PLAYBOY

ENTERTAINMENT FOR MEN FEBRUARY 1972» ONE DOLLAR p" |

BEHIND THE MAKING
OF "MACBETH"
ROBERT SHERRILL
ON SAM ERVIN.
1972 JAZZ &
POP POLL RESULTS
FOR THE TWO OF YOU:
SENSORY AWAKENING

Сарп.
The sexy European.

Now in a more |
passionafe version.

It’s onething foracar to be

sexy, European and expensive.

. Capri made history by
being sexy, European and inex-
pensive. And promptly sold
more cars its first year here
than any import ever had
before.

Now Capri makes history
again with a new, more pas-
sionate version—equipped with
afervent2600cc.V-6, and ready
to take on cars costing twice
the price.

But Capri's new V-6 isn't
just a matter of what's under
the hood. It's everything else
that goes with it.

Blackout rocker panels
andrear end trim. Chrome twin
exhaust outlets. Styled steel
wheels and fat radial tires. All
standard.

Plus superbly sensitive
rack-and-pinion steering.

Power assisted front disc
brakes. And hefty beefed-up
suspension.

There's still more: A silky
smooth floor shift. Full instru-
mentation including tachom-
eter. Front bucket seats in
soft vinyl that looks and feels
like real leather. Full carpeting
underfoot. A sophisticated in-
strument panel with handsome
woodgrain effect. Room for
four adults.

If you insist on spending
extra, Capri can offer you auto-
matic transmission, a sun roof,
vinyl top, and decor group in-
terior (illustrated).

But Capri’s option list is
as short as its list of standard
equipment is long.

exy and successful.
That's Capri. Add more pas-
sion and who knows what may
happen!

Imported for Lincoln-Mercury.

PLAYBOY

CANADIAN
MIST
—4 Hedy

found sense.of peace

stillness, A feeling so M
you can almost taste)

the smooth, light mallow asii 34

of this great Canadian
whisky. Try it. Tonight. It's the
fastest growing whisky south
of the Canadian border.

ALGREN

PLAYBILL ™,*"

unpredicta-
ble mayhem, this era doesn't real-
ly give you much chance to test
yourself, to take calculated risks,
to [ecl the exhilaration of teasing
death, You have all kinds of op-
portunities to die, of course: You
can be drafted and sent off to
some esoteric war; you can be
knocked off by a junkie desperate
for a fix; you can make а reserva-
tion on that statistically negligible
plane that happens to fall out of
the sky. But in the course of your
average day, you're not likely to
peiform any task that—if you
led at it—could kill you. Yet
there is something bred deeply
into the species, an instinct that
seeks those dangerous situations,
finds some incluctable thrill in
facing and beating them; hence all
the weekend sky divers, spelunk-
ers, hot rodders and mountain
climbers. Risking life and limb
for its own sake is part—a regret-
table part, some would say—of
our history, of the very definition
of what it is to be a man. In You
Bet Your Life, Brock Yates con-
siders some of the implications of
ying it on the line for the sheer
hell of it. Yates, who has been an
editor of Car and Driver for seven
years, likes to take a chance or
two himself in his spare time—undeistandable after
being around race drivers and writing about them
as much as he has. In fact, he has competed in sev-
eval American events, and—just to establi
his credentials for this month's article—nearly
ied it all in on a qualifying lap. Seems his Camaro left the
track at about 80 mph and sailed over a 30-foot ditch. There
was no fire and Yates walked . This and other experiences
on the Trans-Am will become part of his book, Sunday Driver,
to be published n fall by Farrar, Straus & Girous

There is no end to the ies of these times. The
most eloquent and sustained voice in defense of civil liberties
is—ready?—that of an old-guard Southern Senator, Sam Ervin
of North Carolina, а man almost compulsively suspicious of the
Government, especially this Administration, and. its tendency
to play fast and loose with the Constitution. Robert Sherrill,
Washington corespondent of The Nation and a frequent
contributor to erAvnoy and The New York Times Magazine,
alyzes the paradoxical Senator in Big Brother Watching You?
See Sam Ervin. If it isn’t curious enough having a Southern
Senator in agreement with the A. C. L. U., then how about the

loma

GUNTHER

>

PURDY YOUNG

new American émigré? They're
not acsthetes going to Europe to
escape the provincials. "Today's ex-
iles are off to Australia in flight
from libertinism; from drugs.
crime and pornography; from the
social upheaval of late years
George Malko's America: Loved
1t and Left It is the result of two
research into the exodus of
staunch middle Ama

Back during the Depresion,
Nelson Algren worked briefly
a carnival shill in ‘Texas. Hone
Jabor apparently didn't лаке, and
he reports, “I've been unemplo
able ever since.” But he's certai
ly written prolifically in the
interim, most recently this month's
story The Last Carrousel, about
a carnival shill who bugs out.
Other fiction includes а medi
cal fantasy, Rangle Dang Kaloof,
by К. A. Lafferty, and Robert F.
Young's Chicken Itza, science
fiction with a touch of irony
A collection of Lafferty's stor
Strange Doings, will be published
by Scribner's uer this year. The
sculpture illustrating Chicken Itza
is by Paul van Hocydonck.

Who Arc We? is a ninep:
montage of sensory rer
niques developed by Bem
Gunther and photogiaphed by
ESER Paul Fusco, who collaborated with

Gunther on two books: Sense Relaxation and What

10 Do till the Messiah Comes. Gerald Sussm:

parody, The Hole Earth Catalog, will be part of his

forthcoming book, Sussman’s College Manual That

Gives the Kind of Knowledge You Can't Get
from Books (William Morrow).

A venerable institution currently in a very sticky wicker
is Rolls-Royce. Contributing Editor Ken W. Purdy asserts
“Incredible, Mr. Rolls!" “Mind-Boggling, Mr. Ro)
should have stayed with autom
And, of course, there is much more to this
of our 16th Jazz and Pop Poll (the AllStars’ All-Stars are
illustrated by Thomas Upshur) and Contributing Editor N
and uends; a pictori
yboy Productions’ first film, Macbeth, directed by Roman
Polanski; an interview with R. Buckminster Fuller; and Henry
Miller's comments on Japanese erotic art. Plus: Jack De
Scott's instructions on microwave cooking, а package of к:
valentin

non

ical

vol. 19, no. 2—february, 1972

PLAYBOY.

CONTENTS FOR THE MEN’S ENTERTAINMENT MAGAZINE

PLAYBIL..... на
DEAR PLAYBOY D "uem
PLAYBOY AFTER HOURS...

ACTS AND ENTERTAINMENTS.

BOOKS... - n—
MOVIES. — ж л изо,
оде! RECORDINGS, O ЗЕЕ ра واقس ا ویار‎ ETD
TELEVISION... Hiper быды ese = 038
THEATER... — 5 — eee Kr
THE PLAYBOY ADVISOR... x — саб, کو‎
THE PLAYBOY FORUM Е — z - 49
PLAYBOY INTERVIEW: R. BUCKMINSTER FULLER—candid conversation. ~ 59

THE LAST CARROUSEL—fiction T NELSON ALGREN 72

THE MAKING OF “MACBETH"—pictorial essay. _ 2 x 77
Angel Tompkins А YOU BET YOUR LIFE—article 0. .......... BROCK YATES 84
ANGEL pictorial o E muse erp
“INCREDIBLE, MR. ROLLS!"
“MIND-BOGGLING, MR. ROYCE!"—arlicle... КЕМ W. PURDY өз
MUSIC FOR FOUR EARS AND OTHER SOUND IDEAS—modern living. 95

RANGLE DANG KALOOF-— fiction... = —-R. A. LAFFERTY 99

JACK DENTON SCOTT 102

FAST FEAST—food Sr ise

SIGNS OF LOVE—pictorial essay... neces HENRY. MILLER 105
Super Skivviest PICKING UP ON P. J.—playboy's playmate of the month. T . 110
PLAYBOY'S PARTY JOKES—humor. : к 18
MY FUNKY VALENTINE humor... ашы Ай»: . 120

SUPER SKIVVIES!—attire ...

BIG BROTHER WATCHING YOU?
SEE SAM ERVIN—personality ..

CHICKEN ITZA fiction. ess ROBERT F. YOUNG 128
THE HOLE EARTH CATALOG-—parody .... mann GERALD SUSSMAN 131
AMERICA: LOVED IT AND LEFT IT—article. .........................GEORGE MAIKO 134
WHO АВЕ WE?—pictoriel essay BERNARD GUNTHER and PAUL FUSCO 139

—-ROBERT L GREEN 123

— ROBERT SHERRILL 127

Sensory Awakening

THE VARGAS GIRL—piciorial ....... y ALBERTO VARGAS 148

THE LADY IN THE COWL—ribold classic.. sss 2 149

JAZZ & POP '72—«rlide. .... z a NAT HENTCFF 151

WORD PLAY salire. ROBERT CAROIA 161
VESTED INTEREST—oltire s —-. ROBERT L GREEN 163
PLAYBOY POTPOURRI... я к. ee — 170
Poll Watching Р. 151 ОМ THE SCENE—personalilies €—— х= . 178
GENERAL OFFICES: FLATHOY BUILDING, 819 NORTH MICHIGAN AVE, CHICAGO, ILLINOIS 60611, RETURN POSTAGE HUST ACCOMPANY ALL MANUSCRIPTS, DRAWINGS AND PHOTO-

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TMEATED AS UNCONDITIONALLY ASSIGNED FOR PUBLICATION AND COPYRIGHT PURPOSES AMD AS SUBJECT TO FLAYBOY'S UNRESTRICTED RIGHT TO EDIT AND TO COMMENT EDITOMALLY
CONTENTS COPYRIGHT © 1072 BY PLAYBOY. ALL FIGHTS RESERVED. PLAYBO! AMD RABBIT HEAD SYMBOL ARE MARKS OF PLAYBOY. REGISTERED U. S. PATENT OFFICE, MARCA REGISTADA,
MARGIE DEPOSEE NOTHING MAY DE REPRINTED IN WHOLE OR IN PART WITHOUT WRITTEN PERMISSION FROM THE PUBLISHER. ANY SIMILARITY BETWEEN THE PEOPLE AD PLACES IN THE
FICTION AND SEMIFICTION IN THIS MAGAZINE AND ANY REAL PEOPLE AND PLACES IS PURELY COINCIDENTAL CREOITS: COVER: MODEL BARBARA CARRERA, PHOTOGRAPHY
BY PETE TURNER. OTHER PHOTOGRAPHY BI: JAY ARNOLD. P. BG. 80; DON AZUMA, P. 723 JOEL BALDWIN, P. 163, MARIO CASILLI, P. 3 DAVID CHAM, P. 9537, 120-121
JEFF COHEN, P 3 (2): STEPHEN CRAKE, P. 3. ALFRED EISENSTAEDT. P. 3 (3), RICHARD FEGLEY. P. 121125, 129: BILL FRANTZ, Р. 173, 170: PAUL FUSCO

ANNETTE GREEN, P. 77-81 (6). FRANK HABICHT, P. BO; DWIGHT HOOKER, P. 102-101, 111, 117, 124, SEYMOUR MEDNICK, P. 158-150: FREDERICK MOORE, в.
Bl: 4 GARRY O'ROURKE. P 3 (3). 58: J0E PEARCE P 79: POMPEO POSAR. P. 110. тїт, ANIS: RON SEYMOUR. P 3, VERNON L SMITH, P. 3 (4). DON CARL STEFFEN
POT STANLEY TRETICR, P. 112-113: ALEXAS URBA, P. 136.135 ILLUSTRATION BY DAVID WILLAROSON, Р. 93. MAKE-UP AND MAIR STYLING OY CHARLES HOUSE. P. 07-91

PLAYBOY, FEBRUARY, 1072, VOLUME 18, NUMBER 2. PUBLISHED MONTHLY BY PLAYBOY, IN NATIONAL AND REGIONAL EDITIONS PLAYBOY BUILDING.
AVENUE, CHICAGO, ULL een. SECONOLCLASE POSTAGE PAID AT CHICAGO, ILL, AND Af ADDITIONAL HAILING OFFICES SUBECRIPTICNS. IN THE U =

NORTH MICHIGAN
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PLAY BOY

HUGH М. HEENER
editor and publisher

А. С. SPECTORSKY
associate publisher and editorial director

ARTHUR PAUL art director
JACK J. KESSIE managing editor
MARK KAUFFMAN photography editor

EDITORIAL

SHELDON WAX, MURRAY FISHER, NAT LEHRMAN

assistant managing editors

ARTICLES: AKTHUR KRETCHMER editor,

DAVID ROTLER associale editor

FICTION: ROBI ACAULEY editor, SUZANNE.

ME NEAR, STANLEY PALEY assistant editors
ERVICE FEATURES: TOM OWEN modern

living editor, к AY WILLIAMS

assistant editor: REEN fashion.

director, WALTER normes fashion coordinator,

DAVID PLATT associate fashion cdilor;

REG l'OFTERTON associate (ravel edilor;
THOMAS MARIO food & drink editor

VID STEVENS senior editor;
NORMAN

DAVID STANDISI

WILLIAM у.

ROWERT J:

LAURA LONGI

iters;

N NC NEESE,

HEA associate editors:

EY BADR, DOUGLAS BAUER, DOUGLAS

ness &
ТОРЕ, MICHAEL LAURENCE,
KEN W. PURDY

Т HERD, KENNETH

TOMI UNGERER contributing editors:
MICHE URRY associale cartoon editor
COPY: ARLENE nOURAS editor,

STAN anner assistant editor

RESEARCH: BERNICE T. ZIMMERMAN editor
ADMINISTRATIVE SERVICES:

THEO FREDERICK Personnel director;

PATRICIA PAPANGELIS tights & permissions;
MILDRED ZIMMERMAN administrative assistant

ART

YNAN,

OST, ROY MOODY, LEN W
GORDON MORTENSEN, FRED NELSON,
и PACZEK assistant directors,
BARER, VICTOR HUBBARD,

KAREN Yors art assistants

PHOTOGRAPHY

ALFRED DE BAT,

associate editors;

ARSENAULT, DAVID CHAN, RICHARD.

FEGLEY, DWIGHT HOOKER, POMPEO POSAR,
в urna sta[f pholographers;

associale staff photographer;
photo lab supervisor:

nrkKOWIz chief stylist;

мох stylist

~ PRODUCTION

BEV CHAMBERL

зам
FRANCINE GOURGL

JOHN. mastro director; ALLEN VARGO
manager; ELEANORE WAGNER, RITA JOHNSON,
FIAZABETI FOSS, GERRIT HU istants

READER SERVICE
CAROLE CRAIG director

CIRCULATION
THOMAS с. WILLIAMS customer service
ALMIN WIEMOLD subscription manage:
VINCENT THOMPSON newsstand manager

ADVERT:

HOWARD W. LEDERER advertising director
PLAYBOY ENTERPRISES, INC.

комит s. PREUSS business manager and

associate publisher; RICHARD S. ROSENZWEIG

executive assistant to the publish

RICHARD м. KOFF editorial administrator

PLAYBOY, February 1972, Vol. 19, No. 2. Pub.
lished monthly by Playboy, Playboy Bldg.
919 N. Michigan Ave., Chicago, Ill. 60611.

From Marlboro
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Marlboro Kings: 20 тта,” 1.3 mg. nicotine av. per cigarette, FIC Report Auc. 71.
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` The Great
Hairspray Robbery.

Vitalis took the dry, natural look out of the spray can and put itin a tube.

We confess.

We did it.

We took the dry, natural look you get from a spray can and put it
in a tube. For guys who won't use hairspray.

It's called Vitalis Dry Texture. Dry...because it gives you the same
natural look you get from a spray. And texture...because it builds hair up
instead of holding it down.

How? Believe it or not, with texture resins. Much like a hairspray
does. So you can get dry, natural hair. And still use a tube.

But you don't have to take our word for it. Just take the coupon in
this ad into any store. You'll get 25C off, and all the proof you need.

Yeah, we took the dry, natural look of a hairspray and put it in a tube.
We admit it.

But we did it for you.

Vitalis Dry Texture

It comes ina tube. But it works like a spray.

©1972 Bristol-Myers Co.

TO DEALER: For
each coupon
youaccepton

the purci
by a consumer
‘of One package of
Vitalis Dry Texture,
any size, We will pay you Zi plus e
handling cha provided you and your
‘customer have complec with the terms of iis,
‘consumer olfer: any other application consti
utes fraud. Coupon may not be assigned or
transferred by you. Void when presented by
outside aget, broker or-istiutinal user,
or otherwise abused arid where protibiled,
tared or otherwise restricted Your custorrer
must payany ses Lax Invoices sheing your
purchasepysutictent sloektocoverccupons
presented must béshowinon request Limil-oneló
aafamuly, Cash rodemplionvalve. 1/20 of 1¢ боса
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Offer expires June 30, 1972.

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DEAR PLAYBOY

ЕЗ лох: PLAYBOY MAGAZINE - PLAYBOY BUILDING, 919 н. MICHIGAN AVE., CHICAGO, ILLINOIS 60611

GET LEFT WITH GOD

Garry Willss article A Revolution in
the Church (eLayuoy, November 1971)
will astound many spectators of Catholic
radicalism unaware of the conservatism
from which it springs. The best and
most profound of the Catholic radicals
are likewise radically Catholic men and
women: spurning materialism, thriving
on discipline and sacrifice, caught inex-

wicibly in the tension between a t
scendent God and a human Jesus and,
finally, inflamed with the

ions of prophetic
witness (such as napalming draft files)
will somehow change vicious and indif-
ferent hearts. Like all fools before them,
including the Fool on the Hill, they will
l and die, only to be followed by a
new generation of fools who will swear
that they have risen.

Orlando Barone

Conshohocken, Pennsylvania

absolutizing and, of
heretics, Communists,
ists and, latterly, the FBI. Somehow
the martyr, whether left or right of
center, always ends up a unique “good
guy” fighting those “inse

tads” of the other side. Апе
ety of martyrdoms—emulat-

lived a va

g Saint Lawrence, who was fried on a
skillet, Saint Lucy, whose eyes were
gouged out by Rome, Saint Isaac Jogues,
whose fingers were chewed off by Indi-
ans, not to mention Saint Joe McCarthy
nd Saint Bishop Sheen—cach variety
gradually scemed to be another psycho-
logical power play to avoid being ordi-
nary and human. Assuredly, аз Wills
suggests, we all need roots. Hopefully,
we will find. them within ourselves, in

concerned neighbors, caring friends,
home, work, growth, love—not in our
religious traditions, nostalgia nor an-

other spe
Berrigans

ies of martyrdom, Perhaps the

jail are an important. sym-
bol to the radical Catholics who need
heroes that make more sense than ап
infallible Pope. But perhaps, too, hero-
making is still another way of feeling
unique and exceptional, of remaining a

true believer, of avoiding a self-confron-
tation by turning new and the FBI into
a new, chic enemy. It may well be we
have really moved past the priesthood
even Christianity to where the superstar
priest, like the superstar Jesus, has become
a more acceptable way
some energy source other than himself ar
the neighbor he tries to love,

James Kavanaugh

San Francisco, California

Ex-priest, poet and activist Kavanaugh

last appeared in our pages in last July's
“The New Salvationists.

Garry Willss masterful article con-
verted me. I am now convinced that
those who feel а moral imperative must
defy our laws and radicalize our society.
‘Therefore, I move that we immediately
canonize a great man who so rejected
such mundane concepts as law, order
and justice that he not only radicalized
his own nation but radically altered the
world. I refer to Adolf Hitler.

Danny McKendree

Cambridge Gity, Indiana

After my Jong crusade against. certain
policies of the Catholic Church, it is a
delight to see that certain leaders of that
Church are now criticizing it more se-
verely than I did in my book American
Frecdom and Catholic Power. Of course,
1 do not quite share Will's charitable
attitude toward a serious religion that
tends to be “politically radical and
theologically conservative.” Why not be
radical on both fronts? After all, it is
conservative theology, particularly the
theology of Pope Paul, that still blocks
birth control in many countries where it
is desperately needed and that now
impedes the abortion movement. Over-
population, as I sce it, is a twin evil
with war. Perhaps the Berrigan crusade
against war and my own crusade apainst
the conservative sexual code of the Cath-
hierarchy belong together, even
h it is perfectly clear that in mat-
ters of fundamental philosophy we are
miles apart.

ol
thou

Paul Blanshard
Orlando, Florida

Bertrand Russell quipped that our
society has persecuted equally men who
rejected Christ and those who took him

PLAYBOY, FEBRUARY, 1972, VOLUME 19, NUMGER 2. PUBLISHED MONTHLY BY PLAYBOY, PLAYBOY BUILDING. 319 NORTH wiCHiGAN

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Playboy
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PLAYBOY

12

seriously. Secularization has stopped us
from burning atheists, but those rare
heroes who live the spirit of Christ still
share his fate. The Berrigan brothers, as
reported in A Revolution in the Church,
testify to the realism of the Gospel rec-
ord. Loving others puts one at odds
with the Sanhedrin as well as with Pi-
ate, with the church as well as with the
state. Garry Wills depicts moral proph-
ers among us at a time when old institu-
чо heroes—from Green Berets to
their Commander in Chief, from Billy
Graham to Cardinal Spellman—have
been discredited. An equally talented.
writer should poruay thc disproportion-
ate and exceptional role of young Jewish
activists during the Sixties to move the
udder of this misguided national ship.
Kenneth L. Brown
Associate Professor of
Religion and Philosophy
Manchester College
North Manchester, Indi:

WALKING THE DOG

Dog Days (pLaynoy, November 1971)
was a delectable Oriental treat. Paul
Theroux established a real feeling of
place that made me yearn to go back to
the Asia I once knew. 1 felt delightfully
satisfied, much like I do after enjoying
Oriental cuisine. One hour later I wanted
morc.

Martin. Lannon
"Tulsa, Oklahoma

CAROLINA ON MY MIND

The Tom McMillen Affair, by Law-
rence Linderman (PLAYBOY, November
1971), reveals college athletics for what it
really is; a big business. I feel if college
administrations simply admitted that ath-
letics is a money-making business, the
entire enterprise wouldn't be so hypocriti-
cal. But they don't. No wonder the kind
of pressure the author describes is applied
to high school athletes.

Troy Phillips

Being a North Carolina Tarheel fan,
The Tom McMillen Affair brought back
disappointing memories. ‘The article was
wall researched and well written, but it
scemed to make Dean Smith—coach of the
Tarhcels—the villain without giving him
the benefit of a defense. Dr, McMillen
calls him a liar and Linderman sees him
as the source of discomfort for ће Mc-
Millens. The liar charge resulted. after
"Fom was "ordered" by his mother nor to
telephone Tom Burkson, another high
school star, but he did so anyway. Wh
Mrs. McMillen was informed by Smith
that Tom had "insisted" on making the
call, Dr. McMillen replied that the coach's
stitement was "an outright lic" Was
Tom's father in the room during the in-
cident? IL so, why did he not forbid his
son to telephone Burleson, as his wife
had? If not, there is surely reason t0 gee

Smith's side of the story. Linderman fur-
ther writes that Smi
had changed their son's mind about
tending Carolina, resulting in “threaten-
ing and obscene letters from people in
North Carolin: At that time, however,
Smith was in Germany conducting bas
ketball clinics at American bases. І real-
ize that basketball recruiting is not a
savory aspect of American college life
and I sympathize with the McMillens,
but surely coach Smith deserves better
treatment than he received in this article.
Gary D. Norris
ппароііѕ, North Caroli

JOHN, CEORGE, RINGO & ALLEN
What Allen Klein reveals in hi
harshly candid interview (etaynoy, No-
vember 1971) is not so much value judg-
ments about the Beatles, the Eastmans,
the record companies or himself but a
society cancerous with greed. Simply
put, the music of the Beatles transmogri-
fied the world, made it cleaner and less
bearable, giving an entire generation
joy and hope. Yet what happened is
sickening history. Not only were the
Beatles exploited into near bankruptcy,
their genius was corrupted in the proc
ess, All are stumbling up blind alleys.
Star is attempting absurdly to be ап
actor, Lennon is ап exhibitionist, Mc
Cartney is a stubborn loner and Harrison.
stews in his own juices. Only Klein, with
his clephantine hide and vulgar push,
has survived intact. He and the East-
mans calling one another pricks in bank
ults is irrelevant, though all share re-
ility for the exploitation of the

1f the Beatles could reason as well
te, they'd get together again,
reclectrify the world and jettison all the

vultures, including Klein.
John Bright

North Hollywood, Californi:

My first thought upon reading the
interview with Allen Klein was ul
would be mox interesting to h

r the
other sides of the stories. It seems the
situations that Klein describes are much
more complex than the cutand-dried

pictures he paints. Anyway, I would love
to hear or read what John Eastman has
to sty.
Jeff Barry
Jefi Barry Enterpi
New York, New York
Composer producer Barry has penned
such rock classics as “Tell Laura 1 Love
не” ugar, Sugar” for such rock
groups as The Archies and the Monkees.

and

Га like to thank Craig Vetter for a gas
of an interview with what must have been
one tough subject. Klein certainly quali-
fies as a genius at some level or other, but
he's been into legal games for so long that
he must have a hard time talking st 1и
But Vetter scemed really to get the truth

out of him—and as а result, we know a
lot more about what's going down with the
power behind the throne. Many thanks,
Earl Duke
Philadelphia, Pennsylvania

As an attorney in the entertainment
field and а business manager of talent, I
can readily sympathi many of
Allen Klein's comments in his interview.
It is quite true that we were scorned by
record companies when we fought for
the best posible deals for our clients,
but this was years before the indusuy
reached its present level of sophistica-
tion. I would now prefer dealing with any
major record company than with many of
the so-called bluechip concerns. How-
ever, when interviewed in the capacity
of record-company executive, Klein did
an aboutface. Sudd h whole law-
yers" we p to make trou-
ble. Doesn't he think there are others
besides himself who seek to protect thei
tists? James Taylor stayed dormant on
Apple Records, yet Warner Bros was
able to promote him into a leading
artist times. Who failed? Not
"Taylor. And then, of course, there is the
reference to the amount of money Klein
made for the Beatles as compared with
what Brian Epstein earned for them. Thi:
put in proper context, is comparable with
а recent sale of an apartment building in
Manhattan as compared with the 524
purchase price of Manhattan Island
from the Indians. In spite of his герша
tion, Klein appears quite just and angel-
ic in all his conver

of our

ations.
Alfred Rosenstein
New York, New York

Rosenstein has advised and managed
such rock stars as Joe Cocker, Elion
John and Eric Clapton.

Thank you for the interview with
Allen Klein. It’s such a grand surprise to
find that you haven't forgouen that
things other than crusades and cam-
paigns are still much in the minds of us
Americans. I'm glad Klein spoke. It cer-
tainly is nice to know that such good
people as the Beatles are being cared for
by one so apparently capable—cven if
he does scem a bit full of sh

Bobby Branton
Charleston, South Carolina

COUNTRY COMFORTS

David Standish's Shenandoah Break-
down (pravuoy, November 1971) w:
excellent in portraying the mood of a fes-
tival asit appears to an outsider, He failed
to actually depict the music itsell—but
he's forgiven, since bluegrass, like jazz, has
never had a ишу accurate verbal por-
пай. Ive followed bluegrass since carly
childhood both as а listener and as a
performer and have always found it ful
filling, stimulating and powerful. Viewed

Each one offers styling, economy
and something the other three can't.

Let's start with the Corolla

fastback. The yellow one in back.

It's got a beautiful point of
difference. It costs the least.

In front of it is a bronze
Corona hardtop. Flip down the
back seat, open a partition to the
trunk, and suddenly you have 6

feet of continuous carrying room.

So, unlike the others, the Corona
can sub as a mini station wagon.

Moving to the left you find a
silver Mark II hardtop. Our
luxury economy model. It comes
loaded with all sorts of impressive
features. Like power brakes with
front discs, electric rear window
defroster and double-stitched
brocaded fabric.

Then, there’s the red Celica ST.
Here you get tachometer, radial
tires, rally stripes, hood vents,
simulated woodgrain trim, AM
radio and so on. All standard.
When you're driving this one,

it's pretty easy to think you're
in a sports car.

There you have them. Four
different sporty models from
"Toyota.

If you're looking for an
economy car that doesn't have
economy written all over it, see
your nearby Toyota dealer.

He has more than his sharc.

For your nearest Toyota dealer, dial this free long-distance
number: 800-243-6000. (In Connecticut, 1-800-882-6500)

TOYOTA

We make 12 different economy cars. But it's how we make them that counts.

PLAYBOY

14

aesthetically, it can be valued as highly by
the intellectual as by the hick; and with
the present back-to-the-roots movement,
its earthiness, cleanliness and sincerity
should place it in high esteem among
music lovers, rrAvnov has taken a great
step forward in giving bluegrass the recog-
nition it deserves, and I appreciate it.
Tony С. Williamson
Chapel Hill, North Carolina

You sent а man to Berryville who
knew when the New Deal String Band
was doing a Bob Dylan number but
didn’t know that а song on Dylan's first
LP had been recorded by Ralph Stanley
25 years ago. The truth is that when
bluegrass festivals started, many of the
bands had spent a quarter of a century

drive-in theaters. It takes some ume to
lem how to play a concert. If the

musicians are too mercenary, is because
so much of their living has come from a
hard-sell; if they're unpolished, it's be
cuse for years, so was their nce,
However, I doi was
malicious—he was simply unperceptive
and unsympathetic. Any tension be
tween red-necks (and these are not al-
ways so easy to identify) and freaks was
simply a product of Standish's imagina-
tion. The information he presents, seem-
ngly as background, is typical of what a
person who is initially experiencing
bluegrass festival thi
Standish implies that a pecking order
existed in the seating arrangements, but
there wasn't one—as any picture of the
crowd will verify. Also, the statement by
the Jawyer that the performers don't
play d best stuff onstage is simply
not true. What lawyers call hard stull is
generally not bluegrass at all.

Ron Thomason

Formerly with the

Clinch Mountain Boys
Yellow Springs, Ohio

is goir

I'm tempted to go into а long disserta-
tion on why I liked Standish’s story on
the bluegrass festival, but ГЇЇ just leave it

that I thought was beautiful. A
strange rush of emotion came over me
when I read the section that ends

“America like we wish it was.” I hope
that America is, somewhere. If not, may-
be we сап bring back in modern dress
that feeling of communication, under-
standing and empathy it once represent
cd. You've made it sound worth it—and
Fm not even sure that I like bluegrass,
Thanks a million.

Kent Mckeithan

Pittsburgh, Pennsylvania

Т was so impressed with Shenandoah
Breakdown that I would love to meet
David Standish and tell him. If ever an

Lwas-there fecling lingered after a piece,
this is it. Having heard and loved bluc-
grass music for many years, I took a
very special interest in his treatment
id thought it was great, Bluegrass lov-
cts have а lot in common with blucgrass
pickers. We love hard, fight hard and
pick hard! Long live us!
Minnie Pearl

Nashville, Tennessee

Country comedienne Minnie Pearl is
a longtime member of Nashville's “Grand
Ole Opr

GRAVE DIGGER

In addition to the traditional mam-
millary titillation and variegated venery
in the November 1971 rLaysoy, I found

Curt Siodmak's story The Thousand-Mile

Crave most етс! ng. Siod a
good storyteller who presents. ther
bizarre triangle and develops it to a sus-
penseful climax with an excellent twist.
Е. D. Langton

San Jose, Californi;

THANKS FOR THANKSGIVING

Ive read Thanksgiving in Florence
(rLaynoy, November 1971) twice. f shall
several times more. I have never been in
Italy, so John Clellon Holmes's marvel-
ously dear descriptions of present-day
Florence evoke no memories—only a
desire to see it for myself, however co
rupted by tourism and the 20th Centu-
ry. The beautiful and moving passage
describing the Medici chapel made me
think it unimaginable that any reader
could be unresponsive and unable to
identify with Holmes. Im not a critic,
and it is difficult for me to express what
I felt as a reader, I can say only that I

ared the experience with the writer, a
thing that does not often happen to me.
I have often admired, acclaimed and
envied another's work, but to share it is
something else. I congratulate Holmes
and pLayuoy,

sl

Faith Baldwin

Norwalk, Connecticut

Prolific novelist Baldwin is best known
Jor her “American Family.”

John Clellon Holmes is so right: Flor-
ence is a museum surrounded by a traffic
jam, a nervous wreck, and is no sexy city
Yet, as he notes, a strange redemption
lurks in its beauty. Holmes is undoubtedly
one of our finest and most poctic reporters.

William Harrison
Fayetteville, Arka

Florence is a kind of

Thanksgiving i
Laurentian celebration of the body that
is, I think, more hopeful because it is
somewhat moi atic—than what
D. H. Lawrence had to say. Whether art
can be a kind of relipion, or whether
religion at its most powerful is a kind of

democ

art, is a complex and always stimulating
question, Holmes reaffirms Lawrence's
deep faith in the tactile and adds his
own hope for the redemptive power of
art made most vivid by his narrati
his poruayal of his own consciousness.
And there isn’t that terrifying tyranny
of Lawrence—the extra ecclesiam. nulla
salus—that seems to exclude most hu-
man beings, intelligent or otherwise.

Joyce Carol Oates

London, England

“Wonderland,” Miss Oates's newest

novel, recently followed her best-selling
“Them.”

CHILDREN'S HOUR
Gabriel García Márquez The Hand-
somest Man in the World
(тілувот, November 1971), while a trifle
macabre on first reading, was, to me, a
hypnotically compelling tale that wonder-
fully illuminated the workings of the
minds of trusting children.
апше! Gulliver
Richmond, Virginia

Drowned

LIFE AFTER LIFE

Alex Comforts well-written article
To Bc Continued (prAYBov, November
1971) neglects the possibility of a partial
or complete reversal of senescence. If
aging, like growth and puberty, is gencti-
cally programed into the development
of man and not due to damage nor
information loss, it may be possible to
reactivate the genes for youth that hav
become dormant in the tissues of the
aged and rejuvenate the individual. And
though Alex Comfort's article articulates
a much-needed plea for the support of
research in aging, certain of us immortal-
ists are calling for a total attack on
and death based on a full mobilization of
the life-extension sciences. A project in
this field handled like the space program
would undoubtedly reap rewards
greater than a mere 20 percent increase
in life span within this century. The ex-
penses are far less than those of the space
program and the rewards may allow most
of us to taste the fruits of a future. we
helped build.

Paul Segall, М.А.
Research Scient
Negative Entropy, Inc.
Brooklyn, New York

Comfort does a good job of describing
the technological advances made in the
science of geriatrics, Medicine may allow
man to live longer and a little more
porously, but at what price? Every
gain in our ability to stave off death
may increase our respect for lile—our
own and others'—but would it be morally
beneficial? Life has become so taxing
and fastpaced that old age is the only
time when human beings can relax. But

What а good time for all the good things of a Kent.

Mild, smooth taste. King size or Deluxe 1005.
And the exclusive Micronite filter.

sa a II

12 то. nicotine
av. per cigarette,

Lorillard 1972

PLAYBOY

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PLAYBOY

18

are nursing homes an answer to relaxa-
tion? Are get-well cards and a bowl of
dn themums a token of love? If lon-
gevity is to be achieved, the present
concepts of society have to change.

Shyam Р. Mehi;

Evanston, Il

M.D.
ois

Alex Comfort’s article is a much-need-
cd plea for the support of research i
aging. But the author failed to mention
the work of several people, one of whom
is Dr. Benjamin Frank, a New York City

ап who claims to rejuvenate people
ugh x id therapy. Notwith-
may be that the
goal set by Comfort in his article has
already been achieved. If this is true, we
can push forward with added enthusiasm
to the one long-range goal that is the key
to all others—total victory over aging and
death

Editor
rtality magazine
x, New York

For a magazine committed to youthful-
ness, it is both commendable and coura-
gcous that you publish an article that
deals primarily with the everyday con-
cerns of the aged. To Be Continued,
though undoubtedly of interest to spe

was а double treat for us laymer
gingly w
presented complic
terms that were cl

h
and successfully

Frederick Hause
Cheyenne, Wyoming

CELLULOID SEX

Regarding the uncertainty whether Ar-
e Hunter appeared as the Marilyn
Monroe in Hollywood Blue's short The
Appleknockers and the Coke Bottle, in
Sex in Сіпета—1971 (PLAYBOY, Novem-
ber 1971), the most obvious challenge to
the authenticity of the claim that MM
starred is the fact that no picce of film
on Marilyn of such a sensational nature
could possibly have remained under-
ground for two decades. Arline Hunter is,
indeed, a reality, and the most notable
proof of her existence can be found in
the pages of your magazine. For your
August 1954 centerfold, Arline re-created
one of MM's nude calendar poses. Your
January 1956 issuc carried a review of the
1954 Playmates, complete with a photo-
graph of Arline that was captioned: “She
made like Monroe" My upcoming book,

ed

Marilyn and the Other Monroe Girls, will
fully detail Miss Hunter's career as “the
poor man’s MM.”

James R. Haspicl
New York, New York

ig your
movies
e been trying to outdo уоп. In fact,
pionecring use of the documentary
que in record; si

the

you

analysis of eroticism in the flicks has be
come so popular that movie producers
themselves now copy it

F. F. Flint
Key West, Florida

OVER AND OUT

I live in South Dakota, but Doris
Lessing's Reporl on the Threatened City
(PLAYBOY, November 1971) still scared
the hell out of me. Not only is it the
best warning yet on the upcoming dis
aster, it is also the clearest and most
ew of our ignorance. I, like
з, felt that the mere fact of my
existence would keep me alive until I
was sg for death. No onc is ready for

lity. Th you, Doris Lessing, for
ng back the humility I lost so easily.
Jeff Smith

Dell Rapids, South Dakota

OH, HENRY
Some 20 years ago, І was in the Goth-
am Book Shop in New York and on a
bulletin board 1 read an open lener
from Hemy Miller asking his friends to
send him a few dollars. I am happy to
sec that he is comfortably ensconced in
a fine home, surrounded by warm flesh.
Today I {eel like sending him money.
Almost every writer owes him an artistic
debt. Miller's comments in The Life
and Times of Henry Miller (eLavboy,
November 1971) are pro life, sans syrup.
Your article and his forthcoming auto-
biography come at an appropriate time,
when we are celebrating the birthdays of
Picasso and Casals It makes one feel
that you trust anyone under 75
Robert Reisner
New York, New York
Humor writer and editor Reisner has
written a variety of works on jazz and con-
temporary life.

There is a small inaccuracy їп the
article The Life and Times of Henry
Miller. 1 designed the book, not Bradley
Smith, as you state in the The
promotional
оп the book also ignored my credit as а
designer and gave the aedit to Bradley.
Nicole de Jurenev
New York, New York.
Arlist-designer De Jurenev did, in fact,
design Playboy Press's "My Life and
Times,” by Henry Miller. We regret the
error.

Nothing ever pleases me completely.
and that goes for the PLAYBOY coverage
of My Life and Times. But 1 did enjoy
seeing that beautiful Israeli actress
эе picture was attributed to
my friend Bradley Smith but which was
ly taken by photographer William
Webb a [ew years ago.

Hemy Miller

Pacific Palisades, Californ

THE RAGS-TO-RICHES REPORT
I'm glad you dearly labeled And Now,
Direct from Fairy Godmother Headquar-
ters by Dan Posin (рілувоу, November
1971) a product of the rival National
Nawork News. Certainly none of my
more experienced colleagucs on any of
the older networks would have referred
to the two stepsisters as “ill-tempered.”
The proper form is, of course, cither
“reportedly ill-tempered” or, preferably,
“accused by Cinderella spokesmen of
being ill-tempered.” Internetwoi valry
ide, I feel the transcript gives a false
impression of my 3N colleague Mr. Derek
Everside. He is a country boy, no matter
what high U.S. Administration officials.
y, and would certainly recognize
a pumpkin at once. He would never
refer to one as “a heap of garbage.” I
have often heard him quote the French
poet Mallarmé: "Parmi les fleurs de la
nuit, | La pumkin engorgée y suit." Par-
enthetically, he mever quotes Martin
Buber. As to the unfortunate remark ol my
opposition fiend and colleague. Mel
Sludge: “If he isn't in love, Гап a Dob
man pinscher,” I can only say this was a
Freudian slip and should not be dwelt
upon. Sludge, as ап infant, was badly
bitten by one of that breed and has, in
consequence, been a compulsive Dober-
man pincher ever since. In conclusion, I
feel you must repair the grave injustice
done to 3N's Mr. Benton Fenton by an
unfortunate typographical ето
he is quoted as saying of Cindercll
їз possible
chimney sweep slid down the shaft.’
Fenton is а scholar and etymologist of
wide renown а would never have
stooped to using, on the air, the 12th in
order of acceptance of 15 dehnitions of
the word shaft. Listening at home, I
distinctly heard him more corectly say
“A chimney sweep slid up the shaft."
George Е. Herman
CBS News
Washington, D. C.
Correspondent and commentator Her-
man hosts CBS's “Face the Nation.”

In your November 1971 Playbill, you
versed шу picture with that of Cint Siod-
mak. For a week, I was quite despondent
that my moment of glory as а PLAYROY
contributor had been flawed by this error.
Then, I decided that if art could not
imitate life, life would imitate art. Thus,
1 shaved my head, donned horn-rimmed
glasses and bought a pipe. Гуе also started
writing science fiction, which is Siodmak's
forte. I'm writing you now to ask for a
list of that author's favorite foods, the
kind of car he drives, the kind of women
he likes and the name of his tailor. By
God, I'll make it come out right yet.

Dan Posin
Washington, D. С.

INVITATION TO A HANGING- OF MARBORO
decorate like crazy! BIG + ГЕ - EXCITING anon EXPENSIVE POSTERS sf

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PLAYBOY

AFTER HOURS

е have it on good authority that the
following telegram has been sent to
Chinese premier Chou En-lai in Peking:
“IN THE INTEREST OF EXTENDING MUTUAL
UNDERSTANDING BETWEEN THE PEOPLES OF
OUR TWO GREAT NATIONS AND IN FURTHER-
ANCE OF THE SIGNIFICANT STRIDES ALREADY
EFFECTED IN THIS AREA THROUGH FING-
PONO DIPLOMACY, WE HEREBY INVITE THE
PEOPLE'S REPUBLIC OF CHINA TO FURTHER
EXPAND THE SPECIRUM OF INTERACTIONS
BETWEEN OUR PEOPLES BY PITTING ITS
FASTEST RAGING TURTLES, TRAINERS AND
JOCKEYS AGAINST THOSE KEARED, NUR-
TURED, TRAINED AND RAISED AT SCi
FEEDERS, HERMOSA BEACH, CALIFORNIA,
V. S. Ad SAID CONTEST ТО TAKE PLACE AT A
LOGATION AND TIME OF YOUR CHOOSING
AND TO BE COMPATIBLE WITH THE TURTLE
HIBERNATION HABITS OF BOTH OUR FAIR
LANDS. YOU CAN BE ASSURED THAT ALL
JUDGING, SALIVA TESTS TIMEKEEPING
WILL CONFORM TO NORMALLY VED
CONVENTION AND WILL BE
CONDUCTED IN А MANNER CONSISTENT WITH.
THE MUTUAL INTEGRITY AND TRUST THAT
ENIST BETWEEN OUR PEOPLES, BECAUSE OF
THE LASTING BENEFITS TO MANKIND WHICH
MAY ACCRUE FROM SINO-U, S.A. TURTLING,
WE PRAY THAT YOU WILL CONTACT US
THROUGH APPROPRIATE CHANNELS TO EX-
PLORE THE FEASIBILITY OF IMPLEMENT
cros-

LUMP-

AND
леа

INTERNATIONAL

iG

THIS APPROACH TOWARD IMPROVING
AL STABILITY HAVE CONCERN
REGARDING THE AVAILABILITY OF TURTLE-
RACING FACILITIES, REST ASSURED THAT
ADEQUATE FACILITIES ALREADY EXIST AT
SCHLUMPFELDERS, WHERE 10 CHAMPION-
SHIP-CALIBER TURTLE RACES ARE HELD
EVERY THURSDAY NIGHT STARTING AT 9:30
P.M. RESPECTFULLY YOURS.

LEST YOU

JACK MARTINEZ, PH.D.
PRESIDENT, HERMOSA ENTERTAINMENT
CORP.

22 PIER AVENUE

HERMOSA BEACH, CALIFORNIA, U.S. A.
р. 5. IF THIS 15 A TIGHT-BUDGET YEAR, LET
ME SUGGEST THAT YOU CONSIDER ECONOMIZ-
ING ON TRAVEL EXPENSES BY ASKING EACH
OF THE MEMBERS OF YOUK OUTSTANDING
PING-PONG TEAM ТО SLIP A CHINESE RACING
TURTLE OR TWO INTO THEIR DUFFEL BAGS
BEFORE THEY DEPART FOR THEIR FORTH-

COMING VISIT TO THE U.S.A. THAT WAY
THEY WILL BE ABLE TO DOUBLY REPRESENT
THEIR GREAT PEOPLE,

From time to time, somebody comes

along with an oblique observation that—
like a spotlight from the side, casting
sharp shadows—shows us an aspect of our
technological society of which we other-
wise might have been less than fully aware.

Such was the case in a column by Ed
Zern, who for many a long year has had
the very last page of Field & Stream maga-
zine to himself—a case of reverse chic,
reminiscent of the Biblical saying that
the first shall be last and the last shall
be first. Month after month, Zern shares
his wise and witty insights with a multi-
tude of fans among whom we consider
ourself fortunate to be.

An example of Zera's highly personal
way of looking at things neatly fulfills
what we started talking about; ie, an
oblique and unique view of something
we all subliminally know is going on but
have never really confronted head on.
Zern’s subject was an invitation he'd re-
ceived from the English gunsmiths Hol-
land & Holland to go to a champagne

party celebrating the completion of five
very special sporting shotguns, completely
handmade, with stocks cut from a sin-
gle Persian tree, gold-engraved sporting
scenes on detachable side locks, and all
on display in а rosewood, leather-lined
fitted cabinet. A selected group of invitees
would gaze upon this 555.000 example
of the survival of craftsmanship in а
mechanical Ze points out that
$11,000 apiece may seem a bit much for
shotguns that can miss just as well as less
expensive sporting arms, but he goes on
to зау that the 1300 skilled man-hours
entailed in the fabrication of this sports-
al makes the price something
bargain.

A bargain? This is where the special
Zern insight enters: He did the necessary
arithmetic to figure out that at the going
union rate for plumbers, $11,000 а gun
is, indeed, cheap, since 1300 man-hours
of a union plumber's time—at the rate of

age.

man's arsei
of

$12 an hour—would have put the price
of having plumbers make these guns at
$15,600 each, or $78,000 for the set, and
that's for labor alone, without materials
and without the rosewood case and bottles
of bubbly.

Zern leaves it to the reader to decide
whether all this adds up to progress,
retrogression or running very fast to stay
right where we are in an affluent techno-
logical society. We don't propose to do less
ourself nor presume to do тю

Maybe life really docs imitate art,
after all. At least that’s what we're led to
believe after publishing Allan Sherman's
Griselda and the Porn-o-Phone in our
December issue and then running across
this "Personal" in The Chicago Reader, a
neighborhood newspaper: “cies, do you
fecl neglected? Do you not receive ob.
scene telephone calls? Old practitioner
will take on several more clients. $37.50
per week. obscene calls between
12:30 and 6 A.M. guaranteed each night.

Heavy breathing, $15 extra. Box 477."

Finally! They gave a war and no
body came. Way back in 1846, U.S
Cavalry troops fought the Mexicans in
the Battle of San Pasqual, and folks in
Escondido had planned not long ago to
recreate the scene. Bur it had to be
called off when they couldn't round up
enough men and horses.

Sign of the times posted on а church
in Or Nor
FROZEN.

1: THE WAGES OF SIN ARE

At last Alabama has gone on record as
officially endorsing equal rights for wom-
en. The state legislanne passed а bill
allowing females over the age of 18 to

work in coal mines.

Similar tales from opposite ends of
the nation: Stewards at Boston's Suffolk
Downs were slightly unnerved when a
urinalysis of race horse Sunrise Time
revealed the presence of caffeine and
nicotine. Seems the groom had grown

p

PLAYBOY

22

impatient waiting for Sunrise Time to
produce evidence for the test and pro-
vided his own sample. And an Oakland,
California. parolee was told to bring in
men to see if he'd been using
. so his wile fur-
nished the sample. That's fine, except it
showed he was pregnant.

When a British judge jailed a man for
bonking his wife with a hammer
noted. "Е realize that you foi
in a domestic and emotioi
which you and others were behaving in
a way that would make the inhabitants
of a monkey house blush.” The situa-
tion: In addition to his wife and four
children, living with the man were his
mistress, whom he had met at a psychiat
тіс center where һе went regularly for
treatment, and his wife's lover.

Our Impeccable Taste in Advertising
Award goes to Tidewater, West Vi
's Rosewood Memorial Park for an
ad tha ENJOY
DYING. С bout
clean, dry. ventilated entombment at
special preconstruction prices.”

We hail the trustees of Dega
Quetzalcoatl University, the
only college for Indians
Americans, for adopting
tion to shorten its name—to Delilwayto-
Quetzalcoatl University

gi

beg

you

. “Now
all today for information

CAN

inawidah-
nation's

In response to the question “Are oral-
genital ions fairly common among
married couples?.” Robert Athanasiou,
istant professor of psychology at Johns

Hopkins, said, “Whether ог not to im

take care of them. At its last convention,
the guild adopted а bargaining-pos
statement calling for company: paid psy-
chiatric ca abortions, vasectomies and.
treatment for drug addiction
holism among newspaper workers.

Ontario Medical
were recently

The ladies of the
Secreta Association
treated to a talk on “Helpful Hints for
the Defenseless Female" by William Fer-
guson of the Metropolitan Toronto Po-
lice Break and Enter Squad.

The San Dicgo chapter of Zero Рори-

lation Growth endorsed Jack Walsh-
the her of seven—in his successful
campaign for mayor. Z. Р. б. rationalized

its approval by noting that Walsh's last
child was born five years ago—"about the
time he was beginning to take real notice
of the connection between pollution and

s the
zeal-

overcrowding.” АП of which confir
old saw that there's no moralist morc
ous than a reformed sinner,

ACTS AND
ENTERTAINMENTS

It's hard to remember, but time was
Presley was an evil dude, True
ic in the flesh: He looked like his
of a good time was to kick ass at
the Friday-night rumble; he waggled his
like he knew how to use it; and.
ang dirty ole rock n’ roll—an wnbeat
able com . You had to сок up to

anyone who so thoroughly offended every-
body from college age on up. So when we
heard The King was back on the

road.
again, we hopped a plane for . . . Cleve-
land. just the right dreary pla Ace, since
thats where Alan Freed started it all.
We knew Elvis had been killing the high
rollers in Vegas lately, but even so, we
weren't. prepared for the painted middle-
aged ladies standing in the Convention
Center lobby, all decked out in dead mink
nd floor-length gowns. This was not ex-
actly а Grand Funk crowd. Nearly every-
one was over 25 and white and abloom
with bouffants and blazers. Three foxy
ladies called The Sweet Inspirations,
backed by a soul combo and а big horn
section, opened the show with Sly's
Higher and went out with Steve 50155
Love the One You're With—putting more
lovely guts into Stills song than we'd
heard belore. They were followed by a
Canadian comedian named Jackie Ka-
hanc, whose stock
homosexual, anti-hippie, anti-urban. jokes.
Alter intermission, down went the lights
and up went the horns, with —what were
they trying to tell us2—the theme music
from 2001. The millennium didn't come,
but Elvis finally did, sauntcring out, clear-
ly digging the waves of sexually unhinged
screams that he still inspires. No matter
that they now came from housewives a
long way from their last pajama party.
And he was worth it: Jumped right
into That's All Right Mama, 37 years
old, sporting a white supernudie ski
licking outfit designed to prove the boy
is in shape, and. shak -shaking the
old moncy-maker. His face might look
puffy up dose, and his borderline hip
black hair might be dyed, but he is s
isi—and even when he's parodying
himself or screwing around purely for
the band's amusement. an evening of him
working through Z Got a Woman, Proud
Mary, Love Me Tender, You've Lost That
Lovin’ Feelin’, Johnny В. Goode, Blue
Suede Shoes and Hound Dog ain't bad.
His voice is deeper and stronger than it
k klepicker Ed Sullivan
days, but some of the old hillbilly fire ha:
gone out—proof, maybe. that you can sing
Heartbreak Hotel only so many times and
still really give a shit. Same with his
moves: He practically invented. si

with your crotch, but it frequently looks
1 now, like choreographed déjà
ll matter. We were all there for
the presence, to witness the live fle:
sec if we were really so {а
out in a Hudson Hornet. And
out we weren't: By the time
to Fools Rush In, his standard Ve
show finale, at least one bleach-blonde 30-
bopper, hysterical tens on her checks,
rushed the stage gasping, “I love him! I
love him!"—while her boyfriend looked
on depressed. And another, bouffant vis
ing like a summer storm cloud, was cry
“I touched him with this hand!”
can you argue with that?

He's been belting it out for over 40
years, ever since his first gig at the age of
four with the Coon-Sanders band at the
Blackhawk in his native Chicago. And for
most of his career as singer, lyricist, com-
poser and Jack-of-most-musical-trades, Mel
Tormé seemed to many to be too hip mu:
cally for his own good, always in a process
of becoming. Today, Tormé—whose career
has been freshly boosted by a popular
television summer series (It Was a Very
Good Year) and by book authorship (The
Other Side of the Rainbow: With Jud)
Garland on the Dawn Patrol)—is fully
evolved. During his recent three wi

Zentury Plaza's Westside Room in

Los Angeles, the entertainer offered a
singing presence that was bolstered by
humor, comedy, showbiz savvy and great
helpings of musical integrity—which is
what Tormé is all about, anyway, Backed
by pianist Al Pellegrini’s orchestra, Mel
gave fully of himself on the night we
caught him for a solid hour of fast-paced
musical showmanship. He drew а capacity
audience to the Westside Room as he
anged from a contemporary lyric to his

own The West Coast Is the Best Coast
(California Suite) to а shankofthe-night
ilong with Melvin" on Вус Bye
Blackbird. Mel's baritone ukulele is much
more than prop. It’s the size of a small
guitar, tonally mellow, and he used the
instrument to accompany himself on а
bossanova medley, rorchers such as а
sensitive In the Wee Small Hours and—
‚ camp followers—a Ralston cere:
ial from his preteen Chi
cago radio days. On the ballads, his voice
па mature;
strument style he's made
k was never more tellingly ui
. A Porgy & Bess selection
"Tormé to the piano. “The most
song in my act" tu
Paxton's lament for unsullied ecology,
Whose Garden Was This. The vocal ar
ngements were Tormé’s, showing up
especially well (аз he conducted) in бус
of the newer songs, including РЇЇ Never
Fall im Love Again amd Something’s
Comin’ On. One of his most popular tours
de force, а "bring back the bands" rou-
ne, had Mel, on drums, playing—and

How

was deeply melodic, warm
the voc:

drew

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PLAYBOY

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PLAYBOY

26

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mugging—amusing takeoffs on Gene
Krupa, Jackie Cooper, Mickey Rooney
and Sal Mineo. All this multiinstrumen-
tality Tormé sclf-effacingly preambled as
“the Sammy Davis Jr. versatility-syndrome
shtick.” Tormé was scheduled to be sell-
ing his vocal wares to the Japanese on a
Nippon tour the beginning of the year.
There are, of course, other gigs, hotel
and otherwise, and television appearances
to be made. He's writing yet another
book—a novel about a singer. But Tormé
insists the book is not autobiographical.
You heard him.

BOOKS

Christopher Isherwood's biographical
"undertaking" (for want of a better
word) Kathleen ond Frank (Simon &
Schuster), is a big work in every sense
—concept, scope, effect. It is a singular
achievement that invents the means
necessary to its execution. What Ish
wood has done is tell the story of his
parents’ lives through their own minds,
hearts and hands. Kathleen Isherwood
was а faithful diarist, as perhaps only a
Victorian lady could have becn. She
committed to her diary her life, day by
у. in all its fullness and intimacy. And
rank Isherwood, Christopher's father,
such a Victorian gentleman that all
his letters—in courtship, in marriage
and in his military career—could be
preserved with good conscience. The
mothers diary and the fathers letters
arc the stuff of this work, with the
author providing exquisite selectivity
and interpolation: the very organization
of the book becomes a glowing testa-
ment of love. What emerges is one of
the most vivid portraits of Victorian
England ever to find its way to print.
Perhaps it needed just this strange mix-
ture of data, art and ingenuousness to
bring it off, but brought off it has been
most beautifully and poignantly. Kath-
leen and Frank is a vare thing in this
time of snarling change: an irresistible
book that subtly yet powerfully carries the
reader into the pain and wonder of
other lives in another time.

Louis-Ferdinand Céline has been
called the progenitor of such writers as
William Burroughs, Norman Mailer and
Günter Grass. His latest novel to be
re-created from the French by the bril
liant translator Ralph Manheim is titled
North (Delacorte/Scymour Lawrence) and
it continues the story of Céline's wander
ings in Europe during the last, apocalyptic
days of World War Two. It also shows
why, when it comes to total, comic nega
tion, Céline is still the master and most
writers in the black-comedy bag are car
nest, rather moralistic pupils. In this zany,
onrushing account of his travels and
his jumpy, scrounging stay in a weird

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PLAYBOY

German country town, Céline evokes the
atmosphere of hatred, suspicion, stupid-
ity, murderous fear and somnambulistic
frenzy that clamped down on Europe
when the Nazis were finished but kept
оп fighting, And he does it with the
mundane materials of his everyday exis
nce—so that his picture of hell on
earth is never melodramatic пог far-
fetched but the plain truth told in
gasps, eloquent outbursts, tirades, comic
asides and a jumbled time sequence that
reflects the broken, jagged, crashing
world he is depicting. Never has the
underside of history been more fully
and sensitively captured in imaginative
iting—not that Céline bothers his head
pout old-fashioned distinctions between
reportage and fiction. He has found
the way to break down the barriers be-
tween the personal and the historic, so
that what happened to him, his wife, his
cat and an actor friend becomes what
happening to all of Europe. War,
Céline tells us, is “the travels of the
peoples"—and here is his small persona
journey amid the vast one that was pre
ude to the end of a world and an epoch.

ма

(A superb experiment in biography,
with Céline as rhe subject, has been
carried through by Erika Ostrovsk

Voyeur Voyant [Random House] catches
the man’s tormented life in his own
writings and in the recollections of con-
temporaries. A portrait of an authentic
mad genius.)

Even when Arthur C. Clarke is only
literarily marking time, he manages
to be provocative amd entertaining.
Witness Report on Planet Three and Other
Speculations (Harper & Row) a collec-
tion of essays variously based on Clarke's
magazine articles, lectures and. excerpts
from his book The Challenge of the
Spaceship, published 13 years ago and
now out of print. When Clarke sticks to
what he does best—predicting the cmo-
tional and technological future of man's
journey outward into space—he cannot
be faulted. Indeed, the astronautic ac-
complishments of the past decade have
confirmed many of Clarke’
lations and made others, though still
unfulfilled, quite plausible. His book's
y neatly skewers the establish-
ment scientists who wrote off the possi-
bility of life on Mars when the first
Mariner photographs of that planet
proved" it to be uninhabitable. Report
on Planet Three is a Martian astronomer’:
statement. "proving" that. intelligent. life
cannot exist on Earth, because it is mostly
covered by water, surrounded by the poi-
sonous element oxygen
crushing gravity. When Clarke speculates
bilities as interstellar travel,
ng with extraterrestrials and
ceeding the speed of light, one is in-
clined to give him the benefit of the
doubt. Less seminal are the essays on

carly specu-

md sustains a

such stand-bys as extrahuman sense or-
gans, UFOs, intelligent computers and
perpetual-motion machines. For the dev-
otee, this book offers a chance to fill in
gaps in his Clarkeiana, For the neo-
phyte, it’s a stimulating introduction to
a most stimulating thi
Jack Kerouac, the father of beat writ-
ing, died in 1969, but just before that
he managed to finish a short novel, Pic
(Grove), which, more than any other
book he wrote, gives ws a convincing
picture of perfect, freewheeling, life
loving bliss. Pictorial Jackson, the ten-
year-old Negro boy from North Carolina
who is the hero of his book, is charming
ing cute, sharp-eyed and self-
ithout being soppy: his cross-
try adventures with his big brother,
Slim, who works in а fudge factory but
would like to play the trumpet in a
band, have an unforced, innocent de-
light that puts Kerouac on a par with
Mark Twain and Sherwood Anderson, if
only for this last, wholly admirable mo.
ment. The talk that pours out of Pic's
breathless mouth is real, fantastic, fanci-
ful and utterly endi . Kerouac be-
gan Pic in 1951 and then returned to it
during his last days. It creates a world
that might make many of us, hassled as
we are by racial and generational con-
flict, dreamily nostalgic for the good
old days when kids like Pic still could
exist. And yet Kerouacs novel is no
оге escapist than Huckleberry Finn ог
Winesburg, Ohio. A lovely book.

Ever since the Schlesingers and the
Sorensens offered up their gilded ver-
sions of John F. Kennedy, it was only
a matter of time before revisionist
historians applied some paint remo
сг. In Cold War end Counterrevolution (Vi-
Б), Richard J. Walton scratches av
a bit too vigorously, perhaps, but the
picture that emerges will nonetheless
dden and sober J.F.K. admirers.
"s harsh thesis is that Kennedy
was a younger, more charmit g version of
John Foster Dulles. His evidence is
drawn largely from fou

argues, ition the
President probably welcomed when he
assumed office (the ready
under way) because it matched his own
hard-line view of how to de:
wo. In Berlin, Kennedy threatened war
when he could have accepted Khru-
shchev's invitation to jaw-jaw. The Cuban
Missile Crisis brought the world back
from the brink of Armageddon on terms
that could have with
out brinksmanship. Finally, in Vietnam,
Kennedy embarked on a course whose
disastrous consequences are yet to be
fully reckoned. Ever ure toward dé-
tente, such as the partial nuclear-test-ban
treaty, Walton feels, was overbalanced

was

was

by rigid reliance on conventional post-
war diplomacy. The thesis might be
more con g if it were not frequent-
ly argued so glibly and simplistically.
Too much is attributed to J.
machismo. Too little skepticism is shown
toward Communist aims. Walton avoids
posthumous analysis that would involv
speculation about whether or not Ken
nedy might have turned over a new leaf
with the test-ban-treaty signing in 1963.
On the existing basis of judgment—those
1000 days—Walton clearly would not
have expected an ideological change of
heart. An ungenerous judgme
but not entirely unpersuasi

In Girl, 20 (Harcourt Brace Jovanovich),
gsley Amis proves he can be as funny
tilting at youth as tilting at the estab-
lishment. Yet the most distinctive feature
of this latest novel (whose title alludes.
to the compulsive addiction to young
girls of certain older men) is its muz-
дей sympathy for its subject. The ci
ed code in whose name Amis dispenses
his acid appraisals of the manifold
barbarisms of current youth—its politics,
social manners, speech, dress and,
above all, music—reveals itself upon
closer inspection to be little more di
а mass of crotchety assumptions and рге
sumptions. Thirty-three-year-old Douglas.
Amis’ alter ego for the occasion,
music critic who is assigned by the wile
Roy Vandervane the task of pre-
that eminent, wealthy and re
lucianily aging conductor from wreci
his marriage by running off with a teen-
ged savage. Douglas assigns himself the
task of stopping Sir Roy from wieck-
ing the good name of music by trying to
enter the pop scene. But at story's end
—alter Sir Roy has demonstrated the
absurdity (and hypocrisy) of his effort
to be both à middle-aged "have" person
nd a youthful "be" person, both a
classical conductor and a pop swing
and Douglas has exposed the follies of
nearly everyone in sight, including his
several girlfriends—it is Sir Roy, a sort
of engaging rogue elephant running
amuck on the wrong side of the gencre
tion gap, rather than Douglas, who has
aght the sympathy. Amis
has such sport dissecting the theatrical
personality of Sir Roy's wife that her
husband's defection becomes understand.
able—a clue, perhaps, that Amis own
heart is not entirely where he pretends,
Girl, 20 is more loosely constructed than
most Amis novels, yet that much can
be forgiven an author who makes his
reader laugh out loud.

reader's

Twentyone years old and fresh out of
Harvard, Andrew Tobias stumbled into
a scat on а financial roller coaster th.
swept him to giddy heights of mana-
gerial enterprise, c lly through
stock options, multitudinous mergers

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Vola in Idaho, Missouri, Washington, Florica,
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PLAYBOY

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RETAILER INQUIRIES INVITED.

and Wall Street flimflam, and eventually
carried him back to his starting point—
Harvard—a poor but wiser man. Not
until the ride was ending did he begin
to understand what had been going on:
“I was like a person entering a steam
bath for the first time. It seemed dange
ously hot—but then [ knew it was sup-
posed to be hor. If things were hotter
than normal, опе of the regular bathers
in there with me would surely tum down
the steam before anyone kecled over.
He was wrong: almost everyone in his
corporate steam bath, and in quite a few
others, shared his naiveté, illusions. ad-
venturousness and the confidence u
somebody knew what he was doing and
could be trusted. to avert disaster. The
way things ummed ош, cither nobody
knew or nobody could be trusted. The
Funny Money Game (Playboy Press) is
Tobias’ mea culpa for his role in build-
ing one of the great financial bubbles in
recent Wall Street history—the National
eting Corporation. whose
sc to 5146 and plummeted to

than thr Tobias
was less a villain than a victim, though
own account a most eager and
victim, who learned how to

cooper
rationalize before he learned the ins and

outs of high finance or how to interpret
cryptic footnotes in financial statements
of the highflying $10,000,000 conglom-
erate which he was flattered to be
named a vice-president (at the age of
22). He survived the experience with his
sense of humor, if not his paper fortune,
intact. and out of it all he has produced
an entertaining and educational book
that reveals corporate machinations
nancial finagling more c
could any prolessor in the Harvard Busi-
ness School—to which he has returned
in the hope of learning some economic
theory to match his pr

Also noteworthy: Lewis Cotlow's The
Twilight of the Primitive (Macmillan). a por-
tion of which ran in our October 1971
issue, is a meticulous examination of
civilization’ continuing assault on the
cultures of a number of “backward”
peoples. Explorer Cotlow ranges fom the
arctic to the Amazon to Africa to reveal
the same heartbreaking results of contem-
porary society's rapaciousness. A poignant
call for help for mankind's "endangered
speci

MOVIES

Zameramen, first elevated to a lol
plane when they bee:
matographers and now billed as “direc
tors of photography” who seldom man
a camera themselves, have emphati-
cally come into their own in the past
decade or two. Last у ance's formi-
dable Raoul Coutard, having practiced

mc known as cinc-

, „Hs sort of
a miniature musclecar.

No, the Datsun 1200 Sport Coupe
isn't one of those great, snorting thunder-
barges. But it's not your run-of-the-mill
economy car, either.

It's something in between. A neat
little machine that handles like a sports car,
goes like a bat and comes with an economy

price that includes a lot of extras as stan-
dard equipment. Reclining buckets, tinted
glass, whitewalls and nylon carpeting to
name a few. Add to that an engine that de-
livers around 30 miles per gallon. It's a
powerful combination at any price.

Drive a Datsun. ..then decide

FROM NISSAN WITH PRIDE

PLAYBOY

32

his filmic wizardry for Godard and
Truffaut, turned director with Hoa-Bink,
and won an Oscar nomination on his
first try. And Nicolas Rocg picked up
the megaphone to do Walkabout, а vis-
ually beautiful adventure tale that has
reaped plaudits along with lusty box-
office returns.
Is their success based on miraculous
new equipment or the discovery of revo-
lutionary aesthetic principles goveming
the making of films? Not » to
Dick Kratina, a New York-based pro
who was a mere camera operator as
recently as Midnight Cowboy. then grad-
uated to toprank. director of photos
phy for Love Story. “The film we use
nowadays is more light-sensitive and
fine-grained.” he grants. "During Born to
Win [reviewed on page 34], we shot
many scenes along Broadway at night
with no added lighting. But otherwise,
there is virtually nothing done today
that pioneer cameramen didn't do dur-
ing the hand-canking cra of D. W.
Griffith. They worked out splitscreen and
other special effects right in the camer:
g by trial and error how to
achieve things that we now do very
asily with opticals in the lab. The re-

sults are not so different, and seldom

bette

British director of photography Wal-
ter Lassally, һем known for Tom Joncs
and his Oscar-winning work on Zorba
the Greek, observes that the biggest
change in the way films look relates to
the new realism, which favors location
shooting and natural ligh her
than the lifeless studio look of Holly-
wood films Since hand-held “combat
cameras came into general use following
World War Two, says Lassally. “the only
major breakthrough has been the refle
iewing system, so you can see exactly
you shoot, even with big 35mm
cameras, Sound recording, on the other
hand, has made fantast
volutionized film making in certain re
spects. Because of it, you can go anywhere.
10 shoot, use live sound

urized recorders you hold in the
of your hand."
Lassllys opinion, the publics

growing awareness of photography is at-
tributable to television and the trans-
formed sensibility of a generation whose
minds have been flooded with images

since infancy. "Cameramen сап use
more daring effects." he says. “Everyone
understands time lapses, ellipses, un-
connected images. These things have
become second nature to today's movie-
goers, possibly with far-rcaching uncon-
scious ellects. There are disadvantages,

however. The publics hip attitude also
encourages superficiality and flashiness—
you need more to stimulate and arouse
people. You've got to have xplo-
sive opener, for example. The dice are
loaded against serious work, because

you're under constant pressure to do
something daz
successful young Ai
Richard C. Sara

Japanese cinematographer who visited
Hollywood when Japanese films were
being extolled for their exquisite compo
sition and texture. Asked how he did it
the inscrutable genius answered: “With
film you buy comes a little pamphlet.”
Sarafian’s latest work. Man in the Wil-
derness (photographed by England's

Gerry Fisher, who also contributed to
the visual splendor of Joseph осу

ship between an intelligent director
а creative cameraman. “But some direc
tors,” he says, “have become too сапе
conscious; they пу to shoot fi
commercials for themselves. 1 think that
will change. The public wants to see
pictures that speak for themsclve
terms of content, without a nervous
camer

While the evidence to support
Sarafian in the success of such current
films as The Last Picture Show and The
French Connection—traditional stor
telling movies bolstered by superlative
but straightforward — camerawork—the
vogue for optical shock treatment may
not yet have run its course, Both trends
аге visible in the new releases.

in

Close collabo:
Sarafian and Fisher
brings strong visual impact as well as
elemental force to Моп in the Wilderness,
starring Richard Harris in a kind of
sequel to 4 Man Сайса Horse. This time
around, Harris! enemy is not just a tribe
of savage Indians but nature itself, and
he contributes а remarkably modest, un-
lone trapper
а grizzly bear and left
1 the wilderness by a band of
ersmen whose eagerness to
explore—or exploit—the country
brook no delay. As leader of the отару

cinematographer

hurried performance as
cruelly mauled by
to dic

се

from Moby Dick—for this is
knows he һа

and-to-hand encounters
rs but mostly plays
itement in

ambushes and h
with wolves.

preference for ecological drama, Sarafian's
nce on photography makes thc
movie a kind of Sierra Club essay, and

Harris moves against a background of
wonderfully fluid images that fulfill one
of contemporary man's fondest dreams
—finding himself by los

cruelly beautiful world where words like
vengeance, power and money finally
mean nothing at all.

Spoofing the current boom of sex-
tation movies, Is There Sex After Death?

tions ап a person suffocate from
fellatio?” Or, to take another sequence,
writer-actor Buck Henry, playing a doctor
in residence at the Bureau of Sexologi-
cal Invest ‘Once, in T
land, Le woman whose vagina
was so large that I had to take an acrial
photograph of it." Obviously, Sex After
Death svecis dear of subtlety and at times
resembles a juvenile imitation of the sex.
epics it sets out to parody. Written, di
ected and produced by the husband-
and-wife team of Jeanne and Alan Abel
(he's the prof al hoaxer who once
launched a nationwide drive against
decency by advocating clothes for naked
animals), the film is technically crude and
comically unsure. The action ranges from
interviews that suggest an old Candid
Camera show hosted by Peeping Tom
to sequences featuring veteran publicist
and practical joker Jim Moran—hard at
work on “the perfect dildo"—plus a
concert by the first topless string quartet.
Appropriately enough, Sex After Death
comes to a rousing clim: п uncover-
age of an event identified as the Interna-
tional Sex Bowl in Houston (another
Abel enterprise), where nude couples
from potent nations try to make it
together in the finals, while a hysterical
nnouncer handling the play-by-play
pratties about demerits for “dribbling”
and “a ball-holding penalty for the
1 n team,"

Having become а kind of under-
ground classic through a series of
midnight screenings at Manhattan's ven-
turesome Elgin Theater, Ef Topo surfaced
with a splash on Broadway and drew
closer attention to the shock waves of
excitement created by Chilean writer-
director-composer Alexandro Jodo-
rowsky. While Jodorowsky’s ultimate
importance as a film maker remains in
doubt, по one who staggers away from
El Topo сап deny the visceral and vis-
ual impact of this metaphysical Western
n which Jodorowsky plays the mythic
hero—a supercowboy character in search
of spiritual redemption bur prone to
wet-dream fantasies, El Topo ("the mole")
is an Everyman on horseback but has
jı common with Gary Cooper than
the anguished misfits of those
complex modern morality tales told by
Bergman and Buiud. The
nole, Jodorowsky informs us im a kg-
end at the beginning, “digs tunnels
under the earth. looking for the su
When he sees the sun. he is blinded.”
Make of that what you will. Before the
self-immolation scene that ends
El Topo castrates a power-mad militarist

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PLAYBOY

34

who hes ravaged a town and created his
own Sodom in a Spanish mission full of
handsome young priests. El Topo him-
self rapes women, murders four prophets
the desert and narrowly escapes assas-
sination. In a new incarnation, he ap-
sort of messiah, idolized by а
па cripples who expect
him to deliver them from their u
ground caves to the sunny proi
- And so he does. though the
world they seck to enter. a tacky
icr town, turns out to be rife with
hypocrisy, cruelty, treachery, perversion
and greed. Jodorowsky seldom pursues a
straight narrative line. His hero, after
bandoning one son, who inns up years
priest. impregnates a Madon-

n and presumably
dies leaving a second son of Fl Topo to
camy on his quest. Loaded with snob
appeal, Jodorowsky's sleeper is obvious-
ly the Handiwork of a gifted, eccenuic
artist with a sure instinct for double-
whammy effects.

"s as

er as а
nalike

dwarf wom

The profligate screen version of Fid-
dler on the Roof opens with a violin solo
by Isaac Stem, whose vi ty adds
litle to the play lue but provides а
clue to the values of producer-director
Norman Jewison and playwrightadapter
Joseph Stein. Having repeated its Broad-
n cites throughout the
usical smash based on Sholom

peasants in сали
be treated as anything less than а block-
buster, The result of this commercial

bigthink is a noisy, lumpish, aggressive
spectacle that crushes both the spirit of
the stories and the easygoing charm of the
original show. Part of the problem can be
traced to director Jewison’ peculiar ideas
about casting—particularly his decision to
bypass Zero Mostel in favor of the Is
star Topol, 36, celebrated for his knack
of playing characters twice his age. He
gives a forced and unfeeling р
ance, overstretching his broad smile to
fill а Panavision screen but seldom cvok-
g the humanity and wisdom of a de-
lightful old Jew with five marriageable
daughters on his hands, Most of the cast
ppears to have been recruited from one
of Fiddler's lessdistinguished towing
companies. Only Rosalind Harris as
Теууез eldest daughter and Leonard
Frey as the simple tailor she loves prove
capable of asserting themselves as be-
licwible individuals against the movie's
intimidating pomposity. The filming on
location in Yugoslav ly heightens
the flaws of Jewison’s over-all concepi
for the glimpses of a real р
seem strangely out of syne with а pro-
duction so smooth and studied that every
song cue sets off an avalanche of sound
—as if the Red Army Chorus were con-
cealed in a nearby barn, Fiddlers famil-
iar score (by Sheldon Harnick and Jerry

village

asa

Bock) also sullers йош overzealous cine-

matography, which reduces big numbers
to lively but meaningless blurs. Once
merchant princes

1 golden theatrical
formed into dross.

ve proved that
showpiece сап be tı

Шаве of Newport, Oregon,

The tiny
was headquarters for the 1

ion film-

ing ol Sometimes a Great Notion, adapt-
ed by senarist Joh у from Ken
Keseys novel about a family of raw-

boned lumberjacks whose mentolk have
outlived their time. A kind of pioneer
machismo drives the patriarch of the
dan (Henry Fonda), who preaches free
enterprise and the puritan ethic of
"work and screw and cat and sleep, and
keep on goin"; And so they do, putting
the family’s logging business ahead of
the general welfare. How “that god-
damn family” comes to griel is a strong
Могу, but directorstar Paul Newn
misses the point by a country mile and
manages to apply a veneer of Holly-
wood slickness to everything around him
—the town, the people, even the over-

done details of logging operations,
There are several harrowing scenes, par-
ticularly one in which Newman, as the
oldest and toughest of the Stamper boys,
watches his brother (Richard Jacckel)
slowly drown in the river under a fallen
ee and can do nothing. Fonda, how-

ever hard he works at behaving like a
tough old son of a bitch, is miscast in a
role that John Wayne, say, might have
played without acting at all; while Lee

Remick and Linda Lawson, as il
Stamper women, and Michael Sarrazin,
as a hippie half-brother who comes

home to ask honest questions after ten
years’ absence, respond to the require-
ments of the plot with formula per-
formances. The | trouble is that
director Newman tr ch Great
Notion's message out of both sides of
mouth—for he fritters away most of the
movie proving the American dream of
rugged individualism to be fi
and sterile, then reveals that he actually
admires this tribe of dinosaurs and. ac-
cepts them on their own terms.

“Peter Brook's film of William Shake-
spi 5 King Lear," the billing puts it,
and rightly so—for there's as much of
Brook as there is of the Bard in this
movie version of the stage production
that won acclaim for director Brook (of
Marat | Sade) and actor Paul Scofield
back in the early Sixties Though he's а
brilliant man of the theater, Brook be-

comes frenetic when anyone leaves a
n reach. Consequently, his

camera with
Lear is а mass of contradic
cally severe, powerful and
in its performances, but also incoherent
and mannered. When Brook can curb
his fondness for monstrous close-ups or
other obtrusive cinematic gimmickr

ns—stylisti-
athoritative

Henning Kristiansen’s grainy black-and-

е photography uses bleak landscapes
along the northern coast of Denmark to
bring home the harsh physical and emo-
tional climate of the play. Here, royal
robes resemble sackcloth and the interi
ors of primitive castes offer little com-
fort from the bla ing winds outside. All
th tors—including Scofield as Lear—
look prechilled and read their lines as if
they were condemning one another to
death. As, indeed, they often are. Irene
Worth, repeating her stage performance
as Goneril, the eldest and worst of
"s three thankless daughters, heads
superior supporting cast from the Roya
y—with an espe-
il stint by Alan Webb а
loucester, Otherwise, the
Brook-Scofield interpretation of Lear in-
spires respect but smothers feeling and
robs the tragedy of its forc

France's Jean-Louis Trintignant shares
his table with Tony Musante, Annie
Giradot and svelte Florinda Bolkan in
One Night at Dinner, a jet-set drama de-
scribed by optimistic flacks as "a film
for supersophisticates.” The sexual switch-
hitting of these aristocratic Italians makes
n A.C./D.C. love story like Sunday

Bloody Sunday look quite proper. Let's
see, now, how does it go? Trintignant’s
wile (Florinda) is ir with

his best friend (Мика), but Trintignant
doesn’t mind too much, because he in-
tends to write a play about it, The best
fricnd, who craves kinks, introduces the
wile to his gorgeous male hustler (Lino
Capolicchio), while the wife's best friend
(Annie) goes to bed w ш. All
of which is dandy, except that the hustler
falls insanely in Jove with Florinda and
ides to hang himself, thus intro-
ducing a note of headlong
threatens anyone's philosophical detac
ment. Playing head games with affairs of
the heart, according to pretentiously de-
ve writer-director Guiseppe Patroni
fi, is a contemporary phenomenon
related to uneasiness about our future,
which will probably be determined,
by several Dillion industrious
cupful of Antonio
to a Fellini-Visco

work in
tend to immerse themselves in

film makers at

Foreign
the U.S
the youth cult, the drug scene.

id [or the
sexual revolution. Czechoslovakia's Ivan
Passer, whose fragile Intimate Lighting
was a choice import from eastern Eu
торе, takes drugs as his subject in Вот
fo Win, co-starring George Segal, Karen
Black and Paula Prentiss, His first Ameri-
Im offers ample evidence of Passcr's
ent: He is meticulous, compassionate
and sensitive enough to allow his actors
time and elbow room for working out
the natural rhythm of a scene. The
picture ogles New York from Segal's

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av. per cigarette, FTC Report Aug. 71 35

PLAYBOY

36

home base at Broadway and 47th Street
with a properly knowing eye (supplied
by cinematographer Dick Kratina) and
the best of intentions. Yet Born to Win
never gets off the ground, because it
lacks insight in depicting the aimless
life of Segal, as an addict who lies.
steals, lets his wife (Paula) sink into
prostitution, bungles a chance to turn
stool pigeon for the police and finally
allows a kookie but harmless chick (Ka-
ren) to get busted on his account. While
the movie has the decency to avoid casy
moralizing, Passer and his scenarist fall
into the trap of accepting these charac-
ters at face value, as if there were no
need to tell anything about them be-
yond the fact that they are still human
and even retain a degree of charm. Born
to Win merely skin-pops when it intends
to mainline.

Even as a screenplay author adapting
a novel by someone else, Erich Segal
continues to write Love Story style. In
Jennifer on My Mind, Segal mourns for
an idle young millionaire (Michael
Brandon) who meets a neurotic girl
(Tippy Walker, nicely grown up since
her debut as the teeny-bopper in The
World of Henry Orient). An Oyster Bay
bird, rich but not that rich, Tippy
winces when her suitor tells her, “I'm
going to take you out of this.” Evident-
ly, he means to save her from suburban
languor, swimming pools and drug ad-
diction; but meanwhile, she dies in his
arms from an overdose of heroin, which
provides Jennifer with something like а
plot. How to dispose of her lovely body
is the crux of it, and the hero drives
around Greater New York with a corpse
his car trunk and his eyes peeled for
flashbacks. “This is the most time I^
ever spent with Jennifer,” he muses,
“. . maybe PH keep her" He has al-
ready kept her quite a while, scaled
inside the frame of an 18% Cent
clavichord. The mo has flashes of
bright black—director Noel Black, to be
precise—comedy, but the Bla
doesn't work for Segal, the kind of
writer who has sad young lovers confiding
secrets to their mirrors, or enjoying
whimsical chats with the ghost of a
pot-puffing grandpa, or traipsing olf to

Venice, where dead loves can wither away
against a pile of splendid scenery.
You don't have to be under 30 to

fully appreciate 200 Motels, but you
must be ng to suspend the custom-
ary rules of taste and judgment in favor
of almost anything mew or freaky or
far-far out. Squares old enough to re-
member the Beatles’ n 4
Hard Days Night are apt to grow wist-
ful when Ringo Starr, playing a charac-
ter identified here as Larry the Dwarf,
says, "Every musician likes to find some
pussy." Motels was composed and con-

movie debut.

cocted out of sheer chutzpah by Frank
Zappa, musical mentor of the Mothers
n, who calls his flick a su
documentary. This optically
cockeyed wonder suggests ап uninhib-
ited home movie superimposed over a
psychedelic light show—featuring the
Mothers, with guest shots by Ringo,
"Theodore Bikel and some befuddled-
looking members of Britain's Royal
Philharmonic Orchestra. There are also
of birds cast as groupies in

ical fantasy, which pur-
ports to describe some of the strange trips
taken by musicians on tour. From the
quality of their clowning, we predict
that the Mothers will never replace the
Marx brothers, though they will proba-
bly get rich churning out sophomoric
screen comedy full of crude sight gags
nd witty ditties (rhyming dick with
prick, for example), Compared with the
hetter musical comedies of yesteryear,
200 Motels is Muzak.

RECORDINGS

Since Jim Morrison's death, The Doors
ге been trying to regroup their mus
forces. Judging from Other Voices (Elektra),
they haven't been wholly successful. The
disc contains good songs and instrumental
work often spoiled by mindless
tasteless experiments іп styles. As usual,
Robby Krieger and Ray Manzarek
more than competent on guitars and k
boards, while John Densmore’s drumming
leaves much to be desired. Ships w/ Sails
is an example of how a dumb lyric can
таг an otherwise interesting and well-
played picce. Tightrope Ride and Hang
On to Your Life ave the best things here,
the latter driving all the way to the
speeded-up cacophony of the coda and,
in the process, telling us something of how
The Doors have reacted to Morrison's
death. R. I.P., Jim

There is no one—no one—who can use
a big band as dynamically as docs Quincy
Jones, Smackworer Jock (АКМ) is pure ex-
citement from beginning to end, and that

"dudes the more lyrical items. There
re several of Quincy's TV and movie
themes (Ironside, The Bill Cosby Show,
The Anderson Tapes), Marvin. Gaye's
What's Going Оп and ап old favorite of
Jones's, Vince Guaraldi's Gast Your Fate
to the Wind, among others, and the per-
sonnel is studded with superstars. As they
у, everybody who was anybody was there.
On the cover of his first album,
the somewhat improbable-looking Barry
Drake leans on an old service-station
tire inflarer. This innocent gesture re-
veals the wily stratagem of producer
Terry Knight, who has taken Drake's
clean, agile tenor voice and. pumped it
p with the kind of flatulent overpro-
duction for which he is famous. Happy-

landing (Capitol) buries Barry beneath
lush string arrangements and songs (all
but one of which he wrote) that are most-
ly derivative and thin. Sill, Drake fills
Jasmine and Jack of Spades with vigor
and clarity. Will this young male version
of Joni Mitchell escape the clutches of
Terry Knight, the overlord of Grand
Funk? Keep listening.

Sebastian is not yer common
folkie. He has traveled to
places like Red Wing, Colorado, which
howed us just how much is really
unimpaired . . . still and country aired";
and then it was on to (are you ready?)
Hollywood. After visiting Domenica (sic)
in the West Indies (“Hey, Missy Bread-
fruit Lady, do ya have a papaya, maybe?"),
the next stop was New Orleans, an en-
counter with a femme fatale, one. Lashes
LaRue, and time in the Вір Slam, where
he is thrown for "mailing kilo bags to
nds in prison." This somewhat
sappy saga of a cross-country truck trip is
recounted at length in The Four of Us (Re

» withal,
rather delightful, notwithstanding John's
ticular hip brand of cor
The Bill Evons Album (Columbia) is all
should be and more. Aided by bassist
Eddie Gomez and drummer Marty Mor-
rell, the master рї plays his own ma-
1, switching to the electric piano when
ts, as he holds the
thrall. To say that
nist is
nstantly
ыы The Two
Lonely People, Waltz for Debby and Re:
Person I Knew speak cloquently of the
complete musician.

Get set for Bonnie Koloc. If After All
This Time (Ovation) indication, you
are going to be hearing t deal from
A about her. Miss Koloc's voice, crystal
line and with a range that is astonishing,
is showcased in front of a small support-
ing cast of musicians that knows its place,
‘There are a halfalozen Koloc tunes, in-
duding Rainy Day Lady, a haunting
thing made more so by some thoughtful

overdubbing, and а couple of beauties—
Jazz Man and Victoria's Morning—by Ed
Holstein. You'd better join the Koloc
band wagon before it gets too crowded.
is some very accomplished
rt singing оп Colours of the Dawn
(Vanguard), a splendid album by The
Johnstons, who have brought Irish folk
g up to date. These two men and а
accompany themselves in polished,
vibrant songs that deal mostly with pr
test, past and present. They sing about
Angela Davis and George Jackson, а
Crary Anne and the Man (who is “power
without conscience”), but also about the

There

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PLAYBOY

38

truths of love, as in Gordon Lightfoot's
song If 1 Could. Except for Peggy Scc-
ger’s saccharine racial salutation, Hello,
Friend, there isn't a phony note anywhere.
But there is vigor, projection and great
musical skill.

From the church choir to recording

spirituals to backing such singers as Рег
cy Sledge and Elvis, Jeanie Greene has
moved into a Gospel style something
like Bonnie Bramlett’s She has a finc
talent, and the only problem with Mery
Called Jeanie Greene (Elektra) is the heavy
revivalist focus of most of these songs.
When she cuts through the hokey reli-
us sentiment to the direct feeling, as in
Pre-Recognition, or to rocking Gospel, as
1 Put Your Good on the Line, Jeanie

Greene is a powerful singer.
70-year-old American

eccentric whose time seems to h; come.
Using his own homemade instruments—
cloud-chamber bowls, elongated violas,
chromelodeons, bass marimbas—he has
spent an unpublicized lifetime cr

pioneering precursor of the 1
Cage and Frank Zappa. Partch's most
recent work is a longish mimed rit
lled Delusion of the Fury (Columbia), and
it serves admirably as an introduction to
the man’s style and substance. The set
includes a bonus record on which Partch
describes and demonstrates his unique
battery of instruments.

The Modern Jazz Quartet, now cele-
brating two decades as a continuing, cohe-
sive unit, offers Plastic Dreams (Atlantic) by
way of an anniversary present to its lol-
lowers. The group has gained maturity
without becoming sedentary. The seven
composit ll by leader-pianist
i two
Variations on a Christmas
па Piazza Navona, make use of
mentary brass section. Happy
anniversary. M_J.Q.

Mamou syrup, snake powder and bird-
to lace your Gumbo with a
mil ality. Whether or not
you groove on spooky voodoo nonsense,
you will dig Dr. John, the Night Tripper,
who comes on with the guttural voice of a
late-hours d.j., free-associating, preaching,
conjuring out of New Orleans folklore а
marvelous musicocultural ragout. The Sun,
Moon & Herbs (Atco) contains some of the
best rock musicians in the business, whom
Dr. John inspires to perform his own
blend of jazz, Creole congas and

high points on this weird record, but
none better than the fables of Pots on

(If the Pot Get Heavy), whose title may
give you some idea of Dr. John's approach
to cooking.

arist Grant Green
sounded beter than оп
Note). Tackling everything
Mozart to the beautiful ballad Maybe
Tomorrow, by Quincy Jones and the Berg-
mans, and backed by a stalwart rhythm
section, Green displays the unpretentious,
engaging style that echoes of the
immortal Charlie Christian in it. Grant
lets you hear the melody, which in this
age of overkill is refreshing, indeed.
With the Count of Basie around, what
could Heve e Nice Day (Daybreak) be but
relaxed, swinging session? The tunes
nd charts, which are all by Sammy Nes-
tico, а formidable toiler in the Basie vine
yards, aie in ges yet straightlor

a thing
joy. surging ahead effortlessly in
a felicitous unanimity of spirit, with

Basie's lessismore piano surfacing from
ne to time. Have a Nice Day is а won-
derful way to Count your blessings.

E]

Five years after he died—tucked up and
broke—the world has decided that it cares
about Lenny Bruce. That doesn't do him
much good, but he might have enjoyed
watching himself turn. into merchand
—Lenny Broadway shows, Lenny records
and Lenny magazine articles, with Lenny
soap dishes and Lenny TV dinners wait-
ing in the wings. The latest entry is
Lenny Bruce Live at the Curran Theater (Fan-
tasy), and it suffers only by being part of
the glut. With lengthy and moving liner
notes by critic Ralph J. Gleason, this
three-LP set is not Lenny at his funniest,
but it does show him at the height of hi
humanity. The two-ind-a-halt-hour rap is
mainly a tour through his sadness and con-
fusion over his obscenity bust; but the
guide delivers the pitch with s
and break-on-through ironi
what's really happe
he's dissecting cops, drunks, bombs or
moms. As Coltrane did with jazz. Lenny
altered the form of stand-up comedy, turn
ing it into a long, intimate, improvised
that covered considerable strange
ground before heading home—and Live
at the Curran captures that beautifully.
The only trouble is, as they say on TV,
we're a litle late, folks.

TELEVISION

It’s one of the ironies of history that
King Henry VIII, monarch of the bed-
chamber, sired a Virgin Queen. Not that
Elizabeth didn’t share her father's lusts.
She toyed with male admirers from the
time she was a young girl until close to
her death at 69—when her favorite com-
panion was a man young enough to be her

grandson, But Elizabeth never weddea
nor bedded, because fear and ambition
overrode desire; she didn't want to share
her throne with a king. That's the back-
drop for Elizabeth R, a highbrow scr
that won the largest audience in British
TV history when it was shown on the
BBC last year, Like The Six Wives of
Henry VIH and such earlier BBC series
as The First Churchills and Jude the Ob-
scure, Elizabeth К has been imported by
WGBH in Boston for the Public Broad-
noncommercial network.
It will run on six Sunday evenings start-
ing February 13 over the 21l-station net
work of PBS. The American presen
of these imports, grouped under the head-
ing Masterpiece Theater, is funded by a
$1,000,000 grant from the Mobil Oil
Corporation. Glenda Jackson, Oscar win-
ner for Women in Love and star of Sun-
day Bloody Sunday, plays Elizabeth with
brilliant range, She is a bawdy tease dur-
ing the brief reign of her sickly hall
brother Edward, a young woman hunger
ing for the throne during the reign of h
older half sister Mary, а coquettish шоп
arch who leaves the 1 of Leicester
iting at the church, the great Queen
Bess who wins the love of her people
and, finally, an embittered old woman
whe ity has waned. Although
ts of Elizabeth R. each by
a different author, mesh flawlessly, and
urbane Alistair Cooke appears onscreen
(in this country only) with before-and-
after briefings, nothing short of a genea-
logical chart and а cram session in
16th Century English history would cn-
able the U.S. audience to identify the
conspirators bustling in and out of pal.
асе chambers and tower cells or the war-
riors lunging onto battlefields. We'll
probably feel more at home with the
Next series to be imported, starting
March 26—an cightpart dramatization
of James Fenimore Cooper's The Last of
the Mohicans.

THEATER

His life is a flood of urban anxictics.
"Ehe walls of his high-rise apartment are
wafer thin, adding neighbor noises to
the already high decibel count. Оре
the door to the terrace—on which eve:
cactus cannot survive—and in pour
pollutants and gusts of hot air. Peter
Alk is The Prisoner of Second Avenue,
choked by his environment and trapped
by the recession. He is the hero of Neil

imon’s new comedy, one that is aimed
straight at its audience's despair. To add
to Falk's woes, he is fired. As he subsides

то nervous breakdown, and as his wife,
Lee Grant, rises to breadwinner, the
jokes fly fast, Falk and Grant neatly

serving aces at cach other. As people,
they never really come to life, but as

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the world’s largest
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There must be a reason

PLAYBOY

40

personifications of New York man fight-
ing for survival the characters are
arming. Occasionally Simon stoops
1 Falk's lastact con-
frontation with his three widowed sisters
and a rich brother, though amusing, seems
largely a digression from the theme. Some
t moments are Simon at his
most bitter. In TV news breaks, comic
disasters build to the mugging of a
newscaster, Another newscaster, devilishly
yed (offstage) by director Mike Nichols,
briefs the audience, dryly, on the day's
strikes, robberies and n €
the hysteria is gracefully understated. At
the Eugene O'Neill, 230 West 49th
Street.

David Rabe's The Basic Training of
Pavlo Hummel was about the crippling
effect of war, specifically the Vietnam
war, on an average bloodthirsty Ar
n youth. Rabe's new play, Sticks ond
Bones, takes another such youth and
brings him home, blind, to face the
bl is family. In. combina

nk wall of his
tion, the two plays, though cach is
flawed, rev п astonishingly mature
talent. Sticks and Bones might be de-
scribed as a
kness teri
toon. The family is Ozzie and Harrict
d David and Rick, and every allusion
intentional.
himself into
middle-class suitability. Harriet ignores
pain. proffering fudge. Rick lugs а gui-
tar, says "Hi, Mom. Hi, Dad," even as
the horrors of war infect the house-
hold. It is David who has returned from.
battle, eyeless but. psychologically deep-
sighted. The self-satisfaction and callous-
ness of the family—their anxiety is not
over the war but over their son's Oricn-
mistress is scathingly depicted. Faced
with impassivity, David uses his knowl-
edge of man's bestiality to probe and
prod. Rabe walks а breath-taking path
with a fiendish wit and a deadly malevo-
lence. Finally, in a surge of absurdity
the play spins away from the author.
‘The end is shaky, the climax seems ap-
pended, But even with its weaknesses,
this work grapples with | profunditics
yet never loses its comic balance. We

black comedy, with the
ng and the comedy car-

think David Rabe is on the verge of

becoming a major American playw

Anspacher, in the

In 1944, women wore snoods and Wedg-
ics, everyone danced the lindy and s
оп a £4hour раз in New York went to
see On the Town, which was about three
sailors on a 24-hour pass in New York,
New York (it's a wonderful town). Wars
end, fashions fade, memories wither, but
hit musicals are revived to remind us of
the vagaries of taste. Not only is this
show's landscape hopelessly out of date—

the city being now a risk for lung and
limb—but 28 years later, On the Town
itself seems humdrum, Perhaps what made
the original show such a success was that
author-lyricists Betty Comden and Adolph
Green, composer Leonard Bernstein and
choreographer Jerome Robbins wcre
bursting with newness. But newness is
perishable commodity. The book is a gag-
filled guided tour of New York—the Mu
scum of Natural History is up, Coney
Island is down—and the lyrics are clever,
when they aren't banal. The music is still
particularly such ballads as Lonely
Town, but almost obliterated by the
powerhouse production of director Ron
Field, who had the unfortunate idea of re
placing Jerome Robbins’ dances with his
own. Field's choreography is far from
ancy-free, It manages to make even the
lead dancer, lovely Donna McKechnie,
almost unwelcome, Most of her cohorts—
Bernadette Peters, Phyllis Newman, Re-
mak Ramsay—havc been directed to over-
play. Miss Peters, especially, swaggers
through her role as a lady hack driver
with all the subtlety of a careening cab.
ld has managed to finish off whatever
charm and innocence may have once been
in On the Town. At the Imperial, 249
West 45th Street.

Old Times is Harold Pintcr's memory
play, in which the present encompasses
the past and defines the future. The
past is seen, dimly, through psychologi-
cal smoke screens. It is evoked, imagined
and revoked. This is a play about love, a
lyrical expedition into the sensuala
divergence for Pinter, although, like his
previous plays, Old. Times has its sinister
aspects. Memory plays s and so
does Pinter. Decley and Kate, husband
- happy (or is it complacent?).
sit in their country house. Their idyl is
ipted by а visit (or is it an intu-
sion?) of Anna, Kate’s roommate of 20
years ago. Did Kate and Anna have a
Lesbian relationship? Did Decley know
Anna? Pinter teases. The characters
taunt, the truth is elusive. Decley and
Anna may never have met, but as they
рату and as they woo Kate (plying her

moments), their relationsh
the present. This is а tan
brief, tightly structured, with flights of
poctry and moments of high comedy. It
has been impeccably staged by Peter
Hall on John Bury's precisely organized,
precisely lighted sets. The cast plucks the
words, the pauses, the silences of Pin-
ter's music: Rosemary Harris as the mı
terious visitor from the past, Mary Ure
as the placid, desirable wife in the pres-
ent and, most particularly, Robert Shaw
as the haughty but vulncrable husband
in a sensitively shaded performance. Fi
nally, the three lovers—tivals?—become
an arrangement, like a sculpture garden:
Miss Harris recumbent, the wife remote,

the husband in despair. A resonant eve-
ning. At the Billy Rose, 208 West 41st
Street.

A theater grows in Brooklyn. The Chel-
sea Theater Center has blossomed from
an adventurous workshop into a hardy
resident company, the most exciting
ensemble in the land. It
lures Broadway-weary audiences over the
river and into а 200-seat free-form th
ter tucked away on the fourth floor of
the Brooklyn Academy of Music (30
Lafayette Avenue), a stately building that
has served generations of Brooklynites as
à concert and lecture center. Chelsca's
current season opened іп November with
a bold, largecast production of Je:
Genes The Screens. Genet awarded fi
American rights to his play—long a staple
in European theaters—to Chelsea on the
basis of its international reputation for
daring. Another coup is the world р
micte this month of Allen Gi
Kaddish, а stag
poem and the author's first theater work.
For its next production, Chelsca dips into
the 18th Century with John Gays The
Beggar's Opera, scheduled for March 21
through April 9. In May it returns to
what its producers he crazies” with
the American premiere of The Water
Hen, written in the Twenties by Stan
slaw Ignacy Witkiewicz. This season's
freewheeling Chelsea spirit. Its artistic
director, 37-year-old Robert Kalfin, and
executive director, 29-y old Michael
David, are a cool pair of graduates from
the Yale School of Drama who speak in
terms of "turning audiences on." Kalfin
founded the theater in 1965 in
churches in Manhattan's Chelse
He produced 27 new plays the
season, an astonishing total for а fledg-
ling organization on a shoestring budg-
et. But the pace was too fast: worthy
plays got lost in the race. Yet, Chelsca
established enough of a reputation to be
invited in 1968 to join the Academy of
Music. That was the giant step toward
professionalism. The past two years Che
sca hit its stride, with Slave Ship, LeR
Jones's bitter indictment of White
Edward Bond's Saved, a British dram
that offended virtually everyone; Tarot, a
rock musical devised by Francisco
counterc sand AC / DC, Heathcote
Williams McLuhanesque puzzler that the
critics blasted. Clearly, Chelsea isn't con-
cerned with commercial success. Periodic
grants—mostly from the New York State
Council on the Arts, the Rockefeller and.
Ford foundations and the National En-
dowment for the Arts—help keep it afloat.
A few of its productions—notably Slave
Ship and Saved—moved to off Broadway,
but Broadway itself scems immune to

sea's philosophy. “М one of our plays
says Kalfin,

isberg’s

"it will be а

crazy accident.’

Introducing an old way

to enjoy
pt.

If you’re one of the millions who
like to smoke, chances are you think
that smoking is the only way to
really enjoy tobacco.

Well, we have news for you:

There’s more than one way to enjoy
the pleasures of the tobacco leaf.

As a matter of fact, people have
been partaking of these pleasures in
ways that have nothing to do with
smoking for hundreds of years.

Satisfying the aristocrats:
Takethe aristocracy in England.
As far back as the 16th century,

they considered it a mark of distine-
tion—as well as a source of great
satisfaction — о use finely-cut, finely-
ground tobacco with the quaint-
sounding name of “snufi”. At first,
this “snuff” was, as the name suggests, inhaled through
the nose.

Justa pinch:

Later on, the vogue of sniffing gave way to an even
more pleasurable form of using tobacco— placing just a
pinch in the mouth between cheek and gum and letting
it rest there.

Now, hundreds of years later, this form of tobacco is
having the biggest growth in popularity since the days
of Napoleon.

And what we call “smokeless tobacco” is becoming a
favorite way of enjoying tobacco
with Americans from all walks of life.
Anything but obvious:

Why is “smokeless, tobacco" be-
coming so popular in America?

There are a number of reasons.

One of the obvious ones is that it
is a way of enjoying tobacco that is
anything but obvious.

In other words, you can enjoy it
any of the times or places where
smoking is not permitted.

"Thus, lawyers and judges who
cannot smoke in the courtroom,
scientists who cannot smoke in the

obacco.

laboratory and many people who
like to smoke on the job, but aren't
allowed to, often become enthusias-
tic users.

In the same way, people who work
or play with their hands get the сот-
fort of tobacco —but don't have to
strike a mateh or worry about how
to hold (or where to put) their ciga-
rette, cigar, or pipe.

The big four:

The four best-known, best-liked
brands of “smokeless tobacco" are
“Copenhagen”, “Skoal” and the two
flavors of "Happy Days".

All four are made by the United
States Tobacco Company, but each
has a distinctive flavor and person-
ality. (To make sure that distinctive
flavor is as fresh as it should be when you buy it, all
eans are dated on the bottom.)

Copenhagen, the biggest-selling brand in the world,
has the rich flavor of pure tobacco. Skoal is wintergreen-
flavored. And Happy Days comes in either raspberry or
mint flavor-—so it's especially popular with beginners.

But if "smokeless tobacco" has many advantages for
lovers of tobacco, we must also admit it has one
disadvantage.

How touse it:
It takes a little more time and practice to learn ex-
М actly how much to use (a “tiny

pinch" is the best way to describe it)
and exactly how to use it.

To get over that minor problem,
we'll be happy to send you a free
booklet that explains how to get the
full enjoyment of “smokeless to-
bacco’’—as well asa few pinches that
you can try for yourself.

(Write to “Smokeless Tobacco”,
United States Tobacco Company,
Dept.P11, Greenwich, Connecticut
06830.)

Once you get the knack, you'll find
you have something else, too: Another
great way to enjoy tobacco.

Smokeless Tobacco. A pinchis allit takes.

PLAYBOY

42

.. Anya Stereo LPs or

WITH NO OBLIGATION

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САМ CHANGE YOUR IMAGE

LEE INNSBRUCK FLARES,

THE PLAYBOY ADVISOR

`
| am engaged to a great girl who fecls
that she has me wrapped around her
little finger. As a matter of fact, she
probably has—but I'm not the one who's
objecting, she is. She has told me that
she would feel much happier if I started
wearing the pants in the family before
we get married. I love her very much,
seldom disagree with her—her views are
nearly always the same as mine—and I
scc no reason to assert myself just to
assert myself. How do you think I should
handle this2—T. D., Reno, Nevada.
There are a couple of ways. You can
iry taking the initiative more and show
her that you have the traditional mascu-
line characteristics of decisiveness, strength
and cowage. But we doubt this would
work. Unless you really have these quali-
lies, and have been concealing them,
i's not likely youll develop them at
this late stage. More realistically, you
can discuss with your girl the fact that
some men and some women simply do
not conform to the behavioral patterns
assigned to them by society. It seems silly
for a man to go around on a charger
trying to kill tigers, when he's been
trained to leach music, and vice versa. If.
you both recognize this, accept each
other as you are and make the necessary
role adjustments, you might become a
statistically unusual couple—and happier
than average, 100.

FRecenuy, 1 had an argument about ad-
diction with my hippie son. When I tried

to warn him about the dangers of mari-
juana in this regard, he just laughed
and told me that I was risking addiction
by using sleeping pills. The ensuing
yerbal baule did litte to bridge the
generation gap, but it made me realize
that 1 don’t understand addiction. What
causes it?—F Wheaton, Hlino;

Addiclion, or physical dependence, is
produced by a substance that fulfills two
requirements: First, it must create a tol-
erance in the user, so that his body
requires ever-larger doses to produce the
same effect; second, it must cause a
withdrawal sickness when its use ts dis-
continued. The classic addictive drugs
ave heroin and the other opium. deriva-
lives, but commonly used drugs such as
alcohol and barbiturates (sleeping pills)
also meet these criteria. Stimulants (up-
pers) are characterized by only one of the
qualities: tolerance. Marijuana has nei-
ther. The requirement of tolerance con-
tradicts the myth that а person becomes a
junkie after a single shot о] heroin; even
that takes at casi two weeks of daily usage
in increasing dosages to produce physi-
cal dependence. For the

same reason,

the occasional user of sleeping pills has
little reason to fear addiction lo them
Any drug, however, can be abused, and
those that ave addictive need not produce
physical dependence to be dangerous.
А nonaddict can die as the result of а last
drink “for the road" or too many sleep-
ing pills, as well as an overdose of heroin,

о my hush:

intelligent man, you'd never know it from
the vulgar terms he uses when we're mak-
ng love. Perhaps because our sex lile

itself is so fulfilling, 1 hesitate to rell him
how his language distresses me, Have you
апу suggestions?—Mrs. T. T., Fort Worth,
Texas.

Tell him what you've told из. Не
may be surprised. Men often use these
two people—them
selves and their bedmates. When he un.
derstands that you respond negatively
rather than positively, he may try to find
terms that ате more acceptable to you.
Meanwhile, in fair exchange and to en-
rich your own life, you should try to
understand why many men and women
find this phallic language, ах D. H. Law-
rence called it, exciling; а good way to
Мат! is by reading Lady
Chatterley's Lover.”

Wilos beer cans have pop tops nowa-
days, but not too long ago it wok a
punch-type can opener то get at the suds
inside. What I'm curious about is why
the opener was called a church key. Any

words in bed to excite

Lawrence's

ideas?—S. H.. Cleveland, Ohio.
Major breweries recall thal in the
carly days of brewing, when beer was

available only in bottles, a heavy bottle
opener pry off the
crown. The openers were usually of cast
iron with a circular open end that ve-
sembled the upper portion of the large,
heavy key used to open the massive
church doors of the period. The name
church key was also applied humorously
to beer-can openers.

was required to

Hin 20 and in dove with old
girl whom I've known for five years. Last
year, we dated for about six months and
I was thinking seriously of m g her.
"Then we had a fight and broke up. She
got serious with my best friend, who, in
turn, talked of marrying her. Нез now
in Vietnam and they've put olf getting
engaged until he returns. He thinks I'm
keeping an eye on his girl, but the truth
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She claims she doesn’t want 10 get serious
until he returns and then “we'll scc what
happens.” I feel guilty about pursuing this

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PLAYBOY

46

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I during my friend's absence, but I also
feel that my love exceeds what should
be considered my devotion to friends!
What do you suggest my next move
should be?—L, D., Detroit, Mich:

Accept her condition and wait as pa-
tiently as possible for the return of your
mutual friend. If you're unable to dejuse
your feelings about the situation, bear in
mind that you may explode an issue
that’s not yet ready to develop. Marriage,
in such confusion and at such a delicate
age, should be the farthest thing from
any of your minds,

Bm having а birdıday party, but the
fact that it's more than an ordinary
Saturday-night get-together isn't men
tioned on the iny

ions, since I hate to
give the impression of soliciting gifts. I
know that some of my friends will be

bringing presents, however, and I'm
wondering if I should open the packages
as they're given to me or mercly thank
the donors and put the gifts aside to
open later, after my guests have допс.—
J. B., Madison, Wiscon:

Ideally, you should open the presents
as they arrive. though you needn't feel
shy about waiting until later in the par-
ty, if your hosting duties inlerjere with
the immediate ripping of paper and rib-
bon. It's nice to express surprise that the
donor knows it's your birthday, unless he
ог she is your brother or another т
tive; this will keep empty-handed guests
from feeling embarrassed. Of course, no
one should feel guilty about not bring-
ing a present if there was no advance
notice of the special occasion.

ММ... 1 was traveling in Europe some
months ago, I met a lovely English girl
with whom I shared a brief but intimate
relationship. My yacation is coming up
soon and the state of my finances is such
that J can just barely manage another
trip abroad if I watch my wallet. I have
suggested to the girl that we spend two
weeks in Majorca and she has enthusias-
tically accepted. But I wonder if she
realizes that my plan is to go Dutch,
even though I didn't specify this. Should
I now do so, or will it make me look like
penny pincheri—D. P, New York,
New York.

It probably will, but the sooner she
knows, the better. Americans have а rep-
ulation for being big spenders, so it's
quite possible that she has mode assump-
lions unwarranted by your finances.

Т... months ago I moved in with my
boyfriend and we have developed a
much deeper and more meaningful rela-
tionship ever since. We fight together,
laugh together, love together and enjoy
life together. My problem is not with
our relationship but with mysclf I'm 28
and just getting divorced after an
happy two-year marriage and, perhaps

because of t I feel that I ci
much. As a result. I'm afraid TI eventu-
ally drive my boyfriend away. What can
I do to stop from being a clinging vine
and become more the helpmate that I
want to bee—Mrs. Е. T., Ames, lowa.
First of all, you should determine
whether or not analysis of the

g too

your
situation is shared by your boyfriend.
You may feel that you cling too much,
but it’s quite possible that he likes it. As
for yourself. you may still be suffering
from the effects of a disintegrated mar-
riage and the fears you have of losing a
new love. With time and understanding
—which will come about more quickly if
you discuss your insecurities with your
boyfriend—your fears will probably van-
ish and you'll feel the inner strength that’s
lacking now.

Wl girlfriend's sister had triplets after
ing fertility drugs. My girl says that
multiple births resulting from use of these
drugs aren't unusual and that the record
is cight. I don't recall r
about this and thought the previous
record was five. Have I missed some
thing?—D. J.. Nashville, Tennessee.

You've missed quite a bit. Last June,
a woman in Sydney, Australia, gave birth
to nine babies after having taken fertility
drugs. All died within a few days of
birth. The record for a multiple pregnan-
cy is held by а woman in Rome, who
miscarried in her fourth month and lost
all 15 children—ten girls and five boys—
because, according to the doctors, they
lacked “vital living space”

ve noticed that on every cover of
PLAYBOY there appears a series of little
ars next to the letter Р in the шй
Гус asked fricnds what these пи and
their explanations have ranged from som
sort of area code in the U. S. to the num-
ber of times Mr. Hefner has bedded the
Playmate of the Month. What do they,
mean?—N. C, New Haven, Connecticut.

To paraphrase Shakespeare: The clues
to Hefner's personal life, dear reader, are
not in our slars. Hence, these ате not
galactic goodies signifying some kind of
droit du seigneur regarding the Playmate;
they're identifications of our regional edi-
Lions. All editions are, of course, identical
in editorial matter, but each is distributed
only in a specific arca, as а convenience to
advertisers who wish io reach that arca.
One star indicates the Central edition
two, New York Metropolitan: three, East-
ern; four, Southeastern; five, Southwest-
ern; six, Southern California; seven,
Northern California; eight, Western; nine
Canada; ten, International; 11, United
Kingdom; 12, Military; по stars, our base
of operations, the Chicago Metropolitan.

Wii

recently, I decided to tre:
custom-made Savile Row si

London on a business trip
myself to a
When the

1 me for the trousers, he
I dress on the right or
on the left. І said on the right, since I'm
nded, thinking that was what he
meant. But I must confess I've wondered
ever since what being right-handed or
left-handed has to do with one’s trousers.
Saleh
Nothing at all—but that wasn’t what
the tailor was asking you. What he wanted
to know was whether you tuck your testi-
cles into the right or left leg of your
trousers when you dress—granied the
question is more relevant if you wear
boxer shorts rather than Jockey shorts.
Since you told him that you dress on the
right, he allowed extra space in your
right pants leg when he си! your suit.

HA iter any kind of sexual play with a
girl, I usually find Ive lost respect for
her. I think this is a reflection of a sex-
ual guilt complex, the result of my strict
Catholic upbringing. Currently, I'm sta-
tioned in Vietnam and planning to marry
when I return, but I still fecl remorse
about the last time I was with my girl,
when we got into some heavy petting.
‘Though she ms she doesn't feel any
guile whatsoever, I'm worried that my
own guilt will continue even after we're
married, and especially after we've had
intercourse. How realistic are my
—S. J., APO San Francisco, Ca
If your guilt is solely because of reli-
gious prohibition of premarital sex, the
problem may well vanish with marriage
On the other hand, strict religious train-
ing sometimes results in an unhealthy
attitude toward the whole subject of sex
and you may find that your hang-up
doesn't disappear with the recitation of
the nuptial vows. Considering that you
still feel remorseful about a petting ses
sion of some months back, that seems
quite possible. 11 would be wise to read
ns much about sex as you can—includ-
ing Maslers and Johnson's “Human Sex
ual Inadequacy,” which deals specifically
with religiously engendered inhibitions
—and try to view il as a wholesome
activity, one to be shared joyously wiih
your partner. If your guilt persists after
you return from Vietnam, profes-
sional help. Sadly, as essayist Morton
Irving Seiden once put it: “It is only too
easy 10 compel a sensitive human being
10 feel guilty about anything.”

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

b Savers are more fun
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and feel good.
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Pick your favorite flavor.
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Don't wait until your lips are
chapped to use Lip Savers

In his hand he holds the
awesome power of 4,371 AM stations,

2,741 FM stations and over
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With a thundering five watts of
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ЕМ. Or cassettes. Or tape
from the radio onto cassettes.
Or talk into the microphone
and record himself.

(the easy way out), or control recording level
manually (for more accurate musical dynamics). And he
can run it from AC house current, batteries, or even a car
battery. (When the tape ends the power shuts off).
His Concord F-104 Radiocorder® weighs only,
5% pounds—handy if he travels around
to catch all 7,118 stations. And
it cives him more than $80
worth of enjoyment. Concord
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Instrument Systems Corp

Price subject ro chonge without notice.

Concord :

47

Our little inexpensive economy car
can beat your little inexpensive economy car.

Spitfire is a long time winner of National, as well as Divisional, Sports Car Club of America
Championships. But taking a title doesn’t mean winning just one or two hard fought races a year.
It means winning ten or twenty or more hard fought races a year.

Also, don't think owning such a big winner will cost a big price. Because you can buy the
Spitfire for a small price. And drive the Spitfire for a small price. (It gets 27 miles per gallon.)

They don't call us Triumph for nothing.

1969

Riverside, 2/15, 1st Place, 1. Mueller
Willow Springs, 3/23, 1st Place, 1. Mueller
Holtville, 4/13, 1st Place, D. Devendorf
Marlboro, 4/13, 1st Place, J. Kelly
Stuttgart, 4/20, 1st Place, G. Smiley
Cumberland, 5/17, 1st Place, В. Krokus
Watkins Glen, 8/9, 1st Place, B. Krokus
Lake Afton, 6/17, 1st Place, J. Kelly

Salt Lake, Labor Day, 1st Place, L. Mueller
San Marcos, Labor Day, 1st Place. T. Waugh
Bryar, Labor Day, ist Place, J. Kelly
Gateway, 9/21, 1st Place, G, Smiley
Pocono, 10/11, 1st Place, J. Kelly
Daytona, Thanksgiving, 1st Place, J. Kelly

1970

Pocono, 5/2, 1st Place, К. Slagle
Wentzville, 5/25, 1st Place, G. Smiley
Riverside, 7/4, 1st Place, J. Barker
Wentzville, 7/4, 1st Place, G. Smiley
Lime Rock, 7/4, tst Place, J. Aronson
Olathe, 7/19, 1st Place, J. Speck
Pittsburgh, 8/2, 1st Place, J. Kelly
Daytona, 8/2, 151 Place, Н. Le Vasseur
Watkins Glen, 8/16, 1st Place, J. Aronson
Lake Afton. 8/16, 1st Place, G. Smiley
Green Valley, 10/22, 1st Place, J. Speck

©

Triumph Spitfire

1971

Riverside, 2/14, 1st Place. L. Mueller
Dallas, 2/14, 1st Place, J. Ray

Phoenix, 2/27, 1st Place, L. Mueller
Arkansas, 2/27, 1st Place, J. Ray
Willow, 3/14, 1st Place, M. Meyer
Suttgart, 4/18, ist Place. J. Ray
Summit Pt., 4/18, 1st Place, K. Slagle
Arkansas, 4/27, 1st Place, J. Kelly

San Marcos, 5/2, 1st Place, В. Knowlton
Bridgehampton, 5/2, 1st Place, К. Slagle
Cumberland, 5/16, 1st Place, J. Kelly
Lime Rock, 5/29, 1st Place, J. Kelly
Cajun, 5/29, 1st Place, J. Speck
Portland, 6/13, 1st Place, J. Kelly
Thompson, 6/13, 1st Place, K. Slagle
Laguna, 6/20, 1st Place. L. Mueller
Lime Rock, 7/4, 1st Place, J. Kelly
Ponca City, 7/4, 151 Place, J. Speck
Bryar, 9/5, 151 Place, K. Slagle

Portland, 9/12, 1st Place, M. Meyer.

FOR THE NAME OF YOUR NEAREST TRIUMPH OEALER CALL: 800-631-1972. IN NEW JERSEY CALL 800-962-2803. BRITISH LEYLAND MOTORS, INC., LEONIA, N. J. 07605

THE PLAYBOY FORUM

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

RAPISTS, BEWARE
Reacting to several rapes near their
campus, а group of University of Michi-
gan coeds have formed an anti-rape pa-
trol; they call themselves the Mounties
The Mounties, it is said,
to fend off the mounters.
James Walter Miranda
Drayton Plains, Michigan

are attempting

SEX-LAW REFORM DEFEATED
A bill to repeal а 10-year-old statute
by legalizing all sexual conduct between
consenting adults in private has been de-
feated by the California assembly. Oppo-
nents of the bill used such arguments as:
“Unnatural acts are immoral and repeal-
ing the statute would encourage homo-
sexuality” (Apparently they really believe
that homosexuality can and should be
influenced by laws.) Onc legislator added
the brilliant observation that “The capital
of California is Sacramento, not Sodom
and Gomorrah.”
slightly encouraged to learn that
the bill's author, assemblyman Willie L.
Brown, Jr. will submit his bill ag
this gives California residents а chance
to write to their assemblymen and senators
and encourage them to remove the police-
men from their bedrooms.
Mrs, P.
Palmdale, C

Johnson
fornia

SKINNY-DIPPING COMES OF AGE

The age-old tradition of skinny-dip-
ping in the water hole has finally been
given legal blessing in Vermont. Acting
on a request by police for guidance in
ting violators of local ordinances,
Patrick Leahy, state's attorney for Chit-
tenden County, has set down guidelines
for the use of “any lawenforcement
officer lacking in other criminal matters
to investigate."

In researching the nude-swimming is-
sue, Leahy—after granting immunity to
his informants—discussed personal expe-
viences of this nature with some of
Vermont's “prosecutors, ‚ lawen-
forcement officers and sailboat operators.”
He came to the conclusion that “most
Vermonters I've talked 10 have engaged in
such scandalous activity at some time in
their life" "Taking into consideration
the allowability of this practice “in most
movies, in the National Geographic
magazine but by no means in the pris-
tine streams and rivers of Vermont," he
decided to change all th

The opinion calls for a

ай)

summons to

court for failure to stay dothed in pub.
lic and semipublic areas, but on private
land out of view of the public, the state
has no legitimate interest. In secluded
areas sometimes publicly used, if no
member of ihe public present is offend
o disorderly conduct has taken

place

The rule then is look before you leap.
Robert Davi

Baltimore, Maryland

BEHAVIOR THERAPY
A number of past Playboy Forum let
ters, as well as your responses, have
implied an interest in the possibility that
behavior therapy шау offer ап efficient
and relatively inexpensive means of
complishing some specific, desired be.
havioral modifications. Therefore, you,
and any of your readers who are profes.
ally involved in marriage counsel
ing, might be interested in my recently
published book (September 1971). Mar-
ge Happiness: A Behavior Approach to
Counseling, by the Rescarch Press Compa
ny of Champaign, Ilinois, The book de
tails the application of behavior-therapy

ading frequency of
intercourse, etc, While it doesn't depre-
cate traditional psychotherapy, with its
emphasis on the unconscious and

to maniage counselors whose
ents want simply to change a particular
aspect of behavior.

And, incidentally, although the book
is written for marriage counselors, it's
clear enough. so that almost any interest-
ed reader will be able to understand
and apply many of the ba
David Knox
Department of Sociolo
East Carolina Unive
Gr

ic procedures

ty
nville, North Carolina

LOST CHILDREN

Letters to The Playboy Forum have
pointed out the price a man pays in our
divorce courts, but have failed to stress
the highest price a man must pay: the
loss of his children.
Nothing causes deeper pai
nother man and his son enjoying life
together fishing, hunting, camping or
ever, while your son is not allowed
to be with you. Or seeing a father
his daughter laughing together, while
your own daughter is miles away. Your

ad

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Illinois 60611. Playboy Club credit key-
holders may charge,

Meebie-

The new 1972 Heathkit Catalog. Devoted to the
Proposition that the best electronic and hobby
gear you can own is the kind you build your-
Self. Over 350 kits to choose from including the
acclaimed Heathkit line of solid-state stereo
equipment, color TV, marine radio, fishing gear,
treasure finders, organs, home appliances,
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49

PLAYBOY

50

heart breaks when your ex-wife uses the
childsupport money to pay bar bills,
while your children get just enough so the
law will not bother her. You are ripped
apart when your ex-wife's new lover mis-
treats your children in front of you for
E

The only sure way to prevent this is
never to тату and have children. It is
now becoming possible for single men to
adopt children. They are not biological-
ly your, but you can love them just
at there is
There is
КУЙЫ. aman age that
he can't have outside of marriage except
а mother-in-law—and who needs one!

John L. Judd

Lansing, Michigan

as much,

MALE STERILIZATION

Thanks to a generous grant and loan
rom the Playboy Foundation, the Mid-

t Population Center is very much
е and well here in Chicago. We are
the only medical facility Illinois de-
voted to vasectomy, the male steriliza-
tion operation.

Over 1500 men, mamied and single,
with id without children, have had
хаѕесіотієу since our first patient had
surgery on March 17, 1971. All reports
indicate that the men are very pleased
with the results of their operations.

In 1970, 750,000 American males
opted against procreation and for recre-
ation via vasectomy. To make vasectomy

more readily available, the Midwest Pop-
ulation Center has established а fee
a, based on annual income, num-

lren and other factors. The

ated, for we believe that vasectomy
should be available to every man, regard-
less of his ability to pay. We a
to do this so soon after openi
to the assistance of the Playboy
Foundation.

Don C. Shaw, Director

Chicago, Mino

EFFECTIVE BIRTH Саап

la vasecto-
ble victim.
y muscular dystrophy. "The
tion was painless, simple and inex-
Perhaps most ante, av
cctomy is 100 percent cllective, unlike
ns of birth control —in-
As Пос the effect, it
pleasure by
fees g both the man and the woman
from worry about the possible failure of
other methods.

McAllen, Texas

GUILT AND ECOLOGY
I have read the Playboy Forum debate
about ecology and luxury consumption

FORUM NEWSFRONT

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

WHO DID WHAT TO WHOM

AUSTIN, TEXAS—Conflicting claims of
таре left Austin police trying to figure
out who to charge with what. A wom-
an iclephoned that she was being as
saulied, but a squad car rushing to
the scene was met by an agitated man
who claimed that he had just been
taped five times by five women. He те
portedly told ihe officers that he was
walking home when he was abducted at
gunpoint by the women, who drove to
а secluded place and ordered him to “get
it up or lose it,” or words to that effect.
Confronted with such an interesting
crime, the police at first failed to connect
their male rape victim. with the woman
who claimed she had been assaulted. By
the lime the complainants were sorted oul,
the man had disappeared. In any case, he
could not have filed заре charges as such,
police said, because under Te law,
rape is strictly а male preroga

ABORTION SUPPORT

A Governmentsponsored survey reveals
a dramatic change in the public's attitude
toward abortion over the past four years,
with 50 percent of all adults now favoring
complete legalization of abortion and
another 41 percent approving abortion
under certain circumstances. A similar sur-
vey іп 1968 found that 85 percent of the
public opposed any liberalization of abor-
tion laws. The chairman of the Commis-
sion on Population Growth and the
American Future, for which the survey
was conducted, expressed surprise at such
a large change in popular sentiment and
attributed it 10 increasing public concern
over population expansion.

* Dr. David Harris of New York's
Mount Sinai Hospital reports that the
city’s maternal death rate has declined by
more than half since the state legalized
abortion in 1970.

+ In Tucson, Arizona, a superior-court
judge has appointed an attorney lo be the
legal guardian of a felus carried by a
23-year-old woman who is challenging
the state's abortion law, The case could
set a precedent by establishing the age at
which a fetus legally becomes a human
being in Arizona, In 1970, the supreme
court of California ruled that a fetus
does nol enjoy the legal status of a human
being until ajter it is born, bul since then
the state legislature passed а law making
it murder to kill “a human being, or a
fetus, with malice aforethought,” except
in compliance with abortion laws,

+ Two student newspaper editors have
challenged state sex laws by publishing
information on how to arrange for an

abortion. Ron Sachs, editor of the Uni-
versity of Florida Alligator, has been
charged with a felony for publishing a
list of abortion-referral agencies in de
fiance of an 1868 state law. Ric Мом
editor of the University of Wyoming
Branding Iron, published similar advice
and has been threatened with prosecution
under an 1890 abortion law as well
as the state's recently enacted criminal-
conspiracy statute.

+ In Holland, a documentary film show-
ing a clinical abortion was broadcast over
television after a Hague court ruled that
the Dutch Association for Sexual Reform
had the right to air its pro-abortion opin-
ions and whether it did so by interview
or by film was irrelevant.

FATHERS IN LAW

paris—The French National Assembly
has approved a controversial new law
under which a judge may order more
than one man to asume financial те-
sponsibility for a child born out of wed-
lock. The purpose of the measure is to
improve the lot of illegitimate children,
who have enjoyed few legal rights under
Napoleonic decrees dating back to 1804.
What has upset Frenchmen is the provi
sion that if more than one man has
intercourse with а woman during the
period when she conceived, all may be
held equally liable for child support, if
there is no medical proof of paternity.
The law must still be approved by the
French Senate, but this is usually a
formality.

EQUAL PROTECTION FOR POT

SPRINGFIELD, ILLiNoIs—The supreme
court of Illinois has set a national. prece-
dent by voiding the state's old mari-
juana law because it arbitrarily placed
pot in the same legal category as heroin.

The court ruled that the drugs so
differ im their known harmful effects

that to hand out similar punishments
for each violates the equal protection
clause of the Constitution. Although the
decision does not affect convictions un-
der the state's new drug statutes (which
were enacted last August and. provide
lesser penalties for marijuana), il means
that several hundred. persons convicted
under the previous law have grounds for
filing appeals or asking for executive
clemency.

sr. LoUm—4 study of 80 college-age
men has provided more evidence that
homosexuality is associated with hormone
deficiency. Researchers at the Reproduc-
tive Biology Research Foundation (Masters

and Johnson) report that of 15 subjects
with strong homosexual orientation, all
had significantly lower concentrations of
testosterone in their blood than the het-
erosexual control group, and that most
of those with the lowest concentrations
also showed impaired sperm production.
Last year, three California researchers dis-
covered that the chemical by-products
of testosterone were conspicuously out of
balance in homosexuals (“Forum News-
front,” August 1971). However, both
groups have cautioned that their findings
do not prove homosexuality is caused by
hormone imbalance; the imbalance may
indicate that endocrine function is psycho-
somatically altered in persons who are
strongly oriented. toward homosexuality

KEEPING ENGLAND CLEAN

Lonpon—England’s Court of Appeal
has handed down a stringent obscenity
ruling in the case of three editors of Or, a
popular underground newspaper devoted
largely to sex and radical politics. It re-
versed their obscenily convictions on а
legal technicality, but, in deciding the ap-
peal, the court set down the future prose-
cution guideline that any magazine от
newspaper now can be found obscene on
the basis of a single item and need not
be judged аз а whole. The court reasoned
that while the writer of a book might
argue that his work was a single artistic en-
tity, the editor of а periodical can exercise
selective judgment in assembling material
for publication. The court also ruled that
British juries hereafter must decide what
is or is not obscene without benefit of
expert lestimony for cither side.

KEEPING AMERICA CLEAN

WHITE PLAINS, NEW ҮОКК— 17. 5. im-
migration officials asked a stupid ques-
tion, received an honest answer and
then turned down a Hungarian refu-
gee’s citizenship application on grounds
of moral turpinde. The 30-year-old im-
migrant revealed himself an adulterer
when he admitted to the interviewer
that he had had sexual relations with his
fiancée, whose divorce was not yet final.
The officials of the Naturalization Seru-
ice thereupon rejected his application, but
told him he could reapply later if he and
his fiancée marry, which apparently erases
his sex crime and restores his moral
standing.

LOVE IT OR DON'T LEAVE IT

"If you don’t like it here, why
don't you go to Russia?” is the
time-honored rebuttal of all good.
men to critics of the American way.

— RUSSELL BAKER
The New York Times

WASHINGTON, D.c.—Because of a new
Stale Department ruling, native malcon-

tents and subversives may now have to
perjure themselves if they want 10 leave
the country. Secretary of State William
Р. Rogers, clarifying Government policy
on passport caths, has declared that no
more U.S. passports will be issued to or
verified for persons who refuse to swear
that they support, defend and bear true
allegiance to the Constitution. Five years
ago, State Department legal experts rec-
ommended that the oath be dropped and
since then the Passport Office had not
held that it was mandatory.

SUING THE SECRET POLICE

PHILAvELPHIA—The American Civil
Liberties Union has asked a U.S, District
urt to halt what it calls the FBI's
unconstitutional surveillance and intimi
dation of peaceful political groups and
individuals, and to produce for destruc
tion all existing files on such people.
The suit challenges the “right of the
Government to maintain a political po-
lice force” and cites as evidence copies
of documents, stolen from an FBI office
and released to the press, which in-
clude bureau surveillance orders. An
A. C. L. U. spokesman said that a num-
ber of similar cases are now pending
against Army and state agencies, bul
thal ils suit against the FBI represents
the first class action on behalf of several
named plaintiffs and “all American citi-
zens and organizations who wish to exer-
cise their rights . . . to engage in lawful
political expression, association and as-
sembly without being the objects of cov-
ert and overt surveillance.”

HLINE

TAMPA, FLoRIDA—Tampa’s Turn In a
Pusher (TIP) project celebrates its
anniversary this month with а progres
report of some 5000 anonymous tips, at
least 37 arrests and 11 convictions of
horddrug dealers. Advertisements have
urged local citizens to dial а number
and, without identifying themselves,
give information that may lead to the
arest of а narcotics seller. TIP offers
rewards of $100 to $500 (depending on
the value of the information), hut only
$1600 has been paid out because many
of the tipsters have never claimed their
money despite measures to assure their
complete anonymily. Because TIP is а
civic project managed independently of
the police and is aimed only at sellers of
hard drugs, the response from young
people in the area generally has been
favorable; even the student FM station
al Tampa's University of South Florida
has promoted the idea through public-
service announcements. A number of
other cities, including Texas City, Texas;
Columbia, Mississippi; Tuscaloosa, Al
bama; Hollywood, Florida; Barstow, Ca
fornia; and Vineland, New Jersey, have
started similar programs,

with some interest. In my opinion, the
people who bear most of the responsi-
ility for using up our resources at such a
high rate are пог the few who purchase
luxury items. The guilty oncs a
who beget more than two childre
children per family would result i
stable population, but three or more will
continue the population explosion until
sources are squandere
a child in the family leads,
eventually and indirectly, to more con-
sumption and more pollution than thc
most expensive new automobile.

Norman I Cowan

Head of Science Department

The Peterborough County Board

of Education
Peterborough, Ontario
Blaming people for having too many
children is as fruitless as ranting against
luxury consumption. Guili has been a
traditional way of manipulating people
throughout most of history, but it works
only sporadically; as cynics have said, it
usually doesn’t change our behavior but
only makes us depressed afterward.
Specifically, attempts to curb popula-

tion growth in the underdeveloped na-
tions with techniques based on guilt have
failed conspicuously. Now bribery is be-
ing tried; the Indian government, some
time ago, began giving various kinds of
gifls to any man who would be steri-
zed. Meanwhile, the rate of population
growth has declined in all the more af-
fluent nations, and has declined most
significantly among the more affluent por-
tions of their populations. R. Buckmin-
ster Fuller (subject. of this month's
“Playboy Interview") concluded from his
own study of demographic trends that,
as the second Industrial Revolution, or cy-
,bernation, spreads to the Third World, а
similar decline will occur there. As Dr.
Elmer Pendell points ош in “Sex Versus
Civilization,” the people in the most
dilapidated housing, according to the
1960 U.S. Census, were still having the
most children. Thus, reforming people
seems much less effective than reforming
the environment, which causes people
spontaneously to wish to change their
traditional ways. Anthropologists have
also noted that а large family is a posi-
tive immediate benefit in a poverty-level
culture, since the children can help sup-
port the parents as they age. The long-
range bad effects of overpopulation are
less visible to such people than this
short-range gain. In other words, making
the poor feel guilty about having large
families will not stop them from continu-
ing this practice; making them less poor,
however, will indirectly lead them to
adopt the small-family pattern of the
better off and better educated.

NEW KIND OF CRIME

I was intrigued by the description of
righttolife organizations in the Septem-
ber 1971 Playboy Forum report titled

51

PLAYBOY

52

“The Abortion Backlash.” These people
seem to have inyented a new category of
crime; depriving a nonexistent person of

Jobn Fitzgerald
Chicago, Illinois

RIGHTS OF THE EMBRYO
In the October 1971 Playboy Forum,

David B. Shear states that, since any hu-
man cell could conceivably develop into a
human being, the fact that an embryo has
1 n argument а
its destruction, If it were, he says, “then
all surgery must be prohibited." While
it is true t апу cell in the body has
the potential to develop into а human
being, only the embrya has the ability to
do so without the aid of scientific inter-
vention. Shear also says that technology
will soon make it possible for a fetus to be
grown outside the body of nother
he concludes that it is
meaningless to say that doctors should not
abort a viable fetus. Г would conclude
that this technology will make it more
feasible than ever to guar:
the fetus, since termination of pregnancy
will not necessttate destruction of the
fetus. Meanwhile. however, I сап only
concur wi ıs opening sentence:
“The only serious argument against
termination of pregnancy is that the em-
bryo has the potential to develop into a
human being and, therefore, must be
accorded full human rights from the mo-
ment of conception.”

George C. Salmas

University of California

Los Angeles, California

PLAYBOY sympathizes with those whose

concern for the preservation of life moves
them lo oppose abortion, but we sympa-
thize much more with women who ave
pregnant and don't want to be. Potentiali-
ly is not actuality, we belicve, and the
needs and. desires of human beings take
precedence over clams made for ап om
ganism whose life as а human has not
yet begun.

and. from this.

THE COMPLETE WOMAN

Ive read y letters pub
The Playboy Forum on the dilemmas of
male-female relations, but the one titled
"On Being а Woman" (September 1971)
s the most irritating to date. Being a
woman, for God's sake, means more tha
lighting candles, chilling wine, put
оп а dean outfit and looking pleas:
Surely, one half of the hi
more talent than the mini
to do those things.

I'm a feminist of sorts and, paradoxi-
cally, this is because I far prefer men to
women. Men seem more interesting, more
active, more outreach п women
do at present. The thi nced not
be so. If women would confront the
outside world and realize themselves as
distinct intellectual and sexual beings.
they might find themselves more interest-

hed in

n race has
um required

ing and les rapacious, possessive and
petty.

A woman who wont admit this, is
cheating her man of the greatest gift she
coukl give him: all she is capable of
being.

June Neflord
Albany, New York

SHEAF OF SAD GAGS
The November 1971 issue of Esquire
contained an article titled “Bad Dudes”
which feminist spokeswomen Gloria
Steinem. Caroline Bird, Florynce Ke
nedy. Anita Hoffman and others list the
men they consider the chief enemies of
women's liberation and explain their
choices. The results raise serious doubts
about the political intelligence, sense ol
priorities and just plain wit of this
group of women’s leaders, Apparently,
their worst objection to Robert. Shelt
Imperial Wizard of the Ku Klux Klan, is
that he "yer another org
where women have only 'aux
tus.” With equal disdain, they dis
Dr. Benjamin Spock as “responsible for
brainwashing a whole generation of wom
en into staying home with the kic
About novelist Philip Roth,
plain. "It doesn't occur to 1
Portnoy might have a compl
at home with nothing to do but fuss over
her far " It doesn't occur to them that
Roth made that very fact. abundantly
clear to any sensitive reader. Obviously at.
а loss to find something bad to say about
Jules Feilter, they offer the debatable criti-
cism: "How come the women in his car-
toons are always less human than the
men?" These spokeswomen are even more
tongue-tied when it comes to denouncing
Joe Namath, declaring feebly. "His pub-
lic actions, statements, image say it all,
d Hugh Hefner—^Are you kidding?
The most offtarget attack. of all, how-
ever, is the charge that Attorney General
John Mitchell 15 one of the “hostile

runs

closeted misogynists who oppress wome
profoundly.” Who done more—
through his permissive, indulgent attitude

te the

toward Mis. Mitchell—to demonstr

value of allowing women a voice in na-
tional affairs?
M. Murphy
Phoenix, Arizona

BEAUTY VS. IDEOLOGY

The letter titled “Beauty vs. Ideology”
in the November 1971 Playboy Forum
states that the women's lib criticism. of
Pravnoy’s nude photography is
modern form of. puritanism" and “а re-
gression то the days when the Church for-
bade artists to. paint nudes.” 1 disagree.
There аге subtle differences between
artistic photography and the kind found
in your magazine. The portrayal of half-
clad women and women with lines where
the sun's rays have been blocked by
bathing suit suggests that they ha
dressed just for the reader's delectati

un-
n.

"This is an appeal on a level different from
that of the even-colored completely nude
body ordinarily associated with nude pho-
tography. Similarly, the way PLAYBOY'S
women look directly into the camera (ap-
pearing to be staring into the of
the reader) and the seuings (bedrooms,
couches or fur rugs) of the photographs
separate PLAYBOY photography from pho-
tography as art

Tt seems fair to say that in а non-
sexist culture. women could not trade on
pure physical appcarance as they can
in rravsoy. To defend the magazine on
rounds of artistic merit or other rational
ed qualities seems to misstate its obvious
purpose.

сус

Joan Kent
Worcester. Massachusetts
The author of the letter to which you
refer also wrote, “The new feminists can’t
seem to see humanity, beauty and sexual-
ity ах а personal trinity; they insist on
separating these categories and setting
them in opposition, just as the old. Puri-
tans did.” Yow've just demonstrated his
point. You've listed features of PLAYBOY'S
photographs that arouse male sexual
interest, and you've. said that the pres
ence of those erotic qualities prevents
the photos from having aesthetic merit.
We can only infer that you believe а pic
ture must be drained of sexual appeal in
order to qualify as art, We say that’s
puritanism, and we say the hell with it.

PROGRESSIVE PLAYMATES

Critics of ptavnoy, when they are
unable to find fault with the maga
editorial content, frequently fall
on the daim that the pictorials, partic
larly those of d re symbolic
visual purdow De
Newman is right to condemn the cliché
repeaters who charge that PrAvmoy por
ways “women as sexual objects” (The
Playboy Forum, November 1971). This
accusation is a mis of the meaning
of the Playmate.

In his new book on the sexual revolu-
tion in America, Nun, Witch, Playmate,
theology professor Herbert W. Richard-
son states:

back

Playmuntes,

of women.

What is especially unusual about
the playboy-Playmate symbolism is
that the sexually attractive woman
is here conceived as а friend and
equal. The very name "Playmate"

ies with it reminiscences of pre-
adolescent. childhood when sexual
differences were not decisive for
friendship groups. . . . The Play-
mate is not of interest simply for her
sexual functions alone. The photo-
montage that surrounds the Play-
mate portrays her in a variety of
everyday activities: going to work,
visiting her family, climbing moun
tains and sailing, dancing and din-
ing out, figuring out her income

Everything you always wanted
to know about Soft Hair*

О. What was it like before Soft Hair?

О. What's all this talk about Soft Hair?

Man does not know he Мап grows his hair Man tries to control We introduce Soft
has hair. All you can longer. Longer hair his longer hair. Men's Най Spray. It gives
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and sticky. So we invented Ter Bolas Soft f H 2 women use, d it feeling oft and ч
Hair Dry Spray, It gives you the control you want, ir? leaves man's hair natural; a small step
tut leaves your hair feeling soft and natural. О. How should you use Soft} а! stiff and sticky.

О. Was Soft Hair spray invented 1. First comb yourhair. 2.This is where you

i 2 Then start to spray Ф need the most control
for your hair or her hands? You want the top Lx s Keep the can in
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not oversivled’or d lightly will do.
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3. Your sideburns
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P away at all times.

4. You may not see /

this but the girl
behind ycu does.

eae a — Q. Will Soft Hair
spraying again, by. 7 help bald people?

damp comb.
А. А good question. Actually it was in-
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Q. How long should your hair be to use E^
Soft Hair? A. Some people think that Soft
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not true. Soft Hair

s the hair you

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Q. Why should your hair be soft?
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en Soft Hair is a dry - ot
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Ый E for nothing.

PLAYBOY

tax. She is, first and foremost, the

playboy's all-day, all-night pal.

Richardson sees what many of those
who attack PLAYBOY are unwilling to
acknowledge, that the man-woman rela
tionship portrayed by the magazine and
typified by the Playmate is an enormous
improvement on former American roles
for the sexes. In the old, unliberated
days, sex was full of aggressive mean-
ings; it was seen as something the man
did io the woman, а way of conquering
her, or else it was looked on as a favor
the woman granted to the man, thereby
placing herself in the superior position.
Although physically heterosexual, Rich-
ardson suggests that men and women
were psychologically homosexual; that is,
their activities and interests were so dif-
ferent that sex was virtually their only
me ground, while friendship was

possible only between members of the
me sex. As a result of the evolution of
sexual attitudes in recent years, how-
ever, Richardson reports:

In contrast, the psychologically
беха] society (symbolized by
AYmov) brings men and women
to constant relation with cach
at all their activities are
il. In fact, in the playboy-
Playmate symbol, there is no longer
a "man's world" and a
world." . .. The equalitarian, non-
aggresive relation between the
playboy and the Playmate stresses
the similarity between the two. He
enjoys sex, she enjoys sex. (It would
be impossible to guess which is the
aggressor.)

Of course, when one is interpreting
pictures, he may read into them what-
ever he wants to. Nevertheless, I must say
I don't think the Playmate photographs
reduce women to less-than-hun
The Playmate symbolizes a new
ship between men and women, one that
fects the progress of egalitarian and
libertarian trends in our society.

Mrs. L. Rosen
New York, New York

COFFFF-TABLE READING

My wife and 1 have always kept
Ynoy on the coffee table in our living
room, and we never worried about our
young daughters or their baby sitters
ing it up and reading it. However,
nning with your pictorial of very
nude girls (The Age of Awakening,
August 1971) and continuing through
November issue, which is full of
photos in which pubic areas are not con-
cealed, we feel you have exceeded the
bounds of good taste. We are reluctantly
considering removing PrAvmov from our
coffee table.
‘The editors of PLAYBOY may feel that
is their right to make decisions on the

youi

basis of their own taste and. judgment,
but such decisions should take into ac-
count the comments of those who foot
the bill.

Robert B. Adams

Montoursville, Pennsylvania

We have great respect for the comments

of those who “foot the bill.” But, frankly,
we're nol sorry that our decision to show
pubic hair has upset some readers. If
everyone had agreed that it was time
PLavwoy changed its picture policies, then
it would mean the decision had come too
late. We've always tried to be irreverent,
rebellious and ahead of our time, and
we do not aspire to be safe coffce-lable
reading or suitable for children if it means
giving up those qualities.

UNION-MADE CENSORSHIP
What's happened to the American
workingman? I had always thought union
members were libertyloving, down-to-
earth people, the sort who would be ex-
ceedingly sensitive to violations of rights
and infringement on freedom; however
а story in The Providence Journal states
that Local 1203 of the International
Brotherhood of Electrical Workers wrote
to Ше state's attorney general, asking him
to rule certain issues of PLaynoy obscene.
How or why a union should crusade for
censorship I don't know. but the Journal
story indicates that Local 1203, which in
the past has supported stronger state anti-
pornography has gone into the cani-
paign with both feet, The Journal quotes
Harold Е. Doran, president of the local,
ion, above all, cannot
infringe on the rights of adults, but I am
concerned about the permissiveness with
which rLAYBoY depicts sex." With this
confused statement, Doran himself indi-
cates а sense that something is wiong
when members of the labor movement
start hollering for censorship. T can only
express the hope that Local 1203's flirta-
tion with oppression is, indeed, local—a
fluke that does not represent the attitudes
of American workers generally.
John Collins
Hartford, Connecticut

WITH ENEMIES LIKE THIS . . .

While doing research for an article on

today’s rightwing racist groups in the

across а magazine titled
The Cross and the Flag, published by
Gerald L. К. Smith. Smith is an anti

Semitic reactionary whose record goes
back to before World War Two, when he
was a leader of the pro-Hitler America
First Party. If a magazine, like a man,
сап be measured by the kind of people
who are its enemies, вілувоу should be
proud of this editorial in the April 1970
issue of The Cross and the Flag:

I have never opened a copy of
PLAYBOY magazine. It would do some-
thing to my self-respect to even buy
опе copy. It is evil, pornographic
and negative in all its aspects. So-

called prominent citizens who allow
their names to be used in giving prev
tige to this degenerating journal are
doing the American people а dis
service. The circulation is something
over 5,000,000, the publisher is a sell.
confessed libertine, the magazine pro-
motes pimpery. prostitution, free love
and premarital sex relations. God
save America from these gigantic
enterprises dedicated to the justifica-
tion of evil and the undermining of
ош: traditions of self-respect.

Kenneth Arfa
Flushing, New York

CULTURAL PLURALISM

It was а pleasure to read such civilized
sentiments on the potential for revolu
tionary change in America as those of
Norman Spinrad quoted in the October
1971 Playboy Forum. 1 was surprised, һом
ever, that when he stated that cultural
pluralism would preclude the realization
of various ideological utopias, Spinrad
included laissez-faire capitalism on the
list. As а lot of libertarian philosophers
and economists, such as Ayn Rand and
Murray Rothbard, have pointed out, in
a соет-
cively interfere with the activities of
others. It seems to me that a laissez-faire
society would be а necessary precondition
of cultural pluralism.

- Nathoo
London, England

Many an eye was opened, I hope, by the
letter that quoted science-fiction writer
Norman Spinrad’s proposal that all the
cultural subd ions in America learn to
respect one another and leave one an
other alone. My own youth cultme has
practiced segregation, not by race but
by cultural stereotype. We have demon-
strated repeatedly that we're just as in-
tolerant as our middle-class parents. We
plead to be understood and we refuse 10
try to understand others. I don’t know if
we can change. but where there
awareness there is hope. People like Spin-
rad are helping us know ourselves.

Jennifer Jobe
"Tampa, Florida

THE PROBLEM OF HAIR

Like many people im my age group
(Im 24). 1 am repelled by the hvpocri
of the establishment, by police brutality
and by the total ignorance of bigots
with their AMERICA— LOVE IT OR LEAVE
ir slogan, But nobody expects anything
better from such people. What disturbs

me сусп more is the snobbery of so

many of today's long-hairs. I happen to
prefer to wear my hair short. Wheneve
1 go to a head shop, a record store or a
rock concert, I meet with automatic hos-
tility from the beautiful freaks, many of
whom are just as bigoted in their own

(continued on page 214)

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58

©". nevnotos Toracco со.

"WhyIsmokeVantage?

And then, frankly, all that the
critics say about Таг and nicotine
has to make an impression. Fact is,
they don't make me feel guilty
about smoking Vantage.
I mean here's a cigarette
that’s gota whole lot less
“аг and nicotine than my

Iread the papers.

Iwatch TV.

Ihearthe things some
of them are saying about
smoking.

All Lknow is that Lenjoy &
smokingandIdontplan /_
to quit. Last year, maybe

the year before,Ididget 0 old brand and I'm still

on toone of those low ‘tar’ getting good rich flavor

brands. Worked at it fora out of them.

solid month. They're always telling
Trying to pull flavor people to stop smoking or to

through one of those cut down on ‘tar’ and

nicotine.

But how about telling a
guy like me, who likes smoking,
how to cut down on ‘tar’ and
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ment out ofa cigarette.

Will every smoker like
| Vantage? All сап say is to try
them.

cigarettes was like sucking
ona pencil.

Sol went back tomy
old brand. What's the good
of smoking if you can’t get
flavor through а cigarette?

Only it wasn’t the same
thing, my old brand. All
those critics made me feel
guilty about smoking them.

"Thats about the time
Vantage came out and did I
latch on to them!

First off, they tasted good.
Like my old cigarettes.

nicotine.
FILTER AND MENTHOL

Filter and Menthol: 12 mg."tar", 0.8 mr. nicotine —av. per cigarette, FTC Report Aug.71 (Menthol by FTC method].

puaveoy ттен: R. BUCKMINSTER FULLER

а candid conversation with the visionary architect /inventor/ philosopher

R. Buckminster Fuller calculates that if.
he could maintain his normal talking
speed of 7000 words an hour, it would
take him just 55 hours to tell you every-
thing he knows. This would include
discourses in mathematics, architecture,
cartography, cosmogony, economics and
the history of industry and science, plus
parenthetical excursions into poetry,
sailing, automotive design and such
others of his pleasures as he might feel
inspired to draw upon for metaphor or
illustration. Since Fuller is a man of
unrelenting intellectual generosity, it is
a matter of some frustration to him that
the 55-hour lecture must remain largely
theoretical. For so cager have his audi-
ences become that in recent years he has
traveled as much as 200,000 miles merely
to fulfill his speaking commitments, and
his life, at 76, is a continuous flurry of
catching planes and tryzag to cut things
a little shorter.

A well-turned talk by Fuller is, like
one of his geodesic domes, completely
free from right angles and linear pro-
gressions. Instead, his thought moves on
great arcs, tying in with other vaulting
idea vectors as he happens to encounter
them, swooping off on apparent digres-
sions that—astonishingly—turn ош to
be the best route back to the original
point, often reached long after the lis-
tener has forgotten it. His notion of
himself as а comprehensivist has been
cultivated through almost half a century

“In the future, we'll synthesize chemically
all our constituents, so that eventually we
might really be able to keep changing
parts and keep ourselves going. There
might someday be a continuous man.”

of intrepid scholarship. Born in Milton,
Massachusetts, Fuller “was fired by Har-
vard” and promptly suffered a succes-
sion of business reverses. Driven to “a
pinch point of pain,” he contemplated
suicide before deciding that his collected
experience was something he could not
deny. Beginning with his celebrated de-
cision 10 “peel off” in 1927, he withdrew
to his Chicago apartment, abandoned
the use of his vocal cords and embarked
оп a systematic inventory of his knowl
edge and experience that was distin-
guished by hus Gartesian refusal to take
anything whatever for granted.

Two years later, Fuller emerged with
the fist of his many inventions, the
Dymaxion House, a “dwelling machine”
that anticipated concepts of automation
and air and water recycling still far
in advance of modern building tech-
nology. In 1933, he introduced his three-
wheeled, rearstecred Dymaxion Car,
which could seat nine, go 120 miles per
hour and turn full circle inside ils own
length. But Fuller, apart from being so
extravagantly ahead of his time, was
dogged by inventor's bad luck until the
late Forties, when he unveiled the geo-
desic dome, the lightest, strongest and
most efficient means of enclosing space
yet devised by man. The dome, which to
Fuller was to be valued maint
expression of his geometric discoveries
now covers more ој the earth's surface
than any other single kind of clear-span

——

“I was brought up with this class thing,
and I hated it. But 1 couldn't get over
the fact that poor people seemed to be
dumb. I worked with them and I loved
them, but they were dumb.”

structure, and its wide acceptance reversed
Fuller's reputation as what ‘The New York
Times called “a Rube Goldberg who took
himself seriously.”

Now, with most of his 11 books in
print and selling briskly, Fuller finds
himself regarded as a thinker for the
first time in his life. And while his
books reveal an impressive consistency
—from the daring conceptions of such
early works as “Nine Chains to the
Moon” to the assured voice he found in
“Utopia or Oblivion" and “Operating
Manual for Spaceship Earth’—his ex-
pressive facility has grown steadily rich-
er in recent years, giving him a late
career as а росі, or a writer of what he
calls “ventilaled prose.”

Fuller's historical analyses have been
derided as “raids” by historians, just as
mathematicians tend to dismiss him as
an unusually bright architect, and archi-
tects call him a venturesome engineer.
But Fuller considers specialists of all
kinds to be extinction-bound creatures
putting good machines out of work, and
he relishes their parochial criticisms as if
they renewed his strength and convic-
tion. While it is true that his eye for the
past is fearlessly eclectic, his vision of the
future is remarkable for its detailed inte-
gration of scientific data with social yearn-
ings—yearnings that can be fulfilled, as
he foresees it, before the century is out.

“I met Fuller a year ago last summer,”
writes our interviewer, Barry Farrell,

“I'm the only man I know who can sin.
Everybody else is too innocent, Th

know what they're doing. But I've had
enoughex perience, such afantasticamount,
that I really know what it ts to sin.”

59

PLAYBOY

60

“and Гое been unsuccessfully trying to
live up to the experience ever since.
Hes а small man, barely an inch over
five fect, and there is something imme-
diately charming in the sight of him—
the heavy glasses, the dual hearing aids,
the ready solicitous smile. We had ar-
ranged to drive together from Boston to
Camden, Maine, where his 41-foot sloop
Intuition lay waiting to lake him ош to
his family’s summer refuge, a small craggy
outcropping of birch stands and decp
meadows called Bear Island, 1] miles out
from Camden in Penobscot Bay. 1 said
very little during the drive, and although
I had the feeling that much of what Fuller
was saying was lost on me, he invited me
to come back to the island a few weeks
later, so we could ‘really talk about
universe in а big way."

"When 1 returned, Fuller proved more
than willing to make good on his offer,
and for 12 nights sunning he discoursed
on his philosophy, his mathematics, his
bottomless fund of information and
perience, keeping his listeners up well
past midnight, forlifying himself only with
endless cups of tea and his own bracing
ideas. His age and his positivism com-
bined to reproach me for my own. facile
pessimism; I felt that I'd encountered а
^al teacher for the first time in my life.
“The central portion of the interview
took place in Fullers hotel room in
New York on an aflernoon so dark with
winter that the drab fittings of the room
took on a congenial warmth and no one
noliced when night came to the win-
dows. Fuller brewed а pot of tea, then
settled down in a straight backed chair,
wearing his customary dark vested. suit
and, with his hands folded patiently
in his lap, looked as composed and willing
as if he were applying for a Fulbright.
As always, he provided about 20 parts
A Jor every part Q, and later 1 had to go
back 10 him with а jew questions 1 hadn't
been able to squeeze їп. On all occa-
sions, he was helpful and sympathetic,
never the slightest bit stinting in his
time or ideas.

“The lasi time E saw Fuller was a short
while ago, at Los Angeles airport. He
was selling off for a six-week trip to
India, where he is designing ап inte-
grated. system of jetports for New Delhi,
Bombay, Calcutta and Madras. He was
looking more fit than I'd ever seen him,
and it semed to me as 1 drove away,
leaving Bucky at curbside, that 1 had
known older

never anyone who was

than he—or younger-

PLAYBOY:
could

ls there a single statement you
¢ that would express the spirit
philosophy?

1 always try to point one thing

ТЕ we do more with less, our re-
adequate to take сате of
ybody. All political systems аге

founded on

the premise that the oppo-

site is true. We've been assuming all
along that failure was certain, that our
universe was running down and it was
strictly you or me, kill or be killed as
long as it lasted. But now, in our cent
ry, we've discovered that man can be a
success on his planet, and this is the great.
has come over our thinki
PLAYBOY: If that kind of awareness has
Шу come over us, why isn't there more

FULLER: The changes taking place are still
unfa to everybody, even to those
who expect change. If you start plotting
the changes that are occurring, the most
difficult. to plot is the change of attitude,
the change of awareness. But I've been
at it long enough to really see these
nd I tell you the acceleration
n see this world of mau
coming on very rapidly

PLAYBOY. Mi though, the world
still seems pretty hostile

FULLER: Thats the conditioned reflex.
The utter helplessness of the child re-
quires a pa And parents look out
for a number of children, so the chil-
dren assume there is a big man to watch
over them. That gets to. be а condi
tioned reflex, We find ourselves in wouble
and look for a bigger and tougher guy,
ight, follow mc
going out to eat, There are
some people who've got some stuft over
there e going to knock them on
the head and tak ay from them.”

If you go back to the е, st days of
humans on our planet, you'll note th
among the advanced m: ls
ems to have chosen fighti

awhile.

someone who'll say, “AIL

and ме

ind wi

of determining which of the males
would dominate the group. We sei

stallic
he's
others

born among many stallions,
Че bigger and tougher than the
nd that makes hin
to the speediest and most powerful.
there’s a fight between the two and the
опе who wins disseminates the species.
‘The others can just go hump.

Imagine how this happened with man
—man in great ignorance, born with hun-
ger, born with the need to regenerate, not
knowing whether or mot he'll survive.
He b by observing that the people
who eat roots and berries very often get
ned by them, and he sees that the
t don't eat those things don't.
get poisoned. So he kills those animals and
finds their flesh safe and it gives him a
lot of energy in a hurry. So the most
powerful men start grouping together to
control the meat, And that’s been the
tradition. There wasn't enough to
around and somebody һай to go dow
PLAYBOY: But that isn't the case
longer?

FULLER: No. I'm absolutely convinced of it.
It’s only ignorance that makes it соп
to appear so. Even when I was a kid, we
had comprehensive illiteracy. М

lea

ad

animals.

any

still very ignorant, and his ignorance led
to fear for his own skin. You have to
remember that, carly in the history of
man, life was so bad that they couldn't
even think of anything good about it.
Therefore, they said the whole thing was
just a trial for another kind of life i
some other place. And the people had
such awful feelings of inadequacy that
they went for the idea that the after-
life was for the Pharaoh only. So in
the beginning, we have afterlife for the
Pharaoh. Then they began to have a little
more success; they began to understand
few principles that made life a tiny
easier, and they began to say that the
afterlife was for the Pharaoh and the
that came in the second set ol
Then there got to be a little
re discovery of this and that, and
ally they said, well, we can take care
of the afterlife of all citizens, by which
they meant the middle class: that’s our
Greek and Roman history. Then there
got to be so much knowledge by the
time of the beginnings of Buddhism,
a m that they found
they could look out for the afterlife of
everybody. And that’s been our history
for 1900 years—the woman in her black
shawl inside the great cathed
encing the ecstasy of know:
her afterlife she'll be able to join all the
people she loves.

But all this t

me, there's man having
experience in producing tools and figur
ing out the enginecring of those great
cathedrals and pyramids, gradually
veloping such a great tool capability
that he said, “Now we can take care of
the afterlife of everybody and also the
living life of the king." This was

for mankind.
the Magna Ch:
as extended to the king and
the nobles. And then they decided that
they had the capability to cave for the
alterlife of everybody aud the living life
of the entire middle class, and that was
the great breakthrough of the Victorian
period that wok us right up to yesterday
All the u
notions of property we 1.
those ideas. Now we find that they. too
are wearing thin—because we can do
more, Suddenly man is able to increase
the life span and improve the life style of
everybody and have a very Inge number
living far better than any 19th Century
king. Just in this century, we've doubled
the life span for 40 percent of humanity
Ac any rate, L think we may be com

in the time of
same idea м

ideas and

ve are bui

to

ing into a phase now where there is only
опе universe, only one lifetime. 1 see

regenerative awareness coming on where,
in the next

age, we'll be looking out. for
the afterlife and the living life not only
of everybody alive but also of everybody

> come. We won't be burning up our
fossil fuels and saying to the next genera-
tion, "How are you going to get on?”
We're coming into a phase of man’s being
successful on board his planet, performing,
his function in a bigger way. Maybe we'll
be able to leave this planet and get on to
others and fix them up as each one gets
ready to become a star.
PLAYBOY: What are the sig
phase?

FULLER: Man is beginning to think in
terms of one world. We used to think
lot about hell. In the old up-and-down:
infinite-plane world, with heaven above
id hell below and the earth nd-
wiched in between, we used to im: е
that fire below as if it could really burn
us. But you don't hear much talk about
hell nowadays. It's getting to be one
universe, one life. We're still very much
involved in the metaphysical, the eter
nal, but now its the eternality of the
human mind's being able to discover
generalized principles. In order for there
to be a principle, it has to be eternal. So
1 see the temporal and eternal coming
into complete interaction,

OF course, we still have the school-
teacher saying, "Never mind universe, I
want you to get your A B Cs, your elemen-
tary education. When you know about
the little things, the parts of things, then
you can m up and figure out
everything. this is а complete fal-
Jacy, becaus verse is synergetic, and.
the behavior of the parts does not predict
the behavior of the whole. Ask the scien-
tist, “What i He doesn't
have the slightest idea. He only knows it
does it. It's a relationship, not a thing.
‘The why of it is an absolute mystery. Man
can discover these relationship ad
haviors, but he is utterly unaware of the
a priori mystery.

АП our experiences have beginnings
and endings MI are finite package:
That’s the way we think. We have this
extraoi d that cim make con-
tact with those eternals and employ those
principles; but we can only put them to
specialized uses. So everything we exper
ence physically is always a special case
and always terminal.
PLAYBOY: TI mits man's potential,
doesn’t it, as to his ability to identify his
function in a universe of mystery?

FULLER: I'd call the hydrogen
successful, and 1 see no reason m
shouldn't be as well designed to fulfill
his potential. It could be, however, that
evolution is intent on bringing about а
ifferent kind of existence for man. For
instance, consider the со! reef, It’s
quite different from the individual walk-
ing man. In the coral reef, the individ-
little coral imal doesn’t even know
the little coral anim: next to him.
They keep building reefs, which
occupied by millions of individuals who

is of this new

ary mii

те

have no knowledge of one another. It's
like the Queen Elizabeth going down
the harbor when the lights are on a
night, and it happens that a child is
bom on board about that moment, and
in the next moment an old man dies on
board. You don't see that in those lights,
because the Queen Elizabeth is like a
floating coral reef where new life is
coming in and old life is going out. In
New York City, as you get up on h
and see all the lights of the skyline,
there are houses where people are dying
and there are houses where people are
being born. It's a great coral reef, too.
"There's sort of continuity in
the way cach of our cells is dying and
new ones are coming in. We are, in
effect, walking coral reefs; the latest in-
formation. discloses that 98 percent of the
atoms of which we consist change annu-
ly. So we're simply a kind of form,
the Queen Elizabeth is a form, with life
going on inside. The atoms get changed,
the people on board change, yet there is
a sum-total form that goes on, You and
king, overlapping life-cell crea
ions and life-cell deaths, atoms coming:
in and going out. So I don't find it
strange to think that we can interchange
each other's blood, cach other's eyes and
livers. In the future, we'll synthesize
chemically all our constituents, so that
eventually we might really be able to
keep changing parts and keep oursely
going. This is implicit in what's going
on right now. There might someday be
а continuous man. Man would then have
an enormous information resource that
would enable him to cope with much
larger problems. I see man coming into
quite a new function in relation to uni-
verse, a function. having nothing to do
anymore with the struggle to stay alive.
PLAYBOY: Nor with the struggle to per-
petuate himself, it would seem. Wouldn't.
these changes defeat the urge to procrea
FULLER: If you think about it, it's prol
bly a very dificult design problem to get
an organism to want to procreate. Go to
the mirror and stick your tongue out
and have a good look at it. If you didn’t
have a tongue and a salesman came to
your door and said, "I'd like to sell you
one of these things; you stick it in your
mouth and it does you a lot of good.” 1
doubt that you'd be very likely to buy it.
If you were to take а look at your g
t your kidneys, or if you had to go to a
superm: kit to make а
baby. I don't think you could put it
together at all. If each of us could see
ll the org:
regenerate u xtraord
coral reef that we really
think anybody would proce
get us to procreate, nature gave us а
beautiful covering that sort of simpli
all the frightening colors and coils
h. We have a simplified skin stretched
over us and nature lı

lso a

Is.

et and buy

піс equipment required to
y walking
don't

e, I

tying to make this thing attractive
enough so that procreation would occur.

Now, regarding population, you find
enormous numbers of human beings
talking gli bout overpopulation who
have no awareness of the subject at all
I've taken a lot of time to study popul:
tion and have been doing it for a great
many years, and I've found that you
ve to ро back into two centuries of
census information to really find some
thing out. To do this, you go back
family Bibles and you find that the
Colonial sewlers kept complete records
of all births and deaths and marriages.
nd those carly American fathers were
averaging 13 children per family. Bur
the mother often died їп childbirth,
then the child, as often as not, died of
measles or diphtheria or consumption.
The casualties were awful. And so the
number s ng into adulthood
not high, despite all the babies. Then,

n to get waterworks and the
t help control enviroi
man protect his family
against deprivation and disease, down
went the number of children рег family
nd up went life expectancy. The average
life expectancy in early Americ was
somewhere around 19. The upward wend
ith us—life span going up, births
going down. All this is pure fallout from
lization. When nature has a poor
ance of survival, she makes many starts:
when her chances improve, she makes
fewer.

During all those thousands and thou-
sands of ycars before our time, nature
gave man the capacity to mike many
babies. Now, suddenly, she doesn’t need
them anymore. So I'm not surprised to
sce girls dressing like boys and boys
dressing I'm not surprised to
see women getting naked, because the
more naked they are, the more they
tend to discourage the sex urge. Part of
the procreative urge is m: ble
curiosity. Н а woman is covered up with
skirts, man is driven by curiosity: Take
away the skirts and he says to hell with
it. And [ find us getting an enormous
amount of homosexuality. which I see
nature supplying a negative urge that
diminishes our capacity to make babies

was

г ins

. the good-and-bad kind
has led us completely astray. So
many things tha or com-

ing to a stop tend to make people fec
ive, but it's simply nature winding
phases quite rapidly right now.
‚ do you

up cert
PLAYBOY: When you say natur

mean тап?

FULLER: When I use the word nature, I
sometimes mean God.

PLAYBOY: Do you ever say God and mean
nature?

FULLER: People get confused over the
word God. There is а long tradition that
tells us that God is some kind of man.
People in the carly Greek. days wanted

6l

PLAYBOY

62

to see what Venus looked like. I'm sure
the original Greek thinkers didn't have
this anthropomorphic concept. But minds
great enough to discover a principle had
to deal with people who said, “Please
make that clear to me," and they began
talking in experiential terms, developing
allegories and similes. To talk about the
procreative urge, they began to describe
Venus, and the people listening began
to pay attention to the example and
they wanted to see what Venus looked
ike. My great aunt Mar
who used to talk a great dca
eck gods a century ago, began to see
them in terms of the principles they
represented. And I found it interesting,
when I studied electrical engineering
that when I considered such electromag-
netic behaviors as conductance, imped-
ance and resistance, I saw the Greek gods
in those behaviors,

PLAYBOY: Then the presence of the gods
was more evident to you in electricity
than in the human personality?

FULLER: The human personality was а
good way of explaining a principle, that's
1. And that is how man developed a lot
of his anthropomorphic concepts of God
In our own era, Einstein brought back a
nonanthropomorphic concept of God—
God as the grea integrity of universe.
1 find that in the Orient, this is very much
understood.

PLAYBOY: Would you compare your own
sense of the mystery of the universe to

very much so. I was deeply
pressed when he wrote about his cosmic
igious sense in “Religion and £
in 1930. He wrote about the men who
were identified by the Roman Catholic
Church as the great heretics, and he said
he thought those great scientists w
ith in God
than the clerics were, because they recog-
nized God in the mystery and integrity of
universe. And he said, “What a faith must
have inspired Kepler to spend all the
nights of his life alone with the star:
Most of the men of the Church didn’t
understand that kind of faith, but I
think Einstein had it very deeply.

And you sh his belicf?
FUMER: I think the word faith is much
better than belief. Belief is when some-
body else does the thinking. Most of our
religions are that way, just full of credos
and dogma. They are anti-thought, and
that, to me, is anti-universe. Man has to
discover his full significance, and only
mind can do that.

PLAYBOY: Your notion of man's signifi-
cance seems to assume that he has an
objective function in the
Where do you see him demonstrating
any awareness of it?

FUMER: When you пу to understand
whether or not man has a function,
you start by observing universe, not

much more imbued with a fa

univ

man. Universe is not a static picture
but an extraordinary kind of scenario
which I call a complex of partially over-
lapping, transforming events. People are
born at different times; their children
are born at different times; their lives
are overlapping, transforming events
They die, but there's a continuity of life
that is the same continuity which is
universe. Now, thinking about universe
and uying to find man’s function, ob-
serve that the physicist has found that all
systems are always losing energy. The
energies that fit into our local system
here on carth are energies given off by
other systems.

Every chemical element has its unique
frequencies, and those frequencies can

be thought of as the tecth of a gear. I'd
like to amplify that a little with the
example of synchronization. You have

two engi

es in an airplane and they
don't turn over at exactly the same rate,
so you hear rhooOWW, rhooOWW,
ThooO WW. They come into phase and.
go out of phase. Universe is doing ju
that with these constantly associati
dissociating energies. Some take millions
of years before they rhooO WW. But these
energies appear disorderly merely because
they are temporarily not meshing with
something celse.
When the gears and the teeth don't
mesh, they take up more room. You get
an omnidirectional crowding; things get
moved faster and faster around the pe-
riphery to accommodate the continuous
expansion of crowding and disorderli-
ness. But the limit of that velocity is
what Einstein called the speed of light,
the speed of radiation of all kinds,
186,000 miles a second. This is top
speed, because when you get to where
everything's in phase, all the crowding
stops. In other words, energy in dissocia
tion expands outwardly until it reaches
the last cycle in the total xegenerative
m. We know about total regeneracy
ausc physics has demonstrated. that
energy is never created nor lost. $0 we
know that, as men alive in universe,
^ic dealing in a finite system of over-
lapping scenarios in which, fi
whole scenario tape gets melted down
and reprinted and we get a new show.
PLAYBOY: That "melting down" could be
cataclysmic for life on earth, couldn't it?
How do we know we'll be in the new
show?
FULLER: I’m trying to give you a compre-
hensive picture. Just let me paint the
rest of it and I'm sure you'll understand
what I'm tying to зау. Let’s go on to
observe that we also 1
law in physics that every phenomenon has
a complementary phenomenon. Therefore,
ith the physical universe expanding and
Decoming increasingly disorderly, there
must be someplace in universe that is

wi

ус а fundamental

contacting and becoming increasingly
ordeily.

Our Spaceship Earth is one such
place. This is а place where energies are
being collected. AH the disorderly re-
«cipts of cosmic radiation from the sun
and other stars impinge on our planet
and its mantles. The radiation gets bent
as it passes through the Van Allen belts,
then bent again by our atmosphere,
then bent still further by the three
quarters of the carth that is covered by
water. The water impounds the energy
heat. It takes on heat and loses it
more slowly tham any other substance,
and three quarters of our planct hap-
pens to be covered by it. We've been
n a very even relative temperature
aboard our planet, where the annual
variation of extremes is less than опе
degree Fahrenheit. And within this or-
derly temperature balance, life is able to
regenerate in the biological spec
nd 1, no matter what our

1 idea of the beautiful ener-

nce in our chemisuries.
Now, we also have, on board our
nct, radiation impounded by vegeta-
tion on dry land and by algae in the sea.
Photosynthesis gives us these beautiful
molecular structures, these beautiful hy.
drocarbons. So here's a tiny planet with
a beautiful sct of ordinary conditions
that gives us а profusion of life and still
lets the energies collect. Fish die and
down toward the bottom
rees and grasses and
fers go under, and as the winds and
the various geological movements shift
the soils, they get buried deeper and
deeper, until finally, at about the 4000-
foot depth, the pressures are such that
their hydrocarbons undergo a ch.
nd we get coal and petroleum. Our е
is the one place we know about in uni-
verse where energy is physically collec
What I'm looking for in this to
picture is an answer to that one gr
question: Does man have a f
universe? And I find that among
the forms of biological life, man has one
extraordi apability, his
mind. His brain is something he shares
with many animals. It takes in the
ing smellies and feelies and video messages
and deals with them as special-case ex
periences. But man's mind alone can
also perceive the relationships that exist
among thesc special cases. ]t keeps sur-
veying them and suddenly it finds one
of thes nships. If. you
don't know that something exists, there’
look for it, yet mind
ngs

which

com-

no way you
has the unique capacity of finding th

out through intuition. And this gives

man his marvelous capacity to discover
generalized principles and employ them
This is man's contact with the eternal

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PLAYBOY

66

we were speaking about. his ability to
locate the absolute reliability of design.
which is the eternal aspect of universe
What I'm saying is that the human
ind may be part of the requirement
ng a regenerative universe th:
never runs down. Just as all the biological
life forms on eath arc antientrop
decelerating and collecting energies into
their very orderly biological molecules,
so man’s mind sees the generalized prin.
ciples, collects that information and dis
covers its significance and winds up
employing it in а very big way. Just now.
man is becoming able to apprehend and
employ the great principles апа really
begin to participate in evolutionary
ction in universe is to do
that need to be done
its total integrit
sorting and.
y is greater. than
any other such capability demonstrable
universe, The fact that universe dis-
closes this kind of capability indicates
that man has quite am important func
tion. And our experience also teaches us
that has important
functions to fulfill, it provides for the
regeneration of those functions. M
could not regenerate himself alone and
ssisted on board his planet. He is
born absolutely helpless. Despite all his
beautiful equipment and all his senses,
he's helpless. But we find that our planet
has provided us with impounded energy
that we can employ to make ourselves a
total success in our environment and free
ourselves to get on with our universal role.
PLAYBOY: And you're saying that m
on the point of discovering that role?
FULLER: I think he's just discovering him-
self in his full significance. The child in
the womb is completely innocent and
completely looked out for. Then he
comes out and hits to do his own br
д. Then he gets to his feet and has to
do a little more. He takes оп
nore responsibility and gains
discovery. Well, man is just now coming
out of the womb of what I call permi
ted ignorance. The aver
ginning to realize why
iverse. Tha actly what young
people are continually asking. When 1
talk to them, being a comprehensi
1 of a specialist, I find that they
e and discover that they proba-
bly do have the function I'm talking
about. And suddenly they change com-
pletely. I find that we're in a moment of
fantastic self-discovery and are approach-
ing an entirely new relationship with
our universe.
PLAYBOY: [t scems a melodramatic kind
of evolution that would h man verge
so dose to extinction before discovering
what he's here for. Do you think risking
extinction may be part of the process of
self-discovery?

when universe

sea, I imagine very few have returned.
‘There such a loss in the ber
But out of it, n lually began to
learn єп ering, to learn how to anti
pate the enormous stresses, the co
peril. And he began to develop be:
fibers, better ropes, better sails.
breakthroughs have а
were riski
brink.
PLAYBOY: Bur only in recent years has
achieved the ability to bring every-
one on earth close to the brink.

I disigrec. He's been on the
all the time. He's always had
ability to throw the stone and kill the
other guy. He's always been able to fall
off the cliff. He's always had time to
freeze to death out there. Нез been on
the brink the whole time.

PLAYBOY: But don't you think the exist-
we of the bomb constitutes
game sort of circumstance for mankind?
FULLER: Both Adam and Eve could have
picked up stones and it would have
been all over.

PLAYBOY. So, in a sense, there's always
been а bomb
FULLER: There's always been a bomb—
you bet! And man had a far greater
tendency to use it in his ignorance and
awful hunger than he does today. with
his awareness of the consequences and

Our
ways come when we
ourselves very close to the

his ability to get on without it.
PLAYBOY:

АП the same, don't
ng out for man
ble to afford the luxury of
d error?

FULLER: Oh, indeed. Not only do I sce
man as having a function in universe,
which means he really is necessary to
universe, but I also see that universe
doesn’t take а chance on this little team

you sce
im terms of

the diameter of our little earth. The
of our show here on earth is something we
really need to emphasize. I often say this
to my audiences nowadays. I'm standing
on the stage and behind me is an enor-
mous projection screen, and I've got a
slide that was taken through one of the
giant telescopes. It represents about one
ten-thousandth of the total celestial sphere
and is absolutely riddled with tiny wi
stars. And I point out that our sun
one of the tiniest. We also know that it
takes light four and а half years, coming
at the rate of 700,000,000 miles an hour,
to get to us from the next closest star. So.
I tell my audience. pick the smallest dot
you can see on the screen behind me
and imagine drawing a tiny circle
around it almost small as the dot
itself, That microscopic area can be stid

ize

to represent the solar system of which
our earth i

par. And then I have a
voice rising in one of those cartoon
voice balloons from this almost invisible
dot, and the voice is saying, “Never mind
that space stuff—let’s get down to carth!”
PLAYBOY: Despite that picture of man's
insignificance in space, you seem to bc

being expres-
sive of the “integrity” of the universe.
Couldn't it just as well be something with
no meaning at all beyond this tiny pla
FULLER: I speak of universe
the physical and the metaph
I talk about scenario universe

s my
interpretation of Einstein's discovery of

the speed of light. The significance of
that discovery is that when we look out
at the stars, we're seeing a live show that
took place 20,000 years ago or 50.000 o
150,000; it's aggregate of nonsimul-
taneous events. I use human life an
expression of this simply to show the
overlapping quality that gives you
inuity of life despite indivi
and deaths. L simply sa
is а demonstration of thc а
lh is the prime Einst
Remember that, up to the time of Ei
stein, it was thought that universe w:
single simultaneous system and, like all
systems, was running down. Therefore. it
would someday run out and be done with.
And then Einstein announced that the
significance of his specdoflight demon-
stration made it perfectly clear that uni-
verse was not running down. Energy
ting here was joining there. These
energies were aggregating, and after they
reached maximum aggregation, they dis-
persed. I use human life only as an ex-
pression of such a scenario.

PLAYBOY: The aggregating energies of
the universe created тап. Yet you've
written that human life was probably
not the result of evolution here on earth.
What did you mean?

FUER: 1 meant that man probably came
to this planet as whole
very much like we sce tod
bec by electromagnetic
waves, as is perfectly possible. since man
is iggregate of electromagnetic waves.
The frequencies might have been trans-
mitted. Of course, I'm not pretending to
know how man arrived, but I think һе
arrived as total man, because 1 find
that universe is inherently complex, a
of generalized principles, and
изе is just such a complex. Its
unreasonable to assume man a
priori than it is to assume universe, and
e tells us that we have no choice
as far as universe is concerned. Where
Darwin tried to explain things in terms
of the thinking of his time, T e the
advantage of living a life nonsimulta-
neous with but partially overlapping Ein-
stein’s. A contemporary of Darwin was
john Dalton, the great physicist who

have

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67

PLAYBOY

inated the atomic theory and who
said that all atoms are made of hydrogen
atoms. He liked the idea of the atom as
the building block, the key to existence.
You'll find that society always cmb
such monological explanations,

But now, in the past few decades of
physics, one of the most impressive reali-
zations is the acceptance of fundamental
complementarity in every realm of exist-
ence, There is no single key, and things
that are complementarities are not mir-
ror images of each other. So I'd say that
Darwin's starting with the single cell in
his theory of evolution was very much
like Dalton's starting with the single
atom. Today we know that man consists
of all 91 regenerative elements found on
carth, and every one of them is part of
his good health. The amoeba does not
have all these chemical elements, and
there is no way to start with a single-cell
creature and build up to man, because
elements would be missing. On the
other hand, we've learned that it's casy
to inbreed characteristics. You concen-
trate genes and the mathematical proba-
bility is that sooner or later you'll get
the characteristics you're after. But you
inbreed at the cost of general adaptabil-
ity every time. So you could take human
ings and inbreed them until you came
up with a monkey. You can see that
happening every day. Lots of people are
у t0 monkey.

PLAYBOY: И we understand the implica-
tions of your idea that the universe is
counting on man to complete and main-
tain it, it would seem that you
ject the tragic sense of life that colors
most modern philosophies.

FULLER: I take the word tragedy to repre-
sent poor little innocent man's being born
norant and helpless
idea of what's going on in universe. If
lor one instant we could come to under-
stand our universe and could perceive
ourselves as onc with it, we wouldn't
have to consider such a word as tragedy.
We wou'd see that there is absolute
immortality, Tragedy, I think, is what
ppens when everything comes out
wrong and nothing works and universe
a failure. But I don't think universe is
failure, and the reason I don't think so
far as we сап see, universe is an
eternally self-regenerative system, so we
nk of it only as a complete success.
It includes everything we experience and

PLAYBOY; That could be taken as a pro-
foundly religious statement,

FUMER: | personally interpret the word
religion as being related to religo, which.
mcans to tie or fasten—in this case to

rules, to dogma. You begin with the as-
sumption that everyone is ignorant,
ad somebody much wiser comes along
nd says, “You're not old enough to un-
derstand. I do understand, however, and I

want you to believe every word I say."
And you say, “All right, Father, 1 know
you love me aud wouldn't mislead me or
cause me harm, so I believe you.” There
you have an exchange that I'd call re
gious, It's built on subscription to dogma.
You're told what to believe and you
learn how to repeat it.
PLAYBOY: Considering the resurgence of
religious feeling among young people
today, don't you think their enthusiasm.
for you and your ideas might be based
on your positivism, which might be tak-
en as a kind of religious reverence for
the universe?
FULLER: I'm not sure I'd agree that posi-
tivism is a form of religion. I don't sec
the connection. Besides, young people
today aren't going for dogma. That's
exactly what they're giving up. They're
doing their own thinking. They may
hear me say that science begins with the
awareness of the absolute my of
universe. Young people intuitively feel
that mystery, I think, and they're search-
ing for what they may be allowed to
believe on their own. They find in me
such a searcher and they're interested in
my searching; that’s exactly the opposite
of saying that they're developing а new
religion and have taken me to be some
kind of new priest. I'm not a priest. I'm
not asking them to believe anything. In
fact, 1 tell them the opposite. T tell
them: Don't believe anything.
PLAYBOY: When you say that young people
arc doing their own thinking and refusing
to follow dogma, do you fcel that this
generation is fundamentally different
from those that came before?
FUMER: Most assuredly. The mases of
them are different, Let me go back to
the reasons for this, because one of the
most interesting discoveries I've made
relates to it. When Malthus, as a young
economist, began receiving his data at
the start of the 19th Century, he was the
first economist dealing with total d.
from the whole carth seen as a closed
And he found that ар
ly, people were reproducing themselves
more rapidly than they were producing
food for themselves. Darwin followed,
with his survival of the fittest, and these
two compounded to justify the actions
of the men I call the great pirates, the
imperialists of that period, the elect, as
they thought of themselves. Then Karl
Marx came along, with the same jargon,
assuming scarcity as a permanent condi-
d agreeing with the Darwin argu-
ment. And Marx said that the fittest
mong men the worker, because the
worker was closest to nature and knew
how to cope with it. He knew how to
cultivate and handle the chisel, and so
forth, and the other people were parasites,
As late as 1815 in England, common-
ers caught Killing a rabbit were often
hanged on the spot without a trial;

system.

those animals belonged to the nobles
and the king. These most powerful men
ate the meat and the other people could
ke do with what was left over. And
their ignorance about wl
should eat and what would
nourishment, they let themselves get into
a position where those who were powerful
and ate well could rule by the sword.
The proportion of nobles to the total
population was so small that everybody
assumed there must be some mystical
reason they should have the best of it.
And what was evident to everybody was
that not only were the poor people
illiterate and ill-clothed, and so forth,
but they also seemed 10 be dumb.

Now, this was something that hurt
me very much when I was a kid. I was
brought up with this dass thing, and I
hated it and didn't belicve it was id.
But I couldn't get over this thing that
confronted me: Poor people seemed to
be dumb. I worked with them and 1
loved them, but they were dumb. And
Karl Marx accepted this. These people,
while they were the fittest, gave in to
the nobles out of dumbness, so Marx
saw that people like that would need
powerful rules if they were to be saved.

If you're going out to pull the top down
On society and your people are dumb,
there have to be standards that everyone
can recognize and follow, so you make

a virtue of your dumbness and yo
coarseness and you live by strong rules.
You wear your baggy and stupid clothes
and make yourself proud of them.
great many young people feel tre-
mendously sympathetic with this idea
these days, as I did at Harvard more
50 years ago. You want to join
the underdog and therefore you
wear his clothing and give up your stand-
rd of living, But this idea is becoming
obsolete, however much it might appeal
to the moi logic of young people.
Because only in the past ten years have
we finally had. the first scientific proof—
and now absolute scientific. proof —that
malnutrition during the child's time in
the womb and during the carly years
of life causes permanent. brain damage.
So this dumbness and coarseness factor
that Marx built into his theory of class
warfare is purely the damaged brain of
ition—something we now ain
y the kind of revolution that
pulls the bottom up instead of pulling
the top down.

"This is а very important matter; it has
an enormous amount to do with man’:
continuously expanding capacity to do
more with les. There are large numbers
of young people today who've been
properly nourished all their lives and
the brightness you run into is very gen-
eral. A lot of Kids are extremely intelli-
gent and also completely simpatico with
their fellow man. They don't feel smarter

Don't spend *1000
until you hear *760.

For $1,000 you could put together one fine sound
system.

You'd wantto start with a really powerful
solid-state stereo receiver. One with maybe
200 watts of peak music power (for the
“purist,” 75 watts І.Н.Е. at less than 1%
distortion). One with a tuning meter, field effect
transistors, and plenty of slide and pushbutton
controls.

Onelike that Sylvania CR280 over on the
right.

Then you'd need a turntable. With a good
changer. Say a Dual 1215. And a Pickering
magnetic cartridge with a diamond stylus. Plus
anti-skate and cueing controls.

Just like the Sylvania
T250 in the picture.

Speakers would
be next. You'd
want big ones.
Air-suspension
types. Because
they sound as
good as standard
speakers two sizes
larger. And you'd want at Tm
least three in each cabinet—a 12" bass woofer, 9
adome mid-range, and a dome tweeter. Б

The same as those Sylvania AS125's over there.

You'd probably want to top itall off with a 4-track
stereo cassette tape record /playback deck.

Like that Sylvania CT160.

Puttogether a system likethat, and it'll sound great.

Just like that Sylvania system.

Butit'll cost about $240 more.

*Based cn manufacturer's suggested
list pricing for components described.

GOB SYLVANIA

PLAYBOY

70

or better. They think the whole idea of
class is utterly wrong. And they're ear-
nestly living with those low standards
of comfort because they think it’s un-
fair and immoral to do anything else.
PLAYBOY: Don't they still believe, then,
in a revolution that lowers the standards
of the rich?

FULLER: I’m saying that their adoption of
those standards is primarily a moral act.
They know that the real changes come
about by raising the standards. They
know th 's feasible in our century to
take care of everybody. And that makes
the whole socialist dogma invalid. Ob-
iously, there is no such thing as class.
This is clear as hell, And I find that
exciting fundamental difference from
the past. But how many know that yet?
I think very few. So the question is
How quickly can the idea be disseminit-
cd? How quickly can people be made to
realize that it is a matter of pulling the
bottom up, not pulling the top dow
PLAYBOY: That idea seems to correspond
to a rather conservative, or at least mod-
crate, kind of politics.

FULLER: Politics is ап accessory after the
fact. It comes along after the fact of
evolution. Everything going on political-
ly has to do with environmental changes
that occurred outside politics. We
couldn't have politics if it weren't foi
the fantastic technology of you and me.
The big change we've been going
through lately is from having political
leaders—the great Pharaoh, the great
king—to having pluralities of demoa
ic representatives. The trouble is that it
still serves only about one percent of
But wc
time altogether. Suddenly, illiterate man
is literate. Even when I was young, most
of humanity was illiterate. Now most of
humanity is literate. Suddenly, man
being informed by televi
on the whole earth. Everybody's 1
ing a beautiful vocabulary.

ion about
icqui
beautiful

tools to communicate with others regard-
ing his own experience, and that's some-

thing we didn't have yesterday,

So I find that everybody is geuing to
be an Einstein or a Christ, finding prin-
ciples and understanding. 1 expect that
well come to a point where humani
will spontaneously do the logical things
together. It will find ways of understand-
ing a little more about what others are
We'll have ways of really voting
our convictions. Very soon we'll have
little devices on our wrists and we'll be
"ог "I don't like it”
as we go along, and there wii be an elec-
tronic pickup and computers will tell us
ad the world is think-
ich. problem, We'll be able to
act reasonably in relation to one another
PLAYBOY: Even in this enlightened, egali-
апап age, won't there still be a strong
emotional necessity for a leader? Or do

you think the need for a father figure
will disappear when everyone starts act-
ing reasonably of his own accord?

FULLER: I think it’s already greatly dimin-

ished. It's probably another conditioned
reflex, а!

d when the conditions

0 long

in Israel, where the child is
immediately looked after by the whole
community and not by the parents
alone. The parents come to sce the child
at the end of their workday, and the
child knows he has parents and is happy
that he does; but he finds he’s loved by
the whole community.

I think we may achieve the parent-
hood of all children in a world commu-
nity. I think the great new era will be
one which we take care of all chil-
dren in common and every child will be
loved and cured for automatically. Re
ize that each child is born. nowa
the presence of much less misinforma-
tion and stupidity. And each one born
is spontaneously truthful. The lies we
learn are taught in terms of this horrid
business of survival. We're told that
somebody's got to die because there's
not enough to go around, but you can't
kill anybody directly, so you figure out
some other means. Your family has to
cat, so you tell the boss, "That man did a
very dirty wick,” and the boss fires
You live and he dies. You get his job.

Young people think only about swift
death with a gun, but I think the slow
death that's always going on is much
worse—depriving the other man of his
right to a living, making him die in the
slums. I'm much more in favor of the
old idea of getting out swords and hav-
ing done with it. There was really great
honor and chivalry in the old ways of
ng, because they were based on the
assumption that there wasn't enough to
go around, But now, for the first time,
we know it isn't so, and this is why the
kids feel there is no honor in war. There
great nobility and honor up to yester-
day, but the minute you discover that
war is unnecessary, all the honor is gone.
PLAYBOY: How does it make you feel to
know that your own work has been used
for military purposes? Does it disturb you
10 realize that Russia is encircled by
geodesic domes housing American radar
nstallations?

FULLER: It doesn't bother me at all. Rus-
sia also has a bunch of geodesic domes,
and the Russians tell me they're very
pleased with them. Now, if I had de-
veloped the geodesic dome for the n
tary, I'd have a different feeling, but I
didn't. I took the initiative with my own
money and my wife's money to buy the
ne it took to develop them and dem-
onstrate them, entirely with the idea of
giving man more effective environmen-
tal contol for less material input. I
wasn't inspired by the military. 1 was

inspired by man, and the military sim-
ply came along and bought my geodesic
dome. They didn't try to use it to kill
somebody with. They were looking for a
strong, light, transportable, dismounta-
ble means of enclosing men and equip-
ment, and that is what they got in my
domes. The military also buys soap and
water, but that doesn’t mean soap and
ir must be boycotted by those who
hate war. They also buy pencils, and it’s
perfectly clear to me that a man could
use a pencil as a dagger or he could
write a prescription to sive a child's life.
So how tools are used is not the respon
sibility of the inventor. If my inspiration
had been the military, it would have
been a different matter, but it was апу.
thing but.

PLAYBOY: You often speak of how im-
pressed you were with America's produc-
Чоп capacity during World War One.
Were you inspired by the military then?
FULLER: І was part of а world that
highly biased, that knew very little of
“the enemy.” Propa;

nda effects on the
young then were very high. It seemed to

be a question of bad people trying to de-
stroy good people. 1 went into the Navy
and I learned a great deal from the equip-
ment that was being used. The boats we
used could have served construct
poses, as, indeed, many did once the war
was over. And I was fascinated because
I'd been brought up on island life, spend-
ing all my childhood summers on Bear
Island off the coast of Maine, so 1 was
very boat-conscious, very eager to get a
better boat, which I suddenly found
under me in the Navy.

We had, the time of World War
Опе, a fantastic amount of the new
main-engine productivity coming into
play. I often liken man's production
capacities to the automobile self-starter
То get your car going, you have to have
some energy stored in its battery. Thi:
allows you to get the m: i ii
You wouldn't try to run your car across
town on the storage battery, because
you'd exhaust it. Man's self-starter here
on carh was agriculture, and because
the crops often failed and everybody
starved, he got used to making failure
accounting system. And to
n operates on the idea of an
economy that’s always running down.
He doesn't yet realize that when he gets
over onto this larger system, where he's
taking energies impounded from the
main engines of universe and shunt-
ing them onto the ends of levers, he's
dealing with a kind of system that never
wears ош.

World War One was the beginning of
our going onto the main engines. Here
was this new, potentially etcrnal, inex-
haustible main-engine power coming in,
and that impressed me very greatly. In-
stead of making swords and guns directly,

(continued on page 194)

€ pur-

WHAT SORT OF MAN READS PLAYBOY?

A man who experiences life firsthan: ne place you won't find him is sitting in front of a television
set; he's too busy living to do much looking. Facts: PLAYBOY delivers more men under 50 years of
age than any regularly scheduled TV show. And when it comes to men under 35, PLAYBOY out-
draws the top prime-time program by 59%. Want your ad seen by 13,000,000 affluent, on-the-go
males? Schedule it in PLAYBOY. (Sources: 1971 Simmons and Nielsen Television Index Report.)

New York - Chicago - Detroit - Los Angeles - San Francisco - Atlanta - Londen - Tokyo

THE LAST
CARROUSEL

fiction By NELSON ALGREN
step right up, ladies

and gentlemen, and see the
human pincushion, the

acts and ha

Же

1 WONDER. whether there stands yet, on a lor

some stretch of the Mexican border, a green
па welcoming Spanish-speaking motorists
п abandoned gas station

SINCLAIR se habla español SINCLAIR

ign I once sat beneath, between a chap-

jungle and a state highway, shelling

yed peas. With a burlap sack, a pan

and a pocket-size English-Spanish dictionary

beside me, I shelled through the searing sum
mer of 19

Га painted that green welcome myself.

Above a station that was home, storehouse and

PLAYBOY

74

operational base for me and a long.
lopsided cracker named Luther. | was
proud to be his partner and. proud that
the station was in my name. I'd signed
the paper:
We were occupying it, ostensibly, to
sell Sinclair gas. What we were actually
up to was storing local produce, bought
or begged, for resale in the border towns.
We had sacks, buckets, pails, pans, Mason
jars and crates filled to overflowing with
black-eyed peas. When word got around
to valley wives that they could now buy
black-eyed peas already shelled, they'd be
driving up from all over southeast Texas.
The gent would think we
weren't selling them anything but gas.
By the time he caught on, we'd be rich,
Sitting bolt upright at the wheel of a
1919 Studebaker, under a straw kelly the
hue of an old hound's tooth, Luther
turned my memory back to the ciption
on the frontispiece of The Motor Boys
in Mexico: “We were bowling along at
15 miles per hour" He lacked only
duster and goggles. I feared for the Mexi-

can farmers.
"Protect yourself at all times, son,"
was Luther's greeting every single morn-

ing. “Keep things going up."

I hadn't seen a newspaper for weeks.
For news of the world beyond the chap-
arral, I awaited Luther's evening return.
1 did the shelling and he did the selling.

There were deer in the chaparral,
buzzards in the blue and frogs
ditch. Once a host of butterllics,
white, came out of the sun and sei
about me as though theyd bei
Then they rose and fled as if they'd
been commanded to leave. In the big
Rio heat, I shelled on.

Luther was the man who'd discovered

the unexploited shelled-pea market. I'd
make him foreman of my ranch in re-
turn, The Mexican help would love me,

too, "Gor the whole plumb load for
only two dolla'," Luther announced smug-
ly over his latest outwitting of a Me
farmer: He'd returned with another car-
load. We sat down to a supper of cold
mush and black-eyed peas, in the kero-
sene lamp's faltering glow. Our kerosene
was running low. We were short of
everything but peas.
“Collards "n black-eyed peas on New
Years Day means silver "n' gold the
whole plumb year,” Luther assured me.
He was full of great information like that,
“They thought they had Clyde, but
they didn't.” He gave me the big news
once the meal had been
sheriff had nearly trapped Clyde

Barrow and Ray Hamilton in а farm-
house outside Carlsbad, New Mexico.
But Bonnie had held the sheriff off long

nough for Glyde to come around the
side of the house and get the drop on
him with a shotgun. New Mexico police
had subsequently brought in a body,
found in a ditch beside a highway.

No body was ever Clyde Barrow's

“They'll never take Clyde alive," I
prophesied.

The Sinclair agent had let us have 100
gallons of gas on credit. As well as a
high-posted brass bed whose springs
hore rust from damp nights at the Alamo.
inge crates. I lugged a
fivegallon jug of water, pumped from
Mexican farmer's well, two miles down
the highway every morning.

When the Sinclair agent had driven
up with papers assigning responsibility
for payment for the 100 gallons, Luther
had claimed illiteracy. “Mister, Ah сай.
but barely handwiite mah own name,
far less to read what someone else has
printwrote, But this boy has been to
college. He's right bright. Got a sight
more knowance than АП eval git.”

The rightbright boy with all that
lowance had felt right proud to sign
the рар

“When we git enough ahead to open
а packin’ shed," Luther assured me aft
the agent had left. “Ah'm gonna need
your services to meet our buyers—Ah'll
just see that the fruit gits packed in the
back ‘n’ you set at the desk up front. How
do that suit you, son?” That suited Son
just fine. And if Luther averted his eyes,
I realized it was only to conceal gratitude.

Once, at midday, the agent caught
me in the middle of my bushels, jars
and sacks. "We plan ro can them for the.
winter," was my explanatior

“Well, you'll never get to be a mil-
lionaire by askin’ for ra he coun-
seled ше.

Г already knew that you had to work
for nothing or you'd never get rich.
counted more than money, All а
boy had to do to get a foothold on the
ladder of success was to climb one rung
whenever anyone above him fell oft.
This made the rise from a filling-station
partnership to owni саше ranch
merely a matter of 1 d patience.
And when the day t I'd. made
the top rung, the first thing I'd buy
would be a pair of Spanish boors and a
Jolin Batterson Stetson hat.
ason we'd sold only one gallon
of gas in that whole autumn season, it
looked to me, was that Mexican farmers
preferred to buy from Spanish-speaking
merchants. “¿Quiere usted un poco de este
asado?” I would invite myself aloud to
dinner while shelling. And. finding the
roast beef tasty, would ask for

Dame usted un magro, yo le gusta.” That
made a pleasing change from what ac
tually went on in our mush-encrusted pan.

poor

move:

So l'd painted the sign that invited
the Spanish-speaking world to our two

pumps: with 50 gallons of gas beneath
cach pump. I'd gotten as far as “Acér-
quese usted tengo que decirle una cosa"
when a Mexican drove up, hauling а
trailer. I raced to give the crank 45 or
50 spins. But the bum didn't want gas.

пей tequila, What were we doi

out here in the brush if we weren't
selling whiskey? He turned his coat in-
side out to prove he wasn't a revenue
agent. He couldn't believe that we were
actually trying to sell black-eyed peas.
Laughing. he swept his hand toward the
chaparral: Black-eyed peas were as com-
mon as cactus. We must be kidding hi

Still convinced that we had teq
cached somewhere, he showed me a coin,
representing itself as an. American q
ter, to prove he could pay. It was smaller
than any quarter Pd ever seen, I
wouldn't have taken it even if Id
whiskey to sell. He wheeled

One night I woke up because some
one kept snorting. "ls that you, Lu
ther?" T asked.

“No.” he grunted, "I thought that was
you,”

"The snorting came again. From under
the bed. "Who's under there?" Luther
asked, leaning far over. For an answer
he got another snort.

He got up, dressed in a union suit,

though the night was He
probed under the bed and looked in all
the corners with the help of our kero-

sene lamp. Finally, we both got up
played the lamp under the station's
floor: A wild pig was rooting under our
head:

SOOOO-cecee, sooco-ceeee! Git out
of there, you dern ole hawg!" Luther
challenged it. But no amount of
sooooceeeeing could get the brute out.
Or stop its snorting.

The next morning, I piled into the
front seat of the Studebaker beside Lu-
ther. I wanted to go to Harlingen, too.
"Now, if we had an accident on th

y” Luther pointed out, "with both of
us settin’ up front, both of usd be kilt.
But if one of us was in the back, he'd
likely git off just bein’ crippled but still
able to carry on our work.”

I dimbed into the back seat. Luther
smiled, smugly yet approvingly, into the
rearview mirror. "Done forgot what 1
to!d you about protectin’ yourself at all
i In't you, soi

I picked up a week-old San Antonio
paper in town. Four youths had driven
up to a dance hall in Atoka, Oklahoma,
arguing among themselves. Two office
had come up to pacify them and both
had been shot down. Other youths had
grabbed the officers’ guns and given
chase. The outlaws had abandoned their
car when it had lost a wheel, had kid-
maped a. farmer in his car, had set him
free at Clayton, had stolen another car
at Seminole and then had disappeared
themselves. One of the officers survived.

"That got to be Ray Hamilton and
Clyde Barrow.” I decided.

And Bonnie Parker," Luther was just
as certa

In the window of the jimey jungle in
Harlingen, Luther pointed out a Ma

“I was on my back all weekend—and I never did get onto the slopes.”

75

PLAYBOY

76

jar of black-eyed peas Га for
the industry myself. I could hardly
have been more proud. “You're practi-
ally the black-eyed-pea king of the
whole dern Rio Grande Valley awready,”
Luther congratulated me. I felt the
responsibilit

Sheltered from the sun in the station's
shadow, my fingers forgot their cunning
in a dream of а Hoover-colored future,
whercin I supervised a super Sinclair
Station wearing a J. B. Stetson hat.
Never a yellow kelly.

“I never been North"—Luther. came
up with curious news—"but my fai
been suuck by the Lincoln discase all
the same.

uw dise:

"The опе that stretches your bones.
My Auntie Laverne growed to over six
fect before she was fifteen, same as Abe
Lincoln. Her shoe was fifteen and five
cighths inches, it were that long. Same as
Lincoln's, It caused her nipples to grow

award. Which made her ashamed. Later
she went blind but recovered her sight
7n' spent the rest of her days blessing the
ight God had sent her personally.”

The next night I wakened to hear a
motor running that wasn't Luther's Stu-
debaker. Yet I could make out his long
lank figure in the dark, bent above the
gas tank. I thought he was drunk and

trying to vomit, because he had both
hands to his mouth. There was somcone
at the roadster’s wheel whose face I

couldn't make our, "Llévame а casa”
had been chalked on one side of its
windshield and “Take me home" on the
other.

ccling badly, Luthei?" I called. He
made a long, sucking sound for reply.
Then he climbed into the roadster
and off he wheeled with the mysterious
stranger.

He'd siphoned the last drop of gas out
of tank number one. 1 wasn’t going to
he the black-eyed-pea king of the Rio
rande Valley after all.

So I filled the Studebaker from the
other tank. Then I dumped a bushel of
peas into that tank, added five cans of
Carnation milk, two plates of dried
wl a can of bacon grease. Then
went back to bed content. Toward morn-
ing I heard the roadster return. 1 hoped
1 hadn't flavored the tank too richly, I
didn't want Luther to choke on anything.
After he'd emptied it, he wheeled away

nce more.

In the forenoon I went bowling along
in the Studebaker at 15 miles per hour.
On a day so blue, so clear, it took my
breath away to breathe it.

The Llécame a caso—Take me home
roadster was parked out on a shoulder
of the road on the last curve into Har-
lingen. Luther came out of it wigwag-
ging. I pushed my speed to 18 miles per
hour and he had to jump for it. In the
тешу ror I saw him standing with

his hands hanging at his sides like a dis
appointed undertaker's.
Now he'd walk into town to save a

nickel phone call. And report to the

agent that I'd absconded with 100 gal-

lons of Sinclair gas in a stolen Stude-
baker. Would the agent telephone Dallas.
to alert the Rangers? Would I have to run
a roadblock at Texarkana? Would my
picture be posted in every P.O. in
‘Texas: WANTED DEAD OR ALIVE?

Clyde, Bonnie, Ray Hamilton and I
were at large. I'd never felt so elated in
my life.

I sold the heap to a garage
Allen for $11 without bcing recognized.
I weated myself to tortillas and. chili
а Mexican woman's lunch cou
leaned toward the Southern
tracks. She didn't recognize me either,

I took cover behind a water tow
until а northbound freight came clank-
ing. I climbed into a boxcar, slid the big
door shut and fell asleep in a corner. І
slept for a long time, waking only to
hum contentedly:

Pacific

Dead or alive, boys, dead or alive
How do I look, boys, dead or alive?

sleep 1 music, like
ting of
the wheels. Little lights were pursuing
one another under the boxcar door. A
calliope's high cry came clearly. I slid
the big door open just an inch. Great
silver-cireling lights were mount
steps into a Ferriswheeling
of pennoned tents was suetching under
those mounting lights. Then a tumult of
merry-go-rounding children came on a
wind that blew the pennons all one way.

1 hit the dirt on a run, leaped a ditch,
jumped a fence, fell into a bush, crept
under a billboard, straddled а low brick
wall and followed a throng of Mexicans
papicrmáché arch into the Jim
County Fair, And the name of
t carnival town was Hebbionville.

heard

ng. A big woman, tawny as a gypsy.
with a yellow bandanna binding her
r mounted а bally and began bar

anza! Hui
st me

the Half

cushion

А dozen rubes were already gaping. A
skinny boy, wearing white boxing trunks
and muddy tennis shoes, climbed up the
ly beside her. "Say hello to the folk:
Melvin,” the gypsy instructed the bo
The boy grinned stupidly.

“I never saw anyth
roughneck in farmer's jeans exclaimed
beside me.

1 didn't sce anything that remarkable.
The boy looked to be about 15, thin as

a longstarved hound, with legs that had
little more than knobs for knees. His
shoulders were so narrow there was just
тоот for his goiterish neck between
them. His chin receded so far an ice
cream cone would have had to be insert-
cd beneath his upper lip before he'd be
able to lick it, The Human Pincushion
looked as if a pin stuck into his cag
shaped skull could cause him mo pa
while his hair had the look of bitten-off
pink threads.

Two young huskies, one in a tattered
red bathrobe and the other in a. [aded
blue one, trotted from opposite sides of
the tent and climbed onto the Бау, one
beside the boy and the other beside the
woman, “The Birmingham Strong Boy
the woman held up the hand of the red
robed terror, who merely looked sullenly
out toward the midway. “The Okefenokee
Лу!” she held up blucaobe's am.
Grizzly merely frowned. Both men were
high-cheekboned blonds, unshaven and
looking enough alike to be brothers.

The Mexican sheriff came down the
midway. checking the joints.

“Keep movin’, tin-can cop.” Strong
Boy challenged him. “Keep movin’ or
ГІ come down there ‘n’ whup you!”
Grizzly, the woman and the Pincushion
grappled with him to keep him fron

is the officer. The sheriff kept on
smiling faindy. The rubes
grinned knowingly.

"Ehe man is an animal." the roughie
whispered to me confidentially.

"You must have wen the show be
fore,” I took a guess.

Grizzly threw off his robe, began
pounding his chest with his fists and

- Strong Boy immediately threw
robe, pounded his chest and
roared back. They created such an up.
roar U ап came on the гип.
leaving his wife and two children stand-
ng on the midway. Melvin and the
woman got between thc two monsters
and the roughie jumped up onto the
billy to keep them from tearing each
other to bloody shreds publicly.

“The boys are going to settle their

differences inside!” the woman an
nounced after the two had been cooled
Mountain style! No holds

nt to miss this!" Roughie
chortled at the crowd and headed for
the tent, with the rubes following him
like sheep following a bell ram. Melvin
jumped down and began taking dimes.
His chest, 1 noticed as I paid him mine,
ppeared to be mosquito bitten.

Somcone had painted both sides ol
the tent with figures intended to be
those of seductive women, but had suc
ceeded only in creating two lines ol
whorish dwarfs. The angle at which the
tent was pitched amplified the breasts
and foreshortened the legs, so that cach
(continued on page 126)

la e
"id

=

THE MAKING OF

“MACBETH”

behind the scenes of roman polanskis latest film—
the first release under the playboy banner

Top left: Toasting the success of Macbeth, Ex-
ecutive Producer Hugh M. Hefner talks with
Lady Macbeth, Froncesca Annis, and Director
Roman Polanski ot е Landan Playboy Club
party after the film's completion. When Birnam

Wood comes to Dunsinane (top center), it is
‘accompanied by genuinely functional replicas
of medieval catapults, hurling balls of fire.
Mare than 1000 evergreens, barne by lacally
recruited extras, were felled for the shooting

—but they weren't wasted. Many of them
were resold for the Christmas season by the
Northumberland Forestry Commission, as part
of its routine tree-thinning pracedure. Jon
Finch as Macbeth (top right) shudders at a

N

ghostly apparition; above left, he is encour-
oged by his lady in a tender scene. "There's
а sexual thing between the Macbeths that I
wont understood," soys Polonski. "How could
опу топ be influenced by о nag? He'd soy,

‘Shut your trap, my dearest love, thou borest
me to death.” At right above, the director
shows Miss Annis how he wishes her to play
Lady Macbeth's guilt-ridden hand-woshing
scene: “Out, damned spot! out, | sayl"

ROM THE MOMENT in the spring of

1970 when Roman Polanski started

work on the screenplay of Shake-
speare’s Macbeth with collaborator (and
PLAYBOY Contributing Editor) Kenneth
Tynan, the thrust of the perfectionist
director's cfforts was toward making the
Macbeths a living, breathing couple
rather than pasteboard declaimers of
too-familiar lines; toward bringing to
life their earthily medieval surround-
ings, down to the very squalor that
passed for luxury in the 11th Century.
And the result—which marks the movie
debut of Playboy Productions—is like
no other treatment of Macbeth since its
premiere stage performance before King
James I at Hampton Court in 1606.

Polanski and Tynan worked seven
weeks, seven days a week, on the screen-
play, often enacting various segments
themselves to see how they'd play.
Tynan, who has been a theater addict
since the age of ten, did his first Shake-
speare adaptation—of Hamlet—while a
student at Oxford. He then went on to
become England's most influential
theater critic. Since 1963, he has been
literary manager for the British Na-
tional 'Theater—for which he has
adapted numerous works, including
Shakespeare's 4s You Like It, Much Ado
About Nothing and The Merchant of
Venice. Tynan recalls one episode of
the Macbeth project with particular
vividness: He and Polanski, as Shake-
Speare’s rewrite men, were experiment-
ing with various stagings of the killing
of King Duncan. Polanski, as Macbeth,
lunged at Tynan, as the murder victim,
with a letter opener. They writhed on
the bedroom floor of Polanski’s London
mews apartment, repeating the maneu-
ver with multiple variations—only to
discover, on the balcony of the adjoin-
ing house, a clutch of cocktail-party
guests, sipping sherry and observing the
goings on with mild curiosity; proper
Englishmen straight from Central Cast-
ing. Polanski invited them over, but,
says Tynan, they refused—"probably
thinking we were a pair of sadomasoch-
istic queers.”

The key to the Polanski-Tynan con-
cept of Macbeth, as evolved in their
discussions of the screenplay, is that the
ambitious thane and his equally ambi-
tious lady should be young, handsome
—and inexperienced.

“The play is ап exercise in keeping
sympathy for two people who allow
themselves to commit cruel and terrible
crimes—beginning with the killing of a
king, which in that civilization meant to
kill a father,” says Tynan. If—in con-
trast to stage tradition, which has always
shown Macbeth and his lady as well
into middle age—the Macbeths were
younger, their relationship would be
more obviously cast in sexual terms.
Taunts from Lady Macbeth, the se-
ductive wife rather than the nagging

virago, demand action from а young
husband if he is to retain confidence in
his own virility. Few men could be so
motivated by an aging shrew.

“Additionally, when actors in their
20s play the leading roles, they take on
a stronger, more human pathos," Tynan
says. “Their lack of experience allows а
greater chance for error..Here is а
superb young general in the prime of
his condition who has thrown away his
own life in the space of a few seconds,
by one murderous action. But all the
time, the Macbeths see themselves as
participants in a success story, not a
tragedy.”

Polanski concurs: “I see Macbeth as
a young, open-faced warrior who is
gradually sucked into a whirlpool of
events because of his ambition. When
he meets the weird sisters and hears their
prophecy, he's like the man who hopes
to win a million—a gambler for high
stakes."

In his zeal to break away from the
stereotyped Macbeth, Polanski cast a
pair of attractive, relatively unknown
British performers in the leading roles.
Macbeth is played by Jon Finch, 29,
seen previously in a cameo appearance
as a blackmailing Scottish homosexual
in John Schlesinger’s Sunday Bloody
Sunday. (Since winning the plum Mac-
beth role, Finch has been given the lead
as Richard Blaney in Alfred Hitchcock's
new film, Frenzy) Lady Macbeth is
Francesca Annis, 26, whose portrayal of
Ophelia in Nicol Williamson's stage
version of Hamlet received a nomina-
tion for the New York Critics’ award in
1969. Although she's appeared in films
—ав опе of Elizabeth Taylor’s hand-
maidens in Cleopatra, for example—
most of her work has been in British
theater and television.

Finch and Miss Annis thus find them-
selves giving fresh interpretations to
parts played by some of the most hon-
ored names in the history of the theater:
David Garrick, Sarah Siddons, William
Charles Macready, Ellen Tree, Isabella
Glyn, Sarah Bernhardt, Mrs, Patrick
Campbell, Sir John Gielgud, Charles
Laughton, Sir Laurence Olivier, Dame
Judith Anderson, Sir Ralph Richardson,
Margaret Leighton and Maurice Evans.

Although Macbeth is one of the most
popular of Shakespeare's 37 plays, it has
never been a great success onscreen. A
crude version of the Macbeth-Macduff
fight scene, done by Biograph in 1905,
was its first recorded film production.
In 1916, the famed D. W. Griffith made
a full-length silent version, starring Sir
Herbert Beerbohm Tree and Constance
Collier. Probably the best-known film of
Macbeth was Orson Weller's 1948 pro-
duction, a critical and financial disaster
shot in 23 days in Hollywood. Welles
himself described it as "for better or
worse, a kind of violently sketched char-
coal drawing of a great play.” The only

Haunted by bloody memories, а glassy-eyed
Lady Macbeth walks in her sleep (top left),
babbling of horrible crimes. Macduff finally
avenges the slaughter af his family and the
sock of his castle by killing Macbeth; whose

head is then displayed, like a bottle trophy,
оп а pike (top center). At top right, the
special-effects men reveal the secret behind
Macbeth's realistic oncamera decapitatian:
A young boy is fastened into a suit of armor,

above which projects a dummy head, soon to
be lopped off. In the grotesque scene above,
nearly two dozen nude witches gather at their
ceremonial caldron to conjure up a noxious
brew—containing, among other unpalatoble

tidbits, a newt's eye, frog's toe, dog's tongue,
dragon's scale and boboon's blood —c fiagon
of which they force Mocbeth to down before
they'll enlarge on their forecast for his future.
Above right: Polanski shouts a stage direction

in the courtyard of Macbeth's castle, the
countryseot where his guest, King Duncan, is
first welcomed, then murdered in bed. To rep-
resent Mocbeth's home, Polonski chose Lindis-
fome Castle, off the Northumberland coast.

PLAYBOY

82

Macbeth filmed in Scotland was a TV
production, done for “Hallmark Hall of
Fame” in 1954 and repeated in 1960.

Interestingly, the Macbeth story has
provided the vehicle for several о
interpretations, on both stage and
screen. Ken Hughes's Joc Macbeth was а
modern gangster story filmed in England
in 1955, starring Paul Douglas and Ruth
Roman, Akira Kurosawa’s Throne of
Blood, with tcbeth and his fellow
thanes transformed into Japanese samu-
lassi m its own right
1957. Then there
was the 1967 off Broadway hit MacBird!,
with Stacy Keach 1 “Wel
come to the Dunsinane Ranch,” and a
proposed Zulu version from South Alrica
ofle:s a Macbeth known as Mabatha
and the English army replaced by ranks
of impi warriors, Perhaps Macbeth has
an eternal relevance; in a 1962 essay,
Mary McCarthy wrote: “It а uoubling
thought that Macbeth, of all Shake-
speare's characters, should seem the most
‘modern,’ the only one you could trans-
Pose into contemporary battle dress, or a
sport shirt and slacks.

Polanski has not moved Macbeth into
the 20th Century; on the contrary, he
s lentlessly to achieve Ith
Century ity. Macbeth was a
genuine Scottish chieftain, who ruled as
King from 1040 to 1057; contemporary his-
torians feel that, like Richard JII, he has
been much maligned. Writer John Mc-
Phee, who, on a family outing, once
climbed the hill of Dunsinane and traced.
the outline of Mucheth’s old castle ruins,
quotes W. С. Mackenzie's history of the
Highlands: “By the irony of circum-
stances, Macbeth, branded as long as
literature lasts with the stain of blood,
was the friend of the poor, the protector
of the monks, and the first Scottish king
whose name appears in ecclesias
ords as the benefactor of the
Not even Holinshed, the 16th Century
historian on whose Chronicles Shake-
speare based his pl ints Macbeth in
quite so black and traitorous hues as
docs the playwright. Historically, Mac-
beth and Duncan were cousins with
equal rights to the throne; Macbeth, as
Holinshed reports it, killed Duncan fair-
ly on the field of battle, not ignobly in
bed. Banquo, mentioned in Holinshed,
is now thought to be a fictional charac-
ter, which didn't stop the Stuart monarchs
—of whom the drama al patron,
James 1, was the ninth to wear the Stot-
tish but the first to add the British
cown—from tracing their ancestry back
to him. That bit of gen
great deal
representation of Macbeth's villainy and
Banquo's bravery.

Macbeih's own castle is no more, and
much of Scotland is crisscrossed by power
lines and modern highways; so, after
researching hundreds of locations—i
cluding nearly every castle in the B

Isles—Polanski and Producer Andrew
Braunsberg decided upon
tains and. valleys of Snowdor nal
Park in Wales for the primitive and
awesome vistas they required, Bamburgh
Castle in Northumberland to represent
the royal residence at Dunsinane and
Lindisfarne Castle on Holy Island in the
North Sea for Macbeth's own fami
“We got so much material on са
the United Kingdom that we've
our rese:

the moun-

turned

ch over to the National Trust,”

says Braunsberg.
Interior shooting w

done at Shep-
peron Studios, where Production De-
signer Wilfrid Shingleton supervised the
construction of sets that were realistic to
the last detail, even to the fa g of
hundreds of candies from beeswax and
rushes. Dominating all was the metic-
ulous Polanski, who personally coaxed
doves from their cotes to add the sh-
ing touch to a courtyard scenc; tossed
mud onto the faces of his stars to make
them appear sulliciently batde-grimed;
chewed up and spat out bread to
achieve a suitably unappetizing medie-
val table after a warriors’ feast; and
directed flocks of domestic animals,
which at times outnumbered the human
performers in the muddy environs of
Масей” first castle, So well did Pola
ski and Shingleton succeed in re-creating
the onmipresent filth surrounding the
household of a lesser noblem
period that Tynan was able to
Масе ambition to gr
—and with it the royal castle—as
desire to move out of the low-rent di
Vict" With his passionate eye for de
Polanski would repeat take alter take,
until every ingredient—from cloud
passing across the sky to a wayward lock
оп the brow of an extra—was perfectly
positioned. The duels—coached by Wil
iam Hobbs, fight director for Britain's
National Theater company since 1963,
s on loan for the production—
equally realistic. Jon Finch broke
five swords on Terence Bayler’s armor,
laid open a gash on Bayler's right chee
equiring five stitches and sustained a
cut on his own index finger that called
for ten sutures. Despite the constant
repetition and demanding pace, a spirit
of camaraderie grew up on the set
doubtless inspired by the irrepressible
Polanski. At one point in the filming,
someone mentioned that Hugh Hefner's
birthday was approaching; Finch turned
to the camera and wished the Playboy
monarch many happy returns of the day,
and Polanski was inspired to even greater
heights of tomfoolery, He shot an addi-
tional sequence at the witches’ caldron,
feat ng "Hap-
py birthday, dear Hughie, happy birthday
to you"—and sent it unannounced to the
Playboy Mansion.

The naked witches caused a good deal
of furor when Playboy's bad

beth was annoi

iced; some elements of

the intemational press assumed that д
Playboy Production, especially one in-
volving

Oh! Calcutta! creator Ki eth
would be characterized by a
ximum of nudity that was minima
ly relevant. Their assumption was soon
proved wrong. There is nudity, but only
where it seems natural—among the
witches, who thus ret. their uaditional

sexual connotations, and in Lady Mac-
beth's sleepwalking scene, for which
researchers turned up the fact that night-

gowns were not worn in the 11th Century,
Polanski's connection with the film also
caused some writers to jump to the
conclusion that this Macbeth would be
memorably gory. Polanski's Macbeth is
violent; but one of the 1casons Hefner
chose this for his first Playboy Produc
tion was that Polanski, the director of
Repulsion and Rosemary's Baby, had
shown himself capable of handling
macabre themes with imagination and
taste. Polanski f, in a Playboy

justified his ap-
ch to screen violence by charging
that the depiction of neat, clean killings
represents true immorality: “If you show
[ np. realistic way,
h the spurting of blood and peop!
and horribly, that
. . to witness that on the screen
nothing but repel you from

dying slowly
reality .
сап do

In casting Macbeth, Pol

ately sought unlamil
from British маре

than established film stars or Shakespear-
ean actors. Among the principal players
are Mar N

Selby as Dun ide as Ross

visualized by Polanski as the perfect
opportunist—and Bayler as Macduff.
The three witches are portrayed by vet-
eran actresses Elsie Taylor and Maisie
MacFarquhar, both in their 70s, and by
Noclle Rimmington, 21.

The entire production—unforgettably
photographed by Gil Taylor and edited
by Alastair McIntyre—took 25 weeks to
shoot, some of it in the worst weather in
recent British memory,

Macbeth opened with special showings
in New York and Los Angeles in Decem-
ber (for our review of the film, see
month's PLaynoy). А royal
premiere in the gracious presence of Н
Royal Highness The Princess Anne will
take place in London at the Plaza The-
ег. Piccadilly Circus, on February sec-
ond to benefit the Association of Spin:
Bifida and Hydrocephalus. More tha
three centuries have passed since her
royal forebear sat in Macbeth's first audi-
ence, bu ma has a magic that
endures. It's a magic that Polanski has
endeavored to expand and illuminate
a medium previously unconquered.

ist

uropean

اص چ ے کے

“But I don’t want to meet a tall dark man. How
about a tall blonde woman?”

if one wants to face death-
or choose tt—that should
be his business, right?

article

by brock yates

MOST MEASUREMENTS of behavior
within Western civilization, Maurice
Wilson was a certifiable lunatic. Dev-
otees of mountaineering lore and en-
cyclopedic trivia buffs will recall him as
the man who wied to climb Mount
Everest alone—encumbered by no more
than a tiny tent, a pocket mirror to be
used to flash signals and a bag of rice.
When he arrived at-the foot of the peak
in the spring of 1934, his climbing ex-
perience had been restricted to stairways
nd English hillocks, and his enterprise
was based on faith not in ice axes, ropes
and pitons but in the infinite powers of
the mind and body. His life deeply
altered by the carnage of the First World
War, the 37-year-old Wilson had formu-
lated a mystical, Eastern-based philoso-
phy centered on intense, short-term
asceticism, Wilson believed that by ab-
staining from all sustenance for three
weeks, one's soul would be purified and
the entire man reborn into divine life.
His desire to reach the highest point on
earth—the summit of Everest—arose
from his conviction that such a gesture
would demonstrate the powers of fasting
nd serve as a symbolic launch pad by
which his teachings could be spread
around the world.

He planned to fly a light plane up
through the mists, crashland it on the
slopes of the mountain and climb the
rest of the way. He learned to fly, pur-
chased a small aircraft and transported
it to Indi nglish authorities in India
heard of his plan and had his machine
confiscated. Undeterred, he traveled to
Tibet, sneaking across the tiny country
of Sikkim disguised as a native, and
arrived at the bleak, isolated monastery
at Rongbuk near Everest prepared to
make the ascent on foot.

Wilson left for the heights in the
company of three Sherpa guides and a
pony. Probing beyond 20,000 feet, where
but a handful of men had been before—
on any mountain—he was deserted by
his companions and left to make the
rest of the way himself. This he at-
tempted with courage and resolve, de-
spite his being repelled on repeated
Occasions by a sheer, wind-hammered
wall of rock and ice known as the North.
Col. He died at the base of this cliff,
delirious and frozen: and his rigid body,
along with his journal and the fragments
of his tent, was found the following year
by an expedition of British climbers.

At the time Wilson's life was con-
sumed by the great mountain, four ma-

jor British climbing parties, supported.
by tons of equipment and hundreds of
men, had attempted —and failed—to
reach the summit. They carried with
them the sanctions of the British gov-
ernment and the prayers of their coun-
trymen. Some died and were venerated
as heroes. Maurice Wilson, on the other
hand, was viewed as a zany who had, by
his unorthodox beliefs and techniques,
besmirched the reputations of the con-
ventional climbers who thrust them-
selves up the slopes in the name of
personal achievement and national hon-
or In the many chronicles that have
been published about the assaults on
Everest, Wilson's name is barely men-
tioned, as if his mission for the sake of
absuuse metaphysics were less worthy
and meaningful than the transport of
the Union Jack to the top of the world.

In a broad sense, Wilson symbolizes
every man who has ever risked his life
in a nonsanctioned event; ie., for some
thing he has undertaken in order to
serve his own needs and not those of
society. Every weekend in the United
States and around the world, uncount-
ed thousands of men—median men:
bricklayers, engineers, teachers, hard-
warestore clerks—undertake hazardous
enterprises for their own satisfaction.
They sky-dive, spelunk, stuntfly, drive
racing cars, rock climb, white-water
canoe, etc, without any regard what-
soever for group or social needs, Be-
yond these hard-core hobbyists, everyday
people—men who might even be de-
scribed as timid—reach occasional junc-
tures in their lives when they аге moved
to take awesome risks, like driving 100
miles an hour down a narrow road just
for the beautiful goddamn exhilaration
of it. In terms of the thrust of culture,
all such risks are frivolous. If these men
are killed, their passing is viewed with
ambivalence, as if their deaths might
have been more worthy, more tragic if
they had died in a car crash on the way
to work rather than on a race track, or
in a commercial airliner loaded with
hustling salesmen rather than alone in
an aerobatic monoplane.

While the legal sanctions against per-
sonal risk taking are limited, there are
insidious forces at work in most cultures
—forces that may intensify as technology
replaces the need for physical bravery.
Technology, by its very presence, implies
the capability to eliminate hum: i
fice and privation. Individual
ing, therefore, poses a dangerous threat

85

PLAYBOY

86

to the entire premise of group-think,
technocratic progress. Eleven years аро, а
scientist climbed into the gondola of a
specially designed balloon, was plugged
into a complicated network of telemetry
and life-support systems and floated to
over 100,000 feet. At that point, he
jumped out and parachuted back to earth,
sheathed in an insulated suit full of oxy-
gen tanks, radio wansmitters and other
scientific equipment totaling 150 pounds
A worthwhile, heroic act, shrilled Ameri-
a's press—an important plunge toward
the horizons of science. But what about
the pure amateurs who jump out of air-
planes just for the hell of it—men and
women who sky-dive for the elemental
joy of floating for a few moments in
virtual freedom high above the earth?
Hardly heroes, and socicty tends to view
them as thrill freaks and clucks its
tongue with the wry satisfaction of one
who says “I told you so" whenever a
chute fails to open.

Less than half a century after Charles
Lindbergh packed a few sandwiches in-
to his singleengine Ryan and headed
across the Atlantic, one must ponder
how society would view such a venture
today. Lucky Lindy was just that. He
was hopelessly ill prepared in a techno-
logical sense; and in the context of
todays obsession with the removal of
risk from all aspects of life, it is possible
that society would label the Lone Eagle
а gooney bird. The only redee:
tor might be that he was flying in quest
of a $25,000 prize. Sadly, risk taking in
the name of money always has been, and
probably always will be, acceptable. It is
hardly as irresponsible to die at Indian-
apolis than it is in an amateur sports-car
race. Why? Because there is $1,000,000
in prize money at Indy.

Maurice Wilson offered up his life in
a cause that held meaning only to him-
self. His surviving notes indicate that
he died with his spirit intact and his
beliefs, however assailable on accepted
religious and philosophical grounds, as
strong as ever. His death came in utter
isolation and caused no one else incon-
venience or concern. His risk of destruc-
tion was self-evident and he accepted
the hazards armed with a purity of con-
viction bordering on the superhuman.
Yet he died a fool and a zealot, an em-
harrassment to his countrymen, a heretic
within Christendom and a lawbreaker
to the Indian provincial authorities who
had tried to prevent his journey. He had,
based on all accepted standards of reason-
able behavior, violated his right to die.

This lonely figure stands in ironic
contrast to another victim of Everest,
George Н. 1. Mallory, whose words,
“Because it’s there,” in reply to а ques-
tion about why he wanted to climb
Everest, serve as the standard justifica-
tion for all hazardous exploration. Mal-

lory, in company with Andrew Irvine,
perished near the crest of the mountain
in 1924 and entered the panthcon of
English soldiers, explorers and adventur-
ers who penetrated the most obscure
corners of the earth in behalf of the Em-
pire. If Mallory had gotten to the sum-
mit, he would have struck a red, white
and blue flag into the snow and descended
to a hero's welcome. 1 Wilson had made
it, he might have been thrown into a
nuthouse.

Technology creates Apollo for astro-
nauts Armstrong and Aldrin, then spends
millions in public relations to create the
impression that they are clear-cyed scien-
tific servants of mankind and not ballsy
adventurers who view a moon trip as the
wildest flight imaginable. We love them,
but the guy down the street who's build-
ing a glider in his garage so he, too, can
enjoy the delights of being airborne is
viewed with a certain amount of suspi-
cion. Society has not yet reached the
point where it will send its police to
break up his glider with axes, but each
day that symbolic threat looms larger.
Nonfunctional taking is in direct
opposition to the needs of a centralized,
protective social structure, and while de-
viationism today is merely the source of
scorn and isolation, it is hardly incon-
ceivable that the day will come when
ation will become so perfect, so
protective, so paranoid that it will toler-
ate no individual risk taking whatsoever.

АШ societies reserve the pre-emptive
right to preserve the lives of their mem-
bers—and to risk them—as they sce fi
Mallory operated within the accepted
realm by trying to advance national
prestige, and therefore the loss of his
life was viewed in the context of corpo-

rate visions, which authorized his hero-
ism, as opposed to Wilson's private
ins, Which produced ridicule. Civilized

cultures often encourage death for their
individual members, provided it fulfills
a group need. In war, теп willingly
throw themselves into hopeless military
assaults, as at Ypres or Verdun, and
enthusiastically volunteer for missions in
which death is a certainty. Children’s
crusades aren't restricted to children.
Regardless of the futility of the indi-
ual act and the barefaced consump-
tion of human life it involves, this sort
of death rite is accepted and condoned
simply because it serves as а powerful,
collective gesture of bravery and faith.
The individual's option to accept death
under the circumstances of warfare or
group violence is primeval and, accord-
ing to British sociologist Stanislav An-
dreski, increases as a society becomes
more sophisticated. With the develop-
ment of weaponry has come not only a
greater potential for inflicting damage
оп one's enemies but a concomitant dan-
ger of retaliation if the thrashing is not
severe enough. "Under such circum-

stances,” says Andreski, "it is safest to
Kill one's enemies, Anyway, in all fight-
ing where weapons are used, some of the

i kely to get killed. So
we are justified in ig that the preva-
lence of killing within our species is
the consequence of the acquisition of
culture.

In examining man's fascination with
warlare, the renowned author and essay-
ist Arthur Koestler has commented, “W
are thus driven to the unfashionable and
uncomfortable conclusion that the trou-
ble with our species is not an overdose
of self-asserting aggression but an excess
of selftranscending devotion. Even a
cursory glance at history should convince
onc that individual crimes committed for
selfish motives play а q ignificant
role in the human tragedy, compared with
the numbers massacred in unselfish love
of one's tribe, nation, dynasty, church or
ideology." In this context, the disposal of
one’s life is a laudable and often desirable
gesture, and missions of exploration to
remote places such as the summit of
Everest or the South Pole (both of
which are certainly quasi-military in the
sense that they have powerful overtones
of nationalism and the extension of inh
ence and prestige) arc likewise expected
to consume lives. George Mallory, like
that great tragedian of British explorers
Robert Е. Scott, died іп an assault
against nature—a valid replacement for
live adversaries during those boring lulls
in warfare called peace.

Andreski notes that peace can be a
drag cspecially when times are hard.
“For a vigorous man," he says "war
may appear very attractive as an altern:
tive to exhausting, monotonous work
and grinding poverty.” The same could
be said for climbing mountains, driving
race cars, fighting bulls or engaging in
any one of a dozen other hazardous
enterprises, provided they receive cultur-
al sanction.

There is no arguing that men who
risk death in accepted fashions are sub-
jects of esteem, No civilization is without
its elite warrior class, and few advanced
cultures exist without powerful tests
of valor for its males; everything from
the heady fumes of machismo within
Latin-American societies to the German
dueling clubs, to the Mohawk Indians”
attraction to “high steel" construction,
to the widespread involvement of young
English gentlemen in motor racing, to
the now-fashionable posturing of Ameri-
can youth in the name of revolution
and confrontation (which may, in the
light of history, turn out to be not politi
cal protest but another form of expressing
ascendancy to manhood),

Several years ago, an Englishman was
heard to comment, “Sometime between
the ages of fifteen and twenty-one, cach
young man may attempt to kill himself.

(continued on page 92)

. angel

3 % Н taking а feet-on-the-ground
| approach to her career,
heavenly blonde angel
Tompkins is well on the
way to hollywood stardom

87

PHOTOGRAPHY EY JAY ARNOLO
"AND FREOERICK MOORE

"VM AN ACTRESS, but you

could call me a heolth freck, о
vegetarian ond о nonchemicol
humon being." Maybe so, but

it does seem ta us that the
celestial Angel Tompkins
rodiates more chemistry than
most members of the species,
which may explain her

ropid rise in the world of TV

опа films. Currently working on
her second major movie, Kansos
City Prime, with Lee Marvin

ond Gene Hackman, abaut
modern Chicaga ganglond,
Angel is cast os Marvin's sexy,
sultry woman, “the only one in
the film wha ends up with every-
thing.” Angel, wha was born in
Albany, California, spent much
of her youth drifting around the
country with her construction-
worker father. Eventually, she
londed in Chicago, where she
worked оз a model ond a TV-
talk-shaw hostess. Finding the
Windy City “о great ploce

for starting out and then leaving
your mistakes behind," Angel
Took her own advice and left for
Los Angeles; there she quickly
snared rales in such TV shows

© The Nome af the Game,
Bonanza, Mannix, Ironside, Love,
88 American Style and The FBI.

Not content to wait for more

good things to come her way,
‘Angel is further cultivating her
talents by studying ballet, Method
acting and singing

developed а sexy Julie London
voice"). What's more, she's

also mastering self-hypnosis,

"so | con really get into me,

to reach what's known as the
alpha state. It's more efficient
than simple meditation;

1 can't stand wasted time.

Bur Angel doesn't consider the
fime she's taking before signing.
for another film wasted at all.
"I have several in negotiatian,
she says, "but I'm choosy. |

want to do challenging parts,
like those in my first film,

1 Love My Wife, with Elliott
Gould, and in Kansas City Prime.
In fact, | feel | gained a lot

of experience working with

Lee, wha taucht me to act for
myself and not to worry abaut up-
staging him. However, | find most
actors, unlike Lee, very insecure

in love scenes. They're always
worried that the woman will get
more attention. But how can she
help it when she's got half her
clathes оЁ? And, we might add,
especially if, half-clothed, she
loaks half as good as Angel.

PLAYBOY

92

bet Fle (continued from page ss
FERRE GE)

If he survives this self-imposed ordeal,
he will feel prepared to enter manhood.
The act will be unconscious and will
manifest itself in some wild, desperate
act of high risk such as driving a car at
great speeds or scaling a cliff, but he will
do it and his motivation will come not
from within himself but rather from the
forces of a culture that still place a great
priority on physical courage.”

We haven't come all that far. Despite
several thousand years spent trying to
tranquilize our own libidos, we remain
the toughest, feistiest, most aggressive
animals on earth, This propensity for
violence is generally interpreted as our
greatest flaw, near the very root of origi-
nal sin in fundamental religious terms.
Utopians look to the day when we will
no longer shed our own blood, but that
seems nothing more than mad fancy in
the face of our consistently poor record.
What's more, war and the closely associ-
ated trait of risk taking may be critical
elements in man's development.

Andreski notes, without enthusiasm,
that violent conquest seems to be the
only viable method whereby groups of
tribes can be bunched into small states,
which are in turn hammered into larger
states—and advanced civilizations. "It is

an unpleasant truth that, human nature
being what it is, civilization would be

divided, without war, into small bands
wandering in the forests and jungles,”
he says. Furthermore, war may very well
have powerful social implications in the
sense that it fulfills an important outlet
for a test of self through missions of risk
and adventure involving pain, privation,
injury and death. There lies within the
psyche of man a powerful fascination
with violent group action, be it in the
flame and thunder of actual battle or іп
the mob actions that sweep so many
people into action in America at the
moment.

It is ironic that the campus protesters
who were making such an earnest and
strident outcry against war operated un-
der the same riskadventure syndrome.
that has stimulated man to go into com-
bat for centuries. We dig violence—all of
us, from the gentle priest whose hackles
rise in fascination at the sight and sound
of battle on the Late Show to the book-
ish professor who's an expert quail
shot and feels no greater moment of
consciousness than when that 20-gauge
thumps his shoulder and а bird falls
dead in the brush. Or what of the
confirmed pacifist who knows true satis
faction only through his prowess at chess
(a game of war) and those exquisite
moments of symbolic destruction con-
tained checkmate?

This preoccupation with war, adven-
ture and death is generally interpreted as

a simple delight in violence for its own
sake; but the motives are much more
complicated than that. If we loved vio-
lencc—raw destruction—we would spend
more time doing it and less time fretting
about why we keep engaging it
generation after generation. In prag
matic terms, constant mass violence or
warfare poses a genuine threat to su
al of the species; and civilized history is
spotted with cycles of conflict and peace
that in a human sense are as natural as
the coming of the solstices. Sadly, war-
fare may be as normal a state for man as
is peace. Paradise, for all we know, may
resemble Valhalla more than Eden.
There may be within each human
being a deep yearning to test himself in
а purely physical sense. Athletics, which
have been described as substitute war-
fare, seem to be valid expressions of this
hankering. This testing act never ends,
compelling man to reassure himself,

both individually and culturally, about
his courage and physical prowess. In this

sense, all forms of risk may relate much
more closely to the mysterious magnet-
ism of natural selection rather than sim-
ple ego drive or the desire to extend
power, wealth and prestige. As in nature
itself, domination is temporary.

Audacity is a unique trait of Homo
sapiens. This quality has been with man
for millenniums and has caused him to
probe and penetrate hostile places with
an energy and cagernes unknown in
other species. It is an important strength
and one that would appear to be carried
on, im a genetic sense, through risk
taking. Like mamy of man's traits, his
audacity is a contradiction in terms of
good and bad; hout it, our abili

to kill and get killed in various adven-
tures would be severely limited, but so
would the great acts of social, pol

al,
religious and geographic exploration that
have brought us our supreme moments.
We are audacious, and as individuals
we seek to test ourselves in a constant
series of physical and mental adventures.
The motivations for these adventures
are obscured in a maze of behavioral
traits that date to the time our ancestor
Ramapithecus decided for no clear rea-
son to stand his ground against his first
saber-toothed tiger. But they exist—as
strongly in the scholar as in the jock—
and there is little that man, as a civi.
lized, perceptive, egocentric animal, can
do about it except to muse over its
presence and to try to create enough
harmless outlets so that it will not de-
stroy him entirel
Organized society is prepared to offer
up its members in а test of audacity at
practically any given moment. For noth-
ing more than national honor or a few
square miles of territory, it will destroy

its young men in battle and expose its
noncombatant citizenry to bombings,
plague and starvation without compunc
tion. Observers of the human condition
tend to view this as a natural state; and
after they have made reflexive de-
nouncements of war and the debasement
of humanity it involves, they carry on,
seemingly resigned to the fact that no
force of thought or morality secms able
to temper this fury. The will to adven-
ture is part of а species’ psyche; that is
acknowledged, but what of the individ-
ual? If a society can r
members, why can't individuals engage
in potentially lethal adventurcs of their
own choosing?

Mallory and Wilson. One an exten-
sion of national will, the other an
expression of individual needs. One a
heroic legend, the other a madman.
Both buried within a mile of each other
at the top of the world. While it appears
incumbent upon society to preserve the
lives of its members so that they can be
utilized or exploited most propitiously.
there remains a strong drive among in-
dividuals to risk their lives as they see fit.
Men do it for a variety of reasons—often
for the simple accumulation of wealth and
fame, sometimes for the simple satisfa
tion of engaging in a hobby or a voca-
tion that coincidentally happens to be
dangerous. Many men who participate
n truly dangerous activities like motor
racing simply do not believe they are
engaged in a hazardous occupation. Part
of this may be defensive, but many top
drivers steadfastly maintain they would
rather spend an afternoon on the race
track than an equivalent time on the
open highway. Nonetheless, a vast num-
ber of people view racing drivers as
partially mad, with no creditable regard
for their own lives. This is simply not
the case, because wichin most daredevils
is a powerful desire for life. “I don't
think a man really understands the re-
ward of life until he has risked it,” said
three-time Indianapolis 500 winner Wil-
bur Shaw. Jean Behra, the French cham-
pion, pur it in a more mordant fashion
“Only these who do not move do not
die; but are they not dead already?”

This sort of outlook on life is difficult
for the timid to comprehend. The fol
lowing exchange, for example, was re-
corded several decades ago between the
volatile Italian Grand Prix driver Tazio
Nuvolari—thought by many to be the
greatest of all time—and а citizen who
led at the danger and violence
inherent in racing. “How can you bring
yourself to risk your life in such a mad,
grotesquely dangerous sport?” he asked
Nuvolari

“Have you thought about the manner
in which you would like to die?” Nuvo-
lari snapped.

Caught off guard, the man blurted, “Of

(continued on page 192)

was ap|

article By KEN VW.PURDY Has anoth-
er business firm, а mere corporate en-
tity, ever operated on the lofty level
where Rolls-Royce lived for so long?
Maybe, but alternatives don't leap to
mind. Rolls-Royce was much more
than the name of an automobile. It
transcended mere commercial emi-
nence; it seemed to be, with the throne,
the Royal Navy, the Bank of England,
a pillar of empire. Hadn't Lawrence
of Arabia campaigned in Rolls-Royce.
armored cars, and didn't the RR
Merlin engine power the Spitfires
and Hurricanes that won the Battle
of Britain? Wherever wheels rolled,

“INCREDIBLE,
MR. ROLLS!”

“MIND-BOGGLING,

MR. ROYCE!”

to lose the empire is one thing, but to

imperil a hallowed institution because of
some jet-engine nonsense is а bit much

and some places where they didn't,
the words Rolls-Royce were lingua
franca for ultraquality. mechanical
perfection, triumph of handcrafts-
manship over the machine age and
the probity of British businessmen.
When, without more than a prelimi-
nary rumble, the company went
bankrupt not too long ago, it was as
if the dome of St. Paul's had fallen in
or Prince Charles had renounced his
claim to the throne to join a hippie
commune: It was not to be believed.
And worse: The British government
didn't think it worth while to save
Rolls-Royce. And worse again: The
company hadn't been put to the wall

PLAYBOY

94

by agents of evil nor by uncontrollable
circumstance. Its executives stood ac
cused of incompetence, and words like
stupidity and mismanagement were heard
n the land. The debacle seemed to be
complete.

But two facts, one obvious and one
obscure, were generally overlooked. Rolls-
Royce’s acroengine division had gone
down, but the car division was merrily
making money, as it usually had; and
while news that a factory is in trouble
has nearly always meant that its cars
become pariah, word of Rolls Royce’s
bankruptcy brought а run on the show-
rooms. Clearly, people were thinking, “If
I don't get one now, I never will." The
most prestigious motorcar the world has
seen was still just that, bankrupt com-
pany or not.

Be: formed opinion in London was
that the root of the trouble might have
been the thing that had made it great:
dominance by engineers. The founder of
the company once signed a guestbook
"Henry Royce, Mechanic.” "That was
how he thought of himself, and in his
organization, men who could shape met-
al always stood. above those who merely
made decisions. Sadly, it was the deter-
mination of engincers to make the best
jet engine in the world that pulled
Rolls-Royce down.

The engine was typed the RB-211. It
was planned to be lighter than its com-
petitors, have fewer parts and produce
more thrust; and, in fact, it met these spec-
ications. It was a disaster, nevertheless.
‘The biggest order in sight for the
RB-211 was for Lockheed's TriStar—540
units, Rolls-Royce put on a blitz, the
biggest and most costly sales campaign
any British firm had ever done. In 18
months of trying, the company's task
force of 20-odd people racked up 230
transatlantic crossings—cost, $200,000—
produced a stack of literature two feet
high and spent, in all, over $1,000,000.
Bur Rolls-Royce got the order, estimated
to be worth two billion dollars, and
David Huddie, the engineer who led the
effort, was knighted for it. In the execu-
tive offices the picture seemed rosy, in-
deed, but back at the foundry it was
rather less so.

Determined to replace Pratt & Whit-
псу as the world's number-one jet-
engine producer, Rolls Royce had taken
the Lockheed contract on tough terms.
The company looked back longingly on
1957, when it had made 54 percent of
the world's jet engines. While the
RB2l engine was, overall, brilliantly
conceived, it was rushed. For example, it
was designed to use turbine blades of
pressed carbon, cheaper and lighter than
the usual titanium, but untried in serv-
ice. However, testers found that carbon
blades would not stand up to two com-
azards—a deluge of rain or
hail or a bird sucked into the fans. With

the engine already in production, the cost
of changing to titanium was formidable.
There were other gaffes. But the engi-
neers pressed on, knowing that in the
end they were certain to come up with a
great engine. And Rolls-Royce's cost-
accounting methods, admittedly Stone
Age, lighted the looming disaster only
dimly. The company arranged to borrow
$100,000,000 from the government and.
$13,000,000 from private sources, but curi-
ous outside accountants came with the
deal. Unromantic, indifferent to all but
the numbers, it was they who came up
with the definitive bad news: Each of
the 540 engines was going to cost more
than $264,000 over what Lockheed
agreed to рау. The answer was either
bankruptcy ог massive government
financing. The government declined, the
roof fell in, a receiver was appointed
end a Tory government, dedicated. to
damning the socialist tide, found itself
nationalizing one of Britain's proudest
private enterprises. A separation of the
failing aero-engine division from the
profitable car division was arranged; a
new company, Rolls-Royce Motors, Ltd.,
took over and automobile production
went on, having hardly skipped a beat
through the whole upheaval. (Later, i
October 1971, Rolls-Royce shareholders,
faced with $288,000,000 of indebtedness,
voted heavily to put the company

will probably be sold, not to
manufacturer in a unit, as had been wide-
ly bruited, but in a public stock offering.)

I visited the factory at Crewe on the
day the new company was announced.
No faint sign of crisis marred the accus-
tomed hushed serenity. A limousine
ed at the railway station; the recep-
tion room still seemed vaguely church-
like, quiet and remote, one of Sir Henry
Royce’s favorite maxims on the wall:
QUIDVIS RECTE FACTUM. QUAMVIS HUMILE
PRAECLARUM. ("Whatever is rightly done,
however humble, is noble"). Luncheon
as in the civilized mode of British
business: a preliminary relaxation abet-
ted by an adequate flow of sherry, excel-
lent food, suitable wine and a minimum
of shoptalk by the executives at the
round table. The page-one headlines in
every significant newspaper in the United
Kingdom appeared to have left managing
director D. A. S. Plastow determinedly
unmoved: “The position of the company
is more nearly unique now than it ever
was before," he said. “Rolls-Royce once
had competitors—Hispano Suiza, Lanches
ter, Bugatti—but we are now the only
manufacturer in the world concentrating
on large high-quality saloon cars . .. we
intend to improve them, concentrating on
refinement, elegance and longevity, and
at the same time to produce, every year,
a few mor

lt was an attitude Frederick Henry
Royce would have appreciated. Few
men cin have been more singleminded

than he was, more rigid in refusal to
allow nonessentials to divert him from
his primary purpose. For most of his life
he was profoundly disinterested in any-
thing but work—food and sleep included
—and he was driven always by a furious
pursuit of unattainable perfection.

Royce seemed poorly prepared for his
role as creator of the best thing of its
kind in the world. He had little educa-
tion, not always enough to cat, and he
was working hard, selling newspapers,
running telegrams and the like, be
fore he was into his teens, He was ap-
prenticed to a railroad-locomotive shop
when he was 14. The apprenticeship
cost £20 a year, but he couldn't аб
ford to finish it and got a job with a
toolmaker at 11 shillings a week; the
work week was 54 hours. Royce later
found time to go to school at night, and
by the time he was 21, he was a specialist
in electricity and he set up а company,
which made electric cranes. They were
good cranes and the firm made some mon
су, enough to put Royce into the select
company of those who could afford a mo-
torcar. His was a two-cylinder Decauville.
It wasn't at all a bad car, but it seemed to
Royce that he ought to be able to make a
better one. It was running on April 1,
1904.

It’s probable that more nonsense has
been spoken about the Rolls-Royce than
about any other car, beginning with the
first опе. It was not an innovative won-
der. Royce never claimed eminence as
an inventor. He was a good practical
engineer, not more. His great strength
lay in a nearly unerring ability to find
the best way of doing something, backed.
by a flinty refusal thereafter to do it
any other way. His first engine was finely
finished and balanced, so it was nota.
bly quicter than its contemporaries. His
electrical system—then and now the pri
mary cause of internal-combustion-engine
breakdown—was superior, and because
he had taught himself a good deal about
gas flow, his carburetor was excellent: It
was the first one that would allow an
engine to pick up instantly and smooth-
ly from idling without argument and
without a lot of fiddling with spark and
air control levers. The car, an open two-
seater, was heavy for its size, but it had
respectable performance. nevertheless
Royce made a second and a third, He
had no facilities for effectively market-
ing them, however, and if he had not,
reluctantly, met Rolls he might not
have gonc on.

Rolls, Charles
of Baron Llangattock, was ri
aristocrat. In his time—he w

as born in
1877—the emerging concept of mechani-

cal travel was as exciting as space explo-
ration is today. Rolls was fascinated by
it, and he had the means to indulge hi:
interest. He was one of the first British
balloonists and airplane pilots and he

(continued on page 108)

see
a 2
е: е
е p-
m

PLAYBOY

98

of which actually contain, impressed in
their grooves, according to some authori-
ties, four-channel information that we
were never able to hear before, so that
even a nonencoded record can be given a
new sense of aural spaciousness. Quadra-
phonic sound, in short, does not make
your present record collection obsolete—if
anything, it enhances it.

"The problems of compatibility also.
have been largely solved. A quadraphonic
record, played on a regular stereo set,
will sound just as good as, if not better
than, a standard stereo record. Quadra-
phonic records that have been encoded
via the matrix system can also be broad-
cast by ЕМ st with no changes
required in station equipment nor, for
that matter, with any special permi:
needed from the ЕСС. On the receiving
end, all that’s required is your present
stereo FM tuner, plus the decoder, extra
speakers and the second stereo amplifier (if
necessary) that you've already purchased
to listen to your four-channel records.
And what if, heaven forfend, you have
only monaural equipment? If it's com-
patible with stereo records, it’s compati-
ble with quadraphonic as well.

Before detailing the various units
available, a brief rundown on just what
fourchannel sound is all about might
help. True fourchannel sound—called
discrete—requires four completely sepa-
rate sound sources, two stereo amplifiers
and four speakers, preferably set in the
four corners of the listening room, so
you are, in effect, surrounded by sound.

Stereo purists, of course, argue that
once fourchannel goes beyond adding
the ambient effects of the concert hall, it
becomes unrealistic, that this is hardly
the way you hear sound at a musical
performance, where the audience is on
one side of the footlights and the musi-
dans arc on the other. And they're per-
fectly right but four-channel sound has
nothing to do with concert-hall realism.
What it actually is—sonically speaking—is
audience participation, Instead of the
audience surrounding the performance,
the performance surrounds the audience;
namely, you. If you wish to sit in with
the second violins, why not? And if you

wish to be surrounded by your favorite
rock group, it’s in no position to object.
Four-channel sound is sound in the round,
with you at the center of the audio vortex;
it's highly egocentric, extremely person.
alized, electronic and completely non-
real

it's a new dimension in sound
has nothing at all to do with what
happens when you buy a ticket to sce a
musical show or sit in a concert hall, or,
for that matter, sip coffee at the local
coffee shop with your friends while the
group on the tiny stage goes through its
paces.

And that's the point of quadraphonic
sound: It's a brand-new way to enjoy
music, and it's as exciting and innova-
tive in its own way as the discovery of per-

spective was to artists of the 1th Century.

Oddly enough, while quadraphonic
sound may have little to do with the
мау a musical performance is usually
presented, it has everything to do with
the way we actually hear. “Stereo”
sound has always been a misnomer— it's
an attempt to equate a sonic presenta-
tion with the way we see, not with the
way we hear. We sec from side to side
(and are blessed with depth percep-
tion), but we cannot see what is behind
us unless we turn our head. Not so with
the way we hear. The reason God didn't
give us four ears is that He didn’t haye
to; by cleverly placing one on each side
of our head, He gifted us automatically
with surround sound—we hear in front
of us and behind us, as well as from side
to side and up and down. We are at all
times literally submerged in a sea of
sound that washes against us from all
sides.

As far as concerthall realism goes—
the moment you buy a record, you're far
removed from anything that’s realistic.
You hear the performer with a clarity
you seldom hear in the concert hall, you
can "sit" anywhere you wish by merely
turning the volume knob up or down, and
if you so desire, you can call him back
for an endless number of encores. Concert-
hall realism? The concept becomes even
more absurd when you consider that few
groups—or symphony orchestras, for that
matter—could possibly create at a live
performance the equivalent of the multi-
chamneled, overdubbed, carefully engi-
ncered and edited performances that are
released on records. In short, the purist
who complains about the unreality of
quadraphonic sound is one with those
who hooted Bob Dylan off the stage when
he showed up with an electric guitar in-
stead of his standard acoustic one. Their
numbers dwindle every day and, with
time, even they will admit that alongside
quadraphonic, stereo sound may have be-
come as old-fashioned and 2s unsatisfying
as monaural.

Discrete four-channel programed mate-
rial is currently available in this country
only in tape format, primarily four-
channel cartridges called Q8 and released
mainly by RCA, although some rccl-to-
reel material is available, "The quadra-
phonic records currently on the market
are made by mixing four separate sound.
sources (via an encoder) into two channels
and then, using your little black box to
decode the two channels, back into four
on playback. This matrix four-channcl is
not quite comparable to discrete four-
channel when it comes to separation be-
tween channels, but aurally speaking, it
can be quite good indeed, and by adding
more circuits to some of the decoders, the
separation in matrix fourchannel be-
comes very ncarly the equal of discrete.

There are at this writing a number of
decoders on the market, most of which
аге compatible with one another—at least

to а degree; a record encoded via one
system can usually be quite successfully
decoded with another system's decoder.
Since this is not true in all cases, be sure
to check before you buy. Every decoder,
however, il enhance the listening.
qualities of your present sterco records.

One of the simplest and least expen
sive decoders is the Dynaco Quadaptor
($29.95 factory assembled, $19.95 in kit
form). Of the major decoders available, it
is the only one that does not need an ad-
ditional stereo amplifier—your present
stereo unit can drive all four speakers.
While few records have been encoded
via the Quadaptor approach, the unit
is recommended for use with all Stereo4
encoded records (those encoded with
the Electro-Voice EVX-4 system, which
indudes discs by Ovation, Project 3,
Crest, Crewe and а number of others).
However, a system using the Quadaptor
is a minimum system and if later you wish
to go into discrete four-channel sound as
well, you'll have to buy that extra stereo
amplifier.

The EVX-4 Decoder (Electro-Voice,
$59.95) requires that you purchase an-
other stereo amplifier but boasts this
advantage: There are a number of
quadraphonic records on the market en-
coded specifically for this system. As with
other decoders, usc of thc unit does not
degrade the high-fidelity aspects of the
records played nor of the system itself.
(A kit version of the EVX-4 Decoder is
available from Heath as Model AD-2002
Юг $29.95.)

As opposed to the Quadaptor and the
EVX-4 Decoder, which һауе minimum
controls, the Sansui QS-1 Synthesizer is
equipped with VU meters for each chan-
nel as well as a number of other con-
trols, and costs correspondingly more
($159.95). Although few records encoded
via the Sansui method are available,
it does a creditable job of decoding
Stereo-4 encoded records and can also
handle sound from a discrete four-chan-
nel source such as а four-channel tape
deck, cartridge unit, etc. As with the
EVX-4 Decoder, it requires another stereo
amplifier in addition to the one you al-
ready have. (Additional models are avail-
able with built-in amplifiers.)

Although the Quadaptor, the EVX-4
and the Sansui QS-1 are more or less com-
patible, the SQ decoders developed jointly
by CBS Laboratories and Sony Corpora-
tion of America are not. Based on another
matrix system, they differ radically from
the others and, while they're just as
capable of enhancing ordinary stereo
records, it would not be adyisable to use
these units to decode records encoded via
other systems. The Sony 500-1000
($96.50) has additional circuits to im-
prove front-back separation, but, like the
EVX-4, a rearchannel amplifier is re-
quired. The SQA-200 costs more ($127.50)
and doesn’t haye the added circuitry of the

(continued on page 204)

fiction by r.a, lafferty

rangle dang kaloof

one thing for sure—be very careful how you treat
little gnomes with invisible nooses

THE GNOME had been around for a month or so. There had been, there still were, others of them. But there was some-
thing a little mean about this one.

They weren't gnomes, of course. There are no such things as gnomes; and besides, gnomes are somewhat larger.
These were small, smaller than squirrels, They had been harmless. It was rather pleasant to know that they were
around, in the borderland. It was like having squirrels living in your walls, and these didn’t damage or gnaw.

Flaherty would sit in that big chair in the evenings with that little table in front of him. He would read, he
would write, he would doze. When he nodded a bit, when he dozed, that was when he saw them. He never saw them
when waking and he never saw them when honestly asleep. He met them on that narrow border between the states.

And Flaherty knew better than to quarrel with them. He didn’t want even the imaginary bad luck that might
come from crossing imaginary creatures. He was peaceful, they were peaceful and there had been no reason for quarrel.

The quarrel, when it came, began over almost nothing, as do most’ quarrels in that borderland between sleep

ILLUSTRATION BY RANDALL ENDS

100

and wakefulness, The gnome was dragging off one of
Flaherty's old slippers, the left one.

“I'd never take the right one," the gnome said. “1
have no province at all over things of the right hand or
the right foot. And you do need new slippers. These are
a disgrace.”

“Do not call my things a disgrace,” Flaherty grumped.
“Why do you want an old slipper?”

“I need it,” the gnome said. “Certain details of my
nest. It can be shored up in several places with pieces
and fluff from the slipper. These are intimate things,
though, and no business of yours. Do I ask what you
want with such and such?”

“Go to hell,” Flaherty said, and that was where he
made his mistake.

ulgar,” the gnome sulked,
lous. I've nothing to do with
hell. I'm of another country entirely. Last chance. Will
you give me the slipper?”

“ТЇЇ give you nothing, you bug,” Flaherty growled.
“Begone.

“We'll see about it, then,” the gnome said with a
mean turn in his yoice. “1 have a little trick I can use.
Ah, I love myself when I do things like this."

"The gnome made a loop with a fine length of string
or thread. or perhaps of spider silk. He spun it like a
lasso. He threw it. Flaherty noticed that the loop
entered his chest and made itself fast on something.
And he felt a very weird little tug there in the middle
of his heart. y

“All right, all right, а trick's a trick and fun is fun,"
Flaherty said, "but you've hooked that loop around
something inside me. What, and why?”

“One of the little intraventricular veins in your heart,
between the atrium and the ventricle, actually. And
for orneriness, that's why."

"Now you are the one who's being topographically
ridiculous” Flaherty said. “There is no way that a
loop may be thrown to encircle a line that is fast at
both ends.”

"I did it, though. Feels funny, doesn't it? Almost
hurts.”

“A queasy feeling,” Flaherty said. “Leave off now.
You can have the slipper.”

“I intend to have it. And some fun with you, too.
Feel when I pull it tighter.”

“Oh! No! No! Stop Uncle!”

“Unde isn’t the word,” the gnome said.

“For the love of Saint Polyander, what is the word,
then?” Flaherty begged.

"Rangle dang kaloof,” the gnome pronounced se-
riously.

“Rangle dang kaloof, then,” Flaherty said, but he
smiled a bit meanly when he said it, and he shouldn't
have.

"Louder," the gnome ordered, and he pulled the
loop tighter to create an alarming twinge.

"Rangle dang kaloof," Flaherty cried.

"When I say louder, I mean louder," the gnome
said, and he pulled on the loop to give a true heart
pang.

“RANGLE DANG KALOOF,” Flaherty screamed.

“That's good enough for now,” the gnome said. He

eased off on the loop. The heart pang ceased, but
Flaherty fainted into real sleep.

Only for a moment, though. The telephone woke
him up. It was a sorehead neighbor.

“Flaherty, whats that damned screaming over
there?" the s.h.n, demanded.

"It was just a little misunderstanding,” Flaherty
excused himself lamely. “It’s funny how sound carries
in the eyening. It won't happen again. At least I hope
it won't.”

"It better not,” the sorehead said, and they hung
up on each other, Flaherty went to bed.

He woke up in the morning feeling rotten and with
а grave uneasiness in the region of the heart. Though
it was two hours before the office girl could be there,
he dialed the doctor's office every 15 minutes till he
finally got a connection. And he got an early appoint-
ment by a combination of luck and bad-mannered
shouting.

"Nothing much wrong with your heart," the doctor
said several hours later. “I won't have the tracings of
your EKG till tomorrow, but I believe your heart's
nearly the soundest thing about you.”

“Drop the other shoe,” Flaherty said nervously. He
knew this doctor.

“As I say, your heart’s in good shape. Of course, it's
going to kill you if you don't get those teeth out,
take off sixty pounds, quit boozing. Still, don’t worry.
Worry's one of the hardest things on a person. But
you can't blame your heart for the condition you've let
yourself get into.”

“Anything else?”

“This prescription. Oh, and smoking those cigars.
Better cut them in half at least.”

“That makes both halves harder to light.”

“And bad jokes—take it easy on them.”

Flaherty had all his teeth out and got crockery
teeth in place of them. He began to take off weight.
He did everything that was prescribed to him. Some-
times in the evenings he heard snickering when he
drifted into that narrow borderland between wakeful-
ness and sleeping. His pills, which he took faithfully,
seemed to call out merriment from the lurking
gnome.

“Valium,” he heard it sneer once. "How are you
going to get rid of a noose with Valium pills?” It was
a good question. And Flaherty still had the heart
twinges and pangs.

The next evening, he was compelled to squall,
shout, scream the unmagical phrase rangle dang kz-
loof again and again. His reputation in the neighbor-
hood deteriorated.

Flaherty had men in to soundproof his house. He
continued to take off great globs of weight and he felt
himself diminished in person and in spirit. He stayed
off the juice and the smoke, and he felt his wit drying
up from it.

“АҺ, you're coming along fine, fine,” the doctor
told him. “Looking much better. Pulse and blood
pressure greatly improved. Bet you're feeling a lot
better, aren't you?”

"No, I'm feeling terrible,” (continued on page 122,

“Ah, Betty, my dear! Fortunately, I was
saving the best for last. . . .”

101

in turning out instant burgers and half-hour pheasant, the microwave
FAST oven gifts the host with that most precious of commodities—time
food By JACK DENTON SCOTT Prominent scientists believe that

a hairy paleolithic man, breaking up rocks to get a boulder to brain an
enemy, accidentally struck some flint and iron pyrites together. Sparks flew
into dry leaves. Fire was discovered.

There is an analogy in another accident that may make fire obsolete.
In Waltham, Massachusetts, in 1945, Raytheon's Dr. Percy Spencer approached the power tube of a
radar set. Although a bit more sophisticated than rocks, radar is also a defense against enemies. Eyes
on the sensitive tube, Dr. Spencer reached into the pocket of his white lab coat for a candy bar to
munch on. What he found shook the scientific world. The candy was a gooey mess.
Dr. Spencer immediately experimented in the heat of that microwave field, popping coru,
cooking a hot dog and other food before a small radar antenna. From that came a first patent,
Treating Foodstuffs, in 1950, and, in ten years’ time, 117 other patents in microwave technology.

These resulted in the microwave oven, the fastest cooking unit
in existence.

In later years, there were patent contributions by Tappan,
General Electric and Litton Industries, and today there are
perhaps ten companies manufacturing microwave ovens. Some
have special browning units; some can be used in conjunction
with the ordinary stove; sizes vary; so do prices. The Japanese
have entered the field in a big way. Dr. Spencer, however, led
it, and his discovery resulted in the modern oven that I own and have experimented with for over two
years, the Amana Radarange. Its counterpart was introduced as a very expensive commercial oven
in 1947; but a compact home model for under $500 wasn't available to the public until 1967.

It is proper that the 90-pound microwave oven of stainless-steel and aluminum construction looks
like a large portable television set. It took a couple of weeks before I could dial in the cooking waves
without expecting to get Walter Cronkite. But it took only one minute to convince me that this was a
man-benefiting spin-off from aerospace science. A private demonstration showed me a slice of bacon

PHOTOGRAPHY BY DWIGHT HOOKER

PLAYBOY

crisply cooked on paper toweling in one
minute, a medium-rare hamburger on
blue china in 40 seconds, lobster tails,
frozen solid, cooking to perfection on a
paper plate in five minutes, a five pound
sirloin of beef sizzling right on its carving

board, done in just over a half hour.
Thi:

kind of thing can sür up an
-off, a projection of here-
tofore impossible culinary short cuts. The
microwave oven can't stuff a chicken,
carve, nor open a bottle of wine, but it
can drastically reduce dishwashing, do
away completely with potand-pan dean-
е the heat and labor out of cook-
ing, reduce one's time in the kitchen for
all meals by over 50 percent and for
many up to 80 percent. It does amazing
timesaving tricks, such as melting butter
and chocolate in their wrappers, reducing
steps for making sauces and pastries, Tea
and coffee can be brought to the boil in
their cups, too-hard ice cream softened in
its container.

Uncooked frozen foods can be defrosted
at two minutes per pound; all precooked
frozen meals can be taken out of the
freezer and placed piping hot on the
table in about six minutes flat. Thus,
you can prepare ahead for large groups
and let the micowaves do the chores
without losing drinking time.

Leftover foods are brought back to
their original life. Cooked pastas (I am
un tifoso della pasta—a pasta nut),
which I once unenthusiastically reheated
the next day or discarded, сап now be
stored for a week in a bowl covered with
plastic wrap, then popped into the micro-
wave oven for 114 minutes and served
with its original form and flavor.

Flavor is improved: there is a greater
retention of vitamins. No water is used
n cooking vegetables and fruits; nu-
trients аге not dissolved and natural
colors and flavors are preserved. Lower
surface temperatures and the fast cook-
g reduce evaporation and breakdown
of nutrients.

Microwaves do not cook by direct арр!
cation of heat. Electromagnetic waves
from the power source are instantly ab-
sorbed into the food, becoming heat
energy, cooking all of the food simulta-
neously. Simply, they are electromagnetic
waves of energy, like those sent out by
television and radio transmitters. You
dial them the same way, bringing heat
rather than a picture or sound. "They have
the characteristics of light waves, travel-
ing in a straight line, and сап be gen-
erated, absorbed, transmitted. In the
microwave oven, the generator producing
the cooking waves is а magnetron, a
vacuum tube that operates as an oscillator
10 generate microwaves.

The oven—be it Thermador, Hotpoint,
Toshiba or Amana—is easier to operate
than a television set. Mine has two timer
dials, one for a limit of five minutes;
other, 30. There are three switches: START,

104 stor, иснтѕ. One simply places food in

the oven, dials the number of minutes it
should cook and punches the starr and
the LICHT buttons, so that the cooking
action can be observed. A buzzer sounds
and the oven automatically switches off
when the dialed time has elapsed.

It is important to remember that
cooking times in the various makes of
microwave ovens may differ. Check the
literature carefully, keeping in mind the
danger of overcooking. Food continues to
cook for a few minutes after it is removed
from the oven.

We lazy ones who believe that time is
precious and too much effort obnoxious
are encouraged by microwaves—actually
forced to use items that must be discard-
ed. You cannot use metal of any kind,
not even aluminum foil, in a microwave
oven. Metal rellects the microwaves, pre-
venting penetration of food. Paper, glass
and china transmit microwaves and wa-
ter absorbs them. Food is heated by that
absorption. When you do the unbelieva-
ble and cook a hot dog on a paper
napkin, the microwaves zero in only on
the food, each inch of which has millions
of molecules. They react to microwaves in
the manner of a needle to a magnet. Move
а magnet quickly from one side of a com-
pass to the other, repeat it many times
and the friction in the bearing that
supports the needle causes it to become
heated. And that's basically what happens
when food molecules are oscillated by the
microwaves. They turn 180 degrees, then
return to their starting position 2,150,000
times a second. This fantastic action
causes the food to heat.

Here is an easy lunch, a bachelor
supper, a dinner and a couple of mid.
night snacks I heated up while experi
menting with the waves. How about a
ten-minute meat loaf for a starter?

MIDDAY MEAT LOAF
(Serves six)

A meat loaf may be a freak meatball
or a jazzed-up hamburger. but spectacu-
larly cooked by miaowaves before
luncheon-guest spectators are halfway
through tall cold drinks, it is a dish to
remember.

Ya pound pork s

14 pound twi
pound twice-ground pork.
nd twice-ground veal
beaten
1 сир bread crumbs
4 cup grated asiago or parmesan cheese
2 tablespoons Italian parsley, minced
2 tablespoons white raisins, minced
lots, sautéed in butter until soft
ato purée (the type

spices and green pepper)

1, teaspoons salt

Hearty black-pepper millings

Mix all ingredients well in large bowl.
Your hands are the best instruments.
Butter a glass quart loaf dish. Spoon
the meat mixture into the
pI E levenly ЛИШ (Ал: not ped

usage

solidly. Cook in microwave oven, un-
covered, 5 minutes. Tum the dish to
diferent positions twice during this
time. Cook another 5 minutes, turning
another two times. Let it set 10 minutes
before slicing. With it, I serve a green
salad and whole spears of salsily (from a
jar), which I have sautéed in butter and
lightly sprinkled with lemon juice. A
chilled Spanish rosé poured generously
gives the space-age meat loaf pûté per-
sonality. Gooking time: 10 minutes.

LENTIL AND SAUSAGE SUPPER
(Lenticchie e Cotechino)
(Servessix) *

A favorite I first had in the Italian
Abruzzi, the dish most requested for
what is confusingly called a bachelor
supper when a gang escaping the chain
of their wives gathers for supper. It has
several things going for it: Irs a one-
dish meal, a conversation maker and it
is tasty as hell. I insist that only cote-
chino sausages be used. They are rich,
mild and full of personality.

l-pound box dry lentils

2 1-pound cotechino sausages

2 1334-0z. cans College Inn chicken

broth

3 small carrots, finely chopped

3 small white onions, minced

1 stalk celery, chopped

4 tablespoons olive oil

3 doves garlic

2 sprigs thyme

Salt, freshly ground black pepper

115 teaspoons sweet Hungarian paprika

Wash lentils, soak in cold water 215
hours. Place sausages (pierced in several
places) in glass casserole, cover with hot
water, cover casserole, cook in micro-
wave oven 10 minutes after water boils.
Remove from oven; let stand 10 mi
utes. Peel skin from sausages. Drain len-
tils, place in glass casserole; pour in
chicken broth, stir in carrots, 24 of the
minced onions, celery, 1 tablespoon olive
oil, garlic and thyme; season with salt and
pepper. Add peeled sausages. Cover casse-
role, cook in microwave oven 25 minutes
after it boils, stirring every 5 minutes and
changing position of the casserole each
time you stir to ensure even cooking. Taste
lentils and carrots; when tender, the dish
is done. Cut sausages in min. slices and
return to casserole. [ apologize for using
another dish, but the Italian who con-
cocted this has a necessary finishing touch.
Heat the remaining 3 tablespoons olive
oil in Pyrex dish in microwave oven. Stir
in the remaining minced onions; cook
2 minutes. Stir in the paprika; cook exact
ly 25 seconds: If you overcook, the papri-
ka becomes bitter. Stir the onions and
paprika into the lentil pot and let stand
1 hour. When guests are ready, replace
lentils in microwave oven for 2 minutes,
or until they bubble, This is not a soup
and is supposed to be thick. With it, I
serve a green salad (Bibb lettuce, fresh

(concluded on page 223)

SIGNS OF
LOVE 4

»
9
7

AN‏ ار
:
30

a E
| ESS
ТА?
f
VIVES
UL

"d
EI
sax
»* [1934
(346
335
ii

Уу _

La
[

marital difficulties. When the Shunga
prints were eventually bound into book
form, known as pillow books, they became
а part of every bride's trousseau. Leaves
from these books were regarded as talis-
mans, giving protection to the soldier in
battle, riches to the poor and a cure for
frigidity in women. Thus, they served as
sexual handbooks.
To understand this widespread accept-
ance of the erotic in art, one must realize
that in Japanese religious cults, there is
no conception of sin as such. There is
also no hell, and even the demons are
regarded as friendly creatures. What we
see in the early stages of Shunga is an
insatiable appetite for life, something akin
in the Western world 10 the spirit of
Chaucer and Brueghel. There is по senti-
mentality, no romanticism, Things are
what they are, and sex is sex, something
pleasurable, healthy and to be enjoyed to

YEAR OF THE RAT

YEAR OF THE TIGER

the full. If the private parts are exagger-
ated, as they frequently are, it may be,
as one wit put it, because if they were
depicted as they really are, there would
be nothing much to look at.

However audacious the painting, there
was always beauty in the portrayal of the
scene. Obscenity, as we understand it, did
not mean vulgarity. If there was no moral
stigma attached to these productions, there
was nevertheless an aesthetic censorship—
self-imposed, to be sure. Everything was
in the open, animallike or divine, as you
wish, but enveloped in the harmonious
beauty of color, composition and fancy.
The great lovers, such as Genji, for ex-
ample, had to be not only seductive in
physique and ability but also elegant їп
attire and gracious in manner, Often men
and women of high rank are depicted
performing artfully and lustily on the
greensward against a delicate, pale, wispy

background of trees and houses in the
distance. The contrast between the bold,
colorful patterns of the kimono adroitly
parted to reveal the exaggerated sex or-
gans and the pale, delicate backgrounds
creates a double sense of violation, ecstasy
and fulfillment that is irresistible. In
interior settings, one sometimes sees a
servant on guard in the comer, pretend-
ing not to observe the antics of hiis superi-
ors but expressing his private enjoyment.
of the scene by masturbating. Occasional-
ly, one sees a pair of cats also imitating
their master and mistress.

Unfortunately for the world, this in-
nocent and clemental expression of pure
carnal pleasure came to an end over a
century ago, due to some extent to the
influence of greedy, prurient art collec-
tors of Europe and puritanical hypo-
crites in Japan itsclf who were poisoned
by Christian notions of morality.

YEAR OF THE OX

YEAR OF THE RABBIT

107

PLAYBOY

ROLLS-ROYCE (continued from page 94)

was well known as an “automobilist”
while he was still a Cambridge student,
and when there were more than merely
mechanical hazards involved: "The law
оГ the land specified a speed not to
exceed four miles an hour, the vehicle
to be preceded by a man on foot carry-
ing a red flag to warn other road users
of the imminence of mortal danger.
Rolls, sensible of the privileges of birth,
consistently drove his Peugeot over the
limit and without flagman, his purpose
obviously publicly to flout an absurd
regulation. This attitude persists today in
British drivers of an independent cast of
mind. When England set up a 70-mph
limit a few years ago, a friend said to me,
“My dear man, this country is run by
and for the five percent of us who matter,
who are, in one way or another, aristo-
crats. I shall drive as fast as I please, where
I please and when I please, and be
damned to their silly speed limit!”

In 1896, the four-mph limit was raised
to a blistering 12, and in celebration of
what was called Emancipation Day, the
first London-to-Brighton run was organ-
ized, Rolls was 2 prominent entrant,
Four years later, the Automobile Club
of Great Britain and Ireland ran a
1000 Miles Trial, and he won it in a
Panhard et Levassor. With Claude John-
son, the secretary of the automobile
club, he set up a London dealership,
selling, among others, the Panhard and
the Belgian-made Minerva. One of
Royce's associates, a Henry Edmunds,
thought Royce’s car should be on the Lon-
don market, and undertook to bring the
two men together. It wasn't easy. Royce
was shy, taciturn, disliked meeting stran-
gers and flatly refused to go down to
London from Manchester. Rolls was ac-
customed to having people come to him,
but he went to Royce. He knew the car
for what it was as soon as he saw it, and
so did Johnson. A deal was worked out,
money was found and C. S. Rolls &
Co. undertook to sell all the cars Royce
could make. Logic indicated that on the
basis of weight of contribution the name
should be Royce-Rolls, but the reality
was that Rolls's name was well known
in the motoring community and Royce's
was not. So much for the name. (But
Rolls has always been
to utter a vulgarism, although to call it a
Royce is acceptable—among factory people
and second-generation owners) The fa-
mous slogan, still the base of the com-
pany's European advertising, “The Best
Car in the World,” was picked up from
a journalist later on. The hallmark radi-
ator, essentially unchanged from the be-
ginning, was probably derived from a
short-lived automobile called the Nor-
folk, but Royce improved it, advantag-
ing himself of the principle of entasis:
The human суе sees а truly flat surface

108 as concave, so to make it appear flat, it

must be slightly convex. The squared
radiator shell demands to be handmade
and hand-finished, and this accounts for
the $200 price difference between the
Rolls-Royce and the otherwise identical
Bentley, which carries a die-formed
shell.

The first Rolls-Royce to be shown їп
England was on the floor at the 1905
London motor salon. A four-cylinder,
four-passenger open touring car rated at
20 horsepower, it was priced competitively
with cars of similar pretension. Knowing
observers noted the heavy, rigid chassis,
the meticulous detail and. when the car
was run, its remarkable sound level. The
strength of the chassis was evidence of
Royce's characteristically long view. The
coachwork of the day, mated with light,
flexible chassis, soon developed distortion-
made squeaks and rumbles. Chassis ri-
gidity was the answer—that and stringent
control over the ways the coachbuilders
attached their bodies. (Until 1946, Rolls-
Royce built chassis and engines only; all
bodies were custom-made.)

The Rolls-Royce troika management,
Royce, Rolls and Johnson, showed a
rare conjoining of abilities. Royce cre-
ated, Rolls drove the cars brilliantly
and successfully in competition, Johnson
had a most perceptive grasp of publicity
and promotion. In 1907, a six-cylinder
model, designated by the factory as the
40/50-hp six-cylinder, came outa near-
ly flawless automobile destined to be a
legend and an imperishable classic. John-
son took the 13th 40/50 produced, had
it finished in aluminum paint and silver-
plated hardware, gave it a silver plated
cast brass dashboard plaque naming it Sil-
ver Ghost. With suitable fanfaronade, he
had it run 15,000 miles over ordinary
roads under strict Royal Automobile Club
scrutiny. Stripped, it showed zero wear
in engine bearings, transmission and cyl-
inder bores; and to bring it back to
“asnew™ condition cost less than three
pounds in coin of the realm, an outcome
that shook the opposition and impressed
motorists, who had thought of breakage,
warpage and general dilapidation as part
of the game. Later, Johnson caused a
slightly more powerfully engined Ghost
to be run from London to Edinburgh and
return in top gear only. In all, 7876
Silver Ghosts were made from 1907 to
1926, 1703 of them in the Springfield,
Massachusetts, branch factory, а 1919-
1926 experiment in tariff reduction that
ultimately failed—the factory closed in
1935—because it lessened the car's snob
value. The Silver Ghost had the second-
longest single-model run the industry has
seen, one year more than the Model T
Ford, four years less than the Citroen
traction avant. The original Silver Ghost
still exists and with 500,000-plus miles on
its odometer, still runs with the smooth-

ness and near silence it was born to. The
1971 value of mint-condition Ghosts was
in the area of $50,000 for openers, but
they are a market rarity.

About 20 modcls of Rolls-Royce were
built before World War Two, including,
in 1905—1906, а V8 and a three-cylinder;
but the Ghost, the six-cylinder Phantom
1 and Phantom II and the 12-cylinder
Phantom ПІ were the cars on which the
RR reputation prospered. New designs
showed few startling innovations; change
was gradual, if inexorable, and never
for novelty's sake. A 1931 looks remark-
ably like a 1921 and the resemblance is
not due entirely to the radiator shells.

Royce's engineering was not unive
ly applauded by his peers—accusation of
overweight, for example, being not un-
common. But if weight was partially
responsible for the sheer durability of
the vehicle, then it had to be accepted.
‘The Silver Ghosts seemed almost inde-
structible. For World War Onc, armorcd
bodies, weighing more than twice what
the car was designed to carry. were put
on Ghost chassis, often well-used chassis
at that. Even in desert warfare, chassis
did not give way, springs didn't break
and engines ran for miles on the boil
when the bulletproof radiator slats were
closed. Only tires made trouble, T. E.
Lawrence reported afterward. (Some:
once asked Lawrence what he would
most as a gift. A Rolls-Royce, he said,
with tires and petrol to run it forever.)

The cars ran that way because Royce
had decreed it. For him, the best was
only marginally good enough. His steel
was smelted and rolled to his specifica-
tion, and he kept inspectors in Shefheld
to see to it that no one slipped. (Old
Roll-Royces are remarkably rust-free,
even those that were sold in the home
market and worked for years in one of
the dampest climates in the world.) To
be doubly sure, a testpiece, or “ear,” was
formed in every part at the factory,
broken off, numbered and sent to the
laboratory, An adverse report meant
that the part, and perhaps the entire
batch, would be discarded. Royce de-
voutly believed in testing. One device in
which he put great store was called the
bump machine, a simple enough rig
made of big irregularly formed wheels set
into a floor. A finished car would be
chained down over them and the power
turned on, with an effect far more
wracking than 40 mph over the roughest
kind of road. Company engineers
claimed that the bump machine would
break up quite good automobiles in a
few minutes; their own cars were expect-
ed to take it indefinitely. Assembly
methods were meticulous: Chassis mem-
bers, for example, were bolted together,
the bolts tapered, set into hand-reamed
holes and tightened by torque wrench.
The locking hub fasteners were costly

(continued on page 166)

КИШ

NS,
M.

miss february
finds everything
she needs—

and none of E
what she
doesn't—in
the big-sky

country of
colorado

Above: With her friend Bonnie Averch, P. J. leaves the courtyard near the University of Colorado Student Union for
her class. “I’m really enjoying the life of a part-time student. Even though I'm working, there's lots of time for pure fun.”

THERES A SPECIAL APPEAL to small university towns.
Mostly because of the influence of their student popu-
lations, they offer attractions sometimes thought to exist
only in big cities: informal bars and restaurants, wendy
shops and a wide cultural diversity. Yet they don't have
to deal with many of the too-familiar urban ills. Such
a place is Boulder, home of the University of Colorado
and—since last summer—22-year-old P. J. Lansing (she
docs have а first and second name, but just the initials
will do, thank you). P. J. was drawn to the town for all
of the above reasons, plus the stunning mountain scen-
ery that su “I moved to Boulder after finish:
ing three years at the University of Missouri and found

ounds it

it absolutely perfect.” A fashion-retailing major, P. J.
quickly put her undergraduate background to use,
taking а job in а local fabric shop. “I was in no hurry
to resume college, so the idea of working for a while

as attractive. For me, it was enough just to be here.”
At the moment, she has dropped the idea of studying
fashion retailing in favor of something more immediate-
Ју beneficial. “Neat summer, I plan to go backpacking
through Scandinavia, so I'm taking courses in Swedish.
It will help а lot if I can learn to use some phrases.
I'm still working some and am enrolled in just a few
classes, so technically I’m a special student." We can
think of no better adjective to describe Miss Lansing.

GATEFOLD PHOTOGRAPHY BY POMPEO POSAR

n

Above: Р. J. checks in at the Boulder fabric store where
she has a part-time job. “Luckily, work and class hours
дап? conflict. The shop is very casual and low-key—like so
much of the town—which makes it a terriflc place to work.
And it gives me the chance to keep up to date on the latest
materials. Although my career plans are indefinite at this
point, I'll always be interested in fabrics and fashion design."

Above: P. J. pays a visit to the Green Mountain Grainery,
а natural-and-organic-food store that’s very popular with
Boulder's young peaple, to buy supplies for an afternoon
hike-cum-picnic with friends. "For a while, | followed a
strict macrobiotic diet. Although I've relaxed it somewhat,
I still favor organic foods." Below, left and right: Back in
her apartment, P. J. makes a quick change of clothes.

\

F THE монт

н
=
5
=
S
=

Above: Р. J. gets plenty of fresh air and exercise hik-
ing in the Colorado high country. At right: She relaxes
during the scenic—and_ strenvovs—walk.

times like this that 1 feel really lucky to be living in

such beautiful surroundings. It's too bad that everyone
can't." Below: She and her companions reach the top
and set up for an afternoon of food and conversation.

PLAY BOY’S PARTY JOKES

The groomto-be spent the morning before the
wedding painting daisies all over his loved
one's nude body. When he finished he said,
“Please don't wash them off until tomorrow."
“Why not?" asked the startled girl.
“Because it's the only way I'll be able to say 1
deflowered you on our wedding night."

Our Unabashed Dictionary defines valentine
as a card with a heart on.

Before classes one morning, the boys’
counselor called a student into his office.
got some bad news and some good news for
you,” he said. “We've just gone over your per-
sonality tests and I'll give you the bad news first:
You have definite homosexual tendencies. .
And now the good news: I think you're cut

А banker we know insists sex is similar to a
savings account. In both cases, one loses interest
at thc moment of withdrawal.

Our Unabashed Dictionary defines ball-joint
suspension as а raided brothel.

The fellow asked his pharmacist friend for a
powerful aphrodisiac for himself, explaining
that he had invited two nymphomaniacal girls
to spend the night in his apartment. The drug-
gave him one and suggested that he take it
right away, since it would require some time for
its full effect to be felt. The young man did so
and left to await his guests.

The next morning, he returned to the
drugstore in what was obviously a state of
near collapse. “You seem to be pretty much
the worse for wear,” smiled the druggist.

“Never mind that,” groaned the fellow.
“Just give me some liniment.”

"For your penis?

“For my arm. The girls didn't show."

Our Unabashed Dictionary defines Planned
Parenthood Association as Emission Control
Center.

And of course you've heard about the St.
Louis businessman who thought his wife would
look good in something long and flowing, so he
pushed her into the Mississippi River.

An Easterner driving through Texas stopped
Jate one night at a large motel with an adjoining
tavern, Upon entering the latter, he noticed
that the bar was extremely long and the
bartender very tall. He asked for a short beer
and was served a quart stcin. When he com-
mented on this, the bartender said, "Stranger,
as you've probably heard, we do everything
big here in Texas."
few beers, the traveler asked where
The bartender told him to take
the corridor on the right to the last door on the
left: but the man, a bit confused, walked down
the corridor and through the last door on the
right, which abutted on the motel swimming
pool.

"My God!
the water.

he yelled as he thrashed wildly in
‘Don’t flush it! Don’t flush it!

Then there was the nervous philanderer who
made a slight physical miscalculation and be-
gan to commit sodomy with a woman just as
her husband came home from work unexpect-
edly—a classic case of the wrong man in the
wrong place at the wrong time.

Our Unabashed Dictionary defines impotence
as lack of responseability.

A youthful couple sat glumly

п the marriage

counselor's office, exchanging contemptuous
lances, cach waiting for the other to explain
is problem, "Why don't you begin
selor

* the coun-
aid, turning to the husband. "What seems
c the trouble?”

don't have any complaints,” the man
responded, “but what's-her-name here seems to
think I haven’t been paying her enough atien-

While attending confession, the first of three
roommates admitted to the priest that she had
Jet а тап fondle her breasts. ‘The priest told her
to wash them with holy water.

‘The second roomie confessed that she had
touched a man's sexual organ. The priest told
her to wash her hands with holy water.

‘The two girls were busy washing at the font
when their friend joined them. "Move over.
girls,” she said. “I have to gargle."

Heard a funny one lately? Send it on a post-
card, please, to Party Jokes Editor, PLAYBOY,
Playboy Bldg., 919 N. Michigan Ave., Chicago,
Ill. 60611. $50 will be paid to the contributor
whose card is selected. Jokes cannot be returned.

119

“Would it help any if I snarled?”

МҮ
FUNKY
VALENTINE

return with us to those supposedly
sentimental days of yore and
see what grandpa really posted
to grandma on february 14

humor

Flaming flapper, |
flopping free, |
Braless now. |
for all to see.

We're young but once
and my, time flies,

So would you try me
оп for thighs? 4

120

Ё. Cherubs
gaily
gamboling
o'er the
meadows’ dew

Valentine, you

T T edi
“Cause | won't

Spore the rod.

When neta

Vr Е

y ll swing out os

——

Wibich
Hand

TH you
Take,

{Dy beat?
Choose it |
Carefully! ^
none, |
ти
Offer pou |
A beart.
The

Otber—
лї polos |

121

PLAYBOY

122

rangle dang kaloof (continued from page 100)

Fi
п;

aherty said. “How about giving me the
es of a few heart specialists?"

“All right, if you want to go further and
do worse.

Flaherty tried, in the evenings, to avoid
that narrow borderland between wakeful-
ness and sleeping. He rigged up devices to
keep him out of the drowse till he was
very tired, in the hope that he would go
directly to sleep when he went to bed. He
still had the twinges and the pangs. That
loop was still around the little vein or
whatever between atrium and ventricle
in his heart. It was always there and
sometimes it was there very tightly. And
every now and then, in spite of all pre-
cautions, the gnome caught him wide-open
in the borderland and compelled him into
the roaring and screaming: RANGLE
DANG KALOOF!

It doesn't sound just right,” the gnome
said one evening. "It doesn't echo as it
should. You soundproofed the place, you
piker! Open all the doors and windows!”

"No. "There's a limit to this nonsense.

“There sure is!” the gnome swore, "I'll
teach you to crawfish with me. Open all
the doors and windows, I said. Better
yet, go out into the street for it, We may
as well put on a good show.

Oh, it was quite a concert that timc
and the heart pangs felt very like death
pangs. Again and again, at the cracking
top of his voice, he had to give it:

RANGLE DANG KALOOF!

And the night echoed with it.

‘They came with the pokey wagon and
took Flaherty to the pokey. And it was
all a little hard to explain to the judge
the next morning. Flaherty asked to be
shown where there was any city ordi
nance forbidding a man to speak the
words rangle dang kaloof or, indeed, any
words not obscene or seditious in the
street in front of his own house. He knew
he wasn't helping his сазе. There were
ordinances sufficient against making very
loud disturbances. There were also nutty
houses, he was told, for people who per
sisted in acting nutty. Flaherty paid his
fine. It might be more than a fine if it
happened again, so the man told him.

By and by, Flaherty had taken off 60
pounds. He no longer drank nor smoked
nor got mad nor worried: All these things
were forbidden to him, though the latter
two abstentions had become difficult for
him. All his heart readings checked as
perfect.

“You must feel much better now, don't
you?" the doctor, the fifth one he had
been to, asked him.

"No. I still feel rotten," Flaherty said.
“I still have the heart pangs, even though
you say I can't be having them. There is
still a stricture about а nameless vein in
my heart, even though you say there is no
such vein as I describe. And when he

jerks it tighter and makes the pain un-
bearable, he can still compel me (o
ah, never mind. Who's another good heart
doctor around here?’

“There aren't any. You've used us all
vp. There isn't anything wrong with your
heart, Flaherty, and there aren't am
heart doctors anywhere better than we
are. None anywhere, except—well, he
doesn't practice anymore, anyhow.”

“Whats his name? Why doesn’t he
practice anymore?”

"Dr. Silbersporen, And he doesn't prac-
tice now because he's agreed not to."

Te's disbarred?”

“Oh, no, absolutely not. So eminent a
man would never be prohibited from
practice except as a last resort. The great
doctor has been quite reasonable and
cooperative about it all. He's a gentleman

and he stands by his gentleman's agree
ment to practice no more. A sad Case,
really."

"Something fishy here," Flaherty sai

and he went off on the spoor of Dr.
sporen. He found the rather elderly doctor
at his home in a secluded neighborhood.
He received a friendly but somewhat
breathless welcome from him.
You are in trouble, of course,” the
good doctor said. "Only those in real
trouble still come to see me. Now, then,
tell me your trouble and I will get you
out of it immediately.” The doctor
wheezed when he talked, but it was a
ndly wheeze.

1 understand that you are, were, the
finest heart doctor in the region,” Fla
herty said. “1 also understand that you
no longer practice. Ah, what is your own
trouble, emphysema?”

“Not a trace of it. I've been to all the
throat, lung and thorax experts and they
say that there is nothing at all wrong
with me, that I must feel wonderful, I
feel rouen. What really troubles me,
though, is a small red Indian. And you?"

Then Flaherty broke down and told
Dr. Silbersporen all about his troubles,
about the gnomes (who were not gnomes)
who inhabited the narrow border between
wakefulness and honest sleep, about the
foolish quarrel over the slipper, about
the gnome's throwing the lasso around the
in the middle of his heart, about the
heart doctors’ insisting that there was no
such vein as the one that Flaherty rather
guardedly described to them.

“Why, if that's all that’s troubling you,
we'll fix it in a minute," Dr. Silbersporen
wheered and gasped. “They are right that
there's nothing wrong with your heart.
Once we take that little noose from
around the conduit, you'll be as sound as
ever. Oh, of course there's such а vein
as you describe. I taught those heart ex-
perts, every one of them, but I wasn't
able to teach them everything. It takes
fine eyes to see that vein, I tell you that.”

Dr. Silbersporen himself had rheu
blood-veined eyes, as well as trembling
hands. He scemed а very sick man.

This vein, which the lesser experts
don't know about, is quite vulnerable to
unusual attack. Sometimes a very small
mole will get inside a person and gnaw on
the vei mes à cocklebur gets in
side the h nd afflicts the vein, No,
there's nothing unlikely about a gnome.
putting а noose around it and pulling it
tight. Every now and then, you'll find
опе of those little guys with a mean streak
in him. Take your shirt off and Il cut
that loop out of your heart in a minute.

Flaherty took his shirt off, but he was
a litde doubtful.

“It is said that you no longer practice,”
he objected. “and you don’t seem to
instruments or facilities here. How will
you do i

“A real expert doesn’t need. many in-
struments, Mr. Flaherty, Here's a little
paring knife that I was just cutting up an
apple with. That'll get us inside. And
here's a little scissors 1. was trimming my
hair with. 1 cut my own hair, you know.
Don't go to the barbers anymore. The
prices, for one thing, and then the little
red Indian says he'll make the barber cut
my throat if I go to one. I. never know
whether that Indian's kidding or not, but
he sure kids mean. The scissors will do
quite well to cut the gnomc’s loop, though,
and then your troubles will be over.”

"But is it sanitary?” Flaherty asked.
There was something about this whole
business that made him uneasy.

“No, of course it isn't," the good doctor
admitted. "Neither is it sanitary to have
that gnome’s lasso inside you all the time.
Gnomes have no concept at all'of hygiene.
Ah, one of my own scizures is upon
me. He alwajs allows me enough breath
to go through the rite. Then T'I be ready
for you."

Dr. Silbersporen was opening all the
windows and doors in his house. “Easy,
you little bugger, easy,” he was wheezing.
“EN say it, ГИ say it loud, just let me
have my breath for a bit.”

Then the good old doctor began to
make sounds somewhere hetween those of
a hyena and those of a rooster, very loud.
very weird, very high and continuing for
a long time: Shak shakowey shahoo! It
wasn't the words themselves so much as
the way the doctor intoned them that set
the ears on edge.

Shak shakowey shahoo!

SHAK SHAKOWEY SHAHOO!

It went on for a long time and the
neighbors were grumbling loudly. Then
the doctor was finished with it for a whi
and he was smiling sadly.

"One learns to live with a thing like
that,” he said. "What it is is a small red
Indian, Jess than an inch tall, with whom
1 quarreled irrevocably. He put a litle
rawhide thong around my glotis. He
chokes me with this, so that it appears that

(concluded on page 208)

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PLAYBOY

125

THE LAST CABROUSEL

grotesque leaned forward as if she'd been
impaled at her ankles, The artist had
used too much red. Some whores.

Roughie, standing in front of a cur-
taincd closet no higher than himself,
announced, Saee the Half-Girl Mys-
tery!"—and opened the curtain. Swinging
gently there on a child's swing, against a
background of velvety black, a girl in a
purpleand-cream-colored sweater looked
down upon us with long, dark, indolent
Indian eyes. Her body apparently ended
at her waist.

“As you see," she explained in a voice
as low and husky as a child's, "I have no
visible means of support and still I
don't run around nights. Thank you
thank you thank you, ladies and gentle-
men. Thank you one all. Señoras y se-
потез, gracias.” The crowd sighed, as one
man, with pity and love.

"She tires easily,” Roughie explained
and drew the curt:

"You believe that?” а simplelooking
fellow, in need of confirming his own
doubt, asked me.

"Might be she got run over by a train,"
I took another guess.

He looked at me with the indignation
a simple mind feels when confronted
a mind even simpler. "You dern
fool,” he accused me. "Couldn't you
even tell that girl was a-layin' оп her
belly?"

"Step this way, gentlemen," Roughie
commanded us and nodded to the mos-
quitobitten boy. "Melun the Human
Pincushion!"

Melvin shuffled onto the bally with a
sheepish look and began pinning red
white-and-blue campaign buttons into
his skin. Some were for William Gibbs.
McAdoo. When he used a Hoover but-
ton, I thought he'd surely bleed. He
didn't bleed for either McAdoo or Hoo-
ver, He was a bipartisan pincushion.

Then he jabbed a huge horse-blanket
pin into his shoulder and Roughie went
face forward in a dead faint. Strong Boy
and Grizzly, both in their fighting
robes, carried him off. I was glad to see
they'd made up their differences in this
emergency,

The dark woman handed Melvin a
small blackboard and a piece of chalk.
He drew a linc beside three lines al-
ready drawn and held the board up for
us all to see. “ "№ that's the number of
people has fainted during my performance
just today!” he announced triumphantly
and jumped off the bally without waiting
for applause. That was a good idea, be-
cause there wasn't any applause.

"In this cawneh!"—ánd here came
Roughie again, now in white referee's
15, into the center of the makeshift
this vnch, at two hundred
and fifty-two pounds, the champion of the
Florida Coast Guard—the Okefenokee

(continued figa page 76)

Pause for scattered applause.
wneh, the champion of the

Birmin'ham
attered applause by the
same hands, "These boys are about to
seule a longstandin' grudge, so апу of
you men who faint easy, kindly leave now.
No money refunded once the batile

"How about yerself?” Someone had to
remind Roughie; but he paid no heed.
“Now, this event is presented at no extra
сом and по hat passing, because you
men are all lovers of good clean sport,
auspices of the Rio Grande Valley Wres-
din’ Associ " the

ion. He turned to
wrestlers. "Boys, remember you're pro-
fessional athletes at the top of your class,
representin’ the honor of the Florida
Coast Guard and the American fleet in
Panama, respectively, and I'm here to
enforce the rules. Now, shake hands,
return to your corners, come out fighting
and may the best man win!

Grizly put out his paw, but Strong
Boy, hateful fellow, struck it down.
Then he turned on his heel back to his
corner, handed his robe to the dark
woman and flexed his limbs while hold-
ing the ropes.
ou'll pay dearly for that, Strong
Boy!" The Human Pincushion threat
ened him from Grizaly's corner-

“Watch your mouth or I'll whup both
of you!" the dark woman answered,
Strong Boy, still grasping the ropes, spat
across the ring directly at the opposing
corner. The yokels loved it.

Strong Boy and Grizzly began circling
each other, both frow: yet not clos-
ing. Somebody booed. Grizzly went to
the ropes, scanned the faces looking up
through a haze made of tobacco and
heat,

“What do you want for a dime?” he
llenged the whole tent. “Blood?”

"Look out!" Pincushion warned him
100 late.

Strong Boy leaped on Grizzly from
behind and they went to the canvas,
rolling over and under from rope to rope
in a roaring fury. The canvas shook, the
tent poles trembled and the carbon lamps
swung, Strong Boy clamped a headlock on
Grizzly that nothing human could break.
But Grizzly—being subhuman—broke it,
sending Strong Boy staggering, his hands
waving before his eyes in the throes of
blinding shock. Grizzly backed against the
ropes to gain leverage, then propelled
himself half across the ring. Strong Boy
ighdy aside, grabbed Grizzly's
he flew past and brought him
crashing down on his face. Strong Boy һай
been pretending to be hurt! Swiftly
applying a double scissors, a toe hold, a
half nelson and а Gilligan guzzler with
onc hand, he began poking his oppo-
nent's eyes out with the other.

di

“Give it to him, Strong Boy!" the aowd
came on in full cry, uncaring which of the
two brutes got it, as long as one of them
ished murderously. “Wreck him,
üingham?"

The blood lusters hadu't reckoned on
the Human Pincushion. Melvin slipped
through the ropes carrying a length of
hose and now it was the dark woman
who cried warning—"Watch out, Strong
Boy"—jus as Melvin conked him be
hind the ear and knocked him flat on
his face.

The referee snatched the hose length
from the boys hand and began lop

about the ring, holding it aloft and cry-
I'm here to enforce the rules! Here

ing, '
to enforce the rules!.” as if waving a hose
length proved that that was what he was
doing; while Strong Boy still lay stretched
defenselessly with Melvin kneeling in the
small of his back. Grizzly, instead of
helping Melvin, merely Ioped after the
referee with his fists clasped in the vic
tory sign. A bear's head was tattooed on
his right biceps: a grizzly with small red
eyes.

Then Strong Boy lurched to his knees,
sending Melvin spinning, got to his feet
and went loping counterclockwise to
Grizzly, holding Jus fists aloft in victory.
They passed each other twice making
the same claim. Then both climbed out
of the ring, followed by Melvin. Roughie
paused to announce the results, “Draw!
Draw! Two falls out of three for the
world's free-style championship! Final fall
in one hour!” Then he climbed out, too.

"That were the worst fake fight |
ever seen my whole born days." A voice
behind me drawled its disappointment,

“The holler 'n' uproar was pretty
fair.” a woman observed. Fake fight or
real, the holler "n' uproar had been fair
enough to fill the tent with marks, some
ol whom had now brought womei

“And now, if the ladies will allow,

ru

talk to the gentlemen privately,” the
dark woman said, then waited. The half-
dozen women in the crowd retreated,

huddled and sheepish, as their fine bold
fellows inched forward. “And I know you
are gentlemen,” she resumed, using a
more intimate tone, “Do yon see this little

bell Т hold in my папа?" raising a small
tin bell and hold. high until every
gentleman bad seen it. "Now, 1 know

what you men are here to see. 1 was
young once myselí—ha-ha-ha—and al-
though you're gentlemen, you're still hot-
blooded Americans" Her eyes scanned
their ashen and chinless faces in which
most of the teeth were missing. "But
there's a city ord'nance against presenting
young women in the ex-treem nood with-
in forty feet of the midway—but back
there, gentlemen, back there our young
women arc only waitin’ for me to tinkle
this bell so’s they can start goin’ the whole
hawg!”

One

tinkle and wed be off! The
(continued on page 180)

BIG BROTHER WATCHING YOU? SEE SAM ERVIN

©
© "

the down-home senator from north carolina has proved to be the civil libertarians’ strangest bedfellow

personality By ROBERT SHERRILL тилу ser
а Sou i i i iti

128

CHICKEN ITZA

here was a world in which nothing ever went wrong —
and that bugged the hell out of the inspector from earth

fiction By ROBERT F. YOUNG

IT HAVING BEEN ESTABLISHED that
the quickest way to civilize а sav-
age is by providing him with a
civilized environment and bestow-
ing upon him the blessings of tech-
nology, the International Space
Agency, wh
ilize the Siw of Sirius V, built
a modern city for them in the
big green plain where for cen-
turies they had raised children,
crops and chickens, and stocked it
with all the technological goodies
known to man. It also having been
established that ci
ments require efficient supervision,
constant care and mechanical
savoirfaire, ISA recruited a civil-
ian cadre of experts to staff and
maintain the city and to educate
and train the Siw. Then, to teach
the Siw technological self-reliance
and to find out whether they were
worth all the trouble, ISA put the
city on an incommunicado status
and left it to shift for itself for
five years. When the tial period
ended, they sent an inspector to
look things over and report back.
The inspectors name was С. A.
Firby, and technology was his
tutor, his mistress and his god.
He might question his tutor and
have misgivings about his mis-
tress, but he never doubted his god.

It was the first time Firby had
seen the city, and his reaction
upon being greeted by its mayor,
who as head of the cadre had
been alerted to his coming, was
one of cautious surprise. The cle-
vated apron against which he had
berthed his oneman spaceship
as near enough to the outskirts
to afford him an excellent vicw
of the south side. However, it
wasn't the pleasant and practical
layout of the buildings, streets
and parking lots that occasioned
surpris, but their air of
ibnewnes, The buildings
looked as though they had been
built yesterday, the streets as
though they had been laid that
very morning and the parking lots
as though they had been black-
topped less than an hour ago.
Moreover, the electric runabouts,
both those cruising the streets and
those parked in the lots, gave the

ci

impression they had just rolled off
the assembly line.

“Sort of takes your breath away,
doesn’t i?" Mayor Henry Ko-
becker said. Despite the jaunty
white feather he wore hat,
he seemed nervous and ill at case.

ions were to conduct
the tour without fanfare: he gave
the impression that he didn't
nt to conduct it at all.

"It takes more than a view of
a few housetops to take my breath
away,” Firby said.

Quite so,” the mayor agreed.
"Quite so, Will you come this
way, Mr. ЕйЪу?”

rby accompanied his host
down а ramp to where the latter's
runabout and Siw chauffeur were
waiting. He had no qualms about
leaving his ship unguarded. It was
equipped with a special anti-
that made mayhem
of would-be intrude: id sounded
ап alarm that was audible for a
radius of ten miles.

The chauffeur’s skin was the
hue of varnished mahogany. After
seating his two passengers in the
rear of the runabout, he withdrew
a handful of yellow pellets from
a pocket in his mauve unilorm
and scattered them over the hood.
Then he got behind the steering
wheel and turned on the motor.

"What was that he threw on the
hood?” Firby asked.

“Native corn,” Mayor Kobecker
replied. “According to Siw super-
stition, it brings good luck.”

Firby gave his host a long look
but made no comment.

‘The chauffeur rolled back the

roof. “Which where, Mayhar?"
І think well start with the
Administration Building, Albert.”
"Ehe mayor faced Firby. "Is that
agreeable with you, sir?”

Firby did not answer. His eyes
had focused of their own accord
оп a distant high-rise apartment
building that had just caught the
rays of the moming sun. He had
eyes like a hawk, and if there'd
been a single crack in the synthi-
brick façade, a single sag in one
of the balconies or a single pane
missing from one of the windows,
he would have seen it.

"The tour began. Firby's eyes

CONSTRUCTION EY PAUL VAN HOEYOONCK

The city—automoted,
electronic and run with
remarkable efficiency
by robots—was the
show place of Sirius V.

PLAYBOY

grew gradually larger. Broad avenues,
lined with immaculate storefronts and fret-
ted with crystalline walkways, appeared.
None of the walkways was closed for
repairs, none of the storefronts needed
refurbishing and not once did the wheels
of the runabout encounter a chuckhole.

There were civilized Siw everywhere—
riding in other runabouts, walking the
walkways, coming out of shopping cen-
ters laden with packages. But what made
Firby sit up and take notice had nothing
to do with their numbers nor their
apparent prosperity—nor even with the
white feathers they wore in their hats.
What struck him were their happy faces
and carefree gaits.

The city dwellers he was familiar with
had haunted faces and walked as though
someone were chasing them.

“This,” said Mayor Kobecker present-
ly, “is the Administration Building.”

Firby saw that Albert had parked the
runabout in the morning shadow of a
large dignified edifice. He accompanied
the mayor inside, where he was conduct-
ed through room after room lined with
busy computers, every one of which
looked as though it had been delivered
fresh from the factory that very mom-
ing. All of the programmers were Siw
and all of them seemed happy in their
civilized habiliments and environment,

The mayor's office was in the center of
the building. Four color-8V screens inset
in the walls functioned as windows. In
the center of the room stood the mayor's
desk. On it was a vase filled with white
flowers. Firby, a nature lover at heart,
went over and smelled them, only to
discover that they were chicken feathers.

Straightening, he gave the mayor an-
other long look, The mayor shifted his
weight from his left foot to his right,
fiddled with his tie but offered no
explanation.

Next, while the mayor was outlining
how City Hall administered to the city,
Firby inspected the color-3V screens. At
first he thought they were malfunction-
ing. This was because he was accus-
tomed to color-3V screens that depicted
people with blue faces and green teeth.
The people in these screens, albeit they
had mahogany-hued faces and even
though they were too far away for him
to see their teeth, looked real.

For some reason, this annoyed him.

In swift succession, he inspected the
Power Plant, the Sewage Disposal Plant,
the Visiphone Building, the Department
of Sanitation Shed and the Water
Works. In not a single instance did he
find a machine or a piece of equipment
that needed repair.

Somehow he had the feeling that a
vital ingredient was missing in each of
the places he'd inspected, but it wasn’t
until Mayor Kobecker was wining and

130 dining him in Siw City’s most elite

eatery that he realized what it was. Mo-
mentarily, he was stunned. Then, re-
covering himself, he said, “Why is it,
Mayor, that I haven't seen a single mc-
chanic, repairman or maintenance man
since I've been here?”

"I'm—I'm afraid we have no need for
them anymore,” Mayor Kobecker said.

“Preposterous! For your city to be in
the condition it’s in, they must be work-
ing twenty-four hours a day. Where are
they?”

“Some of them have gone into other
trades. A few of them have taken up
raising chickens. A- xa

“Raising chickens!"

"Yes, sir. When our machines stopped
breaking down and our appliances
stopped malfunctioning and our streets
апа buildings no longer needed repair-
ing, they had to do something, so——"

“AIL machines break down! All ap-
pliances malfunction! АП streets and
buildings need repairs!"

“Ours don't."

Firby looked at him. If he hadn't
known better, he could have sworn that
the mayor meant what he was saying.

He thought for a while. Whatever the.
reason behind it, there was no question-
ing the technological perfection he had
seen thus far. But for all he knew, it
might be a carefully contrived mask hid-
ing the facade of a citysired Penn Cen-
tral railroad station. Streets, buildings,
runabouts, color-3V sets, utilities—these
were not reliable criteria. There was
only one foolproof way of taking a city's
pulse and getting an accurate reading:
by inspecting its major industries. Siw
City had only one.

“Take me to Synthinc." Firby said.

After reseating his two passengers, Al-
bert threw a second handful of corn
over the runabout's hood before he got
back behind the wheel. Firby ground his
teeth. "Can't you stop him from doing
that, Mayor?"

"I—I don't think it would be advisa-
ble, sir. We haven't had a traffic accident
in years."

"Are you implying that everybody
throws corn on their hood?”

"I'm—I'm afraid so.”

For the first time, Firby realized that
the feather in the mayor's hat was a
chicken feather.

The runabout rolled smoothly past
parks like Easter baskets, schools like
hirthday cakes and hospitals like blocks
of spun sugar. From the front, Synthinc
looked like a big brick of Neapolitan
ice cream. Centered above the entrance
were the letters $-Y-N-T-HI-N-C. Just
beneath them were two crossed chicken
feathers molded in bronze.

Firby followed the mayor into the
building.

A balding man advanced to meet
them. The mayor introduced him as

Fyodor Dubchek, the president and gen-
eral manager. “I'll be delighted to show
you around, Mr. Firby," Dubchek said.

“Just take me to the machines.

‘There were hundreds of them thou.
sands. All of them were set up for the
various operations involved in turning a
native plant called puwuwun into com-
mercial synthifabric, and each was tend-
ed by a Siw.

Firby walked up and down the aisles,
listening in vain for the rumble of a bad
bearing or the telltale knocking of a
worn shaft. Rounding a corner, he saw a
Siw wearing striped mechanic's coveralls
and carrying what appeared to be a
large oilcan passing from machine to
machine and depositing a few drops of
oil on each. But Firby's elation м:
short-lived, for when the Siw came clos-
ег, he saw that what he'd thought was
an ойсап was in reality a water spri
Kler and that what he'd taken for oil
was water.

For a moment, the enormity of the
sacrilege was too much for him to cope
with. “Water,” he babbled. “He's oiling
the machines with water.”

“Not ordinary water,” said Dubchek,
who with the mayor was standing just
behind him. “Rain water.”

“Rain water!

“Not ordinary rain water, Mr. Firby,”
Mayor Kaobecker said. "Sacred rain wa-
ter. Sprinkling it on things is a Siw
ritual designed to ward off trouble." -

"On the same order as scattering corn,
no doubt," Firby said scathingly.

"The mayor flinched slightly but held
his ground. “Yes, sir.”

"And using chicken feathers for talis.
mans.”

The mayor nodded. “Theyre Siw
stratagems—all of them. And they can
be used both ways. The point is, they
work. At first we were reluctant to permit
such practices, but after we relented, our
breakdown rate was cut in half, ow у

"Listen," Firby interrupted. "I know
as well as anyone that keeping a city in
shape is a never-ending problem. But
you're not going to tell me that you
solved it by allowing the people you
were supposed to civilize to revert to
such superstitious foolishness as scatter-
ing corn, sprinkling rain water and wear-
ing chicken feathers! There's another
reason why your roofs don't cave in,
why your streets don't develop chuck-
holes why your machines don't break
down. There has to Бе!”

“As a matter of fact,” Mayor Kobeck-
er admitted with an air of resignation,
"there i:

“Aha!—I knew science was lurking
behind the scenes somewhere!”

“Well, not science exactly. But we
do have a sort of—ah—superv
engineer.”

“You do? Then why haven't 1 been

(concluded on page 164)

The Hole Earth Catalog

access to cosmic socket wrenches

parody By Gerald Sussman

Locusts

Contrary ta popular belief, lacusts are not
destructive if they are properly trained. A well-
trained locust is polite, considerate and fairly

Quicksand Houses

Cheap, fast shelter for seminomadic types.
Just mix a big batch of sand end woter until
the mixture yields to your weight and you
find yourself slipping comfortably into it. The
idea is ta make the perfect sand/water
mixture, so you slide just so far down and no
farther. Use the sond-saturation formula
recommended by the United Arab Republic
Department of Parks: three ports sand to
‘one par! water and a pinch of rock.

You will learn how to horness locust power for
* the cause of Gaod. They are a lol cheaper than
. bulldozers ond a lot neater thon dynamite.
Also, they produce a tasty jelly thot makes on
inexpensive table spreod.
Breaking ond Training the Common Locust
By І. J. Merivale
By the same author:
Organic Weed Farming
Organle Mouse Ranching
How to Make Licorice Out of Tar

Make Your Own Steel

"Tell U.S. Steel to shove it. You will now make
your own with a good old-fashioned Bessemer
steel converter. We've found an outfit in Bernt
Furn, Georj that sells reconditioned Bessemers
and Bessemer parts at reasonable prices. They
also tell you how to make the stuff.

A hot and heavy job, but very nice when you
hold a bar of good honest steel in your hand.
From: Al’s Iron & Stecl Supply

361 S. Plumtree

Bernt Furn, Georgia 33402 How to Walk a

Also from Al's :

Make Your Own Subway System DESERT аа нез зау

Make Your Own Hydroelectric Dam Sounds a little farfetched, doesn’t it?
Actually, 1000 miles is absolute maxi-
mum; 750 would be an average. OK,
what's the catch? No catch. Have you
ever heard certain homosexuals referred
to as being “so gay they're always а foot
of the ground"? In Lyle Johnston's
case, it’s true. But he’s learned to har-
ness his gay power into a kind of semi-
flying walk that propels him along at a
remarkable speed while being about 12
inches off the ground. And he claims
he can teach all of us to “walk gay”
and stop polluting the air with cars
and jets. We're for it.

How to Walk a Thousand Miles a Day
By Lyle Johnston

We're not talking about talking.
We're talking about rapping, the
ancient Hindu musical form of beat-
ing on a clam with а scallion.
Doesn't sound like much for a while.
Keep at it. You'll start hearing the
inner rhythms.

Hov to Rap

Ву Tatwandu Variswabi

H'ai Chu
At last. A Japanese physical art that centers on awkwardness and bod

form. We con't all be graceful as gozelles.

H'al Chu is the art of Dropping.

You hold two bowls of rice in your hands. You try to juggle them in a clumsy

manner. They crop, spilling hundreds of tiny grains of rice all over the floor. You groon,
bend down awkwardly and pick up every grain. You have just performed H'ai Chu.

life is а series of awkward moves and mistakes. You learn from

your mistakes and you move on, picking up the pieces.

Various stages of Hai Chu include dropping chow mein, lamb stew,

blueberry pie à le mode, cantaloupe seeds, glasses of milk, beer ond wire.

H'al Chu: The Japanese Art of Dropping

By T'ing Wa and Jerome Silverstavb

Wool, the Wonder Food

If you're into sheep ond you're not eating the
wool, you've been missing one of nature's
most nutritious foods.

Experts have discovered that wool contains
more proteins, vitamins and minerals than ony
other substance, including soybeans.

Natural unprocessed wool, freshly shorn
from your orgonically raised sheep, is
obviously the most nutritious. The rougher
tweeds, such as Harris and Shetland, ore also
good. Loura Jarvis Tate's “Let's Cook with
Wool" is the basic work on wool cookery.
Great recipes for using wool with fish scales
(that off-neglecled part of the fish).

Velvecta

Velveeta is a commune that claims to be a successful working utopia. It’s based
on the Theory of Negative Energy. Negative Energy comes from fear, envy and
hatred, the feclings that conventional utopias want to climinate. There is so
much energy generated by all this hatred and bitterness that things tend to
get done.

‘The name Velveeta comes from their house material, which is made of Army-
surplus cheese, a material that is unusually strong, weatherproof and mellows
handsomely with age.

The only problem that still has to be solved is excessive heat and fires. Some-
times a house accidentally catches fire and turns into a fondue.

Or How to Achieve Utopia Through Hatred

By Timothy Sprague and Ormond Lloyd

Katami, the ancient Japanese art of cold-
cut arrangement, is the sister of the more
fomous tea ceremony. Many consider it
even more basic lo an understanding of
the Japanese way of life. Ko-Wen-Bo

is one of the 300 finest kotami masters in
his home town of Azawa. He teaches oll
types af kotomi—buffet, cocktail party,
informal and farmal offoirs. He discusses
colar contrasting, culling, shaping, stuffing
‘and gomishing. Also included is hoibu,
the art of carving a roost turkey and
putting it back together.

IATION BY ALE

COVER LLUS: X EBEL
LINE DRAWINGS BY SEYMDUR FLEISHMAN,

The Workings of a Bra
Explorations into the Mind of a
Smoked Whitefish

Professor Eli Dobkin has spent«the last
nine years studying the mind and nery-
ous system of the smoked whitefish. He
has succeeded in going inside the head
of the fish, and with the aid of com-
puters, he’s learned how its whale be-
havioral system works.

Since no one knows much about the
human brain, maybe the whitefish
brain is a start.

The Workings of a Brain

By Professor Eli Dobkin

(Note: Unfortunately, Professor Dobkin’s
studies on the smoked sturgeon had to be
stopped because of lack of funds. Sturgeon
now goes for about $12 а pound.)

Fox Husbandry

‘There isn't a more useful animal to
have around. A good fox gives milk,
has a beautiful pelt and, when the time
comes, has the makings of a gourmet
meal. Don't be put off by your first
taste of fox milk. It's sour and greenish
in color, but it’s the best natural 1аха-
tive in the world.

One trouble with foxes. They're crazy.
Be sure to give them plenty of love and
tranquilizers.

Fox Husbandry

By LeFevre Treadway

a 133

AMERICA:
LOVED IT
AND LEFT IT

article By GEORGE MALKO
sadly, regretfully, the

silent majority moves away

THE STATISTICS are on the verge of
becoming what demographers like
to call meaningful. The Australian
consulate is receiving over 10,000
inquiries a month from Americans
interested in migrating to Australia.
In 1970, there were 8000 a month.
The actual rate of migration was
about 3800 a year, but in 1971
close to 5500 Americans made the
move. Over 22,000 moved to Can-
ada and fewer, though no less
significant numbers, moved to New
Zealand, South Africa and Rhodesia.
What is extraordinary is that many
of those leaving are not radicals,
exhausted or betrayed liberals nor
young men determined not to face
induction. They are hard-working,
deeply conscientious and, most of all,
fundamentally patriotic Americans.
If these people think of themselves as

PHOTOGRAPHY BY ALEXAS URBA

PLAYBOY

nothing else, it is as members of Presi-
dent Nixon's Silent Majority. Charter
members.

For some time now, Nick Caraturo
has been planning to get himself and his
family out of New York—Flushing, Long
Island, to be precise—and settle some-
place where his ten-year-old son can grow
up safely. He and his wife didn’t decide
on Australia until she brought it up one
evening as a joke and, before she knew
what was happening, Nick went into the
city to the consulate and picked up the
booklets and pamphlets and application
blanks and it was all set. Nick sold his
thriving florist shop and went to work for
somebody else. It was the first big step,
опе he took after a long period of figuring
out inside himself something that had
happened some time before.

“During the New York school strike
in '68," he says, "the parents were called
—1 was called, in the morning—and
told that they had broken into the
school. And I went up there and I stood
in front of the door. The Negro parents
were in the school already, so I says to
myself, "Well, if they're in there, I'll
make sure they don't come out. The
police arrived and they tried to calm
everybody down. And this black"—Nick
hesitates, looks at his wife, Gloria, and
his motherin-law, who are listening to
him tell what happened, and then takes
а small breath and says it—"baslard
opened the door and says to me, ‘Heh,
heh, you white pip. I took a tire iron
and I wanted to smash his brains in,
because there ain't nobody on the face
of this earth can call me a pig. I'm as
good as him, if not better. I work for a
living. And I saw them parade their
children into school as if to say, ‘Now
Im better than you’; and І think that
really hit me."

Nick's probity as he relates the violent
instincts that seized him does not seem
incongruous, His tone is measured and
he chooses his words with such care that
his thoughts are expressed in complete
sentences with rare selfinterruptions.
He is $7 years old, a large, barrel-chested
man, and likes to wear colorful shirts
open at the neck and down a few but-
tons. Though hefty, he doesn't exude an
unpleasant hairy-chested masculinity. He
carries his weight well, moving with a
balanced gait that makes his solid arms
swing lightly, as if attached to his wide
upper body by welloiled ball bearings,
the whole thing sitting on a smallish
waist, borne with that measured loose-
ness that implies agility and physical
confidence. As he speaks, he is particu-
larly careful to make his feelings clear,
so that you come to see where and
exactly how he is prejudiced, a thing he
admits readily and candidly. Whenever
he grows excited, or when the point he
is making is particularly important to

136 him, he has a tendency to stammer a bit,

as if the effort of getting that one partic-
ular thought exactly right is gripping
him somewhere inside, forcing him to
push it out with almost visible physical
effort. Nick Caraturo has worked it out
of himself so that you can make no
mistake about what you are hearing
and, in hearing it, will really see him.
‘There are only two things to grasp.
really: the depth of his feeling and love
for America and the reason he is leaving
it forever and taking his family to
Austral

"What's happening in the United
States," Nick says, "is that all our tradi-
tions, all our accepted customs аге Ё
torn down one at 2 time. Little by little.
You can no longer believe in the story of
George Washington and the cherry tree.
‘This is what it’s boiling down to, that
George Washington. didn't actually chop.
down the tree; the whole tale is fictitious.”

Gloria, listening carefully, with just
the barest suggestion of how much this
actually upsets her, says, “Everything is
becoming so ral.” She is a school-
teacher and taught at P.S. 201, five
minutes from home. In the years since
1957, when she was graduated from
Queens College with a B.A, she has
taught kindergarten, first and second
grades. At 34, she has a soft, ageless
appearance, with an almost chubby face
that belies an intelligence and a quick-
ness in her searching eyes; there is an
air of acquiescence about her that, at
first, makes it seem as if she lives to
defer to whatever Nick says. Her years
as a teacher have given her not so much
a sense of deference as patience; she
knows from her experience chil-
dren that the first thing she must do is
be a good listener. The truth is that she
lives only for her family—for her hus-
band, Nick, her only child, Nick, Jr..
and her widowed mother, Mrs. Ray Os-
kowsky. "I think," Gloria says simply,
"the main reason we're leaving is for
our son. I think if it was just the two of.
us, we'd stay and fight a little bit more.”
“Га stay,” Nick interjects. It is the first
suggestion of his fierce and genuine de-
votion to that personal vision of America
that is being shattered. It is a many-
faceted, cumulative effect that has now
finally prompted him to cut all ties with
his homeland. For a long time, the only
thing Nick and Gloria wanted to do was
get the hell out of New York. “We were
thinking of Arizona, Californ 5

“The Southwest,” Gloria says.

“And then,” goes on, “they had
all that trouble in Watts, and I sai
‘Well, that’s it. I'm not going from the
frying pan into the fire. " Nick's frying
pan is just over the horizon, across the
Triborough Bridge, which ta
into Manhattan, where people
out of their minds just getting from
one day to the next and where the
mayor, as far as Nick is concerned,

those people so completely fooled." Nick
knew it was going to get worse even
before that one summer night when
some of the restless and angry dwellers of
Eas Harlem dered down Manhar-
tan's Third Avenue to lee the folks
downtown know that their sanctuary had
insecure borders: they busted a few store
windows, grabbed a few suits and a
couple of TV sets out of a couple of store-
fronts and kicked over a lot of garbage
cans. The police effectively contained that
raid at 103rd Street, but for days after,
rumors persisted about more such "inva-
sions,” but no one scemed to be doing
anything about it. That kind of response
already painfully familiar to Nick; it
а symptom he understood.

“The people who made up the Consti-
tution,” he says, his hands framing some-
thing small but substantial, “had one
thing in mind; and they keep chang-
ing the interpretation of that Constitu-
tion, until finally it's blown completely
out of proportion. I mean, it’s . . . gone.
It's of absolutely no value anymore. If
they have a liberal on the Supreme Court.
well, he interprets it as a liberal. You
have a conservative, he interprets it as a
" He heaves a sigh of dis-
gust. “And it’s always appeasement, ap-
peasement, appeasement. What the hell
are they appeasing? Twelve percent of
the population . . . and they have to rule
the country?

“I picked up ће newspaper.” Nick
says, "when they had the Jersey riots.
People were walking out of a store with
a TV set. If it was me, I'd end up in j
so goddamn fast itd make your hı
spin, but they—pictures and everythi

“they just walked away with
that’s it. That was ай. Nobody ever
prosecuted them.” It actually makes him
grin, this crazy image of those happy-go-
lucky looters, a picture that instantly
froze itself into the sensil es of mil
lions of Americans. With his large face,
a mustache and a neatly trimmed Van-
dyke beard, Nick's girth and stance
make him quite unexpectedly look like
a swarthy Peter Ustinoy, but without
Ustinov's puckish sparkle in the eyes. In
Nick there is, instead, a directness and
sincerity; nothing really lies hidden in
the depths of his dark eyes, “You have
to feel sorry for them,” he says grin
gone, his tone mocking his own rhetoric,
“pity them. Who felt sorry for us when
we wanted something? There was no-
body there." He looks around and
then, with such calm that it is, at first,
n the prom-
ise he intends, says, have fought
with guns before and, if I have to, by
God, I'll fight again. For now, I'll leave,
until my boy is old enough to do his
own thinking without anybody else
thinking for him." It is a strange state-
ment, almost paradoxically reasonable,
so when he adds, “If anybody's going to
think for him, ГЇЇ think for hi the

wa

more of a self-description th

“You don't fool me, Freddy. Youre just
recycling old girlfriends.”

137

PLAYBOY

conclusion is that, ah, well, yes, this is
what he means. It isn’t. Much later he
will come back to it. For the moment,
however, the thing that hangs in the air
almost palpably is his preparedness to
fight. Bur alone. “I won't subject my
family to it.” he says. "Me. I don't саге
what happens to me. 1 can handle my-
self. I can handle a rifle, a pistol or a
shotgun, if that's what they want. And
my hands and my feet.”

‘This constant reference to "them" has
become a Icitmotiv in the daily conver-
sations of middle America, It means
black people, all of them, When a
dweller says, “They are getting it all,”
he means that being an urban middle-
class white American with a high school
education means nothing anymore, or,
rather, it means you are being clisenfran-
chised because society—the irony being
that if you think about it, you sce that
you are society—is “giving in” to every
demand a black man makes. And when
the demands are not met, it seems, at
least to a man like Nick Caraturo, that
what the black man wants is a fight. “It

seems that way,” Nick says with genuine
"Theyre blowing up every-
that’s what they want, ГЇ

reluctance.
thing. So, i
do it; but

FH leave my family
Australia." Much as he loves and is
devoted to his wife, by "family" Nick
means his son. "He's the only one Г
have," he says. "I mean, my wife can't
have any more, and that's it, so he has
to do. If I could have more, maybe

would be а different story. I don't
know.” He thinks a moment and laughs,
half to himself. “I might've left earlier.

- - If I have to, ГЇЇ leave them in
Australia and ГЇЇ come back and fight."
He cares that much, and even more. “I
even had thought of joining a radical
organization: the John Birch Society, or
the Minutemen, or whatever it is. I
mean, this is the way I feel."

At this point, either because her own
views are much broader or because she
knows Nick is not hopelessly narrow,
Gloria makes a small gesture and say
[here are other reasons besides the
Negro problem why we're going.”

Nick nods agreement but is too deep-
ly into it to forsake making at least one
las point. "I can’t see twenty-five per-
cent of my taxes being used on welfare
when the streets have to be cleaned.
"The parks are horrible. These people are
around there, they can work: let them
go out and dean the streets, pick the
papers up in the park—anything. But
theyre paying them to do absolutely
nothing.

I worked hard all my life," he says
earnestly, "and I can't see anybody else
getting something for nothing when I
worked. There were days when I wanted
to go play football, on the high school
team, or do track and field, and I had to

138 work; I had to put my hours in, because

if I didn't work, I didn't eat. Nobody
ever handed me a damn thing on a
silver platter. 1 don’t have ten or twelve
children and drawing two thousand a
month from the city of New York, We
had it rough. You had a piece of bread
with olive oil for lunch. I can remember

those days. This was when I was a kid,

living in Brooklyn, in the late Thirties,
and my father worked on the WPA and
also in the florist’s to make ends meet. I
remember it; the old Europeans were
too goddamn proud to get anything for
nothing.”

What Nick managed to build and
acquire over the years stands as an im-
pressive inventory of those tangible
achievements that every American not
only recognizes but learns to respect as
the everyday hallmarks of middle-class
success. To begin with, there's the house
in Queens. Not тоо long ago, Queens was
an attractive, quiet community, many of
its streets lined with white clapboard
houses dating back to the 19th Century.
When construction began for the 1939
New York World's Fair, the Bronx-White-
stone Bridge and many miles of con-
necting highways were built to сазе and
encourage visitors to Flushing Meadow,
site of the fair. The thinking was that
after the fair, all the new accesses to that
pan of New York would spur a boom.
World War Two stopped that, and it was
not until 1946 that the borough's steady
and uninterrupted growth began. The
Caraturos neighborhood has long been
white апа middle class, made up of two-
family houses. Nearby, there's a golf course
and the cemetery that gave Nick so much
of his business all the years he ran his
large flower shop, NICK CARATURO, FLORIST,
next door to his house,

Nick and his family live upstairs in the
two-story house, Downstairs, there's a
three-room apartment, where Gloria's
mother and late father lived. Upstairs,
there are three bedrooms, a large L-
shaped living room, a dining area and
а very modern kitchen outfitted with
a dishwasher, а frost-free refrigerator, a
washing machine-drier, a toaster, an iron,
an electric knife, an electric can opener
and a blender. In the bathroom there's
clecuric massager, and there are
electric blankets on the beds. There i:
also a color-television set and a sophis-
ticated stereo rig. The working fireplace
and Gloria's piano are not necessarily
part of this kind of list, but Nick is
particularly proud that they own both.
Until they were sold, there were three
cars in the family: Gloria's mother had a
late-model Le Mans, Nick and Gloria
drove a 1964 Tempest. For business,
Nick had a 1967 Chevrolet у,

Parting with the stereo rig hurt. "I
hated to sell it,” Nick says. Everything in
the house has already been sold: most
will be left right where it is when the

Caraturos walk out the door for the last
time. "I had built it up over the years,”
Nick explains. "Every two or three years
you'd change the amplifier, change the
tuner, change the speakers, you know.”
Nick and Gloria have lived їп the house
since it was built four and a half years
ago.

Nick, Jr.'s room is typical of every
American boy's sanctum sanctorum, its
walls covered with photographs of base-
1! and football players, a large picture
of an elephant captioned 1 WORK FOR PEA-
Nurs, which his father gave him, and
a map of the world marked to show
where Nick, Sr, had been on his world
cruise when he was in the U. S. Navy.

He joined in 1952. "I was eighteen
years old and I was going in because Т
thought it was right. My father said to
me, ‘I don't want you to go! But if
you're going to go, don't disgrace the
name. Don't ever drag your name in the
mud.” To me, this is what America
should be. Not that youre proud that
you have a boy who is in Canada to
ave the draft. This is pride?” Nick
was in for four years, an aviation boat-
swain's mate, second dass, working on
aircraft carriers with catapult and arrest-
ing gear. And he saw the world. "Com-
plete,” as he puts it. “The only place I
haven't been is South America, bu
other than that, I've been to every conti-
nent.” Induding Australia. "I was flying
in a planc taking enginc parts to In-
donesia, and we had a problem in one of
the engines, our number-three engine—
the oil supercharger drained out—and
we had to land in Australia for repairs.”
He spent 48 hours there.

His travels also took him all over
Euro there he had more time to see
the sights, some of which made а pro-
found impression on him. “You often
read how people live,” he explains, “but
until you actually see it, you can't be
lieve it. In school, as a child, I read
about the Acropolis, the Parthenon, the
Colosseum. . . . And you stand there, in
the middle of it, and you say, ‘Me, from
Flushing, New York, I can stand here in
а building that is five thousand years
Old. You feel—I don't know—you feel
++. small, compared to it. And then
you find out that you really aren't small.
You аге as big as you want to be.” Nick
visited his mother's ancestral village of
Nola. 20 miles outside Naples. "I'm the
only one they'd seen in over fifty years
from the family that came to America. I
spent five days there with them and be-
lieve me, it was out of this world. These
people are the real salt of the earth.”
Nick moves his body unconsciously as he
recalls the warmth extended to him,
how he was brought immediatcly back
into the family's loving embrace. It was
a strange sensation, in a way, because, as

(continued on page 172)

WHO ARE WE?

exercises developed by a pioneer in
sense-awareness techniques—and interpreted
here in lyrical photographs—to help you discover the
slow and sensual pleasure of thoughtful touching

over and over
i ask you

who are you?

iam a woman
scared

a pussycat

a lover

a crazy something

a child

a Lody

lots of tingles

eyes reaching out
afraid of anger

а caring person
who needs attention
who loves the sun
who loves to dance
who loves quiet times
who loves to be
touched

who wants to feel
wanted

who wants to share

ecstasy

is not the soul

property
of sexuality

but a natural
outflowing
of our underlying

ultimate nature

TEXT BY BERNARD GUNTHER
PHOTOGRAPHY BY PAUL FUSCO

who are you?

many cells

a mass of energy
a being on this
planet

sometimes serious
sometimes flippant
a searcher

а doubter
someone who wants
to understand

the desire to
transcend

а mass of desires
a lover of nature
psychic energy
god

fucked up

i don't really know
you-me

but who are we?

139

PALM DANCE
palm to palm
eyes closed

in a silent

conversation

first one of us leads
then the other

we are dance

moving together

FACE EXPLORING

with your hands
your partner's face

experience the
uniqueness
of each place

we are now

feeling together

BLIND WALK

in a blind walk
without talk

we take turns
being sensitive

to nature

and trusting

one another

we are experience
being together

BACK TOUCHING

with giving hands
in motionless

contact

we are concerned

feeling warmth

the openness

of a kiss

HAIR WASHING

slowly
suds
slippery
sliding
fun

we are playfulness

divine bliss BATHING
the god goddess IN TENDERNESS

in silence

warm water

and a washcloth
we take turns
bathing every inch
of each other

in tenderness

CLOSE BEING
TOGETHER

lying close

without moving

or speaking

giving
receiving

exchanging

energy
love

we are
the universal we
delight

ecstasy

THE VARGAS GIRL

L “Now, let’s try Phase Two.”
T

tho lady in the cowl
ONCE THERE was
had по eyes in th
perceive the world

А TIME when weasels
heads

through

precious
stones at the tips of their tails—a sapphire
by day and a ruby by night. And there
was a place where people accepted this
as one of the interesting facts of nature.

Thar is to say, the time was long, long ago
d the place was the province of Gas
сопу. In a like manner, truthdoving
Gascons will all affirm that the story of
Cecile de Sabian is of equal verity. H
begins with the assumption that she was
the most beautiful young lady in all of
Europe and that she was suffering the
deepest mourning any woman can feel
But if I were to say that this mo
ing was caused by the recent death of
her husband, the Sieur de Sabran, you
would scarcely believe me—and vou
would be right. In reality, the reason for
her tears and sleeplessness was the
absence of her lover, Albin de Sédillac,
who had set out to fight the Turks some
two years before and from whom noth-
ing had been heard since. Endlessly, she
recalled their happy moments together
as they had walked in the woods and
spoken charming nonsense, as he had
stood with his fierce, hooded falcon on
his wrist, as he had knelt in the firelight
on a cushion at her feet and, finally, as
they had gone to a secret bed one night
and he had rolled her sweetly in his
arms. She remembered him just a few
weeks later. armored and mounted and
her goodbye. She wondered why
the Turks were so insistent on getting
led and she hated them for it
As she sat wi window one
day, her old serv
her, "Wind and rain!
misery so bad, I know what I'd do. Go
on a pilgrimage to the grotto of Saint
Agnes is what Pd do. They say she can
work marvels for every kind of female
complaint if she sets her mind to it’
cecile considered the idea. "Well, i
weren't for the hideous clothes that pil-
grims always seem to wear. I'd feel quite
ridiculous in a hair shirt or sackcloth.
They aren't really me—to say nothing
of what they'd do to my skin.”
Thats nothing to worry about, dear
aid Sara. "I can run up some
thing that will look very chic. The only
rule is that a pilgrim must wı
garment, nothing more.” The
to work cutting, sewing and fitting. In
few days, she had completed an elegant
cowl of red It fitted Cecile's
curves closely from head 10 ankles with

it

mistress,”

т a single
she set

velvet

Red velvet isn't quite penitential,
Im afraid,” Cecile said as she tried it
on. aps the saint will overlook

from a 18th Century French feuilleton in Caviare

that if I make
jewelry.”

Thus, she set out, walking with bare
feet over the sand and pebbles of the
path and looking so much like a new
kind of flower that clouds of butterflies
fluttered around her on the way. Final-
among the rocks, she had to step
Mully upon sharp stones, thorns
il nettles, and her feet bled, She found
the crudely carved, timeworn маше of
Saint Agnes in а dark grotto. The saint
d а most censorious look on her face.
le dropped to her knees, p
the little casket with her jewels in front
of the image and, in a moving voice,
n to implore the saint to restore her
love to her. She rather glossed over the
fact that Albin was not her husband.
Then she waited.

Finally. tl ıt spoke in a hoarse
and disant whisper. "Woman, know
that E was pure and innocent when I
lived and shall be throughout eternity. I
hardly achieved martyrdom in order to
perform unseemly miracles for young
women who ра to commit
abominable sins of the flesh

an offer

g of all my

ed

sai

At length,

п. "But, since
your lover is a soldier against the infidel,
І think I can make a small exception.
You shall see him again—but on one

Oh. ves, ye
any condition."

“You must always remain properly
dressed." said the saint in a somewhat
priggish tone, "This red cowl that
sheathes you so tightly from head to foot
must never be removed in his presence

pleaded Cecile, “on

—or you will suffer for
“Just a little lifting?” asked Cecile,
"No lifting. no slipping up or down

—not an inch.” This said, the saint

relapsed into her gloomy wooden silence.

ILLUSTRATION BY BRAD HOLLAND

Ribald Classic

This admonition cast « shadow over the
otherwise-joyful reunion two days late:
After many kisses, Cecile decided to post-
pone the discouraging news until she had
heard all of Albin's adventures among the
Turks. He related them with true Gascon
flair, taking an hour or two to do so. At
st, lie came to the part about his escape

The Turks,” he said, "had locked me
in the highest room of a tower so tall
that the clouds floated beneath it. There
was absolutely no way of escape. But
one day, as if by a miracle, the old man
who brought me my food revealed him-
self as an Oriental magician. For the
payment of the last jewel I had hidden
in my belt, he tok! me a charm u
would make cloth stretch out endlessly.
That night, I tied my shirt to a beam,
spoke the magic formula and then spent
the rest of the night climbing down the
wall of the tower—all with that single
shirt as my rope.”

“A miracle of mirades!” Cecile burst
out. “And now, my darling, prepare to
remember that formula, for we have a
small problem that I shall describe to
you."

Later that night, Cecile had a dream
in which the saint bade her return alone
to the grotto. She went the next day
and, as soon as she had arrived, fell

nbly on her knees before the image.
“I must say
{һи you of

steamy, fleshly. voluptuous night ol
well, I shouldn't really dwell on such
things, But the point is that you must
have disobeyed me and taken off u
cow

“Never!” said Cecile. “I wore it exactly
as you said. No lifting, no slippi

But it happened somehow

“Well, yel must confess that it hap
pened.” answered Cecile. Then.
fearfully told the story. the air in the
grotto seemed 10 grow darker and cold-
єт. She did not dare look at the saint's
face. Finally. she finished, "And thus,
you might say, we spent the night in
sort of tent...” She waited for some-
terrible to happ
Suddenly, there scemed to be sunlight
the grotto. She raised her eyes. She saw
1 around her the stones were cov-
h flowers of every hue. The birds
in the forest outside broke into gay song.
When she looked at the saint, she saw thi
the pedestal was covered with roses and
int Agnes actually seemed to be smiling
and shaking a little with laughter.

The last words Cecile thought she
heard in Saint Agnes’ voice were faint,
but they seemed to be, been
here so long that it seems Гуе become a
Gascon, too.”

as she

1 have

—Retold by Paul Tabori EB 149

PLAYBOY

150

SAM ERVIN гло» page 127)

to pay attention as he offers one last
chance to salvage some individual pr
vacy from a Federal Government that has
gone nuts over wire taps, bugs, computer
files, dossiers and endless slue-footed
paraphernalia.
You remember seeing Senator Ervin
on the evening news, He's the portly
fellow with the melon-shaped head,
topped by slicked-down white hair, who,
when he gets to examining a witness
before his Senate Constitutional Rights
Subcommittee or for some other reason
becomes excited, has a face with the action
of a pinball machine, the mouth bounc-
ing around from cheek to chin to nose to
jowl and his heavy bushy eyebrows fl
ging тит,
In the field of constitutional restraints
zainst the unwarranted invasion of pri-
vacy, Ervin has, in the past five years or
so, become the nearest thing we have to
a Federal Ombudsman. People know he
is there and that he will do something.
When the Navy tried to ruin the lives of
two teenagers charged with sodomy by
g to let them defend themselves
martial, they appealed to
nd he pressured the Navy into
ng them a trial When a woman
returning from a trip to Europe was
forced by Customs agents to take off
ything, including underpants and
she quite naturally turned to Е
th а letter demanding to know if “
full-bosomed women are to be subjected
to this sort of indign nd he just as
naturally took the case to the floor of
the Senate to shame the burcaucracy.
would rather see one smuggler escape,"
he rumbled in a voice that sounds like
coagulating blackstrap molasses, "than
have 100 American travelers stripped
nd searched on the mere suspicion they
might be trying to smuggle something
through Customs.” And when Ervin dis
covered a few years ago that applicants
for Federal jobs were being asked such
questions as “Have you ever engaged in
ual activitics with ап anima and
“Did you have intercourse with your wife
before you were married? How many

times?” he launched one of the most
embarrassing investigations Civil Service
officials have ever been subjected to. (It

is no accident that all the above civil
liberties cases involve sex, for Unde Sam
—the one in the Army recruiting posters,
not the one in the Senate—as he operates
through his military Services and his
bureaucracy, is often a dirty old man.)
Watching the old conservative take
the leadership in fighting for protection
lin these ways has been
ncc for many lib-
ble,

erals a
he h

Ervin begged the Senate
to cut off all funds to the

tivities Control Bo
vent. the expansio

rd and thereby pre-
of its witch hunt

powers—-powers the N
tion

dmitted it would use to revive the
“Attorney С

€ does not often

get its
arteries tested with the kind
c appeal it heard from Ervin
I hate the thoughts of the

dents for a Democratic Society. . . . I hate
the thoughts of fascists. 1 hate the thoughts.
of tota I hate the thoughts of
people who adopt violence as a policy," he
declared, the Senate chamber for once
silent from something besides boredom.
But those people have the same right to
freedom of speech, subject to a very slight
ication, that T have.” On he went
for an hour, pounding it home, demand-
ing for others “the right to think the
thoughts and speak the words that I hate"
—a right that would be threatened, he
felt, by a stronger SACB.

But the Senate rejected his argument,
16 to 44. He lost because the sort-of liber
1 let him down. Birch Bayh was in
California making a speech. Fred Harris,
shortly before the vote, flew to Tulsa to
make a speech. Lee Metcalf ducked out
to miss the vote, because the chairman of
the SACB is from Montana and Metcalf

didn't want to go against a popular con
ates let him

tuent. The sortof mode
down, too. Henry Jackson
Inouye had promised in writing to sup-
port Ervin, but in the showdown th
chickened.

Апош on Ervin make
rights liberals and mod
that he defies si He
is remembered as one of the most deter-
mined opponents of every civil rights
bill proposed in the Senate since he wa
pointed to fill a vacancy in that body
in 1954; they can recall, especially, the
occasion when he subjected Attorney
General Robert Kennedy to 12 d: of
deadly committee cross examination, in
a kind of di хі filibuster, over such
things as the proper punctuation of ob-
scure legal citations. Yet here is the
same man leading the fight against the
patently racist no-knock and. prevei
detention laws that were imposed a
go on Washington, D.C, a city
72 percent black laws that per-
mit cops to break down doors without
knocking, that allow courts to detain
without the right to bail any suspect
whom the judge or the cops believe might
be a bad bail risk. In the context of W
ington, where most of the crime is Ы

the civil

crime, Ervin is plainly taking a pro Negro
stand.

He probably has as much
as any Southerner to

sions when the tern establishment

press is put in a vise, but when the
Nixon Administration accused The New
York Times, The
The Boston Globe of beuaying their
country by publishing portions of the
Pentagon papers, Ervin was not content
merely to defend those newspapers on
First Amendment grounds; after all,
many people were doing that. Like
good country lawyer, Ervin added
thing extra by going on the offens
and before he was through ma
case, it was perfectly clear thi
Administration plaintiffs were the crimi

Washington Post and

nals and the crime was sile not dis-
dosure. “The affairs of ecutive
branch,” he rumbled, “are hidden from
the scrutiny of the Congress and the

American people” to such an extent as
to interfere with “the responsibilities of
the Constitution,

“They will not produce Army gener
als to testify about Army surveill
They will not produce Dr. Ki
testify about foreign policy. They wi
not produce State Deparime
explain our foreign-aid policy. They will
not tell us what the standards are for
putting a citizen into an internak-security
computer.” Ву the time Ervin was
through, one might reasonably have con-
cluded that the pilfering and publication
of confidential documents were among the
most useful. and patriotic acts a citizen

an does other puzzling things.
He is very much а hawk and his per-

1 record is that of a brave patriot.
ame out of World War Опе with
d Service
y and a

Cross, two ci
handful of other medals for having been
wounded twice while helping take Ger-
man machinegun nests in some of that.
war's goriest battles (Cantigny, Soissons,
€t al. s might bc expected, he has litle
truck with peaceniks. Yet he advocates
total freedom to demonstrate, as long as
it is done peacefully, and total freedom
of speech, no matter how crude the
dissent.

On the other hand, if the demonstra-
tors become the least bit boisterous,
vin is apparently willing to watch them
crushed in a thoroughly unconstitu.
tional style. After the 1971 May Da
antiwar demonstrations. to which Wash-
ngton police responded by sweeping ир
more than 10,000 people—many of them
xcept that they were on
aming them into
real and shift jails all over town
and holding many of them (without
charges and without opportunity to
make bail) for more than 24 hours,
Ervin praised the cops for “a rather fine
job.

As a boon to dissenter years ago
Sen; 1 discovered Че public
—with suitable ridicule—the guidelines
issued by the Secret Service to all Federal

(continued on page 224)

гог Ervi:

article Ву NAT HENTOFF с look at ihe current music scene—plus the winners of the 16th annual
playboy poll and readers’ choices for the playboy jazz & pop hall of fame and records of the year

DUKE ELLINGTON
leader, songwriter/composer

MILES DAVIS
trumpet, instrumental combo

THE 1972 PLAYBOY ALL-STARS' ALL-STARS

IT was A YEAR for reflecting, for gentle grooving. As singer
writer Bob Neuwirth, Bob Dylan's former road manager, put
it “Irs like the big energy charge is over. After you've been
igh for a long time, you gotta come down and rest.

up that hi
The
doesn't rattle your brain when youre trying to get your
nerves together."
One of the sources of calming energy was Bob Dylan, who

те lots of people playing soothing music, music that

151

152

RAHSAAN ROLAND KIRK
flute, manzello, stritch

CANNONBALL ADDERLEY
clto sax

JIM HALL
guitar

RAY CHARLES
male vocclist

THE 1972 PLAYBOY ALL-STARS’ ALL-STARS

turned 30 in 1971. His New Morning album—‘a love song to

” one writer called it—was widely and frequently played.
And for his only live appearance of the усаг. Dylan chose
a lifegiving event, an August concert at New York's Madi-
son Square Garden to raise money for East Pakistan г
gecs. Playing in public with Dylan for the first time were
the organizer of the event, George Harrison, and another
ex-Beatle, Ringo Starr. It was also symptomatic of the inward-

J. J, JOHNSON ]

trombone

GERRY MULLIGAN

baritone sox

BUDDY RICH

drums

JIMMY SMITH
orgon

looking, self-appraising ambiance of the year that Dylan had
started writing his autobiography. “I never thought of the
past,” he said. “Now I realize that you should look back
sometime

Through much of the year, solo s
past, making the most of the present, tentatively probing the
future—were in the ascendancy. Among the most publicized
and analyzed of the deeply personal bards is James Taylor, of

Bers—looking into the

whom Miles Davis said that he sings like a blind man—from
far inside himself. Right behind Taylor, and likely to lead
the field in 1972, is writersinger Kris Kristofferson, A former
Rhodes scholar who got turned around in Nashville, Kristoff
erson is some ten years older than Taylor, but their basic con-
same—how to stay reasonably whole in rough times.
ng i lualist, Loudon Wain

cern is th
Also risi

li

is another unyi

wright JI, whose music is a continuing autobiography. The 153

154

MILT JACKSON

vibes

STAN GETZ
fenor sax

RAY BROWN
bass

BILL EVANS
piano

THE 1972 PLAYBOY ALL-STARS’ ALL-STARS

geist being so receptive to singularity of view, the year
was the best yet for Randy Newman. the most bizarrely, mor-
dantly imaginative of the pop singer-composers. His records
began to move well beyond cult sales as he also appeared more
frequently in night dubs and in concert halls. And the en-
tirely different—but no less опе of a kind—Joan Baez also
fitted the time, enjoying her biggest hit single in years, The
Night They Drove Old Dixie Down, while continuing her

ELLA FITZGERALD
female vocalist

BUDDY DE FRANCO
clarinet

5TH DIMENSION
vocal group

public advocacy of nonviolent direct
beginning in the self.

Another witness against violence, Carl Wilson of the Beach
Boys, made music and draft-resistance history. Having been
given the status of a conscientious objector in 1967, he
refused alternative civilian duty, which he felt made no use
of his talent. Wilson and his draft board had since been in
continuous conflict until a Federal circuit judge ruled last

action for change,

iust

S BY T

year that he will be allowed to satisfy his draft obligation by
performing with the Beach Boys at prisons, hospitals and
orphanages.

The Beach Boys as a group demonstrated marked musi-
cal growth while experiencing a resurgence of popularity.
Their floating, multilayered sound is just right for the cur-
rent introspective, sensuous listening atmosphere; and the

increased sophistication of what (text continued on page 160)

OMAS UPSHUR

155

PAUL McCARTNEY E
4 BOOKER T. -J

bass T
(ue) BUDDY RICH organ Е
A al drums =
E n J aa.

7 8 ^. < ii} =

S LE |
ЫЎ | \ \ =
<!

^ ERIC CLAPTON
guitar

ds i
———— A : 7X
A К Ж, €
f б
Кез е i е МА
M. 3 4 PETE FOUNTAIN: CANNONBALL PAUL DESMON|
| е i * clarinet ADDERLEY second alto sa.
f $e ЕЗ С - . t alto sax
AP ubi А (

W ELTON JOHN
piano

BURT BACHARACH-HAL DAVID
CAROLE KING . songwriter/composer
female vocalist >=

ROD STEWART
male yocalist

THE 1972 PLAYBOY ALLSTAR BAND

AL HIRT MILES DAVIS HERB ALPERT
second trumpet third trumpet | fourth rrumpet

wal | ated)
SI ZENTNER | KAI WINDING BOB |
second ' third trombone BROOKMEYER |.

trombone fourth Kambone

i 7 "OY,
STAN GETZ BOOTS GERRY MULLIGAN,
first tenor sax RANDOLPH baritone sax CY А

MOODY BLUES
vocal group

DOC SEVERINSEN
leader, first trumpet

CHICAGO

instrumental combo

ILLUSTRATION BY BILL UTIERBACK

SCULPTURES BY JACK GREGORY
PHOTOGRAPHY BY SEYMOUR

In the seven years that we've been asking our readers to
name three artists to our Ja Pop Hall of Fame, their
tastes have changed considerably. From Frank Sinatra and
classic jazzmen like Duke Ellington and Count Basic, they
have moved to rock musicians—last year adding Jimi Hen-
drix, Janis Joplin and Elvis Presley to the distinguished
ranks. This year the rock train kept rolling—and riding up
front were three of its engineers: Mick Jagger, honcho for The
Rolling Stones; Jim Morrison, a poet who was disguised as a
debauched pop star; and George Harrison, late of the Beatles,

DAVE BRUBECK LOUIS ARMSTRONG

MICK JAGGER with his lips pursed, leering slightly, pranc-
WES MONTGOMERY MILES DAVIS ing and preening around the stage like a character out of Os-
car Wilde, he is still master magician of The Rolling Stones.
Now 27, а husband and father, Jagger has seen some changes
since the early days, when he, Keith Richard and Brian
Jones dropped out of school, moved in together and began
to groove on rhythm-and-blues. Between 1962 and 1964, they
sat in on gigs around London, developing their scruffy style,
picking up the back beat from Chuck Berry and lifting their
name from a Muddy Waters song. In 1964, as their records
started hitting the charts, outrageous escapades, dope busts
and frenzied concerts made news. The Stones’ mystique spread
а ww ^ rapidly, with Jagger always at ground zero, whirling sugges-

PAUL MC CARTNEY. tively, pushing his sexuality, politics, tough talk and driving
rock. In 1970, he starred in two movies, "Performance" and
“Ned Kelly.” That year also marked the Stones’ epic tour of
America, which ended in mayhem and death at Altamont
Speedway in California. The filmed tour became "Gimme
Shelter," the title taken from a classic Stones tune. Jagger and
the Stones now have their own record label and haze so far
released one album on it, "Sticky Fingers.” Mick has moved to
southern France with Keith Richard, where they set up a re-
cording studio in Richard's house. There is talk of a new
‘= American tour for 1972. If they come, Jagger—in his Uncle

4 I 4 Sam hat апа Isadora Duncan scarf—will put the band through
JIMI HENDRIX JANIS JOPLIN ELVIS PRESLEY its paces, on and off the stage. The erotic prince rocks on.

THE PLAYBOY
JAZZ & POP
HALL OF FAME

JIM MORRISON Back in 1966, he had the face and салаа
ing locks of an innocent Renaissance angel, only his robes
were black leather and snakeskin and the hymns he sang were
mostly about death and decay and chaos—apocalypse, Los
Angeles style. He was called the American Mick Jagger—but
that was a little bit less than the truth, Jim Morrison was
also, or at least wanted to be, а poet. The group he helped
put together while studying film at UCLA was named for a
line of William Blake's. ere are things that are known
and things that are unknown; in between ате doors'—and for
once, a rock group's name was appropriate. Morrison delighted.
in peering through those strange and dangerous keyholes: to
break on through to the other side, as a song of his put it. He
tried by drinking as hard as he could, by teetering uncon
cerned on ledges 100 feet above Sunset Strip, by getting и up
onstage and urging audiences to join him—just to sce what
would happen. What happened was a series of husis, which
culminated in a 1969 Miami trial that found Morrison guilty
of obscenity and left the hip world snickering at him. He
seemed to have moved past rock 'n’ roll, anyway. He had been
making experimental movies jor a long time and he was wril-
ing poctry. By last year, The Doors had stopped performing
together, with Morrison resting and reportedly happy in Paris
But as “L.A. Woman,” his last album, was break ng in July
—and making new believers out of a host of ex-Doors fan:
Jim died suddenly in Paris of natural causes. He was

GEORGE HARRISON If any good at all has come from the
quarrelsome breakup of the Beatles, it may be the ете
of George Harrison as a serious musician with his own direc-
tion and identity. It's been a long time coming. As a Beatle,
he often seemed like the Invisible Kid—perhaps because he
was the youngest, and feli it—even though early on, he knew
more about guitar playing than either Lennon or McCariney.
Not until “Help?!” —their eighth American album—did. his
name appear as songwriter; but then in 1966 came “Taxman”
and “I Want to Tell You" on "Revolver" After a tour that
same year, he traveled to India to study the native music, but
he got into more than sitar licks while he was there—and he
came back with a contagious fascination for Indian spiritual-
ism that started out as his personal search but sadly turned
into Maharishi giggling at Johnny Carson coast to coast
George's spiritual concerns survived the flash fad, though, and
by the time of the breakup. his head seemingly had moved far
ther from mop-top days than any of the rest. His thec-LP.
post-Beatles album, “АН Things Must Pass," was packed with
fine music and musicians; and tracks such as “My Sweet
Lord,” with the chorus shifting from “Hallelujah” to “Hare
Krishna," showed George was walking wider paths all the
time. Then last August came the Bangla Desh benefit, a good-
vibe bash that got him, Dylan, Ringo and Clapton together

and raised $250,000 for East Pakistan ref He's come
а long way from teaching chords to Lennon in Liverpool.

159

PLAYBOY

160

they have to say—as in their recent al-
bum, Surf's Up—shows that pop avatars
of the Sixties can survive if their music
reflects the changed experiences and the
maturation of their early fans.

Also demonstrating staying power in
their diverse ways are the mellow, coun-
uyrocking Grateful Dead, The B.
the Jefferson Airplane (movi
into science-fiction rock), Creede
water Revival and The Who, whose new,
resourceful album. Who's Next, made
clear that th-y are not going to coast on
the success of Tommy. OL the groups that
broke through nationally in 1971, the
most buoyantly arresting is Joy of Cook-
ing, Berkeley-based, given its thrust and
nition by two women (Toni Brown
thwaite), Joy of Cooking is
igh-energy blend of country, Gaspel,
jazz and blues, among other ingredients,
stirred into original material with re
able musicianship.

more

For the newest wave of teci
meanwhile,

boppers.
there is Grand Funk Rail-
tingly loud and simple
but obviously meeting certain adolescent
needs as it keeps selling huge numbers
of albums and filling concert halls and
stadiums throughout the country. Also de-
monstrably appealing to the youngest
legions of pop appreciators is the Jack-
son 5, one of the more genuincl
ebullient products of the Motown sound
tory.
There was much more to the ye:
however, than even the considerable
range of sound and symbol that spans
James Taylor and Grand Funk Rail
road. On the festival scene, for example
there was both disaster, and in other
places, some degree of serenity. The
former was much more visible. In late
June, a grotesquely mislabeled Celeb
tion of Life festival—scheduled for a
weck in an isolated section of Louisiana
—closed down alter four days, leaving
three dead. ‘The victim of bad plan
by its promoters, invasions by motor-
cycle gangs and the presence of sizable
numbers of hard-drug users. the eve
s one refugee said, was no festival at all
“It's been too harsh.
Less than a week later, the Newport
Jaz Festival ended prematurely after
hundreds of young people rushed from
a hill overlooking the field, broke down
fences and scized the stage. At the time,
Dionne Warwicke м ging What the
World Needs Now; but the marauders,
some of them out of the world on drugs,
didn't get the message at all. The New
Yorkers Whitney Balliett noted sadly
that “things being the way they аге, it
may well be the last major festival of
any kind anywhere. About the only in-
vulnerable place you could hold апо
one would be Radio City Music Hall.
‘There were some subsequent bloody
signs supporting the Ballictt thesis—
dashes between heavy-riding cyclists and

music freaks at a huge carly-September
rock festival on the Olympic Peninsula
in Washington; and stabbings, including
one death, at another war between cy-
clists and rock listeners at a Watsonville,
California, festival a day later.

But not all festivals were misnamed,
Other annual ial events—from
Hampton, V to Monterey, Cali
fornia—went on without violent inci-
dent. And most successful of all. im
terms of the pleasures of listening, were
those that were kept small cnough for
a sense of communion to be actually
established—the Philadelphia Folk Fes
tival in Upper Salford Township; the
Summer Festival in Concord, Californi
the free festival im celebration of пон
violence at Big Sur. The primary future
direction of music festivals appeared. to
be toward human-scale gatherings. Mem-
bers of what was once called the Wood-
stock Nation prefer, for the time being,
уау, to stay with smaller drcles of
fiends.

Still considered right for grooving to-
gether to live rock were such gathering
places as Fillmore West and Fillmore
Fast. But the owner of both, Bill Gi

ham, no longer felt that way. In the
„ energetic promoter-

spring, that bl
organizer stunned rock insiders, and the
vast audiences outside, by announcing
the closing of the Fillmore, East and
West. He was tired, he stid, of agents
and acts who wanted ошу to make
money and of audiences that were less
sophisticated than in the carly Fillmore
days.

"The scene has changed." Graham
said gloomily. "What exists now is not
what we started with . . . and does not
seem to be a logical, cr extension
of that beginning.

For many, Graham's indictment of the
present state of the music, and its audi
ence, was far too generalized
tations were that
of
himself would find reason to retum. In
the meantime, there is a void. The Fill-
mores affected many people, even such
seemingly unlikely figures as a New
York police sergeant who had been as-
signed to the theater. “Nobody's going
to believe me,” he said on closing night,
“but I'm going to miss the joint. 1 love
Johnny Winter and think he’s a great
guitar

after a rest, thi

setter
high standards for music and for

st.

Another kind of leave-taking was that
of Frank Sin: In June. at a Los
Angeles concert for the Motion Picture
and Television Relief Fund, the
year-old Si the most. continuously
magnetic of all pop-music performers
for an earlier generation Шап those
reared musically at places like the Fill-
more, announced his retirement. from
show business. His last of the
ght, Angel Eyes, ended as Sinatra,

song

seen through spiraling smoke from his
cigarette, sang softly, “Excuse me while
І... disappear.” He insists he is gone
for good and will now “read Plato and
grow petunias.” But, as in the case of
Bill Graham, speculation remains lively
that, one way or another, Sinatra will
reappear.

There can be no тейит for Jim Mor
rison, who died of a heart attack, at the
Paris during the summer. A
super ies as leader of The
Doors, Morrison had seuled in Paris to

write and is now in the same cemetery
as Edith Pi Oscar Wilde and Molière.

the death
In July, at Tl,
sleep at his home

The year's greatest. loss
of Louis Armstrong.
Armstrong died in |
in Queens New York. Thousands of
mourners filed by his open coffin at
an armory оп Park Avenue. Many later
stood outside as a sedate service, with
Peggy Lee singing The Lord's Prayer.
was held at a small church in Queens.
Some of his old colleagues, such as
drummer Tommy Benford, had hoped
for a traditional New Ovleans send-off
("It would have been
the greatest jazz funeral the world has
ever seen,” Benford said) But a few
days after the church service in Queens,
thousinds did turn out in New Orleans
for a tumultuous parade, with b
bands, in wibute to the spirit of Loui
And 1, The New Yor
Times ute: “И, as many
believe, American jazz . . . is this coun-
пуз singular contribution to the art of
the world, it was surely Louis Armstrong
more than any other who made it so.

Another who has done much 10
jaz singu'ar and significant, 72-year-old
Duke Ellington, toured Russia for the
first time with his orchestra last fall. In
the five-week circuit of major Soviet cities

for Armstron

Ellington discovered that his “1 Iove you
madly” (spoken by him in Russian, of
course) was enthusiasti iprocated,
Ever the diple for exam-

ple, for the ninth encore in Leningrad,
called on Paul Gonsalves for an impro-
vised version of Dark Eyes. It brought
down the house. "Even matrons were
smiling wistfully,” The New York Times
reported from the scene.

А composer-player-leader who has been
much influenced by Ellington returned
forcefully to the jazz world im 1971.
Charles Mingus, largely inactive for a
couple of years. was back in clubs and
on concert tours with his group. The City
Center Joffrey Ballet premiered The Min-
gus Dances, one of the most ambitious
fusions so far of jazz and dance, with
choreography by Alvin Ailey. And Min-
gus nearlegendary book, Beneath the
Underdog, was finally published by Knopf
after bemusing and confusing а number
of publishers for years. Unusually candid,

(continued overleaf)

By ROBERT CAROLA wo RD PLAY

more fun and games with the kings english in which words become delightfully self-descriptive

-— Marshall McClue-in

€ IMPERFECT
T

TOUC DOWN

00K

SEcretzary

INSOMNIAC

PLAYBOY

162

JaZZéPOP72 oo

structively erotic and caustic about
entrepreneurs and critics connected with
2. the book, like Mingus, is sui gencris.
Mingus, in addition, became the sixth
jazz artist to receive a Guggenheim
Fellowship in composition, The award
was futher evidence that jazz is slowly
being regarded. as sufficiently seri
qualify for foundation and Governmen-
tal aid. Such recognition from the arbiters
of "official" culture is still, however,
token. The Jazz Program of the Nati
al Endowment of the Arts, for inst
awarded grants last year of only 5
to no fewer than 49 individuals and
organizations. (In a previous усаг, by
contrast, the Endowment had granted
551.600.000 to 34 symphony orchesti

A revealing element. of the 1971 Na-
tional Endowment program was the
provision of funds to 12 colleges and
universities in order to establish resi-
dencies for jazz artists and instructors.
Centers of higher Icarning, it became
particularly clear last year, have become а
new, firm base for jazz (or black music,
as most of the teacher-players now call
i). The Endowment grants for
on campus underlined this acceler
trend. Cecil Taylor has joined the fac
ulty at Antioch, after holding a similar
post in black music at the University of
Wisconsin; Marion Brown is teaching
at both Bowd. College and Brandeis
University; David Baker continues to
strengthen black-music studies at Indiana
University; Donald Byrd is in charge of
а black-music department at Howard
University; and Ken McIntyre, who de-
loped black music as a full-fledged
area of study at Wesleyan, has moved on
to become professor of humanities and
head of the music program at the State

ng

University of New York's Old Westbury
Ме

The thrust of
program is Afr
indication of wl
head in the developing relations
between black music and the аса
McIntyre stu Ghana last August
under a grant from the № ndow-
ment for the Humanities. His subject: the
relationship between
its time concept as ag
time concept in the Americ
Nor is ag rise
conscious black

campus. Professor

the continu

of black

ess.

Until Con-
over, longterm broadcaster of jazz and
popularanusic programs on the Voice of
America, had been the publidy unchal-
lenged Gov tal voice of jazz in
Washington. He is jazz consultant for
the Nai Endowment of the Arts,
jazz advisor to the White House, a mem-
ber of the jazz subcommittee for S
Department. cultural. presentations. and
a jazz and pop producer for the John F.

te

Kennedy Center for the Performing Arts
(he produced a disappointing jazz festi-
ıl there in September). Conover's pow-
cr is now being strongly and publicly
challenged in a rebellion of black mu
cians and writers. One of their demands
is that he resign his Kennedy Center
post. “The role of Willis Conover att the
Kennedy Center,” wrote Hollie West. a
black writereritic for The Washington
Post, “is characteristic of how the music
of black Americans is managed in this
country. Blacks create it and whites con-
trol it^

Another illustration of the c:
of black consciousness was an award
announced during the June graduation
exercises of an intermediate school à
East Harlem whose principal is black.
Among the musical honors was the Bessie

ansion

Smith Award for excellence in vocal
music.
The use of music to inten: sense

of collective strength and individual
self-worth was also exemplified last year
at Kentucky’s Berea College, most of
whose students are from poor, white
Appalachian families. Berea has added
an expert in bluegrass music, Raymond
McLain, to the faculty, in the hope
of encouraging young mountaineers to
cherish their culture. (Ironically, not
only do bluegrass buffs abound
all other sections of the
but there are also more than 300 blu
grass bands in Japan. In Tokyo, on a
Sunday afternoon there took
place the Appalachian Hibiya Central
Park Bluegrass Fest
Japanese-played high, lonesome country
harmonies.)

Country music as а whole kept ex-
anding its audiences all through Amer-
ica in 1971. A midsummer radio survey
disclosed, The New York Times seemed
surprised to learn, that country sounds
“now Л оп 56 percent of the
ns in the United States, putting it
ad of even the seemingly ubiquitous
rock music, which is heard on only 40
percent.” Meanwhile, the country per-
former emerging as most likely to follow
Johnny Gash to national superstardom
is Merle Haggard. During the year, he
released an especially affecting album of
Okie memories of California (Someday
We'll Look Back) and began to attract
increasing attention from television and
film producers because of his reste:
rugged intensity. Haggard cannot easily
be stereotyped, it was discovered, notwith-
standing his hits Okie from Muskogee and
The Fightin’ Side of Me. He told a re-
porter that he was furious with Capitol
because the company wouldn't let him
song he had written about an
ir (“They said it would
bad for my image’

are

record

But the country-mu
changing. In Octobe
won the County Mu
Artist of the Year and Best Male Coun-
try Vocalist of the Year awards in a
nationally televised event originating in
Nashville, Charley Pride is black. He
was, by the way, one of the biggest-
selling country singers of the усаг.
Although the exuberant acceptance of
Charley Pride by country audiences is
ing cultural phenomenon,
Pride himself is an anomaly. He is likely
to have few black imitators as an. inter-
preter of white country songs. Much
ore indicative of what might become a
wend was the considerable: success—as
an album and as a film—of Soul to Soul,

image is itself
Charley Pride
с Association's

a musical documentary filmed in Ghana
on the occasion. of that nation’s 14th.
Independence Day celebrations in March.
Such American soul powers as Tke

& Tina Turner, Roberta F
and the Staple Singers еп
cultural exchange with African sing
and dancers. All concerned were so ex
ated that more such mutual

ana

explora:
ly.

In another film venture completed
last year, Brother Sun, Sister Moon.
about the early life of Saint Francis of
Assisi, director Franco Zefhrelli declared
himself attuned to a different kind of
"soul" trend gathering momentum among
the American young, Partly in reaction to
the failure of the revolution to arrive
promised. a sizable number—not only the
Jesus freaks—would like to agree with
Zelhvelli that “the Seventies will be a
decade of spi ening.” Zefh
considered it most apt to have Donova
longtime pop advocate of spiritual re;
cration, write and sing the score for
Brother Sun, Sister Moon. And his next
project, Zeffirelli has announced, is The
Assassination of Christ.

He will have competition.
this spring, Norman Jewison
filming Jesus Christ Superstar. This rock
opera by Tim Rice and Andrew Lloyd
Webber began as а tworecord
that sold more than 2,500,000 copies
in the United States alone. It next de-
veloped into two touring concert versions
that ranged through the county with
enormous financial success And in
October, a fullscile, Tom O'Horgan-
directed production opened on Broad-
way, where it may well have the
run its coproducer, Robert St
predicts for it. By the end of the year,
licenses for stage productions of this
apotheosis of rock-populist spirituali
had been issued for France, Germany,
Spain, Norway, Sweden, Denmark, Hol-
1 Australia, all the South American
countries, Mexico and the subject's home
base, Isr

During

па branches are 1

nal aw

and after the Broadway

(continued on page 208)

—

attire By ROBERT L. GREEN

the classic three-piece
suit returns in
casually elegant corduroy

VESTED -
.: INTEREST

THE THREE-PIECE SUIT is back—cut
to conform to the latest sartorial stand-
ards, of course and making Из
reappearance ір that most time-honored
of fabrics: corduroy. Our guy
here heads vestward in al single-
breasted model with notched:
lapels, patch pockets, deep center vent,
matching leather-button vest
(with four pockets for watches or whatever)
end fared -leg trousers, by E. 5, Aubrey, $150.
" Complementing it: A diamond-patterned
а cotton broadcloth shirt with y
А long-polnted collar and two-button cuffs, -
W^ V. „Ьу Bert Pulitzer, $18, а coordinated
idiamond-patterned silk Не, by Berkley
€ravats, $10, and à pair of patent- »
evt high-back slip-ons with rounded toes 4
L4 endrelsed heels, by Verde, $30.

PRODUCED BY WALTER HOLMES
PHOTOSRAPHED EYJOEL BALDWIN,

PLAYBOY

164

CHICKEN ITZA „сонсо

introduced to him? Take me to him at
once!"
"а-га rather not. Mr.
don't think you'll like him.”
ase! Of course ГШ like him
I've never wanted to mect anybody so
much in all my life."
The mayor sighed. “АП right. Mr.
Firby. Since you insi

Dubchek gasped.
t-

Firby. I

‘But Henry you

have no alternati Fyodor. Come,
Firby, ГЇЇ conduct you to his hcad-

Mr
quarter:

Reseated in the runabout and bound
for the headquarters of the supery
engineer, Firby voiced his credo:

t

may well be doubted.” s “whether
technological ingenuity can give birth to
a dilemma that technological ingenuity

may not, by proper application, resolve.
Tsay this, Mayor, in face of the glaring
fact that our cities back on Earth leave
much to be desired. Their tube trains run
late, their walkways keep stalling, their
visiphone service is a laugh, half the
time they don't have electricity and their
streets have as many chuckholes as the
moon has à But I have always
maintained that eventually our technol-
ogy will find a way to avert mechanical
breakdowns and minimize deterioration,
that a roscate day will dawn when the
petty vexations that plague us from
morning till night will be no more.

ers.

Apparently, that day has already dawned
for Siw City, Mayor, and 1 congratulate
you. Maybe your super
can perform a similar miracle for us. Who
is he, by the way? I knew ISA left some
good men up here, but I had no idea
any of them was that good.”

The mayor didn’t answer and Firby
didn’t press the question. He'd find out
for himself who the supervising engineer
was.

Presently, Albert brought the runa-
bout to a halt in front of a one-story
cementblock structure. А purple-and-
green blanket functioned as a front door
and there were no windows. Firby
frowned but id nothing. The m:
held the blanket aside and followed F
by. The interior consisted of a single
barnlike room. In the center of the floor
stood a large block of discolored con-
crete. Flickering radiance came from a
source somewhere behind it but provided
itle in the way of actual illumination.
Hanging Irom rafters were miscellanc-
ous articles of various shapes and sizes,
none of which Firby could positively
identify but onc of which he could have
sworn was a bundle of chicken feathers.

It doesn’t mean a thing, he told him-
self. It doesn't mean a thing. Aloud, he
said. as calmly as he could. "Well. where
this supervising engineer of yow
Mayor?"

"Right over here.

Mayor Kobecker led the way around.

Wm

“PU say this for you, Charley . . . a little
bit goes a long way.”

the discolored concrete block, and pres-
ently Firby saw that the room contained
а second curiosity—a pedestal. Upon it,
flanked by two lighted tapers, stood a
small doll. It 1 been carved out of
mahoganylike wood, had agates for eyes,
chicken down for h: tiny pebbles for
teeth, and was clad in striped mechanic's
coveralls. Protruding [rom the center of
its small forehead was the head of a
nail.
“The coveralls were my idea,” Mayor
Kobecker said. "Rather appropriate,
don't you think:
^A fetish!" Firby exploded,
damn fetish!
He doesn't ask for much in the way
of sacrifices. A pullet or two now and
then. Once in a while, a goat. Sometimes
a sheep. He's really quite reasonable
when you consider what the union scale
is these days. . . . Well, what else could
we do, Mr. Firby? Our buildings were
falling apart, our runabouts wouldn't
run, our machines kept breaking down
aster than we could fix them, our
canned ЗҮ programs had defective
sound tracks, most of the sets themselves
wouldn't work. We couldn't ask the per-
sonnel of the supply ships for help—we
were forbidden суеп to talk to them
while the l period was in effect. We
had to turn to the Siw. And, as things
turned out, it was the wisest move we
could have made. Civilized men havc
built things to ГАЙ to pieces for so long
that they've now forgotten how to build
them to stay together. The whole thing
has gotten out of hand, as you know
yourself. Ordinary measures of coping
with the problem just aren't effective
итог
^p don't believe it" Firby shouted.
“I don't believe
‘Shhh!—you'll offend him, sir. Please
be carcful. You must remember that the
homunculus is merely his focal point.
Actually, he's everywhere. Therc's no end
to the things he can make go wrong for
ou if you make him mad."
"| don't believe it!” Firby screamed.
“I don't believe it

god-

He still didn't believe it when the
ve malfunctioned during blast-off and.
his ship nearly nose-dived into a moun-

1. He still didn't believe it when the
r conditioner went out of whack dur-
ng deorbiting and the interior tempera-
ture climbed to a blistering 110 degrees
Fahrenheit. He still didn’t believe it
when the automatic pilot lost its bearings
and took him 10,000 miles off course.
When he finally got back to Earth, de-
moralized, dehydrated and half dk
the port mechanics found water in thc
ner and
swahicken feathers in the automatic pilot.
Then he believed it,

fuel, corn in the air condi

Looking for a taste thats
never hot, never dry, always cool?
Come all the way up

to KGDL.

18 mg. “tar.” 14 то. nicotine
av. per cigarette, FIC Report Aug. 71

LJ
о
а
»
m
a
а

166 happened

ROLLS-ROYCE (continued from page 108)

nd complicated, but few Rolls-Royces
ever had loose wheels, and so it went.
Some of the things RollsRoyce engi-
heers insisted upon were surely over-
detailed and unnecessarily expensive, but
they had Royce behind them: “Quality
will be remembered." lie said, “long after
prive hay been forgotten.

The car lasted longer than the men.
Charles Rolls was killed in an airplane
crash in 1910. Hc was a

wip nal flight when
nitely more hazardous than
Atlantic solo today. Flying a М

biplane in a shor-landing contest at
Bournemouth, he came in too high and
apparently overstressed an elevator com-
ponent in a correcting dive. The рі

dropped an estimated 27 fect; Rolls was
thrown free and died almost instantly.
He had. by that time, lost interest in

automobiles.
sold his stock
A year late

and he had proba
n the company.

€ had a complete
physical collapse, clearly the result of
years of overwork and malnutrition.
From the beginning. he had worked
obsessively, often 20 hours at a stretch,
and he grudged taking time off even to
t. If he hadn't ren 1 to put an

bly even

е ember

apple or а roll into a pocket, he
wouldn't bother. He apparently truly
couldn't understand men who labored

fo lesser standards. In the early days,
when he handed out the weck's рау on
s he would often tell a
rc not

"You don't deserve it if you
going to work this afternoon.” Si
himself was probably going to work un-
midnight, he thought it а reasonable
observation. The doctors could find
nically wrong with Royce,
fell back on the recommendation
of "a change of air.” Egypt was favored
for the purpose then, and Claude John-
son took him there with all speed. It
didn't seem to make a lot ol difference,
md on the way back they wandered
in the south of France, In Le Canadel,
t it might be ple
ant to have a house in France. Johnson
immediately bought land and had two

e he

nothing or;
so the

villas built, one for Royce and a smaller
опе nearby for the
ing interval, Royce fell seriously

was surgical intervention, most 1

intestinal malignai nd he was
ver really well for the rest of his
most of which he spent in Le Car
working, He һай a housekeeping staff, а
е е ТЫЛУ
stream of directives, ideas апа designs
began: to flow to d it never
stopped. (They were gathered
book, six copies were made and it is still
consulted.) He rarely saw the factory
again, but he dominated everything that
in it until his death in 1933.

He was Sir Henry Royce by then, in-
disputably a titan.

Royce is hard to place ay а person:
ty. He was а kind man, he raised tre-
mendous loyalty in his employees, but
he was irascible and shortfused, too.
Someone who was with him when he
heard a workman remark that a certain
part was “good enough” said t le
carried on in an alarming manner.” He
had small talent for recreation. Some-
times he played the flute, but he was
more interes than in
the music it made. He liked flowers—
but his garden was artificially lighted, be-
cause he couldn't. find time to dig in it
by day. In the literal sense, he was a

man,

laude Johnson, who had
saved Royce's life, had held the
pany together and had been helmsm
from the beginning, died in 1996. plain
ly a
The production of aircraft engines dur-
ing World War One, at small profit and
in the face of incessint interference by
an ignorant bureaucracy, had hurt. him
most.

Well

ies, it

ed in its air flow

bly
com-

prol

fter the Hider war, in the
sometimes said that th

were nothing lil

ипе.
been lowered. Tod
xis БИА аара е Dd
parts, stub axles, for example, covered
with protective plastic, partially to pre-

1 their serdi
nportantly. as

engineer. told
"for discipline." Oilpump parts are in-
dividually inspected. and after assembly
the whole unit is checked. At that point,
in the ord manufactory, it would
go into the car. Rolls-Royce hooks it to
a test rig, where it must pump oil in

me,

rated volume for a specific time. Some
disk brakes are noisy because of belt-like
resonance in the metal mass RR disks

are muted: А groove is machined
around the periphery, a soft iron wire
fastened in, the whole covered with a

strip of stainless steel. Cars on the pro-
duction line still move only about once
п hour, and not far, and by manpower
ines are still bench run under

constant wash of fresh oil and every car,
before going to the paintshap for finish
ing. on the тола by a tester
who is far more knowledgeable than the
fussicst customer, and more critical, too,

is taken

because that’s his job. This systematic
overkill largely explains why, of circ
50,000 Rolls-Royces that have been
built, some 30,000 are still runni

probably the highest survival rate of any
production automobile. Too. it explains

why the Rolls Royce is one of the cheap-
est cars to run: Overall
cost is low and resale value very high.

1t is true that the Rolls-Royce of 1950

mainte

ance

Or so was not so notably superior 10 its
competitors as, say. the Silver Ghost had
been. Silver Ghost devotees believed
that their cars had по peers. They might

grudgingly have conceded that the Na-
picr was a fair motorcar, but that would
be the - In 1910, few makers were

s much in effort and
s Royce was, and nothing else

попеу

would do.
In time,

craft

technology overcame hand-
ged into place in a
few seconds hekl a chassis together as
well as tapered bolts; hexagonal nuts
could pin a wheel as tightly as a splined
and machined hub fastener, and for
pennies instead of pounds. It's an old,
old story: The English longbowman was
the terror of Europe because he was a
deadly shot, childhood trained, with a
sightless and subtle weapon that had to

be aimed instinctively and could be han-
dled only by а strong man. Technology
produced the gun: 97-pound weaklings

could month, and the
longbow went for firewood.

The fabulous variety of custom coach-
work beguiled one into thinking the
older cars superior. too. Every Rolls-
Royce today looks much like every
Other. Not so when there were more
than 50 bespoke bodymakers at work
nd a man had his motorcar tailored to
his taste exactly as he did his suit. He
could order a tourer, a roadster, coupe
in any form, or а landaulet, a phaeton,
a salamanca, а cabriolet, а sedanca de
ше. a drophead sedan two-door
sedan with a blind rear quarter, a tor-
pedo, a boatdecked sports tourer. And
these were merely body shapes. It was
interiors that offered individuality, or
eccentricity, full rci
leathers. cabinet. timbers
solely by the world market. Gold or
silver plating, Venetian blinds. running
water, extra instrumentation, double-
glazed windows, cocktail sets electrically
lifted to lap level, miniature elevators
built into the running boards—even toi-
lets were not unknown. They were usu
ally arranged to disappear into the
trunk, and one lady of rank stipulated a
seat of best ivory. The Nizam of Hydera-
bad liked foot-wide sterling-silver crests
on his Royces: he was said 10 own 50.
The Dow Queen Mary was less
demandi ing only a horn sound
g speed-
ometer in the гг compartment so
she could be certain that her chauffeur
never exceeded the dignified rate of
travel she stipulated.

Although customer choice was so
wide, I recall only two really ugly Rolls-
Royces. One was а bulgesided horror оп
a Silv t for Nub
Gulbenki fearsome sti

maste

nd a reco!

is buil

m-

for a
I prcume

“But, Captain, I thought you liked to administer punishment оп

deck, in front of the men

167

PLAYBOY

168

most Rolls Re

ces were good-looking he

сае British custom bodybuilders, like
British custom tailors, would allow a
client only so much latitude in taste

before suggesting he might be happier
elsewhere.

Many extraordinarily pretty bodies
were erected on the 1929-1935 Phantom
Ш chassis—the last car of Henry Royce's

own design—perhaps because its 200- or
206-inch chassis lent itself to long
low coachwork. A two-seater roadster on
a P-L was certainly a splendid example
of conspicuous consumption. The P-
engine was a six-cylinder, Royce's favor-
ite configuration, and big—7.6 liters, (It
took eight quarts of oil and nearly seven
gallons of water, two of the reasons RR
engines didn't often overheat, One was
an [rom England into Africa and back
hout water added.) The engine
ied good things—overhead valves, a sev-
enb crankshaft, i

systems (coil gneto, used togeth-
er). a double-sequence silent starter and
a constantspeed control of the kind that
has lately been an option on some U. S.
luxury cars. Brakes were powered on
Rolls-Royce's well-tried system, based on
Hispano-Suiza and Renault patents. the
amount of ped c increasing or

nd

w cu

double

nd m

decreasing precisely in ratio with th
spe ed of the car. Chassis lubrication w
with oil controlled by a drivers pedal,
only the propeller-shaft universals need-
ing rack lubrication; even Rolls Royce in-

genuity couldn't find a way to squirt oil
ito them while they were spinning. А
slightly modified PI, the Continental,
used 23 seconds to accelerate its two and a

half tons to 60 mph and would do 90-95
on top. The Continental was an ideal
carriage for long-distance touring in the
E ind many were bodied
with nested trunks and valises astern. It
did not occur to anyone that they might
be stolen—because they wouldn't be.
as the mascot,
Lady figure adorning the
a plain cap was provided for
use when the car had to be parked in
dubious security. (Today the big prewar

and manner.

German-silver. mascots bring 5100-5150.)
Charles Sykes, a noted sculptor of the
ne, created the m in 1010 and

titled the com:
pany likes to say. after a ride in a Silver
Ghost—an unlikely story, indeed. That
Sykes modeled the statuette from life is
usually not mentioned; the lady was the
mistress of a titled Rolls-Royce owne

At the other end of the spectrum were

“A little lower, and to the left, please.”

the hi
times

Пе 20hp and 20/25 cars, some-
inclegantly called Babies. They
made lovely town carriages and were
great favorites with doctors, combining,
as they did, elegance with economy.
Some thought their performance deriso-
ry—ihey were flat out at around 65 mph
—but then, as now, 63 was adequate on
most roads, and a 20/25 would do it
silently and gracefully and practically
forever. Rolls-Royce authorities Anthony
Bird and lan Hallows cite а 20р
owned by a woman who could not, or
would not, learn to shift gears. For 25
years she ran the car in fourth gear—
starting, on the level, uphill and down.
It ate clutch plates like popcorn, of
course, but the engine imperturbably
took the beating. The lady should have
taken the course the factory offers for
chaulleurs and the occasional owner
driver. It runs ten days (in the days when
only the stick shift was available, three of
them were given over to gcarshifting). I
have ridden with seasoned graduates of
instruction, and it is true that the
automatic transmission that сап shift as
nearly imperceptibly as they did has yet
то be devised, never mind such nicetie
releasing the brakes completely about six
inches before the car stopped. so that
it would die without rippling the water
in a hand-held glas

Rolls-Royce believes in the survival
principles established by the Vatican:
mong them, change when it's necessary
—but not before, and not much. Post-
war realities doomed the custom coach-
builder, so the company began to deliver
complete cars instead of cha:
gines only; they were smaller and more of
them were made to be driven by their
owners. Innovations such as the automatic
transmission—a reworked GM Hydra-
Matic—and twin headlights were taken
оп over screams of rage from the old
guard, who saw in them nothing but trans-
atlantic cheapening of the sacred vehicle.
But the company had no intention of
abandoning the thrust that had bro
greatness, and ulaluxurious с:
were still on the stocks: The Phantom
ТУ limousine was available to heads of
state only in а production run of 16
s. The P-IV the first Royce used
in procession by the royal family, Da

nd en

m-

ler previously having been preferred,
The even bigger P-V had a run of 510 at

round $31,000, and would do 110 mph,
hut British motoring journ
gentle with the home product, and posi-
tively deferential to Rolls-Royce, sug-
gested that for all its pasha's luxury,
the road holding, stecring and ride com-

s, usually

fort in fast going were all short of the
mark,

and they suggested that it did
eme w have to take off the
ht front wheel to reach the spark-
th As а processional
» at ten mph aloi

side.

boulevard, the P-V was a moving house
of immense dignity, beauty and impres-
siveness. Mechanically, it had fallen be-
hind the time:

Bemused by the purple prose in
which Rolls-Royce has for so long been
embedded, drivers new to the make ше
usually disappointed when they first try
one of the Phantoms. Expecting an or-
gasmic magic-carpet sensation, they're
surprised to find a firm ride, heavy steer-

ш. leisurely acceleration. They would
be equally upset by other motorcars of
the era—the legendary Duesenberg, for
example. Fastest luxury vehicle of its
day, it makes a. actly trucky impres-
sion now.

The current RR is the Silver Shadow,
а 412cubicinch V8 of around 275 horse-
power. (For no apparent reason save
snobbism, Rolls-Royce never discloses
horsepower figures, but they have usu-
ally been modest, if steadily i
since the postwar Silver Daw
The company planned to make about

2500 motorcars in 1971 and to sell 610 of
them the United States, 110 over
1970's quota, in the range of $23.800-
$34,600. Brakes are disk on all four

wheels, with three systems available, and.
suspension is fully independent, a re-
finement the company resisted for long-
er than appeared to be justifiable. Few
amenities have been omitted. Scat ad-
justment, door locks, gear selection, gas-
oline filler re clectrically actuated.
Ten cowhides arc required for uphol-
stery, each the survivor of hundreds re-
jected for insect bites, barbed-wire scars
and the like. A cabinetmaker of formi-
dable skill spends at least a week on the

woodwork, and if the customer is not
moved by Circassian walnut, he сап com-
mand Persian burr, paldio, rosewood,

coromandel, tola, bird'seye maple,
Ue or sycamore. I remember а strik-
g drophead coupe in which white
leather had been happily combined with
del, a figured timber of the
amily. Should the woodwork be
ed in use, it can be replaced by pre-
ely matching veneers cut from the same
log, set aside in permanent storage.
"here are two models of the Shadow,
a standard sedan and a chauffeur-driven
longwheelbase sedan, and the Corniche
coupe and convertible, all also available
under the Bentley label at the minuscule
discount. (When Rolls-Royce took over
the Bentley іп 1931, it was a hairy, pow-
erful sports car, famous for having five
times won at Le Mans. The current mod-
el the Bentley T, is identical with the
Silver Shadow, radiator shell excepted,
and is made in small quantity. It ap-
peals chiefly to buyers who are diffident
about the view of Rolls-Royce owner
ship Zero Mostel laid down in The Pro-
ducers: “If you've got it, flaunt itl")
The coupe and the convertible are

согот
cbony
m

“Roll me a joint! Roll me a joint! A
woman's work is never done!"

typenamed Corniche after the famous
cliff ds of the French Riviera—the first
Corniche prototype was bombed to bits
as World War Two began—and they
show three fairly stunning departures
from Rolls-Royce tradition: The radiator
shell has been deepened by five cighths
of an inch, the only significant change in
it since the name-plate enamel was
changed from red to black with Sir
Henry Royce's death; the instrument
panel carries a tachometer, a suggestion
of performance capability the company
has not often wished to emphasize; and
for the first time ever, the model name
appears on the trunk lid, a similarity
with such things as the Duster that has
lifted eyebrows from one end of Pall
Mail to the other. Detroit has decreed
the ragtop as dead as the rumble seat,
but the Corniche convertible is the top
of the Rolls-Royce line at $34,600. Silver
Shadow sedan bodies are standard steel
stampings; the Corniche is coachbuilt by
н. J. Mulliner, Park Ward Ltd., a wholly
owned subsidiary formed by combining
two old houses, Pancls are hand-formed,
six weeks are occupied in painting the
car, and the convertible top, a weck's
work, from a little distance defies detec-
tion as a folder.

The Corniche will do 120 mph in
dignity, but like all postwar Rolls-
Royces, it demonstrates more roll, tire
squeal and understeer in hard corners

than is acceptable under 1972 gran turis-
mo standards. Still . . . when the bank-
ruptcy notice was posted a year ago,
there were those who counseled that the
company should abandon ship altogeth-
er, or sell out to one of the giants, or
tionalise” with a line of masspro-
duced cars. Instead, Rolls-Royce came
up with the Corniche, a beau geste,
deed, and not the less so because the
decision had been taken before the dam
broke. Still, it represented. justifiable op-
timism. After all, the car div
workers had made $19,000,000 оп
sales alone in 1970, and the Congre:
decision to bail out Lockheed's °
program, Marchto-August cliff
though it was, saved the RB-211 engi
as well.

Is the Rolls-Royce still the best in the
world? No. That pride of place has
gone to Mercedes-Benz, with cars that
are as comfortable, mechanically more
advanced, more roadable by far, faster
and, in the case of the 600 Pullman,
even more massively sized.

Is the Rolls-Royce still unique, its
hallowed name carrying an indefinable
cachet born of stoutly maintained tradi-
tion and the endorsement of ownership
by the world’s eminences for nearly 70
years? Yes; and as nearly as one can tell,
that will be true until they shut down the
ine and padlock the doors at Crewe.

n

ion's 5000
xport
nal
TriStar
прег

169

170

PLAYBOY POTPOURRI

people, places, objects and events of interest or amusement

HAPPY BIRTHDAY, DEAR PABLO

Tt scems that everyone's holding a 90th birthday party for Picasso
these days—everyone, that is, but the artist himself, who's
undoubtedly home turning out more masterpieces for his 100th
celebration year. The Louvre and New York's Marlborough and
Saidenberg galleries recently paid him homage;
Museum of Modern Art's turn with a special ex
January 25 to May 1. Besides the works already on view, such as
the 1920 pencil drawing, Nessus and Dejanira, above,

the show includes 88 promised and bequeathed creations.

SQUIRE TO ADMIRE

If you've longed to tool along, Gatsbylike, in a classic convertible
roadster, you can stop dreaming. Auto Sport Importers of
Philadelphia now offers a limited-production replicar, the Squire
$8100, that melds the elegance of the prewar Jaguar 55100

with the contemporary know-how of American enginecring. Under
the hood of the Squire's 13-footlong Italian-built fiberglass

body is а Ford 250-cubicinch six-cylinder engine (coupled to a
fully synchronized four-speed gearbox) whose 170 horsepower will
propel you up to the lawbreaking speed of 120 miles per hour.
Other goodies include torsion-bar suspension, Borrani wire

wheels, Naugahyde bucket seats, servo-assisted brakes and a
leather-covered four-spoke steering wheel. Furthermore, the
designers have been thoughtful enough to leave room for a radio or
tape deck and—OK, softi an air-condi ning unit. A

Squire's owner must travel light, of course, because luggage

space is virtually nonexistent; but why worry, when it's just you,
your companion, the road and the running boards—

all for only $6750 (Р. О. E.).

AIM IS THE NAME
OF THE GAME

‘The game of darts in America now claims about
3,000,000 shooters, points out the U. S.

Darting Association's president, Robert McLeod,
owner of Darts Unlimited, a Manhattan store
that sells just about everything a dart freak
could desire, from genuine English pub dart
boards (they cost about $20 a throw) to

dozens of different guided missiles in every
conceivable shape and weight. Ready, aim, fire.

WALL STREET
HOTLINE

Investors now can have a private stock-quote
service right at their finger tips with Sonex,

Inc.'s Marketline, a portable unit that rents

for about $20 a month. You simply plug
Marketline into any standard outlet, dial a special
number on your phone and when a

computer answers, place the receiver on.
Marketline and punch up your desired quotation.
High, low, bid and asked prices, posted 15
minutes before, instantly flash onto the screen.

—

WATCH OUT FOR TRAFFIC

Next off the prolific drawing boards of Steve
Krantz Productions, those wonderful folks who
brought you the X-rated cartoon Fritz the Cal,
will be Heavy Traffic, described as a
contemporary Fantasia. The film is set in
Mother's, a ramshackle bar overlooking the
Hudson River. Through it pass hookers, fags,
black revolutionaries—even Richard M. Nixon.
Each character is accompanied by his own
theme song, ranging from acid rock to Tin-Pan
Alley ditties. Sing it, Dicky.

AS THE SPIRIT MOVES YOU

For the past few years, interest in

psychic phenomena has burgeoned to the point
where clairvoyants seem a constant fixture

on late-night talk shows. In that spooky spirit,
Pan Am, with the telepathic cooperation

of Deziah, a British clairvoyant, is offering
two-week psychic tours to London. Each tour
departs only on dates coinciding with the
ascendancies of Mercury, which is, as any medium
should know, “an auspicious omen for travel.”
Highlights of the $629 tour include a trip

to Stonehenge, a visit to haunted

Hampton Court and honorary membership in
the Spiritualist Association of Great Britain. Boo!

BLAST FROM THE PAST
“Hiya, movers and ga-roovers, this is Righteous Rhea here reelin’
with the feelin’ and tonight. . . ." Choke back those tears of
emotion, friends, the Fabulous Fifties are returning about the
middle of February at New York's Eden Theater in a musical
called Grease. (The show premiered way-off Broadway in Chicago
about a year ago and now is about to make the Big Apple.) Expect
to come away jitterbugging to such immortal hits as It’s Raining
on Prom Night and Born to Hand Jive. Rama Lama Ding Dong.

WIRING A HOUSE

"The metal Victorian man:
shown here is the work of
sculptor Guy Pullen, a
California artist who specializes
in turning spools of wire

into spectacularly detailed
dwellings complete with
high-pitched roofs, arched
porticocs and char
cupolas. (Ihe wire gives each.
piece the look of a precise,
three-dimensional line
drawing.) Pullen's houses are
now exhibited on both coasts
and sell from $100 to $750 for
the 42” x 24” x 90” palace at
right. Now, that's what

we call high wire.

NAVEL HISTORY

Remember when oranges came in those great old crates that you
could use for bookshelves or end tables or even kindling wood?
And remember those huge, colorful labels of such funky brands as
Full o’ Juice and California Dream and Royal Feast? Well,

ny appropriately named Way Out West
is selling the crates in kit form—sans oranges, of course. You get
boards, an original label that may be straight Art Deco
—and even the nails—all for only $7. Or you can get a label
оп an endboard for $3 or just a 10" x 11” label for $1. Crate deal!

171

н

PLAYBO

172

LOVED IT AND LEFT IT. uou

he explains, “I felt that I was an Ameri-
can with them.” It was a feeling that
stayed with him whereyer he went. “I
felt,” he says, hoping it won't sound im-
moderate or clichéridden, “that I repre-
sented moi idea or a fecling—
promise—rather than a place. I tried
not to behave like the Great American
Slob, throwing money around, being
boisterous. І traveled and I took advan-
tage of those travels to cducate myself а
lite.”

"The Caraturo side of the family came
to America in the 1880s. "My grand-
father on my father’s side was the first
Zaraturo born here," Nick says. It was
he who started the family in the florist
trade. He opened a shop in Brooklyn, on
Withers Street, where it still nds,
now run by Nicks uncle. His mother's
father came over in 1902. “He was a
stonecutter from Naples and he та
tombstones, He owned a candy store
England for three years, and then he
came to America and he got married.
My mother was born in 1905, in Brook-
lyn. We retained a lot of the customs,
e language. І mean, the Italian lan-
age was always spoken in our house,
ndmother could speak Yid-
dish and Polish as well as—if not better
than—she spoke Italian. So we knew all
of cach others traditions. This was on
Withers, between Union and Lorimer.
It's an old Italian neighborhood, where
they have the feast every year of Our
Lady of Mount Carmel. T was baptized
in that church, Туе been back and
the neighborhood hasn't changed much.

an

gu
уе! my gr

The people took pride in knowing that
а house was theirs Rather than move
out, they renovated, fixed it up; I won't
say it brings a neighborhood up, bat it
prevents it from going down. They had
pride in it, they had pride in them-
selves. And this is the thing I mean

They don't want anything for nothing.
"That's the way they are. Whether they be

6, Nick's father decided 10 open
his own flower shop in Flushing. Nick
was 12 at the time. "When my father
opened in October 1946, we were
the hole about thirty thousand dollars.
The family had already left Brooklyn
and moved to Queens in 1938 or 1939,
Nick isn't quite sure. "When my f
ther bought the house in Flushing,
he bought it from the bank, Queens
County Savings Bank; he paid thirty-
two hundred dollars for it. He put two
hundred dollars down and wanted a
mortgage for three thousand. They gave
him the mortgage. The day he signed for
the title to the house, he lost his job. He
went to the bank and told them, "Now,
look, І can't take the house. I lost my
job They told him, "Mr. Caraturo, you
take the house, live in the house, don't
pay us the mortgage until you get a job’
—I think he paid something like twenty-
eight dollars a month, and they told
him, ‘Even if it takes а year, don't
worry.’ So he then landed a job at
Dugan Brothers, as a part-time driver at
night, tractor trailers. So at that time, ne
opened a little greenhouse in Flushing,

“Next time, Tonto, ГЇЇ go and buy the mask myself."

where my grandfather had the monu-
m rd, and I would say I was about
old, and when he opened that
little greenhouse, it cost him a hundred
па fifty dollars to build it. ГЇЇ never
forget it. He built the little greenhouse
in 1939 ог 1940—this was on the oppo-
site side of the cemetery, where Francis
Lewis High School is now—and that's
how we started." When Nick's father
opened his own shop, Nick's life
permanently affected, as if some judg-
ment had been passed that he accepted
then and that he would come to under-
stand and live by as the years passed
"From 1946 on, I couldn't do a damn
thing but work there, As long as the sun
was high, we worked. When it got dark,
we stopped.”

Gloria's family is Polish-Russian, “My
parents were from Russia.” her mother
explains, “Oskowsky is a Polish name.
We've always lived together in two-family
homes. Actually, we've always lived
together, from the day Gloria got mar-
vied. My husband was born
but came here as a young boy and went
to school here. He was a tailor in the
Garment District." She pauses to si
a little wistful, a litle proud. “He
would've loved to have talked to you
On political things, or anything like
that. He was just that туре, A very smart
person on political ideas, He would
have had а lot to say to уоп, Even more
than Nick said to you.” Despite this unful-
fillable promise, from Gloria’s and her
mother’s sketchy descriptions of his life,
David Oskowsky scems never to have
given much thought to the way he lived
in the U.S. He lived here and there,
vacationing with his wife in one place
or another and doing his work with what
seems now to have been a modest accept-
ance of his circumstances, He was 14
years old when he came, and scems never
to е made
life he left behind in Pol
wife remembers of him is that "his fa-
vorite way of reading was the Times;
he's always read the better paper. He
thought the News was junk. He said if
anybody can read, why can't they read
the Times? He was a quiet person, a
very reserved type of person.” The im-

is vague, a suggestion of smallness—
low is short—someihing patient
and temperate coming ош, yet a
firmness those basic intangibles
that immigrants, particularly Jewish im-
migrants, have nurtured for centurie:
He did come with nothing, he did have
а trade and he did beter himself. His
only child, Gloria, was graduated from
Queens College and became a teacher.
Not only that but she then took an
additional 30 cedits, which, save for
writing a thesis, completed the require
ments for a master’s degree. She married
a devoted, personable, hard-working тап
and gave birth to one son, the only

bout

child she would еуег have. Whatever the
man’s reservations, David Oskowsky had
seen the establishment of a solid family
base, something to come home to

ing it would receive him with fam
warmth and the comforts America be-
stowed on all who worked hard and long.

NICK CARATURO, FLORIST, grew until it
was grossing $40,000 to $50,000 a year.
Every morning at five, Nick would rise
and drive to the city markets to buy
flowers, He would return by seven and
go upstairs to have a cup of coflee while
Gloria got ready to leave for school. By
eight she would be gone and “I'd go
down to the store and all the flowers
would have to be cut, cleaned and put
in water and arranged in the icebox,
After that, Id go outside, water the
greenhouses" —there was approximately
8500 square fect of greenhouse s]
where Nick grew geraniums, begon
coleus, chrysanthemums, №
cinths, tulips. “We grew almost all our
pot plants ourselves; the annuals, per-
1. And vegetable plants. It was a
hard proposition. Anyway, then I'd fill
orders for the day, and I'd deliver them,
By that time, it would be about five
o'clock. I'd go upstairs and I'd cat, then
Id come back down and work in the
store until nine or ten."

“He was wor
Gloria picks up.
a week teaching, and then on Saturday
and Sunday I'd help him,
days, of course, It was his business that
Kept us going, so on my Christmas holi-
І was helping in the store, and on
Easter holidays, So, virtually, we were
both working seven days a week and
making loads of money.” She says the
word loads with a slight lift in her voice,
a small feminine emphasis to show that
even for her, modest and reserved as she
is, it was definitely a lot of money. “But
never any time 10 enjoy it. Never any
space, never any relaxation. It was just
matter of buying things with the
money’

Nick has been listening and inter-
rupis. “Material things. What good are
aterial things? You know, if you can't
enjoy them, they have no value.” Nick's
boat, for example, a 1G-foot fiberglass
runabout, “We could hardly use it.”

‘We used it only one summer,” Glo
tia says.

“Yeah,” Nick says. “I had another опе
before that, for about three years, and
that time I decided, the hell with every-
body! I closed the store on a Wednes-
day and Т took off all day Wednesday
during July and August. But that was
the only way I could actually enjoy the
boat. This was '67 and '68; I sold the
business, because we had decided to get
out... and I had bought another boat
a little before that and I didn't have

nd on holi-

time to enjoy it. One da
the water was as bad as the highw
You had to k
to get out there, then you I

d to be in
y to beat the traffic on the road. I

Us 10 Pm beating my head
wall пом!”

ia points out quietly,
"he's giving you the ideal situation
when he says he took off on Wednes-
days, but he didn't tell you that if he
had gotten funeral work or orders on
Tuesday for Wednesday, he couldn't
take off. It worked out when he did take
off on Wednesday and people called for
an order and he wasn't in, they were
quite perturbed.”
Nick bursts out,
bec I took time off to rel
Certainly. by itsclf this was just one
small nagging detail. Yet on a larger
scale, it was part of that cumulative
effect, life accelerating as if propelled by
its own relentless determination not sim-
ply to evolve but to uproot, shake up.
Wherever Nick looked, he could feel it
happening. “This neighborhood.” he ex-
plains about the Pomonok area of Flush.
ing where they live, "it was old"—he
qualifies that— "forty years old . . . people
had bought houses here, lived here and.
died here. "They had a different outlook.

[hey were annoyed

children. Their children are
‚ they aren't as conscious of
custom or tradition, and that caused
change in the neighborhood. And then,
of course, the liberal attitudes of people
themselves; the introduction. of the pill
caused a more liberal attitude among
women and you find they were able to
be more promiscuous because of it and
they would all discretion, they
wouldn't be as discreet about certain
things. Whether this is good or bad, I
don't know,” The words custom and
tradition mean more to Nick than he
cm say. To embrace their substance
means to be able to remember who and
what you are, no matter when; it means
you never forget—never give in to
shame and pretend it wasn't that
where you came from. It means your
survival counts Гог something and your
having should
everybody else, too. It is all, finally. the
stuff of memories, a mixture of folk
ог and nostalgia that never quite
harsh reali
Such as summers in Brooklyn when
Kk was a kid. “It was hot,” he says
undramatically. "It was dirty. Our. vaca-
tion was to sleep out on the fire escape.”

What is happening, Nick believes, is
that Americans are losing their sense

than th
more libe

lose

way—

survived count with

“All I can say is that if you're against
pollution, it can't be all bad.”

173

PLAYBOY

174

“Diamond studded, wow .. . that takes the
sting out of being faithful!”

of self. "Тһе
as individuals" And wha
apart, he says, is "the drive for material
things. I think the advertising has keyed
us up to own a new car every year, own
а new TV set every year; your old
dothes are outmoded; if you use this
one particular tooth te, your teeth
will always be white and all the girls
will flock around you; if you use an
after-shave lotion, й" ppealing. . . .
It's all sex. ented. To me, there's noth-
ing wrong with sex. I enjoy it. I think
it’s the greatest thing that ever happened
to man, but they're all keyed for you to
spend money. So you work more, to spend
more. But are you really enjoying

You're not,” Glo

Nick ponders this a moment and then
gives a little smile. “I was told by my
wife, by friends of mine, that I was born
a hundred years too late. The easy life I
ly don't enjoy. I'm an outdoorsman.
1 enjoy every sport. My wife enjoys

"e losing their identity,

them a bit, as long as the air is comfor
can be cool, but not too hot, and
clean. Then she's fine. In New York this

summer, she was in the house sixteen
ight because the air outside is
horrible. I've seen her walk outside, be
outside about five minutes, and tears
were running out of her eyes. She wasn't
crying, just the ai

was so goddamn bad,
and it n , that's all. So she
ad ihe air conditiones on and she
yed in the house, and that was it. We

ade her te:

have four air conditioners—that is. four
upstairs—and two downstairs. I smoke,
but my wife doesn’t, and her lungs were
bad as mine, only because of the
pollution in the air. When 1
out fishing and they tell me I
the fish home to cat them because the
er is polluted, where's the sport?

tching а fish, then bring:
¢ and ead th

to land a fish that you can't eat? What
the hell is it, then? The waters are so
damn polluted. . . .” He shakes his head.
“The last good day of fishing I had was
bout three years ago, when we went up
te the east branch of dhe Ausable on

hborhood is changing,” Glo-
ys, bringing it home once more.
"Pomonok has always been integrated
but had been more of a Jewish section
er y we were getting more
Greek. people, more Italians, more Sp:
ih"—which in New York inevitably
ns Puerto Ricans. "We were get-
glish-speaking children.
wasn't so much of a problem
with the children in the kindergarten;
but with their parents, there was this
lack of communication, so that I
couldn't really get to speak to them à
readily as I could with, of course, the
nglish-speaking parents” Not t

these changes had ever produced а

ny

kind of violence. “There was no prob-
ar as the blacks and w
g along together" Gloria
trike that we had. in
the autumn of 1968, the result of bitter
differences between the United Feder-

over the question of dece
c lasted, on and off,

tralization. The
for $6 of the

term's first 48 days. “The thing s that
the blacks felt that the teachers were
closing the school and thus disari

completely divided. It was just terrible.
‘The trouble that finally erupted had been
brewing for along time, brought about by
changes that Gloria could sec happa
ing, even though they hadn't touched
her personally. “I had the kindergar-
теп,” "а
buses
—Nick, listening, starts to nod slowly
Dut emphatically, because now, as far as
he is concerned, we are getting to the
heart of the matter—"but in terms of
the upper school grades, things were
changing. because we had busing from
South Jamaica. The uppergrade teach-
ers would tell me that there was a divi-
ion in the class between the children
coming from South Jamaica and chil-
dren living here; not so much a division
of black and white but that the children
from South Jamaica sort of felt apart. —
were apart—because the parents of the
children in Pomonok were very much
upset about having those children bused
in, and of course the kids picked it up
from their parents.” The strike, then,
when it came, simply brought all the
hidden resentments out into the open,
resentments that Gloria, spending so
much of her time with the children, saw
as having been nurtured by the par-
ents. “What was happening"—during the
strikc—"was that the black teachers and
their followers were | ing into the
schools and opening them up, sort of
wildcat. It divided the community very
badly. And it took many months—if ever
—to heal the wounds between people that
l been friends. ”

" Nick finishes for her.

"It was very sad," Gloria continues,
“that blacks and whites alike who had
been friends and living together, and
their children playing together, were
very badly divided. І think the black
the area aroused the non-
militant blacks and sort of intimidated
them into dividing themselves away.
even though they may not have wanted
to. This is the impression that we got.
Blacks had been frends with whites for
years and now they were just looking
the other way. It le time
and, as І say, I don't know if this was
ever quite completely healed.

If there was а moment
Nick knows meant the bi

was a ter

n time that
ning of

everything he feels is happening now— air for а small moment, the irony of its when they've started и
happening to his neighborhood as an implication dwarfed by what Nick says Г "s not for me.
isolated example of something gripping next. “I went to high school with God- Nick believes fervently is that
the whole country—it was the construc- frey Cambr idge; he and I went to F in the right to change
tion in 1952 of a lower-middle-income ing High School together, and there the course and quali
integrated housing project. “That's when never any problem and the lives of their children. This seems
it started,” he says with certainty. “They Negro and I was white. It was unheard по longer possible, not even when
built that in 1952, the I went in of as f we were concerned. We only comes to God. “The decision was wrong,"
the Navy, and ] think it changed the became aware of it through the NAACP, Gloria says about the Supreme Court
neighborhood, because we started ing CORE and all the other organizations. ling prayers in schools. “I
problems with teenagei fights, dope, Now, 1 don't feel that New York ever hrmation of the
nbling." had а problem until these organizations athy that was coming—or that
Gloria, who has been listening intent- started to come into prominence, be- d already come. I didn't эсс anything
looks at Nick and asks “Could this cause, as I n New Yorkers are people wrong with moral or religious feeling i
just have been the general trend of the that blend in. they have been exposed the school.
city? to all nationalities, all races, all creeds, "If you don't want to pray.” Nick
: and there was never any problem until observes, "no one asked you to pray. Its
s you're talk- they started with the equality in schools up to you
bout the integration causing the — for this па that and the other thing. I "Why," Gloria dei
problem: She stops and then says, ch to it was wrong, I
“Is that what you th aned the integration с
Nick says without hesitation. at the low it possible level, in the kinder-
ed as it is. gartens only—just there—why, in twelve they have to take IN сор we TRUST off
goes on to explain rs those children would be graduating of all the coins, all the bill
е was driving at, "about a mile from high school and you would have courts, they'd have to do the
up from us, there was a large Negro ally integrated all the schools. But eliminate God from everyth
section that had been there for years по: They had to drive a point, with two can't swear on a Bible anymore—the
and ус Her emphatic tone is sud- of them going to Ole Miss and two of oath. If you're going to be consistent,
denly picked up by Nick. them going 10 this high school; these you have to do it all the м
. rs" he says pointedly, people have built up a resentment over frowns darkly. “They bend the law to
unexpected animation giving him a par- the years, can't change it over- suit either you or I, they have this
ticularly earnest expression. “They were night. It took а hundred and fifty years flexibility so that it isn't worth a damn
the old squatters. And they built homes to build it into them; you can't destroy it Everything now is being torn down, so
—they lived there—and they never in one year. It’s going to take two, three, that you no longer believe in id
bothered a soul.” The word hangs in the four generations to change it And now, what's happening is people are no longer

g force to

nds, “should they
nts who want it that they

ing

” Nick adds, "then

The great impostor.

It is not a cigarette. Nor is it everybody's idea of a cigar. It's an A&C Little Cigar. Slim, filter-tipped
and devilishly smooth tasting.

It tastes great because it's made with a
special blend that includes imported cigar
tobaccos. Cured for mildness and flavor.
And it looks great!

Naturally, it ali adds up to
a very satisfying smoke.
An A&C Little Cigar.

Regular or Menthol.

ise are twenty A&C Little Cigars in
the elegant crush-proof pack.

175

PLAYBOY

176

believing in America. The prayers in
school, the equality, women's lib—you
can run the gamut—everything that we
were ever taught to believe in is being
torn down. The war in Vietnam: I
agree, we don't belong there: but we're
there. Did we belong in Korea? We
didn't belong in Korea, yet you didn't
have any of the feelings then that you
have now. We don't belong in Vietnam,
but, by God, if you're there, do a good
job. be proud of yourself, have your
family proud of you, do the best job you
can possibly do, and maybe it'll be over
sooner. Who knows?"

To come down to the simplest level,”
Gloria says, “my son parked his bicycle
in front of the house to come and get a
drink of water and when he went back
it way stolen.” She pauses to see if she
has made the connection dear, that
what she and Nick are talking about is
all the same thing, because when tl

to you in front of your own house is
not safe, Which is kind of frightening.”
Even more terrifying was the discov-
ery during the past year that ten and
eleven-yearolds in the neighborhood
were being stopped and offered a wide
variety of narcotics. It never happened to
Nick, Jr, but it did
children of people
knew well, "Luckil, says, “their
mother was aware of what was happen-
ing and nt them down to the

she

"I've
liners

эсеп thirteen-yeargldd main-
observes, and then can only
d.

"It made no difference if they were
poor or rich, or black or white,” Glori
explains almost innocently. "It was just
—everyuhere. That's what frightens me:
While the drug problem was supposedly
confined to the uneducated, illiterate or
semiliterate, those who didn't know any
better, then you could say that these
people have ‘problems’ and if they were
‘educated’ to the use of . . . so forth and
so on. But once it reached Great Neck
and the parents were saying, ‘Oh, no,
пог my children,’ and then it was
Bayside. . . . And what all these kids
wanted was a place to go, and there was
no place; their parents had a lot of
money to give them, for new cars, but
no money for drug centers; this is kind
of sick. Theres something wrong.” She
pauses and then adds, “Tt was so ob-
vious; you couldn't hide it any longer.”

When homes in the neighborhood be-
gan being broken into—whether or not
it was being done by junkies looking for
fix money was never determined
Nick had to drive his mother down to
Florida, Gloria slept with a loaded gun
under her bed. "A loaded shotgun,"
Nick says. “She knows how to use it.”

“With the handle—would you call it
the handle?—sticking out so I could just
roll over and pick it up." Gloria smiles
wanly, as if to suggest that even having
the gun inches away did not necessarily
make her feel beter

For Nick, on the other hand, owning

and

^I am not abusing myself, Mom. Pm
trying to achieve satori.”

and handling guns is a big part of his
life. “I belong to a club, the College
Point Rod and Gun Club, where J can
fire indoors, once a weck in the ew
nings.” Nick owns an impressive range
of weapons: a Mannlicher .30-06, а long-
range .22-950, а 7mm Magnum, а 6mm
Remington, three shotguns, three pistols,
an antique rifle and several more. At the
dub, he was allowed to fire only a pistol
or a .22 тїйє. “We tried to have rifle
ranges built indoors,” he recalls, “but
the ordinances of the city of New York
а joke! It's an abomination. And
then they have the longarm registration
of guns. I don't think they have the right
to know how many rifles I have, or shot-
guns. All of my firearms are Iegal, every
one of them is registered. What they
could do. they could register me as an
owner of firearms, but to know exactly
what 1 have, I don’t like it. Because
any time they want, they can walk into
my house and say, aturo, you
this, this and this’ "—he is
running a finger down an imaginary
list. nd that’s ir. And t what
happened in Germany, that’s what hap-
pened in Russia, that's what happened
in Italy: They knew exactly who had
the firearms and exactly what they had.
Nobody is allowed to disarm me. No one.
© committed no crimes in my life; I
do a little hunting and whatever I kill,
arget shooting, because the
appeals to me.” As far
as registration preventing another Ken-
nedy assassination, Nick thinks it's all a
pipe dream. “АП legal sportsmen regis-
ter their guns. Tm а lile member of
the National Rifle Association and"—he
hesitates once again, knowing all this
has been said and heard before, but he
believes it firmly—"the day that they
can get all the criminals to register their
guns, then mine should be registered
also. But if they take them away from
all the sportsmen, all the clubs, the or-
ganizations, the criminals are still going
to have th

This is part of that logic, that expres-
sion of common sense Nick C
has always understood and respected. It
should apply to everything; it seems
now to apply to nothing. The whole
ing of urban life and the attitude of
people who should be enforcing the law
and seeing to it that decent: people get
their fair shake, all of it has metamor-
phosed so that a man like Nick Cara-
worked hard all his life and
has never asked anyone for any kind of
handout, is being threatened from all
sides by people who refuse to live by
the rules. "They're pushing their ideas
On politics, on socioeconomic cond
tions, and they aren't doing it in а nor-
mal manner. For instance, the SDS and
the Weathermen; 1 mean, these people
t to fool with guns, dynamite. . . .
If I had one of them here, I would

at's

aturo

fe

turo, who

actually beat him into a pulp, because
there’s absolutely no reason in the world
to blow up buildings, have people
endangered—for what? Granted that
the United States built on revolu-
tion and contrary to law—brcaking the
law workable system
and they're g it down. They're
imposing fears on people that they have
no right to do. People are alraid to go
to work; they don't know if their build-
ing will be blown up. I mean, is this fair
to everyone? 1 don't think they have the
right

Nick Garaturo used to know and be
able to see where everything had come
from, where it was at any given moment
nd—almost more important than апу-
thing else, because it offered the average
tizen an internal, spiritual sense of se-
curity—where it was all going. All that
seems gone, torn to shreds and burned
in the fires of too many riots, too many
protests, too many demonstrations. As
for demonstrators, political or otherwise,
he says, “ГИ meet any one of them
anywhere in the world on a track field, оп
а pistol range or rifle range, and let's see
how good they are." It is, finally, the ul-
timate expression of the American ethi
this was the justice that made America
great. “They want to fool with dyna-
mite,” Nick says, “It isn’t anything 10
fool around with. 1 know. I reload my
own ammunition. I stri curacy.
And I think there are a lot of people
that feel the same way I do: If they
want to prove that they're superior, ГЇЇ
do it on any field the world, in any
sport they want. They want to go in
the ring and box, ГИ box them in the

for

ring. Ud rather have it that way, where
irs completely organized, an individual
gainst an individual, and we'll go on.

the field and do it that way, Any way
they want to do it, But I won't have
anybody behind my neck!"

After this, there is nothing left to say.
It is late and there are only a few days
left. Outside, away from Gloria and her
mother, Nick looks up at the metallic
orange-dark night of the сиу sky. He
and Gloria have ny
nights wondering aloud whether their
decision was right. Every time they
think of their son, they know it is abso-
lutely right, “ГИ come back and fight, if
I have to,” Nick says quietly, “but my
kid—I don't want that for hi He
grows even more rellective and then
says "I grew up with my prejudices.
You know: ger bastard, "Jew bas-
tard, but I don't want any of that for
1 nt him to grow up clean, so I
figure the only way is to get out where
he won't be getting all that kind of stuff
all the time.

awake so ma

m. I w.

The day before their departure, a van
came to pick up the things being

“Boy, am I freaked out!”

shipped to Austr: There wasn't
much: some glasses Gloria had bought
Nick shortly after they were married,
two vases of Nick's that had been handed
down from grandfather to father to son,
mirror belonging to Gloria's mother,
Nick, Jr's Sting-Ray bicycle and his
baseball ls, and all of Nick's guns.
Watching the things go, Gloria looks
around at the furniture that is staying
because the new owner of the house
bought all, and says, "When we sold
our car and canceled the ce,
we started getting rid of things, we
found that we lived comfortably without
so many things; it was a very strange
feeling and it made us realize even more
that we didn't need these things to be
happy.” The strange perspective lent
them by their impending departure made
them suddenly see their closest friends
in a new and somewhat distressing light.
“Belore we decided to go, life was not
happy. but we didn't know why," Gloria
explains, “until we started realizing all
these things, and then we looked а
friends and we our fri
under tensions that we had ncver real
ized, because we had never realized that
we were under these tensions. Most of
ry sad that we're
ing. And we aren't sad at all. 105 a
very peculiar feeling. We're thrilled that
we're going, yet they're very unhappy to
be losing us. And that feeling, to know
we're going to be missed. And yet
we've got such a clear feeling that this is
the right thing to do and it’s such a
good thing.”

As for the rest of America and the
rigors of their existence, Nick says,

nsu

our

nds were

saw

our dose friends are

“How many slobs would fight i? They
just trudge along. They have the blind-
aso

“I think,” Gloria says guardedly,
"people аге just—dumb. They're beaten;
they just give in.

“They're completely gone,” Nick says,
nd they just go trudging along. I'm
not. I'm not going to trudge along carry.
ing somebody else on my back.”

Eight close friends in three cars took
uros to Kennedy airport on a
September. Nick went off with
one of them to have one last drink.
There wasn’t a damn thing left to talk
about—Nick had faced this sad truth
too many times in the past weeks to wy
to revive fallen spirits and Nagging, соп
ations; he and Gloria were thinking

had a drink and
stared out the big windows and watched
the nlylooking jumbo jets gi
slowly in over the tops of buildings.
Nick's cousin suddenly appeared and
yelled, "Come on! The plane's going
to leave!" Nick ran to where his hand
baggage was, grabbed
after the rest of his family. Something
made him stop and turn around. There
were his closest and dearest friends in
the whole world watching him go. They
were all crying. He dropped his bags
and rushed back to where they stood.
enfolding each in one last embrace.
Then he turned, retrieved his things
d rushed onto the plane.

“That
Jate:

nd started off

S" he sud a few days
I closed the book. As far as 1 was
ned, that ended the United States

conce
for me.

177

178

FREDERICK FORSYTH making а Killing

THOUGH THE AUTHOR of the international best seller The Day
of the Jackal, about an almost perfect plot to assassinate Charles
Че Gaulle, has been likened to Len Deighton and John Le
Cané, Frederick Forsyth doesn’t consider the comparison apt.
“ose fellows are serious writers and, frankly, I got in it for
the money,” the 33-ycar-old Englishman says, his tongue only
partly wedged in his cheek. “In January 1970, 1 decided it
time to make some. And with just $20 оп hand, а bool
only way to make it fast; all you need is a typewriter, two
ribbons and 500 sheets of paper." That, perhaps, plus the
experience as а foreign correspondent, Forsyth had going for
him. After several years ot with Br s Royal Air
Force, he joined Reuters news agency at ad was sent
ris in 1962. At that the French OAS
ion) was mounting numerous attempts оп
5 life because of his “betra of French interests

LaDONNA HARRIS indian powerhouse

ONE HALF of her heritage has been massacred, evicted,
hornswoggled and disenfranchised by the oil
LaDonna Harris is proud of both rootstocks of her
family tree. Understandably,
activist, mother of three and
Harris spends more time sticking up for her Comanche
half: the Irish-Americans seem to be doing pretty well
on their own, Mrs. Harris is the founder and. president
of Americans for Indi ishinpton,

: a sort of
Ip projects, offering technical
‘stance and fundraising know-how to groups strug-

gling for such obje as local control of education
(thousands of young Indian children are still shipped
: establishment

nesses; and
ibal reclamation pay-
whose parents separated shortly
raised by her Indian grandmoth
ad grandfather—the latter a prosperous farmer and
medicine man whose property lay just across the creck
from the Cotton County, Oklahoma, holdings worked
by а white tenantfarming family named Harris. The
Harri Fred; he and LaDonna became
high school sweethearts and were married in 1919.
Working as а baby sitter and librarian, LaDonna
helped put her husband through the University of
Oklahoma and its law school, then saw him establish
a practice and а promising political career, one that
encountered its first major setback November.
when he had to al

for lack of funds. Undaunted, LaDon
her efforts on behalf of neglected Ind
no good in itself,”

wise investment of hard-won
ments. LaDonn

terness is
she says. “We must project a new
image of ourselves, working independently and with

te people.” As a woman, LaDonna believes, she’s
ideally suited for that task. “It's casier for women to
and political lines," she says. "We tend to
see the woman first, then her color, and then her party.”

in Algeria
story of

assin, апо
d a London socialite” But before

espionage agent

Forsyth could get around to writing the half-fact, half-fiction
book, jou ic assi i frs he covered
га aris again and fi-

ng book The Biafra Story. Although
mark with The Day of the Jackal (shortly
ameras of director Fred Zinnemann), the
пр another thriller, the subject of
ar of tipping off his sources. If it's
s his first, Forsyth’s sure to make

ing in still more accolades—and profits.

he's now made h
10 go before the

London-based author is май

just halt as compelling
суеп bigger killing:

IN 1957. he received a Ph.D. from Corell and, eight years later
was awarded tenure as an associate professor of chemistry at
Syracuse University. Seemingly, George Wiley had found his
place in the comloriably settled academic world. Nor so. While
at Syracuse, Wiley Бес civil rights activist and. after a
year and a half, he left teaching to work for James Farmer
at CORE. Wiley's overview of the racial situation confirmed,
not surprisingly, that the “economic issue is the most basic
problem alfecting black people." Feeling that he wanted to
bale poverty—for all people, not just blacks—on what he
calls the grass-roots level. Wiley and thice other CORE alumni
started, in 1966. a group that became the National] Wel
Rights Organization. He describes it as “a nationwide or
tion of poor people carrying on activities to get changes in
[welfare] legislation." Though the full-time staff remains small,
N. W. К. O. now numbers more than 100,000 dues-paying mem-

me

GEORGE WILEY mothers’ helper

bers (most of whom are women), Its long-range goals include
the establishment of a $6500 minimum wage for а family ol
four, but its immediate concern is to tell those eligible for
welfare payments about their rights. “There has always been a
tremendous backlog of people eligible for welfare, who literally
live from day to day,” says Wiley. Much of his activity occurs
in the courts, but he also leads his group in more militant
tactics, including one daylong takeover of Health, Education
and Welfare's Washington olfices. Despite the uninvited visit,
опе HEW official has described National Welfare Rights as
“the principal group representing the poor.” Whenever Wiley
gathers his female legions for a picket line or a sit-in. the result
is highly organized disruption. As one strong. Wiley admirer,
political reporter Robert Sherrill, says, Wiley is “one of the
sharpest guys in Washington. ... He works for all those wel-
fare mothers and they're really the toughest mothers I've seen.”

179

PLAYBOY

180 son," he assured me,

THE LAST CARROUSEL (continued роде 126)

men crancd their necks like trackmen,
but she lowered the bell as if having
second thoughts. Then suddenly threw
up her hands, as if pleading, "For God's
sike, men, don't go tellin’ total strangers
what you're about to see! You'll spoil
it for your friends!" She waited to assure
herself nobody was going to tell. Sev-
cral more marks joined us fom the mid-
way while she still held the bell aloft.

"Gentlemen! If there's anyone here
who can't control his passions when we
get back there, TI h: him to
step forward and have his money re
funded at the box office! No money
refunded once the performance has be-
gun!” Nobody stepped forward. She
inkled the bell at last.

“Awful sex acts goin’ on right this
way, gentlemen.” the Roughie-referce
directed us. "Step this way, gentlemen,
for awful sex acts!” He was holding a
sombrero into which we each dropped a

ime as we passed into the partitioned
rear of the tent.

“You handle quite a few jobs
here,” I observed as I paid him.

"Why not” he remarked cheerfully.
"It's my tent.”

A crude wooden cubide, octagonal,
with shutters at the height of a man's
eyes, waited in the flickering gloom. We
stood around it while crickets began
choiring to a generators beat. The
Roughie came in, wearing a coin bag
around his neck. “Get your nickels here,
boys" he advised us, “two for a dime
and five for a quarter, see the little
ladies shiver and shake. You pay for the
ridin’, but the rockin” I had to
wait in line to get change for a dime.
A gramophone began playing inside the
cubicle:

?

Ain't she swee
See her coming down the street!

I put in a nickel, the shutter lifted
а Hannah the HalfGirl
long, indolent eyes looked str
mine. She was wearing a red veil tied in
a great bow about her hips and a gre
veil about her breasts. She moved her
hips and breasts gently as the gramo-
phone droned on:

Naw I ask you very confidentially
Ain't she sweet?

The shutter closed. 1 put in my other
nickel hurriedly. This time she had
closed her eyes and was smiling faintly.
The gramophone began another inquiry:

How
До
T ain't done nuth-in’ to you.

And click. Another nickel shot.

“Mighty short. nickel's worth." I com-
plained to the ex-referee.

"Ain't nothin’ to what's comin’ next,
and no charge

come you do me like you

whatsoever for this next show—just
keep your voice and your head down,
right this way." I stooped to keep from
bumping my head as he raised the next
flap and then stepped into the ultimate
mystery of a wide and stilly night. A full
moon was just starting to rise. I stum-
bled across tent stakes until ГА regained
the midway.
Under the new moon's coppery light,
the fair seemed strangely changed. ‘The
dust that rose down its long midway,
light, looked like metallic
flecks restlessly drifting. A glow, like
beaten bronze, burnished the sides of
tents that by day һай been mottled gray.
And the faces of the men and women
behind the wheels and the stands and
the galleries looked out more ominously
than before.

The dark woman's plea of “jdvanza!
j Avanza!" sounded more pleading and the
calliope cried La Paloma more urgently
now. An air of haste stirred the dark реп-
топ», as if to hurry the tempo of pleasure
along. Everyone began moving a litle
faster, as though time were running out:
АШ lights might darken at the same
moment and never come on ag

"Spin ‘er, mister!” Someone was chal-
lenging the wheel in a wheel-of-fortune
tent. "Doublin' up! Let ‘er spin! This
is my night! Cash on the Бате!" A
clinking of silver dollars followed and I
hurried over to watch.

If the aging man in the painestained
cap was haying a winning night,
looked to me it must be the first v
ning night of his life. “Takin’ the si
he announced like an auctioneer. “And
the nine!

"Only one number to a player,” said
the wheelman, refusing the Cap's double
bet. He looked worried.

“Afeerd ГЇЇ beat you both numbers,
mister? nted the wheelman,
yet the wheelman still refused h
the Cap slipping a silver dollar
hand as he whispered, "Put

this on
the nine for me, son." I immediately
liked his plan of putting something over
on the wheelman

The wheel clicked fast, slowed at 5-6-

78, then nudged onto 9 and stopped.
All the poor wheelman could do was
shake his head rucfully and. complain,
“This is the worst streak of bad luck
I've ever run into," while he paid me
12 silver dollars. When I slipped them
to my backer, he retumed one as a
token of his appreciation, whispering,
“Play this for yourself, son." I was care-
ful to wait the wheelman stepped
back from the wheel before 1 put it
down. Nobody was working monkey
business on те.

I put the dolla
almost stopped on
onto 7!

on 7. The wheel
6, then. nudged over

"We're killing him!" the Cap cried
joyously.

The wheelman stacked the $12 I'd
won just out of my reach. Then stacked
20 of his own beside them and asked me
casually, “Try for the jack pot, son

"Take him ир” the Cap urged me in
the same hoarse whisper.

"I don't know how it work:
a whisper almost as hoarse
се at the twentydol-
ack pot because you won twice in a
son. You don't have to bet on a num-
ber, you can bet on color ‘n’ that gives you
a fifty-fifty instead of just a thirteen-one
chance, "n' if you bet on both color and
number and you hit both, you get paid
double on top of thirteen-one, making
twenty-six—one ‘n’ a chance at the twenty-
dollar gold picce——"

"Red!" I showed. But the wheelman
just stood. waiting.

"It costs a dollar to bet оп the color,

because the fifty-fifty pay-off gives you
too big an edge over the house—that:
the rules of the game, son.” | put a
dol of my own down and the wheel,
sure enough, stopped on the red 5.
“Hit again! I never seen anything
е it!" the Cap exulted and I wished
he weren’t so loud about it. He was
attracting the attention of people on the
midway. “Whoo-ece! This kid is а gam-
bler! Pay the kid off, mister!" he
threatened the wheelman loudly enough
for the whole fair to hear. I didn’t see
y need for threats, because the n
was already stacking my winnings
three neat piles.

I decided not to press my luck. “I'll
just take my thirty-two.” I told him.

“Play,” the Cap hissed in my car.
“You can't quit now." Only this time,
he wasn’t advising. Now he was telling.
1 felt someone standing right behind me,
but I didn't turn to se t was any-
one I knew. I just gave the Cap a fixed
smile and then turned it on the whecl-
man so he wouldn't think I liked the
Cap morc than I liked him.

“Try for sixty, sport?” he asked.

"Sure thing," Sport agreed. "Make it
or break it on the black.”

It costs five dollars to try for sixty;
the Cap informed пм Rules of the
game.” Could he be making those rules
up as he went along?

I don't have five, I have only two," I
lied, bees I didn’t want to go into
my right shoe.

“Let him try for two," a voice behi
mc commanded. The wheelm
two. If E won again, I'd have to make a
run for it—but it stopped on red zero.
The house had recovered its losses, plus
three dollars of my own. I turned to go.
Nobody was standing behind me.

"Sport!" the wheelman called me back
and handed me two quarters. "Get your-
self something to eat at a grabstand and

І соп.

PLAYBOY

182

come back. If you want to go to wor
I went wandering down the thronging
midway, clicking my two consolation
coins One was smaller than the other.
Why was it somebody was always trying
to slip me phony money? I turned it
over and saw it had Washington's head
engraved upon it. I gave it to a woman
selling lacos just to uy it out, She gave
me 15 cents change. Well, I be dawg.
"That Mexican 1 been on the up-and-
up, after all. With the ten-dollar bill
my shoe and 40 cents in my hand, I had
enough to go courting! I worked my
way through the throng toward Hannah
the Half-Gitl’s tent.
The ex-referce was sitting on the bally
and chewing a blade of grass, looking
he'd been put together with wire,
then sprayed with sand, A sinewy, freck-
led, sandy-haired, pointy-nosed little rer-
rier of a fellow of any age between 30
and 50.
“Stick

1

around for the girlie show,

know. "A
Ask away."

I ask you something?”

the up-and-up:

“Every show on the grounds is honest,
son,” he assured me, looking me straight
in the eye.

"Reason I ask is
dollars playing it i
some doubt,” 1 expl
now."

“Nobody wins all the time, son.”

The dark woman came up, walking as
though she were wearied out. Behind
her the Hall-Girl put her head and torso
ош of the tent, I hoped that that really
wasn't all there was to her. Then the
vest of her emerged on two sturdy legs
nd began moving toward us. I kept my
eyes on the man and the woman, When
she came up, Т caught a faint scent of
clove and lavender.

"Oh, they're nice enough," I hastened
to assure the tent people. “One of them
loaned me half a dollar and told me to
come back if I wanted to go to work.
It’s the wheel with the Navaho blanket
nailed up in back.

lost three
ive rise to
Т feel better

that 1

“Goddamn it, Walbrook, there must be a woman somewhere

out there who can use a few dollars!”

“That’s Denver Dixon's," ihe man in
formed me. “You're in good hands,
son." He added. ro the girl, "Dixon has
offered this young man a position.” АП
three then looked me up and down, as
though one thought were in all their
minds

“I can sec how he'd prove useful,” the
woman decided for them all.

“We take care of Dixon's boarding
house,” the girl put in. "It's where you'll
stay if you work for him. If you come
back here at closing. we'll drive you out.”

“I appreciate your hospitality, miss,” 1
assured her.

The man put out his hand, “?
Bryan Tolliver.” he told me.
Jessie. My daughter Hannah."

“Thats spelled Taliaferro," the
girl explained. Now, how had a sandy
litle man held together by wire and a
wom ту and heavy as that got-
ten themselves a girl so lovely?

amc of
My wile

п as we

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was settled, yet nothing
was settled. Hard times had taken the
people apart and hard times had put
them back together: some with parts
missing, some with parts belonging to
others, some with parts askew, yet others
ith exta parts they hadn't learned
how to handle. The times themselves
had come apart and been put together
askew.

Doggy Hooper, the shill in the paint-
d cap. had been a railroad clerk
on the Atchison, Topeka & Santa Fe
for 20 years. Now he showed me how
he'd made Denver Dixon's wheel stop at
9 by a hed to his shoe, how
he'd stopped it at 7, and then how he'd
stopped it on red zero when I'd bet on
the black 11. Doggy replayed such small
phs with the air of a man who'd
killing on Wall Succt.
that's the way we flap the jays!”
he grinned up at me. but а bit to the
side, because his right суе was slightly
turned out. “Its how we move the
minches "n' give the rubes dry shaves"—

d he did a bit of a ji

Son," he suddenly said seriously,
"do you have so much as a flash notion
of how much people will pay for the
chance of losing their shirts?"

I didn't have a flash He
showed me a pair of dice, which I h:
only to weigh in my palm to tell. were
loaded

“L wouldn't play ag

1 told him,
en if I tokl you beforehand they
loaded, ıl

notion.

nst you

t what 1 had in mind

were
was to cheat you

rely not.
He stuck a finger at my chest,

wouldn't now. But you will, son. You
will.” And he walked away.

The Atchison, Topeka & Santa Fe
had made a good move in getting this
old man away from their rolling stock, 1
concluded. He'd sprung a coupling and
been left on а spur.

Doggy Hooper's parts didn't match

But then, nothing else around that old
strange house matched. Upstairs or
down. There were hens in the yard, but
when you looked for a rooster, here

came a сароп

Denver Dixon himself belonged some-
where else. Six feet, one and slim in
the hips, wearing a dark suit sharply
pressed, walking so lightly in his Span-
ish boots with the yellow string of his Bull
Durham pouch dangling from his lapel
pocket, keeping his face half-shadowed by
his Stetson and his drawl pitched to the
Pecos, nothing he wore or said would
indicate that he'd been born and brought
up in Port Halibut, Massachusetts.

Had his big redawhite-and-blue board-
inghouse sign stood near the state high-
way, instead of being smeared across the
side of a dilapidated stable, that would
have seemed less fanciful. Chicken wire,
nailed across the stable to prevent horses
from leaping its half door, would
made sense had there been a horse in-
side, But all the stable held was a dom-
ino table teetering om a scatter of straw.
Where harness and saddles should have
been, fishing tackle hung. Kewpies of
another day that once had smiled on
crowds tossing colored confetti smiled
on, though their smiles were now cracked.
and all the confetti had long been
thrown. Along shelves were ducks of
wood and cats of tin remembering, among
paint cans in which the paint had dried,
their shooting-gallery days. An umbrella
above the Kewpies—what was that
g here? A burlap sack marked rre
held nothing bur dusty joint togs dis-
carded by belly dancers whose bellies by
now had turned to dust,

The deep-sea tackle belonged to Dog-
gy. who'd never come closer to а
creature of the deep than to а crawfish
in a backwater creck. Yer nobody consid
ered the man strange because he prac-
ticed casting, with rod and red, in
ranching county. Once, showing me
how to reel in bass, he hooked his line
bristiecone pine. Then stood
purely dumfounded that anything 1
that could happen to а man in a coun
try of cactus and bristlecone pine. If a
blue whale could have been hooked in
alfalfa, Doggy Hooper was the man with
the bait, sinker and line to haul the
awful brute in.

Doggy liked beating marks. He liked
beating me. He beat me at dominoes
and he beat me pitching horseshoes—

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183

PLAYBOY

184

and every time he beat me, he called me
sport. But he never beat me for money
again.

One forenoon I found him crouch
before an orange crate half-covered with
paper. Chicken bones, recently

E
gnawed, littered the crate’s uncovered

side. A hole, sufficiently large for a small
animal to enter, had been cut into the
top of the covered section. I thought I
heard a faint scurrying in there

“What is it, Doggy?” 1 asked. He was
100 preoccupied with what was going on
aside that crate to reply. He drew back

thing. Doggy?” I
as much as to

nodded.
say he'd caught something but wasn't

Doggy

pleased about it.

"What did you catch, Doggy?" 1 asked
after another minute. "Whats in there?”

“Whats in there? Whats. in there?"
he mocked me. “The Thing That Fights
kes, fool! Now, stand back while I
vile it up a little.” I backed off.
air ol canvas gloves,
to protect his cyes and
bent to the box once more. He appeared
puzzled about something. “Damned lit-
ile bugger just et ‘n’ now he's hongry
he reported, shaking his head
reflectively,

“It is à pure wonder to me, though,”

he reflected, turning back to his captive,
"that it'd want another rattler so soon.
Barely had time to digest that one.
Where am I to find another'n?" he asked
himself, then answered, “I just plain
don't know." He stood up, appearing
relieved. "Sleeping," he confided to me
in a whisper. I bent down over the crate
with uunost caution,

"The top sprang open and a silver-
streaking fury, all Tur and fangs, flew at
my face. 1 stumbled backward, wigwag-
ging frantically to protect my eyes, then
recovered myself and peered down
through my fingers. An cviscerated squir-
rel, its fur painted silver, lay coiled at
my feet. A spring had been wired to its
tail and a set of old dentures joined to
its jaws.

Doggy began leaping about the yard,
his laughter breaking like crockery crack-
ing on stone, holding his stomach for
sheer joy of his prank. Опе can't expect
100 much of a semiliterate booze fight-
ет, I thought, walking to the house and
registering contempt with every step.

Jessie was in her rocker on the porch
with a copy of the Valley Morning Star on
her lap. I took the rocker beside her. A
column of coal smoke kept rising from
a Southern Pacific switch engine directly
across the ruued road into а doud-
les and windless sky. Voices, from the

“Before we go any further, I have a

ist of seven positions

forbidden by the women's liberation.”

iglesia metodista just down the road, rose
in praise of that sime sky.

“En la cruz, en la cruz

Yo primera vi la luz

Y las manchas de mi alma yo lavé
Fue alli por fe yo vi a Jesis

Y siempre feliz con él seré”

“The papers keep puttin’ every kill

ing in Texas on Glyde and Bonn
Jesic complained, “I know for a fact
that Bonnie was in jail at Kaufman
when them gas stat :

robbed. 'N' it wasn't them
down the grocerman at Sherman. That
was Hollis Hale 'n' Frank Hardy. Clyde
'n Bonnie was up in Kansas gettin"
married. by
“By whan?” I asked politely.
"By razzle-dazzle. Flat-ride. Carrousel.”
lerry-go-round?

No. A merry-go-round is the gam-
bling wheel you're working with Doggy.
Could a couple fixing to get married
е that?" As а victim of one practi
joke that day, and the day still short of
noon, I thought it best not to pursue
the matter.

“Just one of Mother's pipe dreams
Hannah advised me from the door. She
was wearing some kind of hand-me-
down burlesque gown, ripped under one
arm, to which a few silver sequins still
dung. The sun glinted on them so
sharply that she canted one arm to
shield her eyes, exposing a dark tangle
of ha the pit of the arm. Again I
caught that faint scent of lavender or
clove, touched now by perspiration.

"If you think me and your pa got
ied in church,” Jessie reminded her
"you'd do well to check with
ble's steam razzledazzle in Jop-
use it was on that your pa and
me got bound in wedlock, holy or not,
217 don't you go forgettin’ it

And here came Doggy shuffling along
with his cap pulled 100 low over his
eyes. Well, ler the poor geck tell h
sorry joke, I thought, I'll go along with
the laugh.

Yet the old man spoke not a word.
Simply braced his ba inst the sun-
striped wall with his cap low over his
eyes. But when he glanced up, blinki
toward the light, I saw his eyes looking
inward and his cheeks pale as ash. Jessie
gave me a flicker, as if to say she under-
stood something I did not,

“I wasn't dispuling you, Mother," the
gitl explained, “I just pmely doubt that
Bonnie Parker and Clyde Barrow mar-
ried that way. After all, they're not
carnics.”

“They wouldn't be the first outlaws
rode the flatride because they couldn't
risk walkin’ through a J. P.'s doo:
sie suspected.

“I'm not an outlaw, Mother,” the girl
ughe Jessie up.
“And not much of a carny, neither,"

Jessie put her down quite as fast.
the

All
mani
go-round.”

“We don't call it a merry-go-round,”
tively, “we call it a
azale. Merry-go-round

wheel. Or а lay-down.”
Jessie exulted
r that? Here's
erant college boy turned сату bare
a week "n' he talks better сату than you
born 'n' bred to tent life.”

didn't amend college," Hannah
explained, the rocker beside her
mother’s. “1 want a church marriage. By
a preacher. Ym just not goin’ to set on
top of some dumb wood brewery horse
with a calliope blowing "n' call that

more reason for me to be
rch instead of on а merry-

"Now,

eye

nd me rode wood horses
^n' we called it mar-
Jessie said reproachfully, " 'n* the
flacride we rode we could have set atop
or a lion if we'd wanted—that
razzle-dazzle had a whole jungle on it. 1E
we find you a steamdriven ride with a
zebra, will you like that better, honey?’

“Mother, (ту to be serious.”

I had the impression that this fanciful
debate had been fought, uphill and
down, numerous times before. Always
bout whether it would be а сату or a
h wedding; and newer a reference
to a groom.

It had, of course, to be one of the half

rothers who alternated nightly in the
roles of the Strong Boy and the Grizzly.
Lon Bethea, at 233 pounds, outweighed
Vinnie by less than four pounds. Yet
their combined 462 pounds of sinew,
with the sheen of youth and the shine of
health and the poise of power upon it,
could hardly have left Hi
ferro less impressed.

When they took her into tl Model
A in a kind of protective custody each
evening, she sat in the back seat flipping
the pages of a magazine, while they sat
up front matching her indifference with
their own.

“T's up to Vinnie and Hannah,” Lon
would say, resigning himself too easily
to losing Hannah.

"JE Hannah 'п' Lon make the ride, ГЇЇ
be their best man.” Vinnie was equally
gallant. “I'm not agoing to nd in my
own brother's way.

“It’s awright with me if you marry
‘em both, sis,” Melvin came to his own.
decision—for which he caught a fast dap

zeh

on his ear from her.
The Bethea boys hurled themselves

into battle night after night, applying
airplane spins and turnover scissors,
hammer-locking each other, then but-
ting like bulls; stomping cach other's

“Ask what'shis-name how he likes the day-care center.”

feet, barking each other's shins, then
choking each other purple with Gilligan
guzzlers; ver they breathed nothing but
good will toward men by day.

The S. P. engine shunted a boxcar
onto a siding, then raced backward, too-
tling all the way. "What's that fool got
to toot about?” Jessie feigned indigna-
tion at the engineer. "Because he's d
ing a yard pig?
;oin' backwards is when folks blows
their whistles loudest,” Doggy decided,
“or when they got no mail whatsoever
to k up. Don't I do a lot of tootin”
mysellz" hc asked. “And what have Z
got to tootle about? Ain't 1 been g
backwards ever since I was bon
sked in a voice prepared to grieve the
whole bright day aw:

“I cheated on my folks by playin’
hooky,” Doggy mourned on, unheed

T cheated on my wife with other wom-
en. І cheated on my kids by hittin’ the
bottle. 1 even cheated countin boxcar
numbers for the Atchison, Topcka
Santa Fe” He paused for dramatic ef
fect. “What else could І do? 1 were only
a child.

"Giving the Atchison, Topeka 'n*
Santa Fe a wrong count on boxcar
numbers wasn't cheating,” he explained
to clear that point up, “it was a subcon-
scious matter I haven't to this day been
able to understand myself." He waited
to see if we were interested in this
mystery. Nobody was.

“I couldn't report a three if Y was
counting inside,” he recalled. “I had to

go outside to do it. J could not form
that number within walls. Inside, my
zers simply would not do it, Had to
write another number or go out in the
rain,"

The little engine raced all the way
back toward us, as if the engir had
been listening to our convers:
wanted to put in a word himself. Surely
our voices, in thar clear bright air
ried far down the tracks. Then he
back down to the roundhouse and out
of sight. Jessie turned toward Hannah.

“And if you're making plans to sew
that seam under your arm before it’s
ripped to your belly button, young
woman, TII loan you a proper needle.”

Doggy poked his ferrety face out. from
under his cap. “Aren't по proper
thread.” Then he pulled his head back
under his cap and began singi
lengingl

“If he’s good enough for Lindy
He's good enough for me
Herbert Hoover is the only man
To be our nation’s chief.”

“Good enough for Lindbergh ain't
good enough for me,” Jessie derided the
President, the pilot, Doggy and the
song. “Fr: in D. Roosevelt is the man
to set this country fret

"EH tell you about Roosevelt," Dx
offered: "He's И the bottom part of
double boiler—gets all worked up but
don't know what's cookin’, "№ ГЇЇ tell
you somett He turned to me.
“Any time you get into a town where

Y

185

PLAYBOY

186

the cops don't have uniforms, you can
be sure the chow is going to be lousy.”
Doggy seemed to be coming out of h
mood пісе

“Is Mr. Dixon up yet, Mother?" Han-
nah asked.
опе to town bright "n^ early to pick

up the Jew fella,” Jessie reported. “Took
them two fool wrasslers along," The
“Jew fella" was Dixon's wheclman, Little
British,

Although Hannah Taliaferro was a
sturdy girl, she gave an impression of
fragility. She was quick in mind and
movement, but, even more, the impres-
sion came from that suange personal
scent that seemed to mingle dove and
lavender with perspiration. Men who
fixed their eyes on a distant point when
she stood directly before them looked
perfect fools to me. 1 avoided looking
the fool simply by shutting my eyes

until her mother called her away.

The true mystery about Hannah the
HalfGirl Mystery not how her
lower body disappeared at tent time,
then reappeared as she swept floors,
made beds and turned hot cakes the
next moming. It was how, whether

bending, walking, 8
stretching itself or just standing still, it
became more voluptuous at every rein-
carnation.

Her carelessness
charms w
She went

turning,

toward her own
as not the least of her charm.
about barefoot, wearing noth-
hand-me-down burlesque gown,
once red, now faded to brown. Her nip-
ples, always ро forever taut,
stretched the dress's thin fabric. When she
bent down over the table to serve a dish,
I saw a skin so tawny that the circles
about the nipples were only a hue darker
than the breasts themselyes

Alter that, I'd go upstairs to

est.

Doggy got so drunk, between the sta-
ble and the town, that he lay all day
Sunday, on his ganet cot, paralyzed by

exhaustion. By Monday noon, however,
he'd recuperated sufficiently to go about
consumed with remorse: "No, you don't
get a cigarette.” I heard him pronounc-
ing various penance upon himself—
you had yours Saturday. No, you don't
get any lunch today. You had yours
Saturday.” All day Monday he denied
himself, and part of Tuesday, too. Thurs-
day evening he began letting up а bit
on himself. By Saturday, we all knew,
hed be ready for an all-night bender
once again

On September 1, 1932, the moon moved
across the face of the sun and I heard an
owl hoot in Dixon's stable just before
noon, It was lighter than night, yet darker
than day. I'd never seen an owl.

So I went searching the stable's shad-
ows, with a flashlight, in hope of secing
that curious bird. АШ I saw was Doggy

Hooper huddled in a comer, his eyes
at me so fixedly I wondered
whether it might have been himself
who'd hooted. "You playing owl on us,
Doggy?" I asked, playing the flashlight
on his face

Gonna be a shakedown an
up!” he cried without blinking right
into the flashlight's beam. “Union's gon-
na throw old Doggy out! Roman black
snakes after old Doggy!"

An uncorked pint Шу on its side,

seeping darkly omo the straw. “You're
losin key. Doggy.” I told him.
His head wobbled, trying to focus on
the figure behind the flashlight.
"Awright, Dixon,” he muttered, “you
come to collect"—he struggled to his
feet, holding the wall of the stall for
support—"this is the showdown! Show-
down. Showup. Shakedown! Shakeup! VII
never borrow another nickel off you the
rest of my life! ГЇЇ be your swore enemy!
І had to catch my swore enemy to keep
him from falling and support him into the
yard. Hannah came out to help. Between
us, we got him up the narrow зай» to the
room above the stable.

A Navaho blanket,” torn and stained
by tobacco juice and whiskey, covered
Doggy's cot. А cheap alarm clock ticked
on the floor. But Doggy wouldn't lie
down. He sat stubbornly on the соге
edge and began croaking lonesomcly:

а shake-

good wh

"Mother's voice is gone from the
kitchen.
She's teaching the angels to sing”

“Try to sleep it oll, Doggy, dear,”
Hannah pleaded with him, spoon-fecd-
ing hot black coffee into him.

"I'll do anything you fellows can force
me to do,” he finally conceded. "TII take
thing you can give me so long as I
don't hi to like it." He took a few
spoonfuls of coffee from the girl, then
looked at her drowsily. “If you don’t
behave yourself,” he warned her, "LIE
stop taking your money.” And with that
threat he fell back, rolled onto his face
id sank into а snoring sleep.

Later I wandered down the road paral-
leling the S. P. tracks, up to the iglesia
melodista. The doors were open, though
no service was being held. Candles
burned in the church’s dusty gloom. I
sat on the steps and waited for a train to

pass in either direction, ‘There was no
train nor a rumor of one down the
ht rails.

І wandered back to the house and
around to the stable, wondering vaguely
whether there might be anything left in
the bottle Doggy had abandoned, There
were half a dozen drops, no more. I
drank them and pitched the bottle into
r. Then saw, the shadow, the
held the Thing That Fights
‘The Thing still lay coiled in-

І fooled around with its spring
I got it to leap. Then | put the
cage in full view of the kitchen window.

"How was the tip Saturday night,
sport?” Hannah put her head out the
window to ask.

My back toward her, I contemplated
the cage and made no reply.

"Did you have a good tip Saturday
hight. sport?” she repeated a bit louder.
I held my silence and my pose. Her bare

feet oc padding up behind me.
"Something happening?" 1 heard her
ask softly.

Shhh,”
ished eating.

“What's eating wha
right beside the box
Буз contraption was new t0 her.
"What's not finished eating wl

“Shhh, I might have to rile it up a
bit.”

Rile what up. for God's sake? What
have you got in there”

She reached for the box, but I held
her back with my hand and shouted,
“The Thing TI akes, fool!
Back! Stand baci

That girl wouldn't back for tigers.
Hannah put her eye to the opening. I
sprang the catch. The Thing flew, claws,
fur and silvered teeth, into her face. She
fell back, way
eyes, yet made no outcry. For
she stood looking dawn,
look in her eyes subsided.

She turned the Thing over with her
bare foot. As she turned it onto its back
once more, a smile too sly formed on
her lips.

Then she cunc right at me.

Around and around the stable I fled
her rage. I had to keep running until
she ran out of rage or breath, or stepped
on a nail, or all three. Her fingers closed
on my shirt, but I ripped away, feinted
as if to double back and leaped ahead,

ng enough yardage to take me half
у around the stable once more. Then
I stopped short and wheeled about. She
barrcled head down right into me, sp
p me backward into the stable, crash-
ing me against the domino table as she
bore her whole weight down on me.
The table collapsed above us in a cas-
cade of dominoes, I clapped my hands
about her buttocks, arching myself
inst her. She broke my hold by strad-
dling me and we both lay a long minute

1 shushed her, “it’s not fin-

She came up
Apparently, Dog

hands before her

g her

moment,
ntil the crazed

then, struggling for breath. She re-
covered hers first, because I had he

weight on my chest. I tried to push her
off with my hands against her shoulders,
but she pinned both my arms and
slipped her tongue deep into my mouth.

That kis drained my remaining
strength.

“Your buckle is hurting me,” she com-
plained, and released my arns to un-

nds around

buckle it. Instead, I got my h

“Oh, come, Franz . . . you can finish that symphony later.”

PLAYBOY

188

her buttocks again. They were round
and firm as new melons. 1 hauled her
panties down nearly to her knees. She
slipped half on her side to kick them
off; when they caught on her ankles, she
gave a wild kick and sent them flying
toward the stable wall That gave me
my chance to roll out from under. T got
halfway out and. pressed. her back with
all the strength I had.

She was nearly pinned before she gath-
cred her own strength and I felt myself
being forced back inch by inch, In a flash
it came to me why she was evading those
heavy brothers. This girl wasn't going to
be pi nder anybody: She could not
b ther she did the pinning or
nothing was going to happen. She en-
twined her thighs about mine. I thrust
upward at the same moment that she
thrust down. She gasped with the pain
that turns so quickly to pleasure. There
was st flash of light behind her
shoulder and I knew the stable door was
standing wide. Then I heard a ho:
cry from far away. I blacked out.

I came to hearing my own cry dying
hoarsely in my il A moment later,
utterly spent, eyes dosed, I felt her
weight leaving me at last. When I
opened my eyes I saw Hannah, silhouet-
ted against the light, scuflling through
the straw of the stable floor.

“Lose something?” I asked her.

My underpants.”
"What color were the

She glanced over at me. “What kind
of question is that?”

“Because if they w

ined

re pink, it must be

somebody else’s white pair hangin’ over
that paint can over your head.”

I'd caught the sun's glint on the pant-
ies’ white fringe, draped across the can
out of which a brush was still sticking.
Tt stood oi shelf behind and above
her head. She snatched the panties
down. Then, half rueful and half laugh-
ing. she held them up for me to see.

“Now, look what that Doggy Hooper
done!”

The panties were dripping with silver
hoof paint It seemed that Doggy had
half roused himself from sleep and had
come down to do some redecorati
was gone now, but he hı

worry to my mind.

“Give me a couple minutes to get to
the house,” I asked her. "I don’t want to

i ge plans."
boys wouldn't hurt you even
if they did find out," she assured me. I
wasn't that sure. 1 took a long swing
round the house, so that I could ap-
proach from the front.

Jessie and Lon were taking thei
in the front porch rockers. The rocker
holding Lon looked ready to crumble

case

biceps, began studying me with its two
small red eyes.

I suppose Doggy went and told you
of the practical joke he pulled on me,” I
asked as soon as 1 reached the step, my
plan being to start asking questions be-
fore anyone started asking пи
He jumped a dead squirrel out of a

“I often wonder if things would have been different if I had
had someone io lead me into temptation."

me once,” Lon recalled. “I hit
him with the box. He ain't tried it
again

But where was Vinnie? Had he been
watching the athletics in the stable from
his upstairs room? Had he come down
the back stairs softly to sce what was
going on? Had he then conferred with
Lon? Had they already set up a plan to
catch me that n ight on the carny
grounds? Had they taken Jessie and
Bry on it? If they consulted Den-
yer Dixon, would he speak a word in my
defen:

“Clyde Barrow "n Bonni rker kid-
naped an officer of the ^ Jessie said.
Drove him around. E Mexico all day
before letting him go."

I couldi cared less that the law
had been outwitted a
ide out tonight wi
said, forestalling Lon's usu:

"Suit yourself, sport
fully.

“There won't be much of a
night,” Jessie guessed. “The sand is si
ing to blow.”

I went up the footworn s to the
little room beneath the caves. Heat was
piling up between the walls. А small
clock king a muted ticking. Ike
news of some lost time too dear for
losing.

Fifty-odd years from the bourn of his
mother. $22 in debt to Dixon. face down
on the cot where he always fe'l. one
palm outflung as if to say “Stent it
all! Doggy Hooper was sleeping it off.

ally clothed.

І stretched
voices

box oi

out on my cot, hearing
mingling on the porch below. |
fell asleep thinking I'd heard Lon speak
ing my name to Vinnie. Or was it Vinnie
to Lon?

In sleep I felt something near and
endangering. I struggled 10 waki ad
quite dearly, though framed by а bluisl
sive dogs. sitting the
aunches, waited for me to waken.
When 1 woke at last, Doggy was gone.

ihre commen GES inns (eet nen

The s
the wind was blowing up.

The carny folks were gathered about
but I. passed the door as
if I had somewhere else to go. 1 went out
onto the porch and м
ing sand between di . ties.

Dixon and Little British drove
British at the wheel. I climbed into ihe

up,

rear seat.
Doggys off on a bender,” I told
Dixon. British made a U turn. As һе

straightened the car out toward the

highway. I glanced back and

yet clearly, а pa

» hanging above the st

challenge
Like a challenge? It was a challenge.

A challenge to Jessie and Bryan. as well

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PLAYBOY

190

as to the Betheas. That girl was going to
bring on a family row deliberately.

To get out of marrying either of the
brothers? Or to get out of her role as
the Hall-Girl? It had to be one ог both.
Because Hannah wasn't so thoughtless as
to hang her silver-colored panties up to
v of the

dry on a chicken wire in full v
kitchen. There simpl.
explaining away that garment, shining
with silver hoof paint. She was going to
blow up the family circle. And whether
1 got my neck broken in the ensuing
row was, it was plain enough, a matter
of no concern at all to Hannah.

My heart didn't spin with the wheel
that night. Everything, it seemed, had
stopped with Doggy Hoopers clock.
Something had ended; yet nothing new
ad begun. And in that interval, I had
to be more alert than usual, because I
was working with Dixon instead of Dog-
gy- In Doggy's absence, Dixon had wired
the gaff to his own shoe, while I fronted
the marks for him, one by one.

"Don't let your luck get away, n
ter.” I encouraged а Mexican

old

enough to know better. “АП you have to
do is hit the red to get the thirty-dollar
jack pot!”

It cost that one two dollars to try for
the $30 jack pot, while signals went
flying between Dixon and British. When
they had eight dollars of the man's mon-
cy, British wanted to get rid of him, but
Dixon felt he'd stand more gathng. They
built the fool up to а $100 jack pot, and
I helped by confusing and encouraging
him at the same time, until the man had
gone for $30 out of his own pocket.
Then he turned back to the midway
with his collar awry, sweat on his fore-
head and a dazed look in his eye.

As Jessie had foreseen, the tip was
thin that evening. Some of the tent flaps
ге already down, though it was
two hours il dosing. Only the flat-
ride seemed to be doing normal busi
ness, I judged, by its calliope crying La
Paloma without ceasing. When I told
Dixon T wanted to k down to a
abstand because I'd missed supper, he
ve me the nod to leave.

As I made the rounds of the joints,

gr

"Whats obscene to me, Myrtle, is my son wanting lo stick
me away in some retirement home."

chewing а taco, sand w:
high that the lights of the Ferris wheel's
lower half looked like lights seen under
shifting waters.

I'd known. as soon as ГА seen that
girl's panties above the stable door, that

s blowing so

this was my last night at the Jim Hogg
County Fair. But my mind was so duli

from the heat and the heavy day. 1
couldn't think clearly about а means of
geuing away.

When I went back to Dixon's wheel,
there was ап old woman in a black-lace
mantilla waving her arms at Dixon and
British. That is, her tears and Spanish
cries made her seem old, but when I
went up. I saw she was hardly 30. I
hung back, trying to understand. а few
words of her Spanish rage.

АН I caught was "thieves" and "hus-
band." TI cleaved matters up. She
. most likely, the wile of the Mex
can we'd just sheared.

By rights, as one of the hands in the
shearing, 1 ought to be right up there
taking some of the fire. On the other
hand, what was J doing flapping the
nyhow? I didn't belong on any
midway.

She was pointing a finger directly at
Little British, feeling that he was the
п of the plot. Then Dixon put one
hand on her shoulder and J saw him
reaching for his wallet with the other.
He wasn't going to risk having the sher-
iff shut his wheel down. And possibly
the whole

I took two steps backward, turned
slowly away and began walking through
the dust storm like a man walking
through rising waters. I put а bandanna
to my mouth and nose, as if to keep out
sand. But it was also, I felt, a disguise. I
held it there while moving against the
crowd of marks coming in, despite the
dust, under the papier-máché arch with
its legend: им HOGG COUNTY ram.

Then I ran for it.

1 got over the same fence I'd scaled а
weck before and mounted the embank-
ment before 1 looked ‚ In those few
moments of flight, the whole sky had
darkened. A swirling darkness was en-
wrapping the tents. Yet the calliope went
on crying.
nd the merry-go-round kept circling,
. though its red, yellow, blue and
n lights were blind with dust. а
ly, the calliope began to subside. The
nerrygo round was going around for
the last time.

Then the music stopped and pennons
and tents, grabstands and galleries, Kew-
pies and carnies and gaff wheels and all,
were lost in a rising dust wind.

Blowing forever away from home.

Beware of
good looking’
tereos.

The showrooms are full of them.

Which only goes to prove that anybody
can make a stereo system that looks good.

Fine oiled hardwoods. Impressive
rows of dials and levers. Fancy indicator
lights. They're all part of the show.

But if you're proud to show it off, will
you beas proud to turn it on?

We can talk this way because we're very
definitely a partof that show.

We make Sony com pact stereo systems.

And we'll admit they're as beautiful to
lookatas the handsomest stereo systems
around.

But that's no reason to buy one.

Whathappens when you listen to
one is.

That’s the time to choose.

What you'll be listening to isa Sony
amplifier, with an FM-AM Sony stereo
tuner and a Dual, Garrard or BSR
record changer built in.

And in some cases a Sony 8-track player
or cassette player /recorder built
in, too.

tors have taught us the right way to handle
solid state.

After you've given all the good looking
stereos in theshowroom a good look, give
them a good listen, too.

Connected, of course, to two separate The least your com pact stereo system

Sony speaker systems. should do is look good.
"There are ten Sony all solid state "Take care that's not also the most
compact stereo systems to listen to priced — it does. SON Y.

Irom about $150 to about $400.
Years of making separate stereo com-
ponents have taught us the right way to

We don't just look good.

make compact all-in-one stereo components.

Years of making even our own transis- 191

PLAYBOY

192 drome is deeply woven

you bet your life -nuca from page 92)

course. I want to die peacefully, in bed."

Nuvolari laughed, then said, “Well,
then, my friend, please tell me where
you find the courage to go to sleep each
night.”

Ironically, Tazio Nuvolari died in
bed, an old man.

There is little evidence of sadomasoch-
istic traits in men who risk their lives
ns. An-

inflict pain, should not be confused, as
often is, with pugnacity, ie., the desire
to fight.” To pug
the desire to compete, wherein men
attracted to highly dangerous end
out of the simple desire to win some-
thing. The biggest victories come in the
се of the biggest opponents, so men
with the greatest courage and skill are
acted. to the most imposing
ips.
a fine German racing driver who was
killed in the 1961 Grand Prix of Italy,
put his desire to compete with the best
in stark, pragmatic terms: “I feel I am a
good driver and J seek out the best
competition. If one is a good skier, he
docsn’t want to spend his time on the
beginners’ slopes."
Го counter mittter-of-fact statements.
Von Tripss or Mallory's, some dev-
otces of psychology often dredge up the
old death-wish syndrome, which they
daim infests anyone who engages in a
more hazardous activity than croquet.
“That's bullshit,” says onc top racing
driver. “If I want to Kill myself so badly,
why do I work so hard trying to stay
alive?”

While the death wish is a substan-
tive mental-health symptom, there is dis-

reement among psychiatrists as to how
it relates to men who engage in dangerous
ics. In fact, the entire question of

is the subject of widespread
ithin academic circles, and
few clear-cut answers exist about the
motivations for such acts. Certainly there
is a relationship to culture. Most nations
with high suicide rates (West Germany,
Japan, Austria, Denmark, Switzerland,
Hungary, Sweden) have low homicide
rates, while nations with high homicide
rates (Colombia, Mexico) have low sui-
cide rates. Some psychologists have specu-
lated that countries with strong social
cohesion, as in Scandinavia, may force
individuals to bc more strongly sclí-
accusing and therefore inclined to punish
themselves rather than their fellow ci
zens. Whatever the answer, it appears to

suicide
argument

In Japan, where the self-accusing syn-

life, it is socially acceptable. In West
nations, it is considered illegal, immoral
and ungodly. As late as 1823, there is a
recorded case of a group of
disposing of a suicide victim by burying
him at the roadside with a stake driven
through the body. Here again, the pow-
erful self-preservation instincts of the
group become evident and suicide is
censured because it is an
that is in opposition to group t
eloquent exposure of the
of the society in which it t
the strict confines of the Ju
ethic, it is а negative act of self-will that
simply cannot be tolerated. But there
is a substantial argument in favor of
suicide, based on the simple Јам of sur-
vival of the fittest. If there is such a
thing as a death wish, is it not desirable to
permit this negative psychic trait to bc
weeded out of the breed? It can be
t each ty thwarts a

suicide, it is monkeying around with
natural selection and most certainly
with an individual's right to die. ‘As

John Stuart Mill said, "Over himself,
over his own body and mind, the ind
vidual is sovereign.”

Does this sanction complete freedom
in disposing of on life he sees fit?
Not totally, because few single acts can
be isolated in society. A suicide victim
may leave a destitute family as wards of
the state and а burden to others. By
leaping off a building, he may pose a
threat to innocent bystanders or prompt
unnecessary risks on the part of the
police, medical personnel and others
responsible for public welfare. Under
these circumstances, sodety does have a
franchise in controlling individual dest
ny. But if the act is voluntary and
apparemt effect others, there
seems to be little justification for pre
venting it, In sanctioning freedom of
will, Mill said, “The sole end for which
mankind are warranted, individually or
collectively, in interfering with the libe
ty of action of any of their number, is
self-protection. . . . The only purpose for
1 power can be rightfully exercised
over any member of a civilized commu-
nity, against his will, is to prevent harm.
to others. His own good, either physical
or moral, is not a sufficient warrant.”
tering this sentiment is the pow-
erful Calvinist feeling infesting Western
civilization that claims the one great
offense of man is sell : “Whatever
not a duty is a sin.” Is it a sin, therefore,
for a great bullfighter like Manolete to
become a legend in his own lifetime,
then lose his life by goring? Was the
death of the great driver Jim Clark
ainst a tree trunk on a German track-
side a violation of our moral code? Was
the expenditure of 31 lives in trying

аз

no on

to reach the 26,620-foot summit of the
Himalayan peak Nanga Parbat an affront
ized behavior? On the contrary,
it would seem that these audacious acts
symbolize the courage and diverse spirit
in mankind that, if tempered or bred
out by an overprotective society, would
create future gencrations as fearful as
moles. On the other hand, we have the
overt profit seekers, such as Niagara Falls
barrel riders, who have made bumbling
attempts to gain credibility as herocs
nd have thereby imperiled the lives of
their rescuers. A bad scene for a gang of
somy grandstanders; but at the same
time, it seems that the risk and adven-
ture experienced by both the barrel rider
and his rescuers is а valid expression
of the human spirit, We lament the fate
of the poor guys who have to save
foolhardy or unlucky adventurers until
we recall that they, too, as а vast majori-
ty, carry out their work as enthusiastic
volunteers.

Dr. Sol Roy Rosenthal, professor of
preventive medicine at the University of
Illinois College of Medicine and medical
director of the Research Foundation in
Chicago, is taking a hard, scientific look
at what he calls “risk exercise.” Dr. Rosen-
thal, an avid horseman and fox hunter,
discovered some years ago that he found a
greater sense of exhilaration by engag-

ng in strenuous sports involving phys
cal hazard than he did in participating
in equally rigorous but perfectly sale
ng to pinpoint this sense
as he calls it, Dr. Rosen-

thal embarked on a detailed but asyet-
псотріеге resear project into risk
. His thesis is this: For millen-

niums, primitive man was equ
physical and mental sense, to risk his life
in the routine activities of gathering food
and protecting his family. But as more
refined civilization evolved, the
became a less necessary part of man's
normal life style. As а substitute, he
created artificial risk exercises. In
Rosenthal is inclined to believe tha
culated risks, either physical or mental,
are key factors to a normal life. They may,
he conjectures, be intimately connected to
physical and mental health and even to
the very process of human aging and
evolution.

After questioning, thousands of parti
pants in risk-exercise activities, Dr. Ro-
senthal found t very large percentage
reported a sensation of elation or euphor
upon completion of the exercise, At the
preent time, he is expanding his
research in an effort to ferret out the
biochemical reasons for this stimulation.
Like the well-known liberation of adrena-
line as a reaction to fear, or the release
of adrenal-pituitary hormones into the
blood stream during various stress situa-
tions, it is possible that certain biochemi-
cal changes take place in the body

“Look at it how you will—Alice is a fine, big girl!”

193

PLAYBOY

194

during risk-exercise activity. If Dr. Rosen-
thal cin isolate this substance or sub-
stances, it may have widespread medical
applications in the treatment of depres-
sion and other mental problems, Whether
or not this can be done, Dr. Rosenthal
sull feels he has accumulated suficient
lence to support his concept and ma

ns that some kind of risk exercise is
essential to the well-being of all balanced
individuals.

с adventures have been de-
agant wastes of money,
doubtless there were denunciations of
agellam's expedition, every polar trip
and cach individual act of risk involving
а test of man against self or nature, In
this regard, the German philologist V

men and = claimed that
vigor and manifold diversi
themselves in a critical expression of

“Go to another clerk, please . .

"originality"—certainly a human trait
that should never be eliminated.
Protesting what he referred to as "the
tyranny of the majority," John Stuart
Mill gives а powerful endorsement to
taking and

ihe enüre question of
an individual's right to die
he finds appropriate by saying
mankind are not infallible; that their
truths, for the most part, are only half-

truths; that unity of opinion, unless
resulting from the fullest and freest com-
not de-

nil mankind are much more
capable than at present of recognizing
all sides of the truth, are principles
applicable to men's modes of action, not
Jess than to their opinions.”

Surely, if Maurice Wilson and George
Mallory could speak from their graves
on the heights of Mount Everest, they
would heartily agree.

т embezzling.”

PLAYBOY INTERVIEW

(continued from page 70)
we began making an enormous number
of tools made the tools For the
shells that were going to be fired by the
cannons, all we needed was a special dic
on a punch press. But we could change
that and make Jamps instead. What
we were really acquiring was a produc-
tion capability, and the country ас-
quired an extraordinary wealth. But we
were so dumb we didn't know we were
doing it The Allies’ purchasing agent,
J. P. Morgan, bought all America’s pro-
duction and used up all the world's
monetary gold—30 billion dollars. Then
they went on credit for another 30 bil-
lion, but they still hadn't tapped the
productivity of America, The only way
to get it really going was to get America
into the war, so the grcat propaganda was
that demodacy was at stake, and we
were all brought out to save democracy.

America produced a million men to
send across the ocean, and with her enor-
mous technology, spurred on by the war,
created а vast amount of new produc.
tion capability, which I call wealth. The
ability to care for many more lives for
many more days—that's real wealth. But
after the war, the old masters of the
world, who were running the game in
terms of their agricultural economics
and their gold, said to the Americans,
"How are you going to pay for all
this?” We'd gone ahead and produced 178
billion doll worth of matériel with-
out stopping to ask if we could afford
it, because we thought our lives were
at stake and we wanted to win. But
America believed in the old accounting
method—still doesl—and there was no
awareness that we had become cnor-
mously wealthy and had not gone into
debe at all. So America invented the in-
come tax and Victory loans to pay off a
liability she mistakenly thought she had
spent but was actually sitting there in this
mastic new production capacity. The
Russians quite correctly saw it as an asset
and were tremendously envious, but we

went on believing it was a debt. Never had
there been a greater naiveté in history.

America got into the Depression ten
years later, because the old masters then
running things on a gold basis didn't
really have the gold; it was all in the
Kentucky hills. And they didn't know
how they were going to get the gold out
of there. They were playing world poker
on the bluff that they controlled wealth.
There hadn't been any income tax up to
that point, so there was no way in which
amy government could inspect what

these men really had, so they all had
poker hands they didn't have to show.
And what a rough game it was! But

the income tax gave the Government its
first chance to see what these old masters

really had. and it was discovered that
they were just bluffing,

"Things might have gone well for them
except that, in order to save themselves,
they had to let the scientists get going
on World War Two, and that 15 what
brought about the really great changes
we've Iking about. The scientists
went the visible to the invisible,
fron с to the wireless, from the
track to the trackless, from visible mus-
ce to invisible alloy. They went over
into the great electromagnetic. spectrum,
where the reality of yesterday. h
you could see, touch, smell and hear,
mo longer reality; now they were
g in chemical synergies and invisi-

frequencies. The old masters
of industry had done everything i
terms of the visible and. palpable, which
is still reflected in the language of great
power systems—For THE COMMANDER'S
EYES ONLY, FOR THE BOSS'S EYES ONLY.
But now the boss couldn't see what was.
going on anymore. He didn't know what
his people were doing; he didn't under-
stand the technology. It was never an-
nounced to the world that the old masters
had gone, that the old power was gone
forever, But that's what happened
PLAYBOY: But aren't the new
even more powerful than the old?
FULLER: Not in the sense of in
there were individuals of
power in that world of bluff and immo-
ality. Industry then became so complex
for all those top men who were doing
the bluffing and the cheating that they
cedel 10 have some faithful
nd servants running their comp

agers
nies for

them, so they started business schools.
in the universities. Business schools
sprang up all over the place. But since

they wanted their boys to be faithful
servants, they didn’t teach in the Har-
vard Business School how the business-
man really made his money: They
didn't teach you how to cheat y
grandmother. So we got а large crop of
young people coming into the corpor.

tions under the impression that vou
could both do the job and be moral.
They were cruelly disenchanted. But

now, among the administrations of those
vast companies, 1 find a beautiful bunch
who

of men
things in

would really like to do
wastically moral way. But
they'v ed the momentum of
these corrupt practices, and there isn’t
much they can do about it.

PLAYBOY: What kind of momentum are
you talking about?

FULLER: A man works hard and gets pro-
moted and suddenly he finds that his
new job caries with it the need to
compromise and let something wrong go
by. The idea that a corporation has any
mor; entirely wrong, They were
developed with the idea of limited lia-
bility, and it has permeated all their

“Oh, he has lots of charisma, but i
all tied ир in bonds.

thinking. So they also limit their mo
ty. They turn out goods Ша will work
for a month. And the individual execu-
tive has a very difficult time changing all
because he has to get quite high
before he discovers that somebody has
already arranged to make more profit by
cutting down the quality. These fine old
corporations that have always striven for
excellence get bought up by other com-
ies. Yet the old name goes on and
ave Kenyon Instruments still in
never mind that they don't work
anymore. I find what's going on in the
manufacturing world very, very wrong.

PLAYBOY: Do you sce any to correct it?
FULLER: Above all, we're up against the
problem of the accounti
have to be oper
to make any sense in an industrial socic-
ty. You've got to get rid of that agricul-
tural fis ar. When you're deali
in the failure-oriented fiscal-year idea,
you're always toting up your outlay and
discovering you can't alford to spend
another cent. But the kind of produc-
tivity that long-range planning will give

п system. You

5

you doesn't come into focus within the
span of that single agriculuural year.
So you're constantly deluding yourself.
That's exactly what Russia saw and
ina after her; the agricultural and the
industrial don’t mix. And there will be
no of matching them until the
Western world goes on а 25-year basis,
though precisely how they're going to do
it L don't know. I'm not talking ideolo-
gies; this is And
going to be one mess after another until
this point is realized. Because the system
is not working. Not working! It's all
irresponsibility—that's what the young
world is so sick about. The kids know
there’s something wrong in the family.
They don't know what it is, bur ir just
s to them.
PLAYBOY: Now you're sounding more like
a revolutionary.
FULLER: But J told you it has nothing to
do with politics or ideologies. Its a
matter of mı . There's no
stant anything, of course, so thei
going to rough going. The

іс economics.

's

be some

many who are not literate about whats 195

PLAYBOY

196

going on will be terribly scared, But it
wont be a question of pulling the top
down and jailing the enemies of the
people. Iv be pulling the bottom up,
so that everybody cam be brought into
the success we'll all enjoy.

PLAYBOY: Hasn't it been historically true
that the most popular way people have
had to distinguish themselves from the
masses was to acquire wealth completely
beyond their needs? They've experi
enced their wealth in terms of exclusiv-
ity, gaining advantages that others didn’t
have. Isn't that why the top has always
E the

acted by resist when bottom
starts to rise?

FULLER: The top can react as it will. To
the extent that its not thinking, ivll be
fierce, yeah, Those on top will assume
They're going to be pulled down. But
nothing could be worse than that kind
of misapprehension. They'll pull every
wick they can, just when they don't
need to anymore. But weve alwa
played musical chairs in our society. We
rt with 100 people and 99 chairs and
we keep eliminating chairs. "The kind of
change Pm talking about is when you
begin with one dmir and end up with
100. Every time the music stops, more
people are sitting down. When there
was only one chair, you might have felt
pretty damn exclusive when you sat
down, But now we know that—for the
first time in histors—the. chair manu
turer сап make enough for everybody.
It’s going to be a different game.
PLAYBOY: It won't be much fun for the
people who were used to winning.

FULLER: That's truc, of course. I used to say
thar the World Game 1 was proposing had
no opposition, 1 was incredibly wrong,
because you have to play against a formi-
dable number of things. Once 1 worked it
out like a football team. 1 bad 11 impor-
tant players, such as Fear, Unfamiliari
Inertia. Ignorance was quarterback.
PLAYBOY: What about Greed?
FULER. He played center.

PLAYBOY: Then you do see social disturb-

nce as having а role in this lifting-the-
bottom kind of revolution?
FULLER: Yes, but I think ntastically

healthy. The only things that ever get
hurt in such a process are things that
are vulnerable because they've been
working against evolution. Man's func-
ion is to use his mind, and hc won't
put up with any of the precious old
itions thar tell him he can't do
PLAYBOY: How about the argument you
always hear on campuses where there's
been trouble: that without а calm and
orderly atmosphere, mo constructive
change is possible?

FULLER: I think universities are completely
obsolete, I think they're having these
troubles because they're supposed to be
eliminated. There's very little that goes
on at a university that can't be done
better otherwise. The biggest raison

d'étre for the present system is the secu-
rity of the profesor. He's got tenure.
Has anybody else got tenure? Hell, no.
Those tenure boys are really а shame;
they're so businesslike, they really look
out for themselves.

Once you eliminate the obsolete struc-
ture and the emphasis on caring a
living, people will go to the university
because they want to use themselves
nd explore their wonderful capabilities.
Humanity will carry on beautifully if
you don't mix them up with caring a
living, Well make wonderful use of
those buildings and all that. equipment.

"Thats what the tenure boys ю
scared of. They've been living оп the
idea of monopolizing the information,

but now they see the time coming when
the big idea will be to proliferate it and
try to see that everybody gets to share it.
PLAYBOY: A moment ago you mentioned
the World Game. What is it?

FULLER: The only way we can get some-
where is by having а completely different
way of seeing our world, an informa-
mal approach. I saw that back in
1927; | could see the big changes com-
ing; I could schedule many of them,
plot them out by means of various
curves showing invention lags, showing
the fallout from the new production, I
began to play the game of looking at the
total earth as 1 was taught in the Navy.
The Navy was absorbed in this kiud of
thinking, surveying the earth in search
of resources and advantage. So I asked,
“What is the value of a r game?" and
clearly, the answer was that you pay no
attention to sovereign boundaries. You
transcend them. And І said I'd like to
me transcendental advantage
of locking at the world d its те
sources, but I'd like to see how to use
those resources to do more with less
And that’s what brought me ove
idea of a World G
ny phases and was called by many
es, but always its prime intention
s to find ways of bringing advantage

wa

any man,
Im sure I'm the first one who rc:
peeled off from having any kind
specialty or career on the basis of sce
that such things could be done. By 1927,
I knew that the more-with-less approach
literally practical, even though
ny of the techniques had not yet
been invented. I tried to talk to other
people, but they paid no attention to
me. They thought was a charming nut.
But the fact is that, by means of becom-
ing a deliberate comprehensivist. I have
come in view of an enormous amount of
normution that has allowed me to
make accurate projections of most of the
big ch that have occurred in the
past 50 years or so.
PLAYBOY: Was

those projections’ com-

ing true that led people to take you
seriously?
FULLER: If it hadn't been for the geodesic
domes, there would have been an eso-
teric group who would know about me,
would possibly know of the kind of
comprehensive design science Гуе pro-
fessed; but I wouldn't be very well
known. Since I was the holder of some
important patents, however. those big
corporations had to acknowledge my
thinking, and this established me in a
different way. Big business respects me
in quite a different light from the old
days, when they loved to have me
around as their favorite scatterbrain, 1
Iearned the term brain picking from Time.
Inc. In the Thirties, editor after editor
would take me out to lunch and pick my
brain so he could write a story. I found
I was getting to be a pretty good vege-
table garden for a great many people to
feed on. And I was eager that there be
accumulation of some credit for the w
1 was aniving at these i
design science. I didn't want to be dis
missed as a hitand-run inventor whei
fact, 1 was working very methodicall
PLAYBOY: What was there about your tech-
nique that made you call it design science?
FULLER: The whole thing was findi
what was firstthings-first in universe,
and to do that you have to get away
from any ideas of specialization. You've
got to develop your comprehensive liter-
acy and find out what your problem is,
It takes a long time to get to know
anything that way, but once you do. you
Know it so dearly and cleanly that
body who'll really sit down and wor
out can't go wron!
PLAYBOY: How did you do it?
FULLER: I began with the conviction that
T was an average man who, because of
some rough times and some good times,
happened to have a great deal of experi
ence. Td been brought up thinking that
my own ideas were cockeyed and that 1
must listen to the other m у
dicd when Т was young and my mother
was helped a great deal by friends of the
family, successful men, and they would
take me aside for a lecture and ту
mother would n "Never mind what
you think—listen to that man.” So I
learned to discount my own thoughts.
My fatherindaw, Monroe Hewlett, was
the first man to say to me, “Bucky, your
ideas Listen i0 your own
ideas.” He gave me great courage. Then
me the extraordinary episode when
our fist child died just before her
fourth birthday and, in the same ус:
my wife's mother died and her brother
was killed in an automobile accident. It
was а усаг of tragedy and Ame sort
of buried herself in her family and I
n my work, starting
and building 250 build-
ound the county, using
method ту father

arc sound.

five compani
ings
construction

197

“It's today?"

PLAYBOY

invented. And I'd drink a lot and I'd
work fantastically hard all day, then
drink all night. I was in Chicago and I
got to know Capone and people
nd I had a vast across-the-board
kind of experience.

then a new child was born, and by
that time a gi ny things 1 was
doing were running on collision. pat-
terns, and I was coming to grief every-
where I turned. Finally, about the time
my second daughter was born, in 1927, 1
decided to find out what I really did
think, to really make up my own mind,
based on my own experience, dedica
myself to the beuerment of mankind.
because anything less than that would
have shortened my perspective and kept
me tied down to the old ways of think-
ing. And I told myself that, as an aver-
ge man, Га have to search myself very
carefully to find what. faculties I really
had to deal with my unique experience.
And by applying myself to that task,
found І did have some of those faculties,
and it was a wonderful experience to sce
them come to light. For example,
really concentrate. I can get to th
so hard that I don't know where I am
in universe, And I can return to that
deep concentration. time and again. I
also had a deep reserve of ener
ing learned crosscountry running and
done a great deal of rowing as а young
man; it gave me the third and fourth
wind you need to curry on for days.

At any rate, by 1932 T found that I
could really ask myself very powerful
questions and 1 went eracking thro
things. I opened up a whole lot,
amazing the insights you get when
you're in that condition. From the things
I wrote in 1997, you can see that I had
a clarity of vision of how things were
going to evolve. I was living way out on
the frontier, because in 1927 1 had said,
How many years ahead will I have to
go before anything and everything that
people are now exploiting becomes ob-
solete?" T figured that if I could get out
beyond the point where anyone's inter-
esis were being threatened by what I
was doing, everyone would leave me
alone and I could really operate.

That brought me to а severe analysis
of industrial society, and I saw that if
I could go 50 y
would leave me alone. And that's ex-
actly the way it happened. I was allowed
to do anything I wanted and people
“Well, you're very amusing, but
obviously I can't take you seriously.
But because ГА deliberately got to liv-
ing and thinking 50 ycars ahead on a
comprehensive basis, I inadvertently got
myself into a strange position. I began
to live on that frontier, and it was like
any wave phenomenon: I was living
where it was cresiing and things hap-
pened to me long before they happened

ind

198 10 the rest of society.

I suppose that has something to do
with why I have such great confidence
in myself. But I don't have such great
confidence that I can avoid getting tired
anymore, because I've finally learned to
accept the faet that apparently nature
intends us to get to a point where we're
supposed to sleep. For years I managed
to get by on just two or three hours,
letting myself sleep a half hour every
four or six or whatever it was. It worked
fine, but it was a terrible inconvenience
for my wife and she made me stop it.
You can theorize about what sleep is,
but it seems to me that са
more and more asyminetrical until we
have to sleep to get back into symmeny
again. So I know I have to sleep and I
know that if I use my reserve ener
ГИ have to take time to fill those reserve
tanks up again, They're in an inconven-
ient position and they have small noz-
ales and it takes longer to fill them. The
point of all this is that I'm so convinced
of what's happening that 1 don't have
y personal option at all. So just being
red isn't enough reason to take it easy.
I know I get to the point where I'm so
fuzry-minded that I'll mess things up
more than help them, and then sleep is
something I don't consider sinful.
PLAYBOY. We're surprised to he:
speak of sin.

FULLER: I'm the only man ] know who
can sin. 1 find everybody else too innocent.
They don't know what they're doing.
I find that people who seem to be the
most offensive are fantastic innocents.
They couldn't really know what they're
doing, because they'd be mor
idea of doing something so u
But Гуе had enough experienc

а fantastic amount, that I really know
what it is to sin. I could very casily
nsgress. I could rest and sleep and
аке all kinds of money, The opportu

І have no desire to sin, I assure you
The point is: I know how. There are
many things Гуе done in my life that
would be sinful if I did them today.
But to do any of them over again would
be absolutely sinful. I still feel I'm єп

titled to make experiments, but once I
find out—do it again? No. That's sinful.

PLAYBOY: Would you clarify that with au
example?

FULLER: I could give large examples. I
could give economic ones or sexual ones
or whatever it is, but I know I don't
have to go into that, I'm sure you know
what I'm talking about.

PLAYBOY: We do and we don't, because
when you contrast yourself with others
in terms of their being too innocent to
recognize their sins, that surely wouldn't
apply to most questions of sexuality or
economics.

FULLER: But people are so specialized
they don't sce the whole. They could
ively sinful in terms of their

local special knowledge, but on the
whole I think theyre very innocent
They get going around in circles and
they get spun off in some way. They get
to the point where they don't have any
credit and nobody believes in them, and
then they may reverse directions il
they're able. And it's important to go
through these experiences. I've been
through them quite a few times, behav-
ing in such a way that I wore out my
credit. Гуе been credited, then wham!
—discredited. But the kind of faults I've
been discredited for were not my real
faults at all. I was being altruistic. I let
my heart run away with me. 1 was ro-
mantic. But there's nothing wrong with
being that way. I wasn't trying to take
anything from anybody else. At any rat
I know you know what I'm saying. Sonu
times you just have to get across that th
ice, and. you go, and you take the risks.
PLAYBOY: But isn't the typical experience
one in which there's awareness of wrong:
doing and uneasiness about it, yet also an
inability to change?
FULLER: "Thats not sin. You're talking
about people who can't break out of a
pattern. Well, if they can't, they can't.
‘There are gears and wheels that drive
people the way they go, and T couldn
consider that sinning. In this way, |
differ strongly with great numbers of
young people with enormous conscience
and integrity who are critical of older
people who can't break free from those
gears. Oftentimes they are people who
would gladly do even more than those
who are being critical of them would
know how to want or expect. But
they're helplessly caught up in processes
that just move them along. We tend to
categorize people awfully fast, and then
we get some poor guy in a position
where he thinks he's a mess I was
taught that I was a mess when I w
young and I believed it for ycars.
Once I was asked to talk at San Quen-
tin. The 70 most obdurate and incorri-
gible men in the place had formed a
class and they were terribly excited to
find themselves able to think and use
their own minds for the first time, and
they said they would like to have me
come and talk with them, So imagine
how I felt that men in their position
would have any interest in what I was
ing. I went right out to San Francisco
and was over at the penitentiary at seven
in the morning. I always go to the bath-
room before | talk, so I went into a
little toilet off the stage and there was i
sign saying, THIS 15 THE ONLY PLACE KIL
ROY COULDN'T GET INTO, They really do
have a wonderful sense of humor, those
fellows. Then I went up onstage and
suddenly in came the prisoners. And
they all sat down in chairs, every one of
them with head down, as if they
could hardly look up, and 1 can't tell
you how awful it was to see how young

they all w I about 20,
very few with any age at all, and in view
of the fact that_12 percent of America's
population is black, it was horrible to
scc that 60 percent of these men were
black. It showed you how things go in
our community.

At any rate, because I don't plan my
talks and because this was a situation in.
which I couldn't get over being moved
at being asked there by those men, I sat
there trying to think about my life and
I found myself saying that it was just a
tiny hair of luck that 1 wasn’t in there
with them. My mother used to say to me
many times that she way scared to death
Га go to the penitentiary. She was sure
I way going to get into big trouble. So I
started my talk that way, telling them
t a large factor luck was in our
circumstances, and this was the first oc-
casion in which I became aware of the
fact that when I get highly concentrated
I dose my eyes, because when I opened my
eyes alter I'd been talking an hour or so,
e prisoners were looking up at
me with big eyes because I was almost at.
the point of falling off the stage. And
we went on until noon and then had a
break and started in again.

I got so intense that I must have
given them as complete and compact a
review of everything I know about socie-
ty ay I ever did—all the little pattems
man has gotten himself into without
knowing it, human beings doing things
the wrong way round, and I asked them
to think about the people they knew.
their enemies, and whether they had
good houses, their environments, their
living circumstances. Anyway, 1 sudden-
ly realized. it was 3:30 and I'd been
talki arly eight hours, and when I
stopped, every one of these men ran up
and jumped up onto the stage, and they
said, “Bucky, this is the greatest day of
my lif d things like that, and off
they went, running. Later 1 found out
that the prisoners had passed the word
nong themselves that if I went beyond
3:30, they were just going to sit there
even though it would ha
ing their head count. And
anybody's late for a head count, it
means solitary, and here these men were
agreeing to take a week or a month of
solitary to hear me talk for another
minute, Boy! Fd never been so moved
in my life. To realize that there wasn't a
kid out there who couldn't have been
my grandson Jaime. I don't care what
they'd done. T could see that every eye
was pure and beautiful. Well, all this
had to do with the way people get tied
into knots.

PLAYBOY: Do you think the reason so
many pcople get tied into knots is that
it may be in the interests of others to do
the tyin;
FULLER: Yes, that's it. But I try to put
things in a bigger frame. And I see that

wh

nature has manure, and she has roots as
well as blossoms, and I don't blame the
roots for not being blossoms. Things go
through phases. 1 think society is getting
somewhere. We don't always understand
how and where we're going, but I've
tried to indicate to you that 1 think
were inmortal We tend to think al-
ways in superficials, in appearances, as
though we were nothing other than our
skin. So many of the things we think of
as bad and hard and cruel may not be
so in the end. There's a river flowing
into the ocean and there are back eddies
all over, and I don't call them evil. We
are in a very big course, too big for
many of us to comprehend. We апан
the wrong significance to things. We
make people ashamed when they need
not be ashamed. The things we've al-
ways called pain and shame we're sud
denly discovering are all right. And
thank goodness! Evolution has its ow

accounting system, and that's the only
one that counts, dear fellow. The sun
never heard of our fiscal year and all
our small moralities. Each one of the
people I meet—you get the outer layers

peeled off and you discover that there's
а real human being there. There's al-
ways some kind of unpackaging you
have to go through. But the package
tied on people. They don't tie it on
themselves.

PLAYBOY: Isn't part of that packaging a
sense of the individual’s impotence to
allect events, to improve or even influ-
ence our own welfare, let alone that of
society
FULLE ng hit me very hard once,
thinking about what one little m
could do. Think of the Queen Elizaber

again: The whole ship goes by and then
comes the rudder. And there's а tiny
thing on the edge of the rudder called a
trim tab. It’s a miniature rudder. Just
moving that little trim tab builds a low
pressure that pulls the rudder around. It
takes almost no effort at all. So I said
that the ап be a trim tab,
Society 0 g right by yor
that it's left you altogether. But if you're
doing dynamic things mentally, the fact
that you can just put your foot out
ke that and the whole ship of state is

n

"By standing upright, we free our hands for making tools

and weapons, building

ilies, creating. civilization!"

199

PLAYBOY

200 has as long a history as th

going to turn around. So I said, "Call me
Trim Ta

The truth is dat you get the low
pressure to do things, rather than getting
on the other side and tying to push the
bow of the ship around. A
that low pressure by getting rid of a
little nonsense, getting rid of things that
don't work and arent true until you
stat to get that trim4ab motion. It
works every time. That's the grand strat-
egy you're going for. So I'm positive that
what you do with yourself, just the little
things you do yourself, these are the things
that count. To be a rcal trim tab, you
got to start with yourself, and soon you'll

feel that low pressure, and suddenly
things begin to work in a beautiful way.

ОГ course, they happen only when you
dealing with really great integrity: You
must be helping evolution.

PLAYBOY: If we can extend that idea to
the life of nations. it would seem that
those accord with evolution would

have an easier time of it. We're thinking
of what you said earlier about China,
recognizing the fundamental changes
brought on by industrialization. If you'd
call that helping evolution, as we think
you would, then why has China behaved
with such hostility toward the West?
FULLER: When nature wants to grow
something delicate and important, she
becomes stickly-prickly. She puts out
thorns and things to keep other life
away and allow this thing to grow. So
China put out her thorns doing any-
thing that could dismay outsiders and get
them preoccupied with their own trou
bles and leave her alone while she de
voted herself to total industrialization.
These thorns, in the case of Chi
which lacked the capacity to defend
self from nuclear attack—took the form
of psycho-guerrilla warfare.

The psychological understanding of
the Chinese is enormously deep. And
they were able to see that they didn't
want to waste any of their productivity
on the kind of military power that
would have had to fight off the rest of
the world, so they decided to convince
the rest of the world that it was full of
error. "They said: he Americans are
dumb, but they do have the atom
bomb. And we cannot trust them not
10 use it, because the out party gets
and they t and want to wipe out
the great menace of China. So we must
nd every vulnerability they have, and
with our great studious ability we will
be able to do so." And they also ob-
d: “Here is this wonderful young
generation in America that has been
looking at television and has developed
а compassion for human gly
idealistic Very quickly we can exploit
that compassion and make it impossible
for America to make war.”

Yow, nobody in the history of man
Chinese and

y and is

the Indians, They have fantastic comi-
nuity and they are inherently brilliant.
Go back 2000 and 3000 years and you
find a thinker like Lao-tse; the record is
clear illustrating the brilliant, incisive,
economical thinking that has gone on
there. And they could see very clearly
all the things I've been saying; they
could sce that America didn't know what
she was doing in keeping right on wi
the old farm economics, the old failure-
oriented economics.

In the meantime, China had Russi
nd the United States engaged in
or the illusion of a war, and not know-
ing how to disengage themselves, Both
sides gladly would have disengaged long
they'd known how to do it. And
in addition to Vietnam and Ko-
rea, probably promoted the Arab-Israeli
uouble by bringing in the Palestinian
guerrillas and not letting the leaders on
both sides disengage, аз the evidence
suggests they otherwise might have done.
The Chinese did every complicating
thing they could think of to keep these
troubles going.

ind you, I'm not being anti-Chi
The industrialization of China is the
greatest undertaking of humanity ever,
and when the Chinese come in with full
induswialization in 1975, we'll see a ma-
jor shift in attitudes: indeed, it’s starting
to happen already. The stickly-prickly
skin falls away and there is the beautiful
fruit inside. We have to remember that
1 has been looking out for nearly а
rter of humanity—780,000,000 human
tastic philosophical conti-
ad great historical significance.
‘The Chinese are not bad people. They are
simply determined to survive and, to do it,
they were ready 10 sow dismay wherever
they could. And that’s just what they've
done in this countr
PLAYBOY: Are you implying that crime
and drugs and the youth revolt, for
example—the principal subjects of dis
may in this country at the moment—
have been exacerbated by the Chinesc?
FULLER: I think every bit of it would have
occurred even without their interfer
ence. Except for the large drug prolif-
n. I think there's no question that
the drug part was very much the prod-
uct of Chinese psycho-guerrilla warar
PLAYBOY: Isn't all of this sheer specul.
n on your part?
FULLER: Not at all

Of course, пой

ng
would be more difficult to ріп down.
When you talk about brilliant. psycho-

logical warfare, you're dealing in a com-
plex kind of game. No individual is ev
given the full picture of what's happen-
ing. So when I talk the way I do, it's from
what I learned in the Navy and from
being in positions where I got enough in-
sight to be competent in what 1 say.

As for the youth revolt and the wou
ble in the universities, this owes itself to
the fact that the educational system is

completely inverted in this country, It
starts with the past, and the past can’t
get you anywhere. And they've got
everybody zed. We've learned
1 biological species that become
extinct do so because of overspeciali-
n. АШ the human tribes no longer
with us became overspecialized, and we
© on an extinction path for the same
reason. Man is inherently comprehen-
sive, and without across-the-board expe-
rience and knowledge, he has no way of
finding those general principles, We аге
being barred from those fundamental
insights by our system of educatio

Only the great money and power men
profit from the interaction of intel
gence while keeping everybody else in
line with their divide-and-conquer kind

of specialization. It’s a power structure.

It's completely wrong. And not only is it
wrong and inadequate, it works in re-
verse. It's designed to make men perish,
Psychological warfare, particularly 0
of the Chinese, has called many of these
things to our attention that might other-
wise have gone undetected for a few more
years. Nature is doing some very impor-
nt things with psychological warfare—
in looking for weaknesses to which man
gradually forced to attend. When man
doesn’t advance consciously and compe-
tently, evolution forces him to do it by
backing him into the future. And the drug
thing could bring about an enormous
amount of self-discovery by the young. As
you get out of drugs, and you can get out
of them, it can bring you a great deal of
self-discovery. And when it com
gives you great strength. Man is born
ignorant: He gets into things, he pulls
out, he learns by trial and. error. Now
he's consciously and. observably maki
vast mistakes and brinking himself into
trouble. But by that means, he also
brinks himself into constructive action.
PLAYBOY: Do you think the kind of psy-
chological warfare you're talking about
will stop after the Chinese become in
dustrialized?
FULLER: There won't be this kind of t
going on. As І said, there is a notice:

soltening right now, because we are well
into the year plan, the
stickly-prickly business is beginning to

fall away. But up to 1975, the rcaction-
ary kind of thing could build up among
people in America who are not thinki
ak out into a horrible ki
е. I think man is in tre-
mendous peril, and it could get to the
point where the hawks really do get
hold of the buttons and ман pushing
them, and then man might really let the
big stulf go.

PLAYBOY: Are you seriously predicting civil
war in the United States before 19752

FULLER: I'm afraid the possibility is here.
Yes, very much so. It's a matter of the

ingenious but naive world man being
pushed to considerable pain. He has just
pulled ош from having been in pain

“Of course, we're in for some nasty publicity if
: "aling a bomb."

PLAYBOY

202

and discomfort yesterday and, ng
had a little fun for a while, suddenly
finds himself back in a mess. But I think
if we can weather the next few years, by
1975, when China really begins to come
n and for the first time in the history of
man the majority of mankind finds it-
self a physical success here on earth, then
its going to be a different story, The
industrialization of India will follow very
rapidly, and then Latin America and
Africa can come along within ten more
years. Man could be comprehensively suc-
cessful by 1985 with the kinds of accel-
erations that аге going on now.
PLAYBOY: How do you expect industrializa-
tion to change the competitive urge th
seems to rule the game of nations? Won't
somebody always want to be top dog?
FULLER: If you sce this happening i
terms of nations, you won't follow what
I'm saying. 1 don't think these changes
will ever occur in terms of countries. The
idea of countries was never anything
more than а convenience to the at
pirates, the men of power who wanted
to divide and conquer. So they were
happy to have everyone speak different
languages and think they believed in
different ideals. But after man brinks him-
self into the position where he finds the
majority successful and well informed,
he's going to see that he can't enjoy his
success until everyone else is fixed up.
I'm not saying that political actio
won't be involved, but as always it will
only trail after the real. developmental
changes that occur in the environment.
So I sce the mood of man simply de-
nding that the po!
sides yield in a direction that none ol
them ever thought of before. No опе
ding to the other ma
cy: they'll be yielding to the comp
to the spontaneous demand of mankind
that they start making sense i
verse. And nobody will lose face doing it.
PLAYBOY: So you see this change occurring
as a recognition by all humanity that
the time to grow up has arrived?
FULLER: 1 know it cin happen and I
think it will. I'm afraid we'll probably go
through a lot of misbehaving before the
logical thing happens.
PLAYBOY: Isn't 1985 a very short time-
ble for the Kind of fund tal histori-
cal change you foresee?
FULLER: 1975 is still a long way olf, let
lone 1985. When you get to 1975, you'll
hardly be able to remember sitting here
in 1971, it will seem so far back. It's a
very strange thing, as things
pen and changes occur, how quickly
society says "Of course, that's obvious!"
and “Oh, well, that's the way it always
was." If you say to somebody, "I prog-
nosticated that," they'll tell you that
everybody knew it. That's very. very
common. But the fact is that man is
continually being surprised. He doesn't
dream of the changes that come in h
lifetime, but the minute they occur, he

develops a marvelous ability to take
them for granted.

When I was born, that's the year the
automobile was born, And 1 was eight
years old when the Wright brothers de-
veloped their first plane. At that time,
of course, you could make a paper dart
nd throw it across the schoolroom, and
we were all certain, every young kid, that
а flying machine. I'm
sure I made 20 triplanes and had them
gliding out the attic window, as many
kids did, and our families all said, “Isn't
that cute the way you play, Junior? But
of course it's impossible to waste your
life on these games.

For the first year after the Wright
brothers, the American engineering soci-
eties were trying to prove it was a hoax.
That's how surprised they were. Then, in
1927, I was wheeling my little daughter
Allegra in her baby carriage in Chi-
cago and a little airplane went over-
head. And my little baby was lying there
looking up at the airplane in the sky. It
was still a very rare matter. That was
the year Lindbergh flew the Auantic.
Then two years later, the first night
airmail went out of Chicago in a cloth-
covered biplane, and not until four
years later did we have our first alumi-
hum airplane. So there was a little ai
plane in my daughter's sky, the sky that
she born under. There wasn't one
im my sky. 1 was still cranking the en
gine in my car 1927. And I thought
of engines as something you had to keep
at and work on personally. and I didn't
assume that the general run of society
could make any use of them, because
they were pretty unreliable.

But then my granddaughter Alexan-
dra came along, and she happened to
come home to an apartment in Ri
dale, which was in the flight pattern of
xl she would lie in her
cradle while several times a minute there'd
be raahhhhh going over. And every-
body tickled her under the chin and s;
She saw many
irplanes before she ever
I'm saying is simply
that what's in your world at the time
you're born is what you call natural.
You accept it and trust it and count on
it. Now when you get on a jet, you look
around dred
people being lifted i nd only
a few even bother to look out the w
dow. The rest are reading or sleepi

9i

Why? Because their confidence in that

airplane and its controls is so absolute
that it bores them to think about i

Millions of children have been born
since that moon thing, and by 1975 they
ll be pretty talkative and have a lot to
say. They'll be different from you and
me, much more spontaneous their
awareness of what our situation is he
оп Spaceship Eay
which information can get around,
proliferation of the commu

h. And the velocity with
ihe

elites, the world-around distribution of
information, all these u
ing very quickly
damental relationships of one man with
another. So because of these things, I see
the new world of men coming on very,
very rapidly.

l's all a question of hanging on
through this period of peril, because
once man reaches the point of the haves’
being in the majority, the mood of pol
tics will change dramatically. So it's а
question of encouraging man to be
aware of his great potential and not
throw away his chance for success, I can
understand why there's such impatience
with those who fear change
themselves rooted in the old ways. Bui
as Т said before, for the young to expea
older people to get their conditi
reflexes out of their system in a hurry is
unreasonable. We're coming to success
by virtue of all the people who have
fallen in the fantastic continuity of s:
at has been made by humanity
the line. The number of hu
beings who have perished and giv-
en themselves is just unbelievable, and I
don't like to hear young people belitile
what society has been through to bring
it to where it is. 105 been a hard-fought
һаше, and we are close to where it can
be won. But it could still be lost if the
kids become too intemperate and too
intolerant of the people around them—
particularly the people dose to them,
ally do love them and are
under-

t pain about
stood. There is a gap, or whatever you'd
like to call it, and no wonder! It’s an
awfully big jump we're talking about—a
tremendous jump. Its а circumstance
tantamount to leaving the womb. But
the fact that the umbilical cord is obso-
lete doesn't make it no good. Boy, it was
great! All the umbilical cords of histo:
ту, ай the traditions, all the things we've
come through are absolutely magnific
PLAYBOY: How can a young person
cept jour instructions t0 be ра
when you've said that mankind is head

ing for extinction unless it changes
course?
FULLER: The point is that racism, poll

tion and the rest of it are themselves very
close to extinction. They're the prod.

ucts of illiteracy and ignorance, both of
which are im to the kind of
evolution we're seeing. The racists are a

they're dealing in some
ng that’s untrue. They're obsolete.
I'm showing you something that can be
beautifully documented. My map makes
it perfectly clear that there's no such
thing as race. ] can show you how m
differentiated himself by his movements
and explorations, gradually being able
to go farther and farther from the
warmth of his origins, the ancient Medi-
terranean home of man, as he acquired
the technology that could keep him
from freezing. Finally he went «o far

ying group

With every pair of Mr. Stanley's
Hot Pants goes a free pack of short-
short filter cigarettes.

Now everybody will be wearing
hot pants and smoking short-short
ilter cigarett

papa

almost everybody.

а Й

Camel Filters,
Theyre not for everybody.
(But then, they don't try to be.)

б»

20 mg. “tar? 1.3 mg. nicotine av. per cigarette, ЕТС Report AUG.71.

PLAYBOY

204

that he lost contact, he wandered off
and formed a tribe. And since these
tribes had по knowledge of one another,
they were utterly closed off in their
ignorance and fear. We're now talking
about an entirely new picture where
man is aware of his fellow man; there's
no remote place on our earth anymore.
Im showing you a beautiful picture.
And it cin sweep people up very rapid-
ly. I'm amazed at how rapidly people
listening to me catch on to what I say. If
it weren't true, I wouldn't be saying it
PLAYBOY: We're not sure whether you're
saying that the impatience of the young
is something to be held in check. Do
you consider revolutionary fervor and
unrest а resource or a liability? It seems
good game plan would include
g that energy instead of trying to
nit.

FULLER: I couldn't be more interested in
that resource. I know how negative it
сап be. But in my syntropic view, I like
to sce all forces turned to account. But
the essential question is how evolution is
going to convey to the have-nots what
it’s up to in the most economical man-
ner. I've visited the Third World a great
deal, and I'm sure they understand in-
dustrialization better than most Ameri-
cans, because they're still so close to
nature that they can see wholes, while
Americans have become so specialized
that they have dithculty doing that, So
1 expect great understanding to come
from that part of the wodd. I think
Africa is going to surprise the world by
becoming one of the most constructive
forces we have ever had.

PLAYBOY: Whitt keeps you traveling so

much and talking so much if you're con-
vinced that all these things are going to
happen as part of evolution?

FULLER; You mustn't think of evolution as
something outside man. Evolution is
man, man in his universal aspect, man
functioning as part of universe. You
mustn't confuse what I'm saying with
some kind of fatalism. It used to be said
of me that 1 believed inexorable things
were happening to man, but that wasn't
a good analysis of what I was saying and
I don't hear much of that anymore.
Literacy about me is constantly rising
People recognize that what Pm saying
does tend to correspond to their experi-
ence. Young people tell me that my
ideas have made it possible for them to
have a philosophy.

Гус told. you why 1 think it would be
quite wrong of me to rex and take it
sy. We're at а very critical point. And I
m ro be getting into new pha
recent years, I'm getting new close-ups
of what our experience seems to be
telling us, new mental strategies оп how
to cope with the information. And the
only way I've discovered of standing back
and really taking a look at these ideas is
to get them out of myself, to think them
out loud or get them down on paper
somehow. So it would be a great mistake
for me to think of slowing down, The
trouble is that it's so very hard to keep
ourselves synchronized with one anoth-
er Just when I'm feeling fresh, T sec
everybody's eyes closing. So let's all go to
bed. Tomorrow we'll be on the same
cycle again.

“Oh, that—that was a gift!”

SOUND DEAS

(continued from page 98)
first unit, but does have a stereo am-
plifier built in; all you need to add to
your present sterco setup is the decoder
plus an extra set of speakers. The SQ
system also has the advantage of start
ing out with an initial 52record release
by Columbia, Vanguard and Ampex:
these are scheduled to be priced at a dol-
lar above regular list.

There are numerous decoders av
able, but these are the major ones
most of the others difler primarily in
model designation and not significantly
in circuitry. Most of the systems, except

for the CBS / Sony units, have a degree

of compatibility, but at least one compa-
ny, Electro-Voice, will be on the market
in the late winter with a universal
decoder capable of decoding both the
Sterco-4 and the CBS/Sony systems
(other manufacturers will undoubtedly
follow). The unit, costing only slightly
more than the present EVX-4 model, will
"omatically sense the encoding mode
nd switch to it.

Alter the development of decode
next step was the manufacture о!
stereo amplifiers with builtin decoders
to give four-channel ability to existing
stereo sets. With these units, plus two
additional speakers, your system сап
handle either discrete or matrixed. four-
channel sound sources. The Electro-
Voice Model ЕМ 1244X amplifier has a
built-in EVX-4 Decoder and, when tacked
on to your present system, enables you
10 play either quadraphonic records or

four-channel tapes (5129.95). Another
add-on unit is the Toshiba Quad Matrix
Model SC410 ($169.95), essentially a

stereo power amplifier with a builtin m:
trix decoder; it also allows for handling
discrete fourchannel formats. And Dy-
naco has combined its Quadaptor with an
integrated stereo amplifier (the Quad-
ptor, as you recall, did nor need four
separate channels of amplification) in
its Model SCA-80Q ($249.95 factory as
sembled; $169.95 in kit form) for an

all-in-one unit.
As might be expected. fourch
amplifiers have proliferated since

year and there are few companies that
do not offer at least one or two models.
Some will handle four-channel discrete
sources but will require plugin units for
decoding quadraphonic records: others
will handle both. The Kenwood Model
KA8014 Quadrix Amplifier is а com-
pletely integrated amplifier with provi-
ns for discrete four-channel or matrixed
four-channel sound (5299.95). Scott's most
recent four-channel u is the Model 195,
ated ar а continuous 25 watts per chan-
nel in а four-channel mode, or 50 watts
per chamnel in an optional stereo mode,
and will handle matrix material as well
s discrete (5340.95).

The ultimate in fourchannel equip-
ment, of course, the units that will
do everything—lour-channel stereo re-
ceivers. Among the most expensive units
going, they also olfer the greatest flexibil-
ity and convenience. The Fisher Model
801 (5719.95. without cabinet) offers 44

watts continuous per channel, an
FM sensitivity of 1.7 microvolts, remote-
control tuning and will h both

discrete and ma ed. four-ch.
terial. It also comes close to having a
builtin universal decoder but most
compatible with the EVX-4 system,
though somewhat less so with the SQ
system, And if and when discrete four-
channel ЕМ broadcasts (as opposed to
matrixed) become reality, the Model 801
will be ready for that, too.

Another giant when it comes to flexi-
bility is the Sansui QR6500, which is
actually an AM/FM two-channel d
fow-channel sterco recciver-synthesizer-
decoderamplifier and control center
(5679.95 plus partial surcharge). For four
channel sound, it will do everything that's
curently possible—synthesize quadra-
phonic sound from stereo records, de-
code it from encoded records, handle
four-channel discrete sources, etc.

As with sterco, there are fourchannel
compacts, some of which exhibit a flexi.
bility that’s truly amazing. The Р:
ic SC-8700 is а four-channel
with discrete four-channel ability
that of decoding encoded m
One of the joys of the SC-8700. which it
es with a few other units, is that it
actually provide two program sources
to two differen. rooms in the house—you
can, for example, play conventional

in vour living room while piping
music from stereo records to remote.
speakers in a distant bedroom. (With one
set of speakers, $429.95, Additional SB-
ers, $99.95 the pair.)
rete [our-channel, the biggest
breakthrough is in the cartridge format,
partly because of RCA's release а year ago
er of tapes in the QS mode
ncidentally, that since
ks are used for the
rear channels, the total playing time is
also half of what it would ordinarily
be) Any number of manufacturers are
ng four-channel cartridge players,
both for the automobile and for the
home, but among the leaders are Fisher,
with Model CP-100 cartridge
deck, which not only wi
four-channel program material but auto-
matically switches to the correct mode
($169.95). The Qaudio Model 702 са
tridge tape player by Toyo is complete in
itself, with its own power amplifiers, tone,
balance and volume controls, plus a VU
meter for cach channel. (With four
speakers, $249.85.)

As of this writing, four-channel cassette
units are very scarce, but Astrocom has
superior unit in its Model 307 ($499.95)

stereo,

play two-

«Гое always found Fr

is а four-channcl

ıd playback of cassettes or
matic reverse play of prerecorded two-
channel stereo cassettes (which m
not necessary to turn them охе!

annel record and.
play. your tota] tape-play time

nulacturers have
Шу increased the number of their
ad for the quadra-

phonic enthusiast

offers the best fidelity of the various
discrete four-channel
entered the lists with a compatible two-
or four-chai

two-speed unit (714
featuring automatic shutoff (5389.95).
Superscope h
in its Quadradial line
Model TC-366-4 is a relatively

‚ tape / source mor
sound-on-sound
other features ($199.95). As wi
hannel units,

s cut in half whe
channel mode. Like the Aka
is completely
stereo recording
bout automa
channel record-and.p

used in the four-

ad playback. Incid
ic reverse in the
y mode—if you

ud a little tough to swallow.”

wish to replay, you will have to rewind.
h just
ic sound—except for the most striking
development of all, four-channel head-
phones, made possible by the addition
of an extra reproducer in cadi carpiece
mounted slightly toward the rear. The
Koss Model K9--9 Quadrafones (S85)
stereo
mplifiers as well as with four-channel
ones. And able from Electro-Voice in
the near future: headphones that contain
their own decoder a
the effect of fourch
plugged into the «опус
amplifier (and when playing а quadra
phonic record), This means four-channel
sound without adding either an extra
amplifier or an extra set of speakers.

Before leaving quadraphonic sound,
some reminders: Compatibility may be a
problem. Before you buy a unit, be sure
you know with which systems it's co
patible. Also remember that the po:
of the liste is more critical with
spect to four-channel sound than it is
with stereo. And if youre a tape-record-
g enthusiast, don't forget that the rum-
ning time of tapes in four-channel is just
half that of stereo, Finally, and definitely
‘on the plus side, remember that quad
phonic sound will, in most cases, gi
you never d
of with your old stereo set

And spea

месо

ng of sterco, that field has 205

PLAYBOY

“Don't know who he is, but he's sure war
the Saturday-night hoedown.”

been just as active as quadraphonic
Receivers have traditionally offered Ше
most value for the dollar and the new
models are no exception. Particularly
surprising this year has heen the appear-
ance of really excellent units priced
around $200. Representative of these is
Sherwood's Model S-7100 (5199.95), an
AM/FM-stereo receiver rated at 25 watts
continuous per channel with an FM
sensitivity of 1.9 microvolts. It features
front-panel headphone and tape-record-
ing jacks, as well as a main- and remote-
speaker switch, and the price includes the
Inout net—an unbelievable
when compared with units of just a few
years ago. Besides Sherwood, Pioneer,
Sansui, Fisher, Sony, Marantz and other
manufacturers offer units in the same
price range and with just about the same
degree of flexibility. Contenders for
honors at the upper end of the receiver
spectrum include Altec Lansing’s Model
725A, a high-powered (60 watts continue
‘ous per channel) unit with an FM-tuner
y of 1.8 microvolts and front-
panel taperecorder input and output
jacks as well as a host of other features.
You name it, the 725A probably has it
($699, without cabinet

In an age when some of the new
topoftheline speakers seem to have
become progressively less efficient, the
amplifiers needed to drive them have be-
come correspondingly more powerful—
some of them could drive not only all
the speaker systems in your house but
half of those in Washington's John F.
Kennedy Center for the Performing Arts
as well. Marantz, for cxample, offers the
professional Model 500, rated at 250
continuous watts per channel when con-
nected to eightohm speakers and an
incredible 500 when connected to four-
ohm systems ($1200). In addition to
Marantz, Phase Linear has the Model
700, which puts out a continuous 350
watts per channel (5779), and a Model
400, more conservatively rated at 200
watts per channel ($499). In. the small,
select field of superb preamplifiers, one
of the more recent entries is by JVC.
Its Model PSI-I000E/5011 features a
graphic tone controller for each channel,
which splits the audio-frequency spectrum.
into seven sections with a separate s
control for each ($699.95).

One of the more visually fascinating
items, introduced a year or so
digital readout tuner, which has по
tuning scale as such but indicates station
frequency via the illuminated numbers on
readout tubes. The most recent model is
Sherwood's SEL 300 ($579), a top-of-the-
line unit with an FM sensitivity of 1.5

ovolts, a four-channel output jack
for use when (and if) a system of broad-
casting four discrete channels is approved
by the FCG, front-panel jacks for head-

0, is the

phones and tape dubbing, a noise filter
and even a control for regulating the
brightness of the readout numbe

Surprisingly enough, turntables—ordi-
narily items that differ relatively little
from one year to another—have recent-
ly undergone some radical transforma-
tions. The Garrard Zero 100 ($189.50), a
two-speed automatic turntable, offers al-
most zero tracking error by virtue of an
articulated tonearm hcad that slowly
swivels as the arm travels across the
record, so that the stylus remains perpen-
dicularly tangent to the record groove at
all times. Panasonic, usually noted for
its excellent moderately priced units, offers
an expensive—and novel—model in its
SP10, a two-speed table featuring a D.C.
servomotor with the record platter mount-
cd directly onto the motor shaft; the unit
is claimed to have virtually no motor hum,
wow, flutter nor rumble (5335, including
base but no tonearm; dust cover optional
for $15). Toshiba's Model SR-50 has a
photoelectronic cartridge in which the
stylus clfectively modulates а beam of
light (with antiskating and viscous-
damped cuing, $449.95, including base).
A precision English import is the Tran-
scriptor hydraulic reference turntable
It has a tonearm with a unipivot to m
mize friction; the pivot is immersed in
silicone oil bath for proper cartridge

damping. (Includes transparent Perspex

hinged ‘cover, $365, from Aud

Imports.)
McIntosh,

phile

wcll known for
plifiers and tuner
ded rhe speaker field this yea
h three different models—a bookshelf
unit and two floor-standing models, rang-
ing in price from $312 for the bookshelf
MLIG to 51012 for the ML4C. The firs
features a 12-inch woofer and a seven-inch
midrange, plus a dome radiator and a

tor to handle the treble
ranges; the latter adds three more 12-inch
woofers, three additional dome radiators
and an extra super radiator.

Another speaker company, JBL, has
created quite a stir with its Model L100
Century, the “supershelf,” three-way
adaptation of its studio monitor, with
front-mounted controls hidden under
the мате grille (5273): while the Bosc
Corporation has introduced a modified
version of its original Direct/Reflecting
design in the new Model 501; this gives
almost comparable performance to
more expensive Model 901, at а subst
tially lower price ($124.80). Yet another
recent entry in the loudspeaker field that
utilizes the rear and side walls of the
listening room to reflect much of the
sound from the speaker, thus contributing
to a sense of spaciousness, is EPI's Model
601 (5249), a multispeaker unit with a
linear-frequency response of from 35 to
18,000 cycles.

‘The state of the art in speaker systems
is probably best represented by Infinity

а compan)

Systems Servo-Statik I ($1995 in walnut
fi ; Brazilian rosewood, add five per-
cent), consisting of two electrostatic
els for the left and right channels and an
18-inch bass feedback woofer housed in
its own commode, Along with the panels
and the woofer goes a 110-watt mono-
phonic amplifier for driving the bass
speaker; this unit also cor is an elec-
tronic crossover network and level con-
trols for highs and lows. Separate sterco
power amplifiers are needed to drive the
mid- and high-frequency sections of the
electrostatic panels, so the total financial
outlay for the ServoStatik 1 is not exactly
small; on the other hand, the dedicated
stereo buff will find the quality of sound.
hard to surp;

On the tape front, chromium-dioxide
and cobaltoxide tape formulations have
improved signal-to-noise ratios substan-
tially. More and more cassette units
haye been equipped with the Dolby
noise-reduction system, while several ad-
ditional manufacturers are offering sepa-
rate versions of the Dolby system for use
with both cassette and reel-to-reel record-
crs. Teac, for example, offers the Mod-
el AN50 for cassette decks ($19.50),
though more elaborate versions are also
able. Kenwood offers another system
featuring different circuitry, the Model
KF-8011 Audio De-Noiser ( 5). More
open-reel recorders are having noise-
reduction systems built in while, at the
same time, their over-all performance con-
tinues to improve. The Tandberg Series
4000X has a Crossfield head for better
reproduction of highs, offers sound-on-
sound and echo effects, electronic remote-
control start-stop facilities and built-in
T'x4" speakers (5459), The series is
available їп quarter k stereo (Model
4041X) ог half-wack stero (Model
4021X).

No roundup would be complete with-
out mentioning record care. The per-
ennial Dust Bug ($6.50) has been joined
by the SA-100 Record Cleaning M
i rom Syantific Audio, which retails
mere 5595 and not only sudses
your discs with a special cleansing agent
but has um system that sucks up
the доор and dirt afterward, (А less
expensive model will soon be available
for $179.95.)

This past year, the developments have
come so thick and so fa
news is that RCA, Panasonic and JVC
have come close to perfecting the com-
patible, discrete four-channel disc) that
its difficult to imagine much room left
for further improvement, But don't
worry; there is. And we'll tell you all
about it next year.

Because of the surcharge and revalu-
ation of overseas currencies, prices of
various components may differ somewhat
from those at the time we go to press.

207

PLAYBOY

208

rangle dang kaloof
(continued from page 122,
I suffer from emphysema. І don't suffer
from emphysema at all, I suffer from a
small red Indian. N. ‚ the experts
с d nothing wrong with me. For
some reason, they are unable to see either
Indian or rawhide thong. Ah, well, ready
for you now,
The doctor ng knife
in his trembling hand to lay open a
passage to Flahertvs heart, He peered
with his rheumy and blood-veined eyes,
and it was necessary to remember that he
the

Even so, FI
10 be highly nervous. The doctor with tlie
shaking hands hadn't made the cut а
quarter of an inch deep when Flaherty
ve it all up and threw away his chance
of being freed from the lasso
He cried ош in quick terror and he
» out of the house, For Flaherty did
have something the matter with his heart.
He was chickenhearted.

He had twinges, he had pangs, he had

“Gel me the chairman of the membership committee. .

palpitations from the strange turn of
events. And there, in front of the secluded
home of Dr. Silbersporen, Flaherty ran
smack into а tree. This is something one
should always avoid.

It didn't knock him clear out. It did
ething mudi worse. It knocked. hin
nto that narrow borderand between
wakefulness and honest sleep. And the
gnome was able to trap him there.

“Louder!

“Rangle dang kaloof."

“Louder, | said.”

"RANGLE DANG КАТОО!

This went on for a long time. Then

formed men were there with a paddy
gon. They took Flaherty away.
It is nice where they have him now. He
still has heart twinges and pangs and the
gnome still sets him to whooping every
now and then. But Flaherty doesnt. [eel
as isolated as he did before. There are
other folks there who can see the gnomes
in that narrow borderland between wake-
fulness and slecp. There are other folks
there who suffer from them,

JaZZ6POP 72

(continued from page 162)

opening, there was much voluble religic
controversy swirling about Jesus Christ
Superstar, but the crowds—largely but
not exdusively young—kept coming. A
Jesuit, the Reverend. James Di Giasomo
of Fordham University, is particularly
supportive of what he believes to be the
rock opera's salutary eflect on the young,
t presents Jesus as a strong
cal leader, attempting to change the
world, and not merely from the stand-
point of bourgeois religiosity.”

pectations
of glory in and through the new music
will not die Not only does а Jesuit

a rock ор а way to a radical
m but a member of an English
js team visiting China carlier

n the year feels he has accomplished

some kind of consciousness raising by
having exposed а large number of
Chinese, at a public occasion, to The

Moody Blues’ album Го Our Children's.
Children’s Children. And a press agent
for The Moody Blues, with the straight-
est of faces, proclaims that these Chinese
listeners (who had never heard of the
Beatles, Presley nor The Rolling Stones)
were, in their baptism into rock, "dou.
bly appreciative of the Moodys music
because of what they regarded as its revo-
lutionary content.”

Yet something did happen, and con-
inue to happen, in and through the
deeply changed nature of our popu
mu On the one hand, even Bill
ham is not entirely turned off. “We live
in the United States of America," he
says, “and everything that succeeds suc-
ceeds like all hell. The kids made this
mu into the international, sound.
Many of them resent it now
has changed the scene so much
made it pretty ; but it did some-
thing to the world; it turned it on! And.
that’s something!”

On the other hand, critic Ralph Glea-
son, who was in on the beginning of rock
d goes far back into jazz as well,
ended the year with great faith in the
ve power of the good sounds:
minute in time, we аге living in
a garden of delights, in an atmosphere
so filled with sounds of beauty and words
of poetry that truly incredible. From
The Band to The Who, from Van Mor-
on to Carole King to the Grateful Dead
nd the James Gang. Hour by hour, new
ones appear.”

But in Won't Get Fooled Again, from
their 1971 album Who's Next, The Who
‘The world looks the same/and his-
tory ain't changed."

In any case, whether one is brought to
ion of the Promised Land by the
music or runs into the music to escape
from a pr id, these sounds
me sill extraordi important to the

ecumenical audience for this un-
ingly ecumenical music.
At the Brill Building on Broadway,

where American popular music used to
be manufactured. by r songwriters
who knew little of this country beyond.
‘ow sections of New York and Holly-

wood, Irving Caesar, 76, talkcd in the

1971 about the
nges that have taken place and a
ng, in what and how we he:
“They got those rock fellows

now.” he said.

mer of

ihe mu
specialized
thing. Its everyone's bu

ALL-STAR MUSICIANS’ POLL

Ow annual Jazz & Pop Poll would
be incomplete without a selection by our
incumbent All-Stars of their favorite mu-

ns and groups. Eligible to vote w
the 197] medal winners: Cannonb
Adderley. Herb Alpert, Burt Bachar
nger Baker, Blood, Sweat & Tears, Bob
Dave Brubeck,

sby, Stills, Nash & Yo
Miles Davis, Buddy DeF
Desmond, Duke Ellington,
ns 5th Dimension, Ella Fitzgerald,
Pete Fountain, Stan Getz, Dizzy Gillespie,
i ‚ Lionel Hampton, Al Hir
ckson, |. J. Johnson, Rahsaan
id Kirk, Herbie Mann, Paul Mc-
Mulligan, Boots Ran-
Doc Severinsei

loting
ALL

арай
combinati

proved a redoubt:
but St

Oliver Nelson. 1. Duke Ellington;

3. Woody Herma
5. Oliver Nelson, Doc
ALL-STARS ALLSTAR TRUM
Dizzy Gillespie could
k Miles Davis for leadership. Freddie
Hubbard slipped from third to fifth and

Clar
last

id Doc $

nsen, who
Art Farmer and
Lou fourth and fifth,
not o г former status
but moved up а notch cach. 1. Miles Davis;
2. Dizzy Gillespi 1. Doc
Seve

ALL-STARS”

Terry а
year yielded to
Armstrong for

ALLSTAR TROMBONE: J. J
Johnson is once again the leader of the
pack. Urbie Green
and ‚ with Green
ascending a notch to second, while Wind-
ing and Brookmeyer moved two spaces,
1 down, respectively. Frank Roso-
lino, at fifth, bumped Curtis Fuller. 1. 3. 3.
Johnson; 9. Urbie Green; 3. Kai Winding;

“We can't go on meeting like this, man. All this chocolate
stuff is making my face break out!”

4. Bob Brookmeyer: 5. Frank Rosolino.

ALL-STARS! ALLSTAR ALTO SAX: Cannon-
ball Adderley retained the crown. as Paul
Desmond, who barely beat Phil Woods,
stood fast at runner-up. Orneue Coleman
and Lee Kon

third, this y
1. Cannonball Add. t
3. Phil Woods; 4. Ornette Coleman, Lee
Konitz.

Stan
with
Zoot Sims repeating as mimber two.
Eddie Miller shot up to third from
a fifth-place tie with Sonny Rollins,
bumping Paul Gonsalves to a fourth-

place tie with Wayne Shorter. 1. Ston Getz;
9. Zoot Sims; 3. Eddie Miller, 4. Paul
onsalves, Wayne Shorter.

ALL-STARS’ ALL-STAK BARITONE SAX: Нат-
ry Carney and Gerry Мий
it out once more, with Gerry emerging
as top man. Pepper Adams held at thi
but only byt

Star newcomer С
awford, also new, felled

у: 3. Pepper. Adams,
5. Benny Crawlord.

ALLSTAR CLARINET: Buddy
De ned king of the hill.
mmy Giulire slipped a notch to third
nd Benny Goodman hitched up three
Spots to гш ste descend-
cd two to fifth pl s Pete Fountain
rosé to number four. 1. Buddy De Franco;

пе;

erup. 2

mobile Herbie Н
from.

wis viciorious ove!
cock, who raced to r
fourth. Oscar Р
notch this year, bumping
the process, while С иса теар-
red in fifth after barely being bested
у Cuban pianist Chucho for cleanup
1. Bill Evans; 2. Herbie Hancock: 3. Oscar
Peterson; 4.

ALLSTARS’ ALLSTAR 0 Jimmy
Smith again proved his invincibility. but
Billy Preston found himself in an un-
expected crowd for runner-up, as he was
tied by Groove Holmes and Wild Bill
Davis, who advanced three and one po-
ons, respectively. Owen Bradley re-
but Keith Emerson came

rup
ped. another
mmy Rowles

Groove Holmes, Billy Pres
Owen Bradley, Keith Emerson

EE Milt
y Burton repeated th
two finish, but Lionel Hampton dropped
fifth. as Bobby Hutcherson

two places to

took his place. Roy Ayers deposed Victor
Feldman for fourth-spot honors. 1. Milt
Jackson; sary Burton; 3. Bobby Hutch-

erson; 4. Roy Ayers; 5. Lionel Ha
ALLSTARS ALLSTAR GUITAR

ma ined the le: numbe

Kenny Burrell evicted Herb Ellis, who

wound up fifth, and newcomers G

Benson and Gabor Szabo drew

and fourth place, fading Joe Р:

third
and

209

PLAYBOY

210

John McLaughlin from earshot. 1. Jim
Hall; 2. Kenny Burrell; 3. George Ben-
son; 4. Gabor Szabo; 5. Herb Ellis.

ALL-STARS’ ALL-STAR BASS: Ray Brown
and Ron Carter repeated as one and two;
Eddic Gomez slipped a niche to fourth.
Jack Six fifthed, dumping Richard Davis,
while Miroslav Vitous moved from по-
where into third. 1. Ray Brown; 2. Ron
Carter; 3. Miroslav Vitous; 4. Eddie
Gomez; 5. Jack Six.

ALL-STARS’ ALL-STAR DRUMS: Buddy
is still number one, although Топу Wil-
liams was hot on his tail. Philly Joe Jones
has company at third in the form of ad-
vancing Mel Lewis and neophyte Jack
ohnette. 1. Buddy Rich; 2. Tony Wil
1 3. Philly Joe Jones, Mel Lewis,
Jack De Johnette.

ALL-STARS’ ALL-STAR МІ
STRUMENT; A tie for fourth between
Keith Emerson and Pharoah Sanders
highlighted this contest. as Rahsaan Ro-
land again led the rest. Hcrbic
Mann went from a deadlock with Yusef
Lateef at third to a switch with '71
runnerup Toots Thiclemans, ejecting
Ravi Shankar and Lateef in the process.
1, Rahsaan Roland Kirk, flute, manzello, stritch;
. Hert Mann, flute; 3. Toots Thiele-
mans, harmonica; 4. Keith Emerson,
Moog; Pharoah Sanders, soprano sa

ALL-STARS’ ALLSTAR MALE VOCALIST:
les finally overcame Chairman
та for the laurels, as the re-
cent retiree slid to third. ly Eckstine
advaneed two to second place, Tony
Bennett pianissimoed to fifth, while Joe
ams hung onto fourth place. 1. Ray
Charles; 2. Billy Eckstine; 3. Fr Sina:
па; 4. Joe Williams; 5. Tony Bennett.

ELLANEOUS IN-

ALL-STARS’ ALL-STAR FEMALE VOCALIST:
Ella is still queen and Sarah Vaughan
still heiress apparent, in a race that saw
Dionne Warwicke bump Carmen McRae
for third. Nancy Wilson ceded to Aretha
Franklin, and last year's Peggy Lee-Laura
Nyro duet at filth position became Ro-
berta Flack's alone. 1. Elle Fitzgeral
Sarah ghan; 3. Dionne Warw
4. Metha Franklin; 5. Roberta Flaci

ALL-STARS’ ALL-STAR VOCAL GROUP: New
voices permeate this year except for repeat
winner, the 5th Dimension, and the Four
Freshmen, who found themselves down
a notch to third. The remaining slots
were filled with the runner-up Jack-
son 5, the Carpenters and Sly & the
1. Sth Dimension; 2, Jackson
Freshmen; 4. Carpenters; 5.
Sly & the Family Stone.

ALL-STARS’ ALL-STAR SONGWRITER-COM-
poser: Duke Ellington came бот no-
where to lead once again, with Jim Webb
holding at second. Last year's winners,
Burt Bacharach and Hal David, plunged
to a tie with Michel Legrand for third,
while Henry M: came up to tie
Johnny Mandel for fifth. 1. Duke Ellingto
Jim Webb; 3. Burt Bacharach-
id, Michel Legrand; 5. Henry Man-
Johnny Mandel.

ALL-STARS’ ALLSTAR INSTRUMENTAL COM-
Bo: Miles Da knocked B, S&T down
to fourth, Chicago moved up one to tie
for second with the Bill Evans Trio, and
the Oscar Peterson Trio slipped to filth to
deadlock with the Modern Jaze Quar-
tet, who dropped Young-Holt, Unlid.
out of the running. 1. Mites Davis; 2. Bill
Evans Trio, Chicago; 4. Blood, Sweat &

“Naturally you like i

sir, but Pm not

quite sure if it likes you.”

Tears; 5. Oscar Peterson Trio, Modern
Jazz Quartet.

RECORDS OF THE YEAR

PLAYBOY'S readers were asked to write
in their choices for the best albums of the
year in cach of three catcgories—best LP
by a big band, best LP by a small combo
(fewer than ten pieces) and best vocal LP.

LEST BIG-BAND LP: Jesus Christ Superstar
(Decca). The controversial rock opera, com-
posed by Andrew Lloyd Webber and Tim
Rice, promises to be one of the biggest
sellers in history. As a wendsetter, this
work has exerted so great an impact,
through ballads such as I Don’t Know
How io Love Him and the theme, Super-
star, that its recording has run full cycle
—from original recording to concert-opera
performance to Broadway to Broadway-
cast album.

BEST SMALL-COMBO LP: Abraxas / Santana
(Columbia). Ihe influence of guitarist Car
los Santana and his Hispano-American
group on the course of rock has been
seminal. Originally from the Bay Area,
San in such compositions as Singing
Winds, Crying Beasts and the Xav
Gugatlike Oye Como Va, fuses the freaki-
ness of the San Francisco sound with the
[unkiness of Latin street rhythms.

BEST VOCAL LP: Tapestry / Carole King
(Ode). In the early Sixties, King preferred
to write ballads for pop-soulsters such as
The Shirelles, the Drifters and Lite
а. Now. after pianist-composers such as
a Nyro have paved the way, King, in
album, is on her own, With a vocal
le that's both confident and honest, she
j. with equal aplomb, turn a bluesy
phrase on So Far Away or jam with the
best of them on J Feel the Earth Move.

BEST BIG-HAND LP
1. Jesus Christ Superstar (Decca)

2. Don Ellis at Fillmore (Columbia)
3. Burt Bacharach (A & M)
4
5.

‚ Shaft | Isaac Hayes (Enterprise)
. Mancini Plays the Theme from Love
Story (RCA)
6. Love Story—Sound Track (Paramo
7. Mad Dogs & Englishmen | Joe
(A&M)
8. New Orleans Suite | Duke Ellington
‘Adantic)
9. Keep the Customer Satisfied | Buddy
Rich Big Band (Liberty)
. Bitches Brew | Miles Davis (Colum-
bia)
11. Gula Matari | Quincy Jones (A & M)
12, Duke Ellington's 70th Birthday Con-
cert (Solid Stare)
Burt
(Kapp)
M. Friends & Love . . . a Chuck Man-
gione Concert (Mercury)
. М. F. Horn | Maynard Ferguson
(Columbia)

Bacharach Plays His Hits

in Space | Quincy Jones

summation | Thad Jones & Mel
Lewis (Blue Note)

. Make Il Easy on Yourself | Burt

Bacharach (А X M)

. Stan Kenton and His Orchestra Live

at Redlands University (The Creative
World of Stan Kenton)

. Mancini Concert (RCA)

Jeff Sturges and Un

verse (МАМ)

. Benny Goodman Today (London)

From Monty, with Love | Mantovant
(London)

24. One Fine Morning | Lighthouse (Evo-
lution)

95. Music from Butch Cassidy and
the Sundance Kid { Вин Bacharach
(A& M)

BEST SMALL-COMBO LP
1. Abraxas / Santana (Columbia)

= s юз

c

. Chicago HI (Columbia
. BSE

5. Layla
‚ Chicago Transit Authority 1 (Colum-
р

. Cha.
- Who's Next | The Who (Decca)

. Blood, Sweat & Tears 3 (Columbia)
. The

. Survival |

- Miles Davis at Fillmore (Columbi
. The Cry of Love | Jimi Hendrix

4 | Blood, Sweat & Tears
(Columbia)

Aqualung | Jethro Tull (Reprise)
Emerson, Lake & Palmer (Cotillion)
Derek and the Dominos (Atco)

Tarkus | Emerson, Lake & Palmer
(Cotillion)

. Sticky Fingers | The Rolling Stones

(Rolling Stones Records)
se (Epic)

Allman Brothers Band at Fill-
more East (Capricorn)

. Every Good Boy Deserves Favour |

The Moody Blues (Threshold)
Grand Funk Railroad
(Capitol)

. Chicago 11 (Columbia)

All Things Must Pass | George Har-
vison (Apple)

. 4 Way Street | Crosby, Stills, Nash

& Young (Auk

3)

. Santana (Columbia)
20. Melting Pot | Booker T. &

b the MG's

tax)

- A Tribute to Jack Johnson. | Miles

Davis (Columbia)

. Weather Report (Columbia)

Live Album | Grand Funk Railroad
(Capitol)

(Reprisc)

BEST VOCAL LP

. Tapestry / Carole King (Ode)

All Things Must Pass | George Har-
rison (Apple)

4 Way Street | Crosby, Stills, Nash &
Young (Atlantic)

. Sticky Fingers | The Rolling Stones

(Rolling Stones Records)

. Every Picture Tells a Story | Rod

Stewart (Mercury)

6. Jesus Gigs Superstar (Decca)

7. Ram | Paul and Linda McCartney
(Apple)

8. Tea for the Tillerman | Gat Stevens
(A&M)

9. Aqualung | Jethro Tull (Reprise)

. Carpenters (А

11, Who's Next | The Who (Decca)

12. Mud Slide Slim and the Blue Hori-
zon | James Taylor (Warner Bros.)

13. Pearl | Janis Joplin (Columbi;

14, Every Good Boy Deserves Favour |
The Moody Blues (Threshold)

15. After the Gold Rush | Neil Young

(Reprise)

. Close to You | Carpenters (A & M)

17. L. A. Woman | The Doors (Elektra)

. Stoney End | Barbra Streisand (Co-

Tumbi)

19. Tumbleweed Connection | Elton John
(Uni)

20. Sweet Baby James | James Taylor
(Warner Bros.)

21. Imagine | John Lennon (Apple)

99. Chapter Two | Roberta Flach (Av
lantic)

93. What's Going On | Marvin. Gaye
( )

94. Survival ] Grand Funk

(Capitol).

Blue | Joni Mitchell (Reprise)

Railroad

JAZZ & POP HALL OF FAME

For the second year in a row, death
imed several fine musicians—trumpet
Louis Armstrong, tenor
King Curtis and lead singing ly
Morrison. Armstrong, one of our earliest
Hall of ible for the
ballot, but sentiment undoubtedly played
a primary role in both Morrison's second-
place finish and Curtis’ inclu
the top 25 vore getters, Neither appeared
in previous polls. Fight other newcomers
debuted in 1972 Hall of Fame competi
tion: Carole King, Neil Young, James
Taylor, Stephen Stills, Peter Townshend,
Elton John, Neil Diamond and Ringo
Starr. But George Har who came
from 12th, and Mick Jagger, from fourth.
both joined Morrison in the Jazz & Pop
Hill of Fame, as they climbed to first and
third, respectively. In the balloting, the
continuing domination of pop-rock has
edged all jazzmen but Buddy Rich off the
leading contenders’ list
are Armstrong, Frank Si
heck, Ella Fitzgerald, Duke
Count Basie, Ray Charles, John Coltrane,
Benny Goodman, Wes Montgomery, Herb
Alpert, Miles Davis, Bob Dylan, John
Lennon, Paul. McCartney, Jimi Hendrix,

on а

nong

Previous winners

“Shall I serve that all on one plate?”

211

PLAYBOY

212

s Joplin and Elvis Presley. Following
are 1972's top 25:

|. George Harrison

. Jim Morrison
. Mick Jagger

. Burt Bacharach
Eric Claptoi
Carole King

j. Neil Young
James Taylor

1. Doc Severinsen
B. B. King

. Buddy Rich

. Frank Zappa
Joan Baez
Barbra Streisand
5, Stephen Stills
16. Johnny Cash
Paul Simon

. Neil Diamo
. Ringo Starr
5. Joe Cocker

ALL-STAR RFADERS' POLL

Ever since rock began to replace the
likes of Percy Faith and the Johnny
Mann Singers as embodiments of pop, its
simple country and blues roots have found
their way into nearly every variety of
contemporary music. Jazz and rock, espe-
ly, have intertwined, so much so that
it has become increasingly dificult to
determine what separates the two. Jazz
partially in deference to rock's unp
y. has either sought

accommodation or moved in sectarian di-
rections, which usually has led to greater
complexity—and a more limited following.

Nowhere is this trend more obvious
than in the instrumental-combo category,
once dominated by jazz groups, Chicago,
as in 1971, took top honors; but from
rtet, the Herbie Mann

Peterson Trio and Young Holt, Unltd.,
there was only the sound of silence. At
least four more long-established jazz
combos toppled in the '72 poll to the
likes of rock combos Jethro Tull, Emer-
son, Lake & Palmer, Derek (Eric Glap-
ton) and the Dominos and Grand Funk
Railroad, all of whom placed in the
top ten, Another evidence of incr

where Elton John, in his Reader
debut, soared to All-Star statu
Russell and occasional soloist Neil Young
also figured in the youth blitz, sci
high honors from the likes of D:
beck (last year ner), Ray
Ram;

up and third from eighth and tenth in 71

For bij d leader, however, jazz, and.
most notably its pop wing, still made
itself heard. Last year's underground
surprise, Frank Zappa, plunged out of the
top five, Doc Severinsen barely edged out
newcomer Burt Bacharach for number
one, while Maynard Ferguson and Quincy
Jones advanced.

of Hall of Fame

“It does improve your putting skill, but the best
part is retrieving the ball.”

all of music. An All-Star for many years,
Armstrong, despite his age, nearly beat
out men half his age for horn-section
status last year. Doc Severinsen and Al
Hirt blew the same licks as а усаг ago.
aring in as first and second trumpeters.
Herb Alpert ceded third spot to Miles
Davis, who moved up a notch. Upwardly
mobile was Chase, as Art Farmer fell.
The bone men, led by J. J. Johnson
showed no change through the first si
slot xcitement in the alto arc;
ted from Yuscf Lateef, who rose
h rank from obscurity. The tragic
killing of r&b standout King Curtis
dimmed the continuing Getz-Randolph.

ders advanced
itone scems to belong to
n, as do clarinet to Pete
айп and vibes to Lionel Hampton.

On the other hand, the personnel in
the male- апа female-vocalist, vocal-group
and songwritercomposer categories were

id. Never before in the
history of the Jazz & Pop Poll have so
many rocketed to the highest level from

near nothingness. Britisher Rod Stew:
on the strength of his soulful voice and
superb backup by the other four Faces,
soared to AULStarship, as did Carole King,
whose Gana and mellow com-
1 of the vocal-
ach category included
on John, Neil Young, Tina Turner,

g and Neil Young. George Harrison
Gordon Lightfoot and Kris Kristofferson

than any other

tility of our readers’ vocal-group choices.

Simon & Garfunkel; Peter, Paul & Mary;
a ineligible.

1. of course, the Beatles, wer
ven so, The Moody Віце
brood, proved а sur
year, they finished 21st.
ful Dead and Ike & Fir
but none more than the Carpenter

who
shot through to runner-up from nowhere.
lan Anderson, flutist for Jethro Tull,

Bob Dylan on harmonica and flutist
Herbie Mann Баціеа for miscellaneous-
instrument honors, with Anderson trium-
pha cr Baker and Buddy Rich
had a simi setto on drums. But thi
year, the decision went to Buddy. Finally,
the explosive Eric Clapton and Paul. Mc-
Cartney took gu nd bass laurels,
again, in races that featured the break
through of new faces and a trend away
from jazz to harder rock,

Listed on the opposite page are the
most popular artists in each category.
All-Stars аге boldfaced; they will be
awarded silver medals, as will Hall of
Fame winners and those whose record-
ings were rated tops by PLAYBOY readers
for 1972.

MIG-RAND LEADER.
л. Doc Sovorinson.

2. Burt Bacharach

3. Henry Mancini

4. Duke Ellington.

5. Quincy Jones

6. Buddy

7. Ray Charl

ul Jones / Mel Lewis
Rowngarden

rarer

Т. Doc Severinsen
2. Al Hirt

9. Clark Terry

га Ferguson
hard

ah Jones
. Cynthia Robinson
"het Bak
|. Snooks
20. Donald Brr

TROMMONE,
1. J. J, Johnson

2. Si Zontnor

3. Kei Winding

4. Bob Broomoyor

Wayne Henderson.

E Brown
inson

Betters

Jim Ro

Connenbell Adderley
. Poul Desmond

Yusef Lateef
Toot Si

Poul Hom
James Moody
Benny Carter
Art Pepper

i Bunky Green
Joh dy
Jimmy Woods
Gary Вапа

ЕР

Charles McPherson

Lee Konitz

Hank Crawford

Charli

Mariano

TENOR SAX

Stan Getz

Boots Randolph

Wood

iles Lloyd

Boh Cooper.
ne Ammons
Ro

Sonn
Buddy
AL Co
ncs Moody

Newman

Henderson

плїшгохЕ. sax

Беван

Jerome Rich.
Harry Carney

Charlie Fowlkes

Johu Surman
Clifford Semi
Ronnie Cuber
Raphael Garre

CLARINEY.

Art Pepper
Buddy С

П
Tony Scott.

amy Giuffre

Russell Procop
Ray Пиже

maso
Elton John

leon Russell
Burt Bacharac
Nicky Норы
Daye Brubec
Neil Young
Ray Charles
Ramsey Lewis
Por Nero

Erroll Garner

new Bigard

Count Basie

18. Chick Corea
19, Bill Evans

|. André Previn
. Joc Zawinu
Vince Guaraldi
George Shearing

j. Stevie Winwood
AL Kooper

3. Jimmy Si

В. Ray Charles

9 Billy Preston

4. aac Hayes
D

Garth н
Owen Bradley

other Jack Мерит.
MeGrifl

Groove Holmes

ley Scott

any “Hammond

25. Sonny Burke
vines

1. Lione! Hampton
2. Cal Tjader

5. Cary Burton
4. Milt Jackson
5. Sin Ratz

6. Terry Gibbs
71

кор

9. Roy Ayers
n

11. Red N

иту Bunker
ve Pike
ommy Уй
my Lytle
ctor Feldm

. José Felic
los Santana

. Glen Campbell
Kenny Burr

у Coryell
N
Mike Bloomfield

1. Ралі McCartney
ck Bruce
Jack Casady

Noel Redding
7. Mel Schacher

н. Jim Fields

9. Rick Grech

10. Ron Carter.
Donald “Duck” Du
Bob Haggart
Mouk Montgomery
Buddy Clark

Bob Cr
и Da

17. Art Da

TR ie

1. Gene Wright
2. Cecil McBee
3. EL Dec Young

purius

|. Buddy Rich

1
2. Ginger Baker
3. Ringo Starr

1. Keith Moon

Mitch. Miche
John Bonham
Bobby Colomby
Tony Williams

95. Hal Blaine

TUER INSTRUMENTS
jon Andersen, flut
Herbi из, flute
Dylan. harmonica
. Keith Emeron, Moog
5. George Harrison, sitar

Shankar,

10. John Mayall, harmonica
ebastian, harmonica
xs. banja

ап.
j. Kahan Ко!

MALE VOCALIST
Rod Stowert
s Taylor
Mick Jaeger
Young
MI McCartney

Cat Stevens
Joe Cocker
Elton John

Davi

Clave

Gordon Lipi

John Lennon

Mark Ез
Bob Dylan

FEMALE VOCALIST

16. Laura Nyro
17. Diana Ress

VOCAL cno
1. The Moody Blues
2. Carpenters

5, The Who
6. Three Dox
7. Creedence Cl

пам.

тһе Doors
. Grateful Dead

Jefferson Airplane

son, Lake & Palmer
"io Mendes and

Mothers of Invention.
The Band

Jackson 5

Family Stone
ettermen

| Poco

Guess Who

Ten Years After

SONGWRITER-COMPOSER
1. Burt Bacharach-

Hol David
£. Carole
3. Neil You
D

Geor
Mick Jagger

Keith Richard
1 Mefa
Dylan

°. John-
ie Taupin

Zappa

11. Kris Kristofferson

Rod Мекиса
. Jim Webb

palmer
Dominos

k Railroad

Gers
Booker Т. k the MG's
Dave Bruberk Quartet
Miles Davis

the All-Stars
c Wee & the

plain Beefheart & the
gic В:

213

PLAYBOY

24

PLAYBOY FORUM

way as the establishment they are so
quick to condemn.

Aren't there any real people left in
the world?

Dick Byrd
Waltham, Massachusetts

А MORE RECEPTIVE SYSTEM

The Playboy Forum's correspondents
are outspoken on nearly every topic from
Vietnam to abortion, but there seems to
be a dearth of interest in electoral poli
tics and in the subject of why the tw
y system is so unresponsive to the
necds of the American public.

"This is regrettable, because many of the.
issues to which your readers address
themselves must. be resolved. within the
context of the present political system.
We believe that one reason for the in-
sipidity of conventional politics is that
politicians feel safe im aiming for the
lowest common lor, knowing
that aded people, like

denon

strong-m those

(continued from page 54)

who write to The Playboy Forum, fre-
quently ignore the political process as a
means of implementing their ideas.

We feel that die system must become
more receptive to the opinions of i
dividuals, just as individuals must be
more aggressive in expressing their wishes
to government. The filtering of indi-
vidual desires through layers of repre-
sentatives and bureaucrats should be
simplified. Methods are, of course, the
problem. Some people have suggested
greater reliance on government by re
crendum, while President Nixon, on the
other hand, asserts that he will not be in
fluenced by publicopinion polls, such as
those indicating that most Americans
don't like the war.

We hope Playboy Forum readers will
take up issues posed by the structure of
the existing political system, In addition,
we invite them to air their views in The
New Democrat, a magazine we edit, whose
purpose is the revitalization of the two-

“Т wouldn't be caught dead applying for welfare!”

party system and the Democratic Party
in particular. The magazine has pub-
lished in-depth exchanges on blacks and
the Democratic Party. on the possibili
of a fourth party in 1972 and on candi-
dates for 1972.

Stephen C. Schlesinger, Editor

Grier Raggio. Publisher

The New Democrat

New York, New York

MODERN WITCH DOCTOR

I am happy to see The Playboy
Forum publishing continuous discussion
about involuntary commitment to men-
tal hospitals, Whatever defenders of
such imprisonment may say, those of us
who have been on the receiving end of
this compulsory therapy know it for the

My case was quite typical. It began
when I had a conflict with the principal
of the school where I worked, and it
escalated into а fight within the board
of education. One member of the board,
when the others were seemingly on my
side, suggested that the problem might
be resolved if I would submit to an
interview w who was a
friend of his. When I became angry at
this—why, after all, wasn't the same sug-
gestion made for the principal?—he said
that this showed that I was upset and
irrational

Looking back, I realize that 1 should
have shown confidence in my own sanity
and evaded the board member’s shrink
by submitting to an examination by a
psychiatrist of my own choice. But, at
the time, it seemed that the only way to
indicate I had по
cept the psychiatrist my opponent had
named. 1 had some kind of naive Га
in the inucgity of the psychiatric profes-

. 1 guess.
Cynics will know what happened
next: The psychiatrist decided that I
needed treatment. I decided that I

didn't. Two days later, the police picked
me up and T was hustled off to a state
hospi

by the psychiat
danger of ham
else. This was

"The commitment papers, signed
а, said that I was in
myself or someone
flat Tie; despite my indig-

was occurring, I nev
once spoke of doing violence to anyone.
Nevertheless, Т spent. 60 days as a guest
of the state, under very heavy sedation.
The other patients in ше hospital wi
larly doped up, and this was the only
therapy I ever saw given to anyone. Mi
while, we were under constant obser
tion to determine how ill we were: if any
of us rose out of the drug stupor long
enough to complain about something, it
was marked down as а sign of our resist-
ance to therapy and proof that we needed
more dope.

After two months of this, my family
finally got me out. Since most people
still believe in psychiatry. I am nying to

The editors of PLAYBOY select
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retail prices. The best from the publishing world selected for you by
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“Playboy's Choice," an illustrated, informative monthly bulletin, will
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(Sorry, but orders outside the U.S. and Canada cannot be processed.)

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PLAYBOY

conceal this whole episode while 1 look
for a job in another state.
(Name and address
withheld by request)

ANTI-GUN CONTROL
Wayne Billings, who in the November
1971 Playboy Forum commented on the
shooting of Kenyon Е. Ballew by IRS
agents, apparently would have your read-
believe that the law enforced by the
agents was put on the books by conser
tive elements in Congress. On the con-
tary, the terrible tragedy was the result
of enforcement of the 1968 Gun Control
Act that was enacted by liberals, not
conservatives. It should be apparent to
even the blindest liberals that the law,
rammed through Congress by President
Johnson on а wave of anti-g
following the Kennedy assassinations,
failure. Nowhere has crime decreased be-
cause of it; in the case of Ballew, a
tragedy was caused by it.

If the Ballew cise received little atten-
tion from the national press, it's because
the liberals who enacted the law don't
want the public to realize what a flop
they have generated. For complete cover-
age of the Ballew case, look in the July-
November, 1971, issues of The American
Rifleman, the official. publication of the
National Rille Association, The N. К. A.
has always opposed useless legislation that
alfccts only the honest citizen.

Harry Camphuysen
Carlsbad, Califor

PRO-GUN CONTROL

After reading about the shooting of
the hapless Kenyon Е. Ballew, 1 was
moved to try to learn more about the case
(а task not helped by the almost nonexist-
ent coverage in the national news media).
The most detailed report was in The
American Rifleman. Their view, sl x
by several of my gun-buff friends, seems
to be that the tragedy was ect
result of the 1968 Gun Control Act:
that is, if there were no such act. the
police would have had no reason to in-
le Ballews home and Ballew would
not now be incapacitated with a bullet
lodged in his skull. Of course, they express
outage that the IRS Alcohol, Tobacco

and Firearms Division agents acted in
such an irresponsible manner, but T find
it hard to believe tl Пу the

focus of their concern. If their prin
concern was the shoorfi Lask-ques-
it scems to me that

Black leaders Mark Clark. and
Fred. Hampton were killed in a si
raid by police who were also searching
for illegal weapons. Their real complaint,
1 suspect, is that one of their own got
shot because of a law they oppose.
Nonetheless, E think the law is a good
one. The Gun Control Act is not to
blame for the fact that those empowered
to enforce it chose to do so by battering

prise

216 down a man’s door and shooting him as

he tried to protect his home from what
looked like а 1 ling hippics.
То so blame the act is about as reasonable
as blan fic laws for the death ol
a speeder who i ly shot by an
arresting office Шу happened
several years ago in Los Angeles)

If there is anything to be learned
from the Ballew case, it's not that the Gun
Control. Act should be repealed. Irs that
guns dangerous, potentially lethal
weapons, no matter who is using th
and that those whose job it is to enforce
the act should be carefully chosen, well-
trained and closely supervised men who
are prepared to respect the civil rights of
their suspects.

Dave Scott
Denver, Colorado

WHEN THE STATE KILLS

With the Supreme Court preparing to
ide the future of
the

hear cases that will de
capital punishment in the U.S.
debate on this subject acquires new pc
ancy. Clarence Darrow stated one of the
best reasons capital punishment should
be abolished during a debate with Judge
Alfred J. Talley

We teach people to kill, and the
state is the one that teaches them.
If a sme wished thar its citizens re
spect human life, then the siate
should stop killing. Tr
done in no other way.

perhaps not be fully done that
are

There
The:
der which
deaths. Ie
never can depend upon the seve
of the punishment. .
Now, why am I opposed to capital
It is тоо horrible a thing
c to undertake. We are told
by my friend, “Oh, the killer does it:
why shouldn't the state" I would
hate to live in а state that I didn’t
think was better than a murderer... .
The thing that keeps ane from kill-
ing is the emotion they have against
it; and the greater the sanctity that
the state pays to life, the greater the
feeling of sanctity the individual has
for life.

pfinite reasons for Killing.
infinite circumstances un
there are more or less
never did depend and

y

Philip W. Sawyer
Delaware, Ohio

BEWARE YOUR LOCAL POLICE

The story about the man in Tucson
who called the police while һе was be-
ing burglarized and then was arrested
himself for possession of marijuan
(The Playboy Forum, September. 1971)
s a parallel here in Maryland. I quote
from the Baltimore News American

Police inves а rape in
southwest Baltimore ended wp ar-
resting the rape victim. Гог posses-

sion of drug
The surprise turn of events came

when a police canine dog searching
the woman's Manordene Road apart-
ment scared her cat, who ran into
a closet, upsetting a box of marijuana
seeds.

Police intensified the search. re-
covering nine ESD tablets. and a
small amount of hashish. The wom-
an and her husband, a musician
working at the time, were charged
| possession of hashish,
чапа and ma ga
mon nuisance house.

Police said they are still investi-
gating the rape.

15р,

com-

"There are now so many laws on the
books that almost all of us could be arrest-
ed for some violation or other (and our
legislators create new laws, and new
criminals, every time they meet). Is it
Че to call the police for help under
ny circumstances?

There's a commonly seen bumper stich-
ет, probably right wing in origin, that
reads: IF YOU DON'T Е COPS, NEXT TIME
YOU'RE IN TROUBLE CALL A HIPPIE. Maybe
that’s not such a bad idea.

MARIJUANA EDUCATION
In May 1967, California Medicine
published an article by Dr. Edward R.

Bloomquist titled “M Social
Benefit or Social Detriment?” Unfortu-
nately, it was basically am exercise in

undocumented personal opinion. For ex-
ample, the author wrote ol mari
users wearing dark glasses to hide their
dilated pupils while plowing a car
through а Gowd of pedestrians and
made further allegati dicted by
j The bib-
liography contamed only 11 references,
including such nonscientific publications
s the Los Angeles Times, Michigan
Daily, Saturday ning Ром and Col-
liers magazine. Despite these obvious
shortcomings, John Kaplan reported in
his book Marijuana: The New Prohibition
that more than 500.000 requests for re-
prints of the article had. been received.
In April 1971, California Medicine
published a paper I authored titled
“Marijuana: A Realistic Approach," a re-
view article that summarized the current
scientific and sociological data on Can-
abis. Controversial aspects were heavily
referenced and the bibliography includ-
cd over 40 significant articles from medi-
cal and scientific journals. I pointed out
that there is much objective data on
ijuana already available and empha-
sized the fact that past misinformation
has hampered drugeducation efforts and
caused both the medical profession and
public officialdom to suffer a serious loss
of credibility with many younger citizens.
An unusual volume of requests for re-
prints of my article has come їп from
physicians and educators all over the

"Gee-—it's just

like in the

movies!”

217

PLAYBOY

218

nd from 21 foreign coun-
Keeping up with this unexpected
response was difficult financially, so I ap-
plied for help to the Memorial Hospi
tal Medical Center of Long Beach where 1
am affiliated. The hospital finance com-
miuce denied my request because, I was
informed, they did not wish to as
themselves with an article that might
endanger donations to the hospital. I
could not agree with this idea that pub-
lic relations should ever take precedence
over telling the truth, especially when
this area has already
cused so many problems. It was disturb-
ing to think of the wide circulation Dr.
Bloomquist’s poorly documented paper
had achieved, and I was further per

turbed when the American Me
Association secured instant nationwide
news coverage for the Kolansky and

Moore report—a study involvi
juana and young adults tl
many fundamentals of scientific method
that nearly every experienced marijuan:
investigator has declared it invalid. At
this point, I contacted the Playboy
Foundation for help.

ing mari-
t violated so

Playboy put me in touch with Keith.
Stroup of the National Organization for
the Reform of Marijuana Laws, through
whom arrangements have been made for
my paper to be induded in the ma-
terial they send to legislators and other
partes requesting information. The
Playboy Foundation is supplying both
N. O. R. M. L. and myself with all the
reprints we need. Because of this, my
artide will reach more responsible
people than 1 ever thought possible. My
i nks go to Playboy for giving
me the chance to be heard. Hopefully
this may hasten the demise of our coun-
пуз punitive approach to marijuana so
we сап start repairing the damage that
has been done айтсай

Gcorge M. H. Chu

iology
Center of

Long Beach
Long Beach, California

GOOD ACID, BAD PR

Two years ago, I would not have
dreamed of taking drugs, though I was
somewhat skeptical about the bad pub-
licity surrounding some of them. Then,
about a усаг ago, а dose and trusted
friend talked me into trying LSD. That
D al experience and a great deal
of subsequent reading on the subject con-
vinced me that the adverse publicity wa:
bullshit.

My inhibitions overcome, I was like
a kid with a new toy, tripping once a
week, Then it became boring. Some of
your readers probably think this is where
1 tell about switching to heroin for
and better kicks Wrong! I simply
stopped tripping so often. Now my wife
and I take acid only once every two or

three months, not because it’s hard to get
(it's very easy) but because that's the way
we like it: it keeps our trips exciting. We
know that LSD is suspected of destroying
chromosomes, but the same is true of
cohol, aspirin, Thorazine, caffeine and
a dozen other drugs.

The real problem we face is getting
good acid. We buy it from reliable people,
but it's still street a ad God only
knows what might be in it. If we could
purchase LSD with a doctor's prescrip-
tion, we would be ecstatic—it would be
a hell of a lot cheaper and safer.

So why

and address
withheld by request)

Some people who use LSD or related
drugs, such as mescaline and psilocybin,
have described their experiences as beauti-
ful, mystical or otherwise desirable. Others
have had neutral experiences and some
have had downright bad trips. Research-
ers have found that positive results are
more likely with the help of advance
preparation, including the knowledge of
what to expect, controlled dosage and
purity of the drug, the presence of a
trusted, experienced guide, a relaxed set-
ting and a stable, well-integrated person-
ality. Unfortunately, most drug users
rarely concern themselves about. these fac-
tors. An increasing number of users are
experiencing the same boredom you de-
scribe after frequent use of LSD or other
drugs. Tolerance develops rapidly, so fre-
quent users have to build up the dosage
10 very large amounts.

As of now, the studies using large sam-
ples and careful scientific methods have
found no significant increase in white-
blood-cell chromosomal breakage in test-
tube experiments with LSD. Researchers
have yel to establish any relationships of
LSD to white-blood-cell chromosomes, to
sperm or egg cells, to genes within these
cells or to actual birth defects. In. plants
or lower animals, it is known that caf-
feine, nicotine, alcohol, aspirin, DDT,
cyclamaies and many other substances will
produce harmful effects ranging from
chromosomal breakage to birth defects.

You're correct in saying that getting.
good acid is a problem. Most street acid
is impure, often mixed with methamphet-
amine (speed) or other drugs with effects
quite different from those of LSD. But the
reason you can’t get reliable acid by pre-
scription is obvious: It's going to be years,
to say the least, before U.S. officials stop
treating LSD users as criminals and turn
control of the substance over to the Food
and Drug Administration, which could
lest it for safety.

This is a substance that has profound
psychological effects that vary from person
to person, and, at present, most doctors
know little or nothing about it. Ideally,
а system of control should be based on
more information about the drug's effects

than we now have and should include
careful education of its users and of these
who would dispense the drug.

THE LAW IS THE LAW
1 do not believe that Connie and

James Eye, who received 20- to 40-year
prison sentences alter being inveigled
into selling five dollars’ worth of n
juana to an informer, were treated justly
(The Playboy Forum, November 1971).
However, I do believe t the law is the
law, and when a person commits а crime,
he must be prepared to face the con-
sequences, no matter how ridiculous the
Jaw seems to him and no matter how
unjust or extreme are the consequences.
To break the laws against possession,
use or sale of pot is not daring or cool;
it is merely a crime. When someone gets
caught, he should be considered not a
martyr but a criminal.

C M. Slater

University of Pennsylvani:

Philadelphia, Pennsylvania

As it happens, Connie and John Eye

(John's first name was originally reported
incorrectly) have been released from pris-
on and placed on probation. "True, the
Eyes were not acting out of religious con-
viclion in selling marijuana to an in-
former, nor were they sentenced to be
torn to pieces in an arena by wild animals,
so the term martyr is not, strictly speaking,
applicable to them. However, we think
future generations will marvel at the way
U.S. justice persecuted marijuana. smok-
ers, just as we look back with horror at the
ignorance and cruelty of imperial Rome.

DRUGS AND THE NEW MORALITY

ТИ bet you didn't know that rraynoy.
contributes heavily to the problem of
drug use in Vietnam. That’s the view of
three Army chaplains who, in a letter to
the Los Angeles Times, asserted that our
vicemen are using drugs because of
sonality deficiencies, which result

p
from exposure to à new morality tl

thr

ns to push the nation
decline rivaling that of the Ro
pire. They said:

‘The “new morality,
to millions of our d
PLAYBOY and other semipor
graphic and pornographic literature,
ked up by other forms of
including our national
press and. some Governmental age
cies, is perhaps the main cause of
our national decline. Secking per-
sonal pleasure at the expense of
othas—or as PLAYBOY calls it, "mi
tual consent"—eannot help but cre-
ate a nation which provides nothing
to live for.

as presented
zens through

0-

And so, presumably because they have
nothing to live for, our boys in Vietnam
turn 10 drugs. I myself am inclined to
think that they do so be

ose they can

Marijuana: It's time to change the laws.

An estimated 20,000,000 Americans, includ-
ing 43°% of all college students, have smoked
Marijuana. Under existing laws, all of them
could go to jail.

The National Organization for the Reform of
Marijuana Laws, NORML, is working to change
these laws, We want to end all criminal pen-

eme y

уф: da

alties for possession and use of marijuana. We

E:

don't advocate the use of marijuana, but can
find no medical, moral or legal justification for
imprisoning those who do ute it.

E

NORML is a non-profit organization which
vitally needs your help. If you share our con-
cern, join NORML, and support us in our fight

!rgonizoticn for Relarm of Marijuana Laws.
NW., Washington, D.C. 20027

work for tbe relorm of marjuara laws in my
Please furnish me material for

POT LUCK

PLAYBOY

220

find more consolation nd comfort in a
few puffs of grass than in “counseling”
from simple-minded chaplains such as
these.

Edward Benjamin
Glendale, California

HEALTH AND FREEDOM,

Much of the debate on whether or
not marijuana should be legalized seems
to hinge on the question of whether or
not the herb is detrimental to one's
physical or mental health. In my opin-
ion, such an argument is totally invele-
vant. The only determining issue is if
the Government has а right to legi:
against personal moral crimes, as it
chooses to regard prostitution and the
usc of cer
my personal life to. Govern

in drugs. I, for one, refuse to
nent

subr
scrutiny.

1 feel that the very te
society, often used to describe our con-
temporary culture, is questionable, since
it implies that someone has a right to
at ог withhold permission.

Larry R. Fuller
Rancho Cordova, California.

MORE THAN HUMAN
Our involvement in Indochina and
the resulting warcrimes trials are reflec
ns of the peculiar mentality of our
ders, who do not think in the sume
way that ordinary people think, For
instance, I Amy finance derk
nd, one day when the office was quite
busy, a major came to me without wait-
ing his turn in line, Since he demanded
that he be taken care of as soon as pos-
sible, f took his records to the N. С.О.
in charge of the section. Another clerk
ked, "What does that guy want?
1 replied, “This man is an in-counte
anster” At that point, the entire office
startled by the Major's loud voice
declaring: “In the last five minutes I have
heen called а guy and a man. I am nci-
ther. Lam an officer!
Sp/5 Robert J. King
АР Francisco, Califorr

am a

and

wa

О San Fr

ABOLISHING THE STATE

I want to say "Right on!" to Chief
Petty Officer Phillip J. Chesser (The
Playboy Forum, September 1971) for his
ability to see to the heart of a problem
while others fiddle around the edges. He
points out that organized armed forces
have to be undemocratic, no matter what
the ideals of the society that employs
such forces, He then adds:

My argument assumes the legiti-
macy of the nation-state, its tight to
survive and its right to exact from
its citizens the services necessary for
survival. The only way to escape
the need for disciplined armed
forces is to take the view of Joan

Baez and others that the nation-

state itself is immoral.

Now we're geuing down to cases, All
the people who write to The Playboy
Forum month after month to compla
about the injustices and the brutal
thoritarianism rampant in the Armed
Forces seem to think a few intelligent
reforms would solve the problems. And
all the people who imagine that with
revolutionary violence they can liberate
themselves and the American masses also
seem to think it would be as casy to put
down the gun as it is to take it up. The
fact is that as long as people consider i
legitimate to use force to impose thei
will on others, we will have na
their enmities, armies and their
tices. superweapons and the threat of
human extinction. Indeed, we better
start listening to "the view of Joan Baez
and others" before it's too late,

James Hubbard

Chicago. lino’

А VOLUNTEER ARMY
ince The Playboy Forum publishes
letters оп the inequities of the draft and
on proposals for all-volunteer Armed
Forces, you be interested to know
that my wartime experiences over 26 years
ago led me to think along those lines even
then. I believe what I wrote in my war
diary in 1945 is actually more pertinent
today. It reads, in part:

n for two years, except
grave national emergency or

» Congress has declared war, is
bomination.

Why not try an all-volunteer Army,

with enlisunent. for a period of 18

months?

an

1 also had some thoughts on the related
topics of military justice and equality,
which, sad to say, are just as applicable
now

For our new Aimy, I shall urge
thar the pre-Magna Charta system of
military trials—courts-martial—bc rc-
vised drastically, The cards were
icked against GI Joe accused of any
offense and there must be drastic
changes made.

Army stockades and psycho wards
should be inspected regularly. 1
brutality toward prisoners should no
longer be tolerated. There has been
too much of that in the past.
the Amy
be examined. There is too
spread between the pay of a
ind that of a master sergeant
or licutenant.

When there are the same clubs for
officers and enlisted men; when res-
ta из and hotels аге not marked
orrickks ONLY; when the captain
tikes his turn in the PX line with the
private; when the major and the cor-

ial

The pay differe
should

in the same mess; when the
colonel and the sergeant enjoy the
same recreational facilities; when of-
ficers and enlisted men wear the same
quality and style of uniforms, differ-
entiated only by insignia of rank,
and have the same sort of quarters;
when these things arc brought about,
we shall have a democratic Army of
volunteers. In time of peace, we shall
have all the volunteers we need for
а large Army. It will not be necessary
to resort to conscription in peacetime

poral e;

Senator Stephen М. Young
United States Senate
Washington, D. С.

PEACE SYMBOL DISTURBING

You might be amused by a letter from
Long Binh Post Headg in V
am announcing new those

post:

1. This headquarters has recent-
ly noticed numerous instances of
ies selling unauthorized
merchandise in the gift shops and
laundry-tailor shops on Long Binh
Post, ic., peace-symbol patches

2 Request the Bien Hoa-Long
Binh Area Exchange remove these
items from the concessionaries’ stock
ssortment in order to enforce
and to тайы
nh Post.

uniform regulari
tain d

scipline о

Apparently peace symbols are deti
mental to discipline! Well, 30 days
more and I'll be out of this zoo.

Capt. Harry E. Roach, U. S. A. F.
Long Binh Post, Vietnam
We wish ihe peace symbol really did
have some of the magical powers its
detractors attribute to it.

PEACE SYMBOL RETURNS

Perhaps a reconciliation is in sight in
this polarized land of ours. The Pointer,
published ar the U.S. N: Air Station
at Barbers Point, Hawaii, devoted its en-
tire ont page to a peace symbol framing
pictures of sailors rctuming to their fami-
lies. In the same issue, an editorial stated:

Back in 1909, Rear Adm
Thomas B. Hayward, Iih N:
District commandant, issued an or-
der barring vehicles with peace sym-
bols from naval bases on Oahu

“At that time,” the admiral said,
“the peace symbol directly re-
lated to incidents at Pearl Н.
and Barbers Point, where bi
and other
with obscen
military se

wctures were painted
abusive and anti-

iments.”

st month, after. deciding

that the reasons for banning the sym-

bol “no longe

“OJ course, if I ever get back home and write it all up, ru
have to change things about a bit, Friday.”

221

222

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(See page 33.)

to many different individual
ban the symbol from any segment of
our society is a form of suppressi
contradicts our nation’s
ured freedom of expressi
Surely this form of expression is
to be preferred over more violent
methods of dissent. In fact, such a
person may well be trying to exer-
cise his citizenship responsibly, And
that, after all, is wi we really
all desire,
сс.

К. Renwick
ncisco, California

In December 1970, “The Playboy Fo-
rum” published a letter reporting that
vehicles displaying the peace symbol were
banned at Pearl Harbor and other naval
bases, and we're happy to learn of the
end of this allempl to prohibit the sym-
holic statement of an idea.

CONSTELLATION PROJECT

The 0.8.5. Constellation is an attack
aircraft. car у as long as the
empire State Building is tall. It can carry
up to 100 planes and а crew of 5000.
The Constellation task force costs over
000,000 а day to operate in а combat
zone. While lying off the coast of Vict-
nam, it had launched 50,000 bombing
missions. Home-ported in San Diego, it
was scheduled to sail on its sixth mission
to Vietnam last October,

We of San Diego Nonviolent Action
launched the Constellation Project, to try
to keep the ship home for the sake of
peace. To make its sailing a public
we held a city-wide vote, asking civil
nd the military if they thought the
arier should go to Viemam ог мау
home, More than 45,000 of the 51,000
civilians who vored wanted. to keep the
Constellation home. The military vote
was 6051 to 2575 against the carri
departure. The ship sailed for Viemam
last October first, but we helped assert
the idea of participatory democracy. We
opened а new channel for people
out of the military to be heard in a
matter that alfects their lives and the
lives of others. In addition to the vote,
nine crew members from the Constella-
tion refused to sul with the ship. They
took sanctuary in Christ the King
Church and were subsequently. arrested
by Navy officials and. Federal. marshals.

When the Navy, the Congress and the
President order a ship to Vietnam, they
daim to be speaking for the rest of us.
We decided the stakes are high enough
and life important enough that we should
speak for ourselves.

San Diego, California

OPPOSING WITHDRAWAL

Like Lieutenant C. Е. Jamison (The
Playboy Forum, November 1971), the
Vietnam Veterans for a Just Peace wish

to sce an end to the murder of innocent
men, women and children. Unlike Licu-
tenant Jamison, however, we oppose the
calls for immediate and total withdrawal.
The Viet Cong and North Vietnamese

have demonstr nd again that
they аге quite to murder the
innocent with their indiscriminate rocket
attacks and road mines. Radio Hanoi

boasted of the liquidation of "the enemics
of the people” (South Vietnamese who
sided with the U.S) in Ниё in 1968.
when the Communist. forces took control
for 95 days. War is not popular, but to
surrender the people to Communist retri-
bution is not to make peace

Ronald К. Wishart

Vietnam Veterans for а Just Peace

Englishtown, New Jersey

In a slatement delivered to a meeting

of Vietnam Veterans Against the War,
Senator Edward М. Kennedy, who heads
the Juiliciary Subcommittee on Refuge
said:

The devastation that the war cou-
tinues to bring the people of Indo-
china is painfully clear.

Newly compiled figures recently
submitied to the subcommittee by the
Department of State document rising
tragedy for the people of Indochina,
In Vietnam, during the fost six
months of this усаг [1971], the flow
of new refugees and war victims aver
aged over 33,300 per month—for a
fotal of some 200,000. .

Civilian war casualties, based on
hospital admissions alone, averaged
well over 3600 per month—foy a total
of 22,035. This is а misleading figure,
although it is usually cited as the
total figure by our Government. But
the figure omits civilian. casualties
treated elsewhere, those not treated
а all and those who are killed out-
right or die before reaching treatment
facilities. If these additional numbers
are added to hospital admissions,
civilian casualtics during the first six

months probably number at least
50,000—including as many as 10.000
deaths. The cumulative total of civil-
iam casualties since 1965 now num-
bers some 1,100,000—ineluding at

least 335,000 deaths.

Do you believe that these casualties are
due solely to Viet Cong and North Viet-
namese action? We don't, and we think
that the South Vietnamese ave paying

loo high a price for what the U. S. Govern-
ment is pleased lo call protection
“The Playboy Forum" offers the

opportunity for an extended dialog be-
tween readers and editors of this pub-
lication on subjects and issues related to
“The Playboy Philosophy.” Address all
correspondence to The Playboy Forum,
Playboy Building, 919 North Michi
gan Avenue, Chicago, Ilinois 60611.

FAST FEAST. „с

tomatoes, olive oil, garlic, lemon juice,
salt and pepper), crusty warm French
bread sliced thick and buttered lavishly,
and the king of chiantis, Brolio Riserva
Normal cooking time is 1 hour for the
lentil mixture, another hour for the sau-
sage. With the waves, approximate cook-
ing time: 37у minutes.

PHEASANT WITH SHALLOTS AND CHABLIS
(Serves four)
Get as fancy as you want with the

microwave oven. But if you can't n
age pheasant for this special dinne
chicken; the waves don't know the dif
ference. I use the ordinary stove for this
optional first procedure, browning the
pheasant in 2 tablespoons butter and 1
tablespoon olive oil (to keep the butter
from burning), draining the pieces on pa-
per towel. This takes about 10 minutes.

2 young, tender, farm-raised hen pheas-

ants. cut up (browned, as above)

24 shallots, peeled, left whole

1% cups Chablis
4 teaspoon dry rosemary
alt, pepper

Atrange browned pheasant pieces in
deep glass serving dish, Space the shal
lots around the pieces of bird, pour in
the Chablis; sprinkle lightly with rose-
mary and season with salt and pepper.
Cook, uncovered, microwave oven 30
minutes, turning the dish every 5 min-
utes, Serve the pheasant and shallots
from the cooking dish, pour more cold
Chablis and run up ıd. IE you
are not weight watchi 's impressive
to decide on a baked potato, too—
after you sit down to dinner. Medium-
sized potatoes take 4 minutes cach in the
microwave oven; you can almost have
them ready while the wince is being
poured. Cooking time: 30 minutes (plus
10 minutes for the optional browning).

A Pair of Midnight Pleasers

ing bacon and cggs as they do in
о City has become a
h me. With the waves,
it’s almost as casy as cracking an cgg
and tearing off а piece of paper towel.

LINGUINE ALLA CARBONARA
(Serves four)
12 slices bacon
4 eggs, beaten
cups grated а
cheese
3 tablespoons chopped Italian

ago or parmesan

parsley
Pepper mill, full of black peppercorns

Sale

1 pound linguine

Spread a double layer of paper towels
on a 12in. glass pie or cake dish. Ar-
range bacon strips on. paper side by side,
not overlapping. Cover with more paper
towels. Place in microwave oven; cook 10
minutes. Remove grease-saturated paper

towels, pat off remaining grease with
fresh paper towels. Break bacon into
pieces half the size of thumbn: Place
eggs. cheese and parsley in large bowl.
Mill black pepper in lavishly. Beat with
whisk or electric beater until mixture is
well blended. Have 4 rimmed soup
bowls warming in regular oven or spe-
cial warmer. Almost fill 3-quart glass
casserole with hot water, Bring to boil
in microwave oven; add 1 tablespoon salt
and linguine. Вой 9 minutes; separate
stands by stirring with fork. Cook 3
minutes more. Cover, let stand 5 min-
utes. Test a strand of linguine; it should
slightly resist the tooth properly al
dente. Never overcook pasta; it should
not be mushy. Working quickly, blend a
heaping tablespoon bacon pieces into
the egg mixture. Using spaghetti tongs.
take the linguine directly from the hot
water, shaking off excess water, and add
to the cheese-and-egg bowl. The pasta
must be hot, so it slightly sets the eggs as
you toss the рама. Using two wooden
forks, toss the linguine well but gently
with the cheese and eggs. Serve immed
ately in warm bowls topped with generous
spoonings of the remaining crisp bacon

pieces. Cooking time: 15 minutes (indud-

ing bacon).

MEXICAN EGGS AND BACON
(Serves four)

2 tablespoons butter
all white onions, minced.

2 medium tomatoes, peeled, deseeded,

chopped

1 tablespoon Italian parsley, minced

13/4, teaspoons chili powder

8 eggs (beat well with fork; add 1 tea-

spoon salt)

12 slices bacon

Place butter in Sin. glass plate; heat
in microwave oven for % minute. Add
onions; cook 2 minutes or until trans-
parent. Stir in tomatoes, parsley and
Chili powder. Cook 3 minutes or until
excess moisture cooks off. Add cegs;
cook 1 minute. Stir well; cook 1 minute;
stir, Remove; eggs should be soft amd
creamy. Do not overcook. Using paper-
towelson glass plate system, as in lin-
guine alla carbonara, cook bacon. Serve
eges on warm plates with 3 slices crisp
bacon on top of each serving. Cooking
time: 17V, minutes (including bacon).

So go make microwaves!

"Now, just a goddamn minute, Lorraine—maybe
the señor does want his sister!"

223

PLAYBOY

SAM ERVIN (continued from page 150)

employees, encouraging them to snitch
оп anyone who demands to talk to high
Government officials personally “for the
purpose of redress of imaginary griev
or who wants to “embarrass . . .
Government official at home or
ud." That description, said Ervin,
could be applied to him as well as to
millions of other Americans. “I am a
‘malcontent on many issues” he said.
have writien the President and other
igh officials, complaining of grievances
that some ma 1 may
Sovernment

ssed' high

officials.

That sort of thing. coming from one
who is revered by Southern consery:
tives and who is ling of the
textile industrialists because of his harsh
laissez-faire attitudes toward the working
class, is indeed surpr
puts it into the context of the gentry
who produced Ervin
Southern stat
has always had an impressive flexibility.
Although the occasional resurgences of
the Ku Klux Klan have found more
mean red-necks signing up in North
Carolina than in any other state, at the
other end of the social spectrum onc
finds a deep, stubborn, enlightened tra
dition of sm. The Quaker i
fluence is responsible for some of it.
The libe Baptists at Wake Forest
University account for much of it (Wi
Tiam Louis Poteat was teaching evolution
to Wake Forest students 20 years before
Tennessee even thought about holding
а monkey trial). The intellectuals of the
University of North Carolina at Chapel
Hill can be credited with even more.
And one cannot overlook the influence
of the newspapers and their editors—the
coolest journalists in the South.

Ervin's mixture of middle-Amcrica
orthodoxy, rampant i luali: nd
both pro-black and anti-black attitudes
is even beter when one
zeroes іп on his home town: Morganton,
population 13,625.

The sign beside the Burke County
Courthouse tells the traveler. through
that community in the foothills of the
Blue Ridge Mountains that the odd
little structure was built of local cut
stone circa 1835, that it was raided by
Union forces in 1865 and remodeled in
1901. On the courthouse grounds there
is а statue, a memorial t0 OUR CONFEDER-
ATE SOLDIERS, at the base of which are
hundreds of names such as McGalliard,
McNeely, Роса, Weaver, English, Me
thee, Shehan, Kincaid, Isenhour, Swink,
Hawks, Ledbetter, McGimpsey and
Laughbridge—mostly the sons апа grand-
sons of Scotch-Irish immigrants, but some
nglish and some Dutch.

Half a block from the courthouse is a
fé that has a hand-lettered cardboard

understood

sign in the window advertising HOME-
MADE BISCUITS AND SAUSAGE, 15 CENTS.
nd next door is a bookstore, but the
only books in evidence are those
window, a thin platoon of romant
featuring poc by Kahlil Gibran and
Rod McKuen.

Morganton, of course, is not without
sin. It has “brown-bag” bars for duss-
paying members at both the Holiday
Inn and the Quality Courts. (But the
motels balance this by placing copies of
Oral Roberts’ Daily Blessing in the
rooms) And there is one two-dollar
skin-flick moviehouse in town, though
there are no pictures out front.

One of the buildings across the s
from the courthouse is а rundown two-
story affair that is owned by Senator
Ervin. There, upstairs at de back, are
Ervin's home offices and, though he is
seldom there and his office staff is often
gone, too. the door is usually open and
anyone is welcome to go in and browse
through the lawbooks and listen to the
only sound—a leaky toilet, These were his
offices when he was a county judge and,
before that, when he was a country
lawyer practicing with his father, report-
cdly a feisty, bearded fellow. Though
Sam, Sr., is long dead, Senator vin
s the Jr. on his name. He is physi-
ly much larger than his father was,
but he was always "Little Sam" to the
townspeople and apparently still is im
his own mind. at least by comparison

ret;

"There are two sources of prestige in a
town like this: wealth and breeding.
Ervin is old family. His father’s people

came over from Northern heland in
1732, where they had been sent from
Scotland (they were Lowlanders, not the
wild Highlanders) to hold down the Irish.
They were, of course, Calvinists, and so
today is Ervin, which he says means that
we don't refrain from si ", but we
don't get as much pleasure out of it as
other people.” Although they were not
thy in the Southern Bourbon sense,
his immediate ancestors on both sides
e moderately landed gentry, and the
land has included portions of the town.
Both his mother's people (the Рохе)
and his father's are memorialized with
all the grandeur that à small town can
confer: street names,

This sort of thing—family genealogy,
fraternal memberships, municipal and

state histories—means а lot to the Sena-
tor, as shown by the fact that his biogra-
phy in the Congressional directory was
ший 1970 the longest of anyone's in
Congress, running over a page (the late
Senator Richard Russell, exercising the
most rampant false modesty, limited his
own to one linc) and listing all 41 legal,
toric ‚ farm and veterans’ as
tions to which he belongs. The biog-
raphy was trimmed to an ordinary length
n 1970, not be Ervin wanted to—

t, he wanted to
tions—but because his staff had become
embarrassed by its length and asked him
10 remove some of

‘The Confederate monument on thc
courthouse grounds is more than а war
memor it is also a monument to
individual decision. Although Burke
County sent plenty of men against the
Union, it was sharply divided; and
only a few miles deeper into the moun-
ains. two adjacent counties, Avery anl
Mitchell. were very pro-Union in senti-
ment and supplied very few rebel soldiers.
‘There were virtually no slaves in the
mountains. Indeed, North а w
reluctant to secede from the Union and
first efforts to bring about secession were
repulsed by a referendum of the people.
When it came—well. Ervin, history
buff, tells this anecdote about how the
scales were delicarely tipped: “The most
influen man in the state was Zeb
Vance and Zeb Vance was very m
opposed to secession. He went around
the state speaking for the Union. But
then Lincoln called on North Carolina
to supply troops for the North. Vance
was at this place making a speech and
somebody ran up the aisle with the mes-
sage from Lincoln. Vance had his hand.
raised, making a point for the Union.
when the message was stuck in front of
him. His hand came down for the Con-
fede: He took the position, which
many in North Carolina took, that if
they had to cut throats in the War be-
tween the States, they would rather cut the
throats of strangers than of neighbors.”

The war itself does not seem so long
ago to Ervin (he was eight years old
when Confederate hero General James
Longstreet died), and North Carolin:
sober deliberation, as opposed to the
hysteria that sent some other portions of
the South into the fighting, is sull the
mood that sits on him when he debates
the civil rights issues. With Georgia's
Senator Richard Russell, he co-managed
the filibuster against the 1964 civil rights
legislation, but at the same time, he
denounced George Wallace as “the chief
aider and abettor of those who would
pass such bad legislation.

Considering Ervin’s uncomplicated
upbringing and his uncomplicated home
it's plain that the seeming conflict
really a natural adjust-
ment of outside complexities to a simple
tribal code—like the shrinking of a mis-
sionary's head. Why, I asked him once,
did he approve of capital punishment?
He responded, "Well, some crimes are
so atrocious. You take the kidnaping of
the Lindbergh baby. Any man who
would do that for filthy lucre is so bad
he ought to be executed." The Lindbergh
baby was kidnaped in March 1932.

Some sce a staggering simple-minded-
ness in such thought, but one must also
admit that it is as conceptually timeless

ich.

pA шы:

PLAYBOY

226

“You got home just in time, Shirley—this guy here says
we're going to get eight inches tonight!”

(and as stern) as Calvin's God
punishment is justified whether one cites
the perverse end of Abel or of Sharon
"Tate—or of someone in between.

I asked him why he disliked the way
the Supreme Court had been operating
for a couple of decades, "Well, Id say
t ihe Supreme Court what Dr. Oli-
ver Wendell Holmes said about life and
language—they are both sacred. Homi-
cide and verbicide—that is, violent treat-

ment of a word so as lo destroy its
meaning, which is its life—are alike for-
bidden. I think the Supreme Court has

committed verbicide and 1 think that is
а crime against the Constitution, which
it is sworn 10 uphold. Some of the
Justices are habitual offenders."

In а debate with Ramsey Сак belore
the American Enterprise Institute for
Public Policy Research in Washingtor
» elaborated further on this po

" he asked, "did the founding
fathers reduce the Constitution 10 writ
ing? The answer is simple. Since the
Constitution is а written instrument, its
meaning does not change unless its
wording is changed by an amendment
the manner prescribed by Article Fiv
Later he added, “Everyone will concede

t

that the Constitution is written in
words. If these words have no fixed
meaning, they make the Constitution

conform to Mark Tw
the dictionary. He said
has a wonderful vocabu

"s descript

The fundamentalists extrava: re-
gard, or seeming regard, for the letier of
the law—whether it be instructions for
administering the Eucharist or the word-
ing of a Constitution written at a time

int

when a black man was offici: garded
as three fifths of a constituent and по
one dreamed of such problems labor-

union contracts—must
among other rei

surely inspire,
considerable awe

for Ervin's cei am sworn to
uphold the Constitution as I see it” he
has said, “not as the Supreme Court

werpiets it.” Every man his own priest.
The Scots of Scotland said it about the
Church 300 years ago. Today's North

Carolina Scots say it about government
as well.
There are several reasons for the be-

lated attention given to Ervin, The first
nd least importan—reason. is that he
1 intimate member of the
Senate Club back in the days of Lyndon
Johnson and Robert Taft and the secret-
handshake mystique of membership, nor
he ever been chairman of опе of
the powerful committees. And the sec
ond reason, a fatal one, is that Ervin has

ment Washington,
in most literary circles and on most. facul-
ties—so old-fashioned as to seem quaint.

His humor is generally of the frontier
sort, During a debate with Senator Ja-
cob Javits, Ervin kept pressing him to
answer а ques еу and fa
kept ducking. Ervin concluded:

style that

“The Senator from New York reminds
me of a case I tried one time. I defend-
ed an old man named Benton, who ran
a little copper still in his hou

"I had to enter a plea of guilty for
Benton, because he was caught red-
handed. Not having the powers of elocu-
tion or circumlocution of the able Senator
from New York, I simply had to plead
Benton guilty,

“The prosecuting attorney called Ben-
ton to the stand and asked, "Mr. Ben
ton, where did you get that still?
Benton said, ‘I ain't gwine to tell
you.

"The prosecui
thc question.

“ "Ain't gwine to tell you, said Benton,
“Then the judge said to my client,
sume that when you tell the prosecut-
ing attorney that you ате not going to
tell him where you got the still, what
you mean to say is that you prefer not
to do it?

“Mr.
Judge
nohow."

So the Senator from New York is not
going to answer my question

The humor went astray. Javits only
became more sullen.

No state in the union is so dependent
on income from the tobacco indust
is North Carolina, so it isn't surprising
to lind Ervin unsympathetic with health
officials who warn against the use of
cigarettes. “When I hear these
ments" he once told the Senate.
reminded of a prominent citizen who
lived to be ninety-six years of age:

“On his ninetysixth birthday, the
newspapers sent their reporters out to
interview him. One of them asked,
what do you attribute your long life?”

‘The old man said, "That is my old
to the fact that I haye never taken а
drink of an alcoholic beverage nor
smoked a cigarette in all my days."

“At that moment, they heard а noise
n adjoining тоот that sounded like
combined earthquake and cyclone
One of the newspaper reporters said
‘Good Lord, wha

“The old m “That is my old
daddy in there on one of his periodic
drunks.”

There а

ng attorney repeated

Benton said, “That's right,
but I ain't gwine to tell him

in

e problems w in's de-
pendence on this kind of humorous cap
suling of existence: Those who prefer
stand-up comics to politicians listen only
for the punch line and disregard the
moral, while those who insist that life be
deadly serious look upon the anecdotes
a frivolous. ОГ the latter group, tele
pre ent, Dur
vernment

lewscasters a

ion
ing Erin's hearings into €
snooping via computers, network ed
used a film showing Ervin holding
pound family Bible in one hand and, in
the other hand, a piece of microfilm two
aches by two inches, which, he expl

tins 1245 pages of a Bible, with all

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773,746 words on it, This means a re-
duction of 65,500 to one. With such a
process, 1 am told, all of the millions of
books stored on the 270 miles of the
Library of Congress shelves could be re-
produced and stored in six filing cabinets.
They could be retrieved and read with a
simple microscope or magnifying device.”

But the networks left out wh
next, which was dearest to

his heart
(since most Americans were likely to

admire, rather than fear, the technolo-
gy): "Someone said that this meant the
Constitution could be reduced to the size
of a pinhead. I said 1 thought maybe
that was what they had done with it
in the Executive branch, because some
of those officials could not see it with
their naked eyes. And I might add the
same thing about some of the Supreme
Court Justices.”

Lost also to the TV audience was
Ervin’s subsequent profound witticism:
А great many people believe in the
infallibility of computers. I first thought
of introducing a constitutional amend-
ment making computers eligible to run
for the Presidency. But when 1 went
down to study computers at à computer
center, they told me and demonstrated
that computers could make logical de-
ductions from the facts stored in their
memory bank but couldn't possibly
ke an illogical deduction from those

gave up the idea of the
because anybody or any-
ing that can't make an illogical con-
clusion has no place in political life."

In an inert Congress. the member who
moves at all is likely to be credited with
And, this has
happened to Е ny
claim, the Senate on
the Constitution, it is not because of his
mastery but because there is such scant
competition. “The 14th Amendment
he told me, “was about the plainest
thing in the Constitution. until the Su-
preme Court got to messing it up a few
years ago. "Cause it merely says that no
state shall deny to any person within
its jurisdiction the equal protection of its
laws. It's a very simple proposition. It's
put in there to keep a state from having
опе law for one man and another law
for another man, or one law for one
group of people and another law for
another group of people, when they are
all in the same set of circumstances.
it means is that a state shall treat
people in like circumstances in a like
manne
The truth is—as judicial history shows
—the Supreme Court got to messing
with the civil rights aspects of the 14th
Amendment within 15 years after it
had been passed in 1868 and had so
thoroughly messed it up by the end of
the 19th Century, with separate-but-equal
and a host of other racially oppressive
Tulings, that it took another lifetime to
straighten it ош. Meanwhile, the 14th

doing too much.

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228 viously 1

Amendments due-process and equal-
protection guarantees had been perverted
primarily to the protection of laissez-faire
commerce. The Hth has never been “a
very simple proposition

Because he didn't know how long he
could stay there, Ervin went through
Harvard Law School backward—third
year first, then second усаг, then first—
“And sometimes.” one young Washir
ton civil rights lawyer has observed, “
sure docs show." There are other

it

tion of Fed

ral powcr—he calls it "the
processes of death"—that Er has been
willing to pervert principles to
Strengthen state. government, which, at
Teast in the South, is "opposed to" Wash-
ington. Thus, while he harangues against
the spread of Federal wire tapping,
he favors the spread of wire tapping
by state police. Ervin's office, how
ever, carefully stipulates that he endorses
this procedure for capital-crime investi
gations only.

His dislike for labor unions has also
distorted his judicial logic. When civil
ights legislation was being fought over
in 1961, Ervin wanted to require jury
trial in alb civil rights s—which
would be an almost certain way of get-
ting white defendants off in the South
— because “I am а great believer in. and
a strong advocate of, the right of trial by
jury, because I believe the right of trial
by jury is, in the ultimate analysis, the
only protection the people have against
tyranny.” Nevertheless, when he was on
the North Carolina supreme court, in
at least two cases involving the struggle
of labor unions to organize the textile
mills, he voted to uphold ciminal-con-
tempt convictions without jury. Accused
of inconsistency because of these rulings,
he conceded he had upheld a bad law.

In 1969, when the State, чу,
Municipal Employees Union struck the

food services at the U у of North
Carolina at Chapel Hill, Jim Pierce,
the izer (now executive

ional Sharecroppers

und), was one of the ramrods of the
effort. “There were Federal snoops all
over the place. People would come to
nd say, “That's an FBI man over

Hill cop tell me, be careful.
They've got your wi pped.” You
didn't sce Senator Ervin coming to my
rescue in his own state.”

ОГ course, could have been that
Ervin didn't know about it. But Pierce
has a point; even if he had known, he
would not likely have protested the
FBI's spying on а labor stiff. Southern
politicians have generally counted the G
men among their friends, Until the last
half of the Sixties, the FBI was noto-
in its attitude toward civil

rights violations in the South; the char-
acter of the bureau's personnel in that
region was strictly segregationist,
they showed a strange ineptitude
ing lynchings and cases of voter ha
"Tom
ис as
in office,
психе" J. Edgar Hoover
a major FBI office in
pi-
of white supremacy.” In their book,
The Orangeburg Massacre, about ihe
shooting of 30 black students by police
at Orangeburg, South Carolina. in 1968,
Jack Nelson of the Los Angeles Time
ack Dass of the Charlotte, North
Carolina, Observer claim that the FBI
helped cover up evidence and in other
ys impeded the investigation conduct-
ed by the Justice Department.
pparently because of such expr
sions of sympathy toward the бош
plus the fact that Hoover is the Federal
wernment’s foremost advocate of all the
nd-country principles dear to the
t of à he has
been singula consistent in combating
all aspects of Federal snooping.

Yet no portion of the bureaucracy is
so guilty as the FBI of invading individ-
ual privacies, as the stolen files from the
Media, Pennsylv; FBI office have
shown. The bureau that Hoover built
r the dossier future of
country; the FBI is known to be
setting aside more room in its new head-
ashington for “domestic

But, when it was suggested to Ervin that
nd his Senate probe beyond the
Army snoops and include the FBI's
more threatening surveillance of dissent-
ers, maverick politicians and left-wing
professors, he refused on the grounds that
what the FBI was doing was not “Шера
The most pathetic sel-betrayal о!
old man's р

the
rt came late in 1971, when
President Nixon appointed Assistant At-

torney General William H. Rehnquist to
the U.S. Supreme Court. Having been
tormented for so many years by the “judge
made" liberalism of the Warren era, Ervin
was now apparently willing to desert some
principles in order to reverse the

in supporting a conse in was
being consistent. But Rehnquist was more
than a conservative; he seemed to stand.
for several basics that violued Ervin's.
standards of constitutional liberty. He
defended the Government's
lence criticism among
took this stand after
workers signed ап anti-Vietnam petition);
he advocated the forceful crushing of non-
violent. protests; ed that the
courts should in from protecting the
ndividual from surveillance by Govern-
ment spies. All this was on the record
before Rehnquist appeared for approval

before the Judiciary Commiuce, of which
Ervin is а member, Ervin not only ig-
nored the record but when it came his
time to question Rehnquist, he said he
would pass, "because 1 do not want to
be shaken in my convictions" of Rehn-
quist’s fitness. At 75, the wrinkles in the
old ideals are really beginning to show.

There was а time—sa
and 1930, the heyday of
nalism, before F, D. R.
the Federal Government and Eleanor
showed that it was OK for a white lady
to have her picture taken with Negroes
—when Sam Ervin might have achieved
a modicum of greatness. In that period,
it was quite enough for a politician to
have no higher ambition than to prc-
vent things from getting worse; change
was only tolerable and progress was a
radical idea.

That's the way Sam Ervin sees things.
100. And when one stubborn politician's
abhorrence of change serves as a strong-
box for the protection of individi
liberties, the whole nation benefits, not
only in the substantive accomplishment
of embarrassing Federal snoopers but
in the pleasant sight of one oll man
jawing back at the bureaucratic smart
alecks. One should stop there, however,
and be content. To ask for more from
Senator Ervin is to be painfully disap-
pointed. Mankind, to him, сап do no
more than hold its own. All its efforts at
improvement will be futile, if not si

Aside from his father, who t t him

to love his version of the Constitution,
the greatest influ

life was
he says,
and good

c in Ervi
his sister Catherine, who,
"taught me to love poetry
literature.” Like what?
And what especially in Kipling?
like, The Gods of the Copybook Head-
ings, it's one of my favorite poems. It’s a
marvelous poem.”

And Ervin begins to recite Kipli
sneers at the idea of disarm
ling’s ridicule of the distribution of
wealth. Kipling's hoots at the concept of
brotherly Jove, culminating

As it will be in the future, it
the birth of Man—
here are only four things certain
since Social Progress began.
That the Dog returns to his Vomit
and the Sow relurns to her Mire,
And the burnt Fool's bandaged fin;
goes wabbling back to the Fire;
And that afler this is accomplished,
and the brave new gins
When all men ave paid for existing
and no man must pay for his sins.

as at

Destruction. only destruction ahead.
Ervin's eves light up as he chants the
lines, nodding his head. Kipling Anew.
“He told about everything we went
through,” he
pay for his sin:
that now, going back to deficit fi

DUR Drown

“Maam, on behalf of the other patrons, I must
ask you to stop cheering.”

229

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pull up the radio and there’sa
turntable underneath. The whole
unit's in midnight black and
silver. And the speakers stand

on pedestals.

3, The “Cahill,” SE-1099. A
special model with a special trick.
After it shuts itself off, you can
make the changer disappear into
the cabinet. But it's hard to put
away, with the big sound you get
out of our air-suspension speakers
and integrated circuits. We also
have something special on FM.
Asensitive IF stages to let you
pull in distant stations. And linear
scale tuning to keep each station
separate and distinct.

4. The "Arlington," SE-990.
With another kind of stereo.
Cassettes. And everything on this

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everything unit is simple to
operate. Because pushbuttons
work the 4-track cassette system.
Anda VU meter shows you
whether you're recordingat the
right level. Like all our units,

it has solid-state engineering.

Б. The “Lindsay,” SE-3080.
Another “switchie” model. Only
this lets you switch to an 8-track
cartridge player as well as radio
and phono. It even has an
automatic channel selector so
you can choose the one track you
want to hear. Plusa repeat switch
to play the track over and over
again.

1, 2, 3, 4, 5. We even have
6,7, etc. At your Panasonic dealer.
Allofthem are right. But you'll
find one of them is more right for
you than the others.

200 Park Avenue, N.Y. 10017. For your nearest Panasonic dealer, call 800 631-1971. In N.J., 80) 962-2803. We pay for the call. Ask about any model

WINSTON'S
DOWN HOME TASTE!

So Real. So Rich

Jt ton tastes good Winston

FILTER - CIGARETTES

Ике а cigarette should.

King Size and Super King Size. ei Сы

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EA TOBACCO FLAVOR

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