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VIKKI LAMOTTA 


ORIANA FALLACI Q^ $ г A 7 


fa 


> 


DAVID HALBERSTAM 


There comes a time Whgn 
we all want to sit back ай 
get comfortable. And the 
no better way than with the 
fine, easy taste of Southern 
Comfort. 7 
Inspired in the 180051 
old New Orleans, this ууа 
famous liquor is delicious * 
straight, on the rocks, or 
mixed any way you like it. 
It's one of the real comforts 
of life. 


Send gifts of Southern Comfort anywhere by phone. Сай toll-free 800-528-6148 charge to major credit cards. 
Offer void in states where prohibited. Southern Comfort Corp., 80-100 Proof Liqueur, St. Louis, Mo. ©.1980 


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PLAYBOY 


TOO MANY 
LAY DOWN ON 


IT SOLE CRACKED LEATHER 
Gas Station Owner- Troy New York 


SPLI 
Construction Worker- Chicago, Illinois 


If you spend a good part of vour day working 
in a pair of boots, obviously, you depend à lot 
on them. 

Unfortunately, though, most boots don't 
deliver. 

Their problems run from shoddy and uncom- 
fortable construction on the one foot, to no water- 
proofing and no insulation on the other. 

At Timberland! we make what we think are 
the best work boots around. 

Here's why: 

YOU HAVE TO WORK IN RAIN AND SNOW. 

If there’s one time people who save a few 
dollars on a pair of boots really pay the price, it’s 
when it rains or snows. Because most boots won't 
keep you dry. 

But it’s in weather like this that Timberland 
boots really shine. 


Our boots are made of silicone or oil- 


WATER DAMAGE 


Mailman-Des Moines, lowa 


impregnated waterproof leathers. 
To resist rust, we use only solid brass су clets. 
And because any needle hole is a potential 
water hole, we seal every seam with not just one 
coat of latex but two. 
How dry will Timberland boots keep you? 
Well, on a machine called a Maser Flex that 
tests waterproof leathers, Timberland leathers must 
withstand a minimum of 15,000 flexes, twice ULS. 
Military standards. 
WE WON'T LEAVE YOU OUT IN THE COLD. 
It's been estimated that on extremely cold 
days, you lose 80% of your body heat through the 
top ol your head. 


Yet, inev itably, your feet are always the first 
things to go. 

‘To prevent the inevitable, your feet are 
surrounded with a layer of nitrogen filled closed 
cell insulation that'll keeps vour feet warm to tem- 
peratures well below zero. 


WORK BOOTS 
THE JOB. 


Our boots aren’t just better insulated 
than most boots, they’re better insulated than 
most houses. 

OUR BOOTS ARE TOUGH ON THE JOB. 
NOT ON YOUR FEET. 

One of the biggest qualifica a work boot 
must have is an ability to take punishment. 

Timberland’s stand up to whatever you 
dish out. 

Thanks to little things like four rows of nylon 
stitching instead of cotton in all key stress points. 
And big things, like heavy-duty molded soles per- 
manently bonded to the’ uppers so they can with- 
stand a tremendous amount of abuse. 

But there's a soft side to our boots as well. 

It includes leather linings, geometrically grad- 


ed lasts, and a unique, 4-ply innersole construction. 
It results inboots so comfortable they eliminate the 
painful breaking-in period other boots force you 
to suffer through. 

But don't just take our word for it. Step 
into any store that carries Timberland 
boots, and try on a pair. 

They come in a variety of 
styles, for men and women, 


starting at about $60.00. Which, in all honesty, 
might be a few dollars more than you now spend. 

But we think you'll find it's worth spending a 
little more money to get a lot more boot. 


The Timberland Company t 


Available at Vanguard-Open Country. 


o $70, Newark, New Harpe OST 


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PLAY BILL 


WHAT BETTER WAY to warm up on a chilly November evening 
than to pour two drinks and head for your bedroom with 
your lady and Annene Haven? You don't pour Annette 
a drink, of course, because she's not there іп person, though 
she's certainly there in the flesh. On your television screen. 
You say your lady doesn't like Annette Haven? You have 
several hundred more top-quality adultfilm video cassettes 
to choose from, starring such houschold names as John 
Leslie, Samantha nd Jamie Gillis. Yes, we said Mouse- 
hold names. Names now well known in perhaps as many as 
10,000,000 American homes. That's why we asked David Re 
to write Tuning In to Channel Sex, on how the phenomenal 
sales of X-rated home video cassettes have affected the people 
who produce the films and those who watch them. 

And speaking of the tube, when was the last time you 
watched—and enjoyed—a televised regular-season profession- 
al basketball game? Thousands of Americans have become 
disenchanted with the sport that was, until recently, one of 
the biggest draws in sports television. Та The Stakes of the 
Game, by David Holberstam—an article excerpted from his new 
Knopf book, The Breaks of the Game—he shows how high 
salaries, television, league expansion and extra-long schedules 
have altered, perhaps irreparably, the once exciting N.B.A. 
season. The piece is wryly illustrated by Eroldo Carugoti. 

If you're looking for excitement, you'll have better odds 
with brutal one-on-one sports such as in-depth interviews; 
and Oriana Fallaci is unquestionably one of the world's most 
less players. So to do a Playboy Interview with her, we 
ew we required an equally relentless adversary. Robert Scheer 
(he interviewed. Jimmy Carter, Jerry Brown and John Ander- 
son for us and George Bush and Ronald Reagan lor the Los 
Angeles Times) fit the bill. But, even with all his experience, 
Our great American hope landed solid questions on the 
Italian Terror of the Tape Recorder with some difüculty. "Its 
the roughest encounter 1 ever had,” says Scheer. “The best 
way to sum up Fallaci is that she's a somewhat ideological, 
somewhat leftist, somewhat intellectual Billy Martin." 

Writer Chet Flippo, on the other hand, had a soothing time 
in his latest encounter. He visited sexy songbird Crystal Gayle 
for his profile, The Problem with Crystal (illustrated by Herb 
Davidson). Flippo says, "It was the only time I've been able to 
chew tobacco while drinking whiskey in my subject's dressing 
room." (Don't it make his pale face green? 

Fortunately for Jean Vallely, Vikki La Motte, the ex-wife of the 
Raging Bull, isn't partial to cither whiskey or chewing tobac- 
co. Which is probably why Vikki's in such great sl 
as you will read (and sec) in Vallely's portrait of her, Raging 
Beauty (with. photography by Contributing Photographer Ken 
Marcus). Looking at Vikki, it's easy to see why Jake was 
jealous. But then, jealousy is common when a man marries a 
beautiful wom: i с case in our excerpt from Ed McBain's 
new novel, Heat, illustrated by Tom Herzberg. (It'll be published. 
deover by Viking Pr: 

To round out the issu review of Sex in 
Cinema—1981, written by Arthur Knight and produced by 
Senior Editor Gretchen McNeese, our stalwart film critic Bruce 
mson, Senior Art Director Chet Suski, West Coast Photog- 
phy Editor Morilyn Grabowski and Assistant Photography 
Editor Patty Beaudet; a hilarious look at New Magazines for 
the Eighties, by Conuibuting Editor David Standish and Jerry 
Sullivan; the latest in hif equipment in Playboy's Audio 
Update, by Norman Eisenberg; ind lvance look at the best 
in men's sweaters for this winter in Pick of the Knits, by 
shion Director David Platt (photographed by Staff Photog 
pher Richard Ғезісу). Oh, yes, and our Playmate of the Month, 
Shannon Tweed. Now, sie rounds out an issu 


in 


HALBERSTAM 


MC BAIN 


“ 


A ^ 
KNIGHT VALLELY EISENBERG 


= д у =f 


BEAUDET, GRABOWSKI, SUSKI, MC NEESE, WILLIAMSON 


FEGLEY SULLIVAN, STANDISH 


2NO-CLASS POSTAGE PAID AT CHGO., ILL, a AT ADDL. MAILING CFFICES. 


S. зе FOR 


з\з N, MICHIGAN AYE.. CHEO., ILL 
ү, P.O. sox 2420, TOULDER, COLO. B0102. 


PLAYBOY. 


vol. 28, no. 1 I—novernber, 1981 CONTENTS FOR THE MEN'S ENTERTAINMENT MAGAZINE 
ІРПАМВІШЕ Зал а зик LE Re кыл байына еее Ime 5 

THE WORLD OF PLAYBOY ................ eT te ate one n 

DEAR PLAYBOY . 15 

PLAYBOY AFTER HOURS ................. Н 21 

BOOKS 30 


Boja Oklahoma: с ten-gallon tale of winning, Texas style; De Vries’s take-off 
оп corporate women. 


MUSIC chen oo КОЛКОГО О aon 
Alabama's surge in appeal is rocking the world of counir 
bock—once again at the top. 


MOVIES CESS ray сан «ул аре ire sree nin ЫЙЫМ Bd 36 
Finney is supersleuth of horror in Wolfen; Kasdan's Body Heat: fiery and 
melodramatic; D. H. Lawrence s years as Priest of Love—a titillating re-creation 
of the man behind the fiction; personal queries against war in Gallipoli. 


enun. Rx 
Miles Davis is 


son have you on the edge of your seat in Rollover. 


PLAYBOY'S TRAVEL GUIDE ................. STEPHEN BIRNBAUM 53 
How to demand and get help in а travel crisis. 

THE PLAYBOY ADVISOR . Wis S4 

DEAR PLAYMATES ае vewa 063 

THE PLAYBOY FORUM ......... ООо 65 

PLAYBOY INTERVIEW: ORIANA FALLACI—candid conversation ..... 77 


Her compulsive curiosity and driving determination have made her almost as 
famous as the world leaders she interviews. Here, the tables are turned and 
she's grilled on her opinions 


TUNING IN TO CHANNEL SEX—article ............. DAVID RENSIN 110 
Today's erotica industry has come home, via video cassette. But can the 
people who produce adult films upgrade their act enough to satisfy a whole 
new audience? 


BLUE NIGHTS AND HAPPY DAYS ...-.---...-..--..--....- 215 
Con there be still more sexual positions? Will censors monitor your viewing? 
Predictions from a panel of experts including author Gay Tolese, pollster 
Daniel Yankelovich and editor Helen Gurley Brown. 


А BEGINNER'S GUIDE TO ADULT VIDEO CASSETTES .......... 222 


Building up your home library? Here's a selection to get you started. 


RAGING BEAUTY—pictorial essay ............ -..JEAN VALLELY 115 
With her perfect body and contagious zest for living, Vikki La Motta is time- 
lessly alluring. 


GENERAL OFFICES: тїлүпзү BUILDING, нз NORTH ACE MUST ACCOMPANY ALL MANUSCRIPTS. DRAWINGS AND FNOTOGNAPHS 
WF THEY ARE то RE RETURNED ano NO RESPONSIBILITY canm пя ASSUM N SOLICITED MATERIALS. ALL RIGHTS IN LETTERS SENT ТС PLAYBOY WILL BE TREATED AS UNCONDITIONALLY 
TOR PUBLICATION ANE COPYMICET PURPOSES ANE AS SUBJECT TO PLAYOOY $ UNRESTRICTED RIGHT TO EDIT AND TO COMMENT EDITORIALLY. CONTENTS COPYRIGHT © 1981 DY PLAVEC 
оп IM PART WETHOUT миете PERMICSICN FROM THE PUBLISHER. ANY SIMILARITY BETWEEN THE PECPLE AND PLACES IM THE FICTION AND SEMIFICTIOM IN THIS RAGA 

PEOPLE AND PLACES 15 PURELY COINCIDENTAL, CREDITS: COVER; DESIGNED AND PHOTOGRAPHED ÈY ТОМ STAÉDLER OTHER PHOTOGRAPHY BY: J. b. ATLAN | SYGNA. F 


COVER STORY 

There's nothing like а worm, appropriately attired waman to keep а mon home on cold 
November nights. Particularly if she looks like Teri Peterson, our July 1980 Playmate. 
With those exotic brown eyes, Teri radiates romance. Is il any wonder we hod to bring 
her back? Executive Art Director Tom Staebler designed ond photographed the cover. 
In the fabric of his imagination, our loyal Rabbit Head is ever-present. 


THE STAKES OF THE GAME—article .......... DAVID HALBERSTAM 124 
The Pulitzer Prize-winning author spent a year with the N.B.A.'s Portland 
Trail Blazers, during which time he come to see pro basketball in а different 
light: no longer a sport but just another product. 


NEW MAGAZINES 

FOR THE EIGHTIES—humor . .DAVID STANDISH and JERRY SULLIVAN 127 
These comic manuals show you how to get the most out of your diminished 
expectations. 


THE PROBLEM WITH CRYSTAL—personclity ....... .CHET FLIPPO 130 [mE 
She's nct exactly country ond shes not exactly pop. But whatever her style, 
Crystal Goyle mesmerizes us all. 


WE'LL TAKE MANHATTANS—drink ... -EMANUEL GREENBERG 134 


Ап update on а favorite American cocktoil: how to make it and serve it. 


BOSS TWEED—playboy’s playmate of the month ......... ИЗА 
Miss November is our new-found beauty from Canada. She has enough 
glamor to command attention from coast to coast. 


PLAYBOY'S PARTY JOKES—humor ............ 522525500002 148 
PICK OF THE KNiTS—atiire . 


This year, you can choose а sweoter for every mood, every occasion. 


THE 1982 PLAYBOY: MUSIC РОШ asas eer pete aree же 158 
Who are your favorite musicians of the year? Cost your vote. 
[eM em .....ED MCBAIN 162 


In this excerpt from the latest B7th Precinct novel, a young detective nomed 
Kling is obsessed with checking up on his wife. The chase is frenetic, fueled 
by steamy anger and a web of lies. 


SEX ІМ CINEMA—1981—article .......... ....- ARTHUR KNIGHT 164 Eighties Mags 
It was a year in which films ranged from the romantic to the grisly—with 
heavy-handed emphasis on the latter. 


PLAYBOY'S AUDIO UPDATE—article ...... . -NORMAN EISENBERG 178 
Electronics today means more equipment than ever to choose from. This de- 
scription of the best systems around offers you enough information to meet 
your needs, 


WHO'S WHO?—ribald classic . 


PLAYBOY'S ROVING EYE—pictorial 
Photos from Ihe book New York Nude. 


GENUINE RISK—essay ..................... 
А humorous look ot the everyday dangers of life. 

PLAYBOY FUNNIES—humor ..... За ЫН E бе 

PLAYBOY POTPOURRI .... 

PLAYBOY РШЕ eee trent cee AS 


PLAYBOY ON THE SCENE ... 
High Tech cookware; winter's dashing worm-ups--the newest gloves and 
scarves; Grapevine; Sex News. Fine Crystal 


MENARD KLEIN, P. газ, її, 42 (2); MEN MARCUS. P. 5; KERRY VORRIS, P, 8; DAVID REDFERN / RETNA LID.. P. 32, MORGAN RENARD / SYGHA, 
тией P42. NORMAN SEET. P, 32; C SIMON-PIETRI / SYGMA, P. 173, VERNON 1. SMITH, Р, 8 (4); TH'S © B.C. CONCI. INC., пель sto. F CTS 


POPE. Р. Ge: вор POST. P, тан: DAVE SIGRORINO, P. 5); CRAIG SMITH, P. 2495 LER WILLIS. P. за: JCHN ZICLINSKL. P. 240, 
COPYRIGHT s. м. THEORET, JONDO ми CAN EXPRESS CARD BETWEEN P. 16-17; FRANKLIN MINT RECORDS BETWEEN ғ. абат, асли. — 7 


PLAYBOY 


It’s abit more с 


Its ye -clear. Hie 
ive, but for an ccable dry Martini, 
world comes to eem 


PLAYBOY 


HUGH M. HEFNER 
editor and publisher 


NAT LEHRMAN associate publisher 


ARTHUR KRETCHMER editorial director 
ARTHUR PAUL art director 


DON GOLD managing editor 
GARY COLE photography director 
G. BARRY GOLSON executive editor 


TOM STAEBLER executive art director 


EDITORIAL 
ARTICLES: JAMES MORGAN editor: пов FLEDER 
associate editor; FICTION: MICE к. TURNER 
editor; TERESA GROSCAL associate editor; WEST 
COAST: surürN RANDALL. editor; STAFF: 
WAM J. HELMER, GREYCHEN ме NIESE, 
paveicis PAPANCGEUIS. (administration), DAVID 
SIEVENS senior editors: КОРЕЙ F. CARR. WALTER 
LOWE, ]R JAMES R. PETERSEN senior staf) 
writers: WARBARA NELLIS, КАТЕ NOLAN, J. Fe 
O'CONNOR, JOIN REZEK associate editors; SUSAN 
MARGOLIS-WINTER, ТОМ PASSAVANT associate 
new york editors; KEVIN COOK assistant edi- 
101: SERVICE FEATURES: том owes modem 
living edilon; FD WALKER, MARC н. WILLIAMS 
assistant editors: DAVID PLATE fashion director: 
MARLA SCHOR assistant edilor; CARTOONS: 
MICHELLE URRY editor; COPY: ARLENE HOURS 
«шо: CAROLYN BROWNE, JACKIE JOHNSON, 
MARCY MARCHI BARI LYNN NASH, CONAN 
PUTNAM, DAVID TARDY, MARY ZION researchers; 
CONTRIBUTING EDITORS: ASA BABER, STE 
PHEN BIRNIADM (але). JORN BLUMENTHAL, 
LAWRENCE 5. DIETZ, LAURENCE GONZALES, LAW- 
RENCE GROBEL, ANSON MOUNT, PETER ROSS 
RANGE, RICHARD RHODES, JOHN SACK, DAVID 
STANDISH, BRUCE WILLIAMSON (movies) 


ART 
KERG rore managing director; LEN. WILLIS, 
CHEF SUSKI senior directors; BRUCE MANSEN, 
тов гоз, SKIP WILLIAMSON asociate direclors; 
INEO  KOUVATSOS, JOSEPH PACZEK assistant 
directors; BET KASIK senior art assistant; 
PEARL MIURA, ANN SEIDL arf assislantts; SUSAN 
ногметиом trafie coordinator; RARNARA 
HOFEMAN administrative manager 


PHOTOGRAPHY 
MARILYN GRABOWSKI west coast edilor; JEFF 
COHEN, JAMES LARSON, JANICE MOSES asociale 
editors: РАТУУ BEAUDET, LINDA KENNEY, 
MICHAEL ANN. SULLIVAN assistant editors; 
RICHARD FEGLEY, POMPEO. rosak slaf] photog- 
Japhers; WLL ANSENAULT, DON. АЛЫМА, MARIO 

1, DAVID CHAN, NICHOLAS PESCIOSE, PHIL- 
XON, ARSY FREVTAG, DWIGHT HOOKER, 
R SCOTT HOOPER, RICHARD її, STAN MATE 
Хомзы, KEN MAKCUS contributing photogra- 
илы JEAN PIERRE MOLLEY (Paris), LUISA 
STEWART (Rome) contributing editors; JAMES 
Warp color lab supervisor; KOBERT CHELIUS 
business manager 


PRODUCTION 
JOHN MASTRO director; ALLEN VARGO manager: 
MARIA MANDIS ахы, MET; ELEANORE. WAGNER, 
JODY JURGETO, RICHARD QUARTAROLE assistants 


READER SERVICE 
A LACEY-SIRIC manager 


CIRCULATION 
RICHARD SMITH director; ALVIN WIEMOtD sub- 
scription manager 


ADVERTISING. 
HENRY V. MARKS director 


ADMINISTRATIVE 
MICHAEL LAURENCE business manager; YAU 
Lene сете rights & permissions manager; 
MILDRED ZIMMERMAN administrative assistant 


PLAYBOY ENTERPRISES, INC. 
DERICK J. DANIELS president 


Dear Playboy: 

We have heard that Hugh Hefner 
smokes Mixture No.79. 

Would you please let us know if there 
is any truth tothis rumor. 


Sincerely, 
Mixture N19 


ost famous number in pipe smoking 


THE WORLD OF PLAYBOY 


in which we offer an insider's look at what's doing and who's doing it 


JAZZ BOWL Ill 


“I's time we all faced up to it: 
Playboy . . . does things right,” wrote 
jazz critic David Weiss about the third 
annual Playboy Jazz Festival. Some 35,000 
fans packed the Hollywood Bowl, setting 
an early sellout record. In a light mo- 
ment, Ann Pallerson of the all-female 
group Maiden Voyage quipped, “Never 
before has Playboy brought you so 
many women with so much clothing on.” 


Above: As usual, the Playboy Rabbit Head logo is all ears during one of the fes- 
tival’s great moments, the teaming of George Shearing and Mel Tormé. At the 
end of Shearing’s set, Tormé, right, wanders onto the stage to join Shearing, 
seated at piano, for e few sizzling numbers. Bassist Brian Тош stands at Tell. 


Above, Hugh Hefner completes a rather 
unlikely jazz trio backstage. On Hef's left 
are saxman Richie Cole and festival emcee 
Flip Wilson. (Well, you didn't think it was 
Lambert, Hendricks and Ross, did you?) 
Cole's tour de force was a punchy send- 
up of Stormy Weather, rewritten as an 
ode to jazz critic Leonard Feather. 


At right, legendary be- 
bopper Dizzy Gillespie 
fills his ample cheeks 
to blow his trade- 
marked. elevated-bell 
trumpet. Dizzy and 
an all-star combo of 
James Moody, Ray 
Brown and Lalo Schif- 
rin delighted the mas- 
sive audience (above). 
One festival fan: copa- 
cetic Cary Grant (left). 


THE WORLD OF PLAYBOY 


GEORGE, MIKI AND THE COEDS: TAN FOUR 


Suntan sultan George Hamilton and January 1973 Playmate Miki Garcia (in shawl), 
now Director of Playmate Promotions, judge the tans of coeds Andrea Rolston 
(left) and Lori Lawlor at Theta Xi fraternity's Suntan Classic Competition at UCLA. 


HE ONLY HAS EYES FOR 
MONIQUE . . . AND BETTE DAVIS 


Above, 1979 Playmate of the Year Monique 
St. Pierre beams at her husband, vet- 
eran recording engineer Val Garay, 
whose skillfully produced Kim Carnes 
Mistaken Identity album, including the 
superhil Bette Davis Eyes, topped the 
charts earlier this year. Garay has 
since produced The Motels’ new album. 


KYM HERRIN COVERS THE 
WATERFRONT, SO TO SPEAK 


Kymberly Herrin, this year's Miss March (be- 
low), showed up on the August cover of Surf- 
ing, which also carried an article about the 
surfing Playmate in its September issue, 


LOOKS LIKE GEORGE GOT HIS CHRISTMAS WISH 


George Burns must have heard that people judge a man by the company he keeps. 
Here he's surrounded by singers from The Playmates on George Burns’ Early, 
Early, Early Christmas Special, coming November 16 on NBC. The Playmates 
are, from left, Heidi Sorenson, Kelly Tough, Michele Drake and Sondra Theodore. 


WHAT WE LIKE MOST ABOUT 
CLEVELAND: EVERYTHING 


In the movie Blow Out, April 1979 Play- 
male Missy Cleveland showed up in a 
shower scene. Here she shakes it up in a 
shot from her latest film role in the United 
12 Artists killer thriller True Confessions. 


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Once you've tasted Leroux, 
no other schnapps will do. 


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International 
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PLAYBOY 


Step 


Ч jar. 
7 
5, уу * Get out and enjoy life. It 

=== takes on a whole new beauty 

„from a pair of durable 5 
“Dexter Norwegian Walking 

athers, a special design and 

natural Vibram® soles carry you every step of 

the way in pure comfort. Try them out. 


J IKI Dexter Shoe Company, 31 St. James Avenue. Boston, MA 02116 


DEAR PLAYBOY 


ADDRESS DEAR PLAYBOY 
PLAYBOY BUILDING 
919 N. MICHIGAN AVE. 
CHICAGO, ILLINOIS 60611 


CAPITALISM, BY GEORGE 

August's Playboy Interview is the best 
in years! George Gilder's thoughtful and 
often brilliant defense of the conserva- 
tive cause sharply brings into focus the 
main philosophical tenets of the neo- 
conservative movement. 
Larry С. Sharp 
Wake Village, Texas 


When Gilder speaks of circles dosing 


in upon themselves, he should keep 


watch over his own shoulder—especial 
ly ard to women’s roles in con- 
temporary life. He expounds on the 


value of our ever-changing human capa- 
bilities, then. proposes that we struggle 
in а hard backward motion to restore a 
society that rusted and weakened long 
ago. Gilder's ideas suggest that the аш- 
tudes we all define for our own lives 
should be replaced with the old sterco- 
typed formula we have all watched f 
Grow to sexual maturity; marry a mem- 
ber of the opposite sex: men get jobs 
women have babies: live happily ever 
after. That old-time religion should be 
wrapped up and stored away 

Cary Murphy 

Los Angeles, Calilorn 


а 


My compliments to Michael Laurence 
for a fine interview. I only hope the cur- 
rent Administration will lend an ear to 
Gilder's Wealih and Poverty. 

Dr. Peter A. Bassett 
Denver, Colorado 


I read with interest your interview 
with George Gilder, who is a brilliant 
and talented man. However, his refe 
ence to man’s sexual experience is an 
oversimpli n. Male sexual 
plex both 
of expression. The average male mani 
fests femininity mingled with his pre- 
dominant heterosexual drives, and they 
combine to form a mosaic. Indeed, an 


LL. 60611. SUBSCRIPTIONS: їн THE UNITED STATES AND 
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intricate balance of these ck 
part in the ultimate stability of per- 
sonality, As water be converted into 
steam, so some sexual energy can be 
diverted or sublimated into creativity. 
Man's capacities to live and work har- 
moniously with his fellow man and to 
form compassionate and civilized rela- 
tionships are the products of sublima- 
of the more feminine clements of 
personality. Gilder’s statement that 
man's sexual experience revolves around 
a heterosexual act of copulation is, in 
my opinion, a gross underestimation of 
the complexity of the creature's sexual 
constitution. 


ents plays 


Dr. Harold Feldman 
London, England 


After eight years as а subscriber, 1 am 
compelled by your August interview to 


comment lor the first time. Both the 
interview and Gilder himself are breaths 
of fresh air in a stagnating world 


jel H. Callahan 
Springs, New Yi 


The Gilder interview is exceptio 


ally enlightening. His ideas arc clear- 
ly presented and it makes me feel good 
to have a man of such clear mind 


so near the President. І must take cx- 
ception, however, to his assertion. tha 
ional self-interest is not the founda- 
tion of capitalism or of any economic 
growth under any circumstances. To 
that "people pursuing ra 
interest demand comfort and security 
is only half correct. ОЁ course the ra- 
tional man wants comfort, but he knows 
u s Hecate chanted іп Macbeth, 
“security is mortals’ chiefest enemy 

He knows that the greater his security, 
the less freedom he has economically as 
itually. lt is he who functions 
through rational planning, understand 
ing that there must be risks, and thereby 
employs his creative energies toward 


well as sj 


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economic growth and development for 
himself and for the community. Ration- 
al self-interest is the foundation of 
capitalism and of all economic growth. 
Jim Leahy 
Azalea, Oregon 


The interview with conservative icon 
George Gilder is an odd combination of 
bullshit and bull’s-eyes. АП in all, though, 
I must say I'm impressed. Thanks. 

Steve Anderson 
North Hollywood, California 


RANGE TO THE RIGHT 

Peter Ross Ranges Inside the New 
Right War Machine (rLavroy, August) 
is, I fear, a terribly accurate picture of 
the people who are coming to power as 
the old left stands by, wringing its 
hands. I do hope rtAsov keeps up the 
resistance during the coming years, and 
keeps 1987 simply a great novel and not 
a prophecy. 


Jack Haw 
Chattanooga, Tennessee 


Let's face it! The left has failed, has 
run out of ideas to pull the country out 
of the hole liberals themselves dug. / 
Americans abandon the left wing їп 
droves to support the more re 
right, leftists storm around, screaming, 
“Олай! Un Theyre wrong. 
Choosing conservatism is making the 
only choice that will get us off the road 
to socialism. 


Whit Snyder 
Portland. Texas 


I am a lifelong Democrat who has 
been a delegate to two national Demo- 
cratic Conventions, has served on the 
National Finance Council of the Demo- 
cratic Party and was a member of 
President Carter's North Carolina steer- 
ing committee in both of his campaigns. 
Nevertheless, like the majority of North 
Carolinians, I regard Republican Sen- 
ator Jesse Helms as a man of integrity. 
Peter Ross Range, in Inside the New 
Right War Machine, portrays Helms as 
some kind of cross between Hitler and 
Attila the Hun. That isn’t the case. The 
Senator merely tries to defend what he 
believes is right. I belong to the oppos- 
ing party, but I still admire Helms's 
courage in fighting for his principles. 

Hoover Adams, Editor and Publisher 
The Daily Record 
Dunn, North Carolina 


FINE PERRINE 

Valerie Perrine is a Superwoman! Stan 
Malinowski's Viva Valerie! (pLaysoy, Au- 
gust) brings down the house. How about 
а Viva Valerie IR 


Eric Mitts 
North Bend, Oregon 


The only way you could have im- 
proved August's рглувоу would have 


been to devote the whole issue to Valerie 
Perrine. 1 have always been a fan of 
hers, but after reading Viva Valerie!, I've 
fallen in love. Not only is she one of the 
most beautiful creatures on earth or 
Krypton, now I discover that she's got 
and wonderful personality, too- 
Joe Eori 
Baytown, Texas 


I can sce Valerie Perrine’s point when 
she says being sexy is temporary. How- 
ever, I can't understand how it can 
bother her when people say she’s sexy. 
Valerie is one of the most beautiful 
women around, and she's an excellent 
actress as well. 1 hope she doesn't get 
upset by this, but Miss Perrine is sexy 
a5 hell and always will be. 

Harvey Glassman 

Brooklyn, New York 


Miss Perrine makes for the most elec- 
tilying cover PLAYBOY has ever pro- 
duced. Not only is she gorgeous, she's 
also a multifaceted screen gem. Thanks 
for Viva Valerie! 


Jim Brookshire 
Paris Junior College 
Paris, Texas 


BOOSTS FOR BOOSTROM 
I don't see how you did it, PLAYBOY, 
but in Debbie Boostrom you've sur- 
passed every past Playmate! ‘Thanks for 
the exquisite centerfold. I can't wait to 
see Debbie again as Playmate of the Year. 
Jack Constangy 
Atlanta, Georgia 


Debbie Boostrom is an incredible girl. 
If she ever again decides to cover the 50 
states, here's one guy who'd be thrilled 
to drive her around the Carolinas. 

Richard Р. Collins, Jr. 
Chester, South Carolina 


I had the pleasure of mecting your 
lovely August Playmate, Debbie Boo- 
strom, on the Fourth of July at the St. 
Petersburg Playboy Club. ‘The lady ex- 
udes poise and charm. She is, indeed, 
the embodiment of the girl next door, 
and meeting her was the highlight of my 
summer. Tell Debbie thanks for putting 
Largo, Florida, on the map. 

Fred W. Holder III 

Clearwater, Florida 


ns! You have found 
the all-American woman in Debbie 
Boostrom. Debbie upholds traditional 
values in an admirable fashion and she 
also has a number of physical assets she 
upholds quite well. 

Dave Dragomer 

Grosse Pointe Park, М 


Congratulat 


higan 


August Playmate Debbie Boostrom is 
a welcome and familiar face to me. She 
was a schoolmate of mine at Largo High 
School. Although I never knew her well, 


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I always admired her beauty and poise. 
Regrettably, | had to leave the Sun Belt, 
but Debbie is a reminder of Florida 
sunshine, and seeing her again will make 
a long Ohio winter much more tolerable. 
Steven Trimble 
Springfield, Ohio 


"Thanks so much for Miss August, Deb 
bie Boostrom. She's the most charming 
and g girl I have ever had the 
pleasure of seeing in any magazine. Let's 
make a deal: J will extend my subscrip- 
tion one year for every additional pic- 
ture you can publish of her. 

Steve B. Richter 
Brooklyn, New York 

Steve, we agree Debbie is a grand 
prize, so we're sending a special shot of 
her. This ultrahigh-tech photo, indis- 
tinguishable from any other, is really 


thousands upon thousands of tiny pic- 
tures of Debbie. Isn't it a thrill to be 
our first 37881) Century subscriber? 


VITAL STATISTICS 

As а longtime subscriber, I have al- 
ways enjoyed the monthly Playmate Data 
Sheet. Since Ив inception. more than 
four years ago, the Data Sheet has al- 
lowed the рїлүвоү reader to find out a 
little more about each Playmate. From 
the July 1977 Playmate, Sondra Theo- 
dore, to the August 1981 Playmate, 
Debbie Boostrom, there have been 50 
PLAYBOY Playmates. With the informa- 
tion provided on their Data Sheets, I 
have compiled a statistical analysis of 
the measurements, height, weight, birth- 
place and trologi al sign of the average 
Playmate. 66. H inches tall and 
measurements 
.70-36.64. Hn is most likely 
(there are eight Libras, 
but, interestingly, there are no Playmates 
born under the sign of Taurus) who was 
born in California (13 of the 50 Play- 


mates are native Californians). Keep up 
the good work, PLAYBOY, of providing 
beautiful ladies; we statisticians will help 
keep track of the figures. 
James P. Feehan 
Seattle, Washington 


QUICK RETORT 

Thank you for mentioning our Retort 
Aluminum Pouch in your recent article 
les to Go" (informed Source, 
PLAYBOY, July). We certainly feel that 
the pouch is the greatest innovation in 
food preparation since the can—it saves 
е and energy and makes available 
h-quality food to suit the PLAYBOY 
icstyle. 


Jack M. Sable, President 
Sky-Lab Foods 
Elmsford, New York 


PORN INNOCENT 
Please extend my warmest thanks to 
Christie Hefner for August's illuminat- 
ing By Sex Possessed. In crystalline 
fashion, she differentiates the misguided, 
undiscerning crusade against all eroti 
cism from the justified antagonism 
toward violent and violen: jainst- 
women pornography. I hope Miss Hef- 
ner will reach the broadest possible 
audience with her considered and ra- 
tional Viewpoint. 
Daniel Charles Weiner 
University of Wisconsin 
Madison, Wisconsin 


hank God for Christie Hefner's Au- 
gust Playboy Viewpoint: By Sex Pos- 
sessed. 1 am a happily married woman, 
25 years old, and I'm not ashamed or 
afraid to admit that I enjoy "porno- 
graphic,” erotic and explicit materials. 
What I do not enjoy is hearing one of 
the misguided moralists suggest that, be- 
cause J feel as I do, J must be sick, ab- 
normal or lacking in self-respect. 1 do 
not enjoy having my constitutional 
rights threatened, my privacy invaded, 
my freedom to make choices restricted or 
my moral character questioned by those 
who submit to fear, repression and pui 
tanical guilt. I agree wholeheartedly with 
Miss Hefner. I do not believe that por- 
nography leads men to rape any more 
than I believe that watching too many 
Westerns leads men to become cowboys. 
Donna J. Kriss 
Hicksville, New York 


My compliments to Christie Hefner 
for her fine August Viewpoint. I support 
the necessary preventative measures— 
economic, social and law-enforcement— 
that will make our cities safe for women 
and men. Banning or burning erotic 
books, magazines and movies is not 
among such measures. 

Howard Lederman 
Royal Oak, Michigan 


Christie Hefner's reference to Deirdre 
English's belief that we need women 
eroticists has encouraged me to send 
you a bit of my work. Your readers 
should know that many female artists 
are dealing with "erotic" themes in a 
healthy and even playful manner. 

Joan Le 
Monsey, New York 

Joan Lesikin has had her art displayed 

in the Eastern U.S. and in Spain. This 


“Е Series Sketch” is a healthy example 
of her work. 


FIG NEWTONIAN 
Jean Shepherd has outdone himself 

with August's A Fistful of Fig Newtons. 
I was rolling on the floor as Shepherd 
brought back my own slovenly college 
existence. I finished the story at two A.M. 
and took to the street, rolling in the 
wake of my own laughter, looking for an 
all-night grocery store that sold the 
precious Fig Newton. 

John Angelo 

Manchester, New Hampshire 


SUMMERY JUDGMENTS 
Summer: A Celebration (rLAvnov, Au- 
gust) is a superb piece of work, in both 
photography and writing. Congratula- 
tions on a super feature. 
Harvey Neptune 
Port Lavaca, Texas 


Your pictorial on “The Girls of Sum- 
mer" surpasses the usual PLAYBOY stand- 
ard of excellence. There is one thing I 
find quite strange, though. That odd 
water fountain on page 107 looks just 
like a parking meter. Jt must have gone 
through some radical changes between 
the time your lovely lady put her quar- 
ter in and when she bent over to take a 
“Jong drink." 

Ronald Abraira 
New York, New York 


"The Girls of Summer" are, indeed, 
spectacular. Yet I seriously doubt that 
our friend in the short blue shorts will 
ever get "a long drink of water" out of a 
parking meter. Beautiful she is, but not 
magical. 

Jack Duco 
San Francisco, California 

Not only did that confused beauty in 
the blue shorts go thirsty—she got а 
ticket for parking by the fountain. 


Head for the top. Head fora Canadian 

so good, it takes the efforts of four 
distilleries from Manitobato Quebec 

to make the superb taste of one great whisky. 
Lord Calvert: The Lord of the Canadians. 


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RCA's new SelectaVision 650. 

Now you can watch what you 
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PLAYBOY AFTER HOURS 


PRESENT PERFECT 


If you've had it with psychological 
fads, here’s an interesting bit of infor- 
mation, allegedly offered in jest by an 
anonymous member of the Western Psy 
chological Associatio: 

“Growth Center Repair Service: For 
those who е had too much of Esalen, 
Topanga and Kairos. Tired of being 
genuine all the time? Would you like to 
learn how to be a little phony again? . 
Have you disclosed so much that you're 
beginning to avoid people? Have you 
touched so many people that they're all 
beginning to feel the same? . . . Like to 
be a little dependent? Are perfect or- 
gasms beginning to bore you? Would 
you like, for once, not to express а feel- 
Or, better yet, not be in touch with 
it at all? Come to us. We promise to 
relieve you of the burden of your great 
potential. 


LIGHT MY FIRE 


Who says rock 'n' roll isn't as exciting 
as it used to be? Guitarist Willem 
Suang of the punky British band 
Splogdeness Abounds recently shook up 
an audience when the fire-breathing 
stunt he was attempting backfired and 
set his head on fire. Before Strang could 
light up the life of any of his fellow 
band members, beer and wet towels were 
tossed onto the smoldering strummer’s 
noggin. He then performed two more 
songs before being taken to a hospital 
t Great Yarmouth, England, where he 
was treated and released. Rumor has it 
that his band will score the next Richard 
Pryor film. 


SENILE SHOOT-OUT 
An argument between two residents of 
a Cleveland apartment house erupted 
in violence—apparently the culmination 
of an old grudge. After a heated ex- 
change, they returned to their respective 


apartments and emerged with pistols. 
Although 12 shots were fired and the 
combatants stood only five feet apart, no 
one was hurt. Police reported that one 
of the gun fighters, aged 77, needed a 
cane to prop himself up while firing 
and the other outlaw, aged 76, had dif- 
ficulty geuing a bead on his target due 
to failing eyesight. We believe the argu- 
ment was over a woman. 


LEST THEY FORGET 

While NASA workers were busily pre- 
paring for the launch of the first space 
shuttle, the major networks had work. 
men constructing semipermanent view- 
ing structures near the pres site, 
overlooking the shuttle launch pad at 
Kennedy Space Center. All but АВС, 
that is. Its spacious building was near 
completion when someone noticed that 
its large plate-glass windows were facing 
the parking lot, 180 degrees away from 
the launch pad. A large crane was called 
in to flip the building around, but not 


before a large red arrow pointing in the 
correct direction appeared—for ABC's 
benefit—on the side of the nearby CBS 
building. Above it was written one word: 
LAUNCH. 


THOSE MEN IN BLUE 

While walking his beat around mid- 
night, a San Francisco cop noticed two 
men in a parked car, lustlully going 
alter each other. Their amorous engage- 
ment was not exactly an uncommon 
sight in that city and the tolerant officer 
merely knocked on the car door, sug- 
gested they go home and resume their 
fun and “Be a little more discreet, OK?" 
Ah, but one of the lovers told the cop 
to bug off, fumbled through his clothing 
and flashed a police badge. His com- 
panion turned out to be a deputy sheriff 
for the city and county of San Francisco. 
It appears the police do stick together. 


SENDINTHE CLOWNS 

We all know that Alexander Haig is 
one funny guy. During a recent state 
dinner to honor Japan's prime minister, 
United States Senator Spark Matsunaga 
of Hawaii found out just how amusing 
Haig can be. "My wife and I kept won. 
dering why in the world, when I'd talk 
to Senator Jackson or someone, a State 
Department aide would escort us back to 
the Japanese contingent,” Spark re- 
counts. Before he knew it, the Senator 
was herded into a room along with all 
the Japanese guests, where they were 
greeted by Haig himself. 

After introducing himself to the Jap 
anese prime minister's group, Haig ap- 
proached the Senator and welcomed him 
to the United States. A bemused Mat- 
sunaga put on his best Tokyo Joe Jap- 
anese accent and told Haig that it had 
been his pleasure to vote for Al's con- 
firmation in the Senate. 

Haig was dumfounded. “You should 


21 


PLAYBOY 


22 


have seen his face,” Matsunaga laughs. 
Haig still didn’t catch on ший а Jap- 
anese visitor identified the Senator to 
the Secretary of State. Haig was speech- 
les. That's OK, Al. All those Senators 
look alike to us, too. 


JOCK BITCH 


A scientist in a Punch cartoon an- 
nounces, “They're developing a new 
bomb which destroys human life but 
leaves disc jockeys untouched.” Mort 
Sahl talks about passengers on a sinking 
ship who decide to save themselves in 
reverse order of social value and get 
into a fight over whether a disc jockey 
or a used-car salesman goes first. In the 
Shoe comic strip, a girl whose mother is 
doing ten years for grand theft auto, 
whose father ran off with the Avon lady 
and whose brother steals money from 
his kids for muscatel asks for advice on 
how to tell Mom she's dating a disc 
jockey. 

You may laugh, but radio activist New 
York disc jockey Pete Fornatale is mad 
as hell, etc. Fornatale cites those slurs, 
and dozens of others from all corners 
of the media, as evidence of the low re- 
gard for his “misunderstood and ma- 
ligned" profession. Debunking the myth 
that djs are considered loud and ob- 
noxious, Fornatale contends that djs 
get needled because, as local talent ply- 
ing a nonvisual medium, they occupy 
the low rung on the celebrity ladder 
and therefore make an irresistible target. 
for cheap shots. 

Fornatale prefers to think of disc 
jockeys as "electronic companions" and 
in the book he has co-authored, Radio 
in the Television Age, cites such in- 
stances of redeeming dj. social value as 
the Baltimore jock who ran an on-the-air 
dating service, the San Diego d.j. who 
answered high school kids’ homework 
questions, the Philadelphia jock who 
read to blind listeners such hard-to-hear 
adult works as Fear of Flying and The 
Joy of Sex and the New York announcer 
who illustrated the dangers of drunk 
driving by downing a filth of Scotch on 
the air. 

Fornatale is dedicated to turning the 
tables on those negative stereotypes, and 
you can help by sending d.j. media slurs 
to him at WNEW-FM, 655 Third Ave- 
nue, New York, New York 10017. If we 
all pitch in, perhaps the day will come 
when disc jockeys, like other minorities 
that have blocked cheap shots, can walk 
with heads held high, tell their children 
how they earn a living and maybe even 
make the bossest solid-gold time slot of 
them all, that of a disc-jockey Pope. 


HOLLYWOOD BABBLE-ON 


No doubt about it, some Hollywood 
film makers are just plain classy. Here's 
director Michael Winner describing a 
scene in the upcoming Charles Bronson 


film Death Wish II, wherein Bronson's 
daughter, still catatonic from her gang 
rape in the first film, is kidnaped by a 
new gang of thugs and taken to an 
abandoned warehouse: “$һе'з what you 
might call rape prone. She's also apt to 
get splinters in her bottom from the 
wooden floor. Later, she's impaled. She 
has what you'd call a rotten day." 

P.S. Winner isn't afraid of a feminist. 
backlash. "The more outraged they are, 
the more money 1 make. When they're 
not outraged, the film goes right into the 
toilet." 

Here's wishing you the sweet flush of 
success, Mike; you certainly deserve it. 


CHECKING IN 


Jamie lee Curtis has appeared in so 
many recent fright flicks (“Halloween,” 
“Prom Night,” “Terror Train,” “The 
Fog" and the upcoming “Halloween II") 
that she's been dubbed the new queen 
of the horror genre. Of course, she al- 
ways plays the good girl. David Rensin 
met with the daughter of Tony Curtis 
and Janet Leigh in a Los Angeles sushi 
bar. His report: “Her screams are music 
10 my ears." 

PLAYBOY: What really scares you? 

curtis: Horror films. 1 never go. I loathe 
them. I just don't like being scared. I 
don't like something jumping out at me. 
It's got nothing to do with gratuitous 
violence or anything. I don't mind seeing 
heads thrown around. I don't mind see- 
ing blood coming out of someone's 
mouth. I don't mind seeing things in 
eyes—well, I mind it, but I can watch; 1 
can watch Linda Blair's head turn 
around. But if I was walking down the 
hall and someone went “Boo!” I'd hate 
that. I'd absolutely die. 

PLAYBOY: Do you sleep with a night 
light on? 

curtis; No. Actually, 1 sleep with a bas- 
set hound between my legs. And I have 


а cockapoo. I'm very well protected. 
PLAYBOY: You're 28. Your generation 
has been called blank. Do you agree? 
curtis: When I grew up, 1 had nothing 
in common with anybody. There was 
nothing binding us. No force, no impor- 
tant music. We had Shaun Cassidy. 1 
mean, no offense to Shaun—because I 
knew him, went to school with him. But 
we had nothing. I mean, if we all went 
out to dinner, say five people, we'd have 
nothing to talk about to get us excited. 
No music, movies. Disco. What else did 
we have in the Seventies? 

FLA¥BOY: Do you jog? 

curtis: I just drove by a bunch of run- 
ners on the way here. It gets me very 
spaced. So instead of running, I just 
drive by. My heart gets going, you know, 
trying to dodge the runners. Cardiovas- 
cularly, it's better exercise. 

PLAYBOY: Ever been asked to do any- 
thing in a script that you wouldn't? 
curtis: Jiggle shots? Bouncing up and 
down? Yeah, I've been asked to take my 
clothes off a number of times. Somebody 
once realized I had гиз. [She cups her 
breasts in her hands. Writer swallows a 
piece of sushi whole.] They'd never seen 
them before, because I always played 
the little 16-year-old. But once there was 
a picture of me somewhere and my tits 
were showing. And my agent got all 
these calls like, "Hey, hey, hey. Boy, 
oh, boy! The girl's got tits!” I play 
strong, independent, intelligent wom- 
cn, not миси who take their clothes 
off. I don't swear too much or walk 
around in Dittos and T-shirts, either. 
PLAYBOY: In most recent horror movies— 
especially the ones such as Halloween 
and Prom Night—there seems to be an 
implicit, subliminal message to kids: 
You fuck, you die. 

curtis: In Halloween, it was not intend- 
ed that way. What we dealt with there 
was sexual repression. If there's any 
message in the film, it's that Laurie's 
losing her virginity is her way of coming 
out. In Prom Night, the litde virgin on 
the locker-room bench says no. But she 
gets it, anyway. Look, 1 think young 
people are going to fuck if they want to, 
and I don't think anyone's going to stop 
them. I mean, good girls do it all the 
time. I was very good until I was 18—and 
then I got better. I went through high 
school intact. But I've got to tell you, 
there was a lot of never-ending pressure 
to give it up and I understand it's get- 
ting worse and worse. 

PLAYBOY: Should women be more care- 
ful these days? 

curis: 1 think women should always be 
careful. They're just naturally in a more 
vulnerable position when it comes to 
any sort of sexual thing. I'm sorry, but 
it's natural It's primal, that dynamic 
between men and women. A lot of wom- 
en's groups have asked me to make 
comments about women and violence. 
The violence is real, of course, and in 


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26 


The current Administration has 
made clear its intention to provide 
America with the most expensive de- 
fense establishment since the previous 
Administration. By 1984, the Penta- 
gon will be ordering the following 
military-industrial complexities, cost- 
ing more bucks per bang than ever. 
Golly, we're never gonna find our- 
selves on the short end of the spend- 
ing gap again? 

SILO SILOS, FLUKED NUKES AND RED- 
woop MISSILES—As the MX “shell 
game" becomes vulnerable shortly 
after its completion, new missile cos- 
tuming must be designed. Silo Silos, 
located on farms, will house MIRV'd 
missiles in mundane grain-storage fa- 
cilities. Fluked Nukes, genetically en- 
gineered gray whales, will each have 
a second blowhole for launching a 
you-know-what. Giant redwoods will 
be hollowed out, equipped with en- 
gines and topped with leafy war- 
heads; besides fooling the Russkies, 
this will protect the trees from the 
Secretary of the Interior and prevent 
them from giving off any more air 
pollution. Cost: 125 trillion dollars. 

1.5.5. CONSTITUTION—After its stun- 
ning achievement in de-moth-balling 
World War Two battleships, the 
Navy rehab program will speed to 
its logical conclusion. Old Ironsides 
is not dependent on oil; she makes no 
propeller noise for enemy subs to 
track; the guidance system for her 
cannon balls cannot be jammed by 
sophisticated electronics. Cost: 17.76 
billion dollars (her sails will have to 
be custom-made). 
WANK-LASERS—K.G.B.  seductresses 
killed їп sexual entrapment have 
victimized American military attachés, 
British diplomats and West German 
statesmen. Well, now it's Mata Hari- 
vitch. who'll get burned with a new 
laser implant triggered by the pros- 
tate gland. Especially virile, exhibi- 
tionistic agents will find their 
Wanks useful in a surprising variety 
of situations. Caution: Extreme care 
must be taken to aim properly and 
avoid premature triggering, or pain- 
ful embarrassment could occur. Cost: 
$22,000,000 to $45,000,000, depend- 
ing on the caliber of the agent. 

CHRYSLER “GREEN BLIZZARD” K- 
TANK— Ihe Army's new main battle 
tank will be protected by layers of 
surplus Imperial and Cordoba bump- 
ers. The K-Tank's primary armament 


THE 1984 
PENTAGON BUDGET 


will be a 120-millimeter blowgun that 
buries targets in a violent flurry of 
$1000 bills. Cost: varies according to 
options, trade-ins, dealer prep and 
local taxes. 

BBC SATELLITE SOFTENER—Copro- 
duced with Her Majesty's Psychwar 
Service, this hunter-killer satellite will 
seek out Sputniks and beam Master- 
piece Theatre reruns at them until 
their onboard computers are ren- 
dered senile. Cost: $350,000,000, plus 
residuals. 

MESON BOMB—The ultimate anti- 
personnel weapon; it can be safely 
dropped on battlefields where our 
own troops are present. Its specially 
coded radiation affects only those 
mammals who can't give NATO's 
secret Free-Meson handshake. Cost: 
$500,000,000 initiation fee, plus 
$250,000 quarterly dues. 

TSE-TSE  STOLICHNAYACOCCUS— T his 
new strain of mosquito may be the 
key to defending Europe against 
Soviet hordes. Its sting contains a 
hormone that renders vodka toxic, 
bringing an acute potato fever with- 
in 40 minutes. The victim becomes 
dizzy, nauseated and tearfully senti- 
mental about the czar. Cost: $12,000 
per liter bottle of mosquitoes. 

CARIBBEAN CRUISE MISSILE—A great 
nuclear package deal. One warhead 
will zigzag its way to seven unfor- 
gettable stops along the coast of Cuba, 
taking a little piece of each with it 
forever. Cost: seven and а half bil- 
lion dollars for one, or ten billion 
dollars for a couple. 

DICKENS & FENSTER MISSILE-KILLER 
WRENCH—As а clumsy repairman dis- 
covered in a Titan missile silo, an 
ICBM can be obliterated by drop- 
ping a wrench onto it. The D&F Mis- 
sile-Killer Wrench will resemble a 
standard-issue Commie wrench but 
will have a silicone-treated superslip- 
pery handle. Thousands will be 
smuggled into enemy territory by the 
CIA, with devastating results. Cost: 
$2,400,000 up front, plus film, TV 
and novelization rights. 

SEDUCTIVE SERVICE REGISTRATION— 
Experimental techniques must be pi- 
oneered to increase compliance with 
draft registration. Nevada's Mustang 
Ranch Registration Station will spe- 
cialize in making compliance a pleas- 
ant, fully contemporary experience. 
Cost: $25 a head, $50 for full-body 
registration. —LENNY KLEINFELD 


the sense of those maniac-type movies. 
they're right. But I also have to disagree 
with these groups somewhat about the 
movies' exploiting the violence against 
women. Or creating it. It's primal. No 
one twists people's arms and makes them 
see these movies. The simplest thing 
would be to give them an X rating. The 
kids couldn't go and the movie wouldn't 
make money. But I wouldn't censor 
them. ] believe in the volcano theory. 
Little tremors release lots of pressure. 
Repression, on the other hand. . .. 
PLAYBOY: Which of your parents told 
you about sex? 

curtis: My mom, Im sure. I have a 
terrific mom. I told this once on The 
Tonight Show and got yelled at for say- 
ing it, but I guess I can say it again: 
"The day I lost my virginity, I told my 
mother right afterward. We were that 
open about it. 

PLAYBOY: What happened? 

curtis: She cried. said, “Pretty great. 
Are you all right?" I said, "Yeah! I'm 
gonna go now. I want to do some 
more!” We've been real open ever since 
1 was young. 

PLAYBOY: Ever think your boyfriends 
were more interested in your mom than 
in you? 

curtis: Maybe in my parents, in gen- 
eral. I was pretty cute. 

PLAYbov: Do you think your dad is un- 
derrated as an actor? 

CURTIS: My mom, too. Actually, under- 
rated is the wrong word. It's a very 
hard business. And growing old in it 
is hard, especially when you're looked 
at a lot. I think because of my dad's 
feelings about Hollywood sometimes, 
that he's gotten а bad reputation. But I 
think some of his work is outstanding. 1 
mean, Some Like It Hot was wonderful. 
PLAYBOY: What's the worst thing you re- 
member about dating? 

curtis: Dating? I hate dating. Loathe it. 
Remember when Woody Allen sudden- 
ly asked Diane Keaton to kiss him on 
their date in Annie Holl? I do that. I 
do not want to spend the evening won- 
dering when, or if my breath is fresh. 
Besides, all those weeks of hemming and 
hawing. | know. the minute I look at 
someone if I want to spend time with 
him. I'm open and honest up front. I 
don't like small talk. I guess I'm just a 
terrible date. 

PLAYBOY: It depends. What TV shows 
do you like? 

curtis: I like Eight Is Enough once in 
a while. 1 can be drawn into it all 
easily. I'm as gullible as the next guy. 
But, generally, I've just gotten fed up. 
I'm disappointed in all the product 
that’s coming out—even that it's called 
product. Mainly, I like reruns of old 
shows. I mean, I Love Lucy. It's like 
the old Ford Mustang, Why can't we 
come up with stuff like that anymore? 


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30 


eter De Vries tries to turn women's 

liberation into an extended joke in 
Sauce for the Goose (Little, Brown). Daisy 
Dobbin is chosen to move into corporate 
America and. excuse the phrase, root 
out incidents of male sexual harassment 
against women in their employ. "That 
situation could be funny, and on occa- 
sion, De Vries pulls off a humorous sccnc 
(for example, when Daisy foils a seducer 
by bragging about her former lover— 
"And the nozzle on him. Really party 
size."). But most of this book is, in turn, 
clumsy, sexist and garbled. Good for 
small laughs and little more. 

. 

Dan Jenkins’ Beja Oklahoma (Athene- 
um) is proof that whatever else the state 
of Texas is, it's also a state of mind. If 
this novel's about anything, it's about 
what it means to be a Texzn, including 
a special guest appearance by Willie 
(and don't ask, Willie who?). Baja's the 
story of divorcee, mother and bartender 
Juanita Hutchins' slow roll to success 2s 
a country songwriter. Nothing much 
happens—but that's what we always fig- 
ured Texas was like. In a delightfully 
amusing way, fate more or less smiles 
upon the gaggle of lovable barflies at 
Herb's Cafe: Doris Steadman, the nym- 
phomaniac; Slick Henderson, the Exxon- 
station owner; and Juanita herselt. The 
title of the book is the name of a song 
that becomes Juanita’s meal ticket to 
success and, oh, yeah, it's also just an- 
other way of saying Texas. 

. 

Enough, please, of baseball as nation- 
al nirvana. Stanley Cohen's The Man in 
the Crowd: Confessions of а Sports Addict 
(Random House) is about the author's 
coming of age through four decades in 
which varied sporting events are the 
milestones; but his soft spot is clearly 
somewhere in the infield grass. There is 
an occasional touching observation that 
Cohen shares with every other devotee 
of the game, but his book, like a baseball 
itself, is anything but seamless. The Man 
in the Crowd darts like a knuckle ball 
from description to reverie, and one has 
trouble getting a grip on it. There ought 
to be some penance for self-indulgent 
confessions like these. 

E . 

Тһе counuy is Malagua, a mythical 
Latin American dictatorship that is 
about to explode, and the heroine is 
Julia Savage, the liberated American 
woman sent down there as Ambassador 
in Tad Szulcs novel Diplomatic Immunity 
(Simon & Schuster). Szulc may be a first- 
rate reporter, but aside from some good 
details about how an embassy works 
abroad, he is a literal and heavy-handed 
novelist. His simplistic portrait of the 
CIA station chief is that of a man so 


De Vries Gooses readers. 


Wonderful stuff on 
the great Southwest; 
humorist off his pace. 


Baja Oklahoma — Texas. 


dumb even Sheriff Lobo would refuse to 
hire him; and in one of their arguments, 
Madam Ambassador actually says, “The 
CIA has no business tracking local revo- 
lutionaries or anybody else in Malagua." 
Surely, Tad, it's a tad more complicated 
than that, isn't it? 


E 
Jonathan Raban might want to be the 
British version of Huck Finn, but his 


long and windy narration of how he 
took a 16400: Mirrocraft down the 
Mississippi River seems as long as 
the river itself. Old Glory: An American 
Voyage (Simon & Schuster) has some good 
moments when Raban describes how he 
learned to navigate and survive in 
the midst of barges and storms, and 
there are times when he discusses the 
history of the Mississippi with a for- 
eigner's incisive eye; but the book is still 
about 300 pages too long. 
. 


Pardon the pun, but The Fish Is Red 
(Harper & Row), by Warren Hinckle 
and William W. Turner, almost slipped 
through our net. It came out in Sep- 
tember and it tells in full and frighten- 
ing detail the story of the U.S.A.'s secret 
war against Fidel Castro. A compendium 
of our own dirty ticks, told with style 
and dash. 


. 

To some of us, anything with L. L. 
Bean's name on it is, by definition, a 
quality piece of business. Bean's is more 
than an established mail-order house; 
it's a way of life. Those folks in Free- 
port, Maine, have a sense of the world 
that rejuvenates those of us who are 
condemned to cities. The arrival in the 
mail of their seasonal catalogs rcacquaints 
us with relentlessly sensible duching aud 
accessories described in a sensible way. 

The L. L. Bean Guide to the Outdoors (Ran- 
dom House) by Bill Riviere with the 
staff of L. L. Bean, vill not disappoint 
the addicts among us. Its writing style 
apes that of the catalog; both are re- 
ligiously reasonable. We learn about 
weather forecasting, canoeing, finding 
our way in the wilderness, snowshoeing, 
camping, hiking, clothes. Even for those 
of us who spend our lives exclusively 
on the inside, this book in its modest 
way will make us more confident philo- 
sophically about the outside. 


While the movie industry reels under 
the impact of strikes and the successes of 
young, independent producers who shun 
the studio system, it’s particularly inter- 
esting to drift through veteran screen- 
writer Budd Schulberg's Moving Pictures: 
Memories of а Hollywood Prince (Stein and 
Day). Schulberg uses autobiography to 
structure an impressive, engaging history 
of the motion-picture industry—from its 
beginnings in New York's Lower East 
Side at the turn of the century to its mi- 
gration westward in the Twenties and 
Thirties. Sandwiched between anecdotes 
about irascible film tycoons—including 
Schulberg’s own father, B.P.—and fiam- 
boyant movie stars are the author's per- 
sonal recollections, some of which could 
easily have been left on the cutting-room 
floor. 


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32 


ENDERS ON THEIR KNEES: In the 

war among Nashville's rhinestone jet 
set over the Country Music Association's 
annual awards, aspirants wax and wane 
in all quarters but one: the Vocal Group 
of the Year competition. Here are peren- 
nially ensconced the homey and humor- 
ous Statler Brothers, who usually win, 
and the Mod and dashing Oak Ridge 
Boys, who always challenge. But perhaps 
the inevitable change is at hand this 
year. Such a prediction has been made 
by no less an authority than Oaks lead 
singer Duane Allen. 

“I think there's gonna be a big up- 
set,” Allen told us. "I predict Alabama, a 
really fine young group, is going to win 
this year." 

Alabama. Despite the seeming pro- 
vincialism of their name, Alabama's four 

i nstrumentalists have captured 
nal notice since working their 
final night as house band in a Myrtle 
Beach, South Carolina, bar 15 months 
ago. Since then, their gross income has 
multiplied from $1100 a week to as much 
as $25,000 a night. They've appeared at 
the Rose Bowl, are soon to be at Madi- 
son Square Garden and this month will 
begin touring major noncountry venues. 
Thus, in less than two years, they have 
moved from nowhere to country star- 
dom and a place in the nation’s pop 
consciousness. 

But how? My Home's in Alabama 
and Tennessee River, the two RCA sin- 
gles that launched them, are both very 
personal songs alluding to Lookout 
Mountain, an obscure northern Ala- 
bama community from which two of the 
members hail. Lead singer Randy Owen 
says when he and cousin Teddy Gentry 
wrote My Home's in Alabama, he 
“didn't know if anybody else could even 
understand it.” 

Much of the group's appeal is attrib- 
utable to Owen, whose baritone is one 
of the most expressive in country music 
and whose handsomely bearded face 
looks like a Confederate cavalry officer's. 
His family played and sang Gospel mu- 
sic in church, and that is where he and 
bassist Gentry first made music together. 
They grew up on neighboring, unpros- 
perous farms. "We were so poor that 
Our outhouse was the woods," Gentry 
quietly recalls, without humor, of his 
upbringing by his grandfather. 

Cospel, bluegrass, country and the 
Beatles influenced the pair musically, 
but their songwriting was persistently 
country. Friends kept advising them to 
“be rock,” which seemed more lucra- 
tive; what they became, alter a decade- 
long apprenticeship in Dixie juke joints, 
was country-rock—with a distinctive ac- 
cent on the first word. The rock comes 
ly from Owen and Centry's city 


NORMAN SEEFF 


cousin, lead guitarist, fiddler and key- 
boardist Jeff Cook, of Fort Payne, Ala- 
bama, and from Mark Herndon, a 
jazzinfluenced North Carolina drummer. 

When we caught Alabama in a string 
of onenighters, Owen hit the stage and 
shouted, “Is everybody ready to raise 
some hee-e-elllll?” What followed was 
as reminiscent of Merle Haggard as of 
‘The Rolling Stones. We noted that fans 
down front, unwilling to risk missing 
a finger-picking note, frequently sit— 

ather than dance—on dance floors. In- 
troducing country music to young people 
and rock to older ones, Alabama is 
revered by segments of both. The after- 
math of a show in Abilene, Texas, was 
typical. First, the band granted auto- 
graphs and kisses to a long line of young 
women and girls, Then it consumed a 
sumptuous meal cooked by а more-than- 
middle-aged Louisiana couple who per- 
form that service whenever the group is 
within a few hundred miles of their 
home. 

The ensemble crosses other bounda- 
ries, too. In another era, Alabama's very 
name would have been an insurmount- 
able obstacle. Its members recall cring- 
ing at cries of "Let's hear it for Governor 
Wallace!" when they adopted the name 
several years ago. But now, crowds seem 
to ignore any negative connotations. At 
Lackland Air Force Base in San Antonio, 
black and white Air Force trainees 
boogied to the music side by side. At 
mention of that, Owen looked pleased. 

“We don't want to leave anybody 
out,” he said. 

Thus mellows riflerack 


Ck. 
— JACK HURST 


REVIEWS 


js a happy event when Miles 
Davis is back among us, as he has been 
recently, playing sclected live dates. He's 
among us on records again, as well, in 
a double-disc retrospective called Direc- 
tions (Columbia) and—mirabile dictu! — 
another called The Man with the Horn 
(Columbia), the first album of new ma- 
terial in too many years, Together, these 
albums show how many miles and miles 
it's been for Miles—from the stately 
acoustic classicism of the 1960 Song of 
Our Country, recorded as part of the 


Sketches of Spain sessions with Gil 
Evans, to the slippery electric funk that 
fills most of The Man with the Horn, 
recorded with a new band of youngsters 
assembled with the help of his nephew 
Vincent Wilburn, who plays drums on 
two tracks. In between, as is well docu- 
mented on Directions, Miles has simply 
revolutionized jazz two or three times. 
Especially well represented is the period 
from 1967 to 1970, when his bands were 
crowded with such young, ultimately in- 
fluential talents as Herbie Hancock, 
Tony Williams, Ron Carter, Joe Zawin 
ul, Chick Corea and John McLaughlin. 
During McLaughlin's tenure, especially, 
Miles—largely unbeknownst to the rock 
audience—was intermittently making 
some of the finest rock ‘n’ roll you 
would care to hear on Jack Johnson and 
Bitches Brew and even In a Silent Way. 
And if you loved those, you'll surely 
like these, especially the Duran and 
Willie Nelson tracks recorded in 1970, 
where Directions abruptly ends. The 11- 
year leap to The Man with the Horn, 
which is not the old chestnut rewarmed 


but а new tune, finds Miles dabbling in 
Kighties.gloss R&B. Its of the George 
Benson persu 


ion, complete with soul- 


ful vocals on the title track by Randy 
Hall, the young composer of the song. 
We prefer Miles's own, though—Back 
Seat Betiy and the slinky Fat Time, 
through which he struts behind Marcus 
Miller, who plays bass with the dash of 
someone sailing effortlessly through the 
park, backward, on roller skates. If this 
is less adventuresome than Miles's past 
feats, well, at least he's back. And there 
are no bad Miles Davis albums. 
. 

Қапа De Vito earned her wings as 
Meat Loaf’s onstage foil on such show- 
stopping numbers as Paradise by the 
Dashboard Lights. Then she took over 
Linda Ronstadt’s role of Mabel in Joc 


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Come to Palm Springs 
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melts away everything but the 
moment. 

There's golfing. Tennis. Biking. 
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Papp's production of Pirates of Pen- 
to rave notices. So the timc 
ied to be right [or her debut album, 
a Cool World or Whar (Epic), which 
chock-full of bold, theatrically tinged 
rock and convincingly grand vocal ges- 
tures, including а thoroughly modern, 
locomotionized version of the Grass 
Roots chestnut Midnight Confessions. 
With a first album this strong, Karla 
probably won't have to play Beauty to 
Mr. Loa t we hear 


Е 
Li 
E 
a 


the year’s hardest job in country music— 
selecting the 113 songs on the 16 sides 
making up The Smithsonian Collection of 
Classic Country Music. Stressing the Twen- 
ties as heavily he does 1963-1975, 
Malone emphasizes roots. His picks so 
cover the field that giants are differenti 
ated from others only in that they 
represented by two or three record 
d of one. This is a treasury he 
h significant. performances that only 
inveterate collectors could. possess until 
now. Nonmembers send 557.70 (mem- 
bers, 552.70) to Smithsonian Recordings, 
P.O. Вох 10230, Des Moines, low 


stes 


. 

It might look weird on paper. but 
New Wave heavy hitter Joe Jackson do- 
E tire album of Forties jump jazz 
ы (complete with a knocke 
horn section) works just fine on Jumpin’ 
Jive (A&M). When Jackson wraps his 
good-natured snarl around such finger 
snappers as Louis Jordan's s You Is or fs 
You Ain't. My Baby, its clear that this 
album may be the best musical revival 
of the y: 


SHORT CUTS 


Oingo Boingo / Only a Led (A&M): At its 
most derivative, the band comes on a bit 
like Devo cum 
than enough fresh ideas here to make 
glossily «c ry octet’s sound 
teresting and very "nouveau L.A." 
Maze, Featuring Fronkie Beverly / Live in 
New Orleans (Capitol): Four sides of 
home-cooked soul, unpre nd 
hypno 

Geof Muldaur ond the Nite Lites / | Aint 
Drunk (Hannibal): Good timey, 
packed, vintage R&B from one of the 
great interpretive voices in pop music. 

Jenson, Ormandy, Philadelphio Orchestra / 
Sibelius Violin Concerto (RCA Digital): 
With newcomer Dylana Jenson, Eugene 
Ormandy conjures up the usual lush 
sounds from the Philadelphia. Violinist 
Jenson is as good 
most soulful of violin concertos. 

Lacy J. Dalton / Takin’ It Easy (Columbia): 
If you think country's female outlaw із 
backing away Irom her ass 


ss, but there are more 


horn. 


she looks in this 


over. 


FAST TRACKS 


ONE MORE TIME DEPARTMENT: Some guys just don't know when to quit. 


Showbiz 


gets into their blood and even when the public has had enough. they keep on. 
Tiny Tim is on the one-night-stand circuit with an outfit called Roy Radin's 
Vaudeville Show, traveling by bus with the Harmonica Rascals, a fire-eater, 
Zippy the Chimp and actor John Carradine. Tiny, in his blue tail coat and run- 
ning shoes, is thrilling audiences once more with his old chestnut, Tiptoe 
Through the Tulips. We'd rather hear The Osmonds sing Twist and Shout. 


We really don't 
1 10 say abour this irem 
(our instincts tell us it's going to be 
very tacky): Rupert Murdoch, owner of 
New York magazine and the New 
York Post, among other publications, 
1 nounced plans to produce 
film based on the life of Mork David 
Chapman, the confessed killer of John 
lennon. We're told the movie will be 
a serious film dealing with a “social 
phenomenon" and not an exploita- 
tion of the events. If we were doing 
a movie, we'd film from Philip Norman's 
wonderful book about the Beatles, 
Shoul! Anyone who took the trouble 

Epsteins mom, 
5 Aunt Mimi has 
homework. . . . Island Visual 
Arts, the video and film division of 
Island Records, has begun produc 
tion of a movie on the ¢ of Bob 
Morley. The producer, Chris Blackwel 
founder of Island, discovered Marley 
when he was a teenager in Jamaica 
Blackwell and director Joe Mennell will 
incorporate historic footage of М 
ley interviews. tours and concerts. 
talks with Rita Marley and with the 
ghetto and farm people Marley 
fluenced. 

NEWSBREAKS: Corl Wilson says, “I 
haven't quit the Beach Boys, but I de 
not plan on tourin 
they decide that 1981 means 
to them ау 1961." And қ 
Wilson took 10 the road with his 
own band and a solo album. "I love 
the Beach Boys and want us to live 
in people's hearts as an active force, 
mot just as a memory" Hang in. 
Саг... . In lated story, we 
hear that the Beach Boys and Frankie 
Valli and the Four Seasons i 
work out an Eas С 
Coast. concert competi 


EELING AND ROCKIN 
know wl 


ner would be the group that drew 
the most. enthusiastic responses. from 
the audience. The Bee Gees are 
moving back d, because 
new tits 
bite of their income. . . . If you 
ppen to be in Jacksonville, Flor- 
on October 24th, you catch 
the likes of Dizzy Gillespie, Buddy Rich, 
Dello Reese and lots of other folks per- 
уроп and АП That 
great relief that the 
newest Dylan album is less overtly rc- 
ligious than his las one, but he 
probably made that decision. before 
ng socked with what's reportedly 
а 51.000.000 lawsuit by his former 
longtime m 
for 1 


ager, Albert Grossmon, 


s on records, tapes 
and sheet music. Grossman swears 
that their relationship is still in fine 
shape but that Dylan “overpaid” 
royalties to himself while underpa 


ing his nagement firm. Oh, 
Gawd! . . . Randy Newman did the 
sound track for the movie Raglime, 
due out in December, ... As Urban 


Cowboy makes the cable-EV rounds, 
the sound wack album, now pushing 
quadruple platinum, has started to 
sell адат. We hear that Mi 
Davis is working on a new song lor 
Willie Nelsen, Is a collaboration in the 
works? 

RANDOM RUMORS: We like this story 
of the latest rock Clone, Michael Lacko, 
allegedly the world's first Red Stewart 


impersonator. Does the world need 
two? Anyway. Lacko has all the right 


stulf— platinum hair, tight pants and 
а big nose. Unfortunately, he doesn't 
sound right. a fact he's trying to cor- 
sh accent 165. 


Rod after a h: 
That’s all, folks. 


f pint of helium." 


— BARBARA NELLIS 


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36 


MOVIES 


pmo turnon to sce a movie pop- 
ping at the scams with hot young 
talent, and Body Heat (Ladd /WB) offers 
no fewer than three Best Bets for a big 
future rst. writer-director 
Lawrence Kasdan, in his initial solo 


in cinema. 


cllort—having honed his skills on the 
screenplays for The Empire Strikes Back 
and Raiders of the Lost Ark—reaches 
back to the Forties to resurrect Holly- 
wood's honored tradition of hard-boiled 
melodrama (e.g., Double Indemnity and 
The Postman Always Rings Twice) in 
which a wicked, acquisitive lady recruits 
a nervy stud to help her dispose of a rich 
husband—Richard Crenna on this oci 
sion. K: 
uses it freely in a tough, witty, crackling 


dan formula yet 


respects the 


tale set on Florida's gold coast—old- 
fashioned but updated with class all 
dark and gleaming as a cocked pistol. 
Such exercises, ОГ course, are nil with- 
out the proper star chemistry, and 
Kasdan wisely chose to field William 
Hurt (already a clear contender for the 
big time alter Altered States and Eyewit 
ness) opposite movie newcomer Kathleen 
presence instantly 
erous dames of vester- 


Turner, whose scree 
recalls all the dan 
year. Wow. Besides bein 
out blonde, this golden girl has a set of 
ГТ like of 
I've seldom heard since willowy Lauren 
Bacall began to purr enticements at 
Bogart. With Body Heat, Hurt and 
Turner blaze into eminence in the grand 
manner and make Kasdan's meticulous 
job look easy. Man, they re mean. YYY 
. 
ravenous predators roam 
Wolfen (Orion/WB), a 
rather philosophical horror film directed 
by Michael Wadleigh. with Albert Fin 
ney starred. The photography is splen. 
did, the " 
and still a bit sticky as one gets into it. 
Provocative, however. and Finney makes 
a fine supersleuth. YY% 
. 
Surprisingly, after ай 
about censorship, there is а 
innocence about John Dere! 
Ape Man (MGM/UA). The final- 
maybe the best—scene has Bo Derek, as 
gamboling in the jungle with her 
n (Miles O'Keelle, prime beelcake 
but speaking mary a word throughout) 
and an orangutan, all three behaving 
like exuberant puppies. 1 suspect. that 
old Edgar Rice Burroughs himself might 
sequence, though he'd also 
think his Tarzan hero was generally 
given short shrift while the 


wny knock- 


votal cords the which 


Packs of 
Manhattan іп 


story line slow in developing 


the brouhaha 
enial air of 


8 Tarzan, the 


nd 


amera set- 
tles down to study beauteous Bo. The 
Derek Tarzan works as a kind of Blue 
Lagoon for grownups, with some stilted 
dramatics, too much slow motion in the 


Body Heat is hot, all 
right; Love's endless, but 
Priest of Love's fascinating. 


Hewitt, Shields in Love. 


McKellen, Suzman as Lawrences. 


action sequences but lots of glorious 
wildlife and other natural wonders to 
compensate. Derek is no storyteller, but 
he is certainly a creator of myths, and 


the myth known as Bo Derek is all here, 
resplendent as she was in our September 
pictorial. Her leading man has loincloth, 
will travel, but doesn't stand a chance 
against the chimps, snakes and scenery 
E 


Another legendary dream girl, Brooke 
Shields, has been taking some critical 
raps for Endless tove (Universal), based 
on Scott Spencer's novel, which everyone 
assures me is much better than youd 
ever suspect Irom seeing the wan little 
tearjerker pieced together by Italian di- 
rector Franco Zefhrelli (who once filmed 
a fabulous Romeo and Juliet). Anyway. 
Brooke isn't what's wrong with the 
movie, she's one of the few things thavre 
ht with it. Her handsome young co 
r, newcomer Martin Hewitt 
be rather a drip as the ardent arsonist— 
but why blame him for the ludicrous 
dialog and leaden pacing that make far 
more experienced actors look lost? ¥¥ 
E 

A reasonable level of literacy, plus 
some required reading [rom the collected 
works of D. H. Lawrence. is almost 
essential before you surrender to Priest 
луз), 
adapted from Lawrence's letters and а 


s seems to 


ef Love (Filmy With a screenplay 


solid biography by Harry T- Mowe, di- 
rector Christopher Miles (Sarah's broth- 
er) studies the final years of the eccentric, 
freespirited author of Lady Chatterley's 
Lover as he wandered, usually with an en- 
tourage of women, Irom England to the 
U. S. and Mexico, then home again. fina 
ly settling in Italy alter his erotic paint- 
ings were seized as obscene by British 
uthorities. Priest of Love is a ribald, 
compassionat portrait of the 
lifestyle of literary vagabonds 
whose controversial writings helped 
inch the 26th Century’s sexual revolu- 
an McKellen (a 
known over 


witherin 


those 


tion. As Lawrence 


bravura actor, bette here 


as the Tony Award-winning star of 


Amadeus on Broadway) has а fantastic 
running mate in Janct Зили. 
beloved Frieda, the German woman who 
abandoned her husband and children 
for Lawrence—the definitive woman be- 
hind the man behind the masterworks. 
Ava Gardner plays Lawrence's wealthy 
American рапопев with tantalizing 
gusto, while John Gielgud and Penelope 
Keith maintain the high tone for mov- 
iegocrs who savor a bit of bookish 
titillation, It's educative, enthralling. а 
literary slice of life that’s all dog-eared 
arts. УУУ 


1 аз his 


4 poisoned d 
. 


Among the current and choice attrac- 


tions released some time ago—command- 
ing attention, though too late for a 
timelier темек ту favorite must. be 
Arthur (Orion/WB). Dudley Moore is 


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generally hilarious as a rich, drunken 
nc'cr-do-wcll; Lira Minnelli is miscast as 
the working girl he woos, while John 
Gielgud upstages everyone as Moore's 
haughty manservant—in a comic per- 
formance so assured that writer-director 
Steve Gordon's will-o’-the-wisp screen- 
play often seems to sparkle with wit. ¥¥¥ 
E 

Brian De Palma's Blow Ош (Filmways), 
with John Travolta as a movie sound 
man who rtently picks up clues to 
a political assassination, is pretty much 
an audio-visual replay of Antonioni's 
Blow-Up. Francis Coppola treated а 
similar theme with far greater sophis- 
lication in his brilliant, neglected The 
Conversation (winner of the Cannes [es 
tival’s top award in 1974). Fooling 
around with the movie medium itself is 
De Palma's game, which often means 
that he winds up making pretty good B 
movies from class-A ingredients. Still, 
De Palma bulls are sure to enjoy Nancy 
Allen (the director's wile) as a cosmetics 
salesgirl who hires herself out to rig the 
evidence in divorce cases. Travolta's 
good, though his role is pretty standard. 
Prepare yourself for many lapses of 
credibility en route to an overwrought, 
underwhelming climax where my pa 
tience was at last exhausted. УУ 

. 

In True Confessions (UA), а brutal homi- 
cide, pornography, political payoffs and 
profiteering in the bosom of the Cath 
olic Church are the issues that drive a 
wedge between two brothers of Irish 
descent—one a priest, one a tough-mind- 
ed LA. detective. Because the brothers 
are played by Robert De Niro (as the 
monsignor who seems to be chiefly a 
devout fund raiser) and Robert Duvall 
(as the cynical cop who knows it), the 
movie boasts some guaranteed great act- 
ing, courtesy of two of The God[ather's 

tinguished alumni. Even so, consid- 
atmos- 
—the time is the Forties—and the 
nature of the story as am unabashed 
exposé of religious and social hypocrisy, 
there's a curious lack of excitement in 
the screen version of John Gregory 
Dunne's novel, directed by Ulu Gros- 
bard as if he had taken a vow to be 
unwaveringly carnest. Although: adapt 
ed by Dunne and his wile, Joan Didion, 
nd well made in every important par- 
ticular, Confessions somehow remains 
stubbornly bookish onscreen—instruc- 
tive, even illuminating now and then, 
yet ultimately hard to follow and rather 
dull. Sort of how I used to feel about 
Sunday school. Уу 

б 

Already previewed and discussed at 
length in our October issue, producer 
Joseph E. Levine's Tattoo (20th Century- 
Fox) raises a couple of questions more 
cogent than whether Bruce Dern and 
Maud Adams go all the way, or halfway, 
or merely simulate their unsettling sex- 


adv 


Confessions bookish, 
Tattoo is steamy, 
Metal is mindless. 


Getting heavy in Metal. 


ual encounters. A provocative screenplay 
by Joyce Buñucl (daughter-in-law of 
Spain's master movicmaker Luis Buñuel), 
based on а story by director Bob Brooks, 
creates tingling suspense as well as crot 
icism from the notion that every deep 
romantic relationship leaves its mark 
nother. Call it a love story 
between hostage and captor. The tattoo 
of the title is merely a symbol and touch. 
stone for measuring the degrees of pas 
sion—in this case, an eccentric tattoo 
artist’s headlong passion for a top cover 
girl whom he kidnaps because he quite 
literally yearns to have designs on her. 
Since his phenomenal powers of concen- 
tration make any aberrant impulse look 
chillingly real, this is Dern on а fast 
track, well matched with Adams in a 
breakthrough role in which she gets 
better as she gocs along. Oddly enough, 
Maud is slightly less persuasive in the 
early scenes, doing what used to be her 
own thing as a supermodel, than in the 
film's dramatic hot spots, where sheer 
terror and her will to survive gradually 
burn away that glamorous facadc. Some 
thin-skinned feminists have already at- 
tacked Tattoo as ап irresponsible ode to 
women in bond: clear indication 
that they don't begin to understand 
what its all about. Given a premise 
loaded with possibilities for lurid melo- 
drama—so loaded it sags from time to 
time—Brooks, Bunucl, Adams and Dern 
coolly reshape this claustrophobic fa- 
ble into a sexy, surefire conversation 
picce magnifying the fine lines between 
love and Just and total commitment. ¥¥¥ 
. 

If youre under 20, fond of loud 
music and mindless movies full of earth- 
shaking special effects, the animated 
Heavy Metal (Columbia) may be just 
the ticket. 1 hardly understood a word 
of it. But then I browse through the 
comicstrip adventure magazine bear- 
ing the same title and leel as if I were 
coming out of a coma on some distant 
planet. This sloppy. episodic. violent. 
sexed-up pseudo-science fiction presents 
a score of graphic artists and musicians 
whose work must be familiar to devote 
of punk—and that’s one band wagon on 
which I cannot find a comfortable scat, 
so help me. ¥¥ 


age: 


is 


E 

Rushed into release to keep up with 
the news from Washington, First Monday 
in October (Paramount) seriously offers 
Jill Clayburgh as the first female ap- 
pointee to the U. S. Supreme Court. If 
you believe Jill as Madam Justice, you 
may buy the rest of this talking-heads 
debate based on the Broadway play by 
Jerome Lawrence and Robert E. Lee. 
Walter Matthau grumbles about Jill in 
his role as a mountain-climbing liberal 
not unlike the late Justice William. O. 
Douglas. He takes the permissive view 
of everything. She's an archconservative, 
against pornography, for censorship and 


39 


The Country Music Foundation, Nashville, Tennessee, 
is proud to announce its Official Archive Collection 


THE GREATEST COUNTRY MUSIC 
RECORDINGS OF ALL TIME 


Unprecedented and unequaled in our time — 
the complete and definitive collection of America’s 


country and western music. 


- The best of 75,000 records from the Foundation archives 
and the vaults of every country music label. 


- The first collection to include all the great country artists. 


+ Featuring all the great hits, the milestone performances, 
out-of-issue pressings and unreleased recordings. 


Е or the first time in history, the 

greatest recorded performances 
of country music's greatest artists will 
be brought together in a single. defini- 
tive collection. It will include the most 
important recordings by the leading 
country artists of today ... landmark 
performances by legendary greats ... 
and all the diverse and varied musical 
styles that have enriched America’s 
country music. 

This remarkable collection is the 
official issue of the Country Music 
Foundation — home of the Country 
Music Hall of Fame and Museum, and 
the world’s largest library of recorded 
country music. And it is the first com- 
plete collection thal the Foundation 


has ever issued honoring The Greatest 

Country Music Recordings of All Time. 
A unique collection that 
only the Country Music Foundation 
could assemble 

To assemble this collection, the staff of 
the Country Music Foundation carefully 
reviewed the Foundation’s own ar- 
chives of 75,000 records. In addition, 
they enlisted the support of all the 
country music record companies — 
whose vaults hold many of the master 
recordings selected for this collection 
And they were able to obtain rare re- 
cordings from private collectors and 
country music artists themselves. 
As a result, the Country Music 6%) 
Foundation Official Archive 


"Country is the music of the 
people. Songs of the soil, 
forsaken and fulfilled love. 
Story songs whose music is both 
contemporary and timeless . .. 
I love it, and | am proud to be 
part of the first collection to tell 
the whole country music story.” 

— Johnny Cash 


Collection is unique both in scope and 
importance. A collection that would be 
difficult — or impossible — for any indi- 
vidual to duplicate. 


All the great performers 

The collection will feature milestone 
recordings from the careers of country 
music's most important artists. Such 
great contemporaries as Loretta Lynn, 
with "Blue Kentucky Girl’ and "Coal 
Miner's Daughter. Kenny Rogers and 
The First Edition, with ‘Ruby, Don't 
Take Your Love to Town. Johnny Cash 
with "I Walk The Line’ and "Sunday Morn 
ing Coming Down.’ Dolly Parton, with 
"Coat Of Many Colors’ and ‘My Tennes- 
see Mountain Home.’ The “outlaw” 
music of Willie Nelson. The Nashville 
sound of Chet Atkins and Eddy Amold. 
Country rock, with The Charlie Daniels 
Band. And country classics by popular 
music artists Linda Ronstadt, Glen 
Campbell and Anne Murray. 

Also included will be the unforgetta- 
ble recordings of such long-time fa- 
vorites as Hank Snow, Emest Tubb and 
Merle Travis. The legendary giants: 
Hank Williams, Patsy Cline, Jim Reeves, 
Flatt and Scruggs, and Jimmie Rod- 
gers. And recordings that refiect re- 
gional infiuences and evolving musical 
styles — bluegrass, Cajun. country 
gospel, western swing, honky tonk 
and rackahilly 


The collection will include such rare 
recordings as Vemon Dalhart's 1924 
recording of ‘The Prisoner's Song — 
country music's first million selling 
record. and Loretta Lynn's early classic 
"Honky Tonk Girl’ — now out of issue. 
And from the Foundation's archives 
will come previously unreleased re- 
cordings — studio "takes" never before 
made generally available. 


Records of superior quality 
Every step has been taken to ensure the 
technical excellence of the collection. 
Thus, all of the early recordings will 
first undergo a painstaking restoration 
process in the Country Music Founda- 
tion's newly opened Audio Restoration 
Laboratory. Here, recordings of classic 
performances will be electronically 
"cleaned" groove-by-groove to elimi- 
nate extraneous surface noise and pre- 
serve the original sound 

To produce the records, the Founda- 
tion has appointed The Franklin Mint 
Record Society — judged by audio ex- 
perts to be a leader in producing rec- 
ords of superior quality. The vinyl used 
will be of a special formula containing 
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In the Foundation’s audio laboratory. the latest 
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Fascinating musical “program” 
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Custom hardbound albums have been 
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Each album will contain two long- 
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Big Business, and thereby hang 

tale . . . or, rather, the talk, talk, talk, 
all pros and cons and inconclusive God 
Bless America jazz that comes out on 
the side of the angels because we can 
express different opinions over here, 
Virginia. On Broadway, Jane Alexander 
and Henry Fonda played the same parts 
with far greater conviction. The movic 
version would have been natural. of 
course, for Hepburn and Tracy in their 
heyday. Relative to that kind of dream 
casting. Jill and Walter look like a fifth 
road company. You сап have just as 
much fun at home watching the news, Y 

. 

Musical groups with such n 
Fear. Germs, Circle Jerks and 
Flag are featured prominently in а sort 
of punk manifesto titled The Decine of 
Western Civili; 
title’s no joke. This is where you can 
scc what's meant by pogo dancing— 
а mob scene set to unfettered percus 
sion, somchow reminiscent of Marat 
Sade or maybe prom night at the Charles 
Manson School of Music, One partici- 
pant describes punk as “the only form of 
revolution left... and nothing else is 
going on." Producer-director Penelope 
Sphecris. who did The Decline, probably 
has it down pat. As cinema, it's an ef 
lective creep show. As sociology. it's scary 
but perhaps important to note, especial- 
ly if your children have purple hair. ¥¥ 

In an objectionable little semihum: 
comedy called Carbon Copy (Aveo Embi 
sy). George Segal loses his job and his 
cool when he discovers he has a grown 
up black son (Denzel Washington) by 
а longlost first love he abandoned on 
his way up in the business world. Segal 
also reveals he's a Jew who changed 
his name from. Wiesenthal to Whitney. 
And his wile is a frigid bigot (a thank 
less role for Susan Saint James) who 
doesn't enjoy sex until George sneaks 
back home disguised as а burglar and 
rapes her. C Director. Michael. (Car 
Wash) Schultz likes his actors to shout 
their lines, which doesn't work too well 

| dialog that begs to be kept to 
whisper. Carbon Gopy preaches against 
racism by making ethnic jokes but ulti- 
mately seems offensive to whites, blacks, 
men, women and the writers of countless 
unproduced comedies. ¥ 
. 

The peculiar conceits of Harold 
Pinter's screenplay more or less wreck The 
French Lieutenant's Woman (UA), based on 
the John Fowles best seller published 
in 1969. Fowles is such an accomplished 
novelist that he can slip in and out of a 
dark Victorian romance, digressing as 
the spirit moves him, without missing a 


stroke. Pinter's terrible idea was to adapt 


the novel as а movie within а movie, in 
which Meryl Sweep plays the fallen 
woman who seduces a proper young 

entleman (England's Jeremy Irons), at 


In 27 years, most of the worlds hi-fi 
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i 55 
D TO His LATE ROYAL HIGHN 


E PRINCE OF WALES 


the same time appearing intermittently 
as the movie actress who is making this 
movie and having it oll, as the English 
say, with her leading man. That ques- 
device might he applied to 
almost апу film—with an effect roughly 
the same as if Тез, for example, wer 
terrupted every 20 minutes or so Е 
modern romantic interludes featuring 
director Roman Polanski and his star, 
Nastassit Kinski, The movie-star couple 
portrayed by Streep and Irons serve по 
purpose but to keep The French Lieu- 
tenant's Woman Пот holding an 
audience in its spell. Although Irons 
generates considerable voltage—as in- 
tense and ardent as a young Laurence 
Olivier—the talented Streep seems to me 
just a shade too sensible and prosaic for 
the kind of embodiment of a 
young man's fantasy that the script con. 
tinually reminds us she is supposed to 
be. Director Karel Reisz has wrought a 
very pretty, pallid picture, with Pinter 
providing a translusion of bad blood. ¥¥ 
. 

Maggie Smith, Alan Bates, Isabelle 
Adjani and Anthony Higgins flesh out 
the [our corners of Qvorter (New World), 
a deliciously tale of ultvastylish 
decadence in Paris circa 1097. Based on 
novel by the late Jean Rhys, a famed 
auty and [ormer chorus girl who be- 


tionable 


erotic 


nasty 


by 


came the lover of author Ford Madox 
Ford way back when, Quartet showcases 
Adjani аз a vulnerable creature who 


Moves in with an artsy older couple 
(Smith and Bates) while her husband 
(Higgins, a firstrate English actor) serves 
time in prison for selling stolen objets 
dart. The story counts for little, though 
there's sex, guilt and bitchery to spare 
alter Isabelle moves into the guest room, 
where a former occupant became а sni- 
cide after Bates seduced her. The Paris 
milieu of the Twenties is what matters 
in this adaptation by Ruth Prawer 
Jhabvala and director James Ivory. More 


than setting, Paris of that era is vir- 
tually the movie's subject—an artdeco 
city aglitter with bugle beads, spangles, 


tinkling pianos, Tiffany lamps and cold- 
blooded cruelty. Bad but beautiful. if 
you have a taste for elegant trifles. ¥¥¥% 

. 


Jot down Marsha Mason's name for 
another Oscar nomination this year, 
based on her emotional flush floods as 
n alcoholic Broadway star in Only when 
). Évery season or so, 
il Simon hands his talented missus 
prizeworthy part, this one adapted 
from The Gingerbread Lady, а rare 
clinker in і x of hit plays. 
Marsha lets out all the stops for Laugh. 
nd any tears she doesn't jerk are tapped 
by the formidably precocious Kristy 
McNichol, as the dried-out star's neglect- 
ed but plucky daughter. James Coco, as 
а gay actor friend, and Joan Hackett, 
as a bosom pal, both have a showstop- 
ping scene or two, and thats how 


Quartet's Adjani, Bates. 


Stylish decadence in Paris; 
from Neil to Marsha with 
love; great Gallipoli. 


Gibson, Lee in Gallipoli, 


goes in Simonland—where every ch 
acter seems to carry a pocketful of 
snappy oncJiners for getting through 
the day. Will Simon ever learn that 
less might’ be morc? When the gags 


subside, as they occasionally do. Only 
when I Laugh generates some honest 
feeling and stops sounding like truth 
time on a TV talk show. YYv 
. 

Two unsuspecting lads discover that 

is hell in Gallipoli (Paramount), and 
while that loss of innocence angle won't 
come as a huge surprise, stay tuned. 
Despite director. Peter. Weir's penchant 
for underscoring the obvious, here's new 
proof that Australian cinema is alive 

па well and buzzing with creativity. 
Gallipoli, with all its failings acknowl 
edged, is an engagingly intimate anti- 
war epic, generally skipping the Sturm 
und Drang of battle to focus on the 
boys, both competitive runners—and 
both beautifully acted by Mel Gibson 
wk Lee run off to find 
glory by fighting the Turks at Gallipoli 
in 1915. There's a long touristic stretch 
of fun and games at an Egyptian wain 
p that could stand drastic trim 
yet Weir redeems himself with 
several unlorgettable scenes—the lads 
encounter in the western Australian 
desert with a grizzled old prospector, 
who can scarcely imagine what war is 
(СТ knew a German once how'd it 
slart“). and а homesick officer ruefully 
whistling his favorite opera on the eve 


w: 


and N who 


ing ca 
ming, 


of Armageddon. Best of all is a surreal 
sequence with a group of skinny dipping 
soldiers, shells plopping into the sca all 
around them as they dive underwater, 
nude and still playful amid floating bits 
of shrapnel, until a small crimson cloud 
reveals that someone's hit. Very few 
movie moments can top that. YYY 
. 

In his dual title role as Zorro, the Goy 
Blede (20th Century-Fox), George Hamil- 
ton works three times as hard to be half 
as funny as he was doing his Dracula 
parody in Love at First Bite. Here, 
Hamilton plays a noble Поп whose 
homosexual twin brother helps out with 
damsels in distress (Lauren Hutton, 
mostly) and damnable villains (Ron 
Lichman, mostly). But the jokes aren't 
awfully sharp and the comedy on the 
whole keeps lunging forward, then flop- 
ping back to achieve a kind of whiplash 
effect, which is hardly anyone's idea of 
a good time. ¥ 


. 

Allied soccer players take the field 
against the Nazis in Victory (Paramount). 
John Huston’s drama about good sports- 
manship vs. patriotism during World 
War Two. Sylvester Stallone stars. look- 
ing wim and smart enough to play 
celebrity ball for a benefit in Beverly 
Hills. It’s just at kind of movie, grand 
stand stuff with credibility gaps vou 
could k through. Michael 
Caine plays the coach for our side, look- 
ing paunchy and bored, like a man who 
nse a no-win situation long before 
al whistle blows. ҰҰ 

— REVIEWS BY BRUCE WILLI 


drive a 


MSON 


45 


PLAYBOY 


46 


Westerns used to be for weekends only. Then I found these 
Pecos Red Wings. They're made for work! 


leather's full grain — Pecos Red 


and they really hug ا‎ эы 

my heels. They fit so = 

well my feet still feel 5-16, w 

fine at quittin’ time. ARATE 
Some styles 


On my job, I'd never 
give up comfort for 
style. But now I've got 
both, cause I've 
earned my 
Wings— 

Pecos Red „@ 
Wings!” 


with safety 
steel toes, 

“Size and width 
availabiticy 
varies with style 


For feet tbat bave earned tbe best, 


солон КЕМИМ 


b.. Red Wing, MN 55066 


MOVIE SCORE CARD 


capsule close-ups of current films 
by bruce williamson 


Arthur (Reviewed this month) Giel 
gud galore. vn 
Bloke Edwords' SOB. Letting it all 
hang out in Hollywood, with Julie 
Andrews. yyy 
Blow Out (Reviewed this month) 
Travolta meets De Palma Wu 
Body Heor (Reviewed this month) 
Killers in love. зуу 
Carbon Copy (Reviewed this month) 
Late white father Y 
Choriots of Fire Fine English drama 
about two runners in the 1924 Paris 
Olympics. УУУУ 
The Decline of Western Civilizotion (Ке 
viewed this month) Punking out. ¥¥ 
Endless Love (Reviewed this month) 
Our Miss Brook vy 
Eye of the Needle Sutherland іп a 
suspenseful spy-who-loved-me saga of 
World War Two. VWs 
first Monday in Odober (Reviewed 
this month) Justice is a woman: Jill 
Clayburgh Y 
The french Lievtononts Wemen (Re- 
viewed this month) Read the book. YY 
Gallipoli month) 
Aussies join Engl vy 
Heavy Metal (Reviewed this month) 
Comics tripping. yy 
Only when 1 tough (Reviewed this 
month) To Marsha with love—trom 
Neil Simon. хун 
Priest of Love (Reviewed this month) 
On the road with D. H. Lawrence 
and his ladies. yyy 
Prince of the City Cops on the take, 
with Treat Williams directed by 


(Reviewed this 


d's wa 


Lumet. Yyy 
Quoret (Reviewed this month) 
Mauvais Paris, 1927. yy 
Roiders of the Lost Ark All the great 
adventure movies of yesteryear, rolled 
into one by Steven Spielberg. УУУУ 


Stevie Glenda Jackson in top form. 
Can you top that? wy 

Torzan, the Ape Men (Reviewed this 
month) Just call it Bos Bine 


Lagoon- Ws 
Тоноо (Reviewed this month) Har 
rowing skin games, wy 


True Confessions (Reviewed this 
month) Duvall, De Niro and Dunnc's 
best seller. уу 
Victory (Reviewed this month) Soc 
cer in a stalag. vv 
Wolfen month) 


(Reviewed this 
Beasts that stalk New York City, with 
Albert Finney wailing. ууз 

Zorro, the Goy Blade (Reviewed this 
month) George Hamilton has cloak 
and dagger, will camp. Y 


YY Worth а look 
Y Forget it 


YYYY Don't miss 
YYY Good show 


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For more information call toll-free 800-821-2228. 


48 


у COMING ATTRACTIONS хх 


DOL Gossip: Martin Brest will direct 

Genius, a film about a teenage com- 
puter whiz who taps into a defense 
computer. . . . Steve Martin's next project 
is Dead Men Don’t Wear Plaid (former- 
ly titled Suck the Bullet), a take-off of 
Forties detective flicks. Carl Reiner di- 


Weedy Allen's new film, which stars 
Woody, Mia Farrow, Mary Steenburgen, José 
Ferrer, Tony Roberts and Julie Hagerty. As 
usual, nobody knows what it's about. . . . 
Blake Edwards is thinking about directing 
an outer-space comedy tentatively called 
Far Out. . . . Gregory Peck will make his 
smallscreen dramatic debut as the lead 
in a three-hour televersion of Sinclair 
Lewis’ Dodsworth. 
° 

raske Although producers of the Jane 
Fonda / Kris Kristofferson starrer Roll- 
over have been characteristically coy 
about revealing details of the story, this 
reporter managed to get the poop from 
alternate sources. Kristofferson plays 
Hub Smith, a banking maverick and 
trouble shooter brought in to save a 
New York bank from financial catastro- 
phe. A slick, hip operator with nerves 


Fonda Kristofferson 

of steel, Smith decides to take over an 
g petrochemical firm called Winter- 
Chem. Enter Jane Fonda, playing, logi- 
cally, ап ex-Academy Award-winning 
actress who is struggling for control of 
the company following the mysterious 
death of her husband, WinterChem's 
board chairman. Kristofferson comes to 
her rescue and the two of them set out 
for Saudi Arabia to arrange a loan, but 
soon another, morc sinister scheme starts 
to unravel. Fonda finds a secret tape 
that refers to an account numbered 
21214—which, it turns out, could trigger 
the collapse of the entire international 
monetary system, Rollover, scripted by 
David Shober, directed by Alon J, Pakula, 
promises to be first-rate entertainment. 

. 

SPY IN THE OINTMENT: “This is certainly 
the best part I've had since Apocalypse," 
says actor Martin Sheen of his role in di- 
rector Jeannot Srwares Enigma. Sheen 
plays an East German defector who re- 
turns to the fatherland to spy. “1 get to 
use a lot of different disguises,” he says, 


"something I haven't done since the late 
Sixties, when, in The Apple Man, 1 
played 12 different characters.” Set for 


Sheen 


release early next year, the film co-stars 
Brigitte Fossey as Sheen's romanti 
and sam (The Final Conflict) Neill as a 
K.G.B. agent. 


. 

Lost AND FOUND: “This film is a human 
story, a story of joy, of despair, of hope 
and, above all, love," says Greek dircc- 
tor Costa-Gavras of his recently completed 
Missing. Costa-Gavras, known primarily 
for political thrillers (Z, State of Siege), 
has set Missing against a background of 
political turmoil but concentrates on the 
characters and their relationships. Star- 
ring Jack Lemmon, Sissy Spacek and John 
Shee, the story unfalds with the midden 
disappearance of a young American 
named Charles Horman (Shea) in the 
aftermath of a violent coup in a South 
American country. His father, Edmund 
Horman (Lemmon), comes from New 
York to search for his son and is joined 
by Charles's wife, Beth (Spacek). Ac- 
cording to Costa-Gavras, Missing will 
make detectives out of the audience. 
Says he: “The country where the story 
took place is not identified. This is de- 
liberate. Members of the audience who 


Lemmon 


Spacek 


follow world events will perhaps recog- 
nize it. I would like the others to feel 
that it could happen anywhere.” Costa- 
Gavras chose Lemmon for the lead be- 
cause, in his words, “he can act with 
his eyes." 
б 

Future shock: Alien director Ridley Score 
has just completed Blade Runner, an 
adventure story set in the year 2020. 
Dutch actor Rutger Haver (the cold-blood- 


ed assassin from Nighthawks) stars as 
one of six “replicants” created by a 
monolithic business concern. When these 
artificial warriors infiltrate a major in- 
dustrial organization, a detective (Harrison 
Ford) is hired to identify and climinate 
them. Says Hauer (whose hair is bleached 
platinum blond and cropped close for 
the role): "The funny thing is that these 
man-made people are much nicer than 
all the other creeps who run around in 
this film. What I'm trying to do is get 
as far as 1 can into the audience and 
hope they'll cry their hearts out if I die.” 
. 

Tenur: A beleaguered military acad- 
emy is the subject of producer Stanley 
Jefe's Taps, his first production since 
Kramer vs. Kramer. The flick stars George 
С. Scott as the headmaster and Tim Hutton 
as the school's top cadet. (It's Scot's 
first military role since Patton.) Filmed 
almost entirely at Valley Forge Military 


Hutton Scott 


Academy near Wayne, Pennsylvan 
the film uses some real cadets as 
uas; the professional actors, including 
Hutton, spent a month living as cadets, 
participating in weapons drills, marches 
and all other aspects of academy lile. 
The word from several sources on the 
set is that Taps, scheduled for a Christ- 
1nas release, is “absolutely sensational.” 
б 

Ameren rco: In а previous column, I 
spoke briefly of Paramount's Jekyll and 
Hyde ... Together Again. A conver 
sation th co-star Bess Armstrong has 
provided a few more clues to the Jekyll- 
io-Hyde uansformation undergone by 
Mark Blankfeld of ABC TV's Fridays in 
the title roles. Armstrong, who was Len 
Cariov's airline stewardess/second wife in 
The Four Seasons, plays Dr. Jekylls 
hopelessly rich fiancée. “In front of your 
eyes" she reports, "he sprouts a gold 
pinkie ring and chains and grows chest 
hair, while his pants get six sizes tighter. 
"Ehe last thing that happens is he opens 
his mouth and you see that one tooth 
is gold with cove engraved across it," 
After the first transformation into Hyde, 
he wakes up in a hooker's boudoir sur- 
rounded by decpsca-diving equipment, 
Nautilus gear—and a sheep. ry | 

— JOHN BLUMENTHAL 


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PLAYBOY 


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PLAYBOY’S TRAVEL GUIDE 


By STEPHEN BIRNBAUM 


BRNSAUM'S First Law of Motion states 
that the seriousness of any travel crisis 
is directly proportional to your distance 
from home. What can you do when you 
get bumped off the only flight out of 
Katmandu or whe rive at a hotel 
in Bora Bora to find that your “con 
firmed” reserv 
the South 


you 


on has vanished 
The answer 
most people give is: Not very much. The 
correct answer, however, is that you can 
raise hell, and teaching you precisely 
how to complain—and to whom—is the 
message of our lecture this month. 

If my mail is any indication, most h 
travel experiences involve the air 
in one way or another. As you m 
suspect, the individual air carriers v: 
greatly im the ma 


Pacific mists? 


er in which they 
respond to customers’ kvetching. United 
Airlines seems to me to do the most 
attentive job, and Kay Lund, United's 
director of consumer affairs, reports 
that customer complaints range trom be- 
ing bumped off flights to allegations of 
flight-attendant rudeness to requests for 
rebates for misquoted fares or for 
penses incurred because of some all 
untoward act by th i 

Most complaints the 
ne devel, but when they 


are resolved 


passenger 
arc not, you do have some further op- 
tions, The Civil Acronautics Board 
(Bur of Compliance and Consumer 
Protection, 1825 Connecticut Avenuc, 
N.W. Washington, D.C. 20428) handles 
tens of thousands of complaints each 
year—35,000 in 1979: 23,000 in 1980, to 
be precise. According to Glenn Wien- 
һо of the CAB, that downward trend 
reflects the increased competition of the 
deregulated air-travel business. 
Wienhoff suggests a straightforward 
letter to the carrier as your first step. 
with а full explanation of the complaint 
and the desired settlement. Be specific 
ils: the date, number and 
г flight, the names of specific 


pout de 


ti 
airline employees with whom you dealt. 


c of you 


If the airline still doesn't come through 
to your satisfaction, the CAB will some- 
times get on the case on your behalf. 

The CAB keeps fairly detailed statis 
tics on complaints and, based on the 
number of them рег 100,000 "emplane- 
ments" in 1980, Pan American led the 
list among the major carriers, followed 
by TWA, Branil and American. The 
fewest complaints about an airline's 
performance last vear were made by pas 
sengers on Delta, followed by United 
and U. S. Air. 

Although the Aviation Consumer Ac 
tion Project (P.O. Box 19029, 1346 Con. 
necticut Avenue, N.W.. Washington 
D.C. 20036) can't force the airlines to 


CREATIVE KVETCHING 


Got a beef? 
Sometimes you just 
have to yell. 


help you, this nonprofit consumer or 
ganization does work full time for the 
rights of airline passengers. In add 
to nattering airlines nearly to death. 


these professional gadflies publish a 
booklet called “Facts and Advice for Air 
line Passengers,” which includes a sec 


tion on “Constructive Complaining.” 
In the matter of lost or damaged bag- 
ge, there is good news and bad news. 
The good news is that rather than hav. 
ing to report lost or damaged baggage 
irline before leaving the airport, 
elers now have 45 days to file a claim. 
The bad news is that if your bag has 
been sent winging into the great baggage 
carrousel in the sky or if it comes limp- 
g along the airport conveyor belt 
looking like Mean Joe Greene after a 
skirmish with the Rams, you still had 
beter be prepared for a hassle. Airlines 
routinely require. proof of the value of 
all items allegedly packed inside a suit- 
case, so you should be able to substanti- 
ate any claim. Sales receipts for missing 
items are handy, too. Some people rec- 
ommend making a list of everything 
inside your bags or even taking a picture 
of your packed, opened suitcase before 
you leave. 1 person the pur 
chase of excess-bag; nce, which 
iy available at the ticket counter when 
you check in. Carrying on won't really 
help much after your bag is lost or dam- 


lly fave 


ge insu 


aged. Better to do your carrying on by 
putting your suitcase under your seat. 
Another situation in which waiting 
until later is not advisable is during a 
package tour or vacation. When you 
arrive at what your tour brochure as 
sures you is an “ocean front" hotel and 
the sea gulls are actually soaring over 
the town garbage dump, you should de- 
mand satisfaction on the spo 
usually too late to get any me 
recompense. If the tour director refuses 
to solve (or at least explain) the prob- 
lem, send a cable immediately to the 
tour company's head office. You might 
even show the tour director a copy of 
your cable before you send it, which 
often has the effect of inspiring remedial 
action. Always carry a copy of the tour 
brochure with you on such a trip, and 
t group action can be 
€ than the sound of 


also remember th 
even more pers 
© traveler gripi 
For problems that аге still unresol 
able, take precise notes on exactly what 
goes on. One distraught cruise passenger 
actually took color photographs of a 
mold-encrusted shower in her cruise-ship 
cabin and of the mounds of sopping-wet 
towels that she had to use to catch the 
waterfall from the sink that no one on 
the ship seemed to be able to fix. The 


on 


pictures were very elective in getting 
her appropriate compensation from thc 


cruise lin 
ps the most dispiriting of travel 
confrontations takes place at the regis- 

ation desk of a popular resort hotel. 
You've flown all night and arrive ab- 
solutely exhausted, but your weakened 
condition is not improved in the slight- 
est when an imperious desk clerk calmly 
informs you that there's no room at the 
inn. When you show him your con- 
firmed reservation, he gives you that 
world-famous hotel clerk's shrug and di 
misses you by turning abruptly 
The hotel has been overbooked and he's 
not too concerned about your distress. 

Art Buchwald once told me that that 
is not the time to be accommodating 
and genteel. Instead, he suggests that 
the meek are likely to inherit nothing 
but more abuse, while he who makes a 
huge fuss will probably find his wounds 
salved. In simple terms, that means you 
should yell, shout, stamp your foot, bang 
the desktop, kick the cigarette canister 
and then threaten to hold your breath 
until you turn blue. Its not very di, 
fied, but it sure beats sleeping in the 
park, and hotels like nothing less th: 
loud. boorish performances in their 
otherwise sedate lobbies. You'd be sur- 
prised how fast a room can materialize 
for a truly loutish individual. 


$ 


` While Ballantine's? 30-year-old 
Scotch is being nurtured those extra years, 
Ballantine's Finest is being sipped and 
enjoyed. It must be:exceptional, just as 
our 30-year-old is exceptional, if it's СЕ 
to earn ош name and' your approval. tis 


Ballantine's 30-year-old, about $75 when available. ¢ 
Bailantine's Finest, about $9. ^ 


Ballantine's. Makers ofthe oldest and most expensive Scotch in the world. 


Blended Scotch Whisky, 88 Proof. Bottled in Scotland. Imported by "21" Brands, Inc., New York, NY © 1981. 


THE PLAYBOY ADVISOR 


ММ, boyfriend and I have been living 
together for a year and a half, and J have 
always felt we had a very good sexual 
relationship. Several times, without his 
knowledge, I have caught him mast 
bating in the living room, after 1 have 
retired to our bedroom for the night. I 
ask him to come to bed with me, but he 
says he wants to stay up awhile and 
watch TV. L have rarely turned down 
his sexual advances. I don't want to 
embarrass him by confronting him, but 
after these incidents, L feel betrayed and 
inadequate. I feel 1 am to blame, be- 
cause he must not be getting enough 

isfaction [rom me. 15 it normal for a 
r-old male to do this when he has 
easy access to sexual relations whenever 
he wants, or is there something lacking in 
our sex lile? We get along well in every 
other aspect of our relationship, but I'm 
to the point that whenever he wants to 
tch TV, I think he's mak- 
ing up an excuse to masturbate.—Miss 
F. C., Springfield, Illinois. 

Masters and Johnson and other surveys 
of male sexuality report that the physical 
intensity т а masturbatory climax jre- 
quently exceeds that of intercourse. 
Many women experience that same in- 
tensity. (You should try it yourself.) This 
is not to say that masturbation can or 
should replace intercourse; it’s just an- 
other form of sexual enjoyment. Since 
72 percent of married men (who admit 


7 
it) masturbate regularly, you shouldn't 
think your boyfriend unusual, nor 
should you (есі unappealing. И is un- 
realistic (and probably unhealthy) to 
assume that you are the sole proprietor 
of another person's sexuality. There is a 
problem in your relationship, though. 
Communication. You and your boy- 
friend have retreated to neutral corners 
өш of ignorance or inhibition. If the 
most you can say is that you rarely turn 
down his advances, you have a lot to 
learn about sexuality—his and yours. 


BBecause quality phono cartridges are 
so expensive, I'm always looking for ways 
to save. I've noticed ads in sterco mag: 
ics offering cartridges by mail order a 
substantial s. So substantial, some- 
times, 1 think I must be missing the fine 
print somewhere. Are those seconds or 
discontinued items? Is it safe to buy a ca 
tridge by mail?—L. D., Stowe, Vermont. 
Absolutely; mailorder prices ave gen- 
erally low because of low overhead and 
volume sales. Seconds are not sold, 
but discontinued. products can be. The 
fact (hat a product is discontinued. does 
not reflect on ils performance. If you've 
looking for the fine print, you'll find it 
when you try lo install the cartrid 


lge. 


Your turntable is a mass of close toler- 
ances and alignments thal must be cor- 
rect for optimum listening. A misaligned 
carlridge combined with a missel anti- 
skaling control, for instance, could spell 
sonic disaster, not to mention abusive 
wear on your records. If you don't have 
the tools and the expertise to properly 
mount a cartridge, you'll have to take it 
10 someone who does. That obviously 
will affect the bottom line of your pur- 
chase. I's possible to avoid the middle- 
man and his costs on some items, but it 
may not be practical for a cartridge. 


Ав. of us were debating the old 
Who has more fun during 
sex—men or women? Опе of our g 
suggested that men were anatomi 


is “Could this m truc: e. B., Madison, 
Wisconsin. 


Your friend тау have a point. Accord- 
ing to an article by Dr. F. Brantley Scott 
in Medical Aspects of Human Sexuality, 
“The glans of the clitoris does have 
fewer nerve endings than the glans of the 
penis, because the surface area of the 
glans clitoridis is smaller than that of 
the glans penis. Anatomic studies have 
shown that on а per-square-centimeter 
surface area, the number oj nerve end- 
ings in the glans clitoridis is equal to that 
in the same surface area of the glans 
penis. Other anatomic studies, however, 
have shown that the pudendal nerve, 
which is the main sensory nerve тоо! 
supplying the glans penis and the glans 
clitoridis, is significantly smaller in diam- 
eler in the female as opposed. to the 
This would corroborate the sng- 
gestion that there ave fewer nerve end- 
ings in the glans clitoridis than in the 


male 


glans penis.” We tried to verify his con- 
clusion іп independent research con- 
ducted іп our PLAYBOY test bedrooms. Do 
you have any idea how hard it is to count 
nerve endings when your partner keeps 
moving? 


Ж few wecks ago, 1 was invited to a 
rived 
a bottle of wine in hand. My host 
thanked me for it, complimented me on 
my choice, then placed the boule in his 

ck. He opened another bottle 
for the meal. We never did have any of 
the wine that I had brought. (1 might 
point out that both wines were red and 
that his bottle was not open and breath- 
ing when I arrived) Is what my friend 
did acceptable etiquette?—R. G., Pointe 
Claire, Quebec. 

Yes. Й may be that he had already 
chosen the wine he wanted to serve with 
his dinner, While he appreciated your 
gift, he was in no way obliged to we it. 
Tf you want to take a wine, make it one 
thal might be suitable for after-dinner 
imbibing, or simply one your host could 
use on another occasion. 


1. there any way a man can be safe from 
entrapment by a pregnant girlfriend? 
Can a m not trust à woman who 
а, she is safe? Shouldn't she be 
responsible [or knowing the regularity 
of her period, if that is to be her method 
of birth control? After a relationship of a 
month or so, this lady got pregnant, 
apparently on our first evening of sex, 
after assuring me that she was safe. She 
decided to keep the baby and claimed 
that shed care for it herself. We shortly 
broke up, but six months into the preg- 
ncy, she hit me with a contract out- 
lining financial support, etc. I have yet 
ng. The child i: month 
Payments will be starting short- 
ly. I feel that this is a rip-off of my 
y and of my emotions. Apparently, 

But morally, at the 
ast, I feel I'm getting the screw: 


ims 


very | 
Ts there anything I can do to protect 
myself at this point? Can you offer me 
any information or help? I need no more 
sympathy. I've received plenty of ац 
О. W., Los Angeles, California. 

Our best advice to you is lo get a law- 
yer—fast. It sounds as though she has 
already consulted a lawyer for help in 
drawing up papers, and you'll have to 
take the matter to court or pay child 
support forever after, The fact that she 
told you she was protected from pre 
nancy is not an alibi, as there is now a 
child to be taken care of. Your legal 
counsel will be able 10 explain the pro- 
cedures for you. There are simple tests 


55 


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that can determine if you're not the 
father. Proving that you ave the father 
isa bit more involved but can be donc. 
Good luck. 


Тіс company 1 recently went to work 
for has a number of women in super 
visory positions. One of them is my boss. 
My problem is that I've been raised to 
show deference to wom 
ays—opening dos 
they 
spending considerable time with my 


1 in many 
nding when 
мег a room, etc. I'm going to be 


st 


boss, in the office and оп business trips. 
I worry that that deference could be in. 
terpreted as fawning over her or, at 
worst, as chauvinistic. Yet I feel uncom: 
fortable if I don't do it. Got any sugges- 
tions?—L. D., New Orleans, Louisiana 
Sure, stop worrying. You're not the 
only casualty of women’s liberation, nor 


are you the last gentleman оп carth 
Chivalry is not dead. Comatose, perhaps. 
but not dead. Most women still appreci- 
ate such behavior, provided it's not ac 
companied by excessive decp bowing 
You will, however, have to update your 
social graces to the realities of current 
office procedure. That means not doing 
anything for your boss that you wouldn't 
normally do for any other woman in the 
office. П could get pretty ridiculous if you 
bounded out of your seal every time a 
female passed your desk. On the other 
hand, it's perfectly all right to hold the 
door open for any woman, if the two of 
you ате going through it at the same 
time. Just don't knack her down to do it, 
and don't fight her for the door handle 
When you and your boss arc on trips lo 
gether, however, you are, in effect, her 
escort as well as her employee. On such 
occasions, you should feel free to exer 
cise your breeding 10 its fullest. If your 
boss does not approve of such behavior 
it's her place to say so. But there will be 
few occasions when you'll be out of step 
by showing courtesy lo men or women 


Bh the March issue of м.лувоу, you ad. 
vise Miss D. L. of Phoenix not to be in 
a panic over the fact that she can't 
intercourse. You 
give her a few tips. such as positioning. 
ands and/or a vibrator dur 
ing lovemaking. but you fail to mention 
the most important one. She should 
practice moving the vaginal muscle dur 


reach an orgasm duri 


using her 


ntercourse. This cre: 


єз an orgasmic 


sensation when the penis is also in slow 
motion. Its helpful 10 exercise the mus- 
cle as often as possible. because that 
strengthens it 
pleasures. A woman can locate this magi 
cal muscle by trying to stop the How of 
urine when taking a piss, The muscle 


thus achieving greater 


used t0 stop the Пол is the magical one 
This single technique has helped me 


achieve more orgasmic highs during love 


m than all the others combined 


(and with less effort than using hands 


hexa-photo- 


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PLAYBOY 


Ask for Nocona Boots where quality western boots are sold. Style shown 5019 handcrafted in Sunkist Tun Wal. 
NOCONA BOOT COMPANY /ENID JUSTIN, PRESIDENT /ВОХ 599) NOCONA, TEXAS 76255817 825-3321 


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and/or vibrators, which are 
ing).—Miss R. D., Sebastopol, 
Thank. 


ММ... on vacation at a tennis resort, 
Thad my racket restrung, using the s 
Although the 
followed my 


stringer insisted he 
instructions, the racket just doesn't feel 
the same. Its t somchow. The 

i d E had just gotten used to 
which had loosened alter 
1 didn't press the point and ГЇ 
probably never see the guy again, but E 
can't help feeling he played me for a 
sucker. What do you thinkR—P. М, 
Cincinnati, Ohio. 

We think the stringer may be right. 
But more likely, both of you are. You 
see, stringing machines are a lol like 
fingerprints; no two are the same. Sixty 
pounds on one machine could be 55 оп 


another, When you add another vari- 
able—the stringer—things get even less 
consistent. I's even possible for two 
identical machines to differ by five or 
more pounds. The answer, then, is sim- 
ply to stay with your regular stringer 
and his machine. Go by the feel of the 
racket, not by the numbers. And before 
you play with a newly strung racket, let 
й “set” for a while, rather than play 
with it immediately. 


[ scem to be the typical jealous female. 
Are they born or made? I've been seeing 
a gentleman for almost a year. We live 
in the same apartment complex, so it's 
quite easy. We have a good relationship 
except for his friendliness. I'm more the 
introvert type. He gives advice to his сх- 
wile, still caters to an "old" girlfriend 
and is always lending things to two 
neighbor ladies (who abhor me! He 
says, "I don’t get in touch with them, 
they get in touch with me.” Maybe I 
should ex y circle. When I 
confront him, he becomes almost hostile 
to think that I let small things bother 
me. Any suggestions?—Miss K.T., Dallas, 
Texas. 

You have to consider the fact that 
your boyfriend's general friendliness was 
partly what attracted you to him in the 
first place. To expect him to changr now 
is foolish and unveasonable—con[ronta- 
tions over individual differences such as 
this will only spell trouble for your 
relationship. It sounds as though you 
have to expand your own interests and 
circle of friends. By focusing on your- 
self, you may be able to gain the per- 
spective you need. 


Wa extensive collection of video 
ssettes, I tend to use my VCR a lot 
Го clean the heads, Гус been y one 
of those cassette-head cleaners, They are 
convenient, but Гуе heard that they can 
cause problems if used too often. I have 


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© 1981. BVD Company. РО. Box 780, Bowling Green, Kentucky 42101 


PLAT BO Т 


60 


llc us. 


MR. TOODLER BRANCH is the one and 
only landmark in Lynchburg, "Tennessee, that 
the government doesn't know about. 


Our courthouse on the town square dates 
back to 1885. Our jail pre-dates that. And our 
distillery, where smooth-sippin’ whiskey has 
been made since Jack Daniel settled here in 
1866, is registered as 
America’s oldest. Recently, 
the United States Govern- 


ment named all these places CHARCOAL 
А D que MELLOWED 
National Historic Sites. 
Я А 0 
And if they ever saw DROP 
Toodler, we bet they'd ۵ 
BY DROP 


name him one too. 


Tennessee Whiskey • 90 Proof - Distilled and Bottled by Jack Daniel Distillery, 
Lem Motlow, Prop. Inc., Route 1, Lynchburg (Pop. 361), Tennessee 37352 


Placed in the National Register of Historic Places by the United States Government. 


been following the manufacturer's ad- 
vice to the letter. Should E worry?— 
L. T.. Phoenix. Arizo 
In order to clean the heads of your 
VER, the cassette-head cleaner must be 
The wear it produces is equal 
10 the wear of dozens of regular tapes. 
Therefore, it should be used as infre- 
quenily as possible, Estimates of that 
frequency range from 10 to 500 hours. 
We'd start looking for trouble on the 
low end of those figures, Of course, it 
all depends on the individual machine 
and how you use it. For instance, play- 
ing the same tape over and over will 
help it break down sooner, de positing ils 
oxides on your heads. Using cheap tapes 
will get the same result. If you're a truc 
VCR buff, it would be a good idea for 
you to learn to clean the heads manu- 
ally, using chamois swabs and Freon. 
That, of course, involves opening the 
machine, which in some instances can 
void the warranty. Bul over the long 
run, we think you'll save repair costs. 
After all, the heads arc the most expen- 
sive paris of your equipment to replace. 


abrasive. 


МУ... do you do when your husband's 
al fantasy is to observe you having 
sex with another man or woman? 1 mar- 
ried young and didn't have time to 
experience d nt lovers as my hus- 
band did. It really turns him on to see 
me derive sexual pleasure from someone 
other than himself. Twice before, we had 
a three way with апо, n, and it 
was great. And the follow ight, my 
husband and I had the best sex of our 
six-year marriage. Also, the idea of his 
watching me have great sex with some- 
one else really turns me on. After the 
two previous occasions 1 mentioned, 
there were no bad feelings or jealousy. 
Should I go through with 
be every six montlis or so to satisfy my 
husband's sexual fantasy and, 1 might 
add, my у answer ту 
letter: your responses are alw ا‎ 
to the point and very honest—Mrs 
L. R., San Antonio, Texas. 

If you want lo feel guilty about having 
a good lime, write lo someone else. Ann 
Landers, maybe, or the Reader's Digest. 
Eventually, you might find a Jerry Fal- 
well type who will condemn your behav- 
ior. We don't presume to define а 
couple's marriage: If something works, 
let it wail. 


All reasonable questions—from fash- 
ion, food and drink stereo and sports cars 
to dating dilemmas, laste and eliquette— 
will be personally answered if the writer 
includes a stamped, self-addressed en- 
velope. Send all letters to The Playboy 
Advisor, Playboy Building, 919 N. Michi- 
gan Avenue, Chicago, Ilinois 60611. The 
most provocative, pertinent queries will 
be presented оп these pages cach month. 


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PLAYBOY 


62 


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ore е А 


DEAR PLAYMATES 


МАМ. do women wane? is the famous 
question posed by Sigmund Freud. 
A more pertinent question may well 
be, What do women think? About men, 
relationships, dating, loving, sex. 1t 
seemed to us that pLAvBoy’s Playmates, 
the women we know best, might have 
revealing answers to questions that come 
up regularly in their lives and in those 
of our readers. Each month, we're going 
to pose one such question to a group of 
Playmates and give them some room to 
tell us. 
This month's question is: 


Do both men and women want sexual- 
ly experienced partners? 


Vl think men want women to be experi- 
enced—not  slecp-around experienced 
but self-confident about their sexualit 
I have never been to bed with anyone 
who had never been to bed before. If I 
had a choice, I 
would definite- 
ly take some- 
one with a 
sexual back- 
ground. I 
think most 
men would, 
too. Not a girl 
who goes to 
bed with some- 
one different 
every night but 
someone who 
knew what she was doing. I wouldn't 
mind being a teacher; everyone needs 
to lcarn about sex from someone. 


evant Мио 


LORRAINE MICHAELS 
APRIL 1981 


Wes, 1 шак so. But I don’t think 
either partner should try to dominate 
the other. 
Women need 
to take over a 
little bit and 
not just lie 
there like a 
board. Men 
need a lot of 
affection in or- 
der to feel se- 
cure enough to 
show the soft 
side of their 
personalities, 
but I wouldn't want a partner who was 
afraid or nervous. I'd want somcone who 
felt confident about himself, but not be- 
cause he'd been around. When 1 think 
of experienced, it sounds too much like 


100 many. Love and affection bring out 
ihe best in a relationship, regardless of 
who has the most "experience." 
>” 
же 
KAREN PRICE 
JANUARY 1981 


1 have never found it to be a hindrance. 
I do know a guy who got engaged to a 
virgin and he's marrying her just for 
that. I haven't heard of that one in 
years. Virginity 
is just not that 
important to 
anybody 

Women want 
men to be se- 
lective about 
their other ex- 
periences, ог 
it's а turn-off 
to me. Most of 
the men I have 
been involved 
with have had 
other long-term relationships with girls. 
So they do have a lot of confidence and 
experience, but they got it with only a 
few people. 


Mom tar? 
ama. 16" 


JEANA TOMASINO 
NOVEMBER 1980 


В think it depends on how old you are. 
When I was younger, I wanted men to 
be less experienced because I was. Now 
I'm not looking for experience so 
much as self- 
confidence. 1 
don't think 
ther sex wants 
a parmer who 
is out get- 
ting "experi- 
ences" with 
someone dif- 
ferent every 
night. But it 
would be high- 
ly unlikely that 
аз a person got 
older, he or she didn't get a greater va- 
ricty of sexual knowledge. I don't give 
out verbal signal 


LISA WELCH 
SEPTEMBER 1980 


Û think most men these days like an 

û, but not too aggres- 
prefers to make the first 
move and likes his woman to be a little 


coy, no matter how intelligent she is or 
how worldly she is in other ways. I don't 
think women want to be the teacher. I 

like a man to 
r get the rela- 
! е tionship off on 

the right foot. 
Then, from 
there, it’s equal 
time. You 
know, | your 
turn, my turn, 
your turn 
again. And so 
on. À woman, 
on the other 
hand. no mat- 
ter how liberated she is, still wants to 
be courted. I don't think there is any- 
thing finer than a man who knows how 
to treat a lady, to wine and dine her, to 
flatter. But that's a sophisticated man, 
not a macho one. I like a guy who sits 
back. A gentleman. 


Tar { Дл. 


MARCY HANSON 
OCTOBER 1978 


F would have thanght that once men 
and women were out in the world as 
‚ cach partner would assume he or 
she was having а relationship with an ex- 
perienced per- 
son. But a 
certain amount 
of chauvinism, 
a certain terri- 
torial attitude 
still exists. I 
think men are 
all for sexual- 
ly experienced 
women—in the 
abstract. They 
don't want to 
think everyone 
has slept with their woman. I think both 
sexes like the role of teacher, because it 
allows for vulnerability and a willing- 
ness to explore and experiment. I think 
a vulnerable man is very appealing. 


E 


VICKI MC CARTY 
SEPTEMDER 1979 


adul 


If you have a question, send it to 
Dear Playmates, Playboy Building, 919 
North Michigan Avenue, Chicago, Ili 
nois 60611. We won't be able to answer 
every question, but we'll do our best 


63 


4 BREWED AND BOTTLED IN CANADA 
ча» ) imported by Marttet Importing Co., Inc. , Great Neck, МУ 


THE PLAYBOY FORUM 


acontinuing dialog on contemporary issues between playboy and its readers 


SEX AND EDUCATION 

In the August Playboy Forum, Howard 
Bragman comments on a study indicat- 
ing that screwing time was greater for 
college graduates. As a researcher at a 
major university, I believe Bragma 
letter needs some examination. 

Bragman wrote: “If the average bache 
lor's degree costs roughly $30,000 
our educated lover is good for an extra 
three minutes, well, that degree becomes 
worth about $10,000 a sexual minute” 
‘The implication here is that the guy gets 
aid only once in his life! Assuming that 
the male has intercourse twice а week 
and is sexually active until the age of 52 
(30 years after receiving his B.S. degree), 
cach three-minute delay represents 59.62, 
or $3.21 per minute. That is quite an 
inexpensive way to become proficient at 
satisfying your partner, given the cur- 
rent rate of inflation. 

Extrapolating from the initial $30,000 
figure, should the individual pursue a 
ister's degree, at an additional cost of, 
say, 510,000, uh on 
creases 10 512.52, ише. 


cost рег sess 


further 
to four minutes, thus reducing the per- 


minute expense to $3.2 
Should the individual go for another 
degree that costs ап additional $20,000 


а doctorate, for example), the cost per 
session rises to $19.23, or 56-11 per mi 
ute. Again, there is the possibility that 
the delay time could increase proporti 
ately, possibly to ten minutes, reducing 
the cost per minute to far less than that 
offered for the simple undergraduate 
degree. 

OF course, there are opportunity costs 
associated with going to school These 
would need to be included in a firm 


price estimate. But the fact remains that 

a college education is worth somethin; 
Robi 
Ithaca, 


ank 
Jew York 


THE BEAST 666 


ganasihe-Antichrist idea presented 
by L. Nebistinsky in the August Playboy 
Forum, 1 must add a strange but unde- 
niably interesting coincidence. On 
tion . the daily number i 
Maryland. Stare. Lottery was 666! Rare 
ough on any day, considering the Laws 
of probability, but even the TV an- 
nouncer’s voice displayed awed surprise 
at this revelation (pardon the pun). But 
let's get fundamental, In Revelation 


13:16, when the number of the beast is 
mentioned, it is as an identifying sign on 
the right hand ог the forehead to warn 
potential customers in the market place. 
Economic sanctions? Possibly. The beast 
itself is said to have been "allowed to 
exercise authority for 12 months," ap- 
ately the Presidential term of 


It seems obvious that, coincidences 
notwithstanding, much of wh 


written 


“Sexual acts are nothing 
but tactile communication, 
and thus should be protected 
by the First Amendment.” 


in the Bible is open to all sorts of in- 
terpretation, Although 1 disagree with 
most of Reagan's policies, I certainly 
don't sec him as an evil man. 1 do, 
however. envy anyone who can be iden- 
tified by a single three-digit number 
Mark W 
Baltimore, Maryland 


amson 


PORN SCAM 

In the June Playboy Forum, a reader 
inquires about a company called Psy- 
chological Interviewing Systems that 


claimed to be taking a nationwide opin- 
poll on sex, morals, porno, and so 
forth. You are right in your advice tl 
it was "a fine sc; 

I did some business with the same 
firm and received five-inch strips of 
16mm color film diagonally cut. 1 also 
got a pocket viewer. For cach category, 
you pay five dollars and are then teased 
with a claim that you'll get some really 
gritty material that may make you upset 
at what people do to others—white 
males raping black females and vice 
versa, pedophilia, bestiality, S/M, etc. 

1 was doing a college rescarch paper 
for a course in sexual attitudes, and 1 
whipped out a complaint letter to the 
company and got a refund with no 
hassle. 

But the old saying remains true: Buy- 
er beware. Any offer that seems too good 
to be true usually is! 
om Holden 
Bridgeport, Connecticut 


CREATIVE THINKING 

After watching a TV program on G 
tile techniques as a method of commu 
cation and therapy, it occurred to me 
that sexual acts are nothing but tactile 
communication, and thus should be pro- 
tected by the First Amendment. If law- 
yers delending prostitutes could raise 
this defense, and back it up with the 
latest scientific studies and expert testi- 
mony, then eventually they should be 
able to get ing that legalizes prosti- 
tution, permits hygienic state-licensed 
brothels and puts all the pimps out of 
business. 


Ralph W. Paulson 
Brockton, Massachusetts 


MIGHTIER THAN THE SWORD 

By now, most PLAVBOY readers must 
have seen Raiders of the Lost Ark. One 
scene in the movie raises a philosophical 
question that 1 hope some will find 
worthy of debate. 1 refer to the incident 
in which Indiana Jones, having already 
fought off several knife-wielding attack- 
ers. is confronted by yet another char- 
all fresh and feisty 


acte 


costumed, who has some 
looking sword and be; 
swishing it around with the obvious 


g our hero, 


Jones, y displaying signs of fa- 
ligue, takes а long, weary look at the 
dude and simply blows him away with 
his .58. End of hassle. 


"Тһе philosophical problem arises at 


PLAYBOY 


this point. In the movie, I already won- 
dered why Jones hadn't saved himself 
a lot of danger and bother by plug 
ging the bad guys, since he was packing 
pistol. My wife took a more sympa 
thetic position: She felt a litle sorry 
for the huge, ugly swordsman, who prob- 
ably had very litle else going for him 
and had spent his whole life develop 
this one skill, plus all the showm 
only to get himsell shot by а gr 
ed this a pitiful waste of talent 
nd wished Jones could have settled for 
atal victory. | don't know about 
women. 


Rich Wright 
Seale, Washington 

We understand the shooting wasn't in 
the script, that Harrison Ford was suf- 
fering some intestinal problems, could 
barely make it through the fost fight 
sequence and decided enough was 
enough, in accordance with the old say- 
ing “God created men, but Colonel Colt 
made them equal.” 


VIETNAM FILM 

On behalf of the entire staff of The 
Vietnam. Project, I thank the Playboy 
Foundation for its support in producing 
а [3hour television sei 
history of the conflict in Vietnam. The 
series is scheduled for telecast on 
the Public Broadcasting Service in 16 
nd. like many PBS productions, 
m and continues to be seriously un- 
funded. 


d 


‘The story with which we are dealing 
is a painful one; the war was deeply 


nd the 16s remain contro. 
Nevertheless, we are convinced 


that a public airing of this period of 


recent history will be constructive аз 
well as instructive. We think in partic- 
ular that it will be helpful to Vietnam 


e still struggling to come 
le the country 
experience 
nd unsuccess- 


veterans who 
to terms—and to persi 
to come to terms—with th 
in fighting an unpopular 
ful war. 

We would like very much to hear from 
ny of your readers interested 
this project and supporting our wo 

Richard Ellison. Executive Prod 
The Vietnam Project 

WCRH 

125 Western Avenue 

Boston, Massachusetts 02134 


AGENT ORANGE VETS 

Victnam veterans in € Penn 
sylvania amd other states are worki 
d to duplicate the success of а vets’ 
group in Texas that, to the surprise of 
everyone, has punched through what 
veterans say is the most important legis- 
lation to date to help victims of the 
Vietnam defoliant Agent Orange. 

Responding to the work of the Austin- 
based Brotherhood of Vietnam Veterans, 
a few concerned consumer lobbyists and 
state legislators put together a bill that 


forn 


FORUM NEWSFRONT 


what’s happening in the sexual and social arenas 


NOSY NEIGHBORS 

sr. PETERSBURG, rLokma—À legal 
technicality has ended a legal night 
mare for a local woman arrested after 
two neighborhood children managed (0 
peck through a gap in her six-fool-high 
fence and observe her sun-bathing 
nude in her back yard (“Good Neigh- 
bors,” "The Playboy Forum,” July) 
Sheriff's deputies surrounded the prop- 
erty, climbed over the fence and 
charged her with exposing herself in a 


“vulgar and indecent manner” The 
case was finally dismissed by a county 
judge who decided she could not have 
exposed herself “because a woman's 
sexual organs are internal and cannot 
he viewed without X rays or insiru- 
mentation” The suspect responded, 
“Im so relieved. Thank God.” 


CONFLICTING DECISIONS 

sr. Louis—The U.S. Court of Ap- 
peals for the Eighth Circuit has upheld 
the constitutionality of laws banning 
manufacture, sale and possession of 
drug-related items, contradicting a prior 
Sixth. Circuit Court decision that such 
“paraphernalia” could nol be adr- 
quately defined and therefore could 
nol be outlawed. The three-judge 
panel in Missouri singled out advertis- 
ing, saying it was “analogous to adver- 
lisements promoting the sale of 
narcotics or soliciting prostitution and 
may be constitutionally prohibited.” As 
а result of the conflicting decisions, the 
Supreme Court will hear the issue. 


OCCUPATIONAL HAZARD 

roxtiac—A Michigan judge has 
ruled that the family of a man who 
died of carbon-monoxide poisoning 
after having sex with a co-worker near 
a faulty gas space heater is entilled to 
workmen's compensation because the 
death was job related. The death oc- 
curred while the victim, a 37-year-old 
engineer, was traveling abroad for his 
company, and although the sexual re- 
lations took place оп personal time іп 
the woman's apartment, the judge 
ruled that “the deceased's work assign- 
ment in England exposed him to situa- 
lions and hazards that were different 
in nature and degree than those found 
in Michigan.” The judge added, “Man 
is by nature a social creature" and it 
is thus “not reasonable to expect that 
an employee who is on assignment to a 
distant land will simply stare at the 
alls of his hotel room ufler wor 
hours.” In defending his position that 
the man died “in the line of duty,” 
the judge said that the sex was irrele- 
vant to the issue: "If he had been over- 
come by fumes in a restaurant, there 
would have been none of this fuss.” 

Reacting to the Michigan. decision, 
the owner of a Chicago truck-trailer 
repair firm has asked his employees to 
sign a release absolving him of legal 
responsibility for any harm that m 
come to them while engaging in sex 
The employer admitted that he circu- 
lated the document partly in jest but 
said he was “sincere about what a farce 


our legal system is today, and maybe if 
I can get enough people stirred up 
about what idiotic things some pea 
brained judges are doing, they will run 
them off the bench.” So far, the people 
most stirred up by the document ave 
his own employees, who have been 
refusing lo sign and have complained 
to their union. 


MEDICAL MYSTERIES 

ATLANTA—Government health au- 
thorities are puzzled by a rare type of 
pneumonia that may be linked to 
“some aspect of homosexual lifestyle” 
Epidemiologists at the National Cen- 
ters Jor Disease Control said that the 
only connection was the fact that be- 
tween October 1980 and July 1981, 15 
male patients, some of whom died, 
were known to be active homosexuals. 
The all had reduced. immune- 
system functions usually characterized 
by a serious disorder such as leukemia: 


men 


Meanwhile, doctors in New York and 
California have diagnosed ап exireme- 
ly rare and unusually lethal form of 
cancer, Kaposi's sarcoma, in ЧІ male 
homosexuals. Again, the connection 
with homosexuality is not known and 
the disease is not believed to be con 
tagious, but the physicians speculate 
that the conditions favorable to the 
cancey—certain viruses апа environ- 
mental factors—might exist. among а 
single population group. 


BAD SHOT 

NASIVILLE—A police officer who fired 
al a man holding a knife but hit a by- 
slander far off lo one side has been 
ordered 10 pay $15,000 in damages to 
the unintended viclim. The Tennessee 
Court of Appeals ruled that such “te 
rible marksmanship” constituted negli- 
gence on the part of the officer, and 
the knife wielder was not liable be- 
cause he could not have predicted that 
the cop would shoot so badly. 


DEVIL WORSHIP 
VERNON, NEW vonk—4 local citizens? 
group led by an Sl-year-old grandmoth- 
er is trying lo exorcise the public 
school system's Red Devil mascot sym- 
bol. The 35-member group calls itself 
God's Concerned Citizens and considers 


the Red Devil name for the student 
sports teams an insidious, if perhaps 
unintentional, form of Devil worship. 
So far, the school board has resisted 
the change, pending evidence “that the 
mascot makes our kids different in any 
adverse ways 


PARAQUAT TREATMENT 
Laboratory tests with rats indicate 
that the common vitamin niacin may 
reduce the toxicity of paraquat poison- 
ing According to Science magazine, 


University of Missouri researchers 
found that lung damage caused by in- 
gestion of the defoliant was reduced or 
postponed through daily niacin. ther- 
apy, raising the possibility that the 
vitamin may be useful in the treatment 
of persons who smoke marijuana соп- 
laminated in paraquat-spraying pro- 
grams. 


DOCTOR-PATIENT RELATIONSHIP 

sAN pmieco—A jwy has awarded 
$1,600,000 to a woman who testified 
that her psychiatrist seduced her at 
counseling sessions, harming her emo- 
tionally and ruining her personal life. 
The defendant, whose license has been 
suspended, admitted that the sexual 
affair with his patient continued over 
a twoandahalj-year period, at $50 a 
session. He argued that the relationship 
continued because he feared that end- 
ing it would aggravate her problems. 


SEX CRIMES 

Some sexual assaults with various 
vesulis from around the country: 

+ In Baton Rouge, Louisiana, an 18- 
year-old man who sexually assaulted a 
21-year-old woman in her bedroom 
barely managed to escape with his life 
and his genitals. According to police, 
the intended victim bit the man's penis 
“as hard as she could,” went after him 
with hb own knife and caused him to 
jump through a closed hitchen window. 
Police followed a trail of blood 10 а 
nearby trailer home and arrested the 
suspect, who, after hospital treatment 
was charged wilh attempted. murde 
attempled aggravated rape, aggravated 
burglary, resisting arrest and three 
counts of simple batt A police offi- 
cial told one reporter, “He tried to 
make her perform oral sex on him, and 
she almost chewed it off.” 

“іт Cheshire, Connecticut, a local 
woman snid she was accosted by a 
motorist who stopped and exposed 
himself while she was walking her 
dog. According to reports, when the 
man “climbed out of the car and al- 
lempted lo physically detain her . 
her dog atlacked the man, allegedly 
biting him in a vital area and causing 
him to re-enter the car hastily and 
drive away.” 

+ In Virginia Beach, Virginia, police 
are looking [or an intruder who en- 
tered a woman's unlocked apartment 
while she was sleeping and forcibly 
covered her face and her clothed body 
with chocolate and vanilla cake frost- 
ing. The attacker reportedly told his 
victim that she “should have known 
this would happen if you leave your 
doors unlocked.” A detective comment- 
ed, "She looked like Al Jolson. She 
а mess.” 


TOPLESS BAN UPHELD 

WASHINGTON, D.C.—The U.S. Su- 
preme Court has upheld the authority 
of New York Slate to ban topless en- 
tertainment іп bare licensed by the 
state liquor board. The decision re- 
versed a 1980 appellate-court ruling 
that topless dancing was constitution- 
ally protected expression and cited the 
21st Amendment, which repealed Pro- 
hibition but recognised. the broad 
authority of slates to regulate the 
times, places and circumstances under 
which liquor may be sold. 


SEARCH RULINGS 

WASHINGTON. rc—Dividing seven 
voles to five, a Federal appeals court 
has ruled that police must obtain a 
warrant before opening amy parcel 
found in an automobile. The decision 
was the first major application of a 
1979 Supreme Court decision requiring 
a warrant to search luggage found in 


а car and it ruled that that decision 
applied equally to other closed con- 
tainers, including paper bags, when the 
delay required to obtain а warrant 
“would not have jeopardized the safe- 
ty of the police or the public.” 
However, the Supreme Court has 
since held that a warrant to search a 
б for contraband automatically 
d police to detain and search 
anyone found on the premises. 


CALLED ON ACCOUNT OF HASSLES 

nousrox—d scheduled softball game 
between city cops and members of the 
gay community was canceled after po- 
lice received too many harassing phone 
calls from antihomosexunl forces who 
considered it police endorsement of 
gay lifestyles. An officer explained, “1 
gol tired of the hassle. The Moral 
Majority kept bothering me about it.” 


67 


PLAYBOY 


Aller a toast with Finland 


IMPORTED FINLANDIA. THE W 


a Vodka, retire the glasses. 


E 


ORLDS FINEST VODKA `= 


TILLED FROM GRAIN. BO ANO 100 PROOF VODKA, IMPORTED BY THE BUC FP. NX. № 


PLAYBOY 


70 


requires the state not only to monitor 
victims of Agent Orange but to provide 
them with state-paid diagnostic testing. 
In addition, the bill allows the Texas 
attorney general to sue the Federal 
Government—which has denied the 
validity of Agent Orange's multiple and 
horrific side effects—in order to obtain 
military records of petitioning veterans. 
Although a few states have some type 
of monitoring commissions for Agent 
Orange, not one approaches the scope 
of the Texas law, which became effective 
September first 

Of most hope to veterans in other 
states is the nature of the victory in th 
Texas legislature, which is not widely 
known for iis humanitarian. impulses. 
With dramatic testimony from Agent 
Orange victims and a capitol rally that 
drew more politicians than veterans, the 
B.V.V. utterly routed the powerful Te: 


chemical lobby and achieved unanimous 

passage in both the house and the senate. 
.V. founder Dan Jordan, who i 

100 percent disabled and has fathered 

three children with birth defects, one of 

whom died, described the bill as “some- 

g no one could be against.” 

Wash е note. 

e withheld by request) 

Austin, Texas 


WAR CRIMINALS 

Let us ponder the lessons of the Nazi- 
war-criminal trials that have continued 
since 1915, often resulting im pri 
sentences for murder and for acts of great 
brutality that occurred some 40 years 
go. The impression one gets is that the 
defendants who cluded immediate. pun- 
ishment reintegrated themselves into 
society and became, in many cases, exem- 
plary citizens living generally quict and 


productive lives until tracked down dec- 
ades later and brought to trial 

At the trials, the evidence frequently 
indicates that these people once were 
b all the extenuating circumstances 
of war and Hitler and order following 
notwithstanding. That people can һе. 
come sadistic and brutal in those circum. 
stances is not impossible to understand. 
That those same people could re-enter 
society and resume normal lives is some- 
thing that should be examined as a pos- 
sible source of insight into criminal 
rehabilitation. 


мз. 


John Goodman 
Chicago, Illinois 

An interesting point on which we'll 
offer one observation. Penologists have 
pointed out that the word rehabilitation 
may be а misnomer їп many cases of 
serious criminality, in that it implies the 
person was habilitated in the first place. 


UKP.7200 


P5600 


ГОТ 


The idea that all people are basically 
good until environmental conditions 
change them is opposed by the idea that 
for complex psychological reasons, some 
people start out bad and rarely change. 
To the extent that the latter view is 
true, the circumstantial war criminals 
you cile did not have to fundamentally 
change to reenter society but merely 
reverted lo their prewar personalities. 


TEXAS HUMOR 

Houston police chief B. K. Johnson, 
mony for 
mately 70 


new officers (of w 
percent of the 
Northern states), joked that Yankees "ar 
like hemorrhoids; if they come down but 
go back up. OK, but when they 
come down and stay dow 
i constant source of ir 
nson's statement is 


The city is literally dying for new police 
officers. We need at least twice as many 
as we currently have, and our only hope 
is the Northerner. But because of the de- 
partment’s notorious reputation as a 
“redneck” police force, recruitment has 
been a near disaster. 

As a joke, I sent the newspaper clip- 
ping to my father, who responded as 
follows: 

I just wanted to drop a short 
note regarding the newspaper clip 
you sent me. Please don't worry 
about this guy. Just consider the 
fact that hemorrhoids only give dis- 
tress to assholes!— Love, Dad. 

(Name withheld by request) 
Houston, Texas 


SAVED FROM HIMSELF 
In the five years since 1 was released 
from prison, I have managed to put to- 


gether a fairly good masonry business, 
buy a home and establish myself in a 
small Northern California community. 
Just recently, due to my new-found re- 
spect for truth and justice, I mistakenly 
admitted to my probation officer (one and 
alf. months prior to release from pi 


ion for buying some stolen property 
that I occasionally smoked pot and have 
used coke from time to time. 1 said 1 
honestly didn't feel it kept me from 
being a good citizen and a contributing 
member of the community. Bad move! 
For this, I was taken back to court, 
n one year in the county 
55000 fine and two more years on pro- 
he judge 
d me that he had evidence I 
d working, honest businessman. 
He also stated he felt it was his duty 
to protect me from myself. 

was help? My wife and my two 


was 


Pa 


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71 


PLAYBOY 


72 


children, three and five, are now on wel- 

fare to the tune of 5750 a month. I stand 

a good chance of losing my house and 

my business is going bankrupt. I feel 

very protected and would like to thank 
His Honor. It was just what I needed, 
(Name and address 

withheld by request) 


ABORTION 

The abortion issue once scemed settled 
by the Supreme Court in its monumental 
1972 decision giving a woman the right 
to choose whether or not she would have 
a child. That seemed so natural and 
philosophically correct that we thought 
the issue was settled. We are now cm- 
broiled in a “right to life" issue: In pei 
forming an abortion, are we committing 
a murder? 

In the spring of every year, one can 
see the wild abandon with which nature 
produces seeds for the reproduction of 
all of her species—plant and animal 
alike. Man is no different. There is no 
such thing as a right wo life 
produces humans in wild prof 
some of them objects of perfection, some 
of them examples of twisted and badly 
formed genetic development—the same 
changes we see in all other forms of life. 
In nature, we have the survival of the 
fittest in domestic animals and in food 
products. We apply that principle of 
genetic selection to produce superior 
animals and planis. In the human, by 
the intervention of religion with its right- 
tolife principle. we preserve all and 
make no attempt to improve the genetic 
quality. 

When does life begin? is now being 
debated in the halls of Congress. We 
teach in the earliest grades in school that 
a live egg from the female and a live 
sperm from the male come together to 
form a single cell, which is the beginning 
of life in all specics. That is textbook 
knowledge in its simplest form and no 
amount of debate is going to change it. 
‘The question that has to be debated is: 
When is that cell growing stcadily in 
the womb to be recognized as a human 
being protected by law? Until now, that 
has been set at time of birth. Now the 
ighttoile" proponents say that time 
be at the time of fertilization 


should 


They even camy this principle so far 
that the use of contraceptive devices that 
cause the expulsion of that fertilized egg 
must be considered murder. 

Congress should not be debating when 
life begins. That has been established. 
Congress should be debating when that 
life can be considered a human being 
capable of living outside its mother's 
womb, of humanly functioning under 
law, of inheriting property. Life in all 
its glory is a matter of chance. As I said, 


there is no such thing as a right to Ше. 
That is religious dogma. 
John A. Myers, MLD. 
Baltimore, Maryland 


PAPERS ON PORN 
The American Culture Association 
and the Popular Culture Association 
invite scholars and other interested 
persons to submit short papers of ten 
pages or less on the topic of “Sex and 


Pornography” for possible presenta- 
tion at their joint national conven- 
on in Louisville, Kentucky. during 


the week of April 14-19, 1982. Sub- 
missions should be sent to Dr. Harry 
Idman, Developmental Rescarch 
School, Florida State University, Т. 
ahassce, Florida 32306. no la 
December 31, 1981. Authors of papers 
selected will be expected to present 
them in person to the convention. 


‘There is much debate over whether 
abortion is or is not murder. The egg 
and sperm that unite to form the fetus are 
themselves stages in the formation of 
human life. If it is murder to prevent 
the fetus from developing into a human 
being, the same can be said about the 
sperm and egg. 

Perhaps it is better to look at murder 
as the taking of a life in the direct vio- 
lation of the free will of another human 
being. Does a sperm, egg or fetus have 
free will? The obvious answer is no. 
However, a pregnant woman does have 
a free will and she should be allowed to 
exercise it. 


that the current "right to life" bill 
in Congress is dangerous legal non- 


sense. They are Herbert Brownell, 
Nicholas Katzenbach, Ramsey С 
Elliot Richardson, Wi Saxbe 


Benjamin Civiletti, who wrote a lett 
that says, in part; “We regard S. 15 
[Helms] and Н.К. 900 [Hyde] as an at- 
tempt to exercise unconstitutional pow- 
er and a dangerous circumvention of the 
avenues that the Constitution itself pro- 
ides for reversing Supreme Court in- 
ions of the Constitution.” 
ys it all. This country must 
not be turned into a legal theocracy. 
E. Crum 


Chicago, Illinois 


The “right to life" bill presently before 
Congress is a noble legislative proposal 
based upon the most sacred religious 
principles and a totally logical belief. 
From the moment the sperm and the 
ovum unite, a human being is obviously 
on its way to birth, Abortion is murde 
Le on is needed to prevent this 
crime, but the present bill falls short. 

May I plead the right to life of the 
sperm? These are living hun i 
Every day billions of these creatures are 
destroyed by masturbating males, who 
commit mass murder with cach cjacu- 
lation. To allow them to remain unborn 
is understandable, but to hcartlessly 
spray them on the floor or flush. them 
down the john is clearly premeditated 
genocide. Let's amend the righttolife 
Dill and make masturbation a capital 
crime. 


Paul Bindrim, Ph.D. 
Clinical Psychologist 
Hollywood, California 


If a couple do not want children, 
would not make good parents and/or 
could not offer their child the proper 
attention and guidance, then that cou- 
ple should not become parents, Only 
those who truly want children and ar 
willing to make all sacrifices necessary 
to raise them properly should have 
them. It is my feeling that. unwanted, 
unloved and unsupervised children usu- 
ally get mixed up with drugs and/or 
crime, and then grow into adults who 
become a terrible problem for society. 

The so-called Human 
Amendment, if 
take 


. would the 


THAT MAY BE. SIR, 
BUT THERE ARE ВШБ 


ERIS 
ШЇ 


COPYRIGHT 1901 BY С. В. TRUDEAU. REPRINTED WITH PERMISSION OF UNIVERSAL PRESS SYNDICATE. 


be- 
way from 


decision to 
parent 
individuals and. put. it in 
the hands of the Gove 

ment ft would make all 
abor па some types 
of elective birth control 
illegal. Hundreds of "ac- 
cidental" babies would be 
born each day to couples 
who didn't want them 
or weren't emotionally 
or financially ready for 


critical 
come 


them. It would put the rights of the 
fetus above the rights of the woman 
carrying it. It would take us back to the 
Dark Ages by assuming that a woman is 
not capable of making her own deci- 
sions about her own body. I happen to 
feel that abortion is a necessary pro 
cedure for any modern, intelligent socic- 
ty. I intend to fight the passage of the 
Human Life Amendment solely on the 
basis that it would allow the Gove 
ment to make decisions about my body 
and my sex life—decisions that rightful- 
ly belong to me. 


EXTREMISM 

The people who populate what used 
to be called the lunatic fringe of the far 
r left live in a black-aud- 
white world while holding steadfastly to 
beliefs rife with contradictions. The right- 
to-lifer who favors the death penalty; the 
born-again Christian who wants the Gov- 
ernment out of people’s lives except for 
the purpose of forcing his views on oth- 
ers; the civil libertarian who 
people to be allowed to smoke, snift or 
snort anything and be free to think, fecl 
and act any way they like, but who 
no qualms about telling people where 
nd how to educate their children and 
how much to spend on his favorite so- 
cial programs—these are but a few exam- 
ples of extremist hypocrisy. 

Extremists serve one important posi 
tive purpose. They keep us aware U 
if we become complacent or apathetic, 
there are plenty of fanatics around 
anxious to run our lives for us. One 
only need look at today's world to see 
that democracy is not the natural order 
of things. From the history of the world's 
any nations, it can easily be seen that 
long periods of authoritarian rule pre- 
dominate, punctuated by brief. periods 
of anarchy during which power is tran: 
ferred from one autocratic regime to an- 
other. This country has survived because 
most people instinctively perceive its 
uniqueness in this regard. I have faith 
that sooner or later they will recognize 
the d 
right. 


wants 


ager presented by the religious 


(Name w 
Lincoln, 


held by request) 
braska 


HANGOVER CURE 

You fellows up North are missing out 
on all the fun! Why, here in Tulsa we 
sometimes stay up all night Saturday just 
to watch the Sunday-morning evangelists 
in a proper frame of mind. They howl 
They exhort. They threaten. They sweat. 
They stomp around and flail their arms 
and contort their faces like performers 
in carnival side shows. Laughter, they 
say, is the best medicine, and as hangover 
cures, these crazy bastards beat the hell 


out of Bugs Bunny. You sometimes feel 
a little sorry for the poor devils who 
fill the auditoriums wallowing in supersti- 
tion and irrationality, but in the absence 
of good sense, I suppose their donations 
are a small price to pay for their only 
source of comfort in a complex and in 
comprehensible world. 
(Name withheld by request) 
Tulsa. Oklahoma 
Yes, it’s a dirty job, but somebody has 
to do il. 


FOUNDING FATHERS 

The current suggestion by the Moral 
Majority that we embrace the Christia 
beliefs of our founding fathers displays 


a basic ignorance of American history. 
The Government of the United States is 
not in any sense founded on the Chris- 
tian religion. In every country and in 
every age, the priest has been hostile 
to liberty. My earlier views of the nn- 
soundness of the Christian scheme of 
vation and the human origin of the 
riptures have become clearer and 
stronger with advancing years. The best 
damn Bible in the world is nature . . . 
but so far as the religion of the day is 
concerned, it is a damned fake. 

If you believe that "In God we trust" 
was ever anything more than a slick PR 
e of this: Of the first 
ph of this lener, only the first 


slogan, be awa 
pa 


THAT OLD-TIME RELIGION 


The Lord said we 
should be fruitful and 
multiply Whether he 
meant that to apply 
to television evangelists 
who estimate the size of 
their audiences is per- 
haps subject to question. 
And questioning has be- 
gun regard 


g the true extent of the 


is said to be capturing the channel 
selectors, if not the souls. of the nati 

According 10 a recent book and a 
spate of reports in magazines and on 
television, the kingdom of the Lord, 
as staked out by the PTL Club, the 
Moral Majority and the minions of 
Brothers Swaggart, Robison, et al 
а good deal smaller than meets the сус. 

Prime Time Preachers: The Rising 
Power of Televangelists, by Jellrey К 


Hadden and Charles E. Swann, along. 
with an article by William Ma in 


the June issue of The Atlantic, offers 
evidence that the actual audiences of 
many electronic preachers often 
less than one tenth of what 
preachers claim. Drawing upon data 
from A. С. Nielsen and Arbitron sur- 
veys, the researchers show that most 
of the well-known rcli; 
actually been losing thi 
ences, in the cases of Ora 
and Rex Humbard by as much a 
percent in a recent period. 

Other The Reverend 
Jerry Falwell, chief moralist of the 
Moral Majority, can daim no more 
than 1,400,000 viewers, based on а 
late-1980 sample. Falwell has been 


the 


Roberts 
21 


aying he has as many as 15,000,000 
broadcast followers. 
Brother Rex Ниш агай once 


claimed an audience of 100,000,000, 


wings give him only 2,000,000. 
s for Dallas queer 


baiter 
Robison claim an audience of 
up to 60.000.000, but the ratings say 


only 575.000. In fact, 
Robison recently had to 
ick. programing in 
arkets because of 
ig revenues 

| Roberts is ы 
the biggest draw, with 
2,300,000 viewers, but 
his market share is only 
2.1, also tops for electronic evange- 
lism. That's not quite enough to take 
out Charlie's Angels. Ws barely enough 
on a Sunday to edge Charles Kuralt. 

This doesn't come as good news for 
the Lord's salesmen, who, for the 
most. part, discount the rating results 
as incomplete. Neither do the new 
studies discourage the ardent support- 
ers of the radio reverends: but those 
who aren't supporters can draw a 
good deal of comfort from the knowl- 
edge that there are so many fewer of 
them than there 

It should be noted th 
have played their own uncritical role 
in advancing the notion of wide- 
spread fundamentalist viewing. The 
New York Times took at face value 
n estimate of 130,000,000 for reli- 
gious viewing—a figure higher than 
1 the preachers’ followers put to- 
gether—and U.P.L. put the figure at 
115,000,000. The Wall Street Journal 
cited 128,000,000 viewers. Even 
PLAYBOY went as high as 30,000,000. 
Usually, no source for such figures is 
given, but writer Martin belicyes the 
h media count derives [rom the 
1979 book The Electric Church, by 
Ben Armstrong, which estimated 
130,000,000 Sunday-morning viewers 
of religious programs. 

One probable result of the de- 
bunking of this audience myth may 
be the lessening of impact of right- 
wing theocratic organizations in U.S. 
political campaigns. A mouse can 
r only as long as it isn't found 
out. кор pavis 


73 


PLAYBOY 


14 


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sentence was written by me. The other 
statements came from the pens of (in 
order) George Washington, Thomas 
Jefferson, Abraham Lincoln and Thomas 
Edison 

Well, now I've blown my cover. But 
Id still like to add a quote from no 
less a founding father than James Madi 
son. He said, "Dui almost 15 centu 
ries has the leg: 
Christianity been on trial. What 
been its fruits? More or less, in all 
places, pride and indolence in the 
clergy; ignorance and servility in the 
ity: in both, superstition, bigotry and 
persecution.” 

(Name withheld by request) 

Че, Washington 


establishment of 


has 


I've read with interest the comments 
ny correspondents on the rise 
lled Moral Majority. Im ге 
minded of a quote attributed to Pat 
Paulsen when he was running for Presi- 
dent a few years back. When asked what 
he thought would happen if either the 
right or the left wing gamed control 
of the country, he said that the country 
would “ily around in circles.” 
It seems the country now is flying in 
a clockwise manner (to the right) after 
flying counterclockwise (to the left) for 
the past quarter century. In considering 
the zigzag course of our nation over its 
entire history, I have come to the con 
clusion that extremism of any kind is 
to be mistrusted and, at best, can only 
serve to jar intellectually stagnant insti 
tutions back into reality when they have 
become too fat. dumb and happy 
(Name withheld by request) 
New York, New York 


of your m: 


of the so. 


WAR OF THE WORDS 

These days it certainly isn't very fash 
ionable to be a "liberal" and I confess 
doctrinaire liberalism of the 
ly Seventies has. in fact, 
a bit out of touch with 


that the 
Sixties and е; 
proved. itself 
social and economic reality. But what do 
the “conservatives € to offer? They 
seem committed to an equally unrealistic 
dream that the good old days did once 
exist and that they сап be restored 
through repression and a head-in-the- 
sand denial of other social and economic 


realities. 
М. Matthews 

Glenview, Illinois 

Those who fly either banner tend to 

be excessively idealistic; but only. the 
conservatives consider that an insult 


he Playboy Forum" offers the 
opportunity for an extended 
between editors of 
publication on contemporary issues. Ad. 
dress all correspondence to The Playboy 
Forum, Playboy Building, 919 North 


Michigan Avenue, Chicago, Hlinois 60611 


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Also available in 
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‹ 


mmm АТАМА FALLACI 


a candid, table-turning conversation with the fiery italian journalist about 
her writing, her politics, her temperament and her world-famous interviews 


The “Playboy Interview" this month 
is with a woman who has done much lo 
advance the interview form as a power- 
ful journalistic tool—and, some might 
add, weapon. Oriana Fallaci is unques- 
tionably one of the world's most pro- 
vocative journalists, known for having 
exposed some of ils most powerful and 
inlransigent political leaders. She has a 
considerable following as a writer of 
both nonfiction and fiction, with her 
latest work being the international best 
seller “А Man,” a moving and dee ply felt 
novel based on hey lover, who was a hero 
of the Greek Resistance during the Six- 
ties. But it is her interviews with the 
world's leaders, including the Ayatollah 
Khomeini, Henry Kissinger, Teng Hsiao 
pring, Yasir Arafat, the shah of Iran and 
Muammar el-Quddafi, that have made 
her famous. 

Fallaci often has been described as 
outrageous, brave and committed, and 
in almost every instance, hey interviews 
become memorable bits of theater. She 
refers to her interview subjects as “those 
bastards who decide our lives." Elizabeth 
Peer of Newsweck described her tech- 


“If 1 were courageous, I would have 
killed Qaddafi when I interviewed him. 
1 think it's a shame Qaddafi dies in his 
bed. Oh, God, if 1 had had the guts to 
do it! I should die with him, of course.” 


nique as follows: “She bullies, bails, 
charms and harvests disclosures of stupe- 
fying indiscretions from statesmen who 
ought to know better." One of those 
Statesmen was our own Kissinger, who 
confessed to Fallaci that he pictured 
himself as a “lone cowboy entering a 
village . . . alone on his horse.” This 
vas widely interpreted as the definitive 
indication of Kissinger's massive едо, 
and he later described his hour with Fal- 
laci as “the most disastrous conversation 
Lever had with any member of the press." 

Fallact’s political commitment—which 
she describes variously as “individual- 
istic” and “anarchistic’—dates back to 
her childhood in the Malian Resistance 
during World War Two. Born in 1930, 
as fascism began lo sweep across Europe, 
Fallaci developed an intense political 
consciousness that now is always with 
her. Hers is nol the objective ov neutral 
reporting typical of American journal- 
ism but, rather, a series of encounters 


between an intensely opinionated inter- 

rogator and powerjul men and women, 
Her formative years were spent in a 

circle of anarchists-socialists-idealists in 


“In Europe, we make fun of you. In a 
country where the President of the U. S., 
every lime he opens his mouth, has to 
mention God—well, my God! I mean, 
nol even the Pope does that!” 


her native Tuscany, in which her father 
was a leader. After the war, she pursued 
а classical education, which included 
some years in medical school, but she 
dropped out to make her family some 
moncy аз а journalist. To Fallaci, jour- 
nalism always is a battle, if not a war— 
and she feels that way about life itself. 
This formidable woman has, in the 
course of her battles, produced three nou- 
els, five works of non-fiction and numer- 
ous articles and interviews, which she sells 
herself to Life, The Washington Post, 
The New York Times and newspapers 
all over the world. In the process, she 
has made news almost as often as she has 
reported it, rendering her an important 
participant as well as a pioneering jour- 
nalisi, which is precisely why PLAYBOY 
wanted to know more about her. 

Getting 10 know Fallaci and explor- 
her political and personal views 
^d oul to represent а task as formi- 
dable as the woman herself. In the past, 
she has been known to lecture and 
intimidate reporters who attempted to 
ask her the sort of questions that she 
presumes to ask others. On one occasion, 


PHOTOGRAPHY BY VERNON L SMITH 
“Al least political leaders risk. Not only 
their life, because every once їп a while 
they get shot, but their reputation, all 
the shit thrown at them. But journalists 


risk what? Nothing!” 


PLAYBOY 


78 


she had asked а New York Times re 
porter to place off the record a personal 
detail of her life, but when it was 
published оп the basis that it had al- 
ready appeared elsewhere, Fallaci was 
outraged. When the Yale Daily News 
тап an unflattering picture of her, she 
refused an interview the next day with 
that paper, which prompted the college 
reporter to observe, "It's sad to see а 
person who writes about the use of 
power abuse it so blatantly.” 

Obviously, a certain fortitude would 
be required in a reporter sent to put 
Fallaci through the long hours of give 
and take that go into a “Playboy Int 
view.” Our choice of Robert Scheer, п 
writer for the Los Angeles ‘Times, was 
natural. Scheer is known to our readers 
as the man who conducted the famous 
“Playboy Interview” with Jimmy Carter, 
as well as those with Jerry Brown and 
John Anderson. Conservative journalist 
William F. Buckley, Jr., wrote a column 
last year likening Scheer to Fallaci, say. 
ing, “He can catapult an exchange into 
the shouting stage quicker than anybody 
since Hucy Long.” Just the sort 10 take 
on one of the irresistible forces in mod- 
ern journalism. Scheer's report: 

“To the editors at PLAYBOY, it must 
have seemed a natural: Scheer and Fal- 
laci . . . one tough interviewer takes on 
another and let the candor hang ont... < 
Turn the tables and see if the inter- 
dina 
lime when the press is in a self-critical 
period, it must have seemed а useful and 
even fun idea. The editors were partial- 
ly right: All that energy made for a hot 
interview, perhaps even something like 
the classic encounter they said they were 
aiming for. But being there was any- 
thing but fun. Ht was more like throwing 
two Bronx alley cats into a gunny sack 
and letting them hawe at it. 

“Fallaci, who has a well-developed 
sense of her own dignity and, indeed, 
her historical importance, no doubt will 
resist joining me іп my alley-cat ussess- 
ment. But how else can one describe the 
torturous, hissing encounters that went 
on for more hours of tension than oc- 
curred in my three marriages? Yes, there 
were larger issues, and we both are pro- 
fessionals, so the big political questions 
were discussed. professionally. Also, most 
of the arguments were valid, though 
they ranged from the journalistic ethics 
involved in an interviewer's literally 
assassinating her subject to Fallaci’s dis- 
pleasure with the com portment of homo- 
sexuals in Bloomingdale's, But our 
interview sessions were always on edge. 

“Of course, in Fallaci's eyes, it was 1 
who interrupied, while she just tried lo 
inject a note of reasonable enlighten- 
ment, as befits à cosmapolitan Northern 
Italian. But if you ask me, it was the 
other side of her Nalian temperament 
that emerged. more frequently. There 


view 


r can take being interview 


were frequent temper tantrums and just 
plain scenes. They began at the door to 
my room al the Drake Hotel in New 
York, when I first greeted Miss Fallaci 
with what she felt was insufficient good 
cheer and soon included the bellhop 
who look too long to bring her cigarettes. 
In fairness, her outbursts also embraced 
political topics about which she feels 
passionate. Because her feelings were so 
often aimed а! me in particular, rather 
than at the praywoy interviewer іп gen- 
eral, I've relained the first-person flavor 
of those exchanges. 

"The interview sessions weren't all 
antagonistic. Fallaci is intelligent, well 
traveled and informed, and there was 
much in the way of profound and even 
occasionally brilliant commentary. But 
the mood was often hostile, and for the 
first time in my life, I found myself 
feeling sorry for the likes of Khomeini, 
Qaddafi, the shah of tran and Kis 
singer—all of whom had been Ihe objects 
of her wrath—the people she described 
as interviewing ‘with a thousand feel- 
ings of таве” 1 found myself feeling 
sorry not only for the subjects of her 


" Ever) 


at the indulgence and 


"body was surprised 


tolerance I demonstrated 
toward Kissinger during the 

interview, But I do these 

interviews to sludy how 


power takes place.” 


inte 


iews but for mine as well, because 
the brute fact of the matter is that we 
do dish it out better than we take it. 
An interviewer must do many things 
10 force a valid question that. requires 
And Fallaci has her own we: 
methods. She once мий she 
stalks interviews as "pieces of theater 
wilh a story inside’ Time quoted her 
as saying, ‘I make scenes, 1 yell and 
scream? That's fine as a technique for 
breaking through the obtuse answers of 
a hack politician. An interviewer can 
defend bad manners as an effort 10 get 
at a larger truth, but when the tables 
are turned and one becomes the subject 
of the exercise—and 1 have been there 
myself and made a mess of it—then 
screaming can be nothing more than 
an effort 10 avoid the point of a question 
rather than answer it. As Peer observed 
of Fallaci, ‘She can also bristle at any 
suspicion of crilicism—a touchiness that 
is downright hilarious im somrone so 
quick to attack? 

“АП of the above is by way of an 


explanation for the combativeness one 
will find in this interview. But enough 
of such carping, While it is truc, as 
Fallaci admits, that she lives life at а 
shout, and while that may make for 
brittle dinner companionship, she is 
rarely boring and always on. This last 
quality, along with huge globs of con- 
тіспоп about almost апу topic—from 
the correct path to revolution to the 
correct path to the perfect pesto sauce— 
has made her one of the world’s most 
important journalists and a fascinating 
interview subject. But I'm not going to 
say 1 loved it. This was the first assign- 
ment Гис donc for PLAYBOY over a ten- 
year period for which 1 feel 1 was 
underpaid.” 


PLAYBOY: Youre best known for the 
tough interviews you've published with 
some of the world's most powerful men 
and women. Let's start with possibly 
your most famous interview, the one 
with Henry Kissinger, in which he com- 
pared himself to а lone cowboy riding 
into a village by himself 

FAUACI- Don't let me speak about Kis- 
singer again. It was in 1972, and they 
still persecute both of us because of it. 1 
mean, even if we got married, we would 


be persecuted today over this point! 

But as to the int t's а pity. He 
lost an opportunity to become my friend. 
He should have had the courage to stand 


bv what he said. Instead, he said he 
regretted doing it. 

Jt was only 50 minutes, and I thought 
it was a very bad interview. My 
interview! | almost did not publish 
In fact, everybody was surprised at the 
indulgence and tolerance I demon: 
toward hi 


id him du 


do these inter 


person, to study how power takes place. 
And D had not the time with Kissinger. 
I think, though, if he had not been so 


ing his four years with Nixon, he would 
е gone down in history as one of the 
greatest American Secretaries of State. 1 
the opening to China was т 
historic, and it was him, not Nixon, who 
did 
PLAYBOY: And his morality in the con- 
duct of the Vietnam war? 

FAUACI: Kissinger iw b 
Тһе word would make him 
like him are amo 
PLAYBOY: W 


al. 
other people like that? 
Nixon was immoral, 


io ar 


impressions 


of the Ayatollah Khomeini? 
FAUACI: It m mal word, but the 
simple truth about Khomeini 
he is a fanatic. If you read my inter 
you sec that Khomeini is intelligent, 
unlike Arafat or Qaddafi. To ime, a 
fanatic is necessarily an unintelligent 
person, but I must admit he is the one 
example that breaks the rule. I 


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thought to find an idiot, but I found a 
smart man. I began a question about 
fascism, comparing the people of Tran 
to the Italians under Mussolini, and 
the more I said, the more I thought, 
Oh, damn, he's not even going to know 
what I'm talking about, this complicated 
concept of fascism. But he knew. He 
answered me very well, he quoted Aris- 
toile, he interpreted fascism in the West- 
ern sense. But then, of course, when I 
interrogated him about executing wom- 


ҒАШАСІ: Because I was angry! You know 
? God! I was wei 
ing, all seven meters of it, pins 
everywhere, perspiring, and I began to 
ask him about the chador as a symbol 
of women’s roles in Iran. By the way, 
BaniSadr was translating from Farsi to 
French for us. So Khomeini says, “И 
you don't like the chador, don't wear 
because the chador is for young. prop 
women." Bani- 
laughing as he u 


PLAYBOY 


en for prostitution, he got very. very Will you repe: as reacting 
angry- very strongly caught 
PLAYBOY: Your most famous moment ise. “Ask him again!" I said. So 
with him came when you threw off the whispers something to Kho- 


and he turns back to me and 
repeats the same thing. So 1 rip the veil 


Moslem veil, the chador, and offended 
him. Why did you do it? 


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off and I say, “This is what I do with 
your stupid medieval rag!" Khomeini 
had seemed so old and dignified, but 
when I did that, he jumped up like— 
have you seen those kung-fu movies. 
how quick they mow e a cat, 
disappeared. 1 sitting 
called after him, “Where do you go 
you go to make peepee?” 
was very frightened and s. 
no, vou must go. He has left. 

T remained ig there and said. 
don't go. I only have half an interview, 
I will not go." So I sa 
three hours—that was my strate 
knew they couldn't touch me. When 
Bani-Sadr came to plead with me to go, 
1 said. "You cannot touch me. You are 
religion says you cannot 
I'm going to stay until he 
comes back.” Later, Al 
came in and said, “ 
must go.” He came 


nd 
and 
Do 


there for two с 


desperat 
tomorrow, 
Т needed to 
Ж 


He said, 
will you go now?" 
go peepee myself. 
you get him to sw 
et up." So A 
filth tim 
"Return tomorrow.’ 
on the Kor: 
at five." 
Well, the next day, Khomeini d 
come in. І look straight at him and 
Now, Imam, let's start where we left off 
esterday. We were talking about my 
being an indecent woma ” And 
Khomeini did somethin; 


way for the 
k and said, 
I said, "He swore 
"Yes, yes! Tomorrow 


very interest- 
. You know, he never looks you in 
the face; he always looks at the floor, 
eh? Well, he looked straight back in my 
се with ап amused smile! It was cute, 
because he couldn't laugh. So 1 con- 
tinued, "Would you say that a woman 
like me, who had to sleep next to 
soldiers in combat in Vie , із an 
indecent wom: And he says, “I dont 
now. Vou know what you did with the 
soldiers.” s so funny! Of course, I 
in with him. 
PLAYBOY: Ol course. You also 
the shah before he was overthrown, How 
would you compare the two men? 
FAUACI The shah was not stupid, but 
he was less intelligent than Khomeini. 
Less politically shrewd. But in the mat- 
ter of religious fanaticism, they were 
alike. I don't know why none of his 
other interviewers extracted this side 
of the shah's character—except for me. 
His religious obsession. 
PLAYBOY: Religious obsession? 
Yes; the shah enter 
half hour out of the five or 
six hours we spoke in telling me about 
his visions. He said he actually saw the 


terviewed 


ned me 


saints and prophets, that he spoke with 
them. When I wanted to make lun of 
m and said, "You mean you co 
shake hands with them?" he said. 
rse.” I said. "If 1 am there with you. 
them?” He said. “ОГ course 
cannot. | cam. because 1 am the 
elected one"—and blah-blah-blah. Well, 
this kind of stuff was also іп Khome 
1 remember thinking the two or 
times that Khomeini raised his eyes to 
me—they were also the eyes of the shah! 


three 


They were opposite faces of the same 
coin 
PLAYBOY: Alter Khomeini E 


Sadr during the 
as still president 


ing to interview Ba 
hostage crisis while he w 
of Iran. right? 
FALACI Yes, he had interpreted for me 
and Khomeini and knew me well. [ got 
a visa again, in spite of the fact that 1 
was warned not to go. After the Kho- 
ni interview, ап hanian newspaper 
d written something violent against 
nd published a photo of me that 
was torn in half. So, in a country where 
0 percent are illiterate, all you have to 
know is that your photo has been pub- 
lished torn i 
the people, They know what it means, 
The people at The New York Times, 
who were sending me, were very nervous. 
Well, 1 llew there and immediately 
was detained on the airstrip in Tehran, 
"You have no visa,” they said. “What is 


half to be an enemy of 


that?" 1 said, pointing to my пате 
“That is my fucking name!” “Зо what?” 
they said and started pushing me into a 


police room. So I started shouting. "You 
bastard!" —the kind of play I always do 
when 1 find myself 
Usually, 1 count on the 
shouting will get them so tired they f- 
nally say, go away. 

Anyway, a man [rom the Italian em- 
bassy finally got me to my hotel. 1 keep 
myself hidden, because 1 don't want 
other journalists to know I'm in Tehran: 

it happens, old 
laci is here, etc. I finally get 
I at the foreign ministry who 
ignores the fact that BaniSadr has 
promised me, in writing, an interview 
and calls me and the Italian government 
nest ol liars. 

Then, a day later, I get 
my lile is in danger. It turns out 
that Bani-Sadr has given in to the 
tant students and is a total coward about 
seeing me. So I try to call Italy, to call 
the president of Italy, in fact, and they 
cut off all the lines. “Until when?” I 
ask. “Indefinitely.” they say. So I went 
to another telephone and called Lon 
don—which wasn't cut oll. I dialed the 
mber in my telephone book. 
Ingrid Bergman's. 1 woke her up with 
the call and I said, "Ingrid. I call you 
from Tehran. Call Pertini [president of 


in that situation. 


fact that my 


otherwise, the same 


I warning 


fw n 


Italy at the timc] and tell him Em in 
trouble. Ciao." 

Ingrid was very smart. She got to the 
right people and they finally got me 
and into London. Two days after 
back. Sadr is in London 
economic meeting and he sends a me 
to me through my ambassador 
Pssst. Tell Miss Fallaci that 1 ask to be 
forgiven, 1 really couldnt do it, There 
will be a next time.” 1 just said, “Fuck 
Banisadr. There will not be a next 
I will never grant him an inter- 


Im 
for an 


PLAYBOY: Belore that, there was your in- 
terview with Qaddafi, which you've al- 
ned. 


truly с 
lly ill, a 
1 with 
He made me w half 
ouside his offices. in He 
sity in the center office of his palace, 
sumounded by four or five circles of 
protective barricades, like German check 
points. It’s like entering a spiral. There 
dozens of people standing around 
with machine guns. Alter the first hou 


опе was 
ically sick. ment: 
You cannot dea 

it three and 
Libya. 


certifiable idiot 
him. 


hours 


1 wanted to go make the peepee. and I 
was stranded alone with my photogra- 
pher in this huge library, but they didn't 


come to escort me to the bathroom. So 1 
got infuriated — 
PLAYBOY: Of course. 


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PLAYBOY 


84 


of Who's Who—the library was filled 
with books Qaddafi never real—and 


threw it against the wall to express my 
rage. Finally, Qaddafi came. 


PLAYBOY: When did you become con- 
vinced he w 
Fauact: You should listen to my tape. 
For ten minutes, ten full minutes, he is 
yelling, like a broken record, m the 
gospel, I am the gospel, 1 am the 
gospel.” It’s terrible, because he never 
stops, never stops. His face—his face is 
so out of this world while this is going 
on that I nudge my photographer to 
take the picture then. But the photog 
pher was so scared he couldn't move his 
hands, and the interpreter was tr 
bling, too. ally, 1 interrupt him, 
which 1 nost never do and I said, 
"Stop! Stop! Do you believe in God?" 
"That was the most surprising question 1 
could put to him and he looked at me 
and said, "Of course: why do you ask 
that l said, "Because T 
you were God! 

He raised himself up and I thought, 
Mamma mia, goodbye, it's over. Who- 
ever finds us again? Because he could 
do it. You know what happened to the 


manager of Alitalia in Libya? He just 
disappeared. Well. Qaddafi looked lost 
and confused for a moment, and then 


the interview went on and [ knew I 
would not be arrested. But he is insane, 
He is obsessed with the color green, you 
know. 

PLAYBOY: Green? 

FALLACI: Everyt 'ound him is green. 
His handkerchief, everything is green. As 
we were sitting there, I picked up some 
thing—I forget wha 
pened to be green, and somethi 


must 


have happened in his consciousness. He 
looked like he was go ngle me. 


So I said, “Would you like i? Do you 
want this?” ] gave it to him, and he took 
it. Immediately. He wanted it so much. 
He should be under the care of a psy- 
chiatric doctor. Dangerous, dangerous, 


PLAYBOY: Qaddafi is a good-looking n 
isn't he? 

ҒАЦАСІ: No. They had told me that he 
was a good-looking man. I don’t know, 
in the photos he looks better. But 
when you see him, he has this very 
stupid face. No matter what are the 
features, when the person is stupid, 
stupidity shows. He has very little, little 
eyes. In the photos, they are bigger. 
Then he has this enormous chin, enor- 
mous! His head is very narrow, һеса! 
he has very little cerebral inside, very 
little. He is repellent. I have а physical 


son 1 asked about his 
looks is that when you interviewed 
Arafat, you made a lot of his being short 
and ugly and ing an obese stomach. 
And І wonder whether that is fair. 

FALLACI: I don't care if it was fair or not. 


I didn't like Arafat. 1 think that Arafat 
is a phony! 

PLAYBOY: Because he hi 
stomach? 

FALLACI: No, no, no. Th: t contributed to 
make his physical po 
PLAYBOY: You wrote about Golda Meir 
ıs if she were beautiful, jet by some 
standards she was ugh 
ҒАШАСІ: She was ugly, but I didn't see 
her ugly. Intelligence makes people 
beautiful. 

PLAYBOY: But what is interesting is that 
when you talk about “ugly” Arafat, you 
say you are sympathetic to his cause. But 


з ап obese 


Golda Meir, whom you describe symp 


thetically, 
reject. 
FALLACI: Her Zionism, yes. 
PLAYBOY: Why Чо you reject Zioni 
FALLACI: For the same reason that I reject 
the Catholic ideology 
gies. That is our fight 
Christian. Democrats d the interven- 
tion of the Church. The theocratic state. 
PLAYBOY: Why. nterviewed 
n your lengthy, friendly interview, 


someone whose politics you 


n? 


when vou 


————— 
“Everybody would tell you 
that Arafat is a homosexual. 

He had at that time the 
most gorgeous young man 


1 have seen." 


you not ask her one challengi 
bout Zionism? 

FALLACI: You protest because I made my 
interview and not yours. 1 did not ask 
her the question you wanted, all right. 
PLAYBOY: You wrote about the “funda- 
mental justice” of Arafat's cause in the 


introduction to your interview with hi 


Are you sympathetic to his cause? 
ғашасі: T understand his cause. Is it an 
wer? I understand his cause, And let's 
put it Jike this: I understand the cause 
of the Irish and I sympathize with the 
i ause of the Pales- 
And I stop here because of sev- 
sons that involve me, 
te the firmness of that judgment, 
for personal reasons and for political 
reasons. As everybody of my generation 
is European, and particularly 
n, I cannot accept the blind hate 
and the contempt toward Jews. In the 
Resistance, we hid many of them. But it 
does not make me a crazy anti-Jew 
person to say I am angry at the Jewish 
people for many things. 

PLAYBOY: What are you angry at thc 
Jews fo 
FALLACI: For many things. If you want to 
ke the example of America, how they 


tinians. 
eral 


hold the power, the economical power 
in so many ways, and the press and the 
other kind of stuff... . 

PLAYBOY: You say that Jews control the 
med n America? 

FALLACI: Well, you see Jewish names as 
directors of TV and newspapers. The 
the directors. I never. realized 
how it happened and how they came to 
control the media to that point. Why? 
PLAYBOY: That's not true, Jews by no 
means own the media. 

FALLACI: But listen, at The New York 
Times, they are all Jewish. 

PLAYBOY: The New York Times is owned 
by an old German Jewish family that 
was even anti-Zionist at one point. Sure 
there are some Jews who are prominent 
in some papers. But you can go to most 
newspapers or the networks and find 
that that doesn’t hold up. That's a 
European perception and it’s just not 
true. 

FALLACI: It is not truc? 

PLAYBOY: N 
FALLACI: ОК 
PLAYBOY: Getting back to the subject of 
Arafat, what else didn't you like about 
him? 

FALLACI: Arafat mects me with his auto- 
matic rifle, as if to say, "You know, with 
this rifle, I fight the enemy! 1 have just 
come from the combat.” He didn't come 
from the combat! Others had been in the. 
combat! And the ad! ... You 
know, I was told that he got married. I 
don't believe 
PLAYBOY: In the preface to your inter- 
view with Arafat, you implied that he is 
a homosexual. 

FALACI: Yeah. Everybody knew it. Every- 
body would tell you. 1 don't imply it. 
He had at that time the most gorgeous 
" ve scen in my life. He 
a German, So handsome and so 
gorgeous and he even behaved in а fun- 


owners, 


were d 


man ll 


ny way with my photographer. He was 
a very handsome man and he never 
looked at me He looked my pho- 


tographer. He was provoking him. He 
was doing things like that [licking her 
lips] and he was looking at hi 
PLAYBOY: lhis smacks a little bit of ch; 
acter ation. You admit that you 
couldn't come up with anything in the 
view. You really couldn't get Arafat. 

о 


your introduction you get ir 
personal attacks. You wrote: “His teeth 
the teeth of a wolf." 

РАЦАСІ: What do you want to do? What 
do you want to do with me because 1 
don't like Arafat? 1 don't like Arafat! 
PLAYBOY: What if the introduction to 
view said Oriana has crooked 


ҒАШАСІ: Let t I have written. 
[Reads from her collection] It is funny 
It is amusing. It is amusing. 

PLAYBOY: You wrote, "His fat legs and 
his massive trunk pen his huge lips and 


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PLAYBOY 


swollen stomacli 
stuff, 
fauaci: What do you саге? 15 he your 
frien 
PLAYBOY: I'm suggesting you didn't ni 
him in the interview, so you went a 
cheaper route. You wrote that it was an 
“unsatisfactory” interview because you 
couldn't get anything out of him. 
FAUACI: Yeah, because he had nothing 
to say. 
PLAYBOY: Not necessarily. For instance, he 
made contradictory statements. He said 
at one point, “We have to liquidate 
Israel!” Then. in another part of the 
terview, he said he has nothing against 
the Jews and he is for a democratic state 
FALLACI: Yeah. 
PLAYBOY: Why didn't you ask him how 
he could be for both? 
FALLACI lile ti 
know how much it lasted? One hour. It 
was very short. When you have little 
time, you let them talk and you think 
you catch them later. But I never caught 
him later. I couldn't—he went away. He 
left with his beautiful, handsome Ger- 
man blond. 
PLAYBOY: You sound as if you have con- 
at because he is a homo- 
sexual, Is something about 
homosexuals you don't like? 
FALLACI: They don't like me. 
PLAYBOY: Why? 
FALLACI: Maybe because I'm more manly 


That's pretty tough 


Because I ha e. You 


tempt for Ara 
there 


than they аге. 1 irritate them—1 don't 
know. 
PLAYBOY: You're more manly 
FALLACI: l'm—if we get lost into that sub- 
ject, I am going to say something which 
makes me very unpopular. I don't know 
if I should look for other enemies; 1 
have so many already. But I'm not crazy 
about them, the homosexuals. You 
them here in New York, for instance, 
moving like this [makes a mincing ges- 
turc], exhibiting their homosexuality. It 
disturbs me. Its . .. I don't know. Do 
you know the ones who have the high 
heels and put powder on amd go to 
Bloomingdale's hand in hand, and they 
squeak? 
PLAYBOY: It makes you nervous? 
FAHACI: No, it doesn't make mc nervous; 
I just can't stand them 
PLAYBOY: Heterosexuals can also be ex- 
hibitionists. They don't offend you in 
the sa 
FAMACI: Heterosexual means men that go 
with women? 
PLAYBOY: Yes, or women with men 
FALLACI: Listen, here we get into the 
word sex. Its so boring. Anybody who 
makes an exhibition of sex. who makes 
With 
ew and 


see 


me way? 


exploitation of it, disturbs me. 
I cut the intery 
sometimes other articles and 1 put them 
in the guest rooms of my country house 
because people are very happy to find 
them when they come in summer. It dis- 


PLAYBOY out 


turbs me to sec all the nudity. It's like 
going to buy three pounds of steak. It is 
not puritanism, it’s just a matter of 
aesthetics. Honestly, [ mean, you at 
PLAYBOY are so liberal on certain things 
and you аге so illiberal in the use of the 
naked women. Sometimes, to clear your 
conscience, you include also some naked 
men, but that disturbs me just as much. 
PLAYBOY: To find sex boring says some 
thing about you; most people find it ex 
citing— 
pictures in rravno 
FALLACI: It's boring for me. Listen, have 
you a PLAYBOY magazine here? Please 
give it to me. T show you how boring it 
is. [Begins thumbing through a recent 
issue] Its always the same thing. I find 
Vogue much more interesting, because 
I like dresses, But this [points lo a pic 
ture of a Bunny] is even aesthetically 
ly. I shall never understand this uni 
form. I detest uniforms. Whether 
the military uniform, the uniform of the 
priest or the uniform of the Playboy 
Rabbit Bunny, OK? And it makes this 
woman ridiculous. 

PLAYBOY: The way you find homosexuals 
at Bloomingdale's ridiculous? 

ҒАЦАСІ: Listen, I don't want to be unfair 
to my friends, 
have a couple who arc friends, whom 1 
like very much, ay they are very pleasant 
people, they're intelligent. persons. But 
there is a form of fanaticism in them, of 


nd most men scem to like the 


u 


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87 


PLAYBOY 


dogmatism, of exhibitionism, of Mafia 
sense, all what I despise, 1 me: 

should I reject it in political ра 
accept it in the homosexual p 


are a party. 
PLAYBOY: How are homosexuals a. p; 


Or a Mafia, as you put i 
ҒАШАСІ: Listen, | should say this in 
Italian. When I'm tired, my English be- 
comes lousy. This sense of comradeship 
which exists among, for instance, certain 
sporting people, or certain followers of 
an ideology, like the Communists. The 
Communists among themselves, what 
ever language they speak, they [ecl 
brothers. It’s the sense of the parties, the 
strength, the real sense of the party. Th 
homosexuals are the same, But theirs 
goes beyond the comradeship. Its kind. 
of Mafia, and when they get togetli 
for instance, in the ar field, they 
are terrible, much worse than the mi 
bers of a political party. Terrible, they 
use it, they're very strong. And 1 do not 
want to be obliged to love them. It's 
enough to let them live. I live my way, 
they live their way, to hell with it. But 
don't oblige me to love the 
PLAYEOY: The obligation is not to love 
homosexuals. But since you advance a 
conspiracy theory of homosexual life, 
and vou liken them to the Mafia or to 
the Communist Party, you should be 
obliged to defend that. 
FAILACI: It's a form of Mafia. 
PLAYBOY So defend that. 
FAUACI: Tomorrow. 
PLAYBOY: It’s not to make you love them; 
"s making you be f. ng you be 
accurate. 
FALLACI: Tomorrow ГИ tell you. 
PLAYBOY: You don't like being 
down in an interview? 
ҒАШАСІ: I'm tired, I'm t 
] promise Ill do it 
tomorrow. 
PLAYBOY: Have any of the people you've 
ved said to you, “Oriana, 
Iking to you. I don't w 
talk anymore”? Would you accept that? 
FALLACI: I have never talked so long with 
the people. I never make an interview 
so long 
PLAYBOY: Why is your journalism so con- 
sumed with politics? 
FAWACI: 1 was always very political. You 
st understand that I made my first 
political rally when I was 14. I remem- 
ber in Florence in the square outside th 
Palazzo Vecchio where the Medici lived, 
it was full of people and there wa 
rally, 1 don't know why, and they want- 
ed to exploit me because I had bi 
the key to the Resistance, etc. I rem 
ber very well how I was dressed. I had a 
dress in squares, red and white, and 1 
remember this microphone and I remem- 
ber the first words, because after, 1 was 


worn 


еа. Tomorrow 
ЕШ elaborate 


з some 


“People of Florence, it's a you 
who speaks to уо 


Listen to us young 


people!” And then I don't remember 
nything. nothing, nothing. I don't re- 
member anything because | must have 
been talking or reading in the state of 
shock. I don't remember anything but 
People of Florence"—and 1 loved it! 
PLAYBOY: Who was exploiting vou? 
FAWACI: 1 was participating m the ass 
bly of the Action Party, a kind of socia 
ist party—an archist party tha 
father and brother belonged to. It w 
very tiny party, where they were all g 
erals, no soldiers. I guess E was the only 
soldier, I was so cute, and I wanted to 
stay with these people because they were 
all men and women of great culture, in 
telligent people, clean people. selected 
people who had been able to stand 
nst fascism in prison. So 1 was drink- 
ing their words. 
PLAYBOY: How 
your father? 
FAULACI- My father was a craftsman, and 
during the Resistance he had been the 
chief of the Action Party for 
Tuscany. And he belonged to the Cen- 
tral Commitee, he was one of the lead- 
ers. Then my father disappeared. He 
had been arrested and was under torture 
for many days. 

PLAYBOY: Where was your mother? 

FALLACI: My mother had the guts to face 
the head of the Italian 55, who was a 
very famous torturer, He received her 
and said, "Signora, you can dress you 
sell in black. He will be executed tomor 
row morning at the parterre.” And my 
mother raised her arm and said, “All 
right, I shall dress myself in black, but 
if you are born out of the womb of a 
woman, you'll tell your mother to dress 
herself in black." And he said, "Signora, 
get out of here, I will arrest you. too. 
And she got out, very dignified. She was 
pregnant and she took her bicycle and 
she started on the bicycle and she lost 
the child in the street. That was a very 
fantastic story of my mother: she w 
tough woman, very sweet, though. 
If you saw her, you would say, "Or 
you сай this woman a tough won 
My God, she was the symbol of wh: 
call femininity, yet she was so tough. 
PLAYBOY: How old were you then? 
FALLACI: Twelve or thirteen. 1 was al- 
ready working in the Resistance: ever 
body 


politically active was 


а ver 


e me orders, vou know, all these 
big people. 1 was like a messenger, you 


those boys who bring the coffee, 
ou de this, go buy a 


k d 
and they yell, 
Coca-Cola 
ask ше for a Coca-Col 
"hey gave me, for instance, a h 
nade. “Take this hand grenade 
take it to the group so and so. 
had to decide how to do it. For ins 
for the hand р 
I was an intelligent Kid. I hid the gre- 
nades in heads of lettuce. 

PLAYBOY: How long was your father in 
jail before they let him out? 


ov 


"Тһе problem is they didn't 
coffee. 


or for 


FALLACI: It was a few months. 
PLAYBOY: They didn’t kill him? 
FALLACI: No. the Allies were coming 


It was clear the Fascists had lost, and 
they wanted to show some magnanimity 
a certain lieutenant. said to him, 71 let 
you go. I know who you are; when the 


moment will come, remember that I let 
you go." I have seen so many things at 
that time. You know, when I speak in 
this country and they ask me, “What is 
the mark of your life?” and I say, “Re 
I say it and I feel that they 
derstand what I mean. But 1 
sa child of the Resistance. 
The Resistance was a male cn 
: how did that affect. your re- 
ps with your mother and other 


exercised on me was political in the full 
sense of the word. but also my mother, 
because she was a nd an 
too. But in life itself, she influenced me 
The talks with my father 
ks—democracy, social 
zism, liberalism, Chris 
п Democrats, the Republicans—all 
that. The facts of life 1 discussed more 
with my mother, even indirectly. For 
instance, it was my mother who put it 
in my mind that I should go to work 
All mothers said. "When will you get 
married?" My mother never cared about 
d д. "When will you go to 
I remember my mother, and 
Im standing up in this bed, and she's 
crying and she says, "Don't do like me 
Don't ever, ever, ever be a wife. Don't 
ever, ever, ever be a slave to a husband 
1 children. Don't do it. 1 want you 
to go to work and I want you to travel 
the world and I want you to be inde 
pendent. Go far away. Fly! Fly! Fly! 
And she cried. That day was fatal to 
те, fatal, because 1 must have paid very 
much attention, maybe because she cried 
and her face was over m I have 
never forgotten those words. See? And 
she always pushed me in thi 
About marriage. When people ask me. 
Why did you never get married?" 1 
don't know how to answer, because it 
never occurred to me to marry anybody. 
PLAYBOY: So you are a loncr. 

FALLACI: Oh, yeah, no doubt about that 
PLAYBOY: And you're also not happy if 
you ton the edge 
FALLACI: You're right, you're ri 
PLAYBOY: You scem to impose this con 
text of a world undergoing perpetua 
istance on everything you do. Is your 
vision the only way to look at life? Must 
it always. be within a resistance? 

FALLACI: You arc telling me—or аге you 
ing me—that I make a war out 
in any circumstances. of my 


were. political 


t. She 


sense. 


it. The fact is that I 
If you read [my 


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PLAYBOY 


90 


book] Letter to a Child Never Born, 
the very first page, it portrays me very 
well. I say to this embryo within me, 
ife is war, dear child." 1 describe lile 
to this embryo to make him decide if 
he wants to be born or not, and 1 do 
it in such а way that the poor kid says, 
“То hell with you, Mother, Fm not 
going to be born." Later in the boo 
there is this fantasy trial in her im 
tion, and she's condemned, 
who condemns her is the child, who says 
to his mother, “How did you introduce 
life to me? Did you ever tell me that 
life can be sweetness and se 


m? You never did, you 
told me terrible stories, fantastic stories, 
war stories, and why the hell should 1 
be born to come into that?” 

If 1 wanted to make me more sym- 
pathetic. I would try with all the poli 


tics Tm capable of to mitigate this, bu 
then I would contradict myself. The 
truth would come out all the same, and 


so | am this. Besides, I'm al «1. 
Fm tired because 1 always ten- 
sion. All I know is the war: I never 


knew th 


peace. 1 was born in the w 
I grew up in the w was my schoc 
and here I t limitatioi 
I know at this point of my life to change 
is too late, I should have tried at least 
90 years ago. 

PLAYBOY. This 

on 


that Ше be 
wed the edge runs through you 
test book, 4 Man. Lets discuss the 
book's hero, Alekos. As an opponent of 
the Greek colonels’ dictatorship in the 
ties, he resisted torture bravely but 
died some years later. He was clearly a 
man of courage, but he seemed to care 
for nothing but his revolution, By vour 
admiration for him, you seem to imply 
that anything other than the great dram. 
of life is inconsequential— 
FALLACI: Number опе, the ma 
book and who really lived is co 
to what you say. I you 
pression, you are one of 
I don't take you seriously for one me 
ment when you sa Number two, 
since 1 respect even the opinions 1 don't 
gree with, then if 1 gave you—or two 
or three other people—that impression 
then [m ashamed. Because Alekos was 
the contrary. What he was-—he could not 
be blackmailed. He could not be black- 
mailed! Now, / can be. 

PLAYBOY: Because you care about some- 
е 

FAUACI: He did, too, for Christ's sake. 
You are unfair to this man! 

PLAYBOY: In the book, there's not a 
single moment in which he feels respon 
sible another human being—not 
He seemed to say he had a 
nd any 


insistence 


had 


for 
even you. 
obler goal than most people 


ns could be sacrificed 
FALLACI: Can I answer now? 
PLAYBOY: All the а 


, The 


swers you w 


Yt publish every word we 


say, of course. 
FAUACI 
lish my 
view. 
PLAYBOY: No publication can print ev 
word of every interview. They're edited, 
of course. Don’t you edit your inter- 
vie 
FALLACI: I publish everythi 
me. Of course. 

PLAYBOY: Every word? 
FALLACI: That's why they're so long, 
PLAYBOY: Then we'll have to direct this 
nterview very tightly; we'll have to cut 
you oll to stay on track. 

FALLACI: You don't let me talk! 

PLAYBOY: Go ahead. 
FALLACI: 1 started to 
tions іп an interview. Obviously, soi 
times you make people repeat someth 
to be sure they meant it. For instanc 
when ] interviewed [Polish Solidari 
leader] Lech Walesa, he said if the gov- 
ernment of Poland fell, Solidarity would. 
go info the government. I was so shocked 
Т asked him to repeat и. I said, Lech, I 
don't want to harm you, because wl 
you said was dangerous, the Soviets will 
be reading this. By the way, he sa 
more than that: He said nor only would 
olidarity go into government. but he 
should become president. Since he is 
such a simple man. it was his way of 
expressing it. I said, Excuse me, Lech, 
Im not going to write that you sa 
you should become president, becaus 
you would be Killed in a week. l'm 
going to do that. And he said, О 
don't write sked hi i 
in if he mean Solidarity should 
govern, ‚ Now, of course, 
Т didn’t include my three interventions 
in the published interview. 

PLAYBOY: Why not? 

FALLACI: [Angrily] I'm not capable of do- 
—you are too 
tyrannical, I'm tyrannical, too. We сап 
not go on. We can't go on like this! 
PLAYBOY: As you said in your interview 
with Walesa, “I ask the questions.” 
You're not conducting this inte 
FAMACI: This is not an interview 
isa fight. 

PLAYBOY: Lets establish that 
olf on a tangent. if it adds noth 
it’s boring. we'll edit it out. Т cer 
don't have the authority to 
aything that co 
matically will be published 

I of it is good—not 
1 say and even less what I write, 
PLAYBOY: Now, to get back to the theme 
of your book: 
Yes, but you're hurting thi 
ап and it makes me very angry! You 
make me [eel as if I give the wrong p 
rait of him. H I did, then I be damned. 
PLAYBOY: What you say throughout this 
book is that his life defines the way a 
man should live, He resisted the dic- 


One second. If you don't pub- 


iswers, th its not an inter- 


k about repeti 
e- 


We 


uh 


if we go 
g. if 
nly 
that 
es out of your mouth 


tatorship. he revealed nothing under 
torture, But, at the same time, he consid- 
ered bombing the Acropolis to dramatize 
his point, he talked about taking Ameri: 
can tourists as hostages. And you seem to 
endorse that. 

FALLACI: It is obvious that T 
man, or. if you prefer, tha 
ІГІ didn't, 1 wouldn't 


«шіге t 
kind of man. 
ve spent three 


years of my lile with him or the three 
additional years it took to write the book 
about him. | admired ihar kind of 


me, 


man before knowing Alekos—for 
it came during the resist 
Italy. E like 
n who resist. My f. 


others who were arrested with my 


Fascists 


fa- 
ther—one did, one didn't. When the one 


who didnt resist told me, ten 
later, oh, [wanted to spit in his 
Oh, I do admire that kind of man. I do, 
I do. I do, I do! It is because of people 


the world moves. I'm not 
‚ you see. Marxisn 
movements, not individuals, wl 


the world move 
MAYBOY: But to try to stay on the sub- 
ject, what about the problem of means 
1 ends? To consider kidnaping inno- 
cent American tourists in order to resist, 
that’s a form of terrorism, and 
important subject in the world toda 


FALLACI: OK. See. when ra 
with Americans, I feel a tremendous gap. 
something that divides us. I say this i 


tay 


is this void between us. We have diller- 
cultural perspectives. My concept of 


you 
was, the Resistance. You see it in movies 
s. bad books. usually. So you 


will not Tsay, “Ves, 
yes, unde ‚ you c 
hostages, yes, you can!" For ve 


monstra or me it is not, The F 
would agree with me: a German, a Rus- 
a n, a Dane: not a Swede, 
ybe. But yon will not! So the dialog 
becomes impossible. You could also ask 
me. Why kill ап I$-ycarold German in 
2 Why? Was he responsible? 1 say to 
no, he w ible. So you 
Yes, I kill 

And this 


n't resp 


1 answer to 
n—erying, but E kill hi 
is monstrous to you. 

PLAYBOY: First of all. you have а conde- 
scending view of Americans, and that 
comes out in the book as well. You 
. "America is made up of the re- 
jects of Europe" "That isn't true. Many 
of the people who emigrated to America 


you 
п 


were the most adventurous, and it was 
advent to come to t country, 
Tt was the most enel ic of the Chinese 


who somehow ended up in San Francisco 


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PLAYBOY 


92 


and to this day, it’s the most energetic 
of the Guatemalans who crawl through 
barbed nd somehow get to Los 
Angeles. But as far as the question of 
terrorism and hostages goes, I suspect 
the average Irish or French citizen 
would share my reaction to your view 
It's not just that a hostage is different 


from a soldier, but there's a frivolous 
ness with which revolution 
sider taking hostages—and 


if the people to be used by revolution- 
aries weren't really living, human beings. 
FALLACI: When I speak to you about t 
I feel like when I speak to my little 
sister Elisabetta. And it makes me recall 
what Willy Brandt told me during our 
interview. He had the same problem 
with his children. They didn't carc 
because they had not experienced wl 
he had. So, in the same way, you are 
like the children of Willy Brandt and 
like my sister. You did not experience 
it, you do not have it in your conscious- 
nes. It is not an accusation. It is a 
fact. 

You use the adjective frivolous, and 
it is gratuitously offensive. There were 
not frivolous episodes, I tell you. For 
Alekos was concerned about thos 
people. I am talking about one part of 
u, you about another. When I asked 
him, “What does it mean to be a man? 
he gives me an answer and asks me, 
“And for you, what does it mean to be 
тап?" I say, “Well, something like you, 
Alekos.” His answer, what he means, is 
he's just a man; а man is a man when 
he is human, with all his frailties and 
limits and guilts and mistakes—and 
also beauties, 

PLAYBOY. But you don't present him as 
just a man; this was your lover, the man 
you admire, you hold up to the world. 
FALLACI: My brother! 1 prefer the word 
brother more than lover. Lover makes 
you think something like rrAvnov, mak. 
ing jumps in the bed. No. he was my 
broth: 
PLAYBOY: But he wasn’t your brother. 
ғашасі: Oh, yes, he was. 

PLAYBOY: With all due respect, he 
a man you gave in to, you were used 
by 
FALLACI: No, I was his accomplice. 
PLAYBOY: Because of him, you took risks 
you didn't believe in. You went along 
with things you thought were crazy; you 
wrote that you thought maybe he was 
mad. You went along like some teeny- 
hopper. some sorority girl You did 
what lovesick groupies have always done: 
You went along with Ais plans, no 
matter what you thought for yourself. 
FALACI: Look, if tomorrow you have 
plan to kill Qaddafi, 1 come with you 
and follow you in the same way. Fol- 
Alckos’ plans to resist the di 
the same thing I did when 
I was a litte girl with pigtails. I cn- 
tered the Resistance as a kid and was 
discharged as a soldier. Let me tell you 


lowi 


this episode; it will explain to you why 
I was not the slave of Alckos. 

My work during the war, as you will 
find in any book about the Italian Re- 


sistance mentioning my name—and my 
nom de i; 


Amelia—was to 
n and English pri 
ped from concen- 
tration camps i I guided them 
to the Allied lines because it was a 
we made with the Americans. 
icans would supply us with 
ammunition and other things we need- 
ed, but they wanted their prisoners 
back. You know . . . it seems that has 
been the problem of the Americans for 
the past 50 years of history—they want- 
ed the Americans back from Italy, they 
wanted the Americans back from Viet- 
m, they wanted the Americans back 
from Ir: 

So... what I did countless times, all 
alone as a kid, was to accompany Amer- 
icans on my bicycle for 60 miles, and 
we saved many Americans and English 
and South Africans in that way. There 
is no need to tell you how dangerous 
it was, because anyone found in contact 


guerre 


na 


ہہ س 
"Yes, yes, I might be a little‏ 
obsessed with courage.‏ 
Something happened to me‏ 
when I was a little girl.‏ 
The trauma of fascism‏ 
and of resistance."‏ 


with an escaped prisoner would be схс- 
cuted immediately. And my mother wa 
always frightened by this. My father 
who did not live with us, because he 
was hiding, didn't tell her after the first 
couple of times ! went. It was crazy at 
the time—to go past German roadblocks 
with men who spoke only English. I'm 
used to participating in something tha 
might be crazy or not! I didn’t feel used 
by Alekos! 

PLAYBOY. But the point you 
your book- 
FAMACH I was like a serge: 
the lieutenant. 
PLAYBOY: The poi 
book is that. Alekos was an cxample of 
other men around the world who resist 
authoritarian power. It's like a prism lor 
everything you believe about courage 
and politics and lile itself. It scems as 
if you're saying that the real test of a 
man is the courage to resist torture, to 
resist institutional power. The test of a 
man is never being а reformer, making 
the world marginally better, It's never 
being a parent, diapering a baby. You 
seem contemptuous of anyone who takes 


nt following 


t you make in your 


small steps. "That comes out in your 
interviews: The people you are interest- 
ed in are big political figures, they make 
history. Anything else in human experi 
nce doesn't seem to interest you 
FALLACI: OK, one thing at a time. About 
whether the test is diapering а baby— 
no, it is not the test, because that would 
be another book, I wrote this book, not 
nother onc. Tf you want that test, read 
my Letter lo a Child Never Born, where 
the heroine is a woman and the test she 
has to face is of another kind. 

PLAYBOY: Is that a test à man could facc? 
ҒАЦАСЕ I let you talk when you put 
your very long question-accusation. Now 
you let me talk! I cannot do like th 
because if you interrupt me, you do not 
want my answer! Why did you become a 
journalist and not a prosecutor-general? 

Of course this book doesn't deal with 
the problem of diapers! I don't give a 
damn about the diapers of a child, be- 
cause it not the work of the ch: 
ter of the book. He had no children 
to wash anything for! The accusation, 
which was the real point you wanted to 
get to, is that 1 only deal—tet’s see if 
1 understand it right—with exceptional 
people, I only care about people who 
do not belong to the crowd. Well, it is 
true and it is not true. It is objectively 
truc, since all I offer to you is interviews 
with these people, and in this particuls 
case, а book about suc! man. It 
not true if I recall to you that I do пос 
ke these interviews, or write this hook, 
for those men—but for people who wash. 
the diapers. To wake them up. To tell 
them, in the case of the interviews, who 
are the people who decide our life and 
death. Not necessarily bad people. Some 
are OK. Some arc not. To tell them, in 
the case of this book, how much they are 
manipulated and how they are crushed 
n the preciousness of their individ 
hey must re-find that individ 
because, as I say over and over, every. 
body is somebody. 1 don't know if 
good English. 

In any сазе, I offer the extreme e: 
ple of this man—extreme becaus 
not like him. I only write for the others 
as a moral commitment. I suller whet 
1 amuse me. I expose m 
self. 1 a y told you I admire t 
ind of man; so what? Am I to be con 
demned? Yes, yes, 1 might be 


pened to me in my l 
when I was a little girl 

ism and the t 
as marked. my lile, morally 


culturally, and I cannot change it. I 
must be taken for what I am 

PLAYBOY: Then because of that. we 
should accept everything you say? 


FALLACI: No, you should not. ЇЇ you ac 
cept everything I say, you do the con 
tary of what I preach. 

PLAYBOY: So those of us who didn't par 
ticipate in the Italian Resistance cannot 


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PLAYBOY 


challenge that view? What I am challen; 
ing is your view of courage. Individual 
acts of terrorism may be courageous, but 
don't they just alienate people and end 
up being self-defeating? 

FALLACI: I [ecl helpless in talking to you, 
because even if you were a more toler: 
if I'm speaking 
Chinese, Take the Palestin 
ample, I feel they have no 
bomb in a bus with 25 school childrcn— 
and I tell you that Alekos would never, 
no, never put such a bomb under a 
school bus. I would like you to recall 
that he never killed anybody, and the 
only violent act he did in his life was to 
put a couple of bombs that did not c: 
plode. What he did in Greece was to 
the tyr: which he d 
And if I were courageous, I 
would do also. If I were courageous as 
he was I would have killed Qaddafi 
when I interviewed him. I would have 
had the guts to die killing Qaddafi— 
but I didn't. 

PLAYBOY: Who else among your inter- 
view subjects would you have killed? 
FALLACI: Many other: 

PLAYBOY: Which others? 

FAUACI: | shall not mention anyone I 
have not vet been able to interview. 1 
am not that stupid. 

PLAYBOY: But which of the ones you have 
interviewed would you ki 
Fauact: Let me think, Qaddafi for sure. 
I think its a shame Qaddafi dies in his 
bed. Oh. God, if I had had the guts to 
do it! I should die with him, of course. 
Let me see... . You asked me for n 
I'm a serious person. I'm not going to 
shout names like that. You probably 
expect me to say Khomeini, but I shall 
not. Idi Amin. for sure, but I have 
not interviewed n. 

PLAYBOY: That attitude may n 
copy, but it also ри 


ke good 
s all journalists into 
Any time we interview some- 
onc, does that person have to fear he's 
going to be killed? Do you think we have 
the right to intrude this way? 

FAUACI: To intrude in what sen 


question. 


PLAYBOY: To make history. You'll m 
history by 


iling Qaddafi. 

: No. РІГ be protecting my lile. 
He is a murderer. He is the man who 
helps the Red Brigades іп Haly, who 
helps terrorists nd the world, 
who wants a m bomb for Lib: 
‘There are not 
personal dictatorships in o 
Qaddafi. 1 would say that wa 
with Hitler. And I would think it was 
tragedy for humanity that the attempt to 
assassinate Hitler failed. 

PLAYBOY: But that doesn't really answer 
the question. 
FAMACI: I didn't get a chance to finish 
answering! I never have the time to an- 
swer. Listen, jor would make a very 
good dictator. 

PLAYBOY: Calling me a dictator, what is 
that to do? Make me say, 


Sorry, ГЇЇ stop"? Is that to intimidate 
an interviewer so you won't get pinned 
down? 

FALLACI: No, it's because I don't get a 
chance to answer. It's impossibl 
just go have lunch instead of doi 
interview. 
PLAYBOY: 
you've 


from the 
nse that 


Look, 
ken off 


very rE, 
anyone should 


what courageous political action is all 
about. When I've raised questions about 
that, you've said i because I'm 
American, or 1 didn't live in the Resist- 
ance, or I'm an egomaniacal interviewer. 
The fact is, many people have profound 
questions about this topic, would agree 
with my challenges, and you're just refus- 
ing to meet the questions head-on 
FAUACI: You're not attacking me. You're 
attacking him, Alekos. And I'm thin 
Oh, God, Alckos is dead, he cannot an- 
swer 
PLAYBOY: But it's not he, its the idea we 
are talking about 
FALLACI: Ph ! Please! Please! [Scream- 
ing] You see? He doesn't let me talk! Dio 
mio, he doesn’t let me talk! 

[The interview was broken off at this 
point and resumed the next day in a 
more subdued atmosphere.) 

PLAYBOY: It seems as if some people песа 
perpetual revolution. . . . They need 
crisis, they need to chink the world is 
falling apart; they're not happy if they 
don't think that fascism is coming or 
we're on the barricades, 
FALLACI: Т don't belong to them. 1 am 
more moderate than you think. I do not 
think that everything must be destroyed. 
On the contrary, I think there is much 
10 preserve, to renew, to remake, to wy 
10 make better, to change, but not to 
destroy, in any field. l'm mot Atti 
When I sce that in New York, you de- 
stroy those old buildings—for instance, 
an old hotcl—1 suffer. If you translate it 
nto politics, it tells you sometl 
PLAYBOY: Still, you seem alw 
your life as a shout, as if you were still 
at a rally, crying, “People of Florenci 
whether you're getting a taxi or demand 
ing to change a table or complaining 
bout the 
FALLACI: You're 
right. I have n 


м 


what? You 
nswer. It’s true. 


right. 
thing to 


Гуе never been serene my life. Ц you 
put me on a shore, of Acapulco or the 
caribbean, beautiful shores, with this 


y and the palm tree, 
1, now you res 


е sea 
nd you 
take a 

there in the sun." 1 might 
hour and then I begin to think, Wh 
bore, nothing happens here. You х 
What do you mean, nothing happens? 
You have the bı the beautiful 
sky, and what else do you want, pinc- 
apple juice with the rum And 


rest for a week, come on, stay 


y half an 


ta 


you give me the pincapple juice and 
when it is finished, I 


"What do we 


s to happen. 
PLAYBOY: Yes, you do. And it’s obvious 
you love theatri. You always make a 
scene at an airport or in a restaurant. 
You made a scene with Khomeini. But 
you know what you're doing and why, 
don't you? 

FALACI: | have a professional example 
please you a let and which 
inst me. When [ was interview- 
ing [Chinese leader] Teng Hsiao p'ing i 
Peking and he said something about 
Stalin, I let him talk a lot of timc. But 
e it 1 felt 
to cou k him. | said, 
in"—and we got involved in a 
and it was 


the need 

But St 
discussion so long about Stali 
such 


waste of time, and Teng sa 
Listen, let's do one 
"You 


n moment, 
thing.” He was so cute: he said 
remain of your opi pout Stali 
about mine and we'll go on 

1. "Yes, 


terview." 
but that huge portr у 
have in Tien Ап Men Square—why do 
you still have it up there?” That wa 
avound the end of our first encounter, 
which took place on a certain Thursday, 
I saw him again on Saturday and tha 
morning. on our way to the Great Hall 
of the People, we passed through the 
square and 1 look up and theres no 
morc Stalin! I couldn't believe my eyes. 
When I c ed again the Great Hall 
ot the People, in this large room full of 
members of the government, 1 pulled an- 
other scene: My interview. with Teng, it 
was not a private thing as we do now, or 
s T always do with the people I inta 
view, but there were also TV peopl 
newspaper people, photographers. 1 was 
very angry at Teng! 1 said, “I don't want 
them to stay here, the interview is mine, 
they are listening, they are going to steal 
1” So he kept the government men and 
the photographers, but he sent away thi 
newsmen, He was very nice, he was very 
cute. 
PLAYBOY: By the way, do you think that 
a man could have way with that? 
FAUACI Honestly nt have helped, 
not only the fact that Fm a woman but 
that I'm a small woman, The point is 
that Teng, too, is very small; he's even 
shorter than 1 am. 
PLAYBOY: You say it probably helped 
with Teng that you were a woman. What 
if a woman were interviewing you? 
FALLACI: [Refers to an unflattering article 
written about her by an American jour- 
панз) When that fit woman report 
do you want to know what is my prob- 


If they 


lem when women interview me 
ane fat, be sure they will be nasty. 
PLAYBOY: Why? 

ААС: | don't know—maybe becuse 
I'm not fat. When they tell me how slim 
I am, I think, Oh, mamma mia, oh 
Dio, Dio, now 1 know she’s going to 
write something against me, It's the story 
of my life in every country. 

PLAYBOY: You really have а problem 


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with women, don't you? 


rh na M DRAMBUIE OVER ICE 
WITH 341 SLIDES OF GREECE 


up among men. The only women 1 was 
familiar with were my mother and sisters 
But outside the family, in the intellectu: 


world, it was all men. So in school, in 


the Resistance, as 


reporter, there were 
no women at all, just men. I never 
learned the art of dealing with women. 
PLAYBOY: How do you get along with 
feminists? 

FALLACI: I'm sick and tired of them. I used 
10 say in the past that the biggest revolu 
tion of our time was the feminist revolu 
ton. 1 said ir for а couple of years. 
Until they started breaking my balls and 
really unbearable. It is their vic 


becam 


timization that disturbs me. I think it’s 
you 


like a dictatorship: If you accept it 
deserve it. A dicuttor never becomes onc 
il the people are not scared, silent 
cowards. 

PLAYBOY: How did they start breaking 
your balls? 

FALLACI: They don't teat with me any 
more, they ignore me, they punish me 
When Ms magazine received the manu 
script of 4 Man, they said, “We are not 
interested.” So now I'm exiled, which is 


od, because I don't want anything to 
do with that fanaticism. Its fa 


atic 
дийп. What feminists really wanted 
me to do was stand up and say. "Look 
what I1 have accomplished in spite of all 
the men who were so nasty to те..." J 
mean, I am living proof of the contrary. 
When vou choose a few cxamples of 
women who did it in our time, you have 
to choose me. too. I'm not Joan of Arc 
and I'm not Catherine of Russia and I'm 
not Golda Meir. But Т 
who succeeded. And they wanted me to 


m 


once à 


m one of those 


say I had donc it through my own 
heroism, in spite of me But [ said, 

No, it is not so. It helped me to bc 
a woman. It helped a foi!” 

Two things have helped me—to be 
born a woman and to be bom poor 
They were the things thar pushed me, 
pushed me. 1 have said that 
were Oriano, if I were a man and had 


my name 


been born the son of the Duke of Marl 


horou 


. I would probably be a fucking 


idiot, because ГА have nothing to fight 


for. Plus having the temperament I do, 
it has made more news that I was a 7 have not been experiencing it. I must the lips. She almost fainted. She said, 


woman. J 1 had been Oriano writing сау that I have received in my life, from — "Cechhh. Is that what you always speak 
ihe same things, maybe I would have any point of view—including those who about, Oriana?” I said yes, so what? Bur 
been more slowly or less known. So the Write about me—much more masines но, 1 couldn't imagine two laborers 


fact is that being а woman has helped Әу the women than the men. If you find kissing cach other on the lips, making 
and the feminists got angry. I sid thar а Masty article about me, be 98 percent — love. Those Bloomingdale's types that I 
I was sick of their victimization, always Sure jt was written by a woman. Well... cannot stand, or the homosexuals in Arab 
crying, “This happened because I'm a 0r by a homosexual. countries—it makes me sick I can't 
woman.” I say, "No, it happened because PLAYBOY: That certainly brings up a imagine a homosexual in апу position 
you arc mo good, not because you are familiar topic. Whar is it about you and When they swagger and strut and wag 
1 woman." homosexuals? their tails, T can't bear them. 

PLAYBOY: So you've never been held back FALLACI: 1 remember once when I took — PLAYBOY: You, who claim to detest power 


by "male-chauvinist pigs”? my mother to London for the first time and to root for the underdo; 
FALLACI: | have always been uncomfort- in her life. We were in front of West associate homosexuality with weakness. 
able about that—there is much truth to minster Abbey and we saw these two You mentioned earlier that they don't 
the issue of male-chauvinist pigs, but workers, kiborers, kiss cach other on like you be 


obviously 


ише you're more manly than ву 


PLAYBOY 


98 


they аге, so th 
and frivolous people. 

FAUACI: No, I told you there are a few 
exceptions. I have very few friends among 
them, but, as the Latins say, it is the 
exceptions that prove the rule. When 
they love me, they love me madly, but 
most don't at all. And I never under- 
stood why, but lesbians hate me much 
тоге. The only lesbian who is nice to 
te Millet. She 
artworks—írom. 
graphic or lesbian exhibits, all that kind 
of stuff. І said, "Kate, why do you send 
me those things?” She said, 
“It's ugly,” E said. Anyway, she's the only 
one who likes me, Yeah, they don't like 
me, thanks God. 

I'm very happy that lesbians don't like 
me. I'm not so happy that [male] homo- 
sexuals don't like me, because. after all, 
they are men, and I like men better than 
women. Eh. I live well with men, 
that’s the problem. Of course, in th 
field of love, you can be hurt by men, 
but you hurt them also, for Christ's sake! 
PLAYBOY: But why do homosexuals make 
you cringe? You were physically recoiling 
а moment ago. 

FALLACI: No, don't exaggerate. I don't 
care. They can do what they want. It's 
their exhibitionism that disturbs me. 
‘There is a very nice homosexual here in 
New York and I see him rather often 
and he is cute. Polite, intelligent and 


me is 
unbelievable 


delightful, I would like to travel with 
him. Ooooo, I could go on holidays with 
him. How beautiful! You want to know 
why? So I have a man next to me and 
he doesn’t bother me at night. He doesn’t 
ask me anything. How cute. Cute. 
PLAYBOY: Why don't you want to be 
bothered at night? 

FALLACI: Because if you travel with a 
normal man, there is always а me 
in which he may be attracted a 
make a gesture, and I say, “Oh, leave me 
alone.” That will never happen with a 
homosexual. 

PLAYBOY: You still haven't answered the 
question: Why are you so repelled by 
homosexuals, or by their exhibitionism, 
if you will? 

FALLACI: I don't know. It's like seeing the 
beauty of the male body—and you will 
admit that the male body is much more 
beautiful than the female body 
PLAYBOY: No, I won't 

FAUACI: Oh, come on. There is no com- 
parison! The Greeks understood tha 
very well, for Christ's sake! And when 
homosexuals swagger- 
PLAYBOY: You've never seen a female, a 
heterosexual female, swivel her hips? 
FALLACI: I was trying to tell you, but you 
didn't let me The male body has 
a different dignity than the female body. 
When the male swaggers, it breaks the 
harmony, it hurts the dignity. It disturbs 
me... . You want me to think like you! 


You are doing to me what J did to Teng 
Hsiao p'ing, when he upset me and said 
I should remain of my opinion and he 
ol his—and get on with the interview. 
PLAYBOY: As long as you admit I'm not 
doing anything to you that you haven't 
done yourself as an interviewer. 
FALLACI: But I B of serious 
things when I fought with Teng. He 
liked Stalin! But you, you cannot bear 
that I am not in love with homosexuals. 
PLAYBOY: Just rounding out the portr 
Oriana. You have a certain idea of 
maleness, and that connects to courage, 
to strength, to power—your field of study. 
Besides, you have a fascinating of 
sex. What was il about i? Thar 
you found it boring? 
FALLACI: Yes, it's boring. I have a friend, 
а very handsome and intelligent man 
who has many women. And he says, “Sex 
is an activity for porters.” 

PLAYBOY: For porters? 

FALLACI: Yes, because all the blood goes 
down toward the legs, and the intellec- 
tuals, we need it in the head. It is not 
for us. 

PLAYBOY: So assuming that even intel. 
lectuals occasionally have sex, what sort 
of man attracts you: 
РАЦАС: To love a man, it must be a 
courageous man. Once I was on NBC, 
doing the Today show to promote my 
book, and we got into a discussion of 
love, because Americans saw in the book 


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a love story. So after a lot of talking, I 
became impatient and said, “Damn it! 
Don't you understand what I say? I'm 
saying 1 cannot love a fascist!” It had a 
great success, this thing. They loved it 
very much. 

PLAYBOY: What about sex with a man 
who is not a fascist but whom you don't 
love, either? 

FALLACI: That is my business. You will 
not come into my bedroom, I tell you. 
PLAYBOY: You uscd the word fascist i 
this regard. It strikes me, in thinking 
about the Moral Majority, that it was the 
Fascists—and today the Communists— 
who were the most puritanical who 
suppressed “sinful” behavior and homo- 
sexual 

FALLACI: Yeah, the Nazi leaders, the hypo- 
how often they were homosexual! 


айс 
My God, damn it, what hypocrisy! 
PLAYBOY: But onc of the reasons PLAYBOY 
and others oppose the Moral Majority in 
this country is that those people equate 
their version: of moral behavior with the 
good of the state—and that has elements 
of, if not fascism, authoritarianism 
FALLACI: Ah, you are putting up PLAYBOY 
as an opposition paper, eh? 

PLAYBOY. Well, what do you think of 
the tend toward mixing puritanical re- 


ligion and politics? 
FALAC Maybe in not in 
Europe, thanks God. Churches are empty. 
Don't pay attention to those who go to 


America, 


St. Peter's Square—they are tourists 
PLAYBOY: But if America is where social 
movements start, Europe will catch up 
sooner or later and you'll find a similar 
revival of religion in state affairs. 
ҒАШАСЫ That's not possible. 
never goes back. No, no, no, no! 
PLAYBOY: History is going back in Amer- 
ica tod; 
FALLACI: Well, we ma fun of you. 1 
mean, in a country where the President 
of the United States, whoever he is, every 
time he opens his mouth, he has to 
mention God—well, my God! 1 mean, 
not even the Pope does that, It will never 
happen in Europe. 
You know. Italy 
pagan country. They are nor re 
Maybe about half believe in God, but 
our Popes never believed in God. They 
forgot about it. You want to know how 
this new Pope, Wojtyla, was elected? 
When the other one died, all the Italian 
cardinals, they got together and said, 
“Hey! Any of us around here believe in 
God? Eh, Guido, you believe in God? No! 
Luigi, you believe in:God? No! You over 
there? No! Well, we still got two coun- 
tries where they believe in God—treland 


History 


in particular, is a 
gious 


and Poland. Try Ireland first. Telephone 
lines all busy? Ho-kay, try Poland 
Hallo. Wojtyla—you believe in God? 


You do? Benissimo, you come down to 
Rome, be our new Pope.” This is a true 
story, Fallaci tells it to you. 


PLAYBOY: Good story. When did you stop 
believing in God? 

FALLACI: When I was 12. I had very mixed 
feelings. What I said was, “I don't be- 
lieve in God. Oh, my God! What w 
God do to me if He finds out I don't 
believe in Him?” That was my approach 
But over the years, I find out it was 
sincere. I have the test that I don't be- 
lieve in God. When I was covering the 
student riots in Mexico in 1968, 1 was 
badly wounded and had those three 
bullets in me—one here, one here and 
one here- 
PLAYBOY: In your back, your side and 
your shoulder. 

FALLACI: Yes, and I was losing blood, and 
I was fainting, not knowing if the faint- 
ing was death coming. I remember two 
things very clearly. I remember seeing 
my country house in Tuscany, which is 
very beautiful, like a Lconardo da Vinci 
panorama, and from my house you see 
these hills and mountains and the cy- 
press . .. J saw all that. And 1 remember 
that I never thought of God. The con- 
cept didn't come to me, I didn't ask for 
help from God. 

PLAYBOY: Did you come to these thoughts 
on your own? 

FALLACI: I told you that half of Italy is 
pagan. In our house, our anticlericalism 
was so profound that our dog, cach time 
the town church bells did dingdong, he 
got angry and was barking. Once, the 


99 


PLAYBOY 


100 


priest came to our house to reproach us. 
He says, “No one is coming to church.” 
My mother was ironing. She put the iron 
down hard on the board and she said, 
"Priore, don't come here to teach me 
life. Teach it to others. My family will 
always sow the good seed, because it is 
what it is. Good morning, Priore.” 
PLAYBOY: When you mentioned nearly 
dying, you seemed almost resigned, fatal- 
istic. 

FALLAC I love life. mean, life is all, the 
only point of reference. So I am in love 
with life . . . but I'm very tired. I am 
tired inside. And when you see me do 
these things, you say, "That woman, 
how full of life she is!” But it isa kind of 
show I do with myself to fight the fatigue 
I have inside. 

It started in 1976 and 1977, when they 
both died—Alekos and my mother. It 
was traumatizing. Something happened 
in my soul. You know, when you break 
a leg, the doctor comes, he puts the plas- 
ter on the leg, people come to visit and 
put the signature on the cast and say, 
“Poor Oriana, does it hurt?” Or you have 
a toothache: “Poor Oriana, did you go 
to the dentist?" But if you say, "God, 
I'm sad, I'm so depressed," people go, 
"Ahh!" They do. They do not take you 
seriously. So I always try to hide this 
broken leg of my soul, this broken teeth 
of my soul. Because people wouldn't 
understand. 

But the more I have it, the more I 
live with it. And if you ask me, "What 
is the word you think most about during 
your days and nights?” I will say, 
"Death." Always. I calculate how many 
years, how many days remain to live for 
me. Twenty? Twenty-five? I say, “Есеһ, 
my God, they are few!" And the more 1 
think, the more I adapt to it. If people 
do something nasty to me, I get very, 
very depressed. I'm very vulnerable. My 
vulnerability is equal to my strength, my 
so-called toughness, and when I'm down, 
I sometimes say, "Let death happen." 
But not suicide. It would be necessary for 
me to die in a decent way, with dignity. 
for something. 

PLAYBOY: It's interesting that you admit 
to vulnerability, because the thing most 
people would associate with you is arro- 
gance—as you've said, you sometimes use 
that professionally. 

FALLACI: Yes, people think that I'm arro- 
gant in a certain way. 1t is not arrogance. 
Irs being uneasy—and not shy. It’s a 
ter of uneasiness and a kind of .. . 
fear. Professionally speaking, it is, yes. 
yes. yes: fear, fear, fear. And this comes 
from being alone. My mother used to 
describe me as a very severe ch 
and isolated. I never played with the 
others. 

PLAYBOY: It's hard to imagine you as a 
carefree child. 

РАША! wonder if I ever was. There is 
astory about my doll which will tell you. 


d—severe 


The Fascists in Italy would sometimes 
give out dolls to the kids, etc. I brought 
my dol home and my mother said 
"Ahhh! What's that? A Fascist doll? 
And she threw it out the window, Years 
later, when I was 16, 1 became a reporter. 
With my first pay check, I gave most of 
the moncy to my mother, because there 
was need, but I reserved a small amount 
for myself. And with this money, 1 went 
to buy a very large doll. When I got it 
home, I gave it to my mother, because 
it was too late for me. She remembered 
my first doll and cried, and kept it for a 
long time. Today it is in my country 
house, dressed in red velvet. 
PLAYBOY: Every time you mention your 
background as a l6year-old girl, com- 
peting equally with men both in your 
profession and in the Resistance, you 
seem to be emphasizing how hard you 
had to fight to prove yourself. Is it too 
trite to suggest that is a battle you're 
still waging? 
РАЦАС: Well, with the Resistance, 
particular, yes, it was my first great ad- 
venture. It was accompanied by fear, but 
it was a noble adventure. So I have been 
brainwashed, conditioned to love adven- 
ture, which explains so many things— 
including my encounter with Alekos, be- 
cause he was the symbol itself of adven- 
turc. Today I make an adventure out of 
everything. And my interviews, which 
were once great adventures, arc no long- 
er a professional challenge. Let's admit 
it once and forever: 1 am more dedicated 
to my writing than to the interviews, 
because they are so easy for me. I know 
already what makes the interview—I 
don’t know if I should say, because 
someone will my, stupidly. I cannot 
really explain it, except to say that they 
go beyond the tape recorder—it's the 
way I conduct them. They are pieces of 
theater. 1 prepare the questions, but I 
follow the ideas that come. I build the 
suspense, and then I have coups de 
scene, do you understand? But they are 
very fatiguing. Do you believe that in 
some two-hour interviews 1 have lost 
weight? And, as I say today, they are no 
longer the adventure, the challenge. 
PLAYBOY: You say your book writing is 
more important than your journalism, 
Do you still consider yourself a journal- 
ist? 
FAMACt This book [4 Man] took me 
away from journalism. It's been a psycho- 
logical withdrawal from journalism. 
When Alekos died, 1 had to decide 
whether to be a candidate for the Italian 
Senate or get this book out of me. I 
chose to write this book. But for all that 
I've said, I don't consider myself out of 
journalism. I very proudly still consider 
myself a journalist. I love it; it's the 
grcatest work in the world. 

But what began to disturb me was that 
the journalism 1 fell in love with at 16 
was no more around me. I used to prac- 


tice journalism as I had been told it 
should be done, as my unde did. Like 
the doctors, you know, in the movies, 
old country doctors with the horse and 
buggy who deliver the children and the 
calves and the young horses and fix 
broken arms—do you remember? They 
still existed, those doctors and they 
worked all day and night. And that was 
journalism, as I recalled it. Dedication! 
But around me, I saw instead the jour- 
nalist becoming more and more pomp- 
ous, with hours of work like people in 
the bank, you know—not on weckends, 
please. They don't give a damn, because 
they must go to ski. The more they be- 
come lazy, the more pompous they 
become, the more arrogant they become 
toward the world. They grew up with 
TV. I'll get into that later. 

PLAYBOY: What do you mean by arro- 
gance? 

FAWACI: It is their lack of political com- 
mitment, and here 1 mean especially in 
America. I'm going to be hated, but i 
what I really believe. The lack of poli- 
tical commitment is compensated by a 
kind of arrogance, which is the arrogance 
of the policeman. Journalists, especially 
the TV ones, address people as execu- 
tioners: “Here I come, and I'm going to 
show you what I do to you, who you 
are,” because they have the power, they 
have this wemendous pull in their hands, 
and they cannot be controlled. The press 
should control the politician, yes, but 
who controls the press? The old question, 
sec? 

There is this form of arrogance, which 
was particularly born in this country, 
which I remember because I experienced 
it the first time as a little girl working 
with a reporter at the daily paper in 
Florence. One day Anita Ekberg stops 
at the Grand Hotel with her new hus- 
band. She had got married that very 
morning. She still had the white dress of 
the marriage with one sleeve and thc 
other arm bared, very beautiful, all this 
blonde hair, very sexy, this tremendous 
bosom, etc. Immediately, they were sur- 
rounded by journalists, and there is one, 
a half-American, working for Time mag- 
azine in Florence—so imagine what а 
litde correspondent he was—and he says, 
“When do you plan to get divorced?” 
She was married that morning! I froze. 
1 felt Еке crying for her. I said to the 
correspondent, “Why did you dare? Why 
did you do it?" He said, "Because 1 am 
a journalist. 1 can put amy question I 
want!” 

‘That kind of arrogance extends to pol- 
ities. 1 mean, it is extraordinary how, 
lacking ideas, journalists serve ideologies 
without questioning them or being aware 
of them. Ideally, a journalist, morc than 
an astronaut, more than a judge, should 
be the perfect man or the perfect wom- 
an. We are more or less in the position 
of the judges and the policemen. So 


“If your family likes to show off 
as much as mine, put them onTV. 
Its easy with my Panasonic portable 
Omnivision video system? 


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My teammates are ту family. And G andedit out the ones you don't like. And there’s freeze 
even if they аге a motley crew, | frame and frame-by-frame advance in the 6-hour mode. 
J want more than just a few There's even a remote control that attaches right 
Snapshots to remember to the side of the camera, so you can control both 
them by. Thats whyl 7 | 7 the recorder and camera while you're shooting. 
have the new Panasonic) — Е 4 All you concentrate on 
portable Omnivisior? | | ` ad I8 getting great shots. 
VHS" video recorder | “2. ولد‎ Wm My Omnivision also 
(РУ-4500) and video - ' | goesto work asa 
Y camera (PK-751). They = =e home video recorder. 

make it easy to bring the guys goofy faces, ~ Itcan record up to 
clowning, and fun back to life, right on mı ТИЕ | 6 hours from TV. Or 

The Omnivision portable recorder an 72 | | | When до on the road, 
camera are lightweight and easyto use. | - ES A itrecords shows I'd 


And with the camera's built-in 5 normally miss, Because 
electronic viewfinder this Omnivision can be 
(asmall TV screen), you N EX N programmed to auto- 
Can see an instant replay. Y e matically record up to 
So you'll know you've got ! _ Bdifferent shows over 
the shots. The recorder 24 14 days. 
has Omnisearch, so ^ é ar My Panasonic 
you can quickly review, é | [Es Omnivislon 
all your shots right » 2 brings AER fun of 
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just slightly ahead of our time. 


PLAYBOY 


102 


what detached me more and more was 
this disappointment with what the jour- 
nalist has become today—a form of 
power; therefore, an abuse of power. We 
write so much about the abuse of power, 
and we are among those who commit 
most abuse of power. You understand 
what I mean? 

PLAYBOY: I think you're exaggerating the 
power of the journalist, at least in this 
country. Because in certain situations— 
not necessarily the most important—if 
there's a sex scandal or some document 
comes out, yes, journalists can make life 
miserable for someone. But as far as 
power to raise serious questions that 
citizens have a right to examine, T don't 
see any great. power of the press. Politi- 
cians can play off members of the press 
against cach other—I'll give you the in- 
terview, I won't give it to you—and cut 
off press conferences at will. In this last 
election, you could go through a whole 
campaign with Ronald Reagan, and the 
press never really challenged this guy's 
view of the world. 

FALLACI: Listen, I do not know if you 
suffered as much as I did, on the night of 
the debate between Carter and Reagan. I 
would have given a finger of my hand to 
be one of the persons who put the ques- 
tions. I would have done so much! I was 
in Los Angeles for the promotion of the 
book. I prepared myself to watch TV as 
you prepare for the theater: I ordered 
the drinks, and I put them next to me, 
and I had my cigarettes, my lighter, 
everything was—like a child, very ex- 
cited. I couldn't believe! I shouted, "Ask 
him that—no, no, look what he an- 
swered! Why don't you ask? Why don't 
you do it?” The only one who said some- 
thing, believe it or not, was Barbara 
Walters, because she tried, she said some- 
thing. But the others—nothing, nothing. 
That day, if I were a citizen, I would 
have grabbed them and screamed, “You 
traitors! You were there for me, to repre- 
sent me, and you betrayed me, as a citi- 
zen, you bastards! You parasite of 
powers, you аге worse than them! At 
least they risk—you risk nothing!" Jour- 
nalists don't risk. At least the leaders 
risk! Not only their life, because once in 
a while they get shot, but their reputa- 
tion, all the shit that is thrown on them, 
the accusations, nothing is forgiven to 
them. For Christ's sake! And the journal- 
ists—who do what? Nothing! 

But I have something to say more 
about the journalists and politics in your 
country, if you permit me. I followed 
very closely this last election. It was the 
first time that I spent all the time in this 
country. Before, cither I was in Vietnam 
or somewhere, I could never follow. And 
I looked very well what happened this 
time. It seemed to me that the campaign 
was not really done by the politicians; it 
was done by the American TV. The most 
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was not Reagan or Carter—it was Cron- 
kite. My God! The night of the results, 1 
saw something that was so repellent to 
my democratic sense I couldn't believe 
They started calling the elections 
when people were still voting! I shall 
never understand it. I told it to every- 
body in Italy. I told it to my father, he 
said, "Come on, it's not true. It's onc of 
your American paradoxes.” He still docs 
not believe me. But besides that. do you 
remember the deference that Ford, Rea- 
gan, all of them, had toward Cronkite? 
“Yes, Walter, thank you, Walter, Walter, 
Walter." I like Cronkite as a person, I 
like Cronkite, I know him. I've inter- 
viewed him, he's cute, very nice, he's a 
very decent person. But I'd die to tell 
him today, "Listen, Walter, it was um- 
bearable to see you that night, because 
you were the real President of the 
United States!" He stayed solemnly there 
on the throne of TV— because it's true, 
you have a monarchy in America. You 
have TV. An absolute, tyrant monarch, 
And I remember, poor Reagan, he was 
so modest. He had not understood very 
well what had happened to him, that he 
had been really elected, until Walter 
Cronkite called him. So it seems to me 
that you have a system where journalists, 
who should be the bridge between the 
citizens and the power, become more 
powerful than the powers. 

PLAYBOY: As someone who has inter- 
viewed some of the world's most power- 
ful men, who do you think has morc 
power—the President of the United 
States or the head of the Soviet Union? 
ҒАШАСІ: The President of the U.S. In 
foreign affairs, he can make the de 
all alone. In the Soviet Union, decisions 
are made by a group, a collective. I know 
that Brezhnev did not decide on the in- 
vasion of Afghanistan all alone. The 
president of France probably has more 
power than the President of the United 
States, among nonautocratic regimes. He 
has more power on paper; he can take 
any decision. He is king of France for 
seven years. But he is questioned more 
in France on foreign things than the 
American President is. 

PLAYBOY: And how do you see Reagan 
wielding that power? 

is too early to tell about 
Reagan. He is determined, he has a few 
simple ideas. In Europe, we do not know 
how much knowledge he really has. But. 
1 think maybe he will be a parenthesis 
in our life, a stasis. He is determined, 
whereas ter was intelligent, but I 
agree with Kissinger that determination 
is a better quality of leadership than 
intelligence that is undetermined. 
PLAYBOY: And you're not worried in 
Europe about someone with a cowhoy 
mentality having his finger on the nu- 
clear trigger? 

РАШАСЕ: Well, I don't believe the Third 
"World War will happen in the next 


103 


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three or four years. I think it is inevi- 
table—Teng Hsiao p'ing said that to me 
and he is right. The Third World War 
will take place. But we can skip it now 
and go in peace for a few years more. 
PLAYBOY: You say it matter-of-factly, 
almost cheerfully. 

FALLACI: I'm infuriated! We are all infu- 
riated in Europe, because we will be the 
first ones to die! Because when you do 
your fucking Third World War, I doubt 
very much you will do it at home. You 
or the Soviets. You probably will not 
have to throw the nuclear bomb, Do you 
know why? Because you don’t need it. 
You are going to make the war on our 
heads with conventional arms. The war 
will take place in Europe. You are pre- 
paring the genocide of Europe! Nixon's 
book, The Third World War, that's 
what's going to happen. You are already 
making the war—by proxy! China and 
the Soviets are already fighting by proxy 
in Southeast Asia, and aren't your pup- 
pets fighting your war elsewhere—in the 
Middle East, in El Salvador? It's already 
there, the proxy wars, and the big war 
will burst in Europe. Darn right. Of 
course I'm angry. You ask if I'm cheerful. 
For Christ’s sake! 

PLAYBOY: Let's return to your critique of 
the American-press. What do you know 
about the Amcrican media, anyway? 
FALLACI: American journalism was one of 
my first loves, because it was an aspect 
of my falling in love with 
America was to me what Par 
my parents. But I mistook the quality 
of the paper for the substance of Amer- 
ican journalism—rcally. We came out of 
the war and didn't have this heavy, 
shiny paper and those marvelous pho- 
tos—Life magazine, etc. But as for sub- 
stance, mamma mia! 

Today, domestically, perhaps, jour- 
nalism in America is good. But on the 
international scene, its more compli- 
cated, and American journalists don't 
have a very deep political culture. My 
impression is that American correspond- 
ents reporting from foreign countries 
know very little and understand even 
les. Usually, they don't know the lan- 
guage. Why? Because of the imperialism, 
the arrogance of the English languag 
You go everywhere and everybody speaks 
English; why learn other languages? 
Well, 1 can at least say the U. S. 
nalist is not lazy. The Italian journalist 
abroad is very lazy. He usually copies the 
major daily papers, makes a summary 
and that's it. Yes, he speaks the language 
because he has to read the newspapers 
and steal from them. The same goes for 
other European journalists. 

PLAYBOY: What about journalism іп 
Europe? 

FALLACI: In France, with the exception of 
Le Monde—in spite of its pompousness 
and hypocrisy; it’s casy to play the pro- 
gressive abroad—the newspapers are the 


worst. As to English journalism, it would 
be stupid to ignore what the London 
Times has meant in the history of jour- 
nalim. But the majority of English 
papers are shit. The most provincial of 
the whole world. You open the Daily 
Express, the Daily Mail and you see what 
there is. Nothing but stupidities about 
the royal family and that ridiculous 
wedding of Charles. 

PLAYBOY: You're not much on royal wed- 
dings, is that it? 

FALLACI: The horse who maries the 
blonde girl? Who gives a damn if he 
gets married or not? Let me say I am 
not very sympathetic toward that family. 
I have nothing to say about the mother 
of the young horse, poor woman, but I 
have something to say of the father. 
When I was wounded in Mexico and I 
was in the hospital with three bullets in 
my body, Prince Philip was there, too. 
visiting. He was asked by a reporter what 
he thought about Fallaci being wounded. 
in the riots. His answer was, “What was 
she doing there?” So a reporter came to 
me in the hospital for an answer to 
Prince Philips question, What was I 
doing in Mexico? I said to the reporter, 
“Tell Prince Philip that I was doing 
what he has never done im his life— 
working!” 

PLAYBOY: Getting back to European jour- 
nalim as compared with American 
journalism —— А 
FALLACI: Yes, I was getting there. You 
must admit that in spite oL this, the 
London Times, Der Spiegel, Le Monde 
and several Italian papers are very well 
done. And in general, I would say the 
European press is better prepared to tell 
you the things of the world; the Ате 
m press will give you abundance of 
information, of particulam, but never 
the [ull interpretation, At least in 
Europe, where newspapers have acknowl- 
edged political views, you know what 
you're reading. 

PLAYBOY: Why should grinding an idco- 
logical ax be superior to trying to pre- 
sent the news factually? 

РАЦАС: If you insist on facts, then I 
insist that the choosing of [acts is an 
opinion. 1 cannot imagine anything 
more arrogant than The New York 
Times's motto, "All the news that's fit to 
print." Who decides what's fit to print? 
Who? There is much hypocrisy in this 
motto of the Times, and I don't buy it 
1 also say, if The New York Times is so 
proud of its objective stories and inter- 
icws, then why do they publish me and 
want me so much? For instance, they 
publish my interviews, which are the 
most opinionated on earth. Someday 
they will have to explain it to me 
PLAYBOY: You touched briefly on tele- 
ion journalism, which aftcr all, 
where most people in this country get 
their news, Many people compare you 
to CBS correspondent Mike Wallace, 


since you're both known as tough inter- 
viewers. What's your response? 
FALLACE Ridiculous. I'm a writer who 
does journalism. In no case can you 
compare me to a person who performs 
journalism for TV. Oh, he might write 
the Divine Comedy tomorrow, but- 
PLAYBOY: You're talking about Mike Wal- 
lace, right? 
FALLACI: I'm not going to pronounce his 
name, not if you torture me, not even 
if you kill mel 
PLAYBOY: Yes, well, why not? 
FAuAC He did an ugly thing and T'I 
tell you what it was. After Kissinger 
devoted two pages of his memoirs to my 
interview, admitting he had done it out 
of vanity but saying that he was quoted 
out of context, since I had never played 
the tape for anybody, I got infuriated. 
Time magarine published the Kissinger 
excerpts, so I wrote them a letter saying 
that someone had heard the tape—mean- 
ing Mike Wallace. Time then got an 
answer from Mike Wallace, in which 
he admitted -he'd heard the tape but 
the tape was “fuzzy.” What fuzzy? If he 
wanted to get Kissinger on 60 Minutes 
and be the servant of Kissinger, he’s go- 
ing to say a lie like this? The tape was 
far from fuzzy. He heard it when he was 
interviewing me for 60 Minutes. They 
showed a photo of me—it looked like a 
123-year-old woman; I don't know where 
they got that ugly photo! For that show, 
Mike Wallace asked to hear the Kis- 
singer tape, then tried to fool me by 
putting a microphone on after promising 
not to use it. I interrupted everything 
and said, "Out! Out!""—it was terrible. 
But, in any case, when he did hear it, 
Mike Wallace was very excited and 
danced around the room, saying, "Oh, 
oh! If 1 didn't hear that, I would never 
believe it!” Fuzzy tapel 
PLAYBOY: Getting back to television jour- 
nalism in general... . 
FALLACI: A TV journalist, first of all, he 
has to be a showman. Because TV is 
made of images—you watch more than 
you listen, and even when you listen, you 
are distracted by the image, which isn't 
even static, it is in movement, and the 
more movement the better. So TV can 
give the headlines. If I want to know if 
the Pope has been shot, I open the TV. 
But if I want to know how it happened, 
who did it and why, I've got to read the 
written page, damn itl 

1 would also say, though, if I wanted 
10 work for television as a journalist, 
which J love for its images and its im- 
mediacy, 1 would be a cameraman. On 
TV, the real journalist is the camera- 
man, who writes through images. who 
chooses who and what to point the 
camera at 
PLAYBOY: A familiar complaint from TV 
journalists is that they can’t cover a 
story after a while because they're too 


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well known. What about your own fame? 
FALLACI: Yes, it is a problem. In my inter- 
view with Walesa, I arrived in Poland a 
week before the mecting and a girl at 
the airport recognized me—then the TV 
got the news and there were photogra- 
phers at my next stop. I was desperate 
because a photo would appear so far 
ahead of my first meeting with Walesa— 
the secrecy was gone. 

PLAYBOY: But you say that with a lot of 
pride in your voice, even vanity. 

FALLACI: Pride yes, vanity no. Very proud 
1am. complain because to do this work 
you should be a transparent fly, and 1 
am not that fly. I make news when I 
arrive, You have to admit it, sometimes 
its the encounter of two celebrities, 
these interviews. But much as it urbs 
me, I would be a hypocrite to say that I 
cry from despair. It is the result of a 
life of work. 

PLAYBOY: But is it hurting your journal- 
ism? 

FAWACI: It is hurting my journalism. 
Sooner or later, people recognize me, 
and not just in Italy or France or Eng- 
land or America, but in other countries, 
from Poland to Iran, from South Amer- 
ica to Asia. 

PLAYBOY: And it's not as if you haven't 
courted the fame. You speak at colleges, 
give interviews, you go on TV talk 
shows. 
РАЦАСІ: Yes, but don't forget the TV and 
the university offers come because I was 
already a celebrity. . . . All right, I buy 
what you say for TV, but not for uni- 
versities; that's not right. When I went 
to Yale—and now you can claim that I 
say it with satisfact OK, sure, damn 
it, yes! Ask anybody in Yale—I had 
crowds five or ten times as big as other 
people. The students didn't see me on 
TV; they had read my books, yes sir! 
I'm very proud of it, yes, yes, yes! The 
only degree that I have, I got here in 
America, and 1 never even finished the 
university. 

PLAYBOY: Pride aside, how has fame— 
and success—settled on you? 

FALLACI: I am totally incapable of deal- 
ing with success. It has been agonizing 
for me. I have never identified with 
stories of poor people from small villages 
who made it to New York or Paris— 
because 1 never said 1 wanted it. I was 
not even aware of the fame or success 
for a long time. I was traveling around 
the world, working. And then people 
began to stop me and say, “Are you a 
relative of the Fallaci?” And lately, 
mamma mia! In any city, I never make 
less than 700-800 people for a speech; 
it's unbelievable. In Yugoslavia, they 
had to close the doors to the theater— 
and the screaming outside! The same in 
Helsinki. I remember a doctor from Fort 
Lauderdale coming to me to say, "Do 
you know why we love you?" And these 


106 Were his words: "You are possibly the 


most famous Italian we have now in 
America"—which doubtful, because 
Sophia Loren is that—"because we don't 
believe in anybody anymore. You have 
such credibility" Now, you must admit 
that is the most beautiful compliment 
you can receive. Another time, an old 
concierge in France said, "Oriana, do 
you know why we love you? Because you 
have been teaching us courage." Oh, 
mamma mia! If I think of all the times 
in my life when I was scared to death— 
and he tells me I have been teaching 
courage. I felt guilty and confused. 
PLAYBOY: Let's get back to your most re- 
cent book, 4 Man. You say it's your 
most important work, that it contains 
what you believe about power and cour- 
age and what an individual must do 
with his life. Why does discussing it get 
you so emotional? 

ҒАЦАСІ: The book haunts mc. I have 
resurrected a dead man, and now he 
doesn't want to die anymore. My life is 
вс. and A..—like before Christ and 
after—only it has to do with before and 
after this book which obsesses me. When 
I became known as a reporter and was 
traveling around the world and began 
to earn a little money, I began to feel 
like the queen of England. It detached 
me from my political roots. I had been 
in Victnam, in Cambodia, in Pakistan, 
reporting on wars and riots—and 1 had 
enough. Basta! 1 was fed up. Men are 
shit, they are garbage, they are bastards. 
What's the use? Then I met Alekos and 
it woke me up. He brought me back to 
political consciousness. And his death 
crystallized the message 1 tried to de- 
scribe in the book: individual responsi- 
bility. It's the only answer. Ignore what 
the crowds say; if everybody is saying 
yes, you must say no. You are alone, OK 
Tomorrow you will be two, then four 
and five and six. The one political mes- 
sage 1 have is the fight against indiffer- 
ence. 

PLAYBOY: That message may be clear 
enough when there's a dictatorship, as 
there was in Greece, or a totalitarian 
state, as there is in Russia—— 

FALLACI: What I say about Russia is that 
for all we hear about solitary dissidents, 
they are such a tiny minority. There has 
been a dictatorship there for so long, 
with so little real resistance, you must 
ask yourself how much sympathy you 
can have for the Russian masses. Maybe 
they deserve what they have. 

You know, 1 am reminded of the one 
interview I thought I won—but I was 
knocked out at the very last moment. 1 
had interrogated [former CIA director] 
William Colby, putting to him some very 
hard questions. Just before we left the 
ring, I went down, because he said one 
very simple thing to me: Go speak with 
the head of the K.G.B. and treat him as 
you have treated me. And he was right, 
No one resists because there is no one 
there to confront. 


PLAYBOY: This message of yours, about 
individual responsibility and the strug- 
gle against indifference, is obvious 
enough in dictatorships, but how does it 
apply to a democracy? 

FALLACI: As Alckos said, we are four bil- 
lion people on this planet. If all those 
billions but one are oppressing one per- 
son, then we are all fascists. In Americ: 
you are obsessive about individualism — 
thanks God. АП your epics—the epic of 
the cowboy, of the pioneers—all have to 
do with individuals, and it is charming. 
But when it comes to politics, to the 
participation of the citizen in politics, 
the individual is crushed. He can talk, he 
can write, he can even vote—but he does 
not participate in basic decisions. 
PLAYBOY: So you dismiss town meetings. 
ringing doorbells for candidates, organ- 
izing to defeat or elect people? That's 
a pretty broad” brush you're using to 
dismiss—— 

FALLACI: I was not dismissing. I was only 
speaking of the drama imperfections 
of democracy, and I agree with Church- 
ill, who said democracy was lousy but 
we having nothing better. Remember 
my book that it is Alekos who cries in 
front of the Acropolis, “Give me a bad 
democracy, a sick democracy, but de- 
mocracy!" "The only thing I would like 
is a democracy which is not bad or sick. 
PLAYBOY: That takes us back to the prob- 
lem we had earlier. When you adm 
that your hero, Alckos, in resisting dicta 
torship as an individual, considered tak. 
hostages and blowing up the 
, I have to ask you again: 
Is that moral? Is it correct? 

FALLACI: OK, you go back to that. OK, I 
accept it, I let you go back. You are 
obsessed hy it. 

PLAYBOY: Because it goes to the heart of 
your beliefs, because it touches on cour- 
age and responsibility and terrorism. 
ҒАМАСІ: OK, OK, Гат not the one who 
wanted to take host 
suade Alekos until I gave up and 
OK, let's try. But I knew he wouldn't do 
it! 1 have to admit that since this inter- 
view began, I have found other Ameri- 
can readers who have asked about the 
same point. And if you have not under- 
stood, it is my fault. It is the fault of 
the author—the author of a novel, 1 
remind you. I exaggerated а minor 
thing, perhaps, and it was much more in 
his imagination than [ tell in the book. 
It was crazy, it could not happen 
PLAYBOY He was trying a bluff, in other 
words? 
ҒАШАСІ: Yes, a bluff. I mean, he did have 
thís quality, which is a very dangerous 
quality, of being a leader who can lead 
by the force of charisma, who can make 
other people follow him—— 

PLAYBOY: All right, so for three weeks 
ce we started this interview, that was 
the statement you didn't want to make. 
FAUACI: Because you didn't let me talk. 
PLAYBOY: Come on, Oriana, it’s a hard 


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PLAYBOY 


108 


thing to admit. You tried to give moral 
and political reasons why men like 
Alekos should be admired and followed. 
and it all comes down to the fact that 
certain people can have a dangerous 
seduction over the rest of us—yourself 
included—and sweep us up in actions 
that may, in fact, be crazy or immoral. 
FALLACI: But 1 don't buy your word im- 
moral. Whether history recognizes them 
or not, yes, there are certain people who 
deserve to be followed. In Alekos' case, 
it never led to crazy things—that was 
just a fantasy—but there are occasions 
when violence is justified. Tyrants must 
be killed. But why must you persecute 
me for this? I remember when I did a 
story about the astronauts, I took a bat- 
tery of intelligence tests and they were 
exhausting, they give me headaches. This 
is what you are doing to me. This is 
what you do with your fucking interview. 
PLAYBOY: Poor Oriana, you never did this 
to anyone, right? What are your inter- 
views if not a test of intelligence? 
FALLACI: They're а test of force. 

PLAYBOY: Now we're back on the topic of 
force, of power. It’s interesting how 
much that term obsesses you. You de 
cated your collection of interviews to 
your mother and to “all those who do 
not like power.” In that collection, pub- 
lished in 1974, you wrote, “I see power 
as an inhuman and hateful phenome- 
non.” Do you still? 

FAILACI- That was written in 1978 and we 
are іп 1981. Thanks God, an intelligent 
person does not remain attached to 
something without thinking about it. A 
person moves, changes, that's life. Only 
Ше dogmatic—the Communists, the 
Catholics—would repeat the same thing 
eight years later. While 1 was waiting 
for this last interview session to begin, I 
was looking at your collection of inter- 
views [The Playboy Interview] and 1 
read what Bertrand Russell had to say: 
“Contrary to the customary pattern, I 
have gradually become more and more 
of a rebel as I have grown older.” Well, 
for once in my life, I belong to the ma- 
jority, to the “customary pattern.” In 
aging, 1 became wiser rather than more 
radical. By wiser, I mean seeing things 
more rationally, more coldly. 

So eight years [rom now, I don't know 
what I'd say—I might be a dictator in 
eight years—but in 1981, I would have 
to define power as an inevitable curse. 
Why inevitable? Because when you put 
together a community, as small or as 
large as it may be, it needs to be or- 
ganized to survive. And to organize, the 
community needs to delegate power to 
someone. Sometimes people take the 
power, which is the essence of dictator- 
ship. Sometimes they are given the pow- 
er, which is the essence of democracy. 
Now, we don't even discuss dictator- 
ship—we disqualify it. But to discuss the 
best situation, if there are 20 of us in 


the community, surviving together in a 
cave, we have to organize against the 
dinosaurs, provide ourselves with warmth 
and food. So we organize and say, 
“You go get water, you tend the fire, you 
make the shoes, and you, over there, you 
make children. . . ." I don't like very 
much that one has to make children, but 
one has to, right? Because once she 
makes the children, she has to give milk. 
And when she gives milk, she cannot do 
other things. So I will be the one who 
makes the shoes. 

Anyway, so the cave must have a coor- 
dinator. That means the coordinator is 
the power, and once you admit that, you 
admit that power is a necessary curse. 
When the use of power is not only legi 
mate but reasonable, then you haye to 
accept that power. But you also realize 
that the moment he rules the other 19 
people, without wanting to oppress 
them, he oppresses them all the same. 
Why? Because if he says that the rule is 
no one leaves the cave after five P.M., 
because otherwise the dinosaur eats you, 
he’s right, because he protects my life. 

But wait! I am Oriana. I am hysteri- 
cal, I am an anarchist, I want to go out 
and see the stars! So when they stop me 
оп my way out of the cave, I suffer and 
feel oppressed. I curse the coordinator. 
I say, “If the dinosaur eats me, that's my 
problem!" Then he says the terrible 
thing: “Oriana, you are not master of 
your life Yon helong to this community, 
you make our shoes, we need your fuck- 
ing shoes and can't afford the luxury of 
having you eaten by the dinosaur!" So 
I am admitting that frecdom doesn't 
exist to begin with and that, to a certain 
extent, oppression is a necessity [or the 
community. Someone has to be oppressed. 
PLAYBOY: That's quite a change from the 
angry, shouting, anarchistic Oriana Fal- 
laci of ten years ago. It makes one think 
you would be more tolerant of Kissinger 
today—— 

FALLACI: Yes, I am much more tolerant 
in 1981 of all the Kissingers—plural— 
than I was ten years ago. 

PLAYBOY: Having admitted that, would 
it tend to make you less of ап adver- 
sarial journalist if you had to interview 
those same people again? 

FALACI: No, it would make a more re- 
laxed journalist. 

PLAYBOY: And would it rob you of some 
of the passion and drama with which 
you confront people? 

FALLACI: Yes, and [or the better. Less 
dramatic and less theatrical but, in my 
opinion, better. 

PLAYBOY: Nobody would guess it from 
this interview, but it almost sounds as if 
you're saying you've lost some of your 
fire—at least as far as journalism goes. 
That new tolerance of yours for pow- 
er- 
FALLACI: Eh, wait! All I said was, "I un- 
derstand you, Mr. Power. But I'm going 


out of the cave anyway, to look at thc 
stars. To hell with you!” 
PLAYBOY: That seems a good place to 
finish. Anything you want to add? 
FALLACI: Yes, 1 would like to cancel what 
I said earlier about homosexuals, I'm 
sorry 1 touched that subject. When you 
talk hours and hours like this, you al- 
ways make mistakes. Wipe it out, please. 
PLAYBOY: Hold it. Here we have Or 
Fallaci, who has published comments 
from the high and the powerful they 
wish they could retract, asking us to 
crase something she said. 
FALLACI: Because it makes me sound il- 
liberal, and God knows I'm not. 
PLAYBOY: We can't tailor the questions 
or the answers to what makes you sound 
liberal. The fact is, it's an issue in your 
life—you mentioned it prominently in 
your Arafat interview 
FALLACI: Because I just mentioned it! I 
touched on it! If you insist on publish- 
ing it, you are making a tyrannical, 
fascist act! 
PLAYBOY: It wouldn't be tyrannical: i 
would just be poor journalism not to 
publish it, something you'd never allow 
yourself. Besides, you didn't just touch 
оп it—you expressed a series of opinions 
about male and female homosexuals. 
FALLACI: Do you want this interview to 
educate people to intolerance, to lack of 
liberalism? In your magazine, you teach 
people to be more free, toward them- 
selves and toward others. Why do you 
want to make propaganda for the other 
side? 
PLAYBOY: Propaganda? Why? Because it 
turns out that Oriana Fallaci may be less 
than a perfect, 100 percent liberal? 
FALACI I think of my homosexual 
friends. I'm ashamed of having said it. I 
think you shouldn't publish what I said, 
because if you publish one of my mis- 
takes, you encourage the oppressors. 
Oriana is not perfect, no! She is the less 
perfect being on this carth. But I am a 
political animal. Oriana is a character, 
a personage, and she should not encour- 
age intolerance. It is not 1 who will 
suffer, it is they, the homosexuals. And 
they are innocent. 
PLAYBOY: Don't overreact. Confessing to 
a personal distaste, a chink іп your ar- 
mor, won't necessarily unleash the op- 
pression you fear. You, of all people, 
shouldn't be involved in retracting state- 
ments. 
FALLACI: So you will not erase it? 
PLAYBOY: No. 
FAUACI- Mamma mia, I tried. [shrugs] 
Maybe it will be my Kissinger-cowboy 
statement. You got it from me, you got 
it! [Laughter] Well, it took you 20 hours 
to do it with me. It took me only an 
hour with Kissinger, So I still win, OK? 

Now lets go out and have a good 
Italian meal. 

Ba 


зай 2 = іе — 
WHAT SORT ОЕ MAN READS PLAYBOY? 


He creates quiet dinners at home that will later call to mind remembrance of things pasta. 
To him, the kitchen and the bedroom are not a woman’s provinces; his knowledge of spice 
and of nuance serves him well in either place. PLAYBOY readers buy a quarter of all table 
wine sold in America; our man can choose a wine by taste and vintage, not by price 
tag. He reads PLAYBOY—it helps him make his life a procession of very good years. 


TUNING IN TO CHANNEL SEX 
article By DAVID RENSIN with x-rated: hame video; the old boob tube i is 
becoming a genuine turn-on—and the adult-film industry hopes to keep it that way 


NIGHTFALL in the suburbs. Out in the yard, “the kids (oss the last ball of the day higher and бг, the 
better to see it against a fading sky. Down (he street, a man lugs the dark-green- plastic bag.of new-mown 
grass to the curb. His neighbor pulls the чоп wagon into the garage, stopping halfway in to move . 
. a bicycle out of the way. 

Inside, dinner is almost ready. Mom, w wiping a bead of chen from her brow, leans away беті 
«the stove to call the kids ie! the, last time. Dad = he'll get them. He gives Mom a pat as he walks 


ILLUSTRATION BY CHARLES SHIELDS 


PLAYBOY 


behind her toward the back door. She 
rolls her суеѕ in mock exasperation— 
then smiles she turns back to her 
chicken frying golden in the skillet. 

After dinner, the ritual: table cleared, 
dishes to the dishwasher, little ones to 
the bathtub amid protests. Clean paja- 
mas, small plaid robes, an hour of TV 
before bedtime. Mom takes advantage of 
the sudden peace and quiet to go up- 
stairs and enjoy her own bath. The kids 
idly ask whether Mom and Dad are go- 
ing out and are told they're not. 

In a while, Mom comes back down- 

stairs her robe, hairbrush in hand, 
stroking shoulderlength hair. Dad puts 
down the paper as she joins him on the 
couch. As he gets up to fix her a cup of 
coffee, he announces that it’s about time 
for a certain twosome to call it a night. 
After a [ew “Aw, Dads," they kiss Mom 
and trudge up the stairs, stopping sever- 
al times along the way to play peekaboo 
through the railing. Dad brings back the 
coffee and says he thinks he'll take a 
shower. Grand idea, Mom thinks. He 
leans over and kisses her on the cheek. 
Don't go "way, he says. 
A half hour later, after he has fin- 
hed showering, shaving and patting a 
bit of his best cologne here and there, 
he gives his body one more admiring 
view in the mirror, puts on his terrycloth 
robe and turns out the bathroom light. 

Out in the hall, he tiptoes np fo the 
bedroom door and listens. No sound 
other than the snoring of tired kids after 
a day of play. 

Back on the couch, Mom has turned 
down the lights, and she smiles as Dad 
walks into the room. All quiet on the 
Western front, he says. He wonders if 
she would maybe like something a little 
stronger to drink. She thinks that would 
he nice. 

When he hands her the drink, they 
click glasses. Another day, he says. She 
smiles. Another night, she says. 

You know, Mom says, I think I've had 
about enough of Fantasy Island. She 
walks over to the video-cassette recorder 
and unlocks the cabinet where they keep 
the cassettes. Deep Throat? she asks. 
The Devil in Miss Jones? Debbie Does 
Dallas? 

Across the room, Dad takes another 
sip of the drink. He smiles. What's your 
pleasure? he says. 


. 

lt began in the early Seventies with 
closed-circuit “blue movies" in adult 
motels. Then a few controversial soft- 
core shows, such as Midnight Blue and 
The Usly George Hour of Truth, Sex 
and Violence, debuted on two of New 
York City’s publicaccess cable channels. 
About the same time, sales of adult- 
film video cassettes started to take off, 
and then to skyrocket. Today, the boom 


112 has spread to cable and subscription 


television (STV). Across the country, up- 
and-coming video moguls recognize the 
adult market as the leading edge of their 
and are scrambling to inaugu- 
nnels so they can show 
ns of popular X-rated 
films to an apparently insatiable late- 
night audience. 

Before its demise, Panorama maga- 
ine, the TY Guide publisher's entry 
nto the future video sweepstakes, cred- 
ited video cassettes and cable and 
subscription television with sending the 
pornography market soaring. Home Vid- 
ео recently featured a cover story on 
Marilyn Chambers. Video Review regu- 
Jarly assesses the newest in adult filis 
alongside generab-release reviews. The 
Hollywood Reporter has plans to initiate 
its first regular column to review adult 
films and report on industry develop- 
ments. 

Even mainstream media coverage of 
porn has lately changed. There are still 
the requisite pieces about alleged Mafia 
involvement, or about “snuff” films and 
kiddie porn. But more and more, the 
media are leaving those subjects behind 
because they'd rather know about the 
people who act in and produce the sex- 
ually graphic films inundating our 
homes. Such interest can be simply ех- 
plained: The media cover what sells to 
America, and adult material is some- 

ic has proved it want 


The first feature-length X video cas- 
settes cost nearly $300. Since then, the 
price has plummeted to the $69-$99 
ange and is expected to drop further. 
There are currently 2,000,000 video-cas- 
sette recorders (VCRs) in American 
homes, and manufacturers estimate a 
growth of another 1,000,000 a year for 
the foreseeable future. And what do you 
think people are watching on all those 
VCRs? According to Daily Variety, the 
showbiz newspaper, “It is generally ac 
knowledged that porno films are the bi 
gest current sellers in the VCR market.” 

At the same time, there are nearly 
4500 cable and STV systems in opera- 
tion around the country. They feature 
close to 200 adult channels with names 
such as Private Screenings, Rendezvous, 
Escapade and Adults Only. Those chan- 
nels aren't restricted to the traditional 
"sin capitals" of New York and Los 
Angeles. Theyre im such places as San 
Jose, California, Phoenix, Arizona, even 
Monroe, Louisiana. Just this year, four 
companies announced plans to start 
national adult pay-TV networks capable 
of reaching all 20,000,000 cable-connect- 
ed homes in the U. 5. 

Because of FCC regulation of STV 
and the stilltricky, political nature of 
getting cable franchises (relatively unreg- 
ulated), both systems currently carry only 
soft-core versions of adult films. The erec- 


tions, insertions and pink shots one can 
see in a theater or on video cassette have 
been cut out—or, as is now more com- 
mon, two versions of cach movie are 
shot. Another indication of the future: 
New York-based producer Robert Sum- 
ner has made plans to start a Quality-X 
Cable Network via satellite, licensing his 
signal to cable and STV systems. “I'm 
only waiting for the availability of tran- 
sponder time,” he says. “By 1985, there'll 
be a dozen satellites. 

The results of the porn-homevideo 
boom are expected to be twofold. First, 
the adult industry should make more 
money, which it can recycle into its 
product, thereby making the films 
better—consequently, expanding the 
market. 

Second, adult material shown in the 
privacy of one’s own home is bound to 
change sexual attitudes. Jerry Falwell's 
minions may be in church on Sunday, 
but the daydreamers will likely be re- 
ning Saturday night's sexploitation 
k during the sermon. Also, there'll be 
no more having to sneak into the local 
Xrated theater, where you might be 
seen by friends eating at the Denny's 
next door. And no more horny squirm- 
ing in theater seats, wishing the manage- 
ment had been farsighted enough to 
provide couches and private rooms. 
Now, when desire strikes, all you have 
to do & put the tape machine on pause 
or flip the set off altogether—and then 
get into the altogether with your partner 
on the couch. 

At this point, no onc knows exactly 
what changes in attitude and behavior 
the regular viewing of suggestive and/or 
xplicit sex on the home screen will 
bring about. But some observers predict. 
that video sex will lessen hypocrisy and 
improve sexual communication—in gen- 
cral, will spark something akin to a 
second-stage sexual revolution. 

“IE you think the sexual revolution 
is over, you're wrong,” says the Reverend 
Ted Mcllvenna, head of the San Fran- 
-o-based Institute for the Advanced 
Study of Human Sexuality. “It’s just 
beginning!" 

And author Isaac Asimov, writing i 
Home Video, foresees a time when “sex- 
activities would become a more 
normal part of the social environment; 


something one could talk about more 


freely. 

One hopes so. But glowing predictions 
notwithstanding, am cssential question 
has largely been overlooked in all 
the articles about the future of X home 
video: Can the adult-film industry rise 
to the occasion? 

Adult films captured America’s imag- 
ination and pocket money with Deep 
Throat back in 1972. But a subsequent 
flood of films lacking in basic plot and 


113 


) creature to life, she 


“ІНІ can bring this lovel: 
will bring me everlasting immorality!” 


= 
е 
m 
ы 
= 
ы 
R 


production values—not to mention qual- 
ity sexual information—alienated the 
“porno chic" audience. Now opportuni- 
ty knocks again. Nearly 2000 adult films 
were made in the past decade, but prob- 
ably no more than the top 100 are 
suitable for cable. New films are need- 
ed—and, in fact, аге being made—but 
inflated costs have slowed production. 
So what is made must meet. new stand- 
ards or lose a possible cable sale, not to 
mention an adult-theater play date in 
some of the more progressive chains. And 
after all, the audience for X home video 
will indude a higher percentage of 
women than adult films havc rcached 
before. And while satisfying thc women 
offscreen has rarely been a priority of 
adult-film makers in the past, the new 
bottom line is clear: Will film makers 
risk gearing their product to more than 
the guaranteed adult-theater hard-core 
audience? Can they produce films that 
mect the different aesthetic and social 
requirements of the potential home 
viewer? In other words, has the porn in- 
dustry matured cnough to successfully 
mcet the new challenges that confront it? 
„ 
My introduction to adult films en 
masse (beyond the few I'd scen since 
Deep Throat) came courtesy of Al Gold- 
stein, publisher of Screw. In 13 years, 
Goldstein has made Screw the most suc- 
cessful “sex review" America and 
himself, at 45, a multimillionaire. He is 
a fast talker and a quick thinker. Some 
consider him the epitome of vulgarity— 
a label Goldstein loves. Many more re- 
gard him as a farsighted, compassionate 
godfather to the pornography revolu- 
tion—somcone who, as Gay Talese's Thy 
Neighbor's Wife suggests, has had a pro- 
found influence on the course of sexual 
ideas in America. 
Goldstein operates out of two floors 
a Mth Street office building New 
Upstairs is Screw proper—in 
a manner of speaking. The decor is func- 
tional and spare, the mood semiprofes- 
sional. Downstairs is the headquarters of 
the parent company, Milky Way Pro- 
ductions, as well as the offices of Gadget, 
a “newsletter for grown-up kids," edited 
by Goldstein's second wife, Mary. Gadg- 
el reviews and tests everything from 
microcomputers to model rockets to 
метео gear to peace pipes. There's по 
sex. Another newsletter, Cigar, and the 
production facilities of Midnight Blue, 
the long-running soft-core-sex cable show 
Goldstein sponsors, share the floor. 
When I told him I wanted to take a 
crash course in adult films, Goldstein 
immediately volunteered the use of the 
Screw media room—actually, а store- 
room equipped with eight video-cassette 
recorders, a Sony Trinitron, а phone 
and Goldstcin's favorite easy chair. Then 


1M he gave me a stack of adult films to 


ud left for a week on a 
а fat farm. 1 ordered 


choose from 
North Carol 
lunch sent in. 

My first film was Harold Limes The 
Ecstasy Girls, in 1980, winner of seven 
Erotica Awards—the porn-industry ver- 
sion of the Oscar. It starred. Jamie Gillis, 
Serena, Georgina Spelvin, John Leslie, 
Desiree Cousteau, Lesllie Bovec and 
former Oui centerfold/cover girl Nancy 
uiter, names that would soon become 
very familiar to me. 

The plot is inventive by old porn 
standards. Gillis plays Jerry Stoner, an 
unemployed actor who has a magical 
way with the ladics He meets J. C. 
Church, the greedy brother of terminally 
ill millionaire Edgar Church. Morally, 
Edgar is to the right of Anthony Com- 
stock. He has willed his bank roll to 
J-C, a sister and his four daughters— 
but only if they are never caught in 
sexual misconduct. Of course, J.C. wants 
it all. He hires Gillis and two friends 
to perform and film the seductions of 
all five lad 

The gi 


s are pretty and passionate, 


the men understated, the plot апа рго-" 


duction values good, the acting credible. 
Minus the explicit sex, the movie could 
have played on cable TV (and no doubt 
will in a soft-core version). I laughed a 
lot. It was, as Lime’s films tend to be, a 
good example of adult fare trying to 
look into the future instead of merely at 
the pocketbook. And it paid off. Ecstasy 
Girls grossed more than $1,000,000 in 
distributor rentals, and four or five times 
that at the box office. 

But the oddest part was watching 
Gillis romp through the bedrooms of the 
rich and spoiled. We'd met and talked 
at the West Side apartment he then 
shared with author Gael Grcene. Now, 
as I watched him perform sexually, I 
felt strange—as though I were invading 
his private life. It was actually а valu- 
able lesson. I would have to get used to 
sceing close-ups of genitalia one day, 
then having lunch with the whole per- 
son the next—would have to remember 
that although the sex onscreen was real, 
these were just “films,” fantasies, where 
everybody put on his clothes afterward 
and went home. 

By six rt, I had also seen Plato's: 
The Movie, Barbara Broadcast, Football 
Widow, Defiance, Cherry Truckers, Dev- 
йу Playground, Hot and Saucy Piza 
Girls, Fantasy World, For Richer, for 
Poorer and Midnight Blue Uncensored, 
a hard-core video-cassette version of the 
Goldstein-sponsored cable-TV show. 

Instant analysis: There was onc є; 
ample of gang rape in a mental institu- 
tion (Defiance—an older film), some 
light S/M from Gillis and Serena (The 


Ecstasy Girls), but no kids, no killing, 
no water sports, no fist insertions. Even 


ing narrow guidelines—other than the 


feminist assertions that any depiction of a 
nude woman is pornographic and that a 
woman's mere participation (albeit will- 
ing) in adult films is an act of at least 
societally induced violence—there was 
less physical aggression in the movies I 
watched than in a Three Stooges episode. 

Overall, that afternoon's fare was 
typical of what I would continue to see 
in more than 75 films (and about 25 
cight-millimeter loops) during the next 
four months. The films’ greatest liabili- 
ties were repetition, less-than-proficient 
technical skill (in the older movies), un- 
realistic sexual situations and a creeping 
boredom that eventually diluted the 
crotic content. But there was lots of 
humor and human fallibility portrayed. 
Mosty, the films seemed harmless enter- 
tainment, Naturally, I was curious to 
see if what went on behind the camera 
bore any relation to what finally reached. 
the screen. 


б 
All Ron Jeremey wanted was ап егес- 
tion. The actor stood broiling under the 
merciless klieg lights at one end of a 
chic Manhattan restaurant's upstairs bar. 
The fly of his heavy blue suit yawned 
open and his penis stared stubbornly at 
the Panaflex movie camera. Jeremey was 
surrounded by an eight-man crew and 
one curious reporter. It didn't help. 

Director Henri Pachard had just 
cleared the room of extras from rhe 
previous night-club-disco scene. “OK, 
folks, I'm about to do some nasty hard- 
core action,” he had said. “We're gonna 
do what this business is all about—a 
fuck-and-suck picture.” (lts title: 4 
Girl's Best Friend.) Y was ап exaggera- 
tion. Jeremey would get only a hand job. 
Pachard was laughing at his suggestive 
warning when the cameraman gave him 
some bad news: Someone had jarred the 
Panaflex out of alignment. 

“That's an “Оһ, shit!" Definitely an 
"Oh, shit!’ " Pachard scolded. "It's gonna 
take at least ten ‘Attaboys’ to turn that 
one around.” He sent for a replacement 
camera and glibly appraised the situa. 
tion for the crew. “Hey, we just can't 
afford to take chances—even on this 
budget.” 

Meanwhile, Jeremey, a former Playgirl 
centerfold and Borscht Belt comic, had 
begun "tuning up" with a series of stac- 
cato jerks and long, slow, tw 
strokes. When the new camcra arrived, 
а nonchalant grip stretched a measuring 
tape between cock and camera lens. 
Jeremey tried hard to ignore him. 

The scene's co-star, veteran adult-film 
actress Samantha Fox, winner of top 
female honors at both the 1980 and the 
1981 Eroticas, sat on а barstool to 
Jeremey’s right. She had long dark hair 
and exotic eyes and was decked out in 
full evening regalia with a simulated 

(continued on page 212) 


> 


D ete 


= 


a 


DXKE 
CO» 
ص‎ 


ғ when she was only 15, she hud the look 
that drove boxer jake la motta into fils of jealousy. now, at 51, 
vikki la тойа. is proving that very little has changed 


RAGING BEAUTY 


pictorial essay 


By JEAN VALLELY 


HE HAUNTING question that 

| lingers at the end of Martin 

Scorsese's evocative and brutal 

film Raging Bull is what became of 

Vikki, the young wife of fighter Jake 

La Motta, whose astounding beauty 

became the obsession of his life and 

drove The Champ into terrifying rages 
of jealousy and violence. 

Not to worry. Vikki La Motta, it 
turns out, has been doing just fine. 
Just fine, indeed, 

Her (text continued on page 119) 


Vikki was just 15 when she caught Joke La 
Мона“ eye in New York (above). “He was 
so cute," she recalls. “He made me feel sa 
sofe.” Right, photographic evidence that 
Vikki at 51 (far righ’) looks better than ever. 


SPECIAL PHOTOGRAPHY BY KEN MARCUS 


In 1950, not long after he hod won the middleweight title, 
Joke entered his wife in the Mrs. America Contest (above)— 
but when the judges refused to allow The Champ bock- 
stage, he wouldn't let Vikki porticipate in the pageant. 


Although Jake's jealousy kept Vikki from having very much 
of a social life, she was a familiar feature at ringside (lefi). 
When she got to see her life re-enacted 35 years later in 
Raging Bull, which starred Cathy Moriarty and Robert De 
Niro (above), she went prepored, taking along six lorge 
men's handkerchiefs, ond she insisted Jake and her children 
sit with her. “I knew it was going to be honest,” she says. 


“Posing for PLAYBOY was Joke’s ideo, and my children thought it wos great, too,” Vikki declores. “1 hove a beautiful body. І have 
never been inhibited sexually. | have always been possionote and, for the first time in my life, lm totally free. 1/5 my destiny.” 


pra flung back and her dreamy 
own eyes hidden behind oversized 
p Vikki La Motta brings her 
red Datsun to a halt in front of 
Miami Beach's Doral Hotel, throws 
the gearshift into neutral, opens the 
door and flashes a big welcome smile. 
“I think I'm in love.” whispers the 
man who parks the cars. His expres- 
sion suggests he is certainly in heat. 
One glance at the real Vikki La 
Motta and you know that Scorsese 
got it right. Clearly, this is a woman 
pable of driving men mad. She has 
one of the ten great bodies in the 
world—a real woman's body, firm 


Vikki and Jake grin with Jimmy Durante, 
one of Jake's fans, at the Latin Quarter 
in Miami Beach (top). Above, the la 
Моноз on one of the colm days with their 
children (from left), Joe, Christi ond Jack. 
“The ultimote thing in life is to be in love 
with your man," Vikki maintains even to- 
doy. “If thot ever happened to me, then 
1 would gladly stoy ma forever." 


120 


and curvaceous. Her perfect face is framed with a mass of 
spectacular golden hair. Her skin is extraordinary— 
caramel in color. Vikki La Motta is a composite of all the 
women John Derek has married. 

And she is 51 years old. One can imagine what she must 
have looked like at when Jake first laid eyes on her at 
a swimming pool in the Bronx, a sultry beauty lolling 
about in her white two-piece bathing suit, It’s no wonder 
the poor man lost control 

I jump into the car as Vikki winks and waves at the 
parking attendant, then drives off. We are booked at The 
Forge, explains Vikki, and she hopes the food is good. 
She remembers it as being terrific, but it’s been a while 
since she's eaten there. It's been a while since she's been 
to Miami Beach, for that matter 


‘There were the trips to New York to help with the 
script of Raging Bull. Then came the release of the film 
itself, followed by a ten-state promotional tour she took 


with Jake. "It was пісе at the beginning,” laughs Vikki. 
Alter all these years, traces of her Bronx accent still 


"Јаке hos а possian for controlling me,” explains Vikki, “He has 
always distrusted people and he daesn’t like life. He's still that 
way. And | thaught that if | gave in ta thot, then he would токе 
me feel the way he felt abaut life and about people. So | decid- 
ed my values were too impartant to give in ta his whims. 1 am 
still excited bout my life. 1 just love the kind af life Joke hotes.” 


PLAYBOY 


manage to sneak their way into certain 
words. “Jake saw this as his opportunity 
to romance me. But as we toured, he be- 
came the old Jake, expecting me to be 
the subservient Vikki. He got jealous. 
He started telling me what to wear and 
when to sleep. He told reporters not to 
ask me questions. He yelled, ‘I'm ‘The 
Champ, ask me.’ We went to do a TV 
show and Jake wouldn't let mc appear. 
By the end of the tour, we weren't 
speaking to each other." 

Next came the Academy Awards and 
a trip to Hollywood and another promo- 
tional trip. this time to Europe with 
Cathy Moriarty (who played Vikki in the 
film). “Тһе only way to go," sighs Vikki 
as she mancuvers her car through traffic. 
"I had two limousines, one for me and 
one for my luggage. I mean, how much 
luggage can I take?” 

And. of course, there was another trip 
to Hollywood and a stay at Playboy 
Mansion West. "It was like a dream," 
she says. "And you know what hap- 
pened? I was up in my room one eve- 
ning and I got a message that Dan 
Pastorini [of the Oakland Raiders] was 
downstairs." Vikki rolls her eyes. "What 
a hunk! But I was exhausted and 
didn't go downstairs. He came back the 
next night and we were introduced and 
flirted a lite. The next afternoon, he 
was waiting for me at the pool. Belore 1 
knew it, he picked me up and carried me 
into the water. I had on my high heels 
and jump suit and he kept rolling me 
around and around in circles, telling 
me how much he loved me. He wouldn’t 
let me out of the pool. And pretty 
soon," says Vikki, her eyes dancing, "off 
came the shoes and off came my jump 
suit... 

“There's The Forge,” she says sud- 
denly, and, with moves that would put 
Mario Andretti to shame, she slams 
on the brakes, makes a U-turn and 
screeches to a halt in front of the res- 
taurant. And, like the man who parks 
the cars at the Doral, the man who 
parks the cars at The Forge cannot keep 
his eyes off her. "I have to put on my 
shoes,” she giggles as she playfully wig- 
gles her bare fcet into her sandals. 

“I want to be able to look at you all 
night,” murmurs the maitre de to Vikki 
as he leads us to a table smack-dab in 
the middle of the restaurant. The maitre 
de isn't the only one who wants to gaze 
at her. So does every man in the res 
taurant. And, dressed in a tight cran- 
berry V-neck top and tight white jeans, 
Vi is something to look at. 

“I have always been the center of at- 
tention,” she laughs as two waiters fight 


122 to unfold her napkin. "You get a reputa- 


tion just by being good-looking. Men 
started giving me all this attention when 
I was 19. I didn't do anything and 1 


was a celebrity in my neighborhood. 
ki takes a sip of her white wine, 
‘When I met Jake, I was starting to 
become aíraid of some of these men. 
"This was the Bronx and these guys were 
tough. Jake was not aggressive like the 
other guys and he was protective. I 
wasn't afraid of Jake." 

"The fear would come later. 

“Jake lived for me,” continues У 
“не was jealous of anyone and anything 
that took my attention away from him 
and his needs. He didn't allow me to 
have girlfriends. He bought all my 
clothes. He stocked the basement of our 
home with cases of tomatoes and toilet 
paper. Cheeses and salamis hung every- 
where and there was a big freczer 
stocked with meat. If I needed anything, 
I went downstairs. 

“And I must tell you,” she adds, “in 
the beginning, I didn't care, I was in 
love, and so what if he went shopping? 
And who wanted to be with the girls, 
anyway? I was busy raising my children. 
Jake treated me like a china doll.” 

Vikki's hermetic world began to come 
apart when Jake's career began to slip. 
He had trouble training, trouble making 
his weight. Then he began to drink. 
And the booze made him nasty and con- 
tentious. At that point, Vikki the china 
doll began to rebel, It wasn’t a serious 
rebellion, mind you; dinners with her 
n nights out with the girls. Jake 
took to the bottle with a passion. 

In an attempt to work things out, 
and Jake moved to Miami, where 
Jake opened a liquor store and night 
club. But everyone wanted to buy 
The Champ a drink and the drinks 
made Jake belligerent and the belliger- 
ence drove the customers away. Then 
the violence started. 

The first time Jake beat Vil she 
blamed the hard times and the alcohol. 
The second time he beat her, she de- 
cided to leave him. The violence intensi- 
fied, exacerbated by the separation, and 
stopped only when Jake was sent to jail 
for five months on à morals rap. 

Vi La Motta was 26 and broke. She 
had three small children and no idea 
of how to deal with the real world. She 
sold her jewels, her furs, her clothes. 
She packed up her kids, moved them 
back to New York and into an apart- 
ment in the Bronx, dyed her hair black, 
started using her maiden name and got 
by doing odd television gigs: a billboard 
girl on The Steve Allen Show, spots on 
The Garry Moore Show, bit parts on 
The Phil Silvers Show. Vikki was making 
money, but those day jobs left her no 


time for her children and once again 
she packed them up, moved back to 
Miami and took a night job as a show- 
girl at a dub 15 minutes from home. 
But despite her black hair and new 
name, people still recognized her. "I 
was embarrassed for Jake,” recalls V 
“And for me. Here I was, 28, а mother, 
and I thought, Look at me up there.” 

Eight waiters hover over Vikki, cach 
hoping to be the one to clear away the 
red snapper, refill her wineglass, bring 
more rolls. A man passes the table, no- 
tices Vikki and actually stops and stares 
at her. “What are two beautiful women 
like you doing alone?” he asks. 

“What makes you think we're alone?” 
she teases. The man wilts. 

Vikki La Motta is at ease with men 
the way the Rockelellers are at ease with 
money. “The first man to ask me out 
after Jake and I separated was Johnny 
Carson. I couldn't believe it. He was so 
nice. He sent me flowers and we went 
to hear jazz." 

Only one man has ever intimidated 
Vikki, and that was Robert De Niro, 
who won an Oscar for his portrayal of 
her husband in Raging Bull. 

Vikki cringes when she thinks back to 
her first meeting with De Niro. She was 
furious at how she had been character- 
ized in the book Raging Bull (upon 
which the movie was based), and when 
De Niro and screenwriter Mardik Mar- 
tin arrived in Miami, Vikki was sure they 
hated her. "I was standing outside the 
terminal and all of a sudden they were 
there—staring at me. I didn't know what 
to do. I went like this [she covers her 
face with her hands]. I wanted to dis- 
appear. When I took my hands down, 
they had turned away. I was sure they 
thought I was pretending to be shy.” 

During the drive to her home in 
North Miami Beach, Vikki regained her 
composure, But not for long. The men 
sat at her dining table and grilled her. 
‘They were very personal questions, ques- 
tions she had buried long ago. "They 
asked me things like, ‘Did you fool 
around? " Vikki shakes her head. "I 
mean, why didn't they just sit around 
and insult me? It was awful, but I kept 
my cool.” She screened home шоуіс5-- 
of her courtship with Jake, of their 
marriage, of the birth of their children. 
“The movies were self-explanatory,” says 
Vikki hey showed love.” 

Vikki takes a long sip of her wine. 
“De Niro wanted to sleep at my house. 
1 didn't know what to do. Should I let 
him sleep in my bed? I was so shocked 
I just threw a sheet and a pillow on the 
couch in the spare room.” She takes a 

(concluded on page 268) 


“Fingernails don’t scratch—people scratch.” 


12: 


4 


the pure intensity and joy of the sport were 
once pro basketball's big payoff. today's 
product promises more—and delivers less 


article BY DAVID HALBERSTAM 


N THE Days remaining before the first practice, they 
Ес: checking into the small motel near the base 

of Mount Hood in the small suburban community 
of Gresham, Oregon. They were rookies and free agents, 
and the odds were already against them, Their motel 
rooms were paid for, and there was daily meal money. 
but in a profession where more and more things were 
guaranteed, they were still at а point in their carcers 
where the only guarantee was an airplane ticket back 
home in the likely event they were cut. 

The veterans, the young princes of the sport, who all 
owned homes in the swank upper-middle-class sections 
of Portland, were not required to arrive until later, as 
befit their superior status. In contrast to that of the 
rookies and the free agents, the anxiety level of the 
veterans was relatively low; they had made the club 
before, many had even played on a championship team, 


and, most important of all, the money in their con- 
tracts was guaranteed. For the rookies and the free 
agents, it was something else again. They were at the 
very brink of their dream, which was to play under 
contract in the National Basketball Association, 

They were an odd and unlikely collection. Steve 
Hayes was white and very tall, 6/11". He also shot well, 
and once upon a time in this game, that had been 


cnough, to be tall and have a light shooting touch; but 
the game had now become one of speed and musde, 
and in both categories, Hayes was lacking. He knew 
the coaches thought he was slow (intelligent but very 
slow was, in fact, their precise definition of him) and 
that in contrast to many of the young blacks with 
whom he would be competing, he lacked muscle tone. 

Hayes had been through all this once before, in 1977, 
at a prescason camp run by the New York Knicks. 
Arriving as а fourth-round draft choice, he had been 
judged too slow and had gone on to play for two years 
in Italy. He believed he had now spent enough time in 
the minor leagues. He also knew just how many players 
there were ahead of him on the Portland roster and 
which of them guaranteed contracts: he under- 
stood, too, that the odds against him were already 
thes who had once coveted bodies like his 
no longer did, all of which made him feel slightly less 
than sturdy just then. 

Hayess feelings were a good deal more tranquil, 


immense. Се 


ILLUSTRATION BY ERALDO CARUGATI 


THE STAKES 
OF THE GAME 


PLAYBOY 


however, than those of another free 
agent, named Greg Bunch. Bunch, 
who was black and quick where Hayes 
was white and slow, was at the moment 
still in a rage over what had been done 
to him earlier in the day. He had under- 
gone the same battery of psychological 
exams that all rookies and free agents 
were subjected to but, by mistake, had 
been required to undergo them a second 
time. That had convinced Bunch, who 
mistrusted professional basketball man- 
ement anyway, that someone was try- 
ing to mess h his head. He had 
exploded and started screaming at the 
team trainer, who was administering the 
test, to leave his head alone. Bunch had 
some basis for grievance in his profes 
sional career; a year earlier, as a second- 
round draft choice with the Knicks, he 
had played well in the preseason camp, 
had made the team, had even played in 
12 regular-season games before being 
released in what was widely regarded as 
a racial decision—an apparent effort to 
keep the tail end of the Knicks’ bench a 
little whiter. Bruised many times in his 
brief pro career, Bunch was sensitive 
and duly wary of the great wl they 
who controlled his athletic destiny. 

Bunchs roommate at camp was a 
young black man from Racine, Wiscon- 
sin, named Abdul Jeclani (nee Gary 
Cole), or, more part Abdul Qadir 
Jeclani, the All Powerful Servant of 
Allah Who by His Own Example Ex- 
pands the Muslim Flock, the son of 
sharecroppers from west Tennessee, 68”. 
Јеаапі, a gentle young man, was а god 
to the young white children who had 
gathered around him this afternoon for 
autographs. 

In truth, Jeelani was at that moment 
a very nervous god, for although he wore 
the warm-up clothes of the Trail Blazers, 
and although he had signed a contract, 
he was by no means a member of the 
team. Last year he had been the highest 
scorer in the Italian league at $45,000 
for the season (the king, one teammate 
had said, of spaghetti basketball), and 
the Blazers had paid his way out here. 
But he was a forward, and Portland was 
at that moment said to be very deep in 
forwards. His status was thus by no 
means clear, He knew his was not a 
houschold name, knew that in competi- 
tion with another player of comparable 
ability he might be at a disadvantage 
simply because he had tried and failed 
before. Still, Allah had given him a 
fresh spiritual confidence, and he be- 
lieved that what he was doing was right. 

The coaches were pleased that Jeclani 
and Bunch and the others had all ar- 
rived on schedule and that no one had 
misscd his flight to Portland. Worn out 
by the increasing volatility of the league, 


126 coaches felt as little affection for rookies 


who missed planes as for rookies who 
nised jump shots, possibly less. They 
were exhausted from dealing with tal- 
ented players of rare skills who were 
tied up in their own emotional prob- 
lems; head cases, these players were 
called. talent, the coaches often said 
of an athlete like this, bad head. 

That night, awaiting the start of a 
new season (though with the recent in- 
dustrialization of American sports, the 
season never really stopped but ran from 
camp in September to play-off games in 
June, and on into the rookie camps and 
Summer leagues), Ше coaches were at 
once excited and anxious. The rookies 
and the free agents looked on the 
coaches as secure and powerful, men who 
held the keys to the league in their 
hands and made the final decisions on 
their careers. But the coaches and the 
scouts had their own anxieties and vul- 
bilities, This was no longer a pro 
fession to breed confidence in anyone, 
be he owner, player or coach. 

That first night, as the rookies and 
the free agents straggled into the res- 
taurant next to the motel, they were 
still somewhat wary of one another. For 
the moment, at least, there was too much 
tension and rivalry among them to allow 
much room for friendship. 

Jeelani believed, in fact, that he had 
never seen anyone so tight as Bunch. 
They were competing for the same job, 
that of small forward on a team that 
already had two small forwards, both of 
whom were white; and it had been a 
mistake, Jeelani thought, for the club to 
make them roommates. Jeelani had been 
at rookie camp earlier in the summer 
with Bunch and Bunch had refused to 
talk to him; then they had both been in 
the Los Angeles summer league for a 
month and, again, Bunch had made a 
point of not speaking to Jcelani. Jee- 
lani, in a sense, wanted to befricnd 
Bunch, but he was aware, in the most 
primitive way possible, that everything 
good that happened to Bunch was bad 
for him. Jt was terrible to think that 
way. So he kept his distance. At the same 
time, he couldn't help realizing that the 
fear and tension on the face of his room- 
mate was the same fear and tension he 
had worn on his own face during his 
three previous N.B.A. tryouts (in Detroit, 
Cleveland and New Orleans) when he 
had looked around him and become con- 
vinced that everyone there—rookies, 
veterans, coaches, scouts—wanted him to 
fail. At this camp, Jeelani felt more 
confident, more mature. He had three 
years of European ball behind him and 
he knew that only one player—a guard 
and thus not a competitor—had guaran 
teed moncy. 

While the players ate singly, the 
coaches went out in a group to a fancier 


restaurant a few miles away. They were 
all middle-class men, all white, all de- 
voted fathers, but suddenly they had left 
their civilian incarnations behind. Now 
they were professionals, among their own 
kind once again, in a world without 
women, talking their own special shop- 
talk. 

The conversations among coaches, 
here in Portland and elsewhere, often 
possessed a certain melancholy tone 
these days. Basketball was their lives. 
They were men still doing what they 
had done as boys, and for that other 
men envied them; but there was а con- 
sensus among them that their game was 
in trouble. Money now clouded not 
only the relationships between manage- 
ment and player but also those among 
the players themselves. 

Stu Inman, the Portland vice-presi- 
dent and personnel manager, was sure 
that one player obsessed with his con- 

act inevitably caused all his teammates 
to be obsessed with theirs. Inman was 
depresed by the changes money had 
wrought, worried about what they meant 
to his team. His highest enthusiasm was 
reserved for young, still-innocent college 
players, preferably from small schools 
that had never been visited by profes- 
sional scouts; his greatest disdain was for 


almost any agent or lawyer. He talked a 


lot these days in an almost mystical way 
bout what was good and what was bad 
for basketball; and when he explained 
why he so greatly admired his colleague 
Pete Newell (once a pre-eminent coach 
and now a Golden State scout, and a 
senior statesman of the profession), he 
used an odd and slightly sad phrase: 
"Because the game has never ground 
im down." Inman spoke as a man who 
knew and loved basketball but whose 
pleasant and private and somewhat shel- 
tered world had been invaded and 
corrupted by alien beings who were 
richer and more powerful than he. 

Jack Ramsay, the Portland coach, was 
more accepting of the changes that had 
taken place, more accepting of the fact 
that a coach now dealt primarily with 
spoiled, almost delicate athletes pro- 
tected by no-cut clauses in their con- 
tracts. It was not a state of affairs he 
wanted or sought, but Ramsay had 
learned to accept it. After all, as thc 
rewards had become so much larger for 
the players, so, too, had they become 
larger for the coach; the television eye 
during play-offs caught not just the big 
man in the middle rebounding but also 
Ramsay kneeling, intense, talking to the 
players during time-outs. 

As a professional coach, possibly the 
best in the country, he had been able 
to rationalize own conversion from 
a successful college coach working in 

(continued on page 150) 


gelling a reading on your diminished expectations 


EW MAGAZINES 
FOR THE EIGHTIES 


7) 

1! elcome to the hard Eighties. Looked around lately? It's awful ош there. А 75-watt bulb in the 
White House. Double-digit inflation becoming a tradition, Unemployment rivaling bascball as the 

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Three's Company. ... 

Clearly, it's all downhill from here. Hard and getting harder. You're not going to get through this 
without some help. But cheer up. Look how awful the past decade was: Vietnam, Watergate, Billy 


humor By DAVID STANDISH and JER. 


SULLIVAN 


ILLUSTRATION BY SCOTT GUSTAFSON 


Carter, disco. We toughed it out. How? By reading 
magazines, that's how. Could any of us have outlasted 
the Seventies without People to tell us who was hot 
and who was not? Without Mother Earth News help- 
ing us feel good and High Times telling us how to 
feel even better and Money showing us how to finance 
it all? And now that the darkness is really settling in, 
America's resourceful magazine publishers are ready 
to do even more. Whatever you like, whatever you do. 
whatever you are scared of, there's going to be а maga- 
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uncovered the best of what's to come. 

Face it; you couldn't get along without us. 


PHOTOGRAPHY BY BILL ARSENAULT 


SHAPING THE UNIVERSE A PROGRESS 


RESH 
REPORT ON NASAS "PROJECT PTOLEMY™ 


PRODUCED BY SKIP WILLIAMSON 


personality By CHET FLIPPO 


HE PROBLEM 
WITH CRYSTAL 


IF WHITE LIGHT and white heat could melt an audience, then the well- 
dressed sport sitting in front of me at ringside in the Chicago Stadium 
would have melted right out of his navy blazer and run down the drain at 
the first sight of Crystal Gayle. He almost leaped out of his loafers when 
the Gladiator whiter-than-white spotlights knifed through the darkness and 
crisscrossed on her as her road manager, Billy Vaughn, led her up to 
the white-carpeted runway to the stage in the square. And the sport seemed 
to be beating his hands into hamburger, applauding as Crystal took a turn 
around the stage, prancing like a thoroughbred. 

She was no more than six feet from him when she knelt and picked up 
the pink rose he had thrown. The Gladiators zeroed in on her white-on- 
white jump suit and the reflection was blinding enough to virtually 
short out my Sunsensor glasses: The lenses seemed to be popping and 
fizzing. Mr. Sport, who had definitely not come here to see the headliner, 
Kenny Rogers, went all wavy-faced when Crystal Gayle looked him right 
in the face and gave him a 90-watt flashbulb of a smile. then abruptly 
turned on her purple high-heeled slings and whirled away with a saucy 
toss of her brown hair that reaches within an inch of the back of her 
knees. The sport was long gone even before Crystal nodded to bandleader 
Charles Cochran and the band, down in the middle of the square, that 
she was ready to kick it out with Gone at Last. 

She threw back her head, arching her spine, and her high notes— 
astonishingly powerful coming from a body that’s 5/2” tall and weighs 97 
pounds—rang off the steel rafters. Spotlights back-lighted her as she tossed 
and whirled her cascade of hair in what became an exercise in PG-rated 
eroticism. The sport was beginning to bear an alarming resemblance to 
a cocker spaniel: sitting up and panting, moist-eyed, and just waiting for a 
look from its owner. Devolion. 

When she sang When I Dream, she seemed to be floating through a 
fairy tale and, for the inevitable applause, she dreamily folded her hands 
beneath her chin and her riveting cobalt-blue orbs roamed through the 
front rows like a sensuous laser. (If she affected me that way. I refuse to 
tell you the sorry state the sport was in by that time. And she had one 
more show to do that night.) 

Later, deep within the Stadium's winding bowels of tunnels, guards 


fans and record companies may be confused 
over just who and what she is, but crystal gayle 
has never had a doubt 


ILLUSTRATION BY HERE DAVIDSON 


PLAYBOY 


were turning whole crowds of sports 
away from her dressing room, which on 
other nights held Chicago Black Hawks. 
When Crystal came down the hall with 
her husband-manager, Vassilios "Bill 
Gatzimos, in the fluorescent glare, she 
looked surprisingly smaller than life. She 
had scrubbed off her stage make-up 
and—bcautiful though she is—I was sui 
prised to note a slight facial imperfection 
or two. She was wearing a puffy red-and- 
white-striped sweater and tight jeans 
tucked into knee-high boots. She received. 
some well-screened backstage fans with a 
smile that can only be called dazzling 
and posed for pictures with them and 
answered the obvious questions: She's 
been growing her hair for 14 years and 
will cut it someday; she and sister Loretta 
Lynn are “close,” though they don't scc 
h other often; her next project is 
doing songs with Tom Waits for the 
sound track of Francis Ford Coppola's 
One from the Heart. 

Then she was off to the bus, a cus- 
tomized Silver Eagle named Sally Rose, 
for the 12-hour ride back to Nashville 
and home. She didn't wait around to 
watch Kenny Rogers. She was more in- 
terested in finding out if, in fact, this 
Stadium was the place where she'd first 
scen The Rolling Stones perform. Memo: 
Don't call Grystal Gayle country. 

° 

И she can sing like an angel, behav 
onstage like a temptress make grown 
men pant like dogs at the very sight of 
her and win over music critics like she's 
knocking down bowling pins, why isn't 
the name Crystal Gayle a household 
word? Why does she have to open for 
Kenny Rogers? Just what is the problem? 

I'm afraid that question is а whole lot 
easier to raise than to answer. Crystal 
Gayle presents the music industry (as 
well as the listening public) with a prob- 
lem equivalent to that posed by the col- 
lege athlete who letters in all sports: If 
he turns pro, what's his specialty? 

As Loretta Lynn's baby sister, Crystal 
came out of a family that is as hard-core 
country-and-western as you'll find; yet 
she grew up preferring rock ‘n’ roll. Her 
first hits were C&W, but as fast as she 
could figure out the business, she became 
the closest thing the United States had to 
a CRW chanteuse. a vocalist whose style 
knew no limits. 

Her career has suffered as a result. A 
Kenny Rogers audience isn't necessarily 
eager to hear Crystal sing Billie Holiday 
songs. Record companies haven't real- 
ly known what to do with her. Her big- 
gest hit, 1977's Don't It Make My Brown 
Eyes Bluc, was mainstream pop music, 
but her record companies continued to 
market her as a country singer—cven 
when she followed the number-one C&W 
song РИ Get Over You with Kurt Weil's 


132 One More Time. The C&W audience 


didn't understand. 

Crystal hersel hasn't always helped 
her cause, either. Never exactly courting 
the press, she is a very private person 
who has become known as a difficult 
interview. On top of all th 
dustry stories abound of her obsession 
ith controlling her own career, from 
hand-picking her appearances to exas- 
perating art directors by slowly screening 
as many аз 1200 color slides before final- 
ly approving one for an album cover. A 
control freak, some say. The Iron Butter- 
fly of Nashville is another term that’s 
been thrown around. But such buzz- 
words are too simple to explain her and 
her appeal, which even she can't explain. 

Brenda Gail Webb (now known as 
Crystal Gayle) was born on January 9, 
1951, in Paintsville, Kentucky. She was 
the cighth of eight children born to Ted 
and Clara Webb. ‘Ted, you'll remember, 
was a coal miner (vide the movie Coal 
Miner's Daughter) who had already con- 
tracted black lung and was about played 
out. By the time Brenda was born, her 
most famous sibling, Loretta, had al- 
ready married and become a mother and 
housewife in Custer, Washington, where 
she eventually launched her singing 
career. Since Ted could no longer work 
in the mines, Clara, a rock-ribbed South- 
erm woman, had moved the family north 
to Wabash, Indiana, when Brenda was 
only four. Clara worked attendant's jobs 
nursing homes to raise her brood. Ted 
dicd in 1959. 

Crystal—I_ mean Brenda—was seem- 
ingly one of those dangerous, overly 
quiet. obedient and polite children who 
are just waiting for a chance to bust out 
of the mold. 

"She was singing before she was walk- 
ing" her mother says of her. Brenda 
sclected both her career and her husband. 
before she was graduated from high 
school. Even then, she didn't say much. 
lt was what she did that mattered, 
Watching as her glamorous sister became 
a star, she decided to become a singer, 
too, and was working the Lions Clubs 
and the like while still jailbait. 

After high school, Brenda got Loretta 
not only to audition her for her own 
record company but to write songs for 
her as well. Decca—now MCA—signed 
Brenda on Loretta’s chit. But because 
Decea already had Brenda Lee, its man- 
agement suggested that Brenda Gail 
Webb adopt 2 professional name. One 
day Loretta and Brenda were driving by 
a Krystal hamburger stand and before 
you knew it, Brenda was known in the 
business as Crystal Gayle. 

Owen Bradley is an elder statesman of 
country music. He produced Patsy Cline, 
he produced Buddy Holly's first album— 
you name it, he was probably there first. 
He was also Crystal's first producer. 

“Loretta brought her to me in 1970,” 


he remembers. “I had Loretta's brother 
and another sister, and then Brenda 
came along and we talked to her and 
gave it a whirl, and at that time, the 
company was going through a change 
We had fairly good luck on the first 
record or so.” 

For her first single, Loretta, a prolific 
songwriter, gave Crystal Гис Gried (the 
Blue Right Out of My Eyes)—which got 
as high as the number-23 slot on the 
country-and-western charts in September 
1970. Loretta also wrote a couple of other 
carly Crystal Gayle songs, Sparklin’ Look 
of Love and Mama, It’s Different This 
Time. Those Decca songs sound, in fact, 
a lot like Loretta Lynn, or like someone 
who is unhappily trying to sound like 
her. Underneath, though, you can hea 
pop singer trying to burst ou 

“When I started,” Crystal says, "Loret 
ta didn't want me to record country 
songs at all, because she always told me 
that I could sing a lot of things. She 
wanted me to have a different sound 
from her. Which was very good for me. 
So Crystal went on the road and played 
every dive she could get booked into. She 
couldn't afford a band and played with 
pickup musicians who knew the basic 
chords to Help Me Make It Through the 
Night and Let Me Be There and Snow 
bird. She got a Dodge van and played 
county fairs and anyplace сїзє that 
would have her. 

“Decca never let me have an album 
when I was with them," Crystal would 
tell me later. "We had singles. They put 
everything together and, at that time, I 
didn't have а say in what I would record. 
And was very difhcult. It's terrible 
going in and not really having the free- 
dom to sing what you really like. "That's 
n the time came, we just parted. 
Т didn't want to stay and I'm sure they 
didn't want me to, cither.’ 
he rules in country music were kind 
of changing at that time, too,” says 
Bradley. "Under the old rules, with a 
Patsy Cline or a. Loretta, you could take 
three or four years to develop them. 
Under the new rules, the companies ex- 
pected action a little quicker. 

“And, of course, Crystal was trving to 
do something completely different. She 
was fighting that country-music image 
ind it was kind of hard for her to under- 
stand that and to prove herself. But she 
finally did." 

After her modest hits on Decea, United 
Artists signed Crystal in 1974. There she 
languished in the backwaters until her 
first number-one C&W single, ГИ Get 


Throughout her career, she had been 
especially concerned with her manage- 
ment, at once the most important. and 
potentially the most corrupt element of 
C&W music, and she went from Loretta's 

(continued on page 156) 


“Hello, Con Ed? I just called to say thank уои...” 


133 


east side, 
west side, 
all around the 
town, whiskey 
men are 
rediscovering 
a classic 
american cocktail 


WELL TAKE 
MANHATTANS 


drink By EMANUEL GREENBERG 


AS MARK TWAIN might have said, reports 
of the manhattan’s demise are greatly 
exaggerated. Once the country’s most 
popular cocktail, the manhattan went 
into a decline with the post-World 
War Two switch to white spirits—but 
the prognosis has brightened consider- 
ably. Top New York bars such as Jim 
McMullen's, Joanna and The Four Sea- 
sons all attest to a reinterest in the 
manhattan. Another vital life sign: 
leading producer of bottled 
ists it among its five top sellers. 

Legends regarding the origin of the 
manhattan abound, The most credible 
traces its birth to a banquet given by 
Lady Randolph Churchill, Winston's 
American mother, at New York's Man- 
hattan Club. It was a bash celebrating 
Samuel ‘Tilden’s election as governor of 
the state, and the bartender whomped 
up a new drink for the occasion, 
thoughtfully naming it for his place of 
employment. 

The basic ingredients for the man- 
hattan are pretty much as they were a 
century ago, but proportions have al- 
tered radically. From а heavily ver- 
mouthed drink, it has progressed to one 
part vermouth to three or four parts 
whiskey—and up. While not as quirky 
as martiniphiles, manhattanites have ex- 
acting criteria regarding their preferred 
potion. They will specify the type of 
whiskey, the type of vermouth, the ratio 
of whiskey to vermouth, how many times 
the drink should be stirred in the mix- 
ing glass, whether to serve it up or over 
and how much bitters, if any. What may 


qualify as the wiliest stipulation of all 
is attributed to Father Dudley, former 
chaplain to the New York Giants foot- 
ball team, They still talk about the 
Dudley manhattan at Gallagher's, a 
jocks’ habitat: straight up and garnished 
with four cherries. By request, the cher- 
ries were served separately, іп a shot 
The father, it seems, fancied a 


Recipes for the standard manhattan, 
and variations on the theme, are offered 
below. Feel free to adjust proportions 
to your own taste, as any manhattan 
aficionado would. 


MANHATTAN 


2 ozs. bourbon or American blended 
whiskey 

Y oz. sweet vermouth 

1 or 2 dashes bitters 

Maraschino cherry, 

Stir first three ingredients briskly with 
cracked ice. Strain into chilled cocktail 
glass. Plop in cherry. 

Perfect Manhattan: Use V, oz. sweet 
vermouth and 14 oz. dry vermouth. 


ROB ROY 


2 ows. Scotch 

14 oz. sweet vermouth 

2 or 3 dashes orange bitters 

Orange-peel strip 

Stir first three ingredients briskly with 
cracked ice. Strain into chilled cocktail 
glas or over fresh ice in old fash- 
ioned glass. Twist peel over drink, then 
add to glass. 


DRY MANHATI АУ 
1% ozs. whiskey 
14 oz. dry vermouth 
2 or 3 dashes orange bitters 
Lemon-peel strip 
Stir first three ingredients with cracked 
ice. Strain into chilled cocktail glass. 
‘Twist peel over drink; drop into glass. 


THE DUKE OF MANHATTAN 


2% 025. bourbon 

] teaspoon sweet vermouth 

] teaspoon dry vermouth 

Lemon-peel strip 

Orange-peel strip 

Pour first three ingredients over ice 
cubes in old fashioned glass. Twist pecls 
over drink, then add to glass. 


BLOND MANHATTAN 


1% ozs. whiskey 

Y oz. bianco vermouth 

2 or 3 dashes orange bitters 

Queen Ann cherry, canned 

Stir first three ingredients briskly with 
cracked ice. Strain into chilled cocktail 
glass. Decorate with cherry. 


ТНЕ REALLY BIC APPLE 


114 ozs. calvados or applejack 

% oz. bianco vermouth 

2 or 3 dashes orange bitters 

Apple wedge. unpecled 

Stir first three ingredients briskly with 
cracked ice. Strain over ice in old fash- 
ioned glass. Decorate with apple wedge. 


135 


136 


BOSS 
TWEED 


one smooth canadian and 
her thrill of a lifetime 


uerever Shannon Tweed goes, there is a 
Ws in which all action stops and every. 
one tums to look. On this cold October 
evening, that moment comes when she passes thc 
maitre de's station in the 1000-foot-high Top of 
Toronto restaurant. Conversations pause and waiters 
slow their paces, balancing their dishes more care- 
fully, afraid that something somewhere has gone 
wrong. The piano music softens in the background. 
Ice cubes chime in half-full gl 
Accustomed to being the focus of attention, this 
conspicuous woman smiles at the upturned eyes and 
follows a s attentive waiter to a table at the 
window. She is nearly six fect tall. She is blonde. 
She is startling to see is ay though some- 
one had breathed color and animation into a striking 
e of a young woman. 
The waiter holds her chair for her. When she is 


Our new-found young lady from Newfoundland 
loves farm denims as much as fashion designs. 


“Becoming a Playmate and becoming a part of 
the thoughts and the fantasies of literally millions 
of men—that's a tremendously exciting fantasy 
for me. Being seen as desirable by so many is 
simply so terribly flattering. For every nasty look 
insult I ever got, every rejection that hurt, this 
is a compliment that goes a long way toward mak- 
ing up for it. I look better to me in the mirror.” 


PHOTOGRAPHY BY RICHARD FEGLEY 


that’s plural. We used to drive down to 
the harbor to get а Joad of fish, then mix 
it with vitamins and liver and various 
animals’ meat. The mink loved it—may- 
be I could ask for a side order. 

‘The waiter overhears as he trundles а 
cart past the table. He stops and offers to 
bring a side order of anything mademoi- 
sellc wants, She laughs and tells him the 
chef probably doesn’t have the recipe. 

he lowers her eyes, examining her 
decp-red polished fingernails, and con- 
tinues. 

“My parents separated when I was 


“Modeling 10 be a Playmate is dif- 
ferent from fashion modeling. In 
fashion, you can ‘put on’ your smile.” 


13. My father and a friend went out one night to test-drive 
a new car. The driver of the car was drunk. They had an 
accident on a gravel road. The driver died and they found my 
father in a tree 24 hours later. He was unconscious in the hos- 
pital for almost a year. My mother couldn't keep up the mink 
farm herself. couldn't even ask him for advice. So she had to 
take her seven children and go home to Saskatchewan. 

“They never got back together. My father recovered after 
a long time, and even put the farm back together. He had to 
learn how to walk again and talk again, and when he died of 
a heart attack last March, һе had bred 20 mink into 1000. 1 
always stayed in touch with him, and J miss him. 

41 finished growing up in a little town in Saskatchewan, then 
after high school, 1 went to Ottawa to become a lowly cocktail 


Miss November found her way to us through "Thrill of a Lifetime,” a TV program that makes Canadian dreams 
come true. The “Thrillers” wanted a beautiful girl who dreamed of being a Playmate. Thrilled to find Shannon, 
they put her on tape in Toronto (above), sent it to us and, once we regained our breath, we accepted their offer. 


“Country girls have an advantage. I find I can handle little irritations better than city 
people can. Even though I don’t appear slow-paced and quiet, that’s what I am inside.” 


Snow white during bleak Ontario winters, Shannon can be a bronze bombshell in more 
140 clement climates. But in any setting, the mirrors say she has to be the fairest of them all. 


waitress and make bundles of money. I got to be Miss Ottawa, 
third runner-up for Miss Canada іп 1978—I won the talent 
competition in that pageant as a singer. I was quite well known 
in Otta after that, so I opened my own bar, called Shan- 
r—vwe made some money—but it 


non's. It went fine for а y 


was just too much work. Tending bar was great fun, though. 

“People had mentioned modeling to me before. They'd 
come up to say, "You should model, you should model. So 1 
went to an agency in Ottawa and they said, ‘You should 
model.” I worked in Montreal for a while, then came to live 


Upset with the gender confusion she secs as part of women’s lib, Shannon doesn’t mind if she’s put upon a pedestal 
or asked into a bedroom. "There's nothing wrong with being a sex object,” she insists, “if that's not all you are.” 


in Toronto, which is the best place to 
be in Canada. 1 got into high-fashion 
modeling here. 

"But I really had always wanted to 
be a Playmate. Every girl's fantasy is to 
become the ideal—the most beautiful, 
desired woman in the world, at least for 
a month. That's what I hoped someday 
I could be. 

"There was a television program start- 
ing up here in town called Thrill of a 
Lifetime. What they needed were real- 
life people to tell what they had always 
wanted to do or be. A schoolteacher had 
always wanted to be a clown in the 
circus, and he got to do that in Mon- 
тезі. A traveling salesman was just dying 
10 get out of his car and do the morning 
traffic report from a helicopter. He got to 
do that. Then (concluded on page 210) 


Miss Tweed and the boss laugh it up 
at Toronto's Jo Penney agency (right). 


“You have a sense of working for the important things if 
you come from a farm. I guess you can take the girl out of 
Newfoundland but not Newfoundland out of the girl.” 


Highly successful in Canadian fashion, Shannon should 
do well in America now that the glamor girl is back in 
vogue. In fact, shes featured this month in Vogue. 


PLAYMATE DATA SHEET 


077 ENTRE 07; УРЕ 
зт mis AF urs: BO _ 
HEIGHT 02 uxor Ж {” sion: ОУ 


BIRTH DATE 1/20 IIZ калкым 3 
ROLE MODELS: 294252220 Ua bua МО Бот | 


i, 


PREFERRED PERFORMERS : 


AN 2 274 
سے‎ o 
024, Ade £ havsbad aria kar. 
PERFECT EVENING: B aatia aitte tikra adic 


PLAYBOY'S PARTY JOKES 


1 managed to hang on to my job through the 
change of administrations,” said the Washing- 
ton female эр assistant, "but, office-sex- 
wise, these new conservatives just aren't the 
same,” 
“How so?” inqu 
“The days of 


ed her listener. 
ig Government arc over!" 


There've been bumper crops this усаг," the 
rural madam told the members of her staff as 
cash heavy farmers began showing up. 

"Yeah, sure," said one of the girls 
time again for the harvest-boon maul.” 


"so it's 


That's certainly an odd statement, Chet," was 

the comment at a college bull session. "How 

do you mean that girls are like rocks?' 
“Тһе flat ones are better to skip." 


Say. what's a Breathalyzer?” one tavern patron 
ısked another. 

Га describe it as a bag that tells you when 
you've drunk too much,” answered his fellow 
beer buff. 

“Well, whaddaya know?” said the questioner. 
“I've been married to one of those for years 
and years now.” 


There’s а coed at State named Doreen 
Who's renowned on the oral-sex scene. 
Since vibrato, it’s said, 
Is the crown on her head, 
She's been voted ihe Humcoming Queen. 


Our Unabashed Dictionary defines bicuspid 
авап A.C. D.C. dentist. 


fk had taken cajolery for the man to persuade 
his wife to let him make love to her; she hadn't 
been very coo} ive during the act and now 
that it was over, she snapped, “You're lucky, 
you know, Herbert, that 1 don't make you pay 
me what I'm worth for submitting to this!” 

"I sure am, Louise,” sighed her husband, 
"because if 1 did that, I'd probably be prose- 
cuted for violating the minimum-wage law.” 


Now. now," murmured the gynecologist sooth- 
ingly to his obviously upset patient. “There's 
really nothing to this and it will soon be over. 
Tell me," he added, "haven't you ever been 
examined like this before?” 

“Yes, 1 have,” шірей the girl, “but never by 
a doctor.” 


For much of Saturday afternoon, the youngster 
had been tearing in and out of the house, 
tootling madly as he played at directing traffic 
on the run. Finally, his mother could take no 
more of it and screamed, "Do that one more 
time, Billy, and РП blow your damn whistle 
for you!" 

"That goes to prove it, Marge,” remarked 
her husband, looking over from the sports 
action on the screen. "I've always said you 
treat the kid better than you do me." 


We wonder if you've heard about the sensuous 
female bather who slipped in a bar of soap. 


In a frat house, a girl who was square 
Downed a tumbler of Scotch on a dare. 
She no sooner had finished 
Than her hang-ups diminished, 
And she found herself loaded for bare? 


ke was during а hard-coreskin-flick obscenity 
trial, of course, that one witness gave K-spurt 
testimony. 


A man applying for work in a Florida lemon 
grove seemed rather well bred for such a job. 
"Look, Mac,” the foreman, "have you 
actually had experience picking lemons?” 
“I certainly have," replied the applicant. 
ve been divorced four times." 


p 


isn't an engagement ring," protested 
It’s just a tiny, unset diamond.” 

“E know, honey,” said the fellow, 
һе mounted the very day after you ar 


ut it'll 


When I was small, my mother told me that 
my future husband's penis would grow like a 
tree before he planted it in me,” the recent 
bride confided to a good friend, “but every 
time I see Arnold's supposed erection, I feel 
like shouting, ‘Bonsai!’ ” 


Our Unabashed Dictionary defines hot tub as 
a balling bowl. 


{ was initiated into a fascinating tribal rite 
during the summer vacation," the shy maiden 
told a classmate at the mission school. “It was 
my very first date, who told me that he had a 
special. intimate peace pipe and that it was 
customary for a girl to smoke it.” 


Heard a funny one lately? Send it on a post- 
card, please, to Party Jokes Editor, PLAYBOY, 
Playboy Bldg., 919 N. Michigan Ave., Chicago, 
11. 60611. $50 will be paid to the contributor 
whose card isselected. Jokes cannot be returned. 


“You used to hunt, fish and dance. Now all you 
do is call your gallery in New York." 


PLAYBOY 


STAKES OF THE GAME 


(continued from page 126) 


“Big salaries, older players believed, had made what 
they did less joyous and less of a sport.” 


a world governed by old-fashioned loy- 
altics to a big-league coach whose world 
was, by his own description, utterly 
without such loyalty. A college coach, 
Ramsay believed, was granted authority 
almost automatically, by virtue of his 
position; a professional coach gained 
what authority he could by exercise of 
his intelligence, his subtlety. his very 
being. He was on his own and, Ramsay 
believed, no loyalty could be expected, 
cither from those above who employed 
you or from those below who played for 
you. An owner would always fire a coach 
if he were perceived to be slipping; the 
players, if it served their purpose, would 
just as willingly withhold part of their 
game from him. Therefore, a coach must 
learn that loyalty was worthless and 
might even work against him (as, for ex- 
ample, when it encouraged him to keep 
an older player of diminishing skills 
whose past heroics he was still grateful 
for, instead of coldly replacing him with 
a younger player with potential for the 
future). 

For that reason, Ramsay rationed his 
emotions in his personal relations with 
players. Although they might produce 
this year, he might still have to let them 
go next. So Ramsay devoted his most 
intense emotion to winning, and his 
connection to the players scemed to 
end at the locker-room door each night. 
Professional basketball was, he thought, 
a very tough world, which by its naturc 
allowed for few illusions. The question 
remained whether or not it was possible 
to survive and triumph in such a world 
and still exist outside it. "When you are 
discussing a successful coach," sports psy- 
ist Bruce Ogilvie once sa 
of Ramsay but of the entire profession, 
“you are not necessarily drawing the pro- 
file of an entirely healthy person." And, 
indeed, Ramsay seemed to be a man 
within whom the needs of his job and the 
eeds of his humanity were constantly 
wrestling. 

Lary Weinberg, the owner of the 
Portland Trai] Blazers, was not with his 
coaches at dinner that night. But their 
eye was as much on him as on the play- 
ers. Weinberg's friends believed that he, 
too, now regarded his basketball enter- 
prise with a good deal more skepticism 
than he had ten years earlier. His player 
payroll, which in the first season had 
been some $500,000, was now $2,200,000, 


150 fifth highest in the N.B.A. It was the 


equivalent of running a factory with 
7000 workers, cach of whom made $300 
a week. Yet по опе in his basketball 
operation seemed very happy. 

Certainly, the coming of the big 
money had not made the players a great 
deal happier. Like all Americans, they 
welcomed the chance to be paid more 
rather than less, but in many cases, given 
their backgrounds of extreme poverty, 
the instant riches were a burden they 
could not handle; in other cases, the 
money simply heightened the anxiety 
that went with any kind of stardom. 
Now, inevitably, management would eye 
each player more closely, and veterans 
wanting to eke out one last season could 
no longer expect to get the benefit of 
the doubt. 

This made all the players more cyni- 
cal about their future. The increasing 
preoccupation with money loomed large 
on a team. No matter how much a play- 
er made, and no matter how much more 
it was than he once expected, there was 
always going to be someone else, of lesser 
ability, playing somewhere and making 
more. Experienced professionals believed 
that too much of a player's identity was 
now tied up in his salary. It touched not 
only the exterior world of basketball, the 
world the sportswriters chronicled and 
fans worried about; but more and more 
it touched the interior world as well, the 
secret world that only the players knew. 
‘The big salaries, older players believed, 
had gradually altered the athletes’ self- 
perception and had made what they did 
less joyous and less of a sport. Rather 
than diminish their grievances, they had 
in many ways made them worse. For 
whereas 15 or 20 years ago grievance had 
been obviously justified—by the lack of 
a pension plan, for instance—and had 
nified players by pitting them against 
management, now it was the grievance 
of small slights, sometimes real and 
sometimes imagined, and it often pitted 
player against teammate. It was now an 
article of faith among thoughtful former 
players that the new breed was by far 
more talented but that they desperately 
lacked one key clement—a feeling for 
cach other, а sense of community, а 
loyalty to something besides carcers and 
pay checks. 

"The current condition of Weinberg's 
basketball team made all of that hard 
to deny. Weinberg's favorite and most 
valuable player, Bill Walton, had just 


left the Trail Blazers in a flurry of 
charges and countercharges about med- 
ical mistreatment, and that had been 
painful to the owner. His second most 
valuable player, Maurice Lucas, was 
making $300,000 a year and wanted out 
unless he got more. (In addition, Lucas 
attacks on Weinberg himself were be- 
coming increasingly personal.) His third 
most valuable player, Lionel Hollins, 
was showing signs of growing disaffcc- 
tion and probably would be gone next 
year. And his fourth most valuable play- 
er, Bobby Gross, had signed for so much 
money that his second most valuable 
player was angrier than ever. Weinberg 
had entered professional basketball 
thinking it would be fun. and. instead, it 
had become, in his own sardonic word, 
interesting. 


. 

What was happening to basketball 
was similar to what was happening to a 
great many products in America. Be- 
cause, originally, the impulse behind 
basketball had been genuine on the part. 
of everyone concerned, the product had 
been good. And because it was good, a 
lot of people wanted a piece of it, mak- 
ing the value of the product skyrocket. 
But as had so often been the case in 
modern America, with so many other 
good things, basketball had been bought 
into and bought up by those wishing to 
improve their tax position and their 
rating on Wall Street. 

A family in the Midwest might, for 
example, have run a small ma-and-pa 
concern making potato chips. Because 
they loved making potato chips, as their 
parents had before them, they did it very 
well. The potato chips were good and 
they sold briskly and they satisfied a 
fairly large potatochip audience. More- 
over, the company was well run and it 
made handsome profits. Then a large 
company that earned millions of dollars 
selling tires decided to buy a piece of 
the action in order to avoid paying huge 
taxes and to make its portfolio more at- 
tractive to investors. The new owner 
promptly dispatched the potato-chip 
king and his wife to Florida for well- 
deserved retirement and turned the man- 
agement of the company over to a team 
of accountants. None of them knew any- 
thing about making potato chips, of 
course, and cared less, but they were 
skilled at expanding sales while cutting 
costs. To that end, they promoted an ex- 
pensive and highly successful television 
advertising campaign, and soon many 
more potato chips of a severely reduced 
quality were being sold. So much for 
good potato chips. 

The phenomenon was not very differ- 
ent in basketball, except that it was 
more noticeable there. And there, of 

(continued on page 196) 


PICK OF THE KNITS 


everyone's favorite cold-weather companion— 
the sweater—is back in a variety of colorful new guises 


attire By DAVID PLATT 


Above: It's sweater weather ond the big squeeze is an far this lucky fellow, who hes zipped up a wool bouclé knit sweater jacket with 
angled pockets end rib trim, abaut $105, aver a cotton long-sleeved shirt with o medium callar, about $27.50, bath by Gianfranca Ruff 
plus a pair af pleated wool tweed slacks with straight legs, by Dakota, $92; and а multicalor wool striped tie, by Vicky Davis, $15. 


necks and cablestitched cardigans that got the ball subtle patterns that add up to warm, hand-crafted creations. 
rolling, but in any case, sweater designers have run Styles come in a broad range from pullovers (with crew-necks 
with it and come up this season with a variety of looks that more in evidence this season than V-necks) to sweater jackets 
are practically art forms unto themselves. The major thrust that can be worn as an alternative to a sports coat or layered 151 


PHOTOGRAPHY BY RICHARD FEGLEY 


М AYBE IT Was the preppie passion for Shedand aew- is toward highly unusual—chough not outlandish—colors and 


in your lomb'swool crew-neck, $42.50, worn over cotton corduroy Western-style jeans, $38.50, both by 


Left: Hore’s looking at you, 
‚ $24. Above: This cyele enthusiest wi sidecor side-hich is sweutered 


Evan Picone; plus а polyester/coMon pluid shirt, by John H 
for the rood in a cotton-fiecked crew-neck, by Tony Lambert, about $40; combined with leather double-pleoted slacks with a military wrap 


waist, by M. Julion, about $300; ond c multicolor cotton/polyester checked shirt, by Moshe, about $50. Below: More coosome twosome- 
ness—and he's the object of her affection in а mohoir/wool tweed V-neck, $170, combined with wool/alpoca chenille double-pleated 


slacks, $220, a silk checked long-sleeved shirt with a medium collor, $190, ond a silk/wool/cotton knit tie, $45, all by Jhane Barnes. 


over another sweater. Many are being offered with matching or coordi- 
nating scarves. (The wool knit striped and fringed muffler by Modigliani 
induded in this feature is an exceptionally attractive example.) If the 
Eighties is the decade of new romanticism, then sweaters are among the 
most appropriate gear. Soft to the touch, warm to the body, they 
are natural conveyers of a mood and a trend away from the hard-edged 
ime for some knit picking. 


and the uptight. Relax, sweater me 


Abave: He's foshionably well armed far о brisk fall stroll in this multicolor pastel 
waal hand-spun striped crewneck with rib trim, by Manas Del Uruguay, $14 

plus a cotton long-sleeved knit three-button pullover with rib trim, by Calvin 
Klein, $24; ond coton slacks with a padded acrylic lining, by Crash, $65. 


WOMEN'S SWEATERS BY CHILDRESS & BLOCK, ASPEN, COLORADO, 


Above: More stripes for fall; his crew-neck’s an ocrylic 
model, by Career Club, $43; that hos been combined 
with shiny polyrayon chintz slacks, by Cotler, $33; ond 
а flannel shirt, by Eogle Shirtmakers, about 537.50. 
Belaw: It’s our cardigan man in с wool striped style, 
$190, wool slacks, $130, and о woal muffler, $50, all 
by Modigliani for Согу E. Miller; plus o brushed-cation 
shirt, by Mashe for Gary E. Miller, $55. : A heavy 
and hairy wool cable-stitched turtleneck, $230, ond 
wool herringbone slacks, $150, bath by Perry Ellis. 


PLAYBOY 


PROBLEM WITH CRYSTAL 


(continued from page 132) 


“<I think sometimes I want to be Brenda, and then 
at other times I want to be Crystal.’” 


husband, Mooney, to a brief stint with a 
Los Angeles firm, finally settling on self 
management, ostensibly in her husband's 
name. Even after her pop success with 
Brown Eyes, she continued to have C&W 
hits such as Why Have You Left the One 
You Left Me For? and When I Dream. 
Then Columbia snatched her away from 
U.A. and she hit number one with It’s 
Like We Never Said Goodbye in 1980. 

But after that, she became becalmed. 
The hits weren't coming and the reason 
was that nobody—least of all her market 
crs—knew how to market her. Country? 
Pop? Album-oricnted radio? What? She 
was recording increasingly sophisticated 
rhythm-and-blues-tinged pop music that 
had barely a. prayer of getting air time 
оп a country station. 

Gambling is what rescued her and a 
lot of other Nashville singers. The casinos 
in Las Vegas, Atlantic City, Reno and 
Tahoe finally ran out of guaranteed 
draws named Frankie or Shecky. That's 
when they discovered they had a whole 
ncw audience that would rather have 
Willie or Dolly or Crystal, anyway. 

. 

The marquee changer at Harrah's in 
Lake Tahoe asked me how many Ls 
there were in Crystal. He was rising on 
a cherry picker and juggling large mar- 
quee letters, taking down DON RICKLES 
and putting up CRYSTAL слуге, I had 
just emerged from a stretch Lincoln 
limo that had conveyed Crystal, her hus- 
band, her bandleader and me from the 
Reno airport. Crystal was met at the door 
of Harrah's by a committee that lacked 
only a brass band. I told the marquee guy 
to “L-L-L, yes, usc all your Ls.” He didn't 
scem to appreciate that. 

Getting to Crystal's suite at Harrah's 
could've been an all-day job if she hadn't 
wanted you there: The entire floor was 
locked off and a guard stationed 
outside the clevator. Finally, Crystal 
buzzed me into her digs, an incredible 
simulation of an Alpine suite—a room 
зо woody that you got splinters just from 
walking in the door. Tyrolean hats 
should've been standard issue. 

When I got there, Crystal was curled 
up in an overstuffed armchair. She was 
wearing tight jeans and a short-sleeved 
blouse and she was barefoot. She had 
tied her hair up into a bun. 

As she toyed with her hair, I thought 
оГ some things several of her male fans 
had told me they'd like to do with her 
hair in kinky fantasies; one would Ii 


156 to be hair-whipped in bed. “My hair 


does get real heavy,” she was saying. “It 
feels better on top of my head. What 
do you want to drink?" 

She laughed the dry, bride laugh she 
laughs onstage when she's nervous and 
doesn't know what to say. She mixed me 
a drink and poured herself a glass of 
mincral water and we sat down to watch 
the sun set over Lake Taho 

"Let me read your palm." Crystal said 
impulsively, and she jumped up and 
grasped my right hand. In the best in- 
terest of my own interests, I couldn't 
refuse. She stroked my palm and I 
haven't felt too many things that felt 
better. She closed her eyes, then frowned. 

“What is it?” I asked. “Am I done 
for?” 

“No,” she said, but she wasn't smiling. 
“Just be careful, that’s all.” 

“What do you mean? 

“Just be careful. There could be an 
accident.” She opened her eyes and 
looked at me in a way that I suspected 
was sympathetic. 

1 was a little alarmed. I knew that her 

mother had been credited with һа 
psychic powers, and so had Loretta. I 
decided to mix another drink. "Crystal," 
I said as 1 was pouring, "do you have 
magic powers? You seem to do a lot of 
eyecontrol things with your audiences 
and your mother is supposed to be 
ng in a lot of psychic areas.” 
Oh, yeah,” Crystal said, "she def- 
initely is strong. And if I wanted to go 
into the study of, ah, certain things, I'm 
sure I could. My sister Loretta is really 
into it. But for me—well, you've got to 
know mentally what you're dealing with 
and if you're really not prepared to 
study it and if you're only just going to 
play with it, it's not good.” 

‘That was all she wanted to say on the 
subject. As I refilled her glass, the thought 
occurred to me that mayhe Crystal wasn't 
being purposefully vague with her an- 
swers; maybe I just didn't understand 
what the hell she was saying. 

Once I had regained my composure 
and my seat, I tried to move on to firmer 

“Why don't you write more 
I asked her. “Everybody knows 
you as a song stylist, but you and Bill 
have written some good songs together." 
he seemed nervous. "Success and 
time," she said. "We used to be able to 
sit at home and just play our guitars and 
sing. Now we've had to put things aside, 
and we keep talking about how we want 
to just. . We've got a lot of idcas, a 
lot of things started. Bill is very good 


with words—I always wanted him to do 
poetry.” She laughed her nervous laugh 
and sipped her mineral water. 

Is there ever a conflict in her mind, I 
wondered, between being Brenda and 
being Crystal? What does Bill call her, 
Brenda or Crystal? Which is which? 
Brenda Crystal Gail Gayle Webb Gat- 
zimos swirled the ice cubes in her glass 
and looked out over the lake for a 
moment before answering. 

“Well. Bill calls me Crystal and Вгсп- 
da. It’s still the same person, but you can 
say that being an entertainer and being 
a person means being two different 
people, but not really in the sense of two 
personalities.” 

“But is it like just switching a name 
tag from Brenda to Crystal?” 

“I think sometimes I want to be Bren- 
da, and then at other times I want to be 
Crystal.” 

"What's the difference between the 
two?" 

“Oh,” she winked, "Brenda will eat 
anything and everything." She laughed 
and got up to walk around the room for 
a moment before continuing. "And Crys- 
tal, Crystal will watch her diet. I don't 
know. Fm a mixture today. I really 
didn't have any say in the name change: 
the record company insisted on it. But 
later, I started really disliking the name 
and I wanted to go back to my real 
name. If you'll notice, on one of my 
first albums, on a song Bill and I wrote, 
Beyond You, in the credits, 1 spelled my 
name G-A-I-L. That was because 1 was 
fixing to change it back to the original 
spelling. And then the next step was 
going to be going back to Brenda. I was 
getting closer. I really don't remember 
who talked me out of it.” 

“Did you ever take Bill's last name?" 
I asked. 

“No,” she answered, turning serious. 
“It was just something that I really 
started feeling weird about—having a 
different name, you know. My driver's 
license already said Brenda and my rec- 
ords were saying Crystal and it just 
didn't feel comfortable. I really felt at 
the time like I was two people, and 
it was very hard for me. I don't think 
people understood—I felt I was trying 
to bc somebody I wasn't. And changing 
it to Crystal [elt like, well, I must 
think I'm a star or something. It is a 
pretty name and one of the reasons my 
sister picked it was because she thought 
it was bright and shiny and she thought 
that's what I was.” 

She laughed prettily. “Every now and 
then, one of the guys in the band will 
say, ‘You're Brenda today.” I don't know 
how they know or what they know. May- 
be if I'm a little crazy, I'm Brenda.” 

P 
That evening, in Harrah's South 
(continued on page 202) 


“Just a glass of water, please.” 


тебе a 
PUR IB 


IT'S TIME FOR You to think about what you've been feeding your Walkmans, 
Boomboxes and supersonic stereos this year. That's right, time to vote in the 

annual Playboy Music Poll. Our choices of possible contenders are at right; 
however, if a favorite is not listed, your write-in is appropriate, But, please, if you're 
voting for someone who's listed, help our ballot counters and use the number beside 
the name. When you've finished side one, flip the ballot over to make your choices for 
the Hall of Fame and Best LP categories. Only official ballots count and they lust be 
postmarked before midnight, November 1, 1981. For results, see our April 1982 езе 


cast your ballot 
for your poplrock, 
rhytlun-and-blues, 
jazz and 
country-and-western 


D REN a 


ЕР 
(ж) 
Tu Ж 


LIST YOUR CHOICES IN THE 1982 PLAYBOY MUSIC POLL 
ON THE ACCOMPANYING BALLOT 


POP/ROCK 
Mole Vocalist 


Ray Davies 
Bob Dylan. 
Doce Edmunds 
Daryl Hall 
Joe Jackson 


Elton John. 
Nick Lowe 


Willie Nil 
. Ted Nugent 
Robert Palmer 
Tom Petty 

|. Robert Plant 
"Tom Robinson 


. Bruce Springsteen 
Rod Stewart 
James Taylor 
Bram Tchaikovsky 
¥. Mickey Thomas 
Glenn Tilbrook 
Johnny Van Zant 
Steve Winwood 
Peter Wolf 

Neil Young 
Warren Zevon 


Female Vocalist 


1. Joan Armatra 
2. Pat Benatar 
3. Karla Bonoff 


hecna Easton 
Marianne Faithfull 
Deborah Harry 
Chrissie Hynde 
Joan Jett 

Rickie Lee Jones 


Christine McVie 
веке Midler 


Bonnie Raitt 
inda Ronstadt 

Carly simon’ 

Grace Slick 


Barbra Streisand 
Warwick 


BBRR EE 


Jeff Deck. 
. Егіс Clapton 
. Steve Cropper 
. Glenn Frey 


Mick Jones 
Lenny Kaye 
Mark Knopfler 


- Jimmy Page 
Bonnie Raitt 


3. Jackson Brow 
immy Buffett 


16. Keith Richard 
Carlos Santana 


г Trower 
ы Waddy Wachtel 
Joe Walsh 

. Johnny Winter 


Billy Joel 
Elton John 
Rickie Lee Jones 
Mark Knopller 
Nick Lowe 

Paul McCartney 
Joni Mitchell 
Randy Newman 
Ric Ocasek 


3. Barry Peckett 

4. Roy Bittan 
Jackson Browne 

Emerson. 

Eno 


8. Andrew Gold . Graham Parker 
9. Nicky Hopkins Tom Petty 

10. Joe Jackson Bob Seger 

11. Rilly Төсі 28. Paul Simon 

12. Elton John G. E. Smith 

1З. Jerry Lee Lewis Bruce Springsteen 


Gary Numan Strummer/ Jones 
Jammes Taylor 
Peter Townshend 
. Stevie Wonder 
Neil Young 
Frank Zappa 
Warren Zevon 


21. Rick Wakeman 

22. Edgar Winter Group 

23. Gary Wright 

24. Neil Young . APBA 
B-52's 

Drums Beach Boys 

Blondie 

1. Carmine Appice Саз 

2. Ginger Raker Cheap "Frick 

3. Bill Bruford - Clash 

Я: Phil Collins Christopher Cross 

5. Stewart Copeland - Devo 

6. Aynsley Dunbar. Dire Straits. 


7. Mick Fleetwood, 
B. Roger Hawkins 
9. Levon Helin 


Doobie Brothers 
Eagles 
Flectwood Mac 


10. Johann Gang of Four 
Johanson J. Geils Band 

11. Bill Kreutzmann Grateful Dead 

12. Russ Kunk: Heart 

13. Carl Palmer Jeflerson Starship 

14. Ringo Starr Journey 


15. David Tecgarden Kinks 
Tom Petty & the 
Heartbreakers 


17. Charlie Watts 


18. Max Weinberg 2. 
19. Pick Withers 2s 
25. Pretenders 
Bass 25. Image Ltd. 
25. Ramones 
Jack Bruce 27. REO Speedwagon 
Jack Casady 28. ‘Stones 
2. такіе 
апп 3 
3 
32. Santana 


Bob Seger & the Silver. 
Bullet Band 


8. David Hood 
9. John Illsley Зи. Druce Springsteen & the 
Jones Е Street Band 
35. Squeeze 


Steely Dan. 
Styx 


13. Paul McCartney 


М. John McVie Supertramp 
‘Chuck Rainey Talking Heads 
. Lee Sklar Van Halen 
17. Chris Squire Who 


18 
19. Klaus Voormann 


RHYTHM-AND-BLUES 
20. Willie Weeks Mole Vocalist 
21. Tina Weymouth 


1. George Benson 
2. Dennis Brown 
Composer/Songwriter 3. James Brown 
1. Peabo Bryson 
1. Becker /Fagen 5, Ray Charles 
2. Karla Bonoff б. Jimmy Cliff 


ILLUSTRATIONS BY AIR STREAM 


Зл 


Put down the NUMBERS of listed candidates you 
Choose. To vote for a person not appearing on our 
list, write in full name: only one in each category. 


POP/ROCK 


MALE VOCALIST 
FEMALE VOCALIST 


COMPOSER/SONGWRITER 
GROUP 


RHYTHM-AND-BLUES 


MALE VOCALIST 

FEMALE VOCALIST 
COMPOSER/SONGWRITER 
GROUP 


JAZZ 


MALE VOCALIST 
FEMALE VOCALIST 
BRASS 
WOODWINDS 
KEYBOARDS 
VIBES 

GUITAR 

BASS 
PERCUSSION 
COMPOSER/SONGWRITER 
GROUP 


COUNTRY-AND-WESTERN 


MALE VOCALIST 

FEMALE VOCALIST 
STRING INSTRUMENTALIST 
COMPOSER/SONGWRITER 
GROUP 


THE LIST OF NAMES ACCOMPANYING THIS 
BALLOT IS INTENDED ONLY AS A GUIDE 
TO HELP YOU WITH YOUR CHOICES. 


Zip Code. 
inois 60611.) 


PLAYBOY'S RECORDS OF THE YEAR 


BEST POP/ROCK LP 
BEST COUNTRY-AND-WESTERN LP 


BEST RHYTHM-AND-BLUES LP 
BEST JAZZLP 


ing, 919 N. Michigan Avenue, Chicago, 


Name and address must be printed here to authenticate ballot, 


Armstrong, Count Basie, John Bonham, Dave Brubeck, Ray 
I to: Playboy Music Poll, Playboy Buil 


Charles, Eric Clapton, John Coltrane, Miles Davis, Bob 
Dylan, Duke Ellington, Elia Fitzgerald, Benny Goodman, 
George Harrison, Jimi Hendrix, Mick Jagger, Elton John, 
Janis Joplin, John Lennon, Раш McCartney, Wes Montgom- 


ery, Keith Moon, Jim Morrison, Elvis Presley, Linda Ron- 
stadt, Frank Sinatra, Bruce Springsteen, Ringo Starr, Stevie 


Artists previously elected (Duane Allman, Herb Alpert, Louis 
Wonder) are noteligible. 


instrumentalists and vocalists, living or dead, are eligible. 


PLAYBOY HALL OF FAME 


7. Marvin Gaye 
8. Larry Graham 


B. В. King 


18. Teddy Pendergrass 


lly Presion 
22. Smokey Robinson 


25. Barry White 
96. Stevie Wonder 


Female Vocalist 


Jean Carn 
inda Clifford 
3. Natalie Cole 

4. Randy Crawford 
5. Roberta Flack 
6. Aretha Franklin 
1. 
к. 


. Gloria Gaynor 

. Thelma Houston 
9. Phyliss Hyman 
10. Millie Jackson. 

- Chaka Khan 
. Gladys Knight 

Patti Labelle 
Stacy Lattisaw 


ips 
. Bonnie Pointer 
|. Diana Ross 
Donna Summer. 
Dionne Warwick 


Composar/Songwriter 


1. Nickolas Ashford- 
Valerie Simpson 

2. Thom Bell 

3. Tames Brown. 

4. George Clinton 

5. William Eaton 

6. Kenny Gamble- 
Leon Huff 

7. Norman Harris 

8. Curtis Mayfield. 

9. Eugene McDanicls 

10. Ray Parker, 

11. Lionel Richie, Jr. 

12. Smokey Robinson 

illiam Salter 

14. Allen Toussaint. 

15. Barry White 

16. Norman Whitfield, 

17. Robby Womack 

18. Stevie Wonder 


== CUT ALONG THIS LINE =-=- 


Group 


. A Taste of Honey 
1. Bar-Kays 

|. Brothers Johnson. 
B. T. Express 
Commodores 
Earth, Wind & Fire 
Gap Band 

i Isley Brothers 


- Kool & the Gang 
. Manhattans 

lare 

T. 8. Monk 


. O'Jays 
Ray Parker, Jr., & 
Raydio 
Parliament/Funkadelic 
Peaches & Herb 


Yarbrough & Peoples 


|. Gladys Knight & the Pips 


3. George Benson 


Gil Scott-Heron 
Frank Sinatra 
Leon Thomas 


Femole Vocalist 


. Patti Austin 
Angela Bofill 
. Dee Dec Bridgewater 
. Betty Carter 
Urszula Dudriak. 
Ella Fitzgerald 
Roberta Flack 
Lena Horne 
Cleo Laine 
Peggy Lee 
Carmen McRae 
Joni Mitchell 
. Mela Moore 
Anita O'Day 
Flora Purim 
Della Reese 
17. Judy Roberts 
18. Phoche Snow 
10. Sarah Vaughan. 
20. Nancy Wikon 


pawr 


БЫ 


Brass 


at Adderley 

2: Herb Alpert 

Chet Baker 

Lester Bowie 

Randy Brecker 

Tom Browne 

Donald Byrd 

Don Cherry 

Miles Davis 

Jon Faddis 

Art Farmer 

2. Maynard Ferguson 

Diny Gillespie 

Al Grey 

"Wayne Henderson 

i. Freddie Hubbard. 

J. J. Johnson 

Thad Jones 

Jimmy Knepper 

Chuck Mangione 

Wynton Marsalis 

Doc Severinsen 

. Woods 
lark Terry 

Bill Watrous 


Woodwinds 


1. Arthur Blythe 
2. Anthony Braxton 
3. Joc Farrell 
Wilton Felder. 
immy Forrest 
Chico Freeman 
Benny Goodman 
. Dexter Gordon 
Johnny Griffin 
dic Harris 
Woody Herman 
. Bobbi Humphrey 
13. John Klemmer 
14. Yusef Lateef 
Hubert Laws 
Ronnie Laws 
Herbie Mann 
James Moody 
Gerry Mulligan 
20. Sam Rivers 


David Sanborn 
Wayne Shorter 


27. Sadao Watanabe 


Tommy Flanagan 

Jan Hammer 
Herbie Hancock 
Rarry Harris 

Earl "Fatha" Hines 
Abmad Jamal 


j. Bob James 
Keith Jarrett 
. Ramsey Lewis 


Les McCann 
‘Thelonious Monk 
2 Oscar Peterson 
Judy Roberts 
Patrice Rushen 
Joc Sample 
Jimmy Smith 
Сей Taylor 
McCoy ‘Tyner 
Bernard Wright 
Joc Zawinul 


Liona Hampton 
Bobby Hutcherson 
Mile Jackson 

|. Mike Mainieri 
Buddy Montgomery 
- Red Noro 

Emil Richards 

|. David Samuels 

H. Cal Tjader 

Keith Underwood 

. Tommy Vig 


Guitar 


1. John Abercrombie 
2. George Benson. 

3. Kenny Burrell 

|. Charlie Byrd. 
Philip Cathe: 
Cal Collins 


Herb Elis 
10, Tal Farlow 
Fric Gale 
. Jim Hall 
Barney Kowel 


Pat Metheny 
Tony Mottola 


Melvin Sparks 
abor Szabo 
25. Ralph Towner 


Reter Beus 
Walter Booker 
Ray Brown 
4. Mike Bruce 


Art Davis 
Cleveland Eaton 
Jim Fielder 
Eddie Gomez 
Bob Haggart 
. Perey Heath 
. Dave Holland 
Anthony Jackson 
. Carol Kaye 
. Gary King 

Cecil McBee 

Monk Montgomery 
Jaco Pastorius 
Rufus Reid 
Steve Swallow 
l. Miroslav Vitous 
j. Eberhard Weber 


Percussion 


1. Art Blakey 
2. Willie Bobo 

3. Jimmy Cobb 

1. Billy Cobham, 

5. Norman Connor 
6. Jack DeJohnette 
к 
9 


Steve Gadd 
John Guerin 
Stix Hooper 
10. Paul Humphrey 
IT, Elvin Jones 
12. Jo Jones 
13. Mel Lewis 
14. Ralph MacDonald 
15. Harvey Mason. 
16. Steve McCall 
. Airto Moreira 
Joe Morello 
Alphonse Mouzon 
Buddy Rich 
Max Reach 
. Mongo Santamaria 
j. Lenny White 
. Tony Williams 


Compeser/ Songwriter 


1. Toshiko Akiyoshi 
2. сапа ley 


. John Me 


Anthony Braxton 
Dave Brubeck 
Stanley Clarke 
Ornette Coleman 
Chick Corea 


Miles Davis 
ы Eumi 


Deodato 

Carlos Frametti 

Russell Garcia 

Herbie Hancock 

Bob James 

Keith Jarrett 

Antonio Carlos Jobim 

Quincy Jones 

Thad Jones 

Michel Legrand 

Chuck Mangione 

Thelonious Monk 

Gil Scott-Heron- 
Brian Jackson 

Wayne Shorter 

rover Washini 

Kenny Wheeler 


j. Joe Zawinul 


Group 


Akiyoshi/Tabackin 
Big Band 


Art Ensemble of Chicago 
- Count Basie 


Dave Brubeck 


- Ray Charles 
Crusaders. 


Maynard Ferguson. 
Herbie Hancock 
Heath Brothers 
Hiroshima 
Jeff Lorber Fusion 
Chuck Mangione 
Manhattan Transfer. 
xughlin 
Sergio Mendes & 
Brasil '88 
Mingus Dynasty 
Oregon 
Buddy Rich 
spyro Gyra 


20. Sun Ra 
Weather Report 


COUNTRY-AND-WESTERN 
Mole Vocalist 


1. John Anderson 

2. Қашу Bailey 

3. Moe Bandy 

4. Glen Campbell 

3. John h 

6. Roy Clark 

7. John Conlee 

8. Charlie Daniels 

8. Mac Davis 

. Larry Gatlin 

11. Mickey Gilley 

12. Merle Haggard 

13. Waylon Jennings 

H. George Jones 

ris Kristofferson 

16. Johnny Lee 

17. Jerry Lee Lewis 

Ronnie Milsap 

Willie Nelson 
hnny Paycheck 

Ray Price 

Charley Pride 

Eddie Rabbitt 

- Jerry Reed 

- Ману Robbins 

Johnny Rodriguez 

Kenny Rogers 

Joe Stampley 

Ray Stevens 


Jerry Jeff Walker 
- Gene Watson 

Don Williams 
Hank Williams, Jr. 


Femele Vocalist 


1. Rosanne Cash 
£ Jessi Colter 


j. Jeann 
I. Linda Ronstadt 


E 


Rita Coolidge 
Lacy J. Dalton 


Emmylou Harris 
Jeannie Kendall 
Brenda Lee 
Loretta Lynn. 
Barbara Mandrell 


|. Charly McClain 


Reba McEntire 
Anne Murray 
Dolly Parton. 
Pruett 


Connie Smith 
Sylvia 

Tanya Tucker 
Dottie West. 
Tammy Wynette 


ing Instrumentalist 


Chet Atkins 
Jethro Burns 
Roy Clark. 


. Ry Cooder 


Tete Drake 
Amos Garrett 
Johnny Gimble 


. David Grisman 


John Hartford 
Sonny James 
Grady Martin 
Charlie McCoy 
John McEnen 
Bill Monroe 
Roy Nichols 
Jerry Reed 
Karl Scruggs 
Ricky Skaggs 
Ralph Stanley 
Tut Taylor 
Doc Watson 


i. керс Young 


Composar/ Songwriter 


Host Axton 


. Roger Bowling 


Bobby Braddock 
Rodney Crowell 
Merle Haggard 
Tom T. Hall 
Waylon Jennings 
ller 
Nebon 
Dolly Parton 
Jobn Prine 
Curly Pu 
ty Robbins 
Johnny 


Mel Tillis 
Jerry felt W: 
Billy Edd. Wheeler 
Don Williams 

Hank Will 


is, Jr. 


Group 


- Alabama 


Moe Bandy & 
Joc Stampley 


. Johnny Cash & 


the Tennessee Three 
Charlie Daniels Band 
Dirt Band 


. Larry Gatlin & 


the Gatlin 
Brothers Band 


l- Merle Haggard А 


the Strangers 
Waylon Jennings & 
the Waylors 


. Kendalls 


Oak Ridge Boys 
Statler Brothers 
Tompall & 
the Glaser Brothers 
Hank Williams, Jr., 
X tne Bama Band 


ІМ №: 


СА 
qu RR 


jh hi ТЛ uat I nop MONA 


THEY WERE DRIVING BACK to the station 
house on a swelteringly hot day in 
August after having spent two fruitless 
hours questioning the wife of an appar- 
ent suicide victim. Carella was at the 
wheel, inching the car through heavy 
traffic, shirt sodden and sticky, his 
dark-brown eyes squinted against the 
glare of the late-afternoon sun. Kling, 
younger and taller than his partner, 
blond and blue-eyed, with a dean. 
shaven, boyish look that belied his line 
of work, sat silently beside him for the 
longest time. And then, suddenly, as 
though he could no longer contain it, 
he said, “Steve, I think my wife is play- 
ing around with somebody.” 

Carella glanced at him swiftly, a side- 
Jong sweep that confirmed that Kling 
was serious, and then immediately 
brought his eyes back to the road. 

“Yell me,” he said. 

‘I'm not sure I want to talk about it.” 
“Then why'd you bring it ир?” 
"'Causc it's been driving me crazy 

for the past month." 

"Let's start from the beginning, OK?" 
Carella said. 

The beginning, as Kling painfully 
and haltingly told it, had been on the 
Fourth of July, when he and his wife, 
Augusta, were invited to a big party— 
“That was when I got the first inkling, 
at the party.” 

He had never felt too terribly close to 


Kling waited, watching the 
fifth floor of the Hopper 
Street building. What he 
didn't see was the man 
hiding in the shadows. 


HEAT 


Шіпе was a detective, and 
tailing а suspect was 
part of his job— but this 
night’s work was his own 


FIRST LOUK 


atanewnovel 


By ED McBAIN 


author of the 87th Precinct mysteries 


his wife's friends and associates, Kling 


said; they had, in fact, had some big 
arguments in the past over what he 
called her tinsel crowd. He supposed 
much of his discomfort had to do with 
the fact that as a Detective /Third, he was 
carning $24,600 a year, whereas his wife 
was earning $100 an hour as a top 
fashion model. Moreover, most of Au- 
gusta’s friends were also earning that 
Kind of money, and whereas she felt no 
qualms about inviting eight or ten of 
them for dinner at any of the city's most 


ILLUSTRATION BY TOM HERZBERG 


expensive restaurants and signing for 
the tab afterward, he always felt some- 
what inadequate at such feasts, some- 
thing like a kept man. Kling himself 
preferred small dinner parties at their 
apartment with friends of his from the 
police force. 

“Well, what the hell,” he said, “you 
make allowances, am I right? I'm а cop, 
she’s a model, we both knew that before 
we got married. So, OK, you compro- 
mise. If Gussie doesn't to cook, we'll 
send out for Chink's whenever anybody 
from the squad's coming over with his 
wife. And if I've just been in a shoot-out 
with an armed robber, then I can’t be 
expected to go to а gallery opening or a 
cocktail party. Gussie'll just have to go 
alone, am I right?” 

Which was just the way they'd been 
working it for the past few months now, 
Augusta running off to this or that glit- 
tering little party while Kling took off 
his shoes and sat wearily before the 
television set, drinking beer till she got 
home, when generally they'd go out for 
a bite to eat. After dinner, maybe, and 
nowadays less and less frequently, they'd 
make love. 

At the party, they had an argument 
and barely spoke to cach other all 
through dinner, served on their host's 
deck overlooking the crashing sea; and 
by the time the fireworks started at nine 
rm., Augusta (continued on page 188) 


163 


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WHATEVER TURNS YOU ON: Was Hollywood ever like this? Nastassia Kinski and Frederic Forrest have stars in their 
eyes, as well as in the cardboard sky, in One from the Heart (opposite), Francis Coppola's new romance. Elsewhere onthe screen 
(this page, left to right, from the top): Susan Sarandon, unaware she's being watched by Burt Lancaster, anoints herself with 
lemons in Atlantic City; Kris Kristofferson beds Jane Fonda in Rollover, Valerie Perrine and Jessica Lange are pushovers for Jack 
Nicholson in The Border and The Postman Always Rings Twice, respectively; Stunt Man performers clown around before the roof 
falls їп (a scene later excised); and Leon Isaac Kennedy grapples with Azizi Johari (our June 1975 Playmate) in Body and Soul. 


HIGH ADVENTURE: 
Larger-than-life heroics 
turned audiences on to £x- 
calibur (above, with Nicholas 
Clay as Lancelot and Cherie 
Lunghi as Guenevere), 
Superman II, with Christopher 


Reeve, once again in the dual 
role of Clark Kentand the Man. 
of Steel, finally hitting the 
sack (right) with Lois Lane 
(Margot Kidder). but at the ex- 
pense of his superpowers; and 
Roger Moore's latest Bond 
pic, For Your Eyes Only (be- 
low. with Cassandra Harris). 


THE FEMININE CRITIQUE: in these days of Moral Majority- 
Women Against Pornography cross fire, it's noteworthy that a woman 
Supreme Court Justice is asked to rule on porn footage in First Monday 
in October, a straight film (above); The Dancers (below), in hard: 
core, features lady-killing bump-and-grinders (here, Randy West). 


PRIMAL SCREEN: Designed to 
bring out the beast in you were the Bo 
Derek remake of Tarzan, the Ape Man 
(above, with beauteous Bo showing a bit 
more skin than the Edgar Rice Burroughs 
estate was ready to allow); Tanya's Island, 
a Canadian movie featuring luscious 
newcomer D. D. Winters (right): and 
Quest for Fire (below), a film that has 
been described as "the serious Cave- 
man," due soon from 20th Century-Fox. 


ЖАРАН RET T 4 
1 u^; 


Ф: 


MIND-BLOWERS: One way or another, the people in 
these two films had their brains fucked over. In Outland 
(above), Sean Connery discovers that miners inouter space 
are kept working via drugs and sex shows; tn Altered States 
(below), William Hurt undergoes sensory deprivation and 
is ultimately rescued by his wife (played by Blair Brown). 


Fe 


FOREIGN EXCHANGE: Isabelle Huppert, whose bod may have been the sole 
redeeming feature of Michael Cimino's fiasco Heaven's Gale, returns tu lier French 
homeland to co-star with Gerard Depardieu in Loulou (above left). From Holland 
comes Spetters (the title a double-entendre for ejaculation), with Renee Soutendijk 
and Hi van Tongeren (above right) іп a motorcycles-and-sex saga. Klaus Kinski, 
Nastassia's dad, wields a chain in the Japanese-French coproduction The Fruits of 
Passion, something of a follow-up to Story of O (at right). Patricia Gelin plays a young 
erotic dancer from Yugoslavia in Montenegro (below center), a Swedish-British re- 
lease; while Sydne Rome shows a well-matched pair in Germany's Looping (left)— 
a story about amusement-park roller coasters, not the making of porn films. 


TITZAPOPPINS: Julie Andrews 
has come a long way from Mary Pop- 
pins to the let-it-all-hang-out climax 


of husband Blake Edwards’ S.O.B., in 
which she bares her breasts (below 
center and right) to save a 
dying film. A darkly satirical view 
of Hollywood, $.О.В. features 
Robert Vaughn as a kinky studio head 
two-timed by Marisa Berenson (above 
left). Much of the action takes place in 


the Malibu beach house where film 
director Felix Farmer (Richard M 
just tried to commit suicide. 
ants include Larry Hagman 
and friend (above), Gisele Lindley (on 
balcony), Mulligan (with an uniden- 
tified guest emerging from blanket, 
above right), William Holden, Robert 


Preston and Rosanna Arquette at 
Mulligan's bedside (left center), Shel- 
ley Muir and bosom pal (below left). 


PLAYBOY 


176 


audiences that pay to see them. It's not 
plots they're buying, it's the sight of 
people being hacked, slashed, skew- 
ered, dismembered, disemboweled, dis- 
figured. . . . And who are the victims, 
more often than not? Girls, that's who. 

It seems especially to be the [ate 
of bright, attractive, liberated women 
in films these days—TV personaliti 
camp counselors, herpetologists, photog- 
raphers, you name it—to become the 
special targets of deranged killers, who- 
ever (or whatever) they may be. In the 
halcyon days of Fay Wray and Helen 
‘Twelvetrees, а horror-film heroine had 
merely to look dumb and scream on cue. 
‘Today, the dummies are dispatched fair- 
ly early on; it’s the bright, spunky ones 
who are saved for las 

Its hard to avoid the impression 
that, in the ongoing war of the sexes, 
male writers and directors of these films 
are working out their own aggressions 
against the opposite gender. To be sure, 
the woman in peril has long been a 
cliché of the horror genre, She's so 
much morc vulnerable, so much less 
well equipped to defend herself than 
we men—that has been the thinking. 
And it continues: In both versions of 
Friday the 13th, the campfire girls are 
as disposable as Kleenex. But when a 
woman who's a real woman is endan- 
gered, as is Lauren Bacall in The Fan 
or as is Nancy Allen in Blow Out. the 
latest from her husband, Brian De 
Palma, writers appear to take a fiendish 
delight in prolonging the agony until, 
in effect, the audiences seem to be cheer- 
ing the killers on. The movies have be- 
come a form of blood sport—and a very 
profitable one. In Variety's weekly list- 
ings of the top 50 pictures in the U.S. 
market, at least half a dozen are invari- 
ably what they term horror pics. 

Since most of the killings in these 
films occur when a girl is engaged 
or is about to become engaged 
sexual act, it's also hard not to believe 
that their perpetrators don't consider 
themselves divine avengers, that there 
is still a puritanical ethic operative that 
decrees not merely an A branded on the 
bosom but a slashed throat or a disem- 
bowelment awarded for choosing the 
primrose path. And if a woman survives, 
its always despite the most horrendous 
mental and physical torments, It's easy 
to conclude that most writers today real- 
ly don't like women very much. 

‘That is also confirmed by the numer- 
ous spin-offs from the likes of National 
Lampoon’s Animal House and Meat- 
balls, with their heavy accent on sexual 
horseplay. In today's theaters, for better 
or worse, it's mainly the young adults 
who inhabit the market place. And their 
numbers can make a dumb movie like 
Cheech & Chong's Nice Dreams an enor- 
mous success. In its first мсек, Nice 


Dreams rated first on Variety's list. As 
Н. L. Mencken once said, “Мо one ever 
went broke by underestimating the taste 
of the American public. 
Perhaps the success of Animal House 
and Meatballs was disorienting. "They 
made money beyond anyone's anticipa- 
tion. The studios, mainly because they 
weren't sure why all of this was hap- 
pening, began picking up these empty- 
headed entertainments like mad. It was 
a gold rush, with a superabundance of 
bouncing tits and asses the only con- 
ceivable guideposts to the new bonanza. 
Stripes, for example, alternates scenes 
of nude female mud wrestling with shots 
of girls taking well-deserved showers, 
neither having much to do with the 
central story of cabdriver Bill Murray's 
reluctant induction into the U. S. Army. 
Nice Dreams goes a step further; not only 
is there the ever-present female flesh 
that one has come to expect in these 
pictures but Cheech himself goes nude 
for a protracted sequence, leaping out 
of voluptuous Evelyn Cuerrero's window 
when her husband bursts into the bed- 
room at a crucial moment. From Aus- 
walia comes Pacific Banana, in which 
handsome airline pilot Graeme Blundell 
is avidly pursued by bevies of naked 
girls (including the exceptionally attrac- 
tive Deborah Gray), but in vain, As the 
title song explains, when he wants his 
banana “to go up. up. up. instead it 
goes down, down, down"—and Blundell 
sneezes. A lot. And from sexually lib- 
erated Sweden comes Dusan Makavejev's 
raunchy Montenegro (also known as Pigs 
and Pearls), starring our own Susan 
Anspach and the Ingmar Bergman regu- 
lar Erland Josephson. Makavejev, it will 
be remembered, is the veteran Yugoslav 
director whose audacious WR—Myster- 
ies of the Organism brought new and 
startling perceptions to the field of adult 
films back in 1971, In his new comedy, 
which is in English, Anspach plays a 
sexually neglected housewife who leaves 
home and hubby for a liberating fling in 
Stockholn's hotter night spots, then re- 
turns to settle old scores. At least in 
Sweden they're not making their sex 
comedies solely for retarded juveniles. 
Aimed at a broader—and certainly 
broader-minded—audience was Ме] 
Brooks's impudent and outrageous His- 
tory of the World—Part J—history in 
a pig's eye. It's refreshingly vulgar, rau- 
cous stuff, with plenty of leering on 
Brooks's part and plenty of good-looking 
girls for the audience to ogle (supplied 
in the Roman sequence from PLAYBOY'S 
seemingly inexhaustible stock of models 
and Playmates). Even in its audacity, 
however, Brooks's History isn't a strip 
show: there's no nudity and very little 
profanity. Brooks is audacious where it 
counts—in the realm of sacrosanct shib- 
boleths. For all the farting in the film, 


there are also great gulps of fresh air. 

Or take Richard Pryor's Bustin’ Loose, 
which has also been doing quite well 
where it counts, Stripped of Pryor's 
colorful language (which, fortunately, it 
hasn't been), the picture might have 
played like a Disney special. Burglar 
Pryor, who happens to be a good me- 
chanic, is forced by his parole officer to 
assist Cicely Tyson in her effort to re- 
locate a bunch of emotionally disturbed 
kids from Philadelphia to Seattle. It 
becomes a kind of African Queen reda- 
tionship between the strait-laced Tyson 
and the loose-limbed Pryor, greatly aid- 
ed by his half-muttered one-liners. 

Caveman brings us Ringo Starr as a 
primitive with brains—at least with 
brains enough to appreciate the linca- 
ments of co-star Barbara Bach, whom he 
subsequently wed. It's another Animal 
House derivative, just as gross and vul- 
gar as the original, a film that puts a 
premium on comic-book primitivism, 
that prizes a fart over а well-turned 
phrase. (Actually, in this movie, there 
are no well-turned phrases: The vocabu- 
lary is limited to about a dozen grunted 
words.) But it’s fun, mainly because it 
doesn't take itself seriously, and һе 
cause there's not only Bach but also sul- 
try Shelley Long to enhance the scenery. 

Blake Edwards S.O.B. (Standard Op- 
erational Bullshit), a mordant satire on 
Hollywood based largely on Edwards' 
own experiences while making the 1970 
fiasco Darling Lili, advances the curious 
notion that a costly failure can be 
turned around simply by transforming 
it into a sexy comedy, complete with an 
crotic ballet and a quick flash of the 
star's bosom. Whether or not Edwards 
intended it as tongue in check, obvious- 
Jy that’s hardly the answer—not in this 
day and age, when an exposed breast 
has become just about as common as an 
exposed Polaroid. Considering that in 
this instance the breast belongs to the 
hitherto prim and proper Julie Andrews, 
the momentary exposure holds a touch 
of novelty, but it's hardly enough to 
salvage either Edwards fictional film 
within a film or 8.О.В. itself —no more 
than lovely Isabelle Huppert's frequent 
nude scenes, not to mention those of the 
girls in her frontier bordello, were 
enough to keep Heaven's Gate from be- 
coming another all-time disaster. 

"The fact is that, whatever successes 
the fast-track boys may have enjoyed, 
most of the really big hits of 1981 were 
far longer on action than on sex. Head- 
ing the list (and seemingly destined to 
become one of the box-office champions 
of all time) is the George Lucas-Steven 
Spielberg collaboration, Raiders of the 
Lost Ark, a fast-paced adventure movie 
from the two men responsible for Star 
Wars and Close Encounters of the Third 

(continued on page 270) 


“Ten dollars! By my faith, Hope, where is thy charity?” 


177 


GOOD NEWS, fidelity freaks. 
Тһе hi-fi industry has nev- 
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PLAYBOY'S 
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men to dollar-value compo- 
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The common denomina- 
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matter of technologi 
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sound is still paramount, 
but there are more op 


Take, for openers. the 
(text continued 
on page 184) 


Above: Sony's ST-J75 FM 
stereo tuner features superb 
reception and eight preset 
АМ and FM channels, $450. 
Left: Want to play beth 
sides of а record without 
turning i! over? Sharp's 
V2-3000 Bi-Play Disc 
Compo System incorporates 
а stereo tuner/cassette 
deck with a lineor-tracking 
turntable, $750. 


Below: Remember tube 
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‘of audiophiles do; and for 
them, Counterpoint Elec- 
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with slim, fan-cooled five- 
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Left: Infinity's Reference 
Standard Il speakers utilize 
a curved ook wing to elim- 
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pair. Below: This linear- 
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ideal for bookshelves and 
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it can be loaded without 
lifting the dust cover, $600. 


Right: One of the advan- 
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speaker. So fer really big 
electrostatic sound—at a 
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Nokamichi, one of the leaders when it comes to cassette-deck design, 
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Left: Polk Audio's RTA 
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measures only 39” x 16” х 
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“Теп cassettes, $850. 


Above: You're looking at 
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P10! preamplifier and 
T10) tuner, which. when 
coupled, reduce signal dis- 
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for cleaner, more balanced 
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features soft-touch controls; 
the tuner, also $650, has 
electronic tuning anda 
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Right: Akai’s gorgeous 
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direct-drive linear-tracking 
turntable, $2745. 


PHOTOGRAPHY BY DON AZUMA 


who's who? trom The Book of a Thousand Nights and a Night 


IN A CERTAIN CITY of Arabia, there once 
dwelt a fair, well-favored woman mar- 
ried to a fuller, a worker with doth. 
"This fuller was surly, stupid and bad- 
tempered. He treated his wife contemp- 
tuously and, though he did not know it, 
he was repaid in full, for, when he had 
left for his workshop, a handsome troop- 
er would enter his house, his bed and 
his wife for an hour or so in the morn- 
ing. But they grew tired of the secrecy. 

One day, the trooper said. “I have 
resolved to rent the vacant house that 
lies just across the road from this опе.” 

"Whatever for?" asked the woman. 

“And I have decided to dig a tunnel, 
from that house to thine.” 

“You have lost your mind,” said the 
wife. 

“And thou shalt say to thy husband 
that thy sister and her husband, a horse 
trooper, have just come here from dis- 
tant parts and will live in that house. 
And the husband must, in all courtesy, 
call on them.” 

“1 have no sister," she said, “but I do 
have a raving-mad lover." 

“I shall explain to thee my plan of 
attack," he said. "Now, listen. . . . 

When the fuller came home one after- 
noon a [ew days later, his wife told him 
about the arrival of her sister and her 
husband. She told him that he must 
make a call on them and added that the 
trooper was a prosperous man who un- 
doubtedly could be interested in buying 
some cloth. 

The fuller grumbled but ended up by 
going. When he entered the house, he 
found a tall, handsome trooper, who ad- 
mitted to bci brother-inlaw, with 
a beautiful woman sitting on a Persian 
rug. He salaamed to her, but he could 
not believe his eyes. In every respect, 
she looked ctly like his own wife, an 
absolute twin. He faltered a few expres- 
sions of welcome but, overcome with 
strange doubts, excused himself soon and 
made his way home. 

‘The wife, for it was she, hastily put 
on her usual clothes and ran through the 
tunnel. When the fuller arrived, she was 
awaiting hi 
look so queer?" sl 

“It is a mystery,” 
indeed, a trooper who greeted me and, 
with him, his wife, who is uncannily like 
you. 1 could swear by Allab——" 

“We were always thought to have 
some similarity. Did you hear her speak? 
Our voices are rather close in tone.” 

So the fuller made his way across the 
street again and the wife, altering her 
dress, flew through the tunnel again. 

The fuller, being admitted, spoke to 
the trooper's wife and she repli ‘The 
fuller stood bewildered, shaking his head. 

"What is wrong?" asked the trooper. 


expectantly. “Why do you 
asked. 


“This woman is my wife and the 
speech is her speech!" 

The trooper and the wife laughed 
heartily. "Is my sister not at home?" 
asked the woman. "Go back and see tor 
yourself. And when you have done that, 
come here again for a glass of wine." 

‘The same ruse was repeated once 
more, and, when the fuller returned, he 
sat down with the trooper and drank, in 
his bafllement, one cup of wine after an- 
other, until he was q drunken and 
snoring. The soldier retired to the bed- 
chamber with the fuller's wife and finally 
arose about midmorning. 

He then went to work. He shaved off 
the long hair on the sides of the fuller’s 
head, after the manner of the "Turks, 
and clipped the rest short. He put walk- 
ing shoes on the fuller's feet, buckled a 
sword belt with a sword around his mid- 
dle, furnished him with a quiver and 
bow and clapped a tarboosh on his head. 
To complete the picture, he put a few 
silver pieces into his pouch and into his 
sleeve thrust a letter addressed to the 
governor of Isfahan ordering him to en- 
roll the bearer, Rustam Khamartakani, 
in the Turkish garrison, with a monthly 
allowance of 100 dirhems, ten pounds 
ol bread and five pounds of meat. Then 
he carried the stillsnoring fuller to a 
mosque and left him on the steps. 

When the man awoke, he stumbled to 
a nearby pond to get a drink—and be- 
held himself quite altered. “I must be a 
Turkish soldier,” he said and started off 
in one direction. "No, that can't be, be- 
cause 1 am Ahmad the fuller," he said, 


ILLUSTRATION BY BRAD HDLLAND 


Ribald Classic 


turning to go the opposite. Finally, when 
he was almost dizzy, it came to that 
he should go home to ask his wife. She 
would certainly recognize him and put 
all this straight. 

He burst open the door of his house 

and confronted his wife, who drew back 
th a look of surprise and fear. 
Soldier, what are you doing breaking 
into the house of Ahmad the fuller?” 
she cried. “Know you that Ahmad has a 
brother-in-law who is а man of r: in 
the army and a friend of the sultan's?" 

Ahmad took off the tarboosh and beat 
his chest with his fist. "7 am Ahmad, 
wife! Admit it or I'll thrash some under- 
standing into thy head!" 

“What is that scroll in your sleeve?” 
the wife asked. “Perhaps it bears your 
name, if you've forgotten it.” 

Ahmad plucked the scroll out and 
looked at it. Then he smiled. “This 
proves I'm right,” he said, “because I 
can’t read. If I was some educated troop- 
er, I could read it 

"The woman snatched it away from 
him. “I can read it,” she said. She was 
silent a moment. Then she said, “Your 
name is Rustam Khamartakani and you 
are on your way to join the garrison at 
Isfahan. Now, begone, before I call my 
brother-in-law.” 

Ahmad stumbled out of his house with 
his eyes rolling and his brain turning 
somersaults. He had walked quite a way 
before his head began to settle and a 
new idea came to him. His comrades in 
the street of the fullers—where all the 
workshops were—would surely recognize 
him and help unravel this mystery. But 
he had forgotten something. 

Some of the Turkish officers used to 
send their washing to that street and, 
when it was clean and dry, paid never a 
stiver for the service. The fullers had 
complained to the sultan and the sultan 
had replied, “You are in the right. If 
any man who has not paid you appears, 
you have my permission to stone him. 

At this time, too, the fullers had been 
hearing a town rumor that a Turkish 
soldier had taken Ahmad's wife away, 
and they were angry about that. 

So when they saw a 
low in a tarboosh coming into their 
street, one said, "Men, let us remember 
the gracious per 


the stones for poor Ahmad!” 

When the stones began bouncing off 
his head and his chest, Ahmad turned 
tail and ran. “It is the truth of Allah,” 
he said to himself, “I am, in fact, a 
Turk.” 

He took the dirhems from his pouch, 
bought some rations, hired a horse and 
set out to Isfahan to report. 


—Retold by Peg Tercio EB уез 


PLAYBOY 


(continued from page 181) 


“In turntables, the question of direct drive versus belt 


drive remains a standoff.” 


onebrandsystem trend. Having spent 
nearly 30 years taking apart the phono- 
graph, many hi-fi companies are busy 
putting it back together. Mix and match 
gives way to ensemble. The result is still 
a system made up of components, but 
now they come neatly stacked, precon- 
nected and ready to play. Clearly, this 
kind of system is aimed at a much 
broader market than the one-time hero 
of hifi, the intrepid audiophile who 
actually enjoyed agonizing over which 
component worked best. 

‘The promotion for these new systems 
emphasizes total performance rather 
than the particular virtues of their in- 
dividual parts. You are invited to invest 
in high-quality audio gear not because 
you may understand all of its ramifica- 
tions but in spite of the fact that you 
may not. 

As expected, the one-brand systems 
are offered by companies that produce 
most or all of the components needed 
for a stereo system, At last count, that 
roster included more than two dozen 
well-known names, and the list is ex- 
pected to grow. Special 
longer be good business. Prices. perform- 
ance and features vary. For example, 
Scott's Slimcom series (the name suggests 
the upright vertical look shared by most 
of these systems) runs from $800 to 
$1900. A typical setup contains a rack or 
shelved housing on casters with ampli- 
fier, tuner, cassette deck and, sitting top- 
side on shock mounts, the turntable. 
Speakers, of course, remain separate— 
this requirement is still the sine qua non 
of good home stereo. 

A large portion of Pioneer's exten- 
sive product output has been devoted 
to its Syscom series, in which perform- 
ance limits exceed what has normally 
been the standard for systems. Moreover, 
these systems do not (as preassembled 
systems once did) limit you after you 
have bought one. You can add more 
gear if you care to—such as an equalizer, 
or a noise reducer, or an ambient en- 
hancer, and so on. In fact, some systems 
include such sound processors already 
fitted into the panoply. 

Probably the most posh of these 
systems is one from Revox. With linear- 
tracking turntable and optional profes- 
sional-grade open-reel tape deck, its cost 
comes close to $10,000. 

While the system makers would prefer, 
of course, that you buy their speakers to 
go with everything else, there is no tech- 


184 nical reason you can't use other speak- 


ers—something that the companies that 
make only speakers are very happy about. 

Most systems are stacked vertically, 
though at least two companies lay them 
out horizontally. One is the Kenwood 
Spectrum, in a sleek two-door cabinet. 
‘The other is the Bang & Olufsen Beo- 
center 7000 and Beosystem 8000, which 
feature a stylish Danish contemporary 
open cabinet. 


COMING ON WITH COMPONENTS 


Despite the popularity of the one- 
brand systems, the industry is hedging 
its bets with literally hundreds of new 
products in all categories. Here are the 
highlights. 3 

Disc recordings remain the single most 
popular program source, but tape, espe- 
cially cassette, is coming up faster than 
anyone could have predicted a few years 
ago. Its no surprise, then, that a major 
effort is under way to make the tape 
format more appealing. One obvious 
sign is the addition of those features on 
low-to-medium-priced decks that were 
found on only the top-priced units a 
short time ago. Soft-touch controls, some 
degree of microprocessing and easier-to- 
read signal meters are becoming fairly 
standard. These niceties make it easier, 
and perhaps more fun, to use a cassette 
deck, but they do not in themselves 
assure higher performance—except for, 
maybe, the fluorescent bar-graph meters. 
(Bar-graph meters are more accurate than 
needle pointers, they respond faster, they 
eliminate parallax errors and they cast 
no shadows to give false readings.) These 
features are important if you do a lot of 
your own recording; they are less im- 
in playing prerecorded cassettes. 
ar Dolby B 
noisereduction system, there's now a 
Dolby C, which extends the frequency 
range over which the noise reduction 
takes place while also suppressing more 
tape noise. Its major exponent now 
seems to be Nakamichi, which has seven 
new cassette decks ($595 to $1800) that 
include Dolby C and a separate add-on 
processor for use with any other recorder 
(the NR-200, $450). 

Yet another variation of an earlier 
Dolby system is the Bang & Olufsen HX 
Professional system, which claims a dra- 
matic increase in high-frequency head- 
room and which processes each stereo 
channel separately. According to B & O, 
ordinary ferric-oxide tapes (normal bias) 
thus can sound as good as costlier metal 
tapes. The new B & O Beocord 8002 


deck ($1100) has it and the system prob- 
ably will be offered for general use. 
The most radical i ion in deck 


unit, thus expanding its versatility. In 
the Optonica RT-6605 ($550), one tape 
compartment records, the other plays. 
This setup lets you duplicate and also 
electronically edit from one cassette to- 
another ол a single deck. In Onkyo's 
version of the double-cassette deck (ТА- 
WSO, $370), you can dub the new cas- 
sette at 334 ips to cut duplicating time 
in half, and you also can play back two 
cassettes sequentially—or rather the same 
sides of two separate cassettes. That adds 
up to 90 minutes of uninterrupted music 
from two C90 cassettes used side by 
side. 

For open-reel enthusiasts, the big news 
is the high-bias cobaltireated ferric- 
oxide tape developed by TDK and 
Maxell. Used on an open-reel deck with 
the proper bias and equalization, this 
tape is said to provide sound at 3%, ips 
that compares to that of any other open- 
reel tape at 71 ips. New decks to handle 
this tape are expected from Teac and 
Akai, though only Akai so far has an- 
nounced anything definite. One model 
is the GX-77 ($775), with seven-inch-reel 
capacity and bidirectional record and 
play via automatic reverse and six heads 
(three for each direction of tape travel). 
For more ambitious tape buffs, there's 
the Akai GX-747 ($1250), which does it 
all with professional-size (104-inch) tape 
reels. 


FOR THE RECORD 


As with cassette decks, what was re- 
garded as innovative several years ago 
now seems to be fairly commonplace on 
most new turntables. Niceties such as 
direct-drive platters (for steadier speed 
and quieter operation) and low-mass 
tonearms (for better tracking, especially 
of the recent spate of superdiscs) are 
included in the Dual 607, priced at only 
$220. Incidentally, in Dual's, as well as 
most other new lines, the automatic 
changer is an endangered species. The 
emphasis is on single play. often with 
some touch of automation such as arm 
set-down and lift-off. 

Actually, the question of direct drive 
versus belt drive remains a standoff, 
with fine examples of each type being 
offered. This debate continues among 
insiders along with another one—that 
of the S-shaped arm versus the straight- 
offset head arm, The latter type seemed 
to have won out in terms of sheer num- 
bers (all of Pioneers turntables, for 
example, use them, as do those of 
Onkyo, Aiwa, Nikko, Sanyo and Philips, 
among others). On the other hand, the 
Sshaped arm is on turntables from 
JVC. Akai and Technics. 

(continued on page 226) 


When it comes to great taste, 
everyone draws the same conclusion. 


и, pr d EOS NC E 


9 ү n 


PLAYBOY’S ROVING EYE 


All the Nudes 
Fit to Print 


Charles R. Collum is on a roll. In 1977, he re- 
leased a photo album of the citizens of Dallas, 
appropriately called Dallas Nude. (No, J.R. and 
his women didn’t make it.) For the past few 
years, Collum has been photographing the 
locals in the Big Apple, au naturel. The 
result isa charming collection of portraits 
called New York Nude that we hope will 
replace the telephone book. Collum 

likes his work—in fact, he is taking his 

camera on the road. His next work 

will be Los Angeles Nude. If you want to 

pose, drop him a line at PO. Box 663, New York, 
New York 10013. What next? A Des Moines Nude? 


Tara Shannon 
Famous model 
Alan Bresler, president, Bresler Enterprises, 
Investment Bankers and 
president, Sutton East News Inc. Gary and Sherry Mickelson, twins 
He: photographer; she: artis 


Pamela Peters 
Student of anthropology 
Hunter College 


Rollerena 
New York City’s fairy godmother 


Virginia and Lillian Peralta 
lls shoes at Canal Jeans; 
Lillian: high school student 


The Sanford J. Greenburger Literary Agency 
(group shot, including Mr. Greenburger) 


Ron Galella 
Paparazzo photographer 


The Contessa Jeritza-DeNova Scone 
and her daughter Gina Cleo Bloome 


Michael С. Riter, stained-glass artist, 
with his wife and his mother-in-law 


PLAYBOY 


188 


MEAT continue ron page 163 


“The little blonde was wearing short white shorts and 


- an orange blouse slashed deep over her breasts.” 


had drifted over to a group of photog- 
raphers with whom she'd immediately 
begun a spirited conversation. The litle 
blonde who sat down next to Kling 
while the first of the fireworks erupted 
was holding a martini glass in her 
hand, and it was evident from the first 
few words she spoke that she'd had at 
least four too many of them already. 
She was wearing very short white shorts 
and an orange blouse slashed deep over 
her breasts and exposing at least one of 
them clear to the nipple. She said "Hi" 
and then asked him in a whiskey slurred 
voice where he'd been all afternoon, 
she hadn't seen him around and she 
thought sure she'd seen every good-look- 
ing man there. The fireworks kept ex- 
ploding against the blackness of the sky. 

The girl went on to say that she was 
a junior model with the Cutler Agency 
(the same agency that represented 
Augusta) and then asked whether or not 
he was a model himself, he was so good- 
looking. Kling told her he was a cop 
and before she could ask to sce his pistol 
(or anything else) promptly informed 
her that he was here with his wife. The 
girl, who seemed no older than 18 or 19, 
and who had the largest blue eyes Kling 
had ever seen in his life, asked him who 
his wite might be, and when he pointed 
her out and said "Augusta Blair," the 
name she still used when modeling, the 
girl raised her eyebrows and said, "Don't 
shit me, man, Augusta's not m: 

Well, Kling wasn't used to E 
he wasn't married to Augusta, though at 
times he certainly felt that way. He ex- 
plained, or started to explain, that he 
and Augusta had been married foi 
But the girl cut him off and sa 
see her all over town with gu 
shrugged and gulped at her martini. 
Kling knew, of course, that undoubtedly 
Augusta talked to people at parties and 
that some of those people were possibly 
men. But the blonde's words seemed to 
imply something more than simple cock- 
tail chatter, and he was about to ask her 
what she meant, exactly, when she si 
“One guy, especially.” 

“What do you mean, exactly?” Kling 
managed to say this time, 

"Come on, what do I mean?" 
blonde said, and winked at him. 

"Tell me about it," Kling said. His 
heart was pounding in chest. 

"Go ask Augusta, you're so interested 
in Augusta," the blonde said. 

"Are you saying she's been sceing 
some guy?" 

"Who cares? Listen. would you like to 


.UI 
and 


the 


go inside with me? Don't fireworks bore 
you to death? Let's go inside and find 
someplace, ОК?” 

“No, tell me about Augusta.” 

“Oh, fuck Augusta," the blonde sai 
and untangled her legs from under her 
bottom and got unsteadily to her feet, 
and then said, "And you, too,” and 
tossed her hair and went staggering into 
the house through the French doors. 

The blonde later disappeared into 
the night, as suddenly as she had mate- 

ialized. But before leaving, Kling asked 

some discreet questions and learned that 
her name was Monica Thorpe. On 
Monday morning, he called the Cutler 
Agency, identified himself as Augusta's 
husband, said they wanted to invite 
Monica to a small dinner party and got 
her unlisted number from them. When 
he called her at home, she said she 
didn't know who he was and didn't 
remember saying anything about Au- 
gusta, who was, anyway, her dearest 
friend and one of the sweetest people 
on carth. 


said. 
Carella said. “Are 


. 
“So that's it,” Kling 
“That's it, huh?” 

you telling me . . .?" 

“Tm telling you what happened.” 

"Nothing happened," Carella said. 
"Except some dumb blonde got drunk 
and filled your head with ——" 

“She said she saw Augusta all over 
town. With guys, Steve. With one guy. 
especially, Steve” 

“Uh-huh. And you believe her, huh?” 

don't know what to believe 

"Have you talked to Augusta about 
іш” 

“What am I supposed to do? Ask her 
if there's some guy she's been secing? 
Suppose she tells me there i? Then 
what? Shit, Steve. . . .” 

“If I were in a similar situation, I'd 
ask Teddy in a minute. 
“And what if she said it was true?” 

“We'd work it out.” 

Kling was silent for several moments. 
His face was beaded with sweat, he ap- 
peared on the verge of tears, He took a 
handkerchief from his back pocket and 
dabbed at his forehead. He sucked in a 
deep breath then and said, “Steve . . . is 
is it still good between you and 


mean... 
know what you mean." 

“In bed, I mean.” 

“Yes, in bed. And cverywhere else.” 
"Because . . . I, I don't think Га have 


believed а word that blonde was saying 
if, if I, if I didn't already think some- 
thing was wrong. Steve, we . . - these 
past few months . . . ever since June, it 
must һе... . you know, it used 
to be we couldn't keep our hands ой 
each other, I'd come home from work, 
she'd be all over me. But lately. . . . 
He shook his head, his voice trailed. 

Carella said nothing. He stared 
through the windshield ahead. Kling 
shook his hcad again, and again dabbed 
at his brow with his handkerchief. 

“It's just that lately . . . well, for a 
long time now . . . there hasn't been 
anything between us. I mean, not like 
before. Not the way it used to be, when 
we, when we couldn't stand being apart 


for a minute Now 5... when we 
make love, ist so - so cut and 
dried, Steve. As if she's . tolerating 


me, you know what I mean? Just doing 
it to, to, to get it over with. Aw, shit, 
Steve," he said, and ducked his face into 
the handkerchief, both hands spread 
over it, and began sobbing. 
“Come on," Carella said. 

“I'm sorry. 

“That's OK, come on.” 

“What an asshole,” Kling said. 

“You've got to talk to her about it,” 
Carella si 

"Yeah." The handkerchief was still 
covering his face. He kept sobbing into 
it, his head turned away from Carella, 
is shoulders heaving. 

“Will you do that?” 
“Yeah.” 
ert? Will you talk to her?" 
Yeah. Yeah, OK," Kling said, and 
sniffed, and took the handkerchief from 
his face, and dried his eyes, and sniffed 
again, and said, “Thanks,” and stared 
straight ahead through the windshield. 

. 

The neighborhood had changed. 

He hadn't expected to look the 
same, not after 12 years, but neither had 
he expected so overwhelming a trans- 
formation. He got off the elevated train 
at Cannon Road, and then came down 
the steps onto Dover Plains Avenue. 

He was back here today to see his 
daughter. 

He had last seen this neighborhood 
when he was 27 years old. A young man 
Twenty-seven. He would be 40 in No- 
vember, 12 years of his life blown in 
prison. Moira had been six when they 
sent him away, she'd just turned 18 this 
past June, he hadn't seen her in all that 
time, 

This was Saturday, the neighborhood 
seemed drowsy and peaceful in the blis- 
tering midday sun. Suddenly, Halloran 
was sweating. Now that he was closer to 
seeing her, he found himself a little 
short of breath, his heart pounding in his 
chest as he made the familiar turn onto 

(continued on page 232) 


GENUINE RISK 


if you think everything is dangerous, you're right 


essay By JAMES R. PETERSEN 


F irst it was cigarettes. Then 
sugar. Then salt, air, wa- 
ter, bacon, eggs, Corvairs, 
drugs, sex, rock 'п' roll. One by 
one, the very staples of life were 
declared unsafe for human con- 
sumption. 

The final straw came when a 
team of scientists announced that 
coffee was linked to pancreatic 
cancer, There are approximately 
220,000,000 people in the U.S., 
and 22,000 deaths annually from 
pancreatic cancer. The odds are 
10,000 to 1 of being one of the 
unlucky few, 5000 to 1 if you 
drink coffee. Big deal 10 I 
stopped drinking coffee, it is like- 
ly that I would lose my job. ‘The 


symptoms of poverty arc well 
documented. Some 7,000,000 
people experience unemploy- 


ment every year. I have never 
met anyone with pancreatic can- 
cer. I know a lot of people who 
are unemployed. When you are 
unemployed, you are 100 percent 
unemployed 

It's enough to drive you crazy. 
According to the editors of The 
Odds on Virtually Everything, 
you shouldn't worry. You have 
only one chance in 89.1 of becoming schizo. Too many pcople 
want us to worry about too many things. I have a limited 
capacity for panic. It is not to be wasted on the trivial. 

It seems to me that there are two kinds of risk: the kind 
you can do something about and the kind you can't. The 
latter risk comes with the territory. It is usually measured by 
body counts of white mice in laboratories. If a rat smokes 20 
times its body weight of weed a day. it will develop brai 
damage and a taste for the Grateful Dead. If a rat listens to 
disco music, it will develop homosexual tendencies. If a 
college student reads porn, he will give electric shocks to lab. 
assistants. If Three Mile Island goes, we are going to turn 
into mutants. The actual risks of most environmental hazards 
range in the six-figure Irish Sweepstakes category. Almost a 
million to one. As house odds go, they aren't much. 

I much prefer genuine risk, the kind you take of your own 
free will. You accept a challenge. You go up against the 
insurance agent and his actuarial chart. The greater the odds, 
the higher the insurance rates, the greater the potential 
profit. I you blow it, fine. As the old blues song put it, "If it 
wasn't for bad luck, wouldn't have no luck at all" You 
define yourself by how you handle the situation. Let's talk 
about some rcal odds. 

The odds are 86 to 1 that I will have the same job a year 
from now. That is something 1 hadn't planned on. Part of 
ту job involves flying. The editors of Odds on Virtually 
Everything say that the chances of my dying on take-off or 
landing 33,370 to 1. "One mid-air collision over San 
Diego, or a disintegrating engine at O'Hare, can seriously 
affect the statistics." On May 25, 1979, flight 191 crashed on 
take-off, killing four of my friends, totally. A 33,370-to-1 shot. 
Unfortunately, they are 100 percent dead. Still, 1 fly. I say to 
myself that flying is no more or less dangerous than drinking 


coffee. It is out of my hands. I 
have better things to worry abou 
For instance, I ride a motor- 
cycle. The Motorcycle Safety 
Foundation reports that of every 
10,000 motorcycles registered, 815 
will be involved in an accident 
this year. One out of 35.6 re- 
ported accidents result in 
rider death. The odds against 
my dying on a bike are 1126 to 
1. I do not think of those statis- 
tics when I ride. I tend to think 
of the figures that say my acci- 
dent will happen in good weath- 
er, on a road I have traveled 
every day for years, in broad 
daylight at a speed of 30 miles 
per hour. I will be having the 
time of my life. I will probably 
be hit by a car. It will be the 
other drivers fault. I will be- 
come a statistic. just like that, 
and it will hurt like a son of a 
bitch. ‘The only form of travel 
more dangerous than motorcy- 
cling is flying—specifically, try- 
ing to fly a plane that you built 
yourself. “Fhe fatality rate is 
about 1 in 35. It astonishes me 
what some people do for kicks. 

I calculate the risk. І know my 
limits and the limits of the bike. I am alive. 

Besides, there are better things to worry about. I stand 
one chance out of 6.1 of being hospitalized this year. one out 
of 9.5 that I will require an operation, one out of 158 of 
having a heart attack. At my age, there is one chance out of 
548 that I will dic. Statistically, a man my age is safer on 
a motorcycle than lying in bed. There is one out of 62 
chances that I will develop flat feet. These tl gs are relative, 

Ralph Keyes, a writer who is currently researching a book 
on danger, claims that people who take physical risks are 
amateurs. The high rollers are into emotional risk taking. 

One out of three marriages fail. Some because one or both 
partners fooled around. The chances that a young married 
man will have an affair are 1.4 to 1, that his partner will do 
the same, 24 to І. The odds are 1 in 33 that the affair will 
be discovered. The odds are 1 in 6.1 that you will end up 
paying alimony. 

As for sex and the single man: The odds are I in 11.9 
that you will get lucky tonight. There's one chance in 51.6 
that you will be impotent, one chance in 42.8 that you will 
contract venereal disease. Terrific. 

Тһе odds arc 1 in 7.7 that you will have a homosexual 


7999. 
Our ancestors used everything they had, and died in 80 or 
so years, before they could develop cancer or marital difficul- 
ties culminating in divorce. They died with their hair on. 
When the last saber-toothed tiger died, science had to invent 
new thicats to fill the void. The intangible terrors get head- 
lines and Government grants but are nothing to worry about. 
The point of this: Do what you were going to do in 
the first place. As Han Solo says, 


Never tell me the odds.” ED 165 


COMPUTER CONTROLLEO 
STEREO RECEIVER Sx-7 


Finding your favorite station isn’t always as easy as 
tuning to 123. 

For example, now that digital station readouts are 
standard on most receivers you have to memorize the 
precise call numbers of all your favorite stations. Not 
aneasy job if you have a dozen or so stations you 
tune in regularly. 

That, however, is just one of the many unpleasant- 
ries you have to deal with if you own one of todays 
conventional receivers. On the other hand, it’s just 
one of the many reasons you should own Pioneers 
new SX-/ receiver. 

The SX-7 is a product of Pioneers unique new con- 
cept in component design and engineering called 
High Fidelity for Humans The result is a line of com- 


OuTFUT POwERR 
+ а 1 (wre 1 | 


—!! س سے ست с. —— = кеш‏ کے کے ا 
so зо е + orom остоз 1 ® зо‏ 


ponents that are as pleasant to live with as they are 
to listen to. 

For instance, our receiver will commit to memory 
all your favorite stations. You can preset up to eight 
AM and eight FM stations. The moment you want to 
hear one you can recall it instantly. 

Should you want to sample a variety of stations 
without any manual effort, simply press Station Scan. 
You'll hear five seconds of every strong station on the 
entire tuning band. If you discover a station you like 
you simply stop scanning. 

Needless to say, not all stations have strong signal 
strengths. In the past you’ve had to struggle to tune 
in those stations with weak signals. The struggles 
over. Due to the SX-7s ID Mosfet transistors you can 


105.1 


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fe ыг 1 
MEMORY 
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tune in weak stations as quickly and clearly as you 
can strong stations. 

Drift, of course, is another way in which distortion 
has been allowed to sneak in and prevail wherethere 
once was music. The only remedy has been to simply 
get up and readjust your station. But with the SX-7 
you wont have to bother. Because our Quartz PLL 
Synthesized tuning is designed to make drift totally 
impossible. 

While these technological achievements make our 
components easy to live with, others just plain make 
your music sound better. e 

Our patented Non-Switching Push-Pull circuitry 
isa prime example. It eliminates the distortion cre- 
ated by output transistors as they click on and off, 


BUSBONC LOLONESS prone 


mono 
B/ADPT MUTE ORE лана мм 


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thousands of times a second, in response to music 
signals. The SX-7s Non-Switching circuits keep our 
transistors from ever completely switching off, so they 
dont have to click back on. 

If it seems as though the SX-7 has many features 
you just don’t find on other receivers, it’s because it 
does. Which is why we invite you to visit your nearest 
Pioneer dealer. Hell show you the SX-7, and an entire 
line of new Pioneer receivers. 

They're all designed to let you spend more time 
enjoying music 


aisi О PIONGER 
ead RU + We bring it back alive. 


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IN WHICH YOUR WITH THE ENERGIZED 


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PLAYBOY 


196 Stayed one step ahead of the 


STAKES OF THE GAME 


(continued [rom page 150) 


“In American sport, there was no God but Madison 
Avenue. And A. C. Nielsen was His prophet.” 


d been 
ng of televi 
n sports, ba 
was perhaps the most interesting in that 
regard, because in compat h foot- 
ball and baseball, it shorter history 
and was less rooted in the national myth, 
Since its norms were less rigid, basketball 
was far more vulnerable to the new pres- 
sures created by television. As those pres- 
sures grew, the guardians of the sport 
were both les able and less willing to 
make dist between whai 
good for the sport and what was good 
for them personally. Many of the new 
owners came in only because the sport 
was now on national television. Over- 
night, basket: not just a game but 
a show, and overnight it was competing 
not just with other sports but with other 
television f 

Thus, i 
players thought a 
compared them with those of other 
Americans, they thought not of athlcti 
salaries past and present but of the sal- 
aries paid to other entertainers. Very 
quickly, the commercial norms 
reached the players themselves and the 
norms werc always bigger and bigger. 
In the evolution of 
leagues success was no longer defined 
only by the quality of its play, nor by 
the size of its Jive attendance, but by 
how the networks—or, more accurately, 


tions 


was 


had 


odern sport, а 


the great national advertisers—saw it. 
For in American sport in the Eighties, 
there was no God but Madison Avenue. 


And A. C. Nielsen was Hi 

The first of the great commercial mar- 
ges in America in the postwar years 
had been between advertising and tele- 
as the networks offered national 
an extraordinarily attentive 
udience; the second great ma 
me їп the 2 Fifties and 


prophet. 


ways to reach the Americam male, dis- 
covered live sports as a premier vehicle. 
Professional football had been the first 
triumph, with results so exceptional t 
advertisers. immediately began casting 
bout for other sports. Eventually, hand- 
some TV contracts reached even the 
fledgling N: sketball Association. 

That connection gradually changed 
the nature of N.B.A. ownership and the 
structure of its economics. The old own- 
ers had been men of limited income, 
promoters and arena proprietors who 


«ol- 


lector. Their revenues were what they 
could draw from live fans. These new 
owners were primarily young self-made 
millionaires, for whom ego gratification 
was often more important. than n 
money. Under those circum: 
economics of basketball had become 
more and more artificial. Television had 
changed the nature of the audience, too, 
from a tiny handful of passionate fans 
who went to games, paid lor their tickets 
and insisted on real performances to mil- 
lions of watchers, loosely connected to 
the game, who sat in their homes and 
accepted what a given network offered 
because it happened at that moment to 
be somewhat more pleasing (or less dis- 
other networks 

The money no longer 
came directly from the pockets of fans, it 
came from the projections 
tions of auto comp: 


nd expecta- 
and brewer: 

What happened when Madison Ave- 
nue perceived basketball as a "hot" sport 
at the end of the S a fable for our 
time—a story of instant success and de- 
structive cupidity. For as the ratings 
went up, revenues went up, and adver- 
tisers wanted in: and as television made 
the sport not just successful but glamor- 
nore owners wanted in, too. ТІ 
made it possible for the existing own 
to charge a premium for membership in 
this most exclusive club, giving up in 
return only a tew reject players. In the 
pretelevision age, the price of the club 
was minimal, something that people won 
or lost in relatively low-stake poker 
games; now it began to rise, and th 
E became à means by which older 
owners not only recouped their original 
investments but wiped out their ongoing 
debts as well. In the early Sixties, а fran- 
chise worth perhaps $200,000; in 
1980, bought in for 512,000,000. 
Every time the buy-in price went up, 
every other owner could claim that his 
franchise worth at least that much, 
because he, of course, had a few years of 
m ind a couple of 
valuable play 


ous, 


is 


dition behind him 


a dangerous and deceptive time. 
If professional bas- 


No one could lose. 
ketball moved into 
ready for it—New 
ple—there were so many other suck 
wailing to get in that the present own- 
ers, having taken their tax deductions, 
could always sell at a much higher price 
to newer owners in another city. In 
1967, when telev nd the league 
discovered cach other, there werc ten 


teams. In that ycar, San Diego (later 
Houston) and Seattle bought іп for 
$1,750,000 apiece, with cach existing 
team picking up a neat $350,000 share 
of it. That made 12 teams. By the time 
Dallas entered the league only 13 years 
later, those ten carly franchises 
made roughly $3,000,000 apiece from ex- 
pansion payments alone. 

At its best, in the early telev 
years, pro basketball was a sport with 
relatively shallow roots but exceptional 
action and intensity and, above all, gen- 
uine 


ivalrics, But each new team, and 
cach consequent shift in players, diluted 
nd destroyed team character 
The game itself was be- 
coming vulnerable. The problem was not 
just in the new cities to which basketball 
had been transplanted, often without 
much forethought; it was in the old 
franchises. too, whose teams had now 
begun to age and who could not replen- 
ish themselves, because the draft neces- 
sarily spread cach year’s new stock of 
players thinnei 

Madison Avi 
of the tradition 


nue, watching the decline 
1 powerhouse teams in 
the early Seventics—te: that were lo- 
cated, of course, іп the big national 
markets—became nervous. Because there 
were more teams, th was now more 
travel. The players, locked into ап end- 
less schedule of 82 regular-season: games 
that guaranteed a kind of constant 
fatigue and almost certain minor (it not 
major) injuries, now faced even greater 
travel burdens and still more fatigue. 
Where once it had been only Madison 
Avenue that had seen the commercial 
possibilities of the game, and the owners 
who had seen the uei ean ger 
уо, now the new money had seeped 
who, 
eryone 
proved 


maina «йе player 
as they became aware of what cv 
else in the league was making, 
to be greedy as well. 

Most damaging to the intensity of the 
game was the arrival of the no-cut con- 
act. Given such contracts, too many 
nes and а schedule designed to cx- 
м. even the most physically fit young 
men in America, many players respond- 
ed by functioning on automatic pilot, 
coming alive only in post-season play-off 
games. Even worse, this had happened 
as basketball became the blackest of 
America's major sports. In the late Six- 
ties, there had been some racial balance, 
but the league in the Seventies was three 
ters black. Just as the camera had 
and transmitted the true 


4 
caught 


tensity of the old-fashioned гї 


y so it now 
caught and transmitted with equal fidel- 
ity the increasing lethargy and пае 
ence of many players in regular-season 
games, a lethargy and indifference now 
seen by a largely white audience as at 
least partially racial in origin. Those 


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198 


who knew the sport best learned to con- 
centrate on the play-offs. ignoring most 
of the rest. CBS, frustrated by low rat- 
ings in the regular season, proceeded to 
further frustrate genuine Fans. With the 

ion of teams, regular-season 
coverage declined to the point where 
the network was ignoring fully two 
thirds of them: there were, in effect, 
Iwo leagues—one consisting of the 22 
N.B.A. teams, the other a six- or зем 
covered by CBS, its versio! 


a 


decade—sudden growth, the shift in val 
ues from those of pure sports to those 
of entertainment and advertising. What 
had happened to basketball was typi 
of altogether too much happening in the 
new American scheme of things: There 
was more, but it was less. 
. 

А week into the fall camp, the coaches 

went out to dinner together again. They 


were discussing how new contracts would 
affect the veteran players’ game, wonder- 
ing what the incentive would be, now 
that so much money was guaranteed. 
Even when a player was a quality per- 
they thought, it was simply harder 
for him to be ет when his future 
was guaranteed. 

The coaches’ jobs, on the other hand, 
were anything but secure. What went up 
in this league went up very fast and 
often came down just as quickly. Power 
was for the coaches an illusory thing; 
the only players to whom they appeared 
powerful were, in fact, the marginal ones 
they could, indeed, control, but to little 
purpose. The players they would like to 
control—that is, the talented ones flawed 
ttitude or by a specific major 
their game—more likely 
than not were protected by no-cut con- 
tracts far larger than those of the coaches 
themselves. Jt was those players who 
could, if they listened and obeyed, make 


son, 


ther by 


weakness in 


the coaches seem more effective; yet they 
were the very ones over whom it was i 
possible to exercise authority directly. 
Instead, unlike players of the past, they 
had to be stroked and cajoled into doing 
what coaches wanted. 

The current crop of rookies 
agents, though still eager and coachable, 
Members 


of the Poi 
Hayes: he was a 
shooting touch. "Tri 
awkward, and it would be hard for 
те: tes to work with him on offense; 
but he was a lovely young man. The 
problem was that body. By contemporary 
asketball standards, it was юй. It 
meant, they decided, that Hayes had 
never spent much time in the weight 
room. Was that a lack of commitment? 
1t was clear that Hayes, nice young man 
though he was, would eventually have to 


‘The question of Greg Bunch or Abdul 
Jeelani was more intriguing. Bunch was 
a better player technically—more fluid, 
more graceful and able to fit more nat- 
urally into the patterned Ramsay of- 
fensc. But something was missing with 
him: he was playing below his expected 
level and he was tentative, not getting 
the tough rebounds, the ones that came 
down into a crowd. He did not, in Stu 
Inman's phrasc, "stick his nose into the 
* Jeelani, hy contrast. was a con- 
surprise. a gr 
player, he had a grea of trouble 
with the patterned offense, but there 
something exuberant about him 
he was always around the ball, always 
scoring when seemed he shouldn't. 
He seemed hungrier than the others and 
he had an instinct for scoring, if not 
for the game. Although the Portland 
squad, rookies and veterans alike, all 
ed to be playing tight, Jeclani 


bal 


more tl one else contributed an 
the 
a, they saw a little 


more а little more impressed. 
They decided that night, to th 
prise, that he had a chance of mak- 
ag the team. 

Inman was particularly pleased tha 
eelami was handling himself so well. 
Ithough he'd 1 doubts about Jec- 
bility to make the club, Inm 
ad signed him to a contract—albeit the 
id of contract that could evaporate 
the moment Portland wanted il to. 
He had dealt with Jeelani on the basis of 
а recommendation from an old friend 
named Jim McGregor, who was coach- 
ing and doing some scouting on the side 
ап liked McGregor, but he 
free-lance scouts were 
s trying to sell themselves as well 
as their products, hoping. perhaps, for a 
full-time job in the N.D.A. Jeclani had 


sur- 


n 


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199 


ELTE] 


7 ھی تی 
ZEL‏ 


arrived along with a considerable dose 
огу hyperbole 
in ate dinner, he turned to 


the coaches. “This kid is killing people 


here,” he said, as if quoting McGre 
letter, "He's too big for Haly, too big 
for Rome. No one can stop him. Fort 
points a game, 17 blocked shots a game 
ted Мес. or's style of try 

to attract attention: “Four hundred 
and thirty-eight rebounds а game. Sign 
him now, Stu!" So Portland signed him 
and sent him to play in a summer 

uc. Inman considered Jeclani a good 
pure shooter, but he also felt that he 
Was a prisoner of his past. a small school 
with limited coaching, followed by a few 
seasons with a similar lack of direction 
in Italy: he was thus four or five years 
behind other players his age who wer 
already in the NBA. In truth, Inman 
thought, if Jeelani made Ramsay's team, 
one of the most disciplined and struc 
tured squ in the league, then it 
would be a sign that the Blazers were in 
trouble and vulnerable. 

Inman's thoughts left Jeclani and 
fastened for a moment on Bunch. Bunch 
was two inches shorter than Jeclani and 
20 pounds lighter, Inman would describe 
him in scout talk as exceptionally fast 
sound fundamentals, good leaper. sl 
body but long arms, with a good con 
pt the game. But there was someth 
troubling about him, He was а young 

Liman suspecied, was fight- 

elf, not just in basketball but in 

ways as well, though it showed 
most clearly on the court 

Finally, it was Buncl's personal prob- 
Jems, like Hayes physical. limitations 
that proved to be decisive. Within the 
week, both would be gone to colder 
dlimes—Hayes to join the Continental 
league in Alaska. Bunch to play in 
Helsinki 

As for Abdul Jeelani, he would make 

Trail Blazers team. Although he 

er seemed quite comfortable with the 

disciplined Ramsay system, he could 

come off the bench. to score flurries ol 

points when the system broke down, and 
that ability kept him in the league 

Jeelani thought he had earned a reg 
ular spot on the Portland roster, so he 
was shocked at the end of the season 
when he was shipped off to Dallas in 
the expansion draft. At the first practice 
session there, the coach calmly told the 
assembled players not to buy houses in 
the area—aá  notsosubtle rem 
their vulnerability. Some 20 playe 
and went on the new Dallas tc 
year, and Јес was one of only four 
who lasted the entire season. During 
that time, he probably came to know 
what the older players already under- 
stood—that the e of basketball 
though more lucrative now, had been a 
lot more fun in the past 


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PLAYBOY 


202 


PROBLEM WITH CRYSTAL 


(continued from page 156) 


“It effectively shatters any sexual or merely sensuous 
tensions that have linked her with her audience.” 


Shore Room, the Crystal Gayle who had 
been fairly reserved as Kenny Rogers' 
opening act out there in Country Music 
Land was nowhere around. This Crystal 
Gayle was hot. In an_off-the-shoulders 
sequined black tube top and tighter- 
than-tight black pants and black slings, 
she looked and moved like an enticing, 
shiny switchblade knife. When she 


moved into Billie Holiday's What a Lit- 
Пе Moonlight Gan Do, she became de- 
sirably sinister and it occurred to me 
that T couldn't think of another singer 


nothing at all between songs. Or of 
another one who could spend so much 
of her s 
offering her viewers a display of swaying 
hair and tight pants. Not that that sort 


ol thing weakens the performer-audience 
bond, except that Crystal still hasn't 
learned how to talk to an audience 
beyond the "How are you?" level. (“Гус 
always had problems in my mind with 
being out on the stage," she would tell 
me later. “It’s like I'd rather sing: I used 
to not want to talk at all”) If ever there 
were unlimited and unrealized potential 
in a performer, she has i 

Toward the end of her show, she un 
leashed her strength with When Z 
Dream, a throaty, full-bodied, erotic bal- 
lad that spells out much of her appeal: 
"UE can put my makeup on and drive 
the men їпзапе/1 can go to bed alone 
and never know his name/But when 1 
dream, I drea 
you will come t 

Crystal's final encore is always Rocky 


“Tits and ass! Tits and ass!” 


Top, a lightweight, get^em-on-their-fect 
country version of an applause sign. It's 
also the dosest thing she docs to a tradi- 
tional country-and-western song. It eff 
tively shatters amy sexual or merely 
sensuous tensions that have linked her 
with her audience. 


Between the eighto'dlock "dinner 
show" and the 11:30 "cocktail show," she 
shed hi favor of a tan 


c with a question you tell 
сє of my hair's effect here 


then, I had forgotten that alter 
ago show, | had asked her if 
ideo tape of herself 
she hadn't and 
ed. 


the Ch 
she'd ever seen a 
performing. She s 
wanted to know why I 
Id said. “It's down to 
your knees now and you should see it 
when its backlighted and you start 
whipping it around. I mean, it's very 


erotic." 

She'd laughed nervously 
for me to continue, "Crystal, it drives 
some of that crowd muts. I don't know 
if you know that, but you should be 
careful. There were guys out there just 
allivating. 


alked to anybody who's sa 

But now here she was, backstage at 
Harrah's in Tahoe, asking me about the 
relative ha wanting 
really 
€ you're 
not back-lighted and not as close to the 
audience and your hair doesn't really 
stand out against the black outfit. By 
the way, that black outfit — 

“Oh,” she said, "those are spandex 
pants. They look like you're poured into 
them, but they're so comfortable that 
you could do situps in them 

“Dressed like that, do you feel like 
а sex object, or do you think people 
think you're a sex objecti 

“I think there are probably some who 
do. The outfit might look a little sexy, 
but I don't know, because it's hard for 
me to look at myself that way. 1 don't 
really think I am in that sense. Thats 
not something I've tried to pursu 

. 

The building at 1308 16th Avenue 
South in Nashville doesn’t look like the 
sort of high-powered studio f ich 
comes high-powered pop music. Those 
studios usually look like flying saucers 
on the ground. But 13 
quasi-Victorian b 


om wl 


08 i» a two-story, 
ick building approxi- 
mately the color of Dijon mustard. What 
front yard there is includes a dry moat 
with a bridge across it. Stray dogs 
10 hide under there. 
There is no sign to identify 1308 and 
ed to. If you have to ask, you have 
ness there. There is a little box 
by the front door and a little sign that 


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says you can deposit tapes in it. In Nash- 
ville, if you put up a shingle that says 
you're a recording studio, you won't 
merely get demo tapes 24 hours а day, 
you'll get Woodstock on your front 
lawn. Sixteenth Avenue has a constant 
parade of strange looking people clutch- 
ing guitar cases that usually have fresh 
Greyhound bus stickers on them. 

On the day I was there, that odd 
building with the columns and the moat 
had Crystal Gayle's fire-engine-red. Mer- 
ccdes parked outside it while she worked 
on her latest album in her studio of 
choice. Namely, Jacks Tracks, aka. 
1308. Jack Clement, a protégé of Sun 
Records founder Sam Phillips, built it 
before moving on to other things. Phil- 
lips, of course, built the first rock-n-roll 
studio—Sun—on Union Avenuc in Mem- 
phis and knows a thing or two about 
studios. Size never did impress him: Sun 
was the size of a studio apartment. 

Crystal's producer, Allen Reynolds, 
met me at the door of 1308 and took me 
on a tour. Reynolds came out of Mem- 
phis and knows Southern funk the way 
only Memphians and Orleanians do. As 
he led me into Jack's Tracks studio 
proper, dog-legged and never more than 
about 15 [ect across from pine-plank 


wall to wall, he was exubci “I love 
this room," he said. "Doesn't it sound. 
" Indeed, it did. One's voice 

nd resonant and seemed 

the air for a second, “Sam 


Jack to plow under his other 
studios; he said they we 
goddamn, but this place 
million bucks. He got so emotional he 
kissed Jack on the cheek!" 

Reynolds had written modest hits 
in Memphis (remember Five O'Clock 


World by the Vogues in 1965} and 


en't Worth a 


recorded on his own before staking 
his career on Nashville rather than 
Memphis. He produced Don Williams" 


first records, 
About the time Reynolds was 


nd then they parted ways. 
adrilt, 


Crystal Gayle was signing with United 
Artists alter her departure from Decca. 


U.A. called. Reynolds in to see if he 
could do any producing. 

I had heard Crystal before, but not 
enough to be really familiar with her,” 
said Reynolds. “We went in and all we 
were authorized to cut at the time was 
so we did Wrong Road Again. 
ї well and by the time we did the 
first album, I was feeling pretty excited 
about her, When 1 first heard her, I 
whe she had . but dy- 
cally it was real uneven, She hadn't 
had that much studio experience. 

But we recorded a thing on that first 
album that she and her husband wrote, 
called Beyond You, and after we cut 
that, 1 remember calling them at about 
10:30 at night, telling them they ought to 
come over and hear it after we had 
mixed it I remember telling her she 


a good м 


should set her sights real high, that she 
could be as good as she wanted to be. 1 
vas really impressed with her.” 

Reynolds has often been called Crystal 
Gayle’s Sveng: specially after Don't 
It Make My Brown Eyes Blue estab- 
lished her as а pop star in 1077. What is 
not readily apparent is that no onc tells 
Crystal Gayle what to do, U.A. didn't 
like Brown Eyes as a single release—not, 
at least, until it was number one on the 
country charts and number two on the 
pop charts. She had picked it in spite of 
the record company. 

“ГИ tell you what.” Reynolds said, 
“she is really smart. Her instincts have 
always been good and Гуе always trusted 
her. Part of that—her caution and 
care—is just Crystal wanting to preserve 
her freedom and independence. And 
part of it is that her professional stand- 
ards are very high 

Back in the control room, Reynolds 
played the mix of Crystal's version of 
Bill Withers’ Lean on Me, which came 
out with a reggae touch and a very fresh 
sound. It isn't what you commonly think 
of as a country song, which may well be 
Crystal's biggest problem with record 
companies and public alike, both of 
which scem to like categories. 

Reynolds says it's mainly the record 


companies that think categories. "It's 
generally been a problem to get the 
foreign offices—New York and L.A.—to 


respond to artists 


ike Crystal," he said. 
“That's old hat, though. Like with Don 
Williams: Companies would say, "Oh, 
they hate country music in England." Р 
Don Williams took England by storm.” 
Has Crystal Gayle’s potential audience 
been reached yet? What is her audience? 
^] don't know," Reynolds said. “I've 
been to meetings of record compani, 
where Engelbert ES nck 
comes up ays Oh, he's 


ab iB Ші vele 
um. Now, by God, 


үс 


but that р 
g sold pl 


nce is worthy of our respect. 
Yours w stupid if you can't sec 
that. But I sce this attitude. time and 


again. What it all boils down to is a 
tremendous lack of faith in people out 
Шеге on the street. After ten years of 
the rock syndrome, it's hard for the 
record labels to believe that thats the 
big audience. But thats the country- 
music audience extended. That's Middle 
America, That's where I sit. The record 
label thought Brown E 
It was gimmickless, st 
ful and classy, and thats all it takes. 
That's what record companies have a 
hard time with. E think they're finally 
waking up with Cryst 
Theres a possibility that our music 
hasnt been dead on," Reynolds con- 
tinued, "but Fm hoping lor better 
things out of this new album. I'm for- 
cver impressed with her, lorever amazed. 
I think this girl is one of the pi 


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PLAYBOY 


singers of our age. I would present her 
to any audience. 

In a litle while, the lady herself 
swept in, white cable-knit 
sweater and tight jeans, her hair swing. 
ing. She poured herself some coffee and 


wearing a 


t down to spend an afternoon of lis- 
tening to background put a 
"Hollylu-ya" chorus on a song called 
Hollywood. She sang along with a linc 
she really likes: "I know an aging Eng- 
lish star/He’s very good on vintage wine 
and jazz guitar!” 


singers 


. 
A few blocks north of Jack's Tracks, 
Gayle Enterprises, Inc. is slowly remodel. 


ing a twostory mansion. Over the past 
year, the interior has been modified to 
include a recording studio, a TV wing, 
a kitchen, general office space and a 
small attic apartment office for Crystal. 

“Is this going to be an empire?" I 
asked Crystal as she pulled the red Mer- 
cedes into the lot behind the house. 

“Yeah,” she said. “Ivd be nice to get 
more acquisitions than me working out 
of here" Then broke into 
“Ме shall overcome.’ ” 

In a few minutes, we were sit 
He was 


she song: 


z in 
what will be Dill's front office. 
sorting through his mail, trying to find a 
lost plane ticket. 


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“When was the last time you took a 
I asked Crystal. “It seems as 
if you work nonstop.” 

She stopped to think and looked at 
Bill, who had also stopped to think. 
“Three years?" she asked. 

"Four i 


vacation? 


“except for 


famil 


years, 
Christmas, when 
that doesn't count. We've had vacations 
scheduled. One year the Chi 
came through. There's always something 
that comes up.” 

T asked Crystal if she ever planned to 
have children. Much laughter. Bill said 
he hoped maybe J could get an answer 
out of her. Crystal finally said that may- 
be someday she might think about it. "I 
just had three nieces for а week,” she 
said. They swapped affectionate glances. 


we and 


visit 


offer 


What would happen, I wondered, if 
Bill decided to 
law degree he earned several years ago? 
Who would be Crystal's manager? 

"That bridge been crossed,” 
Bill said. 

Crystal laughed. “Well, I don't worry 
about it.” 

"Crystal's never believed in the neces- 
cr," Bill 
d, still rummaging through his mail 
Well, for some people, yes," Crystal 


into practice with the 


hasn't 


sity of having an official m 
E 


said. 

Bill turned to her. "But youre the 
type that needs to know what's going 
on around you." 


Crystal's eyes blazed. "Well, yes,” she 
said. “Because 7 don't want someone 
else telling me what to do." We all 


paused, were quict (ог a moment, Then 
Bill back to 
asked Crystal what she likes to do when 
not working 

“Ah,” she sighed, “it's been a while. 
Except at Christmastime, Im always 
I like to just, oh. get things 
nd rest.” 


went his rummaging. 1 


working 
done around the house. Read 
But you're your own boss,” I said. 
“You can tell yourself to take time off.” 
“Yes, 1 can, But then something comes 
up that L want to do. 1 don't need two 
weeks somewhere. 1 can go to Hawaii 
and a week is about all I can take, Then 
I want to get back to solving problems. 
Have you heard the album?" 
"Only s that 


the child in the woman? I've heard it 


once. W line about 


only once.” 

“I like that. "Thats in The Woman 
in Me.” She sings: “ ‘Youll never break 
the woman in me, but you might hurt 
the child. " 

“Is that а personal sentiment?" 

“Oh. 1 think a good many women can 
relate to that 
under a lot of pressure 


A lot of wome 


stand up 
I really like the 
lines ‘I could cut my hair and walk out 
of here so fast/Let the silence tell you 
that I'm grown up at last” Women, in 
their own way, in their own little corner, 
they can let the child come out, which 


“Ronald and I are no longer in love, but we're still good friends." 


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a lot of people do when they break 
down. It's going back to an inner sell 
Музей, Т don't show a lot of emo 
tions outwardly. Some people can cry at 
the drop of a hat and Гуе never under 
stood how they can do that.” 
“Does it take a lot to bother you?” 


“For crying, yes. I look at it this way, 


because my mother was strong like that. 


А strong woman. She never broke down, 


I could stay together in any emergency." 


~ «qu, deg 
You seem to,” I said. “You control “We drink rum 
your career, down to selecting pictures. \ ; because. 


She laughed. “Yeah, I like to be in ДОК, taste..." 
control. I pick my pictures, I bill түзей) Е Е 

оп ту album covers as director.” She 
laughed easily. “I mean, if you're that 
involved with it. you're the one they're 
gonna first complain about. I love that 
Rick Nelson song where he sings, ‘You 


can’t please everyone, so you gotta please 
yourself.” Because thats true. You've 
got to be true to yourself, Don't 
lose your identity, your own self, because 
you'll never get it back. 1 fought for my / 
own identity.” Her blue eyes blazed. E 


IMPORTED 


“and frankly, 
"M. ni РТТ we believe 
Bill, Gatzimos, Crystals husband o ыша Геза. 

ten years, met her when she asked him 

to drink 


to dance in high school in Indiana. They 4 
seem perfectly matched: She's deter- any other rum.” 


mined and he's flexible 


One night n I was with them in 
Tahoe, he came over to me Басклар 
and olfered me a chaw of R. J. Gold 
Chewing Tobacco, which appears to be 


his only vice. In a business where man- 
gers (and husbands) are usually manic 
ийшо» is amiable, albeit efficient 

“Are you,” I asked him, spitting some 
R J. Gold runoff into his portable 
spittoon, better 


nown as his Dickie cup. 


‘ever bothered about being called Mr 


Crystal Gayle 

He spat a brown stream of Gold. "Oh 
I don't know what people think of me. 
Some people must think that. But Im 
pretty secure with myself. Crystal's. a 
reat talent and I've enjoyed. helpin 
ier and I still have my whole life ahead 
of me, in whatever career 1 choose, Ci 


tal's the type of person who has excellent 


instincts and who wants to be in as much Am 
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I honestly don't know what's gonna hap: 
pen Irom here. We'll play things by car 
Later, we went out into the South 
Shore Room to watch Crystal's last show 
Up there on the stage, she was wearing 


n astonishingly low-cut white dress that 


showed off her long hair to its best ad 
vantage. Not to mention her cleavage 
Т 
naturedly relused to show me. "Con 
id. 1 remember thinkin 
ning to look like Mr. Sport 


Bill took copious notes, which he g 


hdential;" he 


he was be 
But then, 


aybe I was, too. 


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BOSS TWEED 


(continued from page H3) 
there was Shannon Tweed, who always 
wanted to be a Playmate in FLAYBOY. 
And here she is. Isn't that wild? The 
show got in touch with the magazinc in 
Chicago, we did some filming for the 
show and test shooting for the gatefold 

and now this month is my thrill 
fetime. 
bably would have been casic 
and maybe morc appropriatc—f 
to be a circus clown, But it certa 
wouldn't have been as exciting. 
When her meal come: 
cats delicately, the way a farm girl who 
has been careful to memorize the man- 
of the city 
Asked what she'll do with the rest of 
her lifetime, she folds her hands i 
lap and hesitates, and when she 
ain, her voice is soft. She 


“There's an actress in here. It’s very 
rd to make ir—to become famous—in 
n modeling. Maybe it's even hard- 
acting. But thc camcra rolling just 
сз me, excites me no end. 
"Fm a little way into my ac 
nd it's a process of digging down 
deep inside. Not like modeling. Some of 
the other students don't like models 
They think we should go smile i 
mirror and keep quiet, Its nerve: 
sometimes. 


but no big speaki is yet. I could 
do it. And it's a good time for 
the movies, they tell me, the 
and the happy endi 
“So th: 


wied. 
when the meal is over 
1, Shannon takes a |; 
her drink and gets read 


troduce ше to a lot of people I 
wouldn't have had a chance to meet i 
every i 
mc only аз a sexual object, ГИ be glad to 
have met them, Maybe they'll see me 

i I'm hoping for some 
nice fantasy stories and happy endings. 

"Fm afraid ГІ make another scene 
оп the way out,” she smiles. “I ihi 


particular seems entranced. He 
never looks away as she smooths her 
dress, passes the maitre de again. says 
good night and steps into the elevator 


out of sight. 


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22 


TUNING ІМ ТО CHANNEL SEX 


(continued from page 111) 


“Her white face, red lips, concave checks and wide, 
upturned eyes—il was pure porn poetry in motion.” 


ermine wrap. Jeremey whispered in her 
car. Immediately, Fox sank to her knees 
and slid Jeremey's hall-mast in and out 
of her wet, profes uth. His 
olivecolored in shite face, 
red lips, concave cheeks and wide, up- 
turned cyes—it was pure porn poetry 
motion. 

Jeremey's pencilthin mustache started 
to overflow with sweat. Another drop 
traced a tiny river from beneath his ear 
lobe into his collar. Head bowed, shoul- 
ders curved and arms stiff. he was lost 
in some private fantasy world. Fox con- 
tinued sucking. Pachard smoothed his 
shirt, removed his golf cap and ran a 
forearm across his brow. Producer Rob- 
ert Sumner checked his watch. Ten 
minutes gone. 


When Fox finally stood and wiped her 
mouth, Jeremey’s cock pointed due West. 


He stroked himself while edid her 
lipstick and eyed the reporter in the 
corner. She looked oddly intruded up- 


on—as if millions of men hadn't alread 
seen her suck hundreds of cocks on the 
lovestained screens of adult theaters 
everywhere. Yet the question in her eyes 
Clear: What are you doing here? 
Obviously, even on-set sex required some 


measure of privacy. 
Well... 

the overhead m 

hard into my tape recorder, like the 

color man on All-Star Bowling. After a 


three-week course om the current state 
of the adult-film industry іп America, 


“Did you ever notice how hard it 
is to fart below three hundred feet?” 


shot. In the process, porn had become 
stripped of its façades, robbed of its 
lascivious adjectives. I knew that to most 
Ameri s, the shadowy world of adult 
films м laced with innuendo and a 
touch of moral decrepitude. It sounded 
that reflective moment good enou 
to write down—and certainly more pro- 
vocative than what seemed to be the 
truth: that Jeremey's cum shot, the sup- 
posed heartbeat of an industry, was no 
more than a job. 


. 

There's an old joke in sexpl 
circles: While producers pay the women 
575 a day, the men would pay $25 just 
to be in the films. 

But now it’s nearly ten years after 
Throat, and actors from that а 
survived to become household words. 
Many are intelligent, articulate, have 
solid middle-class backgrounds. They 
ake, some cases, from S800 to 51000 
a day on the bigger projects. John C. 
Holmes rumored to command $1500 
's what happens when you 
зо for a cock," kughs 
porn actor Richard 


tion 


Berkeley-based 
Pacheco. 

But why, besides the money, are these 
men in adult films? According to 
Pacheco, one obvious reason is "avail. 
able sex.” Most adult-film actors get the 
majority of their sex during wor 
hours—for free. 
raised her clas: 
repressed upbringing,” э: 
ry Reems. "There were certain sex- 
ual curiosities and ions on my 
part. I alo needed to suppl 


with а 


frust 


income.” Reems came from a legit acting 
background, as did many of his peers, 
and began his career four years belore 


starring in Deep Throat, doing a stag 
film for 575. 

Some consider Jamie 
probably the most t 
adultfilm genre—and he has won nu- 
merous awards to prove it. "I never 
went into porn with the idea it w 
going to be part of a profession," he 


says. "It was а fun way to make a couple 
of ext waiting.” 
Wait is, too, was a 


tor” who got into 


sill m ns many 
ships in the 1 ting world. 
“It never occurred to me that. апу 


since I've be 
have seen enormous developments, in 


around a long time and 
retrospect, I'm del 
ago, we 
career has been more excitin 
spending nine years on a sd 
doing a few trashy Hollywood movies. 
My carcer has been u 

Gillis is unique—onsereen and off. 
ely, he is a connoisseur of fine 
nd wine; he is fond of jazz—we 


(Ве 
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PLAYBOY 


214 


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concert. He also has a college degree and 
recently completed some scenes with 
Lindsay Wagner in Sylvester Stallone’s 
movie Nighthawks, in which he portrays 
a bitchy, dominant clothing designe 

He built his adult-film reputation on 
being willing to act out—onscreen— 


America's kinkiest fantasies. Ав the 


macho leading man beneath an often 


comic, sometimes laconic exterior, Gillis 
would just as soon wield a riding crop 
as penisslap a woman's face and tell her 
she loved it. Hed spit in his costar's 
mouth or shackle her wrists. Hed stick 
а lit candle (unlit end) in his partner's 
vagina and masturbate on her stomach 
And he'd do it all in a strangely attrac 
tive, supremely self-confident fashion 
No malice or misgivings. Just porn pa 
1 never real, but 
c look that way. It 
all added up to a perverse mystique 
Porn actors wanted to be like him. And 
one actress calls him a "pig, but the best 
pig of all. 

But суеп Gillis can tell that times are 
changing. Movie production has slowed. 
He works less. Some producers claim his 
re 100 high. Others—more realis- 
ggest that his specialty 
longer the vogue. Three recent Gillis 
parts (in Blonde Ambition, Amanda by 
Night and High School Memories) make 
use only of his considerable acting tal- 
ents. In the first, he plays а gay director 
of adult films. In the second, he's vil- 
lainous only as far as the snarl on his 
lips. In the third, he portrays a comic, 
sex-crazed high school football coach. 

The actor most in demand in today's 
adult films is John  Leslie—espe 
alter copping the 1981 Erotica Aw: 
for his leading role in Talk Dirty to Me 
He's the strong, steamy type with green, 
heavy-lidded Italian eyes—the kind of 
guy women supposedly want to mother, 
then be taken by, or vice versa 

Leslie shares a Mill Valley, California, 
house with former porn actress Con- 
stance Money and her child. They are 
not romantically involved. He is т 
nowned among his Bay Arca porn ре 
(Annette Haven, Jesie St. James, Pache- 
со and others) as a superb chef who 
makes his pasta from scratch. He's also 
а promising artist. "I usually draw what 
he says over 


che. The pain 


is could ma 


no 


€vers in front of me, 
beers at a neighborhood tavern. At 
home, his walls are covered with his 
charcoal or oil renderings of household 
items—including а good many portraits 
of his beagle, Louie. 

Leslie started acting in adult films in 
the mid-Seventies (“I needed money and 
a friend suggested this was an casy way 


. but he has since handled 
al directorial chores. His friend di- 
rector Anthony Spinelli cast him as the 
lead in Talk Dirty to Me. Leslie also 
stars in the sequel, Nothing 10 Hide, as 
(continued on page 218) 


to do 


sevi 


BLUE NIGHTS AND HAPPY DAYS 


our very own talk-show guests reflect on 


what's going to happen when debbie’ dallas comes on right after j. 


The myth persists ihat pornogra- 
phy produces antisocial behavior and 
therefore should be banned. Since no 
scientific evidence supports that be- 
lief, it stands debunked in the minds 
of those who study sex. But that 
doesn't stop the doomsayers from 
looming ever larger. Now that erotica 
has arvived in the living rooms and, 
indeed, the bedrooms of America in 
the form of video cassettes and cable 
fare, we predict the forces against 
porn may be cven more rabid. In the 
interests of determining just what TV 
porn will mean to all of us, we've 
brought together a wide range of 
sources on the topic for the collo- 
quium that follows. One thing we've 
concluded is that the only thing we 
have to fear is the would-be TV 
monitors, 

Daniel Yankelovich—author, New 
Rules, Searching for Self-Fulfillment 
in a World Turned Upside Down, 
and chairman of Yankelovich, Skelly 
and White polling organization 

We're going through a period of 
sorting out what we've lived through 
over the past decade—of becoming 
less extreme іп some forms and find- 
g out where we want to draw the 
line. I think that this new erotic 
home video material fits in in a rather 
interesting way. I think we will see 
simultancously both the continuation 
of the kind of tolerance that we've 
scen in the past and a resurgence 
among some people of greater puri- 
nism. We will see a pulling back on 
overt sexual material on commercial 
television—we're bı g to see 
that already. And it seems to me that 
pulling back from the more overt sex- 
ual themes in commercial television 
helps support the market for erotic 
materials that can be used privately. 


The effect on the culture and on 
the individ lv. t0 go 
back to somewhat more traditional 
values: of behind closed 
doors and among consenting adults. 
There's always been a feeling in 


America that what you do behind 
closed doors is your business; what 
you do in front of those doors is the 
public's business. And the technology 
in this case permits people to con- 
sume the kind of sexual materials 
they want without being concerned 
about ги public sensibilities. 


ss 


I think 
culture in a fairly painless way. Re- 
search shows a consistent trend to- 
ward greater tolerance in the society, 
which is supportive of the sexual 
revolution, As we've learned to live 
with that, there have been a couple 
of concerns. The prime concern that 
is felt by everybody, liberal and con- 
servative, is the children. I think we 
will sec some move, maybe on the 
part of the industry itself, to permit 
adults to use this materi 
crcet way. That may take the form of 
controls on the television sets or some 
other device. I think that if we move 
in that direction, it reinforces choice 
and pluralism, and it gives those who 
prefer to avoid this type of material 
the opportunity to do so, without 
being bombarded by it in the culture 
in gencral 

And, in a way, it may gi 
handle on something we've been 


i's going to fit into the 


l in a dis- 


“There’s always been a 
feeling in America that 
what you do behind 
closed doors is your 


business.” 


groping for for a long time, which 
is how to permit individuals to have 
the kind of sexual freedom in their 
private lives that they desire without 
invading public space. 

Dr. William Si 
University of Houstor 

1 don't think erotic video can have 
that much ellect in its own right. Its 
effects will be concentrated among 
those people who are really already 
part of the vanguard of the sexual 
revolution. 
know, we're now obser 
like new 
ages of marriage and the fact that 
people are much mor lly 
aware—and sex is much more a part 
of their identity. The effects of erotic 
home video, I think, have to be so 
much less than the cumulative effect 
of all of these other powerful forces. 


sociologist, 


family styles, late 


зехи 


There is а whole wave of small 
studies that now try to link things 
like exposure to pornography and 


ual fantasies. But conclu 
not yet emerged that directly links 
their sexual and. nonsexual behavior 
to the kinds of material people see, 
when they sce it and the frequency 
with which they see it. We constantly 
are at the edge of the quest that real- 
ly has no end. And we're never going 
to get the kind of data the opponents 
of pornography demand we keep 
looking for, because we can't 
what's not there. It's much сам 


convince somebody that you found 
something that does exist than to 
convince somebody that someth 


isn’t there. The assumption is that 
you haven't looked in either the right. 
way or the right places. 

Gay Talese—author, Thy Neigh- 
bor's Wife: 

Im for anything that rey 
freedom of choice. 

For many people, pornography rep- 
resents a need. and for other people, 
a pleasure, and for some, bot 
are many who find that video erot 
are supplementary forms of stimula 
tion or foreplay. They ave like what 
used to be called m; al aids in the 
аск of the mailorder catalog. And 
within the privacy of an adult rela- 
tionship. 1 believe that whatever 
brings pleasure to those adults should 
be between them and only they 
should be the governing factor. 

Tm a First Amendment absolu 
I am opposed to any censorship of 
anything: video cassettes, auto-me- 
chanics magazines or Pm 
opposed to censorship because it takes 
away options that T believe in a 
democracy should be ful ilable 
to adults. If it's a matter of sin as 
defined by the Moral Majority, then 

don't believe sin should be gov- 
erned by law. I don't think sin should 
be in the hands of citizen vigil 
groups, states attorneys or the 
preme Court, So when it comes to 
video cassettes, literature or any de- 
piction that might be erotic to some 
or distasteful to some, I still suppor 
ht, under the First Amend- 
ment, of it to be available to con- 
«шы. 
ilboa—sociologist. ^ at 


'esents 


ist: 


whatey 


215 


PLAYBOY 


216 


Northwestern University, currently ге- 
searching violence and pornography: 
Many of the people who will con- 
sume video erotica are already going 
to adult bookstores. What they are 
going to find in these video cassettes 
is probably not as violent as what 
they'll find in print. But some movies 
portray women enjoying being raped 
id worse, Most viewers separate that 
stulf out and are grossed out by it. 
‘Therefore, erotic home video and its 
huge market will result in less violent 
The mass audience will 
lence, and no 
nts to alienate 


pornograph 
be offended by the 
film producer w 
people. 

ondly, erotic home vidco will 
allow women to talk about sex more. 
Suddenly, it’s not so kinky 
because it's being 

I don't think it’s been conclusively 
proved that pornography produces 
antisocial behavior. Either way. I 
have a lot of literature from before 
1975, including the report of the U.S. 
Commission on Pornography and 
Kinsey's material in the Fifties, that 
indicates that pornography doesn't do 
any harm at all, no matter 
you view. АП that material tests nu- 
dity and erotica and 1 agree with the 
results. Now, you've got porn /vio- 
lence studies constantly testing the 
effects of porn on psychology stu- 
dents. I'm sure it's all over campus 
that the professor is studying rape, 
and what he wants them to tell him. 
The pr s that some people 
nt to believe the conclusions (0 
porn causes violence) so much 0 
they are ignoring the methodology. 
‘The researchers should take their 
time and money and iry testing 
normal population. A lab situation 
can be so artificial. 1 hope in my re- 
search to do something no one has 
ever done: a field study on this. 

Dr. Paul Gebhard—director, In 
tute for Sex Research at 
University: 

The effect of erotic home y 
socicty and culture will be so sı 
as to be unmeasurable, There shoul 
be somewhat more exposure to crot- 
ica, because it is casier to insert a 
cassette or a disc than to set up a 
projector and a screen, and this fact 
may make some individuals more sus- 
ceptible to the information and mis- 
ined in commercial 
It should alio make them 
more blasé. 

The importance of pornography 
has been grossly exaggerated and 
there has never been у general 
agreement as to its definition. We do 
know that sexually explicit tales, 


how much 


Indiana 


со оп 


songs, drawings and exhibitions have 
п with humanity for thousands 
ars, vet their effects, il any, have 
imal that historians and 
social scientists cannot identily them. 
For a few individuals, pornography 
might have a good effect in the sense 
ag sexual inhibition: but for 
a few other individuals, it might have 
a bad effect in causing unrealist 
goals and expectations. 

Helen Gurley Brown—editor, Cos- 
mopolitan 

This is just a longshot guess: I 
don't think that. pornography in the 
home is going to cause any kind of a 
sexual revolution. The material is a 
turn-on, but you can only be turned 
on up to a point and if there is no 
sexy material, you get turned on any- 
way, just by what somebody says to 
you. Without anything to look at, the 
human race has procreated for à long 
time. People have enjoyed sex ou 
side marriage for a long time. I can't 
see the arrival of sexy cassettes in the 


— 
“You must remember 
that a censor has much 

more of an imagination 
than any mere sinner. He 
can see pornography 
where no once else can.” 


home doing anything special except 
bringing some pleasure, some inter- 
est, but I don't think it's going to 
make people sexier or more active. 
Erotic home video ought to be av 
able to grownups and ought to be 
kept from the kids. So how do you 
run it without the kids participating? 
I don’t know: how do you make love 
without having the kids ba 
you? My advice would be: Go figure 
something out! 

John Updike—novelist, man of let 
ters, most recently, author of Rabbit 
Is Rich 

Erotic video is merely another ex- 
tension of the old se: revolution, 
with small significance. Movies, books 
and wet dreams already exist. Por- 
nography encourages us to be sexy, 
but so do Freud and the giant cor- 
poration 

Isaac Asimoy—science-fiction novel- 
ist and editor: 

As I dimly recall, when 1 was 
young, the most exciting thing about 
pornography was that it was hard to 


get. Now, if you just turn on a flick 
and everyone sits around to watch, 
you might wind up yawning. This 
lability could herald a new puri- 
for all 1 know. It could also 
the perhaps startling fact that 
limit to what you can do 


My feeling has always been that 
what pornography chiclly encourages 
is masturbation. I suppose that you 
could get new ideas fiom it, but I 
find that hard to believe in the case 
of anyone with a halfway adequate 
magina 

1 effects? I think that censorship 
is bound to have worse effects than 
pornography. Censorship always 
spreads. It can start off against con 
temporary pornography out of some 
sense of morality, but once it ad- 
dresses itself to the question of what 
pornography is... . You must remem- 
ber that a censor has much more of 
an imagination than any mere sinner. 
He can see pornography where no 
one else can. 

Dr. Harry Goldman—chairman, 
Sex and Pornography Committee, 
Popular Culture Association: 

‘The availability of home video and 
cable allows people with means who 
are into erotica to start filming their 
emselves, 


own... 
even swapping it 
me a dipping the other da 
swap club where they excha 
tapes ol ordinary people, like Joe 
Smith and Jane doing it. 1 think 
as soon as the prices of these machines 
come down that your middle-class 
zens will be getting them. They're 
going to buy Bad News Bears lor the 
children, but they're also going to 
find out that 


And perhaps 
Somcbody showed 
about a 
nge video 


y сап buy dirty mov- 
t home, for themselves 
nds. 
is it going to mean? It's 
going to mean that they are going to 
be exposed to the latest in kinky and 
x in their home and they 
to have the so-called dan- 


ger or assment of going to a 


dirty-movie theater. So they will be 
more aware of what is lı 
Therefore, I think they wi 
be more adventurous in their own 


sexual behavior. 

If you consider kinky sex or sex 
other than the missionary position to 
be . well. then, this whole 
movement would be a negative move- 
. If you see an enhancement of 
al positions and att 
positive force, well, then, all this 
would be positive. My personal opin- 
i Lit is a positive movement. 


ides as a 


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PLAYBOY 


218 mal on the outside but app 


well as in a third Spinelli film, The 
Dancers, about male strippers. 

But of all the actors working in adult 
films today, the one who seems most 
ready to handle the coming dhanges in 
the business is Pacheco, co-star of Talk 
Dirty to Me, Nothing to Hide and, of 
course, The Dancers. A college graduate 
and product of the Sixties countercul- 
ture revolution, he almost began his 
X acting career in 1971, after answering 
a casting call with his wile. ‘They lived 
in a commune then and thought of adult 
films as an experimental extension of 
their radical lifestyle. Neither was used. 
But four years later, the producer, who 
had kept their number, called for Pa 
checos wife. By that time, she was a 


ig sex therapist and wasn't inter- 
So Pacheco showed up instead, 


“The $200 a day they offered was a lot 
better than the five dollars hour 1 
was getting for breaking up rocks with a 
sledge hi he says. 

Since those days, Pacheco has become 
a morcand-more-outspoken advocate of 
change within the porn industry. “I'm 
committed to sex and sanity,” he says. 
here's nothing wrong with sex in 
films; the concept is right. We've just 
got to bring it out of the Dark Ages.” 

E 

Although actors are important to adult 
films, they're mot indispensable. The 
fact is simply this—the women draw the 
customers. 

“T get women beating down my door 
to be in some of the films I make," says 
Bobby Hollander, once publisher of 
Cinema-X (now called Lipstick) and 
himself a producer of eight-millimeter 
loops and video shorts. “But we don't 
just take anyone like we might h 
about ten years ago. The 
have talent—and know what they're get- 
ting into. 


a statement with which jack- 
-trades William Margold would 
strenuously agre gold is, by his own 
admission, not rly attractive, 


has sandy-blond hair and a postacne 
complexion: certainly not the typi 
sex star, though. most. definitely the typ- 
dultfilm journeyman actor. And 
than 100 movies 
"s been some 
n it "for the 


journey. 
glory." 

He is also a prolific writer of adult 
film screenplays and is a film reviewer 
(adult and n n) for a Hollywood 
sex tabloid. a publicist, under 
collection of pseudonyms, for himself. 
And a nude-modeling agent. And God 
knows what else. Like Goldstein, he 
burns the candle at both ends, He 
spends most of his timc behind a disas 
terarea desk at the one-man Sunset 
International Agency оп Hollywood 
Boulevard, in a building that looks noi 
rs to be 


ect from а remnant sale within. 

Our short time together was punctu- 
ated by incoming phone calls. Margold 
insisted on answering them all—and in 
one, he found himself on the linc assu 
ing a whining actress that she did not 
have to continue with al scene: 


[mto phone] No, 1 can't tell 
anyone to do anything that is un- 
comfortable or intolerable to them. 
Well . . . if you could do it hallway, 
that might satisfy them. OK, И you 
can't physically do it, don't. IUS as 
simple as that. Hey, put onc of the 
guys on the phone. 

Hi. Sory. | probably should 
have sent Rachel down. She is cav- 
ernous. You could fall into her. OK, 
so pay Susie 525 and send her home 
and give 575 to Rachel. Wha 
Yeah. Rachel's a nice-looking p 
son. Not too much on the tits, but 
youre going alter something clse, 
anyway. Gimme Susie. 

OK. Come home. Right. 1 told 
you its an exit sign only. Hey, you 
said you could physically handle it. 
You should have said something 
carlier. 


As he hung up, Margold turned his 
attention back to me. “You know you're 
not supposed to stick things up your 
ass" he said, as though this particular 
problem were discussed by businessmen 
everywhere. “Sphincter valves are not 
supposed to inhale.” 

Tako knew that porn wasn't supposed 
to be shot ін L-A. Margold said it wa 
a still photo session, not a movie. Then 


he regaled me wi 


h nonstop pornstar 
gosip peppered with brutal personal 
evaluations likely prepared by a secret 
amples: “ГА sooner 
1 would get 


red 
аз so bad I enjoyed my 
ys more." Or, “Actor John 
rming he could probably 
convince the Venus de Milo to give him 
а hand job." He was usually right оп 
target. 

Margold admits to being less than 
highly regarded among his peers. Per 
haps it was his sarcastic revelation to 
Rona Barreu оп Tomorr ач to 
Coast that he would even consider fuck- 
ng his own daughter, should she appear 
2 film with him. Or perhaps its h 
onodastic view of the industry's new 
directions: "Porn has to stay dirty. Once 
people find out sex isn't unclean, we'll 
e." Yet Margold loves porn 
fiercely and has a very r i 
life at the entry levels of the sexual sub- 
culture. His single caveat for anyone 
interested. in getting into his corner of 
the showbiz world: No illusions. 

“L go through maybe a hundred gir 
a month who come in here," he say 


never si 


listic w of 


“Some—a very few—will make super- 
star. The rest c from s 


months to ey come in lor 
glamor, glory and quick cash. They get 
disillusioned. A lot expect to transcend 


ке 


the genre and m to the legit 
world. But it’s large! Isc hope. We're 
King about a double standard her 
Men. maybe. Theyre just in it for the 
sex. Women, labeled forever whore: 
Any other outlook is hopelessly deluded. 
Living on cloud ten. Some might nibble 
at the periphery. Some have crossed over 
and remained anonymous. But, the 
n Oscar, but they'll 


end, they may use 
neve 


win it.” 
ngold gives a similarly суп 
er to all who enter his gates. “The 
first thing I say is ‘You know what 
youre about to do is going to haunt you 
for the rest of your lile. You damn well 
better understand that ten years from 
now, when you have nice children and 
they come home with a mag 
you lying there with a candle shoved 
your you will nor be able to tell 
them you were playing the part of a 
birthday cake. This will haunt you. This 
s the end of the world. But if youre 
willing to accept this end of the world 
1 live in your own little garden and 
flower here, you can enjoy yoursell. 
Yet he insists most of his potential 
starlets don’t listen. “They don't 


dis- 


ass, 


believe it’s going to haunt them or that 
they can't transcend. 1 guess it's because 


some of the women, like Jennifer Welles 
nd Nancy Suiter, eventually ran off and 
married rich men. Rich men think that 
by marrying a porn star they're going to 
marry themselves a furnace into which 
theyll continually be able to stick their 
logs. The problem is that many of th 
stars have about as much sexua 
ppeal as a doughnut. is why I 
think the women—more than the men— 
are into it for the glory, the grandeur 
nd the pot of gold at the end of the 
ainbow.' 
How can 
these won 


Margold justify putting 
n to work when they don't 
heed his w When they com 
here, 1 make them admit to me they're 
in it for ego first and money second. If 
1 сап get that out of them, ГЇЇ give them 
а chance to find out for themselves,” 
Adult-film actresses are mostly well 
ated and well patd—S600-S800 a dar 
nd up to $1200 (or more) per diem for 


ings * 


п 


stars like Seka, Samantha Fox, Marilyn 
Chambers and the ever-lovely Annette 
Haven. Newcomers are occasionally 


hazed like sorority pledges, but vet 
actresses do their best to guide nco- 
phytes over the rough spots. As in any 
business, the strong survive, 

“Seka is one of the few women in this 
business to have no delusions of gr: 
says Margold, with wide-eyed 1 
spect. “She believes that the world exists 
where the door is marked X. And she 


will make it in X and live here as hap- 
pily as she can. 

But while Seka is often. whispered 
about as the next queen of porn, the 

cknowledged current queen is San F 
cisco-based Haven. The blue-eyed, 
ven-tressed star 
to all others) arguably the best-looking 
woman to bare her 
in an adult movie. She is also the closest 
thing the porn world has to a feminist. 

She refuse ample, to take cum 
shots in the fa ver get cum in your 

ks angrily. “Well, it stings.” 
Laugh if you will, but change comes 
from within: style catches on. 
the product can't help but be different 
just in time for X home video. 
Haven won't do anal scenes 
nd other actresses have started to follow 
her lead. Not only that but lately she's 
begun i g that she, too, have or- 
gasms on the set. “I like to finish what I 
start,” she says. IE her costar can't com- 
ply, Haven has no qualms, according to 
one actress friend, about “finding some 
desirable stud on the crew and giving 
him a big surprise." 

But of all the starlets and sex queens 
I met, none was as consistently fascinat: 
s or more representative of the new 
adultfilm actress than the one 1 call 
The Suaight-A Kid 

At first glance, 24-year-old Veronica 
Hart looks like a young, well-endowed 
Audrey Hepburn. She has the silver- 
dollar eyes, the warmly compelling smile, 
the understated sensuality. Sometimes 
she’s a bit of Ingrid Bergman, and one 
gets the eerie impression that she could 
be any of a number of mysterious. in- 
triguing women. T first in a 
screening of A Scent of Heather. Hart 
plays the lead. It was one of 11 X-rated 
movies she'd made in the previous nine 
months, It was also nine А.м. and I was 
the guest of a widc-awake Al Goldstein, 
But neither Hart's grueling schedule nor 
the early hour could obscure her i 
talent or sexual desirability. На 
counting on both to make her one of 
adult filmdom’s brightest star 

She told me she graduated fro: 
school at the age of 16, comp a 
straight-A record. At 19, she got through 
college with a В.А, in theater arts and a 
teaching certification, After school, Hart 
ys she took her smarts on the road—to 
rope. Australia and eventually Eng- 
land, where, for more than two years, 
she danced, managed rock bands and 
modeled fashions for conventioncers. In 
1979, she landed in New York with plans 
10 begin an independent record label. 
But her investors reneged, 

Her plans in shambles, she took a 
series of temporary secretarial jobs to 
get by. 
find legitimate modeling or acting jobs, 
but a duplicitous casting director she'd 
briefly lived with soured her ambitions. 

“I knew a lot of times I'd have to give 


either, 


n 


he'd thought once of tying to 


a lot of people head, or fuck a lot,” 
she said one evening in New York as we 
huddled under an awning in a sudden 
heavy downpour. "Maybe I'd end up on 
top as а маг, but more likely nowhere. 
You really have to want to be an actress 
bad. 105 gotta be your whole life. It 

m't that important to me. I have 
other plans—in music. Besides, T didn't 
want to have to put out anymore.” 

She fell into adult films by accident. 
A man from whom she rented loft space 
discovered that she'd been a model and 
an actress. “He'd done porn movies and 
he told me I was an idiot to keep slug- 

ng my guts out as a secretary for 5100 
irly good 
Id never really 


a week when I could make a fa 


living doing porn 
thought about it, Then I did. Money. 
“But nobody made me do it. Nobody 
made ше become a porn person. No one 
twisted my arms, no one filled me with 
drugs, no one beat me. Besides legit 
theater and rock, porn was the most lun 
thing Га ever done. Tt was a way of 
accumulating wealth by doing some 
things that I liked: acting and sex. And, 
hey. if you're not terribly keen on the 
guy you're having sex with, that's where 
the acting comes in, right?" 
For once, it seemed to H 
could do things at her own pa 
competition in adult films wasn't as 
fierce as in the legit world. “Jd al- 
ways been pressed to the edge and over- 
achieved,” she said. "Now my goal is 
just to do what makes me happy.” Part 


t that she 
е. The 


of which includes being able to thumb 
her nose at what she considers а hypo- 
critical society and, in so doing, no 
longer lead "а double life.” 

Unlike most other porn people on 
both the creative and the business sides. 
nts what she docs for 
I could just imagine one of 
their friends going to а movie and say- 
ing, "You know what 1 saw your daughter 
doing? I care for my parents. They're 
proud of me. My dad's first reaction 
was, 'You not serious" But I think 
they understand now. They've read my 
stage reviews. They know I'm good, that 
Im no dumb broad. I suppose if I'd 
never done anything else in life, I'd be 
ashamed of what I do now. But I [ecl 
no shame or guilt at all. 

We had reached her building—and 
just in time. The rain again slapped the 
pavement like buckshot. Hart pushed 
open the hallway door and invited me 
up. Her loft is large and in the process of 
defining itself. After she put water on 
to boil, she gave me a quick tour. She 
pointed at walls and corners and de- 
scribed what the place would look like 
once she'd decorated. She knelt down to 
pet one of four cats prowling amid the 
clutter. Then, as we relaxed on a couch 
covered with large patterned blankets, 
she spoke about the world of adult films 
with what I'd come to recognize as сі 
acteristic candor, 
rLAYBOY: How do you [eel about some 
of the feminist groups that say these 


“Look al it this way: If I 


weren't a very good lawyer 
in a clown costume?" 


could I practice 


219 


PLAYBOY 


220 


films are hostile to women—that your 
being in them is hostility toward you 
that you might not even be aware of? 

нант: Oh—somebody making me come 
or giving me pleasure and biting me all 
over my body is a hostile act? Beat me, 
you know? I wouldn't have anything to 
do with a film I thought was in bad 
taste, like where a girl's getting raped 
and the guys are getting off. I don't like 
to see women victimized or held agai 
their will. A lot of men think a woman 


secretly wants to be raped. That's a 1 
thing. 

PLAYBOY: What about S/M in porn 
mo 


nart: Т have no qualms about it, though 
it’s definitely not my thing. What I don't 
like is violence sex movies, I haven't 
scen Caligula just because | heard it's 
so violent and bloody. Almost as bad 
as television. Hs excellent that so much 
money's been put into a porn film—it 
makes it more legit. But all that blood 
and violence? There's no violence in the 
stuff. I've done. Maybe some $/M with 
dominavixes and all that. It’s like the 
old joke about the difference between 
a R- and an Xrated film: In the R 
the guy kills the chick and cuts off her 
X. she gives him head. What's 
icty right ther 
vLaywoy: What kind of people а 
the adult industr 
ART: There are your sleazy ones. But 
the better the films become, these people 
1 just have to slide out the back door. 
coy: How much do you expect to 
n this year? 
Га rather not say. 
Thirty thousand dollars? 


have real orgasms 


magr: Yeah—depending on who I'm 
working with. If you can make the scene 
hot and real, then why nor? If it’s nice 


you find you need 
most now in your life: 
HART: Hugs and kisses and cuddles and 
someone to put rms around me and 
say. "Hey, kid, it's OK. How was your 
day? How are you feeling?” I need t 
motional support. Doing these movies 
alter site 
. waiting fe 
one scene, you come home wiped out. 
understandin 
boyfriend who does just what I need. 1 
love him a lot. 

PLAYBOY: Wh 
career? 
HART: It took him a little while to get 
used to, but now | think it excites him. 
т.лүноүу: How long do you think your 
idult-film career will Last? 

Акт: 1 think ЇЇ have worked a year 
before of my movies are out —ther 
such a backlog of films that you som 
times have to wait eight months for a 


is imense. Sometimes, 


round on the s 


tunately, 1 have 


t docs he think of your 


theater date. Then ГЇЇ work another 
year belore anyone really knows me. 
‘Then a year or two of lots of fans; then 
a year of “Oh, no, not her again.” 
PLAYBOY: What happens when the movie 
work slows down? 
илит: I I get passé w 
I can always go out stripping for a whilc. 
Once I have а name, I'll make good 
money on the porn circuit and 1 won't 
be expected to turn tricks and all that 
other stult regular strippers do. 1 also 
plan to produce my own movies. 1 mean. 
why not make a couple hundred grand 
пысай of just $5000 for a few days 
work? A producer needs to know how to 
organize. I can do that. I know enough 
people now and being a woman won't 
hold me back. 
PLAYBOY: Will established producers re- 
sent you? Ones you have worked fo: 
HART: I wouldn't be cutting them out, 
really. They also distribute films. Г4 do 


һ the producers, 


business with the 
LAYBOY: Would your films reflect a 
woman's point of view? 


arr: Td like them to. but, he: 
business. There are certain things you 
can't get away Irom. Its a fuck film. 
Anyway, I'm going to have to wait and 
see on all that. There's too much on the 
market already. 


. 
The new audience composition isn't 
the only reason the industry is changing. 
factor is economics. According 
man of the 
Adult Film ation of America 
(A.F.A.A), а competently made adult 
movie would once return about 200 per 
cent on the ini investment—withi; 
18 months. Low budgets and extralong 
g life were the main reasons. 
Deep Throat is n, but 
akes the point. Nine years ago, it wa 
shot in six days for 522,000. It has now 
run nearly 363 consecutive weeks in Los 
Angeles. Depending on your source, that 
film has grossed between $50,000,000 and 
5100,000.000. Todays average film can 
require nearly a $150,000 outlay, which 
п the best of examples, includes three 
weeks’ preproduction, a week's rehearsal, 
10 to 14 days before the cameras and 
months of postproduction. Duplicate 
prints and the ad budget are extra 
Some producers predict that newer ef 
forts will reach close to $250,000, Ma 
lyn Chambers’ latest box-office bon 
Insatiable, is rumored to have cost up- 
wards of a half million dollars. Just the 
advertising campaign for producer Har- 
old Lime's 1980 hit, Co-Ed Fever, тап 
almost 570,000. 
“There will neve 
Throat,” says Robert. Sumne 
lovely item. A media event.’ 
Another New York-based moviemaker 
is even more succinct: “The goose that 
laid the golden egg died long ago. We've 
got to work hard now. 
Not that there is no 


г be another Deep 
Ie 


money to be 


made. Some films, including The Open- 
ing of Misty Beethoven, The Devil in 
Miss Jones, Debbie Does Dallas, Behind 
the Green Door, Insatiable, Inside Seka, 
Talk Dirty to Ме, The Ecstasy Girls and 
umners Take Off, have grossed more 
than a few million dollars at the box 
office. 

But it’s tough. Beyond skyrocketing 
costs, there's the problem of limited play 
dates, As the porno-chic patina wore off, 
the number ol theaters willing to run an 
exclusive bill of ated material dwin- 
dled from a high of 2000 to today's 
approximately 800. But film making 
didn't slow down, creating what one 
exhi 


exhil 
erful edge i ing what kind of 
movies will be ide these days. Until 
recently, producers and directors cor 
plained that the money men weren't 
willing to take any chance of losing the 
hard-core crowd that has 
supported the industry all along. ТІ 
i the liberties one could 
take with the old porn-film formula of 
minute sex scenes, 

shots and. dispensable plot 
tion values. Exhibitors wanted films 0 
customers could walk in on at any time 
nd not have to wait more than a few 
minutes lor a sex scenc. 

Bat those attitudes are changing now, 
starting at the top. At least that's the 
forcefully expressed opinion of Jim John- 
son. 3l-ycar-old vice-president of Cal- 
ifornia-based Pussycat The: 
country's largest adult ch; 
fool my customers with bad product. 
s. “They don't want trash. So now Im 
g for movies that һауе better 


necessary 
ad erotic situations geared to an aud 
ence of both men and women." 

Any producer will agree tl 
a Pussycat play date is 
for his film to succeed. Sm; 
‘oss the country regularly take their 
cue from Johnson's decisions, Slots in the 
Pussycat flagship theater on Santa Mon- 
ica Boulevard in West Los Angeles (fond- 
ly know the Big Cat) are scheduled 
almost eight months Ivance—and 
rarely hel because of the c 


ov 


stant backl 
“L don't like saying it too loudly,” says 
Johnson, "but I guess it's true that I 


have some power in creating general 
guidelines lor future films. But, frank 
1 don't 10 do that much. In the last 
six months, Fve seen more and more 
product that is substantially better than 
what's been lable. The reason is 
simple survival." 

Another factor is the law. Many adult- 
film makers feel that the Supreme Court's 
reliance on community standards 
determination of “obscenity” has 
to, rather than cleared up, any confusion 


lded 


IF THERES A MAXELL CASSETTE 
IN THIS CAR AND IT DOESN'T WORK, 
WE'LL REPLACE IT. 


If you own а car stereo, you've probably already discovered that many 
cassette tapes don't last as long in your car as they do in your living room. 

Conditions like heat, cold, humidity and even potholes can contribute to a 
cassettes premature demise. 

At Maxell, our cassette shells are built to standards that are as much as 
6075 higher than the industry calls for Which is why no one in the industry 
can offer you a better guarantee. 

Soif youd like better mileage out of your cassette 
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PLAYBOY 


222 


in the law. At a recent A.F.A.A. conven- 
tion in Los Angeles, the country's adult- 
film community listened carelully while 
a panel of lawyers described progress in 
existing obscenity ca lvised the 
film makers on their legal strengths and 
weaknesses. They suggested the produc 
ers "help themselves" by eliminating any 
vestiges of questionable sexual or vio- 
lent practices [roi 
iconoclast. Margold might not agree, i 
he docs that porn’s “cleaned-up 
act” will only lead to a take-over by a 
beterequipped and -financed Holly- 
wood. 

But Магдо is a 
most of the 


their product. Porn 


ninority opinion, 
dult-film community, 
ially and sexually re- 
sponsible translates into self-respect 
future success, if not mere survival, 


content that is soc 


But what do they me: 
and sexually responsible"? Director Spi- 
nelli, whose progressive adult hit Talk 
Dirty 10 Me was co-winner of the 1981 
Erotica Award for best picture, says he 
would like to “reduce the sex scenes to 
mostly teasing and. build-up—that's the 
turn-on—and cut the actual hard-core 
to no more than 60 to 90 seconds. Tops. 
Fm also getting rid of the cum shots— 
hot completely, some make sense, but 
wherever possible. Mostly, they're ridic 
ulous. 

We we 


© talking over an old-fashioned 
breakfast at his San Fernando Valley 
home. The morning's conversation had 
revolved around Spinellis de 
change—in the context of his feclings 
not as a pornographer but as an artist 
1 love with film first and with sex scc- 


for 


© 


A BEGINNER’S GUIDE ТО 
ADULT VIDEO CASSETTES 
if yow're considering your own home library, 
here are the best sellers—andlor the best 


Sales of adult cassettes still account 
for between 30 and 50 percent of the 


overall videocassette market, de 
pending on your source. Listed below 
in alphabetical order are the 


time top sellers, а 
bel” under which theyre distributed. 
There's really no way to confirm 
manufacturers’ typically inl 
ures, but it's a safe bet that Әсер 
Throat is the best-selling adult cas- 
sette of all. The popularity of these 
films depends largely on being fa 
miliar names to consumers still nn- 
niliar with the extent of whats 
ilable. Some are better than oth: 
but all offer a good histori 
view of the best of porn. 

Behind the Green Door (Mitchell 
Bros.) 

Debbie Does Dallas (VEX) 

Deep Throat (Arrow ҮСХ) 

The Devil in Miss Jones (Arrow/ 
VEX) 

The Ecstasy Girls (Blue Video) 

The Erotic Adventures of Candy 
(Wonderful World of Video) 

Fantasy (VCX) 

Insatiable (King of Video) 

Inside Jennifer Welles (Video-X- 
) 

Inside Seka (Vi 

The Openi 
(Quality Х) 

Sex World (Select Essex / VEX) 

Talk Dirty to Me (Caballero Con- 
wol Corp.) 


long with the 


со-Х-Рїх) 
of Misty Beethoven 


E 

‘The following titles—in no partic- 
ular order—might. be relerred 10 as 
“transition films": Theyre prime ex- 
amples of the new wave in adult 


rently 
deo casette: others 
will soon be released. But all rellect 
some measure of an emery 


moviemaking. Some 
ailable 


ае cu 


on 


artistic and erotic consciousness. The 
plots, acting. production values and 
sexual information are better than 
ever before 

Amanda by Night (Love story of a 
homicide cop and a high-class hooker 
Veronica Hart and R. Bolla are the 
Hepburn and Tracy of adult films.) 


The Dancers (Male strippers come 
to town, Often very funny. Definitely 
film for wom 


Nightdreams (First 
adult film. Dorothy LeMay gives а 
great performance, Fellini meets 


Eraserhead.) 

A Girl's Best Friend (High-society 
jewel thieves pursue their objects of 
desire. Very good production values.) 
Roommates (It's tough being young 
id female in New York. Solid script 
and solid. perto 


ox, Kelly Nichols 
Hart.) 
Blonde Ambition (C: 


story of two blondes’ rise to. Broad- 
way fame through a series of al 
coincidences.) 

Nothing to Hide (Director 
thony Spinelli's vision of the rew 
of love is well 
hot, av 


An- 


id marriage 
ў able 
emotionally w 1 

Outlaw Ladies (Ladies have fan 
sies, too—some even ger to live them 
ош. Done vignette style. Merle Mi- 
chaels excels as the adult-genre Judy 
Holliday.) —DAVID RENSIN 


sex. 


ond. Fi 
hero. 

The cum shot is a particular bone of 
contention in porn ranks. И was о 
nally included to show a predomi 
male audience that the men onscreen 
were truly achieving sexual satisfaction. 
complained. Pacheco. also 
at Spinelli’s breakfast, "it makes no 
sense. Sex in movies isn't real. You don't 
pull out and squirt sideways. Most wom- 
en dont have orgasms when cum is 
squirted in their faces. Cum shots just 
reinforce illusions of masculinity.” 

“I used to put them in because every- 
one else did," said another break! 
guest, Sidney Nickerk He is head 
Cal Vista International, producer and 
distributor of films and video tapes. He's 
also the newly elected president of the 
Adult Film Association of America aud 
producer of Nothing to Hide. Niekerk 
speaks intently and with a trace of Dutch 
acce “A lot ol exhibitors,” he said, 
“used to take your films only after asking, 
"How many wet shots? Who gives a 
damn? Fd say. They'd say, "It must have 
t least eight or ten.’ So Га tell them 
eight when it might be only five or six. 
I don't count. I'm not interested in that. 

“I think the audience is mature enough 
now not to need it. And I want more 
of a ladies’ crowd. What good is it to 
sce a guy who jerks off and squirts it 
in a lady's eye and then puts his thumb 
in her eye to rub it out? It's ugly. Nobody 
would do that to his wile. I sure as hell 
wouldn't." 

Ever the optimist, Pacheco thinks he 
may know а way for porn to be successful 
in the modern world. "It's a four-part 
plan: First, lessen. repression on sex in 
media. Repression creates hostility, cre- 
es bad information. Second, get women 
interested in sexually explicit movies— 
tough so that they go to sce them, 
enough so that they enjoy them. Let 
them write scripts and direct.” (Today's 
rop of female directors—C imer, 
Svetlana, Suze Randall—make men's 
porn more glossy, but they're r 
trying.) 

“Third, bring in more real 
make the films. Artists, by definition, are 
free to crea ke 
from anyone inge the 
onment, There is nothing wors 
porn movie in a theater 
next to strangers, you can't be 
sexual, you get I nd can't do any- 
thing about it. I get a hard-on in about 
five minutes and there's. no гене. My 
seuil energy turns to nervousness. I eat 
more popcorn. I gi 

But Pacheco isn't rushing to a doctor. 
“There's a revolution coming. Ready or 
not—like it or not." 

° 

“The first video-dise system to press 
adult movies will be the one that even- 
tually succeeds,” said Harold Lime. Wı 


pra, he'd said, was his 


"But now 


te new thi 


et a stomach-ache." 


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PLAYBOY 


224 


were standing in a boundless crowd at 
the heart of. America's electronic tomor- 
ry’s consumer-electronics 
show in Las Vegas, Displays from all the 
јог electronics-mimufactur- 
ing companies spilled over from the Las 

топ Ce ljacent 
gas Hilton and the Jockey Club. 
On hand were word processors, video 
games, car stereo systems, teaching aids, 
quartz watches, biorhythm computers, 
tiny hand printers, sys 
tems, the finest in h speakers, 
television sets and .. . porn. 

The adult industry had its own section 
in the Convention Center's south wing. 
The oversized X in the VCX sign loomed 
overhead іп the archway entrance, Sta- 


nter to the 


tioning myself near the X, it was casy to 
r comments from the passers-by. 


1 onc 
Atari 


where the action is," 
clark suits, we, 


of two me 
tags 

“Yeah, but we've only got a hall hour 
for lunch,” said the other. 

“Better than nothing,” said the first. 

Or imagine what a group of five jab- 
hering Japanese men were really saying 
as they left the adult arca, laughing and 
dutching glossy tape catalogs and posters 
autographed by the porn actresses work- 
ing the adult booths. 

Inside, the south-wing Y 


эт wis so 


Woman produces 
have, to worry 

exploited and 
hody te get a parc 


packed that it was hard to scratch your 
head without bumpi n elbow into one 
of the curious. Plus, the wing wasn't a 
walk-through area: there were no exits to 
other sections. 


Most of the mixture of 


men and women casually inspecting the 
displays worked їп othe 18 of the 
Convention Center, It was obvious that 
the straights had come to play. 

Marilyn Chambers drew the longest 
autograph lines at the booth of King of 
Video—it distributes her film Insatiable. 
"The wait was often longer than an hour; 
sales of Insatiable video cassettes were 
topping 25,000 nationwide. 

Lime was still wandering through the 
crowd with his partner in tow, stopping 
now and then at the booth of his dis- 
wibutor, Blue Video. Ted Melvenn: 
also there. His “Creative Sex Series" 
(educational films of nonpros' regula 
patterns) is being offered by Wonderful 
World of Video. The company also dis- 
tributes director Palmer's films, and she 
was at its booth signing autographs and 
chatting up the wholesalers, retailers 
d just plain fans. 

The larger companies, such as Swedish 
Erotica, VCX, TVX and Nickerk’s Cal 
Vista, were running preview tapes of 
their adult wares in Іше video theaters 
within cach display unit. Even though 
all hard-core had been excised, the seats 


was 


sex 


pn ee 


5 so gat to таб a 
І dont 
ара being, 
usin iss) 


$e at my hov 
a тїй 


were never empty. Some companies even 
offered cassettes dubbed in Spanish, Ger- 
man and other foreign languages. 

As I stood near the Swedish Erotica 
booth watching the crowd, that com 
pany's president, Noel Bloom, tapped me 
on Ше shoulder and. pointed to an FBI 
agent. “It’s a new guy id he said 
I guess we got to know the older ones 
too well.” Actually, Bloom had lille time 
to worry about standard Government 
surveillance. He was too busy taking 
orders for films and video cassettes from 
а nonstop procession of buyers. 

Later, I made the rounds of hospi 
tes, where adult-film actresses in expen- 


One hotel 
sent stroll Another 
sent flowers, champagne and ап opcra 
singing waiter. 

It seemed that the tremendous response 
to adult films at the show—and there 
жете as many attendees already conver 
sant with the subject as those just curious— 
meant that sexually explicit material in 
the home had already had а noticeable 
positive effect. Standing there, watcl 
America meet porn, the myth meet the 
reality, I wondered if it would all come 
crashing down in a moral backlash chore- 
ographed by Jerry Falwell, There will 
undoubtedly be fights, but my concern 
quickly faded. It wasn't happening there. 

Instead, it appeared that the optimists 
were correct; that sexually explicit ma- 
terial has, indeed, caught on: that today's 
pornography industry has learned from 
the mistakes of its turbulent past; that 
the adult industry has, in effect, used the 
American economic system and the coun- 
try's own highly assimilative social proc- 
esses to achieve a pornographer's version 
of the American dream. Which is just 


even 


ng 


ike everyone else's: home, family. se- 
curity, success, health and happiness 
There are other, less obvious side 


effects of the adult-film revolu 
that could casily get lost i 
gures shuffle. The actors and actresses 
who once made these films for extra cash 
in their spare time “because no one who 
ally matters will ever scc this, anyway" 
will soon have 10 get used to seeing their 
names in TV Guide and their lovemak: 


эп, ones 
the factsand- 


techniques on the tclevision screens of 
America. Probably, they will 


long last 
get to fully integrate their personal and 
public lives and feel good about 
and Dad will finally have found out 
it will be OK. 

“At least the old days are gone ог 
going,” said Niekerk as we watched the 
crowds lining up to meet the leaders of 
the new adultfilm industry and to sce 
their wares. “You know, the ones where 
when the movie was over, the naked girl 
in high heels walked out the door 
written on her ass was ‘The End." 


and 


You might say the new 
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Because no other 35mm 

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The automatic XG-M 
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has electronic features to prevent mistakes. And advanced features 
like manual metering for advanced photographers 
To make things tougher on the competition, we gave the XC-M 


something you only find on 
more expensive cameras. 
The option of professional 
motor drive, to let you take 
pictures at an astonishing 
3.5 frames per second. 

So you can capture fast action. Like a diver's 

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е triumph at the finish line. 
And when you hold this camera you'll know it's 


extraordinary, inside and out. Its built-in textured grip was sculptured 
to fit your hand more comfortably 
And its advanced design represents an exciting new achievement 
in making fine cameras. Something we've been doing 
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The XG-M accepts over 45 interchange- 
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As well as the Minolta system 
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The nev Minolta XG-M 
2 There's simply nothing else 
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WAIT'TILYOU SEE 
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For more information write Minolta Corporation 
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Product appearance and/or specifications are subject to change without notice 
©1081 Minolta Corporation 


225 


PLAYBOY 


226 


WHEN WE WERE 
BREAKING 
NEW GROUND IN 
CASSETTE SOUND, 


With the introduction of Metafine®, the 
world's first metal tape, Scotch? Cassettes 
brought cassette recording to the ultimate of 
true, pure sound. 

But then, that's what you get with EY 
Scotch Cassette: true, 
pure sound. 

So if, for any 
reason, you're not 
perfectly satisfied with 
a Scotch Cassette, just 
send it back to us. We'll 
replace it frec. And that's a lifetime warranty. 


SCOTCH' CASSETTES. THE TRUTH COMES OUT. 


PLAYHOYS AUDIO UPDATE 
(continued from page 181) 


The true radial or linear tracking arm 
(the kind that does not pivot but moves 
across the record in a straight line) has 
never enjoyed much populari 
keeps showing up on some 
One is the Pioncer PL-L800 ($150), with 
operating controls conveniently moun: 
ed on а sloping panel up front. Al 
has two such models, the AP-L15 (5100) 
and the AP-L95 (5575). The later unit 
includes a microprocessor that enables 
you to select diflerent cuts for any play- 
ing sequence. The new Benjamin 4100 
has linear tracking plus front loading, 
which mi you don't have to lift the 
dust cover when putting on or 
off a record. A really novel use of | 
tracking is found in the Sharp VZ-3 
which is a complete sterco system ($750) 
whose turntable can play both si 
a record without turning it o 
trick is accomplished by using two tone- 
arms, with the record inserted vertically. 
And there's the Technics $ 5 that's 
not exactly brand-new but still ап eye 
(and car) catcher with its ability to play 
up to ten cuts per side, іп апу order, 
and even when installed upside down— 
if that turns you оп 

Upfront controls for turntables with 
more conventional arms arc found on 
other new units, such as the Ma 
Gold е (5130 to 5310), the итам 
Aiwa AP-Do0 (5215), and the A 
AP-Q80 (S175), which can be used with 
a wireless remote control for cueing up 
from across the room. JVC has devel- 
oped an "electronic" tonearm that ad- 
justs stylus weight and antiskating with 
a builtin microprocessor. Instead of 
fiddling with weights, you merely set 
dials that adjust internal circuitry 
‚ there is little that 
is new. Existing models are ve 
and most cartridge manufactur 
the impending 
tide of digi t will require а 
complete retooling. Even then, of cours 
there still will be a need for today’s 
cartridges, since it is hardly likely that 
everyone will consign presently owned 
analog discs to the junk heap. In today's 
cartridges, the emphasis remains on low 
mass and more critically shaped stylus 
tips. Both ADC (well known in the 
d Goldring (better known in 
the U.K.) are featuring a superelliptical 
stylus tip in their top models. The new 


ut as close as yon can come 


ECTRONICS 


y buyers are still in а quandary 
т whether to buy a receiver or a 
е amplifi This is 
not а choice of perlormance but more 
a matter of personal inclination, prod- 
lation space 


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popping in a tape TF by locking in your | is entirely up to you 

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PLAYBOY 


and anticipated needs. The most promi 
nent aspect of the latest amplifiers is 
their styling, some of which has taken 
on a functional yet attractive turn. For 
example, Pioneer's A series ($225 to 
$800) has front panels that combine 
operating controls with visual displays 
of signal paths to the speakers, plus in 
dicators that show whether or not tone 
controls are involved in the action. Е 
those whose taste veers to the esoteric, 
the new Denon POA-8000 power amp 
provides 200 watts (mono) with distor- 
tion of 0.003 percent and a signal-to- 
noise ratio of 122 dB. 
the supposed difference attributed to this 


If you can hear 


Booth's London 
Dry Gin has 
caught the spirit of the 
moment ~ and the 
spirit of quality — since 1740. 
Get to know the crisp, dry taste 
of Booth's 90 Proof. 


kind of amplifier and can afford its 
$2600 price tag. live it up. And if you 
really want to wallow in watts, there's 
the 01 series by SAE, which includes 
а 500-watts- per-channel A-1001 amplifier 
(51900). 

Thanks to the proliferation and re- 
liability of circuit chips, todays FM 
sets—including the FM sections of re- 
pull in more stations, and do 
so more clearly than in the past. 
also are improved versions of the fre- 
quency-synthesized tuner that locks into 
a station by digital circuitry. Two no- 
table entries are the Pioneer F-9 at $ 
and the Luxman T-115 at $500. 


ceivers 
There 


Another promising development in 
ЕМ is new circuits for exu 
Is from their noisy broadcast back- 
grounds. One such circuit, known as the 
Schotz, has been licensed to NAD for 
the manufacture of tuners and receivers 
and to a new firm, Proton, for personal 
portables. 

From Carver comes word of another 
circuit that has a similar action, plus a 
feature that reduces noise on stereo FM 
by countering the effects of multipath 
interference. It will appear in а deluxe 
tuner 


acting weak 


sign 


ate this усак. Garver, it may be 


remembered, is the company that made a 
stir a short time ago with its magnetic- 
field amplifier—a petite prodigy that 


furnishes 200 watts per channel and 
weighs less than ten pounds. 
Format and cosmetic changes are 


rampant. among receivers. One trend is 
toward slimming them down: its counter- 
trend has them bulging with more fea 
tures and controls than ever. One thing 
that most receivers do have in common 
y once re 
separate amps. The power 
race among competing brands has heen 
cooled and today something in the area 
of 100 watts per channel is considered 


is the power-output capab 
served for 


high power, probably because of the 
problems encountered in the past with 


that, not ro mention the increase in the 
efficiency of to 


"s speakers, which in 


general produce greater sound volumes 
with less driv Even se e of 
the options once av only with 


separates can be found on many of the 
new receivers—such as tapedeck dub- 
bing. facilities for patching in sound 
processors and output-power metering. 
Electronics today means more than 
mplifier and tuner. There are image 
restorers for improving the aural focus 
of the stereo program, noise-reducing 
devices, switch boxes for adding speakers 
to an existing system, equalizers for рге. 
cisely tailoring response to suit room 
acoustics, and analyzers to determine 
kind of tailoring 
сап, of course, enjoy music without 
of these extras, though the multiband 
equalizer is probably the most relevant 
for most home stereo systems. Of these. 
one of the most remarkable is the DE 
20/20 ($1500), which analyzes, by com 
puter, the response of a room and then 
itomatically adjusts the music to it. It 
also can store up to ten such adjustments 


what is needed. You 


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PLAYBOY 


232 


HEAT (continued from page 188) 


“He was watching the news when she came in. As al- 
ways, he caught his breath at the beauty of her.” 


M 
little Puerto 


iem and walked past half а dozen 
an girls skipping rope, 
and then stopped several yards from the 
clapboard-and-brick house he'd once 
lived in with Josic and the kids before 
he'd had to Kill her, the same hous 
his daughter Moira was living here in 
the same house he'd shared with Josie 
for seven years. 

She was standing just ide the 
picket fence, a tall, slender blonde wear- 

ng sandals, white slacks and а tomato- 
red tube top. Even from this distance, he 
could sce the startlingly blue eyes, and 
for a moment he thought he was looking 
at Josie, thought he was looking at his 
dead wile, and told himself that this 
beautiful woman was his daughter, 
hi 

“Moira?” he said. 

She must have recognized him, she 
remembered him, Jesus, she remembered 
him! She kept staring at him over the 
low picket fence, and then she said, 
“What do you want here? 
I came to see you." 

“OK, you've seen me.” 

Moira, E just want to say hello, u 
all" 

“Then say 

“I nevi 
plaintively, and spread 1 


And leave.” 
r did anything to you, 


supplication, the fingers on both hands 
widespread 

“You didn’t, huh? You killed my 
mother, you sou of a bitch! Get out of 
here!” she said, screaming now. t 
oul of here, leave me alone, get out, 
get oul!” 

He looked at her a moment longer, 
and then lowered his arms and walked 
silently past her. Th es met for only 
an instant before he turned away from 
the hatred in them and began wal 
swiftly toward the aveni 

. 

The note, tacked with а magnet to the 

refrigerator door, read: 


ё 


ted for you till six o'clock 
had to leave for the party 
at Bianca's. We will probably be 
going on to dinner later, so I'll see 
you around ten. Fix yourself some- 
thing Lom the fridge. 


She did not get home Imost 11. 

He was watching the news on tele 
sion when she came into the apartment. 
She was wearing a pale-green, silk-chil- 
Ton jump suit, the flimsy top slashed low 
over her naked breasts, the color com- 


“And see what the lady will have.” 


plementing the flaming autumn of her 
hair, swept to one side of her face to 
pose one car dotted with an emerald 
earring that accentuated the jungle 
green of her eyes, a darker echo of her 
costume. As always, he caught his breath 
at the sheer beauty of her. 

“Hi, sweetie,” she said from the front 
door, and took her key from the lock, 
ind then came to where he was sitting 
front of the television set, a can of 
beer in his hand. She kissed him 
flectingly on top of his head and then 
don't go away.” 
Kling sipped at his beer, He had eaten 
a TV dinner consisting of veal parmi- 
giana with apple slices, peas in seasoned 
sauce and a lemon тийп. He had also 
consumed three this was 
his fourth, The wed meal had been 
lowy. He was a big man and he was 
hungry again. He heard her fl ng the 
toilet, and then heard the closet door 
in their bedroom sliding open. He 
waited. 

When she came back into the living 

room, she was wearing a wrap-around 
blacknylon robe belted at the wa 
Her hair fell loose around her face. She 
was barefooted. The television newscast- 
er droned on. 
Why don't you turn it off?" she said, 
and without waiting for his reply, went 
to the set and snapped the switch. The 
room went silent. “Another scorcher to- 
day, huh?” she said. “How'd it go for 
you?” 

“бо-во.” 

“What time did you get home?" 

“Little after six 

"Did you forget 
a's?’ 

“We're working a complicated one.’ 

“When aren't you working a compli- 
cated one?” Augusta asked, and smiled. 

He watched as she sat on the carpet 
in front of the blank telev п screen, 
her legs extended, the flaps of the nylon 
robe thrown back, and began doing her 
nightly exercises 

"How was the party?” he asked. 

"Fine. 

"She still living with that photo; 
pher, what's his name?” 
Hastings. He's onl 


ns of beer: 


Ше party at 


the most 


fashion photographer in 
have trouble keeping them 
ight,” Kling said. 


Andys the one with the black hair 
nd blue eyes.” 


h the earring in his left 
. Was he there? 


“Everybody was there. Except my 
husband.” 
“Well, I do have to earn a livin 


“You didn't have to earn a living after 
four P.M. today 


“Man dies of an overdose of Secor 


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you са 
a week 

“First twenty-four hours are the most 
important, right?" Augusta said, and 
rolled her cyes. 

"They 

“So I've been told." 

"You mind if I turn this on ag 
he asked. I want to see what the weath.- 
erll bc tomorrow." 

She did not answer. She rolled onto 
her side and began lifting and lowering 
onc leg, steadily. methodically. He put 
the beer сап down, rose from where he 
was sitting in the leather easy chair and 
ped on the television set. The female 
weather forecaster was a brunette with 
the cures. Smiling idiotically, bantering 
with the anchor am, she finally re- 
Jayed the inforn n that there was no 
relief in sight; the temperature tomor 
row would hit a high of somewhere 
between 98 and 99, with the humidity 
hovering at 61 percent 

“So what else is new?" Augusta said 
to the television screen, her leg moving 
up and down, up and down 
arty Trovaro is next, with the 


t just let the case lay there for 


E 


sports,” the anchor man said. "Stay 
tuned." 


1 
t 


Now we get what all the baseb: 


teams did today," Augusta said. 

you turn that olf, Ber 
“I like baseball, he said. “Where'd 

you go after the party?" 

“To a Chinese joint on Boone.” 

“Any good? 


So-50." 
How many of you went?" 
"About a dozen. Eleven, act 
Your chair was empty." 
“Оп Boone, did you зау?” 
"Yes" 
“In Chinatown?" 
“Yes. 
“All the way down there, huh?" 
Б lives in the Quarter, 


janca 
know that” 
Dh, yeah, right.” 

Augusta was doing push-ups now. She 
did 25 of them every night. As the 
sportscaster read off the baseball scores, 
he watched her pushing against the car- 
pet. watched the firm outline of her ass 
under the nylon robe and unconsciously 
counted along with her. She stopped 
when he had counted only 23: he must 
c got up and turned 


you 


have missed a few 
off the ТУ set 
Ah, blessed silence,” Augusta said 

“What time did the party break up?” 
he asked. 

Augusta got to her feet. “Would you 
like some coffee?” she asked 

“Keep me awake,” he said. 

“What time are you going in tomor- 
row? 
t's my day oll." 

“Hallelujah,” she said. “You sure you 
don't want any? 
m sure.” 
“I think ГЇЇ have some,” she said, and 
started for the kitchen. 

“What time did yon 


"he asked 


"What time what?" she said over her 
shoulder. 

“The party.” 

She turned to him. “At Bianca's, do 
you mean?” 

“Yeah.” 
We left about seven thirty." 
And went ю Chinatown, 


across 


" she said. 

“By cab, or what? 

"Some of us weut by cab, yes. I got a 
lift over.” 

"Who with?" 

“The Santessons,” she said, "you don't 
know them," and turned and walked out 
into the kitche 

He knew he would have to discuss it 
with her, knew he had to stop playing 
detective here, asking dumb questions 
about where she'd. been and what time 
she'd got there and who she'd been with, 
had to ask her flavour, discuss the damn 
thing with her, the way he'd promised 
Carella he would. He told himself he'd 
do that the moment she came back into 
the room, ask her whether or not she was 
seeing somebody else. some other man. 
And maybe lose her, he thought. She 
came back into the living roo holding 
a mug in her hand, and sat cross-legged 
on tlie carpet and began sipping at the 
coffec. 

He told himself he would ask her now. 
What time did you leave the res- 
taurant?” he asked. 

“What jet 


= 


"What do you mean?" he said. His 
heart had begun to flutter. 


n what is this? What time 


did I leave Bianca's, what time did I 
leave the restaurant—what the hell is 
this?” 


"Im just curious.” 

“Just curious, huh? Is that some kind 
of occupational hazard? Curiosity? If 
you're so damn interested in what time 
1 got someplace, then why don't you 
come with mc next time, instead of run- 
ning around the city looking for pills?” 

“Pills?” 

“You said Seconal, you 

"It was capsules. 

"I don't give а damn what it was. I 
left Bianca's at seven twenty-two and 
fourteen seconds, OK? I entered a 
black Buick Regal bearing the license 
plate" 

“OK, Augusta.” 

“Double-oh-seven, a license to Rill, 
Bert, owned and opcrated by onc Philip 
Santesson, who is the art director at ^ 

"I said OK." 

"Winston, Loeb and Fields, accompa 
nied by his wile, June Santesson. wl 
upon the suspect vehicle proceeded to 
Chinatown to join the rest of the party 
at a place called Ah Wong's. We or 
dered. 

"Cut it out, Gussie!” 

"No. goddamn it, you cut it out! I 
left that fucking restaurant at ten thirty 
and [ caught а cab on Aqueduct and 
ht heme ta my loving 


id — 


me strai 


PLAYBOY 


236 


husband, who's been putting me through 

a third degree from the minute I walked 

through that door!" she shouted, point- 

ing wildly at the front door. "Now, w 

the hell is it, Bert? If you've got some. 

thing on your mind, let me know what 
it is! Otherwise, just shut up! I'm tired 

g cops and robbers.” 

“So am L” 

“Then what is it?" 

“Nothing,” he said. 

“I fold you about the party, 1 fold you 
we were supposed to——" 

“1 know yo" 

“Be there at six, six thirty 
АП right, I know." 

АП right,” she said, and sighed, her 

r suddenly dissipating, 

T'm sorry," he said. 

"I wanted to make love,” she said 
softly. "I came home wanting to make 
love. 

I'm sorry, honey. 
"Instead. — —" 
"Fm sorry.” He hesitated. Then, cau- 

tiously, he said, "We can still make 

love.” 

“No,” she said, "we can't. I just got 
my period.” 

He looked at her. And suddenly he 
knew she'd been lying about the party 
at Bianca's and the ride cross-town with 
the Santesons and the dinner at Ah 
Wong's and the cab she'd caught on 
Aqueduct, knew she'd been lying about 
I of it and putting up the same brave, 
blustery front of a murderer caught 


with a smoking pistol in his fist. 
"OK," he said, "some other time," 
а went to the television set and. 


snapped it on 


IL every cop on the force had the same 
days oll, then there'd be nobody out 
there іп the streets on those days and 
the bad guys would run amuck. That 


в only logical. That was why cops had 
different days off on а rotating schedule. 
This weck, Kling had been off on Mon. 
day and Tuesday, and now it was Sun- 
day and he was olf again. So was 
Augusta. That is to say, she was olf visit- 
ing a model named Consuela Herrer: 
who had come down with hepatitis and 
who was at the moment languishing in 
the city's posh Physicians Pavilion. 
Kling didn't mind; he planned to work, 
anyway, today. 

‘The work he had in mind de- 
tective work of a sort, but it had noth- 
ing to do with the 87th Squad. The 
moment Augusta left the apartment, 
Kling opened the Isola telephone d 
rectory and searched out an address and 
telephone number for a restaurant called 
h Wong's. Wearing blue jeans, loafers 
and a blue T-shirt, he went downstairs, 
le ta 
him to 41 Boone Street, down 
town, The the са 


n Ch 
bby new 
watch. It 
s precisely 11 minutes past noon 
‘The trafic on a Sunday was so light 
to be almost nonexistent. Augu: 
ad told him that the cab 
Ah Wong's last night had en а half 
hour. That had been Saturday night, 
though, the busiest might of the week, 
id given the number of people out on 
the town howling, and the attendant 
vehicular congestion, Kling figured he'd 
1 to add maybe 10. 15 minutes to 
however long it took him to get down. 
town now. 

The cabby dropped him off in front 
of the restaurant at exactly 1 by 
Kling’s watch. Fiftcen minutes. So, OK, 
it could have taken Augusta a half hour 
last night. On the other hand, with 
him or without him, she'd probably 
taken taxis to and [rom Chinatown at 
least a dozen times this year; she knew 


moment 


his flag, Kling looked at hi 
w 


a 
ide from 


“Marsha, we can't go on meeting like this... .” 


> 


how long the trip took, she wouldn't 
have come up with something absurd 
like ten minutes on a Saturday night. 
Kling paid and tipped the cabby, and 
then Кей toward the front door of 
the restaurant. 

Ah Wong's was sandwiched between 
a Chinese fiveand-ten and the si 
house for the Chinatown precinct. КІ 
realized how hungry he was the moment 
he stepped into the restaurant and a 
swarm of exotic aromas assailed his nos- 
trils. He took a table near the wall, 
ordered a gin and tonic and an asort- 
ent of fried shrimp, egg rolls, barbecued 
spare ribs and dumplings. When the 
waiter came back to the table to ask 
him if there would be anything else, 
Kling debated flashing the tin befor 
asking his questions, and decided against 
it. 

“That was deliciou: 
wife told me about this places she was 
here last night with so 


bout а dozen people." 

Ah, Miss Mercier party," the waiter 

said, noddi 
Miss Mercier was Bianca Merc 

dark-h: ith a Nefertiti look 
that was currently driving the city's fash- 

n editors wild. 

Yes, that's the one,” Klin; 
“But no dozen," the waite 
ten. 

“Eleven, I guess,” Kling said. 

No, ten. Only one big table here,” 
he said, pointing to a round table across 
the room. "Seat tem people. V 
ten last night, Miss Mercier р: 

“My wife thought it 
Kling said. 

Хо, only ten. Which one you w 
“The redhead,” Kling said. 
“No redhead,” the waiter said. 
“Tall redhead,” Kling said. “Wearing 

a green jump suit. 


the waiter sa 
King his head. “Only three lady. Miss 
Mercic another lady black 
hair and one lady yellow hair. No red- 
head." 

"Did 
asked hin 

lam Ah Wong." he said. "Miss Mer- 
cier very good custome: 
myself 

“What time did it break ар?” 

“Finish eat, sit around, drink. Leave 
here eleven o'clock 

"Eleven o'clock,” Kling said. Eleven 
o'clock was when Augusta had walked 
imo their apartment. “Well, listen, 
thanks,” he said, "that was really de- 
licious." 

"Come back soon," Ah Wong said. 

Kling paid the check and left. He de- 
bated going crosstown and uptown to 


again, 


you serve 


the party?" Kling 


1 wait on her 


We knew itd be another 
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And then we got lucky. 


There we were. Two weeks 'til harvest. A Chardonnay with such exquisite 
Everything (including Myron Nightingale,- varietal character, it ranks among our finest. 
our Winemaster) pointing toward a 1979 (Which puts it in select company, 
Chardonnay as outstanding as our '77 ` considering all the excellent wines we've 
and our 78. made in the last 105 years.) 

Then we got lucky. So when you see our Napa Valley 

An unexpected heat wave pulled the last Chardonnay in the stores, snap it up. And 
bit of sugar out of the vines and crammed celebrate the day we pressed our luck. 
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And what came out of the oak was a One hundred and five years at the same 
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PLAYBOY 


238 


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Readtabel tor arectiors, 


where Bianca lived in the Quarter, asking 
her whether Augusta had, indeed, been 
at that predinner cocktail party last 
night. He decided against it. Whether 
shed been there or not was a matter 
of small concern. She'd left their apart- 
ment uptown at six Р.М. (or so the note 
on the refrigerator door had said) and 
had presumably been at Bianca's party 
till a le before 7:30. An hour and a 
half didn't matter too much when there 
were a missing Uhree hours to account 
for—the time between when she said 
shed left Віапса and, later on, the 
restaurant. Three hours, Kling thought. 
He had known Augusta to climax in 
three minutes. 

He took a deep breath and walked 
toward the subway kiosk on Aqueduct. 

. 

Halloran was just sober enough to rec- 
ognize that the girl sitting there beside 
п in the with her hand close to 
his groin was maybe 17, 18 years old, 
and he was drunk enough, more than 
enough, to think she looked just like 
his wife, Josie, when she was that age, 
or his daughter Moira the way she'd 
looked yesterday when she'd given him 
з walking papers. He said to the girl 
on the stool beside him, “You shouldn't 

€ done that, Moira. 
"Let's go have a party, huh?" she whis- 
pered in his ear, her hand ig closer 
to his groin. 

Halloran had been in prison for 12 
years, and he wouldn't have understood 
the expression even if he'd been sober 
enough to hear it correctly. He simply 
nodded. 

Th: the first time I've been with 
a woman in twelve years,” he said. 

“How come? You been on the wagon 
or somethi 
No.1... I've been in jail.” he said. 

"Oh?" she said, and shrugged. Half 
the people she knew had spent at least 
some time behind b 

"Spent twelve ye 
said, "twelve Iong y 
Listen," she said, 
I'd really like to” 

“Went to sce my daughter yesterday,” 
he said. "She's eighteen now. All I want- 
ed to do was see her, you know? Talk 
to her a bit." He shook his head. "Told 
me to get los me on my w: 

“Yeah, kids" she said, hoping that 
would be the end of it. “Mister, what is 
it you'd like? Beca 

"ICs not her Eb 

But neither could he bi 
for what he'd done 12 y 


up there" he 


if you don't mind, 


living room of the Marien Street house, 
his two young sons asleep in the end 
bedroom, his daughter, Moira, in the 
room Closest to where he and Josie were 
yelling at cach other, Josie finally shout- 


ing that it was true, yes, she was seeing 
man, she was in love with an 
ing him, hurling 
d then bursting into 


‚ you know: 
he said. 

“Т said I'm а wo 
do you say? Wha 
“You know what I did time foi 
‘No, what?" she said, and sighed. 
Murd: he said. 

She looked at him. 

“I killed my wi 

She kept looking at him. 

"With a hatchet, 

He used to keep the hatchet on a shell 
just inside the basement door, above 
the steps; he remembered mo 
from her wordlessly, and ope 
basement door, and taking the hatchet 
from where it was resting on the shelf, 
and then going back into the living 
тоот and hitting her with it, hitting 
her repeatedly, opening her skull and 
her face, and continuing to hit her even 
after she was dead and gushing blood 
onto the pale-green living-room rug. 

"Jt wasn't my fault" he said. and 
turned to look at the girl. 

She studied him silently, trying to 
figure out whether or not he was put- 
ting her on. Lots of guys tried to impress 
you with their big macho bullshit, tried 
to show you what men they were—some 
Lind of men, all right. who had to pay 
to get laid. But all at once, when it sank 
in that she was s next to а man 
who'd maybe really killed somebody, she 
w fraid. 

Listen,” she said, “maybe we oughta 
just forget it, you know what 1 mean?” 

He kept staring at her. He seemed not 
to know she was with him. He kept 
staring at her but not seeing her. 

“I mean, I . . . really, I'm a working 
girl, you know? І... ." She wet her 
“If you're not interested, you know, in 
doing anything, then why don't I just 
le: 


girl. So what 


Yeah, OK 

“Well, O getting off the 
barstool quickly and ng up her bag. 
The night he'd killed her (well, it 
"t been his fault), he'd dr 
afterward to search [or the man 
Josie had named. Found him standing 
outside a sleazy hotel on Culver Avenue, 
chased him down the street with the 
bloody hatchet in his hand, finally 
aught up with him and yanked him to 
the sidewalk and was about to do to 
him what he had already done to Josie 
when a car pulled up to the curb and a 
young guy in plain clothes jumped out, 

ving a gun 

He remembered that son of a bitch 
z out of the са his pistol 
"Police! Stop or I'll shoot!" 
remembered telling him stupidly and in 


” he said. 


en dow: 


town 


ad yelling. 


Radar Clairvoyance 


Nobody expects a radar detector like this 


Claivoyance is the ability to perceive matters beyond 
the range of ordinary perception In this case: radar 
The perception of ordinary radar detectors is frustrated 
by hills, blind Corners. and roadside obstructions. What 
is offered here is very different the ESCORT radar 
warning receiver. 


More than the basics 

Any self-respecting radar detector covers the basics. 
and ESCORT is no exception. It picks up both X and K 
bands (10.525 and 24.150СН2 and has aural and visual 
alarms. It conveniently powers itself trom your cigar 
lighter socket, has a power-on indicator, and mourts 
with either the included hook and loop fastener or the 
accessory visor clip. ESCORT s simple good looks and 
inconspicuous size (15H x 5.25W x 5D) make its 
installation easy. flexible. and attractive. But this is 
iust the beginning, 


The first ditference—Unexpected range 

ESCORT has a sixth sense for radar. That's good 
because radar situations vary tremendously. On the 
average, though, ESCORT can provide 3 to 5 times the 
range of ordinary detectors. To illustrate the importance 
of this difference, imagine a radar trap set up 14 mile 
beyond the crest of а hill A conventional detector 
would give warning barely before the crest: scant sec- 
onds before appearing in full range of the radar. In this 
example. a 3 limes increase in range improves the 
margin to 30 seconds before the crest. For this kind 
of precognition, ESCORT must have 100 tires as much 
sensitivity as the absolute best conventional units have 
What makes this possible is, in a word, supetheterodyne. 


The technology 

The superheterodyne technique was invented in 1918 
by Signal Corps Capt. Edwin H Armstrong. This circuit 
is the basis of just about every radio. television. and 
radar set in the world today. ESCORT is the first 
successtul application of this method to the field of 
police radar detection. The key to this development is 
ESCORT s proprietary Varactor-Tuned Gunn Oscillator. 
It continuously searches for incoming signals and com- 
pares them to an internal reference. Orly signals that 
match the radar frequencies are allowed to pass. This 
Weeding-out process enables ESCORT to concentrate 
опу on the signals thal Court, AS а bonus. it takes 
only milliseconds; quick enough to catch any pulsed 
radar. The rel result is vastly better range and fewer 
false alarms 


The second difference 
All this performance makes things interesting. When 


a conventional detector sounds off, you know that radar 
15 close at hand. However a detector with ESCORTs 
range might find radar 10 miles away on the prairies. 
In the mountains, on the other hand, ESCORT can be 
limited to less than 12 mile warning. Equipped with 
Conventional light and noise alarms, you wouldn't know 
whether the radar wes 2 few seconds or 10 minutes 
from greeting you. The solution to this dilemma is 
ESCORT s unique signal strength indicating system. ІІ 
Consists of a soothing, variable rate beep that reacts 
to radar like a Geiger counter and an illuminated meter 
lor fine definition. Its smooth ard precise action relates 
signal strength clearly over а wide range. With a little 
Practice, you Can judge distance from its readings. An 
abrupt, strong reading tells you that а nearby radar has 
just been switched on. something other detectors leave 
you guessing about. 


Nice extras 

ESCORT has a few extras that make owning it even 
more special. The audible warning has a volume control 
you can adjust to your liking. It also sounds different 
depending on which radar band is being received. K 
band doesn’t travel as far so its sound is more urgent 
The alert lamp is photoelectrically dimmed after dark 
so it doesn't interfere with your night vision, And a 
unique city/highway switch adjusts X band sensitivity 
for fewer distractions from radar burglar alarms that 
share the police frequency. 


Factory direct 

Another nice thing about owning an ESCORT is that 
you deal directly with the factory. You get the advantage 
of speaking with the most knowledgeable experts avail 
able and saving both of us money at the same time. 
Further. in the unlikely event that your ESCORT ever 
needs repair. our service professionals ere at your 
personal disposal. Everything you need is only a phone 
Call or parcel delivery away. 


Second opinions 

CAR and ORIVER ..."Rarked according to performance, 
the ESCORT is first choice .. it looks like precision 
equipment. has a convenient visor mount, and has the 
most informative warning system of ary unit on the 
market...the ESCORT boasts the most careful and 
clever planning, the most pleasíng packaging, and the 
most solid construction of the lot 

BMWCCA ROUNOEL. The volume control has a 
silky’ feel to it: in fact the entire unit does. If you 
want the best, this is it, There 15 nothing else like it 
PLAYBOY... ESCORT radar detectors... (are) 


generally acknowledged to be the finest, most sensi 
tive, most uncompromising effort at high technology in 
the field 

PENTHOUSE "ESCORT performance stood out 
like an F-15 in a covey of Sabrejets: 

AUTOWEEK ... “The ESCORT detector from Cincinnati 
Microwave is still the most sensitive, versatile 
detector of the lot: 


No fooling 

Now you know all about ESCORT What about 
Cincinnati Microwave? When it comes to reliability. we 
don't fool around. ESCORT comes with a full one year 
limited warranty on both parts and labor. This could 
turn out to be expensive for the factory il many units 
fail in the field. They don't, So it isn't. We aren't Kidding 
about ESCORT s performance either. And to prove it to 
you, we'll give you 30 days to test it for yourself. Buy 
an ESCORT and use it on your roads in your area. If 
you're not completely satisfied. send it back within 30 
days and we will refund your purchase as well as pay 
for your postage costs to return it. No obligation. 


How to order—it's easy 
To order, nothing could be simpler. Just send 
five things to the the address below. Your name 
and address. How many ESCORTs and Visor 
Clips you want. Any special shipping instruc: 
lions. Your phone number. And a check. 


Visa and Mastercard buyers may substitute 
their credit card number and expiration date for 
the check. Or call us toll free and save the trip. 
10 the mail box. Order today. 


CALL TOLL FREE 
IN OHIO CALL... .. 


ESCORT 


800-543-1608 
513-772-3700 


$245.00 

($11.08 Ohio res. tax) 
$7.00 

($0.32 Ohio res. tax) 


чы CINCINNATI 
; MICROWAVE 
Department 307 
255 Northland Boulevard 
Cincinnati, Ohio 45246 


Visor Clip 


PLAYROY 


240 


Why It's Such 
A Rare Bird 


Wild Turkeys are masters 
of camouflage and evasion. 
A large flock of birds will lie 


quietly within yards of a 
man passing through the 


forest, and never be seen. 


The Wild Turkey is 


truly a native bird, unique 


to America. And it is the 
unique symbol of the 


greatest native whiskey in 
America- Wild Turkey. 


WILD TURKEY“/ 101 PROOF / 8 YEARS OLD 


Austin, Nichole Distilling Co., Lawrenceburg, Kentucky c 161 


tears all about what had happened i 
the dapboard-and-brick house on ? 
en Sweet, “It wasn't my fault, 
ing the words again and 
vasmt my fault.” And the cop had an- 
ed, the son of a hitch had answered, 
anybody's fault, is it?” Those 
words had echoed in his head lor 12 

s—"It's never anybody's fault, 


son of a bitch, he thought. 
elve years in prison, he thought. 
You son of a 

The tears running down his face, his 
fists clenched, he knew whose fault it 
was, al] right, never mind it never being 
anybody's fault, never mind that fuck- 
ing shit! Knew just who was responsible 
for all those years in prison, exactly who 
105 never any- 


hird Grade Bertram A. 
g, he thought. 
And nodded gr 


ly. 
. 

Kling should have realized his m 

ge was doomed the moment he beg: 
ailing his wile. 

In any good marriage, there were 
arguments and even fights—but you 
fought fair if you wanted the marriage 
to survive. The minute you started hit- 
ting below the belt 


time to call 
the divorce lawyers. That’s why Carella 
had asked him to discuss this thin 
Augusta. 

Tnstead, Kling decided he w 
out for himself whether she w: 
another man. He made his decis 
alter a hot, sleepless night. He made 
it on the steamy m g of August 11 
while he and ating bi 
fast. He mad utes before she 
left for her first assignment of the week. 

He was a cop. Tailing a suspect came 
id naturally to him. Standing 

er at the curb outside their build- 
ing, Augusta looking frantically at her 
watch, Kling trying to get a tavi at the 
height of the morning rush hour, he 
told her there was something he wa 
to check at the office 
bly be gone all though this 
was his day off, she accepted the lie: 
all too olten in the past, he 
back to the station house on his 
He finally managed to hail a tay 
when it pulled in to the curb, he y 
open the rear door for her 


with 


“Where are you going, honey?" he 
asked. 

"Ranger Photography, 1201 Goed- 
коор.” 


“Have you got that?” Kling asked the 
cabby through the open window on the 
curb side. 

"Got it," the cabby said. 

Augusta blew a Kis at Kling, and 
the taxi pulled away from the curb and 
into the stream of trallic heading down- 
town. It took Kling ten minutes to find 


АУ) 


7 


“Good heavens—il’s Suzelle.” 


The man who knows 
how to wear 
his diamonds 


also knows 
where to find them. 


ZALES 


The Diamond Store 


another cab. He was in no hurry. He had 
checked Augusta’s appointment calendar 
while she was bathing before bed last 
night, when he was still m ulling his de- 
cision. It had showed two sittings for 
this morning: one at Ranger Photog- 
raphy for nine ast, the other at Coop: 
ersmith Creatives for Il. Her next 
appointment was at two in the afternoon 
at Fashion Flair, and alongside that she 
had penned in the words Cutler if lime. 


Cutler was the agency representing he 

Standing across the street from 1901 
Goedkoop, where he had asked the cab- 
by to let him out, Kling looked around 
for a pay phone and then went into a 
cigar store on the corner of Goedkoop 
and Fields, where he looked up the 
phone number for Ranger Photography. 
From a phone booth near the magazine 
rack, he dialed the number and waited. 

“Range n's voice said 

“May I speak to Augusta Blair, 
please?” he said, It rankled every time 


he had to use her maiden name, how- 
ever damn professionally necessary it 
was. 

"Minute," the man said. 

Kling waited. 

When she came onto the line, he sa 


id, 
isie, hi, I'm sorry to break in this 


We haven't started yet,” she said. “I 
just got here a few minutes ago. What 
is it, Bert?" 

"I wanted to remind you, we're hav- 
ing dinner with Meyer and Sarah to- 
night.” 

“Yes, 
Where arc you now, Bert?" 

"Just got here," he said. "You want 
to try that new Italian joint on Trafal- 
gar? 

“Yes, sure, Bert, 1 have to go. They're 
waving frantically.” 

“TIL make a reservation. 
"Fight o'clock sound OK?" 

Yes, fine. "By: 
you later." 

There was a click on the linc. OK, he 
thought, she's where she's supposed to 
be. He put the phone back on the hook 
and then went out into the strect again 
lt was blazing hot already, and his 
watch read only 9:27. He crossed the 
street to 1201 Goedkoop and entered the 
building, checking to sce if there was a 


he said, "I have it in my book. 


he said. 


Tl talk to 


, darling. 


Іс or a back entrance. Nothing. Just 
the big brass doors through which he'd 
entered and through which Augusta 
would have to pass when she left. He 
looked at his watch again and then went 
across the street to take up his position 

She did not come out of the building 
until a quarter to 11 

He had hailed a taxi five minutes ear- 
lier, and flashed the tin, and had told 


the cabby he was a policeman on assign 
ment and would want him to follow a 
suspect vehicle in just а few minutes. А» 


Augusta came out of the building, an- 
other taxi pulled in some three feet 
ahead of her. She raised her arm, yelled 
“Taxi!” and then sprinted for the curb, 
her shoulder bag, flying 

“There she is,” Kling said. “Just get- 
ting in that cab across the street.” 

“What'd she d 

“Maybe nothing," Kling said 

“So what's all the hysteria?” the cabby 
asked, and threw the taxi in gear and 
made a wide U turn in an area posted 


with xo v URN signs, figuring, what the 
hell, he had a cop in the back scat. 


“Not too close, now,” Kling said. “Just 
don't lose her.” 

The melodramatic chase might have 
been more meaningful if Augusta's taxi 
hadn't taken her to 21 Lincoln Street, 
where Coopersmith Creatives had its stu 
dios. She was exactly where she wi 
supposed to be. 

The sitting was a short one. She came 


out of the building again at a little past 
noon and walked directly to a plastic 
payphone shell on’ the corner, Watch- 
ing from a doorway across the strect, he 
saw her fishing in her bag for a coin and 
dialing a number. He wondered if she 
was calling the squad room. 

He saw her nodding. She nodded 
n and then hung up. She was smil- 
ing. He expected he 
taxi, but instead shé began walking up- 
town, and it took him another moment 
to realize she was heading for the sub- 
way kiosk on the next corner. He 
thought, protectively, Jesus, Gussie, don’t 
you know better than to ride the sub- 
ad then he quick- 
i pace and started down the 


to hail another 


ways in this city? A 


ened | 
steps after her, catching sight of her 
at the change booth. A train was pulling 
in. He flashed his shield at the attendant 
in the booth and pushed through the 
gate to the left of the stiles just as Aw 
gusta entered one of the cars. 

Kling stood at the far end of the car, 
his back to Augusta. The glass panel 
here had been spray-p 
side, with a dark-blue paint that made 
through 
served to create a mirror effect. Even 
with his back to Augusta, he could clear- 
ly sce her reflection, 

He counted nine stops before she rose 
suddenly at the Hopper Street station 
and moved toward the opening doors 
He stepped out onto the platform the 
instant she did. She turned left and be- 
gan walking swiftly toward the exit 
steps, her high heels dicking; his wife 
was in a goddamn hurry. He followed 
at a safe distance, reached the end of 
the platform, pushed through the gate 
and saw her as she reached the top of 
the stairs leading to the street, her long 
legs flashing, the shoulder bag swinging. | 


inted on the out- 


bility impossible but that 


Яя 


He took the steps up two at a time, 
looked swiftly toward the corner, turned 


22 
^ 
r£ A 
XQ) 
= 


vays had an edge 
: np etition. 9-4 
` wd 


PLAYBOY 


244 


to look in the opposite direction and 
saw her standing and waiting for the 
traffic light to change. A sidewalk dock 
outside a savings and loan association 
told him it was already 12:30. Augusta's 
Next appointment was uptown, at two 
е.м. He guessed she planned to skip 
lunch. He hoped against hope that he 
was wrong. He'd have given his right 
arm if only she walked into any one of 
the delicatessens or restaurants that 
lined the streets in this part of the city. 
But she continucd walking, swiftly, not 
checking any of the addresses on the 
buildings, seemingly knowing exactly 
where she was going. She was heading 
toward the Scotch Meadows park in the 
heart of the Hopscotch artists’ quarter. 
He's an artist, Kling thought. The son 
of a bitch is an artist. 

He followed her for two blocks, to the 
corner of Hopper and Matthews. Then, 
suddenly, without breaking her stride 
for an t, without looking up at 
the numerals over the door, she walked 
into one of the old buildings that had 
earlier been factories but that now 


housed tenants paying astronomical 
rents. 
Kling stood on the sidewalk and 


looked up, shielding h 
sun. Five stories, Four windows fronting 
the street on each floor, but he supposed 
most of the loft space was divided, and 
he couldn't even guess how many apart- 
ments there might be. He jotted the ad- 
dress in his notebook—61] Hopper 
Strect—and then went into a luncheon- 
ette on the corner across the street and 
sat eating a soggy hamburger and drink- 
cgg cream while he 
watched the building. The clock on the 


eyes against the 


ic-spattercd wall read 12:40 е.м. 

It was one o'clock when he ordered 
another egg cream. It was 1:30 when he 
asked the counterman for an iced coffee. 
Augusta did not come out of the build- 
ing until a quarter to two. She walked 
immediately to the curb and signaled 
to a cruising taxi. Kling finished 
coffee and then went into the building 
and copied down all the names on the 
lobby directory. Six of them in all. Six 
suspects. There was no rush now: hc 
suspected the damage had already been 
donc. 

He took the subway again and went 
home. 


Bl 


. 

That night, Kling and Augusta dined 
with Meyer and his wife. When they 
left the restaurant at ten, Meyer offered 
to give them a lift, but they were only 
à few blocks from where they lived, and 
so they all said good night on the side- 
walk outside. 

As they moved away from the restau- 
rant, a man stepped out of a doorway 
across the way and began walking paral- 
lel to them on the other le of the 
street. 

He was a huge man with the broad, 
powerful shoulders of a wi 
his dark eves shadowed by the brim of 
a hat pulled low on his forehead and 
covering his black hair. He followed 
Kling and Augusta all the way home. 
and after they went inside, he stood 
on the sidewalk across the street and 
watched the lighted windows on the sec- 
ond floor of the brownstone. He did not 
leave until the lights went out at a little 
past 11. 


“Waiter! . 


. Waiter! 


. Waiter!” 


Then he went uptown to look for a 

gun. 
L 

"The air conditioner was humming in 
the second-floor bedroom of the brown- 
stone. The room was cool, but Kling 
could not sleep. It was two in the 
morning. He was tempted to confront 
Augusta with it now, tell her he'd seen 
her go into the building at 641 Hopper 
Sucet, ask her what possible business 
she could have had in that building. 
Get it over with here and now. He re- 


membered what rella had advised 
him. 
“Augusta?” he whispered. 


nt to talk to you.” 
Augusta mumbled. 


“Gussie, I w: 
"Go t sleep, 


‘Shi 

Boney 2" 

“Shit, shit, shit,” she said, and sat up 
and snapped on the bedside lamp. 
“What is it?” she said, and looked at the 
dock on the table. "Bert, it's two 
o'clock. I have a sitting at eight thirty, 
can't this w: 

“I really feel I have to talk to you 
now," he said. 

“I have to get up at six thirty!" 


she 


“I'm sorry,” he said, “but, Gussie, this 

really been bothering me." 

“АП right, what is it?” she said, and 

sighed, She took a pack of cigarettes 

from beside the clock, shook one free 
and lighted it. 

m worried,” 
“Us: 
"T think we're drifting apar 
“That's ridiculous,” she sa 
^I think we are. 

“What makes у 

“Well, we . 
make love as often as we used t 
ve got my period,” August 
“You know that. 

"I know that, but .. . well, that didn't 
used to matter in the past. When we 
were first married.” 

Well" she d. and hesitated. "T 

thought we were doing fine." 

“I don't think so," he said, shaking 
his head. 

“Is it the sex, is that й? I mc 
you think we don't have enough 
"That's only part of it,” he said. 

“Because if you, you know, if you 
like me to. 
Хо, no." 

"E thought we were doing fine,” 

said again, and shrugged, and stul 

out the cigarette. 

“You know this girl who's with the 
agency?" he said. Here it is, he thought. 
Here we go. “Little blonde girl. She 
models junior stuff.” 

“Monica?” 


he said. “About us.” 


u think so?” 
for one thing, we don't 


a said. 


n, that 


(continued on page 250) 


Hiram Walk 

earned its reputa 
clusive clubs from the time it first appca 
That's how it became "Club Whi: 

In 1891, a ne 
of origin to appear prominently on a produc 
label. Hiram Walker proudly added “Canadian” 
to Club Whisky and people just as proudly 
began ordering “Canadian Club.” 


aw requii d the country 


Today people enjc 1 
noothing out 


its still “The Best In The House" in 87 lands. 


Discover the second nicest 


Make the most of your nights with an 
ATS waterbed. You'll experience deep, 
restful slumber...the kind you probably 
haven't known since your childhood. 
ATS Flotation Sleep gently helps soothe 
away stresses, strains, aches, pains. 
You'll face each moming with a 

far brighter outlook on life. 


Come in and see the ATS Dealer nearest you. Or call ATS at (213) 538-3100 or Toll Free (800) 421-2120 Outside California. 


LASKA 
The Bedroom Vialerbeds 
555 W. Northern Lights 
Anchorage. sons Sleep shop. 
ARZONA Б Bradway- Chula Vista 
Waterbeds М" scene 
а 0 


CALIFORNIA 
terbed Warehous 
2 Cakornia Ave —Bakersfield 
The Walerbed Pace. 
7900 La Palma Ave.— Buena Park 


igrature Waterbees 
4840 М Blacksione— Fresno 


a 
1633 E. Pacht Coast Hwy 
Long Ве 

Liquid Sleep 
1119 Melrose Ave 
Waterbed Productions 


19355 Busine 
Northridge 


Los Angeles 
Ar Dr. #10 


David Henry s Waterbeds COLORADO 
KEON. м ва 


nection 
lervite 


Уос Galery 
4464 71h St , #E—Victorvike 


King Koil ot 
830 Tucher 


Watertown Water 

19141 Colma һа 

Fowand Heights 

Factory Direct Waterbeds ч 3 
c-5 Woodard H 


thing a couple can do. 


So enjoy. Do it for yourself, Do it for the two of 
you. But do it now! Leam all about ATS waterbeds 
and Flotation Sleep from A to ZZZZ...from an ATS 
dealer listed below. Next to the nicest thing a 
couple can do, there's really nothing quite like it. 


ATS. The waterbed people. 


American Thermo Seal, Gardena, California 


IDAHO MONTANA а Sleepy Hollow WASHINGTON Е.С Furnishings 
Mountanare The Plush Plow ano Las Cruces 1226 Lagoon У. оозе waterbed Fred's 538 Ward AvE — Moses Lake 
10239 Yellowstone Ave 1142 Grand Ave, — Bi Bountiful Rest Mattress Со TIAE Wain Battie Log Grounds: наде Mushroom 
io 3500 5 300 W West 313 Rrerside—Spokane 
Bedroom Emporium 


кум ын OSE о oen ретине MASS NE ДЕУ 


tds 
2100 ho S1, & Eko Piar ОНАН 15 N. Main St. George 3500 Highway 99. 
о Waterbed Factory Sato S Center Pn 
3048 W 3500 South 5 
Diston iets American е Бел Dreamer 
чүү Кеч a 11010 NE, 3ro- Bellevue. 5001 N E. Thurston Way 
Lake (nares Per al 5 1] Wat лата Land Vancouver 


248 


PLAYBOY POTPOURRI 


people, places, objects and events of interest or amusement 


CLOSED FOR THE NIGHT 
If you're looking for something off the wall 
to hang on your wall, the Rarc Gas Company, 
1479 N. Farwell Avenue, Milwaukee, Wiscon- 
sin 53202, manufactures a window-sized neon 
pull-type shade (по, it doesn't really pull) for 
5350 with the word cLosep incorporated into 
the design. You can just look at it—or some 
night, when you and your sign are both 
switched on, have a girlfriend "pull" the shade 
and undress while you play Peeping Tom. 


TOUR OF THE COOKS 
Just about everybody has hankered to set sail 
aboard a freighter bound for faraway places 
with strange-sounding names. And just about 
everybody stays deskbound instead. But if 
you can spare 32 days and $3900, Goodtravel 
Tours, 5339 College Avenue, Oakland, Cali 
fornia 94618, will put you aboard its Exploring 
the Cook Islands sojourn that visits—via tramp 
freighter—Rarotonga, Pukapuka and points 
юш. Somerset Maugham would have loved it 


THE CHIC OF ARABY 
Talk about flaunting it when you've got it, a company calle 
Longoria Sales (2903 W. 70th Street, Shreveport, Louisiana 71108) 
is offering petro barons who truly want to gloat a 24-kt-gold- 
plated 28"-tall oil well that recirculates ап oillike liquid 
in and out of two mini storage tanks. The cost of this desktop 
trinket is а mere 52130 (shipping included, of course). Most sheiks 
we know have that much lying about on top of their dressers. 


BACKWARD, TURN BACKWARD.... 

Dr. Robert K. Stevenson has it all backward—and he wouldn't 
have it any other way. His softcover $8.95 book Bac 
ning is the first ever written on the subject, which, he claims, 
develops your cardiovascular system, improves your posture and 
prevents runner's knee, among other benefits. (You can order it 
from Stevenson International, P.O. Box 3308, Fullerton, Califor- 
nia 92631.) There's no mention of which direction Reagan runs. 


ards Run- 


WINNING OF THE WEST 
The Gamblers Book Club, the world's 
largest store devoted to new and used 
books on games of chance, is just a dice 
toss [rom the Strip, at 630 S. 11th Street, 
Las Vegas, Nevada 89106. Browse there 
before hitting the tables—or send 51 
for the latest catalog of titles. You'll find 
something in it for everyone, from 
Memoirs of а Gambler and. Greyhound 
Belting for Profit to an Owner's Pictorial 
Guide to the Care and Understanding 
of the Mills Bell Slot Machine. Jackpot! 


ALL BUTTO 
Black Hole Buttons, at 3 


ED UP 
W- Егіс, 
izes in 


Chicago, Hiinois 60610, spe 
speciaLorder buttons—and for a mere 
$2.50, postpaid, they'll print any wiscass 
witticism you want on a 214" disk, 
provided your comment doesn't exceed 
about 60 letters. (Short and dirty is 

the way to go.) Sample lapel graffiti we've 
scen include THEY'RE ALL BITCHES & 
SLUTS, SAVE OUR RATS and the ever-popular 
WHAT THE FUCK Do YOU WANT? Anyone 
[or HAVE A NICE DAV? 


SEE YOU IN THE PAPERS 
Ancient financial documents, 
vintage comic supplement sec- 
tions, old Automobile registra. 
tions, outdated саша 
land deeds, long-forgotten 
magazines and just about any- 
thing else that survived the circu- 
lar files of long ago seem to have 
ended up on the sale list of Yes- 
terday's Paper, Р.О. Box 294, 
Naperville, Illinois 60566. Five 
dollars sent to Yesterday's will 
get you two product lists and two 
canceled stock certificates. Let's 
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(continued from page 211) 
. She was out there at the party. 
the Fourth. Do you remember? 


got to talking,” Kling sai 
Uh-huh,” Augusta 
fascinating, talking to that nitwit 
She said she's seen you around town 
with a lot of guys," Kling said in a rush, 
and then caught his breath. 

“Oh, that rotten lile bitch!" Au- 
gusta said. "Seen me around, seen 
me 


‘One guy in particular,” Kling said. 
"Oh, one guy in particular, wh-huh.” 
at's what she said.” 

Which guy?” 

“I don't know. You tell me, August 

"his is ridiculous,” Augusta said. 
repeating what she said," 
you believed her 

“I... listened to her. Lets put it 
that way." 

“But she couldn't tell you which guy, 
in particular, Um supposed to have been 
seen around town with, is that 
No. I asked her, but—" 
“Oh, vou asked her. So you did believe 


"To a juvenile delinquent who's only 
been laid by every photographer in the 
entire city, and who has the gall- rs 

"C. down," lic said- 
о suggest that Pm 

Соте on, Gussie.” 
"II kill that little bitch!” 
“Then it isn't true, right 

Right, it isn’t true. Did you think 

it was?” 

"I guess so." 
anks a lot 


Augusta 


They were silent for several moments. 
He was thinking he would have to ask 
her about 641 Hopper Street. He was 
thinking he'd done what Carella hi 
suggested he 


d 
should do, but he still 
d, he still didn't have the 
would set his mind at case. 
“Gussie . . ." he said. 

I love you, Be 
know that. 

“L thought you did.” 

"Edo." 

"But you keep going places without 
ше... 

“That was your idea, Bert, you know 
it was, You hale those part 

“Yeah, but still..." 


she said, "you 


ywhere elec without 


about during the day? he won- 
dered. What about when I'm out chasing 
some cheap thief. what about then? 
What about when I have the night 
watch? What will you be doing then? he 
wondered. 

“I promise,” she said. "No place else 


without you. Now Не down.” 

She pulled the sheet off him. 

“Just lie still," she said. 

“Gussie. 

hh,” she said. “Shh, baby. Tm gonna 
re of you. Poor little neglected 
darling.” she said, and her mouth de- 
scended hungrily. 
. 

At ten minutes to nine on Tuesday 
night, Kling stood outside the building 
оп Hopper Street and looked up at its 
facade. There were five floors to the 
building, four windows on each floor. 

Augusta had told him they'd be shoot- 
ing a commercial outdoors tonight, at 
Long General Hospital downtown, some- 
thing to do wi osing the new 
c of ski fashi stark, mono- 
ithic architecture of the hospital and 
the crisp white starched uniforms of the 
stalt nurses they'd be using as back- 
ground extras. She was not looking for- 
ward to the assignment. Modeling ski 
parkas in the stifling heat under bright 
hts was not her idea of an ideal way 
to spend a summer night 

Kling hadn't believed a word of it 

A call to the senior security officer at 
the hospital had informed him that no 
plans had been made for anyone to take 
pictures in or around the place that 
night. “Thi " the security 
“there are 


g went to the front door of the 
building on Hopper now and shook the 
knob. Locked. He found a bell button 
marked service їп the doorjamb and 
pressed it. A loud ringing sounded in- 
side someplace. He rang the bell again. 
He heard footsteps within, approach- 
ing the door, and then a man's voice 
i ing, I'm coming.” 


the man asked from be- 


hind the door. 


“Police,” Kling said. 

He heard a lock being turned, the 
tumblers falling. Good secure lock, he 
thought, looking at the keyway. Ihe door 
opened a crack. An суе and a narrow 
slice of face appeared in the wedge. 
t," the man said. 
shield. 


"Detective 


Atchison,” he said. 
no Detective Atchison on 
the EightSeven. His name was not on 
his shield. Beneath the policedepart- 
ment legend and the city’s seal, there 
were only the word perecrive and his 
ld number. 

The man opened the door wide. 

He a white man in his 60s, 
wearing only a tank-top undershirt and 
baggy cotton trousers. He looked Kling 
over and then said, “I'm Henry Watki 
superintendent of the building. What's 
the violation this time?" 


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PLAYBOY 


252 


“No violation. I'm looking for a run- 
3 said. "I have informa 
n the building here 
He normally ed, stuffed into the 
back of his notebook, a dozen or more 
photographs of teenage runaways who 
might have found their way uptown to 
the headier narcotic climate of the Eight- 
Seven, where the grass was presumably 
ner and more easily obtainable than 
elsewhere in the city. He took 
his notebook from his hip pocket now 
nd leafed through the pictures, select- 
a graduation photo of a chubby 
17-year-old girl beaming е camera, 
blackzimmed eyeglasses perched оп 
her freckled nose, blonde hair neatly 
combed, eves sparkling. He wondered 
what she looked like now. If she'd come 
to this cit 
He showed the photograph to Watkins. 
This is the ¢ he said. 
Heather Laugh 
in the building at any tim 
Get a lot of trafic here 
1, looking at the picture. "Two pho- 
tographers in the building, we get girls 
coming and going all the t 
Photographers, Kling thought. Maybe 
Augusta had been here on business, 
fter all. He took out the list of names 
he'd copied from the directory. 
"Which onc of these would be the 
he asked. 


you эсеп her 


have 


“Well, there's Peter Lang on 
d floor and Al Garavelli on 
fourth, They're both photographers. 

“Do these people live here as well? 


the 
the 


е to five. 
How about the rest of these people?" 
Kling said, and showed him the list 
again. 
“Yeah, they 
“Any of them home right now?" 
“Well, Fm not obliged to check on 
the comings and goings of any of m 
tenants. They all got keys to the outside 
door here, they come and go as they 
please, same as anywhere else in this 
city. 
“TH have to talk to them," Kling said. 
“Well.” Watkins said. “Third and 
fourth floor're dark, that's where Lang 
and Garavelli work. You can take the 
steps up, try your luck with the others.” 
Kling took the iron-runged steps up to 
the first floor. Below, he could hear Wat- 
kins closing and locking the door to his 
own apartment. The steps and the first- 
floor landing were badly lighted. There 
was only one door on the landing. He 
went to it. No bell. He knocked on the 
door. Silence, He knocked again. 
"Yo?" a voice inside said. A man. 
"Police," Kling said. 
“What?” the man said. 
“Police,” Kling said again. 


“Just a second," the man said. 

Kling waited. 

The door opened a crack, held by a 
1 


4 
moment, pl 


Kling said, holdi 


g up his shield. 
Detective Atchison, Isola 


like to ask a 
not 


few questions, 
ioned the precinet for which he 
worked. He put the shield in its leather 
case back into his pocket almost at once, 
h, just a second,” the man said, 
and took off the night chain and opened 
the door. 

He was wearing running shorts and 
track shoes, nothing else. Не was per- 
haps 58” tall, a spare, balding white 
man with dark-brown eyes and n 
nose under which there was a mustache 
the color of the black hair с 
naked chest. A fan was going som 
where in the apartment. Kling could 
hear the whir of its blades and could 
feel the faint breeze it st 

"Well. come in,” the 
te to be m; vi 
“Fm sorry, sir. but we ha 
ids whenever we get them." 

“What kind of lead are you follow- 
ing?" the man asked. "Come in, come 
in 


led on his 


ng 


“rm sorry, sir," Kling said, stepping. 
into the apartment. "Are you . He 
consulted the list of names he'd copied 


How 


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PLAYBOY 


254 


from Mr. 
Lucas? 

"Michael Lucas, yes,” he said, and 
closed and locked the doo nd then 
put on the night chain again. 

The apartment was a converted loft 
that obviously served now as а combined 
living space and artist's studio. An easel 
was set up near the windows to the 
north, a large abstract painting shriek- 
ing its colors into the room. A cot was 
set up against one wall, a tabletop burn- 
er and a refrigerator on another. The 
loft was vast. The wooden floors were 
paintspattered. A rack against the third 
wall supported at least a doren huge 
canvases that seemed to have been spat- 
tered in the same haphazard fa 
the floor had been. 

“So, what's so urgent?" Lui 

“We're looking for a run 
said, and took the picture fı 
book. "We have information she may 
be living in this building. Ever see thi 


girl? 


the directory downstairs. 


“You're an artist, I se 

7I try to be. 

“So you haven't seen her, huh?” 

"No," Lucas said. 

“Are you here all day long: 
asked. 

“Pm 


Kling 


here all di this is where [ 


work,” Lucas said 

"She was seen here yesterday, that's 
what our informant told us. Were you 
here yesterday? 

“1 was here yesterday 

Kling made a show of consulting his 
notebook. “Between the hours ol twelve 
thirty and one forty-five? 

“I didn't sce her.” 

“Maybe your model. . . 

“1 don't use a model.” 

"Did you have amy v 
tween those hours? 

"I was alone during that time," Lucas 
said. 

“No visitors?” 

“None. 

“And you haven't seen hier; 

7] haven't seen her. 

Kling thanked Lucas for his time, and 
then went out into the hall again, and 
climbed the dimly lighted stairway to 
the second floor of the building. Two 
doors here, one at either end of the hall- 
way. He pressed the bell button outside 
the door to the right of the stairwell. 
Apartment 21. Healy, M. and Rosen, М. 
А buzzer sounded inside. 

“Who is it?” a woman's voice 

“Police,” he said. 

“Police?” The voice sounded totally 
astonished. He w 
the door [or him 
throug! 


itors at all be- 


Med. 


ited un 


il she opened 
nd then he went 
the routine of identifying him- 


“Vivian! Are you doing the dishes 
in the nude again?” 


self as Detective Atchison, and 
her a brief glimpse of his shield, and 
then asking her if he might come in and 
show her a picture of the runaway he was 
looking for. 

The woman's name was Martha Hea 
There was another woman in the 
ment, a small, dark-eyed brunette in her 
20s, wearing only panties and a T-shirt. 
She was lying on a sofa st one of 
the walls, leafing through a magazine 
nd smoking. She looked up when Kling 
ame іп nd then went back to the 
magazine, 

Kling smelled marijuana in the 
and realized that what the girl on the 
sofa was smoking was pot. Nobody both- 
ered flushing a joint when the law 
ed these days; he had been in movie 
theaters where the cloud. of marijuana 
smoke was enough to produce a high if 

just inhaled deeply. Augusta smoked 
So did Kling himself, on 


ly- 


air 


around?" he asked. 
How about you, 


Have you seen hi 
“No,” Martha said. 


the brunette said. 

You sce this kid around anyplace?” 
she asked, and moved to the couch, a 
dancer's walk, somewhat stiff-legged and 
duck-footed. She handed the photograph 
to Michelle, who studied it through a 


Michelle said. “Don't know 


her." 
“Are you both here most of the time?” 


Kling asked. 
In and out,” Martha said. 
How about yesterday between twelve 
thirty and one forty-five?” 

Twas in class, Michell 

“I was here.” 

“Alone?” Kling asked. 

“Alone,” she said. and looked at h 
and smiled suddenly and radiantly. She 
had Bugs Bunny teeth. 

“Because if you had any visitors, one 
of them might've seen— 

"We save our visitors for the night- 
Martha said. She looked at Mi- 
chelle, who was still smiling. 

"Well, thanks,” he said, and w 
the door. “С night" He closed the 
door behind him. He heard the lock 
tumblers [all and then the night chain 
rattle into place. He went to the door at 
the other end of the hall and knocked 
on it. That would be Harris, F. in the 
directory downstairs. He knocked again. 
Still no answer. He knocked once 
to be ci i 


time, 


t to 


ore, 
nd then took the steps up 
to the third floor, There was only one 
the landing, marked with a 
black plastic name plate: PETER 
One of the photographers gone for 
the day. He continued up to the fourth 
Hoor. The lights were out there, too. He 
picked his way through the dark and up 
the stairs to the fifth floor. 
The man who opened the door to 


door 


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PLAYBOY 


255 


apartment 51 could have been ап ideal- 

ied mirror image of Kling himself. 

slightly taller, 69” or 63”, Kling 
guessed, with a shock of blond hair not 

unlike his own, brown eyes set in a 

handsome, 

male model їп New York would have 

pillaged and killed for, a deft chin and 

a petulant mouth. He was wearing de- 

signer jeans and nothing else. He'd lifted 

weights when he was younger, Kling was 
certain of that. His shoulders were enor- 
mous, his chest and his arms were bulg- 
ing with muscles. 
“Detective Atchison 

“Isola Police.” 

Let me sce that а 
Kling held the shield up 
“What precinct is that?" he asked. 
“The Three-Two,” Kling lied. 
“What is it you want 
“Tm looking for a runaway. Ever sec 

this girl anywhere in the building?" 


Kling said, and showed him the picture. 
"Em sorry. I didn't get y ne.” 
“Bradford Douglas,” he said, taking 

the picture. 

Bradford Douglas. Douglas, B. in the 

directory downt uneni 51. 
"Recognize her?" Kling said. 


"No. I don't know her," Douglas said, 
and handed back the picture. 
Do you live here, or work here, or 
what?” Kling asked. 

“I live here.” 


m trying to find out whether you 
here in the building vesterd 
between’ 

“Why do you want to know that? 

“Because the girl was seen here some- 
time between twelve thirty and one forty- 
five yesterday. ...” 

“Twas only here till noon.” 

"You left at noon 
1 was waiting for a friend of 


were 


“Yes. 


ne did your friend get here? 
tle past twelve. What the hell 
ve to do. 


tor might've seen her" Kling 
said. “И somebody came to visit, һе... 
or һе... might've seen the girl.” He 


«а is here, 


Vho w 


сап you tell 


No. 
“Why not? 
у it would be indiscreet 


of 


Lers say marriage is a delicate 
rangement, ОҚУ" 
On you 
No. 
Then your visitor. 
d of conversation,” Douglas said. 
1 wish you'd help me, Mr. Douglas. 
ise, you see, this girl's been missing 


ттіса, Mr. Dougla 


Bec 


for two years now, and if there's 


who might've seen he 
“End of conversation,” 


Douglas said 


п. 
“You left here at twelve, hu 
“A little alter twelve, yes. 
Left your visitor here alone, huh, 
“L dont want to talk about any vis 


йогу,” Douglas said. 
“Where'd you go? When you left 
here.” 


“To work.” 

“What kind of work do you do: 
“I'm a model,” Douglas said. 
“Photog: 


Iostly fashion, occasional becfcake." 
“Uh-huh,” Kling said. 
“Will that help you find your run- 
away?" Douglas asked. 
“Хо, but 
"b didn't think it would. If 
excuse me now, I've got company. 
"Company? 
“In the other room." 
«c 


you'll 


"What" 


“Fine,” Kling said. 

“That it?" 
Id she possibly have seen the girl 
I'm looking for? 

“No.” 
How do you know that 
“Because she wasn't here 
afternoon when you say yo 
was spotted 
Ah. OK, then,” Klin 


yesterday 
runaway 


Hope you 
Yes, thank ” Kling said. 
The door closed behind him. 
ited until Douglas had locked it 
chained it, and then put his ear to the 
wood. 

“It's OK, 
11 


honey 
He's gone now. 
. 

Тһе first shot came аз he was walking 
out of the building. it took him com- 
pletely by surprise. 

He heard the roar of the gun some- 
where off to his left, beyond the circle of 
light cast by the strect-corner lamppost. 
heard the slug as it whacked home 
against the brick of the building, saw 
Írom the corner of his eye the brick a 
foot y from his head shatter with the 
impact of the bullet. throwing flying 
pieces of soorstained red into the air. 
By the time the second shot came, he was 
Hat on his belly on the sidewalk. his 
pistol in his hand, his hcart beating 
ly, his eyes scanning the darkness 
beyond the circle of light. 
third shot, triggered off in haste, 


" he heard Doug! 


There was a 
nd 


then the sound of footsteps pounding 
away into the darkness. As he scrambled 
to his feet, he saw the running man 
crossing the pool of light under another 
Jamppost. Dark windy 
Gun ff 72 his right hand as he 
pumped the air like a track star. He 
ed around the corner just as 
m, and wis gone 
ached the lamppost there. 
th. Kling walked back to 
he thought the shots had come 
hands and knees, he began 
pavement, touching, feel- 
1 his fingers, look- 
gc cases. All he got 
ither this wasn't the 
exact spot or the man had been firing а 
revolver rather Шап ап automatic. Hc 
went back to where he'd been standing 
when the shooting started. The hole 
the brick wall was at lc: inches in 
diameter: his 
high-powered gun. The are: 
He looked up d down the street, 
hoping to find а radio motor-patro] c 


h his palms a 
ng for spent cart 


was dark. 


the parrolmen would be carrying torch 
lights. The street was empty of trafic. 
Never а cop around when you needed 


one. He got down on his hands and 
knees again. in the dark. and began 
feeling the sidewalk, searching for b 
lets. Hc found only one, in pretty good 
shape, not too badly deformed. He 
pocketed the slug, debated phoning this 
in to the local precinct and decided 
inst it. Instead, he walked up to the 
lighted avenue two blocks away. and 
hailed a taxi there, and told the drive 
10 take him to Long General. 

There were no photographers 
models outside the hospital. 

. 

She came into the apartment at a 
litle after midnight. He was sitting 
before the television. set, watching the 
nning of an old movie. "Hi," she 

nd came into the living room, and 
top of his head. 
he asked. 

Tt was called off 


nd no 


" she s; 


“Some trouble with the hospital. They 
it 


didn't want us shooting outside. Said 

would disturb the patients 
So where'd vou end up shooti 

asked. 

"t Had 

stead. Up at Chelse 


big mee 


Chelsea TV, 
о are the: 


Inc." 


he asked. 


ad firm shooting the com- 
“Oh” he said. "So what was the 
meeting about?” 


Rewriting, rescheduling. picking a 
v location, the same old jazz." 

hey needed you for that, huh: 
For wh 


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PLAYBOY 


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“Rewriting, and rescheduling, 
“Wall, Larry wants me for the spot." 

Larr 

“Patterson. At Chelse 
spot and he's directing i 

‘Oh, yeah, right.” 

“So we had to figure out my availa- 
bility and all that.” 

He found himself staring at her, just 
the way he'd stared at her on their 
first date so long ago, couldn't stop 
staring at her. When finally she'd told 
him to stop it, he was forced to admit 
hed never been out with a girl as 
beautiful as she was, and she simply 
said he'd have to get over it 


He wrote the 


he could 
still remember her exact words. 

“Well, you'll have to get over it. Be- 
cause 1 think you're beautiful, too, and. 
we'd have one hell of a relationship if 
all we did was sit around and stare 
at each other all the time. I mean, 
1 expect we'll be seeing a lot of cach 
other, and Га like to think Fm per- 
mitted to sweat every now and then. T 
do sweat, you 

Yes, Gussie, he thought, you do sweat, 
І know that no 


ом 


nd once when you 
got drunk with all those flitty photog 
rapher friends of yours, I held your 
head while you vomited, and I put you 
10 bed afterward and wiped up the bath- 


room floor, yes, Gussie, 1 know you 
sweat, I know you're human, but, Jesus, 
Gussie, do you have to . . . do you 


have to do this to me, do you have to 

behave like . . . like а goddamn bitch 

in heat? 

"Thinking of going down to South 
America to do it,” Augusta said 

"What?" Kling said. 

“Larry. Shoot the spot down there. 
Th "s snow down there now 
the symbolic mountain 
mounta: nstead. 

“What symbolic mounta 

“Long General.” 

So you'll be going to South America, 
huh? 

“Just for 
"When: 
“Pretty soon, 1 guess 

still snow. This is like 

you know." 

“Yeah,” Kling said 
month sometime? 

“Probabl 
“Did you tell him you'd go?” 

“1 don't get many shots at television, 
Bert. This is a full minute, the expo- 
sure'l mean a lot to me 

“Oh, sure, 1 know that.” 

“I'll just be for a few days." 

“Who'll be going down there?" he 
asked. 

“Just me, and Larr 
o other mode 

“He'll pick up his extras on the spot." 

^L don't think I've met him,” Kling 
said. "Have I met him?” 

“Who?” 


Forget 
do it on a real 


few days. If it works out.” 


While there's 
their winter. 


Like when? This 


and the crew.” 


“Larry Patterson." 

“No, I don't think so," Augusta said, 
and looked away 

. 

He chose Ah Wong's downtown on 
Boone Street for three reasons: First, 
Augusta had told him she'd be working 
that Wednesday morning at Tru-Vue, 
a photography studio close to the res- 
taurant; second, it was here that she was 
supposed to have been last Saturday 
night, and when he baited his trap, he 
wanted her to remember, if only un- 
consciously. that she was à woman in 
volved in an affair. а woman searching 
for opportunities to deceive: and third. 
the restaurant was close to the various 
courthouses downtown, where he hoped 


10 go for his search warrant the moment 
he got the quick report Ballistics had 
promised him. 

They met a little after 12 noon 

She looked so radiantly beautiful that 
he almost forgot his resolve. 

She complained about having to work 
all morning under the hot lights, and 
he told her all about what a hard day 
it had been in court all morning. where 
he'd been testifying on a burglary arrest 
he'd made (wo months back; he did not 
mention that he had gone to the lab 
first, to drop off the bullet that had 
been fired at him the night before. 
Gingerly. he approached the trap he 
had carefully constructed. 

"Damn thing is" he said, "Ive got 
night watch again tonight. 

"How come?” she asked. 

“Parker's sick,” he said. 

He had deliberately chosen Parker 
because he was one of the few cops they 
did not see socially; he did not want 
to risk using Meyer or Brown or any 
of the other cops Augusta knew: a сай 
‘friend could blow 


from a wife or a 
the whole scheme. 


He came down with a cold,” Kling 
said. “I think he's faking, but who can 
tell with Parker? Anyway, Pete asked 


me to sub lor him tonight.” 

“So what does that me 
One to nine in the morning.” 

Augusta said nothing. He thought he 
noticed her chopsticks hesitating on 
the way to her 
low 


mouth. Her 


eyes were 


y she 
“At headquarters. But well b 
on the most of rhe time 
added. 
1 thought we were going to a movie 
1," Augusta said. 
ah. well, what can you d 
"Actually, we could still go, couldn't 
we? If you don't have to be downtown 
till one? 
TH be in the squad room till acu 
hon," he said. “Paperwork on this sui- 
cide we're working.” 
Augusta hesitated. “Maybe КИ go to 
the movies alone; would you mind that?" 


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“Why would I?" he said. 

“Wall, after what that twerp Monica 
told you. ...” 
"ve forgotten all about that,” Kling 


1 be wearing a wig next time 
Augusta said. “Pull out all 
her hair, that bitch.” 

"Don't do anything I'd have to arrest 
you for,” Kling said, and forced a smile. 
“I still can't get over her; I mean it.” 
“Why don't you put it out of your 
mind?” he said, and covered her hand 
with his ома 

“Well, goo 

“What 
up there?” he asked. 

Augusta looked at her watch. 
have a few minutes,” she sai 
we be going out to dinner tonight, or 
what?” 

“I planned on catching a sandwich 
in the squad room." 

Augusta pulled a face. "Great," she 
said. “That means I won't be seeing 
you till nine tomorrow morning." She 
looked at her watch again. “I've got 
to run," she said. “Before they start 
screaming up there." She pushed back 
her chair, came around to where he 
was sitting, kissed him on the cheek 
and said, “Ве careful tonight, OK?" 

“You, too,” he said. 

"I be home with the door locked,” 
she said, “you won't have to worry." 

"] mean, on the way home from the 
mo 

“I will Bye, darling,” she said, and 
kissed him again on the cheek, and then 
walked swiftly to the front door, and 
turned at the door to throw a kiss to him 
before she went out. He sat at the table 
for several moments longer, and then 
paid the check and went to the tele- 
phone booth near the doors to the 
kitchen. He dialed the squad-room num- 
ber directly, bypassing the muster desk. 
Carella picked up on the third ring. 

“J was just going down to lunch," he 
said. "Where are you?" 

"Downtown here," Kling said. "I just 
got out of court. Did I get a call from 
Ballistics?” 
“Yeah, from Dorfsman. He said to tell 
you the bullet's a Remington .41-caliber 
Magnum, soft point. Average velocity of 
such a bullet is something like seventeen 
hundred feet, with a resulting paper 
energy of almost fourteen hundred foot- 
pounds. Dorfsman said that’s enough to 
stop a grizzly dead in his tracks.” 

“Did he say what kind of gun?” 

“A Ruger Blackhawk.” Carella paused. 
“Which case is this, Bert? I don't re- 
member any- 

“TIl sce you later,” Kling said, and 
hung up before Carella could ask him 
anything more. 


. 
For the first time in his capacity as a 
police officer sworn to uphold the laws of 


the city, state and nation, Kling lied on 
an official application. Moreover, he lied 
both in writing and later orally to a 
Supreme Court magistrate. Kling's aff 
davit read: 


1. I am a detective of the Police 
Department assigned to the 87th 
Detective Squad. 

2. I have information based upon 
my personal knowledge and belief 
and facts supplied to me at the scene 
by the victim that an attempted 
murder occurred outside 641 Hop- 
per Street at 11:10 р.м. this Tuesday 
past, August 12. 

8.1 have further information 
based upon my personal knowledge 
and belief and facts disclosed to 
me by the victim of the attempted 
murder that several shots were dis- 
charged during the attempt. 

4. I have further information 
based upon my personal knowledge 
and belief that the firearm used in 
the murder attempt was a .44-caliber 
Ruger Blackhawk firing .44-caliber 
Remington Magnum cartridges, as 
confirmed by Michael O. Dorfsman 
of the Ballistics Unit this day, Au- 
gust 18, working from a bullet I 
personally recovered from the side- 
walk outside 641 Hopper Street. 

5. I have further information 
based upon my personal knowledge 
and belief and on information sup- 
plied to me, that a tenant named 


Bradford Douglas is in possession of 
a pistol of the same caliber and an- 
ig the description of the pistol 
used in the attempted murder. 

6. Based upon the foregoing reli- 
able information and upon my per- 
sonal knowledge, there is probable 
cause to believe that the pistol in 
possession of Bradford Douglas 
would constitute evidence in the 
crime of attempted murder. 

Wherefore, I respectfully request 
that the court issue a warrant in the 
form annexed hereto, authorizing a 
search of the person of Bradford 
Douglas and the premises at 641 
Hopper Street, apartment 51. No 
previous application in this matter 
has been made in this or any other 
court ог to any other judge, justice 
or magistrate. 


The judge to whom Kling presented 
his signed affidavit read it over carefully, 
and then looked up over the rims of his 
eyeglasses. 

“What were you doing all the way 
down there, son?” he asked. 

“Your Honor?” 
"Long way from the Eighty-scventh, 
n't it? 

‘Oh, yes, your Honor. I was off duty. 
Just coming from a restaurant when I 
heard the shooting." 

“Did you see the perpetrator?” 

Мо, your Honor.” 
"Then you only have the victim's 


“You mean when you were my age you had 
to jerk off instead of getting laid?” 


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word that a murder attempt was made.” 

“I heard the shots, your Honor, and 
l recovered a spent bullet from the 
pavement, which would seem conclusive 
evidence that a pistol had been fired. 

"But not necessarily in a murder at- 
tempt.” 

“The victim says the gun was fired at 
point-blank range, your Honor.” 

“1 see. And you believe this gun 
might be in the apartment you want to 
search?” 

"Yes, your Honor, thats my firm 
belief.” 

“Where'd you get this information?” 

“From the super of the building, a 
man named Henry Watkins. He's seen 
the pistol, your Honor 

“When did you plan to conduct this 
search?" 

“Tonight, your Honor. As soon as 
l can ascertain that Mr. Douglas is at 
home." 

Mm,” the judge said. 

“Your Honor, I would also like a no- 
knock provision.” 

“On what basis?” 

“Information and belief that there 
is a lethal weapon in that apartment, 
your Honor. A .44-caliber Magnum is a 
high-powered 

"Yes, yes," the judge said. “All right," 
he said, “I'll grant the warrant. And the 
no-knock.” 

“Thank you, your Honor,” Kling 
said, and took his handkerchief from his 
pocket, and wiped his brow. 

The lie, as he rationalized it, was 
only a partial falsehood. An attempted 
murder had taken place, and the 
weapon he'd described was the one used 
last night. But neither Henry Watkins 
nor anyone else had told him Bradford 
Douglas was in possession of such a 
gun; if, indeed, he found it in Douglas’ 
apartment tonight, that would be strictly 
a bonus. He would be going there 
tonight looking for Augusta. The no- 
knock provision gave him the right to 
kick in the door, no hiding in a doset 
or a bathroom, catch her there dead to 
rights. 

As he came down the broad white 
steps of the courthouse, the heat еп- 
veloping him like a shroud, he felt a 
gloomy certainty that tonight would be 
the end of it. And he longed for it to 
be the beginning instead, when he and 
Augusta were both fresh and new and 
shining with hope. 

Hope is the thing with feathers. 

P 

Halloran watched him as he came 
down the courthouse steps. 

He wondered what he'd been doing 
up there. Went to court this morning, 
met the redhead for lunch at 12, then 
went back to the courthouse again. Busy 
with ttle cases, the bastard. The 
redhead would be living with a corpse 
tomorrow morning. 

He had missed last night, but he 


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262 


wouldn't miss again. 

Tonight, he wouldn't miss. 

Tonight, hed shove the gun in that 
bastard's face and do the job right, make 
the bastard eat the barrel and chew on 
the slug before it ripped off the back 
of his head. 

Tonight. 


He wanted to make sure he'd given 
her enough time to get here. 

She had called him at the squad room 
at nine o'clock, to say she would be 
catching the 9:27 show, just around the 
corner, he didn’t have to worry about 
her getting home safe, the avenue was 
well lighted. She had then gone on to 
reel off the name of the movie she'd 
be seeing, the novel upon which it was 
based, the stars who were in it, and 
had even quoted from a review she'd 
read on it. She had done her home- 
work well. 

It was now a little past ten. 

The windows on the first floor of the 
Hopper Street building were lighted: 
Michael Lucas, the painter, was home. 
On the second floor, only the lights to 
the apartment shared by Martha and 
Michelle were оп. The lights on the 
third and fourth floors were out. as 
usual. Only one light burned on the 
fifth floor, at the northernmost end of 


Bradlord Douglas’ apartment—the bed- 
room light, Kling thought. 

He waited. 

In a little while, the light went out. 

He crossed the street and rang the 
service bell. Henry Watkins, the super- 
intendent he'd talked with last night, 
opened the door when he identified 
himself. 

“What's it now?” Watkins asked. 

Same old runaway," Kling said. 
Have to ask a few more 
"Help yourself,” Wat 
shrugged, “Let yourself out when you're 
finished; just pull the door shut hard 
behind you.” 

“Thanks,” Kling said. 

He started up the iron-runged steps. 
On the first floor, a stereo was blaring 
rock'n'roll music behind Lucas’ closed 
door. On the second floor, he heard 
nothing as he passed the door to the 
apartment shared by the two women. 
He walked past the studio belonging 
to Peter Lang, the photographer on the 
third floor, and then took the steps 
up to the fourth floor. The light was 
still out in the hallway there. He picked 
his way through the dark again and 
went up the stairs to the fifth floor. 

His heart was pounding. 

He stood outside the door to apart- 
ment 5] and listened. 


“Believe you me, 
Га certainly prefer spending 
my time on the Hill deciding when life begins 
to worrying about somebody trying to nail me 
with a fake sheik.” 


Not a sound. 

He took his gun from his shoulder 
holster. Holding it in his right hand, he 
backed away from the door and then 
leveled a kick at the lock. The door 
sprang соеп, wood splinters flying. He 
moved into the room swiftly, slightly 
crouched, the gun fanning the air ahead 
of him, light filtering into the room 
from under a door at the end of the hall, 
to his left. He was moving toward the 
crack of light when the door flew open 
and Bradford Douglas came into the hall. 

He was naked and holding a baseball 
bat in his right hand. He stood silhou- 
etted in the lighted rectangle of the 
doorway, hesitating there before taking 
a tentative step into the gloom beyond. 
"Police," Kling said. "Hold it right 


there! 
‘What the hell? Who... 2" 

Kling moved forward into the light 
spilling from the bedroom. Douglas rec- 
ognized him at once, and the fear he'd 
earlier felt was replaced by immediate 
indignation. And then he saw the gun 
in Kling's hand, and a new fear washed 
over him, struggling with the indigna- 
tion. The indignation triumphed. “What 
the hell do you mean, breaking down 
my door?" he shouted 

“Tve got a warrant,” Kling said. 
"Who's in that bedroom with you?” 

“None of your business,” Douglas said. 
He was still holding the bat in his right 
hand. “What warrant? What the hell is 
this?” 

“Here,” Kling said, and reached into 
his pocket. “Put down that bat.” 

Without turning, Douglas tossed the 
bat back into the bedroom. Kling waited 
while he read the warrant. 

“Attempted murder?” Douglas said. 
“What attempted murder?” He kept 
reading. “I don't have this gun you 
describe; I don't have amy gun. Who 
the hell said I" 

“J haven't got all night here," Kling 
, and held out his left hand. “The 
warrant gives me the right to search 
both you and the apartment. It’s signed 


"No, just a goddamn minute," 
Douglas said, and kept reading. “Where'd 
you get this information? Who told you 
I've got this gun?” 

“That doesn't matter, Mr. Douglas. 


"Let me have it. 
inside." 
"I've got somebody with me,” Douglas 


And let's take a look 


"Your warrant doesn't give you the 
right to" 

"We'll worry about that late 

"No, we'll worry about it now,” Doug- 
Tas said. 

"Look, you prick," Kling said, and 
brought the pistol up close to Douglas" 


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face, "I want to search that bedroom, 
do you understand?" 

"Don't get excited," Douglas said, 
backing away. 

“I am excited,” Kling said, "I'm very 
excited. Get out of my way." 

He shoved Douglas aside and moved 
into the bedroom. The bed was against 
the wall at the far end of the room. The 
Sheets were thrown back. The bed was 
empty. 

"Where is she?" Kling said. 

“Maybe the bathroom,” Douglas said. 

"Which door?" 

“I thought you were looking for а 


‘Which door?" Kling said tightly. 
“Near the stereo there," Douglas said. 
Kling went across the room. He tried 

the knob on the door there. The door 

was locked. 

“Open up, or I'll kick it in," he said. 

From behind the door, he could hear 
a Woman weeping. 

He heard the small oiled click of the 
lock being turned. He caught his breath 
and waited. The door opened. 

She was not Augusta. 

She was a small dark-haired girl with 
wet brown eyes, holding a bath towel to 
cover her nakedness. 

“He's got a warrant, Felice,” Douglas 
said behind him. 

The girl kept weeping. 

“Anybody else here?” Kling asked. He 
felt suddenly like a horse's ass 

“Nobody,” Douglas said. 

"I want to check the other rooms.” 

“Go ahead.” 

He went through the apartment, turn- 
ing on lights ahead of him. He checked 
each room and every closet. There was 
no one else in the apartment. When he 
went back into the bedroom, both Doug- 
Jas and the girl had dressed. She sat on 
the edge of the bed, still weeping. Doug- 
las stood beside her, trying to comfort 
her. 

“When I was here last night, you told 
me you'd had a visitor the day before.” 
Kling said. “Who was your vi г?” 

“Where does it say in your war- 
rant ——" 

"Mr. Douglas" Kling said, "I don't 
want to hear any more bullshit about 
the warrant. All I want to know is who 
was here in this apartment on Monday 
between twelve thirty and one forty-five. 

"1... I'd feel funny telling you that. 

“You'll feel a lot funnier if I have 
to ask a grand jury to subpoena you,” 
Kling said. “Who was it?” 

“A friend of mine.” 

“Male or female?” 

“Male.” 

“What was he doing here?” 

"I told him he could use the apart- 
ment.” 

‘What for?" 
“Hes... 

seeing." 

“Who?” 


there's а girl he's been 


“І don't know her name." 

"Have you ever met her?" 

“No.” 

“Then you don't know what she looks 
like." 

Larry says she's gorgeous.” 
апу?" 

у friend.” 

Larry who?" Kling said at once. 
arry Patterson.” 

Kling nodded. 

"He's married, so's the broad," Doug- 
las said. "He needed a place to shack 
up: I've been lending him the pad here. 
I do a lot of work for him. He's one 
of the creative people at—— 

“Chelsea TV,” Kling said. “Thanks, 
Mr. Douglas, I'm sorry for the intru- 
sion.” He looked at the weeping girl. 
“Im sorry, Miss" he mumbled, and 
quickly left the apartment. 

D 

It was almost 11:30 when he got home. 

He inserted key into the lock, and 
then opened the door. The apartment 
was dark, he reached for the switch 
just inside the door and turned on the 
lights. He was bone-weary and suddenly 
very hungry. He was starting toward 
the kitchen when he heard the sound 
in the bedroom. 

"The sound was stealthy, the sound a 
burglar might make when suddenly 
surprised by an unexpected arrival 
home, nothing more than a whisper, 
really. a rustle beyond the closed bed- 
room door; he reached for the shoulder 
holster and pulled his gun. The gun 
was a .38 Smith & Wesson Centennial 
Model with a two-inch barrel and a 
capacity of five shots. He knew this 
was not a burglar in there, this was 
Augusta in there, and he knew further 
that she was not alone, and hoped he 
was wrong, and his hand began sweat- 
ing on the walnut grip of the pistol. 

He almost turned and left the apart- 
ment. He almost holstered the gun, and 
turned his back on that closed bedroom 
door, on what was beyond that closed 
bedroom door, almost walked out of 
the apartment and out of their life as 
it had been together, once, too long ago, 
almost avoided the confrontation, and 
knew it could not be avoided, and be- 
came suddenly frightened. As he crossed 
the room to the bedroom door, the gun 
was trembling in his fist. There could 
have been a hatchet murderer beyond 
that door, the effect would have been 
much the same. 

And then the fear of confrontation 
gave way to something alien and even 
more terrifying, a blind, unreasoning 
anger, the stranger here in his own 
home, the intruder in his bedroom, the 
lover who was Larry Patterson, here with 
his wife, the trap sprung, she thought he 
would be working the night watch, she 
knew she would be safe till morning, 
there hadn't been a movie at all, there 
was only the movie here in this bedroom, 


his bedroom, an obscenely pornographic 
movie behind that closed door. 

He took the knob in his left hand, 
and twisted it, and opened the door. 
And he hoped, in that final instant, 
that he would be wrong again, he would 
not find Augusta in this room, not 
find Augusta with her lover but instead 
find a small, brown-eyed girl who went by 
the name of Felice or Agnes or Charity, 
a mistake, somehow, a comedy of errors 
they would laugh about in later years. 

But of course it was Augusta. 

And Augusta was naked in his bed, ab- 
surdly clutching the sheet to her breasts, 
hiding her shame, protecting her naked- 
ness from the prying eyes of her own 
husband, her green eyes wide, her hair 
tousled, а fine sheen of perspiration on 
the marvelous cheekbones that were 
her fortune, her lip wembling the way 
the gun in his hand was trembling. 
And the man with Augusta was in his 
undershorts and reaching for his trousers 
folded over a bedside chair, the man 
was short and wiry, he looked like one 
of the squad's file clerks, curly black 
hair and brown eyes wide in terror, 
looked absurdly like one of the clerks, 
but he was Larry Patterson, he was 
Augusta's lover, and as he turned from 
the chair where his trousers were draped, 
he said only, "Don't shoot," and Kling 
leveled the gun at him. 

He almost pulled the trigger. He al 
mast allowed his anger and his humil 
ation and his despair to rocket into his 
brain and connect there with whatever 
nerve endings might have signaled to 
the index finger of his right hand, cause 
it to tighten on the trigger, cause him 
to squeeze off one shot and then an- 
other and another at this stranger who 
was in that moment a target as helpless 
as any of the cardboard ones on the fir- 
ing range at the academy—do it, end itl 

But then—and this was against every 
principle that had ever been drilled 
into him throughout the years he'd 
spent on the force, never give up your 
gun. hang on to your gun, your gun is 
your life, save the gun, keep the gun— 
he suddenly hurled it across the room. 
as though it had become malevolently 
burning in his hand, threw it with all 
his might, surprised when it collided 
with а vase on the dresser top, smashing 
it, porcelain shards splintering the air 
like the debris of his own dead mar- 
riage. 

His eyes met Augusta's. 

‘Their eyes said everything there was 
to say, and all there was to say was 
nothing. He turned away swiftly and 
rushed blindly out of the bedroom, 
hurling open the front door to the apart- 
ment, and rushing for the stairway 
without closing the door behind him, 
his eyes burning with unshed tears, 
dowa the steps to the entrance foy- 
er, opening the door there, the heat of 
the night striking him like a closed fist— 


265 


PLAYBOY 


and suddenly he was seized from behind 
MOUNT GAY WO. and pulled back into the foyer. 

AINUS FOR OVER YO TE The arm around his throat was thick 

3 and powerful, his hands came up at 
once, groping for the arm, and a voice 
whispered close to his ear, "Hello, 
punk," and he felt the barrel of a pistol 
against his temple, and he thought only, 
I threw.away my gun. And then, because 
he had been trained over the years to 
believe that a bad situation could only 
get worse, you made your move at once 
or not at all, he brought up his right 
foot instinctively, and smashed the heel 
of his shoe down hard on the man's 
instep, and shot his elbow back piston- 
hard at the same time, into the man's 
gut, and whirled into his embrace, 
knocking the pistol aside with his left 
hand and gouging at the man's eyes with 
the curled fingers of his right. The gun 
went off with a shockingly loud explo- 
sion, plaster falling from the foyer ceil- 
ing. the man screaming as Kling tore at 


/ 
AS MADE OVER 100 TERRE / 


ONTI BAD his eyes and then brought his knee up 
NE LAND, OF BAR into his groin and struck him across the 

һо ВК bridge of the nose with the flat edge of 
E ék uut н his hand, going for the kill, hitting him 


hard enough to drive bone splinters into 
his brain. The man reeled away, the gun 
still in his hand, and Kling butted him 
with his head, driving it fiercely against 
the man's jaw, fall, you bastard, the gun 
going off again, the shot reverberating 
like the roar of a cannon in the small 
hallway, the sudden stench of cordite on 
the sodden ай. He pulled back his fist 
and drove it with all his might at the 
man's Adam's apple, and felt him yield 
at last, saw him go limp at last, and top- 
ple at his feet like a giant oak, the gun 
clattering to the fioor beside him. 

Breathing hard, Kling looked down at 
him. 

He did not recognize the man. 

He took his handcuffs from his belt, 
and braceleted the man’s hands behind 
him, and then he sat down on the hall- 
way steps, still breathing harshly, and 
clasped his own hands in front of him 
as though in prayer, and lowered his 
head, and allowed the tears to come at 
last. 


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Carclla found him later that night in 
the swing room downstairs. The room 
was dark, Carella hadn't bothered to 
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door of the building and the parking 
lot, where he'd left his car. At first he 
saw only someone lying face downward 
on one of the cots. Then he realized that 
the person was crying. And then he 
recognized him as Bert Kling. 

He went to the cot. 

He sat on the edge of it. 

He put his hand on his friend's 
shoulder. 

“Tell me,” he said. 


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“Oh, no! Not thai delightful old gentleman in the 
Green Room with Elizabeth and Sylvia.” 


PLAYBOY 


268 


RAGING BEAUTY 


(continued from page 122) 


“But it’s more than her fabulous body and gorgeous 
face. Vikki La Motta loves men and it shows.” 


deep breath. “I couldn't sleep and I 
went into the room and sat on the floor 
by the couch. He was snoring just а little 
bit. I kept thinking, This is Robert 
De Niro on my couch, the face from 
Mean Streets and The Godfather, Part 
11. Then I got up and moved closer and 
watched him sleep.” 

De Niro returned to New York but 
would call Vikki often with questions. 
Is this how Jake talked? Is this how 
she behaved? Did she remember апу 
jokes Jake had told her? And then 


Vikki was summoned to New York. 
De Niro and Scorsese sat in her hotel 
suite and, with De Niro playing Jake 
and Scorsese playing all the other parts, 
they read her the script from beginning 
to end. “They wanted the truth,” she 
says. 

Vikki was now completely absorbed in 
the film, She stopped going out and 
broke off all her romantic involvements. 
“I didn’t want anyone to interfere,” she 
explains, “I wanted to be prepared, in 
case I got a call from De Niro.” 


“Relax, lady, I’m not just any Peeping Tom— 
you're on closed-circuit TV.” 


De Niro's obsession with detail, truth. 
and getting it right is legendary and, as 
he got more and more into the role of 
Jake, things got very confusing for Vik- 
ki. Where did De Niro end and Jake 
begin? Just how far does one take this? 
To the logical end? 

“I wanted to,” she recalls. "In fact, 
for a time, 1 thought, How could I not? 
An affair seemed the most natural thing 
to do. But Bob,” smiles Vikki, “wanted 
things to be businesslike.” She smiles 
again. “I should have just attacked him 
or something. But I got shy. If I were 
just attracted to him sexually and didn't 
like him, I would have known just how 
to make it happen. But I was intimi- 
dated and did everything wrong, 

Like the night she and De Niro had 
dinner in New York and he returned 
to her hotel suite to look through some 
family books and pictures. It was very 
late and De Niro was duc back at her 
hotel the next morning for а meeting. 
“Anyone else,” sighs Vikki, "I would 
have just said, ‘Stay here . . . I have 
room. Or I would have at least offered 
him a drink, a cup of coffee, some water. 
He's so sweet and so easy to be nice 
to." She grimaces. 

"Instead, I sent this man out into the 
streets. When he came back a few hours 
later, he brought his own container of 
coffee." 

The number of waiters buzzing 
around Vikki keeps growing. But it's 
more than her fabulous body and gor- 
geous face. Vikki La Motta loves men 
and it shows. She knows how to make 
men feel good. She smiles, bats her eyes, 
cocks her head, winks. Vikki is an old- 
fashioned flirt. Pure and simple. 

But even more seductive is her excite- 
ment about life, In an age of cynicism, 
Vikki La Motta is a romantic and just 
a whole Jot of fun to be around. “1 
think of myself as а little girl,” she says, 
“so everything and everyone is fresh and 
new. I have absolutely no memories of 
the past, nothing to inhibit. I put no 
importance on suffering. I don't think 
suffering is a necessary U in your 
life and I don't believe that it leaves a 
permanent scar on your soul. 

It's late and Vikki drinks the last of 
her wine. "People walk around, crying, 
"Oh, what I've been through, what Гуе 
suffered!’ Well, big deal Years later, 
they're still living it. I don't mcan that 
І didn’t suffer, that I didn't feel pain. 
But so what? Next case. 

"The key to remaining sexy," Vikki 
emphasizes, "is to remain passionate; 
about life, people, everything. Age 
doesn’t matter.” 

в 


BILL RODGERS | 
GIVES ROCSPORTS 
HIS STOMP OF 
APPROVAL. 


(Yes, this is BIs foot.) 


Asthe No. 1 lor 
runner in the world for 3 
out of the last 5 years, 


Last year, Bill Rodgers ran 


about 7000 miles. And when 
he wasn't doing that, he was 
racing around running his 
own chain of stores. 

So how is it that Bill's feet 
are still Bill's fiends? 

Bill wears RocSports. 

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that weigh about as muchas 
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Support 

Plus, the system's spe- 
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shape of your foot. T 
port System is the heart И 
the shoe. 

The sole is genuine 
Vibram® 

And the combination is 
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Extremely light. О 
comfortable. A shoe that can 
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Bill's feet have been very 

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With RocSports, he's sim- 
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From the people who put feet first Rockport 


PLAYEOY 


270 


(continued from page 176) 


“Kidder becomes the kind of girl that any man, Super 
ornot, would want to take off with.” 


Kind. Harrison Ford, playing a shy, 
bespectacled archaeologist in the class- 
room, becomes in the field—well, Super- 
man, except that he can't fly. 

Ford, whose association with Lucas 
dates as far back as American Graffiti, 
here emerges as a major addition to the 
very thin ranks of credible action heroes. 
He's not as handsome as Errol Flynn, 
Cary Grant or Douglas Fairbanks, Jr., 
were in their salad days, yet his verve 
and aplomb vividly recall those valiant 
swashbucklers. And in Raiders, he's 
teamed with feisty Karen Allen as the 
girl he put behind him years ago but 
never quite forgot. Allen insists on ac- 
companying Ford on his wild adventure 
and, instead of lousing up everything in 
the dubious tradition of action-adven- 
ture heroines, actually saves Ford's neck 
when he tangles with the Nazis. She may 
panic at the sight of a viper in her shoe, 
but the film makes it clear that snakes 
give Ford the shakes, too. It's a nice 
switch. In keeping with the ethos of the 
genre, there isn't much love stuff be- 
tween them; but, as they say, they have 
a good relationship. 

So do Clark Kent and Lois Lane in 
Superman П, another of the year's box- 
office triumphs—especially after Lois 
finally comes to recognize that the mild- 
mannered Kent is, in fact, her adored 
Man of Steel. Much of the plot for this 
second outing hinges on Superman's 
realization that before they can consum- 
mate their mutual passion, he must re- 
nounce his Krypton-bred powers and 
turn mortal. He tries it for a while; but, 
once again, the world is in danger—this 
time from three evil Kryptonites (Ter- 
ence Stamp, the giant Jack O'Halloran 
and leather-dad Sarah Douglas), all of 
them equipped with the strength, the 
speed and the prescience of Superman 
himself. Will Superman give up his mor- 
happiness to save humanity one more 
time? Stay tuned for Superman ПІ. 

Meanwhile, Superman II remains a 
grand entertainment, loaded with 
tongue-in-cheek action and tickled up 
with slier, subtler one-liners than the 
original. Christopher Reeve continues 
to impress both as the Man of Steel 
and as the clumsy, diflident Clark Kent, 
but it’s Margot Kidder who dominates 
the movie as pert Lois Lane, girl re- 
porter. Dropping withering one-liners, 
she can be hard as nails опе moment, 
swoony as a groupie the next—and se- 
ductive all the time. The first time 
around, one was never quite sure what 
Superman saw in that petulant, demand- 
ing little creature; in Superman II, 


whether because of superior writing or 
a more skillfully pointed performance 
(or both), Kidder becomes the kind of 
girl that any man, Super or not, would 
want to take off with. 

Surprisingly, the latest caper of that 
somewhat more earth-bound superman, 
James Bond, also places the accent on 
sensational stunts rather than on sex- 

ional bed partners. For Your Eyes 
Only is 007's 12th outing for the astute 
producer Albert Broccoli, who perhaps 
thought it time to change the formula; 
gone are the squadrons of scantily 
clad girls, the backup of ingenious gadg- 
etry and most of Bond's risqué bons 
mots. In fact, once you get beyond Mau- 
rice Binders always eye-catching title 
design, that's it for erotica. The girl in 
this movie (Carole Bouquet—a beauty) 
doesn't even like Bond most of the 
way; she's more interested in avenging 
the machine-gunning of her parents on 
their yacht—which just happens to be 
Bond’s mission as well. Even though 
Roger Moore invests the role with his 
customary panache and the film's action 
passages are never less than terrific, its 
effect is a litle like hoping for cham- 
pagne and ending up with a cream soda. 

"This would seem to be the year for 
superheroes, however—past, present and 
imaginary. Outland stars former Bonds- 
man Sean Connery in a reprise of Gary 
Cooper's implacable sheriff from High 
Noon—only this time the story's set in 
outer space. Both Flask Gordon and 
Popeye joined Superman in deserting 
the comic strips, though neither did 
nearly so well for itself or its maker. 
And out of the mist of legend come such 
staunch and heroic figutes as King Ar- 
thur and Sir Lancelot (Excalibur), val- 
iant young Perseus (Clash of the Titans) 
and the doughty Galen (Dragonslayer). 

In most legends, the patterns are not 
only simple but similar: A golden youth 
sets out to slay one or more mythic 
beasts, all for the love of a lady and in- 
variably aided by an elderly soothsayer. 
(George Lucas knew so well what he 
was doing when he created the Alec 
Guinness character, Obi-Wan Kenobi, 
for Star Wars.) Ralph Richardson per- 
forms this role in Dragonslayer: he's a 
magician who realizes that the time for 
magic is running out as the Dark Ages 
draw to a close, but who nevertheless 
passes on his waning art to his young 
apprentice, Peter MacNicol. It scems 
that in the neighboring kingdom there 
lives a fearsome dragon that the local 
king appeases by offering up each year 


two fresh virgins, sclected by lottery. 
His subjects are understandably upset— 
particularly since the king protects his 
own daughter by keeping her name out 
of the drawing. MacNicol, though still 
a novice at sorcery, rises to the occasion, 
aided by spunky Caitlin Clarke (whose 
father had kept her out of the draft by 
pretending she was a boy) and by the 
princess (pretty Chloe Salaman), who 
despises her father's sncaky way of spar- 
ing her life. But the dragon scenes are, 
indeed, awesome, and Clarke, making 
her screen debut, displays the sensuous 
charm and verve that mark her as a 
major discovery. 

In Clash of the Titans, the venerable 
seer is portrayed by Burgess Meredith, 
he of the dulcet TV sales pitches, with 
a wry assist from Laurence Olivier as 
Zeus, the illegitimate father of Perseus 
(Harry Hamlin), Andromeda (Judi Bow- 
ker), chained to a rock much of the time, 
isn't a big help; but Perseus can save her 
from becoming breakfast for the dread 
sea monster, Тһе Kraken, if he can 
deliver the severed head of the Medusa. 
Young Hamlin has an awful lot of ob- 
stacles to overcome, including his own 
diffident performance. Thanks to Peg- 
asus, his winged (if heavy-footed) horse, 
һе just makes it under the wire. 

Far closer to the magic core of legend 
is John Boorman’s dark, moody re-crea- 
tion of the days (and knights) of the 
Round Table in Excalibur. It's the Dark 
Ages as seen through the wise and wick- 
ed eyes of Merlin the Magician (won- 
derfully played by Nicol Williamson), a 
born troublemaker. He sets the tragedy 
in motion by transforming the lustful 
Uther Pendragon into a facsimile of 
the Duke of Cornwall, so that Uther can 
sleep with Cornwall's new bride. Mer- 
'в sole condition: Vhat issues from 
your lust must be mine.” What issues, 
of course, is Arthur, who, when he 
reaches 18, is empowered to withdraw 
from the stone in which it lies embedded 
the invincible sword Excalibur, the 
sword that makes him king. 

Arthur (Nigel Terry) marries the 
beautiful Guenevere (Cherie Lunghi); 
but Merlin, ever eager for mischief, leads 
him to believe that she has betrayed 
him with his most trusted knight, Sir 
Lancelot (Nicholas Clay). She hasn't, of 
course—at least not until Lancelot lies 
terribly wounded after a duel in defense 
of her honor. She comes to bind up his 
wounds but remains to make tender love 
by an idyllic lake. Meanwhile, Morgana 
(Helen Mirren), Arthur's power-hungry 
half sister, having mastered Merlin’s evil 
arts, transforms herself into Guenevere 
and sleeps with the king. She wants a 
son who will one day murder his father 
and rule the kingdom, with herself the 
power behind the throne. That son is 
Mordred (Robert Addie) and, in the 
manner of legends, he succeeds. In his 
dying moments, however, Arthur is able 


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to wrest from him the great sword, leav- 
ing himself the once and future king. 

All of this not merely works—its a 
masterpiece. It's a masterpiece because 
in this film, unlike others in the genre, 
Boorman lets us feel the humanity of 
the people. It's Arthur's too easily roused 
suspicions of his wife's chastity, then his 
brooding vengeance that transform the 
halls of Camelot into a dungeon. 

It may be sheer coincidence that three 
major motion pictures depicting the 
heroisms of distant ages arrived on 
the screen virtually simultaneously, but 
since all three have gone on to become 
outstanding box-office attractions, one 
can only conclude that they are touching 
some responsive chord in their audi- 
ences—the same chord, no doubt, that 
has also been sounded by the likes of 
Raiders of the Lost Ark, For Your Eyes 
Only and Superman 11. Perhaps it's 
simply a Hegelian reaction to all thc 
antiheroes who've been populating our 
films for so long—the killers on the run, 
the psychotics and psychopaths whose 
mothers abused them or whose wives 
didn't understand them, the loners liv- 
ing on the fringes of society. Maybe 
people need to believe agai such 
basic virtues as honesty and loyalty. If 
we can't find heroic figures in our real 
world, it’s sometimes necessary to make 
them up. 

In a sense, every movie is like a trial 
balloon. Because it generally takes a 
good two years to develop a picture 
from the idea stage to a release print, 
there's no possible way of testing the 
waters first. So when a film hits it big, 
as today's superhero films seem to be 
doing, one can't really congratulate the 
producer on his prescience. In the ab- 
sence of other guidelines, producers are 
prone to spot what they conceive to be 
trends and rush a picture into produc- 
on in the hope that the trend will 
still be going strong two years down the 
road. Altered States, based on the latc 
Paddy Chayefskys controversial novel, 
affords a perfect example, blending, as it. 
does, psychological horror with science 
fiction, two trends that have been stand- 
ing the test of time quite well. And 
fortunately, too, for in its troubled pre- 
production phase, this $15,000,000 film 
switched studios, director and special- 
effects expert. To make matters worse, 
Chayefsky, who also wrote the screen- 
play. demanded that his name be re- 
moved from the credits, publicly stating 
that he felt director Ken Russell had 
mangled his concept. Which is undoubt- 
edly true; Russell is notorious for going 
for the effect rather than the substance. 
This time he chose to play up the hor- 
ror aspects of altered consciousness, ret- 
rogressing his psychophysiologist hero 
(William Hurt) into a primitive, apelike 
killer. As in all of Russell's work, the 
film has an audacious, unique “look” 
to it from its very first shot of Hurt 


floating head down in a glass tank of 
warm watcr, cycs staring, clectrodes at- 
tached to his naked body, and all E 
liantly illuminated from within the tank. 
Ап experiment with hallucinogenic 
drugs leads to the equivalent of a light 
show, and the transformation of man 
into ape is impressively recorded. In 
addition, Hurt has a lovely, understand- 
ing wife (Blair Brown), an anthropologist 
whose strength, patience and physical 
presence help bring him back to the 
present. (Russell has never been one to 
resist a little nudity in his films, and the 
redheaded Brown is definitely worth 
looking at.) For all these reasons, Altered 
Stales proved to be a film with a strong 
appeal to the crucial youth audience. 

Sometimes, however, what seems on 
paper to be the perfect package just 
fails to ignite. Back Roads, for exam- 
ple, reunited diminutive Sally Field, 
fresh from her Norma Rae triumph, 
with Martin Ritt, her director on that 
film, Co-starring is Tonuny Lee Jones, 
who scored so heavily in Coal Miner's 
Daughter last year. This new story, 
with Field as a hooker and Jones as a 
failed boxer, never seemed to jell. Field, 
playing her role with a leathery tough- 
ness, made fine use of her provocative 
body, but Back Roads sank beneath the 
waves, leaving scarcely a ripple 

Or consider The Postman Always 
Rings Twice, based on James М. Cain’s 
steamy novel of adultery and murder 
that had been fired twice betore (once 
in Italy as Ossessione), Postman's pro- 
ducers trumpeted well in advance of its 
release that only now could Cain's sordid 
tale of lust in the dust be brou 
the screen as faithfully as Cain himself 
could wish: indeed, they promised that 
it would be the hottest movie ever to 
come from a major studio, and with ma- 
jor stars (Jack Nicholson and Jessica 
Lange). Bob Rafelson, the director, de- 
clared that he intended to shoot it as an 
X, then cut it for an R rating. By all 
accounts, that’s exactly what he did— 
but he didn't realize how much of the 
hard stuff would have to go to get the 
R. Between the elisions and the cut- 
aways, this Postman is just about as sani- 
tary as the John Garfield-Lana Turner 
version released by MGM in 1946. 

It’s just possible, in fact, that the 
earlier version was really the sexier. Of 
course, in 1946, no one would have 
dreamed of attempting to film even what 
remains of Nicholson and Lange's impas- 
sionate grapplings atop a kitchen table; 
but there was a good deal more of what 
used to be called sheer animal magnet- 
ism between Garfield and Turner than 
ever surfaces between the present pair. 
Although Lange puts on a heated show 
of passion, you keep expecting her to 
turn away from Nicholson whenever he 
makes a grab and mutter, witheringly, 
“Why don’t you get a shave?" To me, 
this Postman never rang the bell once. 


Nor was there much bell ringing for 
the John and Bo Derek version of 
Tarzan, the Ape Man—though the 
Edgar Rice Burroughs estate sought, 
vainly, to ring the bell on its very re- 
lease, claiming that the Dereks’ adapta- 
tion improperly reduced the Burroughs 
Character to the status of a supporting 
player. In a compromise move, and de- 
John Derek's outraged howls of 
artistic integrity," MCM agreed to re- 
lease the film minus about three and a 
half minutes of cuts dictated by New 
York Federal Court Judge Henry Werk- 
er—cuts, incidentally, that centered al- 
most exclusively on Воѕ extensive 
nudity. It's a new wrinkli censorship, 


and one that we hope won't be repeated. 


Once the reviews appeared, however, it 
was clear that what remained was essen- 
tially an animated reprise of PLAvnov's 
September Bo Derek layout (sans, of 
course, the poster pullout)—which, in 
all probability, is all that the Dereks 
were aiming for in the first place. 

Still of major topical interest this year 
has been the subject of women’s lib, 
whether presented through the lips of a 
subordinate player, such as Lisa Eich- 
horn's sodden but self-aware wife in 
Cutter's Way, or through the freshly 
opened eyes of а sprightly trio of office 
workers in Nine to Five. Eichhorn articu- 
lates clearly her awareness that she is be- 
ing used by the men in her life (Jeff 
_Bridges and John Heard) but, unable to 
change anything, she chooses drink—and 
possibly suicide. The girls in Nine to 
Five (Jane Fonda, Lily Tomlin and Dolly 
Parton) have a different out; at a pot 
party, each fantasies what she'd like 
to do to her supremely male-chauvinist 
pig of a boss (wonderfully played by 
Dabney Coleman). The irony is that 
soon after, their fantasies seem to be 
coming true. They string up Coleman in 
a room, then proceed to run his office 
more cficiently and effectively than he 
ever managed to do. (There's a further 
irony, unintended, in that the movie, 
produced by Fonda's IPC Films and 
based on a story by Patricia Resnick, 
stereotypes the male character every bit 
as viciously as the female ones libbers 
complain about.) 

Fonda handed the larger, flashier 
roles to Tomlin, perfect as the office- 
wise veteran, and to Parton, making her 
film debut as Coleman's blonde but far 
from dumb personal secretary. Ultimate- 
ly, in fact, Nine lo Five is Parton's mov- 
ie; with her intriguing combination of 
innocence, humor, sexuality and down- 
to-carth clean common sense, she could 
well inherit Judy Holliday's mantle. 

Tomlin also appeared, less advanta- 
geously, in The Incredible Shrinking 
Woman, playing an average, harassed, 
mid-American housewife whose devotion 
to brand names leads to her (literal) 
downfall. Tomlin and her favorite writ- 
er-producer, Jane Wagner, are obviously 


273 


PLAYBOY 


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ng to say something about the plight 
of women in our consumer-oriented so- 
ciety, but the message keeps getting lost. 

Jill Clayburgh hasn't abandoned the 
profeminist scene she illuminated so 
well in An Unmarried Woman and 
Starting Over. In First Monday in 
October, she's back as our first female 
Supreme Court Justice—over the roar- 
ing protests of Justice Walter Matthau. 
Matthau, a liberal cast in the William 
О. Douglas mold, doesn’t object so much 
to the fact that Jill's a woman as to the 
fact that she's an Orange County con- 
servative. Their first clash, interestingly 
enough, is over a porno movie, The 
Naked Nymphomaniac. Clayburgh, view- 
ing the film in its entirety, is ready to 
convict the hapless film maker on the 
grounds of moral debasement. Matthau, 
who hasn’t even seen the movie and 
hates pornos, eloquently defends it on 
First Amendment grounds. First Mon- 
day, based on the Jerome Lawrence- 
Robert E. Lee hit play, doesn’t attempt 
to resolve the conflict; it merely states 
the opposing views with clarity and con- 
viction. (For the record, the three-minute 
porno insert was made by two veterans 
of the adult-film field, director Dave 
Friedman and cinematographer Lee 
Frost, from a script supplied by pro- 
ducer Paul Heller. “We didn't think 
that Freddie Koenekamp, our camera- 
man, could make it look tacky enough,” 
Heller explains. Friedman says he shot 
about 3500 feet, of which less than 300 
feet turns up in the finished film. That 
was enough to earn it an R rating) 
lt should also be noted that although 
the film was released in August, it was 
actually in the can months before Presi- 
dent Reagan nominated Sandra Day 
O'Connor to the highest Court 

Not that 1981 has been totally lacking 
in strong male-female relationships—or 
relationships between males and strong 
females. In Eye of the Needle, in 
steamy bed scenes reminiscent of his 
earlier Don't Look Now, Nazi spy Don- 
ald Sutherland woos and wins handsome 
Kate Nelligan, married to a crippled, 
embittered R.A.F. pilot. When she dis- 
covers Sutherland's true identity, and 
learns he has murdered her husband, she 
takes out after him with hatchet and 
gun—though she still loves the guy 

But, inevitably, the ultimate word on 
female phenomena (as well as phenom- 
enal females) came from Italy's Fede- 
rico Fellini, whose City of Women is an 
apocalyptic vision of the emerging femi- 
nist movement between the Sixties and 
the present, filtered through the dream/ 
nightmares of a middle-aged man (Mar- 
cello Mastroianni) trying to comprehend 
and adjust to these new challenges to 
the once-dominant role of the male. 
Mastroianni, like Fellini, loves women— 
he just doesn't understand them. What 
Fellini has done in this film, often with 
hallucinogenic brilliance, is to create a 


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PLAYBOY 


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series of fantastic dreams for his sensu- 
ous protagonist—an encounter with 
Don Juan, just celebrating his 10,000th 
conquest (a hark back to “the good old 
days"), unnerving meetings with lady 
ists and wrestlers whose sheer phys- 
y dism n. with sex- 
ually allu 
of his past pursuits and, cropping 
cverywhere, reminders by shrill fem 
voices that while the ра 
fair, it will no longer be so easy. 

Fellini has set his finale in an abstract 
roller-coaster setting not unlike Bob 
Fosse's glittering but ominous fun house 

All That Jazz. But where Fosse's film 
welcomed death as the final surcease for 
his womanizing, pill-popping. self-abu. 
sive hero, F s roller coaster becomes 
the symbol for an enormous womb, ever 
luring men on for another wild, exhil 
arating, terrifying ride through life. City 
of Women auempts mo final assess- 
ment of the feminist movement; but it 
forthrightly establishes it as a dominant 
and disturbing fact of contemporary 
socicty, and with all the verve and art- 
istry of Fellini at his best. 

On the domestic front, the search for 
deeper relationships and selfrealization 
goes on, expecially among middle-aged 
males. In All Night Long, ivs chain- 
store executive Gene Hackman, who, 
having been demoted to the night shilt 
at one of his company’s drugstores, de- 
cides to find out for himself what it’s all 
about, Alhe. He gives up his Job, his 
home and his wile (Diane Ladd) to 
launch an affair with а neighborhood 
floozy (Barbra Streisand) who, he knows, 
is already involved in an affair with his 
own son (Dennis Quaid). Hardly mem- 
orable, except as а reminder that the 
“middle-aged crazies" are still with us. 
In Falling in Love Again, Elliott Gould, 
owner of a dothing store Cali. 
fornia, famtasizes while driving cross- 
country to a cl the Bronx 
what his life might have been. His wile 
(Susannah York), it seems, also has а few 
on that score. Atlantic City gives 
aging numbers runner Burt Lancaster 
a new lease on life as that once flyblown 
resort is transformed by the cash flow of 
its posh gambling casinos. Lancaster, 
sexier than he has been їп years, has 
been taking care of (and being taken 
care of by) bedridden Kate Reid; sud- 
denly, he finds romance with the irre- 
sistible andon, an oyster-bar 
tress who's hoping to strike it rich 
asa blackjack dealer in the casinos 

Far amd away the years most con- 
spicuously successful “relationships” 
film has been The Four Seasons, written 
and directed by its popular star, Alan 
Alda—with a deep bow, it should be 
noted, to. Berna Slade’s Same Time, 
Next Year, in which Alda co-starred two. 
years ago. The plot contrivances are 
notably similar, even though the time 
frame has been collapsed. Three couples 


take their vacations together four 
in the course of the film; in the process, 
relationships deteriorate (and, one 
memorable skinny-dipping scene, the 
clothes come off). 

Intended for a younger generation, 
Franco Zeffirelli's Endless Love had to do 
endless battle with the Classification and 


Rating Adm ration of the Motion 
Picture Association of America belore 
its initial X rating was reduced to an К. 


Although the director maintained that 
there was no frontal nudity in the love 
scenes between Brooke Shields and 
Martin Hewitt, playing a 15-year-old and 
а 17-ycar-old, respectively, the specter of 
kiddie porn was repeatedly raised—aug- 
mented by a sequence in which Shirley 
Knight, as Shiclds’s mother, attempts to 
seduce young Hewitt. Oddly enough, 
declared himself in accord 
ngs board. “The community 
is now extremely sensitive on the child- 
pornography issue, and rightly so,” he 
stated. Heavily cut, the picture was re- 
leased in July. 

Арап from the disappointing La 
Cage aux Folles 11, homosexuality wasn't 
terribly prominent in the films of 1981. 
The Alternative Miss World is a Brit- 
ish-made documentary of am allstar 
dragqueen beauty contest; Squeeze in- 
troduces us to New Zealand's. homosex: 
ual night life; and Germany's Taxi to 
the Loo, which won the prestigious 
Max Ophuls Prize in Saarbrücken car- 
her this year, is а quasi-autobiographical 
film by Frank Ripploh, a gay teacher, 
about a gay teacher on the prowl for 
exotic sexual experiences. Made on an 
infinitesimal budget (about 510,000) by 
ploh and friends, the picture has 
already created storms of controversy in 
Germany, where Volk can't decide if 
pro- or antigay. Similarly, lesbianism h 
been fairly well muted on the home 
front 
ports as Engla 


Exceptions come from such im- 
а" 


Richard's Things, 
with Liv Ullmann tracking down the 
girl with whom her late husband had 
an affair, and then proceeding to do 
likewise: or France's Voyage en Douce, 
in which the gorgeous Dominique Sanda 
and Geraldine Chaplin, both on the 
from their husbands, discover cach other 
Although the writing leayes you never 
quite sure what's real and whats just 
girlish imaginings, the visuals are plenty 
specific. 

But if it’s specifics yo 
time to turn to the hard-core 
For one thing, they're looking a lot 
better these days. The plots are more 
developed, the photography more imagi- 
native, the girls 
gentlemen—well, longer. Also, and d 
is strangely refreshing, the sex is straight 
and to the poi y not be love 
beyond compare, but at least free 
of the kinky sadism that ch; 
much of the product from the major 

(concluded on page 280) 


nore attractive, the 


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PLAYBOY PUZZLE 


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By Nicole Gregory 


X 


PLAYBOY 


260 


(continued [rom page 276) 


“For the most part, these films remain simon-pure 
romps in the fields of male-fantasized sex.” 


studios—like the drug-crazed prostitute 
(Pam Grier) in Fort Apache, the Brony, 
who secretes а razor blade in her mouth 
10 castrate her clients, or the guy getting 
shish-kabobed in Happy Birthday то Me. 
ife-wielding assailant (Michael 
) who slashes up some of 


or the 
Biel 


sexual pervert Kills a callgirl who 
ated him in Amanda by Night, per- 
ps the most densely plotted adult 


movie to date, but what the film dwells 
on is the fact of her death, not the how. 
For the 


most part, howev these 
in simon-pure romps in the 
ей sex. A Scent of 


rdener’s son is just short of co 
ion when he learns that she 
be his sister; this leads to ardent 
al couplings on both of their 
(As is so often the Heather 


is ilable in two versions. The 
Heather runs 99 minutes, the 
Heather, $0 minutes. It’s the cool one 
that will probably turn up оп рау or 


np out in se 
Calilorn amd shoot pictures 
of one Their not-so-innocent 
fun ends abruptly when they are 
tured exploring an old castle that 
10 be headquarters for a ring of "mz 
who condition captive girls to be 
their sexual slaves, Not quite so exciti 
as boiling through white waters 
canoe, ps, but still 


Games Women Play is а second cou: 


once removed to Arthur Schnitzler's 
La Ronde (uncredited, of course). 
Manhattan, а small circle of friends ex- 


ange bed partners with tremendous 
1 zest in а kind of odd-man-out 
competitiveness. Games features a [ra 


Answer to puzzle on poge 279. 


7. GUS 
8. ANN 
9. SAM 


10. PAM 
11. HAL 
12. EVA 


13. DIZ 
14. VAL 
15. ADA 


16. LEN 
17, NED 


gang bang on a poker table, where the 
ante isn’t the only thing that's up. Drac- 
ula ng the improbably 
propor Del Rio. brings 
at to New York, where he is im- 


xolica, si 


joned Vaness 


The agent assigned to the 
Fox). as it happens, 
uncanny resemblance to Drac- 
% lost love of 400 years ago. She 
returns his love, knowing well the con- 
sequences. As the poster proclaims, НЕ 
САМЕ FOR A BITE... AND ATE THE WHOLE 
хс. Randy, the Electric Lady, st 
‘cous De ousteau, is 
пу science fiction, with 
woman whose or 
duce colossal climaxes when consumed 
by others. Captured by an international 
spy ring, she's forced to go on producing 
Orgasmine—the ag to world 
conquest. In Talk Dirty to Me, the well- 
endowed Jamie Gillis conquers women 
by doing just th: 


g cul 


Cousteau 


ices pro- 


1981, most of them produced on budgets 
ranging between $100,000 and $200,000— 
up sharply from the $ 
average of as litle as five years ago. And 
n production 
but in the quality of the pe 
Whereas in the past the рег 
were paid off at 5100 a day, now the 


Hart, Annette Haven, Seka (“the Mari- 
lyn Monroe of porn") Jamie Gil 
John С. Holmes, Ron Jeremey and John 
Leslie—are drawing down $1000. [For 
more on this subject, sce Tuning In to 
Channel Sex on page 222.) The only 
trouble is that they tend to be—you'll 
forgive the — expression—overexposed, 
playing leading roles ¢ to ten films 
each di the past year. 

But the producers aren't 
cerned. Their movies today а 
about 15 percent of all the icket 
sales, better than 40 percent of all sales 
in the booming video-cassette market. In 
fact, unl straight" competition. 
which wa : 
release of а movie before making it 
ble on cassettes, most X merchan- 
nmediately 
theater popcorn st 


too 


disers 
often us 
their point of sale. The movie in the 


into c 


theater becomes, in effect, the tailer 
that helps the customer decide whether 
or not he wants to buy. Pay and cable 
TV are also broadening the market place 
lor erotica, ofte 
In Los Angeles rec 
scri] tion, 
tm^ Jill with everything 
cum shots. It looks as if sex is being re- 
it belongs—the home. 
Let the Moral Majority make of that 


what it will, 


with minimal cutting, 
nily, ON TV. a sub- 


tion ope 


turned to whe 


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PLAYBOY 


WHAT'S HAPPENING, WHERE IT'S HAPPENING AND WHO'S MAKING iT HAPPEN 


HABITAT. 


COOKING BY THE NUMBERS 


side from a colorful high-tech design that would liven 
even Quasimodo's bachelor kitchen, High Tech brand 
cookware has something else going for it: The 
manufacturer—Sanko Housewares—wedded fine 
porcelain to heavy-gauge steel, and the result is a marriage that 
distributes cooking heat across the bottom of pots and pans in an 


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cookware features 
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knobs are molded of 
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holes. Even if you can't 
boil water, the stuff still 
looks terrific on the shelf. 


incredibly efficient manner. This may sound like a trivial fact that 
only a serious culinarian would appreciate, but when you con- 
sider that it allows lower oven temperatures to be used (Sanko 
claims up to 25 degrees less than recipe specifications) and the 
gear сап go straight from the table to the dishwasher, it’s nice to 
know you won't be a galley slave at your next dinner party. 


You don't have to be into high tech to ap- 
preciate High Tech cookware—on one side 
of each of the utensils in a set is the British 
measurement; metric equivalent on the 
other. The 4.73-liter pot at left and other 
available sizes below are easy to clean and 
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FASHION 
BEAT THE DRAFT 


verybody has a drawer where gloves and scarves land in a come as no surprise that gloves and scarves are also enjoying 
heap awaiting the first touch of Old Man Winter's icy something of a renaissance; styles range from the casual wit of a 
fingers. But too often, a pair of stained kidskins or araglag coordinated knit cap and gloves to the dressy sophistication of a 
muffler ends up stepping out with a great-looking greatcoat reversible silk/cashmere muffler. In between is an abundance of 
because the wearer didn't get his fashion act together and up- freshly innovative looks that easily coordinate with anything from 
grade his cold-weather-accessory collection as often as he did his the dressiest of formalwear to a wild-and-woolly Marlboro Man 
wardrobe. With all the activity in men's fashions today, it should shearling. Go for them! — DAVID PLATT 


p 

Clockwise from 12: A tan cashmere knit cap with contrasting off-white striped trim, $85, 
е that looks exceptionally spiffy when com- bined with matching striped cashmere gloves, 
= 560, and a multicolor striped and knotted cashmere fringed muffler, $135, all by Alfred Dunhill of 
Э London. Next to that trio of softies is а mul- Ў ticolor. wool/silk: scarf; by Susan Horton, about $90. 
È Those good-looking gloves up front are of lambskin suede and—yes—they're acrylic-pile lined, by 


Gates Gloves, $24. In the drawer is an Irish wool handmade fisherman's fringed muffler, by Galbay Products Lid., $50. For more formal occasions, step. 
out with the reversible pin-dot silk/cashmere fringed muffler knotted about your neck, by Amicale, about $100. Above it is a multicolor hand-woven 
silk fringed muffler, by Susan Horton, about $62. And last, beige Shetland-wool knit gloves, by Peter Barton, $27.50. Say bye to Old Man Winter. 


286 


Bedtime for 
Blondie; 
Debbie Does D.C. 


If we wanted to start a 
trend, we'd use this photo 
and call it old New Wave. 
Now that singer DEBBIE 
HARRY wants to make se- 
rious movies, she looked 
around for some serious 
role models—and came 
up with Ronnie and 
Nancy. Better them than 
Bonzo, right? 


For Your 

Eyes Only 
Actress СА5- 
SANDRA HARRIS 
appears loosely 
wrapped in the latest. 
James Bond movie. 
She caught our at- 
tention, naturally, 
and then wewatched 
her get sent to 007 
heaven by a couple 
of bad guys. We de- 
cided to bring her 
back and give her 
the celebrity-breast- 
of-the-month award. 
Some things are too 
good to give up. 


4 
i 
i 


Couldn't We Just Shake Hands? J 


Let’s see. He's Mork. He was Popeye. He's going to be Garp (in the 
movie of The World According to Garp). These are not your average 
roles. But then, ROBIN WILLIAMS is not your average fun guy. He 
lives right on the edge with his comedy. We don’t know what laughs 
he's keeping under his zipper. Anything goes. 


Е 
H 
H 
t 
i 
i 


Caution: Man Working 


Some people have their best ideas in the bathroom, but it’s unusual to keepa 
typewriter there. We're fans of The Greatest American Hero. A show that 
has Robert Culp and a reluctant superhero, WILLIAM KATT, gets our vote. 


Daughter of S.O.B. 


We must confess. We were so busy laughing our way through 
Blake Edwards’ very funny 5.0.В. and marveling at Julie Andrews’ 
chest, we forgot to check the credits. JENNIFER BLAKE 
EDWARDS, daughter of Andrews and writer/director Edwards, 
was sexy as one of the hitchhikers. We won't be fooled again. 


Wearing Thin 
A special Grapevine 
ode to the art of 
hopeless self-promo- 
tion: Twinkle, twin- 
Kle little BRITT/ 
Here's a quarter 
if you'll quit/Up 
above the earth so 
high/Like Edy Williams 
in the sky/Twinkle, 
twinkle little Britt/ 
Come see us when 
you get a hit. 


EM 
Breaking Out 


We'd like to introduce you to singer/actress KATHRYN MERRILL. If 
you don't know her yet, you will. Merrill plays Mimi on top soap Days of 
Our Lives and is scheduled for a nighttime series. She played a nun on 
The Young and the Restless and made a Disney children's album that 
went platinum. We'd say it’s time to kiss Mickey and Donald goodbye. 


€ 


288 


SURGICAL CHAIRS 


Since the pill fell on hard times, it's 
never quite clear exactly who's sup- 
posed to take the responsibility for 
contraception—the man or the woman. 
As we continue to bat the contracep- 
tive ball back and forth, a new piece of 
news may eventually send it back to 
the women’s court 

About 1000 U. S. surgeons are using 
a new technique for reconnecting the 
Fallopian tubes of women who have 
had them severed to become sterile. 
Tubal ligation has not previously been 
considered a temporary form of con- 
traception and it still isn't, but one 
doctor who has tabulated results of the 
new reconnective surgery, Dr. Jordan 
Phillips of the University of California 
at Irvine, told us he’s had an 80 per- 
cent success rate. Success here means 
the women’s fertility was restored. The 
new technique involves magnifying the 
tubes up to 20 times and effecting ., 
the surgery with microscopic instru- $ 
ments instead of the clunky tools of б 
normal surgery. It takes about two & 


hours and requires a hospital stay of | 


a few days. 
Despite his success, Dr. Phillips won't 


Our resident art his- 
torian swears this 
is what the ladies of 
the Moulin Rouge 
used to whisper to 
Toulouse-Lautrec. 
For ashirt, send eight 
bucks to Stiff Tee’s, 
157 W. 57th Street, 
New York, New York 
10019. Then visit 
your favorite ar 


DENNIS SILVERSTEIN 


recommend sterilization and reversal 
às a temporary form of contraception 
until the success rate is 100 percent. 
On the other hand, doctors elsewhere 
are refining the surgical techniques in- 
volved in undoing vasectomies. 


WHEN NANCY FRIDAY'S LINE 
IS BUSY, CALL TEL-MED 


Inspired by the success of the original 
weather and time numbers, telephone 
advisory services have been expanded. 
One of the most sophisticated is Tel- 
Med, a series of prerecorded messages 
covering a broad range of health topics 
available in 180 U.S. communities. 
Recently, Medical Self-Care magazine 


Annie Ampel, above, hung around the 
Cannes festival long enough to get a tan 
and a role in The Last Horror Film, finally 
answering the question: Do those topless 
girls at Cannes get movie parts or what? 


listed the subjects of Pittsburgh Tel- 
Med in order of the frequency of re- 
quest. You guessed it—the sex topics 
won, uh, hands down, considering that. 
six of the top eight related to sex. 
Masturbation rated number two, right 
behind marijuana. The other popular 
nonsex tape was called "Tommy Gets 
His Tonsils Out" and placed sixth. We 
wonder whether or not the number of 
breather calls has decreased since Tel- 
Med went to Pittsburgh. 


WHY DON'T YOU COME UP 
AND SEE ME? DEPARTMENT 


Psychology Today reports psycholo- 
gist Chris Kleinke asked students at col- 
leges in California and Massachusetts 
to suggest lines that a man might say to 
Strike up a conversation with a woman. 
After choosing 100 of the most com- 
mon come-ons, Dr. Kleinke asked stu- 
dents to rate them according to quality, 
from terrible to excellent. 

In the interest of science and for the 
edification of our readers, we present 
the top-rated opener for all occasions: 
^| feel a little embarrassed, but I'd 
like to meet you." 

Men and women agreed, as we do, 
that these show bad form: “ls that 
really your hair?” "Your place or 
mine?" "You remind me of a woman 
1 used to date" and “Bet 1 can out- 
drink you!” 


CHILD ABUSE 


A hair of the dog that bit you might 
cure a hangover, but it proves bad ad- 
vice for pregnant women. From the 
fourth month of pregnancy on, chorio- 
amnionitis—a bacterial infection asso- 
ciated with semen—can develop, 
with worse results than the combined 
effects of alcohol and cigarettes. 

A study conducted by Dr. Richard 
Naeye of Pennsylvania State Univer- 
sity indicates that a threat arises as 
bacteria in the pregnant woman’s va- 
gina attach themselves to sperm and 
travel to the membranes around the 
fetus, causing an infection that ulti- 
mately interferes with the oxygen sup- 
ply to the fetus. 

As well as transportation, semen sup- 
plies enzymes that enable bacteria to 
penetrate the womb, Dr. Naeye says. 

So what's a couple to do? 

“Condoms look promising,” fx] 
says Naeye. 


THEO WESTENBERGER [LIAISON GF 


The singing telegram has been updated. 
For a truly festive touch, you can now say 
it with a Strip-O-Gram or a Bumps & 

-A-Gram, which do exactly what 
they say they do, in several U.S. cities. 
Above, the arrival of a Strip-O-Gram, 


PLAYBOY 


A one hundred proof potency that 
simmers just below the surface. Yet, 
so smooth and flavorful, it's unlike 
‘any Canadian liquor you've ever 
tasted. Straight, mixed, or on the 
rocks, Yukon Jack is truly a spirit 
unto itself. 


The Black Sheep of Canadian Liquors. 


SPECIAL ISSUES $3 EACH 


COMING NEXT: 


THE GALA CHRISTMAS AND ANNiVERSARY ISSUES 


JAMES BALDWIN UTTERS AN ELOQUENT CRY OF GRIEF FOR ALL OUR 
CHILDREN AFTER A VISIT TO THE HUB OF THE SO-CALLED NEW SOUTH IN 
“ATLANTA: THE EVIDENCE OF THINGS NOT SEEN” 


HENRY FONDA TALKS ABOUT HIS 56 YEARS IN SHOWBIZ, HIS REAL FEEL- 
INGS ABOUT PETER AND JANE, THE WOMEN IN HIS LIFE AND HIS FORTH- 
COMING AUTOBIOGRAPHY IN A HISTORIC PLAYBOY INTERVIEW 


JOYCE CAROL OATES TELLS OF A HAUNTING YOUNG GIRL WHO LEAVES 
HER MARK ON NEW YORK'S AVANT-GARDE IN “THE SUNKEN WOMAN” 


JIM HARWOOD NOTES THAT IN 1979, PLAYBOY BROUGHT YOU YOUR 
FIRST LOOK AT BO DEREK. WE HAVE A FEW SURPRISES (AND SOME FA- 
MILIAR BODIES) FOR YOU THIS YEAR, TOO, IN “SEX STARS OF 1981” 


THOMAS “HOLLYWOOD” HENDERSON REVEALS (WITH HELP FROM 
WALTER LOWE, JR.) HOW HE DEALS WITH WOMEN (IN MULTIPLES, AT 
TIMES), HOW HE BECAME A FOOTBALL STAR AND ALMOST BLEW HIS CAREER 
UP HIS NOSE IN HIS RIVETING “CONFESSIONS OFACOCAINE COWBOY” 


JULES FEIFFER SKEWERS THE REAGAN PHILOSOPHY IN A SATIRICAL 
COMMENTARY, “ONE-LINERS: THIS IS YOUR PRESIDENT SPEAKING” 


PHILIP CAPUTO, THE AUTHOR OF A RUMOR OF WAR, OBSERVES THAT 
JOHNNY DIDN'T COME MARCHING HOME FROM VIETNAM, HE CREPT BACK. 
YOU'LL WANT TO READ “THE UNRETURNING ARMY” 


ANSON MOUNT IS BACK ON A FAVORITE COURT—AND HE DOESN'T 
MISS A SHOT IN “PLAYBOY'S COLLEGE BASKETBALL PREVIEW" 


NEW EASY-LISTENING SINGING GROUP THE PLAYMATES STAR IN THEIR 
OWN EASY-ON-THE-EYES PICTORIAL 


GEOFFREY NORMAN WRITES ABOUT THAT MOST MISUNDERSTOOD OF 
RELATIONSHIPS, THAT BETWEEN MALE FRIENDS, IN “BUDDIES” 


RICHARD PHALON DISSECTS THE MOVES BEHIND THE SNATCH OF A 
MEDICAL FIRM IN “ANATOMY OF A CORPORATE TAKE-OVER” 


JOHN UPDIKE EXAMINES THE INNER FEELINGS OF A WOMAN ABOUT HER 
DYING FATHER AND HER ESTRANGED HUSBAND IN “KILLING” 


STEPHEN BIRNBAUM, PLAYBOY'S TRAVEL EDITOR, TELLS YOU WHERE 
TO STAY IN ACCOMMODATIONS THAT WOULD MAKE LORENZO DE' MEDICI 
JEALOUS. IT'S ALL THERE IF YOU KNOW HOW ТО “LIVE LIKE A KING” 


WHAT'S JOHN DEREK GOT THAT WE HAVEN'T GOT? LET'S SEE, THERE'S 
URSULA, LINDA, BO. -THEY'RE ALL IN ONE PLACE WHEN WE TAKE A 
LOOK AT JOHN'S FAMILY PHOTO ALBUM 


BRUCE JAY FRIEDMAN SPINS A YARN ABOUT A VERY HAPPY MAN WHO 
15 SOMEHOW COMPELLED TO FOUL UP HIS LIFE IN “THE ADVENTURER’? 


STEPHEN KING ABANDONS HORROR FOR A MOMENT TO EXAMINE A 
NEW MENACE; “HOW RADIO IS RUINING ROCK 'N’ ROLL” 


JO DURDEN-SMITH AND DIANE DE SIMONE LAUNCH A MILESTONE 
SERIES ON WHAT MAKES MAN MAN, WOMAN WOMAN AND PAIRING COM- 
PLEX, WITH A PLAYBOY QUESTIONNAIRE FOR READER PARTICIPATION 


VISITS WITH ECONOMIST JOHN KENNETH GALBRAITH AND THE 
NOTORIOUS DEFENSIVE END FOR THE OAKLAND RAIDERS, JOHN 
MATUSZAK; “PLAYBOY'S CHRISTMAS CARDS" AND “THAT WAS 
THE YEAR THAT WAS," BY TOM KOCH; LITTLE ANNIE FANNY UN- 
DERGOES SENSORY DEPRIVATION; TIPS ON HOW TO BE A GUEST AT YOUR 
OWN POSH PARTY, BY EMANUEL GREENBERG; PLAYBOY'S PICKS OF 
THE CAR MARKET FOR 1982; A NUDE BY NORMAN ROCKWELL; “MR. 
BILL'S CHRISTMAS"; “PLAYBOY'S PLAYMATE REVIEW"; “THE 
ELEVENTH-HOUR SANTA”; AND MUCH, MUCH MORE 


ACME BOOT COMPANY. INC „РО 


When your day is 
as tough as theirs... 
your boots better 
be Acme? 


JARY OF NORTHW RIES. INC OR CALL TOLL FREE 800 251-1362 (EXCEPT IN TENN) 


Acme's making the great Western boots. 


1981 U.S. GOV’T REPORT: 


CARLTON 
LOWEST. 


In the 17 U.S. Government Reports since the version tested for the Government's 

1970 no cigarette has ever been 1981 Report. Despite new low tar brands 

reported to be lower in tar than Carlton. introduced since— Carlton still lowest. 
Today's Carlton has even less tar than 


10 packs of Carlton have 
Carlton ster than I pack ol... 


мба 9/08. 
Benson & Hedges Light 100's 10 0.8 
Kent 12 1.0 
Marlboro Lights 11 0.8 
Merit 100 Menthol 10 08 
Salem Lights 9 0.7 
Vantage 100's 9 0.9 
Virginia Slims Lights 8 0.6 
Winston Lights 11 09 


Carlton is lowest. 


Carlton Box—lowest of all brands. 
Less than 0.01 mg. tar, 0.002 mg. nic. Carlton Menthol— Less than 1 mg. tar, 0.1 mg. nic. 


Bo Less than 0.01 mg. "tar". 0.002 mg, nicotine av per cigarette by FTC method, | Warning: The Surgeon General Has Determined 
Menthol: Less than 1 mg. "tar", ОЛ mg. nicotine, That Cigarette Smoking Is Dangerous to Your Health. 
Soft Pack: 1 mg. “tar”, 0.1 mg. nicotine av. per cigarette, FTC Report May 81.