lead of the military” in con- 
nection with the “Miranda” decision 
“has long been lost.” 

Belli suggests that 1 must have 
been writing about “what our mili- 
tary law was before the new code of 
1952.” I am not only familiar with 
the new code, 1 am also aware that 
it went into effect in 1950, not in 
1952; and I am also aware that more 
recent modifications of the code 
were passed in 1968, that they went 
into effect in 1969 and that the 
military claims these new changes 
have wrought the miracle of perfec- 
tion. To quote Mr. Sherman again, 
the act of 1968 “made only a few ve- 
forms of a relatively uncontroversial 
nature and did not address itself 
to the most highly criticized areas, 
such as command control, court- 
martial structure and administrative 
discharges.” vLAynov's readers would 
be misled ij they believed. Bells 
statement that since 1969, the mili- 
tary judge has been independent; he 
is still in the military and he is 
selected by the Judge Advocate Gen- 
eral’s office, which itself is rife 
with the corruption of command 
influences. 

When Belli writes this sort of 
stuff, he doesn’t have to tell us that 
he was "VIP'd through the Penta- 
gon.” The source of his informa- 
tion was evident enough without the 
confession, 


DESERTER’S FRIEND 

I went through basic training with 
William W. Sipple, who wrote the letter 
tilled "A Deserter Speaks” in the June 
Playboy Forum. Our first week of basic 
training was more or less an orientation 
period, including lectures and films glori- 
fying war. At the end of these, Sipple 
used the question period to contradict 
the notion t ad never been 
an aggressor by calling attention to the 
Mexican and Spanish-American wars. At 
one point he got into a heated argument. 
with a lieutenant, who refuted Sipple's 
logic by ordering him to sit down and 
remain silent. From that time on, Sipple 
was not recognized during any question 
period at any lecture, 

Our drill sergeant gave him the nick- 
name Simple, and he became a target 
for harassment and ridicule by the train- 
ing cadre. During one drill ceremony, 
Sipple refused to carry a weapon. The 
drill sergeant evicted Sipple from his 
platoon and made him march by himse 
Shortly thereafter, Sipple was recycled 
and transferred to another company. 
"That was the last I saw of him. 1 know 
very little of his life history except that 
he earned a degree in government. I do 


Know that he is a very intelligent, peace- 
loving individual. 

I am presently on active duty in Viet- 
nam, and my only regret is that I didn't 
have the courage to desert, as William 
W. Sipple did. 

(Name withheld by request) 
APO San Francisco, Californi 


DISSENT IN THE SERVICE 

A group of us at the Marine Corps Air 
Station in Iwakuni, Japan, got together 
and began publishing Semper Fi, a news- 
paper by and for GIs that publicized 
some of the legitimate grievances of Gls 
at Iwakuni, nearly all of which the com- 
mand ignored. The local brass pro- 
nounced Semper Fi illegal and said that 
anyone connected with it was courting 
charges of mutiny and sedition. These 
statements were false: Semper Fi was and 
is perfectly legitimate within the guide- 
lines for dissent set forth in Department 
of Defense Directive 1325.6, signed by 
Defense Secretary Melvin Laird. 

Failing in their attempts to frighten 
the paper's publishers. the brass resorted 
to a method frequently used to deal with 
dissident GIs—the punitive transfer. In 
less than two months, five of us suspected. 
ringleaders were transferred. Three of us 
had exactly an hour and a half's notice 
to pack and be on the plane. We were 
under guard at all times and were kept 
completely incommunicado. On reaching 
Okinawa, we were not сусп allowed to 
telephone our families. Three were sent 
on to the U.S., one remained on Oki- 
nawa and | was sent to Vietnam. 

This episode is by no means 
Countless. GI organizers received 
similar treatment. The military brass 
seems to think that by wansferring us, it 
will halt GI movement activities. It's 
wrong. To paraphrase a current saying: 
They may transfer a revolutionary, but 
they can’t transfer a revolution. 

Cpl. George Bacon, U.S. M. С. 
FPO San Francisco, California 


ique. 


I am a Vietnam veteran, wounded 
nine times on Hamburger Hill, and I am 
now being prosecuted by the Army for 
exercising the freedoms I was allegedly 
fighting for over there. Technically, I am 
charged with failing to salute а general; 
but I swear to you that this is just a 
trumped-up excuse to punish me for my 
views. The general was in a stall car that 
passed me rapidly while I was looking 
in another direction; no soldier who 
hadn't already made himself unpopular 
with the brass would be court-martialed. 
for failure to salute under such circum- 
stances, The general is not God and 
there were no trumpets or supernatural 
phenomena to announce his passing. 

My real offenses are that I work for 
Fed-Up, an anti-war paper, and that I 
was among a group of 35 Gls who met 
in a Service dub to quietly discuss our 
gtipes against the Army and what we 


could do about them. None of us was 
charged with any crime after that meer 
g, but we are all marked men. This 
persecution (and other actions of the 
Army and the Government) merely in- 
creases my sense of anger and rebellion. 
For instance, Jane Fonda was thrown off 
this base for talking to GIs about peace. 
I wonder about the legality of that act. 
Bob Hope, who supports the war, claims 
that Killing enough Asians will eventu- 
ally produce peace; so, in a sense, he is 
also talking about peace. (As President 
Nixon says, we all Nave the sime goals.) 
So why shouldn't Bob Hope be thrown 
off Army bases, 100? Or do those who say 
peace and mean killing have rights de- 
nied to those who say peace and really 
mean peace? 

How Jong are we going to continue 
this illegal and immoral war, marching 
deeper into one nation after another? 
Why are the numbers of A. W. O. Ls 
and deserters increasing? Why are Amer 
ican exile colonies giowing in Swede 
id Canada? Why are these countries 
more attractive to many of our youth 
than the land of our birth? For God's 
sake, you of the silent majority, ask your: 
self some of these questions, and then get 
to work to make this country what it is 
supposed to be—a nation of the people, 
by the people, for the people. 

Bruce Whitver 
Fort Lewis, Washington 


PERPETUAL WARFARE 

Having served in the U.S, Army for 
over 11 years, I was t 
Rubini's vel 
military profession (The Playboy Forum, 
June). He says the draft “ruins 
men by tum п into robots 
an all-volunte vould destroy us 
by establishing a statesanctioned body 
of professional killers in our midst." 
His solution: The American people 
should “renounce war as an instrument 
of policy: 

In the first place, military men are not 
monsters and the military life is not 
destructive as Rubini imagines. I 1 
seen much more brainwashing, brutality 
and mistreatment of people in civili 
life than I ever did in the Army. In the 
second place, America cinnot renounce 
war until men can reason together and 
abandon the selfish pursuit of their own 
interests. The past is a great teacher and 
it has shown that men will not change 
Peace is a nice thing, but there is no 
peace among men. And 1 doubt that 
there will be peace for our children, 
unto the umpteenth generation. 

Ervin E. Rhodes 
Galliano, Louisiana 


THE MY LA! MENTALITY 

‘The continuing furor over the My Lai 
tragedy and reports of other massacres 
bring to mind a large sign I saw during 


my basic taining at Fort Leonard Wood, 
Missouri, in 1968. It hung in the build. 
ing used for h 
through which impressionable nainces 


nd-to-hand-combat classes, 


passed daily: NO WAR WAS EVER WON WITH 

CONSCIENCE OR COMPASSION. . . . KILLI 
Patrick Sajdak 
Washington, D.C 


BLACK SERVICEMEN'S MESSAGE 

We have written to the President of 
the United States about the killing of 
blacks, especially at Jackson State Col- 
lege. We're also sending PLAYBOY a copy 
of our letter, because we want to make 
sure people Know that we are concerned. 


We, black Servicemen at Kelly Air 
Force Base, are writing to you, not 
because of the war in Vietnam or in 
Cambodia but because of the war 
against our people here in Amer 
We are specifically referring to our 
black brothers killed at Jackson 
State in Mississippi. Black men can 
stil] be killed at will in America. 
Medgar Evers was killed in Missis 
sippi and the man who killed him 
was set free, When will it be a crime 
to kill black people in Mississippi 
and all over America? The first man 
10 die in the American. Revolution 
was black and black men are still 
dying for America. When we ас 
tempt to protect ourselves from rac- 


ist violence we are called militants 
and accused of wanting to break the 
Jaw, Many young blacks identify with 
the Black nther Party because the 
Panther aim is to protect black com- 
munities When will America protect 
all communities, black and white? 
America demands a lot from us 
and we have answered her demands. 
Will you. as President, protect om 
mothers, fathers, sisters and brothers. 
while we are protecting America? 


Concerned Black Servicemen 
Kelly Air Force Base 
San Anton 


Texas 


OCCUPIED ALCATRAZ 

H 
Vietnam and I wish to express my 
solidarity with my brothers and sisters 
occupying Alcaraz. 1 also wish to pro 
test the vindictiveness of the Govern 


m a Chippewa Indian serving in 


ment in turning off the water supply 
before the legality of the occupation has 
been settled d rrAvpov, with its wide 
circulation, should let the public know 
about the water being de 
no point in my protesting against this 
to the Bureau of Indian Affairs—ihat 
would be just a waste of paper 
The BIA has no sympathy with Indian 
efforts to bring attention to our problems. 
regain those things stolen from us 
secure our rightful place in the social, 
economic and political lives of America 

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натвон мку: WILLIAM KUNSTLER 


а candid conversation with the embattled defense attorney for chicago's "conspiracy seven” 


If Abbie Hoffman, Stokely Carmichael, 
Jack Ruby, Tom Hayden, Martin Luther 
King, Father Daniel Berrigan, Adam 
Clayton Powell and Dave Dellinger have 
anything in common, it’s the altorney 
they've shared over the past decade: Wil- 
liam Kunstler. Nothing in his early Ше 
indicated that Kunstler would find him- 
self in such controversial company. The 
son of a physician, he attended Yale, 
where he swam on the varsity team and 
was elected to Phi Beta Kappa; he then 
went on to serve im the Army duying 
World War Two, attaining the rank of 
major and earning a Bronze Star. After 
discharge, he took a law degree from 
Columbia University and became what 
he now calls “a legal tradesman” in 
commercial and divorce cases. He prac- 
ticed law, wrote books, raised a family 
and generally prospered, until the civil 
rights movement of the early Sixties be- 
gan lo capture more and more of his 
lime and attention. Kunsller's transfor- 
mation from defender to advocate seemed 
complete when he defended the Chica- 
go Conspiracy Seven this year in a trial 
that critic Dwight MacDonald has said 
set the pattern for “new-style radical 
courtroom tactics” intended to create 
“a head-on collision, a public confronta- 
lion between the extremes of American 
politics and life styles, the radicalized, 
alienated youth versus the bourgeois 
establishment.” 

The Chicago trial was so abrasive and 
Kunstler's tactics so contentious that he 
lost a large measure of the liberal sup- 
port he had won during his civil rights 


= 3 у T 


“When I went out to the Chicago trial, 1 
was well on the way to my conviction 
thal it is the role of the left to resist 
rather than merely protest the things in 
this society that tend to degrade people: 


days. The New York Times accused the 
Chicago defendants, “with the apparent 
acquiescence and encouragement of their 
lawyers," of deliberately trying to destroy 
the judicial establishment itself. But 
what support Kunstler lost in liberal 
circles, he more than made up for among 
members of the young radical left. Fol- 
lowing the trial, he was enthusiastically 
greeted by students on campuses through- 
out the country, and the welcomes were so 
vociferous that officials at many colleges 
tried to deny Kunstler a forum, on the 
grounds that his speeches were incendi- 
ary. Following one appearance at the 
University of California in Santa Bar- 
bara, angry students and police fought 
for several days, and the violence result- 
ed in the death of one student and the 
burning of a branch of the Bank of 
America—an event that has assumed he- 
roic proportions in the mythology of the 
New Left. There were calls for the prose- 
cution of Kunstler on, ironically, the 
same charge that was brought against the 
Conspiracy Seven: violation of the so- 
called Rap Brown anti-riot statute, 
which makes it a Federal offense to cross 
state lines with the intent to incite a 
riot. No action was taken against Kunst- 
ler as a result of the episode, but feel- 
ings about him were further polarized, 
His reputation as a defender of radicals 
and their causes, while gaining him 
favor with student activists, has not won 
him friends even among those who share 
his legal philosophy. Many civil rights 
and civil liberties lawyers agree with the 
attorney who told a reporter that Kunst- 


“If 1 were a black man in the ghetto— 
particularly if 1 were a Black Panther— 
1 would amass every bit of hardware I 
could get my hands on. For self-defense. 
That's a traditional American right." 


ler “brings cases on page one and the 
NAACP Legal Defense Fund wins them 
on page 68." The reporter added: 
“There are countless stories of meetings 
he has missed, deadlines he has over- 
looked, details he has ignored, commit- 
tees he failed, client bonds that have been 
forfeited, papers he hasn't filed.” What- 
ever professional failings he may be 
guilty of, Kunstler cannot be accused of 
lacking a sense of commitment to those 
he defends. During his pleas on behalf of 
the Milwaukee 14—а group of Catholic 
activists and Christian Brothers who 
burned the 1-4 files of several Milwaukee 
draft boards—Kunstler became so per- 
sonally involved that he offered his 
house, car and bank account as surety 
for his clients’ Vail. 

Kunstler, 51, puts in an 18-hour day 
and, even when he’s not traveling, he's 
usually up at dawn and spends mest of 
his “free” nights on the telephone and 
in meetings with his clients. He and his 
wife, Lotte, live in Mamaroneck, a sub- 
anb of New York City, in an 11-тост 
house purchased when the one best seller 
among his books, “The Minister and the 
Choir Singer’ (an account of the Hall- 
Mills murder case of the Twenties), was 
sold to the movies. Since he now accepts 
no fees for the political cases that 
consume most of his time, the Kunstlers 
rent the top floor of their home, for 
additional income, to am interracial 
couple. Kunstler’s two daughters, both 
grown, no longer live at home. Karin, a 
former Peace Corps worker in Africa, 
spent а ycar at Tougaloo Southern 


“In terms of real violence to human be- 
ings, one B-52 raid South Vietnam 
makes it offensive to apply the word vio- 
lence to what some of the more militant 
factions of the movement have done.” 


л 


PLAYBOY 


72 


Christian College, a predominantly black 
school in Mississippi, and is now married 
to à New York lawyer. The other daugh- 
ter, Jane, was recently graduated from 
the University of Wisconsin, Both are 
deeply involved in “movement” work. 

Because of his peripatetic activilies as 
the one lawyer whom nearly all segments 
of white-radical and black-activist groups 
appear to trust, Kunstler admits he no 
longer hes a private life. And there is 
little possibility that the demands on his 
time will lessen in the years ahead—par- 
ticularly if, as he predicts, the Seventies 
prove to be a decade of escalation by the 
left from protest to “resistance.” “It was 
exceedingly difficult,” says Nat Hentoff 
—who conducted this “Playboy Inter- 
view,” the most wide-ranging Kunstler 
hos ever given—"for him to fit our con- 
versation into his schedule. There was 
also the question of deciding on a place 
where he could be insulated from tele- 
phone calls during the lengthy period 
this detailed an interview would require. 
Having finally freed an afternoon, Kunst- 
ler agreed to my suggestion that we 
tape the interview in my apartment in 
Greenwich Village. 

“He came out of the elevator,” Hen- 
toff continues, “looking gaunt, weary, his 
suit rumpled, as usual. We hadn't seen 
each other for some time, but he imme- 
diately placed an arm around my shoul- 
ders as we entered the apartment and 
then disengaged himself to kiss my wife, 
whom he had never met before. I exiled 
my children to another part of the apart- 
ment and took Kunstler into a back 
room. He sank heavily into an armchair 
and I wondered briefly if he could mus- 
ter the stamina that а long interview 
would require. But as soon as we began 
talking, first about the Chicago trial and 
then about his dark vision of America’s 
political climate in the Seventies, Kunst- 
ler’s weariness disappeared and he spoke 
well into the evening with unflagging 
energy and passion. 1 began by asking 
him, now that he had been able to con- 
template the Chicago trial in retrospect, 
to distill the significance of that seminal 
event.” 


PLAYBOY: At the start of the Chicago 
tial, Renn one of the defend- 
ants, charged that “in choosing the eight 
of us, the Government has lumped to- 
gether all the strands of dissent in the 
Sixties. . . . The movement of the past 
Do you agree 


KUNSTLER: Yes. This was a conscious ef- 
fort by the Government to use what it 
considers legal processes to attempt to 
kill a movement. And each of the de- 
fendants was chosen for specific reasons. 
Dave Dellinger was selected to represent 
both the middle-aged left and the old- 
line pacifists who regard him as the 


leader of that part of the movement 
since the death of A. J. Muste. Rennie 
Davis and Tom Hayden served several 
functions. Both were in at the origin of 
Students for 2 Democratic Society and 


both had deep connections in the ghettos 
—Tom in Newark and Rennie in Chica 
go. Furthermore, they were meant to 
represent the young people allied with 
Dellinger, The Government's theory was 
eventually to be that Dellinger was the 
architect of the alleged conspiracy and 
that these two were his young lieuten- 
ants who furthered the purpose of cau 
a riot at the 1968 Democratic Convention 
in Chicago. Abbie Hoffman and Jerry 
Rubin, of course, were chosen as repre- 
sentatives of the revolutionary youth cul- 
ture in the United States. 

PLAYBOY: But why were the virtually 
unknown Jolin Froines and Lee Weiner 
included? 

KUNSTLER: For two reasons. They repre- 
sented the dissenting academic communi- 
ty. Froines was a professor of chemistry 
the University of Oregon and Weiner 
was a graduate student of sociology at 
Northwestern. One professor, one stu- 
dent. Furthermore, they were also there 
specifically because they were not lead- 
ers. Through them, the Government's 
intent was to nidate those who follow 
radical leaders. Their being prosecuted 
meant that anyone in the movement, 
however unknown, is vulnerable. And 
Bobby Seale—though he was in aga 
during these events for only 16 hours— 
brought into the case as a represent- 
ack militancy. So Rennie's point 
ovement of the past decade 
was on tial is entirely correct. 

PLAYBOY. Your clients and Bobby Seale 
were charged w would you 
m that there was а Government con- 


that the 


KUNSTLER: I can't say with any certainty 
that at a given time and place, people 
met to plan the course that led to the 
l and its particular roster of defend- 
ants. But this is what I think happened: 
On September 6, 1968, Mayor Daley is 
sued a white paper an attempt to 
show that the city, its officialdom and 
police were free from blame and that all 
the trouble at the convention had been 
provoked by the demonstrators, Three 
days later, Federal District Judge Wil- 
liam Campbell—a man who I've been 
told refers to Mayor Daley as "Chief 
convened a grand jury and instructed it 
to look specifically for violations of the 
new Federal anti-riot statute. He did this 
despite the fact that United States Attor- 
ney Thomas Foran had received orders 
from Ramsey Clark, then the Attorney 
General of the United States, not to 
convene a grand jury but merely to 
investigate the situation in Chicago 
through the use of routine investigators, 
with particular emphasis on certain police 
activities. But, a grand jury having been 


convened, Mr, Foran—who owed his ap- 
pointment, it should be noted, directly 
to Mr. Daley—did come up, through the 
grand-jury process, with “supporting evi- 
dence.” I believe, therefore, that the trial 
of the eight defendants originated as an 
effort to clear Mayor Daley of any re- 
sponsibility for what had gone on during 
the Democratic Convention. 

PLAYBOY: Tom Hayden and several of the 
other defendants said at the time of the 
investigations that they doubted a trial 
would actually take place. 

KUNSTLER: The national Administration 
changed while the grand jury was sitting, 
and there were a few months of doubt as 
to whether any indictments would be re- 
turned, in view of the fact that a certain 
amount of wire tapping of exceeding- 
ly doubtful legality had been perpe- 
trated on at least five of the potential 
defendants. But in March 1969, the 
grand jury finally did return indictments 
against the cight alleged conspirators, as 
well as against cight policemen accused 
of violating the civil rights of certain 
demonstrators and newsmen. As you 
Know, all the policemen were acquitted 
in Chicago. But by this time, I think the 
latter part of the grand-jury investiga- 
tion certainly under the scrutiny of 
John Mitchell, the new Attorney Gen- 
eral. And it was Mitchell, 1 believe, who 
decided that it would be politically use- 
ful to the Nixon Administration to pro- 
ceed with the indictments against the 
alleged conspirators. 

From a Republican viewpoint, these 
seemed to be very safe indictments politi- 
cally. Everything at issue had occurred 
during а Demoa 
tion in a city controlled by a Democratic 
machine. If the Republican Administra- 
tion convicted the defendants, it would 
get the resultant political benefits. But 
just to be on the safe side, Mitchell 
didn't use a Republican prosecutor. 
Instead, he used Foran, the holdover 
Democraticappointed U. S. Attorney 
Chicago. So if things didn't go right, the 
Nixon Administration could say. “Well, 
we tried; all, this is between 
Democrats, including the prosecutor, and 
we Republicans did our best to have 
justice done." I wasn't privy to any of the 
discussions, so 1 can't prove any of ihi: 
but it does seem to me the logical chain 
of cvents. 

PLAYBOY: Despite the fact that the trial 
received enormous publicity, are you sat- 
ished that most people fully understand 
the significance of the charges brought 
against the defendants and the implica- 
tions they hold for the future of political 
dissent in this country? 

KUNSTLER: I'm not at all certain that the 
citizenry at large recognizes the danger of 
the weapons used by the Government, 
nd I think it vital that they be exam- 
ed. To begin with, the trial was the 
first application of the insidious anu 


but after 


THE ART OF THE HOT COMB" 
3 CNN 


1.Position one. 


Its a day like any other: { 
day. (You know that because \ а sd niques. 


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ing you have The Hot Comb; 8 ‘height. CEs ecially three 


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air dryer/styler that works 

with a comb or a brush. 
Please pause fora moment. 


Before you begin there SD 
are a few things you should осш рг 
know about The Hot Comb: taller than 

"The first thing you have she ts. 
to do is master a whole new Е 
combing principle. If you use : > 3 Es 
the old plastered down mo- ч 3 E when it’s flat and limp and 


tion you used with a regular ~. i ` has lost the only style it ever 
comb, you'll get nothing but " bh <2 had.) 
a fatter version of the old Ё То do it, simply comb 
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with it, 
We're not suggesting that 
3. The 2 The Hot Comb will change 
right way. _ i your whole life. 
| j Bur itll certainly change 


2.The 
wrong way. 


all over your head.) 

The right way to use The | 
Hot Combis just the oppo- 
site You Ute Eon 
from the under side, and tum 
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When you think you've. 
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5.The 
graduate. 


THE 


PLAYBOY 


7 


statute that is part of the 1968 Civil 
Rights Act. The main reason it appears 
in that Civil Rights Act is that Strom 
Thurmond, who shepherded the anti-tiot 
measure through the Senate, made it 
clear to the liberals in that body that the 
forces he controlled could filibuster the 
Civil Rights Act to death unless it in 
cluded the anti-ri ion, This pro- 
vision had been introduced in the House 
ol Representatives by William Cramer 
of Florida in 1967, after a disturbance 
in Cambridge, Maryland, following а 
speech there in July of that year by Rap 
Brown. Cramer had proposed that statute 
as a method of prosecuting, on a Federal 
level, "outside agitators” who traveled 
from state to state giving speeches th 
were followed by disturbances. Thur 
mond succeeded, as I've noted. 
ng the Senate 
dangerous legislation 
the Civil Rights Act. 

Another factor 


mail 


into passing this 
n 1968 as t of 


is that while Thur- 


mond was maneuvering in the Senate, 
Dr. King was assassinated, with resulting 
disturbances around the country. So in 
addi Thu pressure, the 
liberals in Congress were stampeded by 
the necessity to produce some sort of 
legisla ti 
that followed th 


jon to mond’: 


m inr n to the 


violence 
t tragedy. Accordingly, 
they were all the more ready to compro- 
mise with Thurmond. The subseque 
bill g the antiriot provision 
was signed by President Johnson on 
April 11, 1968. And it’s significant to 
note that the first overt act attributed to 
the alleged Chicago conspirators was a 
speech that took place the next day, 


ncluc 


You stress that 
statute is dangerous. Why? 
KUNSTLER: The measure, from the mo- 
ment it was introduced, was shrouded 
n uncertainty as to its constitutionality. 
Ramsey Clark himself had said it w 
unconstitutional. and he testified aj 
it during hearings of the judiciary com 
mittees of the House and Senate. Consid- 
er what this statute actually does: It 
makes it a Federal offense with penalties 
of up to five years in jail and а $10,000 
fine to cross state lines—or to use any 
interstate facility, such as the telephone 
or the mails—with the intention of 
promoting, encouraging or participating 
in a riot. And a riot is defined a 
disturbance in which three or more people 
are involved that causes injury to persons 
or property, ог even threatens to do so. 

It’s not generally known, incidentally, 
that the labor unions quickly recognized, 
as the bill was being debated, that this 
antiriot stitute could put an end to 
most strike activities of the ious un- 
ions in the country. All you needed was 
a situation in which an interstate fac 
was used—say a telephone—to call for 
money in aid of a strike or to call for 


Ше anti-riot 


is 


supporters on а picket line. People 
would then come in from out of state, 
a disturbance inyolving three or more 
people could casily take place, some 
property damage might result, and then 
the Government would have all the 
gredients necessary to prosecute. 
So, under pressure from labor, the 
House and Senate added a provision that 
nothing in the antiriot statute should 
apply to the lawful activities of labor 
unions. But the rest of the citizenry is 
not protected against this vague, uncer- 
tain, indefinite statute, which is wholly 
aimed at free speech, And I wonder how 
many people also realize that under this 
statute, the “riot” that takes place can 
refer to a disturbance in which defend- 
ants who allegedly crossed state lines 
with the “intent” to promote it are not 
even directly involved. It can happen 
miles from where they are. And, further- 
more, such a “riot” can be caused by 
undercover policemen acting as agents 
provocateurs, 
PLAYBOY: In the Chicago trial, cach of the 
defendants was not only individually 
charged with crossing state lines with 
intent to incite to riot, but also charged 
with conspiring with one another to 
commit that offense, The jury didn't con- 
vict on the latter count, although it 
found Dellinger, Hayden, Hoffman, 
Rubin and Davis guilty of individually 
violating the anti-riot statute. Are you 
encouraged by the fact that at least the 
conspiracy count didn’t stick? 
KUNSTLER: Encouraged would hardly be 
the word. The fact that the jury rejected 
the conspiracy charge in this case hardly 
guarantees that the Goyernme 
use it again, as it has so often in the past 
Here. too, I believe it vital that people 
understand how dangerous the charge of 
conspiracy can be asa tool of the Govern- 


won't 


ment, In fact, Judge Learned Hand once 
described it as the darling of the pros 
сано ту, because it requires so 


little proof. 
Under a conspiracy charge, it becomes 
sible to convict defendants not for 
what they did but for what they may 
have been thinking when they per- 
formed certain acts. It doesn't require 
proof of any criminal act having been 
performed at all. It doesn't put the Gov- 
ептеп to the test that a particular 
defendant committed acts B and C 
and then let the jury decide if those 
were criminal acts. What it does do is 
let the jury look at those acts, which in 
themselves might be entirely lawful, and 
infer from them that the defendant, and 
anyone associated with him in a “crimi- 
nal conspiracy,” was thinking of commit- 
ting a crime, and these thoughts led to 
acts—again, not necessarily illegal acts— 
that were part of a chain intended to 
vance the perpetration of that crime. 
"The making of a speech or the writing 
of an article could be such an act, result- 


ing from an "intention" to later commit 
a crime. An illustration. of how th 
works was the Governmenr's ability to ob- 
tain convictions in the Smith Act case of 
1949. Certain alleged Communists were 
charged with conspiracy to advocate the 
overthrow of the Government of the 
United States by force and violence. 
What the prosecution showed in that 
case were speeches and writings of the 
defendants to indicate that they must 
have had the “intent” of advocating the 
overthrow of the Government by force 
and violence. A conspiracy charge is a 
very deadly business when people can be 
convicted for making a spcech or writing 
a book or an article, 
PLAYBOY: Don't you think it's posible to 
surmise intent from speech? 
KUNSTLER: Yes, I do. A man can 
going to bum down that building. 
the building burns down. But at 
here—and this is the core of my objec- 
tion to the antiriot statute—is that no 
criminal act has to be proved. In every 
other comparable statute, Federal or 
state, that Гуе come oss, either а 
minal act or an attempt to commit a 
inal act must be proved if the 
Government is to win a conviction. 
Under the language of this statute, how- 
ever, there is no such requirement, And 
that’s why I say that in the Chicago trial, 
speech and speech only was punished. 
And thar's a clear violation of the First 
Amendment. 
PLAYBOY: But criminal acts did follow 
some of the speeches by the defendants. 
There were demonstrations that led to 
property damage. 
it was. that this constitutes a ch: 
of illegal behavior—from speech with 
tent to incite a riot to the subsequent 
demonstrations that indeed, fol. 
lowed by riots? 
KUNSTLER: Actual 
агі 
vention. But in any case. there is, first of 
all, a serious question as to whether riots 
were provoked not by the speeches of 
the defendants but by the behavior of 
the police. And there is a state of Hlinois 
citement-to-riot law already on the 
books that could have been used if there 
were evidence directly tying the defend- 
ants to riotous behavior that involved 
the destruction of property. But by using 
the Federal anti-riot statute, and I keep 
underlining this. the Government could 
punish speech itsel{—along with the 
amorphous charge of “intent.” And that’s 
wl was done. Five of the defendants 
were convicted for making speeches. 
Nothing else was proved against them. 
PLAYBOY: What about the other convic- 
tions in the trial—the sentences levied 
against you and the others for contempt 
of court? Why did you open yourself to 
these charges by defying courtroom pro- 
tocol? 
KUNSTLER: All of the outbursts in the 


sue 


ouldn't it be argued 


were, 


‚ most of the speeches 


ue occurred months before the con- 


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PLAYBOY 


76 


courtroom and all of the protests made 
by both the lawyers and the clients were 
provoked by the court. I think it’s impos- 
sible to divorce the lawyer or the defend- 


from the human being; and when 
there are ultimate out 
the cou 


ges committed in 
oom by the judge, he must 
ipate a human reaction, And that's 
xactly what happened in Chicago. These 
were human reactions by tem people 
two of them lawyers, eight of them 
defendants—when provoked by a court 
that lacked all sensibility, all sense of 
fair play and due proc a court 
acting on the premise that it would do 
anything to convict the defendants— 


even sacrificing the Constitution in the 
process. 
PLAYBOY: Contradicting the impressi 


given by many reporters, 1. Е. Stone, 
biweekly newsletter, contends that 
was not until the fifth weck of the trial 
that disruptive protest began. "This w: 
when Bobby S s effort to represent 
himsell—as he had a legal right to do— 
culminated in his being bound and 
gagged and then sentenced to four years 
for contempt. while his case was severed 
for separate trial.” Was it really only at 
this point that your “human reactions” 
to the court's provocation began? 
KUNSTLER: I think Stone's analysis is es- 
sentially correct. There were really no 
disruptions of any consequence up to 
that point. And 1 would also empha- 
size that throughout the trial. the periods 
of disruption were quite slight in terms of 
the total amount of time involved. The 
trial lasted nearly five months and pro- 
ceeded quite expeditiously. The total 
per of disruptions, if added together, 
didn't consume more than perhaps three 
hours of court time. Bur it’s vue chat the 
judge’s treatment of Bobby Seale con- 
tributed greatly to the cumulative frus 
trations of all of us u led to the 
subsequent outbursts. At the start, Judge 
Hoffman had refused to grant a seven- 
nent so that Charles Garry, 
who wa ve been Bobby's counsel 
in diis case, could recover from а gall- 
bladder oper nd come to Chicago. 
This is the same judge who, only recent- 
ly, granted a six-week adjournment to а 
lawyer who wanted to go to the Caribbean 
for a holiday. A t 
til the fst wi 
But Bobby h 
to have Cha 
before the jury was chosen. 

PLAYBOY: Aside from Seales subsequent 
insistence on his right to conduct his own 
ense, wasn't there a decided disagree- 
ment a tics among some of the 
other defendants: 
KUNSTLER: No, the divisions among the 
defendants were not great. Since they 
were such highly political people, there 
were, of course, many discussions as to 
the form of te the 
nesses to be called. But all 


al doesn't start un- 
mess takes the stand. 
ating his right 
les Garry as his counsel even 


del 


bout 


mony. 


disagreements were ironed out among 
us. From the very beginning, this was a 
team defense. We had а sort of majority 
rule in effect, and T don't think any of 
the defendants felt that his own defense 
had been harmed in any way by the 
decisions reached by the team. 

PLAYBOY: Isn't your claim that this was a 
team defense. and that you were doing 
your clients’ bidding, an abdication of 
your responsibility as an attorney and an 
оћсег ol the court: 
KUNSTLER: Not necessarily. This was v 
clearly a political mial. The obligation of 
a lawyer for a defendant in a political 
trial is merely to explain to the dient 
what the law is and what penalties he 


may suffer for certain political actions 
he may take in the courtroom, Once that’s 
explained and the defendant decides on 


political defense, the lawyer's respon 
bility is to help him do just that. In 
sentencing me for contempt, Judge Hoff- 
man pointed out that I had never pub- 
lidy admonished the defendants пог in 
any way called them to task for what 
they were doing in the courtroom. He was 
right. 1 hadn't, But as I told him then, 
and I tell you now, I don't think it is 
my responsibility in a political trial to 
do that. 

PLAYBOY: But as an attorney, di 
ad 


you 
ise them privately of the possible 
heir courtroom behay- 
knew what they were 
letting themselves in for? 

KUNSTLER: We were all aware of possible 
conten tions, as you can sec by 
reading what Len Weinglass, the other 
defense attorney, and I often said dur- 
ng the trial. We did talk with the defend- 
ants after outbursts took place as to what 
ıt they 
t try to suppress 
tions as human beings 
to outrages against them and their fam. 
ilies and friends in the courtroom. And I 
certainly wasn't about to advise them to 
пу to prevent themselves from reacting 
spontaneously to those outrages. If a 
lawyer feels that certain tactics by а de 
fendant violate his own principles, he 
fee to resign from the case. But if a 
nd I refer to myself in Chicago 
the defendant is doing 
nd ethically right, he should 
remain in the case, without urging one 
course or another. 
PLAYBOY: Isn't 


the consequences might be. H 
agreed that they wouldr 
their natural 7 


he duty of а lawyer 
to таймай ain independence from 
his client. rather than to totally identify 
himself with him? 

KUNSTLER: Again, I must emphasize that 
in a political trial, where the intent is to 
punish a defendant for his thoughts. my 
conception of a lawyers obligation is 
that he must join with his client i 
presenting a political defense: that he 
should, in effect, be the political agent of 
his dient in the courtroom. This 
to say that I kept all my own opinions to 


c 


myself during the case. I took part in the 
debates with the defendants. I had 
qualms about certain witnesses they 
wanted to call, feeling they might have 
an extremely adverse elfect on the jury. 
But the majority wanted them, and those 
witnesses were called. In retrospect. I 
now believe the defendants were right in 
putting on every witness they called. You 
see, in the beginning. I didn't think it 
was possible to educate а jury from mid- 
dle America about the legitimacy of life 
styles so different from their own. 1 didn’t 
think it was possible to sway them by 
utilizing witnesses who would talk about 
sex and dr 1 the like, But as a 
result of the tial. I now sce that it is 
possible. Four members of that jury—al- 
though eventually compromised. 
their views—were evidently educated 
enough by these witnesses to find the 
defendants innocent of all the charges 
against them 

PLAYBOY: Was it the life styles of th 
wimnesses—and of the defendants—that 
impressed those four jurors? Couldn't 
they simply have felt there was insul- 
ficient evidence to find the defendants 
guilty? 

KUNSTLER: 1 think it was a combination 
of both factors. Those four jurors were 
impressed, it seemed to me, by the hon 
esty of the defendants in not trying to 
mute or conceal their life styles, and they 
alo found the prosecution's case very 
weak. But I do believe that the life styles 
of the defendants—and of such witnesses 
as Tim Leary and Allen Ginsberg—were 
vital factors in the trial. The jury was 
exposed to wholly new ways of life, which 
included “forbidden” words, drugs, sex 
outside of marriage. 


they 


a jurors—and 
who knows how many other people fol- 
lowing the trial at home?—beg: 
that е der world than they 
«d of before. 
PLAYBOY; What about the other ei, 
jurors? 
KUNSTLER; 
the defend. 
must have been ina 
the more found 
wider world. But we did r 
that’s a pretty good percentage; 3314 
percent of the jury was educated to that 
point a came through the tial 
with respect for types of life styles 
other than their own. I think we did edu 
cate that. part of the jury and, through 
the media, a large segment of the Amer- 
ican population as well. 

PLAYBOY: Though you emphasize your 
“conversion” of a third o the jury, five 
of the seven defendants were unanimous- 
ly convicted on counts serious enough 
to bring them sentences of five y 
jail and fines of 55000 each. That's hard- 
ly an effective conversion. 

KUNSTLER: The foreman of the jury epito- 
mized what happened when he said the 
jury had compromised. After all, that's 


1 to sense 


Well, 
ants from the beginni 
asingly turned. off 
about this 
h four, and 


hated 
and 


some of them 


they out 


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PLAYBOY 


78 


the American way of doing things. By 
contrast, the defendants refused to com- 
promise. They laid it all out for the jury 
—their life styles, their politics, every- 
thing about themselves. The jury resort- 
ed to the American desire not to stand 
on principle but to blur principles so 
that they become indistinguishable. Here 
were four jurors believing the defend- 
ants innocent of all charges and eight 
believing they were guilty of all charges. 
So the 12 men and women bartered their 
own dignity and their principles for the 
sake of a compromise. 

PLAYBOY: Tom Hayden said afterward, 
“If we had had a jury of our peers, we 
would have walked out free.” Doesn't 
that imply that the defendants would 
have had to be tried by a jury of young 
revolutionaries? 

KUNSTLER: I don't think "Tom's point can 
be handled that simplistically. In ту 
view, a judgment by your peers means 
а jury composed of people with some 
affinity to you by age, by occupation, 
by background. In this situation, that 
would mean not just young revolution- 
aries. The law, in any case, has never in- 
terpreted "peers" in the way I've just 
described. It says, in essence, that. peers 
means a jury drawn from the community 
in which the crime is supposed to have 
taken place: and it’s only recently that 
the courts have added that such a jury 
should include at least a representative 
cross section of that community. Unfor- 
tunately, despite the courts’ pronounce- 
ment on this, jurics never do indude 
representative cross section of а commu 
nity. The process of selection is such that 
if the tclephone book or the voting rolls 
are used, people who don't have a tcle- 
phone or don't vote excluded. 
Furthermore, you rarely—if ever—sce 
Yippies on а jury. And black represen- 
tation is very small. In our case, we had 
а panel of 300 prospective jurors, all of 
whom looked pretty much alike and all 
of whom probably thonght pretty much 
alike on basic issues. With that narrow 
a choice, we could only have gotten the 
kind of people we finally obtained. 
PLAYBOY: In all the speeches you've made 
about the trial, your main target has 


are 


becn not the jury but Judge Hoffman. 


And in this interview. you've accused. 
him of being responsible for provoking 
the outbursts in the courtroom. In your 
estimation, if there had been a judge 
who had acted less provocatively than 
Judge Hoffman, would the trial have 
taken a diferent course? 

KUNSTLER: I think the trial might have 
taken a very different turn if there had 
been another kind of judge. But from 
the point of view of the political educa- 
tion that we intended as a vital t of 
the trial, Hoffman was the best judge we 
could have had. His total lack of sensi- 
bility, his total lack of a sense of public 
relations, his total commitment to the 


conviction of the defendants all made 
him commit not only legal errors but 
also errors in the arca of public opinion. 
And it was these errors which helped 
gain the defendants so much public sup- 
port, particularly among the young. An- 
other judge—let us assume a much fairer 
judge—would perhaps not have enabled 
the defendants to present as dramatic 
and convincing a case as they did to the 
general public. But no matter who the 
judge was, the defendants would have 
wied to focus on the war in Vietnam, on 
the issues of racism, poverty and youth 
culture. And they would have run right 
into the terribly binding strictures of 
rules of evidence, which were not made 
for political trials but rather for such 
crimes as, let us say, supermarket 
robberies. 

PLAYBOY: Is there any way what you call 
a political trial could be a [air trial? 
KUNSTLER: We might follow the example 
of an experiment going on in one of 
the Scandinavian countries, where, if a 
defendant believes he has been charged 
with a crime solely because he's active 
politically or has certain dissenting 
thoughts about government policy, he's 
tried in а separate court, where he may 
put into evidence all the reasons he has 
for believing he's being politically prose- 
cuted. ‘The government may respond by 
uying to prove that it’s not prosecuting 
him for his politics but solely for the com- 
mission of a crime. If the court finds the 
ment's proof convincing, the de- 
nt is then tried on a criminal charge. 
A problem with this concept, of course, is 
that the court appointed to hear whether 
the crimes are actually political is ap- 
pointed by the same system that brought 
charges against the defendant in the first 
place. Bur this is at least a 
recognition of the fact that true political 
trials cannot be conducted within the 
strictures that apply to ordinary criminal 
trials. 

PLAYBOY: In handling the Chicago trial as. 
a political trial as you admit you did, 
weren't you doing a disservice to your 
clients by allowing the legal questions in 
the case to be blurred by the political 


innovation 


questions? 
KUNSTLER: It would have been possible to 
narrow the defense to the legalities. 


Т could have taken the traditional civil 
liberties approach that my purpose as an 
attorney was to prove that the statute: 
under which the defendants were indict- 
ed are unconstitutional and that some of 
the procedures involved in the trial itself 
were also unconstitutional. We could 
have ignored the political aspects of the 
case and trusted the appellate courts to 
eventually overthrow the anti-riot statute 
and overturn some of Judge Hoffman's 
rulings in the trial. But if we had taken 
that approach, we would have demon- 
strated our ignorance of the fact that this 
was a political trial. 


s а 


PLAYBOY: Whatever the nature of the trial, 
isn't the point to win? Or, in this case, 
could you win only by losing? 

KUNSTLER: If you can win, you ought to 
win. But in view of the nature of the 
defendants and the political issues they 
felt it essential to bring into the case, the 
decision had to be made as to what kind 
of defense ought to be conducted to 
most clearly expose the tial for what it 
‘as and to most clearly illuminate what 
the defendants stood for. At the begin- 
ning of the trial, the defendants, Len 
Weinglass and I discussed three possible 
courses of action. We could conduct a 
straight criminal defense, doing every- 
thing to win, including having the de- 
fendants cut their hair, wear suits, act 
decorously at the defense table and avoid 
any speech or action that might antago- 
nize the jury. A second possibility was 
for the defendants to remain themselves, 
try to convey their philosophy and try 
to get into the underlying issues of the 
case. The third possible course of action 
to forget about winning entirely—to 
act as uproariously as possible and to 
deliberately make a farce of the judicial 
process, Despite the fact that we've been 
accused of following the third course, the 
defendants actually chose—and pursued— 
the second. 

They did want to win, but they also 
wanted to make clear the essential rea- 
sons they had come to Chicago in Au- 
gust 1968: ro protest the war, racism and 
poverty and to affrm their own life 
styles. If you read the transcript, you'll 
sce that we did try to make these reasons 
clear without overlooking the strictly le- 
gal defenses open to us. The defendants 
remained true to themselves and we, the 
lawyers, did attack the constitutionality 
of the anti-riot statute and the conspiracy 
charge. We tack the wire tapping 
by the Government. We did attack the 
rulings of the judge. We made many mo- 
tions for а mistrial. And we were trying 
to build a record for the appellate courts 
that could make it possible someday for 
the convictions to be set aside. We did 
feel, however, that convictions, 
а hung jury, were likely, becau 
a middle-class jury. 

PLAYBOY: Didn't you virtually ensure that 
this middle-class jury would be alienated 
and would find the defendants guilty be- 
cause of the way you and they acted in 
the courtroom? 

KUNSTLER: We didn’t fry to alienate the 
jury. Our intent was to educate them, 
but without giving up our own integrity 
of belief and of life styles. That was an 
important element of the trial. These 
men were not ashamed of their beliefs nor 
of their life styles. Quite the contrary. 
Convinced that they were being perse- 
cuted—as well as prosecuted—for their 
political beliefs, they were determined 
to stand and fight. In Dave Dellinger’s 
phrase, they were not going to go quietly 


at best 
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80 


to the gas chambers. And although vic 
tory seemed unlikely before that jury, 
the defendants didn't abandon all hope 
of it. They were trying to win. They 
weren't trying to antagonize the jury. 
PLAYBOY: Even New York Times reporter 
Anthony Lukas, who was quite evidently 
sympathetic to your side, noted th 
despite your assertion that neither the de- 
fense counsel nor the defendants violat- 
са courtroom procedures, “Some of the 
sentences were undoubtedly deserved: 
five days to Abbic Hoffman for shouting 
at the judge: ‘You're a disgrace to the 
Jews, nd four days to Dave Dek 
ger for saying: ‘You're acting like a 
fascist court. 
KUNSTLER: I'm poing 10 go out on a limb 
and say that 1 don’t think any of the 
contempt sentences were deserved. These 
defendants are articulate, easily moved 
by events around them and enormously 
concerned with the fate of their fellow 
men. Accordingly, Judge Hoffman, by 
creating so repressive an atmosphere in 
the courtroom, laid himself open to even 
those comments that Tony Lukas felt 
were deserving of punishment. It was 
hard to sit in that atmosphere day in and 
day out and not react as the defendants 
did. 

Dave Dellinger, for example, was giv- 
en a sentence of five months for using a 
barnyard epithet” in the ceurtroom. He 
said, “Bullshit.” Now, ordinarily, no law- 
yer would say that "bullshit" is a proper 
thing for a defendant to say in a court- 
room. But let's put that event in its 
proper perspective. Here is Dave, a life- 
long pacifist, a man used to controlling 
his emotions in many tight situations 
But at this trial, for a whole month 
before he exploded, Dave had heard 
Government witness after. Governmei 
ss take the stand and lie. On this 
r day, he was listening to a 
witness tell а demonstrably gross 
hood, and his response was proper. It 
was not purt of a plan of “disruption” it 
came from Dave Dellinger’s gut. 
PLAYBOY: Wouldn't have been more 
effective—and less harmful to your client 
—И you had raised an objection to that 
testimony or cross-examined the witness? 
KUNSTLER: We did cro: е the wit- 
ness. And we would have done that even 
if Dave hadn't reacted as he did. But my 
point is that his reaction was from the 
gut; it was spontaneous. ] understand 
that the tapes of the trial are being made 
into a set of records, and anyone who 
listens to the complete testimony in the 
courtroom will have a much clearer sense 
of what went on. Acually, this was а 
case that should have been televised. 
PLAYBOY: Then you agree with Jack 
Gould, The New York Times's television 
aitic. who commented: “One certainly 
need not argue with the contention of 
. that if the Chicago trial 


had been televised live, the reaction 
might well have been inflammatory. 
KUNSTLER: Exactly. So often, Judge Но 
man's inflections ridiculed the defense 
or would support a Government point in 
an approving tone that cannot be sensed 
through the cold print of an appellate 
record. He would ask the court reporter 
to repeat words like "vomit" or “erotic 
that could hardly help the defendants. If 
we failed anywhere, it was in not point- 
ing out every single incident of that 
nature. One thing we did point out so 
that it would get into the appellate rec 
ord was the judge's method of reading 
the indictment to the prospective jurors. 
I compared it to Orson Welles reading 
the Declaration of Independence. And 
some of the jurors who were later ques- 
tioned confirmed that they had been com- 
pletely turned against the defendants by 
the judge’s inflections in his reading of 
the indictment. 

‘There were other examples of his be- 
havior which television would have docu: 
mented clearly. When we were summing 
up Ior the jury, for instance, he would 
appear to be sleeping or, at best, uninter 
ested. But when the prosecution was 
summing up, the judge was perched on 
the edge of his ch: ng on ten- 
ing intently to every word, so as to give 
the impression that what the prosecution 
was saying was much more important 
than anything the defense attorneys had 
said. This type of behavior occurred 
throughout the trial, and I believe it had 
dramatic effect on the jurors in terms 
of the way they reacted to the defend- 
ants and to the merits of their case. 
PLAYBOY: One would think that kind of 
behavior would have reflected on Judge 
Hoffman rather than on the defense. 
Was the jury so gullible as not to have 
seen what appears to have been the 
judge's clear bi 
KUNSTLER: I think the four jurors who 
turned out to be more fayorable to 
our side did sce it. As for the others, as 
some said alter the trial, they started 
with the viewpoint that it was unthink- 
able that a Federal judge, being a man in 
a very high position, could be unfair 
But I wouldn't be surprised if even some 
оГ them had doubts as to his fairness by 
the end. 

PLAYBOY: So far, you have implied that 
all virtue in the Chicago tial was 
manifested by the defendants and their 
counsel, while the other side was invari 
ably and perniciously unfair. Ye 
York Times editorial claims that you a 
the defendants chose “to turn the trial 
into a chaos of deliberate insults and pur- 
poseful disruption. 
KUNSTLER: With this trial, as it does with 
most issues, The New York Times con- 
sistently adopted what I term the hall 
loaf theory On the one hand, it 
condemned as an ultimate outrage the 
failure of Judge Holtman to allow Ram- 


sey Clark to test the case. Yet 
condemned the defendants for creating 
what it called chaos. Like most Ameri 
cans, The New York Times lives in а 
dreamworld. It's somehow able to sec in 
what is so obviously a. political trial an 
opportunity to create legal precedents 
while, at the sume time, it denies these 
defendants the very human quality of 
respon to provocation. It's not 
enough to say that the judge is a terrible 
judge but that if you trust the judicial 
System, you will eventually be vindicated. 
PLAYBOY: On what basis do you draw that 
condusion? What about the Warren 


Court and its series of decisions that 
showed the judicial system сап be 
trusted? 


KUNSTLER: We are, first of all, no longer 
in the time of the Warren Court. The 
present Supreme Court is moving in а 
conservative direction, and it’s likely to. 
become even more so as more Nixon 
appointees join the Court. Furthermore 
the system teels especially attacked and 
threatened now, and in such a time the 
judiciary—which represents the system— 
reacts with hostility to political defend 
ants, I's only when the contradiction 
between official action and the law 
especially gross that the courts can still 
be trusted. But when more subtle issues 
are involved—like the prosecution of 
people for political reasons under the 
ац Ot statute—the courts cannot be 
counted upon. So the defendants in Chi 
cago didn't believe it was their obliga 
tion to remain silent and decorous on 
the assumption that the Supreme Court 
would eventually dedare the anti-riot 
stature unconstitutional. The defendants 
didn't see it that way 

PLAYBOY: But by appearing for trial and 
conducting a defense, you submitted to 
the judicial system. And now you may 
well wind up in jail without havin 
tested the constitutionality of the anti 
riot statute. 

KUNSTLER: But we did attack the constitu- 
tionality of the antiriot statute, and 
thats one of the main points of our 
appeal. Admittedly, there is no guaran 
tee that the higher courts w address 
themselves to the constitutionality of the 
statute, but our arguments against it are 
very much part of the record. We weren't 
there just to get ourselves incarcerat 
ed. Since the Government, by bringing 
this case to trial, was trying to intimidate 
free speech and those who hold politcal 
and social views similar to the defend. 
felt it was their responsibility 
to make people aware of the political 
issues involved. to expose the vindictive 
ness of the system, rather than merely to 
lay the groundwork for the testing of а 
patently unconstitutional law 

PLAYBOY: Do you think they succeeded in 
that goal, or did they alienate more 
people than they politicalized? 
KUNSTLER: Theres no question in 


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82 


mind that many, many people were politi- 
calized by the trial. The response that 
the defendants and I have had at col- 
leges throughout the country since then 
attests to that. And not only the young 
have been politicalized. I've addressed 
many groups of older people who were 
clearly stimulated by the trial to look 
more deeply into the underlying forces 
for repression in Government that led to 
the trial. 

PLAYBOY: On onc hand. you've been siy- 
ing that the defendants were reacting 
spontaneously to provocation. But a mo 
ment ago. you said that their purpose 
was to "expose" the system. Which w: 
it? 

KUNSTLER: As I. F. Stone said, it wasn’t un- 
til the trial was five wecks old that the 
defendants began to react, because by 
then it was so utterly clear how po 
a trial this was. And even then, 
reactions were natural, human response: 
І don't remember a single instance in 
which any defendant castigated the judge 
merely for the sake of doing that as part 
of some plan. Each outburst was related 
10 a specific occurrence in the court at 
the time. I's simply untrue to say—as 
many, particularly newspaper editorial 
writers, have—that they coldly and with- 
out provocation tried to force judicial 
error. 

PLAYBOY: Are you saying that those edito- 
rial writers were lying or just stupid? 
KUNSTLER: Editorial writers are an inter- 
esting breed. They write from second- 
and thirdhand knowledge. As far as I 
know, the men who wrote those editori 
als never spent any time in the court- 
room. As for the Times, Tony Lukas has 
complained that most of what he wrote 
never saw print, and the editorial wri 
on that paper admitted to Jack Newfield 
of The Village Voice that they don't read 
the raw files of their reporters. They 
base their editorial comment only on 
what's published in their newspaper, and 
1 think that's а very unfair way to write 
editorials. I think editorial writers have 
а great deal to learn about how to trans- 
late into a newspaper's official voice what 
goes on in areas where they have to rely on 
the reports of other men—particularly 
when they don't use, or even see, the full 
reports of those other men. In a way, the 
newspaper editorials were predictable 
because most of the press is part of the 
establishment and much of what went 
on i as a clash be- 
tween the free and open youth culture 
and the rigid “respectability” of the 
establishment. 

PLAYBOY: In that connection, Lukas 
wrote that the defense and the prosecu- 
tion tables "seemed locked in a battle 
between ‘sex and sterility—the struggle 
did have its sexual overtones.” Do you 
think that was true? 

KUNSTLER: It's a valid point. The two 
tables—defense and prosecution—were 


two worlds, near each other but not 
touching and probably not understand- 
ing each other. The prosecution table 
was always manned by four men dressed. 
like those lugubrious gentlemen in fu- 
neral parlors who wear dark suits, dark. 
ties and white shirts. All looked as if 
they had their hair cut twice a week. 
They were the personification of what 
you would expect of Government prose- 
cutors, FBI agents and the 


were wheeled in on a liule coaster every 
day. Nothing was out of place. Not a 
hair, not a paper and, I presumc—if you 
looked into their minds—not a thought. 
‘They presented an air of somber sterili- 
ty. When the jury entered the room, 
the gentlemen at the prosecution table 
would all stand as if in unison, facing 
exactly the same way, looking for all the 
world like a small coterie of soldiers as a 
commanding general entered. Our table, 
however, was a symbol of joy, life, clut- 
ter. It looked as if it needed a good 
housekeeper every day. At one time, you 
might find jelly beans sprawled on it, or 
marijuana sent by admirers and deliv- 
ered through the courtesy of the judge's 
bailiff. 

PLAYEOY: Didn't it occur to you that if 
the marijuana you were keeping on your 
table in the courtroom were overed, 
you could all have been sent to prison 
on a drug charge? Wasn't that a juvenile 
abrogation of responsibility on your part 
as defense counsel—making yourself and 
the defendants vulnerable to arrest for 
possession of marijuana while scrious 
sues were ei 
KUNSTLER: J don't think the situation was 
nearly as grave or as dangerous as you 
put it. We did keep the marijuana hid- 
den under a copy of the Berkeley Barb, 
though not entirely hidden. It was there 
to emphasize the ridiculousness of the 
mariju laws themselves. The defend- 
ants don't believe that these laws make 
nse, so having the marijuana there 
was another expression of tlieir life style. 
It was also a burlesque, а way of laugh- 
ing at what was going on in the court- 
room. You can be serious about serious 
issues and still laugh once in a while. It 
all part of the ambiance of our 
ble. There w so, for instance, h; 
sent in response to a plea at the b 
ning of the trial for hair for Jerry and 
for Julius Hoffman—to Jerry because his 
hair had been cut in jail, and to the 
judge because age had taken whatever 
top covering he ever had. Also on our 
table were newspapers, both under- 
ground and overground, a Viet Cong 
flag, an American flag, articles of cloth- 
ing, books. 

It was the only defense table in the 
history of American justice where there 
was daily mail call both in the morning 
and in the afternoon, and where the 


letters and the comments in reaction to 
the trial were left sprawled all over the 
table. Our table was an unholy mess, but 
it certainly represented a different ap- 
proach to life than the prosecution's 
ble did. It was surrounded by two law- 
yers and eight defendants—until Bobby 
was removed—all of whom dressed in a 
different style. There was Jerry in a 
sweater, Abbie in black judicial robes, 
John Fr boots and an open 
shirt, Tom Hayden in a polo shirt, Lee 
Weiner in dals and beads, Dave Del- 
ger always in a sports coat 
colored shirt. And Leonard Weinglass 
and I dressed somewhat more flamboy- 
nily than our Government counterparts. 
PLAYBOY: But there was a substantial dif- 
ference between you апа Weinglass. Ac- 
cording to one account of the trial, “Bill 
Kunstler was decidedly the ‘Yippie law- 
yer’ a naturally flamboyant man who 
was generally willing to carry through 
the most outlandish courtroom gambits. 
Leonard Weinglass, on the other hand, 
was the intense work horse of the defense, 
meticulous in his legal research and 
preparation, reluctant to be cast in a 
theatrical role.’ 
KUNSTLER: There is some truth to that. T 
didn’t, however, look upon myself as a 
Yippie lawyer.” although I did begin to 
let my hair grow during the trial and 
have since become accustomed to its re- 
maining long. As it turned out, I | 
dled most of the Yippie witnesses during 
the trial, while Len was usually more 
identified with the New Mobilization 
witnesses, the more political witnesses. I 
must say that Len was the law man 
behind the case. He was deeply involved 
h the fact finding and with applying 
various elements of the law to the facts 
we uncovered. He prepared the case and 
he knew the facts of what happened in 
‘hicago more thoroughly than any other 
man in the courtroom. My role was 
different, 
PLAYBOY: In what way? 
KUNSTLER: While Len did the fact fin 
he and I split the crossexamination work. 
and I also was involved in the legal work 
on the various motions we made. In terms 
of our presence in the courtroom, we 
complemented cach other. For instanc 
п the summation for the defense, Len 
the factual part and I did the more 
emotional part which the defendants 
were placed in the context of tlie present 
ses in the country, as well a the 
context of histor 
PLAYBOY: While no one questions your 
sincerity or dedication, some lawyers 
have questioned the degree of your com- 
petence as an attorney. Your arguments 


sc а 


have been characterized by your critics as 
an profound; you 


being more facile th 
have been accused of insuffi 
ration of your 
‘strate cross-examiner. 


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PLAYBOY 


84 


own selfappraisal? Do you think you 
did the best job possible for your clients 
in Chicago? 

KUNSTLER: Well, as far as my being pre- 
pared is concerned, I like to be as pre- 
pared as I can. But there are moments 
when I realize that because of the pres- 
sure of time or the shortage of research 
facilities, I don't have everything I'd like 
to have with me for a particular argu- 
ment, for the filing of a motion or for 
other aspects of conducting a case. With 
regard to my skill at cross-examination, 
that's hard for me to judge. I don't think 
it would be very dignified of me to pre- 
sume to assess the quality of my own work 
in that respect. ГЇЇ have to let the trans- 
cripts of this and other trials in which 
Ive been involved speak for themselves. 
1 do think I did the best I could in Chi- 
cago. But, again, I couldn't have done it 
without a colleague of the quality of Len 
Weinglass and without the scores of 
young people who did so much of the 
necessary research. 

PLAYBOY: What were your impressions of 
the Jawyers on the other side—United 
States Attorney Thomas Foran and As- 

nt U. S. Attorney Richard Schultz 

KUNSTLER: In the beginning, 1 didn't 
know what to expect of either. I remem- 
bcr speaking to Mr. Schultz on the tel 
phone and having а very hard time with 
him ananging а date of arraignment, so 
that we could get all the defendants 
together. Then I observed him during 
the trial. He's а young man out of law 
school, I would guess, only six or seven 
years. І quickly realized that he saw in 
this case an opportunity to make a name 
for himself and to use that reputation as 
the basis for a rapid risc in whatever 
area of the law he prefers. I had a differ- 
ent assessment of Mr. Foran. For him, 1 
think the case represented a juicy plum 
from Mayor Daley. He had worked for 
the mayor for many years and I think he 
saw a way to secure his future by his 


performance in this trial. He's an older 
man than Schultz, and I expect that his 
ambi to secure something quite 


substantial. Ata fund-raising dinner after 
the trial—where he was photographed 
with his arm around Judge Hoffman— 
he announced that he was thinking of 


running for governor of Illinois, а post 
he couldn't possibly win without Daley's 
enthu: support. 

PLAYBOY: What was your reaction to the 
post-trial speech Foran made before 
the Loyola Academy Boosters Club. the 
speech in which he said that all but 
one of the defendants—Bobby Seale— 
were fags and that "We have lost our 


kids to the freaking fag revolution"? 

KUNSTLER: I thought he was either drunk 
or that he was carried away by his audi- 
ence. Another possibility, and I regard it 
as а serious one, is that Foran was deeply 
hurt by the outcome of the case. That is, 


he was so disturbed by the app: 
success of the defendants in reaching 
large numbers of the American people 
that he lost all perspective and wanted 
to destroy the defendants by what he 
considered the most horrible of charges— 
that they were homosexuals. 
PLAYBOY: Your cxchanges with Judge 
Hoffman were even less cordial than 
those with Foran. And yet, at the very 
end of the trial, you said, “Your Honor, 1 
suddenly feel nothing but compassion 
for you. Everything else has dropped 
away.” What aroused this sudden feeling 
of pity for your chief adversary 
KUNSTLER: That feeling came to me 
istened to him discuss why he was going 
to sentence me to such а long term for 
contempt. He said he thought that the 
creasing crime rate in the United 
States if it d, increasing — 
result of there being lawyers like myself. 
These were his exact words: "It is due in 
large part to the fact that waiting in the 
wings are lawyers who are ng to go 
beyond, to go beyond professional re 
sponsibility, professional rights and pro- 
fessional duty in their defense of a 
defendant, and the fact that a defendant 
ог some defendants know that such a 
lawyer is waiting in the wings, I think, 
has a rather stimulating effect on the in- 
crease in crime," Hearing this, I recog- 
nized that he was trying desperately to 
justify and sustain his actions by resorting 
to an argument that was incomprehensi. 
ble to anyone inside or outside the court- 
room. And it was then that I realized that 
this was just an old man talking, an old 
n whose time had passed. 
PLAYBOY: For all your conflicts with Judge 
Hoffman, there were times during the 
when you actually seemed to enjoy 
bantering with him. 
KUNSTLER- І agreed with Dave Dellinger 
that Judge Hoffman had а certain spun! 
ness to him. And speaking of him as 
a man, he t with a certain 
amount of spark; and, accordingly, I tried 
to respond to his quips in ways that 
would top him if 1 could. I knew he 
enjoyed this type of intellectual badi 
nage in 
himself a master at it, so I found it 
cresting to cross swords with him 
when it was convenient and feasible to 
ample, at one time I was 
g a witness about the odor of 
a stink bomb—actually, it was a hit of 
Kleenex soaked with some butyric acid 
the Palmer House during the con- 
vention. As J recall, 1 asked the witness 
whether it smelled like Chanel No. 5. 
The judge turned to me and asked, "Is 


inde 


did те: 


the courtroom and considered 


do that. For ex 
question 


that what you use, Mr. Kunstler?” It was 


apparently an allusion to the homosex- 
wal allegations Mr. Foran was making 
about our table as a whole. I thought for 
moment and sa No, your Honor, 
I'm a Brut man." I had just received a 


bottle of Brut after-shave lotion from my 
wife. Well, that topped him. It was 
good riposte and I enjoyed doing that. 1 
did that sort of thing many times 
Occasionally. the judge would come out 
on top, because he's a bright man and 
has a certain amount of wit and at times 
even a certain amount of charm. 

PLAYBOY: Rennie Davis wasn ing 
about his charm when he said, "Judge 
Hofiman presides in every court in this 
country.” Do you think there's any truth 
to that bit of hyperbole? 

KUNSTLER: That is similar to the slogan 
on one of the buttons Jules Feiffer cre- 
ated for the trial. Under a caricature 
of Judge Hoffman was the line, wHEx 
YOU'VE SEEN ONE JUDGE, YOU'VE SEEN 
THEM ALL. While I don't believe Hott- 
man is the prototype of every Federal 
or state judge in the country, I recognize 
what Jules and Rennie were driving at. 
When the system is being attacked, even 
the most liberal judge feels that he must 
defend it—a system which. of course, 
creates and nurtures all the judges. So 
when a judge fecls that the system is be- 
ing seriously threatened, he sometimes 
takes drastic methods in the courtroom 
that violate either the Constitution or 
certain moral principles. Rennie's state 
ment and Juless slogan mean that under 
these circumstances, when the system feels 
beleaguered, the court—in the person of 
the judge—will respond anner di 
vorced of all sensibility and of all the tra- 


ditional maxims and shibboleths which 
supposedly regulate the administration 
of criminal law. In that sense, all judges 


are alike, even though they may have per- 
lities far different from Judge Holi- 


things, by Bobby Seale, Do you 
nother judge would have 
more likely to allow such ati son him- 
self without taking punitive measures, 
as Hoffman finally did against Seale? 

KUNSTLER: Even in those specific in- 
stances, I don't think it inevitable that 
all other judges would have provoked 
ion in which Seale found him- 
all judges are not 
necessarily alike. Another judge might 
have said, “All right, Mr. Seale, you may 
defend yourself” What happened in the 
Chicago trial was that Judge Hoffman 
constantly refused to permit Bobby to 
defend himself. because he was afraid 
that if he did, Bobby's techniques—be- 
cause of his unfamiliarity with the law— 
would have put error into the record 
that would have eventually caused а re- 
versal of the convictions of the defend- 
ants. I think, as I've said, that Judge 
Hoffman was predisposed to have the 
Government win this case, and allowing 
Bobby Seale to defend himself might 


been 


GET A LEG 


PLAYBOY 


86 


have posed an obstacle to that goal. If, 
however, Judge Hoffman had allowed 
Bobby to defend himself, a lot of the 
disruptions would never have taken 
place and he would never have been put 
in the position of calling the judge 
the names he did. If you look at the 
record of the trial. whenever Bobby 
Scale used such words as st, 
ist" "pig" he always preceded them 
with the word "if" For instance, “If you 
don't let me defend myself, you are a 
fascist, racist, pig.” and so on. I think it's 
very important to remember that Bobby 
wasn't using these epithets out of the 
blue but was specifically relating them to 
the refusal of the judge to allow him to 
defend himself. And that. I think, is a 
considerable distinction to keep in mind. 
PLAYBOY: Why was Bobby Seale so op- 
posed to letting you defend him. Did he 
doubt your adequacy? 

KUNSTLER: His refusal to have anyone but 
Charles Garry as his counsel was based 
on a very strong matter of principle. 
[t he lawyer he knew and trust- 
ed nd he felt it was his 
right to have the counsel of his choice. 
PLAYBOY: Then why did you file a notice 
of appearance for Seale as his attorney? 
KUNSTLER: It was the only way ] could 
get 10 see him before the tial began. 
ked me to see Bob- 
by, who had been held incommunicado. 
for seven or eight days while he was 
being taken by car from California to 
cago. lt was necessary for someone 
to get to sec Bobby. As a lawyer, and in 
response to Garry's request, I therefore 
filed a notice of ‘ance in order to 


И 


t ys before 
the trial opened and then again when it 
began. Bobby made it very clear that 


he didn’t want to go with any lawyer 
but Garry, and I thereupon informed the 
court that I was not Mr. Seale’s law 
Bobby then made à motion to have him- 
self declared his own attorney. The judge 
denied that motion and kept insisting 
throughout the trial—on the basis of the 
technicality that I had filed a notice of 
appearance—that ] was Bobby's lawyer 
even though Bobby had, in fact, dis- 
charged me. And it was this insistence by 
the judge that Jed to Bobby Seale's pe 
istent speaking out for his rights in court 
until he was bound and gagged. 

PLAYBOY: A number of radicals, particu- 
larly black militants, have criticized. you 
and the defendants for going on with 
the trial after Scale. had been bound 
and gagged. 

KUNSTLER: Well, I think if we had that to 
do over again, perhaps we would refuse 
to participate any further in the trial. In 
that sense, we may well have failed Bob- 
by Seale. When he was bound and 
gagged in front of us—with the terrible 
symbolic implications of that act being 
perpetrated on a black man, when you 


recall the chains used on the slave ships 
that originally brought black men from 
the coast of Africa to the colonies—I 
think at that point, none of us should 
have gone ahead, The lawyers should 
ive brooked contempt and the clients 
should have chanced the revocation of 
their bail and the imposition of cor 
tempt sentences. I think that was one of 
those crucial moments in the lives of all 
of us when we didn't live up to what 
history demanded of us nce then, 
I've regretted the fact that I didn't say T 
wouldn't continue the tial until the 
was removed and the chains were tà 
off. And I believe the defendants feel 
that way, too. Our only justification is 
that Bobby insisted that we continue. 

PLAYBOY: What was your justification for 


continuing alter Seale was removed from 
the trial? 
KUNSTLER: That was another 


That decision by the judge 
strong a provocation as the ultimate in- 
dignity of the gag and the chains, I still 
h the tactic we did take upon 
Bobby's removal from the c; We went 
ahead, because by doing that, we felt 
we would be helping Bobby by win- 
ning what we could in the trial. And we 
did win a very important point, becu 
no conspiracy was proved among the 
seven defendants. That count was thrown 
out by the jury. So now it would be dif- 
ficult to imagine Bobby Seale being tried 
for having engaged in a conspiracy with 
himself. 

PLAYBOY: But he can be tried on the 
charge for which five of the defendants 
were convicted—the intent to incite a 


is an attempt to punish the exercise of 
free speech. And I think we ought to go 
more fully into the whole question of 
free speech аз it pertained to the Chica 
go trial. The trial, for one example, was 
replete with police informers, undercov- 
er agents who dressed Ц 
coln Park and elsewhere 
the use of paid FBI informers, some of 
whom came from the media, such as a 
San Diego television reporter and a New 
York photographer. The introduction of 
testimony by these undercover agents 
and informers, in this and other Govern- 
ment trials, is a direct assault on free 
speech. 

PLAYBOY: Do you bel 
mony by undercover 
on free speech? 
KUNSTLER: The use of such testimony is 
not only an assault on free speech—the 
First Amendment; it’s also an assault on 
the right of privacy—the Fourth Amend- 
ment. My po: 
fied on the face of those two sections of 
the Bill of Rights. If your exercise of free 
speech is later to be used against you by 
a man who hasn't identified himself ini- 


eve that all te: 
nts is an assault. 


tially as a police agent. that’s а clear viola- 
tion of your First Amendment. rights. 
Obviously, it has a chilling effect on the 
expression of speech. And, lurthermor 
when an undercover agent is slipped in 
ostensibly to work with any organization. 
—from the Yippies to the Elks—he's 
dearly invading the privacy of everyone 
else concerned. It was Oliver Wendell 
Holmes who called it a dirty business for 
any government to slip people into or- 
ganizations and have them later report 
on those who have trusted them as real 
members of those organizations. In the 
Chicago trial, we had several people of 
this kind, and they were the most despi- 
cable of witnesses. First of all, in terms of 
the evidence they give, they cannot be 
trusted, because they're saying what their 
employer wants to hear, An 
elective way to refute them. All you cin 
say is that they are lims. But they're 
speaking with the authority of the Gov- 
nment, and [ew jurors will believ 
that. spokesmen for the Government are 
liars. 
PLAYBOY: You say that no testimony by 
ndercover agents should be admitted 
evidence. But in Chicago, some of 
these witnesses simply testified as to what 
they heard during public speeches by the 
defendants. How does that involve inv: 
sion of privacy? And how does that 
allect the exercise of First Amendment 
rights? 
KUNSTLER: I agree that invasion of priva- 
€y is not involved when an undercover 
gent testifies as to what he heard in a 
public speech, But the First Amendment 
itely is involved. To have undercover 
unbeknownst to the Ў 
meeting for the purpose 
inst 
al violates every 


spea 


him in а possible u 


principle of free speech, And its efect 


will be о make people so inhibited u 
they won't exercise their rights to public 
expression, because they'll be afraid that 
siuing somewhere in the audience is 
someone who will later mount а witness 
stand amd testify against them, 
PLAYBOY: If people are really serious 
about their beliefs, shouldn't they be 
willing to state them—and defend them 
— whatever the cost? 

KUNSTLER: The First Amendment is meant 
to protect the timid as well as the cou- 
rageous. "The whole point of the First 
Amendment is the right of everyone to 
express his ideas freely, whether in pub- 
lic or in private. It is not intended to 
force braver people to pay a higher cost 
for the exercise of that right. It applics 
10 everyone. 

PLAYBOY: Is it your belief that 
Amendment rights to free speech are 
absolute? 

KUNSTLER: They certainly are. No exercise 
of speech whatever—whether written, 


Why is 
George Dickel? 


and youll stop asking. 


Ye 


Ek H 
| z 
Why? Because 
es Why? You would be too, Brem drinbens 
E if you were mellowed should have a gentle, 
through charcoal. beautiful place to go. 


jl BOTTLED AT THE. 


— aS 
=e = Why? Because price is Why? Because its time 
The bourbon drinkers no object to some people. Jack Daniels had 
impossible dream. 


competition. 


© 1970, GEORGE A DICKEL & COMPANY - 50 PROOF + TULLAHOMA, TENN. 


87 


PLAYBOY 


88 


oral or in any other form—should be the 
source of a criminal prosecution. 
PLAYBOY: What of Justice Holmes's clas- 
sic assertion that the First Amendment 
doesn’t protect a man who shouts “Fire!” 
in a crowded theater? 

KUNSTLER: Let me clarify what I mean by 
free speech. I don't think anyone would 
criticize the criminal conviction of a 
man who shouted fire falsely in a 
crowded theater and caused a panic that 
cither injured or killed people. The exer- 
cise of free speech, to me, means the 
communication of an idea with enough 
time left for a person to act rationally оп 
that idea or not, as he sees fit. Let's 
take the case, for example, of a black 
tant standing on a soapbox and 
saying, “I think the police intend to 
break into our homes tonight and I want 
every man to go home and get his piece 
and go out to kill a policeman before 
they can attack us.” His saying that is 
not in itself grounds for criminal prose- 
cution. There is time for his listeners to 
say, don't know if he's right or 
if he's wrong. I'll make up my mind for 
myself. IE I think he's wrong, I'm not 
going to get my gun.” But there is time 
between the speech and any action that 
follows it. There is time for rational 
thinking as to whether or not to act on 
what has been said. 

PLAYBOY: How much time is sufficient 
time? Ten minutes? Thirty minutes? An 
hour 
KUNSTLER: That would depend on the situ- 
ation. It would be impossible to set an 
exact period of time in advance. But 
there is a difference between creating 
instantaneous panic—as in the fir 
theater example—and communicating an 
idea that calls for action but gives 
the listener time to reflect. Suppose I 
were to tell you right now that the 
police commissioner of New York 
should be attacked. You have time to 
decide whether or not you want to act 
on what I'm telling you. 

PLAYBOY: If there is time for reflection, 
even if it’s very brief, do you think 
should be all right for one to urge the 
overthrow of the Government? 
KUNSTLER: It’s the right of Government 
to protect itself against the possibility of 
such action. If a speaker says, “Get your 
guns and go down and take over city 
hall,” the Government has the right to 
station police around city hall to pro- 
tect it. But it doesn’t have the right to 
get the speaker who made that remark, 
because then it's too easy for the Govern- 
ment to use that occasion to attack free 
speech. It does have the right, of course, 
to ро after those who act on what the 
speaker says. If the Government fails to 
conquer those who take that action, you 
have a revolution. I don't think people 
like Jefferson and Patrick Henry and 
Samuel Adams and the others who were 


part of the American Revolution would 
have countenanced such a concept as 
the "dear and present danger" doc 
trine, which holds that if somcone 
speaks in such a manner that therc 
is a clear and present danger that crimi- 
nal acts will result— including acts of sedi 
tion—then the man speaking is himself 
guilty of a criminal act. The founding 
fathers operated on the premise that 
Ш speech—ceven seditious speech—was 


free. Consider the type of speech in 
which they themselves engaged in those 
days, Patrick Henry said, “I know not 
s for 


what course others may take, but 
me, give me liberty or give me dı 
He was talking in very heavy terms, and 
it's that kind of speech that should be 
protected, 

PLAYBOY: Turning the term around, 
many civil libertarians feel that there 
a clear and present danger to the exer- 
cise of free speech in the growing use by 
Government agents of wire tapping and 
bugging. What was your experience in 
that regard before and during the Chica- 
go trial? 

KUNSTLER: Е assume from all the strange 
occurrences connected with the case 
—and from the Government's consisten- 
cy in stooping to conquer—that our 
phones were bugged, that letters to us 
were opened, that we were subjected to 
all kinds of secret surveillance in our 
offices in Chicago and New York, in our 
homes and elsewhere. At one point in 
the trial, for example, Thomas Foran 
asked one of our witnesses, Carl Oglesby, 
about a telephone conversation he had 
had with Rennie Davis. Len Weinglass 
got up and pointed out that the only 
way the Government could have known 
call was through illegal wire 
tapping. Very early in the trial, in fact, 
it became clear that the Government had 
wire-tapped the phones of at least five of 
the defendants. They had done this un- 
der the doctrine of Attomey General 
John Mitchell that the Government, on 
its own decision, without obtaining court 
permission and without having to dis- 
close the transcripts to the defendants, 
has the right to eavesdrop on individuals 
and organizations when it fecls that a 
matter of “national security" is involved. 
PLAYBOY: Do you think this Mitchell doc- 
trine will be overturned by the higher 
courts? 

KUNSTLER: I'm not sure that it's going to 
be overturned, with the Supreme Court 
increasingly loaded with conservatives. 
This doctrine—that the Government has 
the right to wire-tap if it feels such action 
is essential to protect national security— 
can be a compelling theory for judges 
who don't want to see the system jeop- 
ardized in any way. So the Mitchell doc- 
trine might well be sustained, even 
though it flies in the face of so much 
past constitutional Jaw. In other words, 


I can no longer rely on waiting for the 
courts to come to their senses. I think 
we're in a period during which not 
only the Supreme Court but all Federal 
courts are going to be increasingly 
stampeded into positions which, years 
ago, all civil liber ns would have 
thought it impossible for them to take. 
PLAYBOY: Do you predict that there will 
be more political trials? 

KUNSTLER: All the signs are that there 
will be more political trials. 

PLAYBOY: Hasn't the Supreme Court, by 
its decision of March 31. 1970. made it ex- 
cecdingly difficult, if not impossible, for 
the defense in any future political tr 
to act as you and your clients did in 
Chicago? This decision maintains that 
judge can have disruptive defend- 
ants bound and gagged, jailed for con- 
tempt of court or even expelled from the 
courtroom if such measures are necessary 
to maintain order. 

KUNSTLER: I thi you have to look 
closely at the circumstances of the case 
on which the Supreme Cour ruled 
in making that decision. "Fhe defend- 
ant in question had been accused of 
a tavern holdup. He pleaded insanity 
and he not only interrupted the exami- 
nation of prospective jurors but also tore 
up his file and threatened the judge with 
death. The judge ordered him removed 
from the courtroom, the trial went on 
without him and he was convicted and 
sentenced to 10 to 80 years in prison. 
When that defendant appealed his hav- 
ing been taken from the courtroom, 
the Seventh Circuit Court of Appcals 
in Chicago—which happens to be the 
same circuit court before which our ap. 
peal is pending now—ruled that you 
cannot remove a defendant from the 
courtroom under such circumstances. 
You have to keep him in the courtroom, 
but you can bind and gag him. Now, 
however, the Supreme Court has over- 
ruled that decision and sai Мо, you 
don't have to keep him in the courtroom, 
You may bind and gag him or take him 
out of the courtroom altogether." But 
that decision was based on the actions 
of an irrational defendant who not 
asserting a gross violation of constitution- 
al rights, as Bobby Seale was: Seale was 
not allowed the lawyer of his choice. And. 
the Panthers in New York who were being 
"unruly" in court rcacted in that man- 
ner because they had been kept under 
horrendous bail bonds of $100,000 each, 
solely because they were Panthers. 
PLAYBOY: V rd to the trials of the 
Panthers in New York, as well as in New 
Haven, and the inclusion of Bobby Seale 
as one of the Chicago defendants, do 
you see this as part of a national con- 
iracy against the Panthers? 

I agree with Cecil Poole, a 
former United States Attorney for the 
Northern District of California, who 


At their last performance, The 
Electric Plums lit up the latest 
thing in super mod cigarettes. 

Now everybody will be smoking 


super mod cigarettes .. almost everybody. 


Camel Filters. 
They're not for apy 


(But then, they don't try to be) <a 


© 1970 R. 3. Reynolds Tobacco Company, Winston-Salem, N. C. 


PLAYBOY 


90 


stated publicly earlier this year that 
he believes there is а national conspira- 
cy to destroy the Black Panther Party. I 
don't mean that every local police chief 
and every state attorney gencral 
down in Washington with the President 
nd John Mitchell to work out a plan 
to destroy the Black Panthers. I thi 
what generally happens is that a way 
of conduct is outlined by somebody— 
whether it be the President or the At- 
torney General—on how to deal with 
the Panthers. And the national Govern- 
ment helps this campaign along by 
having J. Edgar Hoover, for example, 
issue a statement calling the Panthers 
the most dangerous subversive organiza- 
tion in the United States. It doesn't 
require much imagination for а local 
police chicf to read such a statement 
and realize that he has a national im- 
primatur for sending a squad to break 
into a Black Panther headquarters or a 
Black Panther's apartment and kill the 
occupants. 
PLAYBOY: You're referring to the Chicago 
police raid that resulted in the deaths of 
ther leaders Fred Hampton and 
Mark Clark. A Federal grand-jury report 
on May 15 found that despite police 
daims of a fierce gun battle, only one 
shot might possibly have been attributed 
10 the Panthers. The report also severely 
criticized not only the police action itself. 
but also the subsequent police investiga- 
tion of that action. Yet the grand. jury 
didn't t any of the 14 police- 
men who took part in the raid, nor was 
anyone who participated in the investi- 
gation indicted. All that happened was 
the demotion by the Chicago police su- 


perintendent of three top-ranking police 
officers who had been criticized in the 
grand jury report. What's your reaction 
to this? 


KUNSTLER: First of all, the fact that two 
Panthers were killed but no police officer 
involved was punished—despite the Fed- 
eral grand-jury report—proves that the 
Panthers are unable to be assured justice 
under the present system. I agree with 
The Washington Post: “With this 
conduct by law-enforcement officials—it 
is not hard to see in it a deliberate plot 
to convict the surviving Panthers of at- 
tempted murder on false evidence—how 
much more does a militant who thinks 
the American system is oppressive need 
to decide that he has no chance for jus- 
ice and equality as long as that system 
s?' Not only were two people mur- 
dered in С 0, but seven of the sur- 
ing Panthers were kept in jail for five 
months without bail, when there was no 
evidence against them. 

To me, the significance of the failure 
of that Federal grand jury to indict 
anyone—the police involved in the raid, 
their superiors and State's Attorney Ed- 
ward Hanrahan, who tried to cover up 


what had actually happened during the 
raid—is that the old English conception 
of "outlawry" has been re-established in 
this country. Under the old common law, 
from the 12th to the Mth Centuries. a 
man who had committed certain crimes, 
or who had been accused of committing 
them, was placed outside the law. He 
became an outlaw in the sense that 
you could do anything you wanted to 
him with impunity; you could cheat him, 
rob him, beat him, kill him, Obviously, 
the two Panthers who were killed were 
considered outlaws this sense. They 
have been murdered, and none of the 
murderers will be punished. 

PLAYBOY: Even if what you say is true, 
wouldn't critics of the Panthers reply 
that they provoked police harassment by 
stockpiling weapons and threatcning to 
use them against the police? 

KUNSTLER: If I were a black man living in 
the ghetto—particularly if I were а 
Black Panther—I would amass every bit 
of hardware 1 could get my hands on. 
For self-defense. Thats a traditional 
American right, and you can go through 
homes all over the South and the Mid- 
west and see all sorts of armaments. 
Гуе seen them in many white homes 
as well as black homes in all parts of 
the country. Caches of arms in black 
homes frighten the white community, be- 
cause ils afraid the slaves are revolt- 
ing again. There's nothing, in fact, that 
frightens whites more than black people 
manifesting the power to defend them- 
selves. But black people do have the 
right to do that. 

PLAYBOY: Police, however, daim there 
have been many instances of armed 
Panther aggression. 

KUNSTLER: Those claims are myths. Like 
the “mysterious snipers” whom only po- 
lice and. ional Guardsmen heard at 
Kent State and Jackson State. In those 
cases, the police claimed they were react- 
ing to armed aggression, but nobody else 
saw or heard any gunfire from the stu- 
dents. There is no proof that the Pan- 
thers are marauders—except for the 
claims of the police. And I would say that. 
the level of police credibility gets lower 
all the time—the Federal grand-jury re- 
port in Chicago being a case in point. 
PLAYBOY: Would you say that the Minute- 
men, who also collect caches of arms, are 
similarly exercising a traditional Ameri- 
can right? 

KUNSTLER: The Minutemen have a quite 
different intent. Their purpose is to 
promulgate a totalit n system of gov- 
ernment, even though they may be hazy 
to the details of that system. Accord- 
ingly, they collect arms with the goal of 
attacking people with political views dif- 
ferent from their own. With the Min- 
utemen, obtaining arms isn’t a question 
of self-defense. 

PLAYBOY: You clearly identify yourself 


with the cause of the black man—and 
many have been your clients. Yet when 


Ralph Featherstone, the former SNCC. 
leader, was blown up in a car in Mary- 
land this past March. you said, "I lost а 


friend, a friend I had known for ten 
years. And because of the polarization in 
which we live, I could not even attend 
his funeral, because it was so separate.” 
How long do you think this polarization 
of black and white will last? 
KUNSTLER: I think polarization of black 
and white will be the way of life for 
a long time to come. As to my reaction 
to having been excluded from Ralph 
Featherstone’s funeral, I must say that 
I initially reacted in а very human 
way. I was terribly angered by not be- 
ing permitted to attend the funeral of 
a man I had known so long and whose 
life had been inextricably tied in with 
that of my own family. But after some 
reflection, T recognized that I hadn't tak- 
en into consideration the facts of life ii 
America today. The black people who 
ran that funeral were operating on the 
conviction that Ralph belonged to the 
black world and not to the white world. 
PLAYBOY: But do you really belong to the 
white world in that sense? You've cer- 
tainly shown your identification with the 
black world by the cases you've taken and 
the statements you've made. 
KUNSTLER: Oh, yes, I belong to the white 
world. And it's not only on the basis of 
skin color but also on the basis of my 
background. It's impossible for any white 
man to comprehend fully what it's like 
to live every day as a black man in this 
country—to comprehend (ће rage, the 
Jack of fulfillment, the destruction of 
potential. Black men may think of some 
whites as friends but not as black men. | 
guess I want desperately to be part of 
that black world for many reasons—some 
of which are probably deeply psychologi 
cal. I will continue increasingly to resist, 
personally and as an attorney, much 
of what the white world represents and 
what it does—but as a white man. 
PLAYBOY: Your increasing resistance, as 
you put it, has led to a practice that 
almost entirely of political cases. 
How can you continue to support your- 
self and your family economically as this 
kind of attorney? It was reported, for 
instance, that you were getting only $100 
a week as co-counsel for the defense in 
the Chicago trial. 
KUNSTLER: Yes, I was getting $100 a week: 
that was for expenses and it came from 
the Center for Constitutional Rights. 
But I'm not worried about my finan 
future. My standard of values has 
changed, particularly since the Chicago 
trial. I had already begun to have strong 
feclings that there was something terribly 
wrong with the existence of private prop- 
erty. Although I'm not an economist and 
(continued on page 170) 


WHAT SORT OF MAN READS PLAYBOY? 


He's a man with a love of life and a lot of living to do. And when he takes off on a unique experi- 
ence, count on a full-bodied thirst quencher to go along. For his golden moments are often en- 
hanced by a golden brew. Facts: PLAYBOY is read by 3,500,000 adult males who regularly enjoy a 
good cold beer. And PLAYBOY reaches more than two out of every five men under 35 who drink beer 
—more than any other magazine. PLAYBOY, always the basic buy for beer. (Source: 1969 B.R.1.) 


New York + Chicago + Detroit - Los Angeles «° San Francisco - Atlanta + London - Tokyo 


92 


SAUL BIRD SAYS: RELATE! 
COMMUNICATE! LIBER ATE! 
he inspired his students to open rebellion—but 


at what point does charisma become chimera? 
fiction By JOYCE CAROL OATES waxva sacr, born 


in 1945, received her bachelor’s degree at Manhattanville College 
of the Sacred Heart in 1965, as class valedictorian, received a fellow- 
ship from the University of Michigan for graduate studies in Eng- 
lish in the fall of that year and, in the spring of 1969, accepted 
a temporary lectureship at Hilberry University, a school in south- 
ern Ontario with an enrollment of about 5000 students. On Sep- 
tember 9, 1969, she met Saul Bird; someone appeared in the 
doorway of her office at the university, rapping his knuckles loudly 
against the door. Wanda had been carrying а heavy box of books, 
which she set down at once. 

"How do you do, my name is 1 Bird," he said. He shook 
hands briskly with her. His voice was wonderfully energetic; it 
filled the narrow room and bounced off the empty walls, surround- 
ing her. Wanda introduced herself, still out of breath from carrying 
the books; she smiled shyly. She leaned forward attentively, listen- 
ing to Saul Bird, trying to understand what he was saying. He 
talked theatrically, elegantly. His voice wound about her like fine 
ribbon. She found herself stooping slightly so that she might seem 
less obviously taller than he. 

“What are your values? Your standards? Everything in you will 
be questioned, eroded here, every gesture of spontaneity—if you 
love tcaching, if you love working with young people, you've cer- 
tainly come to the wrong university. Are you a Canadian? Where 
are you from? Have you found an apartment? 1 can help you 
find one if you haven't 

“1 have to look for an apartment today: 

“The economy is maniacal here. Are you a Canadian?” 

"No, I'm from New York." 

"Oh. Ncw York." His voice went flat. He took time to light a 
cigarette and Wanda stared at him, bewildered. He had blond 
т that was bunched and kinky about his face, like a cap; his 
face had looked young at first—the eyebrows that rose and fell 
dramatically, the expressive little mouth, the nose that twitched 
slightly with enthusiasm—bur, really, it was the face of a 40-year- 
old, with fine, straight lines on the forehead and around the 
mouth. His complexion was both dark and pale—darkish pale, 
an olive hue, difficult to describe. He had a hot, busy, charming 
face. "I'm from New York, too. I don't actually approve—I want 
to state this clearly—of this university's persistent policy of hiring 
Americans to fill positions that could be filled by Canadians, 
though I myself am an American, but I hope not contaminated 
by that country’s madness. 1 am going to form a committee, in- 
cidentally, to investigate the depth of the Americanization of this 
university. Do you have a Ph.D.?” 

“Im writing my dissertation now," Wanda said quickly. 
2 


“Landor,” he said flatly. The set of his face was now negative. 
He did not approve. Wanda nervously wiped her hands on her 


ILLUSTRATION BY СОМ PUNCHATZ 


PLAYBOY 


94 


skirt. With one foot, Saul Bird turned a 
box of books around to rcad their titles. 
“All this is dead. Dried crap.” 

She stared at him in dismay. 

His eyes darted quickly about her 
office. His profile was stern, prompt, odd- 
ly morose; the lines deepened about the 
small mouth. “These books. This office. 
The desk you've innocently inherited— 
from Jerry Renling, whom you will nev- 
er meet, since they fired him last spring 
for taking too much interest in his stu- 
dents. All this is dead, finished. Where is 
your telephone?” 

He turned back abruptly to her, as if 
impatient with her slowness. She came 
awake and said, “Here, it's here, lct me 
nove all this. . . .” She tried to pick up 
another box of books, but the box gave 
way and some books fell onto the floor. 
She was very embarrassed. She cleared а 
space for him. He sat on the edge of her 
desk and dialed a number. 

Wanda waited awkwardly. Should she 
leave her ofice while he telephoned? But 
he seemed to take no notice of her. His 
blond hair appeared to vibrate with elec- 
tricity. On the bony ridge of his nose, his 
rimmed glasses were balanced as if 
by ап act of fierce will, .. . Why was her 
heart pounding so absurdly? It was the 
abrasive charge of his voice—that de- 
manding, investigative air—it put her in 
mind of men she had admired, public 
men she had known only from a dis- 
псе, а meek participant in a crowd. 
Saul Bird had a delicate frame, but there 
was something powerful in the set of his 
shoulders and the precise, impatient. way 
he dialed the telephone. 
messages there?” he said, with- 
out introducing nself. "What? Who? 
When will he call 3" He paused for 
a moment. Wanda brushed her short hair 
back nervously from her face. Was he 
alking to his wife? “We have four more 
ignatures on the petition, Yes. I told 
you to forget about that. It’s twelye-ten 
now; can you get down here at one and 
pick me up? Why not? There's some- 
one here looking for an apartmen 0 

Wanda stared at - At that moment, 
Saul Bird turned and smiled—fond, 
friendly, an intimate smile—or was she 
ining it? He looked like a child in 
his dark turtleneck sweater and brown 
trousers. He wore sandals; the grimy 
straps looked gnawed. Wanda, in her 
stockings and. new shoes, in her shapeless 
dress of dark cotton, felt foolishly tall in 
h dit: Why had she grown so tall? 

When he hung up, he said, *My wife's 
coming. We'll find you an apartment.” 


"But Ire 

Someone in the doorway, 
leaning in. He was a young 
man in a soiled trench coat. 

“Come ng for you,” 
Saul Bi . He introduced Wanda to 


the young man. "Wanda, this is Morris 
Kaye in psychology, my friend 'K.' This 
is Wanda Barnett. Susannah and I are 


going to find her an apartment this 
afternoon.” 
“Some 


g has come up. Can I talk to 


“But it's about—I mean—” The 
young man glanced nervously at Wanda. 
He bout 23, very tall, wearing a 
white T-shirt and shorts under his trench 
coat. His knees were pale beneath tuíts 
of black hair, His face, dotted with small 
blemishes that were like cracked veins, 
had a strange glow, an almost luminous 
pallor. Wanda could feel his nervousness 
and shied away from meeting his eyes. 

“We may as well introduce Wanda to 
the high style of this placc,” Saul Bird 
said. "I was given notice of nonrenewal 
for next year. Which is to say, I've been 
fired. Why do you look so 

Wanda had not known she looked 
rprised—but now her face twitched as 
if eager to show these men th 
surprised, yes. “But what? Why?” 

"Because they're terrified of me,” Saul 
Bird said with a cold smile. 

Susannah Арекет Bird, born in 
1929, earned doctoral degrees in both 
history and French from Columbia Uni- 
versity. In the fall of 1958, she met апа 
married Saul Bird. Their child, Philip, 

nd Susannah’s formidable book on 
Proust both appeared in 1959. The next 
» Susannah taught at Brandeis, while 
Saul Bird taught at à small experimental 
college in California; the following year, 


she was 


they moved to Baton Rouge, where Su- 
her 


ah worked on second book. 
When Saul Bird was sed from Lou- 
isiana State University, Susannah accept- 
ed an appointment at Smith College. 
The following year, however, she re- 
ceived a Frazer Foundation grant to 
complete her second book—The Radical 
Politics of Absurd Theater nd decided 
to take а year’s leave from teaching. Saul 
Bird had been offered a last-minute ap- 
pointment from a small Canadian uni- 
versity on the American border. The two 
of them flew up to Hilberry University 
10 look it over: They noted the ordinary, 
soot-specked buildings, the torn-up cam- 
pus, the two or three “modern” build- 
ngs under construction, the amiable, 
innocuous student faces. They noted the 
grayness of the sk; h was the same 
sky that arched over Buffalo, New York, 
and which was fragt 
odors and ominous, as if the particles of 
soot were somehow charged with energy, 
with electricity; not speaking, not need- 
ing to speak, the Binds felt a certain 
promise in the very dismalness of the 
setting. it were not yet in existence, 
hardly yet imagined. 

They could bring it into existence. 

On September ninth, after Saul Bird 
called, Susannah changed her clothes, 
taking off her pajama bottoms and put- 
ng on a pair of blue jeans. The рајата 
top looked like a shirt—it was striped 


green and white—so she did not bother 
to change it. "Get dressed, your father 
wants us to pick him up at the universi- 
ty.” she said to the boy, Philip. “I'm not 
leaving you here alonc." 
" the boy said cheerfully. 
ill myself or something? 
“To spite your 
The boy snickere 
е drove to the 
anding with a sm 
few students, Doris and David 
Homer, and a young woman whom 
nnah did not recognize. Saul in- 
troduced th ‘This is Wanda Barnett, 
who is anxious to get am ap 
ryone piled into the car. Wanda, 
demure and homely, seemed not to know 
to do with her hands. She squeezed 
n next to Susannah. She smiled shyly; 
Susannah did not smile at all. 

That was at one o'clock. By five that 
afternoon, they had located an apartment 


1. 


—not exactly within walking distance of 
the univeisity—but a fairly good apart- 
ment, just the same, though quite expen- 
sive. 


‘Someone will have to wash these 


‘You don't expect this young woman to 
sign a lease for such filth, do you? This city 
is still in the Nineteenth Century! Well, 
Wanda, are you pleased with this? 

He turned to face her. She was cx- 
hausted, her stomach upset from the 
day's activity. Anxious not to disappoint 
Saul Bird, she could only nod mutely. 
She felt how the others in the room— 
everyone except the child had come up 
—were waiting for her reaction, watching 
her keenly. 
she said shakily, 


"yes, it's 


te conference with Hubben, I 
but we want you to have 
ner with us tonight. I might be stop- 
ping at T. W's apartment to see what 


“Why not 
put out his arms and a cigarette burned 
eloquently in his fingers. Wanda felt the 
others watching her, waiting. Susannah 
Bird stood with her arms folded over the 
striped, sporty shirt she wore. 

“I have work to do of my own, and I 
can't intrude upon you," Wanda said 
miserabl 

“Rel You take yourself too serious- 
ly." ] Bird said. "You must reassess 
yourself. You may be on the verge of a 
new life. You are in Canada, a country 
not free of bourgeois prostitution but 
relatively innocent, free, at any rate, of a 
foreign policy, a country that isa possibil- 
йу. You grant me Canada’s a possibility?” 

Wanda glanced at the others. Saul 
Bird's wife had a thin, ravaged, shrewd 
face; it was set like stone, with patches of 
black hair like moss about it. A blank. K 


l Bird frowned. He 


“I wanted a birdbath.” 


95 


PLAYBOY 


96 


was staring at Wanda's shoes, as if wait- 
ing painfully for her response. The stu- 
dents—Homer McCrea and David Rose 
—eyed her suspiciously. Their young 
nostrils widened with the rapidity of 
their breathing. Clearly, they did not 
trust her, Both were very thin. Their 
faces were caglelike and intense; in imi- 
tation of Saul Bird, perhaps, they wore 
turtleneck sweaters that emphasized their 
thinness, and blue jeans and sandals 
Their fect were grimy. Their toes were 
in perpetual movement, wiggling, ap- 
pearing to signal the unbearable tension 
of the moment David Rose wore a 
floppy orangefele hat that was pulled 
down upon his head; his untidy hair 
stuck out around Homer McCrea, 
hauess, had a head of black curly hair 
and wore several rings on his fingers. 

Wanda thought: 7 must get away from 
these people. 

But Saul Bird said swiltly, as if he had 
heard her thoughts, “Why are you so 
nervous, Wanda? You look very tired. 
You look a lite sick. Your problem is 
obvious to me—you do not relax. Always 
your mind is working and always you're 
thinking, planning, you're om guard, 
you're about to put up your hands to 
14 your private parts from us—why 
must you be so private? Why are you so 
terrified?” 

[—I don't know what you- 
"Come, we must leave. Susannah will 
e us all stuffed breast of veal.” 

A wave of nausea rose in Wanda. 


Erasmus Hubben, born in Toronto in 
1930, completed his doctoral work in 
1955 with an 800-page study called “The 
Classical Epistemological Relativism of 
st Cassirer.” Every summer, Hubben 
traveled in Europe and northern Africa: 
friends back im Canada received post- 
cards scribbled over with his fine, enig 
matic prose—sprinkled with exclamation 
points and generally self-critical, as if 
Hubben were embarrassed for himself. 
He was conscious of himself, always: Stu- 
dents could not quite understand his 
nervous jokes, the fa cs and twitches 
that were meant to undercut the gravity 
of his pronouncements, the kind of bag: 
gy shuffling dance he did when lecturing, 
His face, seen in repose, was rather 
sorrowful, the eyebrows scanty, accenting 
the hard bone of his brow, the nose long 
and pale as wax, the lips thin and color 
less; in company, his face seemed to flesh 
out, to become muscular with the drama 
of conversation, the pupils of the eyes 
blackening. the lips moving rapidly, so 
that tiny flecks of gathered in the 
corners of his mouth. He was a good. 
generous man, and the somewhat clown- 
sh look of his clothes (seedy, baggy 
trousers with fallen seats; coats with el- 
bows worn thin; shoes splotched with old 
mud) was half deliberate, perhaps— 
while Hubben suggested to his col 
leagues, evasively and shyly, that they 


must play Monopoly with him sometime 
(he had invented a more complicated 
game of Monopoly), at the same time he 
waved away their pity for his loneliness 
by the jokes, the puns, the difficult allu- 
sions, the jolly cast of his face and dress 
alike . . . and he carried in his wallet 
the snapshot of a smiling, beefy young 
woman, which he took out often to show 
people as if to assure them that he had 
someone, yes, there was someone back in 
Toronto, someone existed somewhcre 
who cared for Erasmus Hubben. 

He came to Hilberry University in 
1967, having resigned from another uni- 
ity for reasons of health. He taught 
logic. but his real love was poetry, and 
he had arranged for a private printing 
book of his poems. They were 
ays short, often ending with queries. 


Actual adversaries 
are not as prominent as quivering 
speculations 


When you think of me, my dear, 
do you think of 


anything? 
He took teaching very seriously. He 
liked students, though he did not under- 
stand them; he liked their energy, their 


youth, their foreignness. During his first 
year at Hilberry, he prepared for as 
many as 20 hours for a single lecture. 
But his teaching was not successful. He 
could not understand why. So he worked 
harder on his lectures, taking notes by 
hand so as not to disturb the family he 
lived with. (He boarded with a colleague 
nd his family) Late in the winter of 
1968. a student named David Rose came 
1. This student did not attend 
class very often and he was receiving 
failing grade, but when he sat in class 
with his arms folded, his face taut and 
contemptuous beneath a. floppy orange- 
felt hat, he impressed Hubben as a superi 
or young man. Wasn't that probably a 
sign of superiority, his contempt? Erasmus 
Hubben shook hands with him, delighted 
that a student should seck him out, and 
made a joke about not seeing him very 
olten. David Rose smiled slowly, as if not 
getting the joke. He was very thin and 
intense. "Di. Hubben;" he said, “I have 
been designated to approach you with 
this question—would you like your class 
liberated?” Hubben was leaning forward 
with an attentive smile—liberated? 
Your course is obviously а failure. Your 
subject is not entirely hopeless, but you 
are unable to make it relevant, Your 
teaching methods are dead, dried up. fin- 
shed. Of course, as a human being. you 
have potential,” the boy said. Hubben 
blinked. He could not believe what he 
was hearing. The boy went on to expla 
that a certain. professor in English. Saul 
Bird, was conducting experimental classes 
and that the other Hilberry professors 
would do well to learn. from him befor 
it was too late. Saul—everyone called him 


Saul—did not teach classes formally at all; 
he had “liberated” his students; he met 
with them at his apartment or in the 
coffee shop or elsewhere, usually at night; 
his students read and did anything they 
wanted, and some skipped all sessions, 
since in any case, they were going to be 
allowed to grade themselves at the end 
of the year. “The old-fashioned grading 
system,” David Rose said angrily, “is only 
imperialistic sadism!” 

Hubben stared at the boy. He had 
been hearing about Saul Bird for a long 
time, and he had seen the man at a 
distance—hurrying across campus, usu- 
ally dressed badly, with a few students 
running along with him—but he had 
never spoken to him. Something about 
Saul Bird's intense, urbane, theatrical 
manner had frightened Hubben off. And 
then there was the matter of his being a 
Jew, his being from New York. . . . 
Hubben's family was a little prejudiced, 
and though Hubben himself was free of 
such nonsense, he did not exactly seck 
out people like Saul Bird. So he told 
David Rose, with a gracious smile, that 
he would be delighted to talk with 
“Saul” sometime. He hoped he wasn't too 
old to learn how to teach! David Rose 
did not catch this joke but gravely and 
politely nodded. “Yes, the whole univ 
sity better learn. It better leam from 
Saul or go under," he said. 

Soon, Hubben began to hear of little 
else except Saul Bird. Bird had been 
fied and would fulfill only the next 
s contract. His department English 
—and the dean of arts and sciences had 
voted to dismiss him. Now, seemed 
that many of Hubben's students were 
also "Saul's" students. They sat together 
in the classroom, when they came to 
class, their arms folded. their eyes beady 
and undefeated, though Hubben's finely 
wrought lectures obviously bored them. 
David Rose had enrolled for another 
course, still wearing his orange h 
girl named Doris had joi i 


haps his girlfriend —Dor: 
jutting lines, vi 
blonde lı 


‚ her voice sometimes rising in а 
sarcastic whine that startled the other 
students, "Professor Hubben, doesn't t 
entirely conuadict what you said the 
other day?” Another boy, Homer Mc- 
Crea, had black curly hair and a d 
matic manner that put Hubben in mind 
of Saul Bird, Sometimes he took notes all 
period long (were these notes 
going to be used against him?—Hubben 
wondered), sometimes he sat with h 
arms folded, his expression distant and 
critical. Hubben began to talk faster and 
faster, he spiced up his lectures with 
ironic little jokes of the sort that supe- 
rior students would appreciate, but noth- 
ing worked—nothing worked. 

i| Bird came to see him the first 
(continued on page 217) 


lecture 


EVEN IF YOU PRESS HIM HARD, Jim Mc- 
Brair still isn’t sure which one he shot 
first. In court, the police said it mus 
have been his 15-yearold_ sister 
Barbie. But all Jim remembers is be 
dressed in his tan-plaid hunting parka, 
holding the .22-caliber semi-automatic 
rifle he'd. picked up back at the house 
and standing in the darkened kitchen, 
not quite knowing why he was there. 
Suddenly, he spotted a shadowy figure 


THE MANY 
FACES OF 
MURDER 


article By BRUCE PORTER 
on percentage, it's your 
girlfriend or the guy sitting next 
to you at the bar who’ s likely 
to do you in but the homicides 
that make the headlines 
don’t follow the percentages 


X 


ILLUSTRATION EY PETER HOLEROOK 


moving toward him from the living room 
and he shot at it. He heard a scream and 
the kitchen filled with light and someone 
was coming through the door and Jim 
wheeled and fired again. Then he fired 
again and again, the bullets punching 
the figure back over the telephone table 
The tiny cabin exploded. People were 
ning about, ing and yelling, 
tying to get away from the man with 
the gun, And as if it were onc of those 


97 


PLAYBOY 


98 


lite shooting galleries їп a penny аг- 
cade, where a bear with the light in his 
shoulder lurches in and out of cardboard. 
trees, Jim automatically pulled the trig- 
ger every time something came into view. 
Finally, his 15-shot magazine spent, he 
walked out the kitchen door into the 
chilled winter night, jamming fresh 
rounds into his rifle as he went. 

"That's when his wife, Carol, came to 
him, sobbing. "Please, Jim." she said. 
“Јес me get you some help.” McBrair 
slipped and fell on the ice in the drive- 
way. Still pleading, Carol grabbed the 
gun barrel and began wrestling with her 
husband. 

"Every time I pulled on it,” Jim re- 
members, "it seemed like the gun was 
going off. She said, ‘You've hit me,’ and 
she put her hands on top of her head 
and kneeled down and she said to finish 
her oft" Instead, Jim went back toward 
his car. But as he watched Carol limp 
into the cabin, he remembered a rule his 
father had laid down on their first hunt- 
ing trips: Never leave a wounded animal 
to suffer. So Jim returned to the cabin, 
where he found Carol leaning on an 
ironing board, her back to him, and it 
all began again. This time, he didn't 
stop shooting until he felt something 
tugging at his hunting pants. 

He looked down and saw his seven- 
year-old daughter, Kristie. "Daddy, Dad- 
dy," she said, "please don't shoot any 
more." At that, Jim McRrair finally quit, 
tucked his two children into bed and 
went to tell his father what he'd done. 

"The only sound then was from the 
wind as it swept across the frozen lake 
into the trees. In the cabin, four people 
were dead: Jim's 24-year-old wife, Carol; 
her father, Marv, who ran the Pontiac 
agency in town; her sister, Barbie; and a 
fourth girl police couldn't identify until 
they took Jim back to look. She was 
Cheryl Oleson, a 15-year-old baby sitter. 
She was found lying face down in one of. 
the beds, her head cradled in her arm. 
Beside her, where Jim had put them 
before he'd left, were the children, Kris- 
tie and Kathy, who was five. They were 
unharmed and fast asleep when the 
police arrived. 

The bodies were barely cold that 
March Sunday in 1967 when the news 
began rolling out into the tiny farm 
community of Wautoma, Wisconsin. 
Bodie Severins, who knew Jim as well as 
anyone, said that he and the rest of the 
fellows were at a roadhouse called Camp 
Waushara that afternoon, drinking beer 
and watching a television set behind the 
bar. It was there they'd last seen Jim the 
night before. He was standing in front 
of the picture window that looks out 
over Silver Lake and he seemed then as 
if nothing were wrong. Bob Leitz re- 
members talking to him about a dog 
Leitz had sold him and Severins remem- 


bers asking Jim if he planned to stop off 
for a party at a place called the Coop 
after the bar dosed. The jukebox was 
blaring with the usual Saturday-night 
din of rock 'п' roll and the place was 
filled with shouts and great whoops of 
laughter. The only untoward thing was 
an incident with Carol's brother, who 
came in around midnight and poked Jim 
hard in the shoulder. There were some 
angry words, but nobody heard what was 
Severins remembers someone re- 
marking, “Oh, oh, looks like we got 
somethin’ goin’ here." But Carol's 
brother left and Jim went back to listen- 
ing to his friends talk. 

Now, the next day, Sheriff Virgil Bat- 
terman had let just enough news seep 
out, so that as the fellows drifted in to 
watch the game, they could add their 
own special pieces to the story. 
one," said Severins, "was just 
around, and one guy would come in and 
say this and another, that. No one really 
knew all about it, only the part about 
Carol. We just stood around, shaking 
our heads; that’s all we did. The first 
reaction, I would say, was just shock.” 

At the time, shock seemed the most 
logical reaction to the crimes of 27-year 
old James Dennis McBrair Blond, 
straight, fairly tall, with close-cropped 
hair—his mother called him Butchie—he 
had the good looks of a Kirk Douglas 
but with a softer gaze and gentle blue 
eyes. He came from strong Scotch-Irish 
stock; his father's family had been farm- 
ing in the central part of Wisconsin for 
100 years. As a boy, he worked hard, 
helping.his father and mother till the 
family's 400 acres of cucumbers, which 
they sold for pickles. Jim, his mother said, 
"could plow like a charm." And often 
he'd work from four in the morning until 
ten at night, especially when his father 
was drunk and couldn't do his share of 
the work. No one in town held it against 
Jim, Sr, that he drank. He was a hard 
man and a good one, people thought, but 
he had a rage in him and sometimes, 
when he was drinking, he would abuse 
his family. Jim remembers getting mad at 
his father, but only once or twice, when 
he was “hurting Mom.” Rut he never 
struck his father, he is quick to add— 
not once. 

If life was grueling on the farm, it was 
eased by the hunting and fishing trips 
Jim would take with his father and by 
his daytime escape to Tri-County High 
School nearby. His high school coach, 
Chet Schraeder, who thought highly of 
him, recalled that the only unusual thing 
about Jim was that he had no particular 
goals in life, And he had no abiding in- 
terests other than hunting, which he 
thought he might be able to indulge in 
by getting into conservation work. One 
thing he was good at was being popular 
and in this he excelled—a B student all 
four years, vice-president of his class each 


year and king of the junior prom. In his 
junior year, he sang the lead in a Forties- 
style high school play about going to col- 
lege and wearing beanies and raccoon 
coats. It was called The Singing Fresh- 
man and Jim was the freshman. 

He was also a football hero, a basket- 
ball hero and a baseball hero. This is 
what Wautoma remembers best about 
Jim McBrair. And, as he sits in his cell 
in the Wisconsin State Prison at Wau- 
pun, Jim remembers fondly the time in 
high school he scored 36 points in the 
1958 basketball play-off with Winneconne 
High but saw victory snatched from his 
team in the last three seconds of the 
game, when a Winneconne player in 
desperation hurled the ball from center 
court and scored a miraculous winning 
basket. And he remembers the time, dur- 
ing the fall of his last year in high school 
as all-conference right end on the foot- 
ball team, that Johnny McAlpin, the 
Blatz Beer distributor, came over after a 
game and offered to help pay Jim's way 
through the state university. 

Johnny McAlpin was the last nice 
thing to happen to Jim McBrair. From 
the girl he got pregnant and married 
that year, canceling his hope of going to 
college, through his quick divorce the 
following fall, the jobs he couldn't seem 
to keep, an Army stint he hated so much 
his mother had to get him a discharge 
with 2 hardship plea and, finally, to his 
marriage to Carol, he seemed caught in 
a chaotic downdraft that swept him, rc- 
Ientlessly, to the final tragedy. 

Now, three years after the murders, 
while Wautoma is still puzzling over the 
question of how the high school hero 
next door could commit such an atrocity, 
the Jim McBrairs of this country arc 
becoming increasingly and depressingly 
familiar to a growing number of re- 
searchers who are looking into the puz 
aling phenomenon of multiple murders 
committed coldly and methodically by 
seemingly average persons who one day 
go berserk. From prom king to football 
star, from altar boy to eagle scout, there 
isn’t an icon in the American success 
story that doesn’t seem to provide amou- 
flage for such a killer. 

Only the most spectacular make the 
national headlines. In 1949, a well-man- 
nered, Bible-reading war yeteran named 
Howard Unruh walked out of his house 
in Camden, New Jersey, and one by 
onc shot 13 people during а 12-minute 
rampage, In 1965, it was Duane Earl 
Pope, 22, а quietspoken star athlete at 
McPherson College in Kansas and for- 
mer president of his high school class, 
who one day walked into the Farmers 
State Bank in Big Springs, Nebraska, 
made three employees lie down on the 
floor and shot each of them with a pistol 
as casually as he might have filled out a 

(continued on page 209) 


SOLID 
GOULD 


in his latest film, 
hollywood's hottest star 
shares bed and bath with 
а brace of sensational dolls 


THESE pays, at the box office, all that glitters 
seems to be Gould, Elliott the omnipresent has 
come a long way since his Broadway debut 14 years 

ago as a chorus boy ort lived musical called Rum- 
ple. His first wide recognition followed a role in I Gan Get 
It for You Wholesale, a hit Broadway show that also featured 

a young singer turnedaciress named Barbra Streisand. As every- 

one knows, Elliot and Barbra were married (in 1963); when they 


separated six years later, Streisand was a superstar and Gould was still B 


Move is a comedy with a moral—that irresponsibility is an attitude difficult 
to maintain amid the pressures af this world and, moreover, is a rather 
joyless condition. But the point is made lightheortedly and sexily ond, in 
the manner of contemporary maviemakers, it mixes the everyday life of 
protagonist, Hiram Jaffe (Gould), with his fantasies—leaving the viewer, in 
some instances, to separate reolity from illusian, In the story, Gould is an 
unsuccessful New York playwright who walks dogs and writes pornography 
to supplement the eamings of his attractive and practical wife, Dolly 
(Раша Prentiss), a psychiatrist's receptionist. In the sudsy scenes shown 
here, Hiram and Dolly frolic in the bathtub, while Murphy, their 200- 
pound Saint Bernard, seems content with his role as a canine voyeur. 


a promising actor with a long list of 
credits. After Wholesale, he starred in the 
London production of On the Town, 
then returned to tour the U.S. in The 
Fantasticks. He next demonstrated his 
versatility as an actor, singer and dancer 
in Once Upon а Mattress (on television) 
and starred in та! the Cat, a musical 
spoof of oldtime melodrama, which— 
despite great reviews—closed after one 
week. He followed this with another near 


flop, Jules Feiffer’s Broadway play Little 
Murders, While die show was nov а com- 
mercial success in its first incarnation, 
Elliott's performance won high praise. 
(He recently formed a production com 
pany that owns the film rights to Murders 
as well as to Bernard Malamud’s The As 
sistant.) After touring the summer-theater 
circuit with Shelley Winters in Luv, he 
was signed for his first movie, The Night 
They Raided Minsky's, then returned to 


New York for what proved to be another 
-starred stage venture, A Way of Life 
Hollywood again beckoned Elliott for 
Bob & Garol & Ted & Alice, in which he 
puts it) "one quarter of 
" His performance earned 
him more than fractional acclaim, how 
ever: He was nominated for an Academy 
Award as best supporting actor. His sec 
ond screen role completed. he reported 
to 20th Century-Fox for M. 4. S. H. From 


101 


h.in.g. portrayal of a wild Army surgeon with tota 
disdain for military protocol, he went into Getting Straight 
a to-80, uptight graduate student. When Move is re 
leased this fall, it will be the fourth film Elliott has made in 


little more than a year. (In yet another starring role, he'll 
be the subject of next month's Playboy Interview.) Move 
is probably his most physically de 
He's in over 90 percent of the scenes, one of which has him 
leaping onto the back of a policeman's horse. Herein we pre- 
sent some of the more physically rewarding scenes from the 


nding movie to date: 


102 film to commemorate the advent of Hollywood's Goulden Age. 


As the movie unfolds, im's ability to relate 
to others rapidly deteriorates ond he reacts 
te the situation petulanily and often by re- 
treating into a dreamworld (or is i12), usu- 
ойу of o highly sexual nature. In the erotic 
sequence obove, а young woman known 
only as “the gi (Genevieve Waite) tells 
Hirom a bizorre tale while bedded down 
with him in her apartment, the walls af which 
are lined with enlorged photographs of vari- 
ous portions of her very delightful anatomy. 


PHOTOGRAPHY BY LAWRENCE SCHILLER 


МО YEARS AGO this month, Ameri- 

cans were in the final stages of 

choosing а new President; and a 
lot of Democrats, liberals, moderates, 
independents and doves of all stripes 
thought there were excellent reasons 
for electing the conservative Republican 
candidate, Richard Milhous Nixon. So 
they helped put him in office and most 
of them are holding their heads toda 

It is not just that the Nixon Adminis- 
tation has generally been more conserv- 
ative and less Republican than expected, 
nor that Mr. Nixon, in the White House 
at last, sometimes suggests a glorified 
Captain Queeg (one could all but hear 
the little steel balls clicking in his hand 
as he piously confided that he would 
rather be a one-term President than. 
countenance America's "first defeat”). It 
is more nearly that, in sober reflection 
on the 1968 campaign, there still seem to 
have been excellent reasons to elect a 
Republican conservative who talked as 
Nixon did then. There were concrete 
achievements to be expected of such a 
President; so that, as much as any other 
sentiment, a sense of opportunity gone 
glimmering pervades an assesment of 
the Nixon Administration today. 

It had been easy, in Washington's po- 
litical jargon, to “write a script" in 
1968 in which a hardliner could best 
settle the war in Vieuiam. Witness Gen- 
eral Eisenhower and Korea, General De 
Gaulle and Algeria. И a bona fidc hawk 
with the anti-Communist credentials pos- 
sessed by Richard Nixon reached the 
considered judgment that the war in 
Vietnam had been altogether too costly 


in lives, dollars and domestic dishar- 
mony, he could, with impunity, make the 
necessary compromises to bring peace. 
He could placate the right wi 
least by rightfully heaping the blame on 
L. B. J. and the Democrats for plunging 
Ameri to the Asian morass. And if a 
President with that kind of base among. 
the Cold Warriors happened also to have 
sensitive political antennae, as nobody 
then doubted Nixon's were, he could 
hardly fail to see that ending a divisive 
and debilitating war would enable him 
to redirect the nation’s energies toward 
more rewarding programs here at home. 
Surcly, he would not even require anten- 
nae to know that any other course would 
sooner or later convert Johnson's war to 
Nixon's war. 

Or so the liberals’ hopeful script went, 
as Nixon set his stately pace around the 
country, while the kids that fall unmer- 
cifully heckled Hubert Humphrey. In 
part because George Wallace of Alabama 
also was prominent in the race, another 
ather similar line of moderate-to-liberal 
thought held that Nixon was not only by 
far the more acceptable of the two candi- 
dates on the right but perhaps also the 
only candidate who could significantly 
ease race tensions. Again, it was a func- 
поп of eredibility—Nixon, it was rea- 
soned, was not identified as a liberal on 
the black question, quite the opposite; 
hence, his election would reassure the 
white backlashers, the ethnic groups, the 
union men, the low-income property 
owners, the old folks in the peppersalt 
neighborhoods, even many white South- 
erners. On the other hand, just as Hubert 
Humphrey would be saddled with Lyn- 
don Johnson's war and the automatic 
suspicion of the anti-Communists, the 
election of another liberal Democrat 
(and Humphrey, of all people) would 
scare the backlashers into even greater 
animosity toward the blacks. 

As for the economy, through which 
inflation was already galloping in 1968, 
it seemed only natural to suppose th: 
'dheaded Republican business Admin- 
istration could and would restore faith in 
the dollar and take the tough retrenching 
steps needed to cool off the boom. (This 
reinforced the end-the-war script, be- 
cause if Nixon aimed to curb inflation, 
he would have to cut back in Vietnam, 
wouldn't he?) That Nixon remained ob- 
viously reluctant to make a nuclear-arms 
ion with the Soviet Union 
could also be partially rationalized. He 
did, after all, keep saying it was timc to 
move to an era of negotiation after the 
era of confrontation; and, here aga 
maybe the Cold Warrior who had stuck 
his finger in Khrushchev's chest just con- 
ceivably was the one to bring to an arms 
deal the acquiescence of Goldwater vot- 
ers and other big-bomb advocates. 

Moreover, in his long cam 
from oblivion, Nixon had 
things that suggested. greater 


some 
sight and 


compassion than had ever been credited 
to Eisenhower's gut fighter. When he 
talked of decentralizing Government, for 
instance, he did not sound as if he were 
merely maintaining the old Republican 
feud with F.D. R. In one radio speech, 
he had talked of a “new alignment” of 
modern Republicans, “new liberals” anx- 
ious for more local participation and less 
Federal dominance, progressive South- 
erners restive in the one-party system 
and black militants seeking “dignity and 
self-respect,” rather than "giant welfare 
programs" Such statements interested 
many moderates and liberals after eight 
years of the Kennedy-Johnson Adminis 
uations and 28 years of New Deal liber- 
alism, n Asia, American 
cities both strangling and blowing up, 
young people rampaging in the streets 
and colleges, the races poised in hostility, 
taxes going up, the Government scem- 
ingly muscle-bound and the entire politi- 
cal system in disrepute. 

What did Hubert Humphrey offer but 
more of the same? And if Nixon 
achieved only part of what scemed possi 
ble to him, wouldn't that go a long way 
toward restoring the diminished credibil- 
ity of the Presidency as an instrument of 
political leadership? So Election Day 
came and went, the transition. passed 
and there was President Nixon at his 
Inauguration, promising to bring us to- 
gether. As so often before, he had 
peaked too soon. 


1 have bcen through it all," Uncle Joe 
Cannon, the legendary House Speaker, 


Nixon’s 
The One- 
But What? 


the president, determined to go down in 
history, has yet to rise up to the 
critical issues of the day 


article 


By TOM WICKER 


ILLUSTRATIONS FOR PLAYBOY BY BILL MAULDIN 


once observed. "Rain don't always follow 
the thunder." Today the Nixon antennae 
appear to be made of tin; the Nixon 
conservative base seems to keep him 
nervously leaping to protect it. The hard- 
headed business Administration quickly 
developed a case of political butterflies, 
And the Administration's greatest. effort 
has been directed at putting a splendid 
face on its five-o'clock shadow. 

The cruelest disappointments have 
flowed from the Adi istration’s policies. 
toward the war in Vietnam (30,991 
Americans killed by the time Nixon was 
inaugurated—actually, January 18, 1969, 
the nearest date for which an official 
Pentagon total is available—43,212 by 
August 1, 1970), which at onc point ac 
tally had thc bombers flying again 
against North. Vietnam. Indeed, one of 
the men Nixon had been most praised 
for bringing to Washington, Commis 
sioner of Education James Е. Allen, 
denounced the President's Vietnam pol- 
icies and was forced to resign. 

At the outset of Nixon's term, setting 
the tone for much of what was to follow, 
the new President refused to have his 
peace negotiators in Paris enter private 
talks, for which the outgoing negotiator, 
W. Averell Harriman, claimed to have 
laid the groundwork. Nixon also shied 
away from considering a North Vietnam- 
ese military pullback at that time as an 

ti 


it still is not clear at press 
time—but (continued on page 221) 


Wie 
Ecumenical 
Pleasures 

of Jewish 


Cookery 


food 
By THOMAS MARIO 
a richly varied cuisine 
attracts hearty trencherman 


and venturesome gourmet alike 


THANKS to such raconteurs as Buddy 
Hackett and Myron Cohen, many trust- 
ing souls have been led to believe that 
Jewish cooking is the shortest distance 
between matzoh balls (leaden) and heart- 
burn (chronic). This may be a boon to 
the stand-up comics repertoire, but it 
hardly does justice to a cuisine as tempt- 
ing as any in the world —one with cu 
nary delights as diverse as that first bite 
of cold gefüllte fish, with its sharp deep- 
red horseradish, or hot stuffed-to-bursting 
cabbage simmered in a sauce of honey 
and lemon juice. 

From the outset, the odds would seem 
to have been stacked against Jewish 
cooking. First of all, the kosher kitchen 
abides by its own self-imposed restric 
tions against shellfish, pork, the hind- 
quarter of any meat carcass, and against 
the use of cream, butter or other dairy 
food with meat or fowl. And, uni 
recent years, Jewish cuisine lacked a na- 
tive land. Despite these handicaps, how- 
ever, Jewish cooks developed one of the 
major cuisines of the world. As proof of 
this, one need only cite those Jewish 
dishes that lend themselves so well to 
partying everywhere. [For another type 
of Jewish dish, sample our photo essay 
on Lainie Kazan, elsewhere in this issue.] 
Among many shining examples are 
lathes, or pancakes, made with matzoh 
meal a standin for flour during the 
Passover holiday. The feathery-light, 

mich latkes when correctly made, 
can only be described by the Jewish 
phrase tam gan Eden, or taste ol para- 
dise. There are other latkes, such as 
potato pancakes, which might seem just 
as much German as Jewish е 
the Jews, concentratiny 
cakesmanship for centuries, adopted 
latkes for the Hanukkah festival or mid- 
winter feast of (continued on page 192) 


PHOTOGRAPHY BY POMPEO POSAR 


article BU David ROfUIK 


by the mid-1980s, automated 
autos, noiseless pneumatic 
subways and luxury-liner 
hovercraft will have radically 
restructured our surface mobility 


tne 
anspor 
.reUpiutian 


Avtomoted guideways аге 
elevated highwoys upon 
which remote-controlled 
automobiles will safely 
travel at speeds in 

excess of 100 mph. To 

use the system, a motorist 
will head for the nearest 
check-in station in an elec- 
trically powered guideway 
cor; after driving onto on 
access ramp, he will 

then switch off his engine 
опа push a button, causing 
a mechanical arm to hook 
onto а guideway power 
rail. Seconds ofter the driver 
dials where he wonts to go, 
а computer will colculate 
the routing ond the car 
will be guided by electro- 
magnetic waves to its 
destination, where it will be 
shunted out of the system. 


1985. тик susunns. You get up at 9:30, enjoy a leisurely breakfast from your 
computerized kitchen and read the morning paper (which feeds out of a teleprinter 
attached to your phone). In the headlines this morning, you notice that the A. M. A. 
says it is no longer necessary to carry recydable bottled air in the central city—even 
if you must spend many hours outdoors or in unsealed buildings. Likewise, the story 
gocs on, the surgically implanted “noise rectifiers” previously recommended by the 
National Institute of Mental Health are no longer needed. Finally, you note that 
noise and air pollution are rapidly receding to the low levels of the carly 19405 

You skip the tranquilizers that used to be part of the precommute routine, make 
sure you have your magnetized credit card and then proceed to your garage, where 
there are two cars. One is the latest Detroit dragon, a beauty marred only by the 
little message stamped (under industry protest) on the chassis over the left rear 
wheel: WARNING: INTERNAL COMBUSTION ENGINE EMISSIONS MAY BE HAZARDOUS To 
your HEALTH. (This “warning,” you understand, will be removed in a few years, 
when Detroit begins to hybridize some of its i.ce.s with electric motors.) 

The other car—the one you will be using today—is a sleek fiberglass compact 


Its exterior bears no markings, save for the decorative imprint of the guideway 
authority. You enter the car, without bending, by lifting its wansparent plastic 
dome. The floor inside is perfectly flat and nearly two feet separate а pair of bucket 
seats. Although the small electric motor that propels the car has a range of only 20 
miles, „it is more than adequate to get you to the nearest guideway entrance—only а 


By 1985, tracked air- 
cushion vehicles ТАСУ) 
will have revalutionized 
long-distance train travel 
France has already built а 
prototype, the Aeratrain, 
which, powered by an 
aircraft piston engine 

and propeller, has been 
clocked at 215 mph; work 
оп England’s Hovertrain is 
ropidly nearing comple- 
fion. America's tracked 
air-cushian vehicles (above) 
will resemble, according 
ta author Rorvik, “а cross 
between a spaceship and 
а Batmobile.” Futuristic rail 
travel in America is well 
оп its way: Our nation's 
first TACVs will be fully 
aperative—and ready for 
Government testing— 
within o few years. 


108 


110 


couple of blocks from your home. The guideway itself is an elevated, fully auto 
mated highway that winds through the suburbs and into the central city. At the 
check-in station, you insert your credit card in a roadside meter and a central 
computer instantly checks your credit and the status of your vehicle; if you are 
delinquent in your toll payments or driving a vehicle that has not been recently 
inspected, you will be automatically shunted off the guideway. 

Having passed muster, you drive onto the access ramp. There you cut your 
engine and push a dashboard bution that activates a small retractable arm, which 
emerges from a hidden chamber in the side of the car and clamps onto one of the 

ils. Once attached, the arm ties into communications and 
power, steer and completely take over the operation of your car. 
Next, you use the dashboard telephone to dial your destination and, in seconds, 
the cenual computer calculates the quickest routing under present traffic conditions 
—and reserves space for you all the way to your terminus. Moments later, the car 
accelerates and merges into high-speed traffic on the main guideway, locking onto 
an electromagnetic guidance wave. 

Only one thing resembles the bad old days: Traffic is nearly bumper to bumper; 
but you don’t mind, because you're moving at a steady 100 miles an hour or more. 
As you soundlessly speed along, you are now free to lean back in your seat and 
sleep, shave, play solitaire on a table that drops down in [ront of you, watch televi- 
sion, read, make phone calls, dictate, go over business memos or simply enjoy the 
scenery. A buzzer sounds a minute or two before you reach your exit station, where 


Subways of the future will 
be almost noiseless and will 
moke present subterranean 
Transport systems seem 
snailslow. Pneumaticolly 
propelled “gravity vocuum 
tube” capsules wi 


run undergraund at 

240 mph. The earliest 
working madel will prob- 
ably be in service by 1978, 
carrying travelers between 
midtown Manhattan and 
John F. Kennedy Interna- 
tional Airport—in four min- 
utes. By the mid-Eighties, 
underground shuttles will 
link mojor cities in the 
Northeast, Midwest and 
West. Faster than their 
urban counterparts, inter- 
city grovity-vacuum-tube 
capsules will reach а 
speed of 600 mph. 


ILLUSTRATIONS BY GRAY MORROW 


you simply abandon the car (if it’s a rental) or (if it's your own) turn it over to а 
hostess, who routes it—unoccupied—to a parking area 

The automated guideway, now under intensive study by the Massachusetts In- 
stitute of Technology, the Federal Government and private industry, is only one 
of several “systems engineering" concepts expected to revolutionize transportation— 
and urban America—in the next three decades. Systems engineering, which evolved 
primarily out of the aerospace industry, combines computer technology with humanis 
tic philosophy: Systems engineers want to know not only whether a piece of 
hardware can work but also what its effects on society will be. Thus, had systems 
engineers been in positions of power at the beginning of this century, the internal- 
combustion engine might never have been unleashed on the public, even though 
it provided a remarkably convenient means of personal doortodoor transportation 
Systems engineers might have anticipated the gargantuan appetite for real estate 
that the automobile and its supporting highway system would develop, the blight of 
advertising signs that would crop up along our roadways, the industry's planned 
obsolescence that would result in auto junk yards from coast to coast, the resulting air 
and noise pollution, the devastating highway fatality rate, the time-consuming traffic 
jams, the expensive theft and vandalism associated with the private car—in short, 
the whole Pandora's box of today's all-too- familiar automotive horrors. Nor would sys- 
tems engineershave been swayed by the argument that the internal-combustion engine 
would serve until something better came along. They might even have forescen that 
once entrenched—no matter how bad it turned out to be—it would be too costly for its 


Air-cushion vehicles will 
displace conventionol 
seacraft transportation. 
Already being produced in 
ten nations, air-cushion 
vehicles are lifted above 
the waves by giant fans; 
not having to plow through 
r, they travel several 
times faster thon screw- 
driven ships. Currently, 
British Hovercraft Corpo- 
rotian’s car ferry from 
Dover to Boulogne crasses 
the English Channel 

in 35 minutes, in contrast 
with the usual 90-minute 
run. In the U. S., Bell Aero- 
space is working on a 4000- 
ton hoverfreighter that, by 
the late Seventies, will cruise 
at 100 mph—and will 

cross the Atlantic in 

less than two days. 


ni 


PLAYBOY 


12 


manufacturers to give up without a long 
and bitter struggle. 

Despite transportation's grim past and 
grimmer present, systems engineers such 
as Dr. Richard Barber, deputy assistant 
secretary for policy and international af- 
fairs in the U. S. Department of Transpor- 
tation, believe there is considerable hope 
for the future. The establishment of the 
department three years ago, he says, was 
a substantial beginning, “a recognition 
of the fact that the movement of people 
and goods—no matter by what diverse 
means—is really one problem." Hence, 
the D.O.T. has brought under its pur- 
view a variety of agencies, ranging from 
the Coast Guard to the Federal Aviation 
Administration. “I believe," says Dr. Bar- 
ber, "that transportation is one of the 
most powerful influences in our society 
today; it literally shapes the sort of world. 
that we live in. If it has the power to 
wreak havoc, it also has the power to 
strengthen and reinvigorate.” 

If and when implemented, possibly 
beginning as early as 1975, the automated- 
guideway system will prove a tremen- 
dous boon to the environment—and 
our lives. MIT's Highway Transportation 
Program has already received grants total- 
ing $1,000,000 (from the D.O.T. and 
General Motors) to conduct automated- 
guideway feasibility studies; to date, find- 
ings have been decidedly positive. Dr. 
Siegfried Breuning, former director of the 
MIT program, believes that the auto- 
mated-guideway system will be infinitely 
superior to present-day motor travel. He 
says, "The first advantage of a guideway 
would be to relieve road congestion. Most 
urban arterial highways have capabilities 
of 1500-2000 vehicles per hour per 12- 
foot-wide lane. We feel that an automated 
highway with eight-foot-wide lanes could 
accommodate up to 10,000 vehicles per 
hour per lane. The eight-foot lane, of 
course, would also allow the nation to re- 
claim a considerable amount of land 
fiven over to highway use—or at least 
devote less land to future transportation 
use," Three other points raised by Dr. 
Breuning in advocating the automated- 
guideway system: Air and noise pollution 
would be significantly reduced, due to the 
employment of electronic propulsion (air 
pollution from the rural power plant 
feeding the system would not be difficult 
to control); parking problems would be 
virtually eliminated, since most of the 
guideway vehicles would be rentals in 
constant circulation; and the automated 
guideway would preclude driving errors 
that are the main cause of fatal accidents. 
Additionally, Dr. Breuning lists such hu- 
manistic benefits as more leisure time pro- 
vided for millions of urban commuters 
nd high-quality service priced low 
enough so that its benefits could be en- 
joyed by the less affluent. 


We already possess the technology nec- 
essary to build and maintain a national 
guideway system and, if funded, construc 
tion could begin almost immediately. 
(Even advanced battery packs and fuel 
cells are not necessary, since power will 
be applied to guideway cars through 
extemal rails.) And though there is no 
single computer presently available that 
in handle an automated guideway serv- 
icing a city the size of New York, a 
number of integrated computers could 
be employed in the interim. The elevat- 
cd guideway structure itself, Dr. Breun- 
ing says, will be relatively inexpensive, 
since it can be prefabricated. Cost per in- 
dividual user, Dr. Breuning believes, may 
be only half the present rate on conven- 
tional highways. 

As for aesthetics, MIT engineers be- 
lieve the guideways, narrow and clean in 
concept, can be attractively integrated 
into the urban scene. In downtown areas, 
guideway structures will hug the sides 
of buildings—and probably pass right 
through others—at approximately the 
fourth-story level. “In the suburbs," Dr. 
Breuning observes, “they may be obscured 
from view among the trees—20 or 30 feet 
up.” Little noise will be generated and 
people will be able to pass freely under- 
neath. "In many ways," he adds, "guide- 
ways should be far less objectionable than 
streets and certainly less of an eyesore 
than bulky freeways.” 

Implementation, he concedes, may 
pose something of a problem. “The more 
we look into this, however, the more 
opportunities we sce for a gradual evolu- 
tion of the system." The first guideways 
will be built in large airports and will be 
used to shuttle passengers to and from 
terminals. Then the system will be ex- 
panded to help ease traffic in bottleneck 
situations. As drivers begin to grasp the 
virtues of the system, Dr. Breuning says, 
some will have their cars fitted with 
accessories (which may cost as little as 
$200 when mass-produced) that will al- 
low them to use the short guideways. The 
speed and ease with which these “pi 
neers” navigate through heavily congested 
areas will serve as persuasive advertise- 
ments, indeed, and nonusers, the MIT 
team believes, will come over rapidly and 
in large numbers. “Before long,” says Dr. 
Breuning, "the demand for automated 
guideways will be at least as great as it was 
for roads in the Twenties.” 

Ultimately, the guideways, run by a 
public or semi-public corporation, will 
spread out to the suburbs, and dual-mode 
electric vehicles capable of being driven 
off the guideway as well as on (where they 
can be automatically recharged) will be 
produced on a large scale. The Alden 
Self-Transit Systems Corporation of West- 
borough, Massachusetts, has already de- 
veloped a number of highly successful 


prototypes called staRRcars, which, even 
in this early stage of evolution, are 
capable of 60 mph. Eventually, most 
guideway cars will be compact, “captive” 
capsules owned by the authority for use 
only on the system. By the late 1980s, it 
should be possible to dial a car (or bus) 
and have it stop at the guideway close 
to your house in the suburbs. By this 
time, intercity guideways should also be in 
full operation. 

Since conventional automobiles will be 
completely banned from the central city, 
probably by 1985, the guideway system 
will have exits situated adjacent to 
smaller transportation systems designed 
to move people over short distances in 
downtown areas. Among the most preva- 
lent of these will be personalized cap- 
sules that run along the streets or on 
their own narrow elevated tracks (like 
the minirail used so successfully at Expo 
67 in Montreal) and endosed moving 
sidewalks, complete with air conditioning 
in the summer and heat in the winter. 
These systems will link office build- 
ings apartment houses terminals and 
shops; they will go in and out of doors, 
above and below ground, becoming, in 
effect, unobtrusive parts of buildings 
and arcades. 

By the time guideway systems are con- 
structed to ease the intracity traffic 
crunch, another пем transportation 
mode will be similarly solving the inter- 
city variety: By the mid-1980s, under- 
ground grayity vacuum tubes will shelter 
capsules that flash eerily along without 
motors (and almost noiselessly) at 
speeds possibly as high as 600 mph. Un- 
derground shuttle service is expected to be 
in full operation by 1985, by which time 
it will routinely link cities in the North- 
eastern urban corridor (Boston, New 
York, Philadelphia, Baltimore and Wash- 
ington) and, going west New York, 
Pittsburgh, Cleveland, Detroit, Chicago, 
Milwaukee and Minneapolis-St. Paul. On 
the West Coast, it will connect San Diego, 
Long Beach. Los Angeles, Glendale and 
Pasadena and, farther north, San Jose, 
Palo Alto, San Francisco, Oakland, Berke- 
ley and Sacramento. 

"Almost too good to be true" is the 
way the prestigious Regional Plan Asso- 
dation of New York descibes—and 
endorses—the gravity vacuum transit con- 
cept. The system, developed and patent- 
ed by Lawrence K. Edwards, president of 
Tube Transit Corporation of Palo Alto, 
relics on gravity and pneumatics for 
propulsion. It will operate in the follow: 
ing manner: Visualize a train in an under- 
ground tube (accessible by escalators) 
surrounded by at normal atmos 
pheric pressure. Once passengers have 
boarded and the train is ready to roll, an 
air valve at the end of the station (valve 
A) and one at the beginning of the next 


AB 
MM 


"IE thought you were with General Custer." 


113 


PLAYBOY 


14 


station (valve В) are closed; air is then 
pumped out until the pressure is only 
about 1/40 of normal atmospheric con- 
ditions. Valve A is opened and the train 
is pushed by atmospheric pressure into 
the near vacuum ahead, When the de- 
sired amount of pneumatic (air-pressurc) 
energy has been imparted to the wain, 
a computer will automatically shut valve 
A. Traveling along a downward slope, 
the train will continue to accelerate until, 
just before the next station, it will reach 
an upward grade, slowing it down; it will 
be slowed down further when air pressure 
from valve B ahead exceeds the pressure 
from behind. 

‘The advantages of the gravity-vacuum- 
tube system are considerable. In the first 
place, as inventor Edwards notes, “Gravi 
ty costs nothing, is 100 percent efficient, 
universally available and absolutely re- 
liable.” Moreover, experiments have 
proved that passengers in a gravity- 
propelled vehicle scarcely perceive any 
acceleration or deceleration, permitting 
very high average speeds even over short 
runs. The system is nonpolluting and, 
because it is below ground, uses no sur- 
face real estate. In addition, it is free 
of complex moving parts and has no 
potentially dangerous on-board propul- 
sion units. Speed, however, is probably its 
biggest selling point. Urban gravity-tube 
capsules, Edwards says, will shoot around 
suburbs, downtown areas and airports at 
240 mph. Intercity versions will reach a 
speed of 420 mph and may eventually hit 
600—even with a wheeled suspension. 

The earliest intercity gravity capsules, 
which could become a reality in as few as 
six to eight years, will carry passengers 
from midtown Manhattan to midtown 
Washington (with 12 intermediate stops) 
in 75 minutes and from New York City to 
Boston in 73 minutes. (Currently, the to- 
tal elapsed train time to go from midtown 
New York to midtown Washington is 
something over 170 minutes.) In the city 
area, Edwards estimates that the earliest 
urban gravity tubes will be built to 
transport travelers from Manhattan's 
"Times Square to John Е. Kennedy Inter- 
national Airport in under four minutes. 
By the 1990s, when we will have hyper- 

i пез going from New York 
City to Sydney in a litte over an hour, 
people may reasonably feel they should 
have to spend no more than а minute or 
two covering the 10 or 20 miles to the air- 
port; of all urban transit systems now 
cnvisioned, only the gravity tubes could 
meet this demand. 

Some engineers, however, doubt that 
even the best wheel-rail suspension sys 
tem will adequately support tube trains 
moving in excess of 300 mph. (Air cush- 
ions won't work, either, they point out, 
since the purpose of the gravity-tube 
concept is to free the moving vehicle 


from aerodynamic drag) Hence, a third 
and far more exotic possibility has 
emerged: electromagnetic suspension. At 
first, this would appear to be unreason- 
ably expensive, considering the amounts 
of electricity necessary to create magnetic 
cushions powerful enough to support the 
immense weight of a large train. Super- 
conductivity, however, is expected to 
solve the problem. Certain metals, when 
cooled to temperatures near absolute 
zero (—460 degrees Fahrenheit), can 
be transformed into superconductors 
through which electric current passes at 
zero resistance, providing the ultimate in 
electrical economy. (At present, resist- 
ance losses in high-voltage transmission 
lines in this country amount to more 
than $350,000,000 annually; if supercon- 
ducting lines were used—as they will be 
in another 20 or 30 years—losses would 
be under $5,000,000 a year.) 

J. R. Powell and С. T. Danby, scien- 
tists at the Brookhaven National Labora- 
tory in Upton, New York, have proposed 
an ingenious system in which supercon- 
ducting magnets support a train that, due 
to huge magnetic counterfields, never 
touches the tracks. The concept has 
received considerable attention from 
D.O.T., and Powell and Danby clai 
that their system is “technically and 
economically feasible with present. mate- 
rials.” Such a train, pushed by an air- 
plane propeller, has been proposed for 
surface use. 

At the moment, however, tracked air- 
cushion yehicles are being more seriously 
considered for high-speed transportation 
above the ground. The prototype 
French Aerotrain is already in existence 
and will soon go into full-scale opera- 
tion. The British, too, are well on the 
way to completing their version—the 
Hoyertrain. The Aerotrain, which uses 
an aircraft piston engine and propeller, 
has been clocked at 215 mph. This sub- 
stantially outstrips the best “rolling sup- 
port" system now in existence—Japan's 
New Tokkaido Line train, linking Tokyo 
and Osaka, which averages 110 mph with 
a top speed of about 190 mph. Though 
currently behind the British and the 
French, the United States may yet come 
up with the best tracked aircushion 
vehicle in the world. The French system 
runs along an inverted Тай configura- 
tion and the British runs on an inverted 
U; U.S. prototypes will be supported 
by a noninverted U-rail configuration, 
which, after extensive testing, has been 
shown to provide greater stability at lower 
costs than the upside-down T tack. On 
the basis of these findings, General Elec- 
and Grumman Aircraft have come up 
with preliminary vehicle designs. Both 
trains resemble a cross between a space- 
ship and a Batmobile. The Office of High 
Speed Ground Transportation hopes to 


test a full-scale research model before the 
end of 1973. 

British and American tracked air- 
cushion vehicles will be powered by 
lincarinduction motors. Although it is 
still somewhat of an untested quantity. the 
linearinduction motor is expected to to- 
tally revolutionize surface travel and will 
also be employed to propel guideway 
automobiles and, where digging for grav- 
ity tubes becomes too difficult, tube transit 
systems. (The highly technical linear in- 
duction motor resembles a rotary electric 
motor that has been sliced open, unpeeled 
and laid out flat. The seemingly miracu- 


convert the nature of the motor's force 
from torque to thrust.) Garrett Corpora- 
tion is presently developing а 2500- 


horsepower linear-induction motor for the 
American tracked air-cushion vehicle pro- 
gram. Final evaluation of all the new high- 
speed ground yehides will have to await 
construction of a $12,000,000 test facility 
at a yet unselected site. Tests of a tracked 
cushion vehicle could start next year 
and a tube train could be put through its 
pheumatic paces at this same facility 
early as 1974. 

The future of personal transit is far 
less predictable than masstransport sys- 
tems, For example, private vehicles—ca- 
pable of guideway and contemporary-road 
usage—may be constructed of materials 
more radical than their propulsion sys- 
tems. High-impact-absorbing plastics and 
fiberglass will probably be standard ma- 
terials in another 25 years, but auto 
bodies may also be constructed of 
nylon and other synthetic fibers. Several 
new metallic alloys also show promise 
None is more amazing than Nitinol-55, a 
nonmagnetic nickel-titanium alloy with 
the astonishing ability to reconstruct it- 
self from “memory” into complex shapes 
and forms—even after it has been crum- 
pled into a wad. Fabricated into auto 
bodies (or simply into the most vulner- 
able parts of them), this superalloy could 
take the bite out of a few billion dol 
Jars’ worth of dents and bashes each 
year. Whether your Nitinol chariot has 
just one ting little dent or is a 
wretched lump of wreckage, help will be 
only a few minutes and a few volts away. 
АП you'll have to do is drive (or be 
towed) into a garage, where clectric cur- 
rent can be pulsed through what's left of 
your car; almost magically, the dents, 
crumples and creases will unfold and 
your car will be like new again. (And if 
youre short of electric current, hot water 
may be able to do the trick.) The metal- 
lurgical physics underlying this phenom- 
enon are not yet clearly understood, 
though it's apparent that above a certain 
temperature, Nitinol atoms always revert 

(continued on page 188) 


PLAYBOY 


somewhat Socratic mind, and a persuasive 
personality, once led an admirer 10 com- 
ment that—had he wanted to—he might 
have become President of the United 
States. “I would rather.” he said, in the 
tone of a man who knows the ultimate 
levers of power, "have been Secretary of 
State.” 

He resists categorizing. On one hand, 
he is instinctively a conservative. ("I'm 
the last of what Roosevelt used to call 
the "economic royalists”) On the other 
hand, he is an iconoclast. He docs not, 
for instance, believe a great deal of what 
college coaches say about the game or 
their teams. “If you follow the coach," 
he told me one day not long ago, "hel 
break you." For a long moment, his look 
was deep and interior, like a man chew- 
ing mentally on the bones of a hundred 
dead foes. He has been tempted in the 
past to believe the coaches: "My charac 
ter is flawed in that respect," he says. 
But by now, he has learned to disdain 
their hollow cant, their pharisaical insist- 
ence that the world is Rat, exactly 100 
yards long and bounded at both ends 
by goal posts. "Nowhere as much as in 
coaching and politics do you encounter 
the feeling that truth is merely relative, 
that the lie made public must be regard- 
ed as Biblical fact," he says. He is espe- 
cially sensitive to the statements made by 
coaches about the physical health of 
their teams. He recalls one October day 
a number of years ago, when he picked 
Missouri to beat Air Force Academy by 
three points, Then he read of а dreadful 
plague of injuries that hit Missouri. Mis- 
souri coach Dan Devine seemed to have 
doubt that there were enough able 
bodied boys in the entire state to replace 
the men on the injured list. So persistent 
and so melancholy was coach Devine 
that the point spread began shifting—as 
the public and the bettors came to be- 
lieve him—until Air Force became a 
‘one-point favorite. Diogenes read and 
reacted; he couldn't resist hedging his 
bets. On Saturday, Missouri turned up 
with a team that had recovered spectacu- 
larly from its injuries—"Saint Francis 
should have been so lucky with birds,” 
says Dio dryly—and Missouri rolled to a 
34-8 victory. "I did the worst thing you 
can do in sports,” laments Diogenes. “I 
believed the coach." 

He tics strenuously to maintain an 
objectivity. Of course, he has his favorites 
in football, but he regards them all with 
the fishy-eyed skepticism of a bankdoan 
officer. “Loyalty can make only one thing 
out of you," he says. "A los 
people in beting feel that his objectivity 
is not to be believed, Some years ago, he 
was approached by a shill—a man front- 
ing for certain bookmakers—sceking 
Dio's views on the upcoming North- 
western-Notre Dame game. Dio was 


116 known to like Northwestern personally; 


his own school—Chicigo—had no team. 
so he'd transferred his affection to North- 
western. He was alo known not to 
possess the same high regard for Notre 
Dame—"I just never cared much for the 
Notre Dame crowd,” he says. But he told 
the shill exactly what he thought: "Notre 
Dame to win by five.” The shill hashed 
the word to his clients and the next day, 
Notre Dame went up on the boards as 
а 18-point favorite. The reasoning was 
this: If Diogenes—with all his prejudices 
—liked Notre Dame by five, then the 
Irish must really be а two-touchdown 
favorite. At first. Dio was deeply angered 
by what the shill had done. Dio had al- 
ready laid a bundle on Notre Dame to 
win by five and when word got around 
that he'd tipped the shill, it might look 
to people in the business as if he were 
giving them that celebrated calisthenic: 
the double shuffle. When he calmed 
down. he decided to exploit the situa- 
He went back into the betting 
marts and put a bundle on Northwest- 
ern, taking the 18 points. Moreover, he 
made a point of patronizing those book 
makers who used the shill, hoping—by 
the sheer magnitude of his bets—to put 
them in a position where they couldn't 
do anything but lose. As he'd originally 
predicted, Noue Dame won by five 
points, 12-7. So Dio won both sides of 
his bets—and the shill's clients took a 
bath. "That,” says Dio, “was something I 
enjoyed.” 

Perhaps his most remarkable attitude 
is toward the tensions of the game. He 
docs not agonize that a game—and a bet 
—may go against him. A while back, 
he picked Florida to win by a point over 
Baylor in the Gator Bowl. He was watch- 
ing the game on TV and Florida had a 
18-6 lead, with Baylor muddling around 
mid-ficld, Suddenly, Baylor clicked on a 
47-yard pass play and got a touchdown 
that reduced the deficit to one point, As 
Baylor lined up for the extra poi 
Diogenes observed that there was $42,000 
ing on that single play—"$22,000 of 
my money and $20,000 of the bookm 
er's" Yet he seemed as calm аз a Colches- 
ter oyster. A successful kick would mean 
a Че game and $22,000 in losses for 
Diogenes—but Baylor didn't kick. In- 
stead, it tried to go for two points and 
the win, by throwing а pass. The pass 
was incomplete, Florida won the game 
13-12 and Diogenes won the bet. "Why 
worry?" he said coolly. "You know you're 
going to lose sometimes 

Dio reached this controlled status in 
the usual maladroit way. He was com- 
pletely absorbed by both mathematics— 
“the theory of probabilities"—and sports. 
The trouble was that he couldn't make a 
living at either. So he turned his talent 
to economics. After рец 
degree, he took a close look at himself 
and concluded that he really wasn't fit 


ig his master's 


for anything. So he became a securities 
analyst in a bank. “It's simply a busines 
of picking winners,” he says. The action 
whetted his desire for picking winners in 
football—as he had done in college— 
d it so happened that the city he lived 
in then harbored usiness establish- 
ments” that catered to such ambitions. 
(New York City has recently resumed the 
tradition, at least with respect to horse 
racing.) At lunch one day, he walked into 
such an establishment and decided to 
invest in his favorite team. 

"For how much?" asked one of the 
investment counselors. 

"Fifty," said Dio. He'd noticed this 
seemed to be the figure most frequently 
used in the investment atmosphere. 

“Fifty what?" 
Fifty cents," said Dio. After all, he'd 
had a lot of experience betting on parlay 
cards. 

The investment counselor gave him a 
sour look. "The minimum, buddy, is fifty 
bucks.” 

Dio went back to the bank. He worked 

hard and long and he saved his money 
and in two years, he'd saved $50. 
"Then I went right back to that same 
joint and took my team again—it was an 
underdog—and 1 put the S50 on it.” 
"The house took his money wordlessly; he 
won and just as wordlesly it paid him 
off on the following Monday. 

What would he have done if he'd lost 
that first bet? 

“1 would have gone back to the bank 
and worked for two more years and 
gotten another 50 bucks to put on that 
team.” 

He might not have had the chance. 
For back at the bank, he had a little 
action going on the side: He was making 
book on who would get fired next. It was 
a flourishing side line until the day the 
president of the bank learned that Dio 
was carrying that illustrious gentleman as 
a threetoone choice to get fired. He 
fired Dio instead. "I had myself at eight 
to one,” says Dio. He is still bothered by 
the overlay. “I should have had myself 
at no bewer than even money. 

Having escaped the stifling embrace of 
commerce, Diogenes decided to deyote 
himself entirely to art, At first, he felt 
that something had been los—perhaps 
the bloody but beautiful amateur stand- 
ing of it all But he adjusted quickly 
and gradually began to move up the 
money ladder. “You can bet only what 
your rating is good for,” he says. “If 
you're a ten-lollar bettor and suddenly 
you come up with $1000 on a game, the 
bookmaker is going to want to know 
why.” It isn’t only that bookmakers are 
afraid of “unnatural” money; its that 
few bettors can stand the tensions of 
moving up to a big-money bet. Dio not 
only could take the tension but he was 

(continued on page 212) 


x5 ^ e 


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3 / | 
mec d f 
Sel 


~ — - \ 
PLAYBOY’S FALL & WINTER FASHION FORECAST 


attire By ROBERT L. GREEN ^ вело вкиммкшазн preoccupation with ele she definitive statement 

gance, we predict, will be the dominant trend in men's fashions during the next six S f 
pels, both notched and peaked, are certain to continue to expand, thus 0” the coming trends in. 

providing an increasingly broad frame for ties of four- to five-inch widths. Woven menswear and accessories 


Two for the two-button. Left: Subtle geometric-weave single-breasted, by Botany 500, $110, worn with cotton and polyester shirt, by 


Manhattan, $9, and cotton and rayon wide tie, by Ditz, $5. Right: Wool flannel two-button, by Franklin Bober for Clinton Swan, $120, 
broadcloth shirt with long-pointed collar, by Pierre Cardin for Eagle, $16.50, and silk twill tie, by Ralph tauren for Polo, $12.50. 


The perennial peacoat. Right: Long melton 
jacket with two-way collar, twa flap breast 
packets, two slash side pockets with vertical 
flaps, dauble-welt seaming and a deep cen- 
ter vent, by Phillipe Venet for Barney's, $175. 


patterned cravats will have а lush Renaissance look designed to comple- 
ment the lean, almost tubular lines that will mark the near-future shape 
of suits and jackets 

This past summer, the easy suit—a term coined to describe a light 
weight, loosely constructed garment with no shoulder padding or inter- 
linings—was introduced and became an instant best seller, because it 
combined the function of a business suit with the comfort of casualwear. 
You can expect easy suits (some manufacturers call them free or relaxed 
suits) to reappear early in the fallin heftier fabrics. 

Outerwear is going to continue to lengthen this winter, with leather 
maintaining its position as the favored cold-weather trapping. Supple 
glove suedes and glove kid leathers, brushed pigskins, goatskins and call 
suedes are currently being cut into long coats with an A-line shape that 
features a slim chest, high armholes and a slight flare from the waist 
Raincoats will also be midi length and (text concluded on page 123) 


ILLUSTRATIONS BY ALEX GNIDZIEJKD. 


Outerwear with flair. Above: Geometric-patierned double breasted wool 
oat with extra-wide lapels, by Pierre Cardin, $235. Right: Wool double- 
ip-front suit, by Bijou de Bruestle for Rafael, $180, and cotton knit 

sweoter, by Robert Bruce, $7. For right, top: Sueded-calfskin midi-length 

belted coat (left), by Jon Stephone-Bidermann, $260; cotton rayon polyure- 
thane midi-length raincoat, by Jupiter of Paris, $100, wool tweed floppy 
cop, by Tenderfoot, $B, and convas shoulder bag, by Hunting World, $25. 

Far right, bottom: Sheepskin coat with roomy canvas patch pockets, full collar 

and bone buttons, by Stanley Blocker, $140, cotton knit shirt, by Michoel 

Mileo/Peter Sinclair, $17, herringbone wool slacks, by Viceroy, $25, fur 

120 felt hat, by Rafael, $35, and patentleother belt, by Solvotori, $7.50. 4 


The elegont touch. Above: Wool and polyester double-breasted midi- 
length coat, by Jupiter of Paris, $80, worn with fur felt wide-brimmed 
hot, by Rofoel, $35, ond long wool scorf, by Hondcraft, $7.50. Center 
left: Cotton velvet dinner jacket, by The Earl of field, $150, wool 
trousers, by Carlo Giovonnelli, $40, silk evening shirt, by Hathoway, 
$30, and silk bow tie, by After Six, $6, Center right: Mohoir and 
worsted one-piece formol jump sui, $110, silk rufled-front evening 
shirt, $30, both by Oscar de lo Renta for After Six, and silk sat 
butterfly bow tie, by After Six, $6. Far right: Double-breasted horsehair 
greatcoat, $600, and sveded-calfskin slacks, $165, both by Pierre Car- 
in, ond a ribbed Trevira and cotton knit turtleneck, by Forum, $12. 


highlighted by such details as patch bellows pockets 
and belted backs. 

Striped dress shirts in a bright new spectrum of color 
combinations, including cream and sky blue and red 
and pink, should soon be appearing in your local men's 
store. And the white dress shirt, we predict, will s 
a comeback; styles will have full collars, deep cu 
interesting surface treatments—white satin strip 
and white Jacquard-weave accents, for examph 
the latest word on this fall and winter's fashion scene 
—make your move while the selections are plentiful. 123 


WOMAN'S FUR BY MICHAEL FORREST 


opinion 
By LESLIE EPSTEIN 


4 young film, Jreak—lamenting the 
current cinema’s lack of imagination— 
celebrates past revelations of delight and 
terror in moviehouses from tijuana to verona 


HE MOST SATISFYING aesthetic experience I've 
had, the one in which reality and the work of art most immediately and thoroughly interpe 
etrated—an eyeful of shadows stuffing my arms, a magiclantern genie, black-haired, shocles: 
asking, “What is your desire?"—occurred midway in my moviegoing career and cost $3.50. 
“Three fifty!” cried the Penguin, flapping his arms, "For а flick? For nothing but a fli 
“Si. You want gorls, you got to pay another ten dollars more. 
“No girls, no girls" said the Pumpkin out loud, and then, growling into my ear, “Tell 
1, Duck. Tell him to buzz off. We're not interested. It's too soon. It'll ruin the plan. 

“How much is the ride out there?" asked the cautious Penguin. “An arm and a leg 

“One dollar and fifty cents,” said the driver as the back door of his taxi—white with a 
blue top and a blue stripe down the side, a fabled Blue cab, Charon's notorious Dodge, ferry- 
ing the children of Los Angeles to hell and night—swung open and sucked us in. 

“That makes five each and no nooky," the Pumpkin s: 

"Get it out now," whispered the Penguin. "Don't let them see your wallet." 

"Move your ass," I told the Pumpkin, afraid he would feel the trembling of my leg through 
the corduroy on his sturdy thigh. The cab shot forward, made a U-turn on Tijuana's main 
street and careened onto an unlit, unpaved road. 

“Jesus!” the Penguin groaned. “What are we doing here?" 

The driver began to sing. "La-la-la, lalala, Ја Лала." 

"Quit shaking, Duck. You act like you've never gone to the movies be——'" The words died 
on my friend's lips. Without slowing down, without any warning at all, the taxi swerved across 
the road to the left and climbed а dirt embankment. It hung for a moment at the top, its 
headlights casting a last, cross-eyed look in the direction of heaven, then slammed down and 
began burrowing across a rutted field toward a distant Cluster of tar-paper shacks that, even as 
we watched, lit up, bare bulbs winking welcome at the Blue, lurching and heaving along, 
tri-tri-la-la-la, with its barnyard of innocents. 

‘The Penguin, the Pumpkin and I had been friends for years and were now drifting apar 
Т had returned from my first year of college in the East and it was almost clear to me how 
much time we had wasted in one another's company—set after set of tennis, endless 
cruising for girls on Hollywood Boulevard, weekends at the beach, lying in the sand, 
rising occasionally to catch a wave on the prow of our rubber rafts. I think it was 
because we sensed there could not be much more of this that we decided to seal our 
summers, and E our shamelessness, with what in Southern California 
had become LS à a traditional rite of passage: the trip to T. J., the 


defloration of the freshman. (continued on page 136) 


ILLUSTRATION. BY BILL UTTERBACK 


Г TWICE 
| BLESSED 


Though they're based in London, the twins often travel aut of town on modeling assignments 


Above: Their photographer meets them ot Ipswich Stotion for о rural mini-midi shooting. 


Next day, the girls visit their Carnaby Street modeling agency to go over their portfolio. 
Later, en route home and oblivious of the streets boutiques, they discuss a new assignment. 


at work or play, 
our first twin playmates 
lead a lively double life 


DENTICAL Twins have been a perennial 

theme of folklore and literature since 
Romulus and Remus shrewdly picked 
up some real estate in what turned out 
to be Rome. After a look at our Oc 
tober Playmates—18-yearold Mary and 
Madeleine Collinson—it's easy to under- 
stand why Shakespeare, Thornton Wil- 
der and Lewis Carroll, to name a few, 
felt compelled to express their fascina- 
tion for this unusual sibling relationship. 
Although these browneyed beauties 
agree that being look-alikes is great fun, 
their biological uniqueness can be a 
problem. “Sometimes people treat us 
differently from other kids just because 
we're twins," says Madeleine. In an un- 
cannily similar voice, Mary concurs: 
“They think we're special, but we don't 
like the distinction. This is one of the 
reasons we left home.” Home for the 
Collinson girls—the second pair of twins 
in their family—is Malta, the tiny for- 
merly British island in the Mediterra- 
nean whose inhabitants speak an exotic 
blend of Arabic and Italian dialects. 
Over a year and a half ago—when they 
both decided life there was too orthodox 
and insular—the pair migrated to Lon 
don to embark on a career in fashion 
modeling. "At first it was a difficult ad- 
justment;" recalls Mary, "since we had. 
no close friends or relatives to help us. 
We didn't know how to manage a carcer 
and we had to learn the hard way. Some 
people tried to take advantage of us 
because of our inexperience and often 
promised us jobs we never got." Happily, 
things have changed for this free-spirited 
twosome. Because of the enthusiasm 
they share for almost everything they do 
(and with a little help from each other), 
their disappointments were shortlived. 
"I don't think age has anything to do 
with a person's ability to get along,” says 
Mary's alter ego. "We were capable of 
taking care of ourselves and we did.” 
With more modeling jobs coming their 
way—the most recent on location in 
Spain—the twins find that their hec 
tic schedules leave them little leisure 
time. Since most of their assignments 
are à deux, they make their daily rounds 
together, visiting photographers, taking 
test shots and going over their picture 
layouts. "Modeling is like a continuous 
holiday wearing pretty clothes and get- 
ting paid for it," they echo, but Made 
leine confesses it's not an easy life. “The 
competition is tremendous. "There's always 


PHOTOGRAPHY BY DWIGHT HOOKER 


Preparing ta leave for the 
United States, Madeleine 

(for left) ond Mary mirror 

each other's thoughts an 

what outfits to pack far the trip. 


going to be someone who's better or 
prettier than you are, so you have to 
be in tiptop shape all the time, and it's 
very tiring.” Her counterpart nods ap- 
proval, remembering periods of utter 
exhaustion after working seven days a 
week. "But I have to be doing some- 
thing,” says Madeleine. “I couldn't stay 
home for very long. Modeli 
busy and the pay is good. 
genetic make-up, the girls not only look 
alike but mirror each other's thoughts 
and opinions on subjects that run the 
gamut from career and marriage to poli- 
tics and pastimes. “Talking to one of us 
is like talking to the other," Madeleine 
says. “There's really little difference in 
the way we think and in the things we 
like to do.” So it's not surprising that the 
two spend their free time as well as their 
working hours together. If they aren't 
reading (they prefer fiction) or listening 
to music (Johann Strauss is a favorite), 
you might find them testing their exper- 
tise on the slopes in Gstaad, Switzerland 
(they plan to become expert skiers). A 
recent junket a tour of Austria, 
Germany, Belgium and Italy by car with 
a group of friends. Although they like 
the gaiety of London's discothèques and 
pubs, M and M's idea of a perfect day is 
a stroll through Hyde Park, where they 
enjoy rowing on the Serpentine, or visit 
ing the Regent's Park zoo. With so few 
vacations and such long and unpredict- 
ble working hours, however, the girls 
find it difficult to date and almost impos- 
ady boyfriends; but it's 
n occupational hazard they accept will- 
ingly—for the present. As Madeleine ex- 
ins, "When we have to break dates 
because of an assignment, men just don't 
understand. But if we have to choose 
between our social life and a job, our 
work is more important. We just don't 
want to be involved with anyone—at 
least for now." Even though both of 
them claim impatience as one of their 
vices, neither is in a hurry to give up her 
independence for matrimony. With pre- 
dictable agreement, they plan to work 
for at least five more years “to earn 
mough money to be independent, even 
after marriage.” Self-sufficient though 
they may be, a trip home—four hours by 
air from London—to be with family and 
friends is a welcome relief for this hard- 
working team. They take maximum ad- 
vantage of Malta's salubrious climate 
ing and taking moonlight 


As the hour of departure for Chicago rapidly approaches, the twins get ready on the double. Below: After arriving at O'Hare Airport, they 
four the famous Rush Street area by limo befare leaving their bags at the Playboy Mansion and setting off on foot for further explorations. 


Part of the afternoon is spent browsing in the many shops along Michigan Avenue. After visiting the Playboy Building, the girls are over. 
whelmed by the John Hancock Center (below); from the observation deck, 94 stories high, they get a dizzy aerial view of the central city. 


swims on their favorite beaches, Malta's blend of Old World 
and New is alluringly tranquil, but the girls prefer the 
"freedom and excitement" of London. Ideally, they'd like 
to own a retreat on Malta where they could vacation two 
months every year, but both agree that they'll never return 
to stay. “It’s too backward and parochial,” explains Made- 
leine (or is it Mary this time?). “The ideas, freedoms and 


even the fashions of young people aren't readily accepted. 
ach generation is the same and the Maltese want to keep 
Once you've traveled, you feel trapped there, 


it that w 


In search of unusuol gifts to surprise their family and friends, 


and we're too free-thinking to conform to its customs and 
Jitions.” Although the twins have spent a lot of time 
eling, a recent visit to the States—highlighted by a stay 
in Chicago for their Playmate assignment—has been the 
most exciting adventure to date for this nomadic pair. In 
fact, they were so impressed with what they saw that they've 
considered the possibility of moving here. “We'd probably 
live in California, but we'll have to give it serious thought 
before moving so far from our family and friends.” It would 
be quite a step for the twins, but we hope they i 


the twins peer into a candle shop in Old Town's Piper's Alley. 


PLAY BOY’S PARTY JOKES 


After he entered a packed subway train, the 
young man was crushed against a shapely 
blonde. Several stations later, as he started to 
get off, she kicked him in the shin. "What 
the hell did you do that for?" he asked. 

xt time,” the indignant girl whispered, 
"don't start something you can't finish.” 


We know a happily married philanderer who 
justifies his amours with the comment, “My 
wife doesn’t care where I get my appetite, as 
long as | eat at home." 


educational toy. “Isn't it rather complicated 
for a small boy?" ked the salesclerk. 

“It's designed to adjust the tot to live in 
today's world, madam." the shop assistant re- 
ny way he tries to put it together is 


Our Unabashed Dictionary defines artificial 
insemination as inoculate conception. 


Stopping to pay a call on some of his suburban 
constituents, the Congressman found that they 
were having a party and volunteered to return 
at a more convenient time. "Don't go,” the 
host begged. “We're playing a game that you 
might enjoy. We blindfold the women and 
then they try to guess the identity of the men 
by feeling their genitals.” 

"How dare you suggest such a thing to a 
man of my dignity and stature?" the politician 
roared. 

"You might as well play," the host urged. 
“Your names already been guessed three 
times.” 


Our Unabashed Dictionary defines prostitu- 
tion as the only business in which the profits 
go up when the assets go down 


White passionately making love, the couple 
was interrupted by the phone ringing. The girl 
answered it, returning to bed a few seconds 
later. “Who was that?" her companion ques- 
tioned. 

“My husband,” the curvaceous young thing 
sighed, snuggling up against her bed partner. 
"He wanted to tell me he'll be out late because 
he's playing poker with you and some of the 
other fellows.” 


1 sent my boy to college to get an education,” 
complained one father to another, “but all he 
seems to do is shack up with coeds, smoke pot 
and have a good time.” 

“Most college students do that today,” replied 
his friend. 

“That's the trouble,” snapped the first chap. 
“I should have kept him home and gone to 
college myself.” 


Our Unabashed Dictionary defines masseurs as 
people who knead people. 


And, of course, you've heard about the 80-year- 
old man accused of rape but later acquitted be- 
cause the evidence wouldn’t stand up in court 


The worried bachelor consulted a psychiatrist 
about his nymphomaniac girlfriend. “Doctor,” 
he exclaimed in a shaky voice, “she'll stop 
nothing to satisfy her bizarre sexual desires 


ve heard enough," interrupted the psychi- 
atrist. “Does she have а friend?" 


Our Unabashed Dictionary defines masturba- 
tion as doing your own thing. 


The head of a large advertising firm reluctant- 
ly agreed to take on the son of a wealthy for- 
mer classmate and teach him the ad game. At 
the first executive meeting the lad attended, a 
discussion came up about the proper time slot 
for a prospective television commercial. 

“I'd suggest three o'clock on Sunday," sub 
mitted one vice-president 

“Three o'clock on Sunday?" cried the 
budding executive. “Why nobody would be 
watching then—everybody's out playing polo." 


мее 


Sounds drifting from the honeymoon suite 
Kept the bellboy glued to the door. Between 
gasps, a male voice was saying, “Now will you 
let me?" 

Throughout the night, this same exchange 
held the bellboy with his ear at the keyhole. 
bout to give up, he heard the man, 
tive voice, say, "Honey, it's almost 


"Oh, all right," sighed a sweet voice. “Go 
ahead and take it out." 


Heard a good one lately? Send it on a post- 
card to Party Jokes Editor, evAvnov, Playboy 
Building, 919 N. Michigan Ave, Chicago, 
Ill. 60611. $50 will be paii to the contributor 
whose card is selected. Jokes cannot be returned. 


COREL 


"Get my shotgun and go fetch the parson, Maw. Looks like that 
traveling salesman is fixing to seduce our Cindy Lou." 


135 


PLAYBOY 


CINE-DUCK (continued from раве 125) 


Near La Jolla, we pulled off the road 
and ran down to the deserted sea. It 
was not a perfect day; the sun hid be- 
hind a hazy milk-white vault, missing 
pupil of a blinded eye, beneath which 
we dawdled, the Pumpkin and I dis- 
cussing the mechanics of pleasure, while 
the Penguin—aptly named, for he was 
a dour little man, worried and formal, 
who moved stiffly about the tennis court, 
slapping at the ball—waddled near the 
surf. 

“It's all tension and release," the 
Pumpkin was saying. “That's the only 
known source of human pleasure. "Think 
about it. Isn't that right? Can you think 
of any other examples?" 

“What about beauty?" I replied. 

“Come on. Be serious.” 

“I am serious. What about the pleasure 
you feel when you see something beauti- 
ful?” 

“Would you maintain that the most 
beautiful thing you ever saw—a Rem- 
brandt or a flower or a sunset—came 
anywhere near a good shit? Give your 
opinion and not what they told you to 
say at Yale.” 

“The shit wins hands down.” 

“OF course it does. Thats because of 
the pressure on the colon and the 
sphincter. And the greater the tension, 
the greater the release.” 

“So, according to you, we should go 
around constipated.” 

“Spare your wit, Duck. Most people 
most of the time settle for a little pleas- 
ure because they can take only a little 
pain. But we're in a once-in-alifetime 
situation here and, believe me, the frus- 
tration will pay off in all-time thrills. So 
stick to the plan. A few drinks, a flick 
starring a burro and a girl, and then, 
Long Bar! We have to sit right up next to 
the runway. The Cow said this girl actu- 
ally dropped her panties on his head! 
Think of the tension! And she made him 
smell the juice on her hand!” 

“Do you believe that?” 

“Take a whiff," he said, holding out 
his fingers. "Ambrosia!" Then he got 
to his feet, hooked his thumbs into the 
brown-and-yellow swim trunks in which 
he had won every major tournament in 
California and pulled them down around 
his knees. He hid his penis between his 
legs, leaving only a triangular patch of 
Pumpkin hair to dazzle the eye, and re- 
mained that way, in September Morn's 
awkward S—ridiculed mercilessly by Fish- 
er, my instructor in Art 10—one hand 
behind his head, the other on his hip. 

“Woo! Woo!” cried the Penguin, charg- 
ing up the beach. “Darling! Throw me a 
hump!” 

‘The border between the United States 
and Mexico split the sky; as soon as we 
crossed the thin haze of California 


156 gave way to heavy brown clouds that sat 


like fat riders on the horses that grazed 
on nearby hills, cracking their backs. 
Now and then, the late sunlight would 
radiate upward like spikes of а crown or 
break through to make the fields greener, 
browner. Four or five enormous raindrops 
spread over the windshield and silent 
lightning raced horizontally in the clouds. 
Don't touch anything metal, 1 thought, 
part cowed by the ominousness of the 
landscape, into which Tijuana huddled 
gray as El Greco's Toledo (much praise 
from Mr. Fisherl), part condescending 
toward the corniness of the spectacle, this 
nephological drum roll before the Fatal 
Step. I switched on the wipers and the 
entire scene disappeared in concentric 
streaks of dust and, peer as I might to 
find the road, I saw only myself, card- 
board cacti to either high atop a 
downtown donkey, smiling with wide 
duckling lips for a cameraman whose 
head is buried in a hood of time, under- 
exposed memory of a childhood trip, on 
which I also acquired a large brass ring 
in the shape of a skull with ruby eyes: 
it left a green band on my finger that 
would not fade. 

"Its a trick!” warned the Pumpkin. 
“Look at all those girls!" The room was 
full of them. lounging about on chairs 
and sofas against the four walls. 

“Look at him! That one for me!” a 
pretty girl cried out, causing me to 
stumble in my tracks, so inconceivable 
was it that she could have meant either 
my dour or my cucurbitaceous friend. 

“Don't get exated, Duck,” the Pen- 
guin spat back from the side of his 
mouth. “She wasn't looking at you." 

“She's wild about you, is that it? Lost 
her heart to the gentleman in the tux, I 
suppose?” 

“Quack! Quack! Quack!” the Penguin. 
retorted and drowsy ladies sat upright all 
over the house. 

The cabdriver led us to а small 
windowless room with a few chairs and 
an 8mm projector on a table, which he 
immediately turned on. A woman of 
perhaps 40, with dark hair and surprising- 
ly light skin, suddenly appeared on the 
wall, where she paced to and fro. stamping 
her high heels in nervous anticipation of 
what the Cow had led us to believe would 
be a burro but what, in fact, turned out 
10 be a perfectly ordinary fellow who kept 
his head turned away from the camera out 
of a shyness so acute it actually caused 
the film to snap three times in the act of 
oral intercourse. Many of that movie's 
images—a hand pulling a breast out of a 
dress, sweat flying from the impact of 
lovers’ bellies, a woman kissing her own 
breast and shoulder, the complexities of 
genitalia—have been impressed forever 
on my mind. This has not occurred 
because the images themselves were for- 


bidden, mysterious, exciting, but because 
the way in which they reached us— 
usually dim, often blurred, occasionally 
trembling off the sprocket or halting en- 
tirely, once expanding into a mottled 
butterfly, motes in a beam of light, flick- 
ers, shadows, nothing—was and is itself 
symbolic of the repressed unconscious 
working its way toward full exposure. 
The form and content of the medium 
and of the psyche that apprehended it 
had become, each of the other, indelible 
proofs. 

Halfway through the film, the girl who 
had called out to me ran through the 
projector's beam and began bouncing up 
and down on the astounded Pumpkin's 
lap. “The minute I see you, I say, this 
one, this one, this one for mel” She was 
followed a moment later by a redhead 
who put her arms around the Penguin's 
neck and began coughing into his ear. 
My own girl, a woman, really, roughly 
the same age as the actress on the wall, 
with the same dark hair and light skin, 
sat in my lap, too, put her hand between 
my legs and murmured over and over 
again, “What kind of job you like? I do 
any job on you.” A fair amount of time 
passed in such bouncing, coughing, 
murmuring, accompanied by the soft 
humming of the driver and the whir of 
the old equipment, until, abruptly, the 
Pumpkin stood up, one of his pockets 
turned inside out, and began to sway 
back and forth with the bouncer in his 
arms. 

"Pumpkin!" I cried. "What about 
the plan? What about the tension? The 
panties at Long Bar?" But he only stood 
there, the chipped tooth in his smile 
making him look like a demented 
jacko'Jantern, then stumbled forward 
and tottered out of the room. 

“I guess this is it," the Penguin said. 

“I guess so," I replied, and we 
separated, each to his cubicle: a bed, a 
condom, a piece of toilet paper, a whore. 
It cost five dollars extra to take off her 
clothes and my budget was tight; but, 
barefoot, her dress thrown up over her 
hips, she looked like a flower and the 
flower's stalk, with, at the center of the 
arrangement, an orchid, petals glisten- 
with ambrosia. When I sought to 
touch it, she cried, “Loco, you loco, 
you,” and she continued to chant, keep- 
ing 10 the rhythm of our intercourse, 
drowning, nearly, the hacking cough and 
strange thumping that came over the 
partition, youlocoyoulocoyoulocoyouloco, 
while countless dreams came true. 

“Duck! Duck! I'm itching! 1 think 
Гуе got the crabs!” the Pumpkin 
declared. 

“What about me?" the Penguin cut in 
“I know Туе got wb. 

But my pleasure not ceased. It 
kept growing to include the girl who had 

(continued on page 174) 


THE GIANT 
CHICKEN-EATING 
FROG WILL 
SOON BE EXTINCT 
UNLESS WE TAKE ACTION NOW! 


... so, for gods sake, lets not do anything 
humor By PROFESSOR MORTON STULTIFER, PH.D. 


OF ALL THE AMPHIBIANS, the Salientia, or Benevolent and Protective Order of Frogs, has most often been immortal- 
ized in story and song. Frogs appear in such widely diverse songs as The Merry Widow Waltz, Camptown Races 
and Tara's Theme from Gone with the Wind. The full extent of the part played by a Colorado River toad in in- 
spiring the Chilean national anthem will probably never be known. Aeschylus, Mark Twain, Jane Austen, Balzac 
and Jack E. Leonard are among the beloved storytellers who have paid tribute to the frog, and Henry James’s 
novels are replete with frog imagery, occasioning William Dean Howells’ remark that James's prose “literally leaps 
off every page." 

It should be stated before we go any further that the word frog is actually a misnomer. The correct word is forg. 
The transposition of the middle letters is due to a typo in a medieval illuminated manuscript by Fra Risus Sardoni- 
cus, and a more devastating comment on medieval illumination you couldn't ask for. The goof was never picked up 


ILLUSTRATION BY BILL UTTEREACK 


137 


PLAYBOY 


138 


by his editor at the monastery and even 
his reprinters let the error ride. Pretty 
soon, the whole Holy Roman Empire 
was calling a forg a frog. For clarity's 
sake, however, we will refer to the corrupt 
but generally accepted frog throughout 
tus work. 

The ancestors of frogs appeared in the 
Rachitic Period about 200,000,000 years 
ago; but modern frogs, by which we 
mean those with tail fins and recessed 
dashboards, appeared about 40,000,000 
years later, during the Funicular Era, 
when the Northern Hemisphere was 
ankledeep in yellow, viscous funicles. 

Like most amphibians, including sala. 
manders, newts, efts, defts, delfts, elves 
and guelphs, the frog breathes through 
its skin, lays eggs in water and undergoes 
a metamorphosis from soft egg (no more 
than three minutes) to monowog, polli- 
wog. multiwog and megawog, until at 
last its w drops away, an fr takes its 
place and you have a frog. 

Frogs are extremely well adapted to 
their environment. Their primary physio- 
logical response to natural enemies over 
the ages has been the development of an 
anatomical structure suited to jumping. 
This includes elaboration of the pelvic 
girdle, enlargement of the rear limbs, a 
tumbler spring for tumbling, a bolt- 
guide pin for bolting, a flip-flop gate, 
shoulder pads, an N.F. L. official helmet 
with face guard and a supply of Ace 
bandages. 

Another adaptation is cold-blooded- 
ness, the ability to adjust body tempera- 
ture to that of the environment. In an 
experiment conducted in Oslo by Squa- 
mus and 100 Peruvian horned 
frogs, accustomed to temperatures in the 
high 80s, 95 percent humidity and a 
40 percent chance of thunderstorms, were 
thrust into a chamber in which the tem- 
perature was then lowered to five degrees 
Kelvin, just a fraction above absolute 
zero. When the frogs’ blood temperature 
was measured, it, too, was five degrees 
Kelvin! Of course, the frogs were 
stone-dead, but you have to take your 
hat off to anyone who would risk flying 
from Peru to Norway just to take part in 
a moronic experiment. 

All frogs give you warts, but there is 
only one that can give you multiple 
fractures, and that is Leptodactylus Pen- 
tadactylus, the Giant Chicken-Fating 
Frog. This behemoth inhabits Ше r: 
forests of Central and South America, 
and if it knows what's good for it, it will 
stay there. Leptodactylus beggars super- 
latives. It is about a foot longer than 
most frogs can leap and it comes up to 
your thighs. It doesn't come up to my 
thighs, however, because the moment I 
hear that a Giant Chicken-Eating Frog is 
around, my thighs convey the balance of 
my person at top speed to high ground. 
Its belly is the size of a basketball, its 


hind legs thick and tough as electric ca- 
ble and it possesses superpowerful fore- 
legs with long, grasping claws. Its sinister 
black and gold tiger-striped eyes bulge 
atop its immense head like the machine- 
gun turrets of Flying Fortresses. It's little 
wonder that destruction by Giant 
Chicken-Eating Frog is considered an act 
of God by most insurance companies and 
is the subject of a specific exclusion 
clause in all major-medical policies. You 
can look it up. 

This monstrous animal spends most of 
its time squatting in foul-smelling muck 
around the tracks traversed by giant 
roaches, small mammals and large birds. 
Crouching for hours with a confident 
grin on its face and gullet throbbing, its 
eyes begin to palpitare with greedy an- 
ticipation as prey comes within leaping 
range, roughly 12 miles with a tail wind. 
Then it leans forward imperceptibly on 
its bowed front legs and slowly draws its 
hind ones into springing position. Al- 
though the only small thing about it is 
its brain, that organ is highly adapted to 
the functions of computing distance, 
windage and trajectory. When the com- 
mand comes down to commence fire, it 
propels itself out of the mire like a 
Poseidon missile, claws extended and 
cavernous mouth agape, shouting things 
like "Kreeegah!" and "Power to the peo- 
ple!” Many victims, enveloped by its huge 
black shadow, die of heart failure on the 
spot. The frog grasps its prey with its 
daws and stuffs to its mouth, swallow- 
ing it whole. The unfortunate animal 
may be observed kicking, sometimes for 
many hours, within its predator's stom- 
ach. The Leptodactylus has no front 
teeth, nor has it any need of them, but it 
does have vomerine teeth located at the 
back of the throat for crunching the 
larger bones of its victims into a gray, 
pasty vomer. 

The Giant Chicken-Eating Frog diets 
on mice, rats, opossums, rabbits, other 
frogs and large insects. It is also vivipa- 
rous, or snake-eating, dining on vivipers, 
m-moccasins, r-rattlesnakes and the Hike. 
Finally, it enjoys feeding on birds; and 
because of a predilection for chickens, it 
is regarded as a serious pest by peasants 
of tropical regions. Their chickens like 
to roost on low-hanging branches to 
avoid the mire; but all too often, they 
are oblivious to the golden eyes glaring 
at them from the muck below. Then, as 
they sway innocently on their boughs, 
reading magazines and waiting for their 
nails to dry, there is a green blur, a 
muffled squawk and a vomerine crunch; 
and before you can say, “Ave Maria, una 
rana enorme ha comido el pollo,” the 
"frog enormous" has gobbled up Sun- 
day's din-din. There is onc chicken the 
Leptodactylus will never touch, though, 
and that’s the one that sits barricaded in 
a concrete bunker somewhere in the rain 


forest with a shotgun on his lap, typing 
these pages. 

The mating habits of these freakish 
frogs are certainly among the most repug- 
nant of any in the forest, and they even 
top a lot of things that go on in civilized 
bedrooms. In a well-funded pilot study 
undertaken by Purke, Drippe and Phil- 
ter, 400 well-funded pilots affirmed that 
they had never heard of anything as dis- 
graceful as the carryings-on in the bou- 
doirs of Giant Chicken-Eating Frogs. 
id they "didn't see anyu 
wrong" with it, scven thought. we should. 
get out of Vietnam at once and six 
were grounded in Atlanta with magneto 
trouble. 

Because the male is only two thirds as 
large as the female and is balding and 
careless in his dress, it’s unlikely that he 
could ever attract a mate out em- 
ploying either subterfuge or violence, or 
both. Thus, when the female, after con- 
sulting her horoscope in Cosmopolitan, 
decides it’s mating season, the male takes 
up a position from which he can drag 
her into a pond or puddle. Normally, 
the male is no match for the female; but 
at this time, she's laden with a quart of 
eggs, plus half a pound of sweet butter 
and a pint of heavy cream. Competing 
males beckon to her with loud, dry woofs. 

For some reason, the female finds this 
cacophony alluring and drags herself and 
her basketful of dairy products toward 
the bog. Presumably, she is just going for 
a dip, but we know where her head is at, 
don't we, boys? Pausing to powder her 
nose, she observes in the mirror of her 
compact dozens of pairs of bulging eyes 
peering lubriciously at her through the 
swamp grass. She picks out a pair that 
strikes her as having the qualities of the 
frog she would like 10 be the father of 
her children. She doesn't exactly bat her 
eyelids at him, since frogs have no eye- 
lids, but she does bat a kind of mem- 
brane at him, which may be supposed 
good enough to suit his fancy. Then she 
turns her back deliberately, shuflling 
along with a provocative snicsnic-snic of 
her vestigial tail. In a trice, the male 
rushes her, applies a hammer lock and 
makes for the water. Moments later, the 
wanton, as the Chinese waiter said, 
the soup. 

The female now realizes the error of 
her ways, but it’s too late for regret, 
because the male’s breast possesses two 
pe of black, sharp, cartilaginous 
ts. The brute clasps her around the 
belly from behind with his powerful fore- 
legs, impaling the flesh of her back with 
his breast points, so that she cannot 
move. If she struggles, he pokes her in 
the boobs with his thumbs. For two 
days, they remain locked thus, while she 
decides just how she’s going to get rid 
of this masher, who, in spite of her 

(concluded on page 241) 


pictortal essay 


By JOHN SKOW 


what happens when all PORNOGRAPHY AND THE 


barriers are lifted from what 


we may see and read? UNMELANCHOLY DANES 


“DESCRIBING HIMSELF as a concerned grandparent,” it said right there on page five of my Paris Herald Tribune, “Sen- 
ator Barry Goldwater has called upon Congress to crack down on ‘smut peddlers’ using the mails to pander to 
dren. While conceding that there are differences of opinion over what is obscene, the 1964 Republ 
candidate said: ‘As a father and a grandfather, I know, by golly, what is obscene and what i 
Idwater-bites-smut strikes the news hungry traveler with less than moon-shot impact, but the Trib knows what 
it's doing. Its business is to reassure homesick Americans that Buz Sawyer, James Reston gler are still 
have public 


Rock singers and topless dancers welcome visitors to the Copenhagen Sex Foir in o relatively tame warm-up for the exhibits to follow. 


As at county fairs back in the States, the midway (above) is crowded with booths—but ihe 
wheel of fortune and the shooting gallery hove been replaced by more exotic diversions. 


“Whatever turns you an“ was the theme af the fair, fram the go-go girl (above left), who's 
being ogled before going on (right), to a demonstration of gadgets far sadamasochists (below). 


The boys in the band оге completely clothed; 
but, for the buyer who's seen everything, 

the “Lady Birds” out front perform 

partly undraped to add more spice to а 

fair already top-heavy with fitillation. 


rest rooms and which do not, as to sit in 
a café in Obergurgl or Puerto de Santa 
Maria and read that smut is still being 
expunged back home and that Barry 
Goldwater's "by golly” has not lost its 
cunning. 

Another dispatch from the Trib’s smut 
correspondent a couple of weeks later 
was even more fascinating, although less 
soothingly traditional Its headline was 
one of those double-action whizbangs 
whose whiz part, in small italic type, was 
the ceaser: “As Blasé Danes Yawn.” Right 
under that, in large, upstanding type, 
was the bang: “FOREIGNERS JAM COPEN- 
HAGEN FOR FIRST PORNOGRAPHY FAIR 
Bill, please! This was enough to pry the 
traveler from his café chair and propel 
him onto the next flight for Denmark. 

An American heading for Copenhagen 
these days does so in a state of consider- 
able bemusement. Three years ago, tour- 
ing third-grade teachers whisper to one 
another on their charter flights, the Danes 
removed all restrictions on written por- 
nography, except that it remained illegal 
to sell the stuff to children; and in July 
of last year, they removed all restrictions 
against dirty pictures, except that it was 
illegal to sell them to children or to 
display them in shop windows. The U. S. 
Congress was fascinated by these de- 
velopments—I follow the vagaries of 
smut control the way other hobbyists 
trace refinements in Costa Rican postage 
stamps—and one of its committees ог 
dered a detailed report. (Not, as it hap 
pens, the committee before which Barry 
Goldwater testified. That one is a House 
subcommittee dealing with the Post Of- 
fice; the mailmen, as all are aware, have 
their network of muleback messengers so 
well organized that a letter sent from 
Manhattan will reach the Bronx in less 
than three days, and this efficiency gives 
them a lot of time to spend telling citi- 
zens what sort of pictures they may look 
at. There are other smut expungers in 
Congress who also work hard, however, 
and the bunch that wants to know about 
Copenhagen is called the President’sCom- 
mission on Obscenity and Pornography.) 

Strange news, by golly. The Danes are 
much admired by Americans, presum- 
ably including. Congressmen. They are 
thought to be steady, intelligent, peace- 
loving but tough, good fishermen, wood 
finishers and cheese makers and work- 
manlike drinkers. An unseemly mania 
for sex is not part of the national image. 
In Sweden, it is well known, freckled 
blonde girls drag terrified male travelers 
into the wheat fields; but Sweden is 
another mauer. The Danes are very 
sound. So what, the concerned citizen 


142 


asks himself, can these good people be 
thinking of? The plane touches down 
and the gloriously pretty SAS stewardess 
smiles a lovers goodbye. The voyager 
averts his eyes. 

As it happened, I had already spent 
some time in Copenhagen in recent 
months. I had discovered, for instance, 
that it’s possible to buy dirty ballpoint 
pens there. This report had been dissem- 
inated by an American girls-college pro- 
fessor who had spent a sabbatical in 
Denmark in an agitated condition, and it 
turned out to be perfectly true. You look 
through a hole in the side of one of 
these pens, click the button at the top 
and dirty pictures appear. Small and 
grainy, but definitely dirty. 

Other reports are also true. At ordi- 


nary newsstands on perfectly normal 
street corners, you can buy pictures of 
laughing girls with semen all over their 
faces. In the streets near the central 
railroad station, in small, shabby shops 
called Intime Sex Kiosk or Weekend Sex, 
purchasable articles include dirty playing 
cards; battery-operated genitalia ticklers; 
plastic phalli, some capable of ejacula- 
tion; a few dirty paperbacks, most of 
them in Danish but one or two in 
English or German; burnable candles 
in the shape of penises; dirty 35mm 
slides; dirty 8mm movie spools; and a 
very large selection of dirty-picture mag- 
azines in four colors and several sexes 
(Iron Boys, Color Climax, Animal Orgy). 
The magazines are of 32 pages each and 
cost 10 to 20 kroner—$1.50 to $3. 


The sex portrayed is fairly suburban. 
There are a few oddities available—a 
picture spread of a chunky woman's 
largely unrequited passion for а puzzled- 
looking German shepherd dog, a booklet 
showing the caperings of several girls 
gotten up as nuns, here and there a bit 
of very faky sadomasochism, and one 
m: e called 816, because the heroine 
is eight and a half months pregnant. 
There is a good deal of male homosex- 
uality, not faked, and Lesbianism, rather 
unconvincing. Interestingly, the hetero- 
sexual porno may have a sequence or 
two showing Lesbianism but never any 
male homosexuality. 

Games played run heavily to fellatio 
and, less often, cunnilingus. As many as 
five may (text continued on page 154) 


Vivi Knudsten and Lone Frydenberg (left) are Danish schoolgirls earning college-tuition money by making stag films in their spare time; no 
moral stigma is attached and the pay is much better than that of a secretary. When Lone poses for stills (below), it's all in a hard day's work. 


А moment of solitude on the studio bed (lef)—an unusual event for Vivi—gives her time to ponder what might be going to happen next. A 


Danish modern, she's relaxed and pensive in a portrait shot (right)—o change-of-pace switch from her more animated movie portrayals. 


Lone listens attentively while the 
photogropher suggests different 
Positions for the next shooting; 

а fomiliarity with Stanislovsky 
isn't neorly os helpful to her os a 
knowledge of the Като Sutra. 


PLAYBOY 


146 Pont, 


past five or six years, of smaller a 
simpler tape systems. The first to appear 
were the four-track and eight-track car- 
tridge players. designed primarily for 
installation in cars. By employing the 
endlessloop principle, in which tape 
unwinds from the center of a spool and 
rewinds around its circumference, the 
cartridge mechanism doesn't need a 
twin takeup reel; it also avoids the 
concomitant problem of threading. Run- 
ning at a speed of 3% inches per second, 
tape cartridges can hold up to 80 minutes 
of stereo sound in a plastic container the 
size of a paperback book. Satisfactory 
as the tape-cartridge system may be for 
desultory listening on the highway, how- 
ever, it has never been considered serious 
competition to the standard open-reel 
recorder. Though the endless loop is 
spacesaving, its principal limitation is 
that the tape can only run forward. It's 
impossible to reverse a cartridge for in- 
stant replay—a drawback, as anyone who 
has fooled with tape will appreciate. 
Moreover, the cartridge mechanism ne- 
ing break in continuity 
every 15 minutes or so while the tape 
head shifts automatically from one set of 
s to the next. 

ег of these shortcomings afflicts 
the cassette, which measures one fourth 
the size of an ecight-track cartridge, yet 
achieves even longer playing time. In 
essence, the cassette is a highly miniatur- 
ized, self-contained reel-to-reel device, us- 
ing tape one eighth of an inch in width 
at a speed of 1% ips. Like the cartridge, 
it requires no threading. Unlike the car- 
tridge, it can be put into reverse or run 
at fast-forward speed. Potentially, then, 
the cassette appeared to be an ideal tape 
format for the man who desires maximum 
flexibility, in minimum space, with mini- 
mum fuss. Ideal, that is, except for the 
cassette’s middling fidelity in its early 
carnation, The combination of extremely 
narrow tape width and extremely slow 
tape speed appreciably limited the sys- 
tem’s frequency response, dynamic range 
and signalto-noise ratio. Cassettes thus 
found their widest application in cheap 
portables, in which fidelity is restricted 
in any case. 

So much for past history. The news 
this fall is that the cassette is moving 
quickly out of the bargain basement, As 
a look at the new models will show, the 
accent now is on quality workmanship 
and superior performance. Dramatic ad- 
vances have been made in both the de- 
sign of equipment and the manufacture 
of tape. Standard ferricoxide tape has 
been upgraded into new high-density for- 
mulations that appreciably reduce distor- 
tion and signal dropouts. But the most 
significant development is the appearance 
of an entirely new kind of tape that uses 
chromium rather than iron as the mag- 
netic element in the coating. Chromium. 
dioxide tape (trademarked Crolyn by Du 
which developed it) is able to 


absorb signals of far greater strength at 
high frequencies than any of the ferric 
oxide tapes. The effect of this 


noises inherent in the tape itself, since 
the signal-to-noise ratio at high-frequency 
levels can be many times that of regu- 
lar таре. Ideally, chromium-dioxide tape 
should be used with recorders equipped 
with the proper bias and equalization 
adjustments and will thus provide nota- 
bly expanded dynamic range. 

у auspicious development is 
al of cassette tape decks embody- 
Reduction System. For 


box" has been widely employed by pro- 
fessional recording engineers to combat 
tape hiss, but its cost —ábout $1500 for a 
two-channel unit—has effectively kept it 
out of the home. By means of an intri- 
cate. electronic circuit, the system modi- 
fies the characteristics of a signal in such 
a way that low-level, high-frequency pas- 
sages are boosted before recording and 
then reduced in a precisely equalized 
mirror image during playback. This at- 
tenuation in playback significantly re- 
duces noises that were not in the original 
signal but inherent in the tape itself. In 
the new Dolbyized cassette units, a some- 
what simplified version of the profession- 
al system is used. It works well, not only 
in eliminating extraneous noise but also 
in clarifying and sharpening everything 
that emerges from the tape. 

Along with the appearance of Dolby 
оп the cassette scene, there have been 
some notable refinements in transport 
mechanisms, loading slots and tape-head 
design. Taken together, these various im- 
provements in tape and equipment put 
the cassette at last on a competitive 
footing with the more cumbersome and 
complex reel-to-reel recorder. Three Dol- 
byized cassette decks are already in pro- 
duction this fall. Advent Corporation—a 
new outfit headed by Henry Klos, one 
of the founders of KLH—is out with the 
Model 200 cassette deck (5260), equipped 
with built-in Dolby and switch for select- 
ing the proper bias and equalization for 
standard ferricoxide, high-density ferric 
oxide and chromium-dioxide tapes. Oth- 
er features include a headphone jack 
and an automatic motor shutoff. Harman- 
Kardon’s Model CAD-5 ($229.95) is ап 
updated, Dolbyized version of this com- 
panys well-regarded Model CAD4 cas 
sette deck; it also incorporates bias and 
equalization adjustments for the new 
tapes. Another sccond-gencration cassette 
deck embodying Dolby is the Fisher RC- 
80 ($199.95). The most compact of these 
three units, it measures only 7⁄4” x 114” 
and weighs six pounds, Each of these 
decks, incidentally, can switch the Dolby 
System out of the circuit when playing 
conventionally recorded cassettes. 

It seems highly probable that other 
producers of quality cassette decks will 
be following the Dolby route before very 


long. Bear this in mind when investigat- 
ing such models as the new Ampex Mi- 
cro 54 deck ($159.95), featuring front 
slot loading and automatic eject; the 
TEAC A-24 ($199.50, powered by a 
hysteresis-synchronous outer-rotor motor; 
the Concord F-106 ($99.79), with dual 
bias selection; and the heavy-duty Wol- 
lensak 4860 (5239.95). All these cassette 
decks are designed to be hooked up to 
existing stereo sctups. 

For the man who'sstarting from scratch, 
а goodly selection of integrated compacts 
is available in which the cassette plays a 
major role. Some of these three-piece 
outfits rely solely on cassettes as а pro- 
gram source. A particularly trim example 
is the Norelco 2401 ($269.95). But more 
often than not, they also indude an AM/ 
FM radio and a record changer as well. 
The Concord HES-35 ($279.95) provides 
an AM/FM radio and a cassette recorder, 
together with such trimmings as separate 
bass and treble, twin VU meters and a 
headphone jack; while the Panasonic 
"Essex" ($349.95) and the Sony НР-199 
($329.95) add a four-speed record changer 
to the array. In all cases, a pair of book- 
shelf speakers is included. Buyers with a 
more generous budget should consider 
Altec’s opulent Model 912A ($1040, with a 
pair of Santana speakers)—a top-of-the- 
line system that boasts a Garrard SL95B 
automatic turntable, а slotloading cas- 
sette recorder, an AM/FM tuner and a 
hefty 180-wate amplifier in its control 
packed central module. 

On the horizon is a variety of cas- 
sette-changer systems. So far, the only 
automatic changer in production is one 
developed in Holland by Philips and 
sold here under the Norelco, Bell & 
Howell and Ampex insignias. The device 
works in similar fashion to a record 
changer and holds up to six cassettes in 
a plasicendosed stack. Ап optional 
accessory—the Norelco Model CC6 Cir- 
culator ($19.95)—convers the cassette 
changer to nonstop operation. Later this 
year or early next, several alternate sys- 
tems are expected to reach the market 
Roberts is readying a cassette deck mod- 
eled along the lines of the Philips system 
but equipped with a mechanism that auto- 
matically turns over the cassette, permit 
ting playback of both sides in succession 
Benjamin has a cassette changer in the 
works that will hold up to 24 cassettes 
stacked vertically in a rotating carrousel 
magazine. Denon will offer a cassette deck 
that vertically stacks a dozen cassettes, 
while Wollensak is developing a cassette 
recorder that spreads out five cassettes pie- 
slice fashion on a rotating plate. 

Monophonic portables, mainstay of 
the cassette trade for several years, are 
still being turned out in profusion by 
practically every manufacturer іп the 
business. They come with and without 
AM/FM radio, carry price tags in the 

(concluded on page 257) 


fiction By DAVID ELY he battled a brilliant, 
nerveless foe—with a beautiful girl as the prize 


THE 200 OR so convention delegates and guests were milling sociably 
about in the grand ballroom of the hotel, waiting for the contest to begin. 
Under the supervision of an assistant hotel manager, waiters were arranging 
chairs in rows to face a large table on which had been set some glasses and a 
carafe of mineral water. “Ashtrays, ashtrays,” ordered the assistant manager, snap- 
ping his fingers. Two waiters obediently hastened off to bring some. The assistant 
manager narrowly surveyed the scene. Everything was almost ready. He allowed him- 
self a few moments to listen to nearby conversations. He couldn't understand a word, though. 
lı was all Greek to him—Greek and Lord knew what else, such a confusion of tongues as hadn't 
been heard since the Tower of Babel itself, he supposed. These language professors—wasn't plain 
English good enough for them? 
‘There were two chairs side by side at the large table. One was empty. At the other sat a slender, 
youngish man who kept plucking at his goatee. His name was Chao-Gomez and ће was wishing that he 
were anywhere other than where he was. The idea of haying a language game had begun as a sort of 
joke—but it wasn't funny now. He'd been tricked. The joke would be at his expense. He glanced at 
the crowd of delegates, now beginning to take seats. Yes, there was his nemesis, Porter, already smirk- 
ing in triumph—and there, too, not far away, was Dr. Katkov's daughter, Sonia, for the sake of whose 


dimples and curves ChaoGomez was 
about to undergo professional mortifica- 
tion. She smiled at him. He tried to smile 
back. 

“Will everyone please find a seat?” 
asked Professor Stein, the elderly chair- 
man of the conyention. He was standing 
beside Chao-Gomez' chair. Nearby was a 
large world map on a stand and a black- 
hoard. “We have a little surprise in store 
for you this evening. fellow linguists and 
guests," Professor Stein announced, when 
he was assured that his audience was 
ready. "We are about to offer you a 
diversion which I trust will both amuse 
and instruct you, and—if I am permitted 
a prediction—may very well become а 
permanent feature of future internation- 
al conventions. All work no play 
makes Jack a dull boy, el Professor. 
Stein. chuckled and placed one hand 
on Chao-Gomez' shoulder. "For this eve- 
ning's entertainment, we are indebted to 
this young gentleman here, whom some 
of you may know for his interesting 
monograph on Brythonic usages—Profes- 
sor Chao-Gomez of the University of 
Dublin.” 

There was a polite murmur of ap- 
plause. Chao-Gomez managed a depreca- 
tory smile. 

"We had expected," Professor Stein 
went on, "to present to you, as Professor 
Chao-Gomez' opponent, the man who 
devised this little game for our enjoy- 
ment—Professor L. К. Porter, Jr. of 
Stanford. 

Chao-Gomez cast a bitter look at Por- 
ter there in the audience. The sleek 
devil had managed to find a seat next to 
Sonia. 

"But, unfortunately," Professor Stein 
continued, “a Jast-minute attack of laryn- 
gitis has forced Professor Porter to with- 
draw, much to his regret.” 

It was a lie, thought Chao-Gomez. Por- 
ter'd planned it that way. 

“Luckily, however, Professor Porter 
has been able to provide us with a 
subsuture." Professor Stein hesitated, 
glancing about the ballroom. For a mo- 
ment, Chao-Gomez was seized by a wild 
hope—perhaps a traffic accident, a tumble 
from a high window? But no, alas. There 
came his adversary now, trudging porten- 
tously through the far doorway. Already, 
heads were beginning to turn. “A man 
who needs no introduction," boomed 
Professor Stein, “our distinguished former 
chairman, whose honors are too numerous 
to mention, Professor Otto von Kaunitz 
of Heidelberg, the Sorbonne, Oxford, 
Tokyo and Yale." 

Chao-Gomez shuddered. Old Моп 
Kauniw was advancing like doom itself. 
Languages by the dozen were у 
into that bulbous bald dome. It маз 
that he'd learned Sanskrit before Ys 
eighth birthday and the entire Osco- 
Umbrian group by the age of 12. Chao- 


148 Gomez stood as Von Kaunitz approached. 


The old man contemptuously gave him 
onc finger to shake, clicked his hecls to 
Professor Stein, favored the assembled 
iguists with а supercilious stare and sat 
down abruptly, screwing his monocle 
иу in place. 

Chao-Gomez sat down, too. He had to. 
His legs were shaky. He should have 
withdrawn when Porter did, bur it was 
impossible now. How cleverly Porter had 
maneuvered him! In Sonia's presence. 
he'd been too proud to back down. Of 
course, he'd never really believed that 
Von Kaunitz would condescend to take 
part in a game of this sort—but then 
he'd remembered, too late, a rather cri 
cal review he'd written of a Von Kaunitz 
article on Frisian gutturals. The old ele- 
phant never forgot nor forgave. Now— 
vengeance! 

Professor Stein was explaining the 

rules. They were fairly simple. The two 
adversaries would merely engage each 
other in conversation, moving from one 
language or dialect to another in geo- 
graphical progression. Experts would be 
called up from the audience to act as 
judges for each language and would 
grade the contestants on a point. system 
as to their respective skills. The victor of 
any particular stage would have the priv- 
йере o iating the next move on the 
map, provided only that it was to some 
adjacent region or country. 
“Any recognized language or dialect 
living, dead or moribund—is permi: 
ble," said Professor Stein, in conclusion. 
“First man to reach one thousand points 
is the winner. A special bonus of one 
hundred points will be awarded to the 
contestant who shuts his opponent out 
in any language—that is, if the oppo- 
nent is unable to respond at all. Ready, 
gentlemen?” 

Von Kaunitz merely sneered. Chao- 
Gomez nodded, His throat was dry, He 
was, for the moment, specchless. Hardly 
a promising sign. 

"Very good," said Professor Stein. “If 
you will permit me to discover our start- 
ing point by means of chance——" He 
took a small dart from his pocket, 
stepped off ten paces from the map. 
turned and flung the dart at it. He 
returned to the map. "England," he an- 
nounced, repocketing the dart. "And 
now to sec who goes first." He produced 
a coin, “Call it in the air, please.” 
snapped Von Kaunitz. 
tails. 

“Professor Chao-Gomez begins,” 
Professor Stein, “in England.” 

Chao-Gomez hesitated. Modern Eng- 
lish itself would be a waste of time, Both 
he and Von Kaunitz were flawless there. 
He glanced at the map. If he could only 
hold the i ive and force Von Kau- 
nitz to remain in the British Isles for a 
i, he ought to be able to pick uj 
valuable points. His five years at Dubli 


said 


G 
` 

undoubtedly would give him an edge in 

the Celtic groups. 

He began, however, Germanically, em- 
ploying the West Saxon dialect of Old 
Toela (Judge, р! said Professor 
‚ and Dr. Middling of Cambridge, 
d acknowledged Old English expert, 
arose and mûde his way forward to the 
judge's chair.) 

Von Kaunitz handled the West Saxon 
with ease. nor did he evidence any dis- 
comfort when Chao-Gomez switched to 
Mercian, then Northumbrian and, final- 
ly, Kentish, It was only when Chao- 
Gomez. plunged into his first Brythonic— 
Old Welsh—that his opponent faltered a 
bit. (Dr. Middling retired at this point, 
being replaced by Professor Morgan of 
Cardiff.) 

Professor Stein chalked the points on 
the blackboard: Chao-Gomez had 40; 
Von Kaunitz, 32. 

As Chao-Gomez pressed on to Manx 
and Old Irish, he became more aware of 
the dangers of his position. After Celtic, 
what? He realized that he must keep the 
game away from central Europe at all 
costs. He was fluent in German, of 
course, but he dared not cross the Rhine 
in company with Von Kaunitz—the old 
Prussian would scourge him with one 
dialect after another from Westphalia to 
Silesia and then, if there were anything 
left, would beat him to death with glot- 
tal stops in dark Slavic wildernesses_ 

Where could he go? The northern 
route to the Western Hemisphere was 
blocked by Icelandic. He decided, there- 
fore, that if he could hold the old man 
off through France until he reached 
Spain and Portugal, then he might jump 
to Brazil. He'd done his doctorate on 
tribal tongues of the upper Amazon. 
Surely, Von Kaunitz would draw a blank 
there. 

Ah, but Von Kaunitz was cunning— 
and. more than that, annoyed. The 
young upstart had bested him in Old 
Cornish and then, crossing the Channel, 
had given him a painful dose of Middle 
Breton. His throat rumbled ominously 
and his ducling scars flushed pink. 

Professor Stein made another trip to 
the blackboard. Chao-Gomez 175, Von 
Kaunitz 120. 

Bur they were leaving Celtic territory. 
Chao-Gomez sought іп vain to drive 
from Gaulish to Basque, but Von Kau- 
nitz stopped him with a vigorous counter- 
attack in Old French, laying down a 
barrage of nasal phonemes of stunning 
accuracy and power. 

The initiative had changed hands. 
Chao-Gomez fought a desperate defen- 
sive battle in Middle French, but there 
was no holding Von Kaunitz now. He 
was marching steadily through all the 
langue d'oïl variations, almost from vil- 
lage to village, and Chao-Gomez realized 
that if they reached Lorraine, where 
Von Kaunitz had spent youthful summers 

(continued on page 258) 


tous. 


e: 


fiction By STAN DRYER 

30 WAS FREEDOM! Owen Wil- 

licks knew it in his blood as he stood 

the damp night at the edge of Union 

Square and felt the life of the city vibrate 

around him, The cable cars rumbled 

possible steepness of Powell 

The people crowded past him 

ul women in furs, bearded 

youths in ragged coats, impatient busi- 

harp creased suits. They all 

y that filled the air and 

reflected from the wet pavement like the 
lights of the passing cars. 

Owen had never dreamed of going to 


MUSKRAT 
FUN FOR 
EVERYONE 


they called him a creep, a 
pervert, a degenerate—and 
all he did was answer 


an ad in the underground press 


alifornia. Then, two days before, a 
customer of Owen's firm, Databyte, had 
requested help with his computer. Owen 
had been selected as the most expend- 
able programmer and shipped by air 
from Minnesota to the Bay City. It had 
taken him one day to straighten out 
the customer's problems, giving him 
one free evening before his return. 
He had eaten a delicious steak dinner 
served by a lovely topless waitress 
and then had roamed the streets, 
where posters and marquees announced 
spectacles of a most intimate nature. 

So now 


(continued on page 236) 149 


Fact: Lainie Kazan is Jewish. Fact: Lai- 
nie Kazan is sexy. The two, according to 
the singer whose vocal style is positively 
aphrodisiac, are not unconnected. “A 
certain eroticism is inherent in the Jew- 
css,” says Lainie. "There have been many 
Jewish sex symbols, but we've forgotten 
about them.” She cites such examples as 
Esther—the Biblical Jewish maiden who 
became queen to a Persian king and later 
saved her people from destruction by 
using her abundant charms to gain his 
favor—and Delilah, whose hairrazing 
exploits with Samson are well known. On 
these pages, Lainie olfers a graphic con- 
temporary illustration of her points. But 
Miss Kazan's cantilevered configuration 
doesn't tell the whole story. She's also an 
internationally acclaimed singing star— 

nd she grooves on it. Lainie tackles every 
song as if it might be her last. When 
her sensual delivery becomes too intense 
for singing, she shifts into breathless 
speech. As far as Lainie is concerned, 


however, one of her career problems 
has been that she's too good at singing. 
Since her Brooklyn childhood. she has 


Above: It’s up, up ond oy voy as Loinie fronts a ten-mon musicol minyan in a crowded Plaza 
Hotel elevator. Elsewhere, Miss Kozan proves the very model of a modern Jewish т 


wanted to act, a desire pa 
filled when she played the lead in Funny 
Girl. She has since appeared in several 
films but didn't land her firs big dra- 
matic starring role till recently. “Actu- 
ally, I started in this business as an actress 
and got into singing later,” she says, “but 
most producers think of me only as a 
vocalist.” Lainie makes use of both tal- 
ents during her nightclub performances. 
She combines a big, sultry mezzo-soprano 
with some effective acting that turns on 
her audiences while setting her apart 
from them. One critic, after viewing 
Lainie's expressive delivery, said he felt 
like a Peeping Tom. "My biggest self- 
criticism," Lainie says, "has been that I 
try to be everything—a little girl, a wor 
an, sad, funny—all in one song I'm 
learning that you can’t be naked onstage. 
People get confused by seeing all of you 
at once. But I want to move people, 
whether it be for good or for bad. I 
just don’t want them to be indifferent.” 
Considering her bountiful assets—visi 
ble and audible—that’s not very likely. 
Lainie, who garnered а starring role in the upcoming castume film Romance of с Horsethief, 
here offers irrefutable evidence that you don't have to be Jewish to be sexy—but it helps. 


PHOTOGRAPHY BY LAWRENCE SCHILLER 


PLAYBOY 


154 


THE UNMELANCHOLY DANES 


compete. The sex act least often. photo- 
graphed is heterosexual coupling in the 
ssionary position, perhaps because the 
genitals don't come into view. Because 
much of the photography is done from a 
perspective of six inches or so, it's often 
difhcult to relate the areas of pinkis 
gray and brown to each other or even to 
sex. The focus is always sharp—impres- 
blurring and low-register prints 
don't appeal to porno fans—but the 
clicct, nevertheless, is sometimes totally 
abstract. 

Seldom is there any attempt to arrange 
the pictures into a story. One exception, 
a booklet put out by the Weekend Sex 
people, shows a photo sequence of a 
Lesbian seduction, speech balloons 
in Danish, breaking off with a sly “to be 
continued” just as the ingénue has swal- 
lowed her drugged coffee. The classified- 
ad section caries an offer to send the 
reader, for 30 kroner, "the most pervert- 
ed book you ever read.” Models are 
young and fairly good-looking, but rarely 
beautiful. Many are students at the Uni- 
versity of Copenhagen. The pay is about 
$50 a session, but only the best models 
are used more than once. Negroes are in 
considerable demand. Black U. S. Servicc- 
men vacationing in Copenhagen have 
found their way into porno films, but 
black female models arc hard to find. 
The dirty-picture profesion apparently 
attracts no Asians. 

An American wonders, naturally —it's 
very nearly his first thought on the mat- 
ter—how the Danes who legalized porno 
managed to muzzle their mothers' groups, 
veterans’ bunds, police chiefs, P. T. A.s, 
ministers, miscellaneous wowsers and pol- 
iticians hard up for an issue. “Puritan: 
thar is what you mean?” asks 2 young 
Dane, a lawyer with the Department of 
Justice. He's puzzled. Certainly Denmark 
has puritans, but he doesn't understand 
the question. What could puritans do, 
he asked, to prevent the legalization of 
porno? 

“Well, 
tion?” 

Yes, of course, he says, shrugging, but 
there are very few of them. His manner 
is that of a man saying there are very 
few snake worshipers. The state church 
in Denmark, which is Protestant, has no 
large social influence, he continues, but 
most of its leaders favored legalization or 
said nothing against it. Possibly, he 
thinks, legalization would have been 
turned down if it had been put to a 
nationwide popular vote, as important 
sometimes are in Denmark 
Pornography just didn't seem important 
enough, however, and after the conserva 
tivedominated parliament voted to lift 
restrictions against it, there was no out 
cry to speak of. 

This Dane, like others who haven't 


weren't they against legaliza- 


questions 


(continued from page H2) 


d the U.S., is astonished to hear 
that bluenose reaction is so strong in the 
States that no elected official could risk 
voting for legalization of porno. He 
comes very close to disbelief when I say 
that ап American I know (Ralph Ginz- 
burg) faces a five-year Federal р 
term for, in effect, publishing a maga 
zine (Eros) that bore no resemblance to 
hard-core pornography. Restrictive laws 
1 Denmark, when they existed, called for 
only moderate fines. “Jail?” says my ac 
quaintance. "No, of course not; no one 


ever went to jail.” The tone is one of 
4, perhaps, mockery. 


patience a 

A young Copenhagen psychi 
Anders Groth, suggests that pu 
з alienation from humanity, ап aber- 
ion," in his words, never became an 
important element in Danish society 
partly because the Christian church, with 
its characteristic abhorrence of sex as 
pleasure, came very late to Denmark and 
never achieved rigid political or social 
control. Another reason, he thinks, may 
be that since Denmark's population has 
always been small and homogeneous, it 
hasn't had the competing racial or re- 
ligious groups that elsewhere have main- 
tained their separateness by insisting on 
adherence to elaborate codes of behavior. 
A Dane who behaves differently from 
the rest is not a potential defector; he 
is merely an eccentric Dane. 

Whatever the case, a, bedrock belief 
seems to have developed that everyone 
has the right to behave as he likes, 
sexually and otherwise, provided he 
doesn’t hurt anyone else. This notion, 
which has never had a wide following in 
the U.S, was expressed in one way or 
another by every Dane I questioned 
about pornography, including а fair 
number to whom the stuff is loathsome. 
It is cult, at first, to absorb the fact 
that Danes really think this way, but a 
visitor at last decides that they do. 

Yet these rather staid respecters of 
individual whim are not entirely casy 
about their new renown as pornogra- 
phers to the world. “I think the name of 
Denmark is a little compromised, id 
Jens Jersild, a police inspector in charge 
of the Copenhagen vice squad. “There 
are more tourists this year and they come 
for the picture books" (Jersild is 
slight, elderly man with the face of a 
judge and he is regarded by the city's 
homosexuals, for instance, as a man of 
aggressively conventional views.) He is 
not enthusiastic about the lifting of cen- 
sorship, but even he agrees that the 
move was necessary. “Oh, yes,” he says, 
somewhat glumly. "Fm sure that com- 
plete freedom is best. 

Other Danes say, often convincingly, 
that they are untroubled by porno 
and uninterested in it. No, they don't 


trist, Dr. 
tanism, 


worry about its effect on childrei 
young ones are bored and the teenagers 
have been taught that sex is natural, not 
to be feared. "Of course, the children 
will be exposed to it,” said one economics 
professor, smiling patiently. "My nine 
yearold son cut some porno pictures 
out of a magazine and he and the four- 
yearold and the six-year-old spent a 
couple of hours looking at them. The 
nine-year-old asked why the people in the 
pictures were doing that and I said bc. 
made them happy. The boy said 
he thought it was silly and soon they all 
forgot about porno and so it was finished 
No harm to them, I think.” 

The economics professor then went 
on, however, to repeat two widely and 
wistfully believed untruths. A reporter, 
joshed by amused Danish friends about 
his fanatic American interest in pornog 
raphy, hears these myths several times a 
day. They are that after a first surge of 
curiosity sales (the professor said yes, of 
course, he had bought porno, and 
yes, it aroused him, but cach book is the 
same as the last and the interest fades), 
it has become very difficult to sell the 
stuff. The second is that porno is 
sold only, or mostly, to tourists. "Blasé 
Danes Yawn," as the Trib's headline 
vriter put 

These notions seemed almost plausible 
before the celebrated Copenhagen por 
nography fair. A good believer could, by 
griting his teeth, believe that porno 
might wither away, like the ideal 
Marxian state. During the summer high 
season, Tivoli was full of happy Danes 
Krogs seafood restaurant on the Nørre- 
gade was full of happy Germans and 
Americans, the pedestrians-only street was 
abob with sullen, braless chicks in Cornell 
sweat shirts and reefed with stoned Dan- 
ish shaggies. The tourist season was in 
full muddle. Yet the crotch boutiques be- 
hind the railroad station were not 
crowded, They were doing a business but 
not enough to justify replacing the pre 
War linoleum on their floors. 

There would be four or five customers, 
or two, or none, in a shop. Most were 
men and about half spoke languages— 
usually German or English—other than 
Danish. The tourists, first-time buyers 
who had never seen pictures of people 
munching on each other's genitalia be- 
fore, would leaf nervously through half a 
dozen booklets, often too embarrassed to 
notice that the figures on the pages were 
tangled in the wrong kind of sex (a curi- 
ous discovery is that flesh is flesh and all 
sex looks pretty much alike) In each 
shop, a clerk watched (male or female, 
nullsex), placid as a lavatory attendant. 

The same seedy suspension between 
prosperity and unpaid rent sours the air 
in the shabby hutches where dirty movies 
can be viewed. The new Danish freedom 
stops short of completely free cinema 


Du 
NATIONAL. 


“I must say, you're certainly not a conservationist in one thing." 


155 


PLAYEOY 


156 


and customers are supposed to buy "mem- 
bership” cards at least 24 hours before 
they see stag movies. In practice, no one 
pays any attention to this, but the law 
has so far prevented the conyersion of 
large commercial theaters to pornogra- 
phy. At an armpit called Sexyland, a 
party of five nonmembers was let in for 
100 kroner (about $15, down 57 from 
the asking price). There was a small 
lobby. with a display case offering the 
usual vibrators, fake penises and sponge- 
rubber breasts, Two curtained doorways 
led to two small viewing rooms, one homo 
and one hetero. In the hetero parlor, a 
scratchy color film was being projected 
through a hole in the cementblock wall 
that looked as if it had been drilled with 
a sledge hammer. A tape was playing 
Billy Eckstine’s The Nearness of You. 
Three men, seated separately. were 
watching. On the screen, а squat youth 
whose eyebrows met in the middle was 
running through the usual repertoire 
h a doughy, indefinite girl. Particular- 
ies obtruded: He wore an identification. 
bracelet; she wore а blue-plastic bar- 
rette. For some reason, these seemed odd. 
The viewers felt the usual effec of bad 
pornography—arousal short-circuited by 
falsity, producing a lingering, sickish 


It looks like a training film for veteri 
narians," one of us said. The remark wa 
funny and apt, but our laughter was 
nervous. As the reel’s ten minutes ended 
(there were other films to come; we had 
igned up for an hours worth), the 
squat man pulled a series of magician's 
silks out of the blobby girl's vagina, The 
last silk was the French tricolor. Later, as 
we left, two American sailors on screen 
in the homosexual viewing room were 
blowing each other. Eckstine's taped 
voice sang, "Down and down I go." 
‘The shabbiness of these enterpri 


suggests that porno is, indeed, dying 
in Copenhagen. But the assumption 
is too hastily made. Certainly Den- 


mark lacks anything like the gaudy chain 
of sex.paraphernalia supermarkets that 
have sprung up in West Germany. The 
temptation is to take half a truth for the 
whole and conclude that sex supermar- 
kets prosper in Germany because Ger- 
mans have less sexual freedom than 
Danes and, hence, are more frenzied i 

their interest in sexual matters. It may 
be equally true, however, and just as 
relevant to say that Denmark's porno 
trade lacks the appearance of pros 
perity because no Danish entrepreneur 
has appeared with the merchandising tal- 
ent of Beate Uhse, the German Frau 
who started the German sex shops. In 
the past few years, any amatcur with 
a camera and а jar of petroleum jelly 
could make money in Denmark peddling 
porno; pornogogs with business sense 
are only now beginning to emerge. For 
the rest, the habits of old linoleum and 


n-the-wall illegality are hard to 


An outsider soon discovers, however, 
that no explanation of Danish porno can 
stay narrowly focused on the dirty-pic 
ture trade. When the Danes in 1906 
announced their withdrawal from the in- 
ternational convention governing pornog- 
raphy, they were declaring far more than 
an unwillingness to argue any more about 
how much redceming social value could 
dance on the head of a pin, The Danish 
people liad already moved оп, in a re 
markably concerted way, from a camping 
grounds tenanted for hundreds of years 
by almost the whole of Western society. 
Danish sexual views and habits may not 
have been changing more rapidly than 
those of Kansas—other tribes were mov- 
ing on, too Denmark 
occurred with a 
ing d 
vians. 

“Wait till contractions and bleeding 
start. Then your helper should call the 
doctor. If there is too much bleeding, 
don't wait. Have yourself driven to the 
al and tell the doctor exactly what 
happened." These instructions аге 
part of an accurate, detailed, textand 
photo instruction sheet on how to per 
form уо portion. lt was compiled 
by a group called The Individual and 
Society that had been lobbying for free- 
dom of abortion, and last year the in- 
structions were reprinted in the center 
spread of a respected leftof-center jour- 
nal, Political Review. There was no legal 
trouble as а result of the publication. It 
s generally understood that the instruc- 
tion sheet was a lobbying tactic intended 
to move the Danish parliament in the 
ction of unrestricted abortions. In 
ct, abortion laws were much liberalized 
this past spring, but complete freedom 
Му won't be granted for а у 
<o 1 man explained that one 
reason for the delay was the necessity of 
devising а mandatory counseling provi- 
ion for the law, to make sure t 
embarrassed parents, for instance, were 
not forcing unwilling daughters to have 
"freewill" abortions. 

It is considered normal that teenagers 
get into bed with each other. Birth- 
control pills are available to all girls aged 
15 or over. with no parental permission 
necessary. The age of consent is 15. To 
Danes, this age seems a natural compro- 
mise between biological realities and 
their strong distaste for child abuse. One 
mother, in her mid-30s, told me that her 
14-year-old daughter mentioned one day 
that she had had intercourse for the first. 
time the night before. Mother and dauph- 
ter discussed this development with cheer- 
ful interest, the mother reported, then 
went on to talk of other things. À few 
days later, the brought the subject 

again. She had been thinking, she 


but the cl 


wa 


or 


said: Wasn't it possible that her boyfriend 
could get into serious trouble because she 
was only 142 Yes, that was true, her moth- 
er told her. Well, the girl said solemnly, 
he would try to wait till she was 15: 
"Otherwise, it's not fair 

“She's growing up,” said the mother, 
pleased, She meant the decision, not the 
loss of virginity. As this discussion was 
going on, the girl and her 12-ycar 
old sister wandered into the room. The 
younger girl had seen an exhibitionist 
expose himself а few weeks before and 
the mother asked her to tell about it. 

“It was just funny,” said the girl. “I 
mean, it looked so sill was 
sad, too, for the man." Her manner was 
quiet but not at all embarrassed. She had 
learned at school that exhibitionists were 
almost always shy, harmless men, she 
said. 

Her mother showed me the widely 
used sex manual both girls had studied 
in school. It began with the statement 
“This book has a moral; namely, that 
should be every human being's right to 
satisfy his sexual needs, regardless of age 
or sex, Provided he doesn't violate the 
rights of other people, he can choose any 
way of expressing his need. . . . 1 have 
chosen to use our language's most under 
standable words, such as 'pi 

* 1 have tried to avoid modest 

The book used photos instead of the 
often unfathomable diagrams (a vagin 
or the cross section of an avocado?) 
miliar to U.S. school children. The first 
to showed a young man and wom: 
ing, happy and naked, stand- 
ing side by side in a field. A later photo 
showed the couple fucking (to use a 
word thought proper for Danish 12e 
olds). The caption suggested that since 

three quarters of all young men" and 

‘nine tenths of all young women 
be in this situation before they are 20, 
it is sensible to learn what to expect. 

As it happened, the photographer who 
had illustrated the children’s sex manual 
was involved in a project that was the 
nine-day wonder of Denmark while I was 
there. This was a paperback book called 
Den Der, а textand-photo record of a 
group-sex experiment that he and 14 other 
young Danes had conducted earlier in 
the year. The publisher, Hans Reitzel— 
who is no pomographer—explained that 
the title means “that one there" and 
an ironic reference to the bashfulness of 
customers choosing books on sexual sub- 
jects; they say, “I'll take that one there,” 
without mentioning the title. Danes had 
been pointing to Den Der in gratifying 
numbers; in the four days since the book 
had been 
sold and citizens were wandering from 
shop to shop trying to find one. Danes 
were, apparently, not so blasé as some of 
them imagined. 


wil 


(continued on page 196) 


fiction By RAY RUSSELL being the melancholy testament of the loneliest girl in the world 


i learned a thorny language of the 
dead; attacked and kicked and pounded 
on my brain with book and tape; a 
word, another word, until i knew ће 
ancient wizard way to freeze my dream- 
ing, pin my whirling mind down to a 
piece of paper like a moth, and watch 
it twitch and flap and maybe die. but 


no, it did not die, it grew, branched 
out, becoming very like another me. an- 
other me that reached around the world. 
the act of teaching language to my mind 
kept me afloat, kept me from killing me, 
kept me from going mad, and kept my 
mind from brooding, in my lonely life, 
on love. 


there, i have done it. written an entire 
paragraph without the nineteenth letter. 
i knew i could do it if i really tried. but 
i find it rather limiting and pointlexx. 

it wax a happy day when firxt i xtum- 
bled onto thix ruxty old typewriter, and 
taught myxelf to ихе it, and figed it up, 
and oiled (continued on page 160) 


XONG OF XUXAN 


THE UBIQUITOUS BELT, quite obvi- 
ously, no longer is a skinny piece 
of leather doomed to nought but 
а life of drab utility. Belts in a 
variety of fabrics and closures— 
from needle point and antiqued 
metal to stretch ropes with hooks 
to sueded leather with tie thongs 
—now are being wrapped around 
shirts, sweaters, suits and sports 
jackets when not performing 
the prosaic function of filling the 
loopholes in your trousers. ‘The 
raison d'être for the beltover- 
garment look is this: Today's slim, 
body-conforming fashions appear 
even slimmer when cinched with 
a handsome accessory at the mid- 
section. So, stylishly gird your 
loins—there’s. an exciting new 
waist land to check out, as our 
comely explorer is seen doing here. 


geing 
uot 


five big, bold belts 
worn over sweater 
and shirt —or even 

to hold up your pants 


accouterments 


By Robert L.Green 


The Bill Blass designed twin ropes with hook closures, above, from Bonwit Teller, $50, can neatly circle a body shirt. Below, left to 
right: A colorful crinkle-potentleather and bross-buckle combination, by Miller Belts, $8.50, brightens а business suit. A wool needle- 
point belt, by Paris, $5, points up other singular styles, such os the sporty sueded-leather tie-front cummerbund, by Buckroe Country, 
$25. Finally, the metal “stretch” belt, opposite, by Essex, $10, is a shining example of what to wear over a dressy shirt suit. 


PHOTOGRAPHY BY ALEXAS URE 


PLAYBOY 


160 


ХОМС OF ХОХАМ „арон page 157) 


it, and found wayx to ink the ribbon. 
the xhift key and the dollar xign were 


far beyond all fiéing, but that i did not 
mind. more xerioux, more irkxome, 
wax the n g letter, nineteenth letter 
of the alphabet. how could i write with- 
out it. i decided to xubxtitute the letter 
x. all right, but what then would i иле 
for x. not much occaxion to ихе it, i 
reaxoned, xo i will ихе ¢ in itx place. 
it wax only after i had gotten uxed to 
х arrangement that i xaw what a fool 
i had been, why not ихе ¢ for the nine- 
teenth letter and. uxe x for itxelf. but 
by that time it wax too late, and be- 
xidex, what doex it matter. i am alone, 
all alone, all a 


later 

i have tried to figure out how old i 
am, but it ix too difficult, i cannot do it. 
i think i am young. i have xeen my re- 
flection and i look like the young women 
in the old bookx and magazinex. 

my hair ix very long, of courxe, for i 
have never cut it. it reachex to my waixt. 
it ix yellow, flagen the old bookx would 
Il it, like the hair of rapunzel and 
melixande. men would probably tell me 
it ix beautiful. i am rather thin, be- 
cauxe it ix not alwayx eaxy to find 
thingx to eat and i get a lot of egercixe 
doing everything for myxelf, and i walk 
a great deal, but i do not think i would 
be called xkinny. i am very tan from 
head to toe becauxe i am in the xun xo 
much. my eyex are blue. my breaxux 
have finally xtopped growing, i think. 
they are not ax big ax xome in the mag- 
azinex but are about the xize of large 
applex. i have xeen picturex of people 
eating applex xo i know how big they 
were, but i have never xeen a real apple. 

if i kept to the citiex there would 
never be a problem about food. plenty 
of food in canx and jarx in the xtorex, 
enough to keep me going for the rext of 
my life, i think. but i do not like the 
citiex very much and i try to keep out 
of them ax much ax i can. i take ax 
many canx of food ax i can carry and 
live out in the hillx until i run out of 
food and then i come in for morc. in thc 
bookx, they talk about living off berriex 
and nutx, but i have never found any 
and there are no fixh in the xtreamx. 

later 

i think about xam an awful lot. how 
i played with him, and talked to him, 
id how he tried to talk to me in hix 
own way. i loved him and i know he 
loved me. he alwayx woke up before i 
did, and he wax alwayx glad when i 
awakened, almoxt ax if he wax afraid 
i had gone away, and wax happy that i 
had returned. i would alwayx xay good 
morning, xam. it lookx like a beautiful 
day, i would tell him, chattering on and 
on, the xky ix blue, no rain in the air. 


i would axk him what will we do today, 
xam, and then i would anxwer my own 
quextion. today we will go down into the 
town and get food to eat. how would 
you like a can of corned beef haxh, i 
would axk him. i feel like having xome 
chili, myx nd maybe а can of peax 
or axparagux. xam would cat peax but 
not axparagux, but i like them both. 
after that, i would tell xam, we will go 
10 the library and get xome more bookx. 
no, not for you, you xilly thing, for me. 
bookx about the way it wax before you 
and i were born. true bookx, xome of 
them, and xome of them made up by 
men and women to pleaxe each other. 
i think xam wax a little jealoux of the 
bookx, and the way i would xit and look 
at them for hourx and not play with 
him. now i wixh i had played with him. 
more than i did. 
later 
today ix a day of blood. the word 
for it ix from an older word meaning 
month. when it happenx twelve timex, 
i figure that ix about a year. unlexx 
have loxt count, i have had forty-nine 
of the blood timex, which would be 
about four yearx. but i do not know how 
old i wax when i had the firxt one, xo 
it doex not help me figure ош my age. 
maybe i wax twelve, which would шеа 
i am xigteen now, but there ix no way 
of knowing for certain. 
later 
i guexx i have no name, no real name, 
but once i found a name i liked in one 
of thoxe old tapex. xuxie. i liked the 
xound of that. xhort for xuxan, i called. 
myxelf xuxie for a long time, but now 
am xorry becauxe i cannot xpell it 
right on thix machine. why didnt i pick 
a name like mary or elizabeth or aman- 
da or gwendolyn or yvonne or charloue 
or lolita or maude. but it ix too late to 
change it now. i am uxed to it. xo xuxie 
it ix. 
that firxt paragraph, which i wrote а 
few dayx ago, did you notice it ix a kind 
of рост, fourteen linex, ten xyllablex to 
a line, xort of a xonnet i guexx. blank 
verxe, no rhymex. i will try a rhymed 
poem xometime. i love poetry. 
later 
it іх warm here, it hax alwayx been 
warm, ever xince i can remember. xo 
uxually i do not wear any clothex. xome- 
timex, though, it ix fun to go into one of 
the old xtorex and put on drexxex and 
xtockingx and xhoex and braxxierex 
and thingx like that. but the fun went 
out of that a long time ago. 
it never xnowx here. but i have xeen 
xnow in the picturex and read about it 
in the bookx and i wixh i could хее it 
xomctimc. maybe if i walked and walked 
and walked for the rext of my life i 
would find xnow. 


of courxe, i know all about rain. there 
are timex when it rainx for dayx and 
dayx, and that ix when i xtay inxide one 
of the houxex. 

but i do not like the houxex. that ix 
where the dcadx arc. i am afraid of the 
dcadx. 

i know th be a dead xomeday. 
before that, i will get old. i have xeen 
picturex of people who have gotten old. 
they hardly look like me at all. they 
look like a different race. i wonder how 
long it will take for me to get old and 
then be a dead. 

xam ix a dead. he died a lot of da 
ago. i wax xad. he wax a good dog, fol- 
lowed me everywhere, xlept with me, 
ever xince i can remember. maybe he 
wax ax old ax me. i think hix bonex 
hurt, though, and in the laxt dayx he 
would not cat anything, juxt drank a 
little water when i put it right in front 
of him. then one morning when i woke 
up he wax cold and xtiff and i knew he 
wax a dead. i cried. becauxe i knew that 
now i would really be alone. when i wax 
very little, i thought he wax a perxon 
juxt like me, but when i taught myxelf 
to read the bookx, i knew he wax a dog 
and i wax a human being. i buried him 
and marked hix grave with a piece of 
wood. on it, i carved the wordx, here 
liex xam, beloved friend. i had to carry 
him a long way to find a place to bury 
him. i walked for milex and everything 
wax concrete and axphalt, hard to my 
fect, then finally i found what had been 
a park and i buried him there. i mixx 
xam. he wax my only friend, my only 
family. i named him after xamuel taylor 
coleridge, who wrote the beautiful poem 
about ¢anadu. xomeday i may write a 
poem about xam. 

later 

i make myxelf learn three new wordx 
every day. there are a lot of wonderful 
onex in the dictionariex. today i learned 
coronet and eider down and virgin. i 
have never felt eider down. i have xcen 
coronetx and crownx in picture bookx. 
i know what a virg am a virgin. 

i dream. in my dreamx i am not alone. 
i dream that there are other people all 
around me, talking like the people in the 
tapex, wearing clothex like the people 
the bookx. beautiful men and women. 
i dream of men. tall and xtrong, their 
armx and legx bulging with muxcle, 
their belliex flat and hard, like the pic- 
turex of the old, old xtatucx. in my 
dreamx they kixx me and do other 
thingx. 

i often dream of xam. I throw a xtick 
and wait for him to bring it back to me, 
wagging hix tail. 

the dreamx are not alwayx good. аха 
night i dreamed of my mother and 
father. i never knew them. in my dream 
they һай no facex. they tried to call 

(concluded on page 191) 


Ww THE 
all-star band 1971 


PLAYBOY 
JAZZ & POP 


OUR FIRST MUSIC POLL appeared in October 1956. It was devoted exclusively to jazz, although the name Bo Diddley did 
appear in the guitar category and the Cadillacs, who had recorded some rock hits, were listed under vocal groups— 
along with such groups as the Blue Stars and the Bradford Specials. The music scene has changed since then, to say 
the least, and many of the names in this year's poll—extended in 1967 to include pop as well as jazz—were unheard 
of in 1956. Some, in fact, were unknown a year ago. Even the voting procedure is dilferent this year: Instead of put- 
ting checks next to the names of your choice, you need only fill in the blanks on the foldout ballot that follows the 
listings. One thing that never seems to change is the fans’ fascination with the shifting fortunes of their poll favorites. 


BIG-BAND LEADER 


(Please choose one.) 
1. Count Basie 
2. Louis Bellson 


Miles Davis 
Buddy DeFranco 
Les and Larry Elgart 
Duke Ellington 

Don El 
. Gil Evans 
Richard Evans 
Lionel Hampton 
Woody Herma 
J.J. Jackson 
Harry James 
. “Thad Jones / Mel Lewis 
Stan Kenton 


Oliver Nel 
е Pearson 

Ra 

23. Buddy Rich 

24. Bobby Rosengarden 
25. Doc Severinsen 

26. Clark Terry 

27. Pat Williams 

28. Gerald Wils 


TRUMPET 
(Please choose four.) 

Nat Adderley 
Herb Alpert 
Louis Armstrong, 
het Baker 
Gary Barone 
Ruby Braff 
Billy Butterfield 
Donald Byrd 
9 ndoli 
10. Don Cherry 
11. Buck Clayton 
12. Miles Davis 
13. Wild Bill Davison. 
bara Donald. 
15. Kenny Dorham 


Pr 


mu 


18. Don Ellis 
19. Art F 
. Maynard Ferguson 


Bobby Hackett 

. AL Hirt 

Freddie Hubbard 
. Harry James 

. Jonah Jones 

. Thad Jones 
Bobby Lewis 

29. Hugh Masekela 
30. Lee Morgan 

31. Ray Nance 

32. Joe New 
33. Jimmy Owens 


34. Shorty Rogers 
35. Doc i 

36. Jack Sheldon 
37. Clark Terry 


38. Charles Tolliver 
39. Joe Wilder 
40. Snookie You 


TROMBONE 
(Please choose four.) 

1. Chris Barber 

2. Milt Bernhart 

3. Harold Betters 

4. Bob Brookmeyer 

5. Gamett Brown 

6. Lawrence Brown 


7. Georg Brunis 
8 Cleveland 
9 Cooper 


10. Vic Dickenson 
1). Carl Fontana 
12. Сш» Fuller 
19. Tyree Glenn 
14. Bennie Green 
15. Urbie Green 

- АТ Grey 

Dick Halligan 
Slide Hampton 
. Bill Harris 


Higginbotham 
. Quentin Jackson 
28. J. J. Johnson 
24. Jimmy Knepper 
25. Lou McGarity 
26. Grachan Moncur HI 
27. Turk Murphy 
28. Benny Powell 
29. Julian Priester 
Rosolino 
31. Roswell Rudd 
. Dickie Wells 
33. Kai Winding 
351. Пушту Young. 
35. Si Zentner 


ALTO SAX 

(Please choose two.) 
1. Cannonball Adderley 
2. Gary Bartz 
3. Al Belleto 
4. Marion Brown 
5. Benny Carter 
6. 
7 
8. 


Ornette Col 
Crawford 


ny Criss 
1 Desmond 

10. Lou Donaldson 

11. Bunky Gree 

12. Cap'n John Handy 
13. John Handy 

14. Paul Horn 

15. Robin Kenyatta 
16. Eric Kloss 


28. Oliver Nelson 
24. Ам Pepper 


25. 
26. 
27. 
28. 


Quill 


29. Sonny Simmons 
30. Zoot 
31. Sonny Stitt 
32. Frank Strozier 
33. Paul Winter 
34. Jimmy Woods 
35. Phil Woods 


TENOR SAX 
(Please choose two.) 
Gene Ammons 
Georgie Auld 
Albert Ayler 
Gato Barbieri 
Sam Butera 
Don Byas 
Al Cohn 
Buddy Collette 
Bob Cooper 
10. Corky Corcoran 
11. King Cı 


opname snm 


. Frank 
Bud Freeman 
. Stan Getz 

. Ben 
. Paul Gonsalves 
Dexter Gordon 
Johnny Griffin 


27. Minois Jacq 

Kaahsan Roland Kirk 

John Klemmer 

. Harold Land. 

31. Yusef Latect 

32. Charles Lloyd 

33. Steve Marcus 

34. Don Menza 

35. Eddie Miller 

36. Hank Mobley 

37. James Moody. 

“Fathead” Newman 

39. Sal Nistico 

40. Art Pepper 

11. Boots Randolph 

42. Sonny Rollins 

43. Charlie Rouse 

44. Pharoah Sanders 

15. Archie Shepp 

46. Wayne Shorter 

Zoot Sims 

18. Sonny Stitt 

19. Buddy Tate 

50. Stanley Turre 

51. Billy Usselton 

nie Watts 
Webster 


BARITONE SAX 
(Please choose one.) 
1, Pepper Adams 
2. Danny Ba 

3. Етіс Cac 
4. Jay Cameron. 


LIST YOUR CHOICES IN THE 1971 PLAYBOY JAZZ & POP POLL ON THE FOLDOUT BALLOT THAT FOLLOWS 


5. Harry Carney 

8. Leroy Cooper 
7. Ronnie Cuber 
8. Charles Davis 
9. Raphael Garrett 
10. Chuck Genuy 
11. Jimmy Giulfre 
12. F IK Hittner 

l Hood 

. Jim Hom 


Jerome Richardson 
. Ronnie Ross 


?. Lonnie Shaw. 
Sahib Shihab 


CLARINET 
(Please choose one.) 
1 Ab 
2. Barney Bigard 
3. Acker Bilk 
4. Ray Burke 


ste 


6. 
7. Buddy Collette 
8. Joc bourg 


9. Kenny Davern 
10. Buddy Dei 
11. Pete For 
12. Jimmy Giuffre. 
13. Benny Goodman 
14. Jimmy Hamilton 
15. Woody Herman 
16. Peanuts Hucko 
17. Raahsan Roland 
18. Rolf Kuhn 

19. Prince Lasha 
20. Herbie Mann. 
21. Matty Matlock 


34. Keith Jarrett 6. Victor Feldman 54. Gabor Szabo 
35. Pete Jolly 7. Terry Gibbs 55. Phil Upchurch 
36, Hank Jones 8. Gunter Hampel 56. George Van Eps 
37. Roger Kellaway 9. Lionel Hampton 57. T-Bone Walker 
48.. Wynton Kelly 10. Bobby Hutcherson 58. Muddy Waters 
39. Steve Kuhn 11. Milt Jackson 59. Chuck Wayne 
40. John Lewis 12. Johnny Lytle 60. Mason Williams 
41. Ramsey Lewis 13. Mike Mainicri 61. Johnny Winter 
42. Junior Mance 14. Gary McFarland El rS aes 
43. Les McCann 15. Bud Montgomery 
44. Marian McPartland 16. Red Norvo BASS 
45. Jay McShann 17. Dave Pike 
46. Sergio Mendes 18. Emil Richards MEE TE ссн рле)! 
47. Thelonious Monk 19. Cal Tjader рчс мавло 
18. Bud Montgomery 20. Tommy Vig SA U 
AU PET NON, 3. Walter Booker 
50. Phincas Newborn, Jr. GUITAR ah Aras, нон 
51. Oscar Peterson. (Please choose one.) Ey Icom 
52. André Previn Ik Tere 6. Jack Bruce 
53. Sun Ra 2. Chet Atkins 7. Joc Byrd. 
54. Jimmy Rowles 3. Joe Beck 8. Ron Carter 
55. George Shearing 4. George Benson 9. Gene 
56. Horace Silver 5. John Bishop 10. Buddy Clark 
57. Billy Taylor 6. Mike Bloomfield 11. Morty Cobb. 
58. С aylor 7. Luiz Bonfá 12. Bob Cranshaw 
59. Bobby Timmons 8. Lenny Breau 19. Bill Crow 
60. Lennie Tristano 9. Ма Brown 14. Art Davis 
61. McCoy Tyner 10. Kenny Burrell 15. Richard Dav 
62. Cedar Walton 11. Charlie Вуга 16. Chuck Domanico 
22. Joe Muranyi S ту топ не 12. Eric Clapton 17. Donald "Duck" Dunn 
23. Art Pepper 1. Teddy Wilson 13. Ry Cooder 18. George Duvivier 
24. Russell Procope GR pes iati ч. ss; Coryell 19. Wilton Felder 
25. Tony Scott 15. George Davis 20. Jim Fielder 
26. Pee Wee Spitelera овса 16. Duanc Edd; 21. Jimmy Garrison 
ZT Vb Es (Меге henee ont) 17. Hab Ellis” 22 d Gaskin 
2B ERI Voas r ота 18. Tal Farlow 23, Eddie Gomez 
Dane a ben cs dd 19. José Feliciano 24. Rick Grech 
- 4. Sonny Burke 20. Eddi her 25. Eustis Guillemet 
(Please choose one.) 5. Wild Bill Davis 21. Eric Gale 26. Charlie Haden 
x EE ©. Bill Doggett 2. João Gilberto 27. Bob Haggart 
PEG 7. Charlie Earland 23. Freddie Green 28. Percy Heath 
4. Paul Bley 8. Keith Emerson 24. Grant Green 29. Milt Hinton 
B OE 9. Barry Goldberg 25. Tiny 30. Dave Holland 
6: Ray Bryant 10. Groove Holmes 26. Buddy Guy 31, Major Holley 
Ge tan Banan 11. Garth Hudson. 27. Jerry Hahn 32, Scotty Holt 
8. Joe Bushkin . Dick Hyman m Hall 33. Chuck Isracls 
9. Jaki Byard . Artie Kane Harris 34. Chubby Jackson 
0 асаан Al Kooper 30. George Harrison 35, Sam Jones 
ТЕ Ray Charles Ray Manzarck 31. Jimi Hendrix 36. Vernon Marti 
12. Mike Cohen Brother Jack McDuff 32. Bamcy Kessel 37. Cecil McBee 
13. Cy Coleman 17. Jimmy McGriff 33. Albert King 38. Paul McCartney 
14. Chick Corea 18. Joc Mooney 34. B. B. King 39. Ron McClure 
15. George Duke Don Taienon 35. Alvin Lee 40. Al McKibbon 


& кыс 36. Mundell Lowe 41. Charles Mingus 
МУ k Ag 37. William Mackel Monk Montgomery 
Melvin Rhyne ohh oR EO 43, Sebastian Neto 
Eddie ROCA 39. John McLaughlin 44. Truck Parham 
Shirley Scott 40. John Morell 
Tiny CHEN 41. Tony Mouola 
. Johnny “Hammond” Smith SEES Gs 
43. Jimmy Page 


Lonnie Smith 
Walter Wanderley 44. Joc Pass 


16. Duke Ellington 
17. Bill Evans 

18. Victor Feldman 
Clare Fischer 

20. Tommy Flanagan 
21, Dave Frishberg 
22. Erroll Garner 

23. Nick Gravenites 
94. Vince Guaraldi 


. Noel Redding 
. Larry Ridley 
Jack Six 


25. Herbie Hancock E Bede Рон) 
30. Larry You s ми 

26. Roland Hanna MUNI 46. Jimmy Raney Slam Stewart 

97. Hampton Hawes VIBES АТ Howard Robens s SIE зао 

28. Eddie Higgins (Please choose one.) 18. Robbic Robertson 2 Phil Upchurch 

29. Earl “Farha” Hines 1. Roy Ayers . Freddy Robinson 3. Leroy Vinnegar 


4. Miroslav V 


30. Claude Hopkins 2. Larry Bunker. 50. Bola Sete 5 ous 
51. Nicky Hopkii 3. Gary Burton . Sonny Sharrock 55. Buster Will 

32. Dick Hyman 4. Teddy Charles . Johnny Smith 56. Gene Wright 
33. Ahmad Jamal 5. Don Elliott . Les Spann 57. El Dee Young 


UST YOUR CHOICES IN THE 1971 PLAYBOY JAZZ & POP POLL ON THE FOLDOUT BALLOT THAT FOLLOWS 


DRUMS 
(Please choose one.) 
1. Dave Baile 
2. Ginger Baker 
3. Danny Barcelona 
4. Louis Bellson 
5. Hal Blaine 


6. Art Blakey 

7. Larry Bunker 
8. Frank Butler 
9. Frank Capp 

10. Joc Chambers 
11. Kenny Clarke 
12, Cozy Cole 

13, Bobby Colomby 
14. Joc Cı 
Alan Dawson 
Jack De Johnette 
. Frankie Dunlop 


satis 


. Vernel Fournier 
Sonny Gre 
20. Chico Hamilton 
21, Jake Hanna 
22. Louis Hayes 
23. Roy Hayncs 

24. Billy Higgins 
25. Red Holt 

26. Stix Hooper 

27. Lex Humphrics 
28. Phil Humphries 
29. AL Jackson, Jr. 
30. Oliver Jackson 
31. Ron Jefferson. 
32. Elvin Joncs 

33. Jo Joncs 

. Philly Joc Jones 
Rufus Jones 

36. Соппіє Kay 

37. Gene Krupa 

38. Don Lamond 
39. David Lee 

40. Stan Levey 

41. Mel Lewis 

42. Shelly Manne 
43. Roy McCurdy 
44, Don McDonald 
45. Mitch Mitchell 
46. Joe Morello 

47. Sandy Nelson 
48. Joe Palma 

19, Earl Palmer 

50. Fito de la Para 


51. Sonny Payne 

52. Walter Perkins 
55. Charlie Persip 
54. Bernard Purdie 
55. Buddy Rich 

56. Max Roach 

57. Wayne Robinson 
58. Mickey Roker 
59. Bobby Rosengarden 
60. Zutty Singleton 
61. Ringo Starr 

62. Grady Tate 

63. Ed Thigpen 

64. Charlie Watts 
65. "Tony Williams 


66. Sam Woodyard 
67. Robert Wyatt 


OTHER INSTRUMENTS 
(Please choose one.) 

1. Ian Anderson, flute 

2. Dorothy Ashby, harp 

3. Ray Brown, cello 

4. Don Butterfield, tuba 

5. Paul Butterfield, harmonica 

6. Candido, bongos 

7. Buddy Collette, flute 

8 Alice Coltrane, harp 

9. James Cotton, harmonica 

Buddy DeFranco, bass clarinet 

Pete Drake, steel guitar 

Bob Dylan, harmonica 

13. Joe Farrell, flute 

14. Rufus Harley, bagpipes 

15. George Harrison, silar 

16. Paul Horn. flute 

17. Dick Hyman, Moog 

18. Illinois Jacquet, bassoon 

19. Budd Johnson, soprano sax 

20. Ali Akbar Khan, sarod 

21. Raahsan Roland Kirk. flute, 
manzello. stritch 

Prince Lasha, flute 

. Yusef Lateef, flute, oboe 

Hubert Laws, flute 

Charles Lloyd, flute 

Herbie Mann, flute 

27. James Moody. flute 

28. Ra 

99. Jean-Luc Ponty, violin 

30. Sun Ra, Moog 

31. Jerome Richardson, flute 

32. Willie Ruff, French horn 

33. Mongo Santamaria, congas 

34. Bud Shank, flute 

35. Ravi Shankar, sitar 

36. Jeremy Steig, flute 

37. Jean T 

38. Cy Touff, bass trumpet 

39. Norris Turner, flute 


Nance, violin 


ielemans, harmonica 


40. 


Art Van Damme, accordion 
joe Venuti, violin 
Mike Whit 


, violin 


MALE VOCALIST 
(Please choose one.) 
Mose Allison 
Ed Ames 
Louis / 


mstrong 


Harry Belafonte 
Tony Bennett 
. Brook Benton 
Chuck Berry 
Bobby Bland 
James Brown 


Buckley 
ic Burdon 


. Solomon Burke 
. Glen Campbell 


Johnny Cash 
Ray Charles 
Wayne Cochran 
Joc Cocker 


. Vic Damone 


Bobby Darin 
Sammy Davis Jr. 


2. Fats Domino 


Donovan 
Bob Dorough 
Frank D'Rone 
Bob Dylan 
Billy Eckstine 
José Feliciano 
Dave Frishberg 
Marvin Gaye 


. Buddy Greco 


Arlo Guthrie 
Merle Haggard 
Tim Hardin 
Johnny Hartman 
Richie Havens 
Clancy Hayes 


LIST YOUR CHOICES IN THE 1971 PLAYBOY JAZZ & POP POLL ON THE FOLDOUT BALLOT THAT FOLLOWS 


38. Isaac Hayes 

39. Bill Henderson 

40. Jimi Hendrix 

41. John Lee Hooker 
Lightnin’ Hopkins 
Ibert Humperdinck 
Mick Jagg 

Antonio Carlos Jobim 
Jack Jones 

Tom Jones 

. B. B. King 

Steve Lawrence. 

Trini Lopez 

Dean Martin 

Johnny Mathis 

John Mayall 

Paul McCartney 


Gene McDaniels 
Rod McKuen 
Jim Morrison 
Johnny Nash 
Anthony Newley 
. Nilsson 

Phil Ochs 

Roy Orbison 
Wilson Pickett 
ing Pleasure 
Elvis Presley 
Arthur Prysock 
7. Lou Rawls 
Little Richard 
Johnny Rivers 
. Jünmy Rushing 
Frank Sinatra. 
Percy Sledge 

O. C. Smith 

. James Taylor 

. Joc Tex 

j. Leon Thomas 


78. Mel Tormé 

79. Adam Wade 

80. Muddy Waters 
RI. Lovelace Watkins 
y Williams 
83. Joc Williams 

84. Johnny Winter 
85. Jimmy Witherspoon 
86. Howlin’ Wolf 
87. Stevie Wonder 
88. Glenn Yarbrough 


FEMALE VOCALIST 
(Please choose one.) 

1. Lorez Alexandria 
2. Amanda Ambrose 
3. Nancy Ames 
4. Joan Baez 
5. Pearl Bailey 
6. La Vern Baker 
7. Joy Bryan 

Lana Cantrell 
9. Vikki Carr 
10. Chér 
11. Petula Clark 
12. Judy Collins 
13. Chris Connor 
14. Damita Jo 
15, Jackie De Shannon 
16. Julie Driscoll 
17. Cass Elliott 
18. Ethel Ennis 


. Ella Fitzgerald 
. Roberta Flack 

- Connie Francis 
. Aretha Franklin 
. Bobbie Gentry 
. Astrud Gilberto 
Eydie Gormé 

. Helen Humes 

. Lurlean Hunter 
Mahalia Jackson 
. Janis Joplin 

. Lainie Kazan 

. Karin Krog 
Peggy Lee 

3. Abbey Lincoln 


Claudine Longet 
36. Lulu 

37. Miriam Makeba 
38. Kathy McCord 
30. Barbara McNair 
Carmen McRae 
41. Melanie 

42. Liza Minnelli 
45. Joni Mitchell 
44. Laura Nyro 

45. Anita O'Day 

46. Odetta 

Redd 

. Della Reese 

|. Mavis Rivers 
inda Ronstadt 

. Diana Ross 

. Buffy Sainte-Marie 
53. Nina Simone 

54. Nancy Sinatra 

5. Grace Slick 

. Carol Sloane 

. Dusty Springfield 
58. Dakota Staton 
59. Barbra Streisand 
60. Carla Thomas 


63. Leslie Uggams 
64. Caterina Valente. 
65. Sarah Vaughan 
66. Carol Ventura 

. Dionne Warwick 
68. Nancy Wilson 


VOCAL GROUP 
(Please choose one.) 
« Assoc i 


& Roy Kral 

. Canned Heat 

. Chambers Bros. 

. Clancy Bros. 

‘ountry Joe and the 

. Creedence Clearwater 
Revival 


15. Delaney & Bonnie & 
Friends 
16. Doors 


17. Everly Brothers 

18. 5th Dimension 

19. Five Stairsteps & Cubic. 

20. Four Freshmen 

21. Four Lads 

22. Friends of Distinction 

23. Grand Funk Railroad 

24. Grateful Dead 

25. Edwin Hawkins Singers 

26. Jimi Hendrix Experience 

27. Hollies 

28. Ike & Tina Turner 

29. Impressions 

30. Incredible String Band 

31. Iron Butterfly 

32. Jackson Five 

33. Jefferson Airplane 

King Sisters 

Kinks 

. Gladys Knight and the Pips 

. Led Zeppelin 

. Lettermen 

. Martha and the Vandellas 

. MC 

. Sergio Mendes and Brasil '66 

. Mills Brothers 

3. Mother Earth 

. Mothers of Invention 

. New Christy Minstrels 

Johnny Otis Show 

- Peter, Paul & Mary 

. Poco 

. Raelettes 

50. Rascals 

51. Paul Revere and the Raiders 

52. Smokey Robinson and the 
Miracles 


Rolling Stones 
Sam 


ind Dave 

j. Simon & Garfunkel 
56. Sly & the Family Stone 
57. Sonny and СҺёг 

58. Spanky and Our Gang 
. Spirit. 

|. Staple Singers 

. Steppenwolf 

. Kirby Stone Four 

. Supremes 

. Sweet Inspirations 
Swingle Singers 

66. Temptations 

67. Теп Years After 

68. Three Dog Night 

69. Union Gap 

70. Clara Ward Singers 
71. Who 


SONGWRITER-COMPOSER 
(Please choose one.) 

1. Mose Allison 

2. Harold Arlen 

3. Dave Axelrod 

1. Burt Bacharach-Hal David 
5. John Barry 

6. Lionel Bart 

7. Oscar Brown, Jr. 

8. Sammy Cahn 

9. Hoagy Carmichael 

10. Johnny Cash 

11. Leonard Cohen 

12. Су Coleman 

13. Ornctte Coleman. 


14. Betty Comden-Adolph Green 
15. Miles Davis 
16. Donovan 

17. Bob Dylan 
18. Duke Ellington 
19. Gil Evans 
20. Dave Frishberg 
. Bobbie Gentry 
22. Dave Grusin 
23. Herbie Hancock 
24. Jobn Hartford 
ck Jagger—Keith 

Richard 

26. Antonio Carlos Jobim 
27. Quincy Jones 
28. Bert Kaempfert 
99. Kris Kristofferson 
30. John Lennon 
31. Alan Jay Lerner 
82. John D. Loudermilk 
33. Galt MacDermot 
34. Henry Mancini 
35. Percy Mayfield 
36. Paul McCartney 
37. Gene McDaniels 

Rod McKuen 
. Johnny Mercer 
. Charles Mingus 
- Thelonious Monk 
. Oliver Nelson 
. Randy Newman 
. Nilsson 
. Laura Nyro 
. Robbie Robertson 
smokey Robinson 
48. Lalo Schifi 
. Paul Simon 
Stephen Stills 
- Jule Styne 
. Jimmy Van Heusen 
Jim Webb 
. Tony Joe W 
. Gerald Wilsoi 
j. Steve Winwood 
- Frank Zappa 


INSTRUMENTAL COMBO 
(Please choose one.) 
1. Cannonball Adderley 
Quintet 
2. Herb Alpert's Tijuana 
Brass 
3. Genc Ammons Combo 
4. Louis Armstrong All-Stars 
5. Albert Ayler Quintet 
6. Al Eclletto Quartet 
7. Art Blakey and the Jazz 
‘Messengers 
8. Blood, Sweat & Tears 
9., Booker Т. and the MG's 
10. Dave Brubeck Tri 
11. Gary Burton Quartet 
lie Byrd Quintet 
13. Chicago 
14. Al Colm-Zoot Sims 
Quintet 
15. Ornette Coleman 
Quartet 
16. Miles Davis Sextet 
17. Lou Donaldson Sextet 
18. Dukes of Dixieland 


LIST YOUR CHOICES IN THE 1971 PLAYBOY JAZZ & POP POLL ON THE FOLDOUT BALLOT THAT FOLLOWS 


. Earth Disciples 

- Gil Evans Combo 

Fourth Way 

. Erroll Garner Quartet 

. Stan Getz Quartet. 

- Benny Goodman Combo 

. Vince Guaraldi Trio 

. Bobby Hackett Quintet 

. Chico Hamilton Combo 

. Herbie Hancock Sextet 

. John Handy Quintet 

. Earl Hines Quartet 

. Al Hirt's New Orleans 

Sextet 

. Groove Holmes Trio 

38. Freddie Hubbard Quintet 

34. Bobby Hutcherson— 
Harold Land Quintet 

35. Minois Jacq 

36. Ahmad Ja 

87. Jazz Crusaders 

38. Jefferson Airplane 

39. Elvin Jones Trio 

40. Jonah Jones Quintet 

41. Wynton Kelly Trio 

42. Raahsan Roland Kirk 
Combo 

43. Ramsey Lewis Trio 

44. Charles Lloyd Quartet 

45. Herbie Mann Quintet 

. Shelly Manne Combo 

. Hugh Masekela Quintet 

. Les McCann Ltd. 

. Marian McPartland Trio 

. Charles Mingus Quintet 

. Modern Jazz Quartet 

. Thelonious Monk 

Quartet 

others of Invention 

. Peter Nero Trio 

55. Red Norvo Trio 

56. Pentangle 

57. Oscar Peterson Trio 

58. Jean-Luc Ponty Quartet. 

59. Preservation Hall 
Jaz Band 

60. Max Roach Quintet 

61. Sonny Rollins Combo 

62. George Russell Sextet 

63. Pharoah Sanders Combo 

64. Tony Scott Quartet 

65. Bola Sete Trio 

66. George Shearing Quintet 

67. Archie Shepp-Bill 
Dixon Quartet. 

68. Horace Silver Quintet 

69. Jimmy Smith Trio 

70. Soft Machine 

Cecil Taylor Uni 

Cal Tjader Qui 

73. Ventures 

74. Leroy Vinnegar—Hampton 
Hawes Trio 

75. Jr. Walker and the 
All-Stars 

76. Teddy Wilson Trio 

77. Paul Winter Consort 

78. Phil Woods & His Euro- 
pean Rhythm Machine 

79. World's Greatest 

zz Band 

ng-Holt, Ultd. 


tet 


Put down the numbers of listed candidates 
you choose, the names of your write-in 
choices; only one in each category, 

except where otherwise indicated. 


BIG-BAND LEADER 


1971 PLAYBOY 
JAZZ & POP 
POLL BALLOT 


FIRST TRUMPET CLARINET 
SECOND TRUMPET E PIANO -—— ЖЫ 
THIRD TRUMPET 7 ORGAN $ 

FOURTH TRUMPET ы VIBES ze 
FIRST TROMBONE E GUITAR 

SECOND TROMBONE BASS i 
THIRD TROMBONE DRUMS 


FOURTH TROMBONE 


FIRST ALTO SAX 


SECOND ALTO SAX 


FIRST TENOR SAX 


SECOND TENOR SAX 


BARITONE SAX 


PLAYBOY JAZZ & POP HALL OF FAME 


Instrumentalists and vocalists, living or dead, are eli- 
gible. Artists previously elected (Herb Alpert, Louis 
Armstrong, Count Basie, Dave Brubeck, Ray Charles, 
John Coltrane, Miles Davis, Bob Dylan, Duke Elling- 
ton, Ella Fitzgerald, Benny Goodman, John Lennon, 
Paul McCartney, Wes Montgomery, Frank Sinatra) 
are not eligible. 


OTHER INSTRUMENTS 


MALE VOCALIST E 


FEMALE VOCALIST — — 


VOCAL GROUP 


SONGWRITER-COMPOSER 


INSTRUMENTAL COMBO 


PLAYBOY'S RECORDS OF THE YEAR 
BEST INSTRUMENTAL LP (BIG BAND): 


AL LP (FEWER THAN 


2 


3 


Name 


Address, 


City 


vorisc for the 1971 Playboy All-Star Band will follow 
a new procedure. Instead of checking off the names of 
your musical heroes and then sending us the entire 
ballot, as in past years, you need only fill in the blanks 
on the reverse side of this detachable page. On the 
preceding pages are the lists of performers selected by 
our Nominating Board of music editors, critics, repre 


sentatives of major recording companics and the win- 


st year’s poll. 

Obviously, it isn't possible for every artist who's 
been active this past year to appear on a list of this 
there's been a great proliferation of musical 
forms and performers in recent years. The nomina 
tions should serve solely as an aid to your recollection 
of artists and performances; you may vote for any 


siz 


living artist in any of the categories. 

Before each listed performer's name, you will find а 
number. If you vote for a musician whose name is 
listed, simply enter his number—not his name—in the 
appropriate space on the return ballot. H you vote for 
someone who wasn't nominated this year and whose 
name is consequently not listed, you'll have to write in 
his or her full name. 

If you're writing in your s 


lection for the leader of 
this year’s Playboy All-Star Band, please limit your 
choice to men who have led a big band (ten or more 


musicians) during the past 12 months; for instrumental 


combo, limit your choice to groups of nine or fewer 


musicians. In some categories, you're asked to vote for 
more than one musician, since big bands normally 
carry more than one man at those positions. (Our last 
few AllStar Bands have admittedly tended to include 
i5 


ments that are more and more disparate—but the 
group is, of course, only an imaginary ensemble ) 

Any instrumentalist or vocalist, living or dead, is 
cligible for the Jazz & Pop Hall of Fame, except those 
previously elected: Herb Alpert, Louis Armstrong, 
Count Basie, Dave Brubeck, Ray Charles, John Col- 
trane, Miles Davis, Bob Dylan, Duke Ellington, Ella 
Fitzgerald, Benny Goodman, John Lennon, Paul Mc- 
Cartney, Wes Montgomery and Frank Sinatra. This 
year’s three top vote getters will be installed in 
PLAYEOY's music pantheon. 

You may cast only one complete ballot in the poll 


and that must carry your name and address, printed 
in the space provided 

Your votes will help choose the artists who will make 
up the 1971 AllStar Band and who will receive the 
coveted Playboy Medal. So send your ballot promptly 
to PLAYBOY JAZZ & POP POLL, Playboy Building, 919 
N. Michigan Avenue, Chicago, Ilinois 60611, Your 
ballot must be postmarked before midnight, October 
15, 1970. Results of our I5th annual Playboy Jazz 
& Pop Poll will appear in our F 


ebruary 1971 issue. 


NOMINATING BOARD: Cennonball Adderley, Herb Alpert, Ginger Baker, Baoker T., Bob Brookmeyer, Ray Brown, Dave 
Brubeck, Billy Davis (for The Fifth Dimension), Miles Davis, Buddy DeFranco, Paul Desmond, Duke Ellington, Herb Ellis, Ella 
Fitzgerald, Pete Fountain, Stan Getz, Dizzy Gillespie, Lionel Hampton, Jimi Hendrix, Al Hirt, Milt Jackson, J. J. Johnson, 
Tom Jones, Janis Joplin, Roland Kirk, John Lennon, Henry Mancini, Paul McCartney, Gerry Mulligan, Oscar Peterson, Boots 
Randolph, Buddy Rich, Doc Severinsen, Ravi Shankar, Frank Sinatra, Jimmy Smith, Si Zentner; George Avakian, independ- 
ent record producer; John Burks, managing editor, Rolling Stone; Don DeMichecl, writer; Nat Hentoff, writer; Don Morgen- 
stern, editor, Down Beat; Richard Perry, independent record producer; Pauline Rivelli, publisher, Jazz & Pop; Creed Taylor, 
independent record producer; Bob Thiele, independent record producer; John A. Tynan, writer; George T. Wein, president, 
Newport Jazz Festival; Michael Zwerin, writer; Williom F. Szymczyk, ABC Records; Nesuhi Ertegun, Atlantic; David 
Axelrod, Capitol; Teo Macero, Columbia; Lester Koenig, Contemporary; Milt Gubler, Decca; Richard Bock, Liberty; Bob 
Porter, Prestige; Donald B. Dickstein, 20th Century-Fox; Mel Fuhrman, Liberty /United Artists; Stan Cornyn, Warner Bros. 


"I don't like being treated 
asan object —but 

1 don't mind being treated 
asan objective." 


the eight horned heads trom The Tinker of Turvey, 1630 


TO THE BARGE AT BILLINGSGATE, awaiting when the tide would tum for 
Grayesend, came passengers of all sorts. When the bargemen put out from 
the stairs and, being under sail and going smugly down, everyone began to 
chat of one thing and another, all of mirth, some of knavery. There was a 
tinker of Turvey in the barge, who soon began a merry tale. When he had 
done, a cobbler followed. making them all laugh with another that ended, 
“So he was made a cuckold, and with a heavy head was the poor smith fain 
to go to his hammers, being ever after noted for a cuckold through all 
Canterbury.” 

There sat a smith nearby, who took pepper in the nose at this and in a 
snuff began to answer. “Why, cobbler, do you hold the smith in such 
derision because he was a cuckold? I tell thee that kings have worn the 
horns, and "tis a fault that fortune exempteth from none. The old writers 
have said there be eight degrees of cuckolds and that 1 can prove.” At this, 
there was great laughter and every man desited him to tell what they were. 
“That I will!” said the smith. “They be these: 

“One. An overgrown cuckold is a gray cuckold, an old ramheaded 
cuckold, whose horns in their turning are so heavy and crooked the very 
tips of them almost run into his eyes. His cornuto cap has kept his head 
warm some 30 or 40 years, for so long has his wife been a dealer in 
feather beds. She was a pretty tit once, and she still runs a strong pace. If all 
the cuckolds in a parish were to be impaneled upon a jury, this is their fore- 
man. In a voyage to cuckold's haven, he steers the ship. 

“Two. A cuckold and no cuckold is he whose wife is handsome, fair aud 
well favored, so this bull calf fears bumps, feels on his forchcad and finds 
none. One that wishes for horns though they do not wish for him. A 
conceited cuckold. 

“Three, А horn-mad cuckold is a wild bull, bellowing and roaring after 
his cow. This cuckold is а mere Tom o' Bedlam. He sleeps not in quiet, 
wakes not in quiet, eats nor drinks in quiet. If his wife puts but two fingers 
daintily into a dish of mincemeat, he swears she makes horns at him. He 
cannot endure to hear of Saint Thomas his night when the Templars and 
Hf he passes 
ic. This is the 


the Inns of Court men blow their horns under men’s window: 


by а hom cutter’s door, he swoons and must di 
fool of cuckolds. 

"Four. A winking cuckold is he that sees a cock sparrow top his hen, yet 

goes away and says nothing. An honest, patient ass that carries his homs as 
willingly as а tanner’s horse carries his master’s hides from Leadenhall 
market. A mere humdrum Johnadroins who, if he peeps in at the keyhole 
and sees his wife curveuing with a man, goes sneaking away, mumbling, 
“Alha, she is there with her bear 
An extempore cuckold is no riming cuckold but such a blockhead 
that his wife on their very wedding day spells his name in the hornbook. 
"This is a mellow cuckold. 
Six. A Jolm-hold-ny-staff cuckold has his horns so high they run tough 
his hat. А rascal deer, the basest in the whole herd of cuckolds. He ї а 
stag in the city, a rhinoceros with his horn in the parish, a pander in 
his house, a slave everywhere. 

Seven. A cuckold cried up, or selreported, is а snappish, quarrelsome 
ninnyhammer who so wearies his wife with causeless jealousy that in the 
end she gives him good cause. He upon the least suspicion runs snufing up 
ife in 
the act), what does he but cry his homs up, arrests his half sharcr (her 
other bedmate), swears he will make him stand in a white sheet (when the 
fellow has done that already) and for his wife, he will firk her soundly. In 
the end, when all the courts in the civil law have his name, his head and 
his horns upon record, then he's quiet, takes his wife back again and every 
night locks his chamber door with his own aliochorn. 

"Eight. An antedated cuckold is a fruit no sooner ripe but it's rotten; this 
is a harmless young codhead who fools himself into horns: The nightmare 
rides him the first hour he's married, for the poor credulous Nicodemus 
thinks he has a sweet white grape, when he truly has a sour one, At his 
wedding dinner, he has no wine but bastard wine, and his wife has gone 
to press in another man's winevat. And at night, he may be permitted to 
pledge her once. И he has no taste, no matter: he’s sure of a good cook 
who can bring up his meat piping hot to his table, But he need fear no 
poisoning, for he has two or three tasters who have gone before him. 

“Thus,” said the smith, “you have heard my degrees of cuckolds, and now 
T have a tale to tell about а cobbler who was married to a blithe and 
bonny country wench in Romney..." —Retold by Charles Powell 


k aqua v 


and down and, having found his game (taken the poor whore his 


Ribald Classic 


ILLUSTRATION BY BRAD HOLLAND. 


169 


PLAYBOY 


170 


PLAYBOY INTERVIEW 


don't really have a good background in 
economics, the intensity of those feelings 
kept increasing. I now fecl there ought 
to be а complete re-evaluation of ow 
economic system. I can’t get 

cifics yet, because I haven't 
it through; but I do know 
translate this conviction into my own 
life is very difficult, because Fm а com- 
pletely middle-class person. I have a 
house in Westchester; I have a lot of the 
good things in life. Yet I have an in- 
creasingly guilty feeling that my status 
in this world and my possessions prob- 
ably came to me because other men lost 
their lives and liberty and were op- 
pressed by the society that gave me these 
goodies. 

PLAYBOY: Haven't you earned whatever 
you have? 
KUNSTLER: 
Yes, I worked for what I have, but I was 
in a position to accumulate possessions 
because of what I was equipped with 
from the start. My father wasa physi 
and my grandfather had been a me 
chant. Being white, they had been able 
to accumulate goods and status. And, ac- 
cordingly, I was always well fed; I was 
always warm in the winter and cool in 
the summer; and because of my back- 
ground, I could get a Columbia and 
Yale education. Very few black people in 
this society get a chance to start with 
all these advantages. 

PLAYBOY: If you feel so strongly about 
, why don't you sell all your possessions 
and give the proceeds to the Panthers? 
And why don't you give your house in 
Westchester to young radicals, so that 
they can use it asa commune? 

KUNSTLER: Those are legitimate questions. 
My answer is that I guess I haven't got 
the nerve or the guts to do that at this 
time, Maybe that’s what Т ought to do— 
sell everything I have and give it to the 
movement. Maybe I just talk а good 
game. Maybe I'm too middle class, too 
much the product of this society, to do 
that. On the one hand, I complain that I 
have these goodies because of an unjust 
system; but on the other hand, I keep 
them. I expect I still have a lot to learn 
about myself and what I want to do 
with the rest of my life before I'm ma- 
ture enough to do what you suggest 
I'm very much into this process of self- 
examination, and that's why my standard 
of values continues to change. 

PLAYBOY: With that standard of values 
changing, what are your plans for the 
immediate future? 

KUNSTLER: I'm living now essentially on 
some speaking engagements, on a few 
old cases I have and on whatever cases I 
can send in to my firm in which I can 
participate. But I'm looking forward to 
the time when I can break out of even 


that to 


arn isn’t the applicable word. 


(continued from page 90) 


this situation. I would like to live com- 
munally, to practice law communally. 
The idea is that lawyers get food and 
lodging in exchange for handling all the 
legal business of a commune. This way 
of practicing law would produce a sense 
of solidarity and a way of measuring 
one's work and life by values other than 
money. There are young lawyers who are 
doing just that, but I'm not sure that at 
my age, I'd be able to do it emotionally. 
I know I'd like to do it. I'd like to be 
able to get just what I need to stay alive 
and do the work I want to do without 
having to be concerned with money as 
the medium of exchange for that work 
PLAYBOY: Can you recall any specific 
event that began to change your concep- 
tion of what you ought to be and do asa 
lawyer? 

KUNSTLER: There was a traumatic experi- 
ence in 1961. 1 had been taking occasion- 
al cases for the Ame l Liberties 
Union, and in the course of one of them, 
I had just arrived at a bus terminal in 
Jackson, Mi Eating а hamburg- 
cr, I saw policemen arrest бус black 
and white Freedom Ride 
integrate the lunch counter. Watching 
the total human commitment of those 
Freedom Riders gave me the sense that 
I would never be quite the same again. 
The sight of those five frightened young 
people taught me what 1 had never 
known before—that only by personal in- 
volvement can one justify his existence, 


attempting to 


s if from June 16, 1961, to the Chicago 
trial, my feet were pushing in just one 
direction. I found what I was really look- 
ing for in life. 1 was changed from just 
being a legal tradesman, and 1 found 
new currency that satisfied me complete- 
ly. It may be no better than the currency 
of the five-dollar and ten-dollar bill, but 
it was a currency that paid off in respect 
and in the knowledge that 1 was doing 
what J thought people ought to do with 
their lives, 

Ive been very impressed, during a 
good part of the past three or four years 
of my life, with Father Daniel Berrigan, 
the Jesuit priest who was among those 
convicted for burning draft records in 
Catonsville, Maryland. He explained to 
me the concept of а worker-priest—the 
idea of a Catholic priest not being sepa- 
rated from other Catholics by being part 
of a hierarchy or having a church or 
being available only on certain days of 
the week. Instead, the worker-priest has a 
job: he works alongside people and uti- 
lizes his skills to assist those who work 
with him. I think that’s what a lawyer 
should do, too. He should, first of all, be 
part of 2 movement and then employ his 
skills in relationship to that movement. 


He should not be separated by profes- 
onalism, by educational or economic 
arriers nor by status from the people 
with whom he works. 
PLAYBOY: Toward the end of the Chi 
rial, just before you were sentenced for 
contempt by Judge Hoffman, you said: 
“I can only hope that my fate does not 
deter other lawyers throughout the coun 
try who, in the difficult days that lie 
ahead, will be asked to defend clients 
against a steadily increasing governmen- 
tal encroachment upon their most fund: 
mental liberties. If they are so deterred, 
then my punishment will have an effect 
of such terrifying consequences that I 
dread to contemplate the future domestic 
and foreign course of this country.” Do 
you believe that your sentencing will 
deter such lawyers? 
KUNSTLER: No, I don't. And, as a mater 
of fact, 1 went on to say in the statement 
you just quoted: "However, I have the 
utmost. faith that my beloved brethren at 
the bar, young and old alike, will not 
allow themselves to be frightened out of 
defending the poor, the persecuted, the 
d the militant, the Ы 
people, the pacifists and the poli 
pariahs of this, our common land.’ 
PLAYBOY. Even if there arc enough law. 
yers of this type, can they be effective 
without basic changes in our legal proc 
esses—doing away with the adversary 
system, for example? 
KUNSTLER: I'm not opposed to the adver- 
sary system if the defendant has much 
the same resources as the state—in terms 
of investigative personnel, for instance. 
We're talking about criminal law now, 
and if you took away the 
tem, I don’t know what you'd put in its 
е. The adversary system, you see, has 
great attribute, in that as 
sary, the defense counsel, working with 
the defendant, cin put up a tremendous 
fight. Admittedly, there is a great deal of 
I've indicated, the 
Government—as the system works now 
ater resources than the defense. 
h all its defects, the adversary 
system does give 3 defendant, in many 
instances, a fighting chance. 
PLAYBOY: Are you referring specifically to 
political cases? 
KUNSTLER: I find it hard to conceive of 
e criminal cases not also be- 
l cases. I say that because so 
often the person accused of a crime is 
poor or black and poor. He has been 
subjected to an oppressive system, and 
the very crime of which he is accused is 
probably a reaction to that oppressive 
system. Obviously, if 2 man, black and 
poor, disembowels his child or brutally 
murders a robbery victim, the instinctive 
reaction is that he ought to be punished. 
But if the system has brutalized him, we 
have to take that into account. 
(continued on page 228) 


lversary sys- 


n adver- 


unfairness because, a 


SURVIVE IN A 
french RESTAURANT 


humor | 

by томі ungerer 

to beat the gauls at 
their own game requires 
equal measures of 
Savoir-faire and— 

of course—gall 


N THE UNITED STATES, Italian restaurants are invariably matter that the menu is garbled С 
run by Italians. Virtually every Chinese restaurant is oper- — a 
ated by Chinese. But 


French restaur French” carries a 
On the other hand, every major city boasts one or several 


genuine, perhaps excellent French restaurants. Even to the 


magic that few Americans can resist once. 


For kicks, return something and be ferocious in your recriminations. То outfox the Frenchman, be arrogont, contemptuous, petty and mean. 171. 


customer who has 
er afield than Paris, Texas, 
the authenticity of a Gallic establish- 
ment should be apparent before he 
gets the table he reserved the previous 
night. While the would-be diner trembles 
like an errant schoolboy, the maitre de 
pores through his list of reservations as 
suspiciously as if the client were a notori- 
ous dead beat with a fildhed American 
Express card. Finally, with a reluctant 
sigh, that magisterial functionary may 
consent to seat his guests, preferably (in 


172 winter) at a table that is swept by an 


arctic gale with every new arrival or (in 
summer) next to the kitchen door, where 
a blast of garlicked heat will smite him 
each time a waiter goes in or out. 
‘There are, of course, many, many 
ceptions, mostly the small, family-owned 
bistros, where the guest is warmly and 
sincerely bienvenue. It is generally the 
most chic and costly places that reflect 
the more unattractive aspects of gaullisme. 
The Gallic genius is capable of producing 
the world’s greatest meals. It can also be 
arrogant, contemptuous, petty, rude and 
mean. There is only one way to outíox 


the Frenchman at his worst. Be arrogant, 
contemptuous, petty, rude and mean. 
Insist on choosing your own table: 
his is where I sat the last time.” The 
French have a bug about habits; so 
should you. Let it be your table. Every 
restaurant has its specialties, its cults and 
routines. Establish your reputation with 
your own rites. Make a point of being 
surrounded by pretty girls. Kiss and pet 
them shamelessly; you will gain the envi- 
ous respect of your French adversaries. 
Now for the menu. Do not be afraid 
to order dishes you have never had 


ILLUSTRATIONS EY TOMI UNGERER 


before. However, it is no sin to ask the 
ptain in а condescending yet menacing 
way what he recommends. Just for kicks, 
turn something. Act angry, disgusted 


he lamb is geriatric.” 

Soq au vin? Poppy—cog au vi 

This salad, alas, has seem better days. 
The soup (concluded on page 227) 


Occasianel chitchat end grand tips will 
help make you even more impervious ta the 
Gallic outrages perpetrated on those unfor- 
tunotes wha hove not heeded cur advice. 


PLAYBOY 


CINE-DUCK continued from page 196) 


not called my name, the girl who had 
loved the Penguin, the group ol pimps 
who came up to joke with us and slap us 
on the back, the taxi driver attempting 
to put a litle life into the Blue, 
everything 1 saw that moved, even the 
two friends whom all too soon 1 would 
no longer scc. First love. 

What the fuck's the matter with this 
cab? 

Ive got to get home and wash my 
dick! 

Unheard voices, voices in a dream. No 
wonder Shakespeare had called the world 
a stage (English 25, Mr. Hartman) and 
all the men and women in it merely 
players, At that moment, illusion and 
reality, art and life, promise and fulfill- 
ment were as intricately joined as my 
mistress’ finger and my own lips, which 
she had touched in order to reveal the 
two shining braces on my botiom teeth: 
"Oooooh! Pretty!” How to repay her? 
Only by ripping out every tooth in my 
head to heap mountains of silver at the 
soles of her make-believe feet. 

"This experience has remained for me 
a touchstone by which I measure not 
only other films but the quality of all 
art, or, at any rate, that aspect of art 
that seeks to maintain what Shakespeare 
called an eternal summer: 


Nor shall Death brag thou wander’st 

his shade, 

When in eternal lines to time thou 
growest, 

So long as men can breathe, or eyes 
can sce, 


So long lives this, and this gives life 
to thee. 


The hookers of Tijuana, 1 admit, have 
little in common with the darling buds 
of May, and the entire adventure must, 
at first glance, seem closer to aging than 
to immortality. After all, it was undeni 
ably an i 


ion, a leap from childhood 
toward ultimate decay, 


nd a sexual inii 


ar's own language (“1 am dying, 
Egypt, dying"), orgasm and expiration 
are imaginatively equivalent and, in evo- 
lutionary terms, the discovery of sexual 
reproduction necessarily coincided with 
the phenomenon of death. But on an- 
other and deeper level, our experience 
was less initiation than regression, a jour- 
ney backward to а protozoan paradise 
before sex, death and certainly time, an 
Eden of the instincts, in which the 
between desire and fulfillment had been 
collapsed, where repres 


—wish was followed by wish coming truc. 
‘That is the peculiar magic of the highes 
art, whose hidden subject has always been 


Nativity, once in the main of light, 

Crawls to maturity, wherewith being 

crown'd, 

vohed eclipses ‘gaint his glory 

fight, 

And Time that gave, doth now his 
gift confound. 


D 


My first memory of film, from the age 
of three, is of a baby elephant—Dumbo, 
doubuless—being senselessly separated 
from his mother. What moved me then 
was not the plight of the little tusker, an 
epicene, eye-batting flirt, but the anguish 
nd rage of his parent. The one image 
left to me is of the world of the circus 
collapsing around the mighty creature as, 
rearing on her hind legs, flailing the sky 
with her trunk, she trumpeted and 
trumpeted, unbcarably, tormentedly, un- 
til the scene dissolved in my tears and 
the sounds were mufiled in an avalanche 
of “Tsktsk-tsks” and “Mmmm, mmmmm, 
mmmmms" from the colored maid beside 
me. Another image from perhaps a year 
ater is of Bambi, a Disney deer, 
trembling in fear of a forest fire that 
aged close enough to singe his spots 
ad but a lick or two behind assorted 
skunks and chipmunks and owls. More 
tears and, for the first time (that maid 
having been replaced by an indubious 
type in wire glasses), the phrase, “It's 
only a movie.” 

The next few years were a dry-eyed 
revel in the warfare of Donald, Mickey, 
Porky, Bugs, Tom, Jerry, Woody, Pluto 
—animils all, as were we, cold-blooded 
five-ycarolds, screeching and roaring, 
cackling and chattering, yipping and 
yowling with inborn glee as a dumfound- 
ed bear was kicked sky-high by a megaton 
mule—ya’ -y'—and fell end over 
end past fluffy indifferent clouds to a final 
tening on the earth. Only fairy tales— 
which we had outgrown—were more vio- 
lent. Pigs and polecats were our meat: 
ures of instinct, barely able to speak 
without a stutter, their one chance of 
al in a world larger than they was 
to transcend themselves, overcome the 
conditioned response and—beneath the 
flashing of an incandescent bulb—learn 
how to think of a way to steal the cheese. 
I imagine it was owing to this simple sort 
of identification that I attended the car- 
toon festival at the Bruin theater every 
Saturday—that and the general animism 
of a child’s world, in which, especially at 
night, discarded Levis become basking 
crocodiles, a breeze in the curtain a 
panther on the loose and a lighting 
fixture a king cobra, hood flared, ready 
to strike, Hence, in the darkened theater, 
the child grows gills, slips back a step into 
the common slime, and the predicate of 
such films as Pinocchio, Fantasia and The 
Wizard of Oz—that crickets talk, brooms 
сапу pails of water and scarecrows dance 


—is as natural as boy gets girl or the 
U. S. Cavalry wins the war. We went for- 
ward, only to go back. 

Older, I went to the Hitching Post in 
Santa Monica. Now the animals—Cham- 
ver, Trigger—were ridden; pint- 
sized ego took the saddle on prancing id. 
There was, indeed, a hitching post out 
side the theater—as real, solid, fleshly а 
manifestation of childhood myth as the 
half-dressed harlot was of adolescent 
dream—to which the kids lucky enough 
to live in the neighborhood tied their 
bikes and dogs. The house rule was 
‘Check all shooting irons at the box 
office,” and there was invariably а 
shoot-out in the lobby after the show, as 
revolvers were packed into the wrong 
holsters—marvelous affairs with tooled- 
leather loops for bullets and simulated 
emeralds, topazes, rubies running half- 
way down the leg—and interfering nan- 
nies were dusted off by the barrelful, 
blam, blam, blam, blam, blam, blam, 
a technique called fanning the t 
It was not dificul to smuggle a pearl- 
handled beauty, small, even girlish, but 
with the kick of nto the theater; 
nd one always ran the risk that at a 
moment—when, for example, 
‘isco Kid had inserted a stick in his 
and was inching it above the rim of 
rock—a whole roll of caps would go 
off in your car. Generally speaking, the 
audience was so caught up in the perils 
of the Lone Ranger, say, or Lash LaRue, 
that save for an occasional cheer of en- 
couragement or a gasped warning about 
the hired gun crouched behind the bar, 
it offered Ише comment. Gene Ашту and 
Roy Rogers, though, had the exasperating 
habit of breaking into song toward the 
dose of their features, and such digres- 
sions would be accompanied by cowlike 
groans, finger whistles. the firing of 
contraband weapons and the detonation 
of popcorn bags. punctuated by the 
concussion of a cupped hand beneath 
the armpit and the sharp staccato reports 
of leadslingers breaking wind. 

It was at this point in our lives that. 
most of us were forced to deal with death 
and time. Cartoon animals are resilient. 
bbed, de- 
voured, smashed thin as a dime or 
stretched out on a rack, roasted, electri- 
fied, gled, drowned, stung, flayed, 
q ad chopped head to toc, they 
always snap back, nine-lived. But where 
there is no instance of unresurrected 
death in any cartoon, there is no Western 
without murder. This is not to say we 
were thrust from paradise (a pasture, a 
flower, Ferdinand the Bull) without safe- 
guards; in fact, the greater part of the 
Hitching Post experience was organized 
to deny the very factor it had introduced 
into our lives. In the first place, most of 
the people who got shot in Westerns were 
villains whose continued existence dis- 
turbed the moral order—not to mention 


crucial 
the 


il. 
Winston 
tastes good 


like a 
ЕА 3 
should. What do you 
want, 


good grammar 
or good taste? 


Winston may not say it right. but they sure know how to make it right with 
specially processed | FILTER BLEND] tobaccos 


PLAYBOY 


176 


the daily life in Tombstone, Arizona— 
more than their demise. We were inocu- 
lated with poetic justice and with pre- 
dictability. (It was this same coating of 
predictability, the denial of chance or 
miscellaneous death, that made war films, 
soon our regular fare, so palatable; it was 
casy to see that the nice guy with glasses 
was doomed; and by the time his buddies 
got around to cutting off bis dog tags and 
murmuring, "So long, Francis,” we had 
long since erased him from our conscious- 
ness.) Now and then, a good person would 
be killed, but such cases usually involved 
the young lady's grandfather or, perhaps, 
a Nestor, creatures so far removed from a 
ld's interests that they might as 
гс been animals, Moreover, such 
deaths were always paid for, and the un- 
folding of the elaborate moral code of the 
West, with its interlocking systems of 
honor and revenge and its unvarying sym- 
bolism (white hat, black hat) of good and 
evil gave us as much comfort and assur- 
ance of an ultimate design as the intricate 
geometry of swastika, triangle and paral- 
lelogram enclosing the funerary scene on 
an amphora gave to ancient Greeks. The 
symmeuy of the film, the curve of the 
vase, became the shape of the universe. 
But the main thing was that our he- 
toes never grew old. Each Saturday was 
an eternal return, and it was a quality of 
timelessness, agelessness that accounted 
for the great popularity of someone like 
Gene Autry and especially Hopalong 
Cassidy, who, with his white hair, striped 
pants and bank president's face, seemed 
always in his carly 50s, rather seemed no- 
where at all, simply lifted by virtue of 
some timeproof vest outside the processes 
of caducity and decay that shot his horse 
out from under him, put others six fect 
under and worked its way so freely on 
the face of Gabby Hayes. The eternal 
return also applied to the serials sand- 
wiched between the double feature at 
the Hitching Post. Weckday life was on 
the brink: The needles of boilers trem- 
bled past the safety zone, smoking acid 
seeped beneath the crack in a door, cars 
tumbled from rocky bluffs and, more 
ambitiously, forest fires raged, tidal 
waves tossed octopuses 20 miles inland 
d the city of New York, composed of 
nothing but brittle white buildings, 
4 broke into pieces. Because 
the last image of one Saturday became 
the first image of the next, time col- 
lapsed nearly to zero, to the length of 
time one could cling to a diff or hold 
one's breath, and one grew older casual- 
ly, without seriousness, taking it as lightly 
as catastrophe. 
Nevertheless, one grew; and in no prim- 
itive society studied by anthropologists 
were the age groups more formilly de- 
dared and firmly enforced th th 
Hitching Post: child п arms, free; un- 
der six, 25 cents; six to twelve, 50 cents; 
twelve to sixteen, 75 cents; adults, one 


trembled 


dollar. Through lying and long hair, 1 
paged to pay a quarter till I was nine, 
and I lost interest in Westerns a year 
later. Most of the theaters in Los Angeles 
had a similar system, though, and it was a 
matter of some prestige among one’s 
fellows never to pay the management 
what was owed. This led, especially as we 
grew larger, to a good deal of sn 
in, usually by hanging around under the 
marquee, examining the fine print on 
the posters, until the ticket taker was 
preoccupied, then slipping past into the 
lobby. Failing that, one could wait until 
the feature broke and mingle with the 
crowd going in or, even easier, swim 
against the tide of those coming out and 
lcap like a salmon through the alleyway 
exit into a scat. There were always a few. 
discarded stubs on the sidewalks nearby 
and Howitzer, one of our crowd, had 
perfected the technique of waving one 
quickly at the doorman, saying, “Re- 
member me? I stepped outside to blow 
my nose" The lust resort was to pool 
our funds, buy a single ticket and have 
Mr. Legitimate open the rear door to a 
troop of 27. This at least had the advan- 
tage of obviating the series of dactylo- 
grams (popping the side of the check with 
the thumb) by which we located our scat- 
tered forces and drew together to ex- 
change funny remarks. Of course, we 
were caught—blinding light, stern com- 
mand, public disgrace. How to explain 
to the wiry little theater manager that 
money had nothing to do with it, that 
even the movie was irrelevant? (Dozens 
of times, we breached the defenses only 
to discover ourselves trapped by some 
such fare as Scared 501], The Ten Com- 
mandments or Crazylegs, All. American, 
and walked out again; once, however, 
paying no attention to the sereen before 
me, keeping low and hugging the walls, I 
made my way to a vacant seat, caught my 
breath and looked up into the flaming 
hair of Joan of Arc) How explain even 
to ourselves that what we hoped to avoid 
were the two-bit steps to adulthood and 
that what we souglt—thrust from the 
dark theater by the scruff of the neck, 
blinking and squinting against the an- 
gel's sword of daylight—was nothing less 
immortality? 

On dates, however, we were proud to 
plunk down a mature couple of bucks 
we did not wi ive forever, but, 
Mr. Нанта bethan tongue, to 
"die" in the flesh in the back of a Buick, 
a feat Howitzer claims to 
plished when, lights out, bu 
he crashed the guardrail of the Pacific 
Drive-In and was rewarded with Е 
Presley in Love Me Tender and the first 
plump piece he ever had. I never got so 
for, having wasted precious y i 
to solve the logistics of gettin 
around my date's shoulder. The most 
elegant solution was to leave it casually, 
as if it hardly belonged to me, on the 


back of her seat when we sat down. By 
the end of the previews, it was totally 
paralyzed. I couldn't take it away, nor 
could I smuggle it downward to where 
those patient beauts heaved and swelled, 
resplendent in white Orlon, twin brides 
turned to twin mummies through a long 
night of desire. This is not to say there 
were no breakthroughs. It was in the 
movies that, beneath the marvelous shift- 
ing light, aurora borealis of the temperate 
zone, 1 first learned how to kiss and be 
kissed, touch a breast, feel a thigh. On 
any typically hot, clear Southern Cali- 
fornia summer day, one would be likely 
10 sce Duck, Penguin and Pumpkin lined 
up at the Elmira theater, dressed in rain- 
coats, escorting three baddies. Once in- 
side, we would separate, spread our coats 
and have at it, until, from six rews ahead, 
in a ridiculous Italian accent, I would 
hear the humorous Pumpkin say, “Willa 
da genle-a-mans inna back aplease a- 
stoppa da trowing da ica cream?" 

"There were leaner years, especially lat- 
er. I returned to Los Angeles in 1963 for 
nine months and, lonely. without a girl. 
with my raincoat long since in tatters, T 
spent a good deal of time in a theater 
near Melrose and Santa Monica that 
showed films like Forbidden Love, Too 
Much, Too Soon and Blow the Man 
Down, in which everybody sat six seats 
away from everybody else. I remembe 
one film in particular, set in a women's 
gym that three homemade policemen 
penetrated in search of a killer on the 
prowl Amid the usual shots of exercise 
machines and towel fights among the 
girls, there was one extraordinary se- 
quence in which the killer threw the bolt 
оп a steam-bath door and started turning 
wp the pressure from an outside valve. 
We could sce the brunette within slowly 
grow uncomfortable, try to get out and 
discover the door locked, and we could 
hear her screams as the heat inside the 
chamber grew unbearable. The actress 
beat on the door, on the walls, 
her own head; sweat poured off he: 
mouth opened and closed, her eyes rolled 
up: she began to turn in crazed circles, 
breasts and buttocks dissolving in а 
mantle of steam; and at last, the 


needle of the pressure р; reached 
nANGER, she hurled herself, legs and arms 
extended, against the bolted door. 


"Ahhhh," the audience gasped, not only 
at the 
and the d 
the clouded glass but at the be: 
an obscure mystery, suddenly clear. 

In New York, I used to drop in at the 
Cameo and the Tivoli (l-lov-it spelled 
backward, where once I heard the fol. 
lowing snatch of dialog: “Sorry? You 
pissed on my date and you're sorry?"), 
until, quite recently, before the feature 
(The Spy Who Came) went on, a sol- 
emn voice announced, “The United 

(continued on page 180) 


му of 


“Then, after you've starved the villagers into submission, 


you can bring in your interrogation team. . . 


177 


ZUBIN MEHTA Хлогегло the score 


вомвлу-вовх Zubin Mehta was the first conductor ever to direct 
two major North American orchestras concurrently—the Los 
Angeles Philharmonic and the Montreal Symphony—and, at 
26, was one of the youngest to conduct a leading U. S. orches 
tra (in L.A). His father, who conducted the Bombay Sym 
phony, “brainwashed me with classical music [rom the cradle,” 
later taught him the rudiments of the baton and allowed him. ST? 


at age 16 to conduct a symphony rehearsal. Two years later, 
Mehta entered the Vienna Academy. He still reveres Vienna 
as the center of the musical world and strives to re-create the 
Viennese sound. A first prize in the 1958 Royal Liverpool 
Philharmonic competition for young conductors resulted in 
a position as assistant conductor of the famed British orchestra 
alter graduation from the Academy—and he was on his way. 
After numerous guest appearances, he became the Montreal 
Symphony's music director in 1961 and took the same position 
in L. A. in 1962. Now 34, Mehta might start his day by con- 
tributing to his $1500-a-month phone bill with a call to Vienna 
to hear its Philharmonic play live. Then he'll more than 
likely rent a sporty car and careen around the freeways of L. А. 
to the homes of his many Hollywood friends before heading 
for Philharmonic Hall, where he is known to adoring audi- 
ences as "Zubie baby." (Too heavy a schedule forced him to 
give up his Montreal position in 1967.) He recently shared the 
podium of the Philharmonic with the Mothers of Invention 
rock group in a disastrous attempt at cultural intermarriagi 
but even when the music is 17th Century Baroque, he admits 
he's quite a showman: "Sometimcs you have to help the super- 
ficial along with a few gestures.” With his theatrical batomworl 
his eclectic musical tastes and his liberated life style, Mehta is 
in the fore of a new breed of hip young maestros dedicated 
178 to peaceful coexistence for longhairs both classical and pop. 


PETER REVSON coing places 


“IN копко, the all-round cowboy usually comes out ahead of 
the guy who just rides broncs.” Peter Revson, though an 
thing but а cowboy, applies that maxim to automobile 
racing. Since his days as ап amateur in S.C. C. A. competi- 
Чоп, Revion has worked his way through the Formula 
cars, Trans Am sedans, Can-Am Group 7 racers, GTs and 
Indianapolis specials: his performance in cach has earned him 
recognition as one of the most versatile and promising drivers 
in world racing. A 31-year-old New Yorker whose relatives con- 
trol the Revlon cosmetics empire, he entered his first race in 
1960 while a student at the University of Hawaii (he previous- 
ly attended Columbia and Cornell). Revson drove а Plus Four 
Morgan in a local club event held on an abandoned airstrip 
nd finished second; he won the next one. After he returned 
to New York later the same year, racing gradually took preced- 
ence over his jobs as а marketing analyst and advertising ac 
count executive. In 1063, се professionally and 
spent a year barnstorming Europe in a Formula Junior towed 
behind à battered English bread van. He soon won rides in 
various te: d, i 1969, he became the top placed 
rookie 00 by finishing fifth—despite car- 
burctor problem: bham-Repco special. In. postrace 
balloting, he was runner-up for Rookie of the Year honors. 
During the 1969 season, he recorded seven top-five finishes 
the 1 s in a Mustang; and in 1970, his fast 
finishes in the Carl Haas ТХМ Lola made him a top contendei 
in the Can-Am races. Personable, successful and conspicuously 
single. Revson is the archetype of the freewheeling inter 
п acing driver. n reporter once ques- 
tioned him on ma ied that he preferred 
to play the field: "Racing gives me a good excuse for not 
settling down. I always keep a packed suitcase in full view." 


he decided to 


ional 


ROBERT BLAKE his own man 


1 turned in the powerful 
n Tell Them Willie 


opps ARE that if any other actor 
performances delivered by Robert Blake 
Boy Is Here and [п Cold Blood, instant superstardom would 
have been the result. But Blake, hardly another pretty face, is 
а self-motivated social outcast who abhors the public part of 
an actor's lile. "I'm no star.” he sa use I don’t look 
like Van Johnson or Jesus Christ, 1 won't kiss anybody's ass 
and E won't even attend my own premieres. To me, being an 


Троа аа ЛИЛЕ СТИ ЫЛ 
the hard facts of his life: Born in Nutley, New Jersey, he was 
еп to Los Angeles at the age of three when his father 
headed West in search of work. Blake soon found himself in 
front of cameras as a stand-in and extra. “But I wasn’t a child 
" he says. His first starving role 
came in 1958. when he helped lead a Revolt in the Big House 
Soon afterward, he stopped performing and began to teach 
acting, then got briefly hooked on heroin before returning to 
work—on television as a member of The Richard Boone Rep- 
enory After that, I got married and split for two 
years with my wife; we traveled through Mexico and Amer- 
ica." When the Blakes ran out of money, Robert went back to 

in This Property Is Condemned, after which. he once 
again dropped out. Two years later, he began playing an as- 
sortment of heavies on TV's The FBI, which ultimately led to 
his role as In Cold Blood’s pathological Perry Smith. С 
rently, Blake, 32, is still searching for parts that will help him 
achieve his goal as an actor: “All I want to accomplish," he 
says, “is what Muni and Bogart were able to do—make three 
or four films that outlived them and hope that one day my 
gre children will see one of my movies and say, ‘Hey, 
man, that motherfucker up there was really cool, you know?” ” 


PLAYBOY 


CINE-DUCK (continued от page 176) 


States Supreme Court has declared that 
nudity is not an obscenity!”—upon 
which an orchestra played, the screen lit 
up in Technicolor and we were shown 
15 guys and gals playing volleyball in the 
nude. I have not returned. The necessary 
ingredients of croticism—ingenuity, Cm- 
barrassment, mystery—are gone, probably 
forever. I can recapture something of the 
aphrodisiac atmosphere of my Elmira 
days only when I go to the movies alone 
and find myself sitting next to a pretty 
stranger. Is the pressure of that knee 
deliberate? Was that white mohair 
meant for me? And, rock bottom, there 
are the coin machi 2nd Street 
between Sixth avenues. The 
images are small, cracked, jumping from 
nervousness, fogged with the breath and 
thumbs of hundreds. But now and thi 
there is à moment of gen i 
perhaps the actress bites her shoulder?— 
and I am a child again, a hat low over 
my eyes, blushing at my buried dreams, 
measuring out my time in quarters. 

My father was a screenwriter, my un- 
cle still is, and I grew up in a house, 
surrounded by lemon groves, that we 
bought from Mary Astor. On Sundays, 
a lot of actors, writers, agents, directors 
came up to sit around the pool and eat 
from the barbecue. I would lie at my bed- 
room window or crouch among the fig 
vines that surrounded the yard, watching 
them flash in and out of the water or run 
into the cabana with loosened halters, 
revealing, to my practiced сус, various de- 
nominations of sin, I also used to crouch 
outside the study door, listening to my 
father and uncle write: One started a 
line, the other finished, both broke into. 
laughter. 

Sometimes I went to the studio to 
watch them shoot. One of the lots had 
an enormous outdoor sky painted so 
much like the real one, with such si 
wispy cirrus clouds, that—like onc of 
those Magritte landscapes of ап cascl 
standing in a natural setting that may or 
may not have a painting on it—I had to 
look for it to see that it was there. Inside 
the sound stages, one mostly stood 
around and was told to be quiet. [ 
remember one scene—it must have been 
from around 1944—in which a pilot of a 
dive bomber is trapped in his burning 
cockpit. A cross section of the fuselage 
rested on sawhorses and the actor's feet 
were firmly on the ground. Two techni- 
cians lay on their backs beneath the 
sawhorses, onc with a flame thrower and. 
the other with a stick. Then the director 
yelled “Action!,” the actor began bang- 
g on the inside of the cockpit, the 
ame thrower shot orange globules 
against a whitelinen background and 
the man with the stick began striking the 
fuselage to simulate its state of distress. 


180 Eventually, the pilot managed to pry 


open the cockpit and thrust his head 
into the jet stream of a wind maker that 
tousled his hair. “Cut!” The brunette in 
the steam bath did it better, true, but the 
scene looked fine to me and I couldn't 
understand why it took all day to shoot 
nor why, when I saw the completed film 
in a theater months afterward, it flashed 
by so quickly I hardly knew it was there. 
Whatever the painter's skill, I was learn- 
ing, no matter how subtle or quick his 
brash, the painted clouds would never 
be more than a small piece of the sky. 
When my father died, it was decided 
that my brother and I should not go to 
the funeral. Instead, a friend of the 
family, a writer named Murty, took us to 
see The Lavender Hill Mob art stra 
ing to deny mortality—and we laughed 
like fools as Alec Guinness made good his 
escape, spiraling down the steps of the 
Eiffel Tower, carrying in his hand, like 
a Magritte miniature or an image in а 
miror, a model of the same cdifice, 
cast in purest gold. But at the end of his 
story, as he stood up in a South Ameri- 
can calé, we saw that he was handcuffed 
and reality, ever preponderant, clubbed 
us over the head, Tearless, we returned to 
the cartoon: My uncle, my father's iden- 
tical twin, filled the breach, as if to 
persuade us that life was double expo- 
sure, a retake, and that all losses in it 
could be redeemed, Yet I did not stir for 
over a усаг but kept to the TV, where, 
against all taste and better judgment, the 
poor dumb rabbits in Of Mice and Men 
and a ninthnning homer in The Jackie 
Robinson Slory forced me to weep. 


I did not discover until I started col- 
lege that the medium I had accepted as 
an appendage of myself, as a by-product 
of my own primary processes, had a 
history, a life of its own stretching back 
to trains puffing into stations, husky 
nudes doing gymnastics and kaleidoscop- 
ic horses flying along upon a single hoof. 
In the late Fifties, Yale had two under- 
graduate, one law.school and any num- 
ber of French, Italian and German Club 
film societies. I saw most of the impor- 
tant American movies I had missed 
along the way; and while some of them 
(one or two films each of Vidor, Welles, 
Flaherty, Huston, Ford, Hitchcock) were 
impressive, it became more and more 
Clear to me that this country had pro- 
duced only two geniuses in the medium: 
Griffith and Chaplin. It was no less dear 
that it possessed a genius for a kind of 
folk cinema that—more expressive of so- 
cial mythology than of individual point 


of view—manifested itself not in any 
one figure but in a collective genre: the 
Western, the gangster film and, above 


all. the comedy of the Twenties and 
Thirties, especially those of Keaton, 
Ficlds, Laurel and Hardy, Lloyd and the 
Marx brothers. (Some commentators ac 


tually hold the opinion that Jerry Lewis 
belongs in the company of these men. 
Jerry Lewis!) 

Chaplin remains by himself. It sounds 
odd, I know, but because I saw his films 
when I was emerging from adolescence, 
nd because each of them is built upon 
п almost spastic recoil from the inhuman 
(poverty and homelessness in shorts such 
as Easy Street and The Immigrant, the 
military in Shoulder Arms, power over 
others in The Great Dictator), they 
formed for me a definition of manhood. 
In his greatest work, the dehumanizing 
forces are harder to define, and dreadful. 
Yet the alienation that reduces the hero 
of Modern Times to a twitching automa- 
ton is instantly dissipated when the tic is 
applied to a pair of knockers instead of 
a set of nuts. In City Lights, the brutali- 
ty of the boxing match, itself the cpito- 
me of the strains of lovelessness that run 
through the film, is dispelled in the 
grace of a ballet; similarly, in The Gold 
Rush, the loneliness of the Klondike 
cabin, table set for a New Year that 
neyer arrives, is abolished when Charl 
—it is one of the great moments in art 
precisely because it reaffirms the primacy 
of art, the waltz of the imagination i 
finitely more beautiful than the polka in 
the boom town below—performs the 
dance of the rolls. The Gold Rush also 
provides a kind of theory of cartoons: 
When Mack Swain gets hungry, that is, 
when he collapscs into, becomes a victi 
of his instincts, the world becomes animat- 
cd and Charl: chicken. Morcover, be- 
cause all of Chaplin's characters arc on 
the verge of losing their grip, of being 
reduced to monster, madman, murderer, 
militarist, machine, the whole of his 
work is at once the exemplification of 
Bergson's idea that the perception of the 
inhuman in the human is the source of 
laughter and its critiq: се the battle 
to remain a man is usually won and 
since, in all his films but especially in 
Limelight, the real struggle is not against 
the inhuman as much as the unhuman, 
that decay and dissolution and final 
darkness waiting, like a bad audience, just 
outside the shrinking circle of light in 
which Keaton and Chaplin pound the 
piano and saw the violin 

Still, 1 did not become fully con us 
s film, as а separate art, until I 
s that were foreign, not only to 
my language, country and experience but 
alien to that notion of quickness, pace, 
hurry—Charlic bending to tic his shoe 
and the seltzer striking the face of the 
matron behind him, all specded up by 


the gears of modern projectors- 
into the very word movie. 1 th 
be 


t example of this sort of care for the 
mage itself is the bridge in Ten Days 
That Shook the World, which rises in my 
memory as 15 years ago it did to my eye, 
calmly, silently, massively, while history, 
а dead horse in traces, slid down the 
planks, revealed now, the grain examined, 


Scotch vs. Canadian vs. 7 Crown. 


PLAYBOY 


182 


the pattern lingered over, so that we 
should have time to comprehend this 
wood, its paradoxes—solidity and move- 
ment, nature and revolution—and its 
role: ineluctably to sunder the past. Carl 
Dreyer, 100, took the time to explore his 
images fully; and so, recently, did Pictro 
Pasolini in The Gospel According to St. 
Maithew, What the bridge, the face of 
Joan and the faces of the Disciples share, 
le from this depth of realization, are 
their inherent grandeur and the scope of 
the story of which they form a part. 
When Eisenstein (The General Line), 
Dreyer (Day of Wrath) and Pasolini 
(Accatone) turn this technique upon ma- 
terial of less than the greatest epic sta 
ure, the results are bathetic, as if shots 
of grasses waving back and forth could 
hold any possible interest apart from the 
power of their roots to gather and split 
the earth. It is a lesson that, in equal and 
opposite ways, Hollywood (chariots at a 
mile a minute, outsized arks) and An- 
tonioni (snailpaced Ferraris and—ed 
Desert—mystic scows) have failed to 
learn. 

‘The post-War Italian films were just be- 
ginning to be widely shown when I was 
undergraduate and they were even 
more foreign to me than the grab bag of 
classics I had thrust my fist into. This 
was not so much a matter of technique 
ncs flying over nonactors, imperfec- 
in sunlight) as of subject: For these 
films were always about—not poverty; 
that was simply a given, not subject to 
scrutiny—labor, and 1 was a student who 
had worked a total of three hours in a 


tio! 


neighborhood Orange Julius stand. De 
Sica, of course, ас interpreter 
of livelihood, almost always going at it 
indirectly—what it meant to be out of 
work (Miracle in Milan) or about to 
lose it (Bicycle ThieJ) or to be retired 


veying it in 
st 


ets, against a wall, with the anonymous 
scurrying of those seized with employ- 
ment. The history of Italian cinema 
since has been the further development 
of his impulse. Visconti's Rocco and His 
Brothers, in which a family moves north 
seeking work, provides a bridge to the 
best contemporary directors—Olmi, Ger- 
mi, Monicelli—whose most successful 
films have been closely concerned, again, 
with the nature of work. Even Fellin: 
two best movies—4 Vitelloni and 8y;5— 
are about the relationship of experience 
and labor, in the one case an essentially 
al study of ordinary men with 
ig to do; in the other, an. internal 
investigation of an artist unable to work. 
For me, the best films of all were the 
French movies of the Thirties, from 
René Clair’s charming Sous les Toits de 
Paris (one scene of which bridges per- 
fectly, though in reverse, the transition 
from silent film to sound: The characters 
are all gathered in a bar, disputing in 
those early self-conscious voices always 
on the brink of song, when the camera 
ls back and farther back, behind the 
ty glass window, and suddenly every- 
ict: there are only the dim 


“Oh, we don't believe in witches anymore. . . . 
This is just for kicks!” 


characters and their gestures and shrugs, 
«hibits in а museum of the cinema) 
and 4 Nous la Liberté (in which every- 
one does start singing) of 1929 and 
1931, through Vigo's Zéro de Conduite 
and L’Atalante of 1933 and 1934, to the 
two masterpieces of Renoir that close out 
the decade—and a larger epoch as well— 
La Grande Illusion (1938) and La Règle 
du Jeu (1939). The latter film, the finest 
ever made, contains the most subtle per- 
formance 1 have seen, that of Marcel 
Dalio as the wealthy Jew who has invi 
ed a good part of the French aristocracy 
to his chateau. At one point. he gathers 
them all—the wife he is losing, the man 
who is stealing her away, the dukes and 
counts who despise him even as they 
hunt his woods for rabbits and wolf his 
food—for an evening's entertainment. 
"They sit in a semicircle of darkn 
he unveils his surprise, his treasure, his 
happiness, the largest of the music boxes 
he is always collecting, winding up and 
letting tinkle, ignored, behind glass cases. 
It is a complicated affair, full of little 
men who beat the drum and blow the 
horn on cue; and as he sets it in motion, 
the camera moves in ou him, so that we 
see only his face on the same level as his 
toy, which now whirs and grinds and— 
poom! poom!, tsang, tsang, isang, tata! 
da-to! —makes ch sic, a mockery 
of the usual chimes, The juxtaposition of 
this gearbox—rigid, dumb,  inartistic, 
dead, finally, despite its gross imitation of 
the gestures and sounds of life—and the 
smiling Jew, with 
play of life, the glistening of the eye, the 
white handkerchief dabbing at his lips, 
his finger crooked into his collar, resem- 


bles Chaplin's struggle of human and 
nonhuman forces, except that the con- 


flict is made inexpressibly poignant here 
by our own sense of the man's desperate 
need of the machines success and 
his growing realization—indicated by a 
widening smile—of its utter ше. We 
sit disguised as noblemen, lost in the 
dark. 

The films I have been discussing were 
shown on university property—fitting 
enough, considering the college's role as 
guardian and interpreter of the past, and 
my own attempts to tell a Sassetta from a 
mabue. But there another theater 
in town, the Lincoli a 
its rafters exposed; and in the intervals 
between And God Created. Woman, we 
saw the best that the world was currently 
doing in film. It is hard to express what 
that meant to us. First, not only did we 
spend most of our time in the study of 
past but even contemporary art 
scemed dominated by old men from an- 
other age: Stravinsky, Picasso, Nabokov, 
Wright. Suddenly, there were 
a dozen men, some hardly older than we, 
who were—I will not sty, “speaking to 
the young,” that is an absurd idea—who 
were fixing a mutual experience, pinning 
down a mutual world, distilling a shared 


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183 


н 
o 
m 
» 
= 
ч 
А 


“Just think—two hours ago I was only а wrong number.” 


thought, expanding, expounding a com- 
mon consciousness. Second, there was the 
incredible quality of the work being 
done. It remains truc that with the sin- 
gle exception of Stanley Kubrick, Holly- 
wood had ceased to be interesting. But 
on a world-wide scale, the years 1056— 
1962 are the richest in the history of film. 
Here are the third-stringers, jus those 
directors who, relatively new, established 
their reputations in America during this 
period, and just those who happened to 
please me: Kubrick, of course; Lindsay 
Anderson (This Sporting Life), Amo- 
nioni, Cacoyannis (Electra), Mizoguchi 
(Ugetsu), Olmi (Il Posto), Richardson 
(The Loneliness of the Long Distance 
Runner, The Entertainer), Visconti (Roc- 
co and His Brothers), Wajda (Ashes and 
Diamonds). Doing slightly less than the 
greatest work, and doing it consistently, 
were Francois Truffaut and Satyajit Ray. 
е all, of course, stood Bergman, Fel- 
nd Kurosawa, who, in movie after 
determined the shape of our 
ings. 

ps I can make dear what the 
shaping of imagination means to me by 
referring to the last scene in the single 
best film of these three men. In. Kurosa- 
wa, it is an old man sitting in a park, the 
snow coming down, swinging back and 
forth. In Bergman, it is another old man, 
asleep, bursting into either dream or 
death. (Or if, as І some 
Through a Glass Darkly is a greater 
achievement than Wild Strawberries, it is 
a gray helicopter rising in a gray sky, 
followed by a young boy saying, "Father 
spoke to me!") And in Fellini, it is an 
artist, clearly the director nsclf, who 
stands in the circus ring of his past. 
What the scenes have in common is that 
they each represent the resolution of the 
individual's struggle to reach a buried 
aspect of himself, to break through to 
that part of himself that crouches behind 
the barrier of repression, Each, then, is 
a scene of liberation. The old men of 
Ikiru and Wild Strawberries have be- 
come encrusted by the municipal and 
academic bureaucracies in which they 
personalities are such а maze 


movie, 


rubber stamps that when another person 
or a feeling eventually gets through, they 
simply split like ripe fruit and die. Each 


contact the world, to reach and hold 
amother in reality; hence, the repressed 
unconscious, the love at last, that floods 
them—and breaks them—rushes into the 
outside world as well and takes shape 
before our eyes in the form of Japanese 
snow and Scandinavian sunlight, pour- 
ing down, covering all, merging death 
and dream. Similarly, when Guido, in 85, 
is finally able to relate to the buried figures 
of his рам, to accept them into his 
consciousness, they dance so wildly in 
him that they, too, materialize before our 


eyes and circle about, obedient to the 
circusmaster. My final point about these 
scenes is that they arc the natural com- 
plement of what I saw projected on the 
whorchouse wall. In Tijuana, the raw 
material of my own unconscious shot out. 
on the thin pencil of light. Ordinarily, 
there is а chasm between such images 
and what life offers us by way of ful- 
fillment. But in this rare case, as I have 
said, reality and dream, image and object. 
dovetailed; and as the shadows played on 
one side of the wall, their substance 
beckoned on the other. This is what 
happens to Guido and the two old men 
as their inner lives flow to the world 
outside them. And, more important, be- 
cause the films of which they form the 
core are perfect works of art, because, as 
it were, they supply all the reality the 
Mexican movie leaves out, the whole arc 
of significant and ordered experience, it 
is what happens to us, the audience, too. 
That is the nature of catharsis; and the 
only acceptable, because solely satisfying 
aesthetic experience is that which offers 
us—either in palpable form, What kind 


of job you like? I do any job on you, or 


in the whole shaping of the 
—such relief. 

Tt has been all downhill from there. I 
no longer measure time by the price of 
admission but by my steady progress 
from the back of the theater 10 a myopic 
position in the first ten rows and by the 
obvious fact that all too often, I am the 
oldest person in the Bleeker Street Cine- 
ma line. But the medium is aging 
егу art imposes its own rate of decay: 
Dramatists, artists, architects tend to im- 
prove as they get older and every com- 
posers best symphony is his ninth. But 
there are no Stravinskys and Picassos 
cinema. Every great director ends either 
in silence, like Keaton, Griffith and. 
Chaplin (4 Countess from Hong Kong 
docs not exist), or in travesty. Hence, 
René Clair makes films like J Married a 
Witch and The Ghost Goes West; De 
Sica, the realist, turns to Huff (Marriage 
Italian Style); Welles folds faster th a 
Young American Novelist: Ford, Huston, 
Hawks, Hitchcock parody themselves; 
and, saddest case of all, Renoir turns out. 
rubbish like French Cancan, in which 
Jean Gabin can only sit with his cane, 
beetred with embarrassment. In the 
movies, as in lyric poetry, the artist tends 
to burn out fairly early; there has not 
been, there will not be, a Bacchae, an 
Oedipus at Colonus, the last masterpiece 
making radiant the life and work that 
have gone before. 

The process has already affected the 
work of the men who meant the most to 
me such a short time ago. Only Kubrick 
(Dr. Strangelove, 2001), Anderson (If) 
and Ray (The Music Room, Mahana- 
gar), working slowly, have managed to 
escape and even 
been destroyed. His talent lay in hi 
ability to combine and balance contrary. 


gination 


improve. Truffaut has 


even selfcontradiciory emotions and 
forms. In Shoot the Piano Player, for 
example, a character for whom we care 
is about to be shot by someone who, an 
instant before he pulls the trigger, twirls 
the gun ludicrously, making us laugh, 
then suck in our breath as his victim 
slides, beautifully wounded, down a geo- 
metric slope of snow. Or, from the same 
film, a young man arrives at an audition 
as a young woman, clutching her hapless 
violin, departs. We follow her through 
architectural courtyards, glittering glass, 
Mounting arpeggios, a world that takes 
into account her failure even as it wid- 
ens and spins, giddy at her competitor's 
success. These are such delicate, tempo- 
Tal achievements that, in any case, they 
could not survive two or three films, and 
the trouble І spotted at the end of the 
otherwise admirable Jules and Jim—in 
which we are forced to feel and told 
what to think through the superimposi 
tion of extrancous images (book burn- 
ings and the crematory in which Jeanne 
Moreau flames like a Polish Jew)—has 
turned into the simple-mindedness of 
Soft Skin, Farenheit 451 and Stolen 
Kisses. Fellini's Juliet of the Spirits was 
an attempt to remake 8%% but with a 
woman replacing a man, supernatural 
froufrou the strategies of а cornered 
psyche and boredom the struggle to do 
meaningful work; that Satyricon is at 
one and the same time completely fasci- 
nating and utterly boring is a sure sign 
that it has been captured by the very 
decadence it wished to expose. Kurosawa 
seems in the grip of self-imposed formu 
Jas. Bergman withdraws. What are we to 
of this? The process of external cor- 
ruption (usually called “Hollywood") that 
is continually being blamed for the de- 
mise of someone like Eisenstein or Clair 
is only a trivial manifestation of what 
may be meral rule of decay. We're 
told the universe is speeding up and stars 
are always slipping out of sight; it may 
well be that the entire life cycle of the 
medium is similarly impelled toward 
oblivion, a CinemaScopic dinosaur a mere 
half century after its first rapid blinking 
at the light. 

But the real reason the contemporary 
c na is in danger is that suffers 
from an all-pervasive slackness; and art, 
as my friend the Pumpkin would say, 
cannot exist without tension: the recal- 
citrance of form, the stubborn integu- 
ment between conscious and unconscious 
experience, and that seemingly unbridge- 
able gap between the individual 


imagination, Any random thought will 
do. The mind of the director is no 
longer required to leave its refuge, to 
journey out—likc a primitive's soul in 
sleep or like the hazarding of the world 
by Bergman's, Kurosawa's, Fellini's for- 
mer herocs—into an essentially hostile 
and disorderly reality, Tt is just that 


185 


PLAYBOY 


186 


journey and that struggle, in which the 
passion of the protagonist engages and 
eventually dissolves the surrounding cir- 
cumstance—Dumbo's mother rearing up 
in a world of flapping canvas and top- 
pling tents; the girl in the steam bath 
suddenly emerging from a chamber of 
ing mist; history breaking up against 
the planks of Eisenstein's bridges—that 
informs virtually all the films I have been 
discussing. 

Given a sensibility that finds reali 
ty as it stands acceptable, the tension 
between artist and world is gone and 
paradise cannot be regained, because the 
director, busy celebrating. does not know 
it has been lost. All films become one 


swir 


screen. is filled with waitresses and 


dedaring—without ей 


ihe 
schoolgirls 
or comment—their philosophies of lif 
There are only two possible attitudes 


toward the abdication of imagination 
represented by what the Maysles call 
Direct Cinema. The first they themselves 
Шимашей when, at a screening of thi 
new film, Salesman, they handed out 
quotation from Francis Bacon to the 
effect that the highest calling of a man is 
10 look closely at reality and report back 
accurately, without mitigation, what he 
sees. The second position was expressed. 
by my uncle, the screenw when he 
got into a cab on Central Park West and 
asked for Kennedy Airport, As the taxi 
started crosstown, the driver leaned back 
and said. "You know, life is a funny 
thing. 

“East Side terminal, please,” my unde 
said, and the conversation was closed. 

Direct Cinema is only a small step 
away from the Mod films—that endless 
parade of Morgans and Petulias and 
Joannas, with their drooling dedication 
to the surfaces of things, the shine on 
саг or the cut of the clothes and their. 
many lessons on the subject of cool— 
that draw the longest lines. What is 
contemptible about such films is that 
they pretend to criticize what, in fact, 
they celebrate or, rather, advertise, hang- 
ing with open lenses upon the texture 
and appliances of a life style whose con- 
tent is never open to question, In fact, 
these films do not know what to think 
about their subject; their moral horizon 
is so completely flattened that becoming 
pregnant is no more serious than having 
a Hat tire (Breathless); coming across a 
dead body in a photographic negativ 
less important than а choice of shirt and 
пе. FP have no doubt that if Francis 
Bacon were alive, he would be а still 
photographer; and the reason Blow-Up 
is a landmark in the evolution of the 
Mod sensibility is that it documents the 
precise moment at which the values of 
the snapshot—whatever is is right, if 
taken at the proper angle—pre-empted 
those of the film. 

We have reached a point where every- 


one—critic, audience, film maker—is pos- 
sessed by this sensibility. Z, for example, 
won the New York Film Critics’ Award, 
an Oscar for best foreign film of the 
year and immense popular success. When 
such matters as the looseness of plot 
(where does the man who is beaten on 
the truck, and who could explode the 
whole story, d the ludicrou: 


dors to knock witnesses on the 


and shallowness of c 


invariably, as if this settled the i 
good, "Well, it really happened 
difference between Z and Pontecorvo's 
superb The Baule of Algiers is precisely 
that beween a sensibility satisfied with 
what really happened and an imagina- 
tion capable of maintaining the strange, 
melancholy impartiality of history. 

It remained for an essentially frivolous 
man such as Godard to take the random- 
ness of cinéma vérité and the flattened 
moral perspective of the Mod movie and 
combine them in the shopworks of 
mind convinced that whatever happens 
to come to it is interesting. Т think tha 
in many ways, Weekend is the worst film 
I have scen, though it is nuc I saw only 
ten minutes of Crazylegs, All American. 


There is one scene in Weckend—easily 
the longest in the film-—in which the 
amera moves slowly up а long line of 
cars stalled in гас jam. Every 


now and then, we go by an accident, a 
burned-out chassis, à stunned family at 
the side of the road; and this, we have 
been told, is a metaphor for the human 
condition comparable with Dante's Jn- 
ето, It must be said at once that there 
is all the difference in the world between 
a character's and a camera's shrugging off 
the violence of life, and Godard is not 
able to make that distinction—because, 
in an almost psychopathic sense, he is 
incapable of maintaining a point of view 
separate fiom his айо, of taking апу 
stance apart from the raw sense material 
that strikes his chatoyant lens. Hence, it 
is he, not the poor humans whose condi 
tion his film supposedly portrays, who is 
casual in the face of death. Moreover, 
the director has evidently told hi 

in 


to improvise some business 
stalled automobiles; and, 
dollies down the line of cars we ste 
people picnicking, arguing, throwing a 
red ball from sun roof 1o sun roof (a 


particularly witty touch), bleeding to 
death on the soft shoulder. Again, Go- 
dard treats each act as if it had the same 


value and daim 
which. in 


upon our attention, 
aesthetic terms, means the ut- 
ter an on of irony, since character, 
camera and audience are all reduced to 
the same level of awareness and feeling 
Compare the total alfectlessness of 
such a scene with the way Truffaut once 
hurled us from hilarity to horror or with 
another accident scene: In Clouzot 
Wages of Fear, two trucks loaded with 


nitroglycerin are driven over an extraor- 
dinarily dangerous route—a half mile 
apart, for safety's sake—toward an oil-rig 
fire that is burning ош of control. The 
entire drama resides in the trucks’ stru; 
gle for litle more life; and, despite 
cliffs and collapsing bridges, oily swamps 
and our own conviction that sooner or 
later, one or both must explode, they 
manage to keep moving. Then, in a 
ent of relative calm, one of the 
drivers relaxes by rolling a cigarette. 
Suddenly. the grains of tobacco disap- 
pear from the square of paper and, even 
before we realize we have scen a flash of 
light, and long before we hear the explo- 
sion, we know the other truck has blown. 
The director's imagination has permeated 
every aspect of the situation so thor- 
oughly that reality is transformed. bend- 
ing like light to the pull of a moral 
dimension: A truck lare enough to 
crush a man (which it does in the course 
of the film) is represented fully by a few 
of tobacco hardly heavier than aii 
and when we arrive at the spot. half a 
mile distant, there is nothing to be seen. 
But in the work of Godard. the screen is 
duttered with random collisions, mole- 
cules banging together, miscellancous, 
mindless, idiotic. The quick bright move- 
ments of the cinema are at last overcome 
by a vast entropy; the last energy seeps 
from the world. 

One would think the place to get it 
indeed, the place to repair from 
ny decadent art—would be the under- 
ground. The name itself implies a jo 
ney to the inte of things, to vital 
sources of energy, to hell, or the uncon- 
scious, the freshets of the 
The situation at present is simple, There 
is no underground. How could there be, 
when all barriers are down, when the 
very existence of repression—and, hence, 
the concept of the unconscious itself- 
has been called into doubt? 

Warhol is to the undergrou 
Godard is to the New York 
His talent is Jess but his ego quite 
large. Having shot twice as much film as 
he could use for The Chelsea Girls, and 
not being able to bear the exci 
single fra that he had taken, he sim 
ply divided the footage in half and 
showed both parts simultaneously, call- 
ing the experience alearory art. The 
moral affectlessness of Godard is matched 
by the sexual affectlessness of Warhol 
and the underground as a whole, since, 
after all, the idea of a desire that h 
gone unfulfilled, the notion of the forbid- 
den, the concept that lies behind the 
word no is preposterous to it. The best 
example of this mockery of those of us 
who live outside Eden is the openi 
sequence of a famous Stan Brakhage tı 
ogy, Vein, "Ehe first shot zooms us quick. 
ly into an open vagina, then backs out 
the frame of spread legs, then zooms in 
again, then out, then in, but with 
ever-faster thrust, as if the camera were 


va 


n of a 


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PLAYBOY 


183 


tumescent, tipped with our bulging eyes. 
OF course, we're going wild in the audi 
ence, until, subliminally at first, we make 
out the odd detail of sheet, straps and 
swollen belly. Obviously, Brakhage is not 
equating childbirth and intercourse in 
order to eroticize the former but to anes- 
therize the emotions that accompany the 
latter. We are left shamed in our seats, a 
whole system of values. along with that 
integument between conscious and u 
conscious experience ruptured, discurd- 
ed, lying at our feet, candy wrappers, 
popcorn bags. 

The Duck still goes to movies, but 


less and less for the film that is show- 
ing and more and more—as in the days 
when we sneaked in for the obscure 


sense of viciory—just to be sitting there, 
my knees up on the back of the seat in 
т of me, my neck on the rim of my 
own, the whole back of my head pleas- 
tly going numb. I have been thinking 
about those scenes in which Chaplin and 
ton and Marcel Dalio dung to their 
lives by the thread of what was self 
evidently a ridiculous art. I remember sit- 
g onc afternoon in the nearly deserted 
Strand theater in Oxford. It was perhaps 
the third time I had seen Paths of Glory 
and I was dumfounded to find myself 
weeping uncontrollably at the final, fa- 
miliar scene: A German girl, a prisoner, 
is brought before a crowd of French 
sold d forced to sing. She can bare- 
ly perform, the soldiers curse and jeer; 
as she continues, and persists, 
dinging to her life on a voice that is 
largely out of tune, the room grows 
and the hostile world, like a charmed 
bear, relents. 

I believe I understand. These scenes, 


"s 


m 


and the struggle they depict, are really 
plays within plays, or films within films, 
a single theater folded within hundreds 
of others; the Village, the Bruin, the 
Bay, the Elmira, the Blecker, the Crown, 
the Cameo in New York, where I was so 
frightened by the men who had taken 
ov 
could not urina 
son, Tennessee, that we integrated in the 
summer of 1964 and where the manager 
Whispered to us as we went out, so no 
onc else could hear, “You 
back"; the theater in Israel where the 
screen became an acrostic of quadrupc- 
dal subtiles and where one's neck was 
np sunflower seeds; 
the auditorium at University High where 
1 saw Viva Zapala іп a crowd of Mex 
cans; and the hole-in-the-wall іп Verona 
that played The Great Diclalor to gig- 
gling Italian men; the anonymous thea- 
ter where a young girl screamed and 
fainted in the middle of The Thing; the 
Lincoln; and, of late, the New Yorker, 
around the corner at 89th and Broad- 
way, where I go in midafternoon, when 
the house is empty and the popcorn 
machine unfilled, and where I occasional- 
ly see a film like Breson's Balthazar or 
Murnau's Sunrise, the first about a don- 
key, the second about the mystery of 
married love—animals again, folk tales, 
fairy stories—and I return to my begin- 
ning. These theaters are the arenas of 
our lives, where, in darkness, surrounded. 
by innumerable souls, crooked eclipses 
‘gainst our glory fight, and we ding Гог 
life to the flutter in а ghost-pale beam of 


light. 
8 


soon covered with 


“Remember, son, it’s not whether they win or 
lose. It’s the point spread.” 


transport revolution 


(continued from page 114) 
to their original spacing. A number of 
idustries are eager to get in on the find, 
and one day soon, you may be guaran- 
teed a dent-free саг. 

Accidents, as well as dents, should be 
on the wane in another 20 years, even on 
the hundreds of thousands of miles of 
nonautomated readways that will contin- 
ue to line the country until the end of 
the century. Systems such as Ford's Auto- 
matic Headway Control will be avail 
as optional equipment by the mi 


by 1980, taking much of the stain and 


danger out of driving. The biggest sell- 


ing point of automatic headway control 
is that it's a noncooperative system, 
which me that one car has all the 


parts necessary 10 mitke the concept work 
for its owner. 

As currently designed, automatic head- 
way control leaves only the steering to 
the driver. Under-the-hood. components, 
hidden behind decorative grille, 
clude ап infrared transmitter and receiv- 
cr, a small computer, standard brake, 
па throttle wired for elecuictl contol. 
When a vehicle equipped with automatic 
headway control 
from behind, 
shoots out to the lead cay and rebounds 
to the receiver, which then calculates the 
di п the two cars, It contin- 
uously transmits this data to the comput- 
er, which calculates the speed of the first 
vehicle to the second. If the 
vehicle can safely accelerate, the comput 
er activates the throttle and speed 
creases until the car is safely past. Out of 
traffic, speed will be maintained automat- 
Hy as close to а preset maximum (usu- 
ally the speed limit) as possible. An 
override will permit the dri to take 
full control at any time. The system will 
weigh about 20 pounds in final form and 
will cost between $200 a 300. 

If driving is going to be considerably 
r in years to come, so is finding 
one's way around. The Bureau of Public 
Roads wants to put small computers at 
1,000,000 major intersections all around 
the country. Each of these computers 
will cont all the information needed. 
ch any of the 3,999,999 other in- 
A driver embarking on a 
ll have only to dial his desti- 
dashboard console. Signals 
will be picked up at the first 
comput vcr he comes to and the 
computer will scan its memory and de 
termine whether the vehicle is going in 
right direction. If not, this automat- 
ed backseat driver will send signals to 
the car that will print. out instructions 
on a small dash-mounted screen. The 
bureau will soon install computers at 100 
intersections in the Washington, D. C., 


relative 


casi 


vacation м 
nation on 
from his 


area, and the concept will be tested with 
some 50 instrumented cars over the next 
Cost for 

tem (including on-bc 
100,000,000 cars, at $ 
ed at a surprisingly low 19 billion dollars. 
edible 


two years, the nationwide sys- 


та equipment for 
30 cach) is estimat- 


Is it possible that all these ini 
will be 
ly, pollutive internal-combustion engi 
Yes. The ice. is bound to be around in 
some form for at least the next 30 years 
But its presence will be somewhat dimin 
ished by the lare Eighties, thanks to 
1utomated guideways and the advent of 
the i,ce-cleetric hybrid. 

While Detroit can certainly be count 
cd on to resist conversion to albelectric 
propulsion, it seems likely that an i.ce- 
electric line of cars will be constructed for 
use in and around large cities. Hybrids 
combine an electric motor with a gen- 
erator powered by а small internal- 
combustion engine, Ordinary ices emit 
pollutants when they accelerate and de- 
celerate, but hybrids will operate at a 
constant speed, avoiding this problem. 
(Energy not being used to accelerate the 
flywheel, from which the vehicles drive 
motors. draw will be used for 
recharging the energy packages) Also, 
it’s possible that hybrids will operate. 
electric power while 
downtown and on internal combustion 
while on the open road 


advances lavished on the low- 


power 


exdusively on 


To power personal vehicles, however, 
Dr. Robert U. Ayres, a physicist and 
prominent transportation expert, favors 
the steam “It is our conclusioi 


gine 


he noted in a recent report for the 


Hudson Institute and the Ford Founda 


tion, “that ste: now the 


nds superior 
ng Econ 


simplicity, intrinsic toreque-speed 


alternative on grounds of oper 


omy 
characteristics (which make a transmission 
superfluous) and. the use of lower-octane 
nonleaded petroleum derivatives such as 
diesel oil, jet fuel or kerosene. External- 
combustion engines are also far superior 
10 internal-combustion engines in terms 
of producing fewer noxious emissions." 
Although a superior steam-powered car 
could be designed and put into mass pro- 
duction within three to five years, the 
two problems yet to be overcome, says 
Dı. Ayres, are lack of capital and the 
public's low view of the steamear, dating 
from the days of “the noisy, stinking and 
inconvenient Stanley Steamers.” 

Beyond electric, hybrid and steamcars. 
there is another type of conveyance that 
has so far been discussed only in terms of 
the tracked version: the air-cushion vehi- 
Currently, the most advanced air 
cushion yehicle in operation is Br 
SRN, а 178ton hovercraft that can hit 
70 mph in calm seas. Built by British 
Hovercraft Corporation, it carries 600 
passengers (or 30 cars and 230 passen- 


cle. 


gers) from. Dover to Boulogne over the 
English Channel in 35 minutes. (Con 
ventional ships make the wip in 90 min 
utes.) Even in tenfoot waves, the SRN-1 
whose air cushion is contained 
rubber skims along at 
53 mph. gently cosseting even the queasi 


a seven- 
foot masiskirt, 
The craft has two immense 
rudders that stick up like the tail c 
Boeing 747 and four 19-foot propellers 
driven by 3400-hp Rolls-Royce 
Pwelvefoot lift fans gulp in the 
supports the vehicle, Since 1968. hov- 
ereraft such as the SRN-4 have carried 
more than 700.000 fare-paying passengers. 
They are currently being manufactured 
in ten countries by nearly 50 companies. 

In America, the leader in air-cushion 
vehicle design, development and produc 
tion is Bell Aerospace of Buifalo, New 
York, Bell specializes in airborne am- 
phibians that are equally at home on 


est stomach 


ground, water, ice, snow, marsh and 
mud. Recently, the Army sent three 
of Bell's amphibians to Vietnam, where 


they buzz over mucky inland. waterways 
like giant water bugs—at speeds up to 70 
mph. They clear obstacles four feet high. 
bull through six-foot vegetation and can 
cross ditches 12 feet wide and 8 feet 
deep. These are armored versions of the 
commeicial vehicles Bell employed to 
whisk some 14,000 people across the 
bay between Oakland and San Francisco 


8-track Stereo. 
Take it. Or leave it. 


We've got tape players coming 
and going. From the village to the 
villa. From fireside to mountainside 

There's a portable that’s a triple 
player. On house current, batteries, 


or your car's cigarette lighter. 


Or handsome table models with 
wide-range speakers that wrap you 


up in sound. We've even given one 
an FM/AM and FM stereo radio to 
boot. 

Let's face it. You can get more 
mileage out of those 8-track car- 
tridges you bought for the car. 

You won't have to circle the block 
to finish the Unfinished Symphony. 


Or leave the Electric Chairs in 
the middle of their big hit. 
You can take it all with you. 


Justassoon New vibrations 
asyoupick fromanold master. 


itupatyour 
RGA 


nearest 
RCA dealer. 


For your nearest RCA dealer, call this special number toll free 800-243-6000. (In Conn., 800-942-0655) 


189 


PLAYBOY 


190 


airports and downtown San Francisco. 
‘The experiment was considered highly 
successful, presaging hover-shuttles for 
the Seventies in numerous on-he-water 
cities, such as New York and Boston 
Bell's most ambitious project is a co- 
lossal 4000-ton transoceanic hoverfreight- 
cr with a projected cruising speed of 100 
mph, more than triple that of most con- 
ventional freighters, The ship will be 
capable of crossing the Atlantic in less 
than two days. Cugo will be container- 
ized for rapid, mechanized movement 
and the ship itself will be highly auto- 
mated, requiring a small crew, The hov- 
erfreighter, а joint venture of Bell, the 
U. S. Navy and the Maritime Administra- 
tion, is still in the study stages aud. will 
probably not sec service before the late 


Seventies, By the Eighties, however, 
transportation experts believe large hov- 
creraft will be wed lor transporting 
freight and passengers over inland 
routes, as well. Hoverciaft. ambulances, 
buscs, del vans and. patrol vehicles 


ате all foreseen. "Hovercr 
ticularly useful in sparsely populated lo- 
cales" says Dr. Breuning. “Instead of 
building expensive highways, we can. just 
cut a aude swath through the country- 
side and let the vehicles run over a 
grassy surface and up and down avail 
able rivers. 

Sports and pleasure air-cushion vchi- 
cles are already in existence and, with 


[t will be par- 


further development and diminishing 
costs, can be expected to become more 
popular than snowmobiles, motorcycles 


and other lightweight vehicles. Тһе 
trimmest of the new sports models is 
Aero-Go's amphibious Terra Skipper. а 


fiberglass single-scater still in the experi- 
mental stage. The craft is nin 
and weighs about 180 pounds, and its 
ten-hp two-cycle engine achieves speeds 
up to 30 mph. Larger and more powerful, 
but still relatively compact, is Cushion- 
Flight Corporation's Airscat 240, priced. 
at 53495. This model, now in [ull produc- 
tion in Sunnymead. California, is also an 
amphibian of fiberglass construction, It 
swerches 14 feet, weighs 1000 pounds and 
seats two comfortably. Powered by a 
58-hp Volkswagen engine, it skims along 
at speeds up to 45 mph. It has been used 
with good results over water, snow, 
swamp and sand. 

Though man’s mobility will be dra- 
matically enhanced by all of these in- 
ventions, the innovation that may move 
him fastest and farthest will restrict him 
to his living room. Although hardly a 
jon system, "telefactor 
actile television—will permit man to 
nce the thrills of walking on the 
xploring the darkest chasms of 
the sca, floating in space and, for thosc 
h pioneer tastes, trekking across ra- 
dioactive wastes without ever donning a 


wi 


“What's the big deal??? She can only get one channel.” 


pressurized suit or one of lead armor. 
Telefactors, or teleoperators as they are 
sometimes known, are largely the brain 
child of aerospace engineers Edwin С. 
Johnsen, a scientist with the Atomic En- 
ergy Commission and an authority on 
the subject. says, "From the neck up. 
man is great. From the neck down, other 
machines can outperform him by a coun- 
try mile. It appears that a system that 
combines the best features of man with 
the best features of other machines will 
add to the success of man as a machine.” 
Such man-machine chimeras he calls tele- 
operators. 

Quite simply, a teleoperator is а me- 
chanical double to man that 
through motions that can be experi 
enced by its human twin. The only 
difference is that the teleoperator—a type 
of remote-control robot—actually goes 
through those motions while the human 
operator functions in a safe, comfortable 
environment. Explaining the concept at 
а recent science seminar on human au 
mentation, Johnsen said, "Assume tha 
we have a human operator controlling 
teleoperator by using an exoskeleton 
(which the human operator wears) to 
control the arms and torso of the tele 
operator and а head-control sy: 
control the ТУ camera on the teleopera- 


goes 


em to 


tor. Assume also that the man receives 
fecdback information through the 
skeleton. indicating the relative position 
of the arms and the forces experienced 
by the arms and fingers of the teleopera- 
tor. Assume also that microminiaturized 
air-jet transducers under the finger tips 
provide him with tactile information. He 
would also receive visual, audio and mo- 
tion feedback.” There would be only one 
human operator actually controlling the 
teleoperator; but, Johnsen noted, there 
could be any number of duplicate exo- 
eletons picking up the same visual, au- 
dio and tactile feedback information, so 
that “scientists, engineers and, in fact, 
the average person could vicariously par 
ticipate in scientific exploration and 
experimentation. 

"This system will not only "transport" 
hundreds of thousands of earthlings to 
the moon visually but will also provide 
them with the feel of walking. digging 
and poking around on the lunar surfac 
‘The technology for such systems is al 
ready in the works, and Johnsen and 
others are confident that "feely TV,” as 
they call it, will be available someti 
‘ound the turn of the century. John: 
considers most science fiction obsolete—; 
logical enough position to take, for he 
and men like him are rapidly bringing 
our most imaginative transportation fai 
tasies ever closer to reality. 


ХОМС OF ХОХАМ „аон page 160) 


my name, but they could not do it. 
all they could do wax moan, like thi: 
mmmmmmmm, mmmmmmmmm, mmm- 
mmmmmzm. . . . i woke up in the 
middle of the night, my whole body wet. 
with xweat, my eyex wet with tearx, my 
mouth dry ax xa 


ang to him. xome of the 
xongx i learned from the tapex, otherx 
i make up myself. thix ix one i call the 
xong of xuxan— 

sing а xong of xuxan, xing it long 
and loud, who rocked xuxiex cradle, who 
will weave her xhroud, when her eyex 
were opened, not a хош w xne 
thix a funny world to xet before a 
queen. 


be otherx 
where, i xuppoxe, but i dont 
xometimex i мава on the beach and 
look out ov thinking may 
be, xomewhere on the other xide of all 
that water, d one. but 
i feel in my heart that i am the only 
onc. 

i guexx i will never know what hap- 
pened. i have read xo many bookx. 
tencd to tapex for ho 
the bookx and tape 
fear. everyone must have been afraid all 
the time. and xome of the bookx talk 
abou 


me 
hink xo. 


xome- 


may 


v be xomi 


the wa 


y the world might come to 


an 

war, xome of them thought. a war 
fought with germx and gax and atoms. 
maybe that ix what happened. 

or maybe it wax becauxe the world 
bec: xewer, the air xo foul i 
tered the lungs, the riverx and xtreamx 
g with filth, the fish dying by 
the billionx, the graxx and treex refux- 
ing to grow, the whole world drowning 
n itx own poixonx. 
r maybe it wax nature taking her 
revenge on the pill, outwitting clever 
t hix own clever game, xo that 
children were not born anymore. 

i will never know. from time to 


blix- 


ne 


me, 


that maybe thix time it ix eve who 
firxt, and adam who will come later. but 
i have waited a very long time and he 
hax not come. i have wandered, looking 
for him, and have not found him. 


i think that god ix good, but once 
upon a time, very long ago, he played 
dice with the devil and loxt. the devil 
won our world and everything and 
everybody in it. іх world docx not be- 
long to god. maybe we are born in hell. 
maybe when we die we awaken in the 
1 world, the world created by god. 


then all the deadx in all the houxex are 
now in the real world, and xam ix there, 
too, and i am іп а d of dream, a 
nightmare, all alone. 
later 

keep remembering a woman i read 
about in the bookx. i cannot get her 
out of my mind. a man, renowned for 
wixdom and magnanimity, ordered her 
10 be tortured without mercy, and hix 
egecutioners worked upon her from 
dawn to evening, mangling and break- 
ng her body, until they were tired and 
could think of nothing more to do to 
her. the ne¢t day they burned her with 
platex of braxx heated red hot. for many 
dayx xhe wax crammed into a tiny cell 
five levelx underground in the airleyx 
dark, and locked into xtockx, and tor- 
mented in any х that ос. 
ed to her jailerx. they made her 
watch her young brother being tortured 
to death. then they ripped her flexh with 
a whip imbedded with iron barbx, and 
after that they roaxted her over a fire, 
and finally they let a wild bull gore her 
l xhe died. her name wax blandin 

the fine man who ordered all (іх 
done to her, mareux aurcliux, hax gone 
down in hixtory ax the bext of all the. 
philoxopher kingx. one of the bookx 
хаух he had. quote, a nature xweet, 
pure. xelfdenying and unaffected, un- 
quote. 

if that could be done by the bext of 
men, i tell myxelf, what might be done 


by ordinary men, to xay nothing of the 
worxt of men? 

when i th 
for adam. when i think of thix, i am 
glad i am alone, unloved, unable to be 
eve to adam, mother of a race. i even 
fear the coming of adam. f. 
hope for it, until i am tom apart. 

later 

i know what i have to do. i have to 
bring thix writing to an end, and leave 
it here for you, dear adam, where vou 
will find it, if you ever come, and read 
it, if you know how to read, and come to 
know why i did not wait for you. poor 
adam, you will be all alone, truly all 
alone, and live out your life until you 
are old and have a long white beard. 
i am very xorry for you. forgive me. but 
i have to do what i have made up my 
d to do, and i will tell you about it 
n my laxt poem... . 
i will walk north into a land of white, 
land cloud-clean amd хойт ax eider 
down, and i will make the xnow into a 
gown, a bridal drexx of dazzling virgin 
light, in which to meet my lover and my 
xpouxe. upon my head a coronet of ice, 
with flakex of falling xnow the wedding 
пісе. and he will carry me into hix 
houxe, into another life, another world. 
he will prepare a xnowdrilt for our bed. 
and xhow me where i am to lay my 
head, and lie bexide me, both together 
curled. hix kixx will be ax cold. 
knife, the night when death, my hux- 
band, makex me wile. 


a 


x any 


“My fellow 


Americans. . . . 


191 


PLAYBOY 


192 


Jewish Cookery соса from page 107) 


lights. As party fare, they became rich 
but not greasy, a marvel of the frying 
pan. and were always devoured in as- 
tronomical quantities 

Even the Jewish Sabbath, which in 
orthodox circles allows no cooking what- 
ever from Friday sundown to Saturday 
sundown, made a culinary feat out of 
necessity. It was the beef-and-bean casse- 
role called cholent. one of the most 
sumptuous buffet dishes in any culinar 
repertoire. It was assembled on Friday 
morning. taken before sundown to the 
baker's brick oven. where the fires were 
banked. the oven sealed with lime and 
the dish cooked by the slow residual heat 
all night long. It resembles the French 
cassoulet more closely than it does our 
New England baked beans. except that 
there are more versions of cholent than 
there are individual beans in the big 
pot itself. The very word has led rival 
etymologists to claim one language or 
the other for this magnificent dish of 
the wandering Jewish kitchen. In Italy, 
they say the word comes from the Italian 
caldo, meaning hot. while Frenchmen 
gue that the Old French word for hot 
was chauld; those with a German back 
ground argue that it’s derived from 
Schule Ende, or end of the synagogue 
services on Saturday, when the dish 
was enjoyed. Since not only cooking but 
even carrying an object on the 
streets during Sabbath was prohibited, 
orthodox Jews devised a delightful 
tongue-in-cheek stratagem for villagers 
returning the cholent from the bakery 
to the dinner table, A wire would be 
strung around the entire village, thus 
itualistic tems, one large 


was broken, the Jews 
lost no time in organizing themselves 
into teams that passed the cholent, fire- 
bucket style, from one hand to the next, 


until each hot dish reached its proper 
destinat yeness has always 
bcen one of the principal ingredients in 
cholent. Nowadays, it's cooked in а very 
slow oven for about six hours. It may bc 
prepared during a lazy long evening and 
ten the next day; it’s also a wonderful 
dish for celebrating a political victory 
or consoling the losers, for entertaining 
post-game football fans or for an aprè: 
theater buttet on a wintry night. 
atessen—specifically, Jew- 
n in the U.S.—is, in one 
glorious package, meat for the hungry, 
salt of the earth and fat of the land. Even 
the most demanding gastronome would 
concede that American kosher р 
corned brisket of beef has no peer 
any cuisine in the world, however 
haute—or low—it may be. In the same 
chy are warm, thinly sliced pastrami 
and both corned and smoked beef tongue. 
Almost as important as the meat 
itself is the Jewish sour rye bread 
without which all forms of deli seem to 
shrivel and die, German and Danish 
pumpernickel yy and moist and 
don't vary much from one baker to an 
other, but Jewish sour rye bread can be 
checkered in quality, and it pays to find 
a dependable source, At its best, it’s a 
ight loaf, large for its weight, with a fine 
grain but not cakelike. The crust must 
be deeply browned but not so thick or 
tough that it resists a sharp knife. At 
extemporancous deli parties, the usual 
available offerings of kosher dill pickles, 
sweet red peppers in vinegar and pick 
led green tomatoes provide ample g: 
nishes. But for a planned corned-beef 
convocition, the kraut and pepper rel- 
ishes below, requiring a modicum of 
cooking. will beautifully enhance any 
Lazy Susan. 


n. Inven 


€ h 


And then there's the Jewish brunch 
As in hosting a deli party. success is more 
a matter of shopping well than of cook: 
ing. Its shining star is the Israeli break 
fast, Travelers to Israel who expect to 
find a nation built on bagels and lox are 
in for a shock. The Israeli breakfast 
seems to have originated in the kibbul- 
zim, where carly-rising field workers, alter 
several hours’ toil, were in no mood 
for a dainty croissant and café au lait, 
"The sabra moming meal is а sumptuous 
spread of luscious native fruits, includ 
g the sweetest melon in the world, 
a wealth of hard, semi-hard and soft 
cheeses, smoked, salted and pickled fish, 
olives, tomatoes, cucumbers, green pep- 
pers, sour cream and yoghurt—all of 
which, to one's surprise, are merely an 
introduction to omelets or scrambled 
cggs toast, hard and soft rolls, hone 
m and coffee. The only matutinal feast 
that begins to rival it is the smorgasbord 
breakfast served in Scandinavia. Most 
of the good things can be bought 
in the shops where signs set forth the 


simple adjective arreviaxc. Again, the 
level of quality varies considerably. Usu- 
ally, the shops that feature super 


smoked salmon and whitefish will offer 
other consistently excellent brunch 
foods. A connoisseur or mavin who's 
been through the mill learns only by 
comparative noshing. When you buy 
noked sturgeon from several sources, 
you'll soon Је to detect the difference 
between a freshly smoked fish and one 
that has the faintly acrid, fishy taste of 
having languished in the refrigerator too 
long. When you buy black olives in oil, 
you'll recognize those that leave a mellow 
oliveoil aftertaste, with just enough 
bitterness to be satisfying, 

Many of the Israeli foods, such as 
avocidos, mangoes and dates, aren't a 
matter of nationalistic choice but simply 
the cultivated products of the good earth 
and the warm sun. But in Jerusalem, 
Middle Eastern dishes such as felafel are 
wolfed down by Jordanian and Jew, 
young and old, alike. These the 
small balls of mashed chick-peas, spiked 
with hot pepper 
to the flat Middle Eastern bread 
pita, along with salads and peppery 
sauces. For the American cocktail hour, 
they're a piquant innovation when served 
as a hot hors d'oeuvre. 

Lco Rosten, in The Joys of Yiddish, 
asks, “Who ever heard of a Jewish male 
cooking?” For once, the astute Mr. Ros- 
ten has missed the gi t. Perhaps 
the most illustrious man in the kitche 
of all times was Solomon. Dui 
three years of b. 


are 


cook’s apprentice in the royal household. 
So outstanding were his culinary talents 
that the king of Ammon soon made 
him head chef of the royal household. 
You know the rest of the story. The 
kings daughter fell in love with Solo- 
mon, undoubtedly due to his skill in the 
Kitchen (what else) and neither the 
kings arguments nor imposed exile in 
the desert could separate the couple. 
Herewith, worthy footnotes to Solomon's 
Song of Songs: 


POTATO CHEESE АТКЕЗ 
(Serves six) 

3 cups (about 2 Ihs.) potatoes 

1 medium-size onion, sliced 

3 egg yolks 


pepper 

S tablespoons matzoh meal 

3 tablespoons flour 

4 ozs. gruyère cheese, shredded 

2 egg whites, beater 

Salad oil 

Peel potatoes, slice and put through 
meat grinder, together with onion, using 
fine blade. (Potatoes may be grated by 
hand or in a blender, but the texture of 
the potato pancakes in both cases tends 
to be extremely soft) Measure ground 
potatoes, place in sieve or colander and 
let excess liquid flow off; do not squecze 
them dry. Mix potatoes with egg yolks, 
silt, pepper, mavoh meal, flour and 
cheese. Fold egg whites into mixture. If 
batter seems too thin, a small amount of 
matzoh meal may be added. Pour 2 ta: 
blespoons oil into a large skillet over a 
moderate flame or into an electric skillet 
370°. When oil is hot, drop 


preheated a 
batter by he 
ntl medium brown on both 
th fres 


ing tablespoons into fat 


applesauce. 


6 egg yolks, beaten 

1 teaspoon salt 

2 tablespoons sugar 

114 cups cold water 

114 cups matzoh meal 

6 egg whites 

Salad oil 

Mix egg yolks, salt, sugar, water and 
matzoh meal Let stand 15 hour. Beat 
ИЕ and fold into n 
s above, adding oil to pan 
necessary. 


DELI PARTIES 


Allow at least 1⁄ Ib. sliced meat per 
person, 6 ozs. for trenchermen. Meat may 
aclude corned beef, pastrami, tongue, 
spiced beef and salami in any ratio the 
host desires. Meat traditionally is served 
with cold potato salad or hot baked 
beans, allowing a minimum of 14 cup 


Now. 


Get behind an 
AFC Grenadier. 


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Now to complete a perfect day he's enjoying a 
mild-tasting A&C Grenadier. You get real flavor from 

the Grenadier because it has A&C's unique blend of fine 
imported and choice domestic tobaccos. And real flavor 
is the reason so many men are buying so many A&C's. 

So get behind an A&C Grenadier. Available in light or 
dark wrapper, it's shown full size on the left. Or uy а 
Panetela, a Tony or one of ten other A&C shapes and sizes. 


©; 


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k or box, you're ahead behind ap. Aa. 


193 


PLAYBOY 


194 


per person. Sour rye bread should be 
thin and freshly sliced. Cold beer should 
flow abundandy. A compartmented rel- 
ish or horsd'oeuvre tray may include 
pickles or pickled produas and mild 
mustard, as well as the relishes below, 
which may be served either warm or 
cold. 


SAUERKRAUT RELISH 
(Serves eight) 


1 Ib. sauerkraut, drained 
teaspoons caraway secds 
cups thinly sliced onions 

2 tablespoons salad oil 

4 teaspoons prepared mild mustard 

4 teaspoons sugar. 

Pound caraway seeds in mortar several 
minutes or until aroma is pronounced. 
Break sliced onions into strips and sauté 
in oil, stirring constantly, until onions 
e just limp, not brown. Add sauer- 
kraut, mustard, caraway seeds and sugar, 

irving well. Heat until warm. 


ne 


wá 


PEPPER RELISH 
(Semes eight) 
2 cups sweet red peppers in vinegar, 
drained (reserving juice) 
1 large cucumber 
2 cups thinly sliced onions 
2 tablespoons salad oil 
4 teaspoons sugar 
Cut peppers in half; remove stems and 
seeds and cut into thinnest 
slices. Peel cucumber; cut in half Jength 


possible 


wise and scrape out seeds, then cut iuto 
strips about the same size as the peppers. 
Break sliced onions into strips and sauté 
in oil, stirring constantly, until just limp, 
not brown. Add peppers, cucumber, sug- 
ar and 4 tablespoons pepper juice from 
the jar. Stir well; heat until warm, 


BLINIZES 
(Serves four) 


ied butter 


14 cup da 
5 eggs 

114 cups cold water 
Salt 

2 tablespoons sugar 
1 cup all-purpose flour 
12 oz: 


rmer cheese 


6 ozs. whipped cream cheese 

б tablespoons sour cream 

З tablespoons sugar 

2 teaspoons lemon juice 

To clarify butter, melt it very slowly, 
remove foam from top and pour off 
butter, discarding solids in bottom of 
pan. Pour eggs, water, 1 teaspoon salt, 2 
tablespoons sugar and flour into blender. 
Blend until smooth, then pour into 
bowl Heat a heavy skillet, 7 inches 
cross bottom, over a moderate flame. 
Brush skillet with butter, Pour just 
enough pancake batter (about 3 table- 
spoons) into skillet to coat bottom. 
Turn and tip skillet quickly, so that 
batter spreads evenly over bottom of 
pan. Sauté until pancake is light mottled 
brown on bottom; do not brown other 


“It seems we'll never be compatible, Roger. Now that I 
feel emancipated, you feel emasculated.” 


side. Continue in this manner, making 
pancakes until all the batter is used. M 
the two kinds of cheese, sou 
tablespoons sugar, lemon juice and 14 
teaspoon salt until well blended. Place 
about 3 tablespoons filling on the 
browned side of each pancake, Roll up 
pancakes, wicking in ends, to make 
blinues; chill them, covered w 
plastic wrap, 
time. Sauté blintzes in ckuified butter un- 
medium brown on both sides. Use two 
skillets, if necessary. Serve with sour 
cream and а jam such as blueberry, wild 
suawberr educ. Cinnamon sug 
ar, made by mixing Y4 cup superfine 
sugar with 1 teaspoon ground cinna- 
mon, may also be served. 


cream, 3 


or ba 


STUFFED CABBAGE 
(Serves four to six) 
12 large outside leaves of cabbage 
2 slices stale white bread 
1 1b. chopped beef 
1 egg, beaten 
Salt, pepper 
14 cup uncooked rice 
1 mediumsize onion, minced very fine 
1 small piece celery, minced very fine 
4 teaspoon very finely minced garlic 
spoon ground cu 
Tomatoes 

1 large onion, thinly sliced 

1 large carrot, thinly sliced 

2 tablespoons honey 

2 tablespoons sugar 

% cup lemon juice 

Bring a large pot of water to a rapid 
boil. Drop two or thrce leaves of cabbage 
at a time into the wat 
minutes or until they become pliable. 
Cut away thick sections of leaves, so that 
they may be rolled easily. Remove crust 
from bread; dip bread into cold water 
and squeeze gently to remove excess wa- 
ter. Preheat oven at 350°. In a mixing 
bowl, combine beet, e; spoon salt, 
14 teaspoon pepper, bread, rice, minced 
onion, celery, garlic and cumin. Remove 
1 large tomato Í an, mince fine and 
add to meat. Mix thoroughly until ingre- 
dients are well blended. Divide meat 
mixture among cabbage leaves; roll up 
leaves, folding in ends. Place stuffed cab- 
bage. scam side down. in a greased bak- 
nd carrot 
toes, mix 


boil a few 


Scatter sliced onion 


ng pan 
on top. Drain juice from 101 
with honey, sugar, lemon juice and y% 
teaspoon salt and pour over stuffed cab- 
bage. Chop tomatocs coarsely and add to 
pan. Cover pan with aluminum [oil and 
bake 144 hours; id bake 
ya hour longer 


remove foil 


FELAFEL 

(About four dozen hors d'oeuvres) 
y4 lb, chick-peas 
Salt, white pepper 


2 eggs, slightly beaten 
3 tablespoons melted shortening 
2 tablespoons bread crumbs 

1 small hot chili pepper 

2 tablespoons lemon juice 

1 tablespoon sugar 

Salad oil 


water. Add 1 teaspoon 
reduce flame and simmer 2 hours or 
тий very tender. Add water when neces- 
sary. to keep chick-peas covered during 
ig. Drain. Put through meat grind- 
ing fine blade. Add 1% teaspoon 
poon white pepper or more 
to taste, eggs. melted shortening. bread 
crumbs, pepper (use less if de- 
ed), lemon juice and sugar. Mix thor 
Chill Form into balls about 
a diameter. Heat 1 in. oil in 
electric skillet preheated at 870° and fr 
felafel until brown, Sprinkle with salt: 
c hot. Felafel may also be 
med into finger-shaped pieces about 
in. thick and fried as above. 


salt. Bring to а 


chili 


тус whi 


foi 
4 


GEFULLTE FISH 
(Serves six as main course or 
twelve as appetizers) 


134 to 2 Ibs. whitefish 
54 Ib. yellow pike 
2 slices stale white bread 
2 medium-size onions, sliced 
12 sprigs parsley 
24 peppercorns 
1 piece celery, sliced 
2 large carrots, peeled, cut into Vin. 
diagonal slices 
Salt 
1, teaspoon celery salt 
14 teaspoon white pepper 
2 teaspoons sugar 
2 teaspoons lemon juice 
ightly beaten 
V4 cup ice water 
Have fish dealer clean and fillet the 
fish. те head, backbone and skin, 
which should be saved. E: 
fish carefully ny bones that 
Remove crust from bread, dip 
into cold water and squecze gently to 
remove excess water. Put fish head, skin 
d bones into a large Dutch oyen ог 
8 ucepan fined with lid. Add 1 
onion, parsley, peppercorns, celery, car- 
rots, 15 teaspoon salt and 3 cups water. 
Bring to а boil; reduce flame and simmer 
20 minutes, Skim liquid. Put fish, bread 
and onion through meat grinder three 
times. using fine blade. Mix fish in an 
electric mixer with 1 teaspoon salt, celery 
salt, pepper, sugar and lemon juice. 
Slowly add eggs and ice water while 
mixing. Shape into flat or oblong ca 
each containing about 14 cup fish mi 
ture, Keep hands wet or use a spatula 


ind remove 


rema! 


єз, 


“Boy, that sure is a relief! I was planning to 
tell him the facts of life next week.” 


dipped into cold water while shaping 
mixture. Place fish in Dutch oven con- 
taining fish stock. Cover and simmer 
over very low flame 114 hours. Remove 
fish to a large shallow casserole. Strain 
stock remaining in Dutch oven and pour 
over geliillte fish. Place a slice of the 
cooked carrot on cach. piece. Chill well, 
keeping the casserole covered. Serve cold. 
with prepared horseradish mixed with 
beets. The strained fish stock will usually 
jell overnight. 


(Serves six to eight) 

3 Ibs. lean first cut brisket of fresh 
beef 

1 Ib. marrowfat beans 

2 tablespoons salad oil 

114 cups finely minced onions 

YÀ cup carrots, put through 
of grater 

2 cups finely minced fresh tomatoes 

1 cup finely minced green pepper 

1 tablespoon very finely minced garlic 

11 Ibs. white potatoes 

yj cup vinegar 

16 cup brown sugar 

Salt, pepper 

Soak beans overnight in cold w 


ge holes 


Drain and put half of them into а sauce- 
pan; cover with salted water and cook 
until tender—abont 114 hows. Add 


more water to pan, if necessary, to keep 
beans covered during cooking. Mash the 
cooked beans, together with their liquid 
а blender. Preheat oven at 250°. Cut 
meat into pieces about 1 in. square and 
ya in. thick. Sauté in oil in a large 
Dutch oven, stewpot or deep flameproot 
isserole until meat loses red color, Add. 
onions, carrots, tomatoes, green peppe 
and garlic and sauté about 10 minute 
stirring frequently, Cut potatoes about 
the same size as the meat and add them, 
along with mashed beans, whole beans, 
vinegar, brown sugar, | tablespoon salt 
and 14 teaspoon pepper, to pot. Add just 
enough water to barely cover ingredi- 
enis. Stir well; bring to а boil; cover and 
5 to 6 hours. Do not sti 
wr. Liquid in pot should barc- 
not boil. Correct seasoning. if 
cholent is removed Irom 
oven. Sweet potatoes may be used in 
place of white; 1 lb, dried apricots or 
prunes or a combi the two may 
bc added to the cholent if sweet ро! 
© used. A single whole piece of brisket 
is sometimes used and sliced just before 
serving. 

Any of the preceding recipes should 
firmly establish your reputation as Jewish 
cuisine mavin of the first order, So start. 
with the cooking already. 


195 


PLAYBOY 


THE UNMELANCHOLY DANES 


Gregers elsen. the young photog- 
rapher. said his friends had become 
interested in the group sensitivity сх- 
periments being conducted in the Unit- 
ed States. “But Im not interested in 
hard porno,” he said. “1 don't read 
it doesn't show how sex really is. We had 
read Bernard Gunther's Sense Relaxa- 
tion and we thought sight was too much 
the dominating sense. So we decided to 
wear opaque masks; we hoped to jump 
over barriers.” The floor of a room was 
were five 
st session. 


covered with mattresses. Ther 
girls and seven men in the fi 
ed w 


husband. 
No, Nielsen said. nd didn't 
object: he joined the second session. The 
expe 


ment seemed to rlicu- 


se no р 
al problems, he 


marital or psychole 
went on; one couple, whose marriage 
had been shaky, parted for a time but 
later made another uy together. 

The Den Der project app 
been fairly serious, although assuredly 
not solemn; and despite the fact that 
cover featur 
a naked man’s big feet, splayed legs 


rs to have 


s 
s а goofy floor-level view of 


genitals, it should not be classified as por- 
nography tenant whose 
bureau had de: по sid, how- 


fred) The D. 
jons that in the first session. everyone 
paired off. "T stayed with the first one I 
and didn't dare go out into the 
black empty space aga d one man. 


anish text men- 


"sa 


Another thought that “Whar we did 
with the masks was a bit dangerous. E wor- 


ried that we were trying tos 
T spoke with a married couple who had 
aken part. The girl was a lar 
psychology student in her late 20s, q 
beautiful and not at all eml 
she had a child, she said, a small son. She 
had liked the masks: “You are like à new- 
bom, your universe is as small as your 
arms can reach.” A kind of group warmth, 
or paired warmth. developed: but later, 
she said, "We put on our clothes and 
ме were strangers to one another 

Her husband. also a student, didn't 
think the experiment had been 
successful, although he likes group sex as 
а rule. There was а surprisingly паї 
quality to his reactions. The purpose of 
the experiment was to communicate, he 
id, "But we held a me er and 

found we could say more talking 
an fucking.” All of the men had trou- 
ble with erections, he said. perhaps be- 
cause of the cameras. “And it was very 
difficult to fuck people I didn't like." 
Not being able to see was bothersome, 
too, “I got a knee in my balls and an 
elbow in шу eye. It wasn’t sex. I gave 
up, took off my mask and just found a 


p too much” 


196 girl.” But the pictures, he said, told a 


(continued [rom page 156) 


very human story. He showed me а pho- 
to of a man and a girl coupling. The 
man was holding hands with another 
man. who was masturbating 

How did the husband feel when his 
wife made Iove to another man? "It's all 
right if it doesn't keep on too long and 
get serious," he answered, 

T asked the girl whether she had posed 
for hard porno (her husband had said 
that he sometimes photographed porno, 
for about S70 a session). She didu't 
answer for a moment, then smiled in an 
odd way and said, "No, it's too ugly.” I 
didn't believe her and 1 don't think she 
intended that I be convinced, Ах I left, 
she asked that 1 leave their names out of 
my article, E agreed but asked why, Well, 
her friends knew all 
said—she sometime 


bout Den Des, she 
oup sex with 
them—but her parents would be shocked, 
and there was no point 
in things to them 
Group sex is indeed, shocking to 
many older Danes. А week after Den 
Der appeared, one of the participants, а 
well-known athlete named Palle Nielsen, 
was fired from his teaching job at 
Jewish private grammar school. He com- 
plained that the firing was 
People afraid of the unknown, he 
Т don't like their ‘knowing better’ 
nd their lack of doubt about their own 
values. In three years, people will Laugh 
that a teacher would be fired be г 
naked pictures.” Niclsen is probably right. 
c al Danes may mot approve, 
for instance, of the 
families that are forming. but the 
no longer astonished to hear of group 
living. Among students, а girl who takes 
part in а рото filming session. may Бе 
considered а wille wild—like a U.S. coed 
of 20 years ago who was known to sleep 
with her boyfiend—but her behavior 
is not thought disgusting or whorish. 
One of the most important changes in 


п trying to ex- 


nes. 


antasti 


said. 


ase 


vent 


collective 


crimes, There 
bout 25 percent in 1967, the first year 
in whih writen porno was legal 
and the first in which dirty pictu 
although illegal, were widely tolerated. 
In 1968, such crimes decreased by 10 
percent and last year һу a starling 
31 percent. 1 could find no one in the 
Ministry of Justice (which initiated the 
legalization actions). the Copenhagen po- 
lice department or the psychiatric profes- 
sion who did not believe that legalized 
pomo was the principal reason for 
the decline, Other factors are involved: 
The economy, for instance, has improved 
over this period and, presumably, some 
men who would have stolen sex have 
been able to buy it, And the availability 
of the birth-control pill may have made 
women more compliant. But these sec- 


ondary suppositions can't account for 25 
ent declines. 

isoners and mental patients are rou- 
ünely permitted to have pornography. 
Dr. Berl Kutschinsky, the psychologist 
who is studying the results of porno 
legali, ihe 0.5. Congress, says, 
“There is no evidence whatsoever 
that porno is harmful to adulis— 
"or minors, either, for that matter.” Dr. 
Andes Groth, the young psychiatrist 
mentioned earlier, says porno could be 
a strong and possibly harmful shock— 
to people raised in a y repres 
sive society. And the untruthfulness 
of porno—the lies it tells of super- 
potency and inexhaustible pariners— 
could make insecure people feel inade- 


quate. But these are not large dangers, 
he feels. A liking for pomo is per 
fectly normal, he believes: its not a 


minority twitch, like foot fetishism, but a 
way in which everyone сап, 
time, express himself sex 
good pomo—crotic material that is not 
too untruthful—is better than bad porno, 
the kind that tourists and solid Danish 
citizens buy behind the Copenhagen 
road station. 
Danish pornograpliers I met were 
unlike any I had known before. This is 
undoubtedly because the sum of public 
approval shines so radiantly upon them. 
Ralph Ginzburg and Sam Roth, two 
U.S. “pornographers” who have given 
their names to Supreme Court decisions, 
are decent and respectable men in my 
judgment, if not in that of various Fed- 
eral jurists; but neither has ever been 
accused of being a force for mental 
health. (Roth, wretched loser, never 
published anything worse than bits of 
James Joyce and reproductions of Au- 
kley. He was rewarded by be- 
le the only man in history to 
shing porno 
and for not publishing it—the second 
charge being one of mail fraud, brought 
by the Post Office after he allegedly 
advertised dirty books but delivered clean 


from time to 
ly. Naturally, 


be, Jens Theander, 
founder of the Rodox-Trading Corpora- 
tion and publisher of Color Climax т 

ine and Sex Orgies in Color, w 
ise. He is 25, freckled, cheerfully 
round-faced and red-bearded and his 
manner is that of a man who can't qu 
believe that the world is such а fine 
place. “OF course Т do this for the mon- 
ey,” he said, “but I think our maga 
do some good. People understand this. 
tra Bladet [a large Copenhagen news- 
paper] gave us a good review.” Jens and 
his brother Peter started publishing in 
1966. Although he speaks English well, 
he quit studying at 18 and worked as 
ship's boy, a beer deliverer and an install- 
er of intercom phones. His first venture 
in porno wasn't very successful, but 
only because the brothers didn't know 


“Thats what I like about us, baby—there's no 
blurring of the male-female roles.” 


197 


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much about photography or magazine 
production. There was only minimal 
trouble with the law. “The police would 
ban one of our magazines and we would 
sell it anyway,” said Jens. “But we never 
had to pay a fine.” T asked whether he'd 
ever had to bribe the police, He was 
shocked and said with great pride, “I 
have never heard about police corrup- 
tion in Denmark.” 

Now, said Jens, grinning at the out- 
landishness of it all, he and his brother 
tke about $10,000 a year apiece. He 
doesn't export porno, because there are 
too many problems with the smuggi 
that's necessary, but German tourists, p: 
ticularly, buy his magazines “in the thou 
Sands"; what they do with them. he feels, 
is their. business. So it isn’t true that the 
poruo business is dying, he said, You can't. 
sell written porno or grainy black-and- 
white photos, bur good color magazines 
sell very well. With porno legal, he's 
proudly added a masthead bearing 
name to Color Climax. 

We were sitting in the parlor of his 
comfortable suburban house and I asked 
whether the neighbors objected to his 
profession. His pretty wile, who had 
come into the room to peel two young 
Theander girls olf their bathers neck, 
looked started when she overheard my 
question. Jens was patient: No, why 
should they object? "Ihe obvious ques- 
tion arose and he said no, he would 
prefer that his daughters not become 
porno models. "I don't look down on 
the models, but I think most of them 
have trouble making contact with people. 
And there is some exhibitionism in the 
How does he feel, personally, about por- 
no? He smiled and said, “If I did not 
е porno, I might not be the biggest 
customer, but ] would buy it." 

Delight is epidemic in the Danish por- 
no busine! І asked nter- 
priser, Tony Sorensen, if it were true, as 
Thad heard, that he smuggled dirty m: 
zines to the L i arked € 
RAMICS. Yes, ye best joke 
of all—here he sl in meni- 


he shipped his dirty 
limeter movie spools in cans m: 
DANISH HAM, A stocky man in his 40s, 
Sorensen was a waiter three years ago. 
Now he lives near Helsingör оп а spec- 
r stretch of the Danish Riviera. His 
which stands among ancient oaks, 
is new, very large and in excellent taste. 
th elegant. modern furniture 
ge number of canvases 
ces by contemporary Da 
iw Knud Michelsen, There is a suna 
inside and a swimming pool outside. And 
there tiny room, hidden behind a 
false wall beneath the stairs, where Soren- 
sen and his wife packaged porno when 
the police were still bothersome. 


Sorensen's wife was embarrased by 
her husband's trade in the beginning. 
Now she says, “Porno isn't bad; it’s 
money.” She showed me a summons they 
had received that day fom a German 
court. They will ignore it. As a result of 
such legal difficulties, the Sorensens can- 
not travel in Germany, Switzerland or 
France and they think they would have 
trouble in the U.S. (Danish police are 
pestered by U.S. and German custom: 
agents for information about Sorensen 
and his colleagues. The Danes don’t co- 
operate, they explain, because Sorensen's 
profession is as legitimate as the King's.) 
‘The Sorensens send abroad films and at 
least 30 magazines (Color Orgy, Color 
Boy, Petting, and so оп). Ninety per- 
cent of the business is export, and there 
are 20,000 regular custo Most of 
them are in Germany, but Sorensen 
exports to almost every country in the 
world outside the Eastern bloc. (German 
customers like sadomasocl le said 


sm, 


with some malice, while Danes prefer 
straight sex.) Volume shipments to the 
U.S. go by freighter; “The captain is 


bribed to shut his mouth and the Gus- 
toms agents also." Not long ago. Soren- 
1 said moodily, а crate fell and broke 
and unbribed Customs agents came run 
ning. He turned his palms up and 
shrugged. 

Business has never been beucr, he 
said. People who think it is dying are 
sled because they sce the 
dropping out. Th 
and 300 firms of vi 


E 


atcurs 
200 
ing 


are between 


porno in Copenhagen alone, he esti- 
mated, and of course most of these will 
disappear. Sorensen himself has splen- 
did plans for the future. He will make 
pornographic records—“lots of sighing’ 
and he hopes to add sound tracks, with 
music and gasping, to his movies. Then, 
proud Dane, he set up his film projector 
and showed me the wave of the future: a 
slapstick and very pornographic version, 
in (and out of) full costume, of Hans 
Christian Andersen's fairy tale The Goose 
Girl. 

I asked whether he ever felt ashamed 
about making porno. He looked at me and 
said, “In America, it is hard to get?" 
айу hard,” 

"But it’s easy to get gun: 


“Here its almost impossible to get a 
gun,” he said. "Please have some more 
aquavit.” Outside the vast living-room 
window wall, the sun shone and his 
three young daughters and half a dozen 
neighbor kids splashed one another in 
the pool. 

And so to the porno fair. Even know- 
ing what I then knew, 1 found it stan- 
ding that a country orderly enough to 
number its breakfast eggs (1 ate 
bers K99061 and K99901 one morning) 
should hold creation's first porno 
dt seems just as odd іп retros 
fair was one of those phenomena tl 
absorb illumi instead оГ shed- 
ding it. The only aberration that matches 
it in my memory “festival of 


m, 


was a 


"I think my 
eyewitnesses as they filed into court.” 


mistake was yelling “Hi to the 


199 


PLAYBOY 


200 


ision commercials” I attended once. 
I remember writing vengefully that the 
only occasion 1 could imagine less festive 
than a festival of television commercials 
was a festival of anthrax germs, and the 
sentiment can stand well enough for the 
porno fair. 

“Yes!” the motherly middleaged lady 
id with warm appro 
when I whispered the words sex fa 
She knew where to drive, all right. At 
five on a Saturday alternoon, hall of 
Copenhagen was lined up in fours in 
front of the fair building. The line 
stretched at least 100 yards down the 
block and a cop posted by the entrance 
under the big sex uid it had 
gues, 10 


Т 
been like that all week. At 
percent of the queucd-up gawkers were 


sign 


foreign and most of the foreigners 
looked German. 
Inside, the hall resembled the gym of 


ted 
s of seats 


an unprosperous Ohio college decora 
for a dance. There were ti 


sium style, and a flat space in the middle 
where booths w mples of 
merc at the down- 
town groin parlors were displayed—gen- 
uinerubber imitation buttocks, wh 
cult links with little interlocking silver 
figures and magazines titled Dog Orgy, 
Sucking and Fucking. 

The building was aburst with people. 
A few spectators were themselves worth 
looking at—a splendid fairy in a leather 
jacket and white jeans, a beautiful girl 

mink, slumming—but mostly the 


in 
crowd was as scrulfy as a basketball mob 
the Garden. Why were they there? 
Nothing inside the building could be 
bought—a city ordinance of some kind 


prohibited it—and there was nothing to 
look at that couldn't be seen better, and 
in a more leisurely way, without stand- 

g in line for four hours or paying 
$1.50, in the porno shops or the d 
movie dens. No explanation helps. In 
the rows of seats, hundreds of pooped 
rgoers sat waiting, but for what? I 
never learned. Perhaps it was merely 
time for the lumpen to make their move, 
and this was Bastille Day in Copen- 
hagen’s sexual revolution. 

The best exhibit in the hall—and 
there was nothing in second place—was 

thin girl with a shy face, а see-through 
blouse and pouting breasts, who stood 
passing out brochures at Jens "Theander's 
Color Climax booth. She told me that 
she had twice been а model for Thean- 
der. There she was, in fact, perform 
fellatio on page 98 of the айз pro- 
gram, in the very spot where Madison 
re Garden would give you Bill 
dleys jump shot. She said her name 
was Susanne and that she was 25 and a 
second-year law student at the University 
of Copenhagen. 

How did she like modeling for porno? 
"It was all right. It’s just a job.” She 
had gone to school with Theander, she 
said, and he paid her $100 a session, 
which was a good price. 

How did her family feel about her 
job? "My husband didn't mind. We 
needed the money.” 

Jens Theander was standing nearby, 
talking genially with a mad-looking Swed- 
ish amateur photographer, who asked him 
questions about £ stops and emulsions, 
What sort of lights did he use for porno 
filming? the Swede asked, his eyes glitte 


they very hot? asked the Swede. Yes, said 
Theander, but the models were naked. 
He greeted me happily, said the Sex 760 
fair had been entirely his that it 
ld net him $50,000 and that he was 
going to call the next grander, expanded 
version Sex '69 Plus One. 

І thanked him and wandered on to a 
booth that was screening bits of a porno 
film (the police had insisted that only 
samples be shown and this had led to 
some disastrous film editing). There 
were the usual stag ng. Are 
they really going to do it? Yes, by 
orge, they are. And they continue, 
and go on, and on. Everything jiggles. 
Its hard to do this sort of thing well. A 


real n: This is not only sex. it's bad 
. And since there is noth the 
world more abundant than bad sex, why 


here, watch 


am 1 standing g й? Seen 


one, sc wh 
Nevertheless, it is one of the world’s 
safest bets that no one will go broke 


sex fair in Denma 
The 
and 


soon promot 
Five months 


nder's fiesta, the 
able occurs an enterpriser 
med Frnst Penla onvenes a crotch 
exposition in Odense, а town known 
iously only as the birthplace of Hans 
Christian Andersen. The usual busloads 
of agitated tourists arrive from Germany, 
Belgium and Holland. A chartered pl: 
full of crotch enthusiasts arrives from 
Peru, two planes come from Bi 
four from Tokyo. As usual, inexplicably 
large numbers of Danes turn out. A 
$1.50 admission [ee lets them see the 
usual exhibits of genital hard- and soft- 
ware and another $16 gets them imo a 
night club" where naked entertainers 
demonstrate, in the words of a disen. 
chanted Danish journalist, "variations о 
the dear old theme." This inner nonsanc- 
tum is named, in Andersen's memor 
the Little Mermaid Club. Promoter Pe 
Jau says he is making a lot of kroner. 
He is not making any of mine, how 
ever. A sense of the absurd will s 


with its live sex and blushing Japanese 
wits the same as it had been some time 
before, when Tony Sorensen asked if 1 
anted to watch the filming 
masochistic movie. Wh: 
he had said, was that the masochist w; 
real and, in fact, was paying for the gitls 
and the filming. It was going to be very 
authentic. I said yes, but later I got to 
thinking of how the introductions would 
go. I got as far as imagining Sorense 
saying. "Mr. X, this is Mr. Skow, who 
very interested in watching you get 
whipped," and me saying, "How do you 
do, Mr. X, I've heard a lot about you." 
That's where my imagination stopped. 1 
said to hell with it then and I say to hell 


with it now. 


invented. 
high 
fidelity. 


In 1937, Avery Fisher 
introduced the world’s first 


e сс high-fidelity 

т Р === component system available 
Tow in We permanent colecion tO the public. Thatwas 

of the Smithsonian Institution. the beginning of the whole 
high-fidelity movement. 

In 1970, we introduce 
the world's first compact 
AM/FM/phono stereo system 
with three-way omnidirectional 
speakers. That means speaker 
placement and listener 
location are no longer critical ___ 
forwide-range sound with у 
correct stereo perspective. 
Thesystem is called the 
Fisher 3580, is rated at 100 
waits and costs $399.95. 

In between, there were 
dozens of other Fisher 
inventions. The first33 years 
are the hardest. Compar чего sem wih бау 


ЕС 


FOR A FREE COPY OF THE FISHER HANDBOOK, OUR 72-PAGE FULL-COLOR.REFERENCE GUIDE, WRITE TO FISHER RADIO, OEPT.1012, 11-38 45TH ROAO,LONG ISLAND CITY,NY. On. 201 
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PLAYBOY 


202 


PLAYBOY FORUM 


To my brothers and sistcrs on Alcatraz, 
I say: Our way and our theology will 
win in the long run; I am with you in 
spirit on your island; and may the sun of 
the mountains shine upon your chil- 
dren’s lodges i 


APO San Francisco, California 


THE PRESIDENT’S CATALYST 

According to several reports I've read, 
President Nixon has lately been finding 
inspiration in the movie Patton. He has 
seen it at least two or three times and 
has made glowing references to it in one 
speech. He even acknowledges that he 
emulates Patton in ordering chaplains to 
pray for favorable weather: “We have 
every chaplain in Vietnam praying for 
carly rain.” 

Besides this suggestion that the world’s 
most powerful technological nation is 
being run by a man who thinks like a 
witch doctor, the news about Nixon's 


“Robert, your zipper's open, for 


(continued from page 69) 


fascination with Patton gives onc plenty 
to worry about. The movie portrays Gen- 
eral George S. Patton as a who 
sacrificed the lives of American troops in 
pointless efforts to outshine other Allied 
nced that God. 
ary glory and as 
hatred and fear 
ians at the end of World 
War Two. The only thing left to be 
grateful for alter contemplating that list 
of charming waits is that Nixon has 
not chosen Genghis Khan or Napoleon 
as a hero. 

Too bad, though, that a movie about 
Patton happened to come along at a 
moment when a U. S. President was sus- 
ceptible to this kind of inspiration. How 
much better off we might be if the 
moviemakers had made a picture about. 
another World War Two general—one 
who kept the savage Patton under con- 
trol, one who subsequently got the U.S. 
out of a land war in Asia, instead of 


God's sake." 


ding it one who, as President, 
gave us eight years of relative peace. 
‘This other general was better known to 
Nixon and was a person whom he would 
do much better to emulate—Dwight D. 
Eisenhower. 


Mrs. M. Hirsch. 
New York, New York 


AGNEW AS RADICALIZER 

I started my political Ше as a conserv- 
ative and gave wholehearted support to 
Barry Goldwater in 1964; but in 1968, 1 
supported Eugene McCarthy. What hap- 
pened to change my mind? A tour of 
duty in Мец „ where I saw for myself 
the horrible truth about that dirty w: 
Now, I'm becoming increasingly radic: 
even though my basic ideals remain lib- 
erarian and, certainly, could not be 
categorized as leftist. This is because 
labels such as conservative and libcra 
right and left no longer have any m 
ing. Nixon, the conservative, after all, 
carrying out the same programs as John- 
son, the liberal; and the only real d 
that exists is between the Washi 
establishment and all the rest of us. 

Hence, while I'm по left-winger, I 
grow more radical every day—and when. 
Spiro Agnew runs off his mouth а 
all of us who dare question the Adminis. 
tration, it just intensifies my disgust and 
alienation. 


Allan C. Kimball 
Washington, D.C. 


A GREAT COUNTRY 
What with the continuing war 
Indochina, the massacres of young de 


crease of violent super 
similar disturbing developments, a lot of 
people are starting to echo the line of 
the Texas lawyer in Easy Rider; "1 
used to be a helluva good country. 
myth of a past American golden age is 
quite widespread. Once upon a time, so it 
Бос» this was a country of individual 
freedom, true democracy, equality for all 
and so forth. Then (around the begi 
ning of the Cold War) we swallowed the 
forbidden fruit of totalita ism and, 
since then, things have been going 
downli 

I think this ""paradisedost" myth might 
have an undesirable effect, clouding 
people's minds so they can't see the truth 
about this country, which is that many of 
the evils of today are thoroughly in- 
grained in the American character. Fur- 
thermore, some things used to be worse 
than they are now; for some individuals, 
for some groups, in some areas of Ше, 
there has been progress. H there was 
individual liberty in the old Ameri 
was only for upper-class WASPs, Ameri- 
cans of past eras were an incredibly 
pu 1, bigoted, violent people. They 
perpetrated genocide on the red man 


Introducing the 
other Swedish pastime. 


he bourbon smoke. 


Good Kentucky bourbon is about 
as American as you can get. Yet it 
took the Swedes to discover that 
bourbon can actually soften the 
taste of pipe tobacco. Soften, yes, 
but not mask. Add flavor but not 
disguise it. 

They put bourbon into Borkum 
Riff. The result: a unique, definitely 
rich smoke that won't bite. 

You'll like it. Borkum Riff 
the bourbon smoke. From Sweden 
where blondes were invented. 


Distributed by United States Tobacco Company 


203 


PLAYBOY 


and stole a continent from him and they 
enslaved the black man. They exploited, 
starved and oppressed generations of 
immigrant laborers, As to whether or not 
there was greater frecdom to follow non- 
conforming ideals in 19th Century Amer- 
ica, ask any Mormon, for instance, about 
the carly history of his church. 

It’s true that in some ways мете 
worse off than ever before. Our wars 
ns may have been as 
"re doing today in 
t least they did not in- 


viciou: 


nuclear war that could wipe out the 
human race. And it was easier to escape 
from government tyranny in the 
the railroad and the telegraph th: is 
in the era of jet planes and electronic 
surveillance. Even so, my reading of his- 
tory indicates that for the mass of people, 
America in the old days was а pretty 
dreadful place, and 1 think it is time 
this myth that the U.S. used to be a 
great country was permanently laid to 
rest, Our real greatness lies in our ideals 
and, possibly, in our future; the reality 
das always fallen short. 


San Francisco, California 


PATRIOTISM VS. CHAUVINISM. 

As ап ex-Serviceman (U.S. Navy 1955— 
1965), I feel I have the right to regard 
myself as a patriot, at east in the way my 
dictionary defines the worl ("ene who 
loves and defends his country"). 

Patriotism, how , is not chauvin- 
ism. Chauvinism is the willingness to 
believe (or to pretend to believe) what- 
ever the government in power says. even 
when it's obviously lying; it is the hatred 
and persecution of any fellow citizen 
honest and brave enough to express his 
skepticism at such times; it is the false or 
bigoted variety of patriotism. 

The rational mind fears three things: 
fire, high seas and a mob. Out of control, 
any of the three can bring disaster; but 
the mob is the most dangerous of all, 
especially when led by demagogs and 
brainwashed by chauvinism. I admire 
and respect patriotism, but not the irra- 
tional bigotry provoked by our leaders in 
order to stifle and crush honest dissent. 
We should remember that the last 
ample of such chauvinism was Hitler's 
1000-year Reich. 

James J. Owen, U. S. N. (Ret) 
Naugatuck, Connecticut 


SEDITION, THEN AND NOW 

In 1798, Congress passed, at the be- 
hest of the plutocratically oriented Fed- 
eralist Party, the Alien and Sedition acts. 
The Alien Act was intended to facilitate 
the deportation of foreigners who were 
vocal and active in their support of 
Thomas Jefferson's Democratic-Republi- 
cans and of the French Revolution. The 


204 Sedition Act was designed to punish 


American citizens who wrote, spoke or 
published criticism of the President or 
Congress. These acts had to be repealed 
since they so obviously conflicted with the 
libertarian ideals upon which America 
was founded, 

Today, an establishmentoriented fac- 
tion in this country labels dissent against 
the Vietnam war as treason and high 
Government officials attack freedom of 
speech and of the press. Thehistory of the 
Alien and Sedition acts shows that when 
Government officials entertain such re- 
pressive attitudes, they may be translated 
into law, even in a free society like our 
own. I believe that peaceful, orderly dis- 
sent and demonstration are vital to the 
democratic process and 1 don't wish to 
see opposition to Government take a 
violent form, as it has with the Мели 
men fa 
that produced the Alien and Sedition 
acts in the 18th Century makes а come- 
back in the 20th Century, I, for one, 
wont need a weatherman to tell me 
which way the wind will blow. 

Steven A. Robinson 
Chicago, Illinois 


THE PEACE SYMBOL 

rLAvsov has more than once docu- 
mented the origin of the upside-down- 
trident peace symbol as a combination 
of the semaphore ls for N and D, 
standing for nuclear disarmament. It 
might amuse you to learn th 
people believe this sign has a much more 
colorful origin, According to a leaflet I 
read. the peace sign is none other than 
—hang onto your heads!—"the broken 
cross of the anti-Christ” Every time 
somebody wears one, this is a victory for 
communism and it “is noted gleefully by 
the godless Communists.” Naturally, the 
pamphlet offers no evidence for making 
these farfetched statements; I guess it's 
aimed mainly at people who will readily 
swallow this sort of thing because that’s 
what they like to bel 


т some 


is why ihe 
authors of this leaflet think it matters to 
anyone what they say about the peace 
symbol. Those who wear it know that it 
means “Peace” to them and that mean- 
ing is known to every well-informed per- 
son in the world today. For my part, I 
wear it proudly and couldn't care less 
whether it was originated by John Len- 
non, John Dillinger or even John Birch. 

William Walker 

New York, New York 


THE FREAKING FAG REVOLUTION 

As a longhaired freak and devout 
peacenik. I got a big laugh out of the 
patriots in plastic hats who demonstrated 
in New York last spring. The word they 
used over and over again to characterize 
the youth of America was faggot. Stu- 
dents didn't have to worry about being 
drafted because students are Faggots. 
Even Mayor Lindsay was a faggot. All of 


this is reminiscent of the judicious lan- 
guage used by Thomas Foran, prosecutor 
of the Chicago conspiracy trial who 
warned 
fag revolution 
‘The reason 1 laugh is that the younger 
generation, of which these patsies for 
Nixon are so contemptuous, is doubtless 
the most sexually frec generation in 
American history. Which means that we 
are not so frightened. of homosexuality, 
or so intolerant of homosexuals, as to 
feel insulted by this epithet. As for hetero- 
love, the longhaired youth of 
this era enjoy it more openly—and sim- 
ply enjoy it more—than any plastichat 
can imagine, While these middle-aged 
musclemen are burning up, we “faggots” 
are setting their daughters on fire! 
John Martin 
Chicago, Illinois 


THE LADY DOTH PROTEST 

The attitudes of American men to- 
ward women are greatly in need of revi- 
sion. I recently abandoned the wearing 
of a bra and the results have been shock- 
ing. When I walk down the street, I am 
greeted with remarks such as, “Hey, 
babe, do you want to bleep me?" "She 
must be a member of women's liberation, 
the poor child!” “Are you a female homo- 
sexual?” This kind of badinage is neither 
seductive nor amusing; it merely makes 
me wonder how many women haters and 
other lunatics are wandering around free. 

If a prostitute seeking customers used 
such brazen verbal approaches to passing 
males, she would quickly be arrested for 
disorderly conduct; but the police never 
scem to think that men who act this way 
need to be restrained. So I have to face 
this ordeal every day, just because I'm 
young and attractive and choose not to 
wear a bra. 


Judi Rosenstein 
New York, New York 


A FEMININE REVOLUTION. 

Feminists with slogans such as “IE it's 
sex or freedom, we'll take freedom! 
are doomed to failure before their cam- 
paign really gets rolling. They are re 
forcing the Victorian image of woman as 
a sexless, sterile image on а pedestal— 
beautiful but lifeless. The greatest obsta- 
cle today to equality for women is their 
own reluctance to acknowledge that 
their sexuality contributes significantly 
to their total personalities. 

For centuries, women have had to live 
in a maleoriented world, where they 
were told what was acceptable sexual 
behavior and how extensive their 1 
interests should properly be. The result 
was that women became conditioned to 
believe that they had to impose various 
restraints on their natural sex instincts 
and drives. Regrettably, many authorities 
in the medical field and other areas still 
ignore the effect of this conditioning and 


“You see, Martha, I told you you'd be the first to 
know if I ever started playing around.” 


205 


нун “могли "02 ¥ viva. FFB AB ANO JOVA азм оба NEVÊ Hê uva OV 


Timo 


| 
| 
f 
i 


WOULDNT YOU LIKE TO BE IN HIS SHOES? 


TM 
Bass Tacks ın ANCIENT BROWN WITH PLANTATION CREPE SOLES AND HEELS. ABOUT $20. AT BETTER STORES EVERYWHERE. 


theorize that women by nature have dif- 
ual feelings than теп. Thus, 
males, ny females, 
e self-imposed limitations as 
nt and un: ble feminine ch 
acteristics. The fallacy persists that men 
are active, aggressi domineering and 
adventurous in their sexuality, while 
women are passive and cin turn off their 
drive the behest of moralistic 
injunctions (whether of the traditional 
kind or the women's liberation. variety). 
As long as this notion is generally 
believed, equal status for women is 
conceivable, 
It is a well-known fact that other cul 
tures have long permitted equality 
among the sexes and. in these cultures, 
women may enjoy sex as actively as 
men, if not morc so. How long before 
modern women in our culture achieve 
similar equality depends on how long it 
takes them to realize that placing self 
imposed curbs on natural, healthy drives 
is totally self-defeating. 

Malcolm L. M 

Vancouver, Bri 


ferent. se: 
most 


s well as n 


chell, F. R. S. H. 
h Columbia 


ORGASMIC MYTHOLOGY 

For the past two years, as women's 
liberation has gathered momentum, I've 
heard repeatedly about am essay titled 
‘he Myth of the Vaginal Orgasm," 
written by Anne Koedt, a radical femi 
nist. This paper was recently reprinted in 
а journal called The Radical Therapist. 
Having been told that “The Myth of the 
iginal Or a basic women’s lib- 
eration document, a cornerstone of the 
movement, 1 looked forward to reading 
it but was disappointed when I finally 
did. 

According to Miss Koedt, women 
achieve orgasm through direct stimul: 
tion of the clitoris. She complains, how- 
ever that men want their 
reach orgasm while hav 
course—during which, of course, the dli- 
toris is not directly stimulated. Many 
women, she says, can't reach orgasm this 
way and are led by male propaganda 
to think of themselves as frigid or 
immatu 

And why do men t on vaginal 
intercourse? Miss Koedt points out that 
it provides greater pleasure for them 
than any other kind of sexual stimula- 
tion; that there is a kind of conspiracy 
on the part of men to keep women in 
ignorance of the fact that they don't 
need vaginal penetration to enjoy sex (if 
they leamed the “truth,” they'd realize 
they don't need men); and, finally, that 
vaginal intercourse, being ш i 
ens the sex drive of women, n 
them easier for men to control. 

То demonsuate that men inten 
ly oppress women, Miss Koedt insists 
that everyone knows the wuih about 
айога] vs. vaginal orgasms, “Tod with 
anatomy and Kinsey and Masters and 


women to 


Johnson, to mention just a few sources, 
there is no ignorance on the subject. 
Well, there is some эраг. 
ently—and it’s displayed by Miss Koedt. 
She refers to Masters and Johnson, but 
she hasn't read them carefully, or she 
would know that many women can easily 
achieve orgasm during vaginal intercourse 
and that the absence of direct clitora 
ulation is not a cause of 
Miss Koedt 


a mature female only if she enjoys or- 
gasm though vaginal stimulation. For 
every such manual she mentions, I can 
produce half a dozen that insist that а 
man is successful male only if he 
produces orgasm in his mate. Many of 
these manuals make the point that a 
woman's orgasm should be produced. (to 
use a radical phrase) “by amy means 
necessary." Dr. Albert Ellis gocs so far in 
Sex and the Single Man as to advise men 
that the index finger is a more effective 
instrument for stimulating a woman's 
genitalia than the penis. Ellis and his 


м WITH 
“ДӘ 


readers don't quite fit the women's lib 
picture of the penisproud male chau 
vinists demanding that women have 
orgasms their way or not at all. 

Masters and Johnson, in Human Sex- 
ual Response, make it quite clear that 
the issue of vaginal vs. clitoral stimula 
tion is hardly an either/or proposition. 
They have observed that women do 
not usually desire direct stimulation 
of the clitoris, because this organ is too 
sensitive for that, Women frequently ma 
nipulate the mons arca when masturba 

g and it can also be stimulated during 
intercourse. But the most important fact 
neglected by Miss Koedt is that the clito 
ris is stimulated in intercourse; it is sim- 
ulated by the traction of the penis on 
the labia minora. In fact, Dr. Masters has 
said, “It is physically impossible лог to 
stimulate the clitoris during intercourse, 
and Em not referring to direct penile- 
clitoral contact” (Playboy Interview, May 
1968). 

Miss Kocdt says, “We are living in a 
male power structure which docs not 


207 


PLAYBOY 


208 


want change in the area of women." 
Somchow or other, despite the existence 
of this power structure, Human Sexual 
Response came to be researched, written 
and published and has become a best 
seller. And it refutes both the myth that 
there are separate vaginal and clitoral 
orgasms and Miss Kocdt’s countermyth 
vaginal intercourse is an activity 
women don't naturally care for and is a 
poor substitute for clitoral stimulation. 
Despite the supposed male conspiracy to 
keep women down, there are millions of 
men in America who are concerned about 
their mates’ enjoying orgasm and are ap- 
plying to that objective the knowledge ac- 
quired from works such as Human Sexual 
Response and Human Sexual Inadequacy. 

Although Miss Koedr's paper is still 
accepted as a representative sti 
the women's liberation 
ly isn't fair to the feminist movement to 
suggest that any one document speaks 
for all members. A critique of “The 
Myth of the Vaginal Orgasm” is also 
circulating among movement people, 


though it is not as well known to the 
popular press. Called "Fucked-Up in 
America,” it was written by Nancy Mann. 
Miss Mann points out the inaccuracies 
in Miss Koedt's physiological analysis 
and suggests other reasons why women 
have trouble with sex. Miss Mann con- 
cludes, "I'm sure it's no coincidence that 
so many people in this country have bad 
sex. It goes along with the general disre- 
gard for human pleasures in favor of the 
logic of making profit. . . . But for women 
to blame it all on men (or men to blame 
it all on women) is bad politics.” With the 
cautionary note that it would be wrong 
to inler that sexual hang-ups can arise 
only in a profit-oriented society, I would 
say, "Amcn" to Miss Mann. 

Thomas Campbell 

New York, New York. 


WOMEN'S LIB PAMPHLET 

My friends and I have been reading 
about feminists and women’s liberation 
for many months and we weren't really 
sure where we stood on the subject. 


Галант crew окы | 


“Now I know why this is called a cockpit!” 


Having read in the July Playboy Forum 
the text of the leaflet that was distribut- 
ed at the Playboy Mansion last April 15, 
we've formed an opinion. Any group 
that promulgates such barely coher- 
ent, illogical trash is not deserving of 
support. 


Fredrick R. Douglas 
Los Angeles, California 


The Chicago Women’s Liberation Un- 
ion made a regrettable, thoughtless move 
in demonstrating outside the Playboy 
Mansion last April. Not only does the 
action itsel{—obstructing an anti-war 
fund-raising event—typily the destruc- 
е factionalism that afllicts the left, but 
the pamphlet PLAYBOY quoted is no brief 
for the women’s im that they 
their own with men. If such childish, 
poorly written rhetorical windmilling is 
the best this group can produce, then 
they ought to give up their dreams of 
glory and go back to being, as they put 
it, "shitworkers." 

Joc Fischle, Jr. 
Albuquerque, New Mexico 


HIP. KAPITALISTS 

Anyone with half a brain can see why 
the Chicago Women's Liberation Union 
demonstrated. against PLAYBOY while a 
Vietnam Moratorium Committee fund- 
aising party was being held at the 
Playboy Mansion. PLAYBOY is a bourgeois 
gazine; it only gives lip service to the 
antiwar movement in order to increase 
its sales; it is not politically sincere. 

PLAYBOY ties to present itself as а hip. 
kapitalist magazine, but there is no such 
thing as а hip kapitalist. Objectively, you 
serve Amerika just as much as The Wall 
Street Journal docs. Kapitalism gives you 
the right to exploit women, which you 
do by representing them as sex objects 
rather than people in your articles, pic- 
nd cartoons. This appeals to the 
doctrine of male supremacy. 
against your hypocrisy and your 
male chauvinism that the Chicago Wom- 
en's Liberation Union demonstrated. I 
say, "Right on!” to them. 

Sp/4 J. J. Strachan, U. S. Army 
Fort Hood, Texas 


Krap. 

“The Playboy Forum" offers the oppor 
tunity for an extended dialog between 
readers and editors of this publication 
on subjects and issues raised in Hugh 
M. Hefners editorial h Cono 
Playboy Philosophy.” Four booklet re- 
prints of “The Playboy Philosophy?" 
including installments 1-7, 8-12, 1318 
and 19-22, are available at 506 per book- 
let, Address all correspondence on both 
“Philosophy” and “Forum” to: The 
Playboy Forum, Playboy Building, 919 N. 
Michigan Ave., Chicago, Illinois 60611. 


series 


FACES OF MURDER 


(continued from page 98) 


deposit sl: In 1966. it was Charles 
Joseph Whitman, 95, architecture stu- 
dent, former altar boy, youngest cagle 
scout in B. S.A. history, crack shot in 
the Marine Corps and husband of a 
beauty qucen, who stabbed his wife and 
mother, took the elevator to the 27th 
floor, then climbed the stairs to the top of 
the tower in the middle of the University 
of Texas campus and killed 14 more, in 
duding an unborn baby, and wounded 
$1 others. In 1967, it was Leo Held, 40, 
a balding lab techni 
member, boyscout leader, churchgoer 
and affectionate father of four, who 
er mill where he 
Pennsyl 
shot to death five of his fellow employ 
and wounded four others, then killed one 
neighbor and wounded two before being 
killed by police. Two years ago, it w: 
$3-ycar-old. cub-scout leade: 
league coach named Martin Fitzp 
from the tiny upstate New York village 
of Martville, who one night held up a 
service station in nearby Sherrill and shot 
and killed two policemen when he was 
stopped during his getaway. 

Psychiatrists are fond of reassuring us 
that murder is the product of aberrancy. 
“No normal person will commit. mur- 
der, 1 the late Dr. Ralph Banay, for- 
mer head psychiatrist at Sing Sing prison. 

Normally, people are able to control any 
impulse that is dangerous to themselves 
or to other people; they have sufficient 
defenses against the force to kill." Which 
tells us only that normal people don't 
act abnormally; that if they do, then, 
obviously, they're abnormal. The confus- 
ing and frightening thing is that mur- 
derers frequently appear in the guise of 
outwardly normal people who do not fit 
the image of the “bestial killer" or the 
min in human form" described by 
J. Edgar Hoover. The public can under- 
stand a Mad Dog Coll or a 1wo-Gun 
Crowley as a. psychopath for whom lile 
has no m and who would as soon 
knock off а gasstation attendant as cash 
а bad check. Indeed, tracking them down. 
and bringing them to justice is satisfying, 
if for no other reason than that it allows 
the public to punish itself in surrogate 
for the murderous urges that lurk in its 
own unconscious. "Society loves its 
crime," says psychiatrist Walter Brom- 
berg, "but hates its criminals.” 

Similarly, the public can understand 
murder when committed by flat-out m 
niacs, who, after all, are not respons 
for their actions. Letting them live in 
mental institutions is the humane thing 
to do. It's also the self-interested thing to 
do, because in recognizing that they are 
sick and we are merciful, we allow our- 
selves an escape route, should our own 


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darker thoughts burst above the surface. 

But the McBrairs, the Whitmans, the 
Popes and the Helds stir feelings of 
uneasiness. To the stranger who reads of 
them in the newspapers, even to the 
casual acquaintance who works with 
them or drinks beer with them, often 
they seem like decent enough fellows 
whose bad qualities, if any, do not mark 
them as potential madmen. The discom- 
forting inference is that every average 
person with average problems harbors 
somewhere within him a similar demon 
that simply has not made its presence 
known. 

This fear, like the fear of being killed, 
is grounded in a number of miscon- 
ceptions about the nature of murder, 
the kinds of people who commit it and 
the kinds of people who become their 
victims. 

Though the McBi 
uncomfortably famil 


cause it fits so neatly into our murder 
mythology that combines facts with 
culural traditions and folk beliefs in 
order to explain a type of human be- 


“Oh, Lord, Т can 


havior both threater nd mysterious. 
The fact is that people do kill one an- 
other. Cultural tradition holds this to 
be evil—and probably part of man's 
basic natu Folk belief concludes that 
murder must therefore be the work of 
cither an evil person ora good person who 
is overwhelmed by the evil impulses 
we all possess. The trouble with this 
devil theory of murder is that it has al- 
most no bearing on the realities of 
homicide as a continuing and complex 
social problem; yet it still influences the 
thinking of the police, the press, the 
public and even social scientists. Tradi- 
tionally. the public has imagined the 
majority of murderers to be bona fide 
criminals—men who kill simply to get 
what they want or make good an es- 
cape or leave no witnesses to a crime. 
This murderer is the cartoon char- 
acter with bent nose, unshaven jaw, cap 
pulled down and collar turned up, pok- 
ing a pistol into the ribs of an honest 
citizen walking home on some dark 
strect. The killer who does not fit this 
stereotype is usually relegated to another: 


the malevolent stranger, belly full of 
booze, who provokes an argument and 
then whips out a gun or a knife. 

This is a badly distorted picture of 
homicide—one that has been created 
chiefly by lawyers, lawmakers and Jaw 
enforcers and promulgated by superficial 
journalistic accounts. e.g, "POLICE SEEK 
GUNMAN IN TAVERN DEATH.” In a murder 
trial, any good defense attorney seeks to. 
piove, or at least to suggest, that his 
client's deadly deed resulted from im- 
pulse 
meditation. Short news stories frequently 
convey nothing beyond the fact tl 
somebody was found dead on the street 
as the result of an argument. At the 
same time, legislators and police tend to 
ide statistics into "crime 
rime in the streets,” for 
the simple reason that this type of vio- 
lence often persuades voters and tax- 
payers of the need for tougher Jaws or 
higher police appropriations 

Only in the past few years has this 
picture of the robber-killer and the hom 
cidal swanger undergone som 
Going beyond the raw ч 
nologists began to study а 
made the rather startling discovery that 
one's murderer is most often not a 
stranger at all. but a friend or a relative. 
For example, of the 13,650 murders com- 
1968. 422 percent occurred 
rguments berween acquaint- 
An additional 33 percent involved. 
even closer relationships: one spouse kill- 
nother (13.7 percent), parents killing 
3 percent), more-distant 
relatives killing one another (8.7 per- 
cent) and lovers doing the same (72 
percent). Only about one murder in 
four stems from the commission of some. 
other crime or is the work of a total 
stranger, In his extensive study of 
murder in Philadelphia. sociologist Mar- 
v 
cally, wives lace more danger in their 
bedrooms from gun-wielding husbands 
than they do from strangers lurking in 
leys. For husbands, the highest-risk 
is the kitchen, where the wife has 
cess to her butcher knife, 

Compared with relatives and acquaint- 
ances, the professional criminal actually. 
represents а surprisingly minor threat. 
Of the 986 murders recorded in New 
York City in 1968, only 83, or less than 
nine percent, were committed di 
muggings or holdups. Only 5 were com- 
mitted by burglars and rapists accounted 
for 19. 

lf people are generally misinformed 
about who kills, they are equally mis- 
guided about where murders occur. More 
and more, researchers are finding evi- 
dence indicating that while murder may 
occur more frequently in the cities, its 
roots are rural A study in St. Louis 
comparing murderers with sex criminals 


nd circumstance and not from pr 


п Wolfgang discovered that, statist 


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PLAYBOY 


"D'you have anything for hay fever?” 


and chronic lawbreakers found that the 
one common denominator shared by the 
killers—and by none of the others—was 
an upbringing in the country. This ap- 
pears to be supported by the fact that the 
South—which contains more than one 
quarter of the country’s population and 
where most pcople are from relatively 
small towns and cities—accounts for 
alf the murders in the United 


States. In contrast, only 17 percent come 
from the highly urbanized Northeast. 
And while New York has the largest 
number of murders in the country, its 


rate—8.5 per 100,000—is relatively low. 
Houston’s is 14.7; Baltimore's, 13.6; St. 
Louis, 11.8; Cleveland's, 9.6. Wha 
more, no matter where you live, i 
black. your chances of getting murdered 
re about ten times greater than if you're 
white. Negroes, while comprising only 12 
percent of the population, are the vic- 
tims of 51 percent of the murders, And. 
in some cities, the rate for a black male 
between the ages of 25 and 34 reaches an 
incredible 100 per 100,000. As for the 
murder trend over the years, it is not 
quite so depressing as J. Edgar Hoover 
would like to paint it. One of his 
favorite statistics indicates that since 
1960, the murder rate has climbed a 
frightening 52 percent. What he neglects 
to mention, however, is that until 1958, 
the rate had been declining steadily for 
many years and that in 1968, at 6.8 per 
100,000, it was still only half the rate of 
the carly Thirties. And when you con- 
sider that the younger population, which 
accounts for most of the violence, is 
growing much faster than other age 
groups, the murder rate is even lower 
than the statistics imply. 
The revelations of Wolf; 
others—that considering the de: 


of our friends, we don't need enemies— 
were surprising, indeed, and possessed 


sufficient irony to attract the attention of 
journalists and academicians alike. But if 
these findings helped correct the myth of 
the homicidal stranger, they provided 
the foundations for a new one: that the 
Killer is an average law-abiding citizen 
who one day blows his cool. 

This revised murder myth is almost as 
distant from reality as is the one it re- 
places. After conducting extensive studies 
of violent crime and victim-offender 
relationships, the National Commission 
on the Causes and Prevention of Violence 
came to the following conclusions: 

* Serious assault and homicide are es- 
sentially the same crime. It's the fate of 
the victim rather than the behavior of 
the ilant that distinguishes them. The 
two crimes, therefore, cannot be mean- 
ngfully separated in studies of violent 
behavior. 

* Violent crime i: 
ph 


primarily a big-city 
nomenon, concentrated in the slums 


and committed by males between the 
ages of 15 and 24. 
+ Homicide and assault occur dispro- 


portionately among blacks living in ur- 
ban ghettos and, despite popular beliefs 
to the contrary. this type of violence is 
overwhelmingly intraracial. 

* The victims of assault and murder 
in the cities generally have the same 
characteristics as the ollenders. 

+ By far the greatest proportion of 
serious violence is committed by repeaters. 

From these and other recent studies hits 
emerged a more realisti ture of the 
killer, of his victim and of homicide itself. 
Instead of the “average Jaw-abiding citi 
zen” whose deed is out of character, the 
majority of murderers are persons with 
previous arrest records, often for other 
violent crimes, who cap their carcers 
of antisocial behavior with a final, 
fatal deed. More surprising, the majority 
of their victims have arrest records as 
well and in many cases appcar to precip- 
itate their own murders by threats or 
provocative actions. In most cases, both 
the killer and his victim were drinking 
prior to the dispute that ended in mur- 
der and they were likely to be acquainted. 
or related. 

In short, people who kill and people 
who get killed tend to have a lot in 
common. Most of them live within what 
Wolfgang has called a “subculture of 
violence"—in urban ghettos or rural 
honky-tonk society—where physical ag- 
gression is often considered an appropi 
ate, even requisite response to certain 
situations; where frustrated, deprived, 
angry young people live on the periphery 
of crime and pursue a life style that ulti- 
mately puts them at one end or the 
other of a bullet. 

However, if killers and their victims. 
seem to belong to a murder-prone class 
of people, they do not necessarily con- 
Torm to tlie public's image of brawling 
barllies and shrieking wives. Such per- 
sons tend to represent what psychologist 
dwin 1. Megargee has described as the 
undercontrolled  personality—one who 
has a low tolerance for frustration or 
provocation and who readily vents his 


temper and aggressive impulses. When 
such people do commit murder, it's more 


by chance than by choice: "The desire to 
retaliate, humiliate, defeat or punish an. 
antagonist rarely includes a genuine de- 


termination to kill. The murders that 
result from these "acts of passion" usu- 
ally are the result of miscalculation or 


no calculation—a knife or a pistol was 
too close at hand, a whiskey bottle 
proved harder than the head it cracked. 
More genuinely “murderous” is the per- 
son whom Dr. Megargee describes as 
overcontrolled—one who constantly fights 
with himself to contain his temper 


aggressiveness, until it bursts in what can 
only be called a homicidal rage. He is the 
person who rarely exchanges insults or 
black eyes but one day stands over the 
body of another, coldly and methodically 
firing shot after shot until the gun is 
empty. 

Dr. Megargee compares the undercon- 
trolled person to a low dam that easily 
lets water—or aggression—spill over the 
top. On the other hand, he says that 
the chronically overcontrolled type is 
very different. He is like a dam that is 
both too high and too rigid. There is no 
water in the dam that can be discharged 
and forgotten, no emergency bypasses or 
spillways. Not a drop gets through and 
the people downstream are dry and care 
Jess, perhaps even contemptuous. The 
thought of disaster never occurs to them. 
But the pressure builds up and must 
finally have a vent. Since the structure 
was not built to handle major strains. 
one drop too many may cause a complete 
rupture and release the pent-up fury all 
at once." 

In Jim McBrair's case, the dam was 
monumental. And if it existed merely to 
lull his friends into a false sense of 
security, it certainly accomplished its 
task. If there's one thing that everyone 
in Wautoma agrees on, its that Jim 
McBrair never caused any trouble—until 
that one night. When asked what he was 
ike, in fact, the people in town answer 
like members of a chorus. He was а mild- 
mannered guy. He never got into fights 
nor was he ever abusive. He was never 
mean n became angry 
The only time his father remembered his 
hit yone was when Jim was 12 
years old and he beat up a boy who had 
socked his younger brother. Yet for Jim. 
the dam blew so fast and the fury burst 
forth with such a tremendous force 
that it scares him even today to think 
about it. "When I first got here," he 
says about prison, “I'd notice that people 
bringing me food would sort of edge 
away from me, as if they were frightened. 
And Fd say to myself, ‘Damn, now, 
you've killed four people, and sometimes 
I'd wonder just what sort of person I am. 
The psychiatrist told me 1 shouldn't 
think about it too much. He said that 
probably I'd never find the answer and 
it wasn't good to think about it. 

While Jim doesn’t think about it 
much, other people do and studies on 
the subject ате legion. Some studies, such 
as those by psychiatrist. Manfred Gutt- 
macher in his book The Mind of the 
Murderer, provide a lively casebook of 
crime, filled with exotic killer types from 
fetishists to sadomasochists—but offer 
Че basis for making gencralities. Some 

s, ranging from 


nd he seldom eve 


present elaborate theori 
Ki 


rl Menninger's “episodic dyscontrol" 
uses mur- 


a state in which a killer 
der to rd off an at 


Frederick Wertham 


PLAYBOY 


214 


in which a person finds murder his only 
release from unbearable strain. Others 
look to the parents as the real culprits. 
In their study on Murderous Aggression 
by Children and Adolescents, Drs. Wil- 
liam Easson and Richard Steinhilber see 
the parents as a pair of Freudian Fagins 
who unconsciously use offspring to vent 
their own aggression—the child's act of 
murder becomes simply the carrying out 
of his parents’ inner-felt hostility. Then 
there are the more traditional parental 
failings: weak father, strong mother; 
overstrict father, overloving mother. Dr. 
Shervert Frazier, a psychiatrist at Colum- 
bia University’s Psychiatric Institute, 
found in his examination of six killers 
in Minnesota that “remorseless physical 
bruta à common experience. 
“Ihis was not just a parental penchant 
for the strap. One of Fraziers killers 
as a boy was continually beaten black 
а blue by both his father and his 
mother; another was beaten while 
stripped naked and hung upside down by 
his fect. “It's hard," says Dr. Frazier, 
"when you've been treated cruelly and 
brutally not to break down and do the 
same to ѕотсопе else.” 

‘There is little doubt, of course, that the 
brain damage suffered by Richard Speck 
—his prison psychiatrist toted up no 
fewer than eight times when he suffered 
head injuries severe enough to make him 
lose consciousness—had so weakened his 
resistance to violent impulses that his 
mental responsibility for the murder of 
eight Chicago nurses was decidedly 


Nevertheless, he was sen- 
tenced to be electrocuted. nd recent 
studies the Harvard Medical School 
found evidence of brain damage or mal- 
function in about half of a prison sam- 
pling of aggresive inmates, Yet the 
physical and the psychic are so inter- 
twined that neither the organic theory 
of murder favored by some medical doc- 
tors nor the environmental theory favored 
by sociologists can claim supremacy. "Our 
organic theory doesn't account for all 
violent crimes," says Dr. Frank Ervin, one 
of the Harvard rescarchers, “and neither 
does the prevailing emphasis on environ- 
mental factors. The two influences un- 
doubtedly overlap.” Sometimes, figuring 
just where the blame docs Jie tself a 
complicated task. The autopsy performed 
on Charles Whitman after he was killed 
by the Texas police revealed a small 
brain tumor. However, his life until the 
murders had been such an emotional slug: 
fest with his father that Dr. Ti one 
of the doctors appointed by the state 
to study the case, considers the evidence 
of brain damage irrelevant. "You don't 
need that tumor to explain his murders," 
says Dr. Frazier. "He had enough other 
things going for ^ 

Similarly, the chromosome theory— 
that murderous behavior can be attrib- 
uted to the presence in a killer's genetic 
make-up of an extra male chromosome— 
is now being labeled an equally unreli- 
able test. There seems little question 
that the ХҮҮ imbalance—normally, the 
male gene contains one female chromo- 


diminished. 


“Who sent you? Nixon? Agnew? Mitchell?” 


some (X) and one male chromosome 
(Y)—does exist more frequently in cer- 
tain prison populations than in the ou 
side world. For example, last January, 
Dr. Lawrence Razavi of the Stanford 
Medical School released a study in which 
he found six cases of imbalance among 
83 men at the Treatment Center for Sex 
ual Offenders in Bridgewater, Ma: 
chusetts—an incidence 35 times higher 
than the 1 in 500 found in the popu 
tion at large. But he and others who 
have made similar studies are un- 
willing to accept the genetic imbalance 
alone as a direct cause of antisocial be- 
havior. In the first place, the things 2 
chromosome imbalance does lead to— 
height a full nches above the avei 
age, a propensity for skin problems such 
as acnc—would only help compound the 
social difficulties faced by a man already 
plagued by emotional problems. “He 
may be teased,” says researcher Dr. Ger- 
ald Clark of the Elwyn Institute in 
Pennsylvania, "and react with resent. 
ment and antisocial behavior. Even if 
behavior were no more aggressive than 
the others’, his fearsome height and build 
could bias the courts or the руй, 
to institutionalize him at a younger age 
than a small or normalsized delinquent.” 
In the second place, no study has been 
made of the estimated 200,000 XYY 
people living outside prison and presum- 
ably leading normal lives. In fact, be- 
tween 1965, when the condition was 
discovered, and 1966, the cases of ХҮҮ 
imbalance uncovered were all in other- 
wise normal people with no criminal rec- 
ords or unusual behavior patterns. Their 
very existence would seem to indicate 
that the violence found in XYY males 
is rooted in more than genetic hap- 
penstance. "It now appears,” says Dr. 
Clark, “that the XYY male in general has 
been falsely stigmatizi 

Simply describing the killer’s state, 
physical or mental, at the time he com- 
mits his crime is of little more than 
academic value unless scientists can also 
describe the n s along the way, 
unless they can help set up some kind of 
carly warning system to tip off people 
. Here, unfor- 
tunately, is where theories become more 
shadow than substance. For one thing, 
society obviously cannot lock up every 
person whom a psychiatrist—let alone a 
policeman or a nciglibor—suspects of 
being a potential killer, For another, the 
murder signs themselves tend to be so 
fuzzy and indistinct as to defy accurate 
interpretation partly because such signs 
are difficult to distinguish from the nor- 
mal expressions of hostility or anger that 
most people never translate into violent 
action and partly because murder itself is 
not a singular phenomenon but a variety 
of behaviors, differently motivated and 


before the explosion occur 


differently expressed, that have in com- 
mon only their final, fatal result. In their 
study of abnormal brain function in vio- 
Ience-prone prison inmates, Harvard re- 
searchers found a penchant for, among 
other things, wife beating and getting 
into automobile accidents. But to begin 
tracking down potential murderers by 
forcing clectroencephalograph tests on 
everyone who dents a fender or abuses 
his wife would be, if not unconstitutional, 
at least highly impractical. In his own 
study of 11 murderers in Texas, Colum- 
bia's Dr. Frazier found that they all had. 
failed markedly to develop normal rela- 


tionships with pcople as carly as elemen- 
tary school age. They would stand in 
corners and refuse to play with other 
children. This may be a handy index for 
identifying problem children —but killers, 


too? “Not all children who don’t parti 


pate in games eventually murder,” Dr. 
Frazier hastens to add. 

Nevertheless, murderers will occasion- 
ally reveal their intentions. “People who 
are going to kill will telegraph it in 
some way,” says psychologist Richard 
Bard of the City University of New 
York. “But it depends on who's at the 
other end of the wire. Often, the mes- 
sage falls on insensitive cars.” Some of 
the telegraphy is almost unmistakable. 
For instance, four months before he 


went to the top of the tower, Whitman 
talked to a school psychiatrist and told 
the doctor of his vague desires to do 
exactly what he ended up doing. 

Sometimes the message comes 
burst of violence that seems completely 
out of character with the murderer's usu- 
al personality. After Leo Held shot the 
12 people in Lock Haven, Pennsylvania, 
reporters found out that he wasn't as 
sweet a guy as he let on. A year earli 
he had admitted to a doctor his fears that 
people where he worked were plotting 
against him. Later, during a spat with a 
71-year-old widow who lived next door, 
Held hauled off and beat the old lady 
with the limb of a tree. Whitman—eagle 
scout, former altar boy, hard-working stu- 
dent, etc.—similarly turned out, on clos- 
er inspection, to be a deeply troubled 


as a 


an 


individual who alternated between heavy 
doscs of stimulants and depressants, bc- 
tween wife beating and expressions of 
remorse, and who had few friends capa- 
ble of tolerating his moods, bad temper 
and irresponsible behavior. 

Psychologists are aware that persons 
like Held and Whitman often make 
good impressions on casual acquaint- 
ances, while abusing strangers or people 
close to them. This denotes a poorly 
adjusted personality wrestling with con- 
flias and tensions but able to escape 


them briefly when confronted with the 
need to impress someone favorably and 
temporarily. It is this description of a 
murderer that reporters are first to pick 
up when interviewing the landlord and 
fellow employees of someone who has 
exploded into violence. But there is an 
other force at work here—a seemingly 
universal human trait that searches for 
irony in situations. Just as the ugly duck- 
ling must turn into a beautiful swan 
(or you don't have much of a story), the 
notorious bank robber or the murderous 
maniac is almost invariably described as 
a good boy, a well-bel 
а good home and wonderful 
average fellow who, through some quirk 
of fate or circumstance, turns out to be 
bad. But in rcality, whenever the history 
of a celebrated murderer docs not reveal 
him to be an outwardly aggressive or hos- 
tile person, it usually finds him to be an 
individual suffering monumental per- 
sonal and emotional problems that he 


aved student, from 
'ents—an 


has attempted to conceal from others but 
to which he ultimately surrenders. De- 
pending on the individual—whether he 


internalizes his problems or projects them 
—he may either retreat to the privacy 
of his bedroom and blow his brains out 
or, like some cornered animal, lash out 
blindly at anyone who comes in range 

In mass murder, the victims typically 


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217 


PLAYBOY 


play no role in the drama that brings 
them death; they are merely the conven- 
ient targets of an indiscriminate rage. In 
felony murder—homicide resulting from 
the commission of another crime, such as 
armed robbery—the victim may invite 
death through injudicious behavior or be 
killed out of panic or sadistic impulse, 
but he is blameless with respect to mo- 


ives and circumstance. However, in the 
majority of homicides, which occur 
among relatives or acq ncs, the 


victim may unwittingly or unconsciously 
collaborate in his own destruction—a 
fact that only recently has attracted the 
attention of criminologists. 

It may be an oversimplification to say 
that without victims, there would be no 
murders; but equally inaccurate is the tra- 
ditional notion that the killer is ipso 
facto the aggressor and the corpse the 
nocent victim. For instance, Dr. Banay 
d evidence that some victims may 


fou 
actually use their murderers to effect a 


suicide they cannot pull off themselves— 
a situation usually much too subtle to be 
revealed either in police records of a 
killing or in the trial of the murderer. In 
caricature, the crime might evolye out of 
the classic barroom drama: А selthating 
person, projecting his hostility, becomes 
ious drunk who wiles away 
ng plastered 
ally en- 


the pugr 


his unhappy evenings get 
d picking fights—until he 
counters а hothead with a pistol. If he 
presses his attack despite the gun (or, in 
some cases, because of it), he may well 
achieve his goal of self-destruction in a 
manner that relieves him of any sense of 
personal responsibility. Equally classic is 
the domestic brawl that concludes with 


one spouse brandishing a knife or a pistol 
уеп got 


and the other saying, "You 1 
the guts to use it!” In short, homicide is 
often a response to aggression, physical 
or psychological, by an unstable individ- 
ual who simply has been pushed too far. 

кир 
ir was going 
hip 


In the countdown months leadi 
to the McBra 
through personal hell. The relation 


murders 


with his wife, Carol, begun five years 


а casual flirtation during а 


lier as 
Saint Patrick's Day party, was always in a 
precarious state near misery for both of 
them, They were separating constantly: 
it got to be so often that McBrair can still 
rattle off the pattern. “First there would 
be family fights,” he says, "started with 
iittle or no reason. Then she would begin 


the antiJim campaign with her mother. 


218 The third step would be filing papers for 


THE CHARLES WHITMAN PAPERS 


SHORTLY BEFORE Noon on Monday, August 1, Joseph Wh. 
barricaded himself on the observation deck of the University of Texas tower 
in Austin and began shooting everyone he could see through the telescopic 
sight on a high-powered Remington hunting rifle. Because of the many build- 
ings surrounding the tower and the vantage point it afforded a sniper, people 
on and off the campus were slow to realize that the distant, reverberating booms 
e gunshots; many understood what was happening only when someone nearby 
fell dead or wounded from а well-aimed bullet. In the first 20 minutes, Whitman 
hit at least two dozen people. Before police broke through his barricade, over an 
hour later, he had shot а dozen more—firing from an elevation of 231 feet and 
hitting his victims at ranges up to 500 yards. The final toll was 14 dead and $1 
wounded. Unlike most mass murderers, Whitman had prepared his offensive with 
meticulous attention to details and apparently knowing that his actions would be 

corded as an atrocity. During the previous night, he had killed his wife and hir 
mother and left letters and a poem—never before published—that olfer chilling 
insights into the workings of a mind ї could remain lucid and analytical while 
anning and committing murder. 


Sunday, July 31, 1966, 6:45 rw. 

I don't quite understand what it is that compels me to type this letter. 
Perhaps it is to leave some vague reason for the actions I have recently 
performed. [At this point, Whitman had harmed no one; his wile and 
mother were elsewhere in the city, still alive.] 

I don’t really understand myself these days. I am supposed to be an 
average reasonable and intelligent young man. However, lately (1 can't 
recall when it started) 1 have been a victim of many unusual and irra- 
tional thoughts. These thoughts constantly recur, and it requires a tre 
mendous mental effort to concentrate on useful and progressive tasks. 
1n March when my parents made а physical break I noticed a great deal 
of stress. E consulted a Dr. Cochrum at the University Health Center and 
asked him to recommend someone that I could consult with about some 
psychiatric disorders I felt I had. I talked with a Doctor once for about 
two hours and tried to convey to him my fears that I felt come [sic] over 
whelming violent impulses. After one session 1 never saw the Doctor 
again, and since then 1 have been fighting my mental turmoil alone, and 
seemingly to no avail. Alter my death I wish that an autopsy would be 
performed on me to sce if there is any visible physical disorder. I have 
had some tremendous headaches in the past and have consumed two large 
bottles of Excedrin in the past three months. 

It was after much thought that I decided to kill my wife, Kathy, to- 
night after I pick her up from work. . . . I love her dearly, and she has 
been as fine a wile to me as any man could ever hope to have. І cannot 
npoint any specific reason for doing this. I don't know 
selfishness, or if 1 don't want her to have to face the em- 
barrassinent my actions would surely cause her. At dl though. the 
ent reason in my ad is that I truly do not consider this world 
worth living in, and am prepared to die, and 1 do not want to leave her 
to suller alone in it. I intend to kill her as painlessly possible. . . 


About 7:30, Whitman stopped typing to answer a knock at the front door. 
He admitted a classmate and his wife, who were surprised to find the usually tense, 
moody Charles Whitman uncommonly relaxed and amiable—in retrospect, like a 
man who had finally found the strength to make an agonizing decision and could 
rest in the knowledge chat, for good or bad, he was irrevocably committed. ‘The 
Classmate was even moved to remark to Whitman that he wasn't biting his finger- 
nails. Whitman only smiled, To his visitors, he seemed carefree, pleased with himself. 

About 0:30, Whitman siid goodbye to his friends and drove to pick up Кашу. 
He took her home and stayed there until she went to bed, then he drove to his 
mother's apartment in another part of the city. In the bedroom, he stabbed her 
in the chest with a bowie knife and somehow crushed the hand on which she 
wore her wedding and engagement rings. On a legal pad, he wrote: 


Monday, 81-66, 12:30 л.м, 
To Whom It May Concern: 

I have just taken my mother's life. T 
. However, I feel tha 


am very upset over having done 
if there is a heaven she is definitely there now. 


last recorded thoughts of a mass murderer 


And if there is no life after, I have relieved her of her suffering here on 
arth. The intense hatred I feel for my father is beyond description. . . . 


aboration of his hatred for his father, 
an expression of love for his mother and the hope that “If there exists a God, let 
him understand my actions and judge me accordingly.” Then he drove back to 
his cottage and stabbed to death his sleeping wife. In the margin of his unfinished 
etter, he added: 


an completed the note with an е 


Friends interrupted, 8-1-66, Mon, 3:00 л.м. 
Both Dead. 
I imagine it appears that I brutally killed both of my loved ones. I was 


only tying to do a good thorough job. 

If my life insurance policy is valid please sce that all the worthless 
checks I wrote this weekend are made good. Please pay off all my debts, 
I am 95 years old and have never been financially independent. Donate 
the rest anonymously to а mental health foundation. Maybe research can 
prevent further tragedies of this type. 


Charles J. Whitman 


Give our dog to my i 
very much, .. . 


aws, please. Tell them Kathy loved “Schocie 


During the next several hours, Whitman readied himself, At one store, he 
bought extra ammunition; at another, he bought an automatic shotgun, which he 
took home and sawed off in gangster fashion. In a footlocker and a bundle 
he packed the shotgun, two rifles, three handguns and miscellaneous. supplies, 
induding food, toilet paper and a boule of underarm deodorant. About 10:30 
aM. he drove with his arsenal and supplies to the University of Texas campus and. 
Ч them toward the admit n building s tower. When he reached 
the reception room at the observation level, he clubbed to death the middle-aged 
woman who tended the guest register and dragged her body behind a couch 

Moments later, а boy and а girl came іп from the outside walkway. They siw 
an armed man in coveralls and assumed that the school was thinning out its pi- 
geon colony again. “We smiled and said hello. He smiled back real big and 
"Hi. How are you? " They walked around a sticky reddish puddle on the floor and 
left. More sightscers—a family—arrived within minutes and were met by blasts 
of buckshot that killed two of them and wounded two others. Then Whitman 


blocked the door with a heavy desk, went out onto the tower's fortresslike parapet 


ай bx 


e 18inch-thick outer wall, later 
in spouts that served as gun ports and afforded. protection a 
men on the ground. He knew how to allow for his own downward angle of fi 

Ijusted his scope accordingly. He hit a reporter running at full speed across 
п open space. He put a bullet through a light airplane circling overhead. 

Some 90 minutes after the shooting began, two city policemen and a 
deputized civilian crawled over the bodies on the stairway leading from the 
levator to the observation level and forced their way into the reception room. 
Then they crept along the outside walkway, closing in from two directions. 
At one corner, the civilian poked his rifle around the edge of the building and 
fired blind; as Whitman whirled to answer the shot, the two policemen stepped 
out from the opposite corner and riddled him with buckshot and revolver bullets. 
‘Then one officer picked up a towel and waved from the parapet to signal it wasove 

On the poem Whitman left, he noted, “81-66. Written sometime in сапу 
{when І was in a similar fec! been lately. 


shooting—at first over the top of th 


and 


To maintain sensibility is the greatest effort required. 

To slip would be so easy, it would be accomplished with little effort. 

To burden others with your problems—are they problems?— 

Is not right—However 

To carry them is akin to carrying a fused bomb— 

I wonder if the fuse can be doused— 

Af it is doused what will be gained 

Will the gain be worth the effort put forth 

But should one who considers himself strong, surrender to an enemy he 
considers so trivial and despicable. . . . 


divorce and then she'd be sce 
with other mei 


in public 
McBrair was so afraid 
of a second divorce that he was incapable 
of asserting himself. He thought he knew 
where the blame lay—it was, in his eyes, 
always his own fault. “Maybe I was caus- 
ing the trouble,” he remembers thinking. 

His wife, on the other hand, continued 
to go out with other men: and whenever 
he confronted her with evidence of her 
affairs, she flicked them back at him like 
darts, daring him to object. Once, when 
Carol was working at the Moose Inn as a 
barmaid and she and Jim were living at 
his parents’ house, it was Jim's mother 
who threw her out when she came home 
from her job at three in the morning. 

"I don't know, it seemed like wherever 
1 turned, there were problems,” says 
McBrair. “The house payments, the car 
payments, the telephone and electric 
bills. I'd try to think things out, but they 
11 seemed so big 


nca 


nd I'd uy to solve one 
thing and a bigger one would take its 
place.” It was then he experienced the 
“tired” feeling. “It was not sleepy-type 
ed,” he recalls, "bur the sick type, 
like I wanted to vomit—but not from 
the stomach, Irom the brain." Even wild 
escape attempts provided по relief. 
Once, he took Carol and fled to a small 
town in Canada with $1700 he'd taken 
from his and his father’s joint check 
account. He was planning to set up 
resort bar and somehow make a break to 


freedom. They were back within a week. 


What's more, there was trouble about the 
$1700 check. 

Finally, around Christmas 1966, Carol 
was instituting her last set of divorce 
papers. Bills were mounting, Jim had 
bought her a cottage on Fox Lake, in the 
woods. There were payments on that to 
be made. He injured his back on the job 
at a local sand-and-gravel company and 
after that, just didn't bother going in to 
work, He lost 20 pounds within a few 
months. Along with the tired fecling 
then came thoughts of suicide, of lying 
down in the middle of the highway and 
letting a truck run over him. He tried to 
talk to someone—the fami! 


y court com- 
misioner, the judge, the district attor- 
ney, the social worker and the pricst. His 
fricnds in town, meanwhile, noticed lit- 
ue. Bodie Severins, of course, knew that 
Jim always seemed to be getting into one 
kind of mess or another, but the depths 
were unsuspected. As for the others, they 
wouldn't even listen. Working all week 
on the farms, they 


ad no thought on 


Saturday night but to go into town and 
س‎ —'! 


219 


PLAYBOY 


220 


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drink and get a gil, “The guys around 
explained one paunchy crewcut 
who said he, too, was one of Jim's 
hiends, "they don't want to hear a guy 
crying the blues on their shoulder all the 
time, telling them what a bad time he 
having and this and that When we come 
to town, we want to have fun.” 
The day before the murders, though, 
even Jims father noticed that he was 
g strange. The two were to go ice 
ip at Devil's Elbow on the Wis- 
River, Jim dragged himself along, 
bat instead of going down to the river 
with his father, he stayed in the camper 
tuck and slept. “He stayed there all 
day," his father remembers. “I sent а 
boy back to tell him his dad wondered 
where he was. But he never came down.” 
The next day, Jim got up and worked 
inattentively on his income-tax return. 
This time, he told his father he didn't 
want to go fishing. In the afternoon, he 
went over to the cottage to эсе Carol and 
talk about their income tex and about 
what to do with the children. She was in 
а bad mood and baited him and picked 
at him. At one point, she answered the 
telephone and [im heard her talking to 
one of the men she'd be. g with. 
Jim told Carol that he hadn't thought 
she was still seeing him. Carol said she 
couldn't stop him from calli Jim left 
and went over to the man's house. The 
n denied seeing Carol. Jim stopped 
in a phone booth on the way back and 
watched. the man drive by with Carol's 
brother. He followed them to the cabin, 
then crept up to a window to watch. 
He saw the man stand behind Carol 
and put his arm around her. Then he 
nuzzled her with his check and the 
kissed. Alter the two men left Jim 
walked iu and confined. Carol with 
what he'd just seen. Didn't he notice 
that advances were made by the man? 
Carol asked, fim said yes, but insisted 
that she could have turned him away. 
Then Carol got angry. She asked him 
ht her 


w 


who he thoi real lover was. "I 


think then E just blurted it out," says 
Jim. 


"Up think 


it’s your attorney; Т 


It was a wrong guess and it encou 
aged Carol to sharpen her taunts. “Wha 
happened to the ‘great detective 
asked. “Didn't the 
that on Thursday night I wasn’t wearing 
any underpants?” Jim and Carol had 
made love on Thursday night. “Where do 
you think I was all the rest of the eve- 
' she asked. Even to Jim, the an- 
swer was clear, Then Carol asked: “And 
how do vou like seconds on the old 
punching bag, dear" 

Jim spun his car out of the driveway 
and drove over to Camp Waushara. He 
remembers Severins asking him some- 
thing about stopping off at the Coop alter 
closing, then Carol's brother poking him 
in the shoulder and accusing him of 


she 
eat detective notice 


ning? 


causing trouble between Carol and the 
other man. Jim remembers telling him 
he'd been out at the cabin and had seen 
it all, so there was no use lying about it. 
Carol's brother left. Jim finished his beer 
and got into his car to drive to his parents’ 
home. "I was going 90 miles an hour and 
I remember looking down at the speedon 
eter and thinking it was like 1 wasn't even 
moving." When he got there, he went into 
the house to get his hunting clothes—in- 
sulated underwear and boots, the tan- 
plaid jacket. “Colleen [his sister] asked me 
where I was going and I sud something 

bout à snowmobile party. 1 remember 

g the 22 and taking shells out of the 
I remember fceling along the 
stock to see if there was a loading ramp." 
Jim drove into town and bought some 
beer and then drove around some more, 
ending up in a. parking Jot across from 
the restaurant in Wautoma run by Ca 
ol's mother. “I could sce through the 
window and could sec Carol working in 
there. There was something crazy ge 
through my head, something about g 
in and shooting myself in front of her 
mother and all the people. It was some 
thing about letting everyone see what 
these people had driven me to and 
bleeding all over the restaurant floor." 

Then Carol came out and got into a 
car with some other people. Jim fol 
lowed them to the cabin by the lak 
And that’s when the shooting began 

At the trial, the jury found Jim Мс 
Brair guilty of premeditated murder 
and, since Wisconsin has no capital pu 
ishment, he was sentenced to life impris- 
оптен. This means, says his lawyer, a 
state legislator named Jou Wilcox. that 
if things work out, Jim could be free by 
1979. In the meantime, he is happy 
where he is. He works as a nurse in the 
prison infirmary. During his spare time, 
he reads psychology books and when he 
sets out, he says, he's thinking of becom- 

al worker and helping other 
people in trouble. As for Carol, he still 
loves her. "But, and maybe this sounds 
funny." Jim says. "since that day, I can't 
remember her face. 1 don't have a pie 
ture, but you'd think after being with 
someone for that long, you'd remember. 
But I don't. I don't remember what she 
looked like.” 

His father said that friends had been 
very good to the family since the tragedy. 
When Mr. McBrair went into the hospital 
more Шап а year ago, he got maybe 100 
getwell cards from neighbors. Bur. Jim's 
father didn't get well. He died last fall 
of stomach cancer. Before he died, he 
talked a little bit about his son, "I've 
asked myself why a thousand times,” he 
said, “but I still don't have the answer. 
We go up to see Jim whenever we can, 
and he seems more relaxed now. He's 
carning a dime a day and I guess he feels 
no one is after him anymore. 


Nixon 
(continued from page 105) 
this early episode was the tip-off that 
nstead of using his anti-Communist do- 
mestic base 1 his freedom Пош re- 
sponsibility for the Jolinson policies to 
underpin а bold attempt at negotiated 
peace, Nixon would move with caution 
and suspicion, guard his political face 
and risk lile. It was also the tip-off 
that no more than L.B. J. would the 
new President uy to push a reluctant 
Saigon further toward negotiations than 

it wanted to go. 
So Vietnam 
became the sloj 


tion, 


on, not negoti 
n of his Administration. 
an and has continued 
a program of widely spaced combat- 
hdrawals, with the explanation 
that he intends to build up the Saigon 
government and its army to do what 
they had never been able to do before— 
fight their own war, This, Nixon ex- 
plained, would cause the North Viet- 
namese and Viet Cong to agree to a 
settlement before they had to deal only 
with the newly trained and equipped 
South Vietnamese, who would not be 
idined to negotiate with Communists 
He did not explain, however, how many 
American support troops would be re- 
quired to remain in South Vietnam, for 
how long; and he never made it clear 
whether he really believed that the South 
Vietnamese could eventually win their 
own war, or whether he only wanted to 
reduce American casualties to the point 
that the. political situation in this coun- 
try might permit him to fight on by 
proxy for as many years as required, Even 
so, whatever marginal gains toward dis- 
engagement Vietnamization might have 
represented may well have been blasted 
by the widening of the war to Cambodia. 
And with the single excep 
troop w 

many years there might be a costly Amer- 
ican military presence 
was nothing new. 
опу memorable campaign tactic 
of referring without explanation to a 
“plan to end the wai" had been especial- 
ly deceptive—the new President seemed 
only to put forward Lyndon Johns 
disguised as Dr. Kissinger. All of the 
familiar, specious arguments were re- 
vived: self-determination (although 
torically, South Vietnam has no cl 
even on nationhood), free elections 
(for a country with no national dem- 
tic tradition) the necessity to 
honor American commitments (apparen 
ly ad infinitum) and support-theonly- 
President-wehave (no matter wh 
docs). As he announced the Ameri 
vasion of Cambodia, Nixon even man- 
aged to go Johnson one better. The 
"world's most powerful nation,” he pro- 
claimed, "when the chips are down," must 
not act like “a pitiful, helpless giant." 


ocr 


Some who had watched at close range 
the painful unfolding of the American 
role in the war, with all its attendant 
disillusionments and failures, looked on 
in something near disbelief as most of it 
was gone through again—the same old 
belligerent “free world vs. Communist 
aggressors” rationale for the war policy, 
the same sort of deceptions and subtci 
fuges L. B. J. had used in carrying it out 
Nixon, for instance, gave solemn as 
surances that the Cambodian invasion 
was designed solely to "clean out the 
sanctuaries” and protect withd 
American troops; but as subsequent- 
ly disclosed by high Administration 
sources, the reasons were, instead, to 
prop up the shaky Lon Nol regime in 
Phnom Penh and to warn both Hanoi and 
Moscow not to tifle with a tough guy 
ike Dick Nixon. There was also the same 
al determination Johnson had so of- 
ten shown to force the North Vietnamese 
by military pressure into the kind of 
settlement Nixon wanted, as well as the 
“Presidential” insistence on fighting the 
war on his own terms, no matter whitt 
Congress or draftage citizens or anyone 
else thought or said about it. There was 
also the same sense of overwhelming mis- 

as haunted so much of 
the intervention in Indoch: 

The strike along Cambod 
eastern frontier flushed the Communists 
from their sanct but it led directly 
to their taking a commanding role in 
Cambodia's northern countryside. In- 
stead of diminishing the thr 
Lon Nol regime, the incursion may well 
have increased it by inciting local Com- 
munists and the North Vietnamese. to 
ake a more active and overt role. 

А further agony of the Cambodian 
mission was that, once again, the Com. 
munists were prepared for the move and 
successfully evacuated their troops and 
intelligence. The invasion that was going 
to destroy the central headquarters end- 
ed in a display of captured sacks of rice. 
The New Yorker's distinguished South- 
east Asia reporter, Robert Shaplen, es- 
timated that it would take the 
Communists about six months to resup- 
ply what was destroyed. That did not 
seem to be a sma 
they have been 


а. 


g blow in a war that 
ing for 25 yea 

The President's record on crucial do- 
mestic issues has been as unsettling as his 
foreign policy to those who had hoped 
for a new Nixon. No one, to be sure, 
ever expected the new Administration to 
give a strong forward push to the black 
cause, to do more than keep in motion 
what already was going forward, while 
easing the fear and antagonism of whites 
ned by black 
economic and social gains. But it came as 
a numbing shock to many liberals—to 
many others, too—to find a national 


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PLAYBOY 


Administration 16 years after Brown vs. 
Board of Education compiling a record 
that could be publicly labeled “anti- 
Negro” by Bishop Stephen С. Spotts- 
wood, chairman of the board of the 
NAACP, not a militant organization. A 
Government sworn to enforce the law 
and the Constitution instead appeared to 
align itself, in case after case, with the 
white resistance rather than with the 
aggrieved black minority. 

At the end of 1964, for instance, there 
were 2,164,000 ks registered to vote 
in the Confederate states. In 1965, after 
the march from Selma to Montgom 
the monumental Voting Rights Act was 
pushed through Congress by the Johnson 
Administration. By the fall of 1969, the 
Voter Education Project of the Southern 
Regional Council could report 3,248,000 
istered blacks, an increase of more 
than 1,000,000, of which 897,000 had 
been gained in the seven states affected. 
by the law. Yet, by then, the Nixon 
Administration, under the spell of the 
Presidents Iago, Attorney General John 
Mitchell, had asked Congress not to re- 
new the key provisions of the act. When 
Congress passed it anyway, Leoi 
ment, a Nixon aide inyolyed in ci 
matters, telegraphed Bishop Spottswood 
a brazen claim to credit for a measure 
“stronger in its present version, since it in- 
corporates the existing Voting Rights Act 
and suspends literacy tests nationwide.” 

‘The Administration in the summer of 
1969 publicly abandoned the Johnson 
Administration's effective “guidelines” for 
desegregation, then retreated from using 
the most effective means ever deyised for 
integrating schools—cutting off Federal 
funds to districts that maintain segrega- 
tion. It fell back on the policy of Federal 
court action that previously had achieved 
desegregation of only about one percent 
of Southern black students in nearly a 
decade, Since then, Mitchell's attorneys, 
many of them reluctant dragons, actually 
have gone into Federal courts several 
times, not for the relief of blacks suffer- 
ing from school segregation but for the 
relief of white school boards refusing or 
delaying desegregation. HEW's civil rights 
enforcement chief, Leon Panetta, was 
forced to resign for trying to push in- 
tegration. One of the things that kept 
his boss, Robert Finch, in hot water at 
HEW was his attempts, however in- 
effective, to move ahead on school deseg- 
regation. Not until after George Wallace 
had survived the Alabama primary, and 
only a month or two before school opened 
for 1970, did the Administration file 
suits to achieve substantial desegregation, 

Against this program of retreat, Ad- 
ministration propagandists assiduously 
ballyhoo the so-called Philadelphia Plan, 
which requires construction unions work- 
ing on Federally funded projects to give 
opportunities to minorities—a tough 
program on paper, but one of almost no 


222 impact so far—and the provision of a 


one-and-a-hal-billion-dollar fund to aid 
desegregating sdiools and to improve 
some all-black schools. The fund and the 
Philadelphia Plan, it is claimed, are of 
immediate and practical—not theoretical 
impact; watch what we do, not what 
we say Ше Adminiswation insists, But 
immediate and practical impact" also 
will come from the “no Кпос} 
and the "preventive detention 
ted by the Administration's stringent 
for the District of Columbia. 
which just happens to have the largest 
black majority of any American city. 
And the impact the appointment of 
G. Harrold Carswell might haye had 
оп the Supreme Court does not seem 
at all theoretical to anyone familiar 
with this kind of Southerner. More- 
over, after Carswell's defeat, it was 
to white Southerners, not to the blacks 
against whom they have consistently dis- 
criminated, that the President of the 
United States addressed his bitter sympa 
Чез. That had immediate and practical 
impact, too, as did Pat Moynihan's sur- 
prisingly insensitive use of the words 
"benign neglect" to describe his pro- 
posed stance for the Nixon Administra- 
tion toward blacks. 

The years of Federal insistence on the 
rights of black citizens had created in the 
minds of many whites—particularly the 
disadvantaged—fear, animosity and legit- 
imate concern for their own rights and 
needs. But in seeking, as every available 
political test suggests it has done, to win 
the favor of those whites by substantially 
retreating from the cause of the blacks, 
хоп Administration not only ove 
ny of the moral and legal 
peratives of the matter but, in fact, 
heightened the fears and tensions all 
around. It was not possible for mere 
reat to satisfy the outright segregation- 
ists among the backlashers—only surren- 
der could do that. And the retreat 
merely confirmed the blacks’ long-stand- 
ing suspicion that when push came to 
shove, the white folks would not go 
mach further than token gestures. 

The single most inglorious retreat by 
the Administration on il rights has 
been the slowdown in desegregation of 
Southern schools. Yet that dismal record 
is being hidden by one of the slickest 
PR efforts the Nixon men have tried. 
Before he took office, for example, civil 


pils from all-black schools in the South 
actually had been "desegregated" by 
counting only the blacks assigned to in- 
dividual schools that continued to be at 
least 50 percent white. This reflected 
the idea that genuine desegregation is 
chieved only when students from for 
merly all-black, usually disadvantaged 
schools are assigned to classrooms with 
enough white students so that they are 
not transformed into either all-black or 
predominantly black schools. For the fall 
of 1970, Leonard Garment proclaimed 


what appeared to be a staggering increase 
from 164,000 to 1,000,000 black students 
expected to be in “desegregated school 
systems" in the South: at the same time, 
Assistant Attorney General Jerris Leon- 
ard said that 97 percent of Southern 
black pupils would be in integrated 
school districts when the schools opened 
for the 1970-1971 ycar. 

But in fact, the sweeping "gains" 
daimed by Garment and Leonard will be 
achieved to a large extent by counting 
this year the number of children attend- 
g school in districts with some de 
gree of desegregation—a far different 
thing from the earlier school-by-school 
criterion. Senator Walter Mondale of 
Minnesota, the chairman of the Select 
Committee on Equal Educational Op. 
portunity, has pointed out that in “this 
kind of hocuspocus" Garment and 
Leonard include, for instance, many 
black pupils in Columbia, South Caro- 
lina, who still will be in all-black schools 
but will be counted under the Nixon 
method as having been desegregated, be- 
cause administratively they are in a de 
segregated district. 

This kind of thing ought to be borne 
in mind as the Nixon Administration 
and the courts follow up on the nume 
ous desegregation suits the Justice De- 
partment filed in the summer of 1970 
At almost the same time, the Admini: 
tration was helping devise а "desegrega. 
tion plan" for Richmond. Virginia, that 
would leave the city with numerous all- 
black schools, and it asked a Fedcral 
court of appeals to modify a district 
court plan that would have completely 
eliminated segregated schools іп Char- 
lotte, North Carolina. 

Close scrutiny of the Administration’s 
handling of the issue of tax exemption 
for private all-white "academics" in the 
South will further confuse those who 
пу to pin down Nixon's commitment 
or lack of same to school desegregation. 
The Southern Regional Council counts 
almost 400,000 pupils already enrolled 
in these dubious institutions, most of 
which are of recent vintage and low 
quality, and were obviously set up to 
avoid public school integration. Former 
HEW Secretary Robert Finch announced 

f nd other good 
hin the Adminis 


guys were battling 
tration to reverse the Treasury's. policy 


of granting these 


ademies tax. exemp- 
tions—under which the contributions 
that are their only means of support are 
tax-exempt. Finch said this was an un- 
constitutional form of Federal subsidy to. 
maintain racial segregation, which it pat- 
ently was; but he did not say who was on 
the other side of the battle, nor why 
Nixon needed to ve it fought before 
him at such length. 

Last spring, however, the Supreme 
Court held that local governments could 


grant local tax exemptions for church 
propertie: ing that as a "precedent," 
the Justice Department argued in Feder- 
al court that the white-academy tax ex- 
emptions were an act of “benevolent 
neutrality" to benefit education, rather 
than a subsidy to sustain segregation 
"This. as Reese Cleghorn of the Southern 
Regional Council later wrote, meant 
benevolent neutrality toward, and tax 
exemption for, such institutions as “the 
one-teacher Holy Bible Church School in 
Lamar County. Georgia. which has no 
accreditation, no drinking fountains, no 
waste disposal, no rest rooms and very 
obviously little education, and where in- 
terested public school officials е been 
tumed away by men with guns.” 

This position was not only untenable 
but ludicrous, and in July, with suits 
ng in court, the Internal Revenue 
vice “rescued” the Justice Department 
from it by ruling that it would revoke 
the tax-exempt status of private schools 
that continued to practice racial discrim- 
ination, Attorney General Mitchell was 
said by Administration sources to have 
approved this policy change, despite the 
earlier position of the Justice Depart 
ment, and the IRS ruling was depicted 
as the outcome of a mighty policy battle 
within the Administration. 

If there was such a battle on such a 
transparent question, it only makes one 
wonder the more whether this Adminis 
tration has any real commitment—aside 
from legal oblipations—to school de- 
segregation. Its bumbling and stumbling 
on the taxexemption issue alienated 
everybody, including Southerners, and 
evoked wrathful threats from J. Strom 
Thurmond to lead the Confederacy back 
to George Wallace. 

The Nixon record on the economy, if 
by no means brilliant, was at least more 
straightforward Шап on Vietnam and 
race—although here, too, the President 
showed fondness for talking tough and 
doing little, as when he proposed a tax 
on leaded gasoline with much fanfare, 
then abandoned it to its predictable fate 
among members of Congress facing an 
election year. In fact, Nixon proved a 
master of this ploy—for instance, in а 
1970 State of the Union message that was 
almost entirely devoted to proposals for 
saving the natural environment. It was 
followed by a succession of inadequate 
programs, notably а ten-billion-dollar 
plan for myriad sewage-disposal plants 
that turned out to be four billion dollars 
Federal and six billion dollars state, or 
a Federal rate of expenditure less than 
that already authorized by Congre: 

The Nixon Administration does have 
to be credited with a minor cutback in 
defense spending and with what appears 
to have been a zealous but vain effort to 


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hold down Federal spending enough to 
produce a budget surplus and curb in- 
flation. But this resulted primarily in 
funding social programs on a level even 
lower than. previously, without major im- 
pact on inflation. Right at the outset, 
Nixon could not find the political cour- 
age to retain the Johnson-imposed surtax 
on incomes, in order to reduce consumer 
buying power and increase Federal reve- 
nues; and in his first year in office, he 
was stampeded by the Democratic Con- 
gress into acquiescence in an ill-advised 
x reduction that not only damaged his 
own anti-inflation efforts but, for years to 
come, will haunt any President uying to 
find funds to meet national priorities. 

The Democrats, sensing the one politi- 
cal opening they really know how to 
exploit—the opportunity to run against 
Herbert Hoover and the Depression— 
are tying to make it appear that the 
Nixon his failure to 
impose “guidelines” for wages and prices, 
or even wage-price controls. His real fail- 
ure, was in permitting tax rc- 
duction at a time of inflation so rampant 
that the Federal Reserve had pushed in- 
terest rates out of sight in an cffort to 
squeeze the money supply. 

So, by mid-1970, in three v 
where even his opponents might most 
reasonably have expected Nixon to have 
made demonstrable progress, he had little 
to exhibit, although the economy showed 
signs of coming around at last; and 
on the race question, at least, the situa- 
tion had retrogressed. For these reasons 
alone, Nixon had failed by most measures 
to restore Presidential credibility in its 
most important sense—th: а pub- 
lic confidence in the office. 
who occupies it. That kind of credibi 
has to be based fund 
mystically. on a general belief that the 
President is doing his best to hea nd 
heed all interests and points of view, 
then trying to act for the general good. 

But even these failures, taken in sum, 
were not more damaging to Presidential 
«redibility than the most ironic and men- 
acing development of all. In just 18 
months, the President who had prom- 
ised, above all, to "bring us together” 
had fostered one of the most divisive 
Administrations in history—one that had 
pitted groups, sections, even generations, 
against one another, either in ignorance 

nd ineptitude or for short-run political 
gain, and one that in its harsh commit- 
ment to law and order had openly 
threatened dissent and unorthodoxy by 
means ranging from conspiracy trials to 
blustering oratory. 

Vice-President 


economic sir 


howevei 


al areas. 


Agnew's attacks on 
“effete snobs” bad apples, university 
officials, black militants, the press, former 
Democratic officials and members of. Con- 
gress were the loudest and best publi- 


224 cized of these acts; but they were not so 


ominous as M ısistence on pros- 
ecuting the Chicago Seven under a stat- 
ute of dubious constitutionality or his 
department's relentless pursuit of the 
Black Panthers. Even worse than these 
vendettas was the legislation Mitchell 
approved or sponsored that would in- 
vade the Bill of Rights and the American 
legal tradition. In a special category of 
menace was Mitchell's extension of “na- 
tional security" wire tapping and bug- 
ging, without court orders or any «тег 
sanction or safeguard, to domestic indi. 
viduals and organizations that he or the 
President considered a threat to national 
security. That certainly included the SDS, 
but no one could know who else. 

The President himself made his own 
unique contributions, the more shocking 
for their source, to the climate of divi- 
sivencss and vengefulncss His slashing 
attack on the Senate for rejecting Cars- 
well was а blatant appeal to white 
Southern chauvinism and paranoia. This 
was followed, if not exceeded, by his 
denunciation of “bums” on the campus; 
his implied approval of the brutal law- 
lessness of pro-war demonstrators by his 
reception of the hard-hat leaders within 
days after construction men in New York 
had set upon and beaten nonviolent 
peace demonstrators; his callously word- 
ed statement following the senseless Kent 
State deaths that they “should remind 
us all once again that when dissent 
turns to violence, it invites tragedy.” 
Even, ludicrously, Nixon's request 
that Johnny Cash come to the White 
House and sing Welfare Саййас sug- 
gested what the leader of all the 
American people really thinks of some of 
them; for this song, which Gash flatly 
jg, labels the poor in Ameri- 
as shiftless con men sponging on the 
silent majority. 

It was no wonder in such an atmos- 
never before, the faceless 
eaucracies of Washington 
work compiling, through 
new computer techniques, the raw mate- 
tial of thought and behavior control in 
America, The FBI, the Secret Service, 
the Army, several. Cabinet agencies—all 
were building their “data banks” of mil- 
lions of dossiers on “persons of interest” 
—from potential Presidential assassins to 
student dissenters. Phe FBI was reported 
to have made lists of the people who had 
paid for transportation to Washington 
during the last peace march there. There 
was no visible Administration. restraint. 
on this activity; and what might uli 
mately be done with all that information 
about private American citizens was only 
too easy to imagine in the Washington 
of Agnew, Mitchell and Richard Milhous 
Nixon. 


refused to 


were hard at 


No President of modern times has so 
tempted the amateur headsbrinkers of 
the Washington press. It is a temptation, 


perhaps, that should be resisted stren- 
wously—yet every good reporter knows 
that ours is a Government of men as 
well as д Government of laws, and that 
in the case of Presidents, ће men quite 
often prevail over the laws. So it is to 
Nixon himself that one must finally 
turn, if he would study the difference 
between the logical expectations of 1968 
and the results of 1970. 

The expectations were logical but not 
therefore justified. The logic is borne 
out by Nixon's most important score, In 
his proposed Family Assistance Plan, he 
lid out the broadest welfare reforms 
since the original Social Security Act, 
thus validating in at least one area the 
basic liberalsfor-Nixon script of 1968: 
Only а conscrvative Republican critic of 
doles and handouts could have got away 
with a guarantecd-income program, how- 
cver limited, that would cost more and 
put more people on the welfare rolls, 
without being labeled a bleeding-heart 
do-gooder. Just imagine what the House 
would have done to such a proposal 
by, say, John Е. Kennedy; but Nixon 
actually got the support of chairman 
Wilbur D. Mills of the Ways and Means 
Committee, that stern guardian of the 
morals of the poor. The program has 
run into trouble in the Senate but may 
yet be rescued by hard Administration 
lobbying. 

Despite an agonizingly slow start and 
the one-vote Senate victory by which he 
won the Safeguard ABM system upon 
which he had insisted, Nixon also en- 
tered what appears t0 be real bargaii 
with d 1s on nuclcar-arms contol; 
in July, the United States put а sub- 

age of proposils on thc 
»na; there was virtually no 
outcry from the right wing, again sug- 
gesting the rationale of sending a con- 
servative to do 's work. 

Ir is only fair to point out th 
political administration, and Nixon's less 
than most, functions in a vacuum, nor 
does what it might wish to do. Even had 
he not let the Democrats run over h 


a libe: 


n 
on tax reduction, for instance, Nixon 
would have found himself strapped for 


cash to invest in social programs until he 
could bring the war to a close and head 
off the inflation. He was confronted with 
а Democratic Congress and an implac- 
able liberal opposition not prepared to 
grant even good intentions, let alone 
lend political support, to the nemesis of 
Alger Hiss and the low-road campaigner 
of the Fifties. The difficulties the Family 
Assistance Plan encountered in the Senate 
and among entrenched professional wel- 
fare workers provided the most shocking 
nple. And when, on good evidence, 
Nixon's education specialists pointed out 
that the Johnson Administration’s much- 
touted compensatory education program 
for ghetto schools had accomplished litde 
or nothing, the education establishment 


LT MMA AES 


SSS 


“No doubt about it, Arnie. . . . This is the most enthralling 


responded to 1 
with outraged а 


threat to its pocketbook 
ies of racism. 


Still, these expectable difficulties have 
not been the whole story. In the first 
place, Nixon has not operated confidently 
from 


ative base he considered. 
instead, he has been constantly 
x over his shoulder, as if in fear 
that the dreaded right wing might be 
gaining on him. George Wallace's sur- 
vival in the Alabama primaries kept the 
South divided, and Ronald Reagan's 
anticipated reelection in California kept 
a potential insurgent in threatening posi 
tion in one of the key Nixon states. In. 
practice, therefore, the hopeful liberal- 
moderate rationale for electing a Repub- 
lican conservative took a reverse bounce; 
the President talked disengagement and 


a conser 


negotiation. but he fought and widened 
the war, He put up one and a half 


Dillion dollars to aid the integration of 
schools and took on the segregated con- 
struction unions with the Philadelphia 
Plan, but the symbols he provided to 
hold the backlashers in line—the Cars- 
well nomination. for instance, or the de- 
segregation slowdown—were so divisive 
that they far outweighed his gestures in 
the other direction 

Another good reason why the theories 
of 1968 proved unreal in 1969 and 1970 
is that the theorists simply overlooked 
the extent to which Nixon is himself 
exemplary of the attitudes and exper 
ence of those to whom he had appealed 
in the campaign. His is by по means 
an old-line Republican. Administration, 
grounded in Wall Sweet, the loftie 
aches of the Ivy League and the 
1 establishment; men of noble. 
as William So nd 
Henry Cabot Lodge seem to serve it at 
arm's length. It is, instead, an Admi 
rati 


те; 


such. 


ton 


thy construction Wester 

entrepreneurs, arrived ethnics, the new 
managerial das, Southern Republi 
state chairmen and the like, whose col- 
lective wisdom (with honorable excep- 
tions) seems to run to а notion of most 
Americans as television-watching football 
fans, desperately worried that blacks will 
burn up the cities and drive down prop: 


mer 


suicide note Гос ever read.” 


erty values, that students will overthrow 
the Government and that taxes will go 
up, so that the poor can work less. Thus, 
the affairs of the country, at a time of 
change and turmoil and severe intellec- 
tual challenge. have fallen into the hands 
of group of well-intentioned, even able 
men of relatively narrow experience and 
conventional-to-conserv 
tudes. Nixon himself is not only typical; 
this Administration is his creation. 

In their management of racial matters, 
for example, the likelihood is that the 
President, Mitchell, former HEW Secre- 
tary Finch and Assistant Attorney Gen- 
eral Leonard—like the white middle 
dass in general—have litle conception 
ir or of the 
gull between conditions in 

black men and those in 
which white men live in America, and 
ual, almost 


of the depth of black. desp: 
the 


vast 
which 


less recognition of the с 
inst acism of so much of white 
Americ is not only a more d 
ble, it is a more logical explanation of 
their policies than that they are simply 


under the thumb of Sirom Thurmond 
and other Confederate generals. The 
Nixon Administration is not so much 


anti-Negro, as Bishop Spottswood charged, 
as it is typically white and middle dass 
—a subtly different thing, if not much 
less damaging. 

Again, the plain meaning of the re- 
port turned in by Chancellor Alexander 
Heard of Vanderbilt University was that 
the Nixon White House had little or no 
understanding of the student political 
movement. in America—which was wh 
in his famous letter. Secretary of the 
Interior Walter J. Hickel had already 
tried to tell the President. Dr. Heard 
suggested. for instance, that the Presi- 
dent's famous Lincoln Memorial chat 
with students about football and surfing 
had been, in the days following the Kent 
State deaths, like “iching a joke at a 
funeral.” 

The theorists of 1968 
extent to which person 
American politics. It is Ni 


also forgot the 
domi 


Johnson once called a “chronic cam- 


ner," Nixon was known as a techni- 
ciam of politics, who would study his 
problems and prospects and, like a sys- 
tems engineer, put together a solution or 
program to which he was likely to re 
main faithful to the end, even when 
circumstances changed or demanded ad 
hoc response. This game h 


appears to have carried over into the 
White House—in Vietnamization. and 
the Southern strategy, for instance—so 
that the Nixon Administration often 


gives the impression of being more 
culated than dynamic, as does its leader. 
“There was a revealing moment this past 
summer in Nixon’s television appearance 
with three network newsmen. Asked by 
NBC's John Chancellor why he had cho- 
sen the conversation “technique,” Nixon 
picked up the word right away and re- 
ted it twice. He was using that tech- 
he explained, because others had 
used it, the time seemed ripe and the 
reporters could “follow up" on thei 
questions. His absorbing interest in the 
que—the Presidential gadget and 
t would work—was mi 
as it had been in the 1968 campaig 
when he would proudly discuss how 
cheap and effective was his rediscovered 
technique of nationwide radio addresses. 
Early in his Administration, Nixon 
1 spoken several times of weighty deci 
sions as if they we ible objects. He 
would meet with his advisors on S: 
day and make the decision whether to 
build an ABM system; in а few days, he 
would sit down with the National Securi 
ty Council and make “the decisio 
Middle East polic 
of an impression of documents 
signed and filed, once and foi 
than a sense of shifting situations being 
watched, weighed, managed by fa 


how 


le 


e and the 
епс fondness for policy-mak 
machinery and all sorts of "councils" 
suggest a sort of compensation for wha 
seems to be his tin ear for the subtleties 
nd rhythm of politics. He may know 
how to devise and follow a game plan 
(perhaps right out the window), but no 


225 


PLAYBOY 


instinctive politician would have shut 
himself off from the student peace march- 
ers to watch a football game, nor made 
the “bums” remark the morning alter the 
Cambodia speech, nor let John Mitchell 
speak to the segregated Delta Council 
the week Jackson State killings. 
Add to this the Adininistration’s taste Гог 
obvious political cosmetics, When District 
of Columbia crime took a seasonal down- 
turn, the Justice Department claimed its 
hard-nosed policies were responsible; and 
when the troops invaded Cambodia, they 
barely managed to get there before Herb 
Klein, leading his tame “inspection com- 
mittee” of friendly governors and me 
bers of Congres. The picture that 
emerges is one of technique without vi- 
of 


10 substantive achievement. 
No one has contributed more to that 
impression than Richard Milhous Nixon, 
who has himself given a major reason 
why in his book Six Crises. Discussing 
his preparations for thi 
in 1960, after John Kennedy had 
the first one, Nixon wrot 
analysis, I knew that what was most im- 


“second debate" 


wor 


"In the final 


portant was that I must be myself. .. . 1 
went into the second debate determined 
to do my best to convey three basic 


impressions to the television audience- 
knowledge in depth of the subjects d 
cussed, sincerity 

He seems still determined to convey 
those qualities, and that is a large part 
of the rouble. Anyone who is deter- 
mined to convey sincerity and confidence 
can rarely be sincere or confident, and 
Nixon seldom seems either. It is patently 


nd confidence 


“I don't generally speak to strangers, but you've been 
sitting on my hand for the past half hour.” 


only surface sincerity, 
example, to 


ay that one would rather 
one-term President than to preside 
over a “second-rate powei 
cause the statement is so obvi 
signed to convey patriotism, self-sacrifice 
not really do so. 
As for confidence, through the con- 
incerity of Nis 


‘ation, it does 


m's television 


k unexpected attacks, 
Clark Clifford 
George Ball not only ought to һа 
though the only 
such personal moment in wh 
Johnson indulged himself publicly was 
ected at Nixon) but they ominously 
recalled Nixon 
hat of the Eisenhower Adr 
tration, Under presst 
appears still reluctant to stay 
the jugular, Or per 
tion is only 
thumping talk 


aps such jumpy reac- 
other version ol the chest- 
f the April 30 speech 
evening, the Pres- 
эп and defeat 
onally would have to sulfer 
them for the nation, of will and char- 
acter as if only power and battle could 
же them. of the ov 
of the United States 
strated to exist. 
This struck. many 
thing more personal than superpatriot- 
isturbing preoccup 


ident spoke of humili 
as if he por 


ng strength 
it had to be 


isteners as some- 


conversation 
about the real reason. behind ihe inva- 


A day or so later, 


, someone suggested to 
iswer was obviou 


sion of Cambod: 
me that the 


invaded Cambodia because he could 
never make the first string. 

as it may be, that verd 
ain ring of insight. Wh 
stance, did Nixon presume to mention 
his relatively small Cambodia decision— 
again, he spoke of it as if it were some- 
thing he had placed in an envelope and 
sealed with wax—in the same context 
with the nd-peace decisions of Wil- 


son, F. D. R., John Kennedy in the Cuban. 


2 Why, later, did he allow 
comparison of his Cambodian campaign 
to Stalingrad and D day? What was the 
wellspring of his bitter but historically 
inaccurate complaint that in denying 
him Haynsworth or Carswell on the Su- 
preme Court, Congress was not passing 
judgment on them but invading preroga 
tives granted to every other President? 

So we come back, I think, to Captain 
Queeg—a limited man. not quite sure of 
himself, therefore going by the book, 
yet determined at all costs to measure up 
to great demands and to have his due in 
return. This is not necessarily ignoble; 
in fact, one senses that Nixon, like Lyn- 
don Johnson before him, is ma 
mighty efforts as Commande Chief 
and director of foreign policy, to live up 
to the great teachers and precepts of the 
post War era—Truman, Acheson, Dulles, 
Eisenhower, collective security, resistance 
to aggression, American leadership of the 
free world against the Communist world. 

With the same single-mindedness, his 
domestic course seems to unwind relent- 
lessly Пот the narrow but embracing 
conviction that the country is moving 
right, going conservative, perhaps even 
faster than he can, and that his mission 
nd his fortune is to sail with the tide 
nd protect us all from the monsters of 
the right wing. But is there such an irre- 
sistible trend? Are those monsters so men- 
acing that any compromise is justified 
if it seems to head them off? Might not 
туеп great teachers and landmarks of 

ional policy have become inadequate 
or out of date in a time of such swift 
and profound change? 

What is hardest to detect in Richard 
Nixon is a concept of America rising 
clear and promising in his own heart, 
his own mind. And what. leader, he 
seems most seriously to lack is the abi 
to improvise, innovate, make do. rec- 

ize and adapt to changed reality 
h the same goals in mind—steady 
n with flexible response. Lacking 
them, is the game plan deepest іп 
Richard Nixon's soul only to prove him- 
self—once the chronic campaigner, опе 
of life's most famous losers—as big а 
man as any of his predecessors? If so, and. 
if he characteristically sticks to that goal 
come hell or high water, we can con- 
tinue to expect а tin car to be turned 
to great opportunity. 


FRENCH RESTAURANT (continued from pose 173) 


is, shall we say, undernourished?” 

Comme ca. 

When ordering, a few suggestions are 
essential. If you do not know the place, 
do not ask for dishes involving sauces. 
French sauces are masterpieces of camou- 
flage. With eggs, herbs and low cunning, 
they can mutate leftovers into а “spécial 
йё de la maison" or promote a Raccid 
pancake to а “plat du jour.” Unless you 
order your steak blue or rare, do not 
plan on coming back, Medium rare is a 


s well 


sin, a sacrileg 
Without looking at the fruit or veget: 
bles, ask if they are fresh. As for seafood. 
make it very clear that you will have 
nothing to do with it if it has been 
frozen. Anything from а can or a deep- 
freeze demands an instant tantrum. In 
France itself, there is only one dressing 
for salad: oil, vinegar, salt and freshly 
ground pepper. Possibly mustard with 
endive or fried bacon with dandelions. 
ind out if the chef will prepare spe- 
cial dishes, given adequate forewarning. 
French chefs are bored in America; give 
them something to concoct that is not 
on the menu. 
A few words on drinking. It's advisable 
to drink only wine. Start with an aperitif, 
not a martini. Admittedly, it is now a 
faddish thing ance to drink Scotch. 
But if you must have Scotch, at least have 


it with Perrier. (Mineral water is good 
for liver, kidneys and other quaint or- 
gans, anyway.) 

Make it a duty to complain about the 
importer's inept selection of wines. Many 
wine merchants are unsavory weasels who 


take advantage of the American pioncer's 
naiveté. Every year, leftover French wines 
are auctioned and bottled as "grand cri.” 
So order only estate.bouled wines. Just 
check the cork for its imprint, and insist 
on sniffing it when it is extracted 

IE you feel hesitant about ordering 
wine, ask the wine steward for the best. 
But specify that you will have nothing 
to do with beaujolais, a wine that, like 
the unicorn, docs not exist. Rosés, with 
vare exceptions, are for maiden aunts, As 
for afterdinner drinks, never ask for 
brandy, but specify fine champagne (co- 
gnac), Armagnac, calvados, mirabelle or 
Kirsch. Only then, over liqueurs, should 
you smoke—prelerably a cigar. 

Now, back to general behavior: 

Harass the owner with suggestions. 
Demonsuate his imperfections. Compare 
his place with others. Complain about 
the wing 
"How about flowers on the table? Or 
will I have to bring my own?" 

"Would you consider it sacrilege to 
change the menu—say once a year?" 

What a pity you lost your chef! 


(The French have no sense of humor 
whatever but are very sensitive to irony. 
So play the game) 

If you find a place to your liking, re- 
turn to it. To become an habitué de la 
maison is the best arrangement in the 
world. You will be cajoled with drinks 
on the house. Your whims will be com- 
mands. Cultivate the patron; chat with 
him and listen to his complaints. Be the 
ruler of a kingdom. Your ladies will be 
impressed by your powers and fellow din- 
ers will jealously attempt. to cajole such 
elegant fare, such sensitive service. 

If you have not visited a restaurant for 
some time, tell the patron you were 
abroad. Ask him if he got your card 
(What? You didn't get my postcard 
from Tours? I had such a fine meal there 
one night that I wrote you a note. Ah! 
The mail just does not work anymore”) 

To be in, you must know the waiters’ 
and captains’ names. One of them should 
be your pet, operating under your omnip 
олеш tutelage. Occasional chitchat and 
grand tips will perpetuate your entente 
cordiale and make you even more im- 
pervious to the Gallic outrages perpe 
uated on those unfortunates who have 
not heeded our advice. 

Let your name be known, and your 
profession, if it is a glamorous one. 

Now, à table. Bon appétit! En garde! 


The new most automatic 
automatic. 


It’s the new Kodak Instamatic X-90 camera. 
Does more of everything for you. Automatically. 
And it uses the new Magicube Type X, for flash. 

The kind that doesn’t use flash batteries. 
All sorts of things happen automatically when 
you drop the film cartridge into the new X-90. 
It automatically advances the film to frame #1. 
And to the next frame, after each picture. 
Automatically sets existing light exposure by 
electric eye; sets flash exposureas you focus. 
Automatically warns you when to use flash. And 
when you need to change a used-up Magicube. 
See the new Kodak Instamatic X-90 with f/2.8 
Ektar lens at your photo dealer's. Less than $145. 


Kodak Instamatic X-90 camera. 


Price subject to change without notice, 


PLAYBOY 


PLAYBOY INTERVIEW 


PLAYBOY: Swcly, youre not suggesting 
that he go unpunished. 
KUNSTLER; The answe 


ought not to be 


punishment in the sense that you just 
put him away in a cell We necd to 
create new institu hs to {reat someone 


lso have ta work to 
make sure that no matter what he's 
done, he gets the best possible defense, A 
man accused of a crime, no matter how 
brutal, is supposed to be guaranteed a 
competent defense under our judicial 
system. But that doesn't happen. A 
white-collar executive who has acted in 
collusion with other white-collar execu- 
ives to restrain trade will get y 
good lawyer and is likely to be penalized 
by no more than a fine. But a poor man 
whose crime stems from being at the 
bottom of society—and from the depriva- 
tions inflicted on him by society—is not 
going to be able to afford as good a 
lawyer as the white-collar executive. He 
won't even be able to afford bail, And he 
won't have the resources to beg 10 have 
independent investigation. done on his 
behalf. Such a defendant is railroaded, 
even though the system likes to maintain 
that everyone gets due process of law 
nd has the full protection of the law. 
But the system just doesn't work that 
way for the g sses of criminal 
defendants. A single hour in any magi 
trate's court or in any night court in the 
United States will teach anyone this ele- 
mentary fact of American life. So, 
sense, I'm convinced that most cr 
cases are political cases. And. оп re- 
flection, I must modify my previous 
statement about the merits of the adver- 
ry system, because these defendants 
don't have the quality of lawyers or the 
amount of resources necessary to put up 
a firstrace defense. That's why there 
have to be more lawyers who ae willing 
to fight like hell for such a defendant 
while educating society at large about the 
social forces at the root of the defend- 
nts crime. 

PLAYBOY: That sounds both optimistic 
and idealistic; yet at one point in the 
Chicago tial, you said 10 Judge Holf 
I am going to tum back to 
seat with the realization that everything 
I have learned throughout my life has 
to nought, that there is по me 
ing in this court and. there is n 
this court." That's an 
strong statement for an attorney to make. 
Tt implies total disillusion with the 
legal system. During the same trial, on 
the other hand, you also said: "I think if 
this case does nothing else, perhaps it 
will bring into focus that again we are in 
that moment of history when a court- 
room becomes the proving ground of 
whether we do live free or whether we 
do die free.” Which of the two do you 


e that. And we 


man: 


come n- 


law in 


йу 


extraordi 


228 really believe? Do you still think our 


(continued from page 170) 


legal system is viable, that justice can 
prevail? 
KUNSTLER; That first statement of mine 
remely emotional 
»urtroom, when I was 
g to the arbitrariness of the court 
in not allowing Ralph Abernathy to take 
the stand for the defense. The second 
statement came from my summ 
ing which I was trying to persuade. 
the jury to acquit the defendants or at 
least become a hung jury, The purpose 
of cach statement was different. One was 
a spontaneous reaction; the other was a 
calculated attempt to win a jury over to 
а point of view. I don't think there is a 
severe contradiction between them. I do 
think the cours have a place in the 
struggle in which we're engaged. ТЕ 
they're going to be used as instruments 
of the system, then the people who are 
being persecuted for their political be- 
liets сап and must use them as their own 
instruments—not only to protect them- 
selves but also to expound their political 
belicts in every And in 
1 , I believe the law- 
yer has a definite place in the struggle. 
PLAYBOY: Can you conceive of the courts, 
by your criteria, becoming true instru- 
ments of justice? 
KUNSTLER: There's a chance, I think Т 
must be an optimist, and I would guess 
the Chicago defendants must be opti- 
mists, too, because apparently we do be- 
ve in the possibility of reclaiming 
American life and society and of making 
justice possible. I don’t think we'll ever 
reach the millennium, but I think there's. 
a chance of our achieving a more just 
and free society, E don't know how just 
and how free, but if I thought there 
no possibility, I'd be fighting 
battle of no significance. So I would say 
that Em restrainedly opi lic as to 
what the future will hold. 
PLAYBOY: You've said you were radical- 
ized by the Chicago trial into believing 
that much more action eutside die courts. 
. What do you mean by your 
radicalization and what, precisely, 
are you advocating that people do out- 


in the 


were 


own 


side the courts? 

KUNSTLER: 1 was, indeed, enormously radi 
ized by the Chicago trial. Bur the 
process of my radicalization had started 
before then. I think for me 
just after the 196 nven- 
tion, when a number of Black Panthers 
were beaten up in the corridors of a 
courthouse in Brooklyn by a group of 
off-duty policemen, I saw nothing done 
about it—even though the policemen 
were readily identifiable, even though 
the badge numbers of those who wore 
them were phoned in, even though 
there had been uniformed policemen 
present who could recognize the off-duty 


cops engaged in the attack. It was then 
t T realized more forcefully than ever 


black men in general—and Black 
Panthers in particular—could really 
c om the courts in the 


way of justice. When I went out to the 
Chicago tial, I was already well on 
the way to my present conviction that 
is the role of the American left to resist 
rather than merely protest: to resist iile- 
gitimate authority, to resist injustice in 
the courts, to resist the draft, to resist 
any payment of taxes to support the war 
in Vietnam, to resist the domestic and 
foi policies of a Government that 
crushes people on every level, to resist 
the oppression of women, to resist all the 
things in this society that tend to de- 
grade and destroy people. 

PLAYBOY: In one of your many campus 
speeches in recent months, you urged stu- 
dents to "resist illegitimate authority and 
don't stop until things have changed"; 
but then you added: “If Government 
can't solve all of today’s pressing prob- 
lems, then perhaps пс for the Gov 
crnment to get ош of the way and let 
someone else do it.” What did you mean? 
KUNSTLER: I meant that if resistance didn't 
make Government respond to the ur- 
gent needs of the people, then it would 
he necessary for the movement—that 
is all those who feel much the way 
I feel—to move from resistance to revo- 
lution. Now, my hope is that we will be 
able to bring about fundamental changes 
in this society by resistance rather Шап 
by revolution. But 1 would remind you 
that in his most recent book, Points of 
Rebellion, William Douglas, Justice of 
the Supreme Court, makes the point: 
"We must realize that today's estab- 
lishment is the new George HI. Whether 
it will continue to adhere to its tactics, 
we do not know. If it does. the redress, 
honored in tradition, is also revolution." 
PLAYBOY: Would you be more specific 
about the nature of the resistance you 
consider necessary during this period? 
KUNSTLER: Well, my definition of resist- 
ance is people on a local level taking 
matters into their own hands, but not 
essentially in a viol ple, 
if, after а certain amount of protest by 
students and faculty, a college refuses to 
end its R. O. T. C. program and sustains 
an element of the Armed Forces as part 
of its scene, the students can take 
that college by occupying its build 
That's not merely protest—marching 
around the admi ion buildings with 
signs or writing letters to. Congressmen. 
Taking over the buildings is a physical 
action; that’s resistance. Another form 
resistance could take would be the burn 
ing down of a particular college building 
at a safe time; that is, when no one is in 
it, when no danger to human life is 
involved. 

PLAYBOY: You condone arson? 

KUNSTLER; Yes, if a point has been 


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PLAYBOY 


230 


reached in a given situation where the 
mechanisms of society are not respond- 
ing to serious grievances. It depends on 
the situation, 

PLAYBOY: Apart from the morality of de- 
stroying the property of others, how 
about the consequences? The money for 
a college building might well have come 
from wealthy alumni and the property 
loss might well be covered by insurance 
companies; but what of other kinds of 
arson in the name of resistance? И а 
bank is burned down, the uninsured sav. 
gs and investments of thousands of 
people would be wiped out, And if the 
fire spreads to small stores, the entire 
k of the owners of those stores 
is destroyed. Do you condone this kind 
of arson? 

KUNSTLER: Admittedly, there is a danger 
that this could happen, and my hope is 
that we can get the system to respond 
without having to engage in this kind of 
resistance. But when you talk about ar- 
son, you must remember that Hiro- 
shima was a pretty good example of 
arson, and that was an act of the United 
States Government. But I don't want to 
see buildings burned down. What Lm 
saying is that burning, in a particular 
situation, may become a way to attain а 
legitimate political goal when all other 
recourse is closed. And if that happens, 
even if precautions are taken, there is 
the possibility that individuals as well as 
institutions will suffer severe property 
damage. There are times, however, when 
concern about property damage is over: 
ridden by the need to resist govern- 
mental oppression, I emphasize again that 
all other steps should be exhausted first. 
"That's what happened before the Ame 
cam Revolution; and that revolution— 
even though there a great deal of 
property damage—is honored in our 
textbooks. 

PLAYBOY: You usc the American Revolu- 
tion as an analogy, but isn't the system 
you are now resisting the result of that 
revolution? Of what use was resistance 
then if it led to what you oppose now? 
KUNSTLER: Well, it was called a revolu- 
tion, but what happened then was the 
uansfer of power from the crown to the 
colonists. It wasn't intended nor did it 
lead to a more equitable distribution of 
power here. One group of haves wok 
over from another in what was essential- 
ly a perpetuation of early capitalism in 
America. We really haven't had a fun- 
damental revolution country, 1 
used that analogy from history only to 
show that this country was founded 
resistance, For America to become what 
it has professed to be—but has never 
actually become—will now take more 
acts of resistance. 

PLAYBOY: As an attorney affliated with 
the American Civil Liberties Union, how 


can you advocate resistance that inevita- 
bly transgresses the rights of those who 
don't agree with the resisters? 
KUNSTLER: I don't know whether I would 
use the term the right to transgress the 
rights of others, but every time there's a 
bor strike, for example, the strikers are 
in one way or another making life 
inconvenient for other people. Remem- 
ber the postal strike earlier this year? 
Many people not only claimed th 
was an illegal strike but also maint 
that it was interfering with their right to 
receive their mail and to conduct their 
businesses. That strike probably caused a 
lot of damage to a lot of people. But 
that happens whenever you have the 
forceful assertion of rights by one group. 
Inevitably, that assertion affects the rights 
of others. 1 think that kind of conflict is 
part of living in what is—with all its 
grievous faults—a democratic system. 
"Ehe exercise of some rights will, lor a 
certain time, have a drastic ellect on the 
rights of others, For example, the Gov- 
ernment wants to fight a war іп Viet- 
nam. It interferes, therefore, with the 
rights of its citizens by forcing young 
men to put their lives in jeopardy by 
becoming part of the Armed Forces, to 
go into exile or to go underground. This 
ішу an interference with individ- 
ual rights, It's a fact of life that the 
assertion of one set of rights interferes 
with others. 
PLAYBOY: Is dissatisfaction with the pres- 
ent system as widespread as you think? 
Do you believe most of the young would 
still be willing to think and act in terms 


of resistance if the war in Vietnam sud- 
denly ended? 
KUNSTLER: 1 certainly hope so. I would 


hate to think that the in Vietnam 
—which is, after all, a reflection of many 
of the underlying pernicious forces in 
this society—could be the only catalyst 
for resistance. There is so much that goes 
on in this country that should be re: 
—the oppression of women, for exa 
which 1 believe to be a crucial issue. 
that, by the way, is another example of 
resistance that has already begun. It h 
been women, in the main, who—often by 
direct confrontation—have forced legis 
latures around the country to revamp 
and even repeal abortion laws. But there 
is so much more that remains to be re- 
sisted: the oppression of black people, the 
existence of poverty, the unequal distribu- 
tion of wealth, the destruction of natural 
resources, the way Indians and Mexican 
Americans are treated, the unfairness of 
the courts, These are among the injus- 
tices that call for resistance, and I think 
those calls will be answered, 1 think there 
isa large reservoir of people, particularly 
among the young, who will turn the 
Seventies into a decade of movement 
from protest to resistance, They will 


nr 


have no choice, because I firmly believe 
that. neither Government nor other cle- 
ments of the power structure ever yield 
to anything but fear. 
PLAYBOY: Isn't that 


kind of resistance 


likely to cause a massive counterreaction 
that will lead to such repression that no 


resistance will be possible? 

KUNSTLER: That's a chance you have to 
take. The argument you've just posed is 
ways advanced by people who fear that 
mass resistance to injustice will produce 
storm troopers and the end of any prog- 
ress whatsoever. The same argument 
could have been—and was—made during 
mar Republic: Why oppose the 
nshirts so strenuously, when the 
more forcefully you resist them, the more 
likely you are to put them in power? 
Well, as it happened, the brownshirts 
were nol sufficiently resisted and, as a 
result, they did get into power. 
PLAYBOY: In view of the fact that they 
had more guns than the opposition 
could the brownshirts haye been resisted 
with enough force to prevent them from 
getting into power? 

KUNSTLER: They certainly could have 
been, particularly if large-scale resistance 
had started carlier. The basic difficulty in 
that situation wasn't that the Nazis had 
more guns but that the opposition was 
so splintered—among the Communists. 
the Socialists and the other radical 
groups—that the brownshirts were given 
enough time to take power. If there had 
been organized, large-scale resistance, the 
brownshirs could have been beaten off 
the streets instead of being able to seize 
the streets and beat up Jews as they 
moved toward a take-over. The options 
during the Wei Republic were the 
same as the options to allow 
particular evils to continue for fear that 
opposing them will lead to larger evil 
or to go ahead and attack those evils 
and take your chances with the future. 
PLAYBOY: With regard to the future, Dave 
Dellinger said just before being sentenced 
Һу Judge Hollman: “Our movement 
not very strong today. It is not united, it 
is not well organized. It is very confused 
and makes а lot of mistakes, but there is 
the beginning of an awakening in this 
country which has been going on for at 
least the past 15 years, and it is 
wakening that will not be denied. Tac- 
tics will change, people will err, people 
will die in the streets and in prison, but 
1 do not believe that this movement can. 
be denied, because however falsely ap- 
plied the American ideal was from the 
beginning when it excluded black people 
and Indians and people without proper- 
ty, nonetheless there was a dream of 
justice and equality and freedom and 
brotherhood, and I think that dream is 
much closer to fulfillment today than it 
has been at any ume in the history of 
this country.” Doesn't that seem to you 


' no 


Atouch of Turkish 
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In a cigarette. 
Whos got it? Camel. 
Start walking. 


"Td walk a mile fora Camel” 


©: 


PLAYBOY 


232 


an overly optimistic assessment of the 
present condition of the movement, 
when. as you say, so much remains to be 
donc? 

KUNSTLER: No, I think Dave is right. 
Even though we are in as severe a period 
of repression as any Ive experienced 
in my life, this is, nonetheless. a time 
characterized by dissent more vocal than 
ony other in American history. And it’s a 
period in which there is more and more 
oming together of people who are the 
butt of repression. And even though 
€ are no formal alliances among the 
political dissidents in the United States, 
there is a growing feeling of comradeship 
nd of working together. So. on the one 
nd, you have massive repression; but on 
the other. you have the beginnings of 
mussive resistance. 

PLAYBOY: Do you find the many splits 
now so apparent within what used to be 
called the New Left—the direction in 
which the Weathermen are going, for 
example—ominous? 

KUNSTLER: No, I think these are only 
tactical differences. From my own experi- 
ence, and I'm h many 
groups, | don't т an enormous 
ideological split. "There are ideological 
differences that are debated endlessly, 
consuming a great deal of time. Perhaps 
they have an importance I don't truly 
understand. But i'm convinced, on the 
basis of my own reception and the 
reception the Chicago defendants receive 
ou college campuses and elsewhere, 
that there is much more unity of spirit 
on the left than the Government be- 
lieves. The trial of Bobby Seale and 
other Panthers in New Haven, the trial 
Panthers in New York and the 
are among the focal inci 
t are galvanizing people. I 
think large numbers of people are begin- 
ning to т that if we truly stand 
together, we can bring about a re 
to illegitimate authority. 
PLAYBOY: Nonviolent resistance? 
KUNSTLER: Essentially, yes, Violent in the 
sense that buildings are taken over, but 
that’s only property. So far, I don't think 
the movement has been responsible for 
anything t ously be called 
violence. Yes, some plate-glass windows 
have been broken; a few ive been 
overturned; there have been some bomb- 
ings of unoccupied buildings; and even a 
branch bank in 5 has been 
burned. 

PLAYBOY: You don't consider those actions 
violen? 

KUNSTLER: What I've been describing have 
been isolated, fragmented acts. And if 
you put them all together, theyre so 


picayune, compared with one B-52 raid 
over South Viemam in terms of real 
violence to human beings, that its 


offensive to apply the term violence to 
what some of the more militant factions 
in the movement have done. 


PLAYBOY: Then you're saying that 
is simply a matter of degree, tl 
immoral to burn a bank than a village 
hut. 

KUNSTLER: I'm not 


gainst violence оп a 
philosophical level nor on an emotion- 
al or a moral basis, I don't accept the 
premise that all violence under all cir- 
cumsances is inherently bad and there- 
by invariably contaminates whatever is 
achieved by it. Good cun come out of 
violence. Slavery was ended by the vio- 
lence of the Civil War. The Nazis were 
defeated by violence, and once they had 
come to power, I don't know of any 
other way they could have been de- 
feated. ‘There were, as you know, at- 
tempts to assassinate Hitler; and if one 
of those attempts had succeeded. I think 
good would have come of that. So I don’t 
believe all violence to be inherently bad, 
and 1 don’t rule out violent protest if all 
other means of resistance have failed. 
PLAYBOY: Violence directed at whom? 
KUNSTLER: If it comes to that, the ques- 
tion will be answered by local groups 
responding to local situations. But 1 em- 
phasize once more that 1 believe that in 
terms of the situation now, there are 
other means that can be tried. І don’t 
condemn those who have engaged in 
burning and bombing. because their ac- 
tivities are the result of frustration and. 
bitterness and the refusal of Government 
to respond significantly to just demands. 
But I do deel that Ше Weathermen's 
approach, in particular, is not tactically 
sound now. My differences with them 
haven't been on ideological grounds— 
because I share a lot of their feelings 
about the type of world they wish for 
But 1 do dilter with them on tactical 
grounds. I believe that the type of ac 
tion epitomized by the Weathermen is of 
a kamikaze nature that can only result in 
the destruction of our people. 
basement of that town house 
wich Village. 

PLAYBOY: Would you defend in court the 
people who survived that boml 
the Village? And if so, on what grounds? 
KUNSTLER: Yes. 1 would defend them; but 
before deciding on the grounds, I would 
want to talk to them about the issues 
they would want to raise in court. The 
ht well want to state the political 
sons for what they were doing and 
ing, as the Catonsville Nine and 
the Milwaukee 14 chose to do when 
they were brought to wial for destruction 
of property after burning draft-board 
records. 

PLAYBOY: Are you equating what the Ca- 
tonsville Nine and the Milwaukee 14 
did with the explicitly violent objectives 
of the Weathermen? The first two groups. 
weren't engaged in bombing and don't be- 
lieve in using guns or any other weapons. 
KUNSTLER: Im saying that if people have 
the same goals I have, I'll wy to do what 


planı 


I can for them. As I said. I disagree with 
the tics of the Weathermen, but I 
think they should be protected. If I were 
asked to give shelter to those now in 
flight from the authorities, | might con- 
ceivably do that, though it could be in 
violation of the law. 
PLAYBOY: You say you disagree with the 
№ actics, but in speeches to 
young people since the Chicago trial, 
your own rhetoric has increasingly be- 
come the rhetoric of violence. You've said, 
for instance: “If you believe that such 
matters as the war, the shooting of Black 
Panthers and babies starving in Appala- 
chia are wrong, then you must be ready 
to go to the wall if peaceful resistance 
fails. IC they mean anything, if they are 
life-and-death issues, then you must be 
prepared to offer life or death and hope 
it will not be necessary. You 
take the final мер. You may ш 
be bathed in blood. So will others. If the 
people who really control power do not 
feel you will really do these things, then 
the whole effort for change will cvanesce. 
If they feel you will do it, they will act.” 
They will act, but how? 
KUNSTLER: It's my belief 
large enough. numbers 
make their seriousness of purpose felt, 
the Government will respond afirma- 
tively, rather than take the risk of pre- 
ipitating scale violence in the 
sucets. Even knowing that they have the 
superior forces, infinitely more arma 
I don't think those in power 
would want the turmoil that would come 
if large numbers of people took the final 
step. And 1 wasn't advocating that the 
final step be taken now but, rather, that 
the Government be told in unmistakable 
terms that there are people who are 
iling to go farther if peaceful resist- 
ance fails. 1 said, “You must be prepared 
to oller life or death and hope it will not 
be necessary.” That's my hope, too. 
PLAYBOY: Do you think you convey that 
hope while raising a clenched fist as you 
sity these things? 
KUNSTLER: It's not easy for me to raise a 
clenched fist. It's not natural for me. L's 
а gesture I didn't use until I became 
involved in the Chicago trial. But the 
clenched fist is а gesture of resistance. 
And, as I have said to audiences, “We 
have clenched the fist with mass resist- 
ance, and we can only open it in two 
ways: We can open it in brotherhood, if 
the system has the capability of respond- 
ing to immediate human ends, or we can 
open it to curl the index finger around а 
trigger. These are the choices. In time, 
the system will have to make its choice, 
And when it makes its choice, it makes 


that if there a 
of resisters who 


lar 


men 


ours.” 
PLAYBOY: Even if you don't curl your 
a die 


finger around a trigger, there 
tinct possibility that you will hy 


PLAYBOY 


234 


spend some time in prison anyway—for 
contempt of court. If that sentence isn't 
overturned, what will you do in prison? 
And when you're rele: you, as an 
ex-felon, be able to practice law? 

KUNSTLER: | would hate jail J never 
knew how good it felt to be free until 
the moment E found out 1 wasn't going 
© to go to jail right а 
when 1 have то go, of course, ТЇЇ deeply 
and all the other people 
But I would wy to do 
prison. I'd 


miss my fami 


€ to be w 


meaningful in 
d, think. As for after prison—it 
1 do have 10 serve ice—its far 
from certain that | wouldn't be able to 


senti 


practice law. Гуе been convicted not of 
a felony but of what is dassified as an 
offense. IE there were an attempt to take 


away my license ro practice, I'd fight like 
hell not to lose it, ГИ tell you that. But 
even if that came to be, 1 have otha 
skills. I can write; 1 can lecture. Or 
maybe Td just drive a truck for а com- 


mune. In any case, I would пу to stay 


useful. There'll be a lot of work to be 
donc. 
PLAYBOY: 


or the revolution? 
to believe 
possibility that we can bring about т 
change without revolution. That is, with- 
out violent revolution. With unity, guts, 
stamina, exhortation. constant stimulus 
to get people moving, we—students, 
especially—can turn history down a new 
path. And if we're successful with mass 
i revolution need пос 


the 


viol 


come. ` why I keep speaking for 
unity, and that’s why F feel it so nece 


iy to inform ay many people as possi- 
ble of what the basic issues are. of w 
the basic choices are. The sole reason I'm. 
giving this interview to PLAYBOY is be 
cause it reaches а large audience, many 
of whom—perhaps most of whom—have 
not been exposed to the type of move- 
ment politics we've been discussing, 1 
want to win those people over to at least 
an understanding of what not only my 
life is all about but also the lives of the 
Weathermen, the Black Panthers, the 


“But how can we tell our people that the 
Americans will soon have 10 choose between guns and butter 
without telling them what butter is?!” 


women’s liberation movement, the 1 
dians who occupied Alcatraz, the Appal: 
chian poor, the ghetto residents—white 
nd black alike—and all the other op- 
pressed people of this country. 

PLAYBOY: You sity that’s the sole reason 
you agreed to this interview. Why? 
KUNSTLER: Because my basic attitude to- 
ward rLAYBOY, my deepest feelings are 
that the magazine symbolizes so much 
that is utterly deplorable in America 
today. Not only does it serve as а slick 
showcase for the crass and destructive 
materialism that has transformed the car- 
ty American dream of ап ера n soci 
ety into the cruelest of illusions, but it 
nd degrades women in a man- 
ner as inequitable as it is gros. Morc- 
over, it parades what it terms a new and 
revolutionary sexual philosophy as some 
sort of legitimate sociological concept, 
while hypocritically devoting itself to the 
maintenance of a gigantic commercial 
empire built on the compelling nature of 
human love and desire. I have come то 
the conclusion, however, that if a new 
social order is ever to be constructed in 
this country, it’s vitally important for 
those of us who believe in the necessity 
of such an achievement and who may 
have, from time to time, access 10 the 
mass media, to take advantage of such 
transitory contact in order to reach ап 
iudience that is usually denied us. 

Io put it another way, it might be 
tragically inesponsible lo who 
seeks а revolu n of 
the goals апа valu society to 
refuse to utilize every means of persuad- 
ing others of the necessity of such а re- 
sult, These considerations, it seems to me, 
more than outweigh the serious emotion- 
al and political disabilities of оч лувоу, 
television networks and the other 
as media. Accordingly, albeit 
givings, 1 have consented to 
being publicly interrogated by pr Aynoy 
It is my heartlelt hope that this interview 
will serve, even in а minuscule way, to 
bring about the end or drastic alteration 
of a way ol Ше symbolized by pLaynoy, 
севип, 
oppres- 
women and chil- 
ibroad. If this is 


пуопе 


the 
m 
some real 


nd conscienceles: 
siou ol millions of mer 
dren, both here and 
possible, then I think that chance alone 
is well worth any momentary assault on 
my psyche and sensibilities. 

PLAYBOY: Rather than reply to your alle- 
gation that PLaysoy is somehow involved 
in and symbolic of human oppression— 
which PLaywoy despises and opposes as 
vigorously as you do—we would prefer to 
Jet reasonable readers of this magazine 
bout the va- 
lidity of your indictment. And we thank 
you for taking the time to talk with us. 


draw their own conclusions 


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235 


PLAYBOY 


235 


MUSKRAT FUN „арон page 119) 


he stood and exulted in the freedom. 
around. n and his success of the day, 
trying to package it all in his mind for 
retelling back Winston Falls. There 
was such life about him, such tolerance 
Tor one's fellow man! The citizens of this 
cosmopolitan city allowed one another to 
pursue their own fancies and pleasures 
h a minimum of interference. 

Buy a Barb?” said a soft voice behind 
him, 

Owen turned. The girl w thin, She 
wore an old Army field jacket and faded 
Levis. There was a depth of sadness in 
her eyes. Owen could not tell if it came 
from hu or from some vast cogni 
zance of the universe, She held a paper 
toward n. “Berkeley Barb?" she 

‘No, thank you.” said Owen. It w 
instinctive. He had been bred to refuse 
tations in the street. 

‘Come on,” said the girl. “ 
a lot about our city.” 

Owen certainly wanted to know more 
But he could not give 
money to a cause of which he might not 
id. 

“Truth,” said the girl. “Facts, realities. 
Can the search for knowledge ever hurt 
you?" She smiled and Owen tele that she 
knew far too much about his thoughts. 

“OK, ГЇЇ take one,” said Owen. He 
pushed a quarter into her hand and fled 
to his hotel room, where he spread out. 
the Barb on his bed. 

"Ehe. first few pages contained nothing 
but vitriol on the treatment of student. 
protesters. Then he came to the classified- 
1 pages. San Francisco, he instantly saw, 
was a far more liberal city than he had 


sali 


You'll learn 


ever «а. All kinds of sexual prac 
tices were freely advertised. As in all 
spheres in which professionalismbegins to 


take hold, the language was highly spe- 
alized. Owen puzzled his way through. 
There were sufficient hi him to 
an idea what а ham-and-eggs spe- 
as pretty ob- 

were the practices of kroons 
Icxtors, But one advertisement left 
him totally puzzled. It re 


s for 


MUSKRAT FUN ANYONE? 

There was a telephone number, no 
further information. 

Owen had trouble getting to sleep that 
night. He wied to count sheep. but they 
turned to muskrats and slithered off un- 
der the fence. 

At breakfast, he went carefully 
through the Barb, looking for more 
So at the air- 
solve and 
called the number in the advertisement. 

The voice that answered was husky, 
almost a whisper. It could have been a 
m In the background, 
Owen heard the sounds of water splash- 
ing and wild giggles of pleasure 


dues. There were попе 
port. he pulled together his 


woman. 


an or 


"Im calling about the ad in the 
Barb,” said Owen. He tried to sound 
mature and nonchalant. 

What kind of muskrat fun are you 
ing for?" said the voice. 

n for any of that way-out 
stuff,” said Owen, thinking fast. 

“He doesn't go in for any wayout 
muskrat fu Owen heard the voice 
shout to someone in the background. 
There was an outburst of laughter at 
thi 


loo! 


' This time, the 
There were 
she spoke to 


Let me talk to him. 
voice was obviously a 
muted protests and. the 


Owen. "How about some of that Hat-tail 
мш 
‘There were shouts and a struggle at 


first voice 
it said. 
for the 


the other end of the wire. Th 
came back I apologize, 
“We're a v oup he 
most part." 

1 can sce that," said Owen. “What 
ticular aspects do you specialize i 
Not so fast" said the voice. "I still 
don't know what you want. Get specific 
What do you think of paw dipping, for 
xamplez" 

Owen made a quick guess. “It's OK 
with me,” he said. 

‘The voice went cold. "Forget it, bust- 
er. That's one thing you won't find in 
our group.” And the line was dead. 

A loudspeaker was announcing the 
loading of Owen's jet. ‘There was no 
further chance to find his answer. 

On the evening of his return to Wi 
ston Falls, Owen took his girlfriend, Lin- 

Hammacker, parking out by Lander's 
Lake. The moon rippled the water with 
shreds of light. Linda snuggled up against 
him. “I missed you,” she said. “Tell me 
all about San Francisco.” 

Owen explained the warmth of the 
city and its wonderful people. He de- 
scribed the great freedom of expression 
of the metropolis and the nature of the 
Berkeley Barb. 

"What do you mean you couldn't un- 
derstand the language?” said Lind. 
Owen fished the muskrat 
ment out of his pocket and t 

the dome light so she could read it. 

Revulsion flashed across her face. She 
flung the ad away "You think 
that’s the kind of thing you show a girl?" 
she cried. 

“What's the matter?” said Owen. He 

was genuinely puzzled. The week before, 
he had told her a couple of the rawest 
jokes he knew and she had been con- 
vulsed with laughter. 
‘ou thought 1 wouldn't know what 
that meant, didn't you? Then you and 
your filthy buddies could have a good 
laugh over it. 

"No, not at all," protested Owe 
Well, I do happen to know just what 


on. 
ry serious gi 


pa 


rom hei 


all about" she said. ake me 


vowed his innocence, but she 
curly informed him that if he did not 
drive her home, she would walk. They 
drove in silence to her house, where she 
slammed the car door in his face and ran 
inside. 

Owen tried to call her three times 
after that. Twice, she hung up when she 
recognized his voice. The third time, her 
father n Owen gaye 
his name, made it quite clear that he w 
io longer welcome in his hou asa 
friend of his daughter. He added that if 
Owen continued to molest her, the ai 
thorities would be informed. 

Owen loved Linda and did not want 
to lose her. But he тел that if 
he could ever make amends, muskiats 
оша be banned forever as a subject of 


answered and, wl 


zed 


discussion. 

Someone else should be able to tell 
him. His parent? His sweet, sheltered 
mother would not know. His father 
might have picked up that kind of infor- 
mation in the Army. But Owen dared 
not ask him. As president of the Wi 
ston Falls Junior Chamber of Commerce, 
he maintained a smut-free conscience. “If 
you don't think about that kind of 
thing,” he would tell Owen, “you won't 
get into any trouble.” From what had 
already happened, Owen could not d 
pute this advice. But he had to find out. 

What about the boys on the company 
bowling team? Only Arch had been 
round enough so he might know about 
s, but Owen did not trust him, 
Arch was loose-tongued; he might spill 
the fact that Owen 

Owen mentally r 
secretaries at the plant, crossing them 
ol one by one as being too naive to 
know or, if they did, being too shocked 
at his asking. He stopped at the name 
Alice Mittenger. She was a possibility. 
She was a pert young divorcee who was 
not the least bit reticent about discussing 

e intimate episodes that had brought 
n end to her marriage. She had lived in 
She would understand. With- 
d her sitting by 
herself in the company cafeteria and 
asked if he might sit with her. 

“1 hear you've been 


four 


` she said. 


Ow 
conversation 


û took this opening and edged the 
ound to the diy s of 


es in the He 


sexual practi эдеп Stare. 


mentioned the Berkeley Barb 
"Swinging," said Alice. "My kind of 
rag." 


“It’s wild," said Owen. "I couldn't fig- 
ure out what half the ads were saying.” 

"Like wh. said Alice. 

Owen decided to move cautiously. 
What's a ham-and« he 
Кей. 

Alice explained with a luci 


ity that 


“He summoned the royal mount, you idiot. No one 
said anything about a horse.” 


237 


PLAYBOY 


238 


made Owen squirm in his chair. 

“And muskrat fun?” Owen tried to 
keep his voice nonchalant. 

Alice hit him in the face with her 
tuna-fish sandwich, plate and all. "You 
think because a girl's divorced you can 
say any kind of filth you like," she 
screamed. “We'll see just how long your 
d lasts in this company 

Owen discovered that Databyte could 
act most rapidly when the moral well- 
being of its employees was threatened. 
An hour later, he found himself escorted 
to the front door and handed a check for 
two wi pay. “If it had been my 
personal decision, you'd not get а pen- 
ny," his manager had said with open 
hostility. "We have no use for your kind 
round her 
So Owen stood in the parking lot and 
contemplated his future. It was useless to 
stay in Winston Falls. Word would get 
around about his dismissal, No one 
would hire him and no one would give 
him the inforn he sought. But 
Owen had glimpsed his place of бес 
dom. In San Francisco, he would find the 
truth from those wonderful people who 
could accept any form of expression. 

He lied to his parents about a job 
offer and boarded a bus for the Coast. 
The trip was a nightmare of rushed 
meals in stainlesssteel cafeterias and 
hts spent dozing, listening to the roar 
of tucks passing on the empty desert. 
He stumbled out of the bus station in 
San Francisco, his mouth foul with the 
taste of air-conditioned cigarette smoke. 
But he had arrived. The city was the 
same, cool and glistening in the damp 
night. He found a telephone booth and 
called the muskrat number. 

This time, a heavy and solidly mascu- 
line voice answered. “Yes?” 

This the muskrat place?” said Owen. 

“Yeah,” said the voice. 

“I'm wondering if I can walk to you 
about joining,” Owen said, 

“Sure,” said the voice. “Just tell me 
where you are and we'll come have a 
chat.” 

Owen had not dreamed it would be so 

imple. He gave his location and waited 
in the foggy night. Less than five min- 
utes later, two men in heavy trench coats 
came up the street. “You the guy who's 
interested in some muskrat stuff?" said 
the bigger of the men. 

“Yes, sure,” said Owen. 

You been a muskrat very long?" said 
man. 

h, a year or so,” said Owen. 
How often?" said the man. 
twice a week?” 


‘Once or 


“Something like 


‘Any of the flat-tail stuff?” said the 
other man. 

‘Oh, none of that, 
"Paw dipping?” 


“Certainly not,” said Owen. 
“We got plenty on him as it 


emerged from the shadows, pinned 
Owen against a wall and searched him. 
' said one of them. 

"You think he'd carry one of those 
things with him?” said the first plain- 
‘Take him in and book 


As the patrol car carried him to head- 
quarters, Owen wied to clear his 
thoughts. His arrest was not a total disas- 
ter, he told himself. Even if he were 
sentenced, they would have to describe 
in detail the crimes of which he was 
supposedly guilty. 

He was wrong. His court-appointed 
lawyer was a nervous young man just out 
of law school, who obviously wanted the 
case closed and forgotten as rapidly as 
possible. With ill-concealed revulsion, he 
questioned Owen briefly about his actions. 

‘Judge Meyers goes heavy on this kind 
of thing,” was his comment when Owen 
had finished. “The best thing to do is to 
plead guilty and hope that he didn't 
have any sausages for breakfast. 
How's tha?” Owen said. 

“Sausages, Italian sausages,” said the 
lawyer. “Lf he eats them, he gets indiges- 
tion. And when his stomach aches, things 
go hard for the guilty.” 

"But," said Owen, "I don't think I'm 

guilty. Don't 1 have to be caught in the 
act or something 
“Are you kidding?" said the lawyer. 
“They've taken the teeth out of most of 
the Jaws, but not this one, thank good- 
ness. You're the first onc I've ever heard 
of who didn't admit that just thinking 
bout it is grounds for a good stiff sen- 
tence. In my opinion, you should wel- 
come a bit of time in jail, A chance to 
think over what you've been doing. Get 
grip on yourself.” 
Тһе lawyer thought he could get 
Owen a light sentence if he were willing 
to plead guilty to lewd and lascivious 
conduct and Owen reluctantly agreed. 

Judge Meyers turned out to be an 
faced gentleman who disposed of 


fic 


Then Owen was called to the bench 
and his lawyer entered his plea. The 
judge motioned to the bench one of the 
nclothesmen who had arrested Owen. 
"This one of them muskrats?" he asked. 

The man nodded. 

The judge belched and agony flicked 
across his face, “What's the maximum?" 
he asked the clerk. 


“Sixty days,” said the judge. “Next 
case.” 


Owen thanked his lawyer for all he 


had done for him and was taken off to 
serve his sentence. 

His cell was already occupied by a 
thin and bearded young man whose face 
radiated great compassion and unde 
standing. He rose and greeted Owen 
warmly. "We must forgive their brutal- 
ity," he said. “It is the only way they 
сап express a need that society has 
suppressed.” 

“I don't understand,” said Owen. 

Inhibition," said the youth, with the 
passion of his cause glowing in his eyes, 
"sexual inhibition, War! Lust! Man's 
humanity to man! Do you know what 
drove Napoleon to conquest? The mores 
of his society forbade him from the sexual 
expression he desired with Josephine. 
His only socially acceptable outlet м 
war! But it is possible to achieve а new 
morality of freedom, freedom for any 
mi 


ans of expression. 
Any?" said Owen. 

ЗОГ course," said the young man. 

"Does that include 
Owen. 

The youth laughed. “The Greeks ac- 
cepted kroons,” he said. 

Owen was still cautious. “How about 
Talcato: he said. 
"Half the Chinese aristocracy during 
the Ming dynasty were falcators." 

"And what about muskrats?” s: 
Owen, with his heart thudding in his 
chest. 

The joy of a beloved discourse dis- 
solved from the youth's face. It was re- 
placed by a look of wary cunning. “They 
always bring up muskrats,” he said. 
“They do not understand that there are 
some things that are natural and some 
that are unnatural and abhorrent." 

"What's so wrong with a little muskrat 
fun?" said Owen. "As long as you stay 
away from the flat-tail stuff." 

"You foulmouthed punk," said the 
youth. "ls creeps like you that ar 
destroying our cause. Filth and garbage 
riding on the clean wave of our purity. 
"They may force me to dwell with dirt; I 
need not communicate with you.” He 
climbed into his bunk and turned his 
back to Owen. 

On the follo 


kroons said 


g morning, the young 
man demanded to be removed from 
Owen's presence, aud for the rest of his 
stay, Owen occupied a cell by himself. 
He wrote to his parents a full confession 
of what had happened and received a 
letter from his mother. 


Your father has forbidden me to 
write to you. But I want you to know 
that I still believe in you and know 
that you will seek to live the rest of 
your life dedicated to redeeming 
yourself in the eyes of society. Of 
course, we can never have you in our 
home again. But somewhere, there 
must be a religious order that will 


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PLAYBOY 


240 


take you in and help you toward sal 
vation, at least in the eyes of God. 
Ever disappointed, 
Mother 


Owen crumpled the letter and hurled 
it into a corner of his cell. The fire of 
despair was beginning to burn wi 
him. He had been trampled by the world 
only because he had been curiou 
in San Francisco, freedom was a lie. 

Or was the flaw within himself? Н, 
he been wrong in 
ing before belief? * fun,” he said 
to himself. “Muskrat fun.” The words 
d a lilt to them, a simplicity that 
belied obscenity. If there was truth, it 
was in the simplicity of belief. Th 
world s madness could not face the 
ing light of such faith. 

During the last week of his sentence, 
Owen refused all food, took only small 
sips of water and spoke to no one. When 
he was released, he stood on the sidew: 
outside the jail and smiled at the people 
bout Muskrat fun," said 


he 
aloud. “Muskrat fun for everyone.’ 

A couple of passersby turned and 
looked at him. “Muskrat fun,” Owen 
as he started walking slowly up the 
street. “Muskrat [un for everyoni 
words rang clear in the bright mo 
sunshinc. 

The mob gathered slowly behind him. 
At first, 
trailed him, watching and wary in their 
tight pants and leather jackets, plus а 
couple of drunks, stumbling along, 
caught in the first hint of excitement. 

“Muskrat fun?" Owen shouted. Musk- 
rat fun for everyone! 


sa 


w 


Slowly the crowd began to build. Two 
passing sailors turned and looked at each 
other when they heard his cry. "That's 
not what I'm fighting to defend," Owen 
ard one of them say. They joined the 
k behind him. 

Now Owen could hear catches of 
voices. "Not going to let it go on." 
"Pcople gotta аа!” 

The next time Owen glanced back, he 
saw that they had grown to almost 50. 


There were businessmen, stalking along 
with their briefcases clutched in their 
white-knuckled hands. And  womei 


swinging their shopping bags with men- 
ce in their eyes. 
Muskrat fun!" Owen shouted. “Mus 
rat fun for everyone!” He rolled the 
words long and loud, thrilled with the 
power of his voice. 

The mutter of the mob rose in re 
sponse. They were moving closer. Owen 
began to recognize one man's voice 
raised above the rest. "The law's too 
slow! We gotta take our own ai 

A fat matron in a fur jacket moved 

out of the body of the crowd and jabbed 
at Owen with her umbrella. "You show 
me, lady,” came the man's voice. "You 
got more guts than the whole lot of 
"em." 
Muskrat fun!” Owen shouted. "Mu 
rat fun for everyone!" The words were 
solid now, cannon balls fired into the 
guts of the world. 

The crowd pressed up beside him. 
Angry faces spat at him and disappeared. 
Suddenly, there was a mass of people 
blocking his way. Owen was forced back 
inst the wall of a building, confront 
ed with a semicircle of hostile faces. He 


“Just as I thought!” 


cach 


stared at them one at a time, v 
turned hi; 
Owen leaned against th 
l behind him. His head reeled 
with hunger and the purity of his belief. 
As а defende n unknown faith, he 
had no doubts about for 
doubts are spawned of details. 
“Tell me,” he shouted, "what is wrong 
with muskrat fun? Muskrat fun for every- 
one!” 
The faces distorted into angry sı 
тшу, there came to Owen the wail of 
nt sirens, Then the crowd bulged 
nd a figure burst through. It was the 
young man from Owen's jı He 
stood beside Owen and raised his hands 
for attention. 
"Do not do it, 
ed. "You're playing into thi 
they want is а m 
cause." 


eyes азау. 


the wi 


of 


his cause, 


15. 


F 


dis 


cell. 


n shout 
hands. All 
rtyr for their rotten 


the young m: 


The crowd moved restlessly. Heads in 
the front turned to look behind them. 
The sirens wailed closer- 

He saw that they were wa 
the edge of reason. Once ag 
be cheated 

“Muskrat fun 
fire of his bel 
tail stuff! 


e 


g on 
he would. 


he shouted. 
f was in his words 
w dipping! 


All the 
F 


A stone hit him in the chest before he 
had finished his «ту. The young man 
m 


^d to throw himself between Owen 
nd the crowd, but arms came out of the 
mass of people and dragged him away. 
The crowd spread apart a little for 
more throwing room. ‘Then they began. 
Stones. Half bricks. Botiles. They came 
ching down on him from the back of 
the crowd and straight at him from those 
in front. Owen stood with his hands at 
his sides and felt the pain spouting over 
his body. In his last view of the mob, he 
saw the girl who had sold him the Barb 
smiling at him with sad wisdom. She was 
taking smooth rocks out of the pockets 
of her field jacket and handing them to 
a businessman in a black overcoat who 
stood next to her. “For my kids!” the 
man screamed as he threw. "For my 
ids! 

Then pain smashed against his fore- 
head and drove him to his knees. | 
standy, the crowd was upon him, kicking 
and jabbing. The last sounds that Owen 
heard were the squealing of tires and the 
fading wail of the sirens. 

So Owen died and joined the vast 
army of those who destroy themselves for 
causes they do not comprehend. But he 
died in full belief, which is a comfort. 

Do you think that Owen was a fool? If 
so, make sure you know the heart of 
your belief before you die for it. In any 
sc, one word of caution: Stay clear of 
that flattail stuff. 


GIANT CHICKEN-EATING FROG 


expectations, has turned out to be just 
like every other male. At last, hungry 
and weakened by the ordeal, mysterious- 
ly aroused by the divine imperative to 
- her species and softened by 
ive from him about how he's 
going to make it big at the track, she 
succumbs. 

Slowly at first, but with growing fer- 
vor, their bodies begin to undulate in 
the ageless rhythm of the love act. Ten- 
derly he caresses her, plani deft kisses 
on her tympanum, which in frogs is а 
highly erogenous zone. Her eyes begin to 
roll around their turrets and. she begins 
panting, murmuring little endearments 
and oaths, stropping the fine edge of 
passion. “Моге,” she whispers, “more, oh, 
more.” Their rhythm grows more frantic 
and his maleness bey i 
the vortex of her desire with incredible 
driving impact, Suddenly, her body tenses 
as she feels the approach of a torrent 
of ecstasy. He, gripped by the realization 
that they are moving toward that exqui- 
site consummation, grows more and 
more aggressive in his surges. At last, she 
cries out, “Now, baby, now!” and they 
are borne away on a tidal wave of sweet, 
poignant fulfillment. The convulsions 
subside and, after a few final spasms, 
they slumber, locked together in amo- 


(continued from page 138) 


rous embrace. Hours later, he aw: 
and hops into the woods for a chicken 
dinner, leaving her in the lurch with 
about 25,000 offspring. 

It should be eminently clear that any 
creature which behaves so shamelessly 
should either be rated X or eliminated 
altogether. But there is a much better 
reason for wanting to see this species 
snuffed out and it has to do with a 
subtle ecological process known as the 
Chicken-Peasant-Chrysler Chain, named. 
after the п who first observed it, Sir 
Winfred Chicken-Peasaut-Chrysler. 

The sharp decline in chicken. produc- 
tion South 1 Central A i 
directly and indisputably duc to the рге 
dations of the Giant Chick i 
Frog. A Fortune-magazine survey of the 
top 10,000 chicken farms in the rain 
forest shows а precipitous drop from 17 
gible-months per mestizo-bushel in 1950 
(corrected to account for lame burros 
and inflation) to 11 in 1969. Fortune 
had a great four-color graph to illustrate 
these figures, but 1 ripped it while re- 
moving it from the magazine, so you'll 
just have to take my word for it. 

As a result of the decline in the chick- 
en business, workers are leaving farms to 
seek employment in the cities of South 
and Central America and are being 


crica i 


hired by the burgeoning auto industry, 
which is making a strong bid for the 
United States market with a pollution- 
free steamcar. Even if South American 
cars manage to capture only five percent 
of the American consumer market, it will 
prove ruinous to Detroit manufacturers 
and have serious consequences for the 
economy in general. Think of Henry 
Ford П, belly bloated h hunger, а 
pathetic tin plate extended with thou- 
sands of others toward the relief worker 
dishing out watery stew . . . well, you 
get the message. 

Happily, a countertrend is develop 
Some Latin-American farm laborers are 
choosing to work in nitrate r 
stead of the car industry. Nit 
used for fertilizer, and runoff of these 
chemicals into waterways promotes a 
process known as eutrophication. Bacte- 
ria attack the fertilizer in the water, con- 
suming oxygen, turning everything into 
a slimy green algae and driving all life 
away. And that includes Mr. Leptodac- 
tylus. 

Wall Street will be anxiously watching 
developments down there, and you can 
bet it will be putting its chips on the 
nitrate mines in the battle to hold the 
line for the automobile industry. How 
does this affect you. the small investor 
For aying out loud, how should I know? 


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241 


PLAYBOY 


242 


DIOGENES' SEARCH | (continued from page 116) 


able to win the trust of the bookmakers. 
Indeed, some bookmakers began solicit- 
ing his business so they could use hi: 
handicapping to adjust the point spread 
they planned to offer their lesser custom- 
ers. “If I get seven рої uc, the 
guy who follows my pick will get only 
six and a half points from the samc book. 
only five minutes later." In any case, he 
eventually became one of that very 
small, very exclusive. group of men who 
bet only top money on sports. 

He did not, however, become a very 
conspicuous member of that group. Гуе 
seen him at important conferences and 
coaches’ meetings, circulating quietly, 
wiping the shrimp sauce from the cor- 
ners of his mouth as he drops а word with 
one coach here, another coach there. 
Most coaches recognize him in a vague 
sort of way—they know they've scen him 
somewhere—but they don't quite те 
member where. He does not bother to 
enlighten them. He is trying, bi 
take the measure of the men 


nd—by 
assembling odd bits of information—of 


their teams. He is seeking the exception- 
al in both. Mediocrity depresses him: he 
is excited by talent, however latent. 
What he dreams about is genius, but 
unfortunately, that is harder to identify. 
He is at the coaches’ mectings because 
genuine quality is so hard to identify 
through the newspapers, particularly ea 

ly in the season. For the baseball season 
is at its climax then and the sports pages 
е filled with baseball news, rather than 
detailed information on football. "I al- 
ways lose money until the world series 
over,” he sighs. Once the coaches scatter 
and take refuge in their individual work, 
Diogenes has to rely heavily on the news- 
papers for information, He reads 20 to 30 
of them a day. Some are airspecialed to 
him by friends all over the country. 
Others he buys on a brisk five-mile walk 
to a number of outotown newsstands 
every day. (“That's the way I get my 
exercise.") He pays по auention to the 
opinion of sportswriters, He has no re- 
spect for the wireservice polls. “One 
month, 1 took the A.P. leader three 
weeks in а 1ow—thice different teams 
they had up there—and I bet against 
them." He won all three bets and he 
regards the incident as interesting solely 
ny people who 
were interested in losing money on what 
the pollsters say. “I could have gotten 
$200,000 down on each of those 


because he found so m 


there were so many idiots around,” he 
чус. 
Wi he seeks in the news 


formation that will rell him what 
lly happened one Saturday or wl 
ppen the next. Here are some 


The True Score: “Let's say that Notre 


Dame beats somebody 29 to 13," he says. 
"You study the papers and you see that 
the score was 14 to 13 with two minutes 
left. Then Noue Dame hit on a long 
pass for a touchdown. Now the other 
team has to pass to get into the game 
and Notre Dame intercepts one and 
takes it back for a touchdown. They get 
maybe three extra points on the two 
touchdowns and win by 16 points. But if 
you look close, you know the game was 
pretty much even." 

The Weather Score: He watches to sce 
whether the local weather affected a game 
and then makes an appraisal of how the 
teams will do under different conditions 
Some years ago, for example, he was 
handicapping a game between Army and 
Illinois. In the season openers on the 
Saturday before, Army beat Boston Col- 
lege 44-8, while Illinois lost to an im- 
potent Indiana team 20-0. Illinois didn't 
it looked b. 


merely lose: l—very, very 
bad—while doing it. It fumbled ten 
times; it had its backs sloshing aimlessly 


in the mud; it could not mount an of 
fense that was coherent, much less ef- 
fective. But when Army opened as a 
13-point favorite over Illinois, Diogenes 
quickly picked the Illini. For he knew 
why the team had looked so bad a 
Indiana. All spring and early autumn, 
Illinois had worked on a spectacular se- 
ries of spread-forma 
were 


rain that immersed central Inc 
deed, tornadoes hit towns not far from. 
where the game was played in Blooming. 
ton. In that stormy weather, Illinois had 
no chance to put the ball into the air or 
to use its fancy spread formations. In- 
stead—particularly with ten fumbles—it 
had to go то а "safery-first" offense with 
tossing of the ball: Just 
give it to the fullback and hope that he 
hangs onto it long enough to reach the 


figured that the score didn't reflect the 
game so much as the weather. More than 
that, he felt Illinois had come out of the 
game with a most subtle but important 
advantage: Army had not been able to 
scout Illinois" spread formations and— 
beca had been the first weekend of 
the season—it may not е nown 


use 


they existed. So Army h of 
what Illinois could do—and would do— 
on a dry field. Diogenes was right. The 


following Saturday came up dear and 
dry. Шіпоіз sprang the spread forma- 
tions on the unsuspecting Cadets and 


ne 20-14. Diogenes col- 
ү $40,000. “It really wasn't 


won the 
lected ап e 


what you could call an upset,” he says. 
Injuries: "Defensive injuries are the 
most important," he insists. "If 


has an injury on offense, the © 
work around it, unless it's the qu 
back who's hurt, He сап always 
another halfback carry the ball or 
er end catch it, Or, if its а linem 
who's hurt, he can set up the game рі 
so that he—or his replacement—do 


come under any unusual stress. But оп 
defense, there's no way the coach can 
hide t akness. The offense of the 


other side will always find that injured 
an—or the substitute who's got to be 
n he is—and they'll work and 
ast that weak spot until they 
. You've got to remember that 
the offen se has the choice of time and. 
place—where to attack and when. The 
defense can't say, Please don't hit our 
rightside linebacker again, because he's 
got a twisted knee’ or “Please don't hit 
the man we put in for him, because he’s 
a green kid and he doesn’t know what to 
do when you come at him. You know 
the offense is going to go after that guy 
until it breaks hi t throws the 
essure on some other t of the de- 
e and soon the offense has found a 
way to break through. And eventually, 
the whole defense begins to disintegrate. 
a defensive injury hurts a 
team—aftecis the score of a game—more 
than an offensive опе. 
Alter studying ihe newspapers, Di- 
ogenes spends eight hours or so on 
Sunday handicapping the games of the 
following Saturday. He has a number of 
rules that аге as much personal as pro- 
fessional. For one thing, hes a "dog" 
bettor, “Sixty percent, sometimes 73 per- 
cent of my bets are on the underdog,” he 
says. He believes that “the dog is always 
trying," but he can never be quite sure 


what the favorite is going 10 do, p 
ticularly if it gets a big lead. "A lot 
of coaches throw the ‘girls’ into thc 


game when they get ahead by a couple 
of touchdowns.” (Ihe girls—sometimes 
led the junkowskies—are the 
serves) Is important to Diogenes to 
know how the coach of the favorite re- 

ing big—whether h id 
ning up a big score will jeopard- 
ize the job of a close coaching friend or 
whether he thinks it'll help him move up 
a few notches m the weekly wire-service 
poll. (Under Ara Parseghian, Notre 
Dame has labored hard to win as big as 
it can; since it doesn't play in а confer- 
ence, its chief measure of prestige is in 
the wireservice polls—and Parseghian 
feels his team must not only win but win 
very, very big in order to reach the top 
in them.) It's this kind of information— 
how a particular coach. feels about w 
ning big—that Dio hopes to pick up 


^s adr 


IS PART REVEL, PART REVELATION 


The revelry at Hugh Hefner's TV penthouse parties 
is unleashed in the form of unabated entertainment— 
with Sonny and Chér duetting or Don Adams hilar- 
iously taking inventory of his comedic stock or Lou 
Rawls untying and shaking out his soul song bag. 
The revelations include critic-turned-actor Rex Reed's 
outspoken disenchantment over Hollywood in gen- 
eral and the film Myra Breckenridge in particular. 
Or Tony Randall discussing his particular penchant 
for plump ladies. Or Ike and Tina Turner clarifying 
the meanings behind new soul idioms. PLAYBOY 
AFTER DARK is television for the Seventies—with 
a guest list that includes the brightest stars in show 
business and the most beautiful girls this side of 
PLAYBOY's pages (where, not incidentally, many 
were discovered). It's a full, fun-filled hour in color 
every week. PLAYBOY AFTER DARK. 


PLAYBOY AFTER DARK in full color оп: WOR-TV, New York; KILA-TV, Los Angeles; WFLD-TV, Chicago; WPHL-TY, Philadelphia; 
WSBK-TV, Boston, KEMO-TV, San Francisco; WUAB-TV, Cleveland; WDCA-TV, Washington, D.C, WPOH.TV, Pittsbur h; KSD-TV, 
St. Louis, KRLD-TV, Dallas, WICN-TV, Minneapolis) WATL-TV, Айат, WXIX-TV, Cincinnati; WGR-TV, Buffalo; WHEN-TV, West 
Hartford; WLBW-TV, Miami, WIMJ-TV, Milwaukee; WHBF.TV, Rock. Island, ill; KCRA-TV, Sacramento; KBTV, Denver, WKEF-TV, 
Dayton; KPAZ-TV, Phoenix; МОНО, Toledo; KCIT, Kansas City; KRNT, Des Moines, WMT-T V. Cedar Rapids; WIRL-TV, Peoria, lll. 

ТУ, Rockford, Ill. УТУ, Youngstown, KV VV. Houston, KELP-TV, El Peso; KATC- Lafayette, La., KMID, Midland, fex. 
WIET-TV, Erie, Pa, WWIV, Cadillac, Mich., KSHO-TV, Les Vegas, WZZM-TV, Grand Rapids, Mich. WIOG-TV, Tampa, KGGMAV, 
Albuquerque, М.М. КОМЕ, Honolulu; CECE, Montreal; CKCW-T V. New Brunswick, WTSJ-TV, Puerto Rico. 


PLAYBOY 


the social events surrounding the pre- 
season clinics, conventions and all-star 
games, "Any time the point spread gets 
to 20, it's worth a two-to-one edge in the 
if you know what the coach likes to 


y instinct and insight, he looks for 
the 7- and H-point spreads instead of the 
t spreads. “The bookmak- 
ers hate "em," he says of 7 and 14. 
"They're the killer numbers.” The reason 
is that college-football teams still tend to 
score in multiples of seven. “The book- 
maker has to pay me on ties and the 7- 
and L4-point spreads get a lot of ties,” he 
says. (That's one difference between big- 
money betting and the parlay card 


game: The bettors on parlay cards lose 
on a tic.) 
"There was a change in all this when 


the two-point extra point was introduced 
into college football in 1958. This was 
nomous boon to bookmakers, if only 
because it dramatically reduced the 
chances for ties at 7 and 14 points. Thu 
they did not have to pay off so many 
bettors. "But the coaches have settled 
down now and they usually settle for 
their seven on а touchdown—unless it's 
Тае in the game and the final score is at 
stake," says Diogenes. Or unless the score 
is so lopsided that the effort for two 
points won't really change the outcome 
much. 


, he puts in the trends of the 
various teams and conferences. In the 
Southeastern Conference, for example, 
he accepts a lower point spread than 
“they play more de- 
and less wide-open football than 
teams in other conferences do.” In Texa 
and other areas of the Southwest and 
Southern California, he risks the bigger 


point spreads. “They put the ball up in 
the and this opens up the game 


more"— because passes lead to more and 
quicker scores or because they lead to 
mistakes that allow the other team to 
score. When he turns to the Ivy League, 
he looks to Y. not necessarily to win 
bat to do better than the point spread 
says it should. For Yale has a certain 
adition among bookies and bettors: Tt 
ikes to over the point spread. 
What most people don't realize is that 
the year before last was the second time 
in the past five or six years that Yale 
went over the point spread almost every 
game. You show me 19 games in any two 
seasons where they went unbeaten and 
ГІ show you 18 games where they went 
over the p i i 
was cle 
hell out of anybody Ya 
beating hell out of. 
To all this, he adds certain v 
that can be discerned by any fan. Two 
of them are location and climate. “Watch 
those teams coming out of the lowlands 


The spirit of Old Eli is to beat 


le is capable of 


iables 


244 to play at Colorado or Air Force Acad- 


сту, particularly early in the season, 
when the visitors maybe aren't in such 
They get up in that thin 
ir, a mile high, and they run 
as late in the game—they can't 
cven catch their breath, But the kids 
going to these Rocky Mountain schools 
have been working out in that thin air 
all season—really, ever since they started 
school there—and they have more stay- 
ing power.” Similarly, he watches for 
undernained, overweight teams visiting 
Dust Bowl colleges in the opening weeks 
of the season. “That hot summer sun in 
the bottom of the stidium—mugey, 
sweaty weather—it dri 
zy" he sa 


Oklahoma 
sueak in its own conference, а 25- 
pound-perman weight advantage over 
Oklahoma in the line and the exhilara- 
tion of a 66-22 win over Kichmond in its 
opening game. West Virginia's reputa- 
tion was so great—it had already been 
picked as a potential national champion 
п one pre-season analysis—that the situa- 
tion was ripe to pick Oklahoma. Di- 
ogenes did exactly that. Then he 
watched without surprise as those whip- 
pet-lean linemen from Oklahoma ran the 
ponderous linemen from West. Virgi, 
Ш over the field. In fact, ОК 
veiled à "jumping jack" offense that 
had its own linemen moving out of the 
line of scrimmage in а way that drove 
the West Virginia linemen frantic, look- 
ing for a way to put the right men in the 
ight defensive slots. The new offense 
didn't sore many points for Oklahoma 
the score was 0-0 at the end of the first 
quarter—but it wasn't intended to. It 
designed to wear out the mou 
ous West Virginia linemen in ineffectual 
ifort uncertainly up and 
е of scrimmage, trying to 
figure out the jumping jacks, before the 
ball was snapped, It worked: A thor 
oughly fatigued West Virginia line col- 
psed in the second and fourth quarters 
and Oklahoma won 47-14. 
Another variable is how the c 
feel about one another. The dog: 
jcularly hard against Ohio Srate— 
lobody loves Woody Hayes." On the 
other hand. "Nobody in the Big Ten 
ever wanted to beat the Elliotts badly.” 
They had—Pete and Bump—a certain 
tradition to them and many people in 
the Big Ten felt that they were endowed 
with greatness. It didn’t quite work out 
that way; Pete and Bump are no longer 
couching football in the Big Ten, but 
while they were, the sense of dest 
was a pow 
Rose Bowl game in which lowa, then 
coached by Forest Evashevski, was a 
1914-point favorite over California, them. 
coached by Pete Elliott. Diogenes made 
а side bet at two to one that Iowa would 


wi 


ul one. Diogenes recalls a 


win by 2714 points. Тома was winning 
by 32 points in the fourth quarter when 
shevski apparently took pity on Elliott 
and sent in the junkowski Presto! Cali- 
fornia pushed down the field for a touch- 
down that reduced the winning margin— 
final score 38-12—and thar reduced 
Dio's bank roll сусп more dramatically. 
“Well,” he says, in the tone of a man 


who should have known better, "any 
time the point spread goes over 14 in a 
bowl game, you've got to be guessing." 


Once Diogenes has made his picks, he 
begins shopping for business. In the days 
when high-stakes betting on college 
sports was flourishing, the market on 
college football opened at noon on Mon- 
day, New York time. Dio would get on 
the phone and work quickly: he liked to 
be finished within two or three hours, 
because the other bigmoney bettors 
would also be getting their bets in and 
the point spreads would begin changing 
to reflect the influx of moncy. “And a 
half point could mean an awful lot to 
mc," he says. In more recent days, when 
а deep breath taken in interstate com- 
merce might lead to a Federal jail sc 
tence, the betting must be donc where 
gambling is legal—i.e, Las Vegas—or 
where it can be kept confined to a single 
particularly Miami. 
her of these towns, 
He will 
ng an out-of-town news- 
in interstate commerce) 


If Dio is not in ci 
he exercises extreme caution. 


not admit to bu 
paper (which i 


nor to listening to an out-of-state football 
me, much less to placing a bet by a 


long-distance phone call: He is scrupu- 
lous about obeying Federal laws. On the 
other hand, he is willing to admit the 
obvious: It is not terribly difficult to get 
to Las Vegas or to Miami within a few 
hours from virtually any part of the 
counuy. 

Once his bets a he doesn't sit 
back and forget about them. He's alwa 
looking for that shift that. will m 
a brilliant opportunity. He fondly rc- 
members the occasion when Pitsburg 
opened as а six-point favorite over Per 
State. Dio took the underdog Penn 
State and six points During the nc: 
few days, he watched the point spread 
At 


drop from six to four to two to eve 
that point, he went back into the market 
id рш а "ton of money" down on 
Pittsburgh. "There was no way I could 
lose," he explains. Here's why: 

1, If Penn State won or tied the game, 
he'd win the first bet. 

2. If Pitt won the game by any mai 
. he'd win the second bet. 

3. If Pitt won by six points or less, 
he'd win both bets 

As it happened, Pittsburgh came from 
behind to win the game 14-13. So 
won going both ways. 

He doesn't expect to do that often. 
“That kind of opportunity comes along 
only every couple of years,” he says. But 


245 


PLAYBOY 


246 


neither is he satisfied with half a loaf. “If 
you're half right, you're a loser,” he says. 
He cited some of the mathematics of the 
art—kindly, like one conveying truth to 
litle children. “If you bet only ten 
games, you must be 60 percent right” 
not on who will win or lose (which 
casy enough) but on picking the point 
spread. Assuming the minimum bei— 
$11,000 a game—the investor who wins 
six out of tci ets $16,000, while the 
bettor who's half right, picking five out 
of ten, loses $5000. "So the difference 
between being half right and 60 percent 
right is a difference of 521.000 —ánd of 
being а winner or a loser." To be sure, 
the more bets you make, the more the 
tyranny of the odds goes down. On 20 
bets, you must be right only 55 percent 
of the time (11 wins). On 40 bets, you 
must be right only 52.5 percent of the 
time (21 wins) to come out ahead. But 
though the percentages go down, Dio's 
goals do not 


"You've got to decide 
whether it's worth all the time and wen- 
sion to get down 40 bets—that’s an abso- 
lute minimum of 440.000 —just. so you 
can come out one grand ahead." For 
most people, he f “You ca 
do better putting your money else- 
where.” 

Over the years, Dio's judgment and in- 
tegrity have provided him with not only 
a comfortable fortune but also an umusuz 
stature: He became, very quietly, а con- 
sultant to college-conference authorities 
med to know if there was any- 
thing provably corrupt in their confer- 
ences. He would phone in a report once 
or twice a week, indicating whether he 


it isn’t 


who w 


۴ 


noticed anything strange in the betting 
marts. He didn’t want a fixed game; it 
only distorted his handicapping. He feels 
that “only the thieves” want a fix. So 
he felt he was helping himself, as well 
as college sports, by maintaining а sur- 
veillance оп the hanky-pank within the 
game. (Some of the discoveries have 
become public knowledge—in one week- 
end, there was an attempt to fix two 
major games. On a less spectacular level, 
his stream of advice about how the bet- 
ting was going on certain basketball 
games—in which a particular official 
invariably worked—led to the quiet dis- 
issal of the official) Even within strict- 
ly gambling cirdes, judgment and 
integrity are regarded so loftily that he 
has been accorded something of the sta- 
tus of a Chief Justice. It is, of course, an 
informal relationship in which he is 
asked to adjudicate some of the peskier 
problems of betting. Take the time 
Alabama was a 14-point favorite over 
Miami in a game that was to be played 
on a Friday night in the Orange Bowl. 
When a heavy rainstorm was forecast 
for the Miami area, some investors took 
Miami and 14 points, in the belief that 
the wind, the rain and a muddy field 
would make it all but impossible for 
Alabama to score. They ignored only 
onc possibility: that the storm would be 
so violent that the game would have to 
be postponed for a day. That's exactly 
what happened. By game time Saturday, 
the weather was clear and the field was 
dry and Alabama went out and whipped 
Miami 21-6, one point over the point 
spread. The ori Miami backers— 


“Hes very possessive.” 


losers all—immediately squawked and re- 
fused to pay up. They claimed that all 
bets were off, because the game was not 
played on wht, as scheduled. 
And everybody knows you handicap the 
weather and the playing field as well as 
the coaches, the teams and the star half- 
Баск pregnant girlfriend. If а vital ele- 
ment of the game—such as its location 
or date or a successful abortion—changes 
its basic condition, then all bets are off: 
At least that was the claim. In time, the 
matter was bucked up to Diogenes, as 
the fairest and most objective man in the 
business. After considering the problem 
for a judicious time, he concluded that 
all bets should be off if the game doe: 
not go on as scheduled. It was а land- 
mark decision in big-money bcuing. 
Since that time, no bet on а sporting 
event—except for outdoor boxing—car- 
ries over if the event is postponed to 
another day. 

All this is not to say that Diogenes has 
not known frustrations. He is regarded 
affectionately on his old campus—il 
largely because he is such a generous 
contributor to its development. fund— 
but not by his old employers, who cvi- 
dently still hold a grudge. “I've gone into 
the bank several times to drop a $15,000 
deposit in their laps,” he says, "but they 
won't take it.” He has thought of buy- 
ing stock in the bank and showing up 
to quiz the president at annual meet 
ings. "But that wouldn't prove any- 
thing," he says quictly. In short, because 
of the sub rosa nature of his occupation, 
he has been unable to transfer its huge 
ry rewards into a commensurate 
status in the world at largi 

He knows the easiest route: to quit. 
The Government has smoothed the way 
‘The big bookmakers can't op- 
ate anymore,” he says, “because of that 
gainst phoning gambling informa- 
tion across state lines," As he talked, he 
communicated the effect of a good con- 
versationalist quietly voicing some re- 
grets over very good, very old cognac. 
"Ihe result of the Federal strictures, he 
thought, may be to throw big-money 
betting on sports into a more Victorian 
era, where it is conducted discreetly as a 
"gentlemen's game" between individu 
—mveting, if necessary, face to face i 
unlit closet (to keep the Feds а 
But that would alter the excitement of 
high risk very litle. And it would not 
alter the cerebral exercise involved in 
the art. As always, Dio says, the art 
would represent an expression of one- 
self—a reflection of a certain perso 
the presence of high risk. “They can ta 
the superficialities away,” he says, hold- 
ing up a brandy, "but they can't take 
away its substance. Or its enduring good 


taste.” 


SAUL BIRD SAYS |... page 96) 


week in September, striding into his 
office. "I'm Saul Bird. I would like your 
signature on a petition,” he said. Hub- 
ben spent many minutes reading the 
petition, examining its syntax, to give 
himself time to think. Saul Bird's 
presence in this small room upsct him. 
The man was very close, physically close 
to Hubben—and Hubben could not 
stand to be touched—and he was very 
al. He kept leaning over Hubben's 
shoulder to point out things in the peti- 


Hubben, rattled, 
much sense of the petition except that it 
seemed to support excellence in teaching 
and the need for dedication to students 
and for experimentation to prevent “the 
death of the humanities.” Hubben could 
not see that it had much to do with the 
case of Saul Bird at all. But he said, not 
meeting Saul Bird’s stare, "I really must 
decline. I'm afraid I don't sign things.” 
You what?” 
Tm afraid I don't ——" 
You refuse to involve yourself?" Saul 


faculty is going to support me, once the 
ice of the ca red. Here is my 
own file—read it tonight and tell me 
what your response is.” And he gave 
Hubben a manila folder of Xeroxed 
memos, outlines, programs, personal let- 
ters from students in praise of Saul Bird, 
dating back to March of the у 
Saul Bird had signed a contract with 
Hilbemy. Hubben sat dizzily looking 
through these things. He had his own 
work to do. . .. What sense could he 
make of all this? 

О ptember ninth, he was to meet 
with Saul Bird at four in the afternoon, 
but the hour came and went. He was 
immensely relieved. He prepared to go 
home, thinking of how much better it 
was to stay away from people, really. No 
tionships. No intimate ties. ОЁ 
course, he liked to "chat" with people— 
pa rly about intellectual subjects— 
and he enjoyed the simple-minded family 
dinners in the Kramer household, where 
he boarded. He liked students at а dis- 
tance. Women made him extremely nerv- 
ous. His female students were as colorful. 
partridges and as unpredictable—so 
many sudden flutterings, the darting of 
eyes and hands! The young men in his 
classes were fine human beings, but, up 
close, the heat of their breath was dis 
turbing. Better to keep people a dis- 
.. And as Hubben thought this 
clearly to himself, the telephone. rang 


close xe] 


and Doris Marsdell announced that Saul 
Bird was on his way. "But he's an hour 
lae and I'm going home,” Hubben 
protested. 

“You hadn't better go home,” the girl 
said. 
у! said Hubben. “What did you 
ү, Miss Marsdell2" 
This is a matter of extreme impor- 
tance, more to you than to Saul. You 
hadn't better go home.” Shaken, Hubben 
looked around his dingy, cluttered office 
as if secking help—but he w 
The girl went on quickly, "S. 
genius, a saint. You people all 
that! You're jealous of him! You want 
to destroy him, because you're jealous, 


you're terrified of а real genius in your 
midst! 

"Miss Marsdell,” Hubben said, “are 
you joking? You must be jol 


“I don't joke,” the girl said and hung 
up. 

When Saul Bird arrived 15 minutes 
later, he was in an excellent mood. He 
shook hands briskly, lit a cigarette and 
sat on the edge of Hubben’s desk. “Did 


Hubben was extremely warm. “I'm not 
sure rS 


Most of your colleagues in philoso- 
phy are going to my behalf,” Saul 
Bird said. “What is your decision? 

“L wasn't aware that most of them 


were 
ОЕ course not. People are afraid to 
talk openly of these matters.” 

“I still don't think———" 

[y wife wants you to have dinner 
with us toi ht. We'll talk about this 
tly, sanely. Intelligent discourse be- 
tween humanists is the only means of 
ing about a revolution—until the 
need for violence is more obvious, I 
mean,” Saul Bird said with a smile. 
jolence?” Hubben stared. He felt 
something in his blood warming, open- 
ing. coming to life in arrogant protesta- 
tion against himself, his own demands. 
He was very warm. Saul Bird, perched 
on the edge of his desk, eyed him 
through glasses that locked as if they 
might slightly magnify the images that 
came through them. 

“People like you,” Saul Bird said soft- 
ly, “have been allowed to live through 
books for too long. That's been your 
salvation—dust and the droppings of tra- 
dition—but all that is ending, as you 


"I realize this is an unusual request, 
but my wife and I have tickets to ‘La Bohème’ and 
we can't locate a baby sitter.” 


247 


PLAYBOY 


218 


know. You'll change. You'll be changed. 
My wife would like you to come to 
dinner. You're rooming with the Kra- 
rs aren't you? Old Harold Kramer 
d his ‘ethics of Christianity’ seminar?" 
Ilubben wanted to protest that Kra- 
was only 46. 

‘People like Kramer, according to the 
students, are hopeless. They must go 
under. People like you—and a very few 
es. The students do 
admit certain possibilities. They are very 
wise, these twenty-year-olds. extraordinar- 
ily wise. The future belongs to them, of 
You are not anti-student, are 


others—are possil 


"Of course not, but- 

“Telephone Kramer's wife and tell her 
you're eating out tonight,” Saul Bird 
said. 

Hubben hesitated. Then something in 
him surrendered: Really, it would not 
harm him to have dinner with the Birds. 
He was curious about them, after all. 
And then, it could not be dented that 
Saul Bird was a fascinating man. His 
face was shrewd, peaked, oddly appeal- 
ing. He was obviously very intelligent 
—his students had mot exaggerated. 
Hubben had heard, of course, that Saul 
Bird had been fired for incompetence 
and "gross misconduct.” He did not 
teach his classes, evidently. He did not 
assign any examinations or papers and 
his students were allowed to grade them- 
selves. But in the man’s presence, these 


Trikes 


charges faded. they did not seem quite 
relevant. . . . Hubben made up his mind. 
He would spend the evening with the 
Birds. Wasn't it а part of the rich reck- 
Jessness of life, to explore all possibilities? 

And so it all began. 

The group met informally at Saul 
ment, at first two or three 
then every evening. Wan 
often as she could—she had 
to work hard on her class preparations 
and on her dissertation, she was often 
exhausted, a little sick to her stomach 
and doubtful of her subject (Landor. 
Saul Bird had said flatly)—but still she 
showed up. shy and clumsy about this 
new part of her id and 1 
group were so 
wise! They asked her bluntly how she 
could devote her intelligence to the anal- 
ysis of a medieval writer when the world 
about her was so rotten. It was based on 
hypocrisy and exploitation, couldn't she 
see? The world was а nightmarish joke, 
unfunny. Nothing was funny. It was a 
fact of this life, Saul Bird lectured to his 
circle, that nothing was funny. 

And he would stare openly at Erasmus 
Hubben, whose nervous jokes had an- 
noyed the circle at first. 

Hubben was transformed. gradually. 
How had he been blind for so long? Hi 
students told him that half the faculty 
was going to be fired, hounded out, 
shamed out of existence, if Saul Bird was 


da wen 


“They call me Calamity Jane.” 


not rehired. When Saul Bird was re- 
hired, however, he would not be grate 
fully silent but would head a commiuce 
of activist faculty and students to expose 
the hypocrisy of the rest of the faculty. 
Their findings would be published 
Would he, Erasmus, like to contribute 
anything to help with printing costs? As 
the fall semester went on, Hubben 
turned up at Saul Bird's more and more 
often, he stayed later, he became quite 
dependent upon these nightly meetings 
How was it possible that he had known 
so little about himself? about his own 


ner, and the saliva flew from his lips. He 
believed that Saul Bird listened closely 
to him. The very air of Saul Bird's 
crowded little apartment. was exhilarat- 
ing to Hubben; he and tlie two other 
faculty members who showed up regular- 
ly began to feel younger, to dress in an 
untidy, zestful, youthful manner. Hub- 
ben gained a new respect for Morris 
Kaye, whom he had never taken serious 
ly. And a new lecturer, a young woman 
named Wanda, attracted Hubben’s eye 
п her speech, Mlat-chested, her сусу 
watery with emotion or shyness, she did 
not upset Hubben at all and she seemed 
to admire his speeches. 

On the walls of the apartment there 
were many posters and photographs, and 
those that caught Hubben's суе most 
often were of blazing human beings— 
Buddhist monks and nuns, and a Czecho- 


ing up from an oddly rigid, erect human 
bcing, sitting crosslegged in a street! It 
was unimaginable, But it had happened, 
it had been photographed. Hubben had 
the idea as the weeks passed that only so 
dramatic ап act, so ble an act, 
would impress Saul Bird. 

Wh Wanda could not go to the 
apartment, she thought about the group 
and could not concentrate on her wor 
What were they talking abou 
usually talked for hours—sometimes qu 
епу, sometimes noisily would be 
heavy with smoke. Everyone except Wan- 
da smoked: even Saul Bird's little. boy 
showed up. smoking. (The Birds d 
exactly live together. Susannah had an 
apartment on the top floor of a building 
and Saul had a smaller apartment on the 
second floor, in the rear.) The little boy. 
Philip. would come down to visit and 
stand behind his father's chair, watching 
everyone, He was a fascinating child. 
Wanda thought. She feared children, 
usually, but Р! did not seem to be a 
child; he was dwarfish rather than small, 
wise and almost wooden, with thick 
Kinky hair a little darker than his fa- 
ther's and his father's cool, intelligent 
face. He would not attend public schools 
and the Birds supported him. (Some 
kind of legal case was going on over 


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this.) He said little, unlike other chil- 
dren Wanda had known, and she was 
very pleased one day when the Birds 
sked her to take Philip out to get a pair 
of shoes. She took him on the bus. He 
was silent except for one remark: “Don’t 
fall in love with my father, pl 

Wanda laughed hysterically. 

She began to lie awake at night, think- 
ing about Saul Bird. He often looked 
directly at her, pointedly at her. He 
often nodded in support of her remarks. 
If only they could talk alone!—but the 
apartment was always crowded with stu- 
dents who were staying overnight, some 
of them even bringing their sleeping 
bags along. The young man with the 
orange hat, David Rose, had moved out 
of his parents’ house and Saul Bird had 
gladly agreed to house him, for nothing. 


The telephone was always ringing. 5 
sannah sometimes showed up around 


midnight, silent and dark. She reminded 
Wanda of a cow. But the woman was 
brilliant, her book on Proust was bril- 
liant. Wanda despaired of such brill 
herself. Susannah had а deft, witchlike, 
whimsical style, her small face sometimes 
breaking into a darting, razorish smile 
that was really charming. And her wit 
frightened everyone—"If_ my husband 


could function normally, he would func- 

tion normally.” she said once, winking 

And Hubben was always the 

out for piz 

burgers. 
T 


He sent 
s and chop suey and ham 
"I am a character out of 
a, pure essence,” he declared—was 
always there. And the students, always 
the students. They seemed to live on air, 
disdaining Hubben’s offers of food. They 
did not need food. They lived on the 


hours of intense, intoxicating dialog: 

SAUL mrp: What conclusions have you 
come to? 

pom: That I was an infant. I was 
enslaved. 

saut шко: And what now? 


poris: Now I am toi 

SAUL BIRD: You're ex 
our respect. 

poris: No, I'm free. I'm free. I detest 
rents and everything they stand for 
ree of them—I am my own wom- 
an, entirely! 

During the day, Hubben began to 
notice that his colleagues at the univer- 
sity were jealous of him. They were proba- 
bly curious about the renewed interest in 
his notoriously difficult subject, logic. 
How strange that young people should 
begin to hang around Erasmus Hubben's 
оће! Hubben spent hours "chatting" 
with them. / must get closer. 1 must 
wake up to reality, he thought. His col- 
leagues were mot only jealous of his 


ally free. 
aggerating to ga 


popularity but fearful of it. He began 
office door and ope 


dosing h 
only to Saul Bird's 
around Saul Bird's pet 
argue people into sign 


ng it 
rde. He took 
jon and tried to 
ng it. When Kra- 


250 mer would not sign it, Hubben became 


extremely angry and moved out of the 
Kramer home and into a cheap river- 
front hotel. He told the Kramers that 
their attitude toward Saul Bird was dis 
gusting. They were sick people, he could 
not live under the same roof with such 
sick, selfish people! Kramer, а professor 
of ethics, an old-fashioned Catholic lay. 
man, was brought to tears by Hubben's 
accusations. But Hubben would not 
move back. He would not compromise 
with his new ideals. 

1 haue friends now. I have real friends, 
he thought 50 times a day, in amaze- 
ment. He doodled little poems, smiling 
at their cryptic ingenuity— 


One savage kiss is worth 
a thousand savage syllogisms— 


and showed them to Saul Bird, who 
shrugged his shoulders. Though he was a 
professor of English, Saul had not much 
interest in poetry. He argued that the 
meaning of life was action, involvement 
with other Auman beings; the trappings 
of the past were finished—books, lec 
tures. classrooms, buildings, academic sta- 
tus! He, Saul Bird, was being fired only 
because he represented the future, The 
establishment feared the future. In a 
prodamation sent to the local newsp 
Г alling for an investigation of the 
financial holdings of the university's 
board of governors, he stated: “Because 
it is my duty to liberate the students of 
y. L am being fired. Because 
people like myself—and we 
ous in Canada and the United States— 
are loyal to our students and not to the 
establishment, we are being persecuted. 
Bur we are going to fight back." 

“We certainly are going to 
back!" Hubben cried. 

He hurried about the university with a 
wild, happy look. He felt so much 
younger! "Though living in the White 
Hawk Hotel did not agree with him, he 
felt much younger these days; it was 
mysterious. He and the young lecturer 
Wanda Barnett often sought each other 
out at the university to discuss the 
change in their lives. At first, they were 
shy; then, guessing at their common сх. 
periences, they began to talk quite open 
ly. always lonely. I was always left 
out. І was the tallest girl in my 
class,” Wanda said, gulping for breath, 

Hubben, feeling а kind of confused, 
sparkling gratitude for this woman's hon- 
esty, admitted that he, too, had been 
lonely, isolated, overly intelligent, a kind 
ak, "And I was selfish, so selfish! J 
ied from my father—a pious old 
fraud!—an absolute indifference to mor 


this univ 


re numei 


fight 


But thanks to Saul- 
“Yes, thanks to Saul 
at once. 
Just before the break at Christmas, the 


Wanda said 


university's Appeals Committee turned 
down the Saul Bird case. 

"And now we must get serious; 
Bird said to the circle. 

They began to talk of tactics, They 
talked of faculty resignations, of the de- 
nunciation of the university by its stu- 
dent population; guardedly, at first, they 
talked of demonstrations and breakage 
and bombings. They would certainly oc- 
cupy the humanities building and only 
violent police action could get them out 
—maybe not even that, if they were 
armed. They could stay in the building 
for we and force the university's ad- 
ministration to rehire Saul Bird. As they 
spoke, they becune more cx 
ol themselves. The blazing sui- 
cides on Saul Bird's walls were luminous, 
as if in sympathy with their cause. 

How could one live in such a rotten 
society? Why not destroy it with vio- 
lence? 

‘The telephone always ringing. 
Sometimes Wanda answered. sometimes 
one of the girl students; if Saul Bird 
nodded. they handed the receiver to 
him; if he shook his head, they made 
excuses for him. He was not always av 
able to everyone. This pleased them im- 
mensely, his belongi 10 them. When 
they did not talk directly of forcing the 
administration to rehire him, they talked 
about him, about his effect on their Ji 
‘They were frank and solemn. A fi 
arts student, a girl, dasped her 
before her and said breathlessly, 
has changed me. No cell in me 
same, 

К, enormously moved, sat on the floor 
and confessed, “He revolutionized my 
concept of reality. Its like that corny 
Gestalt of George Washington's face— 
once it’s pointed out to you, you can't 
see anything else. Not lines and squiggles 
but only Washington's face. That is 
te," 

But sometimes, very late at night, the 
discussions became more intimate. 1t 
in January that Saul Bird turned to 
Hubben, who had been unusually noisy 
that evening, and said, "You assure us 
you've been transformed. But I doubt it. 
I doubt that you are ready yet to face 
the truth about yourself. 

"The truth? 
"The truth, Will you tell us?” 

It was so late—around four in the 
morning—that only about 12 students 
remained, as well as Wanda, K and a 
recent convert, a peppy, bearded sociol- 
ogy lecturer. The air was suddenly quite 
tense, Everyone looked at Hubben, who 

agged at the collar of his rumpled sl 

"I don't know what you mean, 5, 
he said. 

“ОГ course you know what I me 

“That I'm prejudiced? Against certain 
races... or creeds... ? 

Saul Bird was silent. 

“I admit to а slight primitive fear . 


Saul 


cd, more 


“For God's sake, Alice, this is no time for polite euphemisms.” 


251 


{ 


PLAYBOY 


252 


an entirely irrational fear of people dif- 
ferent from myself. It's Toronto instinct! 
Good old AngloSaxon stock!” Hubben 
laughed. 

“We know all that,” David Rose said 
coldly. 

"How do you know that? Did you— 
did you know that" Hubben said. He 
looked around the room. Wanda Barnett. 
was watching him, her face drawn with 
the late hour. K's look was slightly 
glazed. "But I like all human beings 
personally, as—as human beings. Today 
1 was chatting in the lounge with Frank- 
lin Ambrose, and it never occurred to 
me, not once, that he was a—that he was 
a Negro” 

Hubben looked miserably at Saul 
Bird. 

"Franklin Ambrose is not a Negro,” 
said Saul Bird shrewdly. 

Everyone barked with laughter. It was 
nk Ambrose, a black man of 80, 
whose Ph.D. was from Harvard, who 
dressed expensively and whose clipped 
igh style was much appreciated by his 
female students, was not really a “Ne 
gio” at all. 

What about Jews, Erasmus?" Doris 
ell said suddenly. 

“Jews? 1 don't think about Jews. I 
have no feelings one way or another. I 
do not think about people аз Jews—or 
non-Jews 

“Tell us more,” another student said 
with a snicker. 

Yes, tell us. 
ell us about your most intimate 
instinct," Saul Bird said. He leaned for- 
ward to stare down at Hubben, who was 


м 


sitting on the floor. “What is the truth 
about your fecling for me?” 

“Extreme admiration. 

“Come, come. I think we all know. 
You might as well admit it.” 


"But what—what аге my inclina- 
tions?” 

“Your obsession 

Hubben stared, 

“Tell us.” 

“But what 

“Your desire for m 

“I don't 

“Your homosexual desire for me," Saul 
Bird said flatly. 

Hubben sat without moving. 

“Well?” said Saul Bird. “Why are you 
so silent?" 

“I don't—I don't" Hubben wiped 
his forehead with both hands. He could 
not bear the gaze of Saul Bird, but there 
was nowhere clse to look. And then, 
suddenly, he heard his own voice saying, 
“Yes, Ladmit it. It's true.” 
aul Bird lifted his hands in a gesture 
that matched the lifting of his eyebrows. 
“Of course it's truc," he said. 

"The discussion leaped at once to an- 
other topic: tactics for the occupation of 
the humanities building. Hubben took 
part vociferously in this discussion. He 
stayed very late, until only he and a few 
students remained, and Saul Bird said 
curtly, “I forgot to tell you that Susan- 
nah and 1 are flying to New York this 
morning. Will you all go home, so that I 
can get some sleep?’ 

“You're going away?" everyone said. 


“What do you mean?” 


x 
what do you mean?” 
Saul Bird said, 


“Alfred always looks for the good in people." 


A weekend without Saul Bird was a 
lonely weckend. Hubben did not leave 
the White Hawk Hotel; Wanda, staying 
up in Susannah's apartment in order to 
take care of Philip, hoped for a tele- 
phone call. While the child read books 
on mathematical puzzles, or stared for 
long periods of time out the window, 
Wanda tried to prepare her Chaucer 
lectures. But she could not concentrate: 
She kept thinking of Saul Bird. 

Who could ist Saul Bird? 

The White Hawk Hotel was very 
noisy and its odors were of festivity and 
rot. Hubben, unable to sleep, telephoned 
members of the Saul Bird circle during 
the night, chatting and joking with them, 
his words tumbling out, saliva form- 
ing in the corners of his mouth, Some- 
times hc himself did not know what he 
was saying. After talking an hour and a 
half with К about the proper wording of 
their letters of resignation, he caught 
HE up short and asked, startled. 
"Why did you call me? Has anything 
happened? 

The next Monday, on his way to class, 
he overheard two students laughing be- 
hind him. He whirled around; the boys 
stared at him, their faces hardening. No 
students of his. He did not know them. 

But perhaps they knew him? 

Getting his mail in the departmental 
office, he noticed that the secretary—a 
young woman with stacked blonde hair 
—was eying him strangely. He glanced 
down at himself—frayed trouser cuffs, 
unbuckled oyershoes, She was so absurdly 
overdressed that she must sneer at an 
intellectual like him, in self-defense. She 


perhaps she had heard . . . 2 

He went over to the English depart- 
ment to see Wanda, but she stammered 
an apology: "A student is coming to see 
me right now. About the special edition 
of the paper: 

“The special edition? Can't I stay and 
listen? 

"Not right now," Wanda said, con- 
fused. 

Hubben had donated $500 for a spe- 
cial edition of the student newspaper, 
which was going to feature an interview 
with “Saul Bird: Teacher Extraordi- 
navy.” 

He walked quickly back to his office 
and dosed the door. His head pounded. 
He covered his face with his 
wept. 

Saul Bird. ... 

Saul Bird returned in three days and 
the activities of the circle were resumed. 
It was necessary to begin plans for the 
occupation of the humanities building in 
earnest. They must be prepared for vio- 
lence. Now the telephone was ringing 
more than ever: The local newspaper 
wanted an interview to run alongside an 
terview with the president of the 
versity; a professor in civil engineering, 


of all fields, wanted Saul Bird to come to 
dinner, because it was “time we all com- 
municated"; the head of Saul's depart- 
ment wanted an explanation of all this 
intrigue; David Rose's father called to 
demand angrily what was happening to 
his son; long-distance calls came in from 
Toronto, in response to a full-page ad- 
vertisement Hubben had paid for in the 
Toronto Globe and Mail, headlined 
“WHY 15 HILBERRY UNIVERSITY PERSECUT- 
ING A MAN NAMED SAUL BIRD?” 

Wanda walked through a cold slecting 
r to ich a television interview show 
at the home of the Episcopal chaplain, 
Father Mott, a young, balding man who 
was Saul Bird's newest disciple. The 


show wa production, rather ama- 
teurish, but Saul Bird spoke clearly and 
strongly and made an excellent impres- 


n. Wanda stared. transfixed, at his 
g€ on the screen. It was impossible to 
tell how short he was! He talked for 15 
minutes in his urbane, imploring voice: 
"It must be smashed so that it can livel 
‘Those of us who are prepared to smash 
it arc feared, especially by our own gen- 
eratio it this fear is hopeless, it will 
stop nothing—the future will come, it 
will be heard! We may have to destroy 
higher education in both Canada and 
the United States in order to save our 
young people 

"Dr. Bird,” said the intery 
Task a more personal quc: 
been he 


g about a possi 


is to this threat 
not," said Saul Bird. 
"Ihe occupation had been planne 

the following Tuesday, the second week 
in February. Wanda, who had been stay- 
ing up almost every night, got so nervous 
that she could not sit still. She could not 
even мау in her office for long. She 
imagined that people were staring at her. 
The older faculty members, unsympa- 
thetic to Saul Bird, in some cases hating 
Saul Bird, began to look at her in а most 
unpleasant way. In the faculty loun 
Wanda believed that they laughed at her 
because she came in so rushed, her short 
hair untidy about her face, her books 
clumsily cradled in her arms. She blushed 
rably. 

ebruary was dim and cold and few 
students showed up at her morning 
classes. Inspired by Saul Bird, she had an- 
nounced that all students enrolled in her 
sections would be ailowed to grade them- 
selves at the end of the year. Saul Bird 
had predicted a renewed enthusiasm on 
the students’ part, but in fact, the stu 
dents were disappearing; what had gone 
wrong? Didn't they understand her devo- 
tion to them? She was so nervous that 
she had to huny to the women’s rest 

g nau 

Sometimes she did throw up. And the 
shaken, pale, distaught, she hurried 
across the windy quadrangle to her 


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253 


PLAYBOY 


classroom, arriving five minutes late, her 
glasses steamed over. 

As the date of the occupation ap- 
proached, she became even more nervous 
She could not sleep. If she telephoned 
Saul Bird, it often happened that someone 
else wered—it sounded like Doi 
Marsdell—and said Тойу, “Saul is not 
available at the moment!" ЈЕ she tele- 
phoned Susannah, the phone went un- 
answered. Erasmus Hubben, at his hotel, 
would snatch up his telephone receiver 
and say hello in so panicked a voice that 
Wanda could not identify herself. So the 
two of them would sit, listening to each 
other's frightened breathing, until they 
both hung up. 

She kept thinking and rethinking 
bout the past several months. Her mind 
raced and would not let her sleep. For 
some reason, she kept glancing at her 
wrist watch. What was wrong? What was 
happening? She caught a bad cold w 
ing for a bus to take her to Saul Bird’s 
apartment and could not get rid of it. 
When she met other faculty members in 
the halls, she stammered and looked 
away. She could not concentrate on her 
dissertation. That could wait; it had 
nothing to do with real life. But people 
were looking at her oddly. When she 
hurried into the coffee shop to sit with K 
and a few students, it seemed that even 
these people glanced oddly at her. But it 
was Erasmus Hubben they were analyz- 
ing. "People just want to discredit his ad 
in the Toronto Globe and Mail!” Doris 
Marsdell said sourly. She had а very 
thin, grainy face, rubbed too raw and 
drawn with exhaustion; her blonde һ 
hung in strands. When she waved her 
arms excitedly, she did not smell good. 
anity and insanity, § re bour- 
geois distinctions we don't need to ob- 
serve. It's all crap! If society tries to say 
that Erasmus is unbalanced, that is their 
distinction and not ours. Society wants to 
categorize us in order to get power over 
us! Sheer primitive ialis power!” 


The occupation began on February 
tenth, at 10:30 р.м. Saul Bird's supporters 
—about 40 students and 8 faculty mem- 


bers and the wiry little Episcopal 
chaplain—approached the humanities 
building with their sleeping bags, helmets, 


goggles and food, but the ca 
must have been tipped off, because they 
were waiting. These police—about five 
of them—blocked the entrance to the 
building and asked for identification 
cards. 

Erasmus Hubbea pushed his way 
through the shivering little group. “Are 
you the Gestapo?” he aicd. “The 
thought police? What is jour identi 
ficat A few of the students began 
shoving forward. They broke past the 
campus police—who were middle-aged, 
portly men in uniforms that looked like 


mpus police 


254 costumes—and ran into the building. 


Hubben cried, His 
Jong dark overcoat was unbuttoned and 
swung open. Ws whose throat was 
very sore, wondered if she should not try 
m Erasmus. But something about the 
rigidity of his neck and head frightened 
her. “I dare you to arrest me! I dare you 
to use your guns on me! I am an asso- 
ciate professor employed by this univer- 
sity, І am а Canadian citizen, I will use 
all the powers of my station and my 
mellect to expose you!” he cried. The 
students inside the building were now 
holding the doors shut against the police 
but this prevented the other students 
from getting in. The policemen moved 
slowly, like men in а dream. Erasmus was 
pulling at onc of them, a plump, cufaced, 
frightened man in his mid-50s, and was 
shouting. "Are we threatened with being 
fired, indeed? Are these loyal students 
threatened with expulsion? Indeed, in- 
deed? And who will fire us and who will 
expel us when this university is burned 
to the ground and its corrupt adminiso 
tion put to public shame?” 

“Somebody put a gag on him!" 
of the students muttered. 

Then something happened that Wan- 
da did not sec. Did Erasmus shove the 
policeman or did the policeman shove 
Erasmus? Did Erasmus truly spit in the 
man's face, as some claimed gleelully, or 
did the policeman just slip accidentally 
on the steps? People began to shout. 
The policeman had fallen and. Erasmus 
was trying to kick him. Someone pulled 
at his arm. Hubben screamed, “Let me 
at him! They are wying to castrate us! 
All my life, they have tried to ca: 
me!" He took off his overcoat 
threw it behind him and it caught poor 
Father Mott in the face. Before anyone 
could stop 1 asmus tore off his shirt 
and began undoing his trousers. Wanda 
could not believe her eyes—she saw Eras- 
mus Hubben pull down his trousers and 
step out of them! And then, eluding 
everyone, he ran along the side of the 
building, through the bushes, in his 
underclothes. 

“Get him, get hin!" people cried. A 
few students tried to head him off, but 
he turned suddenly and charged right 
into them. He was screaming. Wanda, 
confused, stood on the steps and could 
not think what to do—then two young 
Is ran right into her, uttering high, 
shrill, giggling little screams, They were 
from her Chaucer dass. They ran right 
into her and she slipped on the icy steps 
and fell, She could not get up. Someone's 
foot crashed onto her hand. About her 
head were feet and knees; everyone was 
shouting. Someone stumbled backward 
and fell onto Wanda, knocking her face 
down against the step, and she felt a 
violent pain in her mouth 

She began to weep helplessly. 

Saul Bird, who had thought it best to 
stay away from the occupation, tele- 


s! Gestapo! 


one 


phoned Wanda at three o'clock ii 
morning. He spoke rapidly and angril 
“Come over here at once, please, Susan- 
nah and I are driving to Chicago in 
hour and we need you to sit with Philip. 
I know all about what happened—spare 
me the details, please. 

“Bur poor Erasmus—" 

“How soon can you get here?" 

"Right away," Wanda said. Her mouth 
was swollen—one of her teeth was loose 
and would probably have to be pulled. 
But she got dressed and called a taxi and 
ran up the steps into Saul Bird's apart- 
ment building. In the foyer. a few stu- 
dents were waiting. Doris Marsdell cried, 
“What are you doing? Is he letting yo 
come up to sec him?” Her eyes were pink 
and her voice hysterical. "Did anything 
happen? Is he still alive? He didn’t аг 
tempt suicide, did he?" 

He asked me to take c 
for a few days," Wanda said. 

“You? He asked jou?" Doris cried in 
dismay. 


Sus: 


є of Philip 


h answered the door. She was 
g a yellow-tweed p t and 
hoop her mouth dark, 
heavy pink. "Come in, come in!" she 
said cheerfully. The telephone was ring- 
ng. Saul Bird, knotting a necktie, ap- 
peared on the run. "Don't answer that 
he said to Su h. The 
boy, Philip, stood in his pajamas at a 
dow, his back to the room. Every- 
where there were suitcases and clothe: 
W: a tried to cover her swollen mouth 
with her hand. ashamed of looking sa 
ugly. But Saul Bird did not seem to look 
at her. He w: nmaging through some 
clothes. "Wanda, we'll contact you in а 
few days. We're on our way out of this 
hellhole," he said сигу, 

She helped them carry their suitcases 
down to the car. 

Then, for three days, she st 
apartment and “watched” Philip. She 
fingered her loose tooth, which was very 
painful; she wept, knotting a handker- 
chief in her fingers. She could not shake 
loose her cold. “Do you think—do you 
think your father will ever recover from 
this?” she asked, staring at the little boy. 

He spent most of his time reading and 
doodling mathematical puzzles, When he 
laughed. it was without humor, a short, 
breathy bark. 
aul Bird did not telephone until the 
following Saturday, and then he had 
itle to say. “Put Philip on the Chicago 
flight at noon. Give him the keys to both 
aparunents. 


nts su 
was 


telephone! 


"t you coming back?" 
said Saul Bird. 
about your te: 
nda cried. 


“Bu 
student?” W 


hing? Your 


I've had it at Hilberry University,” 
Saul Bird said. 
She was paralyzed. 


Preparing Philip for the wip, she 


buck. broww 


“Are you kidding? Of course we let them play through!” 


PLAYBOY 


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walked about in a kind of daze. She kept 
saying, “But your father must return. He 
must fight them. He must insist upon 
justice.” Philip did not pay much atten- 


tion to her. A cigarette in the center of 


his pursed lips, he combed his thick hair 
carefully, preening in the mirror. He was 
а squat, stocky and yet attractive child 
like his father, his face wooden and 
theatrical at once, a sickly olive hue. 
Wanda stared at him. He was all she ha 
now, her last link with Saul Bird. 
you think he's desperate? Will he be 
hospitalized like poor Erasmus Hubben? 
What will happen?” 

“Nothing,” said Philip. 

“What do you mean?” 

“He has found another job, probably.” 

“What? How do you know?” Wanda 
cried. 

“This 
Philip. 

In the taxi to the airport, she began to 
weep desperately. She kept touching the 
child's hands, his arms. "But what will 
happen to us... to me... ? The year 
is almost gone, 1 have nothing to show 
for it. I resigned from the university and 
I cannot, I absolutely cannot ask to be 
rehired like the others. 
degrade myself! And 
all that is dead. dried up. all that Бе 
longs to the past! What will happen to 
me? Will your father never come back, 
will I never see him again?" 

“My father," said Philip coldl 
no particular interest in women.” 

Wanda hiccuped with laughter. “I 
didn't mean- z 

"He makes no secret of it. I've heard 
him talk about it dozens of times,” Phil- 
ip said. “He was present at my birth. 
Both he and my mother wanted this. He 
watched me born ... me being born 
. . . he watched all d blood, my moth. 
ers insides coming out . . . all that 
blood. . . ." The child was dreamy now, 
no longer abrasive and haughty; he 
stared past Wanda's face as if he were 
staring into a mystery. His voice took on 
a softened, almost bell-l tone. “Oh, 
my father is very articulate about that 
experience. . . . Seeing that mess, he 
said, made him impotent forever. Ask 
him. He'd love to tell you about it." 

“I don't believ Wanda whispered. 

“Then don't believe i 

She waited until flight was called 
and walked with him to the gate. She 
kept touching his hands, his arms, even 
his bushy dark-blond h He pulled 
away from her, scowling; then, taking 
pity on her, staring with sudden interest 
at her bluish, swollen lip, he reached out 
to shake hands. It was a formal hand- 
shake, a farewell. 

"But what will I do with the rest of 
my life” Wanda cried, 
he child shook his head. “ 
such an obvious woman," he said flatly. 


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cassettes (continued from page 146) 


530-5100 r: ve tolerably well 
at the beach al other alfresco entertain- 
ments at which the listening is casually 
uncritical. Two typical models are the 
Norelco 1530 (564.95. cassette only) and 
1570 ($89.95, cassette plus AM/FM), 
weighing about five pounds each and 
featuring ап ingenious tape-transport. 
system with two separate motors, for re- 
ost шш | гапа fast-forward /rewind. 
5 d by Admiral, 

5 “Motorola, RCA and 
id manufacturers. 

The most interesting action on the 
portable front has been focused on cas- 
seue machines with stereo capability 
Stereo portables are being promoted on 
the assumption that many listeners de- 
Ч the same high quality outdoors as 
an get indoors, Hitachi's Model 


TRQ222 ($119.95) does its binaural 
thing via two detachable swingout 
speakers yet tips the scale at 11.7 pounds. 


It operates either on A. C. line current or 
o 
portables worth inves 
Ampex Micro 70 ($189.95) and the Gon- 
cord F-400 ($179.50), as well as the Craig 
2609 (5189.95) and the Panasonic RF-7490. 
(5179.95); last two are equipped 
with a builtin AM/FM stereo 
Listeners on the go will als 
look into the new stereo cassette players 
for cars—a domain hitherto ruled by the 
cight-trick cartridge, Both Chrysler and 
General Motors will be offering factory- 
installed cassette equipment in some 1971 
Guy and there is a proliferation of 
add-on units for cither dashboard or 
floor mounting. Most of these automo- 
bile players come from Japan and look 
pretty much alike, no matter what the 
brand name. Almost all have slot-lo: 
and push-button eject. Some fea 
tomatic reverse—for example, 
& Howell Model 5700 ($119.95). Others 
incorporate FM sterco—for e 
TP-2010 (5109.95) 
‘CLOFM (3129.95). Yet others—such 
as the Hitachi TRQ-206 (5119.95) and 
the Mayfair 222 ($109.95)—oller record- 
ing capability for in-transit dictation. 
Anyone opting for the cassette system at 
home will probably want it on the road 
as well, in order to get double-duty from 
his cassette collection. But since the auto- 
mobile gear is fairly new and untricd, 
choice of equipment should be made 
ccording to the recommendations of the 
dealer who will install and service it. 
Regarding the little cassettes them- 
» both blank and recorded: As 
Du Pont’s new chro- 
n seems to have 
a lot going for it, especially when used in 
cassette pear with bias and equaliza 
adjustments. Du Pont isn't 
the tape in blank-cassette form but is 
licensing other firms to do so. Germany's 


six “D” cells. Other stereo cassette 


g are the 


selv 


indicated earlier, 


BASF plant was already in production in 
midsummer and other major tape sup- 
pliers, such as Ampex, Norelco, Sony and 
ЗМ are expected to join the parade 
shortly. Meanwhile, high-density ferric 
oxidetape cassettes—most notably the 
"SD" line of 30-minute, 60-minute and 
90-minute blanks manufactured in Japan 
by TDK Elecuonics—have won high 
praise from the experts. 

Proper cassette assembly i al to 
smooth performance as high-quality tape. 
A fully configurated cassette contains at 
least a dozen precision components (the 
exact number varies with the brand), 
many of them minuscule springs and 
rollers that must meet rigorous produc- 
tion tolerances. Thus, it's well to beware 
of blank cassettes made to sell at cutrate 
prices. They're often shoddily put to- 
gether and can cause annoying jam-ups in 
operation. 

Every major record label now rou 
tinely ses new albums in casette 


format, and the catalog repertoire, both 
r and classical is reasonably ex- 
е. But it's no secret that sales of 
recorded cassettes have so far proved 
ssppointingly slim. have been 
too high and fidelity too low for the 
to compete successfully with 
long-playing discs. This situation will 
ge as technical advances affect the 
design of mass-duplicated cassettes. Pro- 
ducers of quality recorded cassettes are 
certain to switch o to chromium-diox. 
ide tape or the high-density ferricoxide 
pe belore long, and, in time, probably 
all recorded. cassettes с Dolby 
equalization. Fourchannel casseues are 
also on the way, most likely in a com- 
patible configuration that will allow the 
same cassette to provide either regular or 
quadraphonic stereo, depending on what 
yback equipment is used. As The 
New York Times observed recently, “The 
lowly cassette has at last come of age." 


“Confound it! Not even token resistance?” 


257 


PLAYBOY 


258 


THE LANGUAGE GAME 


idly mastering peasant dialects, then Ger- 
many would be but a hop, skip and 
umlaut away. 

Expert replaced expert in the judge's 
seat. Professor Stein's right sleeve was 
powdered with chalk dust. Von Kaunitz 
had seized the lead, 310 points to 250. 
He was the master now—and he used his 
advantage with arrogant confidence. in- 
tent not simply on defeating Сһао- 
Gomez but on humiliating him. Thus, 
instead of hammering directly east toward 
the Reich, he made an unexpected tumn- 
ing movement north of Paris, pos 
in linguistic imitation of the famous 
Schlieffen war plan, and began pummel- 
ing his young challenger in a southerly 
direction, as though to demonstrate that 
he could triumph without any recourse 
to German whatever, 

Chao-Gomez mopped his brow. The 
Amazon seemed hopelessly remote. Von 
Kaunitz sweeping him into Pro- 
wouldn't 


(in which 
some of Chao-Gomez’ rejoinders in water- 
front patois brought blushes to the cheeks 
of Mme. Duval, seated in the front row), 
Von Kaunitz forced his way through the 


(continued from page 148) 


Alpes-Maritimes and crossed into Italy. 

Chao-Gomez poured another glass of 
mineral water. His hand trembled slight- 
ly. The old man’s intentions were clear 
now. Hed harry his victim over the 
Lombardy plain and then cut him to 
ribbons along the Dalmatian coast. If 
more were necded, Bulgaria would be 
close at d: Chao-Gomez could be dis- 
sected at leisure by the finer points of 
Old Church Slavonic. 

Score: Von Kaunitz 595, Chao-Gomez 
350. 

The chandeliers blazed pitilessly do 
glinting like snowy Piemontese peaks in 
the Alpine sun, As Chao-Gomez floun- 
dered amid subjunctive inflections, Von 
Kaunitz pushed forward inexorably—not 
for nothing had he spent three wartime 
winters in Italy on Kesselring’s staff! At 
Milan, Chao-Gomez tried to make a 
stand, but the old warrior dislodged him 
with staccato vernacular bu 
with ill-concealed glee. 

Now the V 


е itself would 
be Chao-Gomez ace before he 
was propelled into eastern Europe. If 
only, like Marco Polo, he could survive 
the to reach Cathay! 
childhood years in Kwangtung had 
ien him a native fluency in his moth- 


"Notice that people don't smile at 
us the way they used to?” 


er's Cantonese, and later he had ac- 
quired a familiarity with others in the 
Sino-Tibetan group; but at the sime 
time, he reflected that Von Kaunitz, 
during his decade in the Orient (1925— 
1935), would not have neglected the op- 
portunity to master Mandarin, at the 
very least. Not that it mattered: "The 
blackboard, visible past the polished 
skull of Dr. Innocenti in the judge's 
chair, showed Von Kaunitz well up into 
the 600s, a fact that likewise was regis- 
tered by the smile of satisfaction on 
Porter's face. Sonia wasn’t smiling, 
though. She regarding Chao-Gomez 
with a certain moody nostalgia, as 
though she, too, were remembering that 
it had bee Venice, during last year's 
convention, that they had met—Venice, 
€ they had wandered hand in hand 
de the Grand Canal and danced 
across the Rialto to the music of some 
midnight accordion! Ah, but it was a 
lar different Venice now—an abstract 
lingual city through whose labyrinthine 
alleys Chao-Gomez retreated before the 
methodical fury of the Teutonic invader. 
This time, he alone—or was he? 
aze seemed urgent, almost as 
though she were seeking to direct him. 

Then he remembered. Of course. He'd 
accepted the challenge of young Volpi 
then—he always seemed to be 
wild dares when Sonia around—and 
had learned ancient Venetic over a week- 
end (a Pyrrhic victory, as it turned out; 
for while he remained closeted with 
grammars and dictionaries, Volpi had 
been free to court Sonia). 

Venetic was worth a try, even though 
Von Kaunitz might very well know i 
too. But would there be a legitimate. 
opening for it? 

There was, Unwittingly, Von Kaunitz 
employed a phrase that was virtually 
ide l in both the old and the modern 
tongues, Chao-Gomez swiftly responded 
in Venetic—and the old man hesitated, 
essayed a feeble response or two, and 
then, with a scowl, broke off. For the 
first time since Middle Breton, Chao- 
Gomez had won a dear victory. It was 
only a skirmish, true, and it could not 
possibly alter the outcome, but still it 
emboldened him, and he flashed Sonia a 
thankful glance. Her expression hadn't 
changed, though. Was she trying to tcll 
him something else? Unlikely—she had 
nothing to offer him, in a professional 
sense. Although her father was renowned 
in Kasubian studies, she herself was at 
home only in her native Belorussi 
Her French, for example, was execrable, 
and her English wretched. Not that this 
troubled her. She treated language as 
though it were merely a means of com- 
munication. She couldn't seem to take it 
seriously. 

Chro Gomez retuned reluctantly to 
the battle. He had the ii 


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but where to go with it? Cautiously, he 
moved south, outdueling п Kaunitz at 
Bologna and hacking a skillful path 
through the heavily aspirated consonants 
of the Tuscan countryside. All roads led 
to Rome, but Chao-Gomez fcarcd his 
rival would maneuver him into Latin 
there and stone him ornamented 
periods. Instead, he leapfrogged the Tyr- 
Tt was a peril 
tz tried to drive 
him north toward Corsica; Chao-Gomez 
held on grimly at Cagliari, praying at 
least for a draw. 

"There was a disagreement. Dr. Riva, 
occupying the judge's chair, awarded a 
slight edge to Von Kaunitz, but his deci- 
sion was challenged from the audience 
by Professor Fiumi, whose view was sup- 
ported by Drs. Stecchi and Pietre, both 
recognized Sardinian authorities. Dr. 
Riva was outnumbered; on the other 
hand, he was the judge, Professor Stein 
sought to calm the disputants, who be- 
gan so strenuously to exploit the inv 
tive wealth of their respective provinc 


1 


idioms that, perhaps fortunately, none 
could be understood. “Please, ntle- 
men,” admonished Professor Stei 


vain. Fiumi was raging. Riva held firm. 
Chao-Gomez eyed the blackboard. Von 
Kaunitz had an apparently insurmount- 
able lead: 735 points to 540. 

Uy uation doesn't seem to be 
covered by Professor Porter's rules," Pro- 
fessor Stein announced finally, breaking 
into the Italianate uproar, “but we've got 
to proceed anyway. I hope there'll be no 
objection if I declare a draw in this case. 
Initiative remains with Chao-Gomcz.” 

As Dr. Riva wrathfully departed the 
judge's chair, Porter got to his feet. “I'm 
sorry, but the judge's decision——" he 
began loudly. He stopped, flushed red 
and sat down again, Неа forgotten 
about his laryngitis. 

Now the way was clear to Spain. 
ChaoGomez leaped to the Baleare 
th € to Valencia on the mainland. He 
scored as heavily in Iberia as his oppo- 
nent had in Gaul, but it was no simple 
matter, for Von Kauni had traveled 
Catalonia in 1938 as an obscryer with 
Franco's armies; in Castilian regions, 
; he was able to put forth an 
lisp. Chao-Gomez crossed 
the Tagus in a gloomy frame of mind. 
He had rowed the old man’s lead, 
but it wouldn't be enough. Von Kaunitz 
would surely top the 1000 mak long 
before Br: could be traversed and the 
Amazon attained. Chao-Gomez 
Sonia's direction. She was stifling a 
wn—hardly а sight to inspire heroic 
endeavors. He supposed she didn't really 
care if he lost. It was just a boring game 
to her. Even last night, when he'd tried 
to interest her in Goidelic chants, she'd 
complained that they were much too 
hard, and then had teased him: 


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"I know a language you don't know,” 
she'd said in what she assumed was cor- 
rectly pronounced English. 

“Nonsense, dear girl,” 
had responded. 

“It's true. And it takes only a minute 
to learn it 

Chao-Gomez had smiled at her indul- 
gently. 

“ГЇЇ teach you,” Sonia had persisted, 
and he perked up, for it occurred to him 
that she might be speaking metaphorical- 
ly of the language of love. 

But he'd been disappointed. It had 
merely been a joke. And then Porter had 
come prowling into the dim corner of 
the lobby where they were sitting 

Disaster іп Lisbon! Chao-Gomez, 
meditating on Sonia, had been careless 
with his Ibials. Von Kaunitz unexpect- 
cdly tripped him up, caught him, slipped 
past him—and by the time Chao-Gomcz 
became aware of his lapse, it was too 
late. Professor Cabral, somewhat reluc- 
tantly, signaled a Prussian advantage. 
This time, there were no protests from 
the audience. 

Chao-Gomez sat horrified. Beside him, 
Von Kaunitz uttered a triumphal grunt. 
No chance of Brazil or the Amazon 
now! Von Kaunitz was the one to make 
a transatlantic hop—and he chose French- 
speaking Martinique, as poor Chao- 
Gomez could have guessed. 

The old man began cruising the Car- 
ibbean with masterly adroitness, choosing 
a course designed to bypass every Span- 
sh-speaking territory. Instead of moving 
north into the Leewards, where Pucrto 
Rico would block his way, he tacked 
south through the British Windwards 
(where Chao-Gomez could achieve no 
better than a draw), made a refucling 
stop, so to speak, at Dutch Curaçao, 
antalizing his opponent with glimpses 
of the Venezuelan coast, and then 
steamed northwest to Haiti. They disput- 
ed in Creole there, but it was French 
Creole and the old pirate held his advan- 
tage. From there, he shot the Windward 
Passage past Cuba and picked his way 
among the Bahamas before making his 
entry into the United States. 

The game was all but finished, Even as 
Chao-Gomez won а narrow and ипсх- 
pected victory in the Moravian enclave 
at Winston-Salem, North Carolina, he 
realized the hopelessness of his position. 
He had done rather well—much beucr 
than he had hoped to do—but Von 
Kauniu led him on the blackboard, 995 
10 900. The old scholar would easily pick 


Chao-Gomez 


up his last five points no matter where 
the next battlefield might be. The tribal 
tongues of the American Indians were 


known to him from exhaustive studies at 
Yale in the 1950s; Likewise, he had exten. 
sive familiarity with all forms of Spanish 
American, not to mention Incan and 


» languages. 


<= 


Chao-Gomez had but one chance—an 
impossible one: to win the 100-point 


bonus by shutting Von Kaunitz out 
entirely. 
But how? Was there any ат: 


language within geographical stri 
ange in which Von Kaunitz would be 
totally stranded, unable to utter a single 
syllable? 

Chao-Gomez sat in silence. He had 
lost, that was all. He had avoided humil- 
ion, at least, but there was little com- 
fort in that reflection now. 

“Want to call it quits?” Th Von 
Kaunitz voice in his ear. Spitefully, the 
old man had spoken in Aztec, to let him 
know that there would be no escape 
nywhere south of the Rio Grande. 
Chao-Gomez saw that Sonia was gazing 
at him intently and making litle mo- 
tions with her restless hands. What, was 
she urging him to try sign language? But 
Von Kaunitz knew sign language perfect- 
ly well. He frowned at her, perplexed. 
No, she didn't mean that. She meant 
something else. She framed words with 
her lips Remember what 1 taught you 
last night. 

He recoiled. No—t 
the quesi 

Sonia was smiling now, certain that he 
knew what she meant. He firmly shook 
his head, but she nodded back at him. 
You've got to, she mouthed. 

Everyone was becoming a little impa- 
nt. Professor Stein glanced pointedly 
at his watch. 

Von au 
“Might as w 
in Mayan ti 

That did it. Chao-Gomez was stirred 
by desperation and rage. “Ixnay,” he 
declared. “Evernay.” 

Von Kaunitz stared at him, puzzled. So. 
did Professor Stein, 

“Etslay серкау oinpgay," said Chao- 
Gomez, recklessly. 

There was silence in the ballroom as 
Iearned professors pondered these strange 
phrases. All that could be heard were 
int sounds of smothered mirth from 
Sonia's handkerchief, dapped to Sonia's 
mouth. 

“Ontday ooyay ohnay isthay unway?” 
inquired Chao-Gomez, himself threatened. 
by laughter. 

Von Kaunitz began rapidly reviewing 
all possibi Tt must be some Indian 
tongue. Ojibway? No, not that. Nor 
Sioux. Seminole? Hardly. Conceivably, 
Algonq 

"Aybemay ooyay ouldshay itquay, ot- 
nay cemay,” remarked Chao Gomez, with 
сизу fluency. 

Great pearls of sweat gleamed on Von 
Kaunitz brow. He winced so in concen- 
tration that his monocle almost vanished. 
Navaho? Pueblo? Apache, possibly. No, it 
sounded more like Hopi, and yet it 
couldn't be that, either- 


would be out of 


He could never do that. 


z leaned dose again. 
e up." he whispered, 


“Unyhay, imestay eerlynay ongay," 
said Chao-Gomez. 

Von Kaunitz was turning interesting 
shades of pink and gray. He was sifting 
frantically through everything he knew. 
WwW t Eskimo? Toltec? Had Chao- 
Gomez jumped back across the Atlantic 
to Africa? But it wasn't Bantu or Berber; 
it had no relation to Amharic, Fulah, 
Swahili or Ibo 

Profesor Stein felt it time to 
proceed. "Judge, please," he requested. 
He glanced at the experts on Indian 
tongues, but Dr. Freemantle shook his 
head, Professor Cuttle shrugged his 
shoulders and Dr. Laughing Horse 
frowned in perplexity. 

We've got to have a judge,” Profess 
Stein complained. "Otherwise, we can 
hardly valid sa 


te—— 

Sonia rose, pink-cheeked. Still strug- 
gling for composure, she walked toward 
the judge's chair. "Ooyay inway," 
told Chao-Gomez, as she passed. 

"Ivgay imhay unway ormay ancecha 
said Chao-Gomcz. 

But Von Kaunitz was in the last ex- 
tremities of his search. He was ransa 
ing far continents now. Was it Gondi, 
was it Pushtu? Zulu, Tagalog or Tamil? 
Quechua or Urdu or Wu? 

“It’s pig latin,” announced Sonia, as 
judge. "It's an American dialect, widely 
used by the young.” She giggled. “One 
hundred points for Dr. Chao-Gomez. He 
wins.” 

The ballroom in an uproar, Pig 
latin? Some of the professors dimly re- 
membered it from childhood; many had 
never heard of it. Gray beards wagged 
and bald domes wrinkled, Von Kaunitz 
sat in stony bemusement, as though he 
were decp within the chancellery bunk- 
er, only dimly aware of the Russian 
artillery. 

“My dear Miss Katkov," said Professor 
Stein, "I must point out that you 
merely a guest at this convention a 
therefore, unless you can. provide us with 
corroboration from some member of the 
society itself —" 

“I can, I can,” said Sonia. ught 
me pig latin yesterday.” She had gotten 
up. She was pointing at someone. “He 
told me all about it.” She was poi 
Porter. "Idntday ooyay?" she dem E 

Porter rose to his feet. He knew when 
he was beaten. “Esyay,” he admitted. 

So Chao-Gomez won—and much later 
in the evening, after the lights in the 
ballroom had dimmed and the guests 
departed, he and Sonia celebrated by 
holding a long private conversation in 
yet another language, one that wa 
markably free from inflected verbs 
diminutive suffixes and all that admira- 
ble nonsense, and in which each of them 
was, happily, quite fluent. 


she 


are 


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264 


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