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Scanned  from  the  collections  of 
The  Library  of  Congress 


AUDIOVISUAL  CONSERVATION 
at  The  LIBRARY  of  CONGRESS 


Packard  Campus 

for  Audio  Visual  Conservation 

www.loc.gov/avconservation 

Motion  Picture  and  Television  Reading  Room 

www.loc.gov/rr/mopic 

Recorded  Sound  Reference  Center 
www.loc.gov/rr/record 


flJBUSHER'S  8»Nf>l« 


E  NEXT  LENNON  SISTER  TO  BE  A  BRIDE! 


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If  W^^^^^^^ 

^OPP6°  in  who  can  saveEdd«t> 
Jeet '-"  ",nma"    ^rfi^^^^M 


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TWO  NEW  TYPES  HAVE  BEEN  ADDED  TO  THE   ORIGINAL 


Now  three  fine  sprays,  with  lanolin,  that  hold  hair  softly,  beautifully  in  place,  never  leave  hair  stiff,  sticky  or  dry. 

— - >  -  — 


WtlrStln 


NEW  SUPER  HOLD 

for  Firm  Control 

New  Super  Hold  Breck  Hair  Set  Mist 
is  especially  made  for  you  if 
you  have  hard-to-hold  hair 
or  a    hard-to-hold    hair    style. 


ORIGINAL 

for  Medium  Control 

The  Original  Breck  Hair  Set  Mist  is 
V^um,'   ideal     for    regular    use.      It    has 

$$>r&ck   a   medium    hold  which   suits  most     i®^^    you   if  you    have   easy -to -hold 
^dao*1   hair   types    and   hair  styles  best,      c^^c*    hair  or  a  soft,  casual   hair  style. 

(^Beautiful  Qtair 


NEW  GENTLE  HOLD 

for  Light  Control 
j*J       New  Gentle  Hold  Breck  Hair  Set  Mist 
«W/<*-     has    a    1!&ht    hol<L    just   right    for 


B  R  E  C 

Copyright  1962  by  John  H.  Breck,  Inc. 

New  Super  Hold,   New  Gentle  Hold,  and  the  Original  Breck  Hair  Set  Mist:     2  oz.  size  651;     8  oz. 


K 


.50.     Plus  tai 


For  the  Fun  of  Making  EXTRA  MONEY 

You've  Never  Seen  Anything  Like  CREATIVE'S 

NEW  CHRISTMAS  CARD  lino 


$75°°  on  Only  100  Assortments 

First,  we  want  you  to  look  at  our  most  unusual  selection 
of  new  Christmas  Cards  just  to  pick  out  the  cards  you 
yourself  will  be  sending.  If  you  aren't  so  excited  about  our 
gr  cards  and  gifts  that  you'll  want  to  show  them  to  friends 
right  away,  we'll  miss  our  bet.  Just  let  friends  see  your 
samples  and  you'll  quickly  find  yourself  making  good 
money  in  the  little  time  it  takes  to  accept  the  orders. 
No  experience  is  needed. 

Creative  Pays  You  More 
Two  popular  $1.25  Christmas  Assortments  pay  you  75c  profit 
per  box — instead  of  the  usual  50c — in  any  quantity.  There  are 
extra  profits  for  you  throughout  our  low  wholesale  price  scale. 
So  you're  bound  to  make  the  money  you  want  faster  and  easier. 
Of  course,  the  big  money  is  in  the  AMOUNT  everyone  buys 
from  our  amazingly  irresistible  variety  of  designs  and  ideas  . . . 
Christmas  and  All  Occasion  Card  Assortments  showing  every- 
thing from  the  daringly  new  and  light-hearted  to  the  traditional 
and  religious.  And  your  earnings  double  from  our  many  small 
Gifts  at  $1  up,  the  very  popular  Personal  Stationery  and  our 
big  album  of  53  Name-Imprinted  Christmas  Cards  for  indi- 
viduals and  businesses. 

Extra  Bonuses  in  Gifts  Worth  up  to  $100 

Big  as  your  immediate  cash  profits  are,  you  make  even  more  with  Creative! 
Extra  bonuses  of  home  appliances  and  other,  gifts  worth  $5  to  $100  are 
given  FREE.  No  limit  to  the  number  of  gifts.  Organizations  use  Bonus 
Gifts  to  reward  members  FREE. 

Costs  Nothing  to  See  Samples 

Just  send  the  coupon.  We'll  rush  our  two  best-sellers  worth  $2.50  on  free 
trial  with  complete  money-making  information  and  big  Personal  Christ- 
mas Card  Album.  You  don't  risk  a  cent  and  can  keep  everything  FREE 
when  you  get  started  with  us.  Send  the  coupon  now. 

CREATIVE  CARD  COMPANY  4n40!  ST/fP*  R7°?d. 

Dept.l  15-C, Chicago  23, 1 


on  Each  $1.25  Box 

of  our  fast-selling  "Old-Fashioned  Christmas" 
and  "Silent  Night"  Assortments  of  21  deluxe 
folders.  You  make  money  50%  faster-$75.00 
cash  on  only  100  boxes. 


ALBUM  OF  53 

PERSONALIZED 

CHRISTMAS  CARDS 

FREE! 

Gorgeous  binder  of  low- 
priced,  name-imprinted 
beauties  puts  folks  on  a 
Christmas  buying  spree. 


GIFTS  GALORE 

like  handsome  ceramic 
Salt  &  Pepper  Center- 
piece, Wt'  wide,  in 
life-like  color  and 
i  detail,  only   $1. 


*s« 


5  Mas . 

4  kffmJfM 


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Exclusive  New  Idea  in 
Personal  Correspondence 

Clever  punch  lines,  titles  and 


«r*  floral  designs  on  raised  gold 
**y*f  seals  spark  up  letters, 


\V 


notes   and   envelopes   in 
Creative's  own  151-piece 
$1 .25  Golden  Rose  Tree 
Ensemble  with  match- 
ing ink  pen.  Send 
coupon  for 
sample. 


GET  OUR  KIT 

OF  SAMPLES  ON 

APPROVAL  WITH  OFFER  OF 


i  SELLING     i  boxes 

FREE 

WITH  FIRST  ORDER 


MAIL  NOW  FOR  FREE  TRIAL  SAMPLES 


SEND 

NO  MONEY 


ORGANIZATIONS:  Fill  your  treasury  easier,  faster  with 
our  extra  big  profits.  Members  are  proud  to  show  our  un- 
usual values  and  win  our  Bonus  Gifts  at  no  cost  to  you. 


This  coupon 
brings  everything 
postpaid  on  Free 
Trial.  If  not  de- 
lighted with  sam- 
ples, you  may  re- 
turn them  at  our 
expense  and  owe 
nothing. 


CREATIVE  CARD  CO.,  Dept.  ns-c 
4401  West  Cermak  Road,  Chicago  23,  III. 

Please  send  money-making  details  with  Free  Personal 
Album,  best-selling  Christmas  Card  Assortment  and 
Golden  Rose  Tree  Ensemble  on  approval — mine  to 
keep  FREE  when  I  get  started  per  your  offer. 


Name- 


Address- 
City 


_State_ 


I 
I 
I 
I 


/= 


Z/^Z 


IT  COSTS  SO  MUCH  LESS 

THAN  YOU  THINK 

TO  GET  PERFECT 

ALL-DAY  PROTECTION! 


THERE  IS  NO  FINER 
DEODORANT  AT  ANY 
PRICE...YETYOUPAY 
ONLY  OHc 


29 


plus  tax 


FOR  THIS  "USE-TESTED" 
JUMBO  STICK! 

Delicately  fragrant,  this  quality  deodor- 
ant stick  keeps  you  fresh  and  dainty. . . 
insures  against  perspiration  odor  all  day. 
Absolutely  safe  and  greaseless,  it  can- 
not harm  your  clothing.  Convenient 
push-up  holder  29c. 

Iander 

Jtar  chlorophyll 
DEODORANTS 

T      Available  at  your  local  variety  store 
v  Luxury  ROLL-ON  lotion  deodorant 

stops  perspiration  odor  worries.  ONLY  39c 

LANDER  CO.  INC.,  FIFTH  AVE.,  NEW  YORK 

2 


JULY,  1962 


Eddie   Fisher 

Richard  Chamberlain 

The  Lennon  Sisters 

Chuck  Connors 

Comedians'  Wives 

Vincent  Edwards 

Sandra  Dee 

David  Nelson 

Tommy   Sands 

Diane  McBain 

Now  Try  This! 

Roger   Smith 

"The  Clear  Horizon" 

Alfred  Hitchcock 

Jack  Linkletter 

Annette    Funicello 

Arthur  Godfrey 


MIDWEST  EDITION 


VOL.  58,  NO.  2 


IT  HAPPENED  THIS  MONTH 

25  The  Woman  Who  Can  Save  Him. Lynn  Jackson 

26  Dick's  Seven  Deadly  Errors James  Gregory 

28   The  Next  Sister  to  Be  a  Bride Eunice  Field 

32   "I  Did  What  I  Did  for  My  Boys" Marilyn  Beck 

34  That's  My  Husband  You're  Laughing  At!.  .Cindy  Adams 
36  A  Lady  Doctor  Examines  His  Heart.  ..  .Betty e  Ackerman 
40   The  Bobby  Darin  Honeymoon  Is  Over.  .Chris  Alexander 

42   "Marriage  Is  Not  What  You  Think!" David  Nelson 

44  Who  Says  It's  Easy  to  Love  a  Rich  Girl?.  .Mary  Baldwin 
46   The  Other  Cleopatra  in  Burton's  Life ....  Dean  Gautschy 

49   Is  Your  Face  Your  Fortune — or  Misfortune? Cyro 

52   When  the  In-Laws  Move  In Jane  Ardmore 

54   Can  You  Learn  to  Live  with  Death? 

Arthur  Henley  and  Dr.  Robert  L.   Wolk 

56  Why  Grace  Kelly  Couldn't  Say  "No" June  Morefield 

58   "I  Won't  Make  Father's  Mistakes" Favius  Friedman 

60  It  Happens  Once  to  Every  Girl Irene  Storm 

63   Where  Are  Godfrey's  "Friends"  Now? Paul  Denis 


BONUS:  A  MAGAZINE  WITHIN  A  MAGAZINE 

17  Music  Makers  in  the  News  19     Pieces  of  Eight 

18  How  to  Rate  a  Record  19     Album  Covers:  Pro  &  Con 
18     Tops  in  Singles                                     20     Album  Reviews 

24     The  Wonderful  World  of  Ed  Sullivan 


WHAT'S  NEW?  WHAT'S  UP? 


4     Information  Booth 
12     Earl  Wilson's  Inside  Story 


6     What's  New  from  Coast  to  Coast 
84     Photographers'  Credits 


SPECIAL:  YOUR  MIDWEST  FAVORITES 


Gordon  Hinkley  67 

Peter  Graves  68 

Hal  Murray  70 

Gene  Fullen  72 


A  Man  of  Note   (WTMJ-TV) 
He  Cracks  the  Whip   ("Whiplash") 
On  the  Murray-Go-Round    (KDWB) 
Calling  on  Gene   (WTVN-TV) 


JACK  J.  PODELL,  Editorial  Director 

EUNICE  FIELD,  West  Coast  Editor 
TERESA  BUXTON,  Managing  Editor 
LORRAINE  BIEAR,  Associate  Editor 
ANITA  ZATT,  Assistant  to  Editor 


CLAIRE  SAFRAN,  Editor 

JACK  ZASORIN,    Art  Director 
FRANCES  MALY,   Associate  Art  Director 
PAT  BYRNE,  Art  Assistant 
BARBARA  MARCO,  Beauty  Editor 


,,t». 


TV  Radio  Mirror  is  published  monthly  by  Macfadden-Bartell  Corporation,  New  York,  N.  Y.  Executive,  Adver- 
tising and  Editorial  Offices  at  205  East  42nd  St.,  New  York  17,  N.  Y.  Editorial  branch  office,  434  North  Rodeo 
Drive,  Beverly  Hills,  Calif.  Gerald  A.  Bartell,  Chairman  of  the  Board  and  President;  Lee  B.  Bartell,  Executive  Vice 
President;  Frederick  A.  Klein,  Executive  Vice  President  for  Publishing-General  Manager;  Robert  L.  Young,  Vice 
President;  Sol  N.  Himmelman,  Vice  President;  Melvin  M.  Bartell,  Secretary.  Advertising  offices  also  in  Chicago 
and  San  Francisco. 

Subscription  Rates:  In  the  U.S.,  its  possessions  and  Canada,  one  year,  $3.00;  two  years,  $5;  three  years,  $7.50. 
All  other  countries,  $5.50  per  year.  Change  of  Address:  6  weeks'  notice  essential.  Send  your  old  as  well  as  your 
new  address  to  TV  Radio  Mirror,  205  E.  42nd  St.,  New  York  17,  N.  Y. 
Manuscripts  and  Photographs:  Publisher  cannot  be  responsible  for  loss  or  damage. 

Foreign  editions  handled  through  International  Division  of  Macfadden-Bartell  Corporation,  205  East  42nd  Street 
New  York  17,  N.  Y.  Gerald  A.  Bartell,  President;   Douglas  Lockhart,  Sales  Director. 

Second-class  postage  paid  at  New  York,  N.  Y.,  and  other  additional  post  offices.  Authorized  as  second-class 
mail  by  the  Post  Office  Department,  Ottawa,  and  for  payment  of  postage  in  cash.  Copyright  1962  by  Macfadden- 
Bartell  Corporation.  All  rights  reserved.  Copyright  under  the  Universal  Copyright  Convention  and  International 
Copyright  Convention.  Copyright  reserved  under  Pan  American  Copyright  Convention.  Title  trademark  registered 
in  U.S.  Patent  Office.  Printed  in  U.S.A.  Member  of  Macfadden  Women's  Group. 


Dr.  Margaret  Mead,  noted  authority  on  human  relations,  says,     Every  WOItiail 

who  lives  with  the  loneliness  of  her  own  emotional 
problems  will  want  to  read  this  understanding  book." 


AVAILABLE  N0W...0NLY  FROM  PUREX...AND  FOR  ONLY  25* 


Every  woman  will  want  to  read  this  book!   If 

you  feel  overwhelmed  at  times  with  the  problems 
you  face  as  a  woman,  a  wife,  a  mother — reading 
this  book  will  be  like  discovering  a  new  friend 
who  really  understands  you.  Because  this  book 
brings  out  into  the  open  the  fears,  the  frustra- 


With  a  recognizable  portion  of  any  Purex  package  or  label 

tions,  the  heartaches  every  woman  must  live  with 
in  our  complex  contemporary  society.  Based  on 
the  award-winning  Purex  TV  Specials  for  Women, 
this  book  distills  actual  case  histories,  intimate 
conversations  with  many  women.  This  is  a  book 
you  just  can't  afford  not  to  read ! 


SPECIAL  FOR  WOMEN 

P.O.  Box  No.  82,    New  York  46,  N.  Y. 

Enclosed  is  25£  and  a  recognizable  portion  from  a 
Purex  product  package  or  label. 

Please  send  my  personal  copy  of 
"SPECIAL  FOR  WOMEN" 

NAME 


ADDRESS- 
CITY 


You'll  find  the  Woman's  Touch  in  every  Purex  product 


ZONE. 


.STATE. 


©1962,  PUREX  CORPORATION  LTD. 
LAKEWOOD.  CALIFORNIA 


/or      x>\ 


A  Dancing  Start 

/  would  like  to  know  something  about 
Sheila  James,  the  young  actress  who 
appears  as  Zelda  on  the  "Dobie  Gillis" 
show. 

V.A.B.,  Toms  River,  N.J. 

Although  she  has  become  well  known 
in  the  past  few  years  as  the  man- 
chasing,  nose-wiggling  Zelda  on  "The 
Dobie  Gillis  Show,"  Sheila  James  has 
actually  been  acting  since  the  age  of 
seven.  Born  in  Tulsa,  Oklahoma,  Sheila 
moved  to  Los  Angeles  at  the  age  of 
two  and  began  taking  dancing  lessons 
at  seven.  Impressed  with  her  talent,  her 
instructor  sent  Sheila  to  be  interviewed 
by  Penny  Singleton  for  her  new  radio 
show.  She  got  the  part  and  scored  a  hit. 
While  appearing  on  the  road,  the  young 
actress  was  chosen  for  the  role  of 
Jackie  on  the  Stu  and  June  Erwin  show, 
"The  Trouble  with  Father."  The  part 
lasted  five  years.  ...  In  addition  to  her 
running  part  on  "Dobie  Gillis,"  Sheila 
has  appeared  on  "General  Electric 
Theater,"  "My  Little  Margie"  and  "The 
Loretta  Young  Show,"  among  others. 
.  .  .  Sheila  lives  at  home  with  her  par- 
ents and  teen-aged  sister  Jeri  Lou,  who 
is  also  an  actress.  In  her  spare  time, 
Sheila  writes  novels  and  poetry,  swims, 
plays  tennis  and  the  guitar. — Ed. 


Some  Quickies 


Could  you  please  tell  me  the  birth- 
date  of  Dorothy  Pr ovine? 

A.E.,  Bear  Creek,  N.C. 

She  was  born  on  January  20,  1937. 
—Ed. 

Please  tell  me  if  Betsy  Palmer's  hus- 
band is  a  doctor  or  a  dentist. 

B.N.,  Reading,  Mass. 
Her  husband  is  an  obstetrician. — Ed. 

Where  was  Dick  Van  Dyke  born? 

A.F.,  Potter sville,  Mo. 


He  was  born  in  West  Plains,  Mis- 
souri, and  reared  in  Danville,  111. — Ed. 

How  tall  is  Grant  Williams? 

L.D.,  Rochester,  N.Y. 
He  is  6'1"  tall.— Ed. 

Is  Leslie  Nielsen  married? 

D.G.,  Sand  Creek,  Mich. 
He  is  married  and  has  a  two-year-old 
daughter. — Ed. 


a  sj  Dear  Dick 

For  all  those  readers  who  have  writ- 
ten requesting  information  as  to  where 
they  can  write  young  Dr.  Kildare,  here 
is  his  studio  address: 

Dick   Chamberlain 
c/o  NBC-TV  Studios 
3000  West  Alameda 
Burbank,  Calif. 


Theme   Songs 


IS  ML  SI 

For  those  readers  who  are  especially 
interested,  here  is  a  list  of  the  theme 
songs  of  some  of  the  popular  CBS-TV 
programs: 

Art  Linkletter's  House  Party — "You" 
Captain  Kangaroo — "Puffin  Billy" 
Danny    Thomas    Show — "Londonderry 

Air" 
Garry  Moore  Show — "Thanks  for  Drop- 
ping By" 
Ichabod  and  Me— "Girl  I  Left  Behind 

Me" 
Jack  Benny  Program — "Love  in  Bloom" 
Red  Skelton  Show— "Holiday  for 

Strings"  and  "Our  Waltz" 
Tell  It  to  Groucho— "Groucho's  Pad" 
Your    Surprise    Package — "Tick    Tac 

Toe" 
The  Brighter  Day— "Prism" 
CBS  Reports — "Appalachian  Spring" 
Ed  Sullivan  Show — "There's  No  Busi- 
ness Like  Show  Business" 


Father  Knows  Best — "Waiting" 
Frontier  Circus — "Frontier  Circus 

March" 
G-E  College  Bowl — "Hurry  Hurry 

Hurry"  and  "Second  Elizabeth" 
The  Guiding  Light — "Romance" 
Ted  Mack   and  the  Original  Amateur 

Hour — "Hurry    Up    and    Wait"    and 

"Stand  By" 


Calling   All   Fans 


IS  JUL  si 

The  following  fan  clubs  invite  new 
members.  If  you  are  interested,  write  to 
address  given — not  to  TV  Radio  Mirror. 

Buddy  Merrill  Fan  Club,  Bill  Sum- 
mers, 8815  E.  Ivanhoe  Rd.,  Indian- 
apolis 19,  Indiana. 

James  Shigeta  Fan  Club,  Christina 
Schoblocher,  2951  N.  Clark  St.,  Chicago 
14,  Illinois. 

The  Lettermen  Fan  Club,  Joyce  Stan- 
ley, 140  S.  Beverly  Drive,  Beverly  Hills, 
California. 

Peter  Brown  Fan  Club,  Jean  White, 
2112  Morning  Glory,  Fort  Worth,  Texas. 


An  Inspiring  Piece 

Thank  you  very  much  for  publishing 
the  poem,  "Thou  Shalt  Not  Fear,"  from 
Bud  Collyer's  book.  This  is  one  of  the 
most  inspiring  pieces  I  have  read  in  a 
long  time. 

May  I  mention  that  this  poem  was 
read  the  other  day  to  my  husband,  who 
had  fust  lost  a  dear  aunt,  and  it  made 
him  feel  so  much  better. 

This  poem  has  meant  so  much  to 
both  of  us  that  it  has  been  cut  out  of 
your  magazine,  framed,  and  is  now 
hanging  in  the  living  rom  of  our  apart- 
ment. 

C.D.C.,  St.  Catharines,  Ontario 


Write  to  Information  Booth,  TV  Radio  Mirror 
205  E.  42nd  St.,  New  York  17,  N.  Y.  We  regret 
we  cannot  answer  or  return  unpublished  letters. 


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Go  West,  Young  Man:  Memo  to 
Robert  Reed  of  "The  Defenders"  In 
New  York:  You  may  be  Interested  to 
know  that  a  filmtown  lovely,  Carol 
Byron  by  name,  has  turned  down  oh- 
so-many  dates  on  Saturday  night,  just 
to  ogle  nobody  but  you  on  TV.  Says 
Carol,  "We  met  when  Bob  came  to 
Hollywood  on  a  p.a.  tour,  and  I'm 
hoping  he  comes  again  soon."  . . .  Sultry 
Ava  Gardner,  in  Hollywood  for  a 
film,  "twisting"  from  one  date  to  an- 
other. Seeing  the  barefoot  Ava  on  a 
dance  floor  is  worth  any  cover  charge. 
.  .  .  Eyeful  Sharon  Hugueny  is  all 
eyes  for  Alan  Pakula,  young  U-l  pro- 
ducer. .  .  .  Martha  Raye's  new  beau, 
Bob  Gallagher,  tours  with  her  in 
"Wildcat,"   as   it    makes   the    rounds. 


&M  (jooki 

TV  fioJjJD  f^d)VlO>L 

oil  ike,  'KeuJs  —fbdkl 

by  EUNICE  FIELD 


Very     Fair     Exchange: 
Amy    Fields,    some- 
time date  of  Dick 
Chamberlain,       has 

been  playing  the  role 
of  a  Spanish  exchange 
student  on  "The  Brighter 
Day"  and  has  been  getting 
mucho  fan  mail  in  that  Ian 
guage.  Bostonian  Amy  no 
habla  Espaiiol  ...   so 
she   enlisted   a   linguist 
gal-pal   to   help    her 
answer  such   letters 
in    purest    Castilian 
...  on  the  promise  of 
wangling  a  date  for  her 
with  Dr.  Kildare  himself! 


A  Case  in  Brief:  If  you  want  to  give 
Roz  Russell  a  gift,  don't  make  it  a 
briefcase.  On  the  set  of  Warner  Bros.' 
"Gypsy,"  Roz  explained,  "I  did  too 
many  shows  as  a  career  woman  lugging 
a  briefcase.  Since  winding  up  my  con- 
tract, I've  never  carried  one  of  those 
symbols  of  monotony,  on  or  off  the 
screen."  .  .  .  Natalie  Wood,  who 
plays  Gypsy  Rose  Lee,  screened  sev- 
eral films  of  the  strip  queen  as  home- 
work for  her  role.  "You  know,"  she  told 
producer  Mervyn  LeRoy,  "watching 
that  Lee  girl  walk,  I'm  sure  she  was 
born  with  a  built-in  Twist."."  .  .  .  New 
"Have  Gun'  album  features  Johnny 
Western,  composer  of  Paladin's  theme 
song. . . .  Are  Dodie  Stevens  and  Vic 
Damone   singing    for   each    other??? 


Like  Too  Troo,  Man:  TV's  been 
slapped  for  being  "too  sexy"  and 
"too  bloody."  Now  they're  griping 
it's  "too  true."  Ernie  Borgnine's  role 
in  "McHale's  Men,"  due  for  fall 
showing,  is  said  to  be  "hitting  too 
close"  to  the  most  famous  PT-boat 
skipper  in  the  world,  President  Ken- 
nedy. Sez  Ernie,  "  'Tain't  so,  but  it 
can't  hurt  the  series,  so  let  'em  yap." 
.  .  .  Another  Ernie  is  finding  TV  hit- 
ting close  to  home.  Officer  Ernie 
Gunther  of  Reseda,  California — now 
assigned  to  Patrol  Car  54 — has  be- 
come the  butt  of  precinct  gagsters 
His  radio  no  longer  bleats  "Calling 
Car  54,"  but  "Car  54,  Where  Are 
You?"  What's  worse:  One  cop  in  TV's 
54  is  also   named    Gunther   (Toody)! 


Joan  O'Brien  —  who 

really    suffers    from 
claustrophobia  — 
was  locked  in  a  closet 
for  fifteen  minutes  by 
Jerry    Lewis,    during   the 
filming    of   his    new   movie, 
"It's    Only    Money."    Upon 
emerging,    Joan    gasped, 
"How    could    you,    Jer?" 
The     comic    said     airily 
"Don't   squawk — I    just 
shrunk  your  head  for 
free!"     Joan     pond- 
ered this  analysis  for 
a  moment,  then  said, 
"You're  right,  so  I'll  take 
you  to  lunch — for  a  fee 


Curing  A  Ham:  Feeling  chipper 
again,  George  Maharis  tells  this  on 
himself.  "When  they  said  it  was  the 
flu,  I  hollered  for  Dr.  Kildare.  When 
they  found  it  was  hepatitis,  I  yelled 
for  Ben  Casey.  But  when  I  heard 
Marty  Milner  would  star  by  himself 
in  the  'Route  66Y  I'd  be  missing,  I 
howled,  'Get  me  my  pants  and  a 
taxi!'  ".  .  .  Rita  Moreno,  flying  from 
the  Manila  set  of  "To  Be  a  Man"  to 
Japan  for  TV  spec:  "First  an  Oscar, 
then  the  Orient — just  call  me  Happy!" 


Fair's  Fare:  The  gamut  of  show  busi- 
ness can  be  found  at  Seattle's  World 
Fair.  It  has  nudies,  ice  shows,  ballet, 
opera,  science  and  industrial  exhibits, 
exciting  rides,  concerts,  and  a  sky 
restaurant  with  revolving  view  of  lakes 
and  snowcapped  peaks.  But  there's 
still  no  sight  like  a  Hollywood  pre 
miere — or  a  Broadway  knight  striding, 
lady  on  arm,  into  "Camelot."  Busiest 
playwright  is  Edward  Albee,  with 
three  new  ones  in  the  oven.  .  .  .  Eighth 
Annual  "Genii"  Award  from  radio  and 
TV  women  of  Southern  California  wenf 
to  lovely  and  loved  Spring  Byington. 
.  .  .  It  pays  to  advertise?  Robert  <J>. 
Lewis  bills  himself  as  "the  worst  disc 
jockey  in  the  world."  Mm?  .  .  .  Troy 
Donahue  to  be  an  "Hawaiian  Eye"? 


f( 


Rhinestones  in  the  Rough:  Vivian 
Vance — who  said  she  wouldn't — did! 
She'll  be  back  on  TV,  this  fall,  in  a 
new  Desilu  series  starring  her  pal  Lu- 
cille Ball  (seen  at  right  with  hus- 
band Gary  Morton,  strictly  off  TV). 
.  . .  Brags  Jack  Bailey,  "Sure,  'Queen 
for  a  Day'  has  sob  stories — but  we  can 
swap  jolces  with  the  best  of  them."  .  .  . 
"Domestic  differences,"  say  Pat  But- 
tram,  on  Radio  KNX,  "are  much  easier 
to  iron  out  when  they  are  dampened 
with  tears."  .  .  .  Chic  Myrna  Fahey 
chirps,  "I  adore  floral  hats.  When  I'm 
tired  of  wearing  them,  I  put  them  in 
a  vase."  .  .  .  Some  talking-horse  sense 
from  Mr.  Ed:  "That  Connie  Hines 
(who  plays  Alan  Young's  wife  on  the 
show)    is  the   sweetest   filly  on   TV!" 


Public  post  office:  Gary  &  Lucy. 


Whacks  Works:  One  of  our  younger 
generation,  visiting  Movieland's  Wax 
Museum,  shook  her  puzzled  head  at 
the  figures  of  such  old-time  stars  as 
Harry  Carey,  William  S.  Hart, 
Mary  Pickford  and  Marie  Dressier. 
"Who  are  they?"  she  said.  "They're 
just  a  bunch  of  wax  candles  to  me." 
The  lass  was  shook-up  plenty  when, 
over  his  shoulder,  Jeff  Morrow 
snapped,  "These  candles  once  lit  up 
a  world  of  darknes  and  set  men's  hearts 
on  fire."  .  .  .  Mike  Connors — no 
longer  walking  that  "Tightrope" — 
will  reach  the  "Turning  Point"  of  his 
career  with  his  Screen  Gems  series.  .  .  . 
A  model  family  is  Norma  Zimmer's 
— mother  was  a  Powers  gal,  sis  and 
brother    are    both    top-flight    models. 


7m) r 


Star  Stuff:  Flash  bulbs  made  Shelley 
Winters  blink — actually,  she's  anything 
but  blind  to  Ty  Hardin's  charms  .  .  . 
even  more  excited  about  her  dates  with 
the  handsome  Bronco  than  about  tak- 
ing over  Bette  Davis's  role  in  the  Broad- 
way hit,  "The  Night  of  the  Iguana." 
Dramatic  as  all  get-out — any  way  you 
look  at  it.  .  .  .  Petite  young  Davey 
Davison  from  Norfolk,  Virginny — only 
three  months  in  Hollywood — racking  up 
TV  credits  like  there's  never  gonna  be 
no  tomorrow  .  .  .  Keenan  Wynn  shed 
20  pounds  for  "Target:  The  Corrupt- 
ers". .  .  .  Hope  Holliday  slimmed  to 
102  ..  .  and  Dick  Boone — who  once 
weighed  in  at  210  for  "Have  Gun" — 
is  now  down  to    190,   aiming  for    180. 


Newsome  twosome:  Shelley  &  Ty. 


Multiplication  Doesn't  Mean  Division: 
When  David  Janssen — alias  Richard 
Diamond,  etc. — was  mobbed  by  fe- 
male fans,  an  astonished  spectator 
turned  to  Dave's  lovely  wife,  Ellie,  and 
asked,  "Aren't  you  jealous?"  Ellie's 
spur-of-the-moment  reply  was  a  bit  of 
star-wife  wisdom.  "One-plus-one,"  she 
said,  "is  a  matter  for  jealousy — but  not 
a  hundred-times-one."  .  .  .  Burt  Met- 
calfe, handsome  groom  in  "Father  of 
the  Bride,"  met  one  female  fan  with 
unexpectedly  devastating  results.  A 
lady  motorist  stopped  alongside  Burt's 
brand-new  car,  yelled,  "Hi,  Buckleyl" 
— and  enthusiastically  banged  her  um- 
brella on  top  of  his  convertible.  Left 
a    right   good-sized   gash   in   the   roof. 


<- 


Has  the  Kookie  Krumbled?  Already 
feuding  with  the  press — who  helped 
boost  him  starward  before  he  got  top- 
heavy  and  began  giving  them  a  hard 
time — Edd  Byrnes  has  now  taken  to 
speeding.  He  must  face  a  jury  trial  to 
save  his  license  from  being  lifted.  .  .  . 
CBS-TV  will  go  for  90  minutes  of 
curves  on  July  14th — the  Miss  Uni- 
verse Pageant.  .  .  .  Rip  Torn,  done 
with  "Gypsy,"  back  East  to  give  his 
all  to  Actors'  Studio,  whose  fall  plans 
include  TV  and  Broadway.  .  .  .  Sylvia 
Fine  (Mrs.  Danny  Kaye)  going  with 
a  Broadway  musical  of  "The  Scarlet 
Pimpernel."  .  .  .  Sid  Caesar's  nine 
half-hour  specials  will  by-pass  Imo- 
gene  Coca  and  Nanette  Fabray. 
He'll      husband      an     all-new     team. 


Full  speed  ahead:  Edd  &  his  Asa. 


Once  Upon  A  Time:  There  was  a 
fisher  boy  who  loved  a  tailor  gal  and 
decided  to  marry  her.  All  his  friends 
said,  "Don't!  A  fisher  boy  and  a  tailor 
gal  can't  live  happily  in  one  place." 
But  the  fisher  boy  said,  "There  is  a 
place  where  we  can  be  happy — it's 
called  Switzerland."  Then  the  tailor 
gal  said,  "I'd  be  losing  my  burtons  to 
go  there."  And  she  left  the  poor  fisher 
boy.  So  he  went  back  to  Hollywood 
and  bought  a  house  on  Edelweiss  Drive 
where  he  can  nurse  his  broken  heart. 
The  strangest  part  of  the  story:  Edel- 
weiss is  the  national  flower  of  Switzer- 
land, where  the  fisher  boy  once  hoped 
to  be  happy.  But  the  tailor  gal  isn't 
happy,  either.  Still  trying  to  hold  on  to 
her  burtons.      (Please  turn  the  page) 


ofmm 
youiegoifig 

onyout , 
wafloni. 


I 


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"Dark-Eyes"  permanently  colors.,  .doesn't 
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continued 


Field's  Choice:  Male  TV  personali- 
ties wearing  knee-length  stretch  socks, 
'instead  of  exposing  "droopies"  to  the 
camera.  .  .  .  Inflation  note:  Famed 
Schwab's,  where  unemployed  actors 
could  sip  a  ten-cent  cup  of  Java  while 
waiting  for  the  big  break,  now  has  a 
"counter  charge"  of  35  cents  mini- 
mum at  peak  hours.  .  .  .  Hal  Roach 
Jr.  filed  for  bankruptcy.  Once  owner 
of  the  busiest  TV  lot  here,  Hal  dis- 
closed his  1961  earnings  were  a  mere 
$2500.  He  owes  Charlie  Farrell  and 
Gale  Storm  over  $100,000  each,  on 
contracts.  .  .  .  An  old  Roman  law, 
which  says  an  engagement  ring  is 
merely  a  symbol  of  troth,  forced  Zsa 
Zsa  Gabor  to  return  Hal  Hayes' 
{diamond — but  Ann  Miller  kept  hers. 


)W   r 


The  Conrads  have  reason  to  beam. 


Diane  McBain  salutes  hero  Quinn. 


<r-m     +-m 


j    ///// 


Eavesdroppings:  After  saving  for 
seven  years,  Bob  and  Joan  Conrad 

getting  "our  dream  house."  The  hill 
lot,  a  hop  from  Clark  Gable's  Encino 
home,  was  cleared  by  Bob  and  pals. 
While  they  were  grading,  a  neighbor 
drove  up  and  chirped,  "We  hear  a  Lig 
TV  star's  gonna  move  in  here — great!" 
Bare-waisted  and  masked  with  mud, 
Bob  asked,  "Why — you  a  fan  of  Con- 
rad's?" "Naw,"  said  the  neighbor, 
"but  he'll  raise  property  values  here- 
abouts." ...  Of  "Saints  and  Sinners," 
Nick  Adams  gets  50  percent.  John 
Larkin  plays  editor  to  Nick's  repor- 
ter. .  .  .  How  does  pert  Brenda  Scott 
— often  seen  in  "Hazel" — feel  about 
Fabian?  She  struggles  out  of  bed  at 
5  a.m.  to  go  horseback  riding  with  him! 


Medicine  Show:  The  Roscoe  of  "It 
Sunset  Strip,"  Louis  Quinn,  can't  bear 
the  sight  of  blood.  Says  Christine 
Nelson,  his  actress-spouse,  "He 
fainted  while  getting  the  blood  test 
for  our  marriage  license,  and  now  he 
runs  when  I  whip  out  a  needle  to  darn 
his  socks."  . . .  Scott  Brady  is  allergic 
to  hosses  and  had  to  get  shots  during 
the  shooting  of  "Shotgun  Slade."  .  .  j 
Earl  Holliman,  a  rodeo  champ  in' 
NBC-TV's  new  fall  series,  "Wide 
Country,"  has  a  clause  in  his  contract 
stating  his  workday  must  end  by  5:45 
— so  he  can  make  his  daily  trip  to  Us 
analyst.  .  .  .  That's  the  voice  of  Sam 
JafFe  himself  you  hear  intoning  TV's 
most  profound  opening:  "Man  . . .  worn 
an  .  .  .  birth  .  .  .  death  .  .  .  infinity." 


Person  to  Person:  Every  agent  told 
Doris  Day  she'd  never  get  Monty 
Clift  as  her  co-star  ...  so  Doris  put 
through  her  own  call  to  Munich — 
where  Cliffs  doing  "Freud"— and 
cooed,  "Why  haven't  we  done  a  pic- 
ture together?"  Always  in  character, 
Monty  retorted,  "So  you  won't  get  a 
complex — let's!"  .  .  .  When  Laurence 
Harvey  first  saw  the  ads  for  "A  Walk 
on  the  Wild  Side,"  he  snorted,  "They 
warned  me  I'd  be  lost  among  such 
lovely  girls — but  it  seems  the  black 
cat  has  stolen  the  spotlight  from  all 
of  us."  .  .  .  These  movie  people  would 
really  get  complexes  on  TV,  where 
female-impersonating  dogs  and  talk- 
ing horses  have  the  whole  show  named 
after  them — and  get  most  of  the  mail! 


"Blackie"  Knight  and  Ed  Begley. 


Convertible  Blonde:  Shirley  Knight 

dons  a  black  wig  for  "Caesar  and 
Cleopatra"  at  Vancouver  (B.C.)  art 
festival.  .  .  .  Reports  from  Blinstrub's 
in  Boston  prove  The  Lennon  Sisters 
are  no  show-biz  "lemons"  in  their  first 
nitery  stint.  An  S.R.O.  opening  night 
and  8,000  patrons — at  $5  minimum — 
all  week.  Father  Bill,  who  devised  the 
act,  says  this  may  start  the  girls  on  a 
new  and  profitable  career  phase.  .  .  . 
Waiting  for  the  day  every  American 
home  has  a  color-TV  set?  Five  of  seven 
Los  Angeles  channels  will  be  color- 
casting  in  the  fall.  Prices  for  sets  ex- 
pected to  drop  as  programs  increase 
— we  say  hopefully.  .  .  .  From  Rose 
Marie:  "Never  slap  a  child  in  the 
face — there's  a  place  for  everything." 


Married  women 
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_Zone State- 


A  NORWICH  PRODUCT 


"What  do  we  learn  from . . 


...Adam  and  Eve?" 

"If  a  naughty  girl  tempts  you  to  do  something  bad 
don't  do  it  while  God  is  watching." 


When  Art  Linkletter  asks  the  questions,  kids  say 
the  darndest  things!  (So  do  the  grown-ups 
who  join  him  in  other  fun  and  games.)  Catch  them 
all,  every  weekday,  on  radio's  "House  Party 
And  while  you're  at  it,  enjoy  radio's  other 
top  personalities— Arthur  Godfrey,  Garry  Moore 
Rosemary  Clooney  and  Bing— as  one  great  show 
follows  another  every  weekday  morning  on 


... 


■  w 


\1 . 


..Jonah  and  the  Whale?" 

"People  make  whales  sick." 


..David  and  Goliath?" 


"Duck!" 


CBS RADIO STATIONS:  Alabama  Birmingham  WATV,  Gadsden  WAAX,  Mobile  WKRG,  Montgomery  WCOV,  Selma  WGWC.  Tuscumbia  WVNA  Arizona  Phoenix  KOOL,  Tucson  KOLD  Arkansas  El  Dorado  KELO.  Fori  Smith  KFPW,  Little 
Rock  KTHS  California  Bakersfield  KERN,  Chico  KHSL,  Eureka  KINS,  Fresno  KFRE,  Los  Angeles  KNX,  Modeslo  KBEE,  Palm  Springs  KCMJ,  Redding  KVCV,  Sacramenlo  KFBK,  San  Diego  KFMB.  San  Francisco  KCBS  Colorado 
Colorado  Springs  KVOR,  Denver  KLZ,  Grand  Junction  KREX  Connecticut  Harlford-Manchester  WINF,  Waterbury  WBRY  District  of  Columbia  Washington  WTOP  Florida  Fori  Myers  WINK,  Jacksonville  WMBR,  Miami 
WKAT,  Orlando  WDBO,  Pcnsacola  WDEB,  St.  Augustine  WFOY,  Sarasota  WSPB,  Tallahassee  WTNT,  Tampa  WDAE,  West  Palm  Beach  WJNO  Georgia  Albany  WGPC,  Athens  WGAU,  Atlanta  WYZE,  Augusta  WRDW, 
Columbus  WRBL,  Gainesville  WGGA,  Macon  WMAZ,  Rome  WRGA,  Savannah  WTOC,  Thomasville  WPAX  Idaho  Boise  KBOI,  Idaho  Falls  KID  Illinois  Champaign  WDWS,  Chicago  WBBM,  Danville  WDAN.  Decatur  WSOY, 
Peoria  WMBD,  Ouincy  WTAD,  Rock  Island  WHBF,  Springfield  WTAX  Indiana  Anderson  WHBU,  Fort  Wayne  WANE,  Indianapolis  WISH,  Kokomo  WIOU,  Marion  WMRI.  Muncie  WLBC,  South  Bend  WSBT,  Terre  Haute  WTHI 
Iowa  Cedar  Rapids  WMT,  Des  Moines  KRNT,  Mason  City  KGLO,  Oltumwa  KBIZ  Kansas  Topeka  WIBW,  Wichita  KFH  Kentucky  Ashland  WCMI,  Hopkinsville  WHOP,  Lexington  WVLK,  Louisville  WKYW,  Owensboro  WOMI, 
Paducah  WPAD  Louisiana  New  Orleans  WWL,  Shreveport  KCIJ  Maine  Portland  WGAN  Maryland  Baltimore  WCBM,  Cumberland  WCUM,  Frederick  WFMD,  Hagerstown  WARK  Massachusetts  Boston  WEEI.  Pittsfield  WBRK, 
Springfield  WMAS,  Worcester  WNEB  Michigan  Adrian  WABJ,  Bad  Axe  WLEW,  Grand  Rapids  WJEF,  Kalamazoo  WKZO,  Lansing  WJIM,  Port  Huron  WHLS,  Saginaw  WSGW  Minnesota  Duluth  KDAL,  Minneapolis  WCCO 
Mississippi  Meridian  WCOC  Missouri  Joplin  KODE,  Kansas  City  KCMO,  St.  Louis  KMOX.  Springfield  KTTS  Montana  Billings  KOOK,  Butte  KBOW,  Missoula  KGVO  Nebraska  Omaha  WOW,  Scottsbluff  KOLT 
Nevada  Las  Vegas  KLUC  New  Hampshire  Keenc  WKNE,  Laconia  WEMJ  New  Jersey  Atlantic  City  WFPG  New  Mexico  Albuquerque  KGGM.  Santa  Fe  KVSF  New  York  Albany  WROW,  Binghamton  WNBF,  Buffalo  WBEN. 
Elmira  WELM,  Gloversville  WENT,  Ithaca  WHCU,  Kingston  WKNY,  New  York  WCBS,  Pittsburgh  WEAV,  Rochester  WHEC.  Syracuse  WHEN,  Utica  WIBX,  Walertown  WWNY  North  Carolina  Ashev.lle  WWNC,  Charlotte 
WBT,  Durham  WDNC,  Fayettevillc  WFAI.  Greensboro  WBIG.  Greenville  WGTC  North  Dakota  Grand  Forks  KILO  Ohio  Akron  WADC.  Cincinnati  WKRC,  Columbus  WBNS,  Dayton  WHIO.  Portsmouth  WPAY. 
Youngstown  WKBN  Oklahoma  Oklahoma  Cily-Norman  WNAD,  Tulsa  KRMG  Oregon  Eugene  KERG,  Klamath  Falls  KFLW.  Medford  KYJC,  Portland  KOIN.  Roseburg  KRNR  Pennsylvania  Altoona  WVAM.  DuBois  WCED, 
Erie  WLEU,  Harrisburg  WHP,  Indiana  WDAD,  Johnstown  WARD,  Philadelphia  WCAU,  Pitlsburgh-McKeesport  WEDO,  Reading  WHUM.  Scranton  WG3I,  State  College  WRSC,  Sunoury  WKOK,  Un.ontown  WMBS,  William 
WWPA  Rhode  Island  Providence  WEAN  South  Carolina  Anderson  WAIM,  Charleston  WCSC,  Columbia-Cayce  WCAY.  Greenville  WMRB,  Spartanburg  WSPA  South  Dakota  Rap.d  City  KOTA,  Yankton  WNAX  Tennessee  Chat- 
tanooga WDOD,  Cookeville  WHUB,  Johnson  City  WJCW,  Knoxville  WNOX,  Memphis  WREC,  Nashville  WLAC  Texas  Austin  KTBC,  Corpus  Christi  KSIX,  Dallas  KRLD.  El  Paso  KIZZ,  Harhngen  KGBT,  Houston  KTRH.  Lubbock 
KFYO,  San  Antonio  KENS.  Texarkana  KOSY,  Wichita  Falls  KWFT  Utah  Cedar  City  KSUB,  Salt  Lake  City  KSL  Vermont  Barre  WSNO,  Bratileboro  WKVT  Virginia  Norfolk  WTAR.  Richmond  WRNL.  Roanoke  WDBJ  Washington 
Seattle  KIRO,  Spokane  KGA  West  Virginia  Beckley  WJLS,  Charleston  WCHS,  Fairmont  WMHN,  Parkersburg  WPAR,  Wheeling  WWVA  Wisconsin  Green  5ay  W8AY,  Madison  WKOW,  Milwaukee  WM'l  Wyoming  Casper  KTWO. 


Begging  Jack's  Paar-don.  .  .  . 
But  Johnny  Carson  will  success- 
fully succeed  him. 

That's  my  prophecy  about  how 
Carson'll  make  out,  taking  over 
the  "Tonight"  show  this  fall. 
Johnny's  a  funnier  guy,  strictly 
as  a  comedian;  he  could  be  a  new 
Will  Rogers.  Johnny's  "weak- 
ness" is  that  he's  not  hot-tem- 
pered and  given  to  making  violent 
attacks  on  people.  The  frequently- 


uttered  comment  around  Madison 
Avenue  among  those  who  dont 
expect  him  to  be  a  satisfactory 
successor  to  Jack  Paar  is:  "He's 
too  nice  a  guy  .  .  .  he'd  be  better 
if  he  were  more  of  a  heel." 

First,  to  set  the  record  straight, 
Paar  has  never  been  against  Car- 
son taking  over  for  him.  Paar  was 
for  Carson. 

A  year  ago  there  was  a  rumor 
that    Paar    wouldn't    use    Carson 


on  the  Paar  show  because  he 
thought  Carson  overshadowed 
him. 

"That  can't  be  true,"  Johnny 
told  me.  "Because  he  has  used  me 
and  I  have  subbed  for  him.  Fur- 
thermore, Paar  told  me  that  he 
thought  I  was  the  one  who  should 
replace  him  when  he  leaves!" 

So  Paar  was  in  Johnny's  camp 
ahead  of  nearly  everybody. 

Grinning,     easygoing,     relaxed, 


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Another  TV  Radio  Mirror  Exclusive !  Another  TV  Radio  Mirror  bonus !  Beginning 
this  month-and  every  month  from  now  on-the  scoopiest  column  in  any  magazine ! 


12 


accustomed  to  sitting  around 
Sardi's  having  a  drink,  not  above 
having  a  date  with  a  young  beauty 
(his  marriage  is  broken  up) , 
Carson's  no  controversialist.  Peo- 
ple will  not  be  watching  him  hop- 
ing to  see  somebody  get  massacred. 

The  fact  that  he  couldn't  im- 
mediately take  over  for  Paar  is  in 
his  favor.  Paar  will  have  been 
off  the  "Tonight"  show  long 
enough  that  Carson'll  escape  some 
of  the  comparison  that — regard- 
less of  his  show — would  have  gone 
against  him  just  because  people 
generally  want  the  old,  estab- 
lished product. 

Being  "Mr.  Nice  Guy"  worked 
pretty  well  for  Perry  Como.  I 
say  something  approaching  that 
will  also  work  for  Carson. 

There's  a  magic  to  that  "To- 
night" show — due  to  the  hour  and 
the  regularity. 

Don't  forget  that  Steve  Allen 
was  gigantic  when  he  was  doing 
it.  It  was  he  who  "changed  the 
sleeping  habits  of  the  nation."  It 
was  Allen  who  "kept  more  people 
awake  than  coffee."  Look  at  the 
stars    Steve    Allen    made    on    his 


Kim  Novak  tells  me  she's  changed 
her  mind.  Her  "no"  is  now  a  "yes." 


show:    Steve    Lawrence,    Eydie 
Gorme    and    Tom    Poston,    for 

example.  And  before  Allen,  there 
was  Jerry  Lester  with  the  old 
"Broadway  Open  House."  That 
program  made  Dagmar  famous. 
It  was  only  when  they  left  that 


show  that  they  had  trouble.  Not 
that  I  think  Jack  Paar  will  have 
trouble.  He's  going  to  be  ingenious 
enough  to  keep  the  excitement, 
the  battling,  the  blood-letting 
raging,  even  though  on  the  air 
only  once  a  week.  That  talent — 
for  excitement — is  the  one  that 
Jack  possesses  probably  in  great- 
er abundance  than  anybody  on  the 
TV  scene  .  .  .  and  the  one  that 
Johnny  Carson   lacks. 

Don't  Print  That!  Though 
some  friends  of  Lucille  Ball  have 
urged  her  to  build  husband  Gary 
Morton  into  "another  Desi 
Arnaz"  on  TV,  he  doesn't  seem 
to  want  to  do  it.  Fact  is,  there  was 
a  TV  series  available  at  Desilu  Stu- 
dios for  Gary,  but  he  preferred 
not  to  get  involved  in  any  possi- 
ble conflicts  with  Desi.  .  .  .  One 
of  the  most  brilliant  TV  careers 
right  now  is  menaced  by  booze. 
.  .  .  Jackie  Gleason's  still  able 
to  give  some  orders  at  CBS.  When 
Jackie  was  working  on  his  new 
show  for  the  fall,  between  golf 
games  at  Palm  Springs,  CBS  an- 
nounced it  adored  the  new  format 
and  said:    {Please  turn  the  page) 


Johnny  will  need  those  muscles  to  take  Paar's  place. 


Glenn  s  away,  Connie  plays — here,  with  Bob  Logan. 


T 
V 

I 


13 


EARL    T±  WILSON'S 


continued 


"Come  back  to  New  York  and  get 
to  work  on  it  at  CBS."  Jackie  re- 
plied, "Send  CBS  down  here  and 
I  can  still  play  golf."  CBS  did 
send  a  squadron  of  writers,  etc., 
and  in  that  luxurious  locale  Jackie 
worked.  .  .  .  Some  people  think 
there's  too  much  sex  on  TV,  but 
Frank  Sinatra  thinks  there  isn't 
enough. 

Phil  Harris  loves  to  discuss 
the  greatness  of  Jack  Benny,  for 
whom  he  worked  for  so  long.  He 
just  remembered  how  Benny  once 
told  him,  "Phil,  I  can't  work  for 
Jell-0  for  another  season.  I  have 
to  go  with  somebody  else." 

"You  have  to  leave  Jell-O!"  ex- 
claimed Harris.  "I  thought  they 
liked  you  and  that  you  were  sell- 
ing a  lot  of  their  product." 

"That's  it,"  groaned  Jack.  "I 
am.  They  can't  make  it  fast 
enough." 

Whatever  happened  to  Liber- 
ace?  He's  coming  back  to  TV 
in  the  fall — so  he  says — with  his 
own  half-hour  show,  like  the  old 
show  "only  more  elaborate,"  per- 
haps with  more  candelabras  or 
bigger  sequins.  "You  don't  an- 
nounce anything  till  you  have 
everything  down  in  black-and- 
white,"  he  says  mysteriously. 
Actually,  Liberace  has  done  him- 
self a  lot  of  good  in  show  busi- 
ness circles  with  his  current  night- 
club act.  It's  corny,  hokey,  and 
overdressed  with  all  those  real 
diamonds — but  it's  sensational  en- 
tertainment. 

Wish  I  could  ad  lib  like  Garry 
Moore.  He  and  Durward  Kirby 


were  running  through  a  sketch 
when  Kirby  accidentally  ripped 
his  costume  pants  in  the  seat. 
"And  I  always  thought  he  was  too 
old  for  the  draft,"  said  Garry. 

Before  the  show,  Garry  chats 
with  the  audience.  One  tourist 
called  out  from  the  rear,  "Why  are 
you  so  dressed  up  tonight?"  Garry 
said:  "Well,  in  case  I  drop  dead, 
I'll  be  ready  for  the  undertaker." 

Some  of  those  ordinary-looking 
folks-  on  the  Mitch  Miller  sing- 
along  (which  is  moving  from 
Thursday  at  ten  to  Friday  at 
8:30)  have  nice  little  bankrolls 
now.  The  average  singer  on  the 
show  is  good  for  $25,000  to 
$30,000  a  year,  with  records,  com- 
mercials, etc.,  added.  And  one  of 
the  singers  hiked  his  income  to 
$90,000— he  played  the  stock 
market. 

Quite  an  independent  kid,  that 
Connie  Stevens.  When  I  talked 
to  her  about  her  negotiations  for 
a  "Route  66,"  she  said,  "The  trou- 
ble is,  I  find  it  so  hard  to  believe 
those  people.  I  hear  one  of  the 
first  scripts  is  a  bomb.  .  .  ." 

And  she  went  back  to  chatting 
with  some  of  her  chums  from 
Brooklyn  who'd  dropped  into  the 
Essex  House  to  talk  about  all  sorts 
of  other  things. 

Kim  Novak,  who  once  had 
some  aversions  to  doing  TV,  says 
she  no  longer  feels  that  way,  and 
tells  me  she'd  do  some  dramatic 
things  if  she  found  the  right  ones. 
"But  there's  no  point  in  me  going 
on  the  Ed  Sullivan  show,"  she  said. 
"After  all,  I  don't  sing  or  dance." 

They're  telling  a  story  about 
Timi  Yuro  that  you'll  probably 
hear  again  and  again.  Just  about 
a  year  ago,  the  little  gal  with  the 
big  voice  had  spinal  meningitis. 
Doctors  thought  she'd  never  walk 
again.  She  surely  proved  them 
wrong.  Anyway,  the  pint-sized 
one,  who  turned  out  the  hit  tune, 
"Hurt,"  had  just  met  Frank 
Sinatra,  who  stared  at  her  for  a 
moment,  then  walked  slowly 
around  her. 


Next   month:   Exclusive   story   on 
D.    Chamberlain    and   his    Clara! 


"What're  you  looking  for?" 
somebody  asked  Frank. 

"For  the  plug,"  said  Frank. 
"She's  gotta  be  plugged  in  some- 
where. No  one  has  that  big  a  voice 
naturally." 

You  didn't  hear  much  about  it 
but  Mahalia  Jackson  injured  a 
foot  in  an  auto  accident.  They 
arranged  a  special  platform  for 
her  when  she  did  the  Ed  Sullivan 
show.  Sullivan  made  an  amusing 
slip  of  the  tongue  when  he  told  the 
audience,  "Mahalia  last  year  had 
an  audition  with  Pope  John." 
He  meant  an  "audience,"  he  ex- 
plained later. 

Teresa  Brewer  wouldn't  allow 
her  eleven-year-old  daughter  to 
wear  high  heels  to  the  studio 
to  watch  her  mother  perform. 
"Heavens,"  exclaimed  Teresa — 
who's  anywhere  from  four-feet- 
eleven  to  five-feet-one,  depending 
on  her  mood — "then  she'd  be  big- 
ger than  I  am." 

(In  an  interview  with  us, 
Teresa  revealed  that  her  head's 
bigger  than  her  waist.  "And  I  am 
not  a  big  head,"  she  insisted.) 

Otto  Preminger  got  badly 
miffed  when  doing  the  "Calendar" 


14 


show  because  he  was  cut  off  the 
air  just  as  he  was  about  to  make 
his  point.  His  speech  had  run 
overlong  and  off  he  went. 

"Why  didn't  you  have  one  of 
those  fellows  stand  in  back  of  the 
camera  and  give  me  the  zzzltttt 
(running  his  finger  across  his 
neck,  signal  for  the  cutoff)  when 
time  was  running  out?"  Otto  de- 
manded. Everybody  apologized, 
he  was  asked  to  tape  some  more 
material  for  next  day's  show,  but 
Otto  shook  his  head  and  insisted 
there  should  have  been  a  zzzltttt. 

Shelley  Fabares,  the  flouncy 
youngster  on  the  "Donna  Reed 
Show,"  who's  the  niece  of  Nan- 
ette Fabray,  has  another  song 
ready  for  her,  to  follow  up  the 
success  of  "Johnny  Angel."  It's 
the  work  of  Lyn  Duddy  and 
Jerry  Bresler,  and  it's  tentative- 
ly titled,  "I'm  Sorry  About  It,  Mrs. 
Johnson,  But  I  Can't  Baby  Sit  Any 
More." 

Fearless  Forecasts :  Eddie  Fish- 
er isn't  likely  to  do  TV  immedi- 
ately because  he's  too  skinny.  He's 
got  to  fatten  up  first.  Curiously, 
some  sponsors,  who  wouldn't  have 
touched  him  when  he  broke  up 
with  Debbie  Reynolds,  now  re- 
gard him  as  sympathetic,  due  to 
Liz  having  flung  him  out  of  the 
villa.  .  .  .  Word's  around  that  the 
Carol  Burnett — Julie  Andrews 
special  to  be  aired  in  June — hav- 
ing been  taped  at  a  Carnegie  Hall 
concert — is  so  good  that  nobody, 
but  nobody,  could  botch  it  up. 

All  the  way  to  Honolulu,  I 
phoned  Henry  Kaiser  about  his 
plans  for  a  new  Tuesday  night 
CBS  show,  "Kaiser  Presents  the 
Lloyd  Bridges  Show." 

I  could  picture  the  old  boy  sit- 
ting there  with  his  feet  in  the 
Pacific — and  I  frankly  wished 
I  could  be  there  again  talking  to 
him  .  .  .  drinking  one  of  those 
rum  drinks,  the  mai-tais,  I  think 
they  call  them. 

"Hello,"  he  said.  .  .  .  Didn't 
offer  me  a  trans-continental,  trans- 
oceanic drink  at  all. 


All  business!  He  said  his  other 
shows  on  ABC  didn't  hold  up  on 
their  ratings,  so  he's  trying  Lloyd 
Bridges.  He's  just  crazy  about  the 
guy  when  he's  dried  off  and  not 
under  water.  "He's  going  to  play 
an  author  journalist,"  Kaiser  said. 
"He  gets  into  scrapes  all  over  the 
world.  .  .  ."  It  was  a  nice  talk  .  .  . 
but  I'm  still  thirsty  for  a  mai-tai. 

Shouldn't  there  be  a  loyalty  test 
for  some  of  the  stagehands  of  the 
big  shows?  Do  the  bosses  know 
that  while  some  of  the  biggest 
dramatic  stars  are  on  the  air  be- 
ing dramatic,  the  stagehands  have 
tuned  to  one  of  the  auxiliary  sets 
to  watch  the  baseball  games? 

One  of  the  big  stars  got  several 
writers  to  write  him  some  night 
club  material  practically  for  free 
— by  tossing  them  a  little  party. 
Afterward,  big-heartedly,  he  gave 
them  cuff-links.  But,  so  the  story 
goes,  he  said  to  two  of  the  writers, 
who  are  a  team,  "Here,  you  two 
boys  are  so  close  together  ...  so 
I'll  just  give  you  one  cuff-link 
apiece."  — The  End 

P.S.   on  Eddie:  Losing  weight — - 
but  gaining   TV-sponsor   interest. 


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Ona  of  Hollywood's  steadiest  two- 
somes: Johnny  Mathis,  Miriam  Colon. 


ON  THE  RECORD 


:.£* 


JULY   1962 


Bobby   Scott 
Music   Editor 


■<# 


}/A 


Judy  Garland's  on-again,  ofT-again 
marriage   to    Sid    Luff   is   now   off. 


Margarita     Sierra,     with     George     Nader, 
cha-cha-ing  from   "SurfSide  6"   into  movie. 


MUSIC 

MAKERS 

IN   THE 

NEWS 


'■¥■ 


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^vhftT*.  "^ 

•wj&fc' 

Fortifying   themselves   for  the    next 

Twist:   Rod  Lauren,  Jenny  Maxwell. 

Teen   singer   Dodie   Stevens — busy   again — 
talks   behind    back   of  date    Russ   Titleman. 


f 


|   .-..'•■■':"    . 


Edie  Adams,  picking  up  the  pieces, 
has  friend*  like  Milton  Berle  to  help. 


Andy  Williams,  preparing  for  a  fall 
TV  show,  takes  his  bride  on  the  town. 


T 
V 
R 

17 


ON  THE  RECORD 


18 


HOW  TO  RATE 
A  RECORDING 

•  From  time  to  time,  in  my  record 
reviews,  I'll  use  the  word  "reading." 
This  pertains  to  the  lyric  exclusively. 
The  question  of  what  is  a  good  or  bad 
"reading"  is  sometimes  very  difficult  to 
judge.  The  criterion  is  generally:  "How 
well  is  the  story  told?"  But,  strangely, 
it's  not  all  that  easy  to  judge.  The  tune, 
itself,  if  very  well-known,  can  be  decep- 
tive; your  brain  already  has  the  lyric 
laid  out  for  you  in  front  of  each  new 
phrase.  Generally  the  artist,  if  a  strong 
stylist  (as  opposed  to  a  straight  "singer- 
of-songs"),  takes  these  familiar  sur- 
roundings as  a  green  light  to  indulge 
himself  or  herself  in  musical  stylizing. 
This  is  as  it  should  be. 

But,  unfortunately,  here  is  where  am- 
biguity steps  in.  The  standard,  like 
litmus  paper,  changes  its  color.  Now 
it's  "Well,  I  know  the  tune" — but  what 
comes  across  more  pointedly,  now?  Is 
the  stylization  so  freely  sprung  that  we 
begin  to  hear  words  of  no  primary  value 
exploited  at  the  expense  of  the  vital 
parts  of  the  lyrical  message?  Are  the 
rhymes  being  obscured?  Or,  are  we 
aware  that  the  new  colorings,  no  matter 
how  stylistic,  are  instilling  words  with  a 
new  and  perhaps  fresher  and  deeper 
meaning?  These  are  some  of  the 
questions  to  ask. 

Good  "reading,"  incidentally,  has 
never  been  the  property  of  any  one  dis- 
tinct branch  of  popular  music.  Sinatra, 
among  the  crooners,  has  repeatedly 
come  up  with  marvelous  readings. 
"Tennessee"  Ernie  Ford,  in  the  country 
area,  also  reads  exceedingly  well.  Nat 
"King"  Cole,  though  strongly  on  the 
quiet  side,  is  always  considerate  of  the 
story  he's  telling.  Ray  Charles,  in  spite 
of  his  singular  and  personal  style, 
rarely  misses  the  mark.  This  list,  I'm 
sure,  comes  as  no  great  revelation  to 
anyone!  But,  I've  left  off  a  multitude 
of  story-telling  talent. 

The  highly  stylized  Dinah  Washington 
and  Sarah  Vaughan  always  find  ways, 
you'll  notice,  to  make  the  story  live.  On 
the  other  hand,  Vic  Damone  works 
closely  with  the  melody  but  picks  the 
words  to  shade,  and  always  uses  his 
dynamic  range  (from  whispers  to  full- 
throated  tones)  to  advantage.  There 
are,  of  course,  singers  who  read  well, 
but  have  a  limited  range  of  dynamics. 
Subsequently,  they  are  pleasant  but 
hardly  exciting.  But,  here  we  move 
into  the  area  of  taste.  And  that,  decid- 
edly, is  everyone's  own  business. 


_ 


TOPS   IN   SINGLES 

1)  Don't  Turn  Around/Hush  Now  Sally,  Journeymen  (Capitol) — Both 
sides  exceedingly  strong!  (See  Special).  Good  group  with  long-lived  potential. 
Great  songs  with  the  lean  on  "Don't  Turn  Around."  You  won't  turn  the  dial 
much  to  hear  this  one. 

2)  Lovers  Who  Wander /Born  To  Cry,  Dion  (Laurie) — Two  sure  bets 
for  the  hit  charts  from  the  driving  voice  of  Dion.  Awful  good  follow-up  to 
"The  Wanderer."  The  tunes  also  were  written  by  Dion.  Very  strong. 

3)  I  Guess  I'll  Never  Stop  Lovin'  You/Sneaky  Alligator,  La  Rells 
(Liberty) — Here's  one  of  the  popular  singing  groups  making  a  powerful  bid 
for  honors.  "Never  Stop  Lovin'  "  is  the  side.  Lead  voice-and-group  type  arrange- 
ment. Watch  this  one.   (Flip  side  is  no  winner.) 

4)  Hassie/The  Flame's  Gone  Out,  Ronnie  Isle  and  the  Yo-Yo's  (Okeh) 
— A  very  strange  tune  but  possessing  that  quality.  Strong  on  the  rhythm  side. 
Ronnie  does  a  first-rate  job  of  shouting!  Rare,  but  strong! 

5)  Wind-up  Toy/ Caravan  Of  Lonely  Men,  Tony  Richards  (Carlton)  — 
A  strong  coupling  of  good  tunes  and  strong  deliveries.  "Wind-up  Toy"  could 
be  a  sleeper.  Good  arrangement  on  "Caravan." 

6)  Walk  On  The  Wild  Side,  Part  I  and  II,  Jimmie  Smith  and  the  Big 
Band  (Verve) — A  jazz  artist  bucks  the.  single  market  and  in  fine  fashion. 
Definitely,  Part  II  is  the  one  to  grab  juke-box  and  air  play.  Very  strong!  The 
wild  organ  of  Smith  with  a  shoutin'  band  plus  a  great  movie  theme.  Look  out! 

7)  Chapel  Of  Tears/Funny,  Gene  McDaniels  (Liberty)— That  "Tower 
of  Strength"  and  "Chip,  Chip"  boy  is  at  it  again.  "Chapel"  is  the  side.  Ray 
Charles-ish  kind  of  ballad.  Could  get  under  the  wire.  Fine  performances  on 
both  sides. 

8)  Tell  Me  What  He  Said/I  Apologize,  Helen  Shapiro  (Capitol)— This 
record  should  be  up  high  on  the  list.  It's  a  great  record.  Good  tunes  and 
arrangements.  Fine  job  of  performing  by  this  deep-throated,  J.  P.  Morgan- 
styled  thrush.  Watch  this  sleeper! 

9)  Mine  All  Mine/Look  No  More,  Little  Eddie  (Liberty)— "Mine  All 
Mine"  definitely  the  stronger.  Eddie  gets  a  rendition  favorably  to  the  market. 
It's  a  bit  underweight,  but  who  knows! 

10)  Love  Theme  From  Lolita/Look  No  Further,  Leroy  Holmes 
(MGM) — An  enchanting  theme  from  the  Hollywood  studios.  Sure  to  be  a 
good  runner.  "Lolita"  theme,  the  heavier.  Flip-side  pleasant  but  not  for  the 
charts. 

SPECIAL   REVIEW   SINGLES 


Don't  Turn  Around/Hush  Now 
Sally,  The  Journeymen — (Capitol)  — 
Here's  a  group  that's  like  most  of  the 
newer  folk-style  groups  in  make-up, 
with  one  notable  exception:  they  sing 
beautifully  together,  with  a  fantastic 
sense  of  pitch  and  clarity.  They  also 
have  the  magic  ingredients:  The  right 
tune,  "Don't  Turn  Around,"  which  will 
hit  the  younger  set  as  well  as  the  old- 
sters, and  an  interpretation  musical  as 
well  as  commercial.  The  quality  of  the 
tune  is  in-between  a  folk-ballad  and  a 
regular  pop  song.  The  arrangement  is 
"right  as  rain."  The  added  plus  is  the 
lead  voice,  who  sings  well  enough  to 
sing  on  his  own!  If  it  ain't  a  hit,  I'll 
eat  the  record! 


It's  a  big  hit  for  The  Journeymen,  three 
young  fellows  who  have  turned  out  the 
best  single  disc  we've  heard  in  months. 


■■■"■•  ■'■:  M     :'     '' 


tfi,. 


PIECES  OF  EIGHT 

•  Jackie  Wilson,  well  again,  after  accident,  is  shouting  in  fine  form  on 
his  new  Brunswick  album  release. . . .  Another  compilation  of  "Greatest  Hits"  on 
Capitol's  "Starline"  series  features  Kay  Kyser  and  his  gang  rattling  off  his 
big  ones,  Tennis,  anyone?  .  .  .  RCA  Victor  has  Sam  Cooke  twistin'  on  his 
new  album.  ...  On  the  classical  .side,  Angel  Records  has  a  marvelous  piano 
album  by  the  exceptionally  talented  Russian  pianist,  Sviatoslav  Richter. 

Teresa  Brewer's  new  Coral  album  is  all  slam  bang,  from  the  Gay  '90s 
to  the  Rockin'  style.  .  .  .  Camden,  the  $1.98  RCA  Victor  line,  has  the  "Living 
Strings"  traveling  again.  The  title,  "Souvenir  D'ltalie."  Good  for  the  money. 

Command  Records,  possessors  of  the  finest  line  of  stereo  recordings,  added 
two  more  to  the  list.  "Vibrations"  with  Enoch  Light  and  the  band  and  "Roman 
Guitar"  with  Tony  Mottola's  smaller  ensemble.  Both  excellent  sound  ventures. 

Atlantic  has  added  some  new  jazz  packages  to  their  already  impressive  list. 
"Herbie  Mann,"  live  from  the  Village  Gate,  and  Charlie  Mingus'  always  vital 
excursions  in  another. 

Gene  Kelly,  Judy  Garland,  Howard  Keel  and  William  Warfield  are 
just  a  few  of  the  stars  on  the  new  M-G-M  album,  featuring  the  best  tunes  from 
the  movie  screen. 

Steve  Lawrence,  with  the  able  backing  of  Don  Costa,  came  up  with  a 
heck-of-a-good  single,  "The  Lady  Twists,"  or  something  resembling  that  title. 
Should  get  a  lot  of  air  play. 

Rumor  has  it  that  this  year's  Newport  Jazz  Festival  will  be  televised 
nationally.  At  least,  a  good  part  of  it. 

The  Twist  albums  have  been  coming  in  less  frequently  to  your  reviewer. 
(Not  that  they  constitute  a  potion  of  pain  to  said  reviewer,  but  a  good  ninety 
percent  are  second-rate  attempts.) 

Dave  Brubeck's  FM  station,  WJZZ  in  Bridgeport,  Conn.,  is  having. some 
financial  difficulties.  Any  help  is  graciously  accepted. 

Bobby  Darin  is  coming  East  for  an  engagement  at  N.Y.'s  Copacabana. 
Film  work  has  been  keeping  him  busy.  .  .  .  George  Maharis  of  "Route  66"  is 
recording  vocally. 


ALBUM  COVERS: 
PROS  AND  CONS 

•  It  seems  that,  as  we  all  build  record 
libraries,  some  thoughts  about  the  value 
and  longevity  of  the  containers  of  the 
records  should  be  considered  from  time 
to  time. 

Among  the  classical  lines,  it  is  your 
reviewer's  humble  opinion  that  Com- 
mand Records  has  the  most  outstand- 
ing packages.  All  double- jacketed,  the 
covers  are  actually  bound  like  a  book 
and  capable  of  withstanding  a  bit  of 
punishment.  (As  to  their  beauty,  their 
covers  are  generally  first-rate,  if  not 
exceptional  in  the  art  department.) 

Columbia  releases,  from  time  to  time, 
a  gem  of  a  package.  Their  "Swan  Lake 
Ballet"  package  came  with  a  booklet 
attached,  of  some  twenty  or  so  pages 
full  of  the  history  of  Swan  Lake  per- 
formances and  photographs  of  the  bal- 
let artists  involved.  Of  course,  this  is 
not  a  regular  feature  with  their  line. 
Angel  always  encloses  a  booklet  of  in- 
formation where  necessary.  The  edgings 
on  their  albums,  in  the  binding  sense, 
are  helpful  to  the  life  of  the  packages. 

The  popular  albums  rarely  get  the 
long-lived  treatment.  It  might  be  worth- 
while to  write  the  companies  of  your 
favorites  and  ask  that  they  be  packaged 
for  better  wear.  (I  can't  promise  you 
they'll  do  anything,  but  who  knows!) 
The  jazz  fans,  after  years  of  bad  pack- 
ages, are  finally  getting  the  double- 
jacketed  deluxe  treatment.  (At  least 
from  Verve  and  Impulse.) 

The  option  with  flimsy  covers  is  to- 
buy  the  regular  albums  for  records. 
(You  may  recall  keeping  78's  in 
them.)  You  can  throw  the  cover  out 
and  house  them  in  these  book-like  jobs. 
Of  course,  it  doesn't  make  for  ease  when 
you  begin  looking  for  something. 
(Catalogue-style  would  help.  Keep  a 
listing  inside  the  front  page.)  At  any 
rate,  these  album-holders  are  avail- 
able in  a  size  that  will  cover  LP 
records. 

One  thing  to  remember  is  to  be  care- 
ful when  buying  an  album  that's  cov- 
ered with  a  cellophane  wrapper,  to  slit 
the  paper  just  at  the  opening  and  there- 
by leave  a  protective  covering  over  the 
rest  of  the  jacket.  Some  people  in  haste 
rip  all  of  it  off.  This  is  foolish.  A  thumb- 
nail will  suffice  to  open  it  sufficiently 
enough  to  slide  the  record  out.  Keeping 
it  intact  will  preserve  the  cover  art 
work,  if  you  so  desire.  It  pays  to  treat 
them  well. 


19 


ON  THE  RECORD 


Your  Monthly   ON   RECORD  Guide 


20 


BROADWAY   STAGE 

••Cast  Album  of   "No  Strings" 

Written  by  Richard  Rodgers,  featuring 
Diahann  Carroll  and  Richard  Kiley — 
Musical  Direction,  Peter  Matz — Orches- 
trations by  Ralph  Burns  (Capitol)  — 
This  is  the  most  lightweight  work 
Richard  Rodgers  has  ever  come  up 
with.  Unfortunately,  his  lyric  writing  is 
on  an  entirely  different  level  from  his 
musical  writing.  It  succeeds  at  times, 
but  very  infrequently.  On  the  whole, 
this  score  couldn't  even  bump  its  way 
into  the  other  shows  Rodgers  has  par- 
ticipated in  creating.  It  has  added  to 
the  quantity  of  already  sad  Broadway 
shows  running  ("Subways  Are  for 
Sleeping,"  "Carnival,"  etc). 

Miss  Carroll  and  Mr.  Kiley,  for  all 
their  performing  ability  and  vitality, 
are  not  heard  to  advantage  here.  The 
show  lacks,  sorely,  a  first-rate  voice. 
(In  fact,  Miss  Carroll's  flat  and  biting 
sound  on  "Loads  of  Love"  and  "You 
Don't  Tell  Me"  is  irritating  to  this 
reviewer.) 

The  orchestrations  have  no  spectrum. 
They  remain  in  one  groove  with  blurts 
of  brass  from  time  to  time.  Very  little 
excitement  in  this  area. 

I'm  told  the  show  (live)  plays  well 
and  is  playing  to  good  houses.  It's 
possible  it  could  hurdle  these  obstacles 
in  the  theater.  The  recording  medium, 
though,  makes  its  own  demands. 

The  stronger  tunes  are  "Loads  of 
Love,"  "Be  My  Host"  (melodically), 
"You  Don't  Tell  Me,"  "Orthodox  Fool" 
and  "Look  No  Further." 


POPULAR 

•••Bobby  Darin  Sings  Ray 
Charles  (Atco) — Though  I  strongly 
disagree  with  the  idea  of  Bobby  doing 
these  already  "done-up"  and  warmed 
tunes,  I'm  happy  to  say  the  album  suf- 
fers very  little  as  compared  to  Ray's 
original  records.  Bobby  is  perfectly  at 
ease  with  allthe  material.  His  sound  is 
remarkably  close  to  Ray's  on  several 
tracks.  (The  band  arrangements  are  al- 
most note-for-note  imitations  of  the 
originals.  This  reviewer  would  have 
liked  to  see  a  change  in  that  depart- 
ment.) 

Bobby  takes  care  not  to  give  out  with 
the  now  famous  Ray  Charles'  hollers, 
and  justly  so.  The  last  thing  Bobby 
would  want  anybody  to  think  was  that 
the  album  was  not  done  with  taste  and 
respect  for  one  of  his  favorite  artists. 
(I  assume  the  thought  of  someone 
thinking  it  mockery  was  considered 
strongly.) 

My  favorite  is  "The  Right  Time." 
The  vocal  group  of  girls,  who  I  believe 
worked  with  Ray  originally,  are  here, 
too..  They  work  excellently  with  Bobby. 
The  tunes  are  all  winners.  "Hallelujah, 
I  Just  Love  Her  So,"  "What  I  Say," 
"Drown  in  My  Tears"  and  others. 

Bobby  is  certainly  to  be  commended 
on  his  flexibility.  Again,  I  find  the  idea 
a  little  strange.  But  the  album — not  at 
all!  I  have  no  doubts  that  it'll  sell  like 
hot  cakes — it's  an  enjoyable  tribute 
from  one  growing  legend  to  another 
growing  legend! 


•••Strange  Enchantment,  Vic 
Damone,  Orch.  conducted  by  Billy 

May  (Capitol) — This  is  Vic's  second 
effort  for  Capitol  and  it's  way  ahead  of 
the  first  album  in  value.  This  album 
creates  beautifully  and  totally  the  feel- 
ing of  the  tropical  islands  of  the  Blue 
Pacific.  Billy  May's  highly  pictorial 
arrangements,  utilizing  all  the  instru- 
ments of  exotica,  lead  us  through  the 
magical  archipelago  with  Vic's  enchant- 
ing and  resonant  voiee,  sitting  comfort- 
ably, cushioned  by  the  strings  and  the 
constant  beguine  beat.  Like  its  source, 
this  album  is  not  flashy,  but  father  per- 
meated with  the  quality  of  the  climate. 
Warm  and  rippling.  "Shangri-la,"  "Ebb- 
tide," "Beyond  the  Reef,"  "Flamingo" 
and  "Bali  Ha'i"  are  a  few  of  the  gems. 
Strong  is  the  thread  Vie  weaves.  Good 
photo  of  Vic  on  the  back  of  the  cover. 
Much.  .  .  .  Strange  Enchantment! 


•••Stars  in  Our  Eyes,  The  Four 
Freshmen  (Capitol) — This  is,  a  great 
group,  but  this  is  not  a  great  album. 
The  idea  is  a  little  limiting,  considering 
these  boys  are  head  and  shoulders  over 
most  of  the  vocal  groups  they  pay 
tribute  to.  The  most  striking  and  un- 
conventional interpretation  is  the  bow 
to  the  Kingston  Trio's  big  hit  "Tom 
Dooley."  It's  done  a  cappella  and  hardly 
folksy,  but  it's  an  excursion  that  few 
groups  have,  the  ability  to  make. 

The  tunes  range  through  "Shangri- 
la,"  "Standing  on  the  Corner,"  "Opus 
One,"  "Green  Fields,"  "Love  Is  a  Many- 
Splendored   Thing"   to    distaff   honors 


-K-K-MC   GREAT! 
-K-)C^C  GOOD   LISTENING 


-K-K    FAIR   SOUNDS 
-K  IT'S    YOU  ft    MONEY 


STARS  IN  ®UR  EYES/THE  F®UR  FRESHMEN 


?  « 


,- 


like  "In  Apple  Blossom  Time,"  "Im- 
agination" and  "Teach  Me  Tonight." 

All  in  all,  an  agreeable  album  but 
certainly  not  what  the  Freshmen  are 
capable  of  doing.  They  are  pace-setters 
musically  and  should  be  turned  loose, 
but — it's  worth  your  money. 

•••Show-Stopper!  Diahann  Car- 
roll (Camden)— This  is  on  the  $1.98 
Victor  line  and  well  worth  the  money. 
Diahann  has  been  heard  better,  but 
bad  this  recording  is  not.  (I'm  sure 
these  tunes  were  cut  a  while  ago  and 
Diahann  has  improved  greatly.)  The 
package  has  value,  in  that  her  per- 
forming still  has  the  verve,  even  if 
lacking,  at  times,  the  polish  we  know 
her  to  possess  now.  The  arrangements 
do  little  to  help  her.  They  are  heavy- 
handed.  She  seems  at  times  to  conflict 
in  attitude  with  them.  (Possibly  she's 
trying  hard  to  pull  the  ends  together.) 
The  album's  chock  full  of  standard 
tunes,  including  "Easy  to  Love,"  the 
exciting  "I  May  Be  Wrong,"  "This 
Can't  Be  Love"  and  "Devil  Moon." 
At  this  price,  you  could  hardly  get  more. 

MOOD   MUSIC 

•••The  Music  of  Rodgers  and 
Hammerstein,  Melachrino  Strings 
(RCA  Victor) — Here  is  a  compilation 
of  certainly  some  of  the  best  musical 
comedy  tunes  in  existence,  all  scored 
and  played  with  professional  polish. 
The  arrangements,  at  times,  leave  a  bit 
to   be   desired,   but   Richard   Rodgers' 


melodies  can  hold  any  arrangement  to- 
gether. To  be  fair,  though,  they  succeed 
more  often  than  not,  as  in  the  case  of 
"Bali  Ha'i."  Here  the  South  Pacific  is 
recalled  in  glowing  terms.  Exceedingly 
picturesque. 

The  trouble  with  putting  an  album 
together  with  tunes  by  these  aces  is 
there's  never  enough  room  for  all  their 
classics.  (I  missed  especially  the 
"March  of  the  Siamese  Children"  from 
the  "King  and  I.")  At  any  rate,  herein 
will  be  found  "Carousel  Waltz"  and  "If 
I  Loved  You,"  "Hello,  Young  Lovers," 
"Oklahoma,"  "Surrey  with  the  Fringe 
on  Top,"  "It  Might  As  Well  Be  spring" 
and  a  slew  of  gems  wrought  to  perfec- 
tion by  Rodgers  and  Hammerstein.  For 
lovers  of  the  musical  stage  and  all  gen- 
erally classified  "relaxers,"  take  a  look 
into  this  album. 

•••"Love  Embers  and  Flame"  is 

a  new  package  on  Capitol  presented  by 
Jackie  Gleason.  Lush  string  settings 
with  generally  soloistic  horn  playing 
plus  some  vintage  standards.  All  warm 
and  embracing.  .  .  .  ••M-G-M's  new 
"21  Channel  Sound  Series"  brings 
us  David  Rose  and  his  orchestra.  An 
album  chuck  full  of  oldies  recorded 
on  a  high  level  with  a  large  orchestra. 
Arrangements  are  par-for-the-course. 
.  .  .  ••Capitol  also  brings  pian- 
ist Lee  Evans  into  the  spotlight.  Sur- 
rounded by  soaring  strings  and  mellow 
French  horns.  The  album  title:  "Piano 
Plus."  A  little  over-done  at  times,  but 
generally    palatable    offerings.    .    .    . 


••Movie  themes  is  the  idea  of  Russ 
Conway's  new  album  on  M-G-M.  The 
British  pianist  runs  thru  a  flock  of 
screen  favorites.  "All  Time  Movie 
Favorites"  is  the  title. 

JAZZ   SPECIAL 

••••The  Bridge,  Sonny  Rollins 
(RCA  Victor) — This  is  the  most  recent 
Sonny  Rollins'  recording.  He  has  just 
returned  from  a  self-imposed  exile.  He 
retired  to  "wood-shed,"  to  use  the 
player's  vernacular.  "Wood-shedding" 
is  the  searching  and  studying  of  new 
ideas  and  the  reflective  re-hashing  of 
the  old.  It  may  not  help  everybody  but 
it  has  helped  Sonny.  I  remember  shortly 
before  he  took  himself  out  of  the  jazz 
scene,  his  playing  had  become  static. 
He  even  appeared  a  bit  unhappy.  (Mind 
you,  my  conjecture.)  This  happens 
often  to  jazz  players  of  stature,  who 
are  constantly  expected  to  open  new 
doors  at  the  drop  of  a  hat.  It's  in- 
credibly taxing.  The  mind  and  the 
heart  are  not  machinery.  Sonny  sacri- 
ficed a  lucrative  string  of  bookings, 
cutting  his  throat  economically,  and  re- 
tired to  think.  Certainly,  a  noble  ges- 
ture. Such  things  would  not  be  neces- 
sary if  the  jazz  fans  were  more  stable 
and  less  fad  conscious.  (As  I  recall, 
John  Coltrane  appeared  the  comer  when 
Sonny  packed  in  his  playing  engage- 
ments. Now,  Coltrane  is  under  fire.) 

The   album    title,    "The    Bridge,"  is 

where  Sonny  did  his  "wood-shedding." 

(Please  turn  the  page) 


21 


ON  THE  RECORD 


Yes,  the  high  pedestrian  walk,  above 
the  traffic  on  the  Williamsburg  Bridge, 
in  New  York.  He  felt  that  all  that  play- 
ing would  disturb  his  neighbors,  so  he 
used  the  bridge.  A '  considerate  chap, 
this  Mr.  Rollins!  Well,  after  two  years, 
he  returns  triumphant! 

His  playing  now  seems  more  eco- 
nomical. Less  of  the  former  boppish 
phrasing  (and  hints  even  of  Lester 
Young),  more  concentrated  musical 
thought.  The  ballads  are  done  as  bal- 
lads with  very  little  or  no  gymnastic3. 
He  also  appears  to  have  absorbed 
nothing  of  the  new  nihilistic  movement 
in  jazz  known  as  "The  New  Thing."  His 
musical  attitude  seems  now  much  more 
personal  than  contemporary,  the  solos 
are  light  and  lean.  The  simplicity  of 
these  vehicles  infers  their  directness  as 
opposed  to  the  current  fad  in  jazz  of 
beckoning  us  righteously  into  darkness. 
There  is  no  doubt  in  this  reviewer's 
mind  that  the  retreat  has  paid  off. 

His  current  group  is  heard  here.  The 
always  fertile  and  sympathetic  Jim  Hall 
is  heard  on  guitar,  with  Bob  Cranshaw 
on  bass,  and  Ben  Riley  and  H.  T. 
Saunders  splitting  the  drumming. 

"Without  a  Song,"  usually  heard  as 
a  ballad,  is  done  in  a  light,  swinging 
groove.  Also  here  are  "You  Do  Some- 
thing to  Me,"  "God  Bless  the  Child," 
"Where  Are  You"  and  two  Rollins 
originals,  "The  Bridge"  and  "John  S." 

All  first  rate.  Nothing  could  make  me 
happier  than  to  see  Sonny  back  again. 
I  hope  he'll  not  vacation  again  for  a 
long,  long  time. 


COMEDY 

****Borge's  Back — Recorded 
Live! — Victor  Borge  (MGM) — Borge 
the  ad-libber,  Borge  of  wrong  notes, 
Borge  of  the  absurdly  funny  demoli- 
tion of  language,  Borge  the  exception- 
al, Borge  the  Greatl  This  is  a  definite- 
ly unique  talent.  He  has  mastered  even 
the  use  of  silence!  This  album  is  mur- 
der! Having  spent  some  time  with  Borge 
one  evening  in  Omaha,  Nebraska,  I 
know  how  incredibly  funny  his  facial 
expressions  are.  Believe  me,  that's  the 
only  thing  missing  in  this  package.  The 
bits  of  business  he  covers  range  from 
his  general  introductory  remarks  to  his 
audience,  which  I'm  sure  could  make 
an  album  itself,  to  his  own  ideas  about 
changing  language,  to  the  now  famous 
Borge  pianistic  sojourns.  Every  bit  of 
it  instilled  with  Borge's  own  brand  of 
marvelous  nonsense.  I  could  give  you 
examples  of  some  of  it,  but  it  would 
lose  in  the  telling.  Just  go  out  and  buy 
it!  Highly  recommended! 

CLASSICAL 

****Rachmaninoff  —  Piano  Con- 
certo No.  3,  Opus  30 — Byron  Janis, 
Pianist,  Antal  Dorati,  Cond. — London 
Symp.  Orch.  (Mercury) — This  work 
is  the  baby  brother  of  the  Second  Con- 
certo. It  is  an  infinitely  more  subtle 
work,  though  it  does  not  enjoy  the 
Second's  popularity.  Rachmaninoff  often 
echoes  the  Second  here,  but  here  it  is 
a  more  integrated  concerto  we  hear. 
The  statements  of  theme  are  anything 
but   rhetorical.   It's   a    growing   work. 


Slowly  it  appears,  slowly  it  develops. 
Always  in  evidence,  the  brooding  and 
melancholy,  the  constant  use  of  the 
minor  sub-dominant,  in  the  major  mode 
which  has  the  quality  of  putting  tears 
in  the  eyes  of  smiling  faces,  the  flow- 
ing, rippling,  pulsing  lines,  crossing 
from  the  piano  into  violins  and  back, 
always  the  emotional,  the  touching,  al- 
ways Rachmaninoff!  Byron  Janis  plays 
the  work  beautifully.  His  range  of  dy- 
namics, his  fantastic  ways  of  playing 
exceedingly  hard  things,  with  a  quiet, 
crystal-like  feeling,  the  attack,  full  of 
body,  when  needed.  (It's  this  review- 
er's humble  opinion  that  Janis  is  our 
finest  young  pianist.)  He  certainly 
brings  it  off.  The  recording  is  one  of 
Mercury's  35mm.  Series  and  has  the 
finest  sound.  Highly  recommended. 

****Wagner — (Magic  Fire  Music 
— The  Ride  of  the  Valkyries — Entry  of 
the  Gods  in  Valhalla — Siegfried's  Rhine 
Journey — Siegfried's  Funeral  March) 
— William  Steinberg  Cond.  The  Pitts- 
burgh Symphony  Orch.  (Command 
Classics) — The  marriage  of  the  most 
updated  recording  techniques  (like 
stereo  and,  in  this  case,  35mm.  tape 
stereo)  and  the  music  of  the  romantic 
giant,  Wagner,  who,  himself,  was  ob- 
sessed with  dynamics,  is  one  to  investi- 
gate. Here  the  clarity  and  balance  of 
sound  on  the  recording  definitely  makes 
for  a  more  enlightening  look  at  the 
music.  Your  reviewer  was  struck  dumb 
by  the  opening  of  "Dawn  and  Sieg- 
fried's Rhine  Journey"  (from  the  opera 
"Gotterdammerung")  on  side  two  of 
the  recording.  Aside  from  the  absolute 
genius  in  the  score  of  Wagner,  William 
Steinberg's  handling  of  this  is  beauti- 
fully controlled.  It  grows  quietly  into 
a  surging  mass  of  sound,  building 
transparently  through  the  dawn-like 
string  figures  which  overlap  in  Wag- 
ner's natural  leitmotiv  fashion,  to  a 
stunning  climax  with  the  brass  assum- 
ing the  dominant  role.  Steinberg  takes 
care  to  end  each  repetition  of  the  strings 
quietly,  so  as  to  let  the  underneath 
strand  come  out  at  its  beginning  and 
conversely  to  edge  the  bottom  and  let 
the  upper  sing  again.  (Always  build- 
ing in  volume  and  intensity.)  The 
35mm.  recording  technique  adds  to  the 
beauty.  It's  what,  to  draw  an  analogy, 


MB? 


++++   GREAT! 
+++  GOOD   LISTENING 


-K-K    FAIR    SOUNDS 
-K  IT'S    YOUR    MONEY 


the  wide  screen  is  to  films.  Another  strik- 
ing moment  is  the  "Ride  of  the  Val- 
kyries" (from  "Die  Walkiire").  A  ring- 
ingly  effective  piece,  which  is  brought 
to  light  with  all  its  joy  of  orchestration 
intact]  This  recording  surpasses  Stein- 
berg's older  album  for  Capitol  im- 
measurably. The  latter  is,  of  course, 
quite  old.  Here,  what  happens  at  the 
recording  session  gets  onto  the  vinyl 
and  doesn't  remain  for  posterity  on 
tape  shelves.  This  step  ahead  gives  the 
phonograph  the  chance  to  stand  next 
to  tape,  hurdling  the  transferral  ob- 
stacle. A  wonderful  compilation,  fine- 
ly brought  to  life  by  a  first-rate  con- 
ductor and  orchestra  and  marvelously 
recorded.  Recommended.  (Incidentally, 
I  could  write  a  review  of  the  cover- 
jacket.  It's  indestructible.) 

rSchubert-Symph.  No.  9  in  C 
laj.  ("The  Great")— Otto  Klemperer 
]!ond. — Philharmonic  Orch.  (Angel)  — 
This  symphonic  masterwork  composed 
in  the  spring  of  1828  foretells,  musically, 
nothing  of  the  foreboding  death  which 
is  to  come  to  Schubert  in  November  of 
lat  same  year.  His  age,  at  passing,  an 
incredible  thirty-one  years.  This  work 
fas  considered  in  Vienna  but  passed 
off  as  too  difficult  to  play.  It  waited 
patiently   on   the   shelf   for   ten   years 
ifter  its  creator's  demise  before  Robert 
Schumann  discovered  it  and  prevailed 
lpon  Mendelssohn  to  conduct  it  pub- 
licly.  The  work,  as  compared  to  the 
lozart  and  Beethoven  monuments  of 
form,  is  structurally  weak — but  it  is  a 
joy    of   lyric    only    expressed    by    the 
lasterwriter  of  Lieder.  It  bubbles  with 
an  unconventional  lack  of  restraint.  It 
long  and,  to  people  unprepared  for 
the  journey,  it  might  be  wearying.  But 
to   those   interested   in   the   beauty   of 
line  this  is  home.  Otto  Klemperer  puts 
lie   orchestra   beautifully   through   its 
paces.    Strong   here,   light   there,   and 
pointed  when  meeting  and  holding  the 
iread    of    continuity.    The    recorded 
»und  is  not  all  it  could  be  (mono) ,  but 
cannot  hurt.  Strangely  enough,  when 
lendelssohn  rehearsed  this  work  for 
its  initial  performance,  the  string  play- 
rs    laughed    at    the    last    movement, 
lendelssohn    disgustedly   withdrew    it 
rom   the   program.    Fate   always   has 
rony  up  its  sleeve.  Recommended. 


MOVIES 

•Original  Soundtrack  of  "State 
Fair,"  Rodgers  and  Hammerstein — Pat 
Boone,  Bobby  Darin,  Ann-Margret,  Tom 
Ewell  and  Alice  Faye  (Dot) — This  cer- 
tainly was  a  hopeless  venture.  It  suffers 
terribly  by  comparison  with  the  origi- 
nal. Pat  Boone  is  utterly  boring!  The 
tune,  "Willing  and  Eager,"  a  duet  by 
Mr.  Boone  and  Ann-Margret,  succeeds, 
unintentionally,  to  a  level  of  high  com- 
edy !  It  seems  a  shame  that  these  tunes, 
although  not  the  very  best  Rodgers  and 
Hammerstein,  have  to  be  clobbered  like 
this.  "That's  for  Me,"  the  tune  Haymes 
sang  in  the  earlier  flick,  and  Boone  does 
here,  is  hopelessly  bland.  Strangely, 
Darin  does  a  bit  better  than  his  cohorts, 
but  even  he  seems  like  he's  over-deliber- 
ate. His  falsetto  tones  here  are  the  first 
I've  ever  heard  from  him.  About  Ann- 
Margret  there  is  little  to  be  said,  other 
than  she  is  quite  a  looker. 

Certainly  this  is  not  the  way  to  revive 
musicals  on  the  screen,  at  least  not  with 
this  kind  of  sound  track.  Lots  of  luck! 

SPECIAL 

••••The  Midnight  Special,  Har- 
ry Belafonte  (RCA  Victor) — The  great 
pro  barrels  through  again  with  another 
driving  folk  album — an  ail-American 
vehicle  with  overtones  of  blues,  gospel, 
jazz,  work-song  and  just  plain  hollerin'! 
But  this  album,  mind  you,  is  not  just 
folk-fare.  Harry,  through  his  marvelous 
performing  ability,  hurdles  the  folk 
traditions  and  strikes  at  the  heart  of 
pure  unbridled  entertaining.  He  bends 


the  material  his  own  personal  way,  but 
takes  care  not  to  disturb  the  fundamen- 
tal directness  of  lyric  or  dilute  the  musi- 
cal fire  inherent  in  this  folk  material. 
The  projection  is  incredible  when 
one  thinks  of  how  hard  this  recording 
medium  is  with  its  lack  of  the  visual. 

The  arrangements  are  all  sympathet- 
ically written  by  Jimmy  Jones.  They 
range  in  sound  and  texture  from  Harry's 
personal  small  ensemble,  which  is  char- 
acterized by  guitars  and  rhythm,  to 
blapket-Hke  string  settings  and  crash- 
ing brass.  (The  solos  of  Jerome 
Richardson  on  saxophone  deserve  much 
attention,  as  well  as  Bob  Dylan's  har- 
monica-playing.) Harry  meets  each 
level  of  the  band  skillfully.  They  are 
soft  together  and  roar  together. 

The  tunes  include  "Memphis  Tenn.," 
the  log-rolling  "Did  You  Hear  About 
Jerry,"  "Crawdad  Song,"  a  decidedly 
different  "On  Top  of  Old  Smokey," 
"Muleskinner,"  the  gospel-like  "Mi- 
chael, Row  the  Boat  Ashore,"  the  title 
piece  and  some  other  steamrollers] 

It  would  seem,  if  I'm  allowed  a  hum- 
ble opinion,  that  Belafonte  seems  freer 
on  this  album  than  he  has  on  several 
preceding  ones,  and  it  may  possibly  be 
the  nature  of  the  material  here.  His 
Calypso  tunes  are  very  demanding  of 
form  and  to  play  with  them  in  an  im- 
provised fashion  is  "beckoning  trouble 
to  ya,"  to  use  a  colloquialism.  May  we 
hear  more  of  this  unrestrained  Bela- 
fonte !  Much  credit  due  to  all  connected 
with  this  vital  package.  Don't  miss  it! 
I  repeat:  Don't  miss  it! 


23 


In  the  first  three  months  of 
1962,  Chubby  Checker  racked 
up  about  $376,000  in  album 
sales,  by-products  and  per- 
sonal appearances.  Says  his 
manager,  Kal  Mann:  "Not 
long  ago — July,  1960 — Chub- 
by and  I  almost  flipped  when 

I  got  him  $100  per  night  for 

II  nights,  in  Harry  Levy's 
Wildwood,  N.J.,  night  club. 
That  was  $1,100  more  dough 
than  we'd  ever  seen,  but  I  said 
to  Harry:  'Suppose  Chubby's 
new  record — "Let's  Twist 
Again" — becomes  No.  1  in  the 
country.'  Harry  chuckled  and 
said  in  that  case  he'd  triple  the 
$1,100.  And,  by  gosh,  that's 
exactly  what  happened,  so  we 
got  $3,300."  .  .  .  The  Nick 
Mayos  (Janet  Blair)  ex- 
pecting. .  .  .  Pat  Boone's 
wife  recuperating,  surgery.  . .  . 
Bob  Young's  daughter,  Babs, 
and  designer  Tom  Bebe  set 
the   date.   .    .   .   The    Mickey 

1      Rooneys  named  him  Michael. 
.       ...   Rick   Nelson   and  Tom 


Harmon's  daughter,  Chris,  at 
Arthur  Murray's.  .  .  .  Juliet 
Prowse  and  Mike  Garth  a 
big  deal.  .  .  .  Peggy  Lee  is 
the  sultriest  canary  in  show 
biz.  Her  eyes  and  her  tones 
project  a  boudoir  quality  .  .  . 
even  her  musical  arrangements 
accent  the  Lee  mystique.  No 
other  girl  singer  projects  so 
much  sensuousness.  Contrast 
the  let's  be  pals,  scrubbed-face 
technique  of  Mary  Martin, 
Rosemary  Clooney,  the  Mc- 
Guire  Sisters,  Dinah  Shore, 
Connie  Francis,  Doris  Day, 
Martha  Wright,  Teresa  Brew- 
er. In  the  Peggy  Lee  league 
are  Lena  Home,  Julie  Wilson, 
Fran  Jeffries,  Diahann  Car- 
roll, Polly  Bergen,  Jane  Mor- 
gan, Carol  Lawrence — but 
Peggy  is  No.  1  in  that  depart- 
ment. .  .  .  Edie  Adams  Kovacs 
and  Joe  Mikolas  a  twosome. 
.  .  .  Connie  Francis  European 
tour  a  blockbuster  .  .  .  Eliza- 
beth Taylor,  now  30,  has 
been  married  four  times.  Older 


men  got  along  best  with  her: 
Mike  Todd  was  48,  twice  her 
age,  when  they  were  hitched 
in  Acapulco;  Michael  Wild- 
ing was  twice  her  age  when 
they  were  wed  in  1952.  By 
contrast,  Eddie  Fisher  is  only 
four  years  older — and  Rich- 
ard Burton  only  seven.  .  .  . 
But  I'm  thinking  back  to 
Liz's  first  honeymoon  in 
June,  1950,  at  Cannes  with 
Nicky  Hilton,  because  we  were 
there.  She  was  18  and  incredi- 
bly beautiful.  But  young  Hil- 
ton hardly  talked  to  her!  Liz 
would  ride  out  to  the  Eden 
Roc  beach  with  Mrs.  S.  and 
our  daughter,  Betty;  young 
Hilton  would  ride  out  later 
with  me.  At  the  beach,  he 
spent  no  time  with  her.  At 
day's  end,  he'd  curtly  signal 
her  to  go  home  with  him.  .  .  . 
Betty  had  been  a  bridesmaid 
at  their  Coast  wedding.  In  a 
mag  article,  she  analyzed  Eliz- 
abeth. "Sensitive — generous 
and  kind  of  heart — a  fine  sense 


of  humor.  Not  malicious,  cat- 
ty or  mean.  Easily  hurt  by  un- 
kindness.  Almost  completely 
unaware  of  her  own  beauty 
and  always  praising  her 
friends  to  the  skies."  The  late 
Mike  Todd  would  have  en- 
cored that  analysis  of  Liz;  I 
doubt  that  Eddie  Fisher  now 
would  rhapsodize  over  Liz's 
virtues.  But,  as  in  the  case  of 
Todd,  who  was  a  take-charge 
individual,  Burton  is  equally 
positive  in  his  approach,  and 
Liz  apparently  goes  for  that 
kind  of  guy.  .  .  .  Bob  Hope's 
son  Tony  now  a  Georgetown 
grad.  .  .  .  Sal  Mineo  and  Lisa 
Kean  a  duet.  .  .  .  George  Ma- 
haris  prefers  Mimi  Weber. 
•  ■  .  The  Red  Buttons  working 
out  the  settlement.  .  .  .  Big 
shakeup  shatters  20th-Fox,  any 
minute!  Both  in  the  East  and 
the  West. 

Published  by  permission  of 
the  Chicago  Tribune — New 
York     News     Syndicate    Inc. 


24 


WHO  IS  SHE???    MEET  HER  ON  PAGE  78 


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27 


E    *  ick  Chamberlain  wanted  to  relax,  it  had  been  a  hard  day  at 
the  studio  for  "Dr.  Kildare."  Now  at  home,  he  flicked  on  the  hi-fi, 
settled  into  a  deep  armchair  and  casually  started  to  read  a  maga- 
zine.   The  article  was  about  a  man  he'd  never  met — an  actor 
whose  work  he  was  interested  in.    But  as  he  read,  he  started  to 

(Continued  on  page  82 ) 


Dianne  was  first,  just  the  way 
everyone  expected.  But  you 
may  be  surprised  at  wh\ 
girl  is  next  to  marry!  <£ 


The  Next  LennoiJ 


"You  make  it  sound  like  'Button,  button, 
who's  got  the  button,' "  complained  Janet, 
sixteen  this  June  and  youngest  of  the 
singing  Lennon  girls.  "After  all,  falling  in 
love  and  getting  married  isn't  a  game  .  .  ." 
"You're  right,  honey,"  their  mother, 
Isabelle    ("Sis")    Lennon,   nodded   approv- 


ingly. "Marriage  is  a  serious  matter." 
"Serious,  sure,"  chuckled  father  Bill,  "but 
let's  not  make  it  sound  like  a  parachute 
jump.  The  question's  only  natural.  After  all, 
Kathy's  almost  nineteen  and  Peggy's  twenty- 
one.  Let's  face  it,  DeeDee  was  twenty  when 
she  became  Mrs.  Dick  Gass  .  .  ." 


As  the  Lennons  begin  thinking  about  the  next   wedding  in  the  family,  they  remember  the  day 

'""USUI 


2-J'P 


W/ 


Sister  To  Be  A  Bride 


Danny,  twelve  and  eldest  of  the  Lennon 
boys,  came  in  with  a  teasing  rhyme: 

"Peggy,  Kathy,  Janet— whoah!  Which'U 
be  the  next  to  go?" 

So  goes  the  latest  pastime  of  the  family 
and  friends  of  the  pretty  and  talented  Len- 
non Sisters,  mainstays  of  the  Lawrence  Welk 


shows.  The  provocative  question  of  which 
will  follow  sister  Dianne  into  matrimony — 
and  probably  retirement — looms  more  ur- 
gently as  time  goes  by.  Both  the  elder 
girls  have  been  dating  regularly  for  years, 
while  pert  Janet  has  just  begun  to  give  the 
subject  of  boys    (Continued  on  page  74) 


For  Your 

Full- Color 

BONUS 
► 

Turn  The  Page 


Dianne  married  Dick  Gass.  Seen  here:  Some  of  the  moments  none  of  the  Lennons  will  ever  forget. 


Dianne  was  first,  just  the  way 
everyone  expected.  But  you 
may  be  surprised  at  wh 
girl  is  next  to  marry !g 


The  Next  LennoiiSister  To  Be  A  Bride 


"You  make  it  sound  like  'Button,  button, 
who's  got  the  button,' "  complained  Janet, 
sixteen  this  June  and  youngest  of  the 
singing  Lennon  girls.  "After  all,  falling  in 
love  and  getting  married  isn't  a  game  .  .  ." 
"You're  right,  honey,"  their  mother, 
Isabelle    ("Sis")    Lennon,   nodded   approv- 


ingly. "Marriage  is  a  serious  matter." 
"Serious,  sure,"  chuckled  father  Bill,  "but 
let's  not  make  it  sound  like  a  parachute 
jump.  The  question's  only  natural.  After  all, 
Kathy's  almost  nineteen  and  Peggy's  twenty- 
one.  Let's  face  it,  DeeDee  was  twenty  when 
she  became  Mrs.  Dick  Gass  .  .  ." 


As  the  Lennons  begin  thinking  about  the  next   wedding  in  the  family,  they  remember  the  4# 


Danny,  twelve  and  eldest  of  the  Lennon 
boys,  came  in  with  a  teasing  rhyme: 

"Pe6gy.  Kathy,  Janet— whoah!  Which'U 
be  the  next  to  go?" 

So  goes  the  latest  pastime  of  the  family 
and  friends  of  the  pretty  and  talented  Len- 
non Sisters,  mainstays  of  the  Lawrence  Welk 


shows.  The  provocative  question  of  which 
will  follow  sister  Dianne  into  matrimony — 
and  probably  retirement — looms  more  ur- 
gently as  time  goes  by.  Both  the  elder 
girls  have  been  dating  regularly  for  years, 
while  pert  Janet  has  just  begun  to  give  the 
subject  of  boys    [Continued  on  page  74 1 


For  Your 
Full-Color 

BONUS 

► 

Turn  The  Page 


"ianne  married  Dick  Gass.  Seen  here:  Some  of  the  moments  none  of  the  Lennons  will  ever  forget. 


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with  the  divorce 


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for  their  sake. 
As  Chuck  Connors 
spoke,  there  w.as  A 


a  look  of  love  iri%- 

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his  eyes -and  also~J 
of  pain.  It  had 

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not  been  easy. 


(Gontinued  on  page  96) 


H  hatever  it  cost,  moments  like 
this  with  Jeff,  Steve  and  Kevin 
are  worth  any  price  to  Chuck. 


--    '  ■:>' 


1 


Whatever  it  cost,  moments  like 
this  with  Jeff,  Steve  and  Kevin 
are  worth  any  price  to  Chuck. 


I  did  for 

the  sake  of  my  boys 
...I  went  through 
with  the  divorce 
for  their  sake/' 

■ 

As  Chuck  Connors    , 
spoke,  there  was  ( 
a  look  of  love  in -' 
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of  pain.  It  had     . 
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34 


i  W0& 


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35 


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For  Bettye  Ackerman's  own  story, 
please  turn  the  page 


3 

n  IlIJ  i \  1 

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ttiik 


A  LADY  DOCTO 
EXAMINES 

VINCE 
EDWARDS' 


I 


% 


For  Bettye  Ackerman's  own  story, 
please  turn  the  page 


How  the  Lady  Doctor 
Cured  Vince  Edwards 
of  Being  a  Bachelor 

"I'm  a  bachelor  who  has 
urges,  now  and  then,"  says 
Vince  Edwards,  "to  make 
the  big  jump  into  matri- 
mony. Somehow,  I  always 
shied  away  when  I  got  near 
the  starting  gate.  But  lately, 
working  with  Mr.  and  Mrs. 
Sam  Jaffe,  I've  been  get- 
ting a  change  of  heart. 

"Those  two  make  mar- 
riage seem  like  the  best 
chance  for  happiness  in  this 
troubled  world.  It's  easy  to 
see  they  love  each  other 
and — what's  more  impor- 
tant— their  love  seems  to 
spill  over  and  touch  every- 
one who's  near  them. 

"I  admire  them  both, 
greatly.  They  are  a  well- 
read,  much  traveled  and 
very  cultured  lady  and 
gentleman  of  show  busi- 
ness. I've  never  heard  an 
unkind  word  leave  their 
mouths.  Each  is  exception- 
ally cooperative  on  the  set. 
Their  main  concern  is  for 
the  cast  and  crew,  for  the 
success  of  the  show.  Maybe 
when  you're  that  happy, 
you  stop  thinking  about 
yourself. 

"What  more  can  I  say? 
I  guess  by  now  it's  clear 
that  I  respect,  admire  and 
am  extremely  fond  of  these 
two  fine  people!" 


continued 

There's  a  play  making  the  rounds  with  the  weirc 
title,  "Oh  Dad,  Poor  Dad,  Mamma's  Hung  You 
in  the  Closet  and  I'm  Feelin'  So  Sad."  Well,  with 
apologies  to  that  little  gem,  I'd  like  to  coin  a  title  ex- 
pressing my  feelings  as  the  woman  doctor,  Dr.  Maggie 
Graham,  in  "Ben  Casey."  I'd  like  to  call  it:  "Oh  Sam, 
You're  a  Lamb,  and  Vince,  You're  a  Prince,  and  Poor 
Maggie's  on  the  Rocks  Between  Two  Such  Darling 
Docs!" 

Sam,  of  course,  is  my  husband,  an  actor  of  em- 
inence who  plays  Dr.  Zorba  in  the  series— Sam  Jaffe. 
And  Vince — well,  Vince  is  that  dark,  angry,  hand- 
some young  man  who  has  become,  according  to  re- 
viewers, "the  hottest  thing  on  TV."  Need  I  mention 
the  magic  name,  Vincent  Edwards? 

In  many  respects,  despite  the  difference  in  age, 
I  see  great  similarities  between  Sam  and  Vince.  Per- 
haps it's  why  they  are  so  fond  of  each  other  and  hold 
each  other  in  such  high  esteem.  It  may  also  explain 
my  own  fondness  for  the  frowning  young  rebel  of 
our  makebelieve  hospital.  Vince  reminds  me  of  Sam, 
not  in  any  physical  resemblance,  but  in  the  sense  of 
character  and  emotional  depth. 

I  asked  my  husband  about  the  friendship  that's 
grown  between  Vince  and  himself.  He  smiled  and 
said,  "He's  the  young  man  I  once  wanted  to  be." 
When  I  put  the  same  question  to  Vince,  he  sounded 
as  though  he'd  been  eavesdropping.  He  said,  "I  like 
Sam  because  I  see  in  him  the  man  I'd  like  to  become." 

All  good  and  well,  but  how  about  me — Bettye 
Ackerman,  a  woman  and  actress — caught  between 
them?  I  tell  you,  there  are  times  when  I  feel  literally 
trapped  between  Sam's  hair  and  Vince's  frown.  If  I 
were  a  more  ambitious  actress,  I  think  I'd  hate  them 
both.  Luckily  I'm  not,  so  I  just  do  my  best  and  hope 
my  efforts  won't  get  lost. 

I  remember  one  "Ben  Casey"  episode  where  an 
alcoholic  is  admitted  to  our  hospital  for  the  thirteenth 
time  but  still  can't  break  the  habit.  Something  about 
that  scene  moved  me  deeply.  I  actually  broke  down 
and  cried.  It  was  one  of  the  (Continued  on  page  87) 


38 


BEGINNING:  A  SPECIAL  7-PAGE  SECTION  ON  YOUNG  MARRIAGE 


In  its  first  few  years,  a  marriage  can  grow 
strong  and  sturdy,  putting  down  roots  that 
can  last  a  lifetime.  Or  it  can  grow  weak, 
wither  and  die.  The  sad  truth  is  that  one 
out  of  every  four  couples  who  walk  away 
from  a  wedding  ceremony,  head  and  hopes 
high,  will  eventually  walk  their  separate 
ways  into  the  divorce  courts.  Why?  What 
goes  wrong  in  these  marriages?  What  goes 
right  in  the  ones  that  last?  In  the  stories 
that  follow,  we  think  you'll  find  important 
and  surprising  answers  to  these  questions. 


Mr.  and  Mrs. Tommy  Sands 


Mr.  and  Mrs.  David  Nelson 


/ 


Mr.  and  Mrs.  Bobby  Darin 


A  SPECIAL  7-PAGE  SECTION  ON  YOUNG  MARRIAGE 


A 


m 


Speaking   for   myself — and   I'm 
sure  June  has  her  own  ideas  on 
tins — the  most  difficult  thing  for 
a  young  husband  is  to  realize  a 
woman's  thinking.  After  the  first 
two  months,  the  naive  fellow  be- 
lieves he  has   the  whole   thing 
figured  out.  For  example,  wives 
often  ask  for  opinions,  but  that 
doesn't    necessarily    mean    that 
they  want  opinions.  So  you  speak 
up — until  you  learn  it  would  have 
been  wiser  to  dodge  the  issue. 
Then  again,  sometimes  you  de- 
liberately give  an  opposite  opin- 
ion to  what  you  really  think.  Now 
it  looks  like  you  have  the  situa- 
tion licked  when  things  work  out 
your  way.  So  you  win  that  little 
A  round —  (Continued  on  page  92) 


by  DAVID  NELSON 


A 


V 


-Ay  ^  '■ 


^ 


* 


* 


c 


> 


/ 


_ 


N;* 


-.-i> 


42 


A  SPECIAL  7-PAGE  SECTION  ON  YOUNG  MARRIAGE 


"It's  funny,"  Sandra  Dee  Darin  admitted,  "but  I 
thought  the  minute  I  saw  the  baby  I  would  love  him 
and  feel  like  a  mother.  And-I  didn't.  The  first  time  they 
brought  him  in  to  me,  I  loved  the  baby.  But  I  didn't 
love  this  baby.  I  would  have  loved  any  baby  they 
brought  in,  because  I  didn't  know  him  yet.  It  was  like 
I  loved  him  more  inside,  because  I  carried  him  for  so 
long.  Then  when  they  showed  him  to  me,  it  was  very 
hard  to  associate  this  with  the  baby  I'd  carried. 

"So  I  didn't  love  Dodd  Mitchell  like  a  mother  the 
first  time.  It  was  about  the  third  or  fourth  time  I  saw 
him  that  I  started  to  love  him.  Because  by  then  I  knew 
what  was  coming.  I  knew  the  face  that  was  going  to 
come  down  the  hall,  and  I  knew  the  little  body.  .  .  . 

"You  should  have  seen  me  the  day  I  took  the  baby 
home  from  the  hospital.  I  told  Bobby,  'Send  the  nurse 
home.'  He  said,  'What?'  I  said,  'Send  her  home.  I'm 
taking  care  of  the  baby  myself.'  So  I  had  him  send  the 
nurse  home  and  the  maid,  too — although  the  maid 
came  back  the  next  day  to  help  with  the  cleaning. 

"So  there  were  three  people  in  the  house  when  we 
entered — the  baby,  Bobby  and  me.  I  put  the  baby  down 
and  we  were  watching  him  like  proud  parents  and,  all 
of  a  sudden,  he  starts  crying.  He  was  hungry.  Well, 
the  nurse  had  made  the  formula  before  she  left,  so  I 
just  got  the  bottle  out  and — I  can't  figure  out  how  to 
put  the  nipple  on!  I'm  a  mother  now,  taking  care  of 
my  own  child,  and  I  can't  figure  out  how  to  put  the 
nipple  on  the  bottle. 

"So  I'm  only  home  about  an  hour,  and  I'm  on  the 
phone   with   my   mother.    (Continued  on   page  85) 


- 


I 


For  Sandra    Dee   and    Bobby   Darin,   the   love   song   is 
now  a  lullaby — and  you'd  hardly  recognize  their  marriage! 


1 


/* 


> 


A  SPECIAL  7-PAGE  SECTION  ON  YOUNG  MARRIAGE 


I 


% 


"It's  funny,"  Sandra  Dee  Darin  admitted,  "but  1 
thought  the  minute  I  saw  the  baby  I  would  love  him 
and  feel  like  a  mother.  And  I  didn't.  The  first  time  they 
brought  him  in  to  me,  I  loved  the  baby.  But  1  didn't 
love  this  baby.  I  would  have  loved  any  baby  they 
brought  in,  because  1  didn't  know  him  yet.  It  was  like 
I  loved  him  more  inside,  because  I  carried  him  for  so 
long.  Then  when  they  showed  him  to  me,  it  was  very 
hard  to  associate  this  with  the  baby  I'd  carried. 

"So  I  didn't  love  Dodd  Mitchell  like  a  mother  the 
first  time.  It  was  about  the  third  or  fourth  time  I  saw 
him  that  I  started  to  love  him.  Because  by  then  I  knew 
what  was  coming.  I  knew  the  face  that  was  going  to 
come  down  the  hall,  and  I  knew  the  little  body.  .  .  . 

"You  should  have  seen  me  the  day  I  took  the  baby 
home  from  the  hospital.  I  told  Bobby,  'Send  the  nurse 
home.'  He  said,  'What?'  I  said,  'Send  her  home.  I'm 
taking  care  of  the  baby  myself.'  So  I  had  him  send  the 
nurse  home  and  the  maid,  too — although  the  maid 
came  back  the  next  day  to  help  with  the  cleaning. 

"So  there  were  three  people  in  the  house  when  we 
entered — the  baby,  Bobby  and  me.  I  put  the  baby  down 
and  we  were  watching  him  like  proud  parents  and,  all 
of  a  sudden,  he  starts  crying.  He  was  hungry.  Well, 
the  nurse  had  made  the  formula  before  she  left,  so  I 
just  got  the  bottle  out  and— I  can't  figure  out  how  to 
put  the  nipple  on!  I'm  a  mother  now,  taking  care  of 
my  own  child,  and  I  can't  figure  out  how  to  put  the 
nipple  on  the  bottle. 

"So  I'm  only  home  about  an  hour,  and  I'm  on  the 
phone   with   ray    mother.    (Continued  on   page  851 


For  Sandra    Dee   and    Bobby   Darin,   the   love   song   is 
now  a  lullaby— and  you'd  hardly  recognize  their  marriage! 


<f. 


ȣ*. 


A  SPECIAL  7-PAGE  SECTION  ON  YOUNG  MARRIAGE 


smirs 


III  GIRL 


"We  wanted  each  other,"  Tommy 

Sands  said.  "We  didn't  let  a  little 

thing  like  her  parents  having  a 

lot  of  money  stand  in  our  way." 

He  glanced  across  to  the  kitchenette 

of   the   tiny    New   York   apartment 

where    a    pretty   girl    was    fixing    a 

snack.  Nancy  Sinatra  Sands  caught 

the  look,  pursed  a  silent  kiss  and  then  went  back  to  slicing  the 

I      (mm. WH/  ^P     store-bought  coffee  cake.  .  .  .  They'd  been  married  a  year  and 

ill     ■  I  if/   Wr^      a  na^'  ^ut  not  until  now  had  they  been  willing  to  talk  about 

ilPH}^^   \W/    IBB      the  special  problems  that  had  been  theirs.  They  had  come  from 

such  different  backgrounds;  perhaps  at  first 
look  the  only  thing  they  had  in  common  was 
that  each  came  from  a  broken  home.  Tom- 
my's youth  had  been  spent  in  poverty,  and, 
when  they  met,  he  was  just  beginning  to 
know — for  the  first 
time — what  real  money 
was.  Still,  he  was  far  from 
being  in  the  same  finan- 
cial league  as  Nancy's 
father.  Most  girls,  whether  they're  aware  of  it  or  not,  weigh  their  husband's  virtues  against  their 
father's.  In  Frank  Sinatra's  case,  there  was  more  than  just  money  on  his  side  of  the  scale.  There 
was  fame,  success,  power — and  an  almost  legendary  attraction  for  women.  It  would  be  a  hard  thing 
for  any  young  man  to  balance  out.  At  first,  both  Tommy  and  Nancy  denied  that  this  could  have 
created  any  problems.  But  then  Tommy  thought  it  over.  .  .  .  "Getting  back  to  that  business  of  how 
hard  it  is  to  marry  someone  of  a  different  background,"  he  said,  "I  guess  maybe  some  additional 
problems  do  arise  that  you  wouldn't  find  between   two  people  who  are  used  to  the  same  things. 

"Like,  for  instance,  when  I  decided  to  move  to  New  York.  That  was  one  of  the  most  important 
decisions  I  had  to  make,  and  it  was  one  of  the   first  major  readjustments  Nancy  had  to  make. 

"I  had  decided  some  time  ago  to  ease  off  the  singing  and  concentrate  on  becoming  an  actor.  I 
did  it  by  easy  stages,  you  may  remember,  swearing  off  rock  'n'  roll  first.  But  then  I  found  that  saying 
I  wanted  to  be  an  actor  and  being  one  are  two  different  things.  There  was  much  to  learn  and  the 
best  place  to  learn  is  in  New  York,  where  the  best  legitimate-theater  acting   (Continued  on  page  86) 


44 


Tommy  Sands'  problem  was  how  to  support 
his  bride  Nancy  Sinatra  in  the  style 
she  was  used  to  — but  he  was  not! 


This  is  the  Cleopatn 


i 


I 


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M     M 


Diane  McBain  came  flowing  through  the  dressing- 
room  door,  wearing  a  blue  sheath  gown  of  the 
Roman  era.  It  fit  her  with  precision.  The  material 
was  thin  as  paper,  the  neckline  dangerously  low. 

The  cast  and  crew  on  the  set  of  "77  Sunset  Strip" 
stared  open-mouthed  at  a  Diane  they  hardly  recog- 
nized. Even  Elizabeth  Taylor,  playing  "Cleopatra" 
thousands  of  miles  away  in  Rome,  might  envy 
Diane's  fresh  beauty.  In  many  ways,  the  costume 
and  the  black  wig  made  her  look  like  Liz.  Oddly 
enough,  their  lives  had  been  alike,  too,  in  many 
ways — and  one,  in  particular.  They  have  a  man  in 
common. 

The  script  called  for  Diane  to  play  a  movie 
actress  in  an  episode  titled  "Leap  My  Lovely"  (to 
be  seen  next  fall).  Though  the  writer  won't  admit 
it  out  loud,  the  plot  is  heavily  shaded  with  over- 
tones of  Liz  and  her  version  of  "Cleopatra." 

The  shooting  went  on  through  the  morning. 
Finally,  the  director  called,  "Cut  .  .  .  lunch,  every- 
one." Diane,  deciding  it  would  take  too  long  to 
change,  went  to  the  commissary  in  costume.  The 
restaurant  fell  silent  as  she  entered — dressed  as  Liz 
Taylor.  Diane  realized  she  was  being  stared  at,  but 
she  thought  it  was  because  of  the  dress  and  wig. 
She  tried  to  ignore  it  as  she  sipped  iced  tea. 

Yet  it  was  quite  a  coincidence.  Most  people  were 
unaware  of  how  great  an  irony  it  was  which  had 
Diane  playing  Cleopatra  on  the  same  day  that  the 
names  of  Liz  and  Richard  Burton  were  splashed 
across  the  headlines.  A  few,  though,  remembered  . . . 

Diane  had  been  linked  with  Richard  Burton,  too. 
They  had  met  while  making  "Ice  Palace"  (now 
being  re-released)  and  Diane's  friends  say  she  fell 
hard  for  him.  Whispers  filled  the  set  all  through 
the  filming.  People  insisted  they  had  seen  them 
dining  here,  driving  there — always  together.  What 
attracted  her  to  him  was  natural  and  unavoidable. 
She  was  a  Sleeping  Beauty,  (Please  turn  the  page) 


who  made  all  the  headlines . . . 


but.  . . 


(Now  please  turn  the  page) 

47 


This  is  the  Cleopatn  who  made  all  the  headlines... 


Diane  McBain  came  flowing  through  the  dressing, 
room  door,  wearing  a  blue  sheath  gown  of  the 
Roman  era.  It  fit  her  with  precision.  The  material 
was  thin  as  paper,  the  neckline  dangerously  low 
The  cast  and  crew  on  the  set  of  "77  Sunset  Strip' 
stared  open-mouthed  at  a  Diane  they  hardly  recog 
nized.  Even  Elizabeth  Taylor,  playing  "Cleopatra- 
thousands  of  miles  away  in  Rome,  might  envy 
Diane's  fresh  beauty.  In  many  ways,  the  costume 
and  the  black  wig  made  her  look  like  Liz.  Oddly 
enough,  their  lives  had  been  alike,  too,  in  many 
ways-and  one,  in  particular.  They  have  a  man  in 

common. 

The  script  caUed  for  Diane  to  play  a' movie 
actress  in  an  episode  titled  "Leap  My  Lovely"  (to 
be  seen  next  faU).  Though  the  writer  won't  admit 
it  out  loud,  the  plot  is  heavily  shaded  with  over- 
tones of  Liz  and  her  version  of  "Cleopatra." 

The  shooting  went  on  through  the  morning. 
Finally,  the  director  caUed,  "Cut  .  .  .  lunch,  every- 
one." Diane,  deciding  it  would  take  too  long  to 
change,  went  to  the  commissary  in  costume.  The 
restaurant  feU  silent  as  she  entered— dressed  as  Liz 
Taylor.  Diane  realized  she  was  being  stared  at,  but 
she  thought  it  was  because  of  the  dress  and  wig. 
She  tried  to  ignore  it  as  she  sipped  iced  tea. 

Yet  it  was  quite  a  coincidence.  Most  people  were 
unaware  of  how  great  an  irony  it  was  which  had 
Diane  playing  Cleopatra  on  the  same  day  that  the 
names  of  Liz  and  Richard  Burton  were  splashed 
across  the  headlines.  A  few,  though,  remembered  . . . 
Diane  had  been  linked  with  Richard  Burton,  too. 
They  had  met  while  making  "Ice  Palace"  (now 
being  re-released)  and  Diane's  friends  say  she  fell 
hard  for  him.  Whispers  filled  the  set  all  through 
the  filming.  People  insisted  they  had  seen  them 
dining  here,  driving  there— always  together.  What 
attracted  her  to  him  was  natural  and  unavoidable. 
She  was  a  Sleeping  Beauty,  (Please  (urn  the  page 


Other 
Cleopatra 


Burtons 
Life 


still  a  newcomer  to  Hollywood  and  all  its  prom- 
ises and  challenges.  He,  a  prince  on  a  white 
horse,  was  a  proven  star  on  two  continents.  And 
his  way  with  the  ladies  was  well-known.  Still, 
Burton  was  a  married  man;  Diane  had  to  ac- 
cept that  reality.  Abruptly,  there  were  no  longer 
reports  of  her  being  seen  with  him. 

"Diane  was  terribly  crushed,"  a  close  friend 
said,  "when  she  had  to  call  the  romance  off.  She 
became  moody  and  kept  to  herself  a  lot." 

Time,  however,  seemed  to  help.  Yet  now  time 


has  caught  up  with  Diane  again.  What  does  she 
remember?  What  does  she  feel  about  Burton's 
new  Cleopatra?  Diane  is  wisely  keeping  those 
answers  to  herself.  Outwardly,  she  showed  no 
emotion  when  she  finally  learned  about  Liz  and 
Burton  later  that  day. 

One  thing,  though,  is  certain.  Diane  McBain, 
although  the  junior  in  age  and  experience,  could 
probably  give  Miss  Taylor  some  solid  advice.  It 
is  sometimes  better  to  lose  than  to  win — where 
a  married  man  is  concerned.  — Dean  Gautschy 


48 


FORTUNE- 
MISFORTUNE? 


You  know  what  you  like,  when  you  look  at 
other  people — but  do  you  really  know  what 
you  see?  Or  what  others  see,  when  they 
look  at  you?  You  can  have  fun  .  .  .  make 
a  fortune  out  of  faces  .  .  .  learn  a  lot  about 
yourself,  your  friends,  the  famous  folk  you 
see  on  TV!  Physiognomy,  it's  called,  this 
"science  of  reading  character  from  the 
shape  and  lines  of  the  face,"  and  it's  the 
fascinating  hobby  of  an  English  banker 
who  cloaks  his  true  identity  under  the  name 


IS  YOUR 

FACE 
YOUR 


of  Cyro  while  he  shares  his  secrets  with 
you.  Read  his  analytic  profiles  of  six  out- 
standing figures  from  today's  headlines. 
You  may  raise  an  eyebrow  at  some  of  the 
portraits — but  they  may  open  your  eyes, 
at  the  same  time.  As  Cyro  points  out,  both 
social  and  business  success  depend  on 
being  able  to  sum  up  —  on  sight  —  the 
characters  you  meet.  Such  an  ability  can 
help  you  save  face  .  .  .  choose  your  mate 
...  or  even  explain  why  you  chose  the 
one  you  did.  Just  turn  the  page  and  learn 
the  "rules"  for  judging  true  face-value! 


49 


PERRY  COM©:  This  is  a 
face  you'd  instinctively  trust — 
and  you'd  be  right.  The  laugh- 
lines  at  the  eye-corners  are  a 
sign  of  a  relaxed  person  with  a 
keen  sense  of  humor  and  a  lively 
imagination.  The  wiry,  naturally 
wavy  hair  indicates  intelligence 
and  stamina,  and  the  rather 
flattish  contour  of  the  head  in- 
dicates a  capacity  for  enjoyment. 
The  forehead — round,  high  and 
full  at  the  temples — shows  an  in- 
quiring mind,  an  excellent  mem- 
ory and  an  innate  shyness.  The 
nose,  straight  and  clean-cut,  de- 
notes great  courage — and  stub- 
bornness. The  mouth,  more  often 
than  not  with  parted  lips,  indi- 
cates energy  and  a  need  to  be 
liked.  The  low-set,  sparse  eye- 
brows are  a  sign  of  an  affection- 
ate and  kindly  nature.  Overall:  A 
well-integrated  person  who  has 
had  problems  and  solved  them. 


DICK   CHAMRER- 

LAIN:  This  unusually 
long  face  is  a  clue  to  adapt- 
ability —  and  moodiness. 
The  chin  is  that  of  a  some- 
what aloof  person,  who 
makes  friends  easily  but  re- 
sists deep  friendships.  The 
large  well-shaped  eyes  show 
humor  but  also  ambition. 
The  straight,  fine  eyebrows, 
slightly  lighter  than  his 
hair,  denote  a  capacity  to 
learn  quickly.  The  ears,  set 
high  and  irregular  in  shape, 
show  generosity.  The  fine, 
wavy  hair  is  a  sign  of  a 
romantic.  The  suspicion  of 
a  dimple  indicates  a  toler- 
ant nature.  The  large  depth 
of  jaw  below  the  ear  de- 
notes decisiveness  and  very 
strong  will-power.  To  sum 
up:  A  person  who  doesn't 
say  all  .that  he  is  thinking. 


50 


•JACKIE   KENNEDY: 

This  is  obviously  the  face  of  a 
lively-minded,  optimistic,  tal- 
ented woman  with  a  zest  for  life. 
From  the  wide  gap  between 
middle  points  of  her  eyebrows, 
and  the  wide  bridge  of  her  nose, 
you  can  deduce  courage,  grit 
and  determination.  The  square- 
ness of  the  face  and  chin  show  a 
love  of  fair  play  and  a  forceful 
character.  The  short  but  well- 
shaped  nose,  above  a  narrow  lip, 
is  a  sign  of  impulsiveness  and 
fearlessness.  The  eyes,  spaced 
much  farther  apart  than  average, 
indicate  humor,  straight  thinking 
and  loyalty.  The  fine,  virile  hair 
is  that  of  a  healthy  though  not 
robust  person.  Overall,  this  small, 
square  face  is  that  of  a  person 
who  can  make  friends  in  every 
stratum  of  society,  whose  desire 
to  see  and  do  everything  is  lim- 
ited only  by  human  endurance. 


CONNIE    STEVENS: 

Here  is  an  open  and  trustworthy 
face,  guileless  and  friendly.  The 
chin  is  broad  and  round  with 
firm  contours  denoting  forth- 
rightness  and  determination.  The 
nose,  finely  molded  with  small 
nostrils  and  well-defined  bridge, 
shows  generosity  and  an  even 
temper.  The  short  upper  lip  and 
bow-shaped  mouth  indicate  a 
happy  disposition.  The  well- 
spaced  eyes  (precisely  the  length 
of  an  eye  apart)  are  a  sign  of 
level-headedness  and  honesty. 
The  eyebrows — low,  well  marked 
but  irregular  in  shape — show  she 
likes  people  and  needs  affection 
herself.  The  ears — set  rather  low, 
with  small  lobes  and  a  well- 
defined  rim — show  sensitivity, 
tolerance  and  sympathy.  The 
high  round  forehead  shows  in- 
telligence. The  heart-shaped  face 
is  ambitious — likely  to  succeed. 


ELVIS  PRESLEY: 

The  finely  molded,  slightly 
pointed  chin  shows  serenity 
— and  also  determination. 
The  nose,  a  little  short  and 
broad  at  the  nostrils,  sug- 
gests he  is  impulsive.  The 
short  upper  lip  (with  fuller 
lower  lip)  denotes  kindli- 
ness. The  mouth,  with  lips 
usually  parted,  is  a  sign  of 
energy  and  courage.  The 
way  he  holds  his  mouth 
indicates  wit  and  an  ability 
to  make  friends.  His  hazel 
eyes,  deep  set  with  low 
brows  and  soft  laugh-lines, 
show  a  love  of  justice,  as 
well  as  humor.  The  ears — 
with  the  tips  slightly  higher 
than  the  center  of  the  eyes 
— show  sympathy.  The  con- 
siderable depth  of  jaw  be- 
low ears  shows  a  capacity 
to   make   quick    decisions. 


. 


Vincent  edwards: 

The  face  of  a  hard-working,  in- 
telligent, alert  man.  The  low-set 
eyebrows,  slightly  irregular  in 
shape,  are  evidence  of  an  unusu- 
al self-sufficiency.  The  rounded 
chin,  with  its  suspicion  of  a  cleft, 
shows  a  strong  masterful  nature 
that  wants  its  own  way.  The  nose, 
with  its  deep  bridge,  shows  toler- 
ance and  the  physical  ability  to 
achieve  his  ambitions.  The  lips, 
frequently  pressed  together,  show 
determination  and  possibly  re- 
serve. The  dark  brown  eyes,  well- 
spaced  and  deep-set,  mean  he's 
loyal  to  friends — and  ideals.  The 
straight,  virile  dark  hair  shows 
good  health  and  a  fiery  temper, 
though  it's  slow  to  rouse.  The 
overall  impression:  A  man  who 
.doesn't  bother  about  public 
opinion  as  long  as  he  knows  he's 
right  ...  a  romantic,  sentimental 
man   who   pretends  to   be  hard. 


51 


*r& 


\%>%: 


Jh 


CM 


The  Roger  Smiths 


^mHWbi 


&■' 


n 


M 


OH 
BROTHER! 


It'll  go  down  in  history  as  the  Battle  of  the  Thermostats.  You  see,  Vici  and  Roger  have 
always  kept  their  house  at  seventy  degrees.  Sometimes  they  would  vary  as  far  as  seventy- 
one.  But  when  Vici's  family  moved  in  with  them,  they  found  that  suffocating.  "You  can  get 
pneumonia  coming  out  of  a  hot  house  into  the  cool  air,"  said  Vici's  mom. 

As  for  Roger's  mother,  she  likes  it  hot.  So,  when  Vici's  family  came  from  Australia  and 
Roger's  family  came  from  New  Mexico  and  they  all  piled  into  the  house  in  the  valley — 
you  can  imagine!  There  were  now  nine  people  in  a  house  that  was  comfortable  for  two 
adults  and  two  small  children. 

They'd  let  the  maid  go,  Roger  and  his  father-in-law  built  an  extra  room  onto  the 
house,  Roger  bought  five  new  beds  .  .  .  but  someone  was  always  sneaking  out  of  one  of 
them  to  jiggle  that  thermostat!  No  one  ever  actually  saw  anyone  else  do  it,  but  the  mercury 
sure  wandered  up  and  down.  When  Roger's  mother  and  brother  were  comfortable  and 
sleeping  peacefully,  the  Aussies  were  smothering;  when  they  could  sleep,  the  rest  of  the 
household  was  freezing. 

It  came  to  a  climax  the  day  everyone  was  sick.  The  kids  had  bronchitis  (because  the 
house  was  too  hot,  if  you  asked  Vici's  relatives)  .  .  .  Mrs.  Elphick,  Vici's  mom,  hurt  her 
elbow  .  .  .  Mr.  Elphick  had  the  flu  .  .  .  and  Vici  collapsed  with  {Continued  on  page  91) 


*»d 


53 


The  Roger  Smith! 


OH 
BROTHER! 


It'll  go  down  in  history  as  the  Battle  of  the  Thermostats.  You  see,  Vici  and  Roger  have 
always  kept  their  house  at  seventy  degrees.  Sometimes  they  would  vary  as  far  as  seventy- 
one.  But  when  Vici's  family  moved  in  with  them,  they  found  that  suffocating.  "You  can  get 
pneumonia  coming  out  of  a  hot  house  into  the  cool  air,"  said  Vici's  mom. 

As  for  Roger's  mother,  she  likes  it  hot.  So,  when  Vici's  family  came  from  Australia  and 
Roger's  family  came  from  New  Mexico  and  they  all  piled  into  the  house  in  the  valley — 
you  can  imagine!  There  were  now  nine  people  in  a  house  that  was  comfortable  for  two 
adults  and  two  small  children. 

They'd  let  the  maid  go,  Roger  and  his  father-in-law  built  an  extra  room  onto  the 
house,  Roger  bought  five  new  beds  ...  but  someone  was  always  sneaking  out  of  one  of 
them  to  jiggle  that  thermostat!  No  one  ever  actually  saw  anyone  else  do  it,  but  the  mercury 
sure  wandered  up  and  down.  When  Roger's  mother  and  brother  were  comfortable  and 
sleeping  peacefully,  the  Aussies  were  smothering;  when  they  could  sleep,  the  rest  of  the 
household  was  freezing. 

It  came  to  a  climax  the  day  eveiyone  was  sick.  The  kids  had  bronchitis  (because  the 
house  was  too  hot,  if  you  asked  Vici's  relatives)  .  .  .  Mrs.  Elphick,  Vici's  mom,  hurt  her 
elbow  .  .  .  Mr.  Elphick  had  the  flu  .  .  .  and  Vici  collapsed  with  (CorUiaued  on  page  91) 


53 


Three,  problems  in     i  ne  u'tear  tionzon    : 


1.  Should  a  husband  tell  his  ivife  everything? 

2.  Is  (i  lie.  ever  justified? 

3.  Hon:  much  should  a  mother  tell  her  son?  " 


CAN  YOU  LEARN  T 


54 


Every  month,  a  doctor  looks  at  TVs  daytime  dramas  and 
tells  you  what  you  can  learn  about  yourself  from  them 


It's  often  said  that  TV  daytime  dramas  are  so 
popular  because  they're  so  filled  with  problems — 
usually,  with  the  inference  that  these  problems 
would  be  wildly  unreal  in  actual  life!  If  you're  a 
typical  viewer,  you'd  be  the  first  to  say  this  isn't 
so.  You  follow  your  favorite  serial  because  you 
"recognize"  the  characters  and  the  basic  dilemmas 
they  face.  Their  success  depends  upon  how  closely 
they  actually  resemble  you  and  your  own  problems. 
But — from  the  standpoint  of  modern  psychology — 
do  you  really  learn  from  their  experiences?  Can 
the  solutions  they  find,  on  TV, 
help  you  in  real  life?  Because 
millions  look  in  on  these  pro- 
grams each  day,  and  are  often 
deeply  affected  by  what  they  see, 
these  are  important  questions.  To 


by  ARTHUR  HENLEY 
with 

Dr.  ROBERT  L.W0LK 


get  the  answers,  we'll  analyze  a  different  drama  in 
these  pages  each  month,  treating  the  characters  as 
real  people  and  their  problems  as  real  problems — 
with  my  descriptions  in  regular  text  type,  and  Dr. 
Wolk's  comments  in  italics.  Our  first  subject  is 
"The  Clear  Horizon,"  which  presents  several  in- 
teresting aspects,  morally  and  psychologically,  as 
well  as  the  general  question  of  what  you  can  learn 
about  yourself  while  watching  television. 

From  the  psychological  viewpoint,  it  is  perfectly 
healthy  to  watch  a  TV  drama  unfold  and  see  others 
wrestle  with  problems  similar  to 
one's  own;  this  makes  one's  own 
problems  seem  less  serious  and 
easier  to  cope  with.  In  fact,  this 
is  the  basis  of  group  psycho- 
therapy. (Continued  on  page  94) 


Pictured  in  these  scenes,  in  order  of  first  appearance:  Ed  Kemmer  and  Phyllis  Avery  as  Anne  and  Roy  Selby ; 
Earl  Hammond  as  a  Russian  officer  and  Michael  Fox  as  injured  Sig  Levy;  Charles  Herbert  as  young  Ricky. 


LIVE  WITH  DEATH? 


55 


sag* 


-    ■       I 


THE  ONE  MAN 


P 


At  a  secret  Paris  meeting,  Hitch- 
cock talked:  his  wife  Alma  and 
Prince  Rainier  listened.  Finally, 
Grace  got  a  word  in.  It  was  "Yes." 


[  Perhaps  you  wouldn't 

I  believe  it  to  look 

at  him,  but 

Alfred  Hitchcock 

has  a  way  wit  h  wo  m  en 


GRACE  KELLY 

COULDN'T 
SAY4 'NO"  TO 


With  the  speed  of  a  man  losing  a  fortune  at  the  gaming  tables  of  Monte  Carlo,  the 
news  spread.  Grace  Kelly  was  coming  back  to  Hollywood!  Just  as  quickly,  the  rumors 
began.  Why  was  she  doing  it,  people  wondered.  Why  should  Her  Serene  Highness  want 
to  be  a  working  girl  again?  Noblesse  oblige  it  certainly  wasn't.  Some  said  it  was 
because  Grace  was  finding  life  at  the  palace  dull.  Others  blamed  it  all  on  Charles  de 
Gaulle  and  the  French  Premier's  threat  to  introduce  carefree  Monaco  to  the  quaint 
custom  of  income  tax.  If  that  happened,  they  said,  Grace  would  have  to  go  to  work  in 
order  to  make  the  royal  budget  come  out  even.  Still  others  said  you  couldn't  blame 
everything  on  de  Gaulle  (wasn't  Algeria  enough?).  They  explained  that  the  princess 
wanted  to  be  a  movie  queen  again  so  she  could  bring  some  of  {Continued  on  page  89) 


57 


JACK  LINKLETTER: 


f 


Art  Linkletter  hugs  grandsons 
Mike  and  Dennis.  Son  Jack 
smiles — but  he  has  his  own 
ideas  about  how  to  bring  up 
his  two  lively  little  boys! 


S9* 


ft\ 


c 


7 


w 


{ 


Same  MISTAKES  My  Father  Made 


11 


On  a  sun-dappled  spring  day  a  few  years  ago,  when 
future  "Here's  Hollywood"  host  Jack  Linkletter  was 
at  Emerson  Junior  High,  heading  into  his  blue-jeans- 
busting  teens,  he  and  a  school  chum  decided  to  run 

away There  was  no  good  reason  for  the  caper;  Jack 

and  his  pal  were  no  more  "misunderstood"  at  home 
than  any  other  thirteen-year-olds  in  their  swaggering, 
boisterous  crowd.  Emerson  did  have  a  hard-nosed,  fist- 
swinging,  often  troublesome  element,  and  Jack  was 
part  of  it.  But  for  Art  Linkletter's  oldest  son  there  had 
been  no  real  panic  at  school,  except  perhaps  for  a  few 
bad  grades  and  his  unwillingness  to  crack  a  book  for 
months  on  end. . . .  True,  young  Jack  secretly  resented, 
like  so  many  Hollywood  celebrities'  kids,  having  to  live 
up  to  Papa's  fame.  (His  dad,  Art  Linkletter,  was  already 
a  top  entertainment  star.)  But  mostly  the  running  away 
was  because  the  two  lads  were^-at    (Continued  on  PaSe  76) 


59 


People 

are 

talking, 

but 
Annette's 

answer  is: 


IT  HAPPENS 

TO  EVERY  GIRL 


60 


Only  yesterday,  she  was  a  child,  a 
Disney  Mouseketeer  .  .  .  playing  with 
baby-brother  Mike  .  .  .  roughhousing 
with  bigger  Joey,  just  three  years 
her  junior  .  .  .  leaving  her  room  a 
wind-tossed  heap  of  dolls.  Today,  she 
is  a  woman  ...  a  Little  tremulous 
at  the  thought  of  leaving  her  teens 
behind,  next  fall  .  .  .  but  achingly 
eager  to  face  the  adult  world. 

Annette  Funicello  is  now  nineteen, 
very  much  in  romantic  Rome  and 
quite  possibly  in  love!  As  days  grow 
warmer  and  nights  expand,  Italians 
beam  to  see  {Please  turn  the  page) 


. 


61 


IT  HAPPENS  ONCE 

TO  EVERY  GIRL 


her  walking  hand  in  hand  with  a 
gallant  cavalier.  To  them,  it  is  most 
natural  that  it  should  happen  here. 
Youth's  the  time  for  love,  and  Rome 
the  very  place  to  give  it  a  never-to- 
be-forgotten  setting. 

And  how  (even  if  she  wanted  to) 
could  Annette  resist  one  of  their 
handsomest  young  men?  Any  girl 
(even  a  so-famous  American)  would 
enjoy  making  movies  with  Nino  Cas- 
telnuovo.  As  for  making  love  .  .  .  ! 

But,  to  her  many  fans  back  here, 
it  comes  as  something  of  a  surprise. 
Just  months  ago,  Annette  was  skip- 
ping lightheartedly  through  the  fan- 
tasy of  "Babes  in  Toyland."  Now, 
she's  a  full-grown  heroine  in  Walt 
Disney's  "Escapade  in  Florence." 

Dates?  Of  course,  she  had  them — 
but  never  while  working  on  a  film. 
Never  any  that  led  to  speculation  she 
might  elope — even  when  Paul  Anka 
was  writing  songs  to  her.  Somehow, 
she  seemed  always  to  return  to  her 
old  friends  among  the  Mouseketeers 
...  as  though  seeking  reassurance. 

A  parlor  game,  a  good  turn  around 
the  dance  floor — a  girl's  first  kiss 
can  come  and  go  before  she  knows  it, 
when  she  clings  to  childhood  pals. 
But  a  kiss  in  Rome  is  very  differ- 
ent! As  different  as  dating  a  boy 
you  never  set  eyes  on,  till  this  year 
...  a  boy  with  melting  eyes  and 
the  charming  manners  which  make 
even  a  young  European  seem  already 
wise  in  the  ways  of  the  world.  .  .  . 

As    for    career,    that's    something 


continued 


i 


Annette  and  Nino:  Is  there  a  chance 
for  this  summer  romance  to  last? 


Annette  has  always  taken  seriously 
— with  a  poignantly  childlike  inten- 
sity. Fans  heard  her  say  she'd  rather 
act  than  sing  .  .  .  and  thought  of 
that  as  something  far  off  in  the  fu- 
ture, while  they  went  on  cherishing 
her  young-as-spring  records. 

They  saw  her  bob  her  hose  (perma- 
nently) and  bleach  her  hair  (tempo- 
rarily) in  search  of  "glamour."  Like 
her  Hollywood  friends,  they  felt  that 
the  more  "sophisticated"  she  became, 
the  younger  she  looked. 

They  noted  all  the  signs  of  ado- 
lescence .  .  .  and  forgot  it  must  all 
lead  to  maturity  someday. 

When  did  Annette  grow  up?  Per- 
haps her  family  noticed  first.  Mike, 
when  her  primping  monopolized  the 
bathroom  for  hours  .  .  .  Joey,  when 
her  calls  monopolized  the  family 
phone  .  .  .  her  mother,  the  morning 
Annette  got  up  early  and  actually 
cleaned  the  kitchen  "as  a  surprise!" 

Or  perhaps  Nino  Castelnuovo  was 
the  first  to  realize  it,  the  moment 
their  hands  touched.  Here,  in  these 
exclusive,  off-guard  pictures,  is  no 
shy  uncertainty,  no  wistful  wavering 
between  tomboy  impulse  and  the 
eternal  feminine. 

When  Annette  says,  "A  rivederci, 
Roma,"  will  she  leave  a  bit  of  her 
heart  behind?  Will  she  come  back  as 
a  Signora  ...  or  more  receptive  to 
the  idea  of  becoming  a  Mrs.? 

It  happens  once  to  every  girl.  And 
no  red-blooded  male  ever  dreamed  of 
changing  that  plot!    — Irene  Storm 


62 


WHEN  HE  NEEDS  THEM,  WHERE  ARE 


T 


i 


«. 


For  the  answer,  turn  the  page 


Do  they  remember  the  fame  he  brought  them-or  the  tears? 

He  had  so  many  of  them  once,  both  TV  shows  and  loyal  members  of  "his  gang."  On  mike  and  camera,  day  and 
night — no  matter  what  the  title — it  was  always  "Arthur  Godfrey  and  His  Friends."  All  the  Little  Godfreys 
whom  he  helped  to  fame  .  .  .  and  who  helped  make  him  the  Mr.  Big  of  CBS  .  .  .  where  are  they  now?  Some  left 
in  tears,  some  smiling.  Some  have  flourished,  some  dropped  out  of  sight.  If  he  could  gather  them  together  again, 
would  the  story  be  different  today?  .  .  .  It's  no  secret  that  the  once-fabulous  redhead  still  yearns  for  the  spotlight. 
No  secret  that  CBS-TV  somehow  couldn't  find  time  recently  for  even  a  Godfrey  special — and  that  this  fact 
sent  Godfrey  flirting  with  another  network.  Now  he  has   signed  with  CBS  again  (Continued  on  page  66) 


Starting  as  Arthur's  announcer  in  1945, 
Tony  Marvin  lasted  longer  than  any  other 
— until  mid- 1 959 — on  both  radio  and  TV. 
Says  Tony,  "It  was  my  job  to  keep  a  step 
ahead  of  Godfrey."  Was  that  the  trouble? 


Five  years  a  symbol  of  Godfrey's  in- 
terest in  Hawaii,  Holelolce  stopped 
singing  when  he  let  her  go.  But  she 
has  a  rare  distinction:  He  hired  her 
again  this  year — though  not  on-air. 


Sweet  duets  of  Frank  Parker  and  Marion  Marlowe 
made  them  seemingly  permanent  Little  God- 
freys, convinced  many  fans  they  were  really  in 
love.  However,  it  was  a  romance  with  another 
man   entirely  which   led  to   Marion's   dismissal. 


~_ 


The  Chordettes  are  an  enduring  quartet,  but  not  always  the  same  four 
girls.  In  their  Godfrey  heyday:  Carol  Bushman,  Janet  Ertel,  Lynn  Evans 
and  Margie  Needham.  Matrimony  is  responsible  for  almost  every 
change  in  the  group — including  their  departure  from  Arthur's  shows. 


All  show  biz  was  proud  of  Jim  Lewis,  Tom  Lockard,  Nat  Dickerson  and 
Martin  Karl.  ("There's  always  been  an  ideal  behind  The  Mariners," 
said  Nat.)  First  interracial  "regulars"  on  any  network,  The  Mariners 
joined  Godfrey  in   1945,  for  nearly  ten  years — have  now  disbanded. 


Top  arranger  and  conductor  from  Broadway,  Archie  Bleyer  committed 
two  crimes  in  the  redheaded  impresario's  code:  He  started  his  own 
business — using  Godfrey  stars — and  also  fell  in  love  with  one  of  them. 
As  head  of  Cadence  Records,  he  proved  this  kind  of  "crime"  can  pay! 


Young  Lu  Ann  Simms  and  Julius  La  Rosa  had  audiences  sighing  of 
"young  love"  with  their  songs.  But,  off  stage,  Julie  fell  head-over-heels 
for  the  wrong  girl.  And — though  Lu  Ann  kept  her  job  after  her  own 
marriage — she  found  "maternity  leave"  turned  into  "walking  papers." 


Of  all  the  famous  Little  Godfreys,  the  McGuire  Sisters — Christine, 
Phyllis  and  Dorothy — left  Arthur  on  the  best  terms,  have  been  the 
most  successful.  Could  he  get  them  back,  if  he  wanted?  Not  likely,  at 
current  prices!  And  they  have  their  own  plans,  romantic  and  otherwise. 


Janette  Davis  was  with  Godfrey  a  dozen  years,  from  singing  on  radio 
in  1946  to  helping  produce  his  TV  shows  in  1958.  Her  loyalty's  never 
been  questioned — but  could  she  be  lured  from  retirement?  Now  wed, 
Jan  says,  "I'm  content  being  a  housewife  and  raising  the  children." 


65 


ARTHUR    GODFREY 


(Continued  from  page  64) 
— in  an  unprecedented  contract  for  one 
year  only — with  the  assurance  that  his 
daily  radio  program  will  continue,  and 
a  "guarantee"  of  three  TV  specials  dur- 
ing the  coming  season. 

But  it's  a  far  cry  from  the  1940s 
and  '50s,  when  TV  was  dominated  by 
"Arthur  Godfrey  Time"  in  the  morn- 
ing, "Arthur  Godfrey's  Talent  Scouts," 
"Arthur  Godfrey  and  His  Friends"  and 
just  plain  "Arthur  Godfrey  Show"  at 
night  .  .  .  when  all  the  Little  Godfreys 
seemed  actual  members  of  the  family  in 
living  rooms  from  coast  to  coast. 

The  fire  in  that  family  hearth  is 
cold  now,  but  does  Arthur  Godfrey  ever 
remember  the  days  when  they  all  gath- 
ered, seemingly  happy,  around  its 
warmth?  Like  any  head  of  a  family 
who  wakes  one  day  to  find  himself 
alone,  Arthur  might  well  wonder  what 
happened — and  how?  One  thing  he 
can't  forget:  The  members  of  his  fam- 
ily did  not  run  away  from  home;  one 
by  one,  for  many  different  reasons,  it 
was  he  who  sent  them  packing. 

Remembering  those  days,  does  he 
ever  wonder  what  would  happen  if  he 
asked  them — now — to  come  back? 

Tony  Marvin,  for  one,  would  prob- 
ably come  a-running.  He  fondly  recalls 
those  years  which  brought  him  the 
mansion  on  Long  Island  where  he  still 
lives,  with  his  wife  Dorothea  and  daugh- 
ter Lynda  Ann.  Tony's  now  active  in 
radio,  but  his  heart's  still  in  TV — the 
old  Godfrey  kind.  They  were  good  days. 
The  only  time  Arthur  spoke  harsh 
words  to  Tony  —  on  TV  —  was  that 
moment  in  February,  1954:  "You  and 
that  big  fat  mouth  of  yours! "  More  typi- 
cal was  the  excuse  he  gave,  when  he 
told  Tony  in  June,  1959,  that  there'd  be 
no  place  for  him  on  his  new  series  be- 
cause it  would  be  so  informal  "a  man 
of  your  high  caliber  would  be  a  luxury." 
Tony  said  then,  "That  old  flatterer! 
I  hope  he  lives  to  be  9,000  years  old." 
Today,  he  still  admits  he  misses  the 
Godfrey  shows:  "It  was  a  challenge, 
but  a  great  deal  of  fun.  You  never  knew 
what  was  coming  up." 

Julius  LaRosa  certainly  never  knew. 
Never  suspected  he'd  become  the  first 
man  in  history  to  be  fired  right  on  TV. 
From  the  moment  in  November,  1951, 
when  he  started  with  Godfrey,  until 
that  fateful  October  19th,  1953,  this 
ex-sailor  had  endeared  himself  to  the 
public  with  his  singing,  his  naivete 
and  youthful  bounce. 

Unfortunately,  he'd  also  endeared 
himself — or  vice  versa — to  a  lovely 
young  lady  on  the  program  who  was 
not  yet  divorced  from  her  G.I.  husband. 
The  resultant  publicity  "embarrassed" 
Godfrey,  who  was  already  more  than 
annoyed  because  Julie  had  hired  him- 
self an  agent  and  was  seeking  outside 
assignments  at  higher  pay.  Julie,  said 
T  Arthur,  had  lost  his  "humility." 
v  LaRosa  was  then  just   23.   Starting 

r       with    a    series    of    guest    shots    for    Ed 
Sullivan,   he   made   $302,000   the   first 
year   after   leaving    Godfrey.   Now   32, 
66 


he  s  happily  married  to  Perry  Como's 
former  secretary,  Rosemary  Meyer,  and 
they  live  in  a  nice  New  York  apart- 
ment with   their  baby,   Marcia   Lucia. 

He's  been  working  hard  to  improve 
himself,  as  both  singer  and  actor,  and 
has  done  very  well.  "I'm  just  starting 
to  be  a  real  talent,"  he  says. 

The  McGuire  Sisters  were  always  on 
good  terms  with  Godfrey — even  though 
it  was  Dorothy  McGuire  who  figured  in 
the  much-publicized  "romance"  with 
LaRosa.  And  anyone  who  buys  rec- 
ords or  goes  to  swank  niteries  knows 
how  successful  this  singing  trio  has 
become. 

It's  a  little  harder  to  keep  up  with 
their  private  lives.  Dottie,  32  and  long 
since  divorced  from  her  G.I.,  quietly 
wed  a  Canadian  oil  man,  Lowell  Wil- 
liamson, in  1959  and  has  a  son,  Rex. 
Christine,  34  and  married  to  John 
Teeter,  has  two  sons  by  a  previous  mar- 
riage: Harold,  who's  in  the  Navy;  Asa, 
16  and  in  boarding  school. 

Phyllis,  31  and  divorced  from  Neal 
Van  Ells,  has  been  many  times  reported 
engaged  but  insists  she  hasn't  married 
again.  She  went  to  a  psychiatrist  for 
three  years,  to  straighten  out  her  ad- 
mitted feelings  of  insecurity.  Chris  is 
now  doing  the  same.  Meanwhile,  their 
careers  continue  to  zoom. 

Shipwreck  for  four 

The  McGuires  don't  need  it,  but  God- 
frey has  actually  held  out  a  helping 
hand  to  others  whom  he  fired.  The 
Mariners,  for  instance,  who  already 
had  their  own  show  on  CBS  Radio 
when  they  joined  him — 'way  back  in 
'45.  The  group,  first  formed  while  all 
were  members  of  the  U.S.  Coast  Guard, 
consisted  then  of  Tom  Lockard,  bari- 
tone; Nat  Dickerson,  tenor;  Martin 
Karl,  baritone;   Jim  Lewis,  bass. 

These  four  had  almost  ten  good 
years  with  Arthur,  grossed  $250,000  the 
first  year  after  he  let  them  go — then 
almost  literally  fell  to  pieces  when  re- 
placements had  to  be  made.  Tom  was 
first  to  quit,  tired  of  traveling  and  eager 
to  spend  more  time  with  his  wife  Vir- 
ginia Osborn  (who's  also  sung  with  The 
Chordettes).  Then  Jim  left,  subsequent- 
ly becoming  a  history  teacher  in 
Connecticut. 

Nat  and  Martin  tried  to  keep  the 
group  together  with  two  new  men,  Gabe 
Meinhardt  and  Coyle  McMahon,  but 
their  bookings  didn't  cover  traveling  ex- 
penses. In  January,  1959,  they  wrote 
their  old  boss,  asking  for  help.  Godfrey 
invited  them  to  "drop  in"  on  his  pro- 
gram, kept  them  on  for  weeks,  but 
the  tide  was  ebbing  fast.  The  Mariners 
finally  washed  out — and  no  one's  sorrier 
than  Arthur. 

Yes,  Godfrey  can  be  kind  to  former 
employees.  He  brought  Haleloke  Ka- 
hauolupua  from  Hawaii  in  October, 
1950,  and  she  happily  sang  on  his 
shows  for  the  next  five  years.  When 
her  contract  wasn't  renewed  then,  she 
sat  in  the  Manhattan  apartment  she'd 
leased — gazing  at  a  solid  wall-full  of 
Godfrey  snapshots — and  resolutely  told 
reporters  that  she  was  "neither  hurt  nor 
bitter." 

Yet  she  turned  from  performing  and 


went  into  business,  first  a  job  with 
Orchids  of  Hawaii,  then   a  gift  shop. 

Last  winter,  Godfrey  offered  her  the 
job  of  social  director  at  his  Kenilworth 
Hotel,  in  Miami  Beach,  and  she  ac- 
cepted gratefully. 

Arthur  had  discovered  Hale  in  per- 
son, on  his  second  vacation  in  Hawaii. 
He  found  LaRosa  in  the  Navy,  hired 
him  immediately  upon  discharge  a  year 
later.  Others  were  "Talent  Scout"  win- 
ners— but  one  never  really  auditioned 
at  all.  Arthur  hired  pert,  redheaded 
Janette  Davis,  sight  unseen,  just  from 
a  recording  of  her  voice. 

That  was  in  April,  1946.  When  the 
last  Little  Godfrey  contract  expired  in 
June,  1957,  and  Arthur  decided  to  rely 
solely  on  guest  appearances  from  such 
promising  newcomers  as  Pat  Boone  and 
Carmel  Quinn — plus  occasional  visits 
from  some  former  regulars — Jan  Davis 
stayed  on  salary. 

She  did  it  by  switching  from  perform- 
ing to  producing — something  she'd  been 
dabbling  in  since  1949,  at  Godfrey's 
own  suggestion.  And  it  was  backstage 
that  Jan  found  lasting  romance.  In 
October,  1957,  she  married  Frank  Musi- 
ello,  associate  producer  of  "Talent 
Scouts."  The  following  August — a  week 
or  so  after  Frank  left  to  take  a  job 
on  another  network — CBS  announced: 
"Miss  Davis  is  retiring  to  private  life." 
Her  retirement  seems  permanent.  She 
has  a  lovely  home  on  Long  Island  and 
is  devoted  to  Frank's  son  and  daugh- 
ter from  his  first  marriage. 

Marriage  and  the  Godfrey  program 
never  seemed  to  mix  well.  Perhaps 
Arthur — like  many  a  Hollywood  V.I.P. 
— believed  his  starlets  had  more  audi- 
ence appeal  in  single  blessedness.  Per- 
haps he  felt  their  first  and  only  loyalty 
should  be  to  himself  and  the  shows, 
just  as  he  resented  their  taking  on  any 
outside  interests — -particularly,  going 
into  business  for  themselves. 

Musical  director  Archie  Bleyer,  who 
came  to  him  from  Broadway  in  1946, 
managed  to  run  afoul  of  both  rules, 
some  seven  years  later.  In  1953,  he 
organized  Cadence  Records  and  re- 
leased discs  by  Julius  LaRosa  (the 
Unhumble)  and  Don  McNeill  (rival 
daytime  host  on  another  net) .  Archie 
also  took  both  a  romantic  and  a  pro- 
fessional interest  in  a  singing  group 
on  "Godfrey  Time." 

The  Chordettes  had  come  from  She- 
boygan, Wisconsin,  to  win  on  "Talent 
Scouts"  in  September,  1949,  and  stayed 
to  become  Godfrey's  favorite  "female 
barbershop  quartet."  Until  1953,  that 
is.  By  this  time,  two  of  the  original 
members  had  retired  to  marriage  and 
motherhood,  but  Janet  Ertel  and  Carol 
Bushman  were  still  singing  "bass"  and 
"baritone,"  augmented  by  Lynn  Evans 
and  Margie  Needham  as  the  "tenors." 

Carol  was  married  to  Janet's  brother 
Bob,  Lynn  was  the  wife  of  an  insur- 
ance man,  and  Margie  was  about  to 
wed  Walter  Lazko,  The  Chordettes' 
musical  arranger.  But  Janet  was  no 
longer  married,  and  Archie  was  about 
to  be  divorced. 

In  November,  Bleyer  was  bounced 
from  Godfreydom,  hot  on  LaRosa's 
heels.  Things  happened  fast  in  1954: 
(Continued  on  page  73) 


A  MAN 


MIDWEST 


A- 


^jj0^^^ 


A^Hr/ 


OF  NOTE 


Gordon  Hinkleys  surrounded 
by  them — musical  ones  and 
those  written  by  fans. 
And  they  all  have  to  do 
with  his  job  as  music 
supervisor  of  Station  WTMJ 


"We  hear  and  read  a  lot,  these  days,  about  'good'  music  coming 
back.  It  never  left  our  station."  That  statement  comes  from  the 
man  who  basically  determines  what  popular  records  are  played 
on  Milwaukee's  WTMJ.  He's  Gordon  Hinkley,  Popular  Music 
Supervisor,  as  well  as  a  featured  personality  on  several  WTMJ 
and  WTMJ-TV  shows.  .  .  .  Gordon  currently  is  featured  on  four 
programs:  An  early,  early  record  show,  "Top  0'  The  Morning," 
Monday  through  Friday  from  6:30  to  9:30  A.M.,  on  which  he 
plays  what  he  calls  "lively"  morning  music  while  keeping  south- 
eastern Wisconsin  residents  up-to-date  on  weather  and  road  con- 
ditions, the  correct  time  and  other  important  information;  "Ask 
Your  Neighbor,"  a  25-minute  weekday  feature  on  which  house- 
wives— -and  an  occasional  male  listener — call  to  ask  for  solutions 
to  minor  problems  they  have  run  into.  ("I'm  probably  the  world's 
best-informed  male  when  it  comes  to  such  domestic  problems 
and  procedures,"  Gordon  comments.  "But  it  does  create  problems 
for  me — Joyce  [his  wife]  says,  if  I'm  such  an  authority  on  home- 
making,  how  come  I  don't  do  more  around  the  place?")  ;  "To- 
night—Milwaukee," WTMJ-TV's  15-minute  prelude  to  NBC's 
"Tonight"  show,  on  which  he  chats  informally  with  top  celebrities 
visiting  Milwaukee;  and  "Invitation  to  Beauty,"  an  hour-long 
classical  and  semi-classical  music  program  sponsored  by  a  fine 
suburban  restaurant.  .  .  .  Gordon  and  Joyce — high-school  sweet- 
hearts who  were  married  in  1943,  just  before  Gordon  entered 
service — live  in  a  modest  Cape  Cod  home  in  suburban  Whitefish 
Bay,  with  their  three  children   (as  seen  in  the  picture  below). 


Family  musicale:  Gordon,  wife  Joyce,  children — Jeff,  13;  Lynn,  11;  List,  8. 


67 


This  handsome  star  of  TV's  "Whiplash"  wields 

a  powerful  whip  hand  at  home,  but 

it's  made  entirely  of  love 


It's  obvious  Peter  is  always 

surrounded  by  beautiful  women  and 

he  loves  every  minute  of  it.  Said  women  are 

wife  Joan — daughters  Kelly,  11;  Claudia,  8;  Amanda,  4 


68 


. 


Peter  Graves,  tall,  blond,  good-looking  and  successful,  is  a  Hollywood  phenomenon — a  happy  actor. 
Not  only  is  he  content  with  his  job,  but  he's  a  devoted  family  man  who  shuns  the  usual  star's  social  life, 
preferring  to  spend  his  evenings  at  home  in  Pacific  Palisades.  "I've  got  no  complaints,"  he  grins 
happily.  "Why  should  I,  with  two  series  on  TV,  a  wonderful  wife  and  three  daughters?  I've  also  got 
good  friends  and  I  like  my  work.  Could  a  man  ask  for  more?"  ...  At  15,  Peter  was  already  one  of 
the  youngest  full-fledged  members  of  the  Musician's  Union.  He  played  clarinet  and  saxophone  with 
local  groups  in  Minneapolis  (where  he  was  born  "Aurness" — he's  the  brother  of  "Gunsmoke's"  Jim 
Arness!)  and  occasionally  got  a  chance  to  "sit  in"  with  visiting  big-name  bands.  At  16,  he  decided 
he  wanted  to  be  a  radio  announcer  and  talked  WNIN  into  giving  him  a  job  after  school.  Upon  grad- 
uation, he  enlisted  in  the  U.S.  Air  Force.  .  .  .  Two  years  later,  taking  advantage  of  the  G.I.  Bill  of 
Rights,  the  ambitious  Peter  enrolled  at  the  University  of  Minnesota  as  a  drama  major.  To  earn  extra 
money,  he  continued  playing  the  sax  and  radio-announcing  parttime.  He  also  fell  in  love  with  a  viva- 
cious coed,  Joan  Endress.  As  soon  as  he  collected  his  degree,  he  headed  for  Hollywood.  There  were 

times  when  Peter  slept  in  his 
car  because  he  had  no  rent 
money.  But  he  doesn't  think 
of  those  days  as  having  been 
unpleasant.  "A  bit  of  strug- 
/^\\  )t^l  *"~  """  __^g  gling  toughens  you  up,"  he 

™  '  "''•■-J™  ■  H?*SSn?*^B^^^^^^^^^^M  points  out,  "and  makes  you 

more  grateful  for  the  break 
when  it  comes."  .  .  .  Mean- 
while, Peter  was  finding  that 
the  old  adage  about  absence 
making  the  heart  grow  fond- 
er was  true.  He  sent  for  Joan 
and  they  were  married  on 
the  proverbial  shoestring.  It 
proved  to  be  the  turning 
point  for  him,  as  producer 
Frank  Melford  saw  him  in 
his  first  big  TV  role  and  cast 
him  in  "Rogue  River."  A 
number  of  important  movie 
roles  followed,  in  "Stalag 
17,"  "Beneath  the  Twelve- 
Mile  Reef,"  "Night  of  the 
Hunter,"  and  "Fort  Yuma." 
.  .  .  The  actor  was  hesitant 
about  accepting  an  offer  to 
star  in  the  Western  TV  se- 
ries, "Fury,"  because  he  felt  his  real  future  was  in  motion  pictures.  But  he  decided  that  a  family 
man  must  consider  the  present,  so  he  accepted.  TV  producer  Ben  Fox  also  had  his  eye  on  Peter  and 
moved  in  with  an  offer:  How  would  Peter  like  to  star  in  "Whiplash,"  a  story  dealing  with  the  ex- 
citing days  of  the  gold  rush  in  Australia?  .  .  .  The  thought  of  six  months'  filming  "down  under"  in- 
trigued Graves  and  he  signed  for  the  role  of  Freeman  ("Chris")  Cobb,  an  American  from  Boston 
who  founds  a  stageline  in  Australia.  .  .  .  Stateside,  the  family  lives  in  a  Spanish-style  house  in  Pa- 
cific Palisades  with  the  family  pet,  "Mandy,"  a  springer  spaniel.  Peter  keeps  his  6-foot-2  frame  lean 
and  hard  through  swimming,  surfing  and  horseback  riding,  three  of  his  favorite  sports. 


69 


<m® 


Although  Hal  Murray  loves  doing  his 
early-morning  daily  show  for  KDWB, 
he  does  admit  that  it  sometimes  gets 
a  bit  nerve-wracking.  Says  he  with  a 
grin,  "I'm  the  only  guy  I  know  who 
can  thread  the  needle  of  a  sewing 
machine  while  it's  still  in  motion!" 
Such  is  the  brand  of  humor,  thou- 
sands of  listeners  in  the  Minneapolis- 


St.  Paul  area  are  treated  to  every 
morning.  .  .  .  Hal  actually  began  his 
career  at  WATL.  One  day,  the  an- 
nouncer on  a  show  called  "Afternoon 
Swing  Session"  was  ill  and  Hal  filled 
in,  and  gave  it  all  he  had  in  the  way 
of  gags,  puns,  etc.  Soon,  the  switch- 
board was  lit  up  like  a  Broadway 
marquee  with  queries  of  "Who  is  that 


nut?"  The  nut  remained  until  he 
moved  on  to  better  things  at  various 
stations,  finally  arriving  at  KDWB. 
.  .  .  While  Hal  was  appearing  at  the 
Gallery  Circle  Theater  in  New  Or- 
leans, he  kept  looking  off-stage  at  a 
pretty  prop  manager  named  Elise 
Taylor.  She  eventually  became  Mrs. 
Murray  and  now  there  are  two  little 


70 


Hal   and   Elise   pursue    respective   hobbies    as    often   as   possible. 


( 


V* 


Hal   spends    many   hours   preparing   for   his   show. 


K 


Hal's  wife  Elise  has  to  use  ingenious  methods  to  wake  him. 


Meet  KDWB's  merry 
morning  madman,  who  spins 
his  show  jest  for  fun 


comics  in  the  family — Michael,  4, 
and  Mark,  2.  .  .  .  All  four  Murrays 
figure  ten  must  be  their  lucky  num- 
ber. Hal  was  born  on  October  10; 
Elise  on  February  10;  Michael  on 
September  10;  and  Mark  on  Novem- 
ber 10.  It's  ten  to  one,  too,  that  Hal 
Murray  will  be  regaling  his  listeners 
for  a  long  time  to  come! 


Here's  the  rest  of  the  merry  Murray  clan — Michael,  4,  Mark,  2. 


71 


Meet  the  busiest  man  on  Columbus 
TV — WTVN-TV's  Gene  Fullen, 
who  loves  every  minute  of  it 


The  Fullen  family:  Gene  and  wife  Ruth  with 
David,  10;  Sally,  12;  Brian,  1;  and  Kevin,  5. 


emm.  «iE/'     1 4     21     '£&' 
Bowling  show:  Gene  tries  keeping  up  with  ladies. 


WTVN-TV's  Gene  Fullen  is  known  around  Columbus  as  "the 
busiest  man  on  television"  but  that  is  not  quite  accurate.  Oh, 
he  does  do  an  interview  show,  "Guest  Room,"  and  a  bowling 
show,  "Spare  Time,"  and  a  quiz  show,  "Dialing  for  Dollars," 
and  guest  shots  on  shows  like  "The  Real  McCoys."  But  he  is — 
believe  it  or  not — even  busier  off  television!  For  example,  he 
raises  fruit  trees,  flies  a  plane,  takes  colored  movies,  refinishes 
furniture,  emcees  at  dance  parties  for  young  people,  plays  the 
bass  viol,  and  runs  a  small  ceramics  business.  His  ambition?  To 
retire  at  55!    Chances  are  Gene  will  be  much  too  busy  then! 


72 


(Continued  from  page  66) 
Archie  signed  The  Chordettes  for  Ca- 
dence— their  waxing  of  "Mr.  Sandman, 
Send  Me  a  Dream"  hit  the  top  of  the 
charts — and  Janet  became  Mrs.  Bleyer. 

The  Chordettes  are  still  in  harmony 
today,  though  there've  been  further 
changes.  Margie's  out  and  Ginny  Lock- 
ard's  in.  Joyce  Weston,  former  publi- 
cist for  Frankie  Avalon  and  Fabian, 
replaces  Janet  when  the  girls  go  on 
tour.  Janet  then  stays  home  to  fuss 
over  her  teen-age  daughter  and  her 
busy  recording-executive  husband.  The 
Bleyers  are  quite  content,  thank  you, 
with  their  careers  just  as  they  are. 

So  is  Marion  Marlowe,  the  statuesque 
singing  beauty  who  also  found  romance 
"behind  the  scenes."  Marion  remembers 
vividly  that  "I  started  on  the  Arthur 
Godfrey  show  on  January  9th,  1951,  at 
8:22  p.m."  She  must  recall,  equally 
clearly,  that  she  was  fired  on  April 
15th,  1955,  after  falling  in  love  with 
Larry  Puck — who'd  lost  his  job  as  pro- 
ducer of  the  Wednesday-night  show,  the 
day  their  engagement  was  announced. 

Marion's  always  expressed  gratitude 
for  her  "wonderful  years"  with  Godfrey, 
but  has  also  confessed:  "I  felt  the 
props  were  knocked  out  from  under  me 
when  I  was  fired,  but,  thanks  to  Ed 
Sullivan,  I  went  right  back  to  work 
and  I  haven't  stopped."  She's  singing 
and  acting — and  married  to  Larry. 

The  happy-ever-after  ending  seemed 
to  elude  the  real-life  Cinderella  of  the 
"Godfrey  gang" — Lu  Ann  Simms  (Lu- 
cille Ann  Ciminelli),  who  leaped  to 
fame  from  a  $33-a-week  job  behind  a 
department  store  music  counter,  when 
she  won  on  "Talent  Scouts,"  April  21st, 
1952. 

All  seemed  smooth  sailing  and  she 
kept  her  new  job,  after  marrying  her 
Prince  Charming,  Loring  Buzzell,  in 
1954.  A  year  later,  she  took  leave  of 
absence  to  have  her  baby,  Cynthia. 
Then,  before  she  could  return,  Lu  Ann 
was  notified  that  her  contract  wouldn't 
be  renewed. 

"If  I  only  knew  why!"  she  wailed, 
as  she  tried  to  pick  up  the  pieces  of  her 
career  and  care  for  her  baby,  too.  Lu 
Ann  wanted  lots  of  babies,  felt  real 
happiness  was  in  sight  when  she  be- 
came pregnant  again.  But  when  little 
Laura  was  born,  in  January,  1960,  her 
mother  was  a  widow.  Loring  had  died 
unexpectedly  of  a  heart  attack — hand- 
some, talented   and  only  32. 

Lu  Ann  continued  to  live  on  in  their 
midtown  New  York  apartment,  but  went 
back  more  often  to  her  hometown,  to 
visit  her  parents  and  many  relatives. 
She  made  new  friends  there,  too — and 
married  Casper  Stolt,  a  local  liquor 
salesman,  just  last  October. 

She  and  Casper  now  live  in  New 
York,  where  she  keeps  an  eye  on  her 
late  husband's  music  publishing  inter- 
ests. She  makes  frequent  personal 
appearances,  says  she's  happy,  and 
seemingly  bears  no  grudges  against 
fate.  "Without  Godfrey,"  she  says,  "I'd 
still  be  working  in  a  Rochester  store." 

But  the  singer  who  may  owe  Arthur 
most  of  all  is  the  one  least  likely  ever 
to  be  a  Little  Godfrey  again.  Frank 
Parker  had  once  been  one  of  the  big- 
gest and  most  romantic  male  stars  on 


radio,  but  he  was  in  his  mid-forties 
and  unemployed  when  Godfrey  gave 
him  another  chance  in  1949. 

It  proved  to  be  a  most  satisfying 
comeback,  with  TV  added  for  good 
measure.  Frank  paid  off  old  debts,  saved 
money,  revived  his  career.  Then,  in 
June,  1956,  the  inevitable  came  as  it 
must  to  all  Little  Godfreys.  His  con- 
tract wasn't  renewed. 

Frank  guested  on  other  shows,  took 
night-club  dates,  did  quite  a  bit  of  tele- 
vision— though  he  observed,  in  1958: 
"TV,  with  its  offers  of  higher  stakes 
but  threats  of  shorter  life,  has  made 
beasts  of  normally  nice  people.  I've  seen 
what  goes  on  behind  the  scenes  of  many 
big  shows,  and  it  isn't  pleasant.  .  .  . 

"I  was  one  of  the  few  who  got  along 
nicely  with  Arthur  Godfrey,  and  I  ap- 


preciate the  almost  seven  years  I  was 
with  him.  But  one  day  he'd  overwhelm 
me  with  kindness  and  the  next  day  he 
wouldn't  even  speak  to  me." 

In  1959,  Parker  moved  to  Hollywood, 
took  a  bachelor  apartment.  "I  live 
alone,"  he  explained.  "This  climate  is 
good  for  my  old  bones." 

At  this  late  date,  it  isn't  likely  Frank 
would  want  to  appear  regularly  on  a 
TV  show.  But  his  good  wishes  will  al- 
ways go  with  the  man  who  gave  him  a 
big  "second  chance"  years  ago. 

No,  Arthur  Godfrey's  former 
"Friends"  haven't  forgotten  him.  If  it's 
TV  he  wants,  they  hope  he'll  get  it. 
With  or  without  them.     — Paul  Denis 

"Arthur  Godfrey  Time"  is  heard  on 
CBS  Radio,  Mon.-Fri.,  at  9:10  a.m.  edt. 


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(Continued  from  page  29) 
her   thoughtful   and    serious   attention. 

Mrs.  Kay  Esser,  a  longtime  friend 
and  neighbor,  was  sitting  in  on  this 
particular  discussion.  "I  wouldn't  count 
Janet  out  of  the  race,"  she  laughed. 
"She  just  might  beat  these  two  oldies 
to  the  altar  .  .  ." 

Young  Janet  turned  pleased  and 
grateful  eyes  on  Mrs.  Esser.  "Well,  I've 
read  that,  in  some  places,  girls  marry 
at  a  very  early  .  .  ." 

"We've  all  heard  about  those  places," 
Sis  Lennon  interrupted,  "but  this 
isn't  one  of  them.  My  opinion,  speak- 
ing as  their  mother,  is  that  Kathy  will 
be  first.  Peg's  older,  but  I  have  a  feel- 
ing she'll  shop  around  quite  a  bit  first." 

Janet  promptly  dissented.  "I  think 
Peggy'll  be  first."  But,  when  chal- 
lenged to  give  reasons,  she  shrugged, 
"I'm  not  sure  why,  but  it  seems  to  me 
Peggy's  chances  are  better." 

"Gee,  thanks,"  retorted  Kathy,  who's 
the     most    extroverted     of    the     girls. 

"Well,"  said  Janet,  somewhat  sub- 
dued, "that's  my  opinion  and  I'll  stick 
by  it." 

As  for  the  two  most  likely  candidates 
to  go  the  route  DeeDee  did,  Kathy  and 
Peggy  are  divided  in  their  views. 
"Peggy  will  probably  take  the  big  step 
first,"  says  Kathy.  But  Peggy  advises, 
"Put  your  money  on  Kathy." 

This  goodhumored  and,  as  Bill  puts 
it,  "natural"  guessing  game  has  in  some 
way  filtered  out  beyond  the  circle  of 
family  and  friends,  and  the  Lennons 
have  received  many  letters  asking  ques- 
tions very  much  to  the  point.  In  answer, 
here  is  the  situation  as  of  now.  .  .  . 

There  is  no  one  young  man  in  the 
busy,  happy  life  of  either  Peggy  or 
Kathy.  Unlike  sister  Dianne,  whose 
heart  was  committed  to  a  neighborhood 
boy  she  began  dating  when  still  in  high 
school,  Peggy  and  Kathy  have  a  goodly 
number  of  boyfriends  whom  they  date 
as  often  as  their  work  schedules  and 
inclinations  allow. 

Bill — who,  with  sly  humor,  refers  to 
himself  as  "Father  of  the  Brood" — 
points  out  that  "the  phone  never  stops 
ringing  for  Kathy."  He  hastens  to  add, 
however,  "I'll  say  this,  though — she 
dates  so  many  different  types  that  it's 
hard  to  guess  which  type  she  really  pre- 
fers. I  doubt  if  she  herself  is  sure.  And 
that's  probably  why  she  hasn't  yet  be- 
come serious  about  any  of  them.  But, 
Kathy  has  never  led  a  boy  on.  From 
the  start,  she's  straight  from  the  shoul- 
der and  makes  it  clear  that  marriage  is 
not  one  of  her  pressing  concerns  at  the 
moment.  If  the  lad  is  willing  to  date  on 
a  friendly  basis,  and  nothing  more  com- 
plicated, why,  that's  fine  with  her.  Of 
course,  one  of  these  friendships  might 
well  develop  into  love." 

The    theory    some    members    of    the 

family  hold  with  regard  to  Peggy — that 

7       she  will  take  her  sweet  time  in  picking 

y       her  mate — is  explained  this  way  by  Sis 

r       Lennon.  "Peggy  is  the  sort  of  girl  who 

finds  a  world  of  serenity  and  happiness 

in  herself.  Sometimes  she  will  go  up  to 

74 


her  room  and  curl  up  with  a  book.  I 
may  look  in  on  her  and  ask,  'What  are 
you  doing?'  She'll  smile  and  tell  me, 
'Being  happy,  Mom.  .  .  .'  That  doesn't 
mean  she  has  no  interest  in  outdoor 
sports  and  in  dating  young  men.  On  a 
date,  she's  as  active  and  has  as  much 
fun  as  Kathy,  she's  just  not  as  gregari- 
ous. But  at  home  she  loves  to  listen  to 
classical  music,  read  or  sketch.  She  had 
some  art  courses  in  school,  and  it's  an- 
other hobby  she  enjoys." 

Peggy  and  Kathy,  and  in  a  limited 
sense  Janet,  too,  have  their  own  views 
on  the  qualities  that  for  them  would  be 
"plus"  in  a  prospective  husband.  Their 
tastes  and  opinions  on  character  seem 
to  coincide.  "He  needn't  be  wealthy  or 
even  successful,"  says  Peggy,  "but  he 
should  be  a  man  who  does  the  best 
that's  in  him  at  his  job." 

"He  must  like  children,"  muses  Janet. 

"Yes,"  chorus  her  sisters,  "and  want 
a  real  honest-to-goodness  home  life." 

"And  also,"  Kathy  points  out,  "I'd 
want  him  to  have  the  same  religion. 
That  way  it's  so  much  simpler,  and  so 
much  better  for  the  children,  because 
then  there  is  unity  in  the  home  and  few- 
er problems  develop  concerning  their 
education  and  upbringing." 

"Yes,"  adds  Peggy,  "too  often,  when 
parents  aren't  of  the  same  faith,  the 
children  become  confused  and  end  up 
with  no  religion." 

"But  he  would  have  to  be  a  man  free 
of  prejudice,"  Janet  puts  in. 

Dating  and  mating 

From  Kathy  comes  the  view  that 
"There  are  small,  casual  and  unimpor- 
tant matters  where  a  boy  and. girl  don't 
really  have  to  agree.  They're  not  big 
enough  to  upset  the  balance  and  har- 
mony of  the  family,  and  there's  lots  of 
room  for  a  little  give-and-take  on  both 
sides.  But  on  the  basic  things  in  life, 
there  should  be  unity,  for  the  sake  of 
everyone  concerned.  Otherwise,  you 
don't  really  have  enough  reason  for  get- 
ting married.  I  try  to  get  to  know  each 
individual  boy  I  date.  I  give  him  a 
chance  to  talk,  to  express  what's  in  his 
mind  and  heart.  It  takes  time  to  dis- 
cover if  he  has  the  same  basic  aims  in 
life  you  have.  I  don't  say  he  has  to  be  a 
'me-too'  type.  But  if  you  fight  about 
basic  things  before  you're  man  and 
wife,  the  chances  are  you'll  keep  on 
battling   after  marriage." 

"I  hear  some  girls  talk  about  chang- 
ing a  boy  before  they'll  say  yes,"  Peggy 
says.  "I  myself  don't  approve  of  it.  No 
girl  has  a  right  to  expect  a  young  man 
who's  been  brought  up  a  certain  way 
and  is  set  in  his  style  of  living  to  change 
just  for  her,  and  the  idea  of  reforming 
a  man  because  he  has  a  bad  trait  or 
unpleasant  habit  .  .  .  well,  I  don't  go  for 
that  much,  either.  To  me,  marriage  is 
good  when  each  party  keeps  his  or  her 
personality,  and  somehow  both  per- 
sonalities, as  they  mature,  grow  to- 
gether and  become  truly  one. 

"Dating  is  great  fun  .  .  .  and  fun  is 
the  object  of  dating,  mostly.  But  natu- 
rally, sooner  or  later,  the  talk  has  got  to 
come  around  to  conditions  in  the  world 
and  problems  of  life  in  this  period  of 
history.    For    instance,    juvenile    delin- 


quency is  in  all  the  papers  and  on  radio 
and  TV  and  it's  only  reasonable  for 
young  folks  to  discuss  it." 

"That's  how  you  lead  into  more  seri- 
ous topics,"  Janet  suggests  importantly, 
and  is  greeted  with  a  tolerant  laugh 
from  her  older  sisters. 

"She's  right,  you  know,"  says  Kathy 
after  a  pause.  "Girls  should  learn  how 
to  communicate,  not  only  with  boy- 
friends, but  their  family,  too.  There 
isn't  enough  communication  between 
people  on  dates  .  .  .  and  often  there  isn't 
much  of  it  at  home." 

"I  think  what's  happened,"  ponders 
Peggy,  "is  that  many  of  the  parents  of 
teenagers  passed  through  a  very  rough 
period.  A  lot  of  them  were  born  during 
the  first  world  war,  then  they  went 
through  a  terrible  depression,  then  an- 
other big  war — and  they  didn't  want 
their  kids  to  have  the  tough  time  they 
did.  This  is  a  wonderful  intention,  but 
what  some  of  them  forget  is  that  the 
hard  times  made  them  into  the  fine,  de- 
cent people  they  are.  A  kid  can  find 
good  values  from  the  school  of  hard 
knocks.  I'm  not  saying  parents  should 
constantly  throw  it  up  to  their  children 
that  they  are  lucky  to  have  it  so  easy. 
Teenagers  don't  like  to  be  lectured  even 
when  they  agree  with  the  ideas  behind 
the  lectures.  It  makes  them  feel  guilty 
and  hurts  their  enjoyment  of  their  own 
better  conditions." 

"On  the  other  hand,"  points  out 
Kathy,  "most  children  appreciate  things 
more  if  they  have  to  work  for  them. 
Almost  all  college  boys  I  know  want 
their  own  cars.  And  those  who  earn 
money  with  after-school  jobs  or  week- 
end work — why,  they  seem  to  get  more 
of  a  bang  out  of  their  cars  than  the  boys 
who  got  one  the  easy  way.  Which  brings 
up  another  trait  I'd  want  my  husband  to 
have — a  healthy  respect  for  money  and 
a  willingness  to  work  for  it." 

According  to  the  "mother  of  the 
brood"  (there  are  eleven  children  in  the 
immediate  Lennon  family  including 
Dianne,  a  frequent  visitor)  all  dates  are 
welcome  at  the  house  "if  they  pass  the 
first  test."  That  test,  Sis  adds  with  a 
twinkle,  is:  "Can  they  feel  relaxed  in 
the  midst  of  continual  bedlam?"  An- 
other point  in  a  lad's  favor  would  be  a 
liking  of  sports.  "We're  all  either  base- 
ball or  football  fans  or  fans  of  some 
game  where  competitiveness  is  involved. 
A  sense  of  humor  wouldn't  hurt  his 
chances,  either,  of  becoming  a  friend  of 
the  family." 

"Wouldn't  hurt!"  shrieks  Janet.  "In 
this  family,  you  must  have  a  sense  of 
humor." 

"Bill  and  I  have  no  fundamental 
objections  to  youthful  marriages,"  Sis 
explains.  "We  follow  St.  Paul's  advice 
on  that.  I  was  nineteen  and  Bill  was 
twenty-four  when  we  were  married.  But 
we  were  both  very  sure  of  what  we 
wanted — a  home,  children,  and  spend- 
ing the  rest  of  our  lives  together." 

It  is  significant  that,  though  Kathy 
and  Peggy  agree  on  the  qualities  they 
prefer  in  young  men,  they  do  not  seem 
attracted  to  the  same  boys.  "Kathy 
goes  more  for  the  Latin  type — dark 
hair  and  eyes — and,  since  she's  so 
athletic  herself,  she  likes  a  fellow  who's 
outgoing  and  athletic,"  says  Peggy. 


Their  parents  feel  that  Peggy  likes 
the  kind  of  lad  who  presents  a  chal- 
lenge in  the  intellectual  sense.  She 
likes  to  discuss  books  and  music.  And 
she's  the  first  to  ask  the  younger  Len- 
nons  if  they  need  help  with  school  work. 
But  Kathy,  as  seen  through  the  eyes 
of  her  family,  is  more  concerned  with 
the  physical  well-being  of  her  little 
brothers  and  sisters.  She  encourages 
them  in  athletics  and  would  rather  be 
out  playing  ball  with  them  than  inside 
reading  books.  Nevertheless,  she  seems 
to  have  acquired  a  solid  fund  of  in- 
formation through  her  sharp  eyes  and 
attentiveness.  A  practical  girl,  she 
makes  her  sister  Peggy  seem  almost  a 
dreamer.  And  their  contrast  is  com- 
plemented by  Janet,  who  is  the  prank- 
ster of  the  Lennons. 

Neither  of  the  girls  dates  men  in 
show  business  and,  at  this  stage,  it 
seems  unlikely  that  they'd  marry  an 
entertainer.  "About  the  only  people 
we  know  in  show  business,"  says  Kathy, 
"are  those  in  the  Welk  band.  And 
while  the  men  are  all  wonderful,  they're 
married  and  treat  us  like  kid  sisters." 

The  girls  have  no  hesitation  in  facing 
up  to  the  great  question:  What  if  they 
fell  in  love,  deeply  in  love,  with  young 
men  who  didn't  have  the  qualities  they 
stress  or  the  parallel  attitudes  they 
prefer  in  husbands? 

Says  Kathy,  "Neither  Peggy,  Janet 
nor  I  have  been  really  in  love  as  yet. 
But  to  all  of  us,  marriage  is  not  a  dress 
you  can  put  on  and  throw  away  when 
you're  tired  of  it.  Marriage  is  a  per- 
manent thing.  I  really  don't  believe  I 
could  marry  a  man  who  didn't  have  at 
least  most  of  the  qualities  I  admire." 

"I  agree,"  says  Peggy.  "I'm  sure 
love  is  a  wonderful  feeling,  but  you've 
got  to  ask  yourself,  'Once  I  put  aside 
my  emotions,  what  do  I  feel?  Do  I 
really  like  this  man,  do  I  respect  him, 
and  will  love  still  be  there  twenty-five 
years  after  the  wedding  bells  have  rung 
out?'  I  honestly  believe  it's  more  im- 
portant to  like  the  person  you  marry 
than  to  love  him — but  I  expect  to  wait 
until  I  find  a  man  for  whom  I  feel  both. 
Just  as  DeeDee  did,  Peg  and  I  plan  on 
giving  up  singing  and  becoming  home- 
makers.  We  both  want  to  build  a  good 
life  with  a  man  who's  interested  in 
building  a  good  permanent  life  for  his 
family." 

But  what  if  you  weren't  blessed  with 
children? 

"Why,"  Kathy  asserted  flatly,  "in 
that  case,  we'd  adopt  a  few." 

And  Sis,  speaking  out  of  the  acquired 
experience  and  wisdom  of  her  years 
with  Bill  and  the  rearing  of  their  happy 
family,  summed  up  with:  "Not  to  share 
your  warm,  loving  home  life  with  little 
ones  is  to  be  single  people  within  the 
state  of  matrimony.  A  place  must  be 
found  for  children  even  if  the  dollar 
comes  hard.  Take  away  the  sound  of 
children  in  the  home,  and  the  marriage 
is  like  a  fruit  that  started  out  to  grow 
nicely  but  never  ripened  because  it  was 
nipped  by  an  early  frost  .  .  ." 

— Eunice  Field 

The  Lennon  Sisters  sing  on  "The  Law- 
rence Welk  Show,"  seen  on  ABC-TV, 
Saturdays,    from    9    to    10    p.m.    edt. 


Let's  talk  frankly  about 

internal 
cleanliness 


Day  before  yesterday,  many  women  hes- 
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their  best  friends,  let  alone  to  a  doctor 
or  druggist. 

Today,  thank  goodness,  women  are 
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and  openly.  But  — even  now  — many 
women  don't  realize  what  is  involved  in 
treating  "the  delicate  zone." 

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75 


JACK    LINKLETTER 


(Continued  from  page  59) 
least  in  their  own  opinion — a  pair  of 
"real  tough  kids."  And  they  wanted,  or 
thought  they  wanted,  to  show  their 
strictly-from-Squaresville,  old-fashioned 
parents  that  they  were  big  enough  to 
make  it  on  their  own. 

"I  guess,"  says  Jack  a  bit  ruefully 
now,  "that  running  away  was  sheer 
bravado.  I  went  into  it  without  really 
thinking — or  because  the  other  guys 
at  school  had  done  it,  too.  I  wasn't 
angry  with  Dad  or  Mother;  in  fact,  I 
was  careful  to  leave  a  little  note  on 
my  pillow  telling  my  folks  not  to  worry. 
And  I  added,  'Remember,  Dad  himself 
hoboed  around  when  he  was  a  boy  and 
a  fellow  sort  of  has  to  follow  his 
father's  example.  Much  love,  Jack.' ' 

Jack  and  his  friend  took  along  a 
couple  of  sleeping  bags  and  packed 
knapsacks  with  canned  goods,  K-ra- 
tions and  a  carton  of  cigarettes.  "I  don't 
know  what  I  was  going  to  do  with  the 
cigarettes,"  Jack  laughs  now,  "but  I 
took  them  along  anyway.  I  understood 
that  was  the  thing  to  do." 

In  the  frosty  early  dawn  the  boys 
were  still  plodding  up  Highway  101, 
footsore  and  weary,  when  Jack's  dad 
and  a  couple  of  his  friends  found  them. 
Rain  had  soaked  their  T-shirts,  their 
sleeping  bags  were  clammy  and  com- 
fortless, and  cold  K-rations  were 
nothing  like  good  warm,  Mom-prepared 
breakfasts.  Secretly,  both  kids  were 
relieved  that  they  had  been  caught. 
But  Papa  Art  was  furious  with  his  son. 

"How  could  you  do  this  to  me?" 
Jack's  father  demanded.  "Suppose  we 
hadn't  found  you  and  we'd  had  to  call 
the  police?  Wouldn't  that  have  been  a 
nice  mess?" 

"Can  it  happen  to  me?" 

Today,  twenty-four-year-old  Jack 
Linkletter,  a  married  man  for  some 
years  and  father  of  a  growing  family, 
looks  back  on  that  youthful  escapade 
and  asks  himself:  "What  are  Bobbie 
and  I  going  to  do  [Bobbie  is  Jack's 
wife]  if  our  boys  Mike  and  Dennis  bust 
loose  when  they  reach  their  teens?  How 
am  I,  their  father,  going  to  feel?  Are 
they  going  to  wish,  as  I  did,  that  they 
could  shed  themselves  of  that  too-well- 
known  name  of  Linkletter?  And  can  I, 
in  handling  my  children,  make  use  of 
the  wisdom  my  father  taught  me — and 
avoid  his  mistakes?" 

Jack  Linkletter,  tall,  husky,  with  his 
father's  warm  grin  and  business 
shrewdness — a  fellow  who  had  his  own 
coast-to-coast,  nighttime  color  TV  show 
at  twenty — is  pretty  sure  he  can  profit 
by  his  own  boyish  errors.  Or,  for  that 
matter,  by  his  dad's  more  mature  mis- 
takes, the  mistakes  that  even  the  most 
loving,  considerate,  well-intentioned 
parent  can  sometimes  make. 
T  Human  beings  are  fallible,  as  Jack 

V       well    knows,    and    if    he    and    his    dad 
r       were  occasionally  at  odds,  the  fault  was 
largely    Jack's.    Father    and    son   were 
basically    affectionate    and    close — and 
76 


still  are.  "Remember,"  says  Jack,  "Dad 
never  knew  who  his  real  parents  were, 
while  we  kids  had  all  the  love  and  devo- 
tion we  needed.  And  no  one  had  more 
faith  and  confidence  in  me  than  my 
dad  did.  I'll  never  forget  the  time 
when  I  was  in  New  York  doing  my 
'Haggis  Baggis'  show,  and  Dad  wrote 
me  a  note  I'll  always  treasure.  There 
were  other  letters  from  home,  almost 
daily  letters,  but  this  is  the  one  that 
meant  so  much. 

"  T  can't  begin  to  tell  you'  (Dad 
wrote)  'how  proud  I  am  of  what  you 
have  done  so  far.  With  each  appearance 
you  are  looking  more  like  a  champion, 
and  I  can  see  the  growth  in  your  poise, 
confidence  and  authority  from  week  to 
week.  Just  keep  on  in  the  same  direc- 
tion .  .  .  and  I  won't  be  able  to  find 
much  to  complain   about.' ' 

Young  Jack  grinned  at  the  memory. 
Then  he  went  on.  "Of  course,  Dad, 
being  Dad  and  a  real  perfectionist,  had 
to  put  a  little  P.S.  on  the  note.  'I  have 
only  one  admonition,'  he  said.  'There 
were  eight  "wonderfuls"  in  your  show 
last  night.  Go  into  a  corner  and  repeat 
over  and  over  again,  at  least  twenty- 
five  times,  "I  will  not  say  'wonderful' 
again."  Then  get  a  Roget's  Thesaurus 
and  write  down  all  the  other  expres- 
sions that  are  fresher  and  more  won- 
derful to  use.  Remember,  this  is  your 
"wonderful"  old  Dad,  signing  off  to  his 
"wonderful"  boy  wonder  on  Broad- 
way.' " 

In  the  Linkletter  home,  the  relation- 
ship between  parents  and  children 
(Jack  has  a  younger  brother,  Bob,  and 
three  younger  sisters:  Dawn,  Sharon 
and  Diane)  was  a  fundamentally  sound 
relationship,  and  Jack  could  usually 
go  to  his  dad  with  his  problems.  "Even 
in  high  school,"  Jack  said,  "Dad  and 
Mother,  and  I  and  my  girlfriends,  fre- 
quently double-dated.  Since  my  mar- 
riage, we  still  do.  Now  and  then,  Dad 
even  allows  me  the  'privilege'  of  pick- 
ing up  the  tab.  We  go  cycling  or  play 
badminton;  we're  a  close-knit  family, 
and  we've  always  had  lots  of  fun  to- 
gether." 

But  Art  Linkletter  is  pushing  fifty, 
and  Jack  is  twenty-four.  The  two  have 
different  viewpoints  and  lead  different 
lives.  Jack  himself  is  the  first  to  admit, 
"We're  not  at  all  the  same,  and  we  don't 
always  think  the  same." 

Most  of  all,  as  Jack  once  said,  "There 
is  a  special  ground  for  friction  that  is 
steadily  present  between  a  Hollywood 
star  and  his  offspring  from  the  day  the 
child  is  born:  The  famous  name  itself. 
A  star's  child  wears  a  kind  of  hand- 
me-down  prestige,  and  I,  at  least,  re- 
sented it.  In  my  junior-high  days,  that 
name  'Linkletter'  became  as  unwel- 
come and  as  hurtful  to  me  as  the  name 
'Lard'  or  'Tubby'  must  be  to  an  over- 
weight kid.  My  brother  Bob,  who  is 
six  years  younger  than  I,  took  it  fairly 
calmly,  but  with  my  hot,  explosive 
temper,  I  got  into  trouble." 

From  his  own  experience,  Jack  knows 
that,  for  the  first  dozen  years  or  so,  the 
life  of  a  celebrity's  son — or  daughter — 
is  a  kind  of  magnificent  fairy  tale.  The 
youngster  is  petted,  fawned  over,  de- 
ferred to  by  older  people  who  should 
know  better,  and  often  allowed  extra- 


ordinary privileges.  Even  the  most  well- 
balanced  child  can  get  emotional  indi- 
gestion. "As  a  Hollywood  kid,"  Jack 
once  remarked,  "it  seems  to  you  that 
you  have  been  created  out  of  some  par- 
ticularly fine  clay.  Even  when  you  sit 
down  at  the  breakfast  table  and  you  see 
a  cluster  of  strange  people  staring  in 
at  you,  you  take  it  as  a  special  mark  of 
recognition  in  a  friendly  world.  And 
then,  when  you're  in  your  teens,  every- 
thing suddenly  changes,  and  you  dis- 
cover you're  strictly  on  your  own. 
That's  when  resentment  starts  taking 
over." 

Friends  close  to  Jack  are  aware  that 
he  will  do  his  utmost  to  avoid  this  pain- 
ful kind  of  awakening  for  his  kids — 
that  he  will  try  to  give  little  Mike,  3. 
Dennis,  1%,  and  the  new  baby  girl 
a  truer  sense  of  values.  Jack  and  his 
wise  Bobbie,  too,  don't  want  their  grow- 
ing youngsters  to  take  the  tough-guy 
route  to  trouble  that  so  many  celeb- 
rities' kids  take — and  that  Jack  him- 
self took,  until  he  found  the  beginnings 
of  wisdom. 

A  thundering  rumble 

At  Black-Foxe  Military  Academy, 
Jack  had  been  an  all-A  student,  though 
he  didn't  relish  the  rigid  discipline. 
But  when  he  transferred  over  to  Emer- 
son Junior  High,  he  got  in  with  a  rough, 
tough  crowd,  even  though  most  of  the 
students  came  from  the  better  types  of 
homes.  And,  as  he  says,  "My  grades 
slumped,  because  I  didn't  bother  to 
study  for  almost  two  years." 

One  time,  Jack  and  his  pals  (Jack 
probably  resented  the  close  watch  that 
was  kept  over  him)  got  into  a  real 
rumble  that  brought  out  the  law.  Late 
one  night,  the  gang  rowdily  barreled 
into  a  quiet,  residential  neighborhood, 
jumped  yelling  into  the  backyard 
swimming  pools,  overturned  furniture, 
and  kicked  up  such  an  unholy  racket 
that  the  police  were  called  and  came 
screaming  down  the  streets.  When  Jack 
finally  got  home,  long  after  curfew, 
Father  Linkletter  was  waiting — and 
with  the  police  report  in  his  hands. 

"If  your  purpose  is  to  hurt  me," 
Jack's  dad  said  solemnly,  "go  ahead 
and  do  it.  I  just  want  you  to  know  in 
your  own  mind  what  you're  doing,  and 
I  want  you  to  decide  if  that's  why  you're 
doing  it." 

That  was  when  Jack  looked  into  his 
heart  and  discovered  that  he  really  did 
not  want  to  punish  his  parents.  He 
learned  that  his  father  was  not  so 
much  worried  about  the  bad  publicity 
that  might  harm  the  Linkletter  name, 
but  about  the  kind  of  human  being 
Jack  was  becoming. 

All  this  self-discovery  took  a  while, 
and  Jack  had  to  be  moved  from  the  un- 
favorable climate  of  Emerson  into 
Beverly  Hills  High.  He  continued  to 
travel  with  some  of  the  old,  tough 
crowd,  but  his  heart  was  no  longer  in 
it.  As  he  has  said,  "I  began  to  mix 
more  with  my  classmates  at  Beverly 
Hills.  I  ended  the  year  as  president  of 
the  junior  class,  and  I  was  master  of 
ceremonies  of  our  talent  show.  My 
final  two  years  of  high  school  are 
among  the  best  years  of  my  life." 


There  were,  of  course,  certain  things 
that  he  still  didn't  like  about  his 
father's  way  of  bringing  up  the  chil- 
dren. "For  instance,"  says  Jack,  "none 
of  the  five  Linkletter  kids  was  ever 
given  a  regular  weekly  allowance. 
What  money  we  got,  we  had  to  earn. 
If  I  asked  for  a  dollar  to  take  a  girl  to 
the  movies,  Dad  would  say,  'All  right, 
wash  the  car,'  or,  'Go  clean  up  the 
garage.'  I  won't  say  Dad's  way  was 
wrong,  but  personally,  I  don't  relish 
price  tags  on  things.  My  children  will 
get  regular  allowances,  but  they'll  also 
be  taught  the  true  value  of  money." 

When  Jack  married  Barbara  Hughes, 
he  was  then  nineteen,  and  she  about 
six  months  older. 

"No,  I  don't  think  I  married  too 
young,"  Jack  said.  "Dad  and  Mother 
weren't  much  older  when  they  got  mar- 
ried. Dad  was  the  kind  of  lad,  or  so 
he  once  told  me,  who  liked  to  skip 
around  from  girl  to  girl,  while  I  was 
the  more  conservative  type.  I  always 
went  steady  with  my  girls — at  least 
for  a  couple  of  weeks.  But  when  I  met 
Bobbie  .  .  .  well,  that  was  it." 

The  two  youngsters  did  a  smart  thing. 
Bobbie  had  come  from  a  broken  home, 
and  she  had  a  great  feeling  of  in- 
security about  herself  and  marriage. 
She  had  to  be  absolutely  sure  that  her 
marriage  would  last.  That's  why  she 
and  Jack  went  together  for  a  year  and 
a  half,  and  were  formally  engaged  for 
nine  months.  Even  more,  the  young 
couple  decided  that  a  "preparation  for 
marriage"  course  would  help  them  im- 
measurably. So  they  enrolled  in,  and 
faithfully  attended,  Dr.  James  Peter- 
son's "Family  and  Marriage"  clinic 
at   U.C.L.A. 

"We  got  so  much  out  of  it,"  Jack 
chuckles,  "that  we  decided  to  have  Dr. 
Peterson  marry  us,  and  he  did.  The 
ceremony  took  place  at  Pasadena's 
Oneonta  Church.  There  were  about 
five  hundred  people  present,  including, 
of  course,  both  our  families.  I'll  never 
forget  the  moment  when  Dr.  Peterson 
came  up  to  me,  while  I  was  nervously 
pacing  the  vestry,  and  demonstrated 
that  he'd  learned  a  little  about  show 
business.  Til  tell  you  one  thing,  Jack,' 
Dr.  Peterson  smiled,  'for  this  wedding 
of  yours,  you've  pulled  a  great  house!' ' 

Today,  Jack  and  Bobbie  are  building 
a  big  new  home  in  Brentwood,  with 
four  bedrooms  alone  for  the  children 
— those  they  have,  and  those  they  ex- 
pect to  have.  "We  want  at  least  four 
kids,"  Jack  revealed,  "and  Bobbie  and 
I  have  decided  to  have  them  all  right 
away,  one  after  another — boom,  boom, 
boom.  I  want  to  have  time  with  them 
as  they  grow.  I  don't  want  them  spread 
out  too  far  apart.  That  was  the  trouble 
in  our  own  family  at  home.  Dad  and 
Mother,  probably  for  financial  reasons, 
had  their  five  kids  too  many  years 
apart.  Take  my  youngest  sister,  Diane. 
There's  almost  a  dozen  years'  difference 
between  us,  and  sometimes  I  feel  I 
hardly  know  her." 

Discipline  his  kids?  Oh,  yes,  Jack 
will  discipline  his  youngsters,  all  right. 
Little  Mike  and  Dennis,  and  the  other 
babies  to  come,  may  not  be  held  by  as 
tight  a  rein  as  Art  Linkletter  held  his 
children — but     Jack's     children     will 


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Dept 


77 


learn  to  obey.  And  if  they  don't,  their 
little  bottoms  will  feel  the  strong  hand 
of  authority. 

Fond  Mama  Bobbie  was  the  one  who 
cringed  from  spanking  little  Michael 
— at  first.  "No  spanking  for  my  chil- 
dren," she  used  to  say  to  Jack.  But  Mike 
can  be  a  handful,  as  both  young 
parents  have  discovered.  He  is  spirited, 
anything  but  docile,  and  can  be  very 
stubborn.  He  needs  a  firm  hand  and 
guidance,  and,  as  Jack  grins,  "I  think 
Bobbie  has  finally  learned  how  to 
spank." 

Yet  Jack  is  sure  that  there  is  one 
course  his  father  followed  which  he 
definitely  will  not  adhere  to.  "Parents 
tend  to  over-protect  their  kids,"  Jack 
says.  "That's  why,  I  suppose,  my 
brother  Bob  and  I  were  sent  to  private 
schools.  We  hated  it.  But  my  children 
— I  hope — will  all  go  to  public  schools. 
I  don't  want  them  to  have  a  hot-house 
life.  They'll  mix  with  all  kinds.  Chil- 
dren, during  their  vital  formative  years, 
should  get  their  opinions  right  from 
life,  first-hand,  not  second-hand.  They 
should  be  exposed  to  both  pain  and 
pleasure,  not  wrapped  in  cotton-wool." 

No,  Jack  doesn't  mind  his  young- 
sters following  his  footsteps — and  their 
grandfather's — into  show  business.  That 
is,  if  they  want  to.  Little  Mike  has 
already  racked  up  a  long  list  of  credits 
for  appearances  with  both  Jack  and 
Art.  "Really,"  says  Jack,  "I  can't 
think  of  a  better  arrangement  than  for 
a  son  to  follow  in  his  father's  path  in 


any  business.  After  all,  he  becomes 
accustomed  to  it  and  schooled  in  it 
very  early.  A  carpenter's  son  should 
know  more  about  building  shelves  and 
cabinets  than  a  fellow  who  doesn't 
study  carpentry  until  he's  grown." 

Still,  Bobbie  Linkletter  doesn't  seem 
quite  so  enthusiastic  about  an  enter- 
tainment career  for  little  Michael. 
"Look,  Jack,"  she  keeps  telling  her 
husband,  "let's  not  railroad  our  son 
into  show  business." 

Jack  definitely  will  not.  He  knows 
that  professionally  it  was  all  too  easy 
for  someone  like  himself  to  get  a  start 
in  TV;  after  all,  he  was  Art  Link- 
letter's  son.  But  he  knows,  too,  that 
sometimes  the  carefree,  happy  years 
of  the  mid-teens  get  squeezed  out  or 
lost — and  he  is  not  going  to  let  any- 
thing like  this  happen  to  his  children. 
They'll  be  guided  and  counseled,  and 
they'll  learn  both  from  their  father's 
mistakes — and  their  grandfather's. 

"I  think,"  said  Jack,  "it's  the  in- 
security of  show  business  that  dis- 
turbs Bobbie.  True  enough,  you  make 
good  money  while  you're  working.  But 
when  you're  not  working,  that  money 
has  to  stretch.  I've  had  several  shows 
canceled  out  from  under  me,  and  I 
know  how  it  feels.  I've  got  a  big  house 
with   big   payments." 

Canny  Jack,  however,  has  little  real 
need  to  worry.  He  has  just  built,  with 
an  associate,  a  big  apartment  house  in 
Santa  Monica;  he  has  interests  in  a 
chain  of  children's  dance  schools  and 


in  an  entertainment  packaging  com- 
pany which  handles  and  produces  fairs 
and  civic  events.  He  is  also  a  principal 
member  of  an  insurance  agency  and  is 
an  investor  and  developer  of  tract  homes 
in  San  Diego.  But  probably  the  most 
interesting  of  his  extensive  outside 
activities  is  his  position  as  administra- 
tor of  his  father's  far-flung  enterprises. 

"That  dad  of  mine  is  a  real  charac- 
ter," Jack  laughs.  "Why,  he  has  oil 
wells  and  real  estate  he's  never  even 
seen.  And  what  he  does  to  his  check 
book!  He  never  enters  the  amounts  in 
his  stubs.  When  I  call  him  on  it,  and 
I  do,  he  says,  'Now,  Jack,  if  I'm  over- 
drawn, the  bank  will  tell  me  about  it.' 
That's  my  Dad.  He  revels  in  wheeling 
and  dealing,  but  hates  details.  I  love 
them." 

If  Jack  had  his  childhood  to  live 
over  again,  he  might — just  might — live 
it  differently.  But  Art  Linkletter  gave 
family  life  a  warm  meaning,  a  close- 
ness that  Jack  and  his  brother  and 
sisters  will  always  treasure.  And  Jack 
is  not  really  too  concerned  about  any 
little  mistakes  his  dad  may  have  made. 
Art  Linkletter,  basically,  did  a  grand 
job  with  his  son,  and  that  is  the  lesson 
Jack  will  carry  with  him,  always. 

— Favius  Friedman 

Jack  Linkletter  hosts  "Here's  Holly- 
wood" over  NBC-TV,  M.-F.,  4:30  p.m. 
Art  Linkletter's  "House  Party" — also 
M.-F.— is  on  CBS-TV  at  2:30  p.m.,  on 
CBS  Radio  at  10:10  a.m.    (All  edt.) 


mini iiiiiuiiiMiujii 


EDDIE    FISHER 


iiiiiiiiiiiiiimiiiiinmiiKn 


(Continued  from  page  25) 
"If  I  ever  needed  you,"  he  sang,  "I 
need  you  now."  The  young  man  spread 
his  hands  in  a  gesture  of  appeal.  The 
women  in  the  studio  audience  rose, 
shouting  and  crying,  in  answer  to  his 
pleas.  Millions  of  housewives,  watching 
on  television,  turned  to  their  husbands, 
remarking  how  much  they  liked  that 
nice  boy.  And  one  woman,  in  particular, 
thought  she'd  never  forget  him.  .  .  . 

The  "nice  boy"  with  the  easy  bari- 
tone ballad  was  young  Eddie  Fisher, 
and  the  year  was  1954.  At  twenty-four, 
he  was  a  phenomenal  success.  Four  of 
his  records  had  passed  the  million 
mark,  and  his  personal  appearances 
were  sold  out  as  soon  as  they  were  an- 
nounced. Eddie  had  come  a  long  way 
in  a  short  time. 

The  Woman  knew  all  about  that. 
The  early  poverty  in  Philadelphia  .  .  . 
the  first  tries  for  a  career  .  .  .  the  night 
at  Grossinger's  when  Eddie  Cantor  dis- 
covered him  .  .  .  the  big  night  at  The 
Riviera  night  club  when,  filling  in  at 
the  last  minute,  young  Fisher  proved 
that  Cantor  had  been  right.  He  was 
"going  places."  She  knew,  too,  of  the 
day  in  1951  when  Eddie  Fisher  opened 

T       his   mail   and    found,    among    the    fan 

v       letters,  a  notice  of  a  very  different  sort. 

r  For  the  next  two  years,  he  was  booked 
solid  with  the  U.S.  Army.  He  was  head- 
lined as  soloist  with  the  Army  band, 

78 


singing  at  recruiting  rallies,  and  enter- 
taining the  troops  in  Europe,  Japan 
and  Korea.  Private  Fisher's  vocal  apti- 
tudes made  a  lot  of  girls  forget  briefly 
that  they  were  lonely  and  their  men 
were  far  from  home.  The  men  them- 
selves remembered  the  shy  kid  who  kept 
smiling  and  singing  in  spite  of  his 
tedious  journeys  and  impossible  sched- 
ules. 

When  Eddie  came  home  in  1953,  his 
fans  clamored  for  more  records,  and 
TV  and  radio  networks  begged  for  his 
services.  Less  than  a  month  after  he 
left  the  Army,  Eddie  faced  the  cameras 
and  mikes  with  a  bottle  of  Coke  in  his 
hand.  He  looked  sort  of  nice  and  shy, 
a  skinny  kid  with  dark  eyes  and  a 
friendly  smile.  He  wasn't  a  brilliant 
conversationalist  or  a  great  comedian. 
He  didn't  have  to  be. 

He  simply  sang  the  ballad-type  songs 
he  liked,  and  the  whole  country  heard 
and  saw  in  him  the  things  they  liked 
best.  His  style  and  material  were  in- 
offensive— no  gimmicks  or  fads — a 
straightforward  style  and  a  fine  bari- 
tone. And  everyone  listened,  and 
bought  records  and  Coca-Cola.  Eddie 
had  the  universal  appeal.  Teen-aged 
girls  liked  Eddie.  Obviously.  He  was 
both  good-looking  and  shy,  the  kind  of 
fellow  who  would  hold  a  girl's  hand  and 
say  something  romantic  .  .  .  and  maybe 
blush.  They  dreamed  of  marrying  him, 
or  someone  like  him. 

And  teen-aged  boys  liked  Eddie,  who 
was  like  a  teenager  himself — one  of 
the  gang.  He  looked  just  a  tiny  bit 
puny,  as  if  you  could  beat  him  up  if 


he  made  a  play  for  someone's  girl.  He 
looked  a  bit  timid,  too,  as  if  he  needed 
friends. 

Young  wives  liked  Eddie.  They  could 
imagine  being  married  to  him  ...  or 
he  could  easily  be  a  kid  brother,  or 
the  type  of  a  man  "our  Junior"  will 
some  day  be.  And  young  husbands 
liked  him  because  he  was  not  pretty- 
boy  handsome  .  .  .  and  because  he  had 
had  a  real  struggle  to  become  a  suc- 
cess, such  as  they  themselves  were 
having.  Moreover,  Eddie  was  a  soldier 
who  had  done  his  bit. 

Older  people  liked  him.  He  might 
have  been  their  own  son.  A  nice 
religious  boy  who  respected  his  parents. 
Excellent  manners,  and  a  clean-cut 
appearance.  The  kind  of  boy  they'd 
want  their  daughter  to  marry. 

And  the  Woman  thought  about  him 
often,  glad  for  his  success. 

Eddie  Fisher  was  the  ail-American 
boy  .  .  .  rags  to  riches  .  . .  Horatio  Alger 
.  .  .  "Mr.  Cinderella."  By  the  time  he 
was  twenty-four,  Eddie  had  rocketed 
to  heights  that  few  performers  reach 
after  an  entire  lifetime 

What  more  could  a  fellow  want? 

Well,  a  fellow  needs  a  girl,  and  the 
press  was  hot  for  Eddie  to  find  romance. 
They  linked  him  with  one  starlet  after 
another  .  .  .  until  he  happened  to  meet 
Miss  Debbie  Reynolds,  a  national  idol 
in  her  own  right.  In  the  following  year. 
their  friendship  was  the  talk  of  Any- 
town,  U.S.A.  He  loves  her,  loves  her 
not  .  .  .  when  would  they  marry  .  .  . 
why  such  a  long  engagement?  Only  the 
two  of  them  know  the  truth  about  when, 


if  ever,  they  actually  did  fall  in  love. 

Perhaps  the  publicity  confused  them 
...  or  maybe,  like  many  other  young 
people,  they  were  in  love  with  love. 
There  is  no  doubt,  however,  that  this 
was  a  dream-come-true  for  their  fans. 
Eddie  Fisher,  all-American  boy,  won 
and  married  Debbie  Reynolds,  the  girl- 
next-door. 

The  next  thing  on  the  fellow's  agenda 
was  the  vine-covered  mansion  and  the 
patter  of  little  feet.  Reporters  flocked 
to  see  how  many  ways  Debbie  could 
make  hamburger.  All  seemed  blissful. 
Eddie  defended  his  prenuptial  hesita- 
tion by  insisting  that  he  had  to  be  sure 
the  marriage  would  last  forever. 

In  1956,  Mr.  Fisher  became  the 
father  of  a  baby  girl  .  .  .  and  Carrie 
Francis  was  the  apple  of  his  eye.  He 
doted  on  his  daughter,  and  thousands 
of  pictures  were  printed  of  the  happy 
Fisher  threesome.  But,  even  then,  there 
were  hints  of  trouble  to  come.  No  one 
can  verify  the  stories,  but  it  was  said 
that  all  was  not  well  .  .  .  that  Debbie 
was  tight-fisted  and  Eddie  a  spendthrift. 
(What  could  be  more  natural  for  a 
boy  who  had  never  known  how  it  felt 
to  have  a  few  bucks  in  his  pocket?) 

They  said  that  Eddie  spent  lots  of 
time  carousing  with  the  boys,  but 
Debbie  didn't  get  along  with  his  friends 
.  .  .  and  men  usually  will  not  stay  away 
if  things  are  peachy  at  home.  People 
said  he  was  jealous  of  his  wife's  suc- 
cess with  her  record  of  "Tammy"  and 
her  popularity  in  the  movies.  They  said 
Eddie  was  growing  stale.  (If  jealousy 
was  a  factor,  why  would  Eddie  turn  to 
a  more  glamorous  and  popular  woman 
than  Debbie?) 

But  the  marriage  continued,  and 
Debbie  gave  birth  to  a  son  they  named 
"Todd,"  after  Eddie's  dearest  friend, 
Mike  Todd,  who  was  married  to  Eliza- 
beth Taylor.  Eddie  was  twenty-eight. 
He  had  fame,  fortune,  friends,  a  pretty 
wife  and  two  fine  youngsters. 

Then  Eddie  shocked  the  world  by 
throwing  away  everything  he  had 
worked  for,  to  chase  Elizabeth  Taylor. 
The  lovely  actress  was  mourning  the 
death  of  the  fabulous  Mike  Todd  .  .  . 
since  Eddie  had  been  his  bosom  friend, 
it  was  natural  that,  when  Eddie  went 
to  New  York  on  business,  he  would  call 
on  Liz  and  try  to  cheer  her  up.  They 
dined  together  .  .  .  and  the  whispers 
started  immediately.  Was  it  a  love 
affair?  What  was  going  on? 

Fisher  denied  the  gossip  and  returned 
to  his  wife.  Whether  Debbie  accused 
him  of  infidelity,  or  whether  she  be- 
lieved in  his  innocence  at  that  point, 
no  one  knows  but  the  two  of  them. 
Eddie  Fisher  swore  he  didn't  love 
Elizabeth — that  he  had  no  intention  of 
seeking  a  divorce.  Why  he  left,  no  one 
can  really  say.  Was  it  the  result  of  the 
previous  troubles,  as  Eddie  said?  Did 
he  fall  in  love  with  Miss  Taylor  only 
after  his  own  marriage  was  on  the 
rocks?  Whatever  their  relationship  had 
been,  Eddie  had  always  been  respected 
as  a  wonderful  and  loving  father.  He 
hated  to  leave  his  two  children. 

Eddie  also  deserves  credit  for  his 
behavior  between  the  parting  and  the 
divorce.  The  scandalous  gossip  of  the 
"triangle"  fell  upon  his  shoulders,  and 


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he  bore  it  like  a  gentleman.  Eddie 
accepted  all  the  blame,  and  with  quiet 
dignity.  Perhaps  the  union  could  never 
work  because  of  the  differences  in  the 
two  partners.  But  Eddie  publicly  said 
it  was  his  fault,  that  Debbie  had  tried 
and  he  had  failed. 

The  love  that  failed 

He  had  failed  to  learn  how  to  love 
his  wife.  (Can  one  learn  to  love?)  So 
Eddie  played  the  role  of  villain.  And, 
through  it  all,  Debbie  was  brave  and 
truly  acted  like  a  little  lady  by  not  in- 
volving Liz  in  the  divorce  proceedings. 
And  Eddie  lost  his  kingdom.  His 
record  sales  fell,  his  name  was  ruined, 
his  sponsors  dropped  his  TV  show, 
and  his  network  tried  to  squirm  out  of 
the  remainder  of  his  fifteen-year  con- 
tract. He  gave  Debbie  most  of  his 
savings  and  properties.  Everything  was 
gone.  He  felt  the  damage  to  his  career, 
but  the  deepest  pain  of  all  was  the 
separation  from  little  Carrie  and  Todd. 
He  had  thrown  it  all  away. 

He  had  also  thrown  away  the  respect 
of  the  Woman  who  would  be  most  im- 
portant in  his  future.  Shocked,  hurt, 
disappointed  .  .  .  not  wanting  to  believe 
.  .  .  she  turned  away.  Her  "nice  boy" 
had  become  someone  she  did  not  want 
to   know. 

All  this  he  threw  away  .  .  .  for  Liz? 
For  love.  Eddie  said  that  he  found  love 
for  the  first  time  in  his  life.  Where 
Debbie  had  been  an  efficient  little 
manager  and  a  dutiful  wife,  Eddie 
found  strange  and  exciting  qualities  in 
Liz.  Liz  needed  him  like  a  woman  ought 
to — has  to — need  her  man.  They  were 
married  in  Las  Vegas  after  Fisher  was 
granted  a  quickie  divorce.  "This  mar- 
riage will  be  for  the  rest  of  our  lives," 
said  Eddie.  He  said  it  sincerely,  and 
hopefully.  Liz  said  so,  too. 

Eddie  started  producing,  and  bought 
his  own  recording  company.  He  began 
managing  his  wife's  career,  which  had 
not  been  affected  by  the  gossip — except 
possibly  to  increase  her  allure  at  the 
box  office.  Earlier  in  his  career,  Eddie 
Fisher  had  played  a  command  per- 
formance for  England's  Queen  Eliza- 
beth. Now  he  was  at  the  command  of 
America's  queen  Liz.  She  insisted  that 
Eddie  appear  with  her  in  "Butterfield 
8."  And  so  Eddie  studied  acting  with 
Stella  Adler,  the  New  York  drama 
coach.  It  didn't  help  much.  Liz  got  an 
Academy  Award  for  her  portrayal,  and 
her  husband  was  named  "Worst  Actor 
of  the  Year"  by  the  Harvard  humor 
magazine,  The  Lampoon. 

For  the  most  part,  Eddie's  singing 
career  fell  by  the  wayside,  in  favor  of 
Miss  Taylor's  enterprises.  Eddie  Fisher 
decided  to  assist  in  producing  "Cleo- 
patra" and  his  major  job — for  which 
he  received  a  handsome  salary — was 
simply  to  keep  his  wife  happy.  She  was 
preparing  her  role  when  she  suddenly 
fell  ill  ...  a  grueling  climax  to  the 
many  bouts  both  the  Fishers  had  had 
with  sickness  in  their  brief  marriage. 

T  Eddie  lost  some  thirty  pounds  with 

V       the  worry  and  watching  at  her  bedside. 

r  Nevertheless,  he  refused  to  leave,  or  to 
give  up.  He  wouldn't  let  her  die.  Not 
the  woman  he  loved!  As  Liz  fought  for 

80 


her  life,  Eddie  fought,  too.  He  asked 
the  world  to  join  him  as  he  prayed  by 
her  deathbed.  .  .  . 

He  continued  to  pray  with  all  his 
heart  .  .  .  and  the  prayers  were 
answered.  The  crisis  passed.  The  lovely 
Miss  Taylor  regained  her  health.  Dur- 
ing her  convalescence,  Eddie  took  her 
to  sunny  Tesorts  where  he  tried  to  revive 
his  night-club  career.  The  public  saw 
that  his  adoration  went  far  deeper  than 
the  voluptuous  Taylor  body  and  face. 

And  the  Woman,  who  had  rejected 
him,  began  to  see  the  good  in  this  boy 
again.  Still,  when  he  made  his  first 
new  recording  in  a  long  time,  she 
didn't  buy  it. 

But  a  return  to  work  could  not  re- 
place the  emptiness  Eddie  felt  without 
his  children.  The  Fishers  learned  that 
Liz  could  never  have  another  child. 
Debbie's  little  ones  would  see  their  own 
father  very  infrequently,  and  they 
would  grow  up  under  the  guidance  of 
Debbie's  new  husband  and  regard  him 
as  a  father.  Liz  had  three  children  .  .  . 
two  boys  from  her  second  marriage,  to 
Michael  Wilding,  and  Mike  Todd's 
daughter.  Eddie  loved  all  the  children 
...  if  he  could,  he  would  have  adopted 
all  three  of  them.  Instead,  he  was  only 
allowed  to  become  the  daughter's  legal 
parent.  The  adoption  was  arranged, 
and  the  little  girl  was  named  Liza  Todd- 
Fisher. 

Eddie  still  desired  a  larger  family; 
he  was  one  of  seven  children  himself. 
And  he  had  a  heartful  of  love  to  share. 
Liz  made  plans  to  adopt  another  child. 
Fisher  knew  he  would  be  accepting  a 
great  deal  of  responsibility.  Liz  was 
always  so  busy.  She  needed  time  to 
relax  in  her  room,  to  rest  upon  her 
feathery  pillows.  She  would  play  with 
the  children  for  a  while — no  one 
doubted  that  she  loved  them — but  the 
majority  of  the  attention  had  to  be 
left  to  nursemaids  and  to  Eddie.  Still, 
he  wanted  a  large  family  to  love.  .  .  . 

And  now  Eddie  Fisher,  the  man  who 
had  everything,  will  have  nothing.  Liz 
Taylor  will  divorce  him.  There  is  not 
as  much  wealth  as  one  might  suppose, 
for  the  Fishers  have  lived  like  royalty 
and  traveled  in  the  greatest  style  im- 
aginable. Liz's  illness  cost  a  small 
fortune.  But  far  worse  than  such  losses 
is  the  extreme  humiliation  Eddie  Fisher 
has  suffered  in  the  eyes  of  the  world. 

Perhaps  you  feel  that  he  deserves 
this  treatment  .  .  .  that  he  dropped 
Debbie  and  is  justly  punished  by  having 
Liz  jilt  him.  But  he  never  treated 
Debbie  with  anything  but  the  greatest 
consideration.  He  took  care  to  consult 
her,  and  to  make  mutual  agreements 
upon  the  stories  they  would  give  to  the 
press.  There  was  no  shock  or  embar- 
rassment. 

Eddie  doesn't  seem  to  have  had  the 
vaguest  knowledge  that  Liz  had  grown 
tired  of  him  and  wanted  new  romances 
and  conquests.  Despite  all  the  rumors 
about  Richard  Burton,  her  co-star  in 
the  filming  of  "Cleopatra,"  Eddie 
denied  the  stories  vehemently  while 
still  in  Rome. 

When  Eddie  arrived  in  New  York 
City,  he  still  denied  that  Liz  and  Burton 
were  carrying  on.  Fighting  the  divorce 
rumors,   he   stayed   briefly   in   a   local 


hospital.  Finally,  he  was  ready  to  face 
the  newsmen  and  columnists.  "There 
will  be  no  divorce  between — "  In  mid- 
sentence,  the  phone  call  came  from  Liz 
in  Rome;  she  would  not  confirm  his 
statement. 

Mr.  Fisher  looked  very  foolish  in- 
deed. His  wife  would  have  been  far 
kinder  to  have  saved  him  the  shame  of 
being  the  last  to  know.  Instead,  she 
waited  till  he  had  left  the  country,  to 
drop  him  and  make  a  fool  of  him.  As 
one  journalist  remarked,  "Liz  tossed 
him  away  like  a  squeezed  lemon." 

Far  worse  for  Eddie  than  the  loss  of 
the  raven-haired  Liz  is  the  certain 
estrangement  from  the  four  children. 
He  loved  Wilding's  sons,  Todd's  child 
and  Liz's  newly  adopted  one  as  if  they 
were  his  very  own.  He  had  suffered  so 
much  with  the  parting  from  his  own  two 
.  .  .  when  he  said  goodbye  to  Carrie 
and  Todd  the  last  time  he  was  per- 
mitted to  see  them,  the  pain  in  his  heart 
was  mirrored  by  the  sorrow  in  his  eyes. 
He  watched  them  go  and  stood  silently 
for  a  long  time  .  .  .  then  took  a  deep 
breath  and  turned  back  to  Liz. 

Now  Liz  has  turned  Eddie  away. 

Now  it's  up  to  the  Woman 

Twice,  Eddie  Fisher  had  the  world 
in  his  hands.  And  twice  he  lost  it!  He 
stands  now  with  empty  hands  before 
the  one  woman  who  can  help  him. 

Or  is  he  beyond  help?  Is  Eddie 
washed  up,  at  thirty-three?  He  has 
changed  a  good  deal,  from  the  "nice 
boy"  we  used  to  know.  Eddie  no  longer 
looks  shy  and  innocent.  The  burden  of 
his  sorrow  and  his  rich  living  are  dis- 
cernible in  his  once-boyish  face.  He  is 
no  longer  the  guileless  kid  from  Philly. 
Or  the  guiltless  kid,  for  that  matter. 

He  has  been  punished.  The  question 
is:  Has  he  suffered  enough?  Has  he 
been  punished  enough? 

The  editors  of  this  magazine  ask  you 
— for  you  are  the  Woman  who  has  the 
power  to  help  Eddie  now.  You — and 
the  many  others  like  you  who  once 
loved  him  and  then,  in  anger,  turned 
from  him.  We  ask  you  to  tell  us  what 
you  think  now.  Does  Eddie  Fisher 
deserve  another  chance  to  prove  his 
talent?  Only  you  can  give  him  that 
chance.  We  will  send  your  ballots  to 
the  TV  networks  and  producers.  We 
will  tell  them  how  the  public  feels  today 
about  its  fallen  idol. 

How  do  you  feel  about  him?  Do  you 
think  it's  time  to  give  him  another 
chance?  — Lynn  Jackson 


HOW  DO  YOU  VOTE? 

Does  Eddie  Fisher  deserve  another 
chance?  Check  one  square  to  ex- 
press your  own  opinion,  then  clip  out 
this  box  and  mail  to:  Eddie  Fisher 
Ballots,  TV  Radio  Mirror,  P.O. 
Box  1937,  Grand  Central  Station, 
New  York    17,   New  York. 


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81 


82 


IHMIIiilllllllllHIIIIIIIMKIIIilMIIIII MMIIIIIIUIIIIIIIMIII 1 illlmil nil 


RICHARD  CHAMBERLAIN 


(Continued  from  page  27) 
laugh.  And  the  more  he  read,  the  more 
he  laughed.  Nobody,  he  decided,  could 
be  as  ridiculous  as  the  actor  in  that 
article. 

The  story  was  about  Dick  Chamber- 
lain. 

When  Dick  had  finished  the  article, 
his  first  reaction  was  to  wonder  why 
the  author  hadn't  bothered  to  talk  to 
him  before  writing  it. 

His  second  reaction  was  to  go  back 
through  the  piece  and  pick  out  the 
worst  mistakes.  There  were  so  many 
that  it  became  almost  a  game — a  very 
high-scoring  game!  But  finally  he  nar- 
rowed it  down  to  what  he  laughingly 
thought  of  as  The  Seven  Deadly  Errors. 

1.  "As  a  child,  Dick  was  so  pain- 
fully shy  that  he  always  kept  to  him- 
self. He  was  a  real  loner." 

2.  "He  didn't  get  along  with  the  other 
boys,  because  he  was  awkward  and 
sickly." 

3.  "He  never  dated  during  his  school 
years — didn't  have  the  nerve!" 

4.  "He  was  so  studious  that  the  other 
kids  called  him  a  grind." 

5.  "Even  today  his  shyness  still 
plagues  him;  he  paints  in  his  spare 
time — to  get  away  from  people." 

6.  "He's  ill-at-ease  being  a  celebrity 
and  wishes  he  were  still  unknown  to 
the  public." 

7.  "Although  he  stars  on  a  weekly 
television  show,  he  lacks  confidence  in 
his  ability  and  is  very  much  afraid  of 
the  future." 

It  wasn't  all  lies.  It  was  something 
much  more  dangerous — a  collection  of 
half-truths,  false  guesses  and  bits  of 
phony  psychoanalysis  that  added  up  to 
a  completely  distorted  portrait. 

And  yet,  he  suddenly  realized,  if 
each  of  the  errors  were  straightened 
out  in  turn,  the  result  would  be  a 
fairly  complete  mosaic  of  the  real  Dick 
Chamberlain — a  guy  he'd  gotten  to 
know  pretty  well  during  the  past 
quarter-century  or  so. 

He  thought  about  that  first  state- 
ment: "Painfully  shy  child  ...  a  real 
loner."  It  was  true  that  he  had  been 
shy  in  school.  Both  at  Beverly  Vista 
Grammar  School  and  in  Beverly  Hills 
High  School,  he'd  been  known  as  a 
person  who  never  had  too  much  to  say. 

But  it  certainly  hadn't  made  him  a 
"loner"!  There'd  been  six  or  seven 
guys  who'd  gone  all  through  school 
with  him  from  about  the  fourth  grade 
on,  all  good  friends  of  his.  And  when 
they'd  reached  dating  age,  an  equal 
number  of  girls  had  joined  the  group. 

Of  course,  there  had  been  the  braces. 
.  .  .  those  ugly,  prominent,  awkward 
braces  he'd  had  on  his  teeth  for  a  few 
years  during  school.  How  he'd  hated 
them — and  tried  to  keep  his  mouth  shut 
as  much  as  possible. 

But  it  was  true — he  never  did  have 
much  to  say.  However,  in  school  that 
can  be  an  asset;  kids  tend  to  resent 
anyone  who  comes  on  too  strong.  It 
had  helped  get  him  elected  a  class 
officer,  as  well  as  (in  his  senior  year) 


"Most  Sophisticated,"  "Most  Courte- 
ous" and  "Most  Reserved." 

He'd  also  been  chosen  "Best  Phy- 
sique"— which  pretty  well  took  care  of 
the  second  claim,  that  he  was  "awkward 
and  sickly"  in  school.  He'd  gotten  that 
physique  by  swimming,  riding — and 
by  running  on  the  school  track  team. 
Some  of  his  best  friends  were  the  other 
boys  on  the  team.  Later  on,  at  Pomona 
College,  he'd  starred  on  the  college 
track  team,  too. 

Number  Three :  "He  never  dated  dur- 
ing his  school  years — didn't  have  the 
nerve!" 

"I  wish  the  three  girls  I  went  steady 
with  in  high  school  had  known  that," 
he  thought. 

There  had  been  difficulties,  though, 
and  embarrassments.  One  was  the  fact 
that  he  didn't  have  his  own  car,  which 
forced  him  to  double-date  or  have  his 
father  drive. 

A  blow  to  his  pride 

And  there  had  been  the  time  he  was 
invited  up  to  a  girl's  house  at  Arrow- 
head for  a  week,  along  with  another 
couple.  That  was  a  week  he  preferred 
to  forget. 

Everything  had  gone  fine  for  the 
first  days.  But  one  night  his  girl's 
parents  had  gone  to  a  party  for  the 
evening.  Dick  and  the  girl — her  name 
was  Anne — were  sitting  near  the  fire 
with  the  other  couple,  feeling  pretty 
romantic,  when  the  doorbell  rang.  It 
was  Anne's  ex-boyfriend,  and  for  over 
an  hour  Dick  had  to  sit  quietly  while 
the  boy,  who  was  older,  dominated  the 
conversation  and  made  a  play  for 
Anne.  To  top  things  off,  Anne  and  the 
boy  went  for  a  ride  around  the  lake, 
leaving  Dick  without  a  girl.  They 
didn't  come  back  for  hours.  The  next 
morning,  Dick  took  a  bus  back  to  town. 

But  even  that  hadn't  really  discour- 
aged him,  and  by  the  following  fall 
he  was  back  in  the  dating  swing  again. 

Error  Number  Four  was  really  a 
whopper:  "He  was  so  studious  that  the 
other  kids  called  him  a  grind." 

As  a  matter  of  fact,  this  might  have 
been  the  cause  of  his  shyness — not  that 
he  was  a  grind,  but  that  he  did  rather 
poorly  in  school.  He  was  afraid  some- 
times that  the  other  students  would 
laugh  at  his  disinterest,  so  he  tended 
not  to  say  too  much  if  he  could  avoid  it. 

It  wasn't  that  he  was  stupid;  he  just 
wasn't  very  interested  in  school.  And 
it  showed  up  in  his  marks.  In  fact,  he 
could  trace  the  crowning  embarrass- 
ment of  his  school  years  to  his  poor 
marks :  When  he  was  in  the  third  grade, 
his  entire  class  skipped  ahead  a  half- 
year  when  the  school  changed  its  grade 
system.  All  except  Dick.  He  was  put 
back  a  half-year.  It  was  like  flunking, 
and  the  insult  rankled  for  a  long  time. 
Fortunately,  a  patient  and  understand- 
ing teacher  named  Florence  Mont- 
gomery had  then  entered  the  picture, 
and  with  her  help — particularly  in  in- 
creasing his  reading  speed — Dick's 
studies  were  no  longer  a  problem. 

But  not  until  he  entered  Pomona  Col- 
lege did  Dick  really  become  interested 
in  school.  That  was  when  he  discovered 
acting.  For  the  first  time,  his  interest 


was  seized  and  held,  and  the  change 
was  remarkable.  Suddenly,  there  wasn't 
enough  time  in  the  day  to  learn  all  he 
wanted  to  about  acting,  and  with  de- 
light he  lost  himself  in  preparations 
for  a  whole  series  of  school  plays. 

But  in  losing  himself,  he  had  found 
himself  at  last.  This,  he  suddenly  knew, 
was  the  way  he  wanted  to  spend  his 
life.  After  college,  a  two-year  interval 
serving  in  the  peacetime  Army  in  Korea 
seemed  almost  interminable  because  it 
kept  him  away  from  acting,  and  as  soon 
as  he  was  back  in  Los  Angeles  as  a 
civilian,  he  began  to  search  for  work 
in  TV  and  movies.  Now  he  was  some- 
thing of  a  "grind."  As  a  year  and  a 
half  went  by,  during  which  he  lived 
frugally  on  the  skimpy  income  from 
occasional  television  roles,  much  of  his 
money  went  into  dramatic  lessons  with 
Jeff  Corey  and  singing  lessons  with 
Caroline   Trojanowski. 

Dick  looked  at  Error  Number  Five: 
"His  shyness  still  plagues  him;  he 
paints — to  get  away  from  people." 

But  that  was  the  amazing  thing.  Al- 
though his  shyness  had  never  really  left 
him,  he'd  somehow  discovered  the  abil- 
ity to  turn  it  from  a  handicap  into 
an  asset.  It  certainly  didn't  "plague" 
him.  In  high  school  and  college,  ap- 
parently, the  other  students  had  actu- 
ally found  his  reserve  appealing  and 
easy  to  take.  And  it  had  proved  to  be 
of  real  benefit  in  his  career.  For  shy- 
ness, he  had  discovered,  could  really  , 
become  a  kind  of  control — a  control 
of  the  emotions,  keeping  them  from 
getting  out  of  hand,  so  that  he  could 
select  the  proper  emotion  when  he 
needed  it  in  his  work.  Other  actors, 
he'd  noticed,  would  sometimes  get  so 
carried  away  by  their  roles  that  they 
went  overboard  and  threw  their  whole 
performance  out  of  focus.  He,  on  the 
other  hand,  could  keep  his  power  in 
reserve  until  it  was  needed. 

It  was  true  that  he  still  painted — he'd 
been  a  painting  major  at  Pomona  when 
he  decided  that  his  real  interest  lay 
in  acting.  But  he  had  decided  against 
painting  as  a  career  partly  because  it 
kept  him  away  from  people.  The  life  of 
a  painter,  alone  for  hours  every  day 
with  his  canvas,  was  too  lonely  a  pros- 
pect for  a  life's  work,  he'd  decided. 
Now  painting  was  a  pleasant  relaxa- 
tion, an  added  creative  outlet,  but  noth- 
ing more.  Certainly  he  didn't  do  it  to 
avoid  people. 

True,  he  did  try  to  avoid  typical 
Hollywood  parties,  with  their  hordes  of 
guests.  But  that  was  mainly  because 
they  were  so  hectic  you  couldn't  really 
get  to  know  anyone.  And  now  that 
acting  had  illuminated  his  life,  he  loved 
to  talk  about  it  to  people  who  were 
willing  to  listen  and  to  contribute  their 
own  ideas.  That  was  why  he'd  been 
dating  girls  like  Myrna  Fahey,  Carole 
Wells  and  dancer  Vicki  Thai.  They 
were  either  actresses,  like  Myrna  and 
Carole,  or  interested  in  show  business, 
like  Vicki.  Dick  hadn't  gotten  really 
serious  with  any  of  them,  because  right 
now  he  wanted  to  concentrate  on  his 
career.  But  he  certainly  enjoyed  their 
company    and   hoped  they   liked   him. 

Error  Number  Six  was  easy  to  dis- 
pose of.  "Ill-at-ease  being  a  celebrity, 


he  wishes  he  were  still  unknown  to  the 
public."  Unknown  to  the  public  was 
what  he  didn't  want  to  be.  Everything 
he'd  done  during  the  past  few  years 
— his  studies,  his  struggles  to  find  work 
and  gain  acceptance — all  these  had 
been  directed  toward  the  goal  of  achiev- 
ing success  as  an  actor.  And  public 
approval  was  an  indispensable  sign  of 
that  success. 

Finally  he  thought  about  Error  Num- 
ber Seven:  "Although  he  stars  on  a 
weekly  television  show,  he  lacks  confi- 
dence in  his  ability  and  is  very  much 
afraid   of  the   future." 

He  wasn't  satisfied  with  himself — 
that  was  true.  The  day  he  became  com- 
pletely satisfied  was  the  day  he'd  stop 
growing,  and  he  never  wanted  that  to 
happen.  But  thanks  to  people  like  his 
singing  teacher,  Caroline  Trojanowski, 
he'd  gained  a  confidence  in  his  ability 
and  his  potential  that  had  enabled  him 
to  weather  the  bleak  period  before  suc- 
cess came  his  way.  And  he  hoped  he 
had  the  perspective  to  weather  success. 


COMEDIANS'    WIVES 


(Continued  from  page  34) 
more  of  you  than  another  man.  Comedi- 
ans depend  so  deeply  on  their  wives. 
They   know   you're   not    going   to   hurt 
them. 

"Our  house  revolves  around  Andy. 
Dinner  is  when  he's  ready.  If  he  takes 
a  day  off,  I  cancel  my  plans.  If  he's 
home  earlier  than  expected  and  I'm 
out,  he's  like  a  bull  in  a  china  shop. 
He  wants  me  here  when  he's  here.  It's 
a  form  of  selfishness.  You  must  give  all 
of  yourself  and  not  expect  much  in 
return." 

Having  met  Andy  when  both  were 
music  majors  at  the  University  of  North 
Carolina,  the  green-eyed  Southerner 
married  him  three  years  after  he  pro- 
posed— which  was  three  days  after  they 
met.  Her  one-time  theatrical  itch  now 
gets  scratched  with  hobbies  like  choir 
work  and  poetry  writing. 

Explains  Barbara.  "A  comic  has  an 
absolute  super-ego.  It's  up  to  a  wife  to 
appease  this  ego." 

In  common  with  most  comedians,  her 
husband  is  a  good  family  man,  ex- 
tremely generous,  gracious  about  her 
relatives.  He  tries  to  please,  but:  "It's 
a  hard  life  in  that  there's  a  constant 
digging  of  yourself.  A  constant  giving. 
A  continual  satisfying  of  the  other's 
needs." 

Plainfield,  New  Jersey's  Margie  Little 
Durante,  permanently  engaged  to  Gen- 
tleman Jim  some  fifteen  years,  now 
married  to  him  some  eighteen  months, 
says,  "We're  very  happy,  but  generally 
if  you  marry  a  comedian  it's  rougher 
than  if  your  husband  is  a  butcher  or 
baker.  It's  not  a  normal,  routine,  nine- 
to-five  existence. 

"Jimmy  usually  gets  up.  eleven  or 
twelve.  Now  he's  up  at  six  making  the 
movie,  'Jumbo.'  He  usually  goes  to  bed 
midnight,  but  when  he's  working  night 
clubs,  it's  not  until  four  a.m.  Most  men 


When  Dick  had  finished  going  over 
his  list,  he  was  ready  to  throw  the 
magazine  away. 

"Wait!"  he  thought.  "There  must 
be  something  in  this  article  that's  com- 
pletely  correct." 

There  was.  In  fact,  there  were  two 
things.  One  at  the  beginning  and  one 
at  the  end.  He  read  them  over: 

"Richard  Chamberlain  was  born  on 
March  31,  1935,  in  Los  Angeles,  the 
son  of  furniture  manufacturer  Charles 
Chamberlain  and  his  wife  Elsa.  .  .  . 
He  is  now  under  contract  to  Metro- 
Goldwyn-Mayer,  where  he  has  appeared 
in  a  feature  picture,  'A  Thunder  of 
Drums,'  and  is  seen  each  Thursday  in 
the  title  role  of  the  'Dr.  Kildare'  series 
over  NBC-TV." 

Dead  right,  Dick  had  to  admit.  For 
the  most  part,  the  article  was  only 
wrong  about  the  things  that  had  hap- 
pened in  between.      — James  Gregory 

"Dr.  Kildare"  time  on  NBC-TV,  Thurs., 
is    8:30    to    9:30    p.m. — edt,    that    is! 


relax  at  night.  Jimmy's  relaxation  is 
the  races  in  the  middle  of  the  afternoon. 

"Then  there's  the  traveling.  We  re- 
cently adopted  our  first  child,  a  brand- 
new  baby.  With  children,  you  can't 
leave  town  whenever  your  husband  has 
to.  Many  wives  worry  when  their  hus- 
bands are  away.  You  know,  there  are 
always  younger  women  and  stars  al- 
ways attract  the  most  beautiful  ones. 
The  first  five  years,  this  bothered  me. 
It  doesn't  anymore. 

"Another  thing,"  the  redhead  went 
on,  "is  Jimmy  likes  lots  of  attention.  If 
he's  suddenly  hungry  at  four  in  the 
afternoon  and  I  couldn't  eat  until  seven, 
it  makes  no  difference.  He  wants  me 
to  sit  down  and  join  him.  ...  Do  I? 
Of  course! 

"Or  if  he  hurts  his  finger,  it's  a 
'catastastroke.'  Instead  of  a  Band-Aid. 
he'll  have  it  bandaged  with  splints  and 
keep  rushing  to  the  doctor. 

"A  comic's  wife  needs  nerves  of  steel. 
Especially  if  he's  doing  TV  or  open- 
ing in  a  night  club.  I'm  terribly  nervous 
then.  I  just  sit  there  praying.  He  always 
insists  he's  not  worried,  but  I  know  he 
is.  To  give  him  confidence,  I  say,  'Oh. 
honey.  What  are  you  worrying  about. 
You  know  you'll  be  great.'  And  after 
each  performance,  he'll  ask  how  he  did. 
This  is  after  fifty  years  in  show  busi- 
ness. But  they're  all  that  way." 

To  love,  honor  and  applaud 

One  important  element  is  that  a  wife 
be  able  to  "speak  the  lingo,"  as  Milton 
Berle  put  it.  Comedians  think,  breathe 
and  eat  comedy.  To  them,  it's  serious 
business.  The  butcher  and  his  wife 
rarely  sit  around  the  fire  of  an  evening 
debating  the  merits  of  chuck  steak  vs. 
veal  cutlets,  but  a  comedian's  frau  is 
always  consulted  on  which  gag  she 
likes,  why  she  likes  it,  why  she  thinks 
everybody  else  will  like  it.  etc. 

Result  is.  most  of  their  wives  come 
from  some  phase  of  show  business  be- 
fore giving  it  up  to  "love,  honor  and 
applaud."  Ruth  Berle  was  a  press  agent. 


Sunk 


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•  A  special,  mood-brightening 
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"WHAT  WOMEN  WANT  TO  KNOW" 

FREE!  Frank,  revealing  32-page  book,  explains 
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Written  by  a  physician.  Write  Dept.  B72,  Box 
280,  New  York  18,  N.Y.  (Sent  in  plain  wrapperj 


BY 


IDOL 


83 


Bob  Hope's  Dolores,  a  singer.  Comedi- 
enne Kay  Leonard  married  Jack  E.  on 
a  U.S.O.  "Hellzapoppin"  tour.  Morey 
Amsterdam's  wife,  Kay,  was  a  model. 
Ditto  Eden  Marx  and  Mrs.  Phil  Foster 
(Joan  Feather  stone) .  Montezuma,  Geor-' 
gia's  Kathleen  Mann,  who  became  Toni 
Kelly,  the  once-upon-a-night-club  show- 
girl, is  now  Jan  Murray's  everlovin'. 
Sherry  Dubois  (nee  Ethel  Cohen)  gave 
up  being  a  dancing  teacher  to  acquire 
Buddy  Hackett  and  two  little  Hacketts. 
Sarah  Herman,  an  actress,  met  Shelley 
Berman  in  a  Chicago  dramatic  school. 
Ballerina  since  eleven  and  actress  since 
twelve,  Betty  Lou  Padoshek  married 
Ken  Murray  after  auditioning  for  his 
"Blackouts"  revue.  Patti  Palmer  Lewis 
sang  with  Jimmy  Dorsey's  band  when 
Jerry  found  her.  Arnold  Stang's  missus, 
Joanne,  was  a  reporter  who  interviewed 
him.  Orlando,  Florida's  Evelyn  Patrick, 
on  radio  since  age  four,  renounced  her 
successful  TV  career  six  years  ago  to 
care   for   Phil   Silvers'   scrapbook. 

"Our  wives  need  to  be  two  things. 
One  is  a  rock.  The  other  is  an  ear," 
said  Milton  Berle. 

"With  the  pressures  of  the  business, 
the  uncertainties,  always  trying  to  per- 
fect new  jokes,  always  having  to  be 
funny,  playing  different  places,  you 
need  a  woman  who's  a  rock.  I  had  this 
in  my  mother.  Now  I  have  it  in  my  wife. 

"Comedians  need  plenty  of  guts,  a 
built-in  nerve,  no  inhibitions.  They  have 
to  be  calloused,  able  to  flop.  They  need 
someone  to  lean  on.  They  need  what's 
called  'a  stand-up  dame.'  And  that's 
what  Ruth  is. 

"A  comedian's  wife  needs  to  be  'a 
handler.'  Ruth's  a  great  handler.  When 
I'm  upset  she  gives  me  the  'just  take 
it  easy  now'  routine."  He  illustrated 
with  what  happened  when  he  worked 
the  Eden  Roc  in  Miami  Beach.  The 
night  before  he  opened,  he'd  promised 
to  be  in  bed  by  two  a.m..  but  things 
just  weren't  going  right.  It  was  very 
late  and  he  was  still  re-staging,  pacing 
and  getting  generally  more  nervous  and 
unstrung.  A  quarter  to  four,  Ruth 
walked  in.  She  took  one  look,  called 
him  over  and  said  quietly,  "Pack  up. 
You're  through  for  tonight.  You're  go- 
ing upstairs."  And  Berle  packed  up  and 
went  upstairs. 

One  famous  television  wit  maintains 
he  and  his  confreres  are  not  normal 
people.  They're  abnormal.  But  they 
need  normal  wives.  He  claims  a  comedi- 
an can't  maintain  a  50-50  marriage. 
It's  65-35.  Sixty-five  percent  of  the 
giving  is  on  the  part  of  the  wife.  Buddy 
Hackett  also  derides  50-50  marriage. 
"In  my  house,"  he  crows,  "I'm  the 
boss  and  she's  the  subjects." 

One  obvious  fact  about  comedians' 
wives  is  that  they  love  their  husbands 
dearly,  are  extremely  protective  and 
generally  happily  rmarried.  Mrs.  Joey 
Bishop:  "My  only  comment  is,  I  love 
my  husband  very  much.  We  all  do.  The 
whole   family." 

Mrs.  Bob  Hope:  "Our  whole  family 

loves    Bob's    business    and    everything 

T       about  it.   But  that's   because   we  love 

y       Bob.  We  all  idolize  him." 

r  Mrs.   Jan   Murray:   "Comedians   are 

gentle    people.    Vecy    sensitive.    Easily 

wounded.  A  comic  suffers  great  pain. 
84 


They  require  a  lot  of  love.  But  marry- 
ing a  comedian  is  wonderful  because 
if  you  do  something  wrong,  his  reaction 
to  it  is  funny  ...  I  only  wish  every- 
body could  be  as  happy  as  we  are." 

Married  28  years,  Dolores  Hope,  an 
erudite,  highly  intelligent  conversation- 
alist, says  Bob  is  unusual  in  that  he's  not 
temperamental.  Admittedly,  comedy  is 
"a  tough  profession  ...  a  precarious 
business."  And  Mrs.  Hope's  analysis 
of  why  Mr.  Hope  doesn't  permit  himself 
the  luxury  of  temperament  is  that  he 
approaches  his  work  scientifically, 
much  as  any  other  business  man.  Says 
Dolores,  "Bob  works  very  hard  and 
thinks  very  hard  about  his  profession. 
He  never  lets  down  for  a  second,  even 
though  his  popularity  is  'way  up." 

Dolores  believes  wives  must  indulge 
their  individuality  to  prevent  relying 
emotionally  on  their  husbands  for  every 
inner  need.  She  insists  it's  an  obliga- 
tion to  develop  mentally  and  physically, 
to  pursue  hobbies  and  thus  avoid  being 
a  drudge.  When  things  get  snafued, 
she  takes  it  out  on  the  golf  course. 

To  Dolores  Hope,  comedians  aren't 


PHOTOGRAPHERS'    CREDITS 

Dick  Chamberlain  color  by  NBC;  Len- 
non  Sisters  black-and-white  by  Leon 
Beonchemin  of  Topix;  Lennon  family 
color  by  John  Hamilton;  Chuck  Connors 
family  by  Dick  Miller;  Vince  Edwards 
and  Bettye  Ackerman  by  Bill  Kobrin; 
Bobby  Darin  and  Sandra  Dee  by  Lee 
Thody  of  P. I. P.;  Nancy  Sinatra  and 
Tommy  Sands  by  Larry  Barbier;  Eliza- 
beth Taylor  and  Richard  Burton  by 
P.I. P.;  Roger  Smith  and  wife  by  Globe; 
"The  Clear  Horizon"  by  CBS;  Grace 
Kelly  and  Alfred  Hitchcock  by  Pictorial 
Parade;  Art  Linkletter  and  family  by 
Frank  Bez  of  Globe;  Annette  Funicello 
and  Nino  Castelnuovo  by  Elio  Sorci  of 
P.I.P. 


a  breed  different  from  everybody,  "ex- 
cept they're  high  above  any  other  kind 
of  people.  Even  entertainment  people. 
They  have  great  heart.  Do  unsurpassed 
charitable  work.  They're  extremely  tal- 
ented. They  take  your  mind  off  prob- 
lems, make  you  laugh.  They  are  the 
true  entertainers." 

And  are  these  true  entertainers  truly 
entertaining  offstage? 

Q:  (of  Mrs.  Morey  Amsterdam)  Is 
he  funny  around  the  house? 

A :  Usually  .  .  .  until  I  ask  for  money. 

Q:  Do  you  laugh  at  his  jokes  at 
home? 

A:  Only  when  we  have  company. 

And  can  these  true  entertainers  be 
truly  entertained? 

Q:  (of  Mrs.  Alan  King)  Does  Alan 
enjoy  your  sense  of  humor? 

A:  He  never  laughs  at  anything  I 
say.  He  doesn't  think  I'm  even  capable 
of  saying  anything  amusing. 

And  what  kind  of  entertainment  en- 
tertains them? 

Q:  (of  Mrs.  Marx)  Does  Groucho 
guffaw  at  other  comics? 

A:  I've  never  ever  heard  Grouch 
laugh  out  loud. 

Q:  What  kind  of  TV  shows  does  he 
watch? 


A:  Except  for  comedy  specials  or  his 
friends  like  Jack  Benny,  he  prefers 
shows  like  "Meet  the  Press,"  "Open 
End,"  "College  Bowl." 

A  big  question  is:  Are  comedians 
easier  to  live  with  before  or  after  they 
make  it  big?  Which  is  tougher,  the 
frustrations  and  fears  of  failure  or  the 
anxieties  and  fears  of  success?  When 
Danny  Thomas  was  struggling  and  in- 
tent on  working  or  looking  for  work 
or  making  contacts  or  perfecting  mate- 
rial, Rosemarie  never  saw  him.  She 
used  to  pray  nightly  he'd  make  it  soon 
so  they'd  have  more  time  together. 
Now  he's  so  busy  keeping  abreast  of 
millions,  they  have  even  less  time  alone. 

Most  professionals  who  are  "very 
amusing  persons"  have  several  mutual 
qualities.  One  is  insomnia.  "Grouch 
has  insomnia  constantly,"  declares 
Eden.  "He's  tried  everything  from  pills 
to  showering  in  the  middle  of  the  night 
to  an  electric  vibrator  chair.  Sometimes 
I  stay  up  with  him.  Or  try  to,  anyway. 
I  even  taught  him  Yoga,  but  nothing 
helps. 

"Getting  laughs  is  more  nerve-wrack- 
ing than  other  businesses.  Grouch  goes 
through  all  the  moods.  When  he's  really 
hurt,  he  doesn't  show  it.  He  shrugs  it 
off  with  a  quip.  He's  either  very  happy 
or  very  cool.  Nothing  halfway.  That's 
when  the  good  wife  comes  in.  If  I'm 
in  the  mood,  I  jolly  him  out  of  it.  If 
not,  I  just  keep  quiet.  We  argue  very 
little  because  I've  learned  to  give  in 
more.  What  else  can  you  do?" 

And  another  thing,  they're  worriers. 
It's  been  said  of  Bert  Lahr  that  he's 
not  worrying  about  today  because  he's 
still  worrying  about  what  happened 
twenty  years  ago!  The  comedian's  wife 
is  often  considered  "the  villain"  be- 
cause, as  the  buffer  between  her  hus- 
band and  the  outside  world,  she  tries 
to  preserve  him. 

"Danny  comes  home  so  exhausted 
he's  barely  able  to  eat,"  complains 
Rosemarie  Thomas.  "He  worries  about 
everything  and  I  worry  about  him. 
When  I  see  he's  neither  gay  nor  amus- 
ing anymore,  I  lure  him  off  for  a  week- 
end. We  drive  down  to  the  desert  so 
Danny  can  play  a  few  rounds  of  golf 
and  relax  and  be  my  happy  husband 
again."  She  loyally  insists  his  bad 
moods  are  few  and  far  between,  but. 
sighs  Mr.  Thomas,  "If  I  were  married 
to  a  person  with  my  particular  tem- 
perament, I  wouldn't  be  living  at  all 
— and  neither  would  she!" 

And  the  wives  of  these  highly  paid, 
highly  amusing  persons  have  several 
mutual  qualities.  One  is  the  ability  to 
laugh  at  themselves.  What  choice  has 
Mrs.  Henny  Youngman  when  he  cracks : 
"Take  away  Marilyn  Monroe's  eyes, 
take  away  her  hair,  take  away  her 
mouth  .  .  .  and  what  have  you  got? 
...  My  wife!" 

What  other  choice  has  Cindy  got 
when  Joey  Adams  sneers,  "My  wife 
wears  so  much  cold  cream  at  night  that 
she  keeps  slipping  out  of  bed!"  (Au- 
thor's Note:  I'll  tell  you  what  other 
choice  she  has.  She  can  write  this 
article  and  see  what  kind  of  a  sense 
of  humor  he  has ! ! ) 

And  what  can  Jeanette  King  do  but 
get  a  fixed  smile  on  her  face  when  Alan 


"ad-libs"— for  the  4,000th  time— "My 
wife's  getting  so  high  class  lately  that 
she  forgets  I  knew  her  with  her  old 
nose." 

And  Jan  Murray's  mother-in-law,  who 
lives  in,  giggles  loudly  though  a  bit 
shrilly  when  her  cornbreadwinner 
barks,  "They  wouldn't  take  my  mother- 
in-law  in  the  marines  because  she  fights 
too  dirty." 

See  what  I  mean  ?  ?  ? 


SANDRA    DEE 


(Continued  from  page  41) 
'Mother,   come   quickly,  I   don't   know 
how  to  put  the  nipple  on  the  bottle!' 
And  she  had  to  come  over. 

"By  the  time  she  arrived,  I  had  the 
nipple  on,  all  right,  but  backwards,  so 
that  it  was  too  loose.  The  nipple  was 
rolling  all  around,  and  my  baby  was 
getting  a  milk  bath! 

"But  the  funny  part  is  this:  My 
mother  came  over  and  I  said,  'Is  this 
the  way  the  nipple  goes?'  And  she  said, 
'Yes,  I  think  so.'  And  we  fed  the  baby 
like  that.  You  see,  I  wasn't  a  bottle- 
fed  baby,  so  how  did  she  know  how  to 
put  a  nipple  on?  The  next  day  we  were 
sterilizing  the  bottle  and  reading  the 
directions,  and  suddenly  I  said,  'Mom 
— the  nipple's  on  wrong!'  We  were  both 
surprised." 

She  shook  her  head,  "I  don't  know. 
I  look  at  our  little  boy  now  and  I  don't 
know  how  I  had  the  nerve — I'd  never 
diapered  a  baby  before  in  my  life,  or 
even  held  one  in  my  arms.  And  yet  I 
wouldn't  let  the  nurse  near  him.  But 
when  his  formula  wouldn't  agree  with 
him  and  he  had  colic  for  a  week,  I 
naturally  called  the  doctor  down  every 
day  while  he  was  sick,  but  I  simply 
wouldn't  call  the  nurse.  I  had  more 
nerve!  When  I  think  about  it  now,  it 
frightens  me." 

Sandra  admitted  that  Bobby  had  been 
a  terrific  help  during  that  first  month. 
"There  are  some  people  that  are  born 
to  be  fathers,"  she  beamed.  "Bobby's 
one.  He  just  loves  kids — any  kid.  When 
I  brought  the  baby  home,  he  used  to 
take  over  the  night  feedings,  when  he 
wasn't  working,  and  he'd  even  diaper 
the  baby.  I  woke  up  one  morning  ter- 
ribly sleepy,  and  I  looked  and  didn't 
see  my  husband  in  bed.  We  have  a 
gigantic  bed,  you  know,  so  I  had  to 
sit  up  and  look  around,  and  all  of  a 
sudden  I  saw  him  sleeping  with  the 
baby  in  his  arm  and  the  bottle  in  the 
baby's  mouth.  He  is  drinking  his  milk, 
and    my    husband's    sleeping. 

For  laughing  out  loud 

"You  know,  the  baby  looks  so  much 
like  Bobby.  There  is  nothing  of  me  in 
the  baby  at  all.  In  his  face,  in  his  hair, 
in  his  build,  he's  a  miniature  Bobby. 
In  fact,  I  sit  in  the  audience  at  night 
during  Bobby's  show,  and  I'll  start  to 
laugh  hysterically  sometimes.  And  no- 
body knows  why.  They  all  know  who 
I  am,  and  they  look  and  wonder  what's 


Shakespeare  said  it:  "Laugh  and  the 
world  laughs  with  you."  The  comedian 
laughs  because  he's  getting  paid  to 
squawk  publicly  what  he  wouldn't  have 
the  nerve  to  squeak  privately.  The  audi- 
ence laughs  because  for  the  first  time 
somebody's  saying  what  they're  think- 
ing. And  the  comedian's  wife  laughs 
because  she  figures,  "Nuts  to  all  of 
you.  I'm  going  to  the  furrier  tomorrow." 

— The  End 


so  funny.  I  mean,  he'll  be  doing  a 
ballad,  and  I  can  look  at  Bobby  and 
see  the  little  baby's  expressions  on  his 
face.  And  I  sit  at  the  table  laughing 
all  through  'I'm  a  Fool  to  Want  You.' 

"At  first,  I  didn't  want  the  nurse  at 
all.  I  was  afraid  the  baby  wouldn't 
know  its  mother  if  somebody  else  took 
care  of  it.  But  now  I  realize  how  really 
lucky  I  am.  Because  now,  when  I  take 
that  baby,  it's  only  because  I  want  to. 
It's  a  real  pleasure — it's  not  a  job  any- 
more. By  the  end  of  that  first  month, 
I  was  taking  care  of  him  alone,  when 
he'd  wake  up  crying  for  his  bottle,  I 
couldn't  wait  to  give  it  to  him  and  have 
him  go  back  to  sleep,  because  I  was 
so  tired.  I  wasn't  seeing  enough  of 
Bobby,  either.  The  minute  he'd  come 
home  from  work,  the  baby  would  start 
to  cry  for  his  bottle,  and  Bobby  would 
have  to  eat  dinner  alone  while  I  fed 
the  baby.  Now  I  want  to  see  the  baby 
awake,  and  I  want  to  play  with  it. 

"On  the  other  hand,"  Sandra  added, 
"if  I  hadn't  taken  care  of  the  baby 
by  myself  that  first  month,  I  wouldn't 
have  the  self-confidence  to  turn  it  over 
to  the  nurse  now.  Because  if  I  felt  I 
couldn't  take  care  of  the  baby  as  well 
as  the  nurse.  I  wouldn't  feel  happy. 

"As  it  is,  I've  gone  through  sickness 
with  the  little  baby,  and  I've  taken 
care  of  it  myself,  and  now  you  should 
see  me  carry  him!  I'm  so  casual  I 
carry  him  slung  over  my  shoulder! 

The  movie-star  mother 

"You  should  have  seen  the  sight  the 
other  day.  I  was  doing  fittings  for  my 
new  picture,  'If  a  Man  Answers,'  and 
I  had  to  go  to  Jean  Louis'  for  them. 
Well,  in  this  picture,  I  have  thirty-two 
of  the  most  gorgeous  outfits  you  ever 
saw.  Ostrich  feather  dresses  and  mink 
lined  coats,  and  one  dress  is  solid  gold 
— well,  all  gold  beads.  Anyway,  I'm 
standing  there  with  the  four  fitters  and 
Jean  Louis,  and  I'm  in  this  beautiful 
dress  and  they're  pinning  me  up,  and 
on  the  couch  is  my  son.  He's  lying  there 
with  his  bottle. 

"So  there's  the  movie  star,  getting 
herself  fitted  and  pinned  up  and  all, 
and  all  of  a  sudden  you  hear  me  shout: 
'Hold  it,  folks!  The  baby's  bottle  fell 
out!'  And  I  run  over  to  the  couch  and 
put  the  bottle  back  in  his  mouth.  Then 
the  fitting  continues. 

"The  baby's  going  to  come  to  the 
studio  with  me,  every  day,"  she  said 
determinedly.  "I  have  a  dressing  room 
bungalow  with  four  rooms,  and  I'm  go- 
ing to  have  them  bring  him  in  every  day 
about  noon.  And  he'll  stay  with  me  the 
rest  of  the   afternoon.  I  have   a   little 


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—L 


porch,  and  I'll  put  him  out  on  the  porch 
in  the  sun  when  I  have  to  work,  and  the 
nurse  will  be  there  with  him.  Then  I 
can  see  him  all  the  time  between  scenes. 
He's  a  very  good  baby  and  I  know  it'll 
work  out  fine." 

The  baby  has  already  attended  his 
father's  rehearsals.  "You  see,  he  loves 
music!"  she  said  proudly.  "He's  crazy 
about  it.  The  day  we  brought  him  home 
from  the  hospital,  whenever  he'd  start 
to  cry,  Bobby  would  play  the  guitar  for 
him  and  he'd  stop  immediately.  So 
when  the  band  would  come  over  to  the 
house  to  rehearse  with  Bobby,  I'd  wheel 
the  baby  into  the  rehearsal  room  to 
listen.  When  the  band  was  playing,  my 
boy  would  sleep.  But  the  minute  the 
band  stopped,  he'd  start  to  cry  until 
the  music  came  on  again. 

"In  fact,  now  he  lies  in  his  crib  and 


listens  to  a  little  radio  of  his  own — 
it's  shaped  like  a  baseball.  At  night  we 
hang  it  up  in  the  crib  and  he  listens 
to  it  for  hours.  Why,  he  even  knows  the 
Top  Ten!  He  can  tell  his  father  which 
is  going  to  be  a  hit  and  which  will  be 
a  miss.  When  he  starts  to  cry,  that 
record  is  out. 

"But  he's  not  impressed  by  his 
father's  records— I  tell  you!"  she 
laughed.  "So  far,  his  favorite  record 
has  been  'The  Lion  Sleeps  Tonight.' 
When  the  high  part  comes  on,  he  starts 
to  smile.  The  doctor  saw  him  and  didn't 
believe  it! 

"When  he  grows  up,  I'd  like  him  to 
go  to  military  school,"  Sandra  went  on 
with  a  smile,  "because  the  uniform's 
so  cute.  But  Bobby  says,  'The  boy  is 
going  to  a  public  school,  and  he's  going 
to  play  in  the  street  like  every  other 


boy,  and  he's  going  to  get  hit  on  the 
fanny.'  I  keep  saying,  'Military  school,' 
and  Bobby  keeps  saying,  'Public!' 

"And  then  Bobby  says,  'I  grew  up  in 
a  public  school,  and  I  didn't  do  so  bad ! ' 
And  I  say,  'But  /  grew  up  in  a  private 
school,  and  I  didn't  do  so  bad,  either!' 
But,  you  know,  I  think  his  father's  going 
to  win  out." 

Would  Sandra  object  if  Dodd  wanted 
to  go  into  show  business? 

"No,"  she  said  firmly.  "I'm  happy  in 
it  and  Bobby's  happy  in  it,  and  if  this 
is  going  to  make  the  baby  happy,  fine. 
You  know,  there's  nothing  about  this 
business  that  I  regret.  It's  not  done  any- 
thing to  me  that  I'm  ashamed  of,  or 
that  I  wouldn't  want  the  baby  to  know. 
It's  brought  me  nothing  but  happiness 
so  far — knock  wood!"  And  she  rapped 
on  the  table.  — Chris  Alexander 


TOMMY   SANDS 


(Continued  from  page  45) 
coaches  in  the  country  are  always  lo- 
cated. 

"I  also  didn't  believe  in  sitting  in 
Hollywood  and  waiting  for  the  next 
role  to  come  along.  I  felt  I  should  spend 
my  time  working  with  a  top  coach, 
studying  and  evaluating  scenes.  And  I 
knew  it  might  be  six  or  seven  months 
between  jobs.  So  I  told  Nancy  we  had 
to  move  to  New  York. 

"That  came  as  quite  a  shock  to  her. 
It  meant  a  complete  change  in  her  life. 
She  would  not  only  have  to  leave  her 
family  for  the  first  time — and  she's 
very  close  to  both  her  mother  and  fa- 
ther, even  though  they're  divorced — but 
she  would  have  to  get  used  to  living 
in  a  little  flat  like  this  one,  with  just 
a  bedroom,  living  room,  kitchen  and 
bath.  And  you  know  she  was  raised  in 
a  huge  house." 

Tommy  jumped  up  to  help  Nancy 
bring  in  the  big  tray  of  coffee  and 
cake.  Then  when  they  were  both  set- 
tled, side  by  side  on  the  couch,  he  went 
on. 

"She  just  told  me  that,  if  it  was  im- 
portant and  necessary  to  my  career  and 
to  our  future,  that's  what  we  would  do. 
"She  made  the  change,  just  as  she 
made  all  the  other  adjustments  a  young 
girl  must  resign  herself  to  when  she 
leaves  her  parents'  home  and  goes  off 
to  make  a  home  of  her  own  with  the 
man  she  marries.  Changes  like  not  be- 
ing able  to  buy  a  drawerful  of  cash- 
mere sweaters  or  a  new  dress  for  each 
party,  like  checking  the  prices  on  the 
menu  at  restaurants  and  planning  and 
hoping  for  two,  instead  of  one. 

"When  we  got  here  and  discovered 
that  it  would  cost  a  fortune  to  get  a 
large     apartment,    Nancy     decided    it 
would  be  foolish  for  us  to  go  into  our 
savings  to  keep  it  up.  We  found  living 
costs  in  New  York  are  quite  high.  So 
T       we    scouted    around    for    this    smaller 
V       place.  It's  nice,  it's  clean  and  real  live- 
it       able,  now  that  we've  fixed  it  up.  And 
the  best  thing  is  that,  with  a  limited 
income   while   I'm    studying,   we   don't 
86 


have  to  dip  into  our  savings  to  meet 
the  budget." 

Nancy  interrupted.  "Honey,  don't 
give  the  impression  that  I  got  into  the 
swing  of  things  right  off  the  bat. 

"It  wasn't  easy,  as  you  can  under- 
stand. Those  first  few  weeks  were  quite 
difficult.  I  was  lonesome  for  California, 
for  home,  for  my  family,  and  it  gave 
me  a  pretty  bad  feeling  of  depression 
more  often  than  I  cared  to  admit  to 
Tommy. 

"But  he  was  so  good  about  it.  He 
knew  what  I  was  going  through  and 
he  never  got  mad  at  me.  He  helped 
me  get  used  to  this  new  life  in  the  same 
calm,  efficient  way  he  adjusted  to  mar- 
riage and  helped  me  to   adjust  to  it. 

"For  instance,  Tommy  has  always 
been  used  to  having  dinner  ready  when 
he  comes  home  at  night  from  work.  But 
I  was  always  used  to  a  relaxing  sort-of- 
social  period  before  dinner.  So,  when 
we  were  first  married,  I  was  in  no  hurry 
to  fix  dinner. 

"Of  course,  one  of  us  had  to  change 
our  habits.  Tommy  didn't  get  mad  about 
it  and  yell  at  me  over  it.  He  just  told 
me  that  he  was  good  and  hungry  by 
the  time  he  got  home  from  a  day's  work 
and  that  he  wanted  to  eat  before  doing 
anything  else.  So  that's  the  way  it  is. 
And  I  don't  mind.  I  didn't  even  con- 
sider it  'giving  in.'  This  is  the  way  it 
has  to  be  for  the  man  of  the  house — 
so  that's  the  way  I  want  it. 

"You  know,  he  has  a  slogan  that 
says:  'Marriage  is  composed  of  ninety- 
percent  give  on  both  sides.'  This  has 
done  wonders  in  giving  our  marriage 
a  solid  foundation.  It  enables  us  to  sur- 
vive the  usual  misunderstandings  and 
overcome  the  crises  that  seem  to  crop 
up  even  in  the  most  perfect  marriages. 

A  bride  becomes  a  wife 

"We  try  to  avoid  making  an  issue 
of  little  things.  We  believe  that  there 
are  enough  big  things  in  business  and 
in  life  to  worry  about  that  you  shouldn't 
bother  getting  concerned  with  the  little 
ones. 

"Consequently,  he  doesn't  holler  at 
me  when  I  leave  the  top  off  my  lipstick 
on  the  dresser.  I  know  it  annoys  him 
and  I  try  not  to  do  it,  but  sometimes 


I  forget.  When  I  do,  he  never  men- 
tions it. 

"I  guess  he's  learned  how  to  be  a 
husband,  just  like  I've  learned  to  be 
a  wife.  It's  a  new  experience.  Every 
bride  must  learn  how  to  live  with  some- 
one else,  just  as  she  has  to  learn  how 
to  cook.  She  should  learn  to  under- 
stand her  mate's  moods,  when  to  en- 
courage, when  to  sympathize,  when  to 
respect  his  privacy." 

"And  when  not  to  interrupt,"  said 
Tommy,  interrupting,  with  a  grin.  "But 
since  you  interrupted  me,  I  guess  it's 
okay  if  I  interrupt  you  on  the  same 
subject.  Okay?" 

Nancy  grinned  back.  "Okay,  boss," 
she  approved. 

A  husband's  tribute 

"One  thing  Nancy  was  very  good  at 
was  recognizing  immediately  that  a 
married  couple  must  live  for  two  in- 
stead of  living  for  one.  That's  her  na- 
ture. She's  always  been  a  warm,  con- 
siderate, thoughtful  person,  which  is 
one  of  the  reasons  I  was  so  very  strong- 
ly attracted  to  her,  the  more  I  knew 
her. 

"But  she  is  always  thinking  of  my 
feelings  and  trying  to  understand  me. 
When  she  makes  decisions,  it's  on  the 
basis  of  what  I  might  like.  For  example, 
if  we  were  still  single  and  not  going 
together,  we  could  always  readily  give 
a  yes  or  no  answer  without  second 
thought.  But  now,  when  someone  asks 
one  of  us  if  we'd  like  to  go  to  a  party 
or  a  movie  or  to  an  opening  or  out 
for  any  sort  of  evening  at  all,  we  try 
to  think  of  whether  the  other  is  feel- 
ing well  and  whether  it's  something 
the  other  one  wants  or  likes  to  do.  That 
way,  we  don't  put  the  blame  on  each 
other's  shoulders  for  refusing,  and  we 
don't  make  each  other  responsible  for 
these  decisions. 

"You  ask  if  there  are  problems  in- 
volved in  marrying  a  rich  girl. 

"Sure,  there  are.  Every  marriage  cre- 
ates problems.  But  intelligent,  sensible 
people  realize  it  and  attempt  to  do 
something  about  solving  their  problems. 

"Nancy,   like   all   wives,   is   a   prob- 
lem. But  I  love  my  problem."  i 
— Mary  Baldwin 


VINCENT   EDWARDS 


(Continued  from  page  38) 
times  I  managed  to  steal  the  spotlight 
from  the  two  giants  in  my  TV  life. 

Then,  in  another  segment,  when  Cliff 
Robertson  died  so  beautifully,  I  again 
broke  down  and  cried.  The  result  was 
a  protest  from  the  American  Medical 
Association.  It  seems  doctors,  female 
or  otherwise,  do  not  get  so  emotionally 
involved  with  their  patients.  When  Sam 
heard  about  this,  he  chuckled,  "Maybe 
next  time  you  won't  get  so  smart,  young 
lady."  And  Vince,  taking  up  his  line, 
added:  "Our  phone  call  to  the  A.M.A. 
sure  got  action,  Sam  .  .  ." 

But,  honestly,  I  do  love  the  part  of 
Maggie,  the  anesthesiologist.  And  so 
far — knock  wood — I've  had  no  big 
problems  portraying  her.  She's  uncom- 
plicated, really  ...  an  intelligent,  sym- 
pathetic person,  competent  as  a  pro- 
fessional but  feminine  to  the  core.  Most 
of  all,  I  like  the  subtle  relationship 
that  hovers  between  her  and  Dr.  Casey. 
There  is  a  hint  of  something  more 
than  affection,  a  trace  of  romance  like 
faint  perfume  in  the  air  .  .  .  and  yet 
it  never  intrudes  on  their  friendly,  medi- 
cal cooperation  and  their  ardent  dedi- 
cation to  the  saving  of  lives.  Always, 
without  preaching,  a  delicate  message 
is  put  forth  to  the  effect  that,  however 
they  may  secretly  feel  toward  each 
other,  it's  all  sublimated  to  the  de- 
mands of  their   profession. 

Both  Sam  and  Vince  are  from  New 
York.  Their  backgrounds  are  alike, 
Vince  hailing  from  the  Brownsville  sec- 
tion of  Brooklyn  and  Sam  from  Man- 
hattan's East  Side.  Both  their  families 
were  hard-pressed  in  making  ends  meet. 
Both  worked  their  way  through  school 
and  both  had — and  still  have — an 
urgent  desire  for  education.  Though 
they  lean  toward  "good  art"  and  "long- 
hair music,"  they  both  have  a  lighter 
side.  Their  imitations  are  hilarious. 
Vince's  mimicry  of  Dr.  Zorba  is  price- 
less, topped  only  by  Sam's  retaliation 
as  the  uncompromising,  unconvention- 
al Ben  Casey. 

Sam  and  Vince  are  also  alike  in  be- 
ing very  masculine  men,  strong-willed, 
serious  in  work,  idealistic  in  their  de- 
fense of  the  underdog,  and  in  their 
frank  and  generous  attitudes.  I  have 
said  they  love  music.  Vince  recently 
proved,  on  "The  Dinah  Shore  Show," 
what  a  terrific  singer  he  is.  Sam  once 
considered  becoming  a  concert  pianist. 
He  has  composed  a  number  of  works 
in  the  classical  form.  All  this  has  helped 
foster  their  friendship. 

They  have  another  trait  in  common. 
I'm  afraid  both  are  easy  marks  for  a 
touch,  and  are  sometimes  taken  ad- 
vantage of.  Since  his  success  on  "Ben 
Casey,"  Vince  has  naturally  been  ap- 
proached for  help  by  pals  of  the  old 
tough  days.  And,  in  his  generous  way, 
he  has  tried  to  steer  these  struggling 
actors  to  jobs  and  has  often  made  sub- 
stantial loans.  Sam — who  has  suffered 
some  unfortunate  experiences  with  mak- 
ing loans  of  this  kind — warned  Vince 
to  hand  out  money  with  discretion,  lest 


he  lose  rather  than  hold   such  friends. 

Shortly  after,  an  old  acquaintance 
came  by  and  asked  Vince  for  a  loan. 
Still  mulling  over  Sam's  warning,  Vince 
decided  to  cut  his  loan  to  the  mini- 
mum and  gave  the  man  a  ten.  So  what 
happened?  In  a  huff,  the  man  ap- 
proached Sam  and  sang  his  song  of 
woe.  Sam's  heart  was  promptly  touched 
and  it  ended  with  him  giving  a  sizable 
loan.  Whereupon  we  heard  a  Zorba- 
type  roar  from  Vince:  "So!  So,  doctor, 
this  you  call  medical  ethics — to  make 
a  diagnosis  of  my  condition,  and  then 
practice  the  exact  opposite?  Such  a 
shnook!"  For  once,  Sam  had  nothing 
to  answer.  He  shrugged  and  looked 
like  the  kid  with  his  hand  caught  in 
the  cookie  jar. 

My  own  background  is  quite  far 
removed  from  these  two  New  Yorkers. 
I  was  born  in  Cottageville,  South  Caro- 
lina, on  February  28th — and  I  was  a 
"Leap  Year"  baby.  After  I  fell  in  love 
with  Sam,  I  often  toyed  with  the  notion 
of  using  my  "leaping"  privilege  to  pro- 
pose. But  I  was  saved  that  embarrass- 
ment. Sam  beat  me  to  it,  and  I  accepted 
with  alacrity. 

Afterward,  I  confessed  to  Sam  that 
he'd  come  close  to  being  proposed  to, 
and  his  answer  startled  me.  "It's  a 
good  thing  you  didn't,"  he  said,  his 
hair  ruffling.  "It  might  have  been  the 
end."  Knowing  him  now  as  well  as  I 
do,  I  realize  this  is  the  simple  fact. 
Sam's  gentle  and  tolerant  and  wise  as 
a  man  can  be,  but  he  is  no  one  to  be 
pressured  into  things.  Not  even  by  the 
woman  he  loves. 

My  early  life,  I  suppose,  was  real 
"small-towny."  I  went  to  Columbia  Col- 
lege in  South  Carolina,  where  I  studied 
drama  with  Mary  Lou  Kramer,  then 
I  switched  to  Columbia  University  in 
New  York,  where  I  studied  pantomime 
and  dance  with  Louise  Gifford.  Drama 
and  dancing  were  my  passions  and  I 
continued  studying  Spanish  dancing 
with  Carola  Goya,  and  drama  with 
Alexander  Kirkland  at  the  Theater 
Wing  and  in  the  studios  of  Stella  Adler 
and  Herbert  Berghof. 

After  five  seasons  of  summer  stock 
(I  once  toured  with  the  Clare  Tree 
Major  Players  as  the  Wicked  Queen 
in  "Snow  White" ) ,  and  some  commer- 
cials on  radio  and  TV,  I  was  able  to 
afford  doing  off-Broadway  plays,  one 
of  which  was  Moliere's  "Tartuffe" — 
which  starred  none  other  than  Sam 
Jaffe. 

Sam  is  an  accomplished  mathema- 
tician, musician,  actor,  linguist — he  is 
fluent  in  German,  Italian,  French,  He- 
brew and  English,  and  is  currently 
studying  Japanese — and,  on  the  whole, 
an  informed  and  cultured  man  .  .  . 
but  when  I  looked  at  him  in  those  days, 
all  I  could  see,  alas,  was  Gunga  Dinl 
It  was  the  one  film  I  had  seen  him 
in,  up  to  then,  and  I  thought  he  was 
not  only  a  masterly  performer  but  the 
cutest  thing  in  that  little  didie.  (What 
am  I  saying?  Now  I  will  get  the  Dr. 
Zorba  routine  from  Sam  when  he  reads 
this!) 

Anyhow,  six  months  later,  I  became 
Mrs.  Jaffe  and  the  Jaffes  got  married 
life  off  to  a  profitable  start  as  mem- 
bers of  the  national  touring  company 


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of  "The  Lark,"  starring  Julie  Harris. 
Our  "working  honeymoon"  took  us 
around  the  world  and  lasted  three  won- 
derful years. 

It  is  now  six  years,  come  June,  that  , 
we  are  man  and  wife.  The  other  day, 
Vince  asked  how  we  met.  With  a 
straight  face,  Sam  said,  "In  a  health- 
food  shop."  The  fact  is,  Sam's  a  vege- 
tarian down  to  the  last  shred  of  spin- 
ach. I,  Bettye  Ackerman  Jaffe,  wish  to 
make  a  point  here.  I  am  not  a  devout 
vegetarian,  I'm  merely  a  "non-meat- 
arian,"  which  is  purely  an  emotional 
carry-over  from  childhood. 

Sam  summed  it  up  for  Groucho 
Marx  when  we  were  at  the  same  table 
at  a  party.  Groucho  raised  those  famous 
eyebrows  when  he  saw  me  filling  my 
plate  with  greens  and  passing  up  the 
meat  platter.  "She  won't  eat  anything 
she  could  pet,"  Sam  explained.  Groucho 
leaned  over  and  whispered  with  his 
hungriest  leer,  "Well,  chicken,  I  could 
eat  you!" 

I  haven't  eaten  meat  since  I  was  eight 
and  my  pet  duck,  "Waddle,"  disap- 
peared. At  dinner,  I  stared  in  frozen 
horror  at  the  dish  my  mother  was  serv- 
ing. I  screamed,  "Waddle!" — and  ran 
to  my  room  in  tears.  My  brother  did  the 
same.  To  this  day,  my  poor  mother 
apologizes  for  having  cooked  Waddle. 
She  hadn't  realized  that  we'd  been  mak- 
ing a  pet  of  the  duck  while  she  was 
fattening  him  for  the  kill. 

During  our  courtship,  Sam  and  I 
took  a  walk  through  Central  Park.  A 
duck  swam  by  on  the  lagoon  and  I 
gasped,  "He's  just  like  my  darling 
Waddle."  Sam  gave  a  snort  of  disgust, 
"That's  not  a  duck — it's  a  drake.  I  can 
see,"  he  snapped,  "that  you  don't  eat 
meat,  out  of  a  sentimental  error."  I 
argued,  "It  makes  no  difference."  His 
retort  was:  "It  makes  a  lot  of  differ- 
ence to  the  drake." 

But  for  all  his  "reasons"  of  health 
and  moral  principles,  Sam's  real  reason 
for  not  eating  meat  is  as  sentimental 
as  mine.  It  began  when  he  first  saw 
a  calf  butchered  on  a  farm  where  he. 
a  kid  from  New  York's  East  Side,  was 
working  the  summer.  (All  this  vege- 
tarian talk  will  probably  come  as  a 
surprise  to  some  of  our  dinner  guests. 
We  usually  serve  them  meat  or  fowl.) 

Let  me  say  here  that  I  did  not,  as 
some  people  imagine,  get  my  part  in 
the  series  through  my  husband's  inter- 
vention. It  was  completely  accidental. 
I  had  just  finished  my  first  movie,  "Face 
of  Fire,"  and  was  at  loose  ends.  I  ac- 
companied Sam  to  a  costume  fitting  for 
the  pilot  of  this  new  series  about  doc- 
tors in  a  great  metropolitan  hospital. 
As  I  sat  waiting  for  my  spouse,  the 
director,  Fielder  Cook,  passed  through, 
did  a  "take"  and  came  up  to  me.  He 
said,  "You  look  like  Maggie  Graham, 
the  woman  doctor  in  our  series — how 
about  reading  for  our  producer,  Jim 
Moser?" 

I  was  in  dungarees,  totally  unpre- 
pared, and  felt  uneasy.  "Another  time," 
I  suggested.  But  Cook  insisted.  And, 
all  at  once,  there  stood  Sam,  backing 
him  up.  I  did  the  reading  and  that's 
how  I  got  to  be  Dr.  Maggie  Graham. 
If  I'd  known  the  role  would  stack 
me  up  against  the  formidable  person- 


alities and  dramatic  talents  of  both 
Sam  Jaffe  and  Vince  Edwards,  I  might 
have  thought  much  longer  about  try- 
ing for  the  part! 

Many  fans  don't  realize  I'm  Mrs. 
Sam  Jaffe  in  real  life  and  think  I'm 
in  love  with  Vince  Edwards.  This  is 
because  they  tend  to  mix  Maggie  Gra- 
ham and  Ben  Casey  up  with  the  people 
who  play  these  parts.  Sam  and  I  have 
had  many  a  laugh  over  this  error.  We 
see  it  as  part  of  the  illusion  we  have 
been  trying  to  create. 

But  my  mother,  bless  her  heart,  gets 
quite  snippy  if  she  hears  anyone  won- 
der what  gives  with  the  lady  doctor 
and  Ben  Casey,  behind  the  scenes.  She 
loses  no  time  in  explaining  that  her 
daughter  is  a  loyal  and  devoted  wife 
and  not  in  the  least  interested  in  Vince 
Edwards  except  as  a  friend  and  co- 
worker. 

One  recent  letter  gave  me  a  thrill. 
A  girl  who'd  been  watching  me  on  the 
show  had  decided  to  enter  the  medical 
profession.  "I  want  to  be  an  anesthesi- 
ologist like  Dr.  Maggie,"  she  wrote,  and 
very  kindly  added,  "and  I'd  like  to  be 
that  fine  a  human  being."  As  an  ac- 
tress, I'm  flattered  that  she  was  influ- 
enced by  the  character  I  portray. 

I  have  mentioned  several  qualities 
Sam  and  Vince  share.  I'd  like  to  offer 
an  example  in  which  they  are  radically 
different.  Sam  doesn't  drive  and  has  no 
desire  to.  Vince  is  madly  infatuated 
with  his  new  sleek  black  Continental.  He 
feels  about  it  much  as  I  did  about  poor 
Waddle — it's  his  pet.  Once  when  Benny 
Goldberg,  a  stand-in  on  the  show  who 
works  for  Vince  personally,  brought 
the  wrong  car  back  from  the  "wash- 
eteria,"  Vince  acted  as  I  did  when  I 
saw  Waddle  served  up  for  dinner! 

But  when  Benny  returned  with  the 
right  car,  Vince  laughed,  jigged,  and 
even  patted  the  hood  of  the  car  as  if 
it  were  a  horse  in  the  winning  circle 
and  he  were  jockey  Shoemaker.  Sam's 
comment  was:  "A  good  thing  to  see.  If 
he  takes  that  good  care  of  his  posses- 
sions, now  that  he  can  afford  them,  he 
won't  waste  his  success.  He'll  probably 
take  as  good  care  of  his  home,  his  wife 
when  he  gets  married,  and  his  children 
when  be  has  them." 

Sam  and  I  are  extremly  happy  in  our 
work.  We're  happy  to  be  the  sort  of 
people  who  enjoy  life,  nature  and 
people  and  who  like  to  make  our  small 
contributions  to  enrich  the  lives  of 
others.  From  what  I've  seen  of  him,  I 
believe  Vince  is  cut  of  the  same  cloth. 
At  the  moment,  it  is  difficult  for  him  to 
achieve  the  tranquil  pleasures  that  Sam 
and  I  glory  in.  Someone  recently  said 
to  Sam,  "Your  boy,  Vince,  is  all  nerves. 
Is  he  trying  to  play  the  angry  young 
man  in  real  life,  too?" 

Sam  looked  this  man  squarely  in  the 
eye  and  said  quietly,  "Have  you  any 
conception  of  what  it  means  to  learn 
the  equivalent  of  three-fifths  of  a  Broad- 
way play  every  single  week?  That's 
what  Vince  has  to  do,  to  carry  the 
burden  of  this  show.  Just  picture  the 
strain  on  him.  Why,  there  isn't  an  actor 
alive  who  could  keep  on  doing  this  and 
not  show  the  tension." 

Sam  is  right,  of  course.  Absolutely. 
Vince  is  in  three-fifths  of  each  segment 


oi  the  series.  It  s  a  wonder  he  hasn  t 
lost  all  his  sense  of  humor.  He  has  a 
very  keen  one,  I  can  testify  to  that! 
I  recall  the  day  we  were  doing  our 
first  episode.  A  woman  tourist,  who  was 
visiting  the  set,  rushed  up  to  Ray 
Joyer,  Vince's  stand-in.  She  fussed  over 
him,  calling  him  "Vince  Casey"  one 
second  and  "Dr.  Edwards"  the  next. 
Ray  was  helpless.  She  wouldn't  give 
him  a  chance  to  explain  that  the  gent, 
standing  beside  him,  grinning  broadly 
and  saying  nothing,  was  the  star  of 
"Ben  Casey."  After  she  had  gone,  Ray 
exploded,  "Why  didn't  you  tell  her  who 
you  were?"  Vince  laughed,  "She  was 
happy  with  you,  wasn't  she?  That's  all 
that  counts."  And  to  this  day,  weighed 
down  as  he  is  with  so  many  responsi- 
bilities, Vince  has  retained  that  large 
tolerance  and  the  ability  to  smile  chari- 


ALFRED   HITCHCOCK 


(Continued  from  page  57) 
the   glamour — and  the  tourist  trade — 
back  to  her  kingdom. 

It  was  all  very  intriguing  and  the 
rumors  grew  louder  and  louder — so 
loud,  in  fact,  that  hardly  anyone  heard 
when  a  short,  rotund  man  said  quietly: 
"I  just  asked  her  .  .  .  and  she  said  yes." 
The  man  was  Alfred  Hitchcock,  and  for 
him  it's  that  simple.  It  always  had  been. 
It's  easy  for  him  to  make  a  woman  say 
"yes."  You  see,  he  has  a  way  with  them. 

Alfred  Hitchcock  first  saw  Grace 
Kelly  in  a  test  for  a  picture  called 
"Taxi,"  at  20th  Century-Fox.  The  test 
was  not  successful,  Grace  did  not  get 
the  job.  When  she  finally  did  get  a 
picture,  "Mogombo"  at  MGM,  it 
showed  her  as  a  stiff  school-marm 
creature  with  ice  water  in  every  vein. 
But  in  the  "Taxi"  test,  Hitchcock  had 
seen  beneath  that  frozen  exterior  the 
promise  of  warmth,  strength,  sexual 
power  and  the  ability  to  convey  it  all 
on  screen.  He  snapped  up  Grace  for 
"Dial  M  for  Murder."  It  was  an  excit- 
ing performance.  So  was  hers  in  "Rear 
Window." 

And  after  all  that,  after  proof  on  the 
screen  that  Grace  Kelly  could  be  an 
exciting,  provocative  actress,  she  went 
back  to  her  home  lot  and  might  have, 
by  a  narrow  margin,  missed  her  destiny, 
might  never  have  become  the  Princess 
of  Monaco.  Her  screen  career  hung  in 
the  balance  while  they  put  her  into  a 
languid  "B"  picture  called  "Green 
Fire,"  in  which  she  was  the  frigid  lady. 
But  Hitchcock  snared  her  again  for  "To 
Catch  a  Thief." 

To  film  that  one,  Hitchcock  took  her 
to  the  Riviera  and  the  cameras  turned 
in  the  very  shadow  of  the  palace  Grace 
was  later  to  call  home.  During  that  pic- 
ture, Grace  met  her  Prince.  The  rest 
is  history,  except  for  the  secret  meeting 
years  later  in  Paris.  There,  in  a  dimly- 
lit  bistro,  Grace  found  that  Hitchcock's 
magic  was  still  working.  She  couldn't 
say  "no"  to  him. 

The  man  who  defrosted  Grace  Kelly 
may  not  have  had  as  many  women  in 
his  life  as  some  men.  But  his  relation- 


tably  at  the  toibles  oi  human  beings. 

The  other  morning,  I  told  him  that 
TV  Radio  Mirror  had  asked  me  to 
write  my  impressions  of  Sam  and  of  him. 
"Any  comment,  doctor?"  I  teased. 
Vince  stared  thoughtfully  at  me  until  I 
felt  he  wasn't  going  to  answer.  Finally, 
he  said,  "Bettye,  don't  sprinkle  perfume 
over  me.  Just  tell  the  unvarnished, 
down-to-earth  truth  as  you  see  things 
around  here." 

As  Sam  would  say  in  his  very  best 
Dr.  Zorba  tone,  "Such  a  boy!"  Yes,  I 
think  Bettye  Ackerman  Jaffe  is  very 
lucky  to  be  Maggie  Graham,  the  woman 
in  the  lives  of  Dr.  Zorba  and  Dr.  Ben 
Casey.  And,  cross  my  heart,  that  is  the 
truth  as  I  see  it.    — Bettye  Ackerman 

They're   all   doctors   on   "Ben    Casey," 
on  ABC-TV,  Mon.,  10  to  11  p.m.,  edt. 


ships  have  been  long-lasting.  As  a 
matter  of  fact,  once  a  woman  gets  in- 
volved with  Hitchcock,  she's  rarely  ever 
the  same  again. 

His  wife  Alma,  for  example,  was  a 
film  cutter  when  Hitchcock  met  her, 
and  not  in  the  least  domestic.  During 
the  years  of  their  marriage,  she  has 
worked  with  him  as  a  writer,  as  assist- 
ant director — and  also  become  a 
mother,  a  gifted  homemaker  and  a 
superb  cook.  But  she  still  looks  cool 
and  blonde. 

"I've  been  accused,"  he  says,  "of 
always  choosing  this  same  cool  blonde 
type  as  the  heroine  of  my  movies  and 
perhaps  that's  true.  My  taste  is  based 
on  English  women,  outwardly  cold,  in- 
wardly passionate — probably  the  most 
promiscuous  of  all.  The  trouble  is,  most 
Englishmen  don't  appreciate  them. 
These  lovely  creatures  are  the  product 
of  their  climate;  Scandinavian  women, 
from  a  similar  climate,  are  similar 
emotionally  —  Bergman  the  apple- 
cheeked,  but  what  seeds  inside  the 
apple!  The  type  is  most  photogenic, 
most  intriguing,  and  gives  me  the  op- 
portunity of  presenting  a  woman  subtly 
and  slowly  to  the  public — not  just 
putting  it  all  on  a  platter.  Look  at  the 
charm  of  the  Victorian  woman — but- 
toned up  to  the  neck,  the  corseted 
torso — yet  all  that  barricade  had  to 
come  off  sometime,  you  know.  Consider 
the  size  of  the  Victorian  family!" 

Madeleine  Carroll  .  .  .  Grace  Kelly 
.  .  .  Joan  Fontaine  .  .  .  Eva  Marie 
Saint  .  .  .  Kim  Novak  .  .  .  Vera  Miles. 
To  Hitchcock  goes  the  credit  for  bring- 
ing these  actresses  to  life.  Strangely 
enough,  he  insists,  it  has  nothing  to 
do  with  teaching  them  to  act.  It's  been 
rather  a  matter  of  giving  them  self- 
confidence.  Though  talented  and  lovely, 
they  need  the  whispered  word,  a  feel- 
ing of  ease  .  .  .  like  the  words  that 
changed  Madeleine  Carroll  into  the 
radiant  creature  of  "The  Thirty-Nine 
Steps."  This  picture  was  made  at 
Gaumont  British  and  the  powers-that- 
be  called  Mr.  Hitchcock  in.  Madeleine 
had  only  one  picture  to  make  under 
her  contract  and  would  he  please  use 
her  for  "The  Thirty-Nine  Steps." 

Hitchcock  remonstrated,  he  felt  the 
pretty  blonde  something  of  a  stick,  but 
they    pressured    him    and    there    was 


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nothing  to  do  but  use  Madeleine.  Sud- 
denly, it  occurred  to  him  that,  off  the 
screen,  she  really  might  have  a  sense 
of  humor. 

"Madeleine,"  he  said,  "let  some  of 
your  own  personality  come  through. 
Relax!  After  all,  this  is  only  a  movie." 
That  broke  her  up.  He's  used  the 
line  ever  since.  Most  actresses  are 
terrified  of  this  director  at  first.  They 
think  him  formidable  and  forbidding. 
Then  they  discover  that  he's  really  not 
fierce  and  they  begin  to  find  his  dead- 
pan and  calm  rather  soothing. 

Before  his  pictures  start  shooting, 
every  minute  detail  of  production  has 
been  worked  out,  from  the  angle  of 
each  camera  to  the  placing  of  a  pair 
of  gloves  on  a  table.  When  the  day 
comes  to  shoot,  the  major  work  has 
been  done.  All  is  order,  precision. 
There  is  absolute  quiet  on  the  set,  an 
aura  of  calm;  an  actress  has  the  ease 
of  simply  playing  her  part. 

On  one  occasion  an  actress,  a  top 
star,  went  off  the  deep  end,  raving  and 
ranting  about  Hitchcock's  direction. 
She  was  playing  her  anger  to  a  room 
full  of  people,  though,  of  course,  the 
tirade  was  aimed  at  Hitchcock.  What 
did  he  do?  He  quietly  slipped  out  the 
door.  Twenty  minutes  later,  she  dis- 
covered he  was  gone. 

"That's  the  trouble  with  him," 
stormed  the  star.  "He  won't  fight." 

She's  quite  right.  When  they  re- 
sumed work  the  next  day,  everything 
went  smoothly  enough,  but  that  actress 
probably  wonders  why  the  great  direc- 
tor has  never  suggested  she  work  with 
him  again.  The  answer  is  that  he 
doesn't  like  trouble.  He  likes  simplicity, 
directness  and  honesty.  He  likes  foreign 
actresses  because,  as  a  rule,  they're 
more  candid.  American  girls  are  very 
likely  to  put  on  the  trappings  of  sex, 
the  plunging  necklines,  the  sweaters 
— but  let  a  man  put  his  hand  on  her 
shoulder,  she'll  run  screaming  to 
mother.  They  ogle  men,  they  play  at 
sex,  but  they're  terrified.  Not  all 
American  girls.  .  .  .  There  is  Grace 
Kelly. 

"Make  no  mistake  about  this,"  the 
director  says.  "Ninety  percent  of  the 
box  office  is  determined  by  women,  at 
least  in  this  country.  Women  decide 
what  movie  they  and  their  male  escorts 
will  see.  Women  stars  are  made  by 
women  and  one  of  the  reasons  for  poor 
movie  attendance,  I  feel,  has  been  the 
downbeat  picture.  From  sink  to  sink, 
I  call  them. 

"My  inclination  is  to  give  an  audi- 
ence a  different  world,  divert  them. 
There's  nothing  new  in  the  elements 
of  shock  and  horror.  Why  have  people 
from  the  beginning  of  time  loved  to 
visit  a  haunted  house  or  ride  the  ghost 
train  or  visit  the  Chamber  of  Horrors? 
What  I  add  are  glamorous,  important 
stars  to  the  horror.  You  have  to  have 
important  people  at  the  top  or  the 
public  will  not  worry  about  them.  It's 
as  if  you  saw,  at  the  next  intersection, 
a  terrible  accident.  A  girl  has  been 
thrown  into  the  street  and  lies  there 
inert.  You  are  horrified,  you  feel  com- 
passion. But  suppose  you  take  a  second 
look,  the  girl  is  not  just  Jane  Doakes, 
she's  Doris  Day?" 

A  star,  he  feels,  must  be  surrounded 


by  glamour.  During  "North  by  North- 
west," he  watched  over  every  hair  on 
Eva  Marie  Saint's  lovely  head.  Eva  is 
sensitive;  like  most  actresses,  she  wor- 
ries about  her  appearance.  Up  until  this 
picture  she  had  always  appeared  on 
the  screen  as  a  sort  of  shy  girl-next- 
door,  someone's  sister,  a  serious,  wor* 
ried  character.  But  Eva  in  life  is  bright, 
lively,  witty  and  sophisticated.  This  is 
what  he  wanted  to  get  on  screen. 

"Perhaps  you  think  of  all  actresses 
as  exhibitionists,"  he  says.  "They  are, 
to  an  extent.  But  they  are  also  embar- 
rassed and  sometimes  tortured  by  the 
exhibit.  What  I  help  them  achieve  is 
a  degree  of  objectivity.  We  sit  in  the 
projection  room  watching  the  rushes 
and  I  reassure  them.  'That's  not  you, 
it's  a  shadow.  See  the  mistakes  and 
correct  them.  This  is  something  you 
can't  do  on  a  stage,  but  you  can  in  a 
movie.  You  can  do  what  you  want, 
there's  always  the  cutting  room  floor.' 
Actresses  are  apt  to  take  themselves 
too  seriously,  they're  often  on  the  de- 
fensive, they're  inclined  to  lack  humor. 
Above  all,  they  worry." 

Doris  Day  worries.  In  "The  Man 
Who  Knew  Too  Much,"  she  worried 
because  she  felt  she  wasn't  getting  any 
direction.  Hitchcock  reassured  her,  she 
was  excellent. 

"What's  the  matter  with  you — it's 
only  a  movie.  For  the  money  you  get, 
you  should  be  happy."  He's  said  this 
to  many  actresses  and  they  have  to 
laugh.  He's  suggested  perhaps  they'd 
like  to  take  up  nursing  as  a  career  in- 
stead. They  have  to  laugh.  Ingrid  Berg- 
man is  a  worrier  but  she  has  a  good 
sense  of  humor.  Janet  Leigh  worries 
but   she   is    an   eager    and    apt    pupil. 

Kim  Novak  gave  a  great  deal  to 
"Vertigo,"  once  she  had  been  lulled 
into  a  sense  of  confidence.  She  played 
a  double  role,  and  was  particularly 
good  as  the  girl  from  Kansas.  She 
temporarily  dropped  her  self-conscious- 
ness and  let  her  self  emerge  into  the 
girl.  Joan  Fontaine  was  able  to  achieve 
a  real  triumph  in  "Rebecca."  She  had 
existed  before  then  but  had  received 
no    real    recognition — until    Hitchcock. 

A  woman  may  be  strong  and  inde- 
pendent but  Mr.  Hitchcock  says  he's 
never  met  the  woman  who  doesn't  need 
a  masculine  arm  to  lean  on.  A  woman 
needs  to  lean  a  little  and  a  man  must 
rise  to  the  occasion.  "In  our  household, 
for  example,  when  Alma  and  I  are 
sitting  in  the  kitchen  at  night,  having 
just  relished  one  of  her  superb  dinners, 
I  cannot  under  any  circumstances  let 
my  wife  clear  up,  while  I  sit  back  and 
smoke  a  cigar.  I  have  to  be  at  it  with 
her.  I  have  made  her  depend  on  me 
through  the  years  just  as  in  our  deep 
basic  companionship  she  has  become 
the  other  half  of  me.  To  some  extent, 
my  knowledge  of  feminine  psychology 
has  grown  through  my  knowledge  of 
her." 

How  could  Grace  Kelly  resist?  Even 
if  she  finally  can't  make  that  picture 
for  Hitch — this  Princess  business  being 
what  it  is — she  simply  couldn't  say 
"no"  when  this  understanding  man 
first  asked  her!  — June  Morfield 

TV-wise.  "Alfred   Hitchcock  Presents" 
is    on    NBC,    Tues.,    8:30    p.m.    edt. 


ROGER   SMITH 


(Continued  from  page  53) 
ptomaine.  The  next  day,  not  to  be  left 
out  of  things,  Roger  collapsed  on  the 
set  of  "77  Sunset  Strip"  and  was  carted 
home  in  an  ambulance  with  a  roaring 
fever.  It  was  a  toss-up  to  prove  who  was 
the  more  ill  that  night,  Roger  or  Vici. 
And,  all  that  night  long,  the  thermostat 
jumped  up  and  down  and  the  Smiths 
alternately  roasted  and  froze. 

The  next  morning,  Roger  called  a 
meeting  of  the  clan — or  clans.  Vici  was 
the  one  about  to  have  a  baby,  he  said; 
she  had  to  come  first.  From  here  on 
out,  it  was  hands  off  the  thermostat.  He 
closed  the  vents  in  the  Elphicks'  room, 
left  their  windows  open  and  their  door 
shut.  He  piled  an  electric  blanket  and 
two  extra  wool  blankets  on  his  mother's 
bed.  Then  he  went  back  to  bed  himself. 
And  all  was  well;  Well,  almost  .  .  . 
the  pilot  on  the  furnace  kept  blowing 
out. 

"If  you  ever  invite  your  relatives  to 
visit,"  Roger  says,  using  the  polite  term 
for  invaders,  "just  be  sure  they  have  a 
sense  of  humor — and  that  you  have  one, 
too.  Every  time  I  wanted  my  car,  it 
was  missing,  my  kid  brother  had  it.  We 
spent  a  lot  of  time  with  the  kids,  enroll- 
ing my  brother  Craig  in  Birmingham 
High  (he's  seventeen)  and  enrolling 
Vici's  sister  Frances  at  Lanai  Junior 
High  (she's  fifteen).  And  do  you  sup- 
pose either  one  of  them  liked  their 
schools  or  were  happy?  Heck,  no. 
Frances  had  never  had  boys  in  her 
class  and  there  were  boys.  Craig  had 
left  his  friends  behind  in  Nogales  and 
he  still  hasn't  adjusted  to  the  loss  of 
our  father.  He's  finally  begun  to  like 
school  better  because  he's  met  a  few 
cute  girls." 

Life  on  an   assembly-line 

Luckily,  at  the  Smiths,  the  senses  of 
humor  were  in  operation.  So  were  the 
appetites.  The  kitchen  took  on  the 
aspects  of  an  assembly-line  operation. 
Say  it  was  sandwich  time  on  Sunday. 
They'd  break  open  two-and-a-half  or 
three  loaves  of  bread  on  the  kitchen 
counter  .  .  .  Vici's  sister  Frances  spread 
the  butter  .  .  .  Vici's  mom  spread 
mayonnaise  .  .  .  Mrs.  Smith'd  come  by 
with  slices  of  ham,  cheese  and  pickle 
.  .  .  Roger'd  add  lettuce  .  .  .  and  Craig 
would  flip  on  the  top  of  the  sandwiches 
— which  his  mother  sliced  in  two.  Roger 
bought  a  capacious  freezer,  seventeen 
loaves  of  bread  a  week,  and  he  took  to 
shopping  every  other  day. 

The  little  house  hummed  like  a  hive. 
Roger  and  his  father-in-law  worked  to- 
gether sawing  and  hammering  at  the 
new  room  .  .  .  Mrs.  Elphick  did  the 
cooking  .  .  .  Mrs.  Smith  was  watching 
over  the  children,  Jody  and  Tracey  .  .  . 
Frances  helped  her  mother  with  the 
cooking,  and  they  all  helped  keep  the 
house  clean  (so  did  the  day  worker)  . . . 
Craig  helped  with  the  gardening  .  .  . 
Mr.  Elphick  put  a  lock  on  the  medicine 
cabinet  so  the  children  can  never  in- 
vade that,  washed   cars   and  repaired 


everything  .  .  .  Roger  made  a  thousand 
decisions  a  day  for  everyone,  shopped 
for  groceries  and  helped  with  home- 
work .  .  .  and  Vici — in  bed  a  good  deal 
of  the  time — supervised  everything  like 
a  little  queen  bee. 

There  were  four  meals  a  day  (three 
plus  tea)  and  a  constant  clicking  of 
cameras  over  the  weekends.  Roger 
wanted  movies  of  everything  so  they'll 
have  all  their  memories  on  film.  And,  of 
course,  plans  for  the  baby. 

"A  boy,"  Roger  said — he  wanted  a 
son  for  Jody  to  play  with.  Vici  and 
Tracey  have  girl-times  together  but  he 
felt  Jody  needed  a  playmate  and  he 
was  looking  forward  to  two  sons. 

"A  girl,"  Vicki  said — and  all  the  rela- 
tives agreed  with  her. 

But  girl  or  boy,  Vici  was  determined 
to  have  that  baby  before  her  dad  had 
to  return  home.  Fifteen  days  before  the 
expected  date,  she  told  Roger  that  the 
time  had  come  and  insisted  on  going 
to  the  hospital.  He  was  just  as  eager 
as  she,  but  he  didn't  believe  for  one 
moment  .  .  .  and  her  mother  said  .  .  . 
and  his  mother  said.  .  .  .  And  when  they 
got  to  the  hospital,  the  doctor  and 
nurses  said,  "False  labor."  But  the 
very  next  day,  determined  little  Vici 
had  her  baby — a  boy — and  two  days 
later,  she  talked  the  hospital  into  letting 
her  dad  put  on  a  cap  and  gown  and 
hold  the  baby.  Grandfather  and  father 
agreed  that  this  was  the  most  beautiful 
child  they'd  ever  seen.  "We  were  abso- 
lutely dumbfounded  to  hear  another 
dad  say  the  same  thing  about  his." 

A  few  days  later,  Roger  brought  his 
wife  and  child  home  from  the  hospital. 
They  had  named  the  new  child  Dallas, 
after  Roger's  father,  who  died  this  year. 

"I  couldn't  help  thinking,"  Roger 
said,  "that  just  twenty-nine  years  ago, 
in  this  same  city,  a  man  named  Dallas 
Smith  was  bringing  a  baby  Roger  home 
from  the  hospital.  And  now,  twenty- 
nine  years  later,  that  man  Roger  was 
bringing  home  a  new  Dallas   Smith." 

They'd  asked  for  it! 

So,  even  when  Vici's  dad  had  left  for 
home,  they  still  had  a  house  of  nine! 
And  then  Vici's  brother  and  sister-in- 
law  arrived.  Roger  got  his  mother  and 
Craig  an  apartment  three  minutes  away 
from  the  house  and  they  are  still  nine. 

Of  course,  make  no  mistake  about 
this:  Roger  and  Vici  had  asked  for  it. 
They'd  planned  on  this  visit  for  five 
years,  ever  since  they  were  married. 
Roger  had  promised  Vici  then  that,  as 
soon  as  they  could,  he  wanted  her 
family  to  come  for  a  good  long  visit. 
Of  course,  what  he  couldn't  have 
known  was  that  his  father  would  die 
this  year  and  that,  at  just  the  same 
time,  he'd  be  wanting  to  bring  his 
mother  and  brother  here,  too. 

What  happens  when  all  your  in-laws 
move  in  on  you? 

Well,  it  goes  like  this  .  .  . 

One  night  Roger  came  home  from  the 
studio  after  a  hectic  day.  But  on  the 
way  home,  he'd  thought  up  a  wonder- 
ful idea  for  a  new  episode  for  the  show. 
He  could  hardly  wait  to  tell  Jeanette 
— he's  taken  to  calling  Vici  "Jeanette," 
as  her  family  does;   it  suits  her.  He 


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dashed  into  the  house  and  went  straight 
to  the  bedroom.  Vici,  her  hair  tied  up 
in  pink  ribbons,  looked  like  a  little 
girl  as  she  lifted  her  face  to  his.  Then 
he  started  telling  her  about  his  idea: 
"Listen  to  this,  Jeanette,  tell  me  what 
you  think  .  .  ." 

At  that  minute,  Tracey  rushed  in 
and  threw  herself  on  Daddy — she  had 
a  new  doll,  he  had  to  see  the  new  doll. 
Roger  picked  her  up  and  gave  her  his 
attention.  A  minute  later,  in  came  Jody. 

"You  can  tell  me  about  the  idea 
later,  darling,"  Vici  said,  smiling  up  at 
him.  So  he  sat  down  and  played  with 
the  kids  until  his  mother  came  to  get 
them  for  dinner.  More  boiled  beef. 

"Hey,  you  know,  I'm  getting  to  like 
it,"   Roger  told  his  mother-in-law. 

After  dinner,  he  went  back  to  tuck 
Vici  in  bed  again  and  maybe  now  they 
could  have  a  minute  or  two  alone.  He'd 
just  settled  himself  across  the  foot  of 
the  bed  and  was  getting  into  the  excit- 
ing part  of  his  story  when  Craig  popped 
in. 

"Hey,  Rog,  there's  a  test  tomorrow 
in  driver's  science!" 

"Just   a   minute,   Craig." 

"Okay,  so  I'll  flunk  the  test!" 

So  off  he  went  with  Craig. 

And  after  that  it  was  Frances  with 
American  history,  and  his  father-in-law, 
who  was  having  trouble  making  change 
in  foreign  currency,  and  the  drug-store 
delivery  boy  was  at  the  door. 

"The  drug-store  delivery  boy  was 
always  at  our  door,"  laughs  Roger. 
"As  a  matter  of  fact,  the  drug  store 
ran  a  shuttle  service  to  our  house. 
They're  now  adding  a  new  wing  to  the 


DAVID    NELSON 


(Continued  from  page  42) 
but  you're   pushing  your   luck   if  you 
think  this  gimmick  will  always  work! 

Before  our  marriage,  I  lived  in  sort 
of  an  eagle's  nest  high  in  the  Holly- 
wood hills.  June  had  furnished  up  her 
own  apartment.  Naturally,  we  both 
loved  our  individual  possessions,  and 
naturally,  combining  two  households 
under  one  roof  provoked  a  challenge. 
Both  of  us  thought  we  had  good  taste 
— but  it  was  in  different  areas.  I  like 
wood  paneling,  for  example,  and  hea- 
vier type  things  that  are  older  and  more 
substantial.  June  likes  things  that  are 
decorative,  comfortable  and  more  mod- 
ern. It's  funny,  but  you  just  don't  think 
of  things  like  this  before  marriage.  We 
had  many  discussions  about  many 
things,  but  it  never  occurred  to  either 
of  us  that  furnishing  our  own  home 
could  possibly  present  a  problem.  You 
live — you  learn! 

Obviously,  we've  ended  up  being  very 
happy  with  the  results.  First,  however, 
there  were  compromises  and  a  couple 
of  times  when  no  two  newly  weds  ever 
agreed  to  disagree  with  more  convic- 
tion. Sometimes  a  husband  can  forget 
that  a  wife  has  her  likes,  but  still  has 
to  please  him  as  well  as  herself.  June's 
favorite  color  scheme  is  white  and  gold 
and  that's  what  we  used.  But  white  and 


drug  store  with  the  Smith  name  in 
brass  over  the  lintel  as  a  tribute  to 
our  patronage." 

Roger  jumped  up,  took  care  of  the 
drug-store  delivery  boy,  helped  his 
mother  get  the  youngsters  into  bed, 
stopped  for  a  minute  to  help  his 
mother-in-law  put  things  away  in  the 
kitchen,  then  went  back  to  see  how 
Craig  was  doing  with  his  homework. 

About  nine-thirty,  it  seeemed  to  him 
that  everyone  in  the  house  was  talking 
at  once.  He  stepped  out  in  the  patio 
for  a  minute  to  breathe  the  calm,  quiet 
air,  then  went  back  in.  His  wife  was 
waiting,  propped  up  on  pillows,  but 
she  was  sleepy,  he  could  tell,  and  so 
was  he. 

"The  idea'll  wait  until  tomorrow, 
honey,"  he  said. 

But  so  far,  he  hasn't  told  her  yet  .  .  . 
he'll  do  it  soon,  when  the  guests  have 
gone  and  the  house  is  quiet. 

It's  going  to  be  terribly  quiet  at  the 
Smiths'.  Vici  and  Roger  are  going  to 
turn  the  intercom  down  low  and  listen 
to  the  silence,  hold  each  other  close, 
talk  over  all  the  memories  of  her 
family  and  his,  and  savor  the  flavor 
of  their  own  little  family  unit,  the 
miracle  of  their  new  son.  Roger  will 
tell,  at  last,  his  idea  for  a  new  episode. 
The  thermostat  will  point  to  seventy- 
and-a-half — no  more,  no  less.  And  after 
the  children  are  asleep  at  night,  Vici 
and  Roger  will  watch  television  in  each 
other's   arms — not   another  sound. 

— Jane  Ardmore 

Roger  co-stars  in  "77  Sunset  Strip," 
ABC-TV,   Fridays,   9   to   10   p.m.   edt. 

M  III  IIINIIIIIUIIIIlllllltllll  Mill  IIIIIIIIIIIIIIIIUIIIIIIiNlillllHIIIIIlllllllllllNIIINIIIIIIIIIIIIIIIItllllllllllllllltlllrl 

gold  aren't  my  favorite  colors,  so  June 
added  other  colors  which  I  know  she 
could  live  without.  On  the  other  hand, 
if  we  had  done  what  I  like  completely, 
then  I  wouldn't  have  been  happy  know- 
ing June  wasn't  happy.  See  what  I 
mean? 

In  our  rented  home  high  up  in  the 
Outpost  Estates,  we  have  a  closet  in  a 
dining  room  that  was  never  meant  to 
be  a  dining  room.  This  sort  of  bugged 
us,  but  we  couldn't  agree  on  how  to 
remedy  the  situation.  Finally,  we  both 
went  for  the  idea  of  turning  the  dining 
room-not-meant-to-be-a-dining-room  in- 
to a  more  informal  dining  area.  Con- 
verting that  closet  into  a  bar  seemed 
to  make  sense  and  so  I  began  building 
in  storage  cabinets  and  shelves.  Now, 
our  carport  is  barely  big  enough  for 
two  cars,  so  there  is  no  room  for  me 
and  the  tools  I  enjoy  using.  So  I  had  to 
do  all  my  sawing  and  hammering  in 
the  middle  of  the  house!  June  is  a 
meticulous  housekeeper  and  who  needs 
a  messy  husband?  I  worked  for  ten 
minutes,  then  took  off  thirty  minutes 
to  clean  things  up. 

Speaking  of  closets,  the  big  yak  dur- 
ing my  bachelor  days  was  listening 
to  my  married  friends  complain  that 
their  wives  took  up  all  the  closet  space. 
So  guess  who  ended  up  with  a  hall 
closet  and  a  small  portion  of  one  in 
the  den?  Like  every  other  wife,  so  they 
tell  me,  June  still  insists  she  has  noth- 
ing to  wear.  Actually,  learning  to 
live  with  another  person  can  be  twice 


as  taxing  for  someone  like  June.  She's 
lived  by  herself  for  many  years,  while 
I've  been  accustomed  to  the  warmth 
and  camaraderie  of  family  life.  There- 
fore, June's  adjustment  has  been  more 
difficult  and  I  try  to  remember  this. 

Fortunately,  we  both  have  good, 
healthy  tempers  which  enable  us  to 
let  off  steam  when  there  is  need.  I've 
trained  myself  to  hold  my  temper  in 
when  I  can,  but  June  has  learned  to 
watch  for  those  tell-tale  signs.  Like 
seeing  me  start  to  get  red  in  the  face. 
Nine  times  out  of  ten  when  we  blow 
up,  the  reason  is  almost  too  inconse- 
quential to  mention.  So  we  flip — but 
sometimes,  when  I  start  to  laugh,  that 
spoils  all  the  fun  of  kissing  and  making- 
up.  And  may  I  add,  our  system  of 
making-up  is  rather  unique?  We  work 
backward — and  I  highly  recommend  it 
to  all  young  husbands. 

If  June  starts  the  argument,  it  ends 
when  she  says:  "Now  you  owe  me  a 
present!"  When  I  start  something, 
then  she  has  to  give  me  a  present!  Kind 
of  wild,  isn't  it?  But  that's  half  the  fun 
of  being  married. 

Both  June  and  I  love  animals,  so 
you'd  never  suspect  that  they  t;ould 
become  a  bone  of  contention  (no  pun 
intended),  now  would  you? 

June  owned  a  dog  and  parakeet  be- 
fore we  were  married.  When  we  set- 
tled down,  a  cat  came  with  our  lease. 
Shortly  after,  when  I  went  out  on  tour 
accompanied  by  June,  we  stopped  for 
gas  and  my  bride  observed  the  station 
attendant  feeding  a  stray  kitten  part 
of  his  sandwich.  Don't  ask  me  how  it 
happened.  I  just  know  when  we  drove 
off,  the  kitten  had  joined  our  family. 
Our  small  menagerie  now  sleeps  on  our 
bed  and  this  wouldn't  be  too  bad  if  I 
had  built  that  Doggie-Door — as  prom- 
ised. Of  course  I'll  get  around  to  it 
— but,  in  the  meantime,  we  have  to  leave 
a  door  open  all  night  so  our  pets  can 
go  out.  We  shiver  until  morning! 

For  many  years,  I've  enjoyed  the 
habit  of  staying  up  late  and  sleeping 
late  in  the  morning  whenever  possible. 
You  know,  my  parents  were  in  band 
business,  where  they  met,  so  late  hours 
seem  natural  to  our  family.  This  pat- 
tern is  understandably  foreign  to  June, 
who  feels  I'm  sleeping  my  whole  life 
away  if  I  sleep  late.  I  guess  she  has  a 
point  and  I've  made  her  a  promise. 
Regardless  of  what  time  I  get  to  bed, 
I'm  going  to  get  up  when  June  does. 
Luckily,  we  have  no  neighbors  close 
enough  who'll  hear  me  moaning  and 
groaning  by  dawn's  early  light. 

Before  my  marriage,  I  must  admit 
I  approached  the  possibility  with  cer- 
tain misgivings.  Like  my  father,  I  have 
always  loved  athletics  and  participated 
in  practically  every  sport.  While  film- 
ing "The  Big  Circus,"  I  became  fas- 
cinated with  the  trapeze.  Del  and  Babs 
Graham  were  technical  experts  on  the 
picture,  and  after  studying  with  them 
I  was  able  to  appear  with  their  aerial 
troupe  on  numerous  occasions.  When 
you're  out  on  the  road,  you  have  to  have 
some  way  of  carrying  rigging.  I  bought 
a  flat  bed  truck  and  mounted  two  camp- 
ers on  the  back  for  living  quarters. 
In  thinking  about  marriage,  I  had 
to    ask    myself:    Supposing    my    wife 


would  object  to  this  gypsy  life?  Al- 
though the  circus  is  not  my  business, 
maybe  a  wife  might  consider  my  brief 
excursions  too  hazardous.  Perhaps  mar- 
riage would  be  too  much  of  a  drag. 
The  more  I  thought  about  all  this,  the 
less  enthusiastic  I  became.  But  then 
I  met  June.  What  a  relief  when  I 
learned  she,  too,  had  her  misgivings 
about  marriage.  Could  she  conform  to 
a  pattern  way  of  living,  she  wondered. 
And  she,  too,  was  afraid  of  losing  her 
independence.  The  answer  is,  so  far  we 
have  had  a  ball  because  there's  never 
a  dull  moment.  Once  a  month  at  least, 
we  go  out  camping  in  our  truck  and 
each  trip  is  a  new  adventure.  June  loves 
the  gypsy  life  and  puts  up  with  many 
discomforts  without  one  little  word  of 
complaint.  She's  really  the  greatest. 

Now  that  I'm  out  of  circulation,  as 
it  were,  I  suppose  it's  natural  for  peo- 
ple to  ask  me  about  Rick  and  his  plans. 
I've  also  been  asked  what  advice  I'd 
give  my  brother.  You  know,  things  I've 
learned  as  a  bridegroom  that  I'd  tell 
Rick  for  his  future  use.  He  has  always 
been  quite  a  bit  within  himself,  so 
we'd  never  have  a  long  and  serious 
discussion  about  marriage  unless  he 
was  contemplating  it.  To  my  knowledge, 
he  isn't.  I  think  he  feels  he  has  a  lot 
to  see  and  do  before  settling  down. 
But  one  evening  when  he  dropped 
by  the  house  unexpectedly,  we  did  sort 
of  talk  around  the  edges.  Rick's  of  that 
age  where  he  has  it  all  figured  out. 
He  said  casually  that  when  he  got  mar- 
ried, he  was  going  to  lay  down  the  law. 
Just  wait  until  you're  married — that's 
what  I  should  have  answered!  Accord- 
ing to  Rick,  a  husband  should  be  very 
consistent  and  take  a  stand  about  things 
immediately.  Otherwise,  he  said,  how 
can  a  wife  learn  to  adjust  to  her  hus- 
band? In  marriage,  I  pointed  out  there 
are  two  people  involved — not  one.  Two 
people  who  must  learn  to  adjust  to  each 
other — and  it's  very  difficult  for  each 
to  retain  individuality  and  still  keep 
from  clashing. 

Maybe  it  was  better,  I  suggested,  for 
Rick  to  marry  someone  in  our  business 
who  would  understand  all  our  daily 
problems.  However,  if  he  did  marry  a 
non-professional,  there  could  be  many 
advantages,  too.  Being  separated  from 
each  other's  problems  all  day  might 
give  them  greater  objectivity,  might  cre- 
ate greater  understanding  as  a  basis 
for  advice  and  guidance.  Rick  listened 
to  my  little  speech,  but  I  know  my 
brother  too  well.  When  his  turn  comes, 
he'll  have  to  find  out  all  the  answers 
for  himself.  And  he  will. 

How  often  it's  been  said:  The  first 
year  of  marriage  is  the  toughest!  Re- 
cently I  ran  into  a  friend  who  has 
been  married  for  quite  a  long  time.  He 
kidded  me  about  being  trapped  by  a 
wedding  ring.  Then,  as  he  shook  hands 
and  said  goodbye,  he  added:  "Oh,  well 
— just  remember  it's  only  the  first  ten 
years  that  are  the  hardest!"  Well,  I'll 
say  it  again.  With  June  by  my  side, 
I'm  more  than  willing  to  take  my 
chances.         — as  told  to  Jerry  Asher 

All  the  Nelsons  can  be  seen  in  "The 
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THE    CLEAR    HORIZON 


(Continued  from  page  55) 
Even   the   usual   "happy   ending"    can 
serve    to    give    hope    to    viewers    and 
stimulate  them  to  meet  their  difficulties 
courageously. 

On  the  other  hand,  it  is  unhealthy  to 
substitute  the  makebelieve  world  of  TV 
drama  for  everyday  reality.  Rarely  are 
real  children  as  obedient,  real  women 
as  romantic,  or  real  men  as  virile,  as 
those  portrayed  on  our  screen.  Once 
the  program  is  over,  it  is  time  for 
viewers  to  become  disenchanted  and 
snap  back  to  reality — or  they  are  likely 
to  become  disillusioned,  frustrated  and 
unable  to  accept  the  circumstances  of 
their  own  lives. 

Few  women,  for  example,  are  mar- 
ried to  Astronauts  or  space  scientists, 
but  all  husbands  must  face  similar 
tests  of  courage — physically,  morally  or 
emotionally.  Captain  Roy  Selby  and 
his  wife  are  a  case  in  point.  They  exist 
only  on  TV,  as  hero  and  heroine  of 
"The  Clear  Horizon,"  working  side  by 
side  in  space  research  at  Cape  Canav- 
eral. 

They're  happily  married  and  have  a 
son,  Ricky,  who  is  twelve.  He  was  born 
in  Morocco  and  has  lived  in  Japan, 
Alaska.  California  and  New  Haven. 
Roy  was  in  the  Army  when  he  first  met 
Anne.  He  was  raised  on  a  farm  in  the 
Midwest,  worked  his  way  through  col- 
lege and  has  all  but  lost  track  of  his 
family.  He's  a  natural  athlete,  enjoys 
competition,  has  a  great  sense  of  duty 
and  likes  to  be  by  himself — reading, 
listening  to  music,  or  just  thinking. 

Anne  comes  from  New  England, 
where  her  folks  still  live  in  the  house  in 
which  she  grew  up.  Her  dad  was  a 
real  estate  agent  who  painted  pictures 
on  the  side;  artistic,  impractical, 
weaker  than  his  wife,  he  drew  on  her 
strength  to  survive.  Anne  was  more 
like  her  mother  and  made  her  way  in 
the  business  world  at  a  young  age. 

Anne  works  parttime  at  the  billeting 
office  of  the  air  base.  Roy  is  now  an 
Air  Force  captain,  assigned  to  various 
hazardous  jobs  connected  with  our 
space  research  program.  His  life  is 
often  in  jeopardy  and  Anne  lives,  as 
they  say,  on  "the  razor's  edge." 

These  two  are  well-mated.  Anne  re- 
quired a  strong  masculine  figure,  un- 
like her  father,  for  a  husband.  Roy  re- 
quired the  solid  family  roots  he  missed 
as  a  child.  Anne — as  well  as  the  Army 
— offered  him  this  kind  of  security.  The 
Army — or  the  police  force,  a  large  cor- 
poration, or  any  major  business  enter- 
prise such  as  a  supermarket  chain — 
gives  a  man  a  sense  of  belonging ;  he 
may  find  roots  and  a  feeling  of  "home" 
which  he  never  knew. 

Men  like  Roy  choose  hazardous  work 
for  any  number  of  reasons:  The  appeal 
of  the  job  itself,  higher  pay,  excitement, 
the  admiration  of  others.  (IF hen  a  man 
in  a  dangerous  job  acts  in  a  foolhardy 
fashion,  however,  he  may  have  been 
driven  to  such  work  for  neurotic 
reasons  and  unconsciously  wish  to  be 
hurt  or  killed  in  performing  his  duty. 


But  this  is  clearly  not  Roy's  reason.) 
For  any  woman  in  Anne's  position  to 
accept  the  uncertainty  that  goes  with 
marrying  a  man  who's  always  on  the 
go  and  forever  courting  danger,  she 
must  love  her  husband  deeply  and 
share  something  of  his  own  excitement 
in  undertaking  risks.  Anne  seems  to 
have  met  this  challenge  in  a  mature, 
healthy  way,  uncomplaining  and  work- 
ing by  his  side  as  much  as  her  time 
allows — for  she  is  also  a  mother  and 
must  pay  extra  attention  to  her  son, 
who  is  growing  up  in  a  highly  dramatic, 
uncertain,  ever-changing  environment. 
Ricky  has  never  known  what  it 
means  to  have  real  friends,  for  his 
friendships  never  lasted  more  than  two 
years,  at  the  most.  That's  the  longest 
his  family  ever  stayed  put  in  one  place 
before  his  dad  was  moved  elsewhere 
for  military  reasons. 

The  Selbys  live  under  tension  at  all 
times,  never  knowing  when  Roy  will 
be  separated  from  them,  or  for  how 
long,  or  whether  he'll  ever  return. 
Sometimes,  his  work  may  entail  such 
secrecy  that  he  can't  even  alert  his 
wife  as  to  what  might  happen. 

Ricky's  feeling  of  emotional  security 
is  very  much  in  the  hands  of  his  mother. 
If  she  is  a  warm,  loving,  strong  person, 
the  child  can  survive  the  tensions  im- 
posed by  his  dad's  job  and  any  sudden 
separations  from  him.  Even  the  child 
who  attends  a  sleep-away  camp  or  out- 
of-town  school — 0/'  is  hospitalized 
through  illness  or  injury — successfully 
copes  with  such  separation  from  his 
family  only  when  he  lives  in  a  home 
where  he  feels  secure  and  knows  that 
his  parents  love  him,  as  well  as  each 
other. 

A  boy,  of  course,  needs  masculine 
companionship  in  order  to  identify 
with  a  strong  male  figure:  His  father. 
If  his  father  is  away  too  long  or  too 
often,  a  boy  is  bound  to  be  hurt,  even 
in  the  best  of  families.  Since  his  dad 
is  a  "soldier,"  Ricky  may  have  less  of 
a  problem  than  do  his  civilian  counter- 
parts, because  he's  growing  up  in  an 
environment  where  it's  not  unusual  for 
fathers  to  be  away  from  their  families. 
Anne  Selby  must  have  great  faith  in 
her  husband  in  order  to  survive  the 
anxiety  that  must  plague  her  constantly. 
She  must  believe  in  his  love  and  in  his 
ability  to  take  care  of  himself.  The  wife 
of  America's  famous  Astronaut,  Col. 
Glenn,  showed  as  much  courage,  emo- 
tionally, as  did  her  husband  physically. 
This  is  the  pattern  Anne  must  follow. 
In  a  particularly  exciting  episode, 
Captain  Roy  Selby  and  his  buddy. 
Lieutenant  Sig  Levy,  are  held  captive 
on  a  Russian  ship  which  picked  them 
up  at  sea  when  they  Were  attempting 
to  recover  the  pay-load  of  an  exploded 
missile  during  a  squall.  Anne  does  not 
yet  know  that  Roy  and  Sig  are  being 
detained  as  spies.  All  she  knows  is 
that  they  are  missing. 

She  doesn't  tell  even  this  to  Sig's 
wife,  Jeanette,  who  is  her  friend.  She 
doesn't  want  to  worry  her  and  is  wait- 
ing for  more  information  before  giving 
her  the  news.  However,  she  does  take 
her  son.  Ricky,  into  her  confidence. 

Is  this  fair  to  her  friend?  Is  it  fair 
to  the  bov? 


Anne  was  wrong  in  revealing  such 
news  to  her  twelve-year-old  son.  He  is 
too  young  to  recognize  the  situation  in 
its  true  perspective,  and  could  be  hurt 
emotionally.  When  a  wife  takes  a 
youngster  into  her  confidence  this  way, 
in  real  life,  we  are  inclined  to  suspect 
that  she  is  using  him  as  a  husband- 
substitute,  viewing  him  as  an  adult 
rather  than  as  the  child  he  really  is. 

Also,  it  is  inconsistent  for  her  to 
speak  out  to  her  son  but  withhold  such 
information  from  her  friend.  Even 
though  Jeanette  is  pregnant  and  Anne 
is  presumably  trying  to  protect  her 
from  worry,  she  is  not  playing  fair  with 
her.  This  situation  deeply  concerns  the 
other  wife,  too,  and  she  should  know 
what's  happened. 

Again,  if  a  woman  behaved  this  way 
in  real  life,  we  would  suspect  that  she 
may  be  expressing  some  unconscious 
feeling  of  hostility  to  her  friend  under 
the  guise  of  "protecting"  her,  or  per- 
haps might  want  to  play  martyr  and 
not  share  her  martyrdom  with  anyone 
else — a  selfish  attitude,  in  any  case. 

Learning  to  live  with  death 

Ricky  is  terribly  upset.  He  can't 
sleep.  He  complains  about  missing  his 
father  even  at  those  times  when  he 
normally  wouldn't  be  with  him;  just 
knowing  he's  there,  if  he  needs  him, 
makes  him  feel  secure.  Anne  smothers 
her  own  fears  and  bravely  tries  to  re- 
assure her  son. 

But  what  if  Roy  should  never  return  ? 
How  can  a  mother  prepare  her  child 
for  the  possible  loss  of  his  father? 

This  situation  calls  for  great  courage 
on  Anne's  part,  and  adult  courage 
means  recognizing  things  as  they  are, 
standing  up  to  them  and  dealing  with 
them  forthrightly.  Anne  has  shown 
courage  here.  She  has  fought  back,  in 
the  face  of  stress  and  anxiety,  in  order 
to  sustain  her  child.  She  has  set  him 
a  good  example,  nourished  him  on 
hope  and  love  and  the  truth  of  the 
matter.  She  has  not  broken  down;  if 
she  had,  then  the  last  support  of  her 
child  would  have  crumbled  and  Ricky, 
too,  would  have  broken. 

This  is  all  that  any  mother  can  do 
when  her  husband  is  threatened  and 
may  never  return  to  the  family  fold. 
Of  course,  a  very  young  child  should 
not  be  exposed  to  as  much  of  the  facts 
as  an  older  one.  The  emotional  age  of 
the  child  must  be  considered,  too. 

A  moral  question  is  raised  by  Roy's 
imprisonment,  and  it  reminds  us  that 
perilous  situations  sometimes  lead  to 
unwholesome,  less  than  honest  solutions. 
In  this  case,  the  problem  arises  because 
Roy  and  Sig  have  found  a  benefactor 
aboard  their  prison  ship — an  officer 
who  shows  a  desire  to  defect  and  flee 
to  America. 

When  this  officer  inadvertently  leaves 
the  door  open  to  Roy's  cabin,  Roy  pro- 
tects him  by  going  along  with  Sig's 
explanation  to  the  ship's  commanding 
officer  that  an  innocent  sailor  named 
Kirov  was  the  guilty  party. 

No  matter  what  the  circumstances, 
this  is  not  a  moral  solution.  Kirov  is 
innocent  of  wrong-doing — he  is  a 
human  being,  and  likely  to  be  punished 


for  something  he  didn  t  do.  Morality 
means  distinguishing  right  from  wrong 
in  all  situations,  not  fust  when  it's  con- 
venient to  act  one  way  or  another.  It 
may  be  expedient  to  accuse  Kirov,  in 
order  to  save  their  friend's  skin,  but  it 
is  not  moral. 

It  is  inconsistent  with  Roy's  integrity 
to  behave  this  way — his  resourcefulness 
should  have  allowed  him  to  come  up 
with  a  more  honest  solution.  Regardless 
of  one's  good  intentions,  it  is  dangerous 
to  sink  to  the  level  of  permitting  the 
means  to  justify  the  end.  In  this  par- 
ticular case,  real-life  actions  must  not 
model  themselves  after  those  of  TV 
plays.  We  should  be  careful  to  avoid 
confusion  between  doing  what's  right 
and  doing  what's  expedient.  Modern 
society  already  suffers  a  great  deal 
from  such  confusion. 

Roy,  of  course,  does  return  safely 
and  is  re-united  with  his  family.  The 
closeness  of  his  relationship  with  his 
wife  is  expressed  again  in  an  incident 
where,  only  through  Anne's  alertness 
and  assistance,  does  he  become  able  to 
clear  an  innocent  man  and  prevent  his 
being  court-martialed. 

This  is  the  kind  of  upright  behavior 
completely  consistent  with  Roy's 
character — and  it  is  significant  that 
Anne  was  of  help  to  him.  Marriage,  if 
it  is  to  be  a  good  one,  must  be  a  part- 
nership which  is  equally  shared.  Those 
wives  and  husbands  who  cannot  un- 
burden themselves  to  each  other,  and 
are  forced  to  live  separate,  private, 
secret  lives,  are  missing  all  the  joys  of 
marriage.  Even  when  life  is  a  con- 
tinual crisis — the  more  they  have  in 
common,  the  better  they'll  be  able  to 
cope   with   their  problems. 

Anne  has  acted  as  a  true  wife  here, 
by  taking  an  active  interest  in  her 
husband's  work.  Roy  has  responded  as 
a  true  husband  by  accepting  and 
acknowledging  her  interest.  Both  have 
shown  their  ability  to  share  both  the 
good  and  the  bad  that  life  has  to  offer. 
This  ability  to  share  is  bound  to  have 
a  healthy  effect  on  their  young  son. 

Captain  Roy  Selby,  his  wife  Anne 
and  their  son  Ricky  are  pretty  special 
people,  in  terms  of  the  harum-scarum 
life  they're  forced  to  lead.  But,  deep 
down  inside,  they're  not  very  different 
from  other  families.  Even  though  most 
husbands  aren't  threatened  by  physical 
danger,  they  and  their  families  are  at 
the  mercy  of  other  just-as-frightening 
concerns.  A  man  can  lose  his  job  .  .  . 
or  become  seriously  ill  .  .  .  or  be  lured 
away  by  another  woman's  charms. 
Trouble  can  beset  anybody's  family  at 
any  time.  A  crisis  can  occur,  without 
notice,  about  anything  from  health  to 
finances. 

But  remember:  Though  your  prob- 
lems may  be  similar  to  those  faced  by 
your  favorite  TV  heroes  and  heroines, 
your  solutions  may  have  to  be  quite  dif- 
ferent. 

Next  month,  we'll  analyze  another 
popular  daytime  drama  and  try  to  make 
its  story  and  its  characters  meaningful 
in  your  own  lives  and  relationships  with 
those  you  love.  — The  End 

"The   Clear   Horizon"   is   on    CBS-TV, 
Mon.-Fri.,    11:30    to    11:55    a.m.    edt. 


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CHUCK   CONNORS 


(Continued  from  page  32  ) 

Chuck  Connors  stared  lifelessly  ahead 
for  a  moment  and  then  closed  his  eyes 
a  bit  wearily,  as  if  to  wash  away  the 
vision  of  his  ruined  marriage. 

"This  is  a  very  hard  time  for  me," 
he  said  hesitantly.  "You've  probably 
read  that  my  wife  was  granted  her 
interlocutory  degree  today.  It's  all  been 
a  terrible  experience  for  me.  I  did  it 
for  the  sake  of  our  boys.  My  critics 
won't  believe  that  but  I  don't  care.  I'm 
tired  of  trying  to  justify  my  actions 
to  them. 

"The  boys  are  my  whole  life.  I  went 
through  with  the  divorce  primarily  for 
their  sake.  If  I  didn't  think  it  was 
going  to  be  best  for  them,  I  would  never 
have  agreed  to  the  separation. 

"I  know  some  people  think  I'm 
wrong,  but  I'm  not  concerned  about 
that,  any  longer.  All  I  care  about  is 
my  sons  and  what  is  best  for  them. 

"I  truly  think  the  boys  are  happier 
than  they've  been  in  a  while,"  he  went 
on  after  a  moment.  "My  relationship 
with  them  is  stronger,  too,  for  when 
I'm  with  them  now  I'm  a  whole  person, 
not  half  a  man  wracked  with  worry  and 
tension.  I  don't  yell  at  them  to  cut  out 
the  noise  because  they're  disturbing  me 
while  I'm  trying  to  learn  a  script.  I'm 
all  theirs  and  I  can  devote  my  entire 
mind  to  them. 

"It's  not  the  easiest  job  in  the  world 
being  a  father  to  four  boys.  It  takes  a 
lot  of  work  and  a  lot  of  guidance  to 
raise  them.  I'm  proud  of  how  close  we 
are.  I've  tried  hard  to  steer  them  in  the 
right  direction,  but  I've  always  allowed 
them  to  make  their  own  decisions.  Right 
now  Mike,  who's  eleven,  Jeffrey,  who's 
nine,  and  eight-year-old  Steven  are  con- 
vinced they'd  like  to  be  professional 
baseball  players.  Sure,  that  gives  me  a 
kick  because  of  my  background  as  a 
professional  athlete,  but  I  don't  push 
them  into  sports  or  anything  else. 

"I  feel  that  each  of  them  has  to  be 
himself,  physically  and  psychologically. 
And  they're  each  so  different.  Michael 
is  a  big,  strong,  virile  boy  who  lives  in 
a  world  composed  almost  entirely  of 
sports.  He  does  have  an  artistic  side, 
however.  Mike's  sensitive.  He  has  to 
be  constantly  reassured  of  my  love.  The 
others  take  it  more  for  granted. 

"Jeffrey  is  the  natural  athlete  in  the 
family.  My  wife  took  him  ice  skating 
for  the  first  time  several  months  ago. 
Within  two  hours,  the  hockey  coach  at 
the  rink  had  noticed  him  and  wanted 
him  for  the  team."  Chuck's  voice 
boomed  with  parental  pride.  "He's  fast 
as  greased  lightning.  I  play  basketball 
with  the  boys  and  Jeffrey  can  outshoot 
me,  basket  for  basket."  His  voice 
lowered  as  he  added,  "Jeff's  also  very 
good  looking.  He  takes  after  my  wife, 
who  is  a  beautiful  woman. 

"Steve's  the  intellectual   one  of  the 
crowd — but,"   Chuck   hastened   to   add, 
"he's  no  bookworm.  He's  a  pretty  great 
j       athlete,  too. 

v  "And  Kevin — Kevin's  the  baby  and 

R       the  little  king  in  our  house.  Everyone 

makes  a  fuss  over  him  and  I  guess  he 

knows  it.  He's  something  special  to  us." 


The  smile  that  had  played  at  the 
lips  of  the  tall,  husky  actor  faded.  "It 
hasn't  been  easy,  but  I  think  we're  bet- 
ter off  now.  The  boys  are  happy  and 
well  adjusted.  No  one  can  survive  and 
grow  in  an  unhappy  atmosphere. 

"Of  course  it  tears  me  apart.  Why 
shouldn't  it?  Last  weekend  I  took  the 
boys  to  the  ball  game  and  afterward 
we  stopped  over  at  Ray  Danton's  house 
where  we  got  into  a  football  game  with 
him  and  his  kids.  It  was  great.  Ray's 
boy  threw  a  pass  to  him  for  a  touch- 
down and  Mike  caught  one  from  me  to 
tie  up  the  score.  It  ended  a  tie  game, 
but  it  was  a  father-son  victory  for  both 
sides.  After  the  game,  Ray's  wife  fixed 
us  all  a  batch  of  hamburgers  for  dinner. 
The  day  had  been  a  wonderful  one  for 
the  boys  and  me,  a  real  family  session. 
But  then,  when  I  got  ready  to  drive 
the  boys  home,  Kevin  said,  'Daddy,  I 
don't  want  to  go  home.  I  want  to  stay 
with  you  in  your  house  tonight.'  It 
tore  me  apart.  I  couldn't  tell  him,  'It's 
not  in  the  settlement,  son.' 

"Actually,  though,  my  wife  has  been 
very  good  about  allowing  me  to  see  the 
boys  whenever  I  wish.  I'm  supposed  to 
have  them  only  every  other  weekend, 
but  I  always  see  them  more  often  than 
that.  I've  rented  a  small  house  in 
Beverly  Hills  and  I'm  fixing  it  up  so 
I  can  have  the  boys  stay  overnight. 

"I'm  planning  a  lot  of  wonderful 
times  with  them.  In  a  couple  of  weeks, 
I'm  going  to  take  them  up  to  the  moun- 
tains to  hunt  for  arrowheads.  If  the 
weather  is  nice,  we'll  camp  out.  If  not, 
we'll  rent  a  motel  room,  but  either  way 
it  will  be  a  real  family  affair." 

The  word  "family"  popped  up  fre- 
quently in  Chuck's  conversation,  al- 
though he  seemed  unaware  of  it.  "I'm 
also  planning  a  special  children's  pre- 
view of  my  new  picture  'Geronimo'  and, 
of  course,  I'm  going  to  take  my  boys  to 
that.  I'm  excited  about  the  movie  and 
anxious  for  the  children  to  see  it.  It's 
a  real  family  picture." 

The  things  that  trouble  them 

Chuck  shook  his  head  as  if  to  answer 
a  silent  question  that  had  come  to  his 
mind.  "No,  I  don't  think  our  relation- 
ship will  be  much  different  than  it's 
ever  been.  Oh,  sure,  I'm  not  with  the 
boys  constantly,  but  when  we're  to- 
gether they  ask  my  advice  about  things 
that  have  been  troubling  them,  and  I 
still  try  to  keep  a  close  eye  on  their 
school  work.  Mike  was  having  a  prob- 
lem with  arithmetic  a  short  while  ago. 
I  had  him  go  over  some  problems  with 
me  and  I  saw  he  had  missed  the  basic 
principle.  I  worked  with  him  for  a 
couple  of  hours  and  it  cleared  every- 
thing  up   for  him. 

"It's  been  eight  months  since  I  left 
home.  I've  had  plenty  of  time  to  see 
how  the  boys  are  adjusting  and  I've 
found  they've  adjusted  well.  We  talk 
together  about  everything — except  the 
divorce.  They  were  told  when  it  all 
happened  that  I  had  to  move  away  and 
they  all  seem  to  understand.  So  there 
is  really  no  need  for  us  to  discuss  it. 

"I  make  sure  that  the  time  we  spend 
together  is  a  happy  time.  We  go  hiking 
and  fishing  as  we  have  in  the  past. 
Anyone  who  has  worked  with  me  knows 


how  close  the  boys  and  I  have  always 
been.  I've  brought  them  on  the  set  quite 
a  few  times  and  they're  in  heaven  there. 
Of  course,  after  about  ten  minutes  of 
watching  the  show  being  shot  they  get 
bored  and  run  off  to  the  studio's  back 
lot.  That  place  is  a  kids'  paradise.  Dirt 
roads,  mountains — it's  like  the  Old 
West  come  to  life. 

"I  think  the  reason  I've  never  had  to 
work  very  hard  to  achieve  a  closeness 
with  my  sons  is  because  they  respect 
me.  They  know  I  love  them,  but  they 
know,  too,  that  I  won't  let  them  walk  all 
over  me.  Kids  are  like  colts.  You  have 
to  ride  them  with  a  loose  rein,  but  they 
have  to  know  at  all  times  that  the  rein 
is  there." 

He  laughed.  "Of  course,  I  don't  al- 
ways do  such  a  good  job  in  the  dis- 
cipline department.  The  boys  were 
always  asking  me  what  a  personal- 
appearance  tour  was  like,  so  I  decided 
to  take  them  along  with  me  on  one  last 
summer.  Do  you  know  what  they  liked 
most  about  the  trip?  Running  up  and 
down  the  halls  in  the  hotel  and  sliding 
down  the  laundry  chute.  Kevin  was 
real  proud  of  himself  when  he  told  me, 
'Dad,  we  found  the  neatest  slide  in  the 
closet.' 

"I'm  going  to  tell  you  something.  I 
don't  believe  discipline  is  really  too  im- 
portant. The  most  important  thing  is 
love.  If  children  know  you  love  them, 
everything  else  falls  in  place.  I  don't 
mean  that  you  have  to  be  constantly 
picking  them  up  and  kissing  them,  but 
you  have  to  make  them  aware  of,  and 
confident  of,  your  love.  You  can't  fool 
children  about  this.  They  have  an  in- 
stinctive feeling  that  tells  them  who's 
on  their  side  and  who's  not. 

"Love,  that's  the  important  thing.  Oh, 
there's  so  much  I  can't  say — don't  want 
to  say — but  I  will  tell  you  this:  The 
boys  and  I  are  a  closer  family  now 
than  we  ever  were  before.  Do  you  be- 
lieve that?  It's  true.  I  can't  tell  you 
how  they  act  when  we're  separated,  but 
when  we're  together  I  see  them  being 
happy  and  carefree.  Their  lives  are  no 
longer  being  torn  apart.  I'm  sure  my 
wife  is  happier,  too.  The  times  I've  seen 
her,  she's  seemed  more  relaxed  and 
better  adjusted.  She's  now  better  able 
to  cope  with  the  boys  and  their  prob- 
lems. Me?  I  know  how  I  feel.  Like  a 
weight  has  been  taken  off  my  mind." 

Chuck  suddenly  sat  forward  and  a 
note  of  urgency  filled  his  voice  as  he 
asked,  "Do  you  know  what  the  most 
important  entity  in  the  world  is?  It's 
the  family.  Think  about  it.  Certainly  the 
ideal  setup  is  a  family  with  a  mother, 
a  father  and  children,  but  it  can't  al- 
ways be  that  way.  Do  you  know  why 
my  television  show,  'The  Rifleman.'  has 
been  successful  for  so  long?  Because 
that  strong  family  feeling  comes  across 
between  Johnny  Crawford  and  myself. 
It  gets  right  to  the  viewer — the  love  of 
a  father  and  son.  I've  no  wife  in  the 
show,  but  Johnny  and  I,  we're  a  family, 
aren't  we?  Well,  that's  the  way  it  is 
with  me  and  my  boys.  We're  a  family. 
Maybe  no  one  else  thinks  of  us  as  being 
a  complete  unit.  Maybe  we're  not  the 
picture  the  story  books  portray.  But 
we  are  a  family,  and  a  close  one.  And 
you  know  something?  That's  the  way 
we're  going  to  stay."  — Marilyn  Beck 


Bathing  suit,  Sylvia  DeGay  for  Robert  Sloan 


Formal,  Rappi  Inc. 


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The  relaxed  way  you  look  mirrors  the  relaxed  way  you  feel.  You  know  your  secret  is  safe  with 
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1       CITY                                                              ZONE             STATE 
1 

j     POST  GRADUATE  SCHOOL  OF  NURSING 

|     Room  9R82     -      121  S.  Wabash  Ave.,  Chicago  3,  III.    \ 

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j          |       NAMF                                                                                                                                       j 

ADDRFSS                                                                                                                                 | 

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YOUR  AGE  AND  EDUCATION  ARE  NOT  IMPORTANT  .  .  .  Good  common  sense 
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school.  Practical  nursing  offers  young  women  and  men  an  exciting  chal- 
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HUNDREDS  OF  ADDITIONAL  PRACTICAL  NURSES  WILL  SOON  BE  NEEDED  to  care 
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to  begin  a  new  life  of  happiness,  contentment  and  prestige  is  before  you.  See 
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can  make  your  own  decision  to  be  a  Nurse  in  the  privacy  of  your  own  home. 
We  will  send  you  without  obligation  your  FREE  sample  lesson  pages,  and 
your  FREE  folder  "Nursing  Facts." 

POST   GRADUATE   SCHOOL  OF   NURSING 

ROOM    9R82    -     121   SOUTH  WABASH  •  CHICAGO  3,  ILL. 


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AUGUST,   1962 


MIDWEST  EDITION 


VOL.  58,  NO.  3 


IT  HAPPENED  THIS  MONTH 


Eddie  Fisher  14  Stealing  Back  into  Debbie's  Heart James  Hoffman 

Richard  Chamberlain  26  Secretly  Married !  TV's  Hottest  Rumor ! .  .  Dean  Gautschy 

Vincent  Edwards  30  The  Next  Best  Thing  to  Marriage Nick  Dennis 

The  Lennon  Sisters  32  The  Day  God  Answered  No Eunice  Field 

Perry  Como  34  Why  He  Stopped  Being  a  "Nice  Guy" Irene  Storm 

Peggy  McCay  38  Twist — from  Efrem  Z.  to  Robert  Q.! James  Gregory 

Gracie  Allen  40  "Am  I  Too  Sick  to  Know  the  Truth?".  .  .Rocky  Rockwell 

Second  Honeymoons  43  Is  Love  Sweeter — the  Second  Time? Marilyn  Beck 

Cara  Williams  46  "He's   No   Barrymore!" Chris  Alexander 

Michael  Landon  48  "I'm  Their  Father  Till  I  Die" Alan  Somers 

Ted  Mack  50  Are  You  Losing  Out  in  Life? Betty  Etter 

"Love  of  Life"  53  Does  a  Second  Wife  Have  to  Be  Second  Best? 

Kathy   Nolan  56  My  Fight  to  Save  My  Reputation,  .as  told  to  Tex  Maddox 

Carol  Burnett  58  Why  She  and  Garry  Moore  Had  to  Part . .  Chrys  Haranis 

Arthur  Godfrey  60  "Every  Day  I  Live  with  Dying" George  Carpozi  Jr. 

George  Maharis  62  Why  They  Warn  You  About  Him Pat  Richards 

Sebastian  Cabot  64  "But  Darling,  We  Can't  Afford  It!" Tricia  Hurst 

BONUS:  A  MAGAZINE  WITHIN  A  MAGAZINE 

17  Close-up  on  Bobby  Darin  21     Tops  in  Singles 

18  Album  Reviews  22     Music  Makers  in  the  News 
24     The  Wonderful  World  of  Ed  Sullivan 


WHAT'S  NEW?  WHAT'S  UP? 


4     Information  Booth 

6     Earl  Wilson's  Inside  Story 


12     What's  New  from  Coast  to  Coast 
82     Photographers'  Credits 


SPECIAL:  YOUR  MIDWEST  FAVORITES 

Marc  Alan  67   It's  Kissin'  Time  (KLEO  Radio) 

Connie  Mitchell  68   This  Is  Work?   (WBBM) 

Bill  Kennedy  70    Meet  "Mr.  Movie"  (CKLW-TV) 

"Ripcord"  72   They  Fly  Through  the  Air 


CLAIRE  SAFRAN,  Editor 

EUNICE  FIELD,  West  Coast  Editor 
TERESA  BUXTON,  Managing  Editor 
LORRAINE  BIEAR,  Associate  Editor 
ANITA  ZATT,  Assistant  to  Editor 


JACK  J.  PODELL,  Editorial  Director 

JACK  ZASORIN,    Art  Director 
FRANCES  MALY,   Associate  Art  Director 
PAT  BYRNE,  Art  Assistant 
BARBARA  MARCO,  Beauty  Editor 


_»m 


TV  Radio  Mirror  is  published  monthly  by  Macfadden-Bartell  Corporation,  New  York,  N.  Y.  Executive,  Adver- 
tising and  Editorial  Offices  at  205  East  42nd  St.,  New  York  17,  N.  Y.  Editorial  branch  office,  434  North  Rodeo 
Drive,  Beverly  Hills,  Calif.  Gerald  A.  Bartell,  Chairman  of  the  Board  and  President:  Lee  B.  Bartell,  Executive  Vice 
President;  Frederick  A.  Klein,  Executive  Vice  President  for  Publishing-General  Manager;  Robert  L.  Young,  Vice 
President;  Sol  N.  Himmelman,  Vice  President;  Melvih  M.  Bartell,  Secretary.  Advertising  offices  also  in  Chicago 
and  San  Francisco. 

Subscription  Rates:  In  the  U.S.,  its  possessions  and  Canada,  one  year,  $3.00;  two  years,  $5.00;  three  years, 
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Manuscripts  and  Photographs:  Publisher  cannot  be  responsible  for  loss  or  damage. 

Foreign  editions  handled  through  International  Division  of  Macfadden-Bartell  Corporation,  205  East  42nd  Street, 
New  York  17,  N.  Y.  Gerald  A.  Bartell,  President;  Douglas  Lockhart,  Sales  Director. 

Second-class  postage  paid  at  New  York,  N.  Y.,  and  other  additional  post  offices.  Authorized  as  second-class 
mail  by  the  Post  Office  Department,  Ottawa,  and  for  payment  of  postage  in  cash.  Copyright  1962  by  Macfadden- 
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Copyright  Convention.  Copyright  reserved  under  Pan  American  Copyright  Convention.  Title  trademark  registered 
in  U.S.  Patent  Office.  Printed  in  U.S.A.  Member  of  Macfadden  Women's  Group. 


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A  Good  Choice 

On  "The  Lawrence  W elk  Show"  on 
Saturday,  he  announced  that  your  maga- 
zine had  awarded  the  Lennon  Sisters 
a  Gold  Medal  for  being  the  best  family 
entertainers.  You  chose  the  right  girls. 
Eveline  Marcello 
Flushing,  N.  Y. 


Does  Scandal  Pay? 


0*% 

(z    AUG.  S) 

\*o0>y 

It  is  a  deep  insult  to  the  many  fine 
people  of  the  theatrical  profession  that 
most  magazines  seek  to  promote  those 
who  do  dishonor  to  their  profession  and 
to  human  values  as  well.  Your  TV  Ra- 
dio Mirror  presents  refreshing  articles 
on  the  fine  people  of  the  theater  today. 
You  have  shown  them  as  human  beings 
with  a  special  talent  who  work  with  it 
and  enjoy  their  work.  You  have  covered 
the  life  and  ideals  of  public  favorites 
without  sensationalism  or  mistrust  of 
the  confidence  placed  in  you  by  those 
you  interview.  I  was  especially  grateful 
for  the  June  article  on  Vincent  Ed- 
wards which  dispelled  the  rumors  about 
his  family  relationship,  and  your  earlier 
article  by  his  charming  girlfriend. 
Please  continue  to  present  your  maga- 
zine in  this  fine  form.  It  is  a  credit  to 
you  and  the  media  you  cover. 

Joan  Evanish 
New  York,  N.Y. 


"Hawaiian"  Native 


IZ    AUG   zl 

\*oo>y 

What  can  you  tell  me  about  Doug 
Mossman,  who  plays  Moke  on  "Hawai- 
ian Eye"? 

J.S.B.,  Bronxville,  N.Y. 


Very  few  viewers  watching  "Hawai- 
ian Eye,"  on  ABC-TV,  realize  that 
Moke,  who  wears  a  police-like  uniform 
and  works  for  the  "Hawaiian  Eye"  in- 
vestigators, is  played  by  half-Hawaiian 
Douglas  Kinilau  Mossman.  .  .  .  Doug 


was  born  in  the  Islands,  attended  the 
famous  Kamehameha  school  and  was 
graduated  from  the  University  of  Ha- 
waii. His  father  was  three-quarters 
Scottish  and  one-quarter  Hawaiian;  his 
mother  three-quarters  Hawaiian  and 
one-quarter  Scottish.  This,  says  he, 
makes  him  half-and-half.  .  .  .  Besides 
his  role  in  the  series,  the  versatile  actor 
has  two  other  connections  with  the 
show.  He  serves  as  technical  director, 
working  with  the  producer  to  make  sure 
everything  is  accurate  with  regard  to 
its  island  locale — clothes,  props,  cus- 
toms, and  pronunciation  of  Hawaiian 
words.  He  also  is  an  accomplished  mu- 
sician and  works  with  Connie  Stevens 
and  Poncie  Ponce  on  the  Hawaiian 
songs  they  sometimes  do  in  the  show. 
. . .  Mossman  is  married  to  a  Japanese 
girl  who  was  born  in  Hawaii.  .  .  .  His 
middle  name  means  "many  thousands 
of  relatives,"  which  he  really  has.  This 
may  be  one  of  the  reasons  the  series  is 
so  popular  in  the  Islands. — Ed. 


Calling  All  Fans 


:   AUG.  zl 

v^y 

The  following  fan  clubs  invite  new 
members.  If  you  are  interested,  write  to 
addresses  given — not  to  TV  Radio  Mir- 
ror. 

Ben  Casey  Fan  Club,  Vivian  Owens, 
165  Marshall  Lane,  Derby,  Conn. 

Connie  Francis  Fan  Club,  Eileen 
Weaver,  83  Cambridge  Avenue,  Saddle 
Brook,  N.J. 

Michael  Ansara  Fan  Club,  Bonnie 
Tagami,  2472  Raggio  Avenue,  Santa 
Clara,  Calif. 

Paul  Anka  Fan  Club,  Elaine  Burke, 
6  High  Street,  Lawrence,  Mass. 

Rick  Nelson  Fan  Club,  Sue  James, 
8421  Boyne  Street,  Downey,  Calif. 

McGuire  Sisters  Fan  Club,  Linda 
Moore,  c/o  McGuire  Office,  157  West 
57th  St.,  New  York  19,  N.  Y. 


Write  to  Information  Booth,  TV  Radio  Mirror, 
205  E.  42nd  St.,  New  York  17,  N.  Y.  We  regret 
we  cannot  answer  or  return  unpublished  letters. 


AVAILABLE  IN  LIVING  STEREO  AND  MONAURAL  HI-FI 


WITH 


riyic 


KISS  ME  QUICK  •  JUST  FOR  OLD  TIME  SAKE 

GONNA  GET  BACK  HOME  SOMEHOW 

{such  AN)  EASY  QUESTION  •  STEPPIN'  OUT  OF  LINE 

I'M  YOURS  •  SOMETHING  BLUE  •  SUSPICION 

I  FEEL  THAT  I'VE  KNOWN  YOU  FOREVER 

NIGHT  RIDER  «  FOUNTAIN  OF  LOVE 

THAT'S  SOMEONE  YOU  NEVER  FORGET 


rca  Victor 


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ANOTHER  GREAT  ALBUM 

FROM  RCA  VICTOR 

BY 


I 


RCA  VICTORS 

f ■>.  TMKiS  ^BHt^^^B^BP 

fe$The  Most  Trusted  Name  in  Sound  ^ftj^ 


Can  Jackie  Gleason  launch  "The 
Honeymooners"  on  a  new  honey- 
moon— or  is  the  honeymoon  over? 

Oval-shaped,  bouncing,  bellowing 
Jackie  is  determined  to  lure  Art 
Carney  and  Audrey  Meadows 
back  into  regular  performances  on  a 
new  "Honeymooners"  series  when 
he  returns  to  CBS-TV  this  fall.  And 
a  determined  Jackie  is  hard  to  stop. 

But  there  are  some  skeptical  peo- 
ple around — some  who'll  belly  right 
up  to  Jackie  and  scream  as  loudly 
as  he  does  and  say  it's  not  such  a 
sensational  idea. 

One  happens  to  be  wise,  shrewd 
Bill  McCaffrey,  Art  Carney's  man- 
ager. He  knows  very  well  that  Ed 
Norton,    sewer    worker,    and    Ralph 


and  Alice  Kramden  have  become 
classic  figures  of  TV,  thought  by 
millions  of  viewers  to  be  the  best 
thing  ever  put  on  the  home  screen. 

"And  that's  the  trouble  with  try- 
ing to  bring  them  back  as  a  family," 
he  says.  "The  farther  you  get  from 
the  original,  the  greater  it  becomes 
in  the  public  imagination  and  mem- 
ory. And  therefore  the  harder  to  top, 
or  even  equal,  in  a  new  series!" 

But  some  sentiment,  and  perhaps 
even  love,  is  involved  here.  Jackie 
helped  make  Art  and  Audrey  the  big 
people  they  are  today.  They  both 
love  Jackie.  They  loved  working 
with  him.  They  probably  didn't  love 
it  as  much  at  the  time  as  they  think 
they  did  now.  But  it  was  then  that 


they  came  into  greatness  and  there's 
a  good  chance  now — as  we  slash  this 
out  on  our  typewriter — that  there'll 
be  three  or  four  new  "Honeymoon- 
ers" this  season  at  least. 

"Art  Carney  is  a  star  now  in  his 
own  right,"  declares  his  manager. 

"Audrey  Meadows  is  a  star  now 
in  her  own  right,"  says  her  man- 
ager, Val  Irving. 

It's  true  about  them  both.  Strange- 
ly, Audrey  has  made  it  in  the  movies 
and  Cary  Grant  wants  herein  an- 
other film  following  her  success  in 
"That  Touch  of  Mink." 

And  there  are  all  kinds  of  starring 
offers  at  hand  for  Carney,  whose  box 
office  appeal  kept  a  Broadway  show, 
"Take  Her.  She's  Mine,"  going  for 


KARL 


■jfe 


WILSON'S 


m 


Ife:,.' 


MM 


Special  four-page  gossip  section:  Who's  in?  Who's  out?  What's  up?  Each  and 
every  month,  TV  Radio  Mirror  brings  you  the  scoopiest  column  in  any  magazine ! 


many  weeks  longer  than  had  ap- 
peared likely. 

Having  become  big  stars,  they're 
worth  more  money  than  they  were 
when  they  last  worked  with  Jackie. 
That's  another  problem.  But  can 
Gleason  do  without  them?  There  has 
been  talk  of  finding  "another  Art 
Carney"  and  "another  Audrey  Mead- 
ows." But  where  do  you  look — and 
do  you  really  want  to  look — and 
what's  a  few  thousand  bucks  to 
Jackie  Gleason  Enterprises?  That's 
why  we  predict  "The  Honeymoon- 
ers"  isn't  over. 

Did  anybody  happen  to  notice  that 
Shirley  Booth   has  now  won  the 

Grand  Slam  of  acting?  Quite  a  long 
time  ago,  she  won  a  Tony  and  then 
an  Oscar  for  "Come  Back,  Little 
Sheba";  now  recently  she  won  an 
Emmy  for  her  "Hazel"  series.  That 
gives  her  just  about  all  the  prizes 
that  are  available. 

"Where  do  you  keep  all  your 
trophies?"  I  asked  her. 

"I  have  a  little  room  'way,  'way  in 
the  back,"  Shirley  said.  "I  don't 
think  it's  nice  to  be  ostentatious 
about  it." 

Shirley  likes  to  tell  how  she  "fell 
right  on  my  face"  when  she  won  the 
Oscar.  She  did,  too.  She  tripped  on 
her  long  dress  and  went  kerplunk  on 


Shirley  Booth  and  Bobby  Buntrock. 

her  kisser  as  she  plunged  up  to  ac- 
cept the  award. 

DON'T  PRINT  THAT!   One  of 

the  young  married  TV  singers  came 
close  to  embarrassing  his  wife  by 
being  around  New  York  not  so  dis- 


creetly with  another  gal.  He  was 
spotted  smooching  the  other  babe 
rather  openly.  .  .  .  Several  readers 
have  written  to  me  that  they  don't 
think  Richard  Burton  should  be 
permitted  on  American  TV.  (We 
think  the  decision  on  such  matters 
as  that  shouldn't  be  too  hastily 
reached;  anyway,  wouldn't  that  be 
some  sort  of  a  morals  censorship?) 
.  .  .  There's  still  some  bad  feeling 
simmering  about  the  Emmy  Awards 
— East  vs.  West,  never-the-twain- 
shall-agree  and  all  that.  The  West- 
erners are  likely  to  draw  their  forces 
tighter  next  year. 

Do  you  remember  Kenny  Del- 
mar,  alias  Senator  Claghorn?  He 
who  was  the  sensational  comic  on 
the  Fred  Allen  radio  show  and  then 
went  on  Fred's  TV  program,  making 
famous  such  remarks  as  "That's  a 
joke,  son!" 

Still  a  young  fellow,  gifted  at  dia- 
lect, and  an  excellent  actor,  Kenny 
became  famous  almost  overnight — 
and  that's  been  his  trouble.  He 
wasn't  able  to  sustain  the  incredible 
reputation  that  came  so  swiftly.  But 
he's  done  quite  well — and,  interest- 
ingly, is  about  to  make  a  movie  in 
Greece,  written  by  his  21-year-old 
son,  Kenny  Delmar  Jr. 

Recently   {Please  turn  the  page) 


Gleason  s  back — and  there's  just  one  question:  Is  the  "honeymoon"  over?  Some  say  yes,  but  Jackie  says  a  loud  no! 


PERMANENT  DARKENER* 

FOR  LASHES  AND  BROWS 

•  the  ideal  vacation-time 
eye  make-up! 

%mmm,  *  ifitisn'tSWIMPROOF 
it  isn't  "Dark-Eyes" 


Swim  al!  day,  dance  the  night  away,  shower 
at  will,  "Dark-Eyes"  gives  your  eyes  a  natural, 
BORN  BEAUTIFUL  loveliness  all  day,  all  night, 
'round  the  clock !  Avoids  looking  "featureless" 
and  washed-out  at  the  beach ! 

Carefree  "Dark-Eyes"  really  is  SWIMPROOF! 
Soap-and-waterproof!  Water  makes  mascara 
run,  but  "Dark-Eyes"  never  runs,  smudges, 
or  washes  off.  Ends  all  the  bother  of  daily  eye 
make-up  .  .  .  goes  on  once,  STAYS-ON  four 
to  five  WEEKS  until  lashes  and  brows  are 
normally  replaced  by  new  hairs. 

"Dark-Eyes"  permanently  colors.,  .doesn't 
coat.  It  is  never  sticky,  heavy,  obviously 
"made-up"  .  .  .  always  soft,  dark,  luxuriant 
and  refined-looking!  It  is  simple  to  apply, 
pleasant  to  use  and  goes  on  in  the  wink  of 
an  eyelash !  Stays  on  all  thru  your  vacation. 

"Dark-Eyes"  is  completely  SAFE,  use  with 
confidence.  Contains  no  aniline  dye. 

Trfree  shades: 
jet  black,  rich 
brown  and 
light  brown. 

(for  the  hairs  to 
which  applied) 


KARL 


ABOUT   12 
APPLICATIONS 

(normal  year's  supply) 
-     at  leading 

J  drug,  dept 
and  variety 
chain  stores 


tor  L*  «*>»» 


continued 


Kenny  came  out  at  a  TV  gathering 
"to  see  all  my  old  friends  in  the 
business."  He  confided  to  this  col- 
umnist: "And  you're  the  only  one  I 
saw  that  I  know!  It's  a  new  genera- 
tion!" 

Vince  Edwards  was  reported  to 
be  marrying  beautiful,  blonde  Cali- 
fornian  Sherry  Nelson — so  I  asked 
him  about  it.  For  once,  the  non- 
smiling  Dr.  Ben  Casey  grinned,  just 
a  little,  and  said,  "I've  been  going 
steady  with  a  gal" — Sherry — "and  if 
I  get  married  to  anybody,  it'll  be 
her."  But  he  indicated  they  were  in 
no  hurry.  "She  knew  me  well  when 
I  was  busted,"  he  said. 

Scarcely-known  fact  about  Vince: 
He  once  waited  tables  in  a  sorority 
house  at  Ohio  State  University, 
while  a  freshman  and  sophomore 
there. 

Marty  Ingels,  who'll  co-star  on 
ABC's  new  show,  "I'm  Dickens,  He's 
Fenster"  (it's  about  a  couple  of 
comic  carpenters),  got  his  first  big 
break  on  a  Steve  Allen  show,  win- 
ning a  guest  shot  without  so  much 
as  an  audition. 

Actually,  Marty  was  ready  to  go 
before  the  cameras  to  give  his  rou- 
tine for  the  brass,  but  then  he  got 
started  talking  about  the  National 
Guard  and  the  nation's  military  set- 
up and  was  so  funny  before  the  au- 
dition that  he  was  hired  straight  out. 

"War,"  Marty  pointed  out,  "is  a 
question  of  timing.  See,  everyone 
meets  at  night  in  their  uniforms, 
ready  to  do  battle.  But,"  he  lifted  a 
finger,  "if  we  get  attacked  in  the 
morning  or  afternoon,  we're  fin- 
ished, because  all  the  troops  are  at 
the  office,  dressed  in  civvies." 

Marty  also  cited  a  complicated 
battle  plan,  whereby  each  general 
calls  so  many  colonels,  each  colonel 
calls  so  many  majors,  and  so  on 
down  the  line,  till  every  private  is 
alerted.  He  envisioned  this  telephone 
conversation : 

"Hello,  is  Colonel  Schwartz  there? 
Oh,  he's  sleeping?  No,  don't  bother 


to  wake  him.  Will  you  give  him  a 
message,  please?  Tell  him  to  be  sure 
to  call  all  the  majors  because  we're 
at  war.  No,  that's  W  . . .  A  . . .  R  .  .  ." 

The  return  of  "Talent  Scouts''  this 
summer  reminds  us  of  the  story  Irv- 
ing Mansfield,  the  show's  producer, 
tells  of  the  time  he  went  back  to  his 
old  neighborhood,  flush  with  the  suc- 
cess of  his  first  TV  credit.  He  came 
upon  an  acquaintance,  who  asked: 
"What  are  you  doing  these  days?" 

"I'm  in  TV,"  said  Irving  proudly. 

"Wholesale  or  retail?"  came  the 
squelch. 

Sam  Jaffe,  who  got  into  a  hassle 
with  the  "Ben  Casey"  people  about 
having  his  part  expanded,  told  me 
the  dispute  had  been  settled  amic- 
ably, and  it  was  agreed  that  Dr.  Zor- 
ba  would  have  a  more  prominent 
part  next  season.  But  Sam  prefaced 
his  remarks  with  an  amusing  word- 
play: "It's  my  only  beef — and  re- 
member, I'm  a  vegetarian!" 

No  one  had  a  greater  appreciation 
of  Ernie  Kovacs'  comic  gifts  than 
Sandy  Stewart,  the  pretty  singer 
on  "The  Perry  Como  Show."  Sandy 
broke  into  TV  as  a  regular  on 
Ernie's  old  morning  show,  and  she'll 
talk  for  hours  on  all  the  nutty  things 
Ernie  did. 

"He  had  some  sense  of  humor," 
said  Sandy  in  awe.  "You  had  to  be 
on  your  toes  every  minute  of  the 
show  because  you'd  never  know 
what  he  was  going  to  do  next.  Some 
mornings,  he'd  come  in  and  say,  T 
don't  feel  like  writing  the  show  to- 
day. Let's  ad-lib  it.  Sandy,  camera- 
man, you  just  follow  me.' ' 

Barbara  Eden,  now  a  big  movie 
star,  also  got  her  start  working  for 
a  star  who  wasn't  one  back  then: 
Johnny  Carson.  Barbara  figures 
he'll  be  as  big  a  hit  as  Jack  Paar 
ever  was — as  soon  as  the  audience 
can  identify  with  him. 

"Johnny's  creatively  funny — like 
Jack  Benny,"  said  Barbara,  who 
worked  with  Johnny  on  the  Coast. 
"Benny  can  stand  up  there  and  do 
almost  anything  and  be  funny,  be- 
cause the  audience  has  come  to 
know  Jack  as  a  particular  per- 
sonality. It'll  be  the  same  with 
Johnny   when   they   know   him." 

Sid  Caesar's  up  to  his  old  great 
tricks  of  tearing  up  the  script  and 
playing  the  sketch  by  ear.  Sid,  you 
know,  will  be  back  once  a  month 
next  season  with  "As  Caesar  Sees  It." 
One  of  "Caesar's  Players,"  Andy 
Duncan,  was  talking  about  Sid's 
great    improvisational   talents    in    a 


sketch  about  two  stuffy  Engishmen 
playing   billiards. 

The  idea  was  to  make  firewood 
of  the  billiard  table  with  razor-tip 
cues,  and  after  Andy  took  a  shot  that 
virtually  dissected  the  table,  Sid 
piped  up:  "Ripping  shot,  ol'  boy!" 

Who  says  TV  viewers  are  asleep 
at  the  wheel?  Garry  Moore,  re- 
cuperating from  an  operation  on 
his  right  hand,  was  shaking  hands 
left-handed  on  his  shows — and  no 
fewer  than  4,000  persons  wrote  in 
one  week  to  seek  an  explanation. 

It's  simple  enough,  according  to 
my  crewcut  counterpart:  The  hand's 
too  tender  (he  even  had  it  in  a  sling 
during  rehearsals  to  keep  the  pres- 
sure off)  to  risk  re-injury  by  being 
on  the  other  end  of  a  bone-crunching 
greeting. 

Speaking  of  Garry,  he's  been  va- 
cationing in  Maine,  in  what's  de- 
scribed as  the  only  "fiord"  in  Ameri- 
ca. A  fiord,  in  case  you  haven't  been 
to  Norway  lately,  is  a  narrow  inlet 
or  arm  of  the  sea  bordered  by  steep 
cliffs.  When  Garry  refers  to  it,  he 
say  slyly:  "It's  a  fiord — and  much 
as  I'd  like  to  say  Oldsmobile  (his 
sponsor),  I  can't." 

FEARLESS  FORECASTS:  Now 

that  she's  packing  an  Emmy  for  am- 
mo, CBS  may  consider  more  seri- 
ously Carol  Burnett's  request  to 
do  a  spec. on  "Calamity  Jane,"  her 
pet  project.  .  .  .  ABC,  roundly  criti- 
cized for  using  the  slow-motion  video 
tape  in  the  Benny  Paret  tragedy, 
will  stand  firm  on  its  use.  .  .  .  Tony 
Martin  and  Cyd  Charisse  will  be 
united  professionally  for  the  first 
time  for  an  hour-long  TV  spec.  Our 
fearless  forecast  is  that  this'll  mean 
thirty  minutes  less  of  watching  Cyd's 
luscious  gams.  .  .  .  Lassie  will  en- 
roll at  Actors'  Studio — now  that 
Mr.  Ed  beat  her  out  of  the  "Patsy" 
Award  as  TV's  top  performing  ani- 
mal. .  .  .  Those  famous  ex-Leather- 
necks, the  Everly  Brothers,  won't 
be  invading  TV's  "wasteland" 
much;  they're  determined  to  have 
their  battle  cries  heard  on  the  Holly- 
wood sound  stages. 

Jack  Weston,  the  papa  nurse- 
maid to  the  Marquis  Chimps  on 

"The  Hathaways,"  couldn't  contain 
his  delight  over  the  fact  that  the 
show  won't  be  renewed  for  next  sea- 
son. It  was  fun  and  all  that,  Jack 
said,  but,  somewhere  along  the  line, 
evolution  got  its  signals  crossed: 

"One  day  I  walked  on  the  set  and 
saw  one  of  the  chimps  sitting  in 
the  director's  chair  sipping  a  beer. 
That  was  a  little  too  much!" 

— That's  Earl! 


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THE  MOORE  THE  MERRIER 


What  is  it  about  Garry  Moore  that  gives  his  listeners  such  a 
lift?  That  makes  people  feel  good  just  for  having  tuned  in? 

Garry,  along  with  his  pal  and  partner,  Durward  Kirby, 
conducts  one  of  the  most  attractive  programs  in  all  radio  on 
the  CBS  Radio  Network  every  weekday  morning. 

And  all  it  is,  really,  is  talk !  Candid,  personal,  completely 
engaging  give-and-take  about  everything  under  the  sun. 
What  Garry  likes  and  dislikes  about  show  business,  maybe. 
Or  how  it  feels  to  be  short.  (Durward  is  apt  to  come  in  with 
how  it  feels  to  be  so  tall.) 

Garry  will  often  surprise  you.  He  doesn't  believe  in  false 
modesty,  yet  he  tells  you  right  out  that  he  doesn't  consider 
himself  a  great  comic,  singer,  dancer  or  anything  like  that. 

What  Garry  Moore  is  is  a  remarkable  personality.  That's 
why  his  audiences  respond  to  him  so. 

That's  why  you'll  find  his  program  brightens  your  day. 

Tune  in  on  Garry  and  Durward  tomorrow.  Better  still, 
make  your  morning  even  merrier.  Catch  the  whole  CBS  Radio 
weekday  morning  lineup.  You'll  hear  radio's  greatest  array 
of  performers. 

Before  and  after  Garry  Moore,  there  are  Arthur  Godfrey, 
Art  Linkletter,  Bing  Crosby  and  Rosemary  Clooney.  All  dif- 
ferent, but  each  possessing  a  special  magic  that  means  spe- 
cial enjoyment  and  entertainment  for  you.  They're  all  on  the 
CBS  Radio  Network  every  weekday  morning.  Consult  the 
list  below  for  your  local  CBS  Radio  station. 

CBS  RADIO  STATIONS: 

Alabama  Birmingham  WATV,  Gadsden  WAAX,  Mobile  WKRG,  Montgomery  WCOV,  Selma  WGWC,  Tuscumbia  WVNA  Arizona 
Phoenix  KOOL,  Tucson  KOLO  Arkansas  El  Dorado  KELD,  Fort  Smith  KFPW,  Little  Rock  KTHS  California  Bakersfield  KERN,  Chico 
KHSL,  Eureka  KINS,  Fresno  KFRE,  Los  Angeles  KNX,  Modesto  KBEE,  Palm  Springs  KCMJ,  Redding  KVCV,  Sacramento  KFBK, 
San  Diego  KFMB,  San  Francisco  KCBS  Colorado  Colorado  Springs  KVOR,  Denver  KLZ,  Grand  Junction  KREX  Connecticut  Hartford- 
Manchester  WINF,  Waterbury  WBRY  District  of  Columbia  Washington  WTOP  Florida  Fort  Myers  WINK,  Jacksonville  WMBR,  Miami 
WKAT,  Orlando  WDBO,  Pensacola  WDEB,  St.  Augustine  WFOY,  Sarasota  WSPB,  Tallahassee  WTNT,  Tampa  WDAE,  West  Palm 
Beach  WJNO  Georgia  Albany  WGPC,  Athens  WGAU,  Atlanta  WYZE,  Augusta  WRDW,  Columbus  WRBL,  Gainesville  WGGA,  Macon 
WMAZ,  Rome  WRGA,  Savannah  WTOC,  Thomasville  WPAX  Idaho  Boise  KBOI,  Idaho  Falls  KID  Illinois  Champaign  WDWS,  Chicago 
WBBM,  Danville  WDAN,  Decatur  WSOY,  Peoria  WMBD,  Ouincy  WTAD,  Rock  Island  WHBF,  Springfield  WTAX  Indians  Anderson 
WHBU,  Fort  Wayne  WANE,  Indianapolis  WISH,  Kokomo  WIOU,  Marion  WMRI,  Muncie  WLBC,  South  Bend  WSBT,  Terre  Haute 
WTHI  Iowa  Cedar  Rapids  WMT,  Des  Moines  KRNT,  Mason  City  KGLO,  Ottumwa  KBIZ  Kansas Topeka  WIBW,  Wichita  KFH  Kentucky 
Ashland  WCMI,  Hopkinsville  WHOP,  Lexington  WVLK,  Louisville  WKYW,  Owensboro  WOMI,  Paducah  WPAD  Louisiana  New  Orleans 
WWL,  Shreveport  KCIJ  Maine  Portland  WGAN  Maryland  Baltimore  WCBM,  Cumberland  WCUM,  Frederick  WFMD,  Hagerstown 
WARK  Massachusetts  Boston  WEEI,  Pittsfield  WBRK,  Springfield  WMAS,  Worcester  WNEB  Michigan  Adrian  WABJ,  Bad  Axe 
WLEW,  Grand  Rapids  WJEF,  Kalamazoo  WKZO,  Lansing  WJIM,  Port  Huron  WHLS,  Saginaw  WSGW  Minnesota  Duluth  KDAL,  Min- 
neapolis WCCO  Mississippi  Meridian  WCOC  Missouri  Joplin  KODE,  Kansas  City  KCMO,  St.  Louis  KMOX,  Springfield  KTTS 
Montana  Billings  KOOK,  Butte  KBOW,  Missoula  KGVO  Nebraska  Omaha  WOW,  Scottsbluff  KOLT  Nevada  Las  Vegas  KLUC 
New  Hampshire  Keene  WKNE,  Laconia  WEMJ  New  Jersey  Atlantic  City  WFPG  New  Mexico  Albuquerque  KGGM,  Santa  Fe  KVSF 
New  York  Albany  WROW,  Binghamton  WNBF,  Buffalo  WBEN,  Elmira  WELM,  Gloversville  WENT,  Ithaca  WHCU,  Kingston  WKNY, 
New  York  WCBS,  Pittsburgh  WEAV,  Rochester  WHEC,  Syracuse  WHEN,  Utica  WIBX,  Watertown  WWNY  North  Carolina 
Asheville  WWNC,  Charlotte  WBT,  Durham  WDNC,  Fayetteville  WFAI,  Greensboro  WBIG,  Greenville  WGTC  North  Dakota  Grand 
Forks  KILO  Ohio  Akron  WADC,  Cincinnati  WKRC,  Columbus  WBNS,  Dayton  WHIO,  Portsmouth  WPAY,  Youngstown  WKBN  Okla- 
homa Oklahoma  City-Norman  WNAD,  Tulsa  KRMG  Oregon  Eugene  KERG,  Klamath  Falls  KFLW,  Medford  KYJC,  Portland  KOIN, 
Roseburg  KRNR  Pennsylvania  Altoona  WVAM,  DuSois  WCED,  Erie  WLEU,  Harrisburg  WHP,  Indiana  WDAD,  Johnstown  WARD,  Phila- 
delphia WCAU,  Pittsburgh-McKeesport  WEDO,  Reading  WHUM,  Scranton  WGBI,  State  College  WRSC,  Sunbury  WKOK,  Uniontown 
WMBS,  Williamsport  WWPA  Rhode  Island  Providence  WEAN  South  Carolina  Anderson  WAIM,  Charleston  WCSC,  Columbia-Cayce 
WCAY,  Greenville  WMRB,  Spartanburg  WSPA  South  Dakota  Rapid  City  KOTA,  Yankton  WNAX  Tennessee  Chattanooga  WDOD,  Cooke- 
ville  WHUB,  Johnson  City  WJCW,  Knoxville  WNOX,  Memphis  WREC,  Nashville  WLAC  Teias  Austin  KTBC,  Corpus  Christi  KSIX, 
Dallas  KRLD,  El  Paso  KIZZ,  Harlingen  KGBT,  Houston  KTRH,  Lubbock  KFYO,  San  Antonio  KMAC,  Texarkana  KOSY,  Wichita  Falls 
KWFT  Utah  Cedar  City  KSUB,  Salt  Lake  City  KSL  Vermont  Bane  WSNO,  Brattleboro  WKVT  Virginia  Norfolk  WTAR,  Richmond  WRNL, 
Roanoke  WDBJ,  Staunton  WAFC  Washington  Seattle  KIRO,  Spokane  KGA  West  Virginia  Beckley  WJLS,  Charleston  WCHS,  Fairmont 
WMMN,  Parkersburg  WPAR,  Wheeling  WWVA  Wisconsin  Gieen  Bay  WBAY,  Madison  WKOW,  Milwaukee  WMIL  Wyoming  Casper  KTWO. 

THE  CBS  RADIO  NETWORK 


THE  MOORE  THE  MERRIER 


Garry,  along  with  his  pal  and  partner  DSffinrhv 

a   j    ,,  ■   !°  Network  every  weekday  morning 
And  all  it  is,  really,  is  talk!  Candid,  personal!  comnletelv 
engaging  g,ve-and-take  about  everything  under  the  sun 
SK?S7  !lkf .? nd,diSlik6S  ab0"wgbusT„erss  may™! 

L^Ktfir£r  (D™d  is  ^  to — *  wi* 

Garry  will  often  surprise  you.  He  doesn't  believe  in  false 
modesty,  yet  he  tells  you  right  out  that  he  doesn't  consider 

wu  .  ogreat,C,0mic'  singer>  dancer  or  anything  like  that. 

What  Garry  Moore  is  is  a  remarkable  personality.  That's 
why  his  audiences  respond  to  him  so. 

That's  why  you'll  find  his  program  brightens  your  day 

Tune  in  on  Garry  and  Durward  tomorrow.  Better  still 
make  your  morning  even  merrier.  Catch  the  whole  CBS  Radio 
weekday  morning  lineup.  You'll  hear  radio's  greatest  array 
of  performers. 

Before  and  after  Garry  Moore,  there  are  Arthur  Godfrey, 
Art  Linkletter,  Bing  Crosby  and  Rosemary  Clooney.  All  dif- 
ferent, but  each  possessing  a  special  magic  that  means  spe- 
cial enjoyment  and  entertainment  for  you.  They're  all  on  the 
CBS  Radio  Network  every  weekday  morning.  Consult  the 
list  below  for  your  local  CBS  Radio  station. 

CBS  RADIO  STATIONS: 

Alabama  Birmingham  WATV,  Gadsdon  WAAX,  Mobilo  WKRG,  Montgomery  WCOV,  Selma  WGWC,  Tuscumble  WVNA  Aiiiom 
Phoeni*  KOOL,  Tucson  KOLD  Arkansas  El  Dorado  HELD,  Fort  Smith  KFPW.  Little  Rock  KTHS  California  Bakorsfiold  KERN,  ChJco 
KHSL,  Euroka  KINS,  Fresno  KFRE,  Los  Angeles  KNX,  Modasto  KBEE,  Palm  Springs  KCMJ,  Redding  KVCV,  Sacramento  KFBK, 
San  Diego  KFM8,  Son  Francisco  KCBS  Colorado  Colorado  Springs  KVOR,  Danvor  KLZ,  Grand  Junction  KREX  Connecticut  Hartford- 
Manchester  WINF,  Watorbury  WBRY  District  of  Columbia  Washington  WTOP  Florida  Fort  Myers  WINK,  Jacksonville  WMBR,  Miami 
WKAT,  Orlando  WDBO,  Ponaneoln  WOEB,  St.  Augustine  WFOY,  Sarasota  WSPB,  Tallahsssao  WTNT,  Tampa  WDAE,  Wosl  Palm 
Beach  WJNO  Gaorgia  Albany  WGPC,  Athens  WGAU,  Atlanta  WYZE,  Augusta  WRDW,  Columbus  WRBL,  Gainesville  WGGA,  Macon 
WMAZ,  Roma  WRGA,  Savannah  WTOC,  Thomaavlllo  WPAX  Idaho  Boiso  KBOI,  Idaho  Falls  KID  Illinois  Champaign  WDWS,  Chicago 
WBBM,  Danville  WDAN,  Decatur  WSOY,  Peoria  WMBO,  Qulncy  WTAD,  Rock  Island  WHBF,  Springllold  WTAX  Indians  Anderson 
WHBU,  Fori  Wayne  WANE,  Indianapolis  WISH,  Kokomo  WIOU,  Marion  WMRI,  Muncle  WLBC,  South  Band  WSBT,  Terra  Hsute 
WTHf  lows  Cedar  Rapids  WMT,  Dee  Moinea  KRNT,  Mason  City  KGLO,  Ollumwa  KBIZ  KonaaaTopeka  WIBW,  Wichita  KPH  Kentucky 
Ashland  WCMI,  Hopkins  ville  WHOP,  Lo.inglon  WVLK,  Louisville  WKYW, Owonsboro  WOMI,  Paducah  WPAD  Louisiana  Now  Orleans 
WWL,  Shreveport  KCIJ  Main*  Portland  WGAN1  Maryland  Baltimore  WCBM,  Cumberland  WCUM,  Frederick  WFMD,  Hagoratown 
WARK  Massachusetts  Boston  WEEI,  Pittsfiold  WBRK,  Springllold  WMAS,  Worcester  WNEB  Michigan  Adrian  WABJ,  Bad  A>» 
WLEW,  Grand  Rapids  WJEF,  Ko.lamar.oo  WKZO,  Lansing  WJIM,  Port  Huron  WHLS,  Soglnaw  WSGW  Minnesota  Ouluth  KOAL,  Min- 
neapolis WCCO  Mississippi  Meridian  WCOC  Missouri  Joplin  KODE,  Kansas  City  KCMO,  St.  Louis  KMOX,  Sp.ingiiold  KTTS 
Montana  EHMnga  KOOK,  Butte  KBOW,  Missoula  KGVO  Nebraska  Omaha  WOW,  Scotlsblulf  KOLT  Nevada  Laa  Vegas  KLUC 
Near  Hampshire  Keono  WKNE,  Loconiu  WEMJ  Ne*  Jersey  Atlantic  City  WFPG  Neat  Metico  Albuquerque  KGGM,  Santa  Fe  KVSF 
Nest  York  Albany  WROW,  Blnghamton  WNBF,  Buffalo  WBEN,  Elmlra  WELM,  Glovereville  WENT,  Ithaca  WHCU,  Kingston  WKNY, 
Now  York  WCBS,  Pluttsburgh  WEAV,  Rochosler  WHEC,  Syracuse  WHEN,  Utica  WIBX,  Walertcwn  WWNY  North  Carolina 
Ashevillo  WWNC,  Charlotte  WBT,  Ourham  WDNC,  Foyettevlllo  WFAI,  Greensboro  WBIG,  Greenvillo  WGTC  North  Dakota  Grand 
Forka  KILO  Ohio  Akron  WADC,  Cincinnati  WKRC,  Columbus  WBNS,  Dayton  WHIO,  Portsmouth  WPAY,  Youngstown  WKBN  Okla- 
homa Oklahoma  City-Norman  WNAD,  Tulsa  KRMG  Oregon  Eugene  KERG,  Klamath  Falls  KFLW,  Medio  rd  KYJC,  Portland  KOIN, 
Roaobura  KRNR  Pennsylvania  Altoona  WVAM.  DuBois  WCED,  Erie  WLEU,  Har.iaburg  WHP,  Indiana  WDAD,  Johnstown  WARD,  Phila- 
delphia WCAU  Pillsburgh-McKeosport  WEOO,  Reading  WHUM,  Scranton  WGBI,  Stale  College  WRSC.  Sunbury  WKOK,  Uninnlo~n 
WMBS  Willlamsport  WWPA  Rhode  Island  Providence  WEAN  South  Carolina  Anderson  WAIM,  Charleston  WCSC,  Columbla-Ceree 
WCAY  Greenville  WMRB,  Spartanburg  WSPA  South  Dakota  Rapid  City  KOTA,  Yankton  WNAX  Tennessee  Chattanooga  WOOD,  Cooke- 
villo  WHUB  Johnson  City  WJCW,  Knosville  WNOX,  Memphis  WREC,  Nashvillo  WLAC  Tans  Austin  KT8C,  Corpus  Chrlatl  KSIX, 
Dallas  KRLD  El  Paso  KI2Z,  Ha.lingan  KGBT,  Houston  KTRH.  Lubbock  KFYO,  San  Antonio  KMAC.  Te.arkan.  KOSY,  Wichita  Falls 
KWFT  Utah  Codar  City  KSUB,  Salt  lake  City  KSLVermonl  Barro  WSNO,  Brattloboro  WKVT  Vlrginle  Norfolk  WTAR,  Richmond  WRNL. 

S£r32£5KSE2».K^ 

THE  CBS  RADIO  NETWORK 


Flirty  Perties:  Rick  Nelson  and  Tom 
Harmon's  daughter  Christine  play- 
ing ring-around-a-rosy-finger?  .  .  . 
Brother  Dave  gifted  wife  June  Blair 
with  a  white  mink  stole  .  .  .  Dwayne 
Hickman,  from  his  sick  bed,  ogling 
Carol  Christensen  .  .  .  Connie 
Stevens  giving  equal  time  to  Gary, 
Barry  and  Glenn — Clarke,  Bezorian 
and  Ford,  that  is! . . .  Frank  Sinatra 
whistling  again  at  re-glamorized 
Nancy  Sr.  .  .  .  while  Juliet  Prowse 
and  manager  Eddie  Goldstone  call 
off  mixing  business  with  pleasure.  .  .  . 
Ronnie  Burns  and  Helene  Crane 
"thinking  it  over."  .  .  .  Gardner  Mc- 
Kay twisting  with  MM.  .  .  .  Geral- 
dine  Brooks — who  said  "never  again" 
saying    "maybe"    to    Fredd    Wayne. 


Sbpl  Look! 
TV  fioMo  I^jjuuvl 

ail  ^At  'wm's  ~$)dk\ 

by  EUNICE  FIELD 


Teen  Topics:  Tony 
Dow  and  Brenda  Scott 

— 'both    I  7  —  have 
been  holding  hands. 
And  Tony  has  been 
trying  to  land  Brenda 
a  steady  part  in  "Leave 
It  to  Beaver."  .  .  .  Holly- 
wood teens  now  have  their 
own  nitery,  "The  Peppermint 
Stick."    It   features   danc- 
ing,  pizzas,  burgers  and 
soft    drinks.    "It's    dar- 
ling,"   chirps    Dodie 
Stevens.     Owner 
Dave  Rosen  vows  to 
spread      the      idea 
all  across  the  country. 


Careering  Along:  Robert  Culp  once 
felt  "Trackdown"  scripts  cramped  his 
style — now  he  has  writer's  cramp,  de- 
veloping his  own  scripts.  His  "Rifle- 
man" two-parter  will  open  that  series' 
fifth  season.  . . .  Warner  Bros,  dropped 
Anthony  Eisley  from  "Hawaiian  Eye" 
— but  the  howls  from  his  many  fans  are 
giving  him  quite  a  lift.  .  .  .  Bob 
Mitchum's  son  Jim  goes  TV  in  a 
"Have  Gun — Will  Travel"  and  Lisa 
Lu,  the  show's  Hey  Girl,  will  beautify 
"The  Ugly  American"  alongside  Mar- 
lon Brando Hugh  O'Brian,  who's 

dated  queens  and  stars  aplenty,  will 
settle  for  one  to  love,  honor,  etc. 
Meanwhile,  he's  making  his  first  really 
big      movie,      MGM's      "Champagne 

t    Flight."     A     royal-type     launching! 

v 


Naming  Names:  The  same  day  Doug 
McClure  checked  out  of  "Check- 
mate," he  signed  for  "The  Virginians." 
Along  with  Lee  J.  Cobb,  Gary 
Clarke  and  Jim  Drury,  he'll  star  in 
the  90-minute  color  series.  .  .  .  The 
trouble  some  men  have  finding  their 
wallets  when  the  bill  is  presented  has 
been  christened  "shell-out  falter"  by 
Don  Rickles  .  .  .  Mario  Thomas  and 
Ron  Harper,  touring  in  summer  stock, 
yumming  it  up  "Under  the  Yum  Yum 
Tree."  .  .  .  Memo  to  G.J.:  Most  TV 
writers  get  names  for  characters  from 
road  maps.  Examples:  Warren  (Ga.) 
Denvers  (Mass.)  and  Mi  lion  (Vt.) 
Platte  (S.D.).  This  gimmick  insures 
against  lawsuits  by  people  whose 
names  accidentally  pop  up  in  scripts. 


Overhearing      Things: 

At    launching     rites 
of    Hugh    Hefner's 

ten  -  million  -  dollar 

Playboy     Club,     hotel 

and     office    building    on 

Sunset  Strip — "If  she  wears 

her  neckline  any  lower  and 

her  hemline  any  higher,  she'll 

have   the   dandiest   waist- 

cincher  you  ever  saw!"  .. . 

At  the   SHARE  party 

— "Marty  Milner  and 

George  Maharis  are 

the  Mary  Worth  and 

Little  Orphan  Annie 

of    the    highways."    But 

a    little   bit  sexier,    hmm? 


Oh,   the    Legals,   They   Fly   High: 

In  '62,  TV  doctors  had  a  ball.  In  '63, 
lawyers  will  get  their  chance.  With 
"The  Defenders"  a  smash  and  "Perry 
Mason"  A-OK,  new  courtroom  dramas 
will  appear  on  the  TV  scene.  Two  ex- 
amples: Joseph  Cotten  in  "For  the 
Defense"  and  Edmond  O'Brien  in 
"Sam  Benedict."  Ed — proud  papa  of  a 
first  son — has  been  haunting  San  Fran- 
cisco to  get  the  lowdown  on  trial  tricks 
of  famed  Jake  Erhlich,  after  whom 
the  new  television  series  is  modeled. 


Echoes  of  Emmy:  Worried  comic  Don 
Knotts  frowns,  "Now  that  I  won  it 
again,  I  keep  asking  myself  where  do 
I  go  from  here?"  .  .  .  Fearful  "heavy" 
Peter  Falk — whose  emoting  also  won 
him  an  Emmy  award — admits,  "That 
walk  from  my  table  to  the  mike  was 
the  loneliest,  longest  journey  I've  ever 
made.  By  the  time  I  reached  my  des- 
tination, I'd  forgotten  my  carefully 
prepared  speech  of  thanks!"  . .  .  Mean- 
while, a  jobless,  nameless  actor  moans, 
"If  Oscar  married  Emmy  and  they 
had  a  thousand  offspring,  I  still 
couldn't  get  a  job  baby-sitting!"  .  . 
But  New  York  TV  is  gloating:  Swank 
Sardi's  East  has  honored  it — and  the 
Academy  of  TV  Arts  and  Sciences 
— with  a  namesake   "Emmy"    Room. 


12 


The  Rising  Generation:  To  critic 
Richard  Coe  of  Washington,  D.C., 
Bob  Hope  was  far  from  "Critic's 
Choice"  when  he  made  personal  ap- 
pearances there.  But  Ski-Nose's  21- 
year-old  Tony  copped  raves  from  Coe 
for  his  staging  of  a  Georgetown  U. 
production.  Young  Hope — studying 
law,  with  no  itch  to  follow  in  dad's 
footsteps — promptly  mailed  Bob  the 
review,  kidding:  "If  you  try  to  make 
a  comeback  on  my  name,  I'll  sue!" 
Quipped  Dad:  "Hope  was  never  a 
private  name — it  was  always  owned  by 
the  world."  .  .  .  Gene  Kelly,  starring 
in  TV's  new  "Going  My  Way,"  reports 
his  first  son — Timothy,  born  March 
3rd — is  a  "born  kicker,  bound  to  be- 
come a  song-and-dance  man  like  me." 

1*n>  »->  m-+  *»-> 
One  Good  Turntable  Deserves  An- 
other: Latest  prank  is  to  annoy  crank 
neighbors  by  buying  a  laugh-and-talk 
record  and  tuning  up  the  speaker.  It 
gives  the  effect  of  a  wild  party — and 
baffles  the  snoops,  when  they  find  no 
parked  cars  or  guests  around.  But  what 
if  said  snoops  retaliate  by  buying  a 
disc  with  a  loud  siren  and  a  police 
voice  saying,  "You're  all  under  arrest"? 
.  .  Ty  Hardin — with  blond  hair  yet — 
too  busy  playing  the  field  to  note  that 
is  ex,  Andra  Martin,  has  wed  .  .  .  Mike 
nsara's  "Infidel  Caesar"  Broadway 
ebut  went  blooey  when  the  play 
olded  before  opening.  But  Mike's  com- 
ensated.  Revue's  whipping  up  a 
series   for  him    in    the    medical    field. 


Wedding  bells  for  Chris  and  Rick? 


Broadway  Medley:  At  Zero  Mos- 
tel's  "A  Funny  Thing  Happened,  etc.," 
Sam  Jaffe  and  wife  Bettye  Acker- 
man  had  a  reunion  with  their  old  pal. 
"Gone  Hollywood  with  a  swimming 
pool,  huh?"  growled  Zero.  Shrugged 
Sam,  "It's  only  an  itsy  pool — your 
avoirdupois  couldn't  fit  in  it."  Roared 
Zero,  "You  have  gone  Hollywood!  A 
year  ago,  you'd  have  said  'big  fat  car- 
cass.' Now  it's  avwah-doo-pwah."  .  .  . 
Lady  to  gent,  at  Jason  Robards  Jr.'s 
"A  Thousand  Clowns":  "What  do  you 
like  most  about  Robards?"  Gent  to 
lady:  "Bacall."  .  .  .  Grandma,  leaving 
"How  to  Succeed,  etc.":  "It  isn't  that 
I  used  to  enjoy  Rudy  Vallee  more  in 
the  old  days — it's  just  that  I  enjoyed 
myself    more."    Ain't    it    the    truth? 


Darlene  Lucht  with  blond  Ty. 


Polly,  Poppa  &  Pee-pul:  "Honey,  let's 
sing  for  the  pee-pul,"  said  Bill  Bergen 
to  daughter  Polly,  striking  a  chord  on 
ye  olde  gee-tar.  And  a  city-slicker 
crowd  at  the  Las  Vegas  Dunes  was 
moved  to  cheers  when  they  sang  such 
country  classics  as  "Shall  We  Gather 
at  the  River"  and  "My  Buckteethed 
Love."  Proved  to  be  the  highlight  of 
pretty  Poll's  great  act.  "He  taught  me 
all  I  know,"  she  glowed.  With  the  sim- 
plicity that  has  charmed  rustic  crowds 
in  Tennessee  for  years,  Bill  answered, 
"I'm  proud  of  you,  daughter."  Besides 
making  music  for  the  pee-pul,  Bill  helps 
manage  Polly's  dress  business — which 
may  go  to  300  shops  by  1963.  All  this 
and   a   best-selling   beauty   book,   too! 


How's  That  Again?  Lady  lawmaker 
who's  trying  to  bar  Liz  Taylor  from 
returning  to  the  U.S.A. — on  a  morals 
tut-tut — is  named,  of  all  things,  Blitch! 
.  .  .  Wonder  horse  Trigger  making  TV 
comeback  with  that  American  institu- 
tion, Roy  Rogers,  starting  Sept.  29th. 
. . .  Mickey  Rooney  is  the  latest  to  do 
a  book.  Does  he  tell  all  about  his  ex- 
wives?  "All  that  is  printable,"  grins 
Mickey.  .  .  .  Fans  get  their  wish  when 
Dick  Powell  and  June  Allyson  do 
an  all  song  'n'  dance  show  on  his 
series.  .  .  .  And  it  will  be  a  great  day 
in  the  evening,  Sept.  24th,  when  CBS 
teams  five  of  its  stars —  Jack  Benny, 
Danny  Thomas,  Lucille  Ball,  Andy 
Griffith  and  Garry  Moore.  That's 
some    parlay    on    anybody's    network. 


_ 


Benny  and  Lawford  swap  news. 


Bye   Bye   Buddy:   Dick  Van   Dyke, 

top  banana  of  Columbia's  "Bye  Bye 
Birdie,"  was  on  set  when  he  got  a 
message  from  his  answering  service. 
Said  the  operator,  "One  of  your  gag 
writers  must  talk  to  you  at  once.  When 
I  asked  if  it  was  important,  he  screamed, 
'Go  down  the  hall,  pass  the  door 
marked  Crisis,  then  walk  through  the 
one  marked  Panic.  You'll  see  me  on 
the  Titanic  facing  two  icebergs!'  "  Dick 
chuckled,  "Tell  him  the  ship  won't  go 
down  till  tonight — I'll  be  sure  to  call 
him  then."  A  few  moments  later,  she 
rang  back.  "I  told  him  the  ship  would 
keep  till  tonight  and  you'll  talk  to  him 
then.  Next,  I  heard  a  loud  splash — and 
him  mumbling  glub,  glub,  glub.  Then 
there  was  silence.  .  .  ."  That's  all  .  .  . 


13 


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Perhaps  it  was  the  bright  spot- 
lights that  made  Eddie  Fisher  blink 
and  then  nib  his  eyes.  Or  perhaps  it 
was  the  enthusiasm  and  warmth  of 
his  reception.  He  had  only  wanted 
lo  do  his  bit.  And  so,  without  any 
fanfare,  he  had  made  this  surprise 
appearance  at  the  annual  party  for 
Share,  a  group  of  Hollywood  wives 
who  stage  a  yearly  benefit  for  han- 
dicapped children.  He  had  never 
expected  anything  like  this.  A  thou- 
sand people,  crowded  into  the  Mou- 
lin Rouge  night  club,  jumped  to 
their  feet,  applauding  .  .  .  cheering. 

And  among  all  these  people  wel- 
coming Eddie  home  was  Debbie 
Reynolds,  his  former  wife. 

Slowly,  the  thunderous  ovation 
quieted  and  the  audience  found 
their  seats  again.  Debbie  fixed  her 
eyes  on  Eddie.  He  was  smiling — 
that  shy,  boyish  grin  that  had  not 
changed  through  the  years.  Yet,  in 
other  ways,  she  could  see  how  much 
he  had  changed.  He  was  much  thin- 
ner, for  one  thing.  And  for  another, 
there  were   (Please  turn  the  page) 


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little  lines  under  his  eyes — lines  of  worry  and  of  strain — 
which  his  deep  suntan  and  his  shy  smile  couldn't  quite 
conceal. 

He  said  something  about  "what  a  difference  a  few  thou- 
sand miles  makes,"  but  his  attempt  at  lightness  didn't 
quite  come  off. 

A  chorus  of  yells  went  up  from  the  audience.  "Sing 
'Arrivederci  Roma.'  'Arrivederci  Roma.'  Sing  'Goodbye 
Rome.'  " 

Eddie  paled  under  his  tan  and  he  shook  his  head  no. 
But  the  shouts  continued.  "  'Arrivederci  Roma.'  'Arrive- 
derci Roma.'  "  (Eddie  had  recently  admitted  that  the  title 
of  the  song  is  "meaningful."  He  explained,  "It  means  the 
end  of  a  wonderful  love.") 

Debbie,  of  all  people,  must  have  known  what  Eddie  was 
feeling.  For  it  had  all  happened  to  her,  too.  It  was  all 
crazy  and  jumbled  up,  as  if  Fate,  having  played  a  mean 
trick  on  her,  had  now  turned  around  and  was  playing 
exactly  the  same  trick  on  Eddie. 

Far  away  and  long  ago,  she,  Debbie,  had  been  married 
to  Eddie.  One  moment  she  was  secure  in  her  love  for  him — 
and  their  mutual  love  for  Carrie  and  baby  Todd.  Then 
the  next  moment  .  .  .  the  next  moment,  without  warning, 
she  was  sitting  alone  in  her  living  room,  alone  although 
she  was  surrounded  by  a  mob  of  reporters  to  whom  she 
was  mouthing  words.  Actually,  she  was  talking  to  herself, 
trying  to  explain  to  herself  what  had  happened.  "...  I 
didn't  believe  it  until  he  told  me  himself.  Then  I  had  to 
believe  it." 

And  now  it  had  hap- 
pened again.  Like  a  re- 
make of  an  old  picture. 
New  characters.  New 
scenes.  Same  plot.  The 
scene:  Rome.  The  charac- 
ters :  Eddie  Fisher  and  Eliz- 
abeth Taylor,  man  and 
wife.  One  moment  Eddie 
was  secure  in  his  love  for 
Elizabeth — and  their  mu- 
tual love  for  the  boys, 
Mike  and  Chris,  and  the 
girls,  Liza  and  baby 
Maria — a  love  so  deep 
that    Eddie    was    able   to 

say  confidently,  "Take  it  from  me,  our  marriage  will  last 
forever."  Then  the  next  moment  .  .  .  the  next  moment, 
Eddie  is  alone  in  a  crowd  of  reporters  to  whom  he  is 
mouthing  the  words,  "I  love  her — I  love  her  more  than 
ever,"  as  if  by  stating  his  feelings  emphatically  he  could 
somehow,  make  her,  Elizabeth,  keep  loving  him,  too. 

It  must  be  almost  the  same  for  Eddie  as  it  had  been  for 
her.  Knocking  herself  out  during  the  day  on  the  set. 
Knocking  herself  out  at  night  doing  benefit  performances. 
Killing  herself  so  that  she  might  kill  her  memories.  Driving 
herself  mercilessly  until  she'd  fainted  on  the  set  one  day 
and  they'd  shipped  her  off  to  a  hospital. 

Eddie  had  also  been  in  a  hospital.  The  papers  called 
it  a  "nervous  breakdown"  caused  by  the  collapse  of  his 
marriage.  His  friends  had  insisted  he  was  "just  plain  ex- 
hausted." 

Eddie  had  also  thrown  himself  into  work,  recording 
songs,  trying  to  prove  to  himself  and  the  world  that  he 
wasn't  just  "Mr.  Elizabeth  Taylor,"  even  while  disc 
jockeys  were  announcing,  "And  now  we'll  play  Elizabeth 
Taylor's  latest  release,"  and  then  playing  old  Eddie  Fisher 
records. 

Eddie  had  also  knocked  himself  out  to  appear  at  the 
Friars  dinner  in  honor  of  comedian  Joe  E.  Lewis  even 
when  he  just  wanted  to  run  away  somewhere  and  hide.  He 
disappeared  when  he  saw  all  the  newspapermen  waiting 
for  him,  and  then  courageously  came  back.  His  face  was 
as  white  as  the  cloth   on  the  head  table  and  his  hands 


THE  MIGHT  EDDIE 


{Continued) 


clenched  and  unclenched  spasmodically  as  toastmaster 
Milton  Berle  introduced  him  from  the  dais:  ".  .  .  Here's  a 
little  guy  with  a  big  voice  and  a  big  heart.  We  all  love 
him  and  respect  him,  Friar  Eddie  Fisher." 

Eddie  had  spoken  for  less  than  thirty  seconds.  His  words 
hardly  carried  beyond  the  first  row  of  tables.  He'd  fum- 
bled with  his  glasses,  and  at  one  point  he  choked  up  and 
could  not  continue. 

And  now,  in  the  big  ballroom  of  the  Moulin  Rouge,  the 
crowd  was  screaming  for  Eddie  to  sing  "Arrivederci 
Roma,"  a  song  of  love  and  of  parting,  and  Eddie  was 
shaking  his  head  no.  All  at  once  he  raised  his  hands, 
palms  out,  and  the  crowd  was  silent. 

Eddie  wet  his  lips.  Someone  coughed.  A  few  people 
ssh-ed.  Then  the  music  began  and  Eddie's  voice,  strong 
and  sure,  sang  "You  Made  Me  Love  You."  An  old  song. 
A  slow  song.  A  sad  song.  A  special  song. 

A  special  song  for  Debbie.  A  song  Eddie  used  to  sing 
back  when  they  first  met  on  the  set  of  "Athena."  A  special 
song  for  Debbie.  A  song  Eddie  used  to  sing  when  they  first 
started  dating.  .  .  .  And  on  their  third  date,  the  night 
Eddie  proposed  .  .  .  "You  Made  Me  Love  You." 

A  special  song  for  Debbie.  A  song  Eddie  used  to  sing 
when  they  were  first  married.  .  .  .  On  their  honeymoon  .  .  . 
in  their  first  house  together  ...  for  baby  Carrie  .  .  .  and. 
later,  for  little  Todd  Emanuel.  First  love,  unforgettable 
love,  unshadowed  love.  .  .  .  "You  Made  Me  Love  You." 
The  applause  broke  like  thunder.  More  than  $100,000 

had  already  been  raised 
for  mentally  retarded  chil- 
dren by  the  time  Eddie 
came  on,  but  his  unex- 
pected appearance  sparked 
over  thirty  thousand  ex- 
tra dollars. 

One   of  the   guests   of- 
fered $500  if  Eddie  would 
sing  "Oh  My  Papa,"  and 
this  time  he  didn't  falter 
for  a  second.  Confidently, 
he  launched  into  the  song. 
A   sentimental   song  of  a 
child's  love  for  its  father 
and  a  father's  love  for  his 
child.  A  sentiment  Debbie 
understood.  She'd  said,  "I've  brought  Carrie  and  Todd  up 
to  respect  and  adore  Eddie.  They  will  always  love  him  as 
you  love  only  your  father." 

That's  what  had  accidentally  brought  them  together 
again  tonight,  she  in  the  audience  and  Eddie  up  on  stage. 
Their  love  of  kids.  Not  only  their  own  kids,  but  less 
fortunate  children,  too. 

After  he  finished  singing  "Oh  My  Papa,"  Eddie  plunked 
down  exhausted  in  a  seat  next  to  Edie  Adams,  Ernie 
Kovacs'  widow.  A  little  while  later,  Debbie  and  Harry 
left,  hand  in  hand.  She  couldn't  stay  too  late.  An  ex- 
pectant mother  needs  plenty  of  rest. 

A  few  days  later,  Debbie  read  about  Eddie's  triumphant 
official  return  to  the  singing  stage  at  the  Cocoanut  Grove. 
"Electric  .  .  .  exciting,  he  stopped  the  show  colder  than 
a  faithless  wife's  heart  .  .  ." 

None  of  the  raves  surprised  Debbie.  After  all,  she  had 
heard  Eddie's  voice  herself  a  few  nights  before  at  the 
Share  party  .  .  .  the  night  when,  as  memories  of  a  young 
first  love  came  flooding  back,  Eddie  stole  back  into  her 
heart.  And  even  in  those  horrible  days  right  after  they 
had  split  up,  she'd  said:  "...  I  don't  know  of  a  better 
singer.  God  gave  Eddie  a  gifted  voice,  and  if  I'm  right, 
the  public  is  wrong  if  they  don't  flock  to  hear  him.  If  a 
talent  can't  survive  and  overcome  something  the  public 
doesn't  approve  of,  then  the  public  is  wrong." 

And  Debbie  was  right.  Hers  was  not  the  only  heart 
Eddie  found  his  way  back  to  that  night.  — James  Hoffman 


16 


ON  THE  RECORD 


•  It's  not  often  you'll  find  me  writing 
about  someone  who  doesn't  like  to  be 
written  about.  Bobby  Darin  is  that 
someone — quite  an  argumentative  point, 
but  Bobby  is  quite  justified,  generally 
speaking! 

Your  reviewer,  for  one,  has  seen 
some  hopelessly  misguided  approaches 
to  Bobby's  attitudes  and  personality  in 
print.  You  won't  find  me  stretching 
things  or  distorting  them.  Aside  from 
accompanying  and  arranging  for  Bobby 
on  occasion,  I  consider  him  a  friend. 

He  has  his  edges.  There  are  things 
that  bother  the  mildest  of  us,  and  Bobby 
is  no  exception.  Unfortunately,  a  per- 
former's private  life  is  public  record. 
This  easily  becomes  a  thorn  to  many 
performers,  who  can  hardly  put  a  han- 
kie to  their  noses  without  someone 
starting  a  rumor  that  they  are  "down 
with  pneumonia"! 

Bobby  works  as  hard  to  please  his 
audience  as  any  performer  I've  heard 
or  played  for.  His  source  of  energy  is 
his  desire  to  be  as  good  as  he  can — to 
develop  every  area  he  feels  is  native 
to  his  diverse  talents. 

In  the  business,  Bobby  is  what  you 
call  "heart":  If  you  cut  his  throat, 
he'd  figure  a  way  to  sing  through  the 
opening.  The  great  misconception  about 
Bobby  is  that  he's  a  "toughie,"  with 
little  or  no  humility.  But  here  I  think 
the  surface  isn't  up  to  telling  the  story. 

The  enigma  is  the  product  and  the 
process.  Having  spent  more  than  half 
my  own  life  in  the  entertainment  busi- 
ness, I  can  assure  you  there  are  easier 
axes  to  grind.  (Contrary  to  what  some 
journals  would  have  you  believe.)  To 
push,  to  drive,  to  open  your  heart — and, 
in  general,  expose  yourself  to  the  pub- 
lic— is  not  the  easiest  thing  to  do  in  life. 

The  process  is  a  difficult  one  to  live. 
An  awful  lot  of  work  goes  into  every 
recording,  every  night-club  engagement, 
to  say  nothing  of  the  time  spent  laying 
things  out  for  a  television  show.  It's 
incredibly  time-consuming.  (Some  per- 
formers turn  around  one  day  and  find 
that  the  whole  of  life  has  got  away 
from  them  during  the  process.) 


AUGUST   1962 

Bobby   Scott 
Music   Editor 


The  rub  is  the  "double  standard" 
forced  upon  performers.  They  must 
beam,  no  matter  how  bad  dinner  was, 
how  long  the  band  rehearsal  dragged 
on,  or  whether  their  child — who  catches 
a  cold  like  everyone  else— kept  them  up 
all  night  with  nursing. 

There  are  no  exceptions  to  the  rule 
that  the  lid  has  to  blow  off  periodi- 
cally. Bobby,  contrary  to  what  is  said 
about  him  in  a  great  many  cases,  seems 
to  have  a  good  grasp  of  the  problems 
the  entertainment  business  has  dropped 
in  his  lap.  He  always  knows,  firmly, 
what  he  wants  in  back  of  himself  musi- 
cally. He  has  the  happy  faculty  of 
enjoying  other  performers — I  hasten  to 
add,  "who  are  talented."  Make  no  mis- 
take that  anyone  who  is  as  critical 
about  himself,  as  Bobby  is,  could  be 
easy  with  his  peers! 

He's  a  wealth  of  information  and 
advice.  Very  strongly  does  he  hold 
his  opinions.  Believes  emphatically  in 
his  own  talent.  That  is  the  reason  he 
is  where  he  is  today.  A  sage  once 
said:  Ten-percent  talent,  ninety-per- 
cent sweat.  Work,  hard  work,  never 
frightens  those  ready  for  it.  Bobby  has 
always  "paid  his  dues,"  to  cite  a  col- 
loquialism. He's  beat  the  process,  he 
has  his  product. 

The  question  that  always  remains  is: 
Do  we  enjoy  the  product,  or  is  picking 
the  process  apart  the  answer?  There 
are  many  gifts  performers  give  heartily 
and  lovingly.  Do  we  take  them  in,  en- 
joy them  and  reflect  upon  being  en- 
riched? Or  do  we  want  what  we 
shouldn't  expect  and  what  can  never 
be  given — even  by  those  people  whose 
lives  are  at  least  partially  an  open 
book? 

Entertainers  are  to  be  enjoyed.  They 
are  not  running  for  public  office.  The 
height  of  serving  is  giving  your  best. 
I've  known  hardly  any  performers  who 
do  not  hold  to  this.  Bobby  is  no  excep- 
tion. I  enjoy  him  immensely  and  you,  no 
doubt,  enjoy  him  immensely.  But  what 
you  may  not  know  is:  He  keeps  faith 
with  your  trust.  He  gives  his  best.  And, 
most  important,  he  enjoys  you,  too! 


T 
V 
R 

17 


Voc#f-  Monthly   ON   RECORD  Guide* 


POPULAR 

•••Can't  Help  Falling  in  Love, 

The  Lennon  Sisters  (Dot) — The  Len- 
non  Sisters  are  competent  young  ladies. 
Musically,  their  department  isn't  a  very 
difficult  one,  but  they  do  inject  the  per- 
sonal quality  into  what  they  perform. 
This  quality  is  their  edge. 

I  don't  hold  with  watering  down  the 
harmonies  of  a  Victor  Young  tune  to 
give  it  market  value,  but  the  girls  do 
not  make  a  career  out  of  over-dramatiz- 
ing this  simple  approach.  They  always 
seem  comfortable.  They  rarely  exceed 
their  vocal  range,  and  that  has  the  tend- 
ency to  make  one  tune  sound  very  much 
in  the  same  groove  as  the  one  which 
preceded  it — but  it  also  has  power  to 
unify  their  total  approach. 

The  songs  are  all  reasonably  first- 
rate:  "When  I  Fall  in  Love,"  "Moon 
River"  and  the  title  tune,  to  mention 
a  few  of  them.  The  girls'  musical  atti- 
tude is  deceptive.  In  this  package,  I 
think  they  were  shooting  for  low-keyed, 
subtle  expressions.  And  they  got  them. 
It's  not  my  cup  of  tea — but  then,  again, 
they're  persuasive. 

•••Latin  and  Hip,  The  Brothers 
Castro  (Capitol) — Well  if  you  don't 
think  they're  swinging,  down  Mexico 
way,  you'd  better  tune  in  to  this  album. 
These  chaps  are  really  something  else! 
Very  much  in  the  Four  Freshmen — 
Hi-Lo's  groove,  they  bring  a  Latin 
flavor  which,  at  the  outset,  seems  a  bit 
incongruous  to  a  lot  of  smart  material, 
but  they  hurdle  all  the  obstacles.  The 
blend  is  wonderful.  The  highest  voice 
in  the  group  has  an  intriguing  sound 
like  a  siren. 

The  harmonies  they  run  through  are 
hardly  simple.  Rich  would  be  more  like 
it.  They  have  a  very  wide  range  of 
dynamics  which  is  shown  to  advantage. 
The  tunes  are  all  vintage :  "I'll  Remem- 
ber April,"  "Serenata,"  "Angel  Eyes," 
the  enchanting  arrangement  of  "Sum- 


lllil 


y  '■'■■ 


m^mmismium 


mertime, 


Terdido" — which      cooks 


along  in  a  highly  Latin-swing  fashion. 
This  is  a  group  to  watch.  Full  of 
fire,  talent,  capable  of  finding  a  fresh 
way  to  do  an  old  tune,  and  obviously 
enjoying  what  they  are  doing  to  the 
utmost.  Ole!  Olel 


\ 


&&Ww 


uumi 


TWISTF 

flOllIB 

in 


•••The  Best  of  The  Kingston 
Trio  (Capitol  "Starline")— This  is  a 
beaut  of  a  compilation!  All  the  win- 
ners: "Tom  Dooley,"  "M.T.A  ,"  "Where 
Have  All  the  Flowers  Gone,"  "A  Wor- 
ried Man,"  "Scotch  and  Soda,"  to  name 
a  few.  See  what  I  mean?  There's 
hardly  much  to  say  about  these  oft- 
heard  hits,  other  than  that,  one  after 


another,  they  are  gangbusters.  Humor 
is  here,  too!    (The  "Merry  Minuet"  is 
ridiculously  funny.)  As  usual,  the  mu- 
sicianship is  first-rate. 
An  awfully  good  buy. 

•Twistin'  Round  the  World,  Chub- 
by Checker  (Parkway) — Well,  this  is 
the  capper !  Here's  a  mediocre  idea,  done 
in  a  mediocre  fashion.  For  this  reviewer, 
nothing  happens  here.  In  fact,  the  band 
doesn't  even  swing!  The  tunes  are  bru- 
tally beaten  into  something  resembling 
a  fourth-rate  pop  tune.  Where  the  tune 
cannot  be  so  nicely  fitted,  we  hear  Chub- 
by attempting  to  sing  them  in  a 
straighter  style. 

"Hava  Nagela"  gets  a  better-than- 
the-rest  treatment,  but  "0  Sole  Mio," 
"Alouette,"  "Miserlou"  and  the  rest 
find  difficult  going! 

•••For     Teen     Twisters     Only, 

Chubby  Checker  (Parkway) — Now 
here  we  find  Chubby  in  his  own  back- 
yard !  This  album  is  a  cooker !  It's  good 
for  dancing  and  partying.  The  tunes  in- 
clude "The  Peppermint  Twist,"  "Run- 
around  Sue"  and  a  gang  of  others  all 
calculated  to  disarrange  your  vertebra. 

Chubby  as  a  performing  artist  is  be- 
yond the  proper  evaluation.  He's  sort  of 
an  aberration  on  the  music  scene.  We 
shall  wait,  watch  and  see  how  he  de- 
velops. 

As  the  Twist  fades  into  the  sun,  we 
may  discover  his  talent  is  much  bigger 
than  is  currently  being  expressed.  Time 
tells  all.  For  you  dancin'  fools,  this 
album  has  that  twistin'  message,  so  just 
go  and  buy  it  and — commence  to 
wiggle! 

CLASSICAL 

••••Paul  Whiteman  Conducts 
George  Gershwin,  Leonard  Pennario, 
pianist — "Rhapsody  in  Blue,"  "An 
American  in  Paris"  (Capitol) — The 
premature  death  of  George  Gershwin 
left  the  American  musical  scene  in  a 
dither.  The  dither  still  remains,  to  a 
degree.  No  American  opera,  in  your 
reviewer's  humble  opinion,  has  matched 
"Porgy."  The  only  composer  on  Broad- 
way carrying  the  Gershwin  mantle  is 
Harold    Arlen.    whose    successes    have 


18 


-K-K-K-K   GREAT! 
-K-K-K  GOOD   LISTENING 


^C-K   FAIR   SOUNDS 
-K  IT'S    YOUR    MONEY 


not  been  numerous.  Of  course,  many 
landmarks  have  occurred  in  music  for 
the  concert  hall.  But  Gershwin,  I'm 
sure — alive  and  growing — would  have 
broadened  even  that  area. 

These  works,  though  familiar  enough, 
have  not  lost  their  lustre.  (Particular- 
ly the  "American  in  Paris"  opus.) 
These  pieces  are  permeated  with  blues. 
Not  the  garden  variety,  but  Gershwin's 
own  special  brand.  A  highly  sophisti- 
cated type.  The  performances  are  very 
good.  Pennario  rarely  has  great  prob- 
lems with  any  piano  literature.  (He  is 
certainly  underrated.)  Whiteman,  al- 
though no  conductor  in  the  classical 
sense  of  the  word,  carries  his  end  credit- 
ably. The  sound  is  good.   (Mono.) 

Gershwin  should  be  in  everybody's 
collection.  He's  part  of  the  American 
dream.  From  the  tenement  to  world- 
wide renown  in  the  musical  world.  It's 
indeed  unfortunate  that  he  didn't  get 
the  time  to  give  us  more  of  his  personal 
look  at  ourselves:  He  knew  us  so  well. 

***Romeo  and  Juliet  Overture 
and  Till  Eulenspiegel's  Merry 
Pranks,  Tchaikovsky — Richard 
Strauss ;  Charles  Munch  cond.  The  Bos- 
ton Symph.  Orch.  (RCA  Victor)  — 
Charles  Munch  is  very  sympathetic  in 
his  handling  of  the  Tchaikovsky  mas- 
terpiece, "Romeo  and  Juliet."  The  nat- 
ural build  in  the  very  opening  is  very 
effectively  brought  off.  In  making  the 
first  statement  of  theme  material,  the 
strings  make  its  meaning  come  to  the 
front  through  striking,  articulated 
playing,  without  a  noticeable  forte. 
Munch  also  plays  down  the  first  state- 
ment of  the  lyrical  theme.  All  in  all,  it's 
sensitively  done. 

"Till,"  which  is  possibly  Strauss'  most 
important  work,  is  a  most  interesting 
orchestrating  wonder.  It's  full  of  the 
kind  of  writing  only  a  master  can  come 
up  with.  Strauss,  who  was  a  marvelous 
pianist  and  a  greatly  underrated  con- 
ductor, knew  the  orchestra  from  many 
angles.  The  materials  never  become  ob- 
scure, no  matter  how  profuse  the  color 
and  action  effects.  Munch  and  the  or- 
chestra seem  to  enjoy  "Till,"  and  well 
they  should — it's  a  player's  piece.  If  by 
some  chance  the  pieces  are  not  in  your 
collection,  I  suggest  you  look  into  them. 


JAZZ 

****I  Had  the  Craziest  Dream, 

Manny  Albam  Orch.  (RCA  Victor) — 
This  is  surely  one  of  the  most  charm- 
ing examples  of  taste  I've  come  across 
in  a  while.  It's  chock-full  of  tidbits  of 
adventurous  sounds,  plus  the  jazz  play- 
ing of  such-calibre  musicians  as  Phil 


Woods  and  Bob  Brookmeyer,  Joe  New- 
man and  Clark  Terry. 

The  orchestra  varies  from  the  lush 
strings,  sitting  blanket-style  and  em- 
bracing the  saxophone  of  Woods,  to  a 
shouting  band  fully  equipped  with 
brass,  to  a  smaller  brass  ensemble 
which  utilizes  French  horn  and  tuba. 

The  writing  is  all  jazz-orientated,  but 
don't  let  that  scare  you  jazz-shy  people. 
It  also  embraces  the  best  points  of  the 
"big  band"  tradition  and  the  melody  is 
in  evidence. 

The  tunes  are  all  in  the  dream  cate- 
gory: "I  Can  Dream,"  "A  Kiss  to  Build 
a  Dream  On,"  "Wrap  Your  Troubles  in 
Dreams,"  "Darn  That  Dream" — which 
features  Brookmeyer's  trombone  and 
Miriam  Workman's  obligato  voice  line, 
sans  lyric,  and  a  shoutin'  Woods  solo. 

It  always  says  something,  this  album. 
Good  arrangements,  first-rate  players, 
good  tunes  and  what  more  can  I  tell 
you?  Manny  Albam  deserves  his  name 
on  the  front,  too!  He's  done  a  great 
deal  of  wonderful  creating  and,  to  my 
knowledge,  has  never  received  the  ac- 
ceptance due  him.  Recommended. 

****Jazz  Samba,  Stan  Getz  and 
Charlie  Byrd  (Verve) — To  my  mind, 
the  biggest  jazz  pleasure  of  late  has 
been  the  re-activated  recording  schedule 
of  Stan  Getz.  Though  he  has  always 
been  a  consistently  first-rate  jazz  play- 
er, his  few  years'  absence  from  the 
American  jazz  scene  threw  open  wide 
the  doors  for  a  whole  lot  of  new  tenor- 
saxophone  talent  and  his  work  was 
pushed  into  the  background. 

In  all  honesty,  Stan  was,  for  some 
time,  making  recordings  which  were 
devoid  of  a  unifying  idea.  Recently,  he 
changed  direction.  He  recorded  an  al- 
bum for  Verve  called  "Focus,"  with  a 
string  ensemble.  (The  writing  was  done 
by  Eddie  Sauter.)  This  was  his  first 
departure  of  significance  in  a  great 
while.  It  was  all  original  Sauter  ma- 
terial, constructed  tightly  but  leaving 
room  for  Stan  to  improvise — without 
leaving  him  the  burden  of  sustaining 
a  unified  whole.  The  writing  stood  on 
its  own.  And  Stan,  not  pressed  to  create 
new  edifices,  just  relaxed  and  floated. 
It  is,  by  far,  one  of  the  most  outstand- 
ing jazz  albums.  (Please  turn  the  page) 


t    19 


ON  THE  RECORD 


Vocjf  JVforitfilv   ON   RECORD  Guid& 


20 


But  here  we  find  another  direction. 
The  Samba !  A  fresh  look  at  some  Latin 
music,  with  the  added  plus  of  Stan's 
improvisation  and  the  guitar-playing  of 
Charlie  Byrd.  This  album,  as  con- 
trasted with  "Focus,"  is  narrow.  It's 
essentially  an  improvising  album.  Of 
course,  the  instrumentation  of  the  group 
and  the  quality  of  the  musical  material 
offset  the  confined  area.  (Guitar,  bass, 
two  drummers  and  Stan.) 

On  the  whole,  it's  a  rather  enjoyable, 
non-hostile  jazz  effort.  That,  in  itself, 
makes  it  unique.  With  so  much — if 
you'll  pardon  me — marching  going  on, 
this  flowing,  warmly  Latinesque,  har- 
monically honest  and  intensely  lyrical 
journey  is  a  breath  of  fresh  air.  The 
titles  are  unimportant.  They  are,  I 
gather,  popular  Latin  vehicles.  All  are 
charming  in  their  simplicity.  The  whole 
venture  proves  the  universality  of  music. 
Recommended. 

**-fcBashin' :  The  Unpredictable 
Jimmy  Smith  (Verve) — Jimmy  Smith 
is  one  heck  of  a  talent.  He  is  also  able 
to  bridge  the  gap  to  the  hit-record 
charts.  (His  single  record  of  "Walk  on 
the  Wild  Side" — which,  incidentally, 
was  grabbed  from  this  album — is  doing 
very  well.) 

This  latest  effort  of  Jimmy's  is  chock- 
full  of  gems.  One  side  of  the  album 
finds  Jimmy  rumblin'  with  a  big  band. 
The  arrangements — written  by  a  largely 
underrated  writer-saxophonist,  Oliver 
Nelson — are  played  brittle-bright  by  a 
host  of  great  jazz  players:  Phil  Woods, 
Urbie  Green,  George  Duvivier,  Joe 
Wilder  and  Joe  Newman  among  them. 
These  big-band  sides  include  the  smash- 
ing "Walk  on  the  Wild  Side,"  "Old 
Man  River"  and  "Step  Right  Up," 
among  others. 

Side  two  features  Jimmy's  trio.  This 
side  almost  steals  the  show.  The  beau- 
tiful and  touchingly  blue  "Beggar  for 
the  Blues"  is  murder!  "Bashin',"  the 
title  tune,  is  followed  by — and  I'm  not 
kidding— "I'm  an  Old  Cowhand."  If  it 
seems  strange,  it  doesn't  sound  that  way. 
It  all  cooks!  Jimmy  is  the  past  mas- 
ter of  the  blues,  truly  the  first  real 
"jazz  giant"  of  the  organ,  and  always  a 
pleasure  and  a  delight  to  listen  to. 
Much  of  the  message  resides  in  his 
own  talented,  flying  fingers! 


***The  Sweetest  Swingin'  Sounds 
of  "No  Strings,"  arr.  and  cond.  by 
Billy  May  (Capitol) — It  appears  that 
when  a  talent  like  Billy  May  under- 
takes an  album — even  when  the  mate- 
rial is  the  worst  example  of  Richard 
Rodgers'  writing — he  brings  it  off  in 
that  wonderful  May-ish  way. 

Billy   is    one   of   the    few    arrangers 


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THE  iwi&Mt'"- 
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around  capable  of  injecting  humor, 
warmth,  vitality,  into  almost  every  one 
of  his  recording  ventures.  He  uses  a 
big  band's  instrumentation  as  if  he 
had  discovered  it!  Here  we  find  a  set- 
tled feeling  prevailing,  with  occasional 
shouts  from  the  brass.  I  think,  though, 
humor  is  the  call  for  the  day.  And  no 
one  exceeds  Billy  at  that  trick.  Also, 
herein  are  a  few  saxophone  solos  of 
merit  and  the  presence  of  the  mighty 
May  swing! 

All  I  can  say  is,  Richard  Rodgers 
ought  to  be  happy  about  this  album. 
His  music  from  this  show  has  hardly 
been  recorded  any  better.  Included: 
"No  Strings,"  "Eager  Beaver,"  "Look 
No  Further,"  "Loads  of  Love,"  and 
eight  more  of  the  score.  The  stars  are 
for  Billy. 

*The  Newest  Sound  Around:  The 
Voice  of  Jeanne  Lee— Ran  Blake  at 
the  Piano  (RCA  Victor) — Anything 
is  to  be  tried  once.  Well,  ...  it  didn't 
happen.  Here  an  approach  quite,  quite 
different  from  what  one  would  expect 
— from  a  singer,  plus  a  pianist,  doing 
a  lot  of  standards — shoots  out  at  you 
trying  to  say  something.  Unfortunately, 
it's  a  vehicle  only  for  the  "in"-people. 
This  album  is  the  most  successful 
attempt  at  obscurity  I've  heard  yet. 
Modernity  doesn't  ever  come  under 
indictment  by  your  reviewer,  but,  oh! — 
spare  us  this  nonsense.  Experiments  are 
solely  for  science.  There's  only  success 
or  failure  in  art. 

SPECIAL 

****Billie  Holiday:  "The  Gold- 
en Years"  (Columbia) — Billie  Holi- 
day is  a  legend  because  we  are  blessed 
so  rarely  with  artists  of  her  calibre.  The 
individualism  she  possessed  was  titanic. 
The  circle  of  admirers  she  had  includes 
every  jazz  player  of  stature  for  the  last 
thirty  years.  Everybody  loved  Billie — 
"Lady  Day,"  as  Lester  Young  dubbed 
her.  She  hurt  no  one  in  her  whole  life 
but  herself. 

She  was  captivating,  enchanting  and 
irresistible.  One  night,  your  reviewer 
was  playing  in  a  jazz  club  in  the  Vil- 
lage, on  New  York's  downside.  I  was 
rambling  through  "Willow  Weep  for 
Me"    when    I    heard    someone    singing 


-K-K-K-K   C  Ft  EAT! 
-+C-^  OOOD   LISTENING 


-M<    FAIR    SOUNDS 
-+C  IT'S    YOUR    MONEY 


from  a  table  down  front.  At  first,  I  had 
the  feeling  someone  was  having  some 
fun  at  my  expense.  Then  I  heard  that 
voice  clearly  and  darned  if  it  wasn't 
Lady  Day!  Well,  right  then  and  there. 
I  turned  the  floor  over  to  her.  She 
wasn't  just  "hamming"  it  up;  she 
wouldn't  come  up  on  the  stage.  Her  re- 
tort was  that  she  liked  the  way  we  were 
playing  that  tune  and  it  was  an  old 
favorite  of  hers.  She  sang  the  tune  from 
the  table,  finished  it  and  uttered,  "No 
more,"  fearing  we  should  feel  imposed 
upon. 

That  was  Lady  Day.  A  beautiful  hu- 
man being  who  fought  a  drug  habit,  a 
frail  body,  and  had  magnified  insecuri- 
ties about  her  singing.  Oh,  if  she  only 
knew  how  appreciated  she  really  was — 

This  Columbia  package  of  three  LP's 
is  a  marvelous  compilation  of  the  Holi- 
day monuments.  From  "Your  Mother- 
in-Law"  (circa  1933)  with  the  Benny 
Goodman  band  through  to  1941  and  ve- 
hicles such  as  "God  Bless  the  Child"— 
which  Billie  wrote — "Love  Me  or  Leave 
Me"  and  "Gloomy  Sunday."  The  band 
personnel  on  these  albums  reads  like  a 
"Who's  Who  in  Jazz"! 

You  name  them,  they're  here,  com- 
plementing the  master  improviser  her- 
self. 

The  package  is  a  chunk  of  history. 
A  healthy  chunk  of  inherent  joy  of 
playing  jazz  in  those  days.  The  car- 
ry over  of  the  Cotton  Club  type  of 
sophistication  and  ornamentation,  and 
Lady  Day  in  all  her  glory.  Talking 
about  love — the  sad  kind,  the  light 
kind,  the  supremely  touching  kind — 
or  bubbling  along,  with  the  jazz  giants 
keeping  pace.  For  a  collection  to  be 
without  these  is  for  it  to  be  incomplete. 

Billie  passed  away  with  very  little 
money  or  hope.  Her  grave  had  no  stone 
to  tell  where  the  great  lady  rested  for 
a  year.  Fortunately,  a  group  of  people 
held  a  benefit  to  raise  the  money  for  it. 
It  seems  ironic  that  the  people  she  made 
so  much  money  for  were  conspicuous 
by  their  absence  at  her  untimely  death. 

I  treasure  this  package.  Please  go  out 
and  listen  to  it.  The  sound  is  the  old 
sound  of  recordings  made  in  the  '30s 
and  '40s,  but  no  advances  in  technology 
can  give  you  that  heart:  The  heart  of 
Billie  Holiday. 


TOPS   IN    SINGLES 

1)  All  for  the  Love  of  a  Girl/Old  Kentucky  Home,  Al  Harris 
(Capitol) — Both  these  sides  are  strong.  The  first  side,  "All  for  the  Love," 
is  the  one  that  really  kills  your  reviewer.  The  flip  is  a  flying  version  of  the 
Stephen  Foster  classic.  No  singing  here.  Just  the  tacky  guitar-sounding 
piano  with  a  big  band.  Should  be  a  big  one. 

2)  Bluebird/These  Are  the  Things,  Jericho  Brown  (Chancellor)  — 
"Bluebird"  is  the  tough  one.  Same  niche  as  Bobby  Vee's  efforts.  Good  ar- 
rangements, good  shouting!  The  flip  is  a  long  shot.  Watch  for  this  one. 
It  might  take  off! 

3)  Wonderful  Land/Stars  Fell  on  Stockton,  The  Shadows  (At- 
lantic)— "Wonderful  Land"  is  a  spacious  piece  bringing  the  quality  of 
the  Western  movie  theme  to  light.  The  flip  side  isn't  in  the  running.  Like 
our  No.  1  record,  this  is  an  instrumental. 

4)  Please  Send  Me  Someone/ Another  Dancing  Pardner,  Damita 
Jo  (Mercury) — Both  sides  are  very  strong.  In  fact,  it's  hard  to  pick  one. 
"Please  Send  Me"  is  a  blues-type  shout  a  la  Dinah  Washington,  but  Damita 
sets  her  own  groove.  And  a  walkin'-talkin'  one,  at  that.  Flip  is  country- 
style  at  the  edges,  with  a  cute  lyric.  Could  be? 

5)  The  World's  Greatest  Man/Sweet  Little  Lovable  You,  Wink 
Martindale  (Dot) — "Greatest  Man"  is  clearly  the  stronger.  Wink  does  a 
good  job  making  known  the  fact!  The  flip  is  a  fifty-to-oner.  Watch  "Great- 
est Man" — it'll  get  to  the  hit  charts. 

6)  Wild  Flower/Express  Train,  Tico  and  the  Triumphs  (Amy)  — 
This  is  for  the  kids.  They'll  shove  it  right  up  high  on  the  hit  chart.  The 
lyric  means  next  to  nothing.  "Flower"  is  sort  of  a  Rocking  Island  song, 
of  the  Pacific  variety.  The  flip  is  a  traveling  song,  not  quite  as  strong. 
The  sound  is  what's  happening  these  days.  Look  out. 

7)  Yes,  My  Darling  Daughter/  Sonny  Boy,  Eydie  Gorme,  Don 
Costa  Orch.  (Columbia) — All  the  earmarks  of  a  big  one,  and  Eydie's  just 
about  due  for  one.  The  groove  of  "Daughter"  is  somewhere  between  "Come 
On-A  My  House"  and  "Midnight  in  Moscow."  Very  strong  Dixie  back- 
drop. "Sonny  Boy,"  the  Jolson  classic,  is  an  added  plus,  but  "Daughter" 
is  the  one  you'll  hear  on  radio.  A  goodie! 

8)  Second  Hand  Love/Gonna  Git  That  Man,  Connie  Francis 
(MGM) — "Second  Hand  Love"  is  in  a  wonderful  groove,  with  Connie 
sitting  right  on  top  the  proceedings,  chirpin'  away!  The  lyrics  lay  well. 
The  tacky  piano  appears  again  in  the  orchestra.  It's  got  to  be  a  hit.  Flip 
hardly  stands  up  to  "Love." 

9)  Comin'  Back  to  You/Mr.  Hobbs,  Richie  Allen  (Imperial)  — 
"Comin'  Back"  is  the  sleeper  this  month.  Sort  of  raggetty-type,  guitar- 
playing,  Western-theme-type  material.  I  get  a  funny  feeling  listening  to 
this.  It  keeps  saying  to  me,  "I'm  gonna  sneak  in  there."  And  well  it 
might.  Richie  plays  in  the  singing-guitar  style.  The  background  is  nothing 
to  shout  about,  but  the  melody  has  a  charm.  Flip  is  out  of  the  running. 

10)  "Route  66"  Theme/Lolita  Ya-Ya,  Nelson  Riddle  Orch.  (Capitol) 
— With  all  the  exposure  "Route  66"  gets,  anyway,  this  could  mean  some- 
thing. But  the  big  side  is  "Lolita."  Perfect  for  the  market — right  down 
to  the  chorus  of  girls'  voices,  cooking  drums,  clanging  guitars  and  the 
repetitive  theme.  Ding-dong! 


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1.  Ann  Bly+h,  Debbie  Reynolds  (did  you 
recognize  her?),  Marge  Champion  at 
the  Thalian  circus.  2.  Tony  Dow  dating 
Brenda  Scott.  3.  Mr.  and  Mrs.  Law- 
rence Welle  meet  Jay  ("Dennis  the 
Menace")  North.  4.  Judy  Garland, 
who  fled  to  London  with  Liza,  Lorna 
and  Joey,   now  faces  a  custody  fight. 


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5.  Back  from  Europe,  Connie  Francis  twists  with  Johnny 
Holliday,  Joey  Dee,  Hank  Ballard.  6.  Jane  Powell  and  Pat 
Nerney  on  family  outing  with  Mono,  Suzanne,  Lindsey, 
Geary.  7.  Rick  Nelson's  serious  about  Chris  Harmon;  Ozzie 
and  Harriet  approve.  8.  Tommy  Sands  struts  his  Actors' 
Studio  stuff  in   summer  stock.   Is  that   a   "method"   kiss? 


' 


h 


"I  don't  want  to  sound  pom- 
pous or  stuffy,"  said  "Pajama 
Game's"  Richard  Adler,  man- 
aging to  sound  both  pompous 
and  stuffy,  "but  the  Madison 
Square  Garden  show  to  raise 
money  for  the  Democratic  Par- 
ty is  another  way  of  doing 
something  for  my  country — 
outside  of  military  service. 
And  I've  already  done  that." 
Showbiz  always  takes  these  as- 
surances with  a  grain  of  salt. 
.  .  .  Time  and  again,  ambi- 
tious people  of  showbusi- 
ness  have  worked  every 
shrewd  angle  to  establish 
such  a  White  House  con- 
nection. They  covet  it  for  ob- 
vious social  and  professional 
bonuses.  ...  So  I  would  urge 
Pierre  Salinger,  now  that  he's 
returned,  to  tone  down  Adler. 
For  instance,  one  star  asked 
Adler  to  change  the  star's  re- 
hearsal period  at  the  Garden 
because  it  conflicted  with  his 
t  TV  rehearsal  schedule.  Thun- 
*      dered  Adler:  "Is  a  TV  show 


more  important?"  Said  the 
star,  simply:  "Uh-huh."  .  .  . 
Vince  Edwards  to  wed 
Sherry  Nelson.  .  .  .  Dave 
Garroway  and  Betty  Furness 
resumed.  .  .  .  Eydie  Gorme — 
Steve  Lawrence  named  him 
Michael.  .  .  .  Vicki  James, 
daughter  of  Betty  Grable  and 
Harry,  and  Keely  Smith's  bro- 
ther, Buster,  bustin'  out  all 
over.  ...  A  son  for  the  Harry. 
Guardinos.  .  .  .  Ann  Sothern 
and  Bill  Frye  a  duet.  .  .  .  Clif- 
ford Odets  and  Susan  Oliver 
serious. . . .  Johnny  Mathis  ser- 
enading Miriam  Colon.  .  .  . 
George  Maharis  and  Inger 
Stevens  something  new.  .  .  . 
Mrs.  Johnny  Carson  getting  a 
Mexican  divorce.  ...  As  re- 
sult of  his  smash,  Louis  Prima 
and  Basin  Street  East  ok'd 
$240,000  three-year  deal.  .  .  . 
Back  in  the  early  1930s  when 
I  booked  Louis  Prima  and  his 
band  for  his  first  stage  date  at 
Loew's  State,  he  always 
showed  plenty  of  moxie.  It's 


this  same  type  of  courage  that 
enabled  Prima  to  stage  his 
fantastic  hit  at  Basin  Street 
East.  That,  plus  his  uncanny 
instinct  for  selecting  unknown 
vocalists  who  promptly  be- 
come sensations.  .  .  .  James 
Stewart  gets  Art  Carney 
flicker  role  of  "Take  Her, 
She's  Mine."  .  .  .  Mort  Sahl 
and  Anna  Kashfi  a  twosome. 
.  ...  The  Arnold  (Bess  Myer- 
son)  Grants  back  from  Euro- 
pean honeymoon.  . . .  Lori  Nel- 
son Mann  named  the  baby 
Lori.  .  .  .  Bob  Hope's  son, 
Tony,  set  for  Harvard.  .  .  . 
Doris  Day's  son,  Terry,  and 
Candy  Bergen,  Edgar's  daugh- 
ter, an  item.  .  .  .  Millie  Perk- 
ins and  Dean  Stockwell  sepa- 
rated. ...  As  you  read  in  the 
gazettes,  after  Spyros  Skouras 
had  shown  the  rowdyish  20th 
Century-Fox  stockholders 
twenty-one  minutes  of  "Cleo- 
patra," predicted  a  $100  mil- 
lion gross,  and  sketched  the 
expected  harvest   of  Zanuck's 


"Longest  Day,"  the  stockhold- 
ers re-elected  him  as  prexy. 
.  .  .  Facing  an  operation. 
Skouras  nevertheless  taxed 
himself  with  five  trips  to  Eu- 
rope to  keep  Liz  from  quitting 
the  picture — then  underwent 
surgery  here  at  St.  Luke's.  .  .  . 
The  Red  Wests  expecting 
(he's  Presley's  stand-in).  .  .  . 
Anne  Bancroft  prefers  Mel 
Brooks.  .  .  .  Jackie  Gleason 
lost  45  pounds.  .  .  .  Carol 
Burnett  and  Richard  Cham- 
berlain at  Jilly's.  .  . .  The  Mike 
(Laraine  Day)  Grikhiles  ex- 
pecting. .  .  .  Hugh  O'Brian 
switched  to  Dorothy  Towns. 
.  .  .  Robert  Frost  up  for  the 
1962  Nobel  Prize.  .  .  .  "Gun- 
slinger's"  Madlyn  Rhue  and 
Tony  Young  to  marry.  .  .  . 
Raymond  Massey's  daughter, 
Anna,  and  husband  Jeremy 
Brett  derailed. 

Published  by  permission  of 
the  Chicago  Tribune — New 
York     News     Syndicate    Inc. 


24 


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One  look  at  TV's  top  doctors  and  the  diagnosis  is  obvious : 
They're  headed  for  the  altar  —  and  they're  finding  that 
half  the  fun  is  getting  there !  Just  turn  the  page  and  see ! 


SPECIAL  T-PAGE  SECTION 


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First  Ph®t®$8 
The  GBrD  Dock 
Tri@d  Wo 


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A  one-line  item  in  a  gossip  column  started  the  hottest  rumor  in  Holly- 
wood. It  also  started  a  panic  at  the  M-G-M  studios  where  "Dr. 
Kildare"  is  filmed.  Dick  Chamberlain,  it  said,  (Please  turn  the  page) 


w 


First  Photos!! 
The  GGrD  Dock 
Tried  Tfo  Me 

A  one-line  item  in  a  gossip  column  started  the  hottest  rumor  in  Holly- 
wood. It  also  started  a  panic  at  the  M-G-M  studios  where  "Dr. 
Kildare"  is  filmed.  Dick  Chamberlain,  it  said,  (Please  turn  the  page) 


■ 


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has  been  secretly  married  for  more 
than  a  year.  If  the  item  was  true, 
there  was  no  doubt  who  the  girl 
was:  She  had  to  be  Clara  Ray. 

The  studio  was  having  a  cor- 
porate nervous  stomach  as  it 
moaned  over  the  effects  of  having 
its  new  TV  idol  caught  in  a  lie. 
Executives  still  haven't  quite  re- 
covered from  the  Yvette  Mimieux 
caper.  The  same  gossip  column 
itemed,  over  a  year  ago,  that  she 
was  secretly  married.  She  had  de- 
nied it,  but  the  item  turned  out 
true. 

TV  RADIO  MIRROR  knew  that  it 
was  possible — even  if  not  probable 
— that  Dick  and  Clara  were  already 
married.  Our  double-checking  sys- 
tem sprang  into  action.  First,  we 
tracked  down  Dick;  we  found  him, 
still  sleepy-eyed,  reporting  to  the 
studio  makeup  department  for  an 
early-morning  call. 

We  put  the  question  to  him 
bluntly:  "Are  you  and  Clara  mar- 
ried?" Dick  woke  up  fast.  "Are  you 
serious?"  he  asked.  We  showed 
him  the  item.  He  stared  at  it  for 
a  long  moment;  then  he  broke  into 
laughter. 

"It  doesn't  mention  our  chil- 
dren," he  said  between  guffaws. 
"This  item  is  hilarious.  It's  ridicu- 


continued 


lous."    He  was   still    laughing. 

Then,  turning  absolutely  seri- 
ous, he  said,  "There  is  no  truth 
to  it  whatsoever.  I  wonder  why 
they'd  print  such  a  thing.  They 
didn't  check  with  me  on  it.  When 
I  get  married,  the  whole  world  will 
know." 

Clara,  too,  denied  the  rumor,  al- 
though   she   didn't  think   it   was 


Rumor  panicked  everyone  but  Dick  and  Clara. 


28 


«£ 

Jm 

v  .  <T<     t 

tl  l£ 

,?tlL 

vMi 

WP     ^  ^ 

v«TTn 

V    J 

*    "4J 

uM 

*Jt_                                   ^^fl 

I 

[** 

>.  fl 

funny — even  at  first.  She  seemed 
puzzled  as  to  why  anyone  would 
print  such  a  thing  without  check- 
ing first.  Her  parents,  as  well  as 
Dick's,  maintained  that  no  knot 
had  been  tied. 

A  spot-check  of  the  marriage 
license  bureaus  also  failed  to  pro- 
duce any  basis  for  the  item.  "Dick 
has  taken  out  a  license  all  right," 
one  of  his  buddies  cracked,  "But 
it  was  a  driver's  license." 

Another  close  friend  and  TV  as- 
sociate, Chuck  Painter,  remarked: 
"If  Dick  got  married,  it  must  have 
been  in  his  sleep.  I  have  been  with 
him  constantly  since  he  became 
'Dr.  Kildare.'  I  know  where  he  lives. 
I  know  where  Clara  lives.  It's  not 
the  same  address." 

TV's  hottest  rumor  checks  out 
as  false.  The  romance,  though,  is 
very  much  for  real.  It  has  been 
going  on  for  some  time — secretly 
— but,  on  the  night  of  the  Academy 
Awards,  Dick  brought  it  out  into 
the  open  for  the  first  time. 

He  held  Clara  Ray's  hand  tight- 
ly as  they  stepped  out  of  a  limou- 
sine in  front  of  the  Santa  Monica 
Civic  Auditorium.  Pandemonium 
broke  loose.  The  thousands  of 
spectators  screamed  wildly.  The 
photographers'  flashbulbs  popped 


like  machine-gun  fire.  Three  high- 
school  girls  sitting  together  in  the 
bleachers  stretched  forward  for  a 
better  first  look  at  Dick  and  Clara. 
They  stretched  too  far,  and  started 
to  fall  to  the  ground  six  feet  below. 
Two  police  officers  grabbed  them 
just  in  time.  It  was  truly  the  big- 
gest reception  of  the  night  for  any 
star. 

Those  meeting  Clara  for  the  first 
time  that  night  were  quick  to  agree 
that  Dick  was  a  mighty  lucky  man. 
Even  in  a  crowd  of  beautiful  act- 
resses, she  was  outstanding.  Clara, 
though,  is  no  actress  and  doesn't 
want  to  be  one.  The  twenty-one- 
year-old  brunette  has  devoted 
years  to  preparing  for  a  singing 
career.  She  prefers  opera,  but  a 
year  ago  appeared  at  the  Statler 
Hilton  Hotel  as  a  pop  singer  and 
later  toured  with  Marie  Wilson's 
nitery  group. 

It  was  singing,  in  fact,  that 
brought  Dick  and  Clara  together. 
Nearly  three  years  ago,  Dick  re- 
ported for  the  start  of  a  singing 
course  at  the  Los  Angeles  Con- 
servatory of  Music.  At  first,  he 
hardly  paid  any  attention  to  the 
girl  sitting  across  the  room.  She 
was  just  another  student  in  the 
class  conducted  by  Carolyn  Tro- 
janowski. 

However,  as  the  weeks,  months 
and  then  a  year  passed,  Dick  be- 
came fascinated  with  her  talent — 
and  her  beauty.  They  found  they 
had  much  in  common:  A  hungry 
appetite  for  the  arts,  an  apprecia- 
tion of  the  outdoors.  They  sipped 
coffee  and  chatted  during  class- 
room breaks;  they  took  long  walks 
together. 

Then  Clara  had  to  go  on  the 
road  with  a  show  and,  overnight, 
Dick  found  himself  a  public  idol 
as  "Dr.  Kildare."  Yet  they  never 
irifted  too  far  apart.   Dick  con- 


They  have  a  secret  that  keeps  them  smiling. 


tinued  to  study  twice  a  week  at  the 
conservatory. 

Suddenly,  last  September,  they 
discovered  it  could  be  love.  They 
appeared  in  a  duet  number  at  one 
of  the  showcase  performances  that 
the  school  stages  once  a  year.  It 
wasn't  the  first  duet  they  had  sung 
together,  but  after  that  night  their 
dating  was  on  a  steady  basis. 

Few  knew  about  it,  though.  They 
never  appeared  in  night  clubs  or 
at  premieres.  They  enjoyed  spend- 
ing what  free  time  Dick  had  from 
filming  at  Malibu,  walking  hand  in 
hand  along  the  beach,  or  hiking 
in  the  Santa  Monica  Mountains. 
Or  they  would  throw  a  small  party 
for  school  friends.  Or  Dick  would 
put  on  the  horn-rimmed  glasses 
he  uses  as  a  disguise  and  they 
would  go  to  a  movie  or  an  opera. 
Success  is  still  very  new  to  Dick, 
and  he  often  feels  embarrassed 
when  autograph  hounds  catch  him 
in  the  middle  of  shopping  for  cold 
cuts  or  buying  toothpaste  at  the 


corner  drugstore  in  the  usual  way. 

Clara,  too,  is  unpretentious. 
Her  background  is  similar  to 
Dick's.  Although  born  in  Memphis, 
Tennessee,  she  is  practically  a  na- 
tive of  California  (Dick  is).  Her 
parents  moved  to  Eagle  Rock  when 
she  was  but  a  child.  At  Eagle  Rock 
High,  it  became  obvious  to  her 
classmates  that  she  was  someone 
special.  She  was  the  most  popular 
girl  in  her  class.  The  boys  did 
everything  but  walk  a  fence,  Tom 
Sawyer-style,  to  carry  her  books. 
She  wasn't  the  least  bit  impressed. 
She  dated  whom  she  pleased, 
whether  he  was  a  football  hero  or 
the  shy  intellectual  in  her  English 
class. 

Clara  was  a  good,  conscientious 
student.  She  even  found  time  be- 
tween studying  and  voice  lessons 
to  participate  in  the  drill  team 
pageantry  at  all  athletic  events. 
When  she  graduated,  she  went  on 
to  Glendale  City  College.  In  1956, 
her  beauty  and  charm  won  her  the 
title  of  Homecoming  Princess. 

Yet  nothing  she  had  ever  known 
could  prepare  her  for  the  night  of 
the  Academy  Awards  when  she 
stepped  into  the  near-hysterical 
limelight  with  Dick. 

"I  thought  my  dress  was  slip- 
ping off,"  she  confided  to  Dick 
later.  "I  kept  tugging  it  up.  Then 
I  realized  it  wasn't  the  dress  at  all. 
It  was  my  knees.  They  were  shak- 
ing so  badly  my  gown  was  like  a 
hula  skirt." 

Clara  frankly  confessed  that,  if 
it  weren't  for  Dick's  arm  around 
her  waist,  she  would  have  fallen 
flat  on  her  face.  When  the  night 
was  over,  she  couldn't  sleep,  she 
was  still  so  tense  with  excitement 
from  the  crowd's  overwhelming 
reception.  Dick,  too,  tossed  and 
turned  the  entire  night;  it  was  his 
first  glimpse  (Continued  on  page  86) 


29 


#  • 


%  • 


When  Vince  Edwards  and  Sherry  Nelson  are 
together,  they  seem  to  light  up  as  if  they  were 
hearing  bells -wedding  bells.  But  for  Vince, 
this  is  not  a  new  sound.  There  was  that  girl 
in  Japan,  for  instance,  with  whom  he  came 
so  close  to  marriage  ...  And  now?  "I'm  think- 
ing of  getting  married,"  he  admits.  "I  go 
steady  with  a  girl  who  is  for  marriage.  That's 
natural.  She's  a  woman."  Vince  is  for  it,  too. 
-After  all,"  says  his  best  friend,  "why  else 
does  a  single  fellow  keep  dropping  in  on  a 
married  guy  with  kids?"  We  think  this 
friend  has  the  best  answer  so  far  to:  "When's 
the  wedding?"  For  his  story,  turn  to  page73- 


f 


■   *■"> 


\-# 


f 


A  reporter,  something  of  an  eager  beaver,  once  asked  the  Lennons,  "Have  you  ever 
felt  that  God's  thumb  had  been  turned  down  against  you?"  The  singing  sisters 
stared  at  him  helplessly.  They  were  a  little  shocked.  Their  father,  Bill,  smiled 
and  intervened.  "Why  should  they  feel  that  way?"  he  said.  "They  haven't  been 
taught  to  think  of  God  as  a  Nero  deciding  life  and  death  with  His  thumb.  We  Len- 
nons don't  believe  God  plays  games  with  the  souls  of  people.  If  good  things  come 


Why  do  we  pray?  What  do  we  believe? 
The  Lennon  Sisters — Peggy,  Kathy  and  Janet- 
get  some  frank  answers  from  their  father 


THE  DAY  GO 


32 


our  way,  we're  thankful  for  the  blessings  .  .  .  but  if  something  bad  should  happen, 
I'm  sure  we'd  all  take  the  view  that  there  was  a  reason  for  it.  We  don't  blame  God 
and  we  don't  argue  with  Him.  ..."  As  a  family,  the  Lennons  would  rather  live 
their  religion  than  talk  about  it.  Sure  and  strong  in  their  Catholic  faith,  tljey 
try  to  mingle  devotion  to  the  Church  and  observance  of  its  rituals  with,  humility, 
tolerance  and  joy.  It  is  forgotten  now  which  of  the  (Continued  on  page  87 


^Pti*^-**J 


M  j 


r.    , 

x 


+ . 


• 


\ 


ANSWERED  NO 


At  the  swank  Port  St.  Lucie  Country  Club,  Florida  folk  stared  in  surprise 


This  wasn't  the  Como  they'd  expected  to  see!  He  seemed  so  different  ...  off  TV. 


35 


At  the  swank  Port  St.  Lucie  Country  Club,  Florida 


folk  stared 


in  surprise 


JJMM 


This  wasn't  the  Como  they'd  expected  to  see!  He  seemed  so  different  ...  off  TV. 


Slamming  the  ball  more  than  two  hundred  yards,  he  permits  himself  the  luxury  of  a  smile. 


STOPPED 


"Nice  guys  finish  last,"  said  Leo  the  Lip.  Less  pessimistic  prophets 
like  to  point  to  Perry  Como  as  proof  that  it  doesn't  have  to  be  so.  It 
might  be  true  in  dog-eat-dog  professional  sports — but  it  couldn't  be 
true  of  the  ace  song  pro  known  as  "the  nicest  guy  in  show  biz." 

Per  hasn't  finished  last  for  years  .  .  .  and  watching  him  play  golf 
down  Miami  way,  you  begin  to  understand  why.  "Nice  guy,"  eh?  There's 
nothing  wishy-washy  about  this  star  in  action!  No  casual  shrugs  when 
the  ball  just  lips  the  cup  ...  no  meek  apologies.  Here  is  a  man  who 
lines  up  every  shot  in  deadly  earnest  .  .  .  who  whacks  every  drive  as 
though  sailing  into  a  mortal  enemy  .  .  .  who  shoots  a  sizzling  78. 

This  is  Perry  Como? 

Yes,  this  is  Per  today  ...  the  same  guy  who  looks  so  relaxed  on  TV — 
after  he's  lined  up  every  shot  in  hard-working  rehearsal.  He  may  have 
been  "just  a  nice  guy"  once.  That's  when  he  had  his  failures.  Now  he 
knows:  You  have  to  play-to-win  ...  in  your  career,  as  well  as  any  game! 


36 


Just  a  game?  Perry  Como  is  obviously  going  for  broke! 


Slamming  the  ball  more  than  two  hundred  yards,  he  permits  himself  the  luxury  of  a  smile.    ^ 


STOPPED  BEING  A 


"Nice  guys  finish  last,"  said  Leo  the  Lip.  Less  pessimistic  prophets 
like  to  point  to  Perry  Como  as  proof  that  it  doesn't  have  to  be  so.  It 
might  be  true  in  dog-eat-dog  professional  sports — but  it  couldn't  be 
true  of  the  ace  song  pro  known  as  "the  nicest  guy  in  show  biz." 

Per  hasn't  finished  last  for  years  ...  and  watching  him  play  golf 
down  Miami  way,  you  begin  to  understand  why.  "Nice  guy,"  eh?  There's 
nothing  wishy-washy  about  this  star  in  action!  No  casual  shrugs  when 
the  ball  just  lips  the  cup  ...  no  meek  apologies.  Here  is  a  man  who 
lines  up  every  shot  in  deadly  earnest  .  .  .  who  whacks  every  drive  as 
though  sailing  into  a  mortal  enemy  .  .  .  who  shoots  a  sizzling  78. 

This  is  Perry  Como? 

Yes,  this  is  Per  today  ...  the  same  guy  who  looks  so  relaxed  on  TV 

after  he's  lined  up  every  shot  in  hard-working  rehearsal.  He  may  have 
been  "just  a  nice  guy"  once.  That's  when  he  had  his  failures.  Now  he 
knows:  You  have  to  play-to-win  ...  in  your  career,  as  well  as  any  game! 


36 


Just  a   game?   Perry   Como   is   obviously   going   for   broke! 


"NICE  GUV" 


37 


Efrem  Zimbalist  saw  her  first  .  .  . 


Efrem  Z.  makes 


The  dilemma  of  Peggy  McCay 

When  the  triangle  first  took  shape,  'twas  the  night 
after  Christmas.  And  all  through  the  house,  creatures 
were  not  only  stirring — they  were  Twisting!   .  .  . 
The  "house":  Romanoffs.  The  date:  December  26,  1961. 
The  Twisters:  Just  about  all  the  stars  at  the  gala 
post-premiere    party    for    Warner    Bros.'    "A    Majority 
of  One."  .  .  .  That's  when  Peggy  McCay  saw  her 
chance.   Peggy   had  plenty   going   for   her.   She'd   been 
cast  as  the  mother  on  ABC-TV's  "Room  for  One 
More,"  and  tonight  she  was  out  on  a  date  with  Efrem 
Zimbalist    Jr.    Now,    Efrem    is    the    calm,    gentle- 
manly,  pipe-smoking  catch   of  a   lifetime,   as   any   self- 
respecting  spinster  knows.  And  Peggy  had  him  all 
to  herself.  .  .  .  But  was  she  content  to  count  her  blessings? 
No!  You  see,  beneath  the  lady-like  veneer  she  wears 
on    the   screen,    Peggy    McCay    harbors   a    secret   vice: 
Get  her  near  a  dance  floor  and  the  lady  just  has 
to  Twist.  .  .  .  She  looked  at  Efrem,  who  was  sitting 
contentedly   across  the  table   from   her,   a   mildly 
amused  expression  on  his  face  as  he  watched  his  fellow 
actors  make  pretzels  of  themselves.  Obviously  he 
didn't  have  any  intention  of  asking  her  onto  the  dance 
floor  for  this  number.  Peggy  looked  at  the  Twisters, 
who  were  gyrating  happily  to  the  wild  music,  and  sud- 
denly her  feet  started  itching  and  her  hips  started 
twitching.  Almost  before  she  knew  it,  she  found  herself 
asking  Efrem:  "Say — how  about  it?"  ...  He  took 
his  pipe  out  of  his  mouth,  looked  at  her  with  just  a 
hint   of   surprise   and —    {Continued  on  page  78) 


But  he  wont  twist,  audi 


38 


her  heart  stand  still 


Then  she  saw  Rohert  Q.  Lewis! 


obert  Q.  witll 


f 


GRACIE  ALLEN: 


xjLHI  a 

Too  Sick 

To  Know 
The  Truth 

About 

My  S  on?  * 


z/rf 


~f 


& 


I 


V 


40 


The  news  stunned  George  Hitrns  and  Grade 


Like  the  others  on  the  tranquil  block  in  Beverly  Hills, 
it's  an  older  home.  Like  the  others,  it  has  been  superbly 
maintained  throughout  the  years.  One  warmish  day  this 
past  spring,  a  woman  peered  bright-eyed  out  the  large 
picture  window  of  its  spacious  living  room.  The  rosebuds 
in  the  garden  yawned  to  a  cloudless  sky.  The  violets  bor- 
dering the  driveway  were  in  full  bloom.  The  leaves  on  the 
trees  fluttered  in  a  slight  breeze. 

Truly,  it  was  a  gorgeous  day.  The  woman  in  the  big 
house  had  enjoyed  many  splendid  days.  Ones  filled  with 
love,  happiness  and  success.  Ones  devoted  to  her  family. 
Ones  devoted  to  her  husband.  Ones  devoted  to  her  career. 

Gracie  Allen  indeed  has  had  a  fruitful  life.  But  that 
day,  when  she  turned  from  the  window — and  the  past — 
she  found  herself  face  to  face  with  the  problems  of  the 
present. 

Ironically,  that  same  week,  her  daughter  Sandra  had 
announced  that  her  second  marriage  had  failed.  She  was 
getting  a  divorce.  The  day  before,  Gracie  had  picked  up 
a  newspaper  only  to  read  that  her  son  Ronnie  was  planning 
to  marry  a  girl  she  had  met  only  casually.  There  was  a 
time  when  Sandra  and  Ronnie  Burns  relied  on  their 
parents  for  advice.  No  longer.  Somehow,  they  had  drifted 
away.  They  no  longer  shared  their  confidences. 

On  February  19th,  1958,  Gracie  Allen  had  announced, 
with  much  emotion,  that  she  was  retiring  from  show  busi- 
ness. The  team  of  Burns  and  Allen  would  be  no  more. 
The  reason  she  gave:  "I  want  to  have  more  time  to  see 
our  children  .  .  .  our  grandchildren." 

This  undoubtedly  was  a  prime  factor  for  her  retirement. 
Another  was  her  health.  Associates  at  the  time  confided 
"off  the  record"  that  Grade's  health  was  slipping.  A 
year  ago,  she  entered  Mt.  Sinai  Hospital  in  Los  Angeles 
for  what  George  described  as  a  "virus  condition."  How- 
ever, friends  whispered  that  it  was  her  heart. 

Of  late,  Gracie  seldom  ventures  far  from  the  confines 
of  her  home.  She's  still  as  witty  and  charming  as  ever, 
friends   say,   but   she's    not    up    (Please   turn   the   page) 


41 


tanned  George  Hum*  find  Grade. 


i,/  r:  -„..;.. 


GRACIE  ALLEN: 


"Ami 
Too  Sick 
To  Know 
The  Truth 
About 
My  Son?" 


40 


L.ke  the  others  on  the  tranquil  block  in  Beverly  Hills, 
"t'8  an  older  home.  Like  the  others,  it  has  been  superbly 
maintained  throughout  the  years.  One  warmish  da>  thil 
past  spring,  a  woman  peered  bright-eyed  out  the  large 
picture  window  of  its  spacious  living  room.  The  rosebuds 
in  the  garden  yawned  to  a  cloudless  sky.  The  violets  bor- 
dering the  driveway  were  in  full  bloom.  The  leaves  on  the 
trees  fluttered  in  a  slight  breeze. 

Truly,  it  was  a  gorgeous  day.  The  woman  in  the  big 
house  had  enjoyed  many  splendid  days.  Ones  filled  with 
love,  happiness  and  success.  Ones  devoted  to  her  family. 
Ones  devoted  to  her  husband.  Ones  devoted  to  her  career. 
Gracie  Allen  indeed  has  had  a  fruitful  life.  But  that 
day,  when  she  turned  from  the  window— and  the  past- 
she  found  herself  face  to  face  with  the  problems  of  the 
present. 

Ironically,  that  same  week,  her  daughter  Sandra  had 
announced  that  her  second  marriage  had  failed.  She  was 
getting  a  divorce.  The  day  before,  Gracie  had  picked  up 
a  newspaper  only  to  read  that  her  son  Ronnie  was  planning 
to  marry  a  girl  she  had  met  only  casually.  There  was  a 
time  when  Sandra  and  Ronnie  Burns  relied  on  their 
parents  for  advice.  No  longer.  Somehow,  they  had  drifted 
away.  They  no  longer  shared  their  confidences. 

On  February  19th,  1958,  Gracie  Allen  had  announced, 
with  much  emotion,  that  she  was  retiring  from  show  busi- 
ness. The  team  of  Burns  and  Allen  would  be  no  more. 
The  reason  she  gave:  "1  want  to  have  more  time  to  see 
our  children  .  .  .  our  grandchildren." 

This  undoubtedly  was  a  prime  factor  for  her  retirement. 
Another  was  her  health.  Associates  at  the  time  confided 
"i>ff  the  record"  that  Grade's  health  was  slipping.  A 
year  ago,  she  entered  Mt.  Sinai  Hospital  in  Los  Angeles 
for  what  George  described  as  a  "virus  condition."  How- 
ever,  friends  whispered   that    it    was  her   heart. 

Of  late.  Gracie  seldom  ventures  far  from  the  confines 
of  her  home.  She's  still  as  willy  and  charming  as  ever, 
friends   say.    but   she's    not    up    [Phase   turn    the   pag,e\ 


"Am  I  Too  Sick  To  Know  The  Truth  About  My  Son? 


continued 


going  to  night  clubs  and  parties. 

George  Burns  is  still  as  active 
as  ever.  He  puffs  away  at  his 
cigars.  He  can  exchange  barbs 
with  the  best  of  them,  whether 
it  be  Jack  Benny  or  George  Jessel. 
His  Las  Vegas  appearances  have 
been  satisfying.  The  first  time  he 
appeared  on  Crap-table  Row,  he 
brought  a  young  male  singer  with 
the  egotism  of  Frank  Sinatra  and 
Jerry  Lewis  combined.  His  name 
was  Bobby  Darin,  and  it  was 
George  who  introduced  him  to 
success.  On  the  same  stage,  at  a 
later  engagement,  he  did  the  same 
for  young  Ann-Margret. 

Both  Gracie  and  George  had 
tried  to  launch  Ronnie  on  an  act- 
ing career.  They  cast  him  as  their 
son  on  the  TV  show  and  the  idea 
was  an  overnight  hit. 

George  once  confessed  that  he 
had  more  than  one  reason  for 
putting  Ronnie  in  the  show.  "I 
wanted  to  give  him  something  to 
do,"  George  said.  "I  didn't  want 
him  to  turn  into  one  of  those 
beach  bums.  He  was  spending  too 
much  time  at  Malibu  with  his 
friends." 

George  and  Gracie  had  reasons 
for  their  concern.  In  the  winter 
of  1956,  Ronnie  was  involved  in 
an  accident  that  resulted  in  a 
$60,000  suit  being  slapped  against 
his  parents.  He  was  only  twenty 
at  the  time,  so  they  were  still 
liable  for  his  actions.  The  fol- 
lowing year,  he  was  arrested  for 
speeding  at  85-miles-an-hour  in  a 
25-mile  zone.  When  it  came  to 
driving,  Ronnie  seemed  to  think  he 
was  on  the  Indianapolis  Speedway. 


a» 


X 


Gracie's  retirement  meant  the 
demise  of  the  TV  show.  Then, 
when  Ronnie  decided  acting  wasn't 
for  him,  they  gave  him  another 
break — a  job  as  an  executive  in 
their  TV  production  company. 
They  installed  Sandra  in  a  similar 
job. 

Ronnie,  some  say,  began  to  drift 
back  to  his  old  habits.  He  liked 
to  have  fun.  His  handsome  fea- 
tures and  good  build  made  him  a 
sought-after  bachelor.  Two  years 
ago,  he  came  very  close  to  marry- 
ing a  Las  Vegas  showgirl  whom 
he'd  met  while  at  the  resort  with 
his  father.  George  even  indicated 
that  he  and  Gracie  approved  of 
the  match.  However,  there  was  a 
quarrel  and  the  two  split  up.  She 
later  married  someone  else. 

Ronnie  came  even  closer  to  mar- 
riage this  spring.  At  first,  his  dates 
with  Helen  DeMaree  seemed  strict- 
ly platonic.  After  all,  she  was  mar- 
ried to  Steve  Crane,  who  owns 
the  Luau  restaurant  and  was  once 
wed  to  Lana  Turner.  (He  is  the 
father  of  Lana's  troubled  young 
daughter,  Cheryl.) 

Ronnie  always  has  been  one  of 
the  Luau's  best  customers  and 
Steve  was  his  good  friend.  So  it 
appeared  perfectly  natural  that 
Ronnie  should  dine  with  Helen 
at  the  Luau  when  Steve  had  to 
fly  East  on  business.  Sometimes, 
when  Steve  was  home,  the  three 
dined  together. 

This  arrangement  was  short- 
lived. Soon,  Ronnie  and  Helen 
began  to  be  seen  together  at  other 
places  besides  the  Luau.  They 
made  a  (Continued  on  page  96) 


42 


Ronnie,  Helen  DeMaree, 
Steve  Crane  were  deep  in 
a  triangle.  Sandra  (at  bot- 
tom) had  bad  news,  too. 


eco, 


Want  to  bring  romance  back  into  your  mar- 
riage? To  "insure"  happiness  till-death-do-you- 
part?  Don't  ask  the  couple  who've  never  had 
a  quarrel,  "never  been  separated  for  a  single 
night" !  The  lovebirds  who  really  know  are  those 
who've  felt  the  pain  of  long  separation — even 
divorce — and  somehow  found  the  way  to  rebuild 
a  broken  marriage  stronger  than  it  was  before. 
Hollywood  has  many  who  found  out  "the 
hard  way"  .  .  .  and  maybe,  listening  to  them, 
you  can  prepare  for  a  soul-satisfying  second 
honeymoon  while  still  cooing  (or  crying)  over 
the  first!  Some  of  their  answers  may  amuse  you 
— surely,  your  disagreements  aren't  as  silly  as 


theirs?  Some  may  stir  you  with  a  sudden  sense 
of  recognition.  But  all  are  the  real  stuff  of  life 
and  love  .  .  .  and  all  quite  different  from  the 
things  they'd  have  told  you  in  earlier  days. 

Take  a  peek  into  the  living  room  of  a  ram- 
bling California  home.  See  those  blood-red 
flowers  entwining  two  white  hearts?  Though 
the  stems  droop  slightly  and  some  petals  have 
fallen,  the  message  they  convey  will  linger  in 
this  room  long  after  the  flowers  have  faded.  .  .  . 

A  two-year-old  toddler  named  Michele  reaches 
out  toward  them.  "No,  no,  darling,"  says  her 
mother,  Colleen.  "Mustn't  touch.  Those  are 
Mommy's  present."  The  (Please  turn  the  page) 


continued 


tiny  hands  drop  obediently.  "Dad- 
dy?" the  light  voice  queries.  "Yes, 
sweetie,  Daddy  gave  those  to  Mom- 
my," says  Colleen,  her  glance  flying 
to  the  face  of  her  husband  across  the 
room.  For  a  long  instant,  their  eyes 
meet  in  intimate  awareness.  .  .  . 

Jimmie  Rodgers  is  first  to  break  the 
silence:  "Sometimes  it's  hard  to  be- 
lieve all  this  happiness  is  ours.  Colleen 
and  I  are  living  a  second  honeymoon. 
Our  first  honeymoon  was  wonderful 

Jimmie  and  Colleen  Rodgers 


ing  that  troubles  and  disagreements 
may  exist  but  they  can't  basically 
change  your  love  for  each  other — 
provided  you  have  a  strong  founda- 
tion of  love  and  mutual  respect  to  be- 
gin with."  Colleen  nods  in  solemn, 
shining  agreement. 

"We've  been  lucky  that  we  found 
our  way  back,"  says  Jimmie.  "Col- 
leen's recent  serious  illness  has  taught 
us  the  important  values  and  made 
us  realize  that  life  means  nothing  for 

June  Allyson  and  Dick  Powell 


singing  'Love  Is  Wonderful,  The  Sec- 
ond Time  Around.'  It  has  been  won- 
derful for  us." 

Jimmie  and  Colleen  belong  to  a 
large  army  of  Hollywood  couples  who 
decided  they  wanted  "discharge  pa- 
pers"— only  to  discover,  after  lonely 
months  apart,  they  had  a  strong  de- 
sire to  sign  up  for  another  hitch! 
The  cause  of  each  couple's  original 
strife  may  have  been  different  .  .  . 
but  all  pairs  have  one  thing  in  com- 

Carl  Neubert  and  Ruth  Warrick 


|joX0? $Pib  Wjm00^2^  ^ h&Vfe  keeU cb^} yd 


— but  it  can't  compare  with  this  one. 
Between  them  were  long,  dark  months 
of  knowing  what  it  is  like  to  do  with- 
out each  other.  We've  known  loneli- 
ness and  we've  known  heartache — "  a 
shadow  of  that  pain  crosses  the  faces 
of  both  husband  and  wife — "but  it 
has  all  been  worthwhile  .  .  .  for  we've 
learned  what  marriage  is  really  all 
about. 

"Marriage  is  not  the  physical  at- 
traction, the  passion,  the  glamour  that 
first  attracts  you  to  each  other.  It's 
understanding  your  mate  and  realiz- 


either  of  us  if  we're  not  together.  We 
know  now  that,  regardless  of  the 
adjustments  we  might  have  to  make, 
we  belong  together. 

"When  Colleen  and  I  decided  to 
dissolve  our  marriage,  the  tensions 
and  disagreements  had  built  them- 
selves up  all  out  of  proportion.  My 
traveling  was  an  almost-constant 
source  of  irritation  to  us  both — and 
when  we  were  together,  we  were  like 
two  strangers  having  to  become  re- 
acquainted  all  over  again."  He  grins 
shyly  as  he  adds,  "Now  I  feel  like 


mon:  They  learned  that,  for  them, 
separate  life  is  no  life.  By  returning 
to  the  mate  they  once  thought  they 
could  discard,  they  found  that,  truly, 
the  second  honeymoon  was  richer 
and  sweeter  than  the  first. 

It  took  Jane  Wyman  and  her  hus- 
band Freddie  Karger  seven  long  years 
to  learn  this  lesson.  Why  did  they 
part?  At  the  time  of  their  separation 
— just  two  years  after  the  wedding — 
Jane  explained  what  had  gone  wrong: 
Little  things  had  mounted  up  ...  a 
major  annoyance,  for  her,  was  the 


44 


late  hours  Freddie  stayed  at  the 
studio  to  rehearse  his  band  ...  in 
two  brief  years,  love's  first  violent 
storm  of  passion  had  been  becalmed 
in  a  sea  of  dull  monotony.  .  .  . 

Today,  the  Kargers  radiate  seren- 
ity and  peace — together.  "We've 
found,"  says  Freddie,  "there  was  a 
way  to  keep  our  romance  alive.  Now 
we  look  for  the  positive  things  in 
each  other,  rather  than  try  to  find 
the  flaws  all  humans  possess."  And 


stead  of  sliding  along  with  the  bad 
habits  we  cultivated,  we've  had  a 
chance  to  back  off  and  think  about 
the  things  that  really  matter.  Now 
we  both  really  work  at  our  marriage. 
I  know  Dick  is  trying  much  harder 
and  hasn't  allowed  his  career  to  be- 
come the  all-consuming  monster  it 
once  was. 

"I  suppose  many  couples  reach 
the  point  where  they  can  no  longer 
talk  to  each  other  ...  sit  down  and 


a  home  outside  Hollywood  ...  a 
woman's  tendency  to  feel  neglected 
as  romance  gives  way  to  her  hus- 
band's absorption  in  business  when 
the  first  honeymoon  is  over.  After  the 
second  one,  a  woman  seems  better 
able  to  accept  the  fact  that  her  man's 
career  will  always  be  a  tempting, 
time-consuming  mistress  .  .  .  and  a 
man  realizes  that  success  doesn't 
mean  much  without  the  personal  hap- 
piness he  can  enjoy  through  a  better 


Frank  Lovejoy  and  Joan  Banks 


Jane  Wyman  and  Freddie  Karger 


Carlyn  and  Mickey  Callan 


aspeebscL-lh,©  gee^a,  mat|  he  jUsfc  fcfe  tpi  rieeoL! 


Jane  adds,  "Our  years  apart  taught 
me  how  wrong  I  was  to  think  that 
marriage  would  always  be  a  honey- 
moon— without  tensions,  without 
moods!  I  know  now  that  much  more 
goes  into  marriage  besides  romance. 
We're  each  trying  harder  to  compro- 
mise and  to  understand  the  other 
one  .  .  .  and  our  effort  has  paid  off 
in  a  deep  and  lasting  relationship." 
Positive  thinking  also  paid  big  divi- 
dends to  June  Ally  son  and  Dick 
Powell.  "Our  separation  was  the  best 
thing  for  us  both,"  June  says.  "In- 


discuss  the  frictions  driving  them 
apart.  Small  troubles  magnify  until 
you're  sure  you've  lost  all  the  love 
between  you.  I  know  now — we  both 
know — how  much  we've  gained  .  .  . 
we've  thrown  away  the  resentments 
and  bitterness,  and  we've  found  the 
one  thing  that  really  counts:  Being 
together.  Life  alone  was  bleak  and 
worthless." 

The  Rodgers,  Karger  and  Powell 
break-ups  had  a  common  denomi- 
nator: Explosions  stemmed  from  the 
spark  which  causes  friction  in  many 


balance  between  business  and  pri- 
vate life.  "Adjustment"  is  the  key  to 
solving  the  age-old  problem  of  man 
and  woman  living  together  happily. 
It  can  be  an  elusive  key  in  show 
business — or,  indeed,  in  any  mating 
of  the  young,  the  ardent,  the  strong- 
minded. 

The  marriage,  separation  and  rec- 
onciliation of  Mickey  and  Carlyn  Cal- 
lan is  a  case  of  two  fiery,  independent 
individuals  who  had  to  learn  how 
to  keep  each  other's  love  while 
not  losing   (Continued  on  page  92 1 


45 


If  you've  ever  looked  at  your  husband  and  thought, 

"HE'S  NO  BARRYMORE..." 

think 


look  again! 


In  1952,  Cara  Williams  became 
Mrs.  John  Barrymore  Jr.  It  was  a 
strange  marriage  from  the  very  be- 
ginning— and  very  different  from 
Cara's  happy  domesticity  on  TV's 
"Pete  and  Gladys."  In  a  way,  the 
Barrymore  marriage  was  written  in 
headlines  and  front-page  newspaper 
photos.  But,  in  a  deeper  sense,  the 
real  story  has  never  been  told  pub- 
licly until  now.  .  .  . 

"Things  were  always  bad  for 
Johnnie,"  Cara  said  thoughtfully,  as 
we  talked  over  supper  at  a  dimly- 
lighted  table  at  Trader  Vic's  in  Bev- 
erly Hills.  "If  things  went  right,  some- 
thing would  always  go  wrong,  be- 
cause he  made  it  go  wrong.  And  the 
pity  is  that  he  didn't  realize  it.  He's 
a  wonderful  boy,  and  it's  pretty  sad 
to  think  about  what  happened  to 
him. 

"Johnnie  was  born  under  a  trag- 
edy. He  was  the  son  of  two  famous 
parents — his  mother  was  the  movie 
star,  Dolores  Costello — but  this 
brought  him  no  happiness.  He  was 
always  being  sent  off  to  schools, 
where  he  was  beaten  up,  and  he  saw 
his  father  only  once.  He  was  told 
very  little  about  his  family,   really. 


You 

don't  know 

how  lucky 

you  are! 


He  hardly  knew  any  of  them.  I 
he  saw  his  Uncle  Lionel  for  exactly 
a  week,  and  Lionel  never  really  talked 
to  him.  Then,  while  Johnnie  was 
still  a  child,  his  father  died." 

She  frowned.  "When  Johnnie  tried 
to  make  an  acting  career  for  him- 
self, he  found  that  he  was  always 
being  compared  to  this  great  man 
who  had  died  years  before.  It  was 
an  impossible  situation.  He  was  con- 
stantly being  put  in  the  position  of 
having  to  prove  himself — of  having 
to  prove  that  he  wasn't  trying  to  live 
off  the  Barrymore  name." 

Naturally,  John  resented  this,  and 
occasionally  he  lashed  out  in  a  re- 
bellion which  only  made  things  even 
worse.  "Every  time  he  got  so  much 
as  a  speeding  ticket,  it  was  on  the 
front  page,  because  he  was  a  Barry- 
more. His  smallest  mistake  would  be 
magnified.  Even  today,  the  same  situ- 
ation exists,  and  it's  responsible  for 
many  of  his  problems." 

When  Cara  married  him,  she  tried 
to  change  things.  "I  wanted  him  to 
forget  all  the  Barrymore  publicity 
and  the  comparisons,  and  start  a 
life  of  his  own.  Although  I'd  been 
a  pessimist  (Continued  on  page  93) 


46 


Cara  Williams  talks  frankly  about 
her  two  Barrymores  (facing  page)  : 
husband  John   II  and  son  John  III. 


iiv's  tost  his  iiM/'i'iaff*' ...  unit .    3like  La n don  fia 


"I3m  their 
father 
till  the  day 
they  die... 

or  I  die!3* 


*avt>  his  sons 


As  reluctant  as  he  may  be  to  do  so,  Mike  Landon  is 
forced  to  ask  himself  the  question  every  parent  dreads: 

"Am  I  an  unfit  father?" 

It  is  a  question  he  cannot  avoid.  Only  weeks  after 
adopting  his  third  son,  Mike  and  his  wife  Dodie  sepa- 
rated. Then,  shortly  after,  in  a  Los  Angeles  court- 
room, Mike  was  named  co-respondent  in  a  cross- 
complaint  to  a  divorce  suit.  Mannie  Baier,  a  sales 
representative  for  a  clothing  firm,  charged  that  he 
was  not  the  father  of  the  child  expected  by  his  actress- 
wife,  Marjorie  Lynn.  He  named  Mike  as  the  "other 
man."  As  we  go  to  press,  neither  Marjorie  nor  Mike 
has  had  a  chance  to  answer  these  charges. 

It  is  a  curious  side  of  fatherhood,  however — and 
perhaps  Mike  will  derive  some  comfort  from  it — that, 
usually,  only  fit  fathers  have  the  courage  to  question 
themselves  and  their  rights  to  their  children.  The  real 
cruelty  of  Mike's  situation  is  the  fact  that  his  role  as 
a  father  has  so  little  to  do  with  the  actual  circum- 
stances that  push  him  into  this  anguished  self- 
examination. 

In  the  beginning,  marriage  for  Mike  Landon  and 
his  lovely  Dodie  was  an  exciting  and  emotionally 
rewarding  experience.  But,  as  in  so  many  marriages, 
as  the  years  passed  Mike  and  (Continued  on  page  82) 


Hf'H  lost  his  marriage. . .  now.   Mike  i.andon  flgw  P*0w*  *f#  *o«* 


**/'m  their 
father 
till  the  day 
they  die... 

or  I  die!" 


As  reluctant  as  he  may  be  to  do  so,  Mike  Landon  is 
forced  to  ask  himself  the  question  every  parent  dreads: 

"Am  I  an  unfit  father?" 

It  is  a  question  he  cannot  avoid.  Only  weeks  after 
adopting  his  third  son,  Mike  and  his  wife  Dodie  sepa- 
rated. Then,  shortly  after,  in  a  Los  Angeles  court- 
room, Mike  was  named  co-respondent  in  a  cross- 
complaint  to  a  divorce  suit.  Mannie  Baier,  a  sales 
representative  for  a  clothing  firm,  charged  that  he 
was  not  the  father  of  the  child  expected  by  his  actress- 
wife,  Marjorie  Lynn.  He  named  Mike  as  the  "other 
man."  As  we  go  to  press,  neither  Marjorie  nor  Mike 
has  had  a  chance  to  answer  these  charges. 

It  is  a  curious  side  of  fatherhood,  however — and 
perhaps  Mike  will  derive  some  comfort  from  it — that, 
usually,  only  jit  fathers  have  the  courage  to  question 
themselves  and  their  rights  to  their  children.  The  real 
cruelty  of  Mike's  situation  is  the  fact  that  his  role  as 
a  father  has  so  little  to  do  with  the  actual  circum- 
stances that  push  him  into  this  anguished  self- 
examination. 

In  the  beginning,  marriage  for  Mike  Landon  and 
his  lovely  Dodie  was  an  exciting  and  emotionally 
rewarding  experience.  But,  as  in  so  many  marriages, 
as  the  years  passed  Mike  and  (Continued  on  page  82) 


ARE  YOU 

LOSING  OUT 

THE 

BEST  THINGS 


50 


Ted  Mack  tells  you ^y  ways  to  b 


e  a  winner 


Jackie  Kennedy  .  .  .  Mickey  Mantle 
.  .  .  Connie  Francis  .  .  .  Cary  Grant. 
Imagine  a  more  unlikely  quartet  if 
you  can!  Yet  they  all — First  Lady, 
baseball  player,  singer,  and  actor — 
have  one  thing  in  common:  They're 
stars,  all  of  them,  in  their  own  fields. 
Of  course,  not  everyone  really  wants 
to  live  in  the  White  House,  or  play 
centerfield  for  the  Yankees.  Not  even 
everyone  wants  a  career  in  show  busi- 
ness, though  Ted  Mack — who's  pre- 
sided over  the  auditions  of  more  than 
a  million  would-be  performers — some- 
times finds  this  hard  to  believe.  But 
everyone  wants  to  be  a  winner — a 
"star"  in  his  own  particular  world. 
How  do  you  get  that  way?  What's 
the  big  secret? 

In  the  more  than  twenty-five  years 
during  which  he's  been  connected  with 
"The  Original  Amateur  Hour,"  the 
eteran  showman  thinks  he's  learned 
lost  of  the  answers.  From  among  the 
teen  hundred  aspiring  amateurs 
auditioned  weekly  throughout  the 
>untry,  he  and  his  staff,  he  says,  can 
almost  unerringly  spot  those  who 
lave  it."  And  before  the  ballots  have 
been  counted  after  each  Sunday  after- 
soon  show,  he  has  "a  good  idea"  of 
cho  will  poll  the  most  votes.  They 
goof  now  and  then,  he  admits.  Elvis 
Presley,  for  one,  was  passed  up  at  his 
audition   and  didn't  even  get  on   the 


show.  "We  didn't  know  then  what 
rock  'n'   roll  was,"  Mack  grins. 

First  of  all,  there's  that  all-impor- 
tant ingredient  which  has  never  been 
quite  definable.  Usually  called  "star 
quality,"  it's  the  thing  that  sets  Mari- 
lyn Monroe  apart  from  zillions  of  other 
curvy  blondes,  and  makes  millions  of 
people  stay  up  late  to  watch  an  old 
Garbo  movie.  The  astute  showman 
describes  it  as  "an  inner  strength,  a 
spark,"  and  he  cites  Frank  Sinatra, 
an  "Amateur  Hour"  alumnus,  as  an 
example.  "He  has  great  talent  and 
virility,"  says  Mack,  "and  when  he 
comes  out  on  a  night-club  floor  there's 
a  magnetic  thing  there  which  has  noth- 
ing to  do  with  his  singing.  Even  when 
he  does  things  his  audience  may  not 
like,  that  spark — that  magnetism — is 
still  there." 

But  Sinatra  didn't  become  one  of 
the  biggest  stars  in  the  entertainment 
world  simply  because  of  that  "star 
quality,"  any  more  than  hundreds  of 
other  folk,  in  their  various  fields,  have 
succeeded  without  really  trying.  The 
ingredients  for  success  in  show  busi- 
ness are  many,  and  for  the  most  part 
they  coincide  with  those  for  success 
as  a  human  being. 

The  Mack  recipe  includes  eight: 

1.  Talent.  All  the  props  in  the  world, 
says  the  man  who  should  know,  won't 
make  a  successful  singer — most  of  the 


"Amateur  Hour"  contestants  these  days 
are  would-be  vocalists — unless  he  has 
the  talent  to  back  them  up.  "Ability," 
as  it's  known  in  the  non-show-business 
world,  works  the  same  way.  But  talent 
or  ability,  Mack  emphasizes,  doesn't 
mean  just  technical  perfection.  Maria 
Callas— she  was  Maria  Kalogeropou- 
los  when  she  appeared  on  the  show, 
back  in  1935 — didn't  become  one  of 
the  world's  greatest  opera  stars  just 
because  she  could  hit  high  C.  Just  as 
truly,  the  girl  who's  most  popular  on 
the  dance  floor  isn't  necessarily  the 
one  with  the  snappiest  new  dress,  or 
the  one  who  can  switch  from  the  Twist 
to  a  polka  without  missing  a  step.  But 
add  a  personality  which  shines  out  in 
a  crowd  and  she's  well  on  her  way 
to  becoming  a  winner.  One  of  the 
first  steps:  Be  yourself.  If  you're  tiny 
and  dark,  don't  try  to  be  a  carbon 
copy  of  the  Grace  Kelly  of  your  crowd. 
If  you're  tall  and,  you  think,  skinny, 
don't  go  around  with  your  shoulders 
hunched  and  all  of  you  slumped  over 
to  try  to  look  shorter.  Stand  up 
straight  and  don't  worry  if  you  have 
to  look  down  at  some  of  the  men. 
Remember:  From  tall,  slim  girls, 
models  are  made.  And  a  model  repre- 
sents what  everyone  else  wants  to  be. 
2.  Persistence.  "There's  rarely  a 
short-cut  to  success  in  show  business," 
says  Mack.    (Continued  on  page    91) 


FOR  HOW  TO  LOOK  LIKE  A  WINNER,  TURN   THE   PAGE 


51 


STEPS  TO  A 


EMTIFl  L  LIFE 


1 


Beauty  is  more  than  skin 
deep;  it's  a  glow  that 
starts  from  inside  out. 
How  do  you  get  that 
glow?  One  way  is  to  think 
beautiful.  Sound  easy?  It  is — once 
you  get  into  the  habit.  To  start, 
stand  beautiful — i.e.,  straight.  If 
your  shoulders  sag,  if  your  back 
curves,  if  you  always  need  to  lean 
on  things — tell  yourself  you're 
going  to  stop — and  then  do  it! 
You'll  feel — and  look — much  better. 


W&  Walk  in  beauty.  For  this,  you've 
^^  got  to  stay  loose  and  limber. 
H>  B  Stretch  lazily  like  a  cat  while 
^.J  you're  still  abed;  stretch  again 
when  you  get  out.  Limbering 
exercises  will  relax  your  muscles,  put  your 
whole  body  at  ease.  For  waist  and  hips: 
Reach  'way  up  over  your  head,  pull  up 
through  the  spine,  then  fall  from  the  waist 
and  let  your  hands  touch  the  floor.  Just 
hang  there  for  a  few  moments,  then 
start  again.  For  neck,  shoulders  and  back : 
Stand  straight,  chin  up  high.  At  eye  level, 
clap  both  hands  together  in  front  of  you, 
then  swing  arms  around  to  back  and  clap 
hard.  At  the  same  time,  reach  backward 
with   your  head  to  firm  the  throat-line. 


2 


Dress  like  a  beauty.  Believe  it  or  not,  you  can  do 
it  on  a  budget.  The  big  expenditure:  Time  and 
taste.  First,  keep  your  clothes  neat,  well-pressed, 
organized.  Spend  an  evening  sorting  out  accessories 
and  deciding  what  goes  with  what — and  when. 
(Rhinestones  are  out  for  daytime;  pearls  are  always  in.) 
Make  a  chart,  if  necessary,  to  avoid  last-minute  mistakes. 
Look  closely  at  the  proportion  of  your  clothes.  Hem-lengths 
must  look  right  on  you — no  matter  how  short  everyone  else 
is  wearing  them.  Buttons  should  be  sewn  on,  hooks  mended, 
linings  shouldn't  hang  and  neither  should  threads.  If  you're 
petite,  try  solid  colors,  vertical  lines,  small  prints.  If  you're 
tall,  try  this  year's  mad  prints,  any-which-way  stripes,  big,  bold 
accessories — but  try  them  in  front  of  a  mirror!  Let  your 
sense  of  line  and  proportion  guide  you.  A  good  rule:  Better 
to  be  "under"-dressed  than  "over."  If  in  doubt,  take  the  pin  off. 


4 


Eat  your  way  to 
beauty.  To  cut  down 
fatigue  and  keep 
your  spirits  high 
during  the  day,  keep 
a  supply  of  low-calorie  snacks 
handy — celery,  carrots,  fruits, 
whole-wheat  wafers,  skim  milk. 
At  mealtimes,  keep  things  bal- 
anced. If  you're  dieting,  you 
needn't  be  a  martyr.  Your  gro- 
cer's shelves  are  full  of  low- 
cal,    high-flavor    temptations. 


5 


6  Put  on  a  good  face.  But  first,  remember  the  old  adage  about 
cleanliness.  You  can  see  through  make-up — no  matter  how  plastered 
on^so  you  need  as  near-perfect  a  complexion  under  it  as  you  can 
get.  Cleanse  often,  treat  blemishes  as  soon  as  they  pop.  For  deep 
cleansing,  remove  make-up  with  cleansing  cream,  then  steam  your 
face  with  a  hot  cloth  for  ten  minutes.  To  draw  a  winning  smile,  use  a  long-line 
lipstick  and  shape  your  mouth  up  at  the  corners.  For  sparkling  eyes,  erase 
shadows  under  them  first  with  an  opaque,  lighter-than-skin-tone  foundation 
stick.  Then  try  a  light  flick  of  rouge  below  the  eyebrow.  A  very  light  flick! 


7 


Meet  the  world  with  open  hands — and  beautiful  ones. 
In  other  words,  no  more  nail-biting  or  finger  fidgeting. 
And  graceful  hands  need  frequent  manicures,  though 
they'll  last  longer  if  you  brush  on  a  coat  of  top  sealer 
every  night.  Use  hand  lotion  generously  and  often  to 
smooth  and  soften.  And  don't  forget  that,  in  summertime,  your 
feet  are  part  of  the  public  parade,   too.   Pedicure,   anyone? 


8 


Start  at  the  top — your 
hair.  To  get  the  most  do's 
out  of  one  haircut,  visit 
a  good  stylist — the  small 
extra  expense  is  worth  it. 
Have  your  hair  cut  fairly  even 
all  around,  tapering  gradually 
toward  the  ends.  Remember,  too, 
to  choose  the  correct  shampoo 
for  your  type  of  hair  (dry.  oily, 
normal,  bleached,  etc.).  Add 
health  with  hair-conditioners, 
sheen  with  creme  rinses.  If  your 
hair  is  drab,  perk  it  up  with  one 
of  the  new  semi-permanent  rinses 
that  last  through  several  sham- 
poos, need  no  retouching,  drama- 
tize your  own  natural  coloring. 
If  you  need  extra  body  to  hold 
your  hairdo,  a  permanent — home 
or  salon — is  the  answer.  If  you 
haven't  tried  one  in  a  while, 
you're  in  for  a  pleasant  surprise. 
Modern  science  has  taken  the 
frizz  out  of  them.  And  oh,  yes — 
in  all  cases,  brush,  brush,  brush. 

Be  yourself.  You're  a  very 
special  individual,  so  let  the 
world  know  it.  One  lovely  way: 
A  perfume  as  your  signature. 


52 


does  a 
SECOND  WIFE 


Vaitessn  (  Viulro  Peters)  faces 
a  double  problem  as  stepmother  to 
Alan  ( Jimmy  Bayer)  and  second 
wife   to   Unite   (Ronald   Tomme). 


have  to  be 

SECOND  BEST? 


by  ARTHUR  HENLEY  with  Dr.  ROBERT  L.  WOLK 


(Please  turn  the  page) 


53 


To  millions  of  women,  Vanessa 
Sterling  is  as  real  as  their  next- 
door  neighbor.  They  see  her  each 
day  on  "Love  of  Life"  and  they  know 
her  as  a  rather  remarkable  woman 
in  her  mid-thirties,  a  woman  strug- 
gling with  the  day-to-day  problems 
of  a  second  marriage.  In  this  article, 
we,  too,  shall  treat  her  as  a  real  per- 
son and  deal  with  her  problems  as 
real  ones,  especially  those  arising 
from  a  second  marriage  and  the  rear- 
ing of  stepchildren.  Certainly,  a  great 
many  women  on  the  other  side  of 
the  TV  screen  are  faced  with  the 
same  problems  as  Vanessa  and  often 
need  help  in  resolving  them.  In  our 
discussion,  my  words  will  appear  in 
regular  type,  like  this,  and  Dr.  Wolk's 
words  will  be  in  italics,  like  the  fol- 
lowing: 

Psychologically  speaking,  the  inti- 
macy of  television  and  the  regular 
habit  of  looking  in  on  the  same  pro- 
gram every  day  combine  to  make 
Vanessa,  her  family,  her  friends,  and 
all  the  local  landmarks  of  the  mythi- 
cal town  of  Rosehill  loom  even  larger 
than  life. 

Since  Vanessa's  problems  are  uni- 
versal, they  become  immediately  rec- 
ognizable to  the  housewife,  for  they 
have  something  "in  common."  So  by 
applying  psychological  principles  to 
Vanessa's  trials  and  tribulations,  we 
might  obtain  some  insight  into  our 
own  lives. 

It's  a  second  marriage  for  both 
Vanessa  and  her  husband,  Bruce 
Sterling.  She  lost  her  first  husband 
in  an  airplane  crash;  he  lost  his  first 
wife  in  a  suicidal  auto  crash. 

Introduced  by  mutual  friends  over 
two  years  ago,  they  quickly  fell  in 
love  and  married.  Along  with  Bruce, 
Vanessa  inherited  his  two  children: 


Barbara,  now  twenty,  and  Alan,  now 
seventeen.  Vanessa  herself  is  childless. 
They  all  live  in  Rosehill,  where 
Bruce  is  headmaster  of  a  private  prep 
school  for  boys,  Winfield  Academy. 
At  one  time  a  television  actress.  Van- 


A  first  marriage  is 


made  with  the  heart. 


thev  sav ...  a  second. 


with  the  head.  But 


is  this  reallv  true? 


Doesn't    a    second 


wife  want— and  need 


love  as  much  as 


am   voumrer  bride? 


The  answer  is  yes, 


of  course  she  does. 


But  the  path  to  this 
second  love  is  far 
bumpier  than  a  first 


wife  ever  dreamed... 


essa  now  works  part-time  selling  real 
estate. 

A  second  marriage  carries  with  it 
some  special  problems  of  its  own. 
Invariably,  the  new  mate  is  compared 
to  the  previous   mate.    The   woman, 


especially,  may  wonder  if  her  second 
husband  truly  loves  her  as  much  as 
her  first  did — and  also  if  he  loves 
her  as  much  as  he  loved  his  first 
wife.  Furthermore,  both  husband  and 
wife  have  become  more  set  in  their 
ways,  so  adjustment  often  becomes 
more  difficult. 

Stepchildren  create  further  prob- 
lems. Although  Barbara  and  Alan 
are  not  babies  anymore,  and  are  on 
their  way  to  independence  and  ma- 
turity, Vanessa  does  have  to  make 
herself  acceptable  to  them  as  their 
new  mother.  She's  likely  to  be  com- 
pared to  their  real  mother  and  per- 
haps even  resented  as  an  interloper. 

Still,  marriage  to  a  widower  may 
require  less  of  an  adjustment  tlian 
marriage  to  a  divorced  man.  In  di- 
vorce, the  first  spouse  is  still  on  the 
scene,  visits  the  children  and  may  be- 
come an  active,  ever-present  rival  to 
the  new  spouse. 

Another  problem  every  second  wife 
faces  is  acceptance  by  old  friends 
who  knew  her  predecessor.  But  Van- 
essa and  Bruce  don't  seem  to  have 
this  problem ;  they  seem  to  be  socially 
secure  in  Rosehill. 

Vanessa's  marriage  to  Bruce  is  not 
"perfect."  Most  of  their  conflicts  seem 
to  come  from  sources  outside  them- 
selves. Nevertheless,  they  do  have 
their  differences,  and  don't  always 
see  eye  to  eye  on  everything. 

Vanessa,  for  example,  believes  in 
complete  honesty  at  all  costs.  She  is 
not  as  willing  to  make  compromises 
for  the  sake  of  practicality  as  is  Bruce 
— although  he  wouldn't  do  so  at  the 
sake  of  his  honor  or  integrity. 

There  was  a  time  when  they  were 
separated  briefly.  During  that  period, 
Vanessa  declined  to  feel  sorry  for 
herself  and  went  to  work,  establishing 


54 


a  real-estate  business  in  Rosehill.  Aft- 
er their  reconciliation,  their  relation- 
ship became  stronger  than  ever,  but 
Vanessa  still  gives  a  few  hours  of  her 
time  each  day  to  selling  real  estate. 

No  marriage  is  perfect — even  a 
first  one.  And  any  marriage  is  doomed 
from  the  start  when  the  couple  feels 
it  falls  short  of  perfection  and  doesn't 
live  up  to  their  dreams.  Unwilling 
or  unable  to  make  compromises,  such 
a  marriage  soon  disintegrates. 

Vanessa  and  Bruce  are  no  differ- 
ent from  other  couples  in  not  seeing 
eye  to  eye  on  everything.  This  is  nor- 
mal and  healthy  .  .  .  provided  that 
the  couple  can  sit  down  together  and 
talk  things  out  reasonably  when  they 
have  a  major  difference  of  opinion. 
If  they  have  a  great  deal  in  common 
— similar  tastes,  interests  and  back- 
grounds, for  example — they'll  quick- 
ly overcome  such  differences  and 
their  marriage  will  become  closer 
and  more  stimulating. 

Reconciliation  may  be  easier  in  a 
second  marriage,  for  both  partners 
are  usually  more  mature  and  more 
inclined  to  want  to  make  the  marriage 
work.  It's  the  second  time  around 
for  them  and,  unless  they're  highly 
unstable  emotionally,  they  want  it  to 
be  the  last  time  around. 

Vanessa  showed  her  mettle  in  go- 
ing to  work  during  her  separation. 
Such  a  woman  would  not  want  her 
marriage  to  sink  into  nothingness. 
Sometimes  an  episode  like  this  serves 
to  wake  up  both  partners  and  bring 
them  a  new  awareness,  a  new  close- 
ness, a  new  respect  for  one  another 
and  their  marriage  relationship. 

The  Sterlings'  major  problem  is 
Bruce's  daughter,  Barbara.  Try  as 
they  might,  they  cannot  remain  aloof 
from  her  marital  difficulties. 


For  Barbara  had  married  a  wealthy 
young  man  named  Rick  Latimer — a 
spoiled,  egocentric,  yet  well-meaning 
fellow  who  simply  was  unable  to  find 
himself.  Barbara  failed  to  understand 
him  and  turned  away  from  him — 


and  the  more  she  turned  away,  the 
more  he  drank  and  the  wilder  he 
behaved.  Finally,  she  filed  for  a  legal 
separation,  despite  the  pleas  of  Van- 
essa and  her  dad  to  give  Rick  another 
chance.  Even  her  brother  Alan  more 


or  less  condemned  her  antagonism 
toward  Rick. 

Another  man  showed  an  interest 
in  Barbara,  but  she  became  so  con- 
fused that  she  refused  to  see  either 
him  or  her  estranged  husband.  Van- 
essa accused  her  of  knowing  nothing 
about  love  and  warned  her  that  she 
would  destroy  both  young  men  by 
her  attitude.  In  this  matter,  Bruce 
disagreed  with  Vanessa's  severe  point- 
of-view  about  his  daughter. 

But  no  one  was  able  to  prevent 
Barbara  from  finally  divorcing  Rick. 
They  only  succeeded  in  getting  her 
to  agree  to  a  Mexican  divorce  to 
avoid  talk  and  to  prevent  Rick  from 
further  hurting  himself  by  filing  a 
vindictive  suit  for  divorce  in  Rosehill. 

A  stepmother  has  all  she  can  do 
just  to  win  the  affection  of  children 
that  are  not  her  own.  When  such 
youngsters  are  beset  by  emotional 
problems,  as  Barbara  is,  her  problem 
becomes  doubly  difficult. 

The  father  also  has  a  difficult  job 
on  his  hands,  for  he  has  to  play 
fair  with  both  his  new  wife  and  his 
children  .  .  .  and  his  deepest  obliga- 
tion is  to  his  children.  When  conflicts 
arise  between  wife  and  children,  he 
has  to  decide  who's  right  without 
offending  any  of  them. 

Vanessa's  disagreement  with  Bruce 
concerning  daughter  Barbara  doesn't 
seem  to  have  been  too  volatile.  But 
Vanessa's  involvement  in  Barbara's 
predicament  may  be  looked  upon  by 
her  stepdaughter  as  "interfering." 
After  all,  she  is  an  adult,  and  if  her 
marriage  turned  out  unsatisfactorily, 
she  must  be  left  to  find  her  own  so- 
lution— unless  she  asks  for  advice. 

Her  younger  brother,  Alan,  also 
has  no  business  interfering  in  his  sis- 
ter's private  (Continued  on  page  76) 


55 


AAY  FIGHT  TO  SAVE  MY 


When  I  arrived  in  Hollywood 
to  play  Kate  in  "The  Real 
McCoys,"  I  had  the  good  repu- 
tation I  treasure  —  both  as  a 
woman  and  as  an  actress.  I  still 
have  it  — but  wait  till  you  hear  the  de- 
tails of  my  fight  to  preserve  it! 

According  to  the  "authorities"  I  met, 
it  was  important  to  be  talked  about,  to 
have  a  big  career.  So  I  said  "yes"  to 
some  nice  invitations  to  premieres  and 
parties.  I  didn't  foresee  how  things 
would  snowball  when  I  was  merely  try- 
ing to  be  obliging.  The  first  time  someone 
referred  to  me  as  "a  red-headed  riot," 
I  was  flattered.  Who  wants  to  be  dull? 

To  me,  there's  nothing  wrong  in  loving 


by 

KATHY 
NOLAN 


life,  in  singing  and  dancing 
and  laughing  along  with 
everyone  else.  I'm  not  prissy. 
At  times,  I'm  overly  affection- 
ate, a  trait  that's  been  mis- 
interpreted. I've  had  so  much  love  in  my 
own  family,  where  we  make  every 
stranger  welcome,  that  I  feel  like  show- 
ing friendliness.  But  T  learned  that  Tcan 
be  standing  next  to  somebody  at  a  party 
in  Hollywood,  simply  saying  hello,  and 
a  picture  may  turn  up  in  a  magazine  as 
proof  of  "a  hot  new  romance."  It's  sup- 
posed to  be  a  sign  of  how  irresistible  you 
are!  Well,  with  one  exception— I'll  tell 
you  about  him  later— I've  never  fallen 
instantly  for       (Continued  on  page  79) 


Don't  miss  this  frank  story  of  a  girl  who  had  to  learn  to  say  NO 


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• 


Three  years  after  his  cancer  operation:  Arthur  Godfrey's  own  story  of  his  life  today 


Three  years  after  medical  sci- 
ence snatched  him  back  from  the 
shadows,  Arthur  Godfrey  still  lives 
every  day  with  dying.  He  speaks 
of  it  calmly  and  matter-of-factly. 

"The  pain  is  there  but  I'm  in- 
ured to  the  aches  and  pains,"  he 
says. 

He's  talking  now  about  the 
arthritis  in  his  arm  and  his  leg; 
about  the  occasional  hurt  he  ex- 
periences in  the  left  hip  which 
was  operated  on  because  of  his 
now-famous  auto  accident. 

About  the  cancer? 

"The  incision  aches  in  the 
chest,"  he  tells  you.  He's  speaking 
about  the  giant  scar,  a  visible  re- 
minder of  the  three-hour  opera- 
tion in  which  doctors  removed  a 
tumor  and  part  of  his  lung.  He 
will  have  to  wait  until  five  years 
have  passed  before  he  knows  if 


the  operation  was  successful- 
not. 

"This  horrible,  skulking  thing," 
Arthur  called  the  tumor  after  he 
first  learned  the  harsh  truth. 
"Man,  this  is  rough,"  the  peppery 
freckle-faced  performer  revealed 
with  utter  candor.  "No  pain  any- 
where— look  good,  feel  good.  But 
some  of  the  best  brains  in  the 
medical  profession  have  discov- 
ered a  'thing'  in  my  left  lung. 
Can't  tell  what  it  is-^this  thing — 
but,  whatever  it  is,  it  doesn't  be- 
long there.  It  must  be  removed.  If 
it's  a  benign  tumor  of  some  sort, 
hurray  for  our  side — no  more 
sweat.  If  the  damn  thing  is  mal- 
ignant— cancerous — then  there's 
real  trouble.  Maybe  have  to  take 
the  whole  lung  out." 

The  next  night,  he  watched  the 
farewell  TV  show  he  had  taped 
on  his  Virginia  farm.  On  the 
fourth  hospital  day,  Godfrey  was 
wheeled  into  surgery.  The  time 
was  7:25  A.M.  At  8:29  A.M. — an 


hour  and  four  minutes  later — a 
team  of  three  surgeons,  three 
nurses  and  an  anesthetist  stood 
over  Godfrey  and  the  operation 
had  begun.  At  10  a.m.  a  doctor 
came  out  and  whispered  to  Ar- 
thur's wife,  Mary,  that  he  had 
cancer.  Mary  Godfrey,  who  had 
spent  the  night  at  the  hospital, 
took  the  news  bravely.  At  1:25 
p.m.  the  medical  team  completed 
its  mission;  Godfrey  was  wheeled 
into  the  recovery  room. 

Less  than  two  weeks  later,  he 
was  discharged  and  went  home  to 
convalesce  and  undergo  a  long 
period  of  x-ray  radiation  therapy 
in  an  endeavor  to  kill  the  nucleus 
of  the  cancer  cell  and  prevent  any 
remaining  living  cancer  cells 
from  growing.  Godfrey  accepted 
the  challenge  with  rock-ribbed 
courage,  (continued  on  page  83) 


61 


WHY 
THEY 
WARN 

YOU 
ABOUT 

GEORGE 

MAHARIS 


"One  thing  you've  got  to  admit  about  the  guy:  No  matter  what 
he's  got,  he  shares  it."  This  was  the  local  gag  going  around 
in  television  circles,  and  the  only  person  who  wasn't  laughing 
was  George  Maharis.   He  was   in   a  Santa   Monica  hospital  with 
infectious  hepatitis,  and  everyone  else  in  the  cast  and 
crew  of  "Route  66"  was  scurrying  to  the  doctors  for  protective 
shots.  There's  truth  behind  the  gag  about  George's 
willingness  to  share  everything  he  has  .  .  .  but  there  was  more 
than  that  behind  the  laughter.  It  was  a  big,  booming  sigh  of 
relief — not  only  from  his  co-workers,  but  from  the  many  com- 
munities being  invaded  by  the  wide-ranging  TV  series.  George 
was  under  lock  and  key;  he  was  well-guarded;   for 
a  while,  at  least  as  long  as  the  quarantine  lasted, 
they  were  safe.  .  .  .  Undoubtedly,  adventure  would 
still  follow  wherever  "Route  66"   went    (isn't  that 
the  idea  behind  the  whole  show?)   .  .  .  during 
those  weeks  George  had  to  be  left  behind  to  con- 
valesce. But  surely  there  would  be  fewer  misadventures 
which  weren't  in  the  script!  Now,  perhaps,  there'd  be  no  more  "dead" 
bodies  in  the  bed  ...  no  clock-watching  cities  turned  upside-down 
overnight  ...   no  false  runs  on  the  local  bank.   It  had  been   enough  to 
drive  a  man  to  drink   (and  it  did).  But  you  can't  really  blame 
George  for  the  poor  guy  who  couldn't  find  his  home  again,  or  all  those 

people  who  were  late  to  work  next  morning, 
or  the  two  college  boys  who  tagged  him 
and  Marty  Milner  from  town  to  town  mimick- 
ing everything  the  stars  did  .  .  .  particularly 
when   you   see   that   guileless   expression    in   the 
Maharis  eyes:    "Look,   Ma — I   didn't   do   it. 
I  was  just  there  when  it  happened!" 
On  the  other  hand,  you  can't  blame 
those  law-abiding  citizens  who 
think  there  should  be   a  town   crier 
running  ahead,  swinging  a  warning 
lantern  and  yelling:  "Maharis  is 
coming!" — just  like 
in   the  Great   Plague 
— when  this  enter- 
prising troupe  swings 
into    view    down 
(Continued  on  page  89) 


62 


*;i 


I 


What  your  man  really 
means  when  he  says: 

"  BUT, 
DARLING, 

WE(AN'T 

AFFORD 
IT ! " 


"I  own  a  Bentley,  my  dear,  for  three  reasons.  Firstly, 
it  is  a  beautiful  automobile  .  .  .  secondly,  it  is  not 
showy  .  .  .  and  thirdly  and  most  important,  it  is  three 
hundred  dollars  cheaper  than  a  Rolls-Royce.  I  believe 
in  cutting  corners  whenever  possible,  and  three  hundred 
dollars  is,  after  all,  three  hundred  dollars.  Frankly, 
I  can't  afford  it." 

Being  fully  aware  that  the  going  price  for  a  Bentley 
starts  at  around  $20,000,  I  looked  up  quickly  from  my 
lunch  to  see  if  the  gentleman  was  smiling.  Sebastian 
Cabot  was  not.  We  were  only  on  our  first  course,  but 
I  was  already  quite  convinced  that  Carl  Hyatt,  the 
urbane  and  eccentric  criminologist  on  "Checkmate," 
was  only  surpassed  by  the  man  who  buys  a  Bentley 
to  save  money  1 

"I  have  my  eye  on  another  Bentley  now,"  he  con- 
tinued, "and  also  a  little  type-35A  Bugatti.  They're 
both  a  marvelous  steal  at  the  price  on  them." 

Sebastian's  handsome  wife  Kay  emitted  a  sound  very 
much  like  a  snort  and  gazed  at  her  husband.  You  might 
even  go  so  far  as  to  say  she  stared  at  him.  Sebastian 
lowered  his  eyes  and  concentrated  on  his  snails. 

"We  have  four  foreign  cars  in  the  garage  but  no 
place  to  sit  in  the  house,"  sighed  Kay.  "Why  don't 
you  tell  about  the  divan,  darling?" 

"My  dear,  that  is  a  gross  exaggeration  and  you 
know  it.  We  have  a  number  of  places  to  sit.  And  as 
for  the  divan,  I've  told  you  we  just  can't  afford  to  have 
it  reupholstered  this  month.  Perhaps  in  a  few  weeks." 

"That's  what  you  said  last  month." 

"Darling,  you  have  a  one-track  mind." 

"His  stock  answer  to  everything  is  we  can't  afford 
it.  Whenever  I  want  anything  for  the  house,  we  have 
to  sit  down  and  discuss  it.    (Please  turn  the  page) 


64 


A  lesson  for  every  woman-from  Sebastian  Cabot 


65 


Sebastian's  war  cry: 
Remember  the  budget ! 


Hobbies  for  the  family— wife 
Kay;  Yvonne,  4;  Annette, 
19;  Chris,  17 — are  less  costly 
than  Sebastian's.  Natch! 


Sometimes  we  disagree,"  Kay  explained,  dead-pan. 

"What  she  means  is,  neither  one  of  us  ever 
gets  his  own  way  without  a  hell  of  a  battle,"  smiled 
Sebastian.  Then  he  turned  to  discuss  the  merits 
of  a  clear  consomme,  as  opposed  to  a  turtle  soup, 
with  the  hovering  waiter. 

The  discussion  of  money  had  come  up  when 
I  asked  the  Englishman  what  he  thought  of  the 
way  many  show-business  personalities  spent  their 
earnings.  So  many  appeared  to  live  beyond  their 
means,  putting  nothing  aside  for  future  security. 

"Most  actors  come  from  fairly  middle-class 
backgrounds  and  a  number  from  quite  poor  homes. 
Almost  all  have  a  rough  time  on  the  way  up,  so 
I  suppose  it  is  only  natural  to  go  out  and  splurge, 
once  the  money  starts  rolling  in.  I  see  nothing 
wrong  in  having  one  fling  and  getting  it  all  out 
of  your  system.  But,  after  that,  one  should  relax 
and  take  stock.  Not  only  take  stock — but  buy  it." 

Kay  Cabot  ignored  her  husband's  pun  and  pointed 
a  finger  in  his  general  direction.  "All  right  then. 


may  I  please  have  my  first  and  last  fling  and 
get  the  divan  re-upholstered?  It's  not  that  I  mind 
the  fact  it's  shabby  and  faded,  but  the  darn  springs 
have  popped  up  right  through  the  seat." 

"One  must  budget  and  conserve,  my  pet,"  Se- 
bastian nodded  knowingly,  as  he  admired  the  sole 
bonne  femme  and  asparagus  hollandaise  set  before 
him.  Sipping  the  excellent  white  wine  he'd  ordered 
to  go  with  the  fish,  he  dwelled  further  on  the 
wiseness   of  watching  one's  bank  account. 

"My  advice  to  any  young  actor  is:  Don't  put 
up  a  front,  but  go  carefully.  Moderation  is  the 
motto.  Glamorous  homes  and  expensive  furs  are 
not  practical,  and  gadding  about  from  one  night 
spot  to  another  is  far  too  fatiguing.  It's  better 
to  acquire  a  nice  little  hobby." 

"What  he  means,"  Kay  explained,  "is  that  the 
couch  won't  be  repaired  next  month,  and  this  mink 
stole  I  borrowed  from  a  friend  is  as  near  to  a 
mink  as  I'm  ever  going  to  get.  Night  clubs  are 
out    because    the    food    (Continued    on   page    85) 


66 


§P[1@D&[1 

MIDWEST 


At  top — hosting  a  record  hop  at  Moose  Lodge. 
Right — at    home    with    his    pretty    wife,    Joann. 


Morning  man  Marc  Alan  (he's  heard  on  KLEO 
from  5  to  9  a.m.)  has  an  unusual  and  effective 
way  of  getting  his  Wichita  listeners  off  to  work 
in  the  morning.  Here's  how  it  works:  When  Marc 
took  over  the  morning  slot  a  year  ago,  he  felt  his 
listeners  needed  something  to  remind  them  that 
it  was  time  to  leave  for  work.  He  went  to  a  pro- 
duction studio  and  recorded  his  audio  version 
of  a  kiss.  Each  morning,  he  plays  it  and  urges 
the  housewives  to  kiss  their  husbands  good- 
bye. And  who  gets  Marc  himself  off  to  work?  Why, 
he  has  a  loving  wife  of  his  own,  named  Joann, 
who's  only  too  happy  to  bestow  a  pre-dawn  kiss. 
Says  Marc  with  a  grin,  "I  think  she  must  be  a  little 
bit   of   a   nut   to   have   married   a   radio   man!" 


KISSIN' 


KLEO  Radio's  Marc  Alan  has  a 

smack-happy  way  of  getting  his  listeners 

off  to  work.  Read  on  to  find  out  how 


67 


.It's  not  work,  it's  my  whole  life.  I  enjoy  singing  and 
I  do  it  constantly."  So  speaks  Chicago's  pretty  songbird 
Connie  Mitchell,  who  is  currently  "not  working"  on 
three  daily  WBBM  shows— "The  Connie  Mitchell 
Show,"  heard  from  4:45  to  5  p.m.;  "The  Mai  Bellairs 
Show,"  from  7:15  to  7:25  a.m.;  and  "The  Joe  Foss 
Show,"  from  7:30  to  8  a.m.  .  .  .  Cute  Connie  began 
singing  at  the  age  of  six  and,  at  eight,  was  a  mem- 
ber of  a  local  trio  called  "The  Swingsters."  At  eight- 


Sweet  as  an  angel  in  front  of  a  harp, 
Connie  Mitchell  finds  joy  in  everything. 
P.S.   She  also  found  out   ^diamonds 


5? 


and   gold   cocktail    gowns    don't    mix! 


68 


een,  Connie  won  out,  over  300  girls,  for  a  booking  at 
the  Sherman  Hotel.  When  WBBM  announced  it  was 
looking  for  a  new  femme  vocalist,  she  auditioned  .  .  . 
and  is  happily  still  there.  .  .  .  "Getting  up  at  five, 
every  morning,  means  I  have  to  go  to  bed  very  early 
and  this  keeps  me  from  participating  in  an  active 
social  life,  but  I  still  enjoy  it,"  says  bachelor-girl 
Connie.  The  young  singer  lives  with  her  family  in 
Lincolnwood,    in    an    eight-room,    bi-level    house,    fur- 


nished in  "modern  French  provincial."  .  .  .  Though 
Connie  loves  to  play  baseball,  a  recent  incident  almost 
turned  her  against  the  game  entirely.  At  a  radio-TV 
celebrity  game,  Connie  enthusiastically  joined  in  the 
play.  Too  enthusiastically,  as  it  turned  out!  At  one 
point,  she  unfortunately  had  to  slide  into  third  base. 
This  wouldn't  have  been  so  bad,  only  Connie  was 
wearing  a  gold  cocktail  dress  which  split  .  .  .  before 
an  amazed  and  astounded  audience  of  one  thousand! 


Close  harmony  reigns  in  this  musical  Chicago 
family.  Papa  Albert  is  at  the  piano,  above. 
Singing  trio  includes  mama  Ruth,  Connie  and 
sister  Iris.  Her  nephew  Mark  shows  he  knows 
the  score,  too — though,  at  three  years  of  age, 
he'd  rather  play  "cowboy"  with  Aunt  Connie. 


MEET 


\\ 


MOVIE 


#/ 


70 


Bill  Kennedy  knows  all 
about  the  movies  — 
with  good  reason:  He 
used  to  make  them 


I 


Bill  enjoys  helping  son  Bartley,  12,  with  his  projects. 


Calls    to    Hillsdale    College    keep    Bill    near    daughter. 


If  Detroit's  Bill  Kennedy  seems  to  know  an  awful  lot 
about  motion  pictures,  it  isn't  just  because  he's  host 
of  CKLW-TV's  movie  show,  seen  Sunday  through  Fri- 
day at  1  p.m.  Bill  actually  made  more  than  100  films 
in  the  fifteen  years  he  spent  in  Hollywood!  Today,  Bill 
says  he  honestly  prefers  showing  films  to  making  them. 
And  his  many  colorful  stories  on  his  Hollywood  expe- 
riences afford  viewers  a  glimpse  into  the  glamorous  tinsel 
world  of  show  business.  In  addition  to  hosting  the  movie 
show,  he  also  answers  listeners'  questions  and  inter- 
views celebrities,  many  of  whom  are  his  personal  friends. 
.  .  .  Recalling  his  beginning  in  show  business,  Bill  says, 
"I  was  working  for  a  Los  Angeles  radio  station  after 
a  couple  of  screen  tests  didn't  pan  out.  Hal  Wallis 
(then  with  Warner  Bros.)  heard  my  voice  and  won- 
dered what  I  looked  like.  When  he  saw  me,  he  said, 
'I  can  just  see  you  on  a  horse.'  Well,  I  signed  a  seven- 
year  contract.  Funny  thing  is,  I  never  did  make  a  West- 
ern the  whole  time  I  was  at  that  studio!"  .  .  .  These 
days,  widower  Bill  tries  to  spend  as  much  time  as 
possible  with  his  three  children — Michael,  22;  Patricia, 
19;  and  Bartley,  12 — when  not  busy  with  his  reel  life. 


Widower   Bill   leaves   cooking   to   his   housekeeper. 


71 


TV  actors  Larry  Pennell  and  Ken  Curtis  play  the  sky  divers  in  "Ripcord. 


with  the  greatest  of  ease — and  speed  .  .  .  and  a  little 
help  from  their  parachutes — these  daring  young  sky  divers  of  "Ripcord" 


72 


"Skydiving,"  the  country's  fastest-growing  sport  and  a  vital  military 
tactic,  became  dramatic  TV  entertainment  when  Larry  Pennell  and  Ken 
Curtis  debuted  in  the  action-adventure  series  "Ripcord."  As  Ted  McKeever 
and  Jim  Buckley,  they  portray  men  in  one  of  the  world's  most  unusual 
and  hazardous  professions — parachutists  for  hire.  They  leap  from  a  plane, 
doing  what  every  child  dreams  of:  Flying  through  the  sky  with  the  grace 
of  a  bird.  In  their  remarkable  jobs,  they  help  on  missions  of  rescue, 
mercy,  and  law  enforcement. 

Larry,  born  in  Uniontown,  Pennsylvania,  spent  most  of  his  early  life 
in  Hollywood,  where  he  excelled  in  all  sports.  His  baseball  prowess  won 
him  a  contract  to  play  for  the  Boston  Braves — he  was  with  them  for 
two  seasons  before  he  was  drafted  for  military  service.  When  he  returned 
from  service,  Larry  discovered  that  his  contract  had  been  sold  to  the 
Brooklyn  Dodgers.  He  didn't  like  the  terms  and  became  a  spring  hold-out. 
During  this  period,  a  friend  suggested  he  try  for  an  acting  career  and 
arranged  for  a  screen  test  with  Paramount.  Larry  appeared  in  feature 
films  for  Paramount  and  other  studios,  then  guest-starred  in  a  number 
of  TV  shows.  A  role  in  "Malibu  Run"  caught  the  eye  of  producer  Ivan 
Tors,  who  signed  him  for  "Ripcord." 

Off  screen,  Larry  lives  a  quiet  life  with  his  wife  Patricia,  a  non- 
professional,   and   their   baby    daughter    Melaine. 

Ken  Curtis  also  switched  careers.  Born  and  brought  up  on  a  ranch 
near  Lamar,  Colorado,  Ken  came  into  show  business  as  a  musician.  While 
a  student  at  Colorado  College,  he  wrote  a  musical  show  which  was  highly 
praised.  After  graduation,  he  headed  for  Hollywood,  intending  to  write 
music  for  the  movies.  Instead,  while  waiting  for  his  writing  break  to 
come,  he  got  a  job  at  NBC  singing  on  variety  shows.  After  military  service, 
Ken  returned  to  civilian  life  and  appeared  in  a  number  of  films  and  on  TV. 

Ken  is  married  to  the  daughter  of  director  John  Ford,  and  they  live 
on  a  small  ranch  in  the  San  Fernando  Valley. 


Illtlllllllllllllltllll 


VINCE   EDWARDS 


(Continued  from  page  30) 
(Long  before  either  of  them  ever  heard 
of  Ben  Casey,  Vince  Edwards  and  Nick 
Dennis  were  good  friends.  They've  been 
through  a  lot  together,  including  the 
current  TV  show  on  which  Vince  is  the 
doctor,  Nick  the  hospital  orderly,  Nick 
Kanavaras.  Now,  for  the  first  time,  Nick 
tells  what  his  friend  is  really  like.  We 
think  it's  a  revealing  story  that  leaves 
very  little  unsaid.  The  Editors) 

Miracles  like  that  you've  got  to  see 
to  believe.  I  saw  it. 

It  happened  when  I  went  along  with 
Vince  recently  on  a  personal  appear- 
ance tour  to  Phoenix.  People  take  him 
seriously  as  Ben  Casey — but  I  never 
knew  how  seriously  until  we  hit  Phoenix. 

I'm    not   talking    about   the    crowds. 

I'm  talking  about  one  little  girl. 

You  don't  have  to  take  my  word  for  it, 
either.  It's  documented.  If  you're  skep- 
tical, all  you  have  to  do  is  check  St. 
Joseph's  Hospital  in  Phoenix. 

Vince  was  making  the  rounds,  saying 
hello  to  the  patients.  It  seemed  to  be 
kicks  for  everyone,  including  the  doc- 
tors. I  won't  say  my  feelings  were  hurt, 
but  I  was  kind  of  surprised  that  none 
of  the  orderlies  looked  me  up  and  asked 
for  pointers. 

There  was  one  little  girl  in  the  chil- 
dren's ward  whom  Vince  was  going  to 
pass  up.  She'd  been  smashed  up  in  an 
auto  accident  and  she  was  in  a  bad  way. 
As  they  walked  by  her  bed,  the  doctor 
shook  his  head. 

"What's  the  matter?"  Vince   asked. 

"Poor  kid's  been  in  a  semi-coma  ever 
since  she's  been  here,"  the  doctor  said. 
"We  don't  seem  able  to  bring  her  out 
of  it." 

"That's  too  bad,"  Vince  said. 

He  meant  it.  What  else  could  he  say? 
This  was  life.  It  wasn't  the  show. 

The  doctor  gave  Vince  a  strange  look. 
"Why  don't  you  talk  to  her?"  he  said. 

Vince  didn't  go  for  the  idea.  In  a 
way,  this  medico  was  asking  him  to  play 
a  doctor   and   God   at   the   same  time. 

But  the  doctor  pressed  him.  "What 
harm  could  it  do?"  he  said. 

"I  don't  know,"  Vince  backed  off.  "It 
just  doesn't  seem  right,  the  kid  that 
sick  and  all.  What  could  I  say  to  her?" 

The  doctor  smiled.  "Just  say,  'I'm  Dr. 
Ben  Casey,'  "  he  urged. 

Vince  walked  over  to  the  kid.  She 
looked  at  him  through  a  half  stupor. 
He  smiled  down  at  her. 

"Hi,"  he  said,  "I'm  Dr.  Ben  Casey." 

This  is  where  the  story  turns  to  mush. 
It's  not  to  be  believed.  Only  it  really 
happened. 

Seeing  Vince  did  something  uncanny 
to  that  little  girl.  Her  legs  began  to 
twitch.  Her  arms  began  to  twitch.  The 
movement  spread  through  her  entire 
body.  The  kid  came  to!  So  help  me — 
that's  exactly  the  way  it  was. 

If  Ben  Casey  ever  did  anything  like 
that  on  television,  they'd  laugh  the  show 
off  the  air.  The  doctor  at  St.  Joseph's 
had  played  a  hunch.  He  had  some  psy- 
chological explanation— and  I'm  sure  it 
made  sense. 


I've  got  some  theories  of  my  own.  I'm 
not  saying  I  could  have  predicted  that 
it  would  have  happened.  But  I  think  I 
understand  a  little  of  why  it  happened. 
I  feel  I  know  Vince  that  well.  I  think 
the  kid  would  have  perked  up  if  Vince 
had  stood  over  her  and  said,  "Hi,  I'm 
Pete  Picklepepper." 

No  disrespect  to  Ben  Casey,  you  un- 
derstand, but  I  think  that  kid  was  react- 
ing, not  to  a  famous  television  person- 
ality, but  to  the  look  in  Vince's  eyes, 
the  compassion  in  his  voice,  the  friend- 


liness that  was  so  clearly  on  the  level. 

Vince  was  really  cracked  up  about 
that  kid.  She  got  to  him.  He  felt  like 
some  kind  of  an  idiot  walking  up  to  her 
and  telling  her  he  was  Ben  Casey.  But 
the  doctor  said  do  it,  so  he  chanced  it. 
I  think  all  of  that  got  mixed  up  in  it — 
and  the  kid  dug  it. 

Don't  think  right  away  I'm  going  to 
quit  the  orderly  business  and  hang  up 
a  shingle  as  a  head-shrinker.  I've  got 
reason  to  believe  this  way.  I  sized  Vince 
up  long  before  either  one  of  us  ever 


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73 


heard  of  Ben  Casey.  I  saw  the  way 
Vince  was  with  kids  years  before  any- 
one thought  he  was  enough  of  a  big 
shot  to  tour  a  hospital  to  cheer  up 
patients. 

I  know  the  way  Vince  is  with  kids, 
because  I've  seen  him  with  my  own.  My 
two  daughters — Virginia,  who's  thirteen- 
and-a-half,  and  Paulette,  who's  eight- 
and-a-half — are  crazy  about  Vince.  They 
always  have  been ;  even  when  he  used  to 
stop  over  at  the  house  and  wonder  out 
loud  if  he'd  ever  really  get  anywhere  in 
Hollywood. 

At  heart,  I  think  it's  the  honesty  of 
kids  that  gets  to  him.  And  strangely 
enough,  although  Vince  is  a  big  boy 
now,  it's  his  honesty  that  gets  to  them. 

I  never  saw  Vince  put  on  an  act  for 
my  kids.  He  could  either  leave  them 
alone  or  horseplay  with  them.  If  he 
didn't  happen  to  be  in  the  mood,  he 
wasn't  in  the  mood.  He  respects  them 
too  much — and  likes  them  too  much — 
to  con  them. 

All  he  has  to  do  is  just  pick  up  Vir- 
ginia or  Paulette,  give  a  squeeze  and 
yell.  "Grreeeek!  What  are  you?" — and 
suddenly  it's  Christmas  and  their  birth- 
day all  rolled  into  one.  You've  never 
seen  anything  like  it. 

A  family  of  his  own 

He.'s  rough  and  warm,  and  they're 
hopelessly  in  love  with  him.  He's  never 
brought  them  a  present,  either.  Some- 
thing deep  goes  on  with  Vince  when  he's 
with  kids.  I  think  it  has  to  do  with  how 
much  he'd  like  to  have  a  family  of  his 
own. 

For  about  five  years  after  I  first  came 
to  Hollywood  from  Broadway,  I  used  to 
live  in  a  house  behind  the  Cock  'n  Bull 
restaurant  on  Sunset  Strip.  Everybody 
knew  us  from  New  York,  and  when  they 
came  to  Hollywood  they  were  always 
dropping  in — big  successes  like  Marlon 
Brando  and  Jimmy  Dean,  and  some  who 
were  just  getting  by  on  hope,  like  Vince 
Edwards.  He  was  a  kid  I  just  got  to 
know  when  he  used  to  come  backstage 
to  say  hello  to  Marlon  when  we  were 
doing  "Streetcar  Named  Desire"  on 
Broadway. 

More  than  any  of  the  others,  Vince 
got  to  be  like  one  of  the  family.  I  al- 
ways had  the  feeling,  from  the  way  he 
acted,  the  way  he  looked,  that  having 
our  place  to  come  to  meant  a  lot. 

You  know  he's  Italian,  he's  Mediter- 
ranean. I'm  Greek.  We've  always  been 
very  close,  and  I  think  that's  part  of  it 
— because  we  naturally  understand  each 
other.  Even  his  appreciation  of  Greek 
food — you'd  think  Vince  was  a  Greek 
himself.  When  you  drink  Greek  coffee, 
sipping  it,  even  slurping  it,  is  allowed. 
It  may  be  bad  manners  in  America,  but 
in  Greece,  if  you  don't  make  noise  when 
you're  having  coffee,  it  means  you're 
not  enjoying  it — and  you're  insulting 
the  host. 

Vince  never  insults  us. 

His  favorite  dish  in  all  the  world  is 

stefado.  I  guess  this  is  Greece's  answer 

t       to  Irish  stew.  It's  a  national  pastime  in 

v       Greece.    Vince    will    come    practically 

r       from  the  other  part  of  the  universe  to 

have  some  of  Helen's  stefado.  It's  made 

preferably  with  venison  or  rabbit,  and 


sometimes  with  chicken  or  beef.  Helen 
doesn't  gravy  it.  She  puts  it  in  a  pot 
and  gives  it  the  treatment  with  garlic, 
oil,  wine  vinegar,  tomato  paste  and  what 
not.  The  aroma  is  fantastic.  Vince  can 
just  stand  there  by  the  hour — sniffing. 

The  point  I'm  making  is  that  Vince 
isn't  just  a  friend.  He's  become  one  of 
us.  He  fits.  We  are  always  glad  to  see 
him.  Others  are  warm  friends,  welcome 
any  time.  But  Vince  is  family. 

Sometimes  he'll  just  sit  and  barely 
say  a  word.  Other  times  we'll  stay  up 
half  the  right  talking  about  any  subject 
you  can  name — politics,  history,  women, 
boxing,  wrestling,  Rome,  Greece.  Often, 
when  we  lived  in  Hollywood,  we  used 
to  take  long  walks  along  the  Strip — he's 
always  liked  to  walk.  We'd  go  to  Ham- 
burger Hamlet  for  a  cup  of  coffee  and 
sit  there  for  hours.  Soon  other  actors 
would  come  by  and  join  us. 

I  always  had  the  feeling  that  what 
Vince  liked  most  about  our  place  was 
that  he  could  relax  with  us  and  be 
himself.  He'd  just  sit  down  and  have 
a  smoke.  Helen  would  give  him  a  cup 
of  coffee,  a  doughnut,  make  him  a  sand- 
wich, and  he'd  slump  in  his  chair  and 
he'd  get  that  strange,  heart-tugging  half- 
sad  smile  on  his  face.  When  he  came 
to  my  house,  it  was  like  home.  It  still  is. 

Once,  after  Helen  put  the  kids  to 
bed  and  sat  down  with  us  in  the  living 
room,  Vince  put  down  his  cup  of  Greek 
coffee,  looked  me  straight  in  the  eye, 
and  said,  "You  know,  Nick,  I'm  going 
to  tell  you  something.  You've  got  it 
made.  I  only  wish  I  had  your  luck." 

I  thought  he  was  talking  about  acting. 
I  was  getting  pretty  steady  work — noth- 
ing earthshaking,  but  acting  was  my 
trade  and  I  was  earning  a  respectable 
enough  living  at  it.  I  knew  Vince  was 
sweating  out  his  big  break,  and  even 
though  he  wasn't  working  much  at  the 
time,  at  least  he  was  drawing  a  salary. 

"What's  the  matter?"  I  said.  "You're 
not  doing  too  bad,  Vince.  You're  under 
contract  to  Hal  Wallis.  That's  not  the 
worst  thing  in  the  world,  you  know." 

Vince  shook  his  head.  "I'm  not  talk- 
ing about  that,  Nick." 

He  looked  at  Helen,  who'd  happened 
to  let  her  hand  fall  over  mine.  I'm  sure 
she  didn't  even  realize  it,  and  I  didn't 
even  notice  it.  But  Vince  did. 

Marriage  for  Vince? 

"You've  got  the  world  by  the  scruff, 
Nick,"  he  said.  "You've  got  a  good  wife. 
She  thinks  you're  king  of  the  sandpile. 
She  takes  care  of  you.  You  have  two 
swell  kids.  You  and  Brando  sit  in  the 
same  room,  and  you  better  not  ask  your 
kids  who's  the  greatest  actor  in  the 
world.  With  them,  it's  not  Brando.  I  envy 
you,  Nick.  Someday  I'd  like  to  make  it 
like  this." 

After  all,  there's  only  one  reason  a 
single  fellow  keeps  dropping  in  on  a 
guy  who's  married  and  has  kids.  He 
likes  to  be  there.  I  think  no  matter  how 
full  Vince's  life  may  seem  to  be,  he'll 
always  be  a  little  lonely  until  he  finally 
gets  married  and  settles  down. 

And  I'm  sure  he  knows  it. 

But  that  doesn't  mean  you  have  to  get 
out  the  crying  towel.  There's  a  reason 
Vince  is  still  single.  Vince  is  thirty-one 


or  thirty-twof  give  or  take  a  year. 
Doesn't  mean  a  thing.  I  married  late  in 
life  myself. 

You  must  realize  his  upbringing.  Al- 
though Vince  is  American  and  all  that, 
he  still  inherited  what  you  call  this 
Mediterranean  flavor.  In  Italy,  where 
Vince's  people  came  from,  and  in 
Greece,  where  I  came  from,  nobody 
thinks  anything  of  waiting  until  he's 
35,  36  or  37  until  he  gets  married. 
That's  when  a  man  knows  what  he's  do- 
ing. He  knows  how  to  take  care  of  a 
wife. 

In  the  old  country,  they  start  late, 
but  they  maintain  the  lateness.  My 
brother  was  born  when  my  father  was 
61.  Certainly!  You  read  in  the  papers 
in  Italy  and  Greece  about  men — they're 
82  years  old  and  they've  got  twins.  Be- 
cause you  haven't  burned  your  candle. 
You  start  drinking  at  fourteen  and  fif- 
teen, you  get  married  in  your  teens,  and 
at  twenty-four  you're  burned  out. 

Who  needs  it?  Not  Vince.  Right  now, 
in  his  looks,  in  his  powers,  Vince  is  like 
a  nineteen-year-old  kid.  When  he  gets 
to  be  45,  he'll  be  like  32.  I  know  his 
philosophy.  This  is  something  Vince 
and  I  have  talked  about  many  times.  I 
know  how  he  thinks — as  an  athlete,  as  a 
person,  as  an  actor.  He  doesn't  waste 
himself.  He  never  has.  He  builds.  He's 
a  great  swimmer,  he  wrestles,  he's  a 
weight  lifter,  he's  an  adagio  dancer. 
He's  an  all-around  athlete.  He's  a  man. 
Life  isn't  passing  Vince  by,  don't  you 
worry.  He's  not  about  to  let  anything 
like  that  happen.  I've  honestly  never 
seen  girls  go  for  anybody  the  way  they 
go  for  Vince — and  this  was  true  long 
before  he  became  Ben  Casey. 

He  always  had  a  lot  of  girlfriends. 
Some  of  the  girls  I  don't  even  remem- 
ber. Every  time  I  saw  Vince,  he  was  with 
a  different  one.  I'd  say  to  myself,  "How 
does  he  do  it?"  I'd  see  him  in  the  morn- 
ing with  one  girl.  Come  afternoon  he'd 
be  with  another.  I'd  take  my  daughters 
for  a  walk  on  Sunset  Boulevard,  and  I'd 
see  Vince  with  still  another  girl. 

Another  thing  I  respect  about  Vince 
is  his  respect  for  women — and  I  think 
that's  because  he  has  respect  for  him- 
self. As  I  said,  I've  known  Vince  since 
he  was  a  kid  fresh  out  of  Ohio  State  and 
used  to  come  backstage  when  I  was  do- 
ing "Streetcar."  That's  a  good  chunk  of 
years.  Through  those  years  we've  spent 
countless  hours  together — no  holds 
barred  on  anything  we  talked  about. 
And  I  think  the  one  thing  that  im- 
pressed me  more  about  Vince  than 
maybe  anything  else,  is  that,  in  all  that 
time,  he's  never  talked  about  his  con- 
quests— never,  not  once.  Not  only  ac- 
tors, but  a  lot  of  men  in  general,  are 
always  boasting  about  their  conquests  to 
prove  their  manhood.  Half  the  time  you 
don't  know  whether  to  believe  them  or 
not. 

But  Vince  is  a  man.  For  him,  love  is 
not  for  talking  about. 

Obviously,  I  cherish  Vince  as  a  friend, 
and  naturally  I'm  high  on  him.  But  I 
liked  him  for  the  same  reasons  ten  years 
ago  that  I  like  him  for  now.  I  remember 
when  he  and  I  used  to  go  to  the  Auto- 
mat on  Broadway  and  fish  nickels  out  of 
the  slots  so  we  could  eat.  I  remember 
(Continued  on  page  76) 


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75 


(Continued  from  page  74) 
when  I  used  to  take  him  with  me  to  the 
New  York  Times  employees'  cafeteria — 
where  a  few  of  us  were  allowed  to  eat 
because  some  guys  in  the  drama  section 
were  very  lenient  on  hungry  actors.  We'd 
get  a  whole  vegetable  dinner  for  fifteen 
cents,  a  big  bowl  of  soup  for  five  cents. 

How  he's  changed 

I  remember  Vince  during  those 
"Streetcar"  days  when,  like  everyone 
else,  he  was  dressing  a  la  Brando.  One 
day  he  would  be  with  the  T-shirt,  the 
next  day  he  had  on  a  polo  shirt.  That 
was  the  time  when  you  were  supposed 
to  look  not  too  well  dressed.  I  did  it 
and  even  Elia  Kazan  used  to  dress  that 
way.  But  then  around  1955,  when 
Brando  began  to  dress,  everybody 
started  dressing. 

The  only  way  Vince  has  changed  is 
that  now  he's  setting  the  styles,  not 
following  them.  But  as  a  human  being 
he's  the  same  old  Vince.  Outside  his 
work,  he  likes  to  clown,  he  likes  to  sing, 
he  likes  to  play  the  piano,  he  likes  to 
tell  jokes. 

Only  the  other  day,  we  were  doing  a 
"Ben  Casey"  scene  together.  He  looked 
at  me  and  forgot  his  lines.  Instead  of 
getting  irritated,  he  burst  out  laughing 
and  roared,  "How  do  you  like  that. 
Greek?  Stefado!" 

He  loves  to  use  Greek  words — even 
though  stefado  is  stew  and  had  nothing 
to  do  with  anything  at  the  moment.  To 
Vince,  it  just  felt  so  good  yelling  it, 
getting  out  the  sound  of  it.  He  likes  to 
mimic  me.  He  mimics  me  to  death. 
When  he  rehearses,  he  says  his  lines  the 
way  I  do.  Out  of  a  clear  blue  sky,  he'll 
say,  "That's  right.  We're  going  to  Meli- 
nas  Papadakis'  place." 


He  breaks  up  every  time.  He  got  that 
from  "Too  Late  Blues,"  where  I  played 
Nick  Bouboulinas,  the  Greek  who  ran 
the  pool  hall  where  Vince  beat  up 
Bobby  Darin.  "Where  are  the  girls?" 
Vince  will  say.  "They're  playing  cards 
over  in  Papadakis'  house." 

To  me,  friendship  is  or  isn't.  With  me 
and  Vince,  it  is.  And  I'm  sure  it  always 
will  be.  I  know  he  likes  my  company, 
and  I  know  I  like  his.  We  don't  clash. 
He's  tall.  I'm  short.  We  clown  around 
with  each  other — but  we  take  each  other 
seriously.  He  doesn't  put  on  an  act  for 
me.  I  don't  put  one  on  for  him. 

Vince  has  done  a  lot  for  me.  For 
what  he  has  done,  I'm  grateful.  But 
that's  not  why  you  like  a  man.  You're 
more  apt  to  like  a  man  in  spite  of  the 
favors  he  does  for  you  than  because  of 
the  favors  he  does  for  you. 

Once,  when  he  was  dating  actress 
Roberta  Haynes,  I  was  over  at  her  place 
with  Vince  and  a  bunch  of  other  people 
for  a  swim.  I  was  showing  off  with  some 
crazy  diving  and  my  back  went  out  and 
I  was  paralyzed  as  I  hit  the  water.  I 
went  under  twice.  Everyone  thought  I 
was  kidding.  Once  more  and  it  would 
have  been  one  Greek  less  in  Hollywood 
— where  they  need  all  the  Greeks  they 
can  get.  A  sixth  sense  told  Vince  some- 
thing was  wrong.  He  dove  in  and  fished 
me  out. 

He  saved  my  life,  and  I  was  grateful. 
But  that  has  nothing  to  do  with  why  I 
like  Vince  Edwards. 

If  not  for  Vince,  I  wouldn't  be  in  "Ben 
Casey."  One  day  while  we  were  shooting 
"Too  Late  Blues,"  Vince  said,  "You 
know,  Nick.  I'm  doing  a  pilot  for  a  TV 
series.  Would  you  come  over  and  see  it? 
There's  something  I  want  to  talk  to  you 
about." 

I   saw  the  pilot  and  thought  it  was 


great,   one   of  the   best  I'd   ever  seen. 

"Nick,"  Vince  said,  "how  would  you 
like  to  be  in  this  series?" 

"How  would  I  like  to?"  I  said.  "This 
is  the  salvation  of  an  actor — to  be  in  a 
series!" 

I'm  grateful  to  Vince  for  that  break, 
but  one  of  the  reasons  I  like  him  is  the 
way  he  did  it.  People  can  degrade  you 
with  favors.  Not  Vince.  He  made  it 
seem  I  was  doing  him  the  favor. 

"Nick,"  he  said,  "this  isn't  because 
you're  my  friend — but  because  I've 
known  you  as  an  actor  for  many  years, 
and  I  think  you'll  be  an  asset  to  the 
series.  That's  why  I  want  you  in  it. 
You'll  be  good  in  it." 

I  think  the  key  to  Vince  is  his  boyish- 
ness. He's  a  big,  rugged  guy.  But  he's 
gentle,  very  gentle.  If  Vince  hits  some- 
body, forget  it.  That's  why  he  controls 
his  temper.  When  his  temper  comes,  it 
comes.  It's  that  Latin  blood. 

At  the  same  time,  he's  just  like  a 
lamb.  I've  never  seen  Vince  vicious.  Not 
even  with  people  who  cross  him.  He 
just  leaves  them  alone. 

The  big  thing  about  Vince  is  that  he 
doesn't  have  any  dishonest  emotions. 
When  he  puts  his  arm  around  you,  he 
means  it.  It's  not  a  phony  Hollywood 
gesture.  It's  not  just  for  the  sake  of 
putting  an  arm  around  you.  He  squeezes 
you,  if  you  know  what  I  mean.  He  al- 
most kills  you.  The  tighter  he  squeezes, 
the  better  he  likes  you.  It's  hard  on  your 
ribs,  but  it  gives  you  a  nice  feeling. 

That's  why  I  could  understand  what 
he  did  for  that  kid  in  that  Phoenix  hos- 
pital. It  wasn't  Ben  Casey  that  little 
girl  was  hipped  on.  It  was  Vince  Ed- 
wards. — as  told  to  Bill  Tusher 

See  Nick  with  Vince  on  "Ben  Casey," 
ABC-TV,  Mon.,  from  10  to  11  p.m.  edt. 


a 


LOVE    OF   LIFE 


if 


(Continued  from  page  55) 
life.  Certainly  he  and  all  members  of 
her  family  should  give  her   emotional 
support  in  such  a  time  of  crisis,   but 
that  is  all. 

As  to  prevailing  upon  Barbara  and 
Rick  to  seek  a  Mexican  divorce,  we  won- 
der if  perhaps  this  wasn't  motivated 
by  the  fear  that  some  of  the  scandal 
would  rub  off  on  the  rest  of  the  family 
and  a  desire  to  protect  their  own 
■  reputations. 

Deeply  affecting  the  lives  of  Vanessa 
and  her  family  is  her  stepchildren's 
grandmother,  Mrs.  Vivian  Carlson — the 
mother  of  Bruce's  first  wife.  She  is 
a  meddlesome,  opinionated  snob  who 
causes  constant  friction  among  the 
Sterlings. 

She  exercises  a  good  deal  of  influ- 
ence on  Barbara.  It  was  she  who  en- 
couraged her  to  seek  a  divorce  and 
who  accompanied  her  to  Mexico.  On 
their  return,  Barbara  stayed  with  her 
and  her  husband,  rather  than  with  her 

T       own  family. 

v  The    modern   grandparent   plays   an 

R  important  role  in  today's  society.  Mrs. 
Carlson,  of  course,  is  an  extreme  ex- 
ample of  the  worst  kind  of  grandparent 

76 


who,  to  satisfy  her  own  selfish  needs, 
wreaks  havoc  with  the  rest  of  the 
family. 

That  she  is  allowed  to  exercise  such 
control  is,  to  a  great  extent,  Bruce's 
fault.  It  seems  reasonable  to  assume 
that  he  is  too  weak  to  put  a  stop  to 
her  meddling. 

This  is  unfortunate  for  Vanessa,  who 
now  must  battle  the  ghost  of  Bruce's 
first  wife  in  the  person  of  Mrs.  Carlson. 
Obviously,  she  has  been  unable  to  per- 
suade Bruce  to  take  a  firmer  stand 
against  this  woman. 

Barbara  appears  to  be  a  weak,  neu- 
rotic young  woman  who  lacks  confi- 
dence in  her  father.  In  order  to  win 
over  such  a  person,  Vanessa  may  be 
forced  to  offer  more  love,  warmth  and 
understanding  than  she  can  muster.  For 
the  odds  are  stacked  against  her,  and 
she  can  expect  little  help  from  her 
husband. 

Conflict  piles  upon  conflict,  reaching 
a  climax  when  Barbara  discovers  that 
she  is  pregnant — after  the  divorce.  She 
wants  to  get  rid  of  the  baby,  but 
Vanessa  talks  her  out  of  it.  Barbara 
agrees  because  she  believes  this  to  be 
her  obligation  as  a  mother  and,  despite 
the  fact  that  she  is  no  longer  married, 
the  baby  was  conceived  legitimately. 

Suddenly,  Barbara  grows  closer  to 
her   stepmother   and   even   moves   back 


into  her  father's  home.  During  her  preg- 
nancy, she  works  as  a  roving  secretary 
at  Winfield  Academy  and,  although  up- 
set and  depressed  about  her  condition, 
she  grimly  determines  to  have  the  child. 

The  intense  emotional  experience 
Barbara  is  going  through  seems  to  have 
helped  her  to  transfer  her  dependency 
from  her  grandmother  to  her  step- 
mother. This  incident  may  help  to  draw 
Vanessa  and  Barbara  closer  to  each 
other.  It  all  depends  on  the  firmness 
of  their  relationship  during  Barbara's 
pregnancy. 

Once  Barbara  gives  birth,  however, 
many  new  problems  may  arise.  If  Bar- 
bara accepts  Vanessa  as  her  mother, 
rather  than  just  as  her  stepmother, 
this  will  make  Vanessa  a  true  grand- 
mother to  the  baby.  Also,  it  will  help 
her  to  cope  with  Mrs.  Carlson,  who  is 
sure  to  ingratiate  herself  into  the 
situation. 

Barbara's  child  is  doomed  to  become 
the  pawn  of  all  this  emotional  give- 
and-take — just  as  is  the  newborn  child 
in  any  broken  family.  The  emotional 
problems  of  the  parents  and  grand- 
parents are  sure  to  be  visited  upon 
the  unfortunate  child — unless  they  come 
to  grips  with  their  problems  and  clarify 
their  relationships  in  a  healthy,  un- 
neurotic  way.  Now  that  Barbara  has 
decided   to    have    her    baby,   she    must 


resolve  to  protect  the  child  from  the 
disturbing  emotions  in  her  environment. 
Vanessa — or  any  stepmother — must 
be  guided  by  the  behavior  of  her  step- 
daughter. She  must  take  care  not  to 
interfere  in  matters  concerning  Barbara 
and  her  baby — yet  be  there  when  she 
is  wanted  and  needed.  Bruce — as  Bar- 
bara's father — can  be  decidedly  helpful 
by  rising  to  the  occasion  and  standing 
by  both  his  wife  and  daughter.  In  any 
second  marriage,  the  true  parent  must 
be  strong  in  times  of  emotional  crisis 
in  order  to  re-unite  the  family. 

Other  people's  problems 

In  Rosehill,  where  everybody  knows 
everybody  else,  togetherness  is  a  way 
of  life.  Privacy  isn't  easy  to  come  by. 
Vanessa,  as  a  respected  member  of  the 
community,  is  caught  up  in  one  emo- 
tional tangle  after  another.  So  in 
addition  to  seeking  answers  to  her  own 
difficulties  as  a  second  wife,  she  hovers 
over  her  neighbors  like  a  mother-hen, 
concerning  herself  with  their  problems 
as  well. 

Even  in  our  largest  cities,  most  peo- 
ple live  in  a  "small  town."  A  recent 
study  on  the  subject  emphasized  the 
fact  that  most  people  really  know  only 
those  neighbors  who  live  on  their  street; 
so,  in  effect,  their  street  becomes  a 
small  town  itself. 

Rosehill  is  like  that  street.  Vanessa 
is  somewhat  of  a  busybody.  She  messes 
around  in  what  doesn't  concern  her. 
But  in  real  life,  the  average  woman 
has  enough  problems  of  her  own  to 
handle  without  going  out  of  her  way 
to  become  involved  with  her  neigh- 
bors' difficulties.  Vanessa  can  do  this 
because  she  has  "dramatic  license"  to 
do  so;  it  makes  her  more  interesting. 

A  real-life  woman  in  her  position 
would  be  so  taken  up  with  the  task 
of  making  her  second  marriage  work 
that  she'd  have  little  time  or  patience 
to  concern  herself  with  anything  else. 
Any  second  marriage  most  certainly 
poses  some  very  special  problems  of 
its  own,  and  it's  a  full-time  job  for 
every  second  wife  to  find  acceptance 
in  a  home  that  is  not  really  her  own. 

Whatever  happens  in  Rosehill  is  a 
matter  of  great  concern  to  millions  of 
faithful  television  fans.  TV's  Vanessa 
is  their  Vanessa. 

Even  if  yours  isn't  a  second  marriage, 
you  can't  fail  to  be  affected  by  her 
various  emotional  conflicts.  And  if  yours 
is  a  second  marriage,  chances  are  that 
you  most  certainly  see  yourself  as  Van- 
essa in  your  own  life. 

But  have  a  care.  Remember  to  sep- 
arate the  real  from  the  fanciful.  Van- 
essa is  not  truly  of  flesh  and  blood; 
you  are!  Make  sure  you  don't  wrongly 
confuse  yourself  and  your  problems 
with  the  image  on  your  TV  screen. 

This  month  we  dealt  with  Vanessa 
Sterling  and  the  problems  arising  out 
of  a  second  marriage.  Next  month  we'll 
tackle  another  popular  daytime  drama 
psychologically  and  try  to  make  its 
stories  and  characters  meaningful  in 
your  own  life.  — The  End 

"Love  of  Life"  is  seen   over   CBS-TV, 
M-F,  from  12  noon  to  12:30  p.m.  edt. 


Let's  talk  frankly  about 

internal 
cleanliness 


Day  before  yesterday,  many  women  hes- 
itated to  talk  about  the  douche  even  to 
their  best  friends,  let  alone  to  a  doctor 
or  druggist. 

Today,  thank  goodness,  women  are 
beginning  to  discuss  these  things  freely 
and  openly.  But  — even  now  — many 
women  don't  realize  what  is  involved  in 
treating  "the  delicate  zone." 

They  don't  ask.  Nobody  tells  them. 
So  they  use  homemade  solutions  which 
may  not  be  completely  effective,  or  some 
antiseptics  which  may  be  harsh  or  in- 
flammatory. 

It's  time  to  talk  frankly  about  inter- 
nal cleanliness. 

Here  are  the  facts:  tissues  in  "the  deli- 
cate zone"  are  very  tender.  Odors  are 
very  persistent.  Your  comfort  and  well- 
being  demand  a  special  preparation  for 
the  douche.  Today  there  is  such  a  prep- 
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This  preparation  is  far  more  effective 


in  antiseptic  and  germicidal  action  than 
old-fashioned  homemade  solutions.  It  is 
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liquid  antiseptics  for  the  douche.  It 
cleanses,  freshens,  eliminates  odor, 
guards  against  chafing,  relaxes  and  pro- 
motes confidence. 

This  is  modern  woman's  way  to  inter- 
nal cleanliness.  It  is  the  personal  antisep- 
tic for  women,  made  specifically  for  "the 
delicate  zone."  It  is  called  Zonite®.  Com- 
plete instructions  for  use  come  in  every 
package.  In  cases  of  persistent  discharge, 
women  are  advised  to  see 
their  doctors. 

Millions  of  women  al- 
ready consider  Zonite  as 
important  a  part  of  their 
grooming  as 
their  bath. 
You  owe  it 
to   yourself 
to  try  Zonite. 


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.....  FLEETWOOD  CO.,  Dept.  22TH— 427  W.  Randolph,  Chicago  6,  Illinois  ..... 


77 


PEGGY   McCAY 


(Continued  from  page  38) 
slowly  but  firmly — he  shook  his  head. 
Then,  seeing  the  disappointed  expres- 
sion on  her  face,  he  added  solemnly: 
"But— Merry  Twistmas!" 

When  Peggy  told  me  about  the  in- 
cident over  lunch  in  Warner  Bros.' 
Green  Room,  she  giggled — that's  an- 
other vice  of  hers — and  asked:  "What 
can  a  girl  do  when  she's  turned  down 
so  charmingly?" 

I  allowed  that  I  didn't  know.  And 
I  said,  "I  also  don't  know  when  you 
two  met — but  I'd  like  to." 

She  smiled  mischievously.  "We  met 
one  day  when  I  was  chopping  up  furni- 
ture." Seeing  my  confused  expression, 
she  added  hastily:  "It  was  for  a  TV 
show — an  episode  of  '77  Sunset  Strip.' 
I  played  a  rich  widow  who  was  tem- 
porarily short  of  money  and  chopping 
up  the  living  room  furniture  to  use  as 
fuel.  Somebody  was  threatening  my  life, 
and  Efrem  solved  the  case."  Then  she 
added  wistfully,  "It  was  a  marvelous 
show — practically  a  duet  between  the 
two  of  us.  .  .  ." 

"When  did  you  start  dueting  in  pri- 
vate life?"  I  asked. 

A  dreamy  expression  had  come  over 
her  face  (she'll  deny  it  when  she  reads 
this,  but  it's  true!)  and  it  took  a  few 
seconds  for  my  question  to  bring  her 
back  to  earth.  "When  did  we  start? 
I  ...  I  really  don't  remember  if  it 
was  while  we  were  making  the  show, 
or  just  afterwards.  But  it  was  right 
around  that  time." 

"Do  you  see  him  often?" 

Suddenly  she  was  on  her  guard.  "We 
see  each  other  .  .  .  occasionally." 

"How  occasionally?" 

"Occasionally." 

"All  right.  Where  does  he  take  you?" 

"He  doesn't." 

"But  I  thought  you  said  you  see  each 
other  occa-  .  .  .  you  know." 

She  smiled.  "He  comes  over  to  my 
house  for  dinner." 

"Doesn't  he  ever  take  you  out?" 

She  shook  her  head.  "Never,  except 
for  the  night  after  Christmas." 

"You  must  be  a  wonderful  cook," 
I  said.  "What  do  you  make  for  him?" 

"Casseroles,"  she  said  proudly. 

"Just  .  .  .  casseroles?" 

She  bristled.  "Not  just  casseroles! 
My  casseroles.  Things  like  Beef  Bour- 
guinonne  and  Chicken  Veronique.  Why. 
I  spend  hours  over  them,  chopping  and 
grating  and  simmering.  .  .  .  Did  you 
ever  make  a  casserole?  You  can  do 
lots  of  things  with  them!" 

Then  she  softened,  and  smiled.  "My 
only  trouble  is  that  sometimes  the 
things  I  prepare  are  too  fancy.  Once 
I  cooked  a  very  elaborate  Christmas 
dinner  for  my  mother. 

"After  my  mother  had  finished  the 
dinner,  she  was  so  stuffed  that  she  could 
hardly   speak    for   two   hours.    Finally 
she  turned  to  me  and  said,  'I  think  I'd 
T       like  a  cup  of  tea,  dear.' 
v  "And  as  I  headed  for  the  kitchen  to 

R  make  it,  she  added  with  a  kind  of 
desperation :  'Uh — don't — put — any- 
thing in  it,  dear.  Just— tea.  ...''' 

7n 


Peggy  laughed.  "Fortunately,  Efrem 
hasn't  complained  yet." 

"But  it  can't  be  just  your  cooking 
that  keeps  him  interested."  I  said. 
"What  do  you  two  talk  about  when 
you're  alone  together?" 

"We  often  discuss  music.  As  you 
know,  his  father  is  a  famous  violinist 
and  his  mother  was  Alma  Gluck,  the 
opera  singer.  Efrem  himself  recently 
read  'A  Lincoln  Portrait'  with  the  Phila- 
delphia Symphony. 

"Aside  from  music,  we  talk  about 
our  work.  We're  both  'New  York  ac- 
tors,' and  movie  work  presents  certain 
problems  that  our  stage  work  didn't 
prepare  us  for!  There  was  that  time 
I  had  to  work  with  sausage  behind 
my  ear  .   .   ." 

"With  what?"  I  asked. 

"There  .  .  .  I've  startled  you  again!" 
she  said  apologetically.  "You  see,  I 
recently  made  a  picture  called  'Lad. 
a  Dog.'  And  the  way  you  get  the  dogs 
to  come  to  you  is  to  rub  sausage  be- 
hind your  ear  so  they  can  smell  it. 
For  a  Method  actress  like  myself,  it 
was  a  little  hard  to  accept  this,  but 
I  finally  resigned  myself  to  it." 

"All  right,"  I  said.  "I  can  certainly 
understand  why  Efrem's  attracted  to 
you.  Your  casseroles,  your  conversa- 
tion, and — did  anyone  ever  tell  you  that 
you  look  like  Janet  Gaynor?" 

"Quite  a  few  people,"  she  said  matter- 
of-factly. 

"Then  you  obviously  know  you're  at- 
tractive. But  tell  me.  Just  what  is  it 
that  attracted  you  to  Efrem?" 

She  gave  me  a  look  that  said,  "What 
are  you?  Some  kind  of  a  nut?"  But 
then  she  put  her  reasons  into  words. 

"Well,  he's  certainly  a  very  attractive 
person.  And  a  completely  charming 
gentleman — absolutely ! "  She  rapidly 
warmed  to  her  subject.  "It's  a  pleasure 
to  see  someone  who's  so  ...  so  thought- 
ful. And  considerate!  So  very  consid- 
erate. .  .  .*' 

"I  get  the  picture,"  I  said.  "I  sup- 
pose, with  a  man  like  Efrem  available, 
a  girl  would  be  foolish  to  date  anyone 
else." 

"But  I  do  date  someone  else,"  she  in- 
sisted. "I  see  quite  a  lot  of  Robert  Q. 
Lewis." 

Now,  that  was  a  switch.  From  a 
smooth,  urbane  leading  man  to  a  be- 
spectacled comedian  —  disc  jockey. 
"Anybody  else?"  I   asked. 

She  shook  her  head. 

"Do  you  cook  for  Robert  Q.,  too?" 

She  smiled.  "No,  I'm  ashamed  to  ad- 
mit that  I  never  have.  We  always  seem 
to  go  over  to  his  house  for  dinner.  He 
has  a  wonderful  cook.  But  I  do  expect 
to  have  him  over  soon." 

"Is  he  one  of  those  comedians  who's 
actually  very  serious?" 

She  giggled.  "Not  at  all!  He  has  a 
wild  sense  of  humor.  Recently  he  did 
a  guest  shot  on  'Room  for  One  More' 
just  as  a  lark,  and  in  one  scene  he  broke 
us  all  up. 

"He  was  supposed  to  run  up  the  stairs 
and  say  to  me,  'Your  husband!'  I  was 
to  ask,  'Something  happened?'  and  he 
was  to  reply,  'I  don't  know.  We  got  the 
smelling  salts.' 

"But  he  changed  all  that  When  the 
camera   started   rolling,   he   rushed  up 


the  stairs  and  said  his  first  line.  But 
when  I  asked,  'Something  happened?' 
he  shouted,  'I  don't  know — and  I  don't 
care!  And  if  you  think  I'm  going  to  do 
this  show  for  scale,  you're  crazy.'  Then 
he  grabbed  me  in  a  passionate  embrace 
like  Rudolph  Valentino.  I  nearly  died 
laughing. 

"That's  why  I'm  looking  forward  to 
acting  with  him  at  the  Pasadena  Play- 
house in  a  few  weeks,"  she  added. 
"We're  going  to  do  'Send  Me  No  Flow- 
ers,' and  he's  told  me  that  after  the 
first  week  he  always  starts  ad  libbing 
—'like  Nichols  and  May.'  Well,  I'm  no 
Elaine  May,  but  I'm  willing  to  try. 

"And  there's  one  more  thing,"  she 
said,  with  a  gleam  in  her  eye.  "We're 
going  to  do  a  Twist  in  the  play." 

"Now  I  know  why  you  took  the  part," 
I  said.  "But  tell  me — how  would  you 
compare  his  sense  of  humor  with 
Efrem's?" 

She  thought  for  a  minute.  "Well  .  .  . 
Efrem's  wit  is  very  subtle,  even  though 
he  loves  puns.  But  Bob's,  as  I  said,  is 
wild.  He  likes  practical  jokes  and  sight 
gags."  Then  she  added  diplomatically, 
"However,  I  think  they're  both  very 
amusing  men." 

"And  very  eligible  men,"  I  pointed 
out.  "Which  leads  me  to  ask — just  what 
qualities  are  you  looking  for  in  a 
husband?" 

She  smiled.  "As  a  matter  of  fact,  I 
do  want  someone  with  a  sense  of  humor, 
first  of  all.  And  he  should  care  a  great 
deal  about  his  work.  Since  I've  spent 
so  much  of  my  life  in  a  career,  I'd  like 
to  have  a  husband  who's  very  interested 
in  his,  so  that  I  could  share  some  of 
that  interest  with  him." 

"You  wouldn't  mind  marrying  an 
actor?" 

"Not  at  all.  I'd  love  it!  We'd  under- 
stand each  other  so  much  better." 

"So  far,  your  prescription  fits  both 
Efrem  and  Robert  Q.,"  I  said. 

"Wait  a  minute!"  she  cut  in.  "Who 
says  I'm  ready  for  marriage?  As  a 
matter  of  fact,  I  don't  feel  that  I  am. 
I  think  I  need  to  be  a  little  more  mature 
first." 

And  then  she  added,  with  a  mis- 
chievous grin:  "Of  course,  there's  a 
point  at  which  it  becomes  absurd  to 
wait  any  longer." 

"When  that  day  comes,  will  you  want 
a  big  family?"  I  asked — remembering 
that  Efrem  has  two  teen-age  children 
from  his  first  marriage,  which  left  him 
a  widower.  (His  daughter  by  his  sec- 
ond wife  is  living  with  her  mother.) 

"Yes,  I  will — because  I  love  chil- 
dren," she  said.  "And  I've  really  en- 
joyed playing  a  mother  on  'Room  for 
One  More.'" 

Suddenly  I  remembered  something 
about  the  mother  on  that  show:  Not 
all  her  children  were  her  own.  Some 
were  adopted.  And  I  wondered  if  the 
same  thing  might  happen  to  Peggy. 


Peggy  stars  in  "Room  for  One  More," 
ABC-TV,  Sat.,  8  p.m.,  edt.  Efrem  stars 
in  "77  Sunset  Strip,"  ABC-TV,  Fri. 
9  p.m.  edt.  Robert  Q.  has  his  own 
program  on  KHJ  Radio,  Hollywood. 
After  all,  anything's  possible — par- 
ticularly if  Efrem  learns  to  Twist. 

— James  Gregory 


il 


Hiimtiitimijimmmitimm 


iiiitiit(itmirniJiiitiiii!iiiiiiiiiHiiiiJHiiiiuiiiiiinimiiini 


KATHY   NOLAN 


(Continued  from  page  56) 
anyone  I've   gone  with.   My  theory  is 
that  every  date  should  become  a  friend 
before     any     further    development    is 
possible. 

Nick  Adams  and  I  got  a  lot  of  pub- 
licity when  we  were  dating  because 
we  were  newcomers  to  the  Hollywood 
spotlight.  We  were  eager  to  come  up 
to  expectations.  But  we  recognized  that 
our  love  was  one  of  friendship,  rather 
than  one  for  marriage.  There  never  was 
any  blow-up,  as  some  magazines  de- 
lightedly reported.  I've  great  respect 
for  Nick  s  accomplishments.  He  and  his 
wife,  Carol,  are  good  friends  of  mine 
and  always  will  be. 

I  was  unwillingly  pushed  into  a  new 
phase  as  a  playgirl  after  that.  I  went 
to  a  few  parties  with  very  decent  dates 
and  found  I  was  considered  a  "starlet." 
That  was  supposed  to  be  marvelous, 
but  I  didn't  like  that  category.  Either 
a  girl  is  an  actress,  dedicated  to  im- 
proving her  ability,  or  she  is  trying  to 
use  the  starlet  bit  as  a  front! 

When  I  protested  that  I  didn't  go  to 
a  party  every  night,  my  denials  were 
jazzed  up  into  "colorful  copy."  I  like 
to  have  fun,  but  I'm  not  a  kook!  I 
never  did  anything  to  win  that  classi- 
fication. 

It  is  a  fact  that  I  tried  sky  diving. 
I  parachuted  out  of  a  plane  four 
thousand  feet  high,  along  with  Jim 
Franciscus  and  Jody  McCrea.  I  took 
instructions  carefully,  wore  the  pre- 
scribed garb,  and  did  it  because  I 
wanted  to,  not  to  be  written  about. 
Well,  it  was  said  that  I  kookily  insisted 
upon  wearing  high  heels  instead  of 
boots,  and  a  straw  hat  tied  with  a 
ribbon  under  my  chin  rather  than  a 
helmet.  I  wouldn't  be  here  to  tell  this 
if  I  had! 

Tall  tales  don't  fade  away  fast 
enough.  Vince  Edwards  just  revived 
that  one  with  a  new  twist.  In  an  inter- 
view, he  said  that  sky-diving  isn't  some- 
thing to  kid  around  with  (I  absolutely 
agree)  and  then  he  used  me  as  his 
example.  "Kathy  Nolan  fainted  before 
she  could  pull  the  ripcord,  and  if  the 
emergency  cord  hadn't  snapped  open, 
she'd  be  dead."  I  did  not  faint,  Dr. 
Casey  I  I  pulled  the  proper  cord  with 
my  own  little  hand.  That's  why  I'm 
still  alive. 

Certain  magazines,  attempting  to  be 
sensational  to  sell  more  copies,  have 
caused  me  real  heartache  with  their 
misrepresentations.  While  I  was  won- 
dering what  I  could  do  about  this,  I 
heard  from  Walter  Brennan.  Somebody 
had  promptly  handed  him  a  magazine 
with  a  terrible  story  about  me.  I  loved 
my  character  of  Kate.  She's  like  a  real 
person,  and  I'd  never  do  anything  that 
would  be  offensive  to  any  of  the  people 
who  love  her.  Mr.  Brennan  was  properly 
aghast.  He  lectured  me  for  giving  such 
an  undignified  story.  Of  course,  he  be- 
lieved me  as  soon  as  I  told  him  I 
hadn't,  and  that  what  I  had  said  had 
been  rewritten  without  my  consent. 

It's  terrible  not  to  be  able  to  trust 
some    people.    At   least    it    is    for    me. 


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79 


80 


My  father  and  mother  and  sister — my 
friends  who  were  near — had  no  doubts 
about  me.  But  it's  cost  my  relatives 
in  St.  Louis  a  lot  of  phone  calls  when 
they've  read  what  they  assume  is  ab- 
surd. They  still  want  to  be  reassured, 
and  I  don't  blame  them. 

I  would  like  to  emphasize  that,  as 
a  whole,  the  press  has  been  marvelous 
to  me.  Some  of  my  best  pals  are  re- 
porters, editors,  and  columnists.  I  can 
be  perfectly  frank  with  them.  They 
have  the  good  taste  I  like.  But  that 
made  the  disappointments  even  harder 
to  bear. 

Imagine  my  surprise  when  I  read 
false  accounts  of  how  I  was  feuding 
with  Connie  Stevens,  and  then  with 
Dorothy  Provine.  I've  never  had  a  feud 
with  anyone,  because  I  refuse  to  be  that 
petty.  I'm  not  envious  of  the  ability 
I  see  in  others.  I  admire  it! 

When  an  accident — a  falling  light  on 
the  set — gave  me  a  brain  concussion 
soon  after  I  started  as  Kate,  I  was  in 
a  hospital  to  recover  for  several  months. 
All  my  pals  came  to  cheer  me  up, 
deluged  me  with  flowers  and  messages. 
So  what  appeared  in  print?  Sob  stories 
about  poor,  sad  little  me,  utterly  for- 
saken and  alone  in  heartless  Holly- 
wood! They  may  have  aroused  sym- 
pathy, but  that  phony  version  made  me 
furious.  I've  built  loyal  friendships 
wherever  I've  been,  and  this  definitely 
includes  Hollywood. 

Yet  those  uncalled-for  cracks  made 
me  so  miserable  I  finally  reached  the 
point  where  I  flew  back  to  New  York 
and  my  family  there  almost  every  week- 
end. If  I  hadn't  been  under  long-term 
contract  for  the  series,  I  would  have 
left  Hollywood. 

For  instance,  there  was  the  date  who 
was  so  dented  by  the  party-girl  pub- 
licity I  was  getting  that  he  believed 
it.  He  got  too  fresh  when  he  was  tak- 
ing me  home.  I  made  him  stop  his 
car  on  Sepulveda  Boulevard,  one  of  the 
main  freeways  in  Los  Angeles,  and  I 
walked  home  the  rest  of  the  way.  It 
was  the  last  mile  home,  and  I  trudged 
along  in  the  dark.  I'd  do  it  again  if 
I  had  to. 

A  new  way  to  say  no 

I  valued  the  stories  that  had  appeared 
about  me  in  TV  Radio  Mirror.  This 
is  one  magazine  I  always  have  been 
glad  to  be  in.  But,  after  a  while,  I  no 
longer  was  asked  for  interviews.  One 
evening  at  an  industrial  gathering,  I 
had  a  chance  to  talk  directly  to  Eunice 
Field,  the  West  Coast  Editor.  She's  as 
wise  as  she  is  pretty.  When  I  made 
UP  my  mind  to  ask  her  point-blank  why 
this  magazine  wasn't  interested  in  any- 
thing on  me  anymore,  she  answered 
kindly,  "Perhaps  we've  read  so  much 
about  the  kookie  things  you  do,  you 
don't  seem  the  type  for  our  readers." 
She  never  knew  that  when  I  reached 
home  that  night  I  cried,  thinking  that 
over  again.  I  hadn't  suspected  even 
people  as  discerning  as  she  is  could  be- 
lieve I  was  at  fault. 

That's  when  I  resolved  to  say  no  in 
a  new  way. 

Until  then,  I  felt  nothing  could  be 
done.  I'd  firmly  turned  down  the  re- 
quests that  confused  me.  When  I  was 


polite,  but  wouldn't  go  along  with  the 
gags,  I  was  written  about  as  a  bit 
balmy,  anyway.  When  I  reached  my 
decision  that  I  wouldn't  cater  to  sensa- 
tionalism, I  was  passed  by  for  others 
who  could  be  played  up  for  their  antics. 
But  I  realized,  at  last,  that  it  was  im- 
mature of  me  to  be  so  discouraged  by 
a  few  tricky  operators  and  their  fabri- 
cated stories.  I'm  a  romanticist,  but  I'm 
realistic,  ultimately.  I  saw  I  didn't  have 
to  run  away,  shrink  in  silence,  either. 
From  that  time  on,  whenever  I  read 
something  that  isn't  so  about  myself, 
I  refused  to  despair.  I  try  to  get  on  the 
phone  to  the  person  who  wrote  it  and 


DID   KATHY  SAY  NO 
ONCE  TOO  OFTEN? 

Newspapers  recently  head- 
lined Kathy  Nolan's  biggest 
NO  when  she  refused  to  sign 
a  new  contract  for  "The  Real 
McCoys."  Producer  Irving 
Pincus  was  quoted  as  saying 
he'd  offered  to  double  her 
$l250-a-week  salary  and 
throw  in  a  percentage  of  the 
profits — but  couldn't  agree 
to  her  other  "demands." 

"It  was  never  a  question  of 
'demands,'  "  Kathy  tells  TV 
Radio  Mirror.  "Signing  a 
new  five-year  contract  would 
mean  ten  years  of  my  life 
given  to  one  role — the  most 
important,  most  productive 
years  of  a  woman's  life.  I'm 
twenty-eight.  I  want  a  home 
and  children.  But  no  romance 
could  really  thrive  under 
these  circumstances. 

"There's  a  lot  more  to 
playing  a  regular  part  in  a 
series  than  working  in  front 
of  the  cameras.  Bob  Fuller 
would  say,  'Let's  go  fishing 
this  weekend' — and  I'd  have 
to  answer,  'Can't.  Sot  to  go 
to  Peoria  for  a  personal  ap- 
pearance.' A  couple  of  weeks 
later,  I'd  say,  'Let's  take  the 
day  off  and  go  to  Laguna' — 
and  Bob  couldn't  make  it. 

"Now  I'm  not  only  making 
records  but  have  been  asked 
to  sing  and  dance  on  TV  va- 
riety guest  shots.  I've  been 
approached  about  three 
Broadway  shows  so  far — two 
musicals — as  well  as  movies." 

At  the  moment,  Kathy  is 
glad  she  said  NO  to  the  new 
TV  contract.  But  is  this  one 
time  she  should  have  said 
YES?   What  do   you  think? 


ask,  "Just  where  did  you  get  your 
information?"  To  my  astonishment,  in- 
variably they're  glad  to  hear  the  facts. 

I  say  no  now,  when  I  must,  with  a 
happy  feeling.   For  I  dare  to  be  myself. 

Although  Dick  Crenna  and  I  had  been 
a  "team"  in  the  series,  I  didn't  become 
as  good  friends  as  I  am  now  with  him 
and  his  wife  until  this  past  year.  When 
we  finally  sat  down  to  talk  at  length 
after  four  years  in  the  show,  I  was 
amazed  to  discover  even  Dick  had 
strange  ideas  about  what  I  did — thanks 
to  that  old,  kookie  publicity! 

Sometimes  you  can't  win.  When  the 
Spanish  distributor  of  our  show  invited 
us  to  Puerto  Rico  for  a  week,  I  was 
able  to  fly  there  with  Tony  Martinez, 
who  is  Pepino  in  "The  Real  McCoys." 
Since  he's  from  there,  he  was  given  a 
royal  welcome.  The  newspapers  also 
headlined  that  he  was  bringing  me  home 
to  meet  his  family  because  we  were 
getting  married! 

The  man  I'll  marry 

Marriage  will  be  wonderful  for  me. 
when  the  time  is  right  for  this  step. 
Bob  Fuller  and  I  have  been  going  to- 
gether for  over  two-and-a-half  years 
now.  What  you  may  possibly  have  read 
about  Bob  and  me  is  guessing,  because 
we  haven't  given  any  stories  on  love  in 
the  past  two  years.  Our  plans  are  not 
definite  yet.  Just  because  we  have  a 
disagreement  over  a  cup  of  coffee  at 
times,  I'm  not  going  to  run  to  some  writ- 
er and  weep  over  what  is  bound  to  be 
a  laugh  for  us  in  another  day. 

Bob  is  the  exception  to  my  rule  of 
always  take  time  to  become  friends 
first.  I  didn't  have  time  with  him!  Mu- 
tual friends  arranged  a  blind  date  for 
us,  and  friendship  had  to  follow  the 
initial  impact. 

The  reason  I  have  never  married  is 
that  I  want  to  be  sure.  I  want  to  be 
married  only  once.  I  have  my  silver 
pattern  and  keep  adding  to  it.  I  have 
a  hope  chest  full  of  china,  guest  towels, 
and  linen.  I'd  rather  have  yellowed  linen 
than  the  wrong  man! 

Bob  and  I  still  go  out  with  others 
at  times.  Keely  Smith  and  her  brother 
are  mutual  friends  of  ours.  Most  of  my 
friends  are  married  couples:  the  Ed- 
mund O'Briens,  the  Danny  Thomases, 
the  Andy  Williamses,  Nick  and  Carol 
Adams,  the  Dick  Crennas  and  the  Charl- 
ton Hestons. 

I  know  interesting  men  in  the  busi- 
ness world.  Nobody  ever  talks  about 
my  business  sense,  but  Kathy  Nolan 
Enterprises  has  a  suite  of  offices  in  an 
ultra-modern  building  on  Sunset  Boule- 
vard in  Hollywood.  I  handle  my  real- 
estate  holdings,  my  interest  in  a  print- 
ing firm,  in  a  bowling  alley,  my  stocks, 
personal  appearances,  and  back  a  pub- 
lic relations  firm  there.  My  own  office 
is  efficient,  but  feminine.  I've  a  silk 
scene  of  a  romantic  spot  in  Rome 
stretching  across  one  wall.  My  desk  is 
a  table  with  a  pink  marble  top.  All  the 
rest  is  cream  and  gold  and  pink. 

So  is  my  life,  now  that  I've  learned 
how  to  say  no! — as  told  to  Tex  Maddox 

This  summer,  Kathy  Nolan  can  still  be 
seen  as  Kate  in  "The  Real  McCoys." 
on    ABC-TV,    Thurs..    8:30    p.m.    edt. 


^ 


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81 


MICHAEL   LAN  DON 


(Continued  from  page  49) 
Dodie  learned  that  happiness  is  never 
an  easy  prize.  "There  were  times  in 
our  marriage,"  Mike  said  later,  "that, 
for  Dodie  and  me,  were  the  happiest 
we  have  ever  known. 

"There  were  times,  too,  of  fear  and 
disillusionment.  But  until  what  hap- 
pened lately,  we  always  had  faith  that 
our  marriage  would  survive." 

Mike  and  Dodie  strove  desperately  at 
times  to  walk  the  tight-rope  of  those 
fragile  in-between  days — and  to  repair 
the  deepening  misunderstandings  of  the 
days  before.  Their  separation  was  the 
final  admission  of  failure.  Yet,  at  all 
times,  they  were  both  religious  in  their 
efforts  to  conceal  the  times  of  discon- 
tent from  the  children. 

We  went  to  Mike  to  see  if  we  could 
get  at  the  truth  of  the  matter.  Naturally, 
he  preferred  not  to  comment  on  his 
alleged  relationship  with  "another 
man's  wife."  It's  a  subject  loaded 
with  implications  which,  discussed  out- 
side the  courtroom,  could  -  easily  lead 
to  wrong  inferences. 

But  on  his  three  sons,  on  fatherhood 
and  his  love  for  Dodie,  Mike  was  very 
articulate,  willing  and  eloquent,  though 
he  was  obviously  greatly  disturbed  by 
the  beating  he  is  taking  from  all  sides. 

He  clasped  his  hands  tensely  before 
him.  "They're  my  sons,"  he  said  quietly, 
"and  I'm  their  father  until  the  day 
they  die — or  I  die. 

"I  am  a  good  father  to  them,  and  I 
think  Dodie  knows  that.  She  knew  it 
early  in  our  marriage,  while  she  lay 
in  the  hospital  when  I  thought  she  was 
dying. 

"It  was  all  of  a  sudden  with  Dodie. 
She  is  a  graduate  nurse.  It's  strange 
with  people  who  are  trained  in  medi- 
cine. They  are  always  the  last  to  admit 
how  ill  they  are.  Dodie  was  bright  and 
cheerful  that  morning.  I'll  never  forget. 
A  few  hours  later,  we  were  rushing  her 
to  the  hospital. 

"I  didn't  learn  until  later  that,  from 
her  training,  Dodie  understood  all  too 
well  the  seriousness  of  her  illness.  It 
was  one  of  the  reasons  she  held  off  so 
long,  so  as  not  to  frighten  me.  But  she 
knew  her  recovery  was  uncertain. 

"They  watched  Dodie  for  days  before 
they  decided  to  operate.  She  was  con- 
scious and  smiling  every  time  I  saw 
her,  but  inside  she  was  terrified — and 
I  didn't  know." 

The  doctors  knew  an  operation  was 
Dodie's  only  chance.  The  night  before, 
Mike  and  Dodie  talked  for  a  while  and 
then  Dodie  made  the  startling  revela- 
tion to  Mike. 

"Mike,"  she  said,  "I  called  my 
mother.  I  told  her  that  if  anything 
happens  to  me  I  want  you  to  have  cus- 
tody of  Mark.  You're  a  wonderful 
father  to  him,  Mike,  and  he  loves  you." 

Mark    is    Dodie's    son    by    a    former 

marriage. 

T  Mike  tried  not  to  show  his  concern. 

v       "Until  that  moment,"  he  explained,  "I 

R        didn't     realize     how     terribly     serious 

Dodie's    condition    was.    I    knew    how 

much  she.  too.  loved  Mark  and  to  hear 
82 


that  she  was  now  considering  the  pos- 
sibility of  not  surviving  the  operation 
turned  my  heart  cold. 

"Yet  in  that  moment  of  awful  panic 
and  shock  over  Dodie,  I  could  not  help 
feeling  proud  that  she  trusted  me  that 
much.  She  was  right,  of  course.  I  love 
Mark  as  much  as  if  he  were  my  own 
and  I've  never  kept  it  a  secret.  It's 
odd,  but  I  think  that  Mark  is  more  like 
me  than  a  natural  son  could  be. 

"But  after  the  operation  I  had  an- 
other shock  coming." 

The  doctor  called  Mike  to  his  office. 

"Sit  down,  Mike,"  he  said.  "You're 
going  to  hear  bad  news." 

"I  can  barely  remember  the  night- 
marish thoughts  that  raced  through  my 
brain,"  Landon  recalls.  "Oh,  God,  I 
thought,  this  is  it!  I  know  he's  going 
to  tell  me  that  Dodie  is  dead  or  dying. 
At  a  moment  like  that,  you  pray  with- 
out knowing  you're  praying." 

Mike  listened  in  cold  silence. 

"This  will  be  a  shock  to  you,"  the 
doctor  said,  gently,  "but  you  will  learn 
to  accept  it.  Mrs.  Landon  will  not  be 
able  to  have  any  more  children." 

"I  wanted  to  jump  for  joy,"  he  said, 
"but  I  knew  that  the  doctor  would 
misunderstand.  He  didn't  know  that  I 


PHOTOGRAPHERS'  CREDITS 
tennon  Sisters,  cover  color  by  Frank 
Bez;  Debbie  Reynolds  and  Eddie  Fisher 
by  Globe;  Dick  Chamberlain  and  Clara 
Ray  by  G/obe;  Vince  Edwards  and 
Sherry  Nelson  color  by  Bernard  Abram- 
son  of  Vista;  Lennon  Sisters  with  Dad 
by  Frank  Bez;  Perry  Como  golf  pic- 
tures by  Charles  Trainor  of  Miami 
News— Gilloon;  Burns  &  Allen  by  Wil- 
liam Woodfield;  Cara  Williams  by 
CBS;  Mike  Landon  by  CBS;  Kathy  Nolan 
by  Topix;  Garry  Moore— Carol  Burnett 
color  by  Jack  Stager;  Arthur  Godfrey 
by  Wide  World;  George  Maharis  color 
by  Del  Hayden  of  Vista;  Sebastian 
Cabot  by  John  Hamilton. 


was  prepared  to  hear  that  Dodie's  ill- 
ness had  been  fatal.  If  I  had  shown 
the  relief  I  felt,  I  was  afraid  the  doc- 
tor might  think  I  was  happy  because 
there'd  be  no  more  children. 

"The  doctor  mistook  my  silence  for 
shock  and  kept  apologizing,  saying  he 
was  sorry  and  assuring  me  that  every- 
thing medically  possible  had  been  done. 
So  it  startled  him  when,  unable  to  con- 
tain my  feeling  an  instant  longer,  1 
grabbed  his  hand  and  cried,  'Thank 
God!  Thank  God!' 

"That  doctor  still  thinks  I'm  a  mon- 
ster who  doesn't  like  children.  But  I  do. 

"Nonetheless,  to  know  I  could  never 
have  children  with  Dodie  was  a  hard 
blow  to  take.  God  knows,  I  wanted  to 
be  a  father.  Then  the  second  shock 
came.  What  about  Dodie?  In  pain  from 
surgery,  had  she  learned  that  she  could 
not  have  another  child?  She  had.  We 
helped  each  other  through  that  crisis." 

Mike  stood  up  and  paced  the  length 
of  the  room.  Then  he  sat  down  again. 

"I  know  the  feeling  I  have  inside 
me  for  children,"  he  said.  "That's  why 
I  know  I'm  a  fit  father. 

"When    the   'Bonanza'    series   caught 


the  public's  fancy  and  we  knew  the 
show  was  a  hit — and  enough  of  a  hit 
to  be  established  for  a  few  years — 
Dodie  and  I  didn't  think  of  big  cars, 
a  house  with  a  pool  and  the  usual 
sudden-stardom  accessories. 

'We  put  our  arms  around  each  other 
and  thought  exactly  the  same  thing, 
together —  'At  last!  At  last!  We  can 
find  another  son!' 

"We  adopted  Josh,  now  two.  And  a 
year  later,  we  adopted  Jason,  now  one 
happy  year  old. 

"They're  wonderful  boys.  I  love  them. 
I  think  I  am  a  good  father.  1  know  I 
try  harder  at  that  than  anything  else 
I  do — even  acting. 

"I  hate  it  when  someone  calls  them 
adopted.  I  think  adopted  is  a  word 
that  should  be  used  only  for  the  actual 
legal  ceremony  and  then  dropped 
from  then  on.  They're  my  sons — period. 
Not  my  adopted  sons." 

But  with  the  success  of  "Bonanza," 
trouble  arose  in  a  marriage  that  had 
lovingly  weathered  the  tribulations  of 
failure. 

"I  don't  like  to  say  what  caused 
Dodie  and  me  to  break  up,"  says  Mike, 
"but  success,  take  it  from  me,  is  much 
tougher  on  marriage  than  failure.  Fair- 
ure — with  two  people  as  much  in  love 
as  Dodie  and  I — can  keep  you  together. 

"All  that  I  can  say  now  is  that  suc- 
cess drove  us  apart.  I'm  sorry.  I  can 
say  no  more." 

He  didn't  have  to  explain — it's  the 
oldest  Hollywood  story  in  the  books. 
Once  you  get  on  top,  that  struggle  to 
stay  there  takes  over.  Success  is  a 
ruthless  master  in  Hollywood. 

But  Mike  says  it  will  never  take  his 
boys  away  from  him. 

"The  custody  and  everything  will 
have  to  be  worked  out  in  court,  but 
my  love  for  them  is  something  that 
can't  be  dealt  with  legally.  I  know 
Dodie  will  give  me  visitation  rights  and 
partial  custody." 

As  to  the  question  of  governmental 
agencies  taking  away  such  young  chil- 
dren from  adoptive  parents,  Mike  says 
there  is  no  danger. 

"That  was  the  first  thing  I  had  my 
lawyer  check.  They  are  still  our  chil- 
dren— always  will  be.  I  am  still  their 
father  and  I  hope  I  will  be  a  good  one. 

"I  think  I'm  a  good  father.  I  don't 
think  Dodie,  in  any  legal  action  she 
might  take,  will  deny  that. 

"If  she  hadn't  thought  I  was  a  good 
father,  would  she  have  called  her 
mother  the  night  before  major  surgery 
and  asked  that  Mark  be  given  to  me?" 

Unfortunately,  Mike's  deep-rooted 
affection  for  his  three  sons  may  not 
be  enough  to  avoid  the  stern  exami- 
nation his  fitness  as  a  father  will  face 
if  his  relationship  with  "another  man's 
wife"  is  revealed  as  more  than  just 
friendly. 

In  a  sense,  however,  Mike's  unhappy 
lot  at  the  moment  is  of  a  kind  that 
frequently  plagues  handsome,  married, 
well-known  TV  stars.  In  some  instances, 
simple  business  luncheons  between  a 
star  and  an  attractive  married  woman 
start  rumors  skittering  through  the  hop- 
pers of  the  gossip-mills.  Quick  denials 
by  either  party  only  rejuvenate  the 
reports,     while     the     most     carefully- 


worded  explanations  can  be  deliber- 
ately misinterpreted  and  slanted  out 
of  all  proportion  to  their  significance. 
It  is  why  stars,  in  the  midst  of  a  con- 
troversy, prefer  to  keep  silent. 

Mike  Landon,  however,  is  a  strong 
and  intelligent  man.  Though  his  broken 
marriage  with  Dodie  may  never  be  re- 
paired, he  is  not  without  hope  for  him- 
self and  his  sons. 

Yet  his  fitness  as  a  father,  in  the 
eyes  of  the  public — who,  he  hastens 
to  admit,  have  given  him  everything — 
may  be  criticized.  That  public  should 
remember  that  this  fitness  is  proven 
not  by  the  father  but  by  the  sons. 

Mike's  sons  are  everything  children 
should  be.  They  are  well-cared-for, 
well-adjusted,  polite  and  alert.  Still, 
no  parent,  natural  or  adoptive,  knows 
how  good  a  job  he's  done  with  a  child 
until    that    child    reaches    comparative 


ARTHUR   GODFREY 


(Continued  from  page  61) 

He  fought  back  and — so  far,  after 
three  years — he  appears  to  have  the 
upper  hand  over  the  affliction  which 
itself  never  actually  gave  him  pain  be- 
cause, as  he  said  at  the  time,  it  was 
camouflaged  by  a  "cold,  clammy,  clutch- 
ing fear  that's  gnawing  at  my  vitals." 

True  to  his  promise,  he  went  back 
to  radio  and  television  and  today  he's 
a  flesh-and-blood  monument  to  the  joy 
of  living,  thankful  to  be  alive,  solemnly 
hoping  he  will  walk  the  earth  for  many 
more  years  beyond  the  fifty-eight  that 
he  has  passed. 

"I  love  life  so  much,"  Godfrey  says 
today.  "I  love  it  so  much  I  figure  it's 
just  a  shame  to  go.  Every  day  I  live 
with  dying— but  I  must  go  on  because 
I  enjoy  everything,  even  the  pain. 

"Death  is  not  something  to  be  pan- 
icked about.  It's  just  another  expe- 
rience. Unfortunately,  the  last  one.  Just 
look  at  all  the  graveyards.  People  ly- 
ing in  them  have  found  their  peace. 
But  they  are  people  who  had  the  same 
problems,  the  same  fears,  the  same 
ecstasies  we  possess.  But  look  at  those 
graveyards  and  realize  this — nobody 
gets  out  of  this  world  alive." 

Therefore,  Arthur  Godfrey  is  com- 
mitted to  make  the  most  out  of  his 
life  for  so  long  as  he  has  the  strength 
and  stamina  and  good  health  to  do  it. 

"There's  no  such  thing  as  a  lousy, 
stinking  day  in  my  life,"  he  tells  you 
in  his  salty  vernacular.  "I  enjoy  every- 
thing— even  the  pain.  I  love  to  make 
something  good  out  of  nothing.  What 
can  you  do  if  you're  full  of  pain  all 
the  time?  You  regard  it  as  a  part  of 
life. 

"If  I  give  way  to  it,  I'd  be  sitting 
in  one  of  those  damn  wheel  chairs, 
full  of  narcotics,  doing  nothing. 

"Am  I  going  to  let  a  little  pain 
keep  me  from  getting  on  a  horse  if 
I  want  to  ride  a  horse?  Am  I  going 
to  stop  ice  skating  when  I  get  the  urge 
to  skate?  The  fun  is  in  learning  and 
doing  and  improving. 

"I  do  everything  better  than  I  ever 
have  before.  I  fly  better.  I  ride  better. 


maturity,  or  a  time  when  his  actions 
give  promise  of  intelligent  adulthood. 

"It  is  easy  to  say  I  love  my  sons," 
Mike  points  out,  "because  I  do.  But 
there  is  no  real  way  a  man  can  prove 
that  he  loves  his  children. 

"It's  what  he  gives  them  that  is 
the  greatest  proof.  It  is  what  he  teaches 
them  to  become  and,  at  last,  what  they 
do  become.  You  can't  rush  them 
through  their  young  years  just  to  find 
out  how  good  a  job  you've  done.  All 
you  can  do  is  give  them  your  heart, 
your  honesty  and  your  knowledge.  I've 
heard  that  all  a  parent  can  do  is  hope 
for  his  children.  I  think  that  I,  as  a 
father,  can  go  further  than  that.  I  am 
giving  my  sons  hope.  They  need  it  as 
much  as  I  do."  — Alan  Somers 

Mike  Landon  is  Little  Joe  on  "Bonan- 
za," NBC-TV,  Sun.,  9  to  10  p.m.  edt. 


And  I'm  twenty  times  the  performer 
I  have  ever  been." 

It  might  appear  Arthur  Godfrey  is 
giving  the  "I"  undue  supremacy,  but 
this  is  not  the  case.  This  is  a  flat  state- 
ment of  fact  by  a  man  who  has  meas- 
ured life  well  and  accurately.  He  knows 
its  real  worth  and  he  knows,  too,  that 
he  has  been  granted  a  new  lease  in 
this  existence;  he  is  determined  to 
make  the  most  of  it.  There  is  no  brag- 
ging in  his  raspy  voice  when  he  brings 
the  whole  point  home  with  a  statement 
like  this  one: 

"I  know  I'm  living  on  borrowed 
time — and  I  love  it.  It's  fun.  And  I 
enjoy  it  every  minute  of  the  day.  Young 
people  think  I'm  an  old  man  and  my 
contemporaries  think  I'm  nuts,  flying 
my  plane,  jumping  in  and  out  of  swim- 
ming pools,  showing  the  horses.  I've 
been  warned  about  outgrowing  my  con- 
temporaries; a  psychiatrist  might  say 
I'm  trying   to   prove   something. 

"Hell,  I'm  not  out  to  prove  a  thing. 
I'm  just  trying  to  live.  That's  all  I'm 
trying  to  do,  the  pains  I  suffer  notwith- 
standing. I've  been  battered  around 
quite  a  bit  over  the  years  and  by  now 
I'm  thoroughly  used  to  the  aches  and 
pains." 

Arthur  Godfrey,  who  has  been  cred- 
ited as  being  an  extraordinary  sales- 
man during  his  long  period  of  pre- 
eminence on  radio  and  TV,  is  even 
more  the  salesman  today  than  ever.  But 
he  is  not  plumping  more  energetically 
for  the  Madison  Avenue  boys  and  their 
accounts  than  in  the  past — Godfrey  can 
get  the  fans  to  rush  out  and  buy  what 
he  tells  them  without  half  trying. 

His  big  product  which  he  brings 
under  the  hammer  every  day  before  his 
audiences  is  not  a  commercial  package 
but,  rather,  a  by-product  of  his  own 
invincibility — courage. 

"I'll  be  here  tomorrow,  the  Good 
Lord  willing,"  Arthur  has  always  told 
his  viewers  and  listeners  throughout 
the  years  as  he  signed  off.  He  still  does 
today.  His  faith  in  God  is  inexhaustible. 

He  transmits  his  subtle  words  of 
bulldog  courage  in  a  variety  of  ways. 
He  may  say: 

"High  adventure — that's  what  I've 
tried  to  make  my  life.  Anybody  who 
doesn't  try  to  make  life  an  adventure 


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is  a  damn  fool.  We  had  no  control 
over  our  coming  into  this  world  and 
we  have  none  over  when  we  leave  it, 
but  the  time  in  between  is  up  to  us. 
The  Good  Lord  put  a  lot  on  this  earth 
for  us.  but  He  doesn't  force  us  to  en- 
joy it,  if  we  are  determined  not  to.  What 
a  mess  we  can  make!" 

No  man  alive  is  so  well  acquainted 
with  fear  as  Arthur  Godfrey.  His  can- 
cer operation  of  three  years  ago  might 
have  broken  the  spirit  of  many  another 
man  and  cast  a  shadow  over  the  rest 
of  his  days.  Not  with  Godfrey. 

"It  would  have  been  easier  if  I'd 
known  more  about  cancer— if  I  knew 
then  what  I  know  today,"  Godfrey  says. 
"The  fact  is  that  there  are  now  well 
over  a  million  people  in  the  United 
States  who  also  once  heard  the  diag- 
nosis— cancer.  And,  after  treatment, 
lived  on  to  hear  the  doctor  say: 

"  'Well,  you've  passed  the  five-year 
checkup.  Guess  we  can  both  relax.' " 

Godfrey  is  referring  to  the  "cure 
rate"  which  the  experts  use  as  a  yard- 
stick in  determining  complete  recovery. 
A  period  of  five  years  is  regarded  as 
a  necessary  time  gap  after  a  lung  can- 
cer operation  to  conclude  that  the  pa- 
tient is  cured,  if  there  is  no  recurrence 
of  the  disease  in  that  time. 

However,  statistics  of  the  American 
Cancer  Society  show  the  "cure  rate" 
is  less  than  five  percent.  Moreover, 
some  surgeons  advise  removal  of  the 
entire  lung,  rather  than  a  part,  as  in 
Godfrey's  case.  But  there's  one  happy 
statistic  working  for  Arthur — his  was 
a  "left  side"  cancer,  which,  for  reasons 
not  yet  fathomed  by  the  medical  pro- 
fession, has  a  lower  mortality  rate  than 
cancer  of  the  right  lung. 

"I  hope  to  hear  those  words  that 
I've  passed  my  checkup  two  years  from 
now,"  Godfery  says.  "The  doctor  tells 
me  that  so  far  there's  no  trace  of  can- 
cer in  me  and  that  I'm  in  fine  shape." 

Indeed,  in  better  shape  than  he  has 
been  in  years.  By  following  his  doctors' 
advice,  Godfrey  has  gotten  down  to 
176  pounds  and  expects  to  shed  another 
six  pounds  so  he'll  tip  the  scales  at  a 
healthy  170. 

"When  my  time  comes  .  .  ." 

Godfrey's  experience  with  cancer  and 
his  close  call  with  death  taught  him  a 
great  deal  about  fear.  "Everybody  is 
afraid,"  he  says.  "That's  human,  to  be 
afraid.  What's  important  is  how  yon 
counter  fear,  how  you  control  it  and, 
finally,   overcome  it. 

"We  all  live  with  the  fear  that  some- 
day we're  going  to  die  and,  when  my 
time  comes,  I'm  going  to  be  so  miser- 
able. But  I'm  not  going  to  ruin  all  the 
days  between  now  and  then  worrying 
about  it." 

Godfrey  claims  he  acquired  an  "edu- 
cation" in  the  months  after  his  surgery. 

"What  I  found  out  is  hopeful  in  the 
extreme.  I  want  to  share  this  knowledge 
with  the  public,  because  it  may  help 
other  people  face  the  ordeal  of  cancer 
if  they  must — and  escape  it,  if  they 
can.  Many  thousands  of  lives  could  be 
saved  if  more  people  knew  the  facts 
about  cancer  cure  and  prevention. 

"First,  what  did   the  hospital  teach 


me?  It  exposed  me  to  the  miracle  of 
modern  medicine.  Surgery,  followed  by 
radiation,  saved  me.  As  I  later  learned, 
they  now  save  170,000  cancer  patients 
a  year. 

"Second,  what  did  my  reading  on  the 
subject  and  interviews  teach  me?  Up 
until  now,  more  than  1,700,000  people 
in  the  United  States  have  been  cured 
of  cancer — these  are  men,  women,  and 
children. 

"And  that's  another  thing  I  learned 
— cancer  can  strike  at  any  age.  It 
often  hits  hard  at  the  young  and  de- 
fenseless. More  children  die  of  cancer 
than    of   any   other    disease." 

Living  on  borrowed  time 

Over  the  years,  Arthur  Godfrey  has 
accumulated  tremendous  wealth.  He 
doesn't  have  to  work  but  does,  because 
he  gets  sheer  satisfaction  and  pure  fun 
from  it.  Godfrey  claims  he  is  a  "prac- 
tical realist,"  but  he  also  maintains 
that  he  is  an  "outrageous  dreamer." 
He  might  add  that  he  also  is  an  extrav- 
agant spender,  but  .  .  . 

"I  don't  go  to  Las  Vegas  and  throw 
my  money  away,"  he  says.  "That's 
stupid.  It's  escape,  like  drinking  is 
escape.  I  don't  want  to  escape  from  life. 
I  use  my  money  to  send  kids  to  school, 
for  medical  research,  for  things  peo- 
ple need  to  make  life  a  little  better. 

"You  know,  it's  true,  that  corny  bit 
about  making  somebody  else  happy  and 
you'll  make  yourself  happy,  too." 

His  money  is  poured  at  a  fantastic 
rate  into  the  Arthur  Godfrey  Founda- 
tion. The  good  this  notable  organization 
does  is  incalculable,  but  an  example  of 
its  beneficence  is  the  $70,000  airplane 
it  presented  to  the  late  Dr.  Tom  Dooley 
for  his  medical  missionary  work  in 
Laos  .  .  .  and  the  wing  it  built  on  the 
Loudoun  County  Hospital  near  God- 
frey's home  in  Virginia. 

Despite  all  that  has  happened  to  him, 
despite  the  pain  he  suffers  constantly, 
despite  the  gnawing  consternation  he 
is  compelled  to  endure  until  the  next 
two  years  are  up  and  he  is  "out  of 
the  woods" — Godfrey  can  stand  with 
head  high,  proudly,  for  his  significant 
triumph. 

"I  love  my  work.  I  love  what's  go- 
ing on  in  this  life.  I  want  to  be  a  better 
performer,"  he  says. 

And  you  ask,  "Hasn't  Godfrey 
achieved  the  full  and  rich  life  with- 
out having  to  aim  for  any  higher?  Why 
doesn't  he  stop  now?" 

Arthur  Godfrey's  insatiable  appetite 
for  this  life  will  not  let  him  rest  on  his 
laurels. 

"I've  got  to  keep  on  going — or  I'll 
die." 

That's  Godfrey's  credo. 

It's  the  tenet  of  a  man  who  must  live 
each  hour,  each  day,  each  month  in 
hope  and  prayer — and  with  forbearance 
for  whatever  the  future  might  hold  for 
him. 

That's  the  way  it  must  be  for  Arthur 
Godfrey,  living  as  he  is  on  "borrowed 
time."  — George  Carpozi,  Jr. 

"Arthur  Godfrey  Time"  is  heard  on 
CBS  Radio,  Mon.-Fri.,  at  9:10  a.m.  e.d.t. 
(WCBS  Radio,  New  York,  10:10  a.m.) 


SEBASTIAN   CABOT 


(Continued  from  page  66) 
isn't  as  good  as  in  better  restaurants. 
As  for  'a  nice  little  hobby,'  my  husband 
is  the  owner  of  one  Bentley,  a  Lea 
Francis,  a  Lagonda  and  a  Jaguar.  And 
you  heard  him  say  he's  thinking  of  buy- 
ing two  more  of  those  things.  Some 
little  hobby!!!" 

Sebastian  nodded  distractedly,  as  his 
eyes  roved  over  the  serving  table  beside 
us.  The  sole  was  removed  and  replaced 
with  beautiful  steaks  and  salad.  It  took 
some  time  for  him  to  choose  a  fine 
burgundy  wine  to  go  with  the  course, 
and  only  after  he  had  savored  the  first 
taste  did  he  seem  to  fully  realize  what 
Kay  had  said. 

"Darling,  you  know  the  Bentley  is 
a  family  car,  and  in  any  case  my  stom- 
ach would  most  certainly  not  fit  behind 
the  wheel  of  a  Cadillac  or  Buick.  The 
Bentley  is  for  the  difficult.  It  is  a  matter 
of  comfort." 

I  ventured  the  question  that — if  he 
had  only  one  vice,  his  love  of  foreign 
cars — what  did  he  consider  his  appreci- 
ation of  food  and  drink  to  be? 

"That  is  a  virtue — one  of  my  great- 
est. And  you  are  right,  it  is  an  appreci- 
ation and  has  been  ever  since  I  was 
fired  from  the  salad  department." 

The  what  department? 

"My  first  endeavor  at  making  a  live- 
lihood was  as  the  salad  chef  in  a  little 
restaurant  called  Frascati  on  Oxford 
Street  in  London.  My  only  memories 
of  that  particular  time  are  that  there 
seemed  to  be  continual  fighting — chefs 
are  worse  prima  donnas  than  actors — 
and  I  was  usually  in  the  middle  of  the 
fight.  You  see,  I  was  bucking  for  the 
position  of  pastry  chef,  I  was  getting 
damned  tired  of  living  on  salad,  and 
one  day  I  got  caught  red-handed  with 
a  lovely  chocolate  eclair.  I  got  canned 
the  same  day." 

"How  does  one  go  from  being  a  salad 
chef  to  becoming  an  actor?"  I  asked, 
as  Sebastian  further  ordered  espresso 
coffee  and  a  brandy. 

"Actually,  without  having  been  one, 
I  don't  think  I  would  have  become  the 
other.  Working  in  a  restaurant  and  hav- 
ing learned  the  art  of  eating  as  well 
as  preparing  the  food — I,  uh,  well,  I 
naturally  added  some  girth  to  my  al- 
ready generous  proportions.  When  I 
was  fired,  a  friend  told  me  he  knew 
of  a  job  as  chauffeur  to  Frank  Pet- 
tingell,  the  British  actor.  Before  I 
knew  it,  I  had  the  job  and  had  also 
fallen  in  love  with  the  theater.  I  set 
about  learning  all  the  repertory  plays 
in  which  my  substantial  avoirdupois 
would  be  an  asset.  In  other  words — if 
they  needed  a  fat  man,  I  was  ready 
for  them  and,  well,  I've  been  working 
ever  since." 

Working~ever  since,  in  Sebastian's 
case,  includes  dozens  of  British  movies, 
plays  and  TV  shows.  When  he  came  to 
the  States  for  the  first  time,  he  kept 
up  the  pace  both  on  Broadway  and  in 
Hollywood.  Did  he  feel  there  were 
any  drawbacks  to  what  is  obviously  a 
busy  and  lucrative  career? 

"There  are  some,  but  one  must  always 


take  the  bad  with  the  good,"  Sebastian 
replied,  as  he  ordered  another  brandy. 
Obviously,  he  was  a  man  who  also  knew 
how  to  take  the  good  with  the  bad.  It 
was  a  very  good  brandy.  Very  old. 

"I  had  to  have  my  beard  dyed  blond 
once  for  a  'Twilight  Zone'  episode  and, 
by  the  time  the  final  day  of  the  shoot- 
ing was  over,  the  roots  were  black 
again.  The  word  got  around  that  I  was 
the  only  bleached  blond  in  town  who 
had  a  beard  and,  really,  I  had  a  lot  of 
explaining  to  do  to  some  of  my  male 
friends   who   are  not  in   the  business. 

"Another  time,  I  was  in  Boston  and 
I  looked  up  some  relatives.  The  Cabot 
family  have  done  rather  nicely  in  the 
States,  you  know,  and  I  thought  it 
would  be  appropriate  if  I  presented  my 
credentials  as  a  Cabot  of  England.  My 
grandfather,  Charles  Cabot,  was  a  sea 
captain  and  quite  well-known,  both  here 
and  abroad.  Unfortunately,  the  Boston 
Cabots  didn't  seem  to  be  very  recep- 
tive to  an  actor  in  the  family.  I  was 
royally  snubbed.  Frankly,  I  don't  think 
it  had  anything  to  do  with  my  being 
an  actor.  I  think  it  was  my  grandfather. 
In  the  old  days,  sea  captains  had  some- 
what the  same  reputation  as  the  travel- 
ing salesman  in  today's  jokes.  Far  more 
interesting  in  those  days,  don't  you 
think?" 

Sebastian  asked  for  the  check  and, 
after  signing  his  name  and  adding  a 
handsome  tip,  he  rose  to  help  his  wife 
on  with  her  borrowed  mink.  "I  must 
say,  though,  that — in  spite  of  the  fact 
television  is  by  far  the  best  way  to 
make  yourself  known  to  the  public 
and  insure  your  financial  stability — it 
can  sometimes  backfire. 

"We  expose  ourselves  to  millions  of 
viewers  and  hire  press  agents  to  tell 
everyone  how  wonderful  we  are,  and 
then  it  kicks  us  back  in  the  teeth.  In 
my  case,  it  has  to  do  with  my  cars.  I've 
had  a  few  slight  accidents  and  they 
haven't  been  my  fault.  A  fellow  will 
recognize  my  beard  or  something  about 
me  and  say  to  himself,  'Aha,  there  is 
an  actor  who  must  make  a  lot  of  money 
and  probably  carries  a  lot  of  insurance. 
One  little  bump  can't  hurt  anything.' 

"I  swear  I've  had  some  of  them  come 
at  me  at  fifty  miles  an  hour.  Very  dis- 
tracting." 

As  we  were  leaving  the  restaurant, 
the  maitre  a"  hurried  up  to  Sebastian 
and  excitedly  whispered  something  in 
his  ear.  The  portly  man's  face  spread 
into  a  wide  and  wonderful  smile  and 
he  beckoned  us  to  return  to  the  table. 

"My  dears,  I  have  just  been  informed 
that  a  bottle  of  old  and  extremely  rare 
Spanish  sherry  has  been  uncovered  in 
the  wine  cellar.  We  must  certainly  sam- 
ple it  before  making  our  departure." 

Kay  dropped  the  mink  back  on  a 
chair  and,  seating  herself,  gave  me  a 
look  that  only  another  woman  would 
understand.  "Sebastian,  that  sherry  is 
worth  a  king's  ransom.  If  that  man 
opens  that  bottle,  I  insist  that  I  have 
the  couch — " 

"Tut,    tut,    my    love,    remember    the 

budget!  You  know  we  can't  afford  it." 

— Tricia  Hurst 

Cabot  is  Dr.  Hyatt  in  "Checkmate," 
on    CBS-TV,   Wed.,  at  8:30  p.m.  edt. 


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(Continued  from  page  29) 
of  the  mass  drawing-power  of  television. 

Perhaps,  too,  there  was  something 
else  that  kept  him  awake.  Certainly,  any 
man  might  lose  sleep  over  Clara's  well- 
arranged  five-feet-two.  As  for  marital 
qualifications,  she  leaves  few  to  be  de- 
sired. Yet  Dick  does  admit  she  should 
have  taken  home  economics  instead  of 
algebra  in  high  school.  When  it  comes 
to  boiling  a  three-minute  egg,  she's  a 
whiz,  but  her  culinary  skill  practically 
ends  right  there. 

Last  March  31st,  after  months  of 
consulting  cookbooks,  Clara  thought 
she  was  ready  to  solo  at  the  oven.  It 
was  Dick's  twenty-sixth  birthday,  and 
she  wanted  to  impress  him.  Clara  ar- 
ranged a  surprise  birthday  party  at  her 
Hollywood  apartment.  She  invited 
Dick's  close  friends;  she  bought  dec- 
orative party  favors. 

Then,  by  dawn's  early  light,  she  got 
out  the  mixing  bowls,  the  eggs,  the 
milk,  the  flour.  Carefully,  she  double- 
checked  the  recipe,  measuring  each  in- 
gredient as  carefully  as  a  jet  pilot 
checking  his  instruments  before  take- 
off. 

Finally  the  cake  pans  were  filled 
with  the  sweet  smelling  batter  and  she 
was  ready  to  slip  them  into  the  oven. 
She  smiled  with  satisfaction.  This,  she 
thought,  should  be  a  birthday  cake  to 
delight  any  man's  heart — and  especially 
Dick's. 

At  the  appointed  hour,  she  opened  the 
oven  door  to  take  the  cake  out.  Her 
face  fell.  So  had  the  cake.  Instead  of 
the  fluffy  layers  pictured  in  the  cook- 
book, she  saw  before  her  a  dark  brown 
mass  of  flat  dough.  The  mounds  of 
frosting  she  spread  over  the  layers  only 
made  things  worse. 

It  was  too  late  to  bake  another.  The 
guests  were  due  any  minute.  Gamely, 
Clara  stuck  in  the  twenty-six  candles, 
all  the  time  wishing  that  she  were  that 
many  miles  away.  The  cake  looked  like 
a  washed-out  tortilla. 

By  the  time  Dick  arrived  and  the 
guests  yelled,  "Surprise,  surprise," 
Clara  decided  to  throw  in  the  sponge. 
She  led  him  by  the  hand  into  the 
kitchen.  She  pointed  to  the  monstrosity. 
Each  took  one  look  and  broke  out 
laughing.  The  others  came  in  to  see 
what  was  going  on.  They,  too,  started 
to  laugh. 

It  was  enough  to  make  a  girl  cry. 
But  not  Clara.  After  a  moment,  she 
was  laughing  louder  than  anyone. 

Later,  Clara  and  Dick  drove  all  over 
Hollywood  trying  to  find  a  bakery  that 
was  open.  They  managed  to  bring  back 
a  cake,  but  it  couldn't  help  being  an 
anti-climax. 

The  two  are  definitely  a  fun-loving 
pair.  When  they  did  the  showcase  per- 
formance for  the  college  last  Septem- 
ber at  the  Pilgrimage  Theater,  it  was 
a  satire  on  the  opera  "La  Traviata." 
Clara  was  dressed  in  a  sheet-like  gown 
and,  in  the  death  scene,  she  placed  a 
rose  between  her  teeth  while  Dick 
clowned  around  her.  They  were  the  hit 
of  the  show. 


Look  for  them  to  possibly  record  to- 
gether someday.  In  late  April,  Dick  cut 
his  first  record,  "Three  Stars  Will 
Shine  Tonight"  and  "A  Kiss  to  Build 
a  Dream  On."  An  album  session  fol- 
lowed. The  next  step  is  definitely  a 
duet. 

Although  neither  has  talked  of  mar- 
riage to  others,  there  seems  to  be  a 
secret  understanding  between  them 
that  it  will  eventually  happen.  Two  of 
their  close  friends  think  it  may  be  this 
year. 

There's  a  hitch,  however,  that  could 
delay  the  wedding.  Clara  Ray  meets  all 
Dick's  specifications  to  be  Mrs.  Cham- 
berlain— except  one. 

"My  wife  must  be  understanding  of 
the  problems  of  show  business,"  he  con- 
fided. "She  must  like  the  arts.  She  must 
be  attractive — I  don't  mean  a  striking 
beauty.  She  must  want  a  flock  of  chil- 
dren. She  must  be  content  to  just  be  a 
housewife  and  a  mother  to  our  chil- 
dren." 

Clara  may  not  be  ready  to  be  "just  a 
housewife" — you  could  hardly  blame 
her.  Like  Dick,  she  has  worked  hard 
and  long  for  a  career.  Only  recently 
her  ambitions  have  begun  to  bear  fruit. 
Can  Clara  give  it  all  up  now — or  can 
she  take  the  chance  that  Dick  will 
wait  until  she's  ready  to  quit?  This 
depends  on  how  strong  her  love  is. 
Some  believe  she  will.  Others  don't. 
Perhaps  Dick  will  relent  on  this  one 
demand. 

One  thing  is  certain.  Dick  won't  be 
pressured  into  any  decision.  This  hap- 
pened only  a  few  years  ago  when  the 
actor  was  attending  Pomona  College. 
Unofficially,  he  was  engaged  to  a  col- 
lege sweetheart.  They  had  planned  to 
marry  when  he  finished  college  and  felt 
financially  ready.  The  girl  agreed  at 
first,  but  then  changed  her  mind.  She 
wanted  to  marry  him  immediately. 

Dick  protested.  Arguments  followed 
and  he  decided  it  was  best  if  they  called 
the  whole  thing  off.  They  did.  He  con- 
fided later  that  he  felt  he  was  beinp; 
forced  into  marriage.  This  feeling  mr 
him  want  to  run.  It  made  him  unsu.  j 
of  his  love  toward  the  girl. 

Even  today,  Dick  can't  stand  the 
feeling  of  being  pressured  or  forced  in- 
to a  situation.  Against  his  better  judg- 
ment, the  studio  arranged  for  him  to 
escort  one  of  the  young  brood  of  Italian 
sexpots  to  the  premiere  of  "West  Side 
Story"  last  December.  It  was  one  of 
those  last-minute  arrangements.  The 
studio  had  the  tickets  but  no  escort  for 
Rosanna  Schiaffino,  who  was  on  the  lot 
making  "Two  Weeks  in  Another  Town" 
with  Kirk  Douglas.  Dick  volunteered 
like  a  private  in  the  Army  does  for  K.P. 
duty.  He  had  nothing  against  the  ac- 
tress. He  just  disliked  being  put  on  dis- 
play for  publicity  purposes.  Sure 
enough,  the  appearance  of  the  two 
together  set  every  tongue  wagging 
around  Hollywood,  linking  them  ro- 
mantically. 

That  was  when  Dick  vowed — even  if 
it  put  him  in  the  guard  house — to  refuse 
any  more  of  these  "dates."  When 
Academy  Award  time  rolled  around, 
hordes  of  press  agents  in  town  hounded 
him  to  escort  one  of  their  clients  to  the 
affair,  knowing  full  well  that  any  actress 


spotted   with  Dick   would  immediately 
become  hot  copy. 

That  was  when  Dick  decided  to  bring 
his  romance  with  Clara  out  in  the  open. 
He  gave  a  week's  advance  notice  that 
he  wasn't  taking  any  actress;  he  was 
taking  his  Clara.  He  realized  that  he 
could  no  longer  hide  his  feelings  to- 
ward her.  He  announced  that  he  didn't 


J I  Mil  I  M)  Mil  M 


inmiimiiNiiiiiiMiiiiiiiiii 


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THE  LENNON   SISTERS 


(Continued  from  page  33) 
Lennons  first  said:  "We  are  practicing 
Catholics — we  go  to  mass,  we  pray,  and 
we  practice  charity  to  all."  But  their 
many  friends  and  admirers,  not  only 
of  their  own  but  other  faiths,  testify  that 
this  is  not  idle  talk.  Of  the  Lennons. 
they  say:  "Being  a  good  Catholic  and 
a  good  person  go  together  .  .  .  and 
they  never  act  as  if  they  had  the  ex- 
clusive rights  to  goodness." 

Kathy,  Peggy  and  Janet,  as  well  as 
Dianne  and  the  other  children,  feel 
they  are  "very  lucky"  in  their  faith. 
"It  was  given  to  us  like  a  present," 
Kathy  summed  up,  "something  we  were 
given  out  of  love,  not  because  we  did 
anything  to  deserve  it."  While  the  girls 
have  treasured  this  gift  of  faith,  and 
never  taken  it  for  granted  ("we  know 
how  hard  it  comes  to  some  people," 
Peggy  has  said) ,  they  have  never  found 
it  necessary  to  question  the  tenets  of 
their  religion  or,  for  that  matter,  any 
religion.  According  to  what  they  say, 
they  have  never  felt  a  quake  of  doubt. 
And  yet  they  have  managed  to  avoid 
the  slightest  sense  of  smugness. 

For  this,  they  are  probably  in  debt 
to  their  mother,  Isabelle  ("Sis")  Len- 
non.  Faith  and  the  security  of  her  re- 
ligion did  not  come  "like  a  present" 
to  her.  As  a  child,  she  knew  "the  empti- 
ness" of  living  apart  from  religious  be- 
liefs. There  was  also  the  unhappiness 
of  being  too  young  to  understand  what 
she  was  missing  and  how  to  go  about 
bridging  the  gap  to  God. 

"Bill  and  the  children  are  luckier 
than  they  actually  know,"  she  points 
out.  "They  may  have  problems,  but 
they've  never  had  to  grope  in  darkness 
because,  for  them,  there  has  always 
been  the  light  that  comes  from  faith." 

Though  baptized  Catholic,  her  moth- 
er's religion,  Sis  never  really  took  part 
in  her  faith  until  she  took  instructions 
and  was  confirmed  just  prior  to  her 
marriage  to  Bill.  Her  father  was  Prot- 
estant, and  her  parents  separated  when 
she  was  very  young.  In  this  period  of 
disappointment  and  unhappiness,  her 
mother  fell  away  from  the  Church.  "I 
have  an  idea  my  mother  suffered  more 
than  she  might  have  ordinarily,  because 
of  her  loss  of  faith.  She  had  no  rock 
to  cling  to  .  .  ." 

This  lapse  has  since  been  put  to 
rights.  When  Dianne,  eldest  of  the  chil- 
dren and  now  retired  from  the  singing 
group,  was  married,  Isabelle's  mother 
attended  the  wedding  communion  along 
with  the  entire  family.  She  had  re- 
entered the  Church  a  short  while  before. 
"I'd  always  hoped  she  would  come 
back,"  says  Sis,  "but  I  also  realized  it 


care  if  the  whole  world  knew  Clara 
was  his  girl.  Clara  listened  and  smiled. 
He  wasn't  Dr.  Kildare  to  her.  He  was 
Dick  Chamberlain,  the  boy  she  met  in 
a  classroom  and  may  someday  marry. 
— Dean  Gautschy 

"Dr.  Kildare"  time  on  NBC-TV,  Thurs., 
is    8:30   to   9:30    p.m. — edt,    that    is! 

llllltllllttlltlltlllllilllllllllllllllllllllllltllllilllMIIIIIIIIIIIIIIIIHIIIIIMillllllMIMIIIIIIIIIIIIIIIIIIIINII llll  IIM 

would  have  to  be  when  she  wanted  it 
and  felt  the  time  had  come.  Bill  and 
I  never  pushed  her.  We  don't  believe  in 
that.  Just  as  parents  must  teach  their 
children  the  value  of  faith  by  setting 
a  good  example,  so  children  must  some- 
times set  an  example  for  the  parents. 
When  my  mother  saw  that  coming  clos- 
er to  God  could  fill  the  void  in  her  life, 
she  took  the  proper  steps.  If  Bill  and 
I  had  any  influence  in  this,  fine.  But 
she  did  it  on  her  own,  and  that  is  the 
best  way." 

Young  Janet,  flipping  through  a  mag- 
azine, came  upon  the  sentence,  "Prayer 
is  a  cry  of  hope."  It  nestled  quietly  in 
her  impressionable  mind  until,  some 
days  later,  she  brought  it  to  the  atten- 
tion of  her  sisters.  "Does  it  mean  you 
always  hope  to  get  something  when  you 
pray?"  she  pondered.  "Because  I  don't 
think  that's  right." 

"Oh,  you  don't,"  teased  Peggy.  "And 
what  about  all  the  things  you've  asked 
for?" 

"Maybe  I  ask  for  some  things,"  al- 
lowed Janet,  "but  I  always  remember 
the  story  Daddy  told  us.  You  know, 
about  the  little  girl  who  prayed  for  a 
doll  and,  when  Christmas  came,  didn't 
get  one.  And  her  brothers  poked  fun 
at  her  and  said,  'See,  God  wasn't  lis- 
tening.' And  she  replied,  'Oh,  yes.  God 
was  listening,  and  he  answered.  But 
this  time,  He  said  no.'  That  little  girl 
didn't  pray  only  when  she  wanted  some- 
thing. She  prayed  mostly  because  it 
made  her  feel  good.  And  I  feel  the 
same  way." 

This  led  to  a  general  discussion.  Peg- 
gy said,  "Praying  is  like  having  a  heart- 
to-heart  talk  with  God.  It's  true,  God 
doesn't  answer  you  with  words.  But 
He  does  answer  in  His  own  way.  There's 
nothing  wrong  in  asking  for  things. 
Our  Lord  said,  'Ask  and  ye  shall  re- 
ceive.' But  a  lot  of  times  God  says  no 
because  what  you  want  isn't  good  or 
right  for  you.  You  may  not  know  it, 
but  God  does." 

"Praying  gives  me  strength  and  it 
makes  me  want  to  do  something  about 
my  dreams  and  hopes,"  said  Kathy.  "I 
know  I  have  to  follow  through,  that 
just  praying  isn't  enough.  Some  people 
think  all  they  have  to  do  in  life  is  pray 
and  lazy  around.  Then  they  complain 
when  their  prayers  aren't  answered. 
People  ought  to  work  hard  for  what 
they  want,  and  show  God  they're  really 
sincere  and  need  what  they're  asking 
for.  Then  maybe  they'd  have  better  re- 
sults from  their  prayers." 

"Why  all  this  talk  about  prayer?" 
Bill  asked,  exchanging  a  look  with  Sis. 
"Communication  with  God,  the  Virgin 
Mother,  the  saints,  why,  that's  fine.  It 
makes  your  life  richer  even  if  you  don't 
get  what  you  ask  for.  But  you'll  notice 
that   your  mother   and  I   really   enjoy 


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our  religion  because  we  never  let  it 
grow  stale  or  routine.  We  go  to  study 
groups  and  try  to  learn  a  little  more 
about  the  mysteries  of  the  universe.  We 
read  the  lives  of  the  saints  and  try  to 
benefit  from  their  experiences." 

"Yes,"  Janet  put  in,  "and  you  leave 
those  books  around  so  we'll  see  them 
and  get  interested  and  read  them,  too." 

"Well,  at  least  we  don't  shove  them 
at  you,"  Sis  laughed.  "Sure,  the  books 
and  pamphlets  are  here  for  you  or  any 
of  our  guests  to  read — if  they  want  to. 
I  keep  hoping  you'll  want  to." 

"Oh,  we  read  them  and  lots  of  times, 
when  we're  on  the  road,  we  talk  about 
what  we  read  and  exchange  ideas,"  said 
Peggy.  "But,  after  all,  you  don't  have 
to  be  a  professor  of  theology  or  a  priest 
to  obey  the  Ten  Commandments  and 
follow  the  Golden  Rule." 

"You  can  do  that  without  being  a 
Catholic,"  reminded  Bill. 

"That's  true,"  Kathy  mused.  "God 
says  we  must  love  every  human  soul 
even  if  we  don't  happen  to  like  the 
person  in  the  flesh." 

"Daddy,  you  once  told  us  that  all 
people  are  children  of  Abraham,"  said 
Janet. 

"I  was  quoting  the  Holy  Father,"  ex- 
plained Bill. 

"I  think  bigotry  is  hateful  and  dis- 
gusting," said  Peggy  heatedly.  "We're 
Catholics  and  it's  wonderful  for  us.  But 
we  mustn't  forget  there  are  other  peo- 
ple who  lead  decent,  worthwhile  lives 
and  they  are  Jews  or  Protestants  or 
some  other  faith.  After  all,  God  gave 
the  Ten  Commandments  to  Moses,  and 
he  was  a  Jew.  And  Jesus,  who  was  born 
of  a  Jewish  mother,  died  on  the  cross 
to  save  us  all — not  for  just  one  race  or 
one  religion." 

"It's  my  opinion,"  said  Janet,  "that 
there  are  good  and  bad  in  every  re- 
ligion and  race.  People  are  born  a  cer- 
tain race  and  they  can't  help  it  or 
change  it.  And  most  people  go  to  a 
certain  church  because  they  follow  their 
parents'  religion." 

"Like  us,  for  instance?"  Bill  asked. 

"Well,  yes,"  Janet  hesitated  a  mo- 
ment. "I  suppose  if  I'd  been  born  in 
a  Jewish  family,  I  would  be  a  Jew  in- 
stead of  a  Catholic." 

"On  the  other  hand,"  said  Sis 
thoughtfully,  "some  religions  are  not 
quite  as  strict  as  ours." 

"The  price  we  pay" 

Peggy  and  Kathy  broke  into  a  giggle. 
"You  mean  the  movie  list  in  the  kitch- 
en? Well,  you've  got  to  admit  we  con- 
sult it  before  going  to  a  show,"  laughed 
Peggy.  And  Janet  added,  "And  if  I'm 
going  with  you,  you  do  change  your 
plans  and  see  a  picture  that's  approved 
for  the  whole  family." 

"Yes,  Janet,"  Kathy  teased  her. 
"That's  the  price  we  pay  for  your  com- 
pany— or  should  I  say  for  putting  up 
with  your  company."  Janet  tossed  her 
head  and  said,  "Well — I  hope  I'm  worth 
it!" 

Each  year,  the  Lennons,  as  a  family, 
pledge  to  follow  the  Legion  of  Decency 
list  of  approved  films  and  books.  Since 
Peggy  and  Kathy  are  now  past  eighteen, 
they  are  eligible  to  see  films  listed  in 
the  "adults  only"  classification.  Kathy, 


perhaps  the  most  outspoken  and  gre- 
garious of  the  girls,  may  be  heard  on 
occasion  in  the  kitchen,  muttering,  "Oh, 
heck!  And  I  did  so  want  to  see  that 
picture!"  But  she  doesn't  go — and  be- 
ing the  kind  of  girl  she  is,  she  manages 
to  enjoy  the  substitute  movie. 

"When  you  get  right  down  to  it," 
explains  Sis,  "some  of  these  banned  or 
'adult  only'  films  turn  up  on  television 
later  on,  and  the  whole  family  watches 
them  without  remembering  the  listing. 
Of  course,  it  would  be  almost  impos- 
sible for  the  censors  to  go  over  all 
the  films  being  shown  on  local  sta- 
tions. However,  Bill  and  I  feel  that  the 
important  thing  is  not  to  deliberately 
and  flippantly  set  out  to  see  or  read 
something  that  the  Church  considers 
objectionable.  And  in  most  cases,  when 
films  that  are  too  mature  for  them 
do  come  on  TV,  the  kids  switch  to  some- 
thing else  because  they  find  them 
boring." 

"One  thing  about  our  religion,"  Janet 
boasted.  "We  have  real  big  families 
and  that's  a  lot  of  fun  for  kids." 

"You  mean,"  Bill  teased,  "that  Jews 
and  Protestants  have  something  in  their 
religion  that  prevents  them  from  hav- 
ing big  families?" 

"No,  but  we  do  have  the  biggest, 
don't   we?"   demanded   Janet. 

This  set  the  Lennons  off  into  a  round- 
table  laugh.  Tossing  her  head,  Janet 
said,  "When  I  get  married,  I  want  a 
lot  of  children.  Think  of  all  the  birth- 
day parties  and  confirmations!" 

"But  what  if  you  didn't  have  a  lot 
of  children?"  asked  Bill. 

"Then  I'd  adopt  a  few,  of  course!" 

Although  there  is  this  firm  loyalty 
among  the  Lennons  with  regard  to  the 
religion  of  their  fathers,  their  practice 
of  it  is  never  regimented.  On  Sunset 
Boulevard  in  Hollywood  is  a  huge  sign 
that  reads:  "The  family  that  prays  to- 
gether, stays  together."  The  Lennons 
have  managed  to  keep  the  essentials 
of  "togetherness"  without  resorting  to 
uniformity.  Their  attendance  at  mass, 
visits  to  church  for  special  missions  or 
confessions,  are  done  in  the  main  volun- 
tarily and  often  according  to  individual 
circumstance.  Thus,  when  DeeDee  was 
going  to  public  school  (the  Catholic 
school  in  their  vicinity  had  not  yet  been 
initiated),  she  would  drop  into  church 
each  morning  before  class.  The  younger 
children  attend  daily  mass  at  their 
Catholic  school.  Peggy  and  Kathy  still 
go  to  church  each  morning,  and  often 
visit  it  again  during  the  day.  The  sing- 
ing trio  must  often  adjust  their  religious 
obligations  to  the  conditions  in  which 
they  find  themselves  when  on  tour. 
There  are  occasions  when  some  of  the 
family  attend  early  mass  while  others 
go  later.  It  is  no  unusual  event,  how- 
ever, when  the  family  are  all  united,  to 
see  the  Lennons  enter  their  church 
as  a  body.  But  there  is  no  rigidity  in 
this,  merely  another  proof  of  their  great 
affection   for  one  another. 

Their  roomy,  comfortable,  two-story 
home  in  Venice,  California,  is  what  one 
might  expect  of  a  devout  family.  Many 
religious  objects  are  to  be  seen.  Some 
of  these  are  fine  art  pieces,  sent  them 
as  gifts  from  fans  all  over  the  country. 
Again,  not  all  of  these  works  of  art 
are  solemn  in  tone ;  some  are  humorour 


In  particular,  there  is  an  amusing  group- 
ing of  chubby  porcelain  monks.  Biblical 
scenes  are  set  into  the  frame  of  their 
large  picture  window,  and  these  are 
changed  frequently  "so  that  we  don't 
take  them  for  granted  and  stop  look- 
ing." This  from  Bill,  who  is  convinced 
that  pictures  and  sculptures  are  "re- 
minders of  our  beliefs  and  our  duty 
to  God."  Some  time  ago,  one  of  the 
girls  mischievously  added  several  Afri- 
can masks  to  their  backyard  "arrange- 
ment," which  has  for  its  centerpiece 
the  Virgin  Mother  surrounded  by  foli- 
age and  a  waterfall.  "We  showed  it 
to  Monsignor  Wade  when  he  visited 
here,"  Sis  laughs,  "and  he  turned  our 


GEORGE    MAHARIS 


(Continued  from  page  62) 
the  turnpike.  The  story's  right  there, 
on  the  records  .  .  .  and  perhaps  some 
of  it  is  inevitable,  with  a  huge  but 
close-knit  family  of  cast  and  crew — 
a  real  family  kind  of  family,  when 
school's  out  and  some  thirty  wives  and 
sixty  children,  join  the  caravan — all 
traveling  from  one  end  of  the  country 
to  the  other.  Together,  they've  covered 
tens  of  thousands  of  miles,  put  more 
than  sixty  shows — and  cities — behind 
them.  ...  A  lot  can  happen  in  that 
time  and  space.  A  lot  more  than  an 
early  press  release  predicted:  "The 
show  stems  from  a  desire  to  present 
a  more  complete  picture  of  contempo- 
rary America  authentically  and  real- 
istically. Many  of  the  cities  and  towns 
where  the  show  will  be  shot  have  under- 
gone tremendous  improvements  and 
face-changing  in  the  past  decade  and 
the  episodes  will  help  acquaint  and  up- 
date TV  viewers  with  the  improvements 
of  our  country.  .  .  ." 

Brother,  they've  undergone  more  than 
the  most  daring  City  Fathers  ever 
dreamed!  Says  George  himself:  "That 
writer  should  go  on  tour  with  us.  May- 
be the  viewers  are  learning  a  lot  about 
our  country,  but  I'm  not  at  all  sure 
the  people  in  the  towns  we've  shot  in 
know  where  they  are  any  more. 

"You  know,  we  never  use  sets  and 
we  try  to  get  the  true  feeling  and  at- 
mosphere of  whatever  we're  shooting. 
One  night,  we  were  doing  a  scene  in  a 
hospital  in  Philadelphia,  and  we  darn 
near  caused  a  real-life  heart  attack. 
A  relative  of  one  of  the  patients  walked 
into  what  had  been  his  brother's  room 
— and  there  was  a  body  on  the  bed 
completely  covered   by  a  sheet. 

"The  poor  guy  fainted  dead  away. 
He'd  slipped  past  before  anyone  could 
tell  him  his  brother  had  changed  rooms 
with  a  bunch  of  actors  and  a  dummy. 

"We've  moved  into  small  towns  and 
changed  the  entire  Main  Street,"  George 
continues.  "One  time,  during  the  night, 
the  art  boys  converted  the  only  bank 
in  town  to  look  like  another  building 
— man,  let  me  tell  you,  the  holy  devil 
broke  loose  the  next  day!  The  bank 
directors  had  given  us  the  go-ahead 
sign,  but  the  local  citizens  didn't  know 
what  was  going  on. 

"At  nine  o'clock  the  next  morning, 


kidding  right  back  on  us.  He  said,  'You 
Lennons  have  it  made.  What  the  Virgin 
Mother  won't  do  for  you,  the  witch 
doctors  will  take  care  of.'  " 

Thus  the  Lennon  Sisters  and  their 
family  move  through  the  sophisticated 
world  of  show  business — with  an  intense 
dedication  to  the  things  of  God  .  .  . 
with  pleasure  in  their  devotions  and 
prayers  .  .  .  with  tolerance  for  the  con- 
victions of  others  .  .  .  and  with  a  touch 
of  humor  toward  their  own  observance. 
— Eunice  Field 

The  Lennon  Sisters  sing  on  "The  Law- 
rence Welk  Show,"  seen  on  ABC-TV, 
Saturdays,    from    9    to    10    p.m.    edt. 


iiilHiiirniiiinii, 


folks  were  walking  up  to  their  bank  to 
make  deposits  or  withdraw  money,  and 
what  did  they  see?  No  bank.  The  local 
paper  had  to  put  out  a  special  edition 
to  explain  what  was  happening — but 
not  before  a  lot  of  depositors  had  de- 
cided their  bank  president  had  most 
likely  skipped  town  with  their  life 
savings." 

That  was  one  town  with  one  bank. 
But  let  George  tell  you  what  he  and 
his  cohorts  did  to  the  city  of  Phila- 
delphia itself.  "We  had  to  change  the 
hands  on  the  big  Ben  Franklin  clock 
that's  a  landmark  there,"  he  recalls. 
"Turned  it  back  from  midnight  to  ten 
o'clock,  to   fit   our   story. 

"I  think  I  can  truthfully  say,"  says 
this  truthful  though  high-spirited  trav- 
eler, "Philadelphia  will  never  forget 
us.  The  police  department,  broadcasting 
stations  and  newspapers  were  flooded 
with  calls.  And  half  the  people  in 
town  were  late  to  work,  next  day. 

"One  guy  lost  his  job  and  we  had  to 
write  a  letter  to  his  boss  explaining 
what  had  happened,  before  he  was  re- 
hired. How  were  we  to  know  that  every- 
one in  town  set  their  watches  by  that 
clock?  Or  that  it  hadn't  been  wrong 
in   something  like  a  hundred  years?" 

Like  to  get  your  house  redecorated 
free?  Landlords,  line  up  at  the  left — 
tenants,  run  for  your  lives — while 
George  tells  the  sad  tale:  "One  time, 
Red  McCormack,  our  art  director,  com- 
pletely redid  the  outside  of  a  little 
cottage.  He  got  permission  from  the 
guy  who  owned  the  place  and  who 
rented  it  to  a  family  which  was  away 
on  vacation. 

"They  put  up  fake  windows  over  the 
original  ones,  painted  the  front  door, 
placed  shrubs  around  the  front,  even 
built  window  boxes  with  flowers  and 
plants.  When  we  finished  shooting  the 
scene,  the  owner  asked  Big  Red  to 
leave  everything  the  way  it  was.  He 
liked  the  new  appearance. 

Home  sweet  hangover 

"Unfortunately,  the  guy  who  rented 
the  place  didn't  feel  the  same  way! 
When  he  returned  from  his  vacation,  he 
couldn't  even  find  his  own  house.  It 
unnerved  him  so,  he  went  to  the  near- 
est bar  and  got  clobbered." 

Hangover  or  no  hangover,  there's 
never  been  a  real  complaint  from  any 
city  Maharis  &  Co.  have  visited.  Cer- 
tainly not  from  any  of  the  local  citizens 


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who  have  been  cast  as  extras  in  the 
series.  In  Mesqaite,  Texas,  a  small  ad 
was  placed  in  the  local  paper  asking 
for  volunteers  for  bit  parts  and  extras 
— and  4,000  townspeople  turned  out. 
It  has  been  like  this  everywhere. 

"You  have  to  hand  it  to  them,"  Ma- 
haris  says  of  all  the  communities  in 
which  he's  staged  his  capers.  "They've 
put  up  with  a  lot.  They  seem  to  get  a 
kick  out  of  having  a  series  shot  in 
their  town.  They've  been  just  great 
and  are  always  cooperative." 

George  is  pretty  cooperative  himself 
— well  above  and  beyond  the  call  of 
duty  for  a  bachelor,  as  he  proved  dur- 
ing a  completely  unplanned  maneuver. 
One  day,  as  he  was  looking  on  at  a 
shooting,  a  cameraman's  wife  asked 
if  he'd  mind  watching  her  two-year-old 
for  a  few  minutes  while  she  shopped. 

Trustingly,  he  took  one  pale,  flower- 
like little  hand  into  his  big  brown 
paw  and  watched  the  mother  disappear 
from  sight.  Then — as  it  must  to  all  in- 
fants— diaper  disaster  befell  his  tem- 
porary   cherub.   Drippingly    obviously. 

Without  a  moment's  delay,  George 
whisked  the  tot  into  a  nearby  automatic 
laundry,  removed  the  offending  gar- 
ment and  tossed  it  into  a  machine. 
When  it  was  thoroughly  washed  and 
dried,  he  replaced  it  on  the  child.  Then 
they  marched  out  of  the  establishment, 
chins  high,  eyes  looking  neither  right 
nor  left.  Resourceful,  that's  George. 

But,  since  that  time,  it's  said  he  al- 
ways looks  twice  before  he  agrees  to 
baby-sit.  He  makes  sure  the  kid  is  wear- 
ing rubber  pants. 

Much  as  he  may  startle  other  people, 
it  isn't  easy  to  faze  George  himself. 
Neither  he  nor  Marty  Milner  uses  stunt 
men  or  doubles,  no  matter  how  danger- 
ous the  plot.  The  result  has  been  some 
pretty  harrowing  experiences  no  script- 
writer ever  imagined. 

In  the  middle  of  winter,  both  stars 
were  strapped  to  girders  over  the  Cam- 
den Bridge  in  Delaware.  Suddenly, 
George's  strap  started  to  unravel  and 
give,  and  he  clutched  frantically  at  the 
steel  girder — his  only  hope  of  not  fall- 
ing into  the  ice-choked  water  two  hun- 
dred feet  below. 

As  the  entire  company  watched  anx- 
iously, crewmen  inched  along  trying  to 
grab  his  arm  and  save  him  from  cer- 
tain death.  Finally,  they  managed  to 
grasp  one  hand  and  pulled  him  to 
safety. 

Even '  as  he  jumped  down  to  the 
solid  flooring  of  the  bridge,  Maharis 
looked  at  the  director  and  said  firmly 
(reasonably  firmly,  that  is)  :  "Before 
I  go  up  there  again,  I  want  to  take  a 
look  at  my  contract.  Diving  two  hun- 
dred feet  I  don't  mind — but  there's 
gotta  be  a  clause  about  the  water.  It's 
gotta  read:  'Only  tepid  or  warm  water.' 

"A  guy  could  kill  himself  on  those 
overgrown  ice  cubes  floating  around 
down  there.  I'm  delicate." 

He  can  dream,  can't  he? 

Nobody  planned  such  a  cliff-hanger 
for  George,  of  course,  but  there  have 
been  times  when  the  crew  turned  the 
tables  on  him  .  .  .  like  the  time  he  was 
wearing  opaque  contact  lenses  for  an 


episode  in  which  he  was  supposed  to 
have  lost  his  eyesight.  Though  he  prac- 
ticed with  them  for  three  days,  he 
found  it  impossible  for  him  to  focus. 

"That  guy  was  in  agonizing  pain  all 
the  time  and  his  eyes  were  a  wreck," 
says  one  of  the  crew,  "yet  now,  when 
we  think  back  on  it,  we  all  howl. 

"Maharis  had  always  admired  but 
never  met  a  well-known  movie  star,  and 
one  of  the  crew  could  mimic  her  to  the 
life.  Maharis  was  leaning  against  a 
wall,  during  a  break  in  shooting,  when 
this  mimic  came  up  behind  him  and 
murmured,  'Oh,  George,  you  are  just 
marvelous.'  At  the  same  time,  a  script 
girl  kisses  George  on  the  cheek. 

"We  thought  Maharis  was  going  to 
jump  ten  feet.  By  the  time  he'd  re- 
moved his  contact  lenses  and  could  see 
again,  no  one  was  in  sight  except  the 
cast.  He  looked  sheepish  for  a  minute, 
then  put  his  lenses  back  in  without  a 
word." 

To  George  himself,  the  weirdest  mem- 
ory of  all  their  travels  was  the  time 
two  college  boys  followed  their  caravan 
for  two-and-a-half  months.  "They  were 
living  the  whole  part — and  believe  it 
or  not — driving  a  Corvette  identical  to 
the  one  Marty  and  I  are  supposed  to 
be  driving! 

"It  got  so  they  were  making  us  both 
nervous,  because  they  aped  everything 
we  did — dress,  speech,  mannerisms — 
and  when  we  took  off  for  a  new  town, 
there  they'd  be,  waiting  for  us.  It  got 
so  they'd  make  suggestions  and  correct 
the  dialogue." 

That  was  one  time  when  George,  in- 
stead of  haunting  others,  got  to  feel- 
ing more  than  a  bit  haunted  himself. 
Like  all  the  other  things  that  have 
happened  along  "Route  66,"  it's  funny 
in  retrospect — but  not  to  be  recom- 
mended or  repeated.  When  the  boys' 
vacation  was  over  and  it  was  time  for 
them  to  go  back  to  college,  they  were 
flat  broke.  Maharis  &  Co.  had  to  take 
up  a  collection  to  get  them  back  home. 

Which  gets  us  back  to  the  original 
gag:  "No  matter  what  George  has  got, 
he  shares  it."  He's  always  had  a  repu- 
tation for  being,  not  only  a  soft  touch, 
but  an  easy  mark  for  anyone  who 
wanted  or  needed  anything  done. 

"Money,"  he  says  airily,  "isn't  going 
to  get  me  what  I  want  out  of  life,  so 
I  just  keep  enough  to  keep  me  going. 
Other  people  need  it  more.  Other  peo- 
ple need  a  lot  of  things  more  than  I 
do.  You  help  if  you  can." 

He'll  share  anything  except  his  hepa- 
titis. That,  he  wouldn't  wish  on  any- 
one. And,  all  kidding  aside,  "Route 
66"  was  mighty  glad  when  he  could 
join  them  again  in  their  travels.  But 
they  still  warn  you:  "Watch  out  for 
that  guy  Maharis!  You'll  die  laughing!" 
— Pat  Richards 

"Route  66"  whizzes  along  over  CBS-TV. 
Fridays,  from  8:30  to  9:30  p.m.  edt. 

•••••••••••••••••••••••••a 
INVEST  IN 

U.  S.  SAVINGS  BONDS 

NOW  EVEN  BETTER 

•••••••*••••••••**••••••** 


TED    MACK 


(Continued  from  page  51) 
"It  usually  takes  a  minimum  of  five 
years  of  hard  work,  persistence  and 
polishing  to  get  a  foothold."  And  all 
along  the  way,  there  are  rebuffs,  de- 
feats, discouragements.  Sinatra  had  his 
share  of  them.  For  three  years,  while 
he  traveled  with  a  quartet  known  as 
"The  Hoboken  Four,"  under  the  aus- 
pices of  the  show,  he  pleaded  constantly 
for  a  chance  to  sing  alone — and  never 
got  it.  But  he  continued  to  try  .  .  . 
to  audition  wherever  he  could.  .  .  . 
Not  everyone  has  to  pick  himself  up 
off  the  floor  so  many  times,  but  every- 
one meets  with  rebuffs  and  setbacks. 
The  secret  is  not  to  let  any  of  them 
defeat  you  permanently.  If  you're  new 
in  town,  or  in  the  office,  or  at  school, 
and  you're  having  trouble  making 
friends,  don't  give  up.  Make  a  point 
of  being  pleasant,  ready  with  a  smile 
and  a  friendly  greeting,  no  matter  how 
hard  it  may  be.  Be  helpful  whenever 
you  can.  Many  a  lifelong  friend  has 
been  made  over  a  knotty  algebra  prob- 
lem or  by  a  thoughtful  gesture  to  a 
stand-offish  neighbor.  Go  halfway,  and 
a  little  more — but  without  being 
"pushy."  The  latter,  says  Mack,  will 
get  you  nowhere,  either  in  or  out  of 
show  business. 

3.  Management.  The  young  person 
who  has  serious  ambitions  toward  a 
career  as  an  entertainer  probably  comes 
naturally  endowed  with  both  talent 
and  persistence.  Management  he  has 
to  find  later,  and  many  a  talented  sing- 
er, Mack  says,  has  never  made  it  big 
because  he  hasn't  been  able  to  connect 
with  a  good  manager.  (Not  every 
would-be  Elvis  has  a  Colonel  Parker.) 
Obviously,  most  people  in  other  walks 
of  life  are  in  no  position  to  hire  man- 
agers to  guide  their  footsteps,  but  there 
are  people  eager  to  help — parents, 
teachers,  wise  and  willing  older  folk. 
It  was  guidance  of  this  sort  that  helped 
Jackie  Kennedy  bring  to  the  White 
House  a  brand-new  kind  of  charm — 
and  enables  her  to  hold  her  own  with 
foreign  dignitaries  far  older  and  more 
experienced  than  she. 

It  was  a  wise  mother  who  told  her 
teen-aged  daughter,  about  to  take  off 
for  her  first  class  party  in  a  new  school ; 
"Forget  about  yourself.  Find  someone 
who's  sitting  off  in  a  corner  alone  and 
try  to  see  that  she  (or  he)  has  a  good 
time.  Pretty  soon,  you'll  discover  you're 
having  a  good  time  yourself." 

4.  Beauty.  No  one,  including  show- 
man Mack,  underestimates  beauty, 
though  in  his  recipe  for  success  it 
ranks  fourth  or  maybe,  he  says,  even 
lower.  The  biggest  winners,  in  or  out 
of  show  business,  are  seldom  the  great- 
est beauties,  and  there's  no  point  in 
becoming  a  hermit  because  you  don't 
look  like  a  movie  star.  Even  Zsa- 
Zsa  Gabor  (and  who  should  know 
better?)  describes  glamour  as  "being 
neat  and  clean."  Keeping  your  hair 
brushed  and  shining  .  .  .  your  nails 
in  tiptop  shape  .  .  .  and  your  clothes 
pressed — these  are  within  the  reach  of 
every    girl    and    can    soon    become    a 


habit.  And  it's  one  that  helps  immeas- 
urably to  give  any  girl  poise  and  self- 
confidence. 

5.  Charm  is  one  of  those  elusive, 
indefinable  qualities  made  up  largely 
of  unselfishness,  an  interest  in  the  other 
fellow,  and  an  eternal  optimism  toward 
life.  Invaluable  in  the  making  of  a 
winner  in  show  business,  it's  just  as 
potent  in  everyday  life.  A  young  per- 
former may  feel  like  throwing  a  temper 
tantrum  when  his  accompanist  goofs 
— or  his  spot  on  the  bill  isn't  what  he 
expected — but  he  learns  quickly  that 
the  old  slogan  about  catching  more  flies 
with  sugar  than  with  vinegar  is  still 
true.  Cameraman,  sales  clerk,  teacher, 
network  brass,  neighbor,  boss— all  are 
pushovers  for  the  smile-and-pleasant- 
word  routine.  Administered  freely  and 
often,  it  can  get  to  be  a  habit,  and  a 
much  more  beguiling  one  than  the 
grouch-and-gripe  bit.  No  woman  looks 
charming  when,  mouth  turned  down, 
she  begins  talking  about  her  troubles. 

6.  Luck  is  important,  of  course,  and 
Ted  Mack  has  dozens  of  examples  to 
prove  it.  Pat  Boone  is  one.  It  didn't 
take  Pat  five  years,  after  his  "Amateur 
Hour"  appearances,  to  get  a  toehold 
in  the  professional  world.  He  went 
straight  home  to  Nashville  and  a  job 
on  the  radio  station  there;  has  been 
going  onward  and  upward  ever  since. 
And  there  is  Fabian,  who  just  happened 
to  be  sitting  on  his  front  porch  when 
Bob  Marcucci  happened  by,  saw  him — 
and  a  new  star  was  born. 

In  the  same  way,  it's  luck  when  a 
girl  happens  to  go  to  a  party,  and  hap- 
pens to  meet  that  certain  guy.  Or 
happens  to  apply  for  a  job  on  the  very 
day  there's  a  vacancy.  Or  holds  a  win- 
ning sweepstakes  ticket.  Luck,  good 
luck,  comes  to  everyone  some  time.  The 
important  thing  is  to  be  ready,  as  Pat 
Boone  was,  and  take  it  from  there.  If 
you  have  already  learned  to  be  your 
own  charming  self,  are  well  groomed, 
interested,  thoughtful,  you  can't  miss. 

7.  Education  doesn't  matter  much,  in 
Mack's  opinion,  when  a  young  per- 
former is  getting  started.  Later  on, 
after  he's  established,  it  becomes  of 
inestimable  importance.  Translated  into 
successful  living,  it  comes  out  the  same 
way.  The  "dumb  blonde"  is  a  classic 
gag,  but  it's  not  always  a  joke.  Not  to 
the  pretty  girl  who  marries  before  she's 
out  of  school  and  finds,  later  on,  that 
she's  unable  to  keep  up  with  her  in- 
creasingly successful  husband.  Nor  to 
the  cute  teenager  who  wakes  up  one 
day  to  find  she's  no  longer  a  teenager 
and  that  cuteness  alone  won't  get  her 
by  in  the  grown-up  world.  Night  courses 
will  help  ...  or  reading  the  daily 
paper  ...  or  watching  the  educational 
TV  programs. 

8.  Self-confidence.  Among  the  hun- 
dreds of  teenagers  who  got  their  start 
on  the  "Amateur  Hour"  and  have  gone 
on  to  stardom  is  Paul  Winchell,  a  lik- 
able kid  whom  everyone  wanted  to  help. 
From  time  to  time,  they'd  offer  him 
quips  or  jokes  for  his  ventriloquism 
act.  Paul  would  listen,  says  Ted.  Then, 
often,  he  would  shake  his  head.  "That's 
not  for  me,"  he  would  say — and  that 
was  that.  Even  as  a  teenager,  Mack 
points  out.  Paul  was  willing  to  gamble 


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on  his  own  opinions  and  self-reliance. 

Self-confidence  and  the  poise  which 
comes  with  it  are  just  as  important  else- 
where. It's  rough  to  walk  into  a  room- 
ful of  strangers  without  feeling  some 
self-consciousness,  but  if  you  keep  try- 
ing, head  held  high  and  your  lips 
curved  into  a  smile,  it  gets  easier  and 
easier.  Try  it.  Keep  on  trying  it.  One 
day  you'll  wake  up  and  wonder  where 
those  butterflies  have  gone. 

Of  course,  there  are  things  Ted  Mack 
doesn't  mention — things  like  money  and 
family   background   and   all   that   they 


SECOND    HONEYMOON 


(Continued  from  page  45) 
their  own  selves  in  each  other's  per- 
sonality. "At  first,"  Mickey  confesses, 
"it  was  a  battle  of  who  was  going  to 
win,  who  was  going  to  make  the  other 
do  things  the  way  he  wanted  them." 
Mickey  had  led  a  life  of  coming  and 
going  as  he  pleased.  When  he  attempted 
to  retain  the  semblance  of  his  old  in- 
dependence, Carlyn  was  hurt  that  the 
life  she  offered  didn't  completely  satisfy 
him.  Minor  spats  became  major  argu- 
ments, until  the  flames  of  love  were 
doused  by  a  storm  of  mutal  recrim- 
inations. 

Twice  they  separated.  Twice  they 
found  they  couldn't  stay  apart.  Now 
they're  back  together  in  a  relationship 
filled  with  more  maturity  and  wisdom. 
Says  Mickey:  "We  understand  each 
other  now.  We've  found  that  neither 
of  us  had  to  change.  I  can  do  the  things 
I  want.  Carlyn  can  do  what  she  wants, 
too.  The  secret  is  we  each  stopped  try- 
ing to  defy  the  other,  to  mold  our 
partner  into  the  image  we  wanted  to 
see.  We  stopped  trying  to  teach  each 
other  a  lesson — and  everything  else  fell 
into  place." 

Actress  Ruth  Warrick  and  her  in- 
terior-decorator husband  Carl  Neubert 
tried  for  nine  lonely  years  to  prove 
to  themselves  they  didn't  need  each 
other  to  make  their  lives  complete- 
but  found  it  impossible.  Here,  the 
original  friction  had  been  caused  by 
Ruth's  need  for  independence  and  by 
her  European-born  husband's  equal 
need  for  her  to  be  a  100-percent  wife 
to  the  exclusion  of  anything  else. 

"He  never  could  reconcile  himself 
to  the  fact  that  I  could  be  two  per- 
sons," says  Ruth.  "He  seemed  disturbed 
with  my  other  identity  as  an  actress. 
I,  on  the  other  hand,  was  determined 
not  to  lose  my  freedom,  my  independ- 
ence, my  individuality.  I  had  been 
raised  by  a  father  who  constantly  re- 
minded me  I  was  as  good  as  any  man. 
.  .  .  I  had  been  taught  I  could  make 
my  way  alone  without  having  to  cling 
to  a  husband  for  support.  I  couldn't 
accept  the  fact  that,  once  I  was  mar- 
ried, I  must  give  up  freedom  and  re- 
vert to  the  role  of  the  subservient  house- 
wife of  my  grandmother's  era. 

"Do  you  know  what  those  long,  soli- 
tary years  of  our  separation  taught  me? 
The  difference  between  male  and  fe- 
male. This  lesson  is  a  very  deep  one 
that    goes    beyond    marriage.    Women 


represent.  But  run  down  a  list  of  the 
currently  popular  singers.  How  many 
of  them  came  from  well-heeled  families 
on  the  plushy  side  of  the  tracks?  It  is 
just  as  true  that  success  as  a  human 
being  depends  not  at  all  on  these  things. 
Hauling  one's  self  up  by  your  own  boot- 
straps is  an  old  American  custom  .  .  . 
and  the  Cinderella  story  is  one  which 
never  grows  out  of  date. — Betty  Etter 

See  both  winners  and  losers  on  "Ted 
Mack  and  The  Original  Amateur 
Hour,"  CBS-TV,  Sun.,  at  5:30  p.m.  edt. 


piNiniiLiniiiniiiiiiJiiiiiMiiiii 


lliliiiliiliiliilin 


iiiiniiniiMiiiiiii 


have  fought  so  hard  for  equal  rights 
that,  in  many  cases,  they've  lost  their 
femininity  and  become  'counterfeit  men.' 

"Now  I  know  that  being  a  woman 
can  be  beautiful,"  Ruth  smiles.  "There 
is  nothing  degrading  or  shameful  about 
it.  I  used  to  think,  'Why  should  I  rele- 
gate myself  to  becoming  inferior?'  Now 
I  know  that  womanhood  is  a  specific 
thing  and  something  I  should  be  proud 
of.  We  are  the  spiritual,  the  intuitive, 
the  understanding,  the  sympathetic  sex. 
If  we're  wise,  we'll  stop  fighting  it  and 
will  capitalize  on  what  we  can  offer. 

"Oh,  I've  learned  such  a  great  deal! 
I've  learned  how  shallow  a  victory 
freedom,  is,  how  lonely  it  can  be.  I 
know  now  that  it  isn't  necessary  for  a 
wife  to  feel  subservient.  I'm  proud  of 
being  a  woman. 

"I  realize  now  there  was  never  any 
doubt  that  Carl  and  I  were  always  in 
love.  Our  nine  years  of  separation 
erased  any  doubt  there  might  have 
been.  Now  we  can  face  life  with  a 
new  maturity  and  a  deeper  sense  of 
security.  Carl  told  me  recently,  'I've 
found  I'll  only  love  one  woman  in  my 
lifetime.  I'm  convinced  there  will  be 
difficulties  and  hard  feelings  sometimes 
between  us — but  if  you  want  something 
badly  enough,  you  can  easily  pay  the 
price  by  compromising  and  changing 
yourself.' 

"Let  me  tell  you  what  maturity  has 
taught  me,"  says  Ruth.  "I  call  it  'the 
climate  of  love.'  There  is  more  to  mar- 
riage than  just  passion  and  physical 
appeal.  A  union  will  always  consist  of 
a  varied  climate — rain,  storms,  sun  and 
calm.  Realizing  this,  I  can  accept  the 
cloudy  days  along  with  the  brilliant 
ones,  remaining  aware  of  the  one 
thing  that  really  counts — Carl  and  me 
together." 

Is  love  more  wonderful,  the  second 
time  around?  The  list  is  long  of  Holly- 
wood couples  who  would  answer  a  re- 
sounding "Yes!"  Peggy  Cass  and  her 
husband,  Carl  Fisher,  are  singing  the 
same  refrain  as  Jimmie  and  Colleen, 
since  their  recent  reconciliation.  .  .  . 
Actor  Frank  Lovejoy  might  have  com- 
posed the  words  himself,  as  his  testa- 
ment to  love  when  he  and  actress  Joan 
Banks,  his  wife  of  many  years,  ended 
their  separation.  .  .  .  Linda  Darnell 
and  her  airline-pilot  husband,  Robbie 
Robertson,  are  humming  the  tune  now 
that  they're  giving  marriage  another  try. 

As  more  and  more  couples  learn  the 
rewards  to  be  found  in  a  second  honey- 
moon, the  list  will  undoubtedly  get 
longer.  It  can't  get  much  happier! 

— Marilyn  Beck 


CARA   WILLIAMS 


(Continued  from  page  46) 
all  my  life  in  regard  to  myself,  I  tried 
to  get  him  to  see  the  positive  side  of 
life.  But  it's  very  hard  for  a  man  to 
think  positively  when  everything's  been 
so  negative  for  as  long  as  he  can  re- 
member." 

"Were  you  ever  able  to  make  him 
change  his  thinking?"  I  asked. 

She  shook  her  head  sadly.  "No,  not 
really.  He  was  always  negative,  always 
unhappy,  and  he'd  try  to  prove  to  you 
why  he  should  be  unhappy.  He'd  show 
you  how  much  the  breaks  were  against 
him,  and  nothing  anybody  could  do 
would  convince  him  otherwise.  It  was 
very  sad,  really.  I  tried,  but  I  couldn't 
talk  him  out  of  thinking  that  way. 

"In  spite  of  all  this,  I  was  very  much 
in  love  with  my  husband,  and  he  loved 
me.  In  a  way,  that  finally  became  the 
one  thing  that  broke  us  up,  strange  as 
it  may  sound.  For  we  possessed  each 
other  too  completely.  He  had  never  had 
real  love  in  his  childhood,  and  now  he 
turned  to  me,  expecting  not  only  a 
wife's  love,  but  the  mother .  love  he'd 
been  deprived  of  when  he  was  a  little 
boy.  He  became  dependent  on  me — 
completely  dependent — not  only  for 
love,  but  for  guidance.  We  became  in- 
separable, to  such  an  extent  that  it 
was  unhealthy  for  both  of  us.  We  could 
hardly  breathe. 

"I  gave  up  my  career  when  I  married 
Johnnie,  and  concentrated  on  his  career. 
But  he  was  so  weak,  so  incapable  of 
making  a  decision  on  his  own,  that  it 
got  to  the  point  where  he  couldn't  make 
a  move  unless  I  was  there.  He  never 
went  to  work  unless  I  went  with  him. 
He  had  to  have  me  on  the  set  all  day 
or  he  couldn't  perform.  It  became  a 
real  problem — and,  for  me,  it  was  ex- 
hausting. For  I'd  have  to  get  up  early 
in  the  morning  and  go  to  work  with  him, 
stay  with  him  all  day,  and  then  come 
home  and  try  to  take  care  of  the  chil- 
dren. By  then,  we  had  a  son,  John  Barry- 
more  III,  and  I  also  had  my  daughter 
Cathy,  from  my  first  marriage.  I  had 
to  be  a  mother  to  my  children  and  to 
my  husband,  as  well.  So,  naturally,  I 
couldn't  get  the  cooking  done  in  time 
when  I  came  home  at  night.  I  had  to 
neglect  my  housekeeping  .  .  ." 

I  said,  "His  family  seems  to  have 
been  responsible  for  his  problems.  Did 
any  of  them  ever  try  to  help  straighten 
him  out  while  you  were  married  to 
him?" 

She  smiled  wryly.  "Never.  The  Barry- 
mores  are  a  strange  family.  I  think 
they're  one  of  the  strangest  families  in 
the  world.  Until  I  married  John,  I'd 
never  believed  that  a  family  could  be 
as  far  apart  as  his  was.  Everybody  was 
jealous  of  one  another  in  the  Barrymore 
family.  I  just  couldn't  understand  no- 
body helping  Johnnie,  just  as  I  couldn't 
see  why  nobody  ever  helped  poor  Diana 
Barrymore.  But  all  the  Barrymores 
were  very  cold  to  each  other." 

Cara  tried  to  give  her  husband  the 
love  he  needed  so  terribly,  but  at  last 
she  saw  that  his  dependence  on  her  was 
crushing  them  both.  In  telling  about  it, 
her  voice  was  regretful  yet  tender  as 


she  spoke  of  this  boy-husband  who  had 
loved  her  too  deeply  and  possessively 
for  his  own  good.  "He  was  so  terribly 
insecure.  He  had  never  thought  any- 
one really  cared  about  him,  and  when 
he  saw  I  loved  him,  he  tried  to  hold  on 
to  that  love  so  desperately  that  he  lost 
it.  Actually,  I  suppose  that  a  great  deal 
of  my  love  was  involved  with  pity,  be- 
cause of  the  sad  life  he'd  led.  When  I 
finally  realized  that  we  couldn't  stay 
together  anymore,  I  told  him  that  we 
had  to  break  up.  And  so,  in  1958,  we 
were  divorced." 

John  went  to  Europe,  hoping  to  find 
success  that  had  eluded  him  in  Ameri- 
can pictures.  Cara  resumed  her  own 
career,  and  began  to  do  surprisingly 
well.  In  fighting  her  husband's  battles 
for  him,  she  had  gained  a  strength  that 
she  was  now  able  to  put  to  good  use  on 
her  own  account. 

"But,  most  importantly,"  she  told  me, 
"I  started  to  take  a  positive  attitude 
toward  my  life  for  a  change.  I  hadn't 
been  able  to  persuade  John  to  give  up 
his  negativism,  but  I  suddenly  realized 
that,  if  I  was  to  live  a  happy,  success- 
ful life,  I  would  have  to  apply  a  posi- 
tive philosophy  to  my  own  way  of  think- 
ing. I  tried  it,  and  it  worked.  Today  I 
can  truly  say  that  I'm  happy.  I  have 
a  fine  son  and  daughter,  and  a  won- 
derful mother,  and  we  all  love  each 
other  very  much.  I'm  happy  in  my  work. 

"And  it  never  would  have  happened 
if  I  hadn't  tried  to  help  Johnnie — and  in 
doing  so,  discovered  what  was  wrong 
with  my  own  life." 

Yet  her  involvement  with  John  did 
not  end  completely  when  they  were 
divorced.  A  little  over  two  years  ago, 
he  persuaded  her  to  join  him  in  Europe, 
telling  her  he  wanted  to  try  for  a  re- 
conciliation. But  there  was  no  recon- 
ciliation. Cara  returned  to  this  country 
and  went  into  the  CBS-TV  comedy 
series,  "Pete  and  Gladys,"  which 
brought  her  more  fame  than  she'd  ever 
known. 

A  new  wife,  a  new  life 

On  October  28,  1960,  John  married 
Gabriella  Palazzoli  in  Europe.  Once 
again,  the  marriage  was  a  troubled  one. 
After  a  quarrel  with  his  new  wife.  John 
telephoned  Cara  and  asked  if  she  would 
oppose  his  returning  to  Hollywood. 

"You  see,  we  have  a  divorce  settle- 
ment," she  told  me,  "and  he  owes  me 
a  great  deal  of  money.  That's  why  he 
asked  me  if  he  could  come  back.  He 
wanted  to  know  if  I'd  try  to  collect  the 
money.  I  told  him  that  he  didn't  have 
to  pay  it  unless  he  could  afford  it — and 
he  can't  afford  it." 

"It  was  generous  of  you  to  let  him 
come,"  I  said. 

"Well,  he  is  my  son's  father,  and  I 
can't  help  but  like  him.  He's  a  very 
nice  boy." 

"You  keep  using  that  word  'boy'  in 
relation  to  him,"  I  pointed  out. 

She  shrugged.  "He  is  a  boy.  He's 
never  grown  up,  really." 

John  did  return  to  Hollywood  and 
visited  his  son.  He  also  dined  with 
Cara.  What  they  talked  about  is  some- 
thing Cara  hasn't  discussed,  but  per- 
haps it  was  helpful  to  him.  For,  when 
he  returned  to  Italy,  he  patched  up  his 


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quarrel  with  Gabriella — a  quarrel  that 
had  seemed  headed  for  divorce. 

Today  Cara  prefers  not  to  dwell  on 
the  past.  The  present  is  too  perfect  for 
that.  Above  all,  she  is  concentrating  on 
making  a  happy  home  for  her  children. 
John  Barrymore  III  is  seven  years  old, 
and  already  a  charmer,  with  bright  red 
hair  and  big  blue  eyes.  Her  daughter 
Cathy  is  a  teenager,  and  near  the  top 
of  her  class  at  school. 

"Are  you  extra  careful  to  see  that 
your  children  have  plenty  of  love  and 
affection — because  of  what  happened  to 
your  husband  as  a  child?"  I  asked  her. 

She  smiled.  "Oh,  I  don't  worry  about 
that,  because  we  don't  live  the  kind  of 
a  life  Johnnie  lived.  My  children  are 
greatly  loved  and  very  secure.  It  comes 
naturally!  We  live  a  very  plain  kind 
of  life.  It's  a  bit  chaotic  at  times,  I'll 
admit.  People  are  always  dropping  in 
on  us,  and  my  mother  stays  with  us. 
There's  always  something  doing.  But 
we're  very  family-conscious  and  devoted 
to  each  other." 

"Would  you  like  John  Barrymore  III 
to  become  an  actor  and  carry  on  the 
family  name?" 

She  shook  her  head.  "No.  Definitely 
not.  I'd  rather  see  him  doing  almost 
anything  else.  I  don't  mind  if  he  enters 
show    business    as    a    writer,    or    as    a 


iiiiiiiiiiiiiiiiiiiiiiiiiii 


CAROL   AND    GARRY 


(Continued  from  page  58) 
in  1959,  Carol  opened  in  "Once  Upon 
a  Mattress,"  at  the  off-Broadway  Phoe- 
nix Theater.  The  play  was  an  instant 
hit.  But  the  Phoenix  had  other  com- 
mitments. When  the  contract  time  on 
"Mattress"  ran  out,  the  Phoenix  said 
the  play  would  close  to  make  way  for 
"Lysistrata." 

The  news  hit  Carol  and  the  others  in 
the  cast  like  a  hunk  of  falling  scenery. 

"It's  ridiculous,"  Carol  fumed.  "We 
were  the  first  show  in  six  years  to  keep 
that  theater  open  all  summer.  So  now 
we  get  evicted.  It's  a  crime.  Why  don't 
they  take  'Lysistrata'  some  place  else? 
It'll  probably  be  a  bomb,  anyway." 

That  was  the  way  Carol  spoke,  but 
her  actions  were  even  stronger  than  her 
words.  She  had  the  mattresses  piled  high 
during  the  final  act,  and  right  from  the 
stage  she  climbed  atop  and  appealed 
to  the  audience  to  write  letters  of  pro- 
test to  the  Phoenix  people.  She  also 
organized  the  cast's  twenty-six  members 
and  picketed  the  theater. 

She  aroused  so  much  feeling  that  the 
never-give-up  Carol  soon  had  the  show 
moved  uptown  to  the  Alvin  Theater — on 
Broadway.  Crowds  poured  in.  When 
they  had  to  leave  the  Alvin,  to  make 
room  for  another  show,  the  play  moved 
into  the  Winter  Garden,  then  to  the 
St.  James. 

But  Carol's  leaving  Garry's  highly 
popular  CBS  variety  show  was  quite  an- 
other matter.  It  was  a  decision  reached 
by  Carol  only  after  long  talks  with 
Garry  about  the  best  course  for  her  to 
take — obviously,  she  should  travel  on 
a  road  paved  by  her  own  destiny.  It 
was  not  wrought  by  any  disagreement 


producer  or  director.  But  not  as  an 
actor."  She  smiled.  "For  one  thing,  I 
just  can't  stand  the  idea  of  a  man  pow- 
dering his  nose!  And,  anyway,  he 
doesn't  want  to  act.  Right  now,  he  wants 
to  be  an  astronomer.  He's  crazy  about 
science,  and  he's  even  teaching  me 
about  it." 

She  paused,  and  then  said:  "For  in- 
stance— did  you  know  that  the  moon 
isn't  a  planet?  I  had  to  find  that  out 
from  my  son!" 

"Do  you  think  you'll  ever  marry 
again?"  I  asked. 

"I  doubt  it.  At  least  not  for  a  long, 
long  time.  I  think  the  main  reason  for 
marriage  is  to  have  children,  and  I  have 
two  wonderful  ones.  Also,  I  think  it's 
hard  to  combine  marriage  and  a  career 
in  TV.  If  you're  in  the  movies,  it's  not 
so  difficult.  But  with  TV  it's  impossible, 
because  of  the  long  hours  you  work.  By 
the  end  of  the  day  you're  exhausted,  and 
you  can't  be  a  proper  wife." 

Then  she  grinned.  "Besides,  I'm  mar- 
ried to  Pete  for  twelve  hours  a  day.  All 
day  long  I  do  the  dishes  and  fight  with 
my  TV  husband.  When  I  get  home  at 
night,  I  can  use  a  little  rest!" 

— Chris  Alexander 

Cara  Williams  co-stars  in  "Pete  and 
Gladys,"    CBS-TV.,  Mon.,   8  p.m.  edt. 


■I.  Ml,  ■HUN  II-. 


or  dispute  between  them.  "There  never 
was  any  pressure  on  Carol's  part," 
Garry  related.  "She  always  was  sweet 
and  pleasant  in  her  way  when  she  dis- 
cussed the  idea  of  leaving.  And  she 
would  tell  me,  'Garry,  even  after  I'm 
gone  as  a  regular,  I'll  come  back  to  be 
on  the  show  whenever  you  want  me.' 
Carol  is  a  very  considerate  girl." 

When  Carol  announced  her  decision 
to  "go  out  on  my  own,"  she  didn't  mean 
on  her  own  TV  show,  where  so  many 
are  convinced  that  she  belongs.  Carol 
cannot  agree. 

"I  want  to  do  Broadway  shows,"  says 
Carol,  "but  I  don't  ever  want  to  have 
a  TV  show  of  my  own.  It's  too  tough, 
especially  for  comedy.  No  half-hour 
film  series  for  me." 

Garry  knows  why  Carol  turns  thumbs 
down  on  her  own  video  production. 
"Carol  has  worked  as  hard  as  anyone 
on  my  show,"  he  related.  "It  was  al- 
ways a  source  of  wonderment  to  Carol 
how  much  work  had  to  be  put  in  for 
one  TV  show.  She  never  complained 
about  it,  but  she's  an  outspoken  young 
lady — and  she  would  tell  me  that  she 
thought  it  was  a  rugged  pace." 

"She'll  go  far"  is  how  Garry  put  it 
to  this  writer  as  he  talked  about  Carol's 
departure.  There  was  a  trace  of  melan- 
choly in  Garry's  voice  as  he  retraced 
his  comedy  star's  career  with  his  show. 

"The  day  I  saw  her,  I  knew  she  was 
something.  In  this  business  you  see  them 
come  and  go,  and  I  must  have  seen 
thousands.  I've  seen  them  with  and  with- 
out talent,  with  and  without  looks. 

"But  when  I  saw  Carol  and  she  be- 
gan speaking  to  me — and  later  when  I 
auditioned  her — I  knew  that  show  busi- 
ness had  a  natural  in  her.  It's  some- 
thing you  can't  quite  define,  this  busi- 
ness of  looking  at  a  lineup  of  beautiful, 
glamorous  girls,  all  dying  to  be  selected. 


And  somehow  you  point  your  finger  at 
just  one,  often  without  knowing  just 
why. 

"Yet  I  know  why  I  hired  Carol — be- 
cause she  was  great." 

Garry  gave  Carol  her  big  break  when 
he  took  her  on  after  she  had  auditioned 
for  him  for  his  daytime  show  back  in 
'59.  As  a  result  of  those  frequent  guest 
spots  with  Moore,  she  was  invited  on 
the  Ed  Sullivan  show,  then  opened  in 
New  York  City's  Blue  Angel  with  a 
brisk  act  that  wowed  the  night  spot's 
sophisticated   clientele. 

The  secret  of  Carol's  instantaneous 
success  was  that  she  never  allowed  a 
leer,  a  wiggle,  or  an  off -color  insinua- 
tion to  creep  into  her  routine.  Night- 
club stages  from  New  York  to  San  Fran- 
cisco are  littered,  like  the  desert  sands, 
with  the  bleached  bones  of  comedians 
and  comediennes  who  tried  to  keep  it 
clean  and  comic.  Only  Carol  succeeded 
where  all  the  others  had  failed. 

"I'm  not  here  to  purify  the  American 
theater,"  Carol  offers  to  explain,  "but 
I  won't  work  even  a  teeny  bit  dirty.  Off- 
color  stuff  isn't  my  type  of  comedy." 

Garry  reminisced  about  her  type  of 
comedy,  "I  used  to  watch  her  come  on 
stage.  There  was  something  about  her 
— an  infectiousness,  a  magnetic,  dy- 
namic, audience-appeal  quality  that  is 
the  true  measure  of  star  quality. 

"She  would  smile  and  the  entire  set 
would  light  up.  Once,  in  making  a  show, 
it  became  difficult  to  continue.  She  had 
everybody  in  a  state  of  near  collapse 
from  laughing — and  that  included  cam- 
eramen, sound  technicians,  engineers, 
and  the  whole  production  staff. 

She'll  try  anything 

"Her  main  asset  is  that  she  can  be 
enormously  funny,  yet  retain  her  fem- 
ininity and  wholesomeness.  She  cap- 
tures her  audiences  by  doing  what 
comes  naturally  for  her.  And  she  is 
always  willing  to  try  anything — never 
quits  learning." 

Carol  came  up  the  hard  way.  She  was 
eight  years  old  when  the  family  moved 
from  San  Antonio,  Texas,  to  California. 
Her  father  died  a  short  time  later.  Her 
mother  wrote  publicity  for  a  movie  stu- 
dio. 

She  entered  Hollywood  High  School 
and  concentrated  on  journalism,  which 
she  hoped  to  make  her  career.  She  be- 
came editor  of  the  school  paper.  When 
she  went  on  to  U.CX.A.  and  took  a 
course  in  playwriting  and  theater  arts, 
something  happened  to  change  the 
course  of  her  entire  life. 

"It  was  a  happy  accident,"  Carol  said. 
"We  were  required  as  part  of  the  course 
to  participate  in  the  college  shows.  The 
first  time  I  stepped  on  the  stage  and  got 
my  first  laugh — I  knew  that  was  for  me. 
It  was  heavenly." 

From  that  day  on,  Carol  had  a  single 
goal  in  sight — the  Broadway  stage.  In 
her  junior  year,  Carol  was  invited  to  a 
posh  party  in  San  Diego  with  a  fellow 
student,  Don  Saroyan.  Together  they 
entertained  the  guests  with  a  scene  from 
"Annie  Get  Your  Gun."  Afterward, 
Carol  and  Don  were  having  coffee  when 
one  of  the  guests  told  them:  "I  liked 
you  kids  very  much.  What's  your  am- 


bition?" His  interest  seemed  genuine. 

"To  go   to  New   York,"    said   Carol. 

"Why  don't  you  go?"  the  guest  asked. 

"Money,"  Carol  and  Don  chorused. 

"What's  money?"  the  man  shot  back. 
"I  came  to  this  country  broke.  Now  I'm 
a  millionaire.  Come  to  my  office  Mon- 
day. I'll  give  you  the  money  to  go." 

"We  thought,"  Carol  said,  "that  may- 
be he'd  had  too  much  to  drink.  But  on 
Monday  we  went  to  see  him.  He  called 
in  his  accountant  and  ordered  two 
$1,000  checks  drawn   up." 

There  were  four  provisions  to  the  of- 
fer: They  couldn't  tell  the  benefactor's 
name ;  the  loan  was  for  five  years,  to  be 
paid  back  without  interest;  it  had  to 
be  used  to  go  to  New  York;  afterward, 
Carol  and  Don  would  have  to  help  oth- 
ers as  the  man  helped  them. 

"We'll  send  you  a  regular  report," 
Carol  enthused. 

"Oh,  hell,"  the  benefactor  answered, 
"send  me  a  postcard  once  a  year — a 
Christmas  card.  And  you'll  pay  back. 
Others  have." 

"I  made  a  fool  of  myself  .  .  .". 

Carol  and  Don  came  to  New  York  in 
1954  and,  at  first,  jobs  were  scarce  and 
money  scarcer.  Then,  slowly,  Carol  be- 
gan to  prove  that  her  benefactor  had 
been  right  about  her. 

It  was  on  Jack  Paar's  program  that 
she  sang  "I  Made  a  Fool  of  Myself 
Over  John  Foster  Dulles."  It  so  amused 
the  late  Secretary  of  State  that  he  asked 
for  a  recording  of  it  for  himself. 

"That  got  me  a  lot  of  attention," 
Carol  said,  "but  I  had  to  watch  my 
step.  I  could  have  quickly  gotten  the 
reputation  as  'that  girl  who  sings  the 
song  about.  .  .  .' " 

But  she  didn't.  As  Garry  says,  "She 
was  originally  a  stand-up  comic  and  her 
stuff  was  infectious,  hilarious,  and  tre- 
mendously popular.  But  in  time  Carol 
realized  this  was  not  her  forte.  She 
wanted  to  do  more  than  the  stand-up 
stuff;  her  comedy  sense  had  become 
sharper.  Basically,  it's  important  to 
realize  she's  a  sketch  comedienne,  and 
my  biggest  satisfaction  was  in  being 
able  to  persuade  her  that  she  is  not  a 
grotesque  girl  but  someone  with  a  great 
deal  of  charm  and  sex  appeal.  Above  all 
that,  she  was  in  every  way  a  girl." 

Carol  Burnett  is  deeply  grateful  to 
Garry  for  all,  he's  done  in  her  interests. 

"I  adore  Garry  and  I'll  always  be  in- 
debted to  him  for  the  fatherly  attitude 
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the  way  he  instilled  confidence  in  me 
when  things  went  wrong — they've 
helped  make  me  the  kind  of  performer 
I  am  today.  There  are  few  people  as 
fine  as  Garry  in  this  business.  He's  one 
in  a  million." 

Of  course  there  are  times,  working  as 
close  as  Garry  and  Carol  have,  that  mis- 
understandings might  come  about.  Was 
Carol  ever  given  to  a  display  of  tem- 
perament? 

"Temperamental?"  Garry  exclaimed. 
"Why,  Carol  doesn't  know  the  meaning 
of  the  word.  She's  a  warm,  gentle  girl, 
although  very  outgoing  and  frank.  But 
lose  her  head?  Never.  Sure,  she's  un- 
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nature.  But  that's  refreshing  and  de- 
lightful to  have  around.  Carol's  a  real 
pro." 

But  wouldn't  Carol  have  been  better 
off  if  she'd  stayed  in  TV,  from  a  finan- 
cial standpoint  ? 

"Money?  It  means  nothing  to  her.  If 
she  had  stayed  with  us,  she  would  be 
about  the  seventh  highest  paid  per- 
former on  TV  today,  and  that  includes 
the  stars.  But  that's  not  her  objective. 
She  wants  more  out  of  life  than  what 
she's  accomplished  so  far." 

Today,  Carol's  main  ambition  is  to 
team  up  with  someone  like  Julie  An- 
drews on  Broadway. 

"We  work  well  together,"  Carol  says, 
recalling  the  time  last  year  when  she 
and  Julie  appeared  together  on  Garry's 
show,  and  again  more  recently  when 
they  co-starred  in  a  "special." 

We  tried  to  find  out  if  Carol  might 
have  had  any  other  reason  for  leaving 
Garry's  show  and  she  assured  us: 

"No,  none  at  all." 

How  about  a  romance? 

Carol,  who  had  married  Don  Saroyan 
after  they  came  to  New  York,  and  later 
divorced  him,  has  been  linked  ro- 
mantically   with    press    agent    Johnny 


Friedkin.  However,  she  doesn't  seem 
ready  to  make  a  second  grab  at  the 
ring  on  the  matrimonial  merry-go-round. 

The  absence  of  Carol  Burnett  as  a 
regular  will  certainly  take  something 
away  from  the  Garry  Moore  show,  but 
it  isn't  likely  to  lessen  its  popularity 
over  the  long  run.  So  long  as  Garry 
maintains  the  low-pressure  approach 
and  remains  the  star,  as  he  has  been  all 
along,  he  should  continue  to  keep  his 
grip  right  at  the  top  of  the  ratings. 

For,  despite  all  the  talent  that  Garry 
succeeds  in  rounding  up  for  his  show, 
one  incontrovertible  fact  still  remains — 
Garry  Moore  is  the  star  of  "The  Garry 
Moore  Show."  It's  Garry,  with  his  cas- 
ual, easy  style,  his  quick  wit,  pleasant 
humor,  and  refreshing  personality,  who 
makes  the  show  the  smash  it  is.  Garry 
is  a  veteran  of  more  than  25  years  in 
the  business  of  broadcasting.  Garry  at 
one  time,  back  before  1949  when  he 
started  "The  Garry  Moore  Show"  on 
CBS  Radio,  considered  himself  a  stand- 
up  comic.  But  when  he  got  going  with 
his  own  program,  he  found  the  response 
was  always  bigger  when  he  played 
himself. 

One  of  his  finest  qualities,  which  is 


admired  by  the  critics,  is  the  conscious- 
ness he  shows  for  his  public,  the  respect 
he  displays  for  his  vast  millions  of  view- 
ers. He  observes  the  standards  of  good 
taste,  as  do  Carol  Burnett  and  all  the 
other  performers  who  appear  before  the 
cameras  on  his  show. 

Her  association  with  Garry  Moore 
will  always  serve  as  a  reminder  that 
quality  and  class  and  good  taste  are 
still  in  vogue. 

Garry  sums  up  his  feelings  this  way: 

"It's  true  that  I've  been  almost  like 
a  father  to  her  in  her  career.  But  it's 
like  when  your  son  becomes  of  age  at 
twenty-one  and  says  he's  leaving  for 
another  home. 

"It'll  be  marvelous  to  lean  back  and 
watch  her  fly. 

"She's  one  of  the  great  talents — and 
I  wish  her  all  the  best.  .  .  ." 

(P.S.  Carol  paid  the  $1,000  loan  back 
to  her  benefactor  in  1959,  with  heart- 
felt thanks. )  — Chrys  Haranis 

"The  Garry  Moore  Show"  returns  next 
fall  to  CBS-TV.  "The  Garry  Moore 
Radio  Show"  continues  throug'h  summer 
on  CBS  Radio,  M-F,  10:30  a.m.  edt. 
(WCBS  Radio,  New  York,  11:30  a.m.) 


GRACIE   ALLEN 


(Continued  from  page  42) 
charming  couple.  Helen  is  much  young- 
er than  Steve  Crane;  she's  much  closer 
to  Ronnie's  age.  Tongues  wagged  every 
time  they  appeared  at  a  different  bistro. 
"Imagine!"  one  gossip  hissed.  "Going 
out  in  public  like  that !  She's  a  married 
woman.  They  both  must  be  crazy  in 
love — or  just  plain  crazy!"  The  talk 
grew  louder  when  Steve  and  Helen 
separated  after  a  year  of  marriage. 
However,  a  few  weeks  later,  they  were 
reconciled.  Ronnie  was  still  in  the  pic- 
ture, though,  and  he  and  Helen  soon 
resumed  dating. 

Then,  in  April,  it  happened.  Ronnie 
happily  informed  his  friends — if  not 
his  parents — that  Helen  would  divorce 
Steve  and  marry  him.  The  news  was 
kept  from  Crane.  He  and  Helen  were 
still  living  under  the  same  roof.  Steve 
thought  happily  so,  too. 

Finally,  Helen  could  stand  it  no 
longer.  She  broke  down.  She  confessed 
her  love  for  Ronnie  and  asked  Steve 
for  a  divorce — a  quick  one.  To  say  the 
least,  he  was  flabbergasted.  Yet  he  gave 
his  permission  and  Helen  hopped  the 
first  plane  to  Atlanta,  Georgia,  where 
she  could  obtain  a  divorce  in  six  weeks. 
Steve  wasn't  the  only  one  who  was 
surprised.  George  and  Gracie  were 
dumbfounded.  Ronnie  hadn't  told  them. 
When  a  reporter  called  for  a  comment 
the  next  day,  Gracie  said:  "I  didn't 
know  anything  about  it  until  I  saw  it 
in  the  newspaper.  We  don't  know  the 
girl  too  well.  However,  we  wish  them 
a  lot  of  luck. 

"Maybe    a    mother    is    the    last    to 

T       know,"  she  said.  "I  met   Helen  when 

v       Ronnie  brought   her  to   see  me   when 

R       I   was   sick.   But   then,   he    brought    a 

lot  of  other  girls,  too.  All  I  know  is 

that  she  is  always  leaving  her  husband 
96 


and  then  going  back  to  him.  But  ask 
George — maybe  I'm  too  sick  to  be  told 
the   truth." 

When  George  was  asked  about  it, 
he  said,  "If  you  find  out  anything  about 
it,  let  us  know!  Ronnie  has  dinner  with 
us  twice  a  week,  but  he's  never  told  us 
anything  about  getting  married." 

It  wasn't  the  first  time  George  and 
Gracie  found  themselves  in  such  an 
embarrassing   position. 

The  phone  rang  in  the  Burns  house- 
hold on  August  7th,  1953.  Then,  too, 
it  was  a  reporter.  He  was  asking  about 
their  daughter  eloping  to  Nevada  City 
with  Young   (Bill)  Wilhoite  III. 

It  was  news  to  them.  However,  al- 
ways the  good  showman,  George  man- 
aged to  sound  pleased  as  he  said: 
"Gracie  and  I  know  the  marriage  will 
work  out  just  fine." 

A  sudden  elopement 

Sandra  was  only  eighteen  then,  and 
the  couple  had  previously  announced 
their  engagement.  George  and  Gracie 
were  planning  a  giant  wedding  that 
would  be  the  talk  of  Beverly  Hills  for 
years  to  come.  But  they  didn't  get  that 
chance  to  see  their  daughter  walk  down 
the  aisle  in  full  splendor.  Sandra  and 
Wilhoite  were  married  instead  in  a 
dusty  office  of  a  nearby  justice  of  the 
peace. 

The  Wilhoites  presented  the  Burnses 
with  two  grandchildren — Laura,  now 
seven,  and  Melissa,  now  five.  Yet  George 
was  wrong  about  the  marriage  working 
out.  They  separated  after  three  years 
and  they  were  divorced  in  1958 — the 
year  Gracie  retired  to  devote  more  time 
to  her  family. 

Sandra  surprised  her  parents  a  sec- 
ond time.  Three  years  ago,  she  eloped 
to  Mexico  with  TV  director  Rod  Ama- 
teau.  Again,  George  had  missed  the 
chance  to  give  his  daughter  away.  "Gee, 
we  didn't  know,"  Gracie  told  friends. 


"Otherwise,  we  would  have  gone  witli 
them." 

This  second  marriage  ended  in  April, 
just  as  Ronnie  was  busily  planning  his 
wedding  to  Helen  DeMaree.  He'd  even 
fixed  a  date:  July  9th. 

"It's  just  one  of  those  things,"  Sandra 
said  with  remorse,  as  she  revealed  her 
second  marriage  had  floundered.  "I  feel 
badly  about  it.  But  we  both  feel  it's 
for  the   best." 

A  few  days  later,  Ronnie  felt  badly, 
too.  His  Helen  had  changed  her  mind. 

"I'm  not  getting  the  divorce,"  she 
wept  from  her  hotel  room  in  Atlanta. 
"I  want  to  go  back  to  Steve — if  he'll 
have  me. 

"Ronnie  and  I  had  a  long  talk.  We 
decided  it  really  wasn't  love.  It's  best 
this  way." 

Again,  George  and  Gracie  had  to 
learn  the  news  at   second-hand. 

Why?  What  had  happened  to  create 
such  a  distance  between  them  and  their 
children?  Weren't  they  good  parents? 

Too  often,  success  unties  family 
bonds.  "George  and  Gracie  were  won- 
derful parents  to  both  Ronnie  and 
Sandra,"  a  close  friend  told  TV  Radio 
Mirror.  "Perhaps,  they  were  too  good. 
George  gave  Ronnie  everything  he 
wanted.  He  thinks  the  world  of  that 
boy.  I  think  Ronnie  resents  this  in  a 
way.  He  feels  guilty.  Guilty  because  he 
hasn't  lived  up  to  his  parents'  success. 
Until  he  can  make  it  on  his  own,  the 
situation  probably  won't  change." 

Both  George  and  Gracie  are  in  their 
sixties;  their  children  still  in  their 
twenties.  Perhaps,  the  future  will  be 
good  to  them.  Perhaps,  one  day  soon, 
the  team  of  Burns  and  Allen  will  enjoy 
its  greatest  triumph.  Far  more  reward- 
ing than  a  standing  ovation  at  Madison 
Square  Garden  would  be  the  chance 
to  be  a  closer  part  of  Sandra's  and 
Ronnie's  lives  again.  Their  friends  hope 
they  get  that  chance.  They  deserve  it. 
— Rocky  Rockwell 


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SEPTEMBER,   1962 


MIDWEST   EDITION 


VOL.  58,  NO.  4 


Eddie  Fisher 

Connie  Stevens 

Robert  Horton 

E.  G.  Marshall 

Vincent  Edwards 

The  Lennon  Sisters 

Hugh  Downs 

Leslie  Uggams 

Fred  MacMurray 

Shelley  Fabares 

Jacqueline  Kennedy 

As  the  World  Turns 

Robert  Conrad 

Frank  Sinatra 

Barbara  Hale 


IT  HAPPENED  THIS  MONTH 


25  Eddie  Has  the  Last  Word Cindy  Adams 

26  "Come  Live  With  Me  and  Be  My  Love" Kathleen  Post 

30  Bob  Fights  for  His  Life Jane  Ardmore 

32  No  Law  Against  Being  Different! Doug  Brewer 

34  His  Mother's  Heartache George  Carpozi  Jr. 

38  The  Lennons  Discuss  Mixed  Marriage Eunice  Field 

40  "I've  Stopped  Beating  My  Wife" Bob  Lardine 

43  When  a  Dream  Comes  True! Paul  Denis 

46  The  Road  Back  from  Hell Fred  MacMurray 

48  He  Dated  My  Sister  . . .  He'll  Marry  Me! .  .Shelley  Fabares 

50  Is  the  Honeymoon  Over  for  Jackie? Ed  DeBlasio 

54  Can  a  Family  Be  Too  Close? . .  .Art  Henley  and  Dr.  Wolk 

56  I  Just  Don't  Belong Mrs.  Bob  Conrad 

58  What's  Right  With  Sinatra Flora  Rand 

62  "Raymond  Burr  Saved  My  Marriage".  ..  .Dean  Gautschy 


BONUS:  A  MAGAZINE  WITHIN  A  MAGAZINE 


17  Close-up  on  Gene  Krupa  21     Pieces  of  Eight 

18  Album  Reviews  22     Eddie  Fisher's  Real  Friends 

24     The  Wonderful  World  of  Ed  Sullivan 


WHAT'S  NEW?  WHAT'S  UP? 


4     Information  Booth 

6     Earl  Wilson's  Inside  Story 


10    What's  New  from  Coast  to  Coast 
74    Photographers'  Credits 


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Kent  Slocum 

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65  On  the  Sunnyside  (KOTA-TV) 

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CLAIRE  SAFRAN.  Editor 

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Which  Twin  Has  the  Doctor? 

JPTio  w  £/ie  one  m>i£^  f^e  ZioiVi  broth- 
er? Vincent  Edwards  (Ben  Casey)  or 
Richard  Chamberlain  (Dr.  Kildare)  ? 
What  is  his  occupation? 

N.W.,  Berlin,  Pa. 

There's  only  one  Dick  Chamberlain. 
Vince  has  the  twin.  His  name  is  Bob 
and  he's  a  bus  driver.  For  a  full-length 
story  on  Vince  Edwards,  turn  to  page 
34.— Ed. 


Mystery  Man 


There  is  a  very  handsome  man  on 
"Sing  Along  with  Mitch."  He's  one  of 
the  singalongers,  in  his  early  fifties,  I 
guess,  very  distinguished-looking  with  a 
white  mustache.  Who  is  he?  Is  he  Brit- 
ish? M.U.,  New  York,  N.Y. 

Adrian  Revere  was  born  in  Minne- 
apolis 55  years  ago.  He  lives  in  Deep 
River,  Connecticut,  now,  with  his  wife 
Margaret  and  son  Karl,  32.  You  may 
have  seen  Adrian  also  in  magazine  ads, 
because  he  occasionally  models  for 
them.  His  favorite  job,  however,  is  sing- 
ing-along. — Ed. 


Here's  Rowdy 

/  would  like  very  much  if  you  would 
tell   me    something   about   Clint   East- 
wood, who  plays  Rowdy  Yates  on  "Raw- 
hide." I  enjoy  your  magazine  very  much. 
J.P.,  Holmes,  N.Y. 

Clint  is  6'  4",  weights  194,  was  born 
in  San  Francisco,  May  31,  1930.  He  at- 
tended Oakland  Technical  High  School 
and  after  graduation  didn't  know  what 
career  to  follow.  He  tried  lumber  jack- 
ing while  he  made  up  his  mind — until 
he  was  drafted  in  1951.  His  job  in  the 
Army  was  teaching  swimming  and  sur- 
vival courses.  A  movie  was  filmed  while 


he  was  at  Fort  Ord,  California,  and 
director  suggested  he  start  thinking 
seriously  about  acting.  Back  in  civvies, 
he  enrolled  in  the  drama  course  at  Los 
Angeles  City  College  and  met  a  co-ed 
from  the  University  of  California,  Mag- 
gie Johnson.  They  were  married  in  1954. 
Clint  likes  everything  about  his  co-star- 
ring role  in  "Rawhide" — except  the  long 
hair  and  the  sideburns. — Ed. 


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Carol  Burnett  Fan  Club,  Diane  De- 
vino,  11  Martin  Street,  Waterbury  6, 
Conn. 

Brian  Keith  Fan  Club,  June  Denning, 
1305  Nolan,  Corpus  Christi,  Texas. 

Johnny  Mathis  Fan  Club,  Michael 
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phia 48,  Pa. 


Some  Quickies 


/  would  like  to  ask  you  where  could 
I  write  to  the  Bonanza  cast. 

B.G.,  Dearborn,  Mich. 

Write   them   in   care   of   NBC,   3000 

West   Alameda   Blvd.,   Burbank,   Calif. 

—Ed. 

How  old  is  Carol  Burnett? 

V.L.G.,  Paris,  III. 
Carol  may  not  like  our  telling,  but 
she  was  28  in  April. — Ed. 


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Why  doesn't  TV  bring  on  some 
dames? 

I'm  pretty  sure  I'd  just  as  soon 
see  Jayne  Mansfield  or  Zsa  Zsa 
Gabor,  as,  let's  say,  Vince  Ed- 
wards— and  I  love  Vince,  who  in 
real  life  is  a  personable  Joe.  Of 
course,  Jayne  would  have  to  do 
something,  and  the  question  is,  can 
Jayne  do  anything  besides  play  that 
violin?  Or  come  out  of  her  shoulder 
straps?  And  can  Zsa  Zsa  do  any- 
thing (that  wouldn't  get  the  pro- 
gram thrown  off  the  air)  ? 

The  sad  truth  is  that  some  of  our 
most  beautiful  women  aren't  seen 
on  TV — and  I  think  it's  a  great 
shame. 

And  apparently  the  reason  is  that 


EARL 


they  can't  do  anything.  Well,  the 
solution  for  that  is  to  give  them  a 
program  on  which  they  don't  have 
to  do  anything.  You  think  that's 
silly,  do  you?  Well,  a  few  seasons 
ago  there  was  a  show  all  set  to  go, 
with  Hal  March  as  emcee,  called 
simply,  "The  Most  Beautiful  Girl 
in  the  World."  It  was  set  to  go — and 
it  went— it  went  away. 

Well,  let's  bring  it  back. 

Just  think  of  the  mail  it  would 
get  .  .  .  the  angry  mail  from  not-so- 
good-looking  women  who  would 
scream  their  heads  off  about  those 
pretty  women  being  on  TV  and  not 
able  to  do  a  blasted  thing! 

Maybe  if  we  have  to  have  shows 
about  doctors,  lawyers  and  cowboys. 


we  could  have   Marilyn   Monroe, 

let's  say,  playing  a  doctor ;  Brigitte 
Bardot  as  a  lawyer,  and  Natalie 
Wood  or  Lee  Remick  as  a  cowboy. 

Sure,  as  Mr.  Minow  says,  we 
ought  to  have  serious  viewing: 
Things  like  the  Peace  Corps  in  Af- 
ghanistan. But  couldn't  we  have 
Liz  Taylor  or  Arlene  Dahl  or 
Marie  McDonald  introducing  the 
emcee,  or  moving  the  furniture 
around,  or  something  .  .  .  ? 

I  suppose  my  idea  will  never  catch 
on.  But  think  back  to  the  days  when 
the  most  exciting  thing  on  TV  was 
Faye  Emerson  or  Dagmar. 

And  then  there  was  Jackie  Ken- 
nedy's tour  of  the  White  House — 
and,   personally,  I  don't  think  that 


WILSON'S 





Special  four-page  gossip  section:  Who's  in?  Who's  out?  What's  up?  Each  and 
every  month,  TV  Radio  Mirror  brings  you  the  scoopiest  column  in  any  magazine ! 


many  people  were  only  interested  in 
the  White  House. 

In  case  there's  nobody  around 
willing  to  find  the  beautiful  girls 
for  the  shows  I'm  suggesting,  I  will 
even  donate  my  time  and  talent  to 
lead  the  search.  That  is  to  say,  the 
great  woman-hunt. 

What  do  you  say,  fellahs?  (Wom- 
en— I  wasn't  asking  you!) 

That  Paul  Anka!  His  father, 
Andy  Anka,  was  telling  me  the 
other  day:  "You  know  Paul  wrote 
the  theme  music  for  Darryl  Zan- 
uck's  'The  Longest  Day'?"  This  I 
knew  and  said  so.  .  .  .  "And  Sammy 
Davis's  new  hit,  'Everybody  Calls 
Me  Joe'?  .  .  .  And  of  course  he 
wrote  his  own  new  song,  'A  Glass  of 
Wine  and  a  Steel  Guitar.'  .  .  .  And 
you  did  know,  didn't  you,  that  he 
wrote  all  the  music  for  the  Copa- 
cabana  show?" 

I  was  about  to  say,  "Make  it  easier 
for  yourself.  What  didn't  he  write?" 

Strange  thing  about  Paul's  "Glass 
of  Wine"  song  .  .  .  Dean  Martin 
needed  a  song  and  asked  Paul  to 
suggest  something. 

"I've  got  something,"  Paul  said, 
long-distance,  New  Jersey  to  Cali- 
fornia. "I'll  cut  a  demo  and  send 
it  right  out  to  you." 


Liz  Taylor:  Is  she  what  TV  needs? 


Paul  recorded  "Glass  of  Wine" — 
and  when  his  manager,  Irv  Feld, 
heard  it,  he  said,  "I  won't  let  you 
send   that  to   Dean   Martin.   You're 


keeping    this    song    for    yourself!" 

"But  I  promised  .  .  ."  protested 
Paul. 

"No  matter.  .  .  ." 

So  Paul  kept  it  and  it  became  a 
fast  hit. 

Incidentally,  Paul  moves  into  the 
very  sophisticated  adult  class  with 
this  song — doing  the  wine-drinking. 
I  mean.  In  real  life,  Paul  likes  to 
sip  a  "Fogcutter,"  a  rum  drink 
served  at  Trader  Vic's  and  else- 
where, with  his  girl  friend,  model 
Ann  Dezogheb. 

"That,  and  a  little  wine,  is  all  I 
ever  drink,"  says  Paul — who  will 
have  turned  twenty-one  when  you 
read  this. 

I  asked  Paul  what  turning  twenty- 
one  would  mean  to  him. 

"I'll  become  twenty-one  while 
working  in  Las  Vegas,"  he  said. 
"When  I  really  get  there,  I'm  going 
to  put  fifty  dollars  on  something — I 
don't  know  what.  That'll  be  the  sign 
that  I've  come  of  age." 

Madison  Avenue  had  a  laugh  at 
a  report  that  NBC  might  again  un- 
dertake to  get  Marilyn  Monroe 
to  do  "Rain"  on  TV.  The  insiders 
knew  it  was  laughable,  because  N3C 
spent  $75,000  to  $100,000,  a  year 
ago,  on  the  (Please  turn  the  page) 


Now  that  he's  turning  twenty-one,  singer  Paul  Anka's  got  everything  he  needs — including  a  pretty  girl  of  his  own. 


continued 


project — and    got    nothing    for    its 
money   but   headaches. 

DON'T  PRINT  THAT!  The  rea 
son  that  Mort  Sahl  has  used  Inger 
Stevens  on  TV  every  chance  he 
gets  is  becoming  obvious  as  I  write 
this.  He  is  just  simply  nuts  about 
her.  .  .  .  Peter  Lawford — good  as 
he  is,  and  good  as  his  connections 
are — has  to  look  around  for  parts 
these  days,  just  like  everybody  else. 
.  .  .  My  Gorgeous  Mother-in-law, 
who's  seventy-seven,  thinks  that  the 
team  of  Marty  Allen  and  Steve 
Rossi,  which  has  appeared  so  often 
with  Garry  Moore,  is  a  more  hilar- 
ious duo  than  any  other  comedy 
team  working.   .   .   .   Perry   Como 


Carol  has  her  husband  to  thank! 


wishes  people  wouldn't  circulate 
those  rumors  that  he  didn't  want  to 
quit  telecasting  from  the  Ziegfeld 
Theater  and  move  out  to  Brooklyn's 
big  NBC  studio.  Perry  claims  he 
actually  prefers  Brooklyn  to  Man- 
hattan— you  see,  it's  nearer  his  golf 
course. 

FEARLESS  FORECASTS:  One 

of  the  fat  young  comedians  who  is 
so  personable  on  TV  keeps  getting 
into  trouble  playing  night  clubs 
(where  he  started).  He  hassles  with 
the  customers  and  privately  pre- 
dicts, "I'll  have  to  get  out  of  night 
clubs."  And  he  will  have  to!  .  .  . 
Strange  that  an  Eastern  TV  show 
noted  for  its  nice  "family  appeal" 
is  heading  for  difficulty  over  its  own 
"family  trouble."  .  .  .  Frank  Si- 
natra took  his  pride  in  hand  and 
went  personally  to  Irving  Berlin 
and  Howard  Dietz  to  seek  rights 
for  Reprise  Records  to  the  songs  of 
"Mr.  President."  So,  naturally,  with 
that  kind  of  treatment,  he's  probably 
going  to  get  them.  .  .  .  Marie  Wil- 
son ("My  Friend  Irma"  of  a  slight- 
ly earlier  era)  is  on  her  way  back 
to  TV  after  doing  very  well  again 
on  stage  and  in  the  movies.  .  .  . 
Garry  Moore  is  getting  to  be  known 
as  "Mr.  Nice  Guy"  of  CBS.  Artists 
tell  us  he  comes  up  to  them  before 
the  show's  even  over  and  tells  them 
how  well  they've  done — even  if  they 
haven't.  "You  will  go  to  any  lengths 
to  please  a  guy  like  this,"  one  star 
said. 

Gracie  Allen  needs  a  lot  of  rest 
these  days  to  keep  her  health  good — 
but  she's  pleased  at  the  way  George 
Burns  is  working  out  with  his  new 
comedy  partner,  Carol  Channing, 
as  they  push  on  toward  a  regular 
TV  series. 

"Now,  you  know,  Carol,"  Gracie 
told  Miss  Channing,  "there  are  hun- 
dreds of  dames  I  wouldn't  have  let 
work  with  Georgie  Porgie — but  you 
I  like!" 

One  reason  she  likes  Carol  is  that 
she  feels  Carol  is  much  like  her. 
"Both  of  us  actually  believe  all  those 
lies  George  tells  us,"  Gracie  ex- 
plains. By  "lies"  she  means  some  of 
the  comedy  material  and  show  busi- 
ness yarns  that  George  remembers. 

George  and  Carol  got  acquainted 
through  Carol's  husband,  Charles 
Loew,  who  produced  the  George  & 
Gracie  TV  show.  Burns  gave  Carol 
and  Charles  a  party  when  they  wed. 


Getting  obvious:  Mort  and  Inger. 


Carol,  victim  of  a  bad  memory 
for  faces,  decided  to  learn  the  names 
of  everybody  by  memorizing  the 
place  cards  on  the  main  table.  She 
wouldn't  have  to  know  the  faces — 
she'd  just  remember  that  Jack 
Benny  sat  at  the  right  of  a  Mrs. 
Smith  and  Mrs.  Benny  at  the  right 
of  a  Mr.  Brown.  Carol  had  every- 
thing worked  out  pretty  well  until 
George  discovered  her  trick — so  he 
mixed  up  the  place  cards  deliberate- 
ly, to  mix  Carol  up. 

They've  been  dear  friends  since 
the  mix-up. 

Red  Skelton,  one  of  TV's  Great 
Men,  kept  a  wary  eye  on  the  stock 
market  during  the  crisis  a  couple 
of  months  back,  and  he  tells  this 
story  of  one  of  his  speculative  sorties 
then: 

"I  called  up  my  broker,  bought  a 
certain  stock — and  it  went  up.  I 
called  up  the  next  day,  bought  some 
more  of  the  stock — and  it  went  up 
again.  This  continued  for  a  couple 
of  days,  but  one  day  I  called  to  ask 
how  the  stock  was  doing  and  my 
broker  said  it  was  down. 

"  'Down?'  I  said.  'Sell.' 

"The  broker  replied,  'To  whom?'  " 

It  may  not  have  looked  that  way 
to  viewers,  but  just  about  the  most 
ad-lib  show  on  TV  in  the  last  couple 


of  months  was  Perry  Como's  fare- 
well show  of  the  season.  That's  tra- 
ditionally the  time  when  Perry  and 
his  cast  of  regulars  play  the  game  of 
"no-holds-barred,"  and  everyone 
joined  in  on  the  fun. 

After  Perry  had  inched  up  behind 
music  director  Mitch  Ayres  and 
conducted  the  orchestra  with  a  ba- 
ton he  filched  from  Mitch's  hand, 
Mitch  got  his  revenge  when  he 
walked  up  to  Per's  cue  card  for  the 
rendering  of  "When  I  Fall  in  Love." 

Perry,  no  kill-joy  he,  leisurely 
stepped  aside  and  gave  Mitch  the 
front  stage,  whereupon  Mitch  sang 
the  song  straight  through. 


Jose  with  a  TV  series  of  his  own. 

Bill,  by  the  way,  is  a  very  shrewd, 
articulate  fellow  when  he's  not  Jose, 
and  he  was  a  little  miffed  at  NBC 
when  they  publicized  that  he,  Louis 
Nye  and  Pat  Harrington  were  go- 
ing to  co-host  the  "Tonight"  show 
for  one  of  the  weeks  prior  to  John- 
ny Carson's  taking  over  for  good 
in  October. 

"They  released  that  story  without 
my  consent,"  said  Bill.  "Actually, 
Louis,  Pat  and  I  are  trying  to  get 
away  from  being  the  same  old  three 
stooges.  We're  going  our  separate 
ways.  You  might  say  that  I'm  in- 
volved in  very  egocentric   activities 


simply  because  you're  not  supposed 
to  have. 

They'll  be  making  their  television 
debuts  on  Ed's  all-new  talent  show, 
and  if  the  viewing  response  is  good, 
Ed  plans  to  have  other  new-talent 
shows  every  four  or  five  weeks. 

Did  you  know  George  Maharis, 

star  of  "Route  66,"  is  an  artist  of 
some  note?  Well,  if  you  didn't — or 
don't  believe  it — drop  by  the  Lunt- 
Fontanne  Theater  on  West  46th 
Street,  N.Y.,  and  inspect  his  work. 
But  don't  forget  to  look  up!  He 
was  one  of  three  artists  who  land- 
scaped the  ceiling. 


Gary  Morton  knows  two  beautiful  girls  who  can  "do  something" :  His  wife  Lucille  Ball  and  impish  Sheila  MacRae. 


This  show  has  such  a  high  pro- 
fessional polish,  though,  even  the 
ad-libs  came  out  like  they  were  writ- 
ten that  way. 

Bill  Dana,  the  space  astronaut 
in  the  guise  of  Jose  Jimenez,  says 
he'll  come  down  to  earth  for  the 
1963-64  season  long  enough  to  have 
his  own  show,  which  is  being  hand- 
died  through   Danny   Thomas. 

Bill  will  be  Jose  Jimenez,  the  Ele- 
vator Operator,  in  the  proposed 
comedy  series,  the  idea  originating 
from  Bill's  three  appearances  on 
Danny's  own  show.  Response  then 
was  so  great  it  was  decided  to  launch 


right  now,"  he  grins  disarmingly. 
These  activities,  according  to  Bill, 
include  another  album,  tentatively 
titled,  "Jose  Jimenez  Talks  to  Teen- 
agers of  All  Ages." 

After  fourteen  years  of  f ollowi.-  g 
virtually  the  same  program  format, 
Ed  Sullivan  has  something  "r-r-r- 
really  big  and  new"  up  his  sleeve. 

Sometime  in  September,  you'll 
be  seeing  on  his  Sunday-night  show 
such  entertainers  as  The  Cathalas — 
a  circus  act,  Arlene  Fontana,  Yo- 
landa  White,  Bobbi  Baker,  and  Ko- 
rengo  The  Magician.  If  you've  never 
seen  or  heard  of  these  people,  it's 


Unearthed  from  a  hilarious  book 
entitled,  "Son  of  Sing  Along  With 
Bullwinkle":  A  song  called,  "I'm 
in  Love  With  Dr.  Kildare"  (to  the 
tune:    "Object    of    My    Affection") 
"The  object  of  my  affection 
Can  lance  my  infection 
Or  amputate  my  spine, 
Anytime  he  takes  my  pulse 
And  tells  me  that  he's  mine. 
There  are  other  docs  who  bill  me 
And  some  who  can  thrill  me 
With  offers  of  romance, 
But  I'd  catch  St.  Vitus  Dance 
If  it  would  make  him  mine!" 

—That's    Earl! 


Mary  Tyler  Moore's  elopement  took 
CBS  by  surprise.  They  had  no  idea 
whom  she'd  wed.  The  name,  gents,  is 
Grant  Tinker— an  NBC-TV  exec.  .  .  . 
After  selling  his  interest  in  Evans- 
Picone  sportswear,  Bob  Evans  is  after 
sewing  up  the  seams  of  his  film  career. 
His  ex,  shapely  Sharon  Hugueny, 
is  now  trying  it  on  for  size  with  Ann- 
Margret's  ex,  Burt  Sugarman.  .  .  . 
That  cruise  Dick  Powell  and  June  Al- 
lyson  took  added  up  to  a  three-month 
"second  honeymoon."  . . .  Advert  for  a 
Los  Angeles  lunch  plate:  "Mother- 
in-law  Special — Cold  shoulder  and 
tongue."  .  .  .  Caught  at  the  women's 
press  club:  "There's  a  new  doll  on 
the  market  called  'The  Liz.'  You 
don't  wind  it — just  push  the  Burton!" 


SfcpiCodd 

Sta)dt  KeadJM&-iA,ovJl 

by  EUNICE  FIELD 


That's  What  They're 
Saying:  As  Danny 
Kaye's  sidekick 
in  "Man  from  the 
Diner's  Club,"  Cara 
Williams  confides: 
"Instead  of  pay,  I  wish 
they'd  give  me  a  lifelong 
unlimited  credit  card — so 
I  could  eat  forever  and 
never  get  a  bill!" 
...  In  spite  of  the 
loyal  gang-up  by 
the  press  and  his 
friends  to  boost  his 
morale,  Eddie  Fisher 
laid  a  bomb  at  his  Co- 
coanut  Grove  comeback 


What  Every  American  Home 
Should  Have — according  vo  Kirk 
Douglas — is  a  steam  room  "to  sweat 
out  the  problems  and  let  off  steam 
when  the  goin's  rough."  .  .  .  Fess 
Parker  doffed  his  Davy  Crockett  cap 
for  modern-day  clothes  (the  first  time 
he'll  wear  'em  on  TV)  for  ABC's  "Mr. 
Smith  Goes  to  Washington,"  bowing 
Sept.  29th.  .  .  .  After  Lucille  Ball's 
wedding  to  Gary  Morton,  they  were 
calling  the  studio  "Desi-blues" — but 
now  her  ex,  Arnaz,  seems  happy  again. 
...  TV  will  really  become  a  "vast 
wasteland"  if  allowed  to  go  on  split- 
ting old  movies  into  installments.  This 
could  get  down  to  making  Johnny  Q. 
Public  watch  one  film  four  nights  in  a 
T    row — just   to   find    out   how   it    ends! 


Judi  Meredith's  wedding  present 
from  Richard  Boone  was  a  promo- 
tion for  husband  Gary  Nelson — up  to 
director  of  the  "Have  Gun"  episode 
in  which  she's  starring.  .  .  .  Another 
newlywed  is  sunny  Ginny  Simms,  top 
singer  oh-so-long  with  Kay  Kyser. 
Groom:  Don  Eastvold,  former  At- 
torney General  of  the  state  of  Wash- 
ington. Best  man:  Ish  Kabibble,  an- 
other Kyser  alumnus.  .  .  .  Happiness 
re-visited:  Best  wedding  news  of  the 
year  for  pals  of  James  Craig  was  his 
remarriage  to  his  ex-wife,  Mary.  His 
passel  of  kids  are  happy,  too. .  . .  Billy 
("Father  Knows  Best")  Gray — con- 
victed on  dope  charges — to  appeal. 
.  .  .  Don  Taylor  a-courtin1  Hazel — 
pretty  actress  Hazel  Court,  that  is! 


Rumors  on  the  Rocks: 

That  Matt,  Kitty 
and  Doc  conspired 
so  as  to  get  Dennis 
Weaver's  big  variety 
series  nixed — so  Ches- 
ter would  have  to  keep 
imping  around  Dodge  City 
with  them  on  "Gunsmoke." 
.  .  .  That  when  Marie 
Wilson,  buxom  blonde 
star  of  yesteryear's 
"My  Friend  Irma," 
was  asked  why  she 
hadn't  been  on  TV 
lately,  her  so-simple 
answer  was:  "Nobody 
asked  me — that's  why!" 


<-m     <■ 


Kathy  Nolan  swore — once  she  left 
"The  Real  McCoys" — she'd  gussy  up 
as  a  glamour  gal  and  go  high-fashion. 
So  how  come  she  was  back  in  the  old 
gingham  for  a  "Gunsmoke" — her  first 
TV  stint  since  returning  from  New 
York?  . . .  With  the  announcement  that 
Dwayne  Hickman  and  Tuesday 
Weld  are  "talking  again"  and  she's 
cast  in  the  new  "Dobie  Gil  lis"  mish- 
mash, a  teenie  wit  predicted:  "There 
will  be  days  when  we  won't  get  dia- 
logue between  them  .  .  .  but  just  two 
monologues  on  one  soundtrack.  .  .  ." 


v      /////  J      /////  J 


Dear  Drs.  Kildare  and  Casey:  Since 
Dick  ("Medic")  Boone  traded  his 
scalpel  for  a  gun,  I  seem  to  be  the 
elder  statesman  among  TV  docs.  You 
young  M.D.s  might  gain  by  a  small 
consultation.  .  .  .  On  my  first  "Donna 
Reed  Show"  (I'm  her  hubby,  Dr.  Pe- 
tersen) the  A.M.A.  caught  me  with  my 
stethoscope  on  backwards.  Were  they 
mad!  They  forgave  me  only  after  I  lost 
ten  pounds,  joined  a  gym  and  took 
elocution  lessons.  TV  doctors,  they 
said,  must  not  mar  the  "image."  .  .  . 
So,  lads,  here  is  my  advice  to  keep  in 
good  with  the  A.M. A.,  the  P.T.A.  and 
your  fans:  Shave  twice  a  day,  stay 
trim,  always  carry  Materia  Medica 
and  never  say  "fee."  Your  practice  may 
then  equal  mine.  .  .  .  Luck,  Carl  Betz. 


10 


He-jinks  and  She-nanigans:  Robert 
Stock  and  Diane  McBain  in  torrid 
clinch  on  "The  Caretakers"  set.  Sez 
Bob,  "This  is  my  first  hug  V  kiss  since 
I  went  into  'The  Untouchables'  four 
years  ago."  Quoth  Diane,  "What  girl'd 
hug  a  man  wearing  one  of  those  gun 
holsters?"  Leered  Bob,  "That'.;  why 
the  Ness  men  were  called  'untouch- 
ables'!" Actress-wife  Rosemarie 
Bowe,  she  jes'  smiled  and  smiled.  .  .  . 
When  Pamela  Mason  read  the  Lon- 
don rumors  about  James  seeking  a 
divorce,  she  got  off  a  wire  to  her 
press  pals,  asking  them  not  to  jump 
to  conclusions.  "James  and  I  have  not 
had  a  private  talk  yet.  But  I've  asked 
my  lawyer  to  do  what  is  needed  to 
protect  the  interests  of  our  children." 


"Kissless"   Ness  with  Rosemarie. 


Playing  the  Field:  Are  the  Lennon 
Sisters  movie-bound — in  a  re-do  of 
"Three  Smart  Girls"?  .  .  .  Mario 
Lanza's  1 3-year-old  Colleen  not  only 
inherited  her  late  daddy's  voice  but 
has  Joe  Pasternak  to  guide  her  steps 
to  fame.  She  already  has  an  MGM 
record  pact.  .  .  .  Bert  Lahr's  B'way- 
bound  musical,  "Foxy,"  opened  the 
first  Gold  Rush  Festival  in  Dawson 
City,  Yukon.  .  .  .  Disc  jockey  Johnny 
Grant  says,  "Marriage  is  just  another 
union  defying  management."  .  .  .  TV's 
going  Mark  Twain  with  Johnny 
("Rifleman")  Crawford  co-starring 
with  George  Chandler  as  the  late 
great  humorist  in  "American  Narra- 
tive," a  fall  spec — and  Bob  Newhart 
slated    to    do    "Puddinhead    Wilson." 


»-> 


Ask  Me  No  Questions:  Why  does  a  TV 
hotshot  medic's  agent  whisper  his  cli-4 
ent  is  secretly  wed  to  the  cute  blonde 
he  travels  about  with — while  said  star 
firmly  denies  it?  .  .  .  Would  you  call 
Marilyn  Monroe  and  Wally  Cox,  eye- 
yi-yi-ing  it  at  La  Scala  Restaurant,  a 
"suet  duet"?  .  .  .  Could  that  possibly 
be  Sam  Jaffe  getting  a  haircut  in  the 
studio  barber  shop?  Preening  his  feath- 
ers to  step  out  with  co-star  and  wife 
Bettye  Ackerman?  .  .  .  Will  Liz  "dis- 
cover" Paul  Anka?  Or  hasn't  she 
noticed  the  singer's  growing  into  a 
cross  between  Eddie  and  Mike  Todd? 
...  Do  books  "written"  by  actors  really 
sell?  Or  are  they  bought  by  the  au- 
thors and  handed  out  as  autographs? 


Bettye  Jaffe  and  a  shorn   lamb. 


Mary    Livingstone    and    Gracie    Allen 

couldn't  be  happier  about  the  gals 
their  spi'3  (plural  of  "spouse")  picked 
as  partners  in  their  acts.  Jane  Morgan 
proved  a  great  comedy  foil  for  Jack 
Benny  at  Las  Vegas  Desert  Inn,  and 
Carol  Channing  helped  George  Burns 
win  rave  reviews  at  The  Dunes.  .  .  . 
The  name  William  O.  Douglas,  long 
associated  with  the  Supreme  Court, 
has  found  a  show-business  niche.  The 
younger  Douglas  is  in  Hollywood  to 
try  for  stardom.  A  day  after  he  told 
his  famous  father  he'd  decided  to  be 
an  actor,  he  found  him  studying  a  news 
story  about  crime  and  violence  in  TV 
and  films.  "So  now  we're  to  be  on  op- 
posite sides  of  the  law?"  sighed  Dad. 


<- 


James  Best,  star  of  Warners'  "Black 
Gold,"  does  his  buying  with  silver  dol- 
lars. .  .  .  Through  the  keyhole  at 
>ardi's:  Sez  actor  No.  I,  "Say,  I 
know  that  cute  chick."  Pleads  No.  2, 
"Could  you  get  me  a  date?"  Protests 
Jo.  I,  "But  what  about  my  wife?" 
Agrees  No.  2,  "Okay— she'll  do  in- 
stead!" .  .  .  Bob  Conrad,  the  sun- 
burnt "Hawaiian  Eye,"  credits  Col. 
R.  W.  Coe,  principal  of  Chicago's 
Woodstock  Military  Academy,  and 
Warren  Watwood,  his  homeroom 
teacher,  with  inspiring  his  love  of  act- 
ing and  his  drive  to  success.  Bob's  a 
grateful,  understanding-type  guy — as 
his  wife  Joan's  story  proves  in  this 
issue.  And  he  does  so  take  her  out 
occasionally — as  photo  at  right  shows! 


Joan's  favorite  subject  is  Bob. 


Pierre  Paul  Jalbert,  the  Cajun  G.I. 
in  ABC-TV's  upcoming  "Combat,"  was 
once  a  film  cutter.  His  job  was  to  edit 
and  trim  film  footage  down  to  proper 
running  time.  "For  years,"  he  says, 
"I  was  haunted  by  a  pair  of  huge 
scissors.  I'd  wake  up  screaming— all 
those  poor  sad  faces  of  actors  who'd 
waited  years  for  the  right  part,  now 
tossed  like  trash  on  the  floor!  All  those 
fine  scenes  lost!  I  felt  so  guilty,  I 
couldn't  bear  it.  Thank  heaven,  I'm 
an  actor  now!"  So  those  nightmares 
have  eased  up?  "Alas,  no,"  he  mourns. 
"They're  worse.  I'm  still  haunted  by 
those  scissors.  Only  now  it's  my  poor 
face  and  my  best  scenes  that  lie 
on  the  cutting-room  floor!  I  still  wake 
up  yelling."    (Please  turn   the  page) 


11 


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•ft  Dress  by  Mr.  Gee 


12 


Invented  by  a  doctor — 
now  used  by  millions  of  women 


continued 


You  Mean  Girls?  Little  Jay  North 
is  not  so  little  anymore,  so  CBS-TV  is 
changing  the  image  of  "Dennis  the 
You-know-what."  He'll  go  from  over- 
alls to  blue  jeans,  also  his  hair  will  be 
shorter.  "And,"  says  the  studio,  "he'll 
get  into  mischief  more  befitting  an 
older  boy  of  nine."  .  .  .  They  used  to 
joke  about  Sears-Roebuck  catalogues 
— but  not  any  longer.  Now  Vincent 
Price  has  been  hired  to  collect  art 
works  for  exhibition  and  sale  at  the 
many  Sears  stores.  .  .  .  Tittle-titles  for 
your  titillation:  The  bird  man  of  Alca- 
traz  let  the  sweet  bird  of  youth  out 
for  a  taste  of  honey  but  it  flew  over 
oceans  eleven  to  see  a  certain  Rome 
adventure  with  a  five-day  lover,  then 
winged  over  the  road  to  Hong  Kong. 


»»)     r 


Don't    you    believe    him,    Miltie? 

■<r-m     -<-m:     -<-«     <- 


Judy  and  Buster — TV  "naturals." 

<-m     -<r-m     -<-«     <- 


Hi-Finance:  At  a  Reprise  recording 
session,  a  couple  of  deep  thinkers  were 
wondering  what  actually  caused  the 
stock  market  to  go  into  a  dive.  "The 
real  reason  for  the  crash,"  said  Sam- 
my Davis  Jr.,  "is  this" — and  pointed 
to  the  headline,  "Mickey  Rooney 
Files  Bankruptcy!"  Maybe  that's  finan- 
cial advice  yet,  that  Mickey's  trying  to 
give  Milton  Berle  in  the  candid  shot 
above???  .  .  .  The  only  man  left  in 
show  biz  with  sex  appeal— sez  Mae 
West — is  Elvis  Presley.  .  .  .  They  say 
politics  makes  strange  bedfellows.  But, 
in  Paramount's  "Hatari,"  John  Wayne 
gazes  in  disbelief  at  "bride"  Elsa 
Martinelli  as  she  beds  down  with 
three  baby  elephants.  "Could  you  call 
that  a  'bridle'  suite?"  asked  a  viewer. 


Comeback  Trail:  Oldie  comics  Joe 
E.  Brown  and  Edgar  Buchanan  join 
Buster  Keaton  in  an  October  seg- 
ment of  "Route  66."  Now,  how  about  a 
TV  spot  for  Judy  Canova?  That  gal 
can  really  yodel — and  make  us  howl! 
. . .  "Fair  Exchange,"  an  hour-long  fam- 
ily comedy,  to  debut  Friday,  Sept. 
21st.  .  .  .  An  RCA  album  featuring 
Peter  Nero  is  called  "Music  for  the 
Nero-Minded."  .  .  .  Thought  for  the 
day  from  KMPC's  Ira  Cook:  "Talkin' 
without  thinkin'  is  shootin'  without  aim- 
.  .  And  while  we're  on  the  sub- 


in 


ject  of  gunfire  and  horseplay:  Did  you 
know  that  show-biz  nags  not  only  wear 
lipstick — but  that  something  bitter- 
tasting  is  added  to  it,  so's  the  oat- 
eaters  won't  lick  it  off  before  filming? 


How  High  the  Stars:  20th-Fox  is 
howling  that  they've  lost  mill-yuns  try- 
ing to  keep  Liz  and  Marilyn  in  orbit. 
But  it  has  cost  You  and  Me  bill-yuns 
to  put  a  coupla  guys  in  orbit — and 
who's  complaining?  .  .  .  Add  statis- 
tics: Beverly  Hills,  which  has  the  high- 
est concentration  of  stars,  now  also  has 
the  highest  percentage  of  lawyers  for 
any  city,  893 — or  one  for  every  33 
residents.  .  .  .  Three  tough,  tough,  TV 
cops_"Naked  City's"  Horace  Mc- 
Mahon,  "87th  Precinct's"  Norman 
Fell,  and  "Untouchables'  "  Paul  Pi- 
cerni — signed  for  film  "Mad,  Mad, 
Mad,  Mad  World."  .  .  .  What  TV 
Romeo  got  in  Dutch  because  the  Gov't 
mistook  his  book  of  private  phone  num- 
bers for  a  list  of  undeclared  dividends? 


Nufs  fo  Sieve?  No,  says  Jayne! 

<-m      <-m      <-m     <- 


What  There  Ain't  No  Shortage  Of: 

Looking  for  new  zany  types  for  his  late- 
night  show — now  seen  on  various  top 
stations  around  the  nation — Steve 
Allen  put  an  ad  in  the  shopping  sheets, 
"We  need  kooks  and  nuts.  See  Steve 
Allen,  760  LaCienaga  Blvd."  Next  day, 
all  traffic  was  tied  up  by  a  line  of 
trucks  carrying  cucumbers  and  peanuts. 
Steve  and  his  wife  Jayne  Meadows 
are  still  chuckling.  . . .  "The  U.  S.  Steel 
Hour,"  now  in  its  ninth  dramatic  year, 
is  setting  TVIand  a  fine  example.  As 
usual,  the  show  continues  through  the 
summer  with  new  plays — and  no  repeats. 
.  .  .  Ann  Blyth  bowed  blithely  out  of 
"Saints  and  Sinners,"  the  Nick  Adams 
series — but  not  to  have  another  baby, 
as   rumored.    (Please   turn   the   page) 


"Just  between  us  curls . 
are  you  still  using  water?" 


Silly  curl. 
Where  will  you  be  in  8  hours?  Straight 
as  a  string,  I'll  bet.  And  it  won't  help 
to  use  a  setting  lotion,  because  these 
days  a  curl  needs  lasting  body.  A  pin 
curl  made  with  Bobbi  (like  me)  holds 
a  wave  for  8  weeks.  What's  more,  a 
Bobbi  gives  you  the  same  soft,  shy 
look  you  get  with  water.  Bobbi  holds 
like  a  permanent,  but  refuses  to  look 
like  one.  Easy  to  do.  Just  pin  up  as 
usual,  but  use  Bobbi  instead  of  water 
or  setting  lotion.  Bobbi  is  perfect  for 
adding  body  between  permanents. 
It's  a  wave  come  true  for  girls  who 
love  the  softness  of  curls  made  with 
water,  but  want  that  look  to  last. 
Have  a  Bobbi. 


i 


timhfeWMWflWBMdMaL 


I 


New!  t*>  wo" 


nigUhl  P^'V 


I 


If  you  can  make  a  simple  pin  curl— you  can  give  yourself  a  BOBBI— the  8-week  wave! 


13 


FEMININE, 
EXCITING, 
ALLURING . . . 


Your  moonlight 
magic  in  figure  flat- 
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NAME  (Print). 

ADDRESS , APT. 

CITY ZONE STATE 

•  SATISFACTION  GUARANTEED  or  MONEY  REFUNDED' 


Meet  Frankenstein:  Jim  Backus,  summer 
host  for  "Talent  Scouts,"  wails,  "That 
runt  Magoo  has  taken  over  my  life!" 
Kids  cry  if  he  won't  "do  Magoo."  TV 
sirens  ooh  and  ah  over  .him — not  for 
his  masculine  charms,  but  to  get  him  to 
"do  Magoo."  When  he  can't  reserve  a 
table  at  plush  spots,  he  puts  on  that 
squeaky  voice — and  promptly  gets  a 
"Yes,  indeed,  Mr.  Magool"  Recently, 
he  was  invited  to  a  party  by  a  B'way 
producer  and  Jim  had  visions  of  him- 
seJf  in  a  hit  legit.  But  all  the  producer 
wanted  was  for  him  to  do  the  near- 
sighted cartoon  character.  Groans  Jim, 
"All  I  live  for  is  sweet  revenge.  I 
dream  of  the  day  that  doggone 
Magoo  will  be  called  to  the  studio  to 
star  in  a  big  TV  spec  titled  'Doing  Jim 
Backus.'  "...  Memory  Land:  Bob 
Hope  recalls  that  he  talked  his  parents 
into  letting  him  go  into  show  business 
by  arguing,  "It  will  keep  me  out  of 
poolrooms."  And  Joan  Crawford,  film- 
dom's  most  poised  star,  can  never  for- 
get her  "shakes"  on  reaching  Holly- 
wood as  a  $75-a-week  bit  player.  .  .  . 
Shades  of  Stalin!  The  first  title  for 
a  show  about  construction  men  was 
"The  Workers."  Sounds  too  much  like 
the  red  sheet,  The  Daily  Worker,  said 
the  big-domes.  What  was  needed,  they 


argued,  was  something  cleancut  Amer- 
ican. So  now  the  series  is  called  "I'm 
Dickens,  He's  Fenster."  .  .  .  Numbers 
Game:  MGM-TV  feels  number  eleven 
is  as  lucky  in  production  as  on  the  crap 
tables.  They  just  signed  eleven  direc- 
tors for  their  "Eleventh  Hour"  series 
starring  Wendell  Corey. . . .  The  Tragic 
Clown:  Red  Skelton  often  has  a  fit  of 
wheezing  before  he  can  walk  out  on  a 
stage — and  if  he  winds  up  with  the 
"old  man  at  the  parade"  bit,  he  usu- 
ally walks  off  in  tears.  . .  .  Oddities  and 
Endities:  With  20th-Fox  suing  Dean 
Martin  for  over  three  million  and  Dino 
hitting  back  with  a  six-million  counter- 
suit,  the  number-one  song  on  Holly- 
wood's hit  parade  is  "I'll  Be  Suing 
You."  .  .  .  Jerry  Lewis  added  a  boxing 
arena  to  his  other  dealings  and  wheel- 
ings. .  .  .  Talk  about  "fringe  benefits"! 
Allentown  (Pa.)  dept.-store  tycoon  Max 
Hess  spends  thousands  importing  TV 
and  movie  stars — just  to  shake  the 
hands  of  his  star-struck  employees.  .  .  . 
Brenda  Scott,  rising  young  actress,  is 
sure  fame  will  come  her  way  if  she 
keeps  studying  old  pictures  of  her  late 
aunt,  Mae  Busch,  so  lovely  in  the  silent 
films.  .  .  .  Annie  ("Angel")  Farge  joins 
Julie  Harris  in  the  movie  version  of 
B'way's  "Shot  in  the  Dark."— THE  END 


Vote  Today-A  Gift  Is  Waiting  For  You ! 

Just  fill  in.  your  favorites  and  your  choices,  in  the  box  below, 
and  one  of  our  400  prizes  may  well  be  yours!  This  month's 
prize:  "Letters  from  Camp"  by  Bill  Adler,  with  illustrations 
by  Syd  Hoff.  The  art  is  hilarious,  but  nothing's  funnier  than 
the  genuine  messages  America's  Pup  Tent  Set  actually  write 
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Paste  this  ballot  on  a  postcard  and  send  it  to  TV  Radio 
Mirror,  Box  2150,  Grand  Central  Station,  New  York  17,  N.  Y. 


MY    FAVORITES    ARE: 


MALE  STAR:    1. 


2.                                                                          3. 

FEMALE  STAR:   1. 

2.                                                                              3. 

FAVORITE   STORY   IN   THIS    ISSUE:    1. 

2.                                                                              3. 

THE  NEWCOMER   I'D  LIKE  MOST  TO  READ  ABOUT: 

THE   FAMOUS   PERSON,   NOT    IN    SHOW 
BUSINESS,    I'D   LIKE  TO   READ   ABOUT: 

9-62 


Would  you 

like  to  meet 

a  flier? 

or  a  sailor? 

or  a  singer? 

or  a  salesman? 

or  a  horseman? 

or  a  farmer? 

or  a  writer? 

or  an  actor? 

or  a  banjo  picker? 

or  a  producer? 

or  a  director? 

or  a  hunter? 

or  a  comedian? 

or  a  ukulele  player? 

or  a  cab  driver? 

or  a  war  correspondent? 

or  a  radio  operator? 

**■«   «*     **lm*±m*±     ^mjI^m     ^%^^I^O 


Here  they  are! 


They're  all  Arthur  Godfrey— every  description  on  the  preceding 
page  fits !  Besides  being  all  those  men,  Arthur  Godfrey  is  now  a 
horse  trainer  (he  trains,  rides  and  exhibits  thoroughbred  Palo- 
minos); an  ice  skater  (he's  done  whole  shows  on  ice);  a  crack  trap 
shooter;  and  a  retired  Colonel  in  the  U.S.  Air  Force  Reserve. 
Because  he's  done  all  these  things,  he  knows  all  kinds  of  people, 
and  many  of  them  drop  in  on  CBS  Radio,  weekday  mornings  at 
Arthur  Godfrey  Time.  With  Arthur  drawing  them  out,  they  tell 
inside  stories,  trade  facts,  swap  gags  and  personal  anecdotes. 
You  never  hear  an  interview— just  shop  talk  between  fascinating 
friends. 

Among  other  visitors,  Arthur's  talked  shop  with  Andy  Wil- 
liams, a  fellow  singer;  Red  Buttons,  a  fellow  comedian;  John 
Crosby,  a  fellow  critic;  Major  Bob  White,  a  fellow  flier  (Bob  flies 
the  X15!);  Harry  Golden,  a  fellow  kibitzer;  Robert  Ruark,  a 
fellow  African  hunter;  Trevor  Bale,  a  fellow  animal  trainer  (he 
trains  tigers  and  lions);  Lionel  Hampton,  a  fellow  musician;  Mr. 
Nita,  a  fellow  fireworks-maker  (Godfrey's  are  verbal,  Mr.  Nita 
makes  the  Japanese  paper  kind);  and  Phil  Silvers,  Buddy  Hack- 
ett  and  Jackie  Gleason,  fellow  experts  at  the  game  of  gab. 

That's  just  a  small  sampling.  And  besides  all  the  good  talk 
there's  the  best  of  popular  music :  blues,  ballads,  and  old  and 
new  hit  show  tunes.  All  this,  plus  the  regulars  you  hear  every 
weekday  morning  on  CBS  Radio's  Arthur  Godfrey  Time. 

A  lot  of  entertainment— a  lot  of  interesting  people.  But  then, 
so  is  Arthur  Godfrey.  All  by  himself,  he's  a  crowd. 

CBS  RADIO  STATIONS: 

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KHSL,  Eureka  KINS,  Fresno  KFRE,  Los  Angeles  KNX,  Modesto  KBEE,  Palm  Springs  KCMJ,  Redding  KVCV,  Sacramento  KFBK, 
San  Diego  KFMB,  San  Francisco  KCBS  Colorado  Colorado  Springs  KVOR,  Denver  KLZ,  Grand  Junction  KREX  Connecticut  Hartford- 
Manchester  WINF,  Waterbury  WBRY  District  of  Columbia  Washington  WTOP  Florida  Fort  Myers  WINK,  Jacksonville  WMBR,  Miami 
WKAT,  Orlando  WDBO,  Pensacola  WDEB,  St.  Augustine  WFOY,  Sarasota  WSPB,  Tallahassee  WTNT,  Tampa  WDAE,  West  Palm 
Beach  WJNO  Georgia  Albany  WGPC,  Athens  WGAU,  Atlanta  WYZE,  Augusta  WRDW,  Columbus  WRBL,  Gainesville  WGGA,  Macon 
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WARK  Massachusetts  Boston  WEEI,  Pittsfield  WBRK,  Springfield  WMAS,  Worcester  WNEB  Michigan  Adrian  WABJ,  Bad  Axe 
WLEW,  Grand  Rapids  WJEF,  Kalamazoo  WKZO,  Lansing  WJIM,  Port  Huron  WHLS,  Saginaw  WSGW  Minnesota  Duluth  KDAL,  Min- 
neapolis WCCO  Mississippi  Meridian  WCOC  Missouri  Joplin  KODE,  Kansas  City  KCMO,  St.  Louis  KMOX,  Springfield  KTTS 
Montana  Billings  KOOK,  Butte  KBOW,  Missoula  KGVO  Nebraska  Omaha  WOW,  Scottsbluff  KOLT  Nevada  Las  Vegas  KLUC 
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New  York  Albany  WROW,  Binghamton  WNBF,  Buffalo  WBEN,  Elmira  WELM,  Gloversville  WENT,  Ithaca  WHCU,  Kingston  WKNY, 
New  York  WCBS,  Pittsburgh  WEAV,  Rochester  WHEC,  Syracuse  WHEN,  Utica  WIBX,  Watertown  WWNY  North  Carolina 
AshevillO  WWNC,  Charlotte  WBT,  Durham  WDNC,  Fayetteville  WFAI,  Greensboro  WBIG,  Greenville  WGTC  North  Dakota  Grand 
Forks  KILO  Ohio  Akron  WADC,  Cincinnati  WKRC,  Columbus  WBNS,  Dayton  WHIO,  Portsmouth  WPAY,  Youngstown  WKBN  Okla- 
homa Oklahoma  City-Norman  WNAD,  Tulsa  KRMG  Oregon  Eugene  KERG,  Klamath  Falls  KFLW,  Medford  KYJC,  Portland  KOIN, 
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delphia WCAU,  Piltsburgh-McKeesport  WEDO,  Reading  WHUM,  Scranton  WGBI,  State  College  WRSC,  Sunbury  WKOK,  Uniontown 
WMBS,  Williamsport  WWPA  Rhode  Island  Providence  WEAN  South  Carolina  Anderson  WAIM,  Charleston  WCSC,  Columbia-Cayce 
WCAY,  Greenville  WMRB,  Spartanburg  WSPA  South  Dakota  Rapid  City  KOTA,  Yankton  WNAX  Tennessee  Chattanooga  WDOD,  Cooke- 
ville  WHUB,  Johnson  City  WJCW,  Knoxville  WNOX,  Memphis  WREC,  Nashville  WLAC  Texas  Austin  KTBC,  Corpus  Christi  KSIX, 
Dallas  KRLD,  El  Paso  KIZZ,  Harlingen  KGBT,  Houston  KTRH,  Lubbock  KFYO,  San  Antonio  KMAC,  Texarkana  KOSY,  Wichita  Falls 
KWFT  Utah  Cedar  City  KSUB,  Salt  Lake  City  KSL  Vermont  Barre  WSNO,  Brattleboro  WKVT  Virginia  Norfolk  WTAR,  Richmond  WRNL, 
Roanoke  WDBJ,  Staunton  WAFC  Washington  Seattle  KIRO,  Spokane  KGA  West  Virginia  Beckley  WJLS,  Charleston  WCHS,  Fairmont 
WMMN.Parkersburg  WPAR,  Wheeling  WWVA  Wisconsin  Green  Bay  WBAY,  Madison  WKOW,  Milwaukee  WMIL  Wyoming  Casper  KTWO. 

THE  CBS  RADIO  NETWORK 


■■ 


Bobby  Scott 
Music  Editor 


S£ 


ir 


"THE  OLD  MAN" 
GENE  KRUPA 


•  "The  Old  Man"— as  I  have  come  to 
call  him  ever  since  I  served  an  appren- 
ticeship with  him — is  one  of  the  nicest 
and  warmest  human  beings  I've  ever 
had  the  pleasure  of  meeting.  He  is  many 
things.  He's  the  legendary  Drummer 
Man,  jazz  giant,  bandleader  and  teacher. 
He's  also  just  Gene  Krupa,  manager  of 
a  Yonkers  softball  team.  A  lender  of  his 
musical  talents  for  civic  benefits,  he's  a 
well-rounded,  well-informed  gent  whose 
neighbors  call  him  by  his  first  name 
and  like  him  as  much  as  they  admire 
him. 

He's  a  dyed-in-the-wool  N.Y.  Giant 
fan  ...  a  record  listener  from  Bach  to 
Stravinsky,  from  King  Oliver  to  Dave 
Brubeck  ...  a  reader  of  books  which 
can  range  from  (Continued  on  page  21) 


msm 


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Your  Monthly  ON   RECORD  Gti/ofo 


18 


POPULAR 

••••Dinah,  62,  Dinah  Washington, 
orch.  cond.  by  Fred  Norman  (Rou- 
lette)— Well,  here  is  the  Queen!  And  is 
she  murder!  Dinah  just  naturally  turns 
any  tune  her  way  and  comes  up  with  all 
the  marbles.  She  is  first  and  foremost  a 
blues  singer,  and  everything  she  sings 
is  instilled  with  that  shouting  quality, 
even  the  ballads.  This  album  is  not  a 
journey  into  subtlety.  It's  straight  ahead 
all  the  way.  Big  band,  organ  and  a 
fighting  rhythm  section.  (The  only  mi- 
nus is  the  way  Dinah's  voice  was  re- 
corded. It's  not  bad,  mind  you,  but  it 
could  use  a  little  edge.) 

Nobody  can  catch  Dinah  in  her 
groove.  She's  the  alpha  and  omega.  No 
matter  how  diverse  the  tunes,  she  brings 
them  all  into  her  orbit.  "Destination 
Moon"  will  bring  back  the  memory  of 
Nat  Cole's  record,  but  Dinah's  version  is 
in  another  groove.  She  uses  the  lyrics 
only  as  symbols.  It's  interesting  to  see 
how  she  belts  "Red  Sails  in  the  Sun- 
set." For  this  tune,  the  rendition  is 
rather  boisterous,  considering  the  mes- 
sage, but  Dinah  brings  it  home. 

Some  of  the  other  gems  include  "Co- 
quette," "Is  You  Is  Or  Is  You  Ain't  My 
Baby,"  "Drinking  Again"  and  "You're 
Nobody  Till  Somebody  Loves  You." 

It  all  jumps  off  the  record.  All  con- 
cerned— Fred  Norman's  arranging  and 
conducting,  Teddy  Reig  and  Roulette 
Records  and,  mostly,  the  Queen  of 
Blues,  herself — deserve  a  healthy  round 
of  applause.  Recommended — and  very 
highly  so,  we  might  add ! 


•••Mr.  Broadway — Tony  Bennett 
(Columbia) — This  album  delighted  me. 
Tony  embraces  all  the  tunes  with  his 
biggest  selling  point:  Heart!  Through- 
out all  the  proceedings  he's  in  fine  fettle. 

Tony's  range  of  expression  is  profes- 
sionally large.  He  has  got  it  down  to  a 
science.  When  the  huge  sounds  and  feel- 
ings are  required,  as  in  "Climb  Every 
Mountain,"  he  is  strong  with  sentiment 
and  sound;  strikingly  warm  when  sing- 
ing "Love  Look  Away" ;  and  full  of  the 
old  Nick  when  he  does  "Put  on  a  Hap- 
py Face."  He  also  puts  in  a  fine  wispy 
performance  on  the  beautiful  and  be- 
witching "La2y  Afternoon."  Needless  to 
say,  "Just  in  Time,"  "Stranger  in  Para- 
dise" and  "The  Party's  Over"  need  no 
introduction  to  you  by  this  reviewer. 

So  if  you  care  to  see  Broadway,  there 
couldn't  be  a  nicer  chap  or  larger  talent 
to  promenade  with.  The  tunes  are 
Broadway's  best,  the  singing,  some  of 
Tony's  best.  The  arrangements,  all  neat- 
ly written.  (And  performed  very  well, 
too.)  I'd  buy  it,  if  I  were  you. 


•••Bobby  Vee  Meets  The  Crick- 
ets (Liberty) — Bobby  Vee  never  sur- 
prises me !  His  albums  are  always  dead- 
center  shots.  This  venture  with  the 
Crickets  is  a  rewarding  one.  Both  Bobby 
and  the  Crickets  hear  things  similarly. 
It  also  offers  Bobby  a  chance  to  stretch 
out,  since  the  music  is  not  highly  ar- 
ranged nor  the  orchestra  encumbered 
with  a  great  number  of  players.  In  fact, 
there  may  be  only  five  or  six  musicians, 
including  the  Crickets.  (I  did  detect  a 


piano  on  several  of  the  album's  tracks. ) 
The  material  in  the  album  ranges 
from  "Peggy  Sue"  and  "Bo  Diddley"  to 
"Sweet  Little  Sixteen"  and  "Lucille." 
Bobby  is  absolutely  at  home  with  all  the 
tunes.  He  also  appears  to  push  harder 
and  sing  stronger  on  these  than  on  some 
of  his  strings-voices  type  single  records. 
The  recorded  sound  is  very  good  and 
the  cover  is  a  tasteful  picture,  in  color, 
of  Bobby  and  the  Crickets,  casual-style. 
The  kids,  I'm  sure,  will  hoist  this  al- 
bum up  all  the  hit  album  charts  and 
justly  so.  In  his  groove,  Bobby  is  one  of 
the  aces.  He  also  has  the  talent  to  pull 
in  a  few  older  ears  like  mine.  I  dig  him. 

MOVIE   MUSIC 

••••"Advise  and  Consent,"  Orig- 
inal Sound  Track,  comp.  and  cond.  by 
Jerry  Fielding  (RCA  Victor) — Nothing 
delights  me  more  than  first-rate  movie 
music.  This  is  a  wonderfully  entertain- 
ing album  even  if  you  forget  about  the 
movie!  I  have  no  doubt  that  this  score 
makes  the  movie  a  much  greater  experi- 
ence. It  would  have  to!  It's  an  entity 
in  itself. 

Jerry  Fielding  is  a  talent  that  many 
people  have  by-passed  when  in  the 
market  for  a  film  score.  Why?  Don't 
ask  me.  All  I  know  is,  he  has  for  years 
been  a  top-notch  arranger-bandleader- 
composer.  I'm  glad  Otto  Preminger 
gave  him  this  opportunity  to  show  his 
wares.  Jerry  is  able  to  cover  every  mood. 

The  titles  really  mean  very  little.  The 
quality  of  the  music  is  something  else. 
It  has  the  American  pulse.  (The  modern 


-K-MC-K   GREAT  I 
-K-MC  GOOD   LISTENING 


-MC    FAIR   SOUNDS 
+  IT'S    YOUR    MONEY 


tVi*f&  #****© 


mifnn 


one.)  Jazz  is  here,  lyric  right  beside  it. 
Strength  and  depth.  Vital  rhythmical 
excursions.  For  you  people  who  always 
pick  up  on  the  scores  from  Hollywood, 
this  is  a  must.  To  all  concerned,  con- 
gratulations! 

LATIN 

***Vaya  Puente,  Tito  Puente  and 
His  Orch.  (Tico) — Tito  Puente  has  long 
been  a  favorite  of  mine.  A  skillful  ar- 
ranger, fantastic  drummer  and  an  ex- 
cellent vibist,  Tito  also  excels  in  yet  a 
greater  department.  He,  above  all  the 
mambo-Latin-type  orchestras,  has  al- 
ways led  the  way  so  far  as  integrating 
American  jazz-type  music  into  his  Latin 
format.  (And  without  altering  the  Latin 
message.)  Tito,  to  my  knowledge,  has 
never  fronted  anything  but  a  first-rate 
band  of  players.  All  his  recorded  per- 
formances are  peak  professionalism  in 
action.  The  tunes  herein  are  charming 
dance  vehicles.  (I  can  assure  you,  you 
will  begin  to  move  some  part  of  your 
torso  to  this  music.  The  dance-beat  is 
that  persuasive.) 

Tito's  timbale  (Spanish  drums)  play- 
ing is  always  an  exciting  thing  to  ex- 
perience. In  his  own  way,  he's  like 
Count  Basie.  He  sets  the  most  musically 
desirable  tempos  and  instills  them  with 
the  feeling  of  steadiness.  The  arrange- 
ments are  bright,  brassy  and  concise. 
The  ballads  are  in  the  bolero  fashion 
and  musically  interesting.  The  whole 
album  is  full  of  excitement.  Take  a  lis- 
ten at  your  record  shop  and  see  if  you 
don't  end  up  saying,  Vaya  Puente! 


CLASSICAL 

*-AiHrThe  Magnificent  Sound  of 
The  Philadelphia  Orch.,  Eugene  Or- 
mandy  cond.  (Columbia,  2  L.P.'s)  — 
First,  let  me  say  two  12-inch  L.P.'s  for 
$3.98  is  a  steal — and  throw  in  just 
about  the  finest  musical  organization  in 
the  world  and  it  becomes  highway  rob- 
bery! 

The  collection,  largely  smaller  works 
of  the  favorite  variety,  is  impressive. 
The  "Afternoon  of  a  Faun"  prelude  by 
Debussy,  the  deeply  motivated  Sibelius 
opus,  "Swan  of  Tuonela,"  and  the  "Toc- 
cata and  Fugue  in  D  Minor"  by  the 
giant  of  composition,  Bach,  to  name  a 
few.  (Several  of  the  others  are  weary- 
ing to  this  reviewer,  but  they  hardly  de- 
tract from  the  value  of  the  package.) 

The  Philadelphia  Orchestra  is,  in 
your  reviewer's  humble  opinion,  our 
greatest  orchestra.  Even  in  the  rest  of 
the  world,  few  orchestras  have  equaled 
their  performance  level.  It  is  not 
strange  that  they  upset  the  Russians  on 


their  tour  of  that  music-loving  country. 

The  string  section  of  the  orchestra  is 
remarkable.  It  is  unmatched  in  every 
area.  (Recently,  they  lost  their  master 
flutist,  William  Kincaid,  to  the  call  of 
retirement.  He  was  a  great  mainstay. 
Kincaid  is  heard,  though,  here.) 

I  would  recommend  the  package  as  a 
buy  for  any  number  of  purposes,  from 
the  classical  collectors  to  those  who 
would  investigate  for  the  first  time 
the  appeal  of  classical  music. 


ilriiSummer  Festival  (RCA  Victor. 
2  L.P.'s) — As  you  might  note,  I  haven't 
listed  any  artists  here.  The  reason 
being  it  would  require  as  much  space 
for  the  list  of  the  performers  as  it  would 
for  this  review.  This  is  a  classical  sam- 
pler. A  pot  of  stew,  so  to  speak.  Cli- 
burn  to  Lanza,  Renata  Tebaldi  to  Mor- 
ton Gould.  The  pieces  here  are  mostly 
excerpts,  single  movements  out  of  larger 
works  and  short  pieces,  two  long-play- 
ing records'  worth.  (I  believe  a  special 
$3.98  price  goes  along  as  well.) 

The  high  points,  musically — the  fact 
that  it  is  a  sampler  aside — are  the  mar- 
velous finale  of  Beethoven's  Concerto 
No.  1,  played  by  the  Russian  entry  in 
the  great  pianists  department,  Sviato- 
slav  Richter,  with  Charles  Munch  and 
the  Boston  Symphony;  the  finale  of  the 
Giuliani  Guitar  Concerto  performed  by 
Julian  Bream;  and  the  Scherzo  from 
Edward  MacDowell's  Concerto  No.  2 
played  by  Van  Cliburn,  with  Walter 
Hendl  and  the  Chicago  Symphony 
Orchestra. 

There  are  two  Puccini  arias  sung  by 
Leontyne  Price  and  Anna  Moffo.  Both 
are,  to  your  reviewer's  taste,  sadly  lack- 
ing. Both  are  deliberate,  stilted.  An  ex- 
citing moment  herein  is  an  exerpt  from 
Bernstein's  "West  Side  Story"  music 
with  Robert  Russell  Bennett  conduct- 
ing. Also  included  is  a  "par-for-the- 
course"  track  by  the  late,  great  Mario 
Lanza. 

On  the  whole,  it's  an  interesting  pack- 
age, well  paced  and  geared  to  stimulate 
interest.  For  the  price — or  even  a  much 
higher  one — it's  well  worth  it. 


19 


Vow#-  Monthly   ON   RECORD  Guide 


20 


MUSICAL  TRAVELOGUE 

VHUkrSound  Tour,  Orch.  cond.  and  ar- 
rangements by  Kenyon  Hopkins  (Verve 
Records,  4  separate  L.P.'s) — Verve  is  to 
be  congratulated  on  this  rather  fresh 
idea  in  music  and  packaging.  In  con- 
junction with  Esquire's  travel  editor, 
Richard  Joseph  (who  has  supplied  the 
rather  inviting  booklet  of  notes  that 
comes  with  each  of  these  albums),  Ken- 
yon Hopkins  has  brought  us  an  interest- 
ing look  at  the  countries  of  Spain,  Italy, 
France  and  our  new  state,  Hawaii.  The 
view  is  not  so  much  representative  of  the 
cultures  as  it  is  of  our  view  of  them. 
Kenyon  Hopkins — whose  latest  movie 
score  triumph  was  "The  Hustler" — in- 
corporates the  music  of  America,  jazz, 
into  every  setting.  Strangely,  it  never  be- 
comes obtrusive.  (The  jazz  talent  on 
these  albums  is  of  the  highest  calibre.) 
Also  present  on  all  four  albums  are 
sound  effects  ranging  from  a  sheep's 
bleating  to  waves  lapping  the  shore, 
winds,  etc.  In  some  spots,  it  is  not  a  sore 
thumb;  in  others,  it's  a  little  overdone. 

The  Sound  Tour:  Italy  album  is 
chock  full  of  good,  though  subtle,  often 
under-written,  arrangements.  "Bella 
Roma,"  a  Hopkins  version  of  "Ciribiri- 
bin,"  is  done  in  a  contemporary  waltz 
fashion  with  jazz  overtones.  It  occa- 
sionally lapses  into  the  Italian  street 
band  type  of  sound,  which  makes  for  in- 
teresting pacing  in  the  color-of-sound 
department.  "Gondola,"  a  boat  song, 
starts  with  the  waves  (real  ones!)  and 
sails  an  enchanting  route.  Other  strong 
vehicles  are  "Early  Morning  Song"  or 
"Mattinata"  or  better  known  as  the  pop 
song,  "You're  Breaking  My  Heart"; 
"Shepherd's  Serenade"  and  the  socking 
"Street  Dance."  Throughout  these  pro- 
ceedings, mandolins  are  heard.  They, 
almost  by  themselves,  are  able  to  create 
the  warmth  of  Italy.  It's  a  delectable 
little  sojourn. 

Sound  Tour:  Spain  finds  us  in  the 
hands  of  strings,  enchanting  musical 
moments  and  a  good  deal  of  the  relaxed 
jazz  piano  of  the  underrated  Hank 
Jones.  Admittedly,  I'm  more  open  to 
Spanish,  and  particularly  the  modal- 
type,  music.  But  that  aside  for  a  mo- 
ment, I  think  the  melodic  material  in 
this  Spain  album  has  not  been  beaten  to 


■    ,   :■■:.  '...'■..  .■."..'  .,.    .    ■■ 


death  like  some  of  the  Italian  and 
French  tunes  that  we  are  so  familiar 
with.  (Of  course,  Mr.  Hopkins  is  a  bas- 
tion of  taste  so  nothing  falls  too  low.) 
Spain,  in  your  reviewer's  humble  opin- 
ion, comes  to  life  much  more  so  than 
Italy  did.  (In  fact,  of  the  whole  four  al- 
bums, Spain  is  the  most  intriguing. ) 

The  moments  of  Latino  splendor  are 
many  in  this  album.  "Parador"  and 
"The  Doves  of  Majorca"  are  entranc- 
ing! They're  so  plentiful  here,  these 
gems,  it's  hard  to  pick  'em.  "Basque" 
has  a  swinging  groove  with  the  strings, 
like  a  blanket  of  warm  wind,  supporting 
a  crystal-like  piano  solo.  The  rhythm 
section  rocks  along  very  strongly. 

The  wind  effect  on  "Costa  Brava"  is 
definitely  an  asset  in  the  sound  depart- 
ment. It  chills,  unquestionably.  Of 
course,  nothing  about  Spain  could  possi- 
bly be  complete  without  something  from 
Bizet's  opera  "Carmen."  The  habanera, 
herein  called  "Carmen  Speaks  English," 
is  done  up  in  fine  fashion.  And  last  but 
not  least,  a  glimpse  into  the  bull  ring. 
This  time  it's  the  "Timid  Toro,"  a  hybrid 
jazz  and  Latin  satire.  "Adios  Granada" 
takes  us  sadly  to  the  end  of  our  journey. 

Sound  Tour:  France — although  its 
jazz  quality  is  high,  as  well  as  its  pic- 
torial side — is  not  able  to  invoke  what 
"Spain"  did  in  your  reviewer.  It  has 
enough  wonderful  moments  so  as  not  to 
affect  the  rating  for  all  the  other  albums. 
"Train  Bleu,"  a  version  of  "Sur  le  Pont 
d'Avignon,"  is  the  opening  gem.  "Voy- 
age a  Bicyclette"  is  a  wonder!  It  creates 
the  ride  through  the  countryside  down 
to  the  dog's  bark  and  the  chirping  birds. 
The  candid  shot  of  St.  Tropez,  more 
commonly  known  as  Bikini-Land,  "Pays 
de  Bikini,"  is  a  marvel.  The  jazz  play- 
ing takes  the  wheel  here  and  do  these 
chaps  shout  a  bit!  As  a  matter  of  fact, 
this  is  more  in  a  total  jazz  groove  than 
the  other  albums. 

Sound  Tour :  Hawaii  is  the  weakest 
of  the  set  but  that's  hardly  condescend- 
ing, as  the  others  are  impossibly  good  as 
these-type  albums  go.  There  is  so  much 
more  to  say  about  these  albums,  but  I'm 
afraid  this  review  could  easily  turn  into 
a  novel  at  any  moment.  I'll  leave  you 
with  this  advice:  They  are  unquestion- 
ably the  best  of  this  variety  I've  heard  in 
many     moons.     Highly     recommended. 


- 


"THE   OLD   MAN" 
GENE   KRUPA 

(Continued  from  page  17) 


current  fiction  to  the  contemplative 
works  of  Thomas  Merton  ...  a  graying 
gentleman,  who  has  spent  more  than 
half  his  fifty-odd  years  in  the  music 
business  and,  to  my  knowledge,  has 
rarely  made  an  enemy. 

Gene  was  raised  in  a  tough  part  of 
Chicago.  At  one  time,  he  entertained 
the  thought  of  the  priesthood  as  a  vo- 
cation. But  music  kept  calling.  He 
played  in  keyhole  clubs  during  prohibi- 
tion, graduated  into  the  Austin  High 
Chicago-style  Dixie  clique  and  eventu- 
ally the  Benny  Goodman  heydays. 

Gene's  bands  were  equally  as  famous 
as  Benny's,  and  the  talents  that  Gene 
helped  nurture  along  are  uncountable. 
Roy  Eldridge,  "Little  Jazz,"  Vido  Musso 
(later  to  make  a  name  with  Stan  Ken- 
ton), Anita  O'Day,  Johnny  Desmond, 
Gerry  Mulligan,  Charlie  Ventura  and 
Teddy  Napoleon  and  many  others. 

My  own  sojourn  with  Gene  was  a 
marvelous  education.  He  is,  above  all, 
patient.  He  stimulated  my  interest  in 
all  areas  of  music,  was  the  first  person 
interested  enough  in  my  voice  to  record 
me  as  a  singer  with  the  group,  and  was 
a  great  guiding  force  in  his  own  subtle 
way.  I  matured  quite  a  bit  while  work- 
ing for  him,  both  musically  as  well  as 
mentally.  If,  when  I  did  leave  the  group 
after  two  years,  I  was  able,  at  nineteen, 
to  lead  my  own  groups,  much  of  the 
credit  goes  to  Gene. 

Gene  Krupa,  the  musician,  is  always 
very  much  aware  of  what's  going  on  in 
jazz.  He  always  gives  encouragement 
and  credit  to  those  players  he  feels  are 
comers.  More  important,  he  never  talks 
about  himself.  If  asked  about  drums, 
he'll  talk  about  Buddy  Rich,  Max 
Roach,  Joe  Morrello,  Art  Blakey  and 
some  of  the  older  players.  He  is  also 
the  most  receptive  of  the  older  musicians 
I've  come  across.  (I  believe  "Burnin' 
Beat,"  his  recent  Verve  album,  proves 
that.) 

Maybe  that's  the  key  to  his  personal- 
ity. He  can  enjoy  many  diverse  things 
and  absorb  and  eventually  apply  them. 
That's  why  Gene  is  the  vital  person  he 
is;  he's  still  growing. 

One  night,  while  I  was  working  with 
Gene,  he  preceded  us  out  on  the  stage. 
The  audience  gave  him  an  ovation  that 
is  accorded  only  a  small  group  of  peo- 
ple in  the  music  business.  I  looked  out 
and  what  I  saw  was  not  just  respect  but 
love  for  the  gentleman  and  legend  that 
Gene  Krupa  is  and  always  will  be! 


PIECES   OF  EIGHT 

•  Bobby  Darin  is  having  some  throat  difficulties.  It  may 
mean  canceling  some  upcoming  engagements  around  the 
country.  Meanwhile,  Bobby's  latest  album  tribute  to  Ray 
Charles  is  doing  well.  .  .  .  "Old  Rivers"  has  put  actor 
Walter  Brennan  on  the  recording  scene.  Wonder  what  he'll 
do  next?  .  .  .  George  Maharis  of  "Route  66"  fame  seems 
to  be  getting  turntable  action  on  his  new  recorded  efforts. 
"Teach  Me  Tonight"  is  the  strong  one.  .  .  .  Singer-actor  Dick 
Haymes  is  in  the  middle  of  a  deal  to  produce  motion  pic- 
tures. He'll  be  leaving  N.Y.  to  reside  in  Hollywood. 

Tony  Bennett's  "San  Francisco"  and  "Candy  Kisses"  are 
getting  air-play.  .  .  .  Capitol  Records  has  released  three  al- 
bums— all  in  the  Hawaiian  groove.  Possible  this  is  the  new 
resource  for  tunes.  .  .  .  Folk  singer  Joan  Baez  is  playing 
concerts  to  full  houses.  (Don't  say  I  didn't  tell  you  about 
her ! )  .  .  .  Josh  White  recorded  some  single  record  material 
in  Nashville.  His  family  joined  him  and  everybody  sang.  .  .  . 
Jackie  Wilson  still  taking  it  easy  after  his  accident.  .  .  . 
Dion  looks  like  he  has  another  big  album. . . .  Joe  Williams 
set  to  do  a  big-band  album  for  Roulette.  Torrie  Zito  will  do 
the  arranging.  Joe  has  been  doing  a  single  since  he  left  Basie. 

Benny  Carter,  saxophonist-composer-arranger-conductor, 
was  in  N.Y.  recently,  wielding  the  baton  for  Peggy  Lee  at 
Basin  Street  East.  .  .  .  Johnnie  Hallyday,  Europe's  hottest 
artist,  was  in  N.Y.,  too,  for  a  short  while. 

Quincy  Jones,  bandleader  and  A&R  man  for  Mercury 
Records,  back  from  Europe,  where  he  recorded  Robert 
Farnon  and  Yves  Montand.  ...  It  looks  like  we  called  it! 
"Uptown" — our  No.  1  single  a  couple  of  months  ago — really 
climbed  the  charts.  .  .  .  Clint  Eastwood,  of  "Rawhide" 
fame,  tells  us  he'll  be  recording  soon.  .  .  .  Chuck  Sagle, 
independent  arranger-conductor,  has  been  hired  by  Frank 
Sinatra's  Reprise  Records  as  A&R  man. 

Singer  Bob  Crewe  now  heading  a  new  record  operation, 
Perri  Records.  Bob,  one  of  the  most  diversified  of  talents, 
shouldn't  have  much  trouble  putting  them  on  the  map.  .  .  . 
Buddy  Rich  is  back  drumming  again  with  the  Harry 
James  band.  He  had  been  ailing  with  a  heart  condition,  but 
we  hope  Buddy's  well  on  his  way  to  recovery. 

Jazz  notes:  ABC-Paramount's  jazz  line,  Impulse  Records, 
has  just  released  a  big  band  album  by  Quincy  Jones.  Phil 
Woods  is  featured.  Also  albums  by  Benny  Carter  and  John 
Coltrane. . . .  Verve  cut  Oscar  Peterson's  Trio  doing  the 
score  from  "West  Side  Story."  .  .  .  The  jazz  scene  was  sad- 
dened by  the  passing  of  Leo  Parker.  He  was  an  outstanding 
baritone  saxophonist.  He  had  recorded  extensively.  .  .  .  Gil 
Evans  and  Bill  Evans  slated  to  do  an  album  on  Verve.  .  .  . 
Julius  Watkins  has  a  new  album  release  on  Mercury  which 
uses  a  choir  of  French  horns.  Eight  in  all.  Gerry  Mulligan's 
new  album  on  Verve  features  Zoot  Sims  on  tenor  with 
Gerry's  swinging  concert  band.  It's  a  winner.  .  .  .  David 
Amram  recently  had  a  program  of  his  compositions  pre- 
sented at  Town  Hall.  It  featured  the  Beaux-Arts  String  Quar- 
tet. .  .  .  Slide  Hampton,  late  of  the  Maynard  Ferguson 
band,  has  recorded  an  album  for  the  new  company,  Charlie 
Parker  Records.  .  .  .  Columbia  is  soon  to  release  an  album 
of  the  piano  playing  of  James  P.  Johnson. 


21 


22 


In  a  recent  issue  of  TV  Radio  Mirror,  we  asked 
you,    the    readers,    if    you    felt    that    Eddie    Fisher 
should  have   another  chance.  You  answered  with  an 
overwhelming  YES.  In  fact,  you  voted  your  confidence 
in  him  at  odds  of  8  to  1.  .  .  .  Apparently,  Hollywood 
shares  your  faith  and  your  concern  for  his  future.  The 
pictures  on  these   pages  reveal — not  only  the  proverbial 
great   heart   of   show   biz — but   the   infinite   variety   of   all 
those  who  stood  up  to  be  counted  alongside  Eddie:  From  the 
matriarch  of  Grossinger's — the  resort  hotel  where  he  married 
Debbie  Reynolds  ...  to  the  son  of  the  late,  great  Mike  Todd 
— Elizabeth  Taylor's  previous  husband  .  .  .  and,  perhaps  the 
most  amazing  of  all,  Juliet  Prowse — whose  frequent  dates  with 
Fisher  had  Hollywood  wondering  if  it  was  about  to  see  a  triangle 
no  one  could  have  expected,  when  Frankie-boy  got  back  to  town 


1     Kay    Gable — widow    of    "The 
King."  2  Mrs.  Jennie  Grossinger — 
owner    of   the    big    Eastern    resort. 
>  3    Eddie    Cantor — who    gave    Fisher 
early    boost   to    fame.   4    Andy    Wil- 
liams. 5  The  Keenan  Wynns— and  Kay 
again.  6  Janet  Leigh.  7  Mr.  and   Mrs. 
Mike   Todd    Jr.    8   And    Juliet    Prowse — 
Hollywood's  (and  Eddie's)  biggest  surprise! 


Romano  Mussolinis  (Maria 
Loren)  expecting  a  Dec.  stork. 
.  .  .  Count  Basie  murdered  'em 
in  London — raves.  .  .  .  Jane 
Fonda  to  marry  Andrew  Vout- 
sinas.  .  .  .  Jack  (CBS)  Ster- 
ling named  her  Linda.  (It's 
their  sixth  girl-child.)  .  .  . 
Mort  Sahl  and  Inger  Stevens 
cooing  at  Basin  St.  .  .  .  Chris- 
topher Lynn  Calloway  was  in 
debbie  debut  group,  Waldorf- 
Astoria.  She  is  Cab's  daughter. 
.  .  .  Glenn  Ford  and  Hope 
Lange  resumed.  ...  Dag- 
mar  and  Danny  Driscoll  split. 
.  .  .  Cole  Porter  deeply  pleased 
at  world  tributes  on  his  70th 
birthday.  Porter,  the  Peru, 
Ind.,  kid  who  in  1911  penned 
Yale's  "Bulldog,  Bulldog,"  and 
"Bingo,"  told  me  that  he  was 
so  humiliated  at  the  flop  of  his 
very  first  B'way  musical  in 
I  1916,  he  locked  himself  in  his 
room  at  the  Yale  Club  in  N.Y., 
ate  all  his  meals  there,  then 
t  grabbed  a  liner  to  Europe  and 
v       enlisted  in  the  French  Foreign 


24 


Legion !  For  nine  years,  Porter 
never  came  up  with  a  B'way 
stage  hit.  .  .  .  Ann-Margret 
dating  "Bye  Bye  Birdie's" 
Bobby  Rydell.  .  .  .  Peter 
Duchin  and  Gary's  Maria 
Cooper  pianissimo.  .  .  .  Eddie 
Fisher  dating  Leslie  Parrish. 
.  .  .  England's  Gaitskell  noted : 
"Best  bit  of  news  is  that  Khru- 
shchev enjoyed  Benny  Good- 
man. Jazz  is  a  very  good 
international  cement."  Good- 
man learned,  as  we  found  out, 
that  Russians  love  U.S.  per- 
formers. .  .  .  Louis  Armstrong 

was  62,  July  24 Churchill's 

sec'y,  Jo  Sturdos,  to  wed  Earl 
of  Onslow.  .  .  .  Joan  Bennett 
and  Peter  Pagan  at  El  Mo- 
rocco. .  .  .  Jimmy  Durantes 
got  final  adoption  O.K.  .  .  . 
Explains  Harlem's  Nipsy  Rus- 
sell: "I'm  loaded.  I  smuggle 
Herald  Tribs  into  the  White 
House."  .  .  .  Carol  Burnett 
would  be  sensational  as  Fanny 
Brice.  She's  just  as  good  as 
Fanny  and  much  more  attrac- 


tive. .  .  .  Peggy  Ann  Garner 
and  Tony  Farrar  a  twosome. 
.  .  .  Crowds  made  TV  coverage 
of  U.S.  Open  so  difficult  that 
TV  must  come  up  with  new 
precautions  to  prevent  fans 
from  blocking  putting  greens. 
.  .  .  Carol  Lawrence  and 
Larry  Kert  resumed.  .  .  . 
Charles  Laughton  was  hos- 
pitalized at  the  very  moment 
all  of  us  were  cheering  his 
Academy  Award  performance 
in  "Advise  and  Consent."  .  .  . 
Did  you  ever  know  that  Laugh- 
ton  tried  to  get  out  of  his 
Captain  Bligh  role,  which 
made  him  famous?  "I  get 
deadly  seasick,"  Laughton  ex- 
plained to  director  Frank 
Lloyd.  Then  he,  studied  Lloyd's 
face:  "Wait  a  moment.  If  I 
had  your  bushy  eyebrows, 
Frank,  I  could  be  Bligh."  They 
made  up  the  false,  bristling 
eyebrows,  he  became  the  fear- 
some Bligh  and  his  menacing 
"Mr.  Christian — come  here!" 
became  a  national  phrase.  .  .  . 


To  conceal  his  sentimentality, 
Laughton  always  assumes  a 
pretended  fierce  gruffness.  Ac- 
tually, no  one  has  a  deeper 
affection  for  people.  As  long 
ago  as  1949,  he  introduced 
Bible  reading  to  TV  on  our 
show.  As  a  result,  Laughton 
and  Paul  Gregory  then  brought 
to  the  Broadway  stage  such 
classic  readings  as  "Don  Juan 
in  Hell,"  "John  Brown's  Body," 
etc.  .  .  .  Sudden  thought: 
How  does  "Ben  Casey" 
feel  about  Medicare?  .  .  . 
Eartha  Kitt  to  give  four  con- 
certs in  Kenya,  for  needy  chil- 
dren. .  .  .  Marlene  Dietrich 
postponed  concert  tour  in  Rus- 
sia. .  .  .  Michael  Wilding  woo- 
ing Karen  von  Unge.  .  .  .  After 
all  the  cooing  while  she  was 
headlining  at  the  Latin  Quar- 
ter, Pat  Wymore  and  Texan 
MacCaudle  iced. 


Published  by  permission  of 
the  Chicago  Tribune — New 
York     News     Syndicate     Inc. 


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1 


1 


about: 

His  divorce  from  Liz! 


His  next  marriage! 


His  meeting  with  his  kids! 


His  "engagement"  ring! 


The  woman  who  healed  his  heart! 


His  "nervous  breakdown"! 


»■_. 

After  being  hounded  by  reporters  and  hurt  by"imade-up 
stories,  Eddie  Fisher  was  driven  into  silence.  Now,  in  this  exclu- 
sive interview  — his  first  with  any  magazine  since  his  split  with 
Liz  —Eddie  leveled  with  me.  "The  press  can  (Continued  on  page  74) 


s^rinriHi  mum 


j^55rm>  1^1^  mrsz 


jL^cmwim 


TO 


All  good  little  Brooklyn  girls  go  to  Coney  Island  and 
little  Concetta  Ingolia  was  no  exception.  The  amuse- 
ment park  there  is  a  magnet  for  youngsters,  with  its 
exciting  rides  and  games,  its  hall  of  distorted  mirrors 
which  can  reflect  back  to  an  imaginative  child  all  the 
fantastic  and  different  things  she  might  be.  .  .  .  It's  a 
long,  twisting  road  that  leads  from  Coney  Island  to  Hol- 
lywood, but  little  Concetta  traveled  it — to  become  cute, 
glamorous  and  successful  Connie  Stevens  .  .  .  and  the 
changes  that  took  place  en  route  are  more  fascinating 
than  anything  the  hall  of  magic  mirrors  could  have 
hinted  at!  Today,  as  Warner  (Please  turn  the  page) 


26 


i 


«« 


k* 


f 


HI ' 


I*ike  any  girl, 

Connie  Stevens 

reaches  out  for 

a  man  to  love  .  .  . 

like  no  other 

girl,  her  choice 

will  surprise  you! 


wrmnicsiHi  <Q>* 


■ 

■ 


% 


tV>VVV*M| 


A'V* 


k  Gary  Clarke:  Is  the 
man  in  her  past  also    r    _- 
the  man  in  her  future? 


Si: 


"«■« 


#C ^*     .  .      A. 


Bros.'  hottest  young  star  and  the  talk  of  the  town, 
Connie  is  a  growing  legend.  The  list  of  men  to  whom 
she  has  been  reported  engaged,  on  the  verge  of 
marrying,  or  just  dating,  is  as  long  as  a  space-flight 
countdown,  and  it  includes  the  most  attractive  "eligi- 
bles"  in  show  business.  Not  only  that,  but  her 
"fussin'  and  feudin'  "  with  the  studio  has  made 
headlines  wherever  there  are  phonographs,  movie 
houses  or  TV  sets. 

A  recent  conversation,  overheard  from  a  table  in 
PJ.'s,  went  something  like  this:  "That  Stevens  gal 
has  the  look  of  a  teenager."    "But,"  said  another, 


"she  has  the  body  of  a  sex  kitten."  "Yes,"  added  a 
third,  somewhat  maliciously,  "a  sex  kitten  with  the 
heart  of  a  tiger!"  There  must  be  moments  when  23- 
year-old  Connie  herself- — musing  on  the  rash  of 
stories  that  claim  to  "reveal  the  true  Miss  Stevens" — 
looks  into  her  mirror  and  remembers  .  .  .  her  mind 
backtracking  to  the  time  when  little  Concetta  stood, 
big-eyed  amid  the  weird  and  baffling  reflections  in 
the  hall  of  mirrors,  and  wondered,  Can  any  of  them 
really  be  me? 

The  fact  is,  nobody  knows  the  "true"  Connie 
Stevens — and  even  if  she  herself  has  the  secret  key 


28 


<OCO>E5r55riI. 


'~2T  J5JJSMI! 


W^^ 


3  Glenn  Ford: 
He'.«  out  of  sight,  but 
is  he  out  of  heart? 


)  Troy  Donahue:  What 
else  but  love  could  make 
a  girl  fight  so  hard? 


to  her  complex,  winsome,  talented,  frank,  clevei  and 
explosive  self,  she  isn't  talking.  Those  who  purport 
to  know  her,  know  only  what  they  see  of  her.  To 
her  father :  "She  is  all  a  daughter  could  be  .  .  .  she's 
still  part  little-girl  and  yet  definitely  all-woman." 
...  To  her  manager,  John  Vestal:  "There's  a  V-8 
brain  behind  that  doll's-face — she  has  a  knack  for 
sizing  up  a  good  investment,  and  her  drive  for  suc- 
cess is  fantastic."  .  .  .  To  a  filmtown  wag:  "Connie's 
a  gal  who's  never  said  no  to  a  date  and  never  said  yes 
to  a  pass.  That's  her  reputation.  Beginning  with  Gary 
Clarke  (her  first  love),  she's  dated  practically  all  of 


Hollywood's  eligibles.  According  to  one  and  all,  the 
date  is  wonderful — but  it  stops  short  at  her  door- 
step." Connie  has  reversed  the  usual  pattern.  The 
longer  her  escort  brigade,  the  better  her  reputation. 
To  her  brother,  nicknamed  "Charlie  Boy,"  she  is 
"the  type  who'll  make  a  great  wife  and  mother.  She 
doesn't  have  a  lot  of  free  time  but,  when  she  can, 
she's  over  helping  Ellen,  my  wife,  and  playing  with 
our  three  little  girls,  who  adore  her."  To  Gary 
Clarke,  actor-singer  who  has  been  in  and  out  of  her 
life  and  is  still  considered  "the  front  runner"  as  of 
this  writing:   "Connie's    {Continued  on  page  84) 


29 


by  Jane  Ardmore 


HORTON 
FIGHTS 

FOR 

HIS 

LIFE 


What  kind  of  a  guy  would 
turn  his  back  on  a  million 
dollars?  What  kind  of  a 
wife  would  let  him  do  it? 
Well,  as  for  the  man,  he  was 
described  in  his  first  acting  job  as  "six 
feet  of  red-headed  dynamite."  The 
name  is  Robert  Horton.  He's  a  tal- 
ented guy,  a  thoughtful  guy  and 
a  growing  guy.  He's  fought  his  family, 
his  studios,  his  script  writers.  He's 
fought  for  love  and  rebelled  at  mar- 
riage .  .  .  and  made  some  big,  whopping  mistakes,  both  personally 
and  professionally.  The  difference,  this  time,  is  that  fiery  Bob 
finally  knows  what  he  wants  and  whom  he  wants  .  .  .  and  he's 
fighting  for  his  very  life.  For  three  years,  he's  been  living  and  working 
in  a  strait- jacket  .  .  .  pressured  from  the  outside  to  go  on, 
on,  on— pressured  from  the  inside  by  an  increasing  lack  of  ease,  a 
loss  of  self — he'd  been  swallowed  whole  by  the  show  which  had  given  him 
his  first  chance  at  the  big-time.  .  .  .  When  he  began  pulling  away  from 
"Wagon  Train,"  Hollywood  just  thought  he  wanted  something  extra. 
"Bob,"  a  studio  executive  told  him,  "just  give  us  another  three  years  of 
your  life  and  you  won't  have  to  worry  about  money  as  long  as  you 
live.  You  can  retire  .  .  .  you  can  see  all  of  the  world  you  want 
. . .  you  can  give  that  bride  of  yours  everything  you've  dreamed.  .  .  ." 
The  man  was  hitting  close  to  home.  Bob  had  just  married.  After 
romantic  chaos,  he'd  finally  found  a  girl  who  was  right  for  him. 
Could  he  jeopardize  their  emotional  security   (Continued  on  page  16) 


He'd  been  in  fights  before,  but  this  time  the 

stakes  were  too  high...this  time,  Bob  couldn't  afford  to  lose 


30 


▼I ' 


m  v 


7M    I   I 

m    "'     T      1 

Infe 


\ 


Five  mornings  a  week,  E.G.  Marshall— the  suave 
Lawrence  Preston  of 'The  Defenders"— wakes  in 
his  town  house  on  New  York's  East  92nd  Street, 
breakfasts  with  his  family  and  then  changes  from 
robe  to  sweat-suit  Then  (Continued  on  page  II  ) 


i 


\m 


Five  mornings  a  week,  E.G. Marshall— the  suave 
Lawrence  Preston  of  "The  Defenders"— wakes  in 
his  town  house  on  New  York's  East  92nd  Street, 
breakfasts  with  his  family  and  then  changes  from 
robe  to  sweat-suit  Then  (Continued  on  page  II  ) 


HOW  VINCE  EDWARDS 


HIS  MOTHER'S 

ACHE 


Vince  Edwards  was  coming 
home  to  his  old  Brooklyn  apart- 
ment for  the  first  time  in  three 
years  .  .  .  for  the  first  time  since 
he  hit  it  big  on  television.  It  was 
a  happy  time — especially  for  his 
mother.  At  least,  it  should  have 
been. 

Yet  when  I  called  Vince's 
mother,  I  was  astonished  by  the 
sadness  in  her  voice. 

"How  are  you,  Mrs.  Zoino?" 
were  my  first  words. 

"Oh,  just  fine  .  .  .  fine  .  .  ." 

The  sentence  drifted  away.  It 
seemed  as  if  Mrs.  Julia  Zoino 
were  speaking  from  distant  Aus- 
tralia rather  than  the  few  short 
miles  that  separated  her  from  my 
phone  in  midtown  Manhattan. 

"I  called  to  ask  about  Vince," 


For  three  years,  Mrs.  Zoino 
had  waited  for  this  moment. 


I  told  her.  "1  heard  he's  coming 
home.  You  must  be  thrilled." 

There  was  a  long  pause. 

"Well,"  she  started,  slowly. 
"Vince  was  coming  home  .  .  . 
but  .   .   ." 

Again  Mrs.  Zoino's  voice 
sounded  distant  and  faint. 

"You  mean  it's  not  true  that 
your  son  had  made  plans  to  pay 
you  a  visit?" 

"Oh,  no!  It's  right,  Vince  was 
coming  home.  But  something 
came  up  .  .  .  He  had  to  go  to 
Indianapolis  ...  a  publicity  tour. 
He  was  forced  to  give  up  his 
plans.  So  he  called  .  .  ." 

I  interrupted  Mrs.  Zoino  to  in- 
quire whether  that  meant  that — 
even  after  all  this  time,  after  all 
of   her    (Please   turn   the   page) 


34 


plans — she  would  not  see  the  hulk- 
ing, handsome  twin  son  she  had 
missed  so  much. 

"No,  no,"  she  returned,  with 
alarm  in  her  tone.  She  didn't  want 
me  to  misunderstand.  There  had 
been  so  many  rumors  that  Vince 
didn't  want  to  come  home  again; 
that  since  he  hit  the  big-time  he  had 
forgotten  his  family  and  friends 
back  in  the  East  New  York  section 
of  that  famous  borough;  that  per- 
haps, like  the  Dodgers,  he  had  for- 
saken Brooklyn  for  good.  Mrs.  Zoino 
was  apprehensive. 

"Please,"  she  continued,  "Vince 
was  forced  to  change  his  plans.  He 
called  me  up  last  night  and  begged 
me  to  understand.  But  he  didn't  have 


must  have  tickled  Mrs.  Zoino  to  hear 
me  fumbling  for  words  to  frame  the 
next  query.  She  began  to  laugh. 

"I'm  as  surprised  as  you  are,"  she 
said  finally.  "I  had  no  such  plans 
until  Vinnie  talked  with  me  last 
night  and  told  me  he  couldn't  make 
it.  But  he  asked  me  to  come  out  to 
the  Coast,  to  stay  with  him  for  a 
long  visit.  And  I  told  him  I  would 
go  sometime  this  summer." 

Mrs.  Zoino  was  evidently  pleased 
with  the  happy  thoughts  the  planned 
visit  brought  to  her  mind.  Her  voice 
had  completely  lost  its  earlier  sad- 
ness and  now  she  bubbled  over  with 
enthusiasm.  I  couldn't  get  a  word  in 
edgewise. 

"Do  you  know  what  he  told  me?" 


THE  GIRL  VINCE  BROUGHT 


to  do  that — I  always  understand 
when  Vinnie  talks  to  me.  I  know 
how  difficult  his  life  is  and  how  com- 
plicated it's  made  with  his  hectic 
work  schedule.  He  told  me  to 
wait  .  .  ." 

There  was  no  resentment  in  her 
voice.  There  was  the  hint  of  disap- 
pointment but,  after  all,  she  was  his 
mother;  whatever  her  Vinnie  was 
doing  was  all  right  with  her. 

"Does  this  mean  you  won't  see 
Vince  until  some  vague  time  in  the 
future?"  I  asked. 

"Not  if  Vinnie  has  his  way,"  Mrs. 
Zoino  said.  For  the  first  time,  her 
voice  brightened.  "I'm  going  out  to 
Hollywood  to  see  him!" 

This  came  as  a  total  surprise.  It 


she  went  on.  "He  said  he  wants  me 
to  go  out  there  and  live  with  him! 
He  told  me,  'Mom,  if  you  come  out 
to  Hollywood,  I'll  fix  you  up  so  that 
you'll  live  like  a  queen!'  He  made 
me  so  happy  talking  that  way." 

When  I  was  able  to  interrupt,  I 
wanted  to  know  if  she'd  take  Vince's 
offer  and  go  out  to  live  in  the  lavish 
surroundings  that  a  grateful  son  had 
offered  his  mother. 

"Oh,  I  couldn't  do  that,"  Mrs. 
Zoino  replied.  "I  have  my  family 
and  friends  here  in  Brooklyn.  My 
roots  are  too  deep  in  this  soil  to 
just  pick  up  and  leave.  And,  besides, 
there's  my  job  .  .  ." 

That  was  another  surprise. 

"Your  job?" 


■ 


.¥ 


36 


"I  work  in  the  school  cafeteria," 
Mrs.  Zoino  said  matter-of-factly. 

"In  the  school  cafeteria?" 

"Yes,  I  work  behind  the  self- 
service  counter  at  Eli  Whitney  Vo- 
cational High  School  .  .  .  I've 
worked  there  for  a  long  time.  And 
I  love  it.  I  serve  food  to  the  chil- 
dren." 

It  was  the  most  interesting  dis- 
covery I'd  made  in  the  several  talks 
I'd  had  with  Mrs.  Zoino.  It  was  more 
of  a  surprise  because,  when  I  had 
spoken  with  her  on  previous  oc- 
casions for  TV  Radio  Mirror — she 
had  mentioned  nothing  about  her 
job  in  the  school  cafeteria.  So  I 
wanted  now  to  hear  more  about  it. 

"Are  you  a  celebrity  in  the  eyes 


firmed  what  she  already  said  about 
being  Vince's  mother. 

"The  children  are  all  well-be- 
haved. Once  they  get  to  know  me, 
all  they  want  to  do  is  talk  about  Vin- 
nie.  They  keep  asking  me  the  same 
question  you  asked — when  will  he 
come  home?  And  they  also  want  to 
know  if  they  might  have  a  chance  to 
see  him.  I  tell  them  to  be  patient." 

Mrs.  Zoino  told  me  then  that  she'd 
have  to  wait  until  school  closed  for 
the  summer  before  making  the  trip 
out  to  the  coast  to  visit  Vince. 

"I  just  couldn't  leave  all  my  fans 
in  the  lurch,  could  I?"  she  laughed. 

I  shifted  the  conversation  back  to 
Vince  and  asked  his  mother  what  he 
talks  about  when  he  phones  her. 


HOME  TO  HIS  MOTHER . . . 


of  the  kids?"  I  asked  the  mother  of 
TV's  most  famous  physician. 

There  was  a  brief  burst  of  laugh- 
ter. "Oh,  the  new  girls  there  come  to 
me  all  the  time  and  ask,  'Are  you 
really  Ben  Casey's  mother?'  They 
seem  to  think  that  the  mother  of  a 
big  star  like  Vince  Edwards  should 
not  work — especially  at  such  a  rou- 
tine thing  like  a  countergirl's  job. 
But  I  tell  them  before  they  have  a 
chance  to  say  it.  I  tell  them,  T  know 
you'll  ask  me  what  I'm  doing  here. 
My  answer  is  that  I  love  you 
all 

The  kids  who  hear  who  she  is  for 
the  first  time  are  very  surprised  and 
don't  seem  able  to  believe  it,  even 
after  the  veteran  students  have  con- 


"He  always  asks  how  everyone  is 
feeling,  and  tells  me  how  much  he 
misses  me.  Then  he'll  talk  about  his 
work — how  much  he  loves  it.  But 
he's  always  so  very  tired.  He  tells 
me  that  he  works  thirteen  and  four- 
teen hours  a  day.  I  can  understand 
how  difficult  it  is.  I  can  see  the  re- 
sults in  the  way  he  acts.  As  a  doctor 
on  TV,  I  think  he's  getting  better  all 
the  time.  The  shows  are  really  great. 
Even  real  doctors  call  me  and  com- 
pliment me  on  my  son's  perform- 
ances. You  can  imagine  how  I  feel 
then!" 

I  asked  Mrs.  Zoino  kiddingly 
about  Ben  Casey's  video  rival,  Dr. 
Kildare.  Does  she  ever  watch  that 
program,   (Continued  on  page    86) 


37 


plana — she  would  not  see  the  hulk- 
ing, handsome  twin  son  she  had 
missed  so  much. 

"No,  no,"  she  returned,  with 
alarm  in  her  tone.  She  didn't  want 
me  to  misunderstand.  There  had 
been  so  many  rumors  that  Vince 
didn't  want  to  come  home  again; 
that  since  he  hit  the  big-time  he  had 
forgotten  his  family  and  friends 
back  in  the  East  New  York  section 
of  that  famous  borough;  that  per- 
haps, like  the  Dodgers,  he  had  for- 
saken Brooklyn  for  good.  Mrs.  Zoino 
was  apprehensive. 

"Please,"  she  continued,  "Vince 
was  forced  to  change  his  plans.  He 
called  me  up  last  night  and  begged 
me  to  understand.  But  he  didn't  have 


must  have  tickled  Mrs.  Zoino  to  hear 
me  fumbling  for  words  to  frame  the 
next  query.  She  began  to  laugh. 

"I'm  as  surprised  as  you  are,"  she 
said  finally.  "I  had  no  such  plans 
until  Vinnie  talked  with  me  last 
night  and  told  me  he  couldn't  make 
it  But  he  asked  me  to  come  out  to 
the  Coast,  to  stay  with  him  for  a 
long  visit.  And  I  told  him  I  would 
go  sometime  this  summer." 

Mrs.  Zoino  was  evidently  pleased 
with  the  happy  thoughts  the  planned 
visit  brought  to  her  mind.  Her  voice 
had  completely  lost  its  earlier  sad- 
ness and  now  she  bubbled  over  with 
enthusiasm.  I  couldn't  get  a  word  in 
edgewise. 
"Do  you  know  what  he  told  me?" 


THE  GIRL  VINCE  BROUGHT 


to  do  that — I  always  understand 
when  Vinnie  talks  to  me.  I  know 
how  difficult  his  life  is  and  how  com- 
plicated it's  made  with  his  hectic 
work  schedule.  He  told  me  to 
wait  .  .  ." 

There  was  no  resentment  in  her 
voice.  There  was  the  hint  of  disap- 
pointment but,  after  all,  she  was  his 
mother;  whatever  her  Vinnie  was 
doing  was  all  right  with  her. 

"Does  this  mean  you  won't  see 
Vince  until  some  vague  time  in  the 
future?"  I  asked. 

"Not  if  Vinnie  has  his  way,"  Mrs. 
Zoino  said.  For  the  first  time,  her 
voice  brightened.  "I'm  going  out  to 
Hollywood  to  see  him!" 

This  came  as  a  total  surprise.  It 


she  went  on.  "He  said  he  wants  me 
to  go  out  there  and  live  with  him! 
He  told  me,  'Mom,  if  you  come  out 
to  Hollywood,  I'll  fix  you  up  so  that 
you'll  live  like  a  queen!'  He  made 
me  so  happy  talking  that  way." 

When  I  was  able  to  interrupt,  I 
wanted  to  know  if  she'd  take  Vince's 
offer  and  go  out  to  live  in  the  lavish 
surroundings  that  a  grateful  son  had 
offered  his  mother. 

"Oh,  I  couldn't  do  that,"  Mrs. 
Zoino  replied.  "I  have  my  family 
and  friends  here  in  Brooklyn.  My 
roots  are  too  deep  in  this  soil  to 
just  pick  up  and  leave.  And,  besides, 
there's  my  job  .  .  ." 

That  was  another  surprise. 

"Your  job?" 


"I  work  in  the  school  cafeteria," 
Mrs.  Zoino  said  matter-of-factly. 

"In  the  school  cafeteria?" 

"Yes,  I  work  behind  the  self- 
service  counter  at  Eli  Whitney  Vo- 
cational High  School  .  .  .  I've 
worked  there  for  a  long  time.  And 
I  love  it.  I  serve  food  to  the  chil- 
dren." 

It  was  the  most  interesting  dis- 
covery I'd  made  in  the  several  talks 
I'd  had  with  Mrs.  Zoino.  It  was  more 
of  a  surprise  because,  when  I  had 
spoken  with  her  on  previous  oc- 
casions for  TV  Radio  Mirror — she 
had  mentioned  nothing  about  her 
job  in  the  school  cafeteria.  So  I 
wanted  now  to  hear  more  about  it. 

"Are  you  a  celebrity  in  the  eyes 


firmed  what  she  already  said  about 
being  Vince's  mother. 

"The  children  are  all  well-be- 
haved. Once  they  get  to  know  me, 
all  they  want  to  do  is  talk  about  Vin- 
nie. They  keep  asking  me  the  same 
question  you  asked— when  will  he 
come  home?  And  they  also  want  to 
know  if  they  might  have  a  chance  to 
see  him.  I  tell  them  to  be  patient." 

Mrs.  Zoino  told  me  then  that  she'd 
have  to  wait  until  school  closed  for 
the  summer  before  making  the  trip 
out  to  the  coast  to  visit  Vince. 

"I  just  couldn't  leave  all  my  fans 
in  the  lurch,  could  I?"  she  laughed. 

I  shifted  the  conversation  back  to 
Vince  and  asked  his  mother  what  he 
talks  about  when  he  phones  her. 


HOME  TO  HIS  MOTHER . . . 


of  the  kids?"  I  asked  the  mother  of 
TV's  most  famous  physician. 

There  was  a  brief  burst  of  laugh- 
ter. "Oh,  the  new  girls  there  come  to 
me  all  the  time  and  ask,  'Are  you 
really  Ben  Casey's  mother?'  They 
seem  to  think  that  the  mother  of  a 
■  big  star  like  Vince  Edwards  should 
not  work — especially  at  such  a  rou- 
tine thing  like  a  countergirl's  job. 
But  I  tell  them  before  they  have  a 
chance  to  say  it.  I  tell  them,  'I  know 
you'll  ask  me  what  I'm  doing  here. 
My  answer  is  that  I  love  you 
all  .  .  .'" 

The  kids  who  hear  who  she  is  for 
the  first  time  are  very  surprised  and 
don't  seem  able  to  believe  it,  even 
after  the  veteran  students  have  con- 


"He  always  asks  how  everyone  is 
feeling,  and  tells  me  how  much  he 
misses  me.  Then  he'll  talk  about  his 
work — how  much  he  loves  it.  But 
he's  always  so  very  tired.  He  tells 
me  that  he  works  thirteen  and  four- 
teen hours  a  day.  I  can  understand 
how  difficult  it  is.  I  can  see  the  re- 
sults in  the  way  he  acts.  As  a  doctor 
on  TV,  I  think  he's  getting  better  all 
the  time.  The  shows  are  really  great. 
Even  real  doctors  call  me  and  com- 
pliment me  on  my  son's  perform- 
ances. You  can  imagine  how  I  feel 
then!" 

I  asked  Mrs.  Zoino  kiddingly 
about  Ben  Casey's  video  rival,  Dr. 
Kildare.  Does  she  ever  watch  that 
program,  {Continued  on  page    86) 


37 


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39 


THE  LENNON  SISTERS  DISCUSS: 


"Even  a  boy  and  girl  who've  grown  up 
in  the  same  neighborhood  are  strangers 
when  they  go  to  live  as  man  and  wife." 


"The  children  (of  a  mixed  marriage) 
must  have  a  bad  time — because  they 
grow  up  without  believing  in  anything." 


"Something  about  a  religious  wedding — 
no  matter  what  faith — makes  a  couple 
realize  the  importance  of  their  vows." 


The  woman  on  the  front  page  stared 
out  at  the  world  with  heartbreak  in 
her  eyes.  Her  husband  had  deserted 
her,  and  now  her  young  son  had  been 
picked  up  on  a  narcotics  charge.  Under 
her  picture,  the  frightening  question 
blazed  for  all  to  see:  "Has  the  Ameri- 
can Family  Gone  Bankrupt?" 

Turning  from  the  debris  of  shat- 
tered marriages  and  homes,  both  in 
and  out  of  show  business,  TV  Radio 
Mirror  went  to  a  family  which   has 


become  for  the  vast  television  audi- 
ence a  symbol  of  love,  responsibility 
and  purposefulness  in  family  life.  We 
showed  the  picture  and  its  question 
to  the  singing  Lennon  Sisters  and  their 
parents,  noting:  "Cases  like  this  are 
becoming  common — yet  the  public 
thinks  of  you  Lennons  as  a  decent 
American  family  built  on  something 
more  substantial  than  matchsticks. 
What's  your  master  plan  for  happiness 
and  lasting  success  in  marriage?" 


Here,  in  an  exclusive  interview,  is 
what  the  Lennons  had  to  say: 

"Honestly,"  said  Peggy,  "I  don't 
think  any  of  us  has  such  a  thing  as  a 
'master  plan'  for  being  happy  or  mak- 
ing a  go  of  marriage.  Dad  and  Mother 
.  .  .  and  DeeDee  and  Dick  .  .  .  they  are 
happy,  all  right,  but  it's  not  because 
of  any  particular  gimmick  or  formula." 

"Dad  always  said  a  good  family  is 
like  a  hand,"  Kathy  pointed  out.  "The 
fingers  might  (Continued  on  page  88) 


to  my  tune, 


IN  CASE  you  didn't  know,  Hugh 
Downs  doesn't  hit  his  wife  any- 
more. He  hasn't  hit  her  since  that 
day  some  fifteen  years  ago.  And  it's 
only  when  some  elephant-minded 
viewer  needles  him  about  it  that  he 
even  recalls  the  occasion.  Hugh  him- 
self publicized  the  love  tap  before 
millions  of  startled  viewers  on  Jack 
Paar's  show  a  few  years  ago.  He 
matter-of-factly  mentioned  that, 
early  in  his  marriage,  he  found  it 
necessary  to  belt  his  wife.  Hugh  has 


never  once  regretted  the  wife-slap- 
ping, but  it  was  the  kind  of  slip  of 
the  tongue  that  makes  a  man  wish 
he'd  bitten  it  instead. 

"Maybe  I  didn't  make  myself 
quite  clear  that  night,"  smiles  the 
easygoing,  forty-year-old  television 
veteran.  "People  wrote,  called  and 
wired  accusing  me  of  being  a  wife- 
beater  and  un-American.  Actually, 
I  was  very  young  when  the  'belting' 
took  place.  I  wouldn't  resort  to  it 
now,  of  course.  Some  men  thrive  on 


the  perpetual  cruelty  to  women. 
They  do  it  to  give  themselves  a  sense 
of  security.  I  deplore  that  kind  of 
behavior." 

Normally,  viewers  are  in  complete 
rapport  with  Hugh.  They  avidly  buy 
the  products  he  commends,  and 
they  quietly  support  his  stand  on  al- 
most everything  from  motherhood 
to  brotherhood.  But  he  aroused 
some  fans'  ire  on  another  occasion 
when  he  discussed  Nazi  butcher 
Adolph  Eichmann's  case  with  actor 


Ben  Gazzara  over  the  airwaves. 
"I  enjoyed  the  session  with  Ben," 
says  Hugh.  "He  has  enlightened 
ideas  of  the  penal  code.  I  was  quite 
surprised  at  the  reaction  of  viewers 
who  blasted  both  our  thoughts  on  the 
subject.  I  felt  that  Israel  had  missed 
a  great  opportunity  when  she  con- 
demned Eichmann  to  death.  To  kill 
this  wretch  was  to  give  him  final 
victory.  He  would  have  to  be  slain 
six  million  times  for  equal  retribu- 
tion. It  goes  without  saying  that  I 


haven't  a  shred  of  sympathy  for  this 
inhuman  being.  I  simply  thought  he 
should  have  been  incarcerated  as 
a  living  monument." 

Hugh  now  wishes  he  might  have 
clarified  his  position  a  little  better. 
"I  could  have  stressed  that  if  killing 
Eichmann  brought  back  one  man, 
woman  or  child,  I'd  be  in  favor  of 
it.  But  vengeance  only  begets  venge- 
ance. I  still  think  it  would  have 
been  a  great  step  forward  for  civil- 
ization had  (Please  turn  the  page) 


41 


- 


No  regretting  for  Hugh  Downs  .  .  .  but  he  wouldn't  mind  forgetting  one  or  two  things ! 

continued 


Israel  not  sentenced  him  to  die." 

Hugh  believes  in  being  outspoken 
on  all  matters,  in  intelligent  airing 
of  controversy.  But  the  Akron, 
Ohio-born  walking  encyclopedia 
rarely  attempts  to  be  the  funny  man 
on  the  show.  "I  passed  up  glorious 
opportunities  to  have  said  smart- 
alecky  things,"  he  says.  "But  I  never 
mourned  for  not  having  said  them. 
At  the  moment,  they  might  have  ap- 
peared clever,  but  they  wouldn't 
have  served  me  well  in  the  long  run. 

"I  remember  one  evening,"  he 
says  with  a  chuckle,  "when  we  were 
kicking  around  the  word  'derriere' 
on  the  show.  Somebody  wisecracked 
'Destiny  shaped  my  end!'  and  the 
audience  roared.  I  was  concentrat- 
ing on  the  next  commercial,  ob- 
livious to  all  the  horseplay.  Finally, 
it  was  time  to  go  on.  I  stood  in  front 
of  dozens  of  tins  of  sardines,  soups, 
dog  food,  and  so  on,  and  said: 
'Friends,  no  matter  what  size  can 
you  have — '  and  then  I  stopped  as 
the  audience  suddenly  went  wild.  I 
just  stood  there  sheepishly  with  a 
can  opener  in  my  hand." 

Many  viewers  have  written  in  ask- 
ing: "Do  you  really  feel  so  en- 
thusiastic about  all  those  products?" 
The  announcer's  answer  is:  "Yes." 
Hugh  claims  he  has  often  turned 
down  advertising  copy  which  he 
felt  was  "fraud-flavored  or  silly." 

Even  his  own  studio  copy  has 
been  treacherous.  One  time  he 
started  interviewing  a  girl  who  had 
been  a  sniper  in  the  Russian  Army. 
"She  was  a  Russian-type  Zsa  Zsa 
Gabor,"  says  Hugh.  "She  had  mar- 
ried four  times  and  had  marvelous 
anecdotes  connected  with  each  man. 
My  copy  sheet,  prepared  by  the 
show's  researcher  prior  to  the  start 
of  each  program,  read:   'I   under- 


stand her  first  husband  was  some 
kind  of  a  nut.' 

"Without  thinking,  I  blurted  out: 
'Exactly  what  kind  of  a  nut  was 
your  first  husband?' " 

It's  not  often  that  the  glib,  highly 
articulate  announcer  finds  himself 
groping  for  words,  but  Jack  Paar 
possessed  the  knack  of  tongue-tying 
him.  "We'd  talk  about  something 
prior  to  going  on  the  air,  which 
frankly  wasn't  meant  to  be  said  on 


They're  always  in  tune  now:  Hugh, 
his  son  H.R.  and  daughter  Deirdre. 


television,"  reveals  Hugh.  "As  soon 
as  the  program  would  commence, 
Jack  would  casually  say:  'Hugh,  tell 
them  about  the  joke  you  heard  to- 
day.' I'd  look  at  him  flabbergasted, 
and  say:  'But  Jack,  I  can't .  .  .'  He'd 
just  lean  back  and  laugh." 

As  for  Paar  himself,  he  never 
seemed  fazed  by  anything  that  oc- 
curred on  his  show.  "I  can't  recall 
ever  having  heard  him  duck  a  ques- 
tion from  the  audience,"  says  Hugh. 
"One  night  we  all  held  our  breath 
when  a  youngster  asked  him  point 
blank:  'Is  it  true  that  you  wear  a 


toupee?'  Jack  grinned  and  admitted 
he  did." 

Hugh  likes  to  reminisce  about 
Paar,  and  the  days  when  viewers 
would  write  in  insisting  that  either 
the  announcer  should  tell  Jack  off, 
or  Jack  should  stop  picking  on  him. 
"I  never  understood  where  they  got 
either  impression,"  says  Hugh. 

Now  Hugh  is  leaving  the  "To- 
night" show  to  take  over  "Today," 
beginning  September  10th,  and  he's 
currently  figuring  out  how  he'll  find 
time  to  sleep  with  his  new  schedule. 
He  just  hopes  nothing  occurs  on  the 
morning  show  which  might  embar- 
rass either  him  or  the  sponsor  as  it 
did  when  actress  Rosanna  Pagann 
was  a  Paar  guest. 

"She  was  relating  the  plot  of  her 
off-Broadway  play,"  says  Hugh. 
"She  kept  talking  about  how  the 
viceroy  in  the  play  did  this,  how 
the  viceroy  in  the  play  did  that. 
Viceroy,  viceroy,  viceroy — that's  all 
I  kept  hearing.  Finally,  I  couldn't 
stand  it  any  longer.  'Please,'  I  said. 
'Don't  mention  viceroy  on  this  Kent 
cigarette-sponsored  show  again,  or 
we  won't  have  a  sponsor!' ' 

Sponsor  trouble,  though,  is  some- 
thing Hugh  need  never  worry  about, 
and  that  goes  for  his  highly-rated 
"Concentration"  game  show  (seen 
daily  at  11:30  a.m.  edt  over  NBC- 
TV).  "They've  been  wonderful," 
agrees  Hugh.  "Why,  they're  even 
partially  sold  on  my  favorite  idea  to 
give  away  one  million  dollars  as  a 
prize  on  the  show.  They  haven't 
batted  an  eye  about  the  money.  It's 
just  a  question  of  working  out  the 
tax  and  insurance  problems." 

That's  what  we've  been  saying 
right  along:  Money  isn't  everything 
— especially  when  you've  got  a  good 
left  hook!  — Bob  Lardine 


42 


LESLIE  UGGAMS 


/ 


/ 


i 


\  modern  Cinderella  story  for  all  those  who  like  old-fashioned,  happy  endings 


Like  a  good  deed  in  a  naughty  world,  this  is  a  story  TV  can  be  proud  of 


The  girl  had  spent  ten  years  struggling  toward  this 
moment.  Two  years  before,  she  had  been  a  gan- 
gling, awkward  fourteen,  with  the  wrong  hairdo 
and  the  wrong  clothes.  Only  her  answers — as  a 
contestant  on  "Name  That  Tune" — had  been  right. 
And  the  way  she  sang — that  had  been  right,  too. 

The  years  before  that,  she  had  been  just  another 
Negro  kid  scampering  around  the  stoop  of  her 
house  on  New  York's  upper  west  side,  playing 
hop-skotch  and  potsy  with  the  other  children, 
colored  and  white,  from  the  neighborhood. 

But  tonight  she  was  someone  different.  Tonight 
could  be  the  beginning — or  the  end — of  everything. 

She  took,  a  deep  breath  and  stepped  forward 
onto  the  stage.  Only  someone  who  had  known  her 
through  all  the  other  years  could  have  spotted  the 
inner  trembling.  Her  heart  beat  a  little  faster,  her 
eyes  blinked  once  or  twice  in  the  harsh  light  of  the 


TV  studio.  Then  her  cue  sounded  and  the  camera 
found  her.  She  started  her  song.  When  she  started, 
she  was  a  sixteen-year-old  nobody.  When  she 
finished,  she  was  a  star. 

The  show  was  "Sing  Along  With  Mitch"  ...  the 
girl  was  Leslie  Uggams  ...  the  moment  was  one 
she  would  never  forget.  Whatever  successes  came 
after  it,  this  would  always  be  her  greatest  triumph; 
this  would  always  be  the  night  she  found  out  what 
it  was  like  to  have  a  dream  come  true. 

Her  mother  had  often  prayed  for  a  miracle — 
just  a  small  one — so  that  life  would  be  easier  for 
Leslie  and  her  older  sister  Frances. 

"I  wouldn't  say  that  any  'miracles'  occurred  for 
Frances  or  for  me,"  says  Leslie  now,  "but  I  cer- 
tainly had  a  lot  of  very  good  fortune  in  my  friends!" 

Leslie's  mother,  Juanita,  a  former  chorus  girl 
with   New  York's   famous    (Continued  on  page    95) 


44 


^iV 


When  the  clock  strikes,  Cinderella 
is  on  the  run.  Busy  Leslie  uses  a 
taxi  as  study-hall  (1 )  en  route  to 
rehearsals.  She  gets  pointers  from 
Mitch  Miller  (2),  then,  during  a 
break,  the  crew  invites  her  to  join 
a  friendly  card  game  (3)  and  share 
an  ice  cream  (4).  A  quick  retouch 
on  her  makeup  (5)  and  she's  ready 
for  "Sing,  Sing,  Sing."  (6)  A  long 
day,  but  she's  home  in  time  to  help 
her  mother  (7  and  8)  with  dinner. 


W?> 


\. 


8 


45 


Like  a  good  deed  in  a  naughty  world,  this  is  a  story  TV  can  be  proud  of 


The  girl  had  spent  ten  years  struggling  toward  this 
moment.  Two  years  before,  she  had  been  a  gan- 
gling, awkward  fourteen,  with  the  wrong  hairdo 
and  the  wrong  clothes.  Only  her  answers — as  a 
contestant  on  "Name  That  Tune" — had  been  right. 
And  the  way  she  sang — that  had  been  right,  too. 

The  years  before  that,  she  had  been  just  another 
Negro  kid  scampering  around  the  stoop  of  her 
house  on  New  York's  upper  west  side,  playing 
hopskotch  and  potsy  with  the  other  children, 
colored  and  white,  from  the  neighborhood. 

But  tonight  she  was  someone  different.  Tonight 
could  be  the  beginning — or  the  end — of  everything. 

She  took,  a  deep  breath  and  stepped  forward 
onto  the  stage.  Only  someone  who  had  known  her 
through  all  the  other  years  could  have  spotted  the 
inner  trembling.  Her  heart  beat  a  little  faster,  her 
eyes  blinked  once  or  twice  in  the  harsh  light  of  the 


TV  studio.  Then  her  cue  sounded  and  the  camera 
found  her.  She  started  her  song.  When  she  started, 
she  was  a  sixteen-year-old  nobody.  When  she 
finished,  she  was  a  star. 

The  show  was  "Sing  Along  With  Mitch"  ...  the 
girl  was  Leslie  Uggams  ...  the  moment  was  one 
she  would  never  forget.  Whatever  successes  came 
after  it,  this  would  always  be  her  greatest  triumph; 
this  would  always  be  the  night  she  found  out  what 
it  was  like  to  have  a  dream  come  true. 

Her  mother  had  often  prayed  for  a  miracle — 
just  a  small  one — so  that  life  would  be  easier  for 
Leslie  and  her  older  sister  Frances. 

"I  wouldn't  say  that  any  'miracles'  occurred  for 
Frances  or  for  me,"  says  Leslie  now,  "but  I  cer- 
tainly had  a  lot  of  very  good  fortune  in  my  friends!" 

Leslie's  mother,  Juanita,  a  former  chorus  girl 


with  New  York's  famous  (Continued 


on  page 


95) 


When,  the  clock  strikes,  Cinderella 
is  on  the  run.  Busy  Leslie  uses  a 
taxi  as  study-hall  (1 )  en  route  to 
rehearsals.  She  gets  pointers  from 
Mitch  Miller  (2),  then,  during  a 
break,  the  crew  invites  her  to  join 
a  friendly  card  game  (3)  and  share 
an  ice  cream  (4).  A  quick  retouch 
on  her  makeup  (5)  and  she's  ready 
lor  "Sing,  Sing,  Sing."  (6 1  A  long 
day,  but  she's  home  in  time  to  help 
her  mother  (7  and  8)  with  dinner. 


45 


^1 

pi 

m 


Early  in  1954,  two  lonely  people  met  at  a  party 
neither  of  them  really  wanted  to  go  to.  .  .  .  Fred 
MacMurray  hadn't  been  going  out  at  all.  His  wife 
Lillian  had  died  in  1953,  after  a  long  and  heart- 
breaking illness.  Fred,  still  not  over  his  loss,  was 
devoting  himself  to  his  children,  Susan,  14,  and 
Robert,  10.  But  that  night — when  friends  simply 
wouldn't  let  him  say  no  once  more — he  came  to  the 
party.  He  sat  down  next  to  beautiful,  blonde  June 
Haver.  They'd  worked  in  a  picture  together  once, 
but  that  was  years  before  and  a  great  deal  had 
happened  to  both  of  them  since  then.  .  .  .  In  October 
of  1949,  the  man  June  planned  to  marry,  Dr.  John 

We  live  pretty  simply.  We're  the 
kind  of  people  who  kind  of 
like  doing  things  ourselves  and 
it  isn't  too  complicated  a 
household.  We  both  putter 
around  the  kitchen.  I  en- 
joy snooping  around  with 
cookbooks;  they  read  just 
like  literature  to  me.  June 
does  the  secretarial  work 
— whatever  there  is  of 
it  that  gets  done — I'm 
no  letter-writer.  I  do 
most  of  the  repair  work  and 
the  putting  things  together 
— including  a  doll  house 
and  all  the  furniture,  which  came  with  such 
elaborate  instructions  that  it  took  me  the  whole 
night  before  Christmas  last  year.  We  don't  have 
a  nurse,  we  just  have  one  girl  who  comes  in  every 
day  from  eight  to  four,  and  if  that  sounds  chintzy 
for  an  actor's  family,  there's  nothing  chintzy 
about  it.  We  like  the  privacy  of  our  house  at 
night,  we  enjoy  taking  care  of  the  kids.  Once  in 
a  while  when  we  go  out — and,  believe  me,  it's 


Duzik,  died  of  uremic  poisoning.  June,  who  till  then 
had  seemed  to  have  everything — love,  beauty,  talent 
— faced  life  with  an  empty  heart.  She  sought  com- 
fort in  religion:  She  entered  a  convent.  For  7 
months,  she  served  a  novitiate — then,  painfully, 
realized  that  this  was  not  for  her.  She  couldn't  turn 
her  back  on  the  world.  .  .  .  At  that  party,  when  they 
met  again,  Fred  realized  that  neither  could  he.  That 
night,  these  two  began — together — to  climb  back 
from  the  depths  of  their  despair.  Five  months  later, 
they  were  married.  This  is  Fred's  story  of  the  road 
back  and  of  the  life,  he  and  June  managed  to  build 
together   in   the   years   since   then. — The    Editors 

once  in  a  long  while — we  get 
June's  aunt  and  uncle  or  her 
mother  to  come  over  and 
stay.  They  adore  Laurie 
and  Katie,  our  five- 
year-old  twins,  and  the 
kids  adore  them.  Ev- 
ery family  has  to 
work  out  a  way  of  life 
for  themselves,  and  this 
is  ours.  .  .  .  June  is  a  born 
wife  and  mother.  She's  also 
a  talented  actress — we  met 
first,  years  ago,  making  a 
picture  together,  "Where 
Do  We  Go  From  Here?" 
But  when  we  met  again,  in  1954,  she'd  already 
given  it  up.  She'd  worked  since  she  was  very 
young.  She  was  exactly  seven  when  she  sat  down 
with  the  Cincinnati  Symphony  Orchestra  and 
played  the  andante  from  Haydn's  "Surprise 
Symphony"  at  the  weekly  children's  concert. 
That  was  just  after  she'd  won  the  gold  medal  in 
the  Post  Inquirer  competition  and,  from  then 
on,  she  was  in  business.  ( Continued  on  page  93) 


kf  W*  MacMoRRAr 


He  dated  my  sister... 


I'm  happier  than  I've  ever  been  in  my 
life.  The  world  is  a  grand,  glorious, 
wonderful  place — and  it's  all  because 
of  a  man  named  Lou  Adler.  .  .  .  We  argue 
about  just  one  thing 
— Lou  and  I — and 
that's  the  first  time 


by  Shelley  Fabares 


we  met!  Lou  insists  it  was  back  in  1958, 
but  as  far  as  I'm  concerned  it  wasn't 
until  a  night  in  December  of  1960.  I 
can't  imagine  meeting  Lou  and  not  re- 
membering it,  but  he 
says  that  one  day  in 
1958  he  came  along 


48 


but  he  11  marry  me: 


f 


on  a  layout  Jan  and  Dean,  Roberta  Shore 
and  I  were  doing.  The  whole  afternoon, 

as  I  do  remember  it,  was  very  hectic, 
so  it  is  possible  I  did  meet  him  then. 
But  still  I  find  it  hard  to  believe.  Lou 
is  not  an  easy  man  to  forget.  ...  He 
is  a  young,  talented  man  of  twenty-six 


who  is  head  of  the  West  Coast  office  of 
Nevin-Kirschner  Music  Publishing  Com- 
pany. In  addition,  he  is  the  personal 
manager  for  the  popular  singing  team  of 
Jan  and  Dean.  Also,  in  addition,  he  is  the 
ideal  man  for  me! .  . .  Lou  also  insists  that 
we  met  for  the  second  (Continued  on  page  82) 


49 


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IS  THE  HONEYMOON 


Is  America's  romance  with 
her  ending?  Here  is  the  in- 
side story  of  the  incredible 
plot  against  the  Kennedys! 


Eleanor  Roosevelt  could  have  warned 
her  about  it:  so  could  Bess  Truman 
and  Mamie  Eisenhower.  They  had  been 
First  Ladies,  too,  and  they  knew  it 
was  inevitable  that  the  plot  against 
Jacqueline  Kennedy  would  get  under 
way.  Perhaps  the  only  thing  they 
couldn't  have  known  was  how  bad  it 
would  be — how  vicious. 

But  it  was  inevitable  that  the  petty 
people,  the  jealous  ones,  would  begin 
after  a  while  to  whisper  about  Jackie 
and  to  try  to  destroy  her.  They  had 
waited  while  she  had  her  honeymoon; 
they  had  waited  while  their  intended 
victim  charmed  an  entire  nation,  in- 
deed an  entire  world.  Patiently,  they 
waited  as  her  beauty  and  charm  were 
extolled;  her  way  of  dressing  copied; 
her  every  move — with  her  husband, 
with  her  children,  on  her  own — re- 
corded and  delighted  over.  "She  is 
the   woman    (Please   turn   the    page) 


OVER  FOR  JACKIE  ? 


51 


What  they're  saying  about  Jackie  as  a  wife  ...  as  a  mother  ...  as  First  Lady 


IWBBBPWWWWP*^ 


v 


'- 


\ 


who  has  everything — including  the  Presi- 
dent of  the  United  States,"  someone  close 
to  Jackie  once  affectionately  said.  And 
while  the  rest  of  the  nation  affectionately 
agreed  with  this,  the  plotters — their  jeal- 
ousy growing  in  them  like  a  fungus — 
continued  to  wait. 

There  was  no  doubt  that  they  would 
eventually  strike.  The  only  questions 
were:  When?  and  How?  and  Is  there  any 
danger  she'll  strike  back? 

All  three  questions,  it  turned  out,  were 
pretty  easy  to  answer. 

When?  "You  strike,"  the  thought 
seemed  to  be,  "when  the  victim's  hus- 
band becomes  most  vulnerable.  When 
there's  something  like  a  war  threat 
(wouldn't  that  be  nice!)  ...  a  recession 
(dandy!)  . . .  any  kind  of  catastrophe  (the 
more  catastrophic,  the  better!).  When 
anything's  going  on  that  gets  the  citizens 
upset  and  the  first  man  they're  bound  to 
blame  for  it  is  their  President.  So — 
through  him — you  get  her!" 

How?  "You  strike  swiftly,  and  hard. 
One-two-three — let  her  have  it!  You  pum- 
mel her  with  tiny  whispered  criticisms 
.  .  .  and  let  the  wind  take  them  from 
there.  For  the  wind  will  swell  the  whispers 
and  carry  them  to  all  corners  of  the 
nation — swiftly!  (Continued  on  page  78) 


• 


1  "Not  properly  dressed,"  they  criticize,  when  the 
First  Lady  doesn't  wear  a  hat  to  church.  2  "Not 
dignified,"  they  whisper,  when  they  see  her  holding 
hands  with  her  husband.  3  Yet  her  French  hair  style 
and  elegant  gowns  are  labeled  "too  chic."  4  "Too 
many  eggheads  invited  to  the  White  House,"  they 
cry — and  5  "Her  parties  are  too  lavish!"  6  India 
loved  the  way  she  followed  local  customs — but, 
back  home,  there  was  grumbling  about  "unneces- 
sary extravagance"  and  that  "her  place  is  with  her 
husband  and  children."  7  When  cameras  record 
her  life  with  her  children,  they  snipe  that  she's 
"using  John  Jr.  and  Caroline  for  publicity."  8  They 
even  attack  her  through  her  daughter— charging 
Secret  Service  men  "take  care  of  Caroline's  pony! 


:£^ 


52 


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i 


What  they're  saying  about  Jackie  as  a 


wife 


as  a  mother  ...  as  First  Lady 


1 1I 


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V 


who  has  everything— including  the  Presi- 
dent of  the  United  States,"  someone  close 
to  Jackie  once  affectionately  said.  And 
while  the  rest  of  the  nation  affectionately 
agreed  with  this,  the  plotters— their  jeal- 
ousy growing  in  them  like  a  fungus — 
continued  to  wait. 

There  was  no  doubt  that  they  would 
eventually  strike.  The  only  questions 
were:  When?  and  How?  and  Is  there  any 
danger  she'll  strike  back? 

All  three  questions,  it  turned  out,  were 
pretty  easy  to  answer. 

When?  "You  strike,"  the  thought 
seemed  to  be,  "when  the  victim's  hus- 
band becomes  most  vulnerable.  When 
there's  something  like  a  war  threat 
(wouldn't  that  be  nice!)  ...  a  recession 
(dandy!) . . .  any  kind  of  catastrophe  (the 
more  catastrophic,  the  better!).  When 
anything's  going  on  that  gets  the  citizens 
upset  and  the  first  man  they're  bound  to 
blame  for  it  is  their  President.  So — 
through  him — you  get  her!" 

How?  "You  strike  swiftly,  and  hard. 
One-two-three — let  her  have  it!  You  pum- 
mel her  with  tiny  whispered  criticisms 
.  .  .  and  let  the  wind  take  them  from 
there.  For  the  wind  will  swell  the  whispers 
and  carry  them  to  all  corners  of  the 
nation — swiftly!  (Continued  on  page  78) 


Lf 


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1  "Not  properly  dratted,"  they  criticize,  when  the 
First  Lady  doesn't  wear  a  hat  to  church.  2  "Not 
dignified,"  they  whisper,  when  they  tee  her  holding 
hands  with  her  husband.  3  Yet  her  French  hair  style 
and  elegant  gowns  are  labeled  "too  chic."  4  "Too 
many  eggheadt  invited  to  the  White  Home,"  they 
cry — and  5  "Her  parties  are  too  lavith!"  6  India 
loved  the  way  the  followed  local  customs — but, 
back  home,  there  wat  grumbling  about  "unneces- 
tary  eitravagance"  and  that  "her  place  it  with  her 
hutbond  and  children."  7  When  camera!  record 
her  life  with  her  children,  they  snipe  that  she's 
"using  John  Jr.  and  Caroline  for  publicity."  8  They 
even  attack  her  through  her  daughter — charging 
Secret  Service  men  "take  care  of  Caroline's  pony! 


.1 


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52 


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I 


I 


What  is  it  that  really  holds 
people  together?  Is.  it  love?  Or 
is  it  loneliness?  Are  they  united 
by  their  similarities?  Or  by  their 
differences?  And  can  people — 
family  or  friends — actually  be 
held  too  close  together?  These 
are  the  questions  we'll  try  to  an- 
swer as  we  look  at  the  two  fami- 
lies who  come  to  life  on  TV  each 
day  in  "As  The  World  Turns." 

Viewers  first  met  the  Hughes 
and  Cassen  families  six  years 
ago  and,  watching  them  in  the 
daily  drama,  have  come  to  know 
them  as  real  people.  That's  how 
we'll  treat  them,  too,  as  we  look 
at  their  problems  and  try  to  see 
what  these  might  mean  in  your 
own  life. 

In  our  discussion,  my  descrip- 
tions will  be  in  regular  type  (like 
this)  and  Dr.  Wolk's  comments 
will  be  in  italics  (like  the  follow- 
ing) : 

From  the  psychologist's  view- 
point, a  TV  slice  of  life  can  some- 
times give  a  thoughtful  viewer 
insight  into  her  own  behavior. 
She  certainly  won't  want  to  pat- 
tern herself  after  some  guilt- 
ridden  heroine — but  seeing  such 
a  person  up  close  might  help  her 
avoid  similar  weaknesses  in  her 
own  personality.  And  looking  in 
on  family  relationships  that  are 
honest  and  healthy  can  be  both 
entertaining  and  enlightening! 

Close  families  like  the  Hughes 
and  Cassens  stimulate  and  enrich 
each  other.  In  a  way,  they  lead 
each  other's  lives.  Such  strong 
emotional  ties  can  be  upsetting 


Facing  page:  Hidden  heartaches  menace 
the  Cassens  (Nancy  Wickwire  and  Nat 
Polen).  Panel  above:  Can  Jeff  (Mark  Ry- 
dell)  and  Penny  (Rosemary  Prinz)  stay 
reconciled?  The  Hugheses  (Helen  Wag- 
ner and  Don  MacLaughlin)  haven't  al- 
ways told  daughter  Penny  the  truth! 
And  even  fine  old  Judge  Lowell  (Bill 
Johnstone)    has    lied   "for    the    family." 


when  the  members  are  neurotic 
or  unstable,  but  can  be  a  blessing 
if  they're  normal,  happy  people. 
Two  such  families  can  support 
each  other  in  times  of  crisis. 

These  two  TV  families  are  not 
identical.  The  Cassens  are  wealth- 
ier, members  in  good  standing 
at  the  local  country  club,  and 
ever  conscious  of  their  standing 
in  the  community.  The  Hugheses 
are  comfortable,  outgoing  and 
close-knit. 

The  Cassen  family  unit  con- 
sists of  Doug,  a  doctor;  his 
wife  Claire;  her  daughter  Ellen; 
and  Judge  Lowell,  the  father  of 
Claire's  first  husband. 

The  Hughes  family  unit  con- 
sists of  Chris,  an  attorney;  his 
wife  Nancy;  his  dad,  Grandpa 
Hughes;  the  three  children — 
Penny;  Don,  a  lawyer;  Bob,  an 
intern — Bob's  wife  Lisa  and  son 
Tommy;  Don's  wife  Jan;  and 
Penny's  husband,  Jeff  Baker. 

It  was  the  friendship  of  Ellen 
and  Penny,  who  were  school- 
mates, that  brought  the  two  fam- 
ilies together,  but  they  also  have 
professional  ties.  Dr.  Doug  Cas- 
sen is  the  Hugheses'  family  physi- 
cian, and  Chris  Hughes  is  the 
Cassen  attorney — at  one  time  de- 
fending Doug  as  both  his  friend 
and  client. 

Here  are  two  families  held  to- 
gether by  far  more  than  friend- 
ship. They  are  neighbors,  they 
inter-twine  professionally,  and 
seem  to  complement  one  another 
socially  and  economically.  How- 
ever, in  (Continued  on  page  92) 


by  ARTHUR  HENLEY 

with  Dr.  ROBERT  L.WOLK 


55 


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I  try  to  share  my  husband's  new  life 


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by  Mrs.  Bob  Conrad 

Looking  through  Robert's  seraphooks.  it 
always  amuses  me  to  read  about  the  "rare 
appearances"  of  Mrs.  Conrad.  "It's  so  nice 
to  see  them  out  together,"  the  captions  say. 
Yet,  somehow,  half  the  pictures  in  the  hook 
are  of  me!  .  .  .  Still,  it's  true,  I  don't  go  with 
Robert  to  all  of  the  parties  and   premieres 

and  functions  lie  attends  as  part  of  liis   job. 

Many    of   llicsc   nr<>    (€U>ntitlu*d  on    pnfir  00  ) 


/ 


tiimt'  a  ntar  on  "Ha 
en    hintn   of   "domestic    trouhl 
cen  tl»*»  Boh  Conrucle.  No 
iilcnro  to   tell  TV   Radio   Mirror   her  side   of   it. 


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k          *    ' 

Is  Sinatra  a  right  guy— or  a  wrong  one?  For  the  answer  to  that 
one,  don't  ask  the  hipsters.  And  don't  ask  the  press.  But  around 
the  world,  you  can  put  the  question  to  any  one  of  thousands 
of  needy  children  and  get  your  answer.  Kids  have  that  instinct 
for  knowing  a  friend  when  they  spot  one.  They  don't  want  to 
hear  about  the  kind  of  headlines  Frank  Sinatra  is  famous  for— 
scrapes  and  fist  fights  and  dames  and  Clanantics.  For  them,  the 
news  is  Frank's  global  tour  putting  on  benefits  for  underprivi- 
leged youngsters. . . .  The  trip  cost  about  a  quarter-million,  and 
no  one  but  Frank  paid  the  tab.  Why?  To  find  out,  turn  the  page. 


59 


A  memory  sent  Frank 
around  the  world.  One  of 
his  first  stops:  Israel 

continued 

Some  said  it  was  the  White  House  urging 
a  better  image  for  their  friend;  others 
said  it  was  Frank's  way  of  forgetting  a 
broken  engagement.  But  perhaps  closest 
to  the  truth  were  those  who  guessed  it 
was  a  memory  that  sent  Frank  around 
the  world.  .  .  .  Once  he  had  been  a  family 
man ;  once  home  and  children  had  really 
mattered.  Whatever  happened  along  the 
way,  Frank  has  never  stopped  caring 
about  children.  Perhaps  now,  as  he 
found  a  way  to  help  them,  he  was  also 
finding  his  own  way  back  to  the  man  he 
was  before  high  life  replaced  home  life. 


A  changed  Frank  meets  Prime  Minister  Ben  Gurion; 
speaks  to  Arab  and  Jewish  children  to  launch  the 
Sinatra  Centre  in  Nazareth;  dines  with 
Archbishop  George  Hakim,  Nazareth  Mayor  Zaoubi. 


60 


^f^im. 


(!) 


■■•••• 


At  top  right,  he  plants  "Nancy's  Tree"  in 
Jerusalem's  Histadruth  forest.  At  left 
and  above,  he  finds  language  is  no  barrier 
as  he  meets  with  kindergarteners. 


61 


A  memory  sent  Frank 
around  the  world.  One  of 
his  first  stops:  Israel 

continued 

Some  said  it  was  the  White  House  urging 
a  belter  image  for  their  friend;  others 
said  it  was  Frank's  way  of  forgetting  a 
broken  engagement.  But  perhaps  closest 
to  the  truth  were  those  who  guessed  it 
was  a  memory  that  sent  Frank  around 
the  world.  . .  .  Once  he  had  been  a  family 
man;  once  home  and  children  had  realty 
mattered.  Whatever  happened  along  the 
way,  Frank  has  never  stopped  caring 
about  children.  Perhaps  now,  as  he 
found  a  way  to  help  them,  he  was  also 
finding  his  own  way  back  to  the  man  he 
was  before  high  life  replaced  home  life. 


f 


f 


A  changed  Frank  meets  Prime  Minister  Ben  Gurion; 
speaks  to  Arab  and  Jewish  children  to  launch  the 
Sinatra  Centre  in  Nazareth ;  dines  with 
Archbishop  George  Hakim,  Nazareth  Mayor  Zaoubi. 


< 


St 


h^ 


f 


a 


m 


At  top  right,  he  plants  "Nancy's  Tree"  in 
Jerusalem's  Histadruth  forest.  At  left 
and  above,  he  finds  language  is  no  barrier 
as  he  meets  with  kindergarteners. 


44€liiA^i4A^M>Wlv^^0i^  bn&ir&AyyA 


// 


•  •  • 


RAYMOND  BURR 


MY  MARRIAGE 


It  was  obvious  to  the  "Perry  Mason"  cast:  Barbara  Hale  was 
seriously  troubled.  But  why?  There  was  only  one  man  in  her  life, 
Bill  Williams,  her  husband  now  for  (Continued  on  next  page) 


■*aW  '^t,  tse^rZv?-  iO'^w.  Wi ■ '  -wEfejr  -V 


•J 


M 


J  < 


nt iiiiiiiiiiiHiiHiiiiiiliiiiiiii n iimiilriiiitiiiiiiiiiii nun 

BARBARA    HALE 


IKIIillilllllllllllllllflllllllillili 


64 


(Continued) 
sixteen  years;    they   had   three   beauti- 
ful children,  a  fashionable  ranch  house 
in   San   Fernando  Valley,   an   enviable 
bank   account.   Didn't   this  add   up   to- 
every thing  a  woman  could  desire? 

Yet  the  close-knit  cast  could  tell  that 
their  Delia  Street  was  in  some  kind  of 
trouble.  Barbara  Hale  appeared  gaunt 
and  tired  that  day  as  she  reported  for 
the  seven  a.m.  call.  Purposely  but  po- 
litely,  she   avoided   conversation. 

"Wonder  what's  bugging  her,"  an  ac- 
tor said  as  she  left  the  set. 

This  was  not  idle  curiosity,  but  deep 
concern.  The  members  of  the  "Perry 
Mason"  show  are  a  real  family,  almost 
as  much  as  if  they  were  tied  together 
by  an  umbilical  cord.  Years  of  film- 
ing the  television  series  together,  years 
of  sharing  each  other's  good  fortunes 
and  even  disappointments  all  have 
blended  to  make  them  a  family  unit. 

So  it  was  not  unusual  that  last  spring 
the  company  was  worried.  Usually,  Babs 
(as  most  call  her)  would  stand  around 
and  chit-chat  with  the  predominantly 
male  cast.  They  would  sip  steaming 
cups  of  coffee,  crack  jokes  and  discuss 
the  headlines  of  the  morning  until  it 
was  time  to  face  the  camera. 

This  morning,  Barbara  would  have 
no  part  of  the  coffee  gang.  She  didn't 
even  take  a  cup  to  her  room.  When  it 
was  time  for  her  first  scene,  she  emerged 
calmly  but  coolly.  Her  face  wore  a 
rigidly  fixed  expression. 

Soon  the  routine  of  playing  Delia 
Street,  Perry  Mason's  Girl  Friday, 
seemed  to  snap  her  back  to  normal. 
Yet,  throughout  the  day,  Barbara  peri- 
odically lapsed  into  stony  silence. 

"She  looks  like  she  didn't  get  a 
wink  of  sleep  all  night,"  one  of  the 
crew  members  whispered. 

The  following  days  found  Barbara 
in  the  same  mood.  One  of  worry.  One 
of  apprehension. 

Burr  and  the  others  tried  their  best 
to  thaw  out  the  actress.  They  invited 
her  to  lunch.  She  politely  refused. 

Soon  whispers  circulated  around  the 
set  as  to  the  cause  of  the  trouble. 

"Have  you  heard?"  one  of  the  play- 
ers said.  "Barbara  and  Bill  are  think- 
ing about  a  divorce." 

This  dumbfounded  the  other. 

"Why,  I  can't  believe  it,"  he  replied. 

Yet,  it  was  true.  Barbara  and  hus- 
band Bill  Williams  were  having  marital 
problems.  It  was  a  closely  guarded 
secret,  though.  Only  a  handful  of  their 
close  friends  knew. 

Most  Hollywoodians  have  become 
conditioned  to  accept  the  unexpected 
with  only  a  blink  of  an  eye.  Too  many 
so-called  perfect  marriages  have  been 
torn  apart  in  recent  months. 

Still  the  intimates  of  Barbara  and 
Bill  were  shocked  that  these  two  were 
having  trouble. 

They  had  married  in  storybook  fash- 
ion on  June  22nd,  1946.  The  wedding 
took  place  in  a  stone  church  outside 
of  Barbara's  hometown,  Rockford,  Il- 
linois. Their  courtship  was  equally  as 
romantic.  They  met  while  making  a 
screen   test   together  two   years   previ- 


ously at  the  old  RKO  Studios.  Both 
wound  up  with  contracts.  Both  fell  in 
love  almost  at  first  sight. 

Bill's  career,  at  the  time  of  their 
marriage,  was  at  its  peak.  Barbara's  was 
just  getting  into  orbit. 

"This  will  be  a  marriage  for  keeps," 
Bill  told  newsmen  at  the  wedding. 

Following  a  honeymoon  at  Niagara 
Falls,  the  two  settled  down  in  a  two- 
bedroom  San  Fernando  Valley  home. 
The  breaks  were  really  going  Bill's 
way.  He  became  one  of  television's  first 
big  cowboy  stars,  starring  in  the  "Kit 
Carson"  series.  Barbara,  too,  was  riding 
high  and  very  much  in  demand. 

One  bright  fall  day,  Barbara  was 
ecstatic  as  she  emerged  from  her  doc- 
tor's office.  And  when  she  told  Bill,  his 
chest  swelled  bigger  than  Mickey  Har- 
gitay's.  In  July  of  1947,  Jody  was  born. 
Again,  in  1951,  the  stork  stopped  off  at 
the  Williamses.  This  time  with  Bill  Jr. 
And  another  little  girl  came  along  in 
1953,  thus  rounding  out  the  family. 

Barbara  appeared  happier  having 
babies  than  making  movies.  In  fact,  one 
day  in  1952  when  she  was  pregnant 
with  her  third  child,  the  actress  came 
close  to  making  a  decision  that  would 
affect  her  future.  She  wanted  to  retire. 

Bill  left  the  decision  up  to  her.  Then 
came  an  opportunity  the  actress 
couldn't  afford  to  turn  down. 

Enter   "Perry   Mason" 

She  couldn't  refuse  to  play  Delia 
Street  in  the  "Perry  Mason"  TV  series. 
The  series  appeared  to  be  a  sure  win- 
ner. And  the  pay  was  tops. 

Bill  took  Barbara's  good  fortune  as 
enthusiastically  as  she  did,  even  though 
his  own  career  was  on   the   downhill. 

Nonetheless,  the  next  few  years  were 
happy  ones.  The  Williamses  moved  into 
a  larger  home,  complete  with  swimming 
pool.  The  three  children  were  tanned 
and  healthy  in  the  California  sun. 

Season  after  season,  the  series  was 
renewed.  Each  year,  Barbara  received 
a  fat  raise.  Other  rewards,  too,  like  the 
coveted  Emmy. 

Then,  according  to  their  circle  of 
friends,  trouble  signs  began  to  appear. 

"Bill's  career  practically  was  at  a 
standstill,"  one  of  them  confided  to  TV 
Radio  Mirror.  "He  remained  home 
most  of  the  time.  Therefore  the  rearing 
of  the  children  more  or  less  fell  in  his 
hands.  Barbara  was  on  call  for  the 
series  nearly  every  day,  leaving  at  the 
crack  of  dawn  and  not  returning  until 
late  at  night.  Naturally,  Bill  felt  neg- 
lected. Felt  hurt.  Felt  that  Barbara 
wasn't  spending  enough  time  being  a 
mother."  > 

How  could  she?  When  not  working 
on  the  soundstage.  there  were  other 
demands.  Interviews,  public  appear- 
ances and  other  musts  limited  the  time 
she  had  to  spend  with  the  family. 

"She  spent  more  time  with  her  tele- 
vision family,"  another  friend  said. 

The  once  happy  home  in  the  Valley 
became  a  potential  tinderbox.  Accord- 
ing to  a  friend,  Bill  and  Barbara  had 
sharp  words,  followed  by  days  of  icy 
silence. 

How  long  could  this  situation  last? 
Divorce  seemed  to  be  the  only  alterna- 
tive. Bill  didn't  want  to  be  married  to 


Delia  Street.  He  wanted  Barbara  Hale 
as  his  wife.  Barbara  felt  he  should  he 
more  understanding. 

The  relationship  of  Barbara  and 
Ray  Burr  since  the  show's  inception  has 
been  one  of  brother  and  sister.  When 
Ray  was  hospitalized  several  times  with 
a  chronic  throat  condition,  Barbara  was 
usually  the  first  to  see  if  she  could  do 
anything  for  him. 

So  when  the  chips  were  down  and 
Barbara  obviously  was  grieving  about 
conditions  at  home,  it  was  Burr  who 
was  equally  concerned. 

Burr  and  Williams  always  have  been 
the  best  of  friends.  The  two  have  en- 
joyed many  evenings  together  along 
with  Barbara. 

So  perhaps  Ray  sensed  the  main  prob- 
lem the  two  were  facing.  Bill  felt  neg- 
lected;  Barbara,  persecuted. 

"If  Bill  could  only  become  busy 
again,"  the  speculation  went.  "He's 
brooding  too  much.  Spending  too  much 
time  at  home." 

Unknown  to  either  Bill  or  Barbara,  a 
campaign  was  waged  to  help  them.  Bill 
soon  found  himself  on  the  set  of  the 
"Perry  Mason"  show.  Not  as  a  guest 
to  see  his  wife,  but  as  an  actor.  He 
had  been  cast  in  a  guest-starring  role. 
On  the  set,  Ray  went  out  of  his  way 
to  make  Bill  feel  at  home.  He  took  every 
opportunity,  too,  to  remind  Bill  how 
lucky  he  was  to  be  married  to  a  girl 
like  Barbara.  He  used  the  same  tactics 
on  Barbara. 

Suddenly,  Bill  also  found  himself  up 
for  two  motion  picture  roles. 

And  as  for  Barbara,  the  smile  re- 
turned to  her  face.  Why?  Her  close 
friends  attributed  it  to  Ray  Burr's  help. 
He  began  to  kid  her  about  her  home 
life — but,  each  time,  the  joke  had  a 
point  to  make.  "He  made  us  laugh  at 
our  problems  ...  he  made  us  laugh  and 
love  again  .  .  ."  is  how  she  described  it. 

"Ray  speaking  as  a  big  brother  to 
his  sister,"  one  of  her  closest  friends 
confided,  "bluntly  told  her  that  she 
wasn't  spending  enough  time  with  her 
family. 

"Even  if  it  meant  sacrificing  a  por- 
tion of  her  career,  she  should  do  it. 
Being  a  good  wife  and  a  mother  should 
always  come  before  being  a  good  ac- 
tress." 

Will  Barbara  now  decide  to  retire 
and  devote  full  time  to  Bill  and  the 
children?  Her  friends  think  not,  main- 
ly because  the  marriage  is  on  an  even 
keel  again. 

So  even,  in  fact,  that  Barbara  and 
Bill  stole  away  for  a  second  honeymoon. 
Just  the  two  of  them.  They  spent  ten 
days  in  their  power  cruiser  off  the 
Southern  California  coast,  and  the  trip 
did  much  to  reassure  them  that  their 
love  is  too  precious  to  allow  anything 
to  destroy  it. 

Naturally  there  will  be  other  prob- 
lems that  will  come  between  them  in 
the  future.  They  know,  however,  that 
their  love  for  each  other  is  stronger 
than  ever.  They  know  that  Raymond 
Burr  and  their  other  friends  are  de- 
pending on  them.  Are  on  their  side. 
They've  vowed  not  to  disappoint  them. 

— Gal  York 

See  Ray  and  Barbara  in  "Perry  Mason," 
CBS-TV,  Sat..  7:30  to  8:30  p.m.  edt. 


ON  THE 


SUNNYSIDE 


MIDWEST 


Kent  Slocum's  listeners  leave  their 

worries  on  the  doorstep  when  he  beams 

KOTA's  good  sound  to  Rapid  City,  S.D. 


■  Kent  Slocum  tries  to  walk  a  balanced  road  in  pro- 
graming his  "Music  on  the  Sunnyside."  He  says, 
"I've  tried  to  keep  in  mind  that  the  radio  audience 
consists  of  many  types  of  people  and  situations — the 
man  in  his  car,  the  homemaker  in  her  kitchen,  the 
secretary  in  her  office.  To  build  friendship  with  the 
listener  is  to  beam  the  broadcast  to  each  individual, 
treating  each  individual  as  the  most  important  person 
in  the  audience."  Heard  weekdays  2:35  to  5  p.m.,  the 
program  provides  a  good  cross-section  of  popular 
music,  "with  the  emphasis  on  good."  Kent  has  a 
classical  music  program,  "Masterworks  of  Sound," 
Saturdays  1 :05  to  1 :55  p.m.  In  addition  he  does  the 
"Weathervane"  on  both  television  and  radio,  week- 
nights  9:45  to  9:50.  .  .  .  Kent's  family  consists  of  his 
wife  Elaine — whom  he  met  "sneaking  peeks  at  her 
Spanish  papers  at  Huron  College" — their  four-and-a- 
half-year-old  daughter  Jan — who  is  "a  little  ham"  and 
likes  to  visit  Daddy  at  work — and  a  smoky-gray  barn 
cat,  "Shadow" — who  came  from  Elaine's  father's  720- 
acre  farm.  .  .  .  Kent  has  an  aversion  to  "any  medi- 
ocrity that  rock  'n'  roll  affords"  and  to  "immature 
singers  passing  themselves  off  as  professionals."  He 
is  an  optimist  about  future  trends  in  popular  music. 
"The  turn  to  better  music  seems  evident  with  stations 
turning  from  the  Top  40  format  to  a  better  calibre  of 
music."  It's  always  been  "better"  on  the  Sunnyside. 


Jan,  Kent's  and  Elaine's  daughter,  tries  to  be  a  "good  girl," 
because  Daddy  may  let  her  say  a  few  words  on  the  radio. 


65 


THEY 

BELIEVE 


In  disaster  or  calm,  St. 


Louis  counts  on  Rex  Davis 


for  his  way  ivith  the  news 


He's  been  coming  into  people's  homes  for  such  a  long  time 
— 17  years  on  Station  KMOX,  St.  Louis — Rex  Davis,  News 
and  Public  Affairs  Director,  thinks  that  must  be  why 
"they  believe  in  me  and  accept  me  as  one  of  the  family." 
Mayor  Raymond  Tucker  echoed  the  sentiments  of  Rex's 
large  audience  (42%  of  the  total  listeners  for  KMOX 
news  broadcasts)  with  his  congratulations  on  Davis'  "serv- 
ice to  the  people  of  St.  Louis  and  his  excellent  job  of 
maintaining  the  interest  of  the  citizens  in  community 
affairs."  His  listeners  become  interested  because  Rex  him- 
self is  "terrifically  interested  in  what  is  happening  in  the 
world  today  and,  like  many,  terribly  worried  about  how  it's 
all  going  to  come  out.  One  likes  to  be  optimistic,  of  course ; 
nevertheless,  the  chance  of  eventual  confrontation  with 
the  forces  of  Communism  seems  to  me  to  be  virtually  un- 
avoidable. I  don't  know  if  people  have  changed  or  I  have 
become  more  aware  of  their  thinking.  I  always  realized 
there  was  prejudice  and  bigotry  in  the  world,  but  never 


did  I  realize  on  how  wide  a  scale  it  existed  or  how  bitterly 
narrow  they  could  be  until  I  started  taking  their  telephone 
comments.  Under  the  anonymity  provided  by  the  telephone 
they  speak  in  such  a  manner  that  is  not  only  sickening, 
but  almost  frightening.  Not  all  of  our  callers  react  in 
this  way,  of  course — many  are  good,  sincere  people  who 
have  very  valid  comments  or  are  genuinely  seeking  infor- 
mation and  they  are  a  joy  to  contact.  To  me  the  most 
dangerous  thing  in  this  country  today  is  the  very  vocal 
spokesmen  of  both  Right  and  Left.  I  wish  fervently  that 
we  could  organize  the  great  middle-of-the-road  group  into 
a  militant  army  of  moderates  to  keep  things  on  an  even 
keel."  .  .  .  The  opinions  Rex  Davis  gives  on  the  air  are 
always  his  very  own.  Unlike  many  newscasters,  he  writes 
all  his  own  material.  In  addition  to  the  top-rated  "Noon 
News,"  Monday  through  Friday,  Rex  is  heard,  Monday 
through  Thursday,  with  two  programs,  "Strictly  Editorial" 
and  "News  Open  Line."  both  part  of  KMOX  Radio's  "At 


66 


Your  Service."  On  Fridays,  he  opens  his  "Mail  Bag"  and 
reads  letters  from  listeners.  He  continues  his  "At  Your 
Service"  participation  on  Saturday  mornings  with  "Ask 
the  Mayor,"  "Ask  Your  Congressman"  and  "Strictly 
Editorial  and  News  Open  Line."  And  then,  throughout 
the  week,  he  broadcasts  hourly  morning  newscasts  plus 
news  and  business  features  heard  later  in  the  day.  During 
the  summer  months,  Rex  acts  as  the  host  for  the  band  con- 
certs in  the  park,  broadcast  on  KMOX.  He  is  moderator 
for  the  medical  forums  sponsored  by  the  St.  Louis  Med- 
ical Society,  St.  Louis  Globe-Democrat  and  KMOX.  .  .  . 
He  somehow  manages  some  leisure  time  for  reading  and 
once-a-week  bowling,  averaging  170.  His  wife  Suzanne 
shares  his  love  of  listening  to  good  music.  .  .  .  They  live 
in  Kirkwood,  in  a  six-room  ranch  house.  They  met  when 
both  were  singing  in  a  church  choir  and  have  two  grown 
children,  both  married.  .  .  .  Rex  Davis  believes  strongly  in 
his  job  and  says,  "I  would  do  nothing  else  in  the  world." 


67 


RITA'S 
A  REAL 
BELL-RINGER 


68 


Rita  rings  in  juvenile  talent  for  her  Sunday  show,  "Starlit  Stairway: 


When  Rita  rings  your  bell,  it's  prob- 
ably to  give  away  money.  Or  so  most 
people  think  who  watch  Rita  Bell's 
"Prize  Playhouse,"  Monday  to  Fri- 
day from  9  to  10:20  A.M.  on  Greater 
Detroit's  WXYZ-TV.  She  introduces 
feature  films  and  comments  on  them. 
She  conducts  interviews  with  cele- 
brated guests,  civic  leaders  and  volun- 
teer workers  for  charitable  causes. 
And  she  telephones  viewers.  She  asks 
a  simple  question  first.  If  the  second, 
or  jackpot,  question  is  answered,  the 
prize  can  range  from  $25  to  some- 
thing around  $1,000.  Each  time  the  1 

_L 


Rita's  son  Michael  (left)  may  have  doubts  about  his  mother 
as  bike  mechanic,  but  she's  a  ringading  whiz  in  the  kitchen. 


When  the  phone  rings  in  Detroit, 
people  jump  to  answer  it.  After  all, 


it  might  be  Rita  Bell  calling! 


jackpot  question  is  missed,  the  pot 
rises  $7.  A  toy  jackpot  grows  along 
with  it  and  also  goes  to  the  winner. 
Sample  questions  are:  "What  is  the 
married  name  of  the  actress  who  won 
the  latest  Academy  Award  for  best 
icting  in  a  starring  role?"  "Who  is 
the  director  of  the  Central  Intelli- 
gence Agency?"  "Name  the  members 
of  'I've  flown  through  space  club.' ' 
...  Rita's  other  program  is  "Star- 
lit Stairway,",  a  talent  show  for 
youngsters  and  adults,  Sunday  at 
12:30.  Her  unflagging  cheerfulness 
and  warmth  help  overcome  mike  and 


camera  fright  and  keep  the  pace  fast 
and  exciting.  .  .  .  Rita,  a  speech 
graduate  from  Marygrove  College  in 
Detroit,  worked  as  a  public  relations 
secretary  until  she  sang  informally  at 
a  corn  roast  one  day  and  was  dis- 
covered by  John  F.  Pival,  now  presi- 
dent of  WXYZ,  but  then  executive 
vice-president.  She  was  soon  working 
for  the  station  as  a  weather  girl,  and 
still  fills  in  occasionally.  One  of  the 
busiest  girls  in  town,  Rita,  who  is 
separated  from  her  husband,  keeps  a 
neat  house  for  a  handsome  youngster, 
Michael,    13,    and   her   mother.    She 


bought  her  attractive  home  three  years 
ago.  .  .  .  She  enjoys  her  work  most  of 
all,  then  such  pursuits  as  reading, 
swimming,  ice  skating  and  teaching 
speech.  She  listens  to  records,  par- 
ticularly those  of  Keely  Smith,  Andy 
Williams  and  Bobby  Darin.  She  is 
also  a  rabid  fan  of  Richard  Burton 
and  would  like  most  to  meet  George 
Burns.  Rita  has  interviewed  hundreds 
of  famous  people  on  her  show.  She 
finds  the  best  way  to  be  bright  and 
perky  in  the  morning  is  to  go  to  bed 
early  the  night  before.  In  that  way, 
she's   always  sure  to   ring  the  bell! 


69 


T^he  town  "too  tough  to  die" — Tomb- 
stone, Arizona — is  the  locale  for 
the  exciting  adventures  of  Sheriff  Clay 
Hollister  (Pat  Conway)  and  news- 
paper editor  Harris  Claibourne  (Rich- 
ard Eastham).  Although  the  charac- 
ters of  Hollister  and  Claibourne  are 
fictional,  the  stories  told  on  "Tomb- 
stone Territory"  are  based  on  actual 
incidents  recorded  in  the  files  of  The 
Tombstone  Epitaph,  which  is  still 
printed.  Tombstone's  fame  grew  from 
a  span  of  three  years,  beginning  in 
1877,  when  the  town's  founder,  Ed 
Schieffelin,  discovered  a  rich  silver- 
ore  mine.  He  named  the  lucky  spot 
"Tombstone."   because   he   had    been 


TOO 
TOUGH 
TO 


TV  lawmen.  His  sheriff  is  not  a  grim 
law  enforcer,  but  a  man  who  likes  peo- 
ple and  attempts  to  dissuade  them 
from  trouble  before  it  happens.  But, 
when  necessary,  he  meets  danger  head- 
on,  guns  blazing.  It  was  only  natural 
for  Pat  to  become  an  actor.  His  father, 
the  late  Jack  Conway,  was  one  of 
Hollywood's  top  directors  at  MGM. 
From  the  time  he  could  talk,  Pat  was 
convinced  he  wanted  to  be  an  actor. 
His  parents  had  no  objection — but 
they  insisted  he  get  an  education  first. 
His  early  youth  was  spent  on  the  fam- 
ily's 125-acre  ranch;  he  learned  to  ride 
when  he  was  five,  and  roped  his  first 
steer    when    he    was   nine.    While    in 


a  home  in  the  Hollywood  Hills.  .  .  . 
Richard  Eastham's  first  theatrical 
break  came  when  he  replaced  Ezio 
Pinza  on  Broadway  in  "South  Pacific." 
He  had  landed  a  small  part  in  the 
Rodgers  and  Hammerstein  show,  then 
was  selected  to  understudy  the  star. 
He  did  56  performances  opposite 
Mary  Martin  before  he  joined  the  na- 
tional company,  with  Janet  Blair. 

Richard's  first  straight  role  was  with 
the  road  company  of  the  comedy  "An- 
niversary Waltz."  When  the  play 
reached  the  West  Coast,  Eastham  de- 
cided to  remain  there  rather  than  re- 
turn to  New  York.  He  played  an  im- 
portant  role   in   the   lead-off  film   of 


Pat  Conway,  Richard  Eastham 
re-create  the  thrills  of  frontier 
days  in  "Tombstone  Territory' 

warned  that  he  was  headed  straight  to 
the  heart  of  the  Apache  country,  and 
all  he  would  ever  find  out  there  would 
be  his  tombstone.  Within  months  after 
his  claim  was  staked,  the  area  was 
swarming  with  prospectors,  miners 
and  tradesmen.  Some  of  the  wildest 
gun  battles  of  the  West  were  fought  on 
Allen  Street,  "main  stem"  of  the  town. 
Money  and  blood  flowed  like  water. 
During  this  period,  Tombstone  was  the 
mecca  of  famous  gunmen,  the  hope  of 
prospectors,  and  a  prey  for  tinhorn 
gamblers  and  rustlers.  Conway  and 
Eastham  as  the  sheriff  and  editor  com- 
bine the  pen  and  the  sword  to  bring 
law  and  order  to  the  town.  .  .  .  Pat 
Conway   plays  Hollister  unlike  most 


Menlo  Junior  College,  Pat  realized 
continuing  a  regular  academic  educa- 
tion was  pointless  for  him.  His  parents 
insisted  he  finish — or  support  himself. 
He  took  them  up  on  their  challenge 
and  struck  out  on  his  own.  He  got  a 
job  and  enrolled  at  the  Pasadena  Play- 
house, where  he  studied  for  a  year.  He 
then  set  out  for  London,  auditioned  for 
the  Old  Vic  company,  and  was  signed 
as  a  regular  member.  World  War  II 
took  three  years  out  of  his  acting  life 
when  he  served  as  a  U.  S.  Marine.  Aft- 
er the  war,  he  returned  to  Hollywood 
and  got  roles  in  many  top  TV  dramatic 
series  and  several  movies  before  Ziv 
signed  him  for  "Tombstone  Territory." 
Six-foot-two  Pat  is  a  bachelor  and  has 


"Men  of  Annapolis,"  a  Ziv  production. 
The  studio  was  so  pleased  with  his 
work,  they  cast  him  in  "Tombstone 
Territory."  Eastham  is  a  native  of 
Opelousas,  Louisiana,  and  is  one  of 
seven  children.  When  he  was  five,  the 
family  moved  to  Missouri,  and  Dick 
began  voice  lessons.  At  16,  he  sang 
bass  in  the  famed  St.  Louis  Grand 
Opera  Company.  In  1941,  he  went  to 
New  York  to  study  voice — but  the  les- 
sons lasted  only  a  few  months  before 
he  joined  the  Signal  Corps,  where  he 
served  for  four  years  as  a  photography 
officer.  After  his  discharge,  he  headed 
straight  back  to  New  York  and  singing 
lessons.  Six-foot-two  Dick  is  wed  to 
childhood  sweetheart  Betty  Van  Allen. 


70 


E.G.    MARSHALL 

(Continued  from  page  33) 
hauls  out  his  bike  and  blithely  cycles 
off  to  work. 

Unrecognized  by  most  New  Yorkers 
— to  whom  a  bicycle  is  a  toy  for  fifteen- 
year-olds  and  under,  and  fifteen  may  be 
stretching  it,  at  that — E.G.  hears  their 
cracks  as  he  makes  his  way  up  busy, 
traffic-choked  Third  Avenue. 

"Crazy  bicycle,  lookit ! " 

"Where  you   pedalin'  to,   pardner?" 

"Mama,  see  the  character  on  the  two- 
wheeler  .  .  .  Ooooooh,  nutty!" 

"Unfair  to  us  cabbies,  that's  what  you 
are." 

"Hey,  Mac,  mind  if  I  trot  along 
wich'a?" 

So  on  and  on  E.G.  pedals,  till  he 
reaches  Filmways  Studio  at  127th 
Street. 

There  he  gets  off  his  bike,  waves 
back  to  a  few  neighborhood  Puerto 
Rican  children  on  their  way  to  school 
(they're  used  to  him  by  now),  enters 
the  studio  and — after  a  quick  trip  to 
makeup  and  wardrobe — makes  his  way 
to  the  brightly-lit  and  camera-eyed  of- 
fice of  Preston  &  Preston. 

One  morning,  just  after  he'd  won  the 
Emmy  as  best  TV  actor,  E.G.  was  ap- 
proached by  one  of  the  neighborhood 
kids,  who  asked  him:  "Mr.  Defender — 
can  you  tell  me  jus'  one  thing." 

"Sure,"  said  E.G. 

"Why,"  asked  the  boy,  "you  ride  bike 
to  work — big  man  like  you?" 

E.G.  smiled.  "For  exercise,  first  of 
all,"  he  explained.  "I'm  not  as  young 
as  I  used  to  be,  you  see,  and  a  man  has 
to  find  a  way  of  keeping  fit.  So  for  this 
reason  I  ride  my  bicycle.  .  .  .  And — see 
this  big  studio?  Well,  inside  it's  stuffy. 
It's  damp.  It's  pretty  dark.  Most  of  the 
year  I  work  inside  this  studio  for  nine 
or  ten  hours  a  day.  But  this  bike — for 
a  few  minutes  a  day,  at  least — it  keeps 
me  outdoors.  .  .  .  When  I  was  a  boy- 
like  you,  I  used  to  love  the  outdoors. 
You  do,  don't  you,  son?" 

The  boy  nodded.  "Sure  thing,  Mr. 
Defender,"  he  said. 

"Well,"  said  E.G.,  "so  did  I.  And  I 
guess  you  could  say  that  this  bike — in 
a  way,  for  a  few  minutes  a  day — takes 
me  back  to  my  boyhood. . . ." 

The  place  of  E.G.  Marshall's  boyhood 
was  a  tiny  town  in  Minnesota — called 
Owatonna;  there,  for  a  boy  nearly  half- 
a-century  ago,  life  was  strictly  Huck 
Finn. 

There  was  a  river,  of  course — "We 
fished  there,"  E.G.  says.  "We  swam.  We'd 
dig  for  freshwater  clams.  Mmmmm,  I 
can  still  taste  them.  Delicious,  they 
were." 

There  were  woods — "We'd  hike.  We'd 
build  our  tree  houses.  We'd  find  twigs 
and  whittle,  making  things  to  play  with 
or  for  our  rooms,  or  for  pretty  little 
girls  to  whom  we  felt  we  might  like 
to   give   a   present." 

There  were  caves — "Or  more  under- 
ground huts,  you  might  say,  actually 
built  by  us,  and  very  well  concealed. 
Every  boy  had  to  have  his  own  private 
cave  and  the  laws  of  concealment  were 
very  strict." 

There  was  a  gentle  family  life — slow. 


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til he  learned  his  lesson  the  hard  way  .  .  . 
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loving,  rich  in  the  stuff  of  which  mem- 
ories are  made:  "Mother  would  bake 
bread  in  the  big  kitchen.  Or  she  would 
prepare  some  of  those  Norwegian  spe- 
cialties. She  would  sit  near  the  window 
and  darn  our  clothes.  She  would  read 
to  us.  These  things  I  remember.  .  .  . 
My  father  worked  for  the  telephone 
company — it  was  quite  an  adventurous 
job;  the  telephone  was  very  new  then. 
And  at  night  he'd  come  home  from  work 
and  regale  us  with  stories  of  this  new 
modern  wonder." 

There  was  school,  too,  of  course;  one 
of  those  red-brick  one-room  affairs — "I 
liked  school.  I  got  my  start  in  theater 
there.  In  kindergarten,  one  day,  I  did 
an  imitation  of  Charlie  Chaplin  and  all 
the  children  laughed  and  applauded.  In 
a  way,  that  was  the  beginning  for  me. 
In  first  grade,  I  think  it  was,  there  was 
a  Christmas  play  and  I  played  Santa 
Claus,  the  leading  role.  In  fifth  or  sixth 
grade,  we  presented  a  spring  pageant 
and  staged  an  oxentanze — ox  dance — 
and  I  was  very  proud  to  be  chosen  as 
caller:    'Slap    your    thigh,'    I    called!" 

It  was,  in  fact,  right  after  this  oxen- 
tanze when  E.G.  Marshall  met  his  very 
first  fan.  She  was  an  immense  woman 
— the  wife  of  one  of  the  county's  lead- 
ing farmers — with  a  piercing  pair  of 
eyes  and  an  imperious  voice  that  might 
once  have  been  used,  succesfully,  to  call 
the  cattle  home.  She  came  up  to  young 
E.G.  now  and  said,  boomingly: 

"Boy!" 

"Yes'm?" 

"I've  just  come  from  a  trip  to  Chicago 
— don't  you  know." 

"Yes'm?" 

"And  I  saw  some  theatricals  there. 
One — a  play — with  a  lad  no  older  than 
you.  An  actor  he  called  himself.  Imag- 
ine, at  that  age.  But  no  matter,  the 
point  is,  he  was  a  professional  actor, 
and  no  better  than  you." 

"Thank  you,  ma'am." 

"Are  you  interested  in  a  theatrical 
career  r 

"Well,  ma'am—" 

"I  think  you  should  be.  I  know.  I 
know.  Most  lads  from  our  country  end 
up  like  the  corn  that  grows  out  there 
beyond  the  road — all  sturdy  and  hand- 
some enough,  but  all  of  them  yellow- 
eared  and  all  of  them  ending  up  one 
same  as  the  other.  But  once  in  a  while, 
nobody  can  explain  why,  a  red  ear 
pops  up  in  the  crop.  And  I  think  that's 
what  you're  going  to  be,  boy;  a  red 
ear  o'  corn." 

"Maybe,  ma'am." 

"Well,  good  luck — if  you  act,  that  is. 
And  if  you  should  ever  act  any  of  that 
Shakespeare,  think  of  me.  I  like  his 
writin's." 

"Yes'm." 

"You  know  who  Shakespeare  is, 
boy?" 

"No,  ma'am." 

"Well,  you  probably  will  some  day. 
You  probably  will.  .  .  ." 

The  farmer's  wife  was  right.  Young 
E.G.  would  know,  and  play,  the  writin's 
of  Shakespeare — and  before  not  too 
long. 

But  first  came  a  baptism  by  music — 
or  "premature  rock  'n'  roll,"  as  E.G. 
likes  to  call  it. 

It  all  started  with  a  guitar. 

Someone  gave  it  to  E.G.  as  a  present. 


There  were  no  music  teachers  in  Owa- 
tonna  at  the  time,  so  E.G.  plunked  away 
at  the  instrument  till  the  chords  were  in 
place  and  things  didn't  sound  too  bad 
in  general.  After  that — immediately — 
he  became  the  town's  leading  musician. 
He  continued  plunking  away — and  after 
a  while  he  sang,  too,  at  farmers'  conven- 
tions, ladies'  club  meetings,  at  the 
Y.M.C.A.,  at  church  suppers.  Most  of 
this  was  done  for  free — "though  once  in 
a  while  I  did  get  a  quarter  tip." 

Then  one  afternoon  when  he  was  six- 
teen or  so,  an  elderly  gentleman — an  cx- 
vaudevillian  of  sorts — got  an  idea  and 
contacted  E.G.  about  it. 

"You  got  an  orchestra?  'Cause  I 
have  some  big  ideas  if  you  do,"  said 
the  man. 

E.G.  crossed  his  fingers,  fib-style: 
"Sure,  I  have  an   orchestra." 

"How  many  fellows  in  the  group?" 

"How  many  you  need?" 

"Four." 

"Just  what  I  got!" 

The  elderly  gentleman,  delighted, 
then  explained:  "My  idea  is  to  get  a 
band  circulating  'round  here  for  Sat- 
urday night  festivities.  Now,  if  you  and 
your  three  friends  are  good  enough — " 

"Shades  of  Hades" 

The  first  thing  E.G.  had  to  do,  of 
course,  was  to  find  three  other  musi- 
cians. But  he  did,  soon  enough,  in 
neighboring  towns — kids  about  his  age; 
a  violinist,  a  piano  player  and  a  drum- 
mer. They  rehearsed  together  for  a 
few  hours.  One  night  they  played  for 
the  old  man,  who  seemed  pleased  with 
what  he  heard.  They  gave  themselves 
a  name — "The  Shades  of  Hades,"  ob- 
viously so  there  should  be  no  question 
that  the  jazz  they  played  was  hellishly 
hot.  And  that  Saturday  night,  they 
played  their  first  dance. 

"As  I  remember,"  E.G.  says,  "we  each 
got  two  dollars  that  night.  And  a  few 
scattered  tips.  And  we  had  a  grand 
time  ...  I  must  have  been  quite  some- 
thing then — singing,  squirming,  smiling 
away.  I  listen  to  rock  'n'  roll  now  once 
in  a  while,  and  I  think.  'My  gosh,  that's 
the  same  kind  of  stuff  I  used  to  do!' 
.  .  .  The  Shades  played  together  for  a 
few  years  after  that.  We  stayed  together 
till  1933,  when  a  Shakespearean  reper- 
tory company  on  its  way  South  passed 
through  town,  put  out  a  call  for  an 
actor  .  .  .  and  I  found  myself  joining 
them. 

"It  was  an  adventure  I  wouldn't  have 
missed  for  anything,"  E.G.  says.  "Yes, 
there  were  rough  times  in  those  early 
days.  Most  of  it  financial,  I  guess  you 
could  say.  But  perhaps  the  roughest 
time  of  them  all,  looking  back,  was  the 
night  I  spent  in  jail.  ...  I  was  working 
in  Chicago  then,  with  the  Federal  Rep- 
ertory Theatre.  I  was  to  have  an  inter- 
view with  someone,  to  meet  him  in 
Milwaukee.  Well,  I  got  to  Milwaukee 
early  one  evening.  But  this  fellow  wasn't 
there.  I'd  just  missed  him.  So  I  began 
walking  back  to  the  railroad  station 
when  these  two  cops  came  up  from  be- 
hind me,  tapped  me  on  the  shoulder 
and  told  me  to  come  along  with  them. 
'Where?'  I  asked.  'To  jail,'  they  said. 
'Why?'  I  asked.  They  told  me  I  was 
under    suspicion    of    robbery    and    as- 


sault. Just  like  that.  They'd  say  nothing 
more.  .  .  .  The  next  morning  I  was  to  be 
confronted  with  one  of  the  victims,  the 
one  who  would  or  would  not  put  the 
finger  on  me — as  they  say.  They  brought 
me  into  this  room.  This  woman  was  sit- 
ting there.  Very  nervous.  Very  agitated. 
All  I  could  think  was,  'She's  so  excited 
— who  knows  what  she's  going  to  say?' 
I  even  thought,  'Suppose  she  says  it 
was  me — then  what?'  But  slowly  the 
woman  looked  up,  and  over  toward 
where  I  stood.  She  stared  at  me  for  a 
few  long  moments,  very  hard.  And  then, 
thank  the  Lord,  she  shook  her  head. 
And  she  said,  'No — that's  not  the  man.' 
And  I  was  set  free." 

But  a  night  in  jail  here,  a  few 
hungry  days  there,  didn't  stop  the  young 
actor  from  following  the  career  he  had 
decided  by  now  was  it-or-nothing. 

After  a  few  years  in  Chicago,  E.G. 
decided  to  try  his  luck  in  New  York. 

And  after  a  few  years  there — in  the 
early  '40s — at  age  thirty-one,  he  got  his 
big  break  by  playing  a  seventy-year-old 
adventurer  in  exactly  seven  minutes' 
worth  of  a  play  called  "Jason." 

"Jason"  wasn't  too  well  received;  but 
Marshall  was. 

"Brilliant" — cheered  the  critics.  (One 
of  them  even  wondered  where  the  "old 
man"  had  been  all  his  life!)  And  from 
that  opening  night  on.  E.G.  Marshall — 
who  has  since  played  youngish,  old,  me- 
dium rare;  what  you  want  from  a  great 
actor ;  and  how  you  want  it — was  on  his 
way. 

Don't  let's  bother  here  with  the  cred- 
its he  has  since  racked  up;  we  don't 
have  that  much  room.  Enough  to  say 
that,  from  that  day  to  this,  E.G.  Mar- 
shall has  appeared  in  nearly  500  tele- 
vision plays,  two  dozen  movies,  a  dozen 
or  so  Broadway  plays. 

Besides,  this  is  a  story  about  E.G. 
Marshall  the  man. 

And  we  want  to  get  on  to  the  heart  of 
the  man. 

For  a  good,  nice,  wise  and  softly- 
humorous  heart  it  is.  .  .  . 

He  is  a  dedicated  artist,  yet  at  the 
same  time  he's  relaxed.  If  he  is  called 
in  front  of  the  camera  for  a  short  take, 
he  will  go,  do  what  he  has  to  do,  return 
and  say,  "Now,  as  I  was  telling  you — " 

And  talking  about  a  variety  of  sub- 
jects, you  get  to  know  something  about 
the  man. 

He  talked  a  little  that  day  about 
Robert  Reed,  the  young  actor  who  plays 
his  son,  Kenneth  Preston,  on  "The  De- 
fenders": "Bob  is  a  very  gentle  person. 
A  real  human  being.  He's  very — I  don't 
want  to  say  dedicated — but  he  has  a 
great  deal  of  respect  for  the  work  he 
must  do  and  that  we  all  must  do  .  .  . 
Our  relationship  is  the  same  off  screen 
as  on.  Except  I  never  get  angry  with 
him.  He's  a  bright  boy.  Not  self-serv- 
ing. He  doesn't  complain.  Very  often 
the  writer  doesn't  give  him  enough  to 
do  on  the  show — and  so  I  suggest  how 
more  lines  can  go  his  way.  I  guess  it's 
the  kind  of  thing  Lawrence  Preston 
might  do  for  his  son.  I  do  it  because 
I  like  Bob  Reed." 

He  talked  about  the  subject  of  work : 
"I  will  never  say  that  I  am  overworked 
because  one,  I  love  my  work— and  two, 
there  are  too  many  memories,  which  I 
guess  all  actors  share,  about  the  times 


we  couldn't  get  work.  But  there  have 
been  times  when  I  became  tired,  very 
tired.  I  guess  after  the  operation  is 
over  and  the  wound  is  healed,  you  don't 
think  about  it  so  much.  Yet,  there  were 
times.  And  it  usually  hit  me  around 
the  eyes— a  little  twitch  right  here — in 
this  eye.  And  I  would  find  myself  tak- 
ing a  little  time  off  and  going  some- 
where to  relax  for  a  couple  of  weeks. 
Usually  in  the  country." 

He  talked  about  his  country  house: 
"It's  up  in  Stratton,  a  tiny  town  in  Ver- 
mont. I  call  it  the  Nothing  House — 
because  there's  nothing  square  there, 
nothing  level.  I  was  hiking  with  a  friend 
who  lived  nearby,  one  day,  through  the 
woods,  when  we  came  across  this  old 
shed.  It  caught  my  eye — the  way  it  was 
situated  especially,  in  a  pleasant  vale, 
surrounded  by  big  maple  trees.  The 
quiet  pleased  me,  too;  I  didn't  realize 
it  till  that  day,  how  much  I  missed  the 
natural  setting.  I'd  been  in  so  many 
cities  these  past  twenty  years.  You  don't 
know  that  your  ears  are  constantly 
bombarded  with  noise  till  you  get  away. 
I  guess  I  felt  at  that  moment  that  I  had 
to  have  some  wilderness  again.  Anyway, 
I  bought  the  old  shed.  And  proceeded 
to  transform  it  into  a  house — added 
rooms,  a  foundation.  It  was  like  putting 
a  shining  gold  crown  on  a  rotten  tooth. 
We  go  there  summers  now.  And  for  a 
few  weeks  in  the  winter,  when  we  can. 
It's  the  happiest  place  in  the  world  to 
me  and  my  family." 

He  talked  about  a  tree  that  used 
to  stand  not  far  from  Nothing  House: 
"I  don't  know  why  I  did  it.  But  this 
huge  tree  was  in  the  way  of  something 
I  was  planning.  A  marvelous  tree — 
about  ninety  years  old.  So  I  got  some 
guys  to  come  and  take  it  away.  And 
when  they  started  with  their  saws,  I 
had  to  turn  away.  At  one  point  I 
thought,  'But  this  is  a  living  thing,  a 
beautiful  thing — it  shouldn't  be  de- 
stroyed.' I  called  out  to  the  men  to  see 
if  they  could  stop.  But  it  was  too  late." 

He  talked  about  friends:  "A  good 
friendship  to  me  is  one  in  which  some- 
one knows  your  faults  and  forgets  them. 
I  am  moved  by  the  purity  of  friendship 
in   people." 

About  family:  "I  prefer  to  say  noth- 
ing about  my  family  life.  It  has  always 
been  a  policy  of  mine.  Yes,  I  was  mar- 
ried when  I  was  rather  young  and  have 
two  fine  daughters  by  that  marriage.  I 
have  since  married  again,  very  happily, 
and  have  a  fine  son  and  daughter.  My 
definition  of  a  good  marriage?  Not 
something  where  each  party  gives  fifty- 
fifty,  but  where  each  gives  one  hundred 
percent." 

He  talked  a  little  about  his  social 
life:  "My  favorite  kind  of  evening  is 
for  us  to  sit  at  home — or  in  the  homes  of 
friends:  Kevin  McCarthy,  his  sister 
Mary  McCarthy,  Zero  Mostel — and 
group-read  from  plays.  Instead  of  cock- 
tail parties,  we  have  reading  parties. 
Instead  of  musicales,  we  have  theatri- 
cales.  They're  a  big  hit.  And  we  have 
an  awful  lot  of  fun  together." 

He  talked  a  little  about  public  re- 
action to  himself  since  the  walloping 
success  of  "The  Defenders":  "I  walk 
into  a  restaurant  now  and  usually  a 
few  people  will  look  up  and  nod.  Not 
much  more  than  that.  Except,  of  course, 


that  we  get  a  lot  of  mail.  Quite  a  few 
people  write  in  asking  advice  on  spe- 
cific legal  subjects:  Bankruptcy,  com- 
pensation, negligence.  I  tell  them  to  go 
to  a  legal  adviser — or  to  go  see  Perry 
Mason." 

Finally,  he  talked  a  little  about  his 
initials:  "Many  people  have  asked  me 
what  E.G.  stands  for.  I  never  tell  them. 
Or  else  I  say  that  E.  is  a  name  in  it- 
self and  G.  stands  for  gregarious.  Or 
I  might  say  that  I  borrowed  E.  from 
Lizabeth   Scott,  who   didn't   need   it — 


that's  a  gag  I  picked  up  from  Joe  E. 
Lewis — and  that  E.  stands  for  enigma. 
But  I  never  tell.  And  I  don't  intend  that 
I  ever  will.  Why?  Maybe  because  it 
makes  me  a  little  bit  different.  Once,  a 
woman  said  to  me  that  I  was  destined 
to  be  different — like  a  red  ear  of  corn. 
And  I  guess  that,  at  heart,  I  am  just 
that.  A  grown-up  and  contented  red 
ear  of  corn  .  .  ."        — Doug  Brewer 

"The  Defenders"  is  seen  on  CBS-TV, 
Sat.,    from    8:30    to    9:30    p.m.    edt. 


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I 


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0  i 


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Name. 
Address- 


0        City. 


.Zone State. 


T 
V 
R 

73 


EDDIE    FISHER 


iiififiiMiifiimiitiHiii' 


(Continued  from  page  25) 
manufacture  any  kind  of  story  it  wants 
these  days,"  he  explained.  "Who  has 
time  to  go  around  denying  or  trying  to 
answer  every  comment?  If  I  really 
started  to  straighten  out  the  record,  I 
wouldn't  have  time  to  get  my  career  go- 
ing again.  Oddly  enough,  in  all  these 
years  I've  never  kept  a  scrapbook.  I 
didn't  even  save  the  good  write-ups.  I 
can  understand  it's  the  job  of  a  reporter 
or  columnist  to  get  a  slant  on  a  story 
and  write  it,  but  they  don't  have  to  be 
so  heavy-handed  about  it.  I'm  not  talk- 
ing about  my  relationship  with  Eliza- 
beth, but  many  of  these  people  develop 
an  attitude  toward  something,  and  they 
can  create  troubles  where  there  aren't 
any." 

I  took  the  bull  by  the  horns  and 
asked  him  about  the  impending  divorce. 
It  had  been  reported  that  he  would  be 
the  one  to  get  it. 

"It  wasn't  my  idea  to  begin  with.  It 
was  Elizabeth's.  Besides,  I'm  so  busy 
working  that  I  haven't  time.  Since  she's 
the  one  who  wants  it,  she'll  have  to  be 
the  one  to  get  it,"  he  decreed  with  the 
finality  of  a  man  who  has  had  the  last 
word. 

"After  marriage  to  Elizabeth  Taylor, 
who's  considered  one  of  the  most  beau- 
tiful girls  in  the  world,  wouldn't  it  be 
difficult  for  anybody  to  follow  in  her 
footsteps?"  I  asked. 

"There  are  many  different  kinds  of 
beauty.  I'd  try  it  again,  I  guess,  some- 
where along  the  line,"  he  answered 
softly. 

Eddie  is  handsomer  today  than  he 
was  B.C. — Before  "Cleopatra."  His 
few  weeks  in  Palm  Springs  had  tanned 
him  to  a  luggage  brown.  He's  regained 
the  twenty  pounds  he  lost.  And  he's 
wearing  exactly  the  same  size  suits  he 
sported  back  when  Eddie  Cantor  heard 
him  singing  for  the  Labor  Day  holi- 
dayers  at  Grossinger's  Hotel  in  the  Cat- 
skills  and  pushed  him  into  the  big-time. 
That  was  1949.  Two  movies,  two  chil- 
dren, two  glamorous  wives  and  two  life- 
times ago. 

Today,  after  what  he  smilingly  ad- 
mits was  a  "kind  of  temporary  semi- 
retirement,"  Eddie's  back  at  work  full 
time. 

I  asked  him  if  he  hadn't  known  that 
all  this  time  he  was  sort  of  tossing  away 
his  own  redhot  career?  "I  didn't  have 
a  moment  to  think.  There  just  seemed 
to  be  many  other  things  that  were  much 
more  important  to  me  during  these 
years.  It  never  entered  my  mind.  Even 
my  agents  knew  how  I  felt  and  didn't 
get  in  touch  with  me.  I  don't  know  .  .  . 
I  guess  I  just  didn't  care." 

Whenever  he's  not  actually  perform- 
ing these  days,  he's  rehearsing.  With  the 
same  Svengali  he  had  in  the  early  days, 
Milton  Blackstone,  he  starts  early  in 
the  morning  and,  barring  a  little  break 
to  sop  up  some  sun,  he  goes  straight 
through  until  the  night. 
T  Immediately  after  nudging  J.F.K.  off 

v       the  front  pages,  he  recorded  six  tunes. 
R       Two     from     Broadway's     "Milk     and 
Honey"  were  made  in  Europe.  As  soon 
74 


as  he  landed  back  in  his  own  backyard, 
he  recorded  "Back  in  Your  Own  Back- 
yard," which  he  likes  "the  best  of  any- 
thing I  ever  made.  But  later  on  I  know 
I  won't  feel  the  same  way."  "The  Sweet- 
est Sound"  from  "No  Strings"  was  next 
followed  by  "Bravo  Giovanni."  The 
sixth  sold  400,000  copies  already.  "Just 
so  happens  it  happened  to  have  been 
'Arrivederci  Roma,'  "  Eddie  grinned. 

"It  wouldn't  matter  what  I  sang, 
though.  People  would  read  something 
into  it.  They're  just  waiting  for  some- 
thing. You  can't  avoid  a  certain  amount 
of  torch  songs.  Most  really  great  num- 
bers written  down  through  the  ages  fit 
that  category.  I'm  planning  on  doing  a 
variety  of  tunes.  Some  will  be  torchy." 

Although  Eddie  and  Co.  tried  to 
avoid  tunes  that  have  the  double  mean- 
ings, this  brought  to  mind  a  recent 
benefit  performance  which  prompted  a 
reviewer  next  day  to  foam  at  his  type- 
writer:   "It   was   apparent    Eddie   was 


PHOTOGRAPHERS'  CREDITS 

Gene  Krupo  by  "Popsie";  Eddie  Fisher 
party  pictures  by  Globe;  Eddie  Fisher 
portrait  on  p.  25  by  U.P.I. ;  Connie 
Stevens  color  by  Gene  Trindel  of  Topix; 
Bob  Horton  color  by  Win  Mu/drow; 
E.  G.  Marshall  by  CBS;  Vince  Edwards 
portrait  by  Marv  Newton  of  Graphic 
House;  Sherry  Nelson  and  Vince  Ed- 
wards by  Gi'i/oon;  Lennon  Sisters  by 
Frank  Bez;  Hugh  Downs,  wife  and 
family  by  Jack  Stager;  Leslie  Uggams 
by  Jack  Stager;  Fred  MacMurray  by 
Phil  Stern;  Shelley  Fabares  and  Lou 
Adler  by  John  Hamilton;  "As  the  World 
Turns"  by  CBS;  Frank  Sinatra  color  and 
black-and-white  by  Pictorial  Parade; 
color  pix  of  Raymond  Burr  and  Barbara 
Hale  by  Biff  Kobrin. 


singing  not  to  the  thousand  who  were 
there,  but  to  the  one  who  wasn't.  He 
sang  his  heart  out  last  night  and  every 
song  was  seemingly  directed  as  a  mes- 
sage of  love.  'Any  Time'  brought  a  gasp 
from  the  audience.  T  Need  You  Now' 
caused  an  exchange  of  knowing  glances. 
Most  obvious  of  all  was  his  tenderly 
touching  'Wish  You  Were  Here,'  which 
never  before  carried  the  sweet,  haunt- 
ing tones  that  he  instilled  into  this 
rendition  which  was  a  lament  of  yes- 
terday and  a  hope  of  tomorrow.  In  his 
last  threnody  of  love  to  his  estranged 
wife,  Eddie  sang  'You  Gotta  Have 
Heart,'  and  it  was  plain  he  was  wearing 
it  on  his  sleeve." 

Eddie's  wry  comment:  "These  days, 
anything  I  sing  would  be  read  into. 
Even  'How  Are  Things  in  Glocca- 
morra' ! " 

Sitting  on  the  edge  of  his  chair,  his 
chin  cupped  in  his  hands,  Eddie  dis- 
cussed his  career.  "Of  course,  it's  too 
early  to  tell  how  this  will  affect  my 
popularity.  Tragedies  always  seem  to 
make  people  more  important.  I'm  al- 
ready booked  into  my  hometown  and 
Vegas  and  Dean  Martin  pushed  his  en- 
gagement back  so  I  can  play  Tahoe. 

"I've  been  offered  several  exciting 
TV  deals.  I'm  considering  them  all.  I'm 
very  anxious  to  prove  myself  as  a  per- 
former. But  I'm  a  singer  primarily.  I 
made  two  movies.  Both  of  them  bombed. 


So,  I'd  have  to  consider  acting  offers 
very  carefully." 

Speaking  of  acting,  what  was  his 
opinion  of  "Cleopatra"?  "I've  seen  two 
hours  and  forty-five  minutes  of  it.  It's 
a  true  artistic  achievement  which  will 
be  one  of  the  greatest  pictures  of  all 
time.  Elizabeth  gives  the  greatest  per- 
formance of  her  life." 

Rumored  to  have  gone  through  cash 
almost  as  fast  as  20th  Century-Fox,  he 
was  asked  about  reports  that  he's  broke. 
He  stared  at  his  alligator  shoes  (rough 
guess  is  $40  per  foot)  and  answered, 
"Well,  I've  leased  a  Beverly  Hills  home 
and  an  apartment  in  New  York.  And. 
as  to  whether  or  not  I'm  busted  finan- 
cially, all  I  can  say  is  nobody  is  ever 
going  to  have  to  run  a  benefit  for  me." 

In  the  other  room  of  his  hotel  suite 
there  were  some  ten  or  more  aides-de- 
camp, songwriters,  TV  producers,  man- 
agers and  other  humans  of  assorted 
shapes,  sizes  and  salaries.  Two  phones 
were  ringing  constantly,  and  being  an- 
swered by  the  sergeants-at-arms. 

Eddie  Fisher  is  a  young  man  who,  at 
an  age  when  many  other  men  are  still 
in  hock  to  their  in-laws,  has  already 
been  married  to  Debbie  Reynolds  and 
Elizabeth  Taylor,  two  of  this  planet's 
most  sought-after  box  office  attractions. 
He's  entertained  kings  and  queens  and 
presidents.  His  "Anytime,"  "I'm  Walk- 
ing Behind  You,"  "Oh,  My  Papa"  and 
"I  Need  You  Now"  have  sold  over  a 
million  records  each.  But  he  is  no  cocky, 
arrogant  kid  whose  off-hours  are  spent 
munching  caviar. 

He  is  a  pleasant,  boyish  gentleman 
who  amiably  and  honestly  answers 
questions  from  friends  he  doesn't  figure 
will  gut  him  just  for  the  sake  of  a 
headline.  Eddie  is  a  soft-spoken,  well- 
mannered  individual  who  shows  re- 
markable restraint  and  good  grace  in 
this  new  international  poker  game 
where  a  fellow  called  Richard  Burton 
is  the  pot. 

Eddie  absently  twirled  the  green  jade 
circlet  he  wears  on  his  pinky.  It 
matched  the  green  paisley  tie,  belt  and 
handkerchief  he  wore.  It's  his  "engage- 
ment ring"  given  him  by  you-know- 
who  back  you-know-when.  He's  worn  it 
"three  years  and  eight  months  ...  I 
wear  it  all  the  time  whether  I'm  in 
green  or  not,"  he  said.  He  had  taken 
off  his  wedding  ring,  however. 

"I  admit  I've  made  a  lot  of  mistakes 
in  my  life.  Sure,  I'm  human — like  any- 
body else.  I  have  a  temper.  I  blow.  I 
have  an  all-round  disposition.  But  no 
matter  what  was  ever  happening  to  me, 
I  always  tried  to  be  a  gentleman 
throughout  it  all. 

"This  whole  thing  has  been  like  a 
free-for-all,"  he  continued.  "I  read  all 
the  papers  every  day,  so  I've  heard  all 
the  reports  and  the  rumors  going 
around.  In  the  beginning  every  item, 
every  photograph  or  headline  hurt. 
Now  I  look  at  it  like  they're  strangers. 
Like  it's  no  part  of  me." 

Eddie  puffed  a  borrowed  cigarette 
and  sat  down  on  the  frilly  tuxedo  shirt 
that  was  laid  out  for  the  evening.  "And 
about  that  press  conference  I  held  and 
those  padded-cell  stories!  When  I  ar- 
rived in  the  United  States,  I  decided  to 
go  into  the  hospital  for  some  rest.  There 


weir  two  people  with  me.  One  is  a  good, 
long-time  friend — a  colonel  in  the  Air 
Force.  The  other  was  my  personal 
physician.  Some  stewed  reporter  barged 
in,  asked  nobody  for  any  quotes  and 
made  up  a  highly  exaggerated  story,  to 
say  the  least,  about  two  'psychiatrists' 
working  me  over  behind  locked  doors. 
I  realized  I  had  to  show  myself.  So  I 
held  that  press  conference  just  to  show 
I  was  sane.  Very  sane.  The  only  shock 
treatments  I  ever  received  were  those 
thrown  at  me  by  the  press. 

"And  99.9  percent  of  the  reports  of 
my  dating  are  all  made  up.  I  don't  mean 
I  want  to  be  left  alone,  but  I  don't  do 
a  tenth  of  a  percent.  Those  Natalie 
Wood  stories  are  right  out  of  the  blue. 
And  the  Kim  Novak  thing  is  completely 
manufactured.  I  don't  understand 
where  they  get  their  information." 

Then,  of  course,  there  was  another 
attractive  young  lady  in  Hollywood 
Eddie  might  have  seen — Debbie  Reyn- 
olds. Had  he  seen  his  ex-wife,  talked 
with  her? 

"No.  Just  the  nurse  was  there  when  I 
visited  the  children  in  Palm  Springs." 

The  children.  What  might  their  reac- 
tion be  to  this  complicated  situation? 
What  had  he  told  Carrie  and  Todd? 

"Nothing.  I  will  someday  when  they 
reach  a  certain  age.  But  they're  too 
young  to  know  anything  about  it  now. 
It  was  wonderful  to  see  them  again 
after  eight  months." 

What  did  his  mother  have  to  say 
when  her  "Sonny  Boy"  (his  nickname) 
came  home  dragging  those  newspaper 
tales  behind  him? 

"My  dear  mother's  not  well.  She's 
had  heart  trouble  for  years.  But  she 
forgot  all  about  her  problems  when  I 
needed  her.  All  she  was  interested  in 
was  her  baby.  My  mother  had  no  educa- 
tion. And  she  had  a  very  tough  life.  Yet 
my  mother's  a  very  wise,  wise  woman. 
I  never  really  used  to  listen  to  her.  She 
was  in  New  York  when  I  came  back. 
She  said  many  loving,  kindly  things. 
Mothers  are  full  of  that.  It  sure  was 
nice  to  have  a  mom  around  when  I 
needed  her.  It's  nice  to  have  a  mom 
around  all  the  time  ...  I  think  we 
should  learn  to  listen  to  our  mothers." 

And  what's  with  his  future? 

"All  I  want  to  do  is  sing.  I'm  in  great 
voice.  I'm  dying  to  perform.  Dying  to 
get  in  front  of  an  audience  again.  I'll 
sing  anywhere."  The  lovable  boyish 
grin  spread  over  his  face.  "In  fact,  if 
you  ask  me,  I'll  do  a  half  dozen  numbers 
for  you  right  now. 

"That's  why  I'm  doing  benefits  all 
over.  Just  one  stray  performance  won't 
put  you  back  in  shape.  When  I  used  to 
be  off  a  week  I'd  get  stale.  All  this 
while  I  never  did  exercises  or  scales  .  .  . 
boy,  I  really  made  it  rough  on  myself! 
Somehow,  though,  unhappiness  didn't 
affect  my  voice. 

"I  want  to  be  in  action.  I  want  to 
sing  and  work  like  I  never  have  before. 
I'll  do  some  old  songs,  something  new, 
something  borrowed  and  .  .  ."  he 
smiled  .  .  .  "something  blue. 

"All  I  want  is  a  chance  to  sing  my 
little  old  heart  out." 

As  he  walked  to  the  phone,  which 
was  ringing  again,  he  added,  "And  it  is 
old,  too.  .  .  . "  — Cindy  Adams 


Let's  talk  frankly  about 

internal 
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treating  "the  delicate  zone." 

They  don't  ask.  Nobody  tells  them. 
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(Continued  from  page  31) 
with  financial  insecurity?  .  .  .  His  wife 
Marilynn's  reaction,  was,  if  anything, 
a  shade  quicker  than  Bob's.  She'd  met 
him  in  summer  stock,  two  years  ago, 
when  they  co-starred  and  fell  in  love  in 
"Guys  and  Dolls."  But  it  was  one  Bob 
Horton  who  strode  through  "Guys  and 
Dolls"  .  .  .  savoring  the  excitement  of 
the  musical  theater,  singing  his  heart 
out  every  night  on  stage.  It  was  quite 
another  Bob  Marilynn  had  come  to 
know  in  Hollywood  ...  a  man  who 
came  dragging  home  each  night  .  .  . 

Three  years  of  his  life,  the  executive 
had  said!  That  night,  Bob  came  home 
steeped  in  gloom.  "The  studio's  breath- 
ing down  my  neck,"  he  told  Marilynn. 
"They  want  me  for  another  three  years, 
after  my  regular  contract  expires  ...  it 
means  a  million  dollars  .  .  ." 

"I  don't  want  you  to  do  it,"  she  said, 
before  he  could  finish.  "You  don't  want 
to  and  /  don't  want  you  to." 

His  face  changed  as  though  he  were 
hearing  music.  Bob's  been  a  fighter  all 
his  life — but  now,  for  the  first  time, 
someone  believed  in  him !  "You  have  to 
fight  to  live,"  she  said,  very  simply — 
because  that  was  one  of  the  reasons  she 
loved  him. 

The  next  day,  Bob  lowered  the  boom. 
He  was  through  with  "Wagon  Train"  as 
soon  as  the  series  stopped  filming.  NBC 
offered  him  "The  Virginian."  He  turned 
his  back.  "I  was  in  for  some  surprises," 
Bob  tells  me.  "An  actor  is  a  commodity 
to  be  bought  and  sold.  I  hadn't  quite 
realized  .  .  ." 

During  the  last  weeks  of  shooting,  he 
was  down  with  a  virus  infection.  Mem- 
bers of  the  crew  called  to  see  how  he 
was,  sent  cheer-up  cards.  Not  one  word 
from  the  front  office.  A  year  before, 
he'd  injured  an  eye  while  filming  with 
plastic  snow  and  everyone  at  the  stu- 
dio had  been  on  the  wire.  .  .  . 

At  the  very  last,  one  executive  said 
bluntly,  "Bob,  come  to  your  senses. 
How  can  you  turn  your  back  on  a  mil- 
lion bucks?" 

"I  had  no  difficulty  turning  my  back 
on  that  money,"  Bob  says  now,  "as  soon 
as  I  stopped  and  realized  it  was  all  I'd 
be  getting  for  three  years  of  my  life. 
I've  been  broke,  sure,  but  it's  not  im- 
possible to  make  money,  and  I've  cer- 
tainly found  that  money  itself  is  no 
panacea  for  your  troubles.  When  you're 
involved  in  something  that  no  longer 
stimulates  you,  you  begin  to  slow  down. 
You're  no  longer  using  yourself,  you 
lose  your  identity. 

"That's  what  was  happening  to  me 
with  Flint  McCullough.  Flint's  okay, 
but  I'd  done  as  much  with  him  as  I 
could — you  might  say  I  was  paralyzed 
to  his  stature.  The  fact  is,  TV  builds 
great  star  characters  but  it  doesn't 
build  stars,  and  I've  got  to  build. 

"Actors    aren't    the    only    ones    who 

find  themselves  in  a  spot  like  the  one 

I'm  in  now.  I  tried  a  number  of  jobs 

T       before    acting    and,    sooner    or    later, 

v       found  myself  bored  with  all  of  them. 

r       A  man  can  start  in  any  business,  fight 

his  way  up,  enjoy  himself  thoroughly, 

then  find — a  half  dozen  years  later — 
76 


no  challenge  left.  He  has  a  choice.  He 
can  conform,  stay  where  he  is,  make  a 
good  living  and  accept  the  loss  of  his 
own  self-respect.  Or  he  can  make  a 
break,  start  over  again,  find  new  chal- 
lenges and  fight  for  his  life." 

It's  a  battle  for  which  Bob  has  been 
building  muscles  since  he  was  a  kid 
...  a  problem  child,  if  you'd  asked  his 
family  ...  a  nonconformist  .  .  .  noth- 
ing like  his  older  brother,  Creighton. 
Young  Howard  (Bob  was  Meade  How- 
ard Horton  Jr.,  but  his  dad  was  called 
"Meade,"  so  he  was  called  "Howard") 
did  not  do  what  he  was  told.  "Not  cross 
the  street?  I  ran  away  from  home,  the 
first  time,  when  I  was  four.  Didn't  get 
very  far — I  was  on  a  tricycle — but  the 
point  remains  that  I  was  very  interested 
in  what  was  going  on  around  the  cor- 
ner. 

"I  kept  on  being  interested.  I  ran 
away  at  sixteen  because  I  was  fed  up 
with  things  in  general — and  again,  at 
seventeen.  That  time  it  was  a  car  ac- 
cident. I  had  my  first  car  and  I  was 
driving  along  and,  suddenly,  it  was  a 
total  mess  and  I  wasn't  about  to  go 
home  and  hear  the  lectures.  I  just 
couldn't  face  all  that  conversation.  I 
phoned  home,  told  them  where  I  was, 
and  by  the  time  I  came  home,  a  week 
later,  they  were  glad  to  see  me. 

"My  family  thought  me  hard  to 
manage  and  maybe  I  was.  There  was 
certainly  a  problem  with  a  kidney 
ailment  that  ended  in  an  operation, 
and  an  appendectomy  .  .  .  there  was 
certainly  a  problem  with  all  sorts  of 
accidents.  Here  I  was,"  Bob  grins  rue- 
fully, "a  strong  all-American-looking 
boy  with  red  hair  and  freckles,  and  I 
was  always  breaking  something  or  get- 
ting run  over!  But  mainly  the  problem 
was  that  my  parents  were  strict  .  .  . 
were  then  and  are  now.  They  were  very 
rigidly  brought  up  in  the  Mormon  re- 
ligion and  they  brought  us  up  this  way, 
including  no  smoking  and  all  that  sort 
of  thing — which  was  not  for  me. 

"My  family  are  wonderful  people, 
but  I  didn't  happen  to  want  to  be  just 
like  them  and  I  got  pretty  tired  of 
hearing  what  good  grades  my  older 
brother  got  in  school  and  how  he  never 
talked  back. 

The  opening  battle 

"The  first  time  I  ever  really  partici- 
pated in  school  was  at  Harvard  Military 
Academy,  when  I  was  a  senior.  Be- 
cause of  my  kidney  condition — and  all 
the  accidents — I'd  always  been  kept 
away  from  sports.  So  now  I  decided  I 
was  going  to  play  football.  My  mother 
and  dad  said  I  couldn't.  But  I  played, 
anyhow.  The  first  day  of  practice,  I 
turned  my  wrist  and,  when  I  came  home 
that  night,  the  family  said,  'You  see, 
Howard,  you  see?'  But  I  played  that 
whole    season,   played   every   quarter!" 

That  was  his  first  victory. 

Bob's  second  victory  followed  short- 
ly after,  when  he  suddenly  decided  he 
was  too  hefty.  Pictures  had  just  been 
taken  for  the  school  annual,  Howard 
took  one  look  at  his  205-pound  image 
and  didn't  like  it.  That  was  the  seven- 
teenth of  January.  There  was  a  party 
that  night  and  he  had  a  date — but  that, 
he  decided,  would  be  his  last  fling.  He 


cut  out  dates  and  parties,  went  on  a 
diet,  increased  his  physical  activity. 
When  school  broke  for  Easter  vacation 
on  March  27th,  he'd  lost  twenty-seven 
pounds!  To  Bob,  this  proved  the  power 
of  self-discipline.  But  he  hadn't  proved 
anything  to  the  rest  of  the  world — yet. 

He  still  wasn't  interested  in  his  stud- 
ies. He  didn't  have  the  foggiest  notion 
what  he  wanted  to  do,  though  his  broth- 
er was  already  in  medical  school.  Rebel 
Horton,  aged  nineteen,  joined  the 
Coast  Guard.  Unknown  to  his  family, 
he  had  got  married,  just  a  few  months 
before  graduation,  to  a  pretty  teenager 
from  a  nearby  private  school.  They 
were  secretly  married,  the  wedding  was 
secretly  annulled — it  all  seemed  pretty 
romantic. 

Fourteen  months  in  the  Coast  Guard 
were  less  romantic.  They  reactivated  the 
kidney  problem  and,  after  his  discharge, 
Howard  drifted  along  as  a  member  of 
the  52-20  club.  "Veterans  were  given 
$20  a  week  for  fifty-two  weeks.  I  lived 
on  that,  went  to  the  beach,  loafed 
around.  My  family  had  a  fit.  And  when 
I  suddenly  decided  to  go  to  college,  they 
were  afraid  to  believe  it." 

He  had  chosen  the  University  of  Mi- 
ami. It  was  a  good,  long  way  from 
home  and  the  climate  was  advertised  as 
balmy.  Also,  on  the  side,  a  guy  with 
a  torso  like  his  could  model  bathing 
suits  and  sportswear.  The  torso  and 
the  red  hair  attracted  the  attention  of 
people  who  were  producing  a  play. 
The  girl  in  the  lead  was  red-haired  and 
they  wanted  a  redhead  to  play  her 
brother.  The  minute  he  started  re- 
hearsals, Bob  decided  to  fight  for  a 
place  in  the  theater. 

In  and  out  of  Yale 

Now  that,  for  the  first  time,  he  had 
a  goal  and  was  in  a  whirlwind  hurry  to 
reach  it,  he  really  went  to  college  with 
a  vengeance.  He  transferred  from  Mi- 
ami to  U.C.L.A.,  completed  four  years' 
undergraduate  work  in  three,  graduated 
with  honors,  jumped  in  his  car — and 
headed  for  Yale.  There  were  exactly 
five  days  between  his  graduation  and 
the  close  of  registration  at  Yale.  Though 
he'd  been  told  he  couldn't  possibly  get 
in  Yale  because  he  hadn't  applied  early 
enough,  fighter  Horton  made  it — then 
found  that  the  classes  he  most  wanted 
were  all  filled.  For  five  days,  he  at- 
tended those  classes  available,  decided 
he  was  working  for  Yale,  rather  than 
Yale  for  him,  turned  around — and  sped 
back  to  U.C.L.A. 

That  summer,  he  went  East.  He  did 
summer  stock  in  Atlantic  City,  returned 
to  Broadway,  played  his  first  small  part 
on  television,  in  "Suspense."  The  fol- 
lowing week,  he  played  a  feature  part 
in  the  same  show.  The  third  week,  he 
was  the  star.  Everything  had  worked 
precisely  as  he'd  planned  it. 

Now  he  was  ready  to  come  to  Holly- 
wood and  make  pictures.  Every  studio 
was  interested — and  so  was  a  "marvel- 
ous girl,  Mary,"  he  recalls,  "who,  at 
nineteen,  was  a  bright  young  reader  at 
Columbia.  The  memories  I  have  of  her 
are  warm  and  dear.  I  was  twenty-one 
when  we  were  married  and,  for  a  brief 
while,  we  were  happy.  But  things  were 
moving  fast.  I  made  two  pictures  and 


was  signed  to  a  contract  at  MGM.  With 
my  career  going  into  full  gear,  I  lost 
her.  .  .  .  She  couldn't  be  happy  mov- 
ing at  this  pace,  and  reluctantly  I 
agreed  to  a  divorce." 

Young  Horton  had  planned  to  cause 
a  furor  in  Hollywood.  He  did.  David 
Selznick  changed  his  first  name  to 
Robert,  and  MGM's  plans  for  him  were 
star  plans.  Bob  drew  rave  notices  as 
the  hero  of  "Apache  War  Smoke."  To 
make  the  triumph  even  lovelier,  he  and 
Barbara  Ruick  had  fallen  in  love  while 
making  the  picture,  and  married.  It 
was  all  strictly  Cloud  Nine. 

Then,  a  couple  of  months  later,  it 
was  all  over.  MGM  had  run  into  hard 
times,  efficiency  experts  were  called  in 
to  supervise  a  re-tooling  of  effort,  op- 
tions were  dropped  right  and  left. 

"I  went  from  hot  to  cold  so  quickly, 
it  was  as  if  I'd  committed  some  wrong," 
Bob  says.  "When  I'd  married  Barbara, 
I  was  the  hottest  young  fellow  on  the 
lot.  By  the  time  we  separated,  I  couldn't 
get  arrested.  And  I  wasn't  equipped  for 
it.  I'd  worked  hard,  the  critics  had 
praised  me,  the  public  reaction  had 
been  all  I  could  ask.  Then  nothing.  I 
didn't  know  where  my  next  dollar  was 
coming  from,  but  I'd  learned  a  few 
things.  You  can't  put  your  career  in 
other  people's  hands. 

"You  have  to  fight" 

"I  began  going  through  the  trial-and- 
error  bit  .  .  .  trying  out  for  parts,  not 
getting  them  .  .  .  getting  parts,  having 
the  pictures  shelved.  Sometime  about 
mid-1955,  I  began  getting  hold  of  my 
career  reins  again  and,  since  then,  I've 
made  98  and  44/100  of  the  decisions. 
I  ask  advice,  but  I  make  the  decisions 
and  I  fight  every  inch  of  the  way.  You 
have  to.  This  is  a  competitive  business. 

"I  think  what  touched  me  the  most 
when  I  left  'Wagon  Train'  was  the 
farewell  from  the  crew.  They've  been 
around  for  a  long,  long  time  and  they 
are  pretty  rugged.  But  we've  had  a 
great  time  working  together  and  it's 
nice  to  know  that  we're  friends.  With 
producers,  you  have  no  relationship, 
you're  a  commodity." 

This  particular  commodity  will  "sell 
himself" — but  only  for  a  challenge. 
Bob  has  the  combination  of  singing  and 
acting  talents  that  screams  for  musical 
theater  and  he's  been  trying  them  out 
in  summer  stock  for  several  years.  He 
likes  drama,  he  likes  comedy — "an  ac- 
tor has  to  play  all  the  strings  of  his 
instrument."  At  this  writing,  he's  off  for 
Chicago  with  Marilynn  to  do  "The 
Man"  for  six  weeks  at  the  Drury  Lane, 
then  they'll  play  four  weeks  of  "The 
Pajama  Game"  together  in  Detroit — 
where  they  fell  in  love — then  Bob  goes 
into   four  weeks  of  "Oklahoma!" 

"The  most  marvelous  thing,"  Bob 
says,  "is  to  really  enjoy  your  work  and 
to  be  really,  deeply  satisfied  with  your 
wife."  He  sits  on  the  arm  of  her  couch 
and  they  touch.  "In  this  business,  you're 
thrown  constantly  with  beautiful  girls. 
You're  not  blind,  but,  gradually,  you 
reach  the  point  where  you're  no  longer 
impressed  by  what  you  see.  You  realize 
the  toll  this  business  takes  of  women 
...  I'd  never  want  Marilynn  to  be  in  it, 


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77 


even  though  this  girl  has  a  giant  talent. 
If  she  wanted  to  go  on,  she  could  make 
the  Metropolitan  Opera." 

Marilynn,  a  tiny  girl  with  an  excel- 
lent figure  and  flashing,  animated  face, 
speaks  up  quickly.  "I  gave  up  any 
thought  of  a  career  when  I  married  Bob. 
I  would  divorce  Bob  tomorrow  if  I  even 
considered  a  career.  I  mean  it.  It 
doesn't  work.  There  are  too  many  prob- 
lems just  concerned  with  one  career  .  .  . 
singing  together  this  summer — that's  no 
career,  that's  just  fun." 

When  the  contracts  were  being  drawn 
up,  Bob  told  Marilynn  to  have  them 
drawn  up  with  her  name  as  Marilynn 
Horton.  She  reminded  him  she'd  have 
to  have  everything  changed — her  Equity 
card  .  .  .  why  not  just  stick  with  the 
old  Marilynn  Bradley?  No,  he  said,  he 
wanted    her   to    be    Marilynn    Horton. 

Basically,  this  man  has  been  fighting 
all  his  life  for  more  than  just  self- 
expression,  more  than  just  a  place  in 
the  sun.  He's  been  fighting  essentially 
for  emotional  security.  Three  quick 
adolescent  sort  of  marriages  only  indi- 
cate one  thing:  A  tremendous  need  to 
love  and  be  loved,  a  need  to  have  some- 
one of  one's  own. 

"I'm  very  much  a  one-woman  man,'' 
says  the  gentleman  four-times-married. 
"I  never  wanted  to  date  a  lot  of  girls. 
I  dated  a  girl  and  married  her.  But  they 
weren't  really  marriages.  Marriage 
means  living  with  a  woman,  taking  care 
of  her,  taking  responsibility  for  a 
shared  life.  I  wasn't  ready  for  that.  I 
wasn't  ready  to  take  charge  of  my  own 
life,  far  less  anyone  else's." 

Actually,  Bob  emerged  from  those 
early  marriages  without  any  intention 


of  ever  marrying  again.  He  realized 
perfectly  well  the  reasons  for  marriage, 
but  he  felt  sure  that  the  problems  of 
marriage  were  rooted  in  the  contract 
itself.  "Any  relationship  from  which 
there's  no  escape,"  he  said,  "isn't  as 
good  as  one  from  which  you  can  go  at 
any  time." 

So  Bob  was  fighting  marriage,  too, 
when  he  met  Marilynn — "who  is  a 
really  wonderful  girl,  the  loveliest  thing 
that  has  ever  happened  to  me.  A  girl 
who  is  with  me  all  the  time,  who  has 
been  with  me  all  the  time  since  the  day 
we  met.  She's  my  best  friend,  along 
with  everything  else  we  are.  We  come 
from  such  different  backgrounds  and 
yet  our  values  are  the  same.  She's  much 
younger  than  I,  yet  she  is  marvelously 
mature." 

What  of  his  other  wives? 

"No,"  Marilynn  tells  you,  "I  never 
worried  about  Bob's  having  been  mar- 
ried before!  You  always  think,  'I'm 
the  one  who's  going  to  change  all  this.' 
Sometimes  you  do,  sometimes  you  don't. 
We're  fortunate.  We're  amazingly  alike. 
We  didn't  have  nearly  as  many  adjust- 
ments to  make  as  some  people.  His  ap- 
proach to  marriage  appealed  to  me  be- 
cause, instead  of  being  wildly  romantic, 
he  was  terribly  analytical.  I  liked  that. 
I've  been  married  once  before  and  you 
get  to  the  point  where  you  don't  want 
to  get  into  something  wildly  romantic. 
I  believe  in  marrying  and  living  to- 
gether quietly." 

They  were  married  in  Las  Vegas  on 
New  Year's  Eve — which  wasn't  exactly 
quiet — rode  in  the  Rose  Bowl  parade, 


next  day,  and  almost  immediately  found 
that  marriage  was  changing  them  .  .  . 
one  of  their  worst  dreads.  Bob  was  the 
one  who  noticed  it  acutely.  "You've 
changed,"  he'd  say,  "you're  not  the 
same  Marilynn."  And  he  was  right. 
Two  weeks  after  they  were  married, 
Bob  was  the  subject  of  "This  Is  Your 
Life" — which  meant  that,  for  those  first 
two  weeks,  his  poor  bride  was  con- 
stantly putting  on  an  act,  to  keep  him 
from  guessing  the  surprise! 

Since  then,  of  course,  they've  settled 
down.  Their  best  time  of  day  has  been 
from  5:30  to  7:15  in  the  morning. 
Marilynn  makes  breakfast,  brings  it 
upstairs  on  a  tray  and  they  spend  about 
an  hour  and  a  half  talking.  They  are 
close,  they  are  candid,  they  can  start 
the  day  totally  reinforced.  What  in- 
trigues Bob  about  Marilynn  is  that  most 
women  he  has  known  in  this  business 
have  become  hard  .  .  .  they  have  to — or 
be  hurt.  Realizing  this,  Marilynn  says. 
"To  be  able  to  be  soft  and  not  be  hurt 
is  wonderful.  Bob  has  made  me  feel  so 
secure." 

What  kind  of  a  woman  will  stand  by 
her  husband  when  he  turns  down  a 
million  dollars?  A  woman  who  is  very 
young,  very  much  in  love,  and  who  has 
no  fear — because  she  has  faith.  Mari- 
lynn has  been  willing  to  give  up  a 
career  for  emotional  security.  Now  she 
wants  Bob  to  have  security  .  .  .  and, 
loving  him,  she  knows  there  is  no  se- 
curity for  him  unless  his  life  is  in  his 
own  hands,  fought  for  by  his  own 
hands.  — The  End 

"Wagon  Train"  is  seen  over  NBC-TV. 
Wed.,    from    7:30   to    8:30    p.m.    edt. 


JACKIE    KENNEDY 


(Continued  from  page  53) 
You  watch  her  every  move.  You  pick 
on  anything  you  want.  In  short,  you 
twist  little  facts  about  her  'round  and 
'round  until  her  own  mother  wouldn't 
know  whom  you  were  talking  about!" 

Will  she  strike  back?  "No.  Don't  be 
silly.  As  wife  of  the  President,  she  can't 
exactly  stand  on  a  soap  box  every  time 
someone  says  something  about  her,  and 
cry  back,  'It's  not  true.  Believe  me, 
it's  not  true.'  Too  undignified.  And 
besides,  the  First  Lady  of  the  land  is 
supposed  to  be  above  this.  .  .  .  Does 
that  put  Jackie  in  a  pretty  helpless 
position?  That's  her  worry!" 

And  so  the  plotters  plotted. 

And  waited. 

They  let  Jacqueline  Kennedy  have 
her  little  honeymoon.  And  then,  when 
the  dark  headlines  began  to  hit — Indo- 
China,  the  Stock  Market  slump,  a  few 
others — they  rubbed  their  hands.  They 
gloated.  And  they  prepared  to  strike. 

It  pleased  them  mightily  to  know 
that  some  people — millions,  they  hoped 
— would  listen  to  them,  believe  them. 

It  pleased  them  most  to  think  that 

Jacqueline  Kennedy  herself  would  be 

J       hurt  by  what  they  said.  After  all,  this 

was  their  mission — to  hurt  this  young 

and  sensitive  woman;   to  make  her  a 

little  nervous  at  first;  then  uncertain; 
78 


to  bring  a  few  tears  to  her  eyes;  then 
to  unnerve  her  completely;  and,  eventu- 
ally, to  destroy  her. 

Their  reason  for  this?  In  the  destruc- 
tion of  someone  beloved  by  others,  there 
are  those  who  find  sick  solace.  It's  that 
simple. 

And  so,  suddenly,  when  the  time 
came — sick  and  strong  and  determined 
— they  struck.  .  .  . 

They  whispered,  insidiously,  glee- 
fully: "She's  bathed  in  conceit,  you 
know.  A  snob.  Oh,  yes,  pure  snob, 
through  and  through.  The  warmth? 
That's  all  surface,  my  dear.  She  doesn't 
really  like  anybody  like  us  slobs  who 
weren't  born  rich!  Look  at  her  back- 
ground. And  just  look  at  her  elegant 
hairdos  and  clothes.  And  those  parties 
she's  been  throwing  at  the  White  House 
— aren't  they  elegant,  my  dear?  I  mean, 
fiddlers  lining  the  hallway — and  those 
strange  entertainers,  those  eggheads, 
she's  been  inviting  to  perform." 

They  whispered:  "She's  some  wife, 
isn't  she?  Real  cold,  if  you  ask  us.  Oh, 
sure — she  holds  her  husband's  hand 
once  in  a  while,  in  public,  with  photog- 
raphers around.  But  why  isn't  she  with 
him  more?  His  birthday  party  in  New 
York — remember?  At  Madison  Square 
Garden.  With  18,000  people  there.  With 
music  and  confetti.  And  entertainers 
who  flew  in  from  all  over  the  world. 
But  where  was  she,  his  wife,  that  night? 
With  him?  Singing  'Happy  Birthday' 
along  with  the  others?  No.  Oh,  no.  Not 


her.     She    couldn't    take    the    time!" 

They  whispered:  "And  a  mother? 
Hmmmph.  Allowing  those  children  to 
be  photographed  all  the  time — just  for 
her  own  publicity.  .  .  .  And  Caroline's 
ponies,  living  at  the  White  House.  You 
know  who  has  to  take  care  of  those 
ponies,  don't  you?  The  F.B.I.  And  you 
know  who  pays  the  F.B.I.,  don't  you? 
We  do." 

They  whispered:  "What  right  did 
she  have  to  go  running  off  to  India 
last  spring?  She's  not  the  President. 
Who  wanted  her  over  there — or  her 
sister,  for  that  matter?  What  good  did 
they  do  there?  And — do  you  know  what 
that  little  trip  of  theirs  cost  the  tax- 
payers of  America?  The  Lord  knows 
what  for  transportation.  And  for  movies 
of  the  trip — forty-five  thousand  dollars, 
at  least." 

They  whispered:  "Why  doesn't  she 
leave  the  White  House  alone?  All  that 
re-decorating  and  everything.  It's  not 
her  house.  It's  the  nation's!" 

They  whispered :  "She  won  an  Emmy 
on  TV — though  we  can't  tell  why.  Still, 
winning  something  like  that  is  an  honor. 
But  did  she  have  the  common  decency 
to   show  up   and   accept  her   award?" 

They  whispered :  "And  she's  supposed 
to  be  a  Catholic?  I  mean,  did  you  see 
those  pictures  of  her  going  into  church 
without  even  a  hat  on,  just  wearing 
some  kind  of  tiny  veil?  And  with  no 
stockings?" 

They  whispered :  "See  how  she's  mak- 


ing  us  lose  face  throughout  the  world! 
Why,  in  England  the  other  day,  a  news- 
paper came  out  bluntly  and  said  that 
they're  glad  their  Queen  isn't  like  our 
Mrs.  Kennedy.  The  Queen,  the  article 
said,  is  shy,  quiet,  well-bred,  unostenta- 
tious. Our  Mrs.  Kennedy,  they  said — 
'wearing  those  new  short  skirts  cer- 
tainly makes  her  knees  no  state  secret ! ' 
Now,  isn't  that  something  nice  for  our 
national  prestige?" 

They  whispered  on  and  on,  all  of  it 
concerning  Jacqueline  Kennedy,  all  of 
it  attacking  her. 

A  shout  to  end  the  whispers 

Jacqueline  Kennedy  could  not  talk 
back  to  the  plotters.  But  we  think  it's 
high  time  somebody   did. 

It's  not  a  hard  job,  either — to  shame 
these  plotters.  In  fact,  it's  quite  easy. 
You  just  take  the  whispers — one  by 
one.  You  counter  them  with  facts,  real 
facts — statements  from  the  press,  from 
people  who  know  Jacqueline,  state- 
ments by  Jacqueline  herself. 

And  you  let  the  truth  speak  for  itself. 

She's  a  snob  .  .  .  conceited.  Now 
here's  a  lie,  for  sure.  As  a  child,  Jackie 
— according  to  that  best  authority  of 
all,  her  mother — was  a  "shy,  sweet, 
rather  self-effacing  girl."  As  a  teenager, 
she  lost  some  of  her  shyness  but  still 
considered  herself  a  rung  or  two  below 
her  friends  and  her  sister  Lee  in  matters 
intellectual,  social,  physical. 

Shortly  after  turning  twenty,  she  be- 
gan to  go  to  her  mother's  dressmaker. 
Mrs.  Mini  Rhea — who  has  said  this 
about  Jackie:  "While  working  with  her 
one  day,  I  commented  on  how  lucky 
she  was  to  have  a  figure  like  a  model 
right  out  of  a  Parisian  salon  of  haute 
couture.  But  I  was  amazed  to  learn  that 
Jackie  didn't  think  she  was  perfect  or 
ideal,  and  in  fact  was  quite  critical  of 
herself.  She  wished  her  feet  were 
smaller,  her  waist  slimmer,  her  bust 
larger,  her  legs  straight  and  her  face 
more  oval.  I  felt  like  spanking  her. 
Here  she  stood — the  most  beautiful  girl 
who  had  walked  through  my  door — and 
she  was  beset  by  small  dissatisfactions. 
'If  I  had  your  face  and  form,  I  think 
I'd  head  for  Hollywood,'  I  said.  'Or 
home,'  she  said,  laughing.    'I'm  late.' " 

It's  a  pretty  well-established  fact 
that  a  conceited  woman  doesn't  cotton 
much  to  other  beauties  or  want  them 
around  her  husband.  But  one  day  in 
1955 — two  years  after  her  marriage  to 
Jack  Kennedy  and  while  he  was  re- 
cuperating in  a  New  York  hospital  fol- 
lowing serious  spinal  surgery — Jackie 
walked  into  his  room  and  announced, 
"Darling,  I've  just  brought  you  the 
most  lovely-looking  surprise  in  the 
world."  She  turned  toward  the  door 
smiling  .  .  .  and,  a  moment  later,  Grace 
Kelly  sailed  in! 

She  doesn't  like  us  slobs  who  weren't 
born  rich.  There's  a  former  reporter  on 
the  Washington  Times-Herald  who  well 
remembers  the  day,  back  in  '52,  when 
Jackie  began  her  job  as  Inquiring 
Photographer.  He'd  heard  about  her 
earlier  that  morning — about  her  back- 
ground: The  posh  schools  she'd  at- 
tended; the  millions  her  family  was 
worth;  the  mansion  called  Merrywood, 


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in  nearby  McLean,  Virginia,  where  they 
all  lived.  "I  thought,  'Man,  isn't  this 
going  to  be  something,  a  gal  like  this 
toting  a  camera  and  going  out  into  the 
street  asking  people  questions?'  I  made 
a  bet  she'd  last  no  more  than  two  weeks 
on  the  job. 

"I  lost  that  bet,  I'm  glad  to  say. 
Because  Jackie  worked  with  the  paper 
for  eighteen  long,  hard  months.  And, 
believe  me,  this  was  a  girl  who  was  as 
democratic  and  natural  and  good- 
hearted  as  they  come.  And  as  far  as 
her  work  went — she  worked  for  her 
$42.50  a  week,  went  out  into  the  street 
every  day  with  her  camera  and  note- 
book, interviewed  truck  drivers,  counter- 
men, executives,  tourists,  poor  people, 
big  shots — and  she  was  as  nice  with 
one  as  with  the  other.  Jackie  a  snob? 
That'll  be  the  day." 

Clothes-horse— or  monument? 

Those  clothes  .  .  .  those  hairdos.  .  .  . 
The  fact  is  that  Jacqueline  Kennedy 
has  always  had  a  way  with  clothes,  has 
always  believed  in  good  grooming.  The 
fact  is,  too,  that  many  of  the  same 
women  who  are  criticizing  the  Jackie 
Look  are  the  same  women  who  are 
somehow  copying  that  look. 

Actually,  the  hubbub  about  her  ward- 
robe and  tastes  began  even  before  she 
became  First  Lady.  Wrote  Martha 
Weinman  in  The  New  York  Times: 
"When  Jacqueline  Kennedy,  then  five 
days  the  wife  of  the  Presidential  candi- 
date, stepped  aboard  the  family  yacht 
in  Hyannis  Port,  wearing  an  orange 
pullover  sweater,  shocking-pink  Capri 
pants,  and  a  bouffant  hairdo  that 
gamboled  merrily  in  the  breeze,  even 
those  newsmen  present  who  could  not 
tell  shocking  pink  from  Windsor  Rose 
knew  they  were  witnessing  something 
of  possible  political  consequence." 

Jackie  herself  is  honestly  confused 
by  the  hubbub:  "All  this  talk  about 
hairdos  and  clothes,  about  what  I  wear 
and  how  I  fix  my  hair,  has  me  amused 
and  yet  puzzles  me.  What  does  it  all 
have  to  do  with  my  husband  and  the 
Presidency?" 

It's  very  probable  that  Jackie  has 
found  her  greatest  comfort  in  this  mat- 
ter from  two  remarks  that  have  been 
made  to  her:  One,  by  Mrs.  Franklin  D. 
Roosevelt,  who  told  her,  "I  often  felt, 
when  /  was  First  Lady,  as  if  I  were 
dressing  not  myself  but  a  national 
monument." 

The  other,  made  by  her  husband,  on 
Inauguration  night,  when  he  stared  at 
her  as  she  came  down  the  White  House 
stairs,  that  first  time,  and  said,  "My 
dear — you  look  so  lovely." 

Those  parties  .  .  .  violinists  lining  the 
hallway  .  .  .  eggheads  performing!  Let's 
start  with  the  so-called  eggheads  who 
have  been  asked  to  perform  at  the 
White  House.  The  list  happens  to  in- 
clude the  most  brilliant  examples  of 
our  culture — men  and  women  of  whom 
we  should  all  be  proud.  To  name 
just  a  few:  Pianist-composer-conductor 
T  Leonard  Bernstein;  cellist  Pablo  Ca- 
sals ;  dancer-choreographer  Jerome  Rob- 
bins.    Don't   most   of   us,   like   Jackie, 

figure  it's  about  time  we  took  these  men 
80 


from  the  private  halls  or  commercial 
theaters — and  spotlighted  them  before 
the  entire  nation?  The  entire  world? 
Aren't  most  of  us  a  little  tired  of  having 
America's  artistic  tastes  and  talents 
downgraded  in  relation  to  other  coun- 
tries? 

As  for  the  White  House  parties  them- 
selves, a  social  arbiter  wrote  years  ago: 
"The  sign  of  the  truly  good  hostess  is 
the  woman  who  does  everything  pos- 
sible— and  even  adds  that  little  touch 
of  the  impossible — so  that  she  may 
please  and  delight  her  guests." 

Had  this  woman  been  writing  today, 
she  might  well  have  gone  on  to  say: 
"Mrs.  Kennedy's  position  as  First  Lady 
is  extremely  difficult  and  challenging. 
She  must  constantly  entertain  foreign 
dignitaries  who  have  entertained  her 
husband  and  herself — and  show  her 
guests  as  good  a  time  as  she  and  her 
husband  were  shown.  Therefore,  the 
old-fashioned  concept  of  serving  hot 
dogs  to  the  King  and  Queen  of  England 
is  out — and  the  concept  of  social  recip- 
rocation is  in.  Thus,  the  violinists  lin- 
ing the  hallways  .  .  .  the  exquisitely- 
prepared  dinners  ...  all  the  extra  little 
elegant  touches  which  show  that  the 
host  and  hostess  of  the  White  House — 
and  through  them,  the  people  of  Amer- 
ica— care." 

What  makes  a  husband  happy? 

She's  a  cold  wife.  Those  who  know 
Jackie — who  really  know  her — vow  that 
she  loves  her  husband  intensely.  "She 
fell  for  him,  hard,  the  moment  she  first 
laid  eyes  on  him,"  says  one  friend. 
"She's  somehow  never  quite  gotten  over 
that  first  beautiful  feeling  of  being 
madly  in  love  with  him." 

And  listen  to  Jackie  herself  on  the 
subject  of  herself  and  her  husband, 
what  she  has  said :  "I  think  that  a  wife's 
happiness  comes  in  what  will  make 
her  husband  happy.  ...  I  don't  see 
myself  as  being  a  political  partner  to 
Jack.  I  like  to  think  of  myself  as  having 
an  old-fashioned  idea  of  what  a  wife 
should  do — make  her  home  as  pleasant 
as  possible,  relax  her  husband  and  raise 
her  children.  .  .  . 

"I  love  it  when,  once  in  a  while,  I 
have  a  chance  to  cook  for  him.  When 
a  man  is  tired  after  a  busy  day,  I  think 
he  should  at  least  be  able  to  have  a 
substantial  meal.  And  so  I  start  with 
a  good  homemade  soup.  Then  a  roast — 
never  overdone — and  fresh  vegetables 
in  season.  Perhaps  a  potato  or  noodle 
casserole — Jack  loves  these.  .  .  . 

"I  love  my  husband  with  all  my 
heart.  But  I  love  him  especially  for 
his  quiet  kindnesses." 

About  the  matter  of  the  President's 
"birthday  party"  in  New  York,  by  the 
way,  the  very  basic  facts  are  these: 
It  was  not  actually  his  birthday  on 
that  date.  The  weekend  in  New  York 
was  mostly  political  and  the  so-called 
birthday  gala  represented  only  a  small 
part  of  that  weekend. 

She  spoils  those  children.  Aw,  come 
on,  fellas.  Let's  face  facts!  It's  hard 
enough  for  any  mother  to  keep  a  child 
from  being  somewhat  spoiled.  And  just 


think  how  fantastically  hard  it  must  be 
for  Jackie  Kennedy  .  .  .  with  photog- 
raphers constantly  begging  her  for  pic- 
tures of  the  children  (when  she  says 
no,  which  is  quite  often,  they  use  tele- 
scopic lenses  and  get  the  pictures,  any- 
way) .  .  .  with  newshawks  querying 
her  and  the  entire  White  House  staff 
about  Caroline's  latest  doll  and  baby 
John's  newest  words.  And  yet  Jackie 
has  done  a  wonderful  job  of  seeing 
that  her  children  are  not  spoiled,  and 
— she  hopes — never  will  be. 

To  prove  it,  here's  an  interesting 
quote  from  actress  Lauren  Bacall:  "We 
were  having  dinner  with  Mrs.  Kennedy 
one  night,  in  New  York,  before  she 
went  on  to  see  my  husband's  play. 
[Editor's  Note:  Jason  Robards  Jr.  in 
"A  Thousand  Clowns."]  While  we  were 
eating,  Mrs.  Kennedy  disclosed  this  fact 
— that  Caroline  had  never  seen  a  photo- 
graph of  herself  in  a  newspaper  or 
magazine." 

And  a  heart-felt  quote  by  Jacqueline 
Kennedy  herself:  "I  feel  that  if  you 
bungle  in  raising  your  children,  what- 
ever else  you  do — no  matter  how  well — 
simply  doesn't  matter." 

Those  ponies  .  .  .  and  the  F.B.I.  A 
quickie  answer  should  take  care  of  this 
of t- whispered  complaint ! 

"Macaroni"  and  "Tex"— Caroline 
Kennedy's  pet  ponies — do  not  live  at 
the  White  House  but  are  only  occa- 
sionally brought  there  from  the  Ken- 
nedy farm,  Glen  Ora,  in  Virginia.  The 
Secret  Service  men  at  the  White  House 
have  nothing  to  do  with  their  care, 
which  is  entrusted  to  head  gardener 
Robert  Edmond  and  his  staff — men  wise 
in  the  needs  of  ponies  as  well  as  pe- 
tunias. 

Innocence  abroad 

That  trip  to  India.  Regarding  the 
transportation  costs  for  Jackie  and  her 
sister  Lee — both  women  bore  those  costs 
themselves.  Regarding  the  trip  itself, 
and  its  effect,  Walter  Winchell — one 
of  the  President's  severest  critics — 
summed  this  one  up  nicely.  He  quoted 
a  headline  which  read:  "Congressman 
Criticizes  the  High  Cost  of  Filming  Mrs. 
Kennedy's  India-Pakistani  Tour."  Then 
he  wrote:  "The  tour  was  an  ordeal. 
She  did  it  to  win  friends  for  our  coun- 
try— which  she  did.  She's  a  greater 
friend- winner  than  all  of  Congress!" 

Wrote  another  columnist,  female  this 
time:  "She  went  only  because  she  was 
invited  by  Prime  Minister  Nehru  at  a 
White  House  dinner  last  November.  I 
was  with  her  all  that  trip.  She  didn't 
talk  much  about  the  President,  the  four 
or  five  times  we  chatted.  At  first  I 
thought  this  rather  strange,  but  then  I 
realized  it  was  because  she  was  so 
lonely  for  him.  Did  you  see  those 
photographs  of  her  smiling  face  at  the 
airport  when  she  returned  and  the  Pres- 
ident greeted  her?  Well,  I  was  there 
and  let  me  tell  you — photographs 
couldn't  begin  to  capture  the  happy  and 
relieved  and  I'11-never-do-it-without-you- 
again  feeling  of  that  smile." 

Why  doesn't  she  leave  the  White 
House  alone?   All  that  fancy  fixing  up 


of  hers!  Technically-speaking,  the  First 
Lady  of  the  land  is  allowed — indeed, 
encouraged — to  make  any  change  she 
sees  fit,  provided  she's  given  an  okay 
by  the  White  House  Fine  Arts  Commis- 
sion. As  for  Jackie's  "fancy  fixing,"  all 
she's  trying  to  do  is  to  make  the  Execu- 
tive Mansion  more  gracious. 

Washington  correspondent  Ruth 
Montgomery  wrote  not  long  ago :  "Jack- 
ie's restoration  project  will  assure  her 
a  well-deserved  niche  in  history.  Future 
First  Ladies  will  be  indebted  to  her  for 
a  dramatic  face-lifting  not  only  of  the 
public  rooms  of  the  White  House  but 
also  of  the  family  quarters. 

"Jackie  devotes  much  less  time  than 
most  of  her  predecessors  to  ladies' 
luncheons,  charity  benefits  and  political 
rallies.  She  made  an  early  decision  to 
devote  her  time  and  energies  to  a  few 
main  projects  and  not  just  lend  her 
name — and  do  nothing  really — to  many 
different  organizations.  In  addition  to 
her  Fine  Arts  work,  Jackie  has  under- 
taken a  number  of  projects  for  children. 
She  has  already  had  two  concerts  and  at 
least  two  more  are  scheduled  for  this 
year.  She  visited  the  Children's  Hos- 
pital in  Washington  and  planned  a 
Christmas  party  for  orphans,  and  an- 
other party  for  staff  children." 

Why  didn't  she  go  to  the  Emmys  and 
accept  her  award?  No  doubt,  she  would 
have  been  happy  and  proud  to — be- 
cause the  show,  "A  Tour  of  the  White 
House,"  meant  an  awful  lot  to  Jackie 
and  we're  sure  that  the  award  did,  too. 

But — a  White  House  social  bulletin 
for  that  same  date  reads:  "Tonight  the 
President  and  Mrs.  Kennedy  have  the 
honor  to  entertain  at  dinner  M.  Felix 
Houphouet-Boigny,  President  of  the 
Ivory  Coast,  and  Mme.  Houphouet- 
Boigny.  .  .  ."    Enough  said? 

Her,  a  Catholic  .  .  .  going  to  church 
with  no  hat  .  .  .  no  stockings!  The 
latter  complaint  stems  from  Sunday- 
morning  masses  Jackie  has  attended 
while  in  Palm  Beach,  where  the  Presi- 
dent and  his  family  spend  their  winter 
holidays.  Now,  it's  perfectly  true — the 
Catholic  Church  does  prefer  that  pa- 
rishioners dress  "properly"  when  going 
to  mass.  But  what  is  proper  in  Maine 
is  not  necessarily  the  thing-to-be-done 
in  southern  Florida.  And  isn't  it  a  fact 
that  what  is  in  one's  heart  is  more  im- 
portant than  what  happens  to  be — or 
not  to  be — on  one's  legs? 

As  for  the  no-hat  issue :  In  most  parts 
of  the  world,  Catholic  women  do  wear 
veils  or  shawls  when  in  church.  Most 
of  the  female  saints  of  the  Catholic 
Church  wore  such  headgear — not  hats! 

Finally:  She's  making  us  lose  face 
all  over.  .  .  .  In  England,  a  fashion 
commentator  wrote:  "We're  glad  our 
Queen  is  not  like  Jackie,  who  shows 
her  knees!" 

Here,  we  think  the  New  York  Daily 
Mirror  summed  up  the  situation  best — 
against  English  critics,  American  plot- 
ters, reputation-snipers  around  the 
world — on  this  issue  in  particular, 
though  in  fact  on  all  other  issues  con- 
cerning Mrs.  John  F.  Kennedy.  With 
this  punny  and  pungent  little  headline: 
A  HEM!  WE  LIKE  OUR  FIRST 
LADY!  —Ed  DeBlasio 


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SHELLEY  FABARES 


(Continued  from  page  49) 
time  at  1959's  Deb  Star  Ball.  "Surely 
you  remember  that  night,"  he  says. 
"I  was  Smokey's  date."  Smokey  is  my 
sister.  Well,  all  I  remember  about  that 
evening  was  being  nervous — since  I  was 
to  be  presented  as  a  Deb  Star. 

I  do  remember  that  Roberta  Shore, 
who  was  responsible  for  setting  up 
dates  for  some  of  the  girls,  called  me 
to  say  she  hadn't  yet  lined  up  a  date 
for  Lou  Adler  and  another  fellow.  I 
already  had  a  date,  but  since  I  knew 
Smokey  wanted  to  go,  I  suggested  her. 

At  any  rate,  Lou  said  I  was  intro- 
duced to  him — again — at  the  Ball,  but 
I  hardly  knew  my  own  name  that  night. 

I  have  never  forgotten,  though,  a 
night  in  December  of  1960  when  I  went 
to  a  surprise  party  for  Brenda  Lee  at 
the  Crescendo,  a  night  spot  in  town. 
Jimmy  O'Neill,  a  local  disc  jockey 
whom  I'd  been  dating,  called  me  to 
ask  me  to  go  to  the  party — and  he  also 
invited  Smokey. 

"She  can  go  with  Lou  Adler  if  she'd 
like,"  he  said. 

That  night  is  one  I'll  always  remem- 
ber. Smokey  and  I  came  downstairs 
at  our  house  and  there  were  Lou  and 
Jimmy  waiting  for  us.  Lou  said  to  me, 
"It's  nice  to  meet  you  again."  I  looked 
at  him,  wondering  what  he  meant.  But 
I  liked  what  I  saw — a  tall,  handsome 
young  man  with  a  warm  smile. 

At  the  party,  Lou  and  I  began  to 
talk,  and  the  more  I  was  with  him 
the  more  impressed  I  was.  However,  at 
the  time  I  was  seeing  Jimmy  a  good 
deal,  so  there  was  no  thought  of  any 
dates  for  Lou  and  me.  We  were  thrown 
together,  though,  at  other  times  after 
this,  mainly  when  Jan  and  Dean  ap- 
peared at  local  high  schools  where 
Jimmy  was  acting  as  emcee.  Lou  was 
always  there,  and  gradually  we  became 
good  friends.  Our  friendship,  born  at 
this  time,  was  later  to  mean  so  much  to 
both  of  us. 

After  a  while,  Jimmy  and  I  stopped 
dating.  He  had  met  someone  else.  And 
then,  one  evening,  Lou  called  me. 

"I  didn't  want  to  call  while  you  were 
going  with  Jimmy,"  he  said,  "but  I 
understand  you're  not  seeing  each  other 
now." 

"That's  right,"  I  answered.  I  was 
surprised  to  discover  I  felt  so  excited 
— just  because  Lou  was  on  the  phone. 
"We  haven't  gone  together  since  my 
birthday  party  a  few  weeks  ago,"  I 
told  him. 

"Well,  I — I  wondered  if  you  and 
Margie  would  like  to  go  out  to  dinner 
with  me,"  he  said. 

Margie  was  my  close  girl  friend, 
and  I  had  mentioned  her  to  him.  Still, 
I  wondered  why  he'd  think  of  asking 
her,  too.  But  all  I  told  him  was  that 
I'd  talk  to  her. 

He  called  back  the  next  day. 

"Margie  already  has  a  date,"  I  told 
him,  "but  she  said  to  say  she  was 
sorry." 

"How  about  your  sister  then?" 

Now  I  was  even  more  confused.  Why 
did   we   need   a   third   party?    Anyway. 


as  it  turned  out,  Smokey  had  to  cancel, 
too,  because  of  a  previous  date. 

"I'm  sorry,  Lou,  but  Smokey  can't 
make  it,  either,"  I  told  him  when  he 
called  again.  "If  you'd  rather,  we  can 
make  it  for  another  night." 

"No,  let's  not  do  that."  There  was 
a  pause.  "Would  you — would  you  like 
to  go  with  me  then?"  he  asked  finally. 

"I'd  love  to!"  I  exclaimed — and  I 
meant  it.  I  had  begun  to  think  he'd 
never  get  around  to  asking  me. 

Later  Lou  explained  why  he  had  gone 
around  and  around  about  asking  for 
the  first  date.  He  simply  felt  my  parents 
and  I  would  like  it  better  if  he  asked 
someone  to  go  with  us.  He  had  really 
wanted  to  date  only  me  in  the  first 
place. 

That  first  date!  We  went  to  the 
Islander,  my  favorite  restaurant,  and 
I  felt  like  a  queen  the  whole  night. 
Lou  was  such  a  gentleman!  He  helped 
me  out  of  the  car,  he  helped  me  across 
the  street,  he  paid  me  every  kind  of 
attention.  I  was  so  excited  and  nervous 
I  hardly  knew  what  to  say  or  do — at 
least  for  the  first  few  minutes.  But  once 
we  were  in  the  restaurant,  I  felt  as 
though  Lou  and  I  had  been  dating  for 
months. 

Lou  was  different  from  any  other 
boy  I'd  gone  with.  As  I  look  back  on 
that  date,  I  can  only  remember  how 
happy  I  was,  how  warm  I  felt  inside. 
Everything  was  perfect,  from  the  soft 
candlelight  in  the  room,  the  tropical 
setting,  the  divine  food — I  do  love  to 
eat— and,  of  course,  Lou. 

Lou  had  more  maturity  than  other 
fellows  I'd  known.  There  was  none  of 
the  playboy  about  him.  Sophisticated — 
yes — but  he  didn't  even  drink.  As  the 
evening  went  on,  I  began  to  feel  much 
more  mature  than  my  young  years — and 
a  little  worldly.  Yet — also  comfortably 
young. 

When  our  dates  became  more  fre- 
quent, Lou  began  to  treat  me  with  even 
more  consideration  and  kindness — and 
he  also  began  to  call  me  by  a  few  nick- 
names, like  "Little  Girl,"  "Shell  Shell" 
and  "Finko."  That  last  may  sound  like 
an  odd  one,  but  he  knew  I  liked,  for 
some  reason  I  don't  even  understand 
myself,  the  word  "fink." 

It  was  on  our  second  date  that  I  did 
an  incredible  thing.  We  were  talking 
about  what  mattered  to  us  and  I  sud-, 
denly  began  saying  seriously  how  I  felt 
about  marriage,  having  children,  and 
what  I  thought  a  wife  should  be.  It 
was  only  after  I'd  expressed  myself  so 
fully  that  I  came  to  with  a  start.  I 
thought  to  myself,  "Shelley,  what  are 
you  doing  talking  like  this  to  him! 
He'll  think  you're  trying  to  rush  him 
into  marriage — and  he'll  make  a  fast 
exit  out  the  side  door." 

Very  embarrassed,  I  said,  "Oh,  Lou, 
I'm    sorry." 

"For  what?"  he  asked. 

"For  talking  like  that.  What  must 
you  think  of  me?" 

"Don't  be  silly,  Shelley.  I  asked  you 
how  you  felt  about  things  and  you  told 
me.   There's   nothing   wrong   in   that." 

As  I  thought  back  about  this  later, 
I  realized  I  never  could  have  spoken 
as  I  did  if  I  hadn't  really  felt  close  to 
Lou. 


We  had  a  couple  of  dates  after  that 
and  then,  on  Valentine's  Day,  Lou 
called  me.  He'd  been  calling  every  day 
for  the  past  couple  of  weeks. 

"I  know  you're  working  and  that 
you  can't  go  out  for  long,  but  could 
you  go  on  a  treasure  hunt  with  me  to- 
night?" he  asked. 

"Treasure  hunt?  What  do  you  mean?" 

"You'll  see,"  was  all  he'd  say. 

Lou  picked  me  up  about  seven- 
thirty  and  took  me  to  Schwab's  Phar- 
macy on  the  Strip,  first. 

"I  have  to  pick  up  something,"  he 
said.  "I'll  be  right  back." 

In  only  a  few  minutes  he  returned 
with  a  package  all  neatly  wrapped.  It 
was  obvious  he'd  ordered  it  ahead  of 
time.  The  first  thing  I  saw  was  a  beauti- 
ful three-dimensional  Valentine's  Day 
greeting.  Then  on  the  package  was  a 
thin  card  which  read,  "To  Shelley — 
sweet  as  candy."  It  was  attached  to  a 
big  box  filled  with  candies  from  Hol- 
land. 

I  thought  this  was  the  treasure  hunt, 
but  he  said  he  had  another  call  to 
make,  so  we  drove  up  the  Strip  to  a 
florist  shop.  In  a  few  minutes  he  came 
back  with  a  card  reading:  "Pretty  as 
a  rose."  It  was  tied  onto  a  single  long- 
stemmed  red  rose. 

Lou  had  somehow  remembered  my 
telling  him  once  about  seeing  Connie 
Stevens  with  a  date  one  night.  She 
had  no  corsage — she  was  simply  carry- 
ing a  red  rose.  It  was  a  beautiful  thing 
to  see. 

"We  have  one  more  place  to  go  be- 
fore I  take  you  home,"  Lou  said.  "Jan 
and  Dean  are  being  interviewed  at  Don 
and  Phil  Everly's  place  and  I  have  to 
drop  in.  Okay?" 

We  drove  up  to  the  house  and,  as 
he  was  getting  out,  Lou  said,  "Guess 
I'd  better  lock  the  car."  Then  he 
reached  under  the  seat  and  pulled  out 
a  huge  picture.  When  I  looked  at  it. 
in  complete  surprise,  I  recognized  it 
as  one  by  Walter  Keane,  an  artist  both 
Lou  and  I  had  admired.  He  had  remem- 
bered how  much  I  had  liked  a  smaller 
picture  of  Keane's  that  he  had,  so  he 
had  sent  to  San  Francisco  to  get  this 
one  for  me. 

This  was  a  Valentine's  Day  I'll  cher- 
ish forever.  Everything  Lou  did  seemed 
to  say,  "I  think  of  you  all  the  time." 

What  my  parents  think 

Lou  has  been  very  generous  to  me, 
anyway — too  much  so,  I  think.  Last 
Christmas,  he  gave  me  a  beautiful  beige 
cashmere  sweater  with  a  detachable 
mink  collar,  and  then  on  my  birthday 
this  year  he  presented  me  with  a  match- 
ing black  sweater.  He  also  gave  me  a 
gold  necklace  with  one  pearl,  and  a 
pearl  ring.  I  haven't  taken  either  of 
them  off  since  the  day  I  got  them. 

My  parents  think  Lou  is  as  great  as 
I  do.  We  see  each  other  every  night 
now,  and  if  I  don't  have  dinner  out 
with  him,  he  has  dinner  at  our  place. 
We  often  spend  an  evening  just  sitting 
around  playing  cards. 

He  has  been  as  thoughtful  of  my 
parents  as  of  me.  On  their  thirty-first 
wedding  anniversary,  he  sent  to  Italy 
for  a  beautiful,  carved-wood  statue  of 


St.  Anthony,  my  mother's  favorite  saint. 
And  each  Mother's  Day  he  gives  her 
a  tremendous  bouquet.  Yet,  there  is 
always  one  flower  in  the  center  with 
a  card  reading:  "For  Shelley — Happy 
Sunday."  The  flower  is  a  red  rose. 

That's  another  thing  about  Lou — he 
likes  a  family  and  he  likes  to  do  the 
simple  things.  The  "chi  chi"  night  life 
isn't  for  him.  I  can  honestly  say  Lou 
and  I  have  never  had  any  arguments  or 
differences.  We  discuss  all  kinds  of 
things  together,  we  share  opinions  and 
beliefs.  In  some  ways,  Lou  has  changed 
me.  I  used  to  be  very  nervous  and  I'd 
worry  a  lot.  I  also  had  quite  a  temper, 
but  now,  because  he's  so  calm,  I'm 
much  calmer,  too. 

Lou  is  particularly  understanding 
about  my  work.  He  likes  the  fact  that 
I  have  a  career,  and  he  encourages  me 
to  continue  with  it.  Of  course,  I  don't 
know  what  I'll  do  about  that  in  the 
future. 

Lou  is  constantly  attentive  to  me. 
In  fact,  he  spoils  me.  Not  long  ago  I 
had  mononucleosis  and  was  in  bed  for 
a  month.  He  called  me  several  times 
a  day  and  came  by  each  night  to  see 
me.  Once  he  even  had  the  Islander  send 
over  a  specially  catered  dinner  for  me. 
The  relationship  between  Lou  and 
me  has  grown  steadily  and  beautifully 
from  a  real  friendship  to  something 
more  meaningful.  I  never  said,  "Lou, 
we're  going  steady  now."  And  he  never 
said,  "You're  going  steady  with  me." 
We  simply  have  not  dated  anyone  else. 
Yet,  we  both  knew  we  could  if  we 
wanted  to.  We  just  haven't  wanted  to 
be  with  anyone  but  each  other. 

So  where  do  we  go  from  here?  All 
I  can  say  is  that  it  is  very  serious  with 
us.  We  have  talked  about  marriage, 
but  in  more  general  terms.  We  some- 
how don't  think  we  have  to  put  what 
we  feel  inside  into  words.  You  see, 
I've  always  felt  a  man  and  a  woman 
are  put  on  earth  to  love  each  other, 
to  bring  children  into  the  world,  to 
love  God.  And  to  fulfill  those  obliga- 
tions, you  have  to  look  at  every  side 
of  a  situation.  I  think  Lou  and  I  have 
been  realistic  about  the  future. 

As  for  marriage — well,  all  I  can  say 
is  I  never  wanted  to  be  a  June  bride. 
I  don't  like  hot  weather.  I  like  the 
autumn  better,  the  beautiful  colors  of 
the  season,  the  cold,  nippy  weather. 
That  is  the  ideal  time,  to  me,  to  get 
married. 

Such  is  Lou's  and  my  story.  Some 
may  think  I'm  too  young  to  get  so 
serious — eighteen  certainly  isn't  old. 
But  I've  been  raised  to  know  what 
values  are,  what  is  important  in  life, 
what  a  good  relationship  with  another 
person  means.  I  don't  feel  my  youth  is 
a  disadvantage.  I  think  I  know  what 
matters — at  least  to  me. 

I  know  I'm  happy  now — beautifully 
happy.  I  know  I  can't  imagine  a  day 
going  by  without  seeing  Lou.  I  am 
content,  I  feel  a  glow  all  around  me. 
I  belong  to  someone.  What  more  does 
any   girl  need? 

— as  told  to  Jack  Holland 

Shelley  is  Mary  Stone  on  "The  Donna 
Reed  Show,"  ABC-TV,  Thurs.,  8  p.m. 
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CONNIE   STEVENS 

(Continued  from  page  29) 
not  just  a  girl  I've  loved  for  four  years 
and  would  have  married  long  ago,  if  my 
career  had  orbited  the  way  hers  has. 
She  is  a  tower  of  strength  as  a  friend. 
She's  fiercely  loyal  and  dependable. 
Not  that  she's  all  sugar  candy,  by  any 
means!  She  has  a  temper  and  isn't  shy 
about  showing  it.  But  in  every  case, 
when  it  happens,  you  can  bet  she  had 
plenty  of  provocation." 

To  Kenny  Miller,  an  old  and  trusted 
friend:  "She  makes  you  feel  warm, 
amused,  wanted.  Before  you  realize 
what  you're  doing,  you  are  pouring  out 
your  troubles  and  crying  on  her  pretty 
shoulder.  As  a  result,  she  has  many 
men  devoted  to  her.  But  there  has  never 
been  a  scandal  that  could  stick  to  Con- 
nie. She's  so  forthright  and  decent,  no 
one  would  believe  she  could  do  any- 
thing scandalous." 

To  an  executive  at  her  studio,  she  is 
"both  the  most  talented  and  most  exas- 
perating package  we  have.  What  other 
girl,  with  everything  to  lose  by  a  scan- 
dal, would  take  off  for  Paris  with  Glenn 
Ford  for  the  premiere  of  'The  Four 
Horsemen  of  the  Apocalypse'  and  spend 
fourteen  days  abroad,  mostly  in  his 
company? 

"When  we  had  her  on  the  carpet,  her 
answer  was  so  simple,  so  innocent,  it 
knocked  all  the  suspicions  and  fears 
out  of  our  minds.  T  wanted  to  help 
Glenn  publicize  his  picture,'  she  said, 
and  then  gave  an  irrepressible  giggle. 
'Anyway,  Glenn's  a  perfect  gentleman 
and  you  can  hardly  find  that  kind  any- 
more.' If  anyone  else — say,  Marilyn 
Monroe  or  Liz  Taylor — had  done  a 
thing  like  that,  the  public  would  have 
raised  cain.  All  she  has  to  do  is  open 
those  baby-blue  eyes  a  little  wider,  and 
her  fans  are  ready  to  march  out  in  bat- 
talions to  do  battle  for  her." 

That  there  are  many  whose  feathers 
she  ruffled  in  her  rise  to  fame — and 
many  whose  feathers  are  being  ruffled 
right  now  in  her  struggle  to  stay  on  top 
— cannot  be  denied.  Their  views,  while 
perhaps  not  openly  expressed,  may 
easily  be  deduced.  There  is  the  pert 
young  starlet  who  appeared  on  the  stu- 
dio lot  looking  and  acting  like  a  new 
edition  of  Connie  Stevens.  She  had  a 
ponytail  swinging  behind  her,  and 
spoke  in  the  kittenish  manner  Connie 
often  adopts  in  her  role  of  Cricket 
Blake  on  "Hawaiian  Eye." 

The  real  Connie  took  one  look  at  the 
imitation,  slapped  down  her  script,  and 
marched  off  the  set.  Obviously,  she  was 
under  the  impression  that  the  studio 
had  trotted  in  the  little  "double  image" 
to  scare  her  with  the  idea  that  she  could 
be  replaced! 

To  Jack  Warner  and  his  son-in-law 
Bill  Orr,  executive  producer  of  all  TV 
shows  on  the  lot,  Connie  has  to  be  a 
blister  on  the  nose  of  contentment.  For 
more  than  a  year,  she  campaigned  vig- 
orously— "battering  their  doors  down 
with  her  darling  pink  and  white  fists"  is 
the  way  one  observer  sardonically  put 
it — to  land  the  coveted  role  of  Liza 
Doolittle  in  the  upcoming  multimillion- 
dollar  "My  Fair  Lady."  In  her  usual 


fashion,  Connie  was  anything  but  coy 
in  making  this  desire  known.  "I  want 
that  part  like  I've  wanted  nothing  else 
in  my  whole  career,"  she  told  a  friend. 
But  the  studio  awarded  the  part  to 
Audrey  Hepburn. 

The  shock  of  this  disappointment  had 
scarcely  been  absorbed  by  Connie  when 
she  was  informed  that  Anthony  Eisley, 
one  of  her  co-stars  in  "Hawaiian  Eye," 
had  been  dropped,  and  Troy  Donahue 
brought  in  to  fill  bis  shoes.  The  studio 
was  a  chaos  of  rumors,  and  there  can 
be  no  doubt  that  some  of  them  found 
their  way  to  Connie's  shell-pink  ears. 
Troy  was  there  "to  attract  more  teen- 
agers to  the  show."  It  was  also  rumored 
that  Bob  Conrad's  part  would  be  sub- 
merged to  give  a  larger  splash  to  Troy. 

Connie  has  been  closely  associated 
with  Eisley  and  Conrad  and  their  wives 
since  the  inception  of  the  show.  They 
are  fast  friends,  and  Joan  Conrad  and 
Judy  Eisley  are  two  of  Connie's  confi- 
dants. Both  families  had  just  purchased 
new  homes  and  Connie  became  con- 
cerned for  her  friends'  futures. 

About  Connie's  own  relationship  with 
Troy  there  seems  to  be  some  sort  of 
ambivalence.  Attraction  and  repulsion, 
love  and  hate,  are  often  entwined.  At 
one  period,  Connie  dated  Troy  with 
some  regularity.  But  by  the  time  they 
completed  making  the  feature  "Susan 
Slade"  together,  they  were  far  from 
friendly.  Nowadays,  both  tend  to  play 
down  their  "romantic"  period  by  claim- 
ing it  was  a  studio-inspired  publicity 
gimmick.  It's  reported  that  when  they 
went  to  Hawaii  recently,  to  shoot  back- 
grounds for  the  series,  they  spoke  to 
each  other  only  when  necessary. 

"You  learn  a  lot  from  love" 

But  the  feud  is  now  patched  up.  A 
crew  member  insists  it  was  Bob  Conrad, 
a  man  used  to  fighting  his  own  battles, 
who  soothed  the  troubled  waters  by  as- 
suring Connie  that  he  could  handle  any 
rivalry  with  Troy.  On  her  side,  Connie 
makes  it  clear  that  the  response  of 
Eisley's  fans  protesting  his  departure 
from  the  show  is  proof  that  her  own  ob- 
jections were  well  founded.  "If  they 
needed  someone  to  pull  the  teen-age 
viewers,  would  someone  tell  me  what's 
wrong  with  Bob  Conrad  and  yours 
truly?"  she  points  out. 

As  for  Troy,  he's  become  very  career- 
conscious.  He'd  like  fans  to  stop  think- 
ing of  him  as  a  fun-loving  bachelor 
about  town.  In  particular,  he'd  like  to 
wipe  out  all  memory  of  the  headlines 
created  when  his  ex-fiancee,  Lili  Kar- 
dell,  accused  him  of  slapping  her 
around.  "I  think  I've  changed  in  the 
past  year,"  he  says  soberly.  "You  learn 
a  lot  from  love— though  the  lessons  are 
often  not  easy  to  take.  I'm  trying  hard, 
these  days,  to  get  along  with  everyone — 
especially  the  people  I  have  to  work 
with." 

That  "have  to"  is  telling.  The  truth— 
those  who  have  known  Troy  for  years 
insist — is  that  he  really  would  rather 
not  do  a  TV  series  at  all.  He  balked 
about  "SurfSide  6"  but,  in  order  to  get 
certain  other  conditions  in  his  Warner 
contract,  he  went  along  with  the  studio. 
His  assignment  to  "Hawaiian  Eye," 
after    the    other    series    folded,    didn't 


elate  him  at  all.  But  he's  shrewd  enough 
to  realize  he  isn't  old  enough  yet  to 
carry  a  leading-man  role  in  Hollywood's 
current  crop  of  films.  So — he  looks  on 
this  as  a  transition  period. 

But  Connie  was  not  feeling  in  as 
philosophical  a  mood  as  Troy.  The  news 
of  the  changes  in  the  TV  series,  coming 
on  the  heels  of  her  rebuff  with  regard  to 
"My  Fair  Lady,"  sprung  the  revolt  that 
was  already,  due  to  a  number  of  smaller 
irritants,  on  a  hair-trigger.  Connie  went 
on  strike.  Not  only  wouldn't  she  appear 
for  work  at  the  studio,  but  she  cut  off 
her  telephone  and — on  the  advice  of  her 
lawyer — refused  to  talk  to  the  press, 
studio  intermediaries  or  anyone  who 
had  the  slightest  link  to  "the  industry." 
When  she  was  upbraided  by  the  front 
office  at  Warners  (some  say  the  quote 
came  from  Jack  Warner  himself)  with 
the  admonition,  "You  can't  eat  your 
cake  and  have  it,  too,  Connie,"  she  is 
said  to  have  snapped,  "Yes,  I  can,  if  I 
bake  two  cakes." 

For  the  true  significance  of  this  re- 
mark, one  must  go  back  to  when  Connie 
and  Gary  Clarke  were  courting  steadily 
and  quite  seriously.  She  was  upset  by 
Gary's  stern  refusal  to  marry  her  until 
he  had  gained  some  success  and  could 
support  her  properly  without  relying  on 
her  income.  "I  don't  believe  in  long  en- 
gagements," she  said  at  the  time.  "They 
lead  to  temptations,  human  nature  be- 
ing what  it  is."  She  was  also  being 
badgered  by  the  studio  on  several 
scores.  One  day,  she  burst  out  angrily, 
"Maybe  the  solution  is  for  Gary  and  me 
to  get  married  and  forget  about  Holly- 
wood. He  could  go  back  to  being  a  me- 
chanic and  I  could  get  a  job  clerking. 
I've  done  it  before,  you  know." 

Much  as  she  loves  show  business  and 
the  fun  that  goes  with  being  desirable, 
famous  and  a  star,  there  is  a  stubborn 
and  inflexible  streak  in  Connie  that 
might,  if  she  doesn't  find  happiness  in 
her  career,  prompt  her  to  throw  up  her 
hands  and  give  it  all  up.  Being  a  movie, 
TV  and  singing  star  is  not  the  only  cake 
in  her  private  kitchen.  She  is  quite 
capable,  if  pressed  too  hard,  of  whip- 
ping up  an  entirely  new  batter  and  bak- 
ing herself  a  new  way  of  life.  Just  be- 
fore this  latest  battle  with  Warners  was 
resolved,  she  said:  "I've  had  offers  to 
write  a  column  and  be  a  disc  jockey. 
Happiness  is  more  important  to  me 
than  stardom." 

Which  is  the  real  Connie? 

In  the  feminine  complexity  that  is 
Connie  Stevens,  there  are  many  para- 
doxes, many  contradictions,  many  mys- 
teries. She  is  stubborn,  open-minded, 
strong-willed,  sentimental,  jealous,  in- 
telligent, idealistic,  practical,  unconven- 
tional, deeply  religious  (Catholic), 
ruthless,  generous,  fun-loving,  clean- 
living,  and  so  on  and  on  and  on.  Who 
can  tell  which  of  the  Connie  Stevenses 
is  the  real,  the  true,  the  definitive  one? 
Probably  the  answer  to  the  enigma  will 
someday  be  provided  by  the  man  she 
marries  and  lives  with  on  the  intimate 
terms  of  man  and  wife. 

At  the  time  of  their  break,  two  years 
ago,  Gary  Clarke  said:  "Connie  is  mine 
.  .  .  whatever  happens  we'll  get  together 
again."  Current  items  in  the  gossip  col- 


umns  would  seem  to  be  making  that 
prediction  come  to  pass. 

But  Gary  himself  now  denies  the  new 
batch  of  rumors  that  has  him  taking 
Connie  out  of  Glenn  Ford's  arms  and 
straight  to  the  altar.  "We  are  seeing 
each  other  again,"  he  insists,  "but  not 
at  all  as  it  was  on  the  old  basis.  Now  we 
are  just  good  friends." 

What  brought  him  back  into  Connie's 
life,  Gary  says,  was  "The  Virginian," 
the  new  TV  series  in  which  he  has  his 
best  acting  job  to  date.  The  first  person 
he  called,  after  signing  the  contract, 
was  Connie,  "because  I  knew  how 
happy  she'd  be,  how  much  of  an  inter- 
est she  has  in  my  career,  as  she  has  in 
the  careers  of  all  her  friends,"  he 
points  out.  Naturally,  Connie  wanted  to 
hear  all  the  details — and  in  person.  She 
and  Gary  saw  each  other  that  night, 
and  have  continued  to  do  so. 

"Gary  and  I  discovered  that  we  un- 
derstand each  other  far  better  now  than 
we  did  when  we  were  dating  seriously," 
says  Connie.  "For  one  thing,  we  don't 
take  everything  personally.  We  can  dis- 
cuss matters,  criticize  and  help  each 
other  in  an  objective  way.  We  were 
never  able  to  do  that  before." 

But,  despite  all  denials,  there  are  still 
those  who  believe  that  Glenn  Ford — 
quite  inadvertently — brought  Gary  back 
into  Connie's  range.  There  had  been 
many  stories  about  her  assorted  escorts 
and  alleged  romances.  Those  who  knew 
Connie  never  really  took  them  seriously, 
until  the  question,  "Is  there  definitely  a 
Ford  in  Connie's  future?"  got  mass  cir- 
culation. Did  Gary  decide  then  it  was 
time  he  took  positive  action  or  lost  the 
girl  he  professed  to  love  forever? 

"Forever"  is  a  big  word,  but  there 
has  never  been  any  doubt  that  Connie, 
a  Catholic  and  the  child  of  a  broken 
home,  looks  on  marriage  and  family  life 
as  a  permanent  and  unbreakable  tie. 
With  Gary's  career  at  last  on  firm 
ground,  there  is  now  no  excuse  for  them 
to  put  off  marriage  and  every  induce- 
ment to  fulfill  the  demands  of  their 
heart.  But  both  say  there  is  no  wedding 
in  their  future. 

It  would  seem,  at  least  at  this  writ- 
ing, that  absence  has  not  made  the 
heart  grow  fonder  for  either  Glenn  or 
Connie.  Reports  from  France,  where  he 
was  working  in  "The  Grand  Duke  and 
Mr.  Pimm,"  had  Glenn  once  again  ro- 
mancing Hope  Lange,  his  co-star  in  the 
film.  Another  person  close  to  him  con- 
fided that  Glenn  recently  said  he'd  like 
to  give  up  his  bachelor  life  and  go  back 
to  wife  Eleanor  Powell  and  son  Peter. 

Just  as  these  rumors  were  circulat- 
ing, news  of  Connie's  new  feud  with 
Warner  Bros,  reached  France.  Glenn, 
who  had  previously  given  Connie  both 
professional  and  business  advice,  put  in 
a  trans-Atlantic  call  to  her.  Perhaps  he 
called  as  a  friend  who  wanted  once 
again  to  lend  a  strong  shoulder  of  sup- 
port. Connie's  phone  already  discon- 
nected, he  didn't  reach  her.  He  left 
word  with  her  manager  and  at  her 
agent's  office  that  he  wanted  to  talk  to 
her.  He  called  back,  the  following  day, 
to  see  if  she'd  received  his  messages 
(she  had).  This  would  indicate  that 
Connie  had  decided  against  returning 
his  call.  Was  it  because,  with  Glenn,  it 
was  a   case   of  "out   of   sight,   out   of 


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mind" — or   was   it   because    Gary,   her 
"first  real  love,"  was  back? 

Mirror,  mirror,  on  the  wall  .  .  . 

Since  there  is  no  way  of  knowing,  at 
least  today,  the  true  nature  of  Connie 
Stevens,  there  is  no  way  of  guessing 
how  this  situation  will  be  resolved.  Will 
she  marry  young  Clarke  or  some  older, 
more  sophisticated  beau?  Will  she  and 
Troy  Donahue  discover  that  fighting 
goes  with  love,  too,  and  they  could  be 
much  more  than  a  publicity-inspired 
romance?  Or  is  real  and  lasting  love 
yet  to  come — from  someone  else? 

When  asked  why  she  hasn't  married 
yet,  Connie  gave  a  flip  laugh  and  said, 
"Because  nobody  has  asked  me."  It  is 
one  of  the  few  fibs  ever  attributed  to 
this  utterly  frank  girl.  With  her  current 
feud  with  the  studio  resolved,  will  the 
"truce"  last?  Or  will  she  rebel  once 
again  and  carry  it  to  the  ultimate  limit, 
refuse  to  act  in  films  or  TV  again,  and 
either  retire  to  the  calm  of  homemak- 
ing,    or    go    forward    to    a    new    chal- 


VINCENT   EDWARDS 

(Continued  from  page  37) 
since  she  has  such  a  vested  interest  in 
the  opposition? 

"Oh,  all  the  time,"  she  answered. 
"And  I  like  Dr.  Kildare,  too  .  .  .  But 
I  love  Dr.  Casey." 

As  the  interview  drew  to  a  close.  I 
came  to  a  familiar  conclusion  about 
Mrs.  Zoino — when  that  lady  talks  about 
her  boy,  her  love  for  him  just  drips 
from  her  voice.  It's  a  kind  of  over- 
whelming pride,  too.  And  she  makes 
no  effort  to  disguise  it. 

A  few  days  passed,  after  I  had  spok- 
en with  Mrs.  Zoino,  when  word  reached 
me  that  Vince  Edwards  had  come  to 
New  York  after  all,  quite  unexpectedly. 
Checking  further,  I  learned  that  Vince 
was  accompanied  by  Sherry  Nelson. 
Sherry,  as  all  Vince  Edwards  aficionad- 
os must  know,  is  the  secretary  being 
billed  as  the  future  Mrs.  Edwards. 

Not  too  surprised,  I  learned  that 
Vince  and  Sherry  had  taken  proxi- 
mitous  suites  in  the  Sherry-Nether- 
lands Hotel.  I  proceeded  to  seek  them 
out,  but  Vince  and  Sherry  could  have 
put  Khrushchev  to  shame  in  the  game 
of  erecting  iron  curtains. 

They  were  literally  and  irrevocably 
incommunicado. 

Still,  I  did  learn  that  Vince  had 
come  to  New  York  to  attend  the  Emmy 
Awards  party  here,  even  though  ev- 
eryone had  expected  he  would  be  at 
the  Hollywood  festivities.  So,  it  was 
quite  a  surprise  to  find  Vince  in  New 
York — and  with  Sherry  along. 

This  must  mean,  I  concluded,  that 
Vince's  sudden  change  in  plans  would 
undoubtedly  bring  him  home  to  Brook- 
lyn to  visit  his  mother,  whom  he  hadn't 
seen  in  three  years.  That  prompted 
another  quick  call  to  Mrs.  Zoino. 

"Isn't  it  wonderful,"  she  cried.  "He's 
here !  And  he's  coming  over  to  see  me." 

"When?"  I  asked. 

"He    didn't    say,"    Mrs.    Zoino    re- 


lenge  offered  by  beckoning  Broadway? 

Is  there  some  secret  yearning  that 
has  long  troubled  the  heart  of  this  im- 
pressionable and  alluring  woman-child, 
some  ambition  never  disclosed,  some 
will-o'-the-wisp  she  has  mutely  desired 
to  chase?  Who  can  tell?  It  remains  the 
dark  side  of  the  moon,  and  nobody  in 
her  little  universe  has  been  afforded  a 
glimpse  of  it.  Perhaps  Connie  herself 
isn't  aware  of  the  secret,  buried  long- 
ings of  her  heart. 

It  may  well  be  that  plump  little  Con- 
cetta  Ingolia  once  did  catch  a  glimpse 
of  the  truth  in  that  Coney  Island  hall  of 
mirrors.  If  so.  the  intuition  has  prob- 
ably been  all  but  forgotten.  Perhaps 
Connie,  one  of  these  fine  days,  may  de- 
cide to  revisit  Brooklyn's  amusement 
park.  It  is  almost  a  certainty  that,  if  she 
does,  she  will  seek  out  those  mirrors 
and  repeat  the  question  she  put  to  her- 
self so  long  ago:  "Which  of  these  reflec- 
tions is  really  me?"  — Kathleen  Post 

Connie  is  Cricket  in  "Hawaiian  Eye," 
on  ABC-TV.  Wed..  9  to   10  p.m.  edt. 


plied.  "Maybe  tomorrow,  maybe  the  day 
after." 

I  told  Mrs.  Zoino  I'd  call  back  in  a 
couple  of  days  for  the  details. 

The  Emmy  Awards  came  off  and,  as 
luck — and  the  judges- — would  have  it. 
Vince  didn't  walk  off  with  any  honors. 
If  you  were  watching  the  ceremony  on 
TV  that  night,  you  might  have  noticed 
the  disappointment  on  Vince's  face. 
He  wasn't  alone  in  his  feelings.  Mil- 
lions of  his  fans  felt  disappointed,  too. 

Whatever  disappointment  Vince  felt 
after  he  was  frozen  out  must  have  been 
quickly  thawed  in  the  warm,  cheery 
glow  of  the  family  gathering  that  fol- 
lowed the  next  night  in  Brooklyn. 

"Wonderful,  wonderful,  wonderful." 
Mrs.  Zoino's  voice  bubbled  when  I 
asked  about  the  get-together  that  had 
been  so  long  and  uncertain  in  coming. 

"We  were  so  happy  to  see  each  other 
we  couldn't  find  words,"  she  went  on. 
"My  goodness,  I  was  so  surprised  how 
young  he  looked.  He  didn't  seem  any 
older  than  twenty-two  or  twenty-three. 
Everyone  who  hadn't  seen  him  for  the 
three  years  he  was  away  said  the  same 
thing." 

I  wanted  to  know  how  Mrs.  Zoino  re- 
acted when  she  first  laid  eyes  on  her 
son  after  all  that  time. 

"The  bell  rang."  she  said.  "I  was  ex- 
pecting Vinnie.  I  went  to  the  door  with 
my  heart  beating  a  mile  a  minute.  I 
opened  it  and — there  he  was.  'Hi,  mom.' 
he  said  with  a  big  smile.  He  put  out  his 
arms  and  I  just  rushed  right  into  them. 
He  tightened  them  around  me  in  a  won- 
derful bear  hug.  It  was  one  of  the  hap- 
piest moments  in  my  life.  My  son  had 
come  home  again." 

I  asked  Mrs.  Zoino  if  Vince  had  come 
alone. 

"Goodness,  no."  she  answered.  "He 
had  a  whole  group  of  people  with  him." 

"Was  Sherry  Nelson  along?"  I  prod- 
ded. 

Mrs.  Zoino  hesitated,  at  first.  With 

the  tact  of  a  diplomat,   she  repeated. 

"He  had  a  lot  of  people  with  him  .  .  ." 

If  Mrs.  Zoino  was  reluctant   to  clis- 


cuss  Sherry,  it  might  have  been  only  the 
good  judgment  of  a  mother  who  didn't 
want  to  embarrass  her  son.  She  no 
doubt  had  her  suspicions,  but  she  still 
wasn't  sure — at  least  not  one-hundred- 
percent — that  he  was  prepared  to  march 
down  the  aisle  with  this  particular  girl. 
In  one  of  our  previous  talks,  I  had 
asked  Mrs.  Zoino  if  Vince  ever  dis- 
cusses marriage,  and  her  answer  was, 
"No,  he  never  does — but  I  talk  to  him 
about  it.  I  tell  him  that  he  should  get 
married  and  have  children,  so  I  can 
have  more  grandchildren.  He's  the  only 
one  of  my  children  who  hasn't  married. 
But  his  answer  is  that  he  isn't  ready  for 
it.  He  tells  me  that  he  wants  to  hit  solid 
rock  bottom  first  before  he  takes  the 
big  step,  and  that  he  wants  his  wife  to 
be  lady  of  leisure." 

At  any  rate,  it  was  obvious  that  Mrs. 
Zoino  had  rolled  out  the  red  carpet  for 
the  homecoming,  and  that  Sherry  could 
not  have  felt  any  less  thrilled  by  the 
welcome  than  if  she  were  really  and 
truly  a  member  of  the  family  already. 

For  a  full  day,  Mrs.  Zoino  raced 
about  frantically  preparing  for  the  oc- 
casion. Everyone  in  the  family  pitched 
in — Vince's  sister,  Mrs.  Nancy  Alba- 
nese,  and  her  husband;  Vince's  twin 
brother,  Bobby,  and  his  wife,  Pearl; 
and  their  other  brother,  Joe,  and  his 
wife.  Not  a  detail  was  overlooked.  Espe- 
cially not  in  the  line  of  food. 

"What  was  on  the  menu?"  I  asked 
Mrs.  Zoino. 

"You  name  it,"  she  laughed.  "We  had 
it." 

There  was  proper  indignation  in  Mrs. 
Zoino's  voice  when  I  asked  her  if  she 
had  cooked  the  meal  herself. 

"Well,  of  course  I  did,"  she  replied. 
"You  don't  think  I'd  let  anyone  else 
step  in  when  it  comes  to  the  food.  After 
all,  one  of  the  big  reasons  Vinnie  came 
was  to  get  a  taste  of  my  home  cooking ! " 
Of  course,  Vinnie  has  been  billed  as 
a  food  faddist  who  eats  nothing  but 
organically  grown  foods — foods  that 
come  from  the  earth  without  chemical 
fertilizers.  Even  his  mother  couldn't 
persuade  Vince  away  from  his  special 
diet  when  he  lived  at  home.  Mrs.  Zoino 
always  had  to  yield  during  those  years 
by  supplying  her  son  with  wheat  germ, 
black  strap  molasses,  and  the  other  spe- 
cial dietary  provisions  called  for  on  his 
epicurean  health  kick. 

This  time  was  no  exception,  despite 
Vince's  three-year  absence  from  the 
family  table.  Mrs.  Zoino  hadn't  forgot- 
ten, and  those  specially-packaged  or- 
ganically grown  foods  were  right  there 
and  waiting  when  Vince  sat  down  with 
his  family  and  friends  at  the  overladen, 
banquet-style  dining-room  table. 

Far  and  away,  it  was  a  spread  of 
magnificent  proportions.  The  antipasto 
was  fit  for  the  most  discriminating  gour- 
met. The  spaghetti  was  cooked  to  per- 
fection, and  its  sauce  was  simply 
m-m-m-m.  Chicken  cacciatore  is  always 
a  delicious  and  delightful  dish  in  the 
better  Italian  restaurants,  but  the  way 
Mrs.  Zoino  prepared  it  was  the  epitome 
of  perfection,  suited  to  a  king's  taste. 
All  this,  in  a  large  sense,  added  up 
to  a  rather  startling  caloric  intake  for 
the  guests,  particularly  for  one  sculpted 
with  such  precise  symmetry  and  archi- 
tectural   balance    as    shapely    Sherry. 


Wasn't  Mrs.  Zoino  afraid  that  her  in- 
ordinately generous  portions  would  cre- 
ate havoc  with  Sherry's  waistline? 

Truthfully,  it  didn't  faze  Mrs.  Zoino 
one  iota.  Like  most  mothers  who  have 
been  steeped  in  the  traditions  of  an 
Italian  heritage,  Mrs.  Zoino  believes 
when  a  person  sits  down  at  the  table, 
it's  for  one  purpose — to  eat,  and  eat 
well.  In  her  eyes,  a  girl  like  Sherry  is 
probably  so  "skinny"  that  her  present 
mold  is  just  a  hint  of  something  that  is 
yet  to  be.  In  other  words,  you  might 
say,  this  girl  hasn't  even  begun  to  fill 
out.  So  why  should  Mrs.  Zoino  have  any 
qualms  about  crowding  Sherry's  plate 
with  the  inescapably  fattening  fare  that 
had  been  prepared  for  the  feast? 

From  what  we  heard,  Sherry  threw 
caution  to  the  winds  and,  like  the  good 
trouper  that  she  is,  elbowed  her  way 
through  yards  and  yards  of  spaghetti 
steeped  with  that  rich  sauce,  a  gener- 
ously large  portion  of  chicken,  and  the 
other  delectable  entrees — and  enjoyed 
it  tremendously. 

She  later  confided  in  Vince,  we  were 
told,  that  she  had  never  relished  a  home 
cooked  meal  as  much  as  she  did  his 
mother's.  Mrs.  Zoino  later  heard  this 
from  Vince  and  was  elated  by  the  com- 
pliment. 

Moreover,  Mrs.  Zoino  was  overjoyed 
after  the  initial  meeting  with  Sherry. 
She  found  Sherry  friendly,  endearing, 
sweet,  and  extremely  likable.  She  had 
all  the  fine  and  desirable  qualities  that 
Mrs.  Zoino  has  hoped  for  in  a  girl  her 
famous  son  might  someday  pick  as  his 
bride. 

The  next  night,  another  gathering  was 
staged  in  a  similar  gala  setting. 

Then  the  moment  that  Mrs.  Zoino 
dreaded  finally  arrived — the  moment  for 
goodbye.  It  had  been  three  years  since 
she  had  seen  Vince,  virtually  a  lifetime 
to  a  mother  as  devoted  to  her  son  as 
Mrs.  Zoino  is. 

Despite  all  his  assurances  by  phone 
that  he  is  well,  it  is  difficult  for  a  mother 
to  escape  the  anxiety,  the  restlessness, 
and  the  uncertainty  that  somehow  he  is 
hiding  something  from  her;  that,  away 
from  her,  her  son  is  not  as  well  as  he 
should  be.  And,  above  all  else,  Mrs. 
Zoino  is  unalterably  a  mother  who  loves 
her  son  deeply  and  intensely.  Her  con- 
cern and  worry  for  him  are  inescapable 
so  long  as  she  is  separated  from  Vince 
by  the  painful  stretch  of  miles  between 
New  York  and  Hollywood. 

There's  no  doubt,  now  that  Vince  has 
returned  to  the  movie  capital,  that  Mrs. 
Zoino  has  gone  back  to  worrying  about 
him  again.  Yet  in  her  heart,  Mrs.  Zoino 
knows  now,  too,  that  she  still  has  a  son 
who  has  not  forgotten  his  mother.  For 
whatever  the  future  holds,  the  immedi- 
ate present  shows  that  Vince,  coming 
home  as  he  did,  has  cured  his  mother's 
heartache.  — George  Carpozi  Jr. 

Vince  is   '"Ben    Casey,"   as   seen   over 
ABC-TV,    Mon.,    10   to    11    p.m.   edt. 


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(Continued  from  page  39) 
be  different,  but  they  all  have  to  co- 
operate and  act  like  a  unit  to  get  things 
done!" 

"That  poor  woman  in  the  papers — 
that's  a  sad  case,  and  I  know  there  are 
many  around,"  Bill  Lennon  commented, 
one  arm  around  his  wife  and  his  ex- 
pression troubled.  "But  it's  not  the 
rule,  not  in  the  United  States." 

Bill  and  Isabelle  ("Sis")  Lennon 
have  taught  their  children  that  their 
own  success  in  love  and  marriage  was 
built  around  their  family.  They  do  not 
believe  in  separating  their  personal  feel- 
ings toward  each  other  from  their  par- 
ental attitude  toward  their  children. 

"We  try  to  make  our  youngsters  a 
part  of  our  love,  and  they  get  into  the 
habit  of  showing  affection  and  consid- 
eration to  each  other.  Individualism  is 
great,  when  you  go  out  to  compete  in 
the  world.  But,  inside  the  family  circle, 
there  ought  to  be  some  kind  of  unity 
and  common  purpose,"  Bill  said.  "This 
doesn't  mean  that  we  expect  or  want 
them  to  think  and  behave  alike.  It's 
just  that,  in  a  family,  you  must  learn  to 
think  as  one  for  the  good  of  all  when  it 
comes  to  family  matters." 

It  was  the  eldest  and  only  married 
child,  DeeDee,  who  recently  explained: 
"From  the  time  we  were  old  enough  to 
sing,  and  that's  quite  some  time,  we 
were  taught  that  raising  a  family  and 
having  a  happy  marriage  was  like  har- 
monizing. When  you  sing  in  a  group  as 
we  did" — DeeDee  is  now  a  homemaker, 
though  her  sisters  Peggy,  Kathy  and 
Janet  still  perform  with  the  Welk  show 
— "it's  necessary  to  adjust  your  own 
voice  to  the  others  for  the  best  effects. 
In  marriage,  it's  the  same.  The  wife, 
the  husband  and  their  children  must 
learn  to  fit  their  individual  characters 
and  wishes  to  what's  best  for  the  group 
as  a  whole.  Just  as  some  singing  groups 
break  up  because  each  one  wants  the 
most  to  do  or  has  a  personal  axe  to 
grind,  a  lot  of  marriages  go  to  pieces 
for  the  same  reasons." 

Sis  believes,  and  often  stresses  the 
point,  that  many  people  rush  into  mar- 
riage nowadays  because  they  think  it's 
got  to  be  a  ball  from  start  to  finish. 
"The  word  love  is  tossed  around  as  if 
it  added  up  to  just  romance,"  she 
claims.  It's  her  theory  that  too  many 
youngsters  today  "grew  up  in  the  fat 
years,  not  knowing  what  it  is  to  strug- 
gle for  bread  and  butter,  let  alone  the 
icing  on  the  cake.  As  soon  as  marriage 
begins  to  develop  a  problem  or  two  and 
stops  being  a  ball,  they  call  for  the 
divorce  lawyers. 

"Just  for  the  record,"  she  adds,  "the 
old  days  had  plenty  of  problems,  too, 
but  they  were  mostly  concerned  with 
making  a  Kving,  not  whether  or  not 
there  was  money  enough  for  several  TV 
sets  in  the  home." 

When  Bill  and  Sis  got  married,  their 
biggest  headache  (as  with  many  people 
during  those  years  just  prior  to  World 
War  II)  was  learning  to  get  along,  and 
have  a  family,  on  their  very  small  in- 
come. Those  "lean"  days  usually  evoke 
a  chuckle  from  Bill.  He  recalls,  with  a 


solemnity  belied  by  the  twinkle  in  his 
eyes,  that  when  he  and  Sis  got  engaged, 
he  found  a  job  at  Douglas  Aircraft, 
making  all  of  $38  a  week.  "My  brothers 
and  I  had  been  trying  to  make  a  go  of 
it  in  show  business  as  a  quartet,  but 
we'd  reached  the  point  where  we  were 
anxious  to  get  married. 

"Singing  just  couldn't  earn  enough 
for  that,  not  in  those  days.  Also,  it 
meant  traveling  .  .  .  being  away  from 
our  wives.  At  the  time  we  got  married. 
Sis  had  the  idea  of  working  for  a  while 
until  we  got  our  apartment  furnished. 
But  then,  when  DeeDee  was  on  the  way. 
we  decided  she  should  give  up  working. 
We  knew  we'd  have  to  make  do  with 
the  $38  a  week,  and  we  did." 

"We  felt  then,  and  still  do,"  Sis 
smiled,  "that  a  woman's  job  is  that  of 
the  homemaker  and  a  man's  the  provid- 
er and  protector  of  the  home.  It  may  be 
an  old-fashioned  idea  but  I'm  convinced 
that,  in  most  marriages,  this  makes  for 
the  most  happiness." 

"Actually,"  Bill  pointed  out,  "when 
things  got  real  rough,  Sis  did  work — 
though  not  away  from  home.  She  made 
tortillas  and,  after  work,  I'd  take  them 
out  and  sell  them.  We're  not  against 
married  women  working  when  there  is 
an  honest-to-goodness  need  for  the  extra 
money,  or  when  she's  a  professional 
woman — say,  a  doctor  or  nurse — who  is 
really  needed  by  others.  But  we  can't 
see  a  married  woman  with  children 
holding  a  job  just  to  buy  a  fancy  car, 
or  keep  up  with  the  Joneses." 

The  Lennon  girls  seem  to  take  the 
same  view,  with  DeeDee  already  prov- 
ing how  she  feels.  When  she  married 
Dick  Gass,  she  quit  show  business  to 
give  her  full  time  to  her  home.  The  girls 
had  been  earning  good  money  for  sev- 
eral years  and  DeeDee  had  a  nice  little 
nest  egg.  She  also  received  a  lot  of  gifts 
from  fans  and  friends.  But  she  didn't 
have  any  impractical  notions,  even  if 
she  did  have  it  made,  compared  to  many 
other  brides.  She  was  proud  and  con- 
tent to  move  into  Dick's  old  home,  the 
house  he'd  purchased  from  his  parents 
when  they  had  moved  to  a  larger  place. 
Both  DeeDee  and  Dick  are  happy  on 
what  he  earns  working  for  the  tele- 
phone company. 

"They  budget  accordingly."  Kathy  ex- 
plained, "and,  as  a  result,  everything 
they  buy  has  a  special  meaning  for 
them.  They  enjoy  each  new  item  more 
for  having  worked  and  saved  for  it.  It's 
been  a  real  lesson  for  me.  I'm  certainly 
going  to  try  and  be  as  wise  when  I  get 
married." 

"Me,  too,"  Peggy  agreed.  "But,  you 
know,  money  certainly  isn't  everything 
in  life.  Do  you  remember  'the  old  days' 
before  we  went  on  the  Welk  show?  I 
know  that  some  of  my  happiest  memo- 
ries come  from  the  little  house  we  lived 
in  then." 

In  those  days,  the  Lennons  lived  in  an 
old  house  which  had  only  two  bedrooms. 
The  boys  shared  one  room,  the  girls 
crowded  into  the  other,  and  Bill  and 
Sis  slept  on  a  pull-out  couch  in  the  liv- 
ing room.  "Talk  about  togetherness," 
laughed  Kathy.  "We  really  had  it!" 

"Yes,  but  we  were  a  real  family," 
Janet  put  in,  "ae  much  as  we  are  now, 
even  though  there  were  less  of  us.  And 


I'm  sure  that  neither  Mother  nor  Daddy 
ever  would  have  thought  of  leaving  each 
other.  They  had  real  togetherness." 

"That's  true,"  Sis  said  softly,  "but 
togetherness  for  its  own  sake  is  no  an- 
swer. You  can  chain  two  prisoners  and 
get  togetherness,  but  who  wants  it?" 

Not  a  jack-in-the-box! 

"Of  course,"  Peggy  pointed  out, 
"there  are  people  who  think  that,  since 
Catholics  like  us  don't  sanction  divorce, 
this  is  practically  the  same  as  chaining 
two  prisoners  together  and  telling  them 
they  must  live  out  their  lives  that  way. 
The  Church  does  allow  separations 
when  it  is  best  for  the  couple  or  their 
children.  And  when  it  comes  right  down 
to  fact,  I  don't  think  there's  any  re- 
ligion that  doesn't  frown  on  divorce. 
After  all,  marriage  is  a  sacrament,  and 
you  shouldn't  pop  in  and  out  of  it  like  a 
jack-in-the-box." 

"I  don't  know  the  statistics  on  broken 
marriages  in  the  United  States."  said 
Kathy,  "but,  judging  from  the  newspa- 
pers and  magazines  you  read,  it  is 
mighty  high.  And  I've  heard  it  said 
often  that  divorce  is  the  cause  of  much 
of  the  juvenile  delinquency  and  crime." 

"And  I've  read,  too,  that  the  biggest 
percentage  of  divorce  is  in  mixed  mar- 
riages," Peggy  added,  "and  in  mar- 
riages where  there  is  no  religion  at  all. 
It  must  be  very  lonely  and  depressing 
for  any  child  who  has  no  faith  to  turn 
to.  That's  why  I  feel  it's  so  important 
to  marry  someone  of  your  own  religion. 
That  way,  children  don't  become  con- 
fused by  seeing  their  parents  going  to 
different  churches — or,  worse  yet,  none 
at  all." 

"Sis"  Lennon  herself  went  through 
her  early  years  without  the  serenity  and 
happiness  that  faith  can  bring.  Her 
mother  was  Catholic,  her  father  a  Pro- 
testant. Sis  was  christened  a  Catholic, 
but  never  practiced  the  religion  as  a 
child.  Her  parents  divorced  when  she 
was  very  young.  While  the  difference  in 
their  religions  was  not  the  only  cause  of 
their  separation,  it  surely  contributed. 
One  of  the  things  that  attracted  Sis  most 
to  Bill  was  his  faith  and  the  importance 
of  religion  to  his  family.  Even  before 
they  decided  to  marry,  Sis  had  made  up 
her  mind  to  take  instructions  and  be- 
come a  practicing  Catholic.  She  was 
determined  her  own  children  would 
have  a  faith  to  give  them  peace  of  mind. 

"You  know,"  Kathy  explained,  "we've 
been  taught  to  live  up  to  the  teachings 
of  God  the  Father  and  the  brotherhood 
of  man.  But  we — and  I'm  sure  Peggy 
and  Janet  agree  on  this,  too — don't  hold 
with  mixed  marriages  as  a  general  prac- 
tice. The  average  boy  and  girl,  even  if 
they've  grown  up  in  the  same  neighbor- 
hood, are  still  virtual  strangers  when 
they  go  to  live  as  man  and  wiie.  The 
first  months  of  getting  to  know  and  ad- 
just to  each  other — plus  facing  all  the 
problems  of  running  a  home  and  paying 
the  bills — must  be  a  hard  enough  hur- 
dle to  pass.  The  difference  in  family 
customs,  upbringing,  outlook,  even  a 
little  thing  like  the  difference  in  style 
of  family  joking — all  this  makes  it  hard 
for  two  people  when  they  are  newly- 
weds.  Now,  add  a  difference  in  religion 
— not  just  in  how  they  worship  or  the 


kind  of  Bible  and  hymns  they  use,  but 
how  they  think  about  having  children, 
the  meaning  of  marriage,  and  so  on — 
well,  then  the  problem  of  adjustment 
must  be  even  bigger.  Why  ask  for  trou- 
ble?" 

"Yes.  that's  true,'*  agreed  Peggy.  "If 
boys  and  girls  of  the  same  religion  date, 
it's  only  natural  that  they'll  fall  in  love 
and  get  married.  If  they  choose  to  do 
this,  as  a  kind  of  insurance  for  their 
future  families,  it  doesn't  mean  they 
consider  themselves  superior  or  intoler- 
ant to  other  faiths.  Catholicism  isn't 
the  only  religion  that  discourages  mixed 
marriages.  Judaism  and  many  Protest- 
ant sects  also  take  the  stand  that,  when 
you  marry  in  your  own  faith,  you  have 
a  better  chance  for  a  happy  family  life." 

Bill  nodded.  "Too  often,  when  the 
house  is  divided  on  religion,  the  couple 
retreat  behind  a  wall  of  indifference. 
Then  there  is  no  religion  at  all  prac- 
ticed in  the  home." 

"Yes,"  said  Janet,  "then  the  children 
must  have  a  bad  time  because  they  grow 
up  without  believing  in  anything.  I 
think  religion  is  something  the  whole 
family  should  take  part  in  together." 

Another  strong  "anti-mixed-marriage" 
factor,  the  Lennons  pointed  out.  is  that 
it  can  cause  unhappiness  and  often 
estrangement,  if  the  families  of  the 
young  couple  object. 

Mixed  marriage  for  the  girls? 

What  if  one  of  the  Lennon  children 
fell  in  love  with  someone  of  another 
faith? 

"We  would  point  out  all  the  pitfalls, 
all  the  difficulties  of  a  mixed  marriage," 
said  both  Bill  and  Sis.  "But  if  they  did 
marry,  we  would  do  everything  in  our 
power  to  get  them  off  to  a  fine  start." 

"Well.  I  don't  think  it's  likely  to  hap- 
pen," said  Peggy  seriously.  "I  know 
that  Kathy,  Janet  and  I  always  feel 
especially  good  when  Daddy  and  Moth- 
er and  the  kids  set  out  for  mass  togeth- 
er. Getting  so  many  children  ready  on 
time  is  a  struggle — but  it's  worth  it.  I 
don't  say  that  going  to  the  same  church 
can  hold  a  marriage  together — but  it 
helps.  And  there's  something  about  fac- 
ing a  religious  wedding  ceremony,  no 
matter  what  faith  it  is  in,  that  makes 
a  couple  realize  the  importance  of  the 
vows  they  are  taking.  That  means  they 
think  about  marriage  a  long  time  before 
taking  the  step." 

Since  religion  stresses  family  life,  the 
Lennon  girls  pointed  out  that  a  young 
couple  planning  marriage  are  forced  to 
look  ahead  more  realistically.  DeeDee 
and  Dick  discussed  every  facet  of  their 
future  before  the  wedding.  They  knew, 
from  their  months  of  dating,  that  they 
liked  the  same  sports,  household  fur- 
nishings, and  friends.  That  they  had 
much  in  common  was  obvious.  But  they 
also  realized  many  things  change  after 
marriage.  That's  why  they  talked  over 
honestly  any  fears  or  doubts.  Too  many 
couples,  DeeDee  feels,  are  inclined  to 
take  the  attitude  of  "we'll  solve  that 
problem  when  it  comes,"  rather  than 
being  prepared  for  it. 

While  the  Lennon  Sisters  are  aware 
that  building  a  happy  marriage  takes 
effort,  they've  learned,  from  observing 
their  own  parents,  that  the  rewards  are 


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89 


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worth    making    every    effort    you    can. 

"Marriage  should  give  a  meaning  and 
purpose  to  your  life,"  their  mother  has 
often  told  them.  "Love  is  the  key  that 
opens  the  door.  You  begin  by  loving 
each  other.  Then,  if  you  are  blessed 
with  children,  you  make  them  part  of 
that  love." 

Sis  and  Bill  show  no  partiality  among 
their  youngsters.  Each  of  their  eleven 
children,  from  22-year-old  DeeDee  down 
to  2V2-year-old  Christopher,  feels  that 
he  or  she  has  a  personal  stake  in  the 
family.  They  are  not  just  a  group  of 
brothers  and  sisters  forced  through  cir- 


ROBERT   CONRAD 


(Continued  from  page  57) 
strictly  business  and  I  don't  go  for  the 
same  reason  I  wouldn't  go  to  his  office 
parties  or  I  didn't  go  down  to  the 
Chicago  docks  when  he  was  working 
there.  I  just  don't  feel  it's  where  I 
belong. 

This  year,  since  I've  started  studying 
pre-law,  I'm  in  school  two  out  of  three 
times  when  one  of  these  affairs  is 
scheduled.  Law  is  something  I've  al- 
ways wanted  to  study — my  father  and 
a  brother  are  attorneys — and  now  that 
our  daughters  Joan  and  Nancy  are 
both  in  school  all  day  I  have  the  time. 
But  I  needed  encouragement  to  begin, 
and  Robert  gave  me  lots  of  it!  He  still 
does. 

The  only  time  I  ever  really  partici- 
pated in  his  "career"  was  in  Chicago. 
He  was  working  at  three  jobs — a  candy 
factory  in  the  afternoon,  singing  week- 
ends at  the  Club  Hollywood  until  two 
in  the  morning,  then  getting  up  to 
deliver  milk  by  six.  He  had  already 
missed  two  mornings  that  winter,  if 
you  missed  three  you  were  automati- 
cally fired.  So  Robert  insisted  he  had 
to  run  the  route.  I  was  afraid  if  he 
went  by  himself  he'd  fall  asleep  stand- 
ing up,  so  I  put  on  a  pair  of  levis,  a 
warm  jacket  and  pulled  one  of  his  caps 
over  my  hair.  There  was  no  one  I  could 
leave  the  children  with  so  I  bundled 
them  up  and  they  sat  up  in  the 
front  of  the  truck.  Robert  would  drive 
to  a  stop,  catch  a  couple  of  winks,  and 
I'd  run  up  to  the  door  with  the  delivery. 

I  was  scared  to  death.  The  company 
had  a  very  strict  rule  about  not  letting 
anyone  in  the  truck  except  the  driver. 
We  had  to  hide  from  the  other  milk- 
men— and  the  housewives. 

You've  probably  noticed  I  call  him 
Robert.  I  can't  call  him  Bob  yet,  it 
just  doesn't  sound  right  to  me.  His 
legal  name  is  Conrad  Robert  Falk,  but 
we  started  using  Conrad  as  a  surname 
when  we  were  married  so  my  parents 
wouldn't  find  us.  (More  on  that  later.) 
When  he  was  growing  up,  he  auto- 
matically used  his  stepfather's  names. 
This  has  created  such  a  mess  that  some 
day  we're  going  to  gather  up  all  our 
papers  and  descend  on  some  unsus- 
pecting lawyer  to  straighten  them  out — 
or  maybe  that's  one  of  the  things  he's 
saving  for  me. 

We  lived  just  about  two  miles  from 
each  other  in  Chicago,  practically  on 


cumstance  to  make  the  best  of  living 
together.  They  have  understanding,  re- 
spect and  good  will  for  one  another. 
More  important,  they  know  how  to  com- 
municate what  they  feel. 

As  for  the  original  questions  TV 
Radio  Mirror  brought  up:  Have  mar- 
riage and  family  life  in  America  gone 
bankrupt?  ...  If  the  Lennons  are  an 
example  of  American  family  life,  the 
answer  is  a  resounding  no\ 

— Eunice  Field 

The  girls  sing  on  "The  Lawrence  Welk 
Show,"  ABC-TV,  Sat.,  9  to  10  p.m.  edt. 


the  same  street,  right  on  the  lake.  I 
had  seen  him  around.  In  the  summer 
you  see  a  lot  of  people  who  have  boats 
at  the  lake.  Finally  I  met  him  at  a 
party.  My  first  impression  was  that  he 
laughed  a  lot,  everything  was  a  big 
joke,  yet  he  was  quiet  and  well-man- 
nered. I  think  I  was  more  impressed  by 
his  good  manners  than  anything  else.  I 
was  wearing  a  red  and  white  organdy 
dress,  and  he  had  on  a  blue  shirt  and 
dark  blue  slacks.  It's  funny,  you  do 
remember  things  like  that. 

The  party  was  in  June,  but  it  was 
about  six  weeks  before  he  asked  me 
for  a  date.  By  mid-August,  we  were 
dating  regularly  and  making  plans  to 
be  married  when  we  were  through  col- 
lege. I  was  a  junior  in  high  school  then, 
and  we  were  going  to  come  out  here 
and  go  to  U.C.L.A.  together  after  grad- 
uation. That  was  our  big  dream. 

But  my  parents  had  other  ideas.  They 
had  gone  to  Florida  while  I  finished 
the  semester  in  a  convent  boarding 
school.  Then  they  decided,  rather  sud- 
denly it  seemed  to  me,  to  move  me  to 
Florida,  too.  You  weren't  allowed  to 
call  boys  from  the  school,  so  when  I 
dialed  Robert's  number  and,  luckily, 
he  answered,  I  said,  "Hello,  Phyllis." 

He  said,  "What?"  and  I  told  him  I 
was  calling  to  say  goodbye.  I  was  all 
packed  and  my  grandfather  was  coming 
at  noon  to  pick  me  up. 

He  said,  "You  don't  have  to  go  to 
Florida.  You  can  always  marry  me," 
and  I  said  "Okay!"  real  fast.  So  he 
can't  really  say  I  proposed  to  him.  I 
just  didn't  waste  any  time  when  he 
asked  me. 

We  had  a  big  send-off.  When  I  saw 
him  drive  up  at  the  school,  I  just  kind 
of  dashed  away  from  some  nuns  I  was 
talking  with,  down  four  flights  of  stairs 
and  grabbed  up  my  luggage  I  had  al- 
ready cached  by  the  gate.  Everybody 
was  running  in  two  different  directions 
looking  for  me,  and  we  drove  off  with 
people  in  the  yard  calling  after  us. 

We  were  the  shock  of  the  whole 
North  Shore.  My  parents,  of  course, 
were  horrified — we  didn't  tell  them 
where  we  were  until  the  end  of  May 
and  I  found  I  was  pregnant.  We  figured 
it  was  too  late  then  for  them  to  have  it 
annulled.  They  thought  we  were  so 
young  to  be  getting  married.  We  were, 
too,  except  for  one  thing.  At  seventeen, 
Robert  was  more  ambitious  and  hard 
working  and  ready  for  responsibility 
than  a  lot  of  men  are  at  thirty,  or  fifty 
or  a  hundred ! 

At    the    time,    he    didn't    have    any 


definite  career  in  mind.  He  had  been 
interested  in  journalism,  but  in  show 
business,  too.  He  didn't  wait  around 
trying  to  find  something  he  "liked."  He 
had  me  to  look  after  now  and  he  in- 
tended to  do  it.  He  took  a  job  as  a 
dock  worker.  It  paid  more  than  any 
white-collar  job  he  could  have  gotten 
and  they  weren't  too  curious  about  his 
age.  When  he  told  them  he  was  twenty- 
one,  the  minimum,  they  took  his  word 
for  it.  As  little  experience  as  he  had 
had  with  life,  he  ended  up  being  the 
one  in  the  gang  all  the  other  men  talked 
to  about  their  problems.  If  they  had 
known  they  were  talking  to  a  seventeen- 
year-old  kid! 

The  first  year,  our  money  didn't  go 
very  far.  He'd  cash  his  check  after  work 
every  Friday  and  bring  home  a  dozen 
or  two  dozen  roses.  We  always  planned 
the  things  we  were  going  to  do  together. 
We  still  do.  After  a  movie  or  going  out 
for  dinner  on  Saturday  and  Sunday, 
we'd  count  up  what  we  had  left  on  Mon- 
day morning.  He'd  say,  "I  need  this 
much,"  and  I'd  say,  "I  need  this  much," 
and  that  would  about  do  it. 

He  was  delighted  when  we  knew  I 
was  pregnant.  This  was  something  he'd 
always  wanted,  a  family.  His  mother 
and  father  were  divorced  before  he  was 
two  years  old.  We  celebrated  our  first 
family  New  Year  in  the  hospital.  Joanie 
was  born  at  7:30  on  New  Year's  Eve 
itself. 

Career  investments 

Meanwhile  Robert  took  singing  les- 
sons and  even  dramatics  from  a  pro- 
fessor at  Northwestern.  He  had  a  friend 
with  a  band  and  started  singing  with 
them  at  different  clubs. 

This  was  career,  and  the  money  he 
made  from  it  went  right  back  into  it. 
One  of  his  first  major  investments  was 
a  tux.  He  was  pretty  proud  of  it.  He 
came  home  and  modeled  it  for  me. 
Even  then,  he'd  rather  have  not  so 
many  clothes  but  things  he  really  liked. 
He's  still  that  way.  He  likes  to  be  com- 
pletely informal  or  very  dressed  up. 
Nothing  in  between.  He  has  a  tennis 
jacket  right  now  which  he  just  adores 
and  wears  everywhere.  It's  either  all 
or  nothing.  This  is  pretty  much  a  com- 
mentary on  his  whole  outlook. 

On  Christmas  Day  of  1954,  he  was 
laid  off  at  the  dock — just  three  months 
before  our  second  daughter,  Nancy,  was 
born.  Out  of  necessity,  he  became  a 
milkman. 

All  the  time,  of  course,  he  was  look- 
ing for  some  way  to  get  a  start  in  his 
career.  He  was  very  excited  and  happy 
about  meeting  Nick  Adams  when  Nick 
came  to  Chicago  for  a  personal  appear- 
ance. Actually,  I  think  they  spent  only 
one  evening  together,  but  Nick  is  the 
sort  of  guy  who  knows  whom  he  likes. 
When  Robert  decided  to  make  the  big 
jump  to  Hollywood,  he  felt  at  least  he 
had  a  toehold  in  knowing  Nick. 

It  was  a  lot  more  than  a  toehold. 
Nick's  always  remained  a  best  friend. 
He  took  Robert  around  to  agents  and 
producers  and  finally  practically 
pushed  him  into  "Hawaiian  Eye."  That 
took  a  little  time,  though — a  year  and 
a  half,  to  be  exact.  Much  of  that  time, 
Robert  wasn't  working.  Not  even  on  a 


milk  truck.  He  applied  for  a  route  but 
there  weren't  any  openings. 

Now  that  we  look  back,  that  year 
Robert  wasn't  working  was  a  marvelous 
time.  How  many  men  have  the  oppor- 
tunity to  spend  a  year  with  their  chil- 
dren while  they're  growing  up?  I  mean, 
to  get  up  with  them  and  have  lunch 
with  them  and  dinner  every  evening. 
He  taught  them  how  to  swim,  how  to 
ride  their  bicycles  and  took  them  horse- 
back riding.  Even  when  he'd  go  on  job 
interviews,  we'd  all  go  just  for  the  ride 
and  wait  for  him  in  the  car. 

We've  always  had  as  much  fun  with 
the  dreams  as  with  the  reality.  Right 
now  our  big  dream  is  our  house.  We 
hope  to  start  building  in  a  few  weeks. 
Once  we're  living  in  it,  there  will  be 
things  that  break  down  or  need  repairs. 
But  now,  while  it's  still  a  dream,  it's  all 
enjoyment. 

Robert  is  happy  and  enthusiastic 
all  the  time  because  he's  doing  work  he 
likes  to  do.  I  don't  think  being  in  the 
spotlight  has  changed  him  at  all.  He 
still  does  and  says  exactly  what  he 
wishes;  he's  always  been  kind  of  an 
individualist.  He  has  enough  confidence 
in  himself  that  he  can  do  any  job  he 
sets  out  to  do. 

He's  interested  in  all  the  facets  of 
his  business — writing,  directing,  every- 
thing. One  day  he  will  be  a  director, 
too. 

I  would  like  to  buy  him  one  of  those 
view  finders  a  director  uses  to  see  the 
scene  as  the  camera  will  show  it — as 
a  surprise.  Except  that  I  am  terrible  at 
surprises.  All  last  year  he  wanted  a  set 
of  gold  cuff  links  with  a  star  sapphire 
he'd  seen.  I  managed  to  get  them  in 
September  and  hid  them  away  for 
Christmas.  I  kept  my  great  secret 
exactly  two  days.  Then  he  was  going 
some  place,  and  I  couldn't  stand  it.  I 
handed  them  to  him  and  said,  "You 
might  as  well  have  these  now.  when 
you  need  them." 

There's  only  one  thing  that  worries 
me  about  Robert.  Being  from  a  family 
of  lawyers,  I  like  to  see  things  in  writ- 
ing. His  idea  of  a  contract  is  a  hand- 
shake. He  says  this  is  his  way  and  he's 
built  his  whole  life  on  handshakes.  I've 
had  to  settle  for  that,  temporarily. 

It's  a  little  difficult  to  insist  on  this 
point  with  Robert.  He  has  as  great  a 
belief  in  his  friends  and  associates  as 
he  has  in  himself.  He  is  as  enthusiastic 
about  their  successes  and  their  dreams 
as  he  is  about  his  own.  Perhaps  this 
is  why  everybody  confides  in  him. 

I  may  not  share  the  industry  func- 
tions with  him,  but  he's  fun  to  be  with 
— and  I  am  with  him  as  much  as  pos- 
sible.   There,    I    belong. 

— as  told  to  Marie  Tinsley 

Robert   Conrad  co-stars   in   "Hawaiian 
Eye,"  on  ABC-TV,  Wed.,  9  p.m.   edt. 


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IIIIIIIIIIIIM1IMIIIIIII 


(Continued  from  page  55) 
real  life,  families  may  become  drawn 
together  for  no  other  reason  than  that 
they  happen  to  live  across  the  street 
from  each  other.  Or  they  may  have  just 
one  special  interest  in  common — such 
as  bowling!  Or  perhaps  the  two  bread- 
winners work  at  similar  jobs  or  for  the 
same  company. 

There  are  also  times  when  families 
form  close  ties  for  purely  emotional 
reasons.  Not  being  the  kind  that  makes 
friends  easily,  they  might  cling  to  each 
other  out  of  sheer  loneliness.  And  then 
there  are  those  who  make  friends  in 
order  to  fill  their  special  neurotic  needs. 
A  family  in  a  lower  economic  bracket 
might  seek  out  a  more  well-to-do  fam- 
ily which  enjoys  higher  social  status. 
This  flatters  their  ego,  gives  them  a 
feeling  of  importance — and  the  other 
family  feeds  their  own  ego  on  the  re- 
spect of  their  admiring  friends! 

To  have  really  close  ties,  families 
needn't  dovetail  together  as  completely 
as  the  Hugheses  and  Cassens,  but  they 
should  have  as  much  in  common  as 
possible.  Their  backgrounds  and  chief 
interests  should  be  similar,  and  all 
members  of  both  families  should  get 
along  well  together.  If  the  wives  are 
close — but  the  husbands  are  not — 
friendship  can't  truly  blossom.  The  men, 
in  fact,  may  resent  being  forced  to  so- 
cialize and  may  demand  that  the  girls 
break  off  their  relationship. 

The  Hughes  family  is  especially  in- 
teresting because  there  are  four  genera- 
tions living  together  under  one  roof: 
Grandpa  Hughes,  Chris  and  Nancy, 
Bob  and  Lisa  and  their  little  boy. 

Lisa  often  complains  that  her  mother- 
in-law  interferes  too  much  in  her  fam- 
ily. She's  been  attending  night  school 
and  busily  socializing  in  sorority  ac- 
tivities, and  especially  dislikes  being 
criticized  for  not  spending  enough  time 
with  her  child.  Still,  when  Bob  sug- 
gests that  they  can  afford  to  move  into 
an  apartment  of  their  own,  now  that 
he's  finished  his  internship,  Lisa  re- 
fuses to  move,  knowing  that  here  she 
has  a  "built-in"   baby-sitter. 

Reconciled  with  her  own  husband, 
Jeff,  Penny  no  longer  lives  at  home. 
Neither  does  Don,  who's  a  recent  bride- 
groom. But,  even  without  them,  it's  a 
very  busy  household  and  all  members 
are  close  and  see  each  other  regularly. 

The  Hughes  family  seems  to  be  biting 
off  more  than  they  can  chew,  in  having 
their  son's  family  live  with  them.  This 
is  pushing  togetherness  to  the  breaking 
point — for  it's  a  rare  group  of  people 
who  can  keep  four  generations  happy 
under  one  roof! 

Lisa  undoubtedly  shrinks  from  taking 
the  giant  step  to  womanhood  because 
she  is  too  insecure  to  summon  up  the 
necessary  courage.  The  Hughes  home 
offers  her  more  than  a  roof  over  her 
head — or  even  a  baby-sitter.  The  pres- 
ence of  a  successful  father-in-law,  a 
strong  mother-in-law  and  a  respected 
oldster  like  Grandpa  surrounds  her 
with  the  emotional  support  she  craves 
so  she  can  remain  the  child  that  she 
obviously  is. 


This  puts  Nancy  in  a  difficult  posi- 
tion and  forces  her  to  play  two  roles. 
She  is,  in  fact,  grandmother  to  Lisa's 
small  son  but  she  is,  in  deed,  also  his 
mother,  since  she  tends  to  him  so  much. 
Like  so  many  real-life  women  in  her 
position,  her  unconscious  may  play 
tricks  with  her  mind,  in  this  respect. 
She  may  find  it  necessary  to  criticize 
Lisa,  the  real  mother,  because  she  un- 
consciously is   competing  with   her! 

In  situations  like  this,  the  suspicion 
arises  that  women  like  Nancy  are  ex- 
tremely possessive  and,  in  their  heart 
of  hearts,  do  not  really  want  to  let  any 
part  of  their  family  go. 

The  lost  child 

The  Cassen  family  structure  is  quite 
different.  Dr.  Doug  Cassen  and  his  wife 
Claire,  who  was  married  previously, 
have  had  many  stormy  moments.  Claire 
has  wanted  to  leave  Doug,  and  at  one 
time  became  so  emotionally  and  physi- 
cally ill  that  she  attempted  suicide.  In 
spite  of  this,  Doug  stood  by  her. 

Also  living  in  the  Cassen  home  is  her 
first  husband's  father,  Judge  Lowell, 
who  is  greatly  respected  by  Doug.  And 
there  is  her  daughter  Ellen — who,  some 
years  ago,  gave  birth  out  of  wedlock 
and  put  the  child  out  for  adoption. 
Ellen  has  learned  the  identity  of  the 
adoptive  parents  and  is  now  intent  on 
regaining  her  child — especially  because 
the  adoptive  mother  has  since  died,  and 
she  herself  is  engaged  to  marry. 

The  breadwinner  of  the  Cassen  fam- 
ily has  had  plenty  to  contend  with!  A 
busy  doctor,  Doug  was  denounced  by 
Judge  Lowell  for  being  so  absorbed  in 
his  work  that  he  neglected  his  wife — 
helping  to  drive  her  into  another  man's 
arms  and  to  bring  on  her  severe  mental 
state.  Doug  took  the  tongue-lashing, 
offered  to  make  amends  by  giving  Claire 
a  divorce,  if  she  insisted.  But  she  in- 
terpreted this  to  mean  that  he  is  in 
love  with  another  woman.  Meanwhile, 
she  has  rejected  psychiatric  help. 

The  Cassens  are  a  good  example  of 
the  kind  of  family  that  clings  together 
— not  in  spite  of — but  because  of  their 
emotional  problems.  They  seem  to 
thrive  on  hurting  and  being  hurt.  It 
may  seem  strange,  but  this  sort  of 
high-pitched  behavior  is  what  keeps 
them  all  together.  Such  families  are 
far  from  unique;  you  see  them  every- 
where. In  this  case,  Judge  Lowell 
seems  to  be  a  powerful  father-figure 
to  all  the  Cassens — perhaps  symboliz- 
ing the  strong,  stable  parent  they 
wished  for  but  never  really  had. 

Claire  would  certainly  benefit  more 
from  psychiatric  treatment  than  from  a 
divorce!  At  this  point,  it's  impossible 
to  state  why  she  attempted  suicide.  Was 
she  so  oppressed  by  her  immediate 
problem  that  she  saw  no  other  way  out? 
Was  she  trying  to  "punish"  her  hus- 
band? Or  was  it  something  that  had 
been  building  up  for  many  years,  wait- 
ing only  for  the  right  opportunity? 
Only  intense  psychiatric  examination 
can  tell. 

The  over-busy  husband  who  neglects 
his  family  may  be  forced  to  work  so 
long  and  hard  in  order  to  support  them 
adequately.  Or  he  may  bury  himself  in 
his  work,  just  to  get  away  from  them! 


In  the  latter  case,  if  his  wife  should 
decide  to  walk  out  on  him,  he  may  not 
care — except  for  the  hurt  to  his  ego. 

As  for  Ellen — or  any  of  today's  le- 
gion of  unwed  mothers — one  can  only 
speculate  why  she  wants  back  the  child 
she  once  gave  up.  The  usual  reason  is 
guilt.  Ellen  may  feel,  now  that  her 
child  is  motherless,  he  needs  her.  But 
that  could  be  merely  a  rationalization 
of  her  "guilt"  feelings.  It  may  be  she 
who  needs  the  child. 

In  both  families,  there  are  times 
when  trickery  and  subterfuge  are  re- 
sorted to.  In  the  Hughes  home,  when 
Penny's  estranged  husband  sent  her  a 
letter,  her  mother  withheld  it  from  her 
— and  when  Jeff  tried  to  see  Penny  to 
effect  a  reconciliation,  Nancy  went  out 
of  her  way  to  prevent  their  meeting. 
And  young  Dr.  Bob  almost  ruined  a 
patient's  marriage  by  concealing  the 
performance  of  a  hysterectomy  from  her 
fiance — until  after  the  operation. 

In  the  Cassen  family,  Ellen  avoided 
telling  the  man  she  hopes  to  marry 
about  having  had  a  baby  out  of  wedlock 
— despite  the  fact  that  the  child  had 
been  adopted  by  someone  in  the  same 
community.  She  only  divulged  her  story 
after  learning  that  the  adoptive  mother 
had  died  and  she  felt  she  had  a  better 
claim  to  regaining  her  child. 

Even  Judge  Lowell — when  Doug  was 
being  sued  for  malpractice — cooked  up 
a  fictitious  story,  to  prevent  word  get- 
ting around  about  Claire's  suicide  at- 
tempt. That  was  the  real  reason  why 
Doug  hadn't  been  able  to  attend  the 
unfortunate  patient  who  died.  And,  of 
course,  the  truth  eventually  came  out. 

But  they  meant  well 

Sooner  or  later,  the  truth  always 
comes  out,  no  matter  how  cleverly  we 
try  to  hide  it.  Most  of  us  know  this 
and,  when  we  disregard  it,  live  in  miser- 
able anxiety  under  the  ever-present 
threat  of  being  found  out  someday. 
Aside  from  any  moral  issues,  duplicity 
must  be  condemned  because  of  the  tre- 
mendous  burden   of  guilt  it  places  on 


FRED    MacMURRAY 


(Continued  from  page  47) 
In  short  order,  she  was  playing  and 
singing  on  the  Juvenile  Theater  over 
Station  WHBF.  This  is  a  girl  who 
never  had  a  teen-age  life  and  that's 
probably  one  reason  why  she  values  a 
woman's  life  so  much.  .  .  .Two  years 
ago,  I  got  her  to  work  one  deal.  I  was 
on  a  "Lucy"  show  and  the  gag  was 
that  I'd  lost  my  allowance  and  had  to 
call  home  a  couple  of  times  to  explain 
my  plight.  Desi  suggested  it  would  be 
great  to  get  June  to  come  in  and  ap- 
pear in  the  final  scene,  and  she  finally 
did  come  in — one  day.  But  it  meant 
getting  up  terribly  early,  leaving  the 
house  before  the  children  were  awake, 
getting  home  after  they'd  gone  to  bed. 
"I  just  wouldn't  ever  do  it  again,"  she 
said.  "Never!"  And  I  think  she  means 
never.  She's  found  the  way  of  life  that's 
for  her,  she  enjoys  the  children,  she  is 


the  one  who  practices  it.  And  parents 
who  play  lightly  with  the  truth  will 
find  that  their  children  follow  in  their 
footsteps  and  make  deceit  a  part  of 
their  character,  too. 

Of  course,  we  always  mean  well  when 
we  tell  a  little  white  lie.  But  sometimes 
we  take  liberties  we  aren't  entitled  to. 
When  Penny's  mother  tried  to  prevent 
her  daughter's  reconcilation,  she  was 
making  a  decision  which  was  not  hers 
to  make.  Bob  did  likewise,  when  he  de- 
cided for  his  patient.  But  they  meant 
well. 

Ellen  wasn't  honest  with  her  fiance 
for  fear  she'd  lose  him.  But  that's 
no  way  to  start  a  marriage.  And  Judge 
Lowell  allowed  his  personal  feelings 
to  interfere  with  justice — actually 
jeopardizing  Doug's  defense  by  falsi- 
fying the  facts. 

The  Hugheses  and  the  Cassens  are 
protective  of  their  own  and  of  each 
other.  Whatever  one  family  might  lack, 
the  other  seems  ready  to  supply— 
whether  it  be  emotional  stability  or 
professional  guidance.  They  truly  sup- 
port each  other  and  it  shouldn't  be 
at  all  surprising  if  they  get  on  well  to- 
gether. 

Families  often  become  too  insepa- 
rable and  begin  to  get  on  each  other's 
nerves.  You've  seen  this  happen  when 
two  close  groups  take  a  lengthy  vaca- 
tion together.  In  constant  company  with 
one  another,  they  start  interpreting 
every  friendly  gesture  as  an  intrusion  on 
their  privacy.  But  the  Hugheses  and 
Cassens  manage  to  retain  their  privacy 
without  loss  of  their  friendship.  They're 
held  together  by  common  interests,  mu- 
tual concern — and  just  enough  differ- 
ences in  temperament  to  make  them 
need  each  other! 

Next  month,  we'll  apply  our  psycho- 
logical yardstick  to  another  of  your 
favorite  daytime  dramas  and  deal  with 
another  important  aspect  of  human  re- 
lations, hoping  to  make  their  problems 
meaningful  in  your  own  life. — The  End 

"As  the  World  Turns"  is  seen  over 
CBS-TV,    M-F,    1:30    to    2    p.m.    edt. 


happy,  so  am  I.  Actually,  this  way, 
when  I  come  home  from  the  studio  with 
my  problems,  she  understands  them, 
but  we're  lucky  enough  not  to  have  two 
sets  of  those  problems.  And,  inciden- 
tally, she's  very  much  the  same  June 
I  fell  in  love  with,  a  girl  bubbling  with 
vitality,  very  real,  very  curious  and 
eager  about  life.  She  never  was  focused 
on  herself,  as  many  actors  are.  She  was 
always  concerned  about  other  people, 
the  world,  everything.  The  only  change : 
Her  hair  is  brown  and  it's  very  attrac- 
tive— I  like  it  even  better  than  the 
blonde  and  I  guess  she  senses  that. 
Sometimes  she  says  she  feels  like  being 
a  blonde  again,  but  she  hasn't  changed 
it. 

A  lot  of  our  way  of  life  is  thanks  to 
her.  It  isn't  easy  to  walk  into  a  family 
with  a  ten-year-old  son  and  a  fourteen- 
year-old  daughter — and  that,  of  course, 
is  what  she  did.  That  first  year  was 
pretty  rough.  Kids  the  age  of  Rob  and 
Sue  aren't  about  to  listen.  Not  to  any- 
one. They're  absolutely  positive  no  one 


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understands  them,  especially  parents.  A 
radical  change  like  this  is  hard  for  chil- 
dren, suddenly  having  a  new  mother 
and  a  new  home. 

But  June  was  a  mother  .  .  .  from  the 
beginning.  Sue  and  Rob  eventually 
couldn't  resist  that.  They  found  they 
could  rely  on  her  in  a  pinch.  I  don't 
think  I  have  to  explain  about  teen-age 
kids  and  what  you  go  through.  But  an 
amazing  thing  happens:  Suddenly  they 
come  out  of  it.  Our  Sue  never  picked  up 
her  room  in  her  life,  you  never  saw  such 
a  mess.  She  couldn't  cook,  she  wasn't 
interested  in  cooking,  she  was  the  least 
domestic  teenager  in  America.  Now  she 
runs  a  spic  and  span  household  of  her 
own,  cooks  up  a  storm,  is  an  excellent 
wife  and  is  great  with  her  two  kids, 
Freddie,  two,  and  Stevie,  five  months. 
And  Rob  is  a  freshman  at  the  Univer- 
sity of  San  Francisco  and  is  interested 
in  psychiatry. 

I'd  always  looked  forward  to  the  time 
when  they  would  be  over  the  hurdles 
and  then  I'd  have  a  chance  to  travel 
with  June  and  do  all  the  things  I'd 
never  done.  I  was  sure  June  understood 
all  that.  Then  one  night  after  we'd  been 
married  about  three  years,  I  found  my- 
self at  a  party  totally  surrounded  by 
doctors.  The  party  was  at  a  doctor's 
house.  Dr.  Prucher,  the  O.B.  man  I  play 
golf  with,  was  there  .  .  .  now  that  I 
think  of  it,  almost  every  man  in  the 
room  was  an  O.B.  man.  Of  course,  June 
has  always  done  a  lot  of  work  at  St. 
John's  Hospital,  working  with  the  sis- 
ters, helping  with  the  paraplegics,  so 
we  know  some  doctors.  .  .  .  This  night 
Dr.  Prucher  cornered  me. 

"We  have  a  wonderful  baby  coming 
up  soon  for  adoption,"  he  said. 

I  shrugged  that  off.  "June  under- 
stands how  I  feel  about  this.  Thanks, 
anyway." 

"I  understand,"  he  said. 

Fadeout.  A  few  weeks  later,  I  was 
playing  golf  and,  when  I  came  in  to  the 
clubhouse,  there  was  a  message  to 
phone  Dr.  Prucher. 

"Sit  down,"  he  said. 

"What's  happened?" 

"The  baby's  here." 

"Boy  or  girl?"  I  asked  automatically. 

"Girl  .  .  .  two  of  them,  as  a  matter  of 
fact." 

June,  of  course,  was  in  a  state  of  rap- 
ture. Six  weeks  later,  we  got  them  out 
of  the  incubator  and  brought  them 
home,  and  they  are  dolls,  real  dolls. 
How  could  I  possibly  imagine  life  with- 
out them? 

As  for  the  traveling.  .  .  .  When  they 
were  two  years  old,  we  took  our  long- 
awaited  trip  to  Europe — and  stayed  ten 
days.  I  couldn't  wait  to  get  home.  The 
next  trip  to  Europe  was  this  year,  for 
"Bon  Voyage,"  and  the  four  of  us  had  a 
ball.  In  Paris,  we  hired  a  nurse  because 
I  was  working  and  we  didn't  want  to 
disrupt  their  schedule  with  late  dinners, 
etc.  But  the  nurse  deal  didn't  work  out. 
So,  from  there  on,  we  were  on  our  own, 
as  we've  always  been. 

Really  a  saxophone  player 

When  I'm  working,  I  work  hard,  but 
when  I  go  home,  I'm  not  an  actor.  I've 
never  considered  myself  an  actor,  never 
thought  of  myself  that  way.  Maybe  be- 


cause I  started  as  a  saxophone  player, 
maybe  because  I  never  had  any  acting 
ambitions  and  it  was  just  something 
that  happened.  ...  I  happened  to  be  in 
the  right  place  at  the  right  time  and, 
without  doing  a  thing  about  it,  was 
hauled  out  to  Hollywood  and,  in  six 
months,  I  was  a  star.  I  didn't  even  know 
that  a  star  was  supposed  to  make  some- 
thing more  than  $250  a  week  until  I  be- 
gan looking  around  at  the  way  the  stars 
lived. 

Carole  Lombard  was  the  one  who  put 
me  wise.  We  were  making  a  picture  and 
she  suggested  I  go  to  Palm  Springs  for 
a  few  days. 

"But  we  have  to  work  tomorrow,"  I 
said. 

"Listen,  Buster,"  Carole  said,  "go  to 
Palm  Springs." 

I  went.  I  got  a  raise.  It's  lucky  I 
wasn't  canned. 

But,  as  I  say,  I  just  never  felt  like  an 
actor.  An  actor,  to  me,  is  someone  like 
Brando  or  Guinness  who  can  step  into 
different  roles  and  be  different.  I'm  a 
guy  doing  a  job.  At  home  I'm  some- 
thing else  again,  a  sort  of  a  Mr.  Fix-It, 
always  have  been,  always  had  a  work- 
shop in  the  house  and  carpenter's  tools, 
and  I'm  always  tinkering  around  with 
light  sockets  or  plumbing.  As  a  matter 
of  fact,  when  Sue  and  Rob  were  small, 
they  thought  I  was  a  carpenter — that's 
what  they  always  saw  me  doing.  It  was 
kind  of  a  shock  when  they  found  out  I 
was  an  actor.  Times  have  changed  and 
kids'  sophistication  has  changed.  The 
twins  see  "My  Three  Sons,"  watch  TV 
and  are  pretty  hep. 

Sometimes  my  tinkering  turns  out 
fine,  but  I've  been  known  to  have  duds. 
There  was  the  day  I  took  the  toaster 
apart  and  finally  had  to  pile  it  all  in  a 
bag  and  take  it  in  to  the  shop.  And 
there  was  the  day  the  tub  was  leaking 
in  June's  bath  and  I  couldn't  at  first 
figure  out  how  to  get  in  the  needed 
washer — faucets  and  spout  come  out  of 
a  marble  slab.  I  waited  until  the 
plumber  was  there,  fixing  our  water 
heater  and  asked  him  how  to  go  about 
it.  He  said  the  marble  would  have  to 
come  off  but  he  wasn't  about  to  do  it — 
he  was  afraid  of  cracking  the  slab. 

I  got  the  marble  off  with  a  hacksaw 
blade,  unscrewed  spout  and  handle,  put 
in  the  washer  and  got  it  all  back  to- 
gether. I  was  feeling  pretty  pleased 
with  myself,  too. 

We  were  having  lunch  when  our  girl 
rushed  in,  her  face  absolutely  white. 
"Come  look  at  the  living  room,"  she 
said.  We  dashed  to  the  living  room  and 
there  was  hot  water  pouring  through 
the  ceiling  and  all  over  the  paneled 
walls. 

"What  did  you  do?"  the  plumber 
yelled  at  me. 

"What  did  you  do?"  I  yelled  at  the 
plumber. 

Well,  what  we'd  done  was  this:  The 
water  had  been  turned  off  while  I  was 
tinkering,  he'd  turned  it  off  because  of 
the  work  he  was  doing  on  the  water 
heater.  I'd  left  a  faucet  open,  not  know- 
ing. Then  he'd  turned  the  water  back 
on.  This  is  what  can  happen. 

Of  course  what  looked  like  a-  catas- 
trophe that  day  is  child's  play  now. 
Ours  was  one  of  the  houses  in  the  re- 
cent fire,  and  we  were  only  too  happy 


I 


to  flood  it  with  water  to  save  what  we 
could  of  it.  We  were  lucky.  Many  peo- 
ple lost  everything.  We  didn't  lose  too 
many  things  that  couldn't  be  replaced. 

You  know,  everyone  should  make  a 
list  of  things  they  should  do.  things  they 
would  want  to  save.  Then,  if  disaster 
should  strike,  grab  the  list !  I  did  pretty 
well — to  a  point.  I  ran  in  the  house  and 
packed  a  suitcase  with  pictures,  movies 
and  photographs  of  the  children  which 
were  irreplaceable.  Then  I  went  out 
and  got  on  the  roof  and  left  the  suitcase 
in  the  house!  If  it  had  burned  to  the 
ground,  they  would  be  gone.  So,  make  a 
list.  Have  we  made  ours  yet?  Well,  no. 
not  yet,  but  everyone  should! 

We're  living  in  a  rented  house  while 
our  home  is  being  rebuilt.  June  is  hav- 
ing a  ball  picking  wallpapers  and  fab- 
rics, because  the  whole  place  has  to  be 
redone.  It  will  be  finished  soon  and  it 
will  be  nice  to  get  back  home  again. 

Recipe  for  happiness 

When  I  finished  work  on  "My  Three 
Sons"  for  the  season,  I  had  some  time 
off.  I  went  steelhead-fishing  for  a  few 
days  in  Northern  California,  and  then 
June's  aunt  and  uncle  stayed  with  the 
twins  and  June  flew  up  and  met  me  at 
Monterey,  where  I  played  in  the  Crosby 
Golf  Tournament.  It  was  pretty  wild !  It 
snowed.  My  golf  isn't  too  great  in  good 
weather,  but  it  was  fun.  I  played  with 
Jimmy  E.  Thompson,  and  his  wife  and 
June  walked  around  with  us.  At  night. 


LESLIE    UGGAMS 


(Continued  from  page  45) 
Cotton  Club,  resolved  ten  years  ago  that 
her  youngest  daughter  was  to  be  a 
dancer,  and  taught  little  Leslie  many  of 
the  tap  routines  she  had  known  at  the 
club.  With  these  routines  "down  pat," 
Mrs.  Uggams  watched  for  notices  of 
auditions  for  kiddie  talent  shows,  and 
took  Leslie  to  as  many  of  them  as  she 
could  manage.  Leslie  landed  featured 
spots  on  the  shows  here  and  there, 
and  very  often  won  prizes. 

"Those  were  pretty  tough  days,"  says 
Leslie's  father  now,  "but  we  pulled 
through  all  right.  I  had  sung  with  the 
Hall-Johnson  Choir,  but  my  voice  gave 
out  as  I  grew  older,  and  I  got  a  job 
as  elevator  operator  in  a  Park  Avenue 
apartment  house — a  job  I  still  have, 
by  the  way.  It  was  always  a  thrill  to  me 
when  Leslie  appeared  in  some  show  or 
another,  at  school,  at  our  local  movie  on 
Saturday,  or  wherever." 

In  fact,  Leslie's  whole  family  was, 
at  one  time  or  another,  involved  with 
with  show  business.  Her  aunt  Eloise  has 
appeared  in  several  of  the  Broadway 
revivals  of  "Porgy  and  Bess,"  even  now 
sings  in  her  church  choir.  Leslie  had 
sung  ever  since  she  was  a  little  girl  in 
the  junior  chorus  at  St.  James  Presby- 
terian Church.  But  under  her  mother's 
urging,  dancing  had  long  been  her 
greatest  interest. 

Once,  Mrs.  Uggams  took  little  Leslie 
to  an  audition  for  the  "Milton  Berle 
Show."  To  her  delight  and  amazement, 


there'd  always  be  get-togethers.  One 
night,  it  was  at  the  Hatlos.  I  had  my 
sax  in  the  car  and  Phil  Harris  and  a 
couple  of  others  joined  in  and  we  had 
a  jam  session.  June  knows  all  the  songs. 
She  sang  and  it  was  quite  an  evening, 
all  told. 

We  like  this  sort  of  thing.  When  we 
go  up  to  Black  Lake,  fishing  in  Colo- 
rado, I  always  take  my  sax  along,  too. 
Last  year,  Freddie  Karger  and  Jane 
Wyman  were  with  us  and  every  night 
Freddie  and  I  would  go  to  work.  Every- 
body sang,  it  was  great.  We  like  the 
outdoors,  we  love  going  up  to  the  ranch. 
When  we  were  up  there,  last  Thanks- 
giving, it  rained  most  of  the  time.  But 
we  loved  it !  We  built  fires,  walked,  took 
jeep  rides,  had  a  look  at  our  herd  of 
Black  Angus  cattle,  had  friends  in  to 
dinner.  That's  how  we  live. 

And  if  the  children  wake  in  the  night. 
.  .  .  Last  night,  it  was  Laurie.  They 
must  have  seen  something  on  television 
that  was  too  exciting — we  try  to  control 
this,  but  once  in  a  while — and  the  poor 
little  kid  was  crying  in  her  sleep,  while 
Katie  slept  straight  through.  June  and 
I  were  both  up  and  in  their  room,  pat- 
ting Laurie's  back,  watching  the  two 
of  them,  growing  in  their  sleep.  It's  a 
wonderful  feeling  .  .  .  beautiful  .  .  . 
something  you  have  to  make  for  your- 
selves, something  no  book  can  tell  you 
the  recipe  for.  — The  End 

Fred  MacMurray  stars  in  "My  Three 
Sons,"   ABC-TV,   Thurs.,   9   p.m.    edt. 


Leslie  was  signed  for  the  show.  After 
Leslie  had  made  several  appearances, 
Milton's  mother,  Sandra  Berle,  went 
backstage  to  meet  the  little  girl.  She 
was  speechless  at  the  sound  of  Leslie's 
lovely  voice  as  she  sang  softly  to  her- 
self in  her  dressing  room.  Turning  to 
Leslie's  mother,  Mrs.  Berle  whispered 
urgently,  "That  child  of  yours  is  going 
to  be  a  star  some  day,  I'm  sure  of  it! 
But  her  greatest  talent  is  singing !" 

Leslie  went  on  dancing,  though,  on 
Milton  Berle's  show,  and  each  week 
Mrs.  Berle  would  come  backstage  and 
say  to  Leslie's  mother,  "What  are  we 
doing  for  that  child?  She  should  be 
singing!" 

After  Milton  Berle's  show,  Leslie's 
next  big  break  was  with  Peter  Lind 
Hayes,  who  booked  her  once  on  his 
show  and  then  was  so  pleased  that  he 
kept  bringing  her  back,  again  and 
again.  More  than  that,  he  praised  her 
to  people  in  power  in  television,  and 
her  name  and  face  became  familiar 
around  the  studios. 

Leslie  was  booked  on  the  "Arthur 
Godfrey  Show"  and  the  great  man  him- 
self shook  his  head  in  wonderment: 
"Such  a  big  voice  from  such  a  very 
little  girl!  This  child  will  be  a  big 
star  soon.  I  am  sure  of  it." 

It  was  two  years  later,  when  she  was 
fourteen,  that  the  first  "small  miracle" 
occurred.  She  was  only  watching  TV, 
but  that  was  the  beginning  of  a  chain 
of  events  that  would  lead  to  the  greatest 
miracle  of  all.  The  show  was  "Name 
That  Tune."  Contestants  identified 
songs  and  viewers  were  urged  to  send 


bliss!  painless  sleep!  no  pins!  no  rollers  ever  again! 


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95 


in  lists  of  songs  to  be  used  in  the  quiz. 
Impulsively,  Leslie  mailed  in  her  list  of 
songs,  and  a  few  days  later  she  saw  her 
name  flashed  on  the  screen.  Her  list  had 
been  picked! 

Then  came  the  $25,000,  a  miracu- 
lous sum  that  could  hardly  be  called 
"small."  She  appeared  on  "Name  That 
Tune,"  and,  teamed  for  several  weeks 
with  a  truck  driver,  split  that  amount 
with  him  in  May,  1958,  just  a  few  days 
after  her  fifteenth  birthday.  Harry  Sal- 
ter, producer  of  the  show,  was  so  im- 
pressed with  Leslie's  knowledge  and 
ability  that  he  scheduled  her  for  a 
song  appearance.  The  ratings  the  show 
received  were  as  high  as  her  hopes. 

She  was  on  her  way.  Now  she  en- 
gaged two  managers,  Mort  Curtis  and 
Al  Wilde,  and  went  on  tour.  She  drew 
full  houses  wherever  she  went.  In  the 
fall  of  1958,  Leslie  enrolled  at  the 
world-famous  Juilliard  School  of  Music 
in  New  York. 

"The  instruction  at  Juilliard,  plus  the 
actual  performances  on  television  and 
on  tour — even  to  small  audiences — gave 
me  a  confidence  and  sense  of  poise  I 
never  had  before,"  says  Leslie.  "I  made 
up  my  mind,  once  and  for  all,  to  be  a 
professional  singer.  And  I  know  in  my 
heart  that,  like  Cinderella,  I  had  good 
fairies  watching  over  me." 

But  there  had  been  one  cloud  dim- 
ming the  joy  of  Cinderella  during  her 
transformation  to  Princess — her  hesi- 
tation about  the  worthiness  of  her  ca- 
reer. An  idealist,  Leslie  had  thought 
about  being  a  teacher,  or  maybe  a  nurse 
— even  of  joining  the  W.A.C.s.  Now  she 
says  sincerely,  "Teaching  and  nursing 
are  proud  and  noble  professions,  but  I 
think  that  a  serious  entertainer  can 
render  a  great  service  to  people,  too." 
She  is  finally  sure  that  she  is  doing  what 
is  best.  She  is  happy  that  she  is  helping 
her  parents  live  a  prouder,  more  com- 
fortable life,  and  that  she  is  able  to 
build  for  herself  a  financial  nest  egg. 

A  disappointment 

Even  an  ex-Cinderella  can  rebel.  The 
life  of  a  princess  cheats  her  sometimes. 
Once,  when  she  was  sixteen,  she  had 
arranged  to  go  with  some  of  her  girl 
friends  to  Coney  Island,  for  a  Sunday 
of  swimming,  hot  dogs,  and  rides.  She 
mentioned  this  a  couple  of  days  before 
the  big  outing  to  Mort  Curtis,  and  he 
exclaimed,  "But,  Leslie,  I've  already 
booked  you  at  Grossinger's  Sunday. 
I'm  sorry,  dear,  but  we  can't  go  back  on 
the  booking.  You've  been  advertised, 
and  the  show  must  go  on!  Why,  Leslie, 
it's  a  privilege  to  be  as  talented  as  you 
are.  and  your  talent  is  granted  to  you 
by  God." 

Bursting  into  tears  at  her  frustra- 
tion, Leslie  cried,  "But  even  God  took  a 
day  off!"  (The  show  did  go  on,  Leslie 
was  smash  hit,  and  she  has  never  re- 
gretted Curtis's  good  advice.) 

There  is  a  sequel  to  the  story,  though. 

Three  years  later,  when  she  booked  into 

Atlantic    City,    she    reminded    Curtis, 

"You  beat  me  out  of  a  day  at  Coney 

v       Island,    remember?    This    time    you've 

R       simply  got  to  let  me  go  on  all  the  rides 

at  Atlantic  City ! "  So,  it  was  written  into 

her  contract  that  the  day  after  Leslie 

96 


Uggams  opened  at  Atlantic  City  would 
be  an  open  date  for  her.  And  she  went 
on  every  ride,  and  played  every  game! 

Now  Leslie  is  a  star  on  "Sing  Along 
With  Mitch,"  appearing  regularly  on 
the  show,  and  well  on  her  way  to  a 
quarter  of  a  million  dollars  this  year. 
Hers  is  a  "West  Side  story"  come  true 
with  a  happy  ending,  and  a  luminous 
chapter  in  the  otherwise  dismal  his- 
tory of  television's  rejection  of  fine 
Negro  artists. 

For  all  her  acclaim  and  stardom, 
however,  at  home  Leslie  is  still  an 
obedient  and  respectful  daughter.  When 
the  family  moved  last  September  into 
a  new,  elegant  midtown  apartment,  she 
decorated  her  bedroom  herself.  She  still 
puts  away  her  own  clothing  and  tidies 
up  her  own  room.  She  runs  errands  for 
her  mother,  cooks  her  own  breakfast 
and  lunch,  and  does  household  chores. 

Recently,  when  her  mother  called  to 
her,  "Leslie,  carry  out  the  garbage, 
please,"  Leslie  protested.  "Mother,  I'm 
being  interviewed  by  a  gentleman  from 
Life  magazine.  Can't  that  wait?" 

"That's  all  right,"  her  mother  re- 
sponded. "He  can  wait  a  minute,  I'm 
sure,  while  you  take  out  the  garbage!" 

Leslie  enjoys  cooking  and,  when  she's 
in  the  kitchen,  everybody  has  to  leave, 
just  as  Grandma  Uggams  used  to  chase 
her  out  with  a  broom,  when  she  was 
very  little.  "I  cook  because  I  like  to, 
and  my  own  favorite  is  spaghetti  with 
Italian  tomato  sauce.  Mom,  who's  from 
Florida,  and  Dad,  from  South  Carolina, 
like  Dixie  pork  chops,  baked  with  rai- 
sins and  pineapple  sauce.  But  I  prefer 
my  own  spaghetti.  I  make  the  sauce 
myself,  starting  with  the  tomatoes  and 
going  through  all  the  ingredients — 
chopped  sirloin,  oregano,  chili,  every- 
thing— and  gosh,  is  it  good!" 

Mr.  and  Mrs.  Uggams  are  loving  but 
strict  parents.  "When  Leslie  goes  out," 
explains  her  mother,  "she  must  call  if 
there's  any  change  in  her  plans.  Her 
father,  especially,  gets  nervous  if  she 
doesn't  come  home  at  the  time  she 
promised  to.  Now  that  she  drives,  she 
must  phone  us  when  she  reaches  her 
destination." 

Leslie  believes  her  parents  are  rea- 
sonable. "Too  much  strictness  is  bad, 
I  think.  When  parents  forbid  too  much, 
kids  want  to  do  the  forbidden  things. 
And  too  much  leniency  can  be  bad,  too." 

As  an  artist,  Leslie  has  been  com- 
pared with  such  greats  as  Judy  Gar- 
land, Lena  Home,  Mahalia  Jackson, 
Doris  Day  and  even  the  legendary 
Marian  Anderson.  "It's  a  bit  frighten- 
ing to  be  compared  with  such  stars. 
Certainly  quite  premature,  I  think!" 
says  Leslie. 

Her  friends  find  her  an  impish  de- 
light, without  any  trace  of  swell-headed- 
ness.  Her  best  friends  include  producer 
Herman  Shumlin's  daughter  Lola,  pro- 
ducer Mike  Myerberg's  son  Paul,  mu- 
sician Ronald  Scott,  actors  Brandon  de 
Wilde  and  Rex  Thompson. 

Cinderella  as  a  Negro 

She  moves  easily  among  both  white 
and  Negro  friends,  says  she  has  never 
felt  the  humiliation  of  segregation.  "I've 
been  fortunate  in  practically  everything. 


I  attended  integrated  schools  and  lived 
in  an  integrated  neighborhood.  I  know, 
though,  what  segregation  means,  and 
that  it  exists  in  both  North  and  South." 

Leslie  admires  the  Freedom  Riders 
through  the  South,  calls  them  "1961's 
most  significant  event,  here  at  home." 
She  admires  the  courage  of  the  Negro 
and  white  Freedom  Riders  immensely. 

She  was  excited  when  Negro  college 
students  led  sit-in  movements  for  Negro 
rights.  "They  showed  the  country  there 
is  a  new  Negro  .  .  .  not  afraid  of  fighting 
in  the  open  for  his  rights!" 

People  from  all  walks  of  life,  Negro 
and  white,  admire  her  remarkable  tal- 
ent, her  dignity,  her  lustrous  innocence 
and  her  spine-tingling  singing  style. 
The  magazine,  Ebony,  calls  her  "Tele- 
vision's Top  Negro  Performer." 

A  song  of  faith 

She  has  a  cupid  face,  with  sparkling, 
mischievous  eyes  and  a  strong  spiritu- 
ality that  can  be  traced  to  her  minister 
grandfathers,  her  church-singing  aunt, 
her  devout  parents  and  relatives.  It  is 
significant  that  she  was  singing  "The 
Lord's  Prayer"  when  Mitch  Miller 
heard  her  for  the  first  time  on  "Name 
That  Tune"  and  it  was  almost  inevi- 
table that  her  first  Columbia  album  was 
a  collection  of  songs  of  faith,  "The 
Eyes  of  God."  There  is  an  inner  strength 
in  her  serenity,  and  she  is  calm,  confi- 
dent and  mature  beyond  her  nineteen 
years. 

"I  try  to  read  good  books,  pay  atten- 
tion to  what  others  are  doing  and  say- 
ing. The  more  you  do  this,  the  more 
you  do  yourself  by  way  of  self-improve- 
ment, the  more  opportunities  you'll  be 
given,"  she  says. 

"What  my  mother  prayed  for  when 
we  were  little  girls  has  come  true  for 
my  sister  Frances  and  for  me.  The  'mir- 
acle' has  happened.  Frances  is  happily 
married,  and  I  have  been  able,  through 
some  talent,  I  guess,  and  through  luck 
and  help  from  some  of  the  grandest 
people  in  the  world,  to  accomplish 
something." 

Leslie  Uggams  has  been  compared 
with  Cinderella  of  the  childhood  legend. 
And  who  does  she  consider  her  "fairy 
Godmother"?  Milton  Berle,  Milton's 
mother,  Arthur  Godfrey,  Peter  Lind 
Hayes,  Mitch  Miller?  There  are  others, 
people  who  gave  her  a  boost  here,  a 
helping  hand  there:  Paul  Whiteman, 
Garry  Moore,  Johnny  Olsen,  Jack  Paar 
and  Genevieve.  Each  encouraged  her, 
gave  her  work,  inspired  her. 

"Cinderella  I'm  called?"  laughed 
Leslie.  "Yes,  in  a  way,  maybe.  But  not 
much.  And  the  biggest  difference  is 
this:  where  Cinderella  had  a  mean,  evil 
stepmother,  and  a  good  fairy  God- 
mother, I've  had  a  good  mother  and — 
and,  well,  a  good  fairy,  too.  But  they 
are  both  the  same  person !  My  mother  is 
my  fairy  Godmother.  Without  her  love 
and  care,  training  and  encouragement, 
all  the  other  wonderful  people  in  Les- 
lie Uggams'  life  would  never  even  have 
heard  of  little  Leslie,  you  know!" 

— Paul  Denis 

Leslie  "Sings  Along  With  Mitch"  on 
NBC-TV,  Thursdays,  at  10  p.m.  edt. 
She  sings,  too,  on  Columbia  Records. 


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Don  Bolander  says:  "Now  you  can  learn 
to  speak  and  write  like  a  college  graduate," 

Is  Your  English 
Holding  You  Back? 


""TVo  you  avoid  the  use  of  certain 
JLJ  words  even  though  you  know 
perfectly  well  what  they  mean?  Have  you 
ever  been  embarrassed  in  front  of  friends 
or  the  people  you  work  with,  because  you 
pronounced  a  word  incorrectly?  Are  you 
sometimes  unsure  of  yourself  in  a  conver- 
sation with  new  acquaintances?  Do  you 
have  difficulty  writing  a  good  letter  or 
putting  your  true  thoughts  down  on  paper? 

"If  so,  then  you're  a  victim  of  crippled 
English,"  says  Don  Bolander,  Director  of 
Career  Institute.  "Crippled  English  is  a 
handicap  suffered  by  countless  numbers  of 
intelligent,  adult  men  and  women.  Quite 
often  they  are  held  back  in  their  jobs  and 
their  social  lives  because  of  their  English. 
And  yet,  for  one  reason  or  another,  it  is 
impossible  for  these  people  to  go  back 
to  school." 

Is  there  any  way,  without  going  back 
to  school,  to  overcome  this  handicap? 
Don  Bolander  says,  "Yes!"  With  degrees 
from  the  University  of  Chicago  and  North- 
western University,  Bolander  is  an  author- 
ity on  adult  education.  During  the  past 
eight  years  he  has  helped  thousands  of 
men  and  women  stop  making  mistakes  in 
English,  increase  their  vocabularies,  im- 
prove their  writing,  and  become  interesting 
conversationalists  right  in  their ownhomes. 


BOLANDER  TELLS 
HOW  IT  CAN  BE  DONE 

During  a  recent  interview,  Bolander  said, 
"You  don't  have  to  go  back  to  school  in 
order  to  speak  and  write  like  a  college 
graduate.  You  can  gain  the  ability  quickly 
and  easily  in  the  privacy  of  your  own 
home  through  the  Career  Institute 
Method."  In  his  answers  to  the  following 
questions,  Bolander  tells  how  it  can  be 
done. 

Question  What  is  so  important  about  a 
person's  ability  to  speak  and  write? 

Answer  People  judge  you  by  the  way  you 
speak  and  write.  Poor  English  weakens 
your  self-confidence  —  handicaps  you  in 
your  dealings  with  other  people.  Good 
English  is  absolutely  necessary  for  get- 
ting ahead  in  business  and  social  life. 


You  can't  express  your  ideas  fully  or 
reveal  your  true  personality  without  a 
sure  command  of  good  English. 

Question  What  do  you  mean  by  a  "com- 
mand of  English"? 

Answer  A  command  of  English  means  you 
can  express  yourself  clearly  and  easily 
without  fear  of  embarrassment  or  mak- 
ing mistakes.  It  means  you  can  write 
well,  carry  on  a  good  conversation  — 
also  read  rapidly  and  remember  what 
you  read.  Good  English  can  help  you 
throw  off  self-doubts  that  may  be  hold- 
ing you  back. 

Question  But  isn't  it  necessary  for  a  person 
to  go  to  school  in  order  to  gain  a  com- 
mand of  good  English? 

Answer  No,  not  any  more.  You  can  gain 
the  ability  to  speak  and  write  like  a 
college  graduate  right  in  your  own  home 
—  in  only  a  few  minutes  each  day. 

Question    Is  this  something  new? 

Answer  Career  Institute  of  Chicago  has 
been  helping  people  for  many  years. 
The  Career  Institute  Method  quickly 
shows  you  how  to  stop  making  embar- 
rassing mistakes,  enlarge  your  vocabu- 
lary, develop  your  writing  ability, 
discover  the  "secrets"  of  interesting 
conversation. 

Question  Does  it  really  work? 

Answer  Yes,  beyond  question.  In  my  files 
there  are  thousands  of  letters,  case  his- 
tories and  testimonials  from  people  who 
have  used  the  Career  Institute  Method 
to  achieve  amazing  success  in  their  busi- 
ness and  personal  lives. 


Question    Who  are  some  of  these  people? 

Answer  Almost  anyone  you  can  think  of. 
The  Career  Institute  Method  is  used  by 
men  and  women  of  all  ages.  Some  have 
attended  college,  others  high  school, 
and  others  only  grade  school.  The 
method  is  used  by  business  men  and 
women,  typists  and  secretaries,  teachers, 
industrial  workers,  clerks,  ministers  and 
public  speakers,  housewives,  sales 
people,  accountants,  foremen,  writers, 
foreign-born  citizens,  government  and 
military  personnel,  retired  people,  and 
many  others. 

Question  How  long  does  it  take  for  a  per- 
son to  gain  the  ability  to  speak  and 
write  like  a  college  graduate,  using  the 
Career  Institute  Method? 

Answer  In  some  cases  people  take  only  a 
few  weeks  to  gain  a  command  of  good 
English.  Others  take  longer.  It  is  up 
to  you  to  set  your  own  pace.  In  as 
little  time  as  15  minutes  a  day,  you  will 
see  quick  results. 

Question  How  may  a  person  find  out  more 
about  the  Career  Institute  Method? 

Answer  I  will  gladly  mail  a  free  32-page 
booklet  to  anyone  who  is  interested. 

MAIL   COUPON    FOR   FREE    BOOKLET 

If  you  would  like  a  free  copy  of  the  32-page 
booklet,  How  to  Gain  a  Command  of 
Good  English,  just  mail  the  coupon  he- 
low.  The  booklet  explains  how  the  Career 
Institute  Method  works  and  how  you  can 
gain  the  ability  to  speak  and  write  like  a 
college  graduate  quickly  and  enjoyably  at 
home.  Send  the  coupon  or  a  post  card  today. 
The  booklet  will  be  mailed  to  you  promptly. 


DON  BOLANDER,  Career  Institute,  Dept.  36101J,  30  East  Adams,  Chicago  3,  111. 

Please  mail  me  a  free  copy  of  your  32-page  booklet. 
name _^ 


STREET. 
CITY 


-ZONE STATE- 


L 


PERMANENT  OARKENER* 

FOR  LASHES  AND  BROWS 

•  the  ideal  vacation-time 
eye  make-up! 

•  if  it  isn't  SWIM  PROOF 
'jt»  it  isn't  "Dark-Eyes' 


Swim  all  day,  dance  the  night  away,  shower 
at  will,  "Dark-Eyes"  gives  your  eyes  a  natural, 
BORN  BEAUTIFUL  loveliness  all  day,  all  night, 
'round  the  clock !  Avoids  looking  "featureless" 
and  washed-out  at  the  beach ! 

Carefree  "Dark-Eyes"  really  is  SWIMPROOF! 
Soap-and-waterproof!  Water  makes  mascara 
run,  but  "Dark-Eyes"  never  runs,  smudges, 
or  washes  off.  Ends  all  the  bother  of  daily  eye 
make-up  .  .  .  goes  on  once,  STAYS-ON  four 
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"Dark-Eyes"  permanently  colors.,  .doesn't 
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ABOUT 

APPUCATI 

(normal  year's 
-  «»    ai  leadir 
I    drug,  de 
J    and  V3ri 
"    chains* 


OCTOBER,  1962 


Richard  Chamberlain 

Vincent  Edwards 

Lucille  Ball 

Eddie   Fisher 

Connie  Francis 

Paul  Anka 

Lawrence  Welk 

Dan   Blocker 

Jack  Bailey 

Martin   Milner 

"The  Edge  of  Night" 

Eric  Fleming 

Jay  North 

Elvis  Presley 

Carol  Burnett 


MIDWEST  EDITION 


VOL.  58,  NO.  5 


IT  HAPPENED  THIS  MONTH 

25  Kildare's  Fight  with  Casey 

Arthur  Henley  and  Dr.  Robert  L.  Wolk 

30  What  Desi's  Doing  to  Lucy — Still! Eunice  Field 

32  "What  Debbie  and  Liz  Taught  Me" Terry  Palmer 

34  "Look!  She  Reminds  Me  of  Me!" Micki  Siegel 

37  I  Just  Got  Back  from  World  War  III Paul  Anka 

40  A  Case  for  Separate  Vacations? Louise  Ronka 

46  TV's  Gentle  Giant Pat  Richards 

48  "Why  I  Let  My  Wife  Support  Me" Chris  Alexander 

51  All  About  TV's  Forgotten  Man Irene  Storm 

54  How  Long  Should  a  Widower  Mourn? .  .Henley  and  Wolk 

56  "Yes!   I  Tried  to  Kill  My  Father" James  Gregory 

58  A  Boy  Gets  Too  Big  for  His  Mother Tricia  Hurst 

60  The  Girl  Who  Makes  Elvis  Bleed Maxine  Block 

62  A  Marriage  Ends — A  Love  Affair  Begins.  ..  .Paul  Denis 


BONUS:  A  MAGAZINE  WITHIN  A  MAGAZINE 


17  Music  Makers  in  the  News 

18  Album  Reviews 
22     Pieces  of  Eight 


23     For  Sound  That's  Sound! 

23  Tops  in  Singles 

24  Ed  Sullivan's  World 


WHAT'S  NEW?  WHAT'S  UP? 


6     Information  Booth  76 

8     What's  New  from  Coast  to  Coast         85 

14     Earl  Wilson's  Inside  Story  96 


New  Patterns  for  You 
Photographers'  Credits 
New  Designs  for  Living 


SPECIAL:  YOUR  MIDWEST  FAVORITES 


Bob  Whitcomb  67 

Stan   Matlock  68 

Patrick  McGoohan  70 

Frank  Mangold  72 


Let's  Have  a  Polka  Party!    (WGRD) 
Everything  Under  the  Sun    (WKRC) 
Danger  Is  His  Business   ("Danger  Man") 
Frank-ly  Speaking   (WNAX) 


iSpsiifp 


CLAIRE    SAFRAN,   Editor 

EUNICE    FIELD,    West   Coast   Editor 
TERESA  BUXTON,  Managing  Editor 
LORRAINE  BIEAR,   Associate  Editor 
LESLYE    ELKIN,   Assistant   to   Editor 


JACK    J.    PODELL,    Editorial   Director 

JACK    ZASOR1N,  Art  Director 
FRANCES  MALY,    Associate   Art   Director 
PAT  BYRNE,   Art  Assistant 
BARBARA  MARCO,   Beauty  Editor 


TERRY    SCHAERTEL,  Supervising  Editor 


,ii» 


TV_  Radio  Mirror  is  published  monthly  by  Macfadden-Bartell  Corporation,  New  York,  N.  Y.  Executive  Adver- 
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President;  Frederick  A.  Klein,  Executive  Vice  President  for  Publishing-General  Manager;  Robert  L.  Young,  Vice 
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mail  by  the  Post  Office  Department,  Ottawa,  and  for  payment  of  postage  in  cash.  Copyright  1962  by  Macfadden- 
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The 
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His  real  name  was  William  F.  Cody. 


VE  GOT   t\  BlCr 


SAMPLE 
PUZZLE 


The  Correct  Answer  is  ONE  of  These  Names! 

□  Jerome  Kern      □  Buffalo  Bill 

D  Marco  Polo        Q  Walter  Reed 


BILL 


ATHIS  sample  puzzle 

▼  Is  All  Worked  Out  For  You! 

SEE  HOW  MUCH  FUN  IT  IS  TO  SOLVE! 

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F.  Cody".  Checking  any 
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shows  that  the  famous  Buf- 
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William  F.  Cody.  Now  ex- 
amine the  cartoon.  Here  • 
we  see  a  buffalo  and  the 
duck  uses  the  word  bill. 
What  else  can  the  answer 

be  but  BUFFALO  BILL, 


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Paste  Your  Answer-Coupon  on  Postcard  or  Mail  in  Envelope 


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"..Richard  Hayes  warms  his  vocal  chords..."       "  'Engineer  ready?'  " 


Okay,  let's  do  a  show!' 


J 


This  nationally  syndicated  column  is  reprinted  through  the  courtesy  of  Hearst  Headline  Service. 


Assignment:  America 

Zest  Makes  Godfrey  Tick 

By  PHYLLIS  BATTELLE 


BATTELLE 


APPEARING    as    a    guest    on    the 
Arthur  Godfrey  show  (CBS  Radio) 
is  an  adventure  in  lusty  lunacy. 

Arthur  is  lusty.  And  you  are  loony. 
I  don't  know  what  makes  Godfrey 
tick  (actually  he  doesn't  just  tick — he 
resounds) ,    but   what- 
ever  it   is,   it's   catch- 
ing. 

You  show  up  in 
Studio  One,  a  little 
nervous,  and  immedi- 
ately you  are  spotted 
and  greeted — not  by  a 
technician  or  an  assist- 
ant director — but  by 
the  titian-topped  king 
himself. 

He    booms     out    a 
greeting,    lopes    grin- 
ning across  the  room,  warms  your  cold 
hand  with  two  warm  ones  of  his,  and 
the  whole  quick  performance  is  headier 
than  two  fast  jolts  of  bourbon. 

You  wonder  how  doctors  ever  had 
the  gall  to  tell  this  man  he  had  two 
chances  in  100  to  live. 

Arthur  pulls  you  back  through  the 
big,  air-chilled  room  toward  a  circle 
of  folding  chairs,  flanked  by  an  orches- 
tra tuning  up,  and  offers  coffee  or  tea. 
He  has  tea,  which  he  pours  from  a 
dainty  porcelain  pot  about  half  the 
size  of  his  smile.  He's  almost  apolo- 
getic about  it.  Never  particularly  liked 
tea,  he  explains,  but  he  had  a  tea  spon- 
sor for  a  hundred  years  (doesn't  have 
them  any  more)  and  the  darn  fools 
got  him  "hooked." 

Madness  begins  to  permeate  Studio 
One  as  show  time  approaches. 

The   maestro   of    the   band    begins 


doing   the   twist,   and   the   bandsmen 
twitch  in  rhythm. 

A  pair  of  handsome  Texans  named 
Sandy  and  Tommy  start  softly  croon- 
ing a  West  Indies  melody,  while  balla- 
dier  Richard  Hayes  warms  his  vocal 
chords  with  a  rhythm  number. 

"The  Buffalo  Bills,"  a  marvelous 
male  ensemble,  drifts  into  a  number 
while  Godfrey,  himself,  takes  a  slug  of 
throat-clearin'  medicine. 

Then,  at  the  height  of  the  uproar, 
when  the  studio  sounds  like  Times 
Square  on  V-E  Day,  the  great  Godfrey 
drawl  booms  through  the  frantic 
burble . . . 

"Engineer  ready?  Okay,  let's  do  a 
show!" 

And,  just  like  that,  there  is  com- 
plete silence.  Just  like  that,  with  the 
cast  and  the  guest  in  a  state  of  dizzy 
mayhem,  the  Arthur  Godfrey  Show 
(now  in  its  26th  straight  year  at  CBS) 
is  on  the  air. 

*     #     *■ 

GODFREY  explained  it  cheerfully. 
"In  your  line  of  work,  you  like  quiet 
to  do  your  best  job. 

"When  you've  got  a  daily  show, 
you've  got  to  work  yourself  up  to  a 
gre-a-a-a-t  big  pitch.  You've  gotta 
be  half  crazy,  all  keyed-up.  And  then, 
whammo,  in  a  high  fever  of  good 
humor  you  put  on  a  show  that  leaves 
the  audience  and  you  in  an  uproar." 

Afterwards  the  audience  goes  on. 
chuckling,  to  their  other  chores.  What 
the  members  of  the  Godfrey  cast  do,  I 
can't  imagine  (I  went  home  and  took  a 
nap).  But  for  that  one  period  of  50 
minutes,  hosted  by  the  most  remark- 
ably relaxed,  yet  buoyant,  emcee  in 
the  history  of  entertainment,  everyone 
has  a  lovely  time. 


Hear  Arthur  Godfrey  Time  every  weekday  morning  on  the  CBS  Radio  Network.  Check  this  listing  for  your  local  station: 

CBS  RADIO  STATIONS:  Alabama  Birmingham  WATV,  Gadsden  WAAX,  Mobile  WKRG,  Montgomery  WCOV,  Selma  WGWC,  Tuscumbia  WVNA  Arizona  Phoenix  KOOL,  Tucson  KOLD  Arkansas  El  Dorado  KELD,  Fori  Smith  KFPW,  Little 
Rock  KTHS  California  Bakerslield  KERN,  ChicoKHSL,  Eureka  KINS,  Fresno  KFRE.Los  Angeles  KNX,  Modesto  KBEE,  Palm  Springs  KCMJ,  Redding  KVCV,  Sacramento  KFBK,  San  Diego  KFMB,  San  Francisco  KCBS  Colorado 
Colorado  Springs  KVOR,  Denver  KLZ,  Grand  Junction  KREX  Connecticut  Hartford-Manchester  WINF,  Waterbury  WBRY  District  of  Columbia  Washington  WTOP  Florida  Fort  Myers  WINK,  Jacksonville  WMBR,  Miami 
WKAT,  Orlando  WDBO,  Pensacola  WDEB,  St.  Augustine  WFOY,  Sarasota  WSPB,  Tallahassee  WTNT,  Tampa  WDAE,  West  Palm  Beach  WJNO  Georgia  Albany  WGPC,  Athens  WGAU,  Atlanta  WYZE,  Augusta  WROW, 
Columbus  WRBL,  Gainesville  WGGA,  Macon  WMAZ,  Rome  WRGA,  Savannah  WTOC,  Thomasville  WPAX  Idaho  Boise  KBOI,  Idaho  Falls  KID  Illinois  Champaign  WDWS,  Chicago  WBBM,  Danville  WDAN,  Decatur  WSOY, 
Peoria  WMBD,  Quincy  WTAD,  Rock  Island  WHBF,  Springfield  WTAX  Indiana  Anderson  WHBU,  Fort  Wayne  WANE,  Indianapolis  WISH,  Kokomo  WIOU,  Marion  WMRI,  Muncie  WLBC,  South  Bend  WSBT,  Terra  Haute  WTHI 
Iowa  Cedar  Rapids  WMT,  Des  Moines  KRNT,  Mason  City  KGLO,  Ottumwa  KBIZ  Kansas  Topeka  WIBW,  Wichita  KFH  Kentucky  Ashland  WCMI,  Hopkinsville  WHOP,  Lexington  WVLK,  Louisville  WKYW,  Owensboro  WOMI, 
Paducah  WPAD  Louisiana  New  Orleans  WWL,  Shreveport  KCIJ  Maine  Portland  WGAN  Maryland  Baltimore  WCBM,  Cumberland  WCUM,  Frederick  WFMD,  Hagerstown  WARK  Massachusetts  Boston  WEEI,  Pittsfield  WBRK. 
Springfield  WMAS,  Worcester  WNEB  Michigan  Adrian  WABJ,  Bad  Axe  WLEW,  Grand  Rapids  WJEF,  Kalamazoo  WKZO,  Lansing  WJIM,  Port  Huron  WHLS,  Saginaw  WSGW  Minnesota  Duluth  KDAL,  Minneapolis  WCCO 
Mississippi  Meridian  WCOC  Missouri  Joplin  KODE,  Kansas  City  KCMO,  St.  Louis  KMOX,  Springfield  KTTS  Montana  Suite  KBOW,  Missoula  KGVO  Nebraska  Omaha  WOW,  Scottsbluff  KOLT  Nevada  Las  Vegas  KLUC  New 
Hampshire  Keene  WKNE,  Laconia  WEMJ  New  Jersey  Atlantic  City  WFPG  New  Mexico  Albuquerque  KGGM,  Santa  Fe  KVSF  New  York  Albany  WROW,  Binghamton  WNBF,  Buffalo  WBEN,  Elmira  WELM,  Gloversville  WENT, 
Ithaca  WHCU,  Kingston  WKNY,  New  York  WCBS,  Plattsburgh  WEAV,  Rochester  WHEC,  Syracuse  WHEN,  Utica  WIBX,  Watertown  WWNY  North  Carolina  Asheville  WWNC,  Charlotte  WBT,  Durham  WDNC,  Fayetteville 
WFAI,  Greensboro  WBIG,  Greenville  WGTC  North  Dakota  Grand  Forks  KILO,  Jamestown  KEYJ,  Valley  City  KOVC  Ohio  Akron  WADC,  Cincinnati  WKRC,  Columbus  WBNS,  Dayton  WHIO,  Portsmouth  WPAY,  Youngstown 
WKBN  Oklahoma  Oklahoma  City-Norman  WNAD,  Tulsa  KRMG  Oregon  Eugene  KERG,  Klamath  Falls  KFLW,  Medford  KYJC,  Portland  KOIN,  Roseburg  KRNR  Pennsylvania  Altoona  WVAM,  DuBois  WCEO,  Erie  WLEU, 
Harrisburg  WHP,  Indiana  WDAD,  Johnstown  WARD,  Philadelphia  WCAU,  Pittsburgh-McKeesport  WEDO,  Reading  WHUM,  Scranton  WGBI,  State  College  WRSC,  Sunbury  WKOK,  Uniontown  WMBS,  Willlamsport  WWPA 
Rhode  Island  Providence  WEAN  S.  Carolina  Anderson  WAIM,  Charleston  WCSC,  Columbia-Cayce  WCAY,  Greenville  WMRB,  Spartanburg  WSPA  S.  Dakota  Rapid  City  KOTA,  Yankton  WNAX  Tennessee  Chattanooga  WDOD, 
Cookeville  WHUB,  Johnson  City  WJCW,  Knoxville  WNOX,  Memphis  WREC,  Nashville  WLAC  Teias  Austin  KTBC,  Corpus  Christi  KSIX,  Dallas  KRLD,  El  Paso  KIZZ,  Harlingen  KGBT,  Houston  KTRH,  Lubbock  KFYO,  San 
Antonio  KMAC,  Texarkana  KOSY,  Wichita  Falls  KWFT  Utah  Cedar  City  KSUB,  Salt  Lake  City  KSL  Vermont  Barre  WSNO,  Brattleboro  WKVT  Virginia  Norfolk  WTAR,  Richmond  WRNL,  Roanoke  WDBJ,  Staunton  WAFC  Wash- 
ington Seattle  KIRO,  Spokane  KGA  W.Virginia  BeckleyWJLS,  Charleston  WCHS,  Fairmont  WMMN.ParkersburgWPAR,  Wheeling  WWVA  Wisconsin  Green  Bay  WBAY.  Madison  WKOW,  Milwaukee  WMIL  Wyoming  Casper  KTWO. 


THE  CBS  RADIO  NETWORK 


•>- 


|^  otf-  rj 


*/ 


/•"*' 

^ 


,»x«»»-»"tiw«,,n.. 


**" 


'"'•*'«•••.*•#* 


Name  the  Sisters 

Could  you  please  tell  me  what  the 
Paris  Sisters'  names  are  and  where  they 
were  born? 

G.W.,  Sunnyvale,  Calif. 

The  Paris  Sisters'  names  are  Albeth, 
Sherrell  and  Priscilla  and  they  were 
born  in  San  Francisco,  California. — Ed. 

More  on  Sisters 

Can  you  please  tell  me  where  I  can 
write  to  the  Lennon  Sisters? 

H.H.,  Convent,  N.J. 

You  may  write  to  them  in  care  of 
Lawrence  Welk,  ABC-TV,  Prospect 
Avenue,  Hollywood  27,  Calif.— Ed. 


Just  Like  Mitch 


(*  on.  SI 

Dear  Editor: 

I  thought  you  would  like  to  know  of 
Mitch  Miller's  latest  young  admirer. 
Our  grandson  Erik,  3,  was  visiting  us 
and  enjoyed  a  dish  of  chocolate  ice 
cream.  When  I  told  him  to  wash  off  his 
chin,  he  replied,  "I  don't  want  to, 
Grandma,  I  want  to  look  like  Mitch 
Miller." 

Mrs.  Dallas  Hart,  Champaign,  III. 

Oh,  Those  Blouses 

On  your  August  cover,  the  Lennon 
Sisters  were  wearing  the  cutest  blouses! 
Could  you  tell  me  where  I  could  get  one 
like  theirs  for  myself? 

L.K.,  Portland,  Me. 

The  blouses  are  by  Ship'n  Shore  and 
you  can  probably  find  them  at  your 
favorite  store.  If  not,  for  the  name  of 
the  store  nearest  you,  just  write  to 
Ship'n  Shore,  1350  Broadway,  New 
York   1,   New  York.— Ed. 


C«r 


~       Blonde  and  Beautiful 


What  can  you  tell  me  about  the 
actress  Carol  Byron? 

L.E.E.,  Rome,  N.Y. 

In  five  short  years,  blonde  and  beau- 
tiful Carol  Byron  has  compiled  an  im- 
pressive record.  Beginning  as  a  fashion 
model,  she  soon  was  in  demand  for  TV 
commercials.  That  just  naturally  led  to 
dramatic  roles  in  TV  and  finally  run- 
ning parts  in  two  series — "Oh,  Those 
Bells!"  and  "Window  on  Main  Street," 
both  on  CBS-TV  .  .  .  With  her  cham- 
pagne miniature  poodle  "Mr.  Brandy," 
the  young  actress  lives  in  a  Hollywood 
Hills  apartment  where  she  creates  un- 
usual mosaics  and  sculptures.  ...  A 
sports  enthusiast,  she  is  an  excellent 
swimmer,  tennis  player  and  recently 
began  to  play  golf.  At  least  once  a 
month,  she  tries  to  visit  a  hunting  and 
fishing  lodge  on  the  Colorado  River  of 
which  she  is  part  owner. 

Relatives  and  Such 

Could  you  let  me  know  whether  John 
Lupton  and  Marshall  Thompson  are  re- 
lated? 

M.B.,  Paramus,  N.J. 

They  are  not  related. — Ed. 

Is  Pernell  Roberts  of  "Bonanza" 
married? 

A.L.R.,  Becket,  Mass. 

No,  he  is  not  married. — Ed. 

/  would  like  to  know  if  Gale  Gordon, 
who  plays  the  part  of  Mr.  Wilson's 
brother  on  the  "Dennis  the  Menace" 
series,  is  the  real  brother  to  the  late 
Joseph  Kearns  who  played  Mr.  Wilson? 
L.G.M.,  Leominster,  Mass. 

They  are  not  related. — Ed. 


Could  you  tell  me  where  and  when 
My  ma  Fahey  was  born? 

J.B.,  Bath,  lnd. 

Myrna  was  born  March  12,  1938,  in 
South  West  Harbor,  Maine. — Ed. 

Could  you  tell  me  if  Gladys,  on  the 
"Pete  and  Gladys"  show,  and  Lucille 
Ball  are  related? 

E.S.,  Graniteville,  S.C. 

They  are  not  related. — Ed. 


oct.  s»         Calling  All  Fans 

The  following  fan  clubs  invite  new 
members.  If  you  are  interested,  write 
to  address  given — not  to  TV  Radio 
Mirror. 

Bobby  Crawford  Jr.  Fan  Club,  Jo- 
Ann  Harrell,  1785  Kaioo  Drive,  Hono- 
lulu 15,  Hawaii. 

Phyllis  Diller  Fan  Club,  Rickey  Wal- 
lace, Box  261  Mohawk  Drive,  Tribes 
Hill,  N.Y. 

Eddie  Fisher  Fan  Club,  Susan  Gra- 
barnick,  725  Stanley  Ave.,  Brooklyn  7, 
N.Y. 

Rhonda  Fleming  Fan  Club,  Mary 
Johnson,  605  Euclid  Avenue,  Glen 
Ellyn,  111. 

Judy  Garland  Fan  Club,  Pat  Mc- 
Math,  206  South  4th  Street,  Richmond, 
lnd. 

Lome  Greene  Fan  Club,  Ann  Stro- 
ther,  P.O.  Box  19122,  New  Orleans  19, 
La. 

Boris  Karloff  Fan  Club,  Billy  Ward, 
719  Mountain  View  Avenue,  Monrovia, 
Calif. 

Nancy  Kwan  Fan  Club,  Helen 
D'Avolio,  P.O.  Box  107,  East  Boston  28, 
Mass. 


Write  to  Information  Booth,  TV  Radio  Mirror, 
205  E.  42nd  St.,  New  York  17,  N.  Y.  We  regret 
we  cannot  answer  or  return  unpublished  letters. 


$15,000  CONTEST! 


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Eyebrow-Raisers:  Love-and-marriage 
in  Hollywood  is  a  wonderland  even 
Alice  would  blink  at.  Like  Shirl  Mac- 
Laine  and  Steve  Parker,  who  see 
each  other  maybe  twice  a  year,  and 
Hope  Lange  and  Glenn  Ford,  who 
did  a  film  in  Europe  and  cruised  home 
on  the  same  boat — with  Glenn  wailing 
to  pals  how  he  wished  Ellie  Powell 
would  take  him  back  .  .  .  and  Jayne 
Mansfield's  didos  in  Rome  with  En- 
rique Bomba  while  Mickey  Hargi- 
tay  eats  his  heart  out  on  the  sidelines 
.  .  .  the  eye-raising  togetherness  of 
Brando  and  ex-wife  Anna  Kashfi 
when  he  won't  speak  to  present  wife 
Movita  . . .  Eddie  Fisher,  acting  for- 
lorn and  betrayed  before  fans  but 
chasing     chicks     on     the     q.t 


<Sfop!  lock! 

ail  ikt  'w.euJs  --fihldd 

by  EUNICE  FIELD 


$$$$:  Billion  buck's 
worth  of  "talent" 
tossed  to  winds 
by  M.C.A.  in  wake 
of  the  Government's 
trust-bust  slam.  .  .  . 
Dimitri  Tiomkin  suing 
MGM  for  $2,600,000  over 
his  getting  the  pink  slip 
on  the  "How  the  West 
Was  Won"  assignment. 
The  composer  of  "High 
Noon"  was  hospital- 
ized when  replaced. 
.  .  .   Fox  financiers 
fainted.   "Cleopa- 
tra's"   I  I -month  bill  for 
mineral  water:  $85,000! 


Prince  Is  King:  With  such  hits  as 
"Pajama  Game,"  "Damn  Yankees," 
"West  Side  Story,"  Harold  Prince 
has  indeed  staked  a  claim  as  Broad- 
way's top  producer.  His  latest — "Take 
Her,  She's  Mine,"  with  Art  Carney, 
and  "A  Funny  Thing  Happened,"  with 
Zero  Mostel — are  both  going  strong. 
"Foxy,"  with  Bert  Lahr,  is  causing 
more  Yukon  cheers  than  the  1 898  Gold 
Rush  they're  celebrating.  Due  to  mush 
down  N'york  way  in  '63  .  .  .  The  un- 
usual: Warners  has  signed  Broadway 
stars  Barbara  Bel  Geddes  and  Barry 
Nelson  to  repeat  "Mary,  Mary"  in 
film  .  .  .  The  German  autobahn  makes 
our  freeways  a  joy,  says  Steve  Mc- 
Queen. Starting  for  a  studio  6  miles 
r    off,  Steve  ended  up   150  miles  away! 


Top  Bananas  Split:  All  the  king's 
men  can't  put  Rowan  and  Martin  to- 
gether again.  The  parting's  friendly, 
though.  Martin  goes  with  Lucy  Ball, 
while  Rowan  will  be  rowin'  it  alone. 
. . .  Who  put  the  ginger  in  the  bubbly? 
At  Harrah's  Lake  Tahoe,  the  Welk 
band  swang  it,  dancers  Burgess  and 
Boylan  twisted,  and  the  crowd  went 
wild.  Grateful  owner  Bill  Harrah 
gifted  all  the  troupe  with  cameras.  "It 
is  so  wunderbar,"  gasped  Lawrence 
Welk,  "but  what  have  we  done  to  the 
'Champagne  Music'?"  .  .  .  Friends  of 
Lawrence  Tierney,  who  were  hoping 
recent  TV  jobs  would  rehabilitate  him, 
have  been  let  down  again.  The  usual 
drunk  charge  .  .  .  but  Hollywood  keeps 
wishing  on  a  could-be  talented  star. 


Terry  Moore  is  a  strict  Mormon, 
gives  her  church  a  "tithe"  on  all  her 
earnings.  It'll  mean  a  neat  sum,  as  she 
now  gets  a  four-figure  paycheck  for  her 
new  NBC-TV  series,  "Empire."  .  .  .  Vic 
Dana,  19-year-old  singer  who  scored 
with  "Little  Altar  Boy,"  set  for  guest 
shot  on  Perry  Como's  show.  Funny — 
Vic,  like  Perry,  studied  to  be  a  barber. 
. . .  Bing  Crosby  Productions  has  added 
a  foreign  fan-mail  section,  now  that  its 
"Ben  Casey"  is  No.  I  in  Japan,  Aus- 
tralia and  Scotland  and  very  high  in 
17  more  countries  'round  the  globe. 


Big  Money:  "Bird  Man 
of  Alcatraz"  and 
"The  Counterfeit 
Traitor"  were  said 
to  be  "too  naive"  for 
big-city  film  fare — 
so  they  racked  up  almost 
half  a  million,  the  first 
five  days  in  New  York. 
.  .  .  And  for  a  measly 
$10,  you  can  get  the 
biggest  theatrical 
buy  ever,  in  "The 
Concise   Encyclope- 
dia of  Modern  Dra- 
ma,"  scheduled   by 
Horizon   Press  for  Nov. 
Crystal  ball  included??? 


A  Stritch  in  Time:  With  London 
plays  and  players  grabbing  most  of 
Broadway's  cheers,  Elaine  Stritch  got 
over  to  Blighty  just  in  time  to  save  our 
American  laurels.  Her  performance  in 
Noel  Coward's  "Sail  Away"  blitzed 
English  critics  and  theatergoers. ...  At 
eighteen,  former  Disney  "Mousketeer" 
Cheryl  Holdridge  has  grown  to  be  a 
blonde  of  gorgeous  curves.  Fittingly 
enough,  she  lives  on  Contour  Drive  in 
Sherman  Oaks.  .  .  .  Wally  Cox  has 
found  he  must  shuck  his  eyeglasses  in 
order  to  avoid  being  typecast  forever 
as  Mr.  Peepers.  .  .  .  Anna  Maria 
Alberghetti  and  Claudia  Guzman, 
who  have  tottered  on  the  brink  for  oh! 
so  long,  may  plunge  headfirst  when  he 
directs  "Climb  to  the  Sky"  next  year. 


Freeloaders,  Take  Heed:  Troy 
Donahue's  new  home  will  have  an 
electrified  gate  with  phone,  so  that 
only  true-blue  pals  will  be  given  entry. 
.  .  .  Are  Rhonda  Fleming  and  Sin- 
atra getting  around  to  each  other?  Or 
did  she  put  off  the  European  jaunt 
"just  for  business"?  .  .  .  "The  best  TV 
Western  series!"  raves  Hugh  O'Brian. 
The  former  Wyatt  Earp  is  talking  about 
"The  Virginian,"  on  which  he  guest- 
stars  in  the  first  episode  .  .  .  Earl 
Holliman  soapboxes:  "Why  do  we 
give  a  whole  week  to  pickles,  and  only 
a  day  for  Mother?"  .  .  .  There'll  be  no 
steady  romance  for  "Dr.  Kildare"  in 
'63.  But  goggle-eyed  Carol  Burnett 
(at  right)  hopes  that  doesn't  apply 
to  Richard  Chamberlain — in  person. 


Peace,  It's — Ouch!  To  show  there'll 
be  no  collision  of  stars  when  Bette 
Davis  and  Joan  Crawford  upstage 
each  other  in  "Whatever  Happened  to 
Baby  Jane?"  Jack  Warner  gave  a 
"peace  meal"  for  the  two.  True  to 
their  word,  Bette  and  Joan  didn't  trade 
puns  or  punches.  Instead,  they  let  their 
best  shots  fly  at  some  of  the  "new  up- 
starts." ...  A  Nobel  Prize  for  Disney? 
Could  be,  according  to  Stanley  Hol- 
loway,  star  of  "Our  Man  Higgins," 
new  CBS-TV  series.  Aboard  the  luxury 
liner  Oriana,  Holloway  said  most  of 
the  British  Commonwealth  would  "go 
for  a  Nobel  Prize  for  the  man  who's 
done  as  much  as  anyone  to  bring  the 
world  peace  through  laughter."  He'd 
be    "Sir   Walt"    if   he   were    British! 


Look  Who's  Storking:  It's  a  girl  for  the 
Eddie  Gilberts  in  Houston,  Texas.  Bing 
and  Kathy  Crosby  sent  the  newborn 
babe  of  brother  Bob's  Cathy  a  book 
"to  record  the  big  events  in  her  life." 
Growled  the  proud  Bobcat:  "Reserve  a 
page  for  when  Lisa  Malia  trims  her 
great-uncle  Bing  at  golf!"  .  .  .  Telestar 
trend:   Ken  Murray's  title  switch  from 

'Hollywood,     My    Home"    to    "Holly- 

/ood  Around  the  World"  .  .  .  Dennis 
'eaver  reports  the  latest  is  "his  and 

ler"   wigs,   both   dyed  to   match   .   .   . 

(avier  Cugat  and  Abbe  Lane  swear 
they'll  stay  married  "even  if  it  hurts  our 
:areers."    .    .    .    Upcoming   film,    "The 

Courtship  of  Eddie's  Father,"  has  noth- 
ing— but  nothing — to  do  with   Fisher! 


V 


Future  threat  to  great-uncle  Bing? 


Peach  of  a  Lime:  Odd  to  read  of  the 
engagement  and  coming  marriage  of 
Yvonne  Lime  on  the  society  pages  of 
Los  Angeles  newspapers.  Talented  and 
lovely  Yvonne — once  rumored  to  be 
Elvis's  number-one  pick  for  Mrs.  Presley 
— would  glorify  any  theatrical  page. 
.  .  .  And  talking  of  Yvonne:What  ever 
happened  professionally  to  Ronnie 
Burns,  who  played  her  huggin'  hubby 
on  TV's  "Happy"  of  yesteryear?  .  .  . 
Slight  boner  on  the  book  jacket  of  Joan 
Crawford's  "A  Portrait  of  Joan."  It 
says  that  the  star,  as  Lucille  LeSueur, 
reached  Hollywood  in  1929  at  age  sev- 
enteen. Correction:  She  got  here  in 
1925  at  age  seventeen,  which  makes 
her  a  full-blown  and  youthful  fifty-four. 


Flipping  the  Third  Coin:  After  two 
TV  flops,  20th  Century-Fox  has  pen- 
ciled in  a  third  series  based  on  a  film — 
"Three  Coins  in  the  Fountain,"  to  star 
Cynthia  Pepper.  Viewers  know  her 
as  Margie;  friends  call  her  Mrs.  Buck 
Edwards.  .  .  .  Laraine  Day,  with 
two  adopted,  is  expecting  her  first  do- 
it-yourselfer  in  November.  .  .  .  Famed 
rodeo  champ  Harley  May  gets  both 
acting  part  and  technical  job  in 
"Stoney  Burke."  ...  In  Britain,  sez 
Paul  Anka,  you  don't  refer  to  a  gal's 
measurements.  Milady's  vital  statistics 
are  reserved  for  ordering  a  coffin.  .  .  . 
Deejay  Ira  Cook  recalls  when  singers 
had  names  like  Ray,  Starr,  Jolson — 
now  it's  Dee  Dee  Sharp,  Mr.  Acker 
Bilk,   The   Flips   and    Bent   Fabric! 


Mrs.  Buck  Edwards  rides  TV  again! 


In  Memoriam:  Of  the  late  Jerry 
Wald  they  used  to  ask,  "What  Makes 
Sammy  Run?"  To  those  who  knew  him, 
the  answer  was  obvious:  An  urge  to 
raise  the  sights  of  motion  pictures  to 
meet  the  requirements  of  an  adult 
mind.  Jerry  might  have  irrigated  the 
"vast  wasteland,"  had  he  gone  into  TV. 
.  .  .  Newlyweds  John  Ireland  and 
Daphne  Cameron  happy  as  newly- 
weds.  .  .  .  Warners  bulletin  board: 
Men's  shirts  button  down  front  and 
women's  dresses  down  back  because 
gals  have  the  kind  of  shapes  that  can 
be  reached  around.  "Oh,  yeah?" 
croaked  Tony  Eisley.  "So  how  come 
wives  are  always  asking  husbands  to 
zip  them  up  in  back?"  Guess  it's  a 
fair  question!   [Please  turn  the  page)    j 


10 


What  Mothers  Can  Tell 
Their  Daughters  About 
Internal  Sanitary  Protection 

In  the  welter  of  publicity  about 
juvenile  delinquency  and  "wild- 
ness,"  one  significant  fact  is  often 
overlooked;  more  than  90%  of  to- 
day's teen-agers  are  responsible,  re- 
liable young  people. 

One  reason  sociologists  give  is  a 
close  relationship  in  the  home. 
Actually,  the  relationship  between 
mother  and  daughter  is  usually 
closer,  franker,  than  ever  before  in 
history.  She  asks;  you  answer — and 
when  she  asks  about  Tampax®  in- 
ternal sanitary  protection  (as  she  is 
almost  bound  to  do)  you  treat  the 
whole  subject  in  the  same  relaxed, 
informative  way  you  treat  all  per- 
sonal problems. 

How  did  Tampax  come  to  be? 
More  than  twenty-five  years  ago, 
Tampax  was  invented  by  a  doctor 
for  the  benefit  of  all  women,  mar- 
ried or  single,  active  or  not.  He 
based  it  on  the  well-known  medical 
principle  of  internal  absorption. 

Why  do  so  many  millions  of  girls 
start  with  Tampax,  and  stay  with 
Tampax?  Tampax  Incorporated  has 
built  up  an  extremely  reassuring 
relationship  with  women  during  the 
past  three  decades.  Many  mothers 
have  been  using  Tampax  for  years. 
They  understand  it;  they  recom- 
mend it;  they  often  encourage  their 
daughters  to  learn  to  use  it. 

What  does  the  user  gain  from 
Tampax?  Countless  letters  from 
Tampax  users  tell  time  and  again 
of  the  comfort,  security,  the  poise 
and  confidence  that  Tampax  brings. 
Users  often  say  they  are  apt  to  for- 
get there's  a  difference  in  days  of 
the  month. 

Within  the  three  Tampax  absorb- 
ency  sizes  (Regular,  Super,  Junior) 
there's  a  right  protection  for  every- 
one's needs.  In  use  now  all  over  the 
world,  Tampax  is  making  an  accept- 
ed contribution  to  modern  living. 
Tampax  Incorporated,  Palmer,  Mass. 

A  trial  sample  of  Tampax  {in  plain  wrapper) 
will  be  mailed  to  you  on  request,  together 
with  our  free  booklet  on  menstruation  facts 
and  advice.  Just  send  10£  to  Department  KC. 
Tampax  Incorporated,  Palmer,  Mass. 


continued 


Rotsa  Ruck,  Hey:  Who  do  you  sup- 
pose turned  up  with  the  200,000th  ar- 
ticle of  incorporation  for  a  new  busi- 
ness in  Los  Angeles?  None  other  than 
Lisa  Lu — Hey  Girl  on  "Have  Gun, 
Will,  etc." — and  her  hubby  Shelling 
Hwong.  They'll  open  Chinese  cafe- 
teria. . . .  Kathy  Nolan  guesting  here, 
there  and  everyone  wants  her.  .  .  . 
Phil  Harris,  after  his  smash  return  to 
Las  Vegas,  had  to  promise  the  Desert 
Inn  a  repeat.  Meanwhile,  he  and  wife 
Alice  Faye  will  do-et  on  a  Red  Skel- 
ton  show.  .  .  .  Jimmy  Durante  and 
wife  shopping  for  a  weetle  brother  for 
Cecilia,  now  that  she's  weely  theirs. 
.  .  .  Sign  on  "Combat"  set:  If  you  keep 
your  head  while  others  lose  theirs, 
you'll  be  the  tallest  man  here,  m'boy. 


Super-twist:  Miss  Barbara  Nichols. 


^    <K5S 


Ladies  Need  No  Titles:  Mary  Mark- 
ham  is  the  cute  clever  lass  who  used  to 
line  up  guest  stars  for  the  Ralph  Ed- 
wards and  Mike  Stokey  in-person 
programs.  Now  she's  doing  it  again 
for  CBS-TV's  "Stump  the  Stars,"  due 
for  first  airing  Sept.  1 7th.  Asked  what 
her  title  was,  Mary  chirped,  "When  I 
do  right,  I'm  'Mary  dear.'  When  I  do 
wrong,  I'm  "Mary  you — '  and  when  I  do 
nothing,  I  get  a  polite  'Hey!'  "... 
But  Miss  Markham  was  "Mary  darling" 
when  she  gave  a  big  party  at  her  home. 
Guests  came  in  costume  (as  seen 
above),  impersonating  greats  of  past 
and  present  to  "guess-who" — but  wore 
their  own  first  names  on  lapel  tags  . .  . 
except  for  Barbara  Nichols,  who  ob- 
viously didn't  have  any  place  to  pin  it! 


Donna  Douglas  "stumps"  star  Pat  Jr. 

<-m     «hk     <-m     <■ 


More  About  Markham  and  Pals: 

Everybody  showed  up  at  Mary's  party 
.  .  .  from  Pat  Harrington  Jr.,  who 
hosts  "Stump  the  Stars,"  and  top  males 
like  Clint  Eastwood,  Steve  Allen, 
Don  Knotts,  to  lovely  Donna  Doug- 
las, Jan  Clayton,  Sabrina.  You 
name  'em — they  were  there  "stump- 
ing." .  .  .  Incidentally,  the  Sept.  24th 
show  Lucille  Ball  did  for  Mary  is  a 
wildie!  A  pity  some  of  the  best  ad-libs 
had  to  be  cut.  F'r  instance,  Vivian 
Vance  urges  Lucy  to  do  a  "Stump  the 
Stars"  with  husband  Gary  Morton — 
"He's  too  nice  to  keep  for  just  you." 
.  .  .  The  first  day  on  Lucy's  own  new 
series,  Desi  Arnaz  gave  his  ex-bride 
a  jade  and  gold  charm.  Gary  wired 
her  flowers.    (Please  turn   the  page) 


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11 


* 


The  Squelch:  On  a  Steve  Allen 
guesting,  Georgie  Jessel  said,  "It's 
nice  to  hear  myself  talking  again.  I  just 
did  a  'Tonight'  with  Jerry  Lewis.  You 
know,  when  Jerry  married  Patti,  she 
didn't  even  get  a  chance  to  say  'I  do.'  ' 
.  .  .  Striking  example:  Kathy  Crow- 
ley's mutt,  "Benjy,"  used  to  bring  her 
the  morning  papers.  But,  now  that  L.A. 
has  only  two  sheets,  instead  of  four — 
both  with  extra-heavy  ad  pages — Benjy 
has  been  doggin'  his  job.  Better  check 
those  "help  wanteds,"  you  cur!  .  .  . 
New  Yorkers  who  visit  L.A.  want  to  tell 
about  the  "new"  Third  Avenue.  Los 
Angelenos  who  trek  to  N.Y.  talk 
about  the  sights  of  San  Francisco.  .  .  . 
Berlin  film  festival  award  for  "best 
actress  of  1962"  to  lovely  Rita  Gam. 


continued 


Candidly  Yours:  Cameraman  Bill 
Daniels,  with  three  Oscars,  says:  "This 
is  the  age  of  candid  photography. 
Politicians,  especially,  better  learn  to 
loosen  up  when  a  flash  goes  off  in  their 
eyes."  In  Daniels'  opinion,  Pres.  Ken- 
nedy is  the  best  candid  model.  "The 
only  two  Presidents  that  might  have 
topped  him  were  F.D.R.  and  Abe 
Lincoln."  .  .  .  Now  that  MGM  is  giv- 
ing twelve  acres  of  its  Culver  City  lot 
to  a  giant  food  and  department-store 
center,  Robert  Taylor  remarks 
"Once  we  made  films,  then  we  started 
to  pump  oil,  and  now  it's  groceries. 
.  .  .  No  wonder  it's  a  sick  industry. 
We're  a  far  cry  from  the  old  pros  who 
were  born  in  backstage  trunks,  lived 
out  of  suitcases  and   loved  the  life." 


7777?      7" 


He  gets  last  word — even   with   Patti. 


The   Greatest — with   non-method   actor. 


A  toast  to  real-life  hero  Fuller. 


Scare  Headline:  Dean  and  Jerry  To- 
gether Again!  Only  it's  not  Martin 
and  Lewis,  but  a  pair  of  Hollywood 
masseurs  named  Jerry  and  Dean.  .  .  . 
It  was  reunion  at  MGM  when  Franchot 
Tone  co-starred  with  Chester  Morris 
in  a  segment  of  "The  Eleventh  Hour," 
new  series  dealing  with  psychiatry.  For 
fifteen  years,  Franchot  had  not  set  foot 
on  Stage  22  of  the  Leo  lot,  and  it  was 
ten  since  he  and  Chester  had  met.  .  .  . 
To  prepare  for  their  roles  in  this  series, 
Wendell  Corey  and  Jack  Ging  at- 
tended psyche  classes  at  U.C.L.A.  .  .  . 
Dotty  Lamour,  after  a  swell  job  in 
"Road  to  Hong  Kong,"  slated  for  top 
billing  in  John  Ford's  "Donovan's 
Reef."  .  .  .  Latest  gourmet  tidbit: 
Kosher-pickle  gum — from  the  Orient. 


Tu-Tu's  Too  Too:  Tuesday  Weld 

says  she  won't  be  twenty-one  until 
August  27th,  1964.  So  why  did  she  an- 
nounce her  twenty-first  birthday  while 
out  twisting  with  George  Hamilton? 
Since  Tu-Tu  changes  her  stories  as 
often  as  her  wigs,  her  age  is  anybody's 
guess  but  Polyclinic  Hospital's,  back  in 
New  York.  She  was  born  there.  ...  In 
Hollywood  to  do  the  movie,  "Papa's 
Delicate  Condition,"  Jackie  Gleason 
welcomed  kiddies  and  puppies  to  the 
set  (see  above) — but  put  the  slug  on 
"method  acting."  Said  the  Great  One, 
"I  once  went  up  to  one  of  those 
'method'  studios  and  saw  a  girl  making 
like  a  trolley  car.  Real  good,  too.  That 
was  ten  years  ago,  and  she's  still  the 
best  trolley  in  show   business.   .   .   ." 


How  to  Be  a  (Live)  Hero:  When 
cowboy  star  Bob  Fuller  (seen  here  in 
a  more  relaxed  moment  at  the  recent 
"Laramie"  party,  with  Gloria  Lyons) 
captured  a  burglar  in  his  North  Holly- 
wood home,  friends  asked,  "Did  you 
beat  him  to  the  draw?"  Grinned  Bob, 
"I  had  too  much  TV  experience  for 
that.  I  sneaked  up  on  him,  gun  in  hand." 
. . .  The  American  Medical  Association 
bypassed  both  "Ben  Casey"  and  "Dr. 
Kildare"  to  vote  "Hennesey"  the  best 
of  doctors  on  TV — so  CBS,  who 
dropped  the  Jackie  Cooper  series,  is 
pulling  out  its  electronic  hair.  ...  Is 
Clifford  Odets  consoling  Edie  Ad- 
ams? ...  In  spite  of  co-starring  in 
ABC's  "Combat,"  Shecky  Greene 
will  do  20  weeks  at  Vegas'  Tropicana. 


12 


The  Name's  The  Same:  Night-club 
whiz  Barry  Ashton  has  nailed  togeth- 
er a  new  show,  "Chips  Off  The  Old 
Block."  It  features  the  sprigs  of  famous 
entertainers:  Harold  Lloyd  Jr., 
Mickey  Rooney  Jr.,  Preston  Fos- 
ter's Stephanie,  Lou  Costello's 
Carole,  Beverly  Wills  (Joan  Dav- 
is's daughter),  Gus  Kahn's  Donald 
and  Jule  Styne's  Stanley.  Bev,  Don 
and  Stan  are  following  in  their  par- 
ents' footsteps,  the  former  a  comedi- 
enne, the  two  latter  songwriters  like 
their  dads.  The  rest  are  singers.  .  .  . 
Bob  Mitchum's  Jim  also  gets  into 
singing  by  way  of  Reprise  Records, 
while  Jack  Jones,  son  of  Allan  (and 
Irene  Hervey)  is  trying  to  outdo  dad 
with     his     own     "Donkey    Serenade." 


"Wishbone"   gives  Eric   competition! 


Playing  the  Field:  "Rawhides"  Eric 
Fleming  (don't  miss  the  story  about 
him  in  this  issue!)  may  be  handsomer, 
but  Paul  Brinegar,  as  the  bearded 
Wishbone,  also  gets  a  big  play  from 
the  ladies — over  60,  that  is.  Paul  him- 
self is  a  mere  45  in  real  life.  .  . .  Mary 
Tyler  Moore  (of  "The  Dick  Van 
Dyke  Show")  gets  her  little  Ritchie— 
a  Western  fan — to  drink  milk  by  serv- 
ing it  in  shot  glasses.  .  .  .  Pippa  Scott 
and  scripter  Dick  DeRoy  have  their 
own  love  lyrics.  .  .  .  Has  Lu  Ann 
Simms  gone  sexy  in  her  comeback 
style?  .  .  .  Bobby  Darin  needs  a  hit, 
his  concert  tour  a  financial  bomb.  .  .  . 
Janet  Leigh  to  exhibit  her  song-and- 
dance  charm  on  Andy  Williams' 
show.  .  .  .  That's  the  Field,  for  now! 


1 


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And  Norforms'  deodorant  protection 
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anything  it  had  ever  used.  Norforms 
eliminate  (rather  than  cover  up)  embar- 
rassing odors,  yet  have  no  "medicine" 
or  "disinfectant"  odor  themselves. 

And  what  convenience!  These  small 
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Please  send  me  the  new  Norforms 
booklet,  in  a  plain  envelope. 

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Street 

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A  NORWICH   PRODUCT 


13 


"Work's  good  for  you!"  says  Edie 
Adams — and  there's  not  one  among 
us  who  doesn't  feel  like  giving  a  lit- 
tle cheer  for  the  hard  schedule  she 
dived  into  .  .  .  and  the  reason  she's 
doing  it.  Of  course,  Edie  leaped 
into  all  her  feverish  activity  because 
she  needed  the  money  .  .  .  but  it's 
also  kept  her  from  becoming  de- 
pressed and  melancholy  over  Ernie 
Kovacs'  death. 

I've  known  Edie  since  she  was  in 
"Wonderful  Town"  on  Broadway. 
The  fact  is,  I  helped  Edie  and  Ernie 
get  married  .  .  .  and  will  tell  you 
the  whole  story  .  .  .  not  that  it's 
anything  sensational. 

First,  though:  Don't  ever  think 
that  Edie,  in  her  new  ABC  series  of 


eight  half-hour  music-and-comedy 
shows,  is  going  to  be  content  to  do 
merely  her  famed  "dumb  blonde" 
impersonations.  "It's  true,"  she  told 
me,  "that  Clifford  Odets  is  writing 
a  monologue  for  one  of  my  shows 
about  a  dumb  blonde.  And  he  wants 
to  direct  that  particular  sketch." 

But  the  dumb  blonde  won't  be  a 
regular  role  .  .  .  and,  besides,  Edie 
has  global  ambitions  .  .  .  she's  prac- 
tically another  Telstar. 

"I  may  do  a  show  from  Africa,  if 
a  deal  for  me  to  make  a  picture  in 
Africa  with  Bob  Hope  goes  through," 
Edie  said.  "I  think  a  show  from 
Africa  would  be  nice.  Something  dif- 
ferent. ...  I  may  do  one  from  Lon- 
don, too,   because  that's  where  the 


interiors  of  the  African  movie  would 
be  shot.  I'd  like  to  do  one  from  Salz- 
burg. And  I'll  do  one  from  Las 
Vegas.  .  .  .  Gee,  I  might  even  do  one 
from  Los  Angeles!" 

Edie  doesn't  want  to  become  a  gab 
artist.  "I  don't  want  to  talk  much," 
she  says.  "Let  Barry  Shear  shoot  it 
and  I'll  sing  it.  It'll  be  kind  of  a 
mood  thing,  as  I  see  it.  I'm  going  to 
be  good!" 

Ernie  Kovacs  was  doing  a  morn- 
ing TV  show  in  New  York,  and  Edie 
was  in  Texas  on  tour  with  a  show, 
when  they  decided  to  get  married, 
back  in  1954.  Taping  hadn't  come 
along  yet.  Ernie  could  leave  New 
York  for  the  weekend,  but  had  to  be 
back  early  Monday  morning. 


M;M-PW^'Mm 


EARL 


WILSON'S 


\y 


#    '  ■ 


mk 


Special  late-dope  gossip  section:  Who's  in?  Who's  out?  What's  up?  Each  and 
every  month,  TV  Radio  Mirror  brings  you  the  scoopiest  column  in  any  magazine ! 


14 


"Don't  you  know  Bill  O'Dwyer?" 

Ernie  asked  me  on  the  phone. 
(O'Dwyer,  former  Mayor  of  New 
York  City,  was  then  living  in  Mexico 
City  after  having  served  as  U.S. 
Ambassador  to  Mexico.) 

"Sure,"  I  said. 

"Couldn't  he  help  us  arrange  ev- 
erything in  advance  so  we  could  get 
married  in  Mexico  and  I  could  get 
right  back  to  New  York?" 

I  phoned  O'Dwyer — who  not  only 
arranged  everything;  he  was  even  a 
witness. 

As  for  my  own  part  in  it:  Ernie 
asked  me  not  to  print  anything  in 
advance,  as  it  might  possibly  upset 
plans  for  the  marriage.  I  didn't  print 
anything — and    got   scooped   on   the 


Edie  is  a  lady  with  memories 


wedding  I  helped  arrange.  Because 
the  instant  the  wire  services  found 
out  about  it,  they  bulletined  it 
around  the  country. 

I  never  minded,  and  Ernie  was 
appreciative. 

Prophetically — it  seems  now — in 
the  last  conversation  we  ever  had, 
Ernie  said  that  he  was  going  to  give 
up  acting  and  direct. 

We  were  having  lunch  in  a  cool 
New  York  restaurant  on  a  hot  sum- 
mer day.  It  was  a  funny  lunch,  with 
Ernie  laughing  and  explaining  some 
of  the  funny  things  he  planned  to 
do  ...  a  book  he  was  writing  ...  a 
picture  ...  all  sorts  of  projects 
.  .  .  but  he  wasn't  going  to  act. 

"Edie,"  he  said,  "is  going  to  be 
the  actor  in  the  family." 

DON'T  PRINT  THAT!  They  say 
one  summer  replacement  got  much 
too  big-headed  for  his  hat  and  ran 
into  criticism.  .  .  .  CBSers  say  young 
James  Aubrey  can  only  go  up  and 
up  in  the  organization.  And  that  he's 
being  groomed  to  run  the  whole  CBS 
shooting-match  someday.  .  .  .  Mo- 
nique  Van  Vooren  admitted  that 
going  to  Italy  to  do  a  TV  show 
wasn't  very  profitable,  strictly  from 
the  money  angle — "but  look,  I  love 
to  see  Italy ! "  She  also  admitted  that, 
in  all  her  visits  to  Italy,  no  Italian 
wolf  had  ever  pinched  her  as  the 
wolves  allegedly  do  there.  "Unfor- 
tunately," Monique  added. 

I  must  applaud  "The  Perry 
Como  Show" — or,  rather,  NBC — for 
announcing  that  it  would  furnish 
buses  from  Rockefeller  Center  to 
Brooklyn  for  the  people  who  wished 
to  go  deep  into  the  Beautiful  Bor- 
ough of  Churches  to  watch  Perry 
perform  in  his  new  setup. 

"We  can't  expect  people  to  go  out 
there  on  their  own  to  see  the  show," 
one  NBC  spokesman  said.  "They 
wouldn't  do  it — and  if  they  would, 
they  couldn't  find  it.  Even  I,"  added 
the  spokesman,  "got  lost  trying  to 
find  the  damned  place!" 

Maybe  this  will  get  to  be  a  trend. 
In  Washington,  a  night  club — the 
Roaring  Twenties — sends  a  stage- 
coach for  customers.  A  couple  of 
scantily-clad  showgirls  are  pictured 
in  the  club's  ads,  saying:  "Call  for 
our  bus — and  leave  the  driving  to 
us."  (Please   turn   the   page) 


r 


PERIODIC  PAIN 

Every  month  functional  menstrual  dis- 
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comfort  because  Midol  tablets  contain: 

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•  Medically-approved  ingredients  that 
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Calm  Jumpy  Nerves... 

•  A  special,  mood-brightening  medi- 
cation that  Chases  "Blues." 

"WHAT  WOMEN  WANT  TO  KNOW" 
FREE!  Frank,  revealing  32-page  book,  explains 
womanhood's  most  common  physical  problems. 
Written  by  a  physician.  Write  Dpi.  B102,  Box 
280,  New  York  1 8,  N.Y.  (Sent  in  plain  wrapper.l 


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15 


KARL  J^WILSOITO 


continued 


Jayne  Meadows  was  ecstatic 
about  Steve  Allen's  nighttime  TV 
show  when  I  talked  to  her:  "Steve's 
having  the  time  of  his  life.  I  tried 
to  get  a  bunch  of  tickets  for  some 
friends  the  other  night  and  could 
only  get  a  handful.  Fist-fights  break 
out  every  night  in  front  of  the 
theater,  between  people  trying  to 
get  in.  Sometimes  there's  such  a 
crush,  they  can't  give  seats  to  people 
who  have  tickets.  .  .  ." 

You  have  to  admit  that  girl's  loyal. 

With  Steve  due  to  be  on  the  air 
against  Johnny  Carson  on  "To- 
night," Jayne  claims  one  of  the 
NBC  executives  told  her: 

"Steve's  got  us  worried." 


Steve,  Jayne  and  the  boys  (small 
Billy,  middle-sized  David,  tall 
Brian)    aren't  worried.  Is  NBC? 


"Naked  City"  has  its  troubles 
shooting  "on  location"  in  fast-chang- 
ing New  York  City. 

"One  time,"  said  production  co- 
ordinator Hal  Schaffel,  "we  used 
a  lower  East  Side  building  as  a 
backdrop.  We  had  to  do  some  re- 
takes, four  weeks  later,  and  went 
down  to  the  building.  Only  the  build- 
ing wasn't  there  anymore.  It  had 
been  torn  down." 

Another  time,  the  Queen  Elizabeth 
provided  a  luxurious  and  colorful 
backdrop  for  a  romantic  scene.  When 
they  tried  to  do  retakes,  the  Queen 
Elizabeth  didn't  seem  to  be  there 
anymore,  either. 

Schaffel  finds  everybody  eager 
(restaurant  owners,  landlords,  etc.) 
to  have  the  show  shot  from  their  lo- 
cation with  such  TV  stars  as  Horace 
McMahon,  Paul  Burke  and  Nan- 
cy Malone  ...  but  they  don't 
invite  them  back  with  quite  the  same 
enthusiasm. 

"They  don't  realize  how  many 
people  and  how  much  equipment  we 
have  to  bring  in  to  do  a  show," 
Hal  said.  "They  think  we're  coming 
in  with  a  Brownie!" 

FEARLESS  FORECASTS:  Don 

Morrow,  emcee  of  the  "Camou- 
flage" show,  ought  to  go  far  in  the 
business  because  he  has  a  rare  sense 
of  humor.  For  example,  his  own 
nickname  for  "Camouflage"  is  "Cam- 
oufluke."  (Morrow  doesn't  go  around 
talking  about  it,  but  he  does  several 
commercials  separately,  so  he's  prob- 
ably going  to  make  a  lot  of  money, 
too.)  .  .  .  Connie  Francis  is  going 
to  be  quite  a  linguist.  She  tries  to 
record  in  the  languages  of  the  coun- 
tries where  she's  popular,  so  now  she 
knows  considerable  Spanish,  French 
and  Italian.  She  picks  up  the  lingo 
from  anybody  she  meets — maids  and 
bellhops  included.  .  .  .  Audrey 
Meadows  isn't  going  to  become  a 
mother  (not  as  I  write  this,  any- 
way). Fact  is,  she's  never  been 
slimmer. 

A  funny  thing  happened  to  one  of 
the  boys  on  "Talent  Scouts":  He  ac- 
tually didn't  want  to  go  on — even 
though  Zsa  Zsa  Gabor  was  going  to 
introduce  him. 

"Talent  Scouts,"  you  know,  has 
been  just  about  the  most  popular 
summer  replacement  show  on  TV, 
thanks  to  Jim  Backus,  the  witty, 
unstuffed-shirt  host. 

So  it  came  as  quite   a   shock  to 


young  Vic  Dana's  handlers  when 
the  popular  nineteen-year-old  singer 
actually  had  to  be  talked  into  going 
on  the  show. 

Of  course,  the  first  refusal  might 
be  attributed  to  drowsiness.  Seems 
he  was  called  one  Sunday  morning 
at  6:30 — when  nothing  is  very  ap- 
pealing except  sleep.  When  the 
"Talent  Scouts"  representative  called 
back  again  at  a  more  respectable 
hour,  Vic  was  wide  awake  and  he 
was  reported  to  have  said: 

"Heck,  I've  already  had  a  lot  of 
good  luck.  Why  don't  you  pick  some- 
one who  could  use  a  big  break?" 

Vic's  handlers  finally  got  the  boy 
to  realize  that  no  one  has  too  much 
good  luck,  so  he  went  on.  Zsa  Zsa 
and  Vic  weren't  what  you  would  call 
lifelong  bosom  buddies,  but  both 
came  off  well  on  the  show,  and  that's 
what  really  counts  with  the  public. 

Sam  Levenson  says  it's  a  good 
idea  for  big  TV  stars  to  sit  in  Ed 
Sullivan's  audience  occasionally. 
"It  reduces  their  swelled  heads," 
says  Sam.  "When  they're  sitting  in 
the  audience,  they  see  the  stage  man- 
ager hold  up  the  'Applause'  cards. 
Why,  some  of  those  stars  always 
thought  they  got  applause  because 
they  deserved  it!" 

— That's  Earl! 


All  New  York  wants  to  get  into 
the  "Naked  City"  act  with  Paul 
and    Nancy — until    they    try    it! 


16 


ON  THE  RECORD 


WM 


ia* 


OCTOBER   1962 


Bobby  Scott 
Music   Editor 


A  casual  Ann-Margret  and   Bobby  Ry- 
dell  rehearse  for  film,  "Bye  Bye  Birdie." 


Robin  Adair,  13,  and  Eddie  Hodges,  15, 
take  in  Palisades  Amusement  Parle,  N.  J. 


*  '  x 


MUSIC 

MAKERS 

IN   THE 

NEWS 


At  a  gala  Hollywood  premiere:  Johnny 
Mafhis  and  attractive  Beverly  Gillhom. 


,    < 


Juliet   Prowse   and    Eddie   Fisher  cheer 
each  other  up  at  the  Alberghetti  party. 


P      % 


:  '*m 


m 


A  more  formal  Ann-Margret  dresses  up 
for  a  big  party,  gets  her  name  in  the 
columns    (see  Sullivan   in  this  section). 


Returning  West  in  triumph — "Carnival" 
star  Anna  Maria  Alberghetti  with  James 
Mitchell  and  Janet  Leigh  at  Chasen's. 


17 


ON  THE  RECORD 


Vocjf  Monthly   ON   RECORD  Guide* 


18 


SPECIAL 

••••The  Ray  Charles  Story  (At- 
lantic)— Ray  Charles,  up  to  this  double- 
jacketed,  two-L.P.  package,  had  not 
been  presented  in  such  a  semi-historical 
and  growth-wise  light.  For  the  fans,  the 
dates  and  changes  may  mean  very  little 
and  that  may  be  as  it  should  be.  But  for 
those  who  would  concern  themselves 
with  more  of  what  makes  a  Ray  Charles 
— or  any  star  of  magnitude — this  pack- 
age is  very  revealing.  I  hardly  need  to 
tell  you  about  its  pure  entertainment 
value. 

When  I  think  of  Ray,  the  line  that 
comes  to  my  head  is:  "You  know  it 
didn't  happen  overnight."  And  that  you 
can  believe.  For  those  of  you  who  were 
introduced  to  Ray  through  "Georgia," 
you  came  in  on  the  middle  of  the  pic- 
ture! These  records  cover  the  period 
from  1953  to  '59.  Unfortunately  for  tal- 
ents like  Ray,  it's  not  always  the  need 
for  growth  as  much  as  it  is  a  need  for 
the  public  to  wake  up. 

The  early  sides  here  are  not  very  dis- 
tinguished. Ray  floundered  a  bit  before 
he  began  instilling  his  music  with  that 
righteous  feeling  of  gospel  music, 
which  has  its  special  way  of  bringing 
with  it  more  sturdy  values.  Nonetheless, 
the  r.-and-b.  sides  are  entertaining  and 
enlightening.  The  advent  of  Ray 
Charles,  the  writer,  seems  to  be  the  first 
turning  point.  "Don't  You  Know,"  "I've 
Got  a  Woman,"  and  "A  Fool  for  You," 
all  are  vintage  '53  to  '55.  When  Ray 
provided  his  own  vehicles,  the  projec- 


tion of  his  improvising  was  drawn  and 
derived  from  them.  This  produced  an 
organic  quality.  A  oneness  of  melodic 
and  improvised  materials. 

The  next  big  step  occurred  during 
his  string  and  big-band  sides.  Here 
something  quite  strange  happened.  He 
began  to  take  the  sophisticated  edges 
off  the  showy  tunes  and  make — in  his 
own  way — sophisticated  vehicles  out  of 
apparently  nondescript  material.  Two 
examples  are  "Rain  or  Shine"  and  "Let 
the  Good  Times  Roll"  (both  included). 

Another  fact  is  that  recording  tech- 
niques have  developed  fantastically 
since  '53.  Ray's  particular  timbre  of 
late,  on  records,  is  certainly  a  far  cry 
from  the  early  efforts  soundwise.  And 
as  his  highly  styled  singing  is  wrapped 
entirely  in  nuance,  one  can  see  the 
value  of  recorded  presence. 

The  greatest  value  of  the  album  is 
the  purity  of  Ray's  expression.  His  atti- 
tudes, even  when  deliberately  studied, 
take  on  a  spontaneous  feel  when  en- 
acted. This  is  the  height  of  performing. 
To  breathe  life  into  some,  possibly  con- 
fining, schematic. 

The  tunes  include  "What'd  I  Say," 
"Just  for  a  Thrill,"  "Drown  in  My  Own 
Tears,"  "I'm  Movin'  On,"  "Talkin' 
'Bout  You,"  "Yes  Indeed,"  "The  Right 
Time,"  "Hallelujah,  I  Love  Her  So" 
...  all  in  all,  twenty-nine  gems! 

It's  a  stunning  package  musically. 
The  cover  is  hardly  much  to  shout 
about,  so  don't  let  it  keep  you  from 
picking  this  up.  Several  candid  shots  of 
Ray  on  the  inside  are  interesting. 

I  must  confess  these  Ray  Charles  rec- 
ords have  not  been  capped  yet  by  his 


recent  ones.  As  good  as  they  are,  he  left 
some  potent  bits  behind  him.  I'd  buy 
the  album.  .  .  . 


POPULAR 


••••Bewitching-Lee,  Peggy  Lee 
(The  Starline — Capitol) — Another 
great  compilation  of  hits  from  Capitol. 
This  time  it's  that  bewitching  siren, 
Peggy  Lee,  and  every  tune  is  a  winner. 
"Fever,"  "Why  Don't  You  Do  Right," 
"Them  There  Eyes,"  "Alright,  Okay, 
You  Win,"  the  touchingly  beautiful 
"While  We're  Young,"  and  some  other 
big  ones.  (Did  I  forget  "Mafiana"?  Oh, 
heck.)  There  is  so  little  to  say  except 
the  whole  album  is  great.  You've  heard 
them  all,  so  here  they  are  under  one 
roof.  Well  worth  your  money. 

••••Swing  Easy,  Frank  Sinatra; 
Songs  for  Young  Lovers,  cond.  by 
Nelson  Riddle,  Billy  May,  and  Axel 
Stordahl  (2  sep.  L.P.s — Capitol) — As 
both  of  these  albums  were  recorded 
early  in  Sinatra's  stay  with  Capitol,  I 
have  lumped  them  together.  But  they've 
been  released  as  single  albums. 

These  albums,  as  you  Sinatra  fans 
may  well  remember,  were  originally  re- 
leased as  10-inch  L.P.s.  Each  has  been 
fattened  by  the  addition  of  some  single 
recordings. 

In  the  case  of  "Swing  Easy,"  along 
with  the  classic  Sinatra  renditions  of 
"Jeepers  Creepers,"  "All  of  Me," 
"Wrap  Your  Troubles  in  Dreams,"  and 
"Sunday "  are  some  notable  singles 
such  as  "Lean  Baby,"  "How  Could  You 
Do  a  Thing  Like  That  to  Me,"  "I  Love 


-K-K-MC   GREAT  I 
++jt  GOOD   LISTENINO 


-K-K   MIR   SOUNDS 
-K  IT'S    YOUR    MONEY 


You,"  and  "Why  Should  I  Cry  Over 
You."  Quite  a  menu,  isn't  it? 

Well,  that's  the  swingers !  Now  to  the 
Voice's  first  Capitol  album,  "Songs  for 
Young  Lovers."  This  is  unquestionably 
one  of  the  finest  efforts  ever  put  forth 
by  a  singer.  This  was  the  Sinatra  who 
pulled  himself  up  out  of  a  slump  and 
went  on  to  re-conquer  the  public.  This 
was  the  beseeching  Sinatra.  I  still  find 
it  impossible  not  to  be  moved  by  these 
tracks,  even  though  I  have  heard  them 
over  and  over.  "Violets  for  Her  Furs," 
"My  Funny  Valentine,"  "A  Foggy 
Day,"  "Little  Girl  Blue,"  and  "Like 
Someone  in  Love."  All  of  them  incredi- 
bly read.  On  this  album,  the  added 
tunes  are  "Someone  to  Watch  Over 
Me,"  "My  One  and  Only  Love,"  "It 
Worries  Me"  and  "I  Can  Read  Between 
the  Lines." 

More  than  likely,  you  have  the  10- 
inch  albums.  If  you  desire  new  copies 
with  some  added  goodies,  here  they  are. 

***Sinatra  Sings  (Capitol)— This 
album  is  a  compilation  of  some  previ- 
ously released  singles  ("Chicago,"  "Mr. 
Success,"  "Something  Wonderful  Hap- 
pens in  Summer")  and  some  odd  things 
left  behind  by  the  Thin  Wonder  when 
he  upped  and  started  his  own  recording 
company,  Reprise. 

These  odd  things  forced  one  star  off 
the  rating.  "They  Came  to  Cordura," 
along  with  "Monique"  (from  "King's 
Go  Forth"),  are  just  boring  tunes,  to 
begin  with.  When  Sinatra  can't  give 
them  wings,  you  can  imagine  how 
pedestrian  they  are.  "The  Nearness  of 
You"   gets   a   matter-of-fact  treatment. 


But  "Love  Looks  So  Well  on  You"  is 
beautifully  done.  "Mr.  Success"  is  done 
kicking-style  and  socks  from  head  to 
toe.  "I  Love  Paris"  is  another  goodie. 
Other  than  that,  not  much  happens  that 
you  haven't  heard  before.  If  you  desire 
the   singles  all  on  one  album,  check. 

***For  the  Nero-Minded,  Peter 
Nero;  orch.  cond.  by  Marty  Gold  (RCA 
Victor) — For  those  of  you  who  de- 
light in  large  and  classically  styled  pi- 
ano renditions  of  standard  tunes,  this 
may  be  just  your  cup  of  tea.  Mr.  Nero 
has  unquestionably  a  technically  fan- 
tastic pair  of  hands.  The  reason  for  the 
three-star  rating  is  that  most  of  the 
tracks  are  good,  some  excellent,  and 
some  rather  odd.  The  strangest  is 
"Dancing  on  the  Ceiling,"  which  fluc- 
tuates timewise  between  bars  of  4/4 
and  5/4  time.  The  effect  to  some  ears, 
I'm  sure,  is  interesting,  but  to  your  re- 
viewer disconcerting.  On  the  other 
hand,  the  Nero  treatment  of  the  Gersh- 
win classic,  "My  Man's  Gone  Now,"  is 
unquestionably  the  best  instrumental 
version  ever  done  on  that  tune,  to  my 
knowledge. 

Peter's  jazz  effort  on  the  album  is  a 
rousing  romp  of  "Don't  Get  Around 
Much  Anymore,"  which  builds  beauti- 
fully from  a  single-note  jazz  style  to 
crashing  chordal,  two-handed,  meat- 
and-potatoes-type  thing. 

On  the  whole,  it's  certainly  an  effec- 
tive and  stimulating  album.  For  those 
folks  who  like  to  hear  Berlin,  Rodgers, 
Gershwin  and  Ray  Noble  sound  like 
Tchaikovsky  assisted  by  Dave  Brubeck, 
see  about  Nero's  burning-bright  fingers. 


■A"** Warm  and  Wild,  Vic  Dana 
(Dolton) — Whenever  young  people  are 
found  to  embrace  the  better  material, 
written  by  the  better  tunesmiths,  and 
hold  to  the  rather  faint  line  of  tradition 
established  by  the  Sinatras,  Crosbys, 
Coles,  the  odds  are  that  music  has  not 
been  bounced  out  the  back  door — yet! 

Vic  Dana's  new  effort  is  a  confirma- 
tion of  this.  The  rarity  of  the  album  is 
the  material,  arrangements,  and  the 
readings.  Whether  or  not  the  whole 
comes  off  as  smashing  as  a  Sinatra  ren- 
dition is  not  of  the  most  importance. 
The  fact  is  that  the  best  part  of  ballad- 
eering  history  has  not  been  overlooked 
by  one  whose  years  are  few.  It's  quite 
pleasurable  to  hear  lyrics  that  do  say 
something. 

A  handsome,  somewhat  Sal  Mineo-ish 
fellow,  who  I'm  told  is  a  "better-than- 
good"  performer  on  a  stage,  Vic  looks 
destined  for  some  big  steps  in  the  en- 
tertainment world.  The  years  will  only 
polish  up  the  talent,  already  discernible. 

"Warm  and  Wild"  includes  "Blame 
It  on  My  Youth"  (the  touching  and  un- 
der-recorded Oscar  Levant  classic), 
Frank  Loesser's  "I  Believe  in  You," 
"Close  Your  Eyes,"  and  others. 

The  arrangements,  which  I  believe 
were  written  by  Bob  Florence,  are  effec- 
tive as  a  backdrop  and  blanket  for  Vic 
to  rest  upon.  (Several  of  California's 
first-rate  jazz  players  are  in  audible 
evidence.  Paul  Horn,  Buddy  Collette, 
Joe  Comfort,  to  cite  a  few.) 

I'd  keep  an  ear  and  an  eye  cocked  for 
Vic  Dana.  Credit  to  all  concerned. 


19 


ON  THE  RECORD 


Your  Monthly   ON   RECORD  Guide 


20 


JAZZ 

••••New   Vibe    Man   in   Town, 

Gary  Burton;  Joe  Morello,  drums; 
Gene  Cherico,  bass  (RCA  Victor) — It's 
indeed  a  pleasure  to  bring  you  glad  tid- 
ings of  an  auspicious  debut.  Gary  Bur- 
ton, a  very  young  man  (18  years  old), 
has  finally  fronted  his  own  album.  He 
certainly  is  a  shot  in  the  arm  of  jazz. 
Largely,  his  playing  shows  very  little 
trace  of  influence.  A  valuable  attribute 
in  one  so  young.  His  style  is  personal 
and,  to  a  degree,  could  be  called  lyrical. 
His  approach  to  ballads  reminds  one  of 
Red  Norvo,  except  Gary's  harmonic 
sense  is  much  different.  The  four-mallet 
vibe-playing  is  where  the  connection, 
not  influence,  lies. 

Backed  ably  by  Joe  Morello  and 
Gene  Cherico,  Gary  races  and  romps 
through  such  charms  as  "Joy  Spring," 
"Over  the  Rainbow,"  "You  Stepped  Out 
of  a  Dream"  and  "Our  Waltz,"  among 
others. 

Certainly  a  new  Jazz  Voice  to  watch. 
So  young,  so  talented.  Much  credit  to 
all  concerned.  Recommended. 

•••Coltrane  Plays  the  Blues  (At- 
lantic)— John  Coltrane  has  been  the 
newest  large  jazz  talent  to  be  heard  on 
the  jazz  scene  in  a  while.  He  at  present 
is  being  over-recorded.  This  can  some- 
times prove  fatal,  but  John  seems  to 
hold  his  own  among  his  many  L.P.s. 

This  one  is  all  about  the  blues.  Col- 
trane's  approach,  on  each  of  his  origi- 
nal tunes  in  this  album,  is  spectrum- 
like. He  never  settles  into  one  groove. 
In  evidence  are  traditional,  modern, 
and  Trane's  own  personal  brand  of 
blues.  Pianist  McCoy  Tyner — who,  I 
might  add,  deserves  an  album  himself — 
backs  John  so  righteously  that  I  hardly 
think  of  John's  musical  offerings  with- 
out the  inclusion  of  Tyner's  modal- 
chordal  piano  playing. 

The  material  on  side  one — which  in- 
cludes "Blues  to  Elvin."  "Blues  to 
Bechet,"  and  "Blues  to  You" — is  more 
in  a  straight  blues  bag,  whereas  side 
two  finds  John  in  a  more  personal 
groove.  With  the  exception  of  "Bechet," 
side  two  is  the  stronger.  ("Mr.  Day," 
"Mr.  Syms"  and  "Mr.  Knight"  are 
titles.)   This  side  is  full  of  organ-point 


JIKIEIIDEN 


■mil 


and  repetitive  chordal  figures  from  Ty- 
ner's piano,  and  John,  as  usual,  soaring 
lyrically  above. 

There  is,  just  as  an  afterthought, 
much  reflection  in  Trane's  playing  on 
this  album.  He  isn't  cooking  a  stew 
here.  It's  more  like  the  weaving  of  a 
tapestry.  Much  credit  to  the  excellent 
rhythm  players — Elvin  Jones  and  Steve 
Davis,    drums    and    bass,   respectively. 


•••Think  Well  of  Me,  Jack  Tea- 
garden  (Verve) — Were  it  not  for  some 
of  the  arrangements,  this  would  be  a 
four-star  effort.  Jack  Teagarden,  al- 
though not  in  possession  of  the  finest 
pipes  in  the  business,  has  a  personal, 
recliningly  comfortable  and  confident 
way  of  weaving  through  a  tune.  The 
biggest  plus  here,  though,  is  ten  classic 
tunes  by  the  grossly  under-rated  writer 
(possibly  the  most  under-rated)  Wil- 
lard  Robison.  Willard's  tunes  are  the 
apex  of  rural  and,  particularly,  Mid- 
western expression.  His  own  career  as  a 
bandleader  saw  him  'way  ahead  of  a 
great  many  jazz  and  band  talents.  (To 
give  you  an  idea,  his  "Deep  River"  or- 
chestra was  touring  from  1917  to  '25.) 
His  writing  has  continued  even  after  he 
packed  the  band  in.  Thank  heavens! 
He  littered  about  many  gems  such  as 
"Old  Folks,"  "Cottage  for  Sale,"  "Coun- 
try Boy  Blues,"  "Cane  Bottom  Chair" 
and  a  host  of  other  monuments  of  tune- 
smithery. 

Teagarden  gets  the  feeling  of  the  lo- 
cale, but  he  misses  from  time  to  time  in 
giving  the  lyrics  the  readings  they  de- 
serve. Musically,  he's  aces!  The  lines 
are  sung  like  Jack  would  play  them. 
(Incidentally,  he  plays  enough  bone 
here  to  delight  any  heart.) 

No  matter  how  this  pie  is  split-up,  it's 
worth  every  penny  of  your  purchase 
price.  I  would  decidedly  look  into  this 
package.  The  unbeatable  Willard  Robi- 
son and  Jack  Teagarden.  That's  not 
just  music,  that's  history!  (P.S.  Don 
Goldie's  trumpet  solos  are  some  more 
icing.) 

PIANO:  JAZZ  AND    POP 

••The  George  Shearing  Quintet- 
San  Francisco  Scene — Capitol  shows 
the  group  in  the  same  setting  and  over- 
all conception  that  has  been  carrying  it 
along.  Nothing  badly  done,  but  not 
much  action,  either. 

••••Don  Randi's  new  album  for 
Verve,  Where  Do  We  Go  From  Here, 

is  a  horse  of  another  color.  Plenty  of  in- 
teresting listening.  Backed  by  Califor- 
nia stalwarts  Mel  Lewis  and  Leroy 
Vinegar — drums  and  bass,  respectively. 
Don  cooks  on  "T.J.'s  Blues"  and  shows 


_ 


-K-M(^(   GREAT! 
-K-M(  GOOD   LISTENING 


-K-K    FAIR   SOUNDS 
-K  IT'S    YOUR    MONEY 


ability  to  handle  a  ballad,  without  it  re- 
vealing bad  technique.  His  own  compo- 
sition, "Interlude,"  is  quite  beautiful. 

•kickOn  the  Broadway  side,  a  new 
Atco  Release  titled :  Bobby  Darin 
Presents  the  Richard  Behrke  Trio ! 

"Like  Westside  Story"  is  Behrke's  look 
at  that  now-classic  Bernstein  score. 
Bobby's  connection  with  Behrke  is 
quite  simple.  Dick  conducts  and  accom- 
panies Bobby.  The  music  is  pleasantly 
laid  down  with  Mel  Pollan  and  Frank 
DeVito  rounding  out  the  trio.  Dick 
should  be  happy  with  this  first-time- 
outer.  It's  not  "Stream"  jazz,  but  well 
organized  ideas  sifted  to  a  fine-edged 
message. 

■kirAic'Very  surprising  this  month  is 
an  album  from  Dot  Records  called  The 
Jan  Johansson  Trio.  A  surprisingly 
inventive  jazz  exponent  from  Sweden, 
this  lad  has  put  his  feet  smack  in  the 
jazz  bag.  Ably  backed  by  Gunnar  John- 
son on  bass — who,  if  memory  serves  me 
correctly,  recorded  the  Swedish  album 
with  a  younger  Stan  Getz — and  Ingvar 
Callmar  on  drums.  The  sides  include 
"Night  in  Tunisia,"  "Willow  Weep  for 
Me"  and  some  charming  Johansson 
originals,  all  done  in  a  first-rate  fashion. 
Well,  there  are  four  albums  for  piano 
bugs.  Take  your  pick! 

HUMOR 

****Another  Day,  Another 
World,  Jonathan  Winters  (Verve) — 
Jonathan  isn't  a  comic  character  who 
fits  into  any  category  very  easily.  He's 
not  politico  or  sick.  Not  rye  or  white 
bread,  either.  He's  just  Johnny  Winters, 
a  supremely  original  and  personal  hu- 
man, whose  very  existence  is  humor. 
The  notes  by  Ralph  Gleason  call 
Johnny  "a  clown"  in  the  traditional 
sense.  He  has  a  point,  in  that  Jonathan 
has  classic  attributes.  He  is  not  in  any 
one  bag.  Least  of  all,  one  that  is  the 
current  fad.  His  sense  of  the  inherent 
humor  of  regional  speech  and  attitudes 
makes  him,  in  a  broad  sense^  a  "na- 
tional," as  one  would  think  of  Will  Rog- 
ers. (Impossible  to  think  of  Rogers  as 
— say,  French — isn't  it?) 

A  mimic  of  epic  dimension,  Jonathan 


!  ANOTHER  DAY 


also  has  the  sound-effects  market  cor- 
nered. I  must  confess  I  miss  his  face. 
But  that  can  hardly  be  asked  of  a 
phonograph  record.  The  pieces  of  busi- 
ness herein  include  a  barb  about  the 
slow  Southerners,  a  funny  yet  very 
strange  story  called  "Sail  Cat,"  a  bit 
about  a  moon  map  with  routes  sketched 
on  it  and  the  reaction  of  one  viewer  of 
said  map,  a  slap  at  TV  commercials,  a 


few  anecdotes  of  his  school  days,  and  a 
gang  of  others.  There  are,  for  this  re- 
viewer, no  reservations  about  this  al- 
bum. Every  bit  of  it  is  worth  investiga- 
tion. Credit  to  Jim  Davis  and  Verve  for 
this  goodie. 

CLASSICAL 

••••Bach:  The  Art  of  Fugue, 
Vol.  1,  Glenn  Gould  (Columbia) — It's 
enormously  disconcerting  to  sit  and  lis- 
ten to  such  amazing  virtuosity  and  such 
towering  genius  in  the  written  area,  all 
crammed  into  one  L.P.  recording. 

Gould,  who  recently  proved  that  he 
could  make  a  piano  sound  so  much  like 
a  harpsichord  and  thereby  create  al- 
most a  historical  quality,  here  again 
shows  another  side  of  Bach  that  seethes 
with  his  injection  of  tasteful  modernity. 

This  collection  of  Fugues  (the  first 
nine  are  included  in  this  album)  was, 
in  a  way,  a  musical  treatise.  The  master 
composer  used  the  same  motive  for  all 
the  fugues — and  the  classic  fugal  form, 
in  most  cases — and  still  remained  cre- 
ative with  each  new  attempt  at  the  mel- 
ody. Aside  from  the  purely  musical 
value,  this  series  firmly  laid  a  base  for 
fugal  and  generally  contrapuntal 
writing. 

According  to  my  Czerny-Kalmus  edi- 
tion, Mr.  Gould  takes  many  liberties. 
But,  I  hasten  to  add,  none  are  in  any 
way  detrimental  to  the  work.  (It's  pos- 
sible Czerny  editing  was  not  editing  but 
cluttering.)  Czerny  indicates  smooth  le- 
gato playing,  but  Gould — realizing  that 
a  steady  stream  of  notes  of  the  same 
value,  played  evenly,  can  be  taxing — 
uses  instead  a  detached-note  attack 
which  simulates  a  legato-like  approach, 
but  separates  each  of  the  notes  enough 
to  create  delineation.  This  makes  for  a 
strikingly  articulated  Bach. 

In  Fugue  No.  4,  Gould  pauses  twice 
where  such  is  not  indicated  in  Czerny's 
edition.  Both  pauses  do  seem  natural 
and  tend  to  create  the  impression  of 
terminal  points.  It's  quite  effective. 

About  Glenn  Gould's  organ-playing, 
all  I  can  say  is,  it's  a  delight.  Very  rare- 
ly have  I  heard  such  consistent  per- 
forming, track  after  track.  This  is  defi- 
nitely an  album  to  own.  It's  sort  of  a 
new  Bach.  A  refreshing  vital  Bach. 


21 


— 


ON  THE  RECORD 


Vocjf-  Monthly  ON   RECORD  Gw/cfe 


****Mahler:  Symph.  No.  9,  Bruno 
Walter  cond.  the  Columbia  Symphony 
Orchestra  (Columbia) — This,  along 
with  Mahler's  "Das  Lied  von  der  Erde" 
and  the  Tenth  Symphony  (of  which 
only  one  movement  was  completed  be- 
fore his  death),  comprise  the  music 
molded  in  his  last  period  of  writing. 
This  period  was  shadowed  by  an  infirm- 
ity and  Mahler's  own  sense  of  the  end 
pending.  Nonetheless,  the  works  are 
complete  in  scope.  The  inherent  melan- 
choly finds  ways  to  express  itself,  even 
joyously. 

The  hand  of  Bruno  Walter — much 
like  Mahler's,  who  was  his  teacher  and 
developer — brings  this  mammoth  two- 
L.P.  work  to  an  apex  of  expression. 
(With  the  passing  of  Walter  himself 
this  year,  one  wonders  who  will  carry 
this  marvelous  tradition  along.)  The 
first  movement  and  the  last  are  this  re- 
viewer's favorites  (of  the  usual  four 
movements).  The  intense  lyricism  of 
Mahler  is  given  full  vent.  Only  the  un- 
finished Tenth  exceeds  its  sheer  envel- 
oping beauty.  The  package  is  excellent. 
An  added  plus:  Another  L.P. — making 
it  three — of  Walter  conversing  and  re- 
hearsing. Recommended. 

ORIGINAL  SOUNDTRACK 

■jfc'***Adventures  of  a  Young 
Man,  Comp.  and  cond.  by  Franz  Wax- 
man  (RCA  Victor) — After  listening 
to  three  other  film  scores  this  month, 
this  one  was  the  saving  grace.  Franz 
Waxman  has  conjured  up  some  mag- 
nificently pictorial  images.  The  score 
bubbles  with  lyrical  moments.  The 
movie  itself  is  based  on  some  Heming- 
way short  stories  which  cover,  geo- 
graphically, Michigan  to  Verona,  Italy. 
Mr.  Waxman  stays  with  it  all  the  way. 
The  theme,  "Adventures  of  a  Young 
Man,"  opens  side  one  with  a  burst  of 
lyric  quality.  The  melody  in  this  first 
cut  is  a  memorable  one.  Another  track 
which  delighted  this  reviewer  is  one 
called  "Goodbye,  Father."  The  imagery 
here  is  created  by  a  single  woodwind 
against  a  largely  interval-ic  background 
of  strings.  The  impression  it  made  upon 
me,  if  I'm  entitled  to  some  emotional 
expression,  was  that  of  a  person  walk- 
ing through  his  hometown,  at  the  dawn 


•a||g|l 


HiMtnowaYS,. 

MENTURESOF 
MG'MAN 


Composed  and  Conducted  by 

JFR ANZ  WAXMAN 


hours,  and  trying  to  recapture  the 
youthful  feeling  and  security  with  only 
half-recognizable  streets  and  structures. 
A  stranger  among  seemingly  familiar 
surroundings.  (A  piece  very  striking 
in  its  subtlety.) 

"D.T.  Blues"  sounds  like  it  reads. 
A  wonderful,  biting  effect  of  dispro- 
portion. A  piano,  prepared  with  tacks 
in  the  hammers,  is  in  an  enormous 
echo  chamber  plunking  a  melody  quite 
simple.   The   background   instruments, 


though,  appear  like  they're  in  another 
key.  The  pull,  as  it  were,  of  two  tonali- 
ties gives  one  the  feeling  of  the  binge. 

The  20th  Century-Fox  Studio  Orches- 
tra lives  up  to  its  past  performances 
and  towering  reputation. 

This  score  probably  will  win  no  Os- 
car, as  it  is  not  cluttered  with  idiotic 
devices  and  repetitive  figures  calcu- 
lated to  seek  the  musical  midgets'  lis- 
tening level.  But,  aside  from  lacking 
crossness,  this  is  still  a  great  album ! 


PIECES   OF  EIGHT 

•  Hank  Thompson  and  the  Brazos  Boys  have  a  new  country  album.  Plenty 
of  shoutin'.  .  .  .  Norrie  Paramor  and  Van  Alexander  have  albums  in  Capi- 
tol's new  sound  series.  Both  ultimate-sound  products.  .  .  .  RCA  Victor  has 
released  a  Don  Gibson  album  entitled  "Some  Favorites  of  Mine."  Good-look- 
ing cover.  .  .  .  Dave  Howard,  a  newcomer  from  California,  has  cut  his  first 
L.P.  It's  for  Choreo.  Full  of  great  tunes  and  smart  arrangements.  .  .  .  Leroy 
Holmes  has  recorded  some  more  movie  theme  music  for  MGM — this  L.P. 
features  "Lolita."  .  .  .  Oscar  Brand  has  done  another  folk  L.P.  for  Decca. 
This  time,  the  Tarriers  are  along  for  the  ride.  .  .  .  Roy  Acuff' s  new  platter  on 
MGM  a  religious  effort,  "Hymn  Time."  .  .  .  The  Knightsbridge  Strings  are 

singing  again  on  Riverside Bobby  Darin  finally  decided  to  house  his 

talents  with  Capitol.  .  .  .  Coral  sent  us  a  new  one.  The  Ivy  League  Trio  do  the 
singing.  .  .  .  Mary  Raye's  recent  album  on  Verve  is  a  gasser!  .  .  .  Capitol 
just  released  an  album  by  the  late  Dave  Barbour.  Chock  full  of  good  things 
like  "Baltimore  Oriole."  Record  fans  will  remember  Don's  excellent  work  with 
the  Four  Freshmen.  His  untimely  death  surely  took  a  great  talent  from  us. 


22 


I 


FOR  SOUND 
THAT'S  SOUND! 


•  I  was  asked  recently:  What  is  the 
most  important  part  of  a  sound  system? 
Well,  there  are  arguments  for  each  part 
of  a  component  set,  but  I  think  it  can 
safely  be  said  the  speaker  is  the  thing! 
The  amplifier  or  producer  of  volume  is 
the  part  most  wrapped  in  ambiguity.  As 
to  power,  the  size  of  your  room  should 
determine  what  the  strength  of  output 
should  be.  To  buy  one  that's  for  a 
larger  area  is  to  waste  your  money  and 
provoke  the  neighbors.  Most  of  the 
moderate-priced  amplifiers  are  suffi- 
cient for  most  purposes.  If  you  are  in- 
clined, there  are  many-knobbed  sets  for 
exploring  different-level  settings. 

Fortunately,  most  recordings  are 
processed  completely  now.  A  few  years 
ago,  there  were  certain  values  to  be 
gained  from  the  monster  set.  Today,  it's 
quite  different.  An  important  thing  is 
also  to  think  of  family  or  brand,  when 
adding  an  F.M.  tuner  to  your  set.  (Of 
course,  most  of  the  costlier  amplifiers 
have  tuners  as  part  of  them.  I,  for  one, 
like  separate  entities,  as  they  make  dis- 
covering troubles  easy.) 

I  myself  am  happy  with  my  Harmon- 
Kardon  amplifier  ("Lute"  A220)  and 
A.M.,  F.M.  tuner  (T300X).  Turntables 
are  generally  a  matter  of  taste  and  de- 
cor, if  they  are  to  be  seen.  In  this  area, 
you  generally  get  what  you  pay  for.  My 
turntable  is  a  Garrard  301  model,  but  I 
mounted  a  different  arm  for  pick-up.  I 
put  a  Rek-O-Cut  arm  on  the  turntable. 
It  is  much  more  sensitive  than  the  arm 
that  comes  with  the  Garrard.  Of  course, 
if  you  can  afford  the  best,  I  would  sug- 
gest a  Thorens  turntable. 

The  speakers  are  the  most  important 
investment.  As  I've  said,  there  is  plenty 
of  leeway  in  the  other  areas,  but  treat 
yourself  right  when  you  buy  your 
speakers.  You'll  get  what  you  pay  for.  I 
myself  have  two  Wharfdale  speakers. 
They  are  English  products  in  the  sort 
of  medium-to-low  price  range.  And 
there  are  very  moderately  priced  speak- 
ers which  are  more  than  adequate. 

If  you  buy  a  set,  take  time  and  pick 
them  over.  I  would  caution  you  about 
single  units,  no  matter  how  strong  the 
"hi-fi"  advertising.  They  do  not  give 
you  the  freedom  to  change  just  your 
amplifier,  when  moving  tCK  a  larger 
apartment  or  home.  They  also  feed 
back  because  of  one-unit  construction. 

If  I  can  answer  any  questions  for 
you,  do  write  to  me.  Even  if  you  want  to 
register  a  complaint,  I'm  still  gamel 


TOPS  IN    SINGLES 

1)  Silver  Threads  and  Golden  Needles/ Aunt  Rho- 

dy,  The  Springfields  (Philips) — Here  is  the  absolute  winner 
this  month!  This  group  is  a  newcomer.  They  are  English 
and  the  best  entry  of  the  new  label,  Philips,  but  they  sing 
like  they  were  born  in  the  Southern  Appalachians.  The  back- 
ing is  great.  The  strong  one  is  "Silver  Threads."  You'll  hear 
plenty  more  from  this  group. 

2)  Indian  Girl,  Indian  Boy/Now  That  You're  Leav- 
in'  Me,  Thumbs  Carlyle  and  Ginny  O'Boyle  (Epic) — These 
two  will  break  you  up!  The  names  might  indicate  this  is  a 
comedy  vehicle.  But  it  isn't.  It's  pure,  unadulterated  swing- 
ing, folk-type  blues.  Both  sides  could  do  it.  Very  strong. 

3)  House  Without  Windows/The  Endless  Night, 
Steve  Lawrence  (Columbia) — This  record  should  be  a  big 
one.  Steve  is  due!  "House"  is  the  heavyweight.  Well  written 
and  performed  in  the  first-rate  fashion  we've  come  to  expect 
from  Steve.  Credit  to  all  concerned  for  a  blockbuster! 

4)  Beach  Party/Turn  'Em  On,  King  Curtis  (Capitol) - 
The  wailing  tenor-saxophonist  comes  up  with  a  great  entry 
for  honors.  "Beach  Party"  is  something  dancing  feet  are  go- 
ing to  find  delightful.  The  kids  will  buy  these  faster  than  they 
can  be  made.  Up  it  will  go.  You  watch. 

5)  Where  Does  the  Clown  Go?/Chi-Chico  Teek, 
Wayne  Rooks  (Capitol)— Another  newcomer,  with  much 
promise,  comes  out  shouting  in  fine  fashion.  "Where  Does  the 
Clown  Go?"  could  be  a  big  one  for  this  young  lad.  It  was 
penned  by  Jeff  Barry,  the  writer  of  "Chip,  Chip."  Good  tunes, 
good  performances. 

6)  I'll  Come  Running  Back  to  You/Climb  Ev'ry 
Mountain,  Roy  Hamilton  (Epic)— The  "A"  side  is  not  this 
reviewer's  pick.  "Climb  Ev'ry  Mountain"  is  the  side.  Very 
much  in  Roy's  previous  hit-record  groove.  Watch  this!  It 
could  be  the  sleeper — Roy  is  sure  singing. 

7)  A  Taste  of  Honey/Shagnasty,  Quincy  Jones  Orch- 
estra (Mercury)— Even  though  Martin  Denny's  Liberty  rec- 
ord has  the  jump  on  this  one,  Quincy  nonetheless  has  brought 
"Taste"  into  the  big-band  dept.  with  lots  of  high-powered 
brass.  The  flip  is  an  if.  "Honey"  is  the  side.  This  could  sneak 
by  them  all. 

8)  Boy  Child/ As  Long  as  You're  Near,  Sonny  Martin 
(Philips)— Another  newcomer!  They're  over-running  us!  A 
wonderful  professional  job  turned  in  by  14-year-old  Sonny. 
He  sure  is  a  find.  "Boy  Child"  is  definitely  the  choice.  Billy 
Byers'  handling  the  background  with  much  savvy.  Fourteen! 
Look  out  for  little  Sonny! 

9)  Chills/At  the  Edge  of  Tears,  Tony  Orlando  (Epic) 
— This  is  the  sleeper !  "Chills"  has  that  hit-record  sound  from 
start  to  finish.  This  will  move  the  younger  set.  Tony  turns  in 
a  fine  job  of  belting.  The  arrangement  and  tune  are  both  very 
strong.  At  the  wire,  this  could  nose  under. 

10)  Baby  Elephant  Walk/Experiment  in  Terror,  Kai 
Winding  (Verve)— Jazz  trombonist  Kai  Winding  looks  like 
he  has  busted  through  into  the  pop  scene.  "Baby  Elephant"  is 
the  stronger.  A  slue  of  trombones,  pulsing  rhythm  section  and 
an  ear-tickling  Henry  Mancini  tune.  Nice  job  all  around. 


23 


They  were  "The  Toast  of 
the  Town":  What  was  hap- 
pening 14  years  ago  when  we 
started  our  TV  show?  Well, 
on  June  20,  1948,  at  the  Sta- 
dium, Joe  DiMaggio  presented 
Sporting  News  trophy  to  Babe 
Ruth  as  "the  greatest  Yankee 
of  all";  a  $100,000  TV  fee  was 
arranged  for  the  Joe  Louis- 
Walcott  fight;  Andrews  Sis- 
ters headlined  the  Roxy  .  .  . 
in  support,  the  new  team  of 
Martin  &  Lewis;  Congress 
passed  a  21-month  draft;  In- 
dia still  was  mourning  the 
murder  of  Gandhi.  .  .  .  U.  S. 
and  England  were  defeating 
Russia's  blockade  of  Berlin 
.  .  .  Israel,  a  month  earlier, 
had  become  a  state  and  Alger 
Hiss  was  on  trial.  .  .  .  Merman 
in  "Annie  Get  Your  Gun," 
Judy  Holliday  in  "Born  Yes- 
terday," Henry  Fonda  in 
"Mister  Roberts,"  Phil  Silvers 
in  "High  Button  Shoes"  were 
the  top  tickets  on  the  Stem! 


.  .  .  Dinah  Shore  and  Ronnie 
Lubin  a  steady  duet.  .  .  . 
George  Montgomery  and  Betty 
Spiegel  an  item.  .  .  .  Judy 
Garland  wants  to  enroll  other 
Hollywood  stars  and  raise 
money,  via  concerts  all  over 
the  world,  for  child  victims 
of  Thalidomide.  .  .  .  The 
Michael  ("Bonanza") 
Landons  okayed  property 
settlement.  .  .  .  The  Jeremy 
(Shari  Lewis)  Tarchers  called 
her  Mallory. .  . .  Keely  Smith's 
brother,  Buster,  wed  Bonnie 
Hussong.  .  .  .  Cecil  (NBC) 
Brown  recovering,  surgery.  . . . 
20th-Fox  has  laid  out  $32 
million  for  Liz  Taylor's  "Cleo- 
patra." On  TV  recently,  I 
watched  C.  B.  DeMille's  1934 
"Cleopatra,"  costing  $914,000, 
with  Claudette  Colbert.  .  .  . 
The  industry,  aghast  at  this 
splurge,  made  dire  prophecies 
that  Miss  Colbert's  $50,000 
salary  would  panic  the  Holly- 
wood talent  market.  Liz  Tay- 


lor is  getting  a  cool  $1  million 
plus  a  big  fat  percentage !  .  .  . 
By  modern  standards,  De- 
Mille's "Cleopatra"  is  an  in- 
teresting museum  piece.  The 
script  was  modern  American. 
At  the  party  in  Rome,  where 
the  city's  elite  awaited  the 
return  of  Caesar  from  his 
Egyptian  tryst  with  Cleopatra, 
the  conversation  was  strictly 
Hollywood  Boulevard  .  .  .  such 
as — "Anything  I  can  get  for 
you?"  Calpurnia,  Caesar's 
wife,  asked  a  guest.  Noted  a 
Roman  gossiper:  "The  wife  is 
the  last  to  know!"  .  .  .  Penny 
Singleton  enjoying  last  laugh 
as  A.G.V.A.  bounced  Jackie 
Bright.  .  .  .  Sal  Mineo  and 
Jill  Haworth  serious.  .  .  . 
Johnny  Mathis  serenading 
Beverly  Gillhom.  .  .  . 
Showpeople  of  all  national- 
ities mourned  the  death  of  fine 
comedy  star  Victor  Moore.  .  .  . 
Loretta  Young  heading  dinner 
committee  for  Father  Patrick 


Peyton,  September  8,  on  the 
Coast.  .  .  .  Bob  Newhart  and 
Ginny  Quinn  ain't  clowning. 
.  .  .  Ray  Anthony  and  Ann- 
Margret  in  tune.  .  .  .Mike 
(CBS-TV)  Harris  changes  the 
old  jingle  this  way:  "When 
you  wish  upon  a  star — your 
studio  goes  broke!"  .  .  .  Mary 
Benny's  dad  died.  .  .  .  Robert 
Young's  daughter,  Barbara, 
Mrs.  Tom  Beebe.  .  .  .  Mickey 
Mantle,  Maris  and  Yogi  are 
just  great  in  that  amazing 
Yankee  bench  scene  with 
Doris  Day  and  Cary  Grant. 
. .  .  The  Richard  Kileys  named 
the  baby  Deirdre.  .  .  .  Illness 
plaguing  Ida  Cantor  and 
Gracie  Allen.  ...  I  like  Steve 
Allen's  answer  to  a  gal  who 
asked  if  he  really  needed 
glasses:  "No,  ma'am,  I  have 
prescription  eyeballs." 

Published  by  permission  of 
the  Chicago  Tribune — New 
York     News     Syndicate    Inc. 


24 


i 


iidthefi  art?  Over  a  woman!  How  will 


t  turn  the  page  and  start  reading 
tory  of  television's  biggest  battle! 


Who's  the  mystery  woman  who  started  it  a< 


by  ARTHUR  HENLEY 

with 
Dr.  ROBERT  L.  WOLK 


The  "battle  of  the  century"  isn't  be- 
tween two  pugilists  for  the  boxing 
championship.  It's  a  fight  over  a 
woman — and,  by  all  rights,  should  be 
fought  with  scalpels!  For  it's  a  duel 
between  two  doctors.  In  this  corner, 
we  have  Jim  Kildare — alias  Richard 
Chamberlain.  In  the  opposing  corner, 
Ben  Casey — alias  Vincent  Edwards. 

Whose  side  are  you  on?  You  may  be 
surprised  to  find  how  much  your  choice 
reveals  about  yourself — and  your  kind 
of  man!  In  this  article,  Dr.  Wolk  and  I 
will  try  to  solve  the  mystery  of  these 
two  medicos  .  .  .  the  woman  in  their 
lives  . .  .  and  the  conflict  thus  created. 
As  usual,  I'll  set  the  scene  in  regular 
print,  suck  as  this,  and  Dr.  Wo  Ik's  an- 
alysis will  be  in  italics,  like  this: 

If  you,  dear  reader,  will  pause  for  a 
moment  to  compare  your  own  physician 
with  these  TV  doctors,  you  may  be 
startled  to  discover  more  similarities 
than  you'd  care  to  admit!  We  con- 
ducted a  brief  survey  of  TV  viewers 
and  found  that  four  out  of  five  women 
noted  a  resemblance  between  their 
choice  of  Kildare  or  Casey  and  their 
own  doctor. 

This  would  indicate  that  a  woman 
will  prefer  one  or  the  other,  depend- 
ing on  how  each  measures  up  in  com' 
parison  to  her  own  personal  physician. 
Since  the  doctor-patient  relationship 
is  so  intimate,  it  is  only  natural  for  a 
woman  to  favor  Kildare  or  Casey  in 
terms  of  the  personal  appeal  each 
makes,  and  to  use  her  own  doctor  as 


For  why  the  fight  had  to  start, 


ho's  the  man  who'll  run  away  with  her  heart? 


\ 


. 


k 


a  basis  of  comparison  for  her  choice. 

Since  there  is  no  such  thing  as  an 
"average"  woman,  the  qualities  each 
seeks  in  her  doctor — or  her  man — vary 
according  to  her  needs  and  person- 
ality. Such  variations  are  very  reveal- 
ing and  will  be  discussed  later,  along 
with  the  psychological  differences  be- 
tween Casey  and  Kildare  and  the  type 
of  woman  who  appeals  to  them.  How- 
ever— since  the  relationship  between 
doctor  and  patient  is  both  special  and 
professional — isn't  it  likely  that  there 
are  some  standards  of  choice  which 
would  apply  to  all  women? 

In  spite  of  their  differences,  all  wom- 
en do  have  some  things  in  common. 
They're  protective  to  their  children, 
are  usually  preoccupied  with  their 
bodies  to  the  point  of  eagerly  talking 
about  their  operations,  and  base  their 
choice  of  a  husband  on  the  image  of 
their  father — seeking  a  similar  type  of 
man  if  they  got  along  well  with  Daddy, 
or  an  opposite  type  if  they  got  along 
poorly. 

Nearly  all  women  find  comfort  in  a 
kind  of  father-child  relationship  with 
their  physician.  The  doctor  becomes 
someone  on  whom  they  can  depend 
and  who  will  be  kind,  strong,  intelli- 
gent, understanding  and  all-powerful. 
In  fantasy,  these  women  often  "fall  in 
love"  with  their  doctors.  They  enjoy 
the  touch  of  a  strange  man  on  their 
bodies,  feel  secure  in  being  told  what 
to  eat  and  how  to  live.  The  doctor  be- 
comes   a    {Continued    on    page  80) 


see  the  pinups  that  follow! 


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She's  Mrs. Gary  Morton  now! 
She's  a  new  wife  with  a  new  life! 


But  read- 


DESI< 


The  great  comedienne  turned  her  orange 
head  and  smiled.  It  was  not  her  usual 
clown's  smile,  larger  than  life,  its  mad- 
cap   mischief    and    merriment    touched 
faintly  with  wonder  and  even  with  sym- 
pathy, at  the  antics  of  a  troubled 
world.    This  smile  had  an  added 
dimension.  It  had  the  unmistakable 
glow  of  happiness.  ...  A  bride  of 
less  than  a  year,  Lucille  Ball  had, 
in  her  own  words,  "found  what  I'd 
been  looking  for  so  long  ...  so 

long."    Glowingly,  Mrs.  Gary  Morton  added,  "I  don't  know  how  to 
describe  life  with  Gary  .  .  .  you  might  say  it's  like  cruising  out  of  a 
storm  into  the  quiet  waters  of  a  summer  afternoon."  ...  In  slacks, 
flat  heels,  and  with  no  cosmetic  other  than  a  hint  of  lipstick,  the  great 
comedienne  (often  called  "the  greatest  of  the  woman  clowns,"  for  clown- 
ing is  the  essence  of  her  comic 
style)  seemed  transfigured  by  the 
morning    light.     As    she    poured 
coffee  for  her  guest,  the  dazzle  dart- 
ing through  the  broad  windows  of  the 
upstairs  "family  room"  turned  her 
round  blue  eyes  to  emerald  and 
her  flame-red  hair  to  the  color  of 
the  orange  juice  she  had  just  set 
out  on  the  table.  .  .  .  "It's  a  very 
healthy  pick-up,"  she  assured  her 
guest    {Continued    on    page    78) 


S 


DOING 

TO 
LUCY 

STILL ! 


31 


EDDIE'S 

OWN 

STORY 


A    A    A    A 


There  is  a  writer  who  knows 
the  real  Eddie  Fisher  in  a  way 
that  neither  Debbie  nor  Liz 
can.  Their  friendship  began 
long  before  Eddie  met  either 
of  them.  Happily  married 
himself,  he  has  been  the  one 
Eddie  would  turn  to  during 
his  problems  with  the  women 
in  his  life.  In  his  bachelor 
days,  and  as  a  young  hus- 
band and  father,  and  through 
the  trying  time  of  his  separa- 
tion from  his  second  wife- 
Eddie  has  always  been  able 
to  talk  things  over  with  his 
old  friend,  Terry  Palmer.  This 
story  is  based  on  those  con- 
versations.— THE  EDITORS 


I 
C 


At  four  years  old,  Todd 
Fisher  is  too  young  to  under- 
stand the  crises  that  his 
father,  Eddie  Fisher,  has  been 
through  in  his  search  for  a 
woman  to  love.  All  Todd 
knows  at  the  moment  is  that 
his  very  own  Daddy  is  there 
in  the  flesh  to  hug  him  and 
wrestle  with  him,  to  sing  and 
play  with  him,  to  eat  and  talk 
with  him  and  his  big  sister, 
Carrie.  The  children  are  so 
happy  when  they  are  with 
Eddie  that  Eddie  fairly  bursts 
with  happiness  himself.  He 
sees  how  his  children  love 
him  and  need  him,  and  he 
sees  that  he  came  back  into 
their  (Continued  on  page  94) 


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EDDIE'S 

OWN 

STORY 


There  is  a  writer  who  knows 
the  real  Eddie  Fisher  in  a  way 
that  neither  Debbie  nor  Liz 
can.  Their  friendship  began 
long  before  Eddie  met  either 
of  them.  Happily  married 
himself,  he  has  been  the  one 
Eddie  would  turn  to  during 
his  problems  with  the  women 
in  his  life.  In  his  bachelor 
days,  and  as  a  young  hus- 
band and  father,  and  through 
the  trying  time  of  his  separa- 
tion from  his  second  wife — 
Eddie  has  always  been  able 
to  talk  things  over  with  his 
old  friend,  Terry  Palmer.  This 
story  is  based  on  those  con- 
versations.—THE  EDITORS 

At  four  years  old,  Todd 
Fisher  is  too  young  to  under- 
stand the  crises  that  his 
father,  Eddie  Fisher,  has  been 
through  in  his  search  for  a 
woman  to  love.  All  Todd 
knows  at  the  moment  is  that 
his  very  own  Daddy  is  there 
in  the  flesh  to  hug  him  and 
wrestle  with  him,  to  sing  and 
play  with  him,  to  eat  and  talk 
with  him  and  his  big  sister, 
Carrie.  The  children  are  so 
happy  when  they  are  with 
Eddie  that  Eddie  fairly  bursts 
with  happiness  himself.  He 
sees  how  his  children  love 
him  and  need  him,  and  he 
sees  that  he  came  back  into 
their  (Continued  on  page  94) 


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34 


Beastly  idea?  Not  to  Connie  Francis,  touring  a  zoo  in  Italy.  1  Elephant  reminded  her  of  herself — and  a  persistent  dream 
she  had.  2  Goat  made  her  think  of  her  boyfriend — other  side  of  the  Atlantic,  that  is!  3  Giraffe?  "Eric  Fleming — and  a 
certain  dancing  class."  4  This  parrot  spoke  Italian — and,  unexpectedly,  Connie's  mother  came  to  mind.  5  Tiger?  "Fabian 
— but  not  for  the  reason  you  think!"   For  more  of  Connie's  comparisons  and  the  story  behind  it  all,  just  turn  the  page.  .  .  . 


It  isn't  surprising  that  a  girl  as 
warm  and  outgoing  as  Connie 
Francis  finds  friends  wherever 
she   goes.   What   is   surprising   is 
the  places  she  finds  'em! 

It's  a  bit  startling,  too,  to  dis- 
cover that  such  a  globetrotter  as 
the  internationally-popular  Connie 
still  suffers  from  homesickness. 
Even  amidst  all  the  flattering  plau- 
dits she  received  as  Queen  of  the 
Venice  Music  Festival — in  Italy, 
land  of  her  forefathers — the  girl 
born  Constance  Franconero  (twen- 
ty-three years  ago  in  Newark,  New 
Jersey)  longed  for  her  family  and 
friends  back  in  her  own  America. 
But  then,  there's  a  sentimental 
streak  in  Connie  wider  than  a  hi-fi 
set.  Secretly,  she  yearns  for  a  home 
and  children  of  her  own  .  .  . 
an  ever-present  desire  revealed  as 
she  recalls  a  little  girl  she  saw  in 
Venice. 

"She  really  looked  just  like  me 
as  a  child,"  Connie  says  now.  "I 
picked  her  up  and  thought,  This 
could  be  me  ...  or  she  could  be 
my  daughter!  Someday,  I  told  my- 
self, I'll  have  a  child  like  this  one 
and  a  husband  to  always  be  with 
and  always  love.  .  .  ." 

It's  a  wistful  dream  for  busy 
Connie,  at  present.  But  most  of 
her  memories  of  Italy  are  merry 
ones — particularly,  those  of  the 
time  she  spotted  "so  many  familiar 
faces"  at  the  zoo  in  Milan. 

"Don't  certain  animals  remind 


6  Peacock  reminds  Connie  of  brother 
George!  7  And  any  monkey  makes 
her  think  of  that  same  boyfriend  re- 
ferred to  on  the  preceding  page — 
but,  this  time,   it's  a  compliment. 


36 


you  of  certain  people?"  she  asks. 
"I  was  feeling  sort  of  homesick 
when  I  decided  to  visit  that  zoo. 
Then,  all  at  once,  I  started  con- 
necting the  animals  with  people 
I  know  and  things  that  happened 
in  my  life — both  here  and  over 
there — and  my  homesickness  left 
me,  just  like  that!  Suddenly,  it 
was  like  being  home  again. 

"The  first  thing  I  saw  was  this 
funny  elephant — and  it  reminded 
me  of  me!  Not  because  this  ele- 
phant actually  played  the  harmon- 
ica and  was  the  greatest  act  I 
ever  saw,  but  because  of  something 
else  entirely. 

"Elephants  never  forget,  do 
they?  Neither  do  I.  And  I  must 
say  having  a  good  memory  can  be 
a  big,  big  help  to  a  girl  who 
wants  to  get  ahead! 

"There  was  that  time,  for  in- 
stance, when  I  was  first  starting 
out  as  a  singer  and  I  was  crazy 
to  have  my  own  private  hairdress- 
er. To  me,  that  was  the  height 
of  glamour;  it  was  something  that 
really  spelled  s-u-c-c-e-s-s.  And 
my  manager,  George  Scheck — 
knowing  how  I  felt — told  me, 
'Connie,  this  is  what  we'll  do.  You 
want  your  own  hairdresser.  You'll 
get  your  own  hairdresser.  After 
your  third  hit  record.' 

"So  I  went  ahead  and  made 
a  hit,  then  another,  and  then  an- 
other. Mr.  Scheck  didn't  say  any- 
thing    (Continued    on    page     89) 


8  Small  visitor  looked  enough  like 
Connie  to  be  her  own  daughter.  Will 
this  bambina  learn  to  play  accordion, 
too?  Sing?  And  travel  the  world  like 
Connie — finding  friends  everywhere? 


^   (^Kg>^> 


I  was  too  young  for  the  last  war — but  this  time  it's 
different.  This  time,  no  one  is  too  young — or  too  old! 


(Please  turn  the  page) 


37 


As  a  fighter  for  world  peace,  Paul's  been 


The  day  was  bright  and  hot,  with  the  sand 
the  North  African  desert  all  around  us.  Our 
bounced  over  a  "road,"  little  more  than  two 
tire  tracks   in  the  sand.   Gentle   white  hills 
rolled  off  endlessly  to  the  horizon,  but  not 
a  sign  of  life  appeared  as  far  as  the  eye 
could  see  in  this  barren  country.  No  water, 
not  a  cloud  in  the  sky;   birds  did  not 
venture  this  far  from  the  sea.  Suddenly, 
just  beyond  a  rise,  appeared  our  goal: 
An  orphanage  for  the  poor  children 
of  Oran,  Algeria.  As  we  pulled  into 
view,  the  low,  brown  buildings  shim- 
mered  in   the   hot,   dry   air.    A   few 
palms  stood  motionless  in  the  yard 
of  the  orphanage.  A  group  of  children 
— ranging  in  age,  I  would  say,  from 
eight  to  about  fourteen — were  playing 
with  a  ball.  As  we  got  out  of  our 
jeep,   they  stopped  playing  and   ran 
up  to  look  us  over.  Barefoot  and  wear- 
ing   threadbare    clothing,    these    boys 
and  girls  smiled  shyly  after  they  saw 
that  we  were  not  soldiers.  These  children 
were  no  strangers  to  war;  many  of  them 
had   lost  their  entire   family   under   revo- 
lutionists' machine-gun  fire  or  in  explosions 
of  bombes  plastiques.  The  younger  ones  had 
never  known  what  it  was  like  to  live  without 
constant  outbreaks  of  hostilities.  The  oldest  boy 


(Pictures  1,  2,  3)  The  Third  World  War  seemed  very 
far    away    to    Paul,    sightseeing    through    London    with 
Britain's  top  vocalist,  Helen  Shapiro.  And  there  was  nothing 
but  enthusiasm  and  good  will  from  the  people  of  Tokyo  (4), 
Frankfurt  (5,  6)  and  Stockholm  (7) — where  he  tried  his  hand 


38 


to  many  lands  with  a  song  and  a  message 


couldn't  have  been  more  than  a  year  or  so  younger 
than  my  own  kid  brother!   I  was  startled  and 
saddened  when  I  thought  of  that.  Not  so  very 
long  ago,   our   own   mother   had   died,  but, 
bereaved  as  we  were,  we  still  had  our  won- 
derful father,  and  one  another.  Here  were 
these  children  with  nothing  except  charity. 
How  lucky  my  brother,  sister  and  I  really 
were,  I  thought!   ...  I  had  just  fin- 
ished my  concert  engagement  in  Oran, 
and  was  more  eager  than  ever  now 
to    sing    for    these    innocent    victims 
of  combat.  But  how  sa4  this  place 
seemed.  We  were  shown  the  dormi- 
tory where  the  boys  slept,  some  of 
them  on  mats  on  the  floor,  the  young- 
est on  small  steel  cots.  It  was  like 
another  world — the   bare  floors   and 
walls,    and    open,    unprotected    win- 
dows. .  .  ^  That  night,  after  joining 
the  children  for  their  simple  meal,  I 
sang  for  them.  And  there,  sitting  cross- 
legged  on  the  floor,  a  few  rows  back, 
was  the  youngster  I  had  noticed  in  the 
yard,  his  black  eyes  shining,  dark  hair 
glistening  from  the  combing  he  had  given 
it.  Without  ever  moving  his  eyes  from  me, 
he  occasionally  quieted  one  of  the  younger 
children,  reaching  out  to  pat  one  on  the  head, 
or  pressing  the   arm    (Continued  on  page    84) 


at  Swedish.  A  little  milk  of  human  kindness  goes  a  long 

way  in  promoting  world  understanding  (8) ,  Paul  believes, 

and  teenagers  of  the  Philippines  (9,  10)  proved  eager  to 

share  local  customs.  Another  town,  another  missionfll,  12) ; 

trying  to  win  the  Third  World  War  can  be  a  killing  pace  (13)! 


■I 


39 


IS  THERE  A  REAL  CASE  FOR 


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You've  watched  them  play  on  TV  .  .  .  everything  from 
saxophone  to  drums  ...  but  you've  never  seen  them 
play  like  this!  Looks  like  a  family  reunion?  It's  really 
an  introductory  sampler  of  happy  "Lawrence  Welk 
Show"  refugees  (still  more  in  the  pictures  that  follow!) 
.  .  .  with  their  own  families  (ditto!).  Flanked,  over- 
whelmed and  otherwise  surrounded  by  wives  and  off- 
spring, the  big  men  in  the  background  here  —  left  to 


right  —  are  Kenny  Trimble,  Glenn  Harris,  Joe  Rizzo, 
John  Klein,  Orie  Amodeo  and  Barney  Liddell.  Glenn's 
wife,  cellist  Charlotte  Harris,  is  at  far  left  —  in,  the 
white  blouse.  Kathy  and  Peggy  Lennon  are  in  right 
foreground  —  amidst  their  small  brothers  and  sisters. 
. . .  What  under  the  sun  are  they  all  doing  at  Lake 
Tahoe,  far  from  ABC-TV's  cameras?  Well,  the  Welk 
music-makers  call  it  a  "vacation"  (Please  turn  page) 


Before  you  decide,  first  look  at  what  happened  wh 


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You've  watched  them  play  on  TV  . . .  everything  from 
saxophone  to  drums  ...  but  you've  never  seen  them 
play  like  this!  Looks  like  a  family  reunion?  It's  really 
an  introductory  sampler  of  happy  "Lawrence  Welk 
Show"  refugees  (still  more  in  the  pictures  that  follow!) 
.  .  .  with  their  own  families  (ditto!).  Flanked,  over- 
whelmed and  otherwise  surrounded  by  wives  and  off- 
spring, the  big  men  in  the  background  here  -  left  to 


right  -  are  Kenny  Trimble,  Glenn  Harris,  Joe  Rizzo, 
John  Klein,  Orie  Amodeo  and  Barney  Liddell.  Glenn's 
wife,  cellist  Charlotte  Harris,  is  at  far  left  -  in,  the 
white  blouse.  Kathy  and  Peggy  Lennon  are  in  right 
foreground  -  amidst  their  small  brothers  and  sisters. 
. . .  What  under  the  sun  are  they  all  doing  at  Lake 
Tahoe,  far  from  ABC-TV's  cameras?  Well,  the  Welk 
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SEPARATE  VACATIONS? 

continued 


It's  fishin' — for  Joe  Feeney,  the  little  Feeneys  and  hi 


?•>'■ 


Uh-on«,  uh-two  —  and  wh-pi/tt,  for  aorflng  maestro  Welk. 


.  .  .  but  wouldn't  you  think  they'd 
seen  enough  of  each  other,  working 
together  all  week  and  telecasting 
every  Saturday  evening?  It's  said  that 
a  weary  man  can  tire  of  the  sight  of 
his  own  family . . .  and  many  a  woman 
daydreams  of  "getting  away  from  it 
all" — including  her  bundles  of  joy! — 
for  a  little  while.  But  when  these  Welk 
music-makers  saw  a  chance  to  vaca- 
tion together  .  .  .  they  all  worked 
double-schedule  to  snatch  a  week's 
holiday — complete  with  their  families 
— at  Harrah's  club  on  the  California- 
Nevada  state  line!  Their  holiday  ac- 
tivities varied  as  greatly  as  their  sizes 
and  ages  . . .  from  Welk's  own  "pro"- 
type  game  of  golf  ...  to  the  tiniest 
toddler's  toe-dabbling  in  the  shallow 
end  of  the  pool.  They  covered  the 
range  from  lake  to  snowclad  moun- 
tains, as  our  camera  shows  .  .  .  plus 
table  tennis,  water  skiing,  plenty  of 
ice  cream  and  an  occasional  exchange 

Of    recipes.  .  .  .    (Please  turn  the  page) 


42 


|ind  daddy  Jack  Imel  .  .  .  safe  shootin' — for  Kenny  Trimble  and  his  daughter  Pat  .  .  .  another  kind  of  shot  entirely — for  John  Klein,  sons  Jimmy  and  Jay. 


Skiing's  the  sport  for  "Champagne   Lady"   Norma   Zimmer,   husband    Randy  (a  real  pro),  sons  Ronnie  and  Mark — who  really  fell  for  it! 


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...  but  wouldn't  you  think  they'd 
seen  enough  of  each  other,  working 
together   all    week   and   telecasting 
every  Saturday  evening?  It's  said  that 
a  weary  man  can  tire  of  the  sight  ol 
his  own  family . . .  and  many  a  woman 
daydreams  of  "getting  away  from  it 
all" — including  her  bundles  of  joy! — 
for  a  little  while.  But  when  these  Welk 
music-makers  saw  a  chance  to  vaca- 
tion together  .  .  .  they  all  worked 
double-schedule  to  snatch  a  week's 
holiday — complete  with  their  families 
— at  Harrah's  club  on  the  California- 
Nevada  state  line!  Their  holiday  ac- 
tivities varied  as  greatly  as  their  sizes 
and  ages  .  .  .  from  Welk's  own  "pro"- 
type  game  of  golf  ...  to  the  tiniest 
toddler's  toe-dabbling  in  the  shallow 
end  of  the  pool.  They  covered  the 
range  from  lake  to  snowclad  moun- 
tains, as  our  camera  shows  .  -  •  Plus 
table  tennis,  water  skiing,  plenty  •>• 
ice  cream  and  an  occasional  exchange 
of  recipes. .  . .  (We«e  tun  iht  po«<> 


and  daddy  Jock  Imel  ■  ■  •  safe  shootin' — for  Kenny  Trimble  and  hit  daughter  Pat  .  .  .  another  kind  of  thot  entirely — for  John  Klein,  tont  Jimmy  and  Jay. 


Skiing's  the  sport  for  "Champagne   Lady"   Norma  Zimmer,   hu.bond    Randy  (o  real  pro),  ion»  Ronnie  and  Mark— who  realty  fell  for  it! 


Boating  on  Lake  Tahoe  (left,  with  Dick  Cathcart) 
is  sweet  as  candy  to  Kathy  and  Janet  and  Peggy. 


Let  others — including  some  respected 
marriage  counselors — talk  of  separate 
vacations  for  husbands  and  wives  .  .  . 
the  Welkers  and  their  families  vote  for 
togetherness  every  time.  Perhaps  one 
wife's  contented  sigh  gave  the  answer^ 
"There's  nothing  like  hotel  service  to 
give  you  time  to  enjoy  your  own  hus- 
band and  children!" — LOUISE  RONKA 


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47 


It  had  been  a  hard  day  at  the  office 
for  Mrs.  Jack  Bailey.  She  walked 
in  the  front  door  of  her  house, 
dropped  wearily  into  an  armchair, 
and  called  out  to  her  husband:  "I'm 
home,  honey!" 

Jack  Bailey  came  out  of  the  kitch- 
en, wearing  a  frilly  apron.  "Did  you 
have  a  busy  day  at  the  office,  dear?" 

"I'll  say!  I  think  our  company  han- 
dles more  cases  than  any  other  law 
firm  in  town.  What's  for  dinner?" 
she  asked. 

Jack  beamed  proudly.  "Your  fa- 
vorite— pot  roast.  I've  made  it  just 
the  way  you  like  it!" 

The  above  scene  never  actually 
happened,  but  the  chances  are  that 
something  similar  to  it  occurred  time 
and  time  again  during  the  eaTly  mar- 
ried life  of  Jack  Bailey,  who  reigns 
today  as  the  uncrowned  king  of  ABC- 
TV's  popular  daytime  program, 
"Queen  for  a  Day." 

For,  as  Jack  admitted  to  me  re- 
cently over  lunch  at  the  Hollywood 
Brown  Derby,  his  wife  supported  him 
at  intervals  through  the  years  when 
they  were  first  married. 

"You  see,"  he  said,  "she  was  a 
legal  secretary,  and  I'm  delighted  that 
she  was  a  good  one.  Otherwise  we 
wouldn't  have  eaten!  We  were  mar- 
ried in  1941,  and  though  I'd  been 
in  show  busines  as  an  actor  and 
announcer  for  over  15  years,  I  was 
having  a  tough  time  making  a  go  of 
it  right  then.  Whenever  I  was  at 
liberty,  she'd  go  find  herself  a  job 
in  some  law  firm.  She  literally  sup- 


ported me  for  quite  a  while.  And 
that's  why,  in  my  book,  Mrs.  Bailey 
is  the  most  deserving  lady  I  know." 

"Would  you  like  to  make  her 
Queen  for  a  Day?" 

"You  bet!"  he  grinned.  "Actually, 
though,  she's  very  modest  and  hates 
taking  bows.  Sometimes,  when   I'm 


LET  MY 


SUPPORT 


making  an  appearance  out  of  town, 
word  will  leak  out  that  she's  in  the 
audience  and  people  will  say, 
'Where's  Mrs.  Bailey?  Introduce  Mrs. 
Bailey!'  But  I  know  that  if  I  did 
she'd  be  furious. 

"I'll    never    forget,    though,    what 
she's  done  for  me,"  he  said  with  great 


sincerity.  "When  we  were  married, 
I  was  announcing  on  radio  stations 
up  and  down  the  West  Coast,  and 
putting  on  pageants  here  and  there. 
About  three  months  after  our  wed- 
ding, I  had  a  little  radio  show  in  San 
Francisco.  I'm  afraid  people  didn't 
think  the  show  was  as  good  as  I 
thought  it  was,  and  I  soon  was  out 
of  a  job. 

"Well,  we  started  getting  a  little 
thin  in  the  piggy  bank.  So  Carol  just 
went  downtown  at  8  o'clock  one 
morning,  and  at  9:30  she  phoned  me 
and  said,  'I'm  now  working  for 
Hiram  Johnson.'  He  was  the  former 
senator,  and  she  had  a  job  in  his 
office.  Yes,  a  good  legal  secretary  is 
a  wonderful  thing  to  fall  back  on. 

"Same  thing  happened  in  San 
Diego,"  he  continued.  "I  was  called 
down  for  a  job  that  wasn't  there 
when  I  got  there,  and  away  she  went 
with  her  little  notebook  and  got  a 
job." 

"How  did  you  feel  at  the  time 
about  having  your  wife  support 
you?"  I  asked.  "Were  you  embar- 
rassed at  all?  Did  it  hurt  your 
pride?" 

"She  never  let  it,"  he  said.  "She'd 
always  find  some  way  to  keep  my 
ego  up.  For  one  thing,  we  both  knew 
that  I  wasn't  a  lazy  guy,  nor  was 
I  the  type  of  entertainer  who  waited 
at  home  for  the  phone  to  ring.  I 
took  a  lot  of  fill-in  jobs  myself  when 
I  couldn't  get  anything  in  the  en- 
tertainment field.  In  my  day  I've  been 
an  insurance  salesman,  a  house  paint- 


48 


er,  a  dance  instructor  and  a  cook. 
But  sometimes  there  was  just  no  job 
for  me,  and  that's  when  Carol  would 
help  out.  When  she  was  working  and 
I  wasn't,  I  kept  house."  He  grinned. 
"And  I  did  it  very  well!  As  I  said, 
I'd  worked  as  a  cook,  and  that  came 
in  handy  when  I  was  staying  home. 
I  became  so  good  at  it  that  a  few 
years  ago  I  put  out  a  cookbook 
called  'What's  Cookin'!'" 

"Did  you  ever  get  discouraged 
about  your  career?" 

"Oh,  boy— did  I!  But  Carol  would 
be  just  the  opposite;  she  wouldn't 
let  me  give  up.  You  see,  I  had  been 
successful  as  air  entertainer  for  a 
number  of  years — I'd  toured  with 
the  Ralph  Bellamy  Players,  done  tent 
shows,  been  a  musician  in  a  band. 
It  wasn't  as  if  I  just  suddenly  de- 
cided to  get  into  entertainment.  So 
she  had  faith  in  me. 

"Carol's  mother  died  before  I  came 
along,  but  for  years  she'd  supported 
her  mother.  Not  only  that,  but  her 
sister  died  and  left  a  nine-year-old 
child,  a  girl  whom  Carol  took  in.  In 
order  to  take  care  of  both  of  them, 
Carol  had  to  work  like  the  devil,  but 
she  did,  and  they  always  went  first- 
class.  She  devoted  her  whole  life  to 
taking  care  of  other  people.  When 
we  got  married,  she  found  herself 
with  a  niece  and  an  itinerant  actor 
to  support!  But  she  never  com- 
plained." 

He  chuckled.  "Even  before  we  were 
married,  she  was  helping  me  out.  I 
was  so  poor  that  for  our  dates  we 


went  window  shopping.  We  courted 
for  several  years,  and  afterward  I 
used  to  joke  that  I  took  my  time 
about  marrying  her  because  she 
wasn't  getting  enough  raises.  I  was 
in  the  insurance  business  at  that  time, 
and  I  used  to  take  her  with  me  to 
help  pass  out  post  cards.  They  read, 


Sometimes,  savs  Jack  Bailey,  a 
man's  place  ie  in  the  kitchen! 


T  ^ 


M 


V 


V 


'No  one  will  call.'  That  was  a  laugh. 
Of  course  someone  would  call. 

"I  had  her  on  a  strange  pay  scale. 
If  she  could  pass  out  a  hundred  cards 
in  one  night,  then  the  next  night  her 
pay  was  that  she  only  had  to  pass 
out  twenty -five.  Thank  goodness,  she's 
always  had  a  sense  of  humor!   She 


used  to  laugh  no  matter  how  bad 
things  got! 

"Another  thing — Carol  was  very 
generous  with  gifts,  but  she'd  always 
do  it  in  a  way  that  wouldn't  hurt  my 
ego  when  I  was  out  of  work.  She 
wouldn't  come  out  and  say,  'Your 
shirt  looks  awfully  tacky — let  me  buy 
you  a  new  one!'  No,  she'd  say  it 
was  the  anniversary  of  the  ninth  time 
we  put  out  the  insurance  cards,  or 
some  such  thing  as  that.  Just  a  light 
touch  to  make  things  easier.  I  re- 
member one  time  some  friends  I'd 
worked  with,  years  before,  came  out 
to  the  Coast,  and  it  was  the  opening 
of  Earl  Carroll's  theater.  Well,  they 
were  kind  of  whispering  that  they 
were  all  going,  and  it  was  pretty  ob- 
vious that  I  wasn't  and  couldn't  pos- 
sibly afford  to.  But  we  were  there! 
She  got  an  advance  from  her  boss. 

"Then  in  1945  I  became  emcee  on 
'Queen  for  a  Day'  and  I've  been 
working  steadily  ever  since.  But  when 
Ma  saw  that  she  wouldn't  have  to 
work  anymore,  it  kind  of  upset  her. 
She  began  to  wonder  what  her  place 
in  life  would  be,  and  she  really  wor- 
ried about  it.  Even  today,  she  likes 
to  keep  busy.  In  fact,  I'm  going  to 
be  more  honest  than  most  husbands 
and  admit  that  this  lady  is  the  boss 
of  the  house.  She  not  only  takes  care 
of  our  home,  she  handles  the  business 
with  the  help  of  an  accountant.  We 
discuss  our  investments  and  she  does 
the  legwork  on  them.  She  keeps  my 
taxes  paid  and  takes  care  of  my  in- 
surance and  (Please  turn  the  page) 


49 


WHY  I  LET  MY  WIFE  SUPPORT  ME 

continued 


any  other  payments  we  have  to  make. 
She  also  makes  sure  that  I  answer  my 
mail  on  time." 

He  laughed.  "One  thing,  though — 
for  a  long  time  after  I'd  started  work- 
ing steadily,  I  continued  to  do  the 
cooking  at  our  house.  Carol  came 
from  a  big  family  where  the  mother 
didn't  have  time  to  worry  about 
teaching  the  children  to  cook.  Then, 
when  I  started  studying  painting  a 
few  years  ago,  I  stopped  doing  the 
cooking  and  Carol  took  over.  Well, 
she'd  been  a  business  girl  all  her 
life,  and  she  didn't  know  a  thing 
about  cooking.  She  wasn't  too  good 
at  first,  but  she  picked  it  up  fast,  and 
now  she's  doing  just  fine.  But  we're 
both  so  busy  that  we  often  eat  out, 
or  eat  'take-home'  food  from  the 
store." 

"Did  you  have  any  particularly 
painful  experiences  when  she  was 
learning  to  cook?"  I  asked. 

"Well,  one  night  she  decided  to 
make  creamed  chicken  and  Brussels 
sprouts,"  he  grinned.  "She  boiled  the 
chicken  herself,  and  it  came  out 
tough.  The  cream  sauce  curdled.  And 
the  Brussels  sprouts  tasted  raw.  I 
tried  to  eat  the  dinner,  but  I  just 
couldn't;  it  refused  to  go  down.  In- 
stead of  being  insulted,  Carol  got  to 
laughing  and  said,  'This  is  pretty  bad. 
Let  me  fry  you  an  egg.'  Which  she 
did,  and  I  had  that. 

"I  kid  her  sometimes  about  her 
cooking,  and  she'll  turn  around  and 
kid  me  about  some  of  the  mail  I  get, 
particularly     the     'romantic'     mail. 


When  I  get  a  love  letter,  it's  usually 
from  somebody  over  eighty.  One  lady 
wrote  and  wanted  me  to  tell  my  wife 
that  she's  got  permission  from  her 
husband  to  have  my  picture  on  her 
dresser  and  kiss  it  every  night.  I'm 
afraid  I'm  no  romantic  idol.  I've  been 
a  character-actor  type  since  about  the 


age  of  twelve!  Actually,  the  people 
who  write  letters  to  me  are  very 
gracious,  almost  as  if  they  were  writ- 
ing to  a  favorite  uncle." 

"How  does  your  wife  feel  about 
your  being  a  TV  star  after  all  the 
years  of  struggle?"  I  asked  him. 

He  laughed.  "To  her  I'm  about  as 


much  a  star  as  a  fourteen-year-old 
boy  who's  late  for  school!  In  fact,  we 
have  a  little  running  gag.  When  she 
doesn't  like  my  clothes,  she'll  say, 
'Are  you  going  to  wear  that  suit? 
You  look  like  a  bum!'  And  I'll  say, 
'Please — I'm  known  and  loved  by 
millions  throughout  TV-land,  and 
they  know  I'm  eccentric' 

"Really,  though,  we  lead  a  very 
pleasant  life.  We  have  a  home  up  in 
the  Hollywood  Hills,  a  little  place 
at  Malibu,  and  a  cottage  by  a  lake 
that's  so  secluded  I  can  hardly  find  it 
myself.  I  spend  a  lot  of  my  spare  time 
painting,  and,  on  nights  when  I  have 
a  painting  class,  Carol  goes  to  the 
movies.  She's  a  real  fan. 

"Seven  or  eight  years  ago,  we  gave 
each  other  twin  pianos  for  Christmas. 
We  have  them  back  to  back  in  the 
front  room,  and  we'll  play  a  medley 
and  three  pieces  for  anybody  who'll 
listen."  He  chuckled.  "That's  all  we'll 
play,  because  we  don't  know  any 
other  numbers!" 

After  a  thoughtful  pause,  he  said: 
"You  know,  a  little  while  ago  you 
asked  if  I'd  like  to  make  my  wife 
Queen  for  a  Day,  and  I  said  I  would. 
Well,  there's  a  prize  that  goes  with 
the  crown,  and  I  know  just  what  I'd 
give  Carol:  A  trip  around  the  world. 
She  loves  to  travel."  Then  he  grinned. 
"Matter  of  fact,  I  think  I  just  may 
give  her  that  trip  anyway.  After  all — 
she's  earned  it!"  — Chris  Alexander 

Jack  Bailey  presides  over  "Queen  for 
a  Day,"  on  ABC-TV,  M-F,  3  p.m.  edt. 


50 


ALL  ABOUT  TV's  FORGOTTEN  MAN! 


/ 


/ 


r*t 


1 


•  J 

it  was  grand  larceny!  In  fact,  it  was  murder!  Yet  he  took  it  lying  down!  Here's  why! 


One  look  at  these  pictures  .  .  .  and  you  know  why  Martin  Milner  doesn't 
care  whether  or  not  anyone  calls  him  the  forgotten  man  of  "Route  66" 


No  scene-thief  could  ever  steal  Milner  treasures  such  as  these!  In  order  of  delivery:  Amy,  4,  as  seen  below  and  on  facing 
page — Molly,  l»/2,  in  her  mother's  arms  at  right— baby  Stuart,  above.  But  first  of  all  came  actress  Judy  Jones,  who  gave 
up  her  career  to  marry  Marty  .  .  .  travel  with  him  as  he  filmed  his  series  ...  and  make  a  haven  of  their  California  home. 


It's  a  crime!  The  cops  ought  to  be  chas- 
ing that  snazzy  convertible  down  "Route 
66,"  sirens  shrieking,  warrant  in  hand 
for  the  arrest  of  one  George  Maharis. 
Charge:  Grand  larceny  of  the  TV  series 
created  for — and  practically  stolen  from 
— one  Martin  Milner.  But  no  warrant  has 
ever  been  issued.  The  aggrieved  party 
refuses  to  sign  a  complaint! 

The  facts,  ma'am,  are  these:  "Route 
66"  was  hand-tailored  for  tall,  blond 
Marty,  an  established  star  in  Hollywood. 
Tall,  dark  George  was  brought  from  the 
East,    almost    (Continued    on    page    91) 


Every  month,  a  doctor  looks  at  TVs  daytime  dramas  and  tells  you  wha 


I 


i 


i 


Viewers  just  couldn't  believe  it!  The  CBS 
switchboard  was  jammed,  mail  bags  bulged 
with  one  anguished  query:  Surely,  Sara 
Karr  hadn't  really  died  in  "The  Edge  of 
Night"?  But  it  was  true  .  .  .  and  Mike  Karr 
has  had  to  live  with  the  tragic  memory 
ever    since.    This    problem    of    the    young 


widower  with  a  motherless  child  is  sadly 
familiar  in  real  life,  too.  You  probably  know 
at  least  one  .  .  .  and  hope  he'll  marry  again. 
Can  you  learn  something  from  TV's  handling 
of  the  emotional  crises  faced  by  a  vigorous 
but  sensitive  man  in  such  a  situation?  This 
is  the  psychological  (Continued  on  page  92 i 


by  ARTHUR  HENLEY  with  Dr.  ROBERT  L.WOLK 


fou  can  learn  about  yourself  from  them.  This  month— The  Edge  of  Niglt" 

*-V»    . 


- 


♦  * 


J 


< 


V 


Can  a  girl  like  Nancy  Pollack  (Ann 
Flood)  hope  to  find  happiness  with 
a  widower  like  Mike  Karr  (Laurence 
Hugo)  ?  Or  is  he  forever  haunted  by 
the  shadow  of  his  late  wife  (played 
by  Teal  Ames  until  Saras  dramatic, 
untimely  death   in  the  TV  serial  I  ? 


YES-I  TRIED  TO 

Kill  MY  FATHER 


Eric  Fleming  held  the  gun  to  his  father's 
head  and  slowly  began  to  squeeze  the  trig- 
ger. His  father  slept  on,  unaware  of  the 
danger  . . .  The  boy  paused,  undecided  for 
a  moment.  But  then  he  remembered  all  the 
times  his  dad  had  beaten  him  with  a  belt 
.  .whipped  him  with  a  lariat . . .  slapped 
him  nearly  senseless.  Worse  yet,  the  way 
he'd  hit  Eric's  mother  so  hard  that  he  broke 
her  eardrum,  when  she  stepped  between 
them  and  tried  to  save  her  son  .  .  .  He'd 
show  him  now.  He'd  pay  him  back  for  every- 
thing. And  after  all . . .  what  could  the  police 
do  to  punish  him  for  the  murder?  Send  him 
to  the  gas  chamber?  They  couldn't.  He  was 
only  nine  years  old  . . .  And  so,  calmly  and 


deliberately,  Eric  squeezed  the  trigger 
all  the  way  back. . . .  (Continued  on  page  86) 


ERIC  FLEMINGS  OWN  STORY 


^™ 


YES-I  TRIED  TO 

Kill  MY  FATHER 


Erie  Fleming  held  the  gun  to  his  father's 
head  and  slowly  began  to  squeeze  the  trig- 
ger. His  father  slept  on,  unaware  of  the 
danger  ...  The  boy  paused,  undecided  for 
a  moment.  But  then  he  remembered  all  the 
times  his  dad  had  beaten  him  with  a  belt 
■  •  •  whipped  him  with  a  lariat . . .  slapped 
him  nearly  senseless.  Worse  yet,  the  way 
he'd  hit  Eric's  mother  so  hard  that  he  broke 
her  eardrum,  when  she  stepped  between 
them  and  tried  to  save  her  son  .  .  .  He'd 
show  him  now.  He'd  pay  him  back  for  every- 
thing. And  after  all . . .  what  could  the  police 
do  to  punish  him  for  the  murder?  Send  him 
to  the  gas  chamber?  They  couldn't.  He  was 
only  nine  years  old  .  . .  And  so,  calmly  and 
deliberately,  Eric  squeezed  the  trigger 
all  the  way  back. . . .  (Continued  on  page  86) 


ERIC  FLEMING  SOWN 


JAY  NDR-n-i  ' 


whaf 


when 


^ 


I  iHS? ^^H 


Nothing  he  has  ever  done  on 
the, TV  screen— as  Dennis  The 
Menace  —  is  as  dangerous  and 
as  fraught  with  peril  as  what 
tow-headed  Jay  North  is  up  to 
in  real  life.  There,  in  a  world 
of  skinned  knees  and  cracking 
voices,  he's  growing  up!  In 
fact,  "growing"  may  be  put- 
ting it  too  mildly.  Perhaps 
"shooting"  would  be  more  ac- 
curate. The  little  boy  is  getting 
to  be  a  big  one,  all  right.  In- 
deed, there  are  some  who  say 
he's  getting  to  be  too  big. 

And  what  happens  then  ? 

What  happens  when  a  little 
boy  gets  too  big  for  oatmeal  in 
the  morning  and  sling  shots  in 
the  afternoon  ? 

What  happens  when  he  gets 
too  big  for  goodnight  kisses? 

What  happens  when  he  gets 
too  big  to  bring  a  comic-strip 


imp  to  life  ?  That's  what  some,! 
people  in  TV-land  say  is  hap-S1 
pening  to  Jay. 

And  what  happens  if,  before! 
you  turn  ten,  you're  a  has- 
been?  If  they  start  looking] 
around  for  a  littler  little  boy 
to  play  Dennis? 

What  happens?  You'd  bei 
surprised!  I  know  I  was— that| 
Saturday  morning  when  Ij 
went  to  see  for  myself  just  how1 
big  Jay  North  really  was. 

I  was  greeted  at  the  door  by 
the  boy  and  his  pretty,  red- 
haired  mother,  Dorothy.  "How 
do  you  do?  It's  very  nice  toi 
meet  you,"  said  Jay,  extendingl 


i 


his  hand.  "I  always  study  my 
lines  on  Saturday  morning, 
and  then  I  go  out  and  play 
catch.  I'm  going  right  after  wei 
talk." 

I  got  the  message.  I  wasi 
holding  up  the  game! 

"How  do  you  like  acting,; 
Jay?"  I  asked. 

"Oh,  it's  fine.  Do  you  know 
that  on  our  team,  I'm  pitcher, 
second  baseman  and  thirdl 
baseman  and  we're  going  to  re- 
name ourselves  Don  Drysdale,, 
Sandy  Koufax,  Roger  Maris, 
Mickey  Mantle  and  Whitey 
Ford?  They're  my  favorites.'" 

"That's  lovely,"  I  said,  mak-. 
ing  a  note  to  look  up  the  names 
and  find  out  how  big  they  were. 
"I've  never  seen  a  baseball 


rHO  MAKES  ELVIS  BLEED... THE  GIRL  WHO  HAS  HIM  CORNERED 


"What's  wrong  with  me? .  .  .  Why  do  I  always  end  up  a  loser?"  What 
could  make  Elvis  Presley  wake  up  one  morning,  long  before  the 
alarm  was  due  to  ring,  and  stand  there  staring 
at  his  reflection  in  the  mirror?  What 


could  make  him  ask 


such  a  question? 
Or  rather,  who  could  make 


him  ask  it?  .  .  .  The  answer  could  only  be  a  girl  and  not  just 
any  girl;  she  would  have  to  be  something  pretty  special  to  have  Elvis 
hanging  on  the  ropes  like  that.  If  not,  why  would  he  wake,  still  tired  but 
unable  to  sleep?  If  not,  why  would  he  be  standing  there,  searching  for  an 


answer,  painfully  trying  to  understand  why  he  had  lost 
her?  If  he  looked  back  at  the  weeks  that  had  just  passed, 
weeks  when  they  had  been  so  close,  so  happy  together, 
would  he  find  the  moment  things  had  begun  to  (Continued  on  page  73) 


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"I  never  wanted  to  talk  about  my  mar- 
riage," Carol  said,  "but  it's  come  out,  bit 
by  bit.  ...  I  wish  it  hadn't." 

What  had  come  out  were  these  few  bare 
facts:  She  had  married  Don  Saroyan  in 
1956 ;  they  had  separated  four  years  later ; 
they  would  be  divorced  in  Las  Vegas  this 
September,  as  you  read  this. 

That  was  all  Carol  would  say — up  until 
now.  Now,  for  the  first  time,  in  this  ex- 
clusive interview,  she  reveals  the  bitter- 
sweet story  of  what  really  happened. 

"My  marriage  broke  up,"  she  said 
frankly,  "because  Don  was  not  successful 
while  my  own  career  was  moving  ahead." 
Her  dark  gray  eyes  clouded  as  she  added, 
"I  don't  want  this  to  happen  again.  .  .  ." 
Then,  slowly,  hesitantly — like  someone  un- 
used to  revealing  too  much  of  herself — 
Carol  went  back  over  the  years  to  the 
beginning  of  that  success  and  to  her  first 
meeting  with  Don. 

It  had  started  with  her  enrollment  at 
California's  U.C.L.A.  Up  to  then,  she  had 
been  "everybody's  buddy  but  nobody's  girl 


friend."  When  ahe  attended  Hollywood 
High  School,  this  "nobody's  girl  friend"  bit 
had  hurt.  She  found  herself  competing 
with  beautiful  girls  in  expensive  clothes, 
and  suspected  they  were  snobs.  She  knew 
she  wasn't  homely,  but  felt  she  was  "too 
average"  to  attract  the  boys'  attention — 
so  she  withdrew  from  the  fierce  competi- 
tion for  boys  by  concentrating  on  her 
studies. 

At  college,  she  took  a  required  course 
in  speech.  She  did  not  like  the  course,  but 
it  dovetailed  with  a  drama  workshop  and 
she  was  sent  to  audition  at  the  Theater 
Arts  Department's  University  Theater, 
for  a  one-act  play.  She  won  the  role  of  a 
hillbilly.  "When  people  laughed  at  the 
right  place,"  she  recalls,  "I  realized  this 
was  what  I  had  wanted  all  my  life." 
Suddenly,  she  was  (Please  turn  the  page) 


Exclusive!  For  the  first  time,  Carol  Burnett  tells  how  it 
happened — why  it  happened — what  will  happen  next! 


L>  *  > 


'.V.     -  ♦ 


•    i 


I  ^L 


U^   '■' 


-    % 


.  My  Love  Affa  ir  Begins 


Carol's  falling  in  love  again,  and  when  that  phone  rings,  she  begins  "working  on  him."  Decisions,  decisions:  An  exotic  new 
face,  a  glamorous  hairdo,  a  seductive  gown — should  she  be  a  siren  or  a  homebody?  The  champagne  may  solve  everything. 


continued 

no  longer  Carol  Burnett,  a  student.  She  was  Carol 
|  Burnett,  the  entertainer.   Fellow  students  kept  tell- 
ing her,  "You're  great!"  and  "How  long  have  you 
been  doing  this?" 

In  her  next  school  play  appearance,  in  a  comic 
role,  she  was  so  good  that  even  seniors  started  to 
talk  to  her.   She  began  getting  a  lot  of  dates,  and 


she  enjoyed  her  new  popularity  so  much  that  she 
informed  her  startled  mother,  "I  am  going  to  be 
an  actress !" 

During  her  sophomore  year,  she  noticed  a  dark, 
handsome  graduate  student  in  drama  school,  Don 
Saroyan,  a  distant  cousin  of  writer  William  Saroyan. 
She  liked  him  instantly,  and  (Continued  on  page  83) 


65 


JAY   NORTH 

(Continued  from  page  59) 

the  forty-yard  line  out  onto  the  terrace, 
where  he  stopped  just  in  time  to  keep 
himself  from  falling  into  the  pool.  If 
he  hadn't  had  his  clothes  on,  I  know 
darn  well  he  would  have  dived  in  and 
made  an  effort  to  break  the  record  of 
the  last  aspirant  who  crossed  the 
English  Channel. 

Dorothy  North's  eyes  followed  her 
son  and  she  turned  back  to  me  with  a 
broad  grin  on  her  face.  She  was  ob- 
viously pleased  with  what  she'd  pro- 
duced. 

I  asked  how  she  thought  her  son 
measured  up  to  his  TV  role. 

"Jay  is  no  Dennis  The  Menace,"  she 
said,  "and  that's  the  most  direct  an- 
swer I  can  give.  He  is  one  of  the  most 
average  little  boys  in  the  world.  He 
doesn't  have  time  to  get  into  trouble 
because  he  lives  on  too  tight  a  schedule. 
He  works  all  day,  has  to  be  at  the 
studio  at  eight  and  is  there  until  five. 
If  he  goes  at  nine,  he  stays  until  six. 

"It  breaks  down  to  four  hours  of 
work,  three  of  school,  an  hour  for  lunch 
and  two  half-hour  rest  breaks.  When  he 
comes  home,  he's  ready  for  dinner,  a 
little  television,  and  then  bed.  Week- 
ends and  vacations,  he's  so  taken  up 
with  sports  he  doesn't  have  the  time 
to  get  into  any  mischief,  even  if  it 
occurred  to  him." 

Then  it  wasn't  true  he  took  a  bolt  of 
twelve-dollar-a-yard  velveteen   she   was 


going  to  make  draperies  out  of  and  used 
it  to  construct  a  tent  in  the  backyard? 

"Certainly  not!" 

And  when  he  was  attending  public 
school  and  appearing  as  Joseph  in  the 
Christmas  pageant,  he  didn't  step  for- 
ward on  the  stage  and,  pointing  to  the 
parting  curtains,  bellow:  "Look,  Moth- 
er, show  business"? 

"He  never  did  such  a  thing  in  his 
life." 

He  didn't  break  a  plate-glass  window 
on  the  set  with  his  sling  shot? 

"I  don't  believe  he's  ever  had  that 
sling  shot  out  of  his  pocket.  The  prop 
man  puts  it  there  in  the  morning  and 
removes  it  at  night." 

Then  it  wouldn't  be  true  to  say  Jay 
is  only  happy  when  he's  raising  hell 
and  actually  being  Dennis? 

"He's  an  unusually  happy  child  and 
I  can't  recall  his  ever  having  been  in 
trouble.  The  only  time  I  can  remember 
him  actually  being  unhappy  is  when 
Joseph  Kearns  died.  He  played  Mr. 
Wilson  on  the  show  with  Jay  and,  when 
he  became  ill,  Jay  was  very  upset.  One 
night,  after  Jay  had  gone  to  bed,  the 
studio  called  to  tell  me  Mr.  Kearns 
had  died  and  they  wanted  me  to  break 
the  news.  I  didn't  want  to  wake  Jay,  so 
I  decided  to  wait  until  the  next  morn- 
ing. Unfortunately,  he  got  up  before  I 
did  and  heard  the  news  over  television. 

"He  was  a  different  little  boy  for 
days  and  wouldn't  go  near  the  television 
set.  Somehow  he  had  it  in  his  mind 
that,  if  he  turned  it  on,  he  would  hear 
some  sort  of  bad  news.  He  didn't  even 
want  to  play  ball  with  the  other  chil- 


Vote  Today-A  Gift  Is  Waiting  For  You ! 

We'll  put  your  name  on  one  of  400  prizes — and  all  you  have 
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MY    FAVORITES   ARE: 


MALE   STAR:    1. 


FEMALE   STAR:    1. 


2. 


FAVORITE   STORY    IN    THIS    ISSUE:    1. 


THE  NEWCOMER   I'D   LIKE  MOST  TO   READ   ABOUT: 

THE   FAMOUS   PERSON,    NOT    IN    SHOW 
BUSINESS,   I'D   LIKE  TO   READ   ABOUT: 


I  Name    Age 

t        : 

y  •  Address   

■ 
R 

10-62 

66  " " 


dren  on  weekends.  Finally,  his  Christian 
Science  teacher  at  church  explained 
that  Mr.  Wilson  had  just  walked  into 
another  room,  and  Jay  accepted  it. 
That  was  the  unhappiest  I've  ever  seen 
him.  His  life  is  too  full  to  be  unhappy, 
he's  too  busy  to  become  spoiled." 

At  this  point,  Jay  bounded  in  from 
the  terrace  and  asked  if  I'd  like  to  see 
his  room  and  the  playhouse  beside  the 
pool.  The  room  was  typical  of  any  nine- 
year-old  boy,  except  for  two  auto- 
graphed pictures  on  the  wall.  One  was 
of  President  Kennedy  and  the  other  of 
the  famed  Astronauts.  Not  many  little 
boys,  or  even  adults,  can  brag  of  such 
prized  possessions. 


No  "future"  in  it 


As  I  began  to  take  stock  of  the  room 
and  what  it  held,  I  realized  that,  almost 
without  exception,  it  was  filled  with 
pirate  paraphernalia.  Pirate  costumes, 
swords,  hats,  pictures,  books,  ships — 
even  a  pirate  salt-and-pepper  set.  The 
lamps  were  mounted  on  pirate  figurines 
and  an  entire  miniature  crew  of  yester- 
day's bad  men  paraded  across  the  top 
of  a  chest  of  drawers. 

"You  dig  pirates?"  It  was  a  pretty 
inane  question. 

"Boy,  do  I!  Ever  since  I  saw  'The 
Buccaneers'  on  television,  that's  what 
I've  really  wanted  to  be.  When  I  get 
my  vacation,  Mother's  going  to  take  me 
to  Florida.  You  know,  they  have  special 
pirate  days  there  and  everyone  gets 
dressed  up  like  one  and  even  acts  like 
one.  I'm  an  honorary  pirate  in  Seattle, 
where  they  have  the  same  kind  of  days. 

"That's  what  I  wanted  to  get  into 
when  I  grow  up,  but  mother  says  there 
isn't  any  future  in  it,  'cause  there  aren't 
many  working  pirates  anymore.  I  guess 
there  are  some  left  on  the  China  Seas 
or  some  place  like  that,  but  those  places 
are  an  awful  long  way  from  home. 
Guess  I'll  end  up  being  a  baseball  play- 
er or  something." 

Jay  and  his  mother  saw  me  to  the 
car  and,  as  I  drove  back  toward  Holly- 
wood, I  sized  up  the  situation  this  way : 

It's  obvious  Master  North  is  no 
Dennis  The  Menace,  but  he's  no  mama's 
boy,  either.  He's  wrapped  up  in  a  world 
of  sports  and  pirates  and  he's  still  very 
much  a  little  boy. 

I  remembered  the  old  rhyme:  "What 
are  little  boys  made  of?  Snips  and 
snails  and  puppy  dog  tails — that's  what 
little  boys  are  made  of." 

In  the  case  of  Jay  North,  it's  "sports 
made  for  males  and  old  pirate  tales" — 
that's  what  this  boy  is  made  of. 

And  when  a  little  boy  like  this  begins 
to  grow  up,  he  doesn't  get  too  big. 

He  just  gets  too  much! 

I  wondered  if  Jay  and  his  mother  had 
heard  the  rumors  that  there  might  be 
another  Dennis  to  take  his  place.  I 
thought  it  was  nice  that  Jay  was  mak-  , 
ing  other  plans  for  his  future,  but  I 
didn't  really  think  it  was  necessary.  At 
least,  not  yet. 

After  all,  if  Jay's  growing  up,  why 

can't  Dennis?  It's  not  that  dangerous. 

— Tricia  Hurst 

Jay  North  is  "Dennis  the  Menace"  on 
CBS-TV.    Sundav.    at    7:30    p.m.    edt. 


LET'S  HAVE  A  POLKA  PARTY ! 


MIDWEST 


Meet  WGRD's  popular 
Bob  "Jasiu"  Whitcomb, 
who  "polka-ed"  into  the 
hearts  of  thousands  of 
Grand   Rapids   listeners 


Proud  aunt  and  uncle  are  Carol  and  Bob  with 
niece  Karen  Jean  Southway,  Miss  Michigan  '62. 


,  j 

[■i; 

'      4  : 

Bo 

;'■ 

Recently,  Bob's  many  fans  surprised  him  with  birthday  party. 


Grand  Rapids'  Bob  Whitcomb  is  the  son  of  a  Presbyterian 
minister,  yet  he  was  recently  given  an  award  by  several 
Catholic  organizations.  He  isn't  Polish,  yet  he  has  earned  the 
affection  of  that  large  population  in  West  Michigan  (and  the 
affectionate  nickname  of  "Jasiu"  from  them,  too)  and  has 
a  standing  welcome  to  all  their  affairs.  Much  of  Bob's  pop- 
ularity has  been  gained  through  his  fourteen-year  association 
with  Station  WGRD.  His  two  shows — the  "Bob  Whitcomb 
Show"  and  "Original  Polka  Time" — both  reach  a  large, 
active  and  devoted  audience.  Says  Bob  simply,  "I  try  to  think 
of  my  listeners  by  taking  an  interest  in  their  language,  cus- 


toms, and  way  of  life."  .  .  .  Born  in  Evansville,  Indiana. 
Bob  says  of  his  school  days,  "I  was  always  the  first  one  to 
volunteer  for  school  dramatics  .  .  .  anything  to  be  on  stage 
and  in  front  of  the  footlights."  ...  It  was  at  the  station 
that  Bob  first  met  his  pretty  wife  Carol,  who  had  been 
hired  as  traffic  manager.  They  were  married  in  1954  and 
have  two  daughters — Linda  Sue,  7,  and  Robin  Jayne,  4. 
"They're  just  like  their  dad,"  smiles  Bob.  "Real  hams,  who 
love  to  play  announcer  with  the  tape  recorder."  They  all 
live  in  a  ranch-type  brick  house  with  a  recreation  basement 
which  self-styled  "wreck-it-yourselfer"  Bob  built  completely. 


67 


Just  like  reading  a  pleasant,  in- 


formative magazine  .   .   .   that's 


Stan  Matlock's  show  for  WKRC 


68 


Stan's  family  life  centers 
around  wife  Alice  and 
8-year-old  daughter  Anne. 


On  the  way  to  an  audition  for  his  first  radio  job,  Stan 
Matlock  went  through  a  red  light  and  got  the  only  ticket 
of  his  life.  He  also  got  the  job.  But  today,  Stan's  pop- 
ular "Magazine  of  the  Air"  show  for  WKRC,  in  Cin- 
cinnati, is  headed  up  by  anything  but  a  "hurried"  Stan. 
It  has  been  described  as  a  relaxed  show  with  "the  com- 
fortable feel  of  a  favorite  pipe."  Stan  himself  says, 
"Here's  how  I  feel  about  it:  If  a  man  is  sitting  at  home 
reading  and  says  to  his  wife,  'Hey,  Mabel,  listen  to 
this — '  then  it's  for  me.  I  just  want  to  share  all  the 
interesting   things   I   read."   And   read,    Stan   does.   His 


pleasant,  homey,  person-to-person  type  conversations  on 
the  air  are  relaxed,  informal  and  easy-going  and  belie 
the  fact  of  hours  and  hours  of  research  and  reading 
necessary  to  put  together  his  four-hour  daily  show.  .  .  . 
Stan's  being  so  fond  of  the  written  word,  it  naturally 
follows  that  it  should  have  played  a  big  part  in  his 
romantic  life.  Says  he,  "My  wife  Alice  was  a  continuity 
writer  at  our  TV  station  and — dashing  Romeo  that  I 
am — I  asked  for  our  first  date  by  written  note."  .  .  . 
The  Matlocks'  eight-year-old  daughter  Anne  is  cute, 
blonde,    and    loves   to    help    Daddy    whenever   possible. 


69 


As  a  secret  agent  in  TV's  "Danger 

Man/'  Patrick  McGoohan  finds  excitement 

and  big  adventure  in  every  corner  of  the  world 


ELVIS    PRESLEY 

(Continued  from  page  61) 


go  wrong  between  them?  .  .  .  Was 
it  after  he  envisioned  her  presiding 
over  Graceland — taking  the  place  his 
mother  held  at  their  beautiful  home 
in   Memphis? 

Or  had  things  begun  to  go  so  mis- 
erably wrong  between  Nancy  Sharp 
and  himself  after  that  Christmas  visit 
to  her  family  in  St.  Louis?  She  was 
certainly  pretty  special.  He'd  been  so 
close  to  asking  her  to  become  his  wife 
— so  close,  time  after  time,  to  whisper- 
ing the  words,  when  she  was  cradled 
in  his  arms.  But  somehow,  in  that  warm, 
cultured  home,  full  of  books  and  paint- 
ings, and  educated  talk,  Elvis  became 
again  the  tongue-tied,  fearful  youngster 
from  the  public-housing  apartment  in 
the  hungry  part  of  Memphis.  Suddenly, 
he  was  a  country  boy,  lonely,  restless, 
overly-suspicious,  in  an  alien  land. 
Nancy's  father,  a  well-to-do  dentist,  was 
friendly  but  completely  professional; 
her  mother — a  charming,  pretty  woman 
— was  a  college  graduate,  as  was 
Nancy. 

Elvis  met  Nancy  last  year  when  he 
was  making  "Flaming  Lance."  His  rest- 
less, sooty-rimmed  eyes  focused  on  the 
quiet,  ladylike  Nancy  and  stayed  there 
— a  real  tribute  to  her  charm  and 
femininity.  An  apprentice  fashion  de- 
signer, she  was  working  as  junior  ward- 
robe mistress  on  her  first  film.  Tall, 
shapely,  hazel-eyed,  quietly  dressed  in 
excellent  taste,  Nancy  was  far  from 
the  type  of  voluptuous  starlet  in  tight 
capris  he  often  chose  to  date.  The 
King  of  Hearts,  who  definitely  knows 
how  to  magnetize  any  girl  he  fancies, 
had  a  little  trouble  with  reserved  Nancy 
Sharp.   Finally,  she  agreed  to   a   date. 

Nancy's  promise 

"I  must  ask  you  something,"  Elvis 
said  hesitantly.  "I  cannot  date  a  girl 
unless  she  will  promise  me  that  she 
won't  talk  with  a  columnist  about  us 
or  allow  a  photographer  to  take  a  pic- 
ture  of   us   together." 

Nancy  looked  puzzled.  She  wasn't 
seeking  publicity  for  a  movie  career; 
she  didn't  want  to  be  seen  in  night 
clubs.  They  dated  steadily  but  quietly, 
in  out-of-the-way  places,  spending  more 
and  more  of  their  time  together.  She 
was  no  adoring  slave,  open-mouthed 
over  being  with  her  idol.  Nancy  was 
an  independent  career  girl  who  put  on 
no  airs.  Elvis  found  himself  deeply  in 
love.  He  had  ripened  from  wild  boy- 
hood to  mature  manhood — ripened 
enough  to  appreciate  a  mature,  sophis- 
ticated girl  like  Nancy.  When  he  gifted 
her  with  a  German  music  box  which 
played  "I  Love  You  Truly,"  Nancy  was 
deeply  moved. 

And  then  when  Elvis  was  about  to 
propose  marriage,  he  did  what  he  had 
done  before — turned  away  abruptly, 
sick  with  fears  and  doubts. 

Once  again,  he  found  himself  unable 
to  enter  a  deep,  meaningful  relation- 
ship with  a  girl.  Why?  Why?  he  asked 
himself  over  and  over,  like  a  needle 
stuck    in    a    record.    He    had    dreamed 


of  a  loving  wife  to  come  home  to,  and 
then  he  found  himself  afraid  to  take 
a  chance  on  marriage  because  a  fail- 
ure might  hit  him  where  it  hurts — in 
the  heart!  Was  it  better  to  let  well 
enough  alone — to  stay  single?  Why 
did  he  get  almost  to  the  point  of  pro- 
posing, then  turn  tail?  Like  he  did 
with  Anita  Wood.  With  all  the  others. 
He'd  dated  so  many — so  many  .  .  . 
yet  why  did  he  always  end  up  without 
the  wife  he  needed?  In  a  few  months 


he'd  be  twenty-eight — twenty-eight  and 
still  not  settled.  His  mom  had  been 
barely  fifteen  when  she  married  .  .  . 
Dad,  seventeen.  They  weren't  afraid 
to  take  a  chance.  Why  was  he  so  fear- 
ful— 50  full  of  doubts?  Was  he  afraid 
he  wouldn't  find  anyone  who  would 
love  him  as  his  Mom  had— no  matter 
what  he  did? 

Elvis  lay  in  bed,  twisting  from  side  to 
side  in  an  agony  of  self-condemnation, 
of    indecision.    Beads    of    perspiration 


Science  Cracks  The  Smoking  Barrier 

NEW  "JET  STREAM" 
PERMANENT  CIGARETTE  FILTER 
TRAPS  LUNG  IRRITATING  TARS 

Works  On  Amazing  New  Principle ...  No  Filters ...  No  Cartridges . . . 
No  Crystals.  Actually  Knocks  The  Tar  Out  Of  Smoking. 


Thanks  to  the  marvel  of  aerodynamic  science,  a 
new  permanent  cigarette  filter  has  been  developed 
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WHILE  IT  LETS  YOU  ENJOY  A  SAFER  PLEASANTER 
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HERE'S  HOW  TAR  GARD  WORKS: 

After  only  2  cigarettes,  see  how  much  "high 
temperature  tars"  have  been  trapped. 


unci 


Here's  the  result  after  just  5  cigarettes.. 


This  is  the  amazing  result  TAR  GARD  gives  you 
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Imagine  what  TAR  GARD  will  do  if  you  just 
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So  why  tamper  with  your  health.  Try  TAR 
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TAR  GARD  LABORATORIES,  INC. 


o 

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TAR  GARD  CORP.  Dept.  A  <J 

P.O.  Box  882,  San  Diego  12,  California      ^ 

Rush TAR  GARD  Cigarette  Holders  @ 

$2.95  each.  I  enclose  $ in     Cash 

Check  Money  Order.  You  guarantee  that 
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Name — 

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Though  Connie's  dated  others, 
she's  never  been  out  of 
Gary's  heart.  But  how  long 
can  a  guy  wait?  They're  keep- 
ing company  again,  and  we 
think  now's  the  time  for  Con- 
nie to  say  yes  at  last  to 
this   patient  TV   "Virginian." 


clouded  his  upper  lip.  He  straightened 
the  rumpled  covers,  tried  desperately 
to  still  the  questions,  to  will  himself 
to  sleep.  But  once  again,  like  a  record 
he  was  powerless  to  turn  off,  the  in- 
sistent questions  filled  the  room. 

Nancy  .  .  .  would  he  be  happy  with 
Nancy?  She's  a  girl  from  another 
world.  Anita,  she's  a  girl  from  back 
home.  He  couldn't  make  a  move,  with 
one  leg  in  Memphis  and  one  in  Holly- 
wood. .  .  .  Why  did  he  keep  asking 
himself:  Would  a  beautiful  college 
graduate  like  Nancy  love  him  if  he 
were  still  a  Memphis  truck  driver?  Was 
she  interested  in  Elvis  Presley,  mil- 
lionaire movie  star,  or  in  Elvis  Presley, 
son  of  a  Mississippi  sharecropper? 
How  could  he  be  sure?  How  could  any 
man  be  sure  of  a  girl?  Was  it  because 
he'd  met  so  many  "gimme"  dames  with 
hands  outstretched  in  Hollywood — girls 
who'd  made  him  bleed,  girls  who'd  had 
him  cornered?  Was  that  why  he 
couldn't  trust  a  girl  all  the  way?  Okay, 
so  suppose  he'd  ask  Nancy  to  marry 
him.  How  would  he  know  she  wouldn't 
turn  him  down  if  he  told  her  hoiv  he 
felt? 

And  so  he'd  grown  distant  on  their 
last  few  dates.  "What  is  the  matter?" 
asked  a  confused  Nancy.  "Have  I  done 
something  to  hurt  you?"  Elvis  shook 
his  head,  too  choked  up  to  speak.  Fi- 
nally, he  ceased  to  phone  her. 

But  he  didn't  forget  Nancy  Sharp — 
the  girl  he'd  come  closest  to  marrying 
since  his  return  from  the  Army. 

No;  he  didn't  forget  the  delicate 
lavender  cologne  she  wore,  the  soap- 
sweet  fragrance  of  her  long,  curling 
blonde  hair,  the  subdued  print  of  her 
summer  cottons,  crisp  with  starch.  He 
didn't  forget  her,  though  his  days  were 
taken  up  with  one  picture  after  an- 
other; his  nights,  in  the  company  of 
his  five  Memphis  pals  who  live  with 
him  and  accompany  him  wherever  he 
goes.  He  didn't  forget  her  as  he  stroked 
"Scatter,"  the  cute  little  chimpanzee 
he'd  bought  as  a  shield  against  the 
intolerable  loneliness  of  his  life. 

Cornered 

Between  films,  Elvis  spends  feverish 
hours  gambling  in  Las  Vegas.  And  dat- 
ing the  tall,  voluptuous  showgirls  who 
look  longingly  at  the  jewels  and  mink- 
trimmed  sweaters  in  the  glittering  show- 
cases. He  is  a  steady  loser  at  the  crap 
tables.  "I  dropped  $15,000  my  last 
trip,"  he  told  a  clinging  chorine.  "Let 
me  be  your  good  luck  charm,"  she 
pleaded.  As  Elvis  watched  the  croupier 
rake  in  his  last  stack  of  dollars,  he 
looked  down  at  his  empty  hands,  and 
turned  away,  murmuring,  "Lady  Luck's 
passed  me  by  again." 

As  he  prepared  for  bed  in  the  bright 
sunlit  morning,  the  mirror  reflected  his 
somber  blue-gray  eyes,  his  full,  sensu- 
ous lips  turned  down  at  the  corners. 
People  had  always  said  he  had  his 
mother's  mouth.  .  .  . 

At  breakfast,  in  mid-afternoon,  Elvis 
laughingly  recounted  to  his  entourage 
the  crazy  dream  he'd  had.  "I  was  on 
stage,  dressed  up,  but  without  my 
jacket.  A  blonde  doll  slipped  a  gold 
lame  jacket  over  my  shoulders  while 
my  mom  watched  beside  me.  They  say 


dreams   have   meaning,"   he   shook   his 
head  wonderingly.  "Beats  me." 

"Maybe  the  dame  was  that  Nancy 
Sharp  you  used  to  date,"  remarked 
his  cousin,  Gene  Smith.  "She  was 
mighty  sweet,  a  mighty  nice  gal.  What- 
ever happened  to  her?" 

"I  dunno,"  Elvis  answered  as  a  tiny 
pain  clutched   his  heart. 

Was  his  Mom  watching  the  gal  slip 
the  marriage  noose  over  his  shoulders? 
Was  the  thought  of  his  Mom  keeping 
him  from  marrying? 

"Naw,"  said  Elvis  then,  aloud.  "I 
don't  say  I  want  to  marry  someone 
exactly  like  my  mother,  but  I  sure 
wish  I  could  find  a  gal  that  would 
understand  me  like  she  did — one  who 
could  know  what's  buggin'  me,  even 
if  I  didn't  say  a  word.  Sure,  I  want 
to  marry.  Every  time  I've  been  out  with 
a  gal  a  few  times,  I  get  to  wonderin' 
how  I'd  feel  about  being  with  her  the 
rest  of  my  life.  .  .  .  But  I  dunno." 
When  he'd  first  started,  they'd  told 
him  not  to  get  mixed  up  with  any 
one  girl,  not  to  get  married.  It  might 
hurt  his  career.  But  that  was  a  long 
time  ago.  Reaching  over  to  pummel 
Elvis  in  the  ribs,  Gene  laughed,  "You're 
a  big  boy,  now." 

Elvis  found  the  image  of  Nancy  in- 
truding on  him,  hours  later.  In  Hawaii, 
on  the  "Girls,  Girls,  Girls"  set,  he 
thought  he  caught  a  glimpse  of  her. 
Again,  while  he  played  touch  football 
with  the  guys,  while  he  swam  in  the 
cool  blue  waters,  Nancy  seemed  close. 
Suddenly,  one  afternoon,  he  looked  up 
her  number  in  his  well-thumbed  little 
black  book  and  dispatched  a  body- 
guard-companion to  phone  her.  Nancy 
wasn't  home.  Neither  was  Joanie,  a 
secretary  at  the  studio.  "Out  on  a  date." 
her  mother  said. 

The  question  came  again.  What  was 
wrong  with  him?  He  could  go  outside 
the  hotel  and  be  surrounded  by  a  swarm 
of  girls.  But  it  would  be  Elvis  the  actor 
they'd  want,  he  was  afraid  .  .  .  not 
Elvis  from  Tennessee.  What  ivas  it 
Joanie  had  said  the  last  time  he'd 
seen  her?  Oh,  yes,  something  like: 
"You  can't  expect  to  build  up  a  close 
relationship  with  a  girl  when  you're 
always  surrounded  by  that  hometown 
gang  of  yours.  No  one  can  get  through 
to  you  with  that  iron  curtain  you've 
placed  around  you.  Are  they  clowns 
for  the  king's  entertainment?  Do  you 
need  them  to  light  your  cigarillos,  to 
get  people  on  the  phone?  If  you  in- 
sist on  having  them  with  us  on  dates, 
on  sending  one  to  call  for  me  instead 
of  coming  yourself,  then  I  can't  see 
you  anymore." 

But  he  had  to  have  his  buddies  with 
him  or  he'd  die  of  loneliness,  rattling 
around  the  big  Bel- Air  house.  He 
couldn't  bear  to  be  alone  since  his  mom 
passed  away.  With  her  and  his  dad  in 
the  Memphis  house,  he  never  felt 
lonely.  .  .  .  Yes,  Nancy  and  Joanie  were 
real  wonderful  girls.  Both  put  him  first, 
wanted  nothing  from  him;  both  easy- 
going, fun  to  be  with.  .  .  . 

But  some  wanted  publicity 

Elvis  had  dated  many  Hollywood 
girls.  The  list  started  with  Natalie 
Wood.    Yvonne    Lime,    Ann    Neyland, 


Let's  talk  frankly  about 

internal 
cleanliness 


Day  before  yesterday,  many  women  hes- 
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their  best  friends,  let  alone  to  a  doctor 
or  druggist. 

Today,  thank  goodness,  women  are 
beginning  to  discuss  these  things  freely 
and  openly.  But  — even  now  — many 
women  don't  realize  what  is  involved  in 
treating  "the  delicate  zone." 

They  don't  ask.  Nobody  tells  them. 
So  they  use  homemade  solutions  which 
may  not  be  completely  effective,  or  some 
antiseptics  which  may  be  harsh  or  in- 
flammatory. 

It's  time  to  talk  frankly  about  inter- 
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Here  are  the  facts:  tissues  in  "the  deli- 
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This  preparation  is  far  more  effective 


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cleanses,  freshens,  eliminates  odor, 
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motes confidence. 

This  is  modern  woman's  way  to  inter- 
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Venetia  Stevenson,  Kathy  Case,  Sherry 
Jackson,  Ziva  Rodann — so  many,  some 
now  married,  some  still  available.  There 
were  Tuesday  Weld  and  Juliet  Prowse, 
Connie  Stevens,  Anne  Helm,  Margie 
Regan,  Joanna  Moore.  Some  were  won- 
derful girls;  some  were  apparently 
motivated  more  by  publicity  than  pas- 
sion. Some  thought  he  was  a  laugh,  a 
kind  of  clown,  some  wanted  only  to 
see  their  photos  in  the  fan  magazines 
with  him,  some — like  "kiss-and-tell" 
TV  starlet  Sherry  Jackson — wrote  dev- 
astating articles  about  their  friendship. 
When  Elvis  reads  or  hears  what  some 
starlets  have  said  about  him,  he  is  de- 
pressed for  days.  For  Elvis  Presley  is 
a  hypersensitive,  high-strung  person- 
ality who  needs  everyone's  approval. 
Not  long  ago,  he  was  a  member  of  the 
"have-nots"  and  he  still  hasn't  forgot- 
ten his  feelings  toward  the  "haves"  of 
the  world. 

Why  did  he  get  mixed  up  with  girls 
who'd  say  how  happy  they  were  to 
date  him,  then  turn  away  to  laugh  or 
stab?  Or,  why  did  he  meet  these  movie 
dolls  who  come  on  like  a  ten-ton  truck 
— who  tell  you,  right  off  the  bat,  where 
they  want  to  go,  what  they  want  to  do 
— who  never  stop  thinking  of  them- 
selves? Why  couldn't  he  find  a  girl  who 
really  cared  for  him  like  Shirley  cared 
for  Pat  Boone  or  Sandra  for  Bobby 
Darin  or  Nancy  for  Tommy  Sands? 
And  kids.  .  .  . 

Elvis  worries  because  he  is  exhausted 
all  the  time.  Yet  he  knows  that  he 
agreed  to  the  man-eating  schedule  of 
pictures  since  his  return  from  the  Army. 
Could  he  be  doing  this  to  mask  his 
feelings  over  the  emptiness  of  his  life? 
Or  is  he  on  a  professional  treadmill 
from  which  he  dares  not  jump  off? 
"You  can't  stand  still;  if  you  do,  you're 
dead,"  he  once  declared.  He's  a  world 
celebrity  who  is  frightened  of  the  fu- 
ture, determined  not  to  go  back  to 
the  poverty-stricken  past,  robbed  of 
a  personal  life— a  multimillionaire 
rock  'n'  roller  who  can't  hide  any- 
where. 

The  world's  most  eligible  bachelor 
wants  desperately  to  marry  and  raise 
a  family — but  he  is  afraid  to  get  in- 
volved. There  are  those  who  believe 
that  pretty  Anita  Wood,  Memphis  show- 
girl and  disc  jockey,  is  the  number- 
one  candidate  to  be  Mrs.  Elvis  Aron 
Presley.  Sometimes  he  tells  his  dates 
that  they  are  the  same  height  and 
weight  as  "his  girlfriend,"  and  it  is 
presumed  that  he  is  referring  to  Anita. 
"They  could  make  beautiful  music  to- 
gether," quipped  a  friend,  "even  if 
it's  only  rock  'n'  roll.  Anita  and  Elvis 
have  been  a  twosome  since  1957 — 
longer  than  any  Presley  romance.  She's 
dated  him  in  Memphis  through  the 
years,  in  times  of  joy,  consoled  him  in 
times  of  sorrow,  and  she's  visited  Elvis 
in  Hollywood  several  times." 

When  he  can't  sleep  in  the  shadowy 
dawn,  Elvis  asks  himself  what  hap- 
pened between  him  and  his  hometown 
girl. 

He  was  closer  to  marrying  her  than 
he'd  ever  been;  he'd  missed  her  most 
when  he  was  in  the  Army.  What  went 
wrong?  His  mom  had  passed  away 
and  he'd  needed  Nita  so  desperately. 
It  had  been  on  his  tongue  to  say,  "Let's 


run  away  and  get  married."  But  he 
was  held  back  because  he  was  going 
overseas.  It  wasn't  fair  to  marry  in  those 
uncertain  days.  And  when  he  came 
back,  he  was  too  busy  re-establishing 
himself  to  think  of  marriage. 

How  love  dies 

Those  wise  to  the  ways  of  love  know 
that  there  comes  a  time  between  a 
man  and  a  maid  when  it  would  lead 
to  marriage.  Pass  that  time  and,  in  most 
instances,  the  desire  passes  also.  It  is 
likely  that  this  is  what  happened  be- 
tween Elvis  and  his  onetime  No.  1  girl. 

Many  girls  who  have  dated  Sir  Swivel 
have  said,  "And  then  I  never  heard 
from  him  again.  I  can't  imagine  why." 
Why  is  he  so  suspicious  of  the  motives 
of  those  he's  dated?  Possibly  it  goes 
back  to  Elvis's  first  love  affair.  "When 
I  was  a  sophomore  at  Humes  and  six- 
teen," Elvis  once  told  this  reporter, 
"there  was  this  girl  Billie,  a  senior, 
nineteen  and  a  part-time  waitress.  She 
was  my  first  real  love,  though  she  was 
heavier  and  taller  than  I  was.  But  I 
believed  she  was  the  most  beautiful 
creature  on  God's  earth.  Finally,  I  got 
up  enough  courage  to  tell  her  how  much 
I  loved  her.  And  then  I  found  out  she 
was  dating  somebody  else.  When  I 
asked  her  about  it,  she  called  me  a 
kid  and  almost  laughed  at  me.  Like 
to  broke  my  heart.  It  was  years  before 
I  got  over  it." 

In  addition  to  the  wound  a  sensitive 
youngster  received  was  his  earlier  con- 
ditioning by  a  strict  mother,  considered 
by  many  family  friends  to  have  been 
too  possessive  and  over-protective.  Per- 
haps Mrs.  Presley  made  Elvis  hesitant 
to  leave  the  warm  nest  of  her  love. 
When  he  was  a  skinny,  solemn-faced 
youngster,  his  mother  would  not  permit 
him  to  leave  the  yard,  go  swimming 
or  play  football.  Nor  would  she  permit 
him  to  date  girls  until  he  was  around 
sixteen.  Penned  in  by  an  anxious  moth- 
er when  he  should  have  been  forming 
group  attachments  and  dating  nor- 
mally, Elvis  matured  slowly.  He  made 
up  for  lost  time  by  showing  an  over- 
whelming interest  in  girls  in  his  early 
twenties. 

Today  he  needs  one  special  girl,  not 
the  thousands  of  squealing,  sweet-faced 
youngsters.  Not  one  who  makes  him 
bleed;  not  one  who'll  have  him  cor- 
nered. He  needs  a  wife — someone  like 
Nancy  Sharp  or  Anita  Wood.  Those 
who  wish  him  well  hope  that  soon  Elvis 
will  free  himself  from  his  fears,  suspi- 
cions, feelings  of  inferiority,  and  that 
he  will  hold  the  woman  of  his  choice  in 
his  arms  and  sing  his  old  song  to  her: 

"Love  me  tender,  Love  me  true,  Never 
let  me  go  . . ."  — Maxine  Block 


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77 


I .  I  I  : ■  i  -  ■  !  i ' :  i  = 


LUCILLE    BALL 

(Continued  from  page  31) 

when  Willie  Mae,  her  personal  maid, 
had  brought  it  in.  "Orange  juice  with 
a  raw  egg  whipped  in."  Now,  coffee 
pot  in  hand,  Lucy  paused  to  reminisce. 
"I've  always  loved  orange  juice.  Thirty 
years  ago,  I  was  working  as  a  model 
in  New  York,  making  a  hot  thirty-five 
dollars  a  week.  I  had  to  watch  both 
my  figure  and  my  figures.  Economy  was 
the  watchword  of  the  day.  I'd  slip  into 
a  walk-in  stand  and  get  a  glass  of  juice 
for  breakfast-lunch.  That's  how  I 
thought  of  them — as  one  word,  one 
meal. 

"One  scalding  summer  day,  I  fainted 
while  having  my  drink.  In  falling,  I 
knocked  over  a  big  glass  container  of 
the  stuff.  When  I  came  to,  I  learned 
I'd  caused  $25  in  damage.  It  might  as 
well  have  been  $2500.  I  nearly  fainted 
again.  It  took  me  several  months  to 
clear  up  this  debt  .  .  .  but,  in  some  way, 
I've  felt  it  brought  me  luck.  A  day  after 
meeting  the  last  payment,  I  was  given 
the  chance  to  come  to  Hollywood.  And 
I've  never  been  out  of  work  since  .  .  ." 

At  this  point,  Lucy's  press  agent, 
Kenny  Morgan,  came  in.  He  wanted  to 
let  her  know  that  the  tape  recordings 
she'd  done  an  hour  before — solicitations 
for  the  United  Jewish  Appeal — had  all 
turned  out  "A-Okay,  and  they're  real 
pleased  and  grateful."  The  laughter- 
quick  mouth  of  the  great  clown  crinkled 
in  thought.  "This  is  a  kind  of  proof 
that  you're  a  star,"  she  commented. 
"When  I  was  a  chorus  girl  and  hadn't 
two  cents  to  rub  together,  I  was  asked 
to  donate  to  all  sorts  of  causes.  Now 
that  I  can  afford  to  give  to  worthy  char- 
ities, they  want  my  time.  They  say  they 
can  always  get  money,  but  a  few  min- 
utes from  me  is  worth  more  in  the  long 
run." 

Her  guest,  glancing  slyly  up  from 
her  coffee,  put  a  sudden  question.  If  it 
was  meant  to  catch  Lucy  off-guard,  it 


failed.  Her  laughter  clattered  out  in  the 
infectious  caroling  that  has  delighted 
millions  of  film  and  TV  fans. 

"What  a  question,"  she  gasped,  "Is 
Desi  still  in  my  life!  What  next?"  She 
walked  to  the  window  and  gazed  brief- 
ly down  at  the  flowering  garden  and 
its  attractive  guest  house. 

After  a  moment,  she  said,  "I  was 
married  to  Desi  for  over  fifteen  years. 
He's  the  father  of  my  two  children.  And 
you  don't  erase  a  husband,  when  you 
divorce  him,  like  a  chalk  mark!  Of 
course  he's  still  in  my  life,  in  a  cer- 
tain sense.  As  the  father  of  little  Desi 
and  Lucie,  he  comes  to  visit  them. 
Which  is  his  right.  Sometimes  I  see  him 
when  he's  here.  The  kids  spend  most 
of  their  vacation  with  him,  also  many 
weekends  and  holidays.  Is  there  any 
earthly  reason  why  he  should  be  de- 
prived of  being  with  his  children,  or 
they  with  their  father?  Our  divorce, 
and  my  marriage  to  Gary,  doesn't  affect 
Desi's  love  for  his  children.  In  that 
sense  he  is  still  in  my  life. 

"Then  you  mustn't  forget  that  Desi 
is  executive  producer  of  my  new  show. 
That  means  he  handles  the  business  de- 
tails. He  always  did  this,  and  nobody 
can  deny  he's  a  whiz  at  it.  This  also 
makes  him  part  of  my  life,  doesn't  it? 
It's  well  known  I'm  still  a  partner  in 
Desilu.  Naturally,  I  am  doing  my  new 
series  there.  I  wouldn't  consider  doing 
one  anywhere  else.  After  all,  I  do  feel 
an  obligation  to  Desi  and  the  other 
stockholders.  I'll  never  forget  that  they 
played  a  large,  maybe  decisive,  part  in 
my  success,  financial  and  entertain- 
ment-wise. In  this  sense,  too,  Desi  and 
all  the  people  who  invested  in  T  Love 
Lucy,'  and  our  other  projects,  are  still 
a  very  real  piece  of  my  life.  Just  as  I 
am  in  theirs." 

She  diverged  from  this  line  of  thought 
to  explain  that  the  negotiating  with 
Warner  Bros,  for  her  new  movie — 
"Critic's  Choice,"  in  which  she  co-stars 
with  Bob  Hope — was  a  matter  handled 
by  herself  and  her  lawyer.  She  doesn't 
have  an  agent. 


•   COMING  IN  NOVEMBER  TRUE  STORY  MAGAZINE  * 


-AJNTJ3 


AND 

THE,, 
SNGLE 


THE 


SINGLE 


By  Hrt'r 


OW 


■{l&  g«OWi 


JOAN   CRAWFORD: 

"Can  be  a  textbook  for  all  women,  single 
and  married.  It  should  be  put  on  every 
man's  bed  table — when  he's  free,  that  is. 
It's  enchanting." 


(Condensed  from  the  New  Bestseller,  by  Helen  Brown) 

"Theoretically,  a  'nice'  single  woman  has  no  sex 
life.  What  nonsense!"  says  Helen  Brown,  the 
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every  single  woman.  Read  it  next  month  in 
True  Story. 


78 


•  NOVEMBER  TRUE  STORY-ON  SALE  OCTOBER  4  • 


Now,  as  if  on  cue,  the  phone  rang. 
Answering,  the  eyes  of  the  great  clown 
rounded  hugely  in  a  burst  of  hilarity. 
"Desi!  This  is  funny,  but  I  was  just 
talking  about  you.  The  children  asked 
me  when  you  were  getting  back  from 
New  York — yes,  only  this  morning. 
They're  holding  your  birthday  gifts  for 
you  and  they  can't  wait  to  hand  them 
over  .  .  ."  The  conversation  moved  into 
the  area  of  business  and  it  was  five  min- 
utes, by  the  watch,  before  she  set  the 
phone  down. 

The  suddenly  alerted  glint  in  her 
guest's  eyes  moved  her  to  a  tolerant 
sigh.  "I'm  completely  in  love  with 
my  husband,  a  talented  comedian  named 
Gary  Morton.  So,  is  there  anything 
scandalous  in  my  hoping  that  Desi  also 
finds  happiness  and  peace  of  mind,  just 
as  I  have? 

"When  I  fell  in  love  with  Gary,  and 
felt  sure  he  was  in  love  with  me,  all 
at  once  I  knew  what  the  astronauts  call 
a  'weightless  state.'  I  floated  on  air.  I 
felt  all  charged  up.  I  had  a  need  to 
make  people  laugh,  and  to  laugh  with 
them.  I  wanted  to  be  busy.  I  redecorated 
this  house.  I'd  never  noticed  before 
how  drab  it  seemed  with  dark  gray 
walls.  But  when  I  came  home  as  Mrs. 
Gary  Morton,  happy  as  a  clam,  I  got  a 
craving  for  white,  bright  rooms.  I 
visualized  the  whole  place  in  images  of 
sunny  California." 

What  were  some  of  the  changes  she 
had  made?  New  hanging  chandehers 
of  glittering  crystal  .  .  .  decorator  light- 
fixtures  .  .  .  the  old  veranda  enclosed 
and  converted  into  the  upstairs  family 
room  between  the  master  suite  and  the 
nursery — here  she  broke  off  to  reflect 
wryly,  "Oh,  I'd  better  not  use  that  word, 
nursery !  The  other  day,  the  kids  chewed 
me  out  about  it.  You  know,  Lucie's 
ten  and  Desi's  nine  now,  and  they  feel 
humiliated  even  for  their  nurse  to  sleep 
in  an  adjoining  room.  But  what  do  you 
call  that  part  of  a  home  where  the 
children  sleep  after  they've  outgrown 
the  nursery  bit? 

"This  room,"  she  swept  her  free  arm, 
"has  become  our  favorite  gathering 
place.  Gary  is  wonderful  with  the 
children.  At  night,  little  Desi  teases 
him  into  a  game  of  chess.  Gary  is  pretty 
good  at  it  and  he's  been  teaching  the 
little  fellow.  The  feminine  side  of  the 
Morton  family — meaning  my  daughter 
Lucie  and  me — study  the  homemaking 
magazines,  looking  for  ideas  in  furni- 
ture, gardening  and  recipes  .  .  ." 

"It  didn't  hurt  a  bit" 

As  proof,  Lucille  Ball  Arnaz  Morton 
pulled  out  a  cookbook  she  had  started 
for  her  daughter  while  with  Gary  in 
Reno  last  year.  Gary  had  been  appear- 
ing there  and,  to  fill  in  the  time,  Lucy 
had  put  together  the  cookbook,  care- 
fully plotting  simple  but  nutritious 
menus  a  beginner  might  handle  without 
running  into  disaster.  To  illustrate  the 
copy,  she  pasted  pictures  of  various 
dishes  in. 

She  also  wrote  a  "mother  to  daugh- 
ter" foreword:  "Dearest  Lucie,  Have 
been  planning  some  menus  I'd  like  you 
to  try  all  by  yourself.  I  know  how 
anxious  you  are  to  learn  how  to  cook — 
so  now,  let's  go.  At  least  once  a  week, 


you  ought  to  take  a  whack  at  the 
kitchen.  Love  you,  darling.  Your  Mom- 
mie." And,  at  the  close  of  the  book:  "I 
hope  you  will  use  and  enjoy  this  book. 
When  Mommie  was  nine,  she  was  al- 
ready making  meals  for  seven  people  in 
her  family.  It  didn't  hurt  her  a  bit.  I'm 
sure  you  want  to  become  a  good  Mom- 
mie and  homemaker  yourself  some  day, 
and  I'd  like  to  help  you  in  this  all  I 
can.  .  .  ." 

According  to  Lucy,  although  little 
Desi  has  played  the  bongo  drums  since 
he  was  four,  and  Lucie  takes  piano 
lessons,  neither  has  yet  indicated  any 
serious  concern  with  show  business. 
When  the  little  girl  began  balking  at 
the  amount  of  practice  required  in 
learning  to  play,  her  teacher  employed 
a  psychological  approach  that  paid  off. 
Lucie  was  told  to  ask  her  mother  what 
her  favorite  song  was.  "Make  Some- 
one Happy,"  said  Lucy.  "Well,"  chirped 
Lucie  gleefully,  "that's  the  song  I'm 
going  to  learn  next!" 

Incidentally,  this  was  also  one  of  the 
songs  featured  at  Lucy's  and  Gary's 
wedding  .  .  .  "but  I  didn't  hear  a  note 
of  it!"  she  confessed.  "I  was  far  out 
.  .  .  far,  far  out." 

The  big  white  house  in  Beverly  Hills 
boasts  a  small,  compact  but  efficient 
theater  in  the  guest  quarters.  Lucy  and 
Gary  use  it  on  occasion  to  run  through 
lines  or  rehearse  skits.  The  children, 
however,  find  it  a  continual  incentive 
for  staging  shows  for  the  benefit  of 
their  friends. 

Between  phone  calls  and  giving  direc- 
tions to  Willie  Mae,  Lucy  went  on  to 
explain  why  she  had  dated  Gary  a 
year  before  going  into  marriage.  "I 
wanted  to  allow  enough  time  for  my 
children  to  get  to  know  and  like  the 
new  big  man  in  their  mother's  life.  And 
it's  worked  out  as  I  hoped.  Gary  is 
very  fond  of  them,  and  they  of  him. 

"So  far,  I  do  all  the  disciplining. 
We're  breaking  Gary  in  easy.  But  there 
have  been  a  few  times  when  he  had 
to  talk  turkey  with  them — and,  be- 
lieve me,  they  listened.  He  is  the  kind 
who  thinks  hard  before  he  speaks,  but 
once  he  opens  his  mouth — authority! 
Even  I  quit  kibitzing  and  listen. 

"I  try  not  to  spoil  them,  even  at 
Christmas.  And  it's  sunk  in.  Lucie  said, 
not  long  ago.  'Mommie,  let's  put  away 
most  of  the  toys  and  only  use  a  few 
each  week.'  I  find  that,  even  with  fewer 
gifts,  they're  just  as  happy.  They  get  a 
chance  to  use  and  love  what  they 
have,  instead  of  dashing  from  one  toy  to 
the  next  before  they  have  any  ap- 
preciation of  the  old  one." 

Desi  and  Lucy  discuss  all  major 
plans  for  the  children.  It  is  by  mutual 
agreement  that  they  are  being  reared 
Catholic,  Desi  at  St.  John's  in  North- 
ridge  and  Lucie  at  Marymount. 

Meanwhile,  Gary  is  making  a  subtle 
contribution  to  their  education.  In  his 
den  are  two  shelves  lined  with  child- 
ren's books,  and  they  have  a  well- 
thumbed  look.  "I  came  in  recently  and 
saw  young  Desi  doing  his  homework 
and  watching  a  TV  cartoon  at  the  same 
time,"  Lucy  said.  "I  took  the  set  out 
of  his  room  for  a  week.  But  then  Gary 
asked  if  he  could  modify  the  punish- 
ment. He  said  he  would  give  the  set 
hack   two  days  earlier — if  Desi   would 


read  two  books  after  homework.  Desi 
did  and  admitted  he  loved  doing  it." 

It's  "lights  out"  at  8:30  p.m.,  with  the 
youngsters  expected  to  be  in  dreamland 
by  nine  at  the  Morton  household.  This 
fall,  curfew  will  ring  half  an  hour  later 
on  Monday  nights,  so  the  children  can 
watch  "the  best  female  clown  in  the 
world"  perform  in  her  new  series. 

Lucie  has  gone  into  art,  her  mother 
crowed  with  pride.  "She's  quite  good, 
too."  Lucy  herself  has  done  some  paint- 
ing for  what  she  likes  to  call  "my  own 
amazement."  Several  of  her  pieces, 
signed  "Balzac,"  adorn  the  walls. 
"But,"  she  insisted  to  her  guest,  "it's 
the  little  one's  work  I'm  really  gone 
on." 

The  subject  of  art  inevitably  led  to 
Lucy's  "fifty-cent  tour  of  the  joint," 
during  which  she  called  attention  to  a 
number  of  new  paintings  acquired  since 
the  marriage.  "Gary  already  owned  a 
few  and  so  did  I,  but  now  we're  weed- 
ing out  those  we're  really  not  sold  on 
and  we're  keeping  the  rest  with  the  idea 
of  gradually  building  up  our  collec- 
tion. My  dear  friend,  Ann  Sothern,  got 
me  interested  lately  in  the  works  of  a 
very  gifted  artist,  William  Rose  Sing- 
er, so  now  we  have  some  of  his  around." 

King-size  for  "the  master" 

Had  Gary  had  much  of  a  hand  in  the 
redecoration  of  the  house?  Lucy 
shrugged,  "Not  really.  He  felt  it  should 
be  left  to  me,  since  I'm  at  home  more 
than  he  is,  what  with  his  making  the 
night-club  circuit.  Of  course,  now  it 
may  be  different — my  new  show  going 
into  the  active  stage,  I  will  be  on 
the  go,  too,  shooting,  rehearsing,  and 
making  p.a.'s.  Gary  did  help  a  lot  with 
choosing  our  pictures  and  hanging 
them.  He  personally  hung  each  one  in 
its  present  place.  Oh,  yes,  and  he 
ordered  a  new  bed  for  the  master! 
Gary's  six-four,  you  know.  He  requires 
a  king-size  bed." 

There  were  many  decisions  the  newly- 
weds  had  to  make  in  planning  their  life 
together.  One  of  the  big  ones,  accord- 
ing to  Lucy,  was  where  "to  hang  our 
hats  permanently."  This  involved  some 
technicalities.  While  appearing  in 
"Wildcat"  on  Broadway,  she  had 
rented  a  handsome  apartment  for  $1,100 
a  month,  and  handsomely  furnished  it. 
Basking  in  all  the  optimistic  predictions 
of  a  long  run,  she  had  signed  a  five- 
year  lease.  Now  the  place  is  vacant  and 
this,  she  admitted,  worries  her. 

"I  hate  to  see  money  wasted,  and  I 
feel  I  simply  must  do  something  about 
that  apartment,"  she  declared,  "I'm 
all  for  going  East  and  subletting  it  to 
some  deserving — and  rich — fellow  thes- 
pian!  The  only  thing  stopping  me  at 
the  moment  is  that  I'm  still  hoping  Gary 
will  be  taking  an  engagement  in  New 
York  soon,  and  then  we  can  make  the 
trip  together — even  if  it's  only  for  a 
week." 

Downstairs  now,  Lucy  opened  the 
front  door.  She  and  her  guest  walked 
out  and  circled  the  grounds.  "Beau- 
tiful," said  the  guest,  taking  note  of 
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leaves.  "You've  done  a  fine  job  here." 

"I  have  a  marvelous  gardener,"  Lucy 
smiled  .  .  .  then,  with  a  swift  turn  of 
thought:  "He's  as  happy  in  his  work  as 
I   am   in   mine." 

The  guest  looked  at  her.  "You  look 
absolutely  radiant — blissful — " 

The  round  blue  eyes  of  the  great 
clown  went  pensive.  "There  are  all 
kinds  of  happiness,"  she  said  softly, 
"I've  been  happy  before  .  .  .  and  it's 
not  the  most  important  thing.  Gary 
taught  me  values.  It's  the  kind  of  hap- 
piness, the  quality  of  your  happiness, 
that  counts.  When  I  was  in  'Wildcat,' 
I  had  a  terrible  attack  of  bursitis.  I 
could  barely  make  it  on  stage.  But  I 
was  happy,  too  .  .  .  with  my  part,  the 
applause,  the  nice  things  the  critics 
said — and  the  knowledge  that  Gary 
was  somewhere  near.  And  yet  I  was  in 
excruciating  pain. 

"Finally,  my  doctor  gave  me  a  shot 
and  a  lecture.  He  said  I  was  pushing 
myself  too  hard  and  suffering  from 
stress.  'You  may  be  happy  in  what 
you're  doing,'  he  warned,  'but  think 
of  all  the  other  good  things  you'll  be 
sacrificing  if  you  kill  yourself  just  for 
this  one  thing.' 

"I  thought  of  my  children.  I  thought 
of  Gary.  And  then  I  realized  I  didn't 
want  to  risk  losing  them.  I  remem- 
bered something  Gary  had  said,  'You 
can  run,  run,  run,  until  you  leave 
everything  you  love  far  behind.'  That's 
when  I  decided  to  ease  up  and  search 
for  serenity. 

"I  owe  my  desire  for  serenity  to  Gary. 
He  is  very  strong,  a  man  who  knows 


KILDARE  vs.  CASEY 

(Continued  from  page  27) 

kindly  authority  figure  who  knows  them 
personally,  intimately,  and  who  may 
even  offer  advice  on  such  private  mat- 
ters as  their  sex  life.  .  .  .  Only  a 
doctor  can  prevail  upon  a  woman  to 
forsake  her  modesty.  But  every  woman 
reacts  differently  to  different  doctors. 
Some  may  be  embarrassed  and  uncom- 
fortable with  a  good-looking,  youngish 
doctor,  preferring  an  older,  colder  kind 
of  medical  confidant  who  will  not  seem 
so  realistically  attractive. 

There's  more  than  a  little  bit  of 
magic  in  the  usual  doctor-patient  re- 
lationship between  a  woman  and  her 
personal  physician.  This  is  why  almost 
all  of  us  are  reluctant  to  talk  back 
to  our  doctor.  Unconsciously,  we  some- 
how fear  that,  just  as  his  "good  magic" 
can  cure  us,  so  can  his  "bad  magic" 
hurt  us. 

Women,  especially,  with  their  high 
degree  of  sensitivity,  are  reluctant  to 
disagree  with  their  doctors,  even  hesi- 
tating to  argue  over  a  bill.  They  have 
too  much  faith  and  too  much  fear  to 
dare  dispute  their  doctor's  "magic." 

Distance  lends  enchantment,  and  just 
being  strangers  can  lead  to  the  "magic" 
of  the  doctor-patient  relationship.  Many 
women  become  so  taken  with  their  doc- 
tors, they  unconsciously  create  situa- 
tions which  will  force  them  to  visit  his 
office    more    frequently.    Some    women 


what  he  wants  and  just  how  much  of 
it  he  can  expect  to  get  from  life.  He 
sees  no  point  in  tearing  himself  to 
shreds  over  something  he  can't  be,  and 
he  has  no  fears  about  giving  his  best 
to  what  is  within  his  reach.  He  has 
influenced  me  to  give  up  being  a  per- 
fectionist— to  do  my  best,  and  let  my 
conscience  settle  for  that.  And  when 
you  get  right  down  to  it,  what  more 
can  an  entertainer  do? 

"Also,  Gary  made  me  realize  some 
jobs  and  duties  must  be  relegated  to 
other  people.  Granted,  they  must  be 
people  you  know  and  can  rely  on — 
but  it's  simply  not  possible  to  do  every- 
thing yourself.  I'm  afraid  that's  what  I 
was  trying  to  do,  before  Gary  taught 
me  his  maturity  of  viewpoint.  It's  done 
wonders  for  my  peace  of  mind  and  for 
my  health." 

Lucy  smiled  off  into  the  sunlight. 
"Don't  ask  me  for  the  secret  of  con- 
tentment. I  only  know  it  has  a  lot  to 
do  with  knowing  what  you  really  want. 
and  whether  it  is  meaningful  for  you 
and  yours.  How  do  I  know  what  I 
want?  Well,  I've  got  it,  and  that's  how 
I  know  how  much  it  means  to  me  .  .  ." 

Her  guest  watched  the  great  clown 
walk  briskly  back  into  her  house  of 
happiness.  The  voice  that  has  given 
the  world  so  much  of  mirth  and  release 
from  stress  seemed  to  still  be  pulsing  in 
the  air.  How  the  people  love  her,  she 
thought.  And  no  wonder  ...  no  won- 
der. .  .  .  — Eunice  Field 

"The  Lucy  Show"  premieres  on  CBS- 
TV,  Mon.,  Oct.  1st,  at  8:30  p.m.  edt. 


become  "accident-prone" — suffering  a 
variety  of  sprains  and  bruises  through 
carelessness.  Others  develop  psycho- 
somatic disorders — a  nagging  itch, 
stomach  spasms  or  vague  aches  and 
pains  throughout  their  bodies.  Still 
others  use  their  children  as  an  excuse 
to  visit  their  doctor  more  frequently 
— running  to  his  office  at  the  slightest 
sniffle  or  scratch. 

Medical  "magic"  enables  many  a 
doctor  to  pose  as  an  authority  in  fields 
in  which  he  is  not  an  expert:  Child 
guidance,  financial  matters,  and  inter- 
personal relationships  on  a  psychologi- 
cal level. 

Many  women  want  their  doctor  all 
to  themselves  and  prefer  a  personal 
physician  to  the  regular  family  doctor. 
Such  a  choice  is  less  embarrassing  and 
allows  the  female  patient  to  retain  her 
distance  from  the  doctor — because  he's 
not  acquainted  with  the  rest  of  her 
family — while  permitting  her  to  develop 
her  own  personal  fantasy  about  the 
image  he  may  represent  to  her.  Both 
Dr.  Kildare  and  Dr.  Casey  owe  their 
popularity  to  such  emotional  factors, 
since  the  female  viewer  chooses  one  or 
the  other  for  very  personal  reasons. 

What  sort  of  woman  would  be  most 
attracted  by  Dr.  Kildare,  portrayed  by 
27-year-old  Dick  Chamberlain  as  a 
gentle,  lovable,  understanding  young 
medic? 

Looking  like  the  traditional  "all- 
American"  boy,  his  very  appearance 
promises  a  sympathetic  "bedside  man- 
ner" most  real-life  doctors  would  envy. 


He's  often  been  described  as  "shyly 
sexy" — an  apt  description.  His  rela- 
tionships with  patients  and  colleagues 
alike  are  highly  personal,  and  the  head 
of  Blair  General  Hospital,  Dr.  Gillespie, 
takes  a  kind  of  big-brother,  even  father- 
ly, attitude  toward  him. 

Dr.  Kildare  laughs  a  lot,  smiles  a 
lot,  and  obviously  has  an  eye  for  pretty 
girls.  But  always  he  is  the  eternal  boy, 
friendly  and  impulsive,  yet  sweating  out 
his  ill-paid  internship  with  commend- 
able fortitude  and  an  unquenchable 
faith  in  humanity. 

In  Kildare  we  have  the  answer  to 
the  old-fashioned  "American  dream" 
— the  wholesome,  healthy,  happy  young 
fellow  on-the-way-up  who  appeals  to 
so  many  women.  He  would  appeal  es- 
pecially to  those  who  have  the  need 
to  mother  the  male,  perhaps  in  order 
to  prove  their  own  self-importance  or 
superiority.  For  he  is  clean-cut  all  the 
way,  not  complicated,  and  seems  to  have 
no  really  deep  personal  problems.  Many 
a  mother  must  wish  for  this  sort  of  man 
for  her  daughter  to  marry.  And  many 
a  co-ed  classmate  would  have  a  crush 
on  him  at  school. 

Quiet,  undemanding,  he  appears  to 
be  highly  considerate  of  women  and  not 
at  all  aggressive  sexually,  despite  his 
roving  eye — Kildare's  view  of  woman- 
kind seems  to  be  thoroughly  moral  and 
upright.  Such  a  man  would  surely  be 
protective  of  the  girl  he  loves  and  be 
both  pleasant  and  polite  to  his  wife's 
family  and  friends  .  .  .  without  threat- 
ening her  in  any  way  with  the  possi- 
bility of  an  extra-marital  romance. 

Two  kinds  of  women  would  be  es- 
pecially drawn  to  him:  The  kind  who 
dotes  on  mothering  a  man,  and  the  kind 
who  seeks  sympathy  and  gentleness 
rather  than  heat  and  emotion.  Dr. 
Kildare  offers  serenity,  consideration 
and  tenderness  .  .  .  an  ideal  combina- 
tion of  traits  for  a  wife  or  sweetheart 
who  would  like  to  dominate  their  re- 
lationship. 

What  type  of  woman  would  Dr.  Kil- 
dare be  most  likely  to  go  for?  He 
certainly  hasn't  been  oblivious  to  pretty 
girls  during  his  weekly  sojourns  in  TV's 
spick-and-span  hospital  corridors.  In 
fact,  in  one  episode,  he  became  so  en- 
amored with  an  attractive  nurse  that 
he  had  an  accident  and  wound  up  in  a 
hospital  bed  himself,  with  a  dislocated 
back. 

It's  interesting  to  note  that,  unable 


to  move  about,  he  was  forced  to  ask 
this  same  young  nurse  to  scratch  his 
foot  when  it  itched  unbearably.  And 
somehow,  in  spite  of  his  medical  train- 
ing, he  became  extremely  modest  and 
red-faced  when  the  head  nurse  drew 
the  curtains  around  his  bed  and  used 
him  as  a  guinea  pig  to  demonstrate 
how  to  give  a  sponge  bath  properly 
.  .  .  while  a  number  of  nurses-in-train- 
ing looked  on! 

Bedded  in  a  ward,  he  became  the 
butt  of  his  fellow  patients.  But  even 
his  grumpiness  was  "lovable"  and,  be- 
fore the  episode  ended,  he  managed 
to  help  straighten  out  some  of  their 
personal  problems,  through  sheer 
friendliness. 

There  is  often  a  certain  immaturity 
and  naivete  about  Dr.  Kildare.  He 
comes  through  almost  as  an  "embryo" 
male — still  boyish  enough  for  a  woman 
to  mold  him,  in  her  mind,  to  whatever 
specifications  she  finds  most  interest- 
ing and  attractive.  This  opportunity  to 
"make  him  over"  into  the  sort  of  man 
she  wants  him  to  be  could  strengthen 
his  appeal  to  many  a  feminine  viewer. 

Kildare  himself  might  be  most  apt 
to  find  happiness  with  a  girl  who  was 
"cute,"  lovable,  easily  embarrassed  and 
yet  sufficiently  domineering  so  that  she 
could  mother  him,  tease  him  gently  and 
make  the  first  move  sexually. 

What  sort  of  woman  would  be  most 
attracted  by  Dr.  Casey,  portrayed  by 
thirty-ish  Vince  Edwards  as  a  surly, 
virile,    decisive    neuro-surgeon? 

The  tall,  broad-shouldered  Casey  is 
a  "no  nonsense"  medic — blunt,  tactless, 
arrogant.  He  never  smiles,  never  chases 
women  (they  chase  him),  and  regularly 
tells  off  everybody  from  nurses  and 
patients  to  doctors  and  even  D.A.s. 
Dedicated  to  his  calling,  he  literally 
lives  and  breathes  medicine.  He  thinks 
nothing  of  antagonizing  anyone,  in 
order  to  carry  out  the  courage  of  his 
convictions — and,  as  a  result,  makes 
enemies  on  all  sides. 

He  gives  the  impression  of  being  a 
man  with  a  secret  sorrow,  a  very  angry 
man.  Impatient  with  all  red  tape,  in- 
tolerant of  even  the  slightest  mistake, 
he  scowls,  smirks  and  sneers  his  way 
through  his  weekly  rendezvous  in  the 
hallowed  halls  of  medicine  and  has 
frequently — correctly,  it  would  seem — 
been  referred  to  as  "gutsy." 

In  Casey,  we  have  Kildare's  opposite. 
Casey   exemplifies   the   "American   he- 


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man" — decisive,  independent,  confident. 
Although  he  is  brusque  and  tactless, 
he  can  muster  up  enough  warmth  with 
patients  when  he  has  to,  and  this  helps 
to  humanize  him.  Like  Kildare,  he,  too, 
is  shy.  But  his  shyness  is  of  another 
kind — seemingly  based  on  an  innate 
fear  of  letting  people  get  to  know  him 
as  he  really  is.  In  other  words,  Casey's 
shyness  is  a  front,  a  defense,  hiding 
the  softness  underneath. 

Such  a  masculine  person  would  be 
most  attractive  to  a  mature  woman  who 
yearns  for  a  man's  protection,  yet  is 
able  to  feel  secure  within  herself  when 
Casey  pulls  away,  sulks  and  becomes 
belligerent.  She  must  feel  sure  of  his 
love  without  needing  frequent  demon- 
strations of  it. 

But  the  masochistic  woman  who,  for 
reasons  of  her  own,  "enjoys"  being 
bulldozed  and  hurt  would  also  be  at- 
tracted to  Dr.  Casey,  who  is  a  hurting 
man.  He  is  completely  dominating,  so 
she  must  be  on  the  passive  side,  will- 
ing to  let  him  make  decisions  and  able 
to  accept  his  quick  show  of  temper 
at  her  slightest  mistake. 

What  type  of  woman  would  Dr.  Casey 
be  most  likely  to  go  for?  He's  shown 
some  attention  to  the  attractive  female 
anesthesiologist,  Dr.  Maggie  Graham, 
during  his  medical  exploits.  But  it's 
interesting  to  note  that  at  their  first 
meeting,  when  she  said,  "You  can  call 
me  Maggie" — his  answer  was,  "You 
can  call  me  anything  you  like!" 

Casey  gave  further  insight  into  his 
character  when,  dancing  with  Maggie, 
he  said  to  her,  "Whenever  I  hold  a 
woman,  I  take  her  pulse." 

That's  Casey  for  you — all-business, 
ironic  in  his  humor,  unbending  even 
in  romantic  situations. 

On  one  show,  he  contracted  rabies 
from  a  young  woman  and  was  unable 
to  take  the  antitoxin.  Knowing  he  might 
die  unless  he  underwent  amputation, 
he  asked  a  fellow  doctor  just  how  much 
of  his  hand  would  have  to  be  amputated. 
The  doctor  answered,  "Why  ask  me? 
You  know."  And  Casey  replied,  "I 
know,  but  I  just  want  to  hear  you 
say  it." 

Such  morbid  exchanges  of  dialogue 
— plus  regular  displays  of  gruesome 
medical  operations,  writhing,  pain- 
racked  women,  and  even  a  scene  where 
Casey  pummels  a  dying  patient's  chest 
with  his  fists  to  revive  his  weak  heart 
— have  served  to  type  him  as  a  rather 
sadistic  person. 

He  breaks  rules  (often  for  good  rea- 
son), disdains  his  superiors'  judgment 
in  favor  of  his  own,  and  coldly,  blunt- 
ly, informs  his  patients  of  the  desper- 
ateness  of  their  condition.  That's  the 
kind  of  man  he  is. 

Somehow,  one  gets  the  impression 
that  Casey's  surly  disposition  doesn't 
indicate  irritability  so  much  as  it  reflects 
his  intense  drive  to  be  a  first-class  doc- 
tor. He  carries  this  no-nonsense  atti- 
tude over  to  his  social  relationships 
— and  with  women.  He  lets  everybody 
know  that  no  one  will  ever  truly  pos- 
sess him,  even  the  woman  who  loves 
him  and  whom  he  may  love,  for  this  is 
the  sort  of  man  who'll  always  run 
through  life  as  a  free  agent,  making 
his  own  rules  and  demanding  his  own 


price  for  his  affection.  But  when  he 
decides  to  give  his  heart  to  a  woman, 
he'll  do  so  sincerely  and  never  waver 
in  his  love.  He's  much  too  serious  to 
play  games. 

He  hates  to  show  weakness,  even 
when  he  himself  is  very  ill.  But  he  does 
display  a  sadistic  streak  and  even  his 
choice  of  neurosurgery,  as  a  speciali- 
zation, becomes  appropriate  to  his 
personality. 

Casey  would  fall  for  the  more  serious, 
intelligent,  self-sufficient  type  who 
could  understand  his  devotion  to  his 
work.  Such  a  woman  would  have  to  be 
tolerant  of  his  moods,  his  intensity  and 
his  irregular  hours.  She  would  be  a 
highly  feminine  person — using  her 
femininity  honestly,  not  in  the  clever, 
tricky  way  some  women  make  use  of 
their  female  attributes. 

Kildare  and  Casey — both  doctors, 
both  with  great  sex-appeal  but  of  quite 
different  sorts — and  the  woman  who 
goes  for  one  might  turn  up  her  nose  at 
the  other. 

It  might  be  interesting  to  speculate 
on  which  of  these  TV  doctors  you,  the 
female  viewer,  would  most  like  to  have 
deliver  your  baby.  Whom  would  you 
choose:  Kildare  or  Casey? 

This  is  a  fascinating  speculation.  The 
insecure  or  shy  woman,  who  needs 
reassurance,  tenderness  and  constant 
comforting,  would  surely  be  more  at 
ease  having  Dr.  Kildare  deliver  her 
child.  But  the  secure,  realistic,  inde- 
pendent woman  would  be  content  with 
the  medical  qualifications  of  a  Dr. 
Casey  and  demand  no  more  small  talk 
or  sympathy  than  he  cared  to  give. 
Kildare  would  become  a  friend  as  well 
as  a  doctor,  while  Casey  would  retain 
his  professionalism  and  never  become 
more  than  a  doctor. 

If,  as  we  suggested,  you  took  that 
long — and  longing — look  at  the  pinups 
of  these  two  men,  you  know  why  Kil- 
dare's  fight  with  Casey  had  to  start. 
Kildare  and  Casey  are  quite  different. 
In  fact,  no  two  men  could  be  more 
different.  They  appeal  quite  differently 
to  women,  and  women  appeal  quite  dif- 
ferently to  them.  But  there's  only  one 
woman  they  really  care  about. 

That's  you,  with  all  your  individu- 
ality, your  personal  preferences,  your 
very  feminine  likes  and  dislikes.  You 
.  .  .  the  viewer  who  can  make  or  break 
either  or  both  of  them — particularly  as 
other  doctors  join  the  rating  battle  on 
your  screen  this  fall,  to  challenge  their 
supremacy  in  your  hearts. 

You  are  the  prize  Dick  Chamberlain 
and  Vince  Edwards  are  fighting  for! 

Whom  do  you  choose  as  your  kind 
of  doctor  .  .  .  your  kind  of  man  .  .  . 
your  kind  of  TV  star?  The  clean-cut. 
quiet-voiced  Kildare  with  the  boyish, 
understanding  smile?  Or  the  straight- 
forward, independent  Casey  with  the 
constant  drive  toward  perfection? 

You're  the  woman  who  started  it  all 
.  .  .  and  you're  the  only  woman  who  can 
decide  how  it  will  end.  Whose  side 
are  you  on?  — The  End 

Ben  Casey  throws  the  opening  punch  on 
Mondays,  10  p.m.  edt,  over  ABC-TV. 
Dr.  Kildare  joins  the  fight  on  Thurs- 
days, at  8:30  p.m.  edt.  over  NBC-TV. 


minimi Kijiiniiimritii i i 


CAROL   BURNETT 

(Continued  from  page  65) 

confided  this  to  her  girl  friends,  who 
then  haunted  Don  about  the  importance 
of  meeting  "this  wonderful  girl  Carol 
Burnett." 

One  day,  just  as  Carol  was  enter- 
taining friends  with  an  imitation  of  a 
gorilla — eyes  rolling,  jaw  jutting,  arms 
dangling  down  to  her  ankles — Don  came 
along  and  was  told:  "Don  .  .  .  this  is 
the  girl  we  were  telling  you  about!" 

Shocked,  Don  murmured,  "Are  you 
kidding?"  and  withdrew  hastily. 

In  time,  he  realized  that  Carol  had 
her  serious  moments,  and  he  began  to 
date  her. 

At  the  close  of  Carol's  junior  year, 
she  and  Don  did  a  scene  from  "Annie 
Get  Your  Gun"  at  a  professor's  home 
in  San  Diego.  One  guest — a  local  busi- 
nessman— was  so  impressed,  he  told 
them  they  ought  to  go  to  New  York 
and  become  stars  instantly.  "Sure," 
Carol  and  Don  agreed,  "but  we  don't 
have  the  money." 

To  their  amazement,  the  next  day, 
he  gave  each  a  $1,000  check  and  said, 
"It's  a  loan;  pay  it  back  in  five  years." 

Carol  did  not  wait  to  do  her  fourth 
year  at  U.C.L.A..  In  August  of  1954. 
when  she  was  twenty-one  years  and 
four  months  old,  she  went  to  New  York 
with  Don. 

She  lived  at  the  Rehearsal  Club  for 
Girls,  picked  up  odd  jobs  for  more  than 
a  year,  and  finally  landed  her  first  TV 
job,  on  the  "Paul  Winchell  Show."  On 
the  day  she  started  on  TV — December 
17th,  1955 — she  and  Don  were  married. 

They  lived  in  a  small  apartment  on 
a  dingy  side  street  in  the  theater  dis- 
trict, counting  their  pennies  and  eat- 
ing inexpensive  food  like  her  "poverty 
special"  (chopped  meat,  onions,  maca- 
roni, tomato  sauce) .  When  they  yearned 
for  a  new  food  scent  in  the  apartment, 
they  simply  opened  their  window  and 
let  the  cooking  smells  waft  up  from 
the  downstairs  restaurant. 

They  dreamed  big  dreams,  as  all  am- 
bitious young  couples  do,  and  often 
walked  by  the  shop  windows,  aching 
for  lovely  items  in  the  window.  They 
fell  in  love  with  an  eighty-five-dollar 
modernistic  lamp.  But  of  course  they 
didn't  have  the  money — so  they  dropped 
into  the  shop  regularly,  explaining 
casually,  "No,  thank  you;  we're  just 
looking."  When  they  were  ashamed  to 
use  this  excuse  any  longer,  they  began 
to  buy  cheap  ashtrays  just  to  have  an 
excuse  to  linger  and  look  at  that  love- 
ly lamp. 

In  time — months  later — they  could 
finally  buy  the  lamp  and  they  were 
thrilled!  It  was  their  first  taste  of  mar- 
ried affluence. 

But  as  the  financial  problems  ebbed, 
emotional  problems  surfaced.  Don 
wanted  to  make  good  as  an  actor;  but 
he  didn't  have  much  luck  and  had  to 
take  jobs  as  assistant  director  in  TV. 
He  was  depressed,  and  his  despondency 
became  worse  as  Carol  forged  forward. 
She  went  on  to  the  Buddy  Hackett 
series,  then  Garry  Moore  began  using 
her  on  his  show.  She  went  into  the 
Blue   Angel   club,   then    on    the   "Jack 


Paar  Show,"  where  her  rendition  of 
"I  Made  a  Fool  of  Myself  Over  John 
Foster  Dulles"  caused  a  sensation. 

Carol  finally  had  a  spectacular  career 
going,  and  she  knew  it.  But  Don  was 
depressed,  and  the  tensions  of  the  un- 
predictable show  business  got  on  their 
nerves. 

The  marriage  ends 

On  Christmas  Day  of  1959,  when  the 
outside  world  was  teeming  with  good 
will  and  love,  Carol  and  Don  knew  their 
world  was  over.  They  had  to  face  the 
truth:  They  were  not  happy  in  their 
marriage.  They  decided  to  separate  in- 
stantly, ending  four  years  and  one  week 
of  married  life.  There  were  no  argu- 
ments,  no   screaming.   Just   sadness. 

After  their  separation,  they  remained 
good  friends.  He  never  failed  to  con- 
gratulate her  on  her  new  jobs;  he 
dropped  in  at  the  apartment  to  inspect 
their  dog  "Bruce's"  new  puppies.  When 
Don  settled  in  San  Diego,  directing  a 
musical  theater,  they  continued  to  cor- 
respond. When  she  decided  to  file  for 
divorce  in  Las  Vegas,  he  said  he  would 
not  contest  it. 

Carol's  parents  were  divorced  in 
1946,  after  an  uneven  marriage  punc- 
tuated by  many  separations.  Did  this 
contribute  to  her  own  breakup?  "I 
don't  think  so,"  she  says.  She  blames 
competing  egos,  and  the  coincidence 
of  her  own  career  moving  faster  than 
her  husband's. 

"1  am  not  cynical  about  marriage," 
she  insists,  "just  because  my  own  mar- 
riage failed.  I  am  still  in  favor  of 
marriage,  but  the  next  time  I  will  be 
less  impulsive."  When  she  sees  Dur- 
ward  Kirby  and  Garry  Moore  with  their 
wives — living  proof  that  marriage  can 
be  enduring — they  confirm  her  basic 
faith  in  it.  They  confirm  her  own  love 
of  life — which  is  the  beginning  of  all 
love.  "But  I  don't  want  to  get  so  cold- 
blooded about  it  that  I  will  become 
over-analytical.  You  can  over-analyze 
love.  There  is  such  a  thing  as  follow- 
ing your  impulse.  And  if  you  are  over- 
analytical,  you  can  spoil  your  chances 
in  love. 

"I  will  be  more  careful  from  now 
on.  I  know  now  that  if  you're  looking 
for  perfection,  you  will  never  get  it. 
There's  the  human  element.  People  are 
not  perfect.  A  broken  marriage  makes 
you  more  tolerant." 

What  does  she  expect  from  marriage  ? 

"The  same  things  I  did  before:  Com- 
panionship and  liking  the  man.  You 
must  like  your  mate.  You  can  love 
somebody  and  not  like  him.  I  believe 
you  should  like  him  first,  and  this  is 
easier  when  your  interests  are  identical 
with  his.  Not  completely  identical,  but 
you  should  have  enough  similar  in- 
terests to  have  something  to  talk  about. 

"My  husband  does  not  have  to  be  a 
performer.  In  fact,  I  would  rather  he 
not  be  a  performer.  There's  too  much 
ego  involved.  I  would  prefer  someone 
in  show  business — perhaps  in  the  busi- 
ness end — who  could  help  me,  and 
whom  I  could  help.  Such  a  person 
would  be  more  understanding  of  the 
problems  of  a  performer. 

"When  I  marry  again,  I  would  let  up 
on  my  career.  I'd  want  to  have  chil- 


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dren.  Definitely,  at  least  two  children, 
maybe  four." 

She  has  become  aware,  since  achiev- 
ing fame,  that  "men  laugh  at  comedi- 
ennes— but  they  are  wary  of  us  as  wom- 
en. Men  might  date  a  comedienne,  but 
marrying  her  is  different.  They're  afraid 
they'll  latch  onto  a  gal  who'll  always 
want  to  be  a  barrel  of  laughs." 

But  Carol  is  no  yakkity  girl.  When 
she's  not  performing,  she  is  quiet,  re- 
flective, almost  sedate.  She  listens  when 
spoken  to,  and  when  she  speaks,  it  is 
without  jokes  or  funny  faces.  She  is  a 
woman   first,   and   comedienne   second. 

"Because  I  am  placid,  when  not  per- 
forming, I  am  attracted  by  dynamic 
people,"  she  explains.  "Opposites  at- 
tract, I  guess. 

"I  would  have  loved  to  have  met  the 
late  Mike  Todd;  I'm  told  he  was  dy- 
namic. I'm  excited  and  fascinated  by 
James  Cagney.  I  assume  he's  a  great 
guy,  and  I  certainly  hope  to  meet  him 
some  time.  If  Humphrey  Bogart  were 
alive,  I  would  have  wanted  to  meet  him, 
too. 

"My  favorite  star  is  Jack  Lemmon; 
he  is  such  a  great,  talented,  versatile 
star.  I've  met  him,  too." 

People  who  have  worked  with  Carol 
on  TV  say  she  is  a  "true  professional." 
No  temper  tantrums.  No  signs  of  nerves. 
Everything's   under   control. 

"I  am  placid,"  she  explains,  "and 
if  I'm  with  a  placid  man,  it  would  be 
very  dull." 

Is  she  always  so  introvertish  ?  "I  was 
an  introvert.  But  I  think  I'm  an  extro- 
vert now,  due  to  my  work.  After  all,  I 
have  to  appear  in  public  and  meet  a 


PAUL   ANKA 

{Continued  from  page  39) 

of  another.  How  like  an  older  brother, 
I  thought!  A  couple  of  my  numbers  I 
sang  especially  for  this  lad,  although 
I  did  not  announce  them  that  way. 
Still,  I  think  he  understood,  for  he 
smiled  shyly  as  I  caught  his  eye.  .  .  . 
What  a  wonderful  audience  all  those 
children  were!  They  were  silent  and 
attentive — except  just  a  few  of  the 
youngest — until  I  finished  a  song,  and 
then  they  broke  into  shouts  and  clapped 
and  stamped  until  I  sang  another.  Al- 
though only  forty  or  fifty  youngsters 
heard  me,  this  "concert"  was  worth  a 
dozen  in  a  concert  hall,  for  all  the 
warmth  and  enthusiasm  of  their  re- 
action to  me.  .  .  . 

Maybe  you've  been  wondering  why 
I  think  of  my  tours  to  foreign  coun- 
tries as  a  part  in  the  "Third  World 
War."  I  don't  fully  understand  the 
political  issues  involved  in  the  conflicts 
around  the  world,  or  what  it  is  that 
divides  nations  into  armed  camps,  but 
I  do  know  that  wherever  I  have  been 
— and  other  American  entertainers  be- 
fore me — the  reaction  has  been  friendly 
and  encouraging.  Encouraging  to  me  as 
an  unofficial  representative  of  the 
America  we  all  love. 

Some  of  my  most  friendly  and  re- 
warding engagements  have  been  before 
people  who   didn't   understand   a  word 


lot  of  people.  And  I  enjoy  this  change 
within  me." 

We  asked  her,  "What  did  you  learn 
from  marriage  to  Don?" 

The  next  husband 

She  says,  choosing  the  words  care- 
fully, "I  learned  that  I  must  find  a 
man  who  is  as  happy  in  his  work  as  I 
am  in  mine,  a  man  who's  settled  in  his 
career  and  moving  ahead.  Not  in  money, 
necessarily,  but  in  the  sense  that  he 
has  standing  in  his  occupation.  He  could 
be  a  teacher  or  a  scientist;  they  may 
not  earn  much,  but  they  are  respected! 

"I  am  looking  for  an  intelligent  man, 
good  in  his  work  and  happy  in  it. 

"I  know  I  cannot  find  a  man  making 
the  kind  of  money  I'll  be  earning  the 
next  few  years — unless  he's  a  million- 
aire. 

"It's  not  money  that's  important  but 
the  feeling  a  man  has  about  his  work. 
He  will  have  to  be  the  boss  ...  I  must 
respect  him. 

"I  don't  like  laziness  in  a  man.  A 
man  should  have  ambition  and  seek 
success,  for  his  own  well  being.  .  .  .  Now 
that's  the  kind  of  a  man  I  could  love." 

We  took  a  chance.  "Do  you  think 
you've  met  him?"  we  asked  boldly, 
aware  of  the  numerous,  no-names-please 
items  in  recent  gossip  columns — which 
Carol  had  always  refused  to  confirm. 

"I've  got  something  cooking,"  she 
admitted,  hoarding  her  secret  like  any 
girl  at  the  beginning  of  a  love  affair. 
"But  I  can't  talk  about  it.  I've  got  to 
work  on  it  some  more.  .  .  ." 

— Paul    Denis 


llllthlllNIIIIIHIIMIIIIIM 


I  was  singing;  at  benefits  before  small 
groups  who  could  not  afford  the  price 
of  admission  to  a  regularly  scheduled 
concert,  or  to  groups  of  children  who 
hardly  knew  what  an  American — much 
less  a  rock  'n'  roll  singer — was!  In 
every  case,  friendliness  and  the  uni- 
versal language  of  music  won  them 
over. 

Another  time,  on  another  tour  in 
North  Africa,  I  visited  a  children's  hos- 
pital. Art  Buchwald,  in  the  Paris  Edi- 
tion of  the  New  York  Herald  Tribune, 
had  reported  that  armed  paratroopers 
escorted  me  from  my  hotel  to  the  the- 
ater. The  crowds  were  eager  to  see 
an  American  performer,  and  in  their 
enthusiasm  threatened  to  overturn  our 
cars!  As  always,  this  was  a  friendly 
crowd,  but  pretty  excited.  What  Buch- 
wald did  not  report — because  he  didn't 
know  about  it — was  that  the  next  day, 
with  two  associates  of  mine,  I  managed 
to  get  out  of  my  hotel  unseen  and  visit 
a  hospital  for  children. 

There,  in  the  smell  of  antiseptic  and 
amid  the  scrubbed,  dead-white  walls, 
I  sang  for  children  sick  and  injured, 
many  of  them  lying  on  their  backs, 
hardly  able  to  move.  Yet,  as  I  finished 
the  songs  I  had  planned  to  sing  for 
them,  they  shouted  themselves  hoarse, 
weak  as  they  were,  calling  for  me  to 
sing  "just  one  more  song,  Paul!" 

I  had  a  funny  experience  trying  to 
get  out  of  a  hotel  unnoticed  in  Puerto 
Rico.  After  my  show,  with  my  hands 
crossed   like   a  corpse,  I   was  literally 


"shipped"  out  of  my  hotel!  I  didn't 
see  what  was  going  on,  of  course,  since 
I  was  wrapped  up  snugly  in  a  heavy, 
coffin-like  cardboard  box,  but  I  do  know 
that  we  made  good  progress  right 
through  the  lobby  and  into  a  waiting 
taxicab.  It  was  a  successful  "special 
delivery" ! 

In  the  busy  whirl  of  show  business. 
not  much  time  is  left  for  social  ac- 
tivity. Although  I  live  in  New  Jersey, 
there  really  has  not  been  any  place 
in  the  world  that  I  call  "home"  since 
I  began  touring.  And  except  for  my 
few  associates — my  manager  Irv  Feld, 
Jay  Weston  and  a  few  others — I'm 
afraid  I  have  few  fast  friends.  After 
a  tough  week  or  two  of  night-club  ap- 
pearances, I  find  some  time  to  "relax" 
every  now  and  then — in  a  recording 
session.  By  the  time  I  get  home,  at 
the  end  of  the  day,  I'm  bushed.  Unless 
I  have  an  idea  for  a  song,  which  I  want 
to  get  on  paper  before  it  gets  stale, 
I  hop  right  into  bed.  This  kind  of 
schedule,  as  you  can  see,  doesn't  leave 
much  time  for  social  life! 

Imagine  my  surprise  and  pleasure, 
then,  when  I  found  that  Irv  Feld  had 
arranged,  in  advance,  for  me  to  have 
some  "liberty"  in  London!  I  had  sev- 
eral days  with  absolutely  nothing  to 
do — time  of  my  own  for  a  change.  I 
had  just  met  Helen  Shapiro,  a  rising 
young  singer  in  England,  and  I  was 
delighted  when  she  offered  to  be  my 
personal   guide  around   London. 

"You  just  let  me  run  this  act,  Paul," 
she  said,  "and  I  guarantee  that  you'll 
see  some  of  London  the  ordinary  tour- 
ist never  gets  to  see!" 

Did  anyone  ever  have  a  lovelier  guide 
through  Picadilly  Circus,  the  Tower  of 
London,  along  the  banks  of  the  Thames 
or  through  Trafalgar  Square?  I  doubt 
it.  We  fed  pigeons  in  Picadilly  and  ate 
in  a  little  restaurant  off  Trafalgar 
Square.  I  have  the  happiest  memories 
of  the  time  we  spent  together,  and  it 
was  undoubtedly  the  finest  tour  I  have 
taken  of  any  city — anywhere. 

My  travels  have  taken  me  to  dozens 
of  interesting  cities  and  countries  in 
every  part  of  the  world — Brazil,  Nor- 
way, Germany,  Chile,  the  Philippines. 
Japan,  Sweden,  Denmark.  I  have  water- 
skied  on  the  beautiful  Italian  Riviera 
and   I've   been   surprised   with   flowers 


PHOTOGRAPHERS'  CREDITS 

Vince  Edwards  and  Dick  Chamberlain 
color  cover  by  Globe;  Chamberlain 
black-and-white  by  John  Hamilton;  Ed- 
wards black-and-white  by  Bill  Kobrin; 
Edwards  color  by  Graphic  House; 
Chamberlain  color  by  Del  Hoyden  of 
Visfa;  Lucille  Ball  and  Gary  Morton  by 
Bob  Grant;  Connie  Francis  by  News 
Blitz  Milano  Press  and  Foto  Bernardi 
Venezia;  Lawrence  Welk,  his  band  and 
their  families  by  John  Hamilton;  Dan 
Blocker  by  NBC;  Jack  Bailey  and  wife 
by  ABC;  Marty  Milner  and  family  by 
Bill  Kobrin;  "The  Edge  of  Night"  pic- 
tures by  CBS;  Eric  Fleming  by  Don 
Orm'fz;  Jay  North  by  Bill  Kobrin;  Elvis 
Presley  color  by  G/obe;  Carol  Burnett 
by  Kathy  Wersen. 


sent  to  me  backstage  in  Frankfurt,  Ger- 
many. To  us,  sending  flowers  to  a  male 
performer  may  seem  strange,  but  in 
Germany  flowers  are  not  reserved  sim- 
ply for  women.  Any  performer  on  open- 
ing night  receives  this  tribute,  and  I 
was  very  touched  by  the  gesture  of 
friendship  from  these  people  in  Frank- 
furt. .  .  . 

I  very  often  think  of  the  young  boy 
in  the  orphanage  in  Oran.  How  many 
other  homeless,  wandering  children 
there  must  be  in  this  world!  Recently 
I  was  invited  to  visit  another  country, 
in  a  distant  land.  Many  young  boys 
and  girls  are  there  without  parents, 
depending  upon  others'  kindness  for 
their  lives.  It's  a  small  country,  with 
only  a  few  million  inhabitants,  and  the 
idea  of  visiting  it  fascinates  me,  but 
I  have  had  to  regretfully  decline  the 
invitation  to  perform  in  the  young, 
vital  state  of  Israel. 

At  night  along  the  border,  automatic 
weapon  fire  crackles  and  during  the 
day  the  frontier  guards  keep  an  un- 
easy peace,  together  with  a  special 
United  Nations  patrol.  In  all  the  fron- 
tier settlements — on  both  sides  of  the 
truce  line — hostility  is  in  the  air  and 
the  people  live  tensely,  waiting  for  the 
attack  that  might  come  at  any  moment. 

For  my  part,  the  political  divisions 
of  the  world  don't  make  much  sense. 
I  am  Canadian  by  birth,  and  make  my 
residence  in  the  United  States.  My 
parents  were  Lebanese,  so,  as  an  Arab 
by  extraction,  I  very  much  want  to  visit 
some  of  the  countries  of  the  Arab 
world.  But  I  just  as  much  want  to  visit 
Israel.  However,  I  have  found  that  for 
politic  1  reasons  I  would  be  unwanted 
in  the  other  nations  in  the  area  if  I 
were  to  accept  the  invitation  to  Israel. 

What  brought  all  these  thoughts  to 
mind  was  my  most  recent  trip  to 
Europe,  for  the  filming  of  the  motion 
picture  "The  Longest  Day."  The  movie 
is  about  D-Day,  the  Normandy  landings 
in  France  by  the  Allies  in  the  Second 
World  War.  The  film  paints  a  great 
picture  of  the  careful  planning  for  the 
landing,  and  of  the  bravery  and  courage 
of  the  men  going  ashore  to  gain  a  tiny 
foothold  that  day  on  the  continent  of 
Europe.  I  was  too  young  at  the  time 
to  remember  D-Day  itself,  but  I  am 
tremendously  impressed  with  what  the 
men  did  who  made  that  historic  assault. 

Now,  of  course,  I'm  not  too  young — 
in  fact,  I  am  of  the  age  that  would 
be  the  first  to  be  called  in  another  war. 
In  a  few  years,  my  kid  brother  will 
be  old  enough.  And  that  youngster  in 
Algeria — and  thousands  of  others  like 
him.  all  over  the  world,  victims  of  war 
and  injustice — have  already  been  fight- 
ing their  own  war  for  many  years; 
sometimes,  for  all  the  years  of  their 
lives.  .  .  . 

For  these  reasons,  it  seems  to  me 
that  if  as  entertainers — or  just  plain 
people — we  go  abroad  being  friendly 
and  willing  to  give  our  best  to  people 
everywhere,  it  will  help  establish  the 
good  will  the  world  needs  so  desper- 
ately. Perhaps  the  "Third  World  War" 
can  be  fought  and  won  in  the  hearts 
and  allegiances  of  men,  not  as  a  shoot- 
ing war.  and  the  world  can  finally  know 
real  peace. 

— as  told  to  Lawrence  Atkin 


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ERIC    FLEMING 

(Continued  from  page  57) 

What  ended  in  hatred  had  begun  in 
pain — the  horrible,  throbbing  pain  of 
osteomyelitis,  a  bone  disease  that  had 
sent  Eric  to  the  hospital  a  year  earlier, 
with  his  leg  swollen  to  four  times  its 
normal  size.  The  hospital  told  his 
parents  that  an  operation  was  necessary 
to  save  his  life — and  that  it  would  cost 
$500. 

They  could  just  as  well  have  said 
five  million. 

For  it  was  the  Great  Depression  of 
the  1930s,  and  Eric's  father  couldn't 
hold  a  job — partly  because  of  his  vio- 
lent temper.  The  family  didn't  have  a 
dime. 

Finally  the  hospital  agreed  to  ex- 
tend them  credit — providing  that  Eric's 
mother  would  take  the  only  job  the 
hospital  had  available,  as  nurse  with 
a  family  that  was  leaving  for  a  trip 
around  the  world.  Because  it  was  the 
only  way  to  save  her  son's  life,  she 
took  the  job.  But  first  she  made  sure 
that  the  operation  was  a  success.  And 
some  friends  promised  her  that  Eric 
would  be  able  to  live  with  them  after 
his  release  from  the  hospital.  So,  know- 
ing that  he'd  be  well  taken  care  of, 
she  left. 

It  seemed  as  if  Eric's  father  was 
not  about  to  forgive  his  wife  for  leav- 
ing; he  filed  divorce  proceedings 
against  her.  And  when  Eric  was  dis- 
charged from  the  hospital,  he  took  him 
into  his  own  home  to  live — a  filthy  shack 
in  the  slum  section  of  Los  Angeles. 
Eric  wondered  why  he  took  him — per- 
haps for  spite,  for  he'd  never  even 
bothered  to  visit  him  during  his  months 
in  the  hospital. 

Eric  had  to  stay  on  crutches  for  six 
months  more,  but  that  didn't  stop  his 
dad  from  beating  him  cruelly.  "That's 
how  my  father  raised  me,"  he'd  say, 
"and  it  made  a  man  out  of  me." 

Moment  of  decision 

Finally  Eric  decided  he  couldn't 
take  it  anymore.  He  decided  to  commit 
suicide.  When  his  dad  was  sleeping, 
he  took  his  gun  and  put  it  up  to  his 
own  head.  But  then  he  thought,  "Why 
kill  myself?  Why  not  kill  him?  He's 
the  one  who's  making  me  miserable." 

That  was  when  he  hobbled  on  his 
crutches  into  his  dad's  room  and  aimed 
the  gun  at  his  head. 

But  the  gun  didn't  go  off.  The  trig- 
ger clicked,  and  nothing  happened. 

Eric  put  the  gun  back  where  he'd 
found  it. 

And  so  they  went  on  the  way  they'd 
been  for  several  more  months,  until 
Eric  was  well  enough  to  throw  away  his 
crutches.  Then,  after  a  particularly  bit- 
ter fight,  Eric  sneaked  out  of  the  house 
one  morning  when  his  dad  was  still 
sleeping  and  hopped  a  freight  to  Chi- 
cago. He  was  ten  years  old. 

Hopping  freights  was  actually  noth- 
ing new  to  him — he'd  ridden  them  sev- 
eral times  before  with  his  dad,  when 
his  dad  was  looking  for  work.  So  he 
made  it  safely  to  Chicago,  where  he 
headed    automatically    for    the    racket- 


ridden  South  Side,  where  a  boy  could 
live  by  his  wits  if  he  didn't  have  any 
parents  to  look  out  for  him.  He  slept  in 
an  old  car  in  a  junkyard  while  he 
looked  for  a  job.  One  day,  in  a  pool 
room,  another  boy  told  him  where  he 
could  find  work.  .  .  . 

The  wrong  house 

The  woman  who  came  to  the  door 
of  the  big  old  brownstone  house  was 
well  into  middle  age,  and  her  face  was 
heavily  rouged  and  mascaraed.  She 
clutched  her  faded  pink  silk  wrapper 
to  her  stomach  and  blinked  nervously 
in  the  bright  morning  sun  as  she  looked 
to  see  who  the  caller  was.  But  when 
she  saw  the  small  boy  standing  there, 
she  let  out  a  hearty  laugh. 

"Son,  I  think  you've  come  to  the 
wrong  house!"  she  exclaimed,  still 
chuckling  to  herself.  And  then  she 
turned  to  go  back  in. 

"Wait!"  Eric  said,  tugging  at  her 
arm.  "Didn't  you  want  a  boy  to  run 
errands?  That's  what  I  heard  at  the 
pool  room!" 

She  paused,  turned  slowly  and  looked 
at  him  again.  "Yes,  I  did.  But  ...  I 
didn't  want  a  small  boy.  I  was  thinking 
of  a  teenager.  How  old  are  you,  kid?" 

"Twelve,"  he  lied.  "And  I'll  work 
hard — honest." 

Her  grin  spread  from  ear  to  ear. 
"Sure,  you're  twelve  .  .  .  and  I'm  nine- 
teen! But  I  like  your  spirit.  I  don't 
know  .  .  ."  She  hesitated.  Then  sud- 
denly she  turned  cautious,  and  lowered 
her  voice.  "One  thing,  though.  You 
know  what  goes  on  here?" 

"It's  a  cathouse,"  Eric  said  calmly. 

The  woman  frowned.  "Don't  call  it 
that  .  .  .  not  if  you  expect  to  work 
here!  I  run  one  of  the  finest  establish- 
ments on  the  South  Side,  and  don't 
you  forget  it.  Why,  we  get  some  of  your 
biggest  politicians  in  here  on  Saturday 
nights."  Then  her  face  softened.  "Well, 
be  that  as  it  may  ...  I  just  wanted  to 
be  sure  you  knew  the  score.  You  think 
you  can  run  errands  and  keep  your 
mouth  shut?" 

The  boy  nodded  solemnly. 

The  woman  looked  at  him,  and  smiled 
as  if  at  some  private  joke.  "Well,  all 
right  then.  Come  on  in.  I'll  introduce 
you  to  the   girls.   .   .   ." 

Eric  stayed  in  Chicago  for  four  or 
five  months.  He  saw  nothing  wrong 
with  his  job  as  errand  boy  for  a  brothel 
— it  was  just  a  way  to  stay  alive  in  hard 
times.  And  soon  he  began  to  drift  into 
other  illegal  activities.  Sometimes  he 
acted  as  lookout  for  racketeers  who 
were  pulling  a  job  .  .  .  the  police 
wouldn't  suspect,  or  even  notice,  a  small 
boy.  Sometimes  he  kept  a  mobster's 
gun  for  him  if  there  was  word  that  the 
police  were  coming  for  a  search.  He 
was  always  ready  to  carry  a  package 
for  hoodlums  without  asking  what  was 
in  it.  And  he  himself  stole  merchandise 
from    stores. 

Eric  was  learning  fast.  For  he  be- 
lieved the  saying  they  had  in  the  slums 
— that  the  only  way  for  a  poor  boy  to 
make  it  was  as  a  boxer  or  a  racketeer. 
And  he  wasn't  particularly  interested  in 
boxing. 

Yet,  despite  the  feeling  of  importance 
his    dangerous    adventures    gave    him, 


Eric  began  to  realize  something  was 
missing  from  his  life.  Just  what  it  was. 
he  didn't  know.  But  somehow  he  felt 
cheated,  empty,  alone. 

Finally  he  came  to  feel  that,  what- 
ever he  was  looking  for,  he  wouldn't 
find  it  in  Chicago.  And  so  he  hopped 
another  freight  train,  and  before  many 
days  he  was  in  New  York  City. 

He  didn't  like  New  York.  There  were 
too  many  other  kids  like  himself  there 
— young  hustlers  trying  to  scrounge  a 
living  any  way  they  could — and  it  was 
tough  going.  Mostly  he  shined  shoes  for 
a  living. 

Something  was  missing  .  .  . 

Worst  of  all,  he  felt  as  restless  in 
New  York  as  he'd  been  in  Chicago.  He 
still  had  that  strange  feeling  of  some- 
thing missing  in  his  life. 

One  day  he  was  walking  along  a 
street  on  the  Lower  East  Side — all 
slums  were  beginning  to  look  the  same 
to  him — when  he  spotted  a  group  of 
youngsters  who  were  beating  up  on  a 
smaller  boy,  a  kid  near  his  own  age. 

"Hey!  What  are  you  ganging  up  on 
the  kid  for?"  he  asked  one  of  the  boys. 

"Aw,  he's  got  it  comin'.  He's  a  dirty 
Jew."  the  boy  said. 

"So  what?"  Eric  asked.  "Did  he  do 
anything  to  you?" 

"Naw,  he's  just  a  Jew,  that's  all.  We 
don't  want  any  damn  Jews  in  this 
neighborhood." 

Eric  didn't  know  much  about  Jews, 
but  he  knew  an  unfair  fight  when  he 
saw  one.  He  plunged  into  the  group  of 
boys,  determined  to  help  their  victim. 

Together,  Eric  and  the  boy  managed 
to  fight  off  the  others  and  get  away. 
Finally  they  turned  a  corner  and 
stopped,  out  of  breath. 

The  boy,  who  was  dirty  and  bleed- 
ing, looked  cautiously  at  Eric. 

"What's  the  matter?"  Eric  asked. 
"What  are  you  looking  at  me  like  that 
for?" 

"Are  you  Jewish?"  the   boy   asked. 

Eric  shook  his  head. 

"Then — why  did  you  help  me?" 

"It  just  didn't  seem  like  an  even 
fight,"  Eric  said,  starting  to  feel  awk- 
ward. 

"Will  you  come  to  my  house?"  the 
boy  asked.  "My  mother  will  make  you 
some  supper." 

Eric  agreed.  It  had  been  a  long  time 
since  he'd  had  a  square  meal. 

The  boy's  family  lived  on  the  fifth 
floor  of  one  of  the  shabbiest  tenements 
in  the  neighborhood,  but  the  apartment 
itself  was  spotless. 

When  the  mother  saw  how  her  son 
looked,  she  let  out  a  groan  of  dismay. 
She  hurried  him  into  the  bathroom 
and  washed  off  his  face  and  hands. 
After  they'd  returned  to  the  living 
room,  where  Eric  was  waiting  on  a 
couch,  she  seemed  to  have  calmed 
down. 

She  went  up  to  Eric  and  told  him 
gently,  "My  son  told  me  how  you 
helped  him.  I  want  to  thank  you.  This 
was  a  wonderful  thing  to  do.  .  .  ." 
She  paused,  then  added :  "Tell  me — who 
are  your  parents?" 

For  some  reason  Eric  felt  instinc- 
tively that  he  could  trust  her.  So  he 
told  her  his  story. 


When  he'd  finished,  she  shook  her 
head  slowly.  Then  she  said,  "This  is 
your  home  for  as  long  as  you  want 
to  live  here."  When  Eric  tried  to  pro- 
test that  he  couldn't  impose  on  the 
family  that  way,  she  shushed  him  by 
saying:  "My  son  needs  a  friend.  And 
you  have  been  a  good  friend  to  him." 

And  so  he  joined  the  family — as 
much  as  any  outsider  could.  He  met 
the  father,  who  worked  as  a  shipping 
clerk  in  the  city's  garment  district,  and 
the   sister,   who   went   to   high   school. 

There  was  only  one  thing  about  the 
family  that  he  found  hard  to  under- 
stand. 

They  never  shouted  at  each  other, 
never  struck  each  other.  They  loved 
each  other. 

And  for  the  first  time  he  realized 
what  he'd  been  looking  for,  in  his 
random  flight  across  the  country:  Love. 
Pure  and  simple  .  .  .  and  so  very 
elusive. 

He'd  found  it  at  last. 

But  ...  he  couldn't  really  share 
it.  For  he  was,  when  all  had  been  said 
and  done,  an  outsider.  This  wasn't 
really  his  family.  And  only  with  your 
own.  he  realized  now,  could  you  truly 
find  love. 

Oh,  he'd  seen  the  lust  that  some- 
times passed  for  love.  The  memories 
of  the  brothel  were  all  too  fresh.  And 
though  it  had  seemed  like  a  lark  at 
the  time,  having  such  a  dangerous  job, 
he'd  never  forget  the  unhappy  women 
he  met  there — the  women  who  pre- 
tended to  sell  a  love  that  they'd  never 
known,  never  could  know.  They  weren't 
fooling  anybody,  least  of  all  themselves. 

Now,  with  this  family,  he'd  seen  for 
the  first  time  what  love  could  be.  Real 
love.  Shared  love. 

It  was  all  that  counted,  really. 

But  to  find  it  for  himself,  he  would 
have  to  leave.  He'd  have  to  say  goodbye 
to  the  people  who  had  opened  their 
hearts  to  him.  for  he  wanted  to  have 
the  kind  of  love  they  had — the  love  of 
someone  who  truly  belongs  to  you. 

Not  that  he  expected  to  find  it  in  his 
father.  That  was  hopeless.  But  his 
mother  .  .  .  she  loved  him.  Hadn't  she 
gone  far  away  and  given  up  everything 
— even  given  him  up — because  it  was 
the  only  way  to  save  his  life? 

Perhaps  somehow,  if  he  went  West 
again,  he  could  find  a  way  to  bring 
her  back.  .  .  . 

The  pain  of  memory 

He  came  to  in  a  bed.  A  strange  bed. 

And  suddenly  he  knew  that  it  was  a 
hospital  bed. 

As  he  drifted  into  consciousness,  he 
realized  that  a  woman  was  sitting  near- 
by, leaning  over  the  bed,  looking  at 
him  with  anxious  concern. 

"Is  it  .  .  .  Mom,  is  it  you?"  he  asked, 
unwilling  to  believe  his  eyes. 

The  woman  smiled  and  leaned  back, 
relieved.  "It's  me,  son,"  she  said  gently. 

"What  .  .  .  what  happened?" 

"I  think  you  remember,"  she  said 
slowly.  And  for  the  first  time,  a  look 
of  hurt — of  embarrassment — crept  into 
her  face. 

Of  course.  He  remembered.  It  all 
came  back  to  him  now.  And  with  the 
memory  came  pain — not  only  the  pain 


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of  a  heavily  bandaged  arm,  which  he 
was  conscious  of  for  the  first  time,  but 
the  pain  of  memory.  .  .  . 

On  his  return  to  the  West  Coast,  he'd 
avoided  his  father  and  begun  going 
to  school  on  his  own.  It  was  simple — 
all  you  had  to  do  was  find  some  old 
wino  who  was  looking  for  a  handout, 
pay  him  fifty  cents  to  say  he  was  your 
father,  and  have  him  enroll  you  at  the 
nearest  school.  Eric  liked  school — he 
always  had,  in  spite  of  all  his  trou- 
bles, or  maybe  because  of  them.  And 
while  he  was  trying  to  figure  out  a  way 
to  bring  his  mother  back,  it  seemed 
like  a  good  way  to  pass  the  time. 

The  trouble  was,  he  had  to  make  a 
living.  And  stealing  was  about  the  only 
way  he  knew  to  get  money  fast.  Shin- 
ing shoes  took  so  long  that  it  didn't 
leave  him  the  time  he  needed  for  going 
to  school. 

His  downfall  had  come  at,  of  all 
places,  a  school.  Not  his  own.  Another 
one.  A  school  he  was  trying  to  rob. 

When  he  heard  police  approaching, 
he  tried  to  scale  a  wooden  fence  and 
escape.  A  huge,  jagged  wooden  splin- 
ter had  driven  up  into  his  arm  as  he 
jumped  from  the  top  of  the  fence,  and 
the  police  found  him  moaning  in  pain 
on  the  ground  below.  In  his  agony  he 
told  them  who  his  father  was,  but  when 
they  saw  the  wretched  shack  the  man 
lived  in  they  realized  it  was  no  place 
for  a  boy — especially  a  boy  who'd  just 
got  into  serious  trouble. 

So  the  police  wrote  to  Eric's  mother, 
who  was  still  overseas,  and  told  her  that 
if  she  didn't  return  immediately  to  take 
care  of  Eric  they'd  have  to  send  him  to 
a  home  for  wayward  boys. 

She  had  come  immediately,  and  ar- 
rived while  Eric  was  still  in  the  hospi- 
tal, where  his  infected  arm  was  just 
beginning  to  heal. 

Eric  remembered  all  this  as  he  looked 
at  his  mother,  and  a  warm  flow  of 
gratitude  flooded  his  heart  as  he 
realized  how  difficult  it  must  have  been 
for  her  to  leave  her  job  and  hurry  to 
him. 

"I've  rented  a  little  apartment,"  she 
was  saying.  "Just  big  enough  for  the 
two  of  us.  The  doctors  say  I  can  take 
you  there  tomorrow,  since  I've  had 
nursing  training  and  can  change  your 
bandages.  The  infection's  under  control 
now." 

And  all  Eric  could  think  of  to  say 
was  "Thank  you  .  .  .  thank  you.  .  .  ." 
But  somehow  it  didn't  work.  It  didn't 
really  work  at  all.  He'd  thought  that 
living  with  his  mother  would  solve 
everything,  but  it  didn't. 

His  arm  healed  nicely  enough,  and 
two  weeks  after  he  went  to  his  mother's 
apartment  he  was  able  to  take  the  last 
small  bandage  off. 

But  something  else  hadn't  healed. 
What  it  was,  Eric  didn't  know  exactly. 
But  he  sensed,  in  some  way,  that  there 
are  scars  the  eye  can't  see.  Scars  on 
the  mind,  and  on  the  heart,  left  by 
years  of  cruelty. 

It  was  his  father's  cruelty.  The  hatred 
his  father  had  shown  him,  the  hatred 
his  father  had  taught  him.  Somehow 
it  had  left  a  numbness  that  kept  him 
from  opening  up  to  love,  even  though 
he  wanted  to  so  very  much. 

His  heart  told  him   that  he  wanted 


love — wanted  to  give  it  and  receive  it. 
But  his  mind  told  him  this  whole  thing 
was  impossible.  After  all — his  mother 
still  hadn't  repaid  all  of  her  debts  to 
the  hospital.  If  she  ignored  it,  there'd 
be  trouble.  The  debt  would  always  be 
hanging  over  them.  She  had  to  go  back 
to  her  job. 

He  didn't  stop  to  think  how  strange 
it  was  that  he  was  having  these  very 
adult  thoughts  and  reservations.  His 
mother  had  overlooked  the  practical 
necessities  in  her  anxiety  over  him, 
in  her  love  for  him.  But  to  Eric  thay 
remained  clear,  and  eventually  they  be- 
came uppermost  in  her  mind. 

One  day  he  told  his  mother,  "Look, 
Mom  ...  it  isn't  going  to  work.  You've 
been  wonderful  to  me,  but  you  have 
to  go  back  to  your  job.  You  know  that. 
On  the  money  you're  spending  for  this 
place,  I  could  get  along  by  myself  just 
fine.  If  you  could  just  send  me  some 
money  every  month,  I'll  get  along.  I'll 
get  a  cheaper  room  by  myself,  and  go 
back  to  school.  Honest,  I'll  be  okay. . . ." 

His  amazingly  grown-up  speech  sur- 
prised her,  though  she'd  come  to  realize 
during  the  past  two  weeks  that  her 
son  was  a  surprisingly  mature  boy.  And 
she  knew  it  wasn't  only  the  schooling 
that  had  done  it.  It  was  the  life  he'd 
been  living  these  past  few  months. 

She  was  proud  of  him — and  yet  there 
was  a  hurt,  too,  at  the  realization  that 
he  was  asking  her  to  go  away. 

Finally  she  had  to  admit  to  herself 
that  he  was  right.  And  reluctantly  she 
left,  knowing  in  her  heart  that  they 
would  never  live  together  again.  .  .  . 

The  search 

Today  Eric  Fleming  is  still  searching 
for  the  love  that  has  escaped  him  all  his 
life  .  .  .  escaped  him  partly  because 
he  hasn't  been  able  to  accept  it  when 
it  was  offered  to  him.  The  youthful  scars 
seen,  to  have  scarred  the  man,  as  well. 

By  the  world's  standards,  he  is  suc- 
cessful. He  stars  in  CBS-TV's  "Raw- 
hide," which  brings  him  a  good  salary. 
He  receives  letters  from  admiring 
women.  His  acting  is  praised.  Career- 
wise,  the  future  looks  bright. 

And  yet  he  is  alone.  Completely 
alone. 

He  talks  vaguely  of  trying  to  help 
children,  trying  to  save  underprivileged 
boys  from  the  cruelty  that  he  suffered. 
He  talks,  too,  of  trying  to  help  creative 
people,  perhaps  writers,  toward  suc- 
cess. 

He  is  trying  to  help  others.  But  as 
yet  he  hasn't  been  able  to  help  himself. 

And  there  is  talk,  too,  of  leaving 
the  country  when  he  finishes  his  current 
series.  He's  saving  his  money  for  it, 
and  has  a  nice  nest  egg.  He  says  that 
maybe  he'll  go  to  the  South  Seas,  which 
he  came  to  know  during  the  war,  and 
look  for  happiness  there. 

Eric  is  still  looking  for  something 
he  can't  find,  and  his  search  may  take 
him  around  the  world. 

If  he  can't  find  it  across  the  seas, 
perhaps  he  should  look  elsewhere. 

Perhaps  he  should  look  into  his  own 
heart.  — James   Gregory 

Eric  stars  in  "Rawhide,"  as  seen  over 
CBS-TV,  Fri.,  7:30  to  8:30   p.m.   edt. 


CONNIE    FRANCIS 

(Continued  from  page  36) 

about  my  hairdresser.  I  thought  to  my- 
self, okay,  I'll  wait  a  while.  Then  I 
made  another  hit,  and  another.  And 
still  he  didn't  say  anything.  Would  you 
believe  it,  this  went  on  until  my  twen- 
tieth hit?  Finally,  I  went  into  his  office 
and  asked,  'When  am  I  going  to  get  my 
hairdresser?'  He  looked  at  me  very 
blankly  and  said  he  didn't  know  what  I 
was  talking  about. 

'  'Don't  you  remember?'  I  told  him. 
'You  promised  .  .  .' 

"  'Connie,'  he  said,  'I  honestly  don't 
remember.' 

'  'Well,  I  do.  It  was  on  the  sixth  of 
June,  in  the  afternoon,  I  was  wearing 
that  cute  red  dress  you  always  hated  and 
you  said  .  .  .' 

"I  didn't  have  to  say  another  word. 
He  got  me  the  hairdresser.  See  what  a 
good  memory  can  do  for  you?" 

Connie  laughed  out  loud  as  she  re- 
membered, standing  in  an  unfamiliar 
zoo  in  a  foreign  country.  She  laughed 
even  more  heartily,  feeling  more  at 
home  every  moment,  as  other  animals 
began  to  remind  her  of  her  family. 

The  peacocks  made  her  think  of  her 
brother  George.  "I  don't  mean  that  he's 
vain  about  his  looks  or  anything  like 
that,"  she  says  hastily.  "But  he's  proud, 
terribly  proud." 

George  is  going  to  law  school  and, 
just  as  when  he  went  to  college,  he'll 
have  a  little  trouble  with  the  tuition. 
But  he  won't  take  any  money  from  Con- 
nie. 

"I've  asked  him,  time  and  time  again, 
to  let  me  help  him,"  she  sighs.  "After 
all,  I  can  afford  it  and  why  shouldn't 
I  make  things  a  little  easier  for  my 
brother?  But  he  won't  hear  of  it.  He 
wants  to  do  it  all  by  himself. 

"Sometimes,  like  for  his  birthday, 
I'll  want  to  give  him  a  check.  He'll 
turn  to  me  and  say,  'Connie,  you  worked 
for  this  money  and  you  spend  it.  I'll 
earn    my   own    money.    And    he    does." 

It  was  a  parrot — the  first  Italian- 
speaking  one  Connie'd  ever  seen — which 
reminded  her  of  her  mother. 

"No  matter  what  my  father  says,"  she 
grins,  "and  whether  my  mother  agrees 
with  him  or  not,  she  always  says  he's 
right.  Not  only  that,  but  she  says  it 
in  exactly  the  same  words  he  used! 

Mama  quotes  Papa 

"For  instance,  I'm  building  a  new 
house  and  one  day  my  father  came  home 
and  said  he'd  seen  some  beautiful  mar- 
ble. 'Now,  I  know  it's  very  expensive,' 
he  told  me,  'but  I  would  like  to  see 
the  foyer  done  in  marble.  That's  the 
one  place  I'd  really  like  to  see  it.' 

"My  mother  didn't  even  look  me  in 
the  eye.  'You  know,  Connie,'  she  said, 
'the  foyer  is  the  one  place  I'd  really 
like  to  see  done  in  marble.'  Now.  just 
between  you  and  me,  I  happen  to  know 
my  mother  can't  stand  marble!" 

Getting  away  from  the  family,  Connie 
began  to  see  other  animal  resemblances 
to  her  friends  in  show  business.  The 
giraffes,  for  instance,  reminded  her  of 
TV's  Eric  Fleming — who  once  took  her 


to  a  dancing  class  at  Arthur  Murray's 
in  Hollywood. 

"Eric  was  so  tall,"  she  chuckles,  "and 
I  was  so  small  that  I  kept  looking  up, 
up,  up  at  him — and  stumbling  all  over 
my  own  feet.  Finally,  he  looked  down 
at  me  and  muttered,  'This  has  got  to 
stop.'  With  that,  he  picked  me  up  and 
held  me  by  the  waist,  dancing  while  my 
legs  dangled  at  least  thirteen  inches 
above  the  floor! 

"We  were  supposed  to  be  doing  a 
romantic  tango,  but  it  was  not  very 
glamorous  the  way  we  were  doing  it!" 

Fabian  to  the  rescue! 

The  tigers  just  naturally  reminded 
Connie  of  Fabian — remember  when 
they  used  to  call  him  "Tiger"? — but 
that  wasn't  what  Connie  was  thinking 
of  .  .  . 

"Once,  not  too  long  ago,"  she  recalls, 
"Fabian  was  a  real  tiger  in  my  defense 
— a   knight   in   shining   armor,   to   me! 

"We  were  staying  at  the  same  hotel 
in  Florida  at  the  time,  and  some  men 
in  the  room  next  to  mine  were  having 
a  wild  party.  For  hours,  while  I  was 
trying  to  get  some  sleep,  I  had  to  put  up 
with  their  drunken  version  of  'Let's  All 
Sing  Like  the  Birdies  Sing'  throbbing 
through  my  wall. 

"Then,  somehow,  they  found  out  1 
was  in  the  next  room.  The  next  thing 
I  knew,  they  were  pounding  on  my  door 
and  yelling  for  me  to  join  the  party. 
I  don't  mind  telling  you  I  was  very 
scared.  I  thought  they  might  break  in! 
They  didn't  go  away  when  I  told  them 
to,  so  I  ran  to  the  phone  and  called 
Fabian.  And,  just  like  a  knight,  he 
rescued  me  and  swept  me  off  on  his 
charger    (in  this  case,  a  convertible). 

"It  was  really  funny  to  see  those  men 
scatter  when  he  came!  Maybe  they 
thought  he  was  my  husband  or  some- 
thing, but  they  couldn't  have  disap- 
peared faster  if  he'd  been  a  living, 
roaring  tiger. 

"Anyhow,  I  was  saved.  And  then 
Fabian  even  bought  me  a  present:  A 
package  of  bubble  gum." 

Only  one  lucky  young  man  had  the 
distinction  of  being  singled  out  twice  by 
Connie  at  the  zoo  in  Milan  .  .  .  not  so 
lucky,  perhaps,  in  her  choice  of  his 
animal  look-alikes  .  .  .  but  certainly 
lucky  in  the  fact  that  he  has  been  so 
much  on  Connie's  mind  of  late. 

He  was  very  much  in  her  thoughts 
when  she  saw  the  goat!  "I  didn't  have  to 
think  very  hard  about  who  that  re- 
minded me  of,"  she  admits.  "It's  this 
boy  I  date.  I  met  him  in  Italy  but  I 
don't  want  to  tell  his  name  because  I 
don't  want  this  to  get  blown  up  into  a 
big  romance — not  yet,  anyway.  But  he's 
the  most  stubborn  person  I  ever  met!" 

Connie's  a  pretty  stubborn  person  her- 
self and  many  of  their  dates  became  a 
tug-of-war  between  two  temperaments. 
One  night,  when  he  picked  Connie  up 
at  her  hotel,  he  was  all  excited.  (The 
trouble  was,  so  was  she.) 

"I  have  a  new  place  to  take  you  to," 
he  said.  "An  American  ice-cream  parlor 
.  .  .  that  is,  just  like  American.  And 
it's  out  in  the  country.  We'll  have  a 
nice  drive." 

"Ummm.  listen,"  Connie  told  him,  "I 
just   heard   of  the   grooviest   jazz   joint 


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right  near  here.  I'd  love  to  go  to  .  .  ." 

"But  the  ice-cream  place  .  .  ." 

"But  the  jazz  joint  .  .  ." 

The  evening  ended  as  a  tie.  Connie 
went  to  the  jazz  joint — and  he  went  to 
the  ice-cream  parlor. 

"But  you  know  what?"  Connie  beams. 
"Most  of  our  arguments,  we  don't  tie. 
He  wins.  And  I  just  love  it! 

"The  last  animal  I  saw  at  the  zoo," 
she  continues,  "was  a  monkey — and  that 
reminded  me  of  my  stubborn  Italian 
friend  again.  One  day,  I  had  to  do  a 
television  show  when  I  wasn't  feeling 
well.  Everything  went  wrong.  My  dress 
looked  bad.  The  rehearsal  went  terribly. 
I  was  almost  ready  either  to  walk  out 
or  to  sit  down  and  cry. 

llllillHIliiltllllllllllllllllllllllltllilllllllilllllllltrilllllllllllllllllilllflllllMlilPIINIIllllllllllllllltll [i>u  nil 

(lllllllllllllllllllllllllMllMtlilllllllllllllMllllllllllllllMllllllllllllItlllllllllMltlllllillllltllllllilllllllllllli 

DAN    BLOCKER 

lll[llllllMIIII|INIIIIIMIIIIIIMIIMIMIIIM1lllllt1IIIIIIIIIIIIIIIIIIMIIIIIII{lll1lllllllllllllllll1IIIIIIIIMIII1llll1llllII 

(Continued  from  page  47) 

He's  too  darned  big  to  ride  and  too  lit- 
tle to  hitch  to  a  wagon — ain't  good  for  a 
darned  thing." 

Dan  has  developed  a  deep  sensitivity 
and  understanding  of  his  fellow  men. 
Today,  he  can  say,  "My  father  loved 
me,  I  know,  and  I  loved  him,  but  we 
often  hurt  those  we  love  most.  If  my 
own  family  looked  on  me  as  something 
of  a  freak,  I  guess  I  couldn't  expect 
much  of  anyone  else.  I  didn't,  either, 
until  I  met  Dolphia  in  college.  She 
didn't  kid  me  like  some  of  the  others, 
she  didn't  enjoy  seeing  me  fight — and 
I  don't  think  she  once  mentioned  my 
size,  even  though  I  was  more  than  a 
foot  taller.  The  only  time  she  even  re- 
ferred to  it  slightly  was  something  I'll 
never  forget.  She  said,  'Dan,  I  love  you 
so  much  because  inside  you're  really 
a  big  man.' " 

Dan  majored  in  physical  education 
and  football  on  a  scholarship  at  Sul 
Ross  State  in  Alpine,  Texas,  because 
that  was  what  was  paying  his  tuition. 
But,  inside  himself,  he  wanted  knowl- 
edge and  not  athletics.  He  was  offered 
scholarships  to  virtually  every  college 
in  the  country  if  he  would  play  foot- 
ball for  them,  and  when  he  was  grad- 
uated from  Sul  Ross,  he  turned  down  a 
high-paying  pro  football  offer. 

"In  college  I  wanted  to  learn  all  I 
could,  even  though  I  was  supposed  to 
be  just  another  dumb  athlete.  I  signed 
up  for  a  course,  'Rehearsal  and  Per- 
formance,' because  I  thought  it  might 
give  me  the  confidence  I  needed  to 
walk  around  like  everyone  else.  But  do 
you  know  that  the  first  part  I  had  in  a 
production  was  a  non-speaking  stint  in 
'Arsenic  and  Old  Lace'?  And  they  only 
cast  me  because  they  needed  someone 
strong  enough  to  carry  the  bodies  out 
of  the  basement! 

"When  that  happened,  I  was  de- 
termined to  show  everyone  I  was  good 
for  something  else  and  I  started  to 
learn  everything  I  could  about  acting. 
At  first  it  was  a  challenge  but,  before 
I  knew  it,  I'd  caught  the  bug.  I  got  my 
B.A.  in  drama  and  played  everything 
but  a  midget." 

After  graduation,  Dan  played  sum- 
mer stock  for  pennies,  as  opposed  to 
the  big  money  he  could  have  made  in 


"My  friend  saw  how  I  felt  and  he  ran 
backstage  and  slipped  into  a  monkey 
costume  they  had  there.  All  of  a  sudden, 
I  saw  this  larger-than-life  monkey 
skipping  and  tumbling  around  me.  I 
couldn't  help  but  laugh.  And  the  more 
I  laughed,  the  more  I  relaxed.  Needless 
to  say,  I  went  on  with  the  show  .  .  .  and 
it  really  went  pretty  well. 

"It  was  times  like  that,"  Connie  sums 
up,  "that  made  me  think:  Gee,  how  can 
I  be  blue?  Look  at  all  the  swell  memo- 
ries I  have  behind  me  .  .  .  and  think  of 
all  the  wonderful,  wonderful  things  to 
come!" 

That's  Connie  Francis  in  person  .  .  . 
the  girl  who  can  find  friends  every- 
where— even  at  the  zoo.  — Micki  Siegel 


pro  football.  He  had  also  appeared  on 
Broadway  in  "King  Lear" — when  the 
Korean  war  broke  out.  Dan  rose 
through  the  ranks  to  become  company 
first  sergeant  with  the  45th  Oklahoma 
Division,  was  discharged  in  1952 — and 
returned  home  to  marry  Dolphia  Park- 
er, the  one  person  who  had  believed  in 
him  in  his  early  college  days. 

"I  went  back  to  college  to  work  on 
my  master's  degree.  I  knew  I  wanted 
to  be  an  actor,  but  I  also  knew  we 
were  going  to  have  to  eat  and  we 
wanted  a  slue  of  kids.  I  could  always 
teach  if  I  had  an  M.A.  in  drama  and 
English,  so  I  went  ahead  and  got  it, 
then  taught  for  a  year  in  Texas  and  a 
year  in  New  Mexico.  But  I  wanted  to 
get  back  into  the  theater — so  I  started 
rationalizing." 

Dan's  rationalization  took  him  to 
Hollywood,  where  he  planned  to  work 
on  his  doctorate  at  U.C.L.A. — under 
the  G.I.  Bill  of  Rights — and  still  be 
in  the  midst  of  the  theatrical  world. 
He  got  himself  an  agent,  moved  into  a 
house  with  his  wife  and  family,  and 
started  classes  on  a  Monday. 

"On  Wednesday,  my  agent  called 
and  asked  me  to  have  lunch  and,  the 
next  thing  I  knew,  I  got  the  heavy 
lead  on  a  'Gunsmoke'  episode.  From 
there  on  in,  it  was  one  part  after  an- 
other. A  couple  of  times  I  was  out  of 
work,  so  I'd  do  substitute  teaching  at 
Glendale  or  Hoover  high  schools — and 
that  teaching  helped  my  acting.  Those 
kids  looked  up  to  me  for  knowledge 
and  guidance,  with  serious  faces.  Thev 
weren't  leering  up  at  me,  waiting  for 
me  to  play  the  buffoon.  I  think  my  wife 
and  my  students  have  given  me  the 
greatest  gift  a  man  can  receive:  Re- 
spect for  what  he  really  is,  not  what 
others  want  him  to  be." 

It's  an  old  gag  in  Hollywood  that, 
when  anyone  plays  a  part  in  a  tele- 
vision series,  his  press  agents  usually 
build  him  up  to  the  public  as  the  same 
kind  of  person  in  real  life.  As  Hoss 
Cartwright  in  "Bonanza,"  Dan  Blocker 
is  a  huge,  lumbering  man  who  uses  his 
strength  only  when  necessary — and 
uses  his  mind  more  than  many  suspect. 
Blocker,  the  man,  is  very  much  made 
of  the  same  stuff.  Although  happily  ex- 
troverted as  he  lumbers  around  the  set. 
his  private  life  consists  of  his  family, 
constant  study,  and  classical  music.  He 
reads  biographical  novels  the  way 
others  read  their  daily  papers. 


To  his  children,  he  is  not  an  ex- 
fighter,  ex-football-player,  or  even  Hoss 
Cartwright.  He  is  a  quiet,  understand- 
ing man  who  gives  them  the  same  re- 
spect he  demands  for  himself,  because 
he  knows  how  important  it  can  be  for 
a  child  to  be  understood. 

For  a  man  who  led  such  a  violently 
physical  life  in  his  formative  years, 
Dan  has  gone  to  almost  the  other  ex- 
treme. But  people  who  really  knew 
him  in  the  old  days  say  he  hasn't 
changed.  "He  was  never  a  tough  guy — 
he  was  just  put  in  that  position  by  a 
bunch  of  insensitive  folks  who  wanted 
to  see  an  oversized  boy  perform,"  an 
old  rancher  observes.  "They  were  all 
waiting  for  him  to  get  clobbered,  but 
he  never  gave  them  the  satisfaction. 
He  was  and  is  a  gentle  human  being 
who  can  at  last  be  himself  in  peace." 

Dan  is  happy  in  Hollywood.  He  says, 
"The  main  difference  between  this 
town  and  O'Donnell,  Texas,  where  I 
was  raised,  is  that  here  I  know  where  I 
stand  with  people.  I  know  it  when  they 
like  me,  and  I  know  it  when  they  don't. 
In  a  small  town,  everyone  is  so  close 
together  that  a  smile  doesn't  mean  a 


MARTIN    MILNER 

(Continued  from  page  53) 


unknown,  to  provide  "contrast"  as 
Marty's  co-star.  But  what  happened, 
from  then  on,  was  not  quite  in  the 
original  script. 

Perhaps  the  "contrast"  was  too 
great.  Perhaps  the  two  actors  were 
cast  too  close  to  type:  Marty  as  Tod 
Stiles,  a  nice  guy  who'd  always  had  it 
easy — and  trusted  everybody — up  to 
the  time  his  "Route  66"  adventures  be- 
gan .  .  .  George  as  Buz  Murdoch,  a 
hard-boiled  young  man  who'd  seen  only 
the  seamier  side  of  life — and  wasn't 
about  to  take  any  guff  from  anybody. 

Which  actor  had  the  juicier  role? 
The  dynamic  temperament  which  car- 
ries an  audience  along  with  him,  al- 
most against  their  will?  Which  char- 
acter did  viewers  take  to  their  hearts? 
The  nice,  kind  hero?  Or  his  unpre- 
dictable buddy? 

You  know  the  answer  to  that  one. 
Or  you  should.  As  a  viewer,  you're  the 
one  who  made  George  Maharis  the 
star  of  Martin  Milner's  series! 

Why  didn't  Marty  call  the  cops? 
Well,  in  the  first  place,  he  and  George 
are  pretty  good  pals  by  now,  almost 
as  close  as  the  roles  they  play.  In  the 
second  place,  he  is — as  noted — a  nice 
guy,  who  gives  the  other  fellow  the 
benefit  of  all  doubts. 

Most  of  all,  he  isn't  signing  any  com- 
plaints because  he  hasn't  got  any. 

Marty  Milner  has  it  made. 

It  wasn't  always  that  way.  It  hasn't 
always  been  as  easy  for  him  as  Tod's 

•••••••••••••••••••••a**** 

BUY  U.  S.  SAVINGS  BONDS 
AND  INVEST  IN  YOUR  FUTURE 


thing.  It's  a  habit.  A  guy  can  pat  you 
on  the  back  while  he's  sticking  a  knife 
in  it  at  the  same  time.  I  was  always 
something  of  a  freak  and  I  paid  for  it. 
Here,  I'm  just  another  working  actor 
and,  if  I  fall  on  my  face,  I  can  always 
go  back  to  being  another  working 
schoolteacher.  Even  if  'Bonanza'  folded 
tomorrow  and  I  never  acted  again,  I've 
been  a  lucky  son-of-a-gun." 

He  has  an  F.  Scott  Fitzgerald  quota- 
tion hanging  in  his  dressing-room  which 
may  best  explain  how  Dan  feels  about 
his  fellow  men:  "It  isn't  given  to  us  to 
know  those  rare  moments  when  people 
are  wide  open  and  the  lightest  touch 
can  wither  or  heal.  A  moment  too  late 
and  we  can  never  reach  them  anymore 
in  this  world.  They  will  not  be  cured 
by  our  most  efficacious  drugs  or  slain 
with  our  sharpest  swords." 

A  person  whom  the  sharpest  swords 
couldn't  slay — a  huge  man  physically, 
a  thoughtful  man  mentally — Blocker  is 
truly  TV's  gentle  giant. 

— Pat  Richards 

"Bonanza"  is  colorcast  over  NBC-TV 
on   Sundays,   from   9   to    10   p.m.    edt. 


early  life  is  supposed  to  have  been. 
Back  in  1947,  when  the  freckled  juve- 
nile actor  had  just  got  his  first  big 
movie  break — playing  Irene  Dunne's 
"second  son"  in  "Life  With  Father" — 
he   became    desperately   ill. 

Polio,  they  said.  And  the  doctors 
told  him  he'd  never  walk  again. 

But  he  did.  It  wasn't  easy.  Hours 
of  painful  exercise,  massage,  whirlpool 
baths.  Months  of  dogged  determina- 
tion when  only  he  believed. 

And  he  won  back  his  health — so  suc- 
cessfully, the  Army  took  him  in!  There 
he  managed  to  keep  in  touch  with  his 
future  career,  at  least  indirectly,  by  di- 
recting training  films. 

After  discharge,  the  road  back  was 
just  as  tough  as  it's  always  been  in 
Hollywood,  for  the  promising  newcomer 
who'd  been  away.  Then  the  breaks  be- 
gan to  come  again.  First,  a  top  role 
in  "Marjorie  Morningstar."  Then, 
"The  Sweet  Smell  of  Success." 

And  between  these  two  came  Judy 
Jones,  the  girl  who's  made  any  road 
worth  traveling  for  Marty  Milner,  so 
long  as  she's  beside  him.  They've  been 
the  "home  team"  ever  since  ...  no 
matter  where  his  career  has  taken  him. 

For  Judy,  a  TV  actress  and  singer, 
gave  up  her  own  career  to  stay  by  his 
side  ...  to  bear  his  children  ...  to 
travel  wherever  "Route  66"  went — with 
their   babies   in   the   car   beside   them. 

And  to  help  make  a  home  of  the  love- 
ly house  in  Sherman  Oaks  which  is  the 
pinnacle  of  success  for  Marty  Milner. 
This,  and  Judy,  and  little  Amy,  Molly 
and  Stuart  ...   so   far  .   .  . 

What  more  could  fame  and  fortune 
bring?  What  more  could  a  thoroughly 
nice  guy  want?  If  you're  Marty  Milner, 
nothing  now-  If  you're  Marty  Milner, 
you're  happy  to  be  TV's  forgotten  man. 
You  remember  you've  got  the  things 
that  count!  — Irene  Storm 

"Route  66"  travels  your  way  over  CBS- 
TV.  Fri..  from  8:30  to  9:30  p.m.  edt. 


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"THE  EDGE  OF  NIGHT" 

(Continued  from  page  54) 

question  which  we  will  attempt  to  probe 
this  month,  analyzing  the  story's  per- 
ennial appeal — and  relating  its  devel- 
opments to  those  you  might  encounter 
in  your  own  life.  As  usual,  my  setting 
of  the  TV  scene  will  be  in  regular  type 
(like  this)  and  Dr.  Wolk's  profes- 
sional comments  will  be  in  italics  (as 
follows)  : 

Psychologically,  a  strong  male  per- 
sonality as  the  leading  character  of  a 
TV  series  has  a  very  different  effect  on 
the  woman  watching  than  does  a  female 
lead.  Instead  of  identifying  with  Mike, 
she  fantasizes  about  him;  he  becomes 
the  man  of  her  dreams,  a  husband- 
substitute,  a  father-substitute,  an  all- 
wise,  all-powerful,  perfect  kind  of  man 
who  lets  her  escape  from  the  "inferior" 
man  she  married.  Mike  is  not  only 
virile  and  successful,  but  also  gentle 
and  full  of  feeling  when  he  has  to  be. 
The  fact  that  he's  a  widower  makes  it 
easier  for  the  female  viewer  to  admire 
and  desire  him  without  feeling  guilty 
about  taking  him  away  from  his  wife. 

His  housewife  fan  does  identify  with 
the  various  women  whom  Mike  admires. 
And  he  arouses  both  sympathy  (for 
his  plight)  and  admiration  (for  not 
compromising  his  masculinity  while 
looking  after  his  little  girl) .  So  Mike 
becomes  a  symbol  of  everything  a  wom- 
an wants  in  a  man  and  his  status  as 
a  widower  makes  him  even  more 
attractive. 

But  widowers  are  faced  with  very 
special  kinds  of  problems  that,  to  some 
extent,  must  be  judged  by  the  circum- 
stances that  brought  about  their  be- 
reavement. Mike  Karr  lost  his  wife, 
Sara — with  whom  he  was  blissfully 
happy — many  months  ago,  through 
highly  dramatic  circumstances.  Their 
beloved  daughter,  Laurie  Ann,  had 
become  infected  by  a  strange  illness 
which  affected  her  brain.  One  late  aft- 
ernoon, the  mixed-up  little  girl  scram- 
bled out  of  bed,  wandered  downstairs 
.  .   .   and  walked  out  the  front  door. 

Busy  in  the  kitchen,  her  mother 
wasn't  aware  of  Laurie  Ann's  disap- 
pearance until  she  went  to  her  room. 
Finding  the  bed  empty,  Sara  rushed 
downstairs,  noticed  the  open  door  and. 
raced  outside — just  in  time  to  see  a 
speeding  car  bearing  down  on  her 
daughter.  She  managed  to  reach  her 
before  the  car  did,  shoved  her  out  of 
harm's  way  .  .  .  and  lost  her  own  life. 

Mike  could  not  even  pause  to  give 
way  to  grief,  in  peace,  because  Laurie 
Ann  had  been  badly  bruised  and  was 
in  danger  unless  she  received  immedi- 
ate surgery.  Immediately,  Mike  had  to 
find  the  one  specialist  who  could  per- 
form the  delicate  operation  to  save  his 
child. 

The  loss  of  a  loved  one,  especially 
under  such  sudden  and  tragic  circum- 
stances, makes  a  tremendous  impact 
on  the  surviving  spouse.  If  Mike  had 
been  the  kind  of  man  who  was  overly- 
dependent  on  his  wife,  the  emergency 
he  faced  with  his  daughter  might  have 
been  more  than  he  could  have  coped 
with  at  such  a  time. 


Being  a  widower  is  quite  different 
from  being  deprived  of  one's  wife's 
company  because  she  may  have  to  be 
absent  from  home  for  some  other  rea- 
son. Temporary  separation,  even  for 
long  periods,  always  keeps  shining  the 
prospect  of  future  togetherness.  But  a 
death  makes  such  separation  final. 

Mike's  immediate  adjustment  to  the 
situation,  in  terms  of  his  coming  to 
grips  with  the  problem  of  finding  medi- 
cal treatment  for  his  little  girl,  shows 
him  capable  of  meeting  the  worst  that 
life  offers — with  vigor  and  decisiveness. 
A  less  stable  man  might  have  resented 
Laurie  Ann  for  "causing"  his  wife's 
death.  But  such  resentment  would  have 
overlooked  the  reality  of  the  situation 
and  only  been  a  cover-up  for  that  hus- 
band's guilt — based  on  a  deep,  uncon- 
scious dislike  of  his  wife  and  the  hid- 
den wish  that  she  would  die.  If  Mike 
were  this  sort  of  man,  he  might  try  to 
conceal  his  anger  at  the  child  by  be- 
coming over-protective  —  treating  her 
"too  good"  and  smothering  her  with 
love  to  make  up  for  his  real  feelings 
of  hostility.  Such  feelings  lie  behind  the 
over-protectiveness  many  mothers  show 
their  children. 

Most  widowers  find  boys  easier  to 
raise  than  girls  because  they  under- 
stand them  better.  And  younger  chil- 
dren, of  course,  find  it  easier  to  forget 
the  mother  and  accept  a  substitute  in 
the  form  of  a  nurse,  relative  or  second 
wife.  But,  in  order  to  do  best  by  him- 
self and  his  children,  every  widower 
must  realize  the  need  to  get  back  into 
circulation  socially,  overcome  his  mo- 
mentary feelings  of  helplessness  and 
not  hesitate  to  demonstrate  his  affec- 
tion for  his  youngsters — without  going 
overboard. 

A  means  of  escape 

Sara's  death  was  a  terrible  blow  to 
Mike,  for  their  marriage  had  been  one 
of  those  rare  near-perfect  alliances.  His 
only  escape  was  his  work.  An  ex-cop 
— a  self-made  man  who  is  now  a  suc- 
cessful criminal  lawyer — Mike  was  able 
/to  throw  himself  completely  into  his 
work  to  help  overcome  his  loneliness. 

Every  man  needs  an  escape  hatch 
at  such  times,  but  losing  oneself  in 
one's  work  can  be  unhealthy  if  that 
becomes  the  only  escape.  The  quality 
of  one's  work,  one's  judgment — one's 
attitude  to  the  work  itself — could  be- 
come distorted  when  work  alone  is  used 
to  overcome  the  loss  of  a  mate. 

It  is  healthier  neither  to  forget  one's 
wife,  nor  to  build  a  shrine  to  her.  The 
widower  must  retain  a  decent  respect 
for  his  wife's  memory  but  accept  the 
tragic  situation  and  slowly  but  surely 
seek  out  other  companionship,  for  his 
own  good  and  the  good  of  his  children. 
He  must  socialize,  develop  new  ac- 
quaintances and  re-construct  his  life. 
Above  all,  he  must  be  careful  to  avoid 
comparing  with  his  late  wife  every  new 
female  friend  he  meets. 

Sara's  last  words  to  Mike  were,  "As 
long  as  you  have  Laurie  Ann,  I'll  never 
be  far  away."  So  Mike  drew  closer  to 
his  little  girl,  who  became  the  image 
of  her  mother  whom  he  loved  so  dearly. 

Mike  had  always  been  close  to  his 
in-laws,  Winston  and  Mattie  Grimsley, 


and  even  shared  the  chairmanship  of 
the  local  Citizens  Crime  Committee 
with  Mr.  Grimsley,  who  is  a  highly  suc- 
cessful businessman. 

Not  long  after  Sara's  death,  her  folks 
moved  into  Mike's  house  to  help  him 
in  his  own  emotional  adjustment  to  his 
loss  and  to  aid  in  the  rearing  of  little 
Laurie  Ann.  Since  Winston  Grimsley 
himself  had  been  a  widower  before 
marrying  Sara's  mother,  he  presumably 
had  a  special  insight  into  what  Mike 
was  going  through. 

But  is  this  the  best  solution  for  a 
widower?  Would  a  nursemaid  be  pref- 
erable to  grandparents,  in  raising  the 
children?  Could  in-laws  create  new 
problems  for  both  himself  and  his 
children? 

The  last  words  of  Mike's  wife  do  not 
play  fair  with  him  or  their  child;  they 
tend  to  trap  Mike,  to  make  him  feel 
disloyal  if  he  dares  to  find  another 
woman  and  rebuild  his  life.  Such  death- 
bed utterances  make  for  effective  drama 
but  seldom  take  place  in  real  life — 
fortunately,  since  they  only  make 
things  more  difficult  for  the  survivor. 

The  trouble  with  having  grandpar- 
ents help  raise  the  children  is  that  the 
youngsters  would,  in  effect,  have  two 
"daddies":  Their  real  father  and  their 
grandfather.  This  could  dilute  the  real 
father's  rightful  authority,  to  the  detri- 
ment of  the  children. 

Choosing  to  have  the  in-laws  move 
in,  or  moving  in  with  them,  can  serve 
to  make  the  widower — or  widow — 
guilty  and  uncomfortable  about  dating, 
thus  making  it  doubly  hard  to  "start 
all  over"  as  every  widower  or  widow 
must. 

A  nursemaid,  as  a  temporary  mother- 
substitute,  is  usually  preferable  but 
must  be  extremely  well-chosen.  It  could 
be  very  upsetting  to  a  youngster  if  she 
stays  on  only  long  enough  to  attach  her- 
self to  the  child,  then  is  replaced  by 
another  mother-substitute. 

No  widower  should  expect  anyone 
else  to  take  on  certain  responsibilities 
which  are  his  own:  Raising  his  kids 
with  full  awareness  of  the  facts  of  the 
situation,  taking  time  to  play  with 
them,  not  subjecting  them  indiscrimi- 
nately to  one  lady-friend  after  another. 

A  good  marriage  to  someone  new,  at 
the  earliest  possible  moment  after  a 
decent  period  of  mourning,  is  the  nic- 
est thing  that  could  happen  to  a  mother- 
less youngster — and  to  a  lonely  wid- 
ower. Far  from  being  disloyal,  such  a 
man  is  being  honest,  grown-up  and  con- 
siderate of  his  motherless  child. 

When  Mike  met  Nancy  Pollock,  he 
was  attracted  to  her  almost  at  once — 
not  simply  because  she  was  good  to 
look  at,  but  because  she  got  along 
famously  with  Laurie  Ann.  He  liked  the 
way  she  spoke  to  his  small  daughter, 
and  he  respected  her  ideas  on  how  to 
raise  children. 

Still,  when  Nancy  locates  a  new 
house  for  Mike  and  he  comes  to  inspect 
it,  he  finds  himself  uncomfortable  in 
the  new  surroundings.  Somehow  he 
can't  bring  himself  to  break  away  from 
the  old  house  which,  to  him,  symbolizes 
his  beloved  Sara  and  represents  every- 
thing he  found  right  and  bright  in  life. 

Although  he  feels  great  affection  for 
Nancy,  Mike  shrinks  from  the  prospect 


of  matrimony.  He  shows  his  feeling  for 
her  in  other  ways — offering  to  defend 
her  younger  brother  in  court  against 
a  drunken  driving  charge,  lending  emo- 
tional support  to  help  Nancy  cope  with 
the  constant  problems  of  her  teen-age 
sister  because  her  mother,  a  college 
dean,  is  often  away  from  home. 

Nancy  also  stands  by  Mike  when  he 
decides  to  become  a  candidate  for  Dis- 
trict Attorney — although  her  father, 
editor  of  the  city's  leading  newspaper, 
is  forced  to  abide  by  his  publisher's  de- 
cision to  support  Mike's  opponent. 

Too  eager  to  marry? 

Nancy  may  or  may  not  be  right  for 
Mike.  Being  good  to  his  child  is  not 
enough;  she  must  be  good  to  him. 
Sometimes  a  woman  is  so  eager  to 
marry  that  she  pretends  to  be  what 
she  isn't — winning  over  the  widower's 
youngsters  in  order  to  win  herself  a 
husband.  That's  why  a  man  with  chil- 
dren must  re-marry  cautiously,  wisely, 
in  order  to  be  sure  that  the  woman  of 
his  choice  is  completely  sincere. 

Mike  must  also  consider  the  possi- 
bility that  his  fondness  for  Nancy 
might  be  based  merely  on  the  impor- 
tance he  feels  at  being  able  to  help 
her  with  her  own  personal  problems, 
such  as  those  concerning  her  family. 

The  fact  that  her  father  is  forced 
to  go  against  him,  while  Nancy  sides 
with  him,  places  Mike  in  a  very  diffi- 
cult position.  Such  conflicting  loyalties 
could  turn  him  away  from  her  unless 
he  is  mature  and  clear-headed  enough 
to  realize  that  she  is  not  responsible  for 
her  father's  action. 

The  suspicion  that  Mike  still  carries 
a  bit  of  immaturity  within  him  rises 
from  his  reluctance  to  give  up  the  ghost 
of  his  late  wife  and  the  possibility  that 
he  is  hiding  behind  her  memory  to 
avoid  making  a  new  home  for  himself 
and  his  daughter — preferring  the 
dream  of  the  past  to  the  reality  of  the 
present. 

No  widower  should  expect  his  sec- 
ond wife  to  be  a  duplicate  of  his  first 
— or  demand,  as  some  widowers  do, 
that  the  second  wife  possess  qualities 
which  the  first  lacked  totally.  He  must 
accept  her  as  herself,  neither  compar- 
ing her  nor  idealizing  her. 

Losing  a  wife — or  a  husband — re- 
quires the  utmost  in  maturity  and  emo- 
tional stability  in  order  to  survive  such 
a  tragedy  successfully  and  with  as  little 
damage  to  one's  youngsters  as  possible. 

This  is  Mike  Karr's  problem  and,  of 
course,  he  copes  with  it  in  highly  dra- 
matic fashion,  for  this  is  TV's  way.  In 
real  life,  the  losses  are  usually  larger 
and  the  gains  smaller.  Few  real-life 
attorneys  become  as  emotionally  in- 
volved with  either  clients  or  kin  as  does 
Mike.  But  perhaps  this  is  a  good  thing 
for  a  man  who's  been  recently  bereaved 
...  or  is  it  too  much  of  a  good  thing? 

When  a  widower  such  as  Mike  be- 
comes emotionally  involved  with  so 
many,  it  may  be  because  he  is  reach- 
ing out  for  the  warmth  and  love  that 
he  needs  so  desperately.  Driven  by  so 
great  a  need,  it  would  mcfke  little  dif- 
ference whether  he  seeks  out  clients, 
kin,  or  anyone  else.  Professional  and 
social  contacts  help  to  restore  a  man's 


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confidence  in  himself  and  his  faith  in 
the  future. 

A  widow  has  an  even  harder  time  of 
adjusting  than  does  a  widower.  For 
one  thing,  she  may  have  money  prob- 
lems. For  another,  she  must  wait  to 
be  sought  out  by  an  admirer,  rather 
than  do  the  pursuing  herself,  and  must 
be  careful  that  any  attentions  paid  her 
aren't  based  purely  on  her  sex-appeal, 
with  no  intention  of  marriage.  Children 
make  her  problem  more  difficult. 

Widows,  even  more  so  than  widowers, 
are  dependent  on  friends,  relatives  and 
co-workers  to  help  them  broaden  their 
social  contacts  and  meet  prospective 
new  spouses.  Mike  Carr's  TV  adven- 
tures only  sketchily  indicate  the  less 
dramatic  but  deeper  aspects  of  widow- 
hood: The  awful  loneliness,  the  help- 
lessness, the  despair  accompanying  the 
loss  of  a  loved  one. 

You,  the  TV  viewer,  may  share  the 


trials  and  tribulations  of  Mike  and 
Nancy  and  all  the  others  in  the  pro- 
gram— but  bear  in  mind  that  such  dra- 
matic license  as  they  enjoy,  in  a  brief 
episode  daily,  cannot  be  yours.  You 
will  always  suffer  more  in  the  same 
predicament  .  .  .  because  you  must  live 
with  your  sorrows  twenty-four  hours  a 
day — throughout  a  full  lifetime.  But, 
by  analyzing  such  TV  favorites  psy- 
chologically, we  hope  to  give  you  some 
insight  into  your  own  behavior  patterns 
so  that  you'll  be  able  to  handle  per- 
sonal problems  better  when  they  arise. 
Next  month,  we'll  look  in  on  another 
popular  daytime  drama  .  .  .  deal  with 
another  area  of  human  relations  .  .  . 
and  try  to  make  the  stories  and  char- 
acters  meaningful    in    your   own    life. 

—The  End 

You  can  follow  "The  Edge  of  Night" 
on  CBS-TV,  M-F,  4:30  to  5  p.m.  edt. 


IIMIIIIIUIIIIIIIIIIIIIIIMIIUIIIIIltlllllllllllUIIIIIIIIIIIIMIIIIIIIIIIIIIIIItllllllMlllllllllllllllltllllllllllllllllllllllllllltlllllltlllll 


EDDIE   FISHER 

iiiiiiiiniiiiiiiiiiiiiiitiiiiiiiiiMiiiiiiiiiiiiiiiiiiiiiiiiiiiiitiiiiiiiiiiiiiiiiiiiiiiiiiiiiMiiitiiiiiiitiiiiiiiiiiiuiiiiiii 

(Continued  from  page  32  ) 

lives  permanently  at  a  time  when  they 
can  really  communicate  with  each  other 
and  grow  close  and  loving.  So,  out 
of  Eddie's  most  recent  marital  misfor- 
tune, shines  this  ray  of  fulfillment  and 
hope  for  the  future. 

For  Eddie's  children  are  his  future 
now.  He  knows  that  as  well  as  he  knows 
the  lyrics  to  "O  My  Papa."  And  he 
knows  what  an  enormous  responsibility 
he  has  to  both  of  them — and  especially 
to  Todd,  who  needs  his  father's  guid- 
ance and  influence  as  much  as  he  needs 
his  mother's  love  and  attention.  For  it 
is,  after  all,  a  father's  role  to  shape  a 
boy  into  a  man,  to  give  the  qualities  of 
manhood — not  lip  service,  but  practice 
and  application.  Eddie  plays  ball  with 
Todd,  wrestles  with  him,  roughhouses. 
swims  and  talks  man-to-man  talk  with 
him.  When  Todd  visited  Eddie  recently, 
at  his  rented  Beverly  Hills  mountain 
top  estate,  the  child  quickly  absorbed 
the  fact  that  there  were  no  women 
around  the  place.  In  his  childish  curi- 
osity he  asked,  "Daddy,  where's  your 
Mommy?" 

It  was  at  that  moment  that  Eddie 
knew  Todd's  education  about  women 
had  started.  Eddie  has  told  him  about 
Todd's  other  grandmother  in  Philadel- 
phia, his  four  aunts  and  two  uncles 
and  all  the  little  cousins.  Todd  sees 
his  Grandma  Reynolds  in  Burbank 
often.  Eddie  looks  forward  to  the  day 
he  may  take  his  son  and  daughter  to 
visit  with  his  own  family  in  the  East. 
Right  now,  visitation  rights  preclude 
their  going  out  of  the  state  of  Cali- 
forna  but,  as  they  grow  older  and  as 
Debbie  sees  the  need  for  enlarging 
their  circle  of  relatives  and  acquaint- 
ances, they'll  be  surrounded  by  the  love 
and  affection  of  Eddie's  warm  family 
unit.  Eddie  wants  his  son  to  know 
his  father's  heritage  and  his  own. 

Todd  must  be  exposed  to  adult  re- 
lationships, as  well  as  child  relation- 
ships, in  order  to  learn  the  interdepend- 
ence of  men  and  women,  brothers  and 
sisters,  aunts  and  uncles.   He   sees  the 


great  tenderness  and  respect  Eddie  ac- 
cords both  Carrie  and  Debbie,  and  the 
little  boy  absorbs  this  way  of  treating 
his  loved  ones.  Todd  has  even  taken  to 
imitating  Eddie,  as  he  bows  low  to 
Carrie  and  kisses  her  dimpled  pink 
hand  with  great  ceremony  when  he 
greets  his  daughter  on  her  visits  to  his 
house. 

Eddie  has  always  been  a  gentleman 
and  a  gentle  man  and  neither  his  ex- 
posure to  the  sophisticated  show  busi- 
ness world  nor  to  the  uninhibited 
international  set  has  appreciably  altered 
his  own  ingrained  code  of  conduct. 
Throughout  the  dreadful  Liz-Eddie- 
Burton  scandal,  Eddie  kept  his  own 
counsel  and  valiantly  kept  his  head 
and  his  chin  up  when  the  chips  were 
down  and  his  morale  was  at  its  low- 
est ebb.  No  backbiting  for  Eddie,  no 
blaming,  no  blustering — Eddie  minded 
his  manners  and  his  mouthings  when 
he  had  every  right  in  the  world  to  slash 
back  at  those  who  ripped  his  own  life 
to  shreds. 

On  humiliation  and  love 

Todd  will  know  of  this  as  he  grows 
up — that  the  conduct  of  a  gentleman 
survives  the  greatest  personal  disaster 
and  shame.  He  will  learn  of  the  great 
pain  his  father  endured  and  of  the 
great  courage  he  was  able  to  summon 
in  the  face  of  overwhelming  odds.  Todd 
will  learn  from  these  lessons  of  his 
father's. 

Eddie  will  tell  his  son,  as  he  grows 
up,  that  people  make  mistakes.  That 
nobody  in  the  world — nor  indeed  the 
whole  world  itself — can  stop  you  from 
making  your  own  mistakes.  Nobody  can 
stop  you  from  even  making  the  same 
mistake  twice! 

As  Todd  notices  girls,  Eddie  will  be 
the  one  to  tell  him  about  the  "birds 
and  the  bees"  as  a  father  should.  He'll 
instruct  him  to  treat  girls  and  women 
with  the  same  kind  of  respect  and  rev- 
erence that  Todd  would  want  other  boys 
to  accord  his  sister  and  his  mother. 

Eddie  will  not  "warn"  Todd  about 
the  opposite  sex,  nor  will  he  catalogue 
his  own  experiences  in  the  hope  that 
Todd   will   be   spared   the   humiliation 


and  hurt  he  suffered.  For — despite  the 
desperate  bruises  Eddie  has  incurred 
from  love — he  knows  that  it  is  still  the 
greatest  thing  in  the  world.  And  he'll 
tell  Todd  that  a  woman  can  make 
earth  seem  like  heaven  and  that  a 
man  can  best  be  a  man  when  he  truly 
loves  a  woman  and  she  returns  that 
love. 

There  is  no  bitterness  about  love  in 
Eddie's  heart.  Nor  about  women.  There 
is  much  he  has  learned  from  love  and 
women,  and  this  is  the  gain  he  will  try 
to  pass  on  to  his  son. 

Naturally,  Eddie  will  have  to  explain 
to  Todd  tbat  there  is  no  sure  way  of 
knowing  when  love  is  real  and  forever. 
He  will  tell  Todd  that  one  must  gamble 
one's  heart  wholeheartedly,  even  at  the 
risk  of  having  it  squeezed  lifeless  with 
agony  and  despair.  For  even  if  a  love 
dies — it  has,  during  its  lifetime,  en- 
riched the  mind,  the  heart,  the  body 
and  the  soul — because  it  was  flaming 
with  vitality.  And  beautiful  memories 
eventually  survive  the  shabby  ones. 

Rejected,  humiliated,  cuckolded,  Ed- 
die nevertheless  summoned  the  strength 
to  say  to  the  press,  when  they  asked 
him  why  he  had  recorded  the  song 
"Arrivederci  Roma":  "Because  I  am 
saying  goodbye  to  a  beautiful  love."  He 
could  have  said  that  he  was  betrayed 
treacherously,  but  he  chose  to  remem- 
ber, not  the  agony  Elizabeth  impaled 
him  on,  but  the  ecstasy  he  shared  with 
her.  Of  course,  he  was  hurt — destroyed, 
to  be  exact.  But  his  inner  resources 
sustained  him.  The  manliness  and  viril- 
ity were  not  destroyed.  Eddie  was  able 
to  surface  when  otber  men  might  have 
drowned  in  weakness  and  shame. 

Eddie  has  been  criticized  for  taking 
it  with  the  good  grace  that  he  has. 
Many  wanted  him  to  take  matters  in 
his  own  hands,  to  beat  some  sense  into 
his  wife  and  knock  the  brains  out  of 
Burton.  But  to  what  end?  Aside  from 
the  saving  of  face,  would  this  have  ac- 
complished anything  constructive?  No, 
it  would  have  added  disgrace  and  dis- 
honor to  a  situation  which  was  already 
appallingly  scandalous. 

And  it  won't  ever  be  necessary  for 
Eddie  to  explain  to  Todd  that  there  is 
never  any  provocation  for  hitting  a 
woman!  Because  Eddie  believes  that 
physical  force  is  an  attribute  of  man- 
hood only  when  it  is  confined  to  men. 
When  it  is  used  against  women,  it  is 
brutality  and  indicates  ignorance  and 
insecurity  with  the  opposite  sex. 

On  the  separation  of  parents 

When  Todd  is  in  high  school,  no 
doubt  he'll  hear  stories  about  his  father 
having  once  been  married  to  the  most 
beautiful  woman  in  the  world.  And  if 
he  asks  Eddie  if  that  was  true,  Eddie 
will  say  yes.  Eddie  will  tell  him  that 
exterior  beauty  can  be  breathtaking 
and  awesome.  But  he'll  also  tell  him 
there  is  a  beauty  which  does  not  show 
on  the  outside,  which  manifests  itself 
in  countless  ways  that  mean  content- 
ment to  a  man:  Consideration,  comfort, 
cheerfulness  and  complete  sharing  of 
heart,  mind  and  soul. 

If  Todd  asks  why  Eddie's  marriage  to 
Debbie  didn't  work  out,  Eddie  will 
have  to  reflect  on   that  question.   He'll 


be  totally  honest,  as  usual,  and  admit 
there  were  problems  of  personality  and 
incompatibility  that  were  insurmount- 
able, even  with  the  aid  of  family  coun- 
selling. He'll  also  have  to  admit  to  Todd 
that,  at  that  critical  moment  in  his  mar- 
riage with  Debbie,  Fate  dealt  a  catalytic 
blow  which  changed  the  destiny  of 
many  lives. 

Eddie  will  tell  Todd  about  the  won- 
derful friend  he  was  named  for  and 
how  he  was  killed  suddenly  in  a  plane 
crash.  He'll  re-appraise  that  moment 
of  grief  and  the  consequent  rapport 
with  Mike  Todd's  widow.  He'll  explain 
to  his  son  that  two  people,  united  in 
grief  and  loneliness,  found  deep  com- 
fort and  companionship  with  each  other 
and  that  these  led  to  love  and  marriage. 

On  failure— and  growth 

Eddie  will  never  utter  any  unkind- 
nesses  about  his  marital  failures,  be- 
cause Eddie  knows  he  has  to  bear  some 
of  the  responsibility  for  both  failures. 
He  will  teach  Todd  that  a  man  must 
grow  with  failure — or  never  grow,  at 
all. 

Eddie  can  guide  Todd's  education 
about  the  opposite  sex  but  he  cannot 
control  it.  He  can  help  him  develop 
in  maturity  and  understanding,  in  the 
hope  that  these  will  equip  him  to  avoid 
the  terrible  emotional  mistakes  his 
father  made. 

When  Eddie  marries  again,  Todd  will 
have  the  opportunity  of  watching  his 
father's  relationship  with  a  wife.  He'll 
see  that  his  father  is  incapable  of  be- 
ing selfish  in  a  man-woman  relation- 
ship. He'll  see  firsthand  that  Eddie  has 
to  give  of  himself  completely,  because 
Eddie  is  happiest  when  he  is  loved  and 
loving  as  every  man,  woman  and  child 
normally  should  be. 

No  doubt,  Eddie  will  be  called  upon 
to  explain  to  Todd  why  some  women  are 
not  content  to  love  one  man.  He'll  have 
to  make  Todd  understand  that  a  man 
and  a  woman  can  love  each  other 
madly,  for  a  time,  but  still  not  be 
suited  to  each  other  for  a  lifetime.  He'll 
have  to  tell  Todd  that  some  women 
(and  some  men)  are  incapable  of  really 
giving  or  receiving  love,  and  that  these 
men  and  women  constantly  search  for 
an  answer  to  their  restlessness  and 
boredom.  He  will  tell  Todd  that  adult- 
hood is  not  always  a  guarantee  of  ma- 
turity and  that  grown-ups  can  be  child- 
ishly demanding,  all  their  lives,  without 
ever  knowing  the  deep  fulfillment  of 
giving  love. 

Todd  will  go  from  childhood  to  boy- 
hood to  manhood  and  he  will  see  for 
himself  the  different  roles  women  play 
in  life.  Mother,  sister,  daughter,  teach- 
er, friend,  and  lover. 

It  will  be  up  to  Todd  himself  in 
the  long  run,  after  he  attains  manhood, 
to  decide  for  himself  the  kind  of  woman 
he  wants.  By  that  time,  he  will  have 
had  a  chance  to  become  the  man — the 
good    and    gentle   man — his    father    is. 

The  End 

*•••*•••*••••*•*•••••••••• 

BUY  U.  S.  SAVINGS  BONDS 

AND  INVEST  IN  YOUR  FUTURE 

*•••••••••*•••*••••••••*•• 


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HERE  IS  YOUR  FIRST  PUZZLE- 

OH *  SE f  ^WNAGjy^i^r 


/f/j  real  name  was  William  F.  Cody. 


jv*~ 


SAMPLE 
PUZZLE 


The  Correct  Answer  is  ONE  of  These  Names! 
□  Jerome  Kern       □  Buffalo  Bill 
D  Marco  Polo        Q  Walter  Reed 


BILL 


4THIS  SAMPLE  PUZZLE 

▼  Is  All  Worked  Out  For  You! 

SEE  HOW  MUCH  FUN  IT  IS  TO  SOLVE! 

First,  we  see  the  clue  stating 
"His  real  name  was  William 
F.  Cody".  Checking  any 
standard  reference  source 
shows  that  the  famous  Buf- 
falo Bill's  real  name  was 
William  F.  Cody.  Now  ex- 
amine the  cartoon.  Here  • 
we  see  a  buffalo  and  the 
duck  uses  the  word  bill. 
What  else   can  the  answer 

be  but  BUFFALO  BILL. 


tV  |M 


#7:'| 


•!LV 


<!V 


PUZZLE 
NO.  ONE 


Look  at  the  two  puzzles  on  this  page  for  a  few  moments.  Can  you  solve 
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NATIONAL  BOOK  CLUB,  INC. 


W'*e  *our  Answer  ln  Coop 

Mail  it  NOW! 

Paste  Your  Answer-Coupon  on  Postcard  or  Mail  in  Envelope 


on  Below 


MAIL  COUPON  TODAY 


National  Book  Club,  Inc 
Box   10,    Glen  Cove,  N.  Y. 

My  Answer  to  Puzzle  No.  1  is 

I  want  full  particulars  about  the  National  Book  Club's  $40,000.00  "FAMOUS 
NAME"  Game.  Please  mail  me  FREE  the  Official  Entry  Forms,  Rules  and 

tuutstttf  nana.    (PLEASE  PRINT) 


•fr 


Name- 


Address. 


city_ 


_Zone_ 


_State_ 


BOX    IO,      GLEN  COVE,  N.  Y. 


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World-famous  Nestle 
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COLORINSE  or  COLORTINT 

More  women    use    Nestle  than    any 
other   temporary    hair   coloring. 


NOVEMBER,  1962 


MIDWEST  EDITION 


VOL.  58,  NO.  6 


Sherri  Finkbine 

Janet  Lennon 

Vincent  Edwards 

Gene  Kelly 

Nikita  Khrushchev 

Billy  Gray 

Steve  Allen 

John  Larkin 

Mary  Tyler  Moore 

Shirley  Booth 

Arness  vs.  Graves 

Search  for  Tomorrow 

Polly  Bergen 

Clint  Eastwood 

Johnny  Carson 


IT  HAPPENED  THIS  MONTH 

21  "I  Wouldn't  Have  a  Deformed  Baby!" Chrys  Haranis 

22  The  Night  I  became  a  Woman Janet  Lennon 

26    "My  Marriage  to  Sherry!" George  Carpozi  Jr. 

28    Holy  Man  or  Holy  Terror? Jane  At  Amor  e 

30    Khrushchev's  Nightmares Jim  Hoffman 

32    Star  Convicted  of  Being  Dope  Addict! Evelyn  Allen 

34    Answering  an  S.O.S.  from  Hell Eunice  Field 

36    The  Man  Who  Gambled  Everything Jerry  Asher 

38  "When  Your  Son  Has  a  New  Daddy".  ..  James  Gregory 

41    Her  Laughing  Days  and  Lonely  Nights Tricia  Hurst 

44    Tallest  Feud  in  Hollywood Kathleen  Post 

48  Can  Love  Help  the  Alcoholic?    .  .  .  Henley  and   Wolk 

50    Panic ! Irene  Storm 

54    "My  Marriage  Was  a  Catastrophe!" William  T usher 

58    What  Is  He  Really  Like? Harvey  Gene  Phillips 


BONUS:  A  MAGAZINE  WITHIN  A  MAGAZINE 

13  Billy  Eckstine  16     Album  Reviews 

14  Music  Makers  in  the  News  20     Tops  in  Singles 

20     Pieces  of  Eight 


WHAT'S  NEW?  WHAT'S  UP? 


4     Information  Booth  10 

6     What's  New  from  Coast  to  Coast         62 


Earl  Wilson's  Inside  Story 
Photographers'  Credits 


SPECIAL:  YOUR  MIDWEST  FAVORITES 


Lee  Rothman  63 

Lee  Phillip  64 

Tommy  Holtz  66 

Trial  by  TV  68 


Guests  Galore!   (WRIT) 
Everyone's  Friend   (WBBM-TV) 
Breakfast  with  Tommy  (WOW-TV) 
"Divorce  Court" 


CLAIRE   SAFRAN,   Editor 

EUNICE   FIELD,    West  Coast  Editor 
TERESA  BUXTON,  Managing  Editor 
LORRAINE  B1EAR,   Associate  Editor 
LESLYE    ELKIN,  Assistant  to  Editor 
TERRY   SCHAERTEL,  Supervising  Editor 


JACK   J.    PODELL,    Editorial  Director 

JACK    ZASORIN,  Art  Director 
FRANCES  MALY,    Associate  Art  Director 
PAT  BYRNE,   Art  Assistant 
BARBARA  MARCO,   Beauty  Editor 
BOBBY  SCOTT,   Music  Editor 


■ 


TV  Radio  Mirror  is  published  monthly  by  Macfadden-Bartell  Corporation,  New  York,  N.  Y.  Executive  Adver- 
tising and  Editorial  Offices  at  205  East  42nd  St.,  New  York  17,  N.  Y.  Editorial  branch  office,  434  North  Rodeo 
Drive,  Beverly  Hills,  Calif.  Gerald  A.  Bartell.  Chairman  of  the  Board  and  President;  Lee  B.  Bartell,  Executive  Vice 
President;  Frederick  A.  Klein,  Executive  Vice  President  for  Publishing-General  Manager;  Robert  L.  Young,  Vice 
President;  Sol  N.  Himmelman,  Vice  President;  Melvin  M.  Bartell,  Secretary.  Advertising  offices  also  in  Chicago 
and  San  Francisco. 

Subscription  Rates:  In  the  U.S.,  its  possessions  and  Canada,  one  year,  $3.00;  two  years,  $5. 00;  three  years, 
$7.00.  All  other  countries,  $5.00  per  year.  Change  of  Address:  6  weeks'  notice  essential.  Send  your  old  as  well 
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Manuscripts  and  Photographs:  Publisher  cannot  be  responsible  for  loss  or  damage. 

Foreign  editions  handled  through  International  Division  of  Macfadden-Bartell  Corporation,  205  East  42nd  Street, 
New  York  17,  N.  Y.  Gerald  A.  Bartell,  President;  Douglas  Lockhart,  Sales  Director. 

Second-class  postage  paid  at  New  York,  N.  Y.,  and  other  additional  post  offices.  Authorized  as  second-class 
mail  by  the  Post  Office  Department,  Ottawa,  and  for  payment  of  postage  in  cash.  Copyright  1962  by  Macfadden- 
Bartell  Corporation.  All  rights  reserved.  Copyright  under  the  Universal  Copyright  Convention  and  International 
Copyright  Convention.  Copyright  reserved  under  Pan  American  Copyright  Convention.  Title  trademark  registered 
in  U.S.  Patent  Office.  Printed  in  U.S.A.  Member  of  Macfadden  Women's  Grouo. 


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In  Defense  of  .  .  . 

Just  finished  reading  your  article  in  the 
September  issue  'Is  the  Honeymoon  over 
for  Jackie?'  It  was  wonderful  and  those 
of  us  who  admire  and  respect  Mrs. 
Kennedy  are  ready  to  sing  your  praises. 
And  I  sincerely  hope  and  believe  that 
the  honeymoon  is  not  over! 

Gladys  M.  Kesner 
Sutherlin,  Oregon 

I  would  like  to  commend  you  for  hav- 
ing the  courage  to  stand  up  for  the 
Kennedys.  I  congratulate  you  on  a  fine 
article. 

Henry  C.  Sylvester,  Pres. 

Gold  Star  Fathers  of  America 

Concord,  New  Hampshire 

Your  article  on  Jackie  Kennedy  made 
me  so  disgusted.  I  never  knew  people 
could  be  that  cruel.  Why,  Jackie  is  as 
gracious,  as  beautiful  and  as  perfect  a 
lady  as  Queen  Elizabeth.  We  are  proud 
to  have  her  for  our  First  Lady. 

Ann  Moses 
Syracuse,  Indiana 


Triple-Threat  Man 

What  can  you  tell  me  about  that 
handsome  actor  Vic  Morrow? 

L.EM.,  Joliet,  Illinois 

Good-looking  Vic  Morrow  is  what  is 
known  as  a  real  triple-threat  man — 
actor,  writer,  and  director — or,  at  least, 
he  hopes  to  be.  He  already  is  estab- 
lished as  a  talented  young  actor,  with 
many  movie  and  TV  roles  to  his  credit. 
He  is  currently  appearing  as  Sgt.  Chip 


Saunders  in  ABC-TV's  "Combat."  . 
And  Vic  already  has  a  running  start 
toward  his  two  other  goals.  He  has 
written  one  book,  is  in  the  midst  of  a 
second  and  has  several  TV  scripts  in 
various  stages.  As  a  director,  his  credits 
include  work  in  the  stagings  of  off- 
Broadway  shows  and  a  Desilu  Profes- 
sional Theater  Workshop  presentation. 
.  .  .  Vic  lives  in  Studio  City,  California, 
with  his  actress-wife  Barbara  Turner 
and  four-year-old  daughter  Carrie. — Ed. 


Some  Quickies 

Is  Joey  Bishop  married? 

I.L.,  Fairmont,  Minn. 
Yes,    he   is    married    to    the    former 
Sylvia  Ruzga. — Ed. 

Is  it  true  that  Clu  Gulager  is  Jimmy 
Stewart's  son? 

L.F.,  Visalia,  Calif. 
No,  they  are  not  related. — Ed. 

What  is  the  real  name  of  the  actor 
Chad  Everett? 

M.O.,  Hershey,  Pa. 

His  real  name  is  Raymond  Cramton 
—Ed. 

Is  the  actor  Cameron  Mitchell  mar- 
ried? 

F.M.,  Dallas,  Texas 

Cameron  and  his  wife  Johanna  sep- 
arated in  1956,  after  sixteen  years  of 
marriage. — Ed. 

When  and  where  was  Cynthia  Pepper 
born? 

S.L.S.,  Flint,  Michigan 

She  was  born  in  Los  Angeles,  Cali- 
fornia,  on    September   4th,    1940. — Ed. 


How  old  is  Lee  Marvin? 

H.M.,  Rangely,  Colo. 
He  is  thirty-eight  years  old. — Ed. 

Why  Jeff's  Demise? 

How  could  they!  Why  was  Jeff  Baker 
(played  by  Mark  RydellJ  "killed  off" 
in  the  daytime  serial  "As  the  World 
Turns"? 

C.B.,  Minier,  III. 

After  six  years  of  playing  Jeff  Baker 
in  the  CBS-TV  series,  Mark  decided  he 
wanted  to  try  other  things.  Says  he. 
"I've  had  to  turn  down  a  great  deal  of 
stage  work  and  Hollywood  offers  be- 
cause of  my  commitment  to  the  show. 
Also,  I've  become  increasingly  inter- 
ested in  directing,  rather  than  acting." 
—Ed. 


Calling  All  Fans 

The  following  fan  clubs  invite  new 
members.  If  you  are  interested,  write 
to  address  given — not  to  TV  Radio 
Mirror. 

Audrey  Hepburn  Fan  Club,  Joseph 
Watkins,  2067  76th  Street.  Brooklyn  14, 
N.Y. 

Carol  Burnett  Fan  Club,  Valeri  Loth, 
7930  Nail,  Prairie  Village,  Kansas. 

Susan  Gordon  Fan  Club,  Barbara 
Badham,  109  Terrace  Road,  Walnut 
Creek,  Calif. 

George  Montgomery  Fan  Club,  Mrs. 
Henrietta  0.  Alden,  1620  Hayes  St., 
San  Francisco  17,  Calif. 

Richard  Chamberlain  Fan  Club,  Mar- 
cia  Johnston,  Box  2,  Philmont,  N.Y. 

Anthony  George  Fan  Club,  Sandra 
Lutes,  Box  408.  Richeyville,  Pa. 


Hometowns,  U.  S.  A. 

Rick  Nelson — Teaneck,  N.J. 
Vincent  Edwards — Brooklyn,  N.Y. 
Clint  Walker— Hartford,  111. 
Donna  Reed — Denison,  Iowa. 
Shelley  Fabares — Santa  Monica.  Calif. 
Robert  Conrad — Chicago,  111. 
Peter  Brown— New  York  City.  N.  Y. 
Tony  Dow — Hollywood,  Calif. 
Paul  Burke — New  Orleans,  La. 
Leslie  Nielsen — Regina,  Sask.,  Canada. 
Chuck  Connors — Brooklyn,  N.Y. 
Johnny  Crawford — Los  Angeles,  Calif. 
Roger  Smith — Southgate,  Calif. 
Troy  Donahue — New  York  City. 
Robert  Stack — Los  Angeles,  Calif. 
Johnny  Carson — Corning,  Iowa. 


Write  to  Information  Booth,  TV  Radio  Mirror. 
205  E.  42nd  St.,  Neiv  York  17,  IS.  Y.  We  regret 
we  cannot  answer  or  return  unpublished  letters. 


II 


You're  still  using  water? 
Silly  curl. 


Pity  the  poor  curl  that  doesn't  use  Bobbi.  She'll  never  amount 
to  much  . .  .  just  another  one  of  those  8  hour  water  curls  (here 
today,  gone  tomorrow).  And  it  won't  help  her  much  to  use  a 
setting  lotion,  because  what  she  really  needs  is  lasting  body. 
It's  a  smart  curl  that  uses  Bobbi.  She'll  have  body  for  8  weeks. 
What's  more,  Bobbi  gives  you  the  look  you  like.  Soft,  silky,  shy. 
Holds  like  a  permanent,  but  refuses  to  look  like  one.  Easy  to 
do.  Just  pin  up  as  usual— but  use  Bobbi  instead  of  water  or 
setting  lotion.  Bobbi  is  perfect  for  adding  body  between  per- 
manents.  It's  a  wave  come  true  for  girls  who  love  the  softness  of 
curls  made  with  water,  but  want  that  look  to  last.  Have  a  Bobbi. 

If  you  can  make  a  simple  pin  curl,  you  can  give  yourself  a  Bobbi— the  8-week  wave! 


-v 


So  mart  nightly  pi" 


up* 


X 


PIN  CURL  WAVE 


Sinatra's  global  tour  for  charity  was 
well  publicized,  but  Frank  has  shown 
great  modesty  about  it.  He's  refused 
to  talk  about  the  little  Greek  boy  he 
had  flown  to  Paris  for  special  heart 
treatments,  has  played  down  the  film 
footage  he  shot — proceeds  going  to 
charity,  which  has  netted  $2  million  so 
far.  .  .  .  Judy  Garland's  salary  for 
her  one-a-nite  stint  at  Las  Vegas 
Sahara  said  to  be  tops  for  any  solo 
act.  Without  even  a  "pony"  line  to 
back  her  up,  Judy  set  the  crowd  on 
fire,  has  been  signed  for  a  repeat  in 
1963  by  hotel  boss  Milt  Prell  .  .  . 
Dick  Chamberlain  slipped  into 
Vegas  to  see  Carol  Burnett's  act. 
He's  hoping  she'll  guest-star  in  a  dra- 
matic "Dr.  Kildare"  episode. 


Sfcpllooki 
Sia)dc  KeadjMa-'WouJl 

ail  ikt  'w.aJs  --fihXkl 

by  EUNICE  FIELD 


Carol's  A-OK  to  do 
"Calamity  Jane"  in 
a  TV  spec — but  is 
Tuesday  Weld  the 
perfect  pick  to  do  an 
album  of  psalms?  .  .  . 
Diane  McBain's  pretty 
ears  must  have  sizzled 
when  she  heard  what  Joan 
Crawford  had  to  say! 
Though  they're  both  in 
"The  Caretakers," 
Joan   blew  protocol 
to  bits  by  demand- 
ing: "Where  do  they 
get  these  cute  young 
nothings?  And  why  don't 
they  teach  them  to  act?" 


■<-m     ■< 


The    Space    Lag:    Art    Linkletter, 

back  from  Russia,  is  convinced  the 
Reds  have  the  lead  in  space — parking 
space,  that  is.  .  .  .  Actor  and  restau- 
rateur Jack  La  Rue  has  wed  his  late 
cousin's  widow.  .  .  .  Polly  Bergen's 
adored  dad  seriously  ill.  .  .  .  They're 
saying  Connie  Francis  will  record  an 
album  with  the  Vatican  choir  in  Rome. 
.  .  .  Fess  Parker  is  investing  in  a 
mobile-home  park.  .  .  .  Gypsy  Rose 
Lee,  who's  been  teaching  Joanne 
Woodward  the  art  of  strip-teasing, 
once  got  into  a  serious  talk  with  the 
great  violinist,  Jascha  Heifetz.  "The 
worst  thing  that  ever  happened  to 
me,"  she  said,  "was  when  my  G-string 
broke."  Quoth  Jascha,  "That's  the 
t    worst  thing  that  happened  to  me,  too." 


Dr.  Casey  Calling:  Insiders  are  buy- 
ing transatlantic  phone  stock  since 
Vince  Edwards  went  to  Europe  to 
film  "The  Victors."  His  own  loot  has 
gone  into  honey-dearie  phone  calls  to 
his  beloved  Sherry  Nelson.  .  .  . 
Comic  Marvin  Kaplan  sold  his  song, 
"It's  Like  Love,"  to  Dwayne  Hick- 
man— who'll  wax  it  for  Dot.  .  .  . 
George  Maharis  may  Buz  no  more 
on  "Route  66"  after  1963.  Big  new 
plans!  .  .  .  Rumor  pops  up,  from  time 
to  time,  that  one  of  Hollywood's  most 
admired  bachelors  owns  a  woman- 
sized  doll  that  walks,  curtsies  and  whis- 
pers: "I  love  you."  Said  to  be  an  exact 
replica  of  a  famous  film  goddess. 
What's  not  known  is  that  the  original 
has  been  dead  more  than  twenty  years! 


With  all  the  troubles 
"The  Virginian" 
has,  you'd  think 
the  NBC  powers  be- 
hind TV's  first  90- 
minute  Western  would 
at  least  not  foul  up 
their  public  relations. 
For  instance,  they  might 
cut  the  cackle  about 
James  Drury  being  a 
bachelor — when  every 
reporter  with  any 
savvy  knows  he's 
divorced  and  a  dad. 
.  .  .  Meanwhile,  John 
Forsythe  is  prepping  a 
new  series,  "Major  Forester." 


More  Fun  V  Games!  "Hawaiian 
Eye"  cutie  Connie  Stevens  may  be 

interested  to  learn  that  co-star  Troy 
Donahue  has  come  up  with  ten  ways 
to  keep  from  getting  bored:  ( I ) 
Listen  to  Bob  Newhart.  (2)  Play 
with  his  hula  hoop.  (3)  Sleep.  (4) 
Study  jai-alai.  (5)  Phone  a  wrong 
number.  (6)  More  sleep.  (7)  Make 
mayonnaise.  (8)  Start  a  chain  letter. 
(9)  Try  to  remember  his  Sunday 
School  teacher.  (10)  Still  more  sleep. 
.  . .  On  the  more  practical  side:  Gary 
Clarke's  birthday  gift  from  Connie 
was  three  sweaters.  He  gave  her  jade. 


The   Elf   in   Elephant:    Bertha,   the 

4600-pound  star  of  Nugget  Casino's 
Circus  Room  in  Sparks,  Nevada,  is  not 
only  the  biggest  pachyderm  in  show 
biz — she  also  possesses  the  biggest 
trunk  of  tricks!  She  and  her  trainer, 
Jenda  Smaha,  were  recently  brought 
to  the  Nugget  by  35-year-old  John 
Ascuaga,  whose  gambling  (and  gam- 
boling) enterprises  are  up  t>  the  best 
of  Reno  and  Tahoe,  though  not  as 
huge  as  those  resorts.  Groaned  Dick 
Shawn,  the  star  comic,  to  impresario 
Ascuaga:  "Bad  enough  I  have  to  fol- 
low that  seven-year-old  moppet  Ginny 
Tiu  . . .  but  how  can  I  make  out  against 
an  elephant  that  purrs,  twists,  does  a 
handstand  on  a  revolving  disc — and 
can   toss   dice    like    a    professional?" 


Show  Biz  Whiz  Kids:  Acorns  don't 
fall   far  from  the  tree,  and  the  off- 

»  spring  of  performers  are  busy  perform- 
ing. At  "The  Lucy  Show."  Lucille 
Ball's  former  TV  son,  Little  Ricky, 

(joined  Dick  Martin  for  a  warm-up — 
with  Ricky  banging  the  drums,  Desi 
Arnaz  Jr.  rapping  the  bongos  and 
three  pals  backing  them  up.  .  .  .  Tony 
Wallace,  son  of  Mike,  debuts  in  "The 
Victors."  .  .  .  Helen  Hayes"  talented 
Jim  MacArthur  inked  with  Screen 
Gems  for  "Postmark:  Jim  Adams."  .  .  . 
Peter  Fonda,  Henry's  boy,  about  to 
hop  from  TV  to  a  film  feature. . . .  And 
proud  Ozzie  and  Harriet  are  already 
planning  scripts  to  include  their  first 
grandchild,  June  and  David's  little 
Danny    Blair    Nelson     (at    right). 


Baby  has  a  half-Nelson  on  stardom! 


Tidbit  at  Dino's:  Customer  to  waiter, 
"You  got  that  dish  named  after  Liz 
Taylor's  boyfriend?"  Waiter  to  cus- 
tomer, "What's  it  called?"  C.  to  w., 
"Welsh  Rabbit."  .  .  .  Vivian  Vance 
and  husband  John  Dodd  are  planning 
an  old-fashioned  "Christmas  in  Con- 
necticut." They  own  a  home  in  Stam- 
ford. .  .  .  Johnny  Crawford,  Chuck 
Connors'  son  in  "The  Rifleman,"  has 
been  verboten  to  ride  Brahma  bulls 
on  his  p.a.  tours.  .  .  .  When  handsome 
Aron  Kincaid  played  Noreen  Cor- 
coran's  fiance  in  "Bachelor  Father," 
they  hardly  spoke — now  they  date 
vociferously!  .  .  .  Mario  Thomas 
and  Ron  Harper  making  like  serious. 
.  .  .  Bobby-ing  up  among  the  newer 
singers:    Vinton,    DukofF    and    Day. 


Peter  Brown  (seen  at  right  with  pretty 
Stefanie  Powers)  has  added  Spanish 
to  his  lessons  in  French  .  .  .  the  better 
to  throw  the  bull.  Peter's  been  taking 
up  bullfighting  under  the  stern  eye  of 
matador  Jaime  Bravo.  Says  he,  "I  need 
the  Spanish  to  tell  whether  Jaime  is 
praising  or  cussing  me  out."  .  .  .  NBC's 
Jack  Mullaney,  co-star  of  "Ensign 
OToole,"  has  been  getting  worried  let- 
ters from  his  folks  in  Cincinnati.  "Be 
good,  Jack,"  they  warn  him — adding, 
more  specifically,  "don't  you  run  with 
those  wild  women."  Finally,  Jack  re- 
plied, "Folks,  I  can  guarantee  to  be 
good  as  long  as  those  wild  women 
do  keep  on  running  .  .  .  but  I'm  not 
so  sure  what'll  happen  if  they  stop!" 


In  plain  o/'  English — he  likes  her. 


MMMemorable:  Every  member  of  the 
Hollywood  press  has  some  fond  mem- 
ory of  Marilyn  Monroe  in  the  heart. 
Mine  occurred  on  Coronado  beach, 
during  filming  of  "Some  Like  It  Hot." 
Marilyn,  smarting  under  the  critical 
eyes  of  Arthur  Miller  and  her  coach, 
Paula  Strasberg,  was  having  trouble 
with  her  lines.  She  refused  to  pose  for 
pictures,  rejecting  even  the  lensmen 
from  top  magazines.  At  last,  tired  from 
the  effort  to  master  her  lines,  she 
walked  off  the  set.  Suddenly,  a  small 
boy  with  a  camera  begged,  "One  pic- 
ture, please?"  The  unpredictable 
beauty  turned  from  her  tent,  arranged 
her  curves  on  a  rock  .  .  .  and  posed  a 
full  twenty  minutes  for  the  ecstatic  kid. 


<- 


Double  Exposure:  At  Joe  Levine's 
bash  for  Sophia  Loren,  Ziva  Rodann 

was  a  standout,  as  usual.  She  revealed 
that  Levine  had  cast  her  in  "Daughters 
of  Good  Families" — and  her  flaring, 
knee-high  dress  revealed  the  best  gams 
in  town.  Mickey  Rooney  squired  his 
wife  Barbara  and  exchanged  compli- 
ments with  Jonathan  Winters — who 
let  it  be  known  that  Mickey  is  "the 
greatest  comic  and  actor  around." 
Said  the  Mick:  "Ditto  to  you."  Wide- 
eyed  Myrna  Fahey,  in  a  white  Ceil 
Chapman  gown,  twisted  with  Reese 
Taylor  Jr. — but  denied  there  was 
romance  afoot.  Susan  Kohner  and 
George  Hamilton  twisted — but  not 
with  each  other.  Sensation  of  the  party 
was  Van   Heflin's  surprise   entrance! 


Twisted  "romance":  Myrna  and  Reese. 


Playing  the  Field:  "I  steel  check  with 
Zhak  Paar,"  confides  Genevieve. 
Especially  where  it  concerns  her 
career,  she's  convinced  that  Jack's 
advice  has  been  invaluable.  .  .  .  Steve 
Lawrence  goes  the  way  of  all  singers 
with  a  dramatic  gig  on  "Saints  and 
Sinners,"  and  he's  good!  .  .  .  Four  Star 
to  shoot  a  new  ha-ha  series  with 
Jackie  Cooper  in  the  lead.  .  .  . 
George  Fenneman,  famed  for  his 
commercials  on  the  Groucho  Marx 
show,  formed  his  own  company  to 
make  (what  else?)  commercials.  .  .  . 
Dick  Van  Dyke's  brother  Jerry 
signed  by  CBS. . . .  Former  "peekaboo" 
star  Veronica  Lake — long  out  of 
sight — now  in  Baltimore,  Maryland, 
hosting  a  weekly  "Festival  of  Stars." 


NEW  TALENT 


Arthur  Godfrey,  CBS  Radio's  fabulous  redhead  who's  discovered 
so  many  new  show  business  talents,  recently  revealed  a  new  tal- 
ent of  his  own.  Before  a  hip  audience  at  the  Las  Vegas  Stardust, 
he  emerged  for  the  first  time  as  Arthur  Godfrey,  night  club  star. 

It  was  a  new  role  for  Arthur  and  a  new  audience— but  the  re- 
sponse was  just  what  it's  always  been. 

As  Louis  Sobol  reported  in  the  New  York  Journal  American, 
Godfrey  "wowed  them."  Forest  Duke  began  his  widely  syndi- 
cated review:  "Three  of  the  biggest  names  in  show  business 
opened  Monday  night  on  the  Las  Vegas  Strip— Arthur  Godfrey, 
Marlene  Dietrich  and  Louis  'Satchmo'  Armstrong."  And  he  con- 
tinued, "Arthur  Godfrey,  in  his  Las  Vegas  debut .  .  .  brings  an 
omnibus  of  fun  to  the  Stardust." 

From  the  Stardust,  Arthur  took  his  show  touring— packing 
everything  from  ballrooms  to  stadiums.  He  even  packed  the  giant 
gymnasium  at  The  University  of  Texas.  And  the  college  kids 
loved  him! 

What  won  the  night  club  crowd,  the  collegians  and  the  critics? 
Godfrey  himself,  most  of  all.  Supported  by  Kong  Ling,  the  pert 
young  singer  he  discovered  in  Hong  Kong,  Johnny  Parker's 
swinging  band,  and  the  Buffalo  Bills,  he  presented  the  same 
warm,  witty  mixture  of  anecdote,  gag  and  song  that  distinguishes 
his  daily  50-minute  radio  show.  Enjoy  the  show  yourself.  Tune 
in  any  weekday  morning  to  the  CBS  Radio  Network  for  Arthur 
Godfrey  Time.  Your  local  station  is  listed  below. 

CBS  RADIO  STATIONS:  Alabama  Gadsden  WAAX,  Mobile  WKRG.  Montgomery  WCOV,  Selma  WGWC,  Tuscumbia  WVNA  Arizona 
Phoenix  KOOL,  Tucson  KOLD  Arkansas  El  Dorado  KELD,  Fort  Smith  KFPW,  Little  Rock  KTHS  California  Bakersfield  KERN, 
Chico  KHSL,  Eureka  KINS,  Fresno  KFRE,  Los  Angeles  KNX,  Modesto  KBEE,  Palm  Springs  KCMJ,  Redding  KVCV,  Sacra- 
mento KFBK,  San  Diego  KFMB,  San  Francisco  KCBS  Colorado  Colorado  Springs  KVOR,  Denver  KLZ,  Grand  Junction  KREX 
Connecticut  Hartford-Manchester  WINF,  Waterbury  WBRY  District  of  Columbia  Washington  WTOP  Florida  Fort  Myers  WINK, 
Gainesville  WGGG,  Jacksonville  WMBR,  Miami  WKAT,  Orlando  WDBO,  Pensacola  WDEB,  St.  Augustine  WFOY,  Sarasota  WSPB. 
Tallahassee  WTNT,  Tampa  WDAE,  West  Palm  Beach  WJNO  Georgia  Albany  WGPC,  Athens  WGAU,  Atlanta  WYZE,  Augusta 
WRDW,  Columbus  WRBL,  Gainesville  WGGA,  Macon  WMAZ,  Rome  WRGA,  Savannah  WTOC,  Thomasville  WPAX  Idaho  Boise 
KBOI,  Idaho  Falls  KID  Illinois  Champaign  WDWS,  Chicago  WBBM,  Danville  WDAN,  Decatur  WSOY,  Peoria  WMBD,  Quincy 
WTAD,  Rock  Island  WHBF,  Springfield  WTAX  Indiana  Anderson  WHBU,  Fort  Wayne  WANE,  Indianapolis  WISH,  Kokomo  WIOU, 
Marion  WMRI,  Muncie  WLBC,  South  Bend  WSBT,  Terre  Haute  WTHI  Iowa  Cedar  Rapids  WMT,  Des  Moines  KRNT,  Mason  City  KGLO, 
Ottumwa  KBIZ  Kansas  Topeka  WIBW,  Wichita  KFH  Kentucky  Ashland  WCMI,  Hopkinsville  WHOP,  Lexington  WVLK,  Louisville 
WKYW,  Owensboro  WOMI,  Paducah  WPAD  Louisiana  New  Orleans  WWL,  Shreveport  KCIJ  Maine  Portland  WGAN  Maryland 
Baltimore  WCBM,  Cumberland  WCUM,  Frederick  WFMD,  Hagerstown  WARK  Massachusetts  Boston  WEEI,  Prttsfield  WBRK, 
Springfield  WMAS,  Worcester  WNEB  Michigan  Adrian  WABJ,  Bad  Axe  WLEW,  Grand  Rapids  WJEF,  Kalamazoo  WKZO,  Lansing 
WJIM,  Port  Huron  WHLS,  Saginaw  WSGW  Minnesota  Duluth  KDAL,  Minneapolis  WCCO  Mississippi  Meridian  WCOC  Missouri 
Joplin  KODE,  Kansas  City  KCMO,  St.  Louis  KMOX,  Springfield  KTTS  Montana  Butte  KBOW,  Missoula  KGVO  Nebraska 
Omaha  WOW,  Scottsbluff  KOLT  Nevada  Las  Vegas  KLUC  New  Hampshire  Keene  WKNE,  Laconia  WEMJ  New  Jersey  Atlantic 
City  WFPG  New  Mexico  Albuquerque  KGGM,  Santa  Fe  KVSF  New  York  Albany  WROW,  Binghamton  WN8F,  Buffalo  WBEN, 
Elmira  WELM,  Gloversville  WENT,  Ithaca  WHCU,  Kingston  WKNY,  New  York  WC8S,  Pittsburgh  WEAV,  Rochester  WHEC. 
Syracuse  WHEN,  Utica  WIBX,  Watertown  WWNY  North  Carolina  Asheville  WWNC,  Charlotte  WBT,  Durham  WDNC,  Fayetteville 
WFAI,  Greensboro  WBIG,  Greenville  WGTC  North  Dakota  Grand  Forks  KILO,  Jamestown  KEYJ,  Valley  City  KOVC  Ohio  Akron 
WADC,  Cincinnati  WKRC,  Columbus  WBNS,  Dayton  WHIO,  Portsmouth  WPAY,  Youngstown  WKBN  Oklahoma  Oklahoma  City- 
Norman  WNAD,  Tulsa  KRMG  Oregon  Eugene  KERG,  Klamath  Falls  KFLW,  Medford  KYJC,  Portland  KOIN,  Roseburg  KRNR 
Pennsylvania  Altoona  WVAM,  DuBois  WCED,  Erie  WLEU,  Harrisburg  WHP,  Indiana  WDAD,  Johnstown  WARD,  Philadelphia 
WCAU,  Pittsburgh-McKeesport  WEDO,  Reading  WHUM,  Scranton  WGBI,  State  College  WRSC,  Sunbury  WKOK,  Uniontown 
WMBS.WilliamsportWWPA  Rhode  Island  Providence  WEAN  South  Carolina  Anderson  WAIM,  Charleston  WCSC.Columbia-Cayce 
WCAY,  Greenville  WMRB,  Spartanburg  WSPA  South  Dakota  Rapid  City  KOTA,  Yankton  WNAX  Tennessee  Chattanooga  WOOD, 
Cookeville  WHUB,  Johnson  City  WJCW,  Knoxville  WNOX,  Memphis  WREC,  Nashville  WLAC  Texas  Austin  KTBC,  Corpus  Christi 
KSIX,DallasKRLD,EIPasoKIZZ,HarlingenKGBT,HoustonKTRH,  Lubbock  KFYO, San  Antonio  KMAC.TexarkanaKOSY,  Wichita  Falls 
KWFTUtah  Cedar  City  KSUB,  Salt  Lake  City  KSLVermont  Barre  WSNO,  Brattleboro  WKVT  Virginia  Norfolk  WTAR,  Richmond  WRNL, 
Roanoke  WDBJ,  Staunton  WAFC  Washington  Seattle  KIRO,  Spokane  KGA  West  Virginia  Beckley  WJLS,  Charleston  WCHS,  Fairmont 
WMMN. ParkersburgWPAR,WheelingWWVAWisconsinGreenBayWBAY,MadisonWKOW,MilwaukeeWMILWyorning Casper  KTWO. 

THE  CBS  RADIO  NETWORK 


NEW  TALENT 


Arthur  Godfrey,  CBS  Radio's  fabulous  redhead  who's  discovered 

nt  of  hyisnnThR°Wf  bUSln,eSS  talentS'  l'eCent,y  reve»led  a  ^w   al- 
ent  of  his  own.  Before  a  hip  audience  at  the  Las  Vegas  Stardust 
he  emerged  for  the  first  time  as  Arthur  Godfrey,  night  club  'un- 
it was  a  new  role  for  Arthur  and  a  new  audience-but  the  re- 
sponse was  just  what  it's  always  been. 

r£S  L°U.!S  Sob0,1  r,eP°rted  in  the  N™  York  Journal  American 

Godfrey  wowed  them."  Forest  Duke  began  his  widely  syndi- 
'aned,re™:  Thl'ee  <*  the  biggest  names  in  show  business 
opened  Monday  night  on  the  Las  Vegas  Strip-Arthur  Godfrey 
Marlene  Dietrich  and  Louis  'Satchmo'  Armstrong."  And  he  con' 
tmued,  "Arthur  Godfrey,  in  his  Las  Vegas  debut  .  .  .  brings  an 
omnibus  of  fun  to  the  Stardust." 

From  the  Stardust,  Arthur  took  his  show  touring-packing 
everything  from  ballrooms  to  stadiums.  He  even  packed  the  giant 
gymnasium  at  The  University  of  Texas.  And  the  college  kids 
loved  him! 

What  won  the  night  club  crowd,  the  collegians  and  the  critics' 
Godfrey  himself,  most  of  all.  Supported  by  Kong  Ling,  the  pert 
young  singer  he  discovered  in  Hong  Kong,  Johnny  Parker's 
swinging  band,  and  the  Buffalo  Bills,  he  presented  the  same 
warm,  witty  mixture  of  anecdote,  gag  and  song  that  distinguishes 
his  daily  50-minute  radio  show.  Enjoy  the  show  yourself.  Tune 
in  any  weekday  morning  to  the  CBS  Radio  Network  for  Arthur 
Godfrey  Time.  Your  local  station  is  listed  below. 

CBS  RAOtO  STATIONS;  Alabama  Gididon  WAAX,  Mobil*  WKOG,  Mortlflo/w*  WCOV  HIM  WGWC   Tuttumbi.  WVNA  ■•■ 

Phoeni.  KOOL.  Tucion  KOLO  Arkan.a.  El  Oo.ado  KELD,  Fori  Ornnh  KFPW,  LMIIt  fl»<.  KTH5  Calll*,nJa  B.l.i.l.aM  KfRft 
Ch.co  KHSL,  Eo.ol*  KINS.  F-a.no  KFRE,  Ua  Ang,la.  KNX,  M^.„o  KQU.  P,lm  -,p„no,  KCMj  >,«°  a  VvcV  9><£ 
menlo  KFBK.  S.n  Ologo  KFMB.  San  FwmIko  KC8S  Colo.ado  Colorado  Boring!  KVOR  Otmnll  KLZ  0,.M  J^iio'n  „R£X 
Connaclicul  HirlfordManchoiUi  WINF,  Wambur,  WBRY  Oni-lcf  at  Columbia  WjH.piujIw  WIOP  Florid*  Fo,i  M,«,i  WINK 
ll»nl  WKAT,  Orlando  WDBO,  P.nttcol*  WOEB.  SI   A*gu.iw*  WFOY.  Saiaiola  WB«b! 


iviJtoWGGG.J. 


o  WMBR,  t 


WROW,  Columbu*  WRBL,  G.lnoiym*  WGCA.  Macon  WMA2,  Homo  WRGA,  S*>*r.n*S  WTOC.  Thomtt.W*  WPAX  td.h*  0 
KBOl,  Idaho  Fall*  KIO  IINnol*  Champaign  WOWS.  Chicago  WB0M.  Dm.ili*  WDAN,  Ootalur  WfiOr  P.,.,i,  WMQO  Ou» 
WTAD,  Rock  lifand  WHBF.  SprmgWd  WTAX  Indiana  Andaiwrt  WHBU,  Foil  W.,n.  WANE.  Indranapoh*  WISH,  Koiomo  WIOU* 
M.llonWMRI,Muntl»WLBC,SoulhB«ndWSBr,T..,.H.ul«WrnU.iiiC»di.  Rip.d.WMT.OMMo.na.KftNT  U.iw  tit,  K'JLo' 
Ollum-i  KBIZ  Kanaai  Topal*  WI8W,  W.cnua  KFH  Konlutty  Aihlmd  WCMI.  Hoping..!  I*  WHOC,  La.mgton  WVl »  . 
WKYW,  Owambo.o  WOMI,  P.d«<»h  WPAD  leu  III  ana  Now  Ofla.n.  WWL.  Snionport  KCIJ  Mil..  Fon'iM  WGAN  Maryland 
Baltimore  WCBM,  Cumbo-Jand  WCUM,  Fiada.it  t  WFMO,  Mago.ilo.n  WARK  Mat(«tlwi«lii  Bo, ton  W((l  PUHDltd  WfIRK 
Sp'ingfuld  WMAS,  Worcoilei  WNEB  MIoMgan  Ad.nn  WABJ,  Bad  Aia  WWW,  l-a-d  Rap-di  V/jrF  KalvnuM  WK.ZO  lini.ii) 
WJIM,  Foil  Huron  WHLS,  S.gina.  I/VSGW  Mmmtota  OuP»ih  KOAL,  Minnaapoti.  WCCO  Wtiluipol  M,.id..n  wr.OC  Hltitarl 
Joplin  KODE.  Kami)  City  KCMO.  St  tan  KMOX.  Springl.«ld  KIT".  Mania**  Bui'*  KOOW,  MmW*  KGVO  Habrtat* 
Omaha  WOW.  ScolltbMI  KOLI  N*xd*  l*i  Vagal  KLUC  H*m  HarapUilr*  Kmw  (WW  M.-  )•...,  Mtntli 

City  WFPG  Now  Moilco  Albuqu.^^  KGGM.  Bantl  F.  KVSF  Nn  To.b  AJbarnj  V/ROW  BinghamUm  >VN 
Elfflin  WELM,  G/or«ii«ille  WENT,  llbaca  WHCU,  Kmgilon  VVKMY.  Hon  Vo'«  WCBS,  Plalliburgh  WtAV.  R«haila>  WHfC, 
Syacuio  WHEN,  Ulici  WlBX,  W.to. c,«n  WiVNY  North  Carolina  AiKa.ilU  WWNC.  Oiarlolto  WFir  D„,ha->  WDNC  f  .,.H»,,il, 
WFA1,  Gieenibo:o  WBIG,  G'aon.iIJa  WGTC  North  Dakato  Onnd  Fortt  KILO,  Jamailon  K£¥J.  V.IL,  C„,  KOVC  Ohla  '  krafl 
WAOC,  CfMlnnill  WKRC,  Columbia  WBNS,  Dijlon  WHIO  PortoaOwUl  WPAV,  Yo^gilo-n  WK9N  Okl^w-t  Ollol 
Norman  WNAO,  Tulao  KHMG  Orooon  Eoo«n«  KERG,  KJ.m.is  f.il,  KFLW,  Madtoid  K*JC,  Portland  KOlH.  Aoaabv'g  KRNR 
Panm.l.ania  Alloom  WVAM.  DuBoH  VVCEO,  £/!•  WLEU.  Hai.ubvrg  WHP,  (Mm.  WDAO.  Jofv-Ho^n  WARD.  PfirladOlphl* 
WCAU  PilUbiiFgh-MtKoeaport  WEDO,  Raadmg  WHUM.  Scronton  WOOL  Sl.lo  Collogo  W»5C,  :^f,.-,  WKOK,  Unionlown 
V/MBS.Williamipo.tvrWPA  Rhodo  Itland  P.ov.d.nco  WEAN  Sowlh  Carolina  AndoiaonWJ  ' 
WCAY   Gieorif.llo  WMftB,  Sparta^bvo  W5PA  SovA  Oaa*i»  I  -     ■■  W.A  r  Timhui  r.« 

CooVo.111*  WHUB.JohiionCiliWJCV/.Knoi.Jlo  WNOX.Ma"ipr>n  WREC   N.i>,.H.  WLAC  Ti.. 
KSIX.OallaiKRLD.EJPnoKIZZ.HailminnKGaT.MojUonKTRH.l^fcb^.  • 

KWFTOWCad.<C;ijKSUB.S.IIL.iaC-t»l'^LV.n««lBi.raW;NO.e<al>i.bo.»WKVlVlr*>rjloNoflola»VTA». 
Ro.noloWOB>,SlJu'.tonWAFCWaihlnfllonS«.lIloKIRO.Spo*»noKOAWoalVlrth»VO •»«•**,  A. 
WMMNP.rl..f.b«f9WPAR.WnoolingWWVAWIitoMtaG.»onBa,WBAY.w.J.'     -.■■•    ■■:'■> 

THE  CBS  RADIO  NETWORK 


p  WOOD. 


K  I  H'j 


Don't  do  a  double-take  when  the 
camera  pans  the  chorus  of  "Sing 
Along  with  Mitch"!  That  face  you 
thought  looked  very  familiar  is — a 
"mystery  guest"  at  the  tail-end  each 
week.  Never  introduced  or  identified, 
he'll  be  singing  along  just  like  the 
others.  You  have  to  spot  him  quickly, 
or  else  miss  him  altogether. 

We  don't  want  to  spoil  all  your 
fun.  But,  in  future  weeks,  you  might 
be  spotting  such  mystery  guests  as 
Jack  E.  Leonard,  Sam  Levenson, 
Red  Buttons  and  even  the  usually 
grim-faced  Chet  Huntley. 

Also  on  tap  are  some  special  seg- 
ments including  hour-long  salutes  to 
such  composers  as  George  Gersh- 
win and  Harold  Arlen. 


Hollywood  stars  accept  any  invita- 
tion to  talk  about  why  they  refuse 
to  appear  on  TV.  Some  say  the  shows 
aren't  good  enough — or  long  enough 
— or  don't  pay  enough.  Then  a  Cary 
Grant  will  say,  "Why  should  I  com- 
pete with  myself?" 

But,  when  all's  said  and  done,  give 
a  star  something  equalling  the  chal- 
lenge of  a  movie  and  she'll  be  there 
before  the  first  commercial. 

That  appears  to  be  the  case  with 
Deborah  Kerr,  who  will  be  making 
her  TV  dramatic  debut  in  "Three 
Roads  to  Rome,"  on  December  23rd, 
over  the  ABC  network. 

In  the  ninety-minute  spec  adapted 
by  Tad  Mosel,  Deborah  will  play 
three  different  women  in  three  dif- 


ferent stories — all  of  a  different  age 
and  in  different  settings!  What  star 
wouldn't  jump  at  something  like 
that? 

To  illustrate  what  some  people 
think  of  "The  Perry  Como  Show": 
Thomas  Mitchell  came  out  of  semi- 
retirement  (occasioned  by  illness)  to 
do  the  Thanksgiving  telecast — say- 
ing, at  the  time  it  was  taped,  that  he 
wouldn't  have  done  it  for  any  other 
show. 

The  Como  people  were  amazed 
when  the  veteran  actor  walked  into 
the  theater,  quietly  examined  a 
script,  then  went  through  his  paces 
as  if  he'd  been  studying  it  for  days. 

Nothing   fancy.   Just   an   ol'   pro. 


EARL 


WILSON'S 


I 


Special  late-dope  gossip  section:  Who's  in?   Who's  out?  What's  up?  Each  and 
every  month,  TV  Radio  Mirror  brings  you  the  scoopiest  column  in  any  magazine! 


10 


Astronomical  picture-puzzle:  How  many  stars  can  you  name?  (You'll  find  some  clues  at  the  end  of  Earl's  column.) 


Carol  Burnett  will  be  back  to 
visit  "The  Garry  Moore  Show"  for 
the  New  Year's  Day  program — and 
it  will  be  a  different  Carol.  You'll  be 
amazed  when  she  goes  through 
"You're  Nobody  Till  Somebody 
Loves  You"  with  nary  a  giggle.  And, 
if  you  look  closely,  you'll  see  she's 
wearing  a  gold  heart  locket  around 
her  neck — a  present  from  the  stage 
crew  last  season.  (They  also  sent 
along  a  letter,  as  well — written  on  a 
bedsheet ! ) 

But  Carol  doesn't  play  the  entire 
show  seriously.  In  one  sketch,  she's 
sitting  home,  mooning  away  the 
hours  by  staring  at  a  picture  of 
Vince  Edwards. 

She  cracks:  "Oh,  there  you  are, 
Ben  Casey.  What  a  shame  you  don't 
make  house  calls!" 

Horace  McMahon  admits  to 
making  many  a  "comeback,"  but  his 
present  career — playing  Lieut.  Mike 
Parker  on  "Naked  City" — is  one  of 
the  most  remarkable.  He's  going  into 
his  third  year  in  the  series  .  .  .  and 
many  of  the  youngsters  who  tune  him 
in  now  don't  know  that  he  was  a 
screen  gangster  and  killer  'way  back 
in  the  late  1930s  and  1940s. 

"It  was  a  nice  little  run — about 
100  movies,"  Horace  remarked  one 
night  recently  at  Toots  Shor's,  his 
favorite  hangout.  "Then,  in  1949,  I 


got  lucky  on  the  Broadway  stage,  in 
a  play  with  Charles  Boyer — after 
which  I  went  right  into  a  68-week 
run  with  another  pretty  great  actor 
named  Ralph  Bellamy." 

TV  was  just  coming  along,  and  a 
producer  grabbed  Horace  for  the 
"Martin  Kane"  private-eye  series 
with  William  Gargan,  followed  by 
the  movie  version  of  same. 

"Then,"  he  recalled,  "I  stopped 
dead.  A  lot  of  summer  stock,  a  few 
TV  shots,  vaudeville — not  much, 
really,  until  1958.  Then  I  landed  the 
Broadway  show,  'Say  Darling.' 

"All  of  a  sudden,  an  agent  called 
me  and  said  John  Mclntire  was 
leaving  'Naked  City'  and  was  I  in- 
terested in  taking  over  his  role? 

"I  said,  'Have  we  got  any  place 
else  to  go?' " 

That  was  the  old  half-hour  show. 
"At  the  end  of  thirteen  weeks,  the 
show  was  dropped — and  so  was  I." 

But,  a  couple  of  months  later, 
somebody  had  the  idea  of  converting 
it  into  an  hour  show,  then  made  a 
new  pilot  film — and  now  Horace 
says,  "This  is  the  longest  run  of  my 
31-year  career." 

Horace  would  like  to  do  a  series 
eventually  with  his  wife,  Louise 
Campbell,  well-known  dramatic  ac- 
tress who  appears  on  other  TV 
dramas  but  has  never  played  op- 
posite him.   "We've   got  three  chil- 


dren, too.  They  all  dance  a  little 
bit — what  would  be  wrong  with  hav- 
ing them  in  it?" 

Famous  for  being  a  non-drinker 
around  the  New  York  saloon  beat, 
Horace  tipples  only  on  coffee.  Yet 
he's  always  running  into  people,  the 
next  day,  who  tell  him:  "Boy,  were 
you  stoned  last  night  at  El  Morocco! 
You  fell  downstairs  like  a  ton  of 
bricks!" 

Horace  just  nods  and  doesn't  try 
to  argue  with  any  of  the  drunks  he 
encounters. 

"It's  one  penalty  for  not  drink- 
ing," he  grins.  "If  you  ever  do  any- 
thing wrong,  make  any  real  mistake, 
you  can't  come  in  to  the  director  next 
day  and  say,  'You  see,  it  wasn't 
really  my  fault.  I  was  loaded!' ' 

Don't  get  your  hopes  up  too  high 
on  this  Telstar  business — just  yet. 

There's  no  doubting  the  signifi- 
cance of  the  satellite  in  space  beam- 
ing live  coverage  throughout  the 
world,  but  some  people  are  already 
talking  about  things  like  live  cover- 
age of  the  1964  Olympics  from  Japan. 

According  to  Tad  Myers,  CBS 
Public  Affairs,  this  is  all  pie-in-the- 
sky  stuff  at  this  point,  because  it'll 
take  somewhere  between  thirty  and 
forty  of  these  satellites  to  provide 
continuous  coverage  of  events  from 
abroad.  And  (Please  turn  the  page) 


11 


The  new  "Dark-Eyes"  is  not  new  ...  it  is  28 
years  old  .  .  .  but  there  are  new  features.  An 
added  adherence-to-hair  quality  for  easier, 
quicker  application  —  "Dark-Eyes"  now  goes 
on  in  the  wink  of  an  eyelash!  And  two  super- 
soft  brushes  now  perform  the  "Dark-Eyes" 
beauty  miracle  for  you  —  so  simply,  so 
neatly,  so  pleasantly! 

ABOUT  12  APPLICATIONS 

(normal  year's  supply)  $^  SO 
at  leading  drug,  dep't  and  variety  chain  stores 


■     *»r  I-«**mhi.: 
'I    -ml  Wtvm* 


J^ 


IF   IT   ISN'T 


...IT   ISN'T         " 


"Dark-Eyes"  REALLY  IS  Swimproof!  Soap- 
and-water-proof!  Raindrop-and-weep-proof! 
Water  makes  mascara  run,  but  "Dark-Eyes" 
will  not  run  nor  smudge.  Ends  all  the  bother 
of  daily  eye  make-up  .  .  .  goes  on  once, 
STAYS  ON  for  four  to  five  weeks  until  lashes 
and  brows  are  normally  replaced  by  njw 
hairs.  "Dark-Eyes"  permanently  colors  .  .  . 
doesn't  coat  .  .  .  gives  your  eyes  a  nat- 
ural, refined  looking,  BORN  BEAUTIFUL 
loveliness.  NEVER  sticky,  heavy,  obviously 
"made  up"  .  .  .  ALWAYS  soft,  dark,  luxuri- 
ant ...  all  day,  all  night,  'round  the  clock! 
Completely  SAFE,  use  with  confidence — 
contains  no  aniline  dye.  Three  shades  .  .  . 
jet  black,  rich  brown,  light  brown. 
*(for  the  hairs  to  which  applied) 


12 


WILSON'S 


ST  flit  V 
JM»    ^SuP^  JH»^P  JUL 


continued 


with  a  six-hour  time  difference  from 
New  York  to  London  or  Paris,  how 
can  we  expect  to  see  Europe's  best 
programs — since  they  have  the  same 
prime-time  schedule  as  we  do?  A 
program  seen  at  8  o'clock  in  Paris 
would  be  seen  here  at  2  p.m.  And  if 
Paris  wanted  to  see  our  best  stuff, 
they'd  have  to  wait  up  till  2  a.m.! 
As  Mr.  Myers  points  out:  "Why 
should  we  fool  around  with  live 
coverage  when  we  can  get  a  perfect 
video-tape  in  six  hours?  In  some  re- 
spects, Telstar  is  similar  to  the  de- 
velopment of  the  atom  bomb.  Now 
that  we  have  it,  now  that  we've  used 
it,  what  are  we  going  to  do  with  it?" 

Don't  Print  That:  The  new  sea- 
son's barely  upon  us,  but  already  one 
of  the  new  shows  is  proving  em- 
barrassing for  the  sponsors.  The 
scripts  are  so  bad,  even  the  show's 
publicist  tries  to  change  the  sub- 
ject when  asked  about  it.  .  .  .  An- 
other new  show  discovered  it  had 
hired  a  leading  man  who  can't  speak 
the  dialect  needed — so  a  voice  coach 
was  rushed  in  for  around-the-clock 
tutoring.  .  .  .  One  of  the  sexiest, 
loveliest  imports  from  Europe  had 
the  director  and  crew  extremely  fidg- 
ety when  she  fluffed  every  line  in 
the  opening  day's  shooting  of  one  of 
TV's  best-known  series.  But  she 
finally  came  around,  later  attributed 
it  to  "nerves." 

Who  takes  up  more  space:  Gi- 
gantic Jackie  Gieason  or  little 
Garry  Moore?  Wrong! 

Jackie's  new  show  will  originate 
from  the  same  studio  as  Garry's,  and 
there  was  a  considerable  tussle  go- 
ing on  as  to  which  show  would  get 
the  use  of  the  studio  for  a  third  day 
of  rehearsals. 

The  Great  Gieason  wanted  a  Wed- 
nesday taping,  after  rehearsing 
Monday  and  Tuesday,  but  Garry 
previously  had  the  theater  set  aside 
for  his  show  Wednesday  and  Thurs- 
day— for  the  Friday  taping.  ("The 
Ed  Sullivan  Show"  has  the  studio 
Saturday  and  Sunday.) 


Since  Garry's  been  around  longer 
with  his  show,  he  was  given  "squat- 
ters' rights."  Jackie  will  have  to  be 
content  to  tape  on  Tuesday. 

The  joke  that  time  makes  funny: 
Jim  Backus,  talking  about  last 
year's  fire  in  the  exclusive  Bel-Air 
section  of  Hollywood,  said:  "They 
would've  put  it  out  sooner,  but  the 
Fire  Department  had  an  unlisted 
number." 

Jim,  mentioning  that  he  and  his 
wife  Henny  had  been  to  the  Play- 
boy Club  in  Chicago  to  catch  a  new 
act,  cracked :  "Taking  your  wife  to  a 
Playboy  Club  is  like  going  fishing 
with  the  game  warden." 

Fearless  Forecasts:  Even  with 
new  medical  shows  matching  scalpels 
with  "Ben  Casey"  and  "Dr.  Kil- 
dare,"  the  sturdiest  competition  for 
the  viewer's  eye  will  be  good  ol'- 
fashioned  gunfire.  As  if  there's  not 
enough  from  the  gangsters  and  West- 
ern badmen,  ABC  will  give  us  all-out 
war — World  War  II — in  three  new 
shows,  to  prove  there's  nothing  like 
"the  firing  line"  to  fire  our  interest. 
Our  selection,  then,  for  the  most 
popular  show  is  "Ben  Casey  at  the 
Front."  .  .  . 

Some  of  the  top  variety  shows 
would  like  to  originate  their  pro- 
grams from  other  cities — if  the 
Chamber  of  Commerce  would  be 
good  enough  to  pick  up  the  heavy 
tab  for  moving  the  cast  and  sets. 
Mitch  Miller  says  he'd  like  to  sing- 
along  on  a  cruise  ship  bound  for 
Bermuda — but  the  waves  would 
have  to  match  bouncing  rhythms  with 
The  Bearded  One.   .  .  . 

People  who  like  to  watch  TV  late 
at  night — if  only  because  they  get 
more  viewing  and  less  commercials 
— will  have  a  rude  awakening  this 
fall.  The  success  of  Steve  Allen's 
show,  along  with  Johnny  Carson's 
"Tonight,"  has  convinced  the  adver- 
tising people  they  should  withhold 
some  of  their  choice  spots  for  the 
late-viewing  hours.  You  might  say 
their  slogan  will  be:  "Better  late 
than  ever!"  — That's  Earl! 

How  many  stars  did  you  see? 

Among  those  most  easily  identified 
on  preceding  page:  Kildare  shaking 
hands  with  Casey— Clara  Ray's 
with  Dick  Chamberlain,  Sherry 
Nelson's  hidden  by  Vince  Ed- 
wards ;  Sam  Jaffe  and  wife  Bettye 
Ackerman  in  midst  of  the  TV 
medicos;  down  in  front — Connie 
Stevens  and  George  Maharis, 
with  Ray  Collins  behind  them;  far 
right,  toward  top — Mr.  and  Mrs. 
Dick  Van  Dyke,  Dick's  TV  wife 
Mary  Tyler  Moore  in  same  row. 


ON  THE  RECORD 


Bobby  Scott 
Music  Editor 


NOV.  1962 


•  The  road  Billy  Eckstine  has  trod  for 
near  to  twenty  years  has  not  always 
been  the  most  popular  one  nor  the  most 
rewarding  one.  Back  in  the  forties,  to 
those  of  you  who  entered  the  World  of 
Eckstine  later,  Billy  led  a  big  band 
aptly  titled  "The  First  Big  Be-Bop 
Band,"  and  that's  precisely  what  it  was. 
Those  years  found  "B"  playing  trumpet 
and  valve  trombone  as  well  as  singing. 
(Incidentally,  that  band  included  such 
jazz  giants  as  Art  Blakey,  Miles  Davis 
and  "Fats"  Navarro,  to  name  a  few.) 
Unfortunately  for  the  general  public, 
the  band  never  got  off  the  ground  com- 
mercially. (Strangely,  now  that  I  recol- 
lect, I  seem  to  remember  Sarah  Vaughn 
making  some  records  with  the  band.) 
It  left  a  few  recorded  gems  that  still 
turn  up  from  time  to  time.  One  tune 
from  this  period  that  I  still  remember 
quite  well  was  a  swinger  called  "I  Love 
the  Rhythm  in  a  Riff."  Billy  did  some 
wonderful  scat  singing,  the  band  roared 
along  led  by  Blakey's  surging  drumming 
and  inspired  by  Gene  Amnions'  vital 
tenor  saxophone  solo.  That  was  record- 
ed by  the  now  defunct  National  Records. 
Also  of  the  same  National  vintage  was 
the  wonderfully  treated  "Cottage  for 
Sale."  Billy's  ballad  singing  appeared 
around  this  time  to  be  the  one  big  fac- 
tor that  could  hoist  him  right  into  the 
commercial  market.  MGM  records  ob- 
viously sensed  this  potential  million 
record  seller  and  brought  in  Hugo  Win- 
terhalter   and   strings   and   the  rest  is 


history.  One  after  another,  Billy  came 
up  with  hits.  "Everything  I  Have  Is 
Yours,"  "My  Destiny,"  "Caravan," 
"What  Will  I  Tell  My  Heart,"  "I  Apolo- 
gize," and  the  classic  "Body  and  Soul" 
to  just  mention  a  few.  There  were  also 
in  this  MGM  period  some  records  Billy 
split  with  Sarah  Vaughn  and  George 
Shearing. 

As  the  market  began  to  change,  Billy, 
like  a  good  many  polished  profession- 
als, found  himself  among  a  string  of 
fads.  To  many  real  "pros,"  the  mid- 
fifties  were  quite  a  strain.  The  tunes, 
to  begin  with,  were  nothing  like  the 
classic  things  Billy  had  previously  re- 
corded. In  fact,  Billy  was  just  not 
simple  enough  to  sustain  on  the  hit 
record  charts.  So  he  continued  doing 
what  he  felt  was  the  best  he  had  to 
offer.  His  wonderful  recording  of  "Joey, 
Joey"  from  "Most  Happy  Fella,"  which 
he  recorded  for  Victor,  made  enough  of 
a  dent,  air-play-wise,  to  let  everybody 


know  that  "Mr.  B"  was  still  very  much 
on  the  scene.  In  this  period  Billy  de- 
veloped along  entertaining  lines.  He 
incorporated  in  his  act  dancing,  trum- 
pet-playing and  even  impressions  and 
through  these  abilities  continued  to 
work  night  clubs,  doing  a  marvelous  job, 
while  the  blight  of  rock  'n'  roll  cast  its 
shadow  across  the  land.  He  later  formed 
a  small  group,  of  seven  or  eight  play- 
ers, which  brightened  a  lot  of  ears  in 
the  Las  Vegas  vicinity.  Singing  and 
playing,  with  first-rate  players  surround- 
ing him,  Billy  once  again  had  the  bull 
by  the  horns.  At  this  point  Quincy 
Jones,  Mercury  Record's  pride  and  joy, 
deciding  Billy  was  too  large  a  talent 
to  be  anything  but  No.  1,  attacked 
the  problem  of  finding  material.  He. 
Quincy,  supervised  and  arranged  and 
conducted.  The  outcome  to  my  mind  is 
a  new  "Mr.  B."  All  the  years  of  ex- 
perience have  paid  off.  "Mr.  B"  is 
greater  than  ever.  His  recent  recordings 
have  done  extremely  well.  His  live  per- 
formance album,  with  Quincy's  great 
band,  at  Basin  Street  East  was  fa- 
vorably received  by  critics,  disc  jockeys 
and  you  the  public.  "Exodus."  a  recent 
single,  also  did  very  well.  His  most 
recent  single  effort,  "What  Kind  of  Fool 
Am  I,"  looks  like  it  could  climb  up  all 
the  hit  charts.  Well  there  it  is.  Pleasant- 
ly, I  tell  you  "Mr.  B"  is  back  and 
front  'n'  center.  I  hope  we  can  look  for- 
ward to  gangs  and  gangs  of  hits  from 
this  giant  in  the  history  of  jazz. 


V 


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4 


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MAKERS 

IN   THE 


1.  Comic  Jonathan  Winters  table-hops  to  cheer  up  Rosemary 
Clooney — who  can  use  it  since  the  divorce.  2.  Art  and  Lois 
Linkletter  are  among  stars  at  bash  honoring  Nat  "King"  Cole. 
3.  For  Dinah  Shore  these  days,  "love"  is  just  a  tennis  score. 


W^^mmmi 


Mm 


A.  Author  Clifford  Odets  has  been  squiring  Edie  Adams, 
but  it's  too  soon  to  talk  of  romance.  5.  Eartha  Kitt  with 
her  daughter,  now  one.  6.  The  Andre  Previns  and  7. 
Patti  Page  and  Charles  O'Curran — two  of  music's  in- 
tune  marriages.  8.  Mario  Lanza's  mother  was  among  the. 
first  to  realize  his  greatness.  Here,  she  embraces  a  new 
"voice"  in  the  family,  Mario's  daughter  Colleen,  thirteen. 


Vour  Monthly  OIM   RECORD  Guide 


SPECIAL 

••••The  Tale  of  Peter  Rabbit, 

Vivien  Leigh  narrating;  Ornadel  Orch; 
songs  by  Cyril  Ornadel  and  David  Croft ; 
written  by  Beatrix  Potter  (Wonderland) 
— This  album  is  a  wonderful  journey 
into  the  "little"  world  of  talking  ani- 
mals. The  story — which  I'm  sure  needs 
very  little  explaining  to  you  big  kids — 
is  the  one  about  mean  old  McGregor  and 
his  precious  garden.  It  is  presented  in  a 
tasteful  way  and  absolutely  skirts  that 
condescending  "now,  children"  attitude. 
It's  like  an  oasis  after  some  of  the  non- 
sense that's  been  thrown  at  our  kids. 

Ornadel's  melodies,  Croft's  lyrics  are 
first  rate — sweet  but  not  sticky. 

Vivien  Leigh  turns  in  a  subtle  and 
captivating  performance.  Her  reading  is 
impeccable.  Her  sound  is  quite  natural 
and  charming.  It  has  in  it  a  "come-hith- 
er" quality  which  has  that  intrigue  so 
necessary  where  young  ears  are  con- 
cerned. She  is  assisted  by  a  group  of 
players  who  make  up,  voice-wise,  Peter 
Rabbit's  family.  They  provide  the  colors 
and  characterizations,  and  Miss  Leigh 
ties  things  up  tightly  with  her  narration. 

The  really  great  value  here  is  that 
a  child  can  read,  see  the  enchanting  pic- 
tures, hear  the  story  and  have  it  sup- 
ported by  music — all  in  one  album. 

Also  included  in  this  album  is  the 
"Tale  of  Squirrel  Nutkin,"  which  steals 
some  of  "Peter  Rabbit's"  thunder.  Mu- 
sic, text  and  pictures  are  also  included 
for  Mr.  Nutkin.  So  if  your  boy  or  girl  is 
crazy  for  bunnies  and  squirrels,  or  is  the 
kind  of  child  who  loves  to  exercise  his 
imagination,  I  would  check  this  album 
and  the  entire  new  set  of  Wonderland 
records. 

Among  the  others,  you'll  find  "Snow 
White  and  Red  Rose,"  an  adaptation  of 
"Little  Men"  and  "Little  Women," 
Dame  Edith  Evans  reading  "The  First 
Christmas,"  "A  Child's  Introduction  to 
Shakespeare,"  Cyril  Ritchard  reading 
selections  from  "Alice  in  Wonderland," 
"A  Child's  Introduction  to  the  Orches- 
tra"— and  the  companion  album  to 
"Peter  Rabbit,"  "The  Tale  of  Benjamin 
Bunny."  This  last  also  has  Miss  Leigh 
narrating.  Several  of  these  albums  have 
text  and  pictures.  Some  do  not,  but  all 
have  underscored  music — which,  to  my 
mind,  is  much  more  important.  Well, 
you  look  into  this  Wonderland  series. 
It's  been  aptly  named.  Recommended. 
(I  guess  you  gathered  that.) 


h 


A 


if  ?h 


POPULAR 

•••Caribbean  Guitar,  Chet  Atkins 
(RCA  Victor)— If  this  album  were  full 
of  first-class  pieces  like  its  beautiful 
"Mayan  Dance,"  it  would  easily  merit 
four  stars.  (The  "Mayan  Dance"  cut  is 
in  the  traditional  Latin  style.  Almost  in 
the  classical  area.)  Chet  Atkins  is  one 
of  my  favorite  musicians,  a  man  of  taste 
and  technical  proficiency  of  the  very 
widest  scope,  and  I  reluctantly  rate  this 
three  stars  ...  the  reason  being  that 


what  could've  been  realized — and,  on 
some  tunes,  was — was  not. 

•••The  Lively  Ones,  Vic  Damone ; 
Billy  May  Orch.  (Capitol)— Vic  Da- 
mone once  again  proves  why  he  remains 
with  us  year  after  year.  It's  quite  sim- 
ple: He  happens  to  possess,  truly,  a 
voicel  (Which,  I  might  add,  can  be  a 
drawback  in  these  strange  days.) 

Here,  Vic  salutes  all  the  ladies. 
"Laura,"  "Ruby,"  "Marie,"  "Char- 
maine"  and  eight  other  gems  associated 
with  the  gentler  sex,  and  so  beautifully 
done.  Warmly  reading  the  message  in 
"Nina  Never  Knew,"  shouting  out 
"Cherokee" — where  the  tempo  literally 
flies — and  in  the  wonderful  version  of 
"Diane"  which  lightly  moves  in  a  sort  of 
"Society-Two"  feel,  Vic  always  seems 
completely  at  ease  and  comfortable.  The 
arrangements  by  Billy  May  and  Jack 
Marshall  certainly  help.  The  recorded 
sound  is  Capitol's  usual :  The  best !  It's  a 
good  album. 

•••Parade  of  Hits  (MGM)— MGM 
has  graciously  put  a  gang  of  winners, 
45-r.p.m.  variety,  under  one  roof.  In- 
cluded in  this  bargain  album  are:  Dick 
Chamberlain's  "Three  Stars  Will  Shine 
Tonight,"  Jaye  P.  Morgan's  "Heartache 
Named  Johnny,"  "The  Stripper,"  by 
David  Rose,  "Lolita,  Ya  Ya,"  Elmer 
Bernstein's  soundtrack  version  of  "Walk 
on  the  Wild  Side,"  "Portrait  of  a  Fool," 
by  Conway  Twitty,  and  some  picture 
themes  of  fairly  large  value.  ("El  Cid," 
"The  Four  Horsemen"  and  "King  of 
Kings.") 

The  album  is  a  pop-market  winner. 

•••In  a  Most  Unusual  Way,  The 

Bobby  Doyle  Three  (Columbia) — It's 
always  a  pleasure  to  tell  you  about  some 
newcomers  who  have  "pro"  written  all 
over  them.  These  chaps,  the  Bobby 
Doyle  Three,  are  very  unusual.  They  run 
the  whole  scene.  Mainly  in  Hi-Lo,  Four- 
Freshmen  groove,  they're  quite  capable 
of  stepping  into  a  variety  of  different 
settings. 

The  leader,  Bobby  Doyle — who,  inci- 
dentally, is  without  sight — is  the  driving 
force  here.  He  alone  runs  the  gamut 
from  a  Ray  Charles-ish  "Mammy"  to  an 
airy-like  polished  sound  on  the  front  of 
"Come  Rain  or  Come  Shine."  He  also,  I 
would  imagine,  has  laid  out  most  of 
these  fine  three-voice  arrangements. 
Kenny  Rodgers  and  Don  Russell  round 


16 


-K-K-K-K   GREAT  I 
-K-K-fc  GOOD   LISTENING 


-K-K   FAIR   SOUNDS 
-K  IT'S    YOUR    MONEY 


out  the  group.  Ken  and  Don,  although 
they  blend  admirably  with  Bobby,  also 
have  solo-istic  styles.  Each  has  a  solo 
here  in  which  they  unquestionably  prove 
a  chain  is  only  as  strong  as  its  weakest 
link.  (There  are  no  weak  links  here.) 

The  group  is  one  of  the  most  versatile 
around.  Twister,  jazz,  ballad  or  Dixie 
fan,  they've  got  "sumpin'  for  ya."  I'd 
take  a  listen.  (P.S.  Fine  arrangements 
and  band.  Dick  Hyman  at  the  baton.) 

•••The  Faraway  Part  of  Town, 

Andre  Previn  (Columbia) — Versatility 
is  a  word  thrown  around  loosely  by  many 
about  many,  but  as  applied  to  one — 
Andre  Previn — the  word  is  indisputable. 
This  particular  album  finds  Previn  not 
scoring  a  film,  not  playing  out-and-out 
jazz  piano,  but  relaxing  against  a  back- 
ground of  warm  strings  and  playing 
very  economically  and  with  a  conscious- 
ness of  the  melodic  properties  of  all  the 
tunes  included. 

Among  some  beautifully  arranged 
and  performed  standards — like  "Over 
the  Rainbow,"  "Where  Are-You,"  "Lost 
in  the  Stars"  and  "Gone  with  the  Wind" 
— are  some  tasty  vehicles  that  are  sel- 
dom heard.  Previn  himself  is  responsi- 
ble for  composing  a  couple  of  them: 
"Where,  I  Wonder,"  plus  his  theme, 
which  is  the  title  tune,  "Faraway  Part 
of  Town."  Also  included  is  a  wonderful 
tune  composed  by  Bronislav  Kaper 
(who  gave  us  "Invitation"),  called 
"Near  to  No  One,"  from  his  film  score 
for  "The  Scapegoat."  This  is  an  album 
to  which  you  should  listen  (and  I  don't 
mean  while  you  are  eating  dinner!).  A 
choice  platter.  Bring  us  a  few  more  like 
this  one  .  .  .  please? 

POPULAR:   FOLK 

•••La  Distancia  Nos  Separa,  and 
Other  Love  Songs  of  Mexico,  Trio 
Los  Panchos  (Columbia) — Maybe  it's 
because  at  the  roots  I'm  a  dyed-in-the- 
wool  sentimentalist,  but  this  album  is  the 
perfect  atmospAere-creator  for  lovers. 
It's  the  Latin  nights  that  are  here  reflect- 
ed in  song.  All  the  tunes  are  love  songs, 
and  it's  as  if  these  talented  chaps  were 
chirpin'  in  the  street  to  a  bevy  of  ladies 
who,  leisurely  reclining  on  terraces,  were 
dropping  roses  down  by  the  dozens! 
For  people  who  delight  in  being  ser- 
enaded, this  is  your  treat.  The  Trio  Los 
Panchos  are  highly  polished  performers. 
This    album    is    rather    elegantly    per- 


;■;>>■:■;  ■'-;■%:■  i-':-  ;«  ;>*:■. 


2 


A-py 


.  .jBx/cvmyx.QwrFA -  .-.".:■    ■  ■  

TSlOLOSPANCHCKs 


essf&MG 


formed.  They  blend  well  together  and 
sing,  when  it's  required,  solo  pieces  in 
a  class  fashion.  I  like  the  album.  It  may 
take  time  for  it  to  grow  on  you,  but  the 
time  may  be  worth  giving.  .  .  . 

POPULAR:   JAZZ 

•••Greatest  Hits,  Cannonball  Ad- 
derley  (Riverside) — This  category  may 
seem  strange,  but  it  really  isn't.  Includ- 
ed in  this  package  are  tunes  such  as 
"African  Waltz,"  "Work  Song,"  "This 


Here"  and  "Sack  o'  Woe"  .  .  .  none  of 
which  were  incapable  of  a  larger  ap- 
peal— hence,  the  category.  "Work 
Song,"  though  it  started  its  life  as  a 
jazz  vehicle,  has  become  a  standard 
tune  (such  artists  as  Darin,  Belafonte 
and  Ernie  Ford  do  it).  Here,  in  this  al- 
bum, you  have  the  original.  "African 
Waltz"  won  a  "Grammy"  award  and  you 
no  doubt  remember  it  climbing  the  pop 
charts  not  too  long  ago.  "This  Here" 
may  also  become  an  important  commer- 
cial tune — as  we  go  to  press,  lyricist 
Bob  Dorough  has  just  written  a  set  of 
lyrics  for  this  Bobby  Timmons  jazz  gem. 
The  bands  here,  be  they  large  or 
small,  are  top-drawer.  Cannonball's 
playing  is  his  consistent  best.  Full  of 
fire  and  brimstone.  Brother  Nat  Adder- 
ley  comes  along  for  the  ride.  This  album 
is  an  exceptionally  good  package  for 
those  people  who  would  enter  the  jazz 
world  for  the  first  time.  It's  not  the  pure 
isolated  and  introverted  school  of  jazz, 
but  the  "good-timers"  rompin'  along. 
For  the  Adderley  fans,  it's  a  good  com- 
pilation of  winners. 

••••Soft  and  Silky,  Smooth  and 
Swinging,  Satin  Latin,  The  George 
Shearing  Quintet  (3  separate  L.P.s 
jointly  released  by  MGM) — Past  per- 
formances, when  heard  in  the  light  of  a 
new  day,  sometimes  seem  pale  and 
sound  somewhat  like  period  pieces,  but 
there  are  exceptions — early  Sinatra, 
early  Garland,  early  Nat  Cole,  Ella, 
Billie  Holiday,  to  name  a  few.  I'm  hap- 
py to  say  these  early  Shearing  record- 
ings hold  up  fantastically.  In  fact,  if  I 
may  be  bold,  they  are  much  more  palat- 
able to  this  reviewer  than  the  great  bulk 
of  Shearing's  later  work. 

Granted,  musically,  times  have 
changed.  (And,  I  might  add,  so  have 
values.)  These  recordings — particular- 
ly, the  "Soft  and  Silky"  album— find 
George's  solo-istic  playing  overwhelm- 
ingly lyrical.  (The  ease  with  which  he 
played  also  seems  incredible.)  There  is 
a  floating-like,  subtle  but  persuasive 
sophistication  wrapped  up  in  every  turn 
of  a  musical  phrase.  The  players  here, 
who  make  up  these  different  quintets, 
also  appear  to  have  collectively  played 
better  than  most  groups  of  that  time  or 
since. 

In  "Soft  and  Silky"  are  found  classics 
like  "I'll  Remember  April";  "East  of 
the  Sun,"  where  George's  block-chord 
style    literally    creates    a    tapestry    of 


17 


Vot#f-  Monthly   ON   RECORD  Guide* 


sound  through  enlarging  the  harmonic 
scheme;  "Little  White  Lies,"  which 
bubbles  even  though  the  theme  is  played 
with  precision;  "I'll  Be  Around,"  "For 
You,"  and  my  particular  Shearing  favor- 
ite, "Tenderly."  On  this  tune,  George 
played  solo  piano  and  the  version  is, 
without  doubt,  the  most  charming  and 
sensitive  one  I've  heard  yet. 

The  "Smooth  and  Swinging"  album 
leads  us  down  a  jazz  avenue,  but  the 
street  is  not  so  narrow  that  the  pop  fan 
can't  enjoy  the  promenading.  The  inher- 
ent joy  of  playing  permeates  this  record- 
ing. "Strolling,"  "Geneva's  Move,"  the 
classic  "Jumpin'  with  Symphony  Sid," 
"Swedish  Pastry" — all  glisten  with  the 
magic  of  Shearing. 

"Satin  Latin" — though  it's  certainly 
worth  having — is  not,  in  your  retiewer's 
humble  opinion,  up  to  the  level  of  its 
brother  albums.  There  are  moments, 
though,  of  rhythmical  excitement  and, 
in  general,  action.  For  those  with  the 
Latin  leanings,  this  may  be  your  cup  of 
tea.  At  any  rate,  it's  a  pleasurable  ex- 
perience to  listen  again  to  some  of  the 
glorious  moments  out  of  the  not-too-dis- 
tant past.  Anybody  who  would  get  his 
money's  worth  in  entertainment — should 
see  about  these. 

JAZZ 

****Inception,  McCoy  Tyner  Trio 
(Impulse) — This  jazz  piano  album, 
which  happens  to  be  McCoy's  debut  ef- 
fort, is  one  of  the  finest  your  reviewer 
has  heard  in  many  moons.  This  young 
pianist  of  twenty-four  years  has  an 
amazing  amount  of  assurance  in  his 
playing.  Throughout  the  entire  proceed- 
ings, McCoy,  with  an  incredible  amount 
of  musical  maturity,  keeps  things  set- 
tled and  flowing.  His  colleagues  here  are 
Art  Davis,  playing  bass,  and  the  fireball 
Elvin  Jones  on  drums. 

A  very  pointed  and  particular  first  al- 
bum. Look  forward  to  hearing  an  awful 
lot  from  this  lad  in  the  future.  Recom- 
mended for  the  jazzophiles. 

****Bird  Symbols,  Charlie  Parker 

(Charlie  Parker  Records) — These  were 

recorded  in  1946  and  '47  and  originally 

released  on  the  now-defunct  Dial  label. 

The  tunes,  cut  in  California,  comprise 

such  classics  as  "Moose  the  Mooche," 

T      "Yardbird   Suite,"   "Ornithology"   and 

v       "Night  in  Tunisia."  The  group  on  these 

r       sides  featured  the  younger  Miles  Davis, 


Lucky  Thompson  and  Dodo  Marmarosa. 
(One  California  session,  responsible  for 
the  last  two  cuts  on  side  one,  featured  a 
then-slightly-known  Pittsburgh  pianist 
by  the  name  of  Erroll  Garner.) 

Side  two  includes  tracks  from  two 
N.  Y.  C.  record  sessions.  Here  we  find 
Max  Roach  in  evidence.  Titles  include 
such  gems  as  "Bird  of  Paradise,"  Park- 
er's version  of  "All  the  Things  You 
Are,"  the  fantastic  ballad  work  on  "Em- 
braceable  You,"  "Out  of  Nowhere,"  and 
"Don't  Blame  Me."  On  the  last  men- 


Shearing 


tioned  tune,  the  young  Miles  Davis  in- 
dicates his  as-of-then  undiscovered  lyr- 
ical depth  by  playing  out  the  last  eighth 
in  touching  fashion. 

Charlie  Parker  was  a  titanic  talent. 
For  years,  the  creative  end  of  jazz  re- 
sided solely  on  his  shoulders.  He  was, 
almost  in  total,  the  driving  force.  As 
these  tunes  and  solos  of  Parker  were 
pace-setters,  they  certainly  belong  in 
your  collection.  This  was  the  music 
which  helped,  to  a  large  degree,  shape 
what  we  hear  today.  A  must  for  jazz 
fans. 

***Hollywood  Jazz  Beat,  Ray  Bry- 
ant; orch.  arr.  and  cond.  by  Richard 
Wess  (Columbia) — Ray  Bryant  is  a 
strikingly  singular  and  subtle  piano  tal- 
ent who,  I  have  no  doubts,  will  one  day 
(as  John  Hammond  points  out  in  his  al- 
bum notes)  ride  up  over  a  jazz  wave  and 
find  himself  smack  in  the  middle  of  the 
commercial  market. 

This  particular  album  is  really  one  of 
breadth.  The  tunes  are  Hollywood's  best 
efforts:  "Laura,"  "Green  Dolphin 
Street,"  "Invitation,"  "Exodus"  and 
more  of  this  quality.  A  large  ensemble 
provides  Ray  with  a  foil,  concertante 
style.  He  rambles  while  they  sing  out 
themes,  and  the  converse.  Richard  Wess 
is  in  fine  form  here.  His  arrangements 
are  all  transparent  and  light,  leaving 
Ray  every  freedom. 

The  joy  of  Ray's  playing  is  the  con- 
fidence of  attack  and  thought.  His  im- 
provising seems  to  just  roll  off  him. 

For  folk  who  like  the  natural,  listen 
to  Mr.  Bryant. 

CLASSICAL 

-fc***  Wagner:  Brunnhilde's  Im- 
molation Scene  from  "Gotterdam- 
merung"  and  The  Wesendonck 
Songs,  Eileen  Farrell;  Leonard  Bern- 
stein cond.  the  New  York  Philharmonic 
(Columbia) — Wagner's  personal  image, 
historically,  is  one  glorious  enigma.  His 
love  for  other  men's  wives  was  only  ex- 
ceeded by  his  love  for  himself.  His  life 
reads  like  a  cheap  novel,  but  his  works 
are  priceless.  Strangely,  as  life  would 
have  it,  his  greatest  moments  of  dra- 
matic music  were  stimulated  by  back- 
door philandering. 

While  at  work  on  his  monumental 
musical  tragedy,  "Tristan,"  he  took  time 
out  to  put  music  to  some  poems  of  his 
then-current  love,Mathilde  Wesendonck 


18 


-MC-K-K   GREAT! 
-K-MC  GOOD   LISTENING 


-K-K    FAIR    SOUNDS 
-K  IT'S    YOUR    MONEY 


(who,  needless  to  say,  was  the  wife  of 
one  of  Wagner's  benefactors).  On  this 
album,  it  only  gets  second  billing.  Your 
reviewer  finds  it  much  more  interesting 
than  the  scene  from  "Gotterdammer- 
ung."  The  way  in  which  Wagner  mar- 
ries musical  elements  with  the  words 
and  their  connotations  is  incredible. 
(Only  in  one  piece  does  he  use  the  tech- 
nique of  repetition.  All  the  others  are 
free-wheeling,  form-wise.  Gloriously 
rhapsodic.) 

In  one  song  called  "Stehe  Still,"  Wag- 
ner begins  with  a  whirling  musical  atti- 
tude, totally  consistent  with  the  text, 
and  marvelously  returns  to  a  slow,  lyr- 
ical and  reflective  attitude  when  the  text 
demands  it,  halfway  through  the  song. 
The  melodic  lines,  in  general,  seem  a  bit 
tempered,  when  one  considers  Wagner's 
sometimes  over-dramatic  and  heavy- 
handed  opera  music.  Here  he  seems  to 
flow  without  deliberation.  It's  the  type 
of  musical  soaring  only  Wagner  could 
turn  out. 

Miss  Farrell  again  proves  how  much 
value  and  talent  resides  in  her  heart  and 
throat,  and  Leonard  Bernstein's  con- 
ducting is  certainly  one  of  his  finest  per- 
formances. But  the  real  show  is  Wag- 
ner's. His  talent  for  blending  tones  with 
words  is  unmatched.  For  the  seekers 
after  timeless  musical  expression. 

SPECIAL 

y^frfrSwing  Low,  Sweet  Chariot, 

Leontyne  Price;  orch.  and  chorus  di- 
rected by  Leonard  de  Paur  (RCA  Vic- 
tor)— As  I  have  said  before  and  will  say 
again,  the  music  of  worship — no  matter 
what  the  creed — is  always  worth  thor- 
ough investigation  .  .  .  and  when  that 
particular  music  is  Negro  spirituals,  it 
makes  the  searching  that  much  more 
rewarding.  In  this  album  I  found  only 
one  piece,  as  far  as  composition,  which 
was  not  of  the  very  highest  calibre — and 
that's  near-monumental,  when  one  real- 
izes there  are  fourteen  pieces! 

From  a  musical-materials  standpoint, 
some  things  here  are  historically  en- 
lightening. Folk  authorities  generally 
agree  that  most  secular  music  of  the 
American  Negro  was  born  out  of  mim- 
icry of  his  white  brother  and,  later  on, 
the  converse,  too.  In  "A  City  Called 
Heaven,"  one  is  struck  by  the  south- 
ern Appalachian  cadential  feeling.  It 
bears  a  strong  hill-song  feeling.  "On  Ma 
Journey"  also  bears  this  out  in  its  quasi- 


Irish  quality.  Mind  you,  I  mean  this 
generally.  In  some  respects,  all  ethnic 
groups  have  denominators.  The  impor- 
tant thing  is  not  that  something  was 
imitated — if  it  was,  at  all — but  rather 
the  fact  that,  in  such  matters  as  national 
music  products,  we  all  share  in  them. 

Miss  Price,  who  is  one  of  America's 
finest  operatic  voices,  sings  with  convic- 
tion and  warmth.  The  more  rhythmically 
moving  pieces  find  her  gliding  and 
punctuating,  rather  than  belting  it  out. 


Needless  to  say,  she  is  like  the  voice  of 
the  wind  when  singing  the  lyric  pieces. 

Leonard  de  Paur  is  to  be  congratulat- 
ed on  his  beautiful  and  sympathetic 
arrangements.  The  height  of  good  taste 
was  reached  in  the  rather  different  ver- 
sion of  "He's  Got  the  Whole  World  in 
His  Hands."  You  may  remember  this 
piece  being  a  hit  not  too  long  ago.  Here 
one  does  not  find  hand-clapping  and  a 
simple  statement  of  theme  .  .  .  rather,  a 
development  harmonically  which  casts 
the  tune  into  an  unusual  light. 

Other  priceless  gems  included  are  the 
beautiful  and  emotionally  arc-ing  "Deep 
River,"  the  elating  "Ev'ry  Time  I  Feel 
the  Spirit,"  the  ringing  joy  of  Hall  John- 
son's beautiful  composition  "Honor, 
Honor,"  the  mysteriously  modal  "A  City 
Called  Heaven,"  the  touching  question- 
ing of  "Were  You  There,"  and  the 
classic  "Swing  Low,  Sweet  Chariot." 

This  album  has  more  than  two  edges. 
It  contains  the  art  of  a  wonderfully  gift- 
ed singer,  the  apex  of  the  litany  form, 
the  spiritual,  and  marvelous  arrange- 
ments which  bring  to  mind  all  kinds  of 
imagery.  And  last,  but  surely  not  least, 
the  power  to  provoke  the  spirit.  I  would 
look  into  this  album  immediately. 

CHORAL  MUSIC 

****The  Sound  of  Inspiration, 

Bill  Brown  Choir  (Choreo) — Bill  Brown 
has  put  together  a  beautiful  album.  Be- 
sides his  composing,  arranging  and  con- 
ducting, what  is  largely  in  evidence  is 
his  sense  of  tradition,  which  goes  back 
to  choral  practices  developed  centuries 
ago.  (One  remembers  the  saying,  while 
listening  to  this  album:  "The  greatest 
and  highest  use  of  the  human  voice  is  in 
its  capacity  to  utter  sounds  of  worship 
to  its  Maker.") 

The  singers,  all  twenty-five  of  them. 
are  the  best  in  California,  and  Mr. 
Brown  has  the  formula  for  blending 
them.  Not  to  be  overlooked  are  the  com- 
plementary string  arrangements  of  Dick 
Hazard.  The  tunes  include  some  stand- 
ard spirituals  like  "Sometimes  I  Feel 
Like  a  Motherless  Child"  and  "He's  Got 
the  Whole  World  in  His  Hands." 

Brown's  original  music,  for  such 
poignant  texts  as  The  23rd  Psalm  and 
The  Sermon  on  the  Mount,  is  first-rate, 
structurally  sound  and,  most  important- 
ly, uplifting  emotionally.  The  album  un- 
covers the  priceless  joy  of  worship 
through  song.  Recommended. 


19 


TOPS   IN   SINGLES 

1)  Ramblin'  Rose/The  Good  Times,  Nat  "King"  Cole 
(Capitol) — Well,  it's  good  to  see  a  big  professional  steal 
some  of  the  hit  thunder!  Watch  "Ramblin'  Rose."  It's  got  to 
go  up.  Then  I'm  sure  the  jockeys  will  turn  it  over  and  then 
.  .  .  there'll  be  another  hit! 

2)  Lie  to  Me/With  the  Touch  of  Your  Hand,  Brook 
Benton  (Mercury) — Brook's  big  baritone  voice  looks  as  if 
it's  got  him  a  winner  in  "Lie  to  Me."  Flip  is  also  very  strong. 
Good,  able  backgrounds  "a  la  Nashville." 

3)  It  Might  as  Well  Rain  Until  September/Nobody's 
Perfect,  Carole  King  (Dimension) — Very  much  in  the 
"Bobby  Vee"  style  of  over-dubbed  voices  and  a  well-written 
tune,  "It  Might  as  Well  Rain"  looks  like  a  big  hit  if  I  ever 
heard  one.  Flip  is  so-so. 

4)  Hey  There  Mountain/Say  It  Again,  Obrey  Wilson 
(Liberty) — A  very  strong  folk-orientated  tune,  this  "Moun- 
tain." It  could  be  a  sleeper.  Obrey  Wilson  turns  in  a  good 
performance.  Arrangements  by  Phil  Spector  are  tops. 

5)  Jivin'  Around/Raunchy,  Ernie  Freeman  (Imperial) 
— Ernie  Freeman  has  come  up  with  two  exceedingly  strong 
juke-box  goodies  calculated  to  get  your  feet  a-movin'.  "Jivin'  " 
seems  fresher.  "Raunchy"  has  already  been  heard  plenty. 

6)  Busy/I  Don't  Wanna  Know,  Chuck  Sedacca 
(Smash) — Both  sides  are  blockbusters!  "Busy"  has  the  edge 
material-wise.  Chuck  Sedacca,  aside  from  doing  the  shoutin', 
wrote  both  tunes.  The  lad  looks  headed  for  big  things. 

7)  A  Taste  of  Honey/The  Good  Life,  Lloyd  Mayers, 
organist;  Oliver  Nelson  orch.  (United  Artists) — Another 
auspicious  debut  by  a  first-rate  jazz  player.  This  chap  Mayers 
is  one  of  the  finest  new  talents  around.  "Honey"  is  the  tough 
one,  but  he  may  be  a  little  late.  "Good  Life"  is  also  a  likely 
contestant  for  honors. 

8)  Tuesday's  Theme/Montreal,  Johnny  Williams  orch. 
(Columbia) — A  very  catch-y  theme  on  "Tuesday's"  side.  Ele- 
gant, but  marketable.  If  it  gets  airplay,  it  could  happen.  The 
flip  is  a "ricky-tick"  affair  a  la  "Midnight  in  Moscow."  Maybe? 

9)  Cathy/Vieni,  Vieni,  Vic  Damone  (Capitol)— Well, 
this  is  hot  an  obvious  hit  article,  but — I  sure  think  it's  a  great 
record.  "Cathy"  is  a  beautiful  vehicle  for  Vic.  It  may  be  too 
much  of  a  ballad,  but  here's  a  pitch  for  good  tunes  and 
quality  performances.  Could  be? 

10)  I  Can't  Get  You  Out  of  My  Heart/My  Geisha, 

Jerry  Vale  (Columbia) — Whenever  Jerry  tangles  with  some 
Italian  material,  you'd  best  believe  something  happens.  I'd 
look  for  "I  Can't"  to  make  some  noise. 


PIECES   OF   EIGHT 

•  It  looks  like  Roger  Williams  may 

have  another  big  one  in  "Niagara" 
theme.  .  .  .  Harry  Belafonte  is  back 
in  N.Y.  planning  a  motion  picture  to  be 
filmed  in  the  Caribbean,  also  setting 
recording  material  for  late  fall  album 
release.  .  .  .  The  jazz  world  was  shocked 
by  the  tragic  death  of  Eddie  Costa, 
the  very  gifted  pianist-vibist,  in  an  auto 
accident.  His  talent  will  certainly  be 
missed.  .  .  .  Quincy  Jones  and  Billy 
Eckstine  did  three  weeks  of  theater 
dates.  "Mr.  B"  is  in  fine  shape.  .  .  . 
Steve  Lawrence  has  come  up  with  a 
"heck-of-a-pacer"  album.  Waltzes!  .  .  . 
Benny  Goodman's  first  stateside  con- 
cert, since  coming  back  from  Russia, 
was  received  unfavorably  in  New 
Haven,  Conn.  Wha'  happened? 

Nat  "King"  Cole  has  a  new  single 
on  the  market.  It's  going  to  be  a  big 
one.  .  .  .  The  Everly  Brothers  still 
touring,  at  this  writing.  .  .  .  Peter, 
Paul  and  Mary  riding  their  second 
hit.  (Don't  say  I  didn't  tell  you  about 
these  shouters.)  .  .  .  Wayne  Rooks, 
Capitol's  new  vocal  find,  is  getting  set 
to  record  again.  .  .  .  Why  isn't  Felicia 
Sanders  being  recorded?  .  .  .  For 
those  of  you  who  are  interested,  "I 
Can't  Stop  Loving  You,"  by  Ray 
Charles,  was  not  only  No.  1  in  this 
country  but  darn  near  every  other 
one  .  .  .  even  Hong  Kong!  (And  that's 
the  truth,  brother!)  .  .  .  Allan  Doug- 
las, jazz  head  at  United  Artists  rec- 
ords, informs  us  that  U.A.  will  be 
bringing  out  jazz  singles.  The  first  is 
Lloyd  Mayer's  rendition  of  "A  Taste 
of  Honey." 

Cameo-Parkway  Records  have  been 
doing  a  fantastic  job  of  getting  "to 
things  before  the  word  gets  out.  (Cur- 
rently "Wa-Watusi,"  "The  Girl  From 
Wolverton  Mountain,"  such  artists  as 
Chubby  Checker  and  Bobby  Ry- 
dell.)  Their  new  sound  series  is  at- 
tracting attention.  .  .  .  Tony  Martin 
in  N.Y.  He  was  invited  to  guest  for  a 
popular  disc  jockey,  and  he  carried  it 
off!  (Watch  out,  you  disc  jockeys,  this 
kind  of  thing  could  get  serious.) 

A  chap  who  has  been  rather  quiet 
for  a  while,  by  the  name  of  Tommy 
Leonetti,  looks  like  he's  ready  to  bust 
wide  open  again.  .  .  .  Columbia's  new 
Mildred  Bailey  package  is  a  priceless 
chunk  of  jazz  history.  (It'll  be  reviewed 
in  the  following  issue.)  Just  full  of 
captured  moments  that  are  all  worth  a 
million,  running  through  the  entire 
span  of  her  recorded  years.  .  .  .  Till 
next  month,  when  we  spin  again! 


20 


TV  ACTRESS'  OWN  STORY: 

IT'S  IMMORAL 

TO  MAKE  ME  HAVE  A 


"I  will  not  give  birth  to  this  baby." 

These  are  not  words  of  fiction  woven  from  an  imaginary  television 
script.  They  were  the  words  of  an  expectant  mother  who  meant  them  from 
the  depths  of  her  soul.  They  were  spoken  when  she  carried  within  her 
a  baby  she  didn't  dare  allow  to  be  born.  Sherri  Finkbine,  TV  star  of 
Phoenix,  Arizona,  had  not  yet  felt  this  new  life  stir  within  her— it 
was  too  soon  for  that.  But  it  was  not  too  soon  (Continued  on  page  71) 


21 


1 


mm 


■ 


What  turns  a  young  girl  into  a  woman?  I  found  out  on  my 
sixteenth  birthday  —  or  rather,  the  night  after.  It  isn't  just 
being  sixteen  and  it  certainly  isn't  something  peculiar  that 
happens  inside  of  her  that  suddenly  (Please  turn  the  page) 


m 


(Wdk&wMK 


What  turns  a  young  girl  into  a  woman?  I  found  out  on  my 
sixteenth  birthday  —  or  rather,  the  night  after.  It  isn't  just 
being  sixteen  and  it  certainly  isn't  something  peculiar  that 
happens  inside  of  her  that  suddenly  (Please  turn  the  page) 


/  thought  they'd  forgotten — but,  secretly,  the  whole  Lennon  family  worked  on  the  party.  Was  I  ever  surprised! 


continued 


makes  a  child  become  a  woman.  What  does  change, 
I  found  out,  is  how  other  people  treat  you.  That's 
what  makes  the  difference  ...  We  were  appearing 
at  Harrah's  famous  lodge  at  Lake  Tahoe,  you  see. 
The  whole  family — with  the  exception  of  DeeDee 
(Dianne),    her    husband,    Dick,    and    my    brother 


Danny — were  sharing  a  cottage  at  the  lake.  We 
spent  most  of  the  time  there  between  rehearsals 
with  the  Welk  band  and  the  shows  at  night.  It  was 
just  great.  Such  scenery!  Mountains,  a  lake,  and  all 
sorts  of  pretty  shrubs  and  trees.  And  the  people — 
so  nice  and  friendly  and  (Continued  on  page  77) 


24 


The  cake  and  presents — like  the  new  dress  from  Mom  and  Dad  which  even  Peggy  and  Kathy  would  have  been  proud  to  wear — it 
was  all-such  fun.  Know  what  I  think?  A  girl  can-grow  up.  But  she  never  really  grows  away  from  her  little  brothers  and  sisters. 


VINCE  EDWARDS: 


ii 


26 


"Marriage  is  a  per- 
manent contract," 
Vincent  Edwards  be- 
gan, firm  in  his  un- 
shakeable   conviction, 
"and  that's  what  I  want  it 
to  be  for  me.  Sherry  stuck 
with  me  when  I  had  nothing. 
Now  that  I  have  something,  do 
you  think  I'd  let  go  of  a  girl  like 
her?  She's  the  sweetest,  nicest 
girl  I've  known.  And  I've  known 
/        quite  a  few  girls.  None  are  like 
J       Sherry — she's  absolutely  the  tops.  I 
J        believe  marriage  is  for  keeps — and 
forever.  With  Sherry,  marriage  is  for 
keeps  and  forever,  too."  Vince  meant  every 
word  as  he  spoke  to  his  mother,  for  it  was 
one  of  the  most  serious  conversations  they'd 
ever  had  together.  From  the  moment  his 
mother,  Mrs.  Julie  Zoine,  had  met  Sherry  Nel- 
son, the  rumors  began  to  (Continued  on  page  62) 


/ 


27 


VINCE  EDWARDS: 


"Marriage  is  a  per- 
manent contract," 
Vincent  Edwards  be- 
gan, firm  in  his  un- 
shakeable   conviction, 
and  that's  what  I  want  it 
W        to  be  for  me.  Sherry  stuck 
M     with  me  when  I  had  nothing. 
M     Now  that  I  have  something,  do 
M     you  think  I'd  let  go  of  a  girl  like 
/       her?  She's  the  sweetest,  nicest 
M     girl  I've  known.  And  I've  known 
A     quite  a  few  girls.  None  are  like 
Sherry — she's  absolutely  the  tops.  I 
M      believe  marriage  is  for  keeps — and 
forever.  With  Sherry,  marriage  is  for 
keeps  and  forever,  too."  Vince  meant  every 
word  as  he  spoke  to  his  mother,  for  it  was 
one  of  the  most  serious  conversations  they'd 
ever  had  together.  From  the  moment  his 
mother,  Mrs.  Julie  Zoine,  had  met  Sherry  Nel- 
son, the  rumors  began  to  (Continued  on  page  62) 


"No  one  in  the  world  ever 
thought  of  my  becoming  a 
priest — except  my  mother," 
said  Gene  Kelly.  He  was  talk- 
ing of  his  early  days  in  Pitts- 
burgh, but  he  could  have 
been  speaking  for  all  Holly- 
wood— except  the  producers 
of  "Going  My  Way." 

No  doubt  about  it,  Revue 
must  have  had  a  great  deal 
of  that  mystic  quality  called 
faith  to  cast  the  noted  dancer- 
actor  in  the  TV  role  of  Father 
(fMaUey.  At  least  as  much 
faith  as  Paramount  had, 
when  it  cast  crooner  Bing 
Crosby  in  the  original  movie 
role! 

Now — as  then — the  rest  of 
Hollywood  was  stunned. 

"Holy  father?"  exclaimed 
one  man  who's  worked  with 
Gene  for  years.  "More  like  a 
holy  terror!"  He  meant  Gene 
Kelly  today — but  could  just 
as  well  have  been  speaking  of 
the  youthful  hothead  Pitts- 
burgh had  known  in  Gene's 


parochial  school  days.  "Holy 
terror"  was  a  phrase  not  in- 
frequently applied  to  this 
fighting  young  Irishman  then 
.  .  .  perhaps  even  by  some  of 
those  "holy  fathers"  Gene 
remembers  so  well.  .  .  . 

Take  that  time  big  Paul 
Lewinski  lay  in  wait  for  him, 
right  after  choir  practice,  to 
exact  personal  revenge  for 
the  previous  day's  football 
defeat.  Gene  Kelly  (right 
end)  was  then  twelve  years 
old — and  not  very  tall  for  his 
age,  either. 

"Paul  was  fifteen,  looked 
twenty-six,  and  I  was  scared 
to  death,"  Gene  admits.  "I 
did  everything  I  could  to 
evade  the  issue,  but  he  baited 
me — including  some  choice 
remarks  about  the  Irish! — 
so  I  had  to  fight." 

It  was  a  whale  of  a  fight 
The  two  boys  rolled  over  and 
over  in  the  dirt,  clawing, 
kicking,  pounding  each  other 
with  ( Continued  on  page  80) 


HOLY  TERROR? 


Gene  Kelly  as  a  priest?  It  may  startle  the  old 
hometown -but  Gene  and  direelor  Joseph  Pevney 
don't  pull  any  punches  on  TV's  "Going  My  Way"! 


29 


THE  AMERICA 


Nikita  Khrushchev  was  scowling 
as  he  listened  to  the  voice  on 
the  other  end  of  the  telephone.  The 
circles  under  the  Russian  dictator's 
eyes  were  darker  than  usual.  His 
pudgy  face  looked  lopsided  as  if  he 
had  been  pressing  it  all  night  against 
a  lumpy  pillow.  And,  in  fact,  he  had. 

All  through  the  previous  night, 
Nikita  had  thrust  his  face  into  his 
pillow,  as  if  he  might  force  the  bad 
dream  out  of  his  head.  But  the  night- 
mare only  became  more  vivid,  more 
threatening — worse,  this  time,  than 
it  had  ever  been  in  the  past. 

That  face  in  the  dream  .  .  .  that 
angular,  pointed  face,  shaped  like 
Churchill's  two  fingers  when  he  raised 
them  in  that  famous  V-for-victory 
salute.  Those  eyes  .  .  .  large,  soulful 
eyes,  round  and  black  like  two  blots 
of  spilled   ink  on   a   sheet   of   white 


X 


You'll  never  guess  who's 
been  banned  by  the  Reds  as 
a  big  bad  American  agent ! 
So  just  follow  the  clues— 
and  don't  peek  at  the  end! 


paper.  Soft  eyes,  sentimental  eyes, 
decadent  capitalist  eyes.  That  nose 
...  a  long,  sensitive  nose,  a  prying 
bourgeois  nose,  poking  itself  into 
things  that  weren't  any  of  its  busi- 
ness, smelling  out  weaknesses  in  the 
Communist  world,  sniffing  out  weak- 
lings behind  the  Iron  Curtain.  That 
mouth  from  which  spouted  stupid, 
silly  propaganda  for  Democracy.  An 
absurd  voice,  a  high,  squeaking  al- 
most squealing  voice.  How  could  his 
own  people,  stalwart  Communist  mil- 
itants, allow  themselves  to  be  swayed 
by  that  grating  voice,  shriller  than 
chalk  being  pressed  the  wrong  way 
against  a  blackboard,  more  dissonant 
than  the  eeeeek  of  a  dentist's  drill? 

The  face,  the  voice,  and  the  figure. 
A  puny  body,  product  of  American 
malnutrition,  American  soft-living. 
American  decay.  Yet  somehow  that 


**************************., 


¥**¥**¥*¥***¥*4¥¥¥**¥**4¥¥ 


STAR  WHO  GIVES 


I  figure  moving  awkwardly  and  jerkily 
:  across  motion  picture  screens,  that 
>  voice  piping  from  television  sets,  that 
I  face  peering  out  from  comic  book 
pages — it  had  captured  the  imagina- 
tion and  sympathy  of  Communists 
everywhere.  And  he  would  be  success- 
ful in  the  future,  too,  if  something 
drastic  was  not  done.  Immediately. 

And  besides,  as  long  as  this  star 
was  allowed  to  squeak  out  his  per- 
verted message  about  brotherhood, 
peace  on  earth,  and  the  worth  of  the 
individual,  he,  Nikita  Khrushchev, 
would  never  get  a  good  night's  sleep. 

That's  why  the  Communist  czar 
was  scowling  into  the  telephone,  and 
that's  wjhy  he  finally  screamed,  "Ex- 
cuses. Excuses.  Always  excuses.  I'm 
tired  of  excuses,  Comrade  Heyde,  I 
want  action.  Expose  him  in  Freiheit 
tomorrow.   Warn   everyone   in   East 


Germany,  especially  our  valiant  Com- 
munist youth,  that  this  is  an  Ameri- 
can agent  trying  to  lure  people  away 
from  the  workers'  paradise,  across 
the  Berlin  wall  and  into  the  capitalist 
cesspool  of  the  West. 

"And,  Comrade  Heyde,  I  want  a 
complete  dossier — a  record  of  his  par- 
ents, his  birth,  his  youth,  his  career, 
his  romances,  his  marriage,  his  espi- 
onage activities.  Everything.  Every- 
thing you  can  find  out  about  this 
.  .  .  this  .  .  .  this  dirty  rat!" 

Okay,  Comrade  Khrushchev,  you 
asked  for  it  and  here  it  is — a  com- 
plete and  up-to-date  dossier.  We  fig- 
ure that  your  stooge,  Comrade  Heyde, 
in  his  job  as  Communist  functionary 
in  the  East  German  city  of  Halle,  is 
undoubtedly  too  busy  to  send  you 
the  type  of  report  you  asked  for. 
After  all,  he  also  has  the  job  of  con- 


vincing millions  of  people  that  brown 
bread  and  potato  soup  are  really 
steak  and  caviar,  that  slavery  is  free- 
dom, and  that  red,  white  and  blue 
will,  in  the  near  future,  change  to 
all-red.  So  here  it  is:  Our  statement 
of  the  life,  career  and  loves  of  a  great 
star. 

Antecedents  and  birth.  Our  hero 
was  born  shortly  after  his  father  had 
suffered  a  crushing  defeat  at  the  hands 
of  big  business.  Without  money  and 
without  a  job,  did  he  join  the  Ameri- 
can Communist  party,  did  he  call 
for  the  overthrow  of  the  United  States 
government,  did  he  vow  never  to 
have  offspring  until  the  red  flag  flew 
over  the  White  House? 

He  did  not.  Instead  this  courageous 
man,  true  to  the  spirit  of  his  own 
pioneer  forefathers,  resolved  that  he 
would  make  {Continued  on  page  90) 


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33 


STAR  0F' FATHER  KNOWS  BEST 
CONVICTED  AS  DOPE  ADDICT! 


W 


By  KVKLYN   ALLKN 


He  couldn't  quite  remember  who  he  was.  That  was 
what  pot  did  for  you.  It  blunted  all  the  sharp  edges 
that  kept  pricking  you  the  rest  of  the  time. 

Time?  Time  didn't  exist  when  you  were  high  on  pot. 
Seconds  were  as  long  as  hours.   Hours  were  as  long  as 


days.  The  future  didn't  exist 
when  you  were  smoking  mari- 
juana. The  past  didn't  exist. 
All  those  razors  of  memory 
that  kept  slashing  holes  in 
your  guts  and  your  brain  didn't 
exist. 

A  memory  crawled  out  of 
one  of  those  holes  in  his  head. 

"What's  your  name,  aonf" 

"Billy  Gray." 

"Ana  you  want  to  act  in  my 
picture? 

"Oh,  yes,  sir,  more  than  any- 
thing." Woe  hit  voice  sincere 
enough  ?  Would  the  man  be- 
lieve him?  He  purposely  shook 
hie  eoft  brown  hair  onto  hie 
forehead.  A  woman  had  once 
called  that  "an  attractive  ges- 
ture" and  given  him  a  job. 

"How  old  are  you,  Billy?" 

"Ten  years  old,  sir." 

"Awfully  small  for  your  age, 
aren't  you?" 

He  forced  himself  to  smite, 
even  though  he  hated  it  when 
they  said  that  to  him.  "Yes,  I 
am.  That's  why  I  can  play  the 

little    boy   in  your  movw.    /    took 


well.    Better    than    any    littler 

"fifteen  minutes  later  he  ran 
out  of  the  office.  "Now  we  can 
buy  things  again.  Mommy. 
Sow  we  can  buy  things. 

He  took  another  drag  on  Ms 
cigarette  and  squashed  the 
memory.  There  was  a  crisp 
nofse  like  the  time  he  had 
stepped  on  a  cockroach.  And 
the  memory  disappeared.  As 
long  as  he  kept  smoking,  it 
couldn't  come  back.  After- 
wards  it  would  come  back, 
though — and  bring  all  its 
friends. 

Sometimes  it  seemed  as 
though  there  was  a  convention 
of  memory  roaches  in  his  head, 
all  of  them  shouting,  "Listen 
to  me,  Billy.  I'm  uglier  than 
he  is."  "Listen  to  me,  Billy. 
I'm  the  ugliest  of  all." 

But  right  now  the  cock- 
roaches were  marshmallow  and 
the  razors  had  marshmallow 
edges  and  time  was  one  big 
marshmallow  cocoon  into  which 
you  could  burrow  until  nothing 
was  left  but  the  lighted  tip  of 
your  cigarette. 


Funny  what  the  top  of  the 
world  felt  like  when  you  final- 
ly got  there.  A  motorcycle  ride 
up  a  mountain.  A  sky  dive  at  a 
hundred  miles  an  hour  with 
no  parachute  needed.  The 
world  saying,  "Who  are  you, 
son?"  And  the  answer,  "I'm 
Billy  Gray,"  being  enough.  No 
other  words  needed.  Nothing 
else  needed.  All  doors  unlocked 
and  all  the  keys  in  your  pocket. 
That's  what  the  top  of  the 
world  felt  like  when  you  finally 
got  there.  And  he  was  there. 
Man,  he  was  there.  But  now  he 
wanted  to  be  someplace  else. 
He  needed  some  action.  In  the 
end,  pot  got  you  restless.  If 

J'ou  stayed  in  one  place  too 
ong,  you  began  to  feel  as 
though  there  was  a  caged  tiger 
lying  next  to  you  in  that  big 
cocoon. 

He  fumbled  for  his  car  keys. 
He  wanted  to  take  a  drive  .  .  . 

Official  Statement 


sentenced   to   «0  days   for   pos- 
session of  marijuana. 

Eight  times  during  those  60 
days  anyone  who  turned  on  his 
television  set  could  have  a 
chance  to  watch  Billy  Gray 
learning  ideals  and  responsi- 
bility from  his  wise  television 
father,  Robert  Young,  in 
"Father  Knows  Best." 

Yet  Father  didn't  know  best 
and  BiUy  Gray  didn't  learn 
what  he  was  taught.  Why? 
What  makes  a  boy  who  earned 
|1,000  a  week  in  1959  get 
sentenced  to  two  months  in  a 
county  jail  road  camp  three 
years  later?  .         . 

"To  explain  the  physical  cir- 
cumstances that  brought  a 
smalt  sack  of  marijuana  seeds 
to  the  front  seat  of  my  car, 
Billy  Gray  stated  after  his  ar- 
arrest,  "is  a  much  easier  thing 
to  do  than  to  explain  the  emo- 
tional reasons  for  its  presence. 

How  do  you  explain  "emo- 
tional reasons"  to  the  police? 
The  police  don't  care  about 
"emotional  reasons."  And  may- 
be they  shouldn't  care.  The 
police  find  a  sack  of  marijuana 


The  Billy  Gray  Tragedy: 
How  does  a  good  boy  go 


To  Bill,,  happr  In  ai.  TV  ho-e,  Robert  Young  and  Jane  Wyatt 
„«T*  irul.  loving  parenu,  Elinor  Don.h»c  (Ml)  and  Lauren 
O^-Ver?  swell Staler..  Then  "Father  Know.  £*«"  ^Jf? 
.hooilnr- . m)  BUly  ffd  ■  harsh  wo.M  oMsMe  ihe  Mnaio. 


In  your  car  and  so  yon  lie  and 
aay  you  don't  know  how  it  got 
there  or  you  tell  the  truth  and 
say  you  put  it  there. 

The  truth?  Where  doe*  the 
truth  begin!  Maybe  it  begin. 
with  all  the  thing*  you  don  t 

You  don't  aay  that  you  hard- 
ly remember  your  father  be- 


cause somehow  he  went  to  a 
state  mental  hospital  when  you 
were  six  or  seven  years  old. 
Vou  don't  say  that  after  his 
release,  your  father  came  back 
to  Los  Angeles  but  he  didn't 
bother  to  Took  you  up  much 
because,  after  all,  he  was  only 
your  father.  You  dont  say  that 
your  mother   remarried  twice 


and  that  you're  sure  your  first 
stepfather  hated  you.  You 
don't  say  that  you  got  so  lone- 
ly a  few  years  ago  that  you. 
too,  got  married.  You  don  t  say 
that  the  loneliness  you  felt  be- 
fore was  like  a  flea  bite  com- 
pared to  the  loneliness  you  felt 
after  your  own  divorce.  In- 
stead, (Continued1  •«  P"»«  88  ' 


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IK   -Z 


The  mystery  of  what's  happened  to  John  Larkin  since  he  disappeared  from  "The  Edge  of  Night"  is  solved! 


THE 
MAN 


Viewers  in  every  state  of  the  union  were  stunned. 
So  were  his  confreres  in  the  studio.  It  simply  didn't 
seem  possible  that  the  biggest  matinee  idol  in  the 
history  of  TV  drama  had  given  up  his  cushy  role  in  "The 
Edge  of  Night" — a  popular  serial  literally  tailor- 
made  to  his  own  gigantic  measurements! 

Day  after  day,  for  a  half-hour  daily — the  equivalent 
of  a  full  Broadway  play  each  week — John  Larkin  had 
thrilled  a  nationwide  audience  as  Mike  Karr.  He  had 
proved  himself  king  in  the  realm  of  daytime  drama, 
established  himself  as  a  full-fledged  TV  star .  .  . 
with  fame,  finances  and  fan  mail  to  match. 

Now,  John  had  given  it  all  up,  left  New  York  and 
daytime  TV  without  so  much  as  a  backward  glance. 

Why  did  he  have  to  do  it?  Where  had  he  gone? 

The  answer  to  that  latter  question  blazed  forth  for 
all  to  see,  this  September  on  NBC.  John  had  gone  to 
Hollywood.  Today  .  .  .  after  months  of  seemingly  almost- 
total  eclipse  .  .  .  he's  co-starring  in  "Saints  and 
Sinners" — very  much  in  the  picture  on  nighttime  TV. 

But  why  he  left  the  East — why  he  gambled  everything 
he  had,  at  the  peak  of  success — has  remained  a 
mystery  .  .  .  until  this  exclusive  interview  for  TV 
RADIO  MIRROR.  And,  as  John  himself  tells  it,  it's 
a  soul-searching,  very  revealing  story! 

Stalwart  but  sensitive,  impulsive  but  logical, 
John  starts  at  the  heart  of  the  matter  and  minces  no 
words.  "There  comes  a  time  when  you  throw  discretion 
to  the  winds  to  protect  your  sanity,"  he  says  force- 
fully. "When  it  is  no  longer  possible  to  live  at  peace 
with  yourself  and  your  loved  ones,  you  must  change 
your  pattern — before  it  is  too  late. 

"God  is  good,"  he  vows  fervently,  "or  maybe  I'm 
just  plain  lucky!  Today  I  am  a  man  with  a  new  lease  on 
life  and  my  gratitude  knows  no  bounds  .  .  .  though  I 
must  admit  that,  during  the  interim,  many  a  misgiving 
crept  into  my  heart  and  I  asked  myself,  Did  I  do  right? 
Needless  to  say,  'Saints  and  Sinners'  and  the 
satisfying  role  I  play  have  given  (Continued  on  page  78) 


WHO  GAMBLED 


36 


The  stakes  were  high  in  the  risk  he  was  taking  —  three 
precious  people:  His  wife  Audrey,  their  young  daughter 
Victoria  and  their  newborn  son,  John  William  Larkin  Jr. 


EVERYTHING 


37 


Hmu 


How  do  you  tell  your  soi 


he  has  a  new  daddy? 


99 


It  was  not  the  first  time  Mary  Tyler  Moore 
had  felt  the  need  to  justify  herself  to  her  six- 
year-old  son.  It  was,  in  fact,  the  third  time. 
And,  on  each  occasion,  the  job  seemed  harder 
than  before,  and  making  little  Ritchie  under- 
stand became  more  urgent. 

She  knelt  on  the  kitchen  floor  of  the  old 
stucco  home  she  and  her  ex-husband  Richard 
Meeker,  had  once  shared.  Her  face  was  on 
a  level  with  the  boy's.  His  wide,  tender  mouth — 
which,  like  her  own,  seemed  to  have  been  made 
for  smiling — had  pursed  up  in  a  familiar  frown 
of  puzzlement.  Well,  she  thought,  I've  seen  that 
look  before. 

She'd  seen  it  first  a  year  before  ...  on 
that  terrible  day  of  her  separation  from  her 
husband.  It  had  been  tough  enough  at  the 
studio.  They'd  been  rehearsing  an  unusually 
complex  scene  for  "The  Dick  Van  Dyke  Show," 
and  it  had  taken  all  the  will,  grit  and  know- 
how  she  possessed  to  see  it  through.  After  re- 
hearsal, she  had  to  pick  up  Ritchie  at  the 
nursery  school.  She  wished,  for  a  moment,  she 
could  find  escape  in  sleep,  but  she  knew  she 
had  to  face  it — she  had  to  tell  the  boy  that 
his  father  would  not  be  living  with  them  any- 
more. Her  heart  gave  a  heavy  thud.  It  was 
dusk,  but  the  hardest  part  of  her  day  was 
yet  to  come.  ... 

As  they  turned  into  their  driveway,  the  boy 
was  suddenly  alert,  his  brown  eyes  sharp,  the 
broad  shoulders  that  marked  him  as  his  father's 
son  hunched  in  concentration.  "Where's  Dad- 


dy's car?"  he  demanded.  The  question  was 
expected  and  inevitable,  but  it  took  the  air 
from  her  lungs  in  a  painful  gasp.  "Let's  go 
in,"  she  said.  "Mommy  has  something  to  tell 
you  .  .  ." 

In  the  short  walk  into  the  house  and  through 
the  kitchen  into  the  living  room,  Mary  had 
decided  on  her  course.  There  would  be  no 
pretty  fables  about  Daddy  taking  a  trip,  or 
Daddy  having  to  work  late  every  night.  Noth- 
ing but  the  truth  would  do,  the  truth  told 
clearly,  simply — come  what  may.  Instinctively, 
she  felt  it  was  the  only  rock  they  could  cling 
to,  in  the  difficult  days  ahead. 

Seated  side-by-side  on  the  couch,  they  stared 
at  one  another,  each  with  a  touch  of  embar- 
rassment, each  with  a  special  fear.  "You  see, 
Ritchie  .  .  .  your  Daddy  and  I  aren't  going 
to  live  together  anymore.  Daddy's  going  to  live 
in  another  house  .  .  .  and  you  can  visit  him 
there." 

"All  right,  Mommy,"  he  nodded  his  rumpled 
brown  head  slowly.  "But — but  why?" 

"Well,  you  know  how  much  you  like  hav- 
ing your  own  room?  Daddy  and  I  like  having 
our  own  houses.  Most  of  the  week,  you'll  stay 
here  with  me  .  .  .  but  one  evening,  and  all 
day  Sunday,  you'll  visit  Daddy  in  his  place — 
because  he  loves  you,  too,  and  wants  to  see 
you."  She  was  almost  afraid  to  meet  his  eyes. 
"Is  that  all  right,  Ritchie?" 

Then  the  storm  broke.  "I  don't  like  you! 
You're  not  a  nice  Mommy!"  The  words  tum- 


Whether  she  has  actually  lived  through  it  herself  or  not,  we  think  every 
woman  will  understand  how  Mary  Tyler  Moore  felt  when  the  time  came 


39 


"How  do  you  tell  your  son  he  has  a  new  daddy? 


11 


continued 

bled  out,  as  Ritchie  stamped  his 
foot  and  screamed.  Mary  got  to  her 
feet,  waiting  quietly  for  his  small- 
boy's  fury  to  spend  itself.  When 
he  stopped  crying,  she  said,  "I  know 
you  don't  like  me,  right  now,  but 
you'll  have  to  realize  this  was  nec- 
essary. Daddy  and  I  wouldn't  do 
this  if  it  weren't  necessary  .  .  ." 

Her  voice  trailed  off  as  though 
she  herself  knew  it  wasn't  true. 
Ritchie  appeared  to  be  waiting  for 
her  to  reassure  him  ...  to  tell 
him  it  was  just  a  story,  and  Dad- 
dy really  would  be  coming  home. 
She  drew  him  to  her,  hugged  him 
close,  kissed  away  his  tears.  "It 
won't  be  so  bad,  darling,  you'll  see 
.  .  .  now  go  to  your  room  a  while 
and  look  at  your  picture  books.  I 
know  how  you  feel,  honey.  Boy,  I 
used  to  get  plenty  mad  at  my  mom- 
my, too,  sometimes.  After  I  take 
a  shower,  I'll  come  put  you  to  bed, 
and  then  I'll  tell  you  how  much 
you  mean  to  me  and  Daddy.  .  .  ." 

The  second  occasion  on  which  the 
boy  had  confronted  her  with  a  pain- 
ful challenge  had  come  some  months 
later.  It  was  the  hard,  complex  ques- 
tion every  mother  has  to  face  when 
her  steps  have  led  her  toward  a 
successful  career:  Her  home  or  the 
shop?  Or  both?  Ritchie  had  been 
watching  a  segment  of  "The  Dick 
Van  Dyke  Show,"  in  which  Mary 
plays  Dick's  wife,  Laura.  Seeing  his 
mommy  in  a  strange  home,  as  the 
wife  of  a  strange  man,  was  confus- 
ing enough.  But  there  was  some- 
thing even  worse.  Ritchie's  mommy 
in  that  strange  house,  with  that 
strange  man,  had  a  boy  very  much 
like  himself  .  .  .  and  what's  more 


— that  strange  boy  was  called 
"Ritchie,"  too.  How  could  that  be? 
"You  got  two  boys  named 
Ritchie?"  he  asked.  And  before  she 
could  find  words  to  explain,  he 
pressed  on.  "Today,  some  of  the 
kids  told  how  their  mommies  took 
them  to  Disneyland.  Why  can't  you 
stay  home  like  them  and  take  me 
to  Disneyland?  Huh?" 


Now  that  she's  Mrs.  Grant  Tinker, 
Mary  awaits  that  fourth  question! 


Mary  had  a  sudden  wild  impulse 
to  break  into  sobs.  Acting  is  more 
than  a  job  to  her.  It  fulfills  a  need 
that  springs  from  the  depths  of 
her  soul.  But  her  love,  her  sense  of 
responsibility  to  her  son,  spring 
from  the  same  depths.  Her  slender 
figure  trembled  with  the  intensity 
of  her  emotions.  She  opened  her 
mouth,  then  shut  it  helplessly.  She 
hadn't  the  vaguest  notion  of  how  to 


define — in  terms  a  child  would 
understand — the  difference  between 
appearance  and  reality. 

Finally,  she  said,  "Mommy  is  an 
actress  .  .  .  and  you  see,  Ritchie, 
that  makes  her  different  from  mom- 
mies who  stay  home.  For  instance, 
it  means  that  Mommy  has  two 
families.  One  is  her  dearest  very 
own  family — which  is  mainly  you, 
Ritchie.  The  other  one  is  just  make- 
believe,  like  you  saw  on  TV.  That 
other  little  Ritchie  is  also  an  actor, 
and  he  is  making  believe  he's  my 
Ritchie,  just  as  I'm  making  believe 
I'm  his  mommy.  .  .  „  It's  just  like 
when  you  make  believe  you're  a 
big,  grown-up  fire  chief.  But  when 
the  game  is  over,  then  you  go  back 
to  being  little  Ritchie  Meeker,  a 
little  boy  and  the  son  of  Mommy 
and  Daddy.  So,  when  I  finish  be- 
ing a  makebelieve  mommy  on  TV, 
I  come  home  to  my  real  house,  and 
my  real  son,  and  enjoy  myself  being 
a  real  mommy.  See?" 

"But,"  his  chin  had  begun  to 
wobble,  "couldn't  you  be  a  real 
mommy  next  Saturday  and  take  me 
to  Disneyland?" 

.  She  felt  a  stab  of  guilt.  There  it 
was!  The  separation  from  Dick 
Meeker  had  shaken  the  boy's  se- 
curity. But  he  had  shown  wonder- 
ful resilience  and  he  was,  when  you 
put  him  beside  other  kids,  a  remark- 
ably poised  and  adjusted  child.  She 
couldn't  afford  to  let  him  down  now. 
There  would  probably  be  a  re- 
hearsal slated  for  Saturday.  But — 
much  as  she  was  dedicated  to  the 
show — this  once  she'd  have  to  dedi- 
cate herself  to  something  nearer  and 
dearer.    (Continued    on   page   74) 


40 


_i 


An  intimate  portrait 
of  Shirley  Booth 


i 


>\ 


(Please    turn    the    pag 


AU  lonely  people  know  the  nights  were  made  for  mourners — as  well  as  lovers 


Taking  Bobby  Buntrock  out  for  a  treat  .  .  .  buying  him  candy  .  .  .  touring  the  wonders  of  Marineland  of  the  Pacific 


She's  a  "veritable  doll  to  work  with"  ...  a  truly 
great  actress  who  has  both  stage  and  screen  awards 
to  prove  it  .  .  .  and  America's  best-loved  comedienne 
on  TV.  Performers  and  crew  scramble  madly  for  the 
chance  to  work  on  "Hazel"  .  .  .  it's  the  happiest  show 
shooting,  and  its  star  is  always  at  the  center  of  the 
gay  goings-on.  Only  at  the  cry  of  "Print  that  and  take 
five!"  does  the  outside  world  get  a  glimpse  of  the  inner 
sadness  which  is  the  private  world  of  Shirley  Booth. 
.  .  .  "Take  five!"  And  leaning  against  a  prop  kitchen 
door,  staring  out  a  prop  window  which  overlooks  a 
prop  garden,  the  plump,  middle-aged  body  sags  mo- 
mentarily.  In   a   fleeting   moment,   one   glimpses   what 


perhaps  every  human  being  feels — when  he  lets  him- 
self feel  it:  The  sudden  loneliness  that  no  one  or  nothing 
can  help.  The  perky  maid's-cap  slips  despondently,  and 
an  almost  visible  veil  drops  over  the  kind  and  intelli- 
gent face  which  can  hide  thoughts  and  feelings  more 
completely  than  any  pancake  makeup.  .  .  .  Then,  out 
of  the  blue,  there's  a  wisecrack  from  a  cameraman 
or  wardrobe  gal — -and,  as  if  on  cue,  the  sad  woman 
of  a  second  ago  returns  from  another  planet  and  enters 
into  the  skylarking  spirit  more  youthfully  even  than 
little  Bobby  Buntrock  himself!  These  are  happy  days 
for  redheaded  Shirley  Booth,  and  she  shares  them  with 
everyone  around.  The  long  and  lonely  nights — so  un- 


42 


>w  did  Shirley  Booth  ever  find  the  courage  to  seek  the  answers  to  an  age-old  fear? 


I 


v. 


Td 


L>< 


Shirley  enjoys  happy  days  indeed,  clowning  in  "HazeV  and  sharing  the  young  actor's  own  exuberant  childhood. 


expectedly  mirrored  in  her  mobile  face — she  has  kept 
to  herself  .  .  .  until  now.  Seated  beside  her,  while  she 
took  a  well-earned  rest  break,  I  hesitated  before  blurt- 
ing out  the  question  I  knew  she  hated  to  hear:  "Shirley, 
I've  been  asked  to  get  a  story  I've  heard  you  don't 
want  to  discuss.  Shirley — is  it  true  you  still  mourn 
your  late  husband  and  lose  yourself  in  your  work  to 
forget  him?"  ...  In  the  sudden  silence  after,  that  mystic 
veil  seemed  to  drop  once  more  over  the  expressive,  some- 
what weary  features.  But  her  answer  was  direct,  and  the 
tone  was  that  of  a  human  being  who  is  being  as  honest 
and  sincere  as  possible  .  .  .  while  still  protecting  some- 
thing so  personal  that  it  would  be  impossible  to  share.  "I 


miss  my  husband,"  she  said  quietly.  "Mourning  for  any- 
one or  anything  will  not  bring  back  the  happiness.  Life 
goes  on,  work  goes  on,  you  go  on. .  . .  There  isn't  anyone 
in  this  world  who  doesn't  have  his  own  private  hurt, 
and  that's  the  main  reason  why  we  must  all  be  very 
gentle  with  one  another  .  .  .  you  don't  get  one  thing  out 
of  this  life  if  you  try  to  add  to  those  hurts,  but  you  get 
a  lot  if  you  try  to  distract — both  from  others'  hurts 
and  your  own.  Understanding  and  love  are  always  the 
answer  . .  .  and,  if  you  have  the  talent,  make  them  laugh ! 
I  have  the  talent  to  make  people  laugh,  and  I've  been 
told  it's  because  I'm  compassionate.  I  hope  so."  .  .  . 
Another   pointed   question:    {Continued  on  page  92) 


43 


Tallest 


The  surprising  truth  about  the 
rivalry  between  Jim  Arness 
and  his  brother  Peter  Graves 


They're  both  actors,  but  they've  never 
done  a  show  together.  They're  both  in 
Hollywood  now,  but  they're  never  seen 
at  the  same  parties.  They're  brothers — 
but  they  don't  use  the  same  name. 

Well,  what  would  you  expect,  when  two 
boys  grow  up  in  the  same  family  three 
years  apart?  One  always  taller  than  the 
other  .  .  .  stronger  .  .  .  getting  away  with 
things  a  kid  brother's  not  allowed  to 
do?  Of  course,  it's  a  toss-up  which  is 
handsomer — but  there  can  be  terrific 
competition,  even  between  two  pretty 
sisters!  "Sibling  rivalry,"  psychologists 
call  it  .  .  .  and  it's  bound  to  be  stronger 
where  male  egos  are  involved. 

It  doesn't  help  any  when  they  grow 
up  and  enter  the  same  profession,  either. 
How  do  you  suppose  the  younger  one  feels 
when  he  starts  his  climb  to  the  top — 
and  discovers  his  big  brother  has  staked 
out  such  a  monumental  claim  there  that 
he  himself  has  to  change  his  name? 

How  would  the  older  actor  feel,  after 
fighting  so  hard  to  reach  the  peak  of 
success  .  .  .  only  to  find  the  biggest, 
hottest  competition  around  for  his  kind 
of  role  is  his  own  kid  brother? 

What  happens  when  the  two  boys  grow 
up  to  be  James  Arness,  the  towering 
star  of  TV's  most  famous  Western,  "Gun- 
smoke"  .  .  .  and   (Please  turn  the  page) 


I 


4- 


r 


£ 


/L 


„ 


JBL 


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^hJ 

.«•» 


*    J 


Tallest  Feud  is  Hollywood 


continued 


Peter  Graves,  the  rugged  hero  of 
such  rival  attractions  as  "Whip- 
lash"  and  "Fury"?  The  tallest 
feud  in  Hollywood,  that's  what 
happens!  Tallest  because  Jim 
Arness  is  six-foot-six  and  Peter 
Graves  can  face  him  almost  eye- 
to-eye.  And  tallest  for  still  an- 
other reason  which  has  nour- 
ished the  Hollywood  grapevine — 
because  Jim  and  Peter  have  never 
troubled  to  deny  the  existence 
of  a  real  "blood  feud"  .  .  .  until 
now! 

"Honestly,"  says  Jim,  "it  never 
occurred  to  me  to  deny  some- 
thing that  never  was.  It's  that 
simple.  Pete  and  I  are  not  the 
sort  of  characters  that,  for  the 
sake  of  publicity,  will  grin  into 
cameras  just  to  show  brotherly 
love.  Feelings  of  that  kind  are 
very  private  and  personal.  They 
should    therefore    be    expressed 


in  private  and  personal  ways." 
Adds  Peter,  "The  truth  is,  Jim 
and  I  get  along  better  than  most 
actors  of  the  same  family. 
There's  never  been  any  serious 
competition  between  us.  And  we 
do  see  each  other,  as  often  as 
circumstances  allow.  But  we  see 
each  other  because  we  enjoy  each 
other's  company,  because  we  are 
friends  as  well  as  brothers,  be- 
cause we  feel  a  deep  and  warm 
loyalty  toward  each  other — not 
because  we  hope  to  impress 
others  or  ward  off  foolish  rumors 
of  a  feud!" 

The  matter  of  the  difference 
in  names  is  easily  explained.  The 
family  name  was  Aurness,  but 
Jim,  on  entering  show  business, 
dropped  the  "u,"  to  avoid  con- 
fusion in  pronunciation.  Since 
Jim  was  already  established  in 
his     (Continued    on    page    82) 


Jim  was  four  and  Peter  one,  with  Dr. 
and  Mrs.  Peter  Aurness — grandparents. 


On  the  beach,  a  year  later — and  a 
year  before  Pete's  biggest  splash! 


Only    a    dog   came    between    them,    the 
next    winter — they    loved    outdoor    life. 


■ *"T 

At  10  and  13,  Pete  and  Jim  were 
already  crowding   their  tall   Dad. 


46 


s 


At  16,  Peter  finally  started  to 
catch  up  to  Jim  in  height! 


f    .     % 


Every  month,  a  doctor  looks  at  TVs  daytime  dramas  and  tells  you  what 
you  can  learn  about  yourself  from  them.  This  month-Search  For  Tomorrow' 


§11 

flMmm 

TT3 1 

i(i 

■i 

r*i 

Uj^j 

by  ARTHUR  HENLEY  with  Dr.  ROBERT  L.WOLK 


One  thing  is  certain,  in  our  examination  of  the  problems  presented  in  daytime  serials  and  the 

way  their  solutions  might  be  applied  to  your  own  life:  There  is  almost  no  crisis  that  could  arise 

in  your  family  which  isn't  faced,  at  one  time  or  another,  by  the 

characters  in  TV's  dailv  dramas!  For  eleven  vears  now,  on 

"Search  for  Tomorrow,"  Joanne  Tate  and  her  friends  ** ■  .* 

- 

have  been  meeting  such  challenges  as  illness,  accident. 
and  even  alcoholism — perhaps  the  most  insidious 
and  potentially  devastating  menace  which  can 
threaten  any  household.  .  .  .  Joanne,  in  par- 
ticular, has  faced  these  problems  with  ad- 
mirable fortitude  and  managed,  some- 
how, to  bring  good  out  of  evil  and 
hope  out  of  despair.  For  her, 
the  magic  answer  has  always 
been    love — TV's   almost      ^ 
(Continued  on  page  69)     / 


,    i    ni  tv«  Havtime  dramas  and  tells  you  what 

Is  Love  Enough  to  Help  the 


.  lii-  \m(.'  Ulinn  I  played  l>v 
Innc  Pranonl  weep«  helple»ly, 
Joanne  iMar)  Stuart  i  iriet  i" 
»to|.  Fnil  i  loin  Carlinl  from 
drinking.  Bui  can  .m>  woman 
n-.illv   lolve  Fred't  problom? 


.<T 


bv  ARTHUR  HENLEY  with  Dr.  ROBERT  L.WOLK 


i  ine  thing  is  certain,  in  our  examination  of  the  problems  presented  in  daytime  serials  and  the 
waj  then-  solutions  might  be  applied  to  your  own  life-  There  is  almost  no  crisis  that  couid  arise 
in  your  family  which  isn't  faced,  ai  one  time  or  another,  by  the 
characters  in  TVs  daily  dramas!  For  eleven  years  now.  on 
'•Search  for  Tomorrow."  Joanne  Tale  and  her  friends 
have  been  meeting  such  challenges  as  illness,  accident. 
and  even  alcoholism             i    the  mosl  insidious 
and  potentially  devastating  menace  which  can 
threaten  any  household loanne,  in  par- 
ticular, has                e  problems  with  ad-  -— 
mirable  fortitude  and  managed,  some- 
how, to  bring  good  out  of  evil  and 
hope  out  of  despair.  For  her, 

lagic  answer  hasalwaj  s 
been  /ore  TV's  almost  ^ 
( 'onlinued  on  i>nge69) 


■ 


J*' 


&M 


rtfei 


I 


/ 


POLLY 


She  drew  a  deep  breath,  held  it  a  moment — and  was  surprised  to  find  her 
body  trembling  as  she  forced  herself  to  exhale  slowly . . .  naturally.  There  was 
the  dry  taste  of  panic  in  her  throat — but  she  couldn't  afford  to  be  afraid!  Not 
now.  And  it  wasn't  as  though  this  were  her  "debut"  in  Las  Vegas  .  .  .  why, 
she  was  just  out  of  high  school  when  she  first  made  the  scene  as  a  band 
vocalist!  But  this  was  The  Dunes  and  tonight  she  was  the  star.  She'd  been 
performing  in  public  more  than  half  of  her  thirty  years  (all  right,  thirty-two 
in  July)  ...  yet  she  suddenly  realized  her  palms  were  moist  with  cold  per- 
spiration. Had  she  brushed  that  dampness  against  her  hair?  Touched  and 
smeared  her  makeup?  She  looked  searchingly  in  the  mirror .  .  .  and  saw  only 
a  stranger.  This  was  the  Polly  Bergen  those  people  out  front  had  come  to 
see.  A  glamour  symbol.  Not  the  Polly  Sit-by-the-Fire  she  really  was  at  heart! 
She  thought  fleetingly  of  home  and  the  children — Kathy,  "P-K,"  Peter — and 
wished  she  were  there  .  .  .  just  Mrs.  Fred  Fields,  (Please  turn  the  page) 


51 


..AND    HOVU 


is 


< '.  • 


t, 
&& 


'V* 


iX* 


watching  TV  with  her  husband 
before  they  called  it  a  night.  Of 
course,  Freddie  was  here  now — 
with  all  the  -friends  who'd  come 
up  from  Hollywood  to  watch  her 
from  ringside.  They  were  all  so 
sure  she  would  give  that  audience 
the  very  best  she  had  ...  no  mat- 
ter what  terrors  lurked  in  her 
memory.  The  time  her  accompan- 
iment was  pitched  too  high  when 
she  was  opening  a  ball  game  with 
"The  Star-Spangled  Banner" — 
and  her  voice  faded  out  in  "the 
rockets'  red  glare"  .  .  .  the  time 
she  got  nodules  ("corns,"  she 
called  them)  on  her  vocal  cords 
—  and  had  to  stop  singing  for  a 
while  .  .  .  and  the  nightmare  time 
she  had  taken  maternity  leave 
from  her  Broadway  play  (oh,  so 
happily!) — only  to  lose  the  baby, 
after  all.  .  .  .  Memories  like  this 
could  not  be  drowned.  They  could 
only  be  submerged  in  the  will  to 
give  those  blessed  people  out 
there  something  good  to  remem- 
ber. And  if  all  went  well — God 
willing! — after  the  show,  there'd 
be  relaxation  with  her  friends  .  .  . 
lively  shop  talk  in  which  "stage 
fright"  was  never  called  by  its 
rightful  name  .  .  .  and  "panic" 
was  a  verb  meaning  "to  wow!" 


HE   PANICKED  THEM! 


All  over  but  the  shouting!  Polly  leaves  the  stage  .  .  .  cheers 
in  her  ears,  roses  in  her  arms  —  unexpected  tears  in  her  eyes. 


Tears  turn  to  ecstasy  as  she  gets  heartiest  congratulations 
from  Barbara  Rush  .  .  .  and  George  Burns  waits  his  turn  at  bat. 


It's  easy  to  smile  for  the  camera  now  .  .  .  solidly  backed  by 
friends   like   Eva   Marie  Saint,    Phil   Silvers,   and    Lee   Remick. 


These  are  her  people  .  .  .  the  "pros"  who  know  how  well  Polly 
has  done  .  .  .  just  how  and  why  she  could  thrill  an  audience! 


Chatting  with  Eva  Marie,  she  gets  back  to  the  basics  of  show 
biz:   "Could  that  number  have  been  a  bit  stronger  if  I  .  .  ." 


The  shop  talk  goes  on.  Polly  forgets  all  panic  ...  but  can't 
help  thinking  ahead:  "Maybe  I  can  be  even  better  next  time?" 


\\\ 


"That  first  year  of  marriage  was  rocky — yeah,  terrible,"  Clint  Eastwood  said  em- 
phatically. "In  fact,  I'd  say  the  first  two  years  were  terrible.  If  I  had  to  go  through  it 
again  I  think  I'd  be  a  bachelor  the  rest  of  my  life.  Just  knowing  myself  like  I  think  I 
do,  to  have  to  start  over  from  scratch — I'd  really  hate  to  do  it  again."  It  seems  that 
when  Clint  Eastwood  got  married,  he  didn't  know  what  he  was  getting  into!  Once  the  dimpled,  rawboned  star  of 
"Rawhide"  found  out  what  he  had  gotten  into,  he  didn't  like  it.  The  plain  talking,  bushy  haired  young  man  from 
Oakland,  California,  put  it  as  simply  as  that — and  he  didn't  hesitate  first  to  check  whether  his  wife  Mag  was 
#jT%       l7^?\      ^F*^^     >'  *        M\A       y^ff^\      [mb]    within  earshot  of  what  he  was 

'/j\     IQ/    Itv    II     //AX    II    ._,    1^1    ^ying.  "It's  so  foreign,  you 

""  1    ■•■    I  f  know,"  he  shook  his  head, 

^^^^r  LmmJ  "moving  m  together,  having 
to  trip  over  somebody  else's  things  and  so  forth.  Never  having  lived  with  a  girl  before,  I  didn't  know  what  to 
expect.  I  lived  at  home  with  the  family,  but  it  wasn't  the  same.  I  just  wasn't  used  to  having  to  share  my  life 
with  anyone."  (It  could  be  Rowdy  Yates  speaking — the  independent,  rovin'  drover  Clint  plays  on  "Rawhide.") 

"I'd  had  roommates  before,  but  if  two  guys  are  sharing  an   apartment 

each  guy  has  his  own  things,  and  you  kind  of  stay  out  of  each  other's  way. 

With  a  gal,  it's  another  thing  again."  That's  one  way  of  putting  it  .  .  .  but 

what  it  amounted  to  was  that  Clint  was  spoiled  silly — set  in  his  ways, 

Clint  prefers  to  call  it — and  he  had  no  intention  (then  or  ever)  of  letting  a  little  thing  like  marriage  unspoil  him. 

"I  liked  doing  things  when  I  wanted  to  do  'em."  Clint  nodded,  wrapping  an  affable  grin  around  his  iron  will. 

"I  didn't  want  any  interference.  I  just  didn't  like  to  be  pressed  down,  or  having  to  go  out  of  my  way  to  cater 

[m\      to  somebody,  which  I  don't  do.  I'm  not  going  to  be  that  way.  I  never  have  been.  You  see,  I'm  a  person 

/#  \%    who's  never  been  gifted  with  a  particularly  easygoing  temperament  and  I  have  lived  by  myself  since  I 

Mmm^\  was  about  seventeen  years  old."  (Yes,  Clint  is  really  very  much  like  Roivdy — except  for  being  married. ) 

U        lAThe  way  Clint  saw  it,  it  was  not  a  question  of  whether  he  was  ready  for  marriage,  but  a  question  of 

whether  he  was  ready  to  give  up  all  he  held  dear — especially  his  individuality  and  independence — for  marriage. 

Mag  was  not  long  in  recognizing  that  the  answer  to  that  question,  which  would  have  sent  a  lesser  girl  home 

weeping  to  mama,  was  a  blunt  negative.  "I  wasn't  about  to  give  my  life  up  entirely!"   (Please  turn  the  page) 


DATA 


Must  reading  for  all  wives!  Clint  Eastwoods  frank  story  of 
what  happened  when  he  demanded  his  rights  as  a  husband! 


55 


00 


Y 

ate)  ib)  ii  a 


gata 


Clint  reminds  Mag  that  the  caveman  carried  off 
his  bride — it  wasn't  vice  versa.  So  who's  boss 
of  the  Eastwood  household?  Who  gets  breakfast 
in  bed?  You  can  bet  Mag  knows  the  answers — now. 


Clint  said  petulantly  as  he  recalled  the  months  he 
spent  getting  across  to  his  stunned  bride  that  there 
were  certain  limitations  to  a  marriage  partner- 
ship. "I  was  willing  to  enter  into  the  partnership, 
but  I  wasn't  necessarily  willing  to  sell  myself,  give 
myself  away,  you  know — be  dominated  in  any 
form."  Clint  hesitated,  groping  as  if  it  were  dim- 
cult  for  him  to  put  into  words.  But  he  rounded  up 
the  necessary  language  to  express  his  reaction  to 
the. first  impact  of  his  marriage  catastrophe  just  as 
smartly  as  he  rides  herd  on  the  cattle  in  "Raw- 
hide." "I  don't  know  quite  how  to  explain  it,"  he 
held  on  to  the  thought,  not  wanting  it  to  slip  away. 
"I  wasn't  going  to  lose  my  total  self — be  submerged 
by  the  whole  thing,  submerged  so  that  being  mar- 
ried was  everything  in  the  world.  Because  it  isn't 
everything  in  the  world."  .  .  .  Getting  this  point 
of  view  across  without  disrupting  the  marriage  in 
the  process  took  quite  a  bit  of  doing — and  it  wasn't 
accomplished  without  a  certain  amount  of  fire- 
works. Notable  was  Clint's  strange  notion  that, 
although  marriage  admittedly  was  a  sharing  expe- 
rience, this  didn't  include  sharing  anything  as 
intimate  as  one's  mail.  "Women  have  a  fantastic 
curiosity,"  he  said,  trying  his  darnedest  to  climb  to 
some  philosophical  plateau  where  he  could  manage 
at  least  a  semblance  of  detachment.  "This  is  a  thing 


56 


— 


"A  man  either  runs  the  show  or  not"  says  Clint. 
For  him,  there's  none  of  this  guff  about  a  husband 
keeping  his  feet  off  the  couch!  Mag  only  removes 
his  shoes— gently — to  make  sure  he's  comfortable. 


that  has  always  been  a  bug  with  me.  It's  not  a 
question  of  getting  anything  special.  Probably 
most  of  the  time  it's  just  bills  or  something,  but  I 
just  don't  like  to  have  anybody  open  my  mail."  . .  . 
It  called  forth  smoke-curling  memories.  "Mag  did 
it  twice,  you  know,"  Clint  said,  "and  then  we  put 
the  ceiling  back  in  the  building."  Clint  would  be 
the  first  to  concede  that,  far  from  representing  pry- 
ing, the  idea  of  mail  inspection  was  probably  moti- 
vated by  a  romantic  belief  of  Mag's  that  husbands 
and  wives  have  no  secrets  from  one  another  .  .  . 
"Women  are  brought  up  with  all  these  fairy  tales," 
he  scoffed.  "Everything  should  be  the  vine-covered 
cottage  and  you  come  home  at  night  and  sit  by  the 
fire.  Well,  maybe  some  people  can  settle  down  to 
this,  but  I  never  could.  I'm  not  the  type.  Nothing 
is  that  glorious  and  wonderful.  Mag  might  have 
had  different  dreams  of  what  marriage  would  be 
like.  I  guess  I  destroyed  a  few  of  these."  .  .  .  Mag- 
gie is  not.  now  and  never  has  been  the  world's  most 
docile  girl.  She's  bright,  capable,  attractive  and 
well  educated.  She  has  a  high  spirit,  a  mind  and  a 
will  of  her  own.  Clint  will  attest  that  she  can  give 
as  good  as  she  gets.  Yet  it  is  his  unblinking  boast 
that  in  their  going-on-eight-years  of  marriage,  she 
has  been  tamed  down  to  where  she  purrs  at  his 
whims  and  caprices  like  a  (Continued  on  page  86) 


When  her  chores  are  over,  he  graciously  permits  her  to  sit  on 
his  lap  and  show  her  "appreciation."  From  their  smiles,  Mag's 
obviously  found  compensations  in  being  dutiful — and  Clint  has 
found  marriage  is  one  catastrophe  with  its  own  built-in  cure! 


57 


What's  JOHNNY  CARSON 


to  you  . . .  but,  off  TV, 
who  is  this  Johnny  on 
the  hot  spot  so  hastily 
vacated  by  Jack  Paar? 


eally  Like? 


America's  newest  parlor  game  has  just  begun. 
As  "The  Tonight  Show,  Starring  Johnny  Car- 
son," takes  the  airwaves,  NBC  top  brass  and 
producing  and  advertising  executives  gulp  their 
favorite  pacifiers,  and  try  to  get  some  sleep 
while  waiting  for  the  answer  to  their  multi- 
million-dollar question:  Can  Johnny  Carson 
actually  take  Jack  Paar's  place?  On  the  pro- 
gram ...  in  the  viewers'  hearts  ...  in  the 
sponsors'  checkbooks? 

Only    the    ratings    and    fan    mail    can    tell. 

But  for  genuine,  diehard  stayer-uppers  .  .  . 
the  night  owls  who  will  make  or  break  the 
revamped  late-hour  show  .  .  .  the  fun  starts  well 
before  bedtime.  They're  already  playing  their 
favorite  guessing  game. 

For  .  .  .  along  with  other  assorted  headaches 
and  emoluments  .  .  .  the  new  Crown  Prince  of 
the  Night  has  inherited  the  longest-lived,  most 
puzzling  enigma  about  Jack  Paar. 

"What  is  Johnny  Carson  really  like?" 

For  those  who'd  like  to  play  the  game  .  .  . 
and  those  who  want  an  honest  answer  .  .  .  we've 
gathered  all  the  clues.  Some  you'll  find  in  the 
pictures  on  these  pages.  But  you'll  get  even 
more  in  "quotes"  from  the  best  of  authorities: 
Johnny  Carson  in  person. 

Describing  himself  as  "the  product  of  a 
typical  middle-class  upbringing,"  he  gives  the 
first  clue  on  his  rise  to  the  midnight  spot- 
light. For  the  record:  He  brought  his  first 
chuckle  into  the  world  at  Corning,  Iowa,  in 
October,  1925.  His  father,  H.  L.  "Kit"  Carson, 
was  a  trouble-shooter  for  a  public  utility 
whose  job  kept  him  on  the  move  ...  so  young 
Johnny  and  his  mother,  Ruth,  spent  a  lot  of 
time  traveling  through  Iowa  and  Nebraska. 
Johnny  may  not  have  been  born  in  a  trunk — 
but  he  developed  an  early  working  knowledge 
of  one-night   stands!    {Please   turn  the  page) 


Johnny  at  one,  with  sister  Catharine 


r 


L 


^ 


At  seven — "roving"  Iowa  and  Nebraska 


A 


■ 

"The  Great  Carsoni"  of  Norfolk  High  .  . 


59 


60 


They  finally  settled  down  in  Norfolk, 
Nebraska,  when  Johnny  was  eight — and 
eager  to  do  something  that  would  make 
his  new  "hometown"  (pop.,  then  10,000) 
sit  up  and  take  notice. 

A  two-inch  ad  in  the  local  paper 
promised  to  make  anyone  "a  master 
magician  and  life  of  the  party"  ...  for 
certain  considerations.  "I  got  the  quar- 
ter and  the  box  top,  mailed  them  off  to 
the  mysterious  East — and  back  came  a 
book  on  magic." 

When  the  same  company  offered  a 
book  on  ventriloquism,  he  made  it  to 
the  mail  box  even  faster.  By  the  time  he 
was  in  his  early  teens — working  as  de- 
livery boy  and  car  hop  to  help  pay  for 
all  the  tricks  he  saw  advertised — John- 
ny was  performing  his  comedy-magic 
specialty  in  school  auditoriums  in  and 
around  Norfolk. 

He  remembers  those  years  with  pleas- 
ure. "I  was  one  of  those  idiots  who  take 
on  everything  in  high  school,"  he  grins. 
"I  was  in  all  the  plays,  wrote  a  humor 
column  for  the  school  paper,  did  every- 
thing. I  would  do  it  again.  I  believe  in 
work.  Take  every  opportunity  you  can 
get.  You  don't  start  off  as  a  star.  I 
worked  with  church  groups,  the  Elks, 
Masons,  Moose,  all  the  organizations  in 
town." 

Between  battling  books  and  taking 
bows  before  local  fans,  Johnny  juggled 
with  ideas  for  his  future  vocation.  He 
considered  studying  medicine — specific- 
ally, psychiatry — journalism  and  engi- 
neering. He  entered  the  University  of 
Nebraska  in  the  Engineering  program 
with  a  minor  in  Physics  and  Math. 

A  three-year  hitch  in  the  Navy 
changed  all  that.  Johnny  was  accepted 
for  the  V-5  program  leading  to  a  naval- 
air  commission,  switched  to  Midship- 
men's School  at  Columbia  University. 
Eventually,  he  was  assigned  to  active 
duty  in  the  Pacific. 

In  the  meantime,  the  old  magic  had 
worked  again.  To  entertain  fellow  serv- 
icemen on  Guam,  Johnny  imported  a 
ventriloquist's  "dummy"  from  the 
States.  Correction  from  Johnny :  "  'Ed- 
die' is  a  member  of  the  family!  He's  no 
dummy.  He's  a  figure.  No  self-respect- 
ing ventriloquist  calls  his  associate  a 
'dummy.'  You  treat  him  like  a  person. 
After  all,  it's  your  voice  he's  using." 

As  with  Jack  Paar,  the  kick  Johnny 
got  performing  for  the  troops  convinced 
him  he  had  the  stuff  comedians  are 
made  of.  When  he  returned  to  the  Uni- 
versity of  Nebraska,  he  switched  his 
major  to  Radio  and  Speech,  made  per- 
sonal appearances  at  fairs,  clubs  and 
outings. 

Somehow,  he  also  got  involved  in  the 
University's  annual  "Follies"  as  the 
only  male  in  a  cast  of  1,200  Nebraska 
coeds.  As  such,  Johnny  wasn't  too  hard 
to  notice  on  stage!  Result:  A  job  with 
local  Station  KFAB,  announcing  a  daily 
show  of  Western  music  and  chatter  for 
which  he  wrote  his  own  scripts — an 
ability  which  was  to  catapult  him  into 
his  first  "really  big"  job  later  on. 

Johnny's  own  magic  act  brought  him 
a  bride:  His  lovely  assistant,  Jody  Wol- 
cott.  They  were  married  during  his  last 
year  of  college  and  have  three  sons: 
Chris,  almost  12;  Ricky,  10;  and  Cory, 
almost  9.   But  Johnny  and  Jody  were 


1IHHIII miiiuiiiiimiiiliiitmim iiiiimiiiiim nini iiiiimiiillimiimiimum 

JOHNNY   CARSON 

imilliMliillMiiiimimuiiiimllitiiiiimMliiiiimmiiiiiiimilliitlitiltimiiiili 


KIIIIIM I 


Continued 


1940:  Johnny  with  mother,  sister 
and  kid  brother  Richard — who 
now   directs  him    on   "Tonight"! 


1943:  Graduation  from  Norfolk 
High,  then  on  to  University  of 
Nebraska — as  a  future  engineer? 


Navy  bound:  Johnny  at  Millsaps 
College,  before  attending  Mid- 
shipmen's School  at  Columbia  U. 


legally  separated  in  1959,  and  he  makes 
it  a  strict  policy  never  to  focus  the  spot- 
light on  his  family. 

But,  back  in  1950,  both  his  marriage 
and  career  were  full  of  promise.  Johnny 
headed  for  Omaha,  where  radio  Station 
WOW  had  offered  him  a  job  as  a  disc 
jockey  and  announcer  .  .  .  and  his  glib 
patter  earned  him  a  key  spot  on  WOW- 
TVs  "Squirrel's  Nest" 

A  year  later,  armed  with  a  film  show- 
casing his  best  "comedy  bits,"  he  set 
out  for  California.  Admittedly,  the  film 
wasn't  exactly  "Ben  Hur"  .  .  .  but  it  did 
light  a  candle  in  the  mind  of  Bill  Bren- 
non  at  KNXT  in  Los  Angeles  and  John- 
ny was  offered  a  spot  as  host  of  a  daily 
show  called  "Carson's  Cellar."  To 
Johnny,  the  title  seemed  all  too  apt. 

But  the  young  comedian  attracted  at- 
tention. Angelenos  repeated  his  quips, 
talked  him  up  as  a  happy  island  in 
their  ocean  of  smog  .  .  .  and  Johnny 
was  paged  to  fill  a  spot  on  the  CBS  net- 
work's "Robert  Q.  Lewis  Show."  This 
was  the  big-time,  and  Johnny  was  sure 
he  was  on  his  way. 

Instead,  he  found  himself  in  the  dol- 
drums. He  worked  on  "The  Morning 
Show"  for  CBS,  hosted  a  now-forgotten 
opus  called  "Earn  Your  Vacation"  .  .  . 
and  began  to  think  that  was  just  what 
he'd  done,  though  a  vacation  from  show 
biz  was  the  last  thing  he  wanted. 

Things  seemed  pretty  dismal,  per- 
formance-wise, but  Johnny's  ability  as  a 
comedy  writer  landed  him  a  stall  in 
Red  Skelton's  comedy  stable  .  .  .  and 
Johnny  might  still  be  grinding  out  gags 
for  the  great  rubber-faced  clown  if  it 
hadn't  been  for  that  "break-away"  door 
which  didn't  break  away! 

One  of  Skelton's  quieter  routines 
called  for  him  to  walk,  headfirst, 
through  a  door.  Instead  of  falling  to 
pieces  on  cue,  the  door  remained  rigid 
and  Red  knocked  himself  out — ninety 
minutes  before  showtime! 

A  call  was  sent  out  for  the  freckle- 
faced,  green-eyed  writer  who  had  gained 
a  reputation  around  the  studio  for 
making  people  forget  their  pre-show 
jitters  with  his  spontaneous  wit.  When 
the  lights  went  on  for  "The  Red  Skel- 
ton  Show"  that  night,  Johnny  Carson 
stepped  into  the  spotlight  instead.  And, 
in  storybook  style,  Johnny  came 
through.  He  won  raves  from  press  and 
public.  More  important,  he  won  a  spon- 
sor. With  a  brand-new  CBS-TV  con- 
tract, he  launched  "The  Johnny  Carson 
Show"  .  .  .  but,  unfortunately,  didn't 
sail  on  to  a  storybook  happy  ending. 

The  show  was  soon  cancelled  and,  in 
the  summer  of  '57,  Johnny  asked  CBS 
for  his  release  and  got  it.  Two  weeks 
after  tasting  freedom — and  unemploy- 
ment— he  signed  with  Don  Fedderson 
as  host  of  "Do  You  Trust  Your  Wife" 
(how  known  as  "Who  Do  You  Trust"). 

And  that's  how,  in  the  fall  of  1957, 
ventriloquist  Johnny  Carson  took  over 
the  daytime  version  of  the  show  which 
ventriloquist  Edgar  Bergen  had  been 
emceeing  in  night-time  hours!  And, 
after  five  years  of  hosting  this  popular 
daytime  series,  Johnny  can  hardly  be 
stymied  by  anything  that  might  happen 
on  "The  Tonight  Show."  Aside  from 
developing  his  casual,  easygoing  style 
in    informal    interviews    on    "Trust" — 


where  a  typical  day's  guests  might  in- 
clude a  lady  wrestler,  a  snake  charmer 
or  a  yogi — Johnny  has  fallen  into  a 
tank  of  water  while  taking  skin-diving 
lessons.  He's  ridden  a  horse  on  stage. 
("The  beast  got  frisky.  He  missed  his 
trainer,  who  was  hiding  behind  a 
camera.  I  almost  took  my  first  flying 
lesson  right  then  and  there.")  And  he's 
asked  provocative  questions. 

Controversy  will  be  nothing  new  to 
Johnny  Carson,  whose  free-and-easy 
manner  has  got  him  into  trouble  more 
than  once.  He's  hot  on  the  subject  of 
television  taboos:  "People  take  them- 
selves too  seriously.  You  can't  mention 
Democrats  or  Republicans.  Jokes  with 
topical  references  are  out.  You're  on 
thin  ice  if  you  joke  about  bus  drivers, 
cab  drivers,  doctors,  lawyers,  dentists." 

Taboos  cramp  the  Carson  style,  and 
he's  been  looking  forward  to  the  rela- 
tive freedom  of  late-night  TV. 

He  found  another  kind  of  freedom  in 
daytime  TV,  which  allowed  him  time  to 
try  straight  acting  when  he  replaced 
Tom  Ewell  in  the  Broadway  play,  "Tun- 
nel of  Love,"  appeared  on  "The  United 
States  Steel  Hour"  and  "Playhouse  90." 
But  Johnny's  the  first  to  admit:  "I 
don't  need  Broadway  to  feel  fulfilled. 
Straight  acting  isn't  much  of  a  chal- 
lenge for  a  guy  who's  used  to  doing 
comedy.  It's  a  nice  change  and  I  enjoy 
it — but  I  never  really  longed  to  plav 
Hamlet." 

He's  had  a  swell  time  on  TV,  just 
playing  himself  on  the  big  variety 
shows  and  panel  programs.  "You've  got 
to  keep  your  hand  in  the  night-time 
scene,"  he  once  said.  "There  are  things 
you  just  can't  do  on  a  daytime  show." 
Those  who  know  his  record  on  "Trust" 
will  be  watching  "Tonight"  to  see  just 
what  he  means! 

Throughout  it  all,  Johnny  has  man- 
aged to  keep  up  with  his  many  hobbies. 
Archery's  one  of  his  favorite  sports  and 
he  uses  a  thirty-pound  bow — which  he 
keeps  in  his  office,  along  with  an  um- 
brella stand  full  of  arrows. 

Boating  is  another,  and  he  keeps  a 
small  power  boat,  the  Deductible, 
moored  off  Long  Island.  "I've  always 
liked  being  on  the  water.  I've  always 
loved  boats.  When  I  was  little,  I'd 
make  them  out  of  soap,  paper — any- 
thing I  had  at  hand — and  float  them  in 
the  bathtub  or  an  oversized  puddle." 

The  Deductible  often  serves  as  trans- 
portation for  Johnny  and  his  sons  on  a 
weekend  afternoon.  "We  just  go.  We 
explore,  fish,  water-ski,  and  sometimes 
take  the  big  cruise  to  New  York." 

When  he's  not  playing  William  Tell 
or  Captain  Courageous,  Johnny  passes 
time  banging  away  at  a  set  of  drums. 
He's  been  "a  stone-age  Sal  Mineo"  since 
high-school  days,  when  he  invested 
three  dollars  in  a  used  snare  drum.  He 
never  took  a  lesson  in  his  life,  but  he's 
good  enough  to  sit  in  with  New  York's 
top  jazz  combos  in  impromptu  sessions 
after  hours.  And,  of  course,  he's  a  hi-fi 
fan.  A  dedicated  physical-culturist, 
Johnny  keeps  in  solid  shape — almost 
six  feet  tall,  and  a  full  150  pounds — 
with  a  steady  round  of  exercise.  "I 
learned  to  swim  when  I  was  five  or 
six.  I  used  to  enter  all  the  local  swim- 
ming meets.  Even  won  a  few  trophies." 


Illlll hi mi mini 


JOHNNY   CARSON 

Continued 


IMIIIIIIIIIIIIIIIH 


Johnny  went  in  as  an  Ensign, 
came  out  a  Lieut,  (j.g.) — with 
entirely   new   ideas   for  a   career. 


Meantime,  he  served  aboard  the 
Pennsylvania  (above,  in  1948), 
entertained  the  troops  on  Guam. 


Now  he's  sitting  in  the  choicest 
spot  on  TV!  Was  it  all  done  with 
the  "magic"  be  knows  so  well? 


Johnny  comes  from  a  swimming  family 
and  has  passed  their  love  of  the  sport 
on  to  his  kids.  Golf  is  a  more  recent 
interest. 

Says  he,  "I  could  be  happy  loafing 
all  day"  .  .  .  but,  asked  how  he  can  put 
in  such  a  heavy  schedule,  both  on  and 
off  TV,  he  confesses:  "It's  easier  to  do 
a  lot  when  you're  busy  than  when  you're 
doing  nothing.  When  I'm  doing  nothing, 
I  get  nothing  done." 

In  the  rare  moments  when  Johnny  is 
getting  nothing  done,  he  takes  on  a 
serious,  almost  somber  air.  Unlike 
many  of  his  fellow  comedians,  it's  not 
hard  for  him  to  shed  the  limelight, 
off  stage.  He  paces  himself  like  an 
athlete,  firmly  believes  in  "saving  my- 
self for  the  paying  customers." 

Johnny  evaluates  his  talent  practi- 
cally, objectively.  "I'm  not  the  funniest 
comic  in  the  world.  But  I'm  funny 
enough.  My  face  is  a  handicap  for 
comedy.  I  look  'pleasantly  young.'  But 
it's  my  face  and  I'm  stuck  with  it.  I 
don't  know  what  category  I  fit  into — 
comic,  satirist,  actor,  emcee.  I  just  don't 
know.  I  guess  you'd  call  me  a  'stand- 
up  comedy  entertainer.' ': 

Back  in  March,  1959,  when  Johnny 
was  interviewed  by  Bill  Slocum  of  the 
New  York  Daily  Mirror,  he  was  asked 
if  he  had  any  ambitions  toward  a  night- 
time show  of  his  own.  Johnny — who'd 
just  turned  down  an  offer  to  try  and 
save  a  floundering  "live"  late-night 
entry  on  a  New  York  station — said:  "I 
watched  it  for  a  few  nights.  It  was  like 
watching  a  train-wreck." 

As  far  as  "competing  with  Jack  Paar" 
was  concerned,  Johnny  remarked :  "One 
of  the  main  troubles  with  this  industry 
is  that,  as  soon  as  somebody  is  success- 
ful, everybody  looks  for  carbon  copies. 
Jack  Paar  is  a  personality,  not  a  format, 
and  you  can't  imitate  a  personality." 

At  that  time,  he  had  no  idea  that — 
one  night  in  the  distant  future — he'd  be 
plucking  the  biggest  plum  in  live  tele- 
vision: As  Paar's  replacement,  rather 
than  his  "competition." 

In  one  sense,  however,  Johnny  is  very 
much  competing  with  Jack:  He's  in- 
herited the  Paar  audience,  the  Paar 
legend  .  .  .  and  an  updated  version  of 
the  old,  tantalizing  enigma.   .  .  . 

"What's  Johnny  Carson  really  like?" 

Johnny  himself  is  insistent  about  just 
one  thing — that  he's  his  own  man.  "Jack 
Paar,"  he  says,  "took  nothing  and 
turned  it  into  the  hottest  thing  around. 
I  have  great  respect  for  Jack.  But  I'm 
not  going  to  duplicate  his  image.  My 
new  show  is  going  to  be  just  that:  A 
new  show." 

Asked  how  it  feels  to  follow  a  legend, 
his  crewcut  bristles.  "I'm  not  looking 
to  become  a  legend.  .  .  .  I'm  too  lazy 
for  the  role!" 

That's  what  Johnny  Carson's  really 
like — off  TV.  How  he  comes  across  on 
TV  .  .  .  how  he  lives  up  to — or  lives 
down — the  legend  which  preceded 
him  .  .  .  will  be  pretty  much  up  to  the 
viewers. 

Johnny's  ready — and  he  hopes  you'll 
like  him!     —Harvey  Gene  Phillips 

"The  Tonight  Show.  Starring  Johnny 
Carson,"  is  colorcast  on  NBC-TV,  M-F, 
11:15  p.m.  to  1  a.m.  (New  York  time). 


61 


VINCENT   EDWARDS 

(Continued  from  page  27) 

grow  and  spread,  bigger  and  more 
loudly  every  day.  Vince's  only  answer — 
to  the  public — was  a  booming  silence. 
Finally,  Mrs.  Zoine  had  felt  it  was  high 
time  that  she  exercised  a  mother's  pre- 
rogative and  asked  her  famous  son  just 
exactly  what  did  Sherry  Nelson  mean 
to  him?  With  the  natural  curiosity  of 
a  mother  about  her  boy's  only  love  came 
— equally  naturally — thoughts  of  mar- 
riage. 

"I  want  nothing  but  the  best  for  my 
boy,"  Mrs.  Zione  told  me  animatedly. 
She's  full  of  life,  full  of  spirit,  full  of 
bounce  and  buoyancy.  She's  sixty-seven 
years  old,  but  she  can  walk  the  legs 
off  a  young  chick — and  often  does,  on 
her  strolls  through  Brooklyn.  She's  very 
alive,  and  so  glad  to  be! 

But  she's  also  at  an  age  when  a 
mother  likes  to  see  a  son — just  about 
half  her  age  now — take  the  big  step 
toward  marriage,  a  home,  and  children. 
Vince  is  the  last  of  her  four  surviving 
children  to  get  married.  And,  more  than 
anything  in  the  world,  Mama  Julie 
wants  that  to  happen. 

The  sooner  the  better. 

"I'll  tell  you  confidentially,"  Mrs. 
Zoine  whispered  to  me,  "I  think  Vinnie 
should  marry  that  girl !  She's  the  sweet- 
est thing  I've  ever  met.  And  she's  a 
living  doll.  "So  beautiful  .  .  ." 

It  was  easy  to  see  that  Dr.  Ben 
Casey's  mother  had  put  the  stamp  of 
approval  on  the  blonde,  brown-eyed 
beauty  who  has  been  Vince's  "best  girl" 
for  the  last  three  years.  Moreover,  it's 
quite  obvious  that  Vince  and  Sherry 
want  each  other — which  is  kind  of  im- 
portant, if  a  couple  of  people  are  going 
to  live  as  husband  and  wife. 

Before  going  any  further,  let  me  set 
the  scene  where  I  had  all  this  conver- 
sation with  Vince  Edward's  mother.  Our 
"rendezvous"  was  a  secret  place  known 
only  to  our  closest  intimates:  Vinnie's 
twin  brother  Bob  and  brother  Joe,  sister 
Nancy,  and  their  families. 

The  place  was  Bob  Zoine's  house,  in 
Westbury,  Long  Island — just  four 
blocks  down  the  street  from  my  own 
home.  Bob's  wife  and  mine  shop 
in  the  same  stores,  buy  the  same  bar- 
gains. Bob  and  I  buy  grass  seed  and 
fertilizer  from  the  same  nursery,  nails 
from  the  same  hardware  store  .  .  .  but 
I'm  not  giving  out  any  street  addresses! 

When  Vince  came  home  to  New  York 
this  past  summer,  he  went  out  to  visit 
Bob.  It  was  a  great,  big  family  gather- 
ing. Everyone  was  there — Mama  Julie, 
Joe,  Nancy,  all  the  kids. 

And  Sherry  was  there  also,  along 
with  Nick  Dennis — who  plays  hospital 
orderly  Nick  Kanavaras  in  "Ben  Casey" 
— and  Benny  Goldberg,  the  ex-boxer 
who  is  Vince's  "right  hand."  Nick  and 
Benny  are  his  closest  friends. 

But  the  gathering  almost  turned  into 

a  riot  when  Vince  drove  up  in  his  big 

T       rented  limousine  and  parked  in  front 

v       of  Bob's  lovely,  sprawling  ranch  home 

r       ...  and  the  kids  in  the  block  got  wind 

that  Ben  Casey  was  visiting  his  twin 

brother.  .  .  ! 
62 


"We  had  to  call  the  Nassau  County 
police,"  Bob  recalls  with  a  shudder. 
"The  kids  were  climbing  the  trees, 
trampling  our  lawn,  and  overrunning 
the  neighbors'  properties.  It  was  a  mad- 
house of  screaming,  squealing  young- 
sters. There  must  have  been  a  hundred 
of  them.  Imagine  what  it  would  be  like 
if  people  outside  the  neighborhood 
knew  where  my  house  was!" 

This  time,  when  I  arrived,  I  found  the 
whole  family  out  back,  on  the  patio,  busy 
as  bees  preparing  the  spread  for  a  bar- 
becue. 

Bob  and  Joe  were  giving  the  spare- 
ribs  and  sweet  Italian  sausage  tender, 
loving  care  over  the  flaming  coals.  Bob's 
wife  Pearl  and  Joe's  better  half,  Ginger, 
were  setting  the  table.  Bob's  four-year- 
old  daughter,  Gina,  was  having  a  hedge 
fight  with  one  of  the  neighbor's  kids — 
and  Joe's  beautiful  fourteen-year-old 
daughter,  Karen,  was  trying  to  arbitrate 
the  dispute. 

Mama  Julie  was  setting  the  beer 
down  on  the  large  aluminum  picnic 
table.  "Hello,"  she  said,  as  she  saw  me 
standing  in  the  doorway.  "It's  about 
time  you  got  here.  We're  almost  ready 
to  eat." 

"Come  on,  Mom,"  said  Pearl,  seating 
her  mother-in-law  beside  me.  "We'll 
finish  setting  the  table.  After  all,  he 
came  to  talk  with  you  about  Vinnie." 


PHOTOGRAPHERS'  CREDITS 

Lennon  sisters  color  cover  by  Frank  8ez 
of  Globe  Photos;  Janet  Lennon  color 
portrait  and  birthday  party  pictures  by 
John  Hamilton;  Vince  Edwards  and 
Sherry  Nelson  by  Pictorial  Parade^ 
Gene  Kelly  portrait  by  Biff  Kobrin; 
Nikita  Khrushchev  by  Werner  Wolff  of 
Black  Star;  John  Larkin  family  picture 
by  Biff  Kobrin;  Mary  Tyler  Moore  with 
son  by  Don  Ornitz;  Shirley  Booth  por- 
trait by  Pictorial  Parade;  Shirley  Booth 
and  Bobby  Buntrock  by  Don  Ornitz; 
"Search  for  Tomorrow"  illustration  by 
Martin  Blumenthal;  Polly  Bergen  by 
Bill  Kobrin;  Clint  Eastwood  color  por- 
trait by  Gene  Trindl  of  Topix;  Clint 
Eastwood  with  wife  Maggie  by  Gfobe 
Photos;  Johnny  Carson  and  his  sons  by 
Curt  Gunther  of  Topix. 


"How  do  you  feel,  now  that  you've 
finally  seen  Vince  after  so  many  years 
that  he  was  away?"  I  asked  Mrs.  Zoine. 

"George,"  she  sighed,  with  a  misty, 
longing  look  in  her  eyes,  "I'm  the  hap- 
piest mother  in  the  world.  My  baby 
looked  so  beautiful  ...  do  you  know 
what  I  mean?" 

Thirty-four  years  have  gone  by  since 
the  twins,  Vinnie  and  Bob,  were  born. 
But  Mama  Julie  still  refers  to  Vince — 
or  "Vinnie,"  as  she  calls  him — as  "the 
baby."  You  see,  he  was  born  six  minutes 
after  Bob. 

Now,  there  was  big  news  about  her 
husky  "baby"  and  his  lovely  Sherry. 
"Sure,"  Vinnie  had  told  Mama  Julie, 
"I'm  thinking  about  getting  married  and 
having  kids.  Why  shouldn't  I? 

"That's  why  I'm  going  steady  with 
Sherry.  Just  give  me  a  little  time  .  .  . 
you'll  see!" 

"You  have  no  idea  what  a  sweet  girl 
Sherry  is,"  Mrs.  Zoine  whispered  to  me 
excitedly.  "I  fell  in  love  with  her  the 


moment  I  met  her.  She's  adorable." 

Mama  Julie  sighed  contentedly. 
"Sherry  seems  to  mean  everything  to 
Vinnie.  He  takes  her  everywhere  he 
goes.  You  know  that  she  is  pretty 
enough  to  be  an  actress,  but  she  doesn't 
want  any  part  of  show  business — that  is, 
she  doesn't  want  to  be  in  front  of  the 
footlights  or  under  the  spotlights.  She's 
crazy  about  the  business,  but  only  be- 
cause Vinnie's  in  it.  Otherwise,  she  has 
no  interest  in  it. 

"Sherry  works  for  her  brother-in-law 
out  on  the  Coast,  as  a  receptionist,"  she 
added  confidentially,  "but  she  also 
works  for  Vinnie.  She's  his  private 
secretary." 

Then,  gazing  over  to  the  barbecue  pit 
where  Joe  and  Bob  were  plucking  the 
meat  off  the  grill  and  putting  it  on  a 
platter,  Mrs.  Zoine  murmured  dreamily : 
"Oh,  how  I  wish  Vinnie  would  marry 
her  .  .  .  and  be  as  happy  as  Bob  and 
Joe  are  with  their  wives!" 

"So,"  I  asked  her,  "when  will  Vinnie 
and  Sherry  get  married?" 

"Maybe  tomorrow,"  Mrs.  Zoine 
smiled. 

Suddenly,  she  burst  out  laughing. 
"Vinnie  should  hear  me  now!  He'd 
probably  put  me  over  his  knee  and 
spank  me  for  talking  that  way." 

Her  face  reflected  an  urgent  yearn- 
ing which  seemed  to  give  added  impact 
to  her  words,  as  she  continued,  very 
seriously:  "I  wish  it  were  tomorrow. 
He'll  never  find  a  better  girl.  He  told 
me  himself  that  there's  no  girl  in  the 
world  like  Sherry.  Only  .  .  ." 

Mama  Julie  stopped  abruptly.  "You 
see,"  she  began  after  a  moment  of 
meditation — perhaps  seeking  time  to 
frame  her  thoughts  in  precise  phrase- 
ology— "Vinnie  doesn't  talk  much  about 
marriage.  It's  almost  as  if  he  is  al- 
ready married. 

"He  talks  about  Sherry  as  if  she 
were  his  wife — right  now.  Yet  I  know 
and  you  know  that  they're  not  married. 
I  think  it's  true  love.  Possibly,  Vinnie 
is  hesitant  about  taking  the  big  step 
because  of  ulterior  motives  that  could 
be  haunting  him." 

Mama  Julie  was  referring  to  Vince's 
great  popularity  with  feminine  viewers. 
Once  he  gets  hitched  to  Sherry,  a  lot  of 
gals  are  likely  to  suffer  broken  hearts — 
which  even  Dr.  Ben  Casey,  at  his  medi- 
cal best,  couldn't  cure. 

Nevertheless,  there's  no  question  that 
Sherry  Nelson  is  Vince  Edwards'  girl. 
There's  no  doubt,  if  and  when  Vince 
decides  to  get  married,  Sherry  will  be 
the  bride. 

Therefore,  as  Vince  told  his  mother — 
"Just  give  me  a  little  time  .  .  .  you'll 
see!" 

Time  is  what  Vince  needs.  His  mar- 
riage to  Sherry  Nelson  is  merely  a  mat- 
ter of  time. 

P.S.  The  barbecue  was  delightful, 
delicious,  delectable.  Ginger's  home- 
made cheesecake  is  the  greatest. 

P.P.S.  Nice  family — Vince  Edwards 
can  be  proud  of  them  all.  Just  as  proud 
as  the  family  will  be  of  Sherry  when 
she  becomes  Mrs.  Vincent  Edwards! 

— George  Carpozi  Jr. 

Vince  practices  as  "Ben  Casey,"  Mon., 
from  10  to  11  p.m.  edt,  over  ABC-TV. 


MIDWEST 


Celebrities   love  to   guest   on   Lee   Rothman's 
WRIT  show — he's  just  as  happy  to  have  them 


Many  guests  have  included:   Above — Pony  Tails,  Hilde- 
garde,  Danny  Thomas.  Below,  Dale  Evans,  Roy  Rogers. 


It's  family  snack  time  with  Lee  doing  the  honors  for — 
left  to  right — Susan,  12;  wife  Dorothy;  and  Lynne,  14. 


"My  disc-jockey  work  gives  me  the  outlet  for  self-expression 
on  current  phases  of  show  business,"  says  Lee  Rothman  of 
Milwaukee's  Station  WRIT.  It  also  gives  Lee  the  opportunity 
of  meeting  many  celebrities  because — on  his  "Startime"  show 
(heard  daily  from  2  to  3  p.m.) — "I  work  with  all  the  big 
names  who  visit  Milwaukee,  as  guest  disc  jockeys."  Lee  also 
does  "Command  Performance"  (heard  daily  from  8  to  9  p.m.). 
.  .  .  Oddly  enough,  Lee  started  out  in  the  sports  end  of 
broadcasting.  Says  he,  "I  began  working  as  sports  reporter 
for  the  Peoria  Journal  Star.  When  I  finished  my  service 
duties  in  Europe,  all  newspaper  jobs  were  filled,  so  I  got 
work  on  a  small  radio  station  doing  sports."  ...  It  was 
also  sports  that  introduced  Lee  to  his  pretty  wife  Dorothy. 
She  was  a  cheerleader  for  a  high-school  basketball  team, 
and  he  was  a  sports  reporter  covering  the  games.  "We 
met  after  one  of  the  games,"  smiles  Lee,  "and  have  been 
together  ever  since."  The  Rothmans  now  live  in  Wauwatosa, 
a  Milwaukee  suburb,  in  an  eight-room  Colonial- style  house 

with   their   two    daughters — Lynne    and    Susan Lee's 

hobbies   include   bowling,   photography,   amateur  theatricals. 


63 


I 


EVERYONE'S  FRIEND 


.  .  .  that's  Lee  Phillip,  whose 
infectious  smile  and 
captivating  charm  endear  her 
to  WBBM  listeners 


Top — Lee  entertains  children  from  orphanages,  settlement  houses  on  TV  every  Saturday.  Middle  left — 
Phyllis   Diller.   Middle   right — John    Wayne.   Bottom    left — Ed  Sullivan.   Bottom    right — Jack   Benny. 


64 


Little  Billy  just  joined  the  Bell  family  on  July  7th  oj  this  year. 


Whether  sitting  in  her  office  or  at  home  in  her 
elegant  glass-house  apartment  on  Chicago's  Lake 
Front,  Lee  Phillip  maintains  a  quiet  composure 
of  beauty — when  everything  around  her  is  a  fren- 
zy of  activity — despite  the  fact  that  her  TV  sched- 
ule is  one  of  the  most  demanding  in  the  country : 
Thirteen  programs  spread  out  over  a  six-day 
week  on  WBBM-TV.  In  addition,  Lee  has  five 
fifteen-minute  shows  each  week  on  WBBM  Badio, 
commentates  an  average  of  two  fashion  shows 
weekly,  and  makes  many  personal  appearances! 
Lee's  travels  have  also  taken  her  to  Brussels, 
where  she  was  among  the  first  to  film  the  big 
exhibition;  to  Haiti,  where  she  discovered  an 
orphanage  in  desperate  need  and,  through  sub- 
sequent reports  on  her  shows,  helped  provide 
much  needed  clothes,  equipment  and  money; 
to  Egypt,  whence  she  brought  back  a  film 
report  of  the  political  unrest  of  that  country. 
.  .  .  But,  as  well  traveled  as  she  is,  Lee's  heart 
still  belongs  to  Chicago — and  Chicago  belongs 
to  her.  One  might  wonder  how  she's  achieved 
such  prominence  in  the  nation's  second  city. 
It's  been  a  long  and  hard  but  steady   climb. 

After  graduation  from  Northwestern  University,  with  a  major  in  bacteriology,  Lee  went  to  work  for  her  father,  a  florist. 
The  florists'  association  sponsored  part  of  a  local  TV  show  and  asked  different  florists  each  week  to  provide  someone 
to  demonstrate  flower  arrangements.  Lee's  father  was  too  busy,  and  she  was  the  only  one  available.  Although  she 
didn't  utter  a  word  and  was  terribly  nervous,  Lee  proved  very  popular  with  the  TV  audience.  As  a  result,  she 
returned  week  after  week.  About  a  year  later,  the  station's  top  feminine  personality  decided  to  take  a  trip  to  the 
Far  East  and  Lee  was  asked  to  fill  in.  A  part-time  job  soon    became  a  permanent  one.   ...  In   1954,  Lee  married 

writer  Bill  Bell,  who — with  Irna  Phillips,  no  rela- 
tion— writes  daytime  TV's  "As  the  World  Turns." 
One  might  question  when  and  if  the  Bells  ever 
find  time  to  relax.  Well,  they  do.  Several  years 
ago,  they  bought  a  100-acre  farm  in  Lake  Geneva, 
Wisconsin,  and  spend  practically  all  their  week- 
ends there.  They  raise  hogs,  chickens  and  pure- 
bred Black  Angus  cattle,  and  hopefully  plan  to 
have  their  farm  operating  at  a  profit  within  the 
year.  They've  also  run  the  gamut  hobby-wise. 
They  used  to  fly  their  own  "very  small"  airplane 
until  Bill  had  three  near-misses  in  the  period 
of  a  month.  The  plane  was  prompty  sold.  For  a 
time,  their  hobby  was  taking  weekend  trips 
around  the  country,  but  then  they  ran  out  of 
places  to  go.  Along  the  way,  they've  taken  up 
any  number  of  sports,  have  written  books  and 
have  lectured  to  endless  numbers  of  social 
groups.  Their  happiest  moment  of  all  came  last 
July  7th,  when  Lee  gave  birth  to  a  baby  boy, 
William  James.  Chicago's  most  exciting  woman 
is    now    Chicago's    most    glamorous    mother! 


65 


"Lots  of  pep  and  fun"  is  Tommy  Holtz's  own 
description  of  his  happy  WOW-TV  show  in  Omaha 


For  someone  who — on  a  radio  station  in 
an  all-Republican  area  (WREN,  Topeka) 
— once  introduced  Wendell  Willkie  as 
Franklin  D.  Roosevelt,  Omaha's  Thomson 
"Tommy"  Holtz  is  amazingly  unsurprised 
that  he  has  stayed  in  the  broadcasting  busi- 
ness! Tommy  currently  is  host  of  a  bright 
half -hour  program,  "Breakfast  with  Tom- 
my," telecast  live,  Thursday  mornings, 
from  a  restaurant  near  the  WOW-TV 
studios  in  Omaha.  Next  to  hosting  his 
"Breakfast"  show — which  he  describes  as 
having  "lots  of  pep  and  fun  because  it 
deals  with  people" — Tommy  most  likes  be- 
ing stopped  on  the  street  by  people  he 
doesn't  know,  who  want  to  chat  with  him. 
He's  more  of  a  merry  master-of-ceremonies 
than  a  comedian,  but  will  do  anything  for 


a  laugh,  from  being  kissed  by  a  chimp  to 
trying  on  funny  hats  worn  by  the  ladies 
in  his  audience.  .  .  .  Now  forty-six  years 
old,  Tommy  started  his  broadcasting  career 
as  the  first  anouncer  on  a  new  radio  sta- 
tion in  his  hometown  of  Emporia,  Kansas, 
where  his  father  taught  at  a  state  college 
and  where  he  himself  earned  a  B.A.  degree 
— after  deciding  that  a  career  in  medicine 
was  not  his  forte.  .  .  .  Tommy  describes 
his  home  as  "happy  and  full  of  laughs," 
made  so  by  his  wife  Clarnell;  their  13- 
year-old  son  David  LeRoy,  a  champ  swim- 
mer; their  daughter  Laurie  Claire,  10;  a 
cat  named  "Sam";  and  a  beagle-basset 
hound  called  "Sally"  which  Tommy  claims 
is  a  real  "pointer"  .  .  .  because  she  "points 
to  any  food  that  happens  to  be  around"! 


66 


Right — kids  mob  guests  Sky  King, 
Penny.  Below,  Tom,  Nancy  Bounds. 


67 


Here's  a  program  that  profoundly  affects  millions 
of  lives — in  most  cases,  it  is  hoped,  for  the  better 


It  is  possible  that  "Divorce  Court,"  a  show  de- 
signed not  just  to  entertain  but  to  inform,  can  affect 
more  than  half  the  viewers — happily — to  solve 
their  problems  at  home  and  avoid  the  heartbreak  of 
a  legal  hearing.  The  vivid  picturization  of  a  divorce 
action  which  rips  the  family  apart  causes  many 
people  to  give  second  thought  to  their  own  prob- 
lems. "The  trouble  with  most  married  people,"  says 
Voltaire  Perkins,  ex-Southwestern  University  law 
professor  and  now  the  judge  on  "Divorce  Court," 
"is  that  they  don't  discuss  their  grievances  privately, 
but  have  no  hesitation  about  dragging  them  into  an 
open  court  for  all  the  world  to  hear."  Perkins 
has  been  trying  cases  on  the  Broadway  stage,  in 
films  and  on  TV  since  1952.  In  private  life,  he  has 
been  a  practicing  attorney  for  30  years.  .  .  .  Bill 
Welsh,  commentator  on  the  show,  makes  the  viewer 
feel  he  is  actually  in  the  courtroom.  He  interprets 


legal  technicalities,  explains  judicial  rulings,  and 
fills  in  on  behind-the-scenes  situations  which  affect 
the  testimony.  .  .  .  "Rusty"  Burrell  is  really  play- 
ing himself  on  the  show — in  private  life,  he's 
Deputy  Sheriff  R.  J.  Burrell,  bailiff  of  the  Los 
Angeles  County  Domestic  Relations  Court.  Ted 
Kurtz  also  plays  himself,  since  he  is  Clerk  of  the 
Los  Angeles  County  Court  of  Domestic  Relations. 
There  is  no  script  on  "Divorce  Court."  An  actor 
receives  only  two  pieces  of  paper:  One  gives  the 
facts  of  his  case,  which  he  will  discuss  with  an 
actual  attorney  who  acts  as  his  lawyer  on  the  show. 
The  other  presents  facts  which  may  be  asked  in 
cross-examination.  There  is  no  rehearsal;  this  as- 
sures spontaneity  in  performance  and  everyone 
concerned  takes  the  cases  seriously  and  tries  to  win! 


.III.II.IIIIUNIIHIIIII. 


"SEARCH    FOR 
TOMORROW" 

(Continued  from  page  48) 

invariable  solution  for  all  ills.  But  can 
love  work  such  magic  in  real  life  .  .  . 
particularly  in  such  a  precarious  situa- 
tion as  that  of  the  "confirmed  alco- 
holic"? Perhaps  our  analysis  can  help 
you  test  the  limitations  of  love — as  well 
as  its  great  healing  powers — in  solving 
such  a  crisis.  By  treating  these  TV  char- 
acters as  real  people  and  applying 
sound  psychological  principles  to  the 
way  they  handle  the  hardest  knocks 
that  life  can  offer,  we  hope  to  give  you 
a  closer  look  at  your  own  personality 
so  that  you  might  better  help  yourself 
when  the  chips  are  down!  ...  As  usual, 
I'll  set  the  scene  in  regular  type  like 
this,  and  Dr.  Wolk's  comments  will  be 
printed  in  italics,  like  the  following: 

To  the  psychologist,  good  can  come 
from  evil  in  real  life  only  in  the  sense 
that  one  might  learn  a  lesson  from  mis- 
fortune and  become  a  better  person  for 
it.  A  woman  who  usually  freezes  into  a 
helpless  do-nothing  in  the  face  of  mis- 
fortune might,  for  example,  suddenly 
rise  to  the  occasion  heroically — if  the 
situation  is  desperate  enough — in  order 
to  save  the  life  of  someone  she  loves. 

Many  people  become  terribly  fright- 
ened when  illness  strikes  one  of  their 
family,  because  they  fear  what  will  hap- 
pen to  themselves,  if  that  person  should 
die.  Some  react  by  becoming  over-con- 
cerned and  panicky  at  even  the  slightest 
illness.  Others  react  by  refusing  to  face 
reality,  and  often  put  off  proper  medi- 
cal attention  until  it  is  too  late.  (And 
don't  forget  that  alcoholism  itself  is  an 
illness — as  we  shall  see,  later  on!) 

The  normal,  healthy  person  recog- 
nizes illness  and  other  threats  to  well- 
being  for  what  they  are — inescapable 
emergencies  which  are  part  of  every- 
day living — and  faces  up  to  them 
squarely,  courageously  and  immediate- 
ly, even  though  such  concern  may  be 
motivated  more  by  self-interest  than  by 
true  feeling  for  those  who  are  sick. 

When  Arthur  Tate  married  the 
widowed  Joanne  some  years  ago,  he  in- 
herited a  charming  stepdaughter,  Patti 
— who  is  now  nineteen  and  ready  for 
marriage  herself.  In  fact,  Patti  recently 
almost  made  the  serious  mistake  of 
marrying  the  wrong  boy!  Joanne  was 
against  the  marriage  .  .  .  but  it  was  pre- 
vented only  by  the  dramatic  intervention 
of  Fate:  Patti  and  her  boyfriend  were 
involved  in  an  automobile  accident  and 
— although  she  wasn't  seriously  hurt 
physically — she  developed  paralysis  of 
the  legs  as  a  result  of  the  emotional 
shock. 

Joanne  took  Patti  to  one  doctor  after 
another,  but  none  could  help.  They 
recommended  psychiatric  treatment. 
Patti  replied  angrily  that  she  wasn't 
"crazy!"  Her  refusal  to  have  anything 
to  do  with  psychiatry  made  the  situa- 
tion seem  hopeless,  and  her  stepfather 
was  at  a  loss  as  to  how  to  help  her.  But 
Joanne  studied  up  on  psychology,  hop- 
ing she  might  be  able  to  help  Patti  over- 
come what  had  been  diagnosed  for  the 


Let's  talk  frankly  about 

internal 
cleanliness 


Day  before  yesterday,  many  women  hes- 
itated to  talk  about  the  douche  even  to 
their  best  friends,  let  alone  to  a  doctor 
or  druggist. 

Today,  thank  goodness,  women  are 
beginning  to  discuss  these  things  freely 
and, openly.  But  — even  now  — many 
women  don't  realize  what  is  involved  in 
treating  "the  delicate  zone." 

They  don't  ask.  Nobody  tells  them. 
So  they  use  homemade  solutions  which 
may  not  be  completely  effective,  or  some 
antiseptics  which  may  be  harsh  or  in- 
flammatory. 

It's  time  to  talk  frankly  about  inter- 
nal cleanliness. 

Here  are  the  facts:  tissues  in  "the  deli- 
cate zone"  are  very  tender.  Odors  are 
very  persistent.  Your  comfort  and  well- 
being  demand  a  special  preparation  for 
the  douche.  Today  there  is  such  a  prep- 
aration. 

This  preparation  is  far  more  effective 


in  antiseptic  and  germicidal  action  than 
old-fashioned  homemade  solutions.  It  is 
far  safer  to  delicate  tissues  than  other 
liquid  antiseptics  for  the  douche.  It 
cleanses,  freshens,  eliminates  odor, 
guards  against  chafing,  relaxes  and  pro- 
motes confidence. 

This  is  modern  woman's  way  to  inter- 
nal cleanliness.  It  is  the  personal  antisep- 
tic for  women,  made  specifically  for  "the 
delicate  zone."  It  is  called  Zonite®.  Com- 
plete instructions  for  use  come  in  every 
package.  In  cases  of  persistent  discharge, 
women  are  advised  to  see 
their  doctors. 

Millions  of  women  al- 
ready consider  Zonite  as 
important  a  part  of  their 
grooming  as 
their  bath. 
You  owe  it 
to   yourself 
to  try  Zonite. 


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Tate  family  as  "emotional   paralysis." 

The  medical  term  for  Patti's  illness  is 
"conversion  hysteria."  Wanting  to  marry 
the  boy — but  not  wanting  to  go  against 
her  mother's  wishes — she  unconsciously 
"converted"  her  conflict  about  walking 
down  the  aisle  to  the  altar  into  an  in- 
ability to  walk  at  all,  thereby  prevent- 
ing the  need  to  decide  one  way  or  the 
other. 

Many  G.I.s  in  World  War  II  suffered 
the  same  illness.  Wanting  to  run  away, 
but  not  wanting  to  be  disloyal  to  their 
comrades  or  be  called  cowards,  their 
legs  "froze"  in  actual  paralysis — saving 
their  skins,  as  well  as  their  honor. 

In  Patti's  case,  there  is  the  additional 
possibility  that  her  "emotional  paraly- 
sis" was  helped  along  by  feelings  of 
guilt  at  going  against  her  mother's 
wishes  but  still  coming  out  of  the  acci- 
dent safely.  The  human  mind  works  in 
strange  ways.  Patti  may  have  realized 
this  when  she  refused  psychiatric  help — 
saying  she  wasn't  "crazy" — because  she 
didn't  really  want  to  be  helped. 

Joanne's  attempt  to  help  her  by  read- 
ing up  on  psychology  is  admirable,  es- 
pecially in  view  of  her  husband's  in- 
ability to  act  in  a  strong,  masculine  way, 
but  she  was  doomed  to  fail.  She  simply 
couldn't  understand  the  dynamics  of 
human  behavior  sufficiently  to  treat  such 
a  severe  emotional  illness  by  herself. 

The  emotional  cripple 

It  required  the  shock  of  a  highly, 
melodramatic  incident  to  restore  Patti's 
ability  to  walk  again.  And,  oddly 
enough,  the  two  persons  responsible 
were  the  same  two  who  had  served  to 
bring  on  the  paralysis  in  the  first  place. 
Patti's  boyfriend,  a  G.I.,  went  A.W.O.L. 
and  arrived  unexpectedly  to  visit  her. 
Joanne  was  home  alone  with  her,  but— 
at  Patti's  insistence — allowed  him  to 
come  in. 

Suddenly,  the  very  mixed-up  young 
man  pulled  out  his  service  revolver  and 
threatened  to  kill  Joanne  unless  she 
gave  him  money!  Though  his  back  was 
turned  to  Patti,  she  realized  her 
mother's  danger  and  that  she  alone 
could  help  her — but  only  if  she  could 
reach  the  telephone,  some  distance 
away. 

Without  knowing  how  or  why,  Patti 
found  herself  walking  again,  walking 
as  fast  as  she  could  to  that  telephone, 
then  whispering  urgently  into  the 
mouthpiece  for  the  police  to  come  at 
once! 

When  the  police  burst  in,  Joanne  was 
saved  .  .  .  and  Patti  was  walking  again. 
Within  a  short  time,  she  lost  even  the 
last  trace  of  a  limp  and  became  her  old 
self. 

Such  spontaneous  "healing,"  brought 
about  by  a  sudden  emotional  shock,  is 
called  a  "traumatic  cure"  by  psycholo- 
gists. It  rarely  occurs  in  real  life,  though 
it  is  similar  to  the  "miraculous"  cures 
sometimes  reported  at  a  religious  shrine. 
Swept  up  by  a  powerful  emotion,  "heal- 
ing" seems  to  take  place.  Most  times, 
t  however,  only  the  symptoms  are  re- 
v  lieved.  The  basic  personality  disorder 
r  still  remains  and  may  bring  on  new 
symptoms  at  any  time. 

What  happened  to  Patti  is  a  good 


case  in  point.  Seeing  her  boyfriend 
threaten  her  mother,  she  undoubtedly 
realized  that  her  mother  had  been  right 
all  along — that  this  was  not  the  sort  of 
man  she  should  marry — and  so  she  no 
longer  had  the  need  to  remain  para- 
lyzed. In  fact,  it  became  imperative  that 
she  do  something  fast!  Since  she  no 
longer  had  any  conflicts  about  marriage 
to  this  young  man,  and  was  able  to  feel 
concerned  about  her  mother,  she  was 
able  to  overcome  her  paralysis  and 
walk  again. 

It  is  quite  possible  that  Patti  might 
have  remained  an  emotional  cripple  for 
years  if  this  hadn't  happened,  unless 
she  allowed  herself  to  seek  professional 
help.  There  is  also  the  very  strong  pos- 
sibility that,  if  faced  with  a  serious 
personality  conflict  in  the  future,  she 
might  again  seek  to  resolve  her  emo- 
tional problems  physically  and  again 
find  herself  unable  to  walk. 

The  Tates  have  also  been  faced  with 
a  problem  which  is  all  too  familiar  in 
the  world  today:  Alcoholism. 

Arthur's  attractive  young  cousin, 
Allison — who  was  once  his  ward  and 
for  whom  he  feels  very  responsible — is 
married  to  an  alcoholic.  But  her  hus- 
band Fred — despite  having  been  jailed, 
fired  from  his  job,  and  otherwise  in- 
sulted for  being  inebriated — simply  re- 
fused to  admit  that  he  couldn't  resist 
the  bottle. 

No  matter  how  hard  Joanne  tried  to 
convince  Allison  that  her  husband  truly 
loved  her — despite  his  drinking — the 
distraught  wife  walked  out  on  him, 
saying  she  couldn't  take  it  anymore. 
And  this  drove  Fred  to  seek  comfort 
from  another  woman. 

Nevertheless,  Joanne  and  Arthur  per- 
sisted in  their  efforts  to  keep  Allison's 
marriage  alive.  They  knew  that  she 
really  loved  Fred  and  only  felt  helpless 
about  making  the  marriage  work,  so 
long  as  he  was  drinking.  They  tried  to 
get  Fred  to  join  Alcoholics  Anonymous 
— but  this  meant  he  must  admit  that 
he's  an  alcoholic,  and  Fred  refused  to 
do  so. 

Unable  to  get  Fred  to  make  a  move 
to  help  himself,  Joanne  kept  begging 
Allison  to  help  him,  not  turn  away  from 
him — and  at  last  she  succeeded.  Alli- 
son finally  agreed,  Fred  joined  A.A.  and 
has  been  rehabilitated. 

The  "glass  crutch" 

Alcoholism  is  a  disease,  and  the 
sooner  we  realize  this,  the  sooner  we'll 
be  able  to  do  something  to  help  those 
afflicted.  Fred  is  typical  of  thousands  of 
alcoholics  who  refuse  to  own  up  to  their 
difficulty  and  accept  help.  Such  people 
are,  for  the  most  part,  immature  in- 
dividuals who  cannot  accept  respon- 
sibility and  take  to  the  bottle  instead — 
much  like  a  child  who  sucks  on  his 
bottle  for  security  as  well  as  for  nour- 
ishment. 

But  when  an  alcoholic's  wife  rejects 
him,  as  Allison  did,  she  only  contributes 
to  her  unfortunate  husband's  downfall. 
Admittedly,  it  isn't  easy  to  live  with  an 
alcoholic,  but  it  is  absolutely  impera- 
tive that  the  man  who  depends  on  the 
bottle  can  depend  on  the  woman  he 
married  to  help  him  beat  his  addiction. 
Few  wives   would  walk   out  on   their 


husbands  if  they  were  physically  dis- 
abled, but  many  refuse  to  face  the  fact 
that  alcoholism  is  also  a  disability  and 
their  love,  attention  and  understanding 
are  terribly  important. 

The  alcoholic  feels  inadequate,  un- 
loved and  insecure.  It  is  a  godsend  when 
someone  like  Joanne  keeps  after  such  a 
person  to  admit  his  failing  and  seek 
help  from  an  organization  like  Alco- 
holics Anonymous — for,  unless  some- 
one believes  in  him,  he  will  rarely  be- 
lieve in  himself  and  almost  surely  wind 
up  in  the  gutter. 

Ironically,  Fred's  weakness  for  drink 
brought  personal  trouble  to  the  Tates. 
Arthur  suffered  a  heart  attack,  while 
trying  to  break  up  a  fight  Fred  got  into 
while  under  the  influence  of  alcohol. 
But  even  this  didn't  turn  Joanne  against 
Fred.  She  only  felt  sorry  for  him. 

Together  with  Patti — now  a  full- 
fledged  nurse — Joanne  calmly  set  about 
the  task  of  restoring  Arthur  to  good 
health.  And  when  a  stranger  from 
abroad  suddenly  turned  up  and  demand- 
ed to  see  Arthur,  Joanne  protected  her 
husband  from  him — even  after  learning 
that  he  was  accusing  Arthur  of  having 
fathered  a  child,  years  ago,  during  a 
brief  period  when  she  and  Arthur  were 
separated ! 

Joanne  believes  in  her  husband,  trusts 
him  and  protects  him.  She  believes  in 
the  goodness  of  this  world  and,  when 
things  go  wrong,  trusts  in  the  healing 
power  of  love. 

Joanne  has  shown  unusual  under- 
standing in  forgiving  Fred  and  in  pro- 
tecting Arthur  from  the  stranger  who 
wanted  to  shake  him  down.  She  obvi- 
ously realized  that  it  was  not  Fred,  but 
Arthur's  own  weakness,  that  led  to  his 
heart  attack.  And  her  faith  in  her  hus- 
band is  so  strong  that  she  refuses  to  be- 
lieve in  any  possible  infidelity  on  his 
part,  even  when  they  were  separated. 

Few  women  are  so  secure,  so  strong 
or  so  protective  of  their  husbands. 
That's  probably  why  Joanne  is  so  popu- 
lar with  TV  viewers.  Most  women  yearn 
very  much  to  be  like  her  and  to  be  able 
to  cope  with  adversity  with  such  assur- 
ance and  success.  But  that's  the  differ- 
ence between  TV  and  real  life.  In  real 
life,  there  are  no  quick  and  easy  an- 
swers, no  sure-fire  happy  endings.  And 
there  are  a  great  deal  more  complica- 
tions. 

It's  exciting  and  thrilling  to  identify 
with  a  woman  like  Joanne,  but  you  must 
than  does  television's  make  believe, 
remember  that  real  life  digs  far  deeper 
Nevertheless,  you  can  learn  a  little 
about  the  wonder  of  forgiveness,  under- 
standing and  hope  by  watching  such 
heroines  on  your  TV  screen,  and  per- 
haps you  can  learn  to  make  such  happy 
traits  meaningful  in  your  own  life. 

A  woman  can  do  far  worse  than  put 
her  faith  in  the  power  of  love — which 
can,  indeed,  work  "miracles"  in  the 
case  of  an  insecure  alcoholic  like  Fredl 

Next  month,  we'll  take  on  another  of 
your  favorite  daytime  dramas  and  try  to 
make  their  characters  and  stories  mean- 
ingful, psychologically,  in  your  every- 
day life.  —The  End 

Joanne's  "Search  for  Tomorrow"  is  seen 
on  CBS-TV,  M-F,  at  12:30  p.m.  edt. 


SHERRI    FINKBINE 

(Continued  from  page  21) 

to  know  that  the  baby  might  be  born 
without  arms,  without  legs,  perhaps 
with  fingers  jutting  from  its  shoulders — 
possibly  with  deformities,  both  internal 
and  external,  too  horrible  even  to  think 
about. 

Sherri  doesn't  have  to  think  about  this 
part  of  the  nightmare — now.  She  will 
never  give  birth  to  the  baby  who 
haunted  her  dreams.  A  legal  abortion 
has  taken  care  of  that. 

But,  since  then,  she  and  her  husband 
have  faced  another  kind  of  ordeal: 
Moral  and  religious  criticism,  from  all 
over  the  world,  of  the  choice  they  made. 

You  can't  blame  Sherri  for  hoping 
that  people  everywhere  will  remember 
the  reasons  why  the  Finkbines  made 
that  choice.  To  Sherri — and  to  the 
many  who  have  sympathized  with  her 
plight — those  reasons  are  still  as  valid 
as  when  she  first  made  her  agonized  de- 
cision. She  hopes  that  even  those  who 
disagree  most  adamantly  will  be  willing 
to  consider  her  side  of  the  problem. 

"If  they  take  it  away  from  me  now,  it 
will  be  an  act  of  mercy,  for  it  is  not  yet 
a  baby.  ...  I  wouldn't  be  giving  life  to 
anything,"  she  had  murmured,  choking 
back  the  tears.  "I  would  be  giving  a 
kind  of  living  death.  It's  no  different 
than  condemning  the  baby — rather  than 
giving  it  the  gift  of  life. 

"Is  that  what  God  intended  a  mother 
to  do?" 

The  plea  was  an  anguished  cry  from 
the  heart,  though  the  words  had  been 
carefully  weighed  and  measured. 

As  Sherri  Chessen — beloved  person- 
ality on  Station  KTAR-TV's  "Romper 
Room" — the  speaker  had  long  been 
known  to  Arizona  viewers. 

Now  the  eyes  of  the  entire  nation  were 
focused  upon  her  private  life.  As  Mrs. 
Robert  Finkbine — devoted  wife  and  lov- 
ing mother  of  four  bright,  young, 
healthy  children — she  had  suddenly 
found  herself  catapulted  into  the  vortex 
of  a  swirling  public  controversy. 

Sherri's  troubles  started  when  she 
took  the  drug  Thalidomide  during  the 
early  days  of  her  pregnancy  .  .  .  before 
the  Finkbines  learned  that  this  tragic 
tranquilizer  had  caused  thousands  of 
malformed  births  in  Europe  and  pos- 
sibly as  many  as  several  hundred  right 
here  in  the  United  States. 

She  realized  her  terrible  predicament 
only  after  the  nation's  newspapers 
screamed  the  startling  disclosures 
which,  at  first,  had  quietly  circulated 
only  in  medical  journals. 

Sherri  had  taken  large  doses  of  Thali- 
domide and  now,  suddenly,  with  the 
dreadful  possibility  that  she  might  give 
birth  to  an  infant  grotesquely  de- 
formed, she  was  terror-stricken. 

There  had,  of  course,  been  no  thought 
in  her  mind  of  the  dangerous  nature  of 
the  drug  when  she  began  taking  it.  "My 
husband,  Bob,"  she  recalled,  "had  gone 
to  London  last  year  while  he  was  con- 
ducting a  European  tour  for  teenagers." 
(Sherri's  husband  is  a  history  teacher 
and  football  coach  at  the  high  school  in 
Scottsdale.) 

"Bob  was  having  difficulty  sleeping. 


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71 


He  tried  aspirins  but  they  didn't  help. 
Then  pills  containing  the  Thalidomide 
drug  were  prescribed.  He  took  them. 
He  found  they  helped  him  sleep  much 
better  than  aspirins.  ...  He  brought 
them  home.  He  suggested  that  I  take 
them  to  relieve  my  nervous  tension." 
(Tension,  perhaps,  was  unavoidable  in 
the  busy  life  of  a  television  star  and 
mother  of  four.) 

"I  took  the  pills,"  Sherri  continued, 
her  voice  under  control,  "and  found 
they  helped  tremendously.  Then,  in 
May,  I  learned  that  I  was  pregnant. 
There  was  no  indication  then  that  Thali- 
domide was  dangerous.  So  I  continued 
to  take  it.  It  gave  me  good  results.  It 
helped  relieve  my  strain.  It  helped  me 
sleep." 

One  day,  she  was  leafing  through  her 
morning  newspaper  .  .  .  the  headlines 
of  world  news,  of  nuclear  bomb  tests  . .  . 
movie-star  troubles,  marriages  and  di- 
vorces .  .  .  until  her  interest  was  cap- 
tured by  a  story  concerning  a  drug 
which  caused  babies  to  be  born  horribly 
deformed.  Almost  casually,  she  noticed 
that  the  deformities  were  being  attrib- 
uted to  a  tranquilizer  drug  developed 
by  a  West  German  pharmaceutical  firm. 

Her  gaze  fastened  on  the  name  of  the 
drug — Thalidomide. 

Suddenly,  the  word  screamed  out  at 
her  from  the  columns  of  small  type.  Her 
eyes  dilated  with  terror.  Her  thoughts 
raced  to  a  small  bottle  in  her  medicine 
cabinet.  She  pressed  her  hands  to  her 
stomach  and,  stifling  a  gasp,  ran  to  her 
bathroom.  With  trembling  hand,  she 
opened  the  door  of  her  medicine  closet 
and  reached  for  a  small  bottle  of  inno- 
cent-looking pills. 

The  label  on  the  bottle  was  clearly 
and  terrifyingly  marked — Thalidomide! 

Warning!  Too  late— or  in  time? 

She  ran  back  to  the  newspaper.  She 
read  the  story  again.  Then  again. 

"Then  I  thought  about  myself,"  she 
said  tremulously.  "I  wondered  what  I 
may  be  carrying  around.  It  terrified  me. 
It  occurred  to  me  that,  if  I  were  to  give 
birth  to  a  deformed  infant,  it  would  be 
a  terrible,  tragic  thing. 

"As  a  mother,  I  have  an  obligation  to 
myself.  But,  most  of  all,  I  have  one  to 
my  baby.  Should  a  child  suffer  through 
its  life  when  it  needn't? 

"I  felt  God  had  given  me  a  warning 
to  do  something  about  it.  If  someone 
had  warned  me  that  one  of  my  children 
was  going  to  be  struck  by  a  truck,  I 
would  do  all  in  my  power  to  prevent  it. 
If  it  happened,  and  my  child  had  lost 
an  arm,  I  would  love  and  cherish  the 
child  and  raise  it. 

"But  now,  God  had  given  me  the 
warning — as  if  I  could  prevent  the  truck 
from  striking." 

It  was  a  monstrous  moment  for  Sherri 
Finkbine. 

All  at  once,  the  world  of  joy  and 
happiness  that  surrounded  her  life 
crashed  down  around  her  in  a  deafening 
roar. 

She  thought  of  the  baby  she  was  car- 
T  rying  and  of  the  ominous  cloud  which 
v  suddenly  hovered  over  the  future  of  that 
r       child. 

Would  it  be  born  a  normal,  healthy 

72 


Would  it  be  born  grotesquely  de- 
formed? 

Could  she  chance  the  birth,  with  the 
odds  weighted  so  greatly  against  a  com- 
pletely average  child? 

What  could  she  do? 

With  a  shiver,  Sherri  contemplated 
the  future  .  .  .  her  course  of  conduct. 
Even  before  she  had  a  chance  to  talk 
with  Bob,  a  possible  way  out  came  to 
her  mind:  "I'll  have  an  abortion — now, 
while  there  is  still  time." 

A  sinking  feeling  gripped  her  inside. 

"I'm  not  a  crusader  for  abortions," 
Sherri  told  herself.  "God  knows,  I  didn't 
conceive  this  child  for  that  purpose.  I 
don't  want  an  abortion.  I  love  children 
— don't  I  have  four? 

"But  this  is  not  what  it  was  intended 
to  be.  I  cannot  burden  my  family — and 
society — with  a  deformed  baby." 

Despite  the  enormity  of  the  problem 
which  had  suddenly  been  thrust  on 
Sherri,  she  spoke  coolly,  calmly,  clearly 
about  it  with  Bob.  And  yet,  she  was 
clutched  by  apprehension.  "I  could  feel 
my  heart  sink,  but  I  was  quite  calm  at 
first." 

Long  hours  and  days  of  soul-search- 
ing followed.  They  thought  of  their 
children — Terri,  7;  Mark,  6;  Steve,  4, 
and  Tracy,  2. 

Finally,  a  decision.  It  was  their  deci- 
sion— Sherri's  and  Bob's. 

Sherri  would  have  an  abortion! 

They  consulted  her  doctor.  The  phy- 
sician arranged  for  a  therapeutic  abor- 
tion. But  then — Sherri  let  the  story  out 
to  the  public.  "I  was  hoping  that  what 
had  happened  to  me  might  help  other 
expectant  mothers,"  she  said. 

But  Sherri's  public  utterances 
brought  a  quick  and  jolting  reaction 
from  the  hospital:  The  abortion  was 
canceled  on  the  grounds  that  the  Ari- 
zona law — as  in  all  fifty  states  of  the 
Union — prohibits  the  operation  unless 
it  is  for  health  reasons.  The  hospital  di- 
rector wanted  legal  clarification  before 
proceeding. 

Sherri  and  Bob  were  stunned.  They 
decided,  then  and  there,  to  seek  the 
abortion  through  legal  channels.  They 
applied  to  the  Maricopa  County  Supe- 
rior Court,  with  an  application  worded : 
"The  health  of  the  plaintiff  is  such  that 
the  termination  of  her  pregnancy  is 
necessary  for  the  saving  of  her  life." 

Now  Sherri  and  Bob  had  to  sit  back 
and  wait  for  the  court's  decision.  In  the 
meantime,  the  groundswell  of  public 
opinion  grew  higher  and  higher.  Across 
the  land,  a  cacophony  of  indignant  cries 
blended  with  a  chorus  of  sympathetic 
murmurs  as  news  of  Sherri  Finkbine's 
desperate  dilemma  exploded  in  head- 
lines. 

"Guilty  all  my  life" 

Sherri  took  exception  to  the  criticism. 

"I  am  a  Unitarian,"  she  wept,  as  the 
shock-wave  of  rebuke  struck  home.  "I 
have  strong  personal  convictions  that 
abortion  is  morally  wrong.  If  I  am  per- 
mitted to  interrupt  this  pregnancy,  I 
will  probably  have  guilt  feelings  for  the 
rest  of  my  life,  wondering  whether  I  did 
the  right  thing. 

"But  I  have  seen  pictures  of  the  poor 
little  babies  who  have  been  poisoned  by 
the  drug — they  are  monsters." 


The  tide  of  opposition  to  the  abortion 
swept  up  in  ever-increasing  fury,  rock- 
ing the  very  foundations  of  the  family's 
home  life.  "The  three  youngest — the 
six-,  four-,  and  two-year-olds — seemed 
unaware  of  the  crisis  that  confronted 
us,"  said  Sherri.  "But  Terri,  who  is 
seven,  began  to  understand  what  was 
going  on." 

Sherri  was  forced  to  send  the  little 
girl  to  stay  with  her  grandmother  until 
the  crisis  was  over.  Before  Terri  left, 
her  mother  asked  her  if  she  knew  why 
everyone  was  so  upset.  Looking  at  Sher- 
ri, sad-eyed,  Terri  whispered:  "Yes, 
Mommy.  You  have  a  bad  seed  and  it  has 
to  be  taken  out." 

In  the  anxious  days  that  followed 
their  application  to  the  court  to  validate 
the  abortion  for  her,  Sherri  spent  sleep- 
less nights  worrying,  wondering,  wish- 
ing that  the  torment  could  end.  Through 
her  mind  passed  chilling  thoughts,  a 
thousand  wild  and  incredible  ideas. 
Sherri  even  thought  that  Bob  felt  re- 
sponsible for  her  predicament. 

"I  didn't  blame  him,"  Sherri  said,  in 
all  sincerity.  "And  I  pray  he  doesn't 
blame  himself.  I  was  stupid  and  foolish 
to  take  medicine  prescribed  for  some- 
body else." 

The  court's  decision  did  not  come 
quickly.  It  was  marred  by  a  surprise 
move  for  dismissal  of  Sherri's  applica- 
tion. County  Attorney  Charles  Ronan 
and  State  Attorney  General  Robert 
Pickrell  carried  that  motion  to  the 
bench  on  the  grounds  that  "no  crime 
had  taken  place." 

Here  was  the  technicality:  Arizona 
statute  holds  that  an  abortion  is  a  crime 
unless  it  is  performed  to  save  the  moth- 
er's life.  Inasmuch  as  the  abortion  had 
not  occurred,  there  was  no  crime  and 
ostensibly  no  case. 

Strictly  speaking,  the  pregnancy 
should  not  have  posed  a  threat  to  Sher- 
ri's life.  Yet  medical  authorities  agreed 
that  Sherri's  awareness  of  the  possibility 
that  she  would  bring  a  malformed  baby 
into  the  world  represented  a  menace  to 
her  sanity. 

Sherri  pointed  up  the  peril  when  she 
answered  the  many  voices  that  thun- 
dered disapproval  of  her  legal  maneu- 
vers. "What  people  don't  realize  is  that 
if  I  went  ahead  and  had  this  child  and 
took  my  chances,  I  know  my  mental 
health  would  suffer  irreparable  damage. 
I  have  an  obligation  to  my  husband  and 
my  children. 

"I  must  be  healthy  in  mind,  as  well 
as  body,  so  I  can  take  care  of  my  chil- 
dren as  a  mother  should.  I  love  my 
youngsters  with  all  my  heart — and  they 
deserve  a  healthy,  whole  mother.  If  I 
went  through  with  this  childbirth,  I 
know  I  would  not  be  healthy  and 
whole." 

Then  came  the  decision. 

Superior  Court  Judge  Yale  McFate 
did  not  act  on  Sherri  Finkbine's  request 
for  a  ruling  establishing  that  her  situa- 
tion was  within  the  statutory  provisions 
of  the  law  governing  abortions — that  it 
was  necessary  to  save  her  life.  Instead, 
Judge  McFate  dismissed  the  case.  He 
found  there  was  no  legal  controversy, 
hence  he  had  no  authority  to  decide  in 
the  case.  The  matter  was  not  properly 
before  the  court. 

Judge  McFate  granted  Sherri  and  her 


husband  ten  days  to  amend  the  suit  so 
that  a  legal  controversy  would  be  es- 
tablished. They  consulted  their  attor- 
neys, Howard  Leibow  and  Walter 
Cheifetz.  A  decision  was  reached:  The 
Finkbines  would  not  pursue  the  case  in 
court  any  further.  In  effect,  the  court's 
dismissal  of  the  case  meant  the  Fink- 
bines, their  doctor,  and  their  hospital 
had  no  guarantee  against  prosecution  if 
they  went  ahead  with  their  desires  to 
prevent  the  birth  of  the  baby. 

"Ten  days  is  too  long  to  wait,"  Bob 
Finkbine  said  dejectedly.  "Sherri  must 
have  the  abortion.  We  have  not  closed 
our  minds  to  any  course  of  action." 

The  dangerous  deadline 

Rebuffed  by  the  court,  Sherri  and 
Bob  sadly  contemplated  other  moves. 
They  talked  it  over  between  themselves, 
and  with  their  attorneys.  And,  as  the 
discussions  continued,  Sherri  looked  at 
the  calendar  with  alarm.  The  target 
date  that  stood  as  the  deadline  for  the 
abortion  was  growing  dangerously  near : 
The  three-month  period.  Unless  Sherri 
had  the  operation  by  then,  she  would 
have  to  undergo  a  far  more  complicated 
Caesarean  section  in  order  to  abort  the 
child  she  was  carrying. 

Despite  the  heartache  and  attendant 
desperation  that  tore  at  her,  Sherri  took 
the  court's  ruling  philosophically.  "We 
put  men  in  orbit,"  she  said,  in  a  regret- 
ful tone,  "but  our  legal  system  is  still  in 
the  leopard-skin  stage.  I  don't  feel  bitter 
toward  the  court  for  not  giving  legal 
approval  for  the  abortion.  It's  not  the 
judge's  fault.  This  is  an  election  year 
and  I  understand  the  problems.  This  is 
a  touchy  situation  and  there  are  many 
pressures." 

Then  Sherri  made  it  clear  that  this 
was  a  problem  which  faced  her  and  Bob 
four-square — and  she  vowed  it  would  be 
solved.  Within  days,  they  agreed  on 
what  to  do.  They  would  go  abroad, 
where  the  laws  are  more  lenient  toward 
abortion.  Sherri  would  have  the  baby 
taken  away,  then  return  here  immune  to 
prosecution. 

Sherri  and  Bob  decided  on  Sweden. 

Meanwhile,  in  the  wake  of  the  great 
outcry  over  Sherri's  determined  efforts 
to  thwart  her  pregnancy,  offers  to  adopt 
the  infant,  if  it  were  born  deformed, 
poured  in  from  well-meaning  and  sym- 
pathetic persons.  Sherri  was  outraged 
at  the  bids :  "These  people  who  offer  to 
adopt  my  child  make  me  boiling  mad. 
If  this  child  were  born  to  me,  I  would 
take  care  of  it  as  I  have  of  my  others. 
No  one  else  will  have  that  privilege.  But 
it  will  not  be  born,  because  I  will  not 
allow  my  family  and  society  to  be  bur- 
dened with  a  deformed  human  being." 

Pressures  mounted  on  other  fronts. 
Sherri  sensed  that  the  glaring  spotlight 
of  mixed  public  reaction  had  put  her 
future  as  a  television  star  in  jeopardy. 
"I  think,"  she  said  mournfully,  "that  my 
career  is  finished.  It's  too  much  of  a 
strain  on  the  studio  to  keep  me  on  as  a 
performer.  There  are  too  many  pres- 
sures here.  Perhaps  I  can  go  on  enter- 
taining children  with  puppets,  but  only 
where  my  voice  can  be  heard." 

Sherri  said  she  loved  Arizona,  but,  if 
it  came  down  to  losing  out  completely 
on  the  show,  she  was  not  averse  to  going 


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j  CHJ— Zone. State 


73 


elsewhere.  "We  could  go  to  Los  An- 
geles," she  offered  thoughtfully.  "Per- 
haps they  will  give  me  a  job  on 
television  there." 

Then  the  day  of  reckoning  came,  the 
day  when  Sherri  took  the  drastic  step 
she  felt  had  been  forced  upon  her  by 
the  restrictions  in  her  own  country.  She 
and  Bob  flew  to  Sweden.  Sherri  was 
grimly  confident  of  the  future,  despite 
the  dissonance  that  surged  anew  over 
her  strategy. 

"I  don't  care  what  anyone  says,"  she 
murmured,  as  tears  welled  in  her  eyes. 
"I'm  not  looking  for  sympathy  or  mar- 
tyrdom. I'm  doing  the  thing  I  know  is 
best  for  all  concerned." 

The  plane  took  Sherri  and  Bob  to 
Stockholm.  There  they  consulted  with 
Dr.  Kristen  Frostner,  one  of  Sweden's 
top  gynecologists.  Dr.  Frostner  ex- 
amined Sherri  to  determine  whether  she 
was  in  danger  of  a  mental  breakdown  if 
forced  to  carry  the  child  and  give  birth 
to  it. 

The  decision  did  not  come  immedi- 
ately. The  delay  raised  a  voice  of  warn- 
ing from  her  American  physician  that 
the  operation  must  be  performed  imme- 
diately, before  the  twelve  weeks  were 
up.  But  doctors  at  Stockholm's  Caroline 
Hospital  were  not  alarmed.  They  said 
an  abortion  could  be  performed  even  up 
to  fifteen  weeks  of  a  pregnancy  without 
imperiling  the  mother's  life. 


As  the  Swedish  medical  men  began 
their  deliberations — studying  Dr.  Frost- 
ner's  findings,  as  well  as  the  recom- 
mendations and  conclusions  of  her 
American  physician  who  was  in  favor  of 
the  operation — Sherri  began  to  show  the 
strain.  So  much  so,  that  she  appeared 
tense,  nervous,  and  in  a  state  of  near- 
collapse. 

"I  am  hoping  and  praying  that  the 
Swedish  medical  men  will  be  able  to 
help  me  quickly,"  Sherri  said,  trembling 
with  anxiety.  "This  is  the  last  resort. 

"It  is  beginning  to  be  more  of  a  baby 
to  me  every  day.  I  want  it  taken  away 
before  it  moves.  Once  that  happens,  I 
don't  think  I  could  hold  up  emotion- 
ally." 

The  minutes,  each  desperate  and  des- 
olate for  Sherri,  ticked  by  slowly  and 
painfully.  The  minutes  dragged  into 
hours.  And  into  days. 

Finally,  the  decision: 

Operate! 

And  Sherri  Finkbine  and  her  hus- 
band and  all  the  people,  the  millions 
throughout  the  world  who  had  sympa- 
thized with  the  young  woman's  plight, 
breathed  easier. 

When  the  decision  from  the  State 
Medical  Board  came,  Sherri  already 
was  in  Caroline  Hospital,  in  a  private 
room.  She  learned  of  the  decision  min- 
utes before  doctors  and  Bob  came  to  her 
bedside  to  inform  her  of  the  verdict. 


The  grounds:  "Prolonged  pregnancy 
and  birth  might  endanger  Sherri  Fink- 
bine's  physical  health." 

On  hearing  the  news,  Sherri  burst 
into  tears  of  relief.  "Thank  God,"  she 
murmured.  "This  is  the  only  sensible 
way  out." 

Minutes  later,  Bob  left  his  wife.  Worfl 
had  been  sent  to  the  room  to  prepare 
Sherri  for  surgery. 

On  August  18th,  just  a  few  short 
hours  after  she  received  the  approval, 
Sherri  Finkbine  underwent  her  long- 
sought  abortion.  It  took  forty-five  min- 
utes. When  it  was  over,  Bob  stepped  out 
into  the  corridors  of  the  hospital  to 
meet  the  waiting  reporters  and  photog- 
raphers. 

"Now  we  know,"  he  told  them.  "Now 
we  know,  beyond  any  doubt,  that  we 
were  right  in  insisting  on  abortion." 

What  he  was  saying  was  that  doctors 
had  found  the  baby  was  deformedl 

In  the  beginning,  when  Sherri  had 
said,  "I  will  not  give  birth  to  this  baby," 
she  had  also  asked  a  question: 

"Is  that  what  God  intended  a  mother 
to  do?" 

All  over  the  world,  people  were  quick 
with  answers  to  her  question.  Yet  it  was 
not  an  easy  question  and,  in  the  end, 
only  Sherri  could  answer  it.  After  all, 
it  is  she  who  will  live  with  this  answer 
for  the  rest  of  her  days  and  nights. 

— Chrys  Haranis 


IIIII1IIIIIII1IIM1IIIIIIMIMIHI1IIHIIIIIIMI 


MARY   TYLER    MOORE 

(Continued  from  page  40) 

"I  couldn't  be  myself  if  I  gave  up 
acting,  darling,"  she  said,  "but  I'll  try 
to  be  the  mommy  you  want.  I  promise, 
Ritchie,"  she  smiled.  "Next  Saturday — 
Disneyland." 

"Thanks,  Mommy,"  he  crowed.  "I 
love  you  till  it  hurts." 

She  smiled,  watching  him  trot  off  to 
play.  Already,  he  knew  how  to  wrap 
a  woman  around  his  finger.  .  .  .  And 
she  did  keep  her  promise  to  take  him 
to  Disneyland,  even  though  it  meant 
missing  rehearsal.  She  kept  her  Satur- 
day date  with  her  son  .  .  .  then,  while 
he  spent  Sunday  with  his  father,  she 
memorized  her  lines  for  Monday. 

Mary  had  answered  two  searching 
questions  from  Ritchie  during  the  past 
year.  While  they  were  far  from  perfect 
answers,  she  had  the  satisfaction  of 
knowing  she  had  been  honest  ...  as 
honest  as  she  could  be,  under  the  cir- 
cumstances .  .  .  and  that  her  son  had 
grasped  the  intention,  if  not  the  full 
meaning  of  what  she'd  said.  Now  he 
had  come  up  with  a  third  question. 

It  was,  for  her,  the  most  difficult  of 
the  three — though,  on  the  surface,  it 
seemed  the  simplest.  Time  had  brought 
a  great  change  in  her  life.  She  was  now 
more  than  a  dedicated  actress,  a 
troubled  divorcee,  a  responsible  mother 
trying  to  bring  up  her  child  alone  .  .  . 
T  she  was  now  a  woman  wholly  and 
v       deeply  in  love. 

r  "Is  Buddy  going  to  be  my  new  dad- 

dy?" the  boy  had  asked. 

"Buddy,"    for   the   record,   is   Grant 


Tinker,  whom  Mary  had  known  for 
almost  a  year.  Someone  had  introduced 
them  casually  on  the  set  .  .  .  so,  when- 
ever they  met,  they  smiled,  said  hello, 
and  went  about  their  business.  Neither 
knew  anything  about  the  other's  per- 
sonal affairs.  Grant  did  not  know  that 
Mary  was  in  the  process  of  getting  a 
divorce,  and  all  she  knew  about  him 
was  that  he  was  the  vice-president  of 
an  advertising  agency  representing  one 
of  the  show's  sponsors. 

In  time,  Grant  was  offered  a  vice- 
presidency  with  NBC  in  New  York, 
and  he  accepted.  Months  later,  CBS 
asked  Mary  to  do  some  guest  appear- 
ances in  the  East.  Grant  saw  the  an- 
nouncement in  the  entertainment  trade 
papers  and  called  her  long-distance  to 
ask  if  he  could  see  her  in  New  York. 
He  was  aware  her  marriage  was  over, 
and  she  learned  that  he,  too,  was  in 
the  process  of  getting  a  divorce. 

Mary  agreed  to  see  him — "mostly 
because  I  knew  so  few  people  in  the 
East  and  I  felt  it  would  be  nice  to 
see  a  familiar  and  attractive  face.  We 
dated,  the  first  night  I  arrived,  and  we 
were  immediately  impressed  with  each 
other.  It  was  a  case  of  love  at  second 
sight,  you  might  say.  In  fact,  the  only 
thing  we've  ever  differed  on  is  clothes! 
Grant  is  very  much  the  cosmopolitan 
type.  He  prefers  women  to  wear  un- 
cluttered black  or  navy  dresses  with 
good,  simple  lines  and  pearls  or  a 
bracelet  as  the  only  accessory. 

"I  have  the  California  view:  Light, 
bright  things  for  the  warmer  season — 
which,  of  course,  out  here  lasts  eight 
months  a  year.  Luckily  I,  too,  like 
basic,  well-styled  clothes,  so  I  solved 
the  problem  by  wearing  the  ones  I  have 


when  going  out  with  Grant.  And  I 
dyed  a  few  of  my  summer  cottons! 
Anyway — to  get  back  to  that  trip  to 
New  York — we  saw  each  other  as  often 
as  possible  that  week.  When  it  came 
time  for  me  to  go  back  to  Hollywood, 
we  both  knew  it  was  love,  and  that 
distance   would   not   change   a   thing." 

And  it  had  been  so.  They  called  each 
other  on  the  phone  every  day.  They 
wrote  faithfully.  And  whenever  they 
could,  they  flew  across  the  country  to 
spend  a  little  time  together.  On  Grant's 
trips  to  the  West  Coast,  he,  Mary  and 
Ritchie  went  to  the  zoo,  the  beach,  and 
had  picnics  in  state  parks.  A  solid 
friendship  blossomed  between  Mary's 
son  and  her  suitor,  and  it  was  reflected 
in  their  nickname  for  each  other — 
"Buddy." 

Very  few  of  their  friends,  relatives 
or  associates  knew  about  their  plans. 
In  fact,  one  of  Mary's  friends  had  urged 
her,  at  the  time,  to  get  married  again 
"just  so  that  Ritchie  will  have  a  full- 
time  father  to  help  raise  him."  Mary's 
reaction  to  this  had  been  a  firm 
"Heavens,  no!  I  think  that's  the  worst 
thing  you  can  wish  on  a  child.  It's 
bad  enough  not  having  a  father  around, 
but  having  a  father  who  is  not  loved 
by  the  mother — that's  infinitely  worse. 
When  I  marry,  it  will  be  because  I 
love,  and  am  loved,  and  because  I  feel 
that  love  will  add  something  to  what 
Ritchie  and  I  already  have — a  happy, 
healthy  enjoyment  of  life  together." 

The  first  of  June,  Mary  and  Grant 
decided  to  take  advantage  of  his  va- 
cation to  fly  to  Las  Vegas  and  be  mar- 
ried. It  proved  a  surprise  to  everyone 
but  Ritchie.  As  if  he'd  sensed — by  some 
inner  radar  known  only  to  small  boys — 


what  was  going  to  happen,  he  asked 
his  mother  the  third  big  question  in 
a  year.  "Is  Buddy  going  to  be  my  new 
daddy?" 

Mary  gazed  thoughtfully  into  her 
son's  eyes.  He  returned  the  look  square- 
ly. For  just  an  instant,  she  felt  the 
touch  of  danger.  What  did  his  ex- 
pression mean — the  natural  curiosity  of 
a  child  .  .  .  hope  .  .  .  disapproval  .  .  . 
or  an  expectancy  that  was  also  a  chal- 
lenge? 

She  decided  to  meet  the  issue  head- 
on.  "Ritchie,"  she  said  softly,  "we've 
always  been  honest  with  each  other, 
haven't  we?  When  Daddy  left,  you  know 
I  didn't  make  up  any  stories  but  I  told 
you  straight  out  he  was  going  to  live 
away  from  us  .  . .  and  when  you  wanted 
me  to  give  up  being  an  actress,  or 
wondered  why  I  didn't  ...  I  told  you 
it  meant  too  much  to  me  to  give  up." 

"Yes,  Mommy,  that's  true." 

"Now  I'm  going  to  tell  you  the  truth 
again.  Mommy  and  Buddy  are  going 
to  get  married.  But  not  to  give  you  a 
new  daddy.  Your  own  daddy  is  a  good 
one  and  you  wouldn't  want  to  change 
him,  and  Buddy  wouldn't  want  you 
to  do  that.  But  you  and  Buddy  are  good 
pals,  aren't  you?"  She  took  a  deep 
breath  of  relief,  seeing  his  look  of 
expectancy  melting  into  a  smile  of 
pleased  satisfaction.  "That's  how  we  all 
want  it  to  go  on.  You  and  Buddy  will 
go  on  being  real  good  pals.  And  you'll 
still  see  your  father  regularly,  and  be 
his  son,  just  as  you  are  mine.  Okay?" 

A  few  days  later,  Grant  and  Mary 
were  married  at  the  Dunes  Hotel  in 
Las  Vegas  with  Mr.  and  Mrs.  William 
Warwick  as  witnesses.  "It  was  a  lovely 
little  ceremony,"  Mary  recalls,  "with 
no  fanfare.  That's  how  we  wanted  it." 

Temporarily,  the  Tinkers  are  living 
in  Mary's  place  in  the  San  Fernando 
Valley.  But,  now  that  Grant  has  been 
transferred  back  to  the  West  Coast, 
they  hope  to  buy  a  larger  and  more 
convenient  home.  Grant's  four  children 
by  his  ex-wife  live  with  their  mother 
in  Connecticut  and  he  visits  them  often. 
Mary  hopes  that,  with  Grant  moving 
to  Los  Angeles,  the  youngsters  can 
spend  some  time  out  West  getting  ac- 
quainted with  Ritchie. 

In  the  meantime,  Mary  continues  with 
her  triple  identity  as  wife,  mother  and 
actress.  Aside  from  the  Van  Dyke  show, 
she  has  few  major  plans  or  problems. 

"I  keep  waiting  for  one  thing,"  she 
laughs:  "My  son's  fourth  big  question! 
I  know  in  my  heart  that  it  will  come, 
as  surely  as  I  know  that  when  it  does — 
no  matter  how  hard  it  may  be — I'll  not 
fake  it,  but  answer  as  honestly  as  I 
."  — James  Gregory 


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MIIMIIKNIlii: Hill itiiri (Ill 


JANET   LENNON 

(Continued  from  page  24) 

everybody  having  such  fun — including 
me!  So,  the  night  before  my  birthday. 
I  was  on  pins  and  needles  waiting  for 
someone  to  mention  the  "big  event" 
tomorrow.  But  Mom  and  Daddy,  and 
Kathy  and  Peggy,  and  all  the  kids,  sim- 
ply went  about  their  business,  swim- 
ming, shopping,  sunning  on  the  beach, 
and  just  plain  goofing  around. 

Well,  after  all,  I  thought,  they're  on 
vacation.  Tomorrow  they'll  remember 
and,  when  I  wake  up,  it'll  be:  "Happy 
birthday.  Janet  .  .  .  many  happy  re- 
turns!" And  who  knows?  Maybe  even 
a  gift  or  two.  Before  going  to  bed,  I 
said  to  Joanie  Esser — my  best  friend, 
who  was  up  there  with  us — I  said,  kind 
of  casually,  "Wonder  if  anything  excit- 
ing'll  happen  tomorrow."  Joanie  looked 
at  me   and   yawned.    Yawned! 

In  the  morning,  there  wasn't  a  peep 
about  "happy  birthday"  and  not  one 
package  that  looked  like  it  might  be  a 
gift.  Frankly,  it  wasn't  the  gift.  That 
part  isn't  so  important.  But  in  a  family 
of  singers,  not  one  human  being  to  sing 
"Happy  Birthday"?  Well,  Joanie  said, 
"Let's  go  for  a  walk  to  the  shopping 
center."  I  said,  "Might  as  well."  All  the 
way  there,  all  the  time  we  were  window 
shopping,  and  all  the  way  home,  I  felt 
blue.  I  admit  it.  I  wouldn't  laugh  at 
Joanie's  jokes,  and  I  wouldn't  say  more 
than  "Hm?  Uh-huh.  Nope."  You  know 
the  story  about  the  little  match  girl  all 
alone  in  the  dark  and  cold?  Well,  I 
guess  I  got  to  feeling  pretty  much  that 
way. 

Then  it  happened.  As  we  came  to  the 
cottage,  I  sensed  something  was  up.  For 
one  thing,  there  wasn't  a  kid  in  sight — 
and  in  a  family  our  size,  that  has  to  be 
unusual.  When  I  walked  through  the 
door,  I  could  hardly  believe  my  eyes. 
All  the  kids  were  standing  around  the 
dining-room  table  and  in  the  center  was 
a  big  birthday  cake  that  said,  "Happy 
Birthday,  Janet."  I  felt  thrilled,  all 
shook  up,  and  a  little  guilty  for  ever 
thinking  they  would  have  forgotten  me. 

Peggy  and  Kathy  had  planned  it,  but 
all  the  little  ones — Joey,  Billy,  Pat. 
Mimi,  and  even  little  Anne  and  baby 
Chris — had  helped  to  decorate  the  ta- 
ble and  they  all  had  on  party  hats  and 
were  blowing  noisemakers.  The  only 
thing  lacking  to  make  the  party  perfect 
was  that  three  of  us  weren't  there. 
Danny  hadn't  wanted  to  leave  Venice 
because  he  had  made  the  Little  League 
"All  Stars"  out  there — which  we're  all 
proud  of — and  he  didn't  want  to  miss 
his  baseball  games,  since  he  did  have 
an  obligation  to  his  team.  And  DeeDee 
stayed  behind  because,  of  course,  her 
husband  Dick  was  working. 

I  got  lots  of  nice  gifts — a  new  dress, 
a  lovely  handbag,  and  oh!  Mom  and 
Dad  gave  me  four  pairs  of  Bermuda 
shorts,  a  sweat  shirt,  three  blouses,  a 
pair  of  pedal  pushers  and  white  shoes 
with  high,  tapered  heels.  And  my  Uncle 
Bob  sent  me  a  case  with  twelve  (imag- 
ine, twelve!)  shades  of  lipstick  .  .  .  and 
Joanie  gave  me  a  bottle  of  Old  Spice 
perfume  .  .  .  and — let's  see — hundreds 


of  cards  from  fans  .  .  .  and  one  fan,  a 
Robert  Hudson  from  Detroit,  Michigan, 
sent  me  a  lovely  gold  watch. 

Last  year,  he  sent  me  an  electric 
alarm  clock.  But  the  watch  must  be 
expensive,  so  the  family  talked  over 
whether  it  was  right  for  me  to  keep  it — 
'cause,  after  all,  he  is  a  stranger.  But  it 
was  decided  that  it  was  such  a  nice  ges- 
ture, we  might  hurt  his  feelings  if  we 
returned  it.  So  I  got  to  keep  it,  and  I'm 
so  pleased  with  it.  It's  so  beautiful! 

And  when  we  cut  the  cake,  you 
should  have  seen  the  confetti  and  bal- 
loons. Little  Chris,  who's  the  baby  in 
our  family,  just  went  wild  about  his 
funny  hat.  He  loves  hats  and  Daddy 
jokes  about  it.  He  says,  "Chris  is  prob- 
ably the  only  one  of  us  who'll  never 
come  down  with  a  head  cold." 

But  it  was  after  the  party  .  .  .  after 
the  ice  cream  and  cake  (which  was 
whipped  up  by  the  chef  at  Harrah's  and 
delivered  while  Joanie  and  I  were  out. 
so  it  would  be  a  real  surprise!),  and 
after  we'd  gone  to  the  club  to  do  the 
show  .  .  .  that  I  saw  what  a  difference 
being  sixteen  can  make  in  a  girl.  Usu- 
ally, the  members  of  the  band  or  some 
of  the  technicians  will  give  me  a  pat  on 
the  head  and  say,  "Well,  well,  doll — or 
'sweetie'  or  something  else  just  as  icky 
— how  does  it  feel  to  be  a  year  older?" 

This  time,  no  pats  on  the  head.  No 
"little  girl,  doll,  etc."  It  was:  "Con- 
gratulations, Janet,  have  a  good  year." 

I  figured  my  older  sisters,  those 
dears,  would  surely  come  up  with  a  bit 
of  sage  advice  along  the  lines  of  "now 
that  you're  a  woman  .  .  ."  But  I  guess  I 
underestimated  them.  They  didn't  say 
anything  of  the  sort.  Finally,  I  told 
them  how  I  felt.  I  said,  "I  found  out 
today  why  girls  feel  more  grown-up 
when  they're  sixteen — it's  because  other 
people  treat  them  more  grown-up." 

Peggy  and  Kathy  exchanged  a  quick 
look,  then  Peggy  said,  as  nicely  as 
could  be.  "Janet,  what  you  just  said  is 
true.  Kathy.  DeeDee  and  I  all  learned 
it  the  same  way.  But  there's  something 
that  goes  with  this  new  respect  people 
will  show  you.  That's  your  responsibil- 
ity to  your  new  womanhood  .  .  ." 

"That's  right,"  Kathy  chimed  in. 
"Now  you  can't  trade  on  being  a  cute 
kid  who  knows  she'll  be  let  off  easy  on 
account  of  being  so  young.  Now  you 
must  deserve  your  new  status.  People 
treat  you  with  respect  because  they  fig- 
ure you're  old  enough  to  act  like  a  ma- 
ture and  responsible  person.  If  you  let 
them  down  on  this,  they  will  just  go 
back  to  thinking  of  you  as  a  kid." 

Mom  and  Dad  just  kissed  me  that 
night  and  said,  as  they  usually  do.  "Get 
a  good  night's  rest — you've  got  a  re- 
hearsal and  two  shows  tomorrow."  But 
I  caught  an  expression  in  their  eyes  I'll 
never  forget.  It  was  the  oddest  expres- 
sion I  ever  saw  .  .  .  and  when  I  went  to 
bed,  I  kept  thinking  about  it.  trying  to 
pin  it  down.  They  were  sort  of  solemn- 
happy,  and  there  was  pride  there,  too, 
and  maybe  a  little  sadness,  and  then 
there  was  something  I  couldn't  put  my 
finger  on.  I  guess  I'm  not  as  mature  as 
I'd  like  to  think  I  am.  and  there  are 
many  things  I  still  have  to  learn,  espe- 
cially about  human  nature. 

When  I  told  Peggy  and  Kathy  about 


it  in  the  morning,  they  said  that  they 
had  noticed  it,  too,  on  their  sixteenth 
birthdays.  "It's  a  thing  only  parents 
can  feel."  they  said.  "Maybe  it's 
hope.  .  .  ."  All  I  can  say  is,  if  it  is  hope 
— hope  for  me  and  my  future — I  will 
pray  and  work  all  my  life  not  to  disap- 
point them.  I  have  the  most  wonderful 
parents  and  I  love  them  dearly. 

The  difference  in  dating 

Of  course,  now  that  I  am  sixteen,  the 
custom  in  our  family  is  to  allow  more 
privileges.  One  example:  I  can  date  by 
myself.  Up  to  now,  I  double-  or  triple- 
dated  with  my  sisters  or  friends  and 
their  boyfriends.  Mom  and  Dad  have  no 
objections  to  my  going  out  alone  with 
boys,  but  naturally  they  like  to  meet 
them  first.  This  doesn't  mean  they  don't 
trust  me.  They  know  I'd  never  want  to 
do  anything  to  spoil  their  trust.  And  I'd 
never  date  a  boy  they  really  didn't  ap- 
prove of. 

We're  a  close-knit  family  and  let  me 
tell  you,  the  boys  we  Lennon  girls  date 
have  to  have  a  keen  sense  of  humor! 
We  are  all  a  bit  nutty,  and  we  love  to 
joke  and  laugh  and  be  with  people  who 
can  join  in  the  fun  even  when  they  have 
problems.  Our  young  men  also  have  to 
like  kids.  That's  one  thing  we  have 
plenty  of,  and  very  often  we  girls  baby- 
sit or  take  the  kids  out  with  us  for  a 
drive,  or   a  walk,   or   a   beach   picnic. 

Another  thing  I  can  do  now  is  get  a 
driver's  license.  I've  had  my  permit  for 
some  time  and  I  know  how  to  handle  a 
car.  We  already  have  two  in  the  family, 
so  I  don't  imagine  I'll  be  getting  one  of 
my  own.  It  would  just  be  plain  fooli-h 
to  buy  another. 

Oh,  yes — I'd  like  to  cut  my  hair!  But 
that's  out  for  now.  It's  become  what 
they  call  our  "image"  to  wear  long  hair 
...  so  our  fans  might  not  like  it  if  we 
suddenly  came  on  looking  different.  All 
the  same,  in  the  summer  when  I've  been 
swimming  and,  as  they  say.  "can't  do  a 
thing  with  it,"  I  often  put  my  hair  in  a 
French  roll  or  pile  it  high  on  my  head. 
I  do  it  for  practical  reasons.  But  I've 
been  told  I  look  quite  sophisticated  that 
way. 

Clothes  and  makeup  won't  change 
much.  I  don't  care  for  more  than  lip- 
stick and  powder  to  take  away  the 
shine.  And  I  prefer  sports  clothes  for 
daytime.  In  fact,  I  practically  live  in 
Bermudas,  capris.  or  skirts  and  blou?e-. 
Again,  this  doesn't  go  for  dates.  Then. 
I'll  wear  a  dress  and  high  heels.  I've 
worn  heels  since  I  was  thirteen,  and  I 
never  stumble  on  them.  In  spite  of  any- 
thing you  might  hear  from  my  older 
sisters,  I  never  stumble  in  high  heels. 

They  make  me  look  taller  and  that 
helps  when  you're  only  five-feet-twro.  I 
recently  lost  six  pounds.  I  didn't  have 
to,  but  that  family  of  mine,  with  their 
teasing  about  "baby  fat,"  drove  me  to 
it.  However,  even  though  I  wouldn't  ad- 
mit it  to  them,  I'm  happier  this  way. 
and  I  wouldn't  want  to  gain  those 
pounds  back. 

Being    sixteen    has    brought    to    my       T 

mind  a  couple  of  serious  matters.  Like:       v 

Will  I  go  to  college?   The  answer  to      r 

that  is  no.  I  don't  think  I  will.  I  expect 

to  stav  in  the  entertainment  field  until 

77 


1 


I  meet  the  right  young  man  and  get 
married.  Then  I'll  follow  the  example 
of  my  sister  DeeDee,  and  leave  the  busi- 
ness to  settle  down  and  keep  house  and 
raise  a  family.  That's  what  I  want  most 
in  life  and,  for  that,  college  is  not 
needed.  I'd  rather  the  money  went  to 
one  of  my  kid  brothers,  who  will  need 
a  profession  because  he'll  have  to  sup- 
port his  own  family  some  day. 

The  evening  after  my  birthday  party, 
I  was  sitting  for  a  little  while  by  my- 


IlllllllllllllllillllllllJ 


JOHN    LARKIN 

(Continued  from  page  36) 

my  career  a  terrific  shot  in  the  arm  .  .  . 
and  renewed  my  faith  in  myself.  It 
never  would  have  happened — in  a  man- 
ner of  speaking — if  I  hadn't  felt  forced 
to  close  one  door  first  before  opening  a 
new  one. 

"For  nearly  ten  years,  after  I  got  out 
of  the  Army  in  1946  and  moved  to  New 
York,  I  portrayed  an  array  of  charac- 
ters on  radio — including  Perry  Mason, 
as  a  daytime  serial.  I  loved  doing  radio 
and  always  felt  happy.  Every  perform- 
ance was  stimulating  and  different. 

"In  the  midst  of  this  tranquil  setup, 
however,  a  monster  called  television 
reared  its  magnificent  head.  Most  of  us 
actors  refused  to  believe  it  was  here  to 
stay.  But  radio  drama  suddenly  went 
thataway,  and  I  had  no  choice. 

'"The  Edge  of  Night'  started  April 
2nd,  1956,  and  I,  of  course,  started  with 
it — five  days  a  week,  for  five-and-a-half 
years.  In  retrospect,  I  now  realize  I 
should  have  pulled  up  stakes  when  this 
show  came  along — popular  as  it  was — 
and  instinctively  I  knew  it.  Had  I  found 
the  time  and  made  greater  effort  to  ex- 
plore my  feelings,  I  might  have  recog- 
nized the  obvious  dangers  of  being  tied 
down  to  an  eight-year  contract. 

"But  I  chose  to  play  Mike  Karr,  and 
each  day  I  rehearsed  daily  from  nine  in 
the  morning  until  four-thirty  in  the 
afternoon — the  show's  air-time.  Televi- 
sion was  highly  experimental  in  those 
days,  and  I  guess  this  aroused  my  curi- 
osity. No  one  thought  I  could  maintain 
the  pace  and  this  also  presented  an  ir- 
resistible challenge.  Last — and  far  from 
least— there  was  the  financial  security 
which  provided  handsomely  for  my 
family. 

"Creatively  speaking,  however,  it  was 
exhaustive  drainage. 

"The  whole  truth,"  John  says 
bluntly,  "is  that,  after  the  first  few 
years,  the  show  got  to  be  a  bore  and 
ceased  to  be  a  challenge.  Working  at 
^uch  close  proximity  and  at  such  pace, 
outbursts  of  temperament  and  person- 
ality clashes  were  unavoidable.  I  never 
wore  makeup  on  live  TV,  so  I  had  to 
work-out  physically  to  keep  from  look- 
ing like  a  sack  of  meal. 

"Each  weary  night  at  home,  it  was 

imperative  for  me  to  study  my  lines  for 

T       (he   following   day.   This   automatically 

v       ruled  out  all  social  activity.  The  time 

R       element  was  too  demanding,  when  there 

were  excellent  opportunities  to  do  other 

things.  So  I  lost  out.  While  the  show 
78 


self  at  the  edge  of  the  lake.  Mother 
saw  me  and  she  strolled  down  and 
sat  alongside  me.  "Penny  for  your 
thoughts,"  she  said.  I  looked  at  her, 
and  honestly,  there  were  tears  in  my 
eyes.  I  couldn't  help  it. 

"Mom,"  I  said,  "I'm  so — so  grateful 
.  .  .  you  and  Dad,  the  family,  everybody 
.  .  .  why  do  I  deserve  it — all  this  kind- 
ness and  love?  I  feel  it's  like  the  time 
we  bought  the  piano  'on  time.'  We  en- 
joyed  it,   but   we   still   were   under   a 


continued  to  offer  a  great  deal  of  secur- 
ity for  me,  it  ceased  to  be  rewarding  as 
an  actor. 

"Finally — when  my  family  life  began 
falling  apart — my  generous  contract 
became  meaningless. 

"Slowly  but  surely,  I  was  turning  into 
an  irritable,  hard-to-live-with  man.  At 
first,  I  wasn't  too  aware  of  the  danger, 
even  though  it  became  impossible  to 
leave  the  show  in  the  studio  when  I 
came  home  exhausted,  tied  up  in  knots. 
Thank  God,  my  lovely  wife  Audrey  was 
patient  and  understanding  far  beyond 
the  call  of  duty!  There  is  no  way  to  es- 
timate her  contribution,  and  I  know  I 
couldn't  have  survived  without  her. 

"She  encouraged  me  to  follow 
through,  whenever  I  threatened  to  leave 
the  show  .  .  .  but  then  I'd  think  of  my 
responsibilities  and  turn  milk-toasty 
again.  Audrey  loved  southern  California 
and  talked  about  it  often.  Ironically — 
although  I  was  born  in  Oakland,  across 
the  bay  from  San  Francisco — I  had 
never  even  driven  down  the  Coast  to 
Hollywood. 

"Something  seemed  to  snap" 

"Finally,  everything  came  into  focus. 
It  happened  very  suddenly.  When  I 
came  home  one  night,  our  adorable  lit- 
tle girl,  Victoria,  ran  up  and  threw  her 
arms  around  me.  Something  inside  just 
seemed  to  snap.  I  exploded — and 
chased  the  poor,  bewildered  child  out 
of  the  room!  Sick  at  heart,  I  saw  my- 
self as  I  really  was,  and  I  knew  this 
couldn't  go  on.  I  might  even  lose  my 
wife  and  child. 

"Although  'The  Edge  of  Night'  had 
become  the  number-one  daytime  show, 
I  had  stopped  feeling  like  an  actor. 
Audrey  and  I  talked  things  over,  far 
into  the  night.  We  realized  a  change 
would  mean  giving  up  a  lot  of  money 
and  position.  We  had  no  big  invest- 
ments, and  I  had  no  idea  where  I  might 
go — or  what  I  might  do.  But  one  thing 
was  for  sure :  I  had  to  escape  from  what 
I  considered  confinement  on  the  show." 

It  was  Audrey,  in  her  wise  way,  who 
managed  to  set  the  perfect  scene  for 
action.  Remembering  that  she  had  mar- 
ried a  sun  worshipper,  she  persuaded 
John  to  try  southern  California  on  his 
precious  vacation,  "just  to  see  what  it's 
like."  They  flew  out  in  June  of  1961 — 
and  were  the  only  two  people  on  the 
plane  who  carried  raincoats!  Skeptical 
John  was  thoroughly  prepared  not  to  be 
impressed. 

"Instead,"  he  grins,  running  his 
strong  fingers  through  his  steel-gray 
mane,    "I    was    astounded    that    such 


heavy  debt  that  had  to  be  paid  .  .  ." 
My  mother  is  one  of  the  wisest  peo- 
ple I  ever  met.  She  took  my  hand  and 
squeezed  it  very  hard.  "If  you  didn't 
actually  become  a  woman  yesterday," 
she  said,  "you  sure  have  taken  a  big 
step  toward  it  tonight.  .  .  ." 

— as  told  to  Eunice  Field 

Janet  Lennon  and  her  sisters  sing  on 
"The  Lawrence  Welk  Show,"  seen  Sat- 
urdays, 9  to  10  p.m.  edt,  on  ABC-TV. 


weather  existed!  In  New  York,  you  get 
up  and  rush  to  the  window  to  see 
what  kind  of  a  day  it  is  and  dress  ac- 
cordingly. I  never  particularly  cared 
for  New  York,  even  after  sixteen  years 
— it's  overly  big,  needlessly  frantic,  and 
I  could  never  understand  why  everyone 
was  constantly  in  a  hurry.  In  Beverly 
Hills,  every  day  was  a  day  of  beauty." 

Though  John  talked  to  a  dozen  agents 
— and  finally  settled  on  one,  Ray  Sack- 
heim — he  never  said  the  magic  words 
Audrey  was  longing  to  hear  .  .  .  until 
they  were  on  the  plane  going  back  to 
New  York. 

He  sat  quietly,  his  head  fairly  burst- 
ing with  plans,  then  suddenly  leaned 
toward  his  wife  and  nonchalantly 
squeezed  her  hand  as  he  remarked  cas- 
ually, "One  thing's  for  sure,  dear.  When 
we  move  back  to  California,  we're  going 
to  leave  these  crummy  raincoats  in  New 
York!" 

Audrey  just  nodded  and  turned 
quickly  toward  the  window,  to  hide  the 
sudden  moisture  in  her  eyes. 

Although  John  had  two-and-a-half 
years  to  go  on  his  contract,  he  decided 
to  ask  for  his  release  seven  months 
hence.  Back  in  New  York,  his  little 
bombshell  created  a  day  of  doom  for 
those  directly  concerned.  There  was  tre- 
mendous opposition.  They  offered  more 
money,  more  time  to  John  for  himself. 
They  even  agreed  to  give  him  three 
months  off  each  summer  .  .  .  before 
they  realized  they  were  losing  the  battle 
and  let  him  go. 

"It  was  all  done  in  friendly  fashion," 
John  insists,  "and  we  parted  the  best  of 
friends.  Frustrated  actors,  who  had 
failed  to  cut  the  mustard  in  Hollywood, 
tried  to  curtail  my  enthusiasm.  They 
warned  me  that  Hollywood  was  a  cold, 
unfriendly  town  and  a  death-trap  for 
anyone  except  the  big  shots.  But  our 
hopes  were  high,  so  we  still  weeded  out 
the  stuff  we  wanted  to  keep  from  our 
apartment  and  shipped  it  on  ahead. 

"When  the  three  of  us  drove  across 
country,  it  was  a  glorious  adventure. 
We  could  hardly  contain  ourselves,  as 
we  came  closer  to  our  new  life  in  the 
land  of  sunshine.  But  when  the  great 
day  came  for  our  arrival  in  Hollywood, 
the  rain  was  pouring  down  in  such  tor- 
rents, we  saw  automobiles  floating  down 
the  streets!" 

The  disillusioned  migrators  were 
holed  up  in  a  Hollywood  apartment  for 
five  months,  while  it  continued  to  pour 
and  the  wind  continued  to  howl.  Their 
incarceration  was  especially  rough  on 
Victoria,  who  had  no  place  to  play. 
And,  in  the  meantime,  Audrey  was 
pregnant  again  .  .  .  and  John  hadn't 


secured    a    single    acting    assignment. 

"I  had  many  satisfactory  interviews 
with  top  producers  and  directors,"  John 
recalls.  "They  couldn't  have  been  nicer 
— except  I  didn't  get  a  job.  Since  I 
have  only  a  small  stock  of  patience,  the 
constant  rain  disturbed  me  and  made 
me  more  restless.  Doubt,  despair,  worry 
and  misgivings  kept  seeping  into  my 
brain.  Had  I  made  the  right  choice? 
Perhaps  actors  like  me  were  a  dime  a 
dozen  in  Hollywood.  The  thing  that  hurt 
most  was  watching  my  wife  and  child 
perform  like  champions,  while  money 
went  out  fast — and  none  came  in." 

It  was  when  they  were  at  their  lowest 
emotional  ebb  that  their  whole  world 
changed  for  the  Larkins.  Once  he'd 
made  the  pilot  film  for  "Saints  and  Sin- 
ners," last  December,  there  were  more 
jobs  than  John  could  handle.  How  good 
it  felt  to  be  needed  and  wanted  again! 
Arthur  Nadel,  producer  of  Robert  Tay- 
lor's "Detectives,"  gave  John  his  first 
acting  chore. 

"I  had  been  told  that  Robert  Taylor 
was  sort  of  a  loner,"  John  beams,  "but 
he  extended  me  the  warmest  hand  of 
friendship.  Having  a  little  daughter 
near  Victoria's  own  age,  Bob  gave  me 
his  private  telephone  number,  saying  he 
thought  it  would  be  nice  for  the  chil- 
dren to  play  together.  Working  with 
my  TV  counterpart  on  'Perry  Mason' 
was  also  a  delightful  experience.  Ray- 
mond Burr  not  only  was  kind  and  con- 
siderate— when  they  wanted  'the  two 
Perry  Masons'  to  make  stills  together, 
he  insisted  we  both  be  featured 
equally ! 

"In  the  meantime,  we  had  moved  into 
a  comfortable  little  bungalow  in  the 
valley,  on  a  friendly  street  overrun  with 
healthy,  happy  kids.  Our  first  Christ- 
mas here  was  unforgettable.  It  may 
sound  corny — but  our  life  is  so  good, 
these  days,  it's  all  like  a  dream  come 
true." 

The  arrival  of  wee  John  William  Lar- 
kin  Jr.  completed  the  fulfillment  of  his 
daddy's  dreams.  Aside  from  little  Vic- 
toria, John  also  has  two  other  daughters 
from  former  marriages  living  in  the 
East.  Although  he's  resumed  his  favor- 
ite golf  game — after  a  five-year  hiatus — 
home  and  hearth  are  John's  primary 
interests  now. 

In  addition  to  their  newfound  friends 
at  Four  Star  and  NBC,  the  friendliness 
they  meet,  wherever  they  go  in  Califor- 
nia, really  touches  him.  "Everyone  is  so 
willing  to  exchange  pleasantries,  it's 
really  amazing!  And  when  you  can  look 
out  your  windows  and  see  mountains  so 
close  you  can  almost  touch  them — that's 
real  living.  I  never  want  to  leave.  Need- 
less to  say,  my  family  never  has  been 
healthier  and  happier.  If  Audrey  should 
decide  to  resume  her  singing-acting  ca- 
reer, I  wouldn't  mind  at  all.  But,  so  far, 
it  looks  like  she's  perfectly  content  to 
run  the  show  at  home." 

That's  the  one  show  John  Larkin 
learned  meant  more  to  him  than  any 
other.  To  keep  it  going,  he  risked  all  he 
had  .  .  .  and,  for  this  one  wholehearted 
gambler,  everything's  coming  up  roses! 

— Jerry  Asher 

See  "Saints  and  Sinners"  Mon.  nights 
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GENE   KELLY 

(Continued  from  page  29) 

their  fists  while  other  boys  gathered 
around,,  punching  their  fists  into  their 
own  nervous  palms  and  shouting.  It  was 
rough-and-tumble,  anything-goes.  Gene 
panted,  slugged  away  at  close*  range, 
tried  to  get  an  arm  free  to  swing. 

When  he  did  work  free,  he  gave  a 
bounce,  swung  from  the  ground, 
smashed  his  fist  into  the  big  guy's  face. 
He  heard  the  nose  bone  crunch,  loud  as 
the  crack  of  doom. 

Then,  unexpectedly,  it  ended.  The 
red-headed  giant  edged  away,  crumpled, 
called  it  quits.  And  Gene  was  on  his 
feet,  the  hero.  He'd  whipped  the  big- 
gest bully  in  the  neighborhood. 

The  guy'd  bled  all  over  him  and 
Gene's  shirt  was  soaked  with  blood.  But, 
as  his  pals  marched  him  to  his  house, 
he  could  hear  a  whole  brass  band  play- 
ing. There'd  been  plenty  of  fights — 
he'd  even  won  some — but  this  was  the 
real  hour  of  triumph. 

And  then  he  was  home. 

No  one  was  around — not  his  big 
brother  Jim,  nor  his  kid  brother  Fred. 
He  sneaked  in  the  back  door,  trying  to 
make  it  up  the  stairs  unseen.  His 
mother  was  entertaining  the  ladies  of 
the  Altar  Society  for  tea.  He  could  hear 
them  in  the  parlor.  For  that  matter,  he 
could  see  them — it  was  a  pretty  small 
house  to  sneak  into.  And  suddenly  he 
heard  his  mother's  voice:  "Gene,  what's 
happened?" 

His  sisters  came  running,  and  the 
hero  burst  into  tears. 

This  wasn't  the  last  of  the  fighting. 
It  was  a  mixed  neighborhood,  with  boys 
from  differing  backgrounds  who  battled 
each  other  instinctively,  in  a  kind  of 
unceasing  "class"  warfare. 

"I  study  to  be  a  priest  on  TV,"  says 
Gene,  "by  remembering  the  young  par- 
ish priests  who  had  such  an  influence  on 
us  when  we  were  kids  in  Pittsburgh. 
Father  Tynan,  for  example — a  hand- 
some, tough,  well-educated  fellow,  virile 
and  energetic,  who  played  third  base 
like  crazy  and  had  a  way  with  kids, 
tough  or  otherwise. 

"He  was  probably  in  the  back  of  my 
mind — along  with  Father  Gallagher  at 
St.  Raphael's  and  Father  Coakley  at 
Sacred  Heart — when  I  dreamed  of  being 
a  priest  myself.  .  .  ." 

Gene  Kelly  was  eighteen  and  study- 
ing law  at  the  University  of  Pittsburgh 
when  he  discussed  the  new  idea  with  a 
priest — who  advised  him  to  take  his 
time,  probably  sensing  that  the  monastic 
life  wasn't  for  Gene. 

And  it  wasn't.  A  fighter,  Gene  Kelly'd 
had  his  own  nose  broken  in  a  campus 
brawl  about  this  time.  He's  a  warm, 
loving  man,  too,  who  craves  a  personal 
life,  marriage,  children.  And  a  non- 
conformist, if  ever  there  was  one !  Since 
then,  he's  developed  all  potentials,  be- 
lieving: "The  more  you  do,  the  more 
you  learn." 

When  I  saw  him  two  years  ago,  he'd 
been  heralded  for  his  direction  of 
"Flower  Drum  Song"  on  Broadway, 
had  just  finished  creating  two  spectacu- 
lars  that   made   TV   history,   was   just 


winding  up  his  movie  role  opposite 
Spencer  Tracy  and  Fredric  March  in 
"Inherit  the  Wind,"  and  was  about  to 
take  off  for  Paris  to  stage  an  original 
ballet  for  the  Paris  Opera — and  to 
spend  Christmas  vacation  skiing  with 
his  daughter  Kerry,  who  was  in  school 
in  Switzerland! 

A  true  will-o'-the-wisp,  restless  and 
volatile.  But  something  was  missing,  I 
thought  at  the  time.  I've  known  Gene 
for  years  and,  to  me,  he  seemed  more 
electric  than  ever  but  less  serene.  What 
was  he  missing? 

Well,  see  him  now,  stopping  to  roll 
son  Timothy's  baby  carriage  to  a  sun- 
nier spot,  and  you  know  what  was 
missing.  Because  now  it's  here.  Father 
O'Malley  has  a  baby!  Father  O'Malley 
has  a  wife!  Jeanne  has  made  this  dif- 
ference in  Gene's  life.  She  has  brought 
it  into  focus — a  happy  blend  of  creative 
fantasy  and  equally  creative  reality. 

"I  can't  imagine  an  adult  man  not 
wanting  marriage,"  Gene  said,  standing 
there  in  the  sun.  "Freedom  is  lonely 
.  .  .  it's  sheer  boredom  .  .  .  getting  to 
know  you  is  the  loveliest  thing  in  life. 
It  seems  to  me  that  a  man  who  doesn't 
want  marriage  has  either  been  so  hurt, 
he  is  afraid — or  he's  just  never  met 
happiness  and  doesn't  know  its  face. 
A  little  variety  can't  possibly  compen- 
sate for  the  joys  of  solidity,  of  having 
someone  close  by  your  side,  of  having 
children." 

Nineteen-year-old  Kerry  came  bounc- 
ing in  from  U.C.L.A.  She  is  a  pretty, 
brown-eyed  girl  who  is  going  to  take 
honors  at  Swarthmore  next  year,  but 
she  wanted  to  be  with  her  father  and 
Jeanne  when  the  baby  came,  so  she 
spent  a  semester  at  U.C.L.A.  and  lived 
at  home.  She  greeted  her  dad,  peeked 
at  the  sleeping  Timothy — who,  his  fa- 
ther says,  looks  just  like  Winston 
Churchill — borrowed  car  keys  and  was 
off  for  Beverly  Hills  to  meet  Jeanne 
and  shop. 

Gene's  eyes  followed  her.  Under  one 
roof,  he  now  had  everything  that  mat- 
ters most.  He'd  worked  in  Ireland, 
France,  Yugoslavia,  Chicago,  London, 
New  York  and  Hollywood  .  .  .  been 
cited  by  the  American  Legion  for  his 
outstanding  contribution  to  Franco- 
American  relations  .  .  .  named  Chevalier 
of  the  Legion  of  Honor  by  the  French 
Government  .  .  .  honored  as  a  friend 
by  the  city  of  Paris  while  directing 
Jackie  Gleason  in  "Gigot."  For  two 
years,  he'd  been  proud  of  being  an 
"international   citizen." 

"But  the  baby  has  changed  our  lives," 
he  laughed.  "Even  before  he  was  born, 
he  brought  us  scurrying  home.  Now 
that  he's  here,  he  tells  us  where  to  live, 
tells  me  when  to  wake  up  and  when 
to  sleep!  Your  whole  world  changes 
with  the  coming  of  a  child.  It  becomes 
the  focal  point  of  a  family's  life." 

"A  woman  clips  your  wings" 

The  world  is  full  of  men  who,  having 
known  one  touch  of  freedom,  find  family 
life  difficult,  indeed  unendurable.  And 
no  one  has  had  a  more  winged  life 
than  Gene — who  says,  "For  the  joy  of 
having  a  child,  I'd  eliminate  a  lot  of 
freedom.  And  for  a  wife.  A  woman 
clips  your  wings  a  bit,  but  she's  worth 


it.  From   here  on  out,  we'll   be   home 
more,  I'll  be  directing  more." 

And,  of  course,  whatever  he  does, 
Jeanne  is  involved.  "She's  worked  with 
me  since  'On  the  Town.'  No,  even  be- 
fore. Did  you  know  she  went  to  my 
dancing  school  in  Pittsburgh?  I  taught 
her  her  first  steps.  And  out  here  she 
worked  with  me,  first  as  a  dancer,  then 
as  an  assistant.  Jeanne's  absolutely  in- 
valuable. No  one  I've  ever  known  has 
such  a  combination  of  talents." 

It  all  adds  up  to  a  girl  who  under- 
stood his  precision,  his  desire  for  per- 
fection. A  girl  who  worked  with  him 
all  over  the  world,  adapted  her  life  to 
his  and  her  moods  to  his,  so  simply  and 
so  ingenuously  that  she  became  his 
living  answer.  This  wasn't  always  easy. 
Gene  Kelly  is  a  perfectionist,  a  demand- 
ing man,  a  man  who  puts  forth  an  in- 
credible effort,  and  expects  a  similar 
effort  from  those  who  work  with  him. 

For  years,  he's  been  a  "holy  terror" 
to  fellow  dancers  who  have  felt  the  fine 
edge  of  his  perfectionism.  When  seven- 
teen-year-old Debbie  Reynolds  worked 
with  him  in  "Singing  in  the  Rain,"  she 
found  Gene  the  hardest  taskmaster 
she'd  ever  known. 

"I  couldn't  dance  around  my  own 
big  toe — and  only  two  months  to  learn," 
Debbie  says.  "He  had  me  on  sound 
stages  day  after  day,  studying  modern 
dancing  with  Carol  Haney,  and  tap 
and  ballet  with  Ernie  Piatt.  .  .  . 
But  when  Gene  would  come  on  stage 
to  see  what  progress  I  was  making, 
I  was  scared  to  death  of  him!  I  couldn't 
dance  a  step,  and  he'd  just  smile  and 
say,  'I  guess  we'll  have  to  work  a  little 
harder.'  ...  I  owe  more  to  Gene 
Kelly  than  I  can  ever  repay.  He  liter- 
ally willed  me  to  dance." 

Leslie  Caron  never  worked  so  hard  in 
her  life  as  she  did  in  "An  American 
in  Paris."  She  says,  "He's  thoroughly 
professional  and  idealistic,  a  perfection- 
ist. We  rehearsed  one  number  every  day 
for  one  month.  He  created  at  least  five 
versions  before  he  was  satisfied." 

For  one  dream  sequence  in  "On  the 
Town,"  Vera-Ellen  spent  weeks  during 
the  hottest  days  of  summer  on  a  turn- 
table with  Gene,  rehearsing  strenuous 
movements  which  later  translated  to 
the  screen  as  the  gauziest  of  fantasies. 
Cyd  Charisse,  Judy  Garland — every  girl 
who  ever  worked  with  Gene — found 
him  difficult,  but  he  proved  to  them  the 
value  of  precision.  As  Gene  points  out, 
"If  a  singer  misses  a  note  on  television, 
the  audience  thinks  it  sort  of  cute.  If  a 
dancer  slips  or  slides,  the  audience  says, 
'Look  at  that  bum,  he  can't  stand  up ! '  " 

In  Jeanne,  luckily,  he  has  found 
someone  whose  sense  of  perfectionism 
matches  his  .  .  .  who  understands  the 
dancer's  need  for  discipline  .  .  .  and 
the  man's  need  for  love.  Like  him,  she 
came  from  Pittsburgh.  Like  him,  she's 
from  a  big  Irish  family.  She  loves  to 
keep  house  and  she  keeps  it  well, 
whether  it's  the  big,  rambling  Beverly 
Hills  home  or  the  little  apartment  in 
Paris.  Like  Gene,  she  has  one  foot  in 
fantasy,  and  a  perennial  child's  ability 
to  imagine.  Like  him,  she  grew  up  with 
a  dream. 

Gene's  dreams  began  in  high  school, 
Peabody  High,  where — out  of  a  student 


body  of  3700 — a  dozen  kids  got  to- 
gether to  form  an  organization  known  as 
the  Toreadors  ("bull  throwers").  "We 
were  typical  kids  of  the  '20s,"  Gene 
says.  "Our  dads  were  all  white-collar 
workers — mine  sold  records  for  Colum- 
bia— and  we  sat  around  once  a  week 
at  the  Y.M.C.A.  and  yak-yak-yak,  we 
dreamed  of  doing  big  things. 

Throwing  the   bull 

"I  was  the  only  Catholic,  the  others 
were  Protestants  and  Jews,  but  we 
could  discuss  the  tenderest  subjects  and 
understand  each  other.  We  could  even 
criticize  each  other — and  did.  The  criti- 
cisms levelled  at  me  were  usually  that 
I  was  conceited.  We  all  were.  We  were 
also  deeply  religious,  atheistic  and  ag- 
nostic, by  turns,  and  pretended  we  knew 
too  much  about  sex  to  even  discuss  it! 

"But  the  big  subject  was  the  dream 
of  what  we'd  do,  and  a  number  of  the 
fellows  made  it  to  the  dream.  Chalmers 
Roberts  is  on  the  Washington  Post 
and  winner  of  a  Pulitzer  Prize,  Leon 
Hochstetter  is  the  film  industry's  legal 
representative  in  Frankfurt,  Germany, 
and  all  the  rest  are  doing  equally  in- 
teresting things.  And.  of  course,  my 
job  chose  me." 

He'd  dreamed  of  being  a  priest  or 
lawyer.  But,  during  college,  when  he 
was  cramming  his  class  schedule  in 
from  8:30  a.m.  to  12:30  and  working 
in  a  gas  station  from  3  p.m.  until  eleven 
— for  $17.50  a  week — he  discovered  that 
his  brother  Fred  was  making  more 
money  in  two  or  three  nights  a  week, 
dancing!  They  talked  it  over,  Fred 
taught  Gene  to  tap,  and,  under  the  guid- 
ance of  their  mother,  they  worked  up 
an  act  together  and  started  the  round 
of  amateur  nights  at  local  movie  houses. 
There  were  three  prizes:  $5,  $3,  $1. 
And  Fred  and  Gene  did  well. 

On  the  side,  they  started  teaching  at 
dancing  schools,  filling  in  for  teachers 
who  were  ill.  By  the  time  Gene  was  in 
law  school,  he'd  opened  a  dancing 
school  of  his  own.  He  says  his  mother 
really  organized  it,  but  he  had  some 
novel  ideas  that  clicked.  He  gave  the 
boys  some  basketball  practice,  as  well 
as  dancing,  and  with  new  methods,  at- 
tracted a  clientele  of  dancers  who  al- 
ready knew  how  to  dance  but  wished 
more  instruction. 

That  summer  he'd  gone  to  Chicago, 
he'd  seen  the  Ballet  Russe  and  started 
studying  classical  ballet.  "I'd  seen  Pav- 
lova when  I  was  very  young,  and  had 
fallen  asleep.  But  now  I  saw  'Les 
Sylphides.'  At  one  point,  a  manly  figure 
literally  soared  onto  the  stage  and  I 
was  overwhelmed.  But  I  knew  I  couldn't 
stay  with  straight  classical  ballet,  I  had 
to  create  something  of  my  own  .  .  ." 

Nonconformist  Kelly!  He'd  been 
brought  up  in  Pittsburgh,  brought  up 
with  jazz  music  and  roughhouse,  and 
he  had  to  express  the  roots  he'd  been 
born  with.  "Beauty  is  one  thing  and 
loveliness,  too.  But  what  I  have  to  say 
can't  be  done  in  fifth  position.  I  had  to 
express  manliness  and  strength  and 
Cokes  and  hot  dogs  and  football  and 
baseball  and  jazz.  You  can't  do  it  with 
a  port  de  bras.  I  quit  school,  gave  up 
the  law  dream  and  went  to  work." 
(Continued  on   next  page) 


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He  developed  a  style  of  his  own,  he 
developed  a  wardrobe  of  his  own  .  .  . 
a  sweat  shirt  and  cap,  moccasins  in- 
stead of  ballet  slippers.  He  was  blar- 
ingly  and  blazingly  American.  He  still 
is.  Wherever  Gene's  danced,  wherever 
he's  worked,  he's  spotted  at  once  as 
American,  the  kid  from  Pittsburgh,  the 
kid  who  flung  himself  into  each  new 
challenge,  arms  and  legs  flying. 

His  dancing  school  flourished  and  all 
the  Kellys  were  in  it.  When  Gene  de- 
cided he'd  gone  as  far  as  he  could, 
that  he  wanted  to  be  a  choreographer, 
he  turned  the  school  over  to  his  family 
and  left  for  New  York.  Five  years 
there,  five  years  of  choreography  and 
dancing,  and  then  .  .  .  "Pal  Joey."  The 
kid  Kelly  had  a  style  of  his  own.  He 
was  different,  bravura — call  it  brash. 
And  he  came  out  to  Hollywood. 

He's  never  stopped  revolutionizing 
the  dance  or  the  movies,  revolutioniz- 
ing his  whole  life.  When  he  started 
acting,  people  said,  "Why  did  you  stop 


ARNESS   vs.  GRAVES 

(Continued  from  page  46) 


IIIIIIIMIIItllll 


career  when  Peter,  three  years  young- 
er, began  acting,  Pete  decided  not  to 
trade  on  the  name  and  instead  took 
"Graves" — also  a  family  name,  on  the 
maternal  side. 

If  they  are  not  seen  at  the  same 
parties,  it  is  simply  because  Jim  almost 
never  goes  to  such  affairs.  And,  on  the 
rare  occasion  when  Peter  and  his  wife 
Joan  go  out,  they  naturally  gravitate 
toward  their  own  circle  of  friends. 
Since  the  brothers'  taste  in  sports  differ 
— Pete's  a  devout  golfer  and  Jim  pre- 
fers water  sports  and  skiing — this  also 
limits  the  occasions  when  they  get  to- 
gether in  public. 

As  for  why  they  have  not  appeared 
on  the  same  shows,  both  they  and  their 
friends  insist  that  this  is  merely  an  acci- 
dent of  two  careers  straying  in  differ- 
ent directions.  Says  Peter,  "We've  often 
wished  our  careers  would  cross,  so 
that  we  could  work  together — it  would 
be  great.  But  actors  must  go  where 
their  parts  dictate,  and  Jim  and  I  like 
to  keep  busy.  We've  simply  followed 
the  line  of  least  resistance  and  gone 
where  our  jobs  have  led  us." 

"I'm  hoping  we'll  break  that  up 
soon,"  Jim  chuckles.  "I've  been  after 
Pete  to  do  a  guest  shot  on  'Gunsmoke.' 
We've  just  got  to  find  the  right  script. 
If  some  folks  are  so  anxious  for  us 
to  get  into  a  fight,  maybe  we'll  provide 
a  humdinger!" 

"Oddly  enough,"  says  Peter,  "that 
would  be  the  first  fight  Jim  and  I  ever 
had.  There's  a  good  reason  for  it,  too. 
Some  comic  recently  referred  to  us  as 
'The  Brothers  Four — they're  big  enough 
to  be  a  quartet!'  Jim  is  six-six  and  I'm 
six-three,  and  we  both  realized  at  an 
early  age  that  with  us  discretion  would 
be  the  better  part  of  valor.  Whenever 
Jim  and  I  used  to  get  mad  at  each  other, 
the  way  kids  in  one  family  will,  we'd 
take  a  second  look  at  each  other's  size 
and  come  to  the  conclusion  that  'Peace, 
it's  wonderful!'" 


dancing?"  When  he  started  directing, 
they  said,  "Why  did  you  stop  acting?" 
When  he  directs  on  Broadway  or  turns 
to  choreography  in  Paris,  they  say, 
"Why  did  you  stop  doing  movies?" 

The  fact  is,  Gene  has  stopped  noth- 
ing. Like  an  expert  fencer,  he  turns  this 
way  and  that. 

If  he  looks  serene  to  you  now,  on 
TV,  you  should  see  him  off  screen  .  .  . 
say,  when  young  Timothy  was  baptized 
by  Monsignor  Sullivan.  Pat  (Mrs. 
Peter)  Lawford  acted  as  godmother, 
Joe  Connolly  (producer  of  "Going  My 
Way")  as  godfather.  Jeanne  and  Kerry 
were  radiant — but  you  should  have  seen 
Gene!  He  was  positively  misty  in  the 
midst  of  all  this. 

Not  a  holy  terror.  Not  a  holy  man.  A 
fulfilled  man.  A  man  who  has  the 
derring-do  to  live  big. 

— Jane  Ardmore 

"Going  My  Way"  is  seen  over  ABC-TV, 
Wed.,    from    8:30    to    9:30    p.m.    edt. 

"Yeah,"  Jim  reminisces,  "we  were 
about  the  same  height  and  build  as 
we  grew  up.  I'm  three  years  older,  and 
was  taller,  but  Pete  was  husky  enough 
to  make  me  forget  any  ideas  of  exer- 
cising a  big-brotherly  authority.  But  I 
never  did  have  to  try  holding  him  in 
line.  He  was  always  the  steady  type." 

From  both  their  stories  of  the  past,  it 
becomes  clear  there  is  still  another  rea- 
son why  the  brothers  did  not  quarrel. 
They  had  no  time!  They  grew  up  in 
what  both  agree  was  the  perfect  en- 
vironment— the  outskirts  of  Minneapo- 
lis. "Ours  was  the  last  house  in  town 
before  you  hit  the  woods,"  Jim  recalls. 
"You  might  say  we  actually  lived  in 
the  outdoors.  We  were  two  miles  from 
school  and,  in  good  weather  we  walked. 
On  these  walks,  we  got  to  see  a  little  of 
nature. 

"Winters,  we  skied  to  school.  We  had 
to  do  this,  since  big  storms  sometimes 
cut  off  our  roads  and  the  streetcars 
didn't  run.  But  Pete  and  I  liked  the 
long  walk,  never  thought  it  was  an  in- 
convenience. We'd  cut  through  the 
woods  and  walk  along  Minnehaha  Creek 
— the  one  made  famous  in  'Hiawatha.'  " 

"Of  course,  it's  all  built  up  now," 
Peter  points  out.  "There's  probably  a 
school  just  around  the  corner  from 
where  we  lived.  Life  was  harder  in  those 
days.  There  weren't  so  many  gadgets 
and  devices  to  ease  the  way.  You  had 
to  exert  yourself,  use  muscle,  brain  and 
energy  to  do  things.  The  push-button 
age  hadn't  yet  arrived." 

Neither  Peter  nor  Jim  is  the  type  of 
father  who  gets  long-winded  about  the 
"good  old  days."  Each  has  three  chil- 
dren. Jim's  are  Craig,  16,  Jennie  Lee, 
12,  and  Rolf,  10.  Peter's  are  all  daugh- 
ters: Kelly,  11,  Claudia,  8,  and  Aman- 
da, 4.  When  Craig  was  recently  al- 
lowed his  own  car,  it  was  because  he 
had  helped  pay  for  it  with  his  earnings. 
Jim's  other  two— like  children  of  less 
successful  parents — go  to  school  on  a 
bus. 

"While  I  don't  make  speeches  to 
them  about  it,  I  feel  a  lot  of  kids  to- 
day are  cheated,"  Jim  explains.  "They 
miss  out  on  the  fun  of  doing  things, 


earning  things  for  themselves.  Being 
country  kids,  Pete  and  I  had  the  best 
of  it.  We  were  never  bored  or  at  loose 
ends.  City  kids  have  so  much  done  for 
them,  one  way  or  another,  they  don't 
know  where  to  look  for  activity  that 
can  amuse  them  and  keep  them  useful, 
at  the  same  time.  This  accounts  for 
some  of  the  mischief  and  juvenile  she- 
nanigans we  read  about." 

Fond  childhood  memories  of  Jim  and 
Peter  revolve  around  the  annual  sum- 
mer trips  to  the  family  cabin  in  the 
North  Woods  of  Minnesota.  They  lived 
on  an  island  there  for  almost  three 
months,  spending  their  time  hiking, 
fishing,  swimming  and  boating.  Two 
young  cousins  from  Pennsylvania  were 
usually  there,  too,  and  all  the  kids 
spent  a  great  deal  of  time  on  the  water 
in  a  sailboat.  It  is  now  an  ingrained 
source  of  pleasure  that  will  be  with 
them  to  the  end  of  their  lives.  Often, 
in  meditative  moods,  one  or  the  other 
will  still  turn  to  the  water  for  a  few 
hours  of  relaxed  thinking. 

While  on  the  island,  the  only  contact 
the  Aurness  family  had  with  the  main- 
land was  the  weekly  trips  to  buy  sup- 
plies and  fetch  the  mail.  Jim's  earliest 
ambition  was  fostered  during  these  sum- 
mers. He  wanted  to  be  a  Naval  archi- 
tect, but  gave  the  idea  up  when  he  found 
the  entrance  requirements  to  the  Massa- 
chusetts Institute  of  Technology  re- 
quired straight  A's! 

"Can  you  feature  that?"  Peter  teas- 
es. "He  starts  out,  wanting  to  spend  his 
life  on  the  sea — and  ends  up,  riding  for 
seven  years  on  the  desert  around  Dodge 
City." 

"My  first  dream  of  owning  anything 
came  in  those  days,"  Jim  recalls. 
"There's  nothing  I  wanted  so  much  as 
my  own  sailing  boat."  Recently,  he 
brought  this  dream  to  reality  when  he 
acquired  a  fifty-foot  sloop.  "Pete  and  I 
have  hopes  to  sail  it  to  Australia,  maybe 
next  year.  We'll  take  Craig  along — he's 
old  enough  to  make  the  trip." 

An  early,  watery  Graves 

Peter's  recollections  of  the  cabin,  and 
life  on  or  in  the  water,  got  off  to  a  not- 
so-happy  start.  Jim  was  six  at  the  time 
and,  glancing  about  the  dock,  suddenly 
said  to  his  mother,  "Where's  Pete?" 
Three-year-old  Pete  had  fallen  off  the 
dock  and  was  splashing  merrily  in  the 
water,  almost  ten  feet  deep.  "That  was 
the  day  he  learned  to  swim,"  laughs 
Jim.  "Not  only  swim,"  nods  Peter, 
"but  underwater!  We  were  a  couple  of 
water-rats  in  those  days,  and  nothing 
but  a  chunk  of  cold  watermelon  could 
lure  us  out  of  the  lake." 

As  a  boy,  Peter  was  called  "Padre 
Peter"  by  their  father  and  "Pod"  by 
everyone  else.  He  was  considered  the 
more  serious  of  the  boys.  Oddly,  though 
Peter  now  plays  a  devil-may-care  ad- 
venturous character  in  "Whiplash" — 
while  Jim  is  the  soul  of  stability  as 
Marshal  Dillon  of  "Gunsmoke" — it  was 
Jim  who  was  always  the  more  restless 
and  unpredictable.  He  played  hooky  as 
often  as  he  could  get  away  with  it,  and 
though  "Pod"  tagged  along  at  times, 
Jim  admits  that  his  younger  brother 
"liked  school  and  had  more  serious  in- 
terests than  I  did.  For  instance,  Pete 


was  a  great  Benny  Goodman  and  Artie 
Shaw  fan.  His  bedroom  was  plastered 
with  pictures  of  jazzmen  and  his  ambi- 
tion was  to  be  a  great  clarinet  player." 

Peter,  in  fact,  did  enroll  in  the  school 
band — but  as  soon  as  the  teacher 
glanced  at  this  fourteen-year-old  six- 
footer,  he  promptly  handed  him  a  tuba! 
"I  guess  he  figured  I  was  the  only  one 
big  enough  to  carry  the  darn  thing 
around,"  sighs  Peter.  At  fifteen,  he  was 
an  expert  at  both  clarinet  and  saxo- 
phone and  was  a  member  of  the  musi- 
cian's union.  "He  used  to  sit  in  with 
name  bands  when  they  came  to  Minne- 
apolis," Jim  proudly  recalls,  "and,  by 
sixteen,  he  had  his  own  combo  and  was 
on  Station  WNIN  as  a  radio  announcer." 

According  to  Jim,  Peter  was  not  only 
the  steadier  as  a  youth  but  "he  was  also 
the  most  popular  guy  you  ever  saw. 
Having  his  band  made  him  a  big  wheel 
on  campus,  and  I  must  say  he  was  quite 
the  ladies'  man  in  those  days." 

On  his  side,  Peter  passes  the  buck 
right  back.  "Jim  was  the  ladies'  man, 
not  me,"  he  contends.  "His  restless 
nature  appealed  to  the  girls.  At  four- 
teen, he  took  off  on  a  freight  train  and 
disappeared  into  the  big  woods  to  hunt 
and  fish.  He  swaggered  around,  looking 
romantic,  while  I  was  practicing  my 
clarinet.  Then  he  went  to  work  as  a 
logger.  This  all  added  up  to  a  guy  the 
gals  went  for." 

There  was  one  occasion  both  remem- 
ber somewhat  guiltily,  when  they  did 
come  dangerously  close  to  a  fist  fight. 
Jim  had  agreed  to  teach  Peter  to  drive 
and  they  went  out  for  a  lesson.  Peter 
shifted  into  reverse  by  mistake  and  Jim 
angrily  ordered  him  out  of  the  car  and 
took  over  control  of  the  wheel.  Peter 
was  still  arguing  heatedly  when  Jim 
started  the  car  rolling.  Peter  furiously 
leaped  on  the  running-board.  He  had 
to  hang  on  hard   as  Jim   sped  home! 

On  another  drive — a  double  date — 
Jim  allowed  Peter  to  take  the  wheel  and, 
in  pulling  into  a  gas  station,  he  knocked 
over  a  stack  of  oil  cans.  "It  caused  a 
devil  of  a  racket  and  my  whole  evening 
was  ruined.  I  was  sure  my  girl  thought 
me  a  chump  and  that  Jim  would  never 
let  me  drive  again." 

Jim  graduated  from  high  school 
shortly  after  Pearl  Harbor.  He  lost  no 
time  enlisting  in  the  Army,  after  being 
rejected  by  the  Navy  as  "too  tall." 
Here,  Peter  reveals  a  little-known  fact 
about  his  big  brother.  "Jim's  company 
was  almost  wiped  out  at  Anzio,  and  he 
himself  got  his  leg  shot  up.  The  wound 
developed  into  osteomyelitis  (bone  can- 
cer) and,  for  a  while,  he  didn't  know 
whether  he'd  lose  the  leg  or  not.  He 
spent  a  year-and-a-half  in  the  hospital 
waiting  for  it  to  mend  and,  to  this  day, 
it  bothers  him.  You'll  never  hear  Jim 
tell  about  his  war  experiences.  But 
believe  me,  he  had  them — plenty.  He 
was  a  hero." 

Jim  will  only  say,  "I'm  grateful.  It 
could  have  been  much  worse.  I  might 
have  been  playing  Chester's  part  in 
'Gunsmoke' — and  not  with  a  phony 
limp,  either." 

Peter,  after  graduation  from  high 
school,  joined  the  Air  Force,  where  he 
served  for  two  years. 

Jim  got  into  show  business  by  way 


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of  a  university  course  in  radio  announc- 
ing which  finally  grew  into  a  job  as  a 
disc  jockey.  Little-theater  productions 
occupied  him,  too.  Then  the  usual  rest- 
lessness set  in  and  he  took  off  for 
California  with  a  friend. 

"I  came  West  for  the  weather,"  he 
likes  to  say,  but  this  is  debatable.  He 
had  no  trouble  in  1946,  with  so  many 
young  actors  still  in  service,  landing  a 
part  as  Loretta  Young's  brother  in  "The 
Farmer's  Daughter."  The  film  won  an 
Oscar.  But,  by  the  time  Jim's  work  in 
it  was  completed,  the  boys  were  pouring 
back  into  town  and  Jim  could  find  no 
jobs.  "For  months,"  he  recalls,  "I  was 
a  beachcomber  living  in  a  ten-year-old 
Buick.  Then  I  joined  the  Pasadena 
Playhouse." 

It  was  while  at  the  Playhouse  that 
Jim  met  a  young  actress,  Virginia  Chap- 
man. They  fell  in  love  and  she  became 
his  wife.  The  young  couple  were  already 
crowded  into  a  small  flat  with  their  two 
babies  when  Peter  arrived  in  town, 
breathing  theatrical  hopes. 

"Jim  was  really  fine,  in  spite  of  his 
own  problems,"  says  Pete.  "I  remember 
he  met  Jack  Smight  (who's  now  a  New 
York  TV  director)  and  me  at  the  train. 
'What  the  devil  are  you  doing  here?' 
he  asked.  'The  town  is  full  of  out-of- 
work  actors.'  But  he  helped  us  find  a 
place  to  live,  showed  us  how  to  find  an 
agent  and  look  for  production  listings 
in  the  trade  papers." 

Peter  got  a  break  in  "Rogue  River" 
and,  not  long  after,  married  Joan  En- 
dress,  his  college  sweetheart.  They  are 
still  happily  married  and  live  in  Pacific 
Palisades.  Jim,  reticent  as  ever,  declines 
to  talk  about  his  two-year  separation 
from  Virginia.  "It  is  typical,  his  keep- 
ing   his    problems    to    himself,"    says 


STEVE   ALLEN 

(Continued  from  page  35) 

against  the  narcotics  traffic.  He  is  a  true 
example  of  "the  Renaissance  man"  .  .  . 
a  man  whose  interests  take  in  a  very 
broad  spectrum  indeed.  Steve's  mind 
has  embraced  everything  from  music, 
politics,  literature,  television  and  movies 
to  a  score  of  "good  causes"  ranging 
from  civil  liberties  and  the  prevention 
of  nuclear  war  to  what  has  been  de- 
scribed as  "the  running  sore  of  dope 
addiction."  According  to  his  own  ac- 
count, Steve  first  became  concerned  at 
the  "tragic  plight"  of  the  addict  about 
five  years  ago.  At  that  time,  known 
users  in  New  York  City  had  to  register 
with  the  Police  Department  and  carry 
a  card  in  order  to  hold  jobs.  Addicts 
were  treated  like  criminals. 

When  a  number  of  personalities  in 
show  business  joined  a  Citizens  Com- 
mittee to  force  an  investigation  into  this 
situation,  Steve  volunteered  his  help 
and  testified  against  the  existing  law. 
"Addiction  is  a  medical  ...  a  sociologi- 
cal problem,"  he  declared  at  the  time. 
"It  is  only  incidentally  a  police  matter. 
Laws  do  not  stop  people  with  a  com- 
pulsion to  escape  their  worries,  inse- 
curities or  fears,  from  turning  to  dope. 
On  the  other  hand.  I  don't  believe  laws 


Peter.  "Jim's  got  the  broadest  shoul- 
ders in  the  world  when  it  comes  to 
helping  other  people  with  their  burdens. 
But  he  is  no  busybody.  He  doesn't  pry. 
And  he  feels  the  same  about  his  own 
disappointments  and  setbacks." 

That  the  marshal  of  Dodge  City  is  a 
wonderful  father  and  devoted  uncle  may 
be  gathered  from  the  enthusiastic,  even 
awed,  affection  of  the  six  youngsters  in 
the  Arness  and  Graves  homes.  Peter's 
three  girls  love  nothing  so  much  as  visit- 
ing Uncle  Jim's  ranch,  where  he  is 
teaching  them  to  be  fine  horsewomen. 
And,  they  chorus,  "Big  Uncle  Jim  shows 
us  how  to  sail  on  his  Sea  Smoke  II!" 

At  Christmas,  and  other  holidays 
when  their  acting  commitments  do  not 
decree  otherwise,  both  families  get  to- 
gether at  Jim's  ranch.  Then  there  is  an 
attempt  to  make  up  for  the  lost  time  and 
for  the  distances  that  sometimes  sepa- 
rate the  brothers.  They  walk,  swim, 
ride,  and  spend  long  hours  before  the 
fire,  remembering  the  old  days,  and 
promising  to  make  every  effort  to  main- 
tain closer  contact  in  the  future.  "The 
important  thing,"  says  Peter,  "is  that  we 
be  true  brothers  in  every  sense,  without 
making  public  displays  of  it." 

"The  important  thing,"  Jim  sums  up, 
"is  that  we  are  true  brothers  .  .  . 
period." 

Which  definitely  seems  to  prove  that 
Hollywood's  tallest  feud  is  actually  one 
of  the  tallest  stories  of  all  time! 

— Kathleen  Post 

See  Jim  in  "Gunsmoke,"  Sat.,  10  to  11 
p.m.,  and  "Marshal  Dillon,"  on  Tues., 
at  7:30  p.m.— both  edt,  over  CBS-TV. 
See  Peter  in  "Fury,"  on  NBC-TV,  Sat., 
11  a.m.  edt — and  "Whiplash"  (check 
local   papers   for   stations  and   times). 


against  the  smuggling  or  pushing  of 
dope  can  be  strong  enough!  The  tough- 
er the  laws  in  this  respect,  the  better. 

"It's  sad  but  true  that  this  narcotics 
racket  is  highly  profitable.  It  enriches 
a  lot  of  unscrupulous  people — including 
certain  'respectable'  businessmen  whom 
nobody  would  suspect  of  wrenching 
money  out  of  the  suffering  of  their  fel- 
low human  beings.  Let's  go  after  the 
real  criminals  who  traffic  in  dope  with 
the  big  stick.  But  let's  not  lose  our 
compassion — and  even  more  important 
— our  understanding  of  those  who  have 
fallen  into  the  trap  ...  the  sick,  un- 
happy, tortured  victims  of  this  destruc- 
tive habit." 

As  Steve  now  points  out:  "There 
is  a  sad  misconception  about  those  who 
go  the  narcotics  route.  Too  often,  the 
habit  has  been  associated  with  mu- 
sicians, artists  and  the  like.  Actually, 
there  are  more  doctors  who  take  dope 
than  musicians.  Why  this  should  be,  I 
don't  know.  Perhaps  narcotics  are  more 
available  to  doctors.  Possibly  they  get 
hooked  by  experimenting  with  the 
drugs.  I  will  say  that  most  medical  men 
who  become  users  lose  no  time  going 
into  'withdrawal.'  In  this  way,  they 
avoid  the  horrible  deterioration  that's 
sure  to  result. 

"It's  also  believed — and  this,  I  think, 
is  true — that  addicts  are  too  high-strung 
and    sensitive.    Because    they're    easily 


hurt  or  discouraged,  they  seek  some 
form  of  quick  escape  or  relief.  Some 
such  emotionally  upset  types  may  turn 
to  alcohol  instead  of  drugs,  still  others, 
finding  no  relief  in  anything,  break 
down  completely.  Unfortunately,  there 
is  no  one  source  of  the  trouble.  Each 
person's  emotional  crisis  is  peculiar  to 
himself. 

"Yet  there  are  certain  weapons  use- 
ful in  the  fight  against  this  scourge.  I 
am  thinking  particularly  of  Synanon. 
This  organization's  purpose  is  to  help 
addicts  who  wish  to  help  themselves. 
As  anyone  with  any  knowledge  of  the 
narcotics  problem  knows,  the  first  step 
toward  a  cure  is  the  desire  to  help 
oneself." 

"Synanon"  is  a  new  word  in  the  lan- 
guage of  therapy.  But,  if  its  backers 
have  their  wish,  it  will  some  day  offer 
as  much  hope  and  meaning  to  addicts 
as  Alcoholics  Anonymous  does  to 
drunks.  It  is  already  becoming  the  flag 
around  which  these  unfortunates  with 
the  monkey  on  their  backs  can  rally. 
Synanon  not  only  has  a  base  of  opera- 
tions— Synanon  House  in  Santa  Monica, 
California — but  methods  and  an  atti- 
tude rooted  in  hard-rock  experience. 

The  "home,"  at  present,  is  in  an  old 
armory  on  the  beach  with  a  fine  view  of 
the  blue  Pacific.  It  has  given  refuge  to 
as  many  as  eighty-five  addicts  at  one 
time  but  can  make  room  for  more,  if 
need  be. 

Addicts  sign  themselves  in  as  "guests" 
for  at  least  a  month  and,  after  a  "gut- 
level"  interview,  pledge  to  go  off  the 
stuff  "cold  turkey."  There  is  no  half- 
way measure.  The  guest  obeys  the 
"hands  off  drugs"  ruling  or  he  leaves. 
No  restraint  is  put  on  him,  if  he  feels 
he  can't  get  along  without  drugs  and 
wants  to  leave.  But  everything  short  of 
drugs  is  given  to  encourage  him  to  stay. 

He  is  admitted  to  group  discussions 
as  an  aid  to  the  therapy.  These  discus- 
sions are  sometimes  called  "seminars" 
and  it  is  typical  of  the  goodhumored, 
even  lighthearted  mood  of  the  "inmates" 
— as  they  wryly  refer  to  themselves — 
that,  when  one  of  the  first  guests  hap- 
pened to  mispronounce  "seminar"  and 
called  it  "synanon,"  the  others  gleefully 
took  this  up  as  their  name. 

"You  can  sum  up  Synanon  very  sim- 
ply," says  Steve  Allen.  "It's  an  open 
door  that  swings  both  ways.  Race,  creed, 
sex,  color  or  station  in  life  counts  for 
nothing  at  Synanon.  Their  door  is  wide 
enough  to  admit  any  human  being, 
caught  in  the  narcotics  trap,  who's  set 
on  kicking  the  habit,  on  climbing  back 
into  decent  society." 

The  torture— and  the  rewards 

If  Synanon  fulfills  the  promise  of  the 
present,  it  will  be  largely  because  of  its 
founder  and  moving  spirit,  Charles  E. 
("Chuck")  Dederich.  It  was  in  his  home 
that  the  first  small  group  of  addicts  met 
to  talk  out  their  problems  and  seek  help. 
And  he  played  a  major  role  in  the  de- 
velopment of  the  methods  and  policy. 

"We've  been  remarkably  successful 
with  our  approach  to  the  problem,"  he 
says.  "We've  had  quite  a  few  people 
come  down  to  study  and  write  about 
our  work,  including  some  psychiatrists 


and  psychologists.  All  of  us  at  Synanon 
have  been  giving  our  best  to  the  men 
and  women  here,  and  I  can't  start  to 
describe  the  feeling  of  accomplishment 
and  relief  we  share  with  the  addict  who 
succeeds  in  kicking  the  habit.  It's  just 
as  if  we  passed  through  the  torture  of 
withdrawal  with  him.  I  suppose,  in  a 
sense,  we  did." 

In  spite  of  his  pride  in  the  organiza- 
tion, Dederich  clearly  takes  a  practical 
view  of  the  inmates:  "We're  well  aware 
that  many  of  them  turn  to  us  only  when 
the  law  is  breathing  down  their  necks. 
Some  have  served  time  in  Federal  hos- 
pitals 'drying  out,'  but  the  treatment 
didn't  last — possibly  because  there  was 
no  time  to  dig  into  the  depths  of  their 
psychological  and  emotional  troubles. 
We  have  no  illusions  about  this.  There 
are  women  who've  come  to  us  for  help 
only  when  they  were  one  step  from 
prostitution.  Dope  is  a  very  expensive 
hobby.  Synanon  House  gives  them  a 
haven,  a  little  time  to  gather  their  wits 
and  their  courage,  to  find  themselves 
again,  to  patch  up  a  world  that  was 
about  to  fall  apart." 

Steve  explains  that  he  got  interested 
in  Synanon  "after  reading  an  article 
which  gave  the  impression  that  all  jazz 
musicians  were  addicts.  I  began  looking 
into  the  subject,  and  that's  how  I  ran 
into  the  work  of  Chuck  Dederich.  I  want 
to  say,  right  now,  that  people  from  every 
trade  or  profession  are  candidates  for 
the  habit.  Let  me  add  that  Synanon 
is  getting  support  from  people  in  all 
these  walks  of  life! 

"There  are  entertainers  like  myself, 
my  wife  Jayne  Meadows,  singers  like 
Oscar  Brown  Jr.  and  Anita  O'Day,  pro- 
ducers like  Jed  Harris,  writers  like  Ray 
Bradbury  and  Rod  Serling,  and  so  on. 
Contributions  are  coming  in  from  all  of 
them,  but  the  work  has  really  just 
started." 

Aside  from  cash  offerings,  Steve  and 
Jayne  back  Synanon  in  other  ways. 
When  they  went  hunting,  they  returned 
with  a  freezer  filled  with  antelope  meat 
and  donated  it  to  the  "home."  At  Easter- 
time,  they  invited  the  children  of  in- 
mates— about  fifteen  boys  and  girls 
living  at  Synanon  with  their  mothers — 
and  hosted  an  egg-roll  and  party. 

The  day  after  Marilyn  Monroe's 
death  from  an  overdose  of  sleeping  pills, 
Steve  was  asked  for  a  comment.  Shak- 
ing his  head  sadly,  he  remarked,  "Our 
tears  for  that  warm,  beautiful,  unhappy 
girl  will  be  wasted  unless  we  learn 
something  from  her  tragedy.  Obviously, 
she  was  in  need  of  help,  real  help — 
the  kind  of  sympathetic  understanding 
offered  by  the  dedicated  members  of 
Synanon.  All  she  got  was  drugs,  to  calm 
her  nerves,  to  give  her  energy  when  she 
was  tired  and  bewildered,  to  escape  her 
problems  in  sleep.  Believe  me,  there  are 
thousands  of  girls  like  Marilyn  who  are 
crying  'Help!'  in  their  hearts  this  very 
minute.  But  it's  like  shouting  down  a 
dark  tunnel  with  nobody  there  to  listen 
or  answer  the  appeal.  .  .  ." 

Furthering  rehabilitation  by  giving 
the  ex-addicts  jobs  is  strongly  urged  by 
Synanon.  Steve  has  showed  the  way  in 
this  by  asking  the  Synanon  jazz  combo 
to  appear  on  "Jazz  Scene,  U.S.A.,"  a 
new  series  his  Meadowlane  Productions 


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is  making  at  Desilu  Studios  for  syndi- 
cation. Leader  of  this  combo  of  ex- 
junkies  is  Arnold  Ross,  a  forty-year- 
old  pianist  and  graduate  of  Synanon — 
now  so  tanned,  fit  and  gainfully  em- 
ployed (as  a  truck  driver)  that  it's  hard 
to  believe  this  one-time  member  of  the 
Glenn  Miller  and  Harry  James  bands 
was  arrested  three  times  as  a  "user," 
served  a  hitch  at  Camarillo,  a  state  in- 
stitution, and  tried  to  commit  suicide 
while  on  heroin!  The  combo,  in  a  ges- 
ture that  spoke  louder  than  words  or 
music,  donated  the  money  they  earned 
on  the  Allen  show  to  Synanon. 

"People  are  only  starting  to  get  in- 
terested in  this  good  cause,"  Steve 
points  out.  "Chuck  tells  me  they  are 
getting  requests  from  all  parts  of  the 
country,  asking  for  information  about 
the  movement  and  how  to  help  it  along. 
Naturally,  every  citizen  worth  his  salt 
wants  to  wipe  out  this  horror  of  dope 
addiction.  But  how?  That's  where  Syn- 
anon comes  in.  You  can  help  by  sup- 
porting this  organization.  Follow  its 
methods  and  advice.  If  you're  in  a  posi- 
tion to  hire,  take  a  chance  on  a  cured 
addict  and  give  him  or  her  a  job. 

"But  perhaps  the  most  important 
thing  we  can  do  is  to  surround  our  kids 


IMIIIIIIHIIIIiMIIIUI 


CLINT   EASTWOOD 

(Continued  from  page  57) 

contented  pussycat.  "It  was  a  training 
thing,  yeah,"  Clint  said  unabashedly. 
"The  whole  marriage  relationship  con- 
sisted of  learning  about  one  another. 
One  thing  Mag  had  to  learn  about  me 
was  that  I  was  going  to  do  as  I  pleased. 
She  had  to  accept  that — because  if  she 
didn't,  we  wouldn't  be  married. 

"I'm  gonna  run  the  show,  you  know," 
he  said  laconically.  "That's  pretty  well 
laid  out.  That's  cut  and  dried.  She's 
stuck  with  it.  A  man  either  runs  the 
show  or  not.  Unless  I'm  staying  home 
and  she's  supporting  me  or  something — 
then  I  shouldn't  be  running  the  show." 

A  case  in  point,  during  the  tender 
years  of  their  matrimony,  was  when 
Clint  airily  dismissed  Mag's  misgivings 
and  went  ahead  with  his  acting  career. 

"Everybody  recommended  against  it, 
including  Mag,"  he  recalled.  "She 
didn't  want  any  part  of  it.  She  was  al- 
ways reading  in  the  columns  about 
actors  and  actresses  getting  divorced.  I 
guess  she  didn't  want  her  marriage  ex- 
posed to  that  kind  of  thing.  I  was  going 
to  college  at  the  time,  and  she  would 
rather  have  had  me  continue." 

That  was  when  Clint  decided  to  set 
up  a  basic  marriage  standard — or 
double  standard.  Whenever  there  was  a 
difference  of  opinion,  his  would  prevail. 

"I  have  a  very  bad  temper,"  Clint 
acknowledged,  "and  I  do  what  I  want 
to  do — which  is  another  thing  a  lot  of 
women  will  never  put  up  with.  If  I  want 
to  go  somewhere,  I  go  somewhere.  If  I 
want  her  to  go,  I  want  her  to  go.  If  I 
don't  want  her  to  go,  I  don't!" 

As  a  redeeming  feature,  Clint  has 
consistently  accorded  his  wife  the  same 
privileges.  "There's  never  been  any 
jealousy  in  the  marriage  or   anything 


at  home  with  the  security  that  comes 
from  love,  setting  a  good  example  by  our 
own  behavior,  and  from  careful  educa- 
tion on  the  miserable  consequences  of 
taking  dope.  In  this  respect,  I  want  to 
thank  TV  Radio  Mirror  for  taking  such 
interest  in  the  problem,  I  hope  all  its 
readers  look  into  the  subject  of  addic- 
tion, lend  their  help  to  stiffen  the  laws 
against  smuggling  and  pushing  dope, 
and  contribute  to  the  work  of  Synanon. 
I  hope  this  will  happen  especially  with 
the  teenagers  who  are  a  target  for 
criminals  who  sell  dope  and  try  to  make 
it  seem  glamorous  and  thrilling. 

"Dope  is  not  glamorous,  exciting — or 
even  fun.  It's  not  fun  to  have  a  tooth- 
ache. Imagine,  then,  a  toothache  multi- 
plied a  hundred  times  over  and  spread 
throughout  your  body,  mind  and  soul! 
Who  in  their  right  mind  would  want  to 
let  this  pain  go  on?  Addiction  is  a  hell 
on  earth,  and  God  grant  the  time  will 
soon  come  when  not  even  one  human 
being  will  have  to  live  in  that  hell.  .  .  ." 
— Eunice  Field 

"The  Steve  Allen  Show,"  a  Westing- 
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like  that,"  he  said.  "She  can  go  any- 
where she  wants  to.  If  she  wants  to  go 
away  for  a  weekend  to  Vegas  or  Palm 
Springs,  she  can  go.  I  trust  her.  If  she 
feels  bugged,  if  she  feels  like  getting 
away  by  herself,  I'm  not  so  egotistical 
that  I  think  I'm  the  greatest  person  to 
be  around  all  the  time." 

When  the  shoe  is  on  Clint's  foot,  he 
takes  off  without  ceremony — or  apology. 
"I  throw  my  golf  clubs  in  the  back  of 
my  car  and  I'm  off.  One  time,  I  was 
tired  of  working  and  tired  of  anything 
to  do  with  the  job.  I  jumped  in  the  car, 
went  to  Yosemite,  down  across  Mon- 
terey and  to  a  jazz  festival.  I  have  a 
nature,  when  my  mind's  made  up,  I  just 
do  what  I  want  to  do." 

Recently,  Mag  found  herself  a  tele- 
vision widow  again  when  Clint  em- 
barked on  a  personal-appearance  tour 
of  the  Orient  with  "Rawhide"  co-star 
Eric  Fleming  and  Paul  (Wishbone) 
Brinegar.  There  was  no  budget  to  take 
Mag  along — but  Clint  bluntly  admitted 
he'd    have    left    her    behind,    anyway. 

"To  tell  you  the  truth,"  he  said,  "I 
just  didn't  want  her  along.  I  just  felt 
like  going  myself.  We  were  going  to  be 
in  parades  all  the  time,  and  they  had 
a  terrifically  tight  agenda  set  up,  and 
I  just  didn't  want  to  be  involved  with 
having  to  look  out  for  somebody  else 
that  was  going  to  be  touristing  around. 
It  might  be  a  pleasure  for  her,  but  it 
wouldn't  be  a  pleasure  for  me. 

"A  lot  of  women  would  feel  perse- 
cuted if  they  were  excluded  from  some 
part  of  your  life,"  he  realized.  "You 
know — they'd  get  the  big  persecution 
deal  and  go  around  moping  all  the 
time.  Maybe  Mag  does,  too.  But  if  she 
does,  she  doesn't  do  it  in  front  of  me. 
I  get  a  lot  of  one-way  about  an  awful 
lot  of  things,  I  guess." 

Even  in  that  mood  of  searingly  frank 
reflection,  Clint  was  not  overcome  by 
remorse.  He  was  convinced  that  Mag 


I 


had  found  contentment  at  least  match- 
ing his  own  and  that,  if  anything,  his 
marriage  had  thrived  because  of  his 
caveman  tactics. 

"I  definitely  feel  I  would  never  have 
been  married  this  long  if  I  had  been  at 
all  wishy-washy,"  Clint  said,  untroubled. 
"If  I  hadn't  been  the  way  I  am,  I  prob- 
ably wouldn't  have  made  it  with  all  the 
pressures.  Women  love  this  much  more 
in  the  long  run,  and  there's  not  a  woman 
in  the  world  who  won't  admit  it  if  you 
pin  her  down. 

"When  women  are  running  the  ship 
completely,  they  might  think  they  like 
it.  But  really,  underneath,  they're  pretty 
unsolid  about  everything.  If  they  feel 
they're  running  the  show,  they  wonder, 
Gee,  what  happens  if  something  goes 
wrong?  Then  they're  left  by  them- 
selves." 

During  the  first  years — when  his  mar- 
riage was  a  catastrophe — Clint  pitched 
in  on  the  chores.  But,  even  then,  he 
never  let  Mag  get  any  ideas  that  he  was 
trading  in  his  trousers  for  an  apron  just 
because  he  got  alongside  her  in  the 
kitchen.  "She'd  come  home  tired  and 
I'd  come  home  tired,"  he  explained,  "so 
we'd  split  it  all  down  the  middle.  When 
I  had  time  off,  I  did  the  housework. 
When  she  had  time  off,  she  did  it.  I'd 
cook  half  the  meals.  It  was  strictly  fifty- 
fifty,  so  far  as  that  type  of  thing  went. 

"But  I  still  always  made  the  de- 
cisions. Doing  chores  didn't  bother  me 
because  I  always  did  'em  for  myself, 
anyway.  It  was  like  being  a  bachelor 
again.  I've  never  been  defensive  about 
masculinity.  I  never  thought  about  it." 

Clint  really  dug  his  spurs  into  the 
subject  of  men  who,  unlike  himself, 
permitted  themselves  to  be  dominated 
by  their  wives.  "Nowadays,  it  seems  a 
lot  of  gals  come  from  a  family  where 
the  mother  might  be  the  dominating 
factor.  They  just  grow  up  to  think  this 
is  the  way  it's  supposed  to  be.  Then, 
when  they  marry  some  guy  and  he 
rebels — they  can't  understand  it.  They 
think  something's  wrong  with  him." 

Clint  not  only  insists  on  running  the 
show — he  insists  on  running  a  show 
that  is  not  sloppy.  Clint  avoids  overt 
demonstrations  of  affection  as  though 
it  were  against  his  religion.  He  might 
weaken  on  an  anniversary  or  birthday, 
by  coming  up  with  a  mink  coat  or  a  red 
Cadillac  hardtop  for  Mag,  but  he  covers 
up  his  emotion  by  making  a  crack  about 
how  long  he  expects  it  to  last  he*. 

"I'm  not  terribly  sentimental,"  he 
affirmed.  "It  gets  maudlin,  making  a 
Federal  case  out  of  something.  That's 
my  pet  peeve." 

Of  course,  there  was  the  time  Mag 
was  hospitalized  with  a  critical  case  of 
hepatitis  and  the  doctor  said  she  was  as 
ill  as  anyone  could  get  without  dying. 
Clint  was  worried  stiff  then.  No  matter 
how  late  he  worked,  he  dropped  by.  He 
kept  phoning  at  all  times  of  the  day  and 
night,  and  he  sent  a  steady  stream  of 
flowers  to  Mag's  room. 

"You  don't  appreciate  some  things 
until  they  look  like  they  might  be 
shaky,"  he  allowed,  with  typical  under- 
statement. "She  was  pretty  shaky,  I 
guess.  When  she  came  out  all  right  from 
that,  it  was  pretty  good." 

Clint    was    never    more    jubilant    or 


thankful  than  the  day  he  brought  Mag 
home  from  the  hospital.  But  even  an 
event  of  that  magnitude  was  not  suffi- 
cient to  break  open  the  padlock  he 
keeps  on  his  emotions.  "I  just  brought 
her  home,"  he  drawled,  "and  I  figured 
she'd  be  so  happy  to  be  out  of  the  hos- 
pital that  she'd  be  glad  to  be  home  and 
clean  the  house." 

Unreconstructed  and  unreformed, 
Clint  Eastwood  had  a  warm  sparkle  in 
his  eyes  as  he  gave  his  wife  her  due  for 
having  the  sense  to  know  when  she  was 
overpowered,  and  having  the  grace — as 
well  as  the  charity — to  accept  him  as 
he  was. 

"I  feel  that  she's  a  lot  sharper  than 
she  was  a  few  years  back,"  he  said  mag- 
nanimously. "Mag's  not  a  dumb  girl. 
She's  learned  to  understand  me  and 
she's  learned  to  accept  some  of  my 
faults.  When  I  find  somebody  who  ac- 
cepts some  of  my  faults,  then  I  figure 
I  really  found  a  gem." 

There  was  even  more  praise  where 
that  came  from — although  tempered,  to 
be  sure,  in  Clint's  own  laconic  idiom. 
He  had  especially  approving  words  for 
Mag  because  of  the  way  she  stood  by 
him  during  the  dog  days  of  his  acting 
career.  "I  wasn't  able  to  get  a  job.  We 
had  trouble  buying  groceries.  She  stuck 
by  me  pretty  well  when  we  had  it  low. 
The  best  thing  she  probably  did — she 
kept  her  mouth  shut." 

Then  Clint  really  got  going  on  Mag's 
good  points.  "She's  real,"  he  said  ap- 
preciatively. "A  lot  of  times  she  says 
what  she  thinks,  which  is  good  and 
bad.  She's  not  a  phony.  She's  honest — 
as  close  to  being  totally  honest  as  any 
person   I've   ever   met.   I   respect   this. 

"We  still  argue  now  and  then.  We 
have  some  beauts.  And  when  we  do,  you 
can  hear  it  around  a  few  blocks.  But," 
he  added  expansively,  "she's  as  good  a 
wife  as  you  can  get." 

Clint  wasn't  the  least  bit  vague  about 
what  was  entailed  in  Mag's  measuring 
up  to  his  expectations. 

"She  must  not  get  jealous  about  the 
fact  that  I'm  constantly  exposed  to  a 
lot  of  feminine  creatures.  And  she  has 
to  know  enough  to  keep  her  mouth  shut 
when  I'm  having  troubles." 

Clint  thought  about  it  judiciously. 
Then  he  looked  up  with  an  agreeable 
smile.  "For  the  most  part,"  he  nodded, 
satisfied,  "Mag  passes  all  that." 

As  for  Clint  Eastwood's  wife,  there 
is  much  to  suggest  that  Mag  has  been 
on  to  him  all  along. 

One  afternoon  recently,  Clint  was 
bemoaning  the  fact  that  it  was  four 
years  since  he  had  played  a  "heavy." 
He  said  that  he  would  like  to  dig  his 
teeth  into  a  nice,  meaty  part  as  a  villain. 

"Yeah,"  Mag  drawled.  "Wouldn't  that 
be  type  casting?  You  could  play  your- 
self." 

There  must  be  some  rewards  for  such 
bravery — and  Hollywood's  most  out- 
spoken wife-tamer  admitted  to  one  of 
them  which  means  a  lot. 

"Sure,  I  tell  Mag  I  love  her,"  he  said, 
with  a  crimson  flush  of  embarrassment. 
"I'm  that  emotional.  I'm  not  that  re- 
served!" — William  Tusher 

Clint  is  Rowdy  Yates  in  "Rawhide,"  on 
CBS-TV,  Fri.,  7:30  to  8:30  p.m.  edt. 


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BILLY   GRAY 

(Continued  from  page  33) 

"The  sack  contained  the  remains  of 
a  lid  or  can  of  marijuana  that  I  had 
acquired  four  or  five  months  ago  and 
the  only  reason  that  it  wasn't  thrown 
away  is  that  I  had  forgotten  about  it. 
I  don't  remember  how  long  it  had  lain 
there  or  why  I  put  it  there.  I  am  not 
looking  for  an  excuse  for  my  behavior 
or  attempting  to  throw  the  blame  on 
parties  other  than  myself  but  simply 
trying  to  be  objective  enough  to  view 
myself  and  my  motivation  without  bias. 
My  childhood  from  six  years  of  age  was 
one  marked  by  heavy  responsibility.  My 
mother  and  father  had  parted,  and  I 
became  'the  man  of  the  house'  and  'the 
breadwinner.' " 

You  just  sit  in  a  probation  examiner's 
office  and  try  to  keep  from  trembling 
while  you  answer  his  questions. 

Yes,  at  the  age  of  six.  to  support  your 
family — which  consisted  of  your  moth- 
er, an  older  brother  and  an  older  sister 
— you  became  an  actor. 

Yes,  you  were  quite  successful  as 
an  actor  when  you  were  a  child. 

Successful  as  an  actor!  Oh  yes,  you 
were  successful  as  an  actor.  So  suc- 
cessful at  becoming  other  people  that 
you  could  jiever  quite  figure  out  who 
you  were.  Maybe  that  was  why  what 
happened  happened.  Maybe  you  even- 
tually had  to  do  something  to  prove 
who  you  were.  Maybe  you  had  to  prove 
that  there  was  someone  named  Billy 
Gray,  someone  who  really  existed  at 
night  after  the  arc  lights  were  turned 
off  and  the  cameras  were  turned  off 
and  all  those  other  little  boys  were 
tucked  away  in  their  cans  of  film. 

On  September  8,  1952 — when  he  was 
14  years  old — Billy  Gray  was  declared 
a  ward  of  the  Juvenile  Court  and  re- 
leased to  his  mother  on  probation. 

He  had  entered  a  Department  of 
Recreation  auditorium  with  the  "intent 
to  commit  burglary."  Yet  he  did  not 
commit  burglary.  In  the  auditorium  he 
found  himself  unable  to  steal  anything. 

A  little  over  a  year  later — on  No- 
vember 30,  1953 — he  was  considered  to 
have  made  "a  satisfactory  adjustment 
on  probation"  and  the  case  was  dis- 
missed. 

By  this  time,  he  had  been  hired  to. 
join  the  family  that  was  to  be  his  family 
for  the  next  six  years — the  amazingly 
successful  television  family  of  "Father 
Knows  Best."  He  was  16  years  old  and 
he  was  to  play  Bud,  the  middle  of  three 
children  and  the  only  boy. 

As  awkward,  engaging,  teen-age  Bud, 
Billy  Gray's  biggest  moral  problems 
were  how  to  keep  a  date  with  two  girls 
for  the  same  dance  or  whether  to  re- 
port himself  for  accidentally  cheating 
on  a  test.  It  is  a  measure  of  Billy  Gray's 
talent  that  he  was  touchingly  convinc- 
ing as  Bud.  Bud  was  disciplined,  re- 
sponsible, well-loved,  and  he  lived  a 
life  that  Billy  Gray  had  never  known. 
Billy  Gray's  years  as  Bud  were  an  irony 
made  all  the  more  painful  by  the  dif- 
ferent world  to  which  he  returned  each 
night. 

Even  at  the  beginning,  Billy  was  mak- 
ing several  hundred  dollars  each  week, 


but  it  was  much  too  late  for  money  to 
make  up  for  the  lack  of  other  things. 
As  his  television  mother,  Jane  Wyatt, 
was  to  write  of  him  eight  years  later, 
in  an  attempt  to  keep  him  out  of  jail, 
"Nothing  seems  to  make  up  for  a  shat- 
tered childhood  with  love  denied." 

On  March  15,  1954,  he  was  again  de- 
clared a  ward  of  the  Juvenile  Court.  He 
had  stolen  some  motorcycle  parts;  had 
taken  a  1950  Oldsmobile  for  a  joy- 
ride;  had  stolen  three  blankets,  a  mat- 
tress, and  nine  dollars  from  a  motel; 
and  admitted  smoking  six  marijuana 
cigarettes. 

The  probation  officer  who  investigated 
felt  that  "a  lack  of  guidance  from  his 
father,"  "rejection  by  his  stepfather," 
and  "lax  discipline  by  his  mother"  had 
been  important  causes  of  his  reappear- 
ance in  court.  However,  he  was  again 
released  to  his  mother. 

A  year  later,  he  was  reprimanded  by 
the  Court  because  of  several  traffic  vio- 
lations and  once  again  returned  home 
on  probation.  Again  the  probation  re- 
ports characterized  his  mother  as  "in- 
effective" in  helping  him.  But  this  time 
his  older  brother  and  sister  tried  to 
supply  the  missing  supervision  and 
guidance,  and  he  was  only  once  more 
in  trouble — for  driving  with  a  sus- 
pended license— during  the  next  six 
years.  Then  .  .  . 

"After  steady  employment  for  six 
years,  I  found  myself  out  of  a  job,  ex- 
tremely lonely,  and  having  much  free 
time.  I  did  not  use  the  time  altogether 
constructively." 

You  sit  in  a  probation  examiner's 
office  and  try  to  answer  his  questions. 

What  did  it  feel  like  when  they  told 
you  there  wasn't  going  to  be  any  more 
"Father  Knows  Best"?  Funny,  you 
didn't  think  about  the  money  at  all.  You 
thought  about  your  family,  your  family. 
Your  father  and  your  two  sisters  and 
— most  of  all — Jane  Wyatt.  your  moth- 
er. What  did  it  feel  like?  What  does 
it  feel  like  to  be  told  you  don't  have 
a  family  any  more?  What  does  it  feel 
like  to  have  someone  kill  your  family? 

What  does  it  feel  like  to  look  for  an- 
other job  and  to  discover  that  the  boy- 
ish face  and  short,  slender  body  that 
made  you  so  successful  as  a  child  actor 
are  worse  than  useless  now?  Because 
now  you  are  21  years  old  and  suddenly 
you're  supposed  to  be  tall  and  broad- 
shouldered.  What  does  it  feel  like  to 
walk  into  a  hundred  offices  and  be  told 
the  same  thing.  "You're  a  good  actor, 
Billy.  I  know  you  could  do  it.  But 
we've  got  to  have  someone  taller,  some- 
one who  looks  older." 

He  had  used  marijuana  a  few  times 
when  he  was  16.  For  kicks.  Now  he 
turned  to  it  once  again.  But  this  time 
he  needed  more  than  kicks.  This  time 
he  needed  to  escape  from  a  frighten- 
ing world. 

"/  met  some  people  at  the  beach. 
They  didn't  become  my  personal 
friends,  but  they  did  have  a  source  of 
supply.  If  I  felt  depressed  or  if  things 
weren't  going  just  right,  instead  of  get- 
ting drunk  I  would  smoke  a  marijuana 
cigarette.  My  threshold  is  quite  low. 
Over  a  couple  of  years — on  and  off — 
/  probably  didn't  average  more  than 
a  couple  of  marijuana  cigarettes  a  week. 
Sometimes  I  used  it  more  intensively." 


But  just  escaping  wasn't  enough.  He 
needed  more  than  escape.  He  had  lost 
his  family  and  he  needed  someone. 

He  married  20-year-old  Paula  Quar- 
nali,  an  Italian  exchange  student.  After 
their  separation,  he  felt  even  more 
alone.  Yet  even  in  his  emotional  agony, 
he  was  wise  enough  not  to  graduate  to 
sleeping  pills  or  heroin;  and  he  only 
used  benzedrine  occasionally.  And  even- 
tually he  had  guts  enough  to  try  to  stop 
destroying  himself.  He  asked  for  help. 

"After  two  years  of  individual  thera- 
py with  .  .  .  a  clinical  psychologist,  1 
began  to  get  a  clearer  view  of  my  prob- 
lems and  also  started  doing  something 
about  them. 

"1  enrolled  at  Los  Angeles  City  Col- 
lege and  spent  one  and  a  half  semesters 
studying  and  actually  enjoying  the  fact 
that  I  was  applying  myself.  My  rela- 
tionship with  my  family  improved  to 
the   point  of   understanding  and  love. 

"In  general  this  period  was  one  of 
awakening  to  my  potential  as  a  human 
being.  Although  during  this  time  I  had 
smoked  marijuana,  its  use  was  becoming 
less  and  less  frequent.  The  seeds  [found 
in  his  car  at  the  time  of  his  arrest] 
were  from  the  last  marijuana  I  had 
acquired.  In  the  six  months  previous 
to  my  arrest  I  had  been  very  uncom- 
fortable whenever  I  was  smoking  it. 

"Evidently  the  need  or  needs  that 
encouraged  the  use  of  it  in  the  past  was 
gone.  I  had  proved  to  myself  that 
through  determination  and  concentra- 
tion I  could  accomplish  things  that  I 
am  proud  of.  I  realized  for  some  time 
that  whenever  I  smoked  marijuana  it 
is  not  something  I  can  be  proud  of." 

But  it  takes  time  to  understand  your- 
self. It  takes  time  to  change.  Days  of 
time.  Months  of  time.  Years  of  time. 
And  at  2:45  a.m.  on  Sunday,  March 
25,  1962,  time  ran  out  for  Billy  Gray. 

Trapped 

Deputy  Sheriff  William  G.  Burke 
and  his  partner,  Robert  Carroll,  watched 
a  1957  Oldsmobile  drive  slowly  and 
"erratically"  up  Gardner  Street  in  West 
Hollywood.  Carroll  looked  at  Burke. 
Burke  nodded.  And  they  glided  silently 
behind  the  other  car. 

What  does  it  feel  like  to  be  trapped? 
What  does  it  feel  like  to  live  out  your 
nightmares? 

You  get  out  of  your  car  and  stand 
blinking  in  the  middle  of  the  street. 
One  of  the  officers  scribbles  something 
in  his  book.  You  discover  later  that  it 
is  a  note  that  you  got  out  of  your  car 
with  "a  slow  and  staggering  motion." 

They  flash  a  light  in  your  eyes  and 
make  another  note  that  your  pupils 
failed  to  react.  You're  suddenly  aware 
that  your  pants  are  wrinkled,  and  you 
try  to  brush  the  wrinkles  out.  But  they 
have  already  noticed  your  clothes.  They 
have  already  made  their  notes  about  "a 
heavy  odor  of  alcohol"  and  a  "strong, 
musty  odor."  When  they  ask  you  to 
show  them  your  driver's  license,  you 
open  your  wallet  and  your  hands  trem- 
ble. And  in  their  notes  you  "fumbled 
open"  your  wallet  "and  then  stopped 
as  if  in  a  daze." 

Suddenly  the  silence  is  unbearable. 
You   have  to   say   something.  You  tell 


them  that  you  had  been  drinking  a  few 
beers,  that  you  were  on  your  way  to 
a  party. 

But  Officer  Burke  merely  walks  past 
you  and  opens  the  door  of  your  car. 
He  notices  a  white  plastic  bag  under 
the  driver's  seat.  He  smells  a  heavy 
strong  odor  which  he  suspects  is  mari- 
juana. He  puts  the  bag  carefully  away 
and  then  he  turns  to  you. 

"All  right,  son,"  he  says.  "You'd 
better  come  along  with  us." 

While  you  wait,  the  bag  with  its  eight 
grams  of  loose  green  seeds,  stems,  flow- 
ering tops,  and  leaf  fragments  is  taken 
to  the  crime  laboratory  for  analysis. 
The  analysis  confirms  what  the  officer 
suspected.  Each  and  every  one  of  these 
items  is  marijuana. 

What  does  it  feel  like  to  be  trapped? 
What  does  it  feel  like  to  live  out  your 
nightmares?  What  does  it  feel  like  to 
hear  yourself  charged  with  "the  viola- 
tion of  Section  11530  of  the  Health 
and  Safety  Code:  Possession  of  Mari- 
juana"? 

It  feels  like  someone  has  kicked  you 
in  the  stomach.  It  feels  like  your  guts 
are  spilling  out.  It  feels  like  you  want 
to  cry. 

And  later — much  later — maybe  you 
do  cry  a  little  as  you  listen  to  a  letter 
written  in  your  defense.  A  letter  writ- 
ten by  the  person  you  most  want  to 
respect  you — the  sweet,  warm  woman 
who  mothered  you  on  television  for  six 
years.  A  letter  that  says  ...  "I  met  him 
eight  years  ago  when  our  TV  series, 
'Father  Knows  Best,'  began. 

"At  that  time  he  was  16  years  old 
and  didn't  seem  to  have  any  parental 
supervision  whatsoever.  His  home  life 
has  been  very  poor  indeed.  In  fact,  I 
believe  he  has  lived  away  from  his 
family  since  he  was  17. 

"He  is  extremely  talented  as  an  actor 
and  has  a  good  mind  which  has  never 
been  properly  trained.  During  the  six 
years  I  played  his  mother  in  'Father 
Knows  Best,'  we  saw  him  through  vari- 
ous troubles,  but  we  also  watched  him 
develop  character  and  a  stronger  sense 
of  responsibility.  When  last  summer  I 
took  him  with  me  on  a  seven-week  tour 
of  the  eastern  summer  theaters,  I  found 
that  he  had  developed  enormously.  He 
was  the  first  to  arrive  at  rehearsals  and 
the  last  to  leave.  He  gave  a  magnificent 
performance  and  grew  in  stature  each 
week  we  played. 

"In  fact,  he  was  one  of  the  main- 
stays of  the  company  from  the  point 
of  view  of  morale  and  discipline.  I  was 
tremendously  proud  of  him  and  encour- 
aged him  and  it  was  most  disheartening 
to  hear  of  this  current  problem  of  his. 

"As  you  know,  he  has  been  going  to 
Los  Angeles  City  College,  which  I  feel 
is  a  step  in  the  right  direction.  Un- 
fortunately, he  has  not  had  any  jobs 
as  an  actor  for  a  year.  And  I  think  this 
has  left  him  at  loose  ends.  He  has  fallen 
in  with  the  wrong  crowd  with  this  la- 
mentable result. 

"During  the  eight  years  I  have  known 
Billy,  I  have  always  been  able  to  count 
on  his  telling  me  the  absolute  truth. 
I  feel  we  must  all  have  great  charity  for 
those  poor  victims  of  broken  homes 
and  irresponsible  parents. 

"Nothing   seems   to   make   up   for   a 


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shattered  childhood  with  love  denied." 
Do  you  squirm  in  your  chair  in  the 
probation  officer's  office  as  you  listen 
to  Jane  Wyatt's  words  and  feel  the 
shame  of  your  failure  to  win  her  re- 
spect— or  anyone's  respect?  Do  you 
suddenly  want  a  cigarette  so  that  you 
can  escape  to  that  nice,  soft  marsh- 
mallow  cocoon? 

It  isn't  fair.  Nothing  seems  to  make 
up  for  a  shattered  childhood  with  love 
denied.  So  it  isn't  fair  to  blame  you. 
And  yet  .  .  . 

There  isn't  any  marijuana  in  the  of- 
fice and  there  isn't  any  escape.  You 
get  wounded  by  the  broken  glass  of 
a  shattered  childhood  and  the  scars 
never  go  away.  But  when  that  child- 
hood is  irretrievably  distant,  there  is 
still  the  problem  of  living  in  the 
present. 

The  present  .   .   .   and  the  future — 
Maybe  you  stand  up  then,  as  though 


iiiiiiiiuiiNiiniii 


NIKITA    KHRUSHCHEV 

(Continued  from  page  31) 

a  go  of  it  in  business  and  that  he  would 
bring  a  little  one  into  the  world. 

The  little  one  was  born  in  1927,  on  a 
westbound  train  somewhere  between 
Toluca,  111.,  and  La  Junta,  Colo. 

A  star  is  born.  Shortly  after  the  in- 
fant came  into  the  world,  his  father 
decided  that  his  offspring  was  going  to 
be  a  movie  star.  In  fact,  he  decided  this 
before  the  baby  was  even  born. 

Our  hero  wanted  to  be  a  star,  he 
loved  being  a  star,  and  he  took  to  cel- 
luloid like  other  babies  take  to  milk. 
His  father  produced  two  pictures  with 
his  son  as  star,  one  after  the  other.  The 
first  was  "Plane  Crazy,"  a  satire  on  The 
Lone  Eagle,  Charles  A.  Lindberg,  who 
had  just  completed  the  first  solo  flight 
ever  made  over  the  Atlantic.  Our  screen 
hero,  hardly  able  to  walk  but  very  pre- 
cocious for  his  age,  managed  to  act  and 
look  like  Lucky  Lindy,  even  to  ruffling 
his  hair  just  like  the  real-life  hero  did. 

Satire  worked  once,  why  not  try  it 
again?  This  time  our  star  poked  fun  at 
the  reigning  male  movie  idol  of  the 
time,  Douglas  Fairbanks  Sr.  Fairbanks 
always  starred  in  films  in  which,  as  a 
kind  of  early-day,  acrobatic  superman, 
he  bounced  around  righting  wrongs, 
foiling  villains  and  rescuing  fair  maid- 
ens. Our  hero  made  Fairbanks'  most 
difficult  feats  of  derring-do  look  easy, 
and  he  went  on  to  perform  stunts  and 
accomplish  rescues  which  were  unbe- 
lievable, except  that  they  were  happen- 
ing right  there  on  the  screen. 

There  was  a  villain  in  these  films. 
Named  Pete.  This  bully  tried  to  abduct 
our  hero's  girl  in  "Gallopin'  Gaucho" 
(that's  the  name  of  the  picture),  but 
our  star  rode  to  the  rescue. 

It's  time  to  say  it  bluntly,  Comrade 
Nikita,  no  matter  how  much  it  might 
hurt  you.  In  close-ups,  sometimes,  Pete, 
the  brutal  bully,  looked  remarkably  like 
your  predecessor.  You  know,  the  guy 
you  replaced.  Joe  Stalin. 

As  for  our  hero's  girl — the  one  he 
saved  from  Pete  and  the  one  he  was  to 
save    time    and   time    again    in    future 


to  face  the  fact  that  you  are  going  to 
spend  60  days  in  a  county  jail  road 
camp.  It's  hard  to  struggle  to  your  feet. 
Your  knees  tremble  and  there  seems 
to  be  sweat  trickling  down  your  thighs. 
But  you  stand  and  you  have  the  guts 
to  say  .  .  . 

"[The  smoking  of  marijuana]  is,  in 
fact,  a  very  large  step  downward.  That 
is  not  a  direction  I  intend  to  go.  This 
arrest  and  conviction  is  without  doubt 
the  point  at  which  I  have  stopped  en- 
tirely this  personal  and  socially  unac- 
ceptable behavior.  Not  only  because  of 
the  immediacy  and  gravity  of  the  situ- 
ation, but  because  it  echoes  my  own 
wishes  and  desires." 

And  as  you  say  the  words,  suddenly 
they  are  more  than  words.  They  are 
part  of  that  truth  from  which  you  have 
been  escaping.  And  you  know,  really 
know,  that  you  are  on  your  way  home 
at  last.  — The  End 


films — well,  it  was  love,  true  love,  on 
screen  and  off.  Sneer  at  love  between 
children,  if  you  will.  Call  the  whole 
concept  "bourgeois  sentimentality."  But 
bear  in  mind  that  they  did  love  each 
other,  that  he  was  enslaved  by  her 
charms  from  the  very  beginning. 

Anyway,  with  a  third  feature,  "Steam- 
boat Willie,"  almost  completed,  it  was 
time  for  our  hero's  father  to  go  to  New 
York  to  peddle  the  pictures  to  distribu- 
tors. He  arrived  in  Manhattan  and  was 
swept  up  in  a  revolution.  He  had  sunk 
all  his  money  into  these  three  "silent" 
films.  What  could  he  do? 

Well,  Nikita,  the  first  thing  he  did 
was  to  return  to  Hollywood  (luckily,  he 
had  a  round-trip  ticket).  There  he 
mortgaged  his  house  (to  a  capitalist 
bank),  talked  his  brother  (our  star's 
uncle)  into  mortgaging  his  house  (also 
to  a  capitalist  bank),  and  converted  his 
Moon  roadster  (that's  a  brand-name, 
Nicky)  into  cash.  With  most  of  this 
money,  $1,200,  he  completed  "Steam- 
boat Willie"  by  synchronizing  sound, 
words  and  music  into  the  film. 

So  great  was  the  success  of  "Steam- 
boat Willie"  that  within  a  week  it  was 
moved  to  Roxy's,  a  much  larger  theater. 
"More!"  the  public  shouted.  Within  a 
short  time,  "Plane  Crazy"  and  "Gallop- 
in'  Gaucho"  were  synchronized.  (You 
probably  never  saw  any  of  these  films, 
Nikita.  After  all,  Joe  Stalin  didn't  want 
you  contaminated  by  "capitalist  cul- 
ture.") 

But  some  of  his  fame — and  perhaps 
the  names  of  some  of  his  films — must 
have  seeped  through  to  you.  "The  Opry 
House"  in  1929,  "The  Birthday  Party" 
in  1930,  and  "The  Cactus  Kid,"  in 
which  our  hero  spoofed  the  Western 
badman,  Billy  the  Kid.  (Our  star  was 
always  doing  that,  Nikita,  poohpoohing 
American  heroes.  You  see,  Americans 
have  the  ability  to  laugh  at  themselves.) 

From  everywhere  (Soviet  Russia  ex- 
cepted) came  praise,  direct  and  in- 
direct, for  this  star  of  stars.  Ho  was  a 
hero  around  the  world. 

Now,  Comrade  KM  we  come  to  a  most 
delicate  matter  that  must  be  handled 
with  great  care.  The  "relationship"  be- 
tween our  hero  and  actress  Mary  Pick- 
ford,  America's  Sweetheart.  In  a  mo- 


i 


ment  of  gross  indiscretion,  Mary  pub- 
licly stated  that  he  was  her  favorite 
star.  Innocent  enough  on  the  surface? 
But  remember  that  at  the  time  she  said 
this  she  was  married  to  a  superstar, 
Douglas  Fairbanks  Sr. — the  same  Fair- 
banks whom  our  actor  had  spoofed. 

Our  hero's  real  trouble,  however,  was 
political.  Adolf  Hitler  declared  him 
Verboten  and  called  for  the  Nazis  to 
ban  him  from  Germany  forever. 

Our  hero  was  a  triumph  in  Techni- 
color, but  his  political  fortunes  wavered 
up  and  down.  Even  though  Japan 
designated  him  a  patron  saint  in  1936, 
he  created  a  minor  government  crisis  in 
Yugoslavia  when  government  leaders 
split  down  the  middle  in  a  debate  on 
whether  or  not  he  was  a  "good  in- 
fluence." 

Your  own  government,  Nikita,  goofed 
in  1935  when  one  of  your  assistant  com- 
missars at  the  First  Soviet  Cinema  Fes- 
tival awarded  the  star's  father  in  ab- 
sentia (in  behalf  of  his  under-age  son) 
a  special  prize  for  excellence.  (It's 
significant  that  your  people  never  had  a 
chance  to  see  the  star's  films.)  And 
that  the  assistant  commissar  paid  for 
his  mistake  by  spending  his  summers — 
and  his  winters — in  Siberia. 

By  means  of  the  silver  screen  and 
the  pages  of  comic  books  and  comic 
strips,  our  hero  received  tremendous 
publicity,  and  popularity,  and  world- 
wide honors.  But  he  also  created  a  toy- 
land,  literary  and  industrial  empire. 

It  started  right  after  "Steamboat 
Willie"  sailed  into  the  hearts  of  Ameri- 
cans. As  his  father  recalls  it:  "I  was  in 
New  York.  A  fellow  kept  hanging 
around  the  hotel  waving  three  hundred 
dollars  at  me,  and  saying  he  wanted  to 
put  my  offspring  on  the  cheap  paper 
tablets  children  use  in  school.  ...  I 
needed  the  money,  so  I  signed  and  took 
the  three  hundred  dollars." 

That  opened  the  door  and  other  pro- 
moters rushed  in.  Soon  the  star's  face, 
figure  and  name  were  featured  on  such 
diverse  products  as  gum  and  candy 
wrappers,  clothes,  novelties,  mittens 
cloth  prints,  jewelry,  balls,  phonograph 
records,  games,  beds,  cereal  boxes, 
sweatshirts,  and  pajamas.  Oh,  yes,  and 
watches.  We  mustn't  forget  watches. 

And  because  you're  hung  up  on  sta- 
tistics, Comrade  K.,  you  might  want  to 
note  that,  in  the  year  1948  alone,  manu- 
facturers in  this  country  grossed  $100,- 
000,000  because  of  such  tie-ins,  of  which 
our  hero's  father  pocketed  over  a  mil- 
lion dollars.  (And  that,  Nikita,  may  be 
"exploitation"  to  you,  but  it's  "capital- 
ist enterprise"  to  us.) 

But  let's  go  back  a  minute  to  the 
period  between  1942  and  1944.  (We 
know  you  like  everything  neat  and  in 
orderly  progression.)  That's  when  you 
welcomed  the  actor  and  his  films  (may- 
be even  some  of  the  watches)  into  your 
country.  We  were  all  buddy-buddy  then, 
with  one  goal  foremost:  to  defeat  our 
mutual  enemies — the  German  Nazis  and 
the  Japanese  militarists. 

For  a  short  time  then,  our  star  be- 
came your  star,  too.  In  the  front  lines, 
our  soldiers  and  technicians  did  a  better 
job  in  fighting  the  enemy  because  of 
the  training  they'd  received  from 
special  films  featuring  him.  When  dis- 


aster or  disease  struck  our  fighting  men, 
their  lives  were  saved  because  of  new 
medical  techniques  that  our  doctors  and 
nurses  learned  from  such  films.  And 
behind  the  lines — behind  your  lines  and 
our  lines — men,  women  and  children 
were  saved  from  starvation  because  of 
food-growing  and  food-saving  devices 
taught  to  them  in  those  films. 

Remember  June  6,  1944,  when  mil- 
lions of  Allied  troops  invaded  Norman- 
dy. On  that  day,  that  fatal  day,  when 
civilization  hung  in  the  balance,  it  was 
his  name,  a  name  known  to  all,  that 
served  as  the  official  password  during 
the  invasion. 

We  admit  things  were  rough  for  him 
after  victory  had  been  won.  Like  many 
other  returning  veterans,  he  just 
couldn't  adjust  to  civilian  life.  There 
were  new  stars,  new  names  now. 

"Typical  capitalist  callousness,"  you 
say.  Make  an  actor  into  a  hero  one  day 
and  then  cast  him  into  the  ashcan  the 
next.  "A  pathetic  victim  of  a  dying  sys- 
tem." The  aging  screen  star  who,  after 
a  rapid  rise  to  fame  and  a  few  years  in 
the  limelight,  falls  into  limbo. 

Hey,  wait  a  minute,  Nicky.  It's  com- 
missars who  are  shunted  off  to  the  Si- 
berian salt  mines  from  which  they 
never  come  back.  Not  our  movie  hero. 

For  our  star  did  come  back.  He  con- 
quered TV  as  previously  he  had 
conquered  talking  pictures  and  Techni- 
color innovations.  By  1955  he  had  a  na- 
tional viewing  audience  of  more  than 
40,000,000.  That  made  his  program 
more  popular  than  "Dragnet." 

In  1956,  when  he  became  an  emcee 
of  his  own  TV  program,  he  held  his 
audience  captivated  five  nights  a  week. 
It  was  as  if  the  years  had  rolled  back 
to  the  late  Twenties.  His  eyes  were  as 
bright  as  ever;  his  voice  squeaked  with 
the  enthusiasm  of  youth.  For  180  shows 
in  a  row,  his  white-gloved  hands  hypno- 
tized his  viewers. 

25,000,000  youngsters  and  uncounted 
oldsters  tuned  in  on  him  each  evening. 
At  first  teachers  protested  that  students 
didn't  do  their  homework  because  they 
watched  him  instead.  Finally,  yielding 
to.  superior  forces,  the  teachers  built 
lessons  around  the  program. 

Okay,  okay,  we  know  that  when  you 
visited  the  United  States  and  went  out 
to  the  West  Coast  you  were  barred  from 
his  home.  But  what  can  you  expect? 
You  rejected  him  before  he  rejected 
you.  If  you  had  only  opened  your  heart 
to  him  and  his  message,  perhaps  the 
world  would  be  a  better  place. 

What  is  his  message?  What  does  he 
stand  for?  Well,  perhaps  you're  right; 
perhaps  the  spirit  he  represents  is  just 
too  alien  to  everything  you  believe.  For 
it  was  his  father,  viewing  the  world  as 
his  son  views  it,  who  once  said:  "I  be- 
lieve that  you  will  find  this  spontaneous 
reaching  out  for  the  fine  and  beautiful 
in  all  mankind;  it  is  man's  indestruct- 
ible and  godlike  quality,  and  the  guar- 
antee of  his  future.  All  men  want  to  be 
better  than  they  are.  And  once  a  man's 
tasted  freedom,  he  will  never  be  content 
with  slavery." 

You're  included  in  that  phrase,  "all 
mankind,"  Mr.  Khrushchev.  Why  didn't 
you  give  our  hero  a  chance? 

This  dossier  wouldn't  be  complete,  of 


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course,  without  our  including  some  of 
the  names  by  which  this  agent  for  De- 
mocracy is  known  throughout  the  world. 
He's  been  called  Michel  Souris,  Miki 
Kuchi,  Miguel  Ratonocito,  Michele  Ja- 
polino,  Miki  Kuchi,  Mikki  Maus  and 
Mikkel  Mus.  To  us,  he's  Mickey  Mouse. 

Just  for  the  record,  let's  include  the 
news  report  that  recently  appeared  in 
the  American  newspapers,  telling  how, 
on  your  orders,  your  henchman,  Com- 
rade Heyde,  went  about  trying  to  get 
rid  of  "this  dirty  rat." 

The  dateline  is  Berlin;  the  headline 
reads — Reds  Call  Mickey  A  Capitalistic 
Rat;  and  the  story  goes:  Mickey  Mouse 
was  denounced  by  the  East  German 
Communist  paper  Freiheit  yesterday  as 
an  American  agent  helping  East  Ger- 
mans flee  to  the  West. 


SHIRLEY   BOOTH 

(Continued  from  page  43) 

"And  your  work  is  fulfilling?"  The 
veil  lifts  almost  imperceptibly.  "Per- 
haps," says  Shirley  softly,  "it  would 
be  better  to  say — it  fills." 

The  thoughtful,  honest  correction 
confirms  what  has  always  been  obvious 
to  everyone  really  close  to  Shirley  at 
the  time  she  was  married.  As  one 
friend  said:  "She's  copped  about  every 
award  an  actress  can,  but  do  you  know? 
She  was  a  great  wife — and  I  think  the 
most  happy  in  that  role." 

When  Shirley's  husband,  W.  H.  Bak- 
er Jr.,  died  in  1951,  the  word  was  that 
she'd  never  work  again.  Theirs  had 
been  one  of  those  ideal  marriages  not 
based  on  publicity  releases.  With  his 
death,  Shirley  lost  something  far  more 
dear  than  her  Broadway  fame  or  rave 
reviews  from   the   critics. 

Close  friends  and  those  who  worked 
with  her  stood  by  and  watched  help- 
lessly, as  she  wandered  through  the 
days  as  though  she  were  walking  in  her 
sleep  .  .  .  and  there  were  some  who 
thought  she  had  become  deaf  because 
she  appeared  to  hear  nothing  and  see 
even  less.  Her  private  world  of  love, 
for  almost  ten  years,  had  quickly  crum- 
bled and  she  didn't  seem  to  have  the 
slightest  interest  in  attempting  to  pick 
up  the  remaining  pieces  to  start  over 
again. 

"If  you're  trying  to  ask  me  if  my 
feelings  for  my  late  husband  affect  my 
work,"  Shirley  now  told  me  quietly, 
"the  answer  is  yes.  I  think  I  am  more 
sympathetic  to  the  characterization  of 
Hazel  than  I  would  be,  if  he  were 
alive.  Hers  is  a  more  ribald  and  hearty 
sense  of  humor  than  mine,  but  I  under- 
stand her  not  wanting  people  to  feel 
sorry  for  her.  She  says  and  does  things 
the  rest  of  us  wouldn't  have  the  nerve 
to  say  or  do — although  we'd  like  to — 
but  underneath  is  a  kind  woman  who 
identifies  with  the  Baxter  family  be- 
cause it  is  the  only  one  she  has.  With- 
_  out  them,  she'd  be  alone." 
v  "And     without    the    Baxter    family, 

K       would  you  be  alone?" 

"I'm  alone,  but  I  can  also  be  alone 

without  being  lonely,"  she  said  staunch- 
92 


The  newspaper  reported  a  talk  by  a 
Communist  functionary  named  Heyde 
to  children  in  the  city  of  Halle. 

He  warned  them  not  to  read  Mickey 
Mouse  comic  books  or  to  join  the 
Mickey  Mouse  clubs  formed  by  pub- 
lishers in  West  Germany. 

"How  can  a  child  be  so  dumb  as  to  be 
taken  in  by  Mickey  Mouse?"  Heyde 
asked.  "These  books  have  the  purpose 
of  getting  the  addresses  of  your  par- 
ents. You  cut  a  coupon  out  of  the  book, 
send  it  along  with  your  address,  and 
you  become  a  member  of  the  Mickey 
Mouse  club. 

"Then  they  have  an  important  ad- 
dress to  give  the  head  hunters." 

"Head  hunters"  is  the  Communist 
term  for  the  Western  agents  they  say 
are  causing  the  exodus  of  refugees. 


ly.  "There  is  always  something  in  your 
past  that  sets  your  attitude  towards 
people  and  situations  in  your  present. 
My  husband  would  have  been  pleased 
with  Hazel.  I  think  he,  above  all  others, 
would  have  understood  my  need  to  play 
her.  Every  day,  when  I  walk  on  the 
set,  I  have  a  family  ...  I  belong  to  a 
family,  and  it  has  become  a  very  real 
world  to  me." 

Shirley's  reputation  for  warmth  and 
compassion  is  not  just  a  network  press 
agent's  dream.  Without  being  profes- 
sionally saccharine  or  "sticky,"  she  re- 
veals a  down-to-earth  interest  in  and 
concern  for  her  fellow  beings,  and  in- 
variably tempers  deeply-felt  emotion 
with  a  gentle  and  wise  wit.  She  has 
never  been  known  to  lose  her  temper 
— a  claim  some  other  stars  might  do 
well  to  aspire  to — and  if  she  has  ever 
felt  the  urge  to  play  the  prima  donna, 
it  must  be  assumed  she  has  done  it 
pretty  sneakily.  There  are  no  wit- 
nesses. 

The  explanation  from  this  lonely  but 
gallant  woman  is  a  simple  one:  "When 
someone  blows  his  top  or  is  rude  for 
no  apparent  reason,  I  try  to  remember 
he  probably  has  a  good  reason  and 
something  is  eating  at  him  inside.  There 
isn't  a  person  walking  around  who 
doesn't  have  troubles." 

A  fellow  actor  says  of  Shirley,  "I 
wouldn't  say  she's  obsessed  with  making 
others  happy — but  I  think  she  was  so 
deeply  hurt,  when  she  tragically  lost 
the  one  person  she  loved,  that  she  gained 
a  sixth  sense  when  it  comes  to  feeling 
others'  troubles.  I  think  she  works  hard 
and  laughs  hard  because  it  helps  her 
to  forget." 

This  day,  as  Shirley  got  up  from  her 
chair  to  return  to  the  set,  her  parting 
remark  was  perhaps  the  key  to  the  true 
character  of  both  the  great  actress  and 
the  gaily  indomitable  maid  she  plays : 

"Everyone  blows  off  steam  one  way 
or  another — and  I  find  that,  when  I'm 
the  most  upset,  I  clown.  The  more  dis- 
turbed I  am,  the  sillier  or  funnier  I 
become.  That  way,  no  one  gets  hurt,  no 
feelings  are  bruised,  no  unkind  words 
bantered  about.  Really,  it's  the  best 
way,  don't  you  think?" 

She  walked  back  on  the  sound  stage 
and,  within  seconds,  the  cast  and  crew 
of  "Hazel"  were   convulsed.   Everyone 


All  we  can  do,  Nikita,  is  to  echo  your 
stooge's  words,  changing  them  a  little, 
of  course.  How  can  a  dictator  be  so 
dumb  as  to  be  afraid  of  Mickey  Mouse? 
Then  again,  maybe  you  and  your  hench- 
men aren't  so  stupid  after  all.  If,  as  one 
writer  says,  Walt  Disney's  creation, 
Mickey  Mouse  (Walt  is  Mickey's  "fa- 
ther," of  course)  symbolizes  the  "desire 
of  the  human  spirit  to  transcend  the 
mechanical  forces  of  brute  nature"  and 
you  resist  him,  then  maybe  you're  on 
the  side  of  "brute  nature,"  a  supporter 
of  the  arch-villain,  Pegleg  Pete,  and 
nothing  can  help  you.    — Jim  Hoffman 

See  "Walt  Disney's  Wonderful  World  of 
Color,"  NBC-TV,  Sun.,  7:30  p.m.  edt. 
His  "Mickey  Mouse  Club"  is  also  seen 
on    local    stations;    check   newspapers. 


I 


entered  into  the  spirit  of  having  a  ball 
while  turning  out  a  television  show. 

As  the  cameraman  adjusted  angles 
and  the  director  explained  a  detail  to 
little  Bobby  Buntrock — who  plays 
Harold  Baxter — Shirley  adjusted  her 
cap  rakishly  and  did  a  little  two-step  in 
accompaniment  to  a  prop-man's  whistle. 

Two  elderly  fans  came  in  to  watch 
from  the  sidelines.  Shirley  waved  gaily 
to  the  strangers  and  called  out  some- 
thing about  their  being  able  to  see  the 
show  free — if  they  carried  water  for  the 
elephants  first! 

"What  a  gal,"  said  a  man  standing 
next  to  me.  "It's  a  pleasure  to  come 
to  work  every  day.  Do  you  know  that, 
since  I've  been  working  on  this  show, 
my  own  home  life  is  happier?  I'm  not 
tired  and  in  a  lousy  mood  when  I  walk 
into  the  house  at  night.  She  keeps  us 
laughing  for  eight  hours  straight." 

I  looked  down  at  my  notes  to  see  if 
there  was  anything  else  I  wanted  to  ask, 
but  I  knew  I  had  my  story.  A  clipping, 
attached  to  my  note  pad,  caught  my  eye. 
It  was  Shirley's  description  of  Hazel 
when  she  first  started  doing  the  show: 
"She  has  warmth  and  a  spirit  that  is 
touching.  She  is  sad,  too,  and  the  shell 
of  humor  and  hardness  she  wears  is 
only  to  protect  her." 

I  went  out  the  exit,  leaving  behind 
the  well-ordered  chaos  of  a  successful 
television  series  at  work.  In  another 
hour,  the  crew  director,  Baxter  family 
and  Hazel  would  knock  off  for  the  day 
and  go  their  separate  ways  to  their 
separate  lives. 

Five  days  a  week,  Shirley  Booth 
keeps  some  twenty-odd  technicians  and 
actors  laughing  and  feeling  good  about 
life,  and  on  Thursday  evenings  she 
brings  that  same  sense  of  well-being 
into  the  homes  of  millions  of  viewers. 

Perhaps  not  "fulfilled,"  but  she  has 
"filled"  her  days  .  .  .  everyone  knows 
that  a  television  star,  working  in  a 
weekly  series,  is  exhausted  and  worn 
out  when  she  leaves  the  studio — and 
this  one  really  knocks  herself  out  to 
make  others  happy,  throughout  the 
busy  day. 

It  helps  the  nights  go  quickly. 

— Tricia  Hurst 

"Hazel"  brings  color  to  your  lives  on 
NBC-TV,    Thurs.,    at    9:30    p.m.    edt. 


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PAGE 
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CAROL 
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Copyright  1962  by  John  H.  Breck,  Inc. 


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"WHAT  WOMEN  WANT  TO  KNOW" 

FREE!  Frank,  revealing  32-page  book,  explains 
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Written  by  a  physician.  Write  Dept.  Bl  22,  Box 
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DECEMBER,   1962 


MIDWEST  EDITION 


VOL.  59,  NO.l 


Edie  Adams 

Richard  Chamberlain 

Troy  Donahue 

Loretta  Young 

Merv  Griffin 

Vincent  Edwards 

Donna  Reed 

The  Kennedys 

Mike  Wallace 

Raymond  Burr 

Barbara  Hale 

Aladdin 

"The  Secret  Storm" 

TV  vs.  Movies 

Dick  Van  Dyke 

Carol  Burnett 


IT  HAPPENED  THIS  MONTH 

21  "Why  Can't  We  Call  Her  Mother?" Alan  Somers 

22  They  Love!  But  Can  They  Marry?.  ..  .Beatrice  Emmons 

24  A  Kiss  to  Build  a  Dream  On Kathleen  Post 

26  The  Child  Loretta  Didn't  Want Ruth  Waterbury 

28  Our  Wild,  Wacky  Wedding  Night Ed  DeBlasio 

30  "I  Want  to  Be  a  Father!" Eunice  Field 

33  "Must  My  Children  Pay  for  My  Mistake?"    Jack  Holland 

36  No  Place  to  Hide Flora  Rand 

42  "Why  Did  My  Son  Have  to  Die  Now?".  .Leslie  Valentine 

44  The  Man  with  the  Nice  Fat  Eyes Barbara  Hale 

46  The  Girl  Who  Is  All- Woman Raymond  Burr 

48  "My  Wife  Came  Back  from  the  Grave". .  .James  Gregory 

50  When  He's  Old  Enough  to  Be  Her  Father! .  .Henley-Wolk 

53  Are  TV  Stars  More  Moral? James  Hoffman 

56  What's  It  Like  to  Climb  to  the  Top? Cindy  Adams 

58  In  Love  with  a  Married  Man ! George  Carpozi  Jr. 


BONUS:  A  MAGAZINE  WITHIN  A  MAGAZINE 

13     Harry  Belafonte:  A  Well-Known  Secret 
14     Music  Makers  in  the  News  20     Tops  in  Singles 

16     Album  Reviews  20     Pieces  of  Eight 


WHAT'S  NEW?  WHAT'S  UP? 


4  Information  Booth 

5  Your  Monthly  Ballot 

6  What's  New? 


8     Earl  Wilson's  Inside  Story 
77     Photographers'  Credits 
88     New  Designs  for  Living 


SPECIAL:  YOUR  MIDWEST  FAVORITES 

Dorothy  Frisk  61  A  Ham  and  a  Housewife  (WNDU-TV) 

Martin  &  Howard  62  Two's  a  Crowd!    (KYW) 

Philip  D'Antoni  64  "Always  Be  Kind  to  Your  Mail  Boy"  (Mutual) 

Dick  Biondi  66  The  Mad,  Merry  Music-Maker  of  WLS 


CLAIRE  SAFRAN.   Editor 

EUNICE  FIELD,  West  Coast  Editor 
TERESA  BUXTON,  Managing  Editor 
CAROL  ROSS,  Regional   Editor 
ANITA  ZATT,  Assistant  to  Editor 


JACK  J.   PODELL,  Editorial  Director 

JACK  ZASORIN,  Art  Director 
FRANCES  MALY,  Associate   Art   Director 
ALEXANDRA  TARASEWICH,  Art  Assistant 
BARBARA  MARCO,  Beauty -Fashion  Editor 


BOBBY  SCOTT,  Music   Editor 


.«lll 


TV  Radio  Mirror  is  published  monthly  by  Macfadden-Bartell  Corporation,  New  York,  N.  Y.  Executive,  Adver- 
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Drive,  Beverly  Hills,  Calif.  Gerald  A.  Bartell,  Chairman  of  the  Board  and  President;  Lee  B.  Bartell,  Executive  Vice- 
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Is  It  Casey  .  .  . 

Your  article  was  degrading  to 
Casey — he  was  beaten  down  and  all 
the  praise  was  for  Kildare.  Why 
praise  Kildare  so?  Why  not  Casey? 
To  me,  Casey  is  the  best  ever.  If  one 
of  the  docs  has  to  go,  let  it  be  Kil- 
dare, because  Casey  has  earned  his 
career  and  he's  doing  a  fine  job.  I'll 
stick  with  Casey  no  matter  what — 
and  so  will  thousands  of  others. 

M.  Downs,  Mt.  Vernon,  111. 


TV's  Forgotten  Man 

After  reading  your  article,  my 
blood  reached  a  roaring  boil.  Don't 
you  think  you're  overdoing  this 
George  Maharis  bit?  It  was  a  pleas- 
ure to  pick  up  your  magazine  and 
find  an  article  on  Marty  Milner  at 
long  last,  even  though  the  article  in- 
furiated me.  I'm  in  favor  of  the  nice- 
guy  type,  and  Marty's  always  been 
my  favorite. 

A.J.,  Pleasantville,  N.Y. 


I  just  finished  your  article  on 
Marty  Milner.  I  have  just  one  thing 
to  add — Amen! 

Marty  Milner  Fan,  Orlando,  Fla. 

Hooray!  Hooray!  Hooray!  I  love 
Marty  Milner  and  I  love  TV  Radio 
Mirror  for  writing  about  him.  It's 
been  absolutely  killing  me  to  see  all 
those  articles  about  that  arrogant 
George  Maharis  popping  up  in  every 
magazine  I  look  at  these  days. 

Lucy  Keyes,  N.Y.C.,  N.Y. 


...  or  Kildare? 

I'm  on  Dr.  Kildare's  side.  I've  al- 
ways been  on  his  side.  I've  been  go- 
ing to  doctors  a  mighty  long  time, 
but  I've  never  gone  to  one  who's  so 
blunt  and  cold  as  Dr.  Ben  Casey. 

B.  Powell,  Portsmouth,  Va. 

Who's  a  Rat? 

I  thought  your  article  about 
Mickey  Mouse,  the  Capitalistic  Rat, 
was  just  great.  I  know,  of  course, 
that  the  struggle  between  Democracy 
and  Communism  is  a  serious  prob- 
lem. But  perhaps  more  articles  like 
yours  would  help.  There's  nothing 
like  a  sense  of  humor  to  ease  a  situa- 
tion. 

D.L.,  Reading,  Pa. 


Marty  Milner 


What's  all  the  fuss  about?  So 
Marty  Milner's  a  nice  guy.  Big  deal. 
Didn't  anyone  ever  tell  you  that  nice 
guys  finish  last? 

Arlene  Finch,  New  Orleans,  La. 

As  far  as  I'm  concerned,  the  only 
possible  reason  for  preferring  Marty 
Milner  to  George  Maharis  is  if  you 
just  happen  to  like  blond  men  better 
than  brunettes.  George  will  always 
be  number  one  with  me. 

C.L.,  Lansing,  Mich. 

Even  though  I  prefer  George  to 
Marty,  I  think  it  was  only  fair  to 
have  a  story  about  Marty.  I  never 
knew  he  was  supposed  to  be  the  star 
of  "Route  66."  That  really  surprised 
me. 

E.L.J.,  Youngstown,  Ohio 


Zina  Bethune 


Keep  Your  Eye  on  Zina! 

I  watched  "The  Nurses"  the  other 
night,  and  I'd  like  to  know  who  the 
young  student  nurse  is.  Whoever  she 
is.  I  think  she's  great! 

Bev  Wilkin.  St.  Paul.  Minn. 

That's  Zina  Bethune  you  saw. 
You're  not  the  only  one  who  enjoyed 
her  performance.  Everyone's  agreed 
that  this  girl  is  headed  straight  for 
stardom — so  keep  your  eye  on  her! 
She  was  born  in  New  York  City, 
she's  seventeen  and  she  already  has 
an  impressive  list  of  acting  credits. 
At  latest  check,  she  was  dating  Rob- 
ert Reed  of  "The  Defenders."— Ed. 

How  About  It? 

I  think  that  Dick  van  Dyke  is  one 
of  the  most  talented  artists  on  tele- 
vision. I'd  love  to  read  about  him. 
How  about  having  a  story  on  him  one 
of  these  days? 

B.K..  Holyoke.  Mass. 

You're  in  luck,  B.K.  All  you  have 
to  do  is  turn  to  page  56! — Ed. 

What  Do  You  Think? 

I  am  getting  sick  and  tired  of  the 
Lennon  Sisters.  As  a  subscriber,  I 
suggest  you  at  least  alternate  them 
in  issues  of  your  magazine. 

C.P.,  Temple  City.  Calif. 

•I  just  wanted  to  let  you  know  how 
much  I  enjoy  your  articles  about  the 
Lennon  Sisters.  They  seem  to  have 
close  harmony  not  only  in  singing, 
but  in  living  as  well.  Those  wonder- 
ful girls  are  my  favorites. 

D.G..  N.Y.C. 


Calling  All  Fans 

The  following  fan  clubs  invite  new 
members.  If  you're  interested,  write 
to  the  addresses  given  below — not  to 
TV  Radio  Mirror. 

Bobby  Ryde/I  Fan  Club,  Jacki 
Crisman.  19  Pierson  Circle.  Spring- 
field. Pa. 

Brian  Hyland  Fan  Club,  Barbara 
Edelstein.  9231  W.  Lisbon.  Milwau- 
kee 22,  Wise. 

Troy  Donahue  Fan  Club,  Roger 
Bauer.  623  E.  State  St..  Algona. 
Iowa. 

Rick  Nelson  Fan  Club.  Charlene 
Malterer.  4688  Bassett  Rd..  Route  1, 
Atwater,  Ohio. 

Brenda  Lee  Fan  Club,  Larry  Vo- 
gel.  500  B  Grand  St..  New  York  2. 
N.Y. 

Ann-Mar gret  Fan  Club,  Audrey 
Cunningham.  318  W.  Long  St.,  Ak- 
ron, Ohio. 

Bobby  Vee  Fan  Club,  Anna  Niel- 
son.  5046  S.  4660  W..  Kearns.  Utah. 

George  Maharis  Fan  Club,  Cathy 


M(  Mi..-.  16  Boutwell  St.,  Pawtucket, 
R.I. 

Theme  Songs 

We've  received  man>  letters  asking 

about    theme   songs   of   popular   TV 

-hows.    Here  is  a  lis!  of  those  asked 

about  most   frequently: 

Armstrong  Circle  Theatre — "Long 
John  Silver."  "New  Horizon-" 

The  Guiding  Light — "Romance" 

(ireat  Challenge — Beethoven's  Sym- 
phony Number  Three 

Millionaire — "Whirlwind" 

New  Bob  Cummin<;-  Show  "(,,i\ 
Blade" 

Sky  King — "Cracked  Idol" 

Sunday  News  Special — "Golden 
Trumpets" 

Professional  Football — "Dominion 
Da>" 

Saturday    News — "The    Visionaries" 


If  rite  Informal  ion  Booth.  TV  Radio  Mirror. 
205  E.  42  St..  Neu  York  17,  N.Y.  We  regret 
we  cannot  mistier  or  return  letters  received. 


■^         Vote  Today-A  Gift  Is  Waiting  For  You! 


Well  put  your  name  on  one  of  400  prizes — and  all  you  hau- 
to  do  is  fill  out  and  mail  this  ballot.  This  month  the  prize — 
for  the  first  400  ballots  we  receive — is  "Princess  of  Monaco. 
The  Story  of  Grace  Kelly."  the  complete  and  moving  story  of 
Grace's  life — from  her  childhood  days  right  to  the  present. 
Be  sure  to  mail  your  completed  ballot  today  to  win  this  book. 

Paste  this  ballot  on  a  postcard  and  send  it  to  TV  Radio  Mirror. 
Box  2150,  Grand  Central  Station.  New   York   17.    Vea    York. 


MY  FAVORITES  ARE: 


MALE  STAR:    1. 


2. 

3. 

FEMALE   STAR:    1. 

2. 

3. 

FAVORITE  STORY   IN   THIS   ISSUE:   1. 

2. 

3. 

THE  NEWCOMER  I'D  LIKE  MOST  TO  READ 

ABOUT: 

THE   FAMOUS   PERSON,    NOT   IN   SHOW 
BUSINESS,  I'D  LIKE  TO  READ  ABOUT: 

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■i 


Wedding     Belles:    John    Gabriel. 

wowing  Hollywood  in  the  lead  role 
of  "A  Family  Affair,"  musical  about 
a  Jewish  wedding,  is  eyeing  Anja 
Comer,  green-eyed  actress  from 
Dawson,  Texas.  The  segment  he  did 
for  "The  Untouchables"  was  such  a 
smash,  it  may  be  stretched  into  a  TV 
series — with  Gabriel,  Dane  Clark 
and  Joseph  Schildkraut  starring.  .  . . 
Bill  Holden's  daughter  Virginia  wed 
to  U.S.C.  professor  Dr.  Aly  Baylor 
and  "blissfully  happy  living  the  quiet 
life  with  the  man  I  love."  .  .  .  Are  the 
nuptial  bells  about  to  ring  for  Rick 
Nelson  and  Chris  Harmon,  lovely 
daughter  of  Tom  Harmon  and  Elyse 


by  EUNICE  FIELD 

Knox?  The  Harmons  and  Nelsons  are 
old  friends  and,  since  the  birth  of 
David's  little  Daniel,  Rick  has  been 
showing  a  strange  fascination  for  help- 
ing sis-in-law  June  with  feeding,  rock- 
ing and  burping.  Is  he  practicing? 


This  Is  The  Virginian?  In  the  novel 
on  which  this  series  is  based,  the  hero 
is  described  as  a  courtly,  gallant  man 
of  few  but  profound  words.  James 
Drury,  who  is  trying  to  play  this  role, 
is  offending  his  fans,  the  press — and 
panicking  Revue  execs — by  bawling 
out  commissary  waitresses,  flying  into 
unaccountable  rages  in  which   he   in- 


sults television  and  its  audience,  and 
generally  showing  contempt  for  his 
fellow  actors,  some  of  whom  have  long 
held  a  fond  place  in  the  hearts  of 
millions.  Not  only  does  Drury — nick- 
named "Dreary"  by  many  crew  mem- 
bers— fail  to  live  up  to  the  qualities 
of  "The  Virginian"  ...  he  hasn't  the 
least  resemblance  to  the  tall,  quiet, 
strong  man  once  played  by  Gary 
Cooper  and  Joel  McCrea. 


Happy  Talk:  Gracie  Allen  her  own 
perky  self  at  a  party.  .  .  .  Brett 
Halsey  and  Debbie  Loew  to  wed. 
.   .  .  And   George   Maharis   has  a 


No  real  blows  for  Tony  Martin  and  M.  Berle  .  .  .  but  friends  worry  about  Sinatra  (below  with  Eddie  Fisher,  Harpo  Marx). 


ray  chat:  Grade,  Brett  &  Debbie  .  .  .  son  John  still  speaks  to  Cara  .  .  .  Eve  and  husband  Brooks  West  like  old  movies! 


"funny"  to  tell  about  a  woman  who 
writes  letters  to  the  show's  producers, 
enclosing  maps  of  the  U.S.A.  marked 
with  a  red  "X"  to  show  the  location  of 
the  latest  episode.  It  usually  indicates 
that  the  action  is  taking  place  miles 
from  "Route  66"  .  .  .  her  terse  com- 
ment: "Alas,  the  boys  are  lost  again!" 


Dick's  Mail  Bag:  At  least  12,000 
letters  come  to  Dick  Chamberlain 
each  week,  MGM  estimates.  They 
come  from  all  kinds  of  people,  espe- 
cially women,  and  some  are  stranger 
than  science-fiction.  "I'm  fat  and 
ugly,"  wrote  one  lady,  "and  dieting 
is  no  help.  The  only  time  I  feel  weight- 
less is  when  I  look  at  you,  Dick — be- 
cause then  I'm  in  orbit." 


Large  Ha-Ha:  Sighed  Earl  Holli- 
man  to  Andy  Prine,  during  their 
"Wide  Country"  shootings,  "I  sure 
could  use  a  large  set  of  china  in  my 
new  home  in  Laurel  Canyon."  The 
following  Tuesday — Earl's  birthday — 
a  large  package  was  delivered  to  Earl 
from  Andy.  It  consisted  of  92  pieces 
of  china  .  .  .  not  the  set  Earl  had  de- 
sired, but  a  large  salad  dish  carefully 
broken  into  92  fragments!  .  .  .  Bobby 
Vee  off  to  England  to  see  Helen 
Shapiro,  the    Isle's  top  femme    lark. 


Best  Rear,  Best  Leer:  A  joke  "prize" 
has  been  given  to  John  Astin,  comic 
co-star  of  "I'm  Dickens,  He's  Fenster." 


The  trophy  shows  a  man  slipping  on  a 
banana  peel  ...  in  honor  of  Astin's 
"5,000th  pratt-fall"!  He  has  also 
copped  another  award — for  "the  best 
leer  of  the  year" — in  "Touch  of  Mink." 
.  .  .  Bob  Walker,  deciding  he  was  too 
skinny,  worked  out  with  a  trainer,  put 
on  15  pounds  of  muscle  .  .  .  and  was 
promptly  signed  to  do  a  "Ben  Casey," 
flat  on  his  back  as  a  bedridden  in- 
valid! .  .  .  Eddie  Hodges  just  bought 
his  first  car,  a  cobalt  blue  T-bird.  "I 
wouldn't  say  it's  fast,"  sez  he,  "but 
my  neighbors  call  it  'cobalt  blur'." 


Rollin'  Along:  Ty  Hardin,  divorced 
from  Andra  Martin,  hitched  to  Mar- 
lene  ("Miss  Universe")  Schmidt.  .  .  . 
Dwayne  Hickman  over  the  virus  and 
dating  Carol  Christensen,  newly 
baptized  in  his  Catholic  faith.  .  .  . 
Peter  Breck,  so  popular  in  "Black 
Saddle,"  up  for  role  in  "Night  of  the 
Iguana."  .  .  .  Vic  Morrow,  starring 
in  ABC-TV's  "Combat,"  to  direct 
Jean  Genet's  "Deathwatch." 


Having  Thunderful  Time:  Myrna 
Fahey's  two  weeks  in  Hawaii  were  a 
ball — eight-ball,  that  is.  On  her  sec- 
ond day,  a  thunderstorm  broke  out 
and  she  was  hit  in  the  head  by  a  surf- 
board. She  then  got  tonsilitis  .  .  . 
and,  the  day  after  leaving  the  hos- 
pital, cut  her  hand  on  a  piece  of  glass. 
An  optimist,  Myrna  hoped  her  trou- 
bles were  over  when  she  embarked  for 
home  .  .  .  but  just  after  passing  the 


point  of  no  return,  the  plane  lost  an 
engine.  She  finally  reached  home  and 
went  out  to  dinner  with  good  pal  Joe 
DiMaggio.  Soon  as  she  sat  down  at 
the  table,  a  squab  took  flight  from  a 
neighboring  table  and  landed — gravy 
and  all — in  the  lap  of  her  new  gown! 


Turn  of  the  Dial:  While  at  the  Sa- 
hara in  Las  Vegas,  Eve  Arden  con- 
fided that  she  has  been  watching  her 
old  movies  on  TV.  "I  never  saw  them 
in  the  old  days.  I  had  no  interest  in 
the  flip  old-maid  type  I  played.  But 
time  moves  on,  and  now  I'm  glued  to 
my  set — watching  that  lovely  young 
creature  who  was  once  me."  .  .  .  Ed- 
die Foy  Jr.  of  "Fair  Exchange"  re- 
veals that  he  and  President  Kennedy 
have  something  in  common:  Foy's  real 
cognomen  is  Fitzgerald — J.F.K.'s 
middle  name.  Another  point  in  com- 
mon: Foy's  brother  Bryan  is  producer 
of  "PT-109,"  the  film  based  on  the 
President's  World  War  II  exploits. 


Cara  Williams  talked  her  best  girl 
friend  Joan  Connors  into  buying  a 
pet  ocelot.  Said  cat  slashed  Joan's 
new  rug,  drapes  and  couch  to  shreds. 
Joan  is  having  its  claws  removed  .  .  . 
and,  oddly  enough,  she  and  Cara — 
who's  pictured  on  this  page  with  her 
little  boy  John  Barrymore  III — are 
temporarily  not  speaking.  .  .  .  Over- 
heard at  Au  Petit  Jean,  "She  and  I 
like  the  same  food,  same  sports,  same  v 
music — whv  don't  we  like  each  other?"    r 


This  slim  young  guy  Richard 
Chamberlain,  who  gets  so  much  of 
the  fan  mail  at  NBC,  turns  out  to  be 
a  blunt-spoken  bloke  who  speaks 
right  out — particularly  about  "Dr. 
Kildare." 

Chamberlain,  who  got  famous 
playing  Kildare,  doesn't  always  like 
Kildare. 

"He's  grown  up  this  year,"  he 
said.  "But  last  year  I  had  the  feeling 
I  wouldn't  trust  this  guy  near  me 
with  a  stethoscope.  .  .  ." 

Let  alone  with  a  surgical  instru- 
ment! Chamberlain,  last  year,  would 
have  preferred  to  be  operated  upon 
by  Dr.  Ben  Casey. 

The  six-foot-one,  milk-drinking, 
beef-eating,  26-year-old  TV  hero  con- 


fessed this  as  we  had  dinner  at  the 
Plaza  Oak  Room  in  New  York.  .  .  . 
"They  are  writing  Kildare  a  little 
better  than  last  year,"  he  said,  while 
being  constantly  interrupted — even 
in  the  smart  Oak  Room — for  auto- 
graphs. "When  we  come  to  a  point 
in  the  story  where  he  has  to  be  in- 
credibly naive,  I  sometimes  speak 
up.  .  .  ."  He  doesn't  say  to  the  writ- 
ers. "Hey,  this  is  lousy!"  Instead: 
"When  something  doesn't  feel  right, 
I  merely  say,  'I  think  there's  room 
for  discussion  about  this.  Why  don't 
we  pick  it  apart?' ' 

"Somebody  has  said,'"  I  told  him, 
"that  Dr.  Kildare  is  cornball,  where- 
as Dr.  Ben  Casey  seems  to  want 
every  operation  to  be  a  failure." 


"No.  no!"  said  Chamberlain,  "I 
haven't  seen  Casey  a  lot.  But  I  think 
people  confuse  Vince  Edwards' 
personal  image  with  Dr.  Ben  Casey. 
What  I've  seen  have  been  good.  .  .  . 
If  anything  much  is  wrong  with 
Kildare,  it's  that  he  gets  too  involved 
with  his  patients  for  his  own  good." 

It  made  Chamberlain  a  little  un- 
comfortable to  be  compared  with 
Clark  Gable.  (An  NBC  press  release 
had  mentioned  that  MGM  reported 
his  fan  mail  was  the  greatest  since 
Gable  was  there.)  "I  wouldn't  par- 
ticularly like  to  walk  in  Gable's  foot- 
steps," he  said.  "He  got  caught  in  a 
personality  trap  and  it  nearly  drove 
him  mad.  He  wanted  to  play  other 
kinds  of  parts,  and  couldn't." 


EARL 


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WILSON'S 


Special  gossip  section:  Read  it  here  first!   Read  it  here  right!   Each  and  every 
month,  TV  Radio  Mirror  brings  you  the  scoopiest   column   in   any  magazine ! 


"Do  you  think  you  can  change 
your  image  so  you  won't  always  be 
Dr.  Kildare?"  we  asked. 

"I'm  trying,"  he  answered,  "to  in- 
crease my  competence  to  deserve  the 
acclaim  I'm  getting." 

"What  else  do  you  want  from 
life?" 

"I'd  like  to  have  some  money,"  he 
replied.  "I  like  money." 

"Why?" 

"Merely  to  put  it  in  the  bank  and 
know  it's  there." 

And,  with  that,  Chamberlain  had 
to  depart,  for  he  was  getting  up 
early  to  ride  in  a  parade  before  thou- 
sands and  thousands  of  people. 

"Do  you  just  love  a  parade?" 

"I  don't  understand  them,  I  never 
did  understand  parades  .  .  .  they're 
bewildering.  You  smile  and  wave 
and  it's  so  apt  to  look  like  you're 
phony.  I  try  to  pick  out  one  person 
in  the  crowd  and  wave  and  smile  at 
that  person,  and  it  doesn't  seem  so 
phony." 

He  added,  however,  that  parades 
are  more  fun  for  him  now  than  they 
were  a  couple  of  years  ago.  "My  first 
parade  was  in  Gardena,  California, 
before  'Kildare'  had  started.  They 
were  just  starting  the  promotion. 
There  I  was,  trying  to  wave  and 
smile,  and  I  was  very  embarrassed 
.  .  .  because  I  could  hear  the  people 
saying,  'Who  is  that?'" 


Danny  greeting  an  Eastern  rival? 

FEARLESS  FORECASTS: 
Garry  Moore  may  become  the  "East 
Coast  Danny  Thomas/'  now  that 
he's  starting  independent  TV  pro- 
duction with  a  series  planned  for 
Marty  Allen  &  Steve  Rossi,  who 
are,  themselves,  the  "new  Martin  & 
Lewis."  .  .  .  Eddie  Fisher  would 
be  well  received  on  TV  now,  based 


on  my  mail  on  the  subject.  It's  run- 
ning 2-to-l  in  favor  of  his  returning, 
with  only  one  in  three  still  angry  at 
him,  for  leaving  Debbie  Reynolds 
for  Liz  Taylor,  and  saying  he 
shouldn't  be  back.  .  .  .  There  prob- 
ably won't  be  any  publicized  battle 
about  the  romance  of  a  new  woman 
star  and  her  beau,  who's  a  producer 
(he  sure  is — he's  the  father  of  eight 
children ! )  .  .  .  because,  as  one  TV 
Row  character  was  saying,  "Could 
you  imagine  being  his  lawyer  in  a 
divorce  case,  when  eight  kids  come 
walking  into  the  courtroom!" 

We    followed    Jackie    Gleason 

around  recently,  studying  his  tech- 
nique, as  he  helped  improve  the 
material  in  his  show  at  a  rehearsal. 
Actually,  Jackie  was  sitting  most  of 
the  time,  but  it  was  amusing. 

Sue  Ann  Langdon  was  over  in 
a  corner  with  her  husband,  writer 
Jack  Emrek.  She  was  trying  on 
her  platinum-blonde  wig  for  the 
sketch. 

Jackie  and  Sue  Ann  got  up  to  run 
through  it.  A  script  girl,  standing 
close,  made  changes  in  the  dialogue 
which  Jackie  dictated  on  the  spur 
of  the  moment.  .  .  .  "What's  a  nice 
girl  like  you  doing  in  a  joint  like 
this?"  Jackie  asked  Sue  Ann,  who 
was  playing  a  floozy.  "Well,"  said 
Sue  Ann,    {Continued  on  page  12) 


Chamberlain  might  not  shoot  Santa  Claus — but  he  does  draw  aim  on  his  own  Kildare  .  .  .  and  speaks  up  for  Casey! 


Douglas  Edwards, 


Alexander  Kendrick, 


ard  C.  Hottelet, 


Daniel  Schorr, 


Allan  Jackson, 


10 


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Baxersi.e  0  KtKN .  Ch.co  KHSL,  Eureka  KINS,  Fresno  KFRE,  Los  Angeles  KNX,  Modesto  KBEE,  Palm  Springs  KCMJ,  Redding  KVCV.  Saeramenlo  KFBK,  San  Diego  KFMB,  San  Francisco  KCBS  Colorado  Colorado  Springs 
uenver  KLA  brand  Junction  KREX  Connecticut  Hartford-Manchester  WINF,  Waterbury  WBRY  District  of  Columbia  Washington  WTOP  Florida  Fort  Myers  WINK,  Gainesville  WGGG,  Jacksonville  WMBR,  Miami  WKAT.  Orlando 
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™  ,'.  ,j1JTr!7,  J  Sava"nah  WTOC,  Thomasville  WPAX  Idaho  Boise  KBOI,  Idaho  Falls  KID  Illinois  Champaign  WDWS,  Chicago  WBBM,  Danville  WOAN,  Decatur  WSOY,  Peoria  WMBD,  Quincy  WTAD,  Rock  Island 
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Kap.ds  WJEF,  Kalamazoo  WKZO,  Lansing  WJIM,  Port  Huron  WHLS,  Saginaw  WSGW  Minnesota  Duluth  KDAL,  Minneapolis  WCCO  Mississippi  Meridian  WCOC  Missouri  Joplin  KODE,  Kansas  City  KCMO,  St.  Louis  KMOX,  Spi 


Marvin  Kalb, 


1r5iwl8F. 
Lowell  Thomas, 


David  Schoenbrun, 

Etc.?  Any  news  enterprise  would  be  happy  to  have 
such  "etc.'s."  Not  only  the  men  pictured  here,  but  all 
the  other  correspondents  like  Charles  Collingwood, 
Dallas  Townsend,  Ned  Calmer,  Eric  Severeid,  Walter 
Cronkite,  Larry  LeSueur— and  on  and  on.  In  fact, 
over  750  "etc.'s"  make  CBS  News  one  of  the  biggest 
news-gathering  organizations  in  the  world. 

And  one  of  the  best.  It  has  been  described  as  "far 
and  away  the  ablest  news  staff  in  broadcasting." 

On  the  CBS  Radio  Network,  this  team  brings  you 
more  news  faster.  More,  because  CBS  Radio  has 
doubled  the  length  of  its  on-the-hour  service,  presents 
more  detailed  coverage,  more  on-the-spot  reports. 
Faster,  because  CBS  Radio  developed  the  electronic 
NetAlerr,  bringing  listeners  major  news  within  sec- 
onds, whenever  and  wherever  it  occurs. 

For  informed,  intelligent  reporting  ...  for  com- 
plete, accurate  and  immediate  news  coverage . . .  keep 
tuned  to  your  CBS  Radio  station. 

The  CBS  Radio  Network 


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SF  New  York  Albany  WROW,  Binghamton  WNBF,  Buffalo  WBEN,  Elmira  WELM,  Gloversville  WENT,  Ithaca  WHCU,  Kingston  WKNY,  New  York  WCBS,  Pittsburgh  WEAV,  Rochester  WHEC,  Syracuse  WHEN,  Utica  WIBX,  Watertown 
ffMY  North  Carolina  Asheville  WWNC,  Charlotte  WBT,  Durham  WONC,  Fayetteville  WFAI,  Greensboro  W8IG,  Greenville  WGTC  North  Dakota  Grand  Forks  KILO.  Jamestown  KEYJ.  Valley  City  KOVC  Ohio  Akron  WADC.  Cincinnati 
«C,  Columbus  WBNS,  Dayton  WHIO,  Portsmouth  WPAY,  Youngstown  WKBN  Oklahoma  Oklahoma  City-Norman  WNAD,  Tulsa  KRMG  Oregon  Eugene  KERG,  Klamath  Falls  KFLW,  Medford  KYJC.  Portland  KOIN,  Roseburg  KRNR 
MUylvania  Altoona  WVAM,  DuSoia  WCED,  Erie  WLEU,  Harnsburg  WHP,  Indiana  WDAD,  Johnstown  WARD,  Philadelphia  WCAU,  Pittsburgh-McKeesport  WEDO,  Reading  WHUM,  Scranton  WGBI,  State  College  WRSC,  Sunbury  WKOK. 
fontown  WMBS,  Williamsport  WWPA  Rhode  Island  Providence  WEAN  S.  Carolina  Anderson  WAIM,  Charleston  WCSC,  Columbia-Cayce  WCAY,  Greenville  WMRB.  Spartanburg  WSPA  S.  Dakota  Rapid  C.ly  KOTA,  Yankton  WNAX 
ftnessoe  Chattanooga  WDOD,  Cookevitle  WHUB,  Johnson  City  WJCW,  Knoxville  WNOX.'Memphis  WREC,  Nashville  WLAC  Texas  Austin  KTBC,  Corpus  Christi  KSIX,  Dallas  KRLD,  El  Paso  KIZZ,  Harlingen  KGBT.  Houston  KTRH, 
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afclngtgn  Soalilo  KIRO,  Spokane  KGA  W.  Virginia  Beckley  WJLS,  Charleston  WCHS,  Fairmonl  WMMN,  Parkersburg  WPAR.  Wheeling  WWVA  Wisconsin  Green  Bay  WBAY,  Madison  WKOW,  Milwaukee  WMIL  Wyoming  Casper  KTWO. 


11 


I 


WILSON'S 


continued 


"my  mother—"  "Hold  it,"  Jackie 
interrupted  her,  saying,  "make  it 
'My  ol'  lady.' " 

Jackie  also  switched  the  music 
around.  "Over  here,"  he  mentioned 
at  one  point,  "we  need  some  music 
like  the  old  Warner  Bros,  pictures, 
with  Bette  Davis  running  to  catch 
the  trainr  Remember  that?  Real 
schmaltz." 

Then  Jackie  wandered  ever  to  the 
bar  set  up  there  in  the  Terrace 
Room  of  the  Henry  Hudson  Hotel 
and  got  a  large  laugh  when  he  leaned 
on  an  elbow,  scowled,  cleared  his 
parched  throat — looking  like  the 
toughest  man  there  ever  was — and 
said: 

"Cherry  smash,  please." 

"DON'T  PRINT  THAT!"    One 

of  the  big  TV  names  is  staying  out 
of  New  York  and  Hollywood — where 
he  could  make  big  money — because 
his  ex-wife  would  grab  him  for  ali- 
mony. So  he'll  remain  a  minor- 
leaguer.  .  .  .  That  onetime  night  owl, 
Hugh  Downs,  who  used  to  go  to 
bed  around  3  A.M.,  now  hits  the  sack 
around  8  p.m.  because  of  his  chores 
on  "Today."  He  has  dinner  with  his 
wife  and  children  just  before.  "In 
one  way,  it's  wonderful,"  says  Mrs. 
Downs.  "For  several  years,  Hugh 
never  knew  whether  he'd  have  a 
regular  dinner — because  of  all  the 
work  he  had  to  do  at  those  hours." 
Hugh  will  get  occasional  breaks 
from  the  rigid  early-morning  sched- 
ule with  excursions  to  resort  cities, 
but  there's  little  chance  he'll  deviate 
from  the  "live"  format.  He's  in- 
sisted that  he  would  only  do  the 
show  if  he  could  do  it  live — "there's 
so  much  that  can  happen  between 


the  taping  time  in  the  evening  and 
6  or  7  o'clock  next  morning!" 

George  Jesse I's  constant  at- 
tacks on  TV  are  amusing — though 
they  don't  seem  to  have  hurt  it  much. 
I  asked  Dick  Van  Dyke  whether  he 
thought  TV  is  "show  business." 

"Of  course!"  he  said.    "Why?" 

"Because  George  Jessel  says  it 
isn't — he  says  TV  is  the  advertising 
business." 

Dick  grinned  and  acknowledged 
that  Jessel  has  a  point. 

"Take  your  biggest  stars  of  TV 
.  .  .  Garry  Moore,  Arthur  God- 
frey," Jessel  said.  "They  don't 
know  what  a  backstage  looks  like." 
He  meant  that  they  were  qualified 
in  huckstering  but  were  actually 
more   public   salesmen  than   actors. 

"But  what  about  Lucille  Ball, 
Jackie  Gleason,  Bob  Hope?" 
Van  Dyke  challenged.  "You  can't 
say  they've  never  been  backstage." 
Dick  didn't  bring  his  own  name  into 
it — but  he's  been  an  actor  in  the 
real  sense,  too. 

Richard  Egan's  lovely  wife,  the 
former  Pat  Hardy  of  the  Copaca- 
bana  line,  has  been  with  him  while 
he  and  Terry  Moore  have  been 
shooting  part  of  the  new  "Empire" 
series  around  Albuquerque  and 
Santa  Fe,  New  Mexico. 

"While  driving  around  in  my  car 
one  day,"  Pat  says,  "I  decided, 
'Maybe  I  should  drive  over  to  Las 
Vegas  and  play  the  slot  machines 
for  a  half  hour.'  I'd  noticed  signs 
saying  'Las  Vegas,  67  miles.' 

"I  mentioned  it  to  somebody — who 
said,  'You're  lucky  you  didn't,  girl. 
That's  Las  Vegas,  New  Mexico, 
where  there  isn't  any  gambling!  The 
Las  Vegas,  Nevada — that  you  want 
— is  several  hundred  miles  west- 
ward.' " 

Are  there  certain  people  on  TV 
whom  you  hate — and  love  to  hate? 
Do  you  ask  yourself,  "Why  do  they 
let  him   (or  her)   stay  on  the  air?" 

Well,  that's  exactly  why  they  do 
it!  Producers  of  most  of  the  panel 
shows  know  that  the  public  just 
loves  to  hate  somebody.  They  de- 
liberately cast  the  panel  so  that 
there  will  be  one  person  who  will 
rub  most  of  the  audience  the  wrong 


The  Egans:  Vegas  went  thataway. 


way.  They  know  that,  as  the  show 
gets  older,  there  will  be  people  who 
will  continue  to  watch  it — not  be- 
cause they  like  the  format,  but  be- 
cause they  can  still  froth  and  fume 
at  disliking  a  panelist. 

Some  panelists  stay  on  and  on  for 
that  reason.  Don't  ask  me  to  name 
them !  But  this  idea  is  far  from  new. 
Some  of  the  greatest  advertising  slo- 
gans have  been  those  that  were  re- 
peated so  many  thousands  of  times 
that  the  public  got  sick  of  them — 
yet  never  forgot  them.  And  then 
there  are  political  scientists  who  con- 
tend that  very  few  Presidents  were 
ever  elected  for  their  own  popular- 
ity— but  because  the  public  hated 
another  candidate  and  rushed  to  the 
polls  to  vote  "agin'  the  man  they 
hated." 

Karen  Sharpe — good  enough  to 
win  an  Emmy  nomination  for  acting, 
six  years  ago — is  just  one  of  the 
many  females  who  feels  TV  hasn't 
done  right  by  the  ladies. 

"After  Donna  Reed  and  Loretta 
Young  and  maybe  a  couple  of 
others,  what  TV  series  uses  women?" 
she  asks.  "And  if  you  did  get  a  job 
in  a  series,  would  anyone  use  you 
afterward  for  anything  else?  What 
will  Amanda  Blake  do  when  'Gun- 
smoke'  folds?" 

—That's  Earl! 


12 


Bobby  Scott 
Music  Editor 


DEC. 1962 


Harry 
Belafonte: 


•  To  the  club-owner,  Belafonte  means 
business  ...  to  the  television  network 
people,  Belafonte  means  ratings  ...  to 
the  record  stores,  Belafonte  means 
records  crossing  the  counter  ...  to  the 
fans,  Belafonte  means  exciting  perform- 
ing, ethnic  excursions  and  dramatic  ex- 
periences. But  to  the  people  around 
Harry,  who  contribute  their  talents  to 
his  desire  and  need,  no  matter  in  what 
capacity,  Harry  Belafonte  means  hard 
work. 

Some  performers  feel  that  plenty  of 
time  is  enough  time  to  work  out  tunes 
and  arrangements  and  all  the  extra- 
musical  loose  ends  that  need  tying  up. 
With  Harry  there  is  no  limit.  Only  trial 
and  error,  until  the  tune  shapes  up  or 
is,  as  is  the  case  with  a  great  deal  of 
material,  shipped  out. 

Harry  is  a  demon  when  it  comes  to 
rehearsing  his  own  small  combo,  which 
travels  with  him.  But  no  one  hollers, 
since  Harry  works  as  much  as  anyone. 
He  will  sing  a  tune  until,  almost  nat- 
urally, it  begins  to  shape  itself.  It 
would  appear  that  he  tries  to  become 
so  familiar  with  a  piece  that  its  struc- 
tural points,  lyric  message  and  vitality, 
cannot  remain  hidden  under  the  seem- 
ing complex  of  chords,  words  and 
melody.  After  this,  there  may  come  the 
beginnings  of  a  musical  backdrop.  This 
may  take  even  more  time.  It  may  re- 
quire different  instruments :  a  mandolin, 
or  a  conga  drum,  a  triangle,  tambourine 
or  bongoes!  Whatever  it  needs,  it  will 
get.  The  only  criterion  here  is  "Let's  Do 
It  Right." 

Of  course,  there's  always  the  folk 
problem.  Harry  is  a  folk  artist,  and 
this  provides  him  with  another  bucket 
of  work  which  is:  /  cannot  take  this 
piece,  by  arrangement  or  interpretation, 
out  of  its  idiom  and  I  cannot  just  sit 
back  and  do  it  like  another  artist  has 
done  it.  To  find  a  new,  fresher  way  to 
do  it  can  mean  only  one  thing:  more 
work! 

Harry  looks  ahead  always.  The  re- 


Weil-Known 
Secret 


sourceful  people  in  his  Belafonte  En- 
terprises organization  are  always  trying 
to  secure  more  creative  conditions  for 
him.  I  had  the  pleasure  of  visiting  part 
of  a  Belafonte  recording  session  last 
year.  The  reason  I  say  part  is  that  it 
ran,  I  believe,  five  days.  That's  with 
sleep,  of  course.  It  cost,  probably,  a  lot 
more  than  most  albums,  but  it  was  more 
than  just  an  album.  It  was  a  great  al- 
bum. There  is  an  infinity  of  difference. 
It's  that  difference  that  makes  you  want 
to  buy,  hear  or  see  Belafonte — and  not 
someone  else. 

Harry's  tastes  musically  range  from 
serious  music  to  jazz  and  folk.  His  own 
expression,  of  course,  leans  heavily  on 
folk.  I  believe  he  sees  in  folk  music  a 
naturalness  that  our  urbanizing  direc- 
tion is  fast  suffocating.  Harry,  as  you 
probably  have  gathered  from  his  re- 
cordings, takes  his  lyrics  quite  serious- 
ly. He  instills  whatever  quality  and  in- 
tensity is  required  by  the  words  he 
sings. 

Folk  music  generally  is  the  voice  of 
the  people  who  did  not  write  books  or 
symphonies,  but  used  song  to  air  com- 
plaints or  joy.  Harry  is  honest  enough 
to  give  fullest  consideration  to  the  mes- 
sage, as  he  is  an  accepted  instrument 
through  which  it  or  they,  the  countless 
voices  of  the  past,  speak. 

Well,  Harry  Belafonte  continues  to 
grow  in  stature.  There  seems  no  end  to 
his  finely  wrought  output.  I  have  a 
sneaking  suspicion  that  it's  all  wrapped 
up  in  that  one  word:  work.  It  reminds 
me  of  what  a  famous  classical  composer 
once  answered  when  asked  how  he 
came  by  his  genius.  "Ten  percent  talent, 
ninety  percent  sweat."  Well,  he  was 
being  modest,  but  there  is  a  little  more 
than  some  truth  in  his  answer.  Only 
through  hard  work  does  a  man  earn  the 
title  of  a  good  custodian  of  his  talent. 
Harry  has  earned  it.  Just  work.  Hard 
work. 

That's  Harry  Belafonte's  well-known 
secret. 


13 


MUSIC 

MAKERS 

IN   THE 

NEWS 


list 


~ 


:M" 


,       ,, 


: 

.  Jllll 

1.  Hollywood  tipped  its  hat  to  Johnny  Mathis  at  a  shish-kebab  party.  2.  Gar 
Clarke  is  big  on  TV's  "The  Virginian,"  but  his  wedding  to  Connie  Stevens  loot 
as  far  off  as  ever.  3.  We'd  like  to  hear  more  of  Jeanette  MacDonald,  here  wit 
Dore  Freeman  of  MGM.  Bet  she  still  sounds  as  good  as  she  still  looks.  4.  R« 
member  Eddie  Fisher's  last  opening  night  in  New  York— as  staged  by  Liz?  Thi 
time,  Eddie  made  the  plans  himself,  and  it  was  Ann-Margret  who  promised  t 
fly  to  his  side.  5.  Juliet  Prowse  was  there,  too— on-stage  with  Eddie  and  breal 


Voc#ir  Monthly   ON   RECORD  Guide? 


POPULAR 

****Johnny's   Greatest   Hits, 

Johnny  Mathis  (Columbia) — This  pack- 
age is  not  a  new  one,  but  a  re-issue. 
Columbia  has — to  quote  them — "elec- 
tronically re-channeled  for  stereo" 
sound.  (Whatever  that  means!)  At  any 
rate,  the  tunes  are  some  oft-heard  big 
ones.  "Chances  Are,"  "It's  Not  for  Me 
to  Say,"  "When  Sunny  Gets  Blue,"  just 
to  mention  a  few.  Johnny  is  heads  up 
throughout  the  proceedings,  rarely  de- 
viating from  the  highly  polished  per- 
formances we've  come  to  expect  from 
him.  The  arrangements  are  adequate 
and  unobtrusive.  "The  Twelfth  of  Nev- 
er," a  tune  partially  lifted  from  a  vin- 
tage folk  song,  is  my  particular  cup  of 
tea ;  but  there  is  a  wide  variety  of  colors 
and  attitudes,  so  all  you  musical  gour- 
mets are  bound  to  find  something  for 
your  taste  buds. 

It's  glowingly  apparent  that  Mathis 
has  carved  himself  a  comfortable  corner 
in  the  House  That  Bing  and  Frank 
Built! 

•***Tony's  Greatest  Hits,  Tony 
Bennett  (Columbia) — If  you're  really 
looking  for  an  album  worth  the  money, 
look  no  further.  This  album  is  just 
loaded  with  the  big  ones.  "Stranger  in 
Paradise,"  "Cold,  Cold  Heart,"  "Be- 
cause of  You,"  "Rags  to  Riches," 
"Boulevard  of  Broken  Dreams,"  "Just 
in  Time"  and  some  others.  (I'd  say 
those  cuts  alone  constitute  a  buy.) 
Another  plus  in  the  presence  of  "Sing 
You  Sinners,"  a  tune  that  is  associated 
with  Tony's  night-club  act.  It's  inter- 
esting to  see,  all  in  this  one  album, 
Tony's    musical    development    marked 


JOHNNY  .MATHIS     <™- »*'■" 
JOHNNY'S  GREATEST  HITS 


4  taste  of  honey 

MARTIN  DENNY 


by  "Boulevard"  through  "Just  in  Time." 
It  sure  is  a  collection.  The  package 
itself  has  a  fine  candid  of  Tony  singing 
at  a  Chicago  nitery.  It's  also  what 
Columbia  calls  "electronically  re-chan- 
neled for  stereo."  (This,  I  trust,  means 
very  little  if  the  originals  were  not  cut 
in  stereo.)  A  big  talent  performing  the 
big  hits.  Recommended. 

****I  Remember  Hank  Williams, 

Floyd  Cramer  (RCA  Victor)— Well, 
here's  a  bagful  of  the  happy  sound 
that  only  Nashville,  Tennessee,  can  turn 
out.  Strings,  voices  and  the  "hominy" 
piano  of  Floyd  Cramer  cooking  up  a 
batch  of  new  arrangements  of  the  great 
Hank  Williams'  classics.  Included  are 
the  Williams  hits  like  "Jambalaya," 
"Cold,  Cold  Heart,"  "Hey,  Good  Look- 
ing," "Your  Cheatin'  Heart,"  and  re- 
ligious vehicles  like  "House  of  Gold" 
and  "I  Saw  the  Light." 

I  guess  I  need  not  tell  you  about 
Floyd's  tripping  piano.   You  have   all 


.apa^cine-ao*.  'CsmtfM^mmmmi, 


heard  him,  I'm  sure.  I  can  tell  you, 
though,  that  on  this  album  he's  in  rare 
form.  Swinging  all  the  way.  The  strings 
and  voices  pace  Floyd's  piano  beauti- 
fully. In  fact,  now  that  I  reflect  on  this 
whole  album,  it  should  please  nearly 
every  fan.  The  kids  will  dance  to  it,  you 
may  find  yourself  singing  to  it.  It's  that 
kind  of  album.  I  like  its  utter  lack  of 
pretense.  It  just  rolls  on  naturally.  I'd 
buy  it.  As  pop  albums  go,  this  one  is 
definitely  a  winner. 

****A  Taste  of  Honey,  Martin 
Denny  (Liberty) — Before  I'm  accused 
of  favoring  this  album  (because  I  wrote 
the  title  tune,  "Honey") ,  let  me  first  tell 
you  that — my  own  composition  aside — 
the  album  is  first-class  in  material  and 
performances. 

Mr.  Denny,  though  not  a  favorite  of 
mine  in  the  past,  has  dented  my  armor 
here.  Maybe  it's  because  we  find  him  in 
a  jazz-exotica  groove.  The  music  makes 
interesting  listening,  and  also  good 
dancing  music.  For  Denny  fans,  the 
group  is  the  usual  vibes  plus  rhythm 
section,  with  Martin's  dynamic  piano 
being  featured  all  the  way.  Among  the 
tracks  that  delighted  your  reviewer  were 
the  beautiful  "Black  Orchid,"  the  movie 
theme,  "Walk  on  the  Wild  Side,"  Dave 
Brubeck's  surprising  hit-chart  jazz  piece, 
"Take  Five."  "Stranger  on  the  Shore" 
gets  a  casual,  lip-service  interpretation. 
"Clair  de  Lune,"  the  Debussy  master- 
piece, gets  an  interesting  Latin  treat- 
ment, with  some  jazz  moments*  and  "The 
Wild  One"  rounds  out  the  real  winners. 
The  added  plus  is  the  inclusion  of  Den- 
ny's hit  single,  "Honey."  All  in  all,  a 
very  good  buy.  Liberty  Records  can  be 
justifiably  proud  of  this  package. 


16 


____________________ 


^C-K-K-K   GREAT! 
-K-)C-K  GOOD   LISTENING 


»  «  i 


J~AIR   SOUNDS 
-K  IT'S    YOl/R    MONE V 


•••On  My  Way,  Barbara  Dane 
(Capitol) — This  newcomer  is  one  you're 
going  to  hear  much  about.  Miss  Dane  is 
a  big-voiced  belter  in  the  grand  tradition 
of  Bessie  Smith  and  Ma  Rainey.  It's 
almost  unbelievable  that  this  bright- 
haired  girl  from  Detroit  can  very  im- 
pressively re-create  the  "twenties"  feel- 
ing. (It  just  goes  to  show  you  that  the 
truths  of  Bessie  Smith  and  the  other 
grand  shouters  are  too  wonderful  to 
have  been  forgotten  with  passing  years.) 
If  you're  looking  for  some  exciting  mu- 
sical fare,  let  this  fireball  charm  your 
ears  off.  She  is  capable  of  it.  Barbara 
Dane,  that's  the  name.  (The  band  is 
also  great  which  provides  the  back- 
drops.) 

•••Golden  Encores,  Eddie  Hey- 
wood;  orch.  cond.  by  Hugo  Winterhal- 
ter  (Liberty) — Eddie  Hey  wood  is  a 
true  example  of  style.  He  came  by  it 
honestly,  too,  It's  taken  him  no  short 
time  to  arrive  at  his  personal  modus 
operandi.  He  has  been  part  of  the  music 
scene  for  many  years.  (Some  young  fans 
may  not  remember  Eddie's  famous  ren- 
dition of  "Begin  the  Beguine."  "Cana- 
dian Sunset,"  which"  is  included  here, 
was  the  beginning  of  a  comeback,  along 
with  several  other  tunes — the  titles  elude 
me — which  Eddie  started  after  literally 
years  of  illness.  He  climbed  right  back 
into  the  saddle  and  he's  been  riding 
there  ever  since. 

This  album  is  sort  of  a  tip  of  his  hat 
to  some  exceedingly  popular  and  very 
musical  tunes.  "Exodus,"  "The  High 
and  the  Mighty,"  "Like  Young,"  "To- 
night" and  "Maria"  have  all  found 
their  way  in.  Eddie,  very  comfortably, 
puts  them  through  the  paces.  It's  not 


gangbusters,  but  the  subtle  work  of  a 
pro.  Eddie  gets  to  the  core  of  each  tune 
and  unravels  its  essence.  He  can  charm! 

•••Softly  As  I  Leave  You,  Matt 
Monro  (Liberty) — Rarely  it  is  that  an 
album  like  this  one  falls  into  my  hands. 
A  comparative  newcomer  record-wise, 
good  tunes,  polish  and  much  good  musi- 
cal intent.  (Included  here  is  Matt's  near 
hit,  "My  Kind  of  Girl,"  which  may 
bring  him  into  focus  for  those  who  are 
not  acquainted  with  the  name  Matt 
Monro.) 

His  musical  identity,  at  present,  is 
rather  colored  by  some  obvious  Sinatra- 
isms,  but  they  are  more  like  condition- 
ing than  imitation,  and  that  in  itself 
constitutes  no  corner  on  that  market. 
There  is  a  bunch  of  Sinatra-influenced 
and  orientated  singers. 

Matt's  ballad  singing  is  much  more 
original  in  expression  than  his  swing 
things.  "Softly  as  I  Leave  You"  and 
"Portrait  of  My   Love"   are   the   high 


SOI  lUi  ILEAV!  '.  Ill 
:;  •■■•  iff!  ■ 

mi  W 


MATT 

MONRO 


spots,  along  with  "My  Kind  of  Girl." 
I,  for  one,  would  like  to  see  Mr. 
Monro  grow  in  stature  through  recogni- 
tion, as  he  embodies  what  I  like  to  think 
is  the  grand  tradition  of  pop  music. 
Good  readings,  good  material,  sensitive 
arrangements  and  a  non-gimmick  ap- 
proach vocally.  So  if  you've  got  the 
money  .  .  .  investigate. 

••"Route  66"  Theme  and  Other 
Great  TV  Themes,  Nelson  Riddle 
Orch.  (Capitol) — This  album  was  a  dis- 
appointment. Only  "Route  66"  and  the 
"Ben  Casey"  theme  take  wing.  The  rest 
get  rather  poor  treatments,  considering 
what  we're  used  to  expecting  from  Mr. 
Riddle.  As  a  matter  of  fact,  "The  De- 
fenders" theme  is  almost  comical  in  its 
complete  lack  of  imaginative  writing. 
The  theme  from  "Naked  City,"  which 
was  written  by  Billy  May  and  happens 
to  be  a  favorite  of  this  reviewer,  was 
also  clobbered. 

Why  anyone  would  record  such 
themes  as  "The  Alvin  Show,"  "My  Three 
Sons,"  "The  Andy  Griffith  Show"  and 
"Sing  Along  With  Mitch"  is  beyond 
my  ken!  (The  inclusion  of  the  themes 
from  .  "Checkmate,"  "Dick  Powell," 
"Gunsmoke,"  the  beautiful  "Playhouse 
90"  theme,  even  "What's  My  Line?"— 
which  has  a  pleasant  jazz  feel — would 
have  made  the  album  palatable.)  By 
Jove,  even  a  commercial  theme  would 
stand  up  to  the  aforementioned.  Oh, 
well,  it's  your  money. 

••Drinking  Again,  Dinah  Washing- 
ton; arr.  and  cond.  by  Don  Costa  (Rou- 
lette)— The  "Queen"  has  made  better 
albums  than  this,  but  she's  always  worth 
your  money.  Here  we  find  her  in  that 


1 


17 


Voitr  Monthly  ON   RECORD  Cui&e 


"I've-lost-my-love-and-I'm-sad"  groove. 
The  big  minus  is  the  relative  difference 
between  what  Dinah  needs,  arrange- 
ment-wise, and  the  arrangements  here. 
It  doesn't  always  jell.  As  a  matter  of 
fact,  it's  like  that  most  of  the  way 
through  this  album. 

Dinah  rises  when  a  tune  really  cries 
for  a  sensitive  reading,  but  she  also 
takes  it  easy  by  cutting  the  phrases.  This 
can  get  tiresome  when  listening  to  six 
songs  in  a  row  on  one  side  of  an  L.P. 
where  the  tunes  are  under-arranged  and 
Dinah  is  really  heavily  clipping  phrases 
— there's  much  silence. 

The  collection  of  tunes  includes: 
'Drinking  Again,"  "Just  Friends,"  "I 
Don't  Know  You  Anymore,"  "On  the 
Street  of  Regret,"  just  to  name  a  few  of 
the  more  interesting  tracks. 

••"Things"   and    Other    Things, 

Bobby  Darin  (Atco) — Aside  from 
"Things,"  Bobby's  recent  hit,  and  "The 
Beachcomber,"  this  album  remains  un- 
alterably pedestrian.  It  would  appear 
that  some  of  these  tracks  are  a  few 
years  old.  They  are  certainly  not  repre- 
sentative of  Darin's  talent  to  this  re- 
viewer. This  seems  to  me  to  be  a  collec- 
tion of  experimental  tries  at  the  singles 
market.  As  a  package?  .  .  .  Well,  it's 
a  question  of  what  you  want. 

JAZZ 

••••Dizzy,  Rollins  and  Stitt,  Diz- 
zy Gillespie,  Sonny  Rollins  and  Sonny 
Stitt  (Verve) — For  the  jazz  fan,  this 
album  is  a  must.  Some  of  the  playing 
here  is  the  best  I've  heard  on  record  in 
a  long  time.  There  are  only  four  tunes 
v  on  this  album.  The  shortest  track  runs 
r       just  under  nine  minutes.  The  longest 


and  possibly  the  best — "The  Eternal 
Triangle" — runs  fourteen  minutes.  More 
than  enough  time  for  everyone  to  have 
his  say. 

Sonny  Stitt's  playing  on  "Triangle" 
is  near-incredible.  He  steals  the  show, 
to  the  ears  of  this  reviewer.  His  solo 
on  Dizzy's  beautiful  composition,  "Con 
Alma,"  is  just  a  bagfull  of  flying  fingers. 

Sonny  Rollins'  playing,  though  good, 
appears  at  times  a  little  chaotic.  But 
on  "After  Hours"  he  finds  a  groove.  And 
presiding  here  is  the  high  priest  of  be- 
bop, Dizzy  Gillespie.  Dizzy,  year  in  and 
year  out,  remains — along  with  Miles 
Davis — the  core  of  the  modern  jazz- 
playing  trumpet.  In  this  album,  Diz  is 
no  less  strong  than  he  ever  was.  His 
solos  on  "Triangle"  and  "Con  Alma" 
are  stimulating  excursions. 

A  special  word  should  be  mentioned 
about  the  rhythm  section.  It's  comprised 
of  the  Bryant  brothers,  Ray  and  Tom, 
and  Charlie  Persip  at  the  drums.  Ray's 
solos  add  the  proper  dash  of  spice  which 
offsets  the  horns.  He  is  one  of  the  new 
growing  giants  of  the  jazz  piano.  Brother 
Tom  holds  down  the  bass  fiddle  dept. 
admirably.  Charlie  Persip  keeps  the 
pulse  charging  and  churning.  His  solos, 
though  not  epic,  are  effective.  Three 
giants — plus  a  growing  one — makes  four 
stars.  And  that's  the  rating. 

•••The  Compositions  of  Horace 
Silver  (Riverside — Jazz  Master-Comp. 
Series) — Here's  an  album  that's  like 
an  anthology.  Every  track  on  it  features 
a  different  jazz  group,  all  pulled  from 
Riverside's  large  catalogue  of  jazz  al- 
bums. Of  this  whole  Composers  Series 
that  Riverside  has  put  out,  I  believe  this 
album  to  be  one  of  the  best. 

Horace's  classic  jazz  lines  get  admir- 
able treatments,  most  of  the  way.  The 
two  exceptions  to  the  otherwise-high 
level  were  Bobby  Timmon's  unaccom- 
panied piano  solo  on  "Home  Cookin'  " 
and  the  inexcusably  bad  arrangement 
of  "Peace"  which  features  Blue  Mitch- 
ell's trumpet  amongst  a  string  and 
brass  ensemble.  (The  trombone  intona- 
tion was  near-hopeless  on  that  track.) 

Among  the  winning  interpretations 
were  Nat  Adderley's  vital  playing  on 
"Sister  Sadie,"  Blue  Mitchell's  playing 
and  Tadd  Damerow's  arranging  on 
"Strollin',"  Joe  Harriott's  group  play- 
ing "Senor  Blues"  and  the  wonderful 
Wes  Montgomery  playing  "Ecorah." 

Horace  has  the  capability  of  making 


things  clear  in  his  writing.  It's  largely 
economical  writing.  His  form  is  mostly 
a  natural  action  from  inside  to  out.  It 
rarely  ever  feels  like  he  has  imposed 
a  form  upon  material.  His  attitude  me- 
lodically  centers  around  the  blues,  its 
scale  and  harmonic  scheme.  He  invari- 
ably relieves  melodic  sameness  through 
rotation  of  harmonic  roots.  Other  than 
that,  it's  fun  to  listen  to  Horace's  writ- 
ing. It  possesses  the  open  and  exhilarat- 
ing quality  his  own  nature  has. 

If  you  are  not  familiar  with  Horace's 
writing,  this  may  be  an  interesting  ex- 
cursion. Bear  in  mind,  this  is  jazz. 

I  like  this  album  because  it's  sort  of 
an  objective  look  at  Silver's  writing. 
I'm  so  used  to  hearing  Horace  do  them 
that  part  of  the  interest  is  hearing  others 
read  something  else  into  them. 

•••Solar,  Red  Garland  Quartet 
(Jazzland) — Red  Garland's  particular 
kind  of  jazz  piano-playing  sort  of  sneaks 
up  on  you.  It's  not  an  imposing  type  of 
expression  but  rather  like  a  mist  that 
slowly,  and  quite  unnoticed,  envelops 
you.  This  album  finds  Red  covering  a 
large  area  of  grooves.  Some  light  and 
tinkling  things,  some  bright  and  bois- 
terous ones,  some  fresh  Garland  tunes. 

Accompanying  Red  are  some  fine 
talents.  Les  Spann,  who  served  an  ap- 
prenticeship with  Dizzy  Gillespie,  on 
guitar  and  flute — plus  Frank  Gant  and 
Sam  Jones,  drums  and  bass,  respectively. 

The  solos,  needless  to  say,  are  first- 
rate  outpourings.  The  recorded  sound, 
on  the  other  hand,  leaves  much  to  be 
desired.  It's  rather  nasal. 

All  the  technical  aside,  the  album  is 
worth  having.  The  wonderful,  almost 
period-ish  "I  Just  Can't  See  for  Look- 


'flift.'oliijBsiii.illMii" 

■HOKACt;  Sil.Vt.R 


-K-K-M*   GREAT! 
-K-K-K  GOOD   LISTENING 


-K-K    FAIR   SOUNDS 
-+C  IT'S    "YOUR    MONEY 


ing,"  Red's  very  sensitive  interpretation 
of  "The  Very  Thought  of  You"— which, 
incidentally,  has  some  interesting  Les 
Spann  flute-playing  on  it — the  title  tune 
"Solar,"  Red's  own  compositions  "Blues 
for  News"  (which  is  a  minor  blues), 
and  "Marie's  Delight"  (written  for  Mrs. 
Garland)  are  all  gems. 

LIGHT   MUSIC 

***Curtain  Up!  Fennell  Favor- 
ites, Frederick  Fennell  cond.  the  East- 
man-Rochester "Pop"  Orch.  (Mercury) 
— This  album  is  one  of  many,  albums 
just  released  by  Mercury  in  its  new 
"Curtain  Up ! "  series.  For  the  most,  it's 
an  interesting  series.  This  particular 
album  is  a  compilation  of  conductor 
FennelPs  favorites.  It  includes  classic 
pieces  and  light  pieces  of  short  dura- 
tion. They  all  fall  into  the  "favorites" 
category.  Among  these  vignettes  are  a 
quartet  of  Leroy  Anderson  classics 
("Sleigh-Ride,"  "Fiddle-Faddle,"  "Blue 
Tango,"  "Syncopated  Clock"),  two 
Percy  Grainger  pieces  ("Country  Gar- 
dens," "Molly  on  the  Shore"),  and  sin- 
gle pieces  by  composers  ranging  from 
Schubert  through  Debussy  to  Granados. 

All  the  pieces  are  performed  com- 
petently and  recorded  so  as  to  compete 
in  the  sound  market.  (You  know,  stereo 
and  all  that.)  Grainger's  "Molly"  is  a 
strong  track.  Debussy's  "Clair  de  Lune" 
gets  a  very  sensitive  treatment,  and  the 
Anderson  pieces  carry  themselves  along. 

Another  "Curtain  Up!"  album  re- 
leased with  the  aforementioned  is 
"Gershwin  Favorites."  It  features  both 
the  Eastman-Rochester  and  Minneapolis 
Symphony  Orchestras — Howard  Hanson 
and  Antal  Dorati  conducting,  respective- 


'  "  .         ■  :■  : 


ly.  It  comprises  three  popular  Gershwin 
works,  "Rhapsody  in  Blue,"  "Cuban 
Overture"  and  the  exciting  "American 
in  Paris."  Eugene  List  is  heard  as  guest 
pianist  on  the  "Rhapsody." 

Another  "Curtain  Up!"  album  fea- 
tures symphonic  dance  music.  Dorati 
and  the  Minneapolis  Orch.,  Fennell  with 
the  "Pops"  Orch.,  and  Paul  Paray  con- 
ducting the  Detroit  Symphony  make  up 
the  personnel.  The  pieces  range  from 
waltzes  by  Strauss  to  Khachaturian's 
"Saber  Dance"  and  Copland's  "Hoe- 
Down"  from  "Rodeo." 

As  series  go,  this  Mercury  set  is  a 
good  contender.  It  definitely  makes  the 
three-star  listing  easily. 

MOOD   MUSIC 

**iAr*Rendezvous  in  Paris,  Michel 
LeGrand  (Philips) — This  is  one  heck- 
of-a  fine  album.  From  the  choice  of 
tunes,  to  the  polished  arrangements  and 
performances.  Michel  LeGrand  can  eas- 
ily be  called,  in  this  reviewer's  opinion, 
the  finest  arranger  in  Europe.  (Only  in 
England  is  there  competition,  in  the 
talent  of  Robert  Farnon.) 

On  this  album,  Michel  paints  us  his 
Paris.  A  Paris  of  sights  and  sounds,  of 
love  and  adventure.  Throughout  every 
tune,  the  incredibly  high  level  of  taste 
that  LeGrand  possesses  is  always  in 
evidence.  A  subtle  jazz  feeling  per- 
meates the  proceedings.  Mind  you,  it's 
texturally  jazz.  The  melodic  material 
of  the  tunes  remains  intact.  The  or- 
chestra is  extremely  large  but  never 
cumbersome  under  LeGrand's  deft  hand. 
Though  there  is  a  brass  section  here, 
the  burden  of  work  is  carried  by  the 
strings.  And  they  do  sing! 

It's  an  April  feeling  that  comes  off 
this  album,  but  tinged  with  an  autumnal 
briskness.  The  air  is  full  of  Parisien 
magic.  The  wonderful  magic  of  Le- 
Grand. The  tunes  include:  "C'est  Si 
Bon,"  "Melodie  d'Amour,"  "I  Wish  You 
Love,"  "Pigalle,"  "Petite  Fleur"  and 
some  other  tasty  French  pastries. 

Michel  LeGrand  has  done  it  again! 

CLASSICAL 

****La  Creation  du  Monde,  Suite 
Provencale,  Comp.  by  Darius  Mil- 
haud;  Charles  Munch  cond.  the  Boston 
Symphony  Orch.  (RCA  Victor — Soria 
Series) — Darius  Milhaud  is  unquestion- 
ably one  of  the  finest  composers  living 


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PHILIPS 


today.  A  composer  who  embraces  struc- 
ture-rich sonorities  and  coloristic  or- 
chestration. He  is  the  possessor  of  a 
rnjusical  talent  suited  for  any  area. 
Theater,  ballet  and  concert,  all  find 
some  Milhaud  work  solidly  entrenched 
in  their  respective  repertoires.  These 
two  works  are  related — at  least,  their 
beginnings — to  the  theater.  "La  Crea- 
tion" was  written  for  dance.  (The 
"Suite"  was  originally  an  incidental 
score  for  a  play  called  "Le  Trompeur  de 
Seville.") 

"The  Creation"  was  inspired  by  jazz. 
The  instrumentation  and  quality  of  the 
piece  can  be  called  nothing  other  than 
jazz-like.  Of  course,  it's  of  an  early  jazz 
period  in  style.  It  expresses,  in  charac- 
ter, the  "twenties,"  when  one  considers 
its  jazz  materials,  but  Milhaud's  genius 
gives  it  the  chance  to  stand  the  passing 
years.  As  to  its  musical  intent —  and  by 
that  I  mean  the  use  of  jazz  materials  in 
a  serious  piece — it  preceded  Gershwin's 
fine  efforts.  (Its  program  is  an  African 
conception  of  the  beginnings  of  life.) 

As  good  as  "The  Creation"  is,  I  feel 
stronger  about  the  "Suite."  This  piece, 
which  was  welded  from  the  themes  of 
an  incidental  score,  is  impossibly  alive 
with  color  and  dynamics.  Heavily 
French — and  Southern  French,  at  that 
— it  rolls  before  your  eyes,  through  its 
tonal  imagery,  all  of  the  Provengal 
countryside.  It's  quite  magical.  Munch, 
who  just  recently  retired  at  seventy, 
gives  both  works  beautiful  readings. 
RCA  can  be  proud  of  its  Soria  Series. 

The  packaging  (jacket  and  booklet — 
which  is  eleven  pages  long,  full  of 
photos,  a  Cezanne  print  and  the  ro- 
mance of  both  pieces — are  choice)  is 
tasteful  and  built  to  last.  That's  as  it 
should  be  with  such  a  truly  classic  L.P. 


19 


SINGLES 


PIECES   OF   EIGHT 


1)  One  More  Town/  She  Was  Too  Good  to  Me,  Kings- 
ton Trio  (Capitol)— If  "One  More  Town"  isn't  a  hit,  I'll 
eat  the  record.  This  winner  finds  the  boys  for  the  first  time 
with  a  complement  of  strings  and  brass.  You're  going  to  hear 
this  one  plenty.  Flip  is  good,  too. 

2)  A  Taste  of  Honey/The  Old  Cathedral,  Lenny 
Welch  (Cadence) —  Another  interpretation  of  "Honey."  This 
time  a  new  lyric  and  a  definite  market  rendition.  Lenny 
Welch  is  a  lad  to  watch.  He's  got  the  makings  of  a  star. 
"Cathedral"  is  not  a  bad  effort,  either,  but  it'll  need  help. 
Strong  record. 

3)  Anna/I  Hang  My  Head  and  Cry,  Arthur  Alexander 
(Dot) — I'm  taking  a  flyer  but  I  think  "Anna,"  with  plenty  of 
exposure,  could  be  a  big  one.  Arthur  wrote  it  and  sings  it 
like  he  means  it.  The  other  side  is  not  as  strong.  Could  be  . . . 

4)  If  a  Man  Answers/A  True,  True  Love,  Bobby 
Darin  (Capitol) — I  believe  this  is  Darin's  first  singles  effort 
for  Capitol — and  it  is  good.  "Man  Answers"  is  the  side. 
Bobby  belts  it  out  in  fiery  fashion.  Flip  is  maudlin.  Look 
out  for  the  first  one.  Both  tunes  are  written  by  Bobby. 

5)  She's  Changed/I  Catch  Myself  Cryin',  Mark 
Dinning  (MGM) — A  very  strong  contender  for  hit  honors 
is  "She's  Changed."  Tricky  lyric  with  Mark  doing  sort  of  a 
Mathis-like  job  with  it.  Mark  can  be  congratulated  for 
writing  it,  too.  A  good,  strong  competitor,  this  record. 

6)  Portrait  of  a  Blonde/Theme  From  Hong  Kong, 

Hank  Levine  (Dolton) — This  could  be  a  sleeper.  Hank 
Levine  has  conjured  that  blonde  right  into  existence.  It's  a 
rare  kind  of  record,  but  I'll  take  a  chance  and  say  I  think 
it  will  mean  something.  Flip  is  par  for  the  course. 

7)  See  You  in  September /Summertime  Goodbyes, 

The  Quotations  (Verve) — I  really  like  this  record!  "Septem- 
ber" seems  a  happy  marriage  of  some  musical  and  market 
elements.  These  chaps  cover  things  nicely.  It's  exciting,  too. 
"Goodbyes"  doesn't  mean  too  much.  Good  record! 

8)  You  Won't  Forget  Me/I  Don't  Think  So  Much  of 
Myself  Now,  Jackie  de  Shannon  (Liberty)— This  is  the 
sleeper!  Both  sides  are  charging  vehicles.  Jackie  sure  is 
singing.  "Forget  Me"  has  the  edge,  but  flip  is  definitely  not 
to  be  overlooked. 

9)  He  Thinks  I  Still  Care/I  Was  Such  a  Fool,  Connie 
Francis  (MGM)— Connie  could  have  a  big  one  in  "He 
Thinks."  It  has  that  ballad  groove  she's  been  lucky  with  in 
the  past.  Flip  is  palatable  but  a  "B"  side.  Watch  for  this  one. 

10)  Love  Me  Tender/ All  I  Do  Is  Dream  of  You, 

Richard  Chamberlain  (MGM)— Well,  here's  Doc  Kildare's 
next  hit.  He  rejuvenated  the  Elvis  hit,  "Love  Me  Tender."  It's 
a  good  performance.  Whether  the  tune  is  still  too  fresh  in 
people's  minds  will  be  the  deciding  thing.  Flip  is  so-so.  It  has 
that  sound. 


•  Pianist  Billy  Taylor,  who  has  been 
a  popular  disc  jockey  at  WLIB  in  N.Y., 
made  the  move  over  to  WNEW. 

Stan  Kenton's  newest  release  is  an 
album  with  Tex  Bitter  doing  the  sing- 
ing. What  an  alliance!  .  .  .  Damita  Jo 
has  been  breaking  it  up  at  the  Copa. 
.  .  .  Bob  Crewe  has  come  up  with  the 
winner.  He  produced  "Sherry,  Baby." 

Jackie  Paris  did  wonderful  business 
in  Buffalo  recently.  His  new  album, 
"The  Song  Is  Paris,"  on  Impulse,  is  do- 
ing very  well. 

Bobby  Rydell  looks  like  he's  headed 
for  movie  stardom.  There's  a  lot  of 
talk  about  this  lad.  .  .  .  "Point  of  No 
Return"  is  going  to  be  Gene  Mc- 
Daniel's  next  big  hit.  .  .  .  What  has 
become  of  Page  Cavanaugh? 


What  about  the  "Bossa-Nova"?  "De- 
safinado"  by  Stan  Getz  started  the 
whole  thing.  .  .  .  Charlie  Ventura  is 
back  again  with  Gene  Krupa.  It's  been 
years  since  they  worked  together.  .  .  . 
Is  there  a  Duke  Ellington-Bobby 
Darin  album  in  the  offing?  .  .  .  It's 
just  a  rumor,  but  Frank  Sinatra  has 
not  set  foot  into  the  Reprise  Records 
office  since  its  inception.  Strange?  He 
owns  the  Company! 

Quincy  Jones  plus  band  at  Mon- 
terey, California  jazz  gathering.  .  .  . 
Roulette  sure  is  releasing  those  slam- 
bang  Dinah  Washington  albums,  one 
after  the  other,  but  who  tires  of  the 
Queen  of  the  Blues?  . . .  Buddy  Greco, 
with  sweater,  making  the  rounds  on 
Manhattan  Isle.  Promotion,  no  doubt. 
.  .  .  Riverside  Record's  "Wonderland" 
Series  is  one  heck-of-a  winner  with  the 
small  fry.  .  .  .  Till  next  month! 


20 


It  was  a  little  girl's  question,  asked  years 
ago... answered  vears  ago,  by  Ernie  Kovacs. 
But  Ernies  gone  now  — tragically  dead  in  a 
ear  accident.  And  now  that  the  question  is 
being  asked  all  oyer  again,  Edie  Adams  is 
alone  to  answer  it.  I  couldn't  fight  God 
to  keep  the  man  I  lo\e,r'  she  says,  "but 
I  will  light  to  keep  our  children.  He  was 
their  father.  She  was  (Continued  on  page  78) 


Clara  Ray 

Dick  Chamberlain 


But  can  they 
ever  marry? 
We  have  the  story! 


Dick  and  Clara  walked  out  into  the  clear  briny  air,  laughing  softly  like  two  people  who 
share  a  rare  secret.  It  did  not  go  unnoticed  that  their  hands  were  tightly  clasped.  A  pho- 
tographer darted  out  of  the  shadows,  his  camera  already  cocked.  "Is  it  love?"  he  demanded. 
"If  it  ain't,  say  so."  Dick  shot  back  a  quick  answer.  "Nobody's  going  to  make  me  say  I 
don't  love  Clara  Ray.  Sure  I  love  her."  Then  he  paused  and  added  teasingly,  ".  .  .  in  my 
own  fashion."  Instinctively,  Clara  echoed  his  mood.  "According  (Continued  on  page  67) 


23 


.#»" 


>* 


"■-'■■- 


^ 


am 


*#« 


He  pursues  her  with  a  fidelity 
— and  gentleness — Hollywood 
didn't  suspect  Troy  Donahue 
ever  had!  He's  serious  about 
Suzanne  Pleshette,  trying  to 
prove  he  has  all  her  qualifi- 
cations for  an  ideal  husband: 
Intelligence,  humor — and  no 
talent  for  carrying  a  grudge. 
No  one  doubted  Troy's  wit  or 
forgiveness  .  .  .  but  he  kept 
his  intelligence  hidden — till 
he  met  Suzanne.  Now  he  reads 
philosophy  and  gets  more  rest 
than  he's  had  in  years!  Suz- 
anne won't  date  on  week  nights 
while  making  a  movie  .  .  .  and 
she's  "the  marrying  kind." 
So  Troy  moved  into  a  large 
modern-Colonial  house — just 
the  kind  she  loves,  she  told 
him,  as  they  drove  around 
looking  for  a  place  for  him 
to  live.  .  .  .For  all  of  their 
"togetherness"  now,  this  ro^ 
mance  really  got  off  to  a  bad 
start.  The  studio  put  out  too 
much  publicity  about  their 
dates — and  each  blamed  the' 
other.  Troy  admits  he  was  par- 
ticularly resentful  because 
he  considered  himself  more 
important  at  the  time.  "Now," 
he  says,  "I  realize  Suzanne 
is  so  far  ahead  of  me  in  act- 
ing I  could  never  catch  up" 
.  .  .  strange  confession  from  a 
man  who's  not  only  a  movie 
star  but  hero  of  a  regular  TV 
series,  "Hawaiian  Eye" !  With 
this  new  humility  of  Troy's, 
Hollywood  can't  help  but  wish 
him  well  in  his  campaign  .  .  . 
even  while  many  believe  his 
kisses  are  getting  him  no- 
where. If  only  Suzanne  would 
start  thinking  less  about  her 
career  . . .  and  more  about  Troy 
— as  a  future  husband — what 
blissful  dreams  could  come  true ! 


Tr«>> 
Donahue 


Muzanne 

Mlielte: 


He  pursues  her  with  a  fidelity 
— and  gentleness — Hollywood 
didn't  suspect  Troy  Donahue 
ever  had!  He's  serious  about 
Suzanne  Pleshette,  trying  to 
prove  he  has  all  her  qualifi- 
cations for  an  ideal  husband: 
Intelligence,  humor — and  no 
talent  for  carrying  a  grudge. 
No  one  doubted  Troy's  wit  or 
forgiveness  ...  but  he  kept 
his  intelligence  hidden — till 
he  met  Suzanne.  Now  he  reads 
philosophy  and  gets  more  rest 
than  he's  had  in  years!  Suz- 
anne won't  date  on  week  nights 
while  making  a  movie  .  .  .  and 
she's  "the  marrying  kind." 
So  Troy  moved  into  a  large 
modern-Colonial  house — just 
the  kind  she  loves,  she  told 
him,  as  they  drove  around 
looking  for  a  place  for  him 
to  live.  ...  For  all  of  their 
"togetherness"  now,  this  ro- 
mance really  got  off  to  a  bad 
start.  The  studio  put  out  too 
much  publicity  about  their 
dates — and  each  blamed  the 
other.  Troy  admits  he  was  par- 
ticularly resentful  because 
he  considered  himself  more 
important  at  the  time.  "Now," 
he  says,  "I  realize  Suzanne 
is  so  far  ahead  of  me  in  act- 
ing I  could  never  catch  up" 
.  .  .  strange  confession  from  a 
man  who's  not  only  a  movie 
star  but  hero  of  a  regular  TV 
series,  "Hawaiian  Eye"!  With 
this  new  humility  of  Troy's, 
Hollywood  can't  help  but  wish 
him  well  in  his  campaign  .  .  . 
even  while  many  believe  his 
kisses  are  getting  him  no- 
where. If  only  Suzanne  would 
start  thinking  less  about  her 
career  . . .  and  more  about  Troy 
— as  a  future  husband — what 
blissful  dreams  could  come  true! 


I 


^H 


fiS* 


Loretta  won't  talk  about  it— perhaps  because 
she's  too  much  of  a  lady  . . .  perhaps  because 
she's  saving  her  talking  for  the  courtroom. 
There  should  be  plenty  of  beans  spilled  there! 
You  see,  Loretta's  being  sued  by  Portland 
Mason  —  and  she's  suing  right  back! 

But  if  Loretta  is  keeping  quiet,  Portland  is 
not.  In  fact,  she's  talking  enough  for  both  of 
them!  (At  fourteen,  Portland  is  pretty  pre- 
cocious. After  all,  she's  been  going  to  Holly- 
wood parties  since  before  she  could  walk  — 
her  parents,  Pamela  and  James  Mason,  took 
her  in  a  basket!) 

When  we  turned  the  tape  recorder  on  at 
our  interview,  mother  Pamela  was  also  pres- 
ent. She's  a  good  talker,  too,  but  she  didn't 
get  many  words  in  that  day.  We  asked  about 
the  five-year  contract  Portland  had,  to  be 
Loretta's  TV  daughter ...  we  asked  about  her 
getting  fired  before  she  had  worked  onewhole 
day ...  we  asked  what  she  thought  of  Loretta 
—  and  Portland  was  off  like  a  shot. 

"The  way  I  happened  to  get  the  part,"  she 
started,  "was  I  went  six  or  seven  times  to  see 
them.  Each  time  I  went  in  looking  very  Vogue- 
model,  I  thought        (Continued  on  page  70) 


cyiLD 

LOBETTA 

YOIII 
ilBl'T 


WAIT 

Loretta  won't  discuss 
the  feud;  Portland  Mason 
will!  If  you  read  between 
her  lines,  it's  enough! 


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She  brought  her  roommate. 


i 


Merv  Griffin  was  trying  to 
explain  why  his  wife  is 
ashamed  to  have  people 
know  they  are  married.   "A 
few  months  ago,"  he  told 
us,  "somebody  asked  Julann 
why  she  didn't  come  around 
to  the  studio  more  and 
watch  her  husband's  shows, 
like  other  wives  do.    She 
said,  very  frankly:  'I'm  too 
nervous  to  come  to  the  stu- 
dio.    I'd  '  rather   just   stay 
home  and  sweat  it  out.  .  .  . 
-Besides,'  she  said,  'I  think 
it's  bad  for  the  public  to 
think  that  Merv  is  married 
to  such  a  nut!"  But  as  for 
Merv,  he  doesn't  care  who 
knows  it! 

"I  first  met  Julann  while 
I  was  singing  on  the  Robert 
Q:  Lewis  show.  That's  going 
back  about  six  years.  Julann 
was  Robert  Q.'s  secretary 
for  a  while.  Then  one  day, 
on  a  hunch,  he  decided  to 
put  her  on  the  show — just 
as  somebody  to  gab  with — 
and  she  was  so  hysterical 
that  Lewis  fired  her  as  his 
secretary  and  she  became  a 
regular  part  of  the  line-up. 

"We  began  to  date.  We 
had  a  lot  of  fun.  We'd  talk 
about  getting  married  oncB 

'    in  ~a~  while,    over    the    yeaT 

and-a-half  that  we  went  to- 
gether. My  career  was  com- 
ing along  nicely  enough — 
I  could  certainly  afford  a 
wife  by  now.  There  seemed 
no  reason  to  keep  putting 
off  our  wedding.  But  some- 
how we  did. 

"And  then,  one  summer 
day  in  1957,  we  were  riding 
down  Seventy-second  Street, 
in  my  convertible,  the  top 
down,  a  beautiful  evening. 

"Very  strangely,  we'd 
both  been  quiet  for  about 
fifteen  minutes. 

"And  suddenly  it  was  as 
if  I  knew  the  time  had  come. 
And  my  great  words  were: 
'Julann,  this  is  ridiculous. 
Let's  get  married.' 
"Her  great  words? 
"  'Sure,'  she  said. 
"And  so  we  were  wed,  the 
following  day.  Very  quickly. 
Frantically.    With  only   my 
dog  and  Julann's  roommate 
to  give  us  their  blessings. 

"Both  the  dog  and  the 
roommate,  in  fact,  spent  our 
wedding  night  with  us.  And 
the  roommate  was  definite- 
ly not  dressed  for  the  oc- 
casion. Before  I  go  further, 
let  me  explain.  The  room- 
mate was  one  of  those  store- 
(Continued    on    page    85) 


*\r»"- 


VINCE    EDWARDS: 


X  V 


f 


I 
I 


A  shrug  of  the  bull-heavy 
shoulders,  a  smile  that  manages 
to  be  shy,  masculine  and  sincere 
all  at  once,  and  then  the  gruff, 
plain  statement:  "I'd  like  to  put 
my  mind  to  being  a  family  man. 
After  all,"  the  smile  widens  to  a 
grin,  "I  come  from  a  long  line  of 
family  men  .  .  . 

"The  trouble  is,"  Vince  Ed- 
wards explodes,  "I'd  make  a 
lousy  husband!" 

Of  course,  there  are  some 
who  insist  Vince  is  already  a 
husband — lousy  or  not.  Cer- 
tainly, he  and  Sherry  Nelson 
have  a  togetherness  many  a 
husband  and  wife  might  envy. 
But  in  this  exclusive  interview 
with  TV  Radio  Mirror,  Vince 
settles  that  question  once  and 
for  all. 

"Why  should  I  lie  about  it?" 
he  asks.  "I'm  not  one  of  those 
rock  'n'  roll  kiddies.  My  image — 
or  the  image  of  'Dr.  Ben  Casey' 
— is  the  more  mature  type.  If 
I  got  married,  nobody's  dreams 
would  be  destroyed.  No,  I've 
got  nothing  to  lose  by  admitting 
it  if  I  were  married.  I'm  not. 
Sherry  is  a  wonderful  girl  who's 
been  an  inspiration  to  me  since 
long  before  I  got  the  TV  series. 
I'd  be  proud  to  say  so,  if  she 
were  Mrs.  Edwards.  But  I 
wouldn't  wish  myself  on  her  or 
any  girl  at  this  time  .  .  . 

"I'm  not  a  congenital  bach- 
elor or  hater  of  family  obliga- 
tions. There's  nothing  I'd  en- 
joy more  than  being  a  husband 
and  father.  I  mean  it.  But  I'm 
not  a  half-way  guy.  Remember, 
it  took  me  eleven  long  years  to 
grab  off   (Please  turn  the  page) 


Is  she  or  isn't  she?  Sherry  Nelson 
plays  it  cool  on  all  those  rumors. 


31 


a  hunk  of  the  spotlight.  I'm  ambitious 
by  nature,  and  because  it  took  me  so 
long  to  step  up,  I'm  all  the  more 
anxious  and  determined  not  to  fall 
down  now  and  go  boom." 

That  the  struggle  left  its  scars  is 
quite  evident,  but  one  thing  that  didn't 
get  damaged  is  Vince's  sense  of  hu- 
mor. "When  you're  climbing,"  he 
grins,  "you  console  yourself  by  say- 
ing, 'Wait  till  I  hit  the  top  .  .  .  then  I'll 
relax  and  rest.'  But  when  you  get  up 
there,  that's  when  you  discover 
there's  just  no  time  to  relax  and  rest, 
not  if  you  want  to  hold  on  or  even 
do  a  little  more  climbing.  I'm  not 
sore  or  bitter  about  the  years  it  took 
to  get  me  there.  In  fact,  I'm  grateful 
to  be  able  to  look  back.  I'm  even 
grateful  for  the  struggle.  Believe  me, 
there  are  a  lot  of  fine  actors  around 
who  may  never  get  a  break,  and  I'm 
aware  of  that,  too. 

"But  I  am  wrapped  up  in  my  ca- 
reer. It's  become  a  habit  with  me 
after  all  this  time.  Being  a  good  actor 
now  and  a  better  one  tomorrow  is 
the  big  incentive  of  my  life.  I  admit  it. 
In  a  way,  I'm  glad  of  it.  I  wouldn't  be 
true  to  myself  if  I  started  bleating 
that  I'd  rather  be  a  hearth-and-home- 
body,  watching  TV  with  the  family. 
Right  now,  I'd  rather  make  TV  than 
watch  it.  And  I  feel  that  anyone  who 
gives  as  much  of  himself  to  just  plain 
work,  the  way  I  have  to  do,  would 
add  up  to  a  lousy  husband  and  father. 
I  feel  I'd  be  cheating  the  girl  who 
staked  her  happiness  on  marrying  me. 
I  don't  think  a  woman  in  love  is  look- 
ing just  for  a  man's  physical  presence. 
She  wants  him  to  be  with  her  emo- 
tionally and  mentally — and,  right  now, 
I  couldn't  be.  My  mind  is  usually  on 
Dr.  Ben  Casey  and  the  next  day's 
script.' 

"I  hope,  of  course,  that  after  a 
while  the  tension  will  ease  up,  and  I 
can  put  my  mind  to  becoming  a 
family  man." 

And  the  tension  may  very  well  be 
easing  up  right  now.  No  one  was 
happier  than  Vince  about  the  plans 
for  Sam  Jaffe,  Bettye  Ackerman  and 
Harry  Landers  (he  plays  Dr.  Ted  Hoff- 
man) to  begin  getting  more  to  do  in 
the  show.  If  the  work  slows  down, 
would  his  marriage  plans  speed  up? 

"They  might,"  Vince  admits.  And 
no  sooner  is  this  concession  out  than 
he's  back  to  worrying  about  the  kind 
of  husband  and  father  he'd  make. 
Vince  has  been  engaged  three  times 
before — in  1951,  1952  and  1955. 
"Looking  back,"  he  says,  "I  realize 
it's  just  as  well  nothing  came  of  those 
romances.  I'd  probably  be  out  selling 
insurance  or  real  estate  like  other 
actors  I  know.  And  most  of  them  are 
miserable,  they're  so  unsuited  to  it." 


"I  want  a  family ...  I  come  from 
a  long  line  of  family  men  .  . 


"I  don't  believe  you  can  make  a 
wife  happy  with  a  checkbook." 


"I  don't  want  to  cheat  my  wife 
.  .  I  don't  want  it  half-way." 


Vince  feels  strongly  that  actors,  like 
other  men,  must  meet  the  responsi- 
bility of  earning  a  living  for  their  wives 
and  children.  In  his  own  case,  the 
problem  of  money  has  always  been  a 
big  one.  When  he  first  came  to  Holly- 
wood, he  was  under  contract  for  a 
while  and  drawing  good  money.  He 
spent  it  faster  than  it  came  in.  He  had 
a  sleek  car,  nice  apartment — a 
closet  full  of  suits.  Then,  as  so  often 
happens  in  Hollywood,  his  option 
wasn't  picked  up.  "I  learned  a  lot 
about  money  in  the  years  that  fol- 
lowed," Vince  recalls.  "Once  I  was 
down,  not  to  three  cents — but  to  a 
box  of  home-made  fudge  my  mother 
had  sent  me.  Between  acting  jobs,  I 
lived  on  my  unemployment  checks, 
but  there  were  some  periods  when 
even  they  were  mighty  small." 

The  problem  of  money,  however, 
has  by  now  been  removed.  His  salary 
has  recently  been  upped  and  will,  in 
time,  vault  to  a  handsome  $10,000 
a  week,  "plus  a  piece  of  the  action." 
But  Vince's  early  experience  in  Holly- 
wood has  paid  off  when  it  comes  to 
money.  He  recently  moved  into  a 
rented  Beverly  Hills  house  which,  he 
says,  will  be  furnished  slowly.  When 
Columbia  Pictures  approached  him 
about  doing  trailers  for  "The  Interns," 
Vince  said  he'd  be  willing  to  do  it  for 
free,  since  he  felt  the  picture  was  a 
good  one.  When  they  insisted  they 
wanted  to  give  him  some  payment, 
Vince  suggested  they  contribute  a 
couch  to  his  new  diggings — an  indica- 
tion that  a  much  more  practical  streak 
is  developing  in  Vince's  character.  A 
business  manager  is  investing  most 
of  Vince's  salary  and  he  is  living  on 
an  allowance — a  necessity  since  two 
of  his  "habits"  are  the  horses  and 
picking  up  the  check  for  old  pals  not 
yet  in  the  chips.  The  rumor  that  these 
tendencies  are  keeping  Vince  broke, 
however,  could  hardly  be  true;  after 
all,  the  hours  he  puts  in  give  him  little 
time  for  either. 

We  reminded  Vince  that  he  can 
hardly  use  "lack  of  financial  security" 
as  an  obstacle  to  marriage  now.  He 
laughed  self-consciously.  "You  got  me 
there,"  he  said.  "But  I  don't  believe 
you  can  make  a  wife  happy  by  giving 
her  a  checkbook — you  still  have  to 
give  your  time,  your  major  concen- 
tration and  your  love.  .  .  ." 

Vince  does  not  try  to  pretend  that 
Sherry  is  the  first  girl  in  his  life. 
"There  isn't  a  man  alive,"  he  says, 
"who  hasn't  been  turned  down.  I  have 
— and  sometimes  when  I'm  out  on  a 
date  with  Sherry,  I  remember  and 
I'm  glad.  I  mightn't  be  out  with  her 
if  that  girl  who  said  'no'  had  said 
'yes.' 

"When   I   (Continued  on   page   75) 


32 


DONNA  REED: 


I 


Turn  the  page  and  read 
how  one  mother's  worst 


fears  almost  came  true! 


It  was  all  a  dreadful  mistake, 
Donna  Reed  thought,  in  panic. 
When  a  woman  has  everything  she 
wants — a  happy  home,  a  husband 
to  be  proud  of,  four  wonderful 
children — she'd  be  a  fool  to  take 
any  risks! 

The  older  children  didn't  worry 
her  so  much  .  .  .  Tim  was  nine, 
young  Tony  eleven,  Penny  twelve, 
so  they  were  in  school  a  good 
part  of  the  day. 

But  Mary  .  .  .  Mary  was  only 
one  year  old.  .  .  . 

It  had  seemed  such  a  lark,  mak- 
ing a  TV  pilot  for  her  husband 
Tony.  But  she  never  really  ex- 
pected the  series  would  be  sold! 
Now  that  it  was,  the  whole  Owen 
family  schedule  would  be  turned 
upside-down  .  .  .  there  might  be 
psychological  reactions  she  and 
Tony  could  neither  foresee  nor 
forestall.  .  .  . 

She  was  most  frightened  about 
Mary,  she  confesses  today.  "What 
would  my  being  away  do  to  her? 
I'd  been  with  her  constantly — had 
no  regular  nurse.  I  had  devoted 
most  of  my  time  to  her,  and  I 
was  scared  that  such  a  drastic 
change  in  her  routine  might  leave 
serious  effects  ...  I  don't  think 
I  ever  prayed  so  hard  that  every- 
thing would  turn  out  all  right!" 

From  the  start,  there  was  no 
doubt  that  "The  Donna  Reed 
Show"  itself — now  in  its  fifth  sea- 
son on  ABC-TV — was  a  success. 
But  the  work  schedule  was  every 
bit  as  much  of  a  problem  as  she'd 
imagined  .  .  .  and  the  show's  ef- 
fect on  her  children  greater  than 
she  could  ever  have  dreamed. 

At  first,  she  wouldn't  let  Mary 
see  it.  She  simply  didn't  wan!  her 


34 


When  it  happened,  Penny  was  old 
enough  lo  understand,  but  how  could 
Donna  explain   it  to  little   Mary? 


vwm 


baby  to  be  confused  by  this  new 
image:  Mary's  very  own  mother 
acting  as  mother  to  two  other 
children  .  .  .  and  as  wife  to  an- 
other man,  called  Dr.  Alex  Stone. 

Finally,  Mary  did  see  the  show. 
And  Donna's  fears  were  more  than 
justified. 

Mary  was  completely  bewildered 
by  Donna's  "other  life."  One  day. 
as  Donna  was  leaving  for  the 
studio,  Mary  asked  her  wistfully  : 
"Are  you  going  to  see  your  other 
two  children  today,  Mummy?" 

Donna  felt  as  though  someone 
had  struck  her.  Suppressing  sud- 
den tears,  she  sat  down  and  care- 
fully explained  that  the  children 
played  by  Shelley  Fabares  and 
Paul  Petersen  were  part  of  Mum- 
my's pretend  world — just  like  the 
boys  and  girls  in  the  fairy  stories 
Donna  read  to  Mary.  And  Alex, 
portrayed  by  actor  Carl  Betz,  was 
just  her  makebelieve  husband. 
.  .  .  Mary  listened,  wide-eyed  and 
silent.  "I  understand,"  she  said 
at  last.  "Shelley  and  Paul  are  go- 
ing home  with  Alex  tonight." 

Donna  knew  she  had  failed. 
Another  remark,  about  the  same 
time,  showed  just  how  much  the 
situation  still  needed  clarifying! 
"Do  you  know,"  Mary  told  a 
friend  excitedly,  "my  mother's 
going  steady   with   Alex?" 

"Fortunately,"  Donna  sighs 
with  relief,  "this  kind  of  confu- 
sion ended  after  a  while!"  It 
hasn't  been  just  "good  luck." 
however,  that  Donna's  children 
haven't  suffered  from  her  work 
on  TV.  From  the  start.  Donna 
Reed  Owen  planned  everything 
carefully  so  they  wouldn't  have 
to   pay    {Continued  on   page   80) 


35 


It  was  all  a  dreadful  mistake, 
Donna  Reed  thought,  in  panic. 
When  a  woman  has  everything  she 
wants — a  happy  home,  a  husband 
to  be  proud  of,  four  wonderful 
children — she'd  be  a  fool  to  take 
any  risks! 

The  older  children  didn't  worry 
her  so  much  .  .  .  Tim  was  nine, 
young  Tony  eleven,  Penny  twelve, 
so  they  were  in  school  a  good 
part  of  the  day. 

But  Mary  .  .  .  Mary  was  only 
one  year  old.  .  .  . 

It  had  seemed  such  a  lark,  mak- 
ing a  TV  pilot  for  her  husband 
Tony.  But  she  never  really  ex- 
pected the  series  would  be  sold! 
Now  that  it  was,  the  whole  Owen 
family  schedule  would  be  turned 
upside-down  .  .  .  there  might  be 
psychological  reactions  she  and 
Tony  could  neither  foresee  nor 
forestall.  .  .  . 

She  was  most  frightened  about 
Mary,  she  confesses  today.  "What 
would  my  being  away  do  to  her? 
I'd  been  with  her  constantly — had 
no  regular  nurse.  I  had  devoted 
most  of  my  time  to  her,  and  I 
was  scared  that  such  a  drastic 
change  in  her  routine  might  leave 
serious  effects  ...  I  don't  think 
I  ever  prayed  so  hard  that  every- 
thing would  turn  out  all  right!" 
From  the  start,  there  was  no 
doubt  that  "The  Donna  Reed 
Show"  itself — now  in  its  fifth  sea- 
son on  ABC-TV — was  a  success. 
But  the  work  schedule  was  every 
bit  as  much  of  a  problem  as  she'd 
imagined  .  .  .  and  the  show's  ef- 
fect on  her  children  greater  than 
she  could  ever  have  dreamed. 

At  first,  she  wouldn't  lei   Mary 
see  it.  She  simply  didn't  want  her 


baby  lu  be  confused  b>  this  new 
image:  Mary's  very  own  mother 
acting  as  mother  to  two  other 
children  .  .  .  and  as  wife  to  an- 
other man,  called  Dr.  Alex  Slone. 

Finally,  Mary  did  see  the  show. 
And  Donna's  fears  were  more  than 
justified. 

Mary  was  completely  bewildered 
by  Donna's  "other  life."  One  day. 
as  Donna  was  leaving  for  the 
studio,  Mary  asked  her  wistfully : 
"Are  you  going  to  see  your  other 
two  children  today,  Mummy?" 

Donna  felt  as  though  someone 
had  struck  her.  Suppressing  sud- 
den tears,  she  sat  down  and  care- 
full)  explained  that  the  children 
played  by  Shelle>  Fabares  and 
Paul  Petersen  were  part  of  Mum- 
my's pretend  world — just  like  the 
boys  and  girls  in  the  fairy  stories 
Donna  read  to  Mary.  And  Alex, 
portrayed  by  actor  Carl  Betz,  was 
just  her  makebelieve  husband. 
.  .  .  Mary  listened,  wide-eyed  and 
silent.  "I  understand."  she  said 
at  last.  "Shelley  and  Paul  are  go- 
ing home  with  Alex  tonight." 

Donna  knew  she  had  failed. 
Another  remark,  about  the  same 
time,  showed  just  how  much  the 
situation  still  needed  clarifying! 
"Do  you  know,"  Mary  told  a 
friend  excitedly,  "my  mother'? 
going  steady   with   Alex?" 

"Fortunately."  Donna  sighs 
with  relief,  "this  kind  of  confu- 
sion ended  after  a  while!"  It 
hasn't  been  just  "good  luck." 
however,  that  Donna's  children 
haven't  suffered  from  her  work 
on  TV.  From  the  start.  Donna 
Reed  Owen  planned  everything 
carefully  so  they  wouldn't  havt- 
to   pay    {Continued  otl   pipe   80) 


35 


In  the  cool  darkness  of  an  Italian  church,  Jacqueline  Kennedy  knelt  in  prayer.  And  even  in  that  sacred 
moment,  the  photographers  followed  her — it  was  their  job.  Other  prying  eyes — without  the  same  excuse — 
also  followed  to  stare  and  then  to  make  a  wide-open  guess  as  to  what  was  in  her  prayer.  It  was  her  sister, 
they  said.  They  pointed  to  Jackie's  meeting  with  a  Knight  of  Malta  (one  of  the  highest  lay  titles  the 
Vatican  can  give)  and  said  that  she  had  come  to  Italy  for  more  than  a  simple  vacation  with  her  sister, 
Princess  Lee  Radziwill.  She  was  there,  they  said,  to  put  pressure  on  the  Vatican — to  get  them  to  recognize 
her  sister's  second  marriage.  ...  It  was  the  kind  of  half-truth,  half-falsehood  that  makes  headlines.  The 
whole  truth?  Certainly  Jackie  might  pray  for  her  sister's  marriage  to  be  recognized  by  the  Church.  Cer- 
tainly such  a  petition  had  been  filed.  But  hardly  by  Jackie.  Prince  Radziwill  explained  (Please  turn  the  page) 


36 


""isfc. 


i 


■ 


IACKIE  KENNEDY:  THE  PRAYER  THAT  WAS  ANSWERED  IN  HEADLINES! 


TO  HIDE 


continued 

that  it  had  been  filed  by  Lee — and  before  she  had 
a  sister  in  the  White  House.  They  are  still  wait- 
ing for  the  Vatican's  answer — but  whatever  the 
answer  is,  Jackie  will  have  had  nothing  to  do 
with  it.  Unfortunately,  it  was  the  kind  of  calm, 
logical  explanation  that  doesn't  make  headlines. 

Jackie  and  Caroline  had  traveled  all  the  way 
to  Ravello  to  play  in  the  sea  and  sun.  They  found 
no  more  privacy  than  they  had  left  behind  in  the 
big  town  of  Washington.  Photographers  still 
followed  them  everywhere — and  the  pictures  made 
more  headlines. 

The  Rev.  Willis  J.  Ray,  executive-secretary 
of  the  Colorado  Baptist  General  Convention,  took 
one  look  at  the  pictures  and  wrote  a  stormy  letter 
to  Senator  Wayne  Morris  of  Oregon.  He  asked  if 
the  Senate,  the  Supreme  Court  or  "anyone  else" 
could  do  something  to  stop  the  First  Lady  from 
appearing  publicly  in  a  bathing  suit.  "It  appears," 
Dr.  Ray  wrote,  "that  all  decorum,  dignity  and 
decency  has  been  thrown  overboard  by  our  Presi- 
dent and  the  First  Lady."  He  also  criticized 
Jackie's  late  hours  "while  away  from  the  U.S. 
and  her  husband." 

Her  husband,  halfway  across  the  world,  also 
went  swimming — and  the  crowd   that  gathered   at 
the  beach  followed  him  right  into  the  briny.  Jack 
Kennedy   did  not  escape  Dr.   Ray's  notice,  either. 
"Has  a  former  President  (Please  turn  the  page) 


■■ 


'^f«     'fe 


(HE  PLAY  THAT  WAS  DAMNED  BY  THE  CLERGY! 


NO  PLACE 
TO  HIDE 


JACKIE  KENNEDY     HE  PLAY  THAT  WAS  DAMNED  BY  THE  CLERGY! 


continued 

that  il  had  been  filed  by  Lee — and  before  she  had 
a  sister  in  the  While  House.  They  are  still  wail- 
iiig  ,,ir  <ne  Vatican's  answer— hut  whatever  the 
answer  is,  Jackie  will  have  had  nothing  to  do 
with  il.  Unfortunately,  it  was  ihe  kind  of  calm, 
logical  explanation  thai  doesn't  make  headlines. 

Jackie  and  Caroline  had  traveled  all  the  way 
to  Ravello  to  play  in  the  sea  and  sun.  They  found 
no  more  privacy  than  they  had  lefl  behind  in  the 
big  town  of  Washington.  Photographers  still 
billowed  them  everywhere-    and  the  pictures  made 
more  headlines. 

The  Kev.  Willis  J.  Ray,  executive-secretary 
of  the  Colorado  Raplist  General  Convenlion.  louk 
one  l""k  at  the  pictures  and  wrote  a  stormy  letter 
in  Senator  Wayne  Morris  of  Oregon.  He  asked  if 
the  Senate,  the  Supreme  Court  or  "anyone  else" 
could  do  something  to  slop  the  First  Lady  from 
appearing  publicly  in  a  bathing  suit.  "Il  appears.' 
Dr.  Ray  wrote,  "that  all  decorum,  dignity  and 
decency  has  been  thrown  overboard  by  our  Presi- 
dent and  Ihe  First  Lady."  He  also  criticized 
Jackie's  late  hours  "while  away  from  the  U.S. 
and  her  husband." 

Her  husband,  halfway  across  Ihe  world,  also 
went  swimming — and  the  crowd   that  gathered  at 
the  beach  followed  him  right  into  the  briny.  Jack 
Kennedy   did  not  escape  Dr.   Ray's  notice,  either. 
"Ilns  a  former  President   {Please  turn  the  page) 


I 


JACK  KENNEDY: 
THE  SPLASH 
THAT  WAS  HEARD 
ROUND  THE  WORLD! 


of  the  U.S.,"  he  asked,  "ever  been  caught  in  shorts 
with  a  group  of  women  hanging  on  him  as  he 
made  a  public  splash  as  our  President  did 
recently  on  the  Western  Coast?   ...   In  the 
seminary  our  teachers  used  to  warn  us  never  to 
appear  in  the  public  presence  of  a  lady  without 
a  coat  on,  and  here  the  President  is  appear- 
ing with  only  his  shorts  on." 

Even  before  Americans  could  agree  or  dis- 
agree with  Dr.  Ray,  a  London  newsman  named 
Cassandra   (William  Connor)   leaped  into  the 
fray.  "Since  when  has  youth  and  grace  and 
gaiety  at  the  White  House  been  improper?"  he 
asked.  "1  would  recommend  to  Dr.  Ray  that  he 
look  up  some  photographs  of  the  wives  of  pre- 
vious Presidents.  .  .  .  They  ranged  the  whole 
gamut  of  feminine  beauty  from  the  homely  to  the 
formidable,  from  the  rolling  pin  to  the  battle-axe." 

Once  Cassandra  had  his  say,  Americans  had 
theirs.  Perhaps  the  last  word  is  in  these  ex- 
clusive pictures.  Judge  for  yourself.  — The  Ejnd 


I 


40 


NO  PLAGE 
TO  HIDE 


continued 


JACK  KENNEDY: 
THE  SPLASH 
THAT  WAS  HEARD 
ROUND  THE  WORLD! 


of  the  U.S.,"  he  asked,  "ever  been  caught  in  shorts 
with  a  group  of  women  hanging  on  him  as  he 
made  a  public  splash  as  our  President  did 
recently  on  the  Western  Coast?   ...   In  the 
seminary  our  teachers  used  to  warn  us  never  to 
appear  in  the  public  presence  of  a  lady  without 
a  coat  on,  and  here  the  President  is  appear- 
ing with  only  his  shorts  on." 

Even  before  Americans  could  agree  or  dis- 
agree with  Dr.  Ray,  a  London  newsman  named 
Cassandra   (William  Connor)   leaped  into  the 
fray.  "Since  when  has  youth  and  grace  and 
gaiety  at  the  White  House  been  improper?"  he 
asked.  "I  would  recommend  to  Dr.  Ray  that  he 
look  up  some  photographs  of  the  wives  of  pre- 
vious Presidents.  .  . .  They  ranged  the  whole 
gamut  of  feminine  beauty  from  the  homely  to  the 
formidable,  from  the  rolling  pin  to  the  battle-axe." 

Once  Cassandra  had  his  say,  Americans  had 
theirs.  Perhaps  the  last  word  is  in  these  ex- 
clusive pictures.  Judge  for  yourself.  — The  End 


40 


Why  did 


i 


Mike  Wallace  travels  to  the  mountains 
of  Greece  to  bring  his  dead  son  home 


>w 


m 


have  to  die  now? 


You're  Mike  Wallace,  and  that  means  hard  as  nails.  You're 
Mike  Wallace  and  you've  earned,  perhaps  justly,  a  reputa- 
tion as  a  "killer"  with  a  sure  instinct  for  the  jugular  vein. 
People,  famous  people,  look  on  you  with  dread  and  curi- 
osity. You  have  publicly  probed  their  secrets,  throwing 
tact,  manners  and  mercy  to  the  winds,  exposing — for  the 
world  to  see — the  throbbing  nerve  of  the  human  soul. 
You're  Mike  Wallace,  who  gives  no  quarter  and  asks  none 
...  but  today,  at  the  simple  sound  of  a  ringing  telephone, 
your  lips  go  dry  and  your  strong  hands  begin  to  shake. 

For  you  are  waiting  for  news  of  your  son. 

It  has  been  three  weeks  now  since  Peter  disappeared, 
three  weeks  since  he  left  the  group  of  students  with  whom 
he  had  been  touring  Greece,  to  walk  alone  to  the  isolated 
mountain  monastery.  No  one  has  heard  from  him  since; 
the  State  Department  has  notified  his  mother,  your  first 
wife  Norma,  that  he  is  missing. 

At  first,  of  course,  you  shrugged  it  off.  Peter's  a  big 
boy,  you  thought  proudly,  weighs  one-seventy,  stands  tall 
— he  can  take  care  of  himself.  Maybe  he  heard  of  a  tennis 
match  somewhere,  you  thought,  laughing.  He'd  been 
chasing  them  all  over  Europe  all  summer. 

But  now,  weeks  have  gone  by,  and  you  admit  to  your- 
self that  it  isn't  like  Pete  to  let  everyone  worry  about  him 
this  way.  You  begin  to  wonder  if  perhaps  the  hepatitis  he 
had  last  summer  has  struck  again  .  .  .  you  hope  to  God 
he's  not  sick  in  some  little  mountain  village  .  .  .  you  pray 
there'll  be  news  before  his  mother  worries  herself  sick. 

And  now  the  telephone  is  ringing  and  instead  of  leaping 
for  it  hopefully  as  you  have  for  days,  you  hang  back;  for 
some  reason  you  wait.  As  last  you  pick  it  up — and  then 
understand  why  you  were  afraid. 

A  body  has  been  found.  .  .  .  (Continued  on  page  77) 


#  -' 


rao@ 


(3QQ  TOEo  to 
DEW  SV 


/?cy    /mw    o    way    with   people,    especially    children.    But    on    vacation     in   Porto fini,   Italy,    he   had   his    hands    full! 

The  Raymond  Burr  I  Know   •    by  BARBARA  HALE 


The  first  time  I  remember  meeting  Raymond  Burr, 
he  was  wearing  his  usual  leisure-time  outfit  of  blue 
denim  pants,  sweat  shirt  and  tennis  shoes.  I  remem- 
ber asking  myself:  "This  is  going  to  be  the  dignified 
Perry  Mason?"  He  was  younger  than  I  had  expected 


from  his  movies,  in  which  he  usually  played  older 
menace-types.  .  .  .  What  impressed  me  most  were 
his  eyes,  which  have  an  almost  hypnotic  quality. 
They  are  blue,  with  a  very  steady,  piercing  gaze.  And 
his  voice  and  manner  were  (Continued  on  page  87) 


Barbara's  an  expert  witness  on  Ray,  but  wait  till  you  read  his  testimony  on  her!  Just  turn  the  page 


► 


45 


TFGq®  ®M  Mo®  D 


The  Barbara  Hale  I  Know   •    by  RAYMOND  BURR 


I  often  tease  Barbara  by  saying  there  must 
be  some  deep  Freudian  meaning  in  the  fact 
that  she's  completely  forgotten  our  first  meet- 
ing. She's  under  the  impression  that  we  met 
the  day  producer  Gail  Patrick  Jackson  called 
us  to  her  office  to  sign  contracts  for  the  "Perry 
Mason"  show.  "Maybe  you're  prettier  than 
I  am,"  I  tell  Barbie,  "but  I'm  smarter — be- 
cause I  do  remember  when  and  where  we  first 
met!" 

It  happened  when  we  were  both  working 
for  RKO  in  1943.  I  was  there  briefly  before 
she  came  out  from  Illinois.  She  certainly  made 
a  lasting  impression  on  me.  When  I  left  for 
service  again,  I  took  with  me  the  image  of  a 
bright,  lovely  and  wholesome  personality  whose 
charm  kept  lingering  in  my  mind. 

During  this  interim,  she  met  Bill  Williams 
and,  being  no  fool,  he  lost  no  time  in  snapping 
her  up.  Since  then,  I've  followed  her  progress 
as  a  woman  and  actress  with  great  interest. 
It  is  something  of  a  hobby  with  me.  I  enjoy 
watching  the  growth  of  other  people,  much  as 
I  like  to  watch  the  unfolding  of  the  orchids  I 
grow  as  an  escape  from  the  pressures  of  work. 
When  I  have  a  part  in  this  unfolding  of  talent, 
it  is  a  source  of  genuine  pride  to  me. 

Though  she  doesn't  have  the  vivid  and  flam- 


boyant personality  of  certain  glamour  girls, 
Barbie  is  a  natural  beauty  and  her  quiet,  out- 
going friendliness  affects  people  much  longer 
than  the  splashier  effects  of  others  in  show 
business.  She  is  one  of  the  warmest-hearted 
and  most  understanding  women  I  know.  She 
takes  a  real  interest  in  people  and  their  prob- 
lems without  getting  nosey,  and  the  nicest  thing 
about  this  understanding  is  that  it's  never 
forced. 

If  people  have  troubles,  Barbie  is  eager 
to  help.  If  they  have  happy  news,  she's  de- 
lighted to  share  it.  She's  never,  as  far  as  I 
have  observed,  either  condescending  or  en- 
vious of  others.  She's  a  great  listener,  not  only 
for  the  above  qualities,  but  because  she's  un- 
obtrusive. She  doesn't  overwhelm  people  with 
her  offers  of  aid  or  comfort.  But  she  has  an 
instinct  for  the  exact  moment  when  the  other 
person  would  welcome  her  advice  or  sympathy. 
I  think  it  indicates  that  Barbara  is  a  shrewd 
judge  of  human  nature.  She  knows  when  a 
smiling  silence  speaks  louder  than  ten  thou- 
sand fine  words. 

I've  been  asked  many  times  if  Barbara  in 
real  life  is  as  close-mouthed  as  in  her  role  of 
Delia  Street.  Well,  in  all  honesty — and  I'm  sure 
she'd  want  me  to   be   (Continued  on  page   68) 


46 


The  Williams  family — Bill,  Jody, 
Billy,  Juanita  and  Barbara — 
learn  that  what — or  who — goes 
up   must   eventually   come   down. 


lis  a  story  to  send  chills  down  your  spine!        I        —-   f 


The  scream  in  the  darkened   room 

vas   shrill   and    piercing — the   cry    of   a 

iroraan    in    intense   pain.    As    it    penetrated 

laddin's  consciousness  and  jolted  him   out  of 

deep  sleep,  he  realized  that  it  was  his  wife  screaming ! 

)uickly  he  switched  on  the  night  lamp.   Louise  lay  beside 

iim,  her  eyes  wide  and  staring.    She  didn't  seem  to  know  he 

vas  there.    "Darling,  what  is  it?    What's  the  matter?"  he  asked.    He 

jut  his  arm  on  her  shoulder — and  realized  that  she  was  shaking  with  fear. 

"My  leg!"  she  moaned.    "Oh  ...  my  leg!"    She  gripped  her  left  leg  under  the 

covers,  rocking  back  and  forth  in  pain.    "What's  happened?"  he  asked    "Do   you 

/ant  me  to  call  the  doctor?"   Louise  looked  at  him  and,  for  the  first  time,  seemed  aware  of 

lis  presence.  Slowly  she  shook  her  head.  "No.  No  doctor  ...  he  couldn't  do  any  good.  It  .  .  .  it's  not 

It's  Bob.   Bob's  been  shot."  Bob?   She  could  only  mean  one  Bob — a  friend  of  theirs,  a  Chief  Petty 

)fficer  in  the  Navy.   But  Bob  was  in  the  South  Pacific,  fighting  the  Japanese  .  .  .  thousands  of  miles  away!  "How. 
lo  you  know  he's  been  shot?"  Louise  said  nothing.  Just  looked  at  him.  Soothingly,  he  put  his  arm  around  her, 
sut  she  refused  to  be  comforted.   "He's  been  shot,  I  tell  you!  I  felt  it!"  She  rubbed  her  leg  again,  [Continued  on  page    81) 


49 


Every  month,  a  doctor  looks  at  TVs  daytime  dramas  and  tells  you 


■ 


What  happens . 
a  marriage  whe 


& 


I  gg 


by  ARTHUR  HENLEY  with  Dr.  ROBERT  L.WOLK 

When  a  widower  with  three  children  marries  an  attractive  woman  almost  the  sam 
age  as  one  of  his  own  daughters,  there's  bound  to  be  trouble  ahead  . . .  but  not  necessaril; 
the  kind  of  trouble  you  might  anticipate!  Take  the  case  of  Peter  and  Myra  Ames,  a 
seen  each  weekday  (4  to  4:30  P.M.  EST)  on  CBS-TV's  "The  Secret  Storm"  . . .  wherei 
Peter  has  been  finding  it  increasingly  difficult  to  make  his  marriage  work  and  keep  hi 
family  happy  at  the  same  time.  Why?  Is  it  because  he's  too  old  for  Myra?  Or  becaus 


50 


U  can  learn  about  yourself  from  them.  This  month-The  Secret  Storm 


v 


• 


t.    ma 

On  one  side — alone:  Second  wife  Myra  {June  Graham).  And  on  the 
other:  Peter  (Cec  Under)  with  his  daughter  Amy  (Jada  Rowland). 


she's  too  young  for  his  children?  Or  does  the  problem  lie  in  another  direction  entirely? 
One  based,  perhaps,  on  personal  conflicts  between  the  husband  and  wife  themselves? 
.  . .  We'll  consider  all  these  questions — and  try  to  make  our  answers  meaningful  to  you — 
by  treating  Peter  and  Myra  as  real  people  with  real  problems.  As  usual,  my  remarks 
setting  the  scene  will  be  in  regular  type,  like  this,  and  Dr.  Wolk's  analytical  comments 
will  be  in  italics—  like  the  paragraphs  immediately  following.        (Please  turn  the  page) 


Every  month,  a  doctor  looks  at  TV's  daytime  dramas  and  tells  you  wha  ou can  learn  about  y°urself  from  them.  This  month-The  Secret  Storm' 


What  happens  in 
a  marriage  when 

HE'S 


IM 


ENOUGH 

TO  BE 

HER 

FATHER! 


50 


by  ARTHUR  HENLEY  with  Dr.  ROBERT  L.WOLK 

When  a  widower  with  three  children  marries  an  attractive  woman  almost  the  same 

the  W  nHnC  f*"  T  g  ?  there'S  b0Und  t0  be  tr0uble  ahead  -but  not  necessarily 
the  kind  of  trouble  you  might  anticipate!  Take  the  case  of  Peter  and  Myra  Ames,  as 
seen  each  weekday  (4  to  4:30  P.M.  EST)  on  CBS-TV's  "Th*  o*     *  e*       ..  u     ■ 

p»t„  k„o  k„     c  a-  .  '  BIVs    1  he  Secret  Storm" ..  .wherein 

reter  has  been  finding  it  increasing  v  difficult  f«  m„i     u- 

fo^;i    u  ,tu  ue«"ngiy  aimcult  to  make  his  marnage  work  and  keep  his 

family  happy  at  the  same  time.  Why?  Is  it  becanw  hA  t       u  r     >,      «~7 

».y    i&  ii  Decause  he  s  too  old  for  Myral  Or  because 


On  one  siHe-alone:  Second  wife  Myra  Uune  Graham  ,    AhJ«J». 
otfter:  Peter  (Cec  tinrfer)  »M  his  dauber  Amy  (Awfa  W«»rfl. 

she's  too  young  for  his  children?  Or  does  the  ^^^^1^2^^ 
One  based,  perhaps,  on  persona,  conflicts  between  the  husband  and I  » fctt mselves  • 
■ . .  We'll  consider  all  these  questions-and  try  to  make  our  answer. — gfu  ^ 
by  treating  ^  and  Myra  as  rea, [^^^^^^Z^ 


HE'S  OLD  ENOUGH  TO  BE  HER  FATHER! 

continued 


Why  does  a  man  marry  a  woman  much  younger  than 
himself?  The  healthy  reasons  are  based  on  love.  Neurotic 
reasons  make  love  less  important  than  the  satisfaction  of 
one's  needs  .  .  .  an  attempt  to  recapture  his  youth,  a  need 
to  assert  his  masculinity  and  build  up  his  ego.  .  .  .  In  the 
case  of  a  second  marriage,  a  man  might  choose  a  girl  be- 
cause she  reminds  him  of  his  first  bride — or  because  the  loss 
of  his  wife  suddenly  makes  him  feel  very  old  and  only  a 
lively  young  female  can  make  him  feel  different. 

A  wide  difference  in  ages  doesn't  necessarily  mean  the 
marriage  is  doomed  to  fail.  If  love  exists,  if  the  older  partner 
has  the  physical  stamina  to  keep  up  with  the  younger — if 
the  relationship  satisfies  mutual  needs — the  couple  can 
certainly  make  it  work.  However,  when  one  or  both  have 
children  by  a  previous  marriage,  complications  may  occur. 

To  understand  Peter  and  Myra,  we  must  first  know  how 
they  came  to  find  one  another.  Peter  had  lost  his  first 
wife — whom  he  loved  deeply — through  a  tragic  accident. 
He  was  left  with  three  children:  Amy,  a  teenager;  Jerry,  a 
bachelor  in  his  mid-twenties;  and  Susan,  nearing  thirty  and 
not  too  happily  married.  .  .  .  Myra,  on  the  other  hand,  had 
never  been  wed  and  was  well  on  her  way  to  spinsterhood.  A 
highly  sensitive  schoolteacher,  she  met  Peter  after  having 
been  of  great  help  to  his  daughter  Amy. 

The  path  to  matrimony  wasn't  easy  for  Peter  and  Myra. 
There  were  continual  delays  and  difficulties,  most  impor- 
tant of  which  was  Myra's  reluctance  to  finalize  her  marriage 
to  Peter  because  she  still  felt  a  strong  attraction  to  an- 
other man.  When  the  latter  tried  to  seduce  her,  she  finaUy 
turned  from  him  completely — but  she  required  psycho- 
analytic treatment  to  help  her  do  so. 

Peter  offered  her  security.  He  was  an  established  busi- 
nessman— who  could  have  married  his  late  wife's  older 
sister.  In  choosing  Myra,  he  turned  his  back  on  a  woman 
who  had  found  favor  with  his  children,  and  took  as  a  wife 
a  woman  who  was  comparatively  a  stranger  to  them. 

When  a  man  re-marries,  he  evaluates  his  second  wife 
sexually,  socially  and  domestically— and  if  his  earlier 
marriage  was  successful,  he'll  undoubtedly  seek  someone 
who  reminds  him  of  the  loved  one  he  lost.  Perhaps  Peter 
knew  his  sister-in-law  too  well .  .  .  which  is  why  he  spurned 
her  for  Myra,  who  challenged  his  masculinity. 

But  Myra  appears  to  be  a  terribly  disturbed  young  woman 
who  hasn't  yet  resolved  her  social  and  sexual  problems.  Per- 
haps this  is  why  she  found  Peter  attractive.  He  is  older, 
stronger,  and  offers  her  a  ready-made  family — meaning,  to 
her,  that  he  will  make  fewer  demands  of  her  sexually.  His 
children,  however,  may  be  embarrassed  by  Peter's  mar- 
riage because,  in  their  young  minds,  they  may  consider 
their  father's  behavior  foolish  and  "oversexed" ! 

Peter's  marriage  to  Myra  created  problems  in  the  family 
from  the  start.  Amy  is  fond  of  Myra.  Older  brother  Jerry 
can  take  her  or  leave  her,  but  would  rather  leave  her.  Big 
sister  Susan — almost  as  old  as  her  new  mother — cannot 
accept  her  at  all.  And  Myra,  so  unsure  of  herself,  is  unable 
to  demonstrate  any  real  warmth  to  win  Susan  over. 

Susan  and  Myra  cannot  get  along  because  they  are 
rivals.  To  Myra,  who  looks  upon  Peter  as  a  "fatherly"  per- 
son offering  refuge  and  affection,  Susan  becomes  an  inter- 
loper. To  Susan,  who  demands  her  dad's  total  attention, 
any  consideration  on  his  part  toward  his  second  wife  be- 
comes unbearable.  Here  we  have,  in  essence,  the  reason 
why  a  man  must  consider  the  needs  of  his  children  when 
he  re-marries.  He  must,  in  fact,  consider  three  needs:  His 
own,  his  wife-to-be's  and  his  children's.  When  he  marries 
a  younger  woman,  he  must  expect  that  a  daughter  almost 
the  same  age  will  vie  with  his  new  wife  for  his  attention. 

As   troubles   multiply,   Peter   is   invariably    thrust   into 


the  middle.  Like  many  other  men,  he  tries  to  act  "neutral." 
refusing  to  take  sides.  But  this  very  refusal  seems  to 
place  him  on  the  side  of  his  children  and  against  his  wife. 
He's  so  understanding  of  his  offspring,  he  leans  over  back- 
ward in  order  to  "play  fair"  with  them. 

But  is  he  being  fair  to  his  wife?  And,  in  the  long  run. 
is  he  being  fair  to  his  children? 

Peter  15  not  being  fair  to  anybody.  And  he  is  not  offering 
emotional  support  of  the  proper  sort  to  either  side.  By  not 
taking  a  stand,  he  allows  his  children  to  take  unfair  ad- 
vantage of  Myra  and  helps  to  wreck  his  marriage.  Al- 
though his  first  loyalty  must  be  to  his  children,  he  must 
nevertheless  play  fair  with  his  wife. 

It  seems  likely  that  Peter  experienced  his  "great  love" 
with  his  first  wife,  and  thus  may  expect  more  of  Myra  as 
a  companion  and  housekeeper  than  as  a  sweetheart.  But 
Myra  has  not  had  her  "great  love."  She  not  only  demands 
the  security  offered  by  a  man  of  means  but  also  craves 
the  romance  a  lover  would  give.  Her  attitude  may  be  unreal 
— but  her  needs  are  very  real  to  her. 

Once  again,  Myra  has  been  forced  to  seek  professional 
help.  Earlier,  her  minister  had  sent  her  to  a  psychoanalyst. 
Now  it's  her  family  doctor  who  does  so.  And,  this  time,  she 
consults  a  female  analyst. 

But,  in  spite  of  treatment,  her  relationship  with  Peter 
continues  to  deteriorate.  She  becomes  interested  in  an- 
other man,  lets  herself  become  involved  in  an  affair  with  him. 
Psychiatric  treatment  doesn't  deter  her,  Peter  becomes  in- 
effectual in  winning  her  back,  the  marriage  seems  doomed. 

Is  "single  blessedness"  better? 

Myra's  need  for  psychoanalytic  treatment  makes  sense. 
The  only  thing  that  doesn't  is  her  need  to  seek  a  referral 
from  her  family  doctor,  inasmuch  as  she  had  undergone 
such  treatment  previously.  One  gets  the  impression  that 
Myra  is  really  trying  to  avoid  getting  help,  seeking  an 
extra-marital  affair  to  avoid  coming  to  grips  with  the  prob- 
lem and — unconsciously,  perhaps— trying  to  break  up  her 
marriage  in  order  to  return  to  her  previous  state  of  single 
blessedness.  Marriage  may  have  demanded  more  of  Myra 
than  she  could  handle! 

If  Myra  doesn't  truly  want  such  help,  her  previous  ana- 
lytic treatment  could  not  have  been  successful  and.  the  later 
one  would  be  doomed  to  failure,  too.  Such  treatment  must 
be  responded  to  on  an  emotional  (not  an  intellectual)  level, 
if  it  is  to  be  helpful.  It  makes  little  difference  whether  the 
analyst  be  male  or  female.  The  important  thing  is  whether 
the  patient  reaUy  wants  help. 

Myra  may  be  the  sort  of  person  who  just  "goes  through 
the  motions,"  not  really  wanting  to  change  at  all.  She  may 
be  unhappy,  but  her  personality  structure  may  make  it  pos- 
sible for  her  to  live  with  herself.  She  may  always  suffer — 
but  she  may  suffer  less  as  a  single  person  than  as  a  wife. 
.  .  .  Peter,  however,  might  be  able  to  help  both  himself  and 
his  family  by  seeking  psychiatric  treatment.  He  would  find 
out  what  he  truly  desires,  both  for  himself  and  for  his  chil- 
dren, and  thus  be  able  to  choose  more  wisely  if  he  decides 
to  leave  Myra  and  find  a  new  wife. 

The  story  of  Peter  Ames  is,  unfortunately,  the  story  of 
many  men  in  real  life  who  suddenly  lose  their  wives  and 
then  marry  women  years  younger  than  themselves.  "The 
Secret  Storm"  is  refreshing,  in  that  it  acknowledges  the 
weaknesses  in  human  beings.  So  sit  back,  enjoy  the  story 
and  try  to  learn  something  from  it.  But  remember  that 
Peter  and  Myra  are  only  makebelieve,  after  all. 

Next  month,  we'll  take  a  look  at  another  favorite  TV 
drama  and  try  to  make  it  meaningful  in  your  own  life. 


52 


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WHAT'S  IT  LIKE  TO  CLIM] 


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0  THE  TOP? 


The  Van  Dykes — Marjorie,  Barry,  Dick,  Stacy,  Chris 
— now  spend  in  a  week  what  they  once  did  in  a  year! 


Not  quite  thirty-five  years  ago,  the  little  town  of 
West  Plains,  Missouri,  was  roused  early  one  morning 
by  the  squawls  of  a  newborn  baby.  Of  course,  there's 
nothing  unusual  about  that.  Lots  of  babies  are  born 
in  West  Plains.  But  the  thing  is,  as  this  baby  began 
to  grow,  people  became  more  and  more  convinced  that 
here  was  a  boy  born  to  be  a  sad  sack.  And  even  when 
his  family  moved  to  Danville,-  Illinois,  his  neighbors 
looked  at  him,  liked  him  and  then  reluctantly  they,  too, 
decided  that  he  was  just  a  sad  sack.  In  fact,  more  than 
anybody  else,  the  boy  himself  was  sure  that  he  would 
never  really  amount  to  much. 

Now  here's  the  funny  part:  Today  that  sad  sack  is 
one  of  television's  brightest,  newest  and  definitely  most 
here-to-stay  stars.  — - . 

"To  tell  you  the  truth,  I  never  thought  I'd  make  it," 
says  Dick  Van  Dyke  today.  "And  I  know  I'd  never  have 
stuck  it  out  without  my  wife.  (Continued  on  page  83) 


■*  Says  Dick  Van  Dyke:  "We  just 
cant  get  used  to  the  70°  spread!" 


57 


WHAT'S  IT  LIKE  TO  CLIMB  W  THE  TOP? 


The  Van  Dykes — Marjorie,  Barry,  Dick,  Slacy,  Chris 
— now  spend  in  a  week  what  they  once  did  in  a  year! 


Not  quite  thirty-five  years  ago,  the  little  town  of 
West  Plains,  Missouri,  was  roused  early  one  morning 
by  the  squawls  of  a  newborn  baby.  Of  course,  there's 
nothing  unusual  about  that.  Lots  of  babies  are  born 
in  West  Plains.  But  the  thing  is,  as  this  baby  began 
to  grow,  people  became  more  and  more  convinced  that 
here  was  a  boy  born  to  be  a  sad  sack.  And  even  when 
his  family  moved  to  Danville,  Illinois,  his  neighbors 
looked  at  him,  liked  him  and  then  reluctantly  they,  too, 
decided  that  he  was  just  a  sad  sack.  In  fact,  more  than 
anybody  else,  the  boy  himself  was  sure  that  he  would 
never  really  amount  to  much. 

Now  here's  the  funny  part:  Today  that  sad  sack  is 
one  of  television's  brightest,  newest  and  definitely  most 
here-to-stay  stars. 

"To  tell  you  the  truth,  I  never  thought  I'd  make  it," 
says  Dick  Van  Dyke  today.  "And  I  know  I'd  never  have 
stuck  it  out  without  my  wife.  (Continued  on  page  83) 


*  Says  Dick  Van  Dyke:  "We  just 
can't  get  used  to  the  70*  spread!" 


L1 


■ 


In  love 

with 

another 

woman's 

husband! 


Joe  Hamilton 
Don  Saroyan 


Carol  Burnett  never  thought 
it  could  happen  to  her — but 
it  did!  Read  the  true  story 
of  her  divorce  ...  and  of  her 
new  love  for  a  married  man! 


58 


This  was  the  moment  Carol 
Burnett  had  dreaded.  She 
had  been  approaching  it  with 
fear  since  the  very  beginning 
— from  the  moment  she  first 
realized  she  was  deeply,  ir- 
revocably in  love. 

Her  hand  trembled  as  she 
picked  up  the  newspaper  and 
read  aloud  the  words  that  re- 
vealed to  the  world  for  the 
first  time  what  had  been  her 
own  personal,  carefully- 
guarded  secret. 

"America's  favorite  come- 
dienne, Carol  Burnett,  is  in 
love  with  a  wonderful  guy, 
and  they  expect  to  be  mar- 
ried 'when  everything  is 
straightened  out.'  " 

That's  how  the  story  be- 
gan. It  was  bylined  Dorothy 
Kilgallen.  "The  lucky  fellow," 
she  wrote,  "is  Joseph  H.  Ham- 
ilton, handsome  producer- 
director  of  the  Garry  Moore 
TV  show." 

It  was  a  big  story — and  a 
scoop.  But  there  was  much 
more  to  it  than  just  the  rou- 
tine ritual  of  a  guy  and  a  gal 
in  love.  What  brought  Carol 
to  the  (Please  turn  the  page) 


m 


59 


In  love 

with 

another 

woman's 

husband! 


Carol  Burnett  never  thought 
it  could  happen  to  her — but 
■"■■■"•Z     it  did!  Read  the  true  story 
*\  «•'     of  her  divorce  . . .  and  of  her 
■^/  _    new  love  for  a  married  man! 


This  was  the  moment  Carol 
Burnett  had  dreaded.  She 
had  been  approaching  it  with 
fear  since  the  very  beginning 
— from  the  moment  she  first 
realized  she  was  deeply,  ir- 
revocably in  love. 

Her  hand  trembled  as  she 
picked  up  the  newspaper  and 
read  aloud  the  words  that  re- 
vealed to  the  world  for  the 
first  time  what  had  been  her 
own  personal,  carefully- 
guarded  secret. 

"America's  favorite  come- 
dienne, Carol  Burnett,  is  in 
love  with  a  wonderful  guy, 
and  they  expect  to  be  mar- 
ried 'when  everything  is 
straightened  out.'  " 

That's  how  the  story  be- 
gan. It  was  bylined  Dorothy 
Kilgallen.  "The  lucky  fellow," 
she  wrote,  "is  Joseph  H.  Ham- 
ilton, handsome  producer- 
director  of  the  Garry  Moore 
TV  show." 

It  was  a  big  story — and  a 
scoop.  But  there  was  much 
more  to  it  than  just  the  rou- 
tine ritual  of  a  guy  and  a  gal 
in  love.  What  brought  Carol 
to  the  (Please  turn  the  page) 


iiimimimiiitmiiitiiiiJimitiiiiiiiiiiiiitmiimutimiiiiiiHi 


CAROL   BURNETT 


-  . i.ttltluilll'llilllll inn. 


tiiiiimiiiiiiiMiiiiiiriiiniNiiiiriiiiiiiiiiiiiMiiiiiiiuiiiit 


60 


(Continued  from  page  59) 
edge  of  panic  was  this  revealing  para- 
graph: "He  had  approached  his  wife, 
the  former  Gloria  Hartley,  about  a  di- 
vorce, and  hoped  it  would  not  be  too 
long  before  they  could  come  to  an 
amicable  agreement  that  would  make  it 
possible  for  him  to  marry  Carol.  The 
Hamiltons  have  eight  children — five 
girls  and  three  boys,  ranging  in  age 
from  thirteen  to  a  year-and-a-half." 

We  have  underscored  the  last  part  of 
that  sentence  to  emphasize  what  was 
in  Carol's  mind  and  heart  as  she  read 
the  story.  She  was  deeply  worried  about 
those  children  .  .  .  she'  was  worried 
about  Joe  and  his  wife  .  .  .  and  she 
was  worried  about  herself.  Carol  was 
terrified  that  people  might  not  under- 
stand how  she  now  had  become  in- 
volved with  Joe  .  .  .  that  she  might  be 
accused  of  being  a  "homewrecker." 

Carol  wants  the  whole  story  told.  The 
true  story. 

Ordinarily,  a  story  of  an  actress  who 
falls  in  love  with  a  married  man  has 
a  built-in  springboard  for  adverse  com- 
ment. Add  to  it  eight  children — and  you 
have  all  the  potential  of  a  swan  dive 
into  a  black  pool  of  scandal. 

But,  remarkably  and  happily,  this  is 
not  true  in  the  story  about  Carol  and 
Joe.  Their  love  story  has  an  incan- 
descent brilliance  which  illuminates 
every  facet  of  their  relationship.  There 
are  no  dark  or  shadowy  corners  which 
either  Carol  or  Joe  have  to  fear  or  be 
ashamed  of.  Their  romance  is — and  has 
been — aboveboard  from  the  beginning. 

To  start  with,  Carol  admitted  to  Miss 
Kilgallen  that  she  is  "madly  in  love" 
with  Joe.  In  turn,  Joe  told  Dorothy  that 
"the  feeling  is  mutual." 

Carol  and  Joe  were  quick  to  explain, 
not  only  to  Miss  Kilgallen  but  to  all 
other  newsmen  who  besieged  them  after 
the  story  came  out,  that  their  romance 
did  not  instigate  or  trigger  the  breakup 
of  their  respective  marriages. 

As  TV  Radio  Mirror  readers  know, 
Carol  has  been  separated  from  her 
husband,  actor  Don  Saroyan,  for  nearly 
three  years.  They  had  been  married  in 
1955,  but  separated  in  1959  because 
of  "our  ego  problem,"  as  Carol  puts  it. 

Carol  and  Don  parted  after  Carol  hit 
the  top  with  the  Garry  Moore  show. 
"What  made  it  really  rough,"  Carol 
said,  "was  that  Don  is  an  actor,  too.  If 
he  were  a  director  or  producer,  it 
wouldn't  have  been  so  difficult.  But  I 
was  making  more  money  than  Don.  It 
didn't  bother  me — but  it  did  him,  since 
he's  a  man." 

Joe  Hamilton  didn't  have  the  same 
problem,  of  course.  Gloria  had  no  ca- 
reer except  that  of  a  housewife  and 
busy  mother.  She  was  a  devoted  wife 
and  Joe  was  a  devoted  husband.  His 
success  in  show  business  is  a  page  torn 
out  of  a  rags-to-riches  novel. 

Joe  came  out  of  the  Navy  in  1946 
after  serving  with  distinction  during 
World  War  n.  He  was  full  of  ambition 
and  drive — and  full  of  hope.  He  audi- 
tioned with  The  Skylarks,  but  didn't 
make  it.  He  tried  later,  made  it,  and 


sang  five  years  with  them.  He  also 
sang  on  such  big  video  network  show- 
cases as  the  Dinah  Shore  show. 

In  fact,  Dinah's  show  exerted  such 
an  influence  on  Joe  that  it  proved  the 
turning  point  of  his  career.  By  that 
time  Joe  and  Gloria  were  married,  and 
they  had  already  started  on  their  family. 
Joe  decided  to  quit  singing  and  turned 
to  directing  and  producing. 

Joe's  marriage  hit  the  skids  early  this 
year,  at  a  time  when  he  was  enjoying 
the  greatest  success  of  his  career  as 
director-producer  of  "The  Garry  Moore 
Show."  Friends  agree  that  Joe  and 
Gloria  had  come  to  share  "irreconcil- 
able differences"  which  made  then- 
parting  inevitable. 

Carol,  these  same  friends  say,  had 
no  more  to  do  with  the  Hamiltons'  sep- 
aration than  Joe  had  with  Carol's  break- 
up from  Don. 

Nevertheless,  no  one  is  more  aware 
of  the  implications  of  her  romance  with 
Joe  than  Carol,  who  is  thinking  con- 
cernedly about  the  children. 

"Joe  loves  his  youngsters,"  Carol 
says.  "He  is  also  very  aware  of  the  com- 
plications of  a  divorce." 

Actually,  Joe  has  been  living  apart 
from  his  wife  and  children  since  late 
last  winter.  That  was  when  he  took  a 
bachelor  apartment  in  New  York  City. 

It  was  after  then  that  Carol  and  Joe 
began  dating,  but  discreetly.  Up  until 
that  time,  Carol  and  Joe  had  main- 
tained a  close  but  professional  rela- 
tionship. It  was  strictly  business  and 
the  business  was  strictly  "The  Garry 
Moore  Show." 

Garry  had  much  to  do  with  launch- 
ing Carol  into  the  show-business  orbit. 
His  encouragement,  inspiration  and  in- 
terest helped  her  to  her  great  success. 

There  are  people  also  who  credit  Joe 
for  many  of  Carol's  achievements,  which 
were  climaxed  this  year  when  she  won 
an  Emmy  as  TV's  finest  comedienne. 

"We  love  each  other" 

Persons  close  to  the  "Garry  Moore 
Show"  say  Carol  and  Joe  began  to  be- 
tray their  emotions  for  each  other  soon 
after  he  separated  from  his  wife. 

One  of  the  people  closely  associated 
with  the  show  told  me:  "It  became  ap- 
parent that  Joe  had  more  than  a  mere 
professional  interest  in  Carol  sometime 
after  her  announcement  that  she  was 
leaving  the  show  to  strike  out  on  her 
own. 

"Somehow  it  seemed  to  me  that  Joe 
felt  hurt.  I  didn't  know  what  to  make 
of  it,  except  that  I  assumed  he  had 
wanted  Carol  to  stay  as  a  permanent 
member  of  the  cast. 

"But  Carol,  of  course,  kept  coming 
back  for  guest  appearances  with  con- 
siderable frequency.  After  that,  some 
of  us  began  to  notice  a  new  warmth, 
a  fine  tenderness  in  the  way  Joe  han- 
dled Carol.  And  Carol  looked  at  Joe 
differently,  too." 

Miss  Kilgallen  said  that  one  friend 
of  Carol's  and  Joe's  told  her:  "Those 
two  could  be  in  two  different  parts  of  a 
crowded  room,  and  you  could  tell  every- 
thing just  by  the  way  they  looked  at 
each  other.  They  were  as  proper  in  their 
behavior  as  could  be,  but  they  might 


as  well  have  sent  up  rockets  saying, 
'We  love  each  other.'  " 

Carol  herself  had  hoped  and  prayed 
that  the  story  of  her  romance  with  Joe 
would  remain  untold  until  his  divorce. 
She  had  succeeded  in  keeping  it  under 
wraps,  and  even  went  to  great  lengths 
to  divert  attention  from  it  when  she 
reached  Las  Vegas  for  her  in-person 
appearance  at  the  Sands — by  going  out 
with  Richard  Chamberlain. 

Miss   Kilgallen   had   this   comment: 

"Carol  .  .  .  and  Richard  are  about 
as  much  in  love  as  Martha  Raye  and 
Rock  Hudson.  They're  both  pleasant 
people,  and  there's  no  reason  why  they 
shouldn't  see  each  other — but  Carol's 
real  sweetie  is  a  handsome  television 
executive,  separated  from  his  wife  and 
many  children,  just  waiting  for  the  pop- 
ular comedienne  to  get  her  divorce." 

This  column  item  appeared  two  days 
before  Dorothy  busted  the  exclusive 
and  named  Joe  Hamilton. 

When  I  phoned  the  Sands  after  Miss 
Kilgallen's  story  appeared,  Carol  was 
locked  in  her  suite  with  sister  Chris- 
tine, a  lovely  seventeen-year-old  whom 
Carol  has  been  caring  for  almost  since 
childhood. 

"I  didn't  want  to  say  anything,"  she 
told  me,  "but  I  don't  see  how  we  can 
hide  something  like  this.  Now  that  the 
cat  is  out  of  the  bag,  I  guess  it's  just 
as  well." 

What  about  a  wedding  date? 

"Too  soon  to  tell,"  Carol  replied.  "I'm 
here  in  Las  Vegas  on  tour,  but  I'm  tak- 
ing advantage  of  my  Nevada  residence 
to  file  for  divorce. 

"It's  all  very  friendly.  Don  under- 
stands that  it  has  to  be  this  way.  We 
separated  the  best  of  friends.  In  fact, 
we  have  had  more  to  talk  about  since 
our  separation  than  before. 

"Don's  in  San  Diego  working  as  a 
resident  producer  and  director  for  a 
musical  theater..  He's  doing  what  he 
really  wants,  and  it's  only  since  we 
parted  that  he  has  begun  to  find  him- 
self. It  was  best  this  way." 

Joe  himself  said  that  his  separation 
from  his  wife  also  was  amicable.  He 
revealed  further  that  he  had  discussed 
divorce  with  her  and  apparently  she 
is  willing  to  go  through  with  it. 

"We  have  to  come  to  an  amicable  ar- 
rangement," he  said.  "Things  will  have 
to  be  worked  out.  It'll  take  a  little 
time." 

Meanwhile,  after  her  divorce,  Carol 
looked  ahead  to  a  busy  schedule,  which 
included  a  trip  to  London  to  do  a  show. 

"I  may  stay  through  Christmas  into 
early  next  year,"  Carol  offered.  "I  hope 
to  have  Christine  come  there  during  her 
school  holidays.  Then  we'll  come  back 
together  in  early  January." 

By  that  time,  Carol  hopes  that  Joe 
will  have  his  divorce,  too. 

Then  they  can  live  together  happily 
as  man  and  wife.  .  .  . 

There's  a  brief  postscript  to  this 
story.  No  story  about  Carol  Burnett  and 
Joe  Hamilton  can  be  complete  without 
a  comment  from  Garry  Moore  himself. 

"Carol  and  Joe  are  wonderful  peo- 
ple," Garry  said.  "They  work  together 
like  no  two  people  I  know.  They  deserve 
all  the  happiness  in  the  world." 

— George  Carpozi  Jr. 


am  and 


MIDWEST 


ousewife 


That's  South  Bend,  Indiana's  Dorothy  Frisk — who's 
a  charming  hostess  both  on  television  and  in  her  home 


Comedienne  Phyllis  Diller  and  WNDU-TV  General 
Manager  William  Hamilton  visit  Dorothy  on  her  show. 


Local  club  women  air  their  views  on  timely  topics. 


± 


Dorothy  and  husband  Arthur  relax  at  home  with  their  chil- 
dren— /.  to  r. — Randy,  3;  Gary,  12;  Scott,  14;  and  Debbie,  9. 


Dorothy  Frisk  is  hostess  of  her  own  television  show,  "The  Dorothy 
Frisk  Show,"  seen  every  weekday  at  12:30  p.m.  on  WNDU-TV  in 
South  Bend,  Indiana.  She  also  manages  to  keep  a  warm,  happy 
household  for  her  husband,  a  South  Bend  attorney,  and  four 
mighty  active  children.  .  .  .  Dorothy's  hometown  is  Muncie.  There 
she  attended  Central  High,  then  went  on  to  Indiana  University 
— where  she  and  Arthur  met  and  fell  in  love.  Her  start  in  show 
business  was  at  WJW  in  Cleveland.  When  asked  how  she  feels 
about  her  present  show,  Dorothy  replies  enthusiastically :  "I'm 
completely  and  utterly  fascinated  with  it.  I've  always  been  a  ham 
at  heart,  and  the  best  part  of  all  is  that  I  have  ample  time  for 
my  family.  This  is  very  important  to  me."  Dorothy's  found  a  way 
to  be  a  ham  and  a  housewife  at  the  same  time,  and  everyone 
who  knows  her  or  watches  her  on  TV  agrees  she's  great  at  both! 


61 


62 


with  . 
Martin  & 
Howard 


_ 


Harry  Martin  lines  up  his  family  for  inspection — /.  to  r. — Melanie, 
Melissa,  Jim,  David,  and  wife  Lucy — in  his  South  Euclid,  Ohio  home. 


Martin  and  Howard  of  KYW  Radio 
in  Cleveland  have  a  zany  flair  for 
comedy  and  a  big  heart  for  charity 


Two  is  company — and  a  crowd — when 
the  two  happen  to  be  Harry  Martin  and 
Specs  Howard!  The  crowd  comes  in  the 
persons  of  the  many  characters  who  wend 
their  ways  through  "The  Martin  and  How- 
ard Show,"  heard  Monday  through  Satur- 
day, between  6  and  10  A.M.  on  KYW  Ra- 
dio in  Cleveland. They  are"Mildred  Bourd- 
allaise  Brown"  ("virtue  is  its  greatest  re- 
ward"); "Bart  Gooch"  (he  sets  off  the  fire 
crackers  in  Cleveland's  Municipal  Sta- 
dium every  time  a  Cleveland  Indian  hits 
a  home  run);  "Hum-Bug,"  the  only  choral- 
minded  bug  in  existence  (you  don't  sing 
along  with  Mitch — you  go  "bah"  along 
with  "Hum-Bug"),  and  many  others  whom 
Martin  and  Howard  have  created  to  the 
delight  of  their  thousands  of  listeners. 
.  .  .  Galveston,  Texas-born  Harry  Martin 
is  the  more  aggressive  member  of  the 
team.  He  has  a  quick,  original  mind  which 


is  sparked  by  humor.  He  joined  KYW  in 
June,  1962,  after  presiding  over  the  long- 
est running  number-one  rated  radio  pro- 
gram in  Southern  California.  .  .  .  Specs 
Howard  is  the  more  patient,  understand- 
ing and  serious  (but  not  somber)  mem- 
ber of  the  team.  He  makes  others  laugh, 
and  can  also  laugh  at  himself,  so  he's 
not  lacking  in  the  humor  department.  He 
began  in  broadcasting  by  building  a  sta- 
tion in  his  hometown,  Kittanning,  Penn- 
sylvania, and  joined  KYW  in  the  early 
'50s.  .  .  .  Both  Martin  and  Howard  are 
active  in  community  projects,  and  have 
inspired  drives  to  raise  money  for  local 
charities.  Their  zany  and  wholehearted 
enthusiasm  for  money-raising  campaigns 
somehow  makes  contributing  a  treat,  and 
their  campaigns  have  been  tremendously 
successful.  .  .  .  Their  wit  and  their  wis- 
dom have  done  a  lot  for  Cleveland,  and 
their  fans  are  with  them   100   percent. 


It's  scrapbook  time  on  the  Howard  ranch  in  Cleveland  Heights!  Left 
to   right:  Marty,   Alisa,    Celia,   Jonathan,   Daddy   Specs   and   Shelli. 


63 


Who  said:  Always  be 


kind  to  your  mail  boy 


99 


To  find  the  answer,  read  our 
story  of  Philip  D'Antoni  of  the 
Mutual  Broadcasting  System . . . 


! 


Philip  D'Antoni,  at  33,  might  well 
be  called  a  "boy  wonder"  in  the 
world  of  broadcasting.  Picked  as 
one  of  the  top  ten  young  broad- 
casting executives  in  the  country 
this  year  by  "Sponsor  Magazine," 
Phil  is  Vice-President  and  General 
Sales  Manager  of  the  Mutual 
Broadcasting  System.  That's  pret- 
ty impressive  at  33!  .  .  .  Phil  was 
a  professional  jazz  musician  at 
one  time,  but  his  real  start  in 
broadcasting  was  as  mail  boy  at 
CBS.  As  a  matter  of  fact,  he  even 
had  a  special  title — "Official  Mail 
Boy"  for  Garry  Moore,  Steve  Al- 
len and  Mike  Wallace!  Mike  took 
an  interest  in  him  and  got  him  a 
job  as  an  assistant  producer  at 
CBS-TV.  .  .  .  Then,  years  later, 
Phil  was  working  at  Mutual  and 
was  instrumental  in  hiring  Mike. 
Mike  said  then  that  this  was  "proof 
positive  that  you  should  always 
be  kind  to  your  mail  boy!"  .  .  . 
Since  then.  Phil  has  worked  with 
many  top  names — among  them, 
Bill  Stern,  Arlene  Francis,  Bess 
Myerson,  Sidney  Skolsky,  Rita 
Hayworth  and  Leo  Durocher.  .  .  . 
Born  and  educated  in  New  York 


City,  Phil  found  out  years  later 
that  he  and  his  wife  had  attended 
schools  directly  across  the  street 
from  each  other!  They  finally  met 
at  a  church  dance  and,  two  months 
after  they  met,  Phil  proposed — in 
a  subway  during  the  rush  hour! 
.  .  .  They  live  in  a  large  Colonial 
home  in  New  City,  New  York, 
which  they've  furnished  in  antiques. 
Besides  Carol  and  James  (see  pic- 
ture), they  have  two  other  chil- 
dren: Christopher  ("Kippy"),  8, 
and  Jeanne,  6.  They're  all  blond 
except  Carol.  Phil  says,  "She's 
brunette  and  looks  exactly  like 
me.  Incidentally,  three  of  the  kids 
eat  spaghetti  and  Italian  food,  but 
one  won't  eat  anything  but  Ameri- 
can-type food!"  ...  In  his  spare 
time,  Phil  still  plays  in  jazz  ses- 
sions, besides  swimming  every 
weekend  and  playing  golf  (shoots 
in  the  high  70s).  He  also  finds 
time  to  coach  local  Little  League 
and  Teeshirt  League  teams  and, 
at  one  time,  was  a  hero  as  the 
coach  and  referee  for  a  girl's 
basketball  team !  .  . .  Mutual  Broad- 
casting System's  "boy  wonder"  is 
a  wonder  in  his  spare  time,  too. 


64 


Phil,  (I.  to  r.)  Frank  Singiser,  Hy  Gardner,  Norman  Baer, 
Westbrook  Van  Voorhis,  George  Combs,  Tony  Marvin. 


Phil  keeps  up  to  the  latest  news  with  Norman  Baer,  Direc- 
tor of  Mutual  News,  and  assistant  Shelby  Livingston. 


Phil  and  wife  Ruth  enjoy  their  large  Colonial  home  which 
is  over  100  years  old  and  complete  with  swimming  pool. 


Edna  Zycz  brings  a  welcome  cup  of  coffee  to  Phil  as  he 
chats  with  Frank  Miller,  Assistant  to  MutuaVs  President. 


"Okay,  Maestro,  let's  hear  it!"  gags  Phil  in  a  control 
room  with  engineers  Don  Dewsnap  (left)  and  Al  Sikora. 


Daddy  wants  to  relax  and  read  a  magazine,  but  Carol, 
5,  and  James,  1,  want  to  play.  Guess  who  has  their  way?'. 


65 


.  .  .  that's  Chicago's  Dick  Biondi,  who  thinks  nothing  of  sitting  on  a  flag  pole  for  three 
days  and  nights  to  publicize  a  record  hop.  And  that's  why  Chicago  loves  him! 


Fan  mail  gets  personal  attention  from  Dick. 


66 


'■Dick  Biondi?  Popular?  I  mean,  really,  Charles  .  .  .  need  you  ask?" 


"Some  kinda  nut"  is  a  typical  reaction 
upon  first  exposure  to  Chicago's  Dick  Bion- 
di. But,  like  a  bowl  of  nuts,  after  a  taste  or 
two  you  can't  quite  get  enough.  That's  the 
way  it's  been  with  the  WLS  madcap  whose 
lively  show  is  heard  nightly  from  9  p.m.  to 
midnight.  .  .  .  Dick  uses  a  combination  of 
popular  music  and  his  own  unique  brand 
of  wild  humor  to  capture  the  hearts  of  teen- 
agers— not  only  in  Chicago,  but  stretching 
across  as  many  as  twenty  states.  .  .  .  When 
he's  not  on  the  air,  Dick  can  be  found  mak- 
ing personal  appearances,  holding  impromtu 
conferences  with  teenagers  who  visit  the 
station  in  droves,  performing  at  record  hops 
or  playing  golf.  "I  have  the  highest  score  in 
town,"  says  Dick,  "180  for  18  holes!"  Ac- 
cording to  Dick,  he  got  his  start  in  radio 
"by  hanging  around  the  station  in  Albany, 
New  York,"  not  far  from  his  hometown  of 
Endicott.  That  was  back  in  the  days  when 
he  pulled  gimmicks  such  as  growing  a  beard 
and  dyeing  it  a  different  school  color  every 
day  of  the  week.  .  .  .  On  the  serious  side, 
Dick  devotes  much  of  his  time  to  charity 
drives — plus  writing  a  weekly  column  for 
a  dozen  community  newspapers  in  which  he 
pleads  for  better  understanding  between 
teenagers,  their  parents  and  teachers.  .  .  . 
On  the  matter  of  his  fantastic  youthful  fol- 
lowing, Dick  comments,  "I  treat  the  teens 
as  equals.  I'm  on  their  side,  and  they  feel 
they  can  talk  to  me.  We  sit  around  after  the 
show  for  hours  and  have  bull  sessions."  Ob- 
viously, Dick  comes  by  his  popularity 
through  hard  work  and — above  all— sin- 
cerity and  really  caring  about  his  audience. 
.  .  .  Home  to  Dick  is  an  apartment  in  subur- 
ban Evanston  which  he  shares  with  his  wife 
Hazel,  son  Ted,  dog  "Heidi,"  "Minnie"  the 
kitty  and  a  turtle  whose  name  is  "Turtle"! 


iiimimuiuimmtifii mmr mrim 


RICHARD    CHAMBERLAIN 

(Continued  from  page  23) 

to  the  dictionary,"  she  said,  winking  at 
Dick,  "a  romance  is  an  imaginary  or 
made-up  story  or  idea.  Now,  what  I  feel 
for  Dick  is  definitely  not  imaginary.  So 
you  can  draw  your  own  conclusions  on 
whether  it's  a  romance  or  not." 

Hand  still  clasped  in  hand,  they  went 
to  Dick's  car  and  got  in.  The  photog- 
rapher flipped  a  wave  to  them  in  grudg- 
ing admiration.  To  the  little  group  in 
front  of  the  night  club  they  had  just 
left,  he  grumbled,  "One  will  get  you 
ten  it's  love  .  .  .  and  I  still  think  it'll 
wind  up  marriage." 

You  can't  blame  the  lensman  and 
many  others  for  being  curious  about 
Dick  and  Clara  or  for  wanting  to  know 
the  answer  to  their  future — together  or 
apart.  Theirs  is  one  of  the  most  intrigu- 
ing romances  in  Hollywood. 

They  have  known  each  other  for  three 
years.  Though  it  hasn't  always  been  a 
case  of  "steady  dating,"  from  the  begin- 
ning they  have  sought  each  other  out. 

They  have  much  in  common.  Clara  is 
a  spirited  girl  with  the  same  love  of  life 
Dick  has.  She's  also  ambitious,  and 
Dick — though  he  adds  he'd  rather  the 
future  Mrs.  Chamberlain  confine  her- 
self to  the  domestic  life — admires  femi- 
nine  achievement. 

They  met  when  both  were  studying 
singing  at  the  Los  Angeles  Conserva- 
tory of  Music — long  before  Dick  was 
tapped  as  Dr.  Kildare.  Dick  was  limited 
on  money  at  the  time,  but  neither 
seemed  to  notice.  They  were  too  busy 
getting  to  know  each  other.  They  would 
take  long,  long  walks  together.  Some- 
times, they  liked  to  sit  around  at  coffee 
"klatches"  with  other  students  and  musi- 
cians. "You  learn  so  much  that  way," 
Clara  points  out  seriously.  "It  helps  you 
get  the  right  perspective  about  things 
when  you  talk  with  true  artists." 

By  "perspective"  it  can  be  assumed 
Clara  means  gaining  values  in  life  other 
than  success  or  money.  Even  now  that 
Dick  is  established  as  a  TV  star,  their 
dates  are  simple.  They  still  enjoy  seeing 
old  school  friends,  or  just  going  to  a 
movie.  Dick  wears  casual  clothes  and 
"disguises"  himself  with  horn-rimmed 
glasses  so  he  won't  be  recognized. 

Basically  Dick  and  Clara  "think" 
alike.  Dick  is  a  native  Californian; 
Clara,  though  born  in  Memphis,  Ten- 
nessee, was  brought  up  in  Eagle  Rock, 
a  Los  Angeles  suburb.  Dick  decided  to 
finish  college  at  Pomona  before  pursu- 
ing an  acting  career;  Clara,  too,  chose 
to  complete  Glendale  City  College  be- 
fore concentrating  on  her  singing.  Both 
prefer  the  company  of  intellectuals, 
such  as  Mr.  and'  Mrs.  Frank  Tashlin 
(Mary  Costa)  and  other  artistic  people, 
to  going  to  fancy  night  clubs  or  pre- 
mieres. The  very  club  they  were  attend- 
ing this  night,  The  Horn,  is  a  small 
bistro  in  Santa  Monica  frequented  by 
singers  waiting  for  "the  big  break." 
Clara  herself  had  sung  there  often  .  .  . 
and  on  this  night  was  trying  out  some 
new  material. 

As  Dick  guided  his  Jaguar  along  the 
shoreline  that  twists  toward  Malibu,  he 


sang  the  refrain  of  an  old  song  to  Clara. 
It  was  a  song  remembered  from  boy- 
hood. Strange  that  he  should  find  him- 
self singing  it  at  this  particular  mo- 
ment for  this  particular  girl,  after  it 
had  lain  buried  in  his  mind  for  fifteen 
years — 

"When  I  am  king,  dilly-dilly, 

"You  shall  be  queen  .  .  ." 

Clara  laughed  softly.  "That  photog- 
rapher .  .  .  and  those  people  at  the 
club  ...  I  wonder  what  they'd  say  if 
they  could  hear  you  singing  that  to 
me?" 

"They'd  probably  have  us  married 
again  .  .  .  and  divorced  by  tomorrow," 
Dick  said.  Her  head  was  on  his  shoul- 
der and  she  nestled  closer.  They  drove 
on  in  silence. 

"I  could  use  a  sandwich,"  Clara  sug- 
gested after  a  while. 

"Me,  too — I'm  hungry."  Dick  slowed 
the  car,  considering  where  to  go.  "How 
about  one  of  these  places  with  a  view 
of  the  ocean?" 

"Oh,  I'd  love  it." 

A  few  minutes  later,  they  were  being 
ushered  to  a  glassed-in  booth  with  a 
wide,  unobstructed  view  of  waves  foam- 
ing and  thrashing  against  a  jut  of  rocks. 
A  string  of  ruby  lights  along  the 
beaches  diminished  and  disappeared 
finally  into  darkness.  "So  far  ...  so 
good,"  murmured  Dick.  The  waiter  who 
had  taken  their  order  hadn't  seemed 
to  recognize  them.  The  area  around 
their  booth  was  empty.  They  felt  warm, 
relaxed,  serene.  Fame  was  a  glorious 
thing  to  have,  but  once  in  a  while  it  was 
good  to  be  alone  ...  to  be  unknown.  As 
if  by  some  mutual  agreement,  their 
hands  came  together.  .  .  . 

Both  were  deep  in  thought.  Perhaps 
they  were  thinking  about  the  night  be- 
fore, when  they'd  been  guests  at  the 
home  of  Dick's  brother  Bill.  They'd  ar- 
rived early  enough  to  see  the  three 
children — -"my  babies,"  Dick  calls  them 
— tucked  into  bed,  a  ritual  both  thor- 
oughly enjoyed.  Maybe  it  brought 
dreams  to  them  of  the  children  they 
would  one  day  have.  ...  Or  may- 
be they  were  thinking  about  Carol  Bur- 
nett. Dick  had  been  up  to  Las  Vegas  to 
see  her  the  previous  weekend.  Then,  two 
days  later,  New  York  papers  headlined 
Carol's  love  for  another  man.  .  .  . 

It  was  only  natural  for  Clara  to  won- 
der if  Dick  was  more  affected  by  Carol's 
marriage  plans  than  he  let  on.  Dick  had 
insisted  his  trip  to  see  Carol  meant 
nothing  romantically — that  he  thought 
of  the  comedienne  only  as  a  warm,  won- 
derful, attractive  human  being.  Per- 
haps that's  all  it  was,  Clara  thought. 
And  perhaps  there  was  more  to  it  than 
Dick  himself  realized.  Time  would  tell. 

They  looked  up  as  the  waiter  arrived 
with  their  order.  He  set  out  the  plates, 
but  then,  instead  of  leaving,  he  seemed 
to  find  all  sorts  of  excuses  to  hover 
about.  He  was  grinning  at  them  broadly- 
At  last  he  said,  "Wait'll  I  get  home.  I 
got  five  girls.  Boy,  am  I  going  to  be  a 
hero  tonight!" 

"Would  you  like  autographs  for  your 
daughters?"  Dick  offered. 

"Nah,  them  I  ain't  worried  about," 
said  the  waiter.  "It's  the  missus.  She'll 
crown  me  if  she  hears  I  was  waiting  on 
you  and  didn't  ask — " 


"  \.-k  what?"  Dirk  prompted.  The 
look  he  exchanged  with  Clara  said  only 
too  clearly:  As  if  we  didn't  know. 

"Well,"  the  waiter  hesitated,  "well 
you  and  this  young  lady — we  been  read- 
ing about  you,  seeing  your  pictures  to- 
gether— you  gonna  get  hitched  like  it 
says  in  the  magazines?" 

Afraid  they'd  laugh.  Dick  and  Clara 
didn't  dare  meet  each  other's  eyes. 
Finally  Dick  motioned  to  the  waiter  to 
bend  down.  "I'm  going  to  give  it  to  you 
straight,"  he  whispered  in  the  man's  ear. 
"You  see  ...  if  Clara  and  I  didn't  have 
to  answer  so  many  questions,  maybe  we 
would  have  time  to  think  about  getting 
hitched." 

"I  get  the  message,"  the  waiter 
grinned  good-humoredly.  "I  guess  you 
do  get  pestered  about  things  which  are 
your  own  business.  I  didn't  mean  to 
jump  you  like  that — it's  just  the  missus 
likes  to  find  out  about  these  things." 

Clara's  answer 

"That's  only  natural."  Clara  reas- 
sured him.  "People  read  about  enter- 
tainers being  in  love  .  .  .  and  they  can't 
help  being  curious.  Why,  a  few  weeks 
ago,  my  phone  rang,  but  when  I  an- 
swered it,  the  party  hung  up.  This  hap- 
pened many  times  .  .  .  until — instead  of 
hanging  up — a  girl's  voice,  squeaky  with 
nervousness,  said  'Miss  Ray?'  I  asked 
who  was  calling,  and  then  it  all  came 
out.  The  girl  was  a  fan  of  Dick's  and 
she'd  read  that  we  were  dating  steadily. 
Her  girl  friends  had  told  her  it  was 
nothing  but  publicity.  Would  I  tell  her 
whether  Dick  and  I  were  serious  and 
were  there  any  wedding  plans?" 

"And  what  did  you  tell  her?"  asked 
the  waiter.  Dick,  too.  seemed  eager  for 
the  answer. 

"I  told  her  that  all  good  friends  love 
each  other  .  .  .  but  that  we  were  both 
very  career-minded,  and  were  too  busy 
working,  so  that  we  were  not  making 
any  plans  as  yet." 

"But  that  ain't  yes  and  it  ain't  no." 
protested  the  waiter. 

"Exactly."  nodded  Clara.  "We  aren't 
denying  .  .  .  and  we  aren't  confirming 
anything.  We're  willing  for  people  to 
form  their  own  opinion." 

"Sure,  but  when  I  tell  that  to  the 
missus."  the  waiter  groaned,  "she'll  say 
I'm  a  dope  and  she  could've  got  that 
much  information  from  a  magazine." 

There  can  be  no  doubt  in  anyone's 
mind  that  Clara  was  not  exaggerating 
when  she  said  she  and  Dick  were  de- 
voted to  their  careers.  Dick  is  all 
wrapped  up  in  shooting  new  segments 
of  "Dr.  Kildare"  and  cutting  records, 
while  Clara  has  been  preparing  a  new 
slate  of  songs  for  the  Marie  Wilson 
show.  She  has  toured  with  the  latter  for 
about  two  years,  off  and  on,  and  will 
soon  be  Chicago-bound.  Yet  it  is  hard 
for  people  to  swallow  the  notion  that 
their  careers  could  be  a  hindrance  to 
marriage,  if  they  are  truly  in  love.  After 
all,  other  performers  marry  and  go  on 
with  their  separate  careers.  Why,  then, 
should  it  stop  Dick  and  Clara?  T 

At   first   glance,   there   seems   to   be       v 
nothing  else  that  might  be  considered  a       „ 
stop-sign.   They   are   both   healthy,   at- 
tractive, single,  and  when  vou  see  them 

o7 


together  you  can  practically  hear  the 
wedding  bells.  They  come  from  similar 
backgrounds,  went  to  the  same  voice 
school,  share  many  interests.  Their 
families  approve  heartily  of  the  ro- 
mance, but  are  not  interfering. 

"My  family  think  Dick's  just  grand," 
says  Clara,  "They  would  be  happy  if  I 
married  him.  They'd  feel  that  way  even 
if  he  were  not  a  celebrity.  They'd  feel 
that  way  if  he  were  a  forest  ranger  and 
I'd  have  to  live  with  him  on  a  mountain 
top.  My  happiness  is  all  they  ask  for." 

Dick's  family  waste  no  words  in  ex- 
pressing their  fondness  for  Clara. 
"She's  wonderful  .  .  .  and  if  he  gets 
her,  Dick  is  to  be  congratulated." 

One  theory  which  has  gained  a  small 
following  is  that  the  powers  behind  "Dr. 
Kildare"  are  afraid  of  a  bad  reaction 
from  the  fans  if  Dick  were  no  longer 
the  unattached  Prince  Charming  of 
medicine,  available  and  within  reach  of 
every  woman's  secret  dreams.  Those 
who  are  supposedly  "in  the  know"  do 
not  accept  this  theory. 

It's  true  that  Dick  is  ambitious.  Yet 
does  this  ambition  go  so  far  as  to  make 
him  give  up  love?  Those  who  know  him 
well  think  not. 

Another  "key"  to  the  enigma  is  that 
Dick  seems  to  be  following  a  pattern 
already  set  in  earlier  days.  He  has  a 
record  of  two  unfulfilled  romances  be- 
fore Clara  came  on  the  scene.  In  one 
case,  he  kept  postponing  any  definite 
commitment  on  the  grounds  that  he 
wasn't  sure  they  were  ready  for  an  en- 
gagement. In  the  other,  he  received  a 
"Dear   John"   letter   while   he   was   in 


Korea — but  here,  too,  it  seems  that 
Dick  had  postponed  making  a  proposal 
until  the  young  lady  began  to  doubt  his 
intentions  were  serious.  This  "key"  as- 
sumes that  Dick  is  unable  to  make  up 
his  mind  or  muster  the  courage  to  take 
the  big  plunge.  Yet  this  does  not  fit  in 
with  Dick's  character. 

He  can  be  quite  firm  and  specific, 
once  he  is  sure  of  his  way.  Like  most 
actors  who  make  a  success  in  show 
business,  he  has  plenty  of  drive  and 
determination.  Further,  in  Clara's  case, 
it  may  be  that  the  tables  have  been 
turned  on  Dick.  It  often  seems  that  it's 
not  Dick  who's  doing  the  hesitating,  but 
Clara.  It  is  known  that  Dick  has  dis- 
cussed marriage  with  her,  and  that  she 
was  the  one  to  feel  they  should  wait. 

"He  loves  me,  but—" 

"We  are  content  at  the  moment  as 
we  are,"  says  Clara,  who  obviously  is 
not  a  girl  who  believes  in  pushing  her 
man.  "I've  waited  this  long  and  he's 
waited  this  long,  so  why  should  we 
hurry?  Yes,  I  love  Dick,  and  I  believe 
he  loves  me,  but  he  might  not  love  me 
the  way  a  husband  should  love  a  wife." 

She  did  not  add,  however,  that  she 
might  not  love  Dick  the  way  a  wife 
should  love  a  husband. 

Those  who  know  Clara  and  Dick 
cannot  fail  to  note  how  much  fun  they 
have  together  .  .  .  how  "perfect"  a  pair 
they  make.  Their  friends  say  that  no 
one  has  ever  heard  them  quarrel,  or 
even  utter  a  cross  word  to  each  other. 

When  Clara  filmed  a  "Dr.  Kildare" 


segment — her  professional  acting  debut 
— Dick  was  by  her  side  every  moment, 
going  over  the  script  with  her,  giving 
her  needed  reassurance.  "I  really 
shouldn't  have  been  nervous,"  she 
laughed  later.  "After  all,  it  was  'type 
casting.'  I  played  Dick's  girlfriend." 
One  MGM  old-timer  commented. 
"They're  such  good  pals,  it  would  al- 
most be  a  shame  to  see  them  marry. 
You  don't  very  often  see  a  boy  and 
girl  like  each  other  so  much.  Can  true 
love  really  run  so  smoothly?" 

If  Dick  has  not  put  the  ring  on  Clara's 
finger  before  now,  it  could  be  that  they 
themselves  want  to  be  as  sure  about 
their  love  as  others — seeing  them  to- 
gether— are.  They  don't  want  any 
doubts  in  their  hearts  that  theirs  is  the 
kind  of  love  which  would  make  for  a 
happy  marriage. 

For  the  present,  Dick  and  Clara  ap- 
parently intend  to  continue  with  what 
Dick  calls  "a  good  man-woman  friend- 
ship." They  still  laugh  off  all  direct 
questions  .  .  .  still  hold  hands  on  dates 
.  .  .  still  make  like  people  who  are  up 
to  their  ears  in  the  details  of  their 
jobs  .  .  .  still  give  cute  and  provocative 
answers  that  are  no  answers  to  their 
flock  of  well-wishers  who  want  nothing 
better  than   to   see  them   get   married. 

Can  it  ever  be?  Can  they  ever  marry? 
Everyone  is  convinced  that  the  answer 
is  yes.  Everyone,  that  is,  but  Dick  and 
Clara.  — Beatrice  Emmons 

"Dr.  Kildare"  is  seen  over  NBC-TV. 
Thurs.,  from  8:30  to  9:30  p.m.  est. 
Dick  also  sings  on  MGM  Records. 


iiiiiimiiiiiNiiniii 


iiiiiiiiuiiuiiiiiimiii mi 


BARBARA   HALE 

(Continued  from  page  46) 

honest — that  woman  can  talk  and  talk 
and  talk.  But,  of  course,  she  is  a  woman 
and  that's  her  privilege  as  long  as  she 
talks  sense.  And  bless  her  heart,  Barbie 
can  talk  sense. 

To  my  mind  (with  apologies  to  Bill), 
Barbara  is  all-woman.  I  admire  her  for 
it  and  for  keeping  a  sane  balance  be- 
tween career  and  home.  Certainly,  she 
has  lots  of  drive — she  wouldn't  have 
come  as  far  as  she  has  without  that 
essential  commodity — but  she  never  lets 
it  cut  in  on  her  obligations  to  her  hus- 
band and  children.  That  also  goes  for 
her  friends.  With  her,  it's  first  things 
first,  and  being  a  useful,  decent,  re- 
sponsible human  being  is  first.  Then 
come  her  acting  and  dedication  to  the 
show. 

Barbie  makes  a  marvelous  wife.  Ask 
Bill  Williams.  When  he  appeared  on 
our  show,  she  saw  with  her  usual  tact 
that  he  was  a  bit  nervous  about  invad- 
ing a  precinct  where,  after  all,  she  had 
it  made  as  a  star.  She  let  no  opportunity 
go  by  to  fuss  over  him  and  make  it  clear 
that  the  guest  star  was  the  North  Star 
in  her  sky.  She  introduced  him  to  every- 
one, including  the  crew,  all  of  whom 
T  he'd  met  on  his  previous  visits. 
v  But  Bill  took  it  with  a  twinkle  in  his 

ft  eye,  and  then  doubled  her  in  spades  by 
calling  some  of  the  boys  by  their  first 
names  and  asking  about  their  wives.  He 

DO 


also  assured  her  that  she  should  forget 
he  was  her  husband  on  set,  and  think 
of  him  only  as  an  actor.  I  watched  them 
throughout  the  shooting  of  that  episode 
and  I  was  impressed  again,  even  more 
than  I  had  been  before,  by  their  love 
and  devotion  to  each  other. 

Bill  and  Barbie  have  insight.  They 
have  seen  too  many  marriages  ruined  by 
the  tensions  and  burdens  of  two  careers. 
They  do  all  in  their  power  to  avoid  this 
catastrophe.  Bill  was  Kit  Carson  on  TV, 
and  has  more  recently  starred  in  "As- 
signment Underwater."  Both  series  have 
done  well.  But  Barbie  has  had  the 
"Perry  Mason"  show  for  five  years  now 
and — for  the  past  two,  especially — has 
had  to  step  up  her  pace  with  guest  ap- 
pearances and  publicity  interviews. 

Bill  has  balanced  this  by  giving  more 
time  to  the  home  and  the  children,  and 
is  being  quite  cautious,  for  the  present, 
about  taking  on  another  series.  Not  that 
he  hasn't  plenty  to  do,  what  with  guest 
spots,  managing  their  rental  property 
and — let's  not  overlook  this! — hurrying 
to  the  bank  to  deposit  his  residual 
checks. 

I'm  trying  to  make  a  point  here :  That 
they  are  good  parents,  good  family  peo- 
ple, and  the  kind  who  work  at  making 
marriage  a  success.  Neither  will  fly,  be- 
cause of  the  family.  Oh,  in  case  of  an 
emergency,  of  course,  they  would — but 
then  not  in  the  same  plane.  It's  their 
view  that,  should  one  go  down,  there 
would  still  be  the  other  to  care  for  the 
children.  The  education  of  these  three 
youngsters,   and   their   futures,   are   of 


more  importance  to  them  than  an  award 
or  income  from  acting. 

On  and  off  set,  we  have  a  warm,  pleas- 
ant and  loyal  friendship  going.  They 
have  been  to  my  home  and  I've  been  in- 
vited several  times  to  theirs,  in  Van 
Nuys.  I'd  like  to  make  public  apology, 
to  both  of  them  and  the  kids,  for  not 
having  taken  up  their  invitations  as  yet. 
Time!  Or  rather  the  lack  of  it,  is  the 
villain  here,  not  me.  And  I  promise  here 
and  now  to  get  out  and  spend  an  eve- 
ning with  them  at  the  first  break.  I 
say  this  in  all  sincerity  because  I  like 
being  with  them.  They  are  a  wonderful 
American  family. 

The  Williams  kids  go  to  school  in 
their  suburban  community  under  Bill's 
real  name  of  Katt,  so  there  is  almost  no 
limelight  or  attention  drawn  to  them. 
They  are  accepted  at  school  by  the  other 
kids  strictly  on  their  own  merits,  which 
is  how  Bill  and  Barbara  want  it.  In 
order  to  keep  the  family  from  losing 
that  compactness  and  intimate  sharing 
of  funny,  sad  or  cultural  experiences. 
Bill  and  Barbara  have  avoided  acting 
commitments  that  would  take  them  to 
locations  far  from  home.  They  want  no 
long  separations,  no  matter  what  the 
cost. 

The  facts  of  life 

I've  been  informed  (as  Perry  Mason, 
an  expert  snooper  I)    that  Barbie  ac- 
cuses me  of  turning  her  home  into  a 
menagerie.  Well,  I  really  can't  take  all 
(Continued  on  page  70) 


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69 


(Continued  from  page  68) 

the  credit,  or  blame,  for  that.  True,  I 
gave  the  children  some  pets,  but  they 
are  great  nature-lovers  and  they  started 
their  collection  before  I  hove  into  sight. 
I  just  kept  the  ball  rolling.  It's  my 
opinion  that  being  around  growing 
things,  animal  or  plant,  gives  children 
the  chance  to  learn  how  life  begins,  how 
it  grows  and  runs  its  course.  It  also  re- 
lieves parents  of  the  painful  duty  (some- 
times!) of  having  to  explain  the  facts 
of  life  to  children,  facts  like  sex.  preg- 
nancy and  birth. 

Children,  especially  in  this  chancy 
world  we  live  in,  should  get  acclimated 
to  the  presence  of  death  in  the  world. 
Being  around  pets  allows  them  to  recog- 
nize sickness  and  to  learn  methods  of 
nursing  and  cure.  It  also  gives  the  kids 
their  first  brush  with  death  when  a  loved 
animal  passes  on.  I  have  put  this  down 
as  though  it  were  entirely  my  original 
viewpoint.  But,  to  be  frank,  much  of 
these  ideas  did  come  from  discussions 
with  Barbara  and  Bill. 

If  the  Williams  zoo  keeps  growing, 
it's  because  Bill  and  Barbie  are  too 
soft-hearted  to  draw  the  line.  Ray  Col- 
lins gave  the  kids  two  rabbits.  Barbie  at 
once  went  into  a  panic  that  they  might 
multiply.  She  took  them  to  the  school 
zoo.  In  exchange,  the  teacher  gave  her  a 
little  banty  hen.  Later,  Barbie  was  all 
shook  up  when  she  learned  that  both 
rabbits  were  male!  However,  the  chick 
became  the  mama  of  two.  one  of  which 
was  a  rooster. 

Bill  was  working  on  "Assignment  Un- 
derwater" at  that  time  and  had  to  get 
up  at  five  a.m.  He  had  no  trouble  get- 
ting up,  because  the  rooster  woke  him 
at  four.  Barbara  and  the  children  some- 
how slept  through  the  cacklin'  and 
cussin'  that  went  on.  Each  morning,  Bill 
left  a  note  saying,  "Kill  that  rooster!" 
But  Barbara  just  couldn't  have  it  done. 
Finally,  she  told  Bill  to  do  it  himself. 
That  was  the  last  he  mentioned  it.  Fi- 


nally the  rooster  died  of  natural  causes. 

As  I've  said  before,  visiting  my  friends 
has  become  an  impossibility  with  my 
present  schedule.  My  friends  have  been 
very  kind  and  understanding.  They 
know  I'm  caught  these  days  between  re- 
hearsals, story  conferences,  my  art  gal- 
lery, my  orchid  growing  and  a  few 
other  activities,  all  of  which  are  vital  to 
my  profession  and  state  of  well-being. 
So  they  usually  compromise  by  coming 
to  my  home  in  groups,  which  is  easier 
on  me  than  entertaining  them  one 
couple  at  a  time. 

This  is  one  of  the  reasons  I  often  look 
forward  to  the  day  when  I  exit  "Perry 
Mason"  and  its  beavy  work  schedule 
and  become  Raymond  Burr  again.  I 
plan  then  to  pick  up  the  many  outstand- 
ing rainchecks  on  invitations  from 
friends  like  the  Williamses.  When  I  do, 
I  estimate  I'll  be  able  to  eat  out  for  free 
almost  every  night  for  three  solid  years 
— and  I'm  likely  to  get  richer  from  that 
than  from  my  art  gallery. 

I  believe  Barbie  has  mentioned  her 
interest  in  art.  I  enjoy  talking  to  her 
about  it.  She  really  could  be  a  first- 
rate  sculptor  or  painter,  if  she  gave  her 
full  time  to  it.  On  set,  she  sketches  con- 
stantly and  has  molded  an  excellent 
head  of  the  chief  hairdresser.  She  and 
Bill  make  regular  trips  around  the  art 
galleries  and  they've  bought  several 
paintings  from  mine. 

There  are  people  who  think  Barbara, 
being  a  star,  should  act  more  like  one.  I 
don't  precisely  know  how  a  star  should 
act,  but  if  behaving  with  tact,  dignity, 
sprightliness  and  quiet  joy  and  appre- 
ciation of  all  she  sees  and  hears  is  not 
Hollywood,  then  more  actresses  should 
act  un-Hollywoodish.  They  would  seem 
more  alluring  and  less  pretentious. 

Barbara  and  Bill  could  be  big  spend- 
ers, I  suppose,  and  live  in  a  mansion  in 
Bel-Air.  But  they  prefer  the  more  mod- 
est atmosphere  of  San  Fernando  Valley 
and  using  their  money  to  invest  in  real 
estate  which  will  benefit  the  family  and 


give  them  security.  They  will  never  face 
the  panic  that  strikes  some  stars  who, 
when  their  careers  begin  to  wane,  find 
themselves  in  debt  and  over  their  heads. 

I've  been  asked  from  time  to  time 
about  Barbara  the  actress.  She  is  far 
better,  let  me  say,  than  her  role  of  Delia 
Street  would  suggest.  Barbie  appeared 
with  me  in  a  play  for  charity.  She 
played  my  daugbter,  a  teen-aged  girl  in 
pigtails.  I  opened  my  eyes.  She  was 
magnificent.  Bill  was  also  in  the  play 
and  did  an  equally  expert  job. 

In  the  show,  Perry  and  Delia  are  sup- 
posed to  be  romantically  inclined  to- 
ward each  other,  though  he  never  has 
time  for  following  up  this  affair  of  the 
heart.  It's  now  going  on  five  years  and 
still  no  romance.  Barbara  announced 
one  day  that,  when  she  met  Bill 
Williams  in  "West  of  the  Pecos,"  it  was 
love.  "Bam,  wham,  love  at  first  sight 
and  I  didn't  wait  five  weeks  before  I 
made  up  my  mind  I'd  marry  him  if  he 
asked  me,"  she  said.  "And  I  made  up 
my  mind  he  would  ask  me." 

As  her  true  self,  Barbara  wouldn't 
have  had  Delia's  patient,  resigned  phi- 
losophy. "Why,"  she  explained  recently. 
"Erie  Stanley  Gardner  has  been  writ- 
ing Perry  Mason  stories  for  over  thirty 
years,  and  poor  Delia  still  hasn't  had  a 
whiff  of  a  promise  of  marriage.  It's  out- 
rageous!" I  must  agree.  Barbara  is  a 
very  attractive  and  utterly  feminine 
woman  and  I  don't  think  Perry  Mason 
or  any  of  his  clients  or  aides  would 
have  let  Delia  hang  around  that  office 
thirty  years  without  a  proposal. 

In  conclusion,  I'd  like  to  add  just 
this:  I  not  only  love  Delia  Street.  I  love 
Barbara  Hale  Williams.  She's  one  of  the 
most  admirable  women  I've  ever  known. 
As  the  "great  lawyer,"  I  should  perhaps 
explain  that  I  use  the  word  "love"  in  its 
popular  nuance  of  liking,  respecting  and 
approving.  — The  End 

"Perry  Mason"  is  now  seen  on  Thurs., 
from   8   to   9   p.m.   est,   over   CBS-TV. 


LORETTA    YOUNG 

(Continued  from  page  27) 

— wearing  black  wool  dresses  with  the 
bell  in  front  and  things  like  that. 

"But  the  producer  didn't  want  me  in 
the  show,  I  don't  think.  That's  what  my 
agent  told  me,  anyhow.  He,  the  pro- 
ducer, said  I  was  too  young  to  play  the 
role  and  that  what  they'd  like  was  a  girl 
ahout  twenty-four — even  though  she  was 
supposed  to  be  eighteen  in  the  show. 
"Then,  finally.  I  got  it.  We  did  the 
pilot  of  the  show  in  early  January.  My 
<  ontract  was  signed  and  approved  by 
the  court  and  they  told  me  we  would 
start  filming  the  actual  show  around  the 
end  of  July. 

"I  was  very  thrilled.  I  think  Loretta 
Young  is  a  beautiful  actress  and  every- 
thing she  does  turns  into  a  success.  My 
contract  was  good  for  five  years. 
T  "I've  been  in  about  five  films,  not  big 

v       parts  or  anything,  and  I've  done  about 
r       seven  'Day  in  Court'  TV  shows,  playing 
the  juvenile  delinquent  who  throws  her 
7Q     parents  out  of  the  house  or  something. 


I  did  'Shirley  Temple's  Storybook'  and 
'Bringing  Up  Buddy,'  too.  But  this  was 
big  time.  I  was  so  eager  for  the  show  to 
begin. 

"Then  one  Sunday  in  July,  when  I 
knew  our  starting  date  had  to  be  near, 
I  met  Loretta  in  church.  She  told  me  I 
must  lose  five  pounds.  She  said  my  hips 
were  too  fat.  I  was  absolutely  desperate, 
trying  to  think  how  I  could  get  them  off 
before  we  began  rehearsals. 

"My  mother  got  me  into  The  Golden 
Door,  which  is  an  absolutely  marvelous 
place — a  sort  of  beauty  farm — about  a 
hundred  miles  outside  of  Hollywood.  I 
loved  it;  I  absolutely  adored  it.  My 
mother  took  me  down  on  a  Sunday  and 
the  idea  was  that  I  would  stay  at  least 
until  the  next  Sunday  or  even  the 
Wednesday  after  the  first  week,  depend- 
ing upon  how  fast  I  was  losing.  The 
place  is  fabulously  expensive. 

"But  on  Tuesday  a  letter  came  saying 
I  must  positively  be  in  town  on  Satur- 
day to  make  some  publicity  pictures. 
My  mother  phoned  to  say  I  couldn't 
make  it.  I  was  away  losing  the  five 
pounds — as  ordered.  I  couldn't  be  in- 
terrupted in  the  middle  of  my  diet.  And 


besides,  my  mother  couldn't  drive  down 
to  get  me  because  she  had  to  be  on  her 
own  show  every  day. 

"That  was  the  first  time  we  heard 
them  say,  'All  right,  we'll  recast.' 

"Mummy  and  I  were  both  desperate. 
Mummy  called  the  proprietress  of  The 
Golden  Door  to  see  if  anyone  was  com- 
ing up  from  there  Friday  night.  The 
proprietress  herself  was.  She  had  just 
got  married  and  was  coming  up  on  her 
honeymoon,  but  she  brought  me  along.  I 
had  lost  six-and-a-half  pounds.  I  was 
dizzy,  but  I  was  there,  on  Saturday,  and 
the  pictures  were  made. 

"That  was  when  they  told  me  to  re- 
port to  the  studio  Monday  with  my 
wardrobe  to  be  ready  to  start  filming 
the  show  on  Wednesday.  I  took  in  about 
twenty-two  dresses.  Loretta  didn't  like 
any  of  them.  There  was  something 
wrong  with  all  of  them — too  light  or 
too  dark  .  .  .  didn't  fit  right  ...  some- 
thing. Loretta  just  happened  to  have  in 
her  dressing  room  eight  or  nine  things 
from  her  sister's  shop,  and  she  told  me 
to  try  them  on.  They  were  all  about  a 
size  twelve  and  I  take  a  size  ten.  so  that 
they  would  all  need  altering. 


''Lor;  tta  said,  'Take  them  home  and 
see  which  ones  your  mother  will  buy.' 

"They  were  all  gray,  sacky  and  drab- 
looking  and  I  didn't  like  them.  Neither 
did  Mummy,  but  we  didn't  want  to 
offend  Loretta.  Glumly,  that  evening, 
Mummy  and  I  discussed  her  going 
about  to  some  shops  and  getting  things 
for  me  to  submit  to  Loretta  the  next 
day  on  approval,  when  I  returned  those 
other  dresses.  I  also  decided  to  take  in 
three  more  things  of  my  own — suits, 
this  time. 

"What  happens,  you  see,  when  you 
are  playing  a  contemporary  role,  is  that 
you  pay  for  your  own  wardrobe.  You 
are  usually  given  specifications  of  how 
you  should  dress  but  not  specific  spe- 
cifications, not  that  you  must  wear  a 
dress  by  such  and  such  a  designer,  for 
instance.  You  are  given  a  notion  of  the 
style  of  it,  like  a  Helen  Rose  dress,  but 
you  don't  have  to  buy  a  Helen  Rose 
dress  exactly.  I  was  to  earn  four  hun- 
dred dollars  a  week,  minus  agents'  com- 
missions and  things.  If  I  was  going  to 
have  to  spend  one  hundred  dollars  a 
week  or  more  on  wardrobe,  it  was  going 
to  be  rugged. 

"So,  the  next  morning,  I  did  bring 
back  her  sister's  clothes  to  Miss  Young 
and  I  said,  'Mummy  would  like  the  op- 
portunity to  look  around  for  something 
I  can  wear  other  times,  as  well  as  on 
the  show,  like  a  blue  or  something.'  I 
saw  she  was  sort  of  angry.  I  said,  very 
fast  then,  T  have  three  suits  of  mine 
here.  I  hope  you'll  like  one  of  them.' 

"I  hurried  to  my  dressing  room  and 
put  on  the  suit  I  liked  best.  When  I 
came  out,  the  wardrobe  lady  liked  it. 
She  said  she  thought  it  was  perfect. 
But  Loretta  said  no,  it  was  too  light 
and  made  my  hips  look  fat.  That  hu- 
miliated me. 

"I  ran  back  and  got  into  the  second 
suit,  but  no,  that  proved  too  light,  too, 
and  made  my  hips  look  fat  again.  I 
didn't  let  Loretta  see  that  I  was  having 
to  fight  back  tears.  I  didn't  want  to 
make  her  feel  badly.  But  when  I  was 
back  in  the  dressing  room  putting  on 
the  third  suit,  I  did  cry. 

"As  I  came  out  in  that  suit,  Loretta 
said,  'Well,  you  don't  look  eighteen  to 
me,  but  I  guess  you  can  wear  that  to  re- 
hearsal.' Then  she  said,  'I'm  fed  up  with 
all  this' — and  she  stalked  off  the  set. 

"I  was  just  sick.  There  was  half  of 
Tuesday  gone  and  we  were  due  to  start 
shooting  the  next  day.  I  didn't  know 
until  later  that  the  producer  then  got 
Mummy  on  the  phone.  Mummy  was  out 
in  a  restaurant  giving  an  interview  when 
he  called  her  and  said,  'Are  you  ques- 
tioning Miss  Young's  impeccable  taste?' 

"Mummy  said,  'No,  I  think  Miss 
Young  has  marvelous  taste,  but  where 
it  is  my  impeccable  money  that  has  to 
buy  it,  then  I  think  I  should  have  time 
to  look  around.' 

"The  producer  said,  'Well,  we'll  have 
to  recast.'  That's  always  been  his  answer 
to  everything,  all  the  time. 

"Mummy  said,  'Do  let  me  bring  some 
things  in.'  He  replied,  'Well,  we  start 
working  at  four.'  That  was  making  it 
rough,  of  course,  but  my  mother  said 
she'd  be  at  the  studio,  with  clothes, 
before  that. 

"It  was  then  that  the  producer  came 


Let's  talk  frankly  about 

internal 
cleanliness 


Day  before  yesterday,  many  women  hes- 
itated to  talk  about  the  douche  even  to 
their  best  friends,  let  alone  to  a  doctor 
or  druggist. 

Today,  thank  goodness,  women  are 
beginning  to  discuss  these  things  freely 
and  openly.  But  — even  now  — many 
women  don't  realize  what  is  involved  in 
treating  "the  delicate  zone." 

They  don't  ask.  Nobody  tells  them. 
So  they  use  homemade  solutions  which 
may  not  be  completely  effective,  or  some 
antiseptics  which  may  be  harsh  or  in- 
flammatory. 

It's  time  to  talk  frankly  about  inter- 
nal cleanliness. 

Here  are  the  facts:  tissues  in  "the  deli- 
cate zone"  are  very  tender.  Odors  are 
very  persistent.  Your  comfort  and  well- 
being  demand  a  special  preparation  for 
the  douche.  Today  there  is  such  a  prep- 
aration. 

This  preparation  is  far  more  effective 


in  antiseptic  and  germicidal  action  than 
old-fashioned  homemade  solutions.  It  is 
far  safer  to  delicate  tissues  than  other 
liquid  antiseptics  for  the  douche.  It 
cleanses,  freshens,  eliminates  odor, 
guards  against  chafing,  relaxes  and  pro- 
motes confidence. 

This  is  modern  woman's  way  to  inter- 
nal cleanliness.  It  is  the  personal  antisep- 
tic for  women,  made  specifically  for  "the 
delicate  zone."  It  is  called  Zonite®.  Com- 
plete instructions  for  use  come  in  every 
package.  In  cases  of  persistent  discharge, 
women  are  advised  to  see 
their  doctors. 

Millions  of  women  al- 
ready consider  Zonite  as 
important  a  part  of  their 
grooming  as 
their  bath. 
You  owe  it 
to    yourself 
to  try  Zonite. 


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T 
V 

■ 

71 


to  me  and  said.  "You  can  go  to  lunch. 
Be  back  at  one-thirty.' 

"I  went  home,  thinking  to  dash  out 
and  shop,  but  when  I  got  there,  I  found 
out  about  the  other  phone  call.  Ed 
Fitzgerald,  Mother's  business  manager. 
I  hen  called  on  my  behalf  and  said, 
'What's  the  situation?  Do  we  have  to 
buy  the  things  that  Miss  Young  chooses 
or  not?' 

"They  said.  'Forget  it.  We've  recast. 
Don't  bother  to  have  Portland  come 
back.' 

"I  was  sick.  I  was  desperate.  For  just 
not  buying  some  clothes,  they  had  told 
me  to  go  to  lunch — and  then  they  had 
fired  me.  It  was  a  pretty  poor  excuse 
and  they  didn't  even  give  me  that  ex- 
cuse. I  was  just  to  go  to  lunch.  They 
told  other  people  that  my  mother  had 
yanked  me  off  the  set.  She  wasn't  even 
there." 

Portie  drew  a  long  sigh.  "So  there 
you  are."  she  said.  "It's  just  awful  what 
they  do." 

A  word   from   mother 

Portie's  mother  spoke  up  for  the  first 
time  then.  "Since  this  has  happened." 
Pamela  Mason  said,  "I've  been  told  that 
several  people  have  had  this  trouble 
with  Loretta — that  you  buy  her  sister's 
clothes  or  else.  I  suppose  the  reason 
that  they  pressured  Portland  and  not 
the  other  children  was  because  the 
other  children  couldn't  afford  it.  Portie 
had  a  five-year  contract,  but  the  others 
had  only  a  seven-week  guarantee  out  of 
thirteen  weeks  at  a  minimum  scale.  So 
they  could  hardly  dash  out  and  buy 
clothes  imported  from  Italy.  But  I  sup- 
pose they  figured  we  could,  and  that 
we  darned  well  should.  Of  course,  I 
could  have  bought  one  or  two,  and 
Portland  then  could  have  been  caught 
in   the  series  for  five  years  with  her." 

Portland  broke  in  then.  "Loretta  does 
everything,"  she  said.  "It's  fantastic. 
She  was  choosing  the  wardrobe,  she  was 
doing  everybody's  hair.  You  do  your 
hair  and  then  Loretta  says,  'Get  the 
bobby  pins.'  Then  she  does  everybody's 
hair.  Then  she  helps  the  director  direct. 
She  helps  everybody  write  new  lines 
and  then  she  says,  'No,  I  don't  think 
you  should  have  that  line.  I  think  you 
should.'  She  tries  to  do  everything,  and 
she's  very  nervous  because  she  is  al- 
ways racing  around  fluttering  and  losing 
her  temper  very  quickly. 

"I  want  to  have  a  career.  But  I  don't 
want  to  have  it  at  the  expense  of,  well, 
of  collusion — of  buy  this  or  else,  you 
know.  Everything  is  always  'Loretta  says 
i his  and  Loretta  says  that.'  Then  later 
Loretta  comes  up  to  you  and  is  all  in- 
nocence and  guile.  It's  that  you  never 
show  your  true  face  to  anything.  That's 
all  right  when  you  are  acting.  You  say 
what's  in  the  script.  But  in  a  person, 
it's  stupid.  You  have  to  be  a  person. 

"It    must    be    terribly    embarrassing 
uh<;n  you  always  have  to  be  sweet  and 
smiling,  and  when  you  must  have  center- 
stage  or  not  be  there  at  all. 
T  "My  dad  did  something  once  that  was 

v       very,  very  funny.  This  special  evening 
s       Diana  Dors  and  her  husband  were  here 
and  six  or  seven  others  when  Dad  came 
in  and  sat  down  and  just  started  to  read 


a  script.  Daddy  gets  sort  of  dreary  after 
ten  o'clock,  because  he  gets  up  early 
and  by  eight  he's  out  playing  tennis  or 
something.  The  rest  of  us  just  sat 
around,  quietly  talking.  Then  Dad  got 
up.  He  didn't  do  it  on  purpose,  but  that 
was  what  made  it  so  beautiful.  He  went 
down  to  the  end  of  the  living  room  and 
he  turned  off  all  the  lights.  And  then, 
he   started    right    up    the   stairs! 

"Mummy  came  to  the  door  then  and 
she  said,  'James,  what's  going  on  here?' 
He  said,  'Oh.  Oh,  I'm  terribly  sorry. 
Good  night.'  And  he  kept  on  going  up 
the  stairs,  leaving  us  sitting  there, 
watching  him.  He  simply  hadn't  noticed 
that    anyone    else    was    in   the    room." 

Pamela  Mason  (now  split  from 
James)  said,  "All  actors  are  like  that. 
Poor  Marilyn  Monroe  was  a  perfect 
example  of  it.  She  had  made  all  her 
dreams  come  true  but  she  was  alone  in 
the  world,  actually.  No  message  could 
get  through  to  her.  She  was  isolated  on 
the  desert  island  of  success." 

For  the  first  time,  I  stuck  in  my  ten 
cents'  worth.  I  looked  at  the  very  pretty 
Portland.  No  matter  what  Loretta 
Young  thinks,  she  has  a  beautiful  figure, 
being  five-feet-five  and  quite  perfectly 
proportioned,  and  I  said,  "How  do  you 
think  you'll  avoid  the  desert  island  of 
success,  Portie?  Do  you  feel,  right  now. 
that  your  highly  distinctive  upbringing 
has  cut  you  off  from  the  average  girl  or 
boy  of  your  own  age?" 

She  said,  with  quick  humor.  "I  re- 
ceive messages,  Morse  code  or  some- 
thing, and  besides,  I'm  very  glad  of  the 
uphringing  I've  had.  Oh,  sometimes  I  sit 
down  and  wonder  very  dramatically  if 
I've  missed  my  childhood.  That's  when 
somebody  tells  me  my  raising  has  been 
very  non-conformist.  But  when  I  really 
think  about  it,  I've  had  as  normal  a 
childhood  as  anybody.  I've  been  to 
school.  I've  had  a  lot  of  friends  and 
stuff. 

"I  think  maybe  I've  been  given  more 
poise,  because  I've  skipped  all  that  stuff 
where  you  sneer  at  your  mother  and 
pinch  her  or  something  and  say,  'Yey, 
hey,  I  want  my  own  way.'  I  did  go 
through  it  but  I  didn't  go  through  it 
very  long,  because  nobody  else  here 
did  it.  I  didn't  see  my  mother  rushing 
up  to  my  father  and  saying,  'Eeek,  you 
must  buy  me  a  diamond  necklace'  and 
all  that  sort  of  thing. 

"So  I  grew  up  quicker.  That's  the 
idea,  isn't  it,  to  grow  up? 

"I  go  out  on  dates  when  I  get  asked, 
but  I  don't  get  serious  or  anything.  I'm 


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a  lousy  girl  at  school,  just  awful.  There 
was  something  printed  about  my  being 
a  'straight-A'  student,  and  the  day  after 
that  appeared,  all  the  kids  in  my  class 
came  in  snickering.  I'm  B  or  C,  but 
most  of  the  time  I  do  my  homework  and 
everything  else.  I  figure  that  if  there's 
something  you  really  want  to  learn, 
you'll  learn  it  as  long  as  you  know 
where  to  get  the  information  or  where 
the  encyclopedia  is.  What  I'd  like  to 
know  is  how  to  budget  a  bank  account 
and  how  to  drive  a  car. 

"I'm  not  allowed  to  have  a  license  to 
drive  yet,  but  I  know  how.  I  practiced 
on  our  Rolls,  which  is  just  marvelous 
because  it's  like  driving  a  tank.  It's  as 
heavy  as  anything.  I  drove  into  the 
hedge  a  few  times  and  I  was  confined 
to  the  grounds  for  a  while  after  that. 

How  adjusted  can  you  get? 

"I  think  there  is  too  much  jazz  about 
people's  ages,  anyhow.  The  boys  I 
mostly  am  around  are  eighteen  or 
nineteen,  and  some  of  them  seem  mere 
children  and  others  are  very  mature. 

"Living  with  my  brother  helps  me  a 
lot  even  if  he  is  only  six.  He's  the  most 
marvelous  specimen,  because  he  acts 
like  a  real  man.  He  does  things  that 
men  do.  He  does  it  with  little-boy  things 
like  toy  guns,  but  unless  a  thing  is  done 
his  way,  it's  no  good  at  all. 

"If  you  want  to  go  horseback  riding 
because  he  wants  to  go  horseback  rid- 
ing, then  you  are  a  heroine.  But  if  you 
don't  want  to.  then  you're  a  heel,  and 
off  with  your  head.  All  men  act  like 
that.  They  say  do-it-my-way-or-else. 

"Except  my  father  isn't  like  that,  be- 
cause he's  very  quiet.  He's  quite  an 
honest  fellow  and  he  doesn't  order  every- 
body around  unless  he  wants  to  show 
he's  the  bigwig. 

"Then  he'll  say,  'Go  and  do  your 
homework.'  I  say,  'Nooooo,'  just  to  hear 
what  he'll  say,  because  he  gets  so 
carried  away  with  his  picture  of  the 
perfect  father  and  Fll-do-this  and  I'll- 
do-that,  we'11-go-bowling  and  all  that 
sort  of  thing. 

"Nothing  happens  when  you  say 
'nooo'  to  him  because  I  add,  'You're 
just  trying  to  throw  your  weight  around.' 
Then  he  gets  very  offended  and  we  start 
arguing.  He  gets  very  upset  when  you 
question  him,  but  I  notice  that  I  even- 
tually do  go  upstairs  and  do  my  home- 
work,  even  if  I   do  think  it's   a  drag. 

"So  does  this  mean  I  am  adjusted? 
My  mother  says  I  am.  I  know  that  I 
want  to  be.  But  I  know  that  I  would 
die  if  this  lawsuit  goes  against  me.  It 
can't.  It  simply  can't.  I'll  fight  it  to  the 
death  because  I  know  I'm  right.  I  told 
the  truth  and  they  didn't,  and  I'll  fight 
Loretta  tooth  and  nail.  I  have  not  seen 
her  since  I  was  dismissed,  but  she  wrote 
me  a  note.  It  said,  'Portland  dear,  I'm 
so  terribly  sorry  to  have  lost  you.  I'll 
miss  you,  dear,  very,  very  much.  Affec- 
tionately, Loretta  Young  Lewis.' 

"Sometimes,  before  I  go  to  sleep  at 
night,  I  wonder  what  she'd  answer  if  I 
wrote  and  told  her  I'm  right  here  and 
available?"  — Ruth  Waterbury 

"The  New  Loretta  Young  Show"  is  seen 
over  CBS-TV,  Monday,  at  10  p.m.,  est. 


TV   vs.    MOVIE    MORALS 

(Continued  from  page  55) 

to  imply  that  the  reason  they're  seldom 
seen  together  is  that  work  (hers  in 
Hollywood  and  his  in  New  York)  keeps 
them  apart.  Appearance's  sake — this 
is  all  important  to  Loretta.  She  doesn't 
sob  or  scream  or  carry  on  in  public. 
Her  troubles  are  her  own,  not  to  be 
gossiped  over  in  columns  or  trumpeted 
in  headlines.  And  even  when  she  goes 
to  the  corner  store  to  pick  up  the  eve- 
ning paper,  she  looks  as  if  she  had  just 
come  out  of  the  beauty  parlor. 

Then  there's  Lawrence  Welk.  His 
private  life  is  his  own,  to  conceal  or 
reveal  as  he  sees  fit.  You'll  never  find 
the  kind  of  articles  written  about  him 
by  his  children — with  such  luria  titles 
as  "My  Father  Never  Loved  Me" — 
that  you  can  find  penned  by  the  children 
of  so  many  movie  stars  (often,  for  the 
sake  of  the  publicity,  with  the  star's 
encouragement).  And  Welk's  wife,  at 
his  insistence,  remains  quietly  in  the 
background.  "It's  my  job  to  run  the 
business,"  Lawrence  says,  "and  it's  her 
job  to  supervise  the  home  and  the  fam- 
ily's religious  activities." 

Equally  insistent  that  a  personal  life 
be  a  private  life  is  Carol  Burnett.  She 
doesn't  deny  the  fact  that  she  married 
Don  Saroyan  in  1955,  parted  from  him 
in  1959,  filed  for  divorce  from  him  this 
year.  But  she  doesn't  expose  the  wounds 
of  her  unsuccessful  marriage.  .  .  .  And 
now,  Carol  is  in  love  with  a  married 
man!  For  how  she  is  handling  this,  see 
our  story  on  page  58. 

Of  course,  there's  the  simple  fact  that 
TV  stars,  if  they're  on  the  top  of  the 
heap,  work  more  regularly  and  steadily 
than  movie  stars.  There's  no  time  for 
that  "between-pictures"  letdown,  no 
time  to  break  out  and  sow  wild  oats. 

Ozzie  and  Harriet,  for  instance,  and 
their  sons  Ricky  and  David,  have  been 
busy  with  the  same  family  TV  series 
for  eleven  consecutive  years.  Before  that, 
Ozzie  and  Harriet  had  already  put  in  a 
six-year  stint  on  radio. 

That's  a  lot  of  years,  a  lot  of  re- 
hearsals, a  lot  of  shows.  The  sheer  ex- 
haustion of  this  killing  schedule  is  in 
itself  enough  to  keep  all  the  members 
of  the  Nelson  family  on  the  straight- 
and-narrow  path  of  virtue,  but  of  course 
there's  another  factor,  too — love. 

This  year  Ozzie  and  Harriet  celebrate 
their  twenty-seventh  wedding  anniver- 
sary. Their  on-screen  roles  of  husband 
and  wife  and  parents  fuse  and  confuse 
with  their  off-screen  roles  as  the  same, 
until  it's  difficult  to  see  where  life  ends 
and  art  begins. 

Ricky,  speaking  for  his  brother  and 
himself,  is  grateful  that  his  parents  have 
"always  trusted"  them,  and  pays  them 
the  highest  compliment  of  all  by  saying, 
"They  listen  a  lot.  They  don't  pry." 

Arthur  Godfrey  has  irritated  the  pub- 
lic by  firing  some  of  his  "friends"  and 
irritated  authorities  in  charge  of  the 
airways  by  "buzzing"  Teterboro  Airport 
in  his  private  plane,  but  he  has  never 
irritated  his  listeners  and  viewers  by 
involving  himself  in  scandal.  Sassy,  im- 
pulsive and  sometimes  a  bit  crude  on 
the   air,   he   is,   nonetheless,   more   like 


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a  wicked-talking  than  a  wicked-acting 
uncle.  He's  been  talking  so  much  (on 
radio  and  TV)  for  so  long  (28  con- 
secutive years,  with  time  out  for  hip 
surgery  in  1953  and  lung  cancer  surgery 
in  1959)  that  it's  a  wonder  he's  had 
any  time  left  to  indulge  in  his  favorite 
vice,  flying,  let  alone  anything  else. 

If  you  want  further  documentation  of 
just  how  tough  it  is  to  be  a  TV  star 
and  just  how  little  time  he  has  for  him- 
self, consider  the  case  of  Vince  Edwards. 
Dr.  Casey  diagnoses  his  own  troubles 
by  declaring,  "It's  no  picnic.  I'm  in 
every  scene,  every  day,  and  every  day 
I  have  to  learn  fifteen  pages  of  dialogue 
with  a  lot  of  complicated  medical  terms. 
I  have  to  memorize  seventy  pages  of 
script  every  six  days.  I  get  through 
shooting  at  about  7:30  every  night.  By 
the  time  I  get  cleaned  up  and  take  my 
gal  (Sherry  Nelson,  of  course)  to  din- 
ner, it's  10  o'clock  and  I'm  beat  and 
want  to  go  to  bed — I  have  to  get  up  at 
6  A.M." 

No  time  to  be  immoral  with  a  sched- 
ule like  that.  No  time,  even,  to  be  moral. 
Just  time  to  work,  eat  and  sleep. 

Not  that  movie  actors  don't  work  as 
hard  and  as  long — when  they  work:  Up 
before  dawn  for  makeup  or  wardrobe 
call;  on  set  by  nine  and  work  through 
to  five  or  six  o'clock;  back  to  wardrobe 
for  the  next  day's  fittings  and  to  make- 
up to  "take  off"  that  day's  face;  home 
for  a  quick  dinner;  then  hours  of  study 
of  the  next  day's  lines. 

But  there  are  the  idle  times  between 
pictures  and  there  are  location  trips, 
where,  away  from  home,  anything  goes. 
An  actor  is  not  before  the  cameras 
every  day.  There  are  long  waiting  pe- 
riods during  which  the  tension  mounts 
and  he  may  seek  release  in  hard  drinks 
or  soft  arms.  As  writer  Joe  Hyams 
pointed  out.  "A  recent  picture  was 
filmed  on  an  island  for  three  months.  It 
resulted  in  the  breakup  of  four  mar- 
riages, three  of  which  were  considered 
'model'  ones.  One  of  them  was  that  of 
a  hairdresser  who  had  an  affair  with  a 
married  actor." 

Hyams  wrote  this  B.C.  (Before  "Cleo- 
patra"). What  a  footnote  he  could  now 
write  on  the  way  that  tension  and  bore- 
dom combined  to  play  havoc  with  the 
personal  lives  of  the  actors  in  that  epic! 

A  ban  on  sex 

But  there's  more  than  the  fear  of  un- 
favorable publicity  and  the  pressure  of 
long  hours  before  the  cameras  to  keep 
the  TV  actors  on  the  virtuous  path.  The 
television  star  comes  right  into  the  view- 
er'- living  room  and,  in  effect,  is  invited 
to  join  the  family.  The  TV  set  itself  is 
like  a  piece  of  "talking  furniture."  as 
essentia]  to  47.000.000  American  homes 
as  the  sofa  or  easy  chair.  (In  addition. 
5,500,000  homes  have  second  sets,  and 
there  are  1,500,000  sets  in  public 
places.)  The  star's  impact,  then,  is 
direct  and  intimate.  He  must  not  do 
anything,  on  or  off  the  screen,  that 
might  offend  any  people  in  the  homes 
he  is  permitted  to  enter.  As  Albert  N. 
T  Harverstadt,  general  advertising  man- 
v  ager  of  the  Procter  &  Gamble  Co.,  has 
a  -aid.  television  programing  policy  must 
reflect  "the  moral  code  of  the  bulk  of 
the    American    people."   and    bans   sex. 


suggestive  dialogue,  excessive  passion 
and  profanity. 

TV  taboos,  therefore,  are  endless  and 
apply  to  a  performer's  actions  any- 
where. Specifically  prohibited  in  the 
National  Association  of  Broadcasters' 
code  of  good  practices  are:  "Profanity, 
obscenity,  smut  and  vulgarity";  disre- 
spect for  marriage;  approval  of  illicit 
sex,  drunkenness  or  narcotic  addiction; 
excessive  drinking  or  gambling;  per- 
formers' costumes  that  overstep  the 
bounds  of  propriety,  etc.,  etc. 

Is  it  any  wonder  then  that  the  TV 
actor,  realizing  that  his  off-camera  ex- 
istence is  judged  in  terms  of  his  on- 
camera  personality,  is  afraid — even  if 
he  wants  to — to  say  or  do  anything  out 
of  character? 

Vince  Edwards,  fully  aware  of  the 
"godlike  kind  of  man"  Ben  Casey  rep- 
resents '  in  the  public  mind,  often  de- 
clares, "I  won't  do  anything  to  destroy 
the  image." 

The  most  successful  TV  stars,  there- 
fore, are  the  ones  whose  personal  lives 
and  professional  lives  are  almost  in- 
distinguishable. Lawrence  Welk,  who 
captures  30,000,000  viewers  each  week 
on  his  "The  Lawrence  Welk  Show"  on 
ABC-TV  and  whose  world-wide  radio 
show  is  tuned  in  on  by  90,000,000  more 
people,  is  exactly  the  same  in  front  of 
and  away  from  the  cameras.  Not  only 
has  he  been  married  to  the  same  lady 
for  thirty  years,  not  only  is  he  a  non- 
smoker,  a  non-drinker  and  a  non-curser 
(except  if  you  consider  "shucks"  a 
curse),  but  also  he  insists  that  his 
troupe  adhere  to  a  rigid  moral  code: 
No  drinking  or  smoking  at  work,  no 
low-cut  gowns  for  female  vocalists,  no 
frowning  on  camera,  no  troubles  at 
home  that  they  don't  tell  him  about  and 
allow  him  to  arbitrate  (he's  proud  of 
the  fact  that  there's  been  only  one  di- 
vorce in  his  band  since  1946) . 

But  sometimes  even  such  a  pillar  of 
morality  as  Welk  incites  the  wrath  of  a 
still  more  moral  viewing  public.  Once 
one  of  the  Lennon  sisters  appeared  in 
shorts  on  his  show  in  a  beach  scene  and 
Welk  was  swamped  with  protesting  mail 
from  his  fans  because  the  child — then 
only  14 — had  exposed  her  legs.  It's  not 
likely  that  such  a  slip  will  happen  on 
Welk's  program  again. 

Donna  Reed  admits  that  sometimes 
her  makebelieve  role  as  Donna  Stone, 
homemaker  and  mother,  and  her  real- 
life  role  of  Mrs.  Tony  Owen,  home- 
maker  and  mother,  seem  interchange- 
able. And  her  fans  wouldn't  have  it 
otherwise. 

Donna  is  well  aware  that  the  stability 
of  her  own  family  life  is  a  key  factor 
in  making  her  TV  family  life  warm  and 
believable.  And  it  also  keeps  her  hap- 
py— because  she's  willing  to  put  the 
extra  time  and  effort  into  balancing 
her  "two  lives."  For  the  full  story  of 
Donna's  problems,  see  page  33! 

During  the  nine  years  (and  more 
than  200  half-hour  segments)  in  which 
Lucy  and  Desi  Arnaz  played  the  parts 
of  Lucy  and  Ricky  Ricardo  in  "I  Love 
Lucy,"  their  personal  and  professional 
lives  became  so  mixed  together  in  the 
public  mind  that  it  was  natural  and 
obligatory  in  the  months  leading  up  to 
the  birth  of  Lucy's  real-life  baby  that 
the    approaching    "blessed    event"    be 


worked  into  the  script.  It  was  not  sur- 
prising, then,  that  the  millions  and 
millions  of  viewers  who  had  shared 
Lucy  and  Desi's  joy  at  the  birth  of  their 
child  were  shattered  when  later  the 
same  couple  announced  they  were  get- 
ting a  divorce. 

Lucy  herself  puts  it  this  way:  "I  re- 
ceived 8,000  letters  at  the  time  of  the 
divorce  announcement.  .  .  .  They  asked 
me  not  to  get  a  divorce.  ...  I  was 
painfully  aware  of  the  feeling  the 
American  public  had  for  Lucy  and  their 
need  for  Lucy  and  Ricky  as  a  happy 
family.  The  awareness  held  up  my  de- 
cision for  a  long  time,  until  I  couldn't 
allow  it  to  do  so  any  more.  Lucy  solved 
a  lot  of  marital  problems  for  our  view- 
ers, and  the  idea  of  finding  a  laugh  in 
a  hopeless  situation  worked  for  Desi 
and  me  for  a  long  time  also." 

It  is  to  Lucy's  and  Desi's  credit  that 
they  tried  hard  to  make  a  go  of  a  "hope- 
less" marriage,  and  it  is  also  to  their 
credit  that  when  the  bust-up  did  come, 
the  divorce  was  secured  in  a  dignified 
manner  and  without  the  usual  scandal- 
ous Hollywood  charges  and  counter- 
charges. Subsequently,  when  Desi  said, 
"I  still  love  Lucy,  but  in  a  different 
way,"  and  when  Lucy  said,  "In  a  differ- 
ent way,  I  still  love  Desi,"  they  meant 
it  sincerely — and  the  public,  sympa- 
thetic to  incompatability  but  unsympa- 
thetic to  scandal,  forgave  and  forgot. 

Hot,  hotter,  hottest 

In  contrast  to  the  intimacy  and 
morality  of  what  transpires  on  the  TV 
screen,  the  motion  picture  screen  pre- 
sents "sexier"  or  "more  mature"  enter- 
tainment. As  WCBS-TV  film  manager 
William  Lacey  explains  it:  "The  TV 
audience  has  no  protection  against  what 
comes  into  the  home.  You  just  turn  the 
dial  and  there  it  is.  A  patron  of  the 
movie  house  plunks  down  money  for 
the  picture  he  wants  to  see.  He  has 
either  heard  about  it  or  read  about  it. 
He  is  more  or  less  prepared  for  what 
he  is  about  to  watch." 

Or,  as  a  prominent  movie  producer 
explains  it,  "If  people  want  to  see  clean, 
wholesome  entertainment,  they  stay 
home  and  watch  TV.  When  they  go  to 
a  movie  theater,  they  want  something 
different.  They  want  to  be  stimulated." 

This  stimulation  comes  from  bold 
treatment  of  torrid  themes:  Homosex- 
uality ("Advise  and  Consent,"  "The 
Best  Man,"  "The  Devil's  Advocate," 
"Taste  of  Honey,"  and  "Victim"), 
lesbianism  ("The  Children's  Hour"  and 
"A  Walk  on  the  Wild  Side"),  rape 
("All  Fall  Down,"  "Sanctuary,"  "Cape 
Fear,"  and  "Town  Without  Pity") ,  pros- 
titution ("Butterfield  8"),  nympho- 
mania ("Sweet  Bird  of  Youth"  and 
"The  Chapman  Report") ,  sexual  sadism 
("Psycho,"  "The  Mark,"  "Return  to 
Peyton  Place,"  and  "Happy  Anniver- 
sary"), acute  alcoholism  ("Days  of 
Wine  and  Roses"),  extremes  of  erotic 
love  ("Lolita"  and  "Sons  and  Lovers") , 
etc.,  etc. 

Some  of  these  films  are  produced 
abroad;  all  of  them  reflect  the  realistic 
attitudes  of  the  French  and  Italian  film- 
makers. If  life  imitates  art — we  have 
already  seen  how  TV  stars'  private  lives 
mirror    their    on-screen    personalities — 


it  follows  that  the  personal  lives  of 
movie  stars  will  often  reflect  the  moral- 
ity (or  rather  the  immorality)  of  such 
sensational  pictures.  Many  of  these  films 
dealing  with  loose  or  aberrant  sexuality 
are  shot  in  foreign  countries  whose 
moral  codes  may  be  far  less  strict  than 
our  own.  Some  American  stars  when 
overseas  throw  off  all  restraints  in  the 
spirit  of  "when  in  Rome,  do  as  the 
Romans  do." 

Brigitte  Bardot  is  the  supreme  ex- 
ample of  an  actress  whose  on-screen 
misbehavior  spills  over  into  her  off- 
screen antics.  Typical  of  Brigitte's  feel- 
ings about  love  and  sex  is  her  reply  to 
her  leading  man,  Sami  Frey,  when  he 
asked  to  marry  her.  "I  know  how  the 
most  charming  of  lovers  becomes  un- 
bearable the  day  after  the  wedding!" 

Marlon  Brando  is  an  American  star 
whose  offbeat  romantic  life  matches  his 
cinematic  roles,  except  that  even  he  falls 
short  of  Brigitte's  scandal-ridden  record. 
Beginning  with  his  off-again,  on-again, 
gone-forever  affair  with  Josanne  Mari- 
ana-Berenger,  his  escapades  shifted  into 
high  gear  when  he  suddenly  married 
Anna  Kashfi,  divorced  her  just  as  sud- 
denly, and  then  participated  in  a  run- 
ning court  battle  for  custody  of  their 
son.  Somewhere  along  the  way  he  mar- 
ried and  then  broke  up  with  Movita, 
the  Mexican  actress.  More  recently, 
Brando's  name  was  again  in  headlines 
when  Rita  Moreno,  with  whom  he'd 
had  a  spasmodic  romance  for  a  long 
time,  took  an  overdose  of  sleeping 
tablets  and  then  drove  to  Marlon's 
home,  where  she  lay  in  a  coma  until 
the  ambulance  arrived. 

Finally,  the  movie  industry  was  con- 
ceived in  passion  (the  first  feature  film, 
released  in  1896,  was  called  "The  Kiss" 
— and  that's  all  it  was.  a  man  kissing  a 
woman)  and  is  dedicated  to  sex  (un- 
clothed actresses  have  taken  on-screen 
baths  in  tubs  and  lakes  and  rivers,  and 
under  waterfalls).  Gary  Cooper  once 
confessed    that   it's    impossible    to    feel 


VINCE    EDWARDS 

(Continued  from  page  32) 

get  married,"  Vince  says.  "I'd  like  it  to 
be  for  keeps.  All  the  way.  I  don't  just 
fool  with  barbells  or  swimming,  I  work 
out  to  keep  in  shape.  I  don't  read  just 
to  pass  the  time,  but  to  learn.  And 
when  I  get  married,  it's  not  going  to  be 
a  whim  of  the  moment.  It'll  have  to  be  a 
serious  thing,  to  take  care  of  my  wife, 
to  raise  my  family  right.  And  for  that 
I  have  to  be  sure." 

Sherry,  who  answers  the  rumors  about 
her  and  Vince  with  a  sphinx-like  smile, 
knows  this.  She  knows,  too,  that  Vince 
will  not  be  quite  as  bad  a  husband  as  he 
now  fears.  She  knows  he  has  a  tender, 
even  sentimental,  side  to  his  toughness. 
He  will  show  it  often,  as  well  as  his 
subtle  sense  of  humor.  His  home  will 
not  be  lacking  either  in  warmth  or 
laughter.  And  he  knows  the  meaning 
of  responsibility.  In  the  years  of  strug- 
gle he  learned  about  the  value  of  money 
and  the  hard  price  one  pays  for  being 
shortsighted.  The  future  Mrs.  Edwards 


unmoved  when  kissing  an  actress,  and 
admitted  that  "lots  of  times  there's  a 
carry-over."  Illustrative  of  the  fact  that 
Coop  knew  what  he  was  talking  about 
is  the  way  many  Hollywood  actors  and 
actresses  "carried  over"  their  screen 
romances  into  real  life. 

But  scandalous  goings-on  by  movie 
stars  just  seem  to  endear  them  more 
closely  to  their  fans.  Lana  Turner,  now 
41,  made  headlines  for  twenty  years 
with  her  marriages  to  Artie  Shaw,  Steve 
Crane,  Bob  Topping,  Lex  Barker  and 
Fred  May,  and  her  tragedy-ridden  affair 
with  alleged  mobster  Johnny  Stompa- 
nato.  But  today  the  original  Sweater 
Girl  is  more  popular  that  ever.  In  fact, 
Lana  and  Ingrid  Bergman,  Susan  Hay- 
ward,  Ginger  Rogers  and  Barbara  Stan- 
wyck have  been  married  to  a  total  of 
sixteen  men — but  their  names  outside  of 
a  movie  house  still  draw  the  crowds. 

Passion,  however,  is  almost  complete- 
ly foreign  to  TV.  One  French  com- 
mentator, after  watching  a  whole  eve- 
ning of  television  Westerns  in  which 
the  heroes,  without  exception,  escaped 
from  the  lure  of  beautiful  women  to  the 
safety  of  their  horses,  finally  exclaimed. 
"Voild!  At  last  I  understand  American 
men.  They're  all  secretly  in  love  with 
horses ! " 

The  last  word,  appropriately,  is 
spoken  by  a  lady,  Donna  Reed,  and,  in 
lashing  out  directly  at  the  kind  of  seamy 
characters  who  are  presented  today  on 
the  movie  screen,  she  is  also  indirectly 
judging  the  type  of  behavior  that  stars 
indulge  in  off  the  screen.  "I'm  fed  up  to 
here  with  stories  about  kooky,  amoral 
or  sick  women,"  Donna  says.  "Holly- 
wood and  Broadway  haven't  always  been 
so  absorbed  with  these  misfits.  Greer 
Garson,  Norma  Shearer,  Irene  Dunne 
all  played  strong,  unsick  women.  But 
with  the  producers  today  it  has  to  be 
'Butterfield  8.'  I  just  don't  believe  the 
public  wants  a  diet  of  these  sick  fe- 
males." 

Well,  do  you?        — James  Hoffman 


will  never  go  without  because  of  his 
being  careless  with  money.  And  she'll 
be  marrying  an  expert  cook.  Vince 
picked  up  cooking  by  watching  his 
mother  back  in  Brooklyn.  Not  that  he 
has  any  special  recipes.  "I  just  sort  of 
put  things  together." 

The  kind  of  husband  Vince  will  be 
may  be  glimpsed  in  his  behavior  today. 
The  pattern  is  already  set.  He  was  with 
Sherry  recently  when  a  beautiful  starlet 
stopped  at  their  night-club  table  and 
began  to  flirt.  Never  one  to  miss  the 
charms  of  a  good-looking  girl,  Vince 
tried  to  parry  her  advances.  But  he  kept 
an  apologetic  eye  on  Sherry.  Finally  the 
girl  asked  Vince  to  do  the  Twist  with 
her.  Vince  glanced  at  Sherry  and  de- 
liberately put  his  strong  hand  over 
hers.  "Sorry,"  he  said  to  the  flirty-gertie. 
"but  I've  got  to  take  things  easy.  I  have 
to  be  in  surgery  early  tomorrow.  .  .  ." 
— Eunice  Field 

Vince  "operates"  on  "Ben  Casey."  as 
seen  over  ABC-TV,  Monday,  from  10  to 
11  p.m.  est.  He's  also  starring  in  the 
Columbia  Picture,  "The  Victors" — 
and    records    for    Decca.    as    a    singer. 


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76 


lllllllillllllilllHIItlltlllHIIIIIIIIIIIillllllllllllllllllllllllllllllllllllltllilMIINIIIIIIIIIIIIIIIIIItillllltllllllll 

MIKE  WALLACE 

lllllltllllllllllllllllllllllllllllllllMltlllllllllllllllllllllillllllNltlilllllM 

(Continued  from  page  43) 


1lllllllllltllIllltllllll]llll1IIIIIIINIIIIIIIIIIIIIIIllllllllllllllll1IINItlllM1llll|[IIIINIIIIIIIII[|||INIIIlllHlltlllllll 


In  a  ravine  seven  miles  from  Corinth, 
below  a  narrow  mountain  path  leading 
to  the  monastery,  a  body,  badly  de- 
composed by  sun  and  rain,  has  been 
identified  as  that  of  a  tall  boy  about 
twenty  years  old. 

Your  hands  are  still  trembling,  so 
you  make  fists  to  still  them.  There  are 
decisions  to  be  made.  You  don't  for  one 
moment  believe  that  the  body  is  Peter's. 
But  someone  must  go  to  Greece  to  make 
sure.  Bill  Leonard,  Norma's  husband, 
could  go,  but  Norma  will  need  him  with 
her.  Better  that  you  go  yourself.  When 
you've  made  sure  that  the  boy  is  not 
your  son,  you  can  start  looking  for 
Peter  yourself.  Maybe  he's  forgotten 
how  soon  he's  due  back  at  Yale. 

You  use  your  connections  to  reserve 
space  on  the  next  plane  out;  at  the  air- 
port a  few  fellow-passengers  recognize 
you,  something  you  usually  enjoy,  but 
this  time  you  hardly  notice.  You  board 
the  plane  and  find  your  seat.  Automati- 
cally, you  clasp  the  heavy  buckle  of  your 
seat  belt.  When  the  jets  roar,  full- 
throated,  for  the  takeoff,  you  don't  hear 
them.  Your  mind  is  playing  tricks,  wan- 
dering in  time  and  space.  As  the  plane 
heads  out  over  the  Atlantic  you  are 
back  in  Chicago,  where  Peter  was  born, 
where  you  and  Norma  struggled  so  des- 
perately to  hold  your  faltering  marriage 
together  for  the  sake  of  your  little  boy, 
your  first-born.  Sometimes  you  would 
look  down  at  him,  sleeping  in  his  crib, 
and  wonder:  What  is  a  son  that  he 
should  pull  so  at  a  man's  heart,  that  he 
should  make  two  grownups  who  should 
never  have  married  determine  over  and 
over  to  try  again? 

Then  the  war  came ;  you  said  goodbye 
to  Norma  and  Peter  and  headed  for  the 
Pacific.  For  two  years  you  had  nothing 
of  your  son  except  Norma's  descriptions 
on  V-mail  stationery,  and  the  few 
absurd,  tender  things  she  sent  you  from 
him — a  lump  of  clay,  modeled  by  two- 
year-old  hands,  a  scrawled  picture  from 
a  coloring  book  when  he  was  three. 
When  the  war  was  over,  you  came  home, 
and  you  and  Peter  didn't  know  each 
other — yet  the  tug  was  still  there,  the 
bond:  "This  is  my  son." 

And  then,  when  Peter  was  five,  when 
his  brother  Chris  was  still  too  new  to 
smile  at  you — you  and  Norma  finally 
called  it  quits. 

Funny  about  Norma,  though.  From 
the  day  of  the  divorce,  the  two  of  you 
started  getting  along  better.  As  soon  as 
you  were  no  longer  husband  and  wife, 
you  became  friends,  real  friends.  When 
I  find  Pete,  you  tell  yourself,  I'll  really 
lay  him  out  for  worrying  his  mother  like 
this.  You've  never  once  lost  your  temper 
with  him — a  record  for  an  admittedly 
bad-tempered  man — but  this  time  you'll 
make  an  exception.  No  matter  where  he 
is,  he  should  have  got  in  touch  with  his 
mother.  No  matter  where  he  is  .  .  . 

But  you  don't  care,  right  now,  to  think 
of  where  he  is — or  of  what  may  have 
happened.  You  mustn't  let  your  thoughts 
leap  wildly  to  that  rock-bound  ravine,  to 
the  crumpled  body   at  the  bottom.    It 


can't  be  Peter,  but  better  not  to  think 
of  it  at  all.  Better  to  think  back  .  .  . 

Pete  at  seven.  He  was  beginning  to 
look  like  you  then,  everyone  said  so.  He 
was  shooting  up;  it  was  easy  to  see  he'd 
make  a  basketball  player.  Every  time 
you  went  past  a  sports  equipment  store, 
you  had  to  stop  yourself  from  buying 
something  fancy.  You  didn't  want  him 
to  get  the  idea  that  you  were  trying  to 
buy  his  love. 

Still,  it  was  hard  to  resist  the  tempta- 
tion to  send  him  a  little  something  every 
now  and  then  so  he  wouldn't  forget  you 
between  visits.  Not  that  Norma  didn't 
let  you  see  him  whenever  you  wanted. 
But  time  was  hard  to  come  by.  They 
called  you  "Mr.  Radio"  in  Chicago,  and 
God  knows  they  couldn't  shut  down  the 
transmitters  every  weekend  just  so  a 
man  could  take  his  boy  to  a  ball  game. 
It  was  hard  to  find  all  the  time  you 
wanted  for  Pete  .  .  . 

For  a  moment  you  close  your  eyes. 
But  Pete's  face  dances  in  your  mind, 
clearer  than  ever.  You  blink  and  realize 
you've  said  his  name  out  loud.  The  man 
next  to  you  turns  and  stares.  You  shut 
your  mouth  tightly,  closing  off  the 
sound.  But  the  vision  persists. 

You  see  Pete  as  he  was  in  1955, 
thirteen  years  old.  Thirteen  is  the  age 
when  a  Jewish  boy  becomes  a  man,  and 
though  you're  not  one  for  formal  re- 
ligious observance,  you  teach  Pete  the 
prayer  you  yourself  say  at  night: 
"Sh'ma  Yisroel  .  .  .  Hear  0  Israel,  the 
Lord  our  God,  the  Lord  is  One."  There 
are  a  lot  of  people  who'd  think  it  pretty 
funny  that  Mike  Wallace  prayed  .  .  . 
but  not  Pete.  Not  Pete. 

He  never  mocked  you.  Not  even  when 
you  were  the  most  hated  man  in  tele- 
vision, parlaying  your  "Nightbeat"  in- 
terview show  into  top  ratings  by  means 
of  the  hard-hitting,  tough-talking,  sex- 
conscious  questions  you  hurled  at  your 
"guests"  in  a  studio  that  looked  like  a 
police  interrogation  room.  People  called 
you  "cocky,"  "arrogant,"  "superficial," 
"cruel,"  "heartless,"  "brutal." 

But  Pete  never  stopped  loving  you. 
He  was  only  a  kid,  but  somehow  he  un- 
derstood that  if  you  were  ruthless,  you 
were  most  so  with  yourself;  that  if  you 
probed  too  deeply  into  people's  secrets, 
it  was  out  of  a  passion  for  the  truth; 
that  if  you  refused  to  spare  others,  you 
spared  yourself  least  of  all;  that  if  you 
made  enemies,  it  was  because  you  re- 
fused to  compromise;    that  even  when 


PHOTOGRAPHERS'  CREDITS 

Dick  Chamberlain-Clara  Ray  cover  by 
John  Hamilton  of  Globe  Photos;  Dick 
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Pleshette  by  Gene  Trindl  of  Topix;  Merv 
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ton; "Secret  Storm"  photo  illustration 
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drow;  Carol   Burnett  by  Kathy  Wersen. 


you  were  driving  hardest  to  the  top, 
you  never  did  anything  you'd  have  to 
be  ashamed  of  later.  Pete  looked  at  you 
with  eyes  full  of  love  and  said,  "Dad,  I 
want  to  be  a  newsman — like  you." 

What  is  a  son?  A  son  is  a  baby  to 
wonder  at,  a  boy  to  love,  and  then,  sud- 
denly, a  son  is  a  man,  and  your  friend. 

Your  heart  swells  with  sudden  pride. 
You  remember  Pete  two  summers  ago, 
covering  the  Republican  and  Democrat- 
ic Conventions  with  you  and  his  step- 
father, Bill  Leonard,  who  was  there  for 
CBS.  God,  you  were  proud  of  Pete  then. 
Not  quite  eighteen  years  old — but  how 
he  handled  himself.  Excited,  scared, 
sure — but  he  kept  control  of  himself 
every  minute.  You  remember  his  going 
out  on  the  floor  of  the  convention  hall 
in  Los  Angeles  for  the  Stevenson  demon- 
stration and  coming  back  to  you,  shak- 
ing his  head,  saying  perceptively,  "They 
make  a  lot  of  noise,  Dad,  but  it's  all 
kids  from  the  spectators'  gallery,  they 
haven't  got  the  delegates." 

Later,  in  Chicago  at  the  Republican 
Convention,  Bill  Leonard  told  you  that 
all  the  men  at  CBS  News  thought  Pete 
had  the  makings  of  a  real  reporter.  He 
said:  "Mike,  he's  everything  a  boy 
could  be." 

The  plane  drones  on.  Below,  the  At- 
lantic rolls  and  swells.  Your  seat-mate 
is  asleep.  Fitfully,  you  sleep,  too. 

Hours  later,  the  stewardess's  voice 
rouses  you.  "Fasten  your  seat  belt,  Mr. 
Wallace,  we're  landing  at  Athens  in  a 
few  minutes.  Mr.  Wallace,  fasten  your 
seat  belt,  please  .  .  ." 

You  sit  up  with  a  start.  Your  mouth 
is  dry.  You  look  at  your  watch.  Your 
hands  are  trembling  again.  The  plane 
banks,  and  suddenly  you  see  the  fabled 
city,  that  ancient  home  of  art  and  of 
liberty.  You  wait  for  the  expected  thrill, 
but  it  doesn't  come.  Something  cold  and 
dark  has  gripped  your  heart. 

The  plane  touches  ground,  rolls  fi- 
nally to  a  halt.  A  car  is  waiting  for  you 
at  the  gate.  You  get  in  and  begin  the 
last  lap  of  your  journey.  As  the  car 
speeds  closer  and  closer  to  your  desti- 
nation, you  think :  /  never  spent  enough 
time  with  him.  I  meant  to,  but  I  was  al- 
ways so  busy.  Still,  Norma  always  said 
he  saw  as  much  of  me  as  most  boys  see 
of  their  fathers  these  days.  We  were  to- 
gether part  of  every  summer  till  this 
one,  we  were  together  almost  every 
weekend.  But  was  it  enough?  Was  it? 

You  shake  your  head  to  drive  away 
the  sudden  ache.  You  remember  some- 
thing Pete  said  when  he  was  fourteen. 

"Why  do  television  programs  always 
make  living  in  a  broken  home  seem  so 
sad?  I  think  it's  fine." 

/  think  it's  fine. 

Gratitude    floods    you    briefly.     You 
haven't   failed  as  a   father.  But  in   the 
future  you'll  do  even  better.  You'll  gel 
up  to  Yale  more  often  this  fall.  You'll 
go  to  the  football  games  with  Pete.  Two 
years  from  now  you'll  see  him  graduate, 
and  after  that  you  can  help  him   get 
started  on  his  own  newsbeat.  Not  that 
you'll  pull  strings  for  him;   Pete  won't 
ask  for  that,  won't  need  it.   Pete  will       T 
make  it  on  his  own,  but  still,  what  son       y 
could  mind  a  few  tips  from  his  dad  who       R 
made  it  the  hard  way?   Pete  will  ap- 
preciate a  word  of  advice,  of  criticism, 


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you'll  work  together,  you  and  Pete  .  .  . 

Dear  God,  dear  God.  Don't  let  it  be 
my  son. 

The  car  stops  before  an  official  build- 
ing. You  walk  inside  and  you  sense 
that  people  are  glancing  at  you,  people 
with  averted,  compassionate  eyes.  You 
look  at  the  floor,  at  your  hands,  any- 
where but  at  their  eyes. 

They  lead  you  to  a  small  bare  room. 

They  draw  back  a  sheet  and  very 
gently  they  ask  you  to  look. 

For  one  last  moment  you  shut  your 
eyes.  Then  you  open  them.  You  stare 
down. 

And  you  know  what  you  have  known 
all  along.  The  boy  is  Peter,  your  son. 


tiitiiiniii iiiii 


ijiiiiiimiiniiiN! 


EDIE   ADAMS 

(Continued  from  page  21) 

their  natural  mother.  She  was  demand- 
ing the  girls  on  a  legal  technicality. 
What  do  the  girls  know  of  law?  All 
they  know  and  understand  in  their 
young  minds  is  that  I  am  their  mother." 

For  ten  years,  Ernie  Kovacs'  two 
oldest  daughters  had  been  Edie's  daugh- 
ters, too.  Then,  so  soon  after  losing 
Ernie,  Edie  faced  another  tragedy.  The 
girls'  mother  reappeared  and  asked  the 
court  to  give  them  back  to  her.  For  long 
weeks,  Edie  had  fought  to  keep  them. 
Now  that  it  was  over,  there  was  no  note 
of  triumph  in  her  voice.  She  had  won 
but  she  knew,  too,  what  another  woman 
had  lost.  "I  was  ready  to  put  up  the 
fight  of  my  life  to  keep  my  daughters," 
Edie  told  me.  "When  you  love  someone 
with  all  your  being,  you  will  battle  to 
keep  them  in  your  heart. 

"But  in  the  case  of  the  two  girls,  it 
is  more  than  that.  It  wasn't  just  my  love 
for  them. 

"In  the  truest  sense,  it  was  their  hap- 
piness that  was  involved,  and  I  tell  you 
now  that,  without  reservation,  their 
peace  of  mind,  their  honest  desires  were 
more  important  than  mine. 

"If  the  girls  for  any  reason  had  made 
it  clear  to  me  that  they  preferred  to 
live  with  the  first  Mrs.  Kovacs,  it  would 
have  .  .  ."  Edie  faltered.  She  turned 
her  head  from  me  for  a  moment  and 
then,  forcing  herself  to  be  calm,  she 
continued. 

"If  they  had  wanted  it  that  way,  I 
would  have  conceded." 

She  paused  again  for  a  moment. 

"You  know,  it  was  when  I  realized 
that  I  would  have  given  them  up,  that 
I  knew  how  much  I  really  loved  them. 
Do  you  understand  that? 

"My  fight  was  for  them,  not  for  my- 
self. 

"Contrary  to  what  you  might  think,  I, 
personally,  have  no  emotionally  active 
opinions  about  the  first  Mrs.  Kovacs. 

"But  it  was  what  her  presence  did  to 
the  girls,  the  shocking,  almost  traumatic 
impact  her  visits  made  on  them,  that 
drove  me  crazy. 

"Here  were  two  happy,  beautifully 
adjusted,  attractive  girls  I  have  known 
as  my  daughters.  Suddenly,  in  a  period 
of  minutes,  a  woman  visits  them  and 
they  are  hit  so  hard  that  they  are  in 


Finally  they  let  you  go.  You  turn  and 
stumble  out  of  the  building,  into  the 
bright  Mediterranean  sun.  It  is  all  over 
now.  Past  and  present  and  future,  all 
are  one.  You  can  never  atone  to  Pete 
for  old  failures  now,  can  never  share 
with  him  the  golden  promise  of  the 
future.  Pete,  your  son,  is  dead.  Later, 
you  will  ask  yourself  why,  why  Pete, 
why  now,  with  his  life  before  him,  why 
should  this  senseless,  brutal,  hopeless 
thing  have  happened  to  your  son. 

But  now  you  ask  nothing. 

You  are  Mike  Wallace.  You  are  hard 
as  nails,  but  you  turn  your  head  from 
the  morning  sun  and  you  cry. 

— Leslie  Valentine 


what  seems  like  a  trance.  Gone  is  their 
laughter  and  that  wonderful  heart- 
warming sparkle  in  their  eyes.  They 
look  shocked,  frightened,  no — it  was 
the  beginning  of  terror  I  saw  in  them. 
Why?" 

The  youngest  Kovacs  girl  provided 
the  answer  with  words  similar  to  those 
that  had  stunned  the  courtroom  to  a 
hushed  silence. 

Tears  skidded  down  Kippie's  cheeks 
and  her  voice,  although  low,  was  firm, 
and  she  spoke  with  deliberation  and  in 
a  tone  drained  of  emotion.  It  was  hard 
to  believe  that  this  thirteen-year-old  girl 
was  speaking  of  her  own  mother. 

"I  tried  to  be  ready,"  she  said. 
"Mother  had  explained  to  us  very  care- 
fully that  she  [Bette  Kovacs]  had  been 
given  the  right  to  visit  us.  And  if  this 
woman  was  our  mother,  real  mother,  I 
thought  that  she  would  ache  to  see  us 
as  any  mother  would.  We  understood 
how  much  love  means  to  people. 

"But  I  didn't  know  what  to  think 
when  my  real  mother  came  into  the 
room  that  first  time,  at  our  house." 

Kippie  breathed  deeply  and  said,  with 
effort:  "I  didn't  trust  her.  I  couldn't 
help  feeling  that  way.  I  just  couldn't. 
It  came  over  me.  And  at  the  same  time 
I  knew  I  didn't  want  to  see  her  because 
I  knew  I  couldn't  be  nice  to  her,  no 
matter  how  hard  I  tried. 

"Bette  Lee  [fifteen]  seemed  to  have 
the  same  reaction.  But  we  had  to  be 
polite.  We  tried  to  talk.  But  when  I 
saw  that  other  woman,  I  remembered 
something  I  hadn't  thought  about  in  a 
long,  long  time.  How  it  was  when  we 
lived  with  her  before  in  Florida.  For 
two  whole  years.  When  she  took  us  to 
Florida,  she  said  it  would  only  be  a 
short  little  trip. 

"I  was  afraid,  I  think,  really  afraid. 
I  didn't  like  the  house  where  we  lived 
with  her.  There  were  rats  under  the 
house  and  the  garage  and  they  killed 
our  kitten. 

"But  we  tried  to  be  nice.  And  we 
talked  about  things.  I  don't  remember 
what  we  said,  nothing  important,  and 
then  that  other  woman  said  it  was  obvi- 
ous to  her  that  we  had  been  taught  to 
lie. 

"Didn't  she  know  that  our  mother 
and  our  father  had  always  been  terribly 
strict  about  telling  the  truth  at  all  times 
— even  if  it  meant  getting  punished? 

"I  think  that's  when  I  didn't  like  that 
other  lady  the  most,  and  I  could  tell 


from  the  way  Bette  Lee  looked  at  her, 
she  felt  the  same  way. 

"I  couldn't  take  it  anymore.  No  one 
could  take  it.  Not  even  from  my  own 
mother.  I  couldn't  think  of  her  as  my 
mother  after  she  said  things  like  that, 
that  we  told  lies." 

Reliable  sources  indicate  that  Bette 
Kovacs'  first  departure  from  Philadel- 
phia and  her  husband  Ernie  and  the 
girls  was  for  the  companionship  of  an- 
other man.  It  was  because  of  this  al- 
leged incident  that  Philadelphia  courts 
reportedly  granted  Ernie  the  custody  of 
the  girls. 

Two  years  later,  in  1953,  Bette 
Kovacs  returned  to  Philadelphia  and,  as 
the  girls  told  the  Los  Angeles  Court, 
took  them  back  with  her. 

Ernie  took  legal  steps  to  gain  cus- 
tody of  the  girls  through  a  Florida 
court.  A  few  days  before  the  hearing, 
however,  the  late  comedian  brought  his 
daughters  back  to  Pennsylvania  and  did 
not  appear  in  court.  He  had  his  daugh- 
ters. That  was  all  he  wanted.  The 
Florida  court,  in  Ernie's  absence,  could 
do   nothing  but   rule  in   Bette's   favor. 

"But  those  two  years  in  Florida," 
Edie  continued,  "were,  in  my  mind,  a 
near  catastrophe  for  the  girls.  I  don't 
like  to  say  it,  considering  what  a  mar- 
velous pair  they  are  now,  but  when  they 
returned  I  couldn't  believe  what  had 
happened. 

"Their  language  was  shocking  and 
riddled  with  words  of  violence  and  pro- 
fanities. They  were  almost  uncontrol- 
lably self-centered.  They  ignored  the 
knives,  forks  and  table  manners  to  eat 
with  their  hands. 

"They  quarreled  often,  and  it  was 
bedlam  when  they  fought. 

"Their  tempers  were  instantaneous 
and  with  little  reason. 

"I  remember  one  instance  when  they 
began  throwing  things.  I  don't  know 
what  started  it.  Bette  Lee  picked  a  tea- 
cup from  the  table  and  threw  it  straight 
at  Kippie's  head.  It's  a  good  thing  her 
aim  was  poor. 

"It  was  almost  impossible  to  calm 
them  down.  When  I  did,  I  tried  to  ex- 
plain to  them  that  girls  who  expect  to 
become  ladies  just  didn't  throw  things. 

"But  now  it  was  my  turn  to  show 
amazement,  in  a  way.  Any  woman  knows 
what  a  long  and  tiring  struggle  it  is  to 
teach  a  tempestuous  girl  the  meaning  of 
kindness,  generosity  and  gentleness.  I 
looked  forward  to  a  long,  hard  siege  of 
training.  And  with  two  girls,  it  appeared 
twice  as  difficult. 

"Yet,  as  I  pointed  out  the  simple 
niceties  of  human  behavior,  I  was  sur- 
prised to  find  that  Bette  Lee  and  Kippie 
were  listening  intently! 

"Then  Bette  Lee  replied — and  re- 
member, she  was  only  eight,  Kippie  was 
six — but  Bette  Lee  said,  'All  right.  If 
it's  wrong  to  throw  things,  we  won't  do 
it  anymore.'  In  my  opinion,  neither  of 
them  knew  or  had  been  taught  the 
normal  courtesies  .  .  .  their  tantrums 
were  not  natural  or  the  results  of  in- 
herently disagreeable  dispositions.  They 
just  didn't  know  any  better. 

"It  was  no  time  at  all  that  we  were 
the  best  of  friends.  We  went  to  church 
every  Sunday  and  the  girls  joined  the 
church  choir.    They  just  ate  up  operas, 


concerts  and  ballet  and,  on  their  own, 
asked  for  piano  and  ballet  lessons.  It 
wasn't  work  for  them,  it  was  fun." 

Edie  smiled.  She  was  coming  up  from 
the  memory  of  her  recent  depression. 
"You  know,"  she  said,  "you'd  never 
believe  what  turned  out  to  be  the  most 
difficult  thing  for  me  with  the  girls. 
Know  what  it  was?  Helping  them  with 
their  homework.  Ernie  was  always  my 
rescuer  on  that.  He  knew  everything, 
and  the  girls  and  I  used  to  shine  at  his 
intelligent  and  carefully  worded  ex- 
planations. I  think  I  learned  as  much 
as  the  girls  did." 

She  stared  at  the  floor.  "It  was  a 
wonderful  family  with  him,  so  full  of 
laughter  and — "  she  hesitated  again. 
Then,  looking  up :  "It's  up  to  me  now  to 
keep  the  family  as  Ernie  would  have 
wanted  it." 

As  Ernie  would  have  wanted  it. 

Edie  has  kept  the  family  together — 
Ernie's  two  oldest  girls  and  young  Mia 
Susan,  the  daughter  he  had  with  Edie, 
the  daughter  who  is  too  young  to  re- 
member him. 

But  as  I  said  earlier,  though  she  had 
won,  though  the  weeks  of  anguish  were 
over,  there  was  no  triumph  in  Edie's 
voice.  A  friend  explained  that  perhaps 
she  was  thinking  of  the  loser,  of  the 
first  Mrs.  Kovacs. 

There  is  little  doubt,  despite  the 
legal  ins  and  outs,  charges  and  recrimi- 
nations, that  Edie  suffered  an  anguish 
which,  in  its  way,  was  greater  than  the 
girls'. 

Some  observers,  however,  believe  that 
it  is  the  first  Mrs.  Kovacs  who  has,  and 
will,  grieve  the  longest  (despite  the 
new  happiness  all  hope  she  will  find 
in  her  marriage  to  a  Florida  realtor — 
Larry  Waltzer  of  Jacksonville — just 
after  the  custody  battle)  : 

"No  matter  what  you  can  say  of  her 
behavior,  no  matter  what  you  can  point 
out  about  her  not  fighting  for  her  chil- 
dren when  Ernie  was  alive,  you  have  to 
consider  the  fact  that  she  is  a  human 
being.  She  is  their  natural  mother  and. 
as  a  woman,  their  loss  will  haunt  her 
for  the  rest  of  her  life. 

"Can  you  imagine  her  feelings  when 
she  reads  about  her  daughters  in  the 
papers? 

"Can  you  imagine  the  eagerness  with 
which  she  will  ask  others  of  news  of  the 
girls? 

"Can  you  imagine  the  pain  and  tor- 
ment she  will  go  through  as  she  gets 
the  answers?  For  as  long  as  she  lives, 
she  must  carry  her  grief  and  it  will 
never  diminish.  What  she  grieves  for, 
her  two  daughters,  are  alive  to  every- 
one— but  dead  to  her." 

Edie  and  the  girls  will  never  forget 
their  ordeal,  but  at  least  they  can  look 
forward  with  hope.  The  memory  will 
dim  as  they  start  again  to  be  happy 
with  each  other. 

"And  we  will,"  says  Edie.  "We  must 
manage  somehow  to  prove  that  our 
cause  was  just.  Not  just  to  a  court  of 
law — but  to  ourselves." 

— Alan  Somers 

Edie  stars  in  several  "specials"  for 
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DONNA   REED 

(Continued  from  page  35) 

for  her  "mistake"  in  returning  to  the 
acting  career  she  also  loves. 

It  wasn't  easy.  But,  determined  to  be 
with  them  as  much  as  possible,  she  ar- 
ranged her  work  schedule  accordingly. 
It  didn't  demand  her  being  at  the  studio 
every  day  and,  when  she  did  go,  she  saw 
to  it  that  she  had  time  with  them  in  the 
morning  before  she  left  for  work,  got 
home  in  time  to  have  dinner  with  them — 
and  to  get  the  baby  ready  for  bed. 

Nevertheless,  that  first  year,  Donna 
found  herself  praying  that  the  option 
wouldn't  be  picked  up — so  she  would 
be  able  to  stay  home.  It  wasn't  until 
about  eighteen  months  later  that  she 
found  the  energy  and  strength  to  do 
both  her  jobs,  as  mother  and  actress, 
in  the  way  she  felt  she  had  to  do  them. 
About  that  time,  she  also  realized  that 
her  children  were  not  suffering  from  her 
absence  .  .  .  that  they  were  all  well- 
disciplined,  happy,  out-going. 

The  three  older  children,  of  course, 
have  always  been  interested  in  "The 
Donna  Reed  Show."  From  the  start, 
they've  watched  eagerly — and  are  very 
astute  critics  of  the  things  Donna  does 
in  it  as  a  mother ! 

Both  Donna  and  Tony  have  been 
firmly  against  permissive  parents.  They 
believe  strongly  in  discipline. 

"I  learned  long  ago,"  Donna  observes, 
"that  no  mother  can  always  be  pleasant. 
She  must  hand  out  discipline.  My  chil- 
dren know  how  I  feel  about  obedience 
and  respect  and  things  like  that  ...  so, 
in  a  couple  of  instances  when  they  have 
felt  that,  on  the  show,  I've  gone  against 
what  I  really  believe,  they  have  raised 
some  serious  objections. 

"In  one  episode,  Jeff — Paul  Petersen, 
of  course — had  misbehaved  and  I  kept 
insisting  that  his  father  take  corrective 
steps.  Finally,  Alex  moved  in  like  the 
disciplining  father  and  then,  according 
to  the  script,  I  was  supposed  to  say, 
'Maybe  I'm  wrong  about  this.'  I  re- 
member arguing  about  this  particular 
episode  with  the  writers,  but  it  was  felt 
that  it  would  be  all  right.  When  my 
children  saw  it,  though,  they  were  furi- 
ous! Almost  in  a  chorus,  they  exploded 
with :  'Mom,  you  wouldn't  let  us  off  that 
easy.'  And  it's  true." 

During  the  show's  first  year,  Donna 
and  Tony  often  found  writers  trying  to 
turn  Dr.  and  Mrs.  Stone  into  permis- 
sive parents  with  kids  who  were  on  the 
cocky  side.  They  always  argued  against 
this  approach  and,  by  the  end  of  the 
year,  there  were  no  more  such  trends 
in  stories.  In  the  beginning,  Jeff  was  al- 
lowed to  be  a  bit  brash  at  times,  but 
Donna  insisted  some  kind  of  punishment 
be  inserted  in  the  script.  There  were 
even  occasions  on  the  set  when  Paul 
himself — who  is  an  energetic,  en- 
thusiastic kid — got  noisy  and  loud. 
Donna  would  just  say,  "Hey,  Paul,  not 
so  loud,"  and  he'd  quiet  down. 

"Both  Paul  and  Shelley  have  worn 
well  during  these  years,"  Donna  ex- 
plains, "though,  at  first,  I  didn't  think 
they  would.  They're  really  fine  young 
people." 


Her  own  youngsters  keep  an  eagle 
eye  on  the  show.  When  they  want  to  go 
somewhere,  they  always  have  to  tell 
Donna  where  they're  going  and  when 
they'll  be  back.  On  one  show,  Jeff  an- 
nounced he  was  going  out  and  Donna 
just  waved  goodbye.  When  her  chil- 
dren saw  this,  they  blew  up:  "You'd 
never  let  us  get  by  with  that !  How  come 
Jeff  can?" 

Mom's  severest  critics 

They  have  also  complained  when 
either  Paul  or  Shelley  come  up  with  a 
hairdo  or  an  outfit  they  don't  like.  For 
a  while,  Paul  greased  his  hair  to  a  point 
of  no  return.  Donna  discussed  this  with 
him,  as  did  the  director,  and  most  of 
the  time  Paul  would  apply  the  de-greas- 
ing process.  But  the  patent  leather  shine 
on  his  hair  got  by,  in  a  couple  of  shows, 
and  Donna's  boys  raised  the  roof. 
Armed  with  this  information,  she 
marched  into  the  studio  and  told  Paul: 
"You  see,  even  my  own  boys  don't  like 
your  hair  all  plastered  down  like  that." 

"I  think  we  have  actually  made  only 
one  serious  mistake  in  the  show,"  she 
says,  in  the  calm  of  her  Beverly  Hills 
home.  "From  the  beginning,  I  wanted  to 
let  the  audience  know  how  old  Shelley 
was  supposed  to  be — and  I  was  against 
letting  her  date.  She  was  just  fourteen, 
actually,  but  the  impression  given  was 
that  she  was  about  twelve.  The  writers 
argued  against  my  idea  and,  on  the 
show,  Shelley  was  seen  dating — even 
though  she  wasn't  going  out  with  boys 
in  real  life.  This,  to  me,  set  a  bad  ex- 
ample for  the  audience,  and  it's  a  mis- 
take I  wish  we  hadn't  made.  I  know  for 
certain  I'd  never  have  allowed  my 
daughter  to  date  at  twelve ! " 

When  Donna  began  the  show,  she  was 
aware  that  her  own  children  might  feel 
some  jealousy  about  those  she  had  on 
TV,  so  she  saw  to  it  that  they  had 
every  chance  to  visit  the  set  and  see 
what  went  on — particularly,  the  hard 
work  involved.  Consequently,  her  three 
older  children  knew  from  the  first 
exactly  what  Donna's  job  was  and  had 
no  concern  about  being  displaced  in  her 
affections.  Tony  even  decided  he  wanted 
a  part  on  the  show.  Just  recently,  he 
got  his  first  role — about  five  lines — 
and  was  all  excited  about  being  an 
"actor." 

For  a  short  time,  it  seemed  that  the 
children  were  getting  overly  impressed 
about  their  mother's  stardom.  To  correct 
this,  Donna  purposely  gave  them  fewer 
toys  and  fancy  clothes  than  would  be 
the  case  in  even  an  average  home.  She 
and  Tony  also  seldom  discussed  the 
show  in  front  of  them,  and  they  kept 
them  out  of  the  limelight,  refusing  even 
to  have  the  children  photographed  un- 
less absolutely  necessary. 

"It  wasn't  that  we  were  trying  to  hide 
them  away  from  the  public,"  Donna 
notes.  "We  were  only  giving  them  the 
privacy  they  were  entitled  to  and  really 
wanted.  Fortunately,  any  wrong  illusions 
they  might  have  had  disappeared.  At 
school,  they  learned  they  were  not  in 
an  exclusive  situation — several  boys  and 
girls  there  had  parents  who  were  stars 
and  none  of  them  paid  much  attention 
to  any  glitter  on  the  family  tree." 


As  of  now.  Donna's  youngsters  in- 
tensely dislike  the  attention  paid  their 
mother  as  a  star.  Last  summer,  she  al- 
lowed them  to  accompany  her  when  she 
went  back  East  on  business.  Her  chil- 
dren watched  as  people  rushed  up  to 
Donna  and  asked,  "Aren't  you  Donna 
Reed?"  Donna,  of  course,  had  to  oblige 
with  many  an  autograph.  Finally.  Tony 
said.  "Mom.  the  next  time  someone  asks 
if  you're  Donna  Reed,  won't  you  please 
say  no?" 

But,  once  the  tour  was  over,  they  had 
their  reward :  Donna  went  with  the 
children  and  Tony  on  the  family's  usual 
summer  vacation.  And  when  she  isn't 
working,  no  one  at  the  studio  is  allowed 
to  contact  her  about  anything.  This  is 
the  time  Donna  jealously  guards  for  her 
family. 

This  they  like! 

As  a  result  of  her  being  on  TV,  the 
junior  Owens  have  a  whole  new  concep- 
tion of  Donna  in  one  respect,  at  least — 
they  have  discovered  she's  a  comedi- 
enne! 

In  one  episode.  Donna  was  supposed 
to  have  gone  hiking  with  Jeff  because 
Alex  wasn't  able  to  go.  Weighed  down 
with  a  typical  pack  on  her  back,  she 
was  sitting  on  a  log.  Then,  when  she 
started  to  get  up.  the  pack  was  so  heavy 
it  threw  her  off  balance  and  she  did  a 
neat  back-flip  over  the  log.  feet  flying 
in  the  air!  This  wasn't  in  the  script,  but 
the  camera  caught  it.  and  it  was  decided 
to  leave  it  in. 

Donna's  family  loved  it. 

Another  time.  Donna  had  to  teach 
Jeff  how  to  box.  Armed  with  an  instruc- 
tion book  and  appropriate  parapher- 
nalia, she  went  through  the  paces  man- 


■■    ■ 11. 111:1  un.n  lllinilllllltlllllllllllllllllllll in 1 

ALADDIN 

iiiiiiiiirMiiiiiiHiMiiiiiiiiiiiiiMiiiiiininilliiliiriHlii'nMiiiiciiiiiiritii 

(Continued  from  page  49) 


and  winced.  "It  went  through  his  left 
leg  and  into  his  right  leg."  And  now 
Aladdin  realized  that  it  hadn't  been  a 
dream,  after  all. 

She  knew. 

For  his  wife  was  not  like  other  men 
and  women.  He'd  learned  that  the  first 
time  they  met — a  few  years  previously, 
in  1940.  She  had  a  mysterious  knowl- 
edge that  wasn't  of  this  world  ...  a 
strange  sensitivity,  a  weird  kind  of  per- 
ception. What  had  he  heard  it  called? 
E.S.P.  .  .  .  extra-sensory  perception. 
Something  beyond  the  five  senses.  Some- 
thing beyond  reason  itself. 

He'd  seen  it  at  work  in  her  before. 

Without  another  word,  he  got  out  of 
bed.  took  a  note-pad  out  of  a  dresser 
drawer,  wrote  down  the  time  and  date, 
tore  off  the  paper  and  sealed  it  in  an 
envelope.  Then  he  placed  everything 
back  in  the  drawer. 

She   watched    him.    and    understood. 

But  Aladdin  couldn't  sleep.  Not  for 
a  long  time.  Suddenly  the  very  air  in 
the  room  seemed  charged  with  fore- 
boding. He  thought  of  Bob.  half-a-world 
away  .  .  .  and  he  didn't  doubt  for  a 
minute  that  Bob  had  just  heen  wounded. 


fully.  Donna's  kids  particularly  enjoyed 
the  scene  when  Jeff  was  supposed  to 
wallop  her  good! 

"It's  amazing  how  children  seem  to 
love  comedy,"  Donna  grins.  "I  think 
anything  that  makes  a  mother  a  little 
less  dignified  is  delicious  to  them.  I'm 
glad   we've  had   comedy   in   the   show." 

She's  enjoyed  doing  the  show,  but  she 
won't  be  unhappy  to  see  it  come  to  an 
end.  For  Donna,  nothing  can  supplant 
her  role  as  mother.  When  she  started  on 
TV.  she  gave  up  all  her  social  life  so 
every  spare  minute  could  be  spent  with 
her  family — as  a  matter  of  fact.  Tony 
and  Donna  have  gone  away  alone  only 
once  in  recent  years. 

"I  never  intended  to  get  involved  for 
five  years."  she  says,  in  retrospect.  "I'm 
not  sure,  even  now.  how  I've  managed 
to  do  all  I  have.  But  somewhere  I've 
found  the  extra  energy.  Everything  is 
better  now — life  is  sweeter — and  my 
children  are  happy,  carefree,  unspoiled. 

"As  for  me,  I  think  I've  gained  in 
understanding,  too.  by  being  a  TV 
mother.  The  role  has  pinpointed  things 
about  motherhood  that  I  might  otherwise 
have  taken  for  granted.  It  has  definitely 
shown  me  how  important  it  is  to  be  the 
right  kind  of  mother." 

So  it  wasn't  all  a  "mistake"? 

"No,  indeed!"  she  smiles  warmly — 
then  adds,  with  a  mock  sigh  :  "But  when 
the  show  has  run  its  course,  I  think  I'll 
be  happy  to  go  back  to  being  a  mother 
without  benefit  of  a  camera  recording 
my  every  move!  I'll  be  watched  closely 
enough  by  my  own  children,  so  I'll 
really  have  to  be  on  my  toes." 

— Jack  Holland 

"The  Donna  Reed  Show"  is  seen  over 
ABC-TV,    Thursdays,    at    8    p.m.    est. 


Would  he  live?  Would  he  die?  If  Louise 
had  known,  she  would  have  spoken  of 
it.  he  was  sure.  What  she  had  known 
was  frightening  enough. 

What  were  these  strange  powers  that 
possessed  her?  Were  they  good  ...  or 
evil  ...  or  uncaring? 

His  mind  went  back  to  the  first  day 
they'd  met.  It  was  in  a  night  club  where 
she  was  singing.  Since  Aladdin  was  a 
violinist,  a  mutual  friend  had  thought 
they  might  find  each  other  interesting. 

Interesting?  Aladdin  had  only  to  take 
one  look  at  this  dark-haired  beauty,  with 
her  deep,  mysterious  eyes,  to  realize  that 
he  wanted  to  marry  her. 

But  that  wasn't  really  the  amazing 
thing  about  their  meeting.  It  was  some- 
thing else  .  .  .  something  so  incredible, 
he  hardly  dared  think  about  it.  .  .  .  He 
could  hardly  wait  for  her  to  finish  her 
song  and  come  to  his  table,  where  they 
were  formally  introduced.  "I  ...  I  know 
this  sounds  strange,"  he  told  her  hesi- 
tantly, "but  I  think  we've  met  in  a  previ- 
ous life." 

Her  eyes  stared  deeply  into  his.  with- 
out a  flicker  of  surprise.  When  she 
spoke,  her  voice  was  low  and  rich.  "Of 
course  we  have,"  she  said  gently. 

"We  met  in  China  .  .  .  over  a  thousand 
years   ago." 

If  it  had  been  anyone  but  she  speak- 
ing— or   anyone   but   he   listening — her 


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words  might  have  been  greeted  with  dis- 
believing laughter.  But  Aladdin  didn't 
laugh.  Hadn't  he  had  the  same  feeling? 
He  just  hadn't  been  sure  of  the  time  . . . 
or  the  place.  .  .  .  But  that  was  it,  of 
course — China.  Hadn't  he  always  been 
interested  in  Chinese  art  and  culture? 

As  the  weeks  and  months  passed,  they 
shared  reminiscences  of  that  other  life. 
She  would  begin  to  describe  a  place  she 
remembered  .  .  .  and  he  would  complete 
the  description,  exactly  as  she  had  in- 
tended. Or  he  would  start  to  recall  a 
scene  .  .  .  and  she  would  fill  out  the 
details  that  had  been  in  his  own  mind. 

In  1942,  they  were  married,  and  their 
life  was  a  happy  one  as  Aladdin  worked 
with  various  orchestras  around  the 
country.  Neither  was  afraid  to  speak  of 
the  ancient  memories  they  shared.  After 
all,  what  was  there  to  be  afraid  of? 

Now,  however,  it  was  different.  Now 
his  wife  had  felt  pain  .  .  .  the  pain  of 
another  person,  many  miles  away.  And 
for  the  first  time,  Aladdin  was  troubled. 
This  strange  awareness  was  something 
he  couldn't  share.  He  realized  now  that 
Louise's  powers  of  perception  were  in- 
finitely greater  than  his. 

And  he  couldn't  help  being  afraid 
for  her. 

The  mystery  in  the  envelope 

Not  many  weeks  later,  Aladdin  re- 
ceived a  letter  from  Bob.  It  was  strange- 
ly vague,  but  hinted  that  he  might  be 
home  before  long.  Since  the  battle  for 
the  South  Pacific  was  still  raging,  Alad- 
din knew  there  was  something  odd 
about  the  letter — but  he  and  Louise 
just  looked  at  each  other  and  said  noth- 
ing. It  was  enough  that  Bob  was  alive. 

They  were  living  at  that  time  in  Los 
Angeles,  which  was  Bob's  home,  too. 
And,  one  night,  they  received  a  phone 
call.  "I'm  in  San  Francisco ! "  said  Bob's 
voice.  "I'm  on  my  way  home." 

"Bob,  that's  wonderful!"  Aladdin  an- 
swered. "But  .  .  .  you're  all  right,  aren't 
you?" 

"We'll  talk  about  it  when  I  come 
home,"  Bob  said  evasively.  "But  don't 
worry  .  .  .  I'm  okay  now." 

A  couple  of  nights  later,  Aladdin  and 
Louise  gave  a  welcome-home  party  for 
Bob  in  their  apartment.  He  seemed  in 
excellent  health,  delighted  to  be  home 
.  .  .  until  a  strange  expression  crossed 
his  face  and  he  seemed  a  little  dizzy. 

Louise  asked  him  gently,  "Bob,  why 
don't  you  lie  down?  Your  leg's  bother- 
ing you,  isn't  it?" 

Bob  was  obviously  startled.  "What 
are  you  talking  about?" 

Calmly  she  said,  "Come  into  the  other 
room."  In  the  bedroom,  she  took  the 
envelope  from  the  dresser  drawer  and 
handed  it  to  him.  "Read  what's  inside." 

He  tore  it  open,  took  out  the  sheet 
of  paper.  His  face  turned  white.  "Where 
— where  did  you  get  this?" 

She  told  him. 
<(  "But  I  can't  believe  it!"  he  exclaimed. 
"It's  the  time  and  the  date  when  I  was 
wounded — to  the  very  minute.  You  see 
Louise,  I  was  hit  by  shrapnel.  But  I 
didn't  want  to  tell  you — I  knew  you'd 
worry.  It  went  through  my  left  leg 
and  into  my  right." 

In  the  years  that  followed,  other  evi- 


dences of  Louise's  extra-sensory  per- 
ception began  to  appear.  She  started 
reading  the  cards  for  her  friends  .  .  . 
yet  she  refused  to  read  them  for  Alad- 
din. "I'm  afraid  of  what  I  might  see," 
she  explained  .  .  .  and  he  didn't  press 
her. 

But  Louise  often  read  for  a  friend 
named  Marge,  and  many  a  prediction 
came  true.  Then,  one  day,  Louise  read 
the  cards  to  her  for  the  last  time. 

"Now  look,  Marge,"  she  said  gravely, 
her  fear  mirrored  in  her  face.  "You 
have  a  teen-age  relative  who  is  going  to 
come  home  and  complain  of  not  feeling 
well.  Don't  treat  it  lightly.  Call  a  doctor. 

"Otherwise,"  she  added  ominously, 
"he  will  not  live." 

By  some  quirk  of  fate,  Marge  forgot 
the  warning.  Three  weeks  later,  a  rela- 
tive of  hers — a  fifteen-year-old  boy — 
came  home  and  complained  he  wasn't 
feeling  well.  He  was  put  to  bed,  but  it 
didn't  seem  serious  .  .  .  and  nobody 
called  a  doctor. 

By  morning,  he  was  dead  of  polio. 

When  Aladdin's  wife  heard  the  news, 
she  shuddered.  "That's  it.  I  will  never 
read  the  cards  again.  When  I  start  pre- 
dicting death,  I've  had  enough!" 

Aside  from  this  frightening  experi- 
ence, their  life  together  seemed  happier 
than  ever.  Aladdin  was  hired  to  play 
with  Lawrence  Welk's  band,  went  on 
television  and  was  an  immediate  hit  with 
audiences.  He  became  a  regular  feature 
of  the  Welk  shows  over  ABC  and  also 
did  character  parts  on  drama  programs. 

Things  were  going  very  well  indeed, 
and  Aladdin  was  grateful. 

Then  a  musician  friend  of  Aladdin's 
died  suddenly.  A  short  time  later,  Alad- 
din and  Louise  were  sitting  near  a  glass 
door  overlooking  the  patio  .  .  .  and  they 
saw  their  friend  walk  past,  as  real  as 
life.  They  saw  him  again,  on  several 
other  nights. 

They  lost  a  dog — a  pet  of  many  years. 
It  died,  but  was  not  gone.  Many  times, 
as  evening  fell  over  the  San  Fernando 
Valley  where  they  now  lived,  the  dog 
would  come  to  the  door  of  the  patio  .  .  . 
as  though  waiting  to  be  let  in. 

Neither  Aladdin  nor  Louise  at- 
tempted to  understand  these  occur- 
rences. They  just  accepted  them.  What 
else  was  there  to  do?  Whether  they  were 
visions,  or  ghosts,  they  couldn't  tell.  All 
they  knew  was  that  they  both  saw  them 
.  .  .  that  they  appeared  to  be  as  sub- 
stantial as  flesh  and  blood.  .  .  . 

The  dark  and  lonely  nights 

Then,  three  years  ago,  Aladdin  suf- 
fered a  painful  kidney  infection  and  had 
to  go  to  the  hospital.  There  were  com- 
plications requiring  at  least  two  serious 
operations.  Somehow  he  survived,  but 
for  weeks  he  couldn't  use  his  legs. 

And  then,  just  as  Aladdin  was  learn- 
ing to  walk  again,  Louise  fell  ill.  The 
doctor's  diagnosis  was  definite — and 
dreadful:  Cancer. 

Within  five  months,  she  was  dead. 

Now  began  the  most  difficult  time  of 
Aladdin's  life — far  worse  than  his 
suffering  in  the  hospital.  Now  he  was 
alone,  and  life  seemed  empty  and  mean- 
ingless. His  health  was  returning,  the 
doctors  had  let  him   go  home,  but  he 


couldn't  shake  off  his  feeling  of  depres- 
sion. 

He  would  have  been  completely  with- 
out hope,  except  for  one  thing.  He  be- 
gan to  receive  letters — cartons  of  them 
— from  the  fans  he'd  gained  on  "The 
Lawrence  Welk  Show."  They  wrote  to 
tell  him  they  missed  him  and  were  pray- 
ing for  his  complete  recovery.  They 
made  him  realize  he  was  wanted  and 
needed. 

So,  finally,  he  went  back  to  work. 
But,  aside  from  his  hours  with  the  Welk 
band,  life  was  bleak  and  lonesome.  The 
nights  seemed  endless.  .  .  . 

Until,  one  night,  it  happened. 

Dusk  was  falling,  as  he  sat  alone  in 
his  San  Fernando  Valley  bungalow.  He 


DICK   VAN    DYKE 

(Continued  from  page  57) 


Without  Marjorie  there  would  have  been 
no  driving  need.  I  wouldn't  have  had  to 
make  a  living.  We  had  so  many  tough 
times  that  if  she  weren't  around  to  build 
my  confidence  and  pick  me  up  when  I 
hit  those  tailspin  depressions,  I  would 
never  have  lived  through  it." 

Although  he  occasionally  "clowned 
around  in  high  school,"  Dick  had  no 
plans  whatever  for  show  business.  Fact 
is,  he  had  no  plans  for  anything — 
period.  His  dad,  a  public  relations  man 
for  a  freight  line,  his  mom  and  his  kid 
brother  Jerry,  who  is  now  a  comedian, 
never  encouraged  him.  Nobody,  includ- 
ing Dick,  ever  figured  this  sad  sack  of 
1945  would  be  a  redhot  TV  star  in  1962. 
Nobody,  that  is,  except  Marjorie  Willett 
Van  Dyke,  who  says,  "I'm  not  at  all  sur- 
prised. I  knew  it  straight  along.  I  al- 
ways said  he  had  a  lot  of  talent.  He 
needed  only  confidence.  In  the  early 
years  when  we  were  young,  had  no 
security,  no  money,  he  lacked  courage. 
That's  what  I  tried  to  give  him." 

It  all  started  in  Danville  High.  That's 
where  he  met  Marjorie.  However,  prior 
to  grabbing  either  a  marriage  license 
or  a  high-school  diploma,  Dick  joined 
the  Air  Force. 

"This  was  the  beginning  of  why  I 
never  thought  I'd  make  it,"  sighs  the 
lanky  Dutchman.  "Never  thought  I'd 
make  success.  Because  even  with  the 
Air  Force  ...  I  enlisted  in  '44,  trained 
to  be  a  pilot  till  the  war  was  over,  then 
they  let  me  out.  I  never  saw  duty." 

In  the  last  stages  of  Army  life,  Cadet 
Van  Dyke  transferred  into  Special 
Services.  Still  an  amateur  (junior 
grade),  he  was  entertaining  in  service 
clubs  when  they  tapped  him  to  be  a 
radio  announcer  for  an  Army  program. 
Since  he'd  done  some  announcing  in 
high  school,  somebody  handed  him  a 
script  and,  in  the  manner  the  Army 
often  selects  volunteers,  barked.  "You! 
Read  this!"  Then  the  somebody  said, 
"Good.  You're  hired."  That  somebody 
who  aimed  Van  Dyke  at  the  road  to 
fame,  glory  and  CBS  turned  out  to  be 
Byron  Paul,  who  subsequently  worked 
for  CBS  and  is  today  Dick's  manager. 

In  1947,  easygoing,  mild-mannered 
Dick  hit  Hollywood — an  event  which 
Hollywood  has  mercifully  forgotten.  As 


felt  weary  .  .  .  very  weary  ...  for  there 
was  nobody  now  to  share  the  long  eve- 
ning that  lay  ahead.  .  .  . 

Suddenly,  a  familiar  figure  appeared 
before  him.  There  was  no  mistaking  who 
it  was.  His  Louise  had  come  back. 

She  spoke  to  him  .  .  .  gently,  in  the 
quiet  tones  he  had  come  to  love.  What 
she  said,  he  has  never  revealed  to  any- 
one. But  surely  she  must  have  told  him 
that  he  would  never  be  alone  .  .  .  that 
she  would  never  really  die. 

Not  so  long  as  love  endures,  and  the 
heart  remembers.       — James  Gregory 

"The  Lawrence  Welk  Show"  is  seen  on 
ABC-TV,  Sat.,  from  9  to  10  p.m.  est. 
The  Welk  group  also  records  for  Dot. 


"The  Merry  Mutes,"  he  and  a  partner 
performed  their  snappy  songs  and  fancy 
patter  in  any  saloons  that  were  willing. 

At  this  time  only  a  small  matter  stood 
between  Dick  and  his  sweetheart  of 
five  years.  It  was  finances.  They  had 
none.  Finally,  in  '48,  they  were  married 
on  the  "Bride  and  Groom"  radio  show. 

Ask  "Why  were  you  married  on  a 
radio  show?"  and  he'll  answer,  "Be- 
cause it  was  cheap,  that's  why.  They 
provided  the  apartment,  furniture, 
honeymoon,  everything. 

"I  was  working  the  Zephyr  Room  of 
the  Chapman  Park  Hotel  in  Los  Angeles 
and  I  met  the  emcee  of  the  program.  He 
made  all  the  arrangements,  but  we  se- 
lected our  date  and  where  we'd  honey- 
moon. We  picked  Portland,  Oregon. 

"Then  we  went  through  one  of  the 
lowest  points  in  our  lives.  I  was  still 
doing  this  comedy  act.  We'd  gotten 
four  weeks  at  the  Blue  Angel,  a  New 
York  night  club.  They  fired  us  the  first 
week.  We  were  kind  of  hokey,  you 
know.  Not  really  too  funny. 

"So  we  were  scratching  around  look- 
ing for  work.  My  partner  and  I  would 
drive  all  night  to  pick  up  a  one-night 
job  for  twenty-five  dollars.  In  half,  less 
ten  percent  commission,  my  share  was 
$11.25.  Just  enough  for  a  week's  gro- 
ceries. We  were  three  months  behind 
on  rent.  The  day  I  rushed  Marjorie  to 
the  hospital  for  a  miscarriage  was  the 
day  they  picked  to  evict  us.  She  didn't 
know.  I  discovered  it  when  I  returned 
from  the  hospital.  What  a  terrible  time 
it  was  when  I  had  to  tell  her.  I  had  no 
money.  I  had  no  job.  No  prospects.  Not 
even  a  place  for  us  to  stay.  It  was  the 
most  depressing  period  of  our  lives. 

The  jinx  continues 

"If  there's  a  bright  spot  to  find.  Mar- 
jorie finds  it.  She's  the  one  who  buoys 
us  both  up,  but  even  she  couldn't  smile 
her  way  out  of  this  one.  I  managed  to 
have  a  running  charge-account  at  the 
hospital.  I  never  actually  paid  any  sum 
of  cash.  I  couldn't.  We  didn't  have  it. 

"Anyway,  I  found  us  a  motel  with  a 
hot-plate  affair  and  an  icebox.  She  was 
bedridden,  so  I  did  the  cooking.  All  we 
could  afford  were  hamburger  and  beans. 
And  we  had  that  every  single  night  for 
supper." 

Finally,  "The  Merry  Mutes"  landed 
a  job  and  three  days  before  they  opened 
the    club    burned    down.    They    landed 


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CITV 

STATE 

ZONE  A  COUNTY 

another  and  two  weeks  later  the  owner 
skipped  town  without  paying  anybody. 
At  this  point,  the  Van  Dykes  were  liv- 
ing off  Dick's  partner.  who"d  saved  a 
few  dollars. 

Driving  cross-country.  Dick's  jalopy 
emitted  one  great  wheeze  and  breathed 
its  last.  They  hadn't  a  cent.  And  the 
town  had  no  telegraph  office.  Parking 
his  wife  in  the  garage  for  security.  Dick 
borrowed  a  car  and  drove  to  the  near- 
est town  to  wire  his  in-laws  for  forty 
dollars. 

"We  picked  that  amount."  Dick  says, 
"because  we  figured  it  was  the  very 
least  amount  we  needed  to  get  home 
and  the  very  most  they'd  probably  send 
us.  Who  knows  but  they  thought  they'd 
never  see  that  money  again.  We  paid 
it  back,  but  it  took  a  long  time." 

Marjorie  kept  encouraging  him.  al- 
though many  times  he  was  ready  to 
give  up  the  business.  Eventually  she 
agreed  he  should  try  television  instead 
of  night  clubs — after  all,  traveling  with 
children  was  rough.  For  one  year  they 
lived  in  a  station  wagon  with  portable 
baby  beds,  footlockers  and  trunks  in- 
side it  and  tricycles  and  highchairs  on 
top  of  it.  In  this  manner  they  traveled 
from  place  to  place  "like."  as  Dick 
says.  "Okies. 

"We  even  had  a  portable  bottle  warm- 
er which  plugged  into  the  cigarette 
lighter.  We'd  travel  all  night.  I'd  take 
a  Dexadrine  early  in  the  morning  to 
keep  going,  go  through  the  whole  day's 
rehearsal,  then  do  a  show  at  night. 
We  lived  from  motel  to  transient  hotel. 
Sometimes  we'd  cook  in  the  room.  Some- 
times we'd  eat  in  a  restaurant.  It  wasn't 
easy."  This  era  has  been  permanently 
immortalized  in  a  14-karat  station 
wagon  which  today  dangles  from  Mrs. 
Van  Dyke's  gold  charm  bracelet. 

After  "laying  so  many  bombs  as  a 
comedian."  he  decided  to  quit  and  open 
an  advertising  agency  in  the  Middle 
West.  He  rented  a  room,  furnished  it 
with  unpainted  furniture  and  waited. 
He  made  tie-ins  for  one  local  radio 
show  every  week  and  man-on-the-street 
interviews  which  he  did  in  front  of  a 
jewelry  store  daily.  At  first,  clients  were 
slow.  Nothing  happened.  Then,  one  year 
later,  something  did  happen,  Dan- 
ville's answer  to  Madison  Avenue  went 
bankrupt. 

"My  reaction."  says  Dick,  "was  to 
retreat  into  unsociability.  Get  quiet.  My 
wife,  though,  was  never  hard  hit.  Down 
deep  I  don't  think  Margie  really  cares 
whether  she  has  much  money  or  not. 
I'm  the  one  who  worries  about  security, 
where  do  we  go  from  here,  does  this 
last,  and  so  on.  But  she  doesn't  care. 
She's  fully  prepared  for  things  to  blow 
up.  We're  both  all  set  someday  to  fold 
our  tents  and  steal  away  and  open  a 
gas  station  some  place." 

The  wrong  answers 

This  being  when  TV  was  still  in  its 
harmless  stages,  he  drifted  back  into 
broadcasting  and  ended  up  with  a 
morning  program  in  Atlanta  which  pro- 
gressed to  an  afternoon  program  in 
New  Orleans.  And  it  was  here  Byron 
Paul  heard  him  again  and  signed  him 
to  a  seven-year  CBS  contract. 

"I   served   three   years  "of  it   just  sit- 


ting around  like  a  starlet  doing  noth- 
ing," grins  Dick.  "They  stuck  me  on 
panel  shows.  And  I  wasn't  particularly 
witty.  I  mean,  let's  face  it.  The  plain 
fact  is,  I  was  lousy.  I  was  one  of  the 
originals  on  'To  Tell  the  Truth,'  but 
I  couldn't  ever  play  the  game  correctly. 
Never  ever  guessed  one  blessed  thing. 
They  fired  me  after  four  weeks.  Let's 
put  it  this  way:  I  was  just  plain  bad." 

This  was  in  '55  at  the  crest  of  the 
wave  of  comedians,  when  Gobel,  Berle, 
Caesar,  Gleason,  Buttons  all  had  their 
own  shows.  So  CBS,  digging  around 
for  another  personality,  imported  Van 
Dyke  in  hopes  he'd  be  another  Garry 
or  Garroway.  By  the  time  they  decided 
what  to  do  with  him,  comedy  had  given 
way  to  the  "Gisele  MacKenzie"  or  the 
"Girl  Singers  Era."  "Just  a  case  of  bad 
timing."  says  Dick.  "One  of  my  many 
cases  of  bad  timing." 

The  future  looked  even  bleaker  than 
his  past  so,  unappealing  though  it  was, 
they  made  plans  to  return  to  Atlanta. 
And  then  the  finger  of  fate  beckoned 
towards  Broadway.  It  was  a  revue  titled 
"The  Boys  Against  the  Girls."  featur- 
ing another  unknown  named  Shelley 
Berman. 

The  revue  flopped,  but  Dick  Van 
Dyke,  who  claims  he's  a  cross  between 
Stan  Laurel  and  Cary  Grant,  didn't. 
From  that  came  two  TV  specials,  in- 
cluding the  two-hour  one.  "The  Fabu- 
lous Fifties."  From  that  came  "Bye  Bye 
Birdie."  And  from  that  came  "The  Dick 
Van  Dyke  Show." 

Today,  although  they  still  rough  it 
on  beans  and  hamburger  once  in  awhile, 
the  Van  Dykes  have  full-time  help  so 
that  Marjorie  only  has  to  cook  "on  spe- 
cial occasions."  And  Dick,  of  course,  is 
too  busy  with  daily  work  schedules  and 
hobbies  like  painting,  sculpting,  interior 
decorating  and  home  movies  to  flip  a 
flapjack  even  if  he  wanted  it.  "But," 
Dick  says,  "no  matter  how  much  money 
we  have  today,  we  still  can't  get  away 
from  margarine.  After  so  many  years 
counting  pennies,  it  takes  quite  a  while 
to   get   adjusted  to  that   70f   spread!" 

Their  first  home  was  a  three-room 
apartment  in  a  two-family  house  ("the 
landlord  lived  above  us").  After  four- 
teen years,  four  children,  one  miscar- 
riage, a  couple  of  bankruptcies  and  one 
eviction  notice,  they  moved  ten  minutes 
away  to  a  brand-new.  ten-room  estate 
they  just  built  in  an  exclusive  section 
of  Brentwood. 

Still.  Dick  is  far  removed  from  what 
you'd  expect  of  a  fresh,  young  TV 
comedian  who  just  struck  it  rich.  Im- 
maculately tailored,  extremely  polite, 
he  even  peppers  his  conversation  with 
unhead  of  phrases  like  "Excuse  me" 
and  "Pardon  me." 

"You  know."  he  confides.  "Marjorie 
and  I  talk  all  the  time  about  what  it 
costs  us  to  live  these  days.  Clothes  cost 
more,  tips,  everything  costs  more.  We're 
not  flashy  spenders.  We're  simple  peo- 
ple enjoying  what  we've  never  before 
had  in  our  lives.  But  it  makes  us  sick. 
We  now  spend  in  a  week  what  we  once 
lived  on  for  a  whole  year!" 

As  a  result  the  four  children,  who 
range  in  age  from  twelve  to  an  infant 
("the  first  three — Christian,  Barry. 
Stacey— spell  CBS")  have  taken  the 
sudden  vault  to  fame,  fortune  and  their 


own  room  quite  calmly.  A  blase  atti- 
tude about  Daddy's  doings  has  been 
replaced  by  obvious  pride. 

A  family  crisis 

In  January  Dick's  success  hit  both 
older  boys  in  the  form  of  their  first 
theatrical  crisis.  Both  were  booked  to 
appear  on  the  show  and  promised  equal 
parts  and  equal  billing.  As  usual,  every- 
body was  riveted  to  the  set  at  home.  It's 
a  family  affair,  since  many  of  the  situa- 
tions are  taken  from  their  own  real  life. 
Naturally,  they  all  watch. 

"What  a  time  we  had  that  night," 
explained  Dick.  "I  didn't  realize  Barry's 
part  had  been  cut.  The  poor  thing  was 
heartbroken.  He'd  told  all  his  friends 
he  was  going  to  be  on.  He  raced  into 
his  room,  locked  the  door  and  wouldn't 
come  out.  I  tried  telling  him  the  similar 
situations  I'd  had,  but  it  was  no  go.  It 
was  awful.  I  felt  terrible.  I  mean.  I 
know  what  it's  like.  That  kind  of  dis- 
appointment has  happened  to  me  all  my 
life." 

And  now  that  the  disappointments  are 
over,  what  has  success  meant  to  Dick? 
It's  meant  he's  now  able  to  retire  his 
father.  It's  meant  he's  received  S.O.S. 
calls  from  every  single  person  he  ever 
knew,  and  "it's  meant  spending  five 
thousand  dollars  to  convert  the  garage 


MERV   GRIFFIN 

i>i  i  in  i  mi iiiiiiimiiiiiiiiiiiiTiimiNtiiwiiiimiiiitiiiHiniiiiii t 

(Continued  from  page  29) 


window  mannequins,  which  Julann  al- 
ways used  for  fittings  when  making  her 
own  clothes.  Well,  since  we  both  had 
tiny  apartments  at  the  time,  and  since 
mine  was  the  least  tiny,  Julann  decided 
to  move  in  with  me.  With  her  roommate. 
It  was  a  riot — I'll  never  forget  it — when 
Julann  dragged  her  into  my  place  that 
night,  Julann  naturally  in  her  wedding 
dress,  the  roommate  wearing  blue  jeans! 

"I  asked  Julann,  'Why've  you  got  her 
dressed  in  that  outfit?' 

"Julann  misunderstood  a  little  bit. 
'Yes,  I  know,'  she  said,  'I  should  have 
made  her  wear  something  nicer,  Merv. 
But  I'd  packed  everything  good  already 
— and  the  jeans  were  all  I  had  left 
around.' 

"As  for  my  dog — well,  this  is  where 
we  thought  the  trouble  was  really  going 
to  start  that  night.  'Poochie's  his  name, 
and  he's  really  half-dog,  half-fox.  Also, 
up  till  that  time,  he'd  been  used  to 
living  with  me  and  me  alone.  And  he 
didn't  like  the  idea  of  some  girl  mov- 
ing into  his  territory,  at  all — let  alone 
a  bride. 

"Part  of  Poochie's  territory  happened 
to  be  my  bed.  You  can  just  imagine 
what  happened  when  Julann  tried  to 
get  into  it  that  night. 

"  'Here  Poochie,  here  nice  Poochie,' 
she  said,  standing  there  in  her  brand- 
new  white  nightgown,  trying  to  get  him 
off  the  blankets.  Then  she'd  ask,  'Merv, 
why  are  you  just  lying  there?  Why 
won't  you  help  me?  And  stop  that 
laughing!' 

'  'It's  your  problem,  sweetheart,'  I 
explained.  'He's  either  got  to  learn  to 


into  a  room  where  Chris  can  indulge 
his  camera  hobby!" 

But  he's  lost  one  kind  of  tension  and 
gained  another.  He's  lost  the  nervous- 
ness which  goes  with  insecurity  and 
poverty — the  fear  of  never  being  able 
to  succeed  and  the  worry  about  where 
the  next  dollar  is  coming  from.  And 
he's  gained  the  nervousness  that  goes 
with  security  and  comfort — the  fear 
that  someday  all  this  will  blow  up  and 
the  worry  about  how  you're  going  to 
keep  what  you've  got. 

"I  get  more  nervous  these  days  when 
I  do  a  show,"  he  says.  "You  know  that, 
every  time  you  face  a  camera,  there's 
a  lot  more  riding  on  it  than  there  ever 
was  before.  I  find  that  whenever  I'm 
about  to  do  a  show,  my  palms  sweat. 
That  never  happened   before." 

But  that's  what  it's  like  to  climb  to 
the  top.  It  takes  some  getting  used  to. 
For  Dick  Van  Dyke,  it  was  a  long  climb 
and  he  likes  the  high  altitude.  Still, 
there  are  those  nervous  moments  when 
he  remembers  that  what  goes  up  can 
also  go  down  .  .  .  those  moments  when 
he  admits  it  isn't  all  edelweiss  at  the 
top.  — Cindy  Adams 

"The  Dick  Van  Dyke  Show"  is  seen  over 
CBS-TV,  Wed.,  9:30  p.m.,  est.  He  also 
stars  in  Columbia  Pictures'  version  of 
his   Broadway   hit,   "Bye  Bye   Birdie." 


obey  your  commands  and  respect  you 
— or  there'll  be  the  devil  to  pay  from 
here  on  in  ...   so  command,  Julann.' 

"She  commanded.  Or,  at  least,  she 
tried.  But  he  wouldn't  budge. 

"Until  finally  my  bride  had  a  thought. 
She  went  into  the  kitchen  and  got  some 
dog  biscuits.  She  broke  them  in  her 
hand,  scattered  them  over  the  floor  near 
the  bed — a  few  here,  a  few  there. 

;'  'Now.  Poochie,'  she  said,  her  voice 
very  firm,  'come  eat  these.  And  when 
you're  finished  eating,  you  go  over 
there  to  that  corner — and  you  sleep 
there.  Understand?  Comprenez-vous?' 

"I  hasten  to  add  that  Julann's  plan 
— and  her  French — worked  out  fine; 
that  Poochie  got  off  the  bed,  and  Julann 
got  in  finally. 

"I  hasten  to  add,  too,  that  Poochie — 
the  traitor — is  still  with  us,  ignores  me 
completely,  and  is  now  completely  de- 
voted to  my  wife  .  .  . 

"And  so,  anyway,  we  were  married 
— and  it's  been  a  very  happy  and  hec- 
tic life  for  us  both  ever  since. 

"For  a  while  there,  in  fact,  it  was 
getting  a  little  too  hectic. 

"Life  in  New  York  can  become  a 
drain  on  people  in  show  business.  It's 
a  never-ending  round  of  get-togethers. 
We  found  ourselves  on  this  treadmill 
of  cocktail  parties.  And  we  didn't  like 
it  a  bit. 

"For  a  while,  we  tried  spending  as 
many  weekends  as  possible  on  a  won- 
derful farm  we'd  bought  in  New  Jer- 
sey. But  there  was  still  Monday  through 
Friday  to  contend  with.  And  it  looked 
as  if  we'd  never  get  out  of  our  big- 
city  rut. 

"The  great  test  finally  came  the  night 
we  gave  a  gigantic  party  in  our  apart- 
ment, for  about  125  guests.  It  was  a 
typical  New  York  cocktail  bash.  With 


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everyone  having  a  great  time,  except 
us — the  boy  from  San  Mateo,  Califor- 
nia, and  the  girl  from  Ironwood,  Michi- 
gan. Finally,  at  one  point,  Julann  and 
I  both  looked  at  one  another  and  with- 
out a  word  we  tiptoed  to  our  room, 
changed  into  old  clothes,  tiptoed  out  of 
the  apartment  and  drove  out  to  the 
farm. 

"A  couple  of  hours  later,  we  phoned 
the  apartment. 

"We  found  out — and  not  to  our  sur- 
prise, either— that  the  party  was  still 
going  full  steam  and  that  no  one  real- 
ized we  had  gone. 

"And  we  vowed,  then  and  there,  that 
we  would  become  true  country  people 
again. 

"Except,  we  learned,  there  were  a 
few  things  about  country  life  that  we'd 
pretty    much    forgotten. 

"That  first  night,  for  instance,  Julann 
and  I  were  lying  in  bed  when  we  heard 
a  bird  singing — actually  singing — not 
coughing,  the  wav  they  do  in  New 
York. 

"  'Isn't  that  pretty?'  I  said  to  Julann. 

"  'So  clear,'  she  said. 

"  'I  wonder  what  kind  of  bird  it  is,' 
I  said. 

"  'Must  be  a  Michigan  robin,'  Julann 
said. 

"  'No — '  I  said,  'that  kind  of  monotone 
makes  it  sound  more  like  a  California 
oriole.' 

"We  lay  there  wondering  for  a  while. 

"Until  suddenly  it  dawned  on  us  that 
our  'bird'  was  the  phone  off  the  hook. 
I'd  forgotten  to  hang  up  after  making 
that  call  to  New  York,  and  some  wing- 
less operator  was  buzzing  for  us  to 
put  the  darned  receiver  back! 

"Then — a  few  months  later — there 
was  that  other  time,  when  I  found 
Julann  painting  our  front  lawn  green. 
Painting  it!  I  started  to  give  her  holy 
hell.  But  she  stopped  me  short  and 
explained  that  she'd  sprayed  some  white 
weed-killer  over  a  big  patch  by  acci- 
dent— 'and,'  as  she  said,  'that  looked 
just  awful  so  I  thought  I'd  better  get  it 
all  back  to  its  natural  color.' 

"There  was  the  time,  too,  one  mid- 
night when  I  went  to  the  refrigerator 
to  make  myself  a  snack — and  found 
the  thing  swarming  with  a  couple  of 
thousand  ladybugs.  Julann,  it  seems, 
had  ordered  them  by  mail — something 
to  do  with  organic  farming.  And  they'd 
arrived.  Julann  had  realized  that  she'd 
over-ordered  by  about  1700.  She'd  been 
a  little  confused.  So  she  just  put  the 
excess  ladybugs  in  the  refrigerator 
where  they  could  'keep  cool' — as  she 
said — while  she  figured  out  what  in  the 
world  to  do  with  them. 

"Still  another  time — it  was  mid- 
autumn,  I  remember — we  were  driving 
down  a  road  near  the  farm.  The  New 
Jersey  countryside  is  glorious  at  that 
time  of  year,  and  I  was  humming  away 
happily  with  the  beauty  of  it  all.  Except 
I  could  see  from  the  corner  of  one  eye 
that  something  was  bothering  my  wife. 
And  I  asked  her  what  that  might  be. 

"  'All  those  pumpkins,'  she  said,  'ly- 
ing out  in  those  fields.' 

"'What  about  those  pumpkins?'  I 
asked. 

'It's  so  sad,'  Julann  said,  "to  think 
that  in  a  few  weeks'  time  they'll  all 
be  spoiled,  and  wasted.' 


"And  that's  how  she  got  her  idea — 
right  there  on  the  spot,  a  split  second 
later — to  pickle  pumpkins. 

"If  I  can  say  it  without  getting 
tongue-twisted:  Do  you  have  any  idea 
how  many  pumpkin  pickles  we've  jarred 
ever  since  Julann  started  pickling 
pumpkins? 

"Seriously,  though,  my  wife  is  a  wise 
and  wonderful  girl.  She's  a  good  wife 
— I  don't  think  there's  any  higher  com- 
pliment than  that.  She's  a  good  mother, 
a  great  mother,  to  our  two-and-a-half- 
year-old,  Anthony  Patrick. 

"And,  in  time,  when  she  feels  that 
she's  got  the  two  of  us  under  way,  I 
think — I  hope — she  might  even  return 
to  show  business,  at  least  on  a  once- 
in-a-while  basis. 

"When  I  was  doing  'Tonight'  last 
April,  some  of  you  may  remember  that 
Julann  appeared  on  the  show  a  couple 
of  times.  Without  prejudice,  I  thought 
she  was  hilarious.  I  thought  her  greatest 
bit  was  the  takeoff  she  did  on  Ruby 
Keeler  singing  something  in  the  off- 
key  style  of  those  mid-1930s  movies. 
Even  Julann — shy  as  she  can  be — ad- 
mitted later,  that  yes,  she  thought  it  was 
a  pretty  good  bit,  too. 

"Except  that  the  next  day,  back  in 
the  country,  she  went  to  do  some  mar- 
keting at  the  general  store.  And  a  few 
ladies  who'd  seen  the  show  rushed  over 
to  her  and  said,  "Oh,  Mrs.  Griffin,  you 
sing  beautifully.' 

"As  Julann  told  me  that  night,  'But 
didn't  they  realize  that  that's  not  my 
voice?'  Then  she  paused  a  moment  and 
said,  'Good  Lord,  I'm  liable  to  bring 
back  the  whole  Ruby  Keeler  era  single- 
handedly  if  I  don't  shut  up!' 

"Meanwhile,  Julann's  writing  a  cook 
book.  It's  called  something  like  'Recipes 
for  the  Expectant  Mother.'  And  no 
cracks  about  the  future  generation, 
please. 

"Actually,  seriously  again,  my  wife 
has  always  been  interested  in  cooking. 
She  cooks  kind  of  like  this: 

"She'll  be  reading  the  Bible.  She 
comes  to  the  part  about  Barabbas  go- 
ing to  an  inn  and  ordering  chicken 
made  with  wine  and  honey.  So  up 
jumps  my  wife,  she  runs  into  the  kitch- 
en, gets  out  the  chicken,  the  wine,  the 
honey.  And  when,  at  dinner,  I  ask, 
'What's  this  I'm  eating,  dear?' — she 
looks  at  me  deadpan  and  says,  'Chicken 
Barabbas,   of   course,   darling.' 

"As  for  me,  aside  from  my  life  with 
Julann — and  if  I've  talked  about  her 
a  lot  this  past  half-hour,  it's  because 
my  life  is  her,  and  her  life  is  me  .  .  . 
but  as  for  my  life  alone,  my  career, 
let  me  just  say  this: 

"I  feel  that  I've  been  a  very  lucky 
guy.  I've  enjoyed  all  the  shows  I've  ever 
worked  on — from  that  radio  stint  out 
in  San  Francisco  right  up  until  'Play 
Your  Hunch.'  Enjoyed  them  enor- 
mously. 

"I  know  I'm  enjoying  this  new  show 
of  mine.  I  hope  the  audience  enjoys  it 
just  as  much  as  I  do! 

"I  hope,  in  short,  that  it  will  always 
be  a  happy  show. 

"I,  for  one,  am  a  mighty  happy  guy." 
— Ed  DeBlasio 

"The  Merv  Griffin  Show"  is  colorcast 
on  NBC-TV,  M-F,  2  to  2:55  p.m.  est. 


RAYMOND    BURR 

(Continued  from  page  45) 

that  of  a  gentlemen,  a  direct  contrast  to 
his  sloppy  attire.  I  liked  him  immedi- 
ately, but  still,  inwardly,  I  wondered 
how  he  would  fit  into  Perry  Mason's 
shoes.  But  as  we  worked  on  the  show  1 
became  aware  that  here  is  a  man  who 
could  do  anything!  After  five  years  of 
close  association,  I  can  honestly  say  my 
first  impression  has  been  a  lasting  one: 
Raymond  Burr  is  a  great  person,  as  well 
as  a  truly  great  actor. 

Proof  of  that  is  the  many  letters  I  get 
about  him.  It's  natural,  I  suppose,  that 
women,  seeking  information  about  Perry 
Mason,  should  write  to  his  secretary  and 
Girl  Friday,  Delia  Street.  For  instance, 
Ray's  realism  has  led  quite  a  few  secre- 
taries to  write  me  asking,  "Do  you  mind 
not  having  regular  office  hours?"  They 
want  to  know  whether  Perry  Mason  is 
a  stern  taskmaster.  Others,  maybe  with 
recollections  of  their  own  experiences, 
ask  whether  Perry  ever  makes  "passes" 
at  me  when  we  are  alone! 

I  think,  at  this  point,  it  would  be  a 
good  idea  to  clear  up  any  confusion 
regarding  the  identities  of  Delia  Street, 
secretary,  and  Barbara  Hale,  actress, 
wife  and  mother.  As  Delia,  I  have  no 
outside  ties,  no  attachments,  no  great 
interests  besides  helping  Perry  win  his 
cases.  I  live  for  Perry  Mason.  And  my 
reward  is  not  my  salary,  but  the  trust, 
reliance  and  occasional  dependence  this 
famous  lawyer  places  in  me. 

As  Barbara  Hale,  I  am  the  second  of 
two  sisters  born  in  DeKalb,  Illinois.  I'm 
married  to  Bill  Williams  (I  call  him 
"Will"),  an  actor  who  needs  no  intro- 
duction to  TV  fans  who  know  his  series, 
"Assignment  Underwater,"  and  we  have 
three  children — Jody,  15;  Billy,  11; 
and  Juanita,  8. 

Between  my  obligations  to  the  show 
and  keeping  my  family  happy,  I'm 
busier  than  the  proverbial  bee.  When 
the  refrigerator  breaks  down  at  home, 
it  causes  a  calamity  because  my  job 
prevents  me  from  getting  things  fixed 
as  fast  as  they  break.  Sometimes  I'm  at 
the  studio  from  seven  to  seven  and, 
much  as  I  love  my  work,  this  situation 
is  not  exactly  elating  to  a  husband  and 
three  children.  Being  a  faithful  Delia 
Street  also  interferes  with  P.T.A.  meet- 
ings and  keeping  dental  appointments. 

As  both  Delia  and  Barbara,  I  think 
Ray  is  the  living  end.  He  is  wonderful. 
As  an  actor,  he  is  not  only  handsome,  in 
perfect  vocal  control,  authoritative  in 
manner,  but  also  thorough.  He  knows 
his  lines  and  how  to  react  to  everyone 
else's  lines  so  as  to  give  them  added 
values.  He  takes  the  trouble  to  continue 
studying,  though  the  show  is  an  un- 
qualified success,  and  his  knowledge  of 
law  and  TV  production  is  astonishing. 
If  I  were  in  hot  water  with  the  law  or 
law-breakers,  I'd  as  soon  have  Ray  de- 
fend me  as  Perry  Mason. 

Ray  finds  out  what's  going  on  with 
the  people  around  him  and,  when  some- 
one is  in  trouble,  he  immediately  ex- 
tends a  helping  hand.  One  crew  member 
had  his  garden  washed  out  by  heavy 
rains.  Ray  overheard  him  talking  about 


it.  The  next  morning,  several  flats  of 
plants  were  delivered  to  his  door — a 
gift  from  Ray  to  help  get  his  garden 
replanted.  Another  crew  member  knew 
Ray  was  going  to  Chicago.  He  jokingly 
suggested  Ray  call  his  family  and  say 
hello.  Ray  not  only  called  but  did  so 
in  person — spending  two  hours  with  the 
man's  relatives. 

It's  sometimes  amusing  the  way 
people  react  to  the  relationship  of  Perry 
and  Delia.  One  lady  told  me  that  her 
children,  five  and  six  years  old,  showed 
her  a  picture  of  Ray  in  a  magazine  and 
said,  "Look,  it's  Perry  Mason  .  .  .  but 
where's  his  mommy?"  Mommy,  to  them, 
is  me!  Well,  Ray,  with  his  fiendish  sense 
of  humor,  swiped  that  letter  and  tacked 
it  to  the  bulletin  board  at  General 
Service  where  we  do  our  filming.  The 
entire  cast  and  crew  took  up  the  joke, 
and  it  was  days  before  I  learned  why 
Ray  and  everyone  else  was  calling  me 
"Mommy." 

Case  of  the  missing  sundaes 

Ray's  gags  keep  us  all  on  our  toes. 
There  are  times  when  he  has  me  liter- 
ally screaming.  I  never  know  what  he's 
going  to  try  next.  Maybe  I  should  give 
an  example.  There  was  the  time  we 
were  all  on  a  diet — Ray  himself,  Bill 
Talman,  Ray  Collins,  Bill  Hopper  and 
I.  We  were  feeling  right  noble  and  lost 
no  chance  to  let  Ray  know  it.  Well,  he 
got  his  revenge  soon  enough. 

One  afternoon,  in  came  a  friend  of 
mine  carrying  three  huge,  lovely,  lus- 
cious chocolate  sundaes.  (I  still  think 
Ray  put  her  up  to  it.)  I  admit — I  gazed 
at  temptation,  and  I  fell.  My  friend  and 
I  devoured  two  of  the  sundaes.  That  left 
one  more.  I  had  an  inspiration;  I'd  pull 
a  fast  one  on  Ray.  I  sneaked  into  his 
cottage  and  stuck  the  third  sundae  in 
his  refrigerator. 

I  arrived  the  next  morning,  ready  to 
tease  Ray  unmercifully  for  succumbing 
to  the  ice  cream.  And  do  you  know  what 
I  found?  My  dressing  room  was  car- 
peted with  twelve  dozen  grapefruit,  a 
live  chicken,  an  egg — and  a  sign  with 
the  word,  "Think!"  It  was  his  gentle 
reminder  that  grapefruit  and  eggs  were 
about  all  we  were  allowed  on  our  diets. 

Aha,  I  thought,  I'll  shake  him  up.  I 
painted  my  face  with  lipstick  dots,  and 
ran  to  tell  him  I'd  contracted  chicken- 
pox  as  a  result  of  his  leaving  the 
chicken  loose  in  my  room.  When  I  got 
to  his  place,  he  was  gone  and  there  was 
a  sign  saying,  "Out  investigating  Case 
of  the  Missing  Sundaes!"  Well,  I  nearly 
scrubbed  my  skin  off,  trying  to  get  the 
lipstick  marks  off.  But  the  shenanigans 
weren't  through.  Just  before  shooting 
began,  I  stuck  the  chicken  into  a  box. 
Half  an  hour  later,  I  went  to  my  car 
and  there  was  the  chick — big  as  life. 

I  said  to  myself,  "What  would  Perry 
Mason  do  in  a  spot  like  this?"  So  I 
bought  two  dozen  eggs  that  night.  Next 
morning,  I  hid  them  all  over  Ray's 
dressing  room.  Not  a  word  was  said  all 
day,  and  I  was  beginning  to  think  he 
hadn't  noticed  anything,  which  did  seem 
strange.  But  the  next  morning  when  I 
arrived  at  seven,  I  had  my  answer.  Cold 
fried  eggs  were  strewn  everywhere! 
(Continued  on  next  page) 


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(Continued  from  preceding  page) 

Later,  when  we  went  into  rehearsal, 
I  pretended  to  forget  my  lines.  Ray- 
mond asked,  "What's  the  matter,  Bar- 
bie?" I  said,  "Raymond,  have  you  ever 
faced  a  mob  of  cold  fried  eggs  glaring 
at  you  at  seven  a.m.?"  He  drew  himself 
up  as  only  Perry  Mason  can,  when  he 
has  both  law  and  righteousness  on  his 
side,  and  snapped,  "Have  you  ever 
stayed  up  all  night,  frying  a  mob  of 
eggs?" 

Actually  I'm  aware,  and  so  are  the 
rest  of  our  bunch,  that  Ray  looks  on 
these  gags  as  a  sort  of  morale-builder, 
a  safety  valve  for  the  tensions  that 
build  up  in  the  course  of  putting  an 
exciting  show  together. 

Mainly  for  that  reason,  I  think,  he  has 
taken  over  the  role  of  Peck's  Bad  Boy. 
I'm  not  the  only  one  in  our  company 
who  holds  the  theory  that,  any  day  now. 
he's  going  to  tie  a  bundle  of  logs  to- 
gether and  go  sailing  off  into  the  sun- 
set. And  much  as  we'd  like  to  bid  him 
"bon  voyage"  during  the  times  when  he 
makes  us  the  patsies  for  his  jokes,  I 
honestly  believe  we'd  all  jump  into  the 
water  and  go  swimming  after  him  if  he 
ever  did  sail  off.  Why?  Because  we 
love  him — practical  jokes,  orchids, 
paintings  and  all.  How  empty  our  lives 
would  seem  without  him! 

I  don't  know  what  Ray's  politics  are, 
but  I'm  dead  sure  he'd  make  a  winning 
candidate.  He's  both  a  thinker  and  an 
eloquent  speaker.  As  for  me,  I'd  back 
him  for  any  office  on  any  ticket  he  stood 
on,  that's  the  extent  of  my  faith  in  him. 
If  he's  a  good  talker,  he's  an  even 
better  listener.  People  know  this,  and 
they  bring  him  their  problems,  secret 
hopes,  hobbies  and  frustrations,  know- 
ing he  will  give  them  his  full  attention. 

His  own  number-one  interest,  of 
course,  is  his  art  gallery  in  Beverly 
Hills.  At  one  time,  I  studied  at  Chicago's 
Academy  of  Fine  Arts  with  the  idea  of 
becoming  an  illustrator  of  children's 
books  or  a  portrait  artist.  Going  to  see 
the  shows  at  Ray's  gallery  has  become 
one  of  the  joys  of  my  off-stage,  out- 
of-home  existence. 

A  "small"  party 

My  family  and  I  have  been  guests  at 
Ray's  oceanside  home  from  time  to 
time.  It's  a  real  treat  to  be  included  at 
one  of  his  dinners.  He's  a  fabulous  cook, 
and  his  house  has  a  kitchen  anyone 
would  envy.  He  usually  holds  his  guest 
list  down  to  six  or  eight,  but  I  recall 
one  time  when  he  accidentally  invited 
ten.  Then  he  decided  he  might  as  well 
have  a  few  more,  and  before  he  realized 
it,  130  were  on  the  list.  That  was  one 
party  he  had  cateredl 

Dinners  at  his  home  usually  start  and 
end  with  a  dip  in  his  swimming  pool.  In 
between  there  are  drinks,  hors  d'oeuvres 
(rarely  less  than  twenty  kinds),  then 
some  of  Ray's  specialties,  such  as: 
Abalone  cannellone,  stuffed  with 
shredded  shrimp  and  lobster,  cheese  and 
chives,  then  baked  in  light  cream  sauce 
with  white  wine,  champagne  and  mush- 
rooms; beef  fillets  stuffed  with  ham, 
truffles  and  hard-cooked  eggs,  then 
topped  with  artichokes  and  simmered 
in  beef  gravy  with  Burgundy  wine  and 


tomatoes;  many,  many  such  delicacies! 

This  is  followed  by  wonderful  after- 
dinner  talk,  then  those  who  desire  take 
another  dip  in  the  pool  or  stroll  down 
for  a  visit  to  his  private  zoo  to  see  what's 
been  added  to  his  collection  of  dogs, 
cats,  a  burro  and  about  a  dozen  varieties 
of  birds ! 

Ray's  house  is  near  Malibu  Beach.  It 
is  not  pretentious  and  probably  from  the 
outside  attracts  little  attention.  But, 
once  inside,  you  know  it  is  a  home  that 
is  "lived  in."  He  has  a  forty-foot  living 
room  with  walls  covered  by  paintings  he 
has  collected  over  the  years;  a  kitchen- 
dining-room  with  a  twelve-burner  stove 
and  a  table  that  seats  about  eighteen; 
and  three  bedrooms.  There  is  one  item 
absent  that  might  cause  upraised  eye- 
brows. Ray  has  no  TV  set!  In  fact,  he 
has  never  watched  himself  perform  as 
Perry  Mason. 

But  to  be  a  guest  in  his  home  is  a 
great  experience.  No  matter  how  many 
other  guests  there  are,  you  somehow  are 
made  to  feel  that,  if  you  hadn't  come, 
you  would  have  been  missed.  Ray  is  a 
relaxed  host,  yet  he  is  ever  aware  that 
you  are  there.  Because  he  organizes  so 
carefully,  everything  always  runs 
smoothly,  without  strain  on  anyone. 

What  can  I  say  about  Ray  in  con- 
clusion? All  children,  including  my 
own,  adore  him.  I  recall  the  first  time 
little  Nita  visited  the  set.  Ray  had 
picked  her  up  and  carried  her  around, 
pointing  out  various  things  of  interest 
to  a  four-year-old.  When  he  left,  I  asked 
her  how  she  liked  him.  Nita's  answer 
was,  "Oh,  Mommy,  I  love  him.  He  has 
such  nice  fat  eyes."  I  guess  Nita  isn't 
the  first  or  last  woman  to  fall  in  love 
with  Ray's  big,  mischievous  but  gentle 
eyes. 

Ray  says  he  is  simply  "being  kind" 
to  our  children  when  he  gives  them 
baby  alligators,  snakes  and  hamsters  as 
pets.  Maybe  he  is  helping  them  get 
closer  to  nature.  But  I  hae  me  doots,  as 
the  Scots  say.  Personally,  I  wonder  if 
he  isn't  trying  to  give  their  mother  a 
nervous  fit!  During  the  recent  rains,  my 
kiddies  insisted  their  pets  couldn't  be 
left  outdoors.  So  all  Ray's  gifts,  plus 
the  rest  of  the  menagerie,  were  hauled 
inside. 

Have  you  ever  lived  for  a  week  with 
twelve  guinea  pigs,  eight  hamsters, 
three  dogs,  half-a-dozen  pigeons,  a 
snake,  a  cat  and  a  skunk  in  your  family 
room?  Thanks  to  Raymond  Burr  "in- 
teresting" my  brood  in  nature,  /  have. 

As  most  people  know,  Ray  is  a 
widower,  and  leads  a  secluded  life.  His 
parents  are  still  in  his  native  Canada 
and  their  visits  are  not  as  frequent  as 
he'd  like.  But  I  did  have  the  pleasure 
of  meeting  them  last  year.  I  immedi- 
ately realized  that  Ray  was  a  com- 
posite of  both.  "He's  a  very  nice  man, 
your  son,"  I  told  Mrs.  Burr,  who  is  a 
sweet,  soft-spoken  woman. 

"Thank  you,"  she  replied  warmly. 
"We're  very  proud  of  him.  You  know, 
when  he  was  a  child,  I  used  to  say  one 
day  he's  going  to  be  a  great  actor." 

Then  his  father,  who  has  that  same 
twinkle  in  his  eye  as  Ray,  said,  "But  I 
always  wanted  him  to  be  a  lawyer.  Isn't 
it   wonderful  that,   today,  he's  both?" 

I  agreed — it  is  wonderful.  — The  End 


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